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Violence portrayed in Huckleberry Finn
Impact of culture on personality
Violence portrayed in Huckleberry Finn
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Ideological Discourse on Violence in Twain’s Adventures of Huckleberry Finn and Faulkner’s Barn Burning
William Faulkner’s short story Barn Burning, and Mark Twain’s novel Adventures of Huckleberry Finn, both present violence as an inescapable phenomenon which is deeply embedded in society, and which human beings have a tendency towards, although Faulkner appears to harbor a more cynical ideological attitude than Twain, enabling the development of the argument that he presents violence as an innate, thus inevitable human disposition, whereby one’s loss of innocence is unavoidably imminent. In this paper, I will elaborate on how both Twain and Faulkner similarly portray violence as an embedded societal custom that permeates the types of societies
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they both depict regardless of social hierarchy, the manner in which they both emphasize society’s violence via their respective first-person narrators, and the way in which the two pieces’ narrative structures advance the rhetoric towards the idea of one’s loss of innocence within such a kind of society. Lastly, I will comment on how the two works’ endings differ in such a way so as to propose Faulkner’s different to Twain ideological view of violence. The two writers’ literary techniques, whether similar or not, such as satire, and symbolism, as well as comments on tone and style, will be integrated as deemed relevant. Firstly, in an ideologically parallel manner, both Twain and Faulkner present violence as being virtually endemic to the type of societies that they both present, showing it as indiscriminately infiltrating an array of social classes, with no one being exempt from such aggressive propensities.
Indeed, characters from different strata of the social hierarchy in both pieces are in a manner implicated in violent activities. In Adventures of Huckleberry Finn, a respectable and powerful Colonel in a small town in Arkansas, Colonel Sherburn, cold-bloodedly and apathetically shoots Boggs, an inebriated albeit harmless man, due to being irritated by his intoxication (Twain 157, 158, 159). In a somewhat similar vein, the virtually equally preeminent Justice of the Peace in Barn Burning, a “graying” among the other “grim faces” of the jury that surround him in his court, he reneges on his very role, forcing the impoverished Snopes family to leave their town and seek residence elsewhere despite his pronounced inability to find any tangible proof as to Abner Snopes’s actual burning of the accuser’s barn (Faulkner 3, 4, 5). Although clearly not the least directly violent in the same fashion as Colonel Sherburn, the Justice of the Peace’s conduct is almost as cruel and “violent” in its nature, as, despite being aware of the injustice of his verdict, he consciously contributes to the perpetuation of the Snopes’ indigence, thereby overall to the existence of corruption in such founding and respectable social structures such as the Court, which are meant to maintain and promote order instead of
chaos. Technically, both Twain and Faulkner create a sense of absurdity, with Twain describing Colonel Sherburn as committing an act of ineffable cruelty while “standing perfectly still” (158), as if duly preserving the proper bearing his social status requires. This absurdist juxtaposition creates a sense of irony which however seems to be normalized in integrated into the Colonel’s behavior, overall presenting this absurdism as a normalized social custom. Faulkner seems to employ satire for purposes of mocking trivialization and undermining in describing the Justice of the Peace’s court as “smelled [-ing] of cheese” (Faulkner 3), although this absurdist contradiction innate to the idea of a supposedly emblematically respectable place that is yet in a strangely comical manner pervasive with the smell of cheese that casually appears in the very first line of the story can also be seen as signifying that this ostensible ludicrousness of society that is also mirrored in the conduct of such social structures is customary. Also, in both pieces, there are two other aristocratic figures who are however embroiled in acts of violence, namely the Grangerfords in Adventures of Huckleberry Finn, and Major de Spain in Barn Burning. In the former case, the aristocratic Grangerfords, who diligently attend church to listen to the preaching of “brotherly love” (Twain 129), who have “such a powerful lot to say about faith, and good works, and free grace” (129), have been for years involved in a bloody feud with another family, the Sheperdsons, despite not knowing “what the row was about in the first place” (128), while this vendetta culminates with a shockingly violent episode of the story, with several members of both family’s being killed in a confrontation (134). In the latter case, the affluent Major de Spain, whose very own name exudes a certain sense of decorum and orderly propriety, he is often shown, suggestively