An Analysis of Hope As Reflected in Elif Shafak's

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AN ANALYSIS OF HOPE AS REFLECTED IN ELIF SHAFAK’S NOVEL

THE FORTY RULES OF LOVE

A THESIS

TASSA ANNISA

REG. NO. 130705118

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2018

Universitas Sumatera Utara ACKNOWLEDGMENTS

First of all, I would like to thank and praise to Almighty God, Allah SWT who has given the mercy, the blessing, guarding, and guidance in my life. Shalawat and Salam for the Prophet Muhammad SAW who has brought us from the darkness to the brightness.

There are so many steps has been done by the researcher to make this thesis complete entitled An Analysis Of Hope As Reflected in Elif Shafak’s Novel The Forty Rules Of Love,and ready to presented as a thesis of the first graduate.

Then, my deepest thank and love are dedicated to my beloved parents, Helena most special woman in my life, who always pray for me, always listen to my sad yet happy story and my father, Darsono Aziz Jambak thankyou who have patiently given moral, spiritual, and prays to their daughter. And also for my dear sister, Shahira AnNissa S.Kom (elok) thankyou for your support, happiness and sadness that we always share together. We may fight, argue, but I do love you.

My gratitude goes to the Head and the Secretary of English Department, Dr. Deliana, M.Hum., and Rahmadsyah Rangkuti, M.A., Ph. D.,for providing me with necessary facilities and opportunities given to me during my study in this faculty. I would like to express my sincere gratitude to Dr. Siti Norma, M.Hum., as my supervisor and Dian Marisha Putri, S.S., M.Si as my co- supervisor for their amazing help, knowledge, expert advices and encouragements throughout the process of finishing this thesis, which was so needed and offered with patience. I also like to thank Dra. Diah Rahayu Pratama, M.Pd as my examiner for the kindness that I received during my trial exam. I also would like to give massive thanks to all lecturers of USU’s English Department. And also Pak Kirno, thank you so much for helping me in administration.

Universitas Sumatera Utara Thanks to all of my family, Sutan Agus’s Family and Aziz Jambak’s Family that i can't mention one by one. Thank you for the love and support. Your supports have been the most valuable things in my life. For that I am very grateful to have them in my life. Thanks to my best friends at campus, Anggun, Tari, Asia, Nisa, Nur thanks for being the person who understand me with all the stupid things I do, thanks for the time we shared, the time we laughed, the time we fought and the time we enjoyed. I will be missing the days we spent together, kiki who has become a friend in difficulty working on this thesis. And thanks to my classmate in English Literature 2013 B who always spend our times together. My entire friends in out of campus that cannot be mentioned one by one I will never forget your kindness and support to me. Finally, I hope this paper will be a worthwhile for the reader. I do realize that this paper is still far from being perfect. Therefore, I really welcome any constructive critics and suggestions toward this paper. I hope this paper will be a worthwhile for the reader.

Medan, January 26th 2018

Tassa Annisa Reg. No. 130705118

Universitas Sumatera Utara ABSTRAK

Judul dari skripsi ini adalah Hope as Reflected in Elif Shafak’s Novel The Forty Rules Of Love. Ditulis orang seorang novelis Turki yang mengajar di sebuah Universitas Arizona di US dan Istanbul. Novel ini diperkaya dengan nilai-nilai budaya dan moral. Secara keseluruhan, novel ini bercerita tentang harapan yang menuntun orang-orang kepada hidup yang lebih baik melalui cara ber-inovasi, mempunyai kesiapan diri yang baik, dan rasa percaya akan adanya suatu kekuatan Al- Qur’an (Tuhan). Banyaknya orang-orang yang tidak memiliki harapan, oleh sebab itu skripsi ini secara khusus bertujuan untuk mengingatkan bahwa harapan adalah sesuatu yang harus diperjuangkan. Melihat maraknya kasus bunuh diri, konsumsi narkoba, dan gaya hidup buruk yang disebabkan oleh hidup yang tanpa harapan, penulis berupaya menunjukkan bahwa harapan dibutuhkan oleh orang-orang untuk memperoleh kebahagiaan dan tujuan hidup melalui novel Elif Shafak’s Novel The Forty Rules Of Love. Metode yang digunakan dalam penulisan skripsi ini adalah Kualitatif Deskriptif, dan teori yang digunakan adalah pendekatan struktural.

Kata Kunci: Harapan, Tuhan, Kehidupan

Universitas Sumatera Utara ABSTRACT

The title of this thesis is Hope as Reflected in Elif Shafak’s Novel The Forty Rules Of Love. Written by a Turkey novelist who teaches at the University of Arizona and divides her time between the US and Istanbul. This novel is enriched with cultural and moral value. Mostly, the novel talks about hope that leads people to a better life by being innovative, having a good self preparation and believing in Qur’an power (God). Because of many people all around the world are hopeless, this thesis is mainly aimed at remaining people that hope is something that must be defended. Seeing that there are so many suicidals, drugs consumptions and bad life styles causing by a hopeless life, the writer tries to show that hope is necessary for people to get happiness and goal in their life through Elif Shafak’s Novel The Forty Rules Of Love. The method used in writing this thesis is qualitative descriptive and the theory used in analyzing the novel is structural approach.

Keywords: Hope, God, Life

Universitas Sumatera Utara TABLE OF CONTENTS

ACKNOWLEDGMENT ……………………………………………………..

ABSTRAK …………………………………………………………………..… i

ABSTRACT ……………………………………………………………………. ii

TABLE OF CONTENT ……………………………………………………. iii

CHAPTER I INTRODUCTION

1.1 Background of the Study ...... 1

1.2 Problem of the Study ...... 11

1.3 Objective of the Study ...... 11

1.4 Scope of the Study ...... 11

1.5 Significance of the Study ...... 12

CHAPTER II REVIEW OF RELATED LITERATURE

2.1.Structural Approach ...... 13

2.2. Novel ...... 19

2.2.1. Intrinsic Elements of The Novel ...... 20

2.3. General Description of Hope ...... 30

iii

Universitas Sumatera Utara CHAPTER III METHOD OF THE STUDY

3.1 Data Collecting Procedure ...... 33

3.2 Data Selecting Procedure ...... 34

3.3. Data Analyzing Procedure ...... 34

3.4. Conclusion and Suggestion ...... 37

CHAPTER IV ANALYSIS AND FINDINGS ...... 38

CHAPTER V CONCLUSION AND SUGGESTION ...... 50

REFERENCES ...... 52

APPENDICES ……………………………………………………………………..

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CHAPTER I

INTRODUCTION

1.1 Background of the Study

Many people in the world have different point of view about hope. Hope is a feeling of expectation and desire for certain thing to happen. It can be the way they live, their plans, or even their future. It is a motivation to someone who wants to raise after a big trouble in his life. It is deep inside of heart and it makes suggestion to everyone who believes it.

According to Maslow, basically, all humans have basic needs. They are

Physiological needs (hunger, thirst, and so on), security needs (feeling safe and protected, away from danger), esteem needs (achievement, competence, and gain support and recognition), Self-actualization needs (cognitive needs: to know, understand, and explore), aesthetic needs (harmony, order, and beauty), self- actualization needs (self-gratification and realizing their potential). These basic needs motivate people to have hope in their life and to fulfill those needs, people have to try, fight, and sometimes pray. Hope is necessary in every condition. The miseries of poverty, sickness and captivity would, without this comfort, be insupportable.

(Johnson, 1750:67). Someone can lose hope when he has a really big trouble, struggle, and pressure. He may say that he has hope but actually, inside of his heart he is hopeless. Many people think that it is very hard to defend on hope for so many problems may arise. In this condition, not a few who then give up, no longer dared to

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hope. Sometimes, hope it is not tangible or abstract, which is only found in the minds of each of us. Yet despite the abstract, hope is the fuel for the spirit of our lives.

People who lose hope, then their spirit will slack off and of course it will affect in any activity that they do. People try and pray to make their hope realized. They have to fight the doubt inside them and reach what they are looking for.

