THE CRITICISM TOWARD THE EUROPEAN UPPER-CLASS WAY OF LIFE IN 1800’S AS REVEALED THROUGH THE MAJOR CHARACTERS’ CHARACTERIZATIONS IN AUGUST STRINDBERG’ MISS JULIE AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements For the Degree of Sarjana Sastra in English Letters By YOHANES JIMMY OY WEA Student Number: 054214054 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2009
Transcript
THE CRITICISM TOWARD THE EUROPEAN UPPER-CLASS WAY OF LIFE IN 1800’S AS REVEALED THROUGH THE
MAJOR CHARACTERS’ CHARACTERIZATIONS IN AUGUST STRINDBERG’ MISS JULIE
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements For the Degree of Sarjana Sastra
in English Letters
By
YOHANES JIMMY OY WEA
Student Number: 054214054
ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
YOGYAKARTA 2009
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THE CRITICISM TOWARD THE EUROPEAN UPPER-CLASS WAY OF LIFE IN 1800’S AS REVEALED THROUGH THE
MAJOR CHARACTERS’ CHARACTERIZATIONS IN AUGUST STRINDBERG’ MISS JULIE
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra
in English Letters
By
YOHANES JIMMY OY WEA
Student Number: 054214054
ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
YOGYAKARTA 2009
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Aristocracy has three successive ages. First superiority, then privileges and finally vanities. Having passed from the first, it degenerates in the second and dies in the third.
By François-René de Chateaubriand
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Dedicated for:
My Lord, Jesus Christ
My Father, Ambrosius B. Wea
My Mother, Hilaria M. Lengga
My sister, Yoan
My brother, Mapes
My beloved girl-friend, Nani Arifianti
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ACKNOWLEDGEMENTS
First of all, I would express my greatest gratitude to my Father, Jesus
Christ for His blessing and guidance. I can finish writing this thesis because of
Him. God is good all the time.
I would like to thank my father, Ambrosius B Wea and my mother
Hilaria M Lengga, for their prayers and struggle to finance my study..Both of
you have been my motivation in finishing this thesis writing. I thank my sister
too: Yoan and my brother Mapes. I love you all.
I would like to give my sincere gratitude to my advisor, Ni Luh Putu
Rosiandani, S.S, M.Hum. for her precious time and guidance in this thesis
writing. I would like also to give my gratitude to my co-advisor Maria Ananta,
S.S, M.Ed for her time and willingness to correct my thesis. I thank all the
lecturers and all staffs in the secretariat of English Letters Department too.
Furthermore, I thank my closest friends in campus:Fajar, Agung,
So2, and Boby for the happiness, sadness, smile, tear, anger, and all the precious
time. There is no single day without all of you, guys.
My special thanks go to Nani Arifianti for the love, laugh, support, help,
and encouragement. You make my days colorful. I do not know what will happen
to my life without you. I cannot finish this thesis without your hands, thank you
my love.
Last but not least, I thank everyone whose name I cannot mention one by
one for helping and supporting me during the completion of my thesis. May God
bless you all. Thank you so much.
Yohanes Jimmy Oy Wea
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TABLE OF CONTENTS
TITLE PAGE ................................................................................................ i APPROVAL PAGE ...................................................................................... ii ACCEPTANCE PAGE ................................................................................. iii MOTTO PAGE ............................................................................................. iv DEDICATION PAGE ................................................................................... v ACKNOWLEDGEMENTS ........................................................................... vi LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI ...................... viii TABLE OF CONTENTS ............................................................................... ix ABSTRACT ................................................................................................... xi ABSTRAK ..................................................................................................... xii CHAPTER I: INTRODUCTION ................................................................ 1 A. Background of the Study ................................................................... 1 B. Problem Formulation ......................................................................... 4 C. Objectives of the Study ..................................................................... 4 D. Definition of Terms ........................................................................... 4 CHAPTER II: THEORETICAL REVIEW ............................................... 6 A. Review of Related Studies ................................................................ 6 B. Review of Related Theories .............................................................. 8 1. Theory of Character ..................................................................... 8 2. Theory of Characterization .......................................................... 10 3. Theory of Social class ................................................................... 11 4. Review on European Upper-class Way of Life ............................ 14
5. Review on Europe in 1800s ......................................................... 18 C. Theoretical Framework ..................................................................... 21 CHAPTER III: METHODOLOGY ............................................................ 22 A. Object of the Study ............................................................................ 22 B. Approach of the Study ....................................................................... 23 C. Method of the Study .......................................................................... 24 CHAPTER IV: ANALYSIS ......................................................................... .25 A. The Major Characterizations that are Described in
Strindberg’s Miss Julie ...................................................................... 25 1. Miss Julie ..................................................................................... 27
a. Stubborn .................................................................................... 27 b. Full of pride .............................................................................. 28 c. Desperate for love ..................................................................... 30
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d. Confused of herself ................................................................... 32 2. Jean ............................................................................................... 36
a. Ambitious .................................................................................. 36 b. Upper-class like ........................................................................ 40 c. Conceited .................................................................................. 41
B. The Class Stratification Presented in the Play .................................... 43 1. Upper-class ................................................................................... 44
a. Title ........................................................................................... 44 b. Power ........................................................................................ 46 c. Hausing ..................................................................................... 47 d. Lifestyle .................................................................................... 49 e. Marriage .................................................................................... 50
2. Lower-class .................................................................................. 51 a. Title ........................................................................................... 51 b. Housing ..................................................................................... 52 c. Lifestyle .................................................................................... 53 d. Marriage .................................................................................... 54
C. The Criticism toward the European Upper-Class Way of Life in 1800’s As Revealed through the Major Characters’ Characterizations ............................................................................... 55
1. Miss Julie ...................................................................................... 56 a. Stubborn .................................................................................... 56 b. Full of pride ............................................................................. 59 c. Desperate of love ...................................................................... 61 d. Confuse of herself ..................................................................... 63
2. Jean ............................................................................................... 65 a. Ambitious .................................................................................. 65 b. Upper-class like ........................................................................ 66 c. Conceited .................................................................................. 69
YOHANES JIMMY OY WEA. The Criticism toward the European Upper-Class Way of Life in 1800’s as Revealed through the Major Characters’ Characterizations in August Strindberg’ Miss Julie. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2009. One of the functions of literature is to criticize the society. In 1800’s, social revolutions has spread out in Europe. People start to erase the barriers between the classes. The upper-class was expected to be more open and realize that the era of their exclusiveness is no longer needed. But many of them refuse to accept these changes and continue their way of life. This is the social problem discussed in August Strindberg’s Miss Julie. He tries to criticize the European upper-class in 1800’s. Since it is very important, I decided to analyze the criticism toward the European upper-class way of life in 1800’s as revealed through the major characters’ characterizations in Strindberg’s Miss Julie. There are three questions that have to be answered in this thesis. The questions are (1) How are the major characters described in Strindberg’s Miss Julie? (2)How are the class stratification presented in the play? (3) What are the criticisms toward the European upper class way of life in 1800’s revealed through the major characters characterizations in the play? This study is a library research. The primary source is August Strindberg’s Miss Julie, while the secondary resources are some books of literature, and sociology. In this thesis, sociocultural-historical approach is used because it talks about the social condition in which a work was created and which it necessarily reflects. Therefore this approach is the most suitable to be used in analyzing the criticism toward the European upper-class way of life in 1800’s. There are three points that can be concluded after analyzing the play. First, the major characters in the play are Miss Julie and Jean. The characterizations of Miss Julie are: stubborn, full of pride, desperate for love, and confused of herself. The characterizations of Jean are: ambitious, upper-class like, and conceited. Second, two social classes in the play are the upper-class represented by Miss Julie, signed by the title, the high power, the luxurious housing, the glamorous lifestyle, and exclusive marriage inside the class. The second one is the lower-class represented by Jean signed by no title or money, poor house, poor partner’s marriages, and no glamorous lifestyle. Third, Strindberg tries to criticize the upper class way of life at that time through Miss Julie and Jean’s characterizations as the major characters.
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ABSTRAK
YOHANES JIMMY OY WEA. The Criticism toward the European Upper-Class Way of Life in 1800’s as Revealed through the Major Characters’ Characterization in August Strindberg’ Miss Julie.Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2009.
Salah satu fungsi karya sastra adalah mengkritisi masyarakat.Pada revolusi sosial tahun 1800an, masyarakat mulai menghapus batasan-batasan antarkelas sosial. Kalangan atas diharapkan untuk lebih terbuka dan menyadari bahwa keistimewaan mereka tidak lagi dibutuhkan .Inilah masalah sosial yang dibahas dalam drama Miss Julie karya August Strindberg.Penulis mencoba mengkritisi kalangan atas Eropa pada tahun 1800an.Karena hal tersebut sangat penting, saya memutuskan menganalisa kritik terhadap gaya hidup kalangan atas eropa pada tahun 1800an yang terlihat melalui karakterisasi tokokh utama dalam Miss Julie karya August Strindberg. Ada tiga pertanyaan harus dijawab dalam tesis ini,yaitu (1) Bagaimana tokoh-tokoh utama digambarkan dalam Miss Julie?(2)Bagaimana stratifikasi sosial ditampilkan dalam drama?(3)Kritik apa terhadap gaya hidup kalangan atas di Eropa pada masa 1800san yang terungkap dalam karakterisasi tokoh-tokoh utama Miss Julie? Skripsi ini adalah studi pustaka. Sumbernya adalah drama Miss Julie karya August Strindberg dan buku-buku sastra serta buku kemasyarakatan. Pendekatan yang paling sesuai adalah sosiokultural historikal sebab membahas kondisi sosial saat karya sastra diciptakan.. Ada tiga kesimpulan setelah menganalisis drama ini. Pertama, Miss Julie dan Jean adalah tokoh-tokoh utamanya. .Karaktersisasi dari Miss Julie adalah: keras kepala,penuh kebanggaan akan diri sendiri,haus akan cinta,dan bingung terhadap dirinya sendiri.Karakterisasi dari Jean adalah:ambisius,berprilaku seperti kalangan atas,dan angkuh.Kedua,kelas sosial dalam drama ini adalah kelas atas yang diwakili oleh Miss Julie, ditandai dengan adanya gelar,memiliki kekuasaan serta rumah yang megah, gaya hidup yang glamor, dan pernikahan yang eksklusif sesama kalangan atas.Kelas bawah diwakili oleh Jean.Mereka tampa gelar, rumah mereka sangat sederhana, gaya hidup tampa keglamoran, dan pernikahan mereka hanya membuat mereka tetap miskin.Ketiga,Strindberg mencoba mengkritisi gaya hidup kalangan atas Eropa masa itu melalui karakterisasi dari Miss Julie dan Jean yang adalah karakter-karakter utama dalam dramanya.
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CHAPTER I
INTRODUCTION
A. Background of the study
Literary work is one of the tools which are used by human beings to
express their experiences of life. By reading literature, human beings can
understand every single part of human’s life. People’s problems of life such as:
love, discrimination, social class, conflict, religion, hated, brotherhood, friendship,
or beauty can be found in literary works. It can be stated that literary work is “an
illustration of human life because the literary works present the literary of human
situation, problems, feelings, and relationship” (Welleck and Warren, 1956: 96).
In brief, literary works can describe the portrait of human life.
However, to have a good understanding about literary works or literature,
what literature should be known first. In Approach to Literature, Graham Little
tries to define literature as:
The principle element of a culture. It contains the record of values, thoughts problem, and conflict, that are transmitted either through written or spoken words. With such acknowledgment literature stats as a tool to pass the experience from one generation to the next. Literature, then, functions as a representation of the situation time and place (1963: 1). In other words, literature is media to represent the social reality of human
beings life. Theory of literature by Rene Wellek and Austin Warren also states
that “Literature represents life and life is in large and the inner of subjective world
of the individual have also been objects of literary imitation” (1956: 94). By
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reading literature, the readers can learn about social condition is a certain area and
in a certain time because literature is the imitation of the reality.
One of the social problems which are imitated by literature is the problem
of social class. According to Speneer, “social class is large group of people who
share similar income, life-style, education, occupation, or some other standards.”
(1994: 205). Since the very beginning of human kind history, the problems that
grow inside the social class have been known as one of the greatest problem of
human being’s civilization. In this situation, literature stands as the media which
is used to criticize problems that appear inside the social class. For years,
literature has been used as the guardian of social class. The Importance of Being
Earnest is used by Oscar Wilde to criticize the hypocrisy of the English upper
class or Arms and the Men by Bernard Shaw which was written to criticize the
society in Victorian Era.
August Strindberg’s Miss Julie is also an example of literature as a media
of criticism toward the social class. Miss Julie is a one-act play which tells about
an upper-class lady, named Miss Julie, who gets confused of herself. As a member
of upper class, Miss Julie has to live according to the upper class way of life. The
way of life is norms or rules that must be followed by the members, in order to
emphasize someone’s existence as an upper class and to differentiate the upper
class from other classes. Instead of following the upper class way of life, Miss
Julie creates her own way of life. By her attitudes, Miss Julie does the opposite of
what a lady suppose to do. The play is also about Jean. Jean is a lower- class
person but he does not act like the other lower-class. Instead of following the
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lower-class way of life, Jean acts like he is an upper-class person. It is not normal
since there is a very strict line that separated lower-class from the upper-class.
By using Miss Julie, August Strindberg actually tries to criticize the
European upper class and its way of life in 1800’s. At that time, the upper class
had very strict rules in order to manage the behavior of its members’ life and the
life of the class itself. The member of the upper class had to follow the way of life
and if they refused to do so, they would not be considered as members anymore.
