RESISTANCE AND CHANGE: ANALYSIS SYMBOL OF

LE CIRQUE DES RĖVES IN ERIN MORGENSTERN’S

THE NIGHT CIRCUS

A Thesis

Submitted to Letters and Humanities Faculty

In Partial Fulfillment of the Requirements for

The Degree of Strata One (S1)

By:

NUR HIDAYAH

1112026000051

ENGLISH LETTERS DEPARTMENT

FACULTY OF ADAB AND HUMANITIES

STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH

JAKARTA

2018

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ACKNOWLEDGEMENT

In the name of Allah, the most gracious and the most merciful.

All praises due to Allah SWT, who was bestowed upon the writer

completing this paper. Peace and salutation be upon our prophet Muhammad

SAW, who has saved the believers from destruction into safety and has guided

them to the right way of Islam.

This paper presented to the English Letters Department, Letters and

Humanities Faculty, State Islamic University Syarif Hidayatullah Jakarta, as a part

of requirements for the Degree of Strata One.

First and foremost, the writer would express her deep gratitude to Allah

SWT for always listen to all her wishes and the writer also wants to express her

deeply thanks to Mr. Arief Rahman Hakim as her advisor for helping the writer.

Without his guidance, patience, and support, the thesis is never be completed.

The greatest honor and gratitude are also dedicated to writer‟s beloved

family; Bapak and Mama for keeping me safe and sound with their endless

support and unconditional love. They are the reason all good things happened.

The writer also would like to convey her sincere appreciation to the

following people:

1. The Rector of Syarif Hidayatullah Jakarta State Islamic University.

Prof. Dr. Dede Rosyada, M.A.;

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2. The Dean of the Faculty of Adab and Humanities, Prof. Dr. Syukron

Kamil, M.Hum.;

3. Dr. Saefudin, M.Pd. as the Head of English Letters Department and

Ms. Elve Oktafiyani, M.Hum. as the Secretary of English Letters

Department.

4. Mrs. Inayatul Chusna, H.Hum and Ms. Maria Ulfa, M.A., M.Hum., as

the examiners

5. All of the lecturers in English Letters Department who have taught her

a lot of things and educated her during her study.

6. All classmate in Literature Class and English Letters Department

(2012) for all of experience during her study.

7. The writer‟s greatest friends; Tantu, Nita, Hanun, Maulidia, and Iim

for always being my thesis reminder and sharing laughs and tears.

8. The Queens; Kuo, Aya, Dika, Kuyo. Budjangs; Arya, Faiz, Silvia.

Thanks for the continuous supports and jokes. They are becoming the

writer‟s sweetest escape companion.

9. Rere for those virtual hugs and supports. She will always become the

writer‟s best virtual sister.

10. Everyone for making the writer‟s days brighter and all people who

given supports and helped for the writer to finish her study that cannot

be mentioned all.

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May Allah SWT, the all-Hearer and all-Knower, bless them all and gives

them more than what they gave to the writer. Finally, the writer hopes this

research will be benefit and useful to the writer and for everybody who has give

the support and motivation to the writer in accomplishing this research.

Jakarta, March 2018

The Writer

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TABLE OF CONTENT

ABSTRACT .................................................................................................... i

APPROVAL SHEET ...................................................................................... ii

LEGALIZATION ........................................................................................... iii

DECLARATION ............................................................................................ iv

ACKNOWLEDGEMENT .............................................................................. v

TABLE OF CONTENTS ................................................................................ viii

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

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

B. Focus of the Research .................................................. 5

C. Research Questions ...................................................... 5

D. Objective of The Research ........................................... 5

E. Significance of The Research ...................................... 5

F. Research Methodology ................................................ 6

1. The Method of the Research ................................. 6

2. Technique of Data Analysis ................................. 7

3. Research Instrument ............................................. 7

4. Unit of Analysis .................................................... 7

5. Place and Time of the Research ........................... 7

CHAPTER II THEORETICAL FRAMEWORK .................................. 8

A. Previous Research ........................................................ 8

B. Theoretical Framework ................................................ 10

1. Semiotics of Roland Barthes ................................ 10

a) Denotation and Conotation ............................ 10

CHAPTER III RESEARCH FINDINGS .................................................. 15

A. Symbolic Meaning of Le Cirque des Rêves in

The Night Circus Novel ............................................... 16

1. Social Class Resistance ........................................ 24

2. Female Gender Resistance .................................... 29

3. Le Cirque des Rêves as a Symbol of Change ....... 35

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CHAPTER IV CONCLUSIONS AND SUGGESTIONS ........................ 40

A. Conclusions ................................................................. 40

B. Suggestions .................................................................. 42

BIBLIOGRAPHY ......................................................................................... 43

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CHAPTER I

INTRODUCTION

A. Background of the Research

Circus, which is known as part of postmodernism‟s culture, is a place for

entertainment usually open in the night time. It is recognizable by a circular

tent constructed at an empty field. The circus was first born after 1768 when

Philip Astley (1742-1814) opened a horse-riding exhibition and opened a horse

riding academy which then performed regularly. However, the name circus

itself was first used in 1782 by the Royal Circus which was found and managed

by Charles Hudges, one of Astley's former riders (Huey 1).

Initially, the circus was shown in amphitheaters or permanent buildings,

then began to move outdoors with a tent (which then made this circus in

America called "Big Top") in 1825 to allow the travel show become more

flexible, longer, and protected from the weather (Hudges 1).

At first, the circus spread only around the European region. Britannia

became the region with the fastest circus developed. Then, in 1724, the circus

began to flourish in America and the area inside. Starting from Philadelphia to

New York (Hudges 1).

As an entertainment place, “circuses are places where bodies do

extraordinary things, and extraordinary things are done to bodies (Parker 556).”

At first, the circus‟ show focused on horsing skills and acrobatic movements.

But then, there are more performances and the shows are so conspicuous as the

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strangeness are displayed. Some of the performances are often encountered in

the circus namely; women with men clothes and beards, the jugglers, the

jesters, countournist, to the show with big cats and some other wild animals.

Since first developed in Europe, now circus present in various corners of

the world. In the industry of entertainment, circus is a profitable business field

because of its nature that can be watched by various circles. Circus is also

popular because it gives the impression of each visitor. Because it is well

received by the public, then circus began to be considered interesting. The

scholars carry circus as a topic of study in their essays and studies, connecting

circuses with semiotics, socio-cultural developments, or economics.

Meanwhile, in the field of art and literacy, the circus was raised as a theme in

media such as movies and novels.

Nowadays, there are many novels that insert circus as an important thing

of the story, whether it used as the main setting or even the theme itself. This

literacy work called Circus Literature. One of them is Night at The Circus by

Angela Carter which is published in 1984 and won the James Tait Black

Memorial Prize for fiction. The story was about Colonel Kearney‟s circus. Set

in London, St. Petersburg, and Siberia, the story focused on how the circus‟

members could finally end up as circus performers.

The Night Circus is a fantasy novel written by Erin Morgenstern and

published on 2011 by Anchor Books. This novel was her debut as a writer and

became a best-seller by selling 11.000 copies in first week (Rosen).

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Using late 19th-early 20th centuries and big cities in the world like New

York, Wina, Tokyo, and Glasgow as the setting, The Night Circus mainly told

about a circus that arrives and disappears without any mention at all; Le Cirque

des Rêves—The Circus of Dream. This nomad circus said as a mysterious

because only open at night and close immediately at dawn. Even so, many

visitors come because that place offers relief in the form of rides and

attractions which is full of wonders that can be found in dreams.

Thanks to the amazing performances, this circus won popularity in short

time. From there, a group of people was gathered. They claim to have a bound

with the circus, they said cannot separate from the circus so they follow

wherever the circus appears. Later, they called themselves as Rêveur1, and

could easily identify by their clothes (they always dress in black and red).

The main characters in this story are Celia and Marco, two young people

that secretly fight through magic and illusions inside the circus for the sake of

stake that their fathers made. The venue for them is Le Cirque des Rêves itself.

Through the rides, illusions, and tricks that they show every night in the circus,

they are trying to beat each other without having any chance to enjoy their own

lives nor the circus. Marco and Celia finally meet and eventually fall in love

and at the end of the story, Celia decided to release Le Cirque des Rêves from

them and their game, so people would not trap in the same state as them.

