“Little Red-Cap” and “The Company of Wolves”

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THE SHIFTING IMAGE OF WOMEN SEEN THROUGH INTRINSIC ELEMENTS OF SHORT STORY IN “LITTLE RED-CAP” AND “THE COMPANY OF WOLVES”

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters

INDAH KUSUMA ASTUTI

Student Number: 114214046

ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2018

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THE SHIFTING IMAGE OF WOMEN SEEN THROUGH INTRINSIC ELEMENTS OF SHORT STORY IN “LITTLE RED-CAP” AND “THE COMPANY OF WOLVES”

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters

INDAH KUSUMA ASTUTI

Student Number: 114214046

ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2018

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A Sarjana Sastra Undergraduate Thesis

THE SHIFTING IMAGE OF WOMEN SEEN THROUGH INTRINSIC ELEMENTS OF SHORT STORY IN “LITTLE RED-CAP” AND “THE COMPANY OF WOLVES”

By INDAH KUSUMA ASTUTI Student Number: 114214046

Defended before the Board of Examiners on July 9, 2018 and Declared Acceptable

BOARD OF EXAMINERS

Name Signature Chairperson : Ni Luh Putu Rosiandani, S.S., M.Hum ______Secretary : Drs. Hirmawan Wijanarka, M.Hum ______Member 1 : Elisa Dwi Wardani, S.S., M.Hum ______Member 2 : Ni Luh Putu Rosiandani, S.S., M.Hum ______Member 3 : Drs. Hirmawan Wijanarka, M.Hum ______

Yogyakarta, July 31, 2018 Faculty of Letters Sanata Dharma University Dean

Dr. Tatang Iskarna, M.Hum.

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STATEMENT OF ORIGINALITY

I certify that this undergraduate thesis contains no material which has been previously submitted for the award of any other degree at any university, and that, to the best of my knowledge, this undergraduate thesis contains no material previously written by any other person except where due reference is made in the text of the undergraduate thesis

Yogyakarta, June 7, 2018

Indah Kusuma Astuti

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LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS

Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma

Nama : Indah Kusuma Astuti Nomor Mahasiswa : 114214046

Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul

THE SHIFTING IMAGE OF WOMEN SEEN THROUGH INTRINSIC ELEMENTS OF SHORT STORY IN “LITTLE RED-CAP” AND “THE COMPANY OF WOLVES” beserta citragkat yang diperlukan (bila ada). Dengan demikian saya memberikan kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendistribusikan secara terbatas, dan mempublikasikannya di internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin kepada saya maupun memberikan royalti kepada saya selama tetap mencantumkan nama saya sebagai penulis.

Demikian pernyataan ini saya buat dengan sebenarnya.

Dibuat di Yogyakarta Pada tanggal 7 Juni 2018

Yang menyatakan

Indah Kusuma Astuti

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You did a good job today, You worked so hard

-Kim Jonghyun-

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For my family and my best friends

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ACKNOWLEDGEMENTS

My gratitude goes to Ni Luh Putu Rosiandani, S.S., M.Hum, Drs.

Hirmawan Wijanarka, M.Hum and Elisa Dwi Wardani, S.S., M.Hum for the suggestion and encouragement which have helped me to improve my thesis. My gratitude also extends for my academic advisor and all lecturers in English Letters

Department for giving me knowledge and helping me to be a better individual.

I am thankful for my family and friends that have been there for me. They provide me comfort and support when I feel like giving up. For Lima Sekawan

(Oksa, Ardian, Tias and Ayu) and my fellow classmates Daniel, Wiro, Rian and

Emier who also did their best. I feel grateful that they are always beside me in my hard time.

Indah Kusuma Astuti

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TABLE OF CONTENTS

TITLE PAGE ...... ii APPROVAL PAGE ...... iii ACCEPTANCE PAGE ...... iv STATEMENT OF ORIGINALITY ...... v LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH .. vi MOTTO PAGE ...... vii DEDICATION PAGE ...... viii ACKNOWLEDGEMENT ...... ix TABLE OF CONTENT ...... x ABSTRACT ...... xii ABSTRAK ...... xiii

CHAPTER I: INTRODUCTION ...... 1 A. Background of the Study ...... 1 B. Problem Formulation ...... 5 C. Objective of the Study ...... 5 D. Definition of Terms ...... 6

CHAPTER II: REVIEW OF LITERATURE ...... 7 A. Review of Related Studies ...... 7 B. Review of Related Theories ...... 9 1. Theory of Character...... 9 2. Theory of Setting ...... 9 3. Theory of Point of View ...... 10 4. Theory of Feminism ...... 12 C. Theoretical Framework ...... 12

CHAPTER III: METHODOLOGY ...... 14 A. Object of the Study ...... 14 B. Approach of the Study ...... 17 C. Method of the Study ...... 17

CHAPTER IV: ANALYSIS ...... 19 A. Description of Characters, Setting, and Point of View ...... 19 1. Little Red-Cap ...... 19 2. The Company of Wolves ...... 26 B. The Description of Women's Image ...... 33 1. In "Little Red-Cap" ...... 33 2. In "The Company of Wolves" ...... 34 C. The Description of Shifting Image of Women ...... 37 1. From Obedient Person to Rebellious Person ...... 37 2. From Oppressed Person to Confident Person...... 38

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CHAPTER V: CONCLUSION ...... 41 BIBLIOGRAPHY ...... 45 APPENDICES ...... 47 Appendix 1 : "Little Red-Cap" ...... 47 Appendix 2 : "The Company of Wolves" ...... 53

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ABSTRACT

ASTUTI, INDAH KUSUMA. Shifting Image of Women Seen through Intrinsic Elements of Short Story in “Little Red-Cap” and “The Company of Wolves”. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2018.

This study analyzes the shifting image of women seen through intrinsic elements of shorts story in “Little Red-Cap” and “The Company of Wolves”. The intrinsic elements are used to explain thoroughly about shifting image of women through character, setting and point of view. To observe the significance of shifting role of women from feminist perspective is the main purpose of the study. Applying feminist approach, this study has three objectives. First objective is describing the characters, settings, and point of views from the short stories. Second objective is revealing the image of women through the intrinsic elements. Third objective is finding out the shifting image of women from feminist perspective. The library research is used to collect the primary and secondary data from books and journals that related to this study. There were several steps taken in this study. The first step is reading both short stories carefully to understand the characters, settings of the story and point of view that used in the stories. The second step is finding out the image of women from the intrinsic elements. The third step is analyzing the shifting image of women through feminism perspective. There are three findings about this study. First is the description of the characters, settings and point of view of “Little Red-Cap” and “The Company of Wolves”. In “Little Red-Cap” the female characters are an obedient and passive little girl, and a clever grandmother. The male characters are a wicked wolf and powerful huntsman. The setting is in spring time at forest and grandmother house. This story uses omniscient point of view. In “The Company of Wolves” the female characters are a rebellious and assertive little girl, and a weak grandmother. The male characters are a powerful hunter and wicked werewolf. The setting is in winter time at forest and grandmother house. This story uses limited omniscient point of view. Second is the image of women in both stories. In “Little Red-Cap” the image of women are obedient person and oppressed person. However in “The Company of Wolves” the image are rebellious person and confident person. The third is the shifting image of women in “Little Red- Cap” and “The Company of Wolves” from obedient person to rebellious person by making her own decision and from oppressed person to confident person by having strong belief and showing her dominance.

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ABSTRAK

ASTUTI, INDAH KUSUMA. The Shifting Image of Women Seen through Intrinsic Elements of Short Story in “Little Red-Cap” and “The Company of Wolves”. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2018.

Studi ini menganalisa tentang perubahan citra perempuan ditinjau dari unsur intrinsik dalam cerita pendek “Little Red-Cap” dan “The Company of Wolves”. Unsur intrinsik yang digunakan untuk menjabarkan perubahan citra perempuan melalui karakter, latar dan sudut pandang. Untuk meneliti bagaimana pentingnya perubahan citra perempuan yang dapat ditinjau melalui pandangan feminis adalah tujuan utama dari studi ini. Dengan pendekatan feminis, studi ini memiliki tiga tujuan. Tujuan pertama adalah memberi deskripsi karakter, latar dan sudut pandang dari kedua cerita pendek. Tujuan kedua adalah mengetahui citra perempuan yang terlihat dari unsur intrinsik yang telah disebutkan. Tujuan ketiga adalah mengetahui perubahan citra perempuan jika dilihat dari pandangan feminis. Metode penelitian pustaka digunakan untuk mengumpulkan data primer dan sekunder dari buku dan jurnal yang berkaitan dengan studi ini. Ada beberapa langkah yang ditempuh dalam pembahasan studi ini. Pertama, membaca cerita pendek secara mendalam untuk menemukan ketiga unsur intrinsik dari dua cerita pendek yang digunakan. Kedua, menemukan citra perempuan dari unsur intrinsik. Ketiga adalah menganalisa dari pandangan feminis tentang perubahan citra perempuan dari kedua cerita pendek yang telah disebutkan. Ada tiga kesimpulan dalam studi ini. Pertama adalah deskripsi dari unsur intrinsik dalam cerita “Little Red-Cap” dan “The Company of Wolves”. Dalam cerita “Little Red-Cap”, karakter perempuannya adalah seorang anak perempuan yang penurut dan pasif dan seorang nenek yang pintar. Karakter lelakinya adalah serigala yang jahat dan pemburu yang kuat. Latar belakang cerita ini terjadi pada musim semi di hutan dan rumah nenek. Cerita ini menggunakan sudut pandang orang ketiga serba tahu. Dalam cerita “The Company of Wolves”, karakter perempuannya adalah anak perempuan yang pemberontak dan asertif dan seorang nenek yang lemah. Karakter lelakinya adalah pemburu yang kuat dan serigala jejadian yang jahat. Latar belakang cerita ini terjadi pada musim dingin di hutan dan rumah nenek. Cerita ini menggunakan sudut pandang orang ketiga sebagai pengamat. Kedua adalah citra perempuan dalam kedua cerita tersebut. Citra perempuan dalam “Little Red-Cap” digambarkan sebagai seorang penurut dan tertindas. Namun, citra perempuan dalam cerita “The Company of Wolves” Ketiga adalah perubahan citra perempuan dalam “Little Red-Cap” dan “The Company of Wolves” digambarkan sebagai seorang pemberontak dan percaya diri. Ketiga adalah perubahan citra perempuan dari “Little Red-Cap” ke “The Company of Wolves” dari penurut menjadi pemberontak dengan cara mengambil keputusan untuk diri sendiri dan tertindas menjadi percaya diri dengan memiliki keyakinan yang kuat dan menunjukkan dominasinya.

