Human vices in the literature (on the example of the A.Milne work “Winnie the Pooh”)

 

 

Content

Introduction……………………………………………………………………...…2

Chapter 1 Aspects on the human vices

1. The notion of human vices…………………………………………………..4
2. Kinds of human vices………………………………………………………..6

Chapter 2 Human vices in the literature (on the example of the A.Milne work “Winnie the Pooh”)

2.1 Some words about A.Milne and his work “Winnie the Pooh”……..…………13

2.2 Vices of “Winnie the Pooh” characters…………………………………….…20

Conclusion………………………………………………………………………...28

Bibliography………………………………………………………………………30

Dictionnaries………………………………………………………………………32

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Introduction

The literature is that magic key that opens the door of cognition of many sphere of human knowledge. It helps us to learn some interesting facts about the history, to know more about people's life in other countries. Sometimes, while reading a book, we can analyse actions of its' characters and it helps us to draw some certain conclusion. That’s why studying foreign literature is not only interesting, but also very useful.

Children's literature is for readers and listeners up to about age twelve and is often illustrated. The term is used in senses which sometimes exclude young-adult fiction, comic books, or other genres. Books specifically for children existed by the 17th century. Scholarship on children's literature includes professional organizations, dedicated publications and university courses. Perhaps the most common definition of children's literature is those books intentionally written for children. Nancy Anderson, associate professor in the College of Education at the University of South Florida in Tampa, defines children's literature as all books written for children, "excluding works such as comic books, joke books, cartoon books, and nonfiction works that are not intended to be read from front to back, such as dictionaries, encyclopedias, and other reference material". Some of this work is also very popular among adults. Often no consensus is reached whether a given work is best categorized as adult or children's literature, and many books are marketed for both adults and children. The work by A.A.Milne is not an exception.

The aim of this work is to reveal the human vices in the work “Winnie-the-Pooh” by A.A.Milne.

The aim of the work has defined the next task:

1. To give some characteristics of human vices and their connection with literature
2. To give some information about “Winnie-the-Pooh”.
3. To reveal main human vices “Winnie-the-Pooh”.

          We have used such methods as the method of study the theoretical literature and the comparative method.

The work consists of two chapters and four points.

The theoretical value is that the work unites the theoretical knowledges about the human vices.

The practical value is that this work can be useful for students who study the English literature and for everyone who is interested in it.

The structure of the work – it contains 32 pages including Introduction, two chapters with four points, Conclusion and Bibliography.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Chapter 1 Aspects on the human vices

1.1 The notion of human vice

Human vice is a practice or a behavior or habit considered immoral, depraved, and/or degrading in the associated society. In more minor usage, vice can refer to a fault, a defect, an infirmity, or merely a bad habit. Synonyms for vice include fault, depravity, sin, iniquity, wickedness, and corruption.

The modern English term that best captures its original meaning is the word vicious, which means "full of vice". In this sense, the word vice comes from the Latin word vitium, meaning "failing or defect". Vice is the opposite of virtue.

 Depending on the country or jurisdiction, vice crimes may or may not be treated as a separate category in the criminal codes. Even in jurisdictions where vice is not explicitly delineated in the legal code, the term vice is often used in law enforcement and judicial systems as an umbrella for crimes involving activities that are considered inherently immoral, regardless of the legality or objective harm involved.

In the Sarvastivadin tradition of Buddism, there are 108 defilements, or vices, which are prohibited. These are subdivided into 10 bonds and 98 proclivities. The 10 bonds are the following:

• Absence of shame
• Absence of embarrassment
• Jealousy
• Parsimony
• Remorse
• Drowsiness
• Distraction
• Torpor
• Anger
• Concealment of wrongdoing

The Qu’ran and many other Islamic religious writings provide prohibitions against acts that are seen as immoral.

Ibn abi Dunya, a 9th-century scholar and tutor to the caliphs, described seven censures (prohibitions against vices) in his writings:

• Worldliness
• Ire
• Envy
• Slander
• Obscenity
• Intoxicants
• Instruments of pleasure

Virtues fighting vices, stained glass window (14th century) in the Niederhaslach Church.

Christians believe there are two kinds of vice:

• Vices that come from the physical organism as perverse instincts (such as lust)
• Vices that come from false idolatry in the spiritual realm

The first kind of vice, though sinful, is believed less serious than the second. Vices recognized as spiritual by Christians include blasphemy (holiness betrayed), apostasy (faith betrayed), despair (hope betrayed), hatred (love betrayed), and indifference (scripturally, a "hardened heart").

