Dalam drama terdapat banyak unsur. Salah satu dari unsur tersebut adalah alur. Alur merupakan jalan cerita atau urut-urutan peristiwa dalam drama. Alur terdiri dari banyak jenis.
•Alur maju
Alur maju disebut juga alur kronologis, alur lurus atau alur progresif. Peristiwa-peristiwa ditampilkan secara kronologis, maju, secara runtut dari awal tahap, tengah hingga akhir.
•Alur mundur
Alur mundur disebut juga alur tak kronologis, sorot balik, regresif, atau flash-back. Peristiwa-peristiwa ditampilkan dari tahap akhir atau tengah dan baru kemudian tahap awalnya.
•Alur tunggal
Dalam alur tunggal biasanya cerita drama hanya menampilkan seorang tokoh protagonis. Cerita hanya mengikuti perjalanan hidup tokoh tersebut.
•Alur jamak
Dalam alur jamak, biasanya cerita drama menampilkan lebih dari satu tokoh protagonis. Perjalanan hidup tiap tokoh ditampilkan.
•Alur erat
Alur erat disebut juga alur ketat atau padat. Dalam drama yang beralur cepat, susul menyusul, setiap bagian terasa penting dan menentukan.
•Alur longgar
Alur longgar berbanding terbalik dengan alur ketat. Hubungan antarperistiwanya longgar, tersajikan secara lambat, dan diselingi berbagai peristiwa tambahan. Pembaca atau penonton dapat meninggalkan atau mengabaikan adegan tertentu yang berkepanjangan dengan tanpa kehilangan alur utama cerita.
•Alur tertutup
Dalam drama yang beralur tertutup, penampilan kisahnya diakhiri dengan kepastian atau secara jelas.
•Alur terbuka
Dalam drama yang beralur terbuka, penampilan kisahnya diakhiri secara tidak pasti, tidak jelas, serba mungkin. Jadi akhir ceritanya diserahkan kepada imajinasi pembaca atau penonton.
•Alur bawahan
Alur kedua atau tambahan yang disusupkan disela-sela bagian alur utama sebagai variasi. Alur bawahan merupakan lakuan tersendiri tetapi yang masih ada hubungannya dengan alur utama. Ada kalanya alur bawahan ini dimaksudkan untuk menimbulkan kontras, adakalanya sejalan dengan alur utama.
•Alur menanjak
Jalinan peristiwa dalam satu karya sastra yang semakin menanjak sifatnya.
Rabu, 27 Januari 2016
Penokohan Dalam Drama Teater
Peran merupakan sarana utama dalam sebuah lakon, sebab dengan adanya peran maka timbul konflik. Konflik dapat dikembangkan oleh penulis lakon melalui ucapan dan tingkah laku peran. Dalam teater, peran dapat dibagi-bagi sesuai dengan motivasi-motivasi yang diberikan oleh penulis lakon. Motivasi-motivasi peran inilah yang dapat melahirkan suatu perbuatan peran. Peran-peran tersebut adalah sebagai berikut.
• Protagonis
Protagonis adalah peran utama yang merupakan pusat atau sentral dari cerita. Keberadaan peran adalah untuk mengatasi persoalan-persoalan yang muncul ketika mencapai suatu cita-cita. Persoalan ini bisa dari tokoh lain, bisa dari alam, bisa juga karena kekurangan dirinya sendiri. Peran ini juga menentukan jalannya cerita. Contoh tokoh protagonis pada lakon Raja Lear karya William Shakespeare terjemahan Trisno Sumardjo adalah tokoh Raja Lear itu sendiri.
• Antagonis
Antagonis adalah peran lawan, karena dia seringkali menjadi musuh yang menyebabkan konflik itu terjadi. Tokoh protagonis dan antagonis harus memungkinkan menjalin pertikaian, dan pertikaian itu harus berkembang mencapai klimaks. Tokoh antagonis harus memiliki watak yang kuat dan kontradiktif terhadap tokoh protagonis. Contoh tokoh antagonis pada lakon Raja Lear karya William Shakespeare terjemahan Trisno Sumardjo adalah tokoh Gonerill dan tokoh Regan. Kedua tokoh inilah yang menentang perkembangan, keinginan, dan cita-cita Raja Lear.
• Deutragonis
Deutragonis adalah tokoh lain yang berada di pihak tokoh protagonis. Peran ini ikut mendukung menyelesaikan permasalahan yang dihadapi oleh tokoh protaganis. Contoh, peran Tumenggung Kent, Edgar, Cordelia dalam lakon Raja Lear karya William Shakespeare.
• Tritagonis
Tritagonis adalah peran penengah yang bertugas menjadi pendamai atau pengantara protagonis dan antagonis. Contoh, tokoh Bangsawan pada lakon Raja Lear karya Willliam Sahkespeare. Dia adalah pengawal dari Cordelia.
• Foil
Foil adalah peran yang tidak secara langsung terlibat dalam konflik yang terjadi tetapi ia diperlukan guna menyelesaikan cerita. Biasanya dia berpihak pada tokoh antagonis. Contoh, tokoh Perwira, Oswald, Curan dalam lakon Raja Lear karya William Shakespeare.