For some people, hope is never gone. Everyone has hope in their lives although sometimes they do not recognize it. When people wake up, dress up, make plan of the day, and do activities everyday, it means that they still have hope in their life. Their will to live is a hope. Hope follows as people live. When people fight for something, they are building hope for something better than what they are or what they have today.

There are three main branches of literature. They are: poetry, drama, and novel. Novel has a deep role to express people’s feeling. Roberts and Jacobs (1995:2) say, “literature may be classified into four categories or genre: (1) prose fiction, (2) poetry, (3) drama, (4) nonfiction prose.” From the four categories of literature, the writer chooses to discuss the prose fiction, especially on novel. Fiction is a name for stories not entirely factual, but at least partially shaped, made up, and imagined.

Novel is one of the prose fictions. It reflects a move away from an essentially religious view of life towards a new interest in the complexities of daily experience.

In The Forty Rules of Love, Elif Shafak has woven a wonderful tale of love and spiritual longing, brilliantly exploring the universal desire for intimacy with another human being, as well as with the divine. It is provocative in the best sense of

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that term, a rare novel that succeed in illuminating the mystical aspects of daily existence, a novel of intelligence as well as heart, with wisdom that infuses every page. The Forty Rules of Love is a wise, joyous page-turner and one that speaks urgently to our war-ravaged times.

Ella Rubenstein is forty years old and unhappily married when she takes a job as a reader for a literary agent. Her first assignment is to read and report on Sweet

Blasphemy, a novel written by a man named Aziz Zahara. Ella is mesmerized by his tale of Shams´s search for Rumi and the dervish´s role in transforming the successful but unhappy cleric into a committed mystic, passionate poet, and advocate of love.

She is also taken with Shams´s lessons, or rules, that offer insight into an ancient philosophy based on the unity of all people and religions, and the presence of love in each and every one of us. As she reads on, she realizes that Rumi´s story mirrors her own and that Zahara-like Shams-has come to set her free.

For forty years Ella Rubinstein’s life had consisted of still waters—a predictable sequence of habits, needs, and preferences. Though it was monotonous and ordinary in many ways, she had not found it tiresome. During the last twenty years, every wish she had, every person she befriended, and every decision she made was filtered through her marriage. Her husband, David, was a successful dentist who worked hard and made a lot of money. She had always known that they did not connect on any deep level, but connecting emotionally need not be a priority on a married couple’s list, she thought, especially for a man and a woman who had been married for so long. There were more important things than passion and love in a

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marriage, such as understanding, affection, compassion, and that most godlike act a person could perform, forgiveness. Love was secondary to any of these. Unless, that is, one lived in novels or romantic movies, where the protagonists were always larger than life and their love nothing short of legend.

Ella’s children topped her list of priorities. They had a beautiful daughter in college, Jeannette, and teenage twins, Orly and Avi. Also, they had a twelve-year-old golden retriever, Spirit, who had been Ella’s walking buddy in the mornings and her cheeriest companion ever since he’d been a puppy. Now he was old, overweight, completely deaf, and almost blind; Spirit’s time was coming, but Ella preferred to think he would go on forever. Then again, that was how she was. She never confronted the death of anything, be it a habit, a phase, or a marriage, even when the end stood right in front of her, plain and inevitable.

The Rubinsteins lived in Northampton, Massachusetts, in a large Victorian house that needed some renovation but still was splendid, with five bedrooms, three baths, shiny hardwood floors, a three-car garage, French doors, and, best of all, an outdoor Jacuzzi. They had life insurance, car insurance, retirement plans, college savings plans, joint bank accounts, and, in addition to the house they lived in, two prestigious apartments: one in Boston, the other in Rhode Island. She and David had worked hard for all this. A big, busy house with children, elegant furniture, and the wafting scent of homemade pies might seem a cliché to some people, but to them it was the picture of an ideal life. They had built their marriage around this shared vision and had attained most, if not all, of their dreams.

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Building her whole life around her husband and children, Ella lacked any survival techniques to help her cope with life’s hardships on her own. She was not the type to throw caution to the wind. Even changing her daily coffee brand was a major effort.

All of which is why no one, including Ella, could explain what was going on when she filed for divorce in the fall of 2008 after twenty years of marriage.

But there was a reason, love. They did not live in the same city. Not even on the same continent. The two of them were not only miles apart but also as different as day and night. Their lifestyles were so dissimilar that it seemed impossible for them to bear each other’s presence, never mind fall in love. But it happened. And it happened fast, so fast in fact that Ella had no time to realize what was happening and to be on guard, if one could ever be on guard against love.

Love came to Ella as suddenly and brusquely as if a stone had been hurled from out of nowhere into the tranquil pond of her life.

In this lyrical, exuberant follow-up to her 2007 novel, The Bastard of Istanbul, acclaimed Turkish author Elif Shafak unfolds two tantalizing parallel narratives- one contemporary and the other set in the thirteenth century, when Rumi encountered his spiritual mentor, the whirling dervish known as Shams of Tabriz-that together incarnate the poet´s timeless message of love.

Elif Shafak is one of Turkey’s most acclaimed and outspoken novelists. She was born in 1971 and is the author of six novels, including The Forty Rules of Love,

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The Bastard of Istanbul, The Gaze, The Saint of Incipient Insanities and The Flea

Palace, and one work of non-fiction. She teaches at the University of Arizona and divides her time between the US and Istanbul.

Between your fingers you hold a stone and throw it into flowing water. The effect might not be easy to see. There will be a small ripple where the stone breaks the surface and then a splash, muffled by the rush of the surrounding river. That’s all.

Throw a stone into a lake. The effect will be not only visible but also far more lasting. The stone will disrupt the still waters. A circle will form where the stone hit the water, and in a flash that circle will multiply into another, then another. Before long the ripples caused by one plop will expand until they can be felt everywhere along the mirrored surface of the water. Only when the circles reach the shore will they stop and die out.

If a stone hits a river, the river will treat it as yet another commotion in its already tumultuous course. Nothing unusual. Nothing unmanageable.

If a stone hits a lake, however, the lake will never be the same again. For forty years Ella Rubinstein’s life had consisted of still waters—a predictable sequence of habits, needs, and preferences. Though it was monotonous and ordinary in many ways, she had not found it tiresome. During the last twenty years, every wish she had, every person she befriended, and every decision she made was filtered through her marriage. Her husband, David, was a successful dentist who worked hard and made a lot of money. She had always known that they did not connect on any deep

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level, but connecting emotionally need not be a priority on a married couple’s list, she thought, especially for a man and a woman who had been married for so long. There were more important things than passion and love in a marriage, such as understanding, affection, compassion, and that most godlike act a person could perform, forgiveness. Love was secondary to any of these. Unless, that is, one lived in novels or romantic movies, where the protagonists were always larger than life and their love nothing short of legend.

Northampton, Massachusetts, in a large Victorian house that needed some renovation but still was splendid, with five bedrooms, three baths, shiny hardwood floors, a three-car garage, French doors, and, best of all, an outdoor Jacuzzi. They had life insurance, car insurance, retirement plans, college savings plans, joint bank accounts, and, in addition to the house they lived in, two prestigious apartments: one in Boston, the other in Rhode Island. She and David had worked hard for all this. A big, busy house with children, elegant furniture, and the wafting scent of homemade pies might

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seem a cliché to some people, but to them it was the picture of an ideal life. They had built their marriage around this shared vision and had attained most, if not all, of their dreams.

Ella had never confessed this to David, but reading his card had felt like reading an obituary. This is what they will write about me when I die, she had thought. And if they were sincere, they might also add this:

All of which is why no one, including Ella, could explain what was going on when she filed for divorce in the fall of 2008 after twenty years of marriage. But there was a reason love.

They did not live in the same city. Not even on the same continent. The two of them were not only miles apart but also as different as day and night. Their lifestyles were so dissimilar that it seemed impossible for them to bear each other ’s presence, never mind fall in love. But it happened. And it happened fast, so fast in fact that Ella had no time to realize what was happening and to be on guard, if one could ever be on guard against love.

Love came to Ella as suddenly and brusquely as if a stone had been hurled from out of nowhere into the tranquil pond of her life.

