Richard Parker is the character everyone will remember from Life of Pi, if only for the fact that he’s a tiger. He is terrifying, beautiful and apathetic; he’s also possibly half-eaten by sharks at the bottom of the Pacific Ocean without ever having stepped foot in a lifeboat, depending on what story the reader prefers. This poses an interesting question to the reader of the novel; if Richard Parker is only present in one of the stories, the tale with a lifeboat packed with animals, what does he represent in the story devoid of zoo animals entirely? An examination of Richard Parker’s comparison to other characters and actions will reveal that he symbolizes an animalistic side of the titular character. For the purposes of this essay, “animalistic side” means the side of Pi that behaves more like an animal than like a human, and is also willing to do whatever it takes to survive.
At the end of the novel, two Japanese officials listen to both of Pi’s miraculous accounts, then spot a connection between the two, exclaiming that “the Taiwanese sailor is the zebra, [Pi’s] mother is the orangutan, the cook is...the hyena--which means [Pi is] the tiger!” (311) This demonstrates that the animals Pi encounters on his boat are representative of humans, as each animal matches up with a human from the second story. This, logically, means that “[Pi is] the tiger!” However, there’s a monstrous hole in this theory. The flaw in believing that Richard Parker symbolizes Pi is that Pi himself appears in both stories. Matching up the tiger with the Pi from the second story still leaves a leftover Pi, the one from the first story. Clearly, this evidence shows Richard Parker does represent an aspect of Pi, but does not represent all of him. If Richa...
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...someone who matures from a scared boy to a survivor. By using Richard Parker to demonstrate this part of Pi, Yann Martel makes the novel a better story, while at the same time making a point about the cost of survival. Using an animal forces the reader to realize how much Pi has changed, that he is embracing more and more his survival focused side, that he is becoming like Richard Parker the tiger. It also says something about survival itself. By the end of the journey, Pi has dispatched so many creatures, which goes against what he believed prior to the sinking. Is it worth forfeiting what makes you human to save your life? Is survival worth the cost of embracing one’s inner animal? Pi seems to think so; after all, Richard Parker was only ever a reflection of him.
Works Cited
Martel, Yann. Life of Pi: A Novel. New York: Harcourt, 2001. Print.
Pi was afraid and surprised that Richard Parker was in the boat once he had lifted the blanket. Then Richard Parker had roared at him and tried to attack by his claws ,but pi had gotten away as soon as he did. Pi and Richard Parker started to roamed slowly around the boat in the middle of the ocean. Pi didn't trust Richard Parker because he knows that he only wanted to kill and eat pi. Pi tried to get rid of the tiger and then he tried avoiding the tiger, but as time goes on he got tired of trying get rid of Richard Parker. So then he began tame the tiger by using his whistle he had gotten from his locker. As he and Richard Parker started to get along through the past days,they have become really close friends.
Stranded for 227 days at sea in a lifeboat, with no one else except an adult Bengal tiger. This is exactly what the main character Pi, in "The Life of Pi" went through. "Life of Pi" by Yann Martel is a story about a boy named Piscine Molitor Patel, an Indian boy who survives more than seven months floating on a lifeboat in the Pacific Ocean, with no one else but a 450-pound tiger (Cooper). Yann Martel was born on June 25, 1963, in Salamanca, Spain. His parents, Emile Martel and Nicole Perron, were both born in Canada. He spent his childhood in several different countries, including France, Mexico, the United States, Canada, and Costa Rica. As an adult, he lived in many other places but one of them was India, which may be where he got inspiration for writing “Life of Pi”. Yann Martel uses the literary elements similes and foreshadowing, to express the theme that believing in religion can give you the faith to want to survive.
Yann Martel’s Life of Pi, is a fictional novel written in 2001 that explores the primacy of survival by employing symbolism, foreshadowing and motifs. This story follows the life of the protagonist, Piscine Molitor “Pi” Patel, as he embarks on his journey as a castaway. After boarding the Tsimtsum which carries Pi and his family along with a menagerie of animals, an abysmal storm capsizes the ship leaving Pi as the only survivor, though he is not alone. The great Bengal tiger, Richard Parker, also survives the shipwreck and during the 227 days that Pi and Richard Parker are stranded at sea together, the two must learn to coexist and trust one another for survival. Through Pi and Richard Parker’s struggles to remain alive, Martel explores the primal idea of survival by employing literary techniques.
