Winnie-the-Pooh (2) Characters, major themes and linguistic features The Characters Christopher Robin the ideal ‘parent’ to Pooh plays at being responsible organizational skills (solves his friends’ problems) clever, compassionate and brave but also playful and lazy (likes doing nothing) all the Pooh stories end when he is six and has to start school Winnie-the-Pooh takes its name from a bear that the London Zoo bought from Winnipeg (>Winnie)... ... and from a Swan Christopher Robin called ‘Pooh’ Winnie-the-Pooh has the virtues but also the faults of real children lovely and always ready to help... ... but also greedy (it’s always time for ‘a little something’) ... and self-centred (he believes that what is good for him will be good for others too (e.g. on Eeyore’s birthday) humble (he says he’s a ‘Bear of Very Little Brain) and yet a competent writer of light verse and ‘hums’ Piglet Piglet is tiny, shy and very fearful ... but also proud about his supposedly grand family ties: he claims that the sign ‘Trespassers W’ signals his grandfather’s property (‘Trespassers Will); contrast to Pooh’s modesty (someone else’s name on his house door: Sanders) Eeyore Like an old, self-centred and hypochondriac relative self-pitying, melancholic and always sulky cynical wit, adult-like speech: “Somebody must have taken [my tail]. How like them!”; “Good morning, Pooh Bear [...]. If it is a good morning [...], which I doubt”; “All except me, as Usual” Kanga and Roo Roo is the smallest animal in the forest, but he is completely fearless and cheerful Kanga: the only fully adult character... ... and the only female character! a fussy mother, always worried about Roo’s safety Owl and Rabbit they are not based on the toys of Milne’s son but on animals (>fables) Owl: pedantic father, the representation of useless adults’ didacticism Owl: preposterous language, exaggerated and often blatantly incorrect: “HIPY PAPY BTHUTHDTH” Rabbit: bossy and interested in the small and trivial details of life Nonsense in Winnie the Pooh Every humorous situation in the book is reached by the logic of nonsense: the logical pursuit of an idea to the point of absurdity e.g. Pooh and Piglet think they’re tracking the Woozle but are in fact following their own footprints: Nonsense as false reasoning: When Pooh and Piglet want to catch the Heffalump, they dig a trap and are sure the Heffalump will fall into the ‘Very Deep Pit’ because he will be looking at the sky and wondering if it will rain: “Piglet said that this was a very good Trap, but supposing it were raining already? Pooh [...] said that, if it were raining already, the Heffalump would be looking at the sky wondering if it would clear up, and so he wouldn’t see the Very Deep Pit” Winnie the Pooh and identity Although critics tend to dismiss the Pooh stories as stories for children, we find some Alice-like crisis in the characters’ identity. People and object change their shape or function somewhat unpredictably: Pooh decides to turn himself into a cloud Pooh’s legs are used as a towel-horse in Rabbit’s house Eeyore’s tail is used as a bell by Owl Piglet pretends to be Kanga, and cannot get his name back Differences with Alice The narrator’s attitude is more detached and cool, the space is more protected. No verbal attacks, but just ‘silliness’ and amicable behaviour The tea-parties: Children’s language Winnie-the-Pooh shows features that are typical of children’s language: difficulties with long words and spelling: expotition > expedition; Crustimoney Proseedcake > Customary procedure play with words: “Help, help, a Heffalump ... A Horrible Heffalump!... a Herrible Heffalump! ... Holl, Holl, a Hoffable Hellerump!” Children’s language the use of capital letters is particularly important: e.g. “a Very Useful Pot”, “a Bear of Very Little Brain”. Piglet: “It’s a little Anxious ... to be a Very Small Animal Entirely Surrounded by Water” the capitalized nouns are names for definite categories (ontological units) for children, words are things: they pick up and re- use phrases even if they don’t fully grasp their meaning If in Wonderland language creates reality, in the garden there is a safer play with childish language Text and Illustrations each verse (graphic unit) mimicks a branch of the tree; this makes it difficult to read for the reader, and thus the text reproduces Pooh’s effort as he climbs up the tree Text and Illustrations When Piglet is in Kanga’s pocket (Ch. 7): this take “If is shall really to flying I never it.” Text and Illustrations Shepard’s illustrations are more cartoon-like than Tenniel’s. He uses pictures in series and energetic illustrations that recall comic strips Space: the Map At the beginning of the book, the map sets the reader in an Edenic space: no large human constructions harmony with nature static and ‘paratactical’ world the map is typical of adventure books: e.g. Treasure Island but Milne’s map is non-sequential and open to multiple readings/interpretations encourages a ‘poetic’ use of possible explanatory narratives the map becomes a kind of reference for the child reader, helping him or her not only to locate the setting of the stories, but also to remember the stories themselves: Christopher Robin as ‘surveying’ and as ‘explorer’ The self-centred child: “drawn by me and Mr Shepard helpd” the map in Winnie-the-Pooh depicts a space for enclosure and ‘safe’ play or adventures: the space of the garden is not threatening, and the map grants the child some mastery over it although in the book there are some hints at objects or animals changing their function (e.g. Eeyore’s tail used as a bell, or Pooh’s legs as towel-horse), there is no serious disruption of the laws of physics Pooh today 1961: Disney buys all the rights for the Pooh stories 1977: first Pooh animated film: from Winnie-the-Pooh to Pooh’s ‘Adventures’ New characters: the heffalump Gopher Darby Pooh today Winnie-the-Pooh, philosophy and literary criticism: Benjamin Hoff, The Tao of Pooh (1982) John T. Williams, Pooh and the Philosophers (1995). Subtitle: In Which It Is Shown that All of Western Philosophy is Merely a Preamble to Winnie-the-Pooh. Frederick Crews, The Pooh Perplex (1963) and Postmodern Pooh (2001): parody of literary criticism applied to Milne’s book. Some examples of titles from the fictitious essays in Crews’ books: “A.A. Milne’s Honey-Balloon-Pit-Gun-Tail- Bathtubcomplex”; “The Fissured Subtext:Historical Problematics, the Absolute Cause, Transcoded Contradictions, and Late-Capitalist Metanarrative (in Pooh)”.