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Summarry Drama Glass Menagerie
Summarry Drama Glass Menagerie
Scene One
The Wingfield apartment faces an alley in a lower-middle-class St. Louis
tenement. There is a fire escape with a landing and a screen on which words or
images periodically appear. One character, Toms father, does not appear onstage:
he abandoned the family years ago and, except for a terse postcard from Mexico,
has not been heard from since. However, a picture of him hangs in the living
room.
Tom enters the apartments dining room, where Amanda, his mother, and
Laura, his sister, are eating. Amanda calls Tom to the dinner table and, once he
sits down, repeatedly tells him to chew his food. Laura rises to fetch something,
but Amanda insists that she sit down and keep herself fresh for gentlemen callers.
Amanda then launches into what is clearly an oft-recited account of the Sunday
afternoon when she entertained seventeen gentlemen callers in her home in Blue
Mountain, Mississippi. At Lauras urging, Tom listens attentively and asks his
mother what appear to be habitual questions. Oblivious to his condescending
tone, Amanda catalogues the men and their subsequent fates, how much money
they left their widows, and how one suitor died carrying her picture.
Laura explains that no gentlemen callers come for her, since she is not as
popular as her mother once was. Tom groans. Laura tells Tom that their mother is
afraid that Laura will end up an old maid.
Scene Two
Laura is polishing her collection of glass figurines as Amanda, with a
stricken face, walks up the steps outside. When Laura hears Amanda, she hides
her ornaments and pretends to be studying a diagram of a keyboard. Amanda tears
up the keyboard diagram and explains that she stopped by Rubicams Business
College, where Laura is supposedly enrolled. A teacher there informed her that
Laura has not come to class since the first few days, when she suffered from
terrible nervousness and became physically ill. Laura admits that she has been
skipping class and explains that she has spent her days walking along the streets
of winter, going to the zoo, and occasionally watching movies.
Amanda wonders what will become of the family now that Lauras
prospects of a business career are ruined. She tells Laura that the only alternative
is for Laura to get married. Amanda asks her if she has ever liked a boy. Laura
tells her that, in high school, she had a crush on a boy named Jim, the school hero,
who sat near her in the chorus. Laura tells her mother that once she told Jim that
she had been away from school due to an attack of pleurosis. Because he
misheard the name of the disease, he began calling her Blue Roses. Laura notes
that at graduation time he was engaged, and she speculates that he must be
married by now. Amanda declares that Laura will nonetheless end up married to
someone nice. Laura reminds her mother, apologetically, that she is crippled
that one of her legs is shorter than the other. Amanda insists that her daughter
never use that word and tells her that she must cultivate charm.
Scene Three
Tom addresses the audience from the fire escape, telling us about
Amanda's determined preparation for a gentleman caller. Mention of the
gentleman caller pops into every conversation in the Wingfield apartment, and the
stage is haunted by the gentleman caller's projected image. Because it will take
money to make their home presentable, Amanda takes a job searching for
subscribers to The Homemaker's Companion, a magazine for women. We see
Amanda speaking on the telephone to a woman whose subscription is about to run
out. Amanda tells the woman that she needs to renew her subscription, trying to
convince her with the prospect of a new serial novel that has just begun. Amanda
alludes to Gone with the Wind, comparing the new serial to the famous story of
Scarlett O'Hara. Eventually, the potential subscriber hangs up on Amanda.
We then cut to a very different scene, of Tom and Amanda locked in a
vicious argument, which is already in progress. A horrified Laura watches as Tom
and Amanda scream at each other. Tom expresses outrage that Amanda
confiscated his books. Amanda is not cowed, saying that she will not allow any
books by "Mr. Lawrence" in her home. Tom responds that he is the one who pays
the rent, and that he is the one who has given up his dreams to support their
family. Stage directions indicate that the upright typewriter is surrounded by
manuscripts in a state of disarray, and that the battle between Tom and Amanda
was probably instigated by Amanda's interruption of Tom's writing. Amanda is
also outraged because she does not know where Tom goes at night. She does not
believe his claim that he spends his nights out at the movies, and she is angered
by the drunken state in which he often returns home. She fears that his nights out
jeopardize his day job, and that if he loses his job their security will be threatened.