Christian theologians have reasoned that the most destructive vice equates to a certain type of pride or the complete idolatry of the self. It is argued that through this vice, which is essentially competitive, all the worst evils come into being. In Judeo-Christian creeds, it originally led to the Fall of Man, and, as a purely diabolical spiritual vice, it outweighs anything else often condemned by the Church.

The Roma Catholic Church distinguishes between vice, which is a habit inclining one to sin, and the sin itself, which is an individual morally wrong act. Note that in Roman Catholicism, the word "sin" also refers to the state that befalls one upon committing a morally wrong act. In this section, the word always means the sinful act. It is the sin, and not the vice, that deprives one of God's sanctifying grace and renders one deserving of God's punishment. Thomas Aquinas taught that "absolutely speaking, the sin surpasses the vice in wickedness".

On the other hand, even after a person's sins have been forgiven, the underlying habit (the vice) may remain. Just as vice was created in the first place by repeatedly yielding to the temptation to sin, so vice may be removed only by repeatedly resisting temptation and performing virtuous acts; the more entrenched the vice, the more time and effort needed to remove it. Saint Thomas Aquinas says that following rehabilitation and the acquisition of virtues, the vice does not persist as a habit, but rather as a mere disposition, and one that is in the process of being eliminated.

2. Human vices in literature

The poet Dante Alighieri listed the following seven deadly vices:

1. Pride or vanity — an excessive love of the self (holding the self outside of its proper position regarding God or fellows; Dante's definition was "love of self perverted to hatred and contempt for one's neighbor").

          In the Latin lists of the Seven Deadly Sins, pride is referred to as superbia. In conventional parlance, vanity is the excessive belief in one's own abilities or attractiveness to others. Prior to the 14th century it did not have such narcissistic undertones, and merely meant futility.

          The related term vainglory is now often seen as an archaic synonym for vanity, but originally meant boasting in vain, i.e. unjustified boasting; although glory is now seen as having an exclusively positive meaning, the Latin term gloria (from which it derives) roughly means boasting, and was often used as a negative criticism.

In many religions vanity, in its modern sense, is considered a form of self-idolatry, in which one rejects God for the sake of one's own image, and thereby becomes divorced from the graces of God. The stories of Lucifer, Narcissus (who gave us the term narcissism) and others attend to a pernicious aspect of vanity. Philosophically speaking, vanity may refer to a broader sense of egoism and pride. Friedrich Nietzsche wrote that "vanity is the fear of appearing original: it is thus a lack of pride, but not necessarily a lack of originality."]One of Mason Cooley's aphorisms is "Vanity well fed is benevolent. Vanity hungry is spiteful." In Christian teachings vanity is considered an example of pride, one of the seven deadly sins. This list evolved from an earlier list of eight sins, which included vainglory as a sin independent of pride.

In Orthodox church, vanity is one of eight sinful and diabolical passions, the fight against which is a major task of every Orthodox Christian.

2. Avarice (covetousness, greed) — a desire to possess more than one has need or use for (or according to Dante, "excessive love of money and power"). In the Latin lists of the Seven Deadly Sins, avarice is referred to as avaritia. Avarice like lust and gluttony - is a sin of excess. Avarice is inappropriate expectation. However, greed is applied to a very excessive or rapacious desire and pursuit of wealth, status, and power.

As a secular psychological concept, greed is an inordinate desire to acquire or possess more than one needs or deserves, especially with respect to material wealth.

Thomas Aqunas wrote that greed was "a sin against God, just as all mortal sins, in as much as man condemns things eternal for the sake of temporal things." In Dante's Purgatory, the avaracious penitents were bound and laid face down on the ground for having concentrated too much on earthly thoughts. ("Avarice" is more of a blanket term that can describe many other examples of greedy behavior. These include disloyalty, deliberate betrayal, or treason, especially for personal gain, for example through bribery.)

Ivan Boesky famously defended greed in a May 18, 1986, commencement address at the UC Berkeley's School of Business Administration, in which he said, "Greed is all right, by the way. I want you to know that. I think greed is healthy. You can be greedy and still feel good about yourself".[5; 56] This speech inspired the 1987 film Wall Street, which features the famous line "greed, for lack of a better word, is good"

3. Lust — excessive sexual desire. Dante's criterion was that "lust detracts from true love". In the Latin lists of the Seven Deadly Sins, lust is referred to as luxuria. From Ovid to the works of les poètes maudits, characters have always been faced with scenes of lechery, and long since has lust been a common motif in world literature. Many writers, such as Georges Bataille, Casanova and Prosper Mérimée, have written works wherein scenes at bordellos and other unseemly locales take place.

Despite the apparent evils of Baudelaire, author of Les fleurs du mal, he had once remarked, in regard to the artist, that "The more a man cultivates the arts, the less randy he becomes... Only the brute is good at coupling, and copulation is the lyricism of the masses. To copulate is to enter into another -- and the artist never emerges from himself".

