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What kind of leadership do you see in watership down
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Richard Adams' classic novel Watership Down isn't simply a book about rabbits. Adams tackles profound concepts, such as the importance of storytelling in societies, the essentiality of community, and the values of a brave heart in a dangerous world with his timeless epic, which has been compared even to Virgil's Aeneid and Homer's Odyssey.
Adams places great emphasis on story. Legends permeate Watership Down, with stories in many chapters. When continuing on seems aimless, and the migrants need reassuring, their own storyteller, Dandelion, tells myriad tales of El-Ahrairah, “Prince with a Thousand Enemies.” Not only do they have legends concerning the mythical El-ahrairah, but, by the end of the journey, it is clear that the adventures of Hazel, Fiver, Bigwig, and Dandelion are already becoming the stuff of legends, and their story will become part of rabbit lore for future generations. The chief 'villain' of Watership Down, a violent and sadistic buck by the name of General Woundwort, himself becomes a personification of folklore--a bogey rabbit whom parents use to keep their kits from misbehaving.
“Mother rabbits would tell their kittens that if they did not do as they were told, the General would get them—the General who was first cousin to the Black Rabbit himself.”
Hearing a depiction of Watership Down, you might justly conjecture that it is a children’s book, a kind of fable with talking animals reminiscent to Beatrix Potter's work. Not an entirely untrue deduction, as Adams conceived his characters and settings for Watership Down from stories he would tell his children on long drives through the countryside. What sets Watership Down apart from comparable children's literature is its length--in paperback it i...
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...ivilization. He develops from being a relatively reckless and bullish character, to eventually becoming firmly steadfast and just, having learned to rely on judgment rather than muscle, though still with enough fierceness and determination to be of unstoppable capability when paired with Hazel's insight. Hazel's warren would certainly have been destined to failure without Bigwig's immeasurable courage, without his resolute conviction and readiness to forfeit himself for his friends--a trait he would not have acquired if not for the friends he made on the night of the run from the doomed old warren in the quest for the foretold Watership Down. In the end, Hazel has learned to see the strengths and weaknesses in others; Bigwig has learned to see them in himself.
“My Chief Rabbit has told me to stay and defend this run, and until he says otherwise, I shall stay here.”
“The Boat”, narrated by a Mid-western university professor, Alistar MacLeod, is a short story concerning a family and their different perspectives on freedom vs. tradition. The mother pushes the son to embrace more of a traditional lifestyle by taking over the fathers fishing business, while on the other hand the father pushes the son to live more autonomously in an unconstrained manner. “The Boat” focuses on the father and how his personality influences the son’s choice on how to live and how to make decisions that will ultimately affect his life. In Alistair MacLeod’s, “The Boat”, MacLeod suggest that although dreams and desires give people purpose, the nobility of accepting a life of discontentment out weighs the selfishness of following ones own true desires. In the story, the father is obligated to provide for his family as well as to continue the fishing tradition that was inherited from his own father. The mother emphasizes the boat and it’s significance when she consistently asked the father “ How did things go in the boat today” since tradition was paramount to the mother. H...
This passage defines the character of the narrators’ father as an intelligent man who wants a better life for his children, as well as establishes the narrators’ mothers’ stubbornness and strong opposition to change as key elements of the plot.
Updike, John. “A&P”. The Norton Anthology of Short Fiction. Eds. R.V. Cassill and Richard Bausch. Shorter Sixth Edition. New York: W.W. Norton and Company, 2000. 864 - 869.
In this story, Richard Adams' creates an interesting part of the story when eleven rabbits unite to form a group and flee from their warren, in hopes of avoiding a great tragedy. These rabbits leave their warren without knowledge of why they need to leave their homes. The one thing the rabbits have in common is their faith in Fiver's dreams and visions. Together these rabbits will have to put aside their differences in order to face the danger ahead of them.
Life does not always work out the way it should. Sometimes good loses, and the better man is the one begging. The Water is Wide is the story of injustice abounding. While the story may have been more appealing if Pat were able to stay on at Yamacraw Island, and I would certainly have enjoyed it more if the superintendent had been beaten, that story would have been a false picture of reality, worthy only of a children's bedtime collection. I...
High school students in many American schools first read this book in an English class, which has been a staple for many schools. A required reading assignment exposes many more people to the book. Even though the book is considered to be a children’s book by many, it is still enjoyed by people of all ages.
Evans, Robert C., Anne C. Little, and Barbara Wiedemann. Short Fiction: A Critical Companion. West Cornwall, CT: Locust Hill, 1997. 265-270.
... (eds), Children’s Literature Classic Text and Contemporary Trends, Basingstoke, Palgrave Macmillan in association with Open University
‘Some idea of a child or childhood motivates writers and determines both the form and content of what they write.’ -- Hunt The above statement is incomplete, as Hunt not only states that the writer has an idea of a child but in the concluding part, he states that the reader also has their own assumptions and perceptions of a child and childhood. Therefore, in order to consider Hunt’s statement, this essay will look at the different ideologies surrounding the concept of a child and childhood, the form and content in which writers inform the reader about their ideas of childhood concluding with what the selected set books state about childhood in particular gender. The set books used are Voices In The Park by Browne, Mortal Engines by Reeve and Little Women by Alcott to illustrate different formats, authorial craft and concepts about childhood. For clarity, the page numbers used in Voices In The Park are ordinal (1-30) starting at Voice 1.
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.
The Narnia Chronicles have already established themselves as timeless works of literature. They appeal to both the atheists and the God-fearing, to both the uneducated and to scholars; to children and adults. An understanding of the Biblical allegory in these books is not essential to their appreciation. A critical analysis of these works, however, does allow the reader to more fully appreciate Lewis' unique gift to simplify complex narratives and craft beautiful children's fantasies. This, in turn, allows the reader to gain both a deeper understanding of Lewis as a skilled creative writer, and a deeper satisfaction of his art. To be able to appreciate C.S. Lewis as such an artisan can only add to one's enjoyment of his works.
Laura Ingalls Wilder may be viewed as one of the greatest children’s authors of the twentieth century. Her works may be directed towards a younger crowd but people of all ages enjoy her literary contributions. The way that Wilder’s books are written guarantees that they have a place among classics of American literature (“So many…” 1). Laura Ingalls Wilder’s form of writing portrays an American family’s interworking in a journey through childhood.
Children literature is a term that refers to the texts written for children. The artist uses creative ways to ensure that children are provided with educational books, touching on a variety of themes. This paper will include comparison of two characters from the two texts, “Hana's Suitcase: A True Story,” authored by Karen Levine and “Charlotte’s Web,” written by E.B. White, with the aim of understanding ways in which problems are solvable as indicated by selected characters.
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.
Jones, Marnie. "The Threat to Imagination in Children's Literature." International Journal of the Book 3.2 (2005/2006): 71-76. Print.