In his Adventures of Huckleberry Finn Mark Twain

 
 
 
 
In his Adventures of Huckleberry Finn Mark Twain makes the most extensive possible use of dialect. Every word of the novel is narrated by Huck himself and every character he meets on his travels speaks in some type of regional accent, which Huck reproduces to the best of his ability. Twain employed dialects in the novel for several purposes but his three principal aims were to create a sense of authenticity, to develop a comedy of language, and to demonstrate the power of a natural spirit like Huck's to mature emotionally and to develop great artistic gifts as a narrator outside the confines of conditions society usually regards as essential to such growth.

Twain establishes the tone of the book in his two preliminary notes from the author. The first humorously warns the reader against any attempt to locate motive, moral, or plot in the narrative. The second, more seriously, advises the reader that the dialects in the book "have not been done in a haphazard fashion, or by guess-work; but pains-takingly" on the basis of his familiarity with the varieties of speech he employs (620). But this author disappears as soon as the book begins. Huck starts by addressing the audience directly, "You don't know about me, without you have read a book by the name of 'The Adventures of Tom Sawyer,' but that ain't no matter," and he allows that while Twain's book was mostly truthful it did contain some "stretchers" (623). Thus, despite his poor grammar and colloquialisms Huck immedi


     
 
 
 
    

 

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ar is weaker than Huck's. "I'm a-standing about all I can stand, now--so don't gimme no sass. I've been in town two days, and I hain't heard nothing but about you bein' rich" (644). Twain subtly develops the similarities between father and son--both, after all, prefer an unfettered life--and shows how quickly Pap's presence exerts an invisible influence over Huck by means of a subtle shift in Huck's response to this speech. Huck, who previously employed "ain't" as his negative now responds to Pap's tirade with "I hain't got no money" (645). And each time he engages in these adversarial conversations with his father small tokens of the old man's influence come through in this fashion. But if Huck clearly sees his father as the enemy he also understands that the Widow is his friend--without, however, being entirely willing to concede everything she wants from him in matters of education and behavior. Yet his willingness to engage her--no matter how comical his reflections about the Widow's "bothering about Moses, which was no kin to her, and no use to anybody, being gone"--is entirely different from his engagements with his father (626). Huck is on the defensive in both cases, but questioning the Widow's teaching clearly st

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