The Adventures of Huckleberry Finn - Official...

The Adventures of Huckleberry Finn

School Show Study Guide

Wells Fargo Center for the Arts Tuesday, February 26, 2013

Wells Fargo Center for the Arts Education Through the Arts 50 Mark West Springs Road Santa Rosa, CA

wellsfargocenterarts.org Phone 707.527.7006 Fax 707.546.7020

Adventures of Huckleberry Finn

Education Guide

2012-2013 Season

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This study guide was createdby Jerey Simlett, who is both CTP’s education director and one of the original cast members in this production of Adventures of Huckleberry Finn. Thanks to Charles Roy, our Artistic Director, for providing his insight during countless hours of rehearsals and interviews.

Created by:Jerey Simlett, MFA Education Director

Charles Roy, MFAArtistic Director

Edited by: Tanya DoroslovacAssociate Producer, CTP

Dear Educator,


A note on the language in Adventures of Huckleberry FinnFrom CTP Artistic Director Charles Roy

Our production of Adventures of Huckleberry Finn is very faithful to the original novel; in fact, most of the language in our script has been extracted directly from the book.

This means you will hear much of Mr. Twain’s beautiful writing but you will also hear some of the harsher language of the day. Including the word ‘nigger’.

The historical use of the word ‘nigger’ during Mark Twain’s time -- the 19th century -- was very dierent than its use in the 20th and 21st centuries. During Mr. Twain’s time, that word was a “describer” of a particular kind of person – an African American person; it was often used in-terchangeably with the word “slave.” Later on, that same word came to be a derogatory word. When we hear the word – even being spoken from a character in a play who lived over 150 years ago – we hear it as a horrid, negative word. You might study how the words changed in all its meanings through these three centuries.

We at the Classical Theatre Project don’t support using this word casually, nor thoughtlessly. We do, however, see value in including it in our show. Much like the novel Huckleberry Finn itself, this word is an artifact of both our past and our present. It’s something we need to look at critically to learn from. As we have seen working on this piece, and as you will soon see, the book may be 150 years old but it still has a lot to teach us.

Now, Mr. Twain was very selective in his word choices and he always had a point to what he wrote. And in choosing to keep his writing intact, we have a point, too.

As the play unfolds, listen closely to how Mr. Twain used words and then consider how we use them. For, as you know, how people use words is as important as the meaning and history of the words themselves.

At the end of the performance, you’ll have a chance to talk to the actors and air your views on this matter as well as anything you saw in the play that you might want to talk about.


Inspiration for this production of Adventures of Huckleberry Finn

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A new adaptation

The Classical Theatre Project’s production of Adventures of Huckleberry Finn is a world premiere, original adaptation. This adaptation features a cast of 9 actors, each of whom plays multiple roles as the story is told, and retold. The words they speak are drawn almost entirely from the language of Mark Twain’s novel. Artistic Di-rector Charles Roy created this adaptation in 2011.

Introduction


Huck Finn

Mark Twain wrote Adventures of Huckleberry Finn nearly twenty years after the end of the Ameri-

can Civil War, between 1876 and the early 1880’s. The novel was rst published in 1884, and de-

picted a world that had theoretically passed into history.

Huckleberry Finn begins in the ctional town of St. Petersburg, Missouri, based on Mark Twain’s

boyhood home town, Hannibal. Missouri was a slave state that remained part of the Union during

the Civil War, although many Missourians fought for the Confederacy. The states surrounding Mis-

souri were “free” states, and abolitionists from Iowa and Illinois frequently came to the assistance

of slaves escaping from Missouri.

In 1865, the 13th Amendment to the Constitution ocially abolished slavery. Former slaves were

granted citizenship and the right to vote in 1870 by the 15th Amendment. The 15th amendment

declared that no man could be denied the vote because of “race, color, or previous condition of

servitude.” Much of Southern white society, though, continued to regard the former slaves as sub-

human, and in practice, the newfound freedom of the former slaves did not mean equality.

In the 1870’s, a series of state and local laws known as “Jim Crow Laws” legalized racial segregation,

resulting in inferior social services and serious educational and social disadvantages. Such laws

also erected barriers to the vote that eectively disenfranchised most African-Americans. W.E.B.