Tom fires back with anger and frustration that he goes to work every morning
even though he hates it. And to Amanda's doubt about where he goes every night,
Tom answers with a sarcastic speech that is one of the play's most famous and
memorable moments. With bitter sarcasm, he warns her that by night he is a czar
of the underworld and that his enemies plan to dynamite the Wingfield apartment.
He calls his mother a witch. As he is trying to leave the apartment, he accidentally
knocks over the glass menagerie. Amanda storms off, enraged, and Tom
remorsefully helps Laura pick up pieces of her collection.
Scene Four
As the church bell strikes five am, a drunken Tom stumbles home. The
script does not make clear exactly how much time has passed between Scene Four
and the argument that ended Scene Three, but it has been no more than a few
days. Laura, who sleeps on the couch, hears him and opens the door for him. Tom
insists that he has been at the movies all night. When Laura expresses doubt that
her brother could really have been at the movies all this time, Tom tells her about
the length of the program and the magician that he went to see. He gives her a
rainbow colored scarf as a souvenir from the magic show. The magician's most
impressive trick was to escape from a coffin without removing a single nail. Tom
is awestruck by the trick, and shares his wonder with Laura: "You know it don't
take much intelligence to get yourself into a nailed-up coffin, Laura. But who in
hell ever got himself out of one without removing one nail?"
Cut to one hour later. After the church bell strikes six times, we hear
Amanda calling out "Rise and Shine!" After just an hour of sleep, an exhausted
Tom stumbles out of bed for another day of work at the warehouse. Laura, who
has been sent to wake him, begs Tom to apologize to Amanda. Meanwhile,
Amanda is calling out from the kitchenette for Laura to go get butter from the
grocery store. Laura, exiting on the fire escape, slips and cries out. The noise
gives Tom and Amanda a scare, but Laura seems to be fine.
Awkwardly, Tom tries to apologize to Amanda as he takes his morning
coffee. Amanda feels that she suffers and struggles for the sake of her children,
and that her efforts go unappreciated by Tom. Tom tries to tell her that he doesn't
hate her and that he understands her feelings. Amanda also tells Tom he cannot
fail; without him, she cannot keep the family together. She believes that if Tom
applies himself he will succeed; the idea of her children's success is an
exhilarating one for her, and she becomes breathless just speaking about it.
Amanda also asks Tom to promise that he will never be a drunkard. She exhorts
him to eat, but he refuses everything except for black coffee, implying that he is
hangover.
Amanda is concerned. She tells Tom that Laura thinks he is unhappy. She
asks why - and if - he goes to the movies every night. Tom responds that he likes
lots of adventure, and that his job at the warehouse does not provide any. Amanda
is worried that Tom will abandon them. Fearful for Laura's future, Amanda tells
Tom that he can leave if he can find a replacement - a gentleman caller for Laura,
who will eventually marry her and provide for her. Amanda exhorts Tom to
overcome selfishness. An increasingly frustrated Tom tries to break off the
conversation and go to work, but not before he begrudgingly agrees to look for a
gentleman caller for his sister.
Scene five
Amanda and Laura clear the table after dinner. Amanda nags Tom about
his disheveled appearance and his smoking habits. Tom steps onto the fire-escape
landing and addresses the audience, describing what he remembers about the area
where he grew up. There was a dance hall across the alley, he tells us, from which
music emanated on spring evenings. Rainbow refractions from the halls glass
ball were visible through the Wingfields windows, and young couples kissed in
the alley. Tom says that the way youth entertained themselves at the dance hall
was a natural reaction to lives that, like his own, lacked any change or
adventure. He notes, however, that his peers would soon be offered all the
adventure they wanted as America prepared to enter World War II.
Amanda joins Tom on the landing. They speak more gently than before,
and each makes a wish on the moon. Tom refuses to tell what his wish is, and
Amanda says that she wishes for the success and happiness of her children. Tom
announces that there will be a gentleman caller: he has asked a nice young man
from the warehouse to dinner. Amanda is thrilled, and Tom reveals that the caller
will be coming the next day. This information agitates Amanda, who is
overwhelmed by all the preparations that will need to be made before then. Tom
tells her not to make a fuss, but he cannot stem the tide of her excitement. As she
leads Tom back inside, Amanda frets about the linen, the silver, new curtains,
chintz covers, and a new floor lamp, all the while despairing the lack of time to
repaper the walls.
