We always come across the term ‘intertextuality’ even though we may not realize it. It refers to the relationship between different texts, most of which are literary texts. Such literary relationships are very common in novels and their various themes. The movie and novel, Life of Pi is a great example of a story having intertextual relationships. Written by Yann Martel, Life of Pi is a story based on how a young Hindu boy is separated from his family when a storm sinks the boat they were travelling in. However, Pi, the young boy does not survive alone.
He is accompanied by a Bengal Tiger and since then both of them start developing ways to tackle and survive in the sea which was full of challenges and fatality. But what is encouraging is that Pi never gives up. He comes up with various attempts and ideas to save himself and the tiger, and he manages to do so. His physical as well as his mental strength and bravery helps him to move on while he was deserted away from his friends and family. Life of Pi gives us a hint of everything that takes for a living being to survive and overcome difficulties that come about with situations. Therefore, the novel has had great influence for a long time, both in literary as well as fictional sense.
Life of Pi, the movie and the novel have relationships with each other as well as other poems, stories, novels and religious writings. Some of these relationships are with Robinson Crusoe by McCrum, Aepyornis Island by H.G. Wells, Narrative of Arthur Gordon Pym by Edgar Allen Poe, Adolescent Mariner and The Old Man and the Sea. These are some of the novels that the novel Life of Pi shares intertextual relationships with. The novel also includes some religious complexities.
Life of Pi shares the same theme of faith, death and mental complexities as Robinson Crusoe. Both the novels have similar textuality. The boy stranded all alone learns to adapt to his situation and comes up with new ways of survival. Such a theme can also be seen in the book Robinson Crusoe by McCrum. The texts share a lot of literary items which binds both the stories together. They tell us how to begin again and give us a hint of the challenges that come about when doing so. Both the texts also display the courage one has to gather in order to overcome situations and complexities and how one is repaid if patience is kept within the mind of oneself.
Another novel Life of Pi has intertextuality with is The Old Man and the Sea. These stories revolve around an individual and the sea. Despite the fact that its subjects are not kidding and there are snippets of horrendous realistic viciousness and somber despondency, it is over every one of the a book about existence's absurdities that makes one roar with laughter on every page, with its eccentric juxtapositions, correlations, analogies, Borgesian confuses, postmodern diversions and a feeling of fun that mirrors the saint's exotic satisfaction on the planet.
Despite the fact that Martel pays tribute to the past by utilizing the regular castaway design (roundabout account, concentrate on subtle elements of survival, snippets of stunning viciousness and reflections on God and nature), his voice, and the way that his work is more incredible, more deductively solid and more entertaining than that of his forerunners, mixes the class with splendid new life. On the off chance that this century delivers a fantastic work of survival writing, Martel's novel is most likely a contender.
Life of Pi is the far-fetched story of a 16-year-old Indian kid, Pi Patel, unfastened in a watercraft with an eager tiger after the boat conveying his zookeeper father, mother, sibling and numerous creatures soaks amidst their trip from India to Canada. (It's the mid-1970s and Pi's dad chooses to emigrate after Prime Minister Indira Gandhi begins imprisoning her adversaries and suspending common freedoms.) Pi is on the double a Hindu, Christian and Muslim (echoes of the pacific Mahatma Gandhi here) who accepts that all religions are about "adoration."
But having grown up among creatures, he's additionally commonsense and grounded. Right on time in the book, his three religious educators meet, and Pi gets "first experience with interfaith dialog," a major contention that closures just when he is requested his supposition. He cites Gandhi, "All religions are genuine," including, "I simply need to love God," which floors every one of them. At that point he goes out with his guardians for dessert. The greater part of whatever is left of the book is a test to Pi's basic confidence, as this sweet yet unsentimental saint encounters a circumstance where, no doubt, survival is everything.
Sadness sets in from the earliest starting point. Does Pi lose his guardians, as well as he is confronting life on the sea wave with a tiger (named Richard Parker), a zebra, an orangutan and a hyena. Pi watches them execute one another, with Richard Parker completing off the hyena. The watercraft is littered with creature corpses. As the days pass by, Pi, a veggie lover, figures out how to kill with his exposed hands, player turtles to death and eat uncooked substance. He sobs. He is "idiotic with torment and frightfulness."
But he survives, denoting his domain with his pee, as creatures do, to keep Richard Parker under control, nourishing him lastly showing the tiger (by utilizing a shriek) that he, Pi, is expert here. However, another imperative theme runs parallel to the hub specified above, which can be relevantly termed the 'Crusoe Syndrome.' It is fundamentally the trepidation of wild nature: the apprehension of uncharted oceans, unmapped region and peculiar individuals. Pi shares the majority of these apprehensions of Crusoe aside from maybe the trepidation of bizarre individuals.
While the two stories offer comparable encounters of the castaway in distinctive connections and through diverse characters there are additionally numerous complexities between the world perspectives of the two heroes. The paper will concentrate on the fundamental philosophical topic in the writings of Robinson Crusoe and Life of Pi furthermore endeavor to find changes in the two world perspectives isolated by over two centuries of history. Teleological history was the historical backdrop of religious philosophy.