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CHAPTER I

INTRODUCTION

A. Background of the Study

Lukens in her book A Critical Handbook of Children’s Literature, says that “the form of folk literature exist orally rather than in writing, until some collectors find, record and publish them” (1995: 22). The story usually comes from workers when they do manual labor in order to avoid boredom since they have long time working hours. As a result, the stories may come into many versions based on the storyteller’s origin.

In order to preserve the stories that only exist orally, several people start to gather them and write them down into a book with some modification. Two of them are Jacob Grimm and his brother, Wilhelm Grimm who are known as

Brothers Grimm, academics from Germany. Their purpose of collecting those manuscripts is for scholar education since they believe that those tales representing Germany’s culture.

Later after Jacob’s death, Wilhelm Grimm decides to rewrite all the stories for children after 1819. He modifies the stories that implies sexual tension and violence into religious value suitable for children, and publishes the final volume that contains 211 stories as seventh edition in 1857 (Meyer, 2015: 1). Since that time, folktale can also be enjoyed as children literature.

Quoted from The Classic Fairytale, it is said that “Yet the staying power of these stories, their widespread and enduring popularity, suggest that they

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must be addressing issues that have a significant social function—whether critical, conservative, compensatory, or therapeutic” (Tatar, 1999: xi). For example, in the story “Little Red-Cap” from The Grimm Fairytale that acts as compensatory. This story has a message that if children do not obey their parents’ words, bad things will happen because parents know everything.

Grimm is published “Little Red-Cap” original version along with 85 other stories in 1812. The modified version is later published in 1857, which can be categorized as children literature. The main character is described as little girl in holiday who is sent to her grandmother’s house by her mother to bring the old lady bread and wine (Grimms, 2013: 104). Her mother says that the girl should go straight to the old lady house. She must not wander in the wood. Spring time makes her feel distracted by the beauty of nature, along with persuasion from a wolf that she encounters to bring her grandmother a little bouquet of wild flowers.

She falls into the wolf’s trap and gets eaten by the beast. Fortunately, both Red-

Cap and her grandmother are saved by a hunter. Experiencing that incident, she promises to herself that she will obey her mother’s word. In the second time, Red-

Cap ignores a wolf she meets in the wood and goes straight to her grandmother’s house. Later, the old lady gets rid of the wolf that follows her grandchild and no wolves ever try to harm the little girl again.

Narrative type of telling also smoothen the tension from issues that put up in the story. It tells the living under oppression, yet they can depict the circumstances with dignity (Tatar, 1999: 15). This circumstance makes some of radical feminists feel irritated since gender image are embedded strongly in

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folktales. Since folktale has indefinite interpretation, the stories going around are varies, some of them are even considered as sexist folktale which can degrade both men or women (Tatar, 1999: xvi-xvii).

To fulfill the gap in interpreting the stories, some writers start to replicate the style and spirit of folktale into their work, such as Hans Christian Anderson and Charles Dickens. The sexist folktale also triggers feminist writers to imitate this style and recreate a new story other than criticize or make parody of the existing story. One of the authors who contribute with her work is Angela Carter

(Tatar, 1999: xviii).

Carter writes “The Company of Wolves” whose main character is an anonymous girl wearing red shawl (1993: 134). Main character in Carter’s story is described as a child that lives in savage country. Instead of being sent by her mother like in “Little Red-Cap”, she insists on going to her grandmother’s house even in the worst day of winter. She meets a handsome hunter in the wood and makes a bet with the man. If the man arrives at her grandmother safely with his compass, she will give him a kiss. Smitten by the man, she slows down her pace and lets the man wins. Sadly, the hunter is actually a werewolf that devours her grandmother. Later, she is stop being afraid of the werewolf since it is not help her with anything and decides to sleep with the werewolf..

Published in 1979, the story is a part of novella The Bloody Chamber, along with other eight stories by Victor Gollancz. At a glimpse, the characters in

“Little Red-Cap” and “The Company of Wolves” may seem similar because both main characters are girls who wear red clothing, going to her sick grandmother

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and encountering a wolf in the wood. However, if the stories being observed, they have some differences.

“Little Red-Cap” and “The Company of Wolves” come from huge gap of years. The difference in character, setting and point of view are influenced by the circumstance of the author and the purpose of the works.

The purpose of this study is to compare the intrinsic elements of two stories in order to define the shifting of women’s image in the story between

“Little Red-Cap” and “The Company of Wolves”. Steven Totosy de Zepetnek also comments that “comparative literature means the knowledge of more than one national language and literature, and or it means the knowledge and application of other disciplines in and for the study of literature” (1998: 13).

The idea of feminism that portrayed in “The Company of Wolves” starts to spread after many women realize that they have the same privilege as men. That action emerges as the belief that women also have right and voice to be heard.

Feminism wave starts to gain the power in the early 1900s, which is in

Progressive era when middle and upper-class women have the same privilege like education, healthcare, the right to vote and much more.

Angela Carter also becomes a feminist by spreading it through her literary works. She writes stories that have strong female character and sometimes touches the area considered as taboo, like in “The Company of Wolves” that shows how the main character expresses her sexual desire. Unlike “Little Red-Cap” that still implies strong gender oppression, “The Company of Wolves” directly portrays woman who can fight for herself.

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Thus, by analyzing the shifting image of women, this study is able to prove several things. First, the role of women is affected by the environment in which they live in. Second, the things that are experienced by the female main characters in both stories may be different if they are given chances to express her own thought and choice.

B. Problem Formulation

To be able to draw conclusions, this study provides three questions that need to be answered.

1. How are characters, settings, and point of views presented in “Little Red-Cap”

to “The Company of Wolves”?

2. What is the women’s image revealed through the intrinsic elements of both

stories?

3. How is the shifting image of women from “Little Red-Cap” to “The Company

of Wolves” as seen through feminism perspective?

C. Objectives of the Study

In relation with the problems formulated above, this study will describe, compare and disclose the similarities and differences from “Little Red-Cap” and

“Company of Wolves” as seen through feminism perspective. The first objective of the study is to describe the characters of women and men, settings, and point of views presented in “Little Red-Cap” and “The Company of Wolves”. The second objective of the study is to identify the image of women revealed through those

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elements that are mentioned above. The third objective is to identify the shifting image of women in “Little Red-Cap” to “The Company of Wolves” as seen through feminism perspective.

D. Definition of Terms

There are three terms often used in this study. First are intrinsic elements of short story. Second is feminism. Third is image of women.

Wellek and Warren state that intrinsic element or intrinsic aspect is part that build literary creation itself (1990: 283). The intrinsic elements that build the literary works include: character, theme, setting, point of view, style, atmosphere and plot (Kenney,1966: 7).

According to Magie Humm in The Dictionary of Feminism Theory, feminism is the combination of a doctrine of equal rights for women (the organized movement’s to attain women’s rights) and an ideology of social transformation aiming to create a world for women beyond simple equality (1990:

74). In general, feminism is the ideology of women’s liberation since intrinsic in all its approaches is the belief that women suffer injustice because of our sex

(1990: 74).

Definition of image in this study that taken from Oxford Advanced

Learner’s Dictionary of Current English is the impression that a person gives to the public and a mental picture of what somebody is like or look like (2010: 748).

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CHAPTER II

REVIEW OF LITERATURE

A. Review of Related Studies

In this part, there are two studies related to Grimms’ “Little Red-Cap” and Carter’s “The Company of Wolves” from different writers. The first study is a master’s thesis written by Karen Knoph-Bjørneveoll entitled “Who’s Afraid of

Big Bad Wolves?”. The second study is a master’s thesis written by Tina-Louise

Reid entitled “From Cap to Cloak: The Evolution of “Little Red Riding Hood” from Oral Tale to Film”.

The first study is a master’s thesis written by Karen Knoph-Bjørneveoll entitled “Who’s Afraid of Big Bad Wolves?”. It is related to the difference of symbolism between oral and written version of folktale “Little Red-Cap” by

Grimm Brothers and “Little Red Riding Hood” by Charles Perrault.

When we explore the two chosen literary fairy tales, Little Red Riding Hood/Red Cap by Perrault and the Grimms, moreover, we see that the symbolism changes. The tale does not depict a girl’s initiation into adulthood as in oral versions, instead we are presented with a girl who missteps and is made an example of in terms of what will happen if patriarchal rules are not followed. Thereby, the patriarchal values become the focus of these tales (Knoph-Bjørneveoll, 2015: 10).

Symbolism in oral version changed when it is adapted into written version of

“Little Red Riding Hood” and “Little Red-Cap”. The oral version symbol is about one’s initiation into adulthood. However, in written version, the symbol becomes a consequence that one’s should accept because she does not follow patriarchy rules which symbolized as parent’s order or warning. Knoph-Bjørneveoll says that

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“the two novels employ the fairy tale of “Little Red Riding Hood” to partly contest and partly repeat the effects of a patriarchal ideology on the lives and the minds of women (2015: 1).

The difference between this study and the previous study is both object of study is the form of literary work. The previous study presents about how the oral fairytales are shifted into written fairytale in which both stories still contain the issue of patriarchy.

The second study is a master’s thesis written by Tina-Louise Reid entitled “From Cap to Cloak: The Evolution of “Little Red Riding Hood” from

Oral Tale to Film”. The second study is related into short story “The Company of

Wolves” that its main goal is to discover shifting image of women between

Grimms’ “Little Red-Cap” to Carter’s “The Company of Wolves” and the movie adaptation titled The Company of Wolves (1984). However, the purpose of this study is only to discover the shifting image of women from “Little Red-Cap” to

“The Company of Wolves”.

This study presents about “the evolution of the mythos in the original

Little Red Riding Hood fairy tale, its progression and eventual reworking in

Carter’s literary and filmic takes, as she shifts the focus from the frightened, naïve girl clad in red, reliant on male heroes to the sexually awakened, self-reliant young woman in a crimson cape” (Reid, 2012: iii). There is also a changing progress on how the girls’ dependent character becomes independent character.

Not only focusing in the female character, this study also focuses on the male characters that affect the female characters in the stories unlike the previous

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studies. Furthermore, this study also focuses on setting and point of view. It is used to understand more about the shifting image of women that happened in both of stories.

