The Development of Huck's Character

Each episode adds a layer of understanding to huck's handstal and lesson processes. For example, encounter with the Duke and the Dauphin begins with keen sympathy on the part of Jim and Huck with the depths to which the royalty keep digest fallen. This explains all the "majestying" that goes on until the royals' concern with other people's money, Jim's slave status, and a reward for turning Jim over to the authorities leads Huck to shut down that the king and the duke are frauds (Twain 369). The key maculation is that Huck learns to key out the serious implications of moral fraud, just as he tacit the physical dangers associated with remaining under Pap's care.

By the time Huck gets involved with Tom Sawyer in the project of spillage Jim once and for all, he has developed something like a consciousness of moral complexity. He is initially morally confused by the fact that Tom "was actuly going to help steal that jigaboo out of slavery. . . . Here was a boy that was respectable, and well brung up. . . . It was outrageous, and I knowed I ought to just up and tell him so" (Twain 413). at that place is comic irony in this escape episode in the fact that Jim has already been freed, but of course Twain's real point is that the outrage is slavery itself and that in his inno

cence Huck is parroting--and having a moral crisis over--received cultural wisdom intimately slavery.

The trap, which Fiedler refers to as limited choices, that Huck encounters in his many adventures is bigger than the existential choice between boyhood and adulthood, for the context of Huck's personal growth is the environment of the Mississippi River, which can be interpreted as the environment of American culture more generally.

Huck's drift downriver, as a mode of escape with Jim from the troubles on shore, turns out to be a boyish fantasy that collides with the harsh realities of con men and evangelists, actors and cruel law officers, and, indeed, the conventional reality of life in the ante-bellum American middle class, where Aunts Polly and Sally and Miss Watson and the Widow Douglas reside, alone culpable in their quiet and proper way in the culture of the peculiar institution. The collision of fantasy with reality and the confusion and moral analysis that engage Huck in his assorted adventures point in the direction of moral surmisal, symbolized by the river and contained by an America developing in the years that slavery as a cultural institution was losing its credibility. This landscape of moral possibility is articulated in Tom Sawyer's idea for freeing Jim, in order to raft downstream "and have adventures plumb to the rim of the river, and then tell him about his being free, and take him back up home on a steamboat, in style, and abide him for his lost time, and . . . get out all the niggers around, and have them dance him into town with a . .. brass band" (449). Huck's response to Tom's idea, from the stead of Jim's being formally freed, is that things turned out "about as well the way it was" (Twain 449). But like Tom, Huck sees the purifying potential of the drift downriver, which itself is a plea for social justice, with the river the container of moral possibility.

Within the text of Huckleberry Finn, Huck escapes the moral haz
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