IndexIntroductionRepresentation of KholstomerA comparison between Kholstomer and the young filliesKholstomer's life after separation from the mares and his motherA tragic climaxConclusionIntroductionIn Leo Tolstoy's literary masterpiece , "Kholstomer : The Story of a Horse", the author uses a unique narrative technique that involves viewing the world from the perspective of an animal. This method, known as defamiliarization, serves to increase the depth and beauty of the narrative by describing the life of Kholstomer (Strider), a horse who endures a life full of physical and emotional torment. Defamiliarization is a literary device that transforms familiar settings or words to hide underlying meanings or to encourage readers to consider a story or piece from various perspectives. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Depiction of Kholstomer From the beginning of the story, Tolstoy presents Kholstomer (Strider) as a horse with exceptional moral qualities that distinguish him from other horses. Tolstoy writes: "Of all the horses in the corral (there were about a hundred of them), one piebald gelding, standing alone in a corner under the attic and licking an oak pole with half-closed eyes, showed the least impatience ". The narrative begins early in the morning and the other horses in the corral eagerly seek the man's attention by pushing incessantly against the gate, much to the man's irritation. In contrast, Kholstomer's character is portrayed through a simple yet intelligent act. Instead of simply describing him as patient, Tolstoy chooses to characterize him as "the least impatient", injecting a sense of realism into the narrative. This choice of words highlights Kholstomer's unique resilience in the face of adversity. The horse's enduring nature is further highlighted when he notes, "Suffering for the pleasure of others is nothing new to me. I have even begun to find some equine pleasure in it." Through these words, Tolstoy attempts to elevate the virtuous attributes of the horse by evoking empathy from readers, thus reinforcing the presence of unfamiliar elements within the text. The passage also features a scene where Nester, the man, rides on Kholstomer's back. This experience is described as an exhausting and taxing task for Nester, as he feels weighed down by the saddle and the presence of the horse. However, Kholstomer, despite being accustomed to these difficulties, seems to accept them as part of the game. Nester's attempt to show affection by scratching the horse's neck is met with a response of gratitude and satisfaction from Kholstomer. "He likes it, the old dog!" Nester mutters. However, the gelding's indifference towards the scratch indicates that he performs this act out of courtesy rather than genuine enjoyment. This juxtaposition serves to emphasize Kholstomer's inclination to endure suffering for the sake of others, even when it has little meaning for him personally. As he reflects, "The whole world changed in my eyes. Nothing mattered anymore," it becomes apparent that Kholstomer's character was shaped by the trials and tribulations he endured, aligning with Tolstoy's use of defamiliarization to evoke powerful emotions and artistic expression. Tolstoy's use of defamiliarized elements in his fiction is consistent with the views of Viktor Shklovsky, a 20th-century Russian literary critic, who argued that "defamiliarization is, more or less, the point of all art Art also makes language strange." like the world that the languagepresents." Furthermore, the passage highlights a sudden change in Nester's behavior towards Kholstomer. Without warning and seemingly for no reason, Nester stops scratching the horse's neck, fearing that the horse may perceive himself to be too important to men. With a sudden and painful action, Nester strikes Kholstomer's thin leg with the bridle buckle before retreating to a nearby tree stump. This sudden change in Nester's actions serves to disrupt the horse's perceptions, illustrating how defamiliarization can be used to create tension and emotional depth in the narrative. As the story progresses, Kholstomer faces various challenges, including being belittled by other horses and enduring teasing from the fillies, renowned for their proud pedigrees. The gelding, not at all disturbed by the mockery, opens his eyes and calmly steps aside before continuing to graze. These interactions with other horses further exemplify how defamiliarization is used to explore complex emotions and relationships within the story. A Comparison Between Kholstomer and the Young Fillies In the following section of "Kholstomer: The Story of a Horse" by Leo Tolstoy, the narrative delves into a comparison between Kholstomer and the young fillies within the story. This comparison highlights the contrast between the privileged and the disadvantaged, shedding light on partial ideologies rooted in horse society that also resonate with human society. The passage vividly portrays the dynamics between Kholstomer and the young fillies, illustrating how the fillies imitate the chestnut and, in their imitation, do more than the instigator. The chestnut, often detached and absorbed in his own business, passes by Kholstomer without recognizing him, leaving him unsure whether to react with anger. This situation creates a humorous and ironic element in the story. However, Tolstoy masterfully balances this depiction by later recognizing the dignity of old age, stating that "old age is sometimes majestic, sometimes ugly, and sometimes pathetic." This statement not only raises the underrated older horse, but also addresses broader aspects and issues that go beyond age. It serves as a reflection of society's tendency to ignore the elderly, reminding readers to value and respect the wisdom that comes with age. The narrative then returns to a description of Kholstomer's physical condition, emphasizing the scars and marks that remain on him as testimony. to the difficulties he endured. His once black spots have faded to a dirty brown and his mane bears the remnants of burrs. These descriptions highlight tangible evidence of the horse's challenging life, adding depth to its character. Tolstoy also uses a passage to highlight Kholstomer's attractive qualities, as perceived by an expert. The expert's assessment emphasizes the horse's past excellence, emphasizing the exceptional characteristics of its breed, including broad bones, massive knees, slender cannons and a well-shaped neck. The detailed description attempts to present the horse in a positive light, showcasing its former glory. However, the narrative takes a dark turn when Tolstoy wonders whether it was Kholstomer's fault that he became old, poor and unattractive. Explore the ethical complexities of the equine world, where strength, youth and happiness are valued above all else. Kholstomer himself grapples with a sense of resentment, sadness, and indignation as he watches the younger horses torment him, knowing that they too will face the same fate in their old age. This introspection delves into the horse's inner turmoil andit serves to humanize his