Mark Twain's Satire - Иностранные языки и языкознание дипломная работа

Early life of Mark Twain. Literary career, Twain’s first successful experiences. Marriage and wife’s influence on Mark Twain’s literary works. "The Guilded Age" as the first significant work. Critical analysis of "The Adventures of Tom Sawyer".


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MINISTRY OF HIGHER AND SECONDARY SPECIALISED EDUCATION OF THE REPUBLIC OF UZBEKISTAN
The English and Literature department
Kan Anna's qualification work on speciality 5220100, English philology on theme:
1.1. General characteristics of the work
2.2. Beginning of literary career, Twain's first successful experiences
3.2. Marriage and wife's influence on Mark Twain's literary works
4.2. “The Guilded Age” as the first significant work
5.2. Critical analysis of “The Adventures of Tom Sawyer
6.2. “The Adventures of Huckleberry Finn” as the most significant work
8.2. Simpletons abroad (American literature abroad)
1.3. Afterwards to Mark Twain's literary significance
1.1 General characteristics of the work
The theme of our qualification work sounds as following: “Mark Twain and his Satire” The brief characteristics of our work can be seen from the following features:
The topicality of this work causes several important points. We dare to say that Mark Twain always remains topical for us because his works, even written more than a century ago his immortal humor, tell about the modern things and phenomena which happen in our lives, such as humans' qualities, the problems of friendship, support, greed, populism, childhood, love, revenge, etc. And our work becomes much more topical because of the reason that Mark Twain is still one of the most popular American writers read by readers. We are sure that there is hardly a man in our country can be found, who has never heard of adventures of Tom Sawyer, Huckleberry Finn, The Prince and the Pauper, Yankee from Connecticut, etc. We are also convincer that every intellectual learner of English has these works as hand-books for themselves. So the significance of our work can be proved by the following reasons:
a) Mark Twain for the American literature is of the same value as Chekhov for the Russians, Navoi for the Uzbeks, Gachec for the Checks, etc.
b) Though written about his times, humoristic works of Twain reflect the real state of affairs happened in our modern life, and even such scenes might happen with the readers of our qualification work.
c) Twain's books are also worth studying for their brilliant humour, metaphoric language, ideas and dialogues within the works.
Having based upon the topicality of the theme we are able to formulate the general purposes of our qualification work.
a) To study, analyze, and sum up the humour- essence of Twain's works.
b) To analyze humoristic works of the writer.
c) To prove the idea of modernity in Shakespeare's “Midsummer Night”.
c) To mention and compare between themselves the critical opinions concerning to the play.
d) To take time parallels between Twain's times and reality of nowadays.
e) To study Mark Twain's heritage and greatness and significance on the base of his works “Huckleberry Finn”, “Tom Sawyer”, “Yankee from Connecticut”, “The Prince and the Pauper”.
If we say about the new information used within our work we may note that the work studies the problem from the modern positions and analyzes the modern trends appeared in this subject for the last ten years. For instance, the novelty concludes in a wide collecting of Internet materials dealing with Mark Twain's heritage.
The practical significance of the work concludes in the following items:
a) The work could serve as a good source of materials for additional reading by students at schools, colleges and lyceums.
b) The problem of difficult understanding stylistic devices could be a little bit easier,
c) Those who would like to possess a perfect knowledge of English will find our work useful and practical.
d) Our qualification work is recognition of greatness of our outstanding American writer.
Having said about the scholars who dealt with the same theme earlier we may mention B.Shaw, A.Anikst, A.Paine, Dr.Jonson, Alfred Bates and many others.
We used in our work scientific approaches methods of general analysis.
The novelty of the work is concluded in including the modern interpretations of the Twain's heritage.
Compositional structure of my work consists of four major parts - Introduction, Main part, Conclusion, and Bibliography. The brief content of each part is to be presented for your attention.
