1.

INTRODUCTION

1.1. Background

There are many languages in the world and to be able to communicate with

each other we need to know the system, because language is systematic. Every

language has its own system which is different from other language. English for

example, which is the subject of our study has its own system that it different

from Indonesian language.

Language is a tool of communication, deliver information, knowledge,

expression and though. But, we life with different nation. Until, we need one of

language that is used to communicative with foreigner for example English.

English is begun from junior high school to university and even from

elementary, learning English included grammar, vocabulary; structure is one of

cases that must be learned to get good English.

English is one of the most important languages in the world and becomes

the first language of international communication. Indonesian government has

put it the curriculum as a subject to learn. It is thought a foreign language and a

compulsory subject of educate, even now it is also taught in elementary school

as an optional subject.

A lot of have been able to using good or right English until part of

researchers do research for errors in grammar , structure, verb, clause or

 sentence, but in this case, the writer has not find researcher do research about

analyze story or folklore where I will research a story or one of narrative

descriptive in using a good English.

We know that a lot of people able to speak English, read English

newspaper, writing composition, but, there is not able to analyze story or sentence

or paragraph. In this case, analyzing story can be begun from sentence. And it can

make easy in story sentence.

It is therefore important that students who want to develop their

knowledge should have ability in reading and comprehending some books,

magazines, leaflets, brochures, journal, newspaper and other reading materials in

which they can enlarge their knowledge in many field of science.

There are some advantages of using story in teaching reading

comprehension such as easy to find and use it. The teacher can stimulate students

to learn and arouse the pay more attention to comprehend the reading material.

Analyzing story can be begun by identification title of story, where is

happened. Besides, fill of story can be determined through identification with

determine dependent clause and independent clause.

By using this analysis, we can find all of happed in the story or fill of

story begin from the title, sentence to paragraph. So, to find about that, the writer

will be take story or analysis story about ADVENTURE OF THE MOUSE

DEER.
1.2 Problem Statement

a. How life the Mouse deer in the jungle

b. What happen with Mouse deer in his adventure

1.3 Objective Research

Objective of the research is to know feel of the story accurately began

from the title by identification or to group clause, sentences and paragraph in

English.

1.4. Significant of the Research

This research is hoped to increase our knowledge or add or knowledge

until we ability to know the feel of the story accurately either from clause,

sentence, or paragraph.

1.5 Scope of the Research

This research have limitation, so that, this research can be directed, until,

this research can be do suitable by what is hoped. This research is limited at

analysis this story by identification every sentence or identification of sentences

into independent and dependent clause, event, setting, background, evaluation,

collateral and performative.

 II. REVIEW OF RELATED LITERATURE

2.1 Theoretical Framework

2.1.1 What is Discourse Analysis

According to Keith Johson (1999: 99-105), discourse analysis is the

study of how stretches of language used in communication assume meaning,

purpose and unity for their users namely, the quality of coherence.

Coherence derives from an interaction of text with given participants,

and is thus not an absolute property, but relative functionally, the three

utterance relate coherently to each other as request, refusal, acceptance

Example:

That is the telephone (request)

I am in the bath (refusal)

Ok. (Acceptance)

There are number of difference approaches to discourse analysis and

there is often some disagreement and confusion about the meaning of both

term “discourse” and “discourse analysis” the approach describe above may

be characterized as the British American school (penny Cook,1994), and has

been the most significant in applied linguistics and in language teaching. It is

broadly speaking, an approach which has emerged for detailed study of

language.
 Discourse analysis has been influential in communicative language

teaching as a source of principles for the detailed description of the resources

other than language knowledge which are needed in communication

( Widdowaon, 1979, 1984; Mc Carthy, 1991 ).

In other word, according to Cristal, discourse is a term used in

linguistic to refer to continuous stretch of (especially spoken) language larger

than a sentence-but within this broad nation, several different application may

be found.

Discourse could be classified into six part, namely,

1. Narrative discourse is a story told to entertain the listener, and sometimes to

teach social more, example legendary narrative, folktales, act.

2. Expository discourse is aimed at instructing the listener, explaining something

new, presenting one’s ideas and viewpoint, no matter how emotion-voden it

may be.

3. Procedural discourse is discourse aimed at changing the behavior of the

listener.

4. Dramatic discourse is narrative discourse told only in quoted material without

quotation formulas.

5. Epistolary discourse, is the discourse of letters and of radio telephone

communication
 Based on classify of discourse above, so, the writer just one of them is

narrative discourse where the writer will analyze one of story or folklore, so, the

writer will explain about narrative discourse.

Narrative discourse is the easiest discourse to acquire. A narrative discourse is

a story told to entertain the listener, and sometimes to teach social mores.

There are at least three varieties of narrative discourse. The easiest one to find

is legendary narrative, folktales; tales told so often that everyone knows them.

These stories are important to anthropology, but they often contain a minimum of

per formative material, such as names, places, time and any other identificatory

items. Folktales are familiar to everyone that the teller can leave so much out that

the outsider studying the language cannot follow or understand the story and

some analysts have found that legendary narrative is a distinct discourse type.

The second kind of narrative, and the most valuable kind, is the narration of

past event in the speaker’s life or family. Here we get account of the time I (or

someone) get lost or got hurt badly, or got, or got denounced before the low; what

happened when we move or got married, or went to school, etc. these stories have

been told a few times, but they are not common knowledge, so, they will include

more details, more cohesion.

The third kind of a narrative is an episodic narrative; the story of a trip, for

example, where there is not one overall plot but a series of scenes, each with

descriptive material and a few event. After one scene, the action goes one another
place an another scene. The resulting narrative is like a sting of beads, and isn’t to

interesting to the analyst.

Content wise, narrative discourses do not consist of only narration. Most

cultures like to have the narration broken up by quoted conversations. English is

like this: a straight narrative is heavy and dull. We like more conversation to

break the monotony and liven it up. Some analysist have found narrative

discourses in which there is a narrative block, then a conversation block, another

narrative block, another conversation block, and so on. Some have found that

quoted conversation is important to getting story started. To highlighting certain

events, to marking the climax of the story properly.

The array of structure of a narrative discourse is as follow:

Narrative discourse = + Title:cl/sent/phr + Aperture:sent/par/cl + stage:

par/disc/sent + Narrative episode: par/disc/sent + narrative peak: par/disc/sent +

narrative

Post peak: par/disc/sent + closure: sent/par + finish: cl/sent/phr.

A narrative discourse consist of the optional title slot filled by a clause,

sentence or phrase followed by the optional aperture slot filled by a sentence,

paragraph, or clause, the optional stages lot filled by a paragraph, or sentence, the

optional narrative episode slot filled by a paragraph, discourse, or sentence, the

optional narrative post peak slot filled by a paragraph, and the optional finish slot

filed by a clause, sentence, or phrase.

Explanation:
• The title is expounded by a short clause, phrase or sentence fragment such as,

‘the time I got lost’, the time was planted corn’, and so on;

• The aperture is expounded by a clause or sentence, such as, ‘my brother or

sister here has asked me to tell about the animals in the woods’, or I am going

to tell about the animals in the woods’ or I am going to tell about when I was

young and I went to school’, or something similar. The exponent of the

apertures fuller and less cryptic than the exponent of the title. It is a sentence

or paragraph that helps get the story started.

