metaphor analysis of ernest hemingway’s …e-repository.perpus.iainsalatiga.ac.id/4353/1/skripsi...

i

Judul skripsi : THE LAKOFFIAN CONCEPTUAL

METAPHOR ANALYSIS OF ERNEST HEMINGWAY’S THE

OLD MAN AND THE SEA NOVEL

Abstrak :

Nurjannah, Diyan Putri. 2018. THELAKOFFIANCONCEPTUAL METAPHOR ANALYSIS OF ERNEST HEMINGWAY’S THE OLD MAN AND THE

SEA NOVEL. Counselor: Faizal Risdianto, S.S., M.Hum.

Keywords: Semantic, Metaphor, Conceptual Metaphor This study mainly describes the semantic roles in the case Lakoffian conceptual

metaphor in the Ernest Hemingway’s The Old Man and The Sea novel. The objectives of the study are (1)To find out the types of Lakoffian conceptual

metaphors found in The Old Man and The Sea novel by Ernest Hemingway, (2)To analyze the most dominant types of Lakoffian conceptual metaphors found in The Old Man and The Sea novel by Ernest Hemingway. The object of this study was

The Old Man and The Sea Novel by Ernest Hemingway. The findings of this research are following: There were 8 Lakoffian conceptual metaphors in The Old Man and The Sea Novel of Ernest Hemingway. From the eight conceptual

metaphors, the researcher does the analysis toward 21 sentences in The Old Man and The Sea Novel by Ernest Hemingway. Moreover, the 21 metaphors have their

own meaning according the contexts draws by the author in The Old Man and The Sea novel by Ernest Hemingway.

Pengarang :

a. Nama : Diyan Putri Nurjannah

b. E-mail : [email protected]

Pembimbing :

a. Nama : Faizal Risdianto, S.S., M. Hum.

mailto:[email protected]

ii

b. E-mail : [email protected]

Fakultas : Fakultas Tarbiyah dan Ilmu Keguruan

Jurusan : Pendidikan Bahasa Inggris

Jumlah hlm : 56 halaman

mailto:[email protected]

iii

“THE LAKOFFIAN CONCEPTUAL METAPHOR ANALYSIS

OF ERNEST HEMINGWAY’S THE OLD MAN AND THE SEA

NOVEL”

A GRADUATING PAPER

Submitted to the Board Examiners as a Partial Fulfillment of the

Requirement for the Degree of Sarjana Pendidikan (S.Pd.) in English Education Department

State Institute for Islamic Studies (IAIN) Salatiga

DIYAN PUTRI NURJANNAH

113 11 013

ENGLISH EDUCATION DEPARTMENT

TEACHER TRAINING AND EDUCATION FACULTY

STATE INSTITUTE FOR ISLAMIC STUDIES (IAIN)

SALATIGA

2018

vii

MOTTO

“No matter who we are, the most important thing is what we

can do for other people”

-Diyan Putri Nurjannah-

viii

DEDICATION

This graduating paper is dedicated to:

This graduating paper is dedicated to the people who mean a lot to me, my

parents, Bapak Subandi, and Ibu Priyanti, for showing faith in meand giving me

the liberty to choose what I desired. I salute you all for the selfless love, care,

pain,and sacrifice youdid to shape my life. I would never be able to pay back the

love and affection showered upon by my parents. Also, Iexpress my thanks to my

brother and sister Yusuf, Yesi, andLilih, thanks for their love, support,and her

valuable prayers. I consider myself the luckiest in the world to have such a lovely

and caring family,standing beside me with their love and unconditional support.

I owe thanks to a very special gift, my son, Dhafin for his continued and

unfailing love, and support. You were always around at times. I thought that it is

impossible to continue, you helped me to keep strong every single day. Words

would never say how grateful I am to you

It’s my fortune to gratefully acknowledge the support of my friends, Faza,

Adin, Rizky, Puji, Lutfi for theirsupport. They were always beside me during the

happy andhard moments to push me and motivate me. Special thanks are extended

to Indah Ratna for her co-operation and support that made the completion of this

graduating paper possible..

ix

Acknowledgment

Bismillaahirrahmaanirrahiim,

Assalamualaikum, Wr.Wb

In the name of Allah, The Most Gracious and The Most Merciful, The

Lord of Universe. Because of Him, the researcher could finish this graduating

paper as one of the requirements for SarjanaPendidikanin English Education

Department of Teacher Training and Education Faculty of State Institute for

Islamic Studies (IAIN) Salatiga.

Secondly, peace and salutation always be given to our prophet Muhammad

SAW who has guided us from the darkness to the lightness. However, this success

would not be achieved without supports, guidance, advice, helps, and

encouragements from individual and institution, and the researcher somehow

realize that an appropriate moment for me to deepest gratitude for:

1. RahmatHariyadi, M. Pd. as the Rector of State Institute for Islamic Studies

(IAIN) Salatiga

2. Suwardi, M. Pd. as the Dean of Teacher Training and Education Faculty

3. Noor Malihah, Ph. D. as the Head of English Education Department

4. FaizalRisdianto, M. Hum as a counselor who has educated, supported, directed

and given the researcher advice, suggestions, and recommendations for this

graduating paper from the beginning until the end.

5. All of the lecturers in the English Education Department. Thanks for your

education.

x

6. All of the staffs who have helped the researcher in the processing of graduating

paper administration

7. All of my close friends who I could not mention one by one

Finally, this graduating paper is expected to be able to provide useful

knowledge and information to the readers. Moreover, the researcher is pleased to

accept more suggestions and contributions from the readers for the improvement

of the graduating paper.

Salatiga, 28th May 2018

The Researcher

Diyan Putri Nurjannah

NIM.113 11 013

xi

ABSTRACT

Nurjannah, DiyanPutri. 2018. THELAKOFFIANCONCEPTUAL METAPHOR

ANALYSIS OF ERNEST HEMINGWAY’S THE OLD MAN AND THE SEA NOVEL. Counselor: FaizalRisdianto, S.S., M.Hum.

Keywords: Semantic, Metaphor, Conceptual Metaphor

This study mainly describes the semantic roles in the case Lakoffian conceptual metaphor in the Ernest Hemingway’s The Old Man and The Sea novel. The

objectives of the study are (1)To find out the types of Lakoffianconceptual metaphors found in The Old Man and The Sea novel by Ernest Hemingway, (2)To analyze the most dominant types of Lakoffianconceptual metaphors found in The

Old Man and The Sea novel by Ernest Hemingway. The object of this study was The Old Man and The Sea Novel by Ernest Hemingway. The findings of this

research are following: There were 8 Lakoffianconceptual metaphors in The Old Man and The Sea Novel of Ernest Hemingway. From the eight conceptual metaphors, the researcher does the analysis toward 21 sentences in The Old Man

and The Sea Novel by Ernest Hemingway. Moreover, the 21 metaphors have their own meaning according the contexts draws by the author in The Old Man and The

Sea novel by Ernest Hemingway.

xii

TABLE OF CONTENT COVER………………………………………………………………………………………………………………………..i

DECLARATION………………………………………………………………………………………………………...ii

ATTENTIVE COUNSELOR’S NOTE……………………………………………….……………………….iii

CERTIFICATION PAGE…………………………………………………………………………………………….iv

MOTTO………………………………………………………………………………………………………………………..v

DEDICATION……………………………………………………………………………………………………………..vi

ACKNOWLEDGMENT………………………………………………………………………………………………vii

ABSTRACT…………………………………………………………………………………………………………………viii

LIST FIGURE AND TABLE…………………………………………………………………………………………ix

CHAPTER I ............................................................................................................... 1

INTRODUCTION ...................................................................................................... 1

A. Background of the Research ............................................................................. 1

B. Problem questions of the research ..................................................................... 4

C. Objectives of the research................................................................................. 5

D. Limitation of the research ................................................................................ 5

E. Benefits of the research .................................................................................... 5

F. Method of the research ..................................................................................... 6

G. Definition of key terms..................................................................................... 6

CHAPTER II .............................................................................................................. 9

THEORETICAL REVIEW ......................................................................................... 9

A. SEMANTICS .................................................................................................. 9

1. Definition of Semantic.................................................................................. 9

2. Semantics Representation Approach............................................................ 10

xiii

B. METAPHOR................................................................................................. 12

C. CONCEPTUAL METAPHOR .............................................................................. 15

D. PREVIOUS STUDY ...................................................................................... 18

E. SYNOPSIS OF THE OLD MAN AND THE SEA NOVEL BY ERNEST

HEMINGWAY..................................................................................................... 20

CHAPTER III........................................................................................................... 32

