Storytelling is one of the oldest techniques used in the delivering of information. Different people found the habit of storytelling as an effective method in which information can be relayed to individuals that makes the viewers and the listeners to critically think if the information is being relayed and thus associate it with their daily lives. There are different ways in which stories are presented to viewers and in this regard, different storytellers adopt different mediums in which to relay present their stories, according to their choice and preferences. Some of the world known story tellers include John Huston and Howard O’Hagan. This are story writers who have adopted different methods in which to present their stories in the way the paint the different characters in their stories.
The most clear basic element of Howard O'Hagan's Tay John (1939) is its division into three sections: "Legend," "Prattle," and "Proof without a finding." These divisions are joined by some interesting moves in story mode. The initial segment of the novel, "Legend," is told from an omniscient point of view in a way that habitually reviews the King James adaptation of the Bible ("He remained with them, and the individuals were happy, for they trusted that he was an extraordinary man"). This account mode is quickly preceded toward the start of Part 2, yet the rest of voice is described in the main individual by Jack Denham in a self-reflexive way that every now and again points out account matters
The drive of Rorty’s yell grows from a cryptic, irrational, and incoherent basis into interpretable coherent calls, detached from and yet attached to their source. In essence, this was the trend taken by the storyteller to bring out the content in the character of Tay John whereby the shadow and darkness are indication of his origin, and individuals give him different names to bring out different aspects regarding his life (from his hair that is a bit yellow), as a way of making an interpretation of him. The use of dusk in the story on the other hand gives the land its being while man in his way, names the land in a bid to retain it in the frames of the horizons.
From the fact that the story changes from a legend taking a mythical angle, it is evident that the legend in Tay John still lives on, where O’Hagan brings him out as the continuous delay of matters that are sought after and isolated by the different expectations from individuals. It is however notable that it could not have been in the intentions of O’Hagan to bring out the legitimacy in the voice of the story and the chronicles of the unbelievable substance and raising confusion leading to the grounding of his novel. It is further clarified that Tay John is a novel that finds its origin in the memories of men while it’s shape in and structure from the natural occurrences and discourse.
As a novel, Tay John's structure has been attempted and discovered needing. It is viewed as an "unpleasant edged account" or a half-framed anecdotal content. This is basically mistaken. Tay John absolutely has a precisely considered structure, in view of a guarantee examination, like a pre-trial voir desperate—examination for disclosure. What O'Hagan had at the top of the priority list in Tay John depends on straightforward legitimate statutes. The novel contemplates the semi legitimate inquiry, who was Tay John? What makes a legendary figure? The "case" of Tay John, in answer, exhibits an extraordinary case of run of the mill sprawling critical, a content which analyzes the web of proof and witnesses, leaving a roundabout trail of shreds, similar to the repeating tufts of hair, specified in the novel. The majority of this, the viewers, as jury part, legal counselor, or judge, needs to filter through (O'Hagan).
Tay John is more similar to an examination for revelation than an endeavor in court to clarify or contend a case. O'Hagan abandons lets the viewers to consider the interstices of the mysterious, substance to display just that which is noticeable, the shell around the nut. What is more, nobody, including the creator, is under promise to make a definitive revelation. Readers just need to take a gander at the segment headings of the novel, "Prattle" and "Proof without a Finding," to understand that O'Hagan was at the same time making and scrutinizing in lawful terms the very presence of his legendary figure in Tay John. In addition, O'Hagan recommends that separation makes the myths. Vicinity questions them. The round structure of the novel brings us as viewer deliberators to think about the case at first from long separation, the separation of myth, at that point from nearer witnesses' perception, to the viewers’ direct perception at Lucerne, and afterward from decreasing separations as the witnesses wind up minimal yet again, and the story consolidates again into the trace of the otherworldly. The entire novel is liable to the idea of law (O'Hagan).
