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Role of a narrator in play
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The narrator of a book plays an essential role in the understanding for a reader. It is there duty to tell their story without hampering the truth. They are the ones that are in control. As a result, the narrator must be unbiased so that they can provide the most honest account of the experiences. Oliver Wiswell, by Kenneth Roberts, is a story written in the uncommon perspective of a British loyalist. But due to his dependence on his father, and his emotions and personal experience getting in the way of his thinking, Oliver Wiswell cannot be trusted for his own narration. Oliver’s father, Seaton Wiswell, has a great impact on his decisions and thoughts. He was looked up to by Oliver, and Daniel Dulaney, one of Seaton’s colleagues, was bragged …show more content…
During a short discussion with Oliver’s dad about how battles were won, his dad said that “battles are decided by luck,” but Oliver thought otherwise and was “sure battles were won by generalship; not luck.” (Roberts 83) Because of Oliver’s feelings of how great his father was, he didn’t dare to question him; therefore, Oliver didn’t comment against his dad over their differences in opinion. Oliver’s veneration for his dad and willingness to please him proves how loyal he is, but Oliver’s obedience is not solely responsible for his own opinions; it is also Seaton Wiswell’s decisions that he makes for Oliver that causes him to become less trustworthy too. One instance, …show more content…
Oliver’s emotions, primarily anger, began to grow after the rebel mob evicted him and his sick dad out of his own home. Afterwards, the emotions of Oliver began to take control over him, and his words, feelings, and bias began to show. He described himself, at the time of his eviction, to be “in an icy rage at the witless cruelty of these misguided dolts, who were torturing a man who had proved himself as indomitable.” (Roberts 47) Oliver was obviously angry at the mob from his choice of words, which caused his judgement and way of thinking to become misguided too; therefore, it made him a less trustworthy because he wasn’t thinking straight and allowed his feelings to dictate the way he was narrating. Also, if Oliver wished to write about the truth, he would have to have a reasonable and unbiased mindset. How would Oliver be able to be truthful if he was in an “icy rage” with the “witless cruelty” of the “misguided dolts?” Oliver’s word choice used against the rebel mob belied his wishes to become a truthful writer. He let his personal experience and emotions get in the way of his
Many war stories today have happy, romantic, and cliche ending; many authors skip the sad, groosom, and realistic part of the story. W. D. Howell’s story, Editha and Ambrose Bierce’s story, An Occurence at Owl Creek Bridge both undercut the romantic plots and unrealistic conclusions brought on by many stories today. Both stories start out leading the reader to believe it is just another tpyical love-war senario, but what makes them different is the one-hundred and eighty degrees plot twist at the end of each story.
Henry's first-person narrative is the most important element of these stories. Through it he recounts the events of his life, his experiences with others, his accomplishments and troubles. The great achievement of this narrative voice is how effortlessly it reveals Henry's limited education while simultaneously demonstrating his quick intelligence, all in an entertaining and convincing fashion. Henry introduces himself by introducing his home-town of Perkinsville, New York, whereupon his woeful g...
Often, when a story is told, it follows the events of the protagonist. It is told in a way that justifies the reasons and emotions behind the protagonist actions and reactions. While listening to the story being cited, one tends to forget about the other side of the story, about the antagonist motivations, about all the reasons that justify the antagonist actions.
D'hoker, Elke, and Gunther Martens, eds. Narrative unreliability in the twentieth-century first-person novel. Vol. 14. Walter de Gruyter, 2008.
The father and son relationship is one of the most important aspects through the youth of a young man. In Shakespeare’s play Henry IV, he portrays the concept of having "two fathers". King Henry is Hal’s natural father, and Falstaff is Hal’s moral father. Hal must weigh the pros and cons of each father to decide which model he will emulate. Falstaff, who is actually Hal’s close friend, attempts to pull Hal into the life of crime, but he refuses.