Miss Julie then was written to break this point of view. It can be stated that the
criticism toward the European upper class way of life is revealed through Miss
Julie.
Criticism toward the European upper class way of life in 1800’s is chosen
as the topic of this undergraduate thesis because it is one of the problems that
walk side by side with European civilization’s development and in general, human
being’s development. In his book Literary Theory: The Basic, Hans Berten stated
that “…..far from being untouched by the historical moment of its creation, the
literary text is directly involved in history” (Berten, 2008: 140). It means
historical moment and literary texts are two things which are connected each
other. As long as human being has its history, literary text has always had its
place. The upper classes still can be found in the whole part of Euro such as
England, Holland, Spain and all around the world. Thus, the topic is worthy to be
studied. August Strindberg Miss Julie is chosen because it is one of the most
appropriate literary work which tries to criticize the European upper class way of
life in 1800’s, which is related to the topic that is going to be analyzed.
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B. Problem Formulation
Based on the explanation above, there are three questions that appear:
1. How are the major characters described in Strindberg’s Miss Julie?
2. How are the class stratification presented in the play?
3. What are the criticisms toward the European upper class way of life in
1800’s revealed through the major characters’ characterizations in
Strindberg’s Miss Julie?
C. Objectives of the Study
The research mainly aims to answer the three problems stated in the
problem formulation. The first aim is to describe the major characters in
Strindberg’s Miss Julie. The second aim is to find out how are the class
stratification presented in the play. The third aim is to find out what is the
criticism toward the European upper class way of life in 1800’s that revealed
through the major characters’ characterizations in Miss Julie.
D. Definition of Terms
Criticisms, according to Baldick in his book The Concise Oxford
Dictionary of Literature Terms (1990: 48) is concerned with revealing the
author’s true motive or intention, in terms of its relationship to some fields, such
as history, gender, and social class.
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Social class, according to Speneer, in her book Foundations of Modern
Sociology (1994: 205) is large group of people who share similar income, life-
style, education, occupation, or some other standards.
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CHAPTER II
THEORETICAL REVIEW
A. Review of Related Studies
Johan August Strindberg was born in Stockholm, Sweden and well known
as one of the Sweden greatest writers. He had written so many qualified plays
such as Master Olof (1872), The Stronger (1889), and many more. The world
admits his ability in writing play.He even states as the only writer that can portray
the savagery of the human heart with such utter honesty and agony.
There is no other playwright in the world who portrays the savagery of the human heart with such utter honesty and agony as does August Strindberg. When it comes to people acting from motives they themselves do not understand, people who lie to themselves and others, people who want one thing, and want the exact opposite of that thing, at one and the same time; people who suffer from the profound and inevitable ambiguity of the human soul--Strindberg is the master.(Bethune, 2005)
One of his masterpieces is Miss Julie which was published in 1888. This is one of
his very popular plays that has been analyzed and criticized by many critics and
experts. Some of the critics are:
Filand Indrawati Prayogo in her thesis A Study of Julie’s Tragic Life as
Seen in August Strindberg’s Miss Julie explores Julie’s tragic life. She states that
Julie can be considered as a character who fails in life, there are many factors that
influence her. She analyzed what factors cause Julie to her tragic life, and how the
factors lead her to her tragic life (2001: 6).
A paper entitled The De-Centering of Power through Discourse in August
Strindberg’s Miss Julie stated that:
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In August Strindberg’s one act play, Miss Julie, the title character, Miss Julie, a noblewoman, and Jean, a valet (footman), alternate pursuing each other in a flirtatious game of “cat and mouse,” with the expectation of conquering and using the other to their advantage. Miss Julie pursues Jean, using “threatening” discourse influenced by her social status as employer and aristocracy to intimidate Jean into becoming her “playfellow” (Strindberg 300). Similarly, Jean seduces Miss Julie with romantic narratives that are meant to gain Miss Julie’s confidence and compassion <www.villagevoice.com>
Both of them try to influence each other because they believe what they do will
give advantages for each of them. Miss Julie believes that by pursuing Jean, she
can get peace. It is apparent that Miss Julie was not in love with Jean, but rather
his status. Miss Julie longs to fall from her pillar to peace; Jean’s social status
represents Miss Julie’s peace. Jean’s power shows Miss Julie that he is a suitable
challenge for her feminist dominance, but her desire for peace is what causes her
to become intimate with him. Meanwhile, Jean seduced Miss Julie because he
knows that she was his way out of the proletariat and into the bourgeois.
Emma Goldman in her essay Miss Julie: An Analysis of the Play by August
Strindberg which was published in The Social Significance of the Modern Drama
explores the relationship between August Strindberg’s life and the play itself. She
states that:
August Strindberg, himself the result of the class conflict between his parents, never felt at home with either of them. All his life he was galled by the irreconcilability of the classes; and though he was no sermonizer in the sense of offering a definite panacea for individual or social ills, yet with master touch he painted the degrading effects of class distinction and its tragic antagonisms. In Miss Julie he popularized one of the most vital problems of our age, and gave to the world a work powerful in its grasp of elemental emotions, laying bare the human soul behind the mask of social tradition and class culture <www.theatredatabase.com>
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It is obvious that Emma Goldman believes that August Strindberg’s experience of
life inspired him in writing his masterpiece drama, Miss Julie.
This undergraduate thesis tries to develop the study that has been done before.
They only concerns with the main character’s tragic life, the de-centering power of
Miss Julie and Jean, and the relationship between Strindberg’s life with the play. This
research is different from the above studies because this research concerns on the
criticism toward the European upper-class way of life in 1800s that revealed through
the major characters ‘actions as seen in August Strindberg’s Miss Julie.
B. Review of Related Theories
The theories used to support this study are the theory of character, the
theory of characterization, and the theory of social class. The explanations of the
theories are as follows:
1. Theory of Character
There are some conceptions about the term of character. According to
Stanton, the term character generally has two meanings (1965: 17). The first
meaning is the individual who appear in the story and the second one is the
mixture of interest, desires, emotions and moral principles that shape each of these
individuals. While from the book A Handbook to Literature, the term character is
used to indicate the individual’s speech and action. Thus, the character can
represent human actions, behaviors and attitude (Holman and Harmon, 1986: 81).
A story mainly has major character and minor character. The major
character is categorized as the most important character and become the centre of
the story. Minor character is less important character than major character. They
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are presented to explain and to help the other characters, especially the major
character (Stanton, 1965:17-18).
Furthermore, a character may be either static or dynamic. A static
character is one who changes little or not at all. Things happen to such a character
without things happening within. A dynamic character, on the other hand, is one
who is modified by actions and experiences, and objective of the work in which
the character appears is to reveal the consequences of these actions (Holman,
1986:83).
Forster (1974: 46-51) states that character is divided into two kinds. They
are flat character and round character. A flat character is built around a single idea
or quality and presented in outline and without much individualizing details, and
it can fairly be described in a single word or a sentence. He is characterized by
one or two traits. There are two advantages of flat character. First, he can be easy
recognized not only by the visual eye but also by the reader’s emotional eye. It
means that by seeing a part of person’s character, the readers can get the
descriptions of the whole character. Second, the readers can easily remember him.
It is because the character does not change from the beginning of the story until
the end.
A round character, then, is complex in temperament and motivation. It is
represented with a subtle particularly. We can remember him from his
connections with the great scenes. It indicated that we cannot remember him so
easily for he waxes, wanes, and has many aspects like human being. Therefore, it
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is difficult to describe with any adequacy as a person in real life, and like most
people he is also capable of surprising us.
2. Theory of Characterization
The existence of characters in a literary work is also very important. The
authors usually reveal their real life through the novel so that the reader will be
interested. Therefore, they have to describe all of the characters as realistic as
possible. The creation of these imaginary persons so that they exist for the reader
as lifelike is called characterization (Holman and Harmon, 1986: 81).
According to Stanton, there are four ways of characterization. First,
character’s name. It is the way to interpret the character through his or her name.
Second, personal description. It may give a description and any comment about
the character. Third, provided by the other characters. It is how the other
characters can support the major character through the expression of thought,
attitudes and behaviors. Forth, character’s own dialogue and behavior. It makes
the reader easily to recognize the character through his or her words (speech) and
action (1965: 17-18).
While according to Holman and Harmon, there are three fundamental
methods of characterizations. They are: first, explicit presentation which reveals
the character directly through the exposition. Second, action presentation which
gives a few descriptions about the character because the author expects the reader
will be able to recognize the character through his or her action in the story.
Third, character presentation which do not reveal the character’s description at all
(1986: 81)
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3. Theory of Social Class
Many different schemes have been used to identify social classes or
division of rank and wealth within societies. Some schemes have used broad
distinctions and some others have used narrow ones in deciding which people
occupy similar position in a stratification system. In order to understand better
about social class, it is better to discuss about social stratification first.
According to Roucek and Warren in Sociology: An Introduction, social
stratification is the vertical division of society into different social status levels.
These status levels may be social classes or castes (1959: 61). It means on the
basic of membership in a social class or castes, the individuals of society have
access to different groups within the society and to different sets of rights and
responsibilities. In other words, society in the world is classified into some classes
according to their statuses. Social stratification is found in all complex societies,
and in many primitive societies.
Social class can be defined as an unorganized group of people who
become members by birth, or by later entry into the groups, who treat each other
as approximate equals, who associate with each other more intimately than other
persons from other groups within the society (1959: 61). In other words, social
classes have no formal organization, but each member of the class is tied to
his/her class.In the play, it can be seen that the major characters are placed in the
different social classes.
Determinants of Class. There are some factors that determine social class
within the society. They are: First, type of economic activity. It varies from
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investment and managerial activities at the top through the various of categories to
unskilled laborer or “relief” recipients. Second, amount of income. It varies from
millions of dollars per year to practically nothing.Third, type and amount of
formal education. It varies all the way from postgraduate work at a university of
great prestige, through similar work of or a diploma from other universities, to
high school or even elementary school. The number of years of schooling is not
the only important thing. Also important is the nature of the institution, whether a
college of high or low prestige, whether a public high school or an exclusive prep
school, etc.Forth, type of residence. It varies from the exclusive old family district
of an older community to the slum area. Fifth, type of recreational activity. It
varies from active participation in the planning of charity balls or exclusive
theater party benefits to playing pinball machine in the local tavern. Sixth,
membership in associations. It varies from exclusive country clubs or literary
societies or board membership in philanthropic associations to membership in
associations of little prestige (Roucek and Warren, 1959: 61-62).
While the social class position of one’s family is determined by just
factors as above, it, in turn, helps to determine the social class position of the
individual member. In all of these instances, there is a reciprocal relationship
between the individual factor and the person’s social class position. So, for
example, type and amount of formal education help to determine one’s social
class position, but one’s social class position helps to determine the type and
amount of his formal education. It is similar with the other factors.
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Class determinants are conditions that classify someone into particular
class.In the play, it can be seen that Miss Julie has the conditions to be put in
Upper-class and Jean in Lower-class.
Class Consciousness. Class consciousness is the awareness by the
members of a particular social class of themselves as an in-group. This awareness
seems to vary with the mutuality of interests among the members of each
particular social class. The more they have in common, in addition to their
common social status, the more class conscious will the members of a class
become. However, many interests cut across class lines, uniting some people from
different classes, and separating some people in the same social class. But social
class barriers are so strong, it prevents vertical social mobility, people come to
identify their lot with that of others in the social class in which they are born and
will remain (Roucek and Warren, 1959: 64).
In the play, it can be seen that both of the major characters have lost their
class consciousness. Both of them try to identify themselves in the social class in
which they are not born.
Social Mobility refers to change of position. Change of position on the
same status level is called horizontal mobility. Movement up or down from one
status level to another is called vertical mobility. Vertical social mobility is
possible only in a society of open classes, that is, in a society in which one may
enter a different social class from that of the family into which he was born
(Roucek and Warren, 1959: 62-63).In the play, one of the major characters tries to
change his social class position.
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4. European Upper-Class Way of Life
The upper class is a concept in sociology that refers to the group of people
at the top of a social hierarchy. In their daily life, there are some ways of life
obtained by the upper-class members. These ways of life differentiate them from
the other classes and also function as life guidance. The ways of life are:
a. Title
. Earlier, in feudal continental Europe, every member of a noble family
was considered nobility and all were entitled to bear coats of arms. This practice
among the hereditary aristocracy resulted in an enormous number of European
titled families whose descendants tended to marry only members of other titled
families. In Europe an aristocracy of birth, wealth or legal status was able to
exercise a disproportionate influence over the lives of their follow men, either as
governors and magistrates, as manorial lords, as monopolists of high office in
army, church, and state, or merely in their way of life or their opportunities for
culture attainment and foreign travel (Rude 1972:35)
b. Education
The most obvious background check to be a member of the upper classes
is what school one went too. In many cases some are so upper class they do not go
to school at all and are self taught by a tutor. Yet it is possible to be upper class
and still go to school. To be upper class one must almost always go to a public
school, although a cadet school can do to. Where one was educated is often
15
considered to be more important than the level of education attained.
Traditionally, upper class children will be brought up—at home—by a Nanny for
the first few years of life, until old enough to attend a well-established prep school
or pre-preparatory school
(www.lonympics.co.uk.htm)
c. Sport
The upper class seems to enjoy sport which involves a horse. Equestrian activities
are popular—with both sexes. There is a long-standing tradition of the upper class
having close links to horses. Hunting and shooting, too, are favored pastimes.
