02-emma, huck and asher, children of the past, written in the present, preparing for the future

8/6/2019 02-Emma, Huck and Asher, Children of the Past, Written in the Present, Preparing for the Future

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Emma, Huck and Asher, children of the past, written in the present, preparing for the future

Emma by Jane Austen Huckleberry Finn by Mark Twain and My name is Asher lev by Chaim Potok

each are novels with the protagonists name in the title. These novels have semi-autobiographical

elements as well as a message from the author to their audience about impending societal change.

In each of the novels, the authors invite the reader to grow and learn along with the title character.

Emma, Asher Lev, and Huckleberry Finn, are characters in three different novels who each take a

journey of growth and self-recognition that transforms them from child to adult. In Jane Austen's

novel Emma, the protagonist Emmas journey is more than dress balls and picnics, but of respect

for others, responsibility and breaking the bubble of juvenile narcissism. In Mark Twain's,

Adventures of Huckleberry Finn, the protagonist takes a journey, not just on the Mississippi River,

but of moral compass and learning to think for yourself. In Chaim Potak's, My Name is Asher Lev,

the protagonist takes a journey from Brooklyn to Europe, as well as from child to adult. He learns to

acknowledge responsibility for his actions as a gifted artist growing up in a Hasidic Jewish

community. The similar themes of these bildungsroman novels, which focus on the cognitive and

moral growth of the protagonist from youth to adult, (Bildungsroman) have a different, rich, texturecreated by its author. In each case, the authors artistic style of writing and use of vernacular

transports the reader into the historical setting of the novel.

Each authors use of a journey is an important literary element that involves how a characters

physical journey supports and highlights the development of the characters growth and growth.

Emma, Asher and Huck each travel a road to maturity, which is depicted in physical and

metaphysical forms. Their journeys share insight into the each protagonist's internal conflict

towards self-awareness which is an important element in the process of a coming of age story.

In the opening sentence to the Austen novel Emma, Austen introduces the protagonist as a

seemingly perfectly perfect person. Where can a person grow from here yet a close examination

focuses on the word seemed. Maybe Austen is telling the reader there is more to Emma then

seemed. Emma believes she is living an almost perfect life, but she is a child and has a lot to learn.

Early in the novel, Emma has a meddling nature, she believes she is a great matchmaker and

thinks others see things the same way she does. Emma continues her somewhat failed attempts at

matchmaking. She thinks this is her work. Emma must confront her flaws and recognize that she

has not behaved as well as she should have. It is through these realizations that Emma grows.

Emma's grows at the climax of the story, after the Box Hill incident. After Emma was cruel to Miss

Bates, Mr. Knightley reprimands her and Emma realizes that her actions and behavior has effects

on others. She grows to see herself as others see her especially those whose opinions she values

such as Mr. Knightley.

Knightley's objection to her actions causes Emma to grow out of her childish ways. Her tears mark

the turning point for Emma that leads to Emmas growth and development. They signify an

emotional and mental commitment to a new mode of conduct. Emma is not a child anymore. Emma

recognizes that her social standings and intelligence have responsibilities, require her kindness not

contempt. Emma realizes the responsibilities of her position towards Miss Bates and acts with

kindness with her attempted apology to Jane Fairfax.

Emmas growth is clear when she admits her poor conduct for the mischief she had done. She

realizes that her behavior had consequences for other people. This is a theme in the story. It is

Emmas lesson and a message from the author toward the upper echelons of society. Life is not a


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game, your behavior and actions at the top of society reverberate and can cause harm to those

who look up to you.

Mark Twains uses the voice of a young boy in Adventures of Huckleberry Finn. In the novel the

narrator, Huckleberry Finn, experiences a significant change in his views on society. When Huck is

separated from civilization, he falls into another world, a new world on the river, in which Huck will

begin his voyage. The reader is transported along with Huck to his adventure on the river. Huck willgrow to become a better person on the river. After each episode in the story, we see a small

change in Huckleberry Finns personality. Huckleberrys companion on this adventure is the slave

Jim. During his time in nature with Jim, Huck grows to look upon him as a friend. In the few months

on their journey, Huckleberry Finn will grow from looking down on Jim to seeing the former slave as

a person.