B. Review of Related Theories

1. Theory of Character

Abrams states in his book A Glossary of Literary Terms: Seventh Edition that characters are defined as person portrayed in story who have morals, intelligences, emotional qualities, that can be identified by the reader (1999: 32-

33). These qualities can help readers to identify persons’ characteristic from the dialogue, the action and the motivation.

This is a theory used to analyze the characters in the story. First is from the dialogue. It is about the way a person says about something or has a particular way to talk. Second is from the action. It is what a person does in the story. The third is from the motivation. It is the grounds of a person’s temperament, desires, and moral nature for his or her speech and actions (Abrams, 1999: 32-33).

2. Theory of Setting

Based on A Critical Handbook of Children’s Literature, setting is the

depiction of character and working out of plot and theme, occurs in time and

place (Lukens, 1995: 112). It can be categorized into two types, backdrop setting

or unimportant setting and integral setting or essential setting.

The first type is backdrop setting or unimportant setting in which setting is

not really affecting the development of the story or character. It may merely

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describe as rather dark place with some trees for forest or stall and people for

market.

The second type is integral setting or essential setting. Setting can be

categorized as essential if it is affecting the development of character or plot of

the story. For example, a character that lives in savage place may have a distinct

characteristic from another character that lives in luxurious place (1995: 113-

114).

Place and time are important points in setting. Since place and time helps

the reader to imagine where and when the story happens. In several stories, the

description of setting is also influenced character, conflict and theme

(1995:111).

3. Theory of Point of View

Lukens in her book A Critical Handbook of Children’s Literature says that point of view in literature is a perspective used in the story that leads the reader on how the story goes on. In another word, it is how the writer decides the narrator of the story and how much the narrator knows about the story (1995: 133).

Point of view is divided into four types. They are first-person point of view, omniscient point of view, limited omniscient point of view and the objective or dramatic point of view.

The first type is first-person point of view. The reader will see the story from the first-person perspective “I”. First person point of view has limitation in which the reader cannot tell what a character thinks without being told by another character. This point of view is not only used by the protagonist of the story but

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sometimes used by a minor character that observes and tells what the protagonist

is doing (1995: 134-135).

The second type is omniscient point of view. The writer of the story places the narrator as the third person (he, she, they). For this type point of view, the narrator of the story does not have limitation, unlike first point of view. The narrator has freedom to reveal the characters’ information from detailed action, thought, and feeling (conscious and unconscious). If necessary, the story may have flashback of events or reveal the future of the characters in the story in details

(1995: 134-138).

The third type is limited omniscient point of view. The narrator of the

story also takes place as the third person. Unlike the second type, in this case the

narrator will concentrate only on protagonist or central characters. The author has

the freedom to reveal characters’ thought, beliefs, what they hear and see, and

their feeling. It is like seeing the story from the characters’ eyes (1995: 134-139).

The last type is the objective or dramatic point of view. It is still using the

third person although this point of view does not explain what is going on in the

story to reader. Hence, it just informs the reader like a camera in motion picture

that only shows and cannot interpret the situation or give comment. This point of

view lets the reader draw their own conclusion (1995: 134-140).

4. Theory of Feminism

In The Dictionary of Feminism theory, feminism is described as an

ideology about women liberation. One of ‘Women Movement’ products that start

in 1960 is feminist literary criticism that focuses on women and literature. At first,

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this movement is about the presentation of women in literary works and the importance of women’s role (Barry, 2002: 122). As time goes by, this movement’s value is not only influenced literary works but also influenced daily life (Barry, 2002: 122).

Then, in the 1980s, in feminism as in other critical approaches, the mood changed. Firstly, feminist criticism became much more eclectic, meaning that it began to draw upon the findings and approaches of other kinds of criticism - Marxism, structuralism, linguistics, and so on. Secondly, it switched its focus from attacking male versions of the world to exploring the nature of the female world and outlook, and reconstructing the lost or suppressed records of female experience. Thirdly, attention was switched to the need to construct a new canon of women's writing by rewriting the history of the novel and of poetry in such a way that neglected women writers were given new prominence (Barry, 2002: 122).

According to the quotation above, those points are the proof of the improvement from the 1960’s movement. Rather than keep attacking male’s version of the world, feminist criticism starts to switch into exploring women’s world and how women are aware of themselves. This movement is encouraging the value promotion of women’s image and role in literary works, and increasing the amount of female authors.

Also in Literary Criticism: An Introduction to Theory and Practice written by Charles E. Bressler, there is a statement from Elaine Showalter about evolution in female writing (1999: 184). She believed that there are three phases of evolution: the feminine phase (1840-1880), the feminist phase (1880-1920) and the female phase (1970-now). During the female phase, feminist critics are focused to develop female understanding of the female experience in art. This is including a feminine analysis of literary forms and techniques (1999:184).

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C. Theoretical Framework

The subjects of this study are “Little Red-Cap” by Brothers Grimm and

“The Company of Wolves” by Angela Carter. The focus of this study is how the girls’ character from both of stories portrays the shifting image of women. The study analyzes both characters using theory of character, setting and point of view.

In order to analyze the intrinsic elements of the stories, there are several theories employed. The characters will be identified by the theory of character which works along the theory of setting and point of view. Theory of setting and point of view are applied to find out on how those elements affect the development of the characters. Feminism as approach refers to how women have the same quality like men in choosing their path of life. The shifting can be seen through the difference of characters in “Little Red-Cap”and “The Company of

Wolves”.

This study focuses on how “Little Red-Cap” and “The Company of

Wolves” present the shifting image of women as seen through their main female characters. Since this study also focuses on women, theory of feminism is suitable to understand about the intrinsic elements of the stories that indicate the image of women shifting from the first into second story. Thus, it helps this study to understand how women’s image is shifting when women live under oppression to when women are not live under oppression.

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CHAPTER III

METHODOLOGY

A. Object of the Study

There are two objects of the study in this undergraduate thesis. The first object of the study is “Little Red-Cap”. The second object of the study is “The

Company of Wolves”.

The story “Little Red-Cap” is included in the first edition of Brothers

Grimm’s collection Children's and Household Tales (Kinder- und Hausmärchen) published in 1812. After the death of Jacob Grimm; his brother, Wilhelm Grimm revises the story to be more suitable for children to read. The revised version of

“Little Red-Cap” is published in the later edition and it is becoming the better- known version in the 1857.

There is also a movie adaptation based on “Little Red-Cap” entitled Red

Riding Hood. It is an American-Canadian dark fantasy historical romance movie directed by Catherine Hardwicke in 2011. However this adaptation does not have positive response as it is included in 2011 Top 10 Worst Movie by Time magazine.

“Little Red-Cap” is a story about a Red-Capped little girl. She goes to her grandmother’s house in the wood to bring meals for her sick grandmother. In the road, she meets a wolf. The wolf tries to manipulate her to disobey her mother by coaxing the little Red-Cap to wander in the wood. Coaxed by the wolf, the

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little Red-Cap decides to wander in the wood. When the girl is wandering in the wood to pick flowers, the wolf goes to the grandmother’s house.

The old woman is deceived by the wolf that pretends to be her granddaughter and swallows her. Later, when the girl arrives at her grandmother’s house, she feels that there is something different with her grandmother. She does not know that actually it is the wolf that pretends to be her grandmother. When she asks “her grandmother” about the difference that she feels, she becomes suspicious of her grandmother’s true identity. The wolf, does not want to be find out about his identity decides to swallow her too.

The wolf is asleep since he feels full. The wolf snores really loudly in his sleep. The loud snore makes a passerby hunter who knows the grandmother curious as he never hears the loud snore before when he passes by. The hunter then decides to check the house. When he sees the wolf that sleeps with his big stomach, the hunter assumes that the grandmother is swallowed by the wolf. The hunter then decides to save the grandmother by cutting the wolf’s stomach. He is surprised that he also finds the little Red-Cap in the wolf’s stomach.

After little Red-Cap’s experience being swallowed by the wolf, she swears that she will not disobey her mother again. The next time she meets another wolf, she ignores it and goes straight to her grandmother’s house. Even being stalked by the wolf, she is still safe because her grandmother helps her to get rid the wolf.

With her grandmother’s help, the little girl can go home safely and no wolves dare to trick her again.

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The second object of study is a short story by Angela Carter entitled “The

Company of Wolves”. It is the ninth story from Carter’s novella entitled The

Bloody Chamber. The novella contains a collection of ten short stories. It is first published in the United Kingdom in 1993 by Gollancz and winning the

Cheltenham Festival Literary Prize. In 1984, “The Company of Wolves” is adapted into a movie directed by Neil Jordan with the same title. In the movie adaptation, Carter is co-writing the screenplay with Jordan. The movie adaptation gains positive response; as it receives an award and becomes nominees in several awards.

“The Company of Wolves” by Angela Carter contains two stories. The preceding story is about the origin of a werewolf. A witch is betrayed by her spouse on the wedding day. On the force of her anger, she curses his family and makes them as a werewolf. From that time, there was a belief among the villagers that you should run as far as you can if you find a naked man in the wood.

Years later, a girl walks to the wood to visit her grandmother in Christmas

Eve and meets a handsome hunter in the middle of her journey. They make a bet; to compete to be the first who arrives at the grandmother’s house. As a reward, if the hunter wins he will be kissed by the girl. The girl purposely loses in order to kiss the hunter because she actually wants it. The hunter who is actually werewolf arrives the house first. He eats the grandmother and waits for the girl. Later she knows the truth that her grandmother is dead and she cannot go out from the house as it is already surrounded by a pack of wolves. The story ends with the girl happily sleeps with the werewolf.

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B. Approach of Study

Since this study focuses on the shifting image of women, the approach that used for this study is feminist criticism. Barry states feminist criticism switches its focus from attacking male versions of the world to explore the nature of the female world and outlook, and reconstruct the lost or suppressed records of female experience (2002: 122).

It is also stated in Encyclopedia of Feminist Literary that feminist is implying an intellectual commitment to achieve gender, class, and racial equality and it often sees all aspect of culture, especially literature as the site to transfer the ideas (Kowaleski-Wallace, 2009:vii). From feminist point of view as the approach, it will be used to find out the relationship between two stories from the comparison of both stories’ intrinsic elements.

C. Method of the Study

This research was a library research. The main sources of the thesis were the folktale “Little Red-Cap” by Brothers Grimm and short story “The Company of Wolves” by Angela Carter. The secondary sources were theoretical books and journals that related to comparative studies and feminism which related with the study.