Having just experienced the sinking of his family’s ship, and being put onto a life boat with only a hyena, Pi felt completely lost and alone. When he sees Richard Parker, the Bengal tiger from his family’s zoo, it is a familiar face to him. His initial reaction is to save the life of his familiar friend so that he may have a companion, and a protector aboard the lifeboat. Suddenly Pi realizes just what he is doing. He is saving the life of Richard Parker, by welcoming him, a 450 pound Bengal tiger, onto the small lifeboat. He experiences a change of heart when helping the tiger onto the boat. Pi realizes that he is now posing a threat on his own life. With Richard Parker on the boat, Pi is faced with not only the fight to survive stranded in the middle of the Pacific Ocean, but the fight to survive living with a meat eating tiger. The change of heart that Pi experiences might possibly mean that he is an impulsive thinker. It may mean that he often does something on impulse without thinking it through, and then later regrets his actions.
The son of a zookeeper, Pi Patel has an encyclopedic knowledge of animal behavior and a fervent love of stories. When Pi is sixteen, his family emigrates from India to North America aboard a Japanese cargo ship, along with their zoo animals bound for new homes. The ship sinks. Pi finds himself alone in a lifeboat, his only companions a hyena, an orangutan, a wounded zebra, and Richard Parker, a 450-pound Bengal tiger. Soon the tiger has dispatched all but Pi, whose fear, knowledge, and cunning allow him to coexist with Richard Parker for 227 days while lost at sea. When they finally reach the coast of Mexico, Richard Parker flees to the jungle, never to be seen again. The Japanese authorities that interrogate Pi refuse to believe his story and press him to tell them "the truth." After hours of coercion, Pi tells a second story, a story much less fantastical, much more conventional — but is it more true?
An id and ego split is also shown between Pi and Richard Parker. Richard Parker is an imaginary tiger that is created by Pi in order to keep him alive and focused on staying alive. Pi eventually abandons his superego and partakes in eating meat, even though he was a strict vegetarian prior to being lost at sea. Over the duration of Yann Martel’s Life of Pi, the story relates to Freud’s theories in several ways that are made blatantly obvious; these relations are what makes this story come together to keep the reader involved and interested. Works Cited Martel, Yann.
On its surface, Martel’s Life of Pi proceeds as a far-fetched yet not completely unbelievable tale about a young Indian boy named Pi who survives after two hundred twenty-seven days on a lifeboat with a Bengal tiger named Richard Parker. It is an uplifting and entertaining story, with a few themes about companionship and survival sprinkled throughout. The ending, however, reveals a second story – a more realistic and dark account replacing the animals from the beginning with crude human counterparts. Suddenly, Life of Pi becomes more than an inspiring tale and transforms into a point to be made about rationality, faith, and how storytelling correlates the two. The point of the book is not for the reader to decide which story he or she thinks is true, but rather what story he or she thinks is the better story. In real life, this applies in a very similar way to common belief systems and religion. Whether or not God is real or a religion is true is not exactly the point, but rather whether someone chooses to believe so because it adds meaning and fulfillment to his or her life. Life of Pi is relevant to life in its demonstration of storytelling as a means of experiencing life through “the better story.”
He lives in a zoo, and is surrounded and influenced by animals daily. His knowledge of animals grows as he does, and he learns and sees new things year after year at the zoo. One peculiar, yet crucial thing that Pi learns while living in the zoo, is the concept of zoomorphism. Zoomorphism, “is where an animal takes a human being or another animal, to be one of its kind”(84). He explains that within the zoo that he spent his childhood, there were many cases of zoomorphism, from the strange friendly relationship between the goats and the rhinoceroses, to the even stranger friendly predator-prey relationship between a viper and a mouse. Pi then says that the only explanation for zoomorphism is that the “measure of madness moves life in strange but saving ways”(85). The rhinoceros and goats get along because the rhinoceros, “[is] in need of companionship”(85), and without the goats, the rhinoceros would become depressed and die. This explanation of zoomorphism is major foreshadowing and background on why Richard Parker and Pi can live together on the lifeboat. Like the rhinoceros, both Pi and Richard Parker would have died without the company of another being. The “madness” that is the relationship between Richard Parker and Pi, scares Pi and causes him stress. However, this stress and fear keeps Pi alive, and ultimately saves his life. Therefore, the story with the animals is true, because
This unimaginable tale, is the course of events upon Pi’s journey in the Pacific ocean after the ship that Pi and his family were aboard crashes, leaving him stranded with a tiger named Richard Parker, an orangutan, a zebra, and a hyena. Pi loses everything he has and starts to question why this is happening to him. This is parallel to the story of Job. Job is left with nothing and is experiencing great suffering and he begins to demand answers from God. Both Pi and Job receive no answers, only being left with their faith and trust. To deal with this great suffering Pi begins to describe odd things which begin to get even more unbelievable and ultimately become utterly unrealistic when he reaches the cannibalistic island. Richard Parker’s companionship serves to help Pi through these events. When the reader first is intoduced to Richard Parker he emerges from the water, making this symbolic of the subconscious. Richard Parker is created to embody Pi’s alter ego. Ironically, each of these other animals that Pi is stranded with comes to symbolize another person. The orangutan represents Pi’s mother, the zebra represents the injured sailor, and the hyena represents the cook. Pi fabricated the people into animals in his mind to cope with the disillusion and trails that came upon him while stranded at the erratic and uncontrollable sea,
The protagonist, Pi is initially apprehensive to accept Richard Parker on the raft, but later comes to appreciate the tiger once he realizes this animal’s presence is crucial for his survival on the boat. First, Pi is scared and reluctant to accept his shadow self because it conflicts with his character and complicates his beliefs. This is evident when he says, “Together? We’ll be together? Have I gone mad? I woke up to what I was doing […]. Let go […] Richard Parker […] I don’t want you here […]. Get lost. Drown! Drown!!” (Martel 123). Though Pi recognizes his shadow self by encouraging Richard Parker to come on the boat, he soon realizes that he is about to accept his shadow self. He instantly regrets his decision and throws an oar at him in an effort to stop Richard Parker. His action symbolizes his denial and confusion he feels towards the extent of br...