Dubois described the situation in this way: “The slave went free; stood a brief moment in the sun;

then moved back toward slavery.”

continued->

an historical context

“Twain had rendered Jim’s liberation in Huckleberry Finn at that precise moment in American history when barely realized liberties were being wrenched one by one from the grasp of the emancipated black

man in the South.” - Neil Schmitz, “Twain, Huckleberry Finn, and the Reconstruction.”


This, then, was the world in which Twain wrote Huckleberry Finn, one in which the dream of free-

dom, justice and racial equality in America was rapidly souring. Toni Morrison wrote that the “eva-

sion” section at the end of the Huckleberry Finn was Mark Twain’s satirical commentary on this

period of history, when “the nation, as well as Tom Sawyer, was deferring Jim’s freedom in agoniz-

ing play.”

“When the Civil War ended, there was no end of possibility of what America could be

– suddenly unied, suddenly with an emancipated labor force, all kinds of energy, all

kinds of freedoms.

But then there was a push back from that sudden emancipation, from freedom, and

good will. And America had a problem: how do we, as a country, deal with the fact of

what we’ve been versus the fact of what we want to become? And that’s when a lot of

the racial tensions that we still experience today began to foment. After emancipation,

the way people had treated blacks had to be changed. But they couldn’t – it was too

entrenched. There was a systemic intolerance. And people were trying to it gure out;

how do we in fact move on? At the time they found no solutions to those questions.

And those questions are still pertinent today. So many things about the world have

changed, but that central issue has not. We’re still dealing with our shared history, and

that’s what this production explores.”

- Director/Adapter Charles Roy

an historical context

Huck Finn


Huckleberry FinnThe son of the town drunk, seen in the play both as a young boy and as an older man look-ing back on his life.

PapHis father. Drunk, dangerous, broke, racist and illiterate. He tries to claim custody of Huck.

Tom SaywerHuck’s best friend, a fan of outlandish adventure and wild schemes.

The Widow Douglas and Miss WatsonTwo older sisters, Huck’s guardians. They aim to civilize him, and teach him about religion and society.

JimMiss Watson’s slave – Jim escapes to pursue his dream of nding freedom and reuniting with his wife and children.

Judge ThatcherAdvisor to Huck and custodian of his money, he ghts to protect Huck from Pap.

King and DukeA pair of con men who enlist Huck and Jim in a number of swindles as they travel down the river. They eventually betray Jim, and sell him to Uncle Silas.

Mary-Jane and JoannaSisters whom King and Duke attempt to con out of their inheritance. Huck falls in love with Mary-Jane and betrays the swindler’s scheme.

Doctor RobinsonFriend to Mary-Jane, who recognizes that King and Duke are frauds and con men and warns against trusting them.

Aunt Sally and Uncle SilasTom Sawyer’s aunt and uncle. Uncle Silas purchases Jim from King and Duke for $40.

Also assorted Doctors, Farmers, Townspeople, Slavehunters and a Preacher.

CharactersPeople you will meet in Adventures of Huckleberry Finn


We meet Huckleberry Finn, seeing him both as a boy AND as an older man looking back on his life. We learn that as a result of a previous series of adventures with his friend, Tom Sawyer, the young Huck has a fortune of six thousand dollars – all gold – which is being held for him in trust. He’s being cared for by the Widow Douglas and her sister, Miss Watson, and feels smothered by their attempts to “sivilize” him with good manners, church and school.

Huck’s drunken father returns to town and demands Huck’s money. The Widow tries to get custody of Huck, and to safeguard his money. But Pap kidnaps Huck and hides away in a cabin in the woods. Huck eventually escapes from Pap by faking his own death, and he hides out on Jack-son Island, in the middle of the Mississippi.

Huck encounters Jim, one of Miss Watson’s slaves, on the island. Jim has run away after hearing of Miss Watson’s plan to sell him. Huck is uncomfortable befriending a runaway slave, but he and Jim team up and start down the river on a raft. They intend to go to the free states, where Jim can work to earn money to buy his wife and children out of their slavery. Their lazy days oating down the river are peaceful, blissful, and they both feel free at last.

Huck realizes that they are drifting further into the slave states. Huck continues to con-ceal Jim’s identity from the slave-hunters they meet along the way, but his conscience nags him about concealing “stolen property.”

Huck and Jim rescue a pair of men who are being pursued. The men turn out to be a pair of swindlers who have been conning the local townspeople, and they tell Huck and Jim that they are in fact a Duke and the rightful heir to the throne of France. Duke and King enlist Huck’s help in a number of scams as they continue down the river.