There were several steps taken in this study. The first step was to read both

“Little Red-Cap” and “The Company of Wolves” carefully to understand the characters, settings of the story and point of view that used in the stories. After

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reading the stories, this study then analyzed the characters, setting and point of view from both stories.

Then, from the elements that have been listed, observed the differences that have been found with feminism approach. It related with how the female characters could decide their action without being interfered by the males. Next, the result of different intrinsic elements would reveal that the image of women from “Little Red-Cap” and “The Company of Wolves” was present.

Later, the changing of intrinsic elements would be analyzed through feminism perspective to found the shifting image of women in “Little Red-Cap” to “The Company of Wolves”. The result of the analysis would be the answer of the last problem.

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CHAPTER IV

ANALYSIS

In this chapter, the analysis is divided into three sections based on the formulated problem. The first part is the description of the characters, settings, and point of views presented in “Little Red-Cap” and “The Company of Wolves”.

The second part is the explanation of image of women in both stories, revealed through elements that have been mentioned above. The third part is the shifting image of women seen through feminism perspective.

A. Description of Character, Setting, and Point of View

In this section, this study describes the character, setting and point of view presented in the stories. The description of the intrinsic elements in both stories is divided into two parts. The first part is “Little Red-Cap” and the second part is

“The Company of Wolves”.

1. Little Red-Cap a. Characters

Characters are persons who are portrayed in story that have morals, intelligences, emotional qualities that can be identified by the reader (Abrams,

1999: 32-33). These qualities can help readers to identify the character through the dialogue between characters, action, and motivation.

The characters in this story are:

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i. Little Red-Cap

The main character in this story is described as an obedient little girl. She can be described as an obedient little girl because of her action to gladly comply her mother’s order to bring cake and wine for the sick grandmother whose house inside the wood (Grimm, 2013: 103). This also can be seen when this little girl meets a wolf that coaxes her to look around and pick flowers (2013: 104). The girl wanders into the wood and picks flower like the wolf said.

In this story, the little girl is also being passive when something happens.

Being passive means that she is accepting what people do to her without changing or trying to fight. When she and her grandmother are inside the wolf’s stomach, the little girl does not try to get out or cry for help. Fortunately, the little girl and the old woman are saved by a passerby hunter who is curious from a loud snore coming from the house (2013: 106).

Another event is when she tells her grandmother about the wolf she meets before, later her grandmother is the one that has plan to chase out the wicked wolf that follow her grandchild to the house (2013: 106-107). The little girl only follows her grandmother instruction to bring out the sausage water to the through as the bait (2013:107). ii. Grandmother

From the story, she is seen as clever woman. She can be describes as clever because of her idea to save her grandchild. At the end of the story she saves her grandchild by pulling a trick to kill the second wolf which follows her grandchild to her house (Grimm, 2013: 106). She uses the leftover water from

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boiling sausages and places it in great stone trough in front of the house. The smell of sausages tempts the wolf that waits Red-Cap on the rooftop. It loses its footing when trying to peek before the wolf drowned to death in the trough

(Grimm, 2013: 106-107).

iii. Wolves

The wolves are mostly depicted as a wicked creature based on their ulterior motive which means that they are morally bad. They are be considered as morally bad since they tricks people and use their power to abuse the weaker. The wolves think that a little girl and sick woman are weak and easy prey.

In the beginning the wolf tricks her by coaxing the little girl to take a walk in order to buy some time for him to get into her grandmother’s house (Grimm,

2013: 104). Later, the wolf disguises itself as Little Red-Cap and successfully barges in the house then swallow the sick woman. After that it pulls the same trick and swallows the little girl (Grimm, 2013: 105). The second wolf also tries to make the little girl wander to the forest and disguise itself as Little Red-Cap.

When the plan fails, the wolf climbs to grandmother’s roof and waits for Little

Red-Cap (Grimm, 2013: 106). iv. Huntsman

The passing-by huntsman is considered as a powerful character based on his action. By powerful, it means that he is strong and is able to react quickly. At first, the huntsman plans to shoot the wolf. However after seeing the bulging stomach, he changes his mind quickly and decides to cut it with a pair of scissors.

He thinks that the wolf may eat the old woman because the house also empty

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(Grimm, 2013: 106). His intuition is right since when he cuts the wolf’s stomach he finds the old woman with her grandchild inside (Grimm, 2013: 106). b. Settings

Setting is the representation of how the plot makes sense of a character and takes place in the story (Luckens, 1995: 112). This study uses integral setting since the development of the character in this story is influenced by the setting.

There are two kinds of settings found in “Little Red-Cap”. First is setting of time. Second is setting of place.

i. Setting of time

Setting of time is related to when this story happens. “Little Red-Cap” happens in spring. This is shows in

Little Red-Cap raised her eyes, and when she saw the sunbeams dancing here and there through the trees, and pretty flowers growing everywhere, she thought: ‘Suppose I take grandmother a fresh nosegay; that would please her too. It is so early in the day that I shall still get there in good time’; and so she ran from the path into the wood to look for flowers (Grimm, 2013: 104).

As mentioned before, there are several descriptions of spring by Thomas

Ferber in his book A Dictionary of Literary Symbols. Spring is described as the most celebrated season of the year. It is because in this season the day is longer and the coldness from winter starts to fade. Also spring is the season when the flower starts to bloom (1999: 199-201). ii. Setting of place

Setting of place is related to where this story happened. There are two places shown in “Little Red-Cap”. Mostly the events happen in the forest and grandmother’s house.

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The first place is the forest when Little Red-Cap starts her journey to her grandmother’s house and meets the wicked wolves (Grimm, 2013: 103-104).

Based on A Dictionary of Literary Symbols, forest is described as dangerous place with the difficult environment to handle for people (Ferber, 1999: 78). “Forests are traditionally dark, labyrinthine, and filled with dangerous beasts” and the dangerous beast in this story is depicted by the wolves (Ferber, 1999: 78).

The dangerous forest is presented again as the place where Red-Cap goes to grandmother’s house for the second time and meets another wolf (Grimm,

2013: 106). However in the dangerous situation can be avoided since Red-Cap ignores the wolf that tries to talk to her (Grimm, 2013: 106).

The second place is grandmother’s house where the wolf tricks grandmother then swallows her. “The house is located approximately 1,4 miles in the wood, under three large oak-trees with a nut-tree below (Grimm, 2013: 104)” this is what Red-Cap says when she talks to the wolf. In that house the grandmother and Red-Cap experience of being swallowed by the wolf.

Fortunately they are saved by a passerby hunter (Grimm, 2013:105-106). It is also the place where grandmother kills the second wolf for her grandchild’s safety

(Grimm, 2013: 107).

Spring is the reason why little red-cap wanders to the wood after talking with the wolf. The way the wolf coaxes her about the beauty of the wood in spring makes the little girl excited. She cannot enjoy the beautiful wood when she should go to school (2013:104). The merry atmosphere of spring is influenced the little girl to obey the wolf’s word.

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c. Point of View

“Little Red-Cap” has omniscient point of view, as commonly uses in

Folktale (Lukens: 1995: 31). Omniscient point of view’s role is to widely introduce the reader about the circumstances in the story, besides culture, it also reveals the relationship between little Red-Cap and other characters (Lukens,

1995: 138). From the revelation that the writer of the story conducts, reader can enjoy the story leisurely.

Once upon a time there was a dear little girl who was loved by everyone who looked at her, but most of all by her grandmother, and there was nothing that she would not have given to the child. Once she gave her a little cap of red velvet, which suited her so well that she would never wear anything else; so she was always called ‘Little Red- Cap’ (Grimm, 2013: 103).

The main character is described by the writer of the story. The writer informs about how the girl gets so much love, especially her grandmother. The writer of the story also explains about her nickname which comes from a red little cap that she wears every time.

The writer of the story also tells the reader where the grandmother lives in the wood, half a league from the village and Red-Cap enters the wood she meets with a wolf (Grimm, 2013: 103-104). The reader does not need to wait for Red-

Cap’s journey in order to know where the house is. It helps the reader to imagine how far the main character’s trip in order to reach her destination.

There are several parts when the writer of the story tells the reader about the characters’ thought. First is when the little Red-Cap meets the wolf in the first time. Little Red-Cap does not know the wolf that she meets on the road is a wicked creature. Thus, she does not afraid of the wolf (Grimm, 2013: 103). From

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the mentioned part before, the reader knows that the main character does not afraid of the wolf and talks to the wolf because she does not know that the wolf is wicked.

The writer of the story also tells the reader about the wolf’s thought when he meets Red-Cap.

The wolf thought to himself: ‘What a tender young creature! what a nice plump mouthful—she will be better to eat than the old woman. I must act craftily, so as to catch both.’ So he walked for a short time by the side of Little Red-Cap, and then he said: ‘See, Little Red-Cap, how pretty the flowers are about here—why do you not look round? I believe, too, that you do not hear how sweetly the little birds are singing; you walk gravely along as if you were going to school, while everything else out here in the wood is merry’ (Grimms, 2013: 104).

From the quote above, the writer of the story informs the reader about the wolf’s real intention. He coaxes Red-Cap to wander into beautiful forest, but he has wicked plan inside his head. This also reveals the true character of the wolf as an evil creature that has been mentioned above.

The huntsman drew off the wolf’s skin and went home with it; the grandmother ate the cake and drank the wine which Red-Cap had brought, and revived, but Red-Cap thought to herself: ‘As long as I live, I will never by myself leave the path, to run into the wood, when my mother has forbidden me to do so’ (Grimm, 2013: 106).

After being rescued by the huntsman, the writer of the story reveals Little

Red-Cap’s thought about not wandering around when going to the wood another time because she already knows about the wicked wolf. In her next trip, she avoids the wolf that coaxes her to look around the forest.

Being ignored by little Red-Cap, the wolf follows her into the grandmother’s house and waits for his chance to pounce her on her way back.

Fortunately, her grandmother knows the wolf’s dirty trick and she asks her

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grandchild to help her in order to get rid of the wolf for the her safety. Later the wolf falls into the grandmother’s trap and dies. From that day onwards there are no wolves dare to harm little Red-Cap (Grimm, 2013: 107).

Lukens mentions that omniscient point of view as part of giving readers helpful information, the writer of the story explains about parts that essential for the story. The thought and circumstances surrounding the characters helps readers to understand the story (1995: 138).

