'What more could I want?' says Black Beauty, as he describes his pleasant home and his kind owners. 'Freedom! For the first four years of my life I had a large. Black Beauty. by Anna Sewell. A magnificent horse shares his experiences of life in Victorian England, particularly the cruel treatment which animals receive by. Black Beauty was a handsome horse with one white foot and a white star on Black Beauty was four years old, he was sold to Squire Gordon of Birtwick Park.
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Black Beauty by. Anna Sewell. musicmarkup.info Page 2. Black Beauty. Dedication .. I was a dull black, so he called me Darkie; then he would give me a piece. Free PDF, epub, Kindle ebook. One of the most beloved horse stories of all time. As a young horse, Black Beauty is well-loved and happy. But when his owner is. Black Beauty. Anna Sewell. **The Project Gutenberg Etext of Black Beauty, by Anna Sewell**. Please take a look at the important information in this header.
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One day, when there was a good deal of kicking, my mother whinnied to me to come to her, and then she said: "I wish you to pay attention to what I am going to say to you. The colts who live here are very good colts, but they are cart-horse colts, and of course they have not learned manners. You have been well-bred and well-born; your father has a great name in these parts, and your grandfather won the cup two years at the Newmarket races; your grandmother had the sweetest temper of any horse I ever knew, and I think you have never seen me kick or bite.
I hope you will grow up gentle and good, and never learn bad ways; do your work with a good will, lift your feet up well when you trot, and never bite or kick even in play. Her name was Duchess, but he often called her Pet. Our master was a good, kind man. He gave us good food, good lodging, and kind words; he spoke as kindly to us as he did to his little children.
We were all fond of him, and my mother loved him very much. When she saw him at the gate she would neigh with joy, and trot up to him.
He would pat and stroke her and say, "Well, old Pet, and how is your little Darkie? All the horses would come to him, but I think we were his favorites. My mother always took him to the town on a market day in a light gig. There was a plowboy, Dick, who sometimes came into our field to pluck blackberries from the hedge. Sometimes we had rather rough play, for they would frequently bite and kick as well as gallop. One day, when there was a good deal of kicking, my mother whinnied to me to come to her, and then she said: The colts who live here are very good colts, but they are cart-horse colts, and of course they have not learned manners.
You have been well-bred and well-born; your father has a great name in these parts, and your grandfather won the cup two years at the Newmarket races; your grandmother had the sweetest temper of any horse I ever knew, and I think you have never seen me kick or bite. I hope you will grow up gentle and good, and never learn bad ways; do your work with a good will, lift your feet up well when you trot, and never bite or kick even in play.
Her name was Duchess, but he often called her Pet. Our master was a good, kind man. He gave us good food, good lodging, and kind words; he spoke as kindly to us as he did to his little children. We were all fond of him, and my mother loved him very much. When she saw him at the gate she would neigh with joy, and trot up to him. He would pat and stroke her and say, "Well, old Pet, and how is your little Darkie? All the horses would come to him, but I think we were his favorites.
My mother always took him to the town on a market day in a light gig. There was a plowboy, Dick, who sometimes came into our field to pluck blackberries from the hedge. When he had eaten all he wanted he would have what he called fun with the colts, throwing stones and sticks at them to make them gallop. We did not much mind him, for we could gallop off; but sometimes a stone would hit and hurt us.
One day he was at this game, and did not know that the master was in the next field; but he was there, watching what was going on; over the hedge he jumped in a snap, and catching Dick by the arm, he gave him such a box on the ear as made him roar with the pain and surprise. The mistreatment of horses is significantly portrayed through the Material Process in 17 clauses The Material Process which shows physical actions as a salient process is realised through lexical terms like treated and tightened in the novel.
The deployment of a high percentage of Material Processes shows that the experiences of the outer world are crucial in highlighting the plight and sufferings of the horses. An example of a clause that realises this process is shown in Extract 4. Extract 4 p. Chapter 2 The Relational Process represents 16 clauses A Relational Process construes the relationships of being and having between two participants, thus describing abstract relations.
There are two types of Relational Processes which are Identifying Relational and Attributive Relational serving to identify and characterize respectively. Words like is and were are used in BB to represent the Relational Process. Extract 5 denotes a Relational Process.
Extract 5 p. Chapter 4 The Mental Process which is found in 12 of the clauses This process deals with verbs like feeling, wanting, thinking, etc. In BB, this process is realised through words such as likes and think. The rather high percentage indicates the utilisation of internalised clauses to reflect on the inner world of the characters in realising the main themes. Extract 6 depicts a Mental Process of the cognition class in a clause while in Extract 7, the verb bear represents affection.
Finally, Extract 8 represents a Mental Process of perception. Extract 6 p. Chapter 3 Extract 8 p. Chapter 4 The Behavioural Process is denoted in 9 In the novel, words like insists and suffered are used to support the Behavioural Process as shown in Extract 9. The low percentage of Behavioural Processes indicates the reliance on more action oriented verbs of the Material Processes and the internalised verbs through Mental Processes.
To a certain extent, this indicates the under reliance on physiological and psychological clauses which are better presented through images in this particular graphic novel. Extract 9 p. Chapter 3 There is only 1 1. The one clause associated with the Verbal Process is an indirect report of sort. Extract 10 represents a Verbal Process.