• the stage is expounded by a sentence or paragraph containing descriptive

clauses, clauses with past completed action, identification clauses or noun

phrases. Example might be: there was a man. He had two sons. He worked on

and his son helped him’ or one upon a time there was an animal that come up

and ate our sugar cane’, or far away in another land, there are people who…’,

or’ log ago when I was young and went to school’, etc. the main point is that,

in general, the exponent of the stage sets the scene by pinning down time and

events, but in a few cases, people have found the narrative of some

background events in the stage;

• the episodes are expounded by paragraphs and embedded discourses, episodes

are the major chunks of the discourse and the breaks between episodes are

signaled by majr changes in time, place, cast of characters or event chains;

• In a well-constructed story,, the episodes are chosen and constructed to build

up the interest, tension, and or suspense, until the peak episode is reached. The

peak episode’s exponents are often marked by a change in sentence length, a

change in the number of characters, etc;

• Some narratives in some languages end with the peak plus a closure and finis,

but in some cases, a post peak is necessary;

• Closure is expounded by a sentence or paragraph that sorts or winds

everything up and the story;

• Finis is expounded by ‘that’s all’, ‘that’s all my talk’, finished’, etc.

2.1.2 Event and Non-Event

 Events

The first distinction made in the analysis of discourse is between

events and non-events. In Garner, the halfback, made six yard around end

we are told two kinds of things: a particular person did something (that is,

an even took place) and furthermore, the particular person is named

Garner and is a halfback (neither of which is an event). Sometimes entire

paragraphs are devoted to non-events, as in the description of a scene or a

person. At other time, especially in language like Anggor, long stretches of

speech may be devoted to nothing but event information, the rules of the

reference system being such that the hearer always knows by dedication

who is doing what.

 Gleason, who pioneered in explaining the difference between

events and non-events, pointed out that difference languages approach the

time sequences between neighboring events in different ways. In kate, for

example, events that are contiguous in time are distinguished from those

that are separated by lapse during which nothing of significance for the

story happens. The lapse may be long or short; but if it is noticeable in

term of the stream of notion of te narrative, it must be mentioned.

Ronald Huisman finds a similar situation in Angaatha with regard

to both time sequence and logical sequence. Cromack, on the other hand,

finds that Cashinawa requires a distinction between completing one

eventbefore the next beginand continuing the earlier event on into the

next. In term of kate, a Casinawa completion might be either withor

without lapse; but Cashinawa speakers are not required to report

contiguity or lapse unless they want to call attention to a Chasonawa

continuation, on the other hand, would undoubtedly be equated with

contiguity.

We can evision logical possibilities for temporal relations between

two events that are reported as a sequence. If we take as the earlier of the

two events and B as the later, we can distinguish several cases: A finishes

significantly long before B begin, A finishes by the time B begins, A

finishes just as B begins, and A does not finish by the time B begins. In the
last case we might have to specify further whether A ends when B ends or

A contains all of B and continues on ofter B is finished.

The time sequence of a narrative is rarely expressed as though

events simply followed one another like beads on a string. Instead, there is

usually a grouping of event into smaller sequences as a unit is put together

with other sub-sequences of the same kind. Time structuring can be

carried on through several levels of partitioning, so that the grouping of

sub-sequences of events can be diagrammed as a tree over the whole

narrative, however, a single index in Litteral’s sense can be constructed.

The moving finger of time moves on from event; yet from another point of

view the events them selves are clustered together.

In asserting the independence of temporal sequences from the

hierarchical grouping of linguistic elements, litteral has eliminated the

erlier notion of temporal sequence as one of several rhetorical relations.

Instead he has moved temporal sequences into the area of reference.

The clumping together of a series of events which are also in

temporal sequence with one another turns out to be based on organizing

factors which probably are part of the rhetorical structure. For example, all

the events that take place at a particular setting tend to be treated as a unit.

When a rhetorical organization and temporal sequences match, the order

of elements can be considered normal or unmarked.

 A sequences of events is distinguished from a later part of the

same time sequence in that all the action in each part involve uniform

relations among their participants. Alton Becker speaks of this as one of

the bases of paragraphing in English. Sheffer finds something similar but

more explicitly communicated in her manuscript on manduruki.

There the patient or goal of an action is singled out at the a

beginning of each paragraph. It defines the characteristic orientation of the

participants for that paragraph, in that the rest of the actions in the

paragraph are implicitly taken to be directed toward that patient or goal.

Uniformity of participant orientation will be discussed and is related to

thematization.

Besides common setting and orientation, some event sequences

appear to be grouped together by the way they relate to plot structures. In

our study of Saramaskan, Glock and I had questioned whether plot

structure was actually part of linguistics at all. I suggest it might rather be

a perceptual template whereby a discourse could be rendered interesting

by casting the more prominent referents I it in standard role like hero and

villain.

Not all events, of course, are in sequences. Language is capable of

communicating forked action as in you take the high road and I’ll take the

low road, which is not a descriptive of a sequences of events. Forked

action may be different sides of a single complex action as in the dog

chased the fleeing cat or they got the car started by h im pulling and her

pushing.

In other case, a language may mark certain strtches within which

sequence is irrelevant. Janet Briggs cites part of an ayore text in which

many things jungle encampment. Although all the events, which involve

several individual fighting and others getting killed or being captured,

took place in some real sequence, they are explicitly marked in ayore by

the particle jeque as part of a single hurly-burly in which attention to

sequence, normally a prominent part of ayore discourse structure is

suspended.

 Non-Event in Discourse

In discourse, to analysis story or to find non- event in story, there

are several part that include into non- event and they will used to analyze

story, they are:

1. Setting

Setting is important in the study of discourse not only because it is

a common basis for segmentation of sequential text into their component

parts.

There is difference between the setting of part of a text and the

underlyng relation of an action to its surroundings called the range role.

Range is part of the definition of every action. For example, with the
English word climb, the surface on which the climbing is done is an

essential semantic element of the action; if reference to it is omitted, it is

because the range is readily deducible from the context, never because it is

irrelevant to the action. other action like think and say, on the other hand,

do not have a range element as part of their semantic because range is not

part of the normal semantics of those actions. So, a true setting is capable

of extending over of sequence of actions and is independent o the meaning

of any one of their meaning: While I was in Phoenis I had agreat idea

Setting information can be paraphrased naturally in the form of a

separate sentence or block of sentences: finally, we arrived in London. It

was ten in the morning. Range information, on the other hand, cannot be

separated: when he was at the street corner, he climbed does not give for

the range for climb; it is necessary to make range part of the same clause,

as in e climbed the flagpole or he climbed the path that led from these.

Setting in space are frequently distinguished from setting by

description, spatial setting may be redefined during the course of a text

either by describing where each new setting is located, as seems normal in

English, or by a relative redefinition that takes the most recent setting as

its point of departure. When a setting is established in one paragraph,

certain other points are related to that setting, yet standing outside it.

The paragraph may end with one of the participants going to one

of those peripheral points. A new paragraph that begins with the signal
that the setting is to be change may than pick up the peripheral point at

which the action of the last paragraph ended and make that into the setting

for the next paragraph Oksapmin of Papua New Guinea does something

similar, except that the setting of the shifting does not seem to be related

so closely to the division of the text into paragraph as in Maxacaly.

A setting is established; then verb of motion like “go” and “come

back” are used for excursions out from that setting and back. If a “go” is

not matched by a corresponding “come back”, however than a following

“arrive” or similar verbs established a new setting. On the other hand, a

“come back” or return that is not preceded by a corresponding “go”

switches the setting back to whatever setting as defined at the beginning of

the text.

The scope of a spatial setting may be broad or narrow. Oksapmin,

for example, takes as the firs setting of a narrative the place where the

person stood from who spatial viewpoint the story is told.. The setting also

includes his immediate surroundings. The extent of those surroundings,

however, may take in as little as part of a room or it may include part of a

country. There is not explicit indication of where the boundaries of an

Oksapmin setting lie; it must be deduced by the hearer from the speaker’s

pattern of use of prefixes like ma- ‘here’, or more exactly ‘within the

setting are’, as opposed to a- ‘there, outside the setting area.

