Empathy In The Rattler

First, Kino’s call to adventure with Coyotito being savagely stung by a scorpion and Kino having to find money for the doctor to pay for Coyotito’s medical treatment, second,Kino’s allies that will be by his side no matter what and lastly the examples of how Kino is truly a tragic hero. In John Steinbeck's novella, The Pearl the text gives many hints and clues that the novel follows the pattern of a Hero's Journey. This essay will cover the 3 main aspects of Kino's Journey which eventually leads to his ultimate sacrifice. My claim is significant and relevant to The Pearl because without the three main aspects to Kino’s Journey, the novel would not be the award winning, captivating book that it

because through his first person narrative, the reader is drawn to his sensitive nature, his

This particular event emphasizes his great fear to show his weakness to those closest to him. This rhetorical strategy allows the reader to feel the same emotions the character was feeling which creates an emotional connection between reader and

Herrick induces us to feel empathy rather than antagonism to the protagonist. This is accomplished through the intimate use of language, changing perspectives and personal anecdotes.

There has been a time at one point in a person’s life where they were given a task they did not want to do. Sometimes it has to be done. The the short story The Rattler, a mane is talking a walk through a desert setting. His walked was suddenly stopped when he saw a dangerous looking snake, at first glance anyway. He was faced with the task of killing the snake. When the task was complete, he was not thrilled. In The Rattler, the author creates the effect of empathy for the man and sympathy for the snake. The techniques used to achieve that are the description of the man, description of the snake, the setting.

There are stories he incorporates to illustrate the point. In the middle we move to a more self-centered narrative. He tells of his story in New Jersey where he realized he could kill someone. He shares some of his thoughts of why people acted as they did towards him and others. This is an effective way he uses narrating and analyzing to work for the reader’s understanding.

In Mary Oliver’s poem “The Black Snake,” the narrator contemplates the cycle of life with the unpredictability of death. Mary Oliver’s work is “known for its natural themes and a continual affirmation of nature as a place of mystery and spirituality that holds the power to teach humans how to value one’s life and one’s place” (Riley). In the poem, The Black Snake, the narrator witnesses a black snake hit by a truck and killed on a road one morning. Feeling sympathy for the snake, the narrator stops, and removes the dead snake from the road. Noting the snake’s beauty, the narrator carries it from the road to some nearby bushes. Continuing to drive, the narrator reflects on how the abruptness of death ultimately revealed how the

shows that authors use multiple techniques to help the reader relate and further empathize with the characters. Empathy helps us better connect to the world and people around us, and often times sparks the need for change within people. The most effective of these tactics is the use of appeals. These examples further prove the argument that authors use appeals such as ethos, logos, and pathos to evoke empathy in their

“Piano” and “Snake” in D.H Lawrence’s representations express an inner conflict; the troubles they face are based upon distinct and similar reasons, they want an escape to their present state. “Piano” and “Snake” in D.H Lawrence’s representations express an inner conflict; the troubles they face are for distinct and similar reasons; they want an escape to their present state. The interpretation received when analyzing “Piano” was that the narrator himself was having a troublesome time because he aspired something that was nostalgically unreachable for him, his childhood. What caused this inclination to be unreachable was due to the time passing which resulted in him becoming an adult and conforming to the constitutional systems. Snake’s narrator’s inner distress came from the need to break down the structural voices and principles that educational systems had constructed upon him. Both narrators have heavily built up emotions for the want of liberation from the prisons that confine them to the structures meant for them; their desires although differing in context are similar in topic matter. There are in fact differences in what they long for, but there is no doubt that they do desire something different from what they presently have.

At the beginning of the story, the narrator provides a brief description of himself that allows readers to reflect upon his character and morality. He introduces himself as someone who believes that

Though the narrator has the full ability to see, he lacks the ability to connect to the world and to the people around him. He is described as an egotistical, superficial being who is very shallow in the way he views the people and events in his life. The man,

When defining the possible limitations of the “Empathy and (Film) Fiction”, it is in high priority to consider the experimental set in the research and the film examples Neill provides in the essay. The set of examples the author uses in the essay does correspond only to the award-winning or highly-rated films that are assumed to be “good” in evoking the empathetic or any other emotional response. This excludes possible alternative response to “bad” or “not-so-good” films. In addition, Neill does not cover many other cases of the empathetic response to the fictional character; thus he ignores the complex set of emotions the audience usually expresses (e.g. the antagonist as the main character, disgusting scenes etc). As a result, deficiency of the elaborate experimental set generates more questions in the issue. At the same time, however, the strength of

Pepe, still travelling through the mountains, became overcome with dehydration and the severe conditions in the mountains. While riding on his horse, it was randomly shot and collapsed to the ground. Pepe dashed from the scene and crawled to safety. While wriggling to protection, he came face to face with a rattlesnake; so Pepe “backed up and took another way” (Steinbeck 152-153). The encounter with the deadly reptile emphasizes Pepe’s association with snakes. Not only are snakes deadly and easily feared, but Pepe’s father died from a snake. Not wanting to follow his father’s way of death, he takes another route. Furthermore, Pepe’s interaction with the snake allows his father’s history to affect the lazy teenager’s present. He lets his family's past change his decisions and actions. By taking another way, Pepe wastes time while the men chasing after him close the distance between them.

The events happening in the story can really happen, and this allows open-minded readers to put themselves in the story line and feel what O’Connor makes the characters feel. A great example of creating fear and sympathy in the audience is when O’Connor writes, “There were two more pistol reports and the grandmother raised her head like a parched old turkey hen crying for water and called, ‘Bailey Boy, Bailey Boy!’ as if her heart would break” (O’Connor 454). In this line, readers feel hearts almost break in sympathy for the grandmother as if they have lost their own son, but soon fear creeps up because everyone has been murdered except the grandmother, leaving her alone with evil. Through characterization, O’Connor creates an emotional and relatable connection between the story and the readers, which is a great element that defines good writers from great writers. Reading is just a way for people to escape the everyday redundancies of life, even if it is met with fear and sympathy.

For instance, he describes in detail situations that the other member of the community experienced, like when the Board of Aldermen sent a deputation to her home or when the drug store clerk sold her the poison. These scenes were described with perfect first-person perspective. On the other hand, these scenes also say a great deal about the narrator as well.