The adventure begins with a childlike Huckleberry Finn who plays a trick on Jim. Huck puts a

rattlesnake under a trance and hides it in Jims bed for entertainment at the slaves expense. This

episode indicates Hucks childish mentality at the beginning of the adventure. Jim was merely an

object of amusement. He was a piece of property without its rightful owner. In order to procure

some supplies, Huck goes into town dressed like a girl where he learns a search party is headed to

Jackson's Island to retrieve Jim. Huck rushes back to the island and warns Jim telling him their

coming to get us. Hucks use of the word us in this passage marks the beginning of Huckleberry

Finns growth as well as his adventure with Jim. Huck's first grows to acknowledge Jim as a person

comes after Huck plays another trick on Jim. However this time Huck humbles himself to Jim and

apologizes for the mean trick he played on him. This contrition on Hucks part marks significant

growth. Huck is beginning to realize Jim is a person, with thoughts and feeling like himself.

Huck grows to think for himself, and the reader is along for the ride. Huck realizes that society is

flawed on the issue of slavery, and he is willing to face the prospect of eternal damnation so that

Jim may escape mortal hell.

Huckleberry Finns growth is apparent when Jim opens up to him by telling him about one of his

children. Jim tells Huck that he had hit his daughter to discipline the child. Jim regretted it when he

learned that she couldnt help her behavior because of a handicap. So far in the story, Huck has

commented on almost everything imaginable, but this time the chapter ends with Jims sentence.

We are left to imagine what Huck is thinking about, maybe his own father hitting him, and Huck

wondering if his father ever regretted it? Mark Twain keeps the boy quiet for a reason, because its

a mature mind that knows when to let someone else have the last word. He is showing the reader

how changes in Huckleberrys mind are affecting his attitude towards Jim.

Huck grows considerably in the climax of the novel, he must contend with two different issues. One

is society, in which he should turn Jim in as a runaway slave, the other is Huck's conscience. During

this adventure Huck learned to consider Jim a person rather than an object, a friend instead of a

possession. Huck acknowledges that it is wrong to turn in his friend. The reader learns that Hucksees Jim as a friend rather than a slave. Huck knows he is going against society by helping Jim flee.

Huck has grown to learn, that Jim is a person, that all people deserve some sort of respect and most

of all Huck has grown to learn he can think for himself.

When the reader is first introduced to Asher at the books beginning he is defending himself from

malicious rumors about him and his art. Asher, the narrator, attempts to defend himself, explain

who he is, the circumstances that brought the scandal upon him, and why he is not guilty.

(Meridan) He says he meant no harm, but couldnt help himself, he was doing what he must do,
http://www.directessays.com/essay_search/runaway_slave.htmlhttp://www.directessays.com/essay_search/runaway_slave.html


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which is to speak the truth through art.

Asher Levs growth in the novel is related to his struggle between his father and his art, his father

Aryeh, a Rabbi and important man in the community, and his religion while his artistic pursuits

develop.

As a defense, Asher exposes his life to the reader, so they can judge him for themselves. Ashertalks about his memories, of ancestors, obligations and expectations. He recounts the memories of

his remarkable gift and deep pain and disappointment.

Asher lives in a small and cloistered Hassidic community, which values only knowledge in the

name of God. Asher learns that in his society his talent and artistic vision is not seen as a gift. He

grows to discover his artistic pursuits were considered, a waste of time and an evil that separates

children from their families and god.

Asher struggles, to find a peace and coexistence between his art and his father, who mourns that

his son had even been born. When he becomes thirteen and prepares for his bar-mitzvah, the

Rebbe, the only person who could convince Ashers father, intervenes on Ashers behalf.

After the Rebbe introduces Asher to Jacob Kahn, a famous Jewish artist, Kahn says that it was very

clever of the Rebbe to have him tutor Asher because if it wasnt him teaching Asher it someone else

would. He explains that although he is Jewish, he is not observant and warns him to take up another

occupation because the art world is no place for a Torah Jew.

Ashers growth in the novel comes at a high price, through conflict. Asher must grow to learn how

to be the Jew he was raised to be, the good obedient son he desires to be and the artist he must be.