We subdivided the introductory material into two sections.. The first section gives some brief characteristics of the work, its aims and goals, problems and methods of investigation. The second item reveals common biographic milestones of Mark Twain, which were significant for the subject matter of our theme. The main part bears eight items in itself. Each items reveal the concrete problem. In the first paragraph we reflected the early years of Mark Twain's life, precisely his young years, when Twain worked on the Mississippi, and the experiences of which were later reflected in all the works of satirist. The second item demonstrates the analysis of satirical works and his novel “Simpletons Abroad”. In the third paragraph of the main part we took into consideration the problem of the influence of wife onto the work of Twain. The fourth item tells us about the satiric novel “The Guilded Age”, - second serious work of Twain. The next two paragraphs of the main part take into consideration Mark Twain's the most famous and magnificent works , in which his satirical talent appeared most greatly, - “Tom Sawyer” and “Adventures of Huckleberry Finn” .The seventh item tells about the later years of Mark Twain, which were characterized by the crisis of his creative activity, upsetting the reality of life, and sharpening of social contradictions. The last paragraph tells about the history of the American literary invasion in Europe owing to appearance of Twain's works. In the Conclusion work we gave some notes concerning the literary significance of Twain's works, their novelty and actuality for modern readers. The qualification work contains to the bibliography , which mentions the list of literature used in the frame of our work.
2.1 Mark Twain - a great American writer - contributed an enormous contributi on to literature of his country
Nevertheless, it is not all that would be possible to say about Twain. Mark Twain is one of the most important figures of the American life and the American culture as a whole. He was bound by the incalculable links with the move of development of his country, its national particularity, and social contradictions, and this link is felt deeply through all of his creative activity.
Leaving out of the folk layers, he became the brilliant representative of the American humanitarian intellectuals. Besides, under that layer, he did not "run", like many of his congeners, on the positions of dominating class, but he has occupied the critical position on all of the main questions concerning lives of his country, having criticized the politics dominating in his country, dominating religion, and dominating moral rules.
The importance of Twain as the artistic historian of the USA is difficult to overestimate.
Bernard Show once said that a researcher of the American society of the XIX century would have to come to address to Twain not less, than a historian of the French society of the XVIII century would have to treat to the works of Voltaire. In development of Bernard Show's thought we think that it is necessary to add that those who want to knew more about the American life of the XX century, up to the most alive contemporary, will also find a lot of important and actual materials in Twain's works - with their shrewdness and generalizing power of the talent of this great American!
The importance and the role of Twain as the outrageously forming power in the American literature does not only weaken through the year passing, but it still becomes firmly established again and again with an increasing power.
"The whole modern American literature came out of one book of Mark Twain, which is identified as "Huckleberry Finn". This is the best of all our books... There was nothing like to be existed in our literature before it. Nothing which could be equal to this book has been still written ".
These words belong to one of the largest and most influential masters and trailblazers of the modern literature of the USA - to Ernest Hemingway.
As we wrote above, B. Show wrote about Mark Twain, "that the future historian of America will find your works indispensable to him as a French historian finds the political tracts of Voltaire." By his own participation, no artist in our literature save Lincoln is so broad a segment of typical American experience in the last century, Langhorne Clemens, known by the most famous pen name that an American ever bore, is a matchless annalist of his times. His life makes those Carry men in Boston and Concord and New York resemble the flowering of talents that blossomed in too retired a k. He knew the greatest river Mississippi of the continent as Melville knew the high. He witnessed the epic of America, the westward tide at its full, with option keener than the shallow appraisals of Bret Harte and Joaquin. When in his Autobiography Mark Twain recalls after forty years the faddy of an emigrant lad stabbed to death by a drunken comrade, and adds, the red life gush from his breast," we are reminded of Whitman's nation, "I was there"--with the difference that Walt's immediacy was genitive, Mark's actual. In the activities of the external man as well as in actor and temperament, Mark Twain was a representative American-- idyllic ante-bellum boyhood in a river town, to maturity enmeshed in Toss-purposes of the Gilded Age which he christened, and thence to the years of mingled hope and disillusion in the Progressive Era. Despite we avowal, "There is not a single human characteristic which can be f labeled as 'American,' " Mark Twain is stamped unforgettably with the brand. If he failed finally to reconcile reality and ideality, he abs and gave expression to both. That failure was not his; it belonged to penetration age his incurably Calvinist mind saw all the events of his life, from son November 30, 1835, in the village of Florida, Missouri, as a chain of titian forged by some power outside his will. Like his Connecticut Yankee as led to reflect upon heredity, "a procession of ancestors that stretches a billion years to the Adam-clam or grasshopper or monkey from whom ace has been so tediously and ostentatiously and unprofitably developed."
