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Mark Twain 22 cards. Henry James was a author known for writing of the clash between. What is an example of situational irony in heart of darkness. What is best defined as a literary work that is mostly not a product of the writer's imagination. What makes literary nonfiction different from other nonfiction. Q: What is the significance of the closing scene for Huckleberry Finn? Write your answer Related questions. What is the significance of the opening scene for Huckleberry Finn?
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What actors and actresses appeared in The Adventures of Huckleberry Finn - ? What is the life history of Huckleberry Finn? Author of Huckleberry Finn? Who was the author of Huckleberry Finn? Such criticisms of the ending, however, are unsubstantiated and entirely ridiculous. In fact, the ending of Huckleberry Finn is not only a fitting one, but a good and meaningful one, lending the story all of its staying power.
Much of the book is, in fact, an analysis of the power of fiction and and its effects. Huck, a boy who at best might be called semi-literate, spends the majority of the book fighting a society which largely defines itself by books and literacy. Most obviously, the reader is presented with Tom Sawyer and his obsession with romantic adventure literature. In this manner, Tom never really leaves the action of the book, accompanying Huck as a sort of absent presence all along the way, and so, when he turns up again at the end, it is really hardly a surprise.
Not for nothing does Twain name the wrecked steamboat which seems, to Huck, so perfect a site for a Tom Sawyer-esque adventure the Walter Scott 98, Tom is as frightening as he is because he represents the reality that often the most intelligent, creative people have the most potential for cruelty, fabrication, and emotional ignorance. The web of fabrications and lies which Tom creates in the last chapters of the novel as part of his plan to free Jim are testament to this sad fact.
Consequently, Huck acquiesces to the ridiculous and foolishly dangerous plans , though he maintains his criticism throughout, admittedly to little avail. Certainly, Huck subordinates himself to Tom almost immediately, but who can blame him? Claims that Huck loses all of what he learned on his journey down the Mississippi are gross overstatements, though. Delving further into the text, it is interesting to note that Twain, far from having improvised the ending, has carefully constructed every detail.
Not only is Huck very unprepared to resist the influence of Tom, but he is also struggling to keep a handle on who he, Huck, is. With that simple contraction, Huck has effectively thrown his own identity out the window, as from now on he must struggle to be someone else.
The situation gets no better once he finds out that he is supposed to be Tom Sawyer. His Huckness , so recently defined and developed, is rendered useless immediately. Far from the racist portrayal of Jim Twain is often accused of having slipped into in the ending, the final scenes involving Jim instead set him apart from all the other characters who, during the ending, are governed entirely by self-interest Huck is an exception to this statement on the whole, though he can be accused of some self-indulgence at points.
In doing so, Jim displays his infinite capacity for compassion which Tom so glaringly lacks, illustrating better than any act of martyrdom in the name of freedom could have the depth of injustice permeating the South. Further criticism accuses Huck of abandoning Jim at this crucial juncture in their story, preferring to live in comfort a while longer with the Phelpses, rather than to free Jim immediately and easily and return to the river.
Whether or not Huck does abandon Jim at this stage, it would not be the first time. At this stage, Huck seems content to live with the Grangerfords indefinitely and thoughts of Jim do not bother him.
Of course, Huck learns his lesson in short order when he gets the opportunity to experience the Grangerford-Shepherdson feud first hand and witnesses the destruction caused by romantic ideals. This abandonment, however, is not deserving of the criticism it has garnered. Far from exposing some horrible inhumanity or racism in Huck, it lays bare a fundamental flaw in the fabric of Southern society. No matter how much Jim means to Huck, Huck is still a Southern-raised white boy, ignorant to many truths about blacks.
By the end of the novel, one thing has become entirely too clear: fantasy is dangerous. Tom did have a dream—a whole lot of dreams and illusions and, more often than not, delusions—and that was what shot him. By this time, the full title of the book has taken on a morbid significance.
Adventures are no longer boyhood escapades, but dangerous matters of cruelty which can end in injury and death. Adventures, fantasies, fictions, and abstractions of any kind obstruct reason, moral judgement, and—likely as not—will lead to bloodshed.
They resent an optimistic tone which they see as cheapening the novel, turning it into a spectacle. Twain's difficulty was due, in large part, to his struggle to decide between a social commentary and a children's adventure novel. Although Huck declares that if "I'd 'a' knowed what a trouble it was to make a book I wouldn't 'a' tackled it," the suggestion is that there will be yet another adventure for Huck, and yet another novel for Twain. Always the maverick, Huck announces that he will continue to try and avoid the trappings of civilization and seek his own freedom.
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