2. The Company of Wolves a. Characters

In this part, the writer discusses about the characters that appears in “The

Company of Wolves”. It is related to Abrams’ theory about how to make reader

understand about the characters in the story. The character can be identified by

the particular way of person to talk, something that they do or their motivation

(1999: 32-33).

The characters in this story are:

i. Heroine

The main female character in “The Company of Wolves does not have any name or nickname. This study refers her as heroine since she is the main female character in this story, also to distinguish her from Red-Cap and avoid mixing them up.

The heroine is depicted as a rebellious character. Being rebellious it means that she is showing her disagreement from an order.

It is the worst time in all the year for wolves but this strong-minded child insists she will go off through the wood. She is quite sure the wild beasts

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cannot harm her although, well-warned, she lays a carving knife in the basket her mother has packed with cheeses. There is a bottle of harsh liquor distilled from brambles; a batch of flat oatcakes baked on the hearthstone; a pot or two of jam. The flaxen-haired girl will take these delicious gifts to a reclusive grandmother so old the burden of her years is crushing her to death (Carter, 1993: 134).

This girl also believes that wolves cannot hurt her because she brings a knife in her basket. Thus, despite of the bad thing that may happen, she is not afraid since she has her knife to protect herself from wolves or other creatures that try to harm her.

She is quite assertive in expressing herself. In this story, being assertive means that she is expressing her thought or her desire with confidence. This quality also includes in her rebellious act. The heroine says to her mother that she should bring something to her old grandmother on Christmas Eve (Carter, 1993:

134).

Is it a bet? he asked her. Shall we make a game of it? What will you give me if I get to your grandmother's house before you? What would you like? she asked disingenuously. A kiss (Carter, 1993: 135-136).

She subtly asks about what kind of prize that the hunter wants for their bet. After she knows what the hunter wants, she plans to let the hunter wins (Carter, 1993:

136).

Her assertiveness is shows when she is in a dangerous situation. When she is aware that she has nowhere to go, because a pack of wolves is already surrounding the house, she decides to sleep with the werewolf (Carter, 1993: 139).

She is considered as being cautious because she is aware of the dangerous situation around her. She is also quick to react when something happens. The

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heroine quickly takes out her knife from the basket when she hears the sound of

wolf’s howl (Carter, 1993: 135). Even when something bad does not happens, she

has the quick reaction that helps her from being attacked.

ii. Grandmother

The grandmother is depicted as being weak. She is considered as weak

because she cannot do anything to save herself from the werewolf.

You can tell them by their eyes, eyes of a beast of prey, nocturnal, devastating eyes as red as a wound; you can hurl your Bible at him and your apron after, granny, you thought that was a sure prophylactic against these infernal vermin ... now call on Christ and his mother and all the angels in heaven to protect you but it won't do you any good (Carter, 1993: 137).

She cannot try to protect herself because she is already old and sick for nine

months (Carter, 1993: 136). Even she has something like bible or apron that can

be tools to protect her, she does not have enough strength to use it.

In “The Company of Wolves”, the male character has two forms. The first

appearance is in the form of human when meeting the heroine in the forest as

hunter. However, after he arrives in the grandmother’s house he transforms into

werewolf. iii. Hunter

As a hunter, he is described as powerful from the way he acts toward the

heroine. In this character powerful means he is slowly making the heroine letting

her guard down. At first, he offers to bring her basket and promises that his rifle

will protect them (Carter, 1993: 135). After that, he shows and boasts about his

compass, he says that he will not get lost in the wood if he has the compass with

him (Carter, 1993: 135).

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Later, he challenges the heroine that he can arrive at her grandmother’s house by using compass. The challenge turns into a bet and it makes the heroine wants to be the one who loses since the hunter ask her kiss as a prize. He already knows that the heroine takes interest in him (Carter, 1993: 135-136). iv. Werewolf

Similar to wolf in “Little Red-Cap”, he is considered as wicked creature because he tricks the heroine’s grandmother. He knocks the door of the old woman house and imitates her granddaughter’s voice (Carter, 1993: 136-137).

The trick makes him able to go into the house. Later, he transforms into werewolf and eats the old woman to satisfy his hunger.

In his werewolf form, he also tricks the heroine by hiding under grandmother’s blanket, pretending to be the old woman after hiding her grandmother’s bones (Carter, 1993: 138). The heroine also falls in his trick. She even feels disappointed as she thinks that the hunter is late.

The werewolf is also described as powerful character. In this character, powerful means that he can make the other characters feels scared by his presence. Before the heroine comes, the werewolf show himself to the grandmother with her granddaughter’s basket and the old women already feels scared if something bad happened to the heroine (Carter, 1993: 137). The werewolf also scares the heroine by staring straight into her eyes when the heroine is trying to pull her knife from the basket (Carter, 1993: 55).

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b. Setting

Setting is the depiction of character and working out of plot and theme that occurs in time and place (Lukens, 1995: 112). Setting can be categorized as essential if it affects the development of character or plot of the story.

There are two kinds of settings that show in “The Company of Wolves”.

First is setting of time. Second is setting of place.

i. Setting of time

Setting of time is related to when this story happens. “The Company of

Wolves” happens in winter. This shows in

Winter is related with the time when the weather can be bad any times.

The cold weather also dangerous and could make people get trouble because it can freeze them to death (Carter 1993: 34). ii. Setting of place

Setting of place is related to where this story happens. There are two places in “The Company of Wolves”. Mostly the events happen in the forest and grandmother’s house.

The first place is the forest in which the heroine starts her journey to grandmother’s house and meets the handsome hunter. According to A Dictionary of Literary Symbols, forest is a dangerous place with the difficult environment to handle. It is the place where the beast wanders (Ferber, 1999: 78). She also makes a bet with him in which if he arrives first in her grandmother’s house she should

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give him a kiss. The heroine let the hunter to arrive at her grandmother’s house first on purpose (Carter, 1993: 136-137).

The second place is the grandmother’s house where the handsome hunter transforms into werewolf and eats her grandmother. He also tricks the heroine into the house that later she knows there is no way to run because the house is already surrounded by the wolves (Carter, 1993: 138-139). In the end she sleeps with the werewolf and stays (Carter, 1993: 129).

The heroine’s character is affected by setting of time and place. Since the story takes place in forest at winter time, the heroine is being assertive and cautious. Her assertiveness is the proof that she knows how to protect herself and solve her problem. Also she is being cautious because she knows that the bad weather and the forest both are dangerous (1993:135) c. Point of View

Limited omniscient point of view is commonly used in literary works both for children and adult literature. The writer of the story takes place as the third person (he, she, they) (Lukens, 1995 :134). For this type, the writer sees story from the eyes of the main character or in some occasion the writer includes some of characters. Everything that happens in the story is revealed to the reader from thought, circumstance and feeling of the characters (Lukens, 1995:138).

In “The Company of Wolves”, Angela Carter uses limited omniscient point of view. As in the beginning of the story, the writer tells the reader about the relationship between the heroine and other characters in the story.

“Children do not stay young for long in this savage country. There are no toys for them to play with so they work hard and grow wise but this one,

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so pretty and the youngest of her family, a little late-comer, had been indulged by her mother and the grandmother who'd knitted her the red shawl that, today, has the ominous if brilliant look of blood on snow” (Carter, 1993: 134).

The heroine lives in an uncivilized country with her family. She is the youngest children who loved by her mother and grandmother. Her grandmother gives her a handmade red shawl that looks stunning to wear today because the color is contrasting with the snow outside.

“She stands and moves within the invisible pentacle of her own virginity. She is an unbroken egg; she is a sealed vessel; she has inside her a magic space the entrance to which is shut tight with a plug of membrane; she is a closed system; she does not know how to shiver. She has her knife and she is afraid of nothing” (1993: 134).

The writer of the story reveals the feeling of the heroine that she feels protected. She believes that her current situation makes her safe from any bad things outside. She also has her weapon which makes her sure about her safety.

Heroine’s thought is also revealed within this sentence she also believes that if she wanders from the certain road that leads to her grandmother house, she will get lost (Carter, 1993: 134). This thought comes when the hunter shows her his compass.

“She wanted her knife from her basket but she did not dare reach for it because his eyes were fixed upon her--huge eyes that now seemed to shine with a unique, interior light, eyes the size of saucers, saucers full of Greek fire, diabolic phosphorescence” (Carter,1993: 138).

The other proof is when she wants to get her knife in order to protect herself. Due to the dangerous situation, she cannot get her knife in the basket that has been brought by the hunter before. She knows that she cannot make it because the werewolf keeps its eyes on her and feels ready to attack.

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Later, she knows that the house is surrounded by wolves, and at first she still feels a little bit scared (Carter, 1993: 138). However, after she thinks that being scared cannot change the situation, she start to think that she does not have to be afraid anymore (Carter, 1993: 138). In the end, she decides to sleep with the werewolf happily (Carter, 1993: 140)

Limited omniscient point of view states by Lukens makes the reader understand the story from the protagonist point of view (1995: 138). By reading through a certain character’s eyes, the readers can experience and understand the story better because of the detailed explanation that focuses on the protagonist.

This point of view helps the reader to understand the story from the heroine perspective (Lukens, 1995 : 134).

B. The Description of Women’s Image

In this section, there are two parts about the explanation of image of women in both stories, revealed through elements that have been mentioned. The elements that have been used in this part are the character, setting and the point of view.

1. In “Little Red-Cap” a. Obedient person

From the description in first problem, the girl character in “Little Red-

Cap” is known as obedient and passive girl. In an occasion she is unconsciously trying to rebel from her mother’s order by not going straight to her grandmother’s house (Grimm, 2013:104). However in the attempt of being rebellious, she gets a

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scary experience in which a wolf swallows her alive, thus making her swears to be an obedient girl again (Grimm, 2013: 106). b. Oppressed person

In “Little Red-Cap” the story uses omniscient point of view as part of giving readers information. It also usually uses in stories that have specific value like moral or religious value (Lukens, 1995: 30). The writer of the story explains about the event that is essential for the story. The thought and circumstances surrounding the characters help readers to understand the story.

Omniscient point of view is usually used with general information from writer’s perspective (Lukens, 1995: 138). It can also be a part when the writer of the story explains what they want to tell the reader. This kind of point of view sometimes includes the writer’s opinion about specific character or on how the writer of the story wants to persuade the reader to have same opinion with them

(Lukens, 1999: 138).

