User:GreenC/lop

The below was deleted from Life of Pi as being original research. I thought it a shame and so decided to save it for anyone who wants to read it. Green Cardamom (talk) 05:11, 25 March 2009 (UTC)

Analysis
Point of View/Perspective:

Martel wrote Life of Pi in a frame narrative. In the novel, Pi, a fictional character, is met by another fictional character, the supposed author of Life of Pi. In the author's note, the fictionalized author tells his own reasoning for recounting Pi's life. This author meets Pi and his family, years after his journey at sea. Interestingly, Martel uses italicized chapters to distinguish the "author's" notes from the continued story of Pi's life. Although somewhat unclear, it is this fictional author who writes the story but in Pi's own words.

Tone
There are three essential tones within the piece. Each correspond to a respective section that portrays character development. At the start of the novel Pi is wide eyed and innocent and the tone follows suit. He says, “the reason death sticks so closely to life isn’t biological necessity—it’s envy. Life is so beautiful that death has fallen in love with it.” Throughout the beginning of the novel Pi seems innocent as he should be at his age. He is full of life and energy as he explores the world and all that is in it.

As the novel progresses the tone shifts. Pi witnesses the death of his entire family and is stranded on a lifeboat with a Bengal Tiger. In this section Pi is forced to grow up and take care of himself. In the same way that his character development is forced to progress, the tone shifts and reflects the suffering and angst of his situation. Pi says in one fit about suffering, “No! No! No! My suffering does matter. I want to live! I can’t help but mix my life with that of the universe. Life is a peephole, a single tiny entry onto a vastness—how can I not dwell on this brief, cramped view I have of things.” His tone becomes that of fear and desperation in contrast to the previous innocent glee and curiousness. Pi is forced by the circumstances of life to face reality and witness the more evil side associated with life and the tone is a portrayal of these circumstances.

Finally at the conclusion to the novel, the tone is a reaffirmation towards life. He has been through 227 days of torture on a lifeboat, enduring physical, mental, and emotional pain. However, when he concludes his journey Pi emerges as a man with the understanding of life. As he recounts the story to the two Japanese ship company investigators in Mexico he is questioned with the factuality of his story. He responds with a different account of the story but then asks “which is the better story?” Pi has emerged from his experience with a newfound respect for life and affirms the process of life and the circumstances of life that create the essence of humanity. This affirmative tone to the conclusion correlates with his maturity. He now understands life and thus he can respect all aspects.

Form
Life of Pi is written in three sections; the first of which is Pi’s childhood synopsis, the second is the 227 day journey across the ocean to North America, and the third is his experience with the investigators. These formal elements help to define the different aspects of Pi’s character development. The first section describes Pi as a little boy in both physical terms and developmental terms. In this section, Martel describes a young boy amazed with the world and all that is in it. Pi says, “first wonder goes deepest; wonder after that fits in the impression made by the first.” This comment was made by the older Pi recounting his life. He was a little boy full of wonder.

The next section of the novel is dedicated to the main mode of character development. This aspect of the novel describes the origin of Pi’s transformation. He is subjected to horrible circumstances and endures the loss of his entire family. He overcomes physical, mental, and spiritual trials. One interpretation based on allegory suggests that in this section is where Pi learns to harness the different aspects of humanity. This suggests that the animalistic qualities and divinity qualities of humanity represented by the Richard Parker must be balanced and controlled to overcome adversity in life. Pi comments, “It was not a question of him or me, but him and me. We were, literally and figuratively, in the same boat. We would live—or we would die—together." The balance of the animal of humanity and the divinity of humanity represents the only plausible attempt at life and Martel explains this comment through Pi’s realization that both he and Richard Parker must coexist.  The form of the novel allows each section to describe a specific area of development.

Finally, the last area of the novel represents his ultimate maturation in which he is able to articulate life’s importance and thus the theme of the novel is communicated. Pi shows the Japanese ship company investigators that it does not matter which story he tells because neither can be proven and instead suggests that they pick the “better story”. Martel uses the form of the novel to delineate different sections to different areas of the developmental process and in this way the theme is gradually introduced to the reader for the reader can endure the same journey that Pi encountered. The form of the novel is an essential component of an understanding of the novel.