Amanda proceeds to brush Toms hair while interrogating him about the
young gentleman caller. Her first concern is that he not be a drunkard. Tom thinks
she is being a bit hasty in assuming that Laura will marry the visitor. Amanda
continues to press him for information and learns that the caller, who is named
Jim OConnor, is a shipping clerk at the warehouse. Tom reveals that both sides
of Jims family are Irish and that Jim makes eighty-five dollars a month. Jim is
neither ugly nor too good-looking, and he goes to night school to study radio
engineering and public speaking and is a proponent of self-improvement. Amanda
is pleased by what she hears, particularly about his ambition. Tom warns her that
Jim does not know that he has been invited specifically to meet Laura, stating that
he offered Jim only a simple, unqualified invitation to dinner. This news does not
matter to Amanda, who is sure that Laura will dazzle Jim. Tom asks her not to
expect too much of Laura. He reminds Amanda that Laura is crippled, socially
odd, and lives in a fantasy world. To outsiders who do not love her as family, Tom
insists, Laura must seem peculiar. Amanda begs him not to use words like
crippled and peculiar and asserts that Laura is strange in a good way.
Tom gets up to leave. Amanda demands to know where he is going. He replies
that he is going to the movies and leaves despite his mothers objections. Amanda
is troubled, but her excitement quickly returns. She calls Laura out onto the
landing and tells her to make a wish on the moon. Laura does not know what she
should wish for. Amanda, overcome with emotion, tells her to wish for happiness
and good fortune.
Scene Six
Tom leans against the rail of the fire-escape landing, smoking, as the lights
come up. He addresses the audience, recollecting the background of the
gentleman caller. In high school, Jim OConnor was a star in everything he did
an athlete, a singer, a debater, the leader of his classand everyone was certain
that he would go far. Yet things did not turn out according to expectations. Six
years out of high school, Jim was working a job that was hardly better than
Toms. Tom remembers that he and Jim were on friendly terms. As the only one at
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the warehouse who knew about Jims past glories, Tom was useful to Jim. Jim
called Tom Shakespeare because of his habit of writing poems in the warehouse
bathroom when work was slow.
Toms soliloquy ends, and the lights come up on a living room
transformed by Amandas efforts over the past twenty-four hours. Amanda adjusts
Lauras new dress. Laura is nervous and uncomfortable with all the fuss that is
being made, but Amanda assures her that it is only right for a girl to aim to trap a
man with her beauty. When Laura is ready, Amanda goes to dress herself and then
makes a grand entrance wearing a dress from her youth. She recalls wearing that
same dress to a cotillion (a formal ball, often for debutantes) in Mississippi, to the
Governors Ball, and to receive her gentlemen callers. Finally, her train of
memories leads her to recollections of Mr. Wingfield.
Amanda mentions Jims name, and Laura realizes that the visitor is the
same young man on whom she had a crush in high school. She panics, claiming
that she will not be able to eat at the same table with him. Amanda dismisses
Lauras terror and busies herself in the kitchen making salmon for dinner. When
the doorbell rings, Amanda calls for Laura to get it, but Laura desperately begs
her mother to open it instead. When Amanda refuses, Laura at last opens the door,
awkwardly greets Jim, and then retreats to the record player. Tom explains to Jim
that she is extremely shy, and Jim remarks, Its unusual to meet a shy girls
nowadays.
Jim and Tom talk while the women are elsewhere. Jim encourages Tom to
join him in the public speaking course he is taking. Jim is sure that he and Tom
were both meant for executive jobs and that social poise is the only determinant
of success. However, Jim also warns Tom that, if Tom does not wake up, the boss
will soon fire Tom at the warehouse. Tom says that his own plans have nothing to
do with public speaking or executive positions and that he is planning a big
change in his life. Jim, bewildered, asks what he means, and Tom explains
vaguely that he is sick of living vicariously through the cinema. He is bored with
the movies and wants to move, he says. Unbeknownst to Amanda, he has
taken the money intended to pay for that months electric bill and used it to join
the Union of Merchant Seamen. Tom announces rather proudly that he is taking
after his father.
Amanda, Jim, and Tom sit down at the table, where Amanda glances
anxiously at Jim while Tom says grace. Laura, in the living room alone, struggles
to contain a sob.
