LIT 4334: The Golden Age of Children's Literature

Character Analysis of Pinocchio

It is easy to say that, although Pinocchio is not a real boy until the end of the story, he definitely resembles one inside and, for the most part, out as well. As we discussed in class, although Collodi never had children of his own, he writes Pinocchio almost with expertise in the field of boys’ behavior, as if having years of experience. What distinguishes the puppet to a real boy, besides obvious physical characteristics, is his naughtiness and foolishness. Like 99.9% of young children, Pinocchio was born (he, an enchanted wood) not knowing any manners, virtues, or morals. The entirety of the story centers on Pinocchio’s adventures throughout the many surrounding lands, and how he progressively develops good conduct and moral principles. At first we see Pinocchio as this selfish puppet character who kicks his creator Geppetto’s nose after his feet are carved, squishes a cricket who is out to help him, and sells his primer that his father bought him for school with the money he got from selling his own old coat. Much later on, after many lessons are learned from numerous fun and/or cruel adventures, we see Pinocchio’s will and determination as strong as the very wood that composes his body: such that when Pinocchio and his father, Geppetto, enter the cricket’s cottage after escaping the stomach of the shark. Here, we see a caring and compassionate Pinocchio making “a good bed of straw for old Geppetto,” and then asking the talking cricket, “‘Tell me, cricket, where can I get a cup of milk for my poor father?'” Then, not soon after, Pinocchio is working hard turning Giangio’s windlass, “Pinocchio started at once, but before he could draw the hundred buckets of water he was perspiring from head to foot. He had never worked like that before.” This was in fact true, as earlier on we see him in Busy Bee town (after being told of it by the dolphin) where he was “terribly hungry” for not having eaten “more than twenty-four hours.” Here, we see just how money and food is earned by hard work, as Pinocchio begs to many passers-by who offer him double, triple, and even quintuple the penny he is asking for, but only if he is willing to aid them in carrying their merchandise. Of course, Pinocchio refuses for he is very lazy, and ultimately agrees to a kind little woman who offers him copious amounts of food. It is evident that the Pinocchio who would turn down even five pennies–as opposed to just one–despite how hungry he is, is not even recognizable as the same Pinocchio who later cares for his father, “From that day, for over five months, he got up before dawn every morning to turn the windlass, so as to earn the cup of milk for his father,” and, “Learned how to weave baskets of reeds,” which he sold.

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Besides developing into a more determined, selfless puppet with moral values–and then ultimately turning into a real boy, Pinocchio also learns a lot about reality and its evil truths. Not only does Pinocchio experience the hardships associated with the lessons that make him into a real, good boy, but he also experiences firsthand what evils and dangers the world has to offer. His first encounter with the nastiness of people is when Pinocchio is seen, very early in the story, begging an old man who is peeping out from his window. The old man who promises Pinocchio some bread reappears with “a great kettle of water” that he pours on poor Pinocchio. Not only does Pinocchio witness lying and deceit, but also experiences harassment. His next experience with life’s evil truths occurs when Pinocchio encounters the Great Puppet Show and sees his puppet brothers and sisters. Unfortunately, it comes with a price when the Showman, Fire-eater, punishes Pinocchio for disturbing his theater by threatening to throw him into his fire–a horrible death for a little boy, wouldn’t you say? Luckily he shows pity, combined with contradicting, immediate will for manslaughter (or in this case, dealing with live puppets), then threatens to burn one of Pinocchio’s brothers, Harlequin, with the same fate–luckily exerting pity once again. Here, the young Pinocchio faces his very death in a gruesome and terrifying way, getting caught in a predicament that would surely leave a scar and an imprint upon a child’s mind for most of his or her life. Next (and most certainly not the last), Pinocchio is tricked by the fox and the cat in following them to a field where money supposedly grows into a money-bearing tree. The young and naive Pinocchio has not yet developed the ability to judge or analyze lies and deceit, so he follows through with their plan, ultimately getting mauled by the duo, which luckily has little effect on Pinocchio since he is made of wood, “Then the smaller assassin drew a horrid knife, and tried to force it between his lips, like a chisel, but Pinocchio, quick as lightning, bit off his hand and spat it out.” Such series of events would be horrific upon a human child. A knife would sure rupture the child’s lips and possibly lead to death. When the assassins catch Pinocchio once again, they hang him on a branch of a big oak tree, which would surely kill a human child almost instantly. It is with this that Pinocchio develops understanding of life’s true and vivid evils that exist within the world. He learns, at least in part, to arise suspicions as to prevent such a similar situation from happening again. Near the end of the book, we see Pinocchio encountering the fox and the cat yet again, only this time he sees right through them,

