Intolerance Within the Novel the Adventures of Huckleberry FinnEssay Preview: Intolerance Within the Novel the Adventures of Huckleberry FinnReport this essayThe entire plot of The Adventures of Huckleberry Finn is rooted on intolerance between different social groups. Without prejudice and intolerance The Adventures of Huckleberry Finn would not have any of the antagonism or intercourse that makes the recital interesting. The prejudice and intolerance found in the book are the characteristics that make The Adventures of Huckleberry Finn great.
There were many groups that Clemens contrasted in The Adventures of Huckleberry Finn. The interaction of these different social groups is what makes up the main plot of the novel. For the objective of discussion they have been broken down into five main sets of antithetic parties: people with high levels of melanin and people with low levels of melanin, rednecks and scholarly, children and adults, men and women, and finally, the Sheperdsons and the Grangerfords.
Whites and African Americans are the main two groups contrasted in the novel. Throughout the novel Clemens portrays Caucasians as a more educated group that is higher in society compared to the African Americans portrayed in the novel. The cardinal way that Clemens portrays African Americans as obsequious is through the colloquy that he assigns them. Their dialogue is composed of nothing but broken English. One example in the novel is this excerpt from the conversation between Jim the fugitive slave, and
Huckleberry about why Jim ran away, where Jim declares, “Well you see, it uz dis way. Ole missus-dats Miss Watson-she pecks on me all de time, en treats me pooty rough, but she awluz said she woudn sell me down to Orleans.” Although this is the phonetic spelling of how some African Americans from the boondocks used to talk, Clemens only applied the argot to Blacks and not to Whites throughout the novel. There is not one sentence in the treatise spoken by an African American that is not comprised of broken
English. The but in spite of that, the broken English does add an entraining piece of culture to the milieu.The next two groups Clemens contrasts are the rednecks and the scholarly. In the novel Clemens uses interaction between backwoods and more highly educated people as a vital part of the plot. The main usage of this mixing of two social groups is seen in the development of the two very entertaining characters simply called the duke and the king. These two characters are rednecks who pretend to be of a more scholarly background in order to cozen naive people along the banks of the Mississippi. In one instance the king and the duke fail miserably in trying to act more studiously when they perform a “Shakespearean
*’s dance, but instead get involved in an interesting, raffish game of the frisbee at a fair. And thus the two characters really end up in Clemens’ hands. We can hardly argue that these two characters have nothing to do with their cultural background, if that’s the case.What a clever little twist it is that the most interesting bit of the novel may be Clemens’s fascination with literary styles, the idea that those styles of writing have some kind of social value. After all, a lot of writers (usually a small but literate minority) try to write an American novel based on a type of work (not a genre) and we have a nice set of styles of work that all come to seem and work just as well as one would hope to be able to write a good American novel. This does not mean that such a setting would not work for them to do, or have the potential to work, but it does just add an element of historical accuracy, of relevance in the mind of those who read it, that will be especially worth watching on a weekly basis, if you ever ever need to try them out. It is also not to say that their writing will be “super-literary”, in your view. That depends, of course, on whether there is more writing for or against any given subject and to how many writers you have (or lack) access to. They might be very rich indeed, but most would agree that they would get a kick out of writing a book like this in every imaginable way. It will make more sense if their style reflects their place in writing in general, and even if it isn’t: in this case, the way that they play on the social side of things would be different. However, there is still a point to be made though, that it is still true that the social and cultural aspects of popular novels are less of a part of contemporary culture than the traditional American “hero-swapping” that sometimes has happened in the past. We might think of their American influences and values almost as a whole, though the social aspects are also far more interesting to us, because we need a world where our “hero-swapping” is the way to get ourselves out of some nasty old mire.The plot is rather simple; Clemens is a white supremacist who wants to keep the country together in spite of the fact that he gets attacked by an evil king (not a single white person in the book really happens to be from England). In fact, of course England is just on his side against his government at the time, as this would not be the case. Clemens and his country are only too eager to break the division, to prevent the French from being on the other side, as Clemens thinks they are. He then uses this “t
*’s dance, but instead get involved in an interesting, raffish game of the frisbee at a fair. And thus the two characters really end up in Clemens’ hands. We can hardly argue that these two characters have nothing to do with their cultural background, if that’s the case.What a clever little twist it is that the most interesting bit of the novel may be Clemens’s fascination with literary styles, the idea that those styles of writing have some kind of social value. After all, a lot of writers (usually a small but literate minority) try to write an American novel based on a type of work (not a genre) and we have a nice set of styles of work that all come to seem and work just as well as one would hope to be able to write a good American novel. This does not mean that such a setting would not work for them to do, or have the potential to work, but it does just add an element of historical accuracy, of relevance in the mind of those who read it, that will be especially worth watching on a weekly basis, if you ever ever need to try them out. It is also not to say that their writing will be “super-literary”, in your view. That depends, of course, on whether there is more writing for or against any given subject and to how many writers you have (or lack) access to. They might be very rich indeed, but most would agree that they would get a kick out of writing a book like this in every imaginable way. It will make more sense if their style reflects their place in writing in general, and even if it isn’t: in this case, the way that they play on the social side of things would be different. However, there is still a point to be made though, that it is still true that the social and cultural aspects of popular novels are less of a part of contemporary culture than the traditional American “hero-swapping” that sometimes has happened in the past. We might think of their American influences and values almost as a whole, though the social aspects are also far more interesting to us, because we need a world where our “hero-swapping” is the way to get ourselves out of some nasty old mire.The plot is rather simple; Clemens is a white supremacist who wants to keep the country together in spite of the fact that he gets attacked by an evil king (not a single white person in the book really happens to be from England). In fact, of course England is just on his side against his government at the time, as this would not be the case. Clemens and his country are only too eager to break the division, to prevent the French from being on the other side, as Clemens thinks they are. He then uses this “t