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you to sin whenever and Mark Twain Racist Or Realist

Mark Twain, Racist or Realist?
Introduction
This paper examines Mark Twain’s work to determine whether or not he was racist. Racism is defined by The American Heritage Dictionary as the belief that one race is superior to others. Unfortunately the issue of race isn’t black or white. There are many shades of gray in racism and even the most progressive thoughts of old seems conservative as progress enlightens new levels of thought. During his time, Twain was a forward thinking author who championed many causes, one of them being fair treatment of the downtrodden and oppressed.
The only example of potential racism is his treatment of the Goshoot Indians in Roughing It. The main body of his work points to innovative anti-racist themes. Even if one admits that Twain fosters some derogatory stereotypes labeling his work scabrous, unassimiable, and perhaps unteachable to our own time is shortsighted and revisionist. Even if Twain was racist the process of learning is supposed to combat backwards teaching from our past through exposition and discussion (Wonham 40). I even learned from Mein Kampf and objections to Mark Twain’s potential racism pale in comparison to Hitler’s crimes against humanity. Mark Twain certainly wasn’t as politically correct as contemporary newsmen or politicians but his primary occupation was as a satirist. Even today successful comedians, from Saturday Night Live to The Tonight Show, use techniques similar to Twain’s irony, satire and burlesque.
Every serious Twain scholar knows of Twain’s reputation as a burlesque humorist/satirist as well as his anti-imperialist and anti-religious tendencies. The scholar must be careful when labeling or categorizing Twain’s work because of his frequent use of sarcasm but Twain definitely liked blacks and abhorred slavery. His treatment of Natives and the Chinese was questionable when looked at apart from his work as a whole, but he slammed the white race more mercilessly than he ever condemned any other race. Sadly, the cynical and sarcastic Mark Twain can never be fully understood because only he knew what thoughts he was trying to convey.
Twain often used burlesques to get a point across by showing the ignorant how ignorant they actually are. In Huck Finn, Twain linked religion and slavery by showing how the former can pervert knowledge and cause acceptance of the latter over objections of conscience. When Huck is ’born again’, he forgets his vow to aid Jim, and his euphoria as being ‘born again’ resembles the feeling of being ‘light as a feather’ that he experiences after deciding to turn Jim over to the slave-catchers (Fulton 83). This commentary is as much about the sorry state of slavery as it is about slavery’s Biblical foundation.
James L. Johnson dedicated Mark Twain and the Limits of Power to outlining how, like Emerson, Twain’s solipsism is a fundamental ingredient in much of [his] best work (Johnson 8). Twain’s characters had or wanted an extraordinary ability to dominate the worlds in which they find themselves (Johnson 1). Twain had little faith in a Christian God so he put more faith in the self. Johnson also thought Twain’s bitterness increased as he unearthed that the larger and more masterful the Self became, the less benevolent he was likely to be (Johnson 7). Although Twain’s life was common because it had limits he envisioned a character who might not have to make those accommodations, a hero who might break out of the prison of limitations into a brighter life (Johnson 187). Frustration with the world, hence a caustic temperament, arose as time wore on but Twain never lost sight and hoped for mastery over it and freedom (Johnson 189).
In 1907 Bernard Shaw remarked to Archibald Henderson that, Mark Twain and I find ourselves in the same position. We have to make people, who would otherwise hang us, believe that we are joking (Clemens 5). This point is well illustrated by the fearless Twain in this excerpt from Mark Twain’s Jest Book:
In the spring of 1899, I was one of a crowd of some 1200 who attended at the Waldorf-Astoria in New York to hear a lecture on his adventures in the South Africa War given by a Lieutenant of Huzzars, one Winston Churchill – ... more

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The Human A Incarnate




In Nathaniel Hawthorne's novel The Scarlet Letter, many of the characters suffer from the tolls of sin, but none as horribly as Hester's daughter Pearl.  She alone suffers from sin that is not hers, but rather that of her mother's.  From the day she is conceived, Pearl is portrayed as an offspring of vice.  She is introduced into the discerning, pitiless domain of the Puritan religion from inside a jail; a place untouched by light, as is the depth of her mother's sin.  The austere Puritan ways punish Hester through banishment from the community and the church, simultaneously punishing Pearl in the process.  This isolation leads to an unspoken detachment and animosity between her and the other Puritan children.  Thus we see how Pearl is conceived through sin, and how she suffers when her mother and the community situate this deed upon her like the scarlet letter on her mother's bosom.  
Hester Prynne impresses her feelings of guilt onto Pearl, whom she sees as a reminder of her sin, especially since as an infant Pearl is acutely aware of the scarlet letter "A" on her mother's chest.  When still in her crib, Pearl reaches up and grasps the letter, causing "Hester Prynn [to] clutch the fatal token so infinite was the torture inflicted by the intelligent touch of Pearl's baby-hand" (Hawthorne 88).  Hester feels implicitly guilty whenever she sees Pearl, a feeling she reflects onto her innocent child.  She is therefore constantly questioning Pearl's existence and purpose with questions: asking God, "what is this being which I have brought into the world!" or inquiring to Pearl, "Child, what art thou?"  In this manner, Hester forces the child to become detached from society.  Pearl becomes no more than a manifestation based entirely upon Hester and Dimmesdale's original sin.  She is described as "the scarlet letter in another form; the scarlet letter endowed with life" (93)!  Due to Hester's guilty view of her daughter, she is unable see the gracious innocence in her child.
Hester's views toward Pearl change from merely questioning Pearl's existence to perceiving Pearl as a demon sent to make her suffer.  Hawthorne notes that at times Hester is feeling as if an "unutterable pain" (89) creates her penance.  Hester even tries to deny that this "imp" is her child, "Thou art not my child!  Thou art no Pearl of mine" (90)!  It is small wonder that Pearl, who has been raised around sin, becomes little more than a reflection of her environment.  Pearl is perceived to then be the walking, living scarlet letter.  She is a constant reminder to Hester and the community of the "evil" that Hester has committed.  Hester's own sin leads her to believe that Pearl is an instrument of the devil, when in reality she is merely a curious child who cherishes her free nature and wants to be loved by her mother.  She is not evil but is portrayed as such because of her mother's actions.
Because of her own profound sin, Hester is always peering into Pearl's burnt ochre eyes to try to discover some evil inside her daughter.  "Day after day, she looked fearfully into the child's ever expanding nature, ever dreading to detect some dark and wild peculiarity, that should correspond with the guiltiness to which she owed her being" (82).  Pearl is more or less Hester's conscience.  That is why Pearl always asks her questions over and over again and why Hester cannot lie to her; you cannot lie to you conscience.  Hester ultimately ends up fearing Pearl because of her inability to overcome her own guilty conscience, and thus fails to command the respect a mother needs from a child:
"After testing both smiles and frowns and proving that neither
mode of treatment possessed any calculable influence, Hester was
ultimately compelled to stand aside, and permit the child to be
swayed buy her own impulsesAs to any other kind of discipline,
whether addressed to her mind or heart, little Pearl might or might
Lacking any form of maternal guidance, Pearl pretty much does what she pleases; her creativity leads her to make up her own entertainment.  Pearl's lack of friends forces her to imagine the forest as her plaything.  However, she is clearly ... more

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