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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

SUSAN TRINDER’S SELF-DETERMINATION OF ACCEPTING HER SEXUALITY AS A HOMOSEXUAL IN AISLING WALSH’S FINGERSMITH

AN UNDERGRADUATE THESIS

Submitted as Partial Fulfilment of the Requirements for the Degree of Sarjana Sastra in English Letters

By AMALIA FILDZAH KUSUMA PUTRI Student Number : 174214124

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2021

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SUSAN TRINDER’S SELF DETERMINATION OF ACCEPTING HER SEXUALITY AS A HOMOSEXUAL IN AISLING WALSH’S FINGERSMITH

AN UNDERGRADUATE THESIS

Submitted as Partial Fulfilment of the Requirements for the Degree of Sarjana Sastra in English Letters

By AMALIA FILDZAH KUSUMA PUTRI Student Number : 174214124

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2021

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

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.

March 14, 2021

Amalia Fildzah Kusuma Putri

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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 : Amalia Fildzah Kusuma Putri Nomor Mahasiswa : 174214124

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

SUSAN TRINDER’S SELF DETERMINATION OF ACCEPTING HER SEXUALITY AS A HOMOSEXUAL IN AISLING WALSH’S FINGERSMITH beserta perangkat yang deperlukan (bila ada). Dengan demikian saya memberikan kepada Perpustakaan Universitas Sanata Dharna 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 14 Maret 2021

Yang menyatakan,

Amalia Fildzah Kusuma Putri

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“IF YOU’RE GONNA HIT IT, HIT IT UNTIL IT BREAKS!”

Oikawa Tooru

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THIS UNDERGRADUATE THESIS IS DEDICATED

FOR MYSELF WHO HAS BEEN STRUGGLING ENOUGH

THROUGH MANY THINGS SINCE DAY ONE,

MY BELOVED PARENTS, AND MY BELOVED BROTHER

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ACKNOWLEDGEMENTS

I would like to express biggest and deepest gratitude to my thesis advisor,

A. B. Sri Mulyani, Ph. D., for her patience guidance and understanding all the time during my process of writing this thesis, and my thesis co-advisor Drs.

Hirmawan Wijanarka, M.Hum., my thesis examiner, Dr. Gabriel Fajar Sasmita

Aji, M.Hum., for their suggestions and feedback for my thesis’s progress. I am very grateful that I finally can finish this thesis.

I would like to thank my family for always supporting me unconditionally.

For my parents Riswati, and Agus Irwanto, you are the best thing that I have ever had. For my beloved sibling, Akhmad Faizal Kurniawan, thank you for being born as my little brother. Finally, my thesis would not have been completed without my friends’ help and support. I would like to thank Femi, Ratih, Lita,

Vania, Agatha, and Irine for the days, suggestions, and discussions we had, also for always supporting and listening to me. I am so blessed to have you all in my life. You are all my daily dose of happiness. I also would like to thank to my favourite singer, Taylor Swift, as her songs accompany me in writing this thesis morning, noon, and night. Next, also for my favourite shows; Attack on Titan and

Haikyuu!! Fly High! Volley Ball! and all my comfort characters in it, thank you for comforting me whenever I had no motivation to do anything (watching them makes me happy). Last, for those all who I do not mention in here, thank you.

Amalia Fildzah Kusuma Putri

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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 ACKNOWLEDGEMENTS ...... ix TABLE OF CONTENTS ...... x LIST OF FIGURES ...... xii ABSTRACT ...... xiv ABSTRAK ...... xv

CHAPTER I: INTRODUCTION ...... 1 A. Background of the Study ...... 1 B. Problem Formulation ...... 4 C. Objectives of the Study ...... 4 D. Definition of Terms ...... 5

CHAPTER II: REVIEW OF LITERATURE ...... 7 A. Review of Related Studies ...... 7 B. Review of Related of Theories ...... 10 1. Theory of Characterization ...... 10 a. Characterization through Appearance ...... 10 b. Characterization through Dialogue ...... 11 c. Characterization through External Action ...... 11 d. Characterization through the Reaction of Other Characters ...... 12 e. Characterization through Contrast: Dramatic Foils ...... 12 f. Characterization through Caricature and Leimotif ...... 13 g. Characterization through Choice of Name ...... 13 2. Self-Determination Theory ...... 14 3. Queer Theory ...... 16 C. Social Class, Gender, and Sexuality in Victorian Britain ...... 17 1. Social Class ...... 17 2. Gender ...... 19 3. Sexuality ...... 20 D. Theoretical Framework ...... 21

CHAPTER III: METHODOLOGY ...... 23 A. Object of the Study ...... 23 B. Approach of the Study ...... 24 C. Method of the Study ...... 25 x

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CHAPTER IV: ANALYSIS ...... 26 A. The Portrayal of Susan ‘Sue’ Trinder’s Characterization ...... 26 a. Kind ...... 29 b. Coward ...... 33 c. Dishonest ...... 41 d. Foolish ...... 48 e. Tricky ...... 51 B. Sue’s Self-Determination of Accepting Her Sexuality as A Homosexual ...... 54

CHAPTER V: CONCLUSION ...... 66

REFERENCES ...... 70

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LIST OF FIGURES

No Figure Page 1. Figure 1. Gentleman shows Maud about poverty 26 2. Figure 2. Gentleman shows Maud about poverty 26 3. Figure 3. Sue describes London 27 4. Figure 4. Sue admits herself as a fingersmith 28 5. Figure 5. Sue doubts her own feeling 28 6. Figure 6. Sue is scared of Maud being hurt 31 7. Figure 7. Sue is scared of Maud being hurt 31 8. Figure 8. Sue is afraid of being hanged 33 9. Figure 9. Sue is afraid of being hanged 33 10. Figure 10. Sue wants to tell Maud the truth of her plan 35 11. Figure 11. Sue wants to tell Maud the truth of her plan 35 12. Figure 12. Sue wants to tell Maud the truth of her plan 35 13. Figure 13. Sue wants to tell Maud the truth of her plan 35 14. Figure 14. Sue sees Gentleman kisses Maud 37 15. Figure 15. Sue sees Gentleman kisses Maud 37 16. Figure 16. Gentleman threatened Sue 39 17. Figure 17. Gentleman threatened Sue 39 18. Figure 18. Gentleman threatened Sue 39 19. Figure 19. Gentleman threatened Sue 39 20. Figure 20. Sue admits that she is in love with a girl 41 21. Figure 21. Sue and Maud have sexual intercourse 42 22. Figure 22. Sue and Maud have sexual intercourse 42 23. Figure 23. Sue and Maud have sexual intercourse 42 24. Figure 24. Sue and Maud have sexual intercourse 42 25. Figure 25. Sue being dishonest 43 26. Figure 26. Sue being dishonest 43 27. Figure 27. Sue being dishonest to her feelings for Maud’s 44 proposal news 28. Figure 28. Sue being dishonest to her feelings for Maud’s 44 proposal news 29. Figure 29. Sue being dishonest to her feelings for Maud’s 44 proposal news 30. Figure 30. Sue being dishonest to her feelings for Maud’s 44 proposal news 31. Figure 31. Sue convinces Maud to marry Gentleman 46 32. Figure 32. Sue convinces Maud to marry Gentleman 46 33. Figure 33. Sue convinces Maud to marry Gentleman 46 34. Figure 34. Sue convinces Maud to marry Gentleman 46 35. Figure 35. Sue is dragged to the madhouse 49 36. Figure 36. Gentleman and Maud looks pity to Sue in the 49 madhouse

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37. Figure 37. Gentleman and Maud looks pity to Sue in the 49 madhouse 38. Figure 38. Gentleman and Maud looks pity to Sue in the 49 madhouse 39. Figure 39. Gentleman and Maud looks pity to Sue in the 49 madhouse 40. Figure 40. Sue kisses Charles 51 41. Figure 41. Sue kisses Charles 51 42. Figure 42. Sue steals some breads and clothes 53 43. Figure 43. Sue steals some breads and clothes 53 44. Figure 44. Sue steals some breads and clothes 53 45. Figure 45. Sue steals some breads and clothes 53 46. Figure 46. Gentleman caught Sue after making out with 55 Maud 47. Figure 47. John plays with fire to Sue and hits Dainty 56 48. Figure 48. John plays with fire to Sue and hits Dainty 56 49. Figure 49. Sue remembers Maud in the madhouse 59 50. Figure 49. Sue remembers Maud in the madhouse 59

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ABSTRACT

PUTRI, AMALIA F. K. P. (2021). Susan Trinder’s Self-Determination of Accepting Her Sexuality as A Homosexual in Aisling Walsh’s Fingersmith (2021). Yogyakarta: Department of English Letters, Faculty of Letters, Universitas Sanata Dharma.

In the meantime of development, human needs motivation to achieve or decide anything in their life. According to Maslow (1943), there are five basic human needs; psychological, safety, social belongings, self-esteem, and self-actualization needs. Those needs are important to support a person’s motivation in their life. Building social relation is one of some human needs, for example is sexual relation. Homosexual is one type of various kind of sexuality. Homosexuality occurs in various literary works, including Fingersmith, a TV miniseries directed by Aisling Walsh in 2005. The miniseries is separated in two parts which tells about a young lady named Maud Lily who lived in a big Briar with her uncle and her personal maid, Sue Trinder. Sue’s aim of becoming Maud’s maid was to swindle her, but the story twisted into Maud who tricked Sue back. Hence, they ended up fall in love to each other.

There are two objectives in this study. Firstly, to identify Sue’s characteristics in Fingersmith. Secondly, to find Sue’s self-determination of accepting herself as a homosexual.

This study uses library research. The main source of this study is Fingersmith TV miniseries. In writing the analysis, the researcher uses theory of characterization written by Joseph Boggs and Dennis Petrie in their book The Art of Watching Films to find Sue’s characteristics, self-determination theory written by Richard Ryan and Edward Deci in Self-Determination Theory: Basic Psychological Needs in Motivation, Development, and Wellness as the grand theory to analye Sue’s motivation, and queer theory written by Annemarie Jagose’s Queer Theory: An Introduction to discuss Sue and Maud’s relationship.

The researcher found that Sue has five characteristics: kind, coward, dishonest, foolish, and tricky, derived from Sue’s home and society where grew up. Besides, when Sue moved to a Briar to swindle Maud Lilly to be her personal maid, Sue ended up developed romantic with her mistress. Sue and Maud’s relationship was not considered as amoral in Victorian Britain as the setting in Fingersmith. The society around Sue and Maud also did not gave them bad judgement. Sue did not deny or hate her homosexuality, moreover her partner, Maud Lilly, gave her mutual feelings.

Keywords: character, sexuality, self-determination

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ABSTRAK

Dalam masa pertumbuhan, manusia membutuhkan motivasi untuk memutuskan sesuatu pada hidup mereka. Menurut Maslow (1943), ada lima kebutuhan dasar psikologis manusia, yaitu kebutuhan fisiologis, rasa aman, kebutuhan sosial atau rasa disayang, kebutuhan akan penghargaan, dan kebutuhan aktualisasi diri. Kelima kebutuhan tersebut menjadi faktor pendukung motivasi seseorang dalam menentukan sesuatu dalam hidupnya. Membangun hubungan sosial adalah salah satu kebutuhan manusia, misalnya hubungan romansa. Salah satu jenis orientasi seksual dalam hubungan tersebut adalah homoseksual. Homoseksual telah menjadi topik dalam beberapa karya sastra, salah satunya serial mini teleivi Fingersmith yang terbagi menjadi dua episode dan disutradarai oleh Aisling Walsh pada 2005. Serial ini menceritakan tentang wanita bangswan bernama Maud Lilly yang tinggal di rumah mewah bersama pamannya, dan Sue Trinder sebagai pelayan pribadinya. Tujuan utama Sue menjadi pelayan Maud adalah untuk mencuri uangnya, namun cerita Fingersmith berbalik menjadi Maud yang menipu Sue. Dalam serial ini, mereka berakhir jatuh cinta satu-sama lain.

Penelitian ini memiliki dua tujuan. Yang pertama adalah menemukan karaktristik Sue dalam Fingersmith. Yang kedua adalah menemukan bagaimana Sue dapat termotivasi untuk menerima orientasi seksualnya sebagai seorang homoseksual.

Penelitian ini menggunakan studi pustaka dan pendekatan psikologi. Tujuan pertama dari studi ini dibahas menggunakan teori karakterisasi dalam film oleh Joseph Boggs and Dennis. Tujuan kedua dibahas menggunakan teori penentuan jati diri oleh Richard Ryan dan Edward Deci. Terakhir, queer theory oleh Annemarie Jagose digunakan membahas hubungan Sue dan Maud.