• Utility
Utility adalah peran pembantu atau sebagai tokoh pelengkap untuk mendukung rangkaian cerita dan kesinambungan dramatik. Biasanya tokoh ini mewakili jiwa penulis. Contoh: tokoh Badut dalam lakon Raja Lear karya William Shakespeare.
Jenis Karakter - Penokohan Dalam Drama Teater
Karakter adalah jenis peran yang akan dimainkan, sedangkan penokohan adalah proses kerja untuk memainkan peran yang ada dalam naskah lakon. Penokohan ini biasanya didahului dengan menganalisis peran tersebut sehingga bisa dimainkan. Menurut Rikrik El Saptaria (2006), jenis karakter dalam teater ada empat macam, yaitu flat character, round charakter, teatrikal, dan karikatural.
• Flat Character (perwatakan dasar)
Flat character atau karakter datar adalah karakter tokoh yang ditulis oleh penulis lakon secara datar dan biasanya bersifat hitam putih. Karakter tokoh dalam lakon mengacu pada pribadi manusia yang berkembang sesuai dengan perkembangan lingkungan. Ketika masih kecil dia bereksplorasi dengan dirinya sendiri untuk mengetahui perkembangan dirinya, dan ketika sudah dewasa maka pribadinya berkembang melalui hubungan dengan lingkungan sosial. Jadi perkembangan karakter seharusnya mengacu pada pribadi manusia, yang merupakan akumulasi dari pengalaman-pengalaman dan interaksi-interaksi yang dilakukannya dan terus berkembang.
• Round Character (perwatakan bulat)
Karakter tokoh yang ditulis oleh penulis secara sempurna, karakteristiknya kaya dengan pesan-pesan dramatik. Round karakter adalah karakter tokoh dalam lakon yang mengalami perubahan dan perkembangan baik secara kepribadian maupun status sosialnya. Perkembangan dan perubahan ini mengacu pada perkembangan pribadi orang dalam kehidupan sehari-hari. Perkembangan inilah yang menjadikan karakter ini menarik dan mampu untuk mengerakkan jalan cerita. Karakter ini biasanya terdapat karakter tokoh utama baik tokoh protagonis maupun tokoh antagonis.
• Teatrikal
Teatrikal adalah karakter tokoh yang tidak wajar, unik, dan lebih bersifat simbolis seperti nampak pada gambar 14 di atas. Karakter-karakter teatrikal jarang dijumpai pada lakon-lakon realis, tetapi sangat banyak dijumpai pada lakon-lakon klasik dan non realis. Karakter ini hanya simbol dari psikologi masyarakat, suasana, keadaan jaman dan lain-lain yang tidak bersifat manusiawi tetapi dilakukan oleh manusia. Misalnya karakter yang diciptakan oleh Putu Wijaya pada lakon-lakonnya yang bergaya post-realistic, seperti tokoh A, D, C, Si Gembrot, Si Tua, Kawan, Pemimpin (lakon LOS) dan lain-lain.
Penokohan Dalam Drama Teater.
• Karikatural
Karikatural adalah karakter tokoh yang tidak wajar, satiris, dan cenderung menyindir seperti diperlihatkan dalam gambar 15 di atas. Karakter ini segaja diciptakan oleh penulis lakon sebagai penyeimbang antara kesedihan dan kelucuan, antara ketegangan dengan keriangan suasana. Sifat karikatural ini bisa berupa dialog-dialog yang diucapkan oleh karakter tokoh, bisa juga dengan tingkah laku, bahkan perpaduan antara ucapan dengan tingkah laku. Misalnya, karakter Badut pada lakon Raja Lear karya Willilam Shakespeare terjemahan Trisno Sumardjo, kalau dianalisis dialognya menunjukkan betapa sangat satir dan dapat mengimbangi ketegangan suasana yang diciptakan oleh Raja Lear.
• Protagonis
Protagonis adalah peran utama yang merupakan pusat atau sentral dari cerita. Keberadaan peran adalah untuk mengatasi persoalan-persoalan yang muncul ketika mencapai suatu cita-cita. Persoalan ini bisa dari tokoh lain, bisa dari alam, bisa juga karena kekurangan dirinya sendiri. Peran ini juga menentukan jalannya cerita. Contoh tokoh protagonis pada lakon Raja Lear karya William Shakespeare terjemahan Trisno Sumardjo adalah tokoh Raja Lear itu sendiri.
• Antagonis
Antagonis adalah peran lawan, karena dia seringkali menjadi musuh yang menyebabkan konflik itu terjadi. Tokoh protagonis dan antagonis harus memungkinkan menjalin pertikaian, dan pertikaian itu harus berkembang mencapai klimaks. Tokoh antagonis harus memiliki watak yang kuat dan kontradiktif terhadap tokoh protagonis. Contoh tokoh antagonis pada lakon Raja Lear karya William Shakespeare terjemahan Trisno Sumardjo adalah tokoh Gonerill dan tokoh Regan. Kedua tokoh inilah yang menentang perkembangan, keinginan, dan cita-cita Raja Lear.
