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Ideas of symbolism in folktales
Folktale analysis
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How the World was Made and How the Snake Got Its Poison are both myths that were told for the enjoyment of all ages especially children. This paper will include an extensive analysis of the two myths/folktales. Zora Neale Hurston and Katharine Berry are excellent and fictional writers. Although the two writers write fictional myths, both writers create very different scenarios and write from different point of views. A close examination of the way both stories share the similarity of having animals with major roles demonstrates man had no input or power in the creation of the Earth or any of the animals that lived on it.
The two fictional stories share the similar topic of how something or someone came to be as it is today. Both writers are creative and it very evident throughout their stories. In Zora’s “How the Snake Got its Venom” she tells the tale of how the snake creatures got their rattle and venom. In “How the Earth Was Made, Katharine wrote about how the world obtained its land and mountains and well as the animals that helped do it. Both stories were very entertaining
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and included animals that played major roles who set events in motion which lead to the final creation. Both authors also chose different tones when making their legends.
In How The Snake Got Its Poison, by Katharine Berry, manipulates the english language so capture a certain southern accent. By doing this she illustrates where the story is taking place and also gives the reader a rough idea of when it is taking place. “Lawd, you know know Ah’m down here in de dust. Ah ain’t got no claws to fight wid, and Ah ain't got no feets to git me out de way. All Ah kin see is feets comin' to tromple me.” “Ah can't tell who my enemy is and who is my friend. You gimme dis protection in my mouf and Ah uses it." The use of tone throughout the story also makes it seem less serious and almost comedic ,even though the snake was killing off creatures multiple times. In How the World Was Made, Katharine Berry uses a standard past tense tone when writing her fictional story and told it in chronological
order. Another difference between the two literary selections is the point of view that the two authors wrote in. In How The World Was Made, Katherine spoke from an omniscient person point of view. She explained the steps of the world being made in chronological order. In How The Snake Got Its Poison, Zora spoke in the third person as if she was a bystander throughout the fictional tale. Zora Neale Hurston and Katharine Berry are both fantastic and creative writers. From each of them we are able to read extraordinary fictional stories. Since there is no 100% chackable theory on how or why the world and animals were made, these two writers came up with their own fun ideas on how things came to be. The two writers gave animals main roles in their creative stories which means man had nothing to do with the creation of the Earth or the animals on it. Both artist created excellent pieces and I would recommend them to people of all ages to enjoy.
The two world creation stories from the Judeo-christian and the Iroquois do have quite different perspectives how the world has been created. But, are they some similar parts as well in the stories? And do you see these similar parts even in the culture too? Where are these differences and similarities?
This idea is expressed prominently in John Foulcher’s For the Fire and Loch Ard Gorge. For the Fire entails a journey of someone collecting kindling as they witness a kookaburra kill a lizard, Foulcher represents his idea through the use of metaphor, “a kookaburra hacks with its axe-blade beak.” This metaphor represents the beak in weaponised form, as it is compared with a violent axe. This evokes a sense of threat and intimidation towards the kookaburra, which contrasts to societies general interpretation of the ‘laughing kookaburra,’ thereby challenging the reader's perceptions of beauty in the natural world. Also, this comparison of the kookaburra offers a second understanding for the readers to interpret of the kookaburra. Similarly, in Loch Ard Gorge, Foulcher uses strong visual imagery, “savage dark fish are tearing their prey apart, blood phrasing the water decked with light,” to communicate the violence of the ‘savage’ fish to readers in a visual, gruesome manner. Thereby evoking a feeling of disgust towards the situation, as a visual description of blood is shown and Foulcher uses provoking, gruesome adjectives to communicate the fish's brutality. Foulcher expresses these ideas to communicate the abilities of nature, and provide a necessary ‘reality check’ for the readers, to review the beauty they see nature and understand the barbarity at the heart of everything. Although ruthlessness and brutality that nature can show are unintentional and immoral, this harm is a large part of the cycle nature needs to survive and thrive, and these factors can counteract assumed beauty and
“The Rattler” explores the conflicts between man and nature that seem inescapable. The narrator is taking a walk through the desert when he comes across a rattlesnake. After some thought, he decides to kill it and proceeds to violently slaughter it with a hoe. The snake fights back when provoked, but fails. The author makes the reader feel sympathy towards the snake and empathy towards the man through the personality of the snake, the point of view of the man, and the language and details regarding the setting.
Both stories are one of a kind and deserve to be read. They share both common and uncommon ideas, but in the end, both are nice.
When I was little, I used to stay up late at night, watching old movies with my father. He worked at night, so on his nights off, he often could not sleep. Our dad-daughter bond was, no doubt, forged by our love of old black and white and even cheesy films. It was on one of those late nights that I first saw a huge snake coiled next to a tree, draped in a glittery sheep’s fur. I am sure that my eyes were big in awe the whole time, for to this day, when I watch or even read mythological stories, I feel the same childhood awe.