Extract 10 p. Chapter 3 Analysis also indicates that as the protagonist of the story, Black Beauty is the main Participant in realizing the themes of the novel. In addition, it shows that both Material and Relational Processes are prevalent in the thematic clauses. This substantiates the fact that the Participants are involved in various actions which support the narrative structure, thus contributing to the theme of the novel. Incidentally, both these processes are crucial in the construction of a narrative genre Gerot and Wignell, The underlined words below denote each of the represented Participant in the clauses.
Day by day, notch by notch, our reins were shortened. Par: Actor ii. Par: Senser iii.
Too many people in this world ignore cruelty. Par: Behaver iv. If only men were more caring. Typographical Analysis It must be noted that although this study focuses on transitivity, a few elements must be considered as they are pertinent in representing the themes and subthemes which underpin the ideology of anthropocentrism.
The salience of these words through deep colours and prominent fonts are clearly highlighted as shown in the example Figure 1. These words are in capital letters, bold and highlighted without any connectivity.
As a result, the focus is purely on the words to further enhance the representation of the ideology and themes. These onomatopoeic words are rendered to further accentuate the sound landscape of the emotions of these horses in pain as a result of mistreatment. Discussion The results of this study highlights that the author of the graphic novel has adhered to selective linguistic structures and comics conventions to complement the original version of BB by Anna Sewell to construe the theme of mistreatment towards animals which supports the ideology of anthropocentrism.
In relation to the narrative of the novel, all five chapters represent the common pyramidal structure which is exposition, rising action, climax, falling action and denouement. In adapting the original BB to a graphic version, the author has observed careful linguistic choices to draw attention to the inner lives of these horses.
As a graphic novel, the conventions of comics are crucial, and this study reveals that the selection of captions and speech bubbles exemplifies the actions, feelings and utterances that support the construction of the ideology of anthropocentrism. For one, the limited but meaningful captions and speech bubbles that endorse the main theme are carefully construed in selected chapters.
Thus, while the horses are subjected to cruelty by humans, there are those who are considerate and emphatic towards these horses. The identification of 40 sentences 55 clauses denoting the subthemes of deliberate cruelty and cruelty through ignorance reveals that much consideration has been given in construing the ideology of anthropocentrism.
The interchange between characters and their inner and outer experiences amplify the sufferings of horses in general. It must be noted that though only selected clauses were focused upon, their transitivity analysis correlates with the common linguistic structure of a narrative genre where both Material and Relational Processes are predominant. The analysis of the data established four main process types in BB, namely the Material, Relational, Mental, and Behavioural Processes.
The prevalence of Material Processes which supports the narrative constructions of the subthemes of mistreatment to animals are inherent in the 17 thematic clauses.
The roles of the Actors in the processes support the evidence of anthropocentrism as an ideology in the novel. The identification of processes denotes that the Material Process is the most significant in the representation of the theme of mistreatment of animals.
This shows that the process of doing with at least one Actor one who does something is crucial in representing the theme of mistreatment of animals. Though condensed in its 44 Anthropocentrism in the Graphic Novel Black Beauty version, the adapted version of BB is able to support the main theme of the original narrative with careful linguistic choices.
Relational Processes account for 16 clauses and denote that Attributes are an important element in further accentuating the sufferings of these animals. Using terms like tired and ached shows that the writer prefers to reveal more about the quality of the Participants in BB through character definitions. The descriptive vividness of these characters enables readers to understand the experiential meanings embedded in BB.
The analysis also reveals the emergence of 12 Mental Processes. The analysis also shows that Black Beauty is concerned with his feelings and worries. The occurrences of Mental Processes indicate that characters are very much concerned with their feelings and the agony of getting mistreated.
The liberal deployment of Mental Processes shows that elements like knowing, fearing, and others are used to encourage the readers to do the same, thus construing meanings within the particular social context. Through these Mental Processes, there are clear representations of both protagonists and antagonists to evoke a sense of sympathy towards the plight of these horses among the readers.
As an internalized process, these depictions also support the biographical account of Black Beauty. This is further supported by the first person point of view. In addition, the victimization of Black Beauty and his friends through various acts of mistreatments scaffold the ideology of anthropocentrism in the novel. There are nine clauses representing the Behavioural Process. This shows that only a few common physiological and psychological behaviours are constructed to complement the original version of the story especially in the construing of the theme of mistreatment towards animals.
The Verbal Process is only evident in one clause, indicating that it is an insignificant contributor to the construing of meaning-making in this novel. This is mainly attributed to the genre of graphic novel which heavily relies on the conventions of comics where captions and speech bubbles are utilised instead of using verbal action words like say or told to indicate a Verbal Process. As dialogues usually involve Sayers and Receivers sometimes only a Sayer is present , the speech is contained in speech bubbles.
As such, clauses pertaining to Verbal Processes do not exist. On the contrary, verbal action verbs clauses usually part of captions represent the Verbal Process. The sensitivity towards language in graphic novels is crucial for writers and adapters to convey intended messages efficiently as intended by the original writers.
At times, these meanings are construed explicitly, but at times the involvement of the readers is important. The findings further reveal the discursive choices by the author in foregrounding the inner and outer experiences by the use of different lexicogrammatical structures.
As a truly animal-centric graphic novel, the voices of these animals succeed in making readers understand the otherness of animals. Nevertheless, besides the mistreatment of horses, BB also depicts the humane behaviours of humans in general. This is clearly evident in the actions of Farmer Grey, coachman John and cab driver Jerry. The lessons implicated through these protagonists are for the edification of the readers.