Marco then helped Celia with every element in the circus to release the kind of

1 From French, means Dreamer. This term is first uses by Herr Friedrick Thiessen on 1892, a

Germany clockmaker who is hired to make a Wunschtraum clock for Le Cirque des Rêves, in his

article on a newspaper. His article was written right after his first visit to the circus and mainly

described about how spectacular the circus is. Later, the term is spreading and uses to call the

passionate fans of Le Cirque des Rêves.

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magical bond that has been tying Le Cirque des Réves for the whole time. By

doing that, they freed Le Cirque des Rêves, making the circus self-sufficient

and not merely a battleground for them. Celia and Marco also managed to

escape from their fathers‟ game with that. The two ended up as ghosts and stay

at Le Cirque des Rêves, enjoying shows in the tents. Both may be said to have

died, but actually, with their ghost form, they feel alive more than before.

There is also Bailey, a boy who is in doubt about his future. He does not

want to spend his life with only stay in the small town, take care of his father‟s

farm. In another side, Bailey willing to accept his grandma‟s request by going

to Harvard focuses on his education. He spent a lot of times arguing about this,

but his father keeps rejecting and said that Bailey will take over the farm.

Bailey always feeling sort of connected with Le Cirque des Rêves from

since his first came when he was eight. He decided to travel cities, follow the

circus after Le Cirque des Rêves finally come to his town after years. Leave his

hometown and his old lives—where he was stuck with farm and sheep. He

meets with fans of the circus that called themselves with Rêveurs.

Le Cirque des Rêves become an important part of the story. It is not only a

place where people might find entertaining or a place where Bailey can put his

full of admiration. Furthermore, the circus is part of the social culture, Le

Cirque des Rêves shows the phenomenon of anything that happens in the time

setting of the novel, namely; Victorian Era.

According to the paragraph above the writer feels attracted to know about

symbolic meaning that conveyed by Le Cirque des Rêves because it has

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different meaning and holds bigger idea. Therefore, the writer would like to

discuss more.

B. Focus of the Research

In accordance with the background of the study, this research focuses to

analyzes the meaning of Le Cirque des Rêves as a symbol that can be found in

the story and discover how that symbol related to the society using semiotics

theory by Roland Barthes.

C. Research Question

According to the research focus, the question of this research is; what are

the meanings of Le Cirque des Rêves as a symbol in Erin Morgenstern‟s The

Night Circus?

D. Objective of the Research

The objective of the research is to know the meanings of Le Cirque des

Rêves as a symbol in the novel of The Night Circus.

E. Significance of the Research

The significance of this research is to give significant information about

the study of the symbol with Semiotics Theory of Roland Barthes, especially

about the meaning of Le Cirque des Rêves in Erin Morgenstern's The Night

Circus novel. The writer also hopes this research can give a useful

contribution to the students of English Language and Literature Department,

State Islamic University (UIN) Syarif Hidayatullah Jakarta.

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F. Research Methodology

1. The Method of the Research

In the research of Resistance and Change: Analysis Symbol of Le Cirque

des Rêves in Erin Morgenstern's The Night Circus, the writer uses a literary

approach that is a systematic study of literature and methods for analyzing

literature,

The type of the research that used in this study is the qualitative

approach. The qualitative approach is used to analyze relationships in words

and sentences that make up certain meanings. The results of the analysis that

using a qualitative approach that is written in a descriptive-analytical.

Descriptive analysis is a type of research that puts forward the description

without any treatments to the object of the study (Kontour 105). Meanwhile,

qualitative research take advantage of its own researchers themselves as

collectors of data to obtain qualitative data about the meaning of Le Cirque

des Rêves as a symbol in Erin Morgenstern‟s The Night Circus.

To support this qualitative research, the writer does the literary study by

collecting necessary data from literature sources including books, journals,

and online journals.

2. Technique of Data Analysis

The Writer uses descriptive analysis techniques, through some steps.

First, by reading The Night Circus novel in a comprehensive manner to obtain

the core of data that relevant to the research. Second, the writer analyzing the

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data using Roland Barthes‟ Semiotics theory based on critical study and sharp

analysis of the qualitative data.

3. Research Instrument

The instrument of this research is I, as the writer itself, by reading the

novel The Night Circus carefully and identifies meaning from Le Cirque des

Rêves as the issue and also analyzes important and relevant quotations from

the novel to support the theory.

4. Unit of Analysis

The unit analysis of this research is a novel entitled The Night Circus, a

romance-fantasy novel, which was written by Erin Morgenstern. It was

published by Anchor Books on 2011.

5. Place and Time o the Research

The research started from the eight semesters of the academic year 2016-

2017, at the English Language and Literature Department, State Islamic

University (UIN) Syarif Hidayatullah Jakarta. The research is also conducted

at the library of Adab and Humanity Faculty and the main library of UIN

Syarif Hidayatullah Jakarta.

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CHAPTER II

THEORETICAL FRAMEWORK

A. Previous Research

After collecting data, the writer has found two previous researchers that

have similarities with this research. The previous researchers below are a

research of The Night Circus novel. Those are The Lady of The Rings: Female

Resistance, Female Containment, and The Magical Circus written by Zara T.

Wilkinson (2012) and Dreamers and Insomniacs: Audiences in The Night

Circus and Sleep No More written by Jennifer Flaherty (2014).

In the research of The Lady of The Rings: Female Resistance, Female

Containment, and The Magical Circus, Wilkinson comparing two novels with

circus-themed; Mechanique: A Tale of Circus and The Night Circus. She

found out that three female characters in Mechanique: A Tale of Circus

dancing girl, aerialist, and proprietor (all are members of Circus Tresauti) are

given space to rebel, surpass, or even reshape the society which restricts them.

On the other hand, The Night Circus’ female protagonist, Celia, does not have

an opportunity to resist because she is controlled by men around her,

specifically her father. The existences of Le Cirque des Rêves itself did not

help her because she ended up imprisoned in the circus which is controlled by

Marco. Celia described born with talent and have big power, but she does not

have the opportunity to find freedom from social constraints or the right to

choose. Even in the end, Celia thinks it‟s all fine.

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Meanwhile, research Dreamers and Insomniacs: Audiences in The Night

Circus and Sleep No More by Jennifer Flaherty focused on comparing the

audiences between Le Cirque des Rêves in The Night Circus and Sleep No

More. Sleep No More is a stage play by Punchdrunk, a British theater

company. It gains so much popularity they finally decided to brought their

production to the USA. In fact, Morgenstern also one of them who watched

Sleep No More when the show was held in the USA.

Flaherty argued that Le Cirque des Revês in The Night Circus’ fictional

world has similarities with Sleep No More, thus she writes that The Night

Circus is a narrative copy of Sleep No More. One of the famous visible is the

audiences. Sleep No More and The Night Circus give their audiences a space

to explore experiences after enjoying the show.

Audiences of Sleep No More create a small online community, where they

can share works related to Sleep No More, usually in the form of reviews,

critical essay, artwork, and even music. Insomniacs, the predicate for them,

also took pictures from their perspective and shared it via internet so everyone

has the opportunity to compare the experience. This is similar to what was

done by Rêveurs, fans of Le Cirque des Rêves in Morgenstern‟s novel The

Night Circus.

Rêveurs said has strong bound with Le Cirque des Rêves, so in the end,

they create a small community where they can know each other with only

seeing their outfit. Several Rêveurs that have the capability in finance or

connection will always strive to come to the place where the circus rumored to

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appear, meanwhile, the rest of them should satisfy by waiting for the circus

until they appear nearby.

From both previous researches, the writer can assume that all of them are

comparing The Night Circus with other works although they have different

focuses. First research is focused on how female characters placed,

meanwhile, the second research is mainly talking about the audiences.

However, this study is slightly related to the first previous researches but this

research will treat Le Cirque des Rêves as a symbol and analyze its meaning

from both performance and the fans‟ perspective.

B. Theoretical Framework

The writer uses semiotics approach to identify the sign and its meaning.

There are several semiotics theories which are widely known, some of them

are Pierce theory which is stated that a sign is “a representamen” (Moretin 71)

and Saussure‟s which claimed that a sign is “a concept and a sound-image”

(Hoed 28). There is also Roland Barthes that develops Saussure‟s theory. He

is more focused on social and culture than Saussure‟s, and through his theory,

he proves that a sign could show social phenomenon in a society because the

interpretation of the sign is dependents on user‟s reference and background.

The writer herself analyzes the sign and try to identify social

phenomenon that happens in the text to find the appropriate meaning

conveyed by a sign. So, in order to answer the research question, the writer

would like to use Roland Barthes‟ Semiotics theory.