In this story Red-Cap is being sent by her mother to her grandmother house (Grimm, 2013: 103). Her mother specifically tells her about what she should do and she should not do. However, in the journey Red-Cap wanders into the wood and it makes something terrible happens with her.

Tatar in her book says that this is the way the writer of the story tells the living under oppression but makes it smoother by telling it from the omniscient point of view (1995: xv). Grimm purposely places the thought that if Red-Cap does not obey the warning that her mother gives to her before there will be

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something bad occurs to her (Tatar, 1999: 5). Thus, in order to avoid the bad thing

Red-Cap should obey her mother’s word.

The little girl believes that the bad thing that happened to her is because the righteous decision is to obey her mother’s word. She does not know that she can make her own decision because from what she knows, her mother and her grandmother know what the best for her (2013: 104, 107).

2. In “The Company of Wolves” a. Rebellious person

The obedient and passive girl is nowhere to be seen in “The Company of

Wolves”. The girl character in this story is rebellious and assertive. The rebellious act happens when her mother forbids her to visit her sick grandmother in

Christmas Eve, she insists to go with a basket of bread, cheese and a bottle of wine (Carter, 1993:134). The girl also faces a scary experience, in her case she even cannot get out from the house because it is already surrounded by a pack of wolves (Carter, 1993: 138-139). However, she finds a solution to make herself comfortable with that situation. In this case is the heroine sleeps with the werewolf (Carter, 1993: 138-139).

Although experiencing dangerous situation, she has options to make herself feel more comfortable to face the situation. She chooses to sleep with the werewolf rather than to get out the house (Carter, 1993: 138) because she is subtly curious about the relationship with people outside the village.

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like dead souls on Walpurgisnacht and the old bones under the bed set up a terrible clattering but she did not pay them any heed (Carter, 1993: 140).

The heroine is aware that she her body is her authority and not anyone else’s. The clattering bones of her grandmother is represented an order to stop.

However, rather than stopping the girl chooses she wants to be there and completely ignores it. b. Confident person

Although they almost look the same, “The Company of Wolves” uses different type of point of view in the story. Despite revealing about the surrounding, actually this type of point of view only focuses on certain or several characters (Lukens, 1995: 134).

This type point of view is called limited omniscient point of view. By reading through a certain character’s eyes, the readers can experience and understand the story better because of the detailed explanation that focuses with a certain character. This point of view helps the reader to understand the story from one’s perspective (Lukens, 1995: 134).

”The Company of Wolves” mostly uses the perspective of women whether it is from heroine’s eyes or the grandmother’s eyes (Carter, 1993: 134). The reader can understand better about the motivation behind heroine’s character also the character of the old grandmother. The point of view gives the reader more understanding from the women’s perspective.

Heroine’s perspective is described like what a woman (mostly young generation) thinks. She should understand, accept herself and have awareness that she belongs only to herself (Carter, 1993: 140). Nobody can control her because

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everyone belongs to nobody but themselves. She is expressing what she wants clearly because she also has option (Carter, 1993: 140).

C. The Description of Shifting Image of Women

In this section, this study mentions the shifting role of women seen through feminism perspective.

1. From Obedient Person to Rebellious Person a. Making her Own Decision

As a human, women also have choice like men. However, women are usually being forced to make them suitable with the image in society. The rules offend women and give them limited or sometimes no option to choose.

One of them is about making her own decision. From the example in

“Little Red-Cap” and “The Company of Wolves”, they have different image of girl. The first girl is the image created by society in which a woman or a girl should be obedient and thus make her own decision (Tatar, 1999: 5).

In “The Company of Wolves”, the heroine is described as being rebellious because she speaks up about her own thought and makes her own decision without others interferes. From the first time, the heroine is already speaks up about her thought when she insists to go off through the wood.

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She already knows that the situation outside is rather dangerous. However, she still wants to go outside because she has the reason why she should go to her grandmother’s house. It is because that day is Christmas Eve thus she wants to bring meals for her old and sick grandmother (Carter, 1993: 134).

Making her own decision is also related with the event when she makes a bet with the hunter she meets in the wood.

Is it a bet? he asked her. Shall we make a game of it? What will you give me if I get to your grandmother's house before you? What would you like? she asked disingenuously. A kiss. Commonplaces of a rustic seduction; she lowered her eyes and blushed. He went through the undergrowth and took her basket with him but she forgot to be afraid of the beasts, although now the moon was rising, for she wanted to dawdle on her way to make sure the handsome gentleman would win his wager (Carter, 1993: 136).

She decides to agree with the bet because she is interested with the hunter and that bet is able to make her closer to him by agreeing about the bet. The heroine also decides that she will let the hunter becomes the winner, so she can give him a kiss.

The image of girl in the second story is the image that women should have. They have the authority to control their own body not being controlled by the rules that been set in society (Humm, 1990: 74).

2. From Oppressed Person to Confident Person a. Having Strong Belief

It also related with the previous section about expressing the feeling or the though and making decision for themselves. Having the strong belief means that she has the confidence with herself (Humm, 1990: 74).

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From the example in “Little Red-Cap” and “The Company of Wolves”, they have different situation. The first girl always obeys something that people tell her (Grimm, 2013: 104). She cannot decide something for herself or speak up her thought.

However, the girl in the second story has the chance and awareness that in every situation she always has the chance to choose what she wants to do (Carter,

1993: 134). The awareness makes her confident in what her feels right.

She stands and moves within the invisible pentacle of her own virginity. She is an unbroken egg; she is a sealed vessel; she has inside her a magic space the entrance to which is shut tight with a plug of membrane; she is a closed system; she does not know how to shiver. She has her knife and she is afraid of nothing (Carter, 1993: 134).

She believes the knife that she brings along will help her to protect herself since that tools can injure whatever being that tries to attack her. In her journey when she hears the howling sound of the wolf, she quickly grabs her knife to attack if things that show up (Carter, 1993: 135).

Another proof about what she believes that makes her comfortable is her decision to stop being scared (Carter, 1993: 139). She believes that being scared cannot give her the solution in her situation. At that time, the girl also decides to sleep with the wolf because she thinks that is the other way to answer her curiosity about the hunter that turns into werewolf (Carter, 1993: 139) .

She believes that what people choose for her usually does not make her feel comfortable (Carter, 1993: 134). She chooses what she thinks and feels something that she enjoys or makes her comfortable with every situation (Carter,

1993: 139).

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b. Showing her Dominance

Showing her dominance, is related to when she is in the house with the werewolf. She knows that being afraid bring no good to her. Thus, she decides to be not afraid anymore and shows what she actually wants. What she wants is to be closer and intimate with the hunter who turns into werewolf.

This is described when the girl takes initiative to seduce the werewolf

What shall I do with my shawl? Throw it on the fire, dear one. You won't need it again. She bundled up her shawl and threw it on the blaze, which instantly consumed it. Then she drew her blouse over her head; her small breasts gleamed as if the snow had invaded the room (Carter, 1993: 139).

She starts to undress herself and throw her clothing to the fireplace like the werewolf says. After that, the heroine also initiates to undress the werewolf. She is on the tip of her toes when unbuttoning the collar of his shirt (Carter, 1993:

139). The girl even rips and throws his shirt and throws it into the fireplace like what she did with her clothing (Carter, 1993: 139).

From all the actions that she takes, they are included as the action of showing her dominance. The dominance means she is showing her control over something. This is the opposite of what the society wants from women (Tatar,

1999: 5).

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CHAPTER V

CONCLUSION

This study is a about the shifting image of women seen through the intrinsic elements in Brothers Grimm’s “Little Red-Cap” and Angela Carter’s

“The Company of Wolves”. The intrinsic elements of both works are used to explain thoroughly about the shift of women’s role through character, setting and point of view. To observe how significant the shifting image of women can be seen from feminism perspective is also the purpose of the study.

There are three conclusions in this study. First is the description of intrinsic elements of “Little Red-Cap” and “The Company of Wolves”. Second is the role of women in both stories. The third is the shifting role of women in

“Little Red-Cap” and “The Company of Wolves”.

The character will be identified by the theory of character. The main character in “Little Red-Cap” is described as an obedient little girl. The girl can be described as obedient because of her action. She gladly comply her mother’s order to bring cake and wine for the sick grandmother whose house inside the wood

(Grimm, 2013:103). This is also can be seen when this little girl meets a wolf that tells her to look around and pick flowers (Grimm, 2013: 104).

The girl in “Little Red-Cap” is also being passive when something happens. Being passive means that she is accepting what people do to her without changing or trying to fight. When she and her grandmother are inside the wolf’s stomach, the little girl does not try to get out or cry for help.

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Theories of setting and point of view are applied to find out about how the intrinsic elements of story affecting the development of character. Feminist as approach will refer to how women have the same quality like men in choosing their path of life.

From the description, the girl character in “Little Red-Cap” is known as obedient and passive girl. The girl character “Little Red-Cap” story is rebellious and assertive. “The Company of Wolves” heroine is also aware that her body is her authority and not anyone else’s. The grandmother in “Little Red-Cap” is described as smart woman who know what she should do to save her grandchild.

As for male characters they have two. The wolves are mostly depicted as wicked creatures from their motivation which means that they are morally bad.

They can be considered as bad because they trick people and use their power to abuse the weaker. The passing-by huntsman is considered as powerful from his action. It means that he is strong and has ability to react quickly.

This study uses integral setting as the explanation since the development of the character in this story is influenced by the setting. Setting of time is related to when this story happens. “Little Red-Cap” happens in spring. Setting of place is related to where this story happens. There are two places shown in “Little Red-

Cap”. Mostly the events happen in the forest and grandmother’s house. The way the wolf coaxes her about the beauty of the wood in spring makes the little girl excited. The merry atmosphere of spring is influenced the little girl to obey the wolf’s word.

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“Little Red-Cap” has omniscient point of view, as it is commonly used in the traditional literature. Omniscient point of view’s role is to widely introduce the reader about the circumstances in the story.

The girl in “The Company of Wolves” is depicted as a rebellious character. Being rebellious means she is showing her disagreement from an order.

She is quite assertive in expressing herself. In this story, being assertive is expressing her thought or her desire with confidence. The grandmother is depicted as being passive. The meaning of passive in her character is that the old women cannot do anything to save herself.