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In analyzing thesis, the writer uses novel as the object. Through the analysis, the meaning and the function of having of hope as reflected in the novel may be discovered. A structural approach is applied by the writer to find out the meaning and function of having hope as reflected in “The Forty Rules of Love.”

Structuralism represents an attempt to rethink everything in terms of linguistics (Eagleton 1999:97). Structuralism, as a literary theory, emerged at a time when criticism was in a sorry unscientific mess and needed to be smartly tidied up. It was a matter of subjective value judgment and idle gossip, and badly required the discipline of an objective system, not a random collection of writings strewn together throughout history: if examined closely it will be discovered to have worked by certain objective laws and criticism could itself become systematic by formulating them. These laws were the various modes, archetypes, myths and genres by which all literary works were structured (Eagleton 1999:91-92).

The elements of structure builder consist of themes, stories and literary devices. The fact of story consists of plots, characters (characterization), and background, while literary devices of the story consist of language style and context

(Suwondo in Jabrohim, 2001:58). Structural analysis ofliterary works, in this case, can be done by identifying, assessing, and describing function and relationship between the intrinsic elements of the concerned story.

In The Forty Rules of Love, every sequence of event tells something to the reader, and the hope is what it tells mostly. By using structural approach, the writer

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will divide each sequence of events that talk about hope and it will make it easier to analyze hope in the novel. It means that one sequence of event moves to the next sequence of event is driven by hope, and at last, it will conclude that hope is the dominant idea in the story.

The writer applies hermeuneutics reading technique in analyzing the texts.

Hermeneutics talks about interpretation. The writing of novel is based on a particular theme or idea. The statement of theme itself is generally not stated explicitly. The theme comes together and combined with another structural elements so that what it is only encounter in a novel is only the story. Theme is hidden behind the story.

Because of it, the interpretation must be based on the fact that build the story over all.

Hope in this thesis deals with theme in The Forty Rules of Love. Hermeuneutics reading technique helps the writer to find out the meaning and the function of having hope as reflected in the novel by interpreting what the author says about it.

Finally, through this thesis, the writer wants to show the reader that novel is not only made to entertain. It also enriches readers with knowledge, especially about literary works. The Forty Rules of Love is a novel that will give so many knowledge and reasons why hope is something that must be defend.

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1.2. Problem of the Study

From the preceding background, there are some problems which is important to be discussed in this study. They are:

1. How is hope reflected in The Forty Rules of Love?

2. What is the function of having hope as reflected in The Forty Rules of Love?

1.3 Objective of the Study

Related to the problems of the study, the objective the writers wants to reach are:

1. To find out how hope as reflected in The Forty Rules of Love.

2. To find out the function of having hope as reflected in The Forty Rules of

Love.

1.4 Scope of The Study

To do an analysis, it is important to limit the problem that will be analyzed.

Limiting the problem makes the writer focus in doing the analysis. The scope of the study is only focused on how hope is reflected in The Forty Rules of Love and the function of having hope as reflected in The Forty Rules of Love.

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1.5 Significance of the Study

As a theoretically, the writer hopes that this analysis can be very useful for those who are interested in literature, so this analysis can enrich their knowledge about literature especially in studying the novel.

Practically, the writer hopes that this analysis can be very useful for those who are interested in studying novel, especially the analysis about hope as a review of related literature.

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CHAPTER II

REVIEW OF LITERATURE

2.1 Structural Approach

Structuralism brings literature together with language.

"As applied in literary studies, structuralist criticism views literature as a second-order system that uses the first-order structural system of language as its medium, and is itself to be analyzed primarily on the model of linguistic theory" (Abrams, 1993, p. 280).

In this position, structuralism is a linguistic study of literature, a search for the langue of it. For a structuralist analysis of literature, it is strategic to investigate all literary productions of a certain author or even a whole period. The primary task of such an analyst is to study the grammar of literature, that is, the rules that govern the production and interpretation of fiction as a verbal structure. An inference of this is perhaps that literature and language are similarly structured: the first is a self- enclosed system of rules that is composed of language, while the second needs no outside referent but its own rule-governed and socially constrained system.

A further feature of structuralism is its capacity to demystify literature scientifically. It denies literature of any mystical power which has heretofore been bestowed upon it. Structuralists claim that they can delve deep into the grammars of language and narrative, and unravel the secrets of literary texts. Therefore, the text is no longer a unique and autonomous object, and the author's intention is not the same as its overall meaning, for meaning is determined by the system that governs the

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author. All texts refer to other texts, which is another indication of intertextuality of meaning.

Through structuralism, literature is seen as whole: its function is a system of meaning and reference no matter how many works there are. Thus any works becomes the parole, the individual articulation of a cultural language, or system of signification. As literature is a system, no work of literature is an autonomous but part of the larger structures of culture signification.

As structuralism is so broad a theory with such extensive ramifications, there will be different ways of doing structural approach. Structural approach, in this thesis, deals with the convention of thematic unity, whereby it is assumed that all of the elements of the text contribute to the meaning of the text. These all are conventions of reading. The fact is some literary works are difficult to interpret. Some are difficult to interpret for its contemporaries but not for later readers, some require that people learn how contemporaries would have read them in order fully to understand them, these facts point to the existence of literary competence, the possession by the reader of protocols for reading. This is why structuralism is oriented toward the reader of literary works.

Structural approach was pioneered by Russian and Prague formalists. This approach was able to influence directly the theory of Sassure which change diachronic approach into synchronic linguistic. It means that the study of linguistics or literature is no longer to performan emphasis on the history of its development, but

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it is focused on the relationship between the elements. That is why the main propose of structural approach is the relationship between the elements (Yusuf, 2009: 14-16).

James's critical productions can be divided into two categories of reviews and critical essays. In "The Science of Criticism" (1891), he makes some differences between the two: review is more commercial, dogmatic, and conventional; while criticism is truth-oriented and is more speculative and intellectual. The former is fundamentally evaluative, but the latter is more analytical and theoretical. James's criticism is associated with the literary or academic world, and is directed toward a disinterested enrichment of culture. James the reviewer had only to pass judgments on individual literary works, but James the essay writer had occasion, through critical analysis, to attune his newly expanded readership to the seriousness of prose fiction as an art form and to its technical presentation strategies. However, it is "The Art of

Fiction" (1884) which is James's critical manifest of the theory of modern novel.

About 20 years before the publication of this article, he had warned the literary scholars of the vulgarity of Victorian fiction. But this article is the document of his successful attempt to fill in the gap, for if it does not provide a poetics of the

Victorian novel, it surely produces the backgrounds of the poetics of the modern fiction. Therefore, this article indicates a turning point in James's career. It shows him reflecting on the art of novel, and marks his true entry in the domain of literary criticism as a major writer. In addition, James's moral attitudes are more complex and analytical in this article than elsewhere. And it shows him attempting more genuinely to absorb the attention of an intellectual audience.

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On the one hand, James the critic often insisted that his fiction should be understood properly. On the other hand, the huge variety of his critical analysis indicates that he was aware a lacuna existed in his fiction. But although he attempted to supervise his readers how to fill in the gap, his prefaces (to his tales and novels) do not elucidate the difficult allusions in his work. They are also not in the nature of a philosophical debate or critique of the contemporary English novel. Instead, they want to satiate his desire to design a formula for the appreciation of his fiction.

Explanatory and vindicatory as they are, they want to provide a justification of his fiction, and to offer a rationale for his theory of the novel. If this is right, it can be suggested that his prefaces also show him a pathfinder in the theory of the modern novel. James the critic defended the same principles which he practiced in his fiction.

He focused his mind on the relations between art and artist, art and life, art and ideals, and art and morals. He most applauded the literature that was tightly composed, that showed the author in the achievement of difficult effects through knowledge and mastery, and that, consequently, required the close attention of the reader. However, he could not conceive of a novel without form, and his conviction in the form of the novel as integral to its content, is, I assume, a salient dimension of his structuralism.