I am persuaded," wrote Bernard Shaw about Mark Twain, "that the future historian of America will find your works indispensable to him as a French historian finds the political tracts of tare." By his own participation, no artist in our literature save Lincoln is so broad a segment of typical American experience in the last century, Langhorne Clemens, known by the most famous pen name that an American ever bore, is a matchless annalist of his times. His life makes those Carry men in Boston and Concord and New York resemble the flowering of talents that blossomed in too retired a k. He knew the greatest river of the continent as Melville knew the high. He witnessed the epic of America, the westward tide at its full, with option keener than the shallow appraisals of Bret Harte and Joaquin. When in his Autobiography Mark Twain recalls after forty years the faddy of an emigrant lad stabbed to death by a drunken comrade, and adds, the red life gush from his breast," we are reminded of Whitman's nation, "I was there"--with the difference that Walt's immediacy was genitive, Mark's actual. In the activities of the external man as well as in actor and temperament, Mark Twain was a representative American-- idyllic ante-bellum boyhood in a river town, to maturity enmeshed in Toss-purposes of the Gilded Age which he christened, and thence to the years of mingled hope and disillusion in the Progressive Era. Despite »we avowal, "There is not a single human characteristic which can be f labeled as 'American,' " Mark Twain is stamped unforgettably with the brand. If he failed finally to reconcile reality and ideality, he abs and gave expression to both. That failure was not his; it belonged to penetration.
age his incurably Calvinist mind saw all the events of his life, from son November 30, 1835, in the village of Florida, Missouri, as a chain of titian forged by some power outside his will. Like his Connecticut Yankee as led to reflect upon heredity, "a procession of ancestors that stretches a billion years to the Adam-clam or grasshopper or monkey from whom ace has been so tediously and ostentatiously and unprofitably developed."
His father, an austere restless Virginian, bequeathed the family a vain hone of fortune from "the Tennessee lands," like Squire Hawkins in The Gilded Age; he also gave his son an object lesson in failure like the example set the father of a genius whom Mark the Baronial once rose to challenge Shakespeare of Stratford. The wife and mother, Jane Lampton Clernens of Kentucky pioneer stock, sought by her strong Presbyterianism to balance her husband's village-lawyer agnosticism; their famous son inherited the self-tormenting conscience with the latter's will to disbelieve. As for derivations more remote Twain the romantic relished his maternal tie with the Earls of Durham through "the American claimant," while Twain the democrat reserved his sole ancestral pride for a Regicide judge, who "did what he could toward reducing the list of crowned shams of his day."
In 1839 the Clemens's moved to Hannibal, on the west bank of the Mis-sissippi, and set the conditions of boyhood and youth from which flowed the wellspring of Mark Twain's clearest inspiration. Thanks to Tom Sawyer and Huckleberry Finn, its aspect in the forties has become the property of millions: the wharf giving upon the turbid waters where rafts and broad-horns, fast packets and gay showboats passed endlessly, the plank sidewalks where Tom and Becky trudged to school, the tanyard where Huck's drunken father slept among the hogs, the steep slope of Cardiff (really Holliday's) Hill, the surrounding woods of oak and hickory and sumach, and a few miles downstream the cave where Injun Joe met death. Hannibal lay in its halcyon summer between frontier days and the convulsions of the Civil War, the latter forecast in the mobbing of an occasional abolitionist and the track-ing down of runaway slaves. On the whole, happiness outweighed grief; prized in retrospect was the large freedom of a boy's life, with the swimming hole and woods full of game, jolly playmates banded against a world of adult supremacy, and dinner tables groaning with prodigal hospitality. "It was a heavenly place for a boy," Hannibal's first citizen remembered.