“‘Oh, Pinocchio,’ sobbed the fox, ‘give something to two poor invalids.’

‘Invalids,’ repeated the cat.

‘Good-bye, scoundrels!’ answered the puppet. ‘You cheated me once, but you never will again.'”

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Pinocchio: Lost in Translation?

In this week’s class, the reading of Pinocchio brought up a discussion of translations of literature, and of the problems that arise therein. I think that this issue is an incredibly important and complex one, and that so some degree, it is under-considered – especially in the Children’s Lit canon. While there are some obvious issues that present themselves  (for example, the shark or whale debate in Pinocchio), other, less tangible meanings are “lost in translation.”

 

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One of the things that I think is the most important to talk about in this discussion and one of the most difficult to quantify is the subtle connotations and cultural affixations of words that, necessarily, are lost when a work is translated. Even for bilingual individuals, who have an intricate understanding of both languages, conveying the meaning of a word from one language to the next is often difficult or even impossible. By extension, even a translator fluent in both the language of the original text and the language of the translation will have to make some linguistic sacrifices.

Another translational issue that often arises in literature is the loss of word play and other poetic devices. If, for example, an author has used alliteration, it is likely very difficult for that alliteration to be replicated post-translation. Puns are similarly difficult to translate, because homonyms and spelling differ, of course, from language to language. While these discrepancies do not generally alter the story or plot, they do change the tone of the text – and often the perceived intention of the author as well.

In Pinocchio, many of these translation problems are revealed and implemented. Although I am not fluent in Italian, I am certain that a person who was would read the original text and the English translation as somewhat discrepant from one another. While it is likely that these issues are not tremendously problematic for the overall story, as literature scholars we must consider them with the gravity that they deserve.Image

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Pinocchio’s Existential Crisis

When the class was informed that Carlo Collodi’s original ending to his classic children’s tale involved the death of Pinocchio, sans resurrection, I believe I heard a subtle, yet collective gasp under the breath of everyone present. We had all grown up on the somewhat scarring Disney version of the children’s tale, but upon reading Collodi’s version, were faced with many inconsistencies that threw us off the image we could all conjure by memory. Pinocchio dying and never having the chance to be reincarnated as a fleshy human child–it’s absurd to think that Italian children everywhere were almost subjected to such an unsettling idea.

Pinocchio’s sardonic wit and dark humor is already hard enough for children to swallow, but the thought of introducing a main character that dies (and isn’t transformed into something religiously or morally symbolic). Pinocchio’s death would’ve been the ultimate sucker punch to the Italian children. It may have had a greater impact influencing children to obey their parents and resist running away from home, but undoubtedly there would be an epidemic of juvenile anxiety disorders.

Collodi, rather, focused on the satire and the farce within the story, avoided the sentimentality that Disney painted over the story with. It seems, then, that Glauco Cambon’s essay on Pinocchio holds true to the fact the Collodi’s tale may not be as appropriate for children as we like to think it is. Pinocchio is an unscrupulous renegade, ready to chase after his most visceral desires–at any cost. He is both at the command and mercy of his pleasures. Cambon recognizes that beneath the surface of Pinocchio, Collodi inserted political and philosophical satire. Perhaps originally, Pinocchio was so overwhelmed with nihilistic angst and existential grief, that Collodi had no other choice but to have him die (again, not to “kid friendly,” in my opinion).

Since the ending was changed, and Pinocchio survives and becomes a real boy, I guess we’ll never know.

