Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The grasshopper and the bell cricket story
Don’t take our word for it - see why 10 million students trust us with their essay needs.
The story “The Grasshopper and the Bell Cricket”, written by Yasunari Kawabata, is a children’s fiction story that is written in a third person narrative point of view. The author, who sets himself as the narrator, is describing what he sees as he stumbles upon a group of young, neighborhood kids as they frolic along the bank of a stream near dusk time. He points out the extreme care that the children take in creating their lanterns, and he sees the passion and enthusiasm they have while apparently searching for bugs along the bank and in the bushes. As the story goes on, the author moves from a tone of describing and being literal, to a more serious tone that causes some serious thought. He seems to be attempting to convince the audience of something emotional.
The setting of this story obviously takes place on the campus of a school as the narrator is walking around the campus. The time period is unclear to the audience because there is no illustration of when this story might have taken place or been written in the writing itself. However, based on the names of the children that he states at the end of the story, we are able to conclude that this story was written and takes place in an Asian country, most likely Japan. As the narrator is walking throughout the play area of the school, he seems to be enjoying himself and enjoying the relaxation that the scenery brings. “Walking more slowly and listening to that voice, and furthermore reluctant to part with it, I turned right so as not to leave the playground behind” (341). He is surprised when he turns the corner and notices a rather large group of lights that were seemingly floating around the bank. His inquisitiveness gets the best of him as he makes his way down to the bank...
... middle of paper ...
...ind one. The audience can interpret this in many different ways, however I believe that there is one way that the narrator has intended it to express. He is attempting to get young Fujio to understand that in life, there are many girls that seem like they are perfect for him, represented by the grasshopper. They look beautiful and seem to be very precious, however, they are truly just one of millions. He is hoping that Fujio will realize that he wants to find his bell cricket. That special person that is very much different from the rest. However, he warns, “…even a true bell cricket will seem like a grasshopper. Should that day come, when it seems to you that the world is only full of grasshoppers, I will think it a pity that you have no way to remember tonight’s play of light, when your name was written in green by your beautiful lantern on a girl’s breast” (343).
"Everyone is influenced by their childhood. The things I write about and illustrate come from a vast range of inputs, from the earliest impressions of a little child, others from things I saw yesterday and still others from completely out of the blue, though no doubt they owe their arrival to some stimulus, albeit unconscious. I have a great love of wildlife, inherited from my parents, which show through in my subject matter, though always with a view to the humorous—not as a reflective device but as a reflection of my own fairly happy nature.
The two stories “War” and “About Effie” from Timothy Findley’s Dinner Along the Amazon are both told by the same child narrator, Neil. In each of the stories Neil attempts to make sense of a mystery of the adult world. In “War” Neil tries to understand the adult world of war, and explain why it seems that his father has betrayed him, and in “About Effie” Neil tries to understand the mystery of Effie’s strange need to wait for a man in a thunderstorm. Neil reaches an understanding of each of these mysteries in a similar way: through observation of non-verbal clues from adults. However, Neil’s own attempts to communicate non-verbally through his behaviour are unsuccessful. Taken as a whole, these two stories show how very important non-verbal communication is in child-adult relationships.
middle of paper ... ... ity going in the last paragraph. The structure of the passage helps the responder to clearly see the changed perspective of the author. The passage starts with the child’s perspective; the writing has almost a curious and flighty feel to it. This feeling is empathized through the use of verbs, adjectives, similes, metaphors, imagery and descriptive and emotive language.
Mair utilizes her personal stories to create a more relaxed and optimistic tone. She opens the story with humor saying “ … I fell over backward, landing fully clothed on the toilet seat with my legs splayed in front of me: the old beetle-on-its-back-routine….I was free to laugh as I wiggled back to my feet,” (Mair 1). As Mair probably knows, typically the first paragraph sets the mood for the story, and Mair uses her comical story to lighten the mood, ...
William Faulkner overwhelms his audience with the visual perceptions that the characters experience, making the reader feel utterly attached to nature and using imagery how a human out of despair can make accusations. "If I jump off the porch I will be where the fish was, and it all cut up into a not-fish now. I can hear the bed and her face and them and I can...
Helena Maria Veramontes writes her short story “The Moths” from the first person point of view, placing her fourteen year old protagonist female character as a guide through the process of spiritual re-birth. The girl begins the story with a description of the debt she owes her Abuelita—the only adult who has treated her with kindness and respect. She describes her Apa (Father) and Ama (Mother), along with two sisters as if they live in the same household, yet are born from two different worlds. Her father is abusive, her mother chooses to stay in the background and her sisters evoke a kind of femininity that she does not possess. The girl is angry at her masculine differences and strikes out at her sisters physically. Apa tries to make his daughter conform to his strict religious beliefs, which she refuses to do and her defiance evokes abuse. The girl’s Abuelita is dying and she immerses herself in caring for her, partly to repay a debt and partly out of the deep love she has for her. As her grandmother lay dying, she begins the process of letting go. The moth helps to portray a sense of spirituality, re-birth and becomes, finally, an incarnation of the grandmother. The theme of the story is spiritual growth is born from human suffering.
