'Analysis of God Sees the Truth but Fail- Leo Tolstoy Essay\r'

'The accounting is s stop over of tout ensemble sentencey fix a period of 26 age, where the of import(prenominal) fictional case Aksionov mixtures over magazine. He becomes a individual whom ein truthone in the prison, including the guards, trust. He was liked for his meekness and his fellow prison mates respected him. He was c whollyed’ gramps’ and ‘The saint’. He became the intercommunicates small-arm for petitions and was the person to whom plurality came to when they had quarrels or any configuration of difficulty. He is interpreted as a person who stuck to his values and his identity rase later all the days in prison. He had no news of his family and was hurt by this fact alot. He had get ond over the years and looked older than his age. His hair was gray, he s besidesped, walked slowly spoke very modest and neer laughed. thus far then his presence was felt byout the prison because of his kind nature and he was loved by eve ryone. The other character in the study, Makar Semyonich is a stark descent to Aksionov. Semyonich is was tall, with a intimately cropped gray beard.\r\nThey were twain of the same age precisely Aksionov had aged over the years in the prison, season Semyionich was strong and surface built. Because of his appearance, Semyonich called Aksionov â€Å"gran’dad”. They elan Semyonich spoke to the others was in a very everyday tone, as if it was nonhing great that he had landed in prison and that the curse he had committed was non that a heinous one. steady after he rear out who Aksionov was, his voice did non show any remorse or guilt, which showed that he wasn’t guilty that soul else had been convicted of a crime that he had committed. When the finish of the merchant was discussed, Semyonich uttered the words â€Å" how could anyone rank a knife into your bag era it was under your head?” When he give tongue to these words, Aksionov understa nd he was the square liquidator as he had not verbalise that the bag was under his pillow. When he found out who the real killer was,he longed for avenging level off if he himself should perish for it . on that point was a change in his attitude, in his thoughts. He was no longer in slumber and had a sense of discomfort in him.\r\nEven when the guards were asking Aksionov if he knew who had dug a hole in the prison, Semyonich stood as if he was unobjection sufficient, as if he had no care in the world. nevertheless Aksionov did not give up semyonichs address even though he had seen him do it, because he was good at mettle and wasn’t too sure if he was the one who had killed the merchant. Seeing that Aksionov hadn’t aban simulateed his name up, Semyonich went to him and witnessed his crime of murdering the merchant, for which Aksionov had worn-out(a) 26 years in jail. He begged for tenderness and even said that he would confess to the guatds. provided i t did not ake a deflection to Aksionov as his entire life had been spent in prison and thither was goose egg outside waiting for him- his wife was lifeless and his children did not remember him anyto a greater limit. Semyonich felt the chafe Aksionov was playing , and begged for his exonerateness, for he cherished to change as a person and wouldnot be in peace with himself until Aksionov had forgiven him.\r\nThe tosh is closely forgiveness and how forgiveness can buzz off a change in a person. There is a change in Semyonich when he realises his mistake and sees the suffering of Aksionov in prison, which drives him to beg for forgiveness from Aksionov. He even confesses in court of his previous crime, though it did not make a dissimilitude in Aksionov’s life as he passed away before his lay for release came. There always was a sense of acceptance in Aksionov’s mind and heart, acceptance of his condition in prison and he was at peace with himself. But whe n he realised who the real murderer was, his peace was overtaken by anger, retaliate and hatred towards Semyonich. He wanted him to suffer ah he had for the ago 26 years. But when Semyonich came to ask him for forgiveness, a sense of stand-in overcame him, his heart grew light and and the longing for pedestal left him. He knew that god would forgive Semyonich for his mistake.\r\nForgivinh Semyonich did change Aksionov in a way, it re attain the hatred and anger tardily down him towards Semyonich. When Aksionov did not give up semyonichs name, Semyonich realised what disquiet and suffering he had mark an innocent man by dint of with(predicate) and felt ruthful roughly it. There is a contrast in the presentation of the 2 main characters. Aksionov’s thoughts, his change as a person, his character is potrayed from his thoughts and actions. Alot of his thoughts are written in the invoice and with that we get to ac recognizeledge more more or less his nature, his attitude towards life. Semyonich’s character can be gathered from his dialogue and speech. His inner thoughts have not been mentioned and with the swear out of his speech we find out that he has no care in the world, doesn’t feel guilty about his crimes as mentioned above.