Asher knows his conflicts are having a harmful impact on his mother. He questions if he can be the

son his father desires. The Rebbe appointing Jacob Kahn to Asher causes continues to cause conflict

with Aryeh Lev. Aryeh needs Asher to continue in the familys tradition of serving the Rebbe, as his

father and fathers, father did. The Rebbe supporting Ashers gift disturbs Aryeh who works hard in

Europe for the Rebbe as his son paints.

Asher Lev, the observant Jew from Brooklyn NY grows into Asher Lev the painter. Asher learns

from Jacob Kahn and begins to grow as a painter and artist. Prior to his first lesson Jacob tells Asher

to study several pieces to inspire him. Jacob drives Asher to develop to reach his full potential.

Ashers grows when he learns the beauty of the human form. When instructed in the nude form

Asher freezes because it is forbidden. However he slowly begins to appreciate the beauty and

curvature of the human body. Ashers growth is marked when he realizes it is important in his

progress to paint as many different types of art as possible.

Asher learns from Jacob Kahn how to be free from Orthodox Judaism yet still consider himself

Jewish. Not only does Jacob Kahn encourage Asher to reach his full potential he is also a sounding

board for Ashers criticisms of Hasidic Jews.

As an artist Asher has made tremendous growth yet he behaves like a child at home. When he

leaves his home for Europe he is free from his parents. He learns to understand his family and

community better. He grows greatly while he reflects on his parents and upbringing.

Asher is seriously conflicted for the first time in his life when he recognizes the torment and

anguish his situation is creating within his mother. Asher expresses his mothers torment in a

painting that uses a crucifixion.


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Asher must choose between harming his parents and his community by displaying the painting and

not causing harm by keeping the paintings private. Asher decides in favor of his artwork, he has no

choice. He was never comfortable displaying the crucifixions knowing the pain it will cause his

family and community but as we grow we must make hard choices. Asher is banished though he is

unsure he is ready to leave. The book concludes with Asher unsure of himself, that he made the

correct decision and that his artwork must take precedence over the desires of his religion,

community and family.

Huckleberry Finns internal conflict is the struggle with the demands of culture and society.

she would sivilize me ; but it was rough living in the house all the time and so when I

couldn't stand it no longer, I lit out. I got into my old rags, and my sugar-hogshead again,

and was free and satisfied. But Tom Sawyer, he hunted me up and said. if I would go back

to the widow and be respectable. So I went back. She put me in them new clothes again,

and I couldn't do nothing but sweat and sweat, and feel all cramped up. (Twain, 1884)

To be part of society Huck must have manners, know the Bible and have some education. Early in

the story Huck is conflicted about the Widow Douglass attempt to teach him manners. According to

the passage below he immediately sees society's double standards.

Pretty soon I wanted to smoke, and asked the widow to let me. But she wouldn't. She said

it was a mean practice and wasn't clean, and I must try not to do it anymore. That's just the

way it is with some people. They get down on a thing they know nothing about...And she

took snuff, too; of course that was alright, because she done it herself (Twain, 1884)

If Huckleberry Finn struggles with limited societal skills Emma Woodhouses internal conflict is her

struggle with the weight of too much culture and society.

Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy

disposition, seemed to unite some of the best blessings of existence, and had lived nearly

twenty-one years in the world with very little to distress or vex her. (Austen, 1816)

Emma relishes her role in society; she plays with it as a child plays with a doll or a game of chance.

Her conflict is to grow out of her childish ways.

The real evils indeed of Emma's situation were the power of having rather too much her

own way, and a disposition to think a little too well of herself; these were the disadvantages

which threatened alloy to her many enjoyments. The danger, however, was at present so

unperceived, that they did not by any means rank as misfortunes with her. (Austen, 1816)

Asher Lev is enmeshed in his society, community and religion. He hardly could distinguish one

from the other. Ashers internal conflict is his struggle to remain accepted in his community

although his desire to paint, especially graven images, keeps him outside his culture andcommunity. Asher struggles to understand his desire, as he attempts to explain to his father that it

is Gods will that makes him a great artist.

I have a will, Papa. It makes me want to draw." (Potok, 2009)


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The internal conflict of each protagonist to struggle with society and culture is an important

element in each of these three coming of age novels. While Emma is a master in the art of society,

Huckleberry Finns genius is his avoidance of society and Ashers conflict is to retain his creativity in

a pressure cooker of culture, society and rules.

