Dramatic Unity of Huckleberry Finn by George C., Jr. Carrington

By George C., Jr. Carrington

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Once Huck has discharged his feelings, he can apologize to Jim; and the two, all passion spent, can resume their quiet drifting. In chapter 3 Huck is still testing what "civilization" offers him, is under pressure from Miss Watson and Tom, and is about ready to chuck the whole thing, so he takes out his frustrations and boredom on the Sundayschool children without qualms and without any real malice —he is interested only in his own feelings. In these and other episodes Huck acts on a principle that he can express only after writing about the greatest 17 immediate crisis of the novel, the denial of Jims blackness to the slave-hunters (chap.

Since the beginning of the novel he has been in conflict with nature, Miss Watson, Tom Sawyer, and Pap. " Completely at peace, and close to the fundamentals of nature—"everything was dead quiet, and it looked late, and smelt late"—Huck yields himself to the now-pleasant flow of nature: "I got out amongst the driftwood, and then laid down in the bottom of the canoe and let her float. I laid there, and had a good rest and a smoke out of my pipe, looking away into the sky; not a cloud in it. " Twain is nodding here, for Huck has seldom slept under a roof and ought to know the effects of moonlight.

P. 182. 17. , 9:107-8. 18. , p. 163. 19. , p. 459. 20. , p. 167. 21. Partisan Review 15 (June 1948): 664-71. 22. Structuralism, trans, and ed. Chaninah Maschler (New York: Basic Books, 1970), p. 5. " For some time Twain critics have been examining similar ideas. Richard Chase has spoken at length of the importance of melodrama in Huckleberry Finn; Roger B. 1 In Mark Twain's Burlesque Patterns Franklin P.

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