The Tale Of Peter Rabbit By Beatrix Potter And Voices In The Park By Anthony Browne

2001 words - 8 pages

Moebius’ definition of intangible and invisible covers the vast array of human emotion and experiences from love to death through to responsibility and a truth beyond the individual. Corroborated by Bader’s comment they are about sensations and emotions provoking a shift in the reader’s paradigms (Moebius, 2009). This essay will look at how Potter and Browne convey these ideas using Moebius’ codes and exploring the concept of relationships concluding with how Potter and Browne illustrate their views on childhood. Voices in the Park has no page numbers thus for clarity they are strictly numerical (1-30) starting at first voice.
Picture books unlike novels have a very limited amount of words to inform the reader about the characters and the plot (Scott, 2009)(ou dvd no7). The use of a picture to complement and enhance the story is paramount, combining with the experience of the reader to disassemble meaning from the picture (Nodelman, 1999). Moebius codifies this inherent ability into the elements of colour, perspective, position and size with finally line and capillary. It is possible to use this code to explore and evaluate some invisible and intangible concepts in Voices in the Park (Browne, 1999) and The Tale of Peter Rabbit (Potter, 2002)
In Voices in the Park, Browne uses colour to convey the disposition of each of the four voices linking them to the four seasons. In the fourth voice, the colours are jewel-like and fun enhanced by the fun fair elements of the pictures translating into the fun, buoyant, summer character of Smudge. Whereas in the second voice the first four pages (p8-12) the colour is darker portraying a sad character echoing a winter persona. The picture in p9 echoes this depression with the decay of an urban street in direct contrast of the same street on p13. The colours transcend the page showing the lifting spirits of the second along with pictorial clues of the snowdrop light, the bright Christmas tree lights in the flats and the joyous display of Browne’s parody of the Mona Lisa, the Laughing Cavalier and Santa Claus (Beckett, 2001). The change in his perception is quite subtle in comparison to awakening of the spring epitomised by Charles in the third voice. The picture on p14 shows heavy cross-hatching illustrating his limited experience and conveying a feeling of frustration, which follows through to when he reaches the park. On meeting Smudge, the colour and style of the picture rapidly changes with the cross hatching disappearing and the colour becomes bolder. The division of the picture on p16 with Charles’s darkness on the left in contrast with Smudge’s bold colour on the right foreshadows adventure on the following pages. Charlie and Smudge change positions from left to right constantly in the third voice although Charles is never above Smudge, which according to Moebius shows his lack of confidence. In the picture on p20 shows, the perspective in the midground but Charles looks directly at the reader sharing...

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