PLot

I. INTRODUCTION

“why must we always analyze everything?” that is a question which student have asked to the teacher. “Why cant we just enjoy?” we want to enjoy what we read. We want to get the possible measure of enjoyment out of story what we read. For it may position that analysis properly understood, and rightly contributes essentially to the full enjoyment.
We analyze fiction is to identify the separate parts that make up. To determine the relationship among the parts. If some analyses do seem to leave the work torn to pieces. Figuratively speaking, This mean simply that they are not complete analysis is always the understanding of literary work as a unified the complex whole. And analysis must be not properly understood but also rightly undertaken.
By analysis, you will develop intellectual and emotional skills, co-ordination, and reflexes to the point where you will be able to use them without stopping to think of what you are doing. You will become aware of many of to thins that go in fiction in the hope that eventually this awareness will operate as you read.
Analysis rightly undertaken, then, is analysis undertaken for ultimate purpose of making analysis unnecessary. your goal should be to develop, by the exercise analysis.
About plot in drama, we must know plot of a drama, because Plot doesn't just happen. Plot, by definition, requires planning. That's a functional way to think of it--as a plan--either simple or complex, depending on a writer's approach.
Plot is important because plot manage how the actions have to related each other. How the event have a relation with other event and how the character in the story be described and role in the event. Plot is Plot is different from the story, the story is WHAT happens; the plot is HOW it happens. So, we must know about plot is to know how the action or story is happened.

II. THEORETICAL ANALYSIS

A. DEFINITION OF PLOT
• plot particularly as they relate to one another in a pattern, a sequence, through cause and effect, or by coincidence. One is generally interested in how well this pattern of events accomplishes some artistic or emotional effect. An intricate, complicated plot is called an imbroglio, but even the simplest statements of plot may include multiple inferences, as in traditional ballads (wikipedia)
• plot is the series of event which form the story of a novel, play film or movie ( Oxford dictionary)
• plot is sequence of incident or events which the story is composed and it may conclude what character says, thinks, as well as what he does, but leaves out description, analysis, and concentrate ordinarily on major happening (Parrine: literature: structure, sound and sense. 1974:41--)

B. Aristotle on Plot
Aristotle considered plot ("mythos") the most important element of drama—more important than character, for example. A plot must have, Aristotle says, a beginning, a middle, and an end, and the events of the plot must causally relate to one another as being either necessary, or probable.

C. Freytag on Plot
Gustav Freytag considered plot a narrative structure that divided a story into five parts, like the five acts of a play.
1. Exposition
The exposition introduces all of the main characters in the story. It shows how they relate to one another, what their goals and motivations are, and the kind of person they are. The audience may have questions about any of these things, which get settled during the unwinding of the story, but if they do have them they are specific and well-focused questions. Most importantly, in the exposition the audience gets to know the main character, and the main character gets to know his goal and what is at stake if he fails to attain his goal.
This phase ends, and the next begins, with the introduction of conflict.
2. Rising Action
Rising Action is the second phase in Freytag's five-phase structure. It starts with the introduction of conflict. 'Conflict' in Freytag's discussion must not be confused with 'conflict' in Sir Arthur Thomas Quiller-Couch's critical apparatus to categorize plots into types, e.g. man vs. society. The difference is that an entire story can be discussed according to Quiller-Coch's mode of analysis, while Freytag is talking about the second act in a five-act play, at a time when all of the major characters have been introduced, their motives and allegiances have been made clear (at least for the most part), and they now begin to struggle against one another. Thus, at the end of this phase and at the beginning of the next he is finally in a position to go up against his primary goal.
3. Climax
The point of climax is the turning point of the story, where the main character makes the single big decision that defines the outcome of their story and who they are as a person. The dramatic phase that Freytag called the 'climax' is the third of the five phases, which occupies the middle of the story, and that contains the point of climax. Thus "the climax" may refer to the point of climax or to the third phase of the drama.
The beginning of this phase is marked by the protagonist finally having cleared away the preliminary barriers and being ready to engage with the adversary. Usually, entering this phase, both the protagonist and the antagonist have a plan to win against the other. Now for the first time we see them going against one another in direct, or nearly direct, conflict.
This struggle results with neither character completely winning, nor losing, against the other. Usually, each character's plan is partially successful, and partially foiled by their adversary. What is unique about this central struggle between the two characters is that the protagonist makes a decision which shows us his moral quality, and ultimately determines his fate. In a tragedy, the protagonist here makes a bad decision, which is his miscalculation and the appearance of his tragic flaw.