Scene Seven
10
A half hour later, dinner is winding down. Laura is still by herself on the
living-room couch. The floor lamp gives her face an ethereal beauty. As the rain
stops, the lights flicker and go out. Amanda lights candles and asks Jim to check
the fuses, but of course, he finds nothing wrong with them. Amanda then asks
Tom if he paid the electric bill. He admits that he did not, and she assumes that he
simply forgot, as Jims good humor helps smooth over the potentially tense
moment. Amanda sends Jim to the parlor with a candelabra and a little wine to
keep Laura company while Amanda and Tom clean up.
In response to his question about what she has done since high school,
Laura starts to tell Jim about her glass collection. He abruptly declares that she
has an inferiority complex and that she low-rates herself. He says that he also
suffered from this condition after his posthigh school disappointment. He
launches into his vision of his own future in television production. Laura listens
attentively. He asks her about herself again, and she describes her collection of
glass animals. She shows him her favorite: a unicorn. He points out lightly that
unicorns are extinct in modern times.
Jim notices the music coming from the dance hall across the alley. Despite
Lauras initial protests, he leads her in a clumsy waltz around the room. Jim
bumps into the table where the unicorn is resting, the unicorn falls, and its horn
breaks off. Laura is unfazed, though, and she says that now the unicorn can just
be a regular horse. Extremely apologetic, Jim tells her that she is different from
anyone else he knows, that she is pretty, and that if she were his sister he would
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teach her to have some self-confidence and value her own uniqueness. He then
says that someone ought to kiss her.
Jim kisses Laura on the lips. Dazed, Laura sinks down onto the sofa. He
immediately begins chiding himself out loud for what he has done. As he sits next
to her on the sofa, Jim confesses that he is involved with an Irish girl named
Betty, and he tells her that his love for Betty has made a new man of him. Laura
places the de-horned unicorn in his hand, telling him to think of it as a souvenir.
Amanda enters in high spirits, carrying refreshments. Jim quickly
becomes awkward in her presence. She insists that he become a frequent caller
from now on. He says he must leave now and explains that he has to pick up
Betty at the train stationthe two of them are to be married in June. Despite her
disappointment, Amanda bids him farewell graciously. Jim cheerily takes his
leave.
Amanda calls Tom in from the kitchen and accuses him of playing a joke
on them. Tom insists that he had no idea that Jim was engaged and that he does
not know much about anyone at the warehouse. He heads to the door, intending to
spend another night at the movies. Amanda accuses him of being a dreamer and
rails against his selfishness as he leaves. Tom returns her scolding. Amanda tells
him that he might as well go not just to the movies but to the moon, for all that he
cares about her and Laura. Tom leaves, slamming the door.
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13
CHAPTER II
THE ANALYSIS OF THE MAIN CHARACTER
In this chapter, I identify the main character and analyze the social setting
in the novel The Glass Menagerie.
14
tone, Amanda catalogues the men and their subsequent fates, how much money
they left their widows, and how one suitor died carrying her picture.
Amanda:
Tom:
Amanda:
Tom:
Amanda:
(calling). Tom?
Yes, mother,
We cant say grace until you come to the table!
Coming, mother. (He bows slightly and withdraws,
reappearing a few moments later in his place at the
table)
Honey, dont push with your finger. If you to push
with something, the thing to push with is a crust of
bread. And chew- chew! Animal have section in
their stomachs which enable them to digest food
without mastication, but human being are supposed
to chew their food before swallow it down. Eat food
leisurely, son, and really enjoy it. A well-cooked
meal has lots of delicate flavors that have to be held
in the mouth for appreciation. So chew your food
and give your salivary glands a change to function.
15
Tom:
Amanda:
Tom:
Amanda:
Tom:
Amanda:
Amanda:
Tom:
Amanda:
Tom:
Amanda:
16
Tom:
Another bad habit of Tom is smoking. This habit also makes Amanda
angry. She doesnt like her son smoke because it can affect the health of Tom.
Amanda:
Tom:
Amanda:
Tom:
17
Amanda:
Tom:
Amanda:
Tom:
Amanda:
From half past seven till after five every day you
mean to tell me you walked around in the park,
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Laura:
Amanda:
Laura:
Tom:
Amanda:
Tom:
Amanda:
Tom:
What?
19
Amanda:
Tom:
What?
Amanda:
Tom:
Amanda:
Tom:
What is it now?
Amanda:
Laura:
Amanda:
You will
Laura:
Why should I?
