Творчество М.Твена и В.Ирвинга

Irving is largely credited as the first American Man of Letters, and the first to earn his living solely by his pen. Eulogizing Irving before the Massachusetts Historical Society in December 1859, his friend, the poet Henry Wadsworth Longfellow, acknowledged Irving's role in promoting American literature: "We feel a just pride in his renown as an author, not forgetting that, to his other claims upon our gratitude, he adds also that of having been the first to win for our country an honourable name and position in the History of Letters".[21; 117]

Irving perfected the American short story, and was the first American writer to place his stories firmly in the United States, even as he poached from German or Dutch folklore. He is also generally credited as one of the first to write both in the vernacular, and without an obligation to the moral or didactic in his short stories, writing stories simply to entertain rather than to enlighten. Irving also encouraged would-be writers. As George William Curtis noted, there "is not a young literary aspirant in the country, who, if he ever personally met Irving, did not hear from him the kindest words of sympathy, regard, and encouragement." [19; 152]

Some critics, however—including Edgar Allan Poe—felt that while Irving should be given credit for being an innovator, the writing itself was often unsophisticated. "Irving is much over-rated", Poe wrote in 1838, "and a nice distinction might be drawn between his just and his surreptitious and adventitious reputation—between what is due to the pioneer solely, and what to the writer". A critic for the New-York Mirror wrote: "No man in the Republic of Letters has been more overrated than Mr. Washington Irving." Some critics noted especially that Irving, despite being an American, catered to British sensibilities and, as one critic noted, wrote "of and for England, rather than his own country".

Early critics often had difficulty separating Irving the man from Irving the writer—"The life of Washington Irving was one of the brightest ever led by an author", wrote Richard Henri Stoddard, an early Irving biographer—but as years passed and Irving's celebrity personality faded into the background, critics often began to review his writings as all style, no substance. "The man had no message", said critic Barrett Wendell. Yet, critics conceded that despite Irving's lack of sophisticated themes—Irving biographer Stanley T. Williams could be scathing in his assessment of Irving's work—most agreed he wrote elegantly.

The surname of his Dutch historian, Diedrich Knickerbocker, is generally associated with New York and New Yorkers, and can still be seen across the jerseys of New York's professional basketball team, albeit in its more familiar, abbreviated form, reading simply Knicks. In Bushwick, Brooklyn, a neighborhood of New York City, there are two parallel streets named Irving Avenue and Knickerbocker Avenue; the latter forms the core of the neighborhood's shopping district.

1.2. The general characteristic of an “eternal child”

The Child archetype, is an important Jungian archetype in Jungian psychology, first suggested by Swiss psychologist, Carl Jung. Recently, author Caroline Myss suggested Child, amongst four the Survival Archetypes (Victim, Prostitute, and Saboteur), present in all of us. It ranges from "childish to childlike longing for the innocent, regardless of age", as mentioned in her work, Sacred Contracts, which talk of the presence many aspects of the Child archetype, ranging from the Wounded Child, Abandoned or Orphan Child, Dependent Child, Magical/Innocent Child, Nature Child, to the Divine Child and Eternal Child.

Jung placed 'the child (including the child hero)' in a list of archetypes incorporating 'the chief among them...like milestones of the individuation process'. Jungians exploring the hero myth have noted that 'over and over again one hears a tale describing the hero's miraculous but humble birth', and have considered that '"it represents our efforts to deal with the problem of growing up, aided by the illusion of an eternal fiction"'. Thus for Jung, '"the child is potential future"', with the archetype 'symbolising the whole personality in its development from primordial unconsciousness to ego consciousness to self'.[25; 84]

Others have warned however of the dangers posed to the parents by 'the "archetype of the Divine Child"...an emotional pull toward imagining an extraordinary potential contained in the infant'. Where this becomes too strong, 'the child is co-opted into an arrangement whereby he or she is to provide the parents with a certain magic...the Divine Child'. The growing child 'caught up in the complex [as] adult believes that she or he is especially wonderful, as wonderful as an idealized child...unable to see the problems with feeling like the king - superior, special, or unique'.

Even where impacting less acutely, the archetype may produce 'a man who remains too long in adolescent psychology, generally associated with a strong unconscious attachment to the mother (actual or symbolic). Positive traits are spontaneity and openness to change'; negative, the emergence of a 'superficially entrancing but basically immature child-man who is incapable of commitment or generativity...an identification with the Divine Child, Mama's darling'. His 'female counterpart is the puella, an "eternal girl" with a corresponding attachment to the father-world'.

Jung was always concerned with the possibility of one's over-identification with the persona - with the man who 'violently sundered himself from his original character in the interests of some arbitrary persona more in keeping with his ambitions. He has thus become unchildlike and artificial, and has lost his roots'. Some remedy can be provided by the way 'the "child" archetype has a central part to play in assuaging the fear of loss of connection with the past': in its retrospective aspect, 'one of the functions of the child archetype is to recall the experiences and emotions of childhood' to the adult mind.

