Friendship & Loyalty in Twain & Stevenson's Classics Past Paper PDF

Friendship and loyalty: shaping the protagonists in Twain’s and Stevenson’s classics How does loyalty contribute to the character development of the protagonists in ‘The Adventures of Huckleberry Finn’ and ‘Kidnapped’?” English B Category 3 School Code: 006143 Candidate Sessi...

Friendship and loyalty: shaping the protagonists in Twain’s and Stevenson’s classics How does loyalty contribute to the character development of the protagonists in ‘The Adventures of Huckleberry Finn’ and ‘Kidnapped’?” English B Category 3 School Code: 006143 Candidate Session Number: 0015 Word Count: 3646  2 Table of Contents 1. Introduction…………………………………………………………………………03 2. Analysis……………………………………………………………………….…….05 2.1. Settings...………………………………………………………………..….05 2.2. Psychoanalysis and Narratology…………………………………………10 2.3. Comparative analysis and Duality………………….….………………...15 3. Conclusion………………………………………………………………………….17 4. Bibliography.……………………………………………………………….….……18  3 1. Introduction The Adventures of Huckleberry Finn by Mark Twain and Kidnapped by Robert Louis Stevenson are Bildungsromane that explore the maturation of two young protagonists, Huckleberry Finn and David, through an unconventional friendship that challenges the norms of their time.1 Whilst one novel explores the friendship between a thirteen-year- old white Southern boy and an enslaved black man, Jim 2, the other illustrates the journey of the sixteen-year-old Lowlander David Balfour, who forms a friendship with the Highlander Alan Breck Stewart after being cared for by his murderous uncle.3 Where David’s loyalty is tested during “large-scale circumstances of cultural conflict within (Southern post-Jacobite) Scotland” 4 , Huckleberry’s consciousness is influenced by segregation in the Southern states of pre-Civil War America.5 In both novels, however, the protagonists’ voices are internally focalised at the homodiegetic level, allowing an insight into their internal world and an analysis of their development at a closer scope. Previously, few literary critiques, such as one by Tom Hubbard, have touched upon Mark Twain’s connection with Scottish culture, particularly his interactions with Robert Louis Stevenson, both of whom shared a deep interest in dualities of human nature.6 Nevertheless, the similarity between these two novels has not been previously explored in depth. Thus, it would be intriguing to not only explore the unwavering loyalty between David and Alan, as well as Huck and Jim, but also their loyalty to their respective learned consciousness and to examine how their character development is shaped by these loyalties. Therefore, this essay intends 1 Oxford Reference (n.d.), coming of age novel 2 Zhang, W. (2016), p.670 3 Stevenson (1978), p. 196/197 4 Di Frances (2015), p.70 5 Gobbi, K., Said, F.Z. and Soud, R. (2019/2020), p. 36 6 Hubbard, T. (2013), p. 3  4 to explore: “How does the depiction of loyalty contribute to the character development of the protagonists in ‘The Adventures of Huckleberry Finn’ and ‘Kidnapped’?”. The critic John Seelye has proposed a potential influence of Tom Sawyer on Treasure Island, two other notable novels by the authors.7 Despite thematic parallels and interactions of the authors, however, the works under study have rarely been compared. Furthermore, while this essay agrees with Gobbi, Said and Soud,’s exploration of the raw and realist style of Huck’s narrative 8, it challenges their view of Huck as a reliable narrator. Instead, this essay identifies an unreliable narrator, as there are contradictions between his conscious and unconscious thoughts, direct and indirect discourse. These contradictions play an essential role in identifying how loyalty has developed the protagonists’ thought process and actions. To investigate the question stated, instances where loyalty is tested will be investigated. These moments will be analysed through Gérard Genette’s narratology and the role of the setting in shaping loyalty. In addition, Freudian analysis and the Object Relational Theory will be employed to explore how the protagonists navigate their loyalty alongside their unconscious motivations. A comparative analysis will follow after separate analysis of both texts to ensure both novels are thoroughly examined. 