The Story of Doctor Dolittle was written by Hugh Lofting. This book was first published in 1920 and it introduces the character of Doctor Dolittle who learns animal languages so he can care for his animal patients. Actually, this book is the first of the 12 books in Dolittle series. It is a classic story for young readers with some nice and imaginative illustration that can help the readers to understand the story more. The Story of Doctor Dolittle was written by Hugh Lofting. This book was first published in 1920 and it introduces the character of Doctor Dolittle who learns animal languages so he can care for his animal patients. Actually, this book is the first of the 12 books in Dolittle series. It is a classic story for young readers with some nice and imaginative illustration that can help the readers to understand the story more.
In The Story of Doctor Dolittle, it tells about Doctor Dolittle who is a medical doctor but always helps to treat and love to talks to the animals. With the suggestion from Polynesia, the parrot, he changed his profession from medical doctor to animal doctor. He learnt animal language so that he can understand and know how to cure the animals. He achieved in his field. Many people sent their animal to him as they heard him was the best doctor at the town. But, he lost it when he insisted to keep the crocodile in his fish pond. All of his clients worried that the crocodile will eat their pets. He almost lost his clients and his money was almost finished. Then, Chee- Chee, the monkey came to ask the doctor’s help to deal with a contagious disease among the monkeys in Africa. The journey began when he left Puddleby and start travel to Africa with his favourite animals. During his journey curing the a...
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...age vi-vii). The main character, Doctor John Dolittle was illustrated well so that, the readers can imagines how the main character look alike. For the supporting character, all of the animals, the author assign the qualities of a person to them. All of the animals can talk and the doctor was able to understand their language. By implement this kind of writing, it can attract the readers especially the young one to enjoy the story in a fun ways. It also encourages the readers to think critically in order to understand the story. Besides, it also helps the readers to be more imaginative and think beyond their critical thinking. The author also did a great job when he was able to develop the all of the characters continuously from the beginning of the story until the end of it. Instead of assign the the qualities of a person to the animals, the author also use the
When the servant tells the doctor about Kino he says, "Have I nothing better to do than to cure insect bites for 'little Indians'? I am a doctor, not a veterinary... Has he any money?... No, they never have any money" (Steinback 11). The doctor is saying that he will not treat Coyotito because he is an Indian and calls him an animal. He is not going to treat Coyotito because Kino has no money for him to be treated. Through doing this, the doctor has broken the Hippocratic oath he took when he became a doctor. This is not allowed to happen, considering the Hippocratic oath is standard for all doctors. Some may say that the doctor can treat whoever he wants. This is not true because the doctor must treat all patients, regardless of race or social class. The third section of the Hippocratic oath is titled, "Without Fee or Stipulation" (Hippocrates 1). This quote from the Hippocratic oath means that the patient is not required to pay or make any other agreement to be treated.
The animals in this story are closely related to the characters, especially the character of Robert. Rodwell acknowledges Robert's close union with animals when he draws Robert in his sketchbook as "the only human form" among sketches of animals (155). When Robert sees the drawing, he notices that "the shading [is] not quite human"; it is a combination of animal and human qualities, like Robert's own personality (155). "Modified and mutated, he [is] one with the others" (155). Rodwell's sketchbook reveals the melding of Robert with the animal world.
Being said so, parts in the book where violence such as wolf attacks, gunshots, and potential homicide is clearly depicted through simple yet powerful vocabulary. The book also contains parts about kissing and a sexual act which was depicted through a fade-to-black style. Although the book contains such scenes, the depth of the words that were used to elaborate a particular scene was not too strong and was in fact in a moderate level. The book can therefore still be suitable for young readers. At the same time, the characters within the book are also of the same age range which made it easy to understand and relate to the story as it progresses and
Scieszka and Smith have made Henry P. a different kind of sci-fi adventure of a boy explaining to his teacher why he was late to school. Smith has detailed the illustrations as they follow what the text says with a distorted twist. For example, when Henry was explaining that he ended up on the planet astrosus with astro guys, Smith illustrated an astro guy with pointy eyebrows, a sharp nose, and a red spiky tongue flicking out to catch Henry in his red space suit. The astro guy is not what we expect from an alien like creature, he had an odd shaped, distinctive head that would make heads turn twice. The effect of Smith's illustrations here make us look at the world critically. Henry's red space suit makes you get a feel for his personality and makes you wonder why his story is interesting.
Throughout the story, the reader comes across several things that he or she will question. In the beginning of the story, a young boy goes to the aquarium to see the axolotls. He soon becomes obsessed with them and goes everyday to watch them. At the
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.