Conversely, however, in its prospective role, 'for Jung the child archetype was a living symbol of future potentialities that bring balance, unity, and vitality to the conscious personality' - so that 'the mythic child symbolizes the lifelong process of psychological maturation'.[24; 33]

The child archetype is portrayed in literature in various ways. It can take the form of a child who displays adult-like qualities giving, for example, wise advice to their friends or vice-versa (like the character Raymond in the film Rain Man).

More generally, 'the child star can be conceptualized as a modern manifestation of the ancient archetype of the wonder-child'.

1.3. The childhood as the special period in human life

Childhood is the age span ranging from birth to adolescence. In developmental psychology, childhood is divided up into the developmental stages of toddlerhood (learning to walk), early childhood (play age), middle childhood (school age), and adolescence (puberty through post-puberty).

The term childhood is non-specific and can imply a varying range of years in human development. Developmentally, it refers to the period between infancy and adulthood. In common terms, childhood is considered to start from birth. Some consider that childhood, as a concept of play and innocence, ends at adolescence. In many countries, there is an age of majority when childhood officially ends and a person legally becomes an adult. The age ranges anywhere from 13 to 21, with 18 being the most common.

Early childhood follows the infancy stage, and begins with toddlerhood when the child begins speaking or taking steps independently. While toddlerhood ends around age three when the child becomes less dependent on parental assistance for basic needs, early childhood continues approximately through years seven or eight. According to the National Association for the Education of Young Children, early childhood spans the human life from birth to age eight.

Middle childhood begins at around age seven or eight, approximating primary school age and ends around puberty, which typically marks the beginning of adolescence.

Adolescence, or late childhood, is usually determined by the onset of puberty. However, puberty may also begin in preadolescents. The end of adolescence and the beginning of adulthood varies by country and by function, and even within a single nation-state or culture there may be different ages at which an individual is considered to be (chronologically and the legally) mature enough to be entrusted by society with certain tasks.

It has been argued that childhood is not a natural phenomenon but a creation of society. Philippe Ariès, an important French medievalist and historian, pointed this out in his book Centuries of Childhood. This theme was then taken up by Cunningham in his book the Invention of Childhood (2006) which looks at the historical aspects of childhood from the Middle Ages to what he refers to as the Post War Period of the 1950s, 1960s and 1970s.

Ariès published a study in 1961 of paintings, gravestones, furniture, and school records. He found that before the 17th-century, children were represented as mini-adults. Since then historians have increasingly researched childhood in past times. Before Ariès, George Boas had published The Cult of Childhood.

During the Renaissance, artistic depictions of children increased dramatically in Europe. This did not impact the social attitude to children much, however—see the article on child labour.

The man usually credited with - or accused of - creating the modern notion of childhood is Jean Jacques Rousseau. Building on the ideas of John Locke and other 17th-century liberal thinkers, Rousseau formulated childhood as a brief period of sanctuary before people encounter the perils and hardships of adulthood. "Why rob these innocents of the joys which pass so quickly," Rousseau pleaded. "Why fill with bitterness the fleeting early days of childhood, days which will no more return for them than for you?"

The Victorian Era has been described as a source of the modern institution of childhood. Ironically, the Industrial Revolution during this era led to an increase in child labour, but due to the campaigning of the Evangelicals, and efforts of author Charles Dickens and others, child labour was gradually reduced and halted in England via the Factory Acts of 1802-1878. The Victorians concomitantly emphasized the role of the family and the sanctity of the child, and broadly speaking, this attitude has remained dominant in Western societies since then.In the contemporary era Joe L. Kincheloe and Shirley R. Steinberg have constructed a critical theory of childhood and childhood education that they have labeled kinderculture. Kincheloe and Steinberg make use of multiple research and theoretical discourses (the bricolage) to study childhood from diverse perspectives—historiography, ethnography, cognitive research, media studies, cultural studies, political economic analysis, hermeneutics, semiotics, content analysis, etc. Based on this multiperspectival inquiry, Kincheloe and Steinberg contend that new times have ushered in a new era of childhood. Evidence of this dramatic cultural change is omnipresent, but many individuals in the late 20th century and early 21st century have not yet noticed it. When Steinberg and Kincheloe wrote the first edition of Kinderculture: The Corporate Construction of Childhood in 1997 (second edition, 2004) many people who made their living studying, teaching, or caring for children were not yet aware of the nature of the changes in childhood that they encountered daily.