Amanda:
Laura:
Amanda:
Amanda:
Laura:
Amanda:
21
Amanda:
Jim:
Amanda:
Jim:
Jim:
Amanda:
Jim:
Amanda:
Jim:
Amanda:
Jim:
Amanda:
Ohhhhow nice!
22
Event 9: Amanda was very disappointed with the quest of a man to Laura
Amanda actually deeply regrets with the decision of Jim, will be married
soon. She was very upset because her daughter marry off with her mothers
choice. She was disappointed to Tom, because the men that he chose was
engaged. Actually, Tom doesnt know if Jim was engaged and married soon.
Amanda:
Tom!
Tom:
Yes, Mother?
Amanda:
Tom:
Amanda:
Tom:
Amanda:
Tom:
Jim? Engaged?
Amanda:
Tom:
Amanda:
Tom:
Amanda:
Tom:
Amanda:
After I analyzed of events in this story, the figure which is build the
whole story, from the beginning until the end, it is true that Amanda was a central
figure (main character) in this story. This is apparent because she always plays a
role in each sequence.
CHAPTER III
THE DESCRIPTION OF AMERICAN FAMILY IN 20th CENTURY
Defining the typical U.S. family structure has never been an easy task.
Early in the 20th century, idealized pictures of a typical U.S. family that portrayed
a successful husband and a dutiful wife raising the children were very popular.
The true U.S. family structure requires a broader description than this picture
portrays. Regardless of structure, families are the primary social structure of
society designed to equip children to become productive adults.
1. The Relationship of American Family
24
25
and with mothers producing their children at ever older ages. At the same
time, more adults than ever before are living alone or with unmarried
companions and more women than ever before are giving birth out of
wedlock. These trends have profoundly changed the American family and are
unlikely to be reversed any time soon.
3. Single Parent
Single-parent families are families with children under age 18 headed
by a parent who is widowed or divorced and not remarried, or by a parent
who has never married.
One out of every two children in the United States will live in a
single-parent family at some time before they reach age 18. According the
United States Census Bureau, in 2002 about 20 million children lived in a
household with only their mother or their father. This is more than one-fourth
of all children in the United States.
Since 1950, the number of one-parent families has increased
substantially. In 1970, about 11 percent of children lived in single-parent
families. During the 1970s, divorce became much more common, and the
number of families headed by one parent increased rapidly. The number
peaked in the 1980s and then declined slightly in the 1990s. By 1996, 31
percent of children lived in single-parent families. In 2002, the number was
28 percent. Many other children have lived in single-parent families for a
time before their biological parent remarried, when they moved into a twoparent family with one biological parent and one step parent.
The reasons for single-parent families have also changed. In the midtwentieth century, most single-parent families came about because of the
death of a spouse.
In the 1970s and 1980s, most single-parent families were the result of
divorce. In the early 2000s, more and more single parents have never
married. Many of these single parents live with an adult partner, sometimes
even the unmarried father of their child. These families are counted by the
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4. Status of Children
While there is little question that poverty rates have increased among
U.S. children, living conditions for children have improved in many ways
especially in the poorest households. Poor children are increasingly better So
also with Laura, she was a submissive teen girl, sometimes skipping school
and when he was not ready to get married, let alone an arranged marriage by
her mother..
without a complete bathroom, with leaky roofs, holes in the floor, no
central heat, no electric outlets, or no sewer or septic system has declined
substantially. Children are less likely to live in crowded housing conditions,
though the safety and vibrancy of the neighborhoods surrounding these
residences may have deteriorated over time.
Poor children today are also more likely to receive medical attention
than in the past. The percentage of children who had not visited a doctor in
the previous year declined, especially during the 1970s. Poor children are
more likely to be immunized than in the past. Children at the bottom of the
income distribution became more likely to live in families that owned an air
conditioner and had telephone service. The improvement in these indicators
raises the possibility that trends in official poverty based on money income
do not adequately capture trends in material hardship of children. Children's
housing, health, and access to certain items such as telephones and air
conditioning seem to have improved over time, even among those with the
lowest one-fifth of income. The most dramatic improvement took place
during the 1970s, but conditions have not deteriorated since then and some
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5. Women Rights
Spruill's lecture, based on her book in progress, highlighted the
transformation of American political culture in the 1970s and the "origins of
the highly partisan, deeply polarized political climate we now inhabit." She
described the UN International Women's Year conferences that were held in
the United States during 1977 and noted that they served to galvanize interest
in gender issues among social conservatives as well as feminists.
