my short stories

ANALYSIS THEME OF DRAMA
ENTITTLED “HAMLET”

WRITTEN BY :
WILLIAM SHAKESPEAR

CHAPTER I
INTRODUCTION

1.1 Background of The Study
In English learning have two cycle ability. Those are oral and written cycle ability. Listening and speaking are oral cycle ability, while reading and writing are written cycle ability.
When we read something, fiction or non fiction we must understand what the content or main idea of had read. Non fiction is writing such as autobiography or essay, histories, articles which is most mostly based on facts. And then fiction is the writing such as short stories, novel, novelette, poem and drama which is tell imaginary happening and characters.
How to understand one we read of them ? we must know elements of them. In this case we effort to analyze part of elements of drama as fiction / prose. Generally, elements of fiction are plot, setting, characters, point of view, style and theme. Beside that dialogue, convention, audience, stagecraft, design, genres and music are elements of a play make up the six elements of drama. One important element of drama is theme refers to central idea of the play. It can either be clearly stated through dialogue or can be inferred after watching the entire performance.
1.2 The Statement of Problem
The plot has been called the body of a play and the theme has been called its soul. Most plays have a conflict of some kind between individuals, between man and society, man and some superior force or man and himself. The same theme or story may be given a very serious or a very light touch. The personality, background and social or artistic temperament of the playwright are responsible for the treatment that he gives to his story or theme. We must, therefore, both understand and evaluate these factors.
Based on the explanation above, we effort to analyze focus on the theme in drama entitle “Hamlet”. The specific problems are :
1. What the theme of drama which entitle “Hamlet” ?
2. How determine / to find theme in drama ?
1.3 The Purpose of Study
Analyze drama have purpose. Based on the background above, we know that the purposes of this study are :
 comprehension on the story of drama
 to get sense of the drama
 to know what the theme and your reaction about this drama
 to pull the reader followed in situation
CHAPTER II
RELATED THEORIES AND DISCUSSION

2.1 Synopsis of Drama
Hamlet is the son of the late King Hamlet (of Denmark), who died two months before the start of the play. After King Hamlet's death, his brother, Claudius, becomes king, and marries King Hamlet's widow, Gertrude (Queen of Denmark). Young Hamlet fears that Claudius killed his own brother (Hamlet's father) to become king of Denmark, greatly angering Hamlet. Two officers, Marcellus and Barnardo, summon Hamlet's friend Horatio, and later Hamlet himself to see the late King Hamlet's ghost appear at midnight. The ghost tells Hamlet privately that Claudius had indeed murdered King Hamlet by pouring poison in his ear. Hamlet is further enraged and plots of how to revenge his father's death.

In his anger, Hamlet seems to act like a madman, prompting King Claudius, his wife Gertrude, and his advisor Polonius to send Rosencrantz and Guildenstern to spy on Hamlet and figure out why he is acting mad. Hamlet even treats Polonius' daughter Ophelia rudely, prompting Polonius to believe Hamlet is madly in love with her, though Claudius expects otherwise. Polonius, a man who talks too long- windedly, had allowed his son Laertes to go to France (then sent Reynaldo to spy on Laertes) and had ordered Ophelia not to associate with Hamlet. Claudius, fearing Hamlet may try to kill him, sends Hamlet to England. Before leaving, however, Hamlet convinces an acting company to reenact King Hamlet's death before Claudius, in the hopes of causing Claudius to break down and admit to murdering King Hamlet. Though Claudius is enraged, he does not admit to murder. Hamlet's mother tries to reason with Hamlet after the play, while Polonius spied on them from behind a curtain. Hamlet hears Polonius, and kills him through the curtain, thinking the person is Claudius. When finding out the truth, Hamlet regrets the death, yet Claudius still sends him to England, accompanied by Rosencrantz and Guildenstern with orders from Claudius that the English kill Hamlet as soon as her arrives.