Dari penelitian ini, ditemukan bahwa Sue memiliki lima kepribadian yaitu baik, pengecut, tidak jujur, bodoh, dan cerdik yang didapat dari lingkungan tempatnya tumbuh. Sue dapat menerima orientasi seksualnya karena Sue mendapat kebutuhan dasarnya selama ia tinggal di Briar. Hubungan Sue dan Maud tidak mendapat penghakiman dari lingkungan sosialnya. Sue sendiri tidak menyangkal orientasi seksualnya dan Maud membalas perasaannya.

Kata kunci: character, sexuality, self-determination

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CHAPTER I

INTRODUCTION

A. Background of the Study

Humans are developing. Developmentalists acknowledge that from the time of birth, children, in their healthiest states, are active, inquisitive, curious, and playful, even in the absence of specific rewards (Harter as cited in Ryan and Deci,

2000, p. 70). In the time of development, humans have their basic needs. Abraham

Maslow, a psychological theorist, proposed the idea of the basic human hierarchy of needs in his paper A Theory of Human Motivation, published in 1943. Maslow concluded that there are five basic human needs: psychological needs, safety needs, social belonging, self-esteem, self-actualization. Nevertheless, in doing so many human activities, humans must have motivation. Maslow proposed that motivation is the result of a person’s attempt at fulfilling those five basic needs.

According to Gardner (2001), motivation includes three elements: effort

(the effort to learn the language), desire (wanting to achieve a goal), and positive affect (enjoy the task of learning the language). Humans have motivation in various kinds. For example, motivation to achieve its goals such as career or study, motivation to be a winner in a competition, motivation to earn some money to buy something, and many more. Motivation can also appear in the matter of sexual relationships.

There are several kinds of sexual orientation; one of them is homosexual.

The term ‘homosexual’ was first created by a Swiss doctor, Karoly Maria Benkert,

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in 1869, (Pickett, 2002). Soon in the late 1980s, the term “queer” changed to refers to an “umbrella” for the non-heterosexual and for the binary gender. One specific topic in queer theory is the lesbian theory. Lesbian refers to a homosexual woman, which means a woman who loves another woman sexually. Lesbian has been a part of many literary works since the 1990s.

A work can be called lesbian literature if it has one or more of these two categories: 1) written by a lesbian writer, 2) talking about lesbian characters, (Barry,

2002, p. 147). From the medieval Christian era, lesbian literature was written by men. At the beginning of 1806, an English woman named Anne Lister wrote a diary that includes lesbian stories of her relationship with her lover. The diary tells the details of her sexual desire for a woman. Her diary, then, was adapted as a play called The Secret Diaries of Miss Anne Lister in 2010, directed by James Kent.

At the beginning of the 1900s, an English poet named Marguerite

Radclyffe wrote a poem titled ‘The Well of Loneliness'' published in 1928. The poem was called ‘ground’ of lesbian poetry in the beginning of English modern era.

Another example of lesbian literature in the 19th century are Nightwood by Djuna

Barnes, Patience & Sarah by Isabel Miler, Tipping the Velvet by Sarah Waters.

Since 1970s, the lesbian literature was not widely analysed publicly. The works were hidden for secret ‘entertainment’, for example, the works that men writers wrote with their sexual imagination of lesbian couple. Lesbianism is something that is still considered as taboo nowadays in the year 2021. Even though there are many

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LGBTQ+ activists keep voicing about equality, there are still many homophobic people who band same-sex sexual desire.

In this study, the writer uses a TV miniseries titled Fingersmith as the object. Fingersmith is a TV miniseries was released in 2005, originally adapted from a novel with the same title written by Sarah Waters in 2002. The miniseries version of Fingersmith is more consumable than the novel version. The actors, setting, background music, and lighting in the frames make the visualization more alive. Sally Hawkins and Elaine Cassidy portrayed the character Sue and Maud lively.

Fingersmith tells about a young lady named Maud Lily who lives in a big briar in the countryside of England. Maud lives with her uncle who ‘locked’ her in, abused her mentally because he pressed her to be his secretary and read to gentlemen. One day, a gentleman named Richard Rivers comes to the briar to hear

Maud’s reading. However, he has a mischief plan to own Maud’s wealth by marrying her and promised to help Maud fo out of the briar. Richard asked a fingersmith named Susan ‘Sue’ Trinder to do his plan.

Fingersmith is related to the previous topic, LGBTQ, and has something that intrigues the researcher to do further research about queer literature since it will be used in the future as further reading. The researcher wants to analyze Sue’s inner motivation to accept her sexuality as a homosexual in Victorian Britain era.

Homosexual people mostly tend to struggle or suffer of accepting their sexuality because of social judgment. Moreover, in a society which still bold of

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heteronormative, such as in Victorian Britain as Fingersmith’s setting. The researcher wants to find how did Susan Trinder had motivation to accept her sexuality, while she was uneducated and came from a negative society which did not support her growth fairly. In doing this research, the researcher uses self- determination theory and psychological approach to conduct the analysis.

Homosexuality is still counted as a new in literary field. The researcher chooses this topic because the researcher believes that this study of homosexuality with literature analysis can be useful for further research and education.

B. Problem Formulation

Based on the background of the study, there are two questions that are formulated below:

1. How is Susan ‘Sue’ Trinder portrayed in Aisling Walsh’s

Fingersmith?

2. How does Susan ‘Sue’ Trinder is motivated and self-determined to

accept her sexuality as a homosexual in Aisling Walsh’s Fingersmith?

C. Objectives of the Study

This research has two objectives. First, the study is conducted to identify the representation of Susan Trinder’s character in the TV series. This discussion leads to revealing Susan Trinder’s character, which is analyzed by the second study.

The second study focuses on Susan Trinder’s self-determination of being a homosexual using the theory of Self-determination.

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D. Definition of Terms

There are two terms that have to be explained in this study to clarify the meaning and avoid misunderstanding.

The first term is homosexuality. Homosexuality is commonly and widely understood to describe sexual attraction for those of one’s own sex, (Jagose, 1996, p. 7). There is still many classifications of how does the term “homosexual” can be put in to someone because this study field is still developing. For example, a married man who live with his family and children but had sex with other men cannot directly called as a homosexual. A historian Michel Foucault argues that homosexuality is necessarily a modern formation because, while there were previously same-sex sex acts, there was no corresponding category of identification, (Jagose, 1996, p. 10). In short, the term “homosexual” actually refers to someone who has sexual desire to other people who has the same gender with them.

The second terim is motivation. According to Maslow (Maslow, 1943, p.

370), human needs arrange themselves in hearcies of pro-potency. Therefore, humans have motivation. Maslow stated that motivations is only one class of determinants of behaviour, while behaviour is always motivated. It is also almost always biologically, culturally and situationally determined as well, (Maslow,

1943). In 1954, a behavioural scientist proposed the theory of human needs. He developed Herzberg’s theory about motivation. According to Gawel in his article

Herzberg’s Theory of Motivation and Maslow’s Hierarchy of Needs, Maslow concluded that there are five basic human needs; 1) Psychological needs (e.g. sex

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and hunger), 2) Safety needs (e.g. security, stability, protection), 3) love and belongingness (e.g. to love and to be loved), 4) self-esteem (e.g. self-respect, respect to the others), and 5) self-actualization (e.g. to fulfil one’s potentialialities).

In this study, the term “motivation” is related with the theory of self-determination.

According to Deci in an interview for The Brainwaves Video Anthology, there are two kinds of motivation, they are autonomous motivation and controlled motivation. Autonomous motivation is the condition when somebody does something with full awareness, and do it with real sense of interest and enjoyment.

Meanwhile controlled motivation is a condition when somebody does something in order to get reward, to avoid punishment because she or he is pressured, demanded, or obliged to do it.

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CHAPTER II

REVIEW OF LITERATURE

A. Review of Related Studies

In this study, the researcher uses several reviews of related study to be references and reviews because they have several similarities with the researcher’s study. The first study is a journal article written by Elok Rizqiyah Prajayanti,

Supiastutik, and Dyah Purwita Wardani SWW titled Lesbianism in Victorian

Narrative Implied by Sarah Waters’ Fingersmith. Their journal article talks about the reconstruction of lesbianism in the Victorian era portrayed in the novel

Fingersmith by Sarah Waters.

The journal article has three problem formulations. They are 1) how is the ideal woman in the Victorian era, 2) how is the representation of lesbianism in

Fingersmith, and 3) what is the ideological agenda behind Sarah Water’s

Fingermith portraying lesbian identity. The researcher chooses this study because it has a similar topic with the researcher’s, which is lesbianism in Fingersmith.

Although their object is different from the researcher’s, the storyline of Fingersmith

(novel) and Fingersmith (TV series) is the same. Prajayanti, Supiastutik, and

Wardani SWW’s journal finds that Victorian society tends to consider that women who follow the rules and forms are identical with the ideal woman. Waters describes the character Sue and Maud transform from passive women who gain independence and become active participants in society. The writers conclude that in Victorian era, men perceived women as sexless beings and women are believed

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to have no sexual appetite that needed to be fulfilled. Nevertheless, Fingersmith’s main character, Maud, intently brings the message for women to struggle against male oppression by promoting the other sides of lesbianism.

The second study is a thesis by Nicki Astrianingsih (2011) entitled A

Psychological Study of the Character Development of Maud in Sarah Waters’

Fingersmith. Astrianingsih analyzed the main character's psychological development in Sarah Waters’ Fingersmith. She finds that Maud’s characteristics are good-tempered, coward, lack of self-confidence, and rude. She also finds the cause of those characteristics is because of Maud’s past such as her mother’s death, moved to a new environment suddenly, the new appearance of her maid Susan whom she falls in love to, and many unexpected people others. The researcher chooses this study because it has the same object, Sarah Waters’ Fingersmith and it has the same discussion, characterization.

An article written by Claire O’Callaghan from Brunel University titled

“The Grossest Rakes of Fiction”: Reassessing Gender, Sex, and Pornography in

Sarah Water’s Fingersmith argues that Sarah Waters’ Fingersmith revisits feminist debates arising from the “sex wars” of the 1980s and 1990s in which feminism was divided over its approach to female sexual representation, as it is written in the abstract. O’Callaghan mentions that Maud’s knowledge of sexual expression derived only from her role as secretary to her uncle’s library of pornographic materials. But the arrival of Sue as her maid, defraud Maud of her inheritance, challenges Maud’s understanding of the relationship between gender, sex, desire,

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and particularly female same-sex passions that she has learned from his bawdy materials. This article helps the researcher as a source of how Maud develops her sexual desire toward other people, which has the connection of the reason why

Susan Trinder have motivation to accept her sexuality.

In 2013, Ilham Mubarok wrote a thesis titled Male Gaze Dalam Film The

Handmaiden. The researcher chooses this article because the object, The

Handmaiden, is a movie that was adapted by the researcher’s object, Fingersmith.

The two movies mainly have the same plot, only several parts are different especially the exposure of the lesbian pornography scene. In doing this study,

Mubarok uses the male gaze theory by Laura Mulvey. The theory explains that a movie can give some kind of pleasure to the viewers, one of them is by gaze, or is called scopophilia. Mubarok explains that Hideko (Maud, in Fingersmihth) and

Sokhee (Sue, in Fingersmith) has successfully developed their relationship from a mistress and her maid to a lesbian couple. They do not hide their relationship because of the society, but it was because they want to keep it safe for the sake of their plan to get out of Hideko’s house (the briar, in Fingersmith). Hideko and

Sokhee’s relationship shows that gender and sex do not define somebody’s sexuality. Hideko and Sokhee, Mubarok said, who fall in love in a conservative society successfully reached their romantic relationship through their individual performatives. Hideko and Sokhee first get to know each other, giving sympathy to each other, understanding their historical background, and finally fall in love with each other. Mubarok’s study helps the researcher to analyze the reason why Susan

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Trinder accept her sexuality. Even though the object is different, The Handmaiden is mostly 90% the same as Fingersmith because it was adapted by Fingersmith.

B. Review of Related of Theories

In doing this study, the researcher uses several theories to support the analysis. In analyzing the first problem question in this research, the researcher uses the theory of characterization.

1. Theory of Characterization

According to Boggs and Petrie in their book The Art of Watching Films, characters must seem real, understandable, and worth caring about to be interesting.

For the most part, the characters in a story are believable in the same way that the story is believable, (p. 60). Boggs and Petrie divided several types of characterization in film. a. Characterization through Appearance

Characterization through appearance deals with the actor’s facial features, dress, physical build, mannerisms, and the way they move on the screen (p. 60).