Robinson Crusoe could conceivably have been in view of the genuine story of a genuine castaway.The real likeness between the two stories is their noteworthy capacity to bend reality. While perusing the book we are given the feeling that Pi is on this trip of survival with an arrangement of various types of fascinating creatures. As the story advances you get more points of interest on the creatures' attributes which aides make a particular picture of "Pi's" outing, so it is a stun when you discover that the entire story you came to know gets turned back to front and you find an entire new side of what a few individuals can do when attempting to survive.
Robinson Crusoe and Siegfried (without Roy), who experiences all way of ocean life, in addition to an orangutan, a hyena and around a million meerkats, and whose mortal foe and sole sidekick is a grown-up tiger, had an exceptionally high level of trouble. 10 years prior, a Life of Pi film couldn't have been envisioned, not to mention acknowledged — unless Lee had utilized an extremely quieted tiger, or summoned a perpetual supply of clone on-screen characters to play Pi and supplant the ones whom a more vigorous mammoth would have mauled or eaten up.
Presently, because of advances in procedure and another era of craftsman tinkerers, it can be done.Life of Pi, from a script by David Magee, isn't all tempest and-tooth; it has unmistakable Ang Lee components. The strains in a cherishing family, commonplace from Sense and Sensibility, are repeated here in the relationship of youthful Pi (played at age 12 by Ayush Tandon) to his dad (Adil Hussain), who possesses a zoo in the Indian city of Pondicherry, and mother.
Crusoe's achievement in mastering his circumstance, defeating his snags, and controlling his surroundings demonstrates the state of dominance in a positive light, at any rate toward the start of the novel. Crusoe arrives in a cold domain and makes it his home. His taming and training of wild goats and parrots with Crusoe as their expert outlines his newly discovered control. In addition, Crusoe's authority over nature makes him an expert of his destiny and of himself. Ahead of schedule in the novel, he as often as possible reprimands himself for resisting his dad's recommendation or faults the fate that drove him to ocean.
In any case, in the later piece of the novel, Crusoe quits review himself as a uninvolved casualty and strikes another note of self-determination. In building a home for himself on the island, he observes that he is expert of his life—he endures a hard destiny and still finds prosperity.Crusoe's and Pi's encounters constitute not just an experience story in which exciting things happen, additionally an ethical story representing the good and bad approaches to carry on with one's life. This ethical and religious measurement of the story is shown in the Preface, which expresses that Crusoe's story is being distributed to educate others in God's insight, and one fundamental piece of this shrewdness is the significance of apologizing one's transgressions.
While it is imperative to be appreciative for God's wonders, as Crusoe is the point at which his grain grows, it is insufficient just to express appreciation or even to appeal to God, as Crusoe does a few times with few outcome.The author uses his anecdotal story in light of the fact that, similar to all people, he has a yearning to keep a quiet story in his psyche rather than the truth. Robinson Crusoe connects with a number of the egghead open deliberations of its day.The novel puts extraordinary accentuation on the way that Crusoe's family is staunchly white collar class – something Crusoe at first stands up to. This may not sound good to our Shmoop time travelers, however it was a major ordeal for Englanders at the time. The white collar class (counting such people as vendors and dealers) was simply rising in 18th-century England. In that sense, this book turns into a path for peruses to begin truly thoroughly considering working class qualities and conviction.
Accordingly, the way that the specialists picked the anecdotal story demonstrates how Pi contorts reality to show to us people that occasionally its more secure to keep reality covered up. In Robin Crusoe, Robin makes an anecdotal life subsequent to being trying to claim ignorance of a traumatic occasion occurred in his past. Andrew recounts to himself the anecdotal story that he made in his psyche again and again, inevitably prompting him not having the capacity to recognize the anecdotal story and reality. Blame and agony is the thing that brought about Andrew to design an anecdotal life, one which he is still a war saint and a government Marshal named Teddy Daniels.
Crusoe's landing on the island does not make him return to a savage presence controlled by creature senses, and, not at all like creatures, he stays aware of himself at all times. In reality, his island presence really extends his mindfulness as he withdraws from the outer social world and turns internal. The thought that the individual must keep a watchful retribution of the condition he could call his own spirit is a key point in the Presbyterian regulation that Defoe considered important all his life. We see that in his typical normal exercises, Crusoe keeps records of himself energetically and in different ways. For instance, it is noteworthy that Crusoe's temporary schedule does not just stamp the death of days, but rather all the more egocentrically denote the days he has spent on the island: it is about him, a kind of reluctant or personal timetable with him at its inside. Also, Crusoe fanatically keeps a diary to record his every day exercises, notwithstanding when they add up to simply discovering a couple bits of wood on the shoreline or holding up inside while it rains. Crusoe feels the significance of staying mindful of his circumstance at all times. We can likewise sense Crusoe's motivation toward mindfulness simply like Pi in the story, 'Life of Pi'.
Slapkauskaite, Ruta. "Intertextuality in Yann Martel's "Life of Pi"" Dialogues with Traditions in Canadian Literatures, 2005. Web.