enough, riding his horse forcefully “at full gallop” (Faulkner 12, 13), while he indifferently charges the destitute Abner Snopes with “twenty bushels of corn against your [his] crop” (16) due to him having smeared his house’s rug and not restored it to its previous intact position after cleaning it, and more importantly, he is described as “abruptly and violently” (24) riding his horse toward the Snopes house, shooting Abner Snopes and then presumably burning the entire house to the ground. Major de Spain vengefully responds to Abner Snopes’s intention of burning his own barn in an identical and even more violent manner, burning his house and killing him and potentially his whole family, excepting Sarty, as well. By having Major de Spain replicate Abner Snopes’s customary act of barn burning, Faulkner shows a violent kind of conduct resorted to be a member of the lower ranks of society being transmitted and similarly committed by a member of the higher ranks, thereby propelling a “ceaseless” (25), perpetual cycle of violence and retribution in society. By extension, the profoundly violent act of “barn burning” of the story’s title applies to the lowly Abner Snopes at the beginning, as well as Major de Spain, who commits the same act at the closure of the story, thereby suggesting a perpetually reoccurring pattern across disparate social positions. In terms of technique, both Twain and Faulkner create symbolic contrasts, the latter by emphasizing Colonel Grangerford’s strikingly “white” “linen” clothes and “pale” complexion (Twain 125), implicitly contradicting this image with equally abundant references to his “black” eyebrows and eyes (125), while his curious taking “pleasure” at his son’s flaunting of bravado by attempting to shoot at a member of the Sheperdsons (127) also tellingly belies outward “whiteness”. Likewise, Faulkner repetitively refers to Major de Spain as “the linen-clad man” (Faulkner 12) , as well as “the white man” (11, 23), with his “white” house and “pale rug” (11), symbolically using the word “white” six times within three paragraphs (23), contrasting it with a reference to his “Negro” servant (23). This symbolic contrast found in both pieces in relation to two aristocratic albeit quite cruel figures this sense of absurdism. Lastly, both pieces show violence as characterizing the conduct of the lower rungs of society, with both destitute and shabby father figures being depicted, although with ambivalence, as two deeply violent figures, while also episodes of a mob of common people collectively intent on committing lynching is also present in Twain’s novel (160, 167). Overall, both writers portray figures that are expected to act as pillars of societal order, like Colonel Sherburn and the Justice, as well as to maintain a certain stability via the decorous demeanor of their status, such as the Grangerfords and Major de Spain, in addition to those of lower status, namely the two respective father figures, as casually committing acts of injustice and violence in a recycled, constant vicious cycle. Twain implicitly suggests the idea of violence being an embedded societal custom, as many incidents in the novel that include either directly physical, or indirect, manifested as deception or hypocrisy, violence, occurs as part of social customs or activities, such as a public religious revival in which the duke and the king purport to be contrite sinners for the purpose of accruing money (Twain 148,149), or the effortless way in which a group of people decide to collectively lynch the duke and the king after having been duped into paying to attend their inept circus performance (166,167). Faulkner, although similarly presenting violence as spanning the ladder of social strata and occurring within the realm of customary social activities, such a typical trial, nonetheless presents it as endemic in a more explicit and arguably conscious manner. The absurdist notion of violence as a rampant social custom appears overtly with such references as “ceremonial violence” (Faulkner 20), as well as “this old habit, the old blood” (21), although taking this discourse one step further by, in a somewhat Naturalist manner, suggesting the intrinsic quality of aggression, a certain fundamentality that is implied even in the reoccurring reference to “the old fierce pull of blood” (3). This suggests a comparatively ideologically more cynical attitude toward the phenomenon in question. Secondly, the first person narrators of both works, Huck and Sarty, the latter though relaying only part of the narrative, serve the purpose of enhancing the ideological idea of violence as pervasive by means of the stark contrast between their naivete and reality, while also, merely as protagonists, albeit arguably both seemingly vastly innocent compared to the society that surrounds them, the differences between them in terms of conduct reflects differing ideological standing on the part of Twain and Faulkner with regard to the question of innocence, thus by extension the nature of violence. In the first instance, an example of Huck’s naivete being conveyed via his role as a narrator occurs when, while