A powerful element in a story is the supporting characters. These characters allow the reader

different perspectives and add dimension to the main character. In Huckleberry Finn the Duke and

the King reveal the hypocrisy of society while in Emma Mr. Knightley, the ideal.

Huck Finn's sarcasm positions him to ridicule society and religion. The Duke and King are gripped

by their own sophistication. They behave in a larger than life manner while using absurd language

like the word "orgies" to talk about funerals and claiming to be renowned actors, the Duke recites

and teaches the King Shakespeare, whom he speaks of as

"The historic muse is the darling. Have you ever trod the boards, Royalty?" (Twain, 191)

At first the Duke seems like an educated gentleman to Huck, but when he acts Shakespeare we

see he knows is just pretending, Huck grows to learn he is not what he seems to be, mixing lines he

may have heard and making up the rest as he went along. Twain uses the King and the Duke to

satirize the absurdity of society. Huck grows to learn about the hypocrisy of people. We see the

king and duke conning people out of their possessions.

"First they done a lecture on temperance; but they didn t make enough money for them

both to get drunk on." (Twain, 267)

They act sophisticated and well read, but are actually common crooks. They pass themselves off

as royalty, but after a short time Huck learns to see them for what they are, conmen.

"It didn't take me long to make up my mind that these liars warn't no kings nor dukes at all,

but just low-down humbugs and frauds."(Twain,125)

Huck grows through the Duke and the King to recognize that society and its people, who claim to

be part of society, are not all that it seems. Huck develops to see past the thin veil of society and

to the individual person.

Emmas Mr. Knightley is introduced as a "a sensible man" (Austen, 31.) His character in the novel

is Emma's mentor, moral guide and one of the few people who see Emmas faults.

"one of the few people who could see faults in Emma Woodhouse, and the only one who

ever told her of them" (Austen, 32).

When Knightley told Emma her mistake could cost Harriet a happy marriage, Emma knew it was

true and was beginning to grow to realize she was not right all the time. Mr. Knightley points out

her neglect of Jane Fairfax and Miss Bates. He takes her to task for her cruelty to Miss Bates at Box

Hill.

Mr. Knightley is portrayed like the perfect modern English gentleman. Throughout the novel he

reigns in Emma and we can only guess how far she would have gone where it not for Mr.


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The Authors use supporting characters to reveal certain elements of the story and to advance the

story-line. The Duke and the King enable Twain to allow Huck to think for himself, Mr. Knightley lets

the reader see the character flaws in Emma and Jacob Kahn takes on the role of Rebbe/ Father.

Novels turn at a point of crisis or an extreme situation. This important element extends beyond

the realism the novels or characters normal limits set up by the author. Sometimes the author uses

extreme geographical points; historic stettings or open waters.

Emmas journey is to Box Hill the first time in the story Emma is outside of Highbury. Its heights

form the division and instability of the crises event to occur.

"there seemed a principle of separation" (Austen, 332).

Emma says after two hours of, "flattery and merriment", from Frank Churchill that she wished she

was alone. She has realized that she does not love Mr. Churchill.

"wished herself rather walking quietly with any of the others, or sitting almost alone, and

quite unattended to, in tranquil observation of the beautiful views beneath her" (Austen,

338).

The beautiful vistas and views are not compatible with the Highbury society and form the catalyst

for compromises and connections to follow. The events on Box Hill begins when Frank tries to liven

the party by saying

"I am ordered by Miss Woodhouse to say, that she desires to know what you are all thinking

about" (Austen, 334).

The overriding problem of the book is Emma thinks she knows what everyone is thinking and she

constantly gets it wrong. Frank's game pushes beyond the limits of proper society but Knightley

inquires if Emma really wants to know what everyone is thinking. Yet, when the game changes to

asking everyone to say something entertaining, Emma in fact fails by saying what she is thinking

but should not say. It is her hostility to Miss Bates' that burst out. The Box Hill episode raises the

question of if one should always say what they are thinking. This is a theme in the book. Emma

learns to question the value of openness. Being in society, being kind and generous may be

contrary to having knowledge.

Emmas journey to Box Hill is a climax that ends with Emma in tears by Knightley's reprimand of

her for being unsympathetic to Bates and her situation.

"so unfeeling to Miss Bates. How could you be so unfeeling," he asks, "to a women of her

character, age, and situation?Emma, I had not thought it possible" (Austen, 339).