 Setting in time are equally important. Temporal setting, like spatial

setting, must be distinguished from the temporal properties inherent in a

particular action.

Whether an action followed its predecessor immediately or after a

lapse, whether it is viewed as having an extension in time or taking place

as a single unit, whether its effects or said to persist, all are independent of

the general time framework of the narrative, just as the place where an

action followed it predecessor immediately or after a lapse, whether it is

viewed as having an extension in time or taking place as a single unit,

whether its effect or said to persist, all are independent of the general time

framework of the narrative, just as the place where an action or serious of

action happens is independent of those elements of location (range) that

are integral part of the definition of the action.

Description definition of time is usually with reference to some

kind of calendared system. the term is used broadly to include but only

explicit calendric reference like Longfellow’s “I was the eighteenth of

April in seventy-five… but also reference to unmodified but culturally

recognized temporal events like at the first new moon after the solstice or

when the corn developed its second joint or event the old Testament’s at

the time when the kings go forth to bottle.

As with spatial setting, temporal setting within a narrative can be

established relative to earlier temporal setting. this is usually done by

 mentioning the amount of time that intervened between the erlier group o

actions and later group: “after three years”, “the next day”, “when the

Next came to power”. The time may also be established with reference to

the time of telling: “last year… within the last three weeks, however”,

aging of the participants serves as a mechanishem for establishing setting

in other cases: “Now he was three years older”, “by the time she got

married”, “later, after he had stepped down from his heavier

responsibilities”.

McLeod suggests that the psychological atmosphere of a series of

events may be treated linguistically in a fashion parallel to spatial and

temporal setting. Mumuye nigeria has behavior like “the horns wee

blowing for the ceremony” or “ancestors were making beer handled

grammatically as setting other than as events.

2. Background

Much of the secondary information that is used to clarify a narrative

(called background for convenience, even though the form may be

misleading for non consequential text when explanatory information could

be thought of as being in the foreground) has a logical sounding structure,

frequently tied together with words like because and therefore. It is an

attempt to explain. It has this explanatory form even when the logic in it is

invalid or when it falls short of really explaining what it purports to explain.

 As far as natural language is concerned, it seems enough that the

sound of logic be there, though the substance and structure of logic be

nowhere in sight. The logic may be shaky and the premises flawed, but to

the dismay of real logicians it is usually accepted anyway as long as it is

cast in the right language model.

A speaker may leave out elements of an explanation, whether it is

given as background to a narrative or whether it is the main thread of a text

in several ways. He may for example, state premises I his argument that fill

the place of premises in the structure but that are far removed from the real

premises on which the argument is based would not be palatable to the

hearer.

Sequences of events that are told as background are in a sense

embedded narratives, though the ones I have noticed so far are mach less

rich in structure than the main narratives on which they are supposed to shed

light. Their structure is, however, their own; it is independent of the

structure of the main narrative.

Furthermore, here no requirement that the participants in the

embedded narrative be connected with the participants in the main narrative.

In the Sarramaccan case they are the same. In Parables, which are a special

kind of narrative used to shed light on something else, there is usually no

connection of participant with the main story except by analogy.

 In between lies, for example, St. Mathew’s Account of the death john the

Baptist. It is brought in to explain the apprehensions of king herod about

Jesus, who herod thought must be john come to life. The supporting

narrative goes back to the death of john and brings in herod’s brother Philip

and his former wife herodias, whom herod had married, together with

herodias’s daughter.

Non of the event involved in the peripheral story touch the main narrative

directly. They rather serve to explain an attitude reported in the main

narrative. Only two of the participants, herod and John, appear in both

narratives.

Antecedent events occur in a time framework that is removed from that of

the narrative. In a time framework that is removed from that of the narrative.

In term of literal’s index they are removed from the main time of the

narrative of the narrative by a constant factor K, so that an antecedent event

sequences that relates to time segment n in the main narrative has in its

indices of the form n-k + I, where i= 1,3,5,… for the events within it. This

time placement is signaled overtly in some languages. English, for example,

uses the past perfect tense to point out a displacement; in the preceding

paragraph we can see the example whom herod had married for just this

reason.

Another kind of background involves an event sequence used to explain

things, but displaced forward in time rather than backward. Such

foreshadowing has a displaced index of the form n + k + i. Again, the

internal structure and cast of participants ofsuch a displaced event sequence

are essentially independent of the structure and cast of the main sequence.

Foreshadowing has two uses in narrative. First, it explain the main events

by stating a sequence of events that might result later from the main action.

Second, it may fill in the semantic content of part of the main events a

sequence well before the events are usually asserted to have taken place.

This is seen in narrative sequences like:

“He married Cindy so that he could drain her fortune off to a numbered

account in a Swiss bank. When he attempted to do so, however, Dopper Dan

got wind of it and advised Cindy to switch to municipal bonds over which

her husband had no control”.

Here drain her fortune off is not asserted as has having happened; the

actual assertion of an event is “attempted to do so, with the semantic content

of do so already specified. In the same way switch to municipals bonds is a

foreshadowing in terms of the time base of the event advice.

As we leave this drama we are not told whether Cindy ever got to her

stock broker in time. It is of suck interplay between foreshadowing and

assertion that soap operas are woven; but the pattern also has its serious

uses.
 Foreshadowing shades off into collateral information. There are slight

differences in emphasis between the two but which of them is intended may

not always be clear. Foreshadowing, like other background information,

intends to explain something, whereas collateral information intends to lay

contrast with the other alternatives to it.

3. Evaluations

The reactions that are expressed come from several sources. The most

obvious is the speaker’s own evaluation: here comes that the black guard

Jones not only identifies Jones and sets the action in the speaker’s

immediate environment, but also lets the hearer know what the speaker

thinks of Jones. Aristotle points out the difference between “orates the

matricide” and “Orestes the avenger of his sire”, depending on what the

speaker thinks of Orestes. Winograd shows how a word like “nice” tells us

nothing about the object it is applied to, but only about the attitude of the

person who uses the word expressively.

Often evaluations are imputed to the hearer or to other people

referred to in the discourse. Any participant in a discourse can be assumed to

have has own opinions of things, and the speaker may feel that he knows

what those opinions are sufficiently well to include them.

Another kind of evaluation is that of the culture within which the

speaker is speaking, the convention of the society he represents. The Greek

chorus brought society’s expectation of what was proper into the play, and
weighed the action of the participants less against the personal factors that

influenced their choices than against the factors that all agreed should have

been decisive. In some ways the omniscient viewer of modern story telling

represents this function. Not everything in a discourse has to be evaluated.

For this reason, it is useful to recognize the scope of an evaluative

statement. It may be global, embracing an entire discourse, if so, it is likely

to be found either at the beginning as an introductory statement that tells

why the rest of the discourse is being told, or at the end as a moral to the

story of the tag line in a fable.

Frequently, the evaluation is local as when one participant tells

another that as far as he was concerned what they just did was the wrong

thing to have done. Labov and Waletzky discuss the use of evaluative

statements of this kind. They occur in English between the complication part

of a narrative and the resolution. An evaluation which may evaluate the

immediately preceding event or the entire situation of the story or even the

situation of the telling of the story, suspends the flow of events at a

structurally significant break. Bolinger discusses the influence of

evaluations on choice of words. Not only one man’s poison, but what is

prudence for one is cowardice or another, what is beautiful for one is

garishness for another, and what one calls love another sees as

sentimentality.
 It all depends on how one looks at it, literally. Thus there are words

that always represent good things, such as loyal, true, mother, and the whole

list that includes “Remember the Maine, Plymouth Rock, and the Golden

Rock” in the song “Trouble” from Meredith Wilson’s The Music Man.

