The Characters' Metamorphoses in Adventures of Huckleberry Finn, Color Purple, and Catcher in the The main characters of The Adventures of Huckleberry Finn, The Color Purple, and The Catcher in the Rye begin their stories as lonely, confined, and dependent people battling with their own thoughts versus societal pressures. The three long to be self-reliant and free, but lack the means and the confidence to find themselves. Huck, Celie, and Holden ultimately venture on life-altering journeys to attain their individuality and to discover their worth as human beings. Huckleberry Finn has tremendous difficulty transitioning from an easily influenced person to an independent one. He begins as one of many faithful followers to Tom Sawyer, willing to trail behind him into any dangerous situations because Tom seems more self-confident than he ever allows himself to be. "Everybody was willing" (Twain 9) to Tom's declaration, "we'll start this band of robbers and call it Tom Sawyer's gang" (Twain 9) where their business is "Nothing only [sic] robbery and murder" (Twain 10). Tom is so self-assured that Huck, lacking confidence in himself to make his own decisions without leadership or outside assistance, is restricted from locating his level of confidence while around his dictatorial best friend. Another dominant source of influence in Huck's life is his father, whose relationship with his son is comparable to that of a lord to a slave. Pap tries to cheat Huck out of his money, claiming "all the trouble and all the anxiety and all the expense of raising [Huck]" (Twain 26), so he can go into a drunken stupor and not be concerned about reality. To vent his anger for failed attempts, he punishes his own son through kidnapping, imprison... ... middle of paper ... ... Through beautiful depictions of their characters' metamorphoses, the authors present the feeling that embracing struggle to define individuality and become independent is something everyone needs to do. The authors essentially disclose through their writing that without opinions, ideas, and liberations of their own, people have nothing else to look forward to in life. Huck, Celie, and Holden, who are each representatives of the diverse American culture, must each to look ahead to uncover their full potential as human beings rather than participate in social order. Works Cited Salinger, J. D. The Catcher in the Rye. Boston, MA: Little, Brown, and Company, May 1991. Twain, Mark. The Adventures of Huckleberry Finn. New York, NY: Bantam Books, March 1981. Walker, Alice. The Color Purple. New York, NY: Pocket Books/Washington Square Press, June 1983.
Salinger, J.D. The Catcher in the Rye. New York: Little, Brown and Company, 1991. Print.
Salinger, J. D. The Catcher in the Rye. Boston: Little, Brown and Company. 1951. Print
Salinger, J. D. The Catcher in the Rye. 1951. New York: Back Bay Books, 2001. Print.
Salinger, J. D.. The Catcher in the Rye. [1st ed. Boston: Little, Brown, 19511945. Print.
Sheafor, B. W., & Horejsi, C. R. (2012). Techniques and guidelines for social work practice (9th ed.). Upper Saddle River, NJ: Pearson Allyn & Bacon. (Sheafor & Horejsi, 2011)
Everyone wants to know who they are, and why they were put here. People often wonder about their futures and what kind of person they really are. In the novels Adventures of Huckleberry Finn and Catcher in the Rye, both of the protagonists, despite the different settings, the other characters, their restrictions and the different people that they are, are searching for the same thing - themselves.
Pinsker, Sanford. The Catcher In The Rye: Innocence Under Pressure. New York: Twayne Publishers, 1993.
When a child is born it’s actions and morals are solely based on the environment it’s parents set for it. The child is unable to move, eat, learn and speak without the guidance of an individual. However as the child progresses in life it starts breaking away from the environment that is set for them and engage themselves in the environment of their choice. The child starts to develop it’s own morals and an identity for themselves overtime, similar to Huck Finn. In the novel The Adventures of Huckleberry Finn by Mark Twain is a story about a 13 year old boy who heads out on a journey through the Mississippi River with a black runaway slave, Jim. Through the trials they went through during the adventure, it opened up a new sense of understanding for the world. Twain manipulates Huck to be an evolving character in the novel supported by his changes in maturity and morals.
Smale, G. and Tuson, G. (1993) Empowerment Assessment: Care management and the skilled worker, London, NISW.
In Sophocles ' Oedipus the King, the themes of fate and free will are very strong throughout the play. Only one, however, brought about Oedipus ' downfall and death. Both points could be argued to great effect. In ancient Greece, fate was considered to be a rudimentary part of daily life. Every aspect of life depended and was based upon fate (Nagle 100). It is common belief to assume that mankind does indeed have free will and each individual can decide the outcome of his or her life. Fate and free will both decide the fate of Oedipus the King.
Dorfman, R. (1996). Clinical social work: Definiton [sic], practice, and vision. New York: Brunner/Mazel Publishers.
Galpin, D. and Bates, N. 2009. Social work practice with adults. Exeter: Learning Matters Ltd.
This class, Social Work Theory & Practice was made to be able to introduce me to social work theories, ideas, and skills needed to work in the social work profession. This class main tool used was a book called A Brief Introduction of Social Work Theory by David Howe which discusses social work theories in a compressive and explainable way. This class is important to my higher learning because it break down the theories that I will need to use during my practice and a...
Roscoe, K, and Madoc-Jones, I (2009) ‘Critical Social Work Practice: A Narrative Approach.’ IJNP, Vol (1). p12.
Ehrenberg, Victor. "Fate and Sophoclean Rulers." In Twentieth Century Interpretations of Oedipus Rex, edited by Michael J. O'Brien. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1968.