O'Hagan astutely utilizes a writing style, pseudo-Biblical now and again, to separate us from the offended party/respondent, Tay John, utilizing a zooming focal point to keep the figures secretive and far away, converged with nature and indigenous folklore. Later in this roundabout trial, O'Hagan, similar to an astute cinematographer, will get us shut everything down, up close and personal with the litigant, so we, as viewers, make up our own particular personalities about his character. In any case, just quickly do we see Tay John in quit for the day the dock? O'Hagan rapidly pushes the focal point much farther, so that toward the end of the novel, Tay John is a secretive figure in the scene once more.
Be that as it may, in the center, Denham turns into our observer. Be that as it may, Denham's dependability as a witness is likewise easy to refute. Jackie's story is planned by O'Hagan only as prattle, a bar story, and in this manner not acceptable in an appropriate trial. However it is from "Jackie's story" that the readers, grow the greater part of the picture of Tay John as an overwhelming gallant dominator of characteristic powers, the extraordinary figure of myth. In any case, it's an entirely smart anecdotal advance on O'Hagan's part to both make an overwhelming legendary figure but then expose its exceptionally presence in the meantime, by undermining the verity of the gossip story that conveys Tay John nearer to readers’ view (O'Hagan).
O'Hagan additionally utilizes a perfect anecdotal trap with other dress as he conveys Tay John nearer to the jury. Beginning with the red tunic Tay John is given by the French gold searchers; Tay John experiences ensemble changes that mirror his social progress and his inescapable exposing as legend. His creature skin attire at McLeod's lodge changes toward the Western dress he obtains from the Alderson chasing party (O'Hagan). He is currently spruced up for a white trial and by white standards. In any case, in average Jungian design after the trial at McLeod's lodge, where Tay John's basic genuineness seems to win out, however simply because the charges are dropped, the dark cattle rustler cap goes turning off in the breeze, as though certainly Tay John has attempted and dismissed the phony Western estimations of the chasing bunch he has direct .
However Huston chooses to narrate the story “The Life and Times of Judge Roy Beans” using his own style. The opening demonstration of The Life and Times of Judge Roy Bean is an astounding movement of surfaces and styles, indicating Huston at his most supple and fun loving (Huston). As the credits move against the staggering Arizona backgrounds graciousness of cinematographer Richard Moore, Maurice Jarre's delicate, melancholic topic as the sun goes down is borrowed to bring out the character of Judge Roy Bean, a pleasant hinting of what's at last to happen to him.
Likely one of John Huston's most individual works, The Life and Times of Judge Roy Bean, the1972 Western with the unbelievable Paul Newman, is one of the most satisfying movies of the decade. The content—rich in characters and occasions, unbelievably powerful, quick paced and chalk-loaded with comical and serious minutes energetically trading places under the spotlight. The Life and Times of Judge Roy Bean is a requiem to the biting the dust Old West, catching a subject generally like that of the ten years more seasoned The Man Who Shot Liberty Valance (Huston).
Roy Bean is a criminal who chooses to guarantee a town as his own area, going about as a definitive hand of equity, however the circumstances are evolving. Crude power and the energy of slugs is not any more a counterpart for law and request, decisions and governmental issues. Roy Bean is not just an enchanting, control hungry, benefit adoring Western miscreant, he is the unmistakable illustration of the old ways that ruled the West (Huston). In any case, as everything's developing, even Roy understands that Texas is no nation for old men any longer. Regardless of whether the viewer chooses not to look for any more profound importance furthermore, ubiquitous imagery in the film, despite everything they are left with one hell of a ride. John Huston made an extremely engaging motion picture, with quick rhythm, outwardly alluring activity scenes, a lot of strain easing comic recesses and an extraordinary execution from the lead star.
Conclusion
Different storytellers adopt different ways in which they present their stories to the viewers. The two writers John Huston and Howard O’Hagan present their stories using different approaches whereby each of them uses a different technique of structuring the plots of their story. However, there are similarities in the way the two present their characters, they present their main characters using a mythical approach. In both f the stories, the main characters John Tay and Judge Roy Bean are brought as legendary figures.
References
Milius, John. The Life And Times Of Judge Roy Bean. Bantam Books, 1973.
O'Hagan, Howard. Tay John. (The Life Of ... A Half-Breed Trapper.). 1939.