On the other hand, there are words that always represent bad things:

ghastly, traitor, decay. Other words float in between, depending partly on the

temper of the times (the chorus function) and partly on the immediate

context. Charles Osggod shows how the evaluative component of words can

be represented, and how it shifts in term of varying psychological states.

Evaluation bring the hearer more closely into the narrative; they

communicate information about feelings to him that goes beyond the bare

cognitive structure of what happened or what deduction is to be made. In

conversation, and even monologues, the hearer may be pressed to give him

own evaluation: what do you think? How do you suppose the took that?

Evaluations may also be an aim of that discourse. By communicating

how the speaker feels, there is often an implication that the hearer ought to

adopt the same attitude. Stories with a moral are characteristically of this

kind. Where the evaluation itself is the punch line, the discourse is hortatory

inform, and may take the form “because these things happened, you should

feel as I do”, or “Because this principle holds for the reasons I give, here is

the attitude you must take”. A story with a moral is thus likely to be an

exhortation within which there is embedded a narrative.

 Evaluative information shades off into background information or even

into setting in cases where it serves to build up the psychological tone of a

series of events. Here the general form would be “because people felt this

way, or because I think things were exceptionally good, this is what

happened as a sequence”. Evaluations also mark the development and

release of tension in a plot, giving cues as to how the action affects the

participants’ view of things and vice verse.

4. Collateral

Some information in a narrative, instead of telling what did happen,

tells what did not happen. It ranges over possible events and in so doing sets

off what actually does happen against what might have happened.

The idea of collateral information was first introduced by William Labov

who pointed out that collateral information is not restricted to things that

might have taken place but did not. Collateral information also fits into

projected time. Questions, for example, raise alternatives that might or

might not turn out to be so; future tense form predict actions that make not

taka place; imperatives direct people to do things that might or might not be

accomplished.

All of these have the effect of setting up alternatives. Later in the

text, it is usually made clear which of the alternatives happens. At that point
the fact that alternate possibilities were mentioned earlier makes what

actually does happen stand out in sharper relief than if it were told without

collateral.

Collateral information, simply stated, relates non-events. By providing a

range of non-events that might take place, it heightens the significance of

the real events. Collateral events also have the effect of anticipating content

when, with reference to projected time, a number of alternative possibilities

spelled out in advance. I one of these alternatives is the real one, much of

what has to be said about it have already been said ahead of time. In this

respect collateral information is not very different from foreshadowing.

Negatives, first of all, is almost always collateral, whether its

temporal reference is in accomplished time or in projected time. Event that

do not take place have significance only in relation to what actually does

happen. Event that are not supposed to happen still may take place; if they

do not, then we are concerned with what else might happen in their place;

while if they do happen contrary to the prediction, that fact that a negative

prediction was made about them contributes to the highlighting effect.

Other negatives are not really collateral, but are hidden forms of

positive statements. St. Pault’s “we do not want you to be ignorant” is of

this type; the meaning is ‘we want you to realize’ followed by the content of

what the readers ought to know. Here the negative has apparently been

raised into the main clause “we want x” from the embedded “you should not
fail to realize”, in which the Greek ouk is cancelled by the privative a-of

agnoein to give the whole meaning equivalent to ‘you should realize’,

incorporated in the stylistic device known as litotes. The same privative

enters into the composition of lexical items that denotecertain events.

These events are named by negation from some other word that also

denotes an event, but of a different (not necessarily antithetical kind); for

example, Greek athereo ‘disregard’ from tithemi ‘establish’. Negatives of

this kindare necessarily collateral.

Questions are another grammatical from used for indicating

collateral information. When did John get here? Presupposes that John get

here, so that the area of uncertainty is restricted to the time of his arrivel,

when did you stop beating you wife? Is more complex; it assumes that you

have a wife, that there was a time when you beat here, and there was after

whichyou no longer beat her. The question is directed toward ascertaining

that time. The presuppositions in a question are almost like conditions laid

down by the speaker for the hearer to give an acceptable answer.

The questions that are most characteristically collateral are polar or

yes-no questions, since they invariable impose alternative. Will Reginald

escape? Presupposes an exclusive disjunction, a pair of alternatives only on

of which is acceptable: either Reginald will escape or Reginald will not

escape; please tell me which is the case .in English, a positive answer like

yes or he will asserts the positives alternative even if the question is stated
by using the negative member of the pair. Won’t Reginald escaped?

Expresses the same disjunction, different from the positive question

principally in communicating in the letter case that the speaker already has

his own opinion, but that he is interested in getting the hearer’s reaction.

The information about what actually does happen, then, may take

several forms. If non of the collateral expressions give what really happened

as one of the alternatives, it must be stated as a distinct event. If it was

mentioned ahead of time, however, then it is not necessary to repeat the

content that was mentioned as part of the collateral, but only to affirm which

of the possibilities took place. They were either going to go to Florida for

vocation or camp in the Adirondacks. They did the letter illustrates the

introduction in collateral of the event, followed by an anaphoric reference

that gives it the status of a true event.

Quotations often give collateral information. An act of speaking

mentioned in a discourse is, of course, an event in itself; but what is said is

usually not. If it has the form of denial, a question, or a prediction, the three

regular forms of collateral that have just been discussed, then it is clearly

collateral. She said, “he isn’t in the house.” But when we unlocked the door,

there he was uses a negative quotation to add significance by contrast to

there he was. She said, “are you looking for Gaarham? ”When we unlocked

the door, there he was Simmons uses a question to suggest to possible find

that turns out to be different from the actual find. She said “you will find
him in the second room on the right.” When we unlocked the door, there he

was sets up prediction in the quotation.

Not all quotation gives collateral information. Quotations may also

express background information evaluation: the doctor said she should

watch her weight.. So she went on a diet explains going on a diet by quoting

(indirectly in this case) what the doctor said. As the rocked curved toward

orbit, a reporter whispered, “beautiful!” conveys an evaluation.

As longacre points out, in certain kinds of discourse there is a

standing assumption that what is quoted is what happened. This dialogue

from of discourse can be considered a specialized version of narrative; it is

sequentially oriented accomplished time. It could be considered the default

or unmarked case of collateral quotation, in which only one possibility for

each event is introduced via quotation, and since there are not alternatives,

what is mentioned is tacitly taken to be what happened: the canoe glided

between the islands, “closer into the shore.” “Far enough?” no answer

from the forest. “try again” “hello the island!” “Marlowe!” “Take her

ashore.” Radio drama without narration developed this kind of discourse

into an art form; even stage and television plays depend heavily on it, and it

is a popular form of oral narration in many languages.

5. Per formatives

Both the form and the content of any discourse are influenced by

who is speaking and who is listening. The speaker-hearer-situation factors

can be represented in linguistic theory via the action of per formative

information.

The idea is this: in any language there certain words called per

formatives which under the right conditions denote actions that are

performed in the uttering of the words themselves. When the minister says I

pronounced you man and wife a couple are thereby made man and wife;

There are, however, restrictions on per formative utterances. They

must be in the first person and the present tense, the minister cannot to

someone else you pronounce them man and wife and thereby perform a

marriage, and if he says I pronounced you man and wife he is reminiscing,

not exercising his office. There are also extralinguistic conditions that are

required to make those per formatives stick; in American society, for

example, a bartender or aship captain on shore or seminary student or a

elementary school pupil can utter I pronounce you man and wife, but only a

minister of a religion, a justice of the peace, or a ship captain on the high

seas can say it in a way that performs the action. In the same way, the people

it is addressed to must be of different sexes, above a certain age, and not

married to anyone else.