attending a circus performance while temporarily stationed at a typical Southern town, Huck gullibly believes that a drunk man who interrupts a performance with unrestrained histrionics, highly animating the spectators, is just a random man (Twain 163, 164), and feels “sheepish enough” (165) to find out that he in fact “one of his [the circus’s] own men” (164), having contrived the whole episode. Apart from ostensibly serving as comic relief and posing Huck as a comic device through his first-person narrative, the naivete and unsuspecting thinking conveyed via his role as a narrator also markedly distinguishes him from the taste for vulgar, disorderly entertainment shared by other people. Faulkner highlights this discrepancy even more consciously and blatantly, by employing the stylistically Modernist technique of presenting different
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Believers of the Old and New Testaments claim that violence is a sin and can only lead to more brutality and death; poet Tony Barnstone firmly agrees. In his poem “Parable in Praise of Violence” Barnstone lambastes the American obsession with violence-- that it is often triggered by inevitable events which could be handled in different manners. The speaker in “Parable in Praise of Violence” reflects on all parts of his “sinful” culture and comes to the realization that people often use violence as a way to deal with emotions of grief and anger caused by events and concepts they cannot explain.
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In the two of the most revered pieces of American literature, “Barn Burning” by William Faulkner and The Adventures of Huckleberry Finn by Mark Twain, we examined two characters and the relationships that they shared with their fathers. Being a father and having a father-like figure plays a monumental role in a child’s life. Although in these components of literature, the two main characters, Huckleberry Finn and Colonel Sartoris Snopes, show animosity towards their fathers. They both aspired to be the farthest type of person from their fathers. Huckleberry Finn didn’t want to be a drunk, ignorant, racist. Although at the beginning of the short story, Sarty backed his father and lied for him when accused of burning barns, but at the end of
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Cormac McCarthy once said, “I think the notion that the species can be improved in some way, that everyone can live in harmony is a really dangerous idea.” (Overview) This quote leaves us with the impression that humanity as a whole is innately violent, and we will explore this idea by examining “Blood Meridian.” This paper consists of three main topics, all of which have subtopics. The first topic explores the Western setting of “Blood Meridian” and its effect on human behavior. Its subtopics are the absence of responsibility, the failure of manifest destiny’s ideals, and seeing the west as an escape from the past and time. The second topic delves deeper into the nature of Cormac McCarthy’s quote; it asks whether humans are inherently violent. The subtopics for this section are racism and hate as a drive, greed as a drive, and the metaphorical significance of two events in the book. The last topic is man’s need to be led and the way their leader leads them. The subtopics for the last section are the parallel between Hitler and Judge Holden, and the Judge’s general philosophy including the way he leads the men.
William Faulkner’s short story “Barn Burning” describes a typical relationship between wealthy people and poor people during the Civil War.
It has been stated that while doing what is right is not always easy, it is in fact doing what is right despite it being difficult that is quite the accomplishment. Justice one finds to be one of the major themes throughout “Barn Burning”. The notion of intuitive justice presents itself as a characteristic explored throughout William Faulkner’s literary masterpiece “Barn Burning” through the protagonist Colonel Sartoris Snopes, also referred to as Sarty throughout “Barn Burning”. Faulkner presents Sarty and demonstrates his sense of justice through literal actions and dramatic context.
In, Adventures of Huckleberry Finn, author, Mark Twain contrasts what life is like on the uncivilized shore compared to the peaceful life on the river. Huckleberry Finn is a character that rejects society's behaviors and values because he does not want to be "civilized" like everyone wants him to be. Huck is someone with a mind of his own and someone who does what he pleases. Since Huck is someone who rejects society, he eventually ends up running away and traveling up the Mississippi River with a slave name Jim. The two runaways find peace on the river and they also find that they do not have to deal with the cruel society on shore. In this respect, what qualities make the river and society on shore so different from one another and how does Twain establish these contrasts? Huck and Jim are two individuals seeking freedom from the uncivilized people on the shore and during their journey together they find freedom on the raft floating up the Mississippi River.
