In both stories, Peter has an air of childish innocence and enthusiasm about him, and a bit of an ego, as well. He is rarely sad, and he learns how to make his own entertainment and fun, but he is lonely, and wishes he could play with other boys and girls in the first book. In both books, he ends up alone, although Mamie does bring him gifts until she grows up, and Wendy does come back for "spring cleaning," at least for a few years. In this, Peter is really a sad character, because he cannot give up his desire to always be a boy and have fun no matter what happens, and so, he is his own worst enemy. Never growing up means that he will always be alone, which is a sad way to go through life. In the play, Peter really becomes a "Betwixt and Between," because he lives in his own fantasy world, forgetting his old friends and the people he cares about. Peter in the book ends up alone, as well, and although he has the fairies and the birds, he knows the joy of love, and will never experience it again. Both characters are brave and unafraid to try new things, but both remain children in a world that only allows that for so long.
Peter clings to childish fantasy in these books because it seems that many adults look back at their childhoods with the same kind of fantasy and fond memories, and many never want to grow up and face the responsibilities that entails. Many people believe that JM Barrie was that man who never wanted to grow up, which is why his stories are so rich in detail and the magical observances of youth. However, even Barrie acknowledges that he based Peter and many other characters on the Llewelyn Davies boys, and even named some of his characters after them, like...
Peter, Wendy & the Victorian British Family In J.M. Barrie's epic fantasy, Peter and Wendy, three children from Victorian England set off for a distant paradise of endless boy-centered adventures called 'Neverland'. This land that can be reached by Peter Pan's nonsensical directions, "second to the right, and then straight on till morning" (Barrie 24), represents an upside-down world where the codes of Victorian England can be deeply analyzed and challenged.
132). Hence the Faerie Folk came to symbolize the De Danann's "earlier sensual and spiritual connection to life and nature that influenced the beliefs of the Druids" until Christianity showed up, Yeoman continues. This analogy dovetails with the confusion and game playing in Neverland, according to Yeoman's point-of-view. The author dips into the sexuality issues on page 133, asserting that the blending together of masculine and feminine attributes within Berrie's
It is Dudgeon's hypothesis through this bizarre methodology that the author Barrie and Kicky actually met and somehow Kicky demonstrated his power of psychic perception to Berrie, which of course fascinates Berrie. After becoming very interested in Kicky's powers Berrie than attempts to emulate those powers and in doing so gives Dudgeon's book its own mysterious glow (Haslin). Once Berrie has become acquainted with the boys he becomes, according to
James Kincaid, Peter Pan & Grimm's Tales "By insisting so loudly on the innocence, purity and asexuality of the child, we have created a subversive echo: experience, corruption, exoticism." This statement from James Kincaid's work on Victorian children's literature would be later expanded and ramified to provide the central thesis for Kincaid's study Erotic Innocence: The Culture of Child Molesting, a work which inquires into the cultural investment that contemporary mainstream
Everyman must lose this false confidence, and lose his life, to truly understand the higher purpose of the human soul and existence, as Everyman prepares himself for the final passage -- and so must we all, good and bad. But in "Peter Pan" there is a lack of moral apportioning to children along the lines of the laws of adult life. Wendy, who seems to be the most thoughtful and
Eternal Child Adults tend not to take the truly important things seriously. This is as terrible a flaw in the adult world as the fact that adults also take much of what is actually unimportant far too seriously. This is one of the central themes of Peter Pan, for the boy who never wants to grow up might well reconsider his attraction to eternal juvenescence if adults managed to retain
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