Over centuries, humankind has searched for the line where positive and negative influence over nature intersect. “The Rattler”, a tale of a man and a rattlesnake who cross paths in the desert, deals with this very question. The individual is at first cautious of the snake, thinking it best to leave the dangerous creature alone. But at the thought of the nearby neighbors, he takes it upon himself to kill it, and then continues on into the night. The author uses comparison, diction and personification in “The Rattler” to promote sympathy for both characters: the snake and the man.
“The Rattler” is a story that is written by Donald Beattie that expresses a survival and protective tone to persuade readers to side with the man that killed the snake in order to protect a larger community of animals and humans. Beattie is presenting the story to a large group of people in attempt to persuade them. Beattie uses imagery, simile, and pathos to develop a root of persuasion and convince the audience to reanalyze the man’s actions.
Mythology is a key part of many of Zora Neale Hurston’s short stories and novels. She researched the stories of her home town and many other areas of the world. Hurston used this knowledge of myths and stories to help her carry them on to later generations in a form that almost everybody could relate to. Through out all of Zora Neale Hurston’s stories, mythology has been a crucial keystone. Her novel, Their Eyes Were Watching God, has been influenced by three different ancient myths: the myths of Ezili Freda, Osiris and Isis, and Aphrodite and Adonis.
The effect the reader perceives in the passage of Rattler is attained from the usage of the author¡¯s imagery. The author describes the pre-action of the battle between the man and the snake as a ¡°furious signal, quite sportingly warning [the man] that [he] had made an unprovoked attack, attempted to take [the snake¡¯s] life... ¡± The warning signal is portrayed in order to reveal the significance of both the man¡¯s and the snake¡¯s value of life. The author sets an image of how one of their lives must end in order to keep the world in peace. In addition, the author describes how ¡°there was blood in [snake¡¯s] mouth and poison dripping from his fangs; it was all a nasty sight, pitiful now that it was done.¡± This bloody image of snake¡¯s impending death shows the significance of the man¡¯s acceptance toward the snake. In a sense, the reader can interpret the man¡¯s sympathy toward the snake because of the possibility that he should have let him go instead of killing him.
Distinctive voices offer many different types of perspectives of the world. This is expressed through the texts “Lady feeding the cats” and “Wombat" written by Douglas Stewart and“Shawshank redemption” also written by Frank Darabont. These notions are applied through exploration of humanity and connections between humanity and the nature. The unique interaction of the world offers us a better understanding of these perceptions.
This book is appropriate for three-to-five years of age children as the story is very engaging and children are exposed to the Aboriginal culture. The book is illustrated in oil paint in impressionism and the whole story is in double-page illustration, which shows the landscape of Cape York and Aboriginal people. The pictures use vibrant colours including forest green and many shades of brown and the kangaroos and the snake people have red eyes. Educators can guide children to discuss the information in the image which can help children to understand how these details support meaning construction (Spence, 2004). For example, educators can tell children that the kangaroos and snake people who have red eyes reveal that they are evil, so that children can understand that adding more details in both writing and speaking can provide more information for audiences and the explicit language is very effective in constructing the meaning. Educators can use toy snakes and toy kangaroos and other materials to retell the story with children or make a small display that shows part of the
Though the two Creation stories are supposedly intended to be connected - even interchangeable - the only similarity they share is the presence of the omnipotent God and His role in the creation of the earth. Where the first creation describes a detailed, six-day process in which God first delineates day and night, establishes the physical world, and then finally creates man, the second creation is a much simpler process, one almost contradictory to the first story's strict schedule.
“Spunk,” by Zora Neale Hurston, is a short story about a man who appears masculine and fearless claiming another man’s wife, but the tables turn by the end of the story. The short story begins with Spunk, the main character, walking off with Lena Kanty. Joe Kanty knows about the affair, but is too timid to confront Spunk.
A close examination of the way Zora Neal, the author of “How the Snake got its Poison,and “How the World was made” by Katharine Berry Judson. Both inflict the same style of writing as well as genre. In this case being Myths,this allows the author to go beyond the extremities and in both these excerpts they do it so swiftly.These two stories both use similar concepts of talking to a higher power being God in this case.
... Nature, including human beings, is `red in tooth and claw'; we are all `killers' in one way or another. Also, the fear which inhabits both human and snake (allowing us, generally, to avoid each other), and which acts as the catalyst for this poem, also precipitates retaliation. Instinct, it seems, won't be gainsaid by morality; as in war, our confrontation with Nature has its origins in some irrational `logic' of the soul. The intangibility of fear, as expressed in the imagery of the poem, is seen by the poet to spring from the same source as the snake, namely the earth - or, rather, what the earth symbolizes, our primitive past embedded in our subconsciouness. By revealing the kinship of feelings that permeates all Nature, Judith Wright universalises the experience of this poem.