• Deutragonis
Deutragonis adalah tokoh lain yang berada di pihak tokoh protagonis. Peran ini ikut mendukung menyelesaikan permasalahan yang dihadapi oleh tokoh protaganis. Contoh, peran Tumenggung Kent, Edgar, Cordelia dalam lakon Raja Lear karya William Shakespeare.
• Tritagonis
Tritagonis adalah peran penengah yang bertugas menjadi pendamai atau pengantara protagonis dan antagonis. Contoh, tokoh Bangsawan pada lakon Raja Lear karya Willliam Sahkespeare. Dia adalah pengawal dari Cordelia.
• Foil
Foil adalah peran yang tidak secara langsung terlibat dalam konflik yang terjadi tetapi ia diperlukan guna menyelesaikan cerita. Biasanya dia berpihak pada tokoh antagonis. Contoh, tokoh Perwira, Oswald, Curan dalam lakon Raja Lear karya William Shakespeare.
• Utility
Utility adalah peran pembantu atau sebagai tokoh pelengkap untuk mendukung rangkaian cerita dan kesinambungan dramatik. Biasanya tokoh ini mewakili jiwa penulis. Contoh: tokoh Badut dalam lakon Raja Lear karya William Shakespeare.
Jenis Karakter - Penokohan Dalam Drama Teater
Karakter adalah jenis peran yang akan dimainkan, sedangkan penokohan adalah proses kerja untuk memainkan peran yang ada dalam naskah lakon. Penokohan ini biasanya didahului dengan menganalisis peran tersebut sehingga bisa dimainkan. Menurut Rikrik El Saptaria (2006), jenis karakter dalam teater ada empat macam, yaitu flat character, round charakter, teatrikal, dan karikatural.
• Flat Character (perwatakan dasar)
Flat character atau karakter datar adalah karakter tokoh yang ditulis oleh penulis lakon secara datar dan biasanya bersifat hitam putih. Karakter tokoh dalam lakon mengacu pada pribadi manusia yang berkembang sesuai dengan perkembangan lingkungan. Ketika masih kecil dia bereksplorasi dengan dirinya sendiri untuk mengetahui perkembangan dirinya, dan ketika sudah dewasa maka pribadinya berkembang melalui hubungan dengan lingkungan sosial. Jadi perkembangan karakter seharusnya mengacu pada pribadi manusia, yang merupakan akumulasi dari pengalaman-pengalaman dan interaksi-interaksi yang dilakukannya dan terus berkembang.
• Round Character (perwatakan bulat)
Karakter tokoh yang ditulis oleh penulis secara sempurna, karakteristiknya kaya dengan pesan-pesan dramatik. Round karakter adalah karakter tokoh dalam lakon yang mengalami perubahan dan perkembangan baik secara kepribadian maupun status sosialnya. Perkembangan dan perubahan ini mengacu pada perkembangan pribadi orang dalam kehidupan sehari-hari. Perkembangan inilah yang menjadikan karakter ini menarik dan mampu untuk mengerakkan jalan cerita. Karakter ini biasanya terdapat karakter tokoh utama baik tokoh protagonis maupun tokoh antagonis.
• Teatrikal
Teatrikal adalah karakter tokoh yang tidak wajar, unik, dan lebih bersifat simbolis seperti nampak pada gambar 14 di atas. Karakter-karakter teatrikal jarang dijumpai pada lakon-lakon realis, tetapi sangat banyak dijumpai pada lakon-lakon klasik dan non realis. Karakter ini hanya simbol dari psikologi masyarakat, suasana, keadaan jaman dan lain-lain yang tidak bersifat manusiawi tetapi dilakukan oleh manusia. Misalnya karakter yang diciptakan oleh Putu Wijaya pada lakon-lakonnya yang bergaya post-realistic, seperti tokoh A, D, C, Si Gembrot, Si Tua, Kawan, Pemimpin (lakon LOS) dan lain-lain.
Penokohan Dalam Drama Teater.
• Karikatural
Karikatural adalah karakter tokoh yang tidak wajar, satiris, dan cenderung menyindir seperti diperlihatkan dalam gambar 15 di atas. Karakter ini segaja diciptakan oleh penulis lakon sebagai penyeimbang antara kesedihan dan kelucuan, antara ketegangan dengan keriangan suasana. Sifat karikatural ini bisa berupa dialog-dialog yang diucapkan oleh karakter tokoh, bisa juga dengan tingkah laku, bahkan perpaduan antara ucapan dengan tingkah laku. Misalnya, karakter Badut pada lakon Raja Lear karya Willilam Shakespeare terjemahan Trisno Sumardjo, kalau dianalisis dialognya menunjukkan betapa sangat satir dan dapat mengimbangi ketegangan suasana yang diciptakan oleh Raja Lear.