In the domains of psychology, education, and to a lesser degree sociology and cultural studies few observers before kinderculture had studied the ways that the information explosion so characteristic of our contemporary era (hyperreality) had operated to undermine traditional notions of childhood and change the terrain of childhood education. Those who have shaped, directed and employed contemporary information technology have played an exaggerated role in the reformulation of childhood. Of course, information technology alone, Kincheloe and Steinberg maintain, has not produced a new era of childhood. Obviously, numerous social, cultural, and political economic factors have operated to produce such changes. The central purpose of kinderculture is to socially, culturally, politically, and economically situate the changing historical status of childhood and to specifically interroge the ways diverse media have helped construct what Kincheloe and Steinberg call "the new childhood." Kinderculture understands that childhood is an ever-changing social and historical artifact—not simply a biological entity. Because many psychologists have argued that childhood is a natural phase of growing up, of becoming an adult, Kincheloe and Steinberg coming from an educational context saw kinderculture as a corrective to such a "psychologization" of childhood.

The geographies of childhood involves how (adult) society perceives the very idea of childhood and the many ways the attitudes and behaviors of adults affects children's lives. This includes ideas about the surrounding environment of children and its related implications. This is similar in some respects to children's geographies which examines the places and spaces in which children live.

The concept of childhood appears to evolve and change shape as lifestyles change and adult expectations alter. Some believe that children should not have any worries and should not have to work; life should be happy and trouble-free. Childhood is usually a mixture of happiness, wonder, angst and resilience. It is generally a time of playing, learning, socializing, exploring, and worrying in a world without much adult interference, aside from parents. It is a time of learning about responsibilities without having to deal with adult responsibilities.

Childhood is often retrospectively viewed as a time of innocence, which is generally viewed as a positive term, connoting an optimistic view of the world, in particular one where the lack of knowledge stems from a lack of wrongdoing, whereas greater knowledge comes from doing wrong. A "loss of innocence" is a common concept, and is often seen as an integral part of coming of age. It is usually thought of as an experience or period in a child's life that widens their awareness of evil, pain or the world around them. This theme is demonstrated in the novels To Kill a Mockingbird and Lord of the Flies. The fictional character Peter Pan was the embodiment of a childhood that never ends.

Nature Deficit Disorder, a term coined by Richard Louv in his 2005 book Last Child in the Woods, refers to the alleged trend in the United States^[2] that children are spending less time outdoors,^[3] resulting in a wide range of behavioral problems. With the advent of the computer, video games and television, children have more reasons to stay inside rather than outdoors exploring. “The average American child spends 44 hours a week with electronic media”. Parents are also keeping children indoors in order to protect them from their growing fear of “stranger danger”. Recent research has drawn a further contrast between the declining number of National Park visits in the United States and increasing consumption of electronic media by children.

Play is essential to the cognitive, physical, social, and emotional well-being of children. It offers children opportunities for physical (running, jumping, climbing, etc.), intellectual (social skills, community norms, ethics and general knowledge) and emotional development (empathy, compassion, and friendships). Unstructured play encourages creativity and imagination. Playing and interacting with other children, as well as some adults, provides opportunities for friendships, social interactions, conflicts and resolutions.

It is through play that children at a very early age engage and interact in the world around them. Play allows children to create and explore a world they can master, conquering their fears while practicing adult roles, sometimes in conjunction with other children or adult caregivers. Undirected play allows children to learn how to work in groups, to share, to negotiate, to resolve conflicts, and to learn self-advocacy skills. However, when play is controlled by adults, children acquiesce to adult rules and concerns and lose some of the benefits play offers them, particularly in developing creativity, leadership, and group skills.[18; 94]

Play is considered to be so important to optimal child development that it has been recognized by the United Nations High Commission for Human Rights as a right of every child. Children who are being raised in a hurried and pressured style may limit the protective benefits they would gain from child-driven play.

1.4. The theme of maturity in Washington Irwing`s novel “Rip van Winkle”

The story of Rip Van Winkle is set in the years before and after the American Revolutionary War. In a pleasant village, at the foot of New York's "Kaatskill" Mountains, lives the kindly Rip Van Winkle, a colonial British-American villager of Dutch descent. Rip is an amiable though somewhat hermitic man who enjoys solitary activities in the wilderness, but is also loved by all in town—especially the children to whom he tells stories and gives toys. However, a tendency to avoid all gainful labor, for which his nagging wife (Dame Van Winkle) chastises him, allows his home and farm to fall into disarray due to his lazy neglect.

One autumn day, Rip is escaping his wife's nagging, wandering up the mountains with his dog, Wolf. Hearing his name being shouted, Rip discovers that the speaker is a man dressed in antiquated Dutch clothing, carrying a keg up the mountain, who requires Rip's help. Without exchanging words, the two hike up to an amphitheatre-like hollow in which Rip discovers the source of previously-heard thunderous noises: there is a group of other ornately-dressed, silent, bearded men who are playing nine-pins. Although there is no conversation and Rip does not ask the men who they are or how they know his name, he discreetly begins to drink some of their liquor, and soon falls asleep.