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1. Semiotics of Roland Barthes

a) Denotation and Conotation

Semiotics comes from Greece semeon, means „sign‟. Since the

beginning, human always tried to fine and define something around

them. This means that, for them, something at their surrounding has its

own meanings which is deeper from their looks, therefore they

thought they must interpret them (Hoed 5). The thing they thought

should be interpreted is called sign. So, semiotics is science that is

studied sign.

Roland Barthes is a French theorist, literary philosopher, linguist,

critic, and semiotician. He was born in Cherbourg, France, November

12, 1915. He is known for influencing the development of semiotics

and structuralism. His semiotics or semiology theory is a derivative

from the language theory of Saussure.

Saussure expressed four concepts, they are langue-parole,

signifiant-signifié, syntagmatic and paradigmatic relation, and

synchronic and diachronic axes. These Saussure‟s concepts then

developed by Roland Barthes. He develops structuralism through

connotation, which is „how meaning can “develops” depending on

sign‟s user‟ (Hoed 30). Quoted by Chandler in his Semiotics The

Basic, Barthes declared that „semiology aims to take in any system of

signs, whatever their substance and limits; images, gestures, musical

sounds, objects, and the complex associations of all of these, which

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form the content of ritual, convention or public entertainment: these

constitute, if not languages, at least systems of signification‟.

Barthes also uses signified and signifier in his theory. Signified is a

sound-image, the signifier is a language concept, and the sign is the

relation between signified and signifier that provides a new meaning.

The theory of Roland Barthes talks about the conotation and

denotation. Those terms are used to describing the relationship

between the signifier and it‟s signified (Chandler 90).

Denotation is the literal meaning of the sign. It is the first-ordered

of the signification system. It‟s also called a dictionary meaning. For

example, flower in Oxford Dictionary Online is the seed-bearing part

of a plant, consisting of reproductive organs (stamens and carpels) that

are typically surrounded by a brightly colored corolla (petals) and a

green calyx (sepals). In order term, denotation is what an image

actually shows and is immediately apparent, rather than the

assumption of a reader may make about it.

Meanwhile, the connotation is the second-ordered of signification

ordered and described as more socio-cultural of the sign. Barthes

stated in Elements of Semiology that “connotation comprises

signifiers, signifieds, and the process which unites the former to the

letter (signification).” The signifiers of connotation, he also stated in

the same book, are made up of signs (signifier and signified united) of

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the denoted system. As for the signified connotation describe as more

general, because it is very close to cultural, knowledge, and history.

The schemes of the semiotics of Roland Barthes may seen below:

Theory signification of Roland Barthes, taken from Chandler (1999)

The application of this schemes may seen from the example below for

details;

Theory signification of Roland Barthes, taken from Chandler (1999)

Signifier

Signified

Signifier

Signified

Sign

1. Signifier

(E1)

Flower

2. Signified

(C1)

The seed-bearing

part of a plant,

consisting of repro-

ductive organs (sta-

mens and carpels)

that are typically

surrounded by a bri-

ghtly colored co-

rolla (petals) and a

green calyx

(sepals).

3. Sign (Meaning)

I. Signifier (E2)

A part of the plant usually given to the

loved one.

FORM

II. Signified (C2)

Affection

CONCEPT

III. Sign

Affection

SIGNIFICATION

Secondary sign

system

(Conotation)

Denotation

Conotation

Primary sign system (Denotation)

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From the signification above, the word flower symbolizes affection. The

first signification or denotative meaning of the flower is the seed-bearing part

of a plant, consisting of reproductive organs (stamens and carpels) that are

typically surrounded by a brightly colored corolla (petals) and a green calyx

(sepals). Then, the second signification or connotative meaning of the flower

shows the sign of affection. Someone usually gives a flower to show their

affection towards other.

In this research, the writer assumes that the existence of Le Cirque des

Rêves in Erin Morgenstern's The Night Circus is not merely an object with no

meaning, but a sign and aimed to bring larger meaning. The writer will use

Roland Barthes‟s semiotics theory on connotation concept to establish the

meaning of Le Cirque des Rêves as a sign.

Le Cirque des Rêves is a fictional circus created by Erin Morgenstern in

her novel The Night Circus, though Morgenstern using real world as setting

and also using the late victorian era which is also time when circus began to

grow in Europe and America, so the social conventions that found in the text

is an agreement that existed in that era.

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CHAPTER III

RESEARCH FINDINGS

Novel is one of literature in the form of prose which is said to be the

most recent form when compared with poetry. As a differentiator from other

forms of literary works, novels usually have a whole story that forms a

chronology, character, theme, setting, and the message the author wishes to

implicitly imply (not mentioned directly, tends to be so vague that the reader

himself must specify the message) or explicitly (mentioned directly by the

author). In addition, the novel itself is also full of symbols that have a deeper

meaning than it seen.

As a work of literature, the novel also contains thought of the author and

can also be a reflection of what happens in society. Novels record social

phenomenon that exist in one place or one time until it can be said if a novel

is a miniature of the life of society, although what in it is often filled by

fiction. Sometimes, a novel becomes the media of a writer to criticize certain

phenomenon or even a system that is running in society.

In this chapter, the author discusses circus as a symbol in Erin

Morgenstern's The Night Circus novel. As mentioned in the first chapter, the

circus has been part of the culture of society since it first flourished in

Europe. This makes the circus raised a theme in a variety of films and novels,

described as one of the entertainment venues that attract many visitors.

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According to Merriam Webster Dictionary Online, 'circus' has two

definitions. The first definition is a large arena enclosed by tiers of seats on

three or all four sides and used especially for sports or spectacles (such as

athletic contests, exhibitions of horsemanship, or in ancient times chariot

racing). Meanwhile, the second definition is an arena often covered by a tent

and used for variety shows, including wild animal acts, and performances by

clowns. However, in the novel The Night Circus the author finds that the

circus there, Le Cirque des Rêves, has another meaning that is more than just

a place to have fun or watch a show.

Below is an attempt by the writer to analyzes Le Cirque des Rêves as a

symbol in Erin Morgenstern's The Night Circus novel, using semiotics theory

of Roland Barthes.

A. Symbolic Meaning of Le Cirque des Rêves in The Night Circus Novel

Resistance is “a change-oriented process that follows certain stereotyped

sequences of behaviors. These sequences are promulgated by intentional

actors who cue cultural forms (rituals) in order to guide interaction (McFarlan

249).” Resistance is often found in the community. Its occurrence is

sometimes followed by larger movements if it involves many people, such as

the revolution, and ends up in a change in society. However, some of the

resistance can also be smaller and individual, and the effect is smaller.

Vintage and Johanson quotes one of Michel Foucault's famous phrases;

“When there is power, there is resistance.” Which means, resistance occurs

when there is the power that drives the community. Therefore, resistance can

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also be a sign of the presence of an influential power in society. And as what

McFarlan quoted from Turner and McLaren, “Serious acts of resistance

attempt to change the social order” and also potentially becomes “turning

points in social situations where the social order gets deconstructed, debated,

and reformed.”

Taking the background of the late 1800s, The Night Circus' novel focuses

on the existence of a fictional circus named Le Cirque des Rêves. Basically, a

circus is a form of mass entertainment and is one of many favorite forms of

entertainment in the Victorian Era. Circus became a legitimate business in

Europe and America since the late of the eighteenth century (Bouisaac 12)

and evolved until now. However, in this novel, the circus existence is

represented by Le Cirque des Rêves which was introduced as a circus with

different characteristics. Le Cirque des Rêves is introduced in the novel as a

mysterious circus that only opens at night and comes with no single mention,

which is rare to find a mass entertainment such as a circus performing

without a flyer or advertisement because, as mentioned in the previous

paragraph, in addition to being an entertainment venue, the circus is also a

business. Meanwhile, advertising is one thing that is usually used for business

people to introduce the products they offer to the people.

Apart from the mysterious labels and way of coming and unusual

opening hours, Le Cirque des Rêves also carries an unusual circus form,

where the circus tent is not consists of a large circle, but a collection of small

tents which are formed in circles with silver bonfires as the center

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(Morgenstern 7). In this case, we can see if Le Cirque des Rêves carries a new

concept that has never been found before in society, or perhaps they only

found a new way to presented the entire show, so everyone found it as a fresh

concept. And because of the novelty that the circus brings, Le Cirque des

Rêves can easily lure many visitors and gains popularity.