Duke and King sell Jim to a local farmer. Huck decides to free his friend. When he arrives at the farm, he discovers that Jim is being held by Tom Sawyer’s Aunt Sally and Uncle Silas. Aunt Sally mistakes Huck for Tom, and then the real Tom arrives; he pretends to be his own younger brother, Sid. Tom’s adventurous imagination invents a wild plan to free Jim, a scheme that involves all kinds of unnecessary complications from the adventure books he’s read. Jim is eventually freed, but as they are pursued, Tom is shot in the leg. Jim, at the risk of his own freedom, demands that they call the doctor to get help for the wounded boy.

Tom reveals that Jim has in fact been free all along; his owner, Miss Watson, has died and set him free in her will. Tom knew all along that Jim was a free man, and plotted the crazy escape as a game, an adventure…

Synopsis

The events of the play


Huckleberry Finn: A Picaresque Story

LessonNOTICE: PERSONS attempting to nd a motive in this narrative will be prosecuted; persons attempting to nd a moral in it will be banished; persons attempting to nd a plot in it will be shot.

BY ORDER OF THE AUTHOR

What does “picaresque” mean?

A “picaresque” story is one that tells the story of a lower-class character who moves from adventure to adventure and lives by his wits in a hypocritical and corrupt society.

The word ‘Picaresque’ comes from 16th Century Spain where rambling stories starring roguish heroes were very popular (‘picaro’ means ‘rascal’ in Spanish). Like satire, these stories mask social commentary and strong lessons with humor.

Huck Finn is often referred to as ‘picaresque’ because in the novel, Huck bounces from adventure to adventure with-out an obvious over-arching narrative governing his actions. There are many (sometimes unrelated) events in the plot, each of which is almost a separate short story.

Director Charles Roy says:

The book is highly episodic in nature. Mark Twain has a famous statement: “anyone looking to nd a plot in this story will be shot,’ deliberately suggesting that there was is no single unifying through line or mes-sage in the novel.

But the stage requires a narrative; it’s not like a novel, which you can pick up and put down again. Once you enter a play you’re there until the play is over; to simply jump from one episode to the next would make for an unsatisfying play. So when I made this adaptation, I had to create something that was a little more traditional in terms of storytelling structure, that has a through line and a tightly controlled journey for the central characters.

WATCH and LISTEN:

As you watch the play, ask yourself why the director might have chosen to show each episode or part

of the story. What do we learn about the characters? How does it move the characters forward? Are

there parts of the story that you miss?


Satire and the Work of Mark Twain

Lesson

Satire and the Work of Mark Twain

WATCH and LISTEN:Think about the characters and incidents in the play. What aspects of society, what types of charac

ter does Mark Twain target with his satire?

Are we meant to take everything the characters say and do literally? Can you think of a moment in the

play when what is said or done points to another message about society, about politics, or religion?

What kind of change do you think Mark Twain would advocate in society, based on Huckleberry Finn?

What is the advantage to delivering the message through satire? How is it different from just stating

the message explicitly?

Satire is a style in which sarcasm, ridicule, and irony are used as tools to expose human folly. Satire is meant to demonstrate foolishness or vice in the characters depicted; sometimes it is a serious protest intended to cause change in attitude. Sometimes satire pokes fun more gently and comically, to make people laugh. In either case, the audience should be left to think at least a little more deeply about the condition of the world – laughter leads to thought.

Satire is one of the oldest forms of humor, originating in the early ‘satyr’ plays of the Ancient Greek world. Those plays featured a chorus of mythological goat-like characters who commented on the action; their drunken antics and exaggerated silliness provoked laughter by mocking and criticizing well-known Athenians. Such criticism, softened by laughter, could carry a message without causing oense. The genre proved so popular that it has en-dured to this day and continues to be a highly-respected literary form. When done well, satire uses sarcasm, irony and other good-natured forms of humor to teach us a lesson about ourselves.

Consider television programs like 30 Rock, The Colbert Report, The Simpsons and South Park. Each of them com-ments on politics, society, religion, work and relationships in a tongue-in-cheek way that allows us to question our attitudes and opinions. The fact that each of them has aroused controversy is a sign that some disapprove of the attitudes being challenged, and the questions being raised.