Sejarah Drama Indonesia
Perkembangan Drama di Indonesia
Sejarah perkembangan drama di Indonesia dipilah menjadi sejarah perkembangan penulisan drama dan sejarah perkembangan teater di Indonesia. Sejarah perkembangan penulisan drama meliputi:
(1) Periode Drama Melayu-Rendah
(2) Periode Drama Pujangga Baru
(3) Periode Drama Zaman Jepang
(4) Periode Drama Sesudah Kemerdekaan
(5) Periode Drama Mutakhir
Dalam Periode Melayu-Rendah penulis lakonnya didominasi oleh pengarang drama Belanda peranakan dan Tionghoa peranakan.
Dalam Periode Drama Pujangga Baru lahirlah Bebasari karya Roestam Effendi sebagai lakon simbolis yang pertama kali ditulis oleh pengarang Indonesia.
Dalam Periode Drama Zaman Jepang setiap pementasan drama harus disertai naskah lengkap untuk disensor terlebih dulu sebelum dipentaskan. Dengan adanya sensor ini, di satu pihak dapat menghambat kreativitas, tetapi di pihak lain justru memacu munculnya naskah drama.
Pada Periode Drama Sesudah Kemerdekaan naskah-naskah drama yang dihasilkan sudah lebih baik dengan menggunakan bahasa Indonesia yang sudah meninggalkan gaya Pujangga Baru. Pada saat itu penulis drama yang produktif dan berkualitas baik adalah Utuy Tatang Sontani, Motinggo Boesye dan Rendra.
Pada Periode Mutakhir peran TIM dan DKJ menjadi sangat menonjol. Terjadi pembaruan dalam struktur drama. Pada umumnya tidak memiliki cerita, antiplot, nonlinear, tokoh-tokohnya tidak jelas identitasnya, dan bersifat nontematis.
Perkembangan teater di Indonesia dibagi ke dalam :
(1) Masa Perintisan Teater Modern
(2) Masa Kebangkitan Teater Modern
(3) Masa Perkembangan Teater Modern
(4) Masa Teater Mutakhir
Masa perintisan diawali dengan munculnya Komedi Stamboel. Masa kebangkitan muncul teater Dardanella yang terpengaruh oleh Barat. Masa perkembangan ditengarai dengan hadirnya Sandiwara Maya, dan setelah kemerdekaan ditandai dengan lahirnya ATNI dan ASDRAFI. Dalam masa perkembangan teater mutakhir ditandai dengan berkiprahnya 8 nama besar teater yang mendominasi zaman emas pertama dan kedua, yaitu Bengkel Teater, Teater Kecil, Teater Populer, Studi klub Teater Bandung, Teater Mandiri, Teater Koma, Teater Saja, dan Teater Lembaga.
terjadi dalam perasaan dan pik
Sejarah perkembangan drama di Indonesia dipilah menjadi sejarah perkembangan penulisan drama dan sejarah perkembangan teater di Indonesia. Sejarah perkembangan penulisan drama meliputi:
(1) Periode Drama Melayu-Rendah
(2) Periode Drama Pujangga Baru
(3) Periode Drama Zaman Jepang
(4) Periode Drama Sesudah Kemerdekaan
(5) Periode Drama Mutakhir
Dalam Periode Melayu-Rendah penulis lakonnya didominasi oleh pengarang drama Belanda peranakan dan Tionghoa peranakan.
Dalam Periode Drama Pujangga Baru lahirlah Bebasari karya Roestam Effendi sebagai lakon simbolis yang pertama kali ditulis oleh pengarang Indonesia.
Dalam Periode Drama Zaman Jepang setiap pementasan drama harus disertai naskah lengkap untuk disensor terlebih dulu sebelum dipentaskan. Dengan adanya sensor ini, di satu pihak dapat menghambat kreativitas, tetapi di pihak lain justru memacu munculnya naskah drama.
Pada Periode Drama Sesudah Kemerdekaan naskah-naskah drama yang dihasilkan sudah lebih baik dengan menggunakan bahasa Indonesia yang sudah meninggalkan gaya Pujangga Baru. Pada saat itu penulis drama yang produktif dan berkualitas baik adalah Utuy Tatang Sontani, Motinggo Boesye dan Rendra.
Pada Periode Mutakhir peran TIM dan DKJ menjadi sangat menonjol. Terjadi pembaruan dalam struktur drama. Pada umumnya tidak memiliki cerita, antiplot, nonlinear, tokoh-tokohnya tidak jelas identitasnya, dan bersifat nontematis.
Perkembangan teater di Indonesia dibagi ke dalam :
(1) Masa Perintisan Teater Modern
(2) Masa Kebangkitan Teater Modern
(3) Masa Perkembangan Teater Modern
(4) Masa Teater Mutakhir
Masa perintisan diawali dengan munculnya Komedi Stamboel. Masa kebangkitan muncul teater Dardanella yang terpengaruh oleh Barat. Masa perkembangan ditengarai dengan hadirnya Sandiwara Maya, dan setelah kemerdekaan ditandai dengan lahirnya ATNI dan ASDRAFI. Dalam masa perkembangan teater mutakhir ditandai dengan berkiprahnya 8 nama besar teater yang mendominasi zaman emas pertama dan kedua, yaitu Bengkel Teater, Teater Kecil, Teater Populer, Studi klub Teater Bandung, Teater Mandiri, Teater Koma, Teater Saja, dan Teater Lembaga.
terjadi dalam perasaan dan pik
Short Story
The Emperor's Three Questions
By Leo Tolstoy
One day it occurred to a certain emperor that if he only knew the answers to three questions, he would never stray in any matter.
