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Analysis of beatrix potter
Analysis of beatrix potter
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Summary
In my creative piece, “There’s A Monster In My Bed. Don’t You See? Don’t You See?” illustrates an animal story in the form of a poem with 26 stanzas and each stanza consisting of 4 lines. The focus of my poem comes from the influence of Beatrix Potter’s The Tale of Peter Rabbit and Dr. Seuss’s The Cat in the Hat. Using Potter’s and Seuss’s texts as my inspiration, I established a narrative that combines a mixture of Potter’s and Seuss’s language and style to convey an animal story. Similar to both The Tale of Peter Rabbit and The Cat in the Hat, I used the genre of the animal story to engage with children and childhood imagination. The animal story itself focuses on the animals as the protagonist and tend to be didactic, naturalistic
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In the first stanza I established a scene describing Little Jack Bunny’s conflicts with the monsters in his bedroom and the resolution of his mother’s response. The first five stanzas establish the time of day and introduce the main character. This sets up the rest of the narrative because, I continue to list the different reasons why Little Jack Bunny is unable to sleep and the each response his mother says regarding the different types of monsters. The inspiration of each stanza as each scene comes from Dr. Seuss’s The Cat in the Hat through the Cat in the Hat’s actions and behaviour. In The Cat in the Hat, Seuss uses each page to describe the scene, instead of a stanza; the number of pages is similar to the number of stanzas in my poem. Nonetheless, the imagery enhances the animal story through the descriptions of the characters and the …show more content…
In Potter’s story The Tale of Peter Rabbit, Potter humanizes Peter rabbit differentiating him with his siblings by his human name. Nevertheless, aside from including clothing to Little Jack Bunny, I humanized the character by giving him child-like behaviour such as sleeping with a stuffed animal, a llama, when sleeping at night.
Narrative Voice
The narrative voice in my poem is third person omniscient, as the main point of view is Little Jack Bunny, with the addition his mother has dialogue. Both Little Jack Bunny and his mother establish a dialogue that represent two different perspective of the same image. The point of view focuses on the relationship between the mother and the child, as a child’s perspective is more imaginative in contrast to adults, who illustrate reality. Yet, I mainly used Potter’s similar narrative tone in The Tale of Peter Rabbit, as the main focus on the protagonist’s
In one, a specimen-creating brute robs a pelican child’s life and her guardian trying to bring her back to life. In the other, a prince learns the value of his frog-turned-princess and sets out on a quest to find her. Joy Williams’s Baba Iaga and the Pelican Child and Alexander Afanasev’s The Frog Princess are both critical facets of the fairy tale genre. While initially it may seem that Williams preserved no elements from Afanasev’s tale, upon a closer glance, it is evident that the two tales’ similarities outnumber their differences. By incorporating a generous portion of the original story into his, Williams’s version brings forth an innovative arrangement of classic and new. As a result, William’s tale introduces features to the tale that mirror everyday life lessons while simultaneously maintaining qualities that are reflective of the definitional aspects of the fairy tale genre.
The ability of words to calm a child’s fears is shown in “A Barred Owl.” Additionally, the author conveys the idea that even though one may say everything is alright, what one makes up in one’s mind is often worse than reality. The rhyme scheme in “A Barred Owl” helps depict the simple and soothing tone of the poem. Not only the rhyme scheme but also the repetition of certain consonants and sounds such as, “the warping night air having brought the boom / of an owl’s voice into her darkened room” help emphasize Wilbur’s i...
In this poem called “Creatures” by the author Billy Collins there are three examples of figurative language helps convey the meaning that the author Billy Collins is conveying. The three examples of figurative language that the author Billy Collins uses are a metaphor, enjambment, and imagery. These three examples of figurative language help illustrate Billy Collins” theme in this poem called “Creatures” that he is writing because these three examples of figurative language help emphasize the theme of the poem. These three examples help emphasize this poem called “Creatures” meaning because it makes the theme of this poem have a deeper meaning. The theme of the author Billy Collins poem called “Creatures” is that the reader has to imagine
"The thing could barely stand." ("The Bull Calf" line 1). The calf is referred to as a thing not an animal or creature. This is the way the author blocks emotion. The first line in the first stanza is a contradiction from the rest of the stanza because the rest of it has a positive attitude and the first sentence shows that the animal is weak. The third and the fourth line show the glory of the animal by hinting to royalty. The last line in the first stanza helps to back this information up by pointing to Richard the second. In the fifth line the narrator uses thee word us this connects him to the event. "The fierce sunlight tugging the maize from the ground" ("The Bull Calf" line 6). This is imagery, the sunlight showing promise and hope, maize is yellow this refers us back to the sun through the similar color. The last line refers to Richard the second this makes the poem flow better into the next stanza, Richard the second was lowered from his rank much like the calf is going to be.
To that end, the overall structure of the poem has relied heavily on both enjambment and juxtaposition to establish and maintain the contrast. At first read, the impact of enjambment is easily lost, but upon closer inspection, the significant created through each interruption becomes evident. Notably, every usage of enjambment, which occurs at the end of nearly every line, emphasizes an idea, whether it be the person at fault for “your / mistakes” (1-2) or the truth that “the world / doesn’t need” (2-3) a poet’s misery. Another instance of enjambment serves to transition the poem’s focus from the first poet to the thrush, emphasizing how, even as the poet “[drips] with despair all afternoon,” the thrush, “still, / on a green branch… [sings] / of the perfect, stone-hard beauty of everything” (14-18). In this case, the effect created by the enjambment of “still” emphasizes the juxtaposition of the two scenes. The desired effect, of course, is to depict the songbird as the better of the two, and, to that end, the structure fulfills its purpose
“It is called destruction before reconstruction. People will have to see the danger of war, the hopelessness of war, before things can improve.”-Elizabeth Joyce The United States, a dark place for the locals. Recovery from the Civil War (e.g. Sherman's march in the south) and Lincoln's death, the country is torn apart. Both the Radical republicans' and President Johnson's goal was to reunite the country in a stable and fair way. My A+ plan for reconstruction has southerners who rebelled to be punished differently, southern states who wish to be readmitted into the Union should give freedmen equal rights, and freedmen should establish new lives as free people.