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Pinocchio: Collodi’s Guide to a Unified Italy

The author of The Adventures of Pinocchio, Carlo Collodi, was an Italian soldier who fought in the War for Unification for 1870. After Italy was established as a singular political nation, Collodi strived to connect the people culturally, too. The Adventures of Pinocchio provides examples of how Collodi instructs his readers on how to unify the country. Some key aspects of bringing together a people are education and hard work. Each of these ideas plays a central role in the novel and provides a background on how Collodi wants to consolidate the Italian people.

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The importance of education is present throughout Pinocchio. At the time when the book was written, only privileged Italian children attended schooling. However, when the War was ended, public education was established. Collodi fought for this right and believed that education for all was necessary to unify the nation. In the novel, the importance of going to school is very prevalent. Pinocchio, like many children, does not want to study; he would rather eat and play all day. Each of Pinocchio’s parental figures, the cricket, Geppetto, and the fairy, stress the need for children to receive an education. Finally, after many trials and tribulations, Pinocchio learns to read and write on his own and eventually becomes a good little boy. In my opinion, the continuous appearance of education is Collodi’s way of guiding Italy towards unification.

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Another idea that is discussed throughout the book is the notion of hard work and success. The fairy warns Pinocchio, “Remember that every man, rich or poor, must find something to do in this world; everybody must work. Woe to those who lead idle lives! Idleness is a dreadful disease.” (p. 148) If a nation is to be successful, its citizens must be willing to work hard and make a living. Collodi understands that Italy cannot prosper unless people earn money and bolster the economy. Throughout the course of the story, Pinocchio repeatedly refuses to do work. In each instance, he remains hungry and weak. After finally seeing the light, Pinocchio devotes his life to physical labor in order to provide the basic needs to Geppetto and himself. As a result of his hard work, he is greatly rewarded. Like public education, Collodi uses the notion of hard work to show the Italian people how to become a successful nation.

This site also discusses the importance of education to Collodi and its presence in his novel.

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The Princess and the Puppet: Contrasts in Presentation

            

In both The Princess and the Goblin and The Adventure of Pinocchio, the authors present the audience with moral lessons and values. These lessons, sometimes subtle and sometimes not, and are designed to instruct and develop children into responsible and respectable adults. While both MacDonald and Collodi present these lessons, one big difference in these stories is the method of delivery; the polite and courageous Irene and Curdie stand in stark contrast to the frustratingly mischievous Pinocchio in providing examples to children. MacDonald presents the reader with Curdie and Irene, both excellent examples of nobility, honor, courage and humility to stress these values and to teach the audience his moral lessons. Collodi on the other hand gives the audience Pinocchio, the character who teaches us everything not to do while stumbling from bad decision to bad decision. While the development is more evident when the character starts with a lack of virtue – as Pinocchio clearly did – both strategies can yield the desired effect of teaching kids how to be good. Both authors tie in the lessons to their stories and both stories have a relatively clear moral imperative that is rather accessible and clear. The dueling delivery styles are not mutually exclusive however, as The Princess and the Goblin showed with characters like Harelip and the Goblin Queen and as The Adventures of Pinocchio demonstrated with the blue-haired fairy. These characters served to create dynamic contrast between the characters; whether to highlight the virtuous Princess Irene and Curdie or to emphasize the failings of Pinocchio, these supporting roles were important in developing stronger protagonists and helped refine and guide them on their quests. In the end, both stories deliver potent lessons important in the development of children into adults; whether learned from the strong examples set by the characters in The Princess and the Goblin or acquired in the trials and tribulations that Collodi puts his characters through in The Adventures of Pinocchio.

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The Fairy With Azure Hair

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When Pinocchio attempts to escape from his veiled assassins, he reaches a white cottage that is answered by a girl with “azure hair and a face as white as wax.” Upon seeing the pitiful condition of Pinocchio, this fairy resuscitates the marionette and teaches him an important lesson.

Collodi describes this fairy in different ways throughout the book, but the one characteristic that prevails is her azure hair. She always has an air of beauty, mystery, and patience with her. She also shows signs of being omniscient because she knows all of Pinocchio’s actions without ever physically being with him. 