character. As the narrative progresses, Tolstoy provides Kholstomer with a platform to express his thoughts and emotions, allowing the horse to convey the root of his suffering and pain. This phase of the story takes on a romantic tone, offering a glimpse into the depths of Kholstomer's experiences and emotions. On the first night, other horses gather to listen as Kholstomer shares his bittersweet, bitter stories, starting from his birth and recounting his grueling battles and struggles. He even reveals his previously unknown pedigree, stating, "Yes, I am the son of Affable I and Baba. My genealogical name is Muzhik." From the beginning of his life, Kholstomer faced humiliation from humans, being labeled "the little devil", despite his innocence and lack of understanding. This narrative shift not only reveals Kholstomer's past but also humanizes him, making readers empathize with his plight and understand the complexity of his experiences and emotions. Kholstomer's life after separation from his mares and his mother In this section of "Kholstomer: The Story of a Horse" by Leo Tolstoy, the narrative delves into Kholstomer's life after being separated from his mares and his children. mother, Baba. During this time, Kholstomer meets several mares and their foals. Contrary to the mistreatment suffered by humans, Kholstomer finds admiration from others but experiences a loss of love from his mother, driven by sexual reasons. This situation raises a complex issue as Baba, who is traditionally defined as "a person who protects and nurtures his child", apparently abandons her responsibilities as a mother to have another foal. Kholstomer blames himself for this, attributing it all to his piebald coloration, although the real reasons remain elusive. It is worth noting that Kholstomer's innocence may prevent him from fully understanding the complexity of his circumstances, suggesting the need for maturation. After separation from his mother, Kholstomer is moved to a new place where he meets another mare named Darling. He becomes infatuated with her, marking the beginning of what he calls an "unfortunate period of love". However, his happiness is short-lived as he is castrated, following the emperor's orders. This experience leads Kholstomer to consider those around him foolish, even as he struggles to articulate his thoughts due to his altered state. Kholstomer reflects on his own condition, reflecting on the injustices that have been inflicted on him. She contemplates society's contempt for her piebald appearance, the fickleness of maternal love, and the dependence of female love on physical conditions. Above all, he reflects on the peculiar nature of human beings, which he defines as "that strange race of animals" with which horses share a close bond. These reflections serve as a window into the horse's inner turmoil and his struggle to make sense of his existence. The narrative also includes an inspiring statement: “men are guided in life not by actions but by words.” While the horse may not fully understand this statement, it highlights the idea that humans often prioritize ownership and labels over responsible action. People lay claim to possessions but may neglect the responsibilities associated with them, which resonates with Kholstomer's experiences. He notes that those who call him their horse do not necessarily ride or feed him, leaving the care to others. This observation leads him to conclude that the concept of property, based on the word "mine" or "mine", isoften rooted in a mercenary instinct rather than a genuine sense of responsibility. The narrative proposes a comparison between man and horse through the lens of the horse's experiences. Kholstomer's insights reveal that ownership does not always translate into care and responsibility, shedding light on the complexity of human behavior and values. As the story unfolds, Kholstomer shares memories of the happiest years of his life, spent with a hussar officer. Despite being the cause of his ultimate downfall and the officer's lack of love for anything or anyone, Kholstomer continues to cherish his memories of that time. This ironic twist highlights the horse's capacity for love and loyalty, even in the face of adversity. However, Kholstomer's life takes a tragic turn when he is forced to participate in a race. Despite winning the race, the money prince resists giving him due recognition. Instead, Kholstomer experiences physical torment and humiliation. The use of the whip and the grueling running take a toll on him, resulting in injuries and a serious decline in his health and strength. Kholstomer's tale illustrates the transformation of a once strong and proud horse into a fragile and weakened state, primarily due to human mistreatment and exploitation. This transformation serves as a powerful commentary on the injustices animals suffer at the hands of humans, highlighting the theme of cruelty and suffering in the story. A Tragic Climax In Leo Tolstoy's "Kholstomer: The Story of a Horse," the narrative culminates with a touching exploration of the contrasting fates of the protagonist, Kholstomer (Strider), and the old prince, Nikita Serpukhovskoy. This final section emphasizes the overarching themes of struggle, transformation, and the harsh realities faced by both animals and humans. Kholstomer's journey takes a tragic turn as he endures physical torture, growing weaker with each passing day. His once proud flesh deteriorates and he finally meets a gruesome end at the hands of the disemboweled, who cut his neck. Her skin is used and her flesh is shared by a family of wolves, underscoring the stark contrast between her fate and the idealized concept of maternal love, which she never truly experienced from her mother, Baba. The mother fox's actions in sharing food with her young contrast sharply with Baba's abandonment of her maternal duties. Kholstomer's bones are collected by a bone collector outside the barn, underscoring his existence as a creature who lived and died, for the benefit of others. His story serves as a moving commentary on the harsh realities faced by animals, highlighting their suffering and exploitation by humans. In contrast, Nikita Serpukhovskoy, the old prince, meets a different end. He is described as a man who, despite once being handsome and wealthy, has sunk physically, morally and financially. His life takes a downward trajectory and he eventually dies, covered by the earth. This contrast between Kholstomer's fate and that of the old prince illustrates the different paths that life can take, with Kholstomer representing the suffering and exploitation of animals and Nikita symbolizing the moral and physical decline of some humans. Conclusion Throughout the narrative, Tolstoy resorts to defamiliarization, using the horse's point of view to hide his underlying purpose. By presenting the story from the horse's perspective, Tolstoy invites readers to appreciate the complexities and struggles faced by animals, ultimately challenging conventional perceptions. The story encourages readers to consider different points of view and to, 12(2), 162-182.