Sam Clemens' schooling ended early, when he was about twelve. After his father's death the lad was apprenticed to a printer's shop--"the poor boys college," Lincoln called it. Lack of formal education doubtless gave the later Mark Twain an eagerness to have his genius certified by convention, and also led him occasionally to discover shopworn ideas with a thrill impossible to sophisticates; but it also delivered him from those cultural stereotypes into which the genius of New England, for example, for generations had been poured. Fatalist that he was, Twain liked to date his career from certain accidents. The first of them came one day on the streets of Hannibal, when the young printer picked up a stray leaf from a book about Joan of Arc, a n for the first time saw magic in the printed word. Henceforth the itch scribbling was strong upon him. His earliest known appearance in print, crudely humorous sketch called "The Dandy Frightening the Squatter," appeared in the Boston Carpet Bag of May i, 1852. He left Hannibal the next year, wandering on to New York and Philadelphia, and began to send hometown papers the first of those facetious travel pieces which he wrote sporadically for the next half-century. In 1857, after tarrying awhile in Cincinnati, Jie set out for New Orleans with a notion of shipping for the Amazon. But, lacking funds, he became a steamboat pilot under the tutelage of Horace Bixby. That veteran gradually taught him the ever changing aspects of the Mississippi, by sun and starlight, at low water and in flood.
For two years after that Clemens turned his wheel atop the taxes deck, drawing a licensed pilot's high wages, while he gained postgraduate schooling inhuman nature. Oft quoted is his later assertion: "When I find a well-drawn character in fiction or biography I generally take a warm personal interest in him, for the reason that I have known him before--met him on the river." A born worrier, he felt the responsibility that lay within a pilot's hands as he steered past narrows and snags and sand bars, or for the sake of prestige raced his rivals until the boiler nearly burst under its head of steam. His old master, many years later, stated that Clemens "knew the river like a book, but he lacked confidence." One may speculate whether a very human incertitude, deep in his being, did not chime with a classic type of humor in his constant self-portrayal as the man who gets slapped: the bumptious yet timid cub of Life on the Mississippi; the fear-bedeviled soldier of "The Campaign That Failed"; the tenderfoot of Roughing It, setting forest fires and just missing wealth through sheer stupidity; or the harassed traveler losing his tickets, browbeaten by porters and shopkeepers, falling foul of the authorities, who appears in a long sequence from the juvenile Snodgrass letters to A Tramp Abroad.
Clemens' career on the river ended in the spring of 1861 with the outbreak of hostilities. With brief enthusiasm he joined a Confederate militia band, savoring the boyish conspiracy of war in its early stages. In the lack of discipline the band soon broke up; and Sam, with qualms about fighting for slavery, yielded to persuasion from his Unionist brother Orion, lately appointed Secretary of the Territory of Nevada. In July, 1861, the two set out for the West. The outlines of the story told in Roughing If are true enough: the nineteen-day trip across the plains and Rockies to Carson City; an attack r mining fever that left Sam none the richer; his acceptance of a job on the Vll "ginia City Enterprise; a journalist's view of San Francisco in flush times; and a newspaper-sponsored voyage to the Sandwich Islands. His dream of becoming a millionaire by a stroke of fortune never forsook him; lingering i ft
his blood, the bonanza fever made him a lifelong victim of gold bricks, quick profit schemes, and dazzling inventions. But his return to journalistic humor the vein he had worked in his late teens and early twenties, imitative of such professional humorists as Seba Smith, J. J. Hooper, and B. P. Shillaber ' whose productions every newspaper office abounded--proved to be his real] lucky strike. In 1863 the Missourian of twenty-eight met Artemus Ward o the latter's Western lecture tour, and watched a master storyteller in action-the adroit timing, change of pace, and deadpan obliviousness to the point of one's own wit. Twain's "How to Tell a Story" (1895) acknowledges these profitable lessons.
It was Ward who encouraged him to seek a wider audience than the redshirted miners of Washoe and nabobs of the Golden Gate. The first fruit of this encouragement to appear in the East--a piece of jocular sadism against the small fry who made day and night hideous at resort hotels, "Those Blasted Children"--was printed early in 1864 by the New York Mercury Meanwhile in 1863 Clemens had begun to imitate current funny men like Ward, Orpheus C. Kerr, and Josh Billings, by selecting a pen name, the river-boat man's cry for two fathoms, "Mark Twain." Clemens stoutly maintained he appropriated it soon after an eccentric pilot-journalist of New Orleans Captain Isaiah Sellers, relinquished it by death. No contribution in the New Orleans press, however, has ever been found under that name; also, Sellers' death occurred a year after Clemens adopted this pseudonym. Whether original or borrowed, the name served an important purpose. It created an alter ego, a public character, which Clemens could foster through the years while doffing it in private as he pleased. It set definable limits to his role of being what the age called a "phunny phellow." A speculative critic might guess that his abiding interest in transposed identities, twins, and Siamese prodigies mirrored a dualism which self-observation would have shown running like a paradox through his nature: gullible and skeptical by turns; realistic and sentimental, a satirist who gave hostages to the established order, a frontiersman who bowed his neck obediently to Victorian mores, and an idealist who loved the trappings of pomp and wealth. Incessantly he contradicted himself on a variety of subjects. His was not a single-track mind, but a whole switcn-yard. The creation of two more or less separate identities--Clemens the sensitive and perceptive friend, Mark Twain the robust and astringent humorist springing from the same trunk of personality, helped to make him like those ligatured twins in Pudd'nhead Wilson, Luigi and Angelo, "a human philopena."