7 cf. Hubbard, T. (2013), p. 3 8 Gobbi, K., Said, F.Z. and Soud, R. (2019/2020), p. 42  5 2. Analysis 2.1. Setting Kidnapped According to Scholes, the setting, an intrinsic element of literature, includes not only the physical location of the narrative but also the temporal, climatic conditions and the historical context that construct the action.9 Abbott acknowledges that while setting is a useful term, it “has fallen from favour” because it suggests a “container” for what he believes is more accurately described as the “narrative world”. 10 Regardless of the terminology, this element of literature frames the depiction of loyalty and ultimately the growth of the protagonists, especially as it often springs in response to harsh external conditions found in both novels. In Kidnapped, the young protagonists’ journey unfolds in the years after the 1745 Jacobite Rising. In essence, this historic event was the final struggle between the Hanoverians and the Stuarts, over who should rule the kingdom of England, Scotland, and Ireland.11 One interpretation of this occasion views the rising motives as a struggle between Highlands and Lowlands, the pro-Stuart and pro-Hanoverian groups.12 McGlynn encapsulates the idea well as he states: “Stevenson saw a harmony paradoxically arising from the clash of opposites within his country. It is a vision of harmony that ultimately breathes from his fiction”.13 The author’s assertiveness in portraying his protagonists’ contrasting regional backgrounds allows loyalty to serve as a unifying tool for differences that highlights the depth of their individual characters 9 cf. Arnita U.D. (2020), p. 16 10 Abbott, P. (2002), p. 20 11 cf. McLynn F. J. (1962), p.99 12 Ibid, p.98 13 Ibid, p.50  6 rather than their mere background or politics: Lowlander David has been fortunate enough to have had a secure environment, Essendean, to begin his life’s journey with some confidence.14 Essendean is presented through narrative imagery which envelops the reader in sensory warmth and homely atmosphere, as “the sun began to shine […] and […] the blackbirds were whistling in the garden lilacs and the mist that hung around the valley was beginning to rise and die away”. 15 Yet, as the Covenant ship, where David is held captive to be sold by his uncle, is wrecked by a great wave, David is stranded in the Highlands alone. He expects the sun to rise to dry him, but the weather of the unfamiliar Highlands does not do him any favour: “all day it stream [s] rain”.16 This shift in setting underlines how David’s geography leaves him inadequately prepared for the unpredictable landscape of the Highlands, such as the tidal islets.17 With the help of some local fishermen, he soon realises that the islet is connected to the mainland, allowing him to eventually escape. After their reunification, David’s unfamiliarity with Alan’s landscape demands from him to give up some level of independence and control by following Alan’s guidance, since “his own principles no longer apply in this foreign place”.18 This is in line with the Object Relational Theory, suggesting that “at the deepest unconscious level, engaging in an authentic relationship is associated with the death of the self as one yields to trusting another”.19 The negative word field David chooses to describe the Highlands in his initial perception, indicates how he “shares the prejudices of the age” 20, viewing the region and its people as “primitive, animal-like, childish and uncouth”21, influenced by “a 14 Robbins, R., Robbins, S. and Harrell, W., (2020), p.37 15 Stevenson (1978), p.203 16 Stevenson (1978), p.283 17 McGlynn (1991), p.43 18 Ibid, p.44 19 Robbins, R., Robbins, S. and Harrell, W., (2020), p.38 20 Jaëck, N. (2018), p.99 21 Ibid  7 campaign of propaganda which was intended to justify any action the British government would want to take against them [Highlanders]”. 22 David’s original perspective of the Highlands, affected by a state of desperation, operates as a confirmation bias, seeing it as “desert-like and lonesome” with “neither house nor man”.23 Consequently, “he follows Alan blindly” through what, for him, is a place of “labyrinth of dreary glens”.24 He soon realises that what he initially regarded “barren nature” is a rich and resourceful setting and a reliable refuge to Alan. 25 His bond with Alan enables him to grasp: “If these are the wild Highlanders, I could wish my own folk wilder”26, marking his growth of character, dismantling of past biases he held. However, McGlynn notes: “Alan does not become a Lowlander [and] David does not become a Highlander.”27 Instead, their alliance reflects the divisions within Scotland whilst suggesting potential maturity, without losing individual characteristics, much like David’s development throughout the