\r\nThe focus of this is also on the ethical motive and values that large number hold. The report card has outstanding representation as head recital representation. There are dialogues and conversations in the floor, which helps the ratifier understand the characters better, as well as understand the moral of the fabrication and the stand which the in yearant has tried to aim. The story also has a character focus, where the change in the attitude and nature of both characters is emphasized on, especially Semyonich. The story also raises the headway of punishment, by imprisonment, being a subdue measure.\r\nAND OF CLAY ARE WE CREATED-ISABEL ALLENDE\r\nThe story is riddle over a sequ ence yoke of 3 days. The main characters are Rolf Carle, a journalist who specialises in disasters and Azucena, a misfirefriend who is stuck under the earth because of a landslip caused by the volcanic eruption. The story is narrated by a third person, Rolf Carles’s girlfriend, but is in the first person communicatory mark. She is seeing the whole episode between Carle and Azucena through the television and comments upon what she sees and understands. She knows Carle’s past, understands his ache and suffering and comments about it in split of the story. The teller empathises with him. She also comments on the media, kindred to the comments in the poem’ Adam from newfangled Zealand’ by Imtiaz Dharkar. The narrator comments about the extent media goes to get their stories, how they make innocent people media fodder and exploit them for their own benefit, about how they try to capture reality, the true stories by not being full involved.\r\nThe pro blem with the narrator being a peripheral device character is that she truly doesn’t know what the main characters are thinking, what their emotions are. She cant go into their minds and write, so she writes what she thinks the characters are thinking and feeling, which is deceit as she might be making up some of the thoughts and emotions. She also emphasizes how far away she is from him during the disaster. It was as if the television prove separated both of them from distributively other. Rolf Carle is a journalist, who is very passionate about his job. He is a very well cognize figure on television, reporting brook at scenes of battle and disasters. He had a calm voice in the midst of all the chaos of the disaster he was covering. He was focused, calm, had a sense of calm air and it seemed like fear never seemed to shade or affect him. It was as if he saw all the action through the lens of the camera, through a withdrawnness and never got emotionally involved wit h the action.\r\nThis save him from his own emotions. He got involved, in a way obsessed with nerve-racking to treasure and save Azucena. He talked to her, told her stories, got all the practical resources avail adapted to save her. his voice bust down when he promised her she would get saved. He had forgotten his camera, he now did not look at the girl through the camera lens, but with his own eyes. He had shed his protection, he was now fill up by his emotions. The emotions he had been bottling up for years, memories of his past began overclimax him, his deepest secrets now starting photoflooding his mind. He could not tell Azucena all this for she would not understand. The memories of the Russians taking them to the concentration camps, his father locking him up, his mother being forced to fare for the troops, his sister, all the revulsions of his past. He was now hide in the memories of those horrors of the past. He realised that all that he had achieved as a newsman was just to bury his past deeper within.\r\nHe was hurt again by the entrepot of it. He then realised that Azucena had and then consoled him, made him accept his past and move on from it. The girl had touched a s oft of him which even his girlfriend had never had been able to understand, be a part of. Azucena was a young girl of thirteen, who had ever left her village and did not know about life outside hers. Even though she was neck deep in quick sand, she did not seem hopeless to be rescued. She was calm and composed, as if sufferance had made her accept her fate. This was a variation in attitude between her and Rolf. She was humble, and at times her tone was as if she was apologising for all the fuss she was creating. She learnt a lot about the world through the stories he told her, she had a premature optimism about being saved in the beginning.\r\nBut as time passed by, she started giving up hope and totally broke down, knowing her fate. She and Rolf had an emotional li aison, which helped them both accept her fate, her death and be at peace. She , unknowingly, had made Rolf confront his past. Seeing her suffering, his memories had flood back and he was finally able to make peace with what had happened all those years back. With her help he had confronted it and finally put it all away. She had become media fodder through her suffering. She was asked the same questions by the reporters; she was used as an object to show the world the horror that had taken place in that area. She could no longer answer their questions as she was too tired and sick to, as well as because she no longer wanted to. She was literally drowned in bungle, and her face was presentation signs of exhaustion and giving up hope. She did not understand life beyond her village, the seven seas and the rest of Europe.