He also conceived of a novel as a structural manifestation of a selective and discriminating consciousness. No tailor recommends using a thread without a needle and using a needle without a thread. Likewise, in a work of fiction the subject and the treatment, or the story and the novel, cannot be divided from one another. In "The Art of Fiction" James does not separate the moral sense of a literary text from the taste of the author, and this interfusion of taste and morality is, I suppose, another indication

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of James's structuralism. In support of this moralistic relativism in modern fiction,

Martin Kreiswerth asserts "morality in the novel stems not from consciously implanted ideas but from the whole cast of the artist's informing consciousness"

(1995, p. 423). Therefore, in the eye of James morality is no longer a didactic question but is an aesthetic question, a possibility for the production of new realities in the consciousness as the agent of discursivity. To achieve higher degrees of aesthetic morality, James creates a world of illusion with which he entangles his readers not only in their senses, but also in their hearts and brains. Before the publication of "The Art of Fiction," subjects like fact and fiction, realism and romance, and art and science dominated the debates of novel. The novel was conceived as an untruthful form of art which was illegitimate and in severe disrepute.

In such a situation, in order to escape conviction and find readership, the novel had to pretend that it is not a serious discourse but is a jocular speech which has nothing to claim. However, in this treatise James paved the road for fiction not only to escape from the humiliating shame of jocularity but also to be considered as a legitimate form of art which is faithful to the reality of life. Thus, the pretending humiliation of the novel provided it with a large space of freedom where the novelist could open his mind to all kinds of impressions. And this all-encompassing impressionistic freedom of the novelist in turn brought the whole reality of life into his accession which he could represent in an artistic form. The novelist would structure his work so artistically that its attentive reader could dramatize in it a one-to-one correspondence between the things of life and the taste of the novelist. Thanks to James's manifest, story writers started to focus their minds more emphatically on the relations between

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content and form, subject matter and technique, or life and art. This is to mean that following "The Art of Fiction," critics of the novel started to accent the craft, technique, or structure of it as heavily as the content of it, and its relation to reality. In this way, the idea of good and/or bad novels was no longer a matter of morality but was a matter of taste (of the writer and/or reader). It was artistry of the work, but not its morality, which the critic would hereafter regard as themeasurement of it badness and goodness; and its artistry was, in its turn, the distinction of its interest and its distribution among the readers. Thus, although James may have heard nothing about

"structuralism" as a formal approach to literature, he can be said to have paved the way to it. This stated, the secret of James's structuralism lies in a number of elements like: his emphasis on the absolute freedom of the novelist in the reception of different kinds of impressions for the production of his work, his insistence on the freedom of the story from morality in order to make it a subject of the taste of the artist, and consequently, to change it into a matter of aestheticism, the highlighted role he granted to the reader in the reproduction of the story via critical interpretation, his emphasis on language in the composition of the work through which the consciousness of the reader gets transcended, and his insistence on the point of view from which the story is narrated. These dimensions have changed the novel from the expression of a pre-planned and limited sequence of meanings to a realm of discursivity where the relations of art and life are problematized and the critical reader reproduces reality in the space of story when it is in the service of language.

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Analysis of the structural approach to literature can be done by identifying, assessing, and describing the functions and relationships between elements that is intrinsically interconnected as Teeuw stated in above quotation. Firstly, the intrinsic elements will be identified, in this study, the plot is the most important element to devide into episodes that the whole episodes can give a clear explanation of how hope as reflected in The Forty Rules of Love.

Intotalintegration structure, the whole meaning contained in the mani festtextand the purpose of the structure in telling the storyis to peelas much detail as possible of the overall unified meaning. So the new elements will have meaning only in its totality.

2.2 Novel

Novel is a fictional piece of prose that is typically written in a narrative style and presented as a bound book. Novels tell stories, which are usually defined as a series of events described in a sequence. The novel has been a part of human culture for over a thousand years, although its origins are somewhat debated. Regardless of how it began, the novel has risen to prominence and remained one of the most popular and treasured examples of human culture and writing. Its form and presentation tends to change with the times, but it remains an essential part of the literary cultures of nearly all societies around the world. It tells a story from one sequence to the next sequences in a certain timescale.

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A work fiction that contains 30.000 to 40.000 words are considered as short

story, tale or novelette, but novel has no maximum length. Both novel and short story

tell the story of human life, the difference is on its plot and characters, which short

story is limited plot and members, but novel is longer.

A novel is a totality, a comprehensiveness that is artistic. As a totality, the

novel has passages elements, most related to one another in close and mutually

dependent. The elements of a novel-builder who then collectively form a totality-that

in addition to the formal elements of language, there are many more kinds of it. The

division of the element in question is the intrinsic and extrinsic elements.

Reeve (1785) said that:

“The novel is a picture of life and manners, and of the time in which is written. The romance, in lofty and elevated language, describes what never happened nor is likely to happen.”

Watson (1979:4) said that:

“A novel is a way learning about how things were or are-cognitive instrument; and those who distrust stories as evidence should consider how often in conversation we use them to make a points or answer questions.”

It means that novel takes role to inform or to make the readers believe in

something they do not, by the statements or conversations occurred in the novel.

2.2.1. Intrinsic Elements of the Novel

a. Theme

Although a single word may name an idea, it does not operate

as an idea until it is put into a sentence or assertion. In other

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words, an idea needs a subject and predicate before we can

use it as a basis of understanding. It is important to recognize

than an assertion of an idea is not the same as an ordinary

sentence. (Roberts & Jacobs, 1993:361)

Theme or themes refers to the result of general and abstract thinking of writing. In this part, idea becomes the general thinking of the novel. In literary study the consideration of themes relates to meaning, interpretation, explanation, and significance. Though themes are usually extensive and complex, separate ideas may be named by a single word. Theme as the developer part in a novel must be related with the other elements to build a good story. As a necessary part in a novel, it is important to know clearly what the theme is. Because it just have a little bit different with an ordinary sentence.

b. Plot

Plots are made up mostly of actions or incidents that follow

each other sequentially. Finding a sequential or narrative

order however, is only the only the first step toward the more

important consideration-the plot, or the control governing the

development of the actions. (Roberts and Jacobs 1993:88)

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Plot is sequence of events or the arrengement of whole conflict that found in a a story. The plot is often thought by the stories. It is related one each other, that is why good plot will produce a good story and both side. Plot can barely be identified; and although this may be a good thing for the development of the story, it is often frustrating for the reader.

Forster (1927:93) says that plot from story by defining the former as a narrative of events, the emphasis falling on causality. ‘The king died and then the queen died,’ is a story. ‘The king died and then the queen died of grief’ is a plot. The time-sequence is preserved, but the sense of causality overshadows it.

In the Poetics, Aristotle (384-322 B.C.) gives first importance to plot as an element of a play, and most readers would agree that it holds a similar position in a work of fiction. Plot may be defined as a story’s sequence of incidents, arranged in dramatic order. One is tempted to insert the word “chronological,” but doing so would exclude many stories that depart from this strict ordering of events. Gwynn

(2002:7)

Plot develops a series of complications or intensification of the conflict that leads to a moment of great tension. According to Kenny (1966:14) in Wiyatmi

(trans.2008:37) the plot as the events are displayed in a not simple story, because the author sets the events was based on a causal connection.

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There are four types regarding to plot:

1. Suspense

Frequently involves dilemma, for instance: Caught in a bad situation with a choice in a boating accident, a character can save either her mother or her husband form drowning.

2. Flashback

The author waits until the story is moving and then flashes back to reveal biographical data or deep psychological reasons why a character acts as she/he does.

It focuses more on why things happen, rather than on what happens.

1. Telescoping

It’s a matter of economy. The author cannot describe every motion of the character or event during the time the story covers. She/he has to choose the significant and merely suggest the others by saying they happened, without much description.

2. Foreshadowing

The outcome of a conflict is often hinted at or foreshadowed before the climax and dénouement. These clues are usually very subtle which remain foreshadowed until the story ends.

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Kasim (2005:20) divides plot into three kinds:

1. Plot of Action

In this kind of plot the interest lies in “what happens next”, while the character and thought are portrayed minimally. It is rarely, if ever, found any serious or intellectual issues.