Certain per formatives are quite common and are free of special

limitations on their uses: I hereby order you to turn left and numerous

equivalent forms are one kind that is so common that there is grammatical

shorthand for it: turn left, an imperative.

 Another large family of performativrs can be paraphrased into a

form like that of somebody stole the garlic. I hereby request you to identify

that person. The grammatical shorthand for this is the question form who

stole the garlic? By far larger family of performatives fit the pattern I

hereby inform you that your back porch just fell off, for which the

conventional shorthand is the declarative your back porch just fell off.

Behind een simple utterances, then it is possible to say that there stands a

performative element that recognizes the identity of the speaker, the hearer,

and the attention within which they are communicating.

The recognition of implicit performatives behind commands,

questions, and statements, as well as explicit performatives, paves the way

for a linguistic handling of situational factors indiscourse. Specifically, it

gives a place in linguistic analysis for what are conventionally known as

deictic (pointing) elements like “this” and “that” or “here” and “there”, and

for person categories like “one” and “you”. Assuming a performative

behind parts of discourses in additionto the global performative, makes it

possible to talk about person, time, and place in a way that should be very

hard to explain otherwise withinthe bounds of a theory of language. The

show up if we paraphrase the example just given in such a way as to show

the performative elements:

( ) I, the auther, hereby inform you, the reader,:

( ) A said to B, quote (direct)

() “I, A, hereby inform you, B, that (indirect you B, quote (direct)

() you, B, quote (direct)

() ‘I, B, herby inform you, C, that (indirect)

() I, B, see you, C.’’’

Any paraphrase of this that uses only indirect discourse goes into the

third person and is highly ambiguous in English even with full intonation,

because neither A and B nor C is the author or the reader: A said to B that he

said to him that he saw him. With explicit identification of C there is less

ambiguity, but still enough to inhibit communication: A said to B that he

said to C that he saw him.

In addition to the identification that relate to performatives, there are

other less easily recognizable factors whose effects can be seen in the outer

form of language and that find their place in the conceptual scheme of

linguistics by virtue of their relation to performatives. Here, first of all, is

where the speaker’s entire image of himself as a person is accessible to the

linguistic system. Here also is the place in linguistic structure for registering

the speaker’s assessment of who the hearer is, what he knows, how he feels,

and what he might do as a result of what the speaker says.

Both change during the course of speech as a result of feedback

signals from the hearer to the speaker; but it is in term of what the speaker

hold about both himself and the hearer at the moment that he phrase what he

say next.
 The performative element not only serves to relate person to the

discourse. but also sets the zero point for time reference. In term of Littera’s

time index, the time axis of a discourse can be represented by the real

number lime. Zero matches the time the actual activity of uttering the

discourse begin, the negative part of the line matches thing that happen

before then, and the positive part matches both the uttering of the discourse

itself and future events that are talked about. Each event including the

uttering of the discourse itself, is then represented by an open set of points

on the time, indexed as described earlier.

English work like now, ago, and yet have explicit reverence to the

relation between the time of speaking and a time referred to. Other words

are independent of this relation.

The place where an act of speech occurs is also part of the

performative information for that act of speech. The position of speaker and

hearer relative to each other, their surroundings, and the relationships

between all this and the things they are talking about influence to certain

extent the linguistic forms they choose.

For example, when talking about things in the immediate speech

situation, English speaker distinguish this, something near the speaker, from

that, something not near the speaker, though possibly near the hearer, when

talking about abstractions or about things outside the speech situation,

however, the use of this and that loses its spatial component and takes on a
 reference to what the speaker has or has not said already: the point is this:

you have to forget all that has this pointing ahead to what the speaker is

about to say and this pointing ahead to what the speaker is about to say and

that pointing back to what has already been said.

Story is usually concerned with fictitious people or events since they are

produced through the imagination of the author. Even though the source of

imagination or inspiration sometimes comes from the reality for instance

politics and the living society, the results are mixed with the author’s

interpretation. Due to this, the production of a literary work is usually

considered as the author’s imaginative invitation or the author’s creative work

or writing.

However, since the source sometimes emerges from real thing, they are

still universal values that can be obtained. Moreover, the author’s as a human

being, can not rid himself of his feelings and emotions. Human qualities are

possibly involved to motivate the story if we consider the matters. We may

find human ideals, goals, and feelings as emotions explored in literary works.

Sometimes it is not easy, however, to get all of these essential aspects,

since we have different forms of literary works. We have to take into account

that probably the different forms may give an author a chance to choose one

of them deliberately. A form in which the author conveys his ideas distinctly,

as Blair in Lilis (1991:1) said “Although all imaginative literature interprets

 human qualities, emotions, motives, and values, different forms interpret them

different ways”.

2.2 Conceptual Framework

STORY OF THE ADVENTURE OF THE

MOUSE DEER

Divided into
sentences

Analysis
Event Setting Backgr Evaluat Collater Perform
ound ion al ative
 III. METHOD OF THE RESEARCH

.31.. Research Design

The design of this research uses qualitative research (Marshal and

Rosman, 1995). Qualitative research method have become increasingly

important modes of inquire for the social science and applied field.

Qualitative research is the collection data, analysis, and interpretation of

comprehensive narrative and visual data in order to gain insight into a

particular phenomenon of interest.

The purpose of qualitative research are to analyze feel of story with

finding or to know setting background, event, collateral, performative,

evaluation and to identify dependent clause and independent clause

.32.. Sources of Data

Talking about source of data, this data is taken from the book of the story

of The Adventure of The Mouse Deer, where is one of story that will to be

object in this analyzing. The author this book is Willy Yahya. and the first

printing, June 2005, and published by Multi Media Perdana.

.33.. Data collection

The procedures of collecting data in this research is observation the book

where the writer look for the book that is suitable to be analyzed and making
 fieldwork. Fieldwork includes field note, the writer will collect writing

several note that relate to this analyzing, besides, the book that relate to this

analyzing.

.34.. Data analysis

Data is taken from the story of The Adventure of the Mouse deer by

observation. The data is analyzed based on the story, to find or to know

dependent clause and independent clause in sentence, setting, background,

evaluation, event, collateral and performative.

 IV. DISCUSSION

4.1 Teks

1. THE ADVENTURE OF MOUSE DEER

2. Once upon time, a tiger was roaming in the jungle.

3. “I have been looking for the mouse deer all day.

4. He has humiliated me.

5. Where is he?”

6. “He said

7. that l was a coward only brave enough to hunt chickens and goats.”

8. “At the party in the jungle the other day,

9. he said that,

10. I was scarred just to see the lion’s shadow the king of the jungle.

11. What a mockery!”

12. “I’ll continue to find the mouse deer and give him a lesson of respect

13. so that he stops bragging.”

14. One day, the Tiger was able to find the Mouse deer in the middle of the jungle.

15. “Mouse deer, How dare you are to meet me!?”

16. Me, the coward Tiger you said. Gerrr…”

17. The Mouse deer trembled in fear.

18. He fried to control his fear

19. and find a way to escape from the Tiger.

20. “You are mighty Tiger!..”

21. “I have actually been looking for you for so long…”

22. The Tiger was surprised.

23. “Mouse deer, we need to make a calculation!”

24. “You are right.

25. We meet here to take revenge.

26. Well, just a short time ago the royal family of the jungle assigned me to meet you.

27. Because you are strong and power full,

28. you will be appointed the Supreme Commander.

29. Your skin is beautiful

30. and shows power and charm.”