He awakes in unusual circumstances: it seems to be morning, his gun is rotted and rusty, his beard has grown a foot long, and Wolf is nowhere to be found. Rip returns to his village where he finds that he recognizes no one. Asking around, he discovers that his wife has died and that his close friends have died in a war or gone somewhere else. He immediately gets into trouble when he proclaims himself a loyal subject of King George III, not knowing that the American Revolution has taken place; George III's portrait on the town inn has been replaced by that of George Washington. Rip is also disturbed to find another man is being called Rip Van Winkle (though this is in fact his son, who has now grown up).

The men he met in the mountains, Rip learns, are rumored to be the ghosts of Hendrick (Henry) Hudson's crew. Rip is told that he has apparently been away from the village for twenty years. An old local recognizes Rip and Rip's now-adult daughter takes him in. Rip resumes his habitual idleness, and his tale is solemnly taken to heart by the Dutch settlers, with other hen-pecked husbands, after hearing his story, wishing they could share in Rip's good luck, and have the luxury of sleeping through the hardships of war.

Rip Van Winkle, a figure based on a character from a German folktale. His name is still used to refer to anyone who is content to sleep his life away or who spends much of his time in sleepy idleness. As a character, he is not so much an as-if-real person as he is the embodiment of a common human desireto sleep through all the trials and tribulations of adulthood and thus to move painlessly from childhood to the second childhood of old age.

In Rip Van Winkle, Washington Irving uses the characters to show his ideals as a romantic, and to represent the new found independence of a budding country. Irving wrote this story in 1820, a time when in a literary sense, America was still considered a replica of Britain. Romantic literature in America was just starting to grow and people were striving for more Romantic writing. This want as well as a new identity for the American people were granted when Irving wrote Rip Van Winkle, a story about a man who slept through the Revolutionary War. Just like many other great works such as The Great Gatsby, a novel in which F. Scott Fitzgerald used his characters to show the corruption of the American Dream, Irving used his characters to show his ideals as a romantic. The main character in this story, Rip Van Winkle, was himself an embodiment of the notion of Romantic freedom. In this case the escape from his wife would represent the Romantics"tm escape from an industrialized and clamored society. Just like the Americans when they came upon their independence, when Rip first awoke he "doubted his own identity".  Rip Van Winkle awakened to a new land and experienced a variety of emotions when accepting his new identity.

Another way in which Washington Irving is able to use the characters is by having them represent Americas struggle in the Revolutionary War. The story also emphasizes another important Romantic theme, with Rip Van Winkle often going into nature to "escape from the labor of the farm and clamor of his wife". Once he dawned upon the fact that he was independent though, "Rip resumed his old walks and habits". Irving is able to show this in such a profound way that when reading the story one almost misses the representation entirely. Even though it took both of them a little while, Rip Van Winkle and the United States finally accepted their place in the world and were able to enjoy their new found independence. "Irving uses Rip son to represent the new America which he believes might have some of the same problems that the old America had. More importantly, Irving was able to mix all the characters to form a piece of literature that drew the audience attention.

Rip Van Winkle had different relationship with each aspect of his life which includes individuals, society, and nature. Rip had very good connections with his fellow town-folks as they cherished the fact that he did favors for them and he was always there to help out.

He would never even refuse to assist a neighbor in the roughest toil. Children also loved Rip because he would always gladly play with them, "The children of the village, too, would shout with joy whenever he approached."

      Rip also had close, loving connection with nature as he was often out in the mountains, hunting for squirrels with his dog or spending his day patiently fishing. He would, "Fish all day without a murmur, even though he should not be encouraged by a single nibble."  Nature meant home and fun for Rip Van Winkle and his dog Wolf since they were taking refuge from his nagging wife Dame Van Winkle. Rip had a bad relationship with his wife as she always nagged him about how he needed to work on their farm and help out at home.

 

"His wife kept continually dinning in his ears about his idleness, his carelessness, and the ruin he was bringing on his family. Morning, noon, and night, her tongue was incessantly going."

 

Rip's peaceful, content, careless nature greatly annoyed his wife, on the other hand fellow villagers found these personal characteristics very valuable and likable. It seemed that Rip was welcomed by society where he lived. Nature provided continuous source of peace, meaning and joy in Rip's life who in-spite of his wife's constant nagging managed to remain happy.

Rip Van Winkle had very opposing character traits. He was hardworking, giving, as well as lazy. Rip Van Winkle was hardworking and giving because he helped out everyone in his community. Whether it was building fences for his fellow neighbors, or keeping the children busy by playing with them. He was always out there working in his town and giving back to his community. However, Rip was also very lazy. When it came to his home life, he was unproductive and didn't work at all on his farm. Rip's farm was described as