From the physical appearance, the viewers can define the character’s characterization for example the way they dress. For example, a polite noble woman always dress neatly. The character Everett Lewis in the movie Maudie (2017) shown in dirty outfit, it has the representation that he is a lazy man who does not really care about his appearance. The character Emily Cooper in the series Emily in

Paris (2020) always dress in nice clothes. The viewers can conclude that Emily is a professional worker because she dress nicely to go to work. Characterization of a character can also see in mannerisms. In Sex Education (2019), the character Maeve

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Wiley always seen comes with “the resting bitch” face and misbehave. It shows that

Maeve is an ignorant girl. b. Characterization through Dialogue

The second characterization is seen through dialogue. Characters in a fictional film naturally reveal a great deal about themselves by what they say. But a great deal is also revealed by how they say it. Their true thoughts, attitudes, and emotions can be revealed in subtle ways through word choice and through the stress, pitch, and pause patterns of their speech, (Boggs & Petrie, p. 61). Characters’ word choices can defined the character’s traits. A character who often curses can be classified as rude. For example, the character Gaston in Beauty and the Beast

(2017) is a rude man because he mocked his servant and said Belle’s father was an idiot. The character Barney Stinson in TV show How I Met Your Mother (2005-

2014) is seen as a flirty man because he often says dirty words which means to sexual traits. Another example is the character Heo Yeon Woo in the Korean drama

The Moon that Embraces the Sun (2012). Her choice of words are so polite and careful, shows that she is a noble woman even though she was dumped for years in rural area and becomes someone else because her rival trapped her when they were in competition to be the prince’s wife. c. Characterization through External Action

Characterization can also be seen through external action. A character’s real action in the movie and define the character’s traits. For example, the character

Amy Dunne in Gone Girl (2014) is brave, clever, dodgy, and cunning seen from the way she made her plan pretending that she was kidnapped. Amy also has

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courage to hurt herself to make her plan success. Beside through external action, a character traits can also be seen through internal action. Inner action occurs within characters' minds and emotions and consists of secret, unspoken thoughts, daydreams, aspirations, memories, fears, and fantasies, (p. 62). In Anne with An E

(2017), the character Anne Shirley is full of imagination. Some of her imagination were not explicitly saying, but stayed in her own imagination. Anne mostly saw the world is an adventure to her, even in some serious events. It proves that Anne is careless. d. Characterization through the Reaction of Other Characters

Boggs and Petrie mentioned that characterization can be seen through the reaction of other characters. Movie viewers can define a character’s trait from the other characters’ reaction to her or him. For example, from the character “Ibu” (the name does not mentioned in the movie) in About a Woman (2014), viewers can see that the character Bimo is careless and foolish. Bimo is Ibu’s son in law. In the moment when Laras, Ibu’s daughter, invited Bimo to had dinner in Ibu’s house,

Ibu’s reaction seemed that she does not like Bimo. Every time Bimo talked to Ibu,

Ibu always argued, disagree, or cut his words. Ibu also stopped eating because she saw the way Bimo eats was impolite. From Ibu’s reaction, viewers can concluded that Bimo is a bad person who is not polite. e. Characterization through Contrast: Dramatic Foils

Hereinafter, characterization can be seen through contrast: dramatic foils.

One of the most effective techniques of characterization is the use of foils• contrasting characters whose behaviour, attitudes, opinions, lifestyle, physical

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appearance, and so on are the opposite of those of the main characters, (p. 64). For example, the character Christine Collins in Changeling (2008). Christine was a single parent with a nine-year-old son. She always dress neatly to work, her choice of words were soft to her son and bold to her co-workers. She also always put bold make up with charismatic expression. When Christine talked to the police, she never agree for what she does not believe; to admit that the son they brought to her was her missing son which actually he was not. From all those what were seen in

Christine, her characteristics can be defined as a loving mother, strong woman, and unwavering. f. Characterization through Caricature and Leimotif

In order to etch a character quickly and deeply in our minds and memories, actors often exaggerate or distort one or more dominant features or personality traits, (p. 65). A character’s traits can be defined by his or her leitmotif and caricature. Harry Potter in Harry Potter Series is a brave, strong willing, pride, and curious boy. His main motif in the story is to defeat Voldemort who killed his parents. However, Harry is also a weak boy and careless because sometimes he did not think for what he would about to do or decide something. g. Characterizatiom through Choice of Name

The choice of name can also defined character. A screenwriter usually thinks out his characters' names very carefully, (p. 66). A name surely has its own meaning. A character named Rose can be seen as a pretty girl, as pretty as the flower rose. A screenwriter can name his or her character Maria because he or she wants her to be seen as a religious woman, following the name of Virgin Mary. The

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example is the character Minerva McGonagall in Harry Potter Series. J. K.

Rowling, the screenwriter and the books’ writer chose the name from Greek goddess of wisdom and war, Minerva. “Mc” means “of” and “Gonagall” comes from the word “Gonegal” which means “the bravest.”

2. Self-Determination Theory

The second theory that is used in this research is self-determination theory

(SDT). SDT is an empirically based, organismic theory of human behaviour and personality development. SDT’s analysis is focused primarily on the psychological level, and it differentiates types of motivation along a continuum from controlled to autonomous, (Ryan & Deci, 2017, p. 3). The theory is particularly an approach to human motivation and personality that uses traditional empirical methods while employing an organismic met theory that highlights the importance of humans' evolved inner resources for personality development and behavioural self- regulation (Ryan, Kuhl, & Deci, 1997, cited in Ryan & Deci, 2000). In their book entitled Self-Determination Theory: Basic Psychological Needs in Motivation,

Development, and Wellness which published in 2017, Ryan and Deci stated that

SDT concerned with social conditions of human, from biological, social, and cultural enviroment where they grew up. SDT also examines the motivation, social integration and well-being, motivation and emotion. In short, SDT is a concept that refers to a person’s ability and motivation to reach the choices or decisions they make in their life, influenced by the society and enviroment where they are in.

SDT assumes that human naturally born in a nature that designed to be good enough for them in the term of basic human needs. However, it is obvious that how

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human grow their traits is influenced by their sorroundings nearby. SDT examines that people who were born and raised in a positive enviroment, full of support, challenges, and well-connected society grow as people who has positive self-esteem and can make decision in their life with enough confident. However, people who were born and raised in a negative enviroment, full of rejectness, overly controlling, critical, or frustrate autonomy, they are more likely to become self-focused, defensive, amotivated, aggressive, and antisocial, (Ryan and Deci, 2017, p. 9).

Ryan and Deci stated that SDT begins by making an important distinction.

In their journal article entitled Self-Determination Theory and the Facilitation of

Intrinsic Motivation, Social Development, and Well-Being, Ryan and Deci begin with an examination of intrinsic motivation, the prototypic manifestation of the human tendency toward learning and creativity, and consider research specifying conditions that facilitate versus forestall this special type of motivation. Then, they present an analysis of self-regulation, which concerns how people take in social values and extrinsic contingencies and progressively transform them into personal values and self-motivations. Last, they focus on studies that have directly examined the impact of psychological need fulfilment on health and well-being, (p. 69)

To grow up, human need their basic psychological needs and motivation to support the process. SDT examines basic human needs are specifically defined as nutrients that are essential for growth, integrity, and well-being. Those are required for body health and safety, requirements such as oxygen, clean water, adequate nutrition, and freedom from physical harm, (Ryan and Deci, 2017, p. 10). In explaining about motivation, Ryan and Deci stated that motivation concerns energy,

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direction, persistence, and equifinality—all aspects of activation and intention, (p.

69). Motivation produces something. For example, a student is motivated to study hard, the product of the motivation is good grades. Ryan and Deci defined two types of motivation: autonomous motivation and controlled motivation. Autonomous motivation describes someone who feels full of senses of willingness, volition and choice of whatever activity she or he is doing with a real sense of interest and enjoyment. For example, a man is motivated to work hard to earn money for his planned wedding. He is happy when he works because he will get the product which is happiness and good life with his future wife. Meanwhile, controlled motivation is the situation when someone is doing something because she or he feels pressured, demanded, or obliged to do it. For example, a man who hates his job still have the motivation to work because he has to earn money to live. He has controlled motivation to work because he hates his job, but he still has to work in it.

3. Queer Theory

The last theory that the researcher uses in this study is queer theory. The

researcher uses Annemarie Jagose’s book entitled Queer Theory: An Introduction

which was published in 1996 as the source. Jogose stated that:

Broadly speaking, queer describes those gestures or analytical models which dramatize incoherencies in the allegedly stable relations between chromosomal sex, gender and sexual desire. ... queer locates and exploits the incoherencies in those three terms which stabilise heterosexuality. Demonstrating the impossibility of any 'natural' sexuality, it calls into question even such apparently unproblematic terms as 'man' and 'woman'. (Jagose, 1996, p. 3)

Queer theory does not only about gay and lesbian studies, it is also about

the “strange” things that disagree with the social norm happening in the era.

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Cross-dressing phenomenon and smoking women is also called as queer in

Victorian Britain era because those phenomenon are “weird” or “strange” in the

era. Barnett and Johnson in Encyclopaedia of Diversity and Social Justice defined

queer as an “identity, theory, or practice. In the most general sense, queer can be

thought of as heteronormativity’s antithesis, a defiantly non-normative notion of

human social relations that rejects sex and gender binaries, obfuscates essentialist

identities, and celebrates the unwieldy and remarkable ways in which sex means

much more than reproduction.” According to Eve Kosofsky Sedgwick (as cited

in Harned, 1992, p. 103) the term “queer” refers to “the open mesh of

possibilities, gaps, overlaps, dissonances and resonances, lapses, excesses of

meaning when the constituent elements of anyone’s gender, of anyone’s sexuality

aren’t made (or can’t be made) to signify monolithically.”

C. Social Class, Gender, and Sexuality in Victorian Britain

Fingersmith’s setting is in Britain’s Victorian era, spesifically in England.

Victorian era is one of several era in Europe that happened in nineteenth century, around 1837-1901. Britain’s Victorian era in England is seen as the age of reformation. In her book entitled Understanding the Victorians: politics, culture and society in nineteenth-century Britain, Susie L. Steinbach explained the

Victorian Britain society and life.

1. Social Class

Class is really important in Victorian Britain. Victorian Britain was deeply classed by society; everyone was aware of class, admitted that was meaningful social reality, and identified themselves as a member of class, (Steinbach, p. 124).

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Steinbach classified three models of class in Victorian Britain: upper-class, middle- class, and working-class. The social class can be defined by the income, social status, religion, and race. The upper-class people is the smallest population. They usually live in a countryside, but have one or two houses in London for business.

The members are usually have either titles, wealth, land, or all three. The upper- class also received different. The middle-class are usually educated to read and write. They have the half of upper-class’ privilege, but still not the same as them.

The majority population is working-class. Most of them begins to work at the age of 11 or 12 in the farm or households for 12 hours in a day.

In school, the three classes received different education. Middle-class subjects included English literature, history, mathematic, geography, and some arts such as music and dancing. The upper-class children usually surrounded and raised by servants. Some of them received education by home schooling and had their personal nannies. The upper-class children usually followed their parents’ path as they grew up. For the working-class children, not many of them could afford school because they had to work to help the family’s income. However, there was still several schools for the working-class children. The subjects were similar with the middle-class school, but less formal and less academic.

The different of social class also seen in the places where people live.

Britain in Victorian era has several places for enjoyment such as amusement park, theatre building, art gallery, library, cafe, department store, and pub. However, there were also inconvenience places which full of dirt, danger, mud, sexual

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violence, junkies, and pickpockets. The upper-class Victorian Britain often live in a big house or villa in a countryside. They have family servants, even personal servants. Houses for the upper-class were commonly big, so the servants did not sleep near their masters’ rooms. They also had house-library and study room because education was the symbol of high upper-class social status. For the lower classes, middle and working class, house was a place to live and work. Some of their houses even did not have the access to fresh air. The lower-class family who worked as servant for the upper-class lived in their masters’ house but separately.