Some upper class families with large estates will run their own shoots (typically
they would need 1,000 acres (4 km2), or more, though some shoots do operate on
about half that), but many will know someone who keeps pheasants, or other
game, and may instead shoot with them. Much as with horses, there is a particular
affinity for dogs (especially Labradors and Spaniels) amongst the upper class -
and, equally, sporting pursuits that involve them (www.lonympics.co.uk.htm)
d. Power and Money
In 19th century European, the reestablished hereditary aristocracy of royal
relatives and noble families, along with the newly wealthy entrepreneurial
landholders, dominated the economy, politics, and society. This dominant
aristocratic upper class controlled the material production, as well as the
production of ideas, established cultural style, and dictated political doctrines. The
upper class possessed largely inherited wealth and property. They controlled and
profited from economic expansion in trading and commerce, industrial and
16
technological development, and development of professions such as law and
medicine. As their economic power grew ever greater, they mobilized and sought
increased political rights to shield them from capricious royal rulers
(www.gallery.sjsu.edu.htm).
e. Housing
The upper classes tend to live in large old mansions, with large well
maintained gardens, with a stable. These houses often have many employees a
butler, maid, gardener etc to maintain these houses. Often the houses will be of
such beauty it will be called a stately home (www.lonympics.co.uk.htm).
The inside of a house, however grand the façade, is equally indicative of
class. Upper class homes (if privately owned, and not staffed) tend to be
comparatively untidy composites of grand furniture—having been inherited—
which may have become frayed and threadbare over time and vast piles of ancient
books, papers and other old reading material for which there is now no home.
Many upper class families will be in possession of works of art by old
masters, valuable sculpture or period furniture, having had said pieces handed
down through several generations. Indeed, inheriting the vast majority of one's
possessions is the traditional form in upper class families.
(www.gallery.sjsu.edu.htm)
f. Food
A cynical individual would suggest that anything the working class can
have easily is regarded as unfashionable and anything that the working or middle
class cannot have easily is often upper class. For instance pigeon is often regarded
17
as upper class meal now. Caviar, champagne, and wine are still regarded as upper
class items (www.lonympics.co.uk.htm).
g. Marriage
In the noble’s point of view of themselves, familial arrangements carried
heavy burdens. For the nobles, marriage is expected to provide political power,
status, and cash. As the result, through the eighteenth century, personal choices
played little role in most aristocratic marriage decisions. Ideally marriage was
intended to secure for a family distinguished connections, connecting the family
with in-laws who could bring it new luster and powerful political connections. For
more important, marriage had to serve economic needs. Through most of the
eighteenth century, all nobles married for money, in the sense that all girls in this
milieu had to bring properties to marriages: either cash, in the form of dowry, of
expectations or a substantial inheritance from parents or other relatives (Dewald,
1996:168)
h. Dancing
Ladies were taught to dance with easy, becoming and graceful movements
to be more pleasing to the gentlemen, but were also instructed to refuse to dance
with any gentleman with whom they were not already acquainted without a proper
introduction or a man from a different classes (www.gallery.sjsu.edu.htm).
i. Lifestyles of the Rich and Upper Class
The wealthiest of the upper class moved their residences as far away as
possible from the crowded slums of the poor; they rode through the city streets in
horse drawn carriages while everyone else walked. When city life became
18
oppressive and unpleasant, upper class families took journeys into the
countryside, as their aristocratic ancestors had. They luxuriated at their vast
inherited or purchased country chateaus while lower class servants, tenant
farmers, and sharecropping laborers worked to produce income for them and
maintain their grand lifestyle. Upper class families living in cities generally
bathed at least once a week; they were most likely to own large tubs in which the
entire body could be immersed. Their upper class lifestyle included theatre, opera,
entertaining, feasting, and dancing, and required the constant acquisition and
consumption of luxury goods; a family could spend the equivalent of at least
$10,000 a year on meat alone. Exclusive, specialized, high quality purveyors
provided foodstuffs for the upper class. They were the most envied and admired
members of society; from the 17th to 19th centuries, leading theatre characters
were almost exclusively individuals of wealth and social position
(www.gallery.sjsu.edu.htm).
C. Review on Europe in 1800s
Europe in 1800s was full of dissatisfaction of the people especially from
the lower and middle class with their governments. Led by the middle-class,
people started to fight the status quo in order to change the situation that was
controlled by the upper-class, the aristocrats, and the royal family. That is why
European at this time also known as age of revolution. It was portrayed by three
major revolutions which happened at that time in France, Austria, and Prussia.
These three revolutions spread throughout the whole part of European countries.
19
The revolutions made people had a new paradigm about their social condition of
the society itself.
The European revolutions in 1800s started in Paris, France. It happened
when Louis Philippe was the king of France and Guizot as his chief minister.
People who disappointed with the government policies organized an opposition
movement in Paris. Lead by the middle-class, the France lower-class formed
group to against the government. In February 23, 1845 the group made a
movement that can force Louis Philippe to sign a note of abdication and fled to
England. The movement finally created a new government which led by people
outside the royal family. The class division in France became meaningless
because the upper-class lost their special rights and the lower-class realized that
they also could do something (Craig, 1962: 129-132).
The second revolution happened in the Austrian Empire. This revolution
was influenced by the France revolution. When the people of Austrian Empire
heard about the France revolution, criticism toward the government became vocal.
Middle-class and lower-class people started to question their position in the
society. They were inspired by France middle and lower-class to break through
the wall of class division.
That is why they created a movement that forced Emperor Ferdinand to agree to
make a reformation in his Empire (Craig, 1962: 132-136).
Another revolution that influenced the European society in 1800s was The
Revolution in Prussia. It happened when Frederick William IV held the throne.
People who dissatisfied with the economic depression that gripped most of the
20
country demonstrate demand of reformation. These movements of middle and
lower- class succeed to force the king to call liberal business and professional man
to office, and to promise speedy convocation of a national Prussian.
All of these revolutions influenced the paradigm of the Swedish about
their country, society, and the problems that appeared inside their society
especially about the class stratification. At that time, Sweden was a country whose
government was aristocratic and feudal whose rulers showed a stubborn
attachment to royal prerogatives. They were particularly insistent on their rights to
dictate the foreign, military, and social policy (Craig, 1962: 334).
After those revolutions, the Swedish especially from the lower-class
started to understand that it was not impossible for them to break through the class
stratification’s wall. For many years, they did not do anything to fight for their
condition because they believed that it was supposed to happen like that. The
upper-class ruled the society and they served the upper-class. But now their lower-
class brothers in France, Austria, and Prussia inspired them to make a movement
in order to change the situation.
The result of the Swedish lower-class’s fight was the royal absolution of
Bernadotte who had ruled as Charles XIV from 1818-1844 had given way
gradually to a moderate liberalism under his successors Oscar I (1844-1859),
Charles XV (1859-1872), and Oscar II (1872-1907). The constitutional laws of
1864 abolished the old estates and set up a bicameral legislature with considerable
power although the deputies of the lower house were elected exclusively by the
propertied classes (Craig, 1962: 334).
21
Since the lower-class fought for their right, the upper-class began to lose
their exclusive rights. They no longer became the untouchable class. They also
started to undergo some degradation in their values. Things that for years only
refer to the upper-class now could be referred to everyone. Some of them were
frustrated because of these changes, and they became less respected from the
lower-class.
D. Theoretical Framework
In order to obtain the objectives of the study, there are some theories
applied in the analysis. The theories are useful in helping the writer to analyze the
problems formulation.
Firstly, I used the theory of character and characterization to analyze the
characters that appeared in August Strindberg’s Miss Julie. The characters that are
going to be analyzed are the major characters, Miss Julie and Jean.
Secondly, I used the theory of social class in order to get a clear
description of class stratification in the play Miss Julie. The theory of social class,
review on the upper class ways of life, and review on Europe in 1800’s help me in
analyzing the European upper-class way of life and how it is criticized by the
major characters’ characterizations in Strindberg’s Miss Julie.
22
CHAPTER III
METHODOLOGY
A. Object of the study
The object of this study is Miss Julie, a play written by August Strindberg.
Miss Julie—one of Strindberg’s most popular plays—exists in at least twenty
English translations and it has been made into a film, an opera, and a ballet. It has
been staged countless time throughout the world, not only in Europe and the
United States but also in Latin America, Asia, and Africa.
Miss Julie had its world premiere in Copenhagen in 1889, performed by
the Scandinavian experimental theater, a small group that Strindberg had
organized under the influence of Andre Antoine’s Theater Libre. This
performance then followed by Paris (1893), and many others places such as
German (1979), Gothenburg (1982), English (1983), and Tokyo (1984)
(http://en.wikipedia.org/wiki/August_Strindberg).
Miss Julie is one-act play tells about an affair between Miss Julie and her
servant; Jean. Miss Julie is an upper-class lady who is tired of her existence as a
member of upper-class society. Then to express her feelings, she does things that
are not appropriate with her status. Miss Julie who came from the upper-class flirt
her servant Jean to sleep with her. By doing this, she tries to criticize the European
upper-class way of life that sometimes, somehow limits someone from being
herself/himself. In the other hand, Jean, who sees this as his chance to move up
his status, accepted it. Jean who is a lower-class person has a dream to be like an
23
upper-class man. He has abilities and acts like the upper-class. Jean tries to say
that the way of life of the upper-class is not exclusively for the upper-class only
anymore. While for Miss Julie, it becomes a scandal because a woman from “her
kind” should not sleep with a servant. Finally, when both of them realized the
effect of what they had done, they got panic. Getting confused to solve her affair,
Miss Julie decided to commit suicide.
B. Approach of The Study
In the process of the analysis, I decide to use the sociocultural-historical
approach. Rohrberger and Woods in Reading and Writing about Literature stated
that critics whose major interest is the sociocultural-historical approach insist that
the only way to locate the real work is in reference to the civilization that
produced it (1971: 9). It means that it is necessary for the critics to investigate the
social condition in which a work was created and which it necessarily reflects.
The reasons are: first, literature is not created in a vacuum. Second, literature
embodies ideas significant to the culture that produced it.
The sociocultural-historical approach is more interested in finding the
meaning of a literary work in its own time and situation, than the meaning of the
work might have today. Finding sources is the main step that has to be taken.
Historical documents, such as notes of history, and information about the
condition of the society at the published time are important here.
Therefore, sociocultural-historical approach is the most appropriate
approach to analyze August Strindberg’ Miss Julie. By learning the historical
24
aspect and the social situation of the class stratification of European society when
the play was written, the readers can have a good understanding about the play
itself.
C. Method of the study
This study is a library research since the sources used in this study is the
written sources. The primary source is a one-act play entitled Miss Julie by
August Strindberg. The secondary sources that are used are Roucek and Warren’s
Sociology: An Introduction, David Thomson’s Europe Since Napoleon, Gordon
A. Craig’s Europe Since 1815, and Stanton’s An Introduction to Fiction.
There are some steps which are used in order to answer the questions in
this study. The first step, I used the theory of character and characterization to
analyze Miss Julie and Jean, I analyzed the characterizations of those characters
through the personal description, character’s own dialogue and behavior, and what
are provided by the other characters. The second steps, I used the theory of social
class in order to get a clear description of class stratification in the play Miss Julie.
Then the third step, the historical background of the Europe in 1800s helped me to
get a clear picture of the social condition in the play. Last step, after I got a clear
description of the major characters, I analyzed what the major characters present
in order to criticize the European upper class way of life in 1800’s.
25
CHAPTER IV
ANALYSIS
In this chapter, I would like to answer the questions formulated in chapter
I. There are three parts in this chapter. The first part concerns the answer of the
first question: the major characters characterizations in Strindberg’s Miss Julie.
The second part concerns the answer of the second question: the class
stratification which are revealed through the major characters in the play. Last but
not least, the third part will concern the answer of the third question: the criticism
toward the European upper class way of life in 1800’s which is revealed through
the major characters’ characterizations in the play.
A. The Major Characters’ Characterizations in Strindberg’s Miss Julie
Character is an important intrinsic element in a literary work. Character
draws the reader’s interest in the story of a play. There are two kinds of
characters, the major character and the minor character. According to Stanton,
“the major character is categorized as the most important character and become
the centre of the story. Minor character is less important character than major
character. They are presented to explain and to help the other characters,
especially the major character” (1965:17-18). Miss Julie and Jean are the major
characters because their characters are complex and important. In order to analyze
the story better, I have to give the fullest attention to the characters of Miss Julie
26
and Jean. While Kristine and the Count are minor characters because they are less
important and presented to support the major characters.
Miss Julie and Jean also can be considered as dynamic characters.
According to Holman (1986: 83), “a dynamic character is one who is modified by
actions and experiences, and objective of the work in which the character appears
is to reveal the consequences of these actions.” The characters experience changes
in the story. Therefore, Miss Julie and Jean are a dynamic character because they
are modified by full actions and experiences. In the other hand, Kristine and the
Count are considered as static characters because they do not change at all in the
story.
Besides that, Miss Julie and Jean are also included as round characters
because a round character is complex in temperament and motivation. On the
other hand, Kristine and the Count are flat characters. Their characters are built
around a single idea or quality and presented without much individualizing
details, and it can be fairly described in a single word or a sentence.
In order to analyze the major characters in Strindberg’s Miss Julie, I used
Stanton and Holman and Harmon’s theory of characterization. I used the action
presentation, and character presentation. I analyzed the personal description,
information provided by the other characters and character’s own dialogue and
behavior.
