The Deeper Meaning Essay

My hand swung to my side, feeling the sharp stone puncture layers of skin and muscle. Wailing in agony as blood spurted out of the wound, I run towards nearby shelter. The shrill screams of dying men rip through the air, accompanied by the sounds of arrows whizzing through the air and the Indians whoop when they hit a target. Dizzy from pain and hunger, I lay in a more comfortable position, just hoping to survive this wretched attack. ”Why did I ever come here?” the thought pounded through my head. “Oh yeah, I remember why. Land. Money.” That irritating know-it-all voice answered. I hear feet pounding around me and realize that the Indians have gone inside the town. One enters the door and maliciously grins when he sees me. He runs toward me and my eyes widen with shock as the spear plunges down, and becomes closer and closer….

The narrator, Katsu Kokichi, was a low ranking samurai during the end of the Tokugawa Period. He was the youngest out of all his siblings and as a child he ran away from home multiple times. Kokichi told his readers how he had to beg for food and even began to pose as a representative to a feudal lord. The readers learn that he has a wife and children but he often times would beat her and he also never got an official promotion and was forced to obtain a low income by dealing swords, selling protection to shopkeepers, and sometimes using his muscle (getting into fights) and tricking others. In Kokichi’s lifetime, readers see a man whose life was filled with dishonesty, corruption, poverty, blackmail, and even lawbreaking. His story shows the reality of a samurai’s life during the end of the Tokugawa

“If a man hasn’t discovered something he will die for, then he hasn’t got a reason to live.” These were famous words of the late Reverend Dr. Martin Luther King Jr., spoken June 23, 1963 in Detroit, Michigan.

Chikamatsu Monzaemon’s play, The Love Suicides at Amijima explores the disgrace of Jihei and Koharu’s misbegotten romance, the underlying conflict of the hidden innuendos aimed at the Japanese social class and the sense of duty formed between two women from unseemmingly different backgrounds. In order to fully understand these themes, on must take into account the societal structure of Osaka, Japan in the 1720s. Within this culture, every individual was instilled the notion of familial obligation and had to adhere to the rules placed upon them by society. Chikamatsu Monzaemon does an ideal job of capturing these concepts within the play.

In society, we tend to anticipate one’s possibilities to the greatest extent. As Henry David Thoreau stated, “One is not born into the world to do everything, but to do something.” I believe my “something” is to impact my community by helping those who are either in need of help, or who are in quest for clarification.

It describes the typical adventure of the archetype known as The Hero, the person who goes out and achieves great deeds on behalf of the group, tribe, or civilization.” The 12 stages of this are ‘the ordinary world’, ‘the call to adventure’, ‘refusal of the call’, ‘meeting with the mentor’, ‘crossing the threshold’, ‘tests, allies and enemies’, ‘approach’, ‘the ordeal’, ‘the reward’, ‘the road back’, ‘the resurrection’ and finally ‘return with the

In The Making of Meaning, Anne E. Berthoff presents the text Learning the Uses of Chaos that will be analyzed in the essay to understand the argument presented. The author brings about the concept of composing in writing and pays particular attention to the process of composing. While the author is concerned about the composing process and the generating and using chaos in writing, the latter has not been discussed in details. The title of the text, which is learning the Use of Chaos, has not been clearly established. Additionally, the relationship between the chaos and the process of composing is not well articulated.

“The Hero’s Journey” is a pattern of narrative identified by the American scholar Joseph Campbell that appears in drama, storytelling, myth, religious ritual, and psychological development. It describes the typical adventure of the archetype known as The Hero, the person who goes out and achieves great deeds on behalf of the group, tribe, or civilization. The hero’s journey is divided into three sections departure, initiation, and return. The three sections are then divided into subsections that give a little more in detail journey that the so-called “hero” takes in the storyline. Hamlet and Simba are the main characters in the two storylines that take on the role of the hero.

Aspects such as abnormality, the visits to the supernatural world, and greater knowledge gain than original expected of the epic hero archetype guide the reader through this story. Leading them to realize that without understanding the dangers of something irreversible mistakes may be made and yet at the same time wisdom allows for innovation and progress to

In life, heroes are everywhere. They fight crime, save lives, and basically just do good deeds. Heroes follow their journey, which, when written, is actually very cliché. A hero follows a set of events in their journey that are rarely changed. In this essay, two hero’s are examined, Santiago from The Alchemist, and Dorothy from The Wizard of Oz. These two stories seem very different, but in the end, are actually very similar. When examined closely, one may find that their journeys are very similar, following the events of a hero’s journey. This seemingly simple set of events is found in almost every heroic story. First is the problem. The hero is in a not quite perfect way of life, and needs to fix it. Then there is the refusal, the hero is called up to fixed the problem, but refuses for whatever personal reason. Then they are forced to go, and meet a mentor. This mentor gives them the wisdom that they need to get through the journey. It may even be what the hero is striving to be. Then they cross the threshold from their ordinary world to the new special world. The fifth and sixth parts can be interchangeable. Trials and allies/enemies, either can come first. Then they reach what they have been striving for, the liar, the cave, the final destination as a normal person. Once the hero reaches this part, they will be forever changed. At some point in this final destination, they will be killed and reborn, whether it is metaphorical or literal. After this they will fight

In the Heart of a Samurai novel, this is based on a true story. The story is about Manjiro a young Japanese boy who wanted to become a Samurai more than anything, but at the time he was a fisherman. We read about the struggles he went through on his journey to become a decorated Samurai. My theme for this novel is going to focus on relationship. I am going to talk about Manjiro friends and family that he met on his different adventures, and how he became lifelong friends with a captain.

Just as many stories, both action and adventure, or comedy and crime, Beah’s narrative is created through his personal journey. In his journey he encounters many events and people. Out of those events are the negative and the positive ones. Thus, his journey revolves around the abstract idea of war and how neither him or his fellow villagers would come to a general understanding of what the refugees migrating to their village had perceived because it was too terrific and unpredictable. The three major events that took place in the main character’s life was changing from innocent young boy, to savage solider and again to a normal adult.

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

In the novel Kokoro, Natsume Sōseki uses his character Sensei to represent how guilt can weigh too heavily on a person. Throughout the story, Sensei's interactions with the Narrator, both verbal and nonverbal occurrences, showcase how guilt leads to other negative emotional experiences, such as loneliness and misery. Sensei's internal struggle with guilt shapes the entirety of his adult life and the unfolding of the events in the book. This paper aims to show the implications that Sensei’s guilt has upon his life, especially his relationships with others.

The journey, the hero, the triumph, and the defeat are all elements that some of literatures greatest works have encaptured, such as: the Ramayana, The Epic of Gilgamesh, and the Mahabharata. Each of these texts depicts a hero or protagonist that is unique to their culture and although each of these heroes embark on a different journey with different purposes and goals in mind, they all display a variety of features that people of then and now can relate to. It becomes transparent that each of the journeys these heroes undertake are a lot like that of the lives of people today.