Adventures of Huckleberry Finn is almost always described as a classic, yet it has sparked controversy from the moment of its publication in 1885. It was famously banned by the Public Library in Con-cord, Massachusetts; the library committee described it as “trash”, and complained that the book was “couched in the language of a rough, ignorant dialect” and that “all through its pages there is a system-atic use of bad grammar and an employment of inelegant expressions.”

Eventually the book came to be celebrated for this rough, everyday style of speech, and for present-ing all manners and classes of characters, the crass as well as the rened; this break with the tradition of “proper” novels was a rst in American literature. In time, no less an author than Ernest Hemingway would declare that “all modern American Literature comes from one book by Mark Twain called Huck-leberry Finn.”

The more recent controversy, centers on Twain’s frequent use of the word “nigger”, which appears over 200 times in the novel. Many argue that the use of the word in a contemporary classroom is harmful and hurtful to students. Others argue against censorship, note the book’s status as a classic, and suggest a variety of historical and literary contexts to support inclusion of the word. A 2011 printing of the book edited by Alan Gribben replaces all 219 instances of the word “nigger” with “slave”, fueling the re of the controversy.

In this adaptation of Adventures of Huckleberry Finn, director Charles Roy has chosen to retain some uses of the word “nigger.”

Controversial “Trash” or “Celebrated” Classic?

LessonThe Language of Adventures of Huckleberry Finn


Director Charles Roy says:

“The basic problem we have today with the word is how its connotations and the depth of its impact have changed. At the time, it was simply a word that was used to apply to a certain group of people.

But of course the world has changed dramatically, and it’s now a word that has oppression layered into it, has power and struggle layered into it. But it seemed silly to me to do the book without acknowledging the fact of the word. And if we’re going to do a play with a man look-ing back on his life, he should also look back on the words he used to use, and how he used to relate to his world and how that may have changed. I also wanted to honor the book as it was written as much as I possibly could.

I chose to preserve the utterance of the word in the script, but use it for its modern dramatic impact. So a lot of time it comes out of the mouths of characters we are meant to dislike – so we use it as a dramatic tool that intends to both honor the past, and also recognizes what its impact could be today.”

LessonThe Language of Adventures of Huckleberry Finn, continued

Discussion Questions

Do you agree with the director’s choice to use the word “nigger” in the play? Can you think of reasons it should be included? Reasons why it should be replaced or omitted? What do you gain, or lose, in either case? Are there some words that are so oensive they should never be used?

The rst character to use the word is Pap, who repeats it 6 times as he rails against the “govment.” What is the eect of hearing it spoken then? How do you feel, and what is the reaction of the audience?

Is it dierent to hear the word spoken out loud, on stage, than it is to read it?

Jim and Huck both also use the word – is it dierent to hear it spoken by a young character? By an African-American character?

Are there other elements of the story or the production that could be considered controversial?


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Huck: “I am the boss of it all!”

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Quotations and Discussion

ThemeFreedom and Enslavement


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C"+($2&(70&(!+.$8%$#$*#10$&7$-,#5+f"'(!+0-<$P'24$,1+-$#(.$!+,,-$!"+:$!"#!$K"1-$:#(Q<$R1:<$1-$3"1!+6$$P+$:+#(!$!&$!'0($

R1:$1(<$8'!$=(.-$!"#!$!"+$,1+$-*01()-$!&$"1-$,1*-Y$"+$8,#:+-$"1-$'*801()1()$g$KL$3'9$80'()$'*$3124+.6Q

DISCUSS:

L-$1!$#,3#%-$30&()$!&$!+,,$#$,1+^$$G0+$!"+0+$.+)0++-$&7$'(!0'!"^$$D1)$,1+-$#(.$,1a,+$,1+-^

P#5+$%&'$+5+0$!&,.$#$,1+$!&$*0&!+2!$#$701+(.^$$F1.$1!$8&!"+0$%&'$!&$"#5+$8++($.1-"&(+-!<$&0$3#-$!"+$'(!0'!"$J'-;=+.^

L-$!"+$!+,,1()$&7$,1+-$#$"#81!$!"#!$2#($8+$8,#:+.$&($#$8#.$'*801()1()^$$L-$1!$*&--18,+$!&$&5+02&:+$-'2"$#$"#81!^$$

F&$h@i$"#5+$#(%$"#81!-$!"#!$%&'$31-"$%&'$2&',.$80+#4^$$C"#!$*0+5+(!-$%&'$70&:$.&1()$1!^

!CDE%&'F&A/0&),5=4>&)2&3/$+&35&32")*&GH;&F&A2".1&12&)*+&,=>*)&)*=4>&/41&)*+&#.+/4&)*=4>6&7")&1++-&12A4&=4&3+&

F&$42A+1&=)&A/0&/&.=+:&&;2"&#/49)&-,/5&/&.=+&I&F&<2"41&)*/)&2"):?