2. Plot of Character

This kind of plot deals with the process of change in the moral character of the

protagonist.

3. Plot of Thought

This kind of plot deals with the process of change in the thought of the protagonist and in his feeling.

The major part of plot is conflict because it forces to arouse curiosity, causes doubt, creates tension, and produces interest in a story of novel. Conflict brings out the extremes of human energy, causing characters to engage in the decisions, actions, responses, and interactions that make up most stories.

The series of event are referred to the plot to give the story meaning and efffect. In most stories, these events arise out of conflict experienced by the main character. The conflict may come from something external. As the character makes choices and tries to resolve the problem, the story’s action is shaped and plot is generated. In some stories, the author structures the entire plot chronologically, with the first event followed by the second, third, and so on, like beads on string.

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However, many stories are told with flashback techniques in which plot events from earlier times interrupt the story’s current events.

Talking about plot is to talk about the actions or events that are usually resolved at the end of a story. There are five essential parts of plot:

1. Exposition

Expository is the beginning of the story where the characters and the setting is revealed. The exposition is the introduction to the characters and setting of the story.

The exposition hooks the reader, providing enough interest and information to the intended audience to encourage the reader to continue reading.

2. Rising Action

This is where the events in the story become complicated and the conflict in the story is revealed (events between the introduction and climax). The rising action introduces the conflict or problem in the story. This part of the plot tells us what it is that the main character or protagonist is facing. During the rising action, the main character struggles with this conflict or problem.

The conflict may be:

i. Character vs. Character: the problem the protagonist faces is one

involving another character

ii. Character vs. Society: the protagonist faces a problem involving

something in the society in which they live (example: racism)

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iii. Character vs. Self: the character has some internal struggle inside them

iv. Character vs. Nature: the protagonist struggles with some natural force

(tornado, harsh climate, etc.)

3. Climax

The climax is the high point of the story, where a culmination of events creates the peak of the conflict. The climax usually features the most conflict and struggle, and usually reveals any secrets or missing points in the story. Alternatively, an anti-climax may occur, in which an expectedly difficult event is revealed to be incredibly easy or of paltry importance. Critics may also label the falling action as an anti-climax, or anti-climactic. The climax isn't always the most important scene in a story. In many stories, it is the last sentence, with no successive falling action or resolution.

4. Falling Action

The falling action is the series of events which take place after the climax; it is where the protagonist must react to the changes that occur during the climax of the story. The events and complications begin to resolve them. The reader knows what has happened next and if the conflict was resolved or not (events between climax and denouement).

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5. Denouement

This is the final outcome or untangling of events in the story. The part of a story or drama which occurs after the climax and which establishes a new norm, a new state of affairs-the way things are going to be from then on. The author often ties up the loose ends of the story to have the plot reach a conclusion.

Sometimes the author will use some techniques in writing the plot to make the story more interesting or to add a twist or turn. Foreshadowing is where the author may hint at what might happen in the future. Flashback is where the author might tell us something that has happened in the past to help explain the present. Irony is when the author has something happen in the story that is the opposite of what the reader expects.

In general, plot can be divided into two types, they are closed and open.

This division is based on the way how an author presents the resolution of his story, they are closed plot and open plot.

c. Characters

According to Richard Taylor in his book Understanding the Elements of

Literature (1981), a character is a construction of words meant to express an idea or view of experience and must be considered in relation to other features of the composition, such as setting and action.

According to Abraham, characters are the people presented in dramatic of narrative works, who are interpreted by the watchers as being endowed with moral

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and dispositional qualities that are expressed in what they say in the dialogue and what they do in the action.

Characterization is a fundaental element in a novel. It potrays what kind of person and in what situation the character is. A story can never be without characters and they are powerful to make the story seems alive and real.

Characters may either helped or hurt by their surroundings, and they may fight about possession and goals. Further, as characters speak with each other, they reveal the degree to which they share the custom and ideas of their times.

d. Setting

The of a narrative or dramatic work is the general locate, historical time, and a social circumstances in which its action occurs; the setting of an episode or scene within a work is the particular physical location in which it takes place. (A Glossary of Literary Terms, Abraham, M.H, 1969: 75)

The setting does not only show the place or time of the sequence of events, but it also expresses the character in a story. Wellek and Warren through their book

Theory of Literature describe that, setting is environment and environment especially domestic interior, maybe viewed as metonymic, or metaphoric, expression of character. (1977:221)

Elements of setting may include culture, historical period, geography, and hour. Along with plot, character, theme, and style, setting is considered one of the fundamental components of fiction. A setting is the time place and social

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environment a story takes place. Setting is a key role in plot, as in man vs. nature or man vs. society stories.

In some stories the setting becomes a character itself. In such roles setting may be considered a plot device or literary device. The term "setting" is often used to refer to the social milieu in which the events of a novel occur.

e. The Point of View

A point of view can be interpreted as how a story is told. Abram states that is the way of the author used as meaning of displaying, character, action, background and various event that make up the story in fictional text to the readers. So, the point of view is the way strategy, or tactic that is deliberately choosen, by the writer to express stories and ideas. Selection of point of view in fiction, in may cases will affect the freedom, sharpness, and objectivity in telling the story, and it also will influence the level of plausibillity of the story.

It suggests the way a story is told. The author uses it as means for presenting the characters, actions, bacground and events that make up the story in a work of fiction to the reader. The deviation angle of view is is jut no matter of first or third person, but rather a selection of character who “he” or “I”, anyone who tell it, kids, adults, villagers who do not know anything, modern man, politicians, students, or other.

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2.3. General Description of Hope

Hope Now is an OST (Original Sound Track) of the true story film Letters To

God produced by David Nixon in 2010. Sung by Addison Road in 2006, this song in its lyric says that everything rides on hope now, everything rides on faith somehow.

This song emphasizes that hope is belief in God. It says that God’s love sets people free, and that is the true hope.

Emily Dickinson in her poem “Hope is The Thing With Feathers” says that hope is a quality of the soul. She compares hope to a bird singing a non-stop tune.

She is celebrating hope as an ever-present quality. The words “at all’ emphasize this point. In the second stanza, Emily describes the comfort hope gives during difficult times. Emily compares human struggle to a storm, and shows that hope keeps her spirits up during such a storm. Hope warms the spirit. Even a violent storm, doesn’t discourage hope. Dickinson potrays the bird and hope as heroic. In the final stanza,

Emily speaks from her own experience. She claims that hope helped her survive her deepest problems. Hope, like a songbird that migrates between different climates, can always be heard. Hope keeps the spirits up in difficult times, but asks for nothing in return. Here, Dickinson uses an image of a tiny crumb to show that hope asks for nothing as a reward.

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From the preceding explanation of the poem, it can be concluded that:

i. Hope may look frail, but actually it is strong.

The words ‘feathers’ and ‘little’ show the frail physical side to the bird and

hope. But hope, like the bird, cannot be defeated. It can survive any climate

or ‘extremity’, no matter how severe the condition is. ii. Hope never fades.

Hope always appears in the soul, no matter what the crisis. Dickinson shows

this in the fourth line: ‘and never stops—at all’. Hope is faithful. iii. Hope is unselfish.

Hope never asks for anything in return, not even a ‘crumb’. iv. Hope is brave and fearless.

The bravery of the bird is evident because it shows up in all climates, whether

stormy or chilly. This shows that hope will always appear, no matter how

much danger or despair torments the human spirit. v. Dickinson rejoices that hope is always present. The use of an endless song to

stand for hope is a form of celebration.

When faith and hope fail, as they do sometimes, we must try charity, which

is love in action. We must speculate no more on our duty, but simply do it.

When we have done it, however blindly, perhaps Heaven will show us why.

(Craik, 1865:64)

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Hope encourages even when someone fails to do it. Hope endures people to be more patience and it strengthens in many ways as it leads people to the belief in

God.

(Hazzlit, 1823:34) says thathope is the best possession and none are completely wretched but those who are without hope; and few are reduced so low as that. It proves that hope is something best in life to some people. It is like whentheyfeelwretched theywillalwaysbe able tofeelthatthey will neverdie.