Because bringing new aspects from the presentation of attractions to the

way they are present to society, Le Cirque des Réves, besides being a new

form of entertainment, also symbolizes resistance. This is explained in the

following paragraphs;

“It was like nothing he had ever seen. The lights, the costume, it was all so

different. As though he had escaped his everyday life and wandered into another world. He had expected it to be a show. Something to sit in a chair and work. He realized quickly how wrong he was. It was something to be explored (Morgenstern 61).”

The paragraph above is a description of Le Cirque des Rêves from

Bailey‟s point of view, a boy from Massachusets who first entered to the

circus. Based on the paragraph also, it is said that Le Cirque des Rêves gives

impression as the visitors 'escaped' and 'wandered' into 'another world'.

„Escaped‟ according to Webster Online Dictionary means to get away (as

by flight) and to get free/break away from something. In relation to the text,

the author describes Le Cirque des Rêves taking his visitors away, all of a

sudden, dramatic, from their place of origin and the whole burden of their

daily routine. Meanwhile, in a connotative way, it can be interpreted that Le

Cirque des Rêves brings its visitors to escape from the shackles. Daily

routines carry exhausting pressures and responsibilities. Sometimes, the rules

of society require people to obey to remain part of them, without giving any

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choice. Therefore Le Cirque des Rêves provides space for visitors where they

are no longer tied to all that burden them.

„Wandered‟ according to Webster Online Dictionary means to move

about without a fixed course, air, or goal. In relation to the text, the author

describes Le Cirque des Réves, besides making all his visitors seem to escape

from their daily routine, also saying that the circus brought them wandered

into a world that they have never seen before (Le Cirque des Rêves itself).

Connotatively, this means Le Cirque des Rêves tells visitors to come to new

places, leave their places of origin, and then go on an adventure without

specifying a destination. Indeed, aside from being a way of liberating oneself,

the adventure opens the mind and expands one's view of something.

Meanwhile, „explored‟ in the sentence; “It was something to be explored

(Morgenstern 61)” according to Webster Online Dictionary is to travel over

(new territory) for adventure or discovery. In the text, it has been said that Le

Cirque des Rêves is not a regularly presented circus. Le Cirque des Rêves is a

collection of small tents arranged in a large circle (Morgenstern 7), rather

than a large tent where the audience sits watching a show alternately

presented. Inside these small tents, Le Cirque des Rêves presents attractions

or rides that can be enjoyed by visitors. Because it consists of these small

tents, inevitably the audience must enter them one by one to enjoy the show

in it. Of course, to provide clues, there are signboards mounted in front of the

tent so that visitors may consider entering or passing by and switching to

another tent. Connotatively, Le Cirque des Réves is a critique of a rule that

20

forces people to comply, without giving them a chance to choose what they

think is good for them or not. One should be given the opportunity to choose,

instead of being forced to follow certain rules. In the story, those meanings

may be found in Bailey‟s story.

Bailey is a child living in Massachusets. He is the youngest son and only

son owned by his family. Bailey first knew about Le Cirque des Rêves at a

very young age, and because it was so young that Bailey could only stare at

the circus from a distance. He has not been allowed there yet.

“At the age of not quite six, he was not allowed to visit the circus. his parents

deemed him too young, so he could only stare from afar, enchanted, at the tents and the

lights (Morgenstern 61).”

Only a few years later, his mother took Bailey to the circus for the first

visit. Their visit left a good impression on Bailey because that was the first

time Bailey had seen such a spectacular circus show.

“The night before had been Bailey’s first proper introduction to the circus. It was like nothing he had ever seen. The lights, the costume, it was all so different.

As though he had escaped his everyday life and wandered into another world. He had expected it to be a show. Something to sit in a chair and work. He realized quickly how wrong he was. It was something to be explored (Morgenstern 61).”

Bailey's high curiosity paid off with the spectacular Le Cirque des Rêves

show. This leaves Le Cirque des Rêves with such a great and deep impression

on Bailey, as a first-come visitor. Even if not reminded by the mother, Bailey

was reluctant to go home and wanted to stay there.

“Everything was magical. And it seemed to go on forever. None o the pathways

ended, they curved into others or circled back to the courtyard. He could not properly describe it afterward. He could only nod when his mother

asked if he had enjoyed himself. They did not stay as long as he would have liked. Bailey would have stayed all

night if his parents had let him, there were still so many more tents to explore. But he

was ushered home to bed after only a few hours, consoled with promises that he would

21

go back the next weekend, though he anxiously recalls how quickly it disappeared

before. He ached to go back almost the moment he walked away (Morgenstern 62).”

And since he did not want to part with Le Cirque des Rêves, the young

Bailey did not mind accepting the dare from his sister, Caroline, to get into

the circus during the day—which is clearly prohibited, because visitors are

allowed to enter Le Cirque des Réves starting at night only.

“Bailey’s dare,” she starts, making it his own and no one else’s, binding him to it.

He begins to feel uneasy before she even says what the dare actually consists of. She

pauses dramatically before declaring: “Bailey’s dare is to break into the Night Circus

(Morgenstern 60).” “He wonders if he accepted the dare, in part, to return to the circus sooner

(Morgenstern 62).” “[. . .] There is a complicated-looking lock holding the gates shut, and a small

sign that reads: Gates Open at Nightfall & Close at Dawn In swirly lettering, and under that, in tiny plain letters: Trespassers Will Be Exsanguinated (Morgenstern 63).”

Bailey takes the challenge from his sister and enters the circus. There, he

meets Poppet, the daughter of a big cats tamer from the circus, who helps

Bailey out of the area and gives him a handkerchief to give to Caroline as

proof that he has been there by day. In the end, Bailey decided to infiltrate Le

Cirque des Rêves in the afternoon as a secret and lie to Caroline.

“While he cataloged each element of the circus in shaky handwriting, he could not

manage to record his encounter with a red-haired girl. He never told anyone about her

(Morgenstern 115).” “His mother mentions the circus, or more specifically, the influx of people it will

bring. Bailey expects the silence to fall again, but instead Caroline turns to him. “Didn’t we dare you to sneak into the circus the last time it was here, Bailey?”

Her tone is curious and light, as though she truly does not remember whether or not

such a thing occurred. “What, during the day?” his mother asks. Caroline nods, vaguely. “Yes,” Bailey says quietly, willing the uncomfortable silence to return. “Bailey,” his mother says, managing to turn his name into a disappointment-laced

admonishment. Bailey is not certain how it is his fault, being the daree and not the

darer, but Caroline responds before he can protest. “Oh, he didn’t do it,” she says, as though she now recalls the incident clearly. Bailey only shrugs (Morgenstern 136-137).”

22

After the experience of entering the circus during the day and his

encounter with Poppet, Bailey became more and more difficult to part with

Le Cirque des Rêves. Even though years had gone by, Bailey still wanted to

visit the circus.

Entering the adult Bailey, her father and grandmother argued about

Bailey's future. The father wanted Bailey to take care of the farm and sheep,

while the grandmother told Bailey to go to Harvard and study the economy

there. Bailey himself, though not interested in learning, but did not mind to go

to Harvard. Because then, he can go from his hometown. Bailey was

intrigued to go elsewhere and venture out to discover new things. He refused

to live in a monotonous hometown. There are only an apple orchard and

sheep to be shepherded there. For Bailey, this is too predictable and boring.

However, his father did not give Bailey a chance to speak.

“The arguments over Bailey’s future began early and occur frequently, though at

this point they often devolve into repetitive phrases and tense silences (Morgenstern

109).” “Then came the response from Cambridge, the grand-motherly decree that this

was acceptable, but Bailey would be going to Harvard, of course. [. . .] The arguments started before Bailey’s opinion was even asked. “I would like to go,” he said, when there came a pause long enough to fit the

words in. “You are taking over the farm” was his father’s response (Morgenstern 110).” “Bailey is not even certain he wants to go to Harvard. He does like the city more

than Caroline, and it seems to him to be the option that holds the most mystery, the most

possibility. Whereas the farm holds only sheep and apples and predictability. He can already envision how it will play out. Every day. Every season. When the

apples will fall and when the sheep will need shearing and when the frost will come. Always the same, year after year. (Morgenstern 110-111)” “But he valiantly continues to debate with his father on a regular basis. “Doesn’t my opinion matter?” he asks one evening before the conversation

escalates to door slamming. “No, it does not,” his father answers (Morgenstern 112-113).”

23

The number of fights made Bailey so lazy to go home. He began to look

for an escape. After school, he will take the longest route or even stop by

anywhere else. Bailey most often went to an oak tree where he and his sister

used to climb over when they were younger. From there anyway, the young

Bailey used to stare at Le Cirque des Rêves.

