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Copy of "The Story of The Good Little Boy"

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Annie Smith

on 14 February 2018

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Transcript of Copy of "The Story of The Good Little Boy"

"The Story of The Good Little Boy"
"The Story of The Bad Little Boy"
Mark Twain's Satire on the
"American Dream"

Author's Purpose
"The Story of The Good Little Boy"
Figurative Language: In "The Story of The Good Little Boy," Twain uses figurative language to compare two things together.
This is specifically shown when the narrator is comparing the way the dogs are attached.
For example "... the fragments of those fifteen dogs stringing after him like the tail of a kite."
Foreshadowing: In "The Story of The Good Little Boy," Mark Twain uses foreshadowing to make the reader infer what is going to happen to Jacob Blivens when he attempts at doing good things
This is shown when the narrator describes to us how much Jacob wants to be in the Sunday school books and it tells us his thoughts and how he feels about the gold little boys.
Literary Devices
"This good little boy read all the Sunday-school books; they were his greatest delight... Jacob had a noble ambition to be put in a Sunday school book. "
Irony: In "The Story of The Good Little Boy," Twain uses the literary device irony to show that nothing is going right for Jacob like he planned for it to. Mark Twain wants this to stand out to the reader so we will recognize this is intentional.
This is shown when the narrator talks about nothing going right for Jacob like the boys in the books.
"But somehow nothing ever went right with the good little boy; nothing ever turned out with him the way it turned out with the good little boys in the books."
With these two stories Mark Twain wanted to satirize and show a comparison of the popular Sunday School books of his time, stories that were meant to tell a
specific tale that would give girls and boys the
impression that if you did good things in the world
you would be rewarded and if you did bad things
you would be punished.
"The Story of the Bad Little Boy"
Literary Devices
"The good little boy who always obeyed his mother, and never told an untruth, and who was infatuated with Sunday school," (Twain 3).

"Boats with bad boy and books in them always upset a Sunday," (Twain 3).
The story of young Jacob Blivens who tries to do everything that is right and true so that he will be rewarded like the good little children in his Sunday School stories.
"Being good does not mean you will be rewarded for your actions in life."
The story of young Jim who is mean and naughty and does only bad things, but is never punished in life for them.
"Being bad does not mean you will be punished for your actions/choices in life."
Mark Twain lived during the latter half of the nineteenth century, an era marked by sweeping social, economic, and political changes. The Industrial Revolution had firmly taken hold of the political economy, and the forces of specialization, mechanization, standardization, and centralization soon revolutionized the business landscape. Americans tended to welcome the technological changes that improved the general public’s quality of life, such as the improvements in transportation and communication. These changes, however, also irrevocably altered social connections.
Family, community, and small business relationships were often weakened by the centralization and division of labor, while the growing tension between labor and management sharpened class divisions. It was during this era in America, which Mark Twain coined “The Gilded Age,” that vast wealth became attainable through the rise of big business. Notions of a just price and usury were long gone from the market, and cutthroat competition set new precedents for wage and labor conditions. Workers came to be seen as just another type of capital. In this context, where underpaid workers slaved away while the owners of the growing industries prospered, the myth of the American dream still persisted. Models of fame and fortune were held out for all to achieve, but very few succeeded.
In “The Story of the Good Little Boy Who Did Not Prosper,” first published in 1870 in The Galaxy, Mark Twain illustrates what many Americans before and since have discovered: doing everything “right” does not necessarily lead to success. The Puritan work ethic, which associates economic achievement with morality, is an ideological cornerstone in America. The moral principle of industriousness may be a worthy one, and it certainly is more productive than idleness, but its exaltation in American economic rhetoric has been at the expense of acknowledging other significant variables such as social networking, class privileges, education, capital, and luck.

The clash of idealism with cynicism regarding the true potential for success in America continues to play out in political and economic dialogues today. The vision of a land of unlimited opportunities, where any moral, hard-working individual ought to be able to make it, persists. Through the story of a little boy who is both good and industrious but does not succeed, Mark Twain simply and eloquently expresses the shortcomings of this vision. By exposing the great American dream as a myth, Twain speaks not only for his own age but for every person who has failed to attain prosperity in America.
Aqua fortis

The Myth of the American Dream

Thus perished the good little boy who did the best he could, but didn’t come out according to the books. Every boy who ever did as he did prospered except him.
His case is remarkable. It will probably never be accounted for.

With these words, Mark Twain closes “The Story of the Good Little Boy.” His satirical vignette captures the hope offered by the American dream as well as the disillusionment that comes when that dream fails. It serves as a counterpoint to the prolific rags-to-riches stories written by his contemporary, Horatio Alger. The great American dream to Alger is the great American myth to Twain: the paradigm that a good person who works hard can find success. Twain’s literary voice is a celebrated American personality. His localism and witty pragmatism lend a good-natured ironic tone that softens the impact of his criticism of society.
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