Pinocchio initially disobeys the fairy until it almost costs him his life. At this point, he listens and obeys to the fairy’s wise command to the best of his ability. However, being the young rascal he is, Pinocchio always ends up in trouble for not completely obeying the fairy’s words. She can be thus seen as a maternal figure, although she initially tells him that they will be like siblings.

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Interestingly, there are no passages about the fairy’s interactions with any other character than Pinocchio. She states that she has called for Geppetto to live with him, but we never read of her actually talking to Geppetto. Also, the Talking Cricket claims a goat with azure hair gave him the cottage by the sea, but we never see this occurring either. This leads to the idea that maybe the azure fairy is similar to the great grandmother in The Princess and the Goblin because she does not appear openly to everyone. Instead, she gives advice to Pinocchio and watches him from afar. 

From the outset, Collodi describes the fairy with endearing terms, making her appear to be a heartwarming, motherly figure who watches over Pinocchio as a mother hen watches her chicks. She shows him patience and forgives him repeatedly, while also making him learn a valuable lesson each time. She could be closely tied to a religious aspect because she teaches him about important morals in life that Pinocchio must learn to become a “real”  boy. When he finally obeys her commands and lives up to his responsibilities at the end of the book, she grants him riches, his father youth, and magically changes him into a real boy. This is similar to the idea that following the Christian path will make one happy, spiritually rich, and ultimately give them an afterlife.

Thus, this fairy with azure hair is necessary to help Pinocchio grow into a mature boy. With her direction, Pinocchio changes himself from a reckless, rash boy into a responsible boy who can provide for his family. Although Pinocchio has Geppetto as a father, it is the fairy who teaches Pinocchio all of the important life lessons. When he shows his selfless attitude in the final chapter of Pinocchio by giving his fifty pennies to the snail for saving the fairy’s life, she grants him the greatest gift of being a real human boy.

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The Ultimate Puppet

Within Carlo Collodi’s The Adventures of Pinocchio we encounter a wooden marionette, which has been carved to resemble that of a young boy.  This puppet goes by the name Pinocchio and was carved by Gepetto out of magical wood.  Since Gepetto is who gives Pinocchio a “body” which allows him to become animated and he can move and speak all by himself now.  Thus, it is established that Gepetto is now Pinocchio’s father.  Pinocchio is not the marionette that Gepetto had originally hoped to create but instead becomes more like a naughty little boy.  Therefore, his hopes for a source of income quickly become something he is financially dependent for.

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There are many takes on what the purpose of Pinocchio is.  Most of the time it is believed to be a cautionary tale to warn children, especially boys, what can happen when one is naughty.  The fact that there are no girls or women within the text, except for the Blue Fairy who holds a very different role.  This coupled with other elements within the story have given some psychoanalysts the idea that this novel is very Freudian and we see the Oedipus Complex portrayed through Pinocchio.  Some critics believe that the lack of girls/women, and the “phallic” nose directly reference the underlying homosexuality within the text.  Contrary to this idea is that many of the Italian critics seemed very anti-Freudian and they decidedly ignore the “phallic nose” and instead focus on the idea of “the innocence of childhood and by the immaculacy of the Virgin Madonna-Fairy-Godmother” (Stone, Pinocchio and Pinocchiology).

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I, however, am more apt to agree with the psychologist view of the story of Pinocchio and his father, which states that, “and see the real good boy as the puppet” (Stone, Pinocchio and Pinocchiology).  Pinocchio while a marionette is his own person.  He makes mistakes and tries to do what he is told.  However, to be changed into a real life, flesh, breathing young boy he must obey all that he is instructed to do.   He must conform to all of the instructions he is given by Gepetto, the Blue Fairy, and the other adults he encounters. Thus, by achieving his wish to be a real boy he sacrifices all his abilities for free thinking actions.

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Source: STONE, JENNIFER, Pinocchio and Pinocchiology, American Imago, 51:3 (1994:Fall) pages 329-331

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Parental Love in “Pinocchio”

Pinocchio misbehaves in every way conceivable for a nineteenth century Italian child: he runs away constantly, lies, and disobeys every command. Yet despite his persistent naughtiness and forgotten repentances, Pinocchio somehow manages to retain the unconditional love of both of his parental figures. Geppetto and the Blue Fairy save and forgive him for every misdeed, despite his repeated disobedience. Their perfect parental love strains belief, even for a fairy-tale-like story.