In this story, the male character has two forms. As a hunter, he is depicted as powerful based on the way he promises that his rifle will protect them (Carter,

1993: 135). In this story, he is described as powerful because he has the ability to coax the heroine to believe in him by showing his riffle. Similar to the wolf in

“Little Red-Cap”, he is considered as wicked because he tricks the heroine’s grandmother. In his werewolf form, he also tricks the heroine by hiding under grandmother’s blanket and pretends to be the old woman.

Setting of time relates to when this story happens. “The Company of

Wolves” happens in winter. Setting of place relates to where this story happens.

There are two places shown in “The Company of Wolves”. Mostly the events happen in the forest and grandmother’s house. The heroine’s character is affected by setting of time and place. Since the story takes place in forest at winter time, the heroine is being assertive and cautious.

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In “The Company of Wolves”, Angela Carter uses limited omniscient point of view. For this type, the writer of the story would see story from the eyes of the main character or in some occasion the narrator of the story will include some of characters.

Point of view of “Little Red-Cap” sometimes includes the writer’s opinion about specific character or on how the writer of the story wants to persuade the reader to have same opinion with them. Point of view of “The Company of

Wolves” gives the reader more understanding from the women’s perspective.

Heroine’s perspective is described like what a woman (mostly young generation) thinks.

The explanation of image of women in both stories is revealed through the intrinsic elements. Little Red-Cap’s image that is created by society in which a woman or girl should be obedient. Women are also in the position of being oppressed. However “The Company of Wolves” in the second story, the girl’s image as rebellious person because she starts to speak up about her thought and makes her own decision. Also the portrayal as a confident person since she start to belief the decision that she makes is the right thing.

The shifting role of women is also related with the previous section about expressing the feeling or the thought. From the role in “Little Red-Cap” as an obedient person who always obeys something that people tell her into “The

Company of Wolves” who starts to be rebellious. Another shifting is from being the oppressed person into the confident person.

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BIBLIOGRAPHY

Abrams, M.H. A Glossary of Literary Terms: Seventh Edition. Massachusetts: Heinle&Heinle, 1991.

Barry, Peter. Beginning Theory An Introduction to Literary and Cultural Theory: Second Edition. Manchester: Manchester University Press, 2002.

Bressler, Charles E. Literary Criticism An Introduction to Theory and Practice: Second Edition. New Jersey: Houghton College, 1999.

Carter, Angela. The Bloody Chamber and Other Stories. Harmondsworth: Penguin Books Ltd, 1993.

Ferber, Michael. A Dictionary of Literary Symbols. New York: Cambridge University Press, 1999.

Grimm, Jacob and Wilhelm. Brothers Grimm : Grimms’ Fairy Tales. London: Harper Press, 2013.

Humm, Maggie. The Dictionary of Feminist Theory. Colombus: Ohio State University Press, 1990.

Hornby, A.S. Oxford Advanced Learner’s Dictionary of Current English: Eighth Edition. New York: Oxford University Press, 2010.

Kenney, William. How to Analyze Fiction. New York: Monarch Press. 1966.

Knoph-Bjørneveoll, Karen. “Who’s Afraid of Big Bad Wolves?”. Master’s Thesis. Stavanger : University of Stavanger, 2015.

Kowaleski-Wallace, Elizabeth. ed. Encyclopedia of Feminist Theory. London: Routledge, 2009.

Lukens, Rebecca J. A Critical Handbook of Children’s Literature: Fifth Edition. New York: HarperCollins College Publishers, 1995.

Reid, Tina-Louise. “From Cap to Cloak: The Evolution of “Little Red Riding Hood” from Oral Tale to Film”. Master’s Thesis. Kansas: University of Kansas, 2012.

Sherman, Josepha. Storytelling: An Encyclopedia of Mythology and Folklore. New York: M.E. Sharpe, Inc., 2008.

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Tatar, Maria. The Classic Fairytale. New York: W. W. Norton & Company, Inc. ,1999.

Wellek, Rene and Austin Warren. Theory of Literature. Australia: Penguin Books.1990

Zepetnek, Steven Totosy de. Comparative Literature; Theory, Method, Application. Amsterdam: Rodopi. 1998.

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APPENDICES

Appendix 1 : “Little Red-Cap”

One day her mother said to her: ‘Come, Little Red-Cap, here is a piece of cake and a bottle of wine; take them to your grandmother, she is ill and weak, and they will do her good. Set out before it gets hot, and when you are going, walk nicely and quietly and do not run off the path, or you may fall and break the bottle, and then your grandmother will get nothing; and when you go into her room, don’t forget to say, ‘Good morning’, and don’t peep into every corner before you do it.’

’I will take great care,’ said Little Red-Cap to her mother, and gave her hand on it.

The grandmother lived out in the wood, half a league from the village, and just as Little Red-Cap entered the wood, a wolf met her. Red-Cap did not know what a wicked creature he was, and was not at all afraid of him.

’Good day, Little Red-Cap,’ said he.

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’Thank you kindly, wolf.’

’Whither away so early, Little Red-Cap?’

’To my grandmother’s.’

’What have you got in your apron?’

’Cake and wine; yesterday was baking-day, so poor sick grandmother is to have something good, to make her stronger.’

’Where does your grandmother live, Little Red-Cap?’

’A good quarter of a league farther on in the wood; her house stands under the three large oak-trees, the nut-trees are just below; you surely must know it,’ replied Little Red-Cap.

The wolf thought to himself: ‘What a tender young creature! what a nice plump mouthful—she will be better to eat than the old woman. I must act craftily, so as to catch both.’ So he walked for a short time by the side of Little Red-Cap, and then he said: ‘See, Little Red-Cap, how pretty the flowers are about here— why do you not look round? I believe, too, that you do not hear how sweetly the little birds are singing; you walk gravely along as if you were going to school, while everything else out here in the wood is merry.’

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It is so early in the day that I shall still get there in good time’; and so she ran from the path into the wood to look for flowers. And whenever she had picked one, she fancied that she saw a still prettier one farther on, and ran after it, and so got deeper and deeper into the wood.

Meanwhile the wolf ran straight to the grandmother’s house and knocked at the door.

’Who is there?’

’Little Red-Cap,’ replied the wolf. ‘She is bringing cake and wine; open the door.’

’Lift the latch,’ called out the grandmother, ‘I am too weak, and cannot get up.’

The wolf lifted the latch, the door sprang open, and without saying a word he went straight to the grandmother’s bed, and devoured her. Then he put on her clothes, dressed himself in her cap laid himself in bed and drew the curtains.

Little Red-Cap, however, had been running about picking flowers, and when she had gathered so many that she could carry no more, she remembered her grandmother, and set out on the way to her.

She was surprised to find the cottage-door standing open, and when she went into the room, she had such a strange feeling that she said to herself: ‘Oh dear! How uneasy I feel today, and at other times I like being with grandmother so much.’ She called out: ‘Good morning,’ but received no answer; so she went to

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the bed and drew back the curtains. There lay her grandmother with her cap pulled far over her face, and looking very strange.

’Oh! grandmother,’ she said, ‘what big ears you have!’

’The better to hear you with, my child,’ was the reply.

’But, grandmother, what big eyes you have!’ she said.

’The better to see you with, my dear.’

’But, grandmother, what large hands you have!’

’The better to hug you with.’

’Oh! but, grandmother, what a terrible big mouth you have!’

’The better to eat you with!’

And scarcely had the wolf said this, than with one bound he was out of bed and swallowed up Red-Cap. When the wolf had appeased his appetite, he lay down again in the bed, fell asleep and began to snore very loud.

The huntsman was just passing the house, and thought to himself: ‘How the old woman is snoring! I must just see if she wants anything.’ So he went into the room, and when he came to the bed, he saw that the wolf was lying in it.

‘Do I find you here, you old sinner!’ said he. ‘I have long sought you!’

Then just as he was going to fire at him, it occurred to him that the wolf might have devoured the grandmother, and that she might still be saved, so he did not

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fire, but took a pair of scissors, and began to cut open the stomach of the sleeping wolf. When he had made two snips, he saw the little Red-Cap shining, and then he made two snips more, and the little girl sprang out, crying:

‘Ah, how frightened I have been! How dark it was inside the wolf’; and after that the aged grandmother came out alive also, but scarcely able to breathe.

Red-Cap, however, quickly fetched great stones with which they filled the wolf’s belly, and when he awoke, he wanted to run away, but the stones were so heavy that he collapsed at once, and fell dead.

Then all three were delighted. The huntsman drew off the wolf’s skin and went home with it; the grandmother ate the cake and drank the wine which Red-

Cap had brought, and revived, but Red-Cap thought to herself: ‘As long as I live, I will never by myself leave the path, to run into the wood, when my mother has forbidden me to do so.’

It also related that once when Red-Cap was again taking cakes to the old grandmother, another wolf spoke to her, and tried to entice her from the path.

Red-Cap, however, was on her guard, and went straight forward on her way, and told her grandmother that she had met the wolf, and that he had said ‘good morning’ to her, but with such a wicked look in his eyes, that if they had not been on the public road she was certain he would have eaten her up.

‘Well,’ said the grandmother, ‘we will shut the door, that he may not come in.’

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Soon afterwards the wolf knocked, and cried: ‘Open the door, grandmother, I am Little Red-Cap, and am bringing you some cakes.’ But they did not speak, or open the door, so the grey-beard stole twice or thrice round the house, and at last jumped on the roof, intending to wait until Red-Cap went home in the evening, and then to steal after her and devour her in the darkness. But the grandmother saw what was in his thoughts. In front of the house was a great stone trough, so she said to the child: ‘Take the pail, Red-Cap; I made some sausages yesterday, so carry the water in which I boiled them to the trough.’ Red-Cap carried until the great trough was quite full. Then the smell of the sausages reached the wolf, and he sniffed and peeped down, and at last stretched out his neck so far that he could no longer keep his footing and began to slip, and slipped down from the roof straight into the great trough, and was drowned.

But Red-Cap went joyously home, and no one ever did anything to harm her again.

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Appendix 2 : “The Company of Wolves”

It is midwinter and the robin, the friend of man, sits on the handle of the gardener's spade and sings. It is the worst time in all the year for wolves but this strong-minded child insists she will go off through the wood. She is quite sure the wild beasts cannot harm her although, well-warned, she lays a carving knife in the basket her mother has packed with cheeses. There is a bottle of harsh liquor distilled from brambles; a batch of flat oatcakes baked on the hearthstone; a pot or two of jam. The flaxen-haired girl will take these delicious gifts to a reclusive grandmother so old the burden of her years is crushing her to death. Granny lives two hours' trudge through the winter woods; the child wraps herself up in her thick shawl, draws it over her head. She steps into her stout wooden shoes; she is dressed and ready and it is Christmas Eve. The malign door of the solstice still swings upon its hinges but she has been too much loved ever to feel scared.

