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The role of mythology in literature
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Tea Obreht’s “The Tiger’s Wife” is a hybrid combination of both the fantastical and the real. By engaging with the various genres of the fairy tale, fable and realism, Obreht’s work extends the notions of genre in fiction, to a hyper-realistic portrayal of the Balkan Wars. When considering the two key tales in Obreht’s work, that of the “Deathless Man” and “The Tiger and the Tiger’s Wife” Obreht reveals a fantastical world immersed in Yugoslavian myth and ancient superstition. In contrast, there are elements in “The Tiger’s Wife” such as the protagonist Natalia and her grandfather’s relationship and work in medicine which add a realistic dimension to “The Tiger’s Wife” as well as an element of scepticism and doubt. By exploring these features of “The Tiger’s Wife”, it will be argued that Obreht purposefully writes in a combination of genres, to explore how truth can be acknowledged by the explanation of myth-making and story-telling. With the initial opening lines Obreht introduces the main protagonist, Natalia and her recollection of visiting the Tiger’s in the zoo with her grandfather, a doctor. Immediately, she senses the importance of the Tiger to her grandfather’s life as well as her own, captivated by her dialogue “I once knew a girl who loved tiger’s so much she almost become one herself.” Because I am little, and my love of tigers comes directly from him, I believe he is talking about me, offering me a fairy tale in which I can imagine myself – and will, for years and years.” Despite these fantastical elements of “The Tiger’s Wife” Obreht’s inspiration is derived from a historical background. Although the places Obreht names such as “the city” and “Galina” are vague, the violent landscape and war-torn cities are identifia... ... middle of paper ... ...ents of history, as a way to reach a higher truth. By the townsfolk of Galina sharing in stories about “The Tiger’s Wife” their gossip served as a coping mechanism in the turbulent times of war. Thus for Obreht, truth is found in symbolism rather than a linear presentation of history and fact. In conclusion, “The Tiger’s Wife” contains elements of realism, fabulism and fairy tale. Obreht’s style of writing is not fixated on a particular genre but rather embraces multiple perspectives and styles. Despite this, “myth making” and “story telling” are at the heart of “The Tiger’s Wife” and surpass the notion of historical truths. Ultimately, “The Tigers Wife” through the eyes of Natalia, expresses a journey that transforms what begins as a realistic landscape into a hyperbolic fable covering the scars of war through sentimental symbolism. Works Cited The Tiger's Wife
So in the end it is to be asked what is so important about trying to intertwine Germany Pale Mother with established fairy tales. I propose that it is part of the defensive mechanism Sanders-Brahms uses in dealing with the crime’s of her parents generation, and making sure that it is not forgotten. Fairy tales are timeless pieces of literature. As Anton Kaes wrote, “... fairy tales stand outside of history, they confront us directly with unconscious impulses and let us project into them our own wishes and fantasies. (Kaes, 149).
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 emotive language used throughout her memories, show direct contrast to her present situation, as well as her reasons for leaving home. The use of personification, in text such as ‘ the sea roared like an angry beast’, provide emphasis of emotive language, used in describing the estrangement felt. The language is so eloquent, conjuring such engagingly vivid images, of Ziba’s emotions, particularly as she feels the ups and downs of the unforgiving ocean. Through figurative and evaluative language, Ziba is able to depict her past and present feelings and memories. The strong connection between sensory experiences and memory is sophisticated and crisp, making the text straightforward and resonant. The author uses simile’s such as, ‘thoughts of home washed over Ziba like the surge of sea washing over the deck’, linking past and present, creating feelings of loneliness, whilst reflecting on her once peaceful home. The effective use of noun groups - laughter of children, cool mountain air, rich spices of the evening meal - alongside side a number of sensory verbs - thought, felt and smelled - assist and connect the reader to Ziba’s thoughts. Furthermore, the use of repetition in the first and last page of the text, places emphasis on the unstable state of their emotions, the uncertainty of what’s to
Ludwig Tieck’s novella, Eckbert the Fair, presents a certain ambiguity of moral values. The story meets a tragic ending where the main couple of the fairytale, Eckbert and Bertha, die as punishment for their crimes of betrayal, theft, and murder. However, an uneasy feeling of injustice remains about the punishment despite the clarity of their guilt. The tale itself strongly resembles a tragic play defined by Aristotle, but the narrative deviates from the structure of standard tragedy. In effect, the unique set-up of the narrative makes the evil deeds seem ultimately inevitable. The structure of the novella helps justifying the crimes, causing the distinction between the good and the bad to become unclear. In this paper, I will discuss this unique structure of the tale to analyze how this uneasy feeling about the ending emerges.
In the story, The Natural, certain characters and events are portrayed in a distinctive way that makes this story unique to other books and shows the typical writing style of the narrator. The author uses a repetitive writing technique that is impossible to overlook. The writer of this book is able to catch the reader’s eye with his concept of the importance of beautiful description. The Natural, by Bernard Malamud, uses great imagery that makes the story appealing.
The role of the Gogolian narrator is an unassuming revealer of what is hidden in the world. Revelations can be the world’s evils, morality, or a nation’s ultimate purpose. Gogol’s narrator is merely a puppet of his imagination and is kept within certain boundaries. Sometimes the narrator’s lack of transparency can make a story seem like a parable or folk tale like in “The Nose” and “Nevsky Prospect.” We can see this in what limited information the narrator is allowed to reveal to the reader and I will examine this theme in Gogol’s “Nevsky Prospect,” “The Nose,” and Dead Souls.