WRITE:

I&(-21+(2+$#(.$0+)0+!$*,#%$#$"')+$*#0!$1($!"+$-!&0%$&7$P'24,+8+00%$>1((6$$A"#!$7++,1()$&7$0+)0+!$2#($2&:+$1::+.1#!+‐

,%$#-$3+$-#%$&0$.&$-&:+!"1()<$&0$1!$2#($#0015+$#$,17+;:+$,#!+06$$A"1(4$8#24$!&$#$;:+$3"+($%&'$.1-#**&1(!+.$%&'0-+,7$

&0$-&:+&(+$+,-+$g$:#%8+$#$=)"!$31!"$#$701+(.$&0$7#:1,%$:+:8+0<$#$,1+$%&'$!&,.<$&0$#$;:+$3"+($%&'$.1.$(&!$8+"#5+$

#!$%&'0$8+-!6$$C01!+$1($.+!#1,$#8&'!$3"#!$"#**+(+.<$3"#!$3#-$-#1.<$!"+$+(510&(:+(!$3"+0+$!"+$+5+(!$!&&4$*,#2+6$$

P&3$.1.$%&'$7++,$1($!"+$:&:+(!<$#(.$"&3$.&+-$!"#!$7++,1()$2"#()+$#-$%&'$!"1(4$8#24$&($!"+$+5+(!^$$C+0+$%&'$#8,+$

!&$#*&,&)19+^$$C"#!$*0+5+(!+.$%&'^$$F1.$%&'$+5+($3#(!$!&$#*&,&)19+^$$

A"+($2&(-1.+0$"&3$!"+$&!"+0$*+0-&($1(5&,5+.$3&',.$!+,,$!"+$-!&0%$&7$3"#!$"#**+(+.6$$A0%$!&$*'!$%&'0-+,7$1($!"+10$

-"&+-<$-++$!"+$+5+(!$70&:$!"+10$*+0-*+2;5+6$$C"#!$.1N+0+(!$.+!#1,-$3&',.$!"+%$1(2,'.+<$3"#!$3&0.-$3&',.$!"+%$'-+<$

3"#!$.1N+0+(!$7++,1()-$3&',.$!"+%$.+-2018+^


ThemeFact and Fiction, Stories and Lies


A"+$1(!+0*,#%$8+!3++($2&(-21+(2+$#(.$)'1,!$1-$#$2&(-!#(!$'(.+02'00+(!$1($!"+$(#00#;5+$&7$P'24,+8+00%$>1((6$$A"+$

2"#0#2!+0-<$*#0;2',#0,%$P'24<$#0+$2&(;('#,,%$!&0($8+!3++($3"#!$!"+%$3#(!$!&$.&$#(.$3"#!$!"+%$7++,$1-$+/*+2!+.$&7$

!"+:6$&@*+&323+4)&)*/)&!"#$&1+#=1+0&)2&<2..2A&*=0&2A4&*+/,)6&*=0&2A4&=40J4#)0&K,/)*+,&)*/4&02#=+)590&+L-+#)/‐

J24&2<&*=3M&=0&)*+&#.=3/L&2<&)*+&0)2,5:

@(B%&'N249)&52"&,+#$24&)*/)&)*+&-+2-.+&)*/)&3/1+&)*+&722$0&$42A0&A*/)90&)*+&#2,,+#)&)*=4>&)2&12O?