1. What is the best time to do each thing?
2. Who are the most important people to work with?
3. What is the most important thing to do at all times?
The emperor issued a decree throughout his kingdom announcing that whoever could answer the questions would receive a great reward. Many who read the decree made their way to the palace at once, each person with a different answer.
In reply to the first question, one person advised that the emperor make up a thorough time schedule, consecrating every hour, day, month and year for certain tasks and then follow the schedule to the letter. Only then could he hope to do every task at the right time.
Another person replied that it was impossible to plan in advance and that the emperor should put all vain amusements aside and remain attentive to everything in order to know what to do at what time.
Someone else insisted that, by himself, the emperor could never hope to have all the foresight and competence necessary to decide when to do each and every task, and what he really needed was to set up a Council of the Wise and then to act according to their advice.
Someone else said that certain matters require immediate decision and could not wait for consultation, but if he wanted to know in advance what was going to happen he should consult magicians and soothsayers.
The responses to the second question also lacked accord.
One person said that the emperor needed to place all his trust in administrators, another urged reliance on priests and monks, while others recommended physicians. Still others put their faith in warriors.
The third question drew a similar variety of answers.
Some said science was the most important pursuit. Others insisted on religion. Yet others claimed the most important thing was military skill.
The emperor was not pleased with any of the answers, and no reward was given.
After several nights of reflection, the emperor resolved to visit a hermit who lived on a mountain and was said to be an enlightened man. The emperor wished to find the hermit to ask him the three questions, though he knew the hermit never left the mountains and was known to receive only the poor, refusing to have anything to do with persons of wealth or power. So the emperor disguised himself as a simple peasant and ordered his attendants to wait for him at the foot of the mountain while he climbed the slope alone to seek the hermit.
Reaching the holy man's dwelling place, the emperor found the hermit digging a garden in front of his hut. When the hermit saw the stranger, he nodded his head in greeting and continued to dig. The labor was obviously hard on him. He was an old man, and each time he thrust his spade into the ground to turn the earth, he heaved heavily.
The emperor approached him and said, "I have come here to ask your help with three questions: When is the best time to do each thing? Who are the most important people to work with? What is the most important thing to do at all times?"
The hermit listened attentively but only patted the emperor on the shoulder and continued digging. The emperor said, "You must be tired. Here, let me give you a hand with that." The hermit thanked him, handed the emperor the spade, and then sat down on the ground to rest.
After he had dug two rows, the emperor stopped and turned to the hermit and repeated his three questions. The hermit still
did not answer, but instead stood and pointed to the spade and said, "Why don't you rest now? I can take over again." But the emperor continued to dig. One hour passed, then two. Finally the sun began to set behind the mountain. The emperor put down the spade and said to the hermit, "I came here to ask if you could answer my three questions. But if you can't give me any answer, please let me know so that I can get on my way home."
The hermit lifted his head and asked the emperor, "Do you hear someone running over there?" The emperor turned his head.
They both saw a man with a long white beard emerge from the woods. He ran wildly, pressing his hands against a bloody wound in his stomach. The man ran toward the emperor before falling unconscious to the ground, where he lay groaning. Opening the
man's clothing, the emperor and hermit saw that the man had received a deep gash. The emperor cleaned the wound thoroughly and then used his own shirt to bandage it, but the blood completely soaked it within minutes. He rinsed the shirt out and bandaged the wound a second time and continued to do so until the flow of blood had stopped.
At last the wounded man regained consciousness and asked for a drink of water. The emperor ran down to the stream and brought back a jug of fresh water. Meanwhile, the sun had disappeared and the night air had begun to turn cold. The hermit gave the emperor a hand in carrying the man into the hut where they laid him down on the hermit's bed. The man closed his eyes and lay quietly. The emperor was worn out from a long day of climbing the mountain and digging the garden. Leaning against the doorway, he fell asleep. When he rose, the sun had already risen over the mountain. For a moment he forgot where he was and what he had come here for. He looked over to the bed and saw the wounded man also looking around him in confusion. When he saw the emperor, he stared at him intently and then said in a faint
whisper, "Please forgive me."
"But what have you done that I should forgive you?" the
emperor asked.
"You do not know me, your majesty, but I know you. I was your sworn enemy, and I had vowed to take vengeance on you, for during the last war you killed my brother and seized my property.
When I learned that you were coming alone to the mountain to meet the hermit, I resolved to surprise you on your way back and kill you. But after waiting a long time there was still no sign of you, and so I left my ambush in order to seek you out. But instead of finding you, I came across your attendants, who recognized me, giving me this wound. Luckily, I escaped and ran here. If I hadn't met you I would surely be dead by now. I had intended to kill you, but instead you saved my life! I am
ashamed and grateful beyond words. If I live, I vow to be your servant for the rest of my life, and I will bid my children and grandchildren to do the same. Please grant me you forgiveness."