2. Gender

The patriarchy and gender inequality in Victorian Britain was still seen bold; men were essentially public creature, while women were private creature,

(Steinbach, p.166). Men were often outside home for working, hunting, or socializing. Meanwhile women were expected to be at home for handling households and taking care of children and their husbands. Men had more privilege than women, such as to vote, in politics, and in marriage. Once a woman married, she could not own any property or make contract event though it was belong to her, for example from her previous dead-husband. Women were also could not sue their husband to divorce. A woman who wanted to divorce her husband had to proof that there was something bad happened in her marriage such as physical cruelty from her abusive husband. Meanwhile, a man only had to say that his wife is unfaithful to divorce her, (Steinbach, p. 176). The Victorian Britain saw sex with different point of view for men and women. Victorian Britain expected that men were aggressive, while women were passive. In her book, Steinbach mentioned that:

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Victorians knew that men wanted sex, and women did not. Men were expected to desire sex with their wives. They were also expected to have sufficient sexual desire that they were driven to have pre- and sometimes extra-marital sex with prostitutes, who served a regrettable but necessary purpose in society by preventing men from being driven to mastrubation or sex with other men. ... In contrast, women were expected to be “passionless.” (Steinbach, p. 167-168).

3. Sexuality

Victorian Britain society has double standard opinion about men and women. As it has explained in the previous point, Victorian men were expected to have desire and aggressive for sex, while women were expected to be passionless and passive. Victorian Britain men had strong pride of masculinity. Steinbach classified two key threats of masculinity, they are impotence and mastrubation.

Male mastrubation in Victorian Britain was criticized as a bad habit, disgusting, unhealthy, amoral, and problematic both in medical, moral, and religion.

Mastrubation was often assumed as the result of the loss of sexual desire. In this era, the gender of the people an individual was attracted to did not define that individual, (p. 246). Therefore, a Victorian Britain men who have sex with other men did not always called as a “homosexual.” The term “homosexual” itself did not used until the late nineteenth century, (p. 246). Male friendship in the Victorian

Britain were common, but the “intimate-friendship” did not really common. A man can live with his wife, but also have sex with other man. A man could also preserve their masculinity even when they had sex with men, (p. 247). However, sex between men of different classes was illegal. The local authorities could arrest men who showed their intimacy in public, moreover if they came from different classes.

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Same sex relationship between women in Victorian Britain was different than men. In this era, marriage was women’s proper destiny, their calling, and profession, (Steinbach, p. 248). The society saw sex as something tarnished or demised the purity of their love for one another, (p. 242). Therefore, marriage in

Victorian Britain was seen as a pure journey of two souls who were in love. A

Victorian Britain woman who could not find her husband would be called as shame.

However, there were still some women who remained unmarried. Some of them were silently had desire to other women, even though women were expected to not have sexual desire.

Representation of women who desired women focused not on their sexual acts but on gender inversion, that is, on their masculine appearances, intellects, or temperaments. Where understandings of sex between men focused on anal penetration, and particularly on the party who was penetrated, understandings of sex between women focused far more on short hair, deep voices, and the wearing of trousers. (Steinbach, p. 249).

Women same-sex relationship of different class in Victorian Britain were

not common. Middle-class and upper-class women could desirely love to each

other. “Romantic friendship” was the term for same-sex relationship of women in

Victorian Britain. These friendship were also acceptable because many Victorians

saw loving female friendships as good preparation for marriage, (Steinbach, p.

250).

D. Theoretical Framework

This study is focused on the main character Susan ‘Sue’ Trinder. Sue is a personal maid to a lady named Maud Lily. The researcher focuses on Sue’s motivation of accepting her sexuality asa homosexual. Sue becomes a homosexual

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is caused by some reasons. She does nort realize it naturally since she was born.

The theory of characterization helps the researcher in revealing Sue’s characteristics in the TV series. Those characteristics are the reason of every single decision that Sue makes in her life, including accepting her sexuality. In the process of accepting her sexuality, Sue has several motivations. The researcher uses self- determination theory to analyze Sue’s motivation. Nevertheless, Sue’s emotion and relationship with her crush, Maud Lily, is analyzed by queer theory.

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CHAPTER III

METHODOLOGY

A. Object of the Study

Fingersmith is a miniseries with Victorian background setting that is divided in two parts. Directed by Aisling Walsh in 2005, this miniseries is based on a novel entitled Fingersmith written by Sarah Waters published for the first time in

2002. The script is written by Peter Ransley. Fingersmith runs for 181 minutes with three parts in it. Each part has its plot twist. Starred by Elaine Cassidy as Maud

Lily, Sally Hawkins as Sue Trinder, Rupert Evans as Gentleman, this series is originally released by BBC One in United Kingdom using English as the language.

Fingersmith tells about Maud Lily who is locked by her uncle who pressured her to work as her secretary in a big briar in a countryside of England.

The goal of her uncle is to keep Maud’s wealth because Maud cannot have it all unless she is married. He makes sure the wealth goes to no one, while he himself cannot have it. Maud was forced to read to some gentlemen.

The figure of Richard Rivers gives a little hope to Maud to get out of the briar. Richard plans to marry Maud, take all of her wealth, and take her to London as Maud’s wish. In reality, Richard has a corporation with a fingersmith named Sue.

Richard promised Sue three thousand pounds by helping Richard to get Maud’s wealth and send her to asylum. When Sue arrives at the briar, she adores Maud so much after working for her in a week. She forgets Richard, even hates his plan. In here, it can be said that Sue started to attract to Maud. She wants to protect Maud

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from Richard’s plan. Maud and Sue do not know that Richard is trying to fool them.

They get along together for several months. Maud always has bad dream and needs pills to help her sleep. After Sue works for her, Maud wants Sue to sleep with her.

Started from there, Maud does not need pills anymore.

When Maud accepted Richard’s proposal, Maud asked Sue what a wife must do at her wedding night. Actually, Maud knows how to do it because she read it from books, but she does not know how to do it in reality. Sue, then, explains what a newlywed must do on their wedding night. At this scene, Maud and Sue are having sexual intercourse for the first time. This scene proves the lesbianism in Maud because she is sexually attracted to another woman, Sue. Maud and Sue continue their plan with Richard, but the story twisted to Sue was sent to an asylum. This part gives Sue a trust issue towards Maud because she thinks Maud fools her.

Maud’s character development can be concluded from a smart but innocent young lady who accepts everything’s on her, into a braver woman who plans to run away from her briar, by help from Richard (and Sue).

At the end of the movie, Sue stayed at an asylum while Maud goes to

London to find her truly identity and family. Sue successfully run away from the asylum and back to briar to meet Maud. Maud and Sue reunited and fall in love again.

B. Approach of the Study

The reseacher uses psychological approach to analyze Susan ‘Sue’

Trinder’s self-determiation. According to Dobie (2011), psychological approach is

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related to human’s nature such as behaviour, traits or characteristics, development, growth, and sthe structure of human personality.

This approach is appropriate to use in this research because the topic is related to human nature and traits, which are characterization and self- determination. Psychological approach can be used to analyze literary works together with any theories. Sue’s characteristics and self-determination are parts of human nature and behaviour. A person’s traits and self-determination exist in the pattern of his or her psychological system.

C. Method of the Study

In analyzing the data, the researcher uses library research method to support this study. The main source is the miniseries Fingersmith directed by Aisling Walsh in 2002. Since the researcher uses a miniseries as the data, the researcher has to watch the movie closely and take note of the details.

In concluding this research, the first step is the researcher watch the miniseries and collected the data in Aisling Walsh’s Fingersmith. Next, the researcher read related studies and theories to support the research. Watching the miniseries is important to find Susan ‘Sue’ Trinder’s, the main character of the object, characteristics and the miniseries’s cinematic aspects. The second method is formulating the problems. The researcher uses the related theories and studies to analyze Sue’s characteristcs and self-determination. Sue’s characteristics were later analyzed with the theory of characterization, and her self-determination of accepting her sexuality were analyzed by self-determination supported by queer theory. Lastly, the researcher drew the conclusion and finding from the analysis.

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CHAPTER IV

ANALYSIS

This chapter discuses two problems that have been formulated in the previous chapter. The analysis is devided into two parts. Part A discusses about

Susan ‘Sue’ Trinder’s characteristics portrayed in Aisling Walsh’s Fingersmith.

Meanwhile, Part B discusses about Sue’s self determination to be a homosexual.

A. The Portrayal of Susan ‘Sue’ Trinder’s Characterization

Fingersmith by Aisling Walsh has several characters. The main characters are Sue Trinder and Maud Lilly. In this research, the writer only discusses Sue

Trinder to make it focused.

Growing up in a baby farmhouse, Sue lived in a low class society. As it mentioned before in the previous chapter, there are three Victorian society social classes. As a low class, Sue did not have the chance to learn anything in academics which make her cannot read and write. Sue lived in Lant Street with her adoptive mother, Mrs. Sucksby, and her other family members. Lant Street was one of several slum areas in London, (www.bl.uk). The poverty in Lant Street is shown by

Gentleman when he showed Maud what is ‘vile’ really is

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Figure 1 & 2. Gentleman shows Maud about poverty. (Fingersmith Part 1, 2005, 00:39:45-00:39:47)

In that scene, Gentleman showed Maud the bathroom in Sue's house. There was only one bathroom, and it is slum, dirty, even not safe for privacy. London's slum area is also described by Sue herself when she got back to London after run away from the madhouse. The scene above in the figure 1 and 2 focuse on two characters, Maud and Gentleman, in front of a dirty bathroom. Gentleman held

Maud's clothe and Maud could not fight him. It shows from gender perspective that in Britain Victorian era, men were still superior to women even though the woman was a lady, like Maud. Maud and Gentleman’s scene is shot in front of a door, so half of the scene was covered by the door itself. However, in the background of the scene, there was a dirty hanging clothe and a broken door. It shows the poverty and slums of Lant Street where Sue lived. The scene's camera moves from Gentleman, who pulled Maud and forced her to see the house's bathroom. The camera movement shows the viewers to get carried away and see what Gentleman was trying to show to Maud.

Figure 3. Sue describes London (Fingersmith, Part 2, 2005: 01:04:48)

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SUSAN. Smell it. CHARLES. Smell it, Miss? SUSAN. London! Oh, the rotten, horrible, bleeding, stink of it. (Fingersmith Part 2, 2005, p. 67)

Maud Lilly described Sue's house in Lant Street as a house of thieves, even though Mrs. Sucksby fixed it as 'honest thieves,' they are all still thieves. Sue and her family were hard to find a proper job with a fair salary. Sue also mentioned what Gentleman did is thievery and dodging (p. 8). Meanwhile, Sue herself admitted that she is a thief or a fingersmith. In the scene above, Sue got back to

London after runaway from the madhouse. The scenes where Sue and Charles arrived in London show Lant Street is crowded and slum dark tone. Directors and cinematographers use many tools to make a tone of scenes: color, framing, use of lens, frame rate or mounted camera, and many other things to make an effect on the audience's perspective of the scenes, (Brown, 2012). The camera in the scene above shots in a small view to picture how crowded Lant Street was with many people here and there. The outfits people wore were also seen in dark color, representing the low class in Britain Victorian era. The director wants to emphasize the background of the scenes from the cutaways shows how dirty, smell, and slum Lant

Street was, just like how Sue described it even though the shots focus with a two- shot method with Sue and Charles in it.

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Figure 4. Sue admits herself as a fingersmith (Fingersmith Part 2, 2005: 01:06:28)

SUSAN. “I couldn't read. All I knew about letters was what I've picked up by studying vipers. I was a fingersmith. A thief.” (Fingersmith Part 1, 2005, p. 5)

CHARLES. Did you take that from the cottage? Why did you take it? SUSAN. Why? It's because that's what I am. CHARLES. You're kind, you're a ladies maid. SUSAN. I'm a fingersmith, you stupid idiot! A thief! (Fingersmith Part 2, 2005, p. 57)

Based on her background life, Sue developed some characteristics in herself.

Sue declared that she was a fingersmith, which she knew it was a lousy occupation or title of someone. However, she was not all bad. There are several bold traits of

Sue influenced by her background, society, and people around her. a. Kind

As it mentioned before, Sue grew up in a low class baby farmhouse as a fingersmith. However, there is still kindness in Sue. The researcher finds Sue's kindness mostly through her internal action or how she has her self-talk and from other character's perspectives. On the day when Sue was about to leave with

Gentleman to the Briar, Sue actually felt not so sure about her own feeling to do the swindle with Gentleman.

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Figure 5. Sue doubts her own feeling (Fingersmith Part 1, 2005: 00:21:28)

MRS. SUCKSBY. Sue dear. Here's your character from the gentlemans best hand. He'll see you to the coach and join you in a months time. You look a picture, a real picture. SUSAN. I wouldn't like to do it, Mrs. Sucksby. Ain't it a mean trick to plan on that poor girl? MRS. SUCKSBY. Your mother would have done it and don't give me the salt. She would have had dread you doing it but, by God, she'd a been proud. (Fingersmith Part 1, 2005, p. 13)

Sue showed her doubtful expression, followed by words she said, "Ain't it mean trick to plan that poor girl?" Even though Sue admits that she is a thief or a fingersmith, she actually felt that what she is doing is wrong. The scene's frame focuses on Sue's face only, even though it is a two-shot frame with Sue and Mrs.