As it is stated before, there are four characters in the play. The characters
are Miss Julie, Jean, Kristine, and The Count. This analysis will focus on the
27
major characters in the play. The following explanation is the analysis of the
major characters’ characterizations that appear in Strindberg’s Miss Julie:
1. Miss Julie
She is a twenty-five-years old woman. She is an upper-class lady. Her
father is a Count and it makes her family has a title and coat of arms. The
following is Julie’s characterizations.
a. Stubborn
Miss Julie is a stubborn woman. It is very hard to change her mind if she
has already wanted something. If she wants something, then it has to be fulfilled.
In some scenes, it can be seen from Miss Julie’s refusal on all considerations or
advices from people around her.
JEAN. To be honest, and no offense intended, I wonder whether it’s wise for you to dance twice running with the same partner, especially since these people are quick to jump to conclusion…
JULIE. (Flaring up) What’s that? What sort of conclusion? What do you mean?
JEAN. (Submissively) If you don’t understand, ma’am, I must speak more plainly. It does not look good to play favorites with your servant…
JULIE. Play favorites? What an idea! I’m astonished! As mistress of the house, I honor you dance with my presence. And when I dance, I want to dance with someone who can lead, so I won’t look ridiculous (Strindberg, 2001: 593).
From this quotation, it can be seen how Miss Julie refuses to listen to
Jean’s consideration and advices. Jean is Miss Julie’s servant who works for her
father as a boot man. Miss Julie wants to dance with Jean without considering that
Jean is not an equal dance partner for her. Jean tries to make her understand about
this inappropriateness. But Miss Julie does not want to hear any objection. She
28
even uses the power that she has, as the mistress of the house, to force Jean to
follow her will.
JULIE. Will you sit still!—there! Now it’s gone! Kiss my hand and thank me.
JEAN. (Rising) Miss Julie, listen to me!—Kristine has gone to bed!—will you listen me!
JULIE. Kiss my hand first! JEAN. Listen to me! JULIE. Kiss my hand first! JEAN. Alright, but you’ve only yourself to blame! (Strindberg, 2001: 595) Miss Julie has a strong will. She would not stop insisting until she gets
what she wants. Miss Julie keeps pushing Jean although he already shows his
refusal. But Miss Julie seems to ignore that. She wants Jean to kiss her hand; in
fact it is not polite for a servant to do that. That is the reason why Jean tries to
refuse Miss Julie’s demand. Jean even tries to bring Kristine inside the situation,
in order to make Miss Julie aware of the risk from her demand if someone else
sees that. But once again Miss Julie shows her stubbornness, and she refuses to
stop pushing Jean until he does what she wants.
b. Full of Pride
Miss Julie is a woman that has a very high self-pride. She is aware of her
power that she gets from her status and she uses it to present herself as a powerful
woman.
JEAN. … But why you should have to cook for that damn mutt on Midsummer Eve? Is she sick?
KRISTINE. Yes, she is sick! She sneaked out with the gate-keeper’s dog—and now there’s hell to pay. Miss Julie won’t have it! (Strindberg, 2002: 592)
It is common for the upper-class to have a dog as pet in their house.
Basically, they love the dog and treat it well because it is kind of their lifestyle.
29
Miss Julie’s dog sneaked out with the gatekeeper’s dog. It makes Miss Julie
angry. She thinks that it is inappropriate. Her pride as an upper-class lady forbids
her to understand that it is very common for a dog to sneak out with other dogs
without considering the class of the owner of the dog. Even Diana, Miss Julie’s
dog, has to play with other upper-class dog.
JEAN. Think of Kristine in there. Don’t you think she has feeling too? JULIE. I thought so awhile ago, but not anymore. No, a servant is a servant (Strindberg, 2001: 598). Her pride as an upper-class lady makes her think that her willing is the
most important one, while others are not. She believes that her feeling or
everything about her has to be the priority. Here, it can be seen how Miss Julie
neglects Kristine’s feelings clearly just because she is only her servant. She asks
Jean to run away with her while she also knows exactly that Kristine is Jean’s
fiancé.
JULIE. Come and dance schottische with me Jean… JEAN. (hesitating) I don’t want to be impolite to anyone, and I’ve already
promised this dance to Kristine… JULIE. Oh, she can have another one--can’t you Kristine? Won’t you lend
me Jean? (Strindberg, 2002, 593)
Someone who is full of pride does not like to be refused. It happens also to
Miss Julie. She does not want to accept Jean’s refusal although he has explained
that he has already promised to dance with Kristine. But once again Miss Julie’s
pride makes her feel that Kristine is not deserved to compete with her. She forces
Kristen to step aside for her willing.
JEAN. Yes, but you, too—take my advice, go up and go to bed! JULIE. Am I to obey you? (Strindberg, 2002: 596)
30
Here from the quotation, it can be seen that Miss Julie is full of pride. She
does not want to accept any advice or order from Jean because she feels that she is
the one who supposes to give orders. Jean is a lower-class man, and it means that
he has no right to command a lady like Miss Julie. His class puts him in a position
of taking command and not giving one. That is the reason why Miss Julie does not
want to obey Jean. Jean’s order hurts Miss Julie’s pride. Miss Julie does not want
her dog to play with a gatekeepers’ dog, but she wants to have a relationship with
Jean. Actually, this refers to the upper-class attitude toward the condition of
European’s society at that time.
c. Desperate for Love
Miss Julie is desperate for love. She desperately needs some affection
from people. It happens because of her family background. Her mother who died
because of illness did not give enough love and affection to Miss Julie. It can be
seen from Miss Julie’s statement: “I came to the world—against my mother
wishes, as far as I can understand” (Strindberg, 2002: 599). Her mother who was
brought up believing in social equality saw her marriage as a mistake and
therefore Miss Julie’s birth did not please her. While her father, the Count, does
not have a warm relationship with Miss Julie either. He is busy and traveling out
of the house a lot. “His life was restricted to taking care of the estates, which
couldn’t satisfy him” (Strindberg, 2002: 599). And when he is at home, he spends
much of his time in his room and only communicates with his servant by bell. It
is not mentioned in the play any evidence that the Count and Miss Julie ever talk
or have an intimate conversation.
31
JULIE. … Tell me you love me! Put your arms around me! JEAN. I want to—but I don’t dare. Not in this house, not again. I love
you—never doubt that—don’t doubt it, do you Miss Julie? JULIE. But I don’t care about that—that’s what I am putting behind me!
Show me your love, otherwise—otherwise, what am I? JEAN. I’ll show you a thousand times—afterwards! Not here! And
whatever you do, no emotional outburst, or we’ll both be lost! We must think this through coolly, like sensible people. (he takes out a cigar, snips the end, and lights it) You sit there, and I’ll sit here. We’ll talk as if nothing happened.
JULIE. (desperately) Oh my God, have you no feelings? (Strindberg, 2002: 597)
Miss Julie seems does not have enough love and affection from her
parents. It drives her to look for other people who can love her. And when she
finds Jean, she begs for Jean’s love. She even does not care about the fact that
Jean is her servant, and also about the consequences that follow her action. As
long as she can feel being loved by someone, it is enough. From the quotation, it
can be seen Miss Julie’s desperation toward Jean’s love. She asks him to put his
arms around her inside the house. Another proof is seen when Miss Julie starts to
realize the consequences of her affair with Jean. “This is what I get for opening
my heart to someone unworthy, for giving my family’s honor… Oh how I regret
it!—Oh how I regret it!—If you at least loved me (Strindberg, 2002: 600). Even in
her regret, Miss Julie still begs for Jean’s love.
JULIE. It’s only my greenfinch. I couldn’t leave her behind. JEAN. What? Bring a bird cage with us? You are out of your head! Put it
down! JULIE. It’s the only thing I’m taking from my home—the only living
being that loves me, since Diana was unfaithful. Don’t be cruel! Let me take her! (Strindberg, 2002: 600)
32
This quotation shows how Miss Julie’s life is lack of love. She states that
no one loves her. She says that it is her pets that give her more love than her
parents. She describes her greenfinch as the only living being that loves her.
d. Confused of herself
Miss Julie is constantly bewildered of herself. She is confused about how
to think, how to act, and behave because everything inside her is influenced by her
parents.
JULIE. You see, my mother was a commoner—very humble background. She was brought up believing in social equality, women’s rights, and all that. She wanted to bring me up as a child of nature, and, what’s more, to learn everything a boy had to learn, so that I might be an example of how a woman can be as good as a man. I had to wear boy’s cloth and learn to takes cares of horses, but I was never allowed in the cowshed. I had to groom and harness the horses and go hunting—and even had to watch them slaughter animals—that’s was disgusting! (Strindberg, 2002: 599)
Miss Julie’s mother, the Countess, came from an ordinary people. She does not
come from a noble family, and therefore she is not an upper-class woman. As a
result, her mother is more open toward the idea of social equality and women’s
rights. Common people usually become the victims of the class discrimination.
They are oppressed by the society because they do not have title, power, money,
and status. This fact make the ordinary people become more open-minded toward
the social equality and women’s right. Social equality and women’s right are the
dreams of those people. This influences her in bringing up Miss Julie. She wants
Miss Julie to grow up like an ordinary child. A child does not need title, power,
money, or glamorous lifestyle to life. She also forces Miss Julie to learn
33
everything a boy has to learn. The Countess wants to make Miss Julie as an
example of a woman who can be equal to man.
It is from her mother that Miss Julie learns to hate men. “I learned from
her to hate men—you’ve heard how she hated the whole male sex—and I swore to
her I’d never be a slave to any man” (Strindberg, 2002: 600). Her mother hates the
Count for forcing her to marry him. This fact influenced Miss Julie’s character
which is making her hate man also. She promised to herself that she would never
be a slave to any man.
But in the other hand, Miss Julie is also desperate for love from parents
and people around her. Therefore, although she hates man, she cannot stop herself
to give herself to Jean. Kristine said that “She was so proud, so arrogant with men,
you wouldn’t believed she could just go and give herself—and to someone like
you!” (Strindberg, 2002: 602) Here it can be seen the inconsistent characteristic of
Miss Julie. At a moment she hates men and promises that she does not want to be
men’s slave. But in the other moment she gives herself and her respect to man like
Jean for begging his love. First, she says that she is not a man’s slave. But later,
she gives herself, her respect and begs a man’s love like a slave.
Miss Julie also learns from her mother that people are equal. Miss Julie
shows a strong desire to be regarded as equal person to the others. In one
occasion, Miss Julie dances with a gamekeeper.
JEAN. Just now, when she was dancing in the barn, she pulled the gamekeeper away from Anna and made him dance with her. We wouldn’t behave like that, but that’s what happens when aristocrats pretend they are common people—they get common! (Strindberg, 2002: 592)
34
Here Jean clarifies that Miss Julie wants to be regarded as part of ordinary people.
She dances with a gamekeeper who is not at the same level as her. Another proof
is when Miss Julie asks Jean to dance with her. She pronounces her willingness to
be treated as common people by saying:
JEAN. As you order, ma’am! I’m at your service! JULIE. (gently) Don’t take it as an order! On a night like this we’re all just
ordinary people having fun, so we’ll forget about rank. Now take my arm!—don’t worry Kristine! I won’t steal your sweetheart. (Jean offers his arm and leads Miss Julie out) (Strindberg, 2002: 593)
Miss Julie also ever stated that she wants to be Jean’s friend—something
which is unusual, because upper-class people do not make friends with below
classes. She even states it quite frankly by saying “But if I ask you as an equal, as
a—friend!” (Strindberg, 2002: 595) Miss Julie also ever asks Jean to call her by
name. “Miss!—call me Julie! There are no barriers between us anymore. Call me
Julie!” (Strindberg, 2002: 597).
But in other occasion, Miss Julie shows a contrast attitude. Those attitudes
against her previous willing which is want to be regarded as common people.
JEAN. (in mock romantic fashion, he kneels and raises his glass) Skal to my mistress!
JULIE. Bravo!—now kiss my shoe to finish it properly. (Jean hesitates, then boldly seizes her foot and kisses it lightly) Perfect! (Strindberg, 2002: 594)
From the quotation, we see how Miss Julie enjoys the honor that is given by Jean.
She even asks more, she asks Jean to kiss her shoe. As an upper-class lady, she
believes that she deserves to get it. She does not feel guilty either because Jean is
her servant; therefore she can command Jean to do everything she wants. The
pride and arrogance as an upper-class, she gets from her father. “Shall I let Jesus
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take on the blame, the way Kristine does?—no, I’m too proud to do that and too
sensible—thanks to my father’s teaching” (Strindberg, 2002: 604).
JULIE. Play favorites? What an idea! I’m astonished! As mistress of the house, I honor you dance with my presence. And when I dance, I want to dance with someone who can lead, so I won’t look ridiculous (Strindberg, 2001: 593).
This quotation shows how Miss Julie uses her power and status as a
mistress of the house to persuade or to force someone else to fulfill her willing.
Jean refuses to dance with her and also explain the reasons why. But Miss Julie
does not want to understand. Then she uses the power that differentiates her from
Jean to force her willing. This bewilderment of herself about how to behave, act,
and think makes Miss Julie unhappy. She feels that she constantly confused about
herself. This is proved by Jean’s statement, “Miss Julie! I see that you are
unhappy. I know you’re suffering, but I can’t understand you. I think you’re sick,
really sick. Your mother was crazy, and her ideas has poisoned your life”
(Strindberg, 2001: 601). From her mother Miss Julie got idea about equality, in
the other hand her father thought about upper-class pride. This difference point of
views from her parents confused her.