METHOD OF RESEARCH ...................................................................................... 32

A. Method of Research ....................................................................................... 33

B. Object of The Research .................................................................................. 34

C. Data Sources ................................................................................................. 34

D. Step of Analysis ............................................................................................. 35

E. Techniques of Data Analysis .......................................................................... 37

CHAPTER IV .......................................................................................................... 38

DATA PRESENTATION AND DISCUSSIONS ........................................................ 38

A. DATA DISPLAY .......................................................................................... 38

B. Metaphors found in Ernest Hemingway’s novel “The Old Man and The Sea”. ... 46

CHAPTER V............................................................................................................ 61

CONCLUSION AND SUGGESTION ....................................................................... 61

A. CONCLUSION ............................................................................................. 61

1. Metaphors found in Ernest Hemingway’s novel “The Old Man and The Sea” 61

2. The meanings of metaphors found in The Old Man and The Sea novel by

Ernest Hemingway ............................................................................................ 62

B. SUGGESTION .............................................................................................. 63

REFERENCES

xiv

LIST FIGURE AND TABLE

Table 4.1. Data result…………..……………..………………………………… 27

Table 5.1. Number of conceptual metaphor…….……………………………… 46

1

CHAPTER I

INTRODUCTION

A. Background of the Research

Human as a socialbeing needs the language to communicate with

others. Language is people intelligent that very needed by them (Gardner

taken in Sukardi, 2005:67). It means that language is the way people

express their reaction toa certain situation, reveal our thoughts, ideas,

emotions,and feelings. Therefore, it is difficult for people to communicate

without language.

Meanwhile, in order to build a good communication, it is needed an

understanding between the speaker and the listener. The objective of the

understanding is to encourage the indication of something that is known as

meaning. Meaning is very important to understand. The listener has to

comprehend the meaning that speaker says in order to avoid

misunderstanding of the word.

Kreidler (2002:2) states that there are three disciplines are

concerned with the systematic study of meaning in itself: psychology,

philosophy, and linguistics. In this research, the researcher is focusing on

the discussion of the study of meaning learn in linguistics. Kreidler

(2002:3) adds that linguistics want to understand how the language works.

Linguistics is concerned with identifying the meaningful elements of

2

specific languages. Linguistics also deals with the meanings expressed by

modulations of a speaker’s voice and the processes by which hearers and

readers relate new information to the information they already have.

The study of meaning in linguistics is known as semantics.

Semantics is the systematic study of meaning, and linguistic semantics is

the study of how languages organize and express meaningsKreidler

(2002:3). Meaning in semantics divided into two parts, literal meaning,and

non-literal meaning. Literal means based on the actual words, while non-

literal is the other way around. There are two numbers ofways in

expressing ideas which deviate from the semantics convention, some of

them including the use of idiom and figurative language.

The term figurative language, there is a metaphor inside. In the

other word, the metaphor is one part of the figurative language which is

the most common and widely used. In literature, metaphor as one of

stylistic elements does not convey merely ideas. According to Subroto

(1986:45), metaphorical expression can be categorized as a metaphor if it

can give a new enjoyment and enliven inanimate object, and actualizing

something which actually crippled or paralyzed. Moreover, Subroto

(1995:39) adds that metaphor is created particularly based on the similarity

of two referents.

In the other discussion about metaphor, Lakoff and Johnson

(2003:4) introducing the conceptual metaphor. The metaphor is for most

people a device of the poetic imagination and the rhetorical flourish a

3

matter of extraordinary rather than ordinary language. Moreover, the

metaphor is typically viewed as characteristic of language alone, a matter

of words rather than thought or action. For this reason, most people think

they can get along perfectly well without metaphor. We have found, on the

contrary, that metaphor is pervasive in everyday life, not just in language

but in thought and action. Our ordinary conceptual system, in terms of

which we both think and act, is fundamentally metaphorical in nature.

The concepts that govern our thought are not just matters of the

intellect. They also govern our everyday functioning, down to the most

mundane details. Our concepts structure what we perceive, how we get

around in the world, and how we relate to other people. Our conceptual

system thus plays a central role in defining our everyday realities. If we

are right in suggesting that our conceptual system is largely metaphorical,

then the way we think, what we experience, and what we do every day is

very much a matter of metaphor.

Therefore, metaphor also becomes a tool for literary writers to

adorn and give color to their works. The metaphor also used widely in

philosophy, religion, politics, commerce, history, and art. The novel is a

part of the art. Metaphor can be found also in the novel. According to

Scholes in Hartoko (1984:17), the novel is a story related to the obvious or

fiction imagined by the writers through their observation of the reality.

Therefore, the researcher concluded that novel including literary works.

4

“The Old Man and The Sea” novel by Ernest Hemingway built an

optimistic for whom who read the novel. This novel writes by the author

when he lived in Kuba and achieve Pulitzer trophy 1953 for fiction

category and Award of Merit Medal for Novel from America which

conveys him to achieve Literature Nobel 1954. The researcher decided to

use this American novel as the object of analysis because some metaphor

was found and it is assumed that there are many metaphors existed in the

novel which is interesting to be analyzed semantically.

Therefore, by concerning on the background above, the researcher

interested to do the research entitled “THE LAKOFFIAN CONCEPTUAL

METAPHOR ANALYSIS OF ERNEST HEMINGWAY’S THE OLD

MAN AND THE SEA NOVEL”

B. Problem questions of the research

Based on the background of the research above, the researcher

formulates the problems of the study as follows:

1. How many types of Lakoffianconceptual metaphor found in

The Old Man and The Sea novel by Ernest Hemingway?

2. What are the most dominant types of Lakoffianconceptual

metaphor in The Old Man and the Sea novel by Ernest

Hemingway?

5

C. Objectives of the research

There are two objectives which are expected to be achieved from

this research, those are:

1. To find out the types of Lakoffianconceptual metaphors found

in The Old Man and The Sea novel by Ernest Hemingway.

2. To analyze the most dominant types of Lakoffianconceptual

metaphors found in The Old Man and The Sea novel by Ernest

Hemingway.

D. Limitation of the research

The limitation needs to be set to avoid misdirection or further

research on this topic. The analysis of this research focused on conceptual

metaphors and their most dominant types found in The Old Man and The


E. Benefits of the research

The researcher expects that the results of the research are useful

for:

1. The researcher

6

The researcher will get more knowledge and new experience in

literary works.

2. The reader

The result of this research can be used as a reference for other

reader and also the reader will get new information and

experiences.

3. Another researcher

The results of this research expected to give some knowledge

and references for whom which do the relevant research.

F. Method of the research

The researcher decided to use quantitative research to answer the

problem questions of the research.According to Hadi (1981: 221), research

methodology is a scientific method to collect the data with a goal and

certain application. In the other word, research methodology is the way the

research use to collect the data, analyze the data, and make a conclusion

from the data which has collected.

G. Definition of key terms

To avoid misunderstanding, the researcher gives explanations or

definitions of some key terms used in the research.

1. Semantics

In brief, semantics means the study of meaning. However, the

word meaning have the wide perceptions and there are no general

7

agreements among experts about the way in which it should be

described. Bright (1992:394) has states that semantics is the study and

representation of the meaning of language expression and the

relationship of meaning among them. Semantics has been parts of

linguistics.

2. Metaphor

The metaphor is an implicit comparison in which two, unlike

objects, are compared by identification or substitution of one for the

other to suggest common quality shared by the two. Goatly (1997:8)

states that metaphor occurs when the unit of discourse is used to refer

unconventionally way.Tarijan (1995:121) adds that metaphor a brief

comparison figure of speech in which there are two ideas inside. The

first is the fact, according to the feelings, and become an object. The

second is the comparison of the fact, and it will replace the first.

The metaphor is the best choice for describing reality when

literal language cannot.The metaphor is a kind of figurative language

which uses connotative meaning through the comparison without using

the word “like” or “as”. The metaphor is considered difficult especially

in understanding the meaning. It depends on the background

knowledge of the readers. It needs a deeper attention since the

comparison is conveyed implicitly. In brief, the researcher concludes

that metaphor including semantics expression in the way the reader

8

understand the meaning built by the sentences inform figurative

language.

3. Conceptual Metaphor

The metaphor is for most people a device of the poetic

imagination and the rhetorical flourish—a matter of extraordinary

rather than ordinary language. Moreover, the metaphor is typically

viewed as characteristics of language alone, a matter of words rather

than thought or action. For this reason, most people think they can get

along perfectly well without metaphor. We have found, on the

contrary, that metaphor is pervasive in everyday life, not just in

language but in thought and action. Our ordinary conceptual system, in

terms of which we both think and act, is fundamentally metaphorical in

nature.

The concepts that govern our thought are not just matters of the

intellect. They also govern our everyday functioning, down to the most

mundane details. Our concepts structure what we perceive, how we get

around in the world, and how we relate to other people. Our conceptual

system thus plays a central role in defining our everyday realities. If

we are right in suggesting that our conceptual system is largely

metaphorical, then the way we think, what we experience, and what we

do every day is very much a matter of metaphor.