Sucksby in it. The close-up shot of Sue emphasizes Sue's expression only, which is scary in this scene. The situation of the scene was only Sue and Mrs. Sucksby only in a room. It is to emphasize the closeness of Sue and her adoptive mother, Mrs.

Sucksby. Before Mrs. Sucksby came, Sue was standing in front of the window, which facing the hanging place as a punishment to people who received death penalty for their guilt. The shots also focus on Sue only to emphasizes that she was scared of hanged and doubted her plan with Gentleman for a while.

CHARLES. You took them clothes without asking. SUSAN. I had to, didn't I? Would you rather I got picked up? And never saw Mr. Rivers again? Don't look at me like that. I've never done anything like that before in my life. Don't you think I feel terrible? Stealing from poor people like that? Oh! damn her! Damn her! I don't suppose you want a piece of this pie, then? Charles? There are times in this life when we have to do things that we don't want to do. I'll ask Mr. Rivers to go back to that very cottage... and

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pay back every penny for the things we've taken and more. (Fingersmith Part 2, 2005, p. 66)

Sue stated that she never did stealing before. Moreover, she felt so bad stealing from the poor because she exactly understands the feeling of being poor.

However, the scene in the scene pushed Sue to steal clothes for her disguise so people would not know that she just ran away from a madhouse and some pieces of bread for her and Charles to gain energy after the long tiring day. Nevertheless, it proves that Sue has kindness in herself through the way she acts by giving Charles pieces of bread of hers. Also, it is proved from Sue's mindset that she actually feels guilty after stealing things that were not hers.

Another proof of Sue's kindness is on the day after Gentleman and Maud's wedding night when she and Gentleman did their plan to make Maud goes mad. In this scene, Gentleman and Sue planned something to trap Maud so the doctors would believe that there was something wrong with Maud and would bring her to the madhouse. To get more information, the doctors also interviewed Sue as she is

Maud's personal maid.

Figure 6 & 7. Sue is scared of Maud being hurt (Fingersmith Part 1, 2005: 01:22:11)

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SUSAN. You’ll keep her safe so much. DR. CHRISTIE. We will. SUSAN. She’s so kind. So good. So loving. You will keep her some place special. Where no one will hurt her. DR. CHRISTIE. There, there. You musn’t be so distressed. She’s been very lucky to have such a good and faithful servant. Very lucky indeed. (Fingersmith Part 1, 2005, p. 35)

From the conversation above, Sue showed her own thought about how worry she was to Maud. Even though she and Gentleman planned something evil and wanted to put Maud in a madhouse, she did not want Maud to be hurt. It proves

Sue's care and kindness towards Maud. The scene's shot does not use a wide shot like when it shot to the Briar in the countryside to make the viewers know that

Maud's house is large and significant. When Dr. Christie interviewed Sue, the shot was taken in a small cottage room where Sue, Maud, and Gentleman stayed for a while. There were only four people in the room; Sue, Gentleman, Dr. Christie, and

Dr. Graves. The shots mostly focus on Sue only or use the two-shot method with

Dr. Christie and Sue in it. In the two-shot scenes, the camera's perspective is taken from the third-person point of view as the viewers can see what is going on with

Dr. Christie and Sue. Before the interview session ended, Sue stood up from her chair and gave a face to Dr. Christie. Then, the camera shot changed to be a full close-up to Sue only. Sue's body language shows that she was despondent and worried, but she could not do anything much. Sue also cried when the close-up shot was taken. It emphasizes how sad and hurt she and Gentleman were about to put

Maud in a madhouse and hurt her.

Another character, Maud Lilly, also describes Sue's kindness. The second part of the miniseries focuses on Maud's perspective, different from part one, which

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takes more perspective from Sue. The second part of the miniseries started when the story is twisted, that Maud and Gentleman planned something from the beginning of the story and trick Sue back, which ended putting Sue in the madhouse.

At the beginning of the second part, Maud has her self-talk about how she sees Sue.

MAUD. She changed even my uncles books for me. I thought them dead, but the words came suddenly alive. Full of meaning. (Fingersmith Part 2, 2005, p. 43)

From Maud's internal action, it is proved that Sue is kind. Moreover, Maud can feel that Sue's acts and feelings were real for her. Sue's body language also shows her pure kindness, especially to Maud. Sue's close-up shots show her facial expression that expressed her sadness, worry, and guilt towards what she did to

Maud. b. Coward

Starting from the beginning, when Sue felt unsure about the plan to trick a lady and swindle her, Sue still went to the Briar and continue her plan with

Gentleman. Sue's act shows that she is also a coward. Sue mostly shows this characteristic when she did not brave enough to speak up to Maud that she and

Gentleman were wanted to swindle her, which Sue wanted to do, but she did not because she was afraid she would be hanged or afraid that Maud would not believe her.

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Figure 8 & 9. Sue is afraid of being hanged (Fingersmith, Part 1, 2005: 00:21:10 & 00:21:42)

SUSAN. I wouldn't like to do it, Mrs. Sucksby. Ain't it a mean trick to plan on that poor girl? MRS. SUCKSBY. Your mother would have done it and don't give me the salt. She would have had dread you doing it but, by God, she'd a been proud. GENTLEMAN. Sue, are you coming? SUSAN. If they catch me, will they hang me? MRS. SUCKSBY. No! SUSAN. They will, won't they? Do you think it hurts when they drop you? MRS. SUCKSBY. No... no. Just a bit... but... they ties the knots special for the ladies so it's quick. (Fingersmith Part 1, 2005, p. 13)

The scene shows the place in Lant Street to hang people with their guilt with death penalty. The shot was taken from Sue’s house, especially from the best place with best point of view in the house to see people not hanged there, perspective in order to make the viewers can see from Sue’s point of view of how afraid she was in real. The lighting of the scenes is not rich, following the tone of Lant Street which the researcher already mentioned in the previous part; dark tone and mood to shows the slum of Lant Street. When Sue said, “If they catch me, will they hang me?” the camera shot takes a close up shot to Sue’s face with two shot method with Mrs.

Sucksby also in it facing Sue. The purpose of these shots is to focus on Sue’s facial expression that show uncertain and scared at that moment. Also, Mrs. Sucksby’s presence in the scene gives the viewers point of view from her to Sue to feel worried and sympathy towards Sue. However, Sue finally still go when Gentleman called her. It shows even though she was scared, unsure, and aware of what she would do was wrong, she could not cancel her plan and reject Gentleman. It obviously shows that Sue is a coward.

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Sue's feelings towards Maud developed as she spent weeks with her. She enjoyed her days, and her job forgot about Gentleman and her thirty thousand pounds. However, when the time came where Sue had to face reality, she could not straightforward tell Maud about her evil plan.

Figure 10-13. Sue wants to tell Maud about the truth of her plan (Fingersmith, Part 1, 2005: 00:40:34-00:40:55)

MAUD. He must have caught the earlier train. SUSAN. “It hit me then. How happy I was. And how much I hated Gentleman.” MAUD. I cannot receive him, can I? What an earth shall I do? SUSAN. “I wanted to shout out to Maud. He don’t love you! He’s here to steal your fortune. And put you in the mad house. But she wouldn’t have believed me.” (Fingersmith Part 1, 2005, p. 20)

From the conversation above, Sue has her self talk about how she hated

Gentleman for disturbing Maud. She forgot her first aim coming to the Briar and become Maud's personal maid was to convince Maud to marry Gentleman and steal her money. In that part, Sue's self-talk proves that Sue does not want Maud to be

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hurt; it means that there is kindness in herself. However, she is a coward because she failed to tell Maud the reality, even though she wanted to. The scene has two frames of focus. The first is focus on Sue, and the second one focuses on Maud.

According to Brown, Sue's shot in the scenes above is called three T's or medium close-up, which shows a shot from head to breast.

Meanwhile, Maud's shot is called cowboy shot which shows a character from head to their knee, (p. 22). The purpose of Sue's shot is to emphasize her facial expression, which shows that she was overthinking in the scene. Sue also shot standing in front of a window on the second floor while watching Gentleman arrived at the Briar. Her facial expression, along with her self-talk, shows that she has many things in her mind. Meanwhile, Maud's shots show her body language that she was anxious about Gentleman's arrival. She asked Sue several questions and asked her opinion, but Sue stood still and focused on her mind only. Maud's cowboy shots show from Sue's point of view is to show the viewer that she was worried while walked here and there doing random things because of her anxious feeling. When she stood still while Maud was confused, Sue's body language shows that she is a coward by not directly telling Maud about the truth. Actually, Sue got several moments when she could tell Maud at any moment because she was always with her, even when Gentleman was not in the Briar. However, every time Sue spent her time with Maud, she forgot it and just enjoyed the moment. Hence, that feeling came again when Maud is with Gentleman.

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Figure 14 & 15. Sue sees Gentleman kisses Maud (Fingersmith, Part 1, 2005: 00:47:24-00:47:27)

SUSAN. “I saw what the evil bastard was about. He was going to kiss her. But not on her lips. Somewhere better. Much better.” (Fingersmith Part 1, 2005, p. 23)

SUSAN. “If I had said I love you, she’d had said it back. And eveything would have been different. I might have saved her. I might have found a way, to keep her from her fate. “ (Fingersmith Part 1, 2005, p. 29)

From the conversation above, it is evident that Sue saw what Gentleman was doing to Maud. Sue could tell how uncomfortable Maud was. However, she chose to keep silent instead of stopped Gentleman from seducing Maud. This act proves that Sue is a coward. This scene is repeated in the other act when Gentleman caressed Maud's cheek in the Briar. At this moment, Sue was brave enough to say to Gentleman that Maud was uncomfortable with him and asked him to left Maud alone. According to Brown (2012), the scene's shots are called connecting shots, (p.

26). Connecting shot is when a character sees or observes something from a distance. It could be other characters or objects. The scene above shows when Sue saw Gentleman kissed Maud from a distance. Sue's shot showed a close-up shot with painting tools in the background, which Maud used in painting lesson with

Gentleman. The background shows that Sue was not too far from the place where they painted. The focus on Sue's shot shows her facial expression so precise with

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the help of rich lighting from the daylight shot. Sue shows her uncertain expression on whether she should walk to Maud to stop what Gentleman is doing to her or stay still and go because she was afraid of 'disturbing her mistress' 'business with

Gentleman.

Meanwhile, Maud and Gentleman's scene wrapped in two-shot with camera movement from their heads goes down following Gentleman's movement to Maud shows they were about to kiss. Their activity obviously disturbed Sue, who saw them from a distance. What Gentleman did to Maud is usually happen in private, moreover in the Victorian era where sexual activities were preferred in private.

However, Sue could see it clearly because Gentleman and Maud did it in an open area, knowing from the background from their frame. Even though Gentleman and

Maud were standing under a tree, Sue could still see it clearly because of the rich sunlight.

After Sue saw Gentleman and Maud from a distance, she finally decided to turn back and walked away from them. Sue's feeling was complicated because of her status as Maud's maid, which is obviously lower than Maud who is a lady. Even though Sue called Gentleman as 'evil bastard' and knew how uncomfortable Maud was when Gentleman kissed her, Sue did not stop Gentleman and save Maud.

After seeing how uncomfortable Maud was with Gentleman, Sue actually had a little audacity to tell Gentleman that she could tell Maud was uncomfortable with him. After they three went to paint in the open area, Maud continued her painting lesson with Gentleman indoors in her room. In here, Gentleman asked Sue

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to get out of the room and left them two. However, Sue softly rejected it without using prominent words that she would leave them two. Instead of saying yes and left, Sue said, "But Mrs. Lilly wouldn't like it." In this scene, Gentleman noticed that Sue started to betray her. When Sue left the room, Gentleman was already waiting for her outside and immediately asked what Sue was trying to do.

Figure 16-19. Gentleman threatened Sue (Fingersmith, Part 1, 2005: 00:52:02-00:52:28)

GENTLEMAN. What the hell are you playing at? SUSAN. Keep your hands off her. She don't want it. GENTLEMAN. Don't want it? The pigeon is crying out for it. SUSAN. I'll cry and they'll be able to hear. She have to go to the mad house. GENTLEMAN. If you are going soft on me now Sue, I'll drop you. My own nurse will be taken ill and need her sweet little niece and you'll be back in Lant Street with nothing! SUSAN. I'll tell her and Mr. Lilly, I'll tell her! GENTLEMAN. Tell her what you stupid bitch? What you came her to do? She's gone to far to believe you. She must marry me now, or be as good as ruined, locked up here for the rest of her life. I'm her only way out.