2. Jean
Jean is the Count’s valet. He is thirty years old. He is a lower-class person
who works as the Count’s boot man. The following are Jean’s characterizations.
a. Ambitious
Jean is an ambitious man. He is actively seeking success, wealthy, and
status in his life. Jean comes from a lower-class family. His father was “a
farmhand on the district attorney’s estates nearby” (Strindberg, 2001: 593). Jean
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describes his childhood as “grew up in a shack with seven brothers and sisters and
a pig, in the middle of wasteland, where there wasn’t a single tree” (Strindberg,
2001: 595). This poor condition of life makes Jean has a big dream for a better
life.
He believes that the only way to change his life is by climbing up to the higher
class. Jean’s desire is represented by his dream.
JEAN. No. I dream that I’m lying under a high tree in a dark forest. I want to get up, up on top, and look out over the bright landscape, where the sun is shining, and plunder the bird’s nest up there, where the golden eggs lies there. And I climb and climb, but the trunk’s so thick and smooth, and it’s so far to the first branch. But I know if I just reached the first branch, I’d go right to the top, like a ladder. I haven’t reached it yet, but I will, even if it’s only in a dream (Strindberg, 2001: 594).
Jean’s dream explains his expectation of life. He is not satisfied with his
‘inborn’ situation and his ambition of life is to change it. He knows it will not be
easy to make it real, but he will try and he will not stop until it happens. In this
quotation, Jean describes his social class situation as “under a high tree in a dark
forest.” Dark forest is associated with a place which is unpleasant, and uncertain.
This is the situation that has to be faced by Jean as a lower-class person.
Therefore, he wants to leave his place and get up, up on top. Meanwhile he
describes the upper-class situation as the peak of the tree where he can look over
the bright landscape, where the sun is shining, and plunder the bird’s nest up
there, where the golden eggs lies there. From here, it can be seen that Jean
believes that to have a better life, he has to reach the upper-class position. The
upper-class position offers a lot of opportunities and pleasant things. Jean’s
ambition is seen when he says “But I know if I just reached the first branch, I’d go
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right to the top, like a ladder. I haven’t reached it yet, but I will, even if it’s only in
a dream” (Strindberg, 2001: 594). This shows Jean’s strong will to get what he
wants. He will not stop until he is on the top.
In real world, Jean’s desire to move up to the higher class can be seen
from his plan to open a hotel and buy a title.
JEAN. If I can just get to another country, a republic, people will bow and scrape when they see my livery—they’ll bow and scrape, you hear, not me! I wasn’t born to cringe. I’ve got stuff in me, I’ve got character, and if I can only grab onto that first branch, you watch me climb! I’m a servant today, but next year I’ll own my own hotel. In ten years, I’ll have enough to retire. Then I’ll go to Rumania and be decorated. I could—mind you I said could—and end up a count! (Strindberg, 2001: 594)
It is clear that Jean has ambition to change his life. He believes that he has the
ability for he says that “I’ve got stuff in me, I’ve got character, and if I can only
grab onto that first branch, you watch me climb!” He also shows his ambition
when he states that he will not be a servant for his whole life. In other words, he
desires to be someone higher, someone that is respected by other people, someone
full with honor and title.
Someone who is ambitious usually will do everything in order to reach his
goal. Even if he has to use someone else as his stepping-stone, he will take that
opportunity without any doubt. Jean also has this characteristic. Jean says that he
loves Miss Julie, in fact he only uses Miss Julie to be his stepping stone to realize
his dream.
JEAN. What do you think about plans for the future? Do you approve? JULIE. They sound reasonable enough. I’ve only one question: for such a
big undertaking you need capital—do you have it?
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JEAN. (chewing on the cigar) Me? Certainly! I have my professional expertise, my wide experience and my knowledge of languages. That’s capital enough, I should think!
JULIE. But all that won’t even buy a train ticket. JEAN. That’s true. That’s why I’m looking for a partner to advance me the
money (Strindberg, 2001: 597-598). From this quotation, it can be seen how Jean tries to persuade Miss Julie in order
to support him in financial to realize his plan to open a hotel. He knows that he
has no enough money as capital to open a hotel, so he uses Miss Julie to get her
money. He also wants to use Miss Julie to attract people to come to his future-
planning-hotel.
JULIE. Yes, it sounds wonderful. But what’ll I do? JEAN. You’ll be mistress of the house: the jewel in our crown! With your
looks… and your manner—oh—success is guaranteed! It’ll be wonderful! You’ll sit in your office like a queen and push an electric button to set your slaves in motion. The guest will file pass your throne and timidly lay their treasures before you.—you have no idea how people tremble when they get their bills.—I’ll salt the bills and you’ll sweeten them with your prettiest smile. (Strindberg, 2001: 597)
It is clear that Jean has planned his future well and detailed. He even has already
thought about what rule will be played by Miss Julie Miss in his future plan. He
uses Miss Julie to support his future plan which is to attract guests for his future-
hotel. Jean knows exactly that Miss Julie’s beauty, manner, and background can
be used as a guarantee to succeed. Finally Miss Julie also realizes that she is only
being used as a stepping-stone by Jean for she says “And I was to be the first
branch… I was to be the sign on the hotel…” (Strindberg, 2001: 598).
Another characteristic of an ambitious man is that he always puts his goal
in the first place. Jean always focuses on himself and thinks about his own safety.
After sleeping with Miss Julie, Jean asks her to run away with him and starts to
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open a hotel. Jean hopes that Miss Julie will support his plan in financial, meaning
she will give him the capital. When Miss Julie says that “but, I can’t; I have no
money of my own” (Strindberg, 2001: 598), Jean releases his dream of opening a
hotel and start to think about how to save himself.
JEAN. (frightened) Why didn’t I think about that? Yes, there is only one thing to do—get away from here! Right away! I can’t come with you, then we would be finished, so you have to go alone—away—anywhere!
JULIE. Alone?—where?—I can’t do that! JEAN. You must! And before the Count gets back! If you stay, you know
what’ll happen. Once you make a mistake like this, you want to continue because the damage has already been done… then you get bolder and bolder—until finally you’re caught! So leave! Later you can write to the Count and confess everything—except that it was me! He’ll never guess who it was, and he’s not going to be eager to find out, anyway (Strindberg, 2001: 601).
Here Jean asks Miss Julie to run away alone, meanwhile he stays still at
home and continues his life like usual. He has the heart to do it to Miss Julie. He
states “once you make mistake like this” to emphasize that it was Miss Julie’s
own fault. Jean’s effort to save himself can be seen also when he says “Later you
can write to the Count and confess everything—except that it was me!” It was
both of them mistake but Jean does not want his name being mentioned and avoid
to be responsible.
b. Upper-class Like
Jean was born in lower-class family. His poor situation forces him to have
an ambition to change his life. Since he desires to have a kind of an upper-class
life, he tries to act and behave like upper-class people. In the play, Jean many
times shows action and behavior that are similar with upper-class behavior.
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KRISTINE. (serving him from pan) Oh, it’s only a piece of kidney I got from the veal roast.
JEAN. (smelling the food) Beautiful! That’s my favorite delice! (feeling the plate) But you could have warmed the plate.
KRISTINE. You’re fussier than the Count himself, once you start! (she pulls his hair affectionately) (Strindberg, 2001: 591).
Jean is a servant, but he acts like the Count himself. Kristine even says that Jean is
fussier than the Count. He acts like an upper-class person. He feels the plate and
complains when the plate is not warm. It is not a common behavior for a servant.
Complaining is a master’s right.
KRISTINE. Now, now, it’s only love, you know that. (Jean eats. Kristine opens a bottle of beer)
JEAN. Beer? On Midsummer Eve? No thank you! I can do better than that. (opens a drawer on the table and takes out a bottle of red wine with yellow sealing wax) See that? Yellow seal! Give me a glass! A wine glass! I’m drinking this pur (Strindberg, 2001: 591).
Wine is an expensive drink. Usually, only upper-class people who can
afford to drink it. That is why wine is associated with expensive lifestyle of the
upper-class. Lower-class people almost never taste wine because of the cost, they
prefer to drink beer which is cheaper. But here Jean shows contrasting behavior.
He prefers wine to beer. The wine he drinks is not an ordinary wine. It is a red
wine with a yellow sealing wax which costs four francs a liter, not counting the
cost of the bottle and it is bought in Dijon. Jane’s taste is like upper-class taste.
Furthermore Jean does not want to drink the wine in ordinary glass, he asks for a
wine glass. And he drinks it pure without water just like the upper-class does.
c. Conceited
There are several occasions in the play when Jean shows excessive pride
in himself or in his power and abilities. When Miss Julie is regretting for what she
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has done with Jean, she feels desperate because she will lose her status. She says
“I’m falling, I’m falling!” (Strindberg, 2001: 598). But Jean responses calmly, by
saying “Fall down to my level, and I’ll lift you up again” (Strindberg, 2001: 598).
Here Jean’s conceit can be seen quite clearly. He believes that he is capable to lift
up Miss Julie’s status. He is so sure of his own ability to handle the problem that
appears.
JULIE. You talk as if you were already above me. JEAN. I am. You see, I could make you a Countess, but you could never
make me a Count. JULIE. But I’m the child of a Count—something you could never be! JEAN. That’s true. But I could be the father of counts— (Strindberg,
2001: 599). From the quotation, Jean once again shows his conceit toward Miss Julie. He
believes that he is above Miss Julie. It can be seen from his statement that he is
the one who can make Miss Julie becomes a Countess, but Miss Julie cannot
make him a Count. It means that it is Jean who can lift up Miss Julie’s status. Jean
believes that if he has the opportunity, then he can be a Count too. He also
believes that now after the affair, he is the one who have the power and control
toward the situation.
JEAN. To be honest, I’m tired of all this and I’m going to bed. JULIE. Are you? And do you think I can let it go at that? A man owes
something to the woman he’s shamed. JEAN. (taking out his purse and throwing a silver coin on the table) Here!
I don’t like owing anything to anybody (Strindberg, 2001: 600). Jean’s action shows how conceited he is. In the middle of a chaos and panic
situation, he chooses to go to bed. He underestimates the problem whereas it
involves Miss Julie’s life. He even states that he is tired of the situation as if it is
Miss Julie’s fault and so that she has become a burden for him. Then when Miss
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Julie forces him by saying that he owes something to her, Jean insulted her. He
throws a silver coin on the table as if he has paid his owing. His conceit makes
him unable to accept Miss Julie’s words that he owes something to her.
B. The Class Stratification Presented in Strindberg’s Miss Julie
According to Roucek and Warren in Sociology: An Introduction, social
stratification is the vertical division of society into different social status levels.
These status levels may be social classes or castes (1959: 61). It means on the
basic of membership in a social class or castes, the individuals of society have
access to different groups within the society and to different sets of rights and
responsibilities. In other words, society in the world is classified into some classes
according to their statuses. Social stratification is found in all complex societies,
and in many primitive societies.
The play Miss Julie written by August Strindberg is a play which also
portrayed the social or class stratification in society. It is important to talk about
the class stratifications in the play in order to understand the reason that leads to
the criticism. The criticism toward the European Upper-class’ way of life in
1800’s happens because of a very huge gap that is created by the class
stratifications. The class stratifications and the gap between the classes are clearly
represented by the major characters in Miss Julie. In order to see how the major
characters represented the class stratification, I have to analyze the dialogue and
the stage direction of the play deeply. That class stratifications are:
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1. Upper-Class
The upper-class is represented by the characters Miss Julie in the play.
Some facts that signed the upper-class are:
First, the Title. In feudal continental Europe, every member of a noble
family was considered nobility and all were entitled to bear coats of arms. This
practice among the hereditary aristocracy resulted in an enormous number of
European titled families whose descendants tended to marry only members of
other titled families. Miss Julie obviously has a title since her father is a Count.
Count is a nobleman in European countries; his wife is a Countess. The title of
Count was also often conferred by the monarch as an honorific title for special
services rendered, without an actual feudal estates (countship, county), just a title,
with or without a domain name attached to it. (www.europeheraldry.com)
JEAN. … But I’ve read about your family. Do you know who the founder was? He was a miller who let the king sleep with his wife one night during the Danish War. I don’t have any noble ancestor like that (Strindberg, 2001: 600).
Here Jean explains the ancestor of Miss Julie. The ancestor of Miss Julie
had done something which considered as giving the highest honor to the king.
That is the reason why Miss Julie’s families get Count Title. As a noble family,
Miss Julie’s family was also entitled to bear coat of arms. It can be seen from
Miss Julie’s statement, “And then our coat of arms will be broken against his
coffin—the family title extinct—” (Strindberg, 2001: 603). This statement
strengthens the fact that Miss Julie’s family has coat of arms and family title.
From Jean’s statement above, it can be seen that title is very important,
even Jean dreams about it. It happens because the title symbolizes the nobility,
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honor, and power of the family. It also symbolizes the historical background of
the family and their contribution to the royal family.
JULIE. … You think I want to carry your spawn under my heart and nourish it with my blood?—bear your child and take your name! By the way, what is your family name? I’ve never heard it—do you have one? I was to be Mrs. Bootblack—or Madame Pigsty.—you dog, who wears my collar, you lackey, who bears my coat of arms on your button—do I have to share you with my cook, compete with my own servant? (Strindberg, 2001: 603)
It is the title which differentiates the upper-class from the other classes.
