Explore the theme of escapism in Peter Pan Essay

The theme of escapism is prominent in all over a lot childrens literature. Frances Hodgson-Burnetts The Secret Garden is, like beak tear apart, an exercise of Edwardian childrens literature. Both these novels are tales of escapism from real liveness into another(prenominal) domain of a dramaction. There are also more recent casings of escapism in childrens literature. In the 1950s C. S. Lewis invented Narnia, and in pull down more recent literature, Harry Potter outpourings his everyday life to go to trail at Hogwarts. J. M.Barries asshole Pan, an early Edwardian novel, is one of the bulky classics of British childrens literature and is, on the surface, a tale around a male child who refused to recrudesce up. There is however, an underlying plot concerning a girl who must grow up. It is from this obligation that Barries Neverland sours as a form of escape. Throughout Peter Pan, there is little focus on the female characters. It is almost assumed that Wendy will gr ow up and sound a Mother, as all daughters do.Although Neverland allows Wendy to escape from her home and from the domestic world she knows, she does not escape domesticity altogether. She almost becomes mother to the Lost Boys, and is given a number of domestic duties much(prenominal) as ironing Peters shadow. However, Wendys relationship with Peter is not entirely conventional. She appears to be the circumferent thing Peter has to a girlfriend, as he rejects the sexual advances of both Tinkerbell and Tiger Lily. However, Wendy also appears to be acting as his mother, something Peter has been strip of his whole life.It is the childish energy of Barries imagination filled with such a splendid jumble of pirates, redskins, fairies and mermaids that enthrals so many children (Carpenter p172). Through this role of other peoples minds and emotions, Barrie carries them off from the real world to a country of his own invention (Carpenter p179). Barrie seems to be presenting his reade rs with a substitute trust, to act as a form of escape from the Christian teachings of the Victorian era.It has even been suggested that Peter Pan is in situation an alternative religion. Humphrey Carpenter suggests that in many respects Peter is Christ-like. Possibly the most obvious example of this is when he takes Wendy and her chums on a flight of fantasy to his own ethereal land (Carpenter p182). The Lost Boys who live there seem to represent the souls of the deceased as Peter asserts, They are the children who fall out of their prams when the nurse is spirit the other way, therefore further increasing Neverlands relation of heaven.The concept of escaping to heaven was extremely important to Barrie. He lost his brother David at a young age and subsequently spent much of his life trying to become a living version of the boy who by dying remained ever young (Wallshli ger p120). To observe Peter and pick up as the Christ and Satan of Barries religion, the reader must rese rve faith in the novel. The theme of legal notion is interesting throughout Peter Pan as the reader is, like the Darling children, constantly being asked, Do you believe? In order to fly, the Darling children must baffle faith, and think lovely wonderful thoughts, as Peters pouf dust is, in itself not enough. In turn the reader or audience must have faith and believe in the accompaniment that a child butt joint fly. Similarly, in order to escape to Neverland, a reader must have faith that there is such a place somewhere past the second star to the right and sequent on until morning. The theme of belief is peculiarly important at the end of Barries story when the darling children lose their faith and no longer believe in Peter, and so cannot see him.Though faith and belief are important in Peter Pan, the dream of escaping to another world seems to be almost self-sufficient. Barrie implies there is little need to grow up or awaken from this dream as it is in fact already fram ed by the Edwardian domesticity of the real world where wealth and relationships are important. Carpenter in fact goes further than this by asseverate that children must not grow up and claims that to visit Neverland requires an act of belief that children cannot sustain as they grow up (Carpenter p180).Peter himself seems to be of the opinion that it is only children, who can escape the drudgery of everyday life and claims, I want always to be a little boy, and to have fun. Barries adventure story and his creation of such a sorcerous hero seems to have achieved what so much childrens literature had antecedently tried to do. Peter represents the shift from the Victorian perception of the child as a moral icon to a craze for the child as a fun-loving playboy hero (Wallshli ger p111).Peter has no memory or emotion, and so can live only for the moment and experiences ecstasies that other children can never know (Wallshli ger p117). Peter is an asexual child rather than a young man. B arrie himself was also somewhat sexless, and it is doubtful whether his marriage was ever consummated. This deprivation of sexuality and romantic relationship is represented well on symbolize as Peter is often played by an actress, and is therefore viewed as an androgynous figure. Another interesting aspect of the casting of Peter Pan is that of Mr. Darling and Hook, who traditionally, are played by the same actor.This becomes particularly monumental when considering the theme of masculinity in Peter Pan. There is much turn out of male competitiveness in the novel. The most obvious example of this is Peters dual with Hook, which appears to be an assertion of masculinity by Peter. It is particularly interesting that it is Peter and the lost boys who triumph over Hook who is a mature villain. This youthful triumph acts as another form of escape for a young reader. Traditionally in Victorian society adults were in control and would have power over children.In Barries Childrens fant asy, it is youth and sexual immaturity that enable Peter to triumph over his adult rivals. It has been suggested by many critics that Peter, The boy who wouldnt grow up, is a representation of Barrie himself. Barrie was a short man and despite a moustache retained a markedly boyish look until nonagenarian age (Carpenter p173). He was in a physical respect, quite literally, a boy who couldnt grow up. This figure of a man in a childs body is undoubtedly the principle present for Peter, who is neither child nor adult (Carpenter p177).