“Bailey begins spending a great deal of time outside of the house. School does not take up as many hours as he would like. At first he works more, in

the far rows of the orchards, choosing the farthest points from wherever his father

happens to be. Then he resorts to taking long walks, through fields and woods and cemeteries. He wanders past graves belonging to philosophers and poets, authors whose

books he knows from his grandmother’s library. And there are countless other

headstones engraved with names he does not recognize, and more that have been so

worn by time and wind that they are illegible, their owners long forgotten. He walks with no particular destination in mind, but the place he ends up most

frequently is the very same oak tree he so often sat in with Caroline and her friends

(Morgenstern 113).” “During the hours spent watching the sheep as they wander aimlessly around their

fields, he even wishes that someone would come and take him away, but wishes on

sheep appear to work no better than wishes on stars. He tells himself that it is not a bad life. That there is nothing wrong with being a

farmer. But still, the discontent remains. Even the ground beneath his feet feels

unsatisfying to his boots. So he continues to escape to his tree (Morgenstern 113-114)”

In the midst of his hesitancy for the future, Le Cirque des Rêves returns

to Bailey's hometown. And with the arrival of Le Cirque des Rêves, he met

Poppet on their second encounter. Poppet offered Bailey to go with them and,

after careful consideration, Bailey finally dared to see this as an opportunity

to escape the boring life he had in Massachusets, also from quarrels with his

father, then decided to leave home with Le Cirque des Réves.

“You have been acting like a baby all week,” Caroline says, raising her voice but

keeping it a hissing whisper. “Playing at that stupid circus, staying out all night. Grow

up, Bailey.” “That is precisely what I’m doing,” Bailey says. “I don’t care if you don’t

understand that. Staying here won’t make me happy. It will make you happy because

you are insipid and boring, and an insipid, boring life is enough for you. It’s not enough

for me. It will never be enough for me. So I’m leaving. Do me a favor and marry

someone who will take decent care of the sheep (Morgenstern 374).”

24

From the whole story about Bailey above, it appears that Le Cirque des

Rêves is not just a place of entertainment, but also symbolizes resistance. Le

Cirque des Rêves brings a new perspective on Bailey's life. From Le Cirque

des Rêves, Bailey first sees something new, where there is a bit of pounding

in his normally peaceful and lonely hometown, where life goes too flat there.

This led Bailey's desire to leave home and discover things he had never seen

before. This desire also makes Bailey dare to defy his father's decision by

leaving home. This meant that Bailey had rejected all the bonds his father had

given him, then freed himself by going with Le Cirque des Rêves to a new

place. Therefore, from the above paragraph, it can be concluded that Le

Cirque des Rêves is a symbol of resistance.

Resistance in society can occur in all areas. It can also occur on a small

or massive scale, depending on how many people are involved in it. Le

Cirque des Rêves itself symbolizes the resistance that occurs in several lines

namely; social class, and gender female resistance. The relation will be

explained below.

1. Social Class Resistance

Le Cirque des Rêves, as agreed above, can serve as a symbol of resistance.

The circus as a entertainment is a place where communities gather together,

without strata, and get their right to have fun—which is somewhat hard to

find because Victorian people of the era, as the timeline used in the novel,

embrace the class system strongly.

25

In the Victorian era, the industrial revolution and rapid economic

development that occurred formed the society into classes namely; upper

class, middle class, and working class. Upper class traditionally people with

inherited money, the wealthiest minority in the country. Includes some of the

respected and oldest families, many of them are titled aristocrats, middle-

class yang is the vast majority of the population of England. This class

includes managers, politicians, industrialists, professionals and shop owners,

and also working class that is people who are agricultural, mine and factory,

and also unskilled workers (The Class System).

The division of society into existing classes has become an identity for

Victorian society. In fact, in those days, even the way a person dressed could

display the label from which social class that person comes from.

Automatically, this affects their lives and forms a new culture, from where

they are and what positions they work to something smaller like the way they

spend their free time. As a result, there are also several types of entertainment

facilities at that time.

There are several means of mass entertainment that interested the

Victorian community namely; opera, theater, and carnival. Opera houses are

usually filled with upper classes because they are more exclusive than some

other entertainments, while theater with performances and carnival is more in

demand by middle class and working class. Shakespeare's works became the

most viewed show, Victorian never get tired from Shakespeare. Even so, not

everyone can watch theatrical performances, because the theater was not

26

available in every city in that time. People who can not watch forced to see

the news in the morning paper.

In this novel, the division of social classes can be found in two

characters. The first, representing the upper class is Herr Friedrich Thiessen.

Meanwhile, the representative of the middle and worker class is Bailey.

Herr Friedrich Thiessen is in the upper class. In addition to the name

'Herr' which shows the nobility, he is also a clockmaker with a good

reputation, even already has his own gallery in Munich. He has made many

works admired by many people and able to make his name heard by Mr.

Barrish who is an engineer and architect, someone with a very contrast

profession from him. As shown in the quote below.

“Herr Friedrick Thiessen receives an unexpected visitor in his Munich workshop,

an Englishman by the name of Mr. Ethan Barris. Mr. Barris admits that he has been

attempting to track him down for some time after admiring several Thiessen-crafted

cuckoo clocks, and was pointed in the right direction by a local shopkeeper

(Morgenstern 87).”

Meanwhile, Bailey is just an ordinary boy growing up in Massachusets.

His father owns an apple plantation and also has sheep, but is taken care of by

himself. Bailey's status places him between the middle and working classes.

Here, as a means of entertainment, Le Cirque des Rêves moves with great

flexibility. Unlike opera and theater which are displayed in a permanent

building, Le Cirque des Rêves can reach many places because of its nomadic

nature. As indicated in the paragraph below;

“The circus moves from place to place every few weeks, with the occasional

extended break, and no one truly knows where it might appear until the tents are

already erected in a field in a city or the countryside, or somewhere in between

(Morgenstern 181).”

27

Being a nomadic circus and moving from a place to another places in

every show means Le Cirque des Réves can also reaches audiences from

various regions—even the various citizens. When stopping in urban areas,

they will find visitors who are middle workers or even upper classes. While

stopping at the countryside, their visitors include simpler people like farmers,

ranchers, or landowners. There is no boundary of the limiting class, which

raises the mind of who is worthy of the show and who does not. Architects,

journalists, or even farm children allowed to enter. This flexibility can also be

found from how the author describes Le Cirque des Réves in the following

paragraphs;

“Every element of the circus blends together in wonderful coalescence. Acts that

have been training on separates continents now perform in adjacent tents, each part

melding seamlessly into a whole. Each costume, each gesture, each sign on each tent is

more perfect than the last (Morgenstern 119).”

Above is a paragraph when Bailey, one of the characters, entered Le

Cirque des Rêves again years after the circus went. The author, through

Bailey's point of view, illustrates that the perfection of Le Cirque des Réves is

formed from many well-knit elements. The keywords in the paragraph above

are „blends‟ and „melding into a whole‟.

„Blend‟ according to Webster Online Dictionary is to combine or

associate so that the separate constituents or the line of demarcation cannot be

distinguished, to combine into an integrated whole. In relation to the text, Le

Cirque des Réves is composed of many elements. The member is taken from

various places, some are selected through auditions. People who arrange the

concept of this circus come from different backgrounds; a theater producer,

28

an engineer, an architect, a former actress and dancer who later ended up as a

business consultant, to an ex-ballerina (Morgenstern 69-77). Ideas and

concepts that come from people of different backgrounds enable them to form

Le Cirque des Réves with a diverse outlook. Different ideas and concepts are

then organized by them, arranged in such a way that the concepts become a

unified unity and can be well enjoyed by visitors. The significance of the

connotation is about the universality of Le Cirque des Rêves. The abundance

of concepts that harmoniously blend makes Le Cirque des Rêves has no

dominant properties anywhere. All concepts are burned in the right size so the

visitor would not find an element that is too flashy or too dull. This balance

makes Le Cirque des Rêves suitable to be enjoyed by diverse people and ages.

Meanwhile, „melding‟ according to Webster Online Dictionary is to

declare or announce (a card or combination of cards) for a score in a card

game especially by placing face up on the table. In relation to the text, it

illustrates how every concept and attraction is presented with an amazing

harmonization. The significance of the connotation, that all that every single

thing in Le Cirque des Rêves is an inseparable unity. This is related to how Le

Cirque des Réves sees all the things in it as unity. All have complementary

functions and roles. No privileges, everything is equally important.