Here it can be seen that Miss Julie feels very conceited and exclusive because of
her family name. Miss Julie even insults Jean because he does not have any
honorable family name. Miss Julie’s pride as an upper-class can be seen when she
said “What is your family name? I’ve never heard it. Do you have one?” Here
Miss Julie tries to emphasize that she is in the higher level than Jean because she
has a title. Her family name creates a clear barrier between Miss Julie as an upper-
class and Jean as a lower-class. Because of the family name also, Miss Julie feels
that she deserves to insults Jean as she like and considers Jean as lower than her
since she said that Jean is a dog and lackey.
Second, the power. The upper-class is obviously has power. It is
something that considered to be stick to the upper-class. Everybody respects the
upper-class because of the power that it holds. Jean admits the power of the upper-
class when he says:
JEAN. …and there’s the Count. I’ve never met anyone I had such respect for.—when I see his gloves lying on the chair, I feel small.—when I hear the bell up there ring, I jump like a skittish horse.—and when I look at his boots standing there so stiff and proud, I feel like bowing! (Strindberg, 2001: 597)
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From Jean’s statement, we can conclude that the upper-class is a very
powerful class. Upper-class is always identical with power. According to O’Brien
in his book Europe Before Modern Times states “a noble owned land and was lord
of all those who lived on the land. Nobles had many farms or entire towns under
their control. High rank noble such as Count was often more powerful than the
king” (1943: 323).
From O’Brien’s statement, it can be seen that power is one of the symbol
of the upper-class. It is said that a noble possesses and controls all the living
things on the land, include animals and people. Jean’s statement above shows how
the Count, as an upper-class person controls and fears Jean. The difference
between the upper-class and Jean as a lower class is clearly seen when Jean states
“I’ve never met anyone I had such respect for.” Because of their power, upper-
class usually gets higher respect from the other classes. Jean even said that he
feels small and bowing when he sees the Count’s gloves and boots. The upper-
class people understand the power as something that attach to their class. It is
something that they get because of their status. Meanwhile, the upper-class people
consider the lower-class as class without power. This fact make the upper-class
believe that they are higher than the lower-class. The power that the upper-class
hold makes them feels better.
Third, the housing. The upper classes tend to live in large old mansions,
with large well maintained gardens, with a stable. These houses often have many
employees a butler, maid, gardener etc to maintain these houses. Often the houses
46
will be of such beauty it will be called a stately home
(www.lonympics.co.uk.htm).
(A large kitchen, the ceiling and the side walls of which are hidden by draperies. The rear wall runs diagonally down left to up right. On the wall down left are two shelves with cooper, iron, and pewter utensils; the shelves are lined with scalloped paper. Visible to the right is most of a set of large, arched glass doors, through which can be seen a fountain with a statue of Cupid, lilac bushes in bloom and the tops of Lombardy poplars. At down left is the corner of a large tiled stove; a portion of its hood is showing. At right, one end of the servants’ white pine dining table just out; several chairs stand around it. The stove is decorated by birch branches; juniper twigs are strewn on the floor. On the end of the table stands a large Japanese spice jar, filled with lilac blossoms. An ice box, a sink, and a washstand. Above the door is an old-fashioned bell on a spring; to the left of the door, the mouthpiece of a speaking tube is visible) (Strindberg, 2001: 591).
From the above stage direction, we can conclude that Miss Julie’s house is
large and beautiful. The kitchen itself is described as a large kitchen and fully
furnished. There are two shelves in the kitchen full of complete utensils made of
cooper, iron, and pewter. The kitchen also has an ice box, a sink, and a washstand.
The stove itself is large and decorated by birch branches. There is also the
servants’ white pine dining table with several chairs around it. It means that there
are many servants who work there. The kitchen also has a Japanese spice jar that
can be considered as expensive thing at that time because it is imported.
JEAN. Oh well! One day I went into the Garden of Eden with my mother, to weed the onion beds. Near the vegetables garden, was a small Turkish pavilion in the shadow of jasmine bushes and overgrown with honey suckle. I had no idea what it was used for, but I’d never seen such a beautiful building. People went in and come out again, and one day the door was left open. I sneaked close and saw walls covered with pictures of kings and emperors, and red curtains with fringes at the windows.—now you know the place I mean. I—I’d never been inside the manor house, never seen anything except the church. But this was more beautiful (Strindberg, 2001: 595).
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The upper-class house is usually completed with a garden. Here from the
quotation, it can be seen that Miss Julie’s house also completes with a garden
called Garden of Eden. The garden is very large and beautiful. It has a vegetable
garden in it. It also has a Turkish pavilion; with walls covered with pictures of
kings and emperors, and red curtains with fringes at the windows, in the shadow
of jasmine bushes and overgrown with honey suckle. From Jean’s statement, we
can conclude that Miss Julie’s garden is not an ordinary garden. It is a large,
luxurious garden. It must be very expensive to build the garden, since it has a
beautiful pavilion in it too.
Housing also becomes a sign for upper-class. Having a large luxurious
house is a proof of the nobility of the family. It can be stated that the upper-class
house symbolizes the owner’s honor, power, and status. Upper-class does not live
in a ordinary house because it’s not a place that belong to the their status. Living
in an ordinary house moreover is an embarrassment for the upper-class.
Aspenleiter in his book Western Civilization even states “the centre of the noble’s
domain was his house. Here the lord ate, held his court, entertained visitors, and
frequently lodged his guests” (1951: 167). House is a very important element for
the upper-class. It is one of the sign that differentiate the upper-class from the
other classes. The luxuriousness and the function of the house are something that
do not exist in the lower-class’ house. Jean also strengthens this fact by saying
that Miss Julie’s house is the most beautiful place that he ever saw. Jean admires
the house very much because the house is like a dream he cannot get as a lower-
class.
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Forth, the lifestyle. The upper-class lifestyle is full of travelling, opera,
and theatre.
JULIE. (presto tempo) You’ve never travelled Kristine. — You must get out and see the world. You can’t imagine how much fun it is to travel by train—always new faces—new countries.—and when we get to Hamburg, we’ll stop of at the zoo.—you’ll like that.—and then we’ll go to the theatre and the opera—and when we get to Munich, dear, there we have museums, with Ruben and Raphael, the great painters, as you know.—you’ve heard of Munich, where King Ludwig lived—the king who went mad.—and then we’ll see his castles—and from there it isn’t far from Switzerland—and the Alps.—imagine—the Alps have snow on them even in the middle of summer!—and orange grow there and laurel trees that are green all year round (Strindberg, 2001: 603).
From the quotation, Miss Julie describes her lifestyle as an upper-class lady. It is a
lifestyle that expensive and full of pleasure. The lifestyle includes travelling by
train to many countries, visiting beautiful places as zoo, castles, museum, and
vacation to the Alps; and also watching the opera and theatre.
This kind of lifestyle is seen as usual for the upper-class because those
activities also help to emphasize their higher status. They do not consider this
glamorous lifestyle as an extravagance, but moreover they consider it as a
common way of life for the upper-class. In the above quotation, Miss Julie tells
Kristine about her lifestyle in a very common way as if she is telling a very
common story. It proves that Miss Julie considers her glamorous lifestyle as
common, while in fact it is not common at all for Kristine. From the difference
point of view between Miss Julie and Kristine in understanding the lifestyle, it can
be seen the barrier that separates the upper-class and the lower-class. A common
lifestyle with all the glamour for the upper-class is a dream for the lower-class.
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The fifth, the marriage. Marriage is something that is very essential for
the upper-class. It is because marriage is intended to secure for a family
distinguished connections, connecting the family with in-laws who could bring it
new luster and powerful political connections. For more important, marriage had
to serve economic needs. From the explanation above, it can be conclude that the
upper-class can only get married with upper-class. It is because only upper-class
people who has powerful politic connections and can serve the economic needs.
JULIE. –bear you child and take your name! By the way, what is your family name? I never heard It.—Do you have one? I was to be Mrs. Bootblack or Madame Pigsty.—you dog who, who wears my collar, you lackey, who bears my coat of arms on your button. (Strindberg, 2001: 603).
From the quotation above sated by Miss Julie actually represents the
upper-class point of view about marriage. From the statement it can be seen how
Miss Julie tries to question the family name of Jean. She does it because she know
that Jean as a lower-class person of course has no title. Having no title means Jean
has no powerful politic connections and without power, he cannot serve the
economic needs for Miss Julie. Basically, Miss Julie tries to say that she supposes
to have a relationship and get married with someone from her own class. Someone
that has title and family name that can keep her status and prestige.
2. Lower-class
The lower-class is represented by the character of Jean. It can be seen that
he is lower-class by:
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The first, the title.
JEAN. … But I’ve read about your family. Do you know who the founder was? He was a miller who let the king sleep with his wife one night during the Danish War. I don’t have any noble ancestor like that (Strindberg, 2001: 600).
As lower-class people, they do not have title that followed their name. Jean has
stated that he does not have any noble ancestor like Miss Julie. It means lower-
class does not have any status either. They are considered as no need to be
respected. “(with exaggerate suffering) Oh, Miss Julie! Oh—a dog can lie on the
Countess’s sofa, a horse can has his nose patted by a young lady’s hand, but a
servant…” (Strindberg, 2001: 596). From the Jean’s statement, it can be seen how
low the position of the lower-class because they do not have status. Even they are
considered lower than the upper-class’ pets. Pets can be intimate with their
master, but a servant cannot. Having no title makes the lower-class be in the
lower level from than the upper-class.
Here from the above quotation, Jean shows his inferiority toward Miss
Julie because he has no title and no noble ancestor like her. Jean implicitly admits
that the title differentiates him as a lower-class and Miss Julie as an upper-class.
The lower-class sees the title as a symbol of power and honor which is identical
with the upper-class. Having no title creates an understanding among the lower-
class that basically they are lower than the upper-class. The lower- class people
see the title as one of the reason why they cannot stand side by side with the
upper-class. The title has becomes a big barrier line that forbid the lower-class to
have a kind of upper-class life. Being born without title gives an understanding for
the lower-class that they are born to serve the upper-class.
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Second, the housing. Jean comes from a poor family. His father was “a
farmhand on the district attorney’s estate nearby” (Strindberg, 2001: 593). Jean
“grew up in a shack with seven brothers and sisters and a pig, in the middle of
wasteland, where there wasn’t a single tree” (Strindberg, 2001: 595). Here it is
stated that Jean’s father is only a farmhand. Jean lived in a shack, a roughly built
shed or hut, not a house. He spent his childhood living in a simple building that
usually made of wood and usually use for storing things or sheltering animals. His
shack is built in the middle of wasteland, an empty area of land that is not or
cannot be used especially it has been damaged in some ways. Aspenleiter in his
book Western Civilization explains “the lower-class lived in small thatched huts
with only a doorway for light and ventilation. The house possessed only the most
essential furniture of the crudest kind” (1951: 169). In other words, Jean’s house
also can be considered as having very limited furniture. Jean’s house is very
improper compared to Miss Julie’s house which is well-furnished.
The lower-class sees their houses as a symbol of their poorness and lower
level. If the upper-class’ house is built luxuriously and full of furniture, then the
lower-class’ house is usually very simple and poor. The lower-class people
consider their house as a proof that they always lower than the upper-class. They
cannot build such as luxurious house and buy all the furniture, for them those are
only dream not a reality. The fact is the lower-class people have nothing for their
house and this fact emphasize their level in compare with the upper-class. From
the explanation about the house, how far the difference between the upper-class
and the lower-class can be seen.
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Third, the lifestyle. Lower-class does not have glamorous lifestyle like the
upper-class.
JULIE. (presto tempo) You’ve never travelled Kristine. —You must get out and see the world. You can’t imagine how much fun it is to travel by train—always new faces—new countries (Strindberg, 2001: 603).
Lower-class does not travel around the world, go to theatre or opera, or
visit beautiful places like museum, zoo, and castle because basically they cannot
afford those pleasures. Julie’s statement strengthens this fact. She says that
Kristine never travels and sees the world and that she cannot imagine the
pleasures of it.
The life of lower-class people is full of work. Working becomes their
lifestyle. As a lower-class, they have to work very hard to earn some money in
order to survive. They only can have some jobs that do not require some higher
education and skill. Jean is a personal male servant of the Count. Jean is a valet
whose job is look after the Count’s boots.
JEAN. You’ll excuse me if I get back to work. I haven’t done the Count’s boots yet and it’s long past midnight.
JULIE. Put the boots down! JEAN. No! It’s the work I have to do (Strindberg, 2001: 595).
The quotation describes what Jean does every day in the Count’s house. He serves
the Count. His job is to clean the Count’s boots. This job clearly does not need
high education and skill and only earns little amount of money, it is the typical of
lower-class’ jobs. The lower-class people like Jean think that they are not deserves
to have such grand lifestyle like the upper-class because they are only working-
class. They see the upper-class’ grand lifestyle as an extravagant and they do not
feel any necessity to show their status by doing those luxurious activities. The
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lifestyle becomes a barrier that differentiates the upper-class and lower-class.
They see the lifestyle as a line that limits them to enter the upper-class kind of life.
The fourth, the marriage. Marriage is also something that is very
important for the lower-class people. Basically, a lower-class person will find
another lower-class person to get married with. It is because there is a very strict
barrier created by the society in order to separate the upper-class and the lower-
class.
JULIE. (to Kristine) Tell me, Kristine—you two are so close—is Jean your fiancé?