4. Analysis

9

The analysis in this research means scientific process breaking

the word into its element (root and affixes) of the new words.

CHAPTER II

THEORETICAL REVIEW

A. SEMANTICS

1. Definition of Semantic

According to Kreidler(1998:3) Semantics is the

systematic study of meaning, and linguistic semantics is the study

of how languages organize and express meanings. Linguistic

semantics is the topic of this research, but we need to limit

ourselves to the expression of meanings in a single language. We

have to make comparisons with other languages, but these are

meant to be illustrative of language differences, not full accounts of

what differences exist.

Meaning in semantics divided into two parts, literal

meaning,and non-literal meaning. Literal means based on the

10

actual words, while non-literal is the other way around. There are

two numbers of ways in expressing ideas which deviate from the

semantics convention, some of them including the use of idiom and

figurative language.

2. Semantics Representation Approach

Goddart and Schalley (2010:95) introduced the semantics

representation approaches. The explanation is as follow :

a. Logical Approach

Logical approaches to meaning generally address

problems in compositionality, on the assumption that the

meaning of supralexicalexpressions are determined by the

meaning of their part and the way in which those part are

combined. Logic predicate also includes specification of valid

conclusions or inferences.

b. Discourse Representation Theory

Discourse representation theory (DRT) was developed

in the early 1980s by Kamp (1981) (cf. Kamp andReyle 1993;

Blackburn and Bos 1999; van Eijck 2006; Geurts and Beaver

2008) in order to capture thesemantics of discourses or texts,

that is, coherent sequences of sentences or utterances, as

opposed toisolated sentences or utterances. The basic idea is

that as a discourse or text unfolds the hearer buildsup a mental

11

representation (represented by a so-called discourse

representation structure, DRS), andthat every incoming

sentence prompts additions to this representation. It is thus a

dynamic approach tonatural language semantics.

c. Pustejovsky’sGenerative Lexicon

Pustejovsky’s Generative Lexicon theory aims to

provide an adequate description of how ourlanguage

expressions have content, and how this content appears to

undergo continuous modification and modulation in new

contexts.

d. Natural Semantic Metalanguage

Natural semantic metalanguage (NSM) is a

decompositional system based on empirically established

semantic primes, that is simple indefinable meanings which

appear to be present as word-meanings in alllanguages. The

NSM system uses a metalanguage, which is essentially a

standardized subset of natural language: asmall subset of word-

meaning, together with a subset of their associated syntactic

(combinatorial) properties.

e. Object-Oriented Semantics

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Object-oriented semantics is a new field in linguistic

semantics. Although it is rather restricted inits semantic

application domains so far mainly applied to the representation

of verbal meaning itpromises to become relevant for NLP

applications in the future, and due to the large body of research

incomputer science, a wealth of resources is already available

for object-oriented systems in general.

The term figurative language, there is a metaphor

inside. In the other word, the metaphor is one part of the

figurative language which is the most common and widely

used. In literature, metaphor as one of stylistic elements does

not convey merely ideas. Therefore, metaphor also becomes a

tool for literary writers to adorn and give color to their works.

The metaphor also used widely in philosophy, religion, politics,

commerce, history, and art. The discussion of metaphor will be

discussed in the next chapter.

B. METAPHOR

The metaphor is a kind of figurative language which uses

connotative meaning through the comparison without using the word

“like” or “as”. The metaphor is considered difficult especially in

understanding the meaning. It depends on the background knowledge

13

of the readers. It needs a deeper attention since the comparison is

conveyed implicitly.

According to Lakoff and Johnson (2003:4), Metaphor for

most people is a device of the poetic imagination and the rhetorical

flourish a matter of extraordinary rather than ordinary language.

Moreover, the metaphor is typically viewed as characteristic of

language alone, a matter of words rather than thought or action. This

may become the reason why metaphor contains connotative meaning

rather than denotative.

Moreover, Armstrong (2005:189) states that a metaphor is an

implicit comparison, most often using imagery. It means that metaphor

is a kind of figurative language comparing two objects implicitly.

According to Lakoff and Johnson (2003:152), the metaphor

could be divided into conventional metaphor and a new metaphor.

They are explained below.

1) Conventional metaphor.

It is often based on correlations which are perceived

in daily experience. That is metaphors that structured the

ordinary conceptual system of culture, which is reflected

in everyday language. For exampleTime is running out.

2) New Metaphor.

It is a metaphor which could create new meaning. This

kind of metaphor is capable of giving a new

14

understanding of experience. The new metaphor is an

active metaphor which is more creative and imaginative.

For exampleYou are my sun

Ullmann (1972:213) explains that the basic structure of

metaphor is very simple. There are two terms presents, the things we

are talking about and that to which we are comparing it. In addition,

Subroto (1995:38) explains that metaphor is created particularly based

on the similarity of two referents. The first referent in called tenor and

the second is called vehicle. Moreover, Pradopo (1987: 66) states that

categorically metaphor consists of two terms, main term or tenor

(principal term) and the second term or vehicle (second term). The

main term or tenor tells about the comparison or the things compared.

Then it is said that metaphor sees things by the medium of other

entities. This metaphor explains something with the same result which

actually has a different meaning. It can be concluded that metaphor

divided into two forms, they are tenor and vehicle.

After discussing the definition of metaphor, the researcher

will also present the conceptual metaphor adapted from George Lakoff

and Mark Johnson which it becomes the focus study in this research.

The further discussion about conceptual metaphor presents in the next

chapter.

15

C. CONCEPTUAL METAPHOR

In cognitive linguistics, conceptual metaphor, or cognitive

metaphor, refers to the understanding of one idea, or conceptual

domain, in terms of another. An example of this is the understanding

of quantity in terms of directionality, for example "the price of peace is

rising" or the understanding of time in terms of money, for example "I

spent time at work today" .

A conceptual domain can be any coherent organization of

human experience. The regularity with which different languages

employ the same metaphors, which often appear to be perceptually

based, has led to the hypothesis that the mapping between conceptual

domains corresponds to neural mappings in the brain.

Lakoff and Johnson introducing the conceptual metaphor

through their book entitled Metaphor We Live By. According to Lakoff

and Johnson (2003:4), Metaphor is for most people a device of the

poetic imagination and the rhetorical flourish a matter of extraordinary

rather than ordinary language. Moreover, the metaphor is typically

viewed as characteristic of language alone, a matter of words rather

than thought or action. For this reason, most people think they can get

along perfectly well without metaphor. We have found, on the

contrary, that metaphor is pervasive in everyday life, not just in

language but in thought and action. Our ordinary conceptual system, in

16

terms of which we both think and act, is fundamentally metaphorical in

nature.

The concepts that govern our thought are not just matters of

the intellect. They also govern our everyday functioning, down to the

most mundane details. Our concepts structure what we perceive, how

we get around in the world, and how we relate to other people. Our

conceptual system thus plays a central role in defining our everyday

realities. If we are right in suggesting that our conceptual system is

largely metaphorical, then the way we think, what we experience, and

what we do every day is very much a matter of metaphor.

It is the way we understand metaphor through the concept of

mapping. The mapping processes of two domains that participle in

conceptual metaphor has special names. Kovecses (2002:4) adds that

“the conceptual domain from which we draw metaphorical expressions

that to understand another conceptual domain is called source domain,

while the conceptual domain that understands this way is the target

domain”. By this condition, these domains will bring us into the

comprehension of the concept of the metaphor and map each other.

Source domains consist of common entities, attributes, processes and

relationships, such as “The human body, Health and Illness, Animal,

Plants, Building and Construction, Movement and Direction”Kovecses

(2002:16-21). While the notion of target domain is the abstract concept

at once needs to be explained by the structure of source domain

17

through conceptual metaphor, they are Emotion, Desire, Morality,

Thought, Society, Economy, Politics, Human Relationship,

Communication, and Religion, Kovecses(2002:21-25). In the mapping

process, they are believed as one structure that has a relationship to

contract with each other.

Further, an understanding of conceptual metaphor comes

from Lakoff and Johnson’s (1980). They note that “LOVE IS

JOURNEY”. The concept of LIVE IS A JOURNEY can be understood

as a mapping from a source domain (JOURNEY) to a target domain

(LOVE). From the example above, the concept of love is far from the

concept of JOURNEY. LOVE cannot be understood as the image of

traveling. However, the concept of JOURNEY can construct the

concept of LOVE. It means LOVE now can be understood

imaginatively as the concept of “going somewhere”.