story. Huckleberry Finn Situated along the Mississippi River in the United States, The Adventures of Huckleberry Finn is set about 40 years before the book was published, prior to the Civil War in the 1830s.28 The topic of slavery is discussed in a setting different from David’s unfortunate events, revolving around the segregation of black and white people and the systematic enslavement of African Americans, especially prevalent in the South. Mark Twain describes the setting of his novel in “Notebook #35” as a time 22 Sigfúsdóttir, T.A., (2017), p.23 23 Stevenson (1978), p.281 24 Jaëck, N. 2013, p.69 25 Ibid 26 Stevenson (1978), p.291 27 McGlynn (1991), p.40 28 Gobbi, K., Said, F.Z. and Soud, R. (2019/2020), p.26  8 and place in which helping “steal a horse or a cow was a low[er] crime [than] to help a hunted slave, […] or comfort him, […] in his terrors, his despair”.29 Twain applied a realistic style to his novel as a way of mirroring raw reality as it is and reduce any romanticised portrayal of these events.30 Thus, the settings and characters are mostly based on real life, such as the Mississippi River. This River was, for many slaves, a symbol of bondage, where families were seperated by the auction”. 31 The novel allows a glimpse of this devastating occasion, in the scene where a mother and her two sons are separated by the king, “the sons [are carried away] up the river to Orleans” and “their mother down the river to Orleans”.32 For others, like Jim, the river was a chance of freedom and a symbol of liberty, acting as a “no-man's land” in the story, where none are judged by their upbringing.33 Once off the river, Huck, despite coming from a lower-class society and having to be “civilised” by “the widow” and Miss Watson34, freely explores the towns, gathering information, whilst Jim stays hidden on the raft for his safety. Loyalty is depicted as a reaffirmation of friendship outside of the comfort of the raft.35 Jim, with his inability to do most things freely, requires loyalty from Huck more than Huck requires loyalty from him. This loyalty develops Huck’s character, as his growing sense of responsibility compels him to mature. For instance, initially, Huck considers Jim as inferior.36 He refuses Tom’s plans to tie Jim on the tree for fun because “he might wake and make a disturbance”. 37 Later, on the island, he plays tricks on him by putting a dead rattlesnake under Jim’s blanket “thinking there’d 29 ThoughtCo (2019) 30 Gobbi, K., Said, F.Z. and Soud, R. (2019/2020), p.32 31 Digital Library (n.d.) 32 Twain (2001), p.397 33 eNotes (n.d.) 34 Twain (2001), p.169 35 Twain (2001), p.256 36 Gobbi, K., Said, F.Z. and Soud, R. (2019/2020), p.45 37 Twain (2001), p.172  9 be some fun when Jim found him there”.38 However, as the narrative progresses, the perspective of “me” develops into “us”, as he realises “[t]hey’re after us!”, despite Mrs Judith Loftus’ offer of aid saying, “I’ll do what I can to get you out of it”.39 38 Twain (2001), p.207 39 Twain (2001), p.214  10 2.2. Psychoanalysis and Narratology and Language “As a literary construct character is bound up with the narrative situation, so is the study of character closely related to narratology”.40 Thus, studying the character development of the protagonists requires an understanding of narrative strategies employed by the authors. Kidnapped Kidnapped is narrated from David’s homodiegetic first-person perspective, using subjective pronouns such as “I” and “we”41 right from the novel’s opening line: “I will begin the story of my adventures […].”42 In addition, the internal focalisation offers psychological depth by allowing the narration to serve as a gateway through which the reader can discover David’s emotional and mental condition, particularly in relation to themes of loyalty and trust. Freud notes that “the division of mental life into what is conscious and what is unconscious […] alone makes it possible […] to understand […] mental processes”43 and thus, their development. Given that the protagonist operates at the same level as the narrator 44, distinguishing between his conscious and unconscious thoughts becomes complex. Despite the narrator's efforts to establish credibility through detailed articulation of “a realistic and geographically accurate setting”45, the reader is continuously reminded of his inherent biases and unreliability, as previously noted. However, this type of narration also reveals internal contradictions within the protagonist’s direct and indirect discourse that may disclose unconscious influences.46 For