"I'm going to give up my whole life for you!"

“I’m going to give up my whole life for you!”

The Blue Fairy’s magical powers and angelic resurrection seem to explain her capacity for ceaseless love, but Geppetto is a poor, common man. Geppetto’s sacrificial love continues to strain belief especially after the reader considers the timeline of the tale. Geppetto carves Pinocchio, who immediately runs away and Geppetto is taken to jail. Geppetto returns the next day, forgetting his initial anger when he sees Pinocchio’s burned feet, and giving Pinocchio his pears. In what seems to be the same day, Geppetto sells his coat to buy Pinocchio a primer. The next day – two days after Pinocchio’s creation – Pinocchio runs off and begins his adventure that keeps him from Geppetto for two years.

"We hung out once two years ago - boo hoo hoo".

“We hung out one time two years ago – boo hoo hoo”.

Even disregarding Pinocchio’s odd genesis, Geppetto displays a remarkable amount of self-sacrifice for a creature he has only briefly known. He gives up his food and his coat, but also seems to have given up his temper. Geppetto gets in a scuffle in the second chapter, and is jailed in the third because the policeman believes Geppetto is “a perfect tyrant with children” and believes Geppetto will “tear [Pinocchio] to pieces” if left alone with him (17-18).

Fatherhood has transformed Geppetto. Here, Collodi represents parental love as totally innate – all that is required is the appearance of a child. Geppetto needs no experience, nor a wife, to immediately know what is best for Pinocchio.

Parenting is easy!

Parenting is easy!

Geppetto lovingly names him Pinocchio to “bring him good luck,” but the puppet begins abusing him before his body is even fully formed: “You are not even finished and you already disobey your father!” (13, 14). Nevertheless, he continues to care for Pinocchio, even later “patient[ly]” peeling the pears to teach Pinocchio a lesson about valuing food (33). Geppetto continues to maintain love of this caliber, formed over two days, for over two years of hardship and abandonment. Such a short time period, especially one full of abuse, does not seem enough to cultivate such longstanding affection. Collodi is therefore representing parental love as not only innate, but immediate: Geppetto’s love is fully formed upon Pinocchio’s creation, and requires no reinforcement from his child. Pinocchio may choose to please his father, but parental love will withstand the greatest abuse.

However, since Pinocchio was carved into being, Geppetto directly created him. In this sense, carving the puppet is closer to the construction of the child in the womb than the usual male involvement, making Geppetto’s parental role more maternal than paternal. The Blue Fairy claims Pinocchio as her own, but she has no real involvement in his creation. Geppetto’s journey throughout the book also seems more traditionally feminine – he is self-sacrificial, then abandoned, then suffers alone, but is finally rescued and cared for.

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The Good Fairy- Character Analysis

When Pinocchio first comes across the fairy in chapter 11, she is described as a little girl with “azure hair and a face as white as wax.”  She is not only an object of beauty, but she is kind, patient, forgiving, and maternal.  She is also quite mysterious.  She has no name, and is only ever referred to as “the fairy.”  At various points in the story she is supposedly dead, only to be resurrected later on with little to no explanation.

    

The fairy interacts only with Pinocchio and her animal servants throughout the course of the novel.  She is the master of the animals.  With a clap of her hands falcons, poodles, and snails appear to do her bidding.  These animals act as agents in her plans to help Pinocchio.  They rescue him from hanging in oak trees and let him back into the house after he has been gone for months and thrown in jail.  In her interactions with the animals, the fairy is kind but in command.