After Hamlet leaves, Laertes returns from France, enraged over Polonius' death. Ophelia reacts to her father's death with utter madness and eventually falls in a stream and drowns, further angering Laertes. En route to England, Hamlet finds the orders and changes them to order Rosencrantz and Guildenstern killed, as does occur, though Hamlet is kidnapped by pirates one day later. The pirates return Hamlet to Claudius (for a ransom), and Claudius tries one last attempt to eliminate Hamlet: he arranges a sword duel between Laertes and Hamlet. The trick, however, is that the tip of Laertes' sword is poisoned. As a backup precaution, Claudius poisons the victory cup in case Hamlet wins. During the fight, the poisoned drink is offered to Hamlet, he declines, and instead his mother, Gertrude, drinks it (to the objection of Claudius). Laertes, losing to Hamlet, illegally scratches him with the poisoned sword to ensure Hamlet's death. Hamlet (unknowingly), then switches swords with Laertes, and cuts and poisons him. The queen dies, screaming that she has been poisoned and Laertes, dying, admits of Claudius' treachery. Weakening, Hamlet fatally stabs Claudius, Laertes dies, and Hamlet begins his death speech. Though Horatio wants to commit suicide out of sorrow, Hamlet entreats him to tell the story of King Hamlet's death and Rosencrantz and Guildenstern's deaths to all. Fortinbras, the prince of Norway, arrives from conquest of England, and Hamlet's last dying wish is that Fortinbras become the new King of Denmark, as happens.