instance, Alan confessing 40 Thomsen, M.R., Kjældgaard, L.H., Molles, L. Ringgaard, D.Rösing, L.M, Simonsen, P. (2017), p.62 41 Parker, R.D. (2020), p.98 42 Stevenson (1978), p.203 43 Freud, S. (1927), S. p.5 44 cf. Thomsen, M.R., Kjældgaard, L.H., Molles, L. Ringgaard, D.Rösing, L.M, Simonsen, P. (2017), p.71 45 McGlynn (1991), p.24 46 Parker, R.D., (2020), p.123  11 to having previously fought for King George’s army at Prestonpans before deserting to the Jacobites leaves David stunned, as he finds the act “an unpardonable fault in honour”. He, however, in his own words is “wiser than say [his] thought”.47 Similarly, as Cluny, a Highland chief, toasts to the restoration, David joins in, yet he reveals in his monologue that he is sure he wished “no ill to King George”.48 Despite his earlier silence, he bursts out in anger and contradicts his own morals after Alan gambles away their money. Provoked by Alan and other Highlanders’ derogatory remarks about King George, he demands Alan to “speak civilly of [his] King and […] good friends” and proposes a sword fight.49 Robbins and Harrell suggest that “he [David] is externalising his own self-contempt when he verbally attacks Alan”.50 However, this outburst seems more like a cathartic response to his repressed emotions and accumulated silences. Freud notes that excessive repression could lead to neurosis51, which might explain why David’s mental suffering manifests as physical illness. Alan laying down his sword and his refusal to fight, stating “I cannae”52, fosters David’s act of near-death to gain Alan’s forgiveness. This act could be seen as a metaphor for a symbolic “death” and rebirth53, as he realises his friend’s loyalty towards him. Alan withholds to fight back, despite David’s hurtful remarks, contrasting sharply with David’s own response. David recognises that his behaviour is unproductive and hinders his personal development.54 Thus, he gets away from viewing things either black or white.55 For instance, he initially describes Highlanders 47 Stevenson (1978), p.270 48 Ibid, p. 346 49 Ibid, p.359 50 Robbins, R., Robbins, S. and Harrell, W., (2020), p. 43 51 Parker, R.D., (2020), p. 147 52 Stevenson (1978), p.359 53 Robbins, R., Robbins, S. and Harrell, W., (2020), p.44 54 Ibid 55 cf. Liprini, L. (2011), p.22  12 with what Jaëck refers to as “animalising metaphors”.56 However, these descriptions are more accurately similes, as seen when depicting Alan as running with all fours “as though it were his natural way of going”57 and him sounding “nothing like human”.58 Yet, his ignorance of “a totally alien Gaelic culture”59 of the Highlands develops into a more appreciative understanding, especially as he starts to comprehend Gaelic words such as “whateffer” and “tide” that are being spoken by the fishermen assisting him.60 Robbins and Harrell observe that David’s “lonesome journey” 61 cultivates his appreciation for the Scottish Highlands. Nevertheless, it is more importantly Alan’s unwavering loyalty which fills him with guilt and internal conflict, eventually leading him to reduce his internal prejudices. Huckleberry Finn Similar to Kidnapped, The Adventures of Huckleberry Finn contains a homodiegetic, extradiegetic narration with internal focalisation on Huck Finn, the protagonist who narrates the story in subsequent narration. Some critics argue that alongside the realist style of the novel, “the first-person eye-witness boy narrator […] ensures greater reliability” 62 in the narrative because of Huck’s direct involvement with the events. However, this argument overlooks his lack of experience and biases due to his upbringing and youth.63 There is a certain degree of naivety, as “the knowledge between the narrator and his […] audience significantly differs”.64 This naivety is underlined by the colloquial tone and grammatical incorrectness, such as Huck’s 56 Jaëck, N. (2013), p.65 57 Stevenson (1978), p.340 58 Stevenson (1978), p.341 59 Higgins, D.G., (2015), p.201 60 Stevenson (1978), p.288 61 Robbins, R., Robbins, S. and Harrell, W., (2020), p.41 62 Noe, J.M. (1998), p.31 63 cf. Gobbi, K., Said, F.Z. and Soud, R. (2019/2020), p.42) 64 Preston, M.E., (1997), p.130  13 wrong use of tense: “I blowed the water out of my nose”.65 In addition, irony is a device utilised by Twain to highlight Huck’s lack of control over the text’s structure. 