What Happened To Your Flute

The father does not comply with his son and leaves the naked man alone in the cold. This further shows the differences between the boy and his father. The final contrast between the two is exemplified with the ending. Throughout the book the reader is allowed to assume that if the son dies in the novel then the father would consequently commit suicide. At the end of the story when the father dies first the boy stays strong and decides to blindly follow other survivors and put his faith in them. Throughout, the story; however the father doesn't put any trust into anyone. His son, being a foil of him decides to put his faith into other survivors and takes a leap of faith and follow them their camp. This instance further shows the stark difference between the father and the son.

Throughout the novel, survival is a constant objective for the boy and his father. McCarthy’s gripping and frightening moments are most obviously interwoven with this theme. Soon after the death of his father the boy looks up and sees that “someone was coming. He started to turn and go back into the woods but he didnt. He just stood in the road and waited, the pistol in his hand” (McCarthy 281). With the approach of this new potential threat, the boy’s safety and survival are brought into question. As the strange man comes near, a tension builds while the boy tries to make a decision that could quite possibly affect the rest of his life. The tension dissipates when it is revealed that the man is not a threat, but a

The narrator finds himself confronted with different forms of suffering that encompass both light and dark mechanisms of survival. Upon seeing Sonny for the first time in many years, “He looked very unlike my baby brother. Yet, when he smiled… the baby brother I’d never known looked out from the depths of his private life, like

The sister prepares the evening meal, making her contribution to the family; and calls on the boy to come and eat. The saw in the boy?s hands was still running and when he took his attention away from his work, and that split second of carelessness cost him an extremity. His instincts raised his arm upward to keep all the blood from spilling out immediately. When he realized what was happening, the boy finally realized he was to young to be doing a man?s work. The boy ?saw all spoiled,? and now knew his whole childhood had vanished and it was impossible to get it back. The boy frantically called out to his sister to make the doctor keep his hand on. The boy?s body must have instantly gone into shock and not felt the absence of the hand. When the doctor arrived he gave him some ether to make him go to sleep. The little boy began to lose his pulse and soon he was a stranger to the world. The people surrounding the boy never expected the loss of his hand to tragically end the little boy?s life. Frost?s almost appalling casual description of death shocks the reader enough to make them think. ?Since they were not the one dead, turned to their affairs,? describes the environment of the survivors. They are forced to move on with their life and keep working because they cannot afford to stop and mourn.

This impetuousness leads to significant consequences for Yonatan. Impetuousness drives Yonatan to attempt feats that most people would never dream of attempting in a manner that mirrors reckless behaviors. Impetuousness, exuberance, and lack of ability to comprehend the intentions of others combine in Yonatan to have the hyperbolic effect of death. The author writes that, “Sergei tells the boy … the earring boy is stubborn … the kid is slippery … the kid is in his house.” The inability Yonatan shows in interpreting Sergei’s opinion of Yonatan’s presence and the exuberance he shows in his noncompliance with Sergei’s wishes leads to his imminent demise and feeds the impulsiveness Yonatan shows by forcing his way into Sergei’s home. Yonatan is completely incapable of comprehending that Sergei does not want anything to do with his documentary. Furthermore, when the Keret writes that, “the kid with the earring starts screaming ‘Goldfish, goldfish,’ he’s so excited,” he describes Yonatan’s incompetence in conveying his intentions. The impetuousness that ensues because of these instances of miscommunications is one of the things that motivates Yonatan to pursue his documentary. Lack of this impetuousness and presence of reason and intellect would dictate a much different plot, one in which Yonatan leaves Sergei’s doorstep unscathed and Sergei has his third wish to use as he

For example, Jean tells Florentine that he is not her boyfriend and implies that marriage is not something he would commit to. He could not provide Florentine what he himself was deprived from all his life. She symbolizes the life he has struggled to escape from: “Florentine’s image might fade in his memory, […] never would he forget the horrid poverty that had been the setting of their moment of love.” (211). Emmanuel’s feeling for Florentine alters his perception of her and he grows confused between his idealisation of her and the real-life Florentine; “Had he been wrong about all those evenings when he had, in his fancy, danced with her, chatted with her, […]. Did she correspond to his dreams, […] or was she quite different, and he would have to teach her to love him?” (293). The protagonist, Florentine is herself this deceived love. She is cheated and in order to amend her heart, she deceives the heart of Emmanuel. Another character, whose feelings are in a certain way deceived, is Yvonne. Indeed, the heroine’s little sister offers to dedicate her life to God in exchange for him to cure Daniel. Each character of The Tin Flute embodies love in their own

Through sonic, visual, and textual means, Kenneth Branagh’s The Magic Flute explores two contrasting themes: strength and weakness. Throughout the entire opera film, we witness both the afore mentioned themes from a variety of different characters, and the fate to which these attributes lead each individual. Mozart’s beautifully written music backs up this intriguing storyline, with well-placed arias, leitmotifs and an excellent score. As the story follows the adventure of Tamino and Papegano, many times we witness acts of both strength and weakness. Once Tamino has been saved from the gas by the Three Ladies, he is given the picture of Pamina along with the request to save her.

