Nov 21, 2019 in Literature

Children Literature

Introduction

The Golden age illustrated a period in which today people regard as the literary eon that produced some of the best, educative art that was most significant to children of all time. This was seen as a broadminded movement that really got focus on producing literature that precisely oriented to influence the child. Many people regard this period as the major source of motivation for contemporary juvenile writers and illustrators. The golden age and the silver age really saw the most increased numbers of children’s literature and texts as publishing houses sold and released thousands and thousands of these literary works year in year out.

However not all had the expected quality and thus the label ‘toy books’. There were a roster of writers who produced meticulous illustrations that was recurring in other editions and even today some are still reproduced. Most of the best artistsin this period earned fame that lasted as a result of their literature on children.

This movement has proven tough to define given the varied histrionically artistic visions, theme matter and the largely attributed period that is said to have taken place. Artist of this era introduced the aspect of realism in their literary works on children with the intention of creating a doorway to the writings rather than drawing children’s devotion away from the produced work. These writers and illustrators famed themselves through their use of contemporary art theories to reinterpret more traditional literary works.

In this piece we are going to analyze a novel produced during this era known as the tales of Winnie the Pooh. Thanks to Disney and contemporary dialect, we are familiarized to saying that all the Pooh characters live in the woods that are always in Acres of hundreds. The woods are considered part as part of the overall setting of Winnie the Pooh books. In this book, we also get settings such as the swamp, meadow and the Galleon’s lamp. Ashdown forest in England is a pretty faithful landscape and real place, That Milne family had to spend most summers and afternoon teas. ‘Forest’ is a simple name that has a prodigious pact of creative worth that permits the audience to pull from their own understandings and relations in handling the settings in the book. Even though it is based in a real place in Europe, but it can also be anywhere that any person who reads can get to relate it to regardless.

Setting

In this book, it also appears that the setting is a complete metaphor. As it is, the Forest is a very actual and common type of Forest. Apart from talking, singing, thinking and stuffed animals, there is nobody who can count the exact number of trees in the glen and does not appear an elven kingdom, however it is a very nice place in deed. In the Forest, it is basically quiet and essential to its role as an all-encompassing metaphor for the sphere of children. The wood is a metaphorical space and it is clear in the last chapter as Christopher Robin grows older. He leaves the Forest for good.

Narrator Point of View

Immediately we get access to the book we can ask ourselves these critical questions; who is the writer or narrator? And how can we as readers trust him or her in his or her literary works? In this book, it appears to be a bit unusual to claim that there are two narrative points of view as it is based on or around an extraordinary multifaceted structure. These stories are narrated in second person and third person omniscient and are represented in context that Milne tells stories to Christopher Robin who is the listener. It is also represented in writing the stories down straight to the children who are the readers hereafter the second person tag.

Milne also shows that he likes ‘you’ as the reader and wants ‘you’ to get to the characters in the book. He is directly telling ‘you’ the stories as he starts with the second person in his introduction and addressing the readers straight as you. Milne tries to get you emotional as a reader and gets you involved as the story gets underway as he starts by introducing you as a reader to the characters. Milne too, writes in a way that portrays the characters as if they are there right with him. This inspires how he narrates his story literary as he is in their midst.

By the time he gets into the chapters in the novel, he tells these stories directly to Christopher Robin who appears to the listener and this is evident when he addresses Christopher as ‘you’. This helps readers to identify with him as one of the characters in the narration as Milne gives the same pronoun ‘you’. As we get drawn more in the book by being personified, Christopher Robin goes into another level and becomes one of the main characters.

While the chapters star and Milne grows into becoming the narrator to Christopher who is the listener, he reverts into using third party omniscient speech. Milne switches in and out of all animal minds and from character to character. A good example of this can be found in the chapter that Piglet appears to wholly surrounded by water. Readers get to identify five days of storm in three different perspectives in Piglet’s, Christopher Robin’s and Pooh’s.

At some point, Christopher Robin appears to be interrupting the third party version of the story and Milne gets back to the second person voice as he directly gets to address the observation or question in place. It is important to identify the changes in the voice of narration more so when you are reading the story loud to your children or pupils. This makes it interactive to your pupils or children and keeps them so much engaged to the narration as listeners. It gets to appear as if Christopher Robin is actually speaking to the real child you are reading or narrating the story to. And that’s the reason the characters in the book comes to life more often and so intensely.