From the above explanation, we can conclude that Le Cirque des Rêves is

universal. This circus has no divider that distinguishes visitors from the

upper, middle, or lower strata in enjoying the show. Social classes do not

29

matter there. In the story, this is shown by two characters of different

backgrounds; Herr Thiessen and Bailey.

Although Bailey and Herr Thiessen come from different classes, they get

the same treatment. Some circuses may have special seats for the important

ones (Davis 32) thus retaining the existing social hierarchy, but Le Cirque des

Rêves does not have this. All the spectators are allowed into the tent and sit

wherever they like. They do not have tents, roads, or chairs dedicated to

certain groups and even greet visitors in the same way. There is no something

called VIP thing on Le Cirque des Rêves. This is evidenced by the quotation

below;

“[ . . . ] He keeps his eyes on it as he waits in line, (Morgenstern 155)”

“Bailey finds a spot to stand within the crowd. He waits, watching the closed iron gates, wondering if the circus will be different than he remembers (Morgenstern

138).”

The two quotes above show how Herr Thiessen (first quote) and Bailey

are both standing and waiting to get inside Le Cirque des Rêves. This is also

an implication if Le Cirque des Réves does not provide a special entrance for

the aristocrats or the things that privilege visitors who are in certain classes.

As described earlier, Le Cirque des Rêves treats all things, be it visitors or

viewers, as a whole. Nothing really matters until you forget the others. All

visitors, though their social classes are equal.

Equal treatment is also shown in the absence of a person who knows

where the circus's destination is going or how long Le Cirque des Rêves will

settle in one place, as cited in the paragraphs below.

30

“There are those who have the means, and even some who do not but creatively

manage anyway, to follow the circus from location to follow the circus from location to

location. There is no set itinerary that is public knowledge (181).”

As entertainment emerges in society, the circus becomes part of the

culture and grows together. The existing performances are often changing to

adjust to the existing conditions of society. Le Cirque des Rêves, though a

fictional circus, can also be a reflection of a society's culture. Through the

above explanation, it is known that Le Cirque des Rêves is a symbol of social

class resistance.

Le Cirque des Rêves as a symbol of social class resistance means the

circus symbolizes opposition or thought contrary to the existing social order.

In this case, Le Cirque des Rêves criticized the class order that was formed in

the society, in which the joints of life were organized in a strict social class.

The aristocrats stand above and enjoy the elitist's special entertainment, while

the working class is not entitled to enjoy. Le Cirque des Rêves itself exists as

a symbol against the assumption an entertainment only can be enjoyed by

certain circles. Social classes do not deserve to limit a person's enjoyment.

2. Female Gender resistance

Le Cirque des Rêves is also one form of criticism of the restrictions on

the role of women in the Victorian era. Kara L. Barret quoted from Gallagher

in her thesis; “In Victorian society, women were treated as secondary citizens

to men. Whatever their social rank, in the eyes of the law women were

second-class citizens.” Working-class women held many positions, but they

were not paid the same wages as their male co-workers (even if their

production numbers were higher and their product was of better quality).

31

Middle and upper-class life were different from the working class life. The

women of these upper classes had different job options and could even be

found being idle women (Barret). This is because in the Victorian era women

were only expected to give birth and take care of the household, not work.

This role limitation is also shown in the novel, in the dialog below;

“What’s this, then?” Chandresh asks, not directing the question at anyone in

particular. The girl does not respond. “This is number twenty-three,” Marco repeats, checking his notes to make certain

the number is accurate. “We’re auditioning illusionists, my dear girl,” Chandresh says, rather loudly, his

voice echoing through the cavernous space. “Magicians, conjurers, etcetera. No need

for lovely assistants at this time.” “I am an illusionist, sir,” the girl says. Her voice is calm and low. “I am here for

your auditions.” “I see,” Chandresh says, frowning as he looks the girl over slowly from head to

toe. She stands perfectly still in the center of the stage, patiently, as though she has

expected such a reaction. “Is there something wrong with that?” Mme. Padva asks. “I am not entirely sure it is appropriate,” Chandresh says, eyeing the girl

thoughtfully. (Morgenstern, 93-94).

This dialogue tells the situation in the audition to find an illusion to be

placed in Le Cirque des Rêves. Celia is the only female participant there

because the illusionist profession is mostly held by men. And so, Chandresh

is not amused by Celia‟s presence. Because he did not think Celia could and

was able to meet the criteria he was looking for. In this case, the figure of

Chandresh represents the Victorian population with conservative thinking—

prioritizing men to a certain profession. In the end, Chandresh's concerns are

not proven.

While on stage, no one in the audience was protesting about female

illusionists. In fact, Celia also received praise from several audiences for her

performances. This can be proven from the quotation below;

“The illusionist has made her entrance.

32

A few people, including Bailey, manage to applaud, while those who had

abandoned their seats return to them, looking both disturbed and curious (Morgenstern

143).”

The above paragraph shows that visitors do not object to the woman who

acts as an illusionist on stage. The absence of protests that came out caused

by the nature of the circus itself which is a place of entertainment. As long as

the visitors get what they want ie entertainment, then they will not care about

who is on stage. As stated by Parker, on his journal; Organizing The Circus:

Engineering of Miracle, “circus is a place for anomalies” and “a powerful

cultural representation of a form of otherness, of an irreducible strangeness.”

Therefore, Le Cirque des Rêves does not know the limits or norms in the

show and is free to flip back and forth what is unreasonably encountered in

daily life.

Le Cirque des Réves also made Celia gain the confidence to perform

freely on stage, something she had not always had in full since her father had

never given her proper appreciation since she was little. This can be seen

from the paragraph below.

“Celia expected to feel like a poor imitation of her father during her first

performances, but to her relief the experience is vastly different from the one she

watched so many times in theater after theater. The space is small and intimate. The audiences are modest enough that they

remain individual people rather than blending into an anonymous crowd. She finds she is able to make each performance unique, letting the response of the

audience inform what she chooses to do next.”

In the above paragraph, Celia is said to 'feel like a poor imitation of her

father'. Celia's father was known as Prospero The Enchanter, one of the

illusionists with a big name in the theater. As mentioned earlier, being a

woman makes people underestimated Celia‟s abilities. This is likely to make

33

her feel that people will not enjoy her show and this also makes her feel like

her father's imitation of a lower quality. However, being part of Le Cirque des

Rêves helps Celia to deal with it.

In addition to Celia, another female character who is described Isobel

Martin received similar treatment. Isobel is a woman who has an interest in

astrological symbols and can also read tarot. She met Marco first at a cafe in

London. They were involved in a conversation after Isobel read Marco's book

left on the table. Isobel said that he found a tarot card while reading Marco's

book, and confessed that he recognized it as The Whale of Fortune, one of the

major arcana cards in the tarot because Isobel also had her own tarot deck.

Marco finally asked permission to see the tarot deck. For more details, please

see in the quote below;

“Do you have your deck with you?” Marco asks. Isobel nods again. “I would very

much like to see it, if you don’t mind,” he adds, when she makes no move to take it from

her bag. Isobel glances around the café at the other patrons. Marco gives a dismissive

wave. “Don’t worry yourself about them,” he says, “ it takes a great deal more than a

deck of cards to frighten this lot. But if you would rather not, I understand (Morgenstern

42).”

From the above quote, it can be seen if when Isobel was about to show

her card to Marco, she felt reluctant. Tarot itself is a science that not everyone

has considered common and being a woman interested in such science makes

Isobel a bit awkward. This shows that Isobel is afraid of the view of the

person who considers his interest as a strange thing.

“Do you have your cards with you?” Celia asks. Isobel nods. “Would . . . would you like a reading?” she asks. “If you don’t mind.” “Not once have you ever asked me to read for you.” “I am not usually in the mood to know anything about my future,” Celia says.

“Tonight I am feeling a tiny bit curious.”

34

Isobel hesitates, glancing around at the clientele, a mostly bohemian crowd

sipping absinthe and arguing about art. “They will not even notice,” Celia says, “I promise.” Isobel turns her attention back to Celia, and then she pulls a deck from her bag;

not her black-and-white circus cards but her original Marseilles deck, worn and faded

(Morgenstern 199-200).”

Meanwhile, the above quote clarifies if Isobel still remains awkward to

show interest and her ability to read tarot in public. This is inversely

proportional to Isobel while at Le Cirque des Réves, which is indicated by the

quotation below.