Derrick Jensen, in Endgame Volume I: The Problem of Civilization, page 332 said that a wonderful thing happens when people give up on hope, which is that they realize they never needed it in the first place. They realize that giving up on hope doesn't kill them, nor did it make them less effective. In fact it made them more effective, because they ceased relying on someone or something else to solve their problems — people ceased hoping their problems somehow get solved, through the magical assistance of God, the Great Mother, the Sierra Club, valiant tree-sitters, brave salmon, or even the Earth itself — and people just began doing what's necessary to solve their problems theirselves.

Hope keeps people alive because it helps to survive. As Henry

Melvil in "The Advantages of a State of Expectation" in Sermons (1844:

113) says that hope proves man deathless. It is the struggle of the soul, breaking loose from what is perishable, and attesting her eternity. It proves that wherever somebody could be, there always be hope.

As regarded to it, it can be defined that hope is something that must be defended, hope is looking at something good and certainly and hope is teaching people not to give up, be anxious to learn the lesson, and be more empathetic to the situation they may face.

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CHAPTER III

METHOD OF THE STUDY

The writer uses descriptive qualitative method in process of writing the thesis.

Descriptive qualitative method is a method of analysis by describing and analyzing the data and then giving interpretation and explanation. Bogdan and Taylor (1975:5) explain that qualitative method is a research procedure that descriptive data such as written word or verbal expression from the people and their behavior that have been observed.

In research method, library research is used in this thesis. The writer uses descriptive qualitative in her method of study. Some books which are related to the topic of this thesis are used. The primary source of the data is acquired from Elif

Shafak’s novel entitled The Forty Rules of Love. First, the writer read the novel as the source of data of hope as reflected in The Forty Rules of Love. The secondary data is drawn from other books as references which are concerned about hope in literary works especially novel. Then the writer used some books as references which are concerned about hope to understand what hope really is. And some data that found from the internet are also used as the supporting references in finishing this thesis.

Data was collected and selected before it was analyzed. And finally, the conclusion of the data should be made to support the ideas of the researcher.

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3.1. Data Collecting Procedure

There are some steps that the writer uses in collecting data. In this thesis the data collected into many steps, they are:

1. The writer reads and watches the movie of Elif Shafak’s novel The Forty Rules

of Love.

2. The writer reads some articles that related to the novel which helped her to get

more information about The Forty Rules of Love.

3. The writer searches some information about hope from article, books, and also

internet sites to support the topic of this thesis.

3.2. Data Selecting procedure

Not every part of the novel supports the idea. This is the reason for the writer to do those steps, they are:

1. The writer read Elif Shafak’s novel The Forty Rules of Love thoroughly to

understand the story and then watched the movie to make clear of every

explanation in the story that was hard for the writer to understand.

2. The writer chose the most powerful data in supporting idea and then

underlined them to make it easier to the writer in doing analysis.

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3.3. Data Analyzing

In analyzing the problem of this thesis, the writer combines all the important data that has been collected from many sources. The writer uses kind of library research and applied the descriptive qualitative method to analyze the problem.

Here are some steps that used by the writer from the beginning in the process of doing the thesis:

1. The writer reads The Forty Rules of Love thoroughly.

2. The writer chooses the most powerful data that support the idea from the

novel, and get information about hope from some articles, books, and

internet sites. In this step, the writer begins to underline or mark the

statements and conversations that support the main idea to make it easier for

the writer to do the analysis.

3. The writer makes chart that shows the sequences of events picturing

hopeless to become hopeful in the story to explain the meaning and the

functions of having hope found in The Forty Rules of Love.

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Here is the chart for making it easier to understand research design applied in the study:

Elif Shafak’s The Forty Rules of Love and some The Writer books relate to the study

Text Selection Suggestion

Data:

Interpretation & All the text in The analyzing Selected Forty Rules of Love text with Structural related to hope as Approach reflected in it

Figure 3.1. Figure of Research Design

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3.4.Conclusion and Suggestion

As the last step, after doing all the analysis, the writer will write the conclusion and give the suggestion.

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CHAPTER IV

ANALYSIS AND FINDINGS

4.1 Hope As Reflected In Elif Shafak’s The Forty Rules Of Love

In this chapter, the writer will try to analyze how hope as reflected in Elif

Shafak’s novel The Forty Rules Of Love, and the function of having hope as reflected in it.The writer also tries to show what the author says about hope.

4.1.1 Part One (Earth) The Things That Are Solid, Absorbed and Still

Shams

In the beginning of the story describe about the things that are solid, absorbed, and still Shams. The story takes place in an inn outside Samarkand, March 1242. The reader is introduced to so some characters of this novel and the first is Shams. There was a man slowly approached the well, bent over, and looked down below to look for

Shams. The character of Shams was reflected in the part one until part five. Part one told the things about solid, absorbed, and still Shams, part two told the event about

The man leaned closer and looked down into the well again. At first he couldn’t see anything other than the darkness of the water. But then, deep down at the bottom of the well, he caught sight of Sham’s hand floating aimlessly on the rippling water like a rickety raft after a heavy storm.

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Next he recognized a pair of eyes-two shiny black stones, staring up at the full moon now coming out from behind thick, dark clouds. The man fell on his knees, crying and pounding his chest.

From this part the writer got the first rules of love that was:

“It is the first rule, brother,” I said. “How we see God is a direct reflection of how we see ourselves. If God brings to mind mostly fear and blame, it means there is too much fear and blame welled inside us. If we see God as full of love and compassion, so are we.”

The hope was reflected in this part was when you spoke the truth, they hated you.

The more you talked about love, the more they hated you. It means that we hope there were many people who still believe with the truth and love.

At an inn outside Samarkand, March 1242, Shams felt that burdened with loneliness. He always talked to God, and He always responded. He felt depressed with all the things which happened in his life. He told to his father about a guardian angel when he was ten years old.

In this part The Forty Rules of the Religion of Love, which could be attained through love and love only? One of those rules said, the path to the truth is a labor of the heart, not of the head. Make your heart your primary guide! Not your mind. Meet, challenge, and ultimately prevail over your nafs with your heart. knowing your ego will lead you to the knowledge of God.

In this part there was a hope that Shams would learn why his kind hazel eyes were eternally sad and how he came to be murdered on an early-spring night.

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4.1.2 Part Two (Water) The Things That Are Fluid, Changing and

Unpredictable Rumi

The beginning of the dream differed slightly each time. It happened in Konya,

October 15, 1244. It was always the same but Rumi entered it from a different gate each evening. On this occasion Rumi saw himself reading the Qur ’an in a carpeted room that felt familiar but was like no place he had been before. Right across from his sat a dervish, tall, thin, and erect, with a veil on his face. He was holding a candelabrum with five glowing candles providing me with light so that he could read.

After a while he lifted his head to show the dervish the verse he was reading, and only then did he realize, to his awe, that what he thought was a candelabrum was in fact the man’s right hand. He had been holding out his hand to me, with each one of his fingers aflame.

In panic he looked around for water, but there was none in sight. He took off his cloak and threw it on the dervish to extinguish the flames. But when he lifted the cloak, he had vanished, leaving only a burning candle behind.

From this point onward, it was always the same dream. He started to look for him in the house, searching every nook and cranny. Next he ran into the courtyard, where the roses had blossomed in a sea of bright yellow. He called out left and right, but the man was nowhere to be seen.

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“The Qur ’an tells us each and every one of us was made in the best of molds. It’s one of the rules,” Rumi said softly. In this case, a hope was reflected when Rumi blessed with a loving family, good friends, and loyal disciples. Never in his life have he suffered destitution or scarcity, although the loss of his first wife was devastating. He thought he would never get married again, but he did. He hoped that both of his sons are grown, although it never ceases to amaze me to see how different from each other they turned out to be. They are like two seeds that, though planted side by side in the same soil and nourished with the same sun and water, have blossomed into completely different plants. He was proud of them, just as he was proud of our adopted daughter, who has unique talents. He was a happy, satisfied man both in his private life and in the community.