L($,#%1()$&'!$!"+$)0&'(.$0',+-$7&0$!"+$8#(.$&7$0&88+0-$Z#(.$&!"+0$#--&0!+.$#.5+(!'0+-[<$A&:$B#3%+0$8,1(.,%$#."+0+-$

!&$!"+$*0+2+.+(!$,#1.$.&3($8%$&!"+0-6$$F&1()$!"1()-$.1N+0+(!,%$3&',.$K)+!$!"1()-$#,,$:'..,+.$'*6Q

DISCUSS:

C"#!$#0+$-&:+$&7$!"+$)0&'(.$0',+-$!"#!$%&'$#0+$+/*+2!+.$!&$&8-+05+<$8#-+.$&($!"+$*0+2+.+(!c+/*+2!#;&(-$!"#!$

&!"+0-$"#5+$-+!^$$$$

I&(-1.+0$7#:1,%<$-2"&&,<$0+,1)1&(<$*&,1;2-<$-&21+!%$#!$,#0)+6$$L-$2&(7&0:1!%$!&$!"&-+$8+"#51&0-$'-+7',^$$G0+$!"+0+$*'(‐

1-":+(!-$7&0$80+#41()$31!"$K!"+:$!"#!$:#.+$!"+$8&&4-^Q

A&:?-$7#1!"7',(+--$!&$3"#!$"+?-$0+#.$1($!"+$8&&4-$1-$2#001+.$-&$7#0$!"#!$1!?-$*,#1(,%$:+#(!$!&$8+$01.12',&'-6$$F&$%&'$

!"1(4$S#04$A3#1($:1)"!$"#5+$:+#(!$!"1-$1($-&:+$3#%$#-$#$2&::+(!$&($"1-$8&&4^

!CDE%&'P+2-.+&A=..&#/..&3+&/&.2AQ12A4&H72.=J24=0)&/41&1+0-=0+&3+&<2,&$++-=4>&3"3&I&7")&)*/)&1249)&3/$+&42&

1=R+,+4#+:?

C"+($"+$,+#0(-$!"#!$R1:$"#-$0'($#3#%<$P'24$1-$!&0($8+!3++($"1-$.'!%$!&$!'0($R1:$1($#(.$"1-$.+-10+$!&$8+$7#1!"7',$!&$"1-$

701+(.6$$A"1-$!+(-1&($8+!3++($3"#!$-&21+!%$.+:#(.-$#(.$3"#!$&(+$7++,-$!&$8+$01)"!$1-$#$-!+#.%$*0+-+(2+$1($!"+$*,#%6

DISCUSS, or WRITE:

C"12"$1-$)0+#!+0$g$&'0$&8,1)#;&($!&$&(+$*+0-&($&0$&'0$&8,1)#;&($!&$-&21+!%$#!$,#0)+^

P#5+$%&'$+5+0$)&(+$#)#1(-!$!"+$)0#1(<$.&(+$.1N+0+(!$70&:$+5+0%&(+$#0&'(.$%&'^$$P&3$.1.$1!$7++,^$$C+0+$!"+0+$2&(-+‐

O'+(2+-$7&0$7&,,&31()$%&'0$&3($*#!"^$$C#-$1!$3&0!"$1!^$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$


ThemeConscience, Guilt, and Freedom of Thought


!CDE%&'H..&,=>*)6&)*+46&F9..&>2&)2&*+..S?

P'24$=(.-$!"#!$"+$1-$'(#8,+$!&$8+!0#%$"1-$701+(.<$+5+($!"&')"$1!$:+#(-$)&1()$#)#1(-!$+5+0%!"1()$"+?-$8++($!#')"!<$

+5+0%!"1()$!"#!$"+$4(&3-$1-$K01)"!Q6$$L($#$3&0,.$!"#!$-++-$R1:$#-$,+--$!"#($"':#(<$P'24$(&3$-++-$"1:$#-$5+0%$"':#(<$

#(.$#-$#$701+(.6$$P+$3&001+.$!"#!$"+?.$(+5+0$8+$#8,+$!&$,&&4$#(%&(+$1($!"+$7#2+$#)#1(<$8'!$=(#,,%$.#0+-$!&$#22+*!$!"+$

2&(-+O'+(2+-$&7$"1-$#2;&(-$8%$7&,,&31()$"1-$&3($*#!"6

DISCUSS, or WRITE:

I#($%&'$!"1(4$&7$-&:+&(+$Z+1!"+0$1($%&'0$&3($,17+<$&0$#$"1-!&012#,$=)'0+[$3"&$:#.+$!"+10$&3($3#%<$.1.$!"+$&**&-1!+$

&7$3"#!$3#-$!"+$#22+*!+.$K01)"!Q$!"1()^$$

F1.$%&'$.+-*1-+$!"+:<$#-$P'24$7+#0-$"+$3&',.$8+$.+-*1-+.^$$

F1.$%&'$#.:10+$!"+10$2&'0#)+$1($!#41()$#($'(*&*',#0$&0$'(&0!"&.&/$-!#(.^

TH@D!&/41&UFG@VW%&

>&0$:&:+(!-$1($!"+$*,#%$3"+($!"+$2"#0#2!+0-$#0+$!&0($8+!3++($.&1()$3"#!$!"+%$3#(!<$#(.$.&1()$3"#!$1-$K01)"!Q6$$

C"&$.&$%&'$0&&!$7&0$1($-'2"$-1!'#;&(-^$$

F&$%&'$#)0++$31!"$!"+$2"&12+-$!"+%$',;:#!+,%$:#4+^$$


ThemeConscience, Guilt, and Freedom of Thought


L($!"&-+$&,.$-,#5+f"&,.1()$.#%-$!"+$3"&,+$2&::'(1!%$3#-$#)0++.$#-$!&$&(+$!"1()ff

!"+$#37',$-#20+.(+--$&7$-,#5+$*0&*+0!%6$

A&$"+,*$-!+#,$#$"&0-+$&0$#$2&3$3#-$#$,&3$201:+<$8'!$!&$"+,*$#$"'(!+.$-,#5+<$&0$7++.$

"1:$&0$-"+,!+0$"1:<$&0$"1.+$"1:<$&0$2&:7&0!$"1:<$1($"1-$!0&'8,+-<$"1-$!+00&0-<$"1-$.+‐

-*#10<$&0$"+-1!#!+$!&$*0&:*!,%$!&$8+!0#%$"1:$!&$!"+$-,#5+f2#!2"+0$3"+($&**&0!'(1!%$

&N+0+.$3#-$#$:'2"$8#-+0$201:+<$j$2#001+.$31!"$ 1!$#$-!#1(< a moral smirch which

42)*=4>&#2".1&A=-+&/A/5:&

A"#!$ !"1-$ -+(;:+(!$ -"&',.$ +/1-!$ #:&()$ -,#5+f&3(+0-$ 1-$ 2&:*0+"+(-18,+ff!"+0+$

3+0+$)&&.$2&::+021#,$0+#-&(-$7&0$1!ff7")&)*/)&=)&0*2".1&+L=0)&X&1=1&+L=0)&/324>&

)*+&-/"-+,06&)*+&.2/<+,0&)*+&)/>Q,/>&X&727)/=.&2<&)*+&#233"4=)56&X&=4&/&-/00=24/)+&

X&"4#23-,23=0=4>&<2,36&=0&42)&=4&2",&,+32)+&1/5&,+/.=Y/7.+:$ L!$-++:+.$(#!'0#,$

+(&')"$ !&$:+$ !"+(Y$(#!'0#,$+(&')"$ !"#!$P'24$j$"1-$ 7#!"+0$ !"+$3&0!",+--$ ,&#7+0$

-"&',.$7++,$1!$j$#**0&5+$1!<$!"&')"$1!$-++:-$(&3$#8-'0.6$

L!$ -"&3-$ !"#!$ !"#!$ -!0#()+$ !"1()<$ !"+$ 2&(-21+(2+ff!"+$ '(+001()$ :&(1!&0ff2#($ 8+$

!0#1(+.$!&$#**0&5+$#(%$31,.$!"1()$%&'$3#(!$1!$!&$#**0&5+$17$%&'$8+)1($1!-$+.'2#;&($

+#0,%$j$-;24$!&$1!6

f$S#04$A3#1(<$k&!+8&&4$lVm

Parting Thoughtfrom the notebook of Mark Twain


Resources & Bibliography

http://etext.virginia.edu/railton/hucknn/hfconcrd.htmlLinks to historical documents describing the controversy of the Concord Library Ban.

http://www.tolerance.org/blog/n-word-or-no-n-word-questionArticle by Deborah Solomon Baker, “N-Word or No N-Word? That is the Question.” One teacher muses on the new “censored” version of Huckleberry Finn, including thoughts from her stu-dents.

http://www.economist.com/blogs/johnson/2011/01/sanitising_huckleberry_nnA blogger from The Economist writes about the new Gribben edit of Huckleberry Finn, which replaces the word “nigger” with “slave”.

The Adventures of Huckleberry Finn - Official...

Documents

Transcript of The Adventures of Huckleberry Finn - Official...