Narratives are an important part of an essay as they create a sense of tone needed to describe a story or situation with ease. If the narrative is not correct, it can leave a false impact on the readers or viewers because it lacks the main tone of the story. Having a perfect narrative can not only enhance a story, but it can also prove evidence. In her essay, “An Army of One: Me”, Jean Twenge provides some of the best examples of how narratives enhance a story and she also emphasizes on how the tone of storytelling matters on the impact that the story would have on its readers or listeners. Apart from Twenge, Tim O’Brien also focuses on how the narrative of the story can help in understanding the truth and falsity of the story in his essay, “How to Tell a True War Story.” In addition to O’Brien, Ethan Watters also emphasizes on the narrative of cultural progress in his essay, “The Mega-Marketing of Depression in Japan”, when he talks about the anti-depressants to be sold in Japan. All three authors agree to the fact that narrative, the art of telling a story or explaining a situation, has a major impact on the story and on how it is taken by the audience.
In ‘unreliable narration’ the narrator’s account is at odds with the implied reader's surmises about the story’s real intentions. The story und...
Cartwright, Kent. "Nick Carraway As An Unreliable Narrator. "Papers On Language & Literature 20.2 (1984): 218. Academic Search Premier. Web. 3 May 2014.
A narrative is constructed to elicit a particular response from its audience. In the form of a written story, authors use specific narrative strategies to position the ‘ideal reader’ to attain the intended understanding of the meanings in the text. Oliver Sacks’ short story The Man Who Mistook His Wife for a Hat is an unusual short story because it does not display conventional plot development; the story does not contain conflict or resolution of conflict. The genre of the story is also difficult to define because it reads as an autobiographical account of an experience Sacks had with a patient while working as a neurologist. Although it is arguable that the narrative is a work of non-fiction, it is nevertheless a representation, distinct from a reflection of the real events. It is a construction, Sacks chose the elements that were included and omitted in the narrative and used narrative strategies to position readers to process the signs in the text and produce reach the dominant understanding. This blurring of truth and fiction is similar to that in the genre of ‘new journalism’. Although, rather than being a journalist writing a fictional piece of journalism, Sacks is a doctor writing a fictional medical analysis. To influence readers’ comprehension of the narrative, Sacks utilised the point of view strategy of subjective narration, atypical in this short story in that a characterisation or representation of Oliver Sacks is the narrator and Oliver Sacks the person is the real author. The story is character-driven rather than plot-driven and regardless of how accurate a depiction of the real people the characters are, they are constructions. Sacks gave the characters of Doctor P. and his namesake admirable and sympathetic trait...
The main characteristic of the new literary form of the novel according to Ian Watt is "truth to individual experience" (4) and its new shape is created by a focus on the individual character. He is presented in a specific definition of time and space. The second section of this paper will show how far this is realized in both of the novels. In the third section I want to analyze the characters' individualism in connection with the claim to truth and their complexity in description.
As the reader, we are allowed to walk in his shoes and experience the growth in his character. At the start of the narrative he speaks with fear and anger, but he remains hopeful. As stated in the text “ Over the course of a year , he pushed all of us, myself especially, to broaden our minds and cast aside the notion that being LD in some way limited our capacity to experience life to fullest ” (Rodis, Garon & Bascardin 2001, pp. 9). Oliver is inspired by his teacher Mr. Hoffman who challenged him to go beyond how others viewed him. In the aspect of learning, Oliver adjusted well throughout his years after Blake Academy. He learned how to read at a normal level and accepted his learning disability. Although Oliver struggled through the educational system, he shows great promise. He overcame his battle socially with the Dixon kids and academically in the classroom and he will continue to overcome
A soldier’s journey, a trip back home from World War II and a collision with reality is described in the opening of Henry Green’s novel, “Back”. The opening deals with the soldier’s journey, his experience at the warfront, the death of his love, and finally a child who is his own son, the last thing he has of his love. Charley, the soldier is seen reminiscing the moments he had with Rose and his experiences at the battlefield while he walks through the graveyard towards the body of his love. The author conveys a lot more than just what the words say in the first few paragraphs, leaving the reader eager to turn the page as well as giving the reader the freedom to interpret what certain words and sentences mean.
Abrams, M.H. and Greenblatt, Stephen eds. The Norton Anthology of English Literature: Seventh Edition. New York: W.W. Norton & Company, Inc., 2001.
Evans, Robert C., Anne C. Little, and Barbara Wiedemann. Short Fiction: A Critical Companion. West Cornwall, CT: Locust Hill, 1997. 265-270.
Miller, J. Hillis. “The Dark World of Oliver Twist.” Modern Critical Views of Charles Dickens. Ed. Harold Bloom. New York: Chelsea House Publishers, 1987. 29-69.