2.2 Beginning of literary career, Twains first successful experiences
Under the name of Mark Twain the wild-haired Southwesterner began to contribute to the press yarns swapped about the legislative halls of Carso, the bars and billiard parlors of San Francisco, and the hot stoves of miners on Jackass Hill. From these last, about February, 1865, he first heard the old folk tale of the Jumping Frog. To the anecdote he added the salt of human values which the genre usually Sacked, in garrulous Simon Wheeler and simple Jim Smiley the Frog's owner. Published in the Saturday Press of Kew York, November 18,1865, it was swiftly broadcast. The author grumbled in a letter home about the irony of riding high on "a villanous backwoods sketch," but already he was tastingjhat sense of popularity_which soon came to be his elixir of life. In October, 1866, back from Honolulu and planted on a San Francisco lecture platform, he first encountered another powerful stimulant, the instant response. Early in 1867, at Cooper Union in New York, he won his eastern spurs, and began to be hailed as rightful heir to Artemus Ward, lately dead of tuberculosis in England. Soon, as his friend William Dean Howells phrased it, Twain learned "all the stops of that simple instrument, man." The lecturer's effect upon the writer was great. Increasingly Twain came to write by ear, testing his books by reading aloud, while making the expanded anecdote or incident the unit of his literary composition. Sometimes, of course, without benefit of his infectious personal charm, that mane of fiery red hair and hawklike nose, the gestures of an artist's hands, and the inflections of that irresistible drawl, a reader of cold print missed qualities which on the platform redeemed humor of a perishable sort.
"When I began to lecture, and in my earlier writings, my sole idea was to make comic capital out of everything I saw and heard," he told the biographer Archibald Henderson. After his first volume, of chiefly Western sketches, named The Celebrated Jumping Frog (1867), he reinforced this reputation by distilling a humorous travelogue out of the letters sent back to the Alta California from his cruise to the Mediterranean and Holy Land on the Quaker City in 1867. Comic capital was readily furnished by the flood of tourists, affluent merchants and their wives, war profiteers, former army officers on holiday, and clergymen for whom Jerusalem justified the junket, which swept over the Old World after Appomattox. Knowing themselves to be innocents, they faced down their provincialism by brag and cockalorum, and haggling over prices. Mark Twain gladly joined them, joking his way among the shrines and taboos of antiquity, comparing Como unfavorably with Tahoe, bathing in the Jordan, finding any foreign tongue incredibly tunny, and pitying ignorance, superstition, and lack of modern conveniences. 1 he Innocents Abroad (1869) helped to belittle our romantic allegiance to turope, feeding our emergent nationalism. Instantly a best seller, it delighted ^nose Americans in whom "the sense of Newport" (as Henry James later Ca lled it) had never been deeply engrafted. A slender minority like James himself felt that Mark Twain amused only primitive persons, was the Phji-tines' laureate. Years later, in 1889, in a letter to Andrew Lang, Twain WouU glory in this charge:
Indeed I have been misjudged, from the first. I have never tried in even single instance, to help cultivate the cultivated classes. I was not equipped for ' either by native gifts or training. And I never had any ambition in that directin ' but always hunted for bigger game--the masses. I have seldom deliberately trf H to instruct them, but have done my best to entertain them. Yes, you see I have always catered for the Belly and the Members.