The capstone of the IWY conferences was the National Women's
Conference, held in Houston in November of 1977. Influenced by widespread
support among politicians for the Equal Rights Amendment (ERA), the
conference drew an astonishing 20,000 people, ranging from elected
delegates and students to homemakers and celebrities. Unaware that one
outcome of the conference would be backlash, feminist leaders believed that
the event would increase awareness of and inspire debate on family and
gender issues.
Although both feminists and conservatives at the conferences were
confident in their respective arguments, Spruill believes the "IWY
conferences produced no definitive victory for either side. Rather, the IWY
conflict ushered in a new era in American politics." While opposition to the
IWY by conservatives increased throughout the 1970s, women's rights issues
became a leading topic on the national agenda as IWY participants "moved
the movement" beyond its white middle-class base.
By the 1980s, feminists began to encounter many political
disappointments and challenges. The women's rights planks in Democratic
and Republican Party platforms revealed the nation's extreme polarization.
Conservatives found their "champion" in Ronald Reagan, who led the
Republican Party to reverse its forty-year history of support for the ERA. The
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defeat of the ERA, Spruill noted, was a huge symbolic blow to the women's
rights movement, leaving many people with the impression that the
movement had failed."
CHAPTER IV
THE REFLECTION OF AMERICAN FAMILY IN DRAMA OF
THE GLASS MENAGERIE
As I mention before, description of American family in 20 th century is
one part of extrinsic element in literature.
According to their function, I have already explain about the detail of
description American family in 20th century. I would like to analyze about the
description of American family in 20th century contained in quote of The Glass
Menagerie.
29
The father left them a long time ago. He was telephone man who fell
in love with long distance, he gave up his job with the telephone company
and skipped the light fantastic out of town. .
Amanda:
Tom:
Amanda:
Tom:
Amanda:
(calling). Tom?
Yes, mother,
We cant say grace until you come to the table!
Coming, mother. (He bows slightly and withdraws,
reappearing a few moments later in his place at the
table)
Honey, dont push with your finger. If you to push
with something, the thing to push with is a crust of
bread. And chew- chew! Animal have section in
their stomachs which enable them to digest food
without mastication, but human being are supposed
to chew their food before swallow it down. Eat food
leisurely, son, and really enjoy it. A well-cooked
meal has lots of delicate flavors that have to be held
in the mouth for appreciation. So chew your food
and give your salivary glands a change to function.
Tom:
Amanda:
Tom:
Amanda:
Tom:
Amanda:
Amanda:
Tom:
Amanda:
Tom:
Amanda:
3. Single Parent
Amanda as a single parent, she had to take care of her own children.
She wants the best for their children, and the attention only to her children.
She wanted tom, her son became a good child and adult. She wanted Laura,
her daughter became a young girl a good, obedient.
Tom joined the Hogan gang, a hired assassin, hes carry a tommy-gun
in a violin case. Its very dangerous job. One day, Amanda said to Tom that
she doesnt like his job right now. She invited Tom to discuss about his job.
She wanted Tom to have a decent job, so that he can be successful and can
bring the good name of the Wingfield family.
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Amanda:
Tom:
Amanda:
Tom:
Amanda:
Tom:
Amanda:
4. Status of Children
As eldest son, Tom had to help Amanda, replacing the figure of a
father who has been gone. However, a child is still young, still has the desire
to play, watch, and go out at night. even though it was bad though.
Tom often went out at night to watch a movie. This makes Amanda
angry and hurt. Amanda really doesnt like when her son went out just to
watch a movie.
Amanda:
32
Laura:
Amanda:
Laura:
From half past seven till after five every day you
mean to tell me you walked around in the park,
because you wanted to make me think that you
were still going to Rubicams Business College?
It wasnt as bad as sounds. I went inside place to get
warmed up.
Inside where?
I went in the art museum and the bird houses at the
Zoo.
5. Woman Rights
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CHAPTER V
CONCLUSION
After I analyze the main character in the drama of The Glass Menagerie
with method of identifying a main character, stating that Amanda as the main
character in the drama.
This can be evidenced by the analysis of events featured in the story as a
whole. Amanda always involved figures of every event in the story and have a
strong character.
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35