The Scenes
Hamlet is set at Elsinore Castle, (which is based on the real Kronborg Castle, Denmark.) The time period of the play is not explicit, but can be understood as mostly Renaissance, contemporary with Shakespeare's England.
Scene 1. The play begins with Francisco on watch duty at Elsinore Castle, on a cold, dark night, at midnight. Barnardo approaches Francisco to relieve him on duty, but is unable to recognize his friend at first in the darkness. Barnardo stops and cries out, "Who's there?" The darkness and the mystery, of "who's there," set an ominous tone to start the play.
Later in the night, Horatio and the sentinels see a Ghost that looks exactly like their recently-deceased king, King Hamlet. The Ghost reacts to them, but doesn't speak. The men discuss a military buildup in Denmark in response to Fortinbras recruiting an army. Although Fortinbras's army is supposedly for use against Poland, they fear he may attack Denmark to get revenge for his father's death, and reclaim the land his father lost to King Hamlet. They wonder if the Ghost is an omen of disaster, and decide to tell Prince Hamlet about it.
In Scene 2, Claudius announces that the mourning period for his brother is officially over, and he also sends a diplomatic mission to Norway, to try to deal with the potential threat from Fortinbras. Claudius and Hamlet have an exchange in which Hamlet says his line, "a little more than kin and less than kind." Gertrude asks Hamlet to stay at Elsinore Castle, and he agrees to do so, despite his wish to return to school in Wittenberg. Hamlet recites a soliloquy including "Frailty, thy name is woman." Horatio and the sentinels tell Hamlet about the Ghost, and he decides to go with them that night to see it.
In Scene 3, Laertes leaves to return to France, after lecturing Ophelia against Hamlet. Polonius, suspicious of Hamlet's motives, also lectures her against him, and forbids her to have anything further to do with Hamlet.
Scene 4. That night, Hamlet, Horatio and Marcellus do see the Ghost again, and it beckons to Hamlet. Marcellus says his famous line, "Something is rotten in the state of Denmark." Horatio and Marcellus try to stop Hamlet from following the Ghost, but he does.
In Scene 5, the Ghost speaks to Hamlet, calls for revenge, and reveals Claudius's murder of Hamlet's father. The Ghost also criticizes Gertrude, but says "leave her to heaven." The Ghost tells Hamlet to remember, says adieu, and disappears. Horatio and Marcellus arrive, but Hamlet refuses to tell them what the Ghost said. In an odd, much-discussed passage, Hamlet asks them to swear on his sword while the Ghost calls out "swear" from the earth beneath their feet. Hamlet says he may put on an "antic disposition."
Scene 6. We then find Polonius sending Reynaldo to check up on what Laertes is doing in Paris. Ophelia enters, and reports that Hamlet rushed into her room with his clothing in disorder, and only stared at her without speaking. Polonius decides that Hamlet is mad for Ophelia, and says he'll go to the king about it.
In Scene 7, Rosencrantz and Guildenstern (often called R & G for short) arrive, and are instructed by Claudius and Gertrude to spend time with Hamlet. Polonius announces that the ambassadors have returned from Norway with an agreement. Polonius tells Claudius that Hamlet is mad over Ophelia, and recommends an eavesdropping plan to find out more. Hamlet enters, which leads to the "fishmonger" passage. R & G talk to Hamlet, who quickly discerns they're working for Claudius and Gertrude. The Players arrive, and Hamlet decides to try a play performance, to "catch the conscience of the king."
In Scene 8, Hamlet recites his famous "To be or not to be" soliloquy. The famous 'Nunnery Scene,' occurs, in which Hamlet speaks to Ophelia while Claudius and Polonius hide and listen. Instead of expressing love for Ophelia, Hamlet rejects and berates her, tells her "get thee to a nunnery" and storms out. Claudius decides to send Hamlet to England.
In Scene 9, Hamlet instructs the Players how to do the upcoming play performance, in a passage that has attracted interest because it apparently reflects Shakespeare's own views of how acting should be done. The play begins, during which Hamlet sits with Ophelia, and makes "mad" sexual jokes and remarks. Claudius asks the name of the play, and Hamlet says "The Mousetrap." Claudius walks out in the middle of the play, which Hamlet sees as proof of Claudius's guilt. Hamlet recites his dramatic "witching time of night" soliloquy.
In Scene 10 comes the 'Prayer Scene,' during which Hamlet finds Claudius, intending to kill him, but refrains because Claudius is praying.
In Scene 11, the 'Closet Scene,' Hamlet goes to talk to Gertrude. She becomes frightened of Hamlet, and screams for help. Polonius is hiding behind an arras in the room, and when he also yells for help, Hamlet stabs and kills him. Hamlet emotionally lectures Gertrude, and the Ghost appears briefly, but only Hamlet sees it. Hamlet drags Polonius's body out of Gertrude's room, to take it elsewhere.
In Scene 12, Claudius learns of the death of Polonius, and instructs R & G to find Hamlet. They do so in Scene 13. In Scene 14, Hamlet is brought to Claudius, who tells Hamlet he must go to England, accompanied by R & G. Unknown to Hamlet, R & G carry a secret order to England to execute him.
Scene 15. In a scene which appears at full length only in the Second Quarto, Hamlet sees Fortinbras arrive in Denmark with his army, speaks to a Captain, then exits with R & G to board the ship to England.
In Scene 16, Ophelia appears, and she has gone mad, apparently over the death of her father. She sings odd songs about death and sex, says "good night" during the daytime, and exits. Laertes, who has returned from France, storms the castle with a mob from the local town, and challenges Claudius, because of the death of Polonius. Ophelia appears again, sings, and hands out flowers. Claudius tells Laertes that he can explain his innocence in Polonius's death.
In Scene 17, sailors (pirates) deliver a letter from Hamlet to Horatio, saying that Hamlet's ship was attacked by pirates, who took him captive, but are returning him to Denmark. Horatio leaves with the pirates to go where Hamlet is.
Scene 18. Claudius has explained to Laertes that Hamlet is responsible for Polonius's death. Claudius, to his surprise, receives a letter saying that Hamlet is back. Claudius and Laertes conspire to set up a fencing match at which Laertes can kill Hamlet in revenge for the death of Polonius. Gertrude reports that Ophelia is dead, after a fall from a tree into the brook, where she drowned.
Scene 19. Two Clowns, a sexton and a bailiff, make jokes and talk about Ophelia's death while the sexton digs her grave. They conclude she must have committed suicide. Hamlet, returning with Horatio, sees the grave being dug (without knowing who it's for,) talks to the sexton, and recites his famous "alas, poor Yorick" speech. Hamlet and Horatio hide to watch as Ophelia's funeral procession enters. Laertes jumps into the grave excavation for Ophelia, and proclaims his love for her in high-flown terms. Hamlet challenges Laertes that he loved Ophelia more than "forty thousand" brothers could, and they scuffle briefly. Claudius calms Laertes, and reminds him of the rigged fencing match they've arranged to kill Hamlet.
In the final Scene, Scene 20, Hamlet explains to Horatio that he became suspicious about the trip to England, and looked at the royal commission during the night when R & G were asleep. After discovering the truth, Hamlet substituted a forgery, ordering England to kill R & G, instead of him. Ostrick then tells Hamlet of the fencing match, and despite his misgivings, Hamlet agrees to participate.
At the match, Claudius and Laertes have arranged for Laertes to use a poisoned foil, and Claudius also poisons Hamlet's wine, in case the poisoned foil doesn't work. The match begins, and Hamlet scores the first hit, "a very palpable hit." Gertrude sips from Hamlet's poisoned wine to salute him. Laertes wounds Hamlet with the poisoned foil, then they grapple and exchange foils, and Hamlet wounds Laertes, with the same poisoned foil. Gertrude announces that she's been poisoned by the wine, and dies. Laertes, also dying, reveals that Claudius is to blame, and asks Hamlet to exchange forgiveness with him, which Hamlet does. Laertes dies.
Hamlet wounds Claudius with the poisoned foil, and also has him drink the wine he poisoned. Claudius dies. Hamlet, dying of his injury from the poisoned foil, says he supports Fortinbras as the next king, and that "the rest is silence." When Hamlet dies, Horatio says "flights of angels sing thee to thy rest." Fortinbras enters, with ambassadors from England who announce that Rosencrantz and Guildenstern are dead. Fortinbras takes over, says that Hamlet would have "proved most royal," and orders a salute to be fired, which concludes the play.