This alternate ending plays a key role in understanding how to view the novel through Freudian lenses. Freud’s theory of psychoanalysis clarifies many troubling issues raised in the novel Life of Pi. Martel’s novel is about the journey of a young man being forced to test his limits in order to survive the unthinkable predicament of being lost at sea alongside an adult Bengal tiger. Life of Pi starts out by introducing an anonymous author on a quest to find his next big story and goes to a man by the name of Piscine Molitor Patel who supposedly has a story worth hearing. Patel begins his story talking about his childhood and the main events that shaped him such as his family’s zoo, the constant curiosity in religion he sought as a young boy and also how he got his nickname Pi.
Choices play a prominent role in ensuring comfort and happiness in life. People make choices, which ultimately shape their lives. In Yann Martel’s The Life of Pi, the main character, Pi Patel is forced to make choices, which go against his morals, but ultimately keep him alive. This becomes clear when Pi chooses to change his person by eating meat. Pi then chooses to eliminate all personal boundaries, due to his incredible will to survive. Finally, he chooses to view all of the people on the life boat as animals in order to cope with the psychological distress of being lost at sea. When faced with choices, Pi puts all morals behind him to survive.
The projection of Richard Parker helps Pi to be aware of this current situation, which was him being stranded in the ocean on a lifeboat in comparison to his beliefs in his religions. His fear towards Richard Parker was one of the reasons of his survival. Pi says, “Fear and reason fought over answer. Fear said yes. He was a fierce, 450-pound carnivore. Each of his claws was sharp as a knife” (Martel 108). Pi describes Richard Parker as an extremely dangerous, fearful, and vicious predator. This causes Pi keep aware because he is on a boat with a deadly carnivore. He tries to keep awake at night while being on the lifeboat with Richard Parker from the fear of being attacked and eaten by the Bengal tiger. However, since Richard Parker is Pi’s id, it was actually him keeping himself aware and alive. Pi states, “If I still had the will to live, it was thanks to Richard Parker. He kept me from thinking too much about my family and my tragic circumstances” (Martel 164). This shows how Richard Parker occupies Pi’s mind and influences his thoughts about the tragic incident that has happened. The will to live for Pi is no longer his family, but Richard Parker, his id. Richard Parker taught Pi how to survive based on his instincts an...
In the first place, Pi spends more time telling the animal story, instead of the true account, which shows that he prefers a zebra, a tiger, a hyena, and an orangutan over the real people involved because with real people the tragic events must also be real. While telling his story to the two Japanese men investigating him once he
Imagine being stranded in the middle of the Pacific Ocean in a lifeboat, not alone but with some carnivorous animals, as company. The chances of survival do not seem so high, but when one has the will to survive, they can do anything to attain it. Pi Patel and his family are on their way to Canada from Pondicherry, India, when their cargo ship the Tsimtsum sinks. Pi is not the only survivor of the ship, along with him is a hyena, an injured zebra, an orangutan and a 450-pound orange Bengal tiger. Pi travels across the Pacific Ocean in only a lifeboat, with food dwindling quickly, he needs to find land and most of all survive the voyage. In Life of Pi; Yann Martel develops the idea that having the will to survive is a crucial key to survival; this is demonstrated through symbolism of the colour orange, having religion on the protagonist’s side and the thirst and hunger experienced by the protagonist.