A question that arises in almost any medium of art, be it music, film or literature, is whether or not the depiction of violence is merely gratuitous or whether it is a legitimate artistic expression. There can be no doubt that Michael Ondaatje's long poem The Collected Works of Billy the Kid is a violent work, but certain factors should be kept in mind before passing it off as an attempt to shock and titillate; certainly, the poem does both of these, but they are not the primary purpose of the work. For one thing, social context needs to be considered; Billy lived in the "Wild West", a time associated with range wars, shoot-outs and great train robberies. The entire legend of Billy the Kid has been built around his criminal activities and notorious reputation; indeed, the more popular this myth becomes, the more people he is accused of having murdered. If anything, it was a cultural fascination with violence that "created" the legend, perhaps even more so than anything the "real" Billy ever did. Michael Ondaatje comments on this phenomenon and actually offers an alternative vision of who Billy the Kid was; perhaps he was not just a blood-thirsty killer but a man who, due to circumstance and human nature, was continually being pushed over the edge. Ondaatje is more concerned with the motivations behind the acts of violence than the acts of violence themselves: "A motive? some reasoning we can give to explain all this violence. Was there a source for all this? yup -" (54). If they shock, it is to shock the readers out of complicity and encourage them to think about the nature of violence and their own capacity for it.
“I think there’s just one kind of folks. Folks” (Lee 304). Harper Lee is the renowned author of To Kill a Mockingbird which was inspired by the real events of the Scottsboro Trials. Throughout her novel, Lee indirectly references the case by creating characters, events, and symbols that resemble and contrast the case. These elements allow the novel to emerge with a more realistic and historic plot. In particular, the similarities and differences between Judge Horton and Judge Taylor, Victoria and Mayella, and the atmosphere of the courtroom are most prevalent. By examining these components one will be able to respect the historical features present in Harper Lee’s fictional literary phenomenon, To Kill a Mockingbird.
Mohandas Gandhi once stated these words, "I object to violence because when it appears to do good, the good is only temporary, the evil it does is permanent." The same can be said about many things in life. However, when thought about, few people may consider the violence brought up in literature. In the novel The Adventures of Huckleberry Finn, there are many scenes that illustrate the blind, violent nature that most humans tend to share. Mark Twain has used violence throughout his novel to enhance his beliefs on the injustices of slavery and any other form of senseless violence known to mankind. From the beginning with Pap's continuous abuse towards Huck, till the end with Emmiline Grangerfords poetry, is filled with violent sections that magnify the hypocrisy and stupidity of people.
As much as society does not want to admit, violence serves as a form of entertainment. In media today, violence typically has no meaning. Literature, movies, and music, saturated with violence, enter the homes of millions everyday. On the other hand, in Beloved, a novel by Toni Morrison, violence contributes greatly to the overall work. The story takes place during the age of the enslavement of African-Americans for rural labor in plantations. Sethe, the proud and noble protagonist, has suffered a great deal at the hand of schoolteacher. The unfortunate and seemingly inevitable events that occur in her life, fraught with violence and heartache, tug at the reader’s heart-strings. The wrongdoings Sethe endures are significant to the meaning of the novel.
Child Abuse is something that children all around the world have to deal with every day. Child abuse can cause physical and mental affects on a child. It occurs very frequently and can happen for many different reasons. There is a law now stating that reporting child abuse is mandatory and you should report it immediately. There are thousands of child abuse victims every year. The abuse usually can leave permanent damage on the rest of the child's life. Child abuse is a very serious crime, and affects children everyday with positive and negative affects.
Since the beginning of time, morality has been a source of conflict for the human race. It is probably one of the most significant issues in our society today. All of my life, my parents have tried to instill the right morals and values in me. I feel like they have done a great job. In this story, Barn Burning by William Faulkner, one of the major themes was Loyalty and devotion to Family versus Loyalty to the Law. The main character of this story, Sarty Snopes faced a difficult decision of choosing between the two. The other important character in this story is Abner Snopes which is Sarty’s father. In this story he’s portrayed as a very bitter and strong-willed man. In “Barn Burning” the actions of Sarty’s father has presented him with a situation that has caused him great moral conflict between his devotion to his family and the law.