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(Fingersmith Part 1, 2005, p. 25)

From the scene above, the lighting of the shot was dim. Seeing from the background, the scene was taken right in front of Maud's room, where she continued her painting lesson with Gentleman. Maud's house was often seen dark even though the scene was shot in daylight. Therefore, the director gave the scene above where

Gentleman treated Sue's light source from below the characters on the frame. This direction of light makes the characters on the frame more comfortable to see.

Gentleman is taller than Sue, while Sue often looked down or looked straight in front of her. The shot is called an over-the-shoulder shot, (Brown, p. 23). Gentleman threatened Sue and scared her that she would go back to Lant Street with nothing while choking her. Gentleman's facial expression shows how angry he was, knowing that Sue was about to betray him and failed their mission to swindle Maud.

Meanwhile, Sue looked scared. Her eyes looked down because she was not brave enough to look at Gentleman straight to his eyes. When Sue said that she would tell Maud and Mr. Lilly, Gentleman quickly covered Sue's mouth and talked softer to her as he put his lips right in front of Sue's ear. Those acts made Sue feel threaten even more. Even after Gentleman let go of Sue, she still could not fight him back.

Sue saw Maud was very uncomfortable with Gentleman, moreover when

Gentleman touched Maud. She could say it clearly to Gentleman, but she could not say it to Maud directly. Nevertheless, Sue stayed silent and did not do anything. It proves that Sue is a coward due to her fear of being hanged or lost her thirty

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thousand pounds and go back to Lant Street with nothing after Gentleman threatened her. Sue was also afraid of Maud herself because she thought that Maud was an innocent girl, so Sue thought that Maud would think of Sue as her honest, loyal, and nice maid. Sue was afraid that Maud would hate her. c. Dishonest

Along with the times Sue spent with Maud in the Briar, Sue developed her feeling towards Maud. Sue enjoyed her time, playing cards with Maud, dancing, and sleeping together with her every night. However, she was also a coward by not telling Maud the reality that she and Gentleman actually wanted to trick her.

Besides, Sue was also dishonest to her own feeling. Sue knew that she was in love with Maud, but she was not brave enough or be honest to accept her feeling. Sue declared her own feeling and admitted it on page 29, “Six hours to go. Time and time again I nearly told her he was a villain. Her uncle would have had me locked up. I could hear Lant Street laughing. Me, in love with a girl!”

Figure 20. Sue admits that she is in love with a girl (Fingersmith, Part 1, 2005: 01:07:24)

Sue did not deny that she was in love with Maud. However, she realized that she could not go along with her feeling or confessed it as the reality hit her because

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Maud was about to marry Gentleman as she and Gentleman’s plan in the first place.

According to Brown, the scene where Sue had her self-talk of realizing her feeling towards Maud is a two-shot with cowboy method because it shows from the characters' head to their half body. The scene tells about the day several hours before Maud's wedding with Gentleman. Maud and Sue prepared things to run away from the Briar. At that time, Maud divagated because she was nervous. The camera moves following Maud in order to show the viewers how anxious Maud was.

However, Sue looked standing still in her place, busy with her own thoughts.

Several days before Maud and Gentleman’s wedding, Maud asked Sue what a wife must do on a wedding night. After Sue answered and explained, Maud still did not understand even though she has read about it in books. The night ended,

Sue gave Maud an 'example' of what a wife must do on a wedding night. Sue and

Maud had passionate sexual intercourse for the first time.

Figure 21-24. Sue and Maud have sexual intercourse (Fingersmith, Part 1, 2005: 00:59:34-01:00:37)

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The scenes above show how Sue and Maud had their passionate sexual intercourse for the first time. The lighting of the scene was dim as the setting was in the evening. The camera takes two close-up shots from the audience's perspective as it is seen in front of them to the extreme close-up shots showing Sue and Maud's close faces. The dim light and shots give the mood of intimacy. Sue and Maud's extreme close-up shots of Sue and Maud's faces and Sue's hand touched Maud show how gentle Sue treated Maud. Figure 21 shows that Sue smiled at Maud. It proves that she enjoyed her touches on Maud.

Figure 25 & 26. Sue being dishonest (Fingersmith, Part 1, 2005: 01:02:13-01:02-24)

When the morning came, Maud could feel how Sue treated her when they had sexual intercourse, which means that Sue meant it. Maud could feel Sue's real feelings towards her as maud herself felt too comfortable because she did not need any drop to help her sleep or had a bad dream. However, Sue immediately left the room as she disagreed with Maud. Sue's action reveals that she is dishonest with her own feeling. The camera shots take a two-shot frame with Sue and Maud in it.

The light is bright as the sign of the setting in daylight. The shot takes a bigger frame of Sue's face rather than Maud's to make the viewers see Sue's facial

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expression more than Maud's to emphasize that Sue was dishonest to her own feeling by telling Maud that she did not enjoy their sexual activities last night.

The second moment when Sue dishonest her own feeling is when Maud finally told Sue that Gentleman proposed to her. Sue did not directly give any response to Maud about Gentleman’s proposal. Sue’s facial expression shows that she was confused and sad, but she had to act that she was happy about the news.

Figure 27-30. Sue being dishonest to her feelings for Maud’s proposal news. (Fingersmith, Part 1, 2005: 00:49:45-00:50:39)

MAUD. Mr. Rivers has asked me to marry him. Are you not pleased? Sue? What is it? SUSAN. A surprise, Miss. I’m pleased. I’m gladder than anything in the world. MAUD. Then I am sad because I have not said yes to him. SUSAN. Oh. MAUD. How can I? My uncle will never agree. Mr. Rivers says we might go away at night. Get married in a small chruch near here. (Fingersmith Part 1, 2005, p. 24)

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The scene above happened after Maud had her painting lesson with

Gentleman in the open area. Sue and Maud were running back to the Briar.

However, the weather suddenly changed and rain came. Sue and Maud stopped under a tree to shelter from the rain. In there, Maud suddenly said that Gentleman had proposed to her and asked Sue her opinion about it. The first time Sue heard it, she turned her head back and took off her hat. Her body language shows Sue looked huffed; even Maud was confused with Sue's response and asked again if Sue was not pleased with the news. Then, Sue answered that she was surprised to respond to Maud's confusion to her reaction. However, Sue's smile shows that she lied moreover when she said that she was gladder than anything in the world. A few seconds later, Maud suddenly hugs Sue because she was afraid of thunder. From here, the camera shot changed to take the frame to Sue only while she hugs Maud.

The viewers can see Maud's back and Sue's expression when she hugs Maud and pats her back. Sue's expression obviously looks sad, worry, and unpleased with the news that Gentleman proposed Maud. However, Sue could only show her sadness when Maud was not facing her. Sue and Maud's shot under the tree on a rainy day shows more of Sue's feelings. Sue actually had already known that soon enough,

Gentleman would propose Maud as the part of the plan from the beginning.

However, Sue was still shocked and sad. The weather also symbolizes Sue's negative feelings. Sue was dishonest by saying that she was surprised and pleased about the news Maud gave to her.

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The second time Sue is dishonest to her own feeling about Maud's future marriage with gentleman is that Maud once again asked Sue if she should accept

Gentleman's proposal or not because she was not sure about her feeling toward

Gentleman.

Figure 31-34. Sue convinces Maud to marry Gentleman (Fingersmith, Part 1, 2005: 00-52-49-00:53-52)

MAUD. He says if I am his wife, my uncle cannot touch me. What shall I do? SUSAN. Follow your heart, Miss. You love him. MAUD. Do I? SUSAN. Don’t heart faster when you see him? Or when he kisses you? Miss? Oh, Miss, don’t you love him? MAUD.(Shakes her head) SUSAN. You might say no. MAUD. Say no? And watch him leave? Don’t you think I should then wonder over and over again? What sort of life I might have had? SUSAN. Marry him, Miss. Mr. Rivers loves you. And love never hurt a flea. MAUD. Alright, I will. (Fingersmith Part 1, 2005, p. 23)

In the scenes above, Sue turned back her head for the second time after writing in Figure 28. Maud was unsure if she should marry Gentleman, so she asked

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Sue one more time to convince her. Once again, Sue had her hard time answering

Maud to this kind of thing. However, she obliged to convince Maud to believe that she loved Gentleman and she should marry him. When Sue said "You might say no," to Maud, she immediately turned her head from Maud. Sue could not face

Maud and show her expression. The camera shot uses the over-the-shoulder (OTS) shot which is a vital shot in filmmaking, (Brown, 2012, p. 22). Both of the shots in figure 30 and the shot in figure 32 are on Sue. Therefore it is called a reaction shot.

According to Brown, a specific type of close or medium shot is called a reaction shot because the shot focuses on what happens or when a character says something, and the director shot on a specific character to get their reaction to the other character. The shot refers to facial expression or body language, not the dialogue,

(Brown, 2012, p. 23). When she turned back from Maud, Sue's body language signifies that she is dishonest to be happy by hearing the news that Maud would marry Gentleman soon. Her memory of Mrs. Sucksby supports her dishonesty on the day when Sue was about to go to the Briar.

It is evident that Sue did not tell Maud her real feeling when she heard

Gentleman proposed to Maud. As she developed her feeling towards Maud, Sue admitted that she was in love with her. Sue also did not want Maud to be hurt, but she knew Maud would be hurt if she married to Gentleman. Obviously, Sue wanted to save Maud. However, Sue felt that she had to complete her plan with Gentleman.

That is why she gave Maud her false response as she was happy to hear that

Gentleman proposed to Maud. It proves that Sue is a dishonest person to her own feeling.

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d. Foolish

Fingersmith has a unique plot twist. In part one, the story focuses on Sue's plan to swindle Maud. However, the story twisted in the second part of the miniseries into Sue is Maud and Gentleman's tricked. In this part, Sue is also a foolish person because she could be easily tricked back by the person she was about to trick. Maud described Sue as "not the gullible girl of a villainess plot", (p. 42).

From the beginning, Maud saw Sue was actually easy to be tricked.

Gentleman told Maud that she and Sue would change their roles, Sue would be Mrs. Rivers or Gentleman’s wife and Maud would be Sue’s personal maid.

However, the reality is Gentleman told Sue what she had to say to the doctors. Sue answered that her name was Susan Smith and she met her mistress, Mrs. Rivers

“when she was with Lady Alice Stonely in Kirtston Crescent, Mayfair when she went abroad, (p. 34). Meanwhile, Maud answered the doctors' questions in the separated room: Susan Smith, Mrs. Rivers (Sue)'s personal maid. Gentleman and

Maud planned this to make Sue look mad in front of the doctors because Sue would look like insane by forgetting her own name and status as a lady. In this scene,

Gentleman and Maud proved that they were successfully tricked Sue back.

SUSAN. That bitch. That bitch knwew everything. She had been in on it from the start. (Fingersmith Part 1, 2005, p. 37)

MAUD. Poor Sue. She thought she knew me. She thought me innocent. But in ways she never suspected. (Fingersmith Part 1, 2005, p. 37)

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Figure 35. Sue is dragged to the madhouse (Fingersmith, Part 1, 2005: 01:28:00)

Figure 36-39. Gentleman and Maud look pity at Sue madhouse (Fingersmith, Part 1, 2005: 01:27:56-01:29:01)

Maud described Sue as “the new maid whose character was as false as her courtesy.” (p. 42). Maud played her role really well to make Sue believe that she was a sweet innocent lady. Maud acted like she did not know many things about the outside world, like a young lady who only wanted true love at home. From

Maud's perspective, Sue was a loving girl. When Maud gave her best dress to Sue,

Sue looked really happy as Maud said, "She looked so beautiful. I had to keep telling myself, over and over again, what she planned to do to me. To go on.” (p.

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43). Maud could tell that Sue actually fell into her own trap. Sue herself has known that Gentleman was a bad guy who worked by thievery and dodging. However, she still trusted him and worked with him. In the scene above, Sue unexpectedly that she was forced and dragged to the madhouse, instead of Maud, just like her plan with Gentleman from the beginning. The camera shot focuses on Sue even though there are several other characters in the frame like Dr. Christie, Dr. Graves, and the madhouse patrons. The weather setting is gloomy in order to make the atmosphere gloomy for Sue herself, who was twisted that she was the one whom Gentleman and Maud tricked. Hence, the camera makes several connecting shots. Connecting shots make a scene feel more complete and whole, (Brown, 2012, p. 26). The main act of the scenes above is Sue, who was dragged to a madhouse. However, the connecting shots of Gentleman and Maud make the whole scene more complete.