Then, the concept can be realized in metaphorical

expressions. Here is an example,“We can go through this anymore”,

the word “go through” can be referred to the street that we usually

pass. It means that the word “we cannot” bring the relationship any

further of the JOURNEY. In this interpretation, the concept of LOVE

is conceptualized by everyday experience something into another thing

in a metaphor is called a conceptual metaphor. Technically, the

conceptual metaphor brings us to the process of reasoning of the

concept of revealing the meaning of metaphor itself.

18

D. PREVIOUS STUDY

There are some people who have written about linguistics

analysis similar to the researcher do. In this study, the researcher takes

previous studies from other studies. As the comparison is the research

from Amin (2015) entitled “Conceptual metaphor and the study of

conceptual change: research synthesis and future directions”. This

research discusses the relevance of the conceptual metaphor

perspective to the study of conceptual change. This paper first

presents a broad sketch of the study of conceptual change,

characterizing the goals of this body of work, its contributions to date,

and identifying open questions. Next, the literature on conceptual

metaphor in science education is reviewed against this background.

The review clarifies the natural theoretical connections between the

conceptual metaphor perspective and the phenomenon of conceptual

change.Thepaper concludes with a discussion of further avenues for

research into conceptual change, suggested by adopting a conceptual

metaphor perspective.

The second research comes from Putri (2013). She has done

the research entitled “Metaphorical Expressions in Andre Hirata’s and

John Colombo’s Edensor”. In general, this research is intended to

know how the metaphoricalexpression in Bahasa Indonesia is

translated into English. The method of the research is the qualitative

19

approach. The researcher uses from Andrea Hirata’s novel entitled

Edensor in Bahasa Indonesia and its English version translated byJohn

Colombo. The main instrument of this research is the researcher

herself andthe second instrument is the data sheets. The results of this

research show that there are two kinds of metaphor found in Andrea

Hirata’s Edensor. They are a dead metaphor and live metaphor.

The third study is an analysis of metaphor translation strategy

in “the fault in our stars” by John Green. This study is written by

Octavia (2015). This study is qualitative research. The data were

collecting by listing the metaphors from the source text and the

translated version. The data were analyzed by using metaphor

translation strategies which are proposed by Newmark and Larson

(1998). The finding of this research expected to help the study of

meaning related to translating the metaphor, also it can be useful for

the readers who intend to have a research on metaphor translation.

The different of the three studies with this research are, the

first study focused on the relevance of conceptual metaphor and

conceptual change, the second study analyzed the metaphorical

expression in the Edensor novel by Andrea Hirata, the third study

analyzed the metaphor translation strategy, while this research aims to

apply the Lakoffian theory about conceptual metaphor to find out the

conceptual metaphor in “the old man and the sea” novel by Ernest

Hemingway.

20

E. SYNOPSIS OF THE OLD MAN AND THE SEA NOVEL BY

ERNEST HEMINGWAY

The Old Man and the Sea is a short novel written by the

American author Ernest Hemingway in 1951 in Cuba, and published in

1952. It was the last major work of fiction by Hemingway that was

published during his lifetime. One of his most famous works, it tells

the story of Santiago, an aging Cubanfisherman who struggles with a

giant marlin far out in the Gulf Stream off the coast of Cuba.

In 1953, The Old Man and the Sea was awarded thePulitzer

Prize for Fiction, and it was cited by the Nobel Committee as

contributing to their awarding of the Nobel Prize in Literature to

Hemingway in 1954.

The Old Man and the Sea tells the story of a battle between

an aging, experienced fisherman, Santiago, and a large marlin. The

story opens with Santiago having gone 84 days without catching a fish,

and now being seen as "salao", the worst form of unluckiness. He is so

unlucky that his young apprentice, Manolin, has been forbidden by his

parents to sail with him and has been told instead to fish with

successful fishermen. The boy visits Santiago's shack each night,

hauling his fishing gear, preparing food, talking about American

baseball and his favorite player, Joe DiMaggio. Santiago tells Manolin

https://en.wikipedia.org/wiki/Ernest_Hemingway

https://en.wikipedia.org/wiki/Cuba

https://en.wikipedia.org/wiki/Cubans

https://en.wikipedia.org/wiki/Cubans

https://en.wikipedia.org/wiki/Marlin

https://en.wikipedia.org/wiki/Gulf_Stream

https://en.wikipedia.org/wiki/Pulitzer_Prize_for_Fiction

https://en.wikipedia.org/wiki/Pulitzer_Prize_for_Fiction

https://en.wikipedia.org/wiki/Nobel_Committee

https://en.wikipedia.org/wiki/Nobel_Prize_in_Literature


https://en.wikipedia.org/wiki/Joe_DiMaggio

21

that on the next day, he will venture far out into the Gulf Stream, north

of Cuba in the Straits of Florida to fish, confident that his unlucky

streak is near its end.

On the eighty-fifth day of his unlucky streak, Santiago takes

his skiff into the Gulf Stream, sets his lines and by noon, has his bait

taken by a big fish that he is sure is a marlin. Unable to haul in the

great marlin, Santiago is instead pulled by the marlin, and two days

and nights pass with Santiago holding onto the line. Though wounded

by the struggle and in pain, Santiago expresses a compassionate

appreciation for his adversary, often referring to him as a brother. He

also determines that, because of the fish's great dignity, no one shall

deserve to eat the marlin.

On the third day, the fish begins to circle the skiff. Santiago,

worn out and almost delirious, uses all his remaining strength to pull

the fish onto its side and stab the marlin with a harpoon. Santiago

straps the marlin to the side of his skiff and heads home, thinking

about the high price the fish will bring him at the market and how

many people he will feed.

On his way in to shore, sharks are attracted to the marlin's

blood. Santiago kills a great mako shark with his harpoon, but he loses

the weapon. He makes a new harpoon by strapping his knife to the end

of an oar to help ward off the next line of sharks; five sharks are slain

and many others are driven away. But the sharks keep coming, and by

https://en.wikipedia.org/wiki/Cuba

https://en.wikipedia.org/wiki/Straits_of_Florida

https://en.wikipedia.org/wiki/Skiff


https://en.wikipedia.org/wiki/Harpoon

https://en.wikipedia.org/wiki/Shark

https://en.wikipedia.org/wiki/Mako_shark

https://en.wikipedia.org/wiki/Oar

22

nightfall the sharks have almost devoured the marlin's entire carcass,

leaving a skeleton consisting mostly of its backbone, its tail and its

head. Santiago knows that he is defeated and tells the sharks of how

they have killed his dreams. Upon reaching the shore before dawn on

the next day, Santiago struggles to his shack, carrying the heavy mast

on his shoulder, leaving the fish head and the bones on the shore. Once

home, he slumps onto his bed and falls into a deep sleep.

A group of fishermen gather the next day around the boat

where the fish's skeleton is still attached. One of the fishermen

measures it to be 18 feet (5.5 m) from nose to tail. Pedrico is given the

head of the fish, and the other fishermen tell Manolin to tell the old

man how sorry they are. Tourists at the nearby café mistakenly take it

for a shark. The boy, worried about the old man, cries upon finding

him safe asleep and at his injured hands. Manolin brings him

newspapers and coffee. When the old man wakes, they promise to fish

together once again. Upon his return to sleep, Santiago dreams of his

youth of lions on an African beach.

F. INTRINSIC ELEMENTS OF THE OLD MAN AND THE SEA

NOVEL

1. Characters

Character is a fictional person described or impersonated in

a work of imaginative literature. The writer analyzes only the

characters who take important role in the novel. Some characters

https://en.wikipedia.org/wiki/Sharks

23

involved in the novel are excluded from the analysis since they do

not have massive contribution in the story.

a. Santiago

Santiago is the hero of the story. He is an old Cuban

fisherman. In the beginning of the story he is told as having

bad luck for eighty four days without catching any single fish.

Santiago appearance is drawn in the beginning of this novel

into these descriptions:

“The old man was thin and gaunt with deep wrinkles in the

back of his neck. The brown blotches of the benevolent

skin cancer the sun brings from its reflection on the tropic

sea were on his cheeks. The blotches ran well down the

sides of his face and his hands had thedeep-creased scars

from handling heavy fish on the cords. But none of these

scars were fresh. They were as old as erosions in a fishless

desert.” Ernest Hemingway (1952:5-6).

b. Manolin

Manolin, Santiago’s friend and disciple, is a good young boy.

Manolin highly respects his teacher, Santiago. Manolin

believes that the eighty four days without fish of Santiago’s

will come to an end. Manolin usually goes fishing with

Santiago but when his parents command him to go with

another boat, Manolin obey his parents.

24

c. The great marlin

The great marlin is a non-human character but this character is

important in the story line. The great marlin measures eighteen

feet from nose to tail which is two feet longer than the skiff.