KRISTINE. Fiancé? Yes if you wish, we can call him that. (Strindberg, 2001: 595)
Jean and Kristine are lower-class members, so it is make clear enough that
both of them then have a relationship. Joan Parkin in her book, Women and
Marriage in Nineteenth Century states “the lives of the poor girl were often dreary
and without much comfort, pleasure or interest. Large members chose or drifted
off into marriage with men like their fathers and grinding poverty of the kind their
mothers endured, rather than accept spinsterhood or uncertain future among
strangers” ( 1989:182).
From the statement it can be seen that the lower-class members believe
that it is their faith to get someone from their own class as the husband or wife
.Inter-class marriage is very hard to do since the society will judge it as improper
marriage. The lower-class members see their marriage as a proof that emphasized
the differences between them and the upper-class.
From the explanation above, it can be seen a huge gap that separated the
European upper-class and the lower class. The upper-class seemed to have
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everything. Meanwhile the lower-class seemed to have nothing. For example, an
upper-class house could be so complete and glamorous; meanwhile a lower-class
house could be so simple and poor. The discrimination toward the lower-class
happened because they did not have title, money, and power like the upper-class
had. The lower-class had to face a harder life because they did not have those
three things. Class stratifications that happened in Europe kept the upper-class
rich and the lower-class poor and were ignored.
This situation did not please the lower-class. They felt sick of the class
stratification. In 1800’s, there was a movement in Europe that demanded a change
in the society. The lower-class did not please with the upper-class way of life
because they believed it was a kind of discrimination. The lower-class wanted an
equal society where people were treated the same. As the result, people started to
criticize the European upper-class way of life.
C. The Criticism toward the European Upper-Class Way of Life in 1800s
Revealed through the Major Characters’ Characterizations in
Strindberg’s Miss Julie
Europe in 1800s was full of dissatisfaction of the people especially from
the lower and middle class with their governments. Led by the middle-class,
people started to fight the status quo in order to change the situation that was
controlled by the upper-class, the aristocrats, and the royal family. The revolutions
made people had a new paradigm about their social condition of the society itself.
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1. Julie
The play Miss Julie was written in this era of revolutions by August
Strindberg. At that time, the border between the European upper-class and the
lower-class was being blurred, include in Sweden. August Strindberg tried to
present this phenomenon in his play. One of the major characters in this play is
Miss Julie. As it has been explained in the first problem formulation, Miss Julie is
an upper-class lady. Her father is a Count. Here in the play, Miss Julie represents
the European upper-class in 1800s. Miss Julie is used to criticize the ways of life
that were held by the European upper-class at that time.
Since the lower-class fought for their right in all Europe in 1800s, the
upper-class began to lose their exclusive rights. They no longer became the
untouchable class. They also started to undergo some degradation in their ways of
life. Things that for years only refer to the upper-class now could be referred to
everyone. Some of them were frustrated because of these changes, and they
became less respected from the lower-class.
This situation leads August Strindberg to criticize the European upper-
class’ way of life at that time. The way August Strindberg criticizes is by
presenting the characterizations of the major characters in his play Miss Julie.
The first major character is Miss Julie. The characterizations of Miss Julie
are:
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a. Stubborn
As it is stated before, Miss Julie is a stubborn woman. It is very hard to
change her mind if she has already wanted something. If she wants something,
then it has to be fulfilled. In the play, Miss Julie’s stubborn leads her to take
actions which are not appropriate with her position as an upper-class person. This
characterization actually tries to criticize the upper-class people who insist to keep
their way of life. The play tries to say that it is not the time for the upper-class to
show their stubborn. They have to accept the change of the situation whether they
like it or not. If they choose to refuse the change, the decision will lead them to act
wrong just like Miss Julie does in the play.
There are three wrong actions that come from Miss Julie’s stubborn. First
action is dancing with unequal partner. Dancing had become a lifestyle for the
European upper-class at that time. It was not just a dance, but it was also full with
rules that controlled their attitude when they were dancing. Ladies were taught to
dance with easy, becoming and graceful movements to be more pleasing to the
gentlemen, but were also instructed to refuse to dance with any gentleman with
whom they were not already acquainted without a proper introduction or a man
from a different classes (www.gallery.sjsu.edu.htm).
JEAN. Just now, when she was dancing in the barn, she pulled the gamekeeper away from Anna and made him dance with her. We wouldn’t behave like that, but that’s what happens when aristocrats pretend they are common people—the get common! (Strindberg, 2001: 592)
From the quotation, it can be seen that Miss Julie behaves contrastingly
with the common upper-class. Upper-class ladies in Europe in 1800’s were
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supposed to dance with gentlemen and usually it took place in the ball room
dance. By dancing with gentlemen in the ball room dance, they show their
respected family background. But here Miss Julie dances with a gamekeeper in
the barn. Gamekeeper is a person employed to breed and protect game for a large
estate. As the matter of fact, Julie is not improper to dance with unequal partner.
As a lady of upper class, Miss Julie supposes to find a gentleman to dance with
her. Miss Julie dances in a barn, a large farm building used for storage or for
housing livestock, not in the ball room dance. Barn is not an appropriate place for
the upper-class to dance. She even pulls away the gamekeeper from his partner
and makes him dance with her. A woman at that time should not behave like that,
even the lower-class woman. Jean considers it as a shame for he says that “we
wouldn’t behave like that.” It shows that even lower-class people would not
behave like Miss Julie.
JULIE. Come and dance a schottische with me, Jean… JEAN. To be honest, and no offense intended, I wonder whether it is wise
for you to dance twice running with the same partner, especially since these people are quick to jump to conclusions… It doesn’t look good to play favorites with your servants.
JULIE. Play favorites? What an idea! I’m astonished! As mistress of the house, I honor you dance with my presence. And when I dance, I want to dance with someone who can lead, so I won’t look ridiculous (Strindberg, 2001: 592-593).
From the quotation, once again Miss Julie breaks the way that was believed by the
upper-class in dancing. She once again picks Jean as her dance partner, instead of
a gentleman. She even forces Jean to dance with her; although he has given some
advises to refuse Miss Julie. Moreover, Miss Julie states that when she dances, she
wants to dance with someone who can lead her, no matter whether he is a
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gentleman or not. Of course the upper-class ladies at that time did not behave like
that.
Second action is drinking wine. A cynical individual would suggest that
anything the working class can have easily is regarded as unfashionable and
anything that the working or middle class cannot have easily is often upper class.
Caviar, champagne, and wine are still regarded as upper class items
(www.lonympics.co.uk.htm). Beer is regarded as unfashionable drink for the
upper-class because it is easy to get and the lower-class can afford to buy it.
While, wine is an upper-class drink because it is very expensive. At that time,
there was a drink classification which was beer for the lower and middle-class
while champagne and wine for the upper-class.
JULIE. Sit down then.—no, wait. Can you get me something to drink first? JEAN. I don’t know what we have in the ice box. I think there is only beer. JULIE. Why do you say ‘only’? My tastes are so simple I prefer beer to wine (Strindberg, 2001: 594).
Here in the play, Miss Julie states that her tastes are so simple so she
prefers beer to wine. As an upper-class lady, Miss Julie supposes to have a high
taste of drink and simply has to prefer wine to beer. But once again Miss Julie
shows a contrasting behavior with other common upper-class.
Third action is ignoring the title. Earlier, in feudal continental Europe,
every member of a noble family was considered nobility and all were entitled to
bear coats of arms.
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JEAN. (hesitating) I want to—but I don’t dare. Not in this house, not again. I love you—never doubt that—you don’t doubt it, don’t you, Miss Julie?
JULIE. (shy, very feminine) “Miss!”—Call me Julie! There are no barriers between us anymore! Call me Julie! (Strindberg, 2001: 597)
The title of the family symbolized the nobility, honor, and power of the
family. It also symbolized the historical background of the family and their
contribution to the royal family. Title was very invaluable for the upper-class in
Europe at that time. It was the Title that made them exclusive and different from
the other classes. So being called by the Title was very important for the upper-
class. It does not happen to Miss Julie. She even asks her servant, Jean, to call her
by name. It seems that she forgets her family honor. She wants to be regarded as
equal with Jean. By doing this, she tries to break the barrier between the upper-
class and the lower-class.
b. Full of Pride
It is told before that one of Miss Julie’s characterizations is full of pride.
Miss Julie is a woman that has a very high self-pride. One of Miss Julie’s actions
which is based on her pride as an upper-class is committing suicide.
JULIE. I’ll go if you come with me. JEAN. Are you out of your head? Miss Julie runs away with her servant!
In two days it would be in the newspapers and that’s something your father would never live through (Strindberg, 2001: 601).
After having a sexual intercourse with Jean, Miss Julie gets panic. Both of
them realize that what they have done is wrong. It is against the social behavior
and breaks the upper-class way of life. Miss Julie asks Jean to run away with her,
but Jean refuses it. From Jean’s statement, it can be concluded that running away
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with a servant will create a scandal. And scandal is something that upper-class
cannot bear because it will hurt the pride of the upper-class.
JEAN. (Taking the razor and put it in her hand) Here’s the broom! Go now while it’s bright—out to the barn—and… (Whispers in her ear).
JULIE. (Awake) Thank you. I’m going now to rest! (Strindberg, 2001: 605)
The quotation describes the moment when Miss Julie decided to commit suicide.
Commit suicide becomes the only way out because she cannot bear the shame of
the scandal. Her pride as an upper-class lady forces her to choose this way in
order to avoid the effect of her action.
The European upper-class people in 1800’s were proud of their status as
the highest class in the society. They are also really proud of their way of life. It
differentiated the upper-class from the other classes. But the play tries to show
something different about the pride of having upper-class way of life. Miss Julie is
forced to commit suicide by her pride. She has to end her life because she does
something which is not allowed by the upper-class way of life. The play tries to
criticize the pride of having the upper-class way of life. The play tries to say that it
is not the time for the upper-class to have pride of their way of life. Their way of
life from now on is worthless. It is not something that deserves to be proud of,
since it only creates gap between upper-class and lower-class. Like Miss Julie in
the play, the European upper-class probably will lose their life if they insist to
continue their way of life.
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c. Desperate of Love
Miss Julie is desperate for love. She desperately needs some affection
from people. The European upper-class in 1800 actually feels the same. The way
of life that they follow creates a very strict rule about how to act and behave in
life. This strict rule only left small room for love and affection. For example, a
lady cannot just marry with a man she loves, but first she has to married a
gentleman. Whether she loves him or not is not important. In the play, it can be
seen Miss Julie falls in love with her servant. Having less affection in her life, she
gives herself to a servant. It seems that she does not care about Jean status as long
as he can give love for her. This characterization leads Miss Julie having affair
with servant. It begins when Miss Julie asks Jean to dance with her. Then Miss
Julie also asks Jean to accompany her drinking.
JULIE. Why don’t you sit down? JEAN. I couldn’t do that in your presence. JULIE. But if I order you to? JEAN. Then I’d obey. JULIE. Sit down, then.—surely a gentleman can keep his lady company
(Strindberg, 2001: 594) It was very uncommon for a woman to ask a man accompany her drinking at that
time. But Miss Julie even does something worse. She not only asks a man to
accompany her, moreover she asks her servant to accompany her drinking. Of
course it is very embarrassing for an upper-class lady to drink with a lower-class
servant.
JULIE. Did you get something in your eye? JEAN. It’s nothing—just a speck—it’ll be gone in a minute. JULIE. My sleeve must have brushed against you. Sit down and let me
help you. (She takes him by the arm and sits him. She tilts his head back and with the tip of a handkerchief slaps his hand) Didn’t you
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hear me?—Why, you are trembling; the big, strong man is trembling! (Feels his biceps) What muscles you have!
JEAN. (Warning) Miss Julie! JULIE. Yes, monsieur Jean. JEAN. Attention! Je ne suis qu’un homme. (Watch out! I’m only a man!)
Are you still a child at twenty five? Don’t you know that it’s dangerous to play with fire? (Strindberg, 2001: 595)
From the quotation, it can be seen that Miss Julie moves further in her
relationship with Jean. Woman at that time supposed to be passive and wait for
the man’s action. For an upper-class lady, being passive means keeping her family
and her own honor. Here Miss Julie flirts and tries to seduce Jean. She takes him
by the arm and sits him. She tilts his head back and with the tip of a handkerchief
slaps his hand and feels his biceps. This treatment makes Jean tremble. In spite of
all the rules that bound the upper-class, Miss Julie even dares to have a physical
contact with Jean, her servant. It was very improper attitude for the upper-class at
that time because there was a clear and strict distinction between the upper-class
and the lower-class.
JULIE. Run away? But where? We can’t go out—or into Kristine’s room. JEAN. True. But there’s my room. Necessity knows no rule. Besides, you
can trust me. I’m your friend and I respect you. JULIE. But suppose—suppose they look for you in there? JEAN. I’ll bolt the door, and if anyone tries to break in, I’ll shoot!—
Come! JULIE. (urgently) Promise me…? JEAN. I swear! (Miss Julie runs off right, Jean hastened after her)
(Strindberg, 2001: 597)
From this part of the play, it can be seen how Miss Julie breaks the way of
life that suppose to be admitted by the upper-class. It has already explained that
upper-class should not have relationship with the lower-class, especially a sexual
relationship. An upper-class lady should have an intimate relationship with a
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gentleman. This relationship meant to keep the upper-class way of life which is an
upper-class should marry with another upper-class. This kind of marriage would
ensure the continuities of the family title and honor.
