Little Women and Treasure Island: Fatherhood Essay Essay

essay A

Get Full Essay

Get access to this section to get all the help you need with your essay and educational goals.

Get Access

When discoursing paternity in relation to both novels. we see that in both. the male parent is either chiefly absent or irrelevant to the secret plan. The component of paternity comes from the characters designed to replace or replace the absent or lost male parents. Treasure Island finds two figures available for Jim to organize a paternal relationship. and the moral apposition they present has every bit much to make with Jim turning into a moral adult male. as it does him taking a way to endurance. In Small Women paternity is represented by many different positions of maleness including Jo’s effort to make full her absent father’s places. The differences and similarities between the two books find what the function of the male parent figure was at the clip of publication and whether the construct of paternity was comparatively of import to the novels in inquiry.

Alcott wrote her novel at the petition of her publishing house and for a peculiar market. this to a great extent ; is responsible for her reading of the male and female characters and the 19th century attitudes towards muliebrity and maleness. In bring forthing a book aimed specifically at kids and more specifically misss. Alcott was under force per unit area to bring forth a familial image that would sell. In portion two of Small Women any of the feministic qualities which Jo exhibited have been abandoned to conform to popularity. “she altered her values in respect to the sentiments of others” ( Fetterley. 2009. p. 30 ) once more in maintaining with the attitudes of the public Alcott’s misss grew ‘agreeable’ to the work forces around them and learned “to put a adult male in the Centre of her image. ” ( Fetterley. 2009. p. 21 ) For Jo this is alternatively of. being the adult male in the image. She binds them to work forces who represent a male parent towards them both in experience and age. Each March miss except Beth marries a adult male who is above her ain degree of mind and older. as Fetterly puts it ; “they must get married their male parents. non their brothers or boies.

Therefore Laurie gets Amy. who is a fitting kid for him. and Jo gets her Papa Bhaer” ( Fetterley. 2009 p. 29 ) the term Fetterly uses to depict professor Bhaer. is in fact the function he is expected to carry through. as each miss chooses her hubby they are ; as such being handed over by one male parent figure to another. The function of the male parent is closely looked at following Megs matrimony to John Brooke. a fighting Meg confides in her female parent that she is happening her state of affairs hard. she is preached to by her female parent “ the theoretical account small woman” ( Fetterley. 2009 p. 20 ) referred to as “my docile daughter” ( Alcott. 1998 p. 377 ) and encouraged non to bury her responsibility to her hubby. and besides to put the harder elements of maternity into her husband’s custodies. Alcott conforms to the sentiment that “women’s work is non existent work” ( Fetterley. 2009 p. 23 ) and hence “the kids throve under the paternal regulation. for accurate steadfast John brought order and obeisance into babydom. ” ( Alcott. 1998 p. 383 ) this implies the function of the male parent is merely every bit of import as the female parents if non more so by suggesting that female parents need counsel from their hubbies in order to convey up their kids. looking to their male wisdom as they would make their ain male parents.

This word picture of maleness besides helps us to understand Jo’s reluctance to conform to the general consensus of what a ‘little woman’ should be. She sees herself as “man of the family” ( Alcott. 1998 p. 9 ) and adopts certain masculine traits to place herself within the fatherlike function during her father’s absence. Jo adopts these traits with finding to be seen as masculine hence her desire to travel to war “I buzzword get over my letdown in non being a male child. and its worse so of all time now. for I’m deceasing to travel to and battle with papa” ( Alcott. 1998 p. 7 ) and to be judged an active and breadwinning single.

Jo in this manner shows us the coveted qualities a male parent should possess and by portraying her absent male parent in a proactive manner. that he is an accurate representative of the maleness and moral behavior valued by society at this period. Alcott’s determination to bring forth the subsequence to Little Women greatly establishes the function paternity dramas in her narrative. whilst Mr March is off. Jo is carry throughing her ain prognostication of being “the adult male of the family” ( Alcott. 1998 p. 9 ) and upon his return is free to populate her life as a ‘little woman’ . the significance of Beth’s decease means Jo’s desire to be a adult male is besides over. and she strives to copy her bygone sister by pretermiting the proactive and masculine personality she assumed in order to get by with being caput of a family.