Children do not stay young for long in this savage country. There are no toys for them to play with so they work hard and grow wise but this one, so pretty and the youngest of her family, a little late-comer, had been indulged by her mother and the grandmother who'd knitted her the red shawl that, today, has the ominous if brilliant look of blood on snow. Her breasts have just begun to swell; her hair is like lint, so fair it hardly makes a shadow on her pale forehead; her cheeks are an emblematic scarlet and white and she has just started her woman's bleeding, the clock inside her that will strike, henceforward, once a month.

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She stands and moves within the invisible pentacle of her own virginity.

She is an unbroken egg; she is a sealed vessel; she has inside her a magic space the entrance to which is shut tight with a plug of membrane; she is a closed system; she does not know how to shiver. She has her knife and she is afraid of nothing.

Her father might forbid her, if he were home, but he is away in the forest, gathering wood, and her mother cannot deny her.

The forest closed upon her like a pair of jaws.

There is always something to look at in the forest, even in the middle of winter--the huddled mounds of birds, succumbed to the lethargy of the season, heaped on the creaking boughs and too forlorn to sing; the bright frills of the winter fungi on the blotched trunks of the trees; the cuneiform slots of rabbits and deer, the herringbone tracks of the birds, a hare as lean as a rasher of bacon streaking across the path where the thin sunlight dapples the russet brakes of last year's bracken.

When she heard the freezing howl of a distant wolf, her practised hand sprang to the handle of her knife, but she saw no sign of a wolf at all, nor of a naked man, neither, but then she heard a clattering among the brushwood and there sprang on to the path a fully clothed one, a very handsome young one, in the green coat and wideawake hat of a hunter, laden with carcasses of game birds. She had her hand on her knife at the first rustle of twigs but he laughed with a flash of white teeth when he saw her and made her a comic yet flattering little bow; she'd

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never seen such a fine fellow before, not among the rustic clowns of her native village. So on they went together, through the thickening light of the afternoon.

Soon they were laughing and joking like old friends. When he offered to carry her basket, she gave it to him although her knife was in it because he told her his rifle would protect them. As the day darkened, it began to snow again; she felt the first flakes settle on her eyelashes but now there was only half a mile to go and there would be a fire, and hot tea, and a welcome, a warm one, surely, for the dashing huntsman as well as for herself.

This young man had a remarkable object in his pocket. It was a compass.

She looked at the little round glass face in the palm of his hand and watched the wavering needle with a vague wonder. He assured her this compass had taken him safely through the wood on his hunting trip because the needle always told him with perfect accuracy where the north was. She did not believe it; she knew she should never leave the path on the way through the wood or else she would be lost instantly. He laughed at her again; gleaming trails of spittle clung to his teeth. He said, if he plunged off the path into the forest that surrounded them, he could guarantee to arrive at her grandmother's house a good quarter of an hour before she did, plotting his way through the undergrowth with his compass, while she trudged the long way, along the winding path.

I don't believe you. Besides, aren't you afraid of the wolves?

He only tapped the gleaming butt of his rifle and grinned.

Is it a bet? he asked her. Shall we make a game of it? What will you give me if I get to your grandmother's house before you?

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What would you like? she asked disingenuously.

A kiss.

Commonplaces of a rustic seduction; she lowered her eyes and blushed.

He went through the undergrowth and took her basket with him but she forgot to be afraid of the beasts, although now the moon was rising, for she wanted to dawdle on her way to make sure the handsome gentleman would win his wager.

Grandmother's house stood by itself a little way out of the village. The freshly falling snow blew in eddies about the kitchen garden and the young man stepped delicately up the snowy path to the door as if he were reluctant to get his feet wet, swinging his bundle of game and the girl's basket and humming a little tune to himself.

There is a faint trace of blood on his chin; he has been snacking on his catch.

He rapped upon the panels with his knuckles.

Aged and frail, granny is three-quarters succumbed to the mortality the ache in her bones promises her and almost ready to give in entirely. A boy came out from the village to build up her hearth for the night an hour ago and the kitchen crackles with busy firelight. She has her Bible for company, she is a pious old woman. She is propped up on several pillows in the bed set into the wall peasant-fashion, wrapped up in the patchwork quilt she made before she was married, more years ago than she cares to remember. Two china spaniels with liver-coloured blotches on their coats and black noses sit on either side of the

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fireplace. There is a bright rug of woven rags on the pantiles. The grandfather clock ticks away her eroding time.

We keep the wolves outside by living well.

He rapped upon the panels with his hairy knuckles.

It is your granddaughter, he mimicked in a high soprano:

Lift up the latch and walk in, my darling.

His feral muzzle is sharp as a knife; he drops his golden burden of gnawed pheasant on the table and puts down your dear girl's basket, too. Oh, my God, what have you done with her?

Off with his disguise, that coat of forest-coloured cloth, the hat with the feather tucked into the ribbon; his matted hair streams down his white shirt and she can see the lice moving in it. The sticks in the hearth shift and hiss; night and the forest has come into the kitchen with darkness tangled in its hair.

He strips off his shirt. His skin is the colour and texture of vellum. A crisp stripe of hair runs down his belly, his nipples are ripe and dark as poison fruit but he's so thin you could count the ribs under his skin if only he gave you the time.

He strips off his trousers and she can see how hairy his legs are. His genitals, huge. Ah! huge.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

The last thing the old lady saw in all this world was a young man, eyes like cinders, naked as a stone, approaching her bed.

The wolf is carnivore incarnate.

When he had finished with her, he licked his chops and quickly dressed himself again, until he was just as he had been when he came through her door.

He burned the inedible hair in the fireplace and wrapped the bones up in a napkin that he hid away under the bed in the wooden chest in which he found a clean pair of sheets. These he carefully put on the bed instead of the tell-tale stained ones he stowed away in the laundry basket. He plumped up the pillows and shook out the patchwork quilt, he picked up the Bible from the floor, closed it and laid it on the table. All was as it had been before except that grandmother was gone. The sticks twitched in the grate, the clock ticked and the young man sat patiently, deceitfully beside the bed in granny's nightcap.

Rat-a-tap-tap.

Who's there, he quavers in granny's antique falsetto.

Only your granddaughter.

So she came in, bringing with her a flurry of snow that melted in tears on the tiles, and perhaps she was a little disappointed to see only her grandmother sitting beside the fire. But then he flung off the blanket and sprang to the door, pressing his back against it so that she could not get out again.

The girl looked round the room and saw there was not even the indentation of a head on the smooth cheek of the pillow and how, for the first time she'd seen it so, the Bible lay closed on the table. The tick of the clock cracked like a whip.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

She wanted her knife from her basket but she did not dare reach for it because his eyes were fixed upon her--huge eyes that now seemed to shine with a unique, interior light, eyes the size of saucers, saucers full of Greek fire, diabolic phosphorescence.

What big eyes you have.

All the better to see you with.

No trace at all of the old woman except for a tuft of white hair that had caught in the bark of an unburned log. When the girl saw that, she knew she was in danger of death.

Where is my grandmother?

There's nobody here but we two, my darling.

Now a great howling rose up all around them, near, very near, as close as the kitchen garden, the howling of a multitude of wolves; she knew the worst wolves are hairy on the inside and she shivered, in spite of the scarlet shawl she pulled more closely round herself as if it could protect her although it was as red as the blood she must spill.

Who has come to sing us carols, she said.

Those are the voices of my brothers, darling; I love the company of wolves. Look out of the window and you'll see them.

Snow half-caked the lattice and she opened it to look into the garden. It was a white night of moon and snow; the blizzard whirled round the gaunt, grey beasts who squatted on their haunches among the rows of winter cabbage, pointing their sharp snouts to the moon and howling as if their hearts would break.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Ten wolves; twenty wolves--so many wolves she could not count them, howling in concert as if demented or deranged. Their eyes reflected the light from the kitchen and shone like a hundred candles.

It is very cold, poor things, she said; no wonder they howl so.

She closed the window on the wolves' threnody and took off her scarlet shawl, the colour of poppies, the colour of sacrifices, the colour of her menses, and, since her fear did her no good, she ceased to be afraid.

What shall I do with my shawl?

Throw it on the fire, dear one. You won't need it again.

She bundled up her shawl and threw it on the blaze, which instantly consumed it. Then she drew her blouse over her head; her small breasts gleamed as if the snow had invaded the room.

What shall I do with my blouse?

Into the fire with it, too, my pet.

The thin muslin went flaring up the chimney like a magic bird and now off came her skirt, her woollen stockings, her shoes, and on to the fire they went, too, and were gone for good. The firelight shone through the edges of her skin; now she was clothed only in her untouched integument of flesh. This dazzling, naked she combed out her hair with her fingers; her hair looked white as the snow outside. Then went directly to the man with red eyes in whose unkempt mane the lice moved; she stood up on tiptoe and unbuttoned the collar of his shirt.

What big arms you have.

All the better to hug you with.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Every wolf in the world now howled a prothalamion outside the window as she freely gave the kiss she owed him.

What big teeth you have!

She saw how his jaw began to slaver and the room was full of the clamour of the forest's Liebestod but the wise child never flinched, even when he answered:

All the better to eat you with.

The girl burst out laughing; she knew she was nobody's meat. She laughed at him full in the face, she ripped off his shirt for him and flung it into the fire, in the fiery wake of her own discarded clothing. The flames danced like dead souls on Walpurgisnacht and the old bones under the bed set up a terrible clattering but she did not pay them any heed.

Carnivore incarnate, only immaculate flesh appeases him.

She will lay his fearful head on her lap and she will pick out the lice from his pelt and perhaps she will put the lice into her mouth and eat them, as he will bid her, as she would do in a savage marriage ceremony.

The blizzard will die down.

The blizzard died down, leaving the mountains as randomly covered with snow as if a blind woman had thrown a sheet over them, the upper branches of the forest pines limed, creaking, swollen with the fall.

Snowlight, moonlight, a confusion of paw-prints.

All silent, all still.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Midnight; and the clock strikes. It is Christmas Day, the werewolves' birthday, the door of the solstice stands wide open; let them all sink through.

See! sweet and sound she sleeps in granny's bed, between the paws of the tender wolf.