By presenting this characterization, the play tries to criticize the European
upper-class way of life in 1800’s that tight its member strongly. The way of life
finally will cause them to fall down and less respected.
d. Confuse of herself
Miss Julie is constantly bewildered of herself. She is confused about how
to think, how to act, and behave. The European upper-class way of life in 1800’s
actually makes its member confuse. The way of life becomes a kind of role model
that has to be followed. It means, every member of European upper-class has to
identify themselves with the way of life. This fact confuses the upper-class
members who are not really comfortable with the way of life. They confuse about
how to act, to think, and to behave. The play tries to say that the European upper-
class way of life at that time actually makes its member confuse.
There are two actions that shows Miss Julie confuse of herself. The first
one is desiring to step down. People usually dream to be the member of the
upper-class because the upper-class offers power, money, honor, and glamorous
lifestyle
JULIE. I do believe that you’re an aristocrat! JEAN. Yes I am. JULIE. And I’m stepping down. JEAN. Don’t step down, Miss Julie, take my advice. No one will believe
you stepped down voluntarily. People will always say you fell. You are very strange, do you know that?
JULIE. Perhaps! But so are you!—for that matter, everything is strange. Life, people, everything. Like floating scum, drifting on and on
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across the water, until it sinks down and down! That reminds me of a dream I have now and then. I’ve climbed up on top of a pillar; I sit there and see no way of getting down. I get dizzy when I look down, and I must get down, but I don’t have the courage to jump. I can’t hold on firmly, and I long to be able to fall, but I don’t fall. And yet I’ll have no peace until I get down, no rest unless I get down, down on the ground (Strindberg, 2001: 594).
Here it can be seen obviously that Miss Julie desires to step down into
lower status. The upper-class at that time basically wanted to keep their high
status. And the contrary action would be regarded as an insult to the upper-class.
As a member of the upper-class, someone had to fight for his title and be proud to
be born as upper-class. But from the quotation, it can be seen that Miss Julie is not
proud of her title and status as upper-class. It seems that the whole power, money,
honor, and glamorous lifestyle do not please her. She even shows a very strong
desire to step down. She states that she will not have peace until she gets down
and become equal with the other classes. Miss Julie’s desire is contradictory with
the upper-class’ desire at that time.
The second action is being ordered by the lower-class. It was clear at
that time that the upper-class always felt that they are the highest class in the
society. Therefore they believed that it supposed them that gave order or
command especially to the lower-class
JULIE. I can’t go and I can’t stay! Help me! I’m so tired, so terribly tired.—order me! Set me in motion—I can’t think or act on my own.
JEAN. What miserable creatures you people are! You strut around with your noses in the air as if you were the lord of creation! All right, I’ll order you. Go upstairs and get dressed! Get some money for the trip, and then come back down (Strindberg, 2001: 601).
It could be a scandal if an upper-class was being ordered by the lower-
class. But Miss Julie once again breaks this rule. She even begged to be ordered
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by Jean, her servant. Jean insults her but Miss Julie ignores it. It looks like Miss
Julie has lost her honor. As an upper-class, she is less respected by the lower-
class.
2. Jean
Meanwhile, the second major character in the play is Jean. As it has been
discussed before in the first problem formulation, he is a servant of Miss Julie‘s
father. In the play, Jean represents the lower-class people. Jean is also used by
Strindberg to criticize the European upper-class ways of life in 1800’s as seen in
Miss Julie. The characterizations of Jean are:
a. Ambitious
Jean is an ambitious man. He is actively seeking success, wealthy, and
status in his life. By presenting Jean as an ambitious person, the play tries to
criticize the European upper-class way of life in 1800’s. For years, the upper-class
way of life facilitates the upper-class to seek success, wealthy, and honored from
the society. It can be stated that the upper-class way of life at that time facilitates
the upper-class to remain in the top of the society. It also becomes an alarm for the
lower-class people to remain them about their place. In the play, Jean is not
member of upper-class, but he is actively seeking success, wealthy, and status in
his life. It means, the upper-class way of life is no longer need. Jean’s ambitious
action that tries to criticize the European upper-class way of life in 1800’s is
desiring to step up.
JEAN. No. I dream that I’m lying under a high tree in a dark forest. I want to get up, up on top, and look out over the bright landscape, where the sun is shining, and plunder the bird’s nest up there, where the golden eggs lies there. And I climb and climb, but the trunk’s so
66
thick and smooth, and it’s so far to the first branch. But I know if I just reached the first branch, I’d go right to the top, like a ladder. I haven’t reached it yet, but I will, even if it’s only in a dream (Strindberg, 2001: 594).
From the quotation above, Jean’s dream about his fate can be seen. He is
tired with his own ‘inborn’ situation and he wants to change it. His dream is
clearly seen when he states that he wants to get up, up on top, and looks out over
the bright landscape, where the sun is shining, and plunder the bird’s nest up
there, where the golden eggs lies there. This statement describes Jean’s desire to
be in the upper-class position where everything looks very good.
b. Upper-class Like
Jean was born in lower-class family but in the play, Jean many times
shows action and behavior that are similar with upper-class behavior. For years,
the upper-class believed that upper-class was made only for the upper class. This
point of view had been set to be accepted by the upper –class people and other
class people. It had been the way of life for the upper-class that to become an
upper-class person, someone had to come from upper-class background.
By having this characterization, the play criticizes the upper-class way of
life in 1800’s. It tries to break the upper-class point of view that someone from
outside the class cannot have the way of life like the upper-class people have. This
characterization tries to criticize the European upper-class way of life at that time
JULIE. Et vous voulez parler français! Where did you learn that? (Strindberg, 2001: 591).
French was an exclusive language for people at that time. It was a language of
literature, school, opera, theatre, and many other formal occasions. In order to
master French, people had to learn it at school or formal education. Since usually
only upper-class who can get formal education, French was associated with the
upper-class. Jean here can speak French. That is why Miss Julie is impressed
because Jean is a servant, therefore he supposes cannot speak French. But Jean
who wants to be an upper-class has learned the language in Switzerland when he
was wine steward in one of the biggest hotel in Lucerne. By speaking French,
Jean shows that a lower-class like him can have abilities that used to belong to the
upper-class only. This fact makes the differences between the upper-class and
lower-class become unclear. Something that only referred to the upper-class in the
beginning now can be referred to everyone from any class.
The second action is drinking wine.
KRISTINE. Now, now, it’s only love, you know that. (Jean eats. Kristine opens a bottle of beer)
JEAN. Beer? On Midsummer Eve? No thank you! I can do better than that. (opens a drawer on the table and takes out a bottle of red wine with yellow sealing wax) See that? Yellow seal! Give me a glass! A wine glass! I’m drinking this pur (Strindberg, 2001: 591).
Wine was not a common drink for the lower-class in Europe at that time. Usually
people from the lower-class drank beer since it was cheaper and easier to get.
Lower-class people considered wine as too glamour for them. They felt that they
did not deserve to taste it. That was why drinking wine then considered as the
upper-class way of life.
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But in the Strindberg’s Miss Julie, Jean shows different attitude. Jean is a
lower-class, but he prefers drinking wine to beer. This is not a common attitude.
This Jean’s behavior makes wine become not exclusive anymore because a
servant like him can drink it.
The third action is being educated. Not only learns French which makes
Jean looks like an upper-class, but he also improves his knowledge by reading lots
of novels, travelling, and going to the theatre often
JULIE. You are a charming storyteller. Did you ever go to school? JEAN. A bit, but I’ve read a lot of novels and been to the theatre often.
And then I’ve listened to people like you talk—that’s where I learned most (Strindberg, 2001: 596).
Jean states that “I’ve listened to people like you talk—that’s where I
learned most” (Strindberg, 2001: 596). Jean observers the way upper-class talk,
and then he imitates them. This makes him looks like upper-class in his speech.
This kind of lifestyle was considered as the way of life for the upper-class. Being
educated belongs to the upper-class because it needed a lot of money and certain
family background. Of course the lower-class did not have those things. Therefore
the fact that Jean is an educated man is very uncommon and surprising, since he
does not have money and power to taste formal education and go to theatre.
Here by presenting Jean as an educated man, a servant who drinks wine
and a lower-class who speaks France, the play tries to criticize the exclusiveness
way of life of the upper-class. It tries to show that the upper-class way of life is no
longer exclusive for the upper-class only, and the lower-class also has a chance to
experience the same way of life like them.
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d. Conceited
There are several occasions in the play when Jean shows excessive pride
in himself or in his power and abilities. For years, the European upper-class
people believe that they are more powerful than other classes. The upper-class
show excessive pride in their class. The upper-class at that time believe that as the
highest class in society, they are given the power to control other class. This
perception then becomes one of the upper-class ways of life.
Jean’s characterization as a conceited person is presented to criticize this
upper-class way of life. The play tries to show that the upper-class has to change
this way of life. It is not the time to keep the perception. They have to follow the
change in the society and start to believe that the power is no longer in their
hands. Giving command to the upper-class is the proof that the lower class is
also have the power.
JULIE. I can’t go and I can’t stay! Help me! I’m so tired, so terribly tired. --order me! Set me in motion—I can’t think or act on my own…
JEAN. What miserable creatures you people are! You strut around with your noses in the air as if you were the lord of creation! All right, I’ll order you. Go upstairs and get dressed! Get some money for the trip, and then come back down!
JULIE. (as she leaves) Speak kindly to me, Jean! JEAN. An order always sounds unkind—now you know how it feels
(Strindberg, 2001: 601). For years, lower-class believed that they were created to obey orders from
the upper-class. It happened because it was the upper-class who held the power
and money in the society. Having power made the upper-class feel that they
deserved to command the lower-class and being obeyed. This point of view
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created a way of life among the upper-class. They believed that it was natural and
proper that they gave orders and the lower-class obeyed it.
Here from the quotation, it can be seen that Miss Julie is being ordered by
Jean. This is uncommon since Jean is Miss Julie’s servant and he is not in the
position having right to give command. But here, it is Miss Julie who begs him to
order her. And then Jean orders Miss Julie, her mistress, and also mocks her.
This fact wants to show that it is the time for the upper-class to realize that
they were not that powerful again as in the old times. The era had changed and the
lower-class began to realize that they could have power too.
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CHAPTER V
CONCLUSION
This undergraduate thesis focuses on the criticism toward the
European upper-class ways of life in 1800’s revealed through the major
characters’ characterizations in August Strindberg’s Miss Julie. Therefore, there
are three questions have to be answered in this thesis. The first part concerns the
answer of the first question: the major characters characterizations in Strindberg’s
Miss Julie. The second part concerns the answer of the second question: the class
stratification presented in the play. The third part will concern the answer of the
third question: the criticism toward the European upper class way of life in 1800’s
which is revealed through the major characters’ characterizations in the play.
First, by using the theory of character, I found that the major characters in
the play are Miss Julie and Jean. Then, I also used the theory of characterization to
analyze those characters deeply. The characterizations of Miss Julie are: stubborn,
full of pride, desperate for love, and confused of herself. The characterizations of
Jean are: ambitious, upper-class like, and conceited. Second, I used the theory of
characters and characterization and also added with the theory of social class and
review of the European upper-class ways of life. After analyzing it carefully, I
found that there are two social classes that appear in the play. The first one is the
upper-class which is represented by Miss Julie. The upper-class is signed by the
title, the high power, the luxurious housing, the glamorous lifestyle, and exclusive
marriage among the members of the class. The second one is the lower-class
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which is represented by the characters of Jean. As lower-class, they do not have
any title, they do not have money, their house is very poor, their marriages only
keep them in poverty since the most of them only get married with poor partners
and they never enjoy glamorous lifestyle.
Third, I used the theory of characters, characterization, review on
European upper-class ways of life, and review on Europe in 1800’s. In the end of
the analysis, I can conclude that one of the ways August Strindberg criticized the
European upper-class at that time is by presenting the characterizations of the
major characters. The first major character is Miss Julie. It is told that she is a
stubborn woman. This characterization criticizes the European upper-class way of
life in 1800’s that does not want to change. It tries to show that it is not the time
for the upper-class to act stubborn about their way of life. It is also told that full of
pride is also Miss Julie’s characterization. By presenting this characterization, the
play tries to criticize the pride of having the upper-class way of life. The play tries
to say that it is not the time for the upper-class to have pride of their way of life.
Miss Julie also stated as a woman who desperate of love. With this
characterization, the play tries to criticize the European upper-class way of life in
1800’s that tight its member strongly. The way of life finally will cause them to
fall down and less respected. Miss Julie is also stated confuse of herself. By
showing this characterization, the play tries to say that the European upper-class
way of life at that time actually makes its member confuse.
The second major character is Jean. Jean is told as an ambitious man. By
presenting Jean as an ambitious man, the play tries to criticize the European
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upper-class way of life that facilitates the upper-class to stay success, wealthy, and
honored by the society. It is also stated that Jean is an upper-class like. This
characterization criticizes the exclusiveness the European upper-class way of life
in 1800’s.Jean also stated as a conceited man. This characterization tries to
criticize the European upper-class way of life 1800’s that justified the upper-class
to control the society.
The play tries to emphasize that it is not the era of class stratification any
longer. It is the time of equal era when people are not valued by their status or
class. For many years the European upper-class has enjoyed their special rights,
honor, money, and power because of their status and title. But this golden upper-
class era no longer exist. The revolution that spread through the whole part of
Europe brought a very significant change in society. The lower-class and the
middle-class start asking about the class stratification. They are tired to suffer and
they demand of equality. Strindberg tries to criticize the upper-class way of life by
