Today you will analyze a passage from The Georges and the Jewels and a passage from Black Beauty: The Autobiography of a Horse. As you read these passages, you will gather information and answer questions about how the authors develop each narrator's point of view so you can write an essay.

Question

The Georges and the Jewels

by
Jane Smiley

(1) Sometimes when you fall off your horse, you just don't want to get right back on. Let's say he started bucking and you did all the things you knew to do, like pull his head up from between his knees and make him go forward, then use a pulley rein on the left to stop him. Most horses would settle at that point and come down to a walk. Then you could turn him again and trot off—it's always harder for the horse to buck at the trot than at the lope. But if, right when you let up on the reins, your horse put his head between his knees again and took off bucking, kicking higher and higher until he finally dropped you and went tearing off to the other end of the ring, well, you might lie there, as I did, with the wind knocked out of you and think about how nice it would be not to get back on, because that horse is just dedicated to bucking you off.

(2) So I did lie there, looking up at the branches of the oak tree that grew beside the ring, and I did wait for Daddy to come trotting over with that horse by the bridle, and I did stare up at both their faces, the face of that horse flicking his ears back and forth and snorting a little bit, and the face of my father, red-cheeked and blue-eyed, and I did listen to him say, "Abby? You okay, honey? Sure you are. I saw you bounce! Get up, now."

(3) I sighed.

(4) "How am I going to tell those folks who are looking to buy these horses that a little girl can ride them, if you don't get up and ride them?"

(5) I sat up. I said, "I don't know, Daddy." My elbow hurt, but not too badly. Otherwise I was okay.

(6) "Well, then."

(7) I stood up, and he brushed off the back of my jeans. Then he tossed me on the horse again.

(8) Some horses buck you off. Some horses spook you off—they see something scary and drop a shoulder and spin and run away. Some horses stop all of a sudden, and there you are, head over heels and sitting on the ground. I had a horse rear so high once that I just slid down over her tail and landed in the grass easy as you please, watching her run back to the barn. I started riding when I was three. I started training horses for my dad when I was eight. I wasn't the only one—my brother, Danny, was thirteen at the time, and he did most of the riding (Kid's Horse for Sale), but I'm the only one now.

(9) Which is not to say that there aren't good horses and fun horses. I ride plenty of those, too. But they don't last, because Daddy turns those over fast. I had one a year ago, a sweet bay mare. We got her because her owner had died and Daddy picked her up for a song from the bank. I rode her every day, and she never put a foot wrong. Her lope was as easy as flying. One of the days she was with us, I had a twenty-four-hour virus, so when I went out to ride, I tacked her up and took her down to the crick at the bottom of the pasture, out of sight of the house.

(10) I knew Daddy had to go into town and would be gone for the afternoon, so when I got down there, I just took off the saddle and hung it over a tree limb, and the bridle, too, and I lay down in the grass and fell asleep. I knew she would graze, and she did for a while, I suppose. But when I woke up (and feeling much better, thank you), there she was, curled up next to me like a dog, kind of pressed against me but sweet and large and soft. I lay there feeling how warm she was and smelling her fragrance and I thought, I never heard of this before. I don't know why she did that, but now when Daddy tells me that horses only know two things, the carrot and the stick, and not to fill my head with silly ideas about them, I just remember that mare (she had a star shaped like a triangle and a little snip down by her left nostril). We sold her for a nice piece of change within a month, and I wish I knew where she was.
(1) Every one may not know what breaking in is, therefore I will describe it. It means to teach a horse to wear a saddle and bridle, and to carry on his back a man, woman or child; to go just the way they wish, and to go quietly. Besides this he has to learn to wear a collar, a crupper, and a breeching, and to stand still while they are put on; then to have a cart or chaise fixed behind, so that he cannot walk or trot without dragging it after him; and he must go fast or slow, just as his driver wishes. He must never start at what he sees, nor speak to other horses, nor bite, nor kick, nor have any will of his own; but always do his master's will, even though he may be very tired or hungry; but the worst of all is, when his harness is once on, he may neither jump for joy nor lie down for weariness. So you see this breaking in is a great thing.

(2) I had of course been used to a halter and a headstall, and to be led about in the fields and lanes quietly, but now I was to have a bit and bridle; my master gave me some oats as usual, and after a good deal of coaxing he got the bit into my mouth, and the bridle fixed, but it was a nasty thing! Those who have never had a bit in their mouths cannot think how bad it feels; a great piece of cold hard steel as thick as a man's finger to be pushed into one's mouth, between one's teeth, and over one's tongue, with the ends coming out at the corner of your mouth, and held fast there by straps over your head, under your throat, round your nose, and under your chin; so that no way in the world can you get rid of the nasty hard thing; it is very bad! Yes, very bad! At least I thought so; but I knew my mother always wore one when she went out, and all horses did when they were grown up; and so, what with the nice oats, and what with my master's pats, kind words, and gentle ways, I got to wear my bit and bridle.

(3) Next came the saddle, but that was not half so bad; my master put it on my back very gently, while old Daniel held my head; he then made the girths fast under my body, patting and talking to me all the time; then I had a few oats, then a little leading about; and this he did every day till I began to look for the oats and the saddle. At length, one morning, my master got on my back and rode me round the meadow on the soft grass. It certainly did feel queer; but I must say I felt rather proud to carry my master, and as he continued to ride me a little every day, I soon became accustomed to it. You have read passages from the novels The Georges and the Jewels and Black Beauty: The Autobiography of a Horse. Both were written in the first person point of view.
​Write an essay in which you compare the way the authors use first person point of view to develop the characters.
Be sure to cite specific examples from both passages.in two to three phargraphs

Answer 1

In the passages from The Georges and the Jewels by Jane Smiley and Black Beauty: The Autobiography of a Horse by Anna Sewell, the first-person point of view effectively develops the characters of Abby and Black Beauty, allowing readers to intimately connect with their experiences and emotions. Abby's narrative is characterized by a blend of resilience and vulnerability reflecting her growth as a rider and her relationship with horses. For instance, she vividly describes the moment she falls off the horse, her father's comforting presence, and her internal struggle to muster the courage to ride again. Abby's thoughts convey a profound connection to the horses, particularly when she recalls a sweet bay mare that curled up beside her, illustrating her empathy and appreciation for the creatures she trains. This emotional depth enhances Abby's character, making readers root for her as she navigates the challenges of riding and training.

Conversely, in Black Beauty, the narrative provides an insight into the horse's perspective, which is both raw and earnest. Black Beauty describes the uncomfortable process of being "broken in," detailing the harsh realities of the training process from a horse's perspective. The passage where he describes the bit and bridle as “nasty” and “bad” evokes a strong sense of sympathy for his plight. Unlike Abby, who must confront her fears and anxieties, Black Beauty is subjected to the whims of humans and their often cruel practices of training and control. His awareness of the expectations placed upon him—for instance, that he must “do his master’s will” despite discomfort—highlights his struggle for autonomy within the constraints of his situation. This perspective helps to foster empathy in readers for animals who endure similar experiences, showcasing the often-overlooked inner lives of horses.

Both authors use the first-person point of view not only to provide insight into their protagonists' emotions but also to highlight their relationships with horses. Abby's account is marked by her ability to connect with and care for the horses, demonstrating her understanding and compassion as a young rider. In contrast, Black Beauty's perspective emphasizes the often tough realities faced by horses under human control, fostering a sense of urgency for animal welfare. Ultimately, through their distinct voices and experiences, the narratives invite readers to reflect on the complexities of the human-animal bond.