In her interactions with Pinocchio, the fairy is still very kind, but she has no absolute dominion over him.  Throughout the story, her objective is to guide Pinocchio on the path of being a good, well-behaved boy.  She attempts to instill this in him in two ways.  She uses the straight forward approach of telling it like it is.  For example, when Pinocchio refuses to take the medicine because of its bitter taste, she warns him that he must take it, or else he will die.  There is no sugar coating of the subject.  This approach shows her trust in Pinocchio to be able to handle certain things if only given the chance.  However, sometimes this trust is ill-placed and Pinocchio does not live up to her expectations.  In these instances, she employs the if/then approach.  For example, if Pinocchio takes his medicine, then he can have the sugar and if Pinocchio helps her carry the jugs of water, then he can have something to eat. This if/then mantra can be seen in her overall message to Pinocchio- if you behave like a good boy and go to school and obey your elders and don’t tell lies, then you will become a real boy.  This approach is a bit more silver-spoon, a little more patronizing than the tell it like it is approach.

The most prevalent characteristic in the fairy’s interactions with Pinocchio is her immense capability for forgiveness.  Time and time again, Pinocchio runs off, abandoning the fairy and his responsibilities in favor of adventure, fun, and leisure.  And yet, every time he returns and shows remorse, she is there ready to forgive him and welcome him back with open arms.  When Pinocchio arrives back at the cottage in the woods after his misadventures with the cat and the fox, he is extremely upset when he finds that the fairy has died.  He feels guilt after all of the good things she did for him even though he was so undeserving and is incredibly remorseful that he was in no way able to repay her love. It is this remorse, this deep emotion that he feels for her that reveals her to him in the Land of the Busy Bees.  When he returns to her house after running off for the second time, she is again forgiving, providing him with a sofa to lie on and regain his strength.  As far as the fairy is concerned, Pinocchio never runs out of chances, so long as he is remorseful.

The fairy’s main role in the novel is that of the mother figure.  She is the only female in the entire book and therefore takes on all of the maternal and feminine qualities.  She cares for Pinocchio when he is sick,  looks out for his future by motivating him to go to school and take it seriously, and loves him unconditionally, no matter how many times he makes the same mistake.  For the reader, she is a reminder that we too must be patient with Pinocchio, even when he is at his most frustrating.

Without the guiding, maternal character of the Fairy, Pinocchio would have been left to his own devices and inclinations.  He would have carried on with the laziness and sloth-like lifestyle of characters such as Lampwick, and he probably would have suffered a similar, sad fate.  The Fairy acts as his saving grace.  She is always there to pick him up and dust him off before setting him on the right path once again.

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Pinocchio the Jackass

Symbolism of the Donkey

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Collodi’s version of Pinocchio is an obvious attempt to teach young boys, or children in general, how to be good, but the severe punishments are atypical to techniques used in many other children’s literature stories of the time. One particular punishment Pinocchio endures that puzzled me was his transformation into a donkey. Why a donkey? Why did the author choose this animal over others? What traits or characteristics does the donkey possess that would parallel the wrongs of the boys?

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In Italy, where the original tale was written, the donkey symbolized stupidity or lack of use of the brain. Depicted in the tale as well as the most recent Disney adaptation, the place where children go to escape is intended to bring out idiotic behaviors or to “make jackasses out of the boys.” In the tale, the children literally turn into jackasses (another name for donkey) when they reach a certain level of stupidity or when enough time has passed so that it is unlikely the children will ever recommit to their studies.

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Donkeys also can depict laziness, which mirrors the boy’s actions in this chapter of the story. In this case, the donkey symbolizes the desire to not do anything productive but to spend time playing and avoiding responsibilities.

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In the 1940 Disney film, you can see the degree to which the “curse” transforms the boys due to level of idiocy, mischievous behaviors, or the level of inherent “jackassness” depicted by the individual. The boys who were not as ill mannered kept their voices for longer or transformed at a later date all together. Those who were good in their heart and core were unaffected, such as the cricket in the Disney film whom spent a long period of time in the play land but was not affected at all. This condition of the transformation implies that the transformation was only intended to bring out what is already underneath the surface. No jackass will be displayed if one is not already a jackass by personality (clever Collodi.)

This relates back to Collodi’s underlying impression of little boys in general: they are all jackasses at some level, but some are more than others. The transformation of boys to donkeys in Pinocchio is meant to externalize the boys’ inner character.

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