This I was sincerely excited for, because I was given an opportunity to relate and or disagree with a character as a whole. This allowed for so many connections to be made from my own life to Rodger, the character I was assigned. In this paper I wrote 4 years ago, I made connections to Rodger through reading the novel Lord of the Flies. At the time I did not understand the literary limitations holding me to writing the way I was for example, rhetors, audience, exigence, kiros, and constraints.
Starting the book is about the most painful thing (almost as painful as a head on collision with a semi on the highway.) Never the less once the characters become more apparent, and a type of plot is reveled, things get more interesting. It doesn’t take to long to get into the book, and learn something interesting about the characters. All of them have something in common which is a brilliant way to bring all of them together. Addie is the mother of the Bundren family and wife to Anse. She is on her deathbed, and the characters all revolve around this each reacting in a different way. Darl is the most level headed about the situation (at first), Jewel is more horse, Dewey is rather devastated, Anus is rather insensitive, and so on.
This paper focuses on two books, the picture book and realistic novel. I am hopeful while doing a critical analysis of these two books that it would help me to create an effective mini library in my future classroom. I would like to use it as a helpful tool to teach children how to compare the differences and similarities of the two genres and many more. I have chosen Corduroy as my picture book and Because of Winn-Dixie as my realistic novel to write on this written critique because it signifies the moral lessons about family importance and friendship.
The composer has aimed this text for general reading by all people over the age of ten. However as this publication is the young reader’s edition, it is targeted at young readers. People who may wish to read the book may be able to attain it through mediums such as book stores and libraries etc. Although this publication of the novel is the young reader’s edition, there is a publication aimed at adults.
Stylistically, the book is arranged in rotating chapters. Every fourth chapter is devoted to each individual character and their continuation alo...
... It is interesting that we glean this information from the child, rather than the mother’s perspective, emphasising his misery. Sitting on the bench with Smudge, Charles turns away from the clouds within his sight, and the picture of two bicycles crossing, which look like a man and a woman pulling a tandem in opposite directions (Browne, 1998, p.16), symbolising his parents’ marriage. In conclusion, these two works support Moebius’s assertion that the ‘best picturebooks can and do portray the intangible and invisible [.], ideas that escape easy definition in pictures or words’. In The Tale of Peter Rabbit, Potter contrasts a didactic text with conflicting illustrations.
There is, however, one manipulation of the characters which is interesting. Smallpox is characterized beautifully. Giving life to a disease gives life to a story, which, from the beginning, is dragging on without such animation. Smallpox mocks our "hero", Singing- Owl. This tormenting by a naturally inanimate character saturates the story with fantasy and mysticism.
It has four distinct narrative voices, which are highlighted by each voice having a specific font. All of the children and their parents are given apparently simple voices. However, their voices in fact are extremely complex. Each voice explores each of the character's different feelings and traits. The most essential part of this story are the illustrations which are postmodern and surreal ones. In the illustrations the landscape are distorted, and the adults and children are portrayed like themes. The illustrations change to reflect the characters' attitude and the font of the text changes with each character to mirror to some degree their social status. The father and daughter, who are obviously from a poorer area, have slanted, messy, somewhat obtrusive text. The shades of color in the different characters' illustrations give a heavy impression. It surprises from the mother's standpoint, where everything seems to be regular and mundane. Nevertheless, once it shifts to the father's standpoint, the pictures become dark, dull, dirty, and more expressive. The little girl's viewpoint was very bright and animated, while in the little boy's viewpoint everything appeared bigger than him or distant. As for the picture in which the boy and girl were sitting on the bench, separated by the lamp post, in reality mirrors the way by which the two children perceive the world. As for the boy the world is dark and isolated, while the girl on the other hand perceive the world as a bright, happy place. the illustrations in Voices in the Park stimulate the readers to think deeply and to wonder about the contained details. For instance the fact that the father in the second voice has human hands, however he has not a human face challenges the reader to ask questions and to resolve the meaning of the story. Another example is an illustration shows a
...fascination with the animal world. Children, they are permitted to love things they do not understand. But coming to these books as an adult, and loaded down with knowledge of their author’s life, with its longings and fears, one cannot avoid reading them as fables about E.B White’s own life” (Epstein 380). Reading about the tales and adventures of animals is different to a child compared to an adult. Children are fascinated with animals, but do not understand the hidden meanings, whereas the adults do. After knowing about White’s life it is easy to understand that these three books are pieces of his life that he is telling from a different point of view, the view of animals. White’s writing is an expression of himself (Sampson 530). “Hardly any literate American has not benefitted from his humor, his nonsense, his creativity, and his engaging wisdom” (Hasley 526).