“And what do you want?” the fortune-teller asks. “I don’t know,” Bailey says. She laughs in response, but in a friendly way, and it makes Bailey feel more at

ease, as though he is just talking to a regular person and not someone mysterious or

magical. “That’s fine,” she says. “We can see what the cards have to say about the matter

(Morgenstern 212).”

In the above paragraph, Isobel is shown having a guest named Bailey in

her performance tent. Isobel looks more relaxed than when she asked to read

a tarot for someone outside the circus. She even had a laugh at Bailey. This

indicates that Isobel is comfortably within Le Cirque des Réves when reading

tarot for others.

“I’m always amazed that no one recognizes me out of context,” Isobel says, “I’ve

read for a handful of people in this very room over the past few nights and not one of

them has so much as given me a second glance. Perhaps I do not look so mysterious

when not surrounded by candles and velvet. Or perhaps they pay more attention to the

cards than they do to me (Morgenstern 199).”

Meanwhile, the above paragraph is when Isobel and Celia were involved

in a conversation when Le Cirque des Réves was not operating due to the

storm. Isobel said that she still amazed that many townspeople she had read

the prophecy on the previous nights had not recognized her face at all. Even

so, at the end of the sentence, Isobel concluded that perhaps they were more

35

focused on watching her tarot cards rather than her face. This shows that in

the tent, the audience does not care whether the reading of tarot is female or

male. Visitors are more interested in how Isobel, as a fortune-teller, read the

cards they open. There is no awkwardness or the strange look Isobel receives

at Le Cirque des Réves.

This shows that Le Cirque des Réves provides a place for women to

climb onto the stage and show their skills, just like the men do. These kinds

of things are understood and regarded as entertainment. But more than

entertainment, this actually symbolizes equality. Describes that gender, age,

social class and even race are not important in the circus. Indirectly, Le

Cirque des Rêves is a place for performers to voice their mind.

With the above things, Le Cirque des Rêves can be regarded as a symbol

of resistance to the existing system in their environment. The anomalies

brought by the circus is actually destroying the existing order or norm.

Therefore, Le Cirque des Rêves is a potential place to use the freedom of

speech and show how they really are or a view of the world without fear of

being blasphemed. Therefore, Le Cirque des Rêves is a symbol of resistances

in the society.

3. Le Cirque des Rêves as a Symbol of Change

Discussing resistance also means discussing the movement of culture and

social dynamics. It has been described in the first sub-chapter if the coming of

Le Cirque des Rêves has given a new perspective to the character of a circus

performance; that the circus can appear in such a way and be flexible, in the

36

sense of not being bound by certain values and norms. Meanwhile, in this

chapter, the author discuss Le Cirque des Rêves which symbolizes the

changes that occur in society.

The first sign that shows Le Cirque des Rêves as a symbol of the changes

that occur in society is the following paragraph.

“The circus has arrived near London, the train creeping in just after nightfall

without drawing any notice. The train cars collapse, doors and halls sliding apart,

silently forming chains of windowless rooms. Canvas stripes unfurl around them,

uncoiled ropes snapping taut and platforms assembling themselves amongst carefully

draped curtains (Morgenstern 168).”

The above paragraph is a description of the arrival of Le Cirque des

Rêves in London by train. The key word to note in this paragraph is

'creeping'.

„Creep‟ according to Webster Online Dictionary means developing or

advancing by slow imperceptible degrees. In relation to the text, it is meant to

describe the train containing the circus members entering London area

without attracting attention. The connotation of this paragraph can be

interpreted more broadly. Circuses and trains are a new culture that flourished

in modern era. While the circus is a new form of entertainment, trains are

being made into modern transportation and are a choice for many people to

travel distant places. This could mean that, slowly, modernity swallowed

London, turning the city forward. Therefore, Le Cirque des Rêves can be

inferred as a symbol of change.

In addition to the above paragraph, the depiction of Le Cirque des Rêves

as a symbol of change is also derived from the paragraphs below.

37

“The sentence that holds his name is the particular one that has incensed M.

Levefre to the point of knife throwing. A single sentence, that reads thusly: “M.

Chandresh Christophe Lefevre continues to push the boundaries of the modern stage,

dazzling his audiences with spectacle that is almost transcendent.” Most of theatrical producers would likely be flattered by such a remark. They

would clip the article for a scrapbook of reviews, quote it for references and referrals. But not this particular theatrical producer. No, M. Chandresh Christophe Lefevre

instead focuses on that penultimate word. Almost. Almost (Morgenstern 55-56).”

The narration above tells about how Le Cirque des Rêves was first made.

Lefevre is the theater producer and owner of Le Cirque des Rêves. He has

held many shows and relies on reviews as a benchmark of how far he has

managed to design the show. However, in the last show he did, he got a

review that he found unsatisfactory. The review described Chandresh‟ show

as 'almost transcendent'. Therefore, in the end, he decided to call some people

and design Le Cirque des Rêves.

„Transcendent‟ according to Webster Online Dictionary means exceeding

usual limit, being beyond comprehension. In relation to the text, the person

who reviews Chandresh‟ show argues that the show has not been spelled out

perfectly, possibly could be better presented later in the day. The meaning of

the connotation, the show presented Chandresh not yet fully meet the

standards of society. Community needs can always change at any time.

Chandresh may have been a producer and made a lot of performances over

the years, but when the entertainment community standards change, the level

of satisfaction that Chandresh gets, by working as usual without considering

the changes, could have decreased. Which means it can no longer be used

because the audience's satisfaction with the show has diminished. As a result,

Chandresh must think again what he should do for the next show.

38

Review received by Chandresh can be considered as a sign that the

audience (the community) has a different standard of satisfaction. They need

something new or an improvement to be able to meet this. Le Cirque des

Rêves is present as a new fruit of Chandresh's thought, aiming to impress the

audience. In other words, Le Cirque des Rêves itself is a symbol of the

changes that exist in society.

The Victorian Era is recognized with some changes in values and ethics.

This was initiated by the industrial revolution that occurred at that time. The

industrial revolution made some changes in the social order, particularly in

the socio-economic field. Some of the changes that occur include the rise of

middle class.

As discussed in the first sub-chapter, Victorian society is locked in tight

social classes. Social classes also regulate the values and norms that apply to

them, even down to the smallest details such as how to dress or how to spend

free time. After hundreds of years ruled by the aristocrats, the middle class in

British society began to rise thanks to the industrial revolution (Hughes). This

is discussed through Bailey's character and can be seen through the dialogue

below.

“You have been acting like a baby all week,” Caroline says, raising her voice but

keeping it a hissing whisper. “Playing at that stupid circus, staying out all night. Grow

up, Bailey.” “That is precisely what I’m doing,” Bailey says. “I don’t care if you don’t

understand that. Staying here won’t make me happy. It will make you happy because

you are insipid and boring, and an insipid, boring life is enough for you. It’s not enough

for me. It will never be enough for me. So I’m leaving. Do me a favor and marry

someone who will take decent care of the sheep (Morgenstern 374).”

The dialogues above are about Bailey who is about to leave his house and

go with the circus. This is because Bailey feels it was not enough just to stay

39

home and take care of the apple fields and sheep, as instructed by his father.

During this time, Bailey did feel reluctant to settle in the hometown. Bailey

did not even mind when his grandmother telling him to go to Harvard, as long

as he could get away from home.

When Le Cirque des Rêves arrives, Bailey sees that the circus can give

him a chance to go and achieve something better than being a farmer. Thus,

Le Cirque des Rêves was used as a bridge for Bailey to change his social

class, who had been a peasant boy, became a worker in a circus—then rose

again as the owner of Le Cirque des Rêves.

Because Le Cirque des Rêves is a reflection of the society‟s changing—

by mean, this circus is created as a result of the shifting needs in society, as

the author has mentioned above— so this circus also provides an opportunity

for the people involved to change, in this case, it‟s Bailey. He starts to climb

the social ladder.

Meanwhile, Caroline, Bailey's elder sister who does not use Le Cirque

des Rêves to make a move is considered as person who will not change. In the

revival of the middle class, „people who didn‟t rise in the world were

assumed to be fault. They were seen to be lazy, extravagant or proud and

therefore responsible for their own poverty‟ (Hughes).

As stated by Paul Bouissac, a scholar who has written extensively on

semiotics in the circus, in his essay Timeless Circus in Times of Change, “all

cultural events, and particularly the performing arts, are grounded not only in

popular tradition and historical societal forms, but also in human physiology

40

and psychology as both have evolved over hundreds of millions of years

through natural selection. In this case, the circus which is a place of

entertainment and a part of the culture of a society is also born from various

events in the community. The circus is made up of different human cultures.”