66 Huck stating, “Jim said that bees won’t sting idiots, but I didn’t believe that, because I tried them lots of times myself and they wouldn’t sting me”67, enhances the narrator's unreliability because his failure in understanding simple events, limits his ability to convince the reader of his learned conscious and prejudices. This unreliability is typical of child narrators, as readers depend on the child’s narration, yet they mostly understand the child’s world better than the child.68 Hence, loyalty in this novel is depicted as an act from the heart, rather than a product of the often flawed judgements of a conscious mind. A prime example of this is Huck’s declaration: “[a]lright, then, I’ll go to hell”69, as he tears up the letter to Miss Watson, his caretaker, believing that helping Jim is akin to stealing from an old lady who sheltered him and fearing God’s Punishment.70 During the writing process of the letter, he goes through a moral crisis deciding “betwixt two things”71: adhering to societal norms by not helping a slave or being loyal to his friend Jim. His statement parallels an earlier scene when Huck asks Miss Watson if Tom Sawyer would go to heaven. She responds negatively to which Huck is “glad about […], because [he] want[s] [Tom] and [him] to be together”.72 Kastely sums it up well as he suggests: “Huck's […] contest with his conscience arises only because he has recognised Jim as a person and feels a divided loyalty”.73 This aligns with the framework of Object Relational theory, as” healing [and growth] occurs only when a person first 65 Twain (2001), p.240 66 Preston, M.E., (1997), p.131 67 Twain (2001), p.202 68 cf. Parker, R.D., (2020), p.95 69 Twain (2001), p.330 70 cf. Felten, E. (2011) 71 Twain (2001), p.330 72 Twain (2001), p.170 73 Kastely, J. (1986), p. 420  14 recognises others as subjects”.74 As a case in point, Huck recalls his experiences with Jim in forms of flashbacks, for instance when Jim is “standing on [his] watch on top his, […] so [Huck] could go on sleeping” or how he always called him “honey […] and do[es] everything he could think of for” Huck.75 As he recalls these memories, his view transitions from perceiving Jim as a possession of an old lady to recognising his individual values as a human and his loyalties towards Huck. His development is recognisable through a shift in his narration from “a minimally self-conscious narrator […] toward a fully self-reflexive text”76, as well as through his “willingness to risk the safety of his own soul” by prioritising loyalty to his friend over his guardians, as proposed by Felten77. The motif of death and rebirth can also be applied in this narrative, first he fakes his own death as an attempt to escape his father and Miss Watson’s attempt of civilising him78 and finally, as he tears the letter to Miss Watson. Each “death” can be seen as an attempt to escape, Freud proposes that the superego, which develops from internalised societal and parental norms, often creates tension within the individual through feelings of guilt or self-reproach.79 As Huck tears the letter, he senses “awful thoughts, and awful words”.80 His feelings showcase the moral authority and harsh judgements that the superego can impose on the ego. While the ego’s role is to navigate between the demands of the id and superego, Huck rebels against the oppressive influence of the superego. 74 Robbins, R., Robbins, S. and Harrell, W., (2020), p.46 75 Twain (2001), p.330 76 Preston, M.E., (1997), p.135 77 Felten, E. (2011) 78 Noe, J.M. (1998), p.30 79 cf. Freud, S. (1927), S. p.36 80 Twain (2001), p.330  15 2.3. Comparative analysis and Duality Although Kidnapped was published only two years after The Adventures of Huckleberry Finn, there is a debate about the extent to which the two authors influenced each other’s works. According to Hubbard, the two authors reportedly “met in New York on a sunny day of 1888, sat on a bench together” and seemingly formed “two-man mutual admiration society”.81 While critics like John Seelye have suggested a potential influence of Tom Sawyer on Treasure Island, where the protagonists of Twain appear in Stevenson’s novel, these claims mostly lack concrete evidence or explicit confirmations by the authors. However, both writers, as Hubbard proposes, are intrigued by the dualities of nature.82 Stevenson profoundly explores this phenomenon in his famous novel “Dr. Jekyll and Mr. Hyde” and Mark Twain resembles everyone to a moon with a dark side which is never shown to anybody.83 From this standpoint, both authors acknowledge the complexities of human nature and shape dynamic societies without defining them as pure good or evil. Stevenson maintains an even-handed portrayal of Highlanders and Lowlanders.84 This is