The emperor was overjoyed to see that he was so easily reconciled with a former enemy. He not only forgave the man but promised to return all the man's property and to send his own physician and servants to wait on the man until he was completely healed. After ordering his attendants to take the man home, the emperor returned to see the hermit. Before returning to the palace the emperor wanted to repeat his three questions one last
time. He found the hermit sowing seeds in the earth they had dug the day before.
The hermit stood up and looked at the emperor. "But your
questions have already been answered."
"How's that?" the emperor asked, puzzled.
"Yesterday, if you had not taken pity on my age and given me a hand with digging these beds, you would have been attacked by that man on your way home. Then you would have deeply regretted not staying with me. Therefore the most important time was the
time you were digging in the beds, the most important person was myself, and the most important pursuit was to help me."
"Later, when the wounded man ran up here, the most important time was the time you spent dressing his wound, for if you had not cared for him he would have died and you would have lost the chance to be reconciled with him. Likewise, he was the most important person, and the most important pursuit was taking care of his wound."
"Remember that there is only one important time and that is now. The present moment is the only time over which we have dominion. The most important person is always the person you are with, who is right before you, for who knows if you will have dealings with any other person in the future? The most important pursuit is making the person standing at your side happy, for that alone is the pursuit of life."
By Leo Tolstoy
One day it occurred to a certain emperor that if he only knew the answers to three questions, he would never stray in any matter.
1. What is the best time to do each thing?
2. Who are the most important people to work with?
3. What is the most important thing to do at all times?
The emperor issued a decree throughout his kingdom announcing that whoever could answer the questions would receive a great reward. Many who read the decree made their way to the palace at once, each person with a different answer.
In reply to the first question, one person advised that the emperor make up a thorough time schedule, consecrating every hour, day, month and year for certain tasks and then follow the schedule to the letter. Only then could he hope to do every task at the right time.
Another person replied that it was impossible to plan in advance and that the emperor should put all vain amusements aside and remain attentive to everything in order to know what to do at what time.
Someone else insisted that, by himself, the emperor could never hope to have all the foresight and competence necessary to decide when to do each and every task, and what he really needed was to set up a Council of the Wise and then to act according to their advice.
Someone else said that certain matters require immediate decision and could not wait for consultation, but if he wanted to know in advance what was going to happen he should consult magicians and soothsayers.
The responses to the second question also lacked accord.
One person said that the emperor needed to place all his trust in administrators, another urged reliance on priests and monks, while others recommended physicians. Still others put their faith in warriors.
The third question drew a similar variety of answers.
Some said science was the most important pursuit. Others insisted on religion. Yet others claimed the most important thing was military skill.
The emperor was not pleased with any of the answers, and no reward was given.
After several nights of reflection, the emperor resolved to visit a hermit who lived on a mountain and was said to be an enlightened man. The emperor wished to find the hermit to ask him the three questions, though he knew the hermit never left the mountains and was known to receive only the poor, refusing to have anything to do with persons of wealth or power. So the emperor disguised himself as a simple peasant and ordered his attendants to wait for him at the foot of the mountain while he climbed the slope alone to seek the hermit.
Reaching the holy man's dwelling place, the emperor found the hermit digging a garden in front of his hut. When the hermit saw the stranger, he nodded his head in greeting and continued to dig. The labor was obviously hard on him. He was an old man, and each time he thrust his spade into the ground to turn the earth, he heaved heavily.
The emperor approached him and said, "I have come here to ask your help with three questions: When is the best time to do each thing? Who are the most important people to work with? What is the most important thing to do at all times?"
The hermit listened attentively but only patted the emperor on the shoulder and continued digging. The emperor said, "You must be tired. Here, let me give you a hand with that." The hermit thanked him, handed the emperor the spade, and then sat down on the ground to rest.
After he had dug two rows, the emperor stopped and turned to the hermit and repeated his three questions. The hermit still
did not answer, but instead stood and pointed to the spade and said, "Why don't you rest now? I can take over again." But the emperor continued to dig. One hour passed, then two. Finally the sun began to set behind the mountain. The emperor put down the spade and said to the hermit, "I came here to ask if you could answer my three questions. But if you can't give me any answer, please let me know so that I can get on my way home."
The hermit lifted his head and asked the emperor, "Do you hear someone running over there?" The emperor turned his head.
They both saw a man with a long white beard emerge from the woods. He ran wildly, pressing his hands against a bloody wound in his stomach. The man ran toward the emperor before falling unconscious to the ground, where he lay groaning. Opening the
man's clothing, the emperor and hermit saw that the man had received a deep gash. The emperor cleaned the wound thoroughly and then used his own shirt to bandage it, but the blood completely soaked it within minutes. He rinsed the shirt out and bandaged the wound a second time and continued to do so until the flow of blood had stopped.