4.1.3 Part Three (Wind) The Things That Shift, Evolve and Challenge The

Zealot

In this part told that there are people who put the interests of the community

before their own and work day and night to enforce order in Konya, October 19,

1244. People like his young nephew, Baybars. It called by the Zealot. His wife

and he are proud of him. It is comforting to know that at this late hour, when

villains, criminals, and drunks go on a rampage, Baybars and his fellow security

guards patrol the town to protect us.

Instead of searching for the essence of the Qur ’an and embracing it as a

whole, however, the bigots single out a specific verse or two, giving priority to

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the divine commands that they deem to be in tune with their fearful minds. They keep reminding everyone that on the Day of Judgment all human beings will be forced to walk the Bridge of Sirat, thinner than a hair, sharper than a razor.

Unable to cross the bridge, the sinful will tumble into the pits of hell underneath, where they will suffer forever. Those who have led a virtuous life will make it to the other end of the bridge, where they will be rewarded with exotic fruits, sweet waters, and virgins. This, in a nutshell, is their notion of afterlife. So great is their obsession with horrors and rewards, flames and fruits, angels and demons, that in their itch to reach a future that will justify who they are today they forget about

God! Don’t they know one of the forty rules? Hell is in the here and now. So is heaven. Quit worrying about hell or dreaming about heaven, as they are both present inside this very moment. Every time we fall in love, we ascend to heaven.

Every time we hate, envy, or fight someone, we tumble straight into the fires of hell. This is what Rule Number Twenty-five is about.

Is there a worse hell than the torment a man suffers when he knows deep down in his conscience that he has done something wrong, awfully wrong? Ask that man. He will tell you what hell is. Is there a better paradise than the bliss that descends upon a man at those rare moments in life when the bolts of the universe fly open and he feels in possession of all the secrets of eternity and fully united with God? Ask that man. He will tell you what heaven is.

Why worry so much about the aftermath, an imaginary future, when this very moment is the only time we can truly and fully experience both the presence and

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the absence of God in our lives? Motivated by neither the fear of punishment in hell nor the desire to be rewarded in heaven, Sufis love God simply because they love Him, pure and easy, untainted and nonnegotiable. Love is the reason. Love is the goal.

The Zealot said that:

“Neither a grocer nor a clerk, my God is a magnificent God. A living God! Why would I want a dead God? Alive He is. His name is al-Hayy—the Ever-Living. Why would I wallow in endless fears and anxieties, always restricted by prohibitions and limitations? Infinitely compassionate He is. The name is al-Wadud. All-Praiseworthy He is. I praise Him with all my words and deeds, as naturally and effortlessly as I breathe. The name is al- Hamid. How can I ever spread gossip and slander if I know deep down in my heart that God hears and sees it all? His name is al- Başir. Beautiful beyond all dreams and hopes.”

In this case a hope reflected when you love God so much, when you love each and every one of His creations because of Him and thanks to Him, extraneous categories melt into thin air. From that point on, there can be no “I” anymore. All you amount to is a zero so big it covers your whole being.

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4.1.4 Part Four (Fire) The Things That Damage, Devastate and Destroy

Suleiman The Drunk

When in Konya, February 1246, Suleiman the drunk beguiled by wine, he had had many crazy delusions when drunk, but seeing the great Rumi enter the tavern door was really wild, even for me. He pinched himself, but the vision didn’t vanish.

He looked around to see who was trying to quiet him and was stunned to find every man in the tavern, including Hristos, gawking at the door. The whole place had plunged into an eerie silence, and even the tavern dog, Saqui, seemed perplexed as he lay with his floppy ears glued to the floor. The Persian rug merchant stopped singing those awful melodies he called songs. Instead he swayed on his feet, holding his chin up with the overstated seriousness of a drunk who was trying to appear to be otherwise.

Aladdin said that:

“It’s one of the rules,” he said. “If you want to strengthen your faith, you will need to soften inside. For your faith to be rock solid, your heart needs to be as soft as a feather. Through an illness, accident, loss, or fright, one way or another, we all are faced with incidents that teach us how to become less selfish and judgmental, and more compassionate and generous. Yet some of us learn the lesson and manage to become milder, while some others end up becoming even harsher than before. The only way to get closer to Truth is to expand your heart so that it will encompass all humanity and still have room for more Love.” In this part, a hope reflected when he said that by Allah, he had never been so embarrassed in his life. As if it weren’t shameful enough to see his own father in cahoots with a heretic, he had to suffer the mortification of watching him lead a dance

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performance. How could he disgrace himself like that in front of the whole town? On top of this, he was utterly appalled when he heard there was among the audience a harlot from the brothel. As he sat there wondering how much more madness and destruction his father’s love for Shams could cause us all, for the first time in his life his wished to be the son of another man.

4.1.5 Part Five (The Void) The Things That Are Present Through Their

Absence Sultan Walad

In the last part of this story told that beggars, drunks, prostitutes, orphans, and thieves distributes all his gold and silver to criminals. Since that awful night, his father has never been the same. Everyone says he has lost his mind to grief. When asked what he is doing, he tells the story of Imra’ul-Qays, the king of Arabs, who was very well liked, notoriously rich and handsome, but one day, unexpectedly, walked out of his perfect life.

The other day a ginger-haired merchant who looked like the worst liar on earth knocked on our door. He said he had known Shams of Tabriz way back from his years in Baghdad. Then, dropping his voice to a confidential whisper, he swore that

Shams was alive and well, hiding and meditating in an ashram in India, waiting for the appropriate time to emerge.

As he said all this, there wasn’t a trace of honesty on his face. But my father got delirious. He asked the man what he wanted in return for this wonderful news.

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Without the least bit of shame, the merchant said that as a young boy he had always wanted to become a dervish, but since life had taken him in another direction, he would at least love to have the caftan of a scholar as famous as Rumi. Upon hearing this, my father took out his velvet caftan and handed it to him, just like that.

In this case a hope reflected when his father said:

“You think a caftan is too high a price to pay for his lie? But my dear son, imagine, if he were telling the truth, if Shams were really alive, I would have given my life!” From that words it can be concluded that when we telling about the truth we were really alive.

From the preceeding structural explanation, the writer will make schemes to make it easier to understand how hope is reflected in Elif Shafak’s The Forty Rules of

Love and to make it clearer to see the function of having hope in Elif Shafak’s The

Forty Rules of Love..

The first scheme shows the plot of Shams’ life, what happened to him and how hope brings him alive through many bad things happened to him.

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So, it can be defined that Elif Shafak’s The Forty Rules of Love from one to the next event in the story because he is motivated by hope.

Earth (The Things That Are Solid, Absorbed and Still Shams)

Water

(The Things That Are Fluid, Changing and Unpredictable Rumi)

Wind (The Things That CRISIS Shift, Evolve and HOPE Challenge The Zealot)

Fire (The Things That Damage, Devastate SURVIVAL

and Destroy Suleiman The Drunk)

The Void (The Things That Are Present Through Their Absence Sultan Walad)

Figure 4.1. Hope As Reflected in Elif Shafak’s The Forty Rules of Love

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The second scheme shows that hope is an agent of movement from crisis to survival from the whole journey of Elif Shafak’s The Forty Rules of Love. This scheme pictures how hope is reflected in Elif Shafak’s based on the first scheme.

Shams, Rumi, The Zealot, Sulaiman The Drunk and Sutan Walad moves from one crisis to another crisis motivated by hope. Every crisis they face will solve although they may face another crisis, but until the end of the story they prove that by having hope, they can overcome their problems and survive.

Crisis

Hope

Survival

Figure 4.2. Structure of Event in Elif Shafak’s The Forty Rules of Love

The last scheme shows the function of having hope as reflected in Elif

Shafak’s The Forty Rules of Love from the whole explanation. After dozens of crisis had been happened, Shams, Rumi, The Zealot, Sulaiman The Drunk and Sutan Walad survived and this survival has proven that having hope can save people life. Hope help people to move on, to be innovative in in their worst situation, to have a self

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preparation, and it leads people to be closer to the Qur’an power, something can made believed-the source of strength and trust.