Yet this is not the whole story. From an early date, Mark Twain, the playboy of the Western world, had begun to feel the aspirations of an artist, to crave deeper approval than had come to the cracker-box humorist like Sam Slick and Jack Downing. In Honolulu in 1866 the diplomat Anson Burlin-game gave him advice by which the aged Twain avowed he had lived "for forty years": "Seek your comradeships among your superiors in intellect and character; always climb." On the Quaker City voyage the Missourian fell under the refining spell of "Mother" Fairbanks, wife of a prosperous Ohio publisher, and tore up those travel letters which she thought crude. Always enjoying petticoat dominion, he eagerly sought her approval of the revised Innocents and was enchanted when she pronounced it
"authentic." "A name 1 have coveted so long--and secured at last!" be exclaimed. "/ don't care any-thing about being humorous, or poetical, or eloquent, or anything of that kind--the end and aim of my ambition is to he authentic--is to be considered authentic." In a similar thirst for higher recognition he told Howells, reviewer of Innocents in the Atlantic: "When I read that review of yours, I felt like the woman who was so glad her baby had corne white." Nevertheless, as Twain found to his intermittent chagrin, his reputation throughout life kept returning to that of a "phunny phellow," turning cartwheels to captivate the groundlings--until at length he built up the defensive attitude expressed to Lang. At Atlantic dinners, the author of "Old Times on the Mississippi" and Tom Sawyer found himself seated below the salt, ranked by Longfellow and Lowell and Whittier, as well as by such adopted sons of Boston as Howells and Aldrich. Despite the new decorum of his life and the growing richness of his art, the wild man from the West was expected, some time, somehow, to disgrace himself. And, by the meridian of Boston, he eventually did so, when at the celebrated Whittier birthday dinner on December 17, 1877, he made his speech of innocent gaiety about three drunks in the high Sierras who personated Emerson, Longfellow, and Holmes. The diners were shocked, refusing their laughter while he stood solitary (as Howells said) "with his joke dead on his hands." The next day or so, when Twain's haunting distrust of himself and his own taste had induced a penitential hangover, he sent apologies; writing characteristically: "Ah, well, I am a great and sublime fool. g u t then I am God's fool, and all his works must be contemplated with respect." He then begged Howells to exclude him from the Atlantic for a while, in the interest of readers' good will. The gravity with which both the saints and the sinner regarded this incident reveals the massiveness of the genteel tradition in New England and the probationary status upon which Mark was kept for so many years.
Between the publication of the Innocents and this indiscretion, Clemens had taken a wife whose remolding influence has been the subject oЈ much debate. The story of their courtship is familiar: his first sight of her delicate face in a miniature carried by betrothal while her father, the richest businessman in Elmira, and her kin were slowly won over; and their wedding early in 1870, with Clemens the bridegroom trying unsuccessfully to establish himself as a solid newspaper editor in Buffalo, but moving to Hartford in 1871 to resume a free-lance life. His veneration of women and their purity was almost fanatical. "I wouldn't have a girl that / was worthy of," he wrote "Mother" Fairbanks before his engagement. "She wouldn't do."
About the sexual make-up of Mark Twain speculation has been indulged since the Freudian era. In that famous sophomoric sketch 1601, written in mid-career to amuse his clerical friend Joe Twichell, he had Sir Walter Raleigh describe "a people in ye uttermost parts of America, y* copulate not until they be five-St-thirty years of age." This, it happens, was the age when Clemens married a semi-invalid wife, as if some inadequacy in himself, some low sexual vitality, made such a woman his fitting mate. And yet respecting their physical love for each other and the fruitfulness of their union, with its four children, no doubt can be raised. What illicit experience might have come to a boy growing up in the accessible world of slavery, and passing his green manhood upon river boats and in bonanza towns, can only be guessed at. In later years, respecting the idealized Hannibal of his boyhood, he went so far as to deny the existence of sexual irregularities; and by confine-mg his two great novels about Hannibal to adolescence he was able in a banner to carry his point. Obviously certain taboos about sex, personal as well as conventional, appear in his writings from beginning to end. Unlike friend Howells, he attempted no probing of desire, no analysis of the affinity between man and woman beyond the calf love of Tom and Becky and [he implausible treatment of Laura the siren of The Gilded A Only under the protective shield of miscegenation, in the person of warm-blooded Negress Roxana Wilson, does he v
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