In this first part of the story, the events —the death of the zebra, Orange Juice, and the hyena—are
clearly alarming, but not devastating. In Pi’s second go-around, the moments of narrative are steep with the horror of a
227-day ordeal—the murder of a sailor, cannibalism, a mother’s
brutal murder, and Pi’s choice to kill another man in revenge and
for survival.
The main concern in this section is survival. From here until the end of the book, survival will become Pi’s and the story’s, compelling force; here it is a new burden, and Pi learns for the first time how it will change him. which is not at all that bad—it allows Pi to be distracted from the tragic and terrible loss that he suffered of his whole family—but it is more consuming than he could have expected.
The motif of naming comes up in this section, when we learn the origin of Richard Parker (why he was named that). Throughout the book Life of Pi, Pi always refers to Richard Parker using his name—he is never uses “the tiger.” That this name is meant for a human adds to the feeling that Pi has humanized Richard Parker. He manages to survive with him for so long, but it does, in the end, pay for it emotionally, because he expected a humanized goodbye from the tiger - which he does not get from the tiger.
This section also emphasizes on Pi’s deep isolation. The size of the ocean, the overpowering nature as it rains on him, make his odds of survival very small. Pi does not accept it, but he and decides that he will survive. Yet, even while making his decision, he quickly realizes that the one plan he has come up with that seems that all of them will not succeed.
The power of nature is also emphasized in terms of emotional toll. Pi loses all of his hope he had , and accepts his parents’ and brother’s deaths, and the feels true of the overpowering emotion fear. Still he also able to find freedom in his hopelessness, and he discovers that he has an ultimate will to survive that cannot be crushed.
This section also paradoxically marks both the beginning of Pi's transition into more beast-like behavior, it was driven by survival needs to a greater degree than Pi would have believed himself capable of, and the beginning of Pi’s control over Richard Parker, who represents the truly wild and bestial. Pi, a lifelong vegetarian, is here driven both to eat meat, and to willfully take life for the first time in his life.
He adjusts to this surprisingly quickly—the flying fish that he very reluctantly and very unhappily kills to use as bait catches him a dorado, which he almost gleefully beats to death. He eventually is even driven to kill a sea turtle, which he finds to be wonderful and one of his favorite foods.
As Pi grows more carnivorous, he comes to realize that he must tame Richard Parker. He begins the training that he has devised so that he can have his own territory on the lifeboat and feel relatively safe there. Although it is not easy and is highly dangerous, he eventually manages to mark out his own territory and exert a certain amount of dominance over Richard Parker.
It is within this section there also that time loses meaning. Before this, even at sea, there has been some feeling of chronology in Pi’s story. Within this section, however, Pi says that he was at sea for 227 days, and with that the chronology stops. Pi, who can no longer keep track of time - which proves something of a blessing.
The danger of loneliness also rears
This section represents there is a decisive turning point in Pi's narrative and arc. Here Pi truly loses his innocence, survival exacts the dearest cost, and his suffering becomes tangible. Ironically, this section also continues sparks of real hope. After all, Pi encounters not one but two boats - a miraculous stroke of good fortune that comes to naught.
The dashing of these hopes comes almost as soon as Pi can appreciate them. First, the oil tanker that could save him almost kills him, then continues on into the distance without ever seeing him. Second, and most horribly, Pi’s first interaction with another human since the Tsimtsum sank brings not the companionship he is so excited for, but instead attempted murder and brutal death—and with it, profound guilt.
Pi makes it clear that whether the first story is taken symbolically or literally, the Frenchman’s death is in either way caused by Pi’s own fight for survival. Thus he must forever accept that his survival came at the cost of another’s life. Whether Richard Parker, or the survival instinct that Richard Parker symbolizes, is the actual killer seems irrelevant to Pi, since the result is the same.
The despair and suffering that follow the Frenchman’s death are highlighted by the excitement that precedes it, though that excitement is tinged with surrealism. Since Part 2 and Pi’s loss of all human companionship is understandable. So with the arrival of the Frenchman, who Pi and the reader both first assume to be some kind of hallucination, the novel’s form suddenly changes course in dramatic fashion. This sudden proliferation of dialogue, combined with Pi’s extremely weak state and blindness, and confused belief that he is speaking to Richard Parker, make this scene the least believable of Pi’s tale. The scene’s ending, however, makes it clear that this is also the scene that Pi would be least likely to make up—its horror would serve him no purpose. We also see one of the few instances in which Pi does not try to tell the better story: he cannot mix God into this awful memory.