4. Falling action
Freytag called this phase "falling action" in the sense that the loose ends are being tied up. However, it is often the time of greatest overall tension in the play, because it is the phase in which everything goes most wrong. In this phase, the villain has the upper hand. It seems that evil will triumph. The protagonist has never been further from accomplishing the goal. For Freytag, this is true both in tragedies and comedies, because both of these types of play classically show good winning over evil. The question is which side the protagonist has put himself on, and this may not be immediately clear to the audience.
5. Resolution
5th -In the final phase of Freytag's five phase structure, there is a final confrontation between the protagonist and antagonist, where one or the other decisively wins. This phase is the story of that confrontation, of what leads up to it, of why it happens the way it happens, what it means, and what its long-term consequences are.

D. The structure of plot.
The structure of plot divided into three parts (William Kenney How to analyze fiction):
1. Beginning
• Consist of the exposition on introduction.
• Function as exposition that give information which needed by the readers to understand the story line.
2. Middle
• Consist of conflict, complication and climax
• Starts with the thing that urge conflict to the higher intensity to climax
3. Ending
• Consist of denouement or resolution.
E. THE LAWS OF PLOT
The laws of plot mean rather generalizations drawn from practice of the best writers through ages. In fact, apparent deviations from these laws will often turn out on closer inspection to be not deviations at all, but new applications of the old principles.
1. Plausibility
The laws governing plot in fiction, one of the most important is certainly the law plausibility. There are two steps involved in judging whether a story has a plausibility. before we can determine whether story is convincing in its own terms, we must recognize what those terms are.
We have a right to demand that story a story is plausible. A story is plausible when it is true itself. The great works of fiction always have been plausible.

2. Surprise
Plausibility implies a story’s truth to itself. Now this seems to suggests that story’s end is same how contained on its beginning. A story never surprise us is likely to prove rather dull reading. The simple example is pure detective story, is implicit in all good fiction. We want to be surprised, then we want to be satisfied that the surprise is not viola of the basic law of plausibility.

3. Suspense
A third law governing plot is that a good plot arouses suspense. By suspense we mean an expectant uncertainly as to the outcome of the story. The suspense of which we speak involves some awareness of the plausibility and ideally some concern about them suspense develops as we become aware of the incipient instability in situation. A device conducive to suspense is foreshadowing. By this word mean introducing details which hint at the direction the step is going to take.

E. SUBPLOT
A Special problem relating to unity arises in some longer work of fiction. This is the problems of the subplot, by which is meant a sequence of events distinct, at least in the past of the main plot. Subplot maybe closely related to the main plot, for instance as an analogy to the main plot. A second possibility is that work’s principle of unity is to be found in some elements other than plot.

F. PLOT AS UNITY AND EXPRESSION

1. Plot as unity
Plot may be the single most important devices making for unity in a particular story. In organizing events into beginning, middle and end, the author is imposing on, or discovering in, the raw material of experience that sense of order which is what we mean by unity is art.

2. Plot as expression
Plot is the highest importance in expressing the meaning of work of fiction. Surely our sense of the meaning experience is closely tied to our understanding of what cause what, and it is the business of plot to clarify causal relationship.


III. ANALYSIS OBJECT (PLOT OF HAMLET)

I. EXPOSITION
The Ghost of the late king of Denmark appears and promptly withdraws into the night. Horatio recognizes the armour covering the Ghost and remarks that it is the very armour that the King wore "when he the ambitious Norway combated" (1.1.61). Barnardo, Marcellus, and Horatio suspect that the appearance of the ghostly King is an ominous message to all of Denmark, as they prepare for war with Norway. Horatio pleads with the apparition to reveal its intentions:
Evident
Horatio : ...stay, illusion;
If thou hast any sound or use of voice,
Speak to me,
If there be any good thing to be done
That may to thee do ease, and grace to me,
Speak to me,
If thou art privy to thy country's fate,
(Which happily forknowing may avoid)
O, speak! (ACT 1, SCENE 1)

II. RISING ACTION
Hamlet go no further with the Ghost and demands it speak at once. The Ghost tells Hamlet that the hour is approaching when it must return to the tormenting flames of purgatory and it reveals the hideous and demented truth to an anguished Hamlet, on the verge of hysteria throughout the conversation. The Ghost is indeed the spirit of Hamlet's father, and he has not died, but has been murdered, poisoned by his own brother, Claudius. The Ghost disappears, leaving Hamlet horrified and enraged. Hamlet is not yet sure how he will carry out his revenge, but he vows to think about nothing else until Claudius has suffered for his betrayal. Amidst the echoing cries of the Ghost rising from beneath the earth, Hamlet insists Horatio and Marcellus swear that they will not reveal to anyone the events of that night. Upon Hamlet's sword the two take their oath, assuring him that they will remain silent.
Evident
Ghost : wouldst thou not stir in this. Now, Hamlet, hear
This given out that, sleeping in my orchard,
A serpant stung me. So the whole ear of Denmark.
Is by a forged process of my death.
Rankly abused. But now, thou noble youth
the serpent that did sting thy father’s life.
Now wears his crown
Hamlet : O my prophetic soul! My uncle?? (Act 1, Scene 5)

