Close Reading Essays: The Name Of The Books Narayan A Hor ✓ Solved

Close Reading Essaysthese The Name Of The Booksnarayan A Horse

Close Reading Essays these the name of the books: Narayan “A Horse and Two Goats," Paule Marshall “To Da-Duh In Memorium," Achebe “I’m Not Talking About That Now," Joyce “Eveline," and James “Triumph," Anand “The Cobbler and the Machine." Texts: Selection from Colonial and Postcolonial Short Fiction.

To do a close reading, you choose a specific passage and analyze it in fine detail, as if with a magnifying glass. You then comment on points of style and on your reactions as a reader. Close reading is important because it is the building block for larger analysis. Your thoughts evolve not from someone else's truth about the reading, but from your own observations. The more closely you can observe, the more original and exact your ideas will be.

To begin your close reading, ask yourself several specific questions about the passage. The following questions are not a formula, but a starting point for your own thoughts. When you arrive at some answers, you are ready to organize and write. You should organize your close reading like any other kind of essay. If you need HELP! getting started: · Does an image here remind you of an image elsewhere in the book? Where? What's the connection? · How might this image fit into the pattern of the book as a whole? · Could this passage symbolize the entire work? Could this passage serve as a microcosm--a little picture--of what's taking place in the whole work? · Are there metaphors (words that represent something else without using like or as)? What kinds? · Is there one controlling metaphor? If not, how many different metaphors are there, and in what order do they occur? How might that be significant? · How might objects represent something else? · Do any of the objects, colors, animals, or plants appearing in the passage have traditional connotations or meaning? What about religious or biblical significance? · If there are multiple symbols in the work, could we read the entire passage as having allegorical meaning (deeper moral or spiritual meaning) beyond the literal level?

What to do: 1) Format your paper according to MLA style guidelines. Please remember to double space and print only in Times New Roman, black ink, 12 point font. 2) Select a passage no longer than 4 lines to analyze; place this quotation at the top of the page in quotation marks. Please include the page number. 3) Compose a 2-3 page close reading on your passage using the definition and questions above. 4) You may use the first person, but only on a limited basis. 5) Only hard copies in class are acceptable. 6) No outside resources should be or may be used in your analysis.

Paper For Above Instructions

For this close reading essay, I will analyze a four-line passage from R.K. Narayan's "A Horse and Two Goats" that encapsulates the complex interplay between cultural perspectives and communication barriers between characters. The passage selected for this analysis is as follows:

"The two goats are a fine pair, and the horse is as good as new. But the man has lost the language to communicate." (Narayan, p.XX)

This excerpt immediately introduces the reader to the central theme of misunderstanding, which is vital for analyzing Narayan's narrative style and the underlying socio-cultural commentary. At first glance, it may appear to focus merely on the description of animals, yet it resonates far deeper, symbolizing the broader themes of communication and estrangement across cultures and amongst individuals.

An initial observation is the vivid imagery of the goats and the horse. This imagery serves to anchor the scene in the reader’s mind while simultaneously suggesting a familiarity with pastoral life, a central element in many South Indian narratives. The 'fine pair' of goats evokes a sense of pride, yet the mention of the horse being 'as good as new' raises questions about value and perception. Here, Narayan skillfully employs juxtaposition to convey a sense of disparity, reflecting the cultural differences between the protagonist and the foreign visitor.

Furthermore, the phrase "lost the language to communicate" serves as a profound metaphor for the broader theme of cultural disconnect. Language, a fundamental human tool for connection, becomes a barrier rather than a bridge in this narrative. The choice of the word 'lost' suggests a historical disconnect not just in literal language, but also in an understanding of cultural symbolism. This aligns with the aforementioned theme of communication barriers. The protagonist, unable to fully engage with the foreigner, exemplifies a common struggle faced in cross-cultural interactions: an inability to convey one's identity and heritage in an unknown linguistic landscape.

The controlling metaphor of 'language' within this context functions as a gateway to deeper analysis. It reflects the intimate relationship between language and identity, reinforcing the notion that the absence of effective communication can lead to isolation and misunderstanding. The significance of this becomes even clearer when evaluating it against the backdrop of colonial and postcolonial narratives, where characters often grapple with the remnants of colonial power dynamics, linguistic supremacy, and cultural misinterpretations.

It is also critical to note the objects referenced—the goats and the horse. Traditionally, goats symbolize prosperity and domesticity, representing sustenance and community life, while horses often signify power and movement. In their placement, Narayan presents a stark contrast in value perceptions which resonates with the economic disparities of postcolonial India. As readers, we may interpret the goats not only as a physical presence but as an embodiment of the protagonist's identity and heritage, while the horse, possibly analyzed as a representation of the foreigner's Western values, establishes a compelling microcosm of cultural collision.

Moreover, examining the colors and traditional meanings associated with these animals could draw parallels to the cultural backgrounds of the characters. Goats may connote warmth and community in traditional Indian culture, representing sustenance, while the horse may reflect Western ideas of individualism and freedom. This interplay introduces readers to the idea of allegory, where the animals serve as metaphors for cultural identities that might clash. Hence, we see that this passage not only provides insight into character dynamics but also underscores a broader critique of cultural narratives within postcolonial literature.

In conclusion, Narayan’s selection of language and imagery in this passage serves to illustrate complex themes of communication and cultural disparity. Through the vivid depiction of two goats and a horse, combined with the poignant metaphor of lost language, Narayan invites readers to reflect on their notions of identity, cultural connectivity, and the challenges inherent in cross-cultural dialogues. As we analyze this fragment, we recognize the intricate layers of meaning embedded in Narayan's storytelling, which not only enhance our understanding of the characters but also resonate with contemporary discussions on cultural interpretation and identity.

References

• Narayan, R.K. “A Horse and Two Goats.” In Colonial and Postcolonial Short Fiction.
• Marshall, Paule. “To Da-Duh In Memorium.” In Colonial and Postcolonial Short Fiction.
• Achebe, Chinua. “I’m Not Talking About That Now.” In Colonial and Postcolonial Short Fiction.
• Joyce, James. “Eveline.” In Colonial and Postcolonial Short Fiction.
• James, Henry. “Triumph.” In Colonial and Postcolonial Short Fiction.
• Anand, Mulk Raj. “The Cobbler and the Machine.” In Colonial and Postcolonial Short Fiction.
• Hawthorn, Jeremy. “Studying the Novel: A Critical Introduction.” Palgrave Macmillan, 2010.
• Alam, Mira. “Critical Approaches to Literature.” Routledge, 2019.
• Fanon, Frantz. “Black Skin, White Masks.” Grove Press, 2008.
• Spivak, Gayatri Chakravorty. “Can the Subaltern Speak?” In Colonial Discourse and Postcolonial Theory, 1994.