His purple pectoral fins set wide as wings and the great erect

tail slicing through the dark while swimming in the water. His

eye is huge and a horse. His head and back are dark purple, the

stripes on his sides showed wide and a light lavender. The

great marlin’s sword is as long as a baseball bat and tapered

like a rapier. The 87 great marlin’s tail is higher than a big

scythe blade and its color is a pale lavender.

2. Plot

The Old Man and the Sea is the story of an epic struggle

between an old, seasoned fisherman and the greatest catch of his

life. For eighty-four days, Santiago, an aged Cuban fisherman, has

set out to sea and returned empty-handed. So conspicuously

unlucky is he that the parents of his young, devoted apprentice

and friend, Manolin, have forced the boy to leave the old man in

order to fish in a more prosperous boat. Nevertheless, the boy

continues to care for the old man upon his return each night. He

helps the old man tote his gear to his ramshackle hut, secures food

for him, and discusses the latest developments in American

25

baseball, especially the trials of the old man’s hero, Joe

DiMaggio. Santiago is confident that his unproductive streak will

soon come to an end, and he resolves to sail out farther than usual

the following day.

On the eighty-fifth day of his unlucky streak, Santiago does

as promised, sailing his skiff far beyond the island’s shallow

coastal waters and venturing into the Gulf Stream. He prepares his

lines and drops them. At noon, a big fish, which he knows is a

marlin, takes the bait that Santiago has placed one hundred

fathoms deep in the waters. The old man expertly hooks the fish,

but he cannot pull it in. Instead, the fish begins to pull the boat.

Unable to tie the line fast to the boat for fear the fish would

snap a taut line, the old man bears the strain of the line with his

shoulders, back, and hands, ready to give slack should the marlin

make a run. The fish pulls the boat all through the day, through

the night, through another day, and through another night. It

swims steadily northwest until at last it tires and swims east with

the current. The entire time, Santiago endures constant pain from

the fishing line. Whenever the fish lunges, leaps, or makes a dash

for freedom, the cord cuts Santiago badly. Although wounded and

weary, the old man feels a deep empathy and admiration for the

marlin, his brother in suffering, strength, and resolve.

26

On the third day the fish tires, and Santiago, sleep-deprived,

aching, and nearly delirious, manages to pull the marlin in close

enough to kill it with a harpoon thrust. Dead beside the skiff, the

marlin is the largest Santiago has ever seen. He lashes it to his

boat, raises the small mast, and sets sail for home. While Santiago

is excited by the price that the marlin will bring at market, he is

more concerned that the people who will eat the fish are unworthy

of its greatness.

As Santiago sails on with the fish, the marlin’s blood leaves

a trail in the water and attracts sharks. The first to attack is a great

mako shark, which Santiago manages to slay with the harpoon. In

the struggle, the old man loses the harpoon and lengths of

valuable rope, which leaves him vulnerable to other shark attacks.

The old man fights off the successive vicious predators as best he

can, stabbing at them with a crude spear he makes by lashing a

knife to an oar, and even clubbing them with the boat’s tiller.

Although he kills several sharks, more and more appear, and by

the time night falls, Santiago’s continued fight against the

scavengers is useless. They devour the marlin’s precious meat,

leaving only skeleton, head, and tail. Santiago chastises himself

for going “out too far,” and for sacrificing his great and worthy

opponent. He arrives home before daybreak, stumbles back to his

shack, and sleeps very deeply.

27

The next morning, a crowd of amazed fishermen gathers

around the skeletal carcass of the fish, which is still lashed to the

boat. Knowing nothing of the old man’s struggle, tourists at a

nearby café observe the remains of the giant marlin and mistake it

for a shark. Manolin, who has been worried sick over the old

man’s absence, is moved to tears when he finds Santiago safe in

his bed. The boy fetches the old man some coffee and the daily

papers with the baseball scores, and watches him sleep. When the

old man wakes, the two agree to fish as partners once more. The

old man returns to sleep and dreams his usual dream of lions at

play on the beaches of Africa.

3. Setting

Most of the novella takes place in the old man’s boat out on

the sea. Santiago has to do battle not only with the fish, but also

with the elements, as he faces the sun and the night. The old man

interacts with his environment, commenting frequently on the sun,

moon, and stars.

4. Themes

a. The Honor in Struggle, Defeat & Death

From the very first paragraph, Santiago is characterized as

someone struggling against defeat. He has gone eighty-four

days without catching a fish—he will soon pass his own

record of eighty-seven days. Almost as a reminder of

28

Santiago’s struggle, the sail of his skiff resembles “the flag of

permanent defeat.” But the old man refuses defeat at every

turn: he resolves to sail out beyond the other fishermen to

where the biggest fish promise to be. He lands the marlin,

tying his record of eighty-seven days after a brutal three-day

fight, and he continues to ward off sharks from stealing his

prey, even though he knows the battle is useless.

Because Santiago is pitted against the creatures of the sea,

some readers choose to view the tale as a chronicle of man’s

battle against the natural world, but the novella is, more

accurately, the story of man’s place within nature. Both

Santiago and the marlin display qualities of pride, honor, and

bravery, and both are subject to the same eternal law: they

must kill or be killed. As Santiago reflects when he watches

the weary warbler fly toward shore, where it will inevitably

meet the hawk, the world is filled with predators, and no living

thing can escape the inevitable struggle that will lead to its

death. Santiago lives according to his own observation: “man

is not made for defeat . . . man can be destroyed but not

defeated.” In Hemingway’s portrait of the world, death is

inevitable, but the best men (and animals) will nonetheless

refuse to give in to its power. Accordingly, man and fish will

29

struggle to the death, just as hungry sharks will lay waste to an

old man’s trophy catch.

The novel suggests that it is possible to transcend this

natural law. In fact, the very inevitability of destruction creates

the terms that allow a worthy man or beast to transcend it. It is

precisely through the effort to battle the inevitable that a man

can prove himself. Indeed, a man can prove this determination

over and over through the worthiness of the opponents he

chooses to face. Santiago finds the marlin worthy of a fight,

just as he once found “the great negro of Cienfuegos” worthy.

His admiration for these opponents brings love and respect

into an equation with death, as their destruction becomes a

point of honor and bravery that confirms Santiago’s heroic

qualities. One might characterize the equation as the working

out of the statement “Because I love you, I have to kill you.”

Alternately, one might draw a parallel to the poet John Keats

and his insistence that beauty can only be comprehended in

the moment before death, as beauty bows to destruction.

Santiago, though destroyed at the end of the novella, is never

defeated. Instead, he emerges as a hero. Santiago’s struggle

does not enable him to change man’s place in the world.

Rather, it enables him to meet his most dignified destiny.

30

b. Pride as the Source of Greatness & Determination

Many parallels exist between Santiago and the classic

heroes of the ancient world. In addition to exhibiting terrific

strength, bravery, and moral certainty, those heroes usually

possess a tragic flaw a quality that, though admirable, leads to

their eventual downfall. If pride is Santiago’s fatal flaw, he is

keenly aware of it. After sharks have destroyed the marlin, the

old man apologizes again and again to his worthy opponent.

He has ruined them both, he concedes, by sailing beyond the

usual boundaries of fishermen. Indeed, his last word on the

subject comes when he asks himself the reason for his undoing

and decides, “Nothing . . . I went out too far.”

While it is certainly true that Santiago’s eighty-four-day run

of bad luck is an affront to his pride as a masterful fisherman,

and that his attempt to bear out his skills by sailing far into the

gulf waters leads to disaster, Hemingway does not condemn

his protagonist for being full of pride. On the contrary,

Santiago stands as proof that pride motivates men to greatness.

Because the old man acknowledges that he killed the mighty

marlin largely out of pride, and because his capture of the

marlin leads in turn to his heroic transcendence of defeat,

pride becomes the source of Santiago’s greatest strength.

Without a ferocious sense of pride, that battle would never

31

have been fought, or more likely, it would have been

abandoned before the end.

Santiago’s pride also motivates his desire to transcend the

destructive forces of nature. Throughout the novel, no matter

how baleful his circumstances become, the old man exhibits

an unflagging determination to catch the marlin and bring it to

shore. When the first shark arrives, Santiago’s resolve is

mentioned twice in the space of just a few paragraphs. First

we are told that the old man “was full of resolution but he had

little hope.” Then, sentences later, the narrator says, “He hit

[the shark] without hope but with resolution.” The old man

meets every challenge with the same unwavering

determination: he is willing to die in order to bring in the

marlin, and he is willing to die in order to battle the feeding

sharks. It is this conscious decision to act, to fight, to never

give up that enables Santiago to avoid defeat. Although he

returns to Havana without the trophy of his long battle, he

returns with the knowledge that he has acquitted himself

proudly and manfully. Hemingway seems to suggest that

victory is not a prerequisite for honor. Instead, glory depends

upon one having the pride to see a struggle through to its end,

regardless of the outcome. Even if the old man had returned

with the marlin intact, his moment of glory, like the marlin’s

32

meat, would have been short-lived. The glory and honor

Santiago accrues comes not from his battle itself but from his

pride and determination to fight.