Children’s Literature: Coming of Age and Post Modernism

It is always difficult to define this term children’s literature. Most often, it always appears from the intended audience who are the kids by gesture! In the book, one can estimate that Milne is writing to children who are between the ages of five years and seven years olds. This does not mean that children who are as old as the age of ten years old cannot get to love the characters that Milne used just the same way. This is perfectly achieved once the children start to read the story by themselves. As the narration come in layers and philosophical themes, adults find it favorable to read it too.

We always find other specific genres in children’s literature and these include; talking animals, fantasy, exaggerated natural elements and this is evident in the novel of Winnie the Pooh. This novel appears to have a strong attachment to comedy has readers can experience wits, word play and slapstick. These elements are not so uncommon in post modernism children’s literature as readers can get all the Meta. It can be said to be appearing in the whole generation of hipster graduate students. Hey! But this is on a good way anyway.

Tone Variation of the Novel

While we try to analyze this story it is good to look at the story temperature and this can be possible by studying the tone of the writer and how different characters speak in the narration. We tend to ask ourselves; is the tone cynical? Giving hope? Is it snarky? Or is it playful? The writer of Winnie the Pooh maintains a relaxed and light tone. This is evident throughout the story even if the characters are in a difficult situation. A good example can be drawn when Piglet met Heffalump, he was terrified but the situation was fun. This is because the writer created humor through irony more so dramatic irony throughout the entire story.

However the writer appears to be omniscient, in a way that Milne sees the perspective of all that he used in his narration as characters. He also appears to take the perspective of the characters and this limits him as a writer. This portrays the tone of the narrator as youthful and naïve. For example, the narrator describes how Winnie the Pooh falls into the deep pit. The character was so busy as he was not looking at where he was heading to and later he strode on a piece of the Forest that was left by mistake. The narrator also assumed that Winnie the Pooh was not looking at where he was heading to and this was intentional as the piece of the Forest is obviously left in the incorrect place.

The narrator appears to be egocentric and childlike and this helps him narrating the world in this point of view. Even if you get to see through the feigned intelligence of the owl, Milne appears to accept the characters’ belief which always portrays the owl as wise as he took the Owl’s word that contradiction in the opposite of introduction. The narrator uses this to narrate dryly despite all the ridiculousness that takes precedence. We can get a good example through Christopher Robin’s perspective as he never state that Pooh is arrogant and silly. For the other characters, Milne accepts the rest that Pooh’s twisted reason as entirely sensible. Most people who are older usually appreciate the story as much as the kids because of this dry tone.

The Writing Style of the Narrator

Can we then play a game? Can you please pick a sentence from the story and chose alternative sentence from any number of another book, it may be a children’s book. Let’s do a blind test reading and eight out of the possible ten readers will guess correctly the writing of the book Winnie the Pooh. May be this is because no writer seems to write like Milne.

The writer of these books appears to be writing intimately and passionately addressing the readers as if the targeted audience is part of family or his friends. Milne gets to surrender to a whole deferment of disbeliefs as he tell the stories. In brief statement, the narrator gets himself to the ingenious world of the forest and takes all the actions as though they happened in reality. The narration is often as lively as the characters themselves. Milne often appears to be commenting on his own narration stating the length of the sentences and even the way the characters he used speak directly to him as if they are in reality.

The writing of Milne is full of dialogue, action and characterization as it is driven by what the animals in the Forest speak to one another. Let’s take another look at one of the chapters that that Winnie the Pooh is stuck in Rabbits door. Milne writes as he is pulled free. “And for a long time Pooh only said OW!’ And ‘Oh’…/ and then, all a sudden, he said Pop! Just as if a cork were coming out of a bottle.

It clearly appears to readers what is happening in the narration. All are pulling Pooh with his hands and still gets stuck. The pull continues until he finally comes out surprised. It is sure that the writer actually does not narrate about any of these incidences as they are taking place, but he puts it that Pooh says and readers conclude from this. Despite all the dialogue, the writer tends to leave a lot unsaid. Milne uses nonsense words, but fails to complete sentences and most of the times he entirely narrates the discussions as he customs subject clauses. In this, the characters are not actually speaking about anything or any object in particular.

I remember myself engaging a kindergarten teacher about how best children between the age five to seven can learn best and his answer came inform of this phrase; a picture is worth a thousand words. He made me feel and see how pictures makes words a thousand times superior. Milne took his time to put illustrations clear. The publisher in this book labeled these illustrations as decorations as they appeared in the cover. The publisher also put it in a way that the picture were only ornamental and never meant much about the stories in the book.