At last the wounded man regained consciousness and asked for a drink of water. The emperor ran down to the stream and brought back a jug of fresh water. Meanwhile, the sun had disappeared and the night air had begun to turn cold. The hermit gave the emperor a hand in carrying the man into the hut where they laid him down on the hermit's bed. The man closed his eyes and lay quietly. The emperor was worn out from a long day of climbing the mountain and digging the garden. Leaning against the doorway, he fell asleep. When he rose, the sun had already risen over the mountain. For a moment he forgot where he was and what he had come here for. He looked over to the bed and saw the wounded man also looking around him in confusion. When he saw the emperor, he stared at him intently and then said in a faint
whisper, "Please forgive me."
"But what have you done that I should forgive you?" the
emperor asked.
"You do not know me, your majesty, but I know you. I was your sworn enemy, and I had vowed to take vengeance on you, for during the last war you killed my brother and seized my property.
When I learned that you were coming alone to the mountain to meet the hermit, I resolved to surprise you on your way back and kill you. But after waiting a long time there was still no sign of you, and so I left my ambush in order to seek you out. But instead of finding you, I came across your attendants, who recognized me, giving me this wound. Luckily, I escaped and ran here. If I hadn't met you I would surely be dead by now. I had intended to kill you, but instead you saved my life! I am
ashamed and grateful beyond words. If I live, I vow to be your servant for the rest of my life, and I will bid my children and grandchildren to do the same. Please grant me you forgiveness."
The emperor was overjoyed to see that he was so easily reconciled with a former enemy. He not only forgave the man but promised to return all the man's property and to send his own physician and servants to wait on the man until he was completely healed. After ordering his attendants to take the man home, the emperor returned to see the hermit. Before returning to the palace the emperor wanted to repeat his three questions one last
time. He found the hermit sowing seeds in the earth they had dug the day before.
The hermit stood up and looked at the emperor. "But your
questions have already been answered."
"How's that?" the emperor asked, puzzled.
"Yesterday, if you had not taken pity on my age and given me a hand with digging these beds, you would have been attacked by that man on your way home. Then you would have deeply regretted not staying with me. Therefore the most important time was the
time you were digging in the beds, the most important person was myself, and the most important pursuit was to help me."
"Later, when the wounded man ran up here, the most important time was the time you spent dressing his wound, for if you had not cared for him he would have died and you would have lost the chance to be reconciled with him. Likewise, he was the most important person, and the most important pursuit was taking care of his wound."
"Remember that there is only one important time and that is now. The present moment is the only time over which we have dominion. The most important person is always the person you are with, who is right before you, for who knows if you will have dealings with any other person in the future? The most important pursuit is making the person standing at your side happy, for that alone is the pursuit of life."
Poetry
Mom
I love you so much
I miss you so much
You are so beautiful and perfect in my eyes
Nothing can replace your place in my hearts
Mom Your Sacrifice so sincere to me
Although I bring you stars and the moon for you
It will not be able to pay all your sacrifices for me
It will not change your great affection
Mom, your embrace is so warm until stab my bones
Mom, your love are flowing like a flowing streams
Mom, Your voice always makes me awake in my dreams
Today I miss you Mom
I miss your arms
I miss your Loves
Hope you’re keeping all of them
When I come back to you
GOD keeps my mom there!
Just treat her like she threats me
Love her like she loved me when I was little
I love you so much
I miss you so much
You are so beautiful and perfect in my eyes
Nothing can replace your place in my hearts
Mom Your Sacrifice so sincere to me
Although I bring you stars and the moon for you
It will not be able to pay all your sacrifices for me
It will not change your great affection
Mom, your embrace is so warm until stab my bones
Mom, your love are flowing like a flowing streams
Mom, Your voice always makes me awake in my dreams
Today I miss you Mom
I miss your arms
I miss your Loves
Hope you’re keeping all of them
When I come back to you
GOD keeps my mom there!
Just treat her like she threats me
Love her like she loved me when I was little
Minggu, 10 Januari 2016
QUOTED AND REPORTED SPEECH
Quoted and Reported Speech / Direct and Indirect Speech
Quoted speech is related to quote a speaker’s exact words,
mainly in writing such as academic papers. We use quotations marks.
Safia: the desert is clean. (speaker’s exact words)
Safia said, “ The desert is clean.” (Quoted speech) or
“ The desert is clean,” said Safia.
Other common verbs that introduce quotations:
Say - admit - announce - answer - ask - complain - explain -
inquire - report - reply - shout - state - write.
Quoted speech (direct) and reported (indirect) speech:
Safia said, “The desert is empty.”
Safia said that the desert was empty.
The reported speech reproduces an idea. We don’t use all of the exact
words: You may change verb forms and pronouns: and we don’t use
the quotation marks.
Verb form in reported speech:
Rule:
- The main verb of the sentence is in the present: No
change is made in the verb tense or modal in the noun-clause.
- The main verb of the sentence is in the past: The verb in the
noun-clause change into the past form, as follow:
Quoted speech Reported speech
He said, “I study.” He said (that) he studied.
He said, “I am studying.” He said (that) he was studying.
He said, “I studied.” He said (that) he had studied.
He said, “I have studied.” He said (that) he had learned.
