By George C., Jr. Carrington
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Extra info for Dramatic Unity of Huckleberry Finn
24 The Bricksville loafers are again the zero-markers, victims of entropy. In the absence of personal skills and outside pressures beyond the need to kill time, they drift to the bottom of language considered as a medium for social interaction. The loafers' speech is undeniably vernacular. So is the King's, when he is not trying to make an impression. " he snarls at the Duke, when the latter is preparing to make himself top rascal on the raft by cleverly using sententious rhetoric, impressive and thus appropriate to the situation.
Tony Tanner, The Realm of Wonder: Naivety and Reality in American Literature (Cambridge: At the University Press, 1965), pp. 125, 162-63. 4. The consensus of modern Twain criticism is that the archetypal Twain character, from "The Jumping Frog" to the late manuscript fragments, is the stranger. The "transcendent" man, a type of Satanic stranger beginning with Colonel Sherburn, is discussed in Mark Twain: The Development of •• Writer, p. 136. See also Lynn, Mark Twain and Southwestern Humor, pp.
Huck therefore cannot escape Jim because there is no escape. Huck and Jim cannot go North, up the Ohio, because there is no North; it is just a fantasy that people talk and dream about, like Moscow for Chekhov's three sisters. "North" is a fantasy of agreeable, sensible organization; "South," where the characters find themselves imprisoned, is the real world of turbulence and drift and man's clumsy scramble to control or to escape from them. Huck and Jim must go into the Deep South, the heart of pressure from nature and man—or rather, the raft must take them there— because we are in a determined world, not a voluntaristic world.
Dramatic Unity of Huckleberry Finn by George C., Jr. Carrington