In contrast to Alcott’s desire to be successful financially. Stevenson’s ain attempts refering Treasure Island were of a more advanced purpose. to make a novel which non merely featured a romantic narrative but served simply to entertain and animate without an component of educating. Stevenson aspires to a more unconventional manner of appealing to immature male childs. without moral sermon or the inclusion of spiritual deduction ; which Alcott enterprise to make with her inclusion of Bunyan’s Pilgrims Progress and her mentions to God. the most fatherlike figure of all. “If you learn to experience the strength and tenderness of your Heavenly Father as you do that of your earthly 1. The more you love and trust Him. the nearer you will experience to Him” ( Alcott. 1998 p. 80 )

The fatherlike characters are produced by two writers who had interesting relationships with their ain male parents and who later introduce their ain sentiments to the function of a father figure during this period. Mr March is portrayed as being cardinal to the households success despite him being absent for the bulk of the secret plan. “to foreigners. the five energetic adult females seemed to govern the house. and so they did in many things but the quiet adult male sitting among his books was still caput of the household. ” ( Alcott. 1998 p. 229 )

She goes on to state of Mr March that in troublesome times the misss ever turned to him. “finding him. in the truest sense of those sacred words. hubby and male parent. ” ( Alcott. 1998 p. 230 ) This drawn-out eulogium Alcott lavishes upon Mr March ( Alcott. 1998 p. 229-230 ) could be seen as a focalization from the March daughter’s point of position. nevertheless it is more likely Alcott’s own male parent is the focal point here. given the books extremely autobiographical position. It has besides been said that through Alcott’s portraiture she manages to pull “a head covering over her superb male parents many incompetencies” ( Watson. 2009 p. 14 )

Stevenson’s “complex” ( Hunt. P ( in ) Stevenson 2011 p. xi ) relationship with his ain male parent is besides brought into history. The fact there are two really different male parent figures presented within Treasure Island interprets the fluctuating relationship he had with his male parent “several critics have seen Treasure Island and Jim Hawkins agonizing relationship with Long John Silver as an drawn-out mediation of this” ( Hunt. P ( in ) Stevenson 2011 p. eleven ) yet Stevenson’s ain essay My First Book. goes into elaborate history of his male parents engagement in the creative activity of the book “in Treasure Island he recognised something kindred to his ain imaginativeness ; it was his sort of picturesque ; and he non merely heard with delight the day-to-day chapter. but set himself moving to join forces. ” ( Stevenson. R. L. p. 56 ) If the complex relationship between Stevenson and his male parent is present in Stevenson’s portraiture of Silver and Jim ; this shows us he regarded his male parent with a certain ambiguity and esteem in the same manner Jim is drawn to Silver through the desire for recognition and blessing.

Whilst throughout Little Women legion focalizations take topographic point. Treasure Island’s narrative is completed by merely two persons. The relationship Livesy has with Jim is highlighted by his continued narrative of the narrative when Jim is incapacitated in recovering the ‘Hispaniola’ . This non merely allows us to hear the narrative from Livesy’s ain focalised point of view. but it combines Jim and Dr Livesy as a couple. It besides points to the hereafter relationship of the two work forces as we note that the narrative is “written after the event with the informant of retrospectivity” ( Loxley. D. p. 60 ) hinting at a relationship continued one time the escapade has ended.

If Livesy is intended to stand for the ideal male parent so Silver represents the antonym. being selfish and morally awkward. Jim nevertheless. seeks the blessing of Silver despite his intuition and fright. When Silver addresses a fellow mutineer with the line “you’re immature. you are. but you’re every bit smart as pigment. I see that when I set my eyes on you. and I’ll talk to you like a adult male. ” ( Stevenson. 2011 p. 61 ) A similar phrase is used to rock Jim’s fondnesss earlier in the narrative and Jim is rapidly struck with green-eyed monster. “You may conceive of how I felt when I heard this detestable old knave turn toing another in the really same words of flattery as he had used to myself. I think. if I had been able. that I would hold killed him through the barrel” ( Stevenson. 2011 p. 62 ) Jim’s confederations are swayed and subjected to overthrows of power by the two feuding groups. he has the enticement of the danger and escapade should he make up one’s mind to side with Silver yet the physician is the ideal representative of moral decorousness which Jim has aimed to exhibit so far. With this battle taking topographic point the power displacements between who has ownership of the ‘Hispaniola’ and who has ownership of Jim.