CHAPTER III

METHOD OF RESEARCH

33

A. Method of Research

Research is a result of finding, developing, and testing the

knowledge corrections using method of research Hadi(1981: 4). In the

other word, when there is the problem about something that has not been

clear, research appearance is needed. In order to do the research,

methodology is necessary to help find the result of the research. Method

represents a compulsion to be used in the study and it is a way that is used

by the researcher in the collecting data

According to Hadi (1981: 221), research methodology is a

scientific method to collect the data with a goal and certain application. In

the other word, research methodology is the way the research use to collect

the data, analyze the data, and make a conclusion from the data which has

collected. In order to give valid and reliable data, the research method is

very important for a research and for accurate data (Arikunto, 2002: 136).

The researcher uses the quantitative descriptive study to identify,

describe, analyze and classify various types of Lakoffian conceptual

metaphor in The Old Man and The Sea novel. Johnson and Larry (2004:

359) state that quantitative descriptive study is designed to provide

systematic information about a phenomenon The researcher does not

usually begin with a hypothesis, but is likely to develop one after

collecting data. It can be tabulated along a continuum in numerical form,

such as scores on a test or the number of times a person chooses to use a-

certain feature of a multimedia program, or it can describe categories of

34

information such as gender or patterns of interaction when using

technology in a group of situation.

In this study the researcher uses descriptive study to get information

about Lakoffian conceptual metaphor in The Old man and The Sea novel.

While the numeric data or the quantitative to present the data numerically

so the result of the study well understanding.

B. Object of The Research

The data of this research were taken from Ernest Hemingway’s

novel entitled “The Old Man and The Sea”. The data are in the form of

clauses or sentences considered as conceptual metaphor found in “The Old

Man and The Sea” novel by Ernest Hemingway. This novel wrote by

Hemingway in 1952 under protected of Berne Convention. This novel

printed in the United States of America.

C. Data Sources

Data sources in a subject where the data acquired by

Arikunto(2010:172).Data source should original, however, if the original

source is difficult to get, photocopy or imitation is not be a problem, as

long as the evidence can be acquired.

In order to analyze the conceptual metaphor found in the old man

and the sea novel by Ernest Hemingway, the researcher uses the data

35

sources from the primary and secondary data. The explanations are as

follows:

1. Primary

The primary data source is the result of something found

in the field (Kurniadi, 2011: 10). It is the result of field

observation. In this research, the primary data source took from

utterances or dialogues with metaphor in The Old Man and The


2. Secondary

The secondary data source is added data as an elaboration

of primary data and as a reference seeing the setting of the

problem (Kurniadi, 2011: 11). The researcher uses several books

related to semantics analysis, especially metaphor expression.

D. Step of Analysis

Therearemany waystocollectthedata,suchas observation, the use of

the instrument for collectingdataand documentation (Azwar, 2007:36).

Moreover, datacollectionisveryimportantinthisresearch. Since the

researcher becomes the main instrument of this research, the researcher

uses her own skills to classify and collect the data based on the

36

background knowledge and match them with the existing theory. The

data are collected through:

1. Re-reading the source and target versions of the Old Man and

The Sea novel by Ernest Hemingway.

2. Underlining the metaphorical expressions found in the Old

Man and The Sea Novel by Ernest Hemingway.

3. Seeking the translation of the metaphorical expressions in The

Old Man and The Sea novel By Ernest Hemingway

4. Gathering the data of metaphor in both Indonesian and English

versions of The Old Man and The Sea novel By Ernest

Hemingway.

5. Validating the data by consulting them with the experts

whether the data are considered as a metaphor or not.

6. Revising the data as a result of discussion done by the

researcher and the experts,

7. Categorizing the valid data based on the certain classification

of the conceptual metaphor found in The Old Man and The Sea

Novel by Ernest Hemingway.

8. Transferring the valid data into the table of data in certain

classifications.

9. Encoding the data in order to simplify the term of analysis data.

10. Presenting the result of the data.

37

E. Techniques of Data Analysis

Bogdan in Sugiono (2013:224) define data analysis as a process of

systematically searching and arranging the interview transcripts, field

notes and other materials that accumulates to increase our own

understanding and enable you to present what you have discovered to

others. The researcher concludes that data analysis is the activity that is

heavy enough in formulating easily digest by thinking logically.

In the research, the researcher chooses four techniques of data

analysis. The explanations are as follows:

1. Data Collection

Data collection is the result of data collecting technique on

observation and documentation.

2. Data Reduction

Data reduction is the process to choose the main data to focus,

to focus on the most important data and throw up the

unnecessary one. The guideline of the data reduction is the

objectives of the research. Data reduction is a process to think

sensitively, the high intelligence and the broad knowledge.

3. Data Display

38

Data display is a process to arrange the result of the data

reduction done by simply explaining, draft, and relation inter

categories and flowchart. The data display help the researcher

to understand what is happening and to do something further

analysis or caution on that understanding.

4. Data Verification/Conclusion

The conclusion verifies by seeing back of the data reduction

and data display after collecting the data, so the conclusion that

is take did not deviate from the problems of the research. On

the whole, to analyze the data the researcher must find and

collect the data in the field and then the data is being learned.

The researcher chooses the relevance data toward the study to

solve the problems.

CHAPTER IV

DATA PRESENTATION AND DISCUSSIONS

A. DATA DISPLAY

After analyzing the object of the research, the research found the

data result from “The Old Man and The Sea” novel by Ernest Hemingway.

39

The researcher has analyzed 21 sentences which contain metaphor in “The

Old Man and The Sea” novel by Ernest Hemingway. These sentences have

been analyzed by using the Lakoffian theory of conceptual metaphor. The

data can be seen below:

Table 4.1. Data result

No

Name of

LakoffianConceptual

Metaphor

The Data Code

1. PERSON IS ALARM

CLOCK

a. “Good night then. I

will wake you in the

morning.”, “You’re

my alarm clock,”the

boy said.

(Hemingway’s

1952:24)

A1

b. “Age is my alarm

clock,” the old man

said.(Hemingway’s

1952:24)

A2

2. LIFE IS STRUGGLE a. The sail was patched

with flour sacks and,

B1

40

furled, it looked like

the flag of permanent

defeat. (Hemingway’s

1952:9)

b. He was sorry for the

birds, especially the

small delicate dark

terns that were always

flying and looking and

almost never finding,

and he thought, the

birds have a harder life

than we do except for

the robber birds and

the heavy strong

ones.(Hemingway’s

1952:29)

B2

c. “If you were my boy

I’d take you out and

gamble,” he said. “But

you are your father’s

B3

41

and your mother’s and

you are in a lucky

boat.”(Hemingway’s

1952:13)

d. “Eighty-five is a lucky

number,” the old man

said. (Hemingway’s

1952:16)

e. But it is good that we

do not have to try to

kill the sun or the

moon or the

stars.(Hemingway’s

1952:75)

f. It was then he knew

the dept of his

tiredness

(Hemingway’s

1952:121)

B4

B5

B6

42

3. LIFE IS SUFFERING a. He lay in the stern in

the sun, compact and

bullet shaped, his big,

unintelligent eyes

staring as he thumped

his lifeout against the

planking of the boat

with the quick

shivering strokes of his

neat, fast-moving tail.

(Hemingway’s

1952:38)

C1

b. It will uncramp

though, he thought.

Surely it will uncramp

to help my right hand.

There are three things

that are brothers: the

fish and my two

hands.(Hemingway’s

1952:64)

C2

43

4 PEOPLE IS A

LANDSCAPE

a. He only dreamed of

place now and of the

lions on the

beach.(Hemingway’s

1952:25)

D1

5. KNOWING IS SEEING a. There were other boats

from the other beaches

going out to sea and

the old man heard the

dip and push of their

oars even though he

could not see them

nowthe moon was

below the hills.

(Hemingway’s

1952:28)

E1

b. The dolphin looks

green of course

because he is really

golden.(Hemingway’s

1952:72)

E2

44

c. He saw the white

naked line of his

backbone and the dark

mass of the headwith

the projecting bill and

all the nakedness

between.(Hemingway’

s 1952:121)

d. “I didn’t know sharks

had such handsome,

beautifully formed

tails.”(Hemingway’s

1952:127)

E3

E4

6 TIME IS

COMMODITY

a. The moon did not rise

now until late and he

had no way of judging

the

time.(Hemingway’s

1952:76)

F1

45

7. PEOPLE IS FORTUNE a. He is my fortune, he

thought.