31. “But, my Mouse deer brother,

32. when are they going to have a big jungle meeting again? Tell me.”

33. “You mean the assembly meeting for your appointment?

34. As soon as I can report our meeting to the king.”

35. “The king ordered you to wear a glossy belt around your already handsome

36. and colorful body just to make look greater and more frightening.

37. The belt was the gift from the great prophet of all animal.”

38. “That’s the belt I told you about...”

39. The Mouse deer showed the Tiger a sleeping python, the big snake.

40. “One week after I reported this meeting between you and me,
41. you will be the Supreme Commander.”

42. “Dear friend, Mouse deer.

43. Between you and me, let me try the belt on

44. so that I won’t feel clumsy at the inauguration party.”

45. “You should be a bit patient Mr. Tiger.

46. You can wear it later…

47. I am worried,

48. you might get the spell from the prophet if you are not patient enough.”

49. But the Tiger insisted on trying the belt on.

50. “Alright, if that’s what you want to do, Mr. Tiger.

51. To avoid the spell from the prophet,

52. you have to close your eyes.”

53. “Please meditate.

54. This belt is magical.

55. It feels like a living creature.”

56. The Tiger happily followed the Mouse deer’s instructions.

57. He closed his eyes, dreaming just

58. how wonderful he would look with the great belt around his body.

59. The Mouse deer slowly moved the python’s neck.

60. The python remained asleep because it

61. was full.

62. He then put the python around the Tiger’s body.

63. It naturally stretched

64. and wrapped the Tiger’s body.

65. The Tiger felt very happy

66. and still kept his eyes closed.

67. The python that was said to be belt from the great prophet

68. was already wrapping around his body.

69. Every movement he made only caused the python belt wrap more strongly.

70. Meanwhile, the Mouse deer had already run away,

71. leaving the Tiger in the danger.

72. The Tiger was totally defeated and cheated.

73. The python wrapped itself more tightly.

74. The Tiger could hardly breathe.

75. He had open his eyes

76. and was really shocked to find himself wrapped tightly by a big python.

77. The python was even starting to bite his head.

78. Luckily, the bites were not poisonous,

79. but were painful enough to hurt him.

80. The Tiger shouted fiercely

81. and shook his body desperately.

82. The python was surprised

83. when it heard the sound.

84. The python loosened itself of the Tiger’s body

85. and crawled into the bush nearby, being afraid the Tiger would shatter is body

with his sharp claws.

86. The Tiger was left there alone, fooled and defeated by the Mouse deer, once

again.

87. “You jerk.

88. You little Mouse deer.

89. I’ll never let you live

90. when I

91. when see you again!”

92. But the Mouse deer had gone too far to be reached.

93. He had run into the deep jungle.

94. The mouse deer was wandering around the jungle

95. when finally got to border of village where farmers grew cucumbers.

96. The fields were full of various vegetables and crops and were unattended.

97. The farmers

98. who own them rarely came to see their crops

99. because they lived in the village quite far from the fields.

100. “Wonderful…

101. I can’t eat cucumbers in the jungle.

102. But here… I can eat as many as I want.”

103. The mouse deer greedily ate the cucumbers in the field

104. and spend the rest of the day sleeping on the edge of the jungle nearby.
105. The next morning he could still eat the cucumbers.

106. But the following day, the Mouse deer had to hide behind a big tree.

107. From his hiding place,

108. he could see the farmer and his wife.

109. They were really angry because their crops had been destroyed

110. and their cucumbers almost all eaten.

111. “Oh no!

112. There has got to be a new pest!

113. All the cucumbers were ready for harvest,

114. but now they no cucumbers.”

115. Are gone…

116. I don’t know

117. where or why.”

118. “Pigs or some other animals

119. might have eaten our cucumbers.”

120. “Look at this!

121. There are some pieces left uneaten.”

122. Said the farmer’s wife.

123. The farmer was angry

124. and moved his sickle sideway in fury.

125. “When I can get the thief,

126. I’ll punish him!

127. Then he’ll learn.”

128. From a distance,

129. the Mouse deer saw them

130. and suddenly felt frightened.

131. .He saw human begins for the first time and was amazed.

132. The farmer used his tools to work on his land

133. and do other activities skill fully.

134. The farmer and his wife finally left their field with only very few cucumbers in

their hands.

135. They thought they would harvest the cucumbers in the following week.

136. After they left,

137. the Mouse deer felt relieved and happy.

138. The next morning, he come back to the farm

139. and ate almost all the new and fresh cucumbers greedily.

140. He ate only a few bite of each cucumber and left

141. “I am full and satisfied.

142. Now I have to hide again…

143. The rest of them because there were so many there…

144. In the bush on the border of the jungle cucumbers around.”

145. The next morning, the farmer came to his farm alone to observe his cucumber

crop.

146. He found the crop in the east part of his farm

147. was destroyed.

148. Cucumber left-over were found everywhere.

149. “Oh no.

150. not again!

151. This is serious.

152. The thief can’t be shepherds.

153. An animal must have stolen my cucumbers!

154. I have to make a snare.

155. I am going to trap it!!

156. But how???”

157. angry curious,

158. the farmer left his farm.

159. As son as he got home,

160. he made a trap – a dummy dressed with very glutinous jackfruit sap.

161. He carried the dummy to his farm the following morning,

162. and installed it in the middle of his cucumber farm.

163. “Oh there is another human being.

164. The farmer has brought his friend…

165. But why is the other man so stiff and

166. motionless while the farmer is very alive?” said Mouse deer.

167. Having installed the dummy in the middle of his cucumber farm,

168. the farmer left angrily.

169. “Why the human creature and static, only nodding his head

170. when the breeze to sees him?

171. This one must be a stupid farmer!

172. He is different from the other one leaving!”

173. The Mouse deer tried to approach it.

174. But he run heartedly

175. when he saw the dummy nodding in the breeze.

176. “How foolish I can be!

177. The man can’t walk or run.

178. Why should I be frightened?”

179. He came closer to the dummy again.

180. He looked into the doll’s eyes this time.

181. “He doesn’t wink.

182. It does not be human!

183. It’s just a doll!

184. But boy…

185. He is conceited – trying to scare me.

186. You will pay for this!”

187. Realizing that the dummy couldn’t run to catch him,

188. the Mouse deer grew bold.

189. The doll had no fingers and was motionless, anyway.

190. “You can’t scare me!

191. Crocodile and Tiger can’t scare me, let a lone you!

192. I have deceived them all.”

193. The Mouse deer got closer to the dummy.

194. He became more proud of himself…

195. ”Here is cucumber for you!

196. It’s my gift.

197. If you overact,

198. I’ll kick you!”

199. The Mouse deer kicked the dummy

200. which had been covered with sticky jackfruit sap.

201. His front leg was stuck on the doll…

202. “How dare you are to hold my leg!!

203. Realize it or I’ll kick you again.

204. ” The mouse deer kicked the dummy angrily with his other leg and…

205. it got stuck again.

206. He could not move his two front legs now.

207. The sticky glue had made them motionless.

208. “Crazy you…

209. Now you even have the nerves to hold my other leg!

210. Set me free.

211. Other wise, I’ll hit you.

212. I’ll kick you again!

213. Then you will learn

214. how to treat the Mouse deer!”

215. “Here are some more kick.

216. ” With his four legs stuck on dummy,

217. the Mouse deer could not move anymore.

218. The Mouse deer could only regretted his overconfident action.

219. He could only stare at the clouds floating by in the sky above.

220. “Boy, those cucumbers look delicious and fresh.

221. Too bad I can’t reach them.

222. ” He was stuck on the farmer’s dummy all day.