“Power itself is involved in a thematic of circuitry and exchange. continually go throughing from one group or single to another. ne’er resting in or making a cardinal place and dramatised in the motive of the ship which acts as a symbol of this uninterrupted procedure. ” ( Loxley. 2009. p. 62 ) He and Silver portion an ability to infiltrate both sides of the reasoning work forces and “become united to an extent that their ambidextrous actions set them apart from the groups. ” ( Loxley. 2009. p. 63 ) In Livesy. Jim has the imperial hero who represents the ideal 19th century male parent figure. “Livesy has the expertness and reputability of the settle universe in combination with the courage and derring-do of the pirated. ” ( Parkes. 2009 p. 74 ) Yet an unknown machination nowadayss itself through Silver’s use of Jim’s emotions. remarks connoting Jim is “the picter of my ain ego when I was young” affect Jim’s opinion of the plagiarist and an association is clear. ( Stevenson. 2011. p. 146 )

Stevenson’s chief manner of linking with his mark audience was the exclusion of adult females from the bulk of the narrative. Jim’s female parent signifies his somewhat naif nature at the start of the novel yet her absence allows him to turn and come on towards being considered a adult male. In the same manner Alcott’s Little Women are chiefly entirely with their female parent for the first chapters. leting the reader an penetration into the universe of the misss. without an overbearing masculine character to disrupt this procedure. Through this exclusion of opposite sexes. both writers lay out the foundations to appeal to gender specific demographics.

Treasure Island is chiefly a phantasy peppered with elements of pragmatism. these facets of pragmatism are what maintain the narrative prosecuting to immature male childs. merely through our comparing between Jim and his male parent figures can we determine any sense of advancement in Jim’s narrative. Through contrasting Jim to Silver or Livesy we find they are in topographic point to assistance and steer his passage through adolescence and this rite of transition escapade. In comparing Little Women is a novel steeped in pragmatism and the relevancy of the male parent figures high spots 19th century society’s attitudes to adult females more so than their attitudes to work forces. the secret of Alcott’s success is through Jo’s unfeminine qualities. by detecting the market of “tomboyish misss endeavoring to get the better of their natural undiscipline to happen a topographic point in society and a hubby without compromising their ain personalities. ” ( Watson. 2009 p. 15 )

Alcott recognised the troubles kids faced when nearing adolescence and the reluctance to conform to a desired demeanor. Though Mr March isn’t nowadays throughout most of the novel. his presence in the misss minds is much like that of a divinity. in maintaining religion that they shall delight their male parent they seek his blessing by executing moral Acts of the Apostless of kindness and behaving like ‘little women’ . When they are rewarded by his return. the masculine focal point of the narrative is shifted to the prospective hubbies and their hunt for blessing begins one time more.

The subject of both novels is one of turning up. without the inclusion of a male parent figure to steer or to offer blessing the component of childhood is lost along with the mark audience. The word pictures of paternity within the two novels are relevant because the novels are aimed at kids. Regardless of the moral behavior or word picture of these representations they are included to foreground a child’s demand for big dictatorship ; without this a kid has no theoretical account for their behaviors or guardian to steer them to the following chapter of maturity. and going parents themselves.

Bibliography

Alcott. L. M. ( 1998 ) Small adult females. Oxford: . Oxford Paperbacks.

Fetterley. J. ( 2009 ) ‘Little Womans: Alcott’s Civil War’ Children’s Literature: authoritative texts and modern-day tendencies. Milton Keynes: . In association with the Open University.

Hunt. P. ( in ) Stevenson. R. L. ( 2011 ) ‘Introduction’ Treasure Island. Oxford: . Oxford University Press.

Loxley. D. ( 2009 ) ‘Slaves to Gamble: The Pure Story of Treasure Island’ Children’s Literature: authoritative texts and modern-day tendencies. Milton Keynes: . In association with the Open University.

Parkes. C. ( 2009 ) ‘Treasure Island and the Romance of the British Civil Service’ Children’s literature: authoritative texts and modern-day tendencies. Milton Keynes: . In association with the Open University.

Stevenson. R. L. ( 2009 ) ‘My First Book: Treasure Island’ Children’s
Literature: authoritative texts and modern-day tendencies. Milton Keynes: . In association with the Open University.

Stevenson. R. L. ( 2011 ) Treasure Island. Oxford: . Oxford University Press.

Watson. N. J. ( 2009 ) ‘Introduction’ Children’s Literature: authoritative texts and modern-day tendencies [ Online ] . Milton Keynes: . In association with the Open University

Get instant access to
all materials

Become a Member
unlock