(Hemingway’s

1952:95)

G1

8. LIFE IS A JOURNEY a. It was cold after the

sun went down and the

old man’s sweat dried

cold on his back and

his arms and his old

legs.(Hemingway’s

1952:47)

H1

b. The old man’s head

was very old though

and with his eyes

closed there wasno life

in his

face(Hemingway’s

1952:19)

H2

c. The wind is our friend,

anyway, he

thought.(Hemingway’s

1952:120)

H3

46

d. He was stillsleeping on

his face and the boy

was sitting by him

watching

him.(Hemingway’s

1952:127)

H4

From the data, the researcher will analyze the sentences according

to the problem questions of the research. In general, there are 21 sentences

found by the researcher with eight Lakoffian conceptual metaphor

mapping. The explanation of each part will be present in the next chapter.

B. Metaphors found in Ernest Hemingway’s novel “The Old Man and

The Sea”.

1. The first pattern:PERSON IS ALARM CLOCK

From the pattern “Person is alarm clock” the researcher found two

metaphorical data in Ernest Hemingway’s novel “The Old Man and

The Sea”. The explanation can be seen as follows:

a. “Good night then. I will wake you in the morning.”, “You’re my

alarm clock”the boy said. (code: A1)

47

In the above metaphorical expression, the source domain is

the abstract form of the word “you” whereas the target domain is

the concrete form of the word “alarm clock”.

In the expression above, the phrase "you are my alarm

clock ... " is used to express "the old man". If both are compared to

the element that has the same meaning would be "the waker (SL) /

tukangmembangunkan (TL)", and distinguishing the meaning of

"the old man" who is "human / manusia” and "alarm clock" is

"objects driven by mechanical power". It compares two concepts of

"alarm clock" that interact with "the old man".

The story context of the metaphorical expression above is

when the Old man tried to wake the boy up, then the boy said that

the old man is his alarm clock or the waker.

b. “Age is my alarm clock,” the old man said.(code: A2)


the abstract form of the word “age” whereas the target domain is

the concrete form of the word “alarm clock”.

In the expression above, the phrase "age is my alarm clock

... " is used to express "the old man’s age". If both are compared to

the element that has the same meaning would be "the waker /

tukangmembangunkan ", and distinguishing the meaning of "the

48

old man’s age" and "alarm clock" is "objects driven by mechanical

power". It compared two concepts of "alarm clock" that interact

with "the old man’s age".


that the old man thinks that his age as his waker. In this case, the

researcher concludes that the old man wants to tell the boy that he

was old. For that reason, the old man should be wise in whatever

he does.

2. The second pattern:LIFE IS STRUGGLE

From the pattern “Life is a struggle” the researcher found five



a. The sail was patched with flour sacks and, furled, it looked like the

flag of permanent defeat. (code:B1)

In the above metaphorical expression, the source domain is the

abstract form of the word “furled” whereas the target domain is the

concrete form of the word “flag of permanent defeat”.

In the expression above, the phrase "furled, it looked like the

flag of permanent defeat" is used to express "the old man bad

condition where he had gone about eighty-four days without taking a

fish". If both are compared to the element that has the same meaning

49

would be "struggle". The author tries to tell the reader about the

condition of the old man which have not taken a fish after he fished

about eighty-four days whereas the boy who accompanied him

fishing in the first forty days catch three good fish after he goes to

another place in the first. The boy thought that the old man was so

pity. It draws that the old man is struggling much in his life

b. He was sorry for the birds, especially the small delicate dark terns

that were always flying and looking and almost never finding, and he

thought, the birds have a harder life than we do except for the robber

birds and the heavy strong ones.(code:B2)


abstract form of the phrase “the birds have a harder life than we do”,

whereas the target domain is the concrete form of the sentence

“except for the robber birds and the heavy strong ones”.

In the expression above, the phrase “the birds have a harder

life than we do except for the robber birds and the heavy strong

ones”is used to express "how hard the bird’s life". If both are

compared to the element that has the same meaning would be

"struggle of the bird to catch fish to eat". The author tries to tell the

reader abouthow the bird found the food in this case fish. The old

man worried about the sea condition. He could not catch the fish for

a long time. So, how is the bird which cannot catch the fish to eat.

50

He thinks that just the robber birds and the stronger bird will stay

alive.

c. “If you were my boy I’d take you out and gamble,” he said. “But you

are your father’s and your mother’s and you are in a lucky boat.”

(1952: p.13) (code B3)


abstract form of the word “you” whereas the target domain is the

concrete form of the word “lucky boat”.

In the expression above, the phrase “you are in a lucky

boat”is used to express "the boy is in the right place". If both are

compared to the element that has the same meaning would be "the

old man’s struggle". The author tries to tell the reader how hard the

old man stays fishing without any fish. He refused the boy back

fished with him. The old man suggests the boy stay in the place he

is now. The old man knows the boy loves him, but the boy should

get a better life.

d. “Eighty-five is a lucky number,” the old man said. (code B4)


abstract form of the word “eighty-five” whereas the target domain is

the concrete form of the word “lucky number”.

In the expression above, the phrase “Eighty-five is a lucky

number”is used to express "the old man hope". If both are compared

to the element that has the same meaning would be "the old man’s

51

struggle". The author tries to tell the reader how hard the old man

stays fishing without any fish. In this metaphorical expression, the

old man tries to make the boys no worry about yesterday. Eighty-five

is the number of the day the old man stay fishing without any fish.

The old man always tells the fiction to the boy. He never has

anything, but he tells the opposite. The old man believeseveryday

even yesterday he will lucky.

e. But it is good that we do not have to try to kill the sun or the moon or

the stars.(code:B5)


abstract form of the sentence “try to kill” whereas the target domain

is the concrete form of the clause “the sun or the moon or the star”.

In the expression above, the phrase “try to kill the sun or the

moon or the stars”is used to express "the old man imagination". If

both are compared to the element that has the same meaning would

be "the old man’s struggle". The author tries to tell the reader how

hard the old man stays fishing without any fish. The boy in the

novel thought about the old man word about kill the moon, whereas

the moon will disappear soon when the sun rises in the morning and

its opposite. The author through the boy’s thinking, all the word the

old man says just his imagination. He wants to tell the boy that he

could pass every single easily.

52

f. It was then he knew the dept of his tiredness" (code: B6)


abstract form of the sentence “the dept” whereas the target domain is

the concrete form of the clause “tiredness”.

In the metaphorical expression above, the phrase “the dept of

his tiredness” used to express how tired he is. He was fishing for a

long time and there is no fish is caught. He feels so tired when he

tried to unstepped the mast and furled the sail and tied it. Then he

shouldered the mast andstarted to climb.

3. The third pattern:LIFE IS SUFFERING

From the pattern “Life is suffering” the researcher found two



a. He lay in the stern in the sun, compact and bullet shaped, his big,

unintelligent eyes staring as he thumped his lifeout against the

planking of the boat with the quick shivering strokes of his neat,

fast-moving tail. (code: C1)


the abstract form of the sentence “his big, unintelligent eyes”

whereas the target domain is the concrete form of the clause

“staring as he thumped his life”.

53

In the expression above, the phrase “hisbig, unintelligent

eyes staring as he thumped his life” is used to express "the fish". If

both are compared to the element that has the same meaning would

be "suffering". The author tries to tell the reader about the

condition of the fish which hit the boat. The fish eyes draw that he

is suffering after caught.

b. It will uncramp though, he thought. Surely it will uncramp to help

my right hand. There are three things that are brothers: the fish

and my two hands.(code: C2)


the abstract form of the sentence “there are three things that are

brothers” whereas the target domain is the concrete form of the

clause “the fish and my two hands”.

The phrase “There are three things that are brothers: the

fish and my two hands” is used to express "the old man’s two

hands which are a brother with the fish". If both are compared to

the element that has the same meaning would be "suffering"

because at that time the old man tried to catch the great fish with

more than a thousand pounds himself. When he has no friend

beside him, there is no fish through around him. When he is alone,

there is a lot of great fish around him, and he confused how could

54

he caught the fish by his two hands. The old man believes that the

fish will cramp after it is held by his hand.

4. The fourth pattern:PEOPLE IS A LANDSCAPE

From the pattern “People is a landscape” the researcher found a


The Sea”. The explanation can be seen as below:

a. He only dreamed of place now and of the lions on the beach.

(code: D1)


the abstract form of the word “the lions” whereas the target domain

is the concrete form of the word “beach”.

The phrase “the lions on the beach”is used to express "the

old man". If both are compared to the element that has the same

meaning would be "youthfulness and happiness like a landscape".

The old man, Santiago dreams of lions playing on the beach in

Africa. The lions are a metaphor for youthfulness and vitality and

remind Santiago of his own boyhood. Santiago struggles to cope

with aging and fears he's no longer vigorous enough to keep up

with the competitive young fishermen in his village. The Lions

help him remember happier, successful times and to find peace

and hope, despite his present disappointments.