essential for David’s maturity, as he realises that he cannot always be “helped by [his] own blood than strangers”.85 Besides, his kinship relationships do not always return the same level of respect to him, as seen with parents or parental figures like Mr.Campell, who provide him with his needs86 and others like his Uncle Ebenezer, who seeks to exploit him for his own personal gain. Likewise, Captain Hoseason, a Lowlander, tries to sell him for profit.87 David 81 Hubbard, T. (2013), p.3 82 Ibid 83 Ibid 84 Sigfúsdóttir, T.A., (2017), p. 22 85 Stevenson (1978), p.218 86 Ibid, p.208 87 Ibid, p.239  16 becomes disillusioned with the belief that loyalty to family or one’s own kind is deserving of unwavering loyalty. In fact, it is sometimes the non-familiar bond, such as with Alan, which prove to be more valuable. He learns to accept the flaws and different views as part of maturing and adapting. Additionally, Cluny Macpherson, returns the money gambled away by Alan, although David knows his opposing views and is sure that if “he [Cluny] hated any man, it was David Balfour.88 Similarly, Huck’s loyalty develops as he senses parallels between Pap, such as their dialect. They both spell “get” as “git” and “look” as “looky”, as well as using double negatives, such as Jim’s “I hain’t ever done no harm to a ghos’”89 and Pap’s “[d]on’t you give me none o’ your lip’”.90 Both provide Huck with a sense of freedom, as he reflects: “I [Huck] liked it, all but the cowhide part […]. It was kind of lazy and jolly, laying off comfortable all day [with Pap], smoking and fishing, no books nor study”.91 Jim is also someone with whom he can “lay off and” 92 be lazy with. However, unlike Pap, Jim is neither brutal nor drunk, making him a safer figure, despite having no blood relations with him. Furthermore, Jim offers a balance between the two parental figures in his life: Pap and Miss Watson. This is evident when he considers both of their views on the term borrowing, concluding that “the widow was partly right and pap was partly right” as well.93 Like in Kidnapped, loyalty develops not as given but as a choice made through moral questioning. It is portrayed as a force that demands introspection and personal sacrifice. 88 Stevenson (1978), p.351 89 Twain (2001), p.199 90 Ibid, p.182 91 Ibid, p.186 92 Ibid, p.200 93 Ibid, p.217  17 3. Conclusion The depiction of loyalty contributes to the character development of the protagonists in both novels as such, that they serve as a unification tool and catalyst for their sense of responsibility among others. For David, this loyalty requires him to give up a level of independence and rely on Alan’s guidance in the unfamiliar landscape of the Highlands, ultimately altering his prejudices of the Highlands. This shift liberates him from the sheltered life he knew in Essendean because he is thrown into a world of betrayal and danger. David and Alan’s loyalty mirror the historical divisions of their country, suggesting that Scotland, too can unite opposing views. For Huckleberry, whose views are shaped by the prejudices of his time, loyalty is depicted through his rejection of these deeply rooted biases. The turning point of these ingrained biases occur as he tears his letter to miss Watson. As they progress along the Mississippi River, Huck recognises Jim as a subject, an individual, and goes beyond the limitations set on him. These relationships also challenge the protagonists to rethink their knowledge on right and wrong. The depiction of duality in both human nature and nature itself in both novels contribute to the revelation for complexities in them and that no one thing is merely black and white. Instead of changing the circumstances, the protagonists learn to adapt to them and thereby allowing the circumstances to change them for the better, as proposed by Twain himself.94 Lastly, loyalty of minor characters to the protagonists, such as Mr. Campbell and the lawyer Mr. Ran Rankeillor in Kidnapped or the Widow Douglas in Huckleberry Finn could be a further point of analysis that couldn’t be explored in depth in this essay to 94 cf. Hubbard, T. (2013), p.5  18 maintain relevance to the question posed. This is an important field of investigation because many of these loyalties are pivotal for the plot development and to move the story forward. 