The main concern in this section is survival. From here until the end of the book, survival will become Pi’s and the story’s, compelling force; here it is a new burden, and Pi learns for the first time how it will change him. which is not at all that bad—it allows Pi to be distracted from the tragic and terrible loss that he suffered of his whole family—but it is more consuming than he could have expected.
The motif of naming comes up in this section, when we learn the origin of Richard Parker (why he was named that). Throughout the book Life of Pi, Pi always refers to Richard Parker using his name—he is never uses “the tiger.” That this name is meant for a human adds to the feeling that Pi has humanized Richard Parker. He manages to survive with him for so long, but it does, in the end, pay for it emotionally, because he expected a humanized goodbye from the tiger - which he does not get from the tiger.
This section also emphasizes on Pi’s deep isolation. The size of the ocean, the overpowering nature as it rains on him, make his odds of survival very small. Pi does not accept it, but he and decides that he will survive. Yet, even while making his decision, he quickly realizes that the one plan he has come up with that seems that all of them will not succeed.
The power of nature is also emphasized in terms of emotional toll. Pi loses all of his hope he had , and accepts his parents’ and brother’s deaths, and the feels true of the overpowering emotion fear. Still he also able to find freedom in his hopelessness, and he discovers that he has an ultimate will to survive that cannot be crushed.
This section also paradoxically marks both the beginning of Pi's transition into more beast-like behavior, it was driven by survival needs to a greater degree than Pi would have believed himself capable of, and the beginning of Pi’s control over Richard Parker, who represents the truly wild and bestial. Pi, a lifelong vegetarian, is here driven both to eat meat, and to willfully take life for the first time in his life.
He adjusts to this surprisingly quickly—the flying fish that he very reluctantly and very unhappily kills to use as bait catches him a dorado, which he almost gleefully beats to death. He eventually is even driven to kill a sea turtle, which he finds to be wonderful and one of his favorite foods.
As Pi grows more carnivorous, he comes to realize that he must tame Richard Parker. He begins the training that he has devised so that he can have his own territory on the lifeboat and feel relatively safe there. Although it is not easy and is highly dangerous, he eventually manages to mark out his own territory and exert a certain amount of dominance over Richard Parker.
It is within this section there also that time loses meaning. Before this, even at sea, there has been some feeling of chronology in Pi’s story. Within this section, however, Pi says that he was at sea for 227 days, and with that the chronology stops. Pi, who can no longer keep track of time - which proves something of a blessing.
The danger of loneliness also rears
This section represents there is a decisive turning point in Pi's narrative and arc. Here Pi truly loses his innocence, survival exacts the dearest cost, and his suffering becomes tangible. Ironically, this section also continues sparks of real hope. After all, Pi encounters not one but two boats - a miraculous stroke of good fortune that comes to naught.
The dashing of these hopes comes almost as soon as Pi can appreciate them. First, the oil tanker that could save him almost kills him, then continues on into the distance without ever seeing him. Second, and most horribly, Pi’s first interaction with another human since the Tsimtsum sank brings not the companionship he is so excited for, but instead attempted murder and brutal death—and with it, profound guilt.
Pi makes it clear that whether the first story is taken symbolically or literally, the Frenchman’s death is in either way caused by Pi’s own fight for survival. Thus he must forever accept that his survival came at the cost of another’s life. Whether Richard Parker, or the survival instinct that Richard Parker symbolizes, is the actual killer seems irrelevant to Pi, since the result is the same.
The despair and suffering that follow the Frenchman’s death are highlighted by the excitement that precedes it, though that excitement is tinged with surrealism. Since Part 2 and Pi’s loss of all human companionship is understandable. So with the arrival of the Frenchman, who Pi and the reader both first assume to be some kind of hallucination, the novel’s form suddenly changes course in dramatic fashion. This sudden proliferation of dialogue, combined with Pi’s extremely weak state and blindness, and confused belief that he is speaking to Richard Parker, make this scene the least believable of Pi’s tale. The scene’s ending, however, makes it clear that this is also the scene that Pi would be least likely to make up—its horror would serve him no purpose. We also see one of the few instances in which Pi does not try to tell the better story: he cannot mix God into this awful memory.
Pi's life on the boat
Yann martel's thoughts on the book "Life of Pi"