It is the only time that Emma cries and the tears come suddenly. Up to this point Emma is not a

romantic character. She is knowingly superior and confident that her tears mark exaggerated bygeographical heights, the emotional extreme of her calling, the vulnerability she has resisted.

"Emma felt the tears running down her cheeks almost all the way home, without being at

any trouble to check them, extraordinary as they were" (Austen, 341).

In the climax of the novel, Emma has grown from selfish child to empathetic young adult. She

realizes that she has behaved harshly to the people around the realization of the pain she has


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caused others swelled up inside of her.

It is only when Asher journeys to Europe, the source of Western art that his artistic development

intensifies. Through his evolution as an artist he can reach maturity in himself.

In Florence, he is studied the Piet by Michelangelo.

I stared at the geometry of the stone and felt the stone luminous with strange suffering

and sorrow. I was an observant Jew, yet that block of stone moved through me like a cry

(Potok 295).

In a square he watches and sketches a man feeding the pigeons that flocked around him, the man

was standing with his arms outstretched. He draws the old Jewish woman who runs the hotel first

as she is, then looking younger, the sketch reminds him of his mother. He is entranced by

Michelangelos David, repeatedly viewing and drawing it. He wonders about the effect it has had on

history.

Distance from home allows a better understanding of his parents. He thinks about their sorrow

and the agony they have both suffered. He begins to understand their burdens, the inheritedtradition on their shoulders. Asher reaches his own conclusions while thinking about his family, his

ancestors, his own past, and says,

I did not know. But I sensed it as truth(Potok, 307).

His perspectives and his vision that he will be transfer onto canvas. The young adult has gained

understanding and insight, which the young artist demands to use.

Potok shows Ashers use of recent and past experiences. He uses two works of Western art; one a

Judaic hero, the other an iconic Christian scene contrasted to two ordinary people the old man and

the old Jewish woman. They represent Ashers own past merged into the paintings Brooklyn

Crucifixion 1 and Brooklyn Crucifixion 2.

Asher Lev avoids beginning work on what is now, for him, inevitable, but eventually creates the

paintings. Asher declares:

I knew there would be no other way to do it. No one says you have to paint ultimate

anguish and torment. But if you are driven to paint it, you have no other way (Potok, 310).

Asher Lev creates the first painting, his mother standing behind the window of their Brooklyn

apartment, looking through the window, her arms resting on the window frame in a crucifixion pose.

Asher returns to New York before the show and agonizes over the paintings that will soon be

revealed to the public. He knows the two Brooklyn Crucifixion paintings have been bought by a

Manhattan Museum. His parents do not yet know of the Brooklyn Crucifixion.

Rivers are vast, constantly moving and progressing. In literary elements they are associated with

freedom and growth. In Adventures of Huckleberry Finn, Mark Twain paints a picture of a boy

whose growth comes during his journey on the Mississippi River.

Mark Twain advances his criticism of society by contrasting Huck and Jims experiences on the

river to their experiences with people on land. Twain uses this contrast to allow Huck to grow in

order to recognize societys faults such as hypocrisy and racism. Huck escapes to the river from


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his abusive Pap and from the Widow Douglass attempt to educate and civilize him. When he

comes upon Jim he begins his growth as a character. Moving down river his growth corresponds

with the experiences on the water. His river raft becomes a moving home.

Huck tells us that,

two or three days and nights went by. , they slid along so quiet and smooth and lovely.(Twain, 48)

Huck struggles with a society that is hypocritical, judgmental, and hostile. Huck and Jim escape to

the River. The river is quiet and peaceful. On the river, Huck and Jim can contemplate the events

and situations they faced on land. We see Huck grow up with the river as a place for solitude and

retrospection. Nature, harmony, and independence, are ideals presented by Twain in the form of

the river.

After the raft gets hit by a steamboat, Huck encounters the Grangerfords and Shepardsons. Huck

describes Colonel Grangerford as a gentleman, however on Sunday when Huck goes to church we

see the pretense of the situation,

"The men took their guns along, The Shepardsons done the same. I t was pretty ornery

preaching-all about brotherly love, and such-like"

Huck is starting to realize being part of society has risks. On the river Huck tricks Jim one night in a

dense fog. After Huck plays a trick on Jim he notices Jims feeling of friendship for him, his position

toward Jim begins to change.