The title poem, "Angle of Geese," shows how Momaday employs sensory experience as an integral part of the message, not just as ornament. In the first part of the poem, Momaday relates his reactions to the funeral of a ...
'Young Goodman Brown,' by Hawthorne, and 'The Tell Tale Heart,' by Poe, offer readers the chance to embark on figurative and literal journeys, through our minds and our hearts. Hawthorne is interested in developing a sense of guilt in his story, an allegory warning against losing one's faith. The point of view and the shift in point of view are symbolic of the darkening, increasingly isolated heart of the main character, Goodman Brown, an everyman figure in an everyman tale. Poe, however, is concerned with capturing a sense of dread in his work, taking a look at the motivations behind the perverseness of human nature. Identifying and understanding the point of view is essential, since it affects a reader's relationship to the protagonist, but also offers perspective in situations where characters are blinded and deceived by their own faults. The main character of Poe?s story embarks on an emotional roller coaster, experiencing everything from terror to triumph. Both authors offer an interpretation of humans as sinful, through the use of foreshadowing, repetition, symbolism and, most importantly, point of view. Hawthorne teaches the reader an explicit moral lesson through the third person omniscient point of view, whereas Poe sidesteps morality in favor of thoroughly developing his characters in the first person point of view.
This short story written by Richard Wright is a very well written, and has a very good plot and keeps the reader entertained throughout. From the dialogue to the characters, who inhabit the world crafted by Wright its very intriguing. On the surface it appears to be just a story about childhood disobedience in general, but the overall theme is much deeper than that.
Insects may be the bane of some people’s existence, but the creatures are truly strong globes of energy, going about their lives, flitting to and fro. Thoreau and Woolf both captured this essential spirit in their writing. In “Battle of the Ants” and “The Death of the Moth,” both writers observe other life forms, but the way in which they perceive the insects struggles vastly differs. According to an online biography, Thoreau’s exposure to transcendentalism as well as his friend and mentor Ralph Waldo Emerson both shaped his writing to emphasize “the importance of empirical thinking and of spiritual matters over the physical world,” whereas Virginia Woolf’s parents raised her to be free thinking which resulted
The first words of the book convey a parrot that spoke “a language which nobody understood”, and Edna’s husband “had the privilege of quitting [the parrot] when [it] ceased to be entertaining” (11). In the same light, Edna speaks of and wishes for a life that nobody apprehends. Her husband also possesses the moral, objectifying liberty to quiet Edna when she did not provide leisure, as one can turn off a song once it grows into a tedious nuisance. A further exemplification comes about when Old Monsieur Farival, a man, “insisted upon having [a] bird. . . consigned to regions of darkness” due to its shrieking outside (42). As a repercussion, the parrot “offered no more interruption to the entertainment” (42). The recurrence of the parrot evolves Edna’s state of stagnance as a consequence of being put to a halt by others despite her endeavor of breaking free. Ultimately, as Edna edges out towards the water to her death, a bird is depicted with “a broken wing” and is “beating the air above, reeling, fluttering, circling disabled down, down to the water” (159). This recurrence parallels the beaten bird to a suffering Edna. She has “despondency [that] came upon her there in the wakeful night” that never alleviates (159). Dejection is put to action when Edna wanders out into the water, “the shore. . . far behind her” (159). Motif of birds articulates her suicide by its association with
In the story “Two Kinds”, the author, Amy Tan, intends to make reader think of the meaning behind the story. She doesn’t speak out as an analyzer to illustrate what is the real problem between her and her mother. Instead, she uses her own point of view as a narrator to state what she has experienced and what she feels in her mind all along the story. She has not judged what is right or wrong based on her opinion. Instead of giving instruction of how to solve a family issue, the author chooses to write a narrative diary containing her true feeling toward events during her childhood, which offers reader not only a clear account, but insight on how the narrator feels frustrated due to failing her mother’s expectations which leads to a large conflict between the narrator and her mother.
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.
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.
Some of the most disturbing truths are told in silent whispers masked in the noise of living. You aren 't aware that you heard the message until long after it has seeped into you subconscious and taken root in your psyche. This is an art in storytelling, an art so few can recognize, and even fewer can replicate. Such beautiful craftsmanship is Katherine Mansfield 's story of “The Fly,” in which, behind the scenes, a dismal message of grief and guilt and the limits of the human mind are told through two dying men and one dying fly.