Tori Kadotsuke Hachigaeshi’s sound of the flute is very deep and hollow when listening to the guided example. It differs from the Western flute by occasionally, there are notes that extend into high notes. On the other hand, the Western flute sounds immensely tune and precise. The Western flute has more of a higher note in the pitch and volume. Tori Kadotsuke’s sound is more capable towards different genres and themes because the flute sound is split into three octaves and a pentatonic scale. With this, unlike the Western flute, the Tori Kadotsuke flute can start with small tone notes and transition into more primary notes. There is also the Japanese Aesthetics of ma where it allows space between the beats and the sound to breathe.

In Atwood’s novel Oryx and Crake we see the cause and effect of how our childhood and how we are raised has a large correlation to what type of adult we become. Through the character of Jimmy and later his new persona Snowman, the reader is shown the detrimental effects of an abandoned childhood. Not only do Jimmy’s poor choices in his adult life have a clear link to his neglected and unguided childhood they also create an adult that is emotionally damaged and unable to see the right path in his life even when he wants to.

The boy increases in his intellectual and skillful capacity through his experiences on his journey to maturity. An experience that reveals the boys growth occurs on page 6; the text states, “It was the watch, the compass, the stick – the three lifeless mechanicals with which for nine hours he has fended the wilderness off; he hung the watch and compass carefully on a bush and leaned the stick beside them and relinquished completely to it”. The boy acknowledges that he must let go of the tools that had acted as a support system for him as he braved the wilderness; when he leaves behind his tools, he completely surrenders himself to the wilderness, a sign of his newfound independence. In terms of skillful growth, “Each morning he would leave the camp right after

“When he woke in the woods in the dark and the cold of the night he’d reach out to touch the child sleeping beside him”(McCarthy 3). What McCarthy really means is that The man’s and The boy’s actions are a reflection that comes from the effects on how the setting of The Road could have changed their psychological traits. Because the boy was born into this disastrous and scary world, The man felt that the boy was his responsibility. The man would do anything in order to make sure the boy will survive. Similarly, the boy, being only young in age feels sympathy for the man and shows that he is thankful for The Man’s comfort. The boy even shared the “last” coke with The Man, which was shown by McCarthy explaining “He looked at his father and then tilted the can and drank. He sat there thinking about it. It's really good, he said…Yes. It is…You have some, Papa”(23).

In the touching play of Atsumori we see this astounding tale of faith and adventure. It begins with the death of a young and innocent character, Atsumori. The childlike character was killed by a man who deemed it necessary to the boys’ honor. Atsumori was in a clan that was fleeing an army but Atsumori forgot his flute in the camp site, so he had to go back and retrieve it. He is then set upon by warriors and the main character, Rensho, seeing no way out for the boy give the boy an honorable death.

The use of the flute in the play, Death of a Salesman, by Arthur Miller enhances the work’s meaning and heightens the literature’s level of art. Throughout the play, the flute makes numerous appearances, each time bringing much symbolism to the scene. The flute represents Willy, the protagonist's, memories of his father. As the play begins, flute music plays symbolizing Willy’s overwhelming life as well as his abandonment issues. The flute appears again and portrays Willy’s father’s haunting him. In Act II, the flute resurfaces to portray the hardship Willy faces as a result of his father’s leaving him isolated. As the play comes to a close, the flute music plays for the last time to finish the ongoing theme of desertion that Willy feels. The symbol of the flute in the play greatly enhances the plot and adds another dimension of art to the play.

Throughout the story “Samuel,” Grace Paley uses language to generate a healthy dialogue about the fragility of life by comparing the thoughts and reactions of all the characters in the story leading up to and following Samuel’s tragic death. The text leads the reader through four young boys’ adventures on a train. The story chronicles the thoughts of the passengers on the train in New York City, and their actions leading up to and following the unfortunate death of the main character, Samuel.

Her face showed despair as tears were flowing down her face with the encounter of this monster. His face twisted into a grin as he waved his arm and the winds dispersed. The woman fell to her knees as the wind stopped, followed by the sounds of dirt and debris hitting the ground. Dominique looked up at the boy, fearing for her life. In her possession one could see a flute carried in her hand, which had been billowing traces of fog from its tip.