The appellation , "Dr. Seuss," has become a name that often evokes fond memories of a cherished childhood. Entrenched in monotony of gray day when, "The sun did not shine./ It was too wet to play," we only had to look at the grinning face of Dr. Seuss's famous cat to remind us that there was more to do than wait as time slipped away. There was something appealing in the simple anapestic tetrameter rhythm, coupled with nonsensical words and illustrations of outlandish creatures that seemed to call out to the vibrant, dynamic imagination of a child.
Overall, it expresses the love and affection of Collin about this poem. This poem is basically looked at, or listened to, and the rodent tested. Such imagery used in poem supports the central ideas of Collin in poem, that the reading poetry must be, just like a good exploration, a discovery act. The poem has a very conversational effect and scholastic feel in it. First stanza directly linked to the second stanza while the third and fourth stanza of this poem has distinct thoughts in them. Similarly, the six stanzas come in a follow-up way but the mood actually changed in the last two stanzas of the poem. In short, Collin has written this poem in a very special and artistic way which really changes other’s minds about how to better understand a poem by knowing its actual meaning.
Though the evils of the world may discourage us from reaching our full potential, fairytales such as Little Snow-White by Jacob and Wilhelm Grimm teach us that good will always triumph over evil. As many tales of its kind, Little Snow-White uses a number of literary devices to attract a younger audience and communicate to them a lesson or moral that will remain with them throughout their lives. Since children have such an abstract stream of thought, it is vital to use language and devices that will appeal to them as to keep them interested in the story.
John Clare’s “The Mouse’s Nest” introduces the setting of the story in the first line, “the hay.” All of the 14 lines have ten syllables; some lines are in iambic pentameter, which contains an unaccented followed by an accented stress. This consistency of the rhyme indicates the steady life of the rural life Clare presents. The “a” sound of the simple words “grass” and “hay” seems to be similar in meaning, which reflects the simplicity of life in this rural environment. The observer’s point of view seems to be close when he sees the ball of grass. But in line 2, he “passed and went away,” indicating a shift in perspective as if there is nothing going on. The assonance of “as” and “passed” highlights the observer’s ignorance, as if his focus is not on the grass ball anymore.
Richard Robinson, the President and CEO of Scholastic Inc., the world’s largest publisher and distributor of children’s books, said that a great children’s text contains a simple and original idea, is written with humour and makes the world more interesting. Despite being published in 1928, A.A. Milne’s The House At Pooh Corner remains a highly effective children’s text. The text meets the criteria set out by Richard Robinson and it has been able to do so through its good uses of literary elements such as style, themes and characters. Some examples of this can be linked to the works of various developmental theorists such as Jean Piaget, Lev Vygotsky and Erik Erikson.
The Tale of Peter Rabbit and Voices in the Park were published at either end of the twentieth century, a period which witnessed the creation of the modern picturebook for children. They are both extremely prestigious examples of picturebooks of their type, the one very traditional, the other surrealist and postmodern. The definition of ‘picturebook’ used here is Bader’s: ‘an art form [which] hinges on the interdependence of pictures and words, on the simultaneous display of two facing pages, and on the drama of the turning of the page’ (Bader, quoted in Montgomery, 2009, p. 211). In contrast with a simple illustrated book, the picturebook can use all of the technology available to it to produce an indistinguishable whole, the meaning and value of which is dependent on the interplay between all or any of these aspects. Moebius’s claim that they can ‘portray the intangible and invisible[…], ideas that escape easy definition in pictures or words’ is particularly relevant to these two works. Potter’s book is, beneath its didactic Victorian narrative, remarkably subtle and subversive in its attitudes towards childhood, and its message to its child readers. Browne’s Voices in the Park, on the other hand, dispenses with any textual narrative; by his use of the devices of postmodernism, visual intertextuality and metaphor, he creates a work of infinite interpretation, in which the active involvement of the reader is key.
If my origin story was a movie, the opening scene would be my discovery of books. It’d be a wide shot of me as a roley poley toddler, as I reached out to one of my brother’s old picture books. And as I grasped the cardboard cover open, I would be swallowed up by a moment of true epiphany. I can only imagine such a dramatic beginning as being dignant of what would be my lifelong obsession. As I grew up, I ate through books quickly, always craving that fantastic feeling of being completely absorbed into a world outside of my own. Until middle school this love was simple, but then there was my introduction to literary analysis. As my eighth grade English class studied Romeo and Juliet, my teacher directed us to the usage of natural imagery. Here
What kid hasn’t heard of Dr. Seuss? From “One fish, two fish, red fish, blue fish” to “A person’s a person, no matter how small” to “From there to here, from here to there, funny things are everywhere”, Dr. Seuss has filled the lives of children with whimsical stories and ideas. (8) Using casual dialect and everyday objects, he was able to spark the imagination of others. All the while, he instilled lessons into his writings. It is not a surprise that Dr. Seuss received an award for a “Lifetime of Contribution to Children’s Literature”. His work will be read and enjoyed for decades to come. All in all, no matter which Dr. Seuss story that the reader might select, his or her imagination will be sparked, and the reader will surely be entertained.
In the poem, “Rabbit,” the topic is rabbits which represent children and how they can be prey for one group and play for another. In addition to the rabbits representing children, I think that the child in the poem represents a parental figure and the dogs represent people in the outside world.