Being a symbol of change, with its flexible nature, Le Cirque des Rêves

indicates its presence has sparked a person on a social ladder. Things that

were not previously possible because the gap between classes in the Victorian

era is so firm. This is the effect of resistance, in which a society eventually

finds a turning point in social order. Therefore, it can be concluded if Le

Cirque des Rêves describes the change in society.

41

CHAPTER IV

CONCLUSIONS AND SUGGESTIONS

A. Conclusions

After having summarized Analysis Symbol of Le Cirque des Rêves in Erin

Morgenstern‟s The Night Circus, it concludes that Le Cirque des Rêves

symbolizes resistance and change, seen from denotative and connotative

Barthes. Resistance itself triggers a change in society.

Le Cirque des Rêves is not a circus in the real world. It's a fictional circus

in a fantasy genre novel. However, beyond all the applied magic, Le Cirque des

Rêves is no different from the real-life circus. As a place of entertainment that

brings abnormalities and peculiarities, Le Cirque des Rêves is the perfect place

to voice opinions that can not be excluded in ordinary conditions. The voice is

usually associated with social criticism and delivered through the show.

Therefore, Le Cirque des Rêves is a potential place where resistance occurs.

In this study, the writer found that Le Cirque des Rêves symbolizes

resistance in some lines of life. The first is social class resistance. Le Cirque

des Rêves is present as a place of entertainment that reaches many people and

has treated visitors equally, without dividing social classes. Le Cirque des

Rêves is a form of criticism of the social class order that exists in society

because social classes limit the way people get entertainment while

entertainment itself should be universal.

42

The second, Le Cirque des Rêves as a symbol of the female gender

resistance. The female character in the novel, represented by a character

named Celia, gets a restriction on the profession she wants to take. In this

case, Celia is underestimated by Chandresh for coming to an audition for an

illusionist position, simply because the illusionist profession is usually held

by men. By being in Le Cirque des Rêves, Celia can demonstrate her abilities.

The same thing is happening to Isobel. Outside Le Cirque des Réves, Isobel

always felt uncomfortable reading tarot cards to others. But being part of Le

Cirque des Réves made Isobel found a special place to show his abilities. The

opportunity given to Celia and Isobel was as great as the men. In other words,

Le Cirque des Rêves is a symbol of the female gender resistance. The women

climbed to the top and rebelled against the stigma of society who thought

they would not be able to perform a show perfectly. Le Cirque des Rêves

gives female characters, in this case, Celia and Isobel, a space to prove

themselves and their abilities.

Meanwhile, resistance itself leads to change. Le Cirque des Rêves also

symbolizes the change. From the very beginning, Le Cirque des Rêves,

designed as an innovation in the entertainment world, is a form of self-change

and the way society changes in entertainment. Furthermore, the existence of

Le Cirque des Rêves provides an opportunity for Bailey to climb the social

ladder that had been so dense. Thus, Le Cirque des Rêves symbolizes the

resistances and changes.

43

B. Suggestions

After conducting this research, the writer would like to give some

suggestion: First is to all of the students of Faculty of Letters to read many

kinds of literary works like novels, short stories, etc because it can help us to

know more about literature and increase our ability in analyzing.

Second is to next research based on The Night Circus novel, the

researcher can analyze the characterization in this novel because while

making this research, the authors found that the characters in The Night

Circus symbolize a particular phenomenon in society. If the next researcher

wants to reanalyze this research, the writer suggests adding the source of data

and theories.

44

BIBLIOGRAPHY

BOOKS

Allen, Graham. Roland Barthes. 1st ed. London: Routledge. 2003. E-book.

Bouisaac, Paul. Circus as Multimodal Discourse: Performance, Meaning, and

Ritual. 1st ed. Great Britain: Bloomsbury Academic. 2002. E-book.

Chandler, Daniel. Semiotics The Basics. Second edition. Taylor & Francis

e-Library. 2007. E-book.

Davis, Janet M. The Circus Age: Culture and Society Under the American Big

Top. United States of America: The University of North Carolina Press.

2002. E-book.

Hoed, Benny H. Semiotik dan Dinamika Sosial Budaya: Ferdinand de Saussure,

Roland Barthes, Julia Kristeva, Jacques Derrida, Charles Sanders

Peirce, Marcel Danesi & Paul Perron, dll. 1st ed. Depok: Fakultas

Ilmu Pengetahuan Budaya (FIB) UI Depok. 2007.

Juan Magariños de Moretin. Semiotics of the Edge, trans. Giovanna Winckler.

_______ E-book.

Kontour, Rony. Metode Penelitian untuk Skripsi dan Thesis. Jakarta: PPM, 2005.

Print.

Morgenstern, Erin. The Night Circus. 1st ed. United States: Anchor Books. 2011.

Print.

JOURNALS

Barett, L. Kara. “Victorian Women and Their Working Roles.”

http://digitalcommons.buffalostate.edu/cgi/viewcontent.cgi?article=1009&

context=english_theses. Web. 24 November. 2017.

Bouissac, Paul. “TIMELESS CIRCUS IN TIMES OF CHANGE.” Web. 18

October 2017.

44

Fadaae, Elaheh. “Symbols, metaphors and similes, in literature: A case study of

“Animal Farm.” Journal of English and Literature 2.2 (February 2011):

19-27. http://academicjournals.org/ijel. Web. 18 October. 2017.

Flaherty, Jennifer. “Dreamers and Imsoniacs: Audiences in Sleep No More and

The Night Circus.” Comparative Drama 46.1 (Spring 2014): 135-154.

JSTOR. Web. 30 August. 2016.

Huey, Rodney. A. “An Abbreviated History of The Circusin in America.” Web.

18 October. 2017.

Johanson, Anna. Vinthagen, Stella. “Everyday Resistance: Exploration of a

Concept and Its Theory.” Resistance Studies Magazine 1 (2003): 1-46

. https://pdfs.semanticscholar.org. Web. 13 March. 2018.

McFarlan, Daniel A. “Resistance as a Social Drama: A Study of Change-Oriented

Encounters.” American Journal of Sociology 109.6 (May 2004): 1249

-1318. Web. 2 Oct. 2017.

Parker, Martin. “Organizing the Circus: The Engineering of Miracles.”

Organization Studies 32.4 (2011): 554-569. Sagepub.co.uk/journals-

Permissions.nav. Web. 1 Sep. 2017.

Rosen, Judith. “Selling „The Night Circus‟.” Publishers Weekly 259.30 (23 Jul

2012). ProQuest. Web. 11 Oct 2015.

Wilkinson, Zara T. "The Lady of the Rings: Female Resistance, Female

Containment, and the Magical Circus." Academist.org. Web. 11 Oct 2015.

WEBSITES

Burgess, Anthony. Novel. n.d. Web. 13 September 2016.

“Blend.” Merriam-Webster Online. Web. 20 March 2018.

“Circus.” Merriam-Webster Online. Web. 20 March 2018.

“Creep.” Merriam-Webster Online. Web. 20 March 2018

“Escape.” Merriam-Webster Online. Web. 8 March 2018.

“Explorer.” Merriam-Webster Online. Web. 8 March 2018.

45

“Melding.” Merriam-Webster Online. Web. 20 March 2018.

„Transcendent.‟ Merriam-Webster Online. Web. 20 March 2018

“Wanderer.” Meriam-Webster Online. Web. 8 March 2018.

Hughes, Kathryn. The middle classes: etiquette and mobility. 15 May. 2014. Web.

20 Oct 2017.

n.a. The Class System. n.d. Web. 23 November 2017.

CURRICULUM VITAE

PERSONAL DETAILS

NAME : Nur Hidayah

ADRESS : H. Sidup Street, Rempoa, Ciputat, South Tangerang.

15412

CELLPHONE : 0895-3043-9020

E-MAIL : datlostpanda@gmail.com

DATE OF BIRTH : January 24th, 1995

NATIONALITY : Indonesian

GENDER : Female

MARITAL STATUS : Single

RELIGION : Moslem

EDUCATIONAL DETAILS

2000-2006 State Elementary School Cempaka Putih, Tangerang

2006-2009 Muhammadiyah 8, Jakarta

2009-2012 State Senior High School 108, Jakarta

2012-2018 English Letters Department, State Islamic University Syarif

Hidayatullah, Jakarta

This is to state that abouve information is true and provided here by me, all in

good faith.

Sincerely,

Nur Hidayah