A Story Of The Seagull : A Short Story

But just like a popped balloon, all the tension was gone. I reel in the remaining line, waiting for the hook to pop out of the water, but it never does. “God damn thing ate the hook and all” my Dad states, my eyes widen, and I look up at him. “What now?” I ask.

Handbook is a useful resource which provides ways to effectively read texts. For example, analyzing can be used to break a book down into smaller parts to further help the reader. Evaluating, on the other hand, allows many things to be considered that will assist the reader in better understanding the text. Formulating is a method used at the end of reading which can help with the conclusion and provide details about the text. According to The Little

Thoughts of drowning run rampant in every man’s mind on that boat. At dawn, the men decided that their only chance is to row toward the distant shore again and swim when the boat finally capsizes.

One’s view on something often changes when you look at it from more than one point of view. Morality plays a significant role in any decision making process. It is hard to justify any decision that is not moral. Sarah Orne Jewett’s “A White Heron” has many elements of nature, and of the preservation of what Sylvia holds dearly. The thought provoking short story evokes emotions of caring, loving, and fear. All of these emotions are shown by different settings and characters in the story.

The weather was decent, but evening was approaching and it was getting chillier. A lay on my stomach and steady the tube as Noah gets on. We grab on to the handles in front of us and the tube is propelled forward by the boat. We started picking up speed, but it was still easy to stay on the tube. We started reaching speeds of up to forty miles per hour. It was amazing, the water flashed by on either side. We were still going straight but we were ramping off waves. The water splashed in my face every time we went airborne and landed again, but I didn’t care. And then we started turning. We turned right, which was the side I was on. We just let the tube go where it wanted to go, but that was a mistake. The tube came closer to the gigantic wave made by the boat engine. We reamped of the wave, and I knew I was a goner. I began sliding off the tube, and I thought I was gone. Finally my body was flung into the water, but my hands had a firm grip on the handle bars. Uncle ralph slowed down enough so I could pull myself up on the tube. With most of my body soaking wet, and slippery. When we turned again we turned left. This time we tried to lean against the wave. The tactic worked pretty good, but me hit the wave again. Noah was gone in an instant. I look back and he is floating some ways back

So Fernanda jumped and “pencil dived” to grab Roene, and it worked! But when Fernanda was grabbing Roene, she dropped the rope and hatchet. When Nathan and I were landing in the water, we had to loosen the chest strap before we landed. Once we landed we had to take it off carefully and let the parachute sink. Roene and Fernanda wanted to save the parachute, for supplies. So before they hit the water, Fernanda dropped Roene into the water, Roene swam away a little. While Fernanda was still in the air she loosened the chest strap and when she landed she took it off. Meanwhile, Roene quickly grabbed the parachute and successfully saved it. We swam towards each other while Nathan inflated the dinghy. We were about a three-minute swim away from each other, but there were some pretty big waves. When we noticed that there were sharks! While the rest of us were panicking, Fernanda discovered that they were whale sharks! She told us that whale sharks don’t eat humans! We were so relieved. While we were paddling to shore, Roene hit Nathan in the head with her oar! Nathan got a concussion, but he was okay since he just lay on the bottom of the dinghy. We were a six-hour paddle

Kelly, Joseph. The Seagull Reader - Stories. 2nd ed. New York: W. W. Norton & Company, Inc., 2008. 354-72. Print.

The boat creaked, rocking back and forth gently in the waves. A piece of charcoal gripped in her hand as she scribbled on a paper, attempting to mimic her brother, who was crudely drawing stick figures in a book. She glanced up at the two adult figures moving the boat, warm affection flooding her. They were comfort, protection and nourishment. As she went back to her drawing, a large blue-skinned hand rumpled her hair, sparking a laugh. The burst came out mixed with a bark, a clear sign of her heritage. Her brother laughed in response, and with a mischievous glance began tickling the foot closest to him. Soon, all the passengers reveled in laughter, their barking and merriment echoing out across the waters. The day passed, uneventful and boring,

“The Seagull” is a Queensland Theatre Company production, written by Anton Chekhov in 1869, adapted and directed by Daniel Evans. The play has been adapted from its original Russian setting to fit the modern Australian context. Changes were made to the language of the script, but the characters remained virtually the same through their plight against unhappiness. Through the manipulation of symbol, tension, and language, Daniel Evans’ adaptation utilises the unique conventions of post dramatic theatre to help realise the play’s dramatic meaning. “The Seagull” focuses on the character’s perpetuating sense of misery while searching for fulfilment. It captures the reality that, in love and life, you choose your own misery.

Once upon a time there was a man named Willie. Willie lived alongside the Waspi River. One day Willie went for a boat ride on his big steamboat with a big paddle wheel. Willie was on the Waspi River on his steamboat. Willie had a big problem after he was 2 miles down the South channel from his house that was on the North Channel on the Waspi. Willie’s big problem was that he couldn’t get his steamboat to start. Willie was looking for some food, because he was very hungry.

Jack London’s novel, The Sea-Wolf, has many different interpretations. The story can be read as a combination of the naturalistic novel and the sentimental romance, both very popular around the turn of the century. London also brings into play literary naturalism, in which human beings are characterized as just another species in nature, subject to all of Her cosmic forces. The Sea-Wolf fits almost perfectly the archetypal pattern of an initiation story. Depth and interest are added to The Sea-Wolf by successfully integrating these three elements -- the combination of two popular genres, literary naturalism, and the initiation story.

Anton Chekhov includes many dimensions to the plot of the Seagull in order to add increased depth to the story. The conflict, climax, complications, and denouement of the play all benefit from the wide range problems that Chekhov implants through the characters. In addition, the complex character relationships add to these events, without confusing the reader. These four events all rotate around the play's four main characters, Nina, Irina, Treplev and Trigorin. The play's central conflict is between Treplev and Trigorin, who holds the love of both Irina and Nina. Complicating this conflict is the relationship between Irina and Treplev and Irina's feelings towards Nina, Treplev's love interest. The climax of the play is a fight

was a big wave. The wave hit the boat. The boat started to capsize then the next

Jonathan Livingston Seagull, by Richard Bach is a metaphorical novelette about a young gull and his life on earth. The story tells about Jonathan, and how when he was growing up his parents noticed that there was something different about him. Rather than going with all the gulls to the port to search for food, Jonathan would linger back and practice flying. Flying was his obsession, for he saw it to be more meaningful than the practice of begging for food and snatching up fish. However, flying, like any other symbol in this parable, has a deeper meaning than it appears to have.

Within the Sea Gull there is a strong motif of unrequited love within the lives of the characters. Ironically, unrequited love is the structural glue that sticks most of the characters in The Seagull together. Medvedenko loves Masha, but Masha loves Treplev. Treplev does not love Masha back, he loves Nina. Nina loves Treplev briefly but then falls madly in love with Trigorin. Arkadina loves Trigorin but loses his affections and falls for Nina. Polina loves Dorn though she is married to Shamrayev. Dorn sometimes shares an affection for Polina, but his emotions toward her appears to have begun before the play started and continues to