The director also makes it two reaction shots to Gentleman and Maud about Sue.

When Sue hysterically cried and called Maud's name, Maud just stayed still and said, "Oh my own poor mistress", (p. 37) in a flat facial expression. Gentleman also did not say much and just stared at Sue with a pitying look. Sue continued to cry hysterically as she felt betrayed by her own partner in crime, Gentleman, and Maud herself as Sue thought her innocent. When the carriage moved away, Maud still watched Sue from a distance. Gentleman and Maud's expression prove that Sue is a foolish person who was easy to trick.

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e. Tricky

Seeing her status as a fingersmith, Sue is also a tricky person. Sue knew many thievery tricks even though she never did it before. Sue could see good opportunities for her in a specific situation. For example, when Charles met Sue in the madhouse, she tricked the mad housekeepers and acted like she and Charles close and know each other.

Figure 40 & 41. Sue kisses Charles (Fingersmith, Part 2, 2005: 00:48:08-00:48:29)

When Charles first saw Sue, he was shocked to see Sue in a madhouse.

However, Sue gladly walked to Charles after she heard Charles called her name,

Susan Smith. Sue was happy that Charles could recognize her. Sue then quickly took this moment before Charles do anything else. Sue immediately kissed Charles even though Charles was confused. This act made the mad housekeeper who watched her thought that Sue was close with the boy (Charles) who was visiting her. Again, Sue did not take her hands off from Charles. Here, the camera shot takes from a pretty wide angle showing Sue, Charles, a mad housekeeper who is watching them, and stairs in the background. This kind of shot aims to make the viewers see that the setting is in a room, but not small with the stairs' presence, which means that there is a second floor in the building. Also, the shot's angle focuses on Sue, who sits with her back to the mad housekeeper. With that position, Sue could hide

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her facial expression and her hands gesture. Sue could say anything softly without being heard by the keeper to read Sue's mouth movement. Also, the viewers can see the mad housekeeper even though she was away from Sue and Charles. This act's purpose is to prove that Sue is tricky because she could trick the mad housekeeper even though she was behind her. Sue's hands gesture from the back could only be seen that she held Charles to make it like that she was close with him. It proves that

Sue is tricky, seeing from the way she takes advantage of a specific situation and how to use body language.

SUSAN. Do you want to see Mr. Rivers? CHARLES. More than anything. SUSAN. Anything else in the world? So do I. And Mrs. Rivers. MADHOUSE KEEPER. Ladies, ladies, ladies! SUSAN. Have you money? CHARLES. Five shillings and.... SUSAN. Locksmith. Get one inch black key. And a file. One inch black key. Bring it when you next visit. And I do hope Mr. Lilly improves. I must go in file now. Do come again, Charles. (Fingersmith Part 2, 2005, p. 62)

Charles is a pure innocent character. Naturally, Charles was a servant and he would be loyal to his master. In Sue's case, Charles respected her because all he knew Sue was a lady's maid. Even though their status are both servants, Sue once gave him a tip after Charles helped her bring her belongings when Sue first came to the Briar. Hence, Charles looked Sue that she was 'higher' and her and obeyed her words. In this situation, Sue used him to help her get out of the madhouse. Sue succeeded in convincing Charles to come back to the madhouse and bring what she needed, a locksmith and a vile. She hides the file in her sleeves to make a fake key which she used to run away from the madhouse.

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Another proof that Sue is a tricky person is when Sue and Charles on the runaway from the madhouse. They passed a small house and stole some pieces of bread and clothes from it. As a thief, Sue knew very well how to steal without getting arrested. It proves that Sue is tricky. Sue asked Charles to hide behind bushes. She knocked at the house and immediately hid beside the house when a man, the house's owner, showed up. The man walked into his front house to check, while Sue quickly entered the house and stole some pieces of bread on the table and a pocket watch. Sue acted fast before the man came back to the house. She then got out from the back door of the house so she would not meet the man. Also, Sue sole some clothes hanging in the front of the man's house.

Figure 42-45. Sue steals some breads and clothes (Fingersmith, Part 2, 2005: 01:01:12-01:01:58)

The camera angle of the scenes first was taken from Charles' point of view, seeing Sue walked to the man's house. It gives the viewers scene as we also can see how soft Sue's first movement when she was going to steal. The shots did not have

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a wide shot like the shots when Maud and Sue painted in an open area or the Briar shot. It is to picture that a house where Sue was going to rob is a small house with a narrow yard and the bushes where Charles hides. When Sue entered the house, the shot focuses on the bread on the table and the pocket watch Sue stole to emphasize that those were two things Sue really needed at the moment.

B. Sue’s Self-Determination of Accepting Her Sexuality as A Homosexual

In the last part, the researcher has analyzed Sue's characteristics and finds five characteristics. Sue is portrayed as someone kind, coward, dishonest, foolish, and tricky. The second part of this analysis discusses Sue's self-determination of accepting her sexuality as a homosexual.

Homosexuality is considered a sin or disgusting thing in the Victorian era, especially in Britain, as the main focus of this research. Male friendship in Victorian

Britain was common, but not as a relationship with the close emotion to one another.

Women close relationship in Victorian Britain was also considered as a normal thing in Victorian Britain even when they have strong-close emotion in the relationship. In Fingersmith, Sue worked as Maud Lilly’s personal maid. Sue developed a very close relationship with Maud day by day. From Sue’s characteristic as a kind person, Sue's caring to Maud is pure. Sue considered Maud as an innocent woman who never got a chance to go outside the Briar or choose her own fate. Therefore, Sue felt sorry for Maud. Sue took care of Maud properly with her pure feeling. In the meantime, Sue slowly developed her feeling from a personal maid to her mistress from a woman to woman sexually. Sue began to care for Maud more, and afraid that Gentleman would hurt her. According to the Victorian Britain

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social mores, Sue and Maud's relationship is considered normal and unproblematic.

It is proved by how Gentleman reacted when he witnessed Maud was about to make out with Sue.

Figure 46. Gentleman caught Sue after making out with Maud (Fingersmith, Part 1, 2005: 01:13:034)

In that scene, Gentleman did not question why Sue accepted Maud’s invitation to make out with her, when it was clearly they both are women.

Gentleman only upset because he thought that Sue would ruin their plan to swindle

Maud because she developed feelings towards Maud romantically and sexually.

As it mentioned before in the previous part, Sue grew up in a low-class society. Sue did not have basic human needs that supported her to grow into a positive and well-being person, even though she has kindness in herself. Indeed,

Sue’s characteristics are influenced by the environment and society where she was raised. Sue did not have a nice place or home to live in, a decent and profitable job, also positive and well-settled people and society. According to Ryan and Deci,

Sue’s situation proves that Sue did not have essential nutrients for growth, integrity, and well-being. Moreover, she did not receive any education so she could not write and read.

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Figure 47 & 48. John plays with fire to Sue and hits Dainty (Fingersmith, Part 1, 2005: 00:09:13-00:09:26)

MR. IBBS. Melt down this little number, will you John? JOHN. My pleasure. I'd like to melt her down. MRS. SUCKSBY. Don't arse about or I'll knock your bloody head off. SUSAN. Oh, I'll knock it off! Come on! JOHN. Yeah, yeah, yeah. You just try it. Argh! (Fingersmith Part 2, 2005: p. 5)

According to Maslow (1943), there are five basic human needs. They are psychological needs, safety needs, social belongings, self-esteem, and self- actualization. In Lant Street, Sue did not have them all. The first ten minutes of Fingersmith Part 1 shows Sue’s house situation in Lant Street. In figure 47 and

48, there are four characters in the frames; Sue, Mrs. Sucksby, John, and Dainty.

The situation began with Mr. Ibbs who asked John to melt a number. John did it, but he teased Sue who just passed by and pointed a hot iron at her saying, “I’d like to melt her down.” Sue dare him, but Mrs. Sucksby quickly stopped them by hitting

John. To vent his anger, John hit Dainty who was sitting in front of them, busy knitting something. Dainty did not join John and Sue, but she received John’s anger. That scene explains Sue’s house in Lant Street was not safe for her from emotional and physical harm. Sue’s family in the house can hurt her in anytime.

Sue lived with the same people like her; unsupported by positive and well-being

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society. The family members in Sue’s house were unwanted babies that Mrs.

Sucksby raised. This kind of society obviously did not give Sue positive impact to make her grow with good self-esteem. It proves that Sue did not get her basic human needs accoridng to Maslow, which is safety needs far from violence. According to

Ryan and Deci, people who were born in negative enviroment, full of rejectness, critical, frustrate autonomy, they grow into a person who is more self-focused, defensive, and aggressive. In this case, John is a side character who lived with Sue in a same house. He is portrayed as a aggressive, defensive, and self-focused person.

He has the role to bold Sue’s background who lived in a negative environtment and near violence.

Lant Street is described as a slum and dirty place. In the figure 1 and 2, it shows how dirty Sue’s house was. It proves that Sue did not live in a clean environment to support her growth. Based on Ryan and Deci’s theory, people need clean water and clean air to grow up because those are basic human needs.

However, Sue did not have them all in Lant Street. Living in poverty makes Sue and her family obsessed and frustrated to earn money. In this issue, the figure of

Gentleman came in Sue’s family to gave them hope. It is mentioned before in the previous part that Gentleman is an evil man who did thievery and dodging to make money. When Gentleman explained his plan to swindle an innocent rich girl in a countryside of England, Sue’s family seemed excited. It proves that they are hungry for money. However, firstly, Sue rejected Gentleman’s plan for dragging her in his cunning plan, then she accepted it with a condition that she would get three thousand pounds. In explaining this motivation, Sue’s motivation to be

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Gentleman’s partner in crime is considered as controlled motivation based on Ryan and Deci’s theory because she did that for the sake of money, not because she would do and enjoy it by herself without any pressure or reward.

Sue grew her feeling towards her mistress, Maud Lilly, day by day slowly as she spent her days in the Briar with her. Sue did not expect that she would fall in love with a girl, but she did not deny, rejcect, or hate her own feeling. As a person who grew up without proper and decent educational background, Sue did not have enough knowledge like Maud did. Fingersmith by Aisling Walsh’s part one focuses on Sue’s story and takes the story’s precpective from her. Sue is also the narrator of this part. It shows much about how Sue did not have enough confidence in herself. From the previous analysis about Sue’s character, the researcher finds that she is a coward. This trait came from her background in a negative and unsupported society, which make her did not have enough brave to say what was on her mind or stand for herself. Also, the condition and role of her for being a maid, which is obviously a low class, make Sue more lack of confidence in herself.

As it explained before, Sue’s motivation of joining Gentleman’s plan to do the fraud to an innocent rich girl is controlled motivaion because she did it for the sake of money. Nevertheless, Sue’s aim and feeling changed in the meantime she spent her days in the Briar with Maud. Sue quickly realized that she liked a girl sexually and indirectly knew that she was a homosexual. In the scene when Maud asked Sue what a bride must do on a wedding night, Sue quickly thaught Maud about it. Sue did not hesitate or not sure to make out and had sexual intercourse

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with a girl. In doing the sexual intercourse, Sue’s motivation is considered as autonomous motivation based on Ryan and Deci’s theory about motivation. Sue did that not by any pressure or for any award, Sue did that because she wanted to do it even though she denied it when Maud realized that Sue really in to it, means that

Maud knew Sue was interested to her sexually.

In the Western mores, homosexual is more common and more acceptable rather than in the other side of the world, for example is the East. Even though Sue did not have enough knowledge from her educational background, Sue and Maud herself did not call their relationship is forbidden or amoral. In the second part of the series, the focus and the narrator is Maud. From this part, the researcher finds

Sue’s characteristics from the other character. Several of Maud’s self-talk and actions shows that she was actually care and liked Sue, even though she knew that

Sue has the intention to trap and tricked her. In the meantime Sue spent her days in the mad house, she remembered Maud several times.

Figure 49-50. Sue remember Maud by holding her glove (Fingersmith, Part 2, 2005: 00:27:07-00:27:21)

In the scene when Sue remembered Maud in the madhouse, she held Maud’s glove even though she threw it away once. Sue became grudge to Maud. The frame

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of the scene shows Sue was alone in an empty room. She wore a white nightgown just like the common madhouse wearings. The dim light of the scene symbolizes

Sue’s sorrows and her gloomy days in the madhouse. The emptiness of the room also symbolizes Sue’s loneliness. People in the madhouse do not believe in her at all. Sue was all alone in the madhouse. The only property in the scene was Maud’s glove. Sue hug Maud’s glove as she remembered her time with Maud, even though she twisted her feeling into grudge as she realized that Maud tricked her back and put her in the madhouse. However, the fact that Sue hugged Maud’s glove means that she still has her feeling, and she missed Maud at that time.