55

5. The fifth pattern:KNOWING IS SEEING

From the pattern “knowing is seeing” the researcher found

four metaphorical data in Ernest Hemingway’s novel “The Old Man

and The Sea”. The explanation can be seen as follows:

a. There were other boats from the other beaches going out to sea and

the old man heard the dip and push of their oars even though he

could not see them nowthe moon was below the hills. (code: E1)


the abstract form of the word “the moon” whereas the target

domain is the concrete form of the phrase “below the hills”.

The phrase “he could not see them now the moon below the

hills”is used to express that the old man understands everything

even he could not see this. Santiago heard that there are another

boats from another beach try to catch fish in the sea he stays in.

He may not see the boats he thought, but he tells that we are know

something it means that we are seeing something.

b. The dolphin looks green of course because he is really golden.

(code: E2)


the abstract form of the word “he or the dolphin” whereas the

target domain is the concrete form of the phrase “really golden”.

56


that the old man really loved the dolphins. The phrase “he is

really”is used to express how valuable the dolphin is. Similar to

people, they love gold because it is beautiful and valuable.

Santiago draws the valuable of the fish name dolphin for him likes

the gold for several people.

c. He saw the white naked line of his backbone and the dark mass of

the headwith the projecting bill and all the nakedness

between.(code: E3)


the abstract form of the word “dark mass” whereas the target

domain is the concrete form of the word “head”.

The metaphorical expression above has the story context

about the tiredness of the old man. The phrase “the dark of the

head” is used to express how tired he is. He unstepped the mast

and furled the sail and tied it. Then he shouldered the mast

andstarted to climb. It was then he knew the depth of his tiredness.

d. I didn’t know sharks had such handsome, beautifully formed tails.”

(code: E4)


the abstract form of the clause “beautifully” whereas the target

domain is the concrete form of the clause “tails”.

57

The metaphorical expression above draws about the

beautifulness of the shark’s tail. As the old fishermen, he

understands a lot about the fish characteristic. He knows about the

tail of the shark was beautiful.

6. The sixth pattern: TIME IS AN INDIVIDUAL

From the pattern “Time is individual” the researcher found a


The Sea”. The explanation can be seen below:

a. The moon did not rise now until late and he had no way ofjudging

the time.(code: F1)


the abstract form of the word “judging” whereas the target domain

is the concrete form of the word “the time”.


that the old man could not manage the time well. He tries to sleep

two hours without any reason. He always looks tired. Santiago

never used the time to rest well. Even he is sleeping he was still

bearingthe pull of the fish across his shoulders but he placed his

left hand on the gunwale of the bowand confided more and more of

the resistance to the fish to the skiff itself.

7. The seventh pattern: PERSON IS FORTUNE

58

From the pattern “person is fortune” the researcher found a


The Sea”. The explanation can be seen below:

a. He is my fortune, he thought. (code: G1)


the abstract form of the word “he” whereas the target domain is the

concrete form of the word “my fortune”.

In the above metaphorical expression, the phrase “He is my

fortune”used to express the fish which become the fortune for the

old man. Santiago said he wants to touch him and feel him. But he

never wants to hurt him. Santiago thought that the fish will become

the fortune for him.

8. The eighth pattern:LIFE IS A JOURNEY

From the pattern “Life is Journey” the researcher found four



a. It was cold after the sun went down and the old man’s sweat dried

cold on his back and his arms and his old legs. (code: H1)


the abstract form of the word “old” whereas the target domain is

the concrete form of the word “legs”.

59

The metaphorical expression above has the context story

about the old fisherman name Santiago. Santiago feels the cold on

his back and his arm and his old leg. The leg actually has no age,

but the person has. The old leg means Santiago’s leg. He is old, his

leg too.

b. The old man’s head was very old though and with his eyes closed

there was no life in his face (code: H2)


the abstract form of the word “life” whereas the target domain is

the concrete form of the clause “in his face”.

In the above metaphorical expression, the phrase “with his

eyes closed there was no life in his face” used to express that

Santiago was very old. The author draws that with his closed eyes

Santiago looks like the corpse. He was very old, but his body was

very strong.

c. The wind is our friend, anyway, he thought. (code: H3)


the abstract form of the word “the wind” whereas the target domain

is the concrete form of the clause “is our friend”.

In the above metaphorical expression, the phrase “the wind

is our friend” used to express the wind is Santiago’s friend. In his

60

journey as a fisherman, he got many experiences. Someday in the

sea, there is no other beside him, he thought that the wind blows to

accompany him. Santiago is an old man without any fear.

d. He was stillsleeping on his face and the boy was sitting by him

watching him.(code: H4)


the abstract form of the word “sleeping” whereas the target domain

is the concrete form of the clause “on his face”.

In the above metaphorical expression, the phrase “he was

still sleeping on his face” used to express the old man was very

tired. He has passed a lot of days to catch the fish. That phrase also

expresses about the old man who falls sleep tightly after he waiting

for the fish for all long time

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CHAPTER V

CONCLUSION AND SUGGESTION

A. CONCLUSION

After analyzing the data, the researcher could draw the conclusion

about metaphorical expression and the value build by the meaning of

metaphor in the Ernest Hemingway’s novel “The Old Man and The Sea”.

For further, the researcher presents the explanation below:

1. Metaphors found in Ernest Hemingway’s novel “The Old Man

and The Sea”

In the Ernest Hemingway’s novel “The Old Man and The Sea”,

there are metaphorical expressions analyzed by the researcher. In

general, there is eight most dominant conceptual metaphor used in the

novel. There are 21 sentences or metaphorical expression analyzed by

the researcher. The detail can be seen in the table below:

Table 5.1. Number of conceptual metaphor

No

The Names of

LakoffianConceptual Metaphor The Available

1 PERSON IS ALARM CLOCK 2 Sentences

2 LIFE IS STRUGGLE 6 Sentences

3 LIFE IS SUFFERING 2 Sentences

62

4 PEOPLE IS A LANDSCAPE 1 Sentences

5 KNOWING IS SEEING 4 Sentences

6 TIME IS AN INDIVIDUAL 1 Sentences

7 PERSON IS FORTUNE 1 Sentences

8 LIFE IS A JOURNEY 4 Sentences

Total 21 Sentences

From the data above the researcher conclude that the most

dominant types of metaphorical pattern in “the old man and the sea”

novel are “LIFE IS STRUGGLE” there are found 6 sentences from the

novel because the novel tells there is The Old man who is struggling in

his life. He stayed for a long time although he never got the fish. He

faced everyday confidently. He have not any fearness. He believes that

yesterday he will always lucky, even the fact is hard.

2. The meanings of metaphors found in The Old Man and The Sea novel

by Ernest Hemingway

After analyzing the data the researcher concludes that the

metaphorical expressions which the author used in the Ernest

Hemingway’s novel “The Old Man and The Sea” have the different

meaning in literal. The words, sentences, or clauses which the researchers

analyzed as a metaphor in the novel figure something different. The

63

metaphor required the reader to analyzed deeper interpretation to analyze

the meaning.

B. SUGGESTION

Based on the conclusion above, the researcher proposes the

suggestion to thosemight be a benefit to the result of this study.

1. For the reader

The researcher hopes that this research can be improving the

reader’sknowledge aboutmetaphorical roles,especially about Lakoffian

conceptual metaphor. This research shows about outstanding figurative

language which offers deeper interpretation of the linguistic feature.

This research also can be the reference for the reader when they make a

research about conceptual metaphor.

2. For another researcher

The researcher hopes that this research helps other researchers

understand about conceptual metaphor itself, especially in the Lakoffian

theory. Therefore, they have background knowledge about

conceptualmetaphor before they conduct the research relating with

metaphor. The researchers also can use conceptual metaphor in the

different research method. The other researchers who will conduct the

same topic to complete theresearch, this study can use as the previous

study.

64

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Putri, C. (2013). Metaphorical Expression In Andrea Hirata’s and John

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Volume 13, Nomor 1

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CURRICULUM VITAE

Name : Diyan Putri Nurjannah

Place and Date of Birth : Semarang, March 1st 1994

NIM : 113 11 013

Address : Jaten Rt.02/05, Klego, Boyolali

HP/Email : 085876401797 / [email protected]

Academic Background : 1. RA Al-Ihsan Jaten, Klego, Boyolali

2. MI Islamiyah Jaten, Klego, Boyolali

3. SMP N 2 Simo, Boyolali

4. SMA N 1 Klego, Boyolali

5. IAIN Salatiga

metaphor analysis of ernest hemingway’s …e-repository.perpus.iainsalatiga.ac.id/4353/1/skripsi...

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