223. He was really tired.

224. He knew it was useless to be angry with the dummy.

225. Late in the afternoon the farmer came to see his farm.

226. He was very pleased to see the Mouse deer

227. who had eaten his cucumbers trapped-stuck on the clummy.

228. “Aha. Now I get you.

229. I know

230. who was stolen my cucumbers.

231. It is you.”

231. “You’ll have to pay for what you did.

232. You’ll make good meat for our curry!”

233. When the Mouse deer heard

234. what the farmer said, he cried.

235. He regretted his misfortune.

236. He didn’t try to escape

237. when the farmer put him into a basket and was taken to his village.
4.2. Finding

Number of Dependent
Dependent Clause Independent Clause
Sentence Clause Clause
1 1 The Adventure Of
Mouse Deer
2 2 Once upon time, a tiger
was roaming in the
jungle
2 3 I have been looking for
the mouse deer all day
3 4 He has humiliated me
5 5 Where is he
5 6 He said
5 7 that l was a coward
only brave enough to
hunt chickens and goats
6 8 At the party in the
jungle the other day
7 9, 10 he said that I was scarred
just to see the
lion’s shadow
the king of the
jungle
7 11 What a mockery
8 12 I’ll continue to find the
mouse deer and give
him a lesson of respect
8 13 so that he stops
bragging
9 14 One day, the Tiger was
able to find the Mouse
deer in the middle of
the jungle
10 15 Mouse deer, How dare
you are to meet me
11 16 Me, the coward Tiger
you said. Gerrr…
12 17 The Mouse deer
trembled in fear
13 18 He fried to control his
fear
13 19 and find a way
to escape from
the Tiger
13 20 You are mighty Tiger
14 21 I have actually been
looking for you for so
long…
15 22 The Tiger was
surprised
16 23 Mouse deer, we need to
make a calculation
16 24 You are right
17 25 We meet here to take
revenge
18 26, 27 Well, just a short time Because you are
ago the royal family of strong and
the jungle assigned me power full
to meet you
18 28 you will be appointed
the Supreme
Commander
19 29, 30 Your skin is beautiful and shows
power and
charm.
20 31, 32 But, my Mouse deer when are they
brother going to have a
big jungle
meeting again?
Tell me
21 33 You mean the assembly
meeting for your
appointment
21 34 As soon as I can
report our meeting
to the king
22 35 The king ordered you
to wear a glossy belt
around your already
handsome
22 36 and colorful body just
to make look greater
and more frightening
23 37 The belt was the gift
from the great prophet
of all animal
24 38, 39 That’s the belt I The Mouse deer
told you about... showed the Tiger a
sleeping python, the
big snake
25 40 One week after I
reported this meeting
between you and me
25 41 you will be the
Supreme Commander
26 42 Dear friend, Mouse
deer
27 43, 44 Between you and me, so that I won’t
let me try the belt on feel clumsy at
the inauguration
party
28 45 You should be a bit
patient Mr. Tiger
29 46 You can wear it later
30 47 I am worried
30 48 you might get the spell
from the prophet if you
are not patient enough
31 49 But the Tiger
insisted on trying
the belt on
32 50 Alright, if that’s what
you want to do, Mr.
Tiger
33 51 To avoid the spell from
the prophet
33 52 you have to close your
eyes
34 53 Please meditate
35 54 This belt is magical
35 55 It feels like a living
creature
36 56 The Tiger happily
followed the Mouse
deer’s instructions
37 57, 58 He closed his eyes, how wonderful
dreaming just he would look
with the great
belt around his
body
38 59 The Mouse deer slowly
moved the python’s
neck
39 60, 61 The python remained was full
asleep because it
40 62,63 He then put the python
around the Tiger’s body
41 It naturally stretched and wrapped the
Tiger’s body
44 64 The Tiger felt very
happy
44 65 and still kept his eyes
closed
45 66 The python that was
said to be belt from the
great prophet
45 67 was already
wrapping
around his body
46 68, 69 Every movement he Meanwhile, the
made only caused the Mouse deer had
python belt wrap more already run
strongly away
46 70 leaving the Tiger in the
danger
47 71 The Tiger was totally
defeated and cheated
48 72 The python wrapped
itself more tightly
49 73 The Tiger could hardly
breathe
50 74, 75 He had open his eyes and was really
shocked to find
himself
wrapped tightly
by a big python
51 76 The python was
 even starting to bite
his head
51 77 Luckily, the bites were
not poisonous
51 78 but were painful
enough to hurt him
52 79, 80 The Tiger shouted and shook his
fiercely body
desperately
53 81, 82 The python was when it heard
surprised the sound
54 83, 84 The python loosened and crawled
itself of the Tiger’s into the bush
body nearby, being
afraid the Tiger
would shatter is
body with his
sharp claws
55 86 The Tiger was left there
alone, fooled and
defeated by the Mouse
deer, once again
56 87 You jerk You little Mouse deer
57 89 I’ll never let you live
58 90, 91 when I when see you
again
58 92 But the Mouse deer had
gone too far to be
reached
59 93 He had run into the
deep jungle
60 94 The mouse deer was
wandering around the
jungle
60 95 when finally got
to border of
village where
farmers grew
cucumbers
61 96 The fields were full of
various vegetables and
crops and were
 unattended
62 97, 98 The farmers who own them
rarely came to
see their crops
63 99 because they lived
in the village quite
far from the fields
63 100 Wonderful
64 101 I can’t eat cucumbers in
the jungle
64 102 But here… I can eat
as many as I want
65 103, 104 The mouse deer and spend the
greedily ate the rest of the day
cucumbers in the field sleeping on the
edge of the
jungle nearby
66 105 The next morning he
could still eat the
cucumbers
67 106 But the following
day, the Mouse deer
had to hide behind
a big tree
68 107 From his hiding place
68 108 he could see the farmer
and his wife
69 109 They were really angry
because their crops had
been destroyed
69 110 and their cucumbers
almost all eaten
70 111 Oh no!
71 112 There has got to be a
new pest
71 113 All the cucumbers were
ready for harvest
71 114, 115 but now they no Are gone…
cucumbers
72 116, 117 I don’t know where or why
73 118, 119 Pigs or some other might have
animals eaten our
 cucumbers
74 Look at this
74 120 There are some pieces
left uneaten
75 121 Said the farmer’s wife
76 122 The farmer was angry
76 123 and moved his sickle
sideway in fury
77 124,125, When I can get the I’ll punish him Then he’ll learn
126 thief
77 127 From a distance
78 128,129 the Mouse deer saw and suddenly
them felt frightened
79 130 He saw human begins
for the first time and
was amazed
80 131 The farmer used his
tools to work on his
land
80 132 and do other activities
skill fully
81 133 The farmer and his
wife finally left their
field with only very
few cucumbers in their
hands
82 134 They thought they
would harvest the
cucumbers in the
following week
83 135,136 After they left the Mouse deer felt
relieved and happy
84 137 The next morning, he
come back to the farm
84 138 and ate almost all the
new and fresh
cucumbers greedily
85 139 He ate only a few bite
of each cucumber and
left
86 140 I am full and satisfied
86 141 Now I have to hide
 again
87 142 The rest of them
because there were so
many there
88 143 In the bush on the
border of the jungle
cucumbers around
89 144 The next morning, the
farmer came to his
farm alone to observe
his cucumber crop
90 144, 145 He found the crop in was destroyed
the east part of his farm
91 146 Cucumber left-over
were found everywhere
92 147 Oh no
92 148 Not again
93 149 This is serious
93 150 The thief can’t be
shepperds
94 151 An animal must have
stolen my cucumbers
95 152 I have to make a snare
96 153,154 I am going to trap it But how???
96 155 angry curious
96 156 The farmer left his
farm
97 157 As son as he got home
97 158 he made a trap – a
dummy dressed with
very glutinous jackfruit
sap
98 159,160 He carried the dummy and installed it
to his farm the in the middle of
following morning his cucumber
farm
99 161 Oh there is another
human being
100 162,163 The farmer has brought But why is the
his friend… other man so
stiff and
101 164,165 motionless while the said Mouse deer
 farmer is very alive
102 166 Having installed the
dummy in the middle
of his cucumber farm
103 167 The farmer left angrily
104 168,169 Why the human when the breeze
creature and static, tosses him
only nodding his
head
105 170 This one must be a
stupid farmer
106 171 He is different from the
other one leaving
107 172 The Mouse deer tried
to approach it
108 173 But he run
heartedly
109 174,175 when he saw the How foolish I
dummy nodding in can be
the breeze
110 176 The man can’t walk or
run
111 177,178 Why should I be He came closer to the
frightened dummy again
112 179 He looked into the
doll’s eyes this time
113 180 He doesn’t wink
114 181 It does not be human
115 182 It’s just a doll
116 183,184 But boy… He is conceited – trying
to scare me
117 185 You will pay for this
118 186 Realizing that the
dummy couldn’t run to
catch him
119 187 the Mouse deer grew
bold
120 188 The doll had no fingers
and was motionless,
anyway
121 189 You can’t scare me
122 190 Crocodile and Tiger
 can’t scare me, let a
lone you
123 191 I have deceived them
all
124 192 The Mouse deer got
closer to the dummy
125 193 He became more proud
of himself
126 194 Here is cucumber for
you
127 195 It’s my gift
128 196 If you overact
130 197 I’ll kick you
131 198,199 The Mouse deer kicked which had been
the dummy covered with
sticky jackfruit
sap
132 200 His front leg was stuck
on the doll
133 201 How dare you are
to hold my leg
134 202 Realize it or I’ll kick
you again
135 203 The mouse deer kicked
the dummy angrily
with his other leg and
135 204 it got stuck again
136 205 He could not move his
two front legs now
137 206 The sticky glue had
made them motionless
138 207 Crazy you…
139 208 Now you even have the
nerves to hold my other
leg
140 209 Set me free
140 210 Other wise, I’ll hit you
141 211,212 I’ll kick you again Then you will
learn
142 213 how to treat the
Mouse deer
143 214 Here are some more
 kick
144 215 With his four legs stuck
on dummy
145 216 the Mouse deer could
not move anymore
146 217 The Mouse deer could
only regretted his
overconfident action
147 218 He could only stare at
the clouds floating by
in the sky above
148 219 Boy, those cucumbers
look delicious and fresh
149 220 Too bad I can’t reach
them
150 221 He was stuck on the
farmer’s dummy all
day
151 222 He was really tired
152 223 He knew it was useless
to be angry with the
dummy
153 224,225 Late in the afternoon He was very
the farmer came to see pleased to see
his farm the Mouse deer
154 226 who had eaten his
cucumbers trapped-
stuck on the
clummy
155 227 Aha. Now I get you
156 228,229 I know who was stolen
my cucumbers
157 230 It is you
158 231 You’ll have to pay for
what you did
159 232,233 You’ll make good meat When the
for our curry Mouse deer
heard
160 234,235 what the farmer He regretted his
said, he cried misfortune
161 236,237 He didn’t try to escape when the farmer
put him into a
 basket and was
taken to his
village