2.2 Background of The Author
William Shakespeare Biography
William Shakespeare was born in April of 1564. There is no specific date of birth because at that time the only date of importance was the date of baptism, though infants often were baptized when they were three days old. Shakespeare's baptismal date was April 26, 1564.
Shakespeare was born in the village of Stratford-upon-Avon in Warwickshire. At the time of his birth, the village had a population of 1500 people, and only 200 houses. Shakespeare's father, John Shakespeare, came from a family of yeomen, and he gained many prestigious positions in the community. Shakespeare's mother, Mary Arden, came from an ancient family of landed gentry. The whole family was Anglican. The family's financial situation was well off. Not much information is known about Shakespeare's youth, although undoubtedly he was educated in the local school, where he studied Latin and Greek, among other subjects, during a school day that often lasted from dawn to dusk.
Shakespeare's first exposure to the theater probably occurred when he was young. As a child his father probably took him to see plays when traveling troupes of actors came to town, although that was not often.
Shakespeare was married to Anne Hathaway in 1582, when he was 18; she was 26, eight years his senior. The exact wedding date is uncertain, but the marriage certificate was issued on November 27,1582. Anne was the daughter of a respected yeoman farmer. William and Anne had their first child, Susanna, in May of 1583. This was followed by the birth of twins, Hamnet and Judith, in January of 1585. Most historians believe that Shakespeare was not often around his family in Stratford after that because historical records show him in London during the following years.
The first written reference to Shakespeare's existence in London occurred in 1592, when Shakespeare was in his late twenties. He seems to have been fairly well established in the theatre by that point, since the reference, written by another playwright, hints of jealousy at Shakespeare's success.
With his two patrons, the Earls of South Hampton and Pembrooke, Shakespeare rose quickly in the theater as both an actor and an author. He joined the Lord Chamberlin's Men, an acting company which was protected by the Queen, becoming a shareholder and senior member in 1595. Because of his success in London, he was able to purchase New Place, the largest and most elegant house in his home town of Stratford, when he was in his early thirties (1597).
In addition to his popularity as both an actor and playwright, Shakespeare became joint owner of the famous Globe theater when it opened in 1599. His share of the company's management added heavily to his wealth.
Shakespeare's financial success in the London theatre enabled him to retire and return to his home in Stratford around 1610. He lived there comfortably until his death on April 23, 1616 (it is popularly believed that he died on his birthday). He is buried in Holy Trinity Church in Stratford-upon-Avon.
Though Shakespeare is most closely associated with the Elizabethan period, his career can be categorized as both Elizabethan and Jacobean, as several works were completed after James I became king in 1603.
Poetry
It is generally agreed that most of the Shakespearean Sonnets were written in the 1590s, some printed at this time as well. Others were written or revised right before being printed. 154 sonnets and "A Lover's Complaint" were published by Thomas Thorpe as Shake-speares Sonnets in 1609. The order, dates, and authorship of the Sonnets have been much debated with no conclusive findings. Many have claimed autobiographical details from them, including sonnet number 145 in reference to Anne. The dedication to "Mr. W.H." is said to possibly represent the initials of the third earl of Pembroke William Herbert, or perhaps being a reversal of Henry Wriothesly's initials. Regardless, there have been some unfortunate projections and interpretations of modern concepts onto centuries old works that, while a grasp of contextual historical information can certainly lend to their depth and meaning, can also be enjoyed as valuable poetical works that have transcended time and been surpassed by no other.
Evoking Petrarch's style and lyrically writing of beauty, mortality, and love with its moral anguish and worshipful adoration of a usually unattainable love, the first 126 sonnets are addressed to a young man, sonnets 127-152 to a dark lady. Ever the dramatist Shakespeare created a profound intrigue to scholars and novices alike as to the identities of these people.
Tragedies
Some probably inspired by Shakespeare's study of Lives (trans.1597) by Greek historian and essayist Plutarch and Raphael Holinshed's Chronicles (1587). Some are reworkings of previous stories, many based on English or Roman history. The dates given here are when they are said to have been first performed, followed by approximate printing dates in brackets, listed in chronological order of performance.