He said, “I am going to study.” He said (that) he was going to study.
He said, “I will study. He said (that) he would study.
He said, “I can study.” He said (that) he could study.
He said, “I may study.” He said (that) he might study.
He said, “I have to study.” He said (that) he had to study.
He said, “I must study.” He said (that) he had to study.
He said, “I should study.” He said (that) he should study.
He said, “I ought to study.” He said (that) he ought to study.
But, in an immediate reporting, or soon after it was said,
especially in speaking, the verb is not changed in the noun clause:
What did he just say? I didn’t hear him?
He said (that) he is in the good mood.
Reported Questions
Reported questions are one form of reported speech.
direct question reported question
She said: "Are you cold?" She asked me if I was cold.
He said: "Where's my pen?" He asked where his pen was.
We usually introduce reported questions with the verb "ask":
He asked (me) if/whether... (YES/NO questions)
He asked (me) why/when/where/what/how... (question-word questions)
As with reported statements, we may need to change pronouns and tense (backshift) as well as time and place in reported questions.
But we also need to change the word order. After we report a question, it is no longer a question (and in writing there is no question mark). The word order is like that of a normal statement (subject-verb-object).
Reported YES/NO questions
We introduce reported YES/NO questions with ask + if:
direct question She said, "Do you like coffee?"
reported question She asked if I liked coffee.
Note that in the above example the reported question has no auxiliary "do". But there is pronoun change and backshift.
Note that we sometimes use "whether" instead of "if". The meaning is the same. "Whether" is a little more formal and more usual in writing:
They asked us if we wanted lunch.
They asked us whether we wanted lunch.
Reported question-word questions
We introduce reported question-word questions with ask + question word:
direct question He said, "Where do you live?"
reported question He asked me where I lived.
Note that in the above example the reported question has no auxiliary "do". But there is pronoun change and backshift.
https://www.englishclub.com/grammar/reported-questions.html
ajaja.paradoxinc.org/Basic/Grammar/Speeches.html
Quoted speech is related to quote a speaker’s exact words,
mainly in writing such as academic papers. We use quotations marks.
Safia: the desert is clean. (speaker’s exact words)
Safia said, “ The desert is clean.” (Quoted speech) or
“ The desert is clean,” said Safia.
Other common verbs that introduce quotations:
Say - admit - announce - answer - ask - complain - explain -
inquire - report - reply - shout - state - write.
Quoted speech (direct) and reported (indirect) speech:
Safia said, “The desert is empty.”
Safia said that the desert was empty.
The reported speech reproduces an idea. We don’t use all of the exact
words: You may change verb forms and pronouns: and we don’t use
the quotation marks.
Verb form in reported speech:
Rule:
- The main verb of the sentence is in the present: No
change is made in the verb tense or modal in the noun-clause.
- The main verb of the sentence is in the past: The verb in the
noun-clause change into the past form, as follow:
Quoted speech Reported speech
He said, “I study.” He said (that) he studied.
He said, “I am studying.” He said (that) he was studying.
He said, “I studied.” He said (that) he had studied.
He said, “I have studied.” He said (that) he had learned.
He said, “I am going to study.” He said (that) he was going to study.
He said, “I will study. He said (that) he would study.
He said, “I can study.” He said (that) he could study.
He said, “I may study.” He said (that) he might study.
He said, “I have to study.” He said (that) he had to study.
He said, “I must study.” He said (that) he had to study.
He said, “I should study.” He said (that) he should study.
He said, “I ought to study.” He said (that) he ought to study.
But, in an immediate reporting, or soon after it was said,
especially in speaking, the verb is not changed in the noun clause:
What did he just say? I didn’t hear him?
He said (that) he is in the good mood.
Reported Questions
Reported questions are one form of reported speech.
direct question reported question
She said: "Are you cold?" She asked me if I was cold.
He said: "Where's my pen?" He asked where his pen was.
We usually introduce reported questions with the verb "ask":
He asked (me) if/whether... (YES/NO questions)
He asked (me) why/when/where/what/how... (question-word questions)
As with reported statements, we may need to change pronouns and tense (backshift) as well as time and place in reported questions.
But we also need to change the word order. After we report a question, it is no longer a question (and in writing there is no question mark). The word order is like that of a normal statement (subject-verb-object).
Reported YES/NO questions
We introduce reported YES/NO questions with ask + if:
direct question She said, "Do you like coffee?"
reported question She asked if I liked coffee.
Note that in the above example the reported question has no auxiliary "do". But there is pronoun change and backshift.
Note that we sometimes use "whether" instead of "if". The meaning is the same. "Whether" is a little more formal and more usual in writing:
They asked us if we wanted lunch.
They asked us whether we wanted lunch.
Reported question-word questions
We introduce reported question-word questions with ask + question word:
direct question He said, "Where do you live?"
reported question He asked me where I lived.
Note that in the above example the reported question has no auxiliary "do". But there is pronoun change and backshift.
https://www.englishclub.com/grammar/reported-questions.html
ajaja.paradoxinc.org/Basic/Grammar/Speeches.html
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