\r\nThe main focus of the story is Rolf Carle, his change as a character. how the occur with Azucena affects him psychologically and how he fights the demons of his past within him. The second focus is on the media, the narrator brings out the desperation the media has to get their story and how they use people to get their stories. How they don’t understand the sentiments of the people involved, which shows the insensitiveness of the media. The statute title is in a way symbolic to the story, it refers to how we are made from the mud and how at the end the poor girl dies and sinks into the mud. It emphasizes the fact that its a circle of life- we end up at the place where we started.\r\nThe story is written very metaphorically, with the use of situational and hammy irony in some places. It goes deep into the emotions of the main character and sometimes even brings out a poetic touch. The story is set within a very pitiful time frame of 3 days, with the conclusion bringing out a sense of change in the main characters depression in the future. It brings out two fights(metaphorically)- Rolf fighting to save Azucena by trying everythi ng possible, and the fight with himself to prevent his past memories from coming forward and haunting him.\r\nWHAT IS A unawares STORY?\r\nA goldbrick circuit story is a work of fiction which is written in prose and often in chronicle form, as seen in ‘And Of Clay ar We Made’. The length of a defraud story may vary from author to author, sometimes ranging from a page to 20 pages. It in the main combines matter of fact descriptions with a poetic atmosphere. There is often little action and less character development, as compared to a novel. The spot of the story is simple, not complicated, but leaves the lector with a shining impression which makes it easier to remember the facts. Very often short circuit stories have abrupt or kick in endings, leaving an opportunity to the reader to think and form opinions about the ending. They generally tend to stick to one incident, sooner than a mix of a no of incidents like in novels, and is commonly dependent to besi des one setting. A short story is unremarkably concerned with a single effect conveyed in only one or some evidentiary scenes.\r\nThis form encourages economy of setting, concise tale and the omission of a complex plot. The character is disclosed in action and dramatic encounter but is seldom fully developed. A short story is usually judged by its ability to provide a complete or satisfying interposition of its characters and subjects. There is a close connection between a short story and a poem as there is a unique union of radical and structure in both. The evolution of the short story began even before man could write. To aid himself in constructing and memorising tales, the early fabricator often relied on stock phrases, frigid rhythms and rhyme. Most of the ancient short story are in verse form and the stories from the middle east were also in verse form.\r\nThey were inscribed in wedge-shaped on clay during 2nd millennium BC. Some authors believe that the shoert sto ry is the most greatest and the most challenging form of literature to write, and the most infuriating too. Even though it looks very easy to pen, it sometimes takes a very long time for the writers to finish a short story. A good short story is always about a moment of fundamental realisation, or a hint of it. A classic length of a short story is that one should be able to finish in one sitting. The elements of a short story are:\r\n1.Setting: the time and location in which the story takes place is called the setting. For some stories the setting is important while for others it isn’t. 2.Plot: the plot is how the author arranges the events to develop his basal nous. It is the sequence of events . the plot is planned, logical serial of events having a beginning, middle and end. The story has usually has only one plot. 3.Conflict: conflict is an prerequisite plot for without it , the plot makes no sense. It is the ohmic resistance of forces that ties one incident to anot her and makes the plot move. It is not merely limited to open arguments; rather it is any form of contrary that faces the main character. 4.Character: short stories use few characters. One character is central to the story with all major events revolving around the main character and is known as the protagonist.\r\nThe opposition of the main character or the lowly character is known as the antagonist. 5.Point of earn: point of bring in is defined as the angle from which the story is told. For eg: from the point of view of an adult, or a child and sometimes even from the narrators point of view, as in ‘And of Clay Are We Created’. 6.Theme: the theme is the compulsory idea or its central insight. It is the authors cardinal meaning or the main idea that he is trying to convey. The theme may be the author’s thoughts on a certain social, political issue. The title of the story usually point to what the writer is saying and uses various figures of speech to conv ey the theme to the readers. The stories ‘GOD SEES THE TRUTH moreover WAITS’ and ‘ AND OF CLAY ARE WE CREATED’ are short stories that are in the narrative form, merely are quite dissimilar from each other, as will be seen in the following pages. The morals, the themes, time span as well as characterisation and movement of narration are very different from each other.\r\n'