After that time, his work takes on a much darker hue. Twain was, however, always more than simply a comic entertainer, and it should be remembered that as early as The Innocents Abroadhe responds to human error, on occasion, with quick satiric thrusts that remind one of eighteenth century English satirist Jonathan Swift.
Sloane's Mark Twain's Humor: Critical Essaysone question leaps to mind: The heart of this anthology comprises well known, readily accessible critical works by Walter Blair, Edgar M. Some less available nineteenth and early twentieth century material and the new essays written for this volume, however, will be useful additions to school and public libraries, despite the volume's repetitiveness and somewhat confusing scope.
What is most askew about Mark Twain's Humor is its title. Very little material is focused on humor but rather traces Twain's literary development and reputation.
The volume's scope includes both historic and modern criticism, tracing Twain's growth from a contemporary humorist to a major comic and social critic. But many essays are puzzling by their inclusion. Will Clemens's survey of Twain's lecture career, for example, is straightforward biography; why repeat a well established path that neither contributes new insights nor analyzes Twain's onstage material?
Another example is Shelly Fisher Fishkin's succinct study of Twain and African-Americans, again more historical than critical, and miscast here, as humor is not within the essay's focus. Other misplaced articles include a miscellany of Twain anecdotes from the Ladies' Home Journal humorous but hardly critical and reprinting nearly the entire text of "To A Person Sitting in the Darkness" followed by comments critical of Twain's politics, not his humor.
The volume is strongest when it is on target, despite its reliance on previously published sources. Mark Twain's Humor begins with Edgar Branch's examination of Twain's development from "Ben Coon's Narrative" under the influence of Artemus Ward when the young Sam Clemens expressed his first doubts about pursuing a career as a humorist and Pascal Covici's summation of Clemens's realism drawn from Southwest Humor.
Covici's essay, along with Louis Budd's insights from his Mark Twain: Social Philosopher both originally published in remain especially useful despite their age, as no work has superseded their analyses.
Sloane's organization here is confusing, as his own "Toward the Novel" should logically precede Budd's essay primarily discussing The Gilded Age. Brown and "Buck Fanshaw's Funeral.
Others, such as the reviews from The Athenaeum and Blackwood's could have been judiciously edited to remove superfluous reviewer attitudes about humor in general rather than Twain in particular. One example that seemed more digression than on target is Rufus A.
Coleman's "Trowbridge and Clemens," only half of which is relevant for readers interested in Twain. More useful are Edward Foster's and James M. Clyde Grimm's American Quarterly remarks on An American Claimant are also typical of the better essays, fusing history with analysis of Twain's use of humor.
Many of the reprinted critics, such as Franklin Rogers, both discuss Twain's work and the flow of critical thought in the twentieth century, putting into perspective both Twain's literary reputation and re-evaluating critical responses.
Sloane's insightful introduction, for example, notes how Twain's later often self-indulgent works, not intended for publication, have been given exaggerated emphasis by critics and a "hungry public" eager for new material to dissect.
Other essays are notable for their discussion of Twain's place in literary history. Archibald Henderson's dated survey of Twain's international reputation and Edith Wyatt's analysis of Twain's political views are only interesting given their own historical context.
Ward's comments on Twain's humor in general, along with the Academy review of Tom Sawyer Abroadare particularly pertinent critical overviews reflecting the more thoughtful responses of Twain's contemporaries and immediate critical heirs.
The volume's last five essays offer views from new critics which, along with the less familiar material, will make this a needed addition to any school and public library, particularly the discussions of Twain's late-life writings. Harris's explication of "The Man that Corrupted Hadleyburg" as a satire on then-popular fiction is instructive, and Suzanne Weil's examination of Twain's last satires explores why the humor left Twain's private texts, putting the prose he never intended to publish in a new light.Na Le English Critical History Paper Twain started out writing light humorous stories, then added rich humor, strong narratives, and social criticism, but he evolved into a chronicler of the vanities, war, tranvestism, Satan, hypocrisies, political, ethics, and stupidity and murderous acts of mankind.
Essays and criticism on Mark Twain - Critical Essays. Twain’s general reputation as one of the most admired, and possibly the most beloved, writer in America is based, in the main, upon the work.
Critical Essay- The Damned Human Race Mark Twain Order Description Twain, Mark. "The Damned Human Race." leslutinsduphoenix.com n.d.
Web. 11 May This is a 2. Mark Twain, through a heavy dose of satire, irony, and a not-so-subtle attempt at the scientific method, provides readers with an effective, but flawed, argument as to why humans are the lowest of animals in his essay The Damned Human Race. This is a college and university Critical Analysis Essay about The Damned Human Race by Mark Twain.
The essay is written in MLA citation style.
If you need a fresh copy of . But A. C. Ward's comments on Twain's humor in general, along with the Academy review of Tom Sawyer Abroad, are particularly pertinent critical overviews reflecting the more thoughtful responses of Twain's contemporaries and immediate critical heirs.