4. Bibliography Primary sources: Robert Louis Stevenson (1978), Treasure Island; Kidnapped; The black arrow, London, Octopus books Twain, M. (2001), The adventures of Tom Sawyer & the adventures of Huckleberry Finn, Ware, Hertfordshire: Wordsworth Editions Secondary sources: Websites Anderson, E. (2008), A window to Jim’s humanity: The dialectic between Huck and Jim in Mark Twain’s Adventures of Huckleberry Finn, Available at: https://scholarworks.indianapolis.iu.edu/server/api/core/bitstreams/c160b31d- 6cc9-408d-a178-2df2fd2b431d/content [Accessed 22.06.2024] Digital.lib.niu.edu, (n.d.), Liberty and Bondage: African Americans in the Mississippi River Valley, 1851-1900, Northern Illinois University Digital Library, Available at: https://digital.lib.niu.edu/twain/liberty#:~:text=The%20Mississippi%20River%2 0was%2C%20for,were%20sent%20to%20new%20owners [Accessed 27.06.2024] eNotes (n.d.), The Adventures of Huckleberry Finn Critical Evaluation – Essay, Available at: https://www.enotes.com/topics/adventures-of-huckleberry- finn/critical-essays/critical-evaluation-1 [Accessed 28.06.2024]  19 Gobbi, K., Said, F.Z. and Soud, R. (2019/2020), Master’s Degree in Literature and Civilisation People’s Democratic Republic of Algeria Ministry of Higher Education and Scientific Research Slavery and Racism in Mark Twain’s The Adventures of Huckleberry Finn: A Stylistic Study, Available at: https://dspace.univ-eloued.dz/server/api/core/bitstreams/2afba8f0-9fd5-4f78- a0f9-2e80dad5a7a5/content [Accessed 22.06.2024] Jaëck, N., (2013), R.L., Stevenson’s Kidnapped: Indigenousness Begins at Home Available at: https://journals.openedition.org/elohi/565 [Accessed 23.06.2024] Kastely, J. (1986), The Ethics of Self-Interest: Narrative Logic in Huckleberry Finn, Available at: https://www.jstor.org/stable/3044730, JSTOR.org [Accessed 27.06.2024] Oxford Reference (n.d.), coming-of-age-novel, Oxford University Press, Available at: https://www.oxfordreference.com/display/10.1093/oi/authority.2011080309562 6688 [Accessed 28.08.2024] ThoughtCo (2019), “Huckleberry Finn” Takes an Uncompromising Look at Slavery, Available at https://www.thoughtco.com/mark-twain-about-slavery-in- huckfinn-740149 [Accessed 27.06.2024] Literature Felten, E. (2011), Loyalty: The Vexing Virtue, Simon and Schuster Fludernik, M. (2009), An Introduction to Narratology, Routledge Freud, S., (1927), The Ego and the Id, Digital Edition 2013 Academic Papers  20 Abbott, P. (2002), The Cambridge Introduction to Narrative, Cambridge University Press Arnita, U.D., (2020), The Adventure of Main Character in Stevenson’s Kidnapped, undergraduate thesis, English Department, Faculty of Cultural Sciences, Hasanuddin University Di Frances, C.D. (2015), “Weary for the Heather and the Deer” L R.L. Stevenson Depicts the Scottish Diasporic Experience, International review of Scottish Studies Higgins, D.G., (2015), Robert Louis Stevenson within Imperial Precincts: A Study of Literary Boundaries and Marginalised Voices, PhD Thesis, University of Glasgow Hubbard, T. (2013), Mark Twain and Scotland, Scottish Affairs, no.82, Edinburgh University Press Liprini, L. (2011), The Moral Problematic as a Recurring Theme in Robert Louis Stevenson’s Novels: The Master of Ballantrae and Kidnapped, B.A. Thesis, University of Iceland, Faculty of Humanities McGlynn, A.S., (1991), It Looks Like a Lamplit Vicious Fairy Land Behind Me: Robert Louis Stevenson and Scotland, M.A. Thesis, Durham University McLynn, F.J. (1962), Issues and Motives in the Jacobite Rising of 1745, The Eighteenth Century, vol.23, no.2 Noe, J.M. (1998), The interplay of structure and event in narrative: A textual analysis of “The Adventures of Huckleberry Finn”, The University of Texas at Arlington Parker, R.D., (2020), How to Interpret literature: Critical Theory for Literary and Cultural Studies, 4th ed., New York: Oxford University Press  21 Preston, M.E., (1997), Homodiegetic Narration: reliability, self-consciousness, ideology, and ethics, M.A., The Ohio State University Robbins, R., Robbins, S. and Harrell, W., (2020), Relationship Resonances in the Learning Process as Found in Stevenson’s Kidnapped and the Cherokee Story, The Gambler, Study and Scrutiny: Research in Young Adult Literature Sigfúsdóttir, T.A., (2017), A Zigzag of Contradictions: Manifestations of Duality in Robert Louis Stevenson’s Kidnapped, Lewis Grassic Gibbon’s Sunset Song, and Irvine Welsh’s Trainspotting, M.A. Thesis, University of Iceland, Faculty of Humanities Thomsen, M.R., Kjældgaard, L.H., Møller, L., Ringgaard, D., Rösing, L.M., and Simonsen, P., (2017), Literature: An Introduction to Theory and Analysis, Bloomsbury Academic Zhang, W., 2016, Huckleberry Finn’s “I’ll go to hell”, Faculty of English, Zhejiang Yuexiu University of Foreign Languages, Shaoxing, China