When we analyze this book, the illustrations come out clearly in that they try to deliver information that further adds the understanding of reading it. As a narrator it is good to understand that when illustrations are correctly used, they interact with each other. For instance, in chapter one, the Pooh gets to hear a energetic noise, he then sit down to deliberate what it may be. The next thing that takes place, is that there is an illustration of bees and this gives the reader the information that the sound appears to be long over before Winnie the Pooh gets to figure it out. We get to know that there are bees even before the Pooh deducts to determine bees are there.

In paragraph 27, we again depict the Pooh trying to look up, apparently at the bees above him. This makes us feel that it is as if we are actually looking at the Pooh as he watches his thought course and he too appears as if he is an outsider of his own thought just as the. It is worth to talk about the illustrations, pictures add much to the dramatic irony Milne used to show us how the tail of Eeyore on the door of the Owl long before the readers learn it in the text. The illustrations shows the readers the readers the footprints the Pooh and Piglet follow are surely their own footprints. These illustrations show the extent of cold Eeyore becomes without a house and this is clear on how he was deeply buried in the snow, but the text does not mention any of this. We cannot also assume the countless depictions of Winnie the Pooh and Piglet as they hold their hands. This image is mostly used in tear jerking birthday cards as they were happy tears.

What’s happening With the Book’s Title?

I think the title is self-explanatory. The writer starts by introducing our protagonist as he reminds us that the star is the bear and really not the human. In the introduction parts, the name assumes some extra significance, the narrator actually talks about how the Pooh had to get his name. his name was the blend of the love that he had for other animals. This also shows us the sweet side of Christopher Robin. We also get to understand that the House at Pooh Corner appears to be a straight reference of the first tale in this collection. This is where the Pooh and Piglet build Eeyore the house at that part of the Forest and they dub this part the Pooh corner. The specific corner and the house are surely not the central to other episodes and may be some readers may feel that Milne really liked the image to appear as an umbrella to the entire book.

Is this more like a blankie title? The writer tilted the book with the house and maybe he implied that the environment was familial and also a sense of security and protection. I think it is a cute idea to pass up the Pooh corner!

What’ Happening with the Book’s Epigraph?

Writers use epigraphs to give appetite to their readers. It makes the entry of a reader to the story great and interesting when they suitably used. They also try to illuminate some important aspects of the narration and gets the readers heading towards the right direction. In the book Winnie the Pooh, the writer uses epigraphs as dedications and not epigraphs.

This is because Milne wrote them to a specific person; may be his wife, but they add layer of sugary into the sweetness of the book. He writes it as a poem dedicated to his love and he pays tribute to his son. Hey but these appear and come as more than just sweet words from the writer. It is true to say that it is daphine who is Milne’s wife who in the first place suggested to him to write a children’s novel. It was to be about their son’s replete animals. Milne then acknowledges her role in the writing of the book hence the dedication as he appears to ground this reality in the structure of the narration. He combines the real family dynamics, the narration and Christopher Robin who is the listener to add the intimacy of the overall tone. I think this book is as a result of labor love.

And can we get the nugget of Mine’s aesthetic perspective? He is the one who wrote all these narration in the book but we can clearly see him considering himself as part of the recipient of a gift, and this is as if this narrations and the entire story just came to him. And this also reminds readers quite a bit of how Pooh creates the songs and poems. But should readers and the entire world thank Daphine for this wonderful piece of literature for our children? I think yes.

Conclusion

Wow! What a book by Milne. It is a piece that is entirely meant to be a source of education to our children and adults can also read and enjoy this wonderful piece of literature. The narrator uses lively techniques that make the entire book interesting to readers. The intention of creating this book was to entertain children and give them some moral lessons. It is important to explain story telling is one of the best ways that can be used for purposes of instilling moral values in children. Teachers can also use this method of storytelling to impact positive values and social skills in children. Furthermore, the use of storytelling helps in creating a personal relationship and bond between the narrator and the child.

Winnie the Pooh is a story that has stood the test of time. It is one of the most enjoyable stories by young kinds, and the use of animals and other natural features helps in making the stories to be very interesting. While coming up with the story, Milne uses stylistic devices and features that makes the stories to be very enjoyable, and fun to listen and read. Through these stylistic devices and features, these stories can also be read and enjoyed by adults. Furthermore, the writing style of the narrator is passionate and intimate. This is because he is writing the books as if he is addressing members of her family. Based on this notion, it is possible to denote that by writing these books, Milne views the audience as her children. Therefore, she has a moral value of instilling the elements of morality in them. The use of dialogue as a stylistic feature is effective in developing the plot of the play. Therefore, it is possible to conclude by asserting that stories of Winnie the Pooh are well developed childhood stories that have stood the test of time.

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