Titus Andronicus first performed in 1594 (printed in 1594),
Romeo and Juliet 1594-95 (1597),
Hamlet 1600-01 (1603),
Julius Caesar 1600-01 (1623),
Othello 1604-05 (1622),
Antony and Cleopatra 1606-07 (1623),
King Lear 1606 (1608),
Coriolanus 1607-08 (1623), derived from Plutarch
Timon of Athens 1607-08 (1623), and
Macbeth 1611-1612 (1623).


Histories
Shakespeare's series of historical dramas, based on the English Kings from John to Henry VIII were a tremendous undertaking to dramatise the lives and rule of kings and the changing political events of his time. No other playwright had attempted such an ambitious body of work. Some were printed on their own or in the First Folio (1623).

King Henry VI Part 1 1592 (printed in 1594);
King Henry VI Part 2 1592-93 (1594);
King Henry VI Part 3 1592-93 (1623);
King John 1596-97 (1623);
King Henry IV Part 1 1597-98 (1598);
King Henry IV Part 2 1597-98 (1600);
King Henry V 1598-99 (1600);
Richard II 1600-01 (1597);
Richard III 1601 (1597); and
King Henry VIII 1612-13 (1623)

Comedies, again listed in chronological order of performance.

Taming of the Shrew first performed 1593-94 (1623),
Comedy of Errors 1594 (1623),
Two Gentlemen of Verona 1594-95 (1623),
Love's Labour's Lost 1594-95 (1598),
Midsummer Night's Dream 1595-96 (1600),
Merchant of Venice 1596-1597 (1600),
Much Ado About Nothing 1598-1599 (1600),
As You Like It 1599-00 (1623),
Merry Wives of Windsor 1600-01 (1602),
Troilus and Cressida 1602 (1609),
Twelfth Night 1602 (1623),
All's Well That Ends Well 1602-03 (1623),
Measure for Measure 1604 (1623),
Pericles, Prince of Tyre 1608-09 (1609),
Tempest (1611),
Cymbeline 1611-12 (1623),
Winter's Tale 1611-12 (1623).


2.3 Related Theories
Theme is a central idea in a work dealing with for general area of human experience, the nature of human of society, of human kinds relationship to the world and of our ethical responsibilities (character).
Several characteristics of theme :
- A work’s theme must apply to people outside the work
- Many works have one subject and one theme
- Some works may not have a subjector a theme
- The subject be determined with complete certainty
Theme
Theme: The theme of a drama refers to the central idea of the play. It can either be clearly stated through dialogue or action or can be inferred after watching the entire performance.

Theme
It refers to what the play means as opposed to what happens (plot) or it refers to the main idea/ though/ theme within the play. Sometimes the theme is clearly stated in the title. It may be stated through dialogue by a character acting as the playwright`s voice. Or it may be the theme is less obvious and emerges only after some study or thought. The abstract issues and feelings that grow out of the dramatic action.