"It was fifteen minutes before I could work myself up to go and humble myself to a nigger;

but I done it, and I warn't ever sorry for it afterward, neither" (Twain 111).

The river provides a place for Huck and Jim to escape the harsh society around them and develops

into a life-force. The river allows the story to progress. The River prevents Jim his freedom by not

allowing them to land at Cairo. The River separates them and reunites them.

Stories need to progress, in order to move the characters along the storyline authors sometimes

use a journey. In true coming of age fashion our three protagonists each take a journey. Twain

allows the reader to contrast the mostly calm moving waters of the river which invites reflection to

the violence and demands of society on land. Austen uses Emmas single journey outside of

Highbury, as the climax of the story, in which we learn, through Emma, to respect all classes in

society. Potok uses Asher Levs journey to Europe, to understand himself, his past and present, his

peoples struggle and his own struggle in order to grow as an artist.

Jane Austen, Mark Twain and Chaim Potok each love their audiences in these three novels.

Austens audience is the sheltered upper class of regency England to which she belonged. Mark

Twain was writing to the American south of pre and post reconstruction of which he belonged and

Chaim Potoks audience was the Ultra-Orthodox, Orthodox and Conservative movement Hebrews.

The authors of these three novels each prepare the protagonist and their audiences for change.

Austen's Emma captures a culture in transition. Highbury is a society based upon traditional power

structures, but it is also a culture experiencing uncertainty as England becomes a modern state.

Potaks message to the Hassidim or Ultra-Orthodoxy is that in order to retain our culture we must


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allow, at least a portion of us to change. His message to his audience is a struggle between the land

of milk and honey, offered so readily by middle class America and remaining an Orthodox Jew, you

can be Jewish and American. Potok is instructing his audience that being Jewish is more than living

life as a thirteenth century Ukrainian Jew, that society must allow reform. Potok is telling his

audience that the temptation and desire of the fruits of America will always be there just as Ashers

desire to paint never diminished. Asher behaves as Goyim in his pursuit of satisfaction, he steals oil

paints, he draws nudes, he visits the art museum. Potoks message is one of give and take. That

America has too much to offer, it is too easy to enter into and be accepted into Americas middle

class and the community should be more accepting of those fellow members who wish to remain

Jewish and become American.

Mark Twains Huckleberry Finn prepares for life in post reconstruction America. In the opening of

the story, Twain challenges his audience to find a motive in this narrative and invites us to float

down the river on a raft with Huck and his friend Jim.

Every life consists of conflicts. Overcoming those trials and tribulations while growing and learning

strengthens our moral character. Early in each novel, we see Emma, Huck, and Asher as selfish and

childlike. Through the conflict each experienced, the crisis in each life, and the journey each endure

we are witness to their growth. We see them develop into stronger characters that have having

learned important lessons to enhance change. Each protagonist changes the ways they thought,

felt, and acted. Each character developed a moral fortitude that changed their life and the lives of

their readers.

References:

Austen, Jane. (1816). Emma. New York: Penguin. (Austen, 1816)

Bildungsroman (2010) Wikipedia, Retrieved October 10th 2010 from http://en.wikipedia.org/wiki/Bildungsroman (Bildungsroman, 2010)

Byrne, Paul A. (2004) A Literary Sourcebook on Jane Austen's Emma. New York: Routledge (Byrne, 2004)

Huckleberry Finn by Mark Twain - Daria.no. Retrieved October 10 2010 from http://www.daria.no/skole/?tekst=108

Jane Austen society. (2010) Retrieved October 10th 2010, from http://www.janeaustensoci.freeuk.com/index.html (JAS, 2010)

Meridian Magazine - Exploring Judaica in Fiction: My Name is Asher Lev, 25 September 2010. Retrieved from

http://www.meridianmagazine.com/index.php?option=com_zine&view=article&Itemid (Meridan)

Potok, Chaim. My Name Is Asher Lev (2009) New York: Random House, Inc. (Potok, 2009)

Twain, Mark. (1884). The Adventures of Huckleberry Finn. New York: Penguin. (Twain, 1884)

02-emma, huck and asher, children of the past, written in the present, preparing for the future

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