According to Joseph Brimen (1975) cited in Ba’dulu (1989), texts contain

kinds of information as follows : (1) events, (2) identification, (3) setting, (4)

background, (5) evaluation, (6) collateral, (7) performative. Events are all things done

by the participants in the text; identification is a way to introduce someone or

something by giving name; setting is a places, time, and condition of an event in the

text ; background is information out of the content of the text, not part of the story;

evaluation is information that explain about the feeling of the writer or of the others;

collateral is information about something that is not happened; and performative is

language that conveys something.

These kinds of information that will be stated in this part by using Thurman

Chart ( Grimes, 1975 cited in Ba’dulu, 1989 ). The vertical lines are for the

participants, one line for each participants. All the events are put in the left side and

any information in the right side.

4.3. Structure of Text

Chosen text is a narrative text (narrative discourse), narrative text is a

short story that is talked, with aim to amuse listener, and sometimes, for

teaching moral. Narrative text is there three kinds, namely

1. Legendary narrative or folktales

2. short story about the past event in life or speaker’s family.

3. episodic narrative, folktales story that is often talked until all of people

know it.

This story is important for anthropology, but it is often little item of

performative, such as name, place, time, and elements of other introducing. This

story is usually used to amuse ourselves.

In narrative text, we can know the last happened that is experienced by

native speaker in their life. Example, at the time, she is hurt by Giant, doing trip,

almost catch, etc. this story is often talked but, it is not knowledge.

Episodic, a short story where not one is direct but, action, and item of

descriptive and several happened.

4.4 Explanation

1. The title can be stated by phrase, clause or sentence, such as, the story of

Mouse deer round in the jungle

2. Stage can be stated by sentence or paragraphs that consist of descriptive

clauses, clauses with the last happened, clauses or phrases of identification.

 Element of stage begin action with determined place and time and introducing

actor. Stage is not usually include event, but in some cases, people find events

of background

3. Episode, stated by paragraph and insert sentences, are main part sentence, and

limitation between episodes is stated by important changing in place, time,

actor or around event.

4. Peak episode, this episode is chosen and arranged to create attention and

climax till reached episode. Element of climax episode is often marked with

changing of long sentence, changing by step, changing in number of actor.

5. Post peak episode, is all of fill of the story, or, review of the story, post peak

episede consist of teaching moral from the story.

6. closed, is stated by sentence or paragraph that end the story.

Based on several explanations above, so, peak episode that is obligatory

used and other elements is optional. In narratives text, there are several insert

paragraphs (embedded paragraph), namely, narrative paragraph, explanatory

paragraph, and dialogue paragraph.

 V. CLOSED

5.1 Conclusion

1. Discourse analysis is the study of how stretches of language used in

communication assume meaning, purpose and unity for their users: the quality

of coherence.

2. This story is very interested

3. This story is analyzed by identification dependent and independent clause,

where I found independent clause is more than dependent clause.

4. This story is analyzed with found or determined identification, setting, and

background, evaluation, collateral and performative.

5. The title of this story is the Adventure of Mouse Deer.

6. This story is folktales where fill of this story can amuse the listeners or the

readers

7. This story is narrative form where fill of this story is more explain or doing

conversation

8. There are seven actors in this story, namely, Mouse deer, Tiger, King of the

jungle, Piton snake, the Farmer, Farmer’s wife, and the Dummy.

9. Identification of this story introduce actor, who said, such as, at the time The

mouse round in the jungle as a cleaver animal.

10. Setting at this story is introduce time, place, such as, the life of the jungle and

in cucumber farm.
11. Evaluation, The mouse deer was wandering the jungle

12. Background is a pronunciation before begin for story or acknowledgment of

the story, but in this story, I did not find background before to begin this story

13. Climax of this story, at the time Mouse Deer is the cleaver animal, that catch

by the farmer.

14. this story is ended by a good ending, where the Mouse deer realize with his

mistake and his proud.

5.2 Suggestion

1. In this analysis have a lot of less or lack, I am sure that this analysisng is far

from completeness, so, I am kindness if I get critics from the readers

2. Hopefully, this analysis can be usefull fo us Amin

ack