Enables People to be Innovative in Their Worst Situation.

Enables People to Prepare Themselves Ready for the Worst Situation. (Self HOPE Preparation)

Leads People to Believe in Qur’an Power.

Figure 4.3. The Function of Having Hope in Elif Shafak’s The Forty Rules of

Love

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CHAPTER V

CONCLUSION AND SUGGESTION

5.1. CONCLUSION

Having the data from hope as reflected in Elif Shafak’s The Forty Rules of

Love, the writer puts some conclusions in this thesis as follows:

1. Hope as reflected in Elif Shafak’s The Forty Rules of Love is an element that

develops the plot in the whole story. Hope occupies a very important position

as hope is the centre in The Forty Rules of Love story. Hope is an agent of

movement from crisis to survival because hope leads people to a better life.

2. The functions of hopes in this novel are:

a. Makes people be more creative and innovative to prepare theirselves for

worse a situation, beside that in this case hope leads people to believe in

Qur’an power, something they can not see but it strengthens them.

b. When you spoke the truth, they hated you. The more you talked about

love, the more they hated you. It means that we hope there were many

people who still believe with the truth and love.

c. A loving family, good friends, and loyal disciples make us happy and

satisfied.

d. When you love God so much, when you love each and every one of His

creations because of Him and thanks to Him, extraneous categories melt

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into thin air. From that point on, there can be no “I” anymore. All you

amount to is a zero so big it covers your whole being.

e. By Allah, he had never been so embarrassed in his life. From that words it

can be concluded that when we telling about the truth we were really

alive.

5.2. SUGGESTION

After analysing this thesis, the writer realizes that it is very interesting to talk about hope for many people these days are hopeless. It gives a lesson that although in a very bad situation there always be hope for the ones who want to believe. There is always a supernatural power that will strengthen even when people can not see it, that is why they pray.

By reading this thesis, the readers are invited to be more hopeful through their hopeless situations. The writer also suggests that people should be more patience to endure problem in their life because everything has its own way out and all they can do is just trying and learning to prepare themselves if somehow the worst come.

The writer also realizes her limited knowledge and material in finishing this thesis. The writer would be glad to invite the readers to give corrections, suggestions, or any other input for the weakness of this writing in order to become a fabulous writing.

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REFERENCES

Aziez, Furqonal and Abdul Hasim. 2010. Menganalisis Fiksi Sebuah Pengantar. Bogor: Ghalia Indonesia.

Bonazza, Blaze O and Emil Roy. 1982. Studies in Fiction. New York: Harper and Row, Publisher, Inc.

Endaswara, Suwardi. 2011. Metodologi Penelitian Sastra. Jakarta: CAPS

Foster, E.M. 1970. Aspect of the Novel. London: Macmillan Education Limited Hamamalian, Leo and Karl, Frederick R. 1967. The Shape of Fiction. McGraw Hill Inc, Printed in United States of American.

Kasim, Razali. 2002. Theory of Literature. Medan: State University of North Sumatera.

Kennedy, X.J. 1983. An Introduction to Fiction, Poetry, and Drama. Canada: Little, Brown & Company Limited.

Muchtar, Iklasiah Rofiqi, 2013. Kekuatan Unsur Intrinsik Cerpen Dalam Kumpulan Cerpen Ah. . . Gerimis Itu Karya Hidayat Banjar: Analisis Struktural. Medan.

Nurgiyantoro, Burhan.1965. Teori Pengkajian Fiksi. Yogyakarta: Gajah Mada University Press.

Shafak, Elif. 2010. The Forty Rules of Love. London: Penguin Books Ltd.

Stanton, Robert.1965. An Introduction of Fiction. New York: Holt, Rinehart and Winston, Inc. Taylor, Richard. 1981. Understanding the Elements of Literature. Hongkong: The Macmillan Press Ltd. Watson, George. 1979. The Story of the Novel. London: The MacMillan Press Ltd

Wellek, Rene and Austin Warren. 1982. Theory of Literature. London: Penguin Book

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APPENDICES

I. Elif Shafak Biography

Elif Shafak is an award-winning novelist and the most widely read female writer in Turkey. Now, she lives in London. She is also a political commentator and an inspirational public speaker. She writes in both Turkish and English, and has published 15 books, 10 of which are novels, including the bestselling The Bastard of

Istanbul and The Forty Rules of Love. Her books have been translated into 47 languages. She is published by Penguin in the UK and represented by Curtis Brown globally.

Shafak is a TED Global speaker, a member of Weforum Global Agenda

Council on Creative Economy in Davos and a founding member of ECFR (European

Council on Foreign Relations). She has been awarded the title of Chevalier de l'Ordre des Arts et des Lettres in 2010 by the French government. She has been featured in major newspapers and periodicals around the world, including the Financial Times, the Guardian, the New York Times, the Wall Street Journal, Der Spiegel, and La

Repubblica.

Shafak has taught at various universities in Turkey, UK and USA. She holds a degree in International Relations, a masters degree in Gender and Women's Studies and a PhD in Political Science. She is known as a women's rights, minority rights and

LGBT rights advocate. As a public speaker Shafak is represented by The London

Speaker Bureau and Chartwell Speakers and Penguin Speakers Bureau.

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Shafak has been longlisted for the Orange Prize, MAN Asian Prize; the

Baileys Prize and the IMPAC Dublin Award, and shortlisted for the Independent

Foreign Fiction Prize and RSL Ondaatje Prize. She sat on the judging panel for the

Independent Foreign Fiction Prize (2013); Sunday Times Short Story Award (2014,

2015), 10th Women of the Future Awards (2015); FT/Oppenheimer Funds Emerging

Voices Awards (2015, 2016); Baileys Women's Prize for Fiction (2016) and Man

Booker International Prize (2017).

II. Short Story About The Forty Rules Of Love

A novel within a novel, The Forty Rules of Love tells two parallel stories that mirror each other across two very different cultures and seven intervening centuries.

Forty-year-old Ella Rubenstein is an ordinary unhappy housewife with three children and an unfaithful husband, but her life begins to change dramatically when she takes a job as a reader for a literary agency. Her first assignment is a novel intriguingly titled Sweet Blasphemy, about the thirteenth-century poet Rumi and his beloved Sufi teacher Shams of Tabriz. The author is an unknown first-time novelist, Aziz Zahara, who lives in Turkey. Initially reluctant to take on a book about a time and place so different from her own, Ella soon finds herself captivated both by the novel and the man who wrote it, with whom she begins an e-mail flirtation. As she reads, she begins to question the many ways she has settled for a conventional life devoid of passion and real love.

At the center of the novel that Ella is reading is the remarkable, wandering, whirling dervish Shams of Tabriz, a mystic provocateur who challenges conventional

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wisdom and social and religious prejudice wherever he encounters it. He is searching for the spiritual companion he is destined to teach. His soul’s purpose is to transform his student, Rumi—a beloved but rather complacent, unmystical preacher—into one of the world’s great poets, the “voice of love.” Rumi is a willing student, but his family and community resent Shams deeply for upsetting their settled way of life.

Rumi is admired, even revered in his community and Shams must lead him beyond the comforts of his respectable way of life, beyond the shallow satisfactions of the ego.

In essence, both Rumi and Ella, through their relationships with Shams and

Aziz, are forced to question and then abandon the apparent safety and security of their lives for the uncertainty, ecstasy, and heartbreak of love. Neither Shams nor Aziz can offer anything like a promise of lasting happiness. What they can offer is a taste of mystical union, divine love, the deep harmony that arises when the false self— constructed to meet society’s demands for respectability—is shed and the true self emerges.

Along the way, Shams imparts the forty rules of love, essential Sufi wisdom that Shams both preaches and embodies. He repeatedly defies social and religious conventions, putting himself in danger and drawing down the scorn and wrath of the self-righteous, literal-minded moralists who surround him. He inspires Rumi to become the poet he was meant to be, one of the world’s most passionate and profound voices of wisdom. Similarly, Aziz—and his story of Rumi and Shams— inspires Ella to step out of a marriage that has become emotionally and spiritually stifling for her.

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