III. Climax
Hamlet wants to kill Claudius in the same state of sin as his father was in when Claudius poisoned him -- that is, not "full of bread" -- not penitent and fasting. Hamlet wants the King to die when he is drunk or enraged or in his incestuous bed with the Queen.
Polonius is already in the Queen's chamber, he hides behind the wall hanging, intending to report every word that is said to the King. The Queen, terrified that Hamlet has come to murder her, cries out for help, and foolish Polonius echoes her cry from behind the curtain. Hamlet, thinking the King has followed him into the room, thrusts his sword into the drapery and pierces Polonius. When Hamlet realizes he has killed the wrong man, he stops to briefly address the situation, but shows no deep regret for taking Polonius' life.
Evident
Hamlet : come, come and sit you down. You shall not budge. You go not till I set the inmost part of you!
Queen : what wilt thou do? Thou will not murder me??
Help ho?
Polonius : what, ho! Help!
Hamlet : how now? A rat? Dead for ducat, dead?? Kills Polonius.
Polonius : O, I am slain!

IV. falling action
Falling action builds when The King informs Hamlet that he must leave for England, for his own safety. When Hamlet exits the room, the King demands that Rosencrantz and Guildenstern follow the Prince closely, and they rush off. Claudius is now alone to reveal his sinister plan: he will send letters to England, a country "raw and red/After the Danish sword" threatening war unless they assassinate Hamlet when he lands on British soil.
On his way to England, Hamlet meets a Captain in the army led by Fortinbras, the Prince of Norway. Hamlet asks the Captain where they are going and who commands the troops, and the Captain tells him that Fortinbras is leading his men to capture a "little patch of ground/That hath in it no profit but the name".
The evident.
King : for what which thou has done, must send thee hence.
With fiery quickness. Therefore prepare thyself.
The bark is ready and the wind at help,
The associates tend, and everything is bent for England.
Hamlet : for England?
King : ay, Hamlet.
Hamlet : good. (Act 4, Scene 3)

V. Resolution.
In the Ophelia graveyard, Hamlet and Laertes grapple, but the fight is broken up by Claudius and Gertrude. Claudius reminds Laertes of the planned fencing match. Later that day, Hamlet accepts and the match begins. After several rounds, Gertrude toasts Hamlet–against the urgent warning of Claudius–accidentally drinking the wine he poisoned. Between bouts, Laertes attacks and pierces Hamlet with his poisoned blade; in the ensuing scuffle, Hamlet is able to use Laertes's own poisoned sword against him. Gertrude falls and, in her dying breath, announces that she has been poisoned.
In his dying moments, Laertes is reconciled with Hamlet and reveals Claudius's murderous plot. Hamlet stabs Claudius with the poisoned sword, and then forces him to drink from his own poisoned cup to make sure he dies. In his final moments, Hamlet names Prince Fortinbras of Norway as the probable heir to the throne, since the Danish kingship is an elected position, with the country's nobles having the final say. Horatio attempts to kill himself with the same poisoned wine, but is stopped by Hamlet–who commands him to tell the story, as he will be the only one left alive who can give a full account.
Evident
Laertes : never to rise again. Thy mother poisoned.
I can no more. The king, the King’s to blame
Hamlet : the point envenomed too?
Then, venom, to thy work. Hurts the king.
All : Treason! Treason!
King : O, yet defend me, friends, I am but hurt.
Hamlet : here, thou incestuous, murd’rous, damned Dane.
Drink off his potion. Is thy union here.
Follow my mother, king dies
Laertes : he is justly served
It is poison tempered by himself
Exchange forgiveness with me, noble hamlet.
Mine and my father’s death come not upon thee
Nor thine on me! Dies
Hamlet : heaven made thee free of it. I follow thee
I am dead, Horatio. Wretched Queen, adieu!. (Act 5, Scene 2)

IV. CONCLUSION AND REFERENCES

• plot is the series of event which form the story of a novel, play film or movie ( Oxford dictionary)

• A plot must have, Aristotle says, a beginning, a middle, and an end, and the events of the plot must causally relate to one another as being either necessary, or probable.

• Gustav Freytag considered plot a narrative structure that divided a story into five parts, like the five acts of a play, exposition, rising action, climax, falling action and resolution.

• The structure of plot divided into three parts (William Kenney How to analyze fiction): Beginning, middle, and ending

• The laws of plot mean rather generalizations drawn from practice of the best writers through ages. In fact, apparent deviations from these laws will often turn out on closer inspection to be not deviations at all, but new applications of the old principles. The law of plot consist of plausibility, surprise, and suspense.

• Subplot is meant a sequence of events distinct, at least in the past of the main plot.

REFFERENCES

1. KENNEY, WILLIAM : HOW TO ANALYZE FICTION. OXFORD PRESS.
2.
3. Parrine : literature: structure, sound and sense. 1974
4. Oxford dictionary
5. wikipedia.com
6. Shakespeare-online.com