Many of the short stories within the collection The Things They Carried, written by Tim O’Brien, can be compared and contrasted in regards to elements including theme, characters, and technique. In “Sweetheart of the Song Tra Bong,” the character Mary Anne Bell appears to be apparently similar to the character Martha from “The Things They Carried,” in that both are young women who have relations with a soldier in the war. Though upon further analysis of Mary Anne, it appears she is far from alike to Martha. Rather, an unexpected parallel can be drawn between the characters Mary Anne and Elroy Berdahl, from “On the Rainy River,” in that both appear to be epitomes of masculinity. The peculiar connection between these characters developed by Tim O’Brien shines a light on the ambiguity of conventional gender roles of men and women.
This novel and film commentary analysis or interpretation will be first summarised and then critiqued. The summary will be divided into twenty- four episodes. While summarising it is well to remember that the film was made out of the book.
In terms of gender ideals of medieval society, the main characters in the story are very conventional. To begin with the story meshed nicely with the social conventions that Gayle Rubin explains in Traffic of Women. Accor...
...n” is a great example of an old myth or tale reconstructed and adapted for a modern audience in a new medium. It is a progression on one hand in its use of modern language, setting, and style but it is also the product of the old myths in that it is essentially the same on the thematic level. In addition, the level of self-awareness on the part of the narrator and, by extension, the author marks it out as an illustration of the very notion of evolutionary changes of myths and fairy tales. Adaptation is the solution to the fairy tale, and fairy tales have been endlessly changing themselves throughout history and, by some strange transforming or enchanting power endlessly staying the same.”
This novel is set in a time 300 years after a convulsion, a great war that was brought upon by men. It was men who were the diplomats and men who made the speeches about national pride and defenseand we died (pg. 301). The beginning of the novel starts out as a reflection and continues to be a reflection until the end, although the ways in which Tepper words happenings, put the reader in the moment so that he/she forgets they are reflecting and thinks that each happening is going on as you read, giving much more meaning to the piece. The reader is taken on a journey through the experiences of one girl from adolescence to adulthood, and as she comes to understand the way of life in Womens Country so do we the reader. Stavia (the main character) is reflecting everything that has made her who she is up to that point in her life. When Stavia was young the only worry she had to deal with was the coming and going of the male counterpart.
The story initially deals with the interactions of three characters: Basil Ransom, Olive Chancellor and Verena Tarrant. The character of Basil Ransom, a Mississippian who has fought in the Civil War on the side of the Confederates, is presented to us as head-strong, determined, full of honor and tough in his own masculinity and as someone who is aware of the world and the society which he lives in but of which he is not fully accepting. Olive Chancellor, (Basil Ransom’s cousin), a Bostonian woman, on the other hand is a hard-hearted woman who is bitter and is quite opposed to the traditional notions of women and men. She believes that the times of traditional feminine and masculine nature is in the past and that women are as equal as men in the changing future of society; she fights against the brutal nature of men with her rugged character in the narrative. The historical context of the story is the Civil War and its influence on the society of the day, Basil who lost everything in the war has to seek new employment and does not see eye to eye with the new ideals of r...
Further, the context in which the myth was written must be taken into account when reading the story. Bronislaw Malinowski in his essay “The Role of Myth in Life” says that “The text, of course, is extremely important, but without the context it remains lifeless” (Malinowski 201). The context that needs to be addressed when reading the myth are the cultural and sociological components that surround a mythological text. This context, consisting of the understanding of the culture in which the myth exte...
José Maria Eça de Queirós, though not worldly renowned, is arguably the greatest Portuguese novelist of his time. In 1877, he wrote a novel titled “The Tragedy of the Street of Flowers” (“The Tragedy”); however, it was not published until many years following his death. The novel is a tragic love story about a cocotte (prostitute) named Genoveva de Molineux and a lawyer named Vítor da Silva. The story follows the love between these two individuals which ultimately leads to the death of Genoveva. When first appearing in the orchestra audience in Lisbon, every man was attached to her beauty and wanted to know her. Vítor falls in love with Genoveva at first sight without previous knowledge that she is a high-class prostitute. However, the tragedy begins when Genoveva is told by Vítor’s uncle, Timóteo, that Vítor is her son. Unable to cope with what she had just learned, Genoveva commits suicide; neither herself nor Timóteo disclose the truth to Vítor. When asked about the novel, Eça had stated that it is a cruel story, one of the best he had yet written (at that time) and “a real literary and moral bombshell” (Queiroz, preface, ¶ 3-4). “...nineteenth century writers knew that incest in Greek Tragedy represented the protagonist’s hopeless fight against fate. Finding a close correspondence with contemporary Lisbon society, aimlessly debating political, economic and social problems, unable to control the nation’s destiny, does not require a great stretch of the imagination” (Ponte 79).
Several different elements are necessary to create a story. Of all the elements, the conflict is most essential. The conflict connects all pieces of the plot, defines the characters, and drives the story forward. Once a story reaches its climax, the reader should have an emotional connection to the both story and its characters. Not only should emotions be evoked, but a reader should genuinely care about what happens next and the about the end result for the characters. Guy de Maupassant’s “The Necklace” is the perfect example of how a story’s conflict evolved the disposition of its characters.