The plot has been called the body of a play and the theme has been called its soul. Most plays have a conflict of some kind between individuals, between man and society, man and some superior force or man and h imself. The events that this conflict provokes make up the plot. One of the first items of interest is the playwright\rquote s treatment of the plot and what them he would draw from it. The same plots have been and will be used many times; it is the treatment that supplies each effort with originality or artistic worth. Shakespeare is said to have borrowed all but one of his stories, but he presented them so much better than any of the previous authors that he is not seriously criticized for the borrowing. Th e treatment of theme is equally varied.
The same theme or story may be given a very serious or a very light touch. It may be a severe indictment or a tongue-in- cheek attack. It could point up a great lesson or show the same situation as a handicap to progress. The personality, background an d social or artistic temperament of the playwright are responsible for the treatment that he gives to his story or theme. We must, therefore, both understand and evaluate these factors.
To endure, a play should have a theme. It is sometimes suggested in the title as in Loyalties, Justice, or Strife, You can't Take It With You, or The Physician in Spite of Himself. At other times it is found in the play itself, as in Craig's Wife when the aunt says to Mrs. Craig, "People who live to themselves are often left to themselves." Sometimes theme is less obvious, necessitating closer study.
If a play has a theme, we should be able to state it in general terms and in a single sentence, even at the risk of oversimplification. The theme of Hamlet is usually stated as the failure of a youth of poetic temperament to cope with circumstances that demand action. The theme of Macbeth is that too much ambition leads to destruction; a Streetcar Named Desire, that he who strives hardes t to find happiness oftentimes finds the least; and of Green pastures, that even God must change with the universe.
Of course the theme, no matter how fully stated, is not the equivalent of the play. The play is a complex experience, and one must remain open to its manifold suggestions.
As indicated above, the statement of the play in specific terms is the plot presented. Plot and theme should go hand in hand. If the theme is one of nobility, or dignity, the plot must concern events and characters that measure up to that theme. As we a nalyze many plays, we find that some posses an excellent theme, but are supported by an inconsequential plot. One famous play of this nature, Abie's Irish Rose, held the stage for many years. The theme said: Difference of r eligion need not hinder a happy marriage. The plot was so thin and both characters and situation so stereotyped, that justice was not done to the theme. This weakness was most obvious in the play's revival after twenty years.
Examples of the frequent fault of superior plot and little or no theme come to us in much of the work of our current playwrights. Known for their cleverness in phrasing and timing, and their original extremely witty conceptions, these plays are often ver y successful. More often than not, however, they are utterly lacking in a theme or truth that will withstand more than momentary analysis. They are delightful but ephemeral. An audience believes them only while watching in the theatre. Consequently, the author, although now among ou r most popular, will not endure as artists, nor are their plays likely to be revived a hundred years hence. They but emphasize more strongly the axiom that a good plot or conflict is needed for transitory success, but a great theme is more likely to assu re a play a long life.





2.4 Discussion
Based on the statement of problem, we try to find answered them.
1. What the theme of drama which entitle “Hamlet” ?
After we read the synopsis or scene text, we know that this drama have several themes. The first theme or main theme is revenge action, the explanation for example :
- The beginning when appear ghost that looks exactly like King Hamlet at midnight tell to Princes Hamlet that Claudius had indeed murdered King Hamlet by pouring poison in his ear. The gosh speak to Hamlet, calls for revenge and reveals Claudius murder of Hamlet’s father. This is make hamlet anger see like a madman, blindly, recklessly and violently.
- Ophelia reacts to her father’s death with utter madness and eventually falls in a stream and drowns, further angering Laertes. Laertes want to revenge on his father’s death and Ophelia (his sister). He challenged Hamlet sword duel.
The second is added theme. This theme accompany main theme. There are :
 Moral corruption, this point at :
- Hamlet seem to act like madman for trap King Claudius.
- Hamlet stab and kill Polinius (Claudius Counselor).
- Claudius sent Hamlet in England for studying, the purpose to chase away from Denmark.
- Before duel, Laertes’s sword had been given poison by Claudius beside that Hamlet’s wine poisoned too. Laertes admit that he was accomplice with Claudius to kill Hamlet.
- Suicide by Ophelia because her father death. (Religion’s prohibition of suicide)
 Incest, this point at :
- Claudius married with King Hamlet’s widow (Gertrude) which is wife of his brother (brother-in-law and sister-in-low).
2. How determine / to find theme in drama ?
The theme of drama is not extended in implicit manner. After watched all scenes and dialog inter player into drama stage performance, you will find that drama’s theme. You must conclude / summarized from the totality’s scene and dialog have performed. This meaning, the theme have found is not based on the parts certain stories.
Although theme in drama disposed “Abstract”, we can indicate theme with showing prove or reason ocurrence in story. The proves can found into author narrative, inter player dialog or scene, or scene series, which interrelate with another, all of them carried by other substance / elements such as plot, setting and center of story.



CHAPTER III
CONCLUSION

A theme is a broad idea, message, or lesson conveyed by a work. This message is usually about life, society, or human nature. Themes often explore timeless and universal ideas. Most themes are implied rather than explicitly stated. The theme is different from the superficial outlay of the text; it is normally the meaning of the text on a more abstract level. If we want to know what theme which used, we must watched all scene or dialog in drama stage performance and conclude from the whole not based on the part certain stories.