After Sue run away from the madhouse, she tried to find her way back to

Maud. When Sue saw Maud in her house in Lant Street, she made Charles wrote a letter to Maud. At the end of the letter, Sue added "I Love You." From those occurrence, it is proved that Sue actually still care and held her feeling towards

Maud even though Maud tricked her back together with Gentleman.

Quoted from Jagose’s explanation about queer in her book Queer Theory:

An Introduction (1996), the term “queer” is an umbrella for the “strange” things that are not common with the social norms in a particular era. In Victorian Britain, smoking women were considered queer because it was not a common thing.

Speaking of sexuality, Sue and Maud’s relationship was not considered abnormal or amoral, as the researcher mentioned previously. However, the romantic relationship between women who love each other sexually is considered queer in

Victorian Britain. Society mores at that era was more heteronormative. Men were

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naturally married to women and vice versa. In that era, homosexuality was not as free as today. Victorian Britain people were not openly accepted homosexuality.

It is not clear whether Sue ever had a partner before, both in the context of boyfriend or partner in sexual intercourse. When Sue taught Maud about 'what a wife must do on a wedding night', Sue seemed to know and experience sexual intercourse. Sue did not feel unsure of doing it with Maud, which was a woman and her mistress. The fact that Sue had done sexual intercourse with a woman made her sexuality as a homosexual, since there was no proof that Sue was interested in men.

In explaining Sue's motive, Sue's motivation is considered as autonomous motivation. Sue did not feel pressured or controlled. Moreover, Maud could tell that

Sue enjoyed their night.

Ryan and Deci explain self-determination related to human conditions such as biological, social, and cultural environment where they grew up. Sue's place where she grew up, Lant Street, explains the characteristics she developed. Self- determination is also a concept that refers to a person's ability and motivation to reach a certain choice they make in their life, as the researcher mentioned in the previous chapter. Sexuality is one of them. Even though sexuality is natural, homosexuality is still considered queer in Britain Victorian since it was not a common thing. Hence, homosexual people more likely to struggle more than heterosexual people. For example, some of them are denial and reject their homosexuality. Some other people may accept their homosexuality but struggle to fit in society because of the rejections. Therefore, homosexual people certainly have strong motivation why they accept their sexuality.

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In Fingersmith, Sue and Maud did not struggle from the rejections of their close relationship. The only one who knew about their relationship was only

Gentleman, who never gave bad judgment or called them amoral. The other support characters, such as Maud's servants in Briar and Mr. Lilly, saw Sue and Maud as a lady and her personal maid. Therefore, they saw them normal because a lady would naturally be close to her personal maid.

The researcher had mentioned previously in the last part that Sue did not deny or hate her homosexuality. Since Sue did not struggle from her own rejection and society's judgment, there is no pressure for Sue to deny her homosexuality. Her partner, Maud, gave her a positive response to her treatment. Maud might be an innocent girl who never widely socialized with many people. However, she read many books and gain her rich knowledge from them. In short, Maud was not purely innocent; she was just lack of experience. Maud's response when Sue "touched" her for the first time did not show any rejection or uncomfortable feelings. She could tell that Sue enjoyed and liked her for real, even though Sue denied it the next morning. Maud even asked Sue to “touch” her again when they stayed at the cottage after Maud and Gentleman's wedding. It proves that Sue's feeling was not one- sided. Maud's positive response towards Sue's feelings motivates Sue even more not to reject her homosexuality.

Ryan and Deci stated that self-determination analyzes self-regulation, which concerns how people receive and accept social norms from extrinsic values and progress them into personal values, leading to self-motivation. Sue's environment seemed positive towards her sexuality. Basically, it was because they

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did not know the reality of Sue and Maud's close relationship. Sue herself also did not feel uncomfortable about her sexuality. Therefore, the social norms around Sue did not have any role or chance to make Sue reject and pressed her sexuality.

Self-determination also examines human basic psychological needs such as essential nutrients for growth, integrity, and well-being. Sue's environment in Lant

Street clearly did not give her enough positive traits to grew up. Meanwhile, in the

Briar, Sue got the basic human needs, according to Maslow (1943) in her life. Sue got her psychological needs, which is sex (refers to sexual intercourse), and love and belongingness, which is love and to be loved. Sue fulfilled them all together with Maud. Sue also got a nice and decent place to live, clean water, clean air, and enough nutrients.

Fingersmith hit the climax when the truth behind Sue and Maud's childhood was revealed. Mrs. Sucksby, the brain of Gentleman's fraud, did not know that

Gentleman put Sue in the madhouse. Hence, she turned back to fight against

Gentleman with Maud. Sue suddenly run into her house in Lant Street, witnessed the fray inside the house. It became chaos when Sue pointed a knife at Gentleman.

Gentleman is shocked by Sue’s sudden appearance in the house. He tried to be calm, knowing that Maud, Mrs. Sucksby, and Sue now is fighting against him. Finally,

Maud stabbed Gentleman with the knife and killed him. Gentleman cried out and asked them to call the doctor, but Mr. Ibbs refused because they would be caught for their fraud, moreover with Maud's presence as a lady. When the police came and asked who the murderer was, John accused Mrs. Sucksby. He did it because of their previous fight, and John got too emotional for it. This occasion also proves

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how people raised in a hostile society tend to be more self-focused and hard to care for someone else. Maud tried to explain to the police that she was the real murderer, but nobody listened to her because she was a lady.

Fingersmith's story ends with all the plot twists were twisted back. Maud and Sue's truth was revealed; it turns out that Maud was Mrs. Sucksby's daughter, and Sue was Marianne Lilly’s daughter. Marianne Lilly was Mr. Lilly’s sister, which means she was Maud’s mother all the time before the truth revealed. In short, their mothers exchanged them. Marianne asked Mrs. Sucksby to exchange their babies because she did not want her daughter, Susan, to be a lady and live a painful life in the Briar like her. Meanwhile, Mrs. Sucksby agreed to exchange her baby because she did not want her daughter, Maud, to live in poverty just like her. Hence, the plan of Gentleman's fraud with Mrs. Sucksby as the central brain was actually planned to get Sue's money but save Maud as Mrs. Sucksby's real daughter. This truth shook Maud until she makes her unconscious.

Mrs. Sucksby was jailed for the murder she never did. Sue could not do anything except reminisced about Mrs. Sucksby, their times, and their memories for sharing the love as mother and daughter. Finally, Sue found out the real story and the truth behind her life and Maud. Sue was shocked that she was originally a lady with Lilly as her surname. She, then, quickly returned to the Briar to meet

Maud. Maud, who could not do much, returned to her previous life as a reader.

However, she began to write the stories to earn money after Mr. Lilly dead. At the end of the story, Maud shook and afraid that Sue would hate her after all the things that happened between them. Moreover, they both knew that Maud was the one

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who stabbed Gentleman, but it was Mrs. Sucksby who got hanged because no one believed in Maud. However, Sue answered that she did not hate Maud. Sue even felt sorry for Maud, for she had to write and read erotic stories for gentlemen to earn money. The last conversation between Sue and Maud at the end of the story confessed their real feelings that the loved each other, a woman to a woman.

Sue’s charcter also developed after she had been through the situation between her, Maud, and Gentleman. After she got her basic needs, Sue’s personality changed into someone who was a coward, into someone brave. It is proved from the time she was afraid of Gentleman in the figure 16 to 19, to when she run away from the madhouse and fight Gentleman back. Sue also changed into someone braver when she witnessed Mrs. Sucksby’s death penalty and when she got back to the Briar to meet Maud again. Her dishonesty also changed into honest because at the end of the story, Sue finally confessed and made her aim clear that she loved

Maud and wanted her. The fact that her status and Maud’s exchanged from since they were baby also affected her self-esteem. The changes in her personality makes her into someone who is self-determined enough to choose and achieve her goals in her life, from someone who was lack of confidence, no good in self-esteem, coward, and dishonest. Therefore, Sue had her motivation of accepting her sexuality after she moved to the Briar and after the several events she had with Maud.

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CHAPTER V

CONCLUSION

In conclusion, this research finds that Susan ‘Sue’ Trinder has five characteristics. She is described as kind, coward, dishonest, and tricky. Sue’s characteristics are derived from her background as a person who lived in a low- class society. The place and society where Sue lived did not have a positive impact on her growth. Sue grew in a negative, unsupported, and full of rejection environment. She and most of the people around her did not have a decent and profitable job, leading them to do thievery and dodging. This kind of environment made Sue grow up into a more self-focused person and did not have enough self- esteem and confidence.

Sue's characteristics are mostly from her self-talk, the way she acted, and other characters' perspectives. The camera shots on Sue are mostly taken with a close-up method. This method makes the shots focus on Sue only from her head to the top of her breast to point out her facial expression. Sue's other shot is mostly taken with a two-shot method with Sue and another character in the frame. This method is to make the viewers can see Sue from other characters' perspectives.

Before Sue went to the Briar, her visual appearance is often shown with a dark and dirt wardrobe. This dark tone matches Lant Street's tone in this miniseries as it shows that Lant Street is a slum, dirty, and crowded place. The dim light on

Lant Street's scenes also emphasizes poverty in that place where Sue grew up. The

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frame shots method to take Lant Street's view differs from how the director shot the

Briar. Lant Street's frame scenes show many objects such as random people, dirty stores, dogs, slum roads and corners, and vehicles to give the viewers' picture that the place is really crowded. Meanwhile, the Briar shots mostly have a brighter tone and are shot in wide frames to show the viewers that the Briar where Maud grew up is nice, big, spacious, and calm.

Sue’s first aim with Gentleman was to swindle an innocent rich girl for the sake of money, but her aim and feeling started to change in the meantime as she spent her days in the Briar with her mistress, Maud Lilly. Sue’s caring to Maud was pure from herself. Even though she knew that Maud swindle her back later as the story twisted, Sue hated Maud once and still looked for her after. In the scene when

Sue was alone in the madhouse, the director wants to emphasize how lonely and gloomy Sue was in the madhouse and fighting with her complicated feelings towards Maud. The dim light in the scene and the emptiness of the room symbolizes

Sue’s loneliness not only in the madhouse, but also in people around her because at that time she felt that she had no one to trust. Sue had developed and loved Maud purely. However, the fact that Maud trapped and tricked back with Gentleman surely made Sue grown hatred in herself towards Maud. In that scene, Sue still kept

Maud’s glove and hugged it proves that she actually could not fully hate Maud. It is also proved by the time when Sue and Charles run away from the madhouse, Sue wrote a letter to Maud and put “I love you” at the end.

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Sue’s feelings for Maud developed first because she thought Maud was a poor innocent girl who could not define her own fate and because of their days for getting more close to each other. However, it changed to be Sue’s pure feeling towards Maud is innocent. Before Sue came to the Briar, she did not have several basic human needs from the place and society where she grew up, Lant Street.

Eventually, Sue got heer basic human needs from which are psychological needs and love and belonging needs once she stayed at the Briar.

Sue and Maud developed a close relationship as a woman to a woman. From

Britain's Victorian mores, Sue and Maud’s relationship is not considered problematic or forbidden. It is proved by how Gentleman saw their relationship and did not think it was wrong or amoral. This issue leads Sue to accept her own feeling towards Maud. Moreover, when Sue realized that Maud loved her back, Sue did not deny her feelings and accepted her sexuality. According to Ryan and Deci’s self- determination theory, Sue’s motivation to accept her sexuality as a homosexual is considered autonomous.

Sue’s characteristics changed and developed after she experienced several events together with Maud and Gentleman. She changed from someone who was coward and dishonest into someone who is brave and honest to her own feeling.

Sue also got her basic needs when she lived in the briar. She got her psychological needs, saftey needs, and social belongings. The environment in the Briar has clean water, clean air, and good nutrients so it made Sue lived better than when she was in Lant Street. Those changes in her characteristics and after she got her basic needs

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make Sue grew enough self-esteem and self-confidence. It makes her into someone who is self-determined to choose or decide her fate in her life. In this case, Sue chose to live with Maud at the of the story. Sue loved Maud and did not deny her feeling for loving a woman sexually was not because she was pressed, controlled, or did it for certain awards. Sue’s feeling towards Maud was real and pure from herself, and she liked also enjoyed it.

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