The most notable work to touch upon the sin of lust, and all of the Seven Deadly Sins, is Dante's la Divina Commedia. Dante's criterion for lust was an "excessive love of others," insofar as an excessive love for man would render one's love of God secondary.

In the first canticle of Dante's Inferno, the lustful are punished by being continuously swept around in a whirlwind, which symbolizes their passions. The damned who are guilty of lust, like the two famous lovers, Paolo and Francesca, receive what they desired in their mortal lives, their passions never give them rest for all eternity. In Purgatorio, of the selfsame work, the penitents choose to walk through flames in order to purge themselves of their lustful inclinations.

4. Anger — feelings of hatred, revenge or denial, as well as punitive desires outside of justice (Dante's description was "love of justice perverted to revenge and spite"). In the Latin lists of the Seven Deadly Sins, wrath is referred to as ira. The external expression of anger can be found in facial expressions, body language, physiological responses, and at times in public acts of aggression. Humans and animals for example make loud sounds, attempt to look physically larger, bare their teeth, and stare.

The behaviors associated with anger are designed to warn aggressors to stop their threatening behavior. Rarely does a physical altercation occur without the prior expression of anger by at least one of the participants. While most of those who experience anger explain its arousal as a result of "what has happened to them," psychologists point out that an angry person can be very well mistaken because anger causes a loss in self-monitoring capacity and objective observability

Modern psychologists view anger as a primary, natural, and mature emotion experienced by virtually all humans at times, and as something that has functional value for survival. Anger can mobilize psychological resources for corrective action. Uncontrolled anger can, however, negatively affect personal or social well-being.

While many philosophers and writers have warned against the spontaneous and uncontrolled fits of anger, there has been disagreement over the intrinsic value of anger. Dealing with anger has been addressed in the writings of the earliest philosophers up to modern times. Modern psychologists, in contrast to the earlier writers, have also pointed out the possible harmful effects of suppression of anger. Displays of anger can be used as a manipulation strategy for social influence.

1. Gluttony — overindulgence in food, drink or intoxicants, or misplaced desire of food as a pleasure for its sensuality ("excessive love of pleasure" was Dante's rendering). In the Latin lists of the Seven Deadly Sins, gluttony is referred to as gula.

Church leaders from the Middle Ages  took a more expansive view of gluttony, arguing that it also consists of an anticipation of meals, the eating of delicacies, and costly foods, seeking after sauces and seasonings, and eating too eagerly.[12; 47]

St.Gregory the Great , a doctor of the church, described five ways by which one can commit sin of gluttony, and corresponding biblical examples for each of them:

1. Eating before the time of meals in order to satisfy the palate.

Biblical example: Jonathan eating a little honey, when his father Saul commanded no food to be taken before the evening.

2. Seeking delicacies and better quality of food to gratify the "vile sense of taste."

Biblical example: When Israelites escaping from Egypt complained, "Who shall give us flesh to eat ? We remember the fish which we did eat in Egypt freely ; the cucumbers and the melons, and the leeks and the onions and the garlic," God rained fowls for them to eat but punished them 500 years later.

3. Seeking after sauces and seasonings for the enjoyment of the palate.

Biblical example: Two sons of Eli the high priest made the sacrificial meat to be cooked in one manner rather than another. They were met with death.:

4. Exceeding the necessary amount of food.

Biblical example: One of the sins of Sodom was "fullness of bread."

5. Taking food with too much eagerness, even when eating the proper amount, and even if the food is not luxurious.

Biblical example: Esau selling his birthright for ordinary food of bread and pottage of lentils. His punishment was that the "profane person . . . who, for a morsel of meat sold his birthright," we learn that " he found no place for repentance, though he sought it carefully, with tears."

The fifth way is worse than all others, said St. Gregory, because it shows attachment to pleasure most clearly. To recapitulate, St Gregory the Great said that one may succumb to the sin of gluttony by: 1. Time (when); 2. Quality; 3. Stimulants; 4. Quantity; 5. Eagerness

In his Summa Theologics (Part 2-2, Question 148, Article 4), St.Thomas Aquinas reiterated the list of five ways to commit gluttony:

• Laute - eating food that is too luxurious, exotic, or costly
• Nimis - eating food that is excessive in quantity
• Studiose - eating food that is too daintily or elaborately prepared
• Praepropere - eating too soon, or at an inappropriate time
• Ardenter - eating too eagerly.

Aquinas notes that the first three ways are related to the nature of the food itself, while the last two have to do with the time or manner in which it is consumed [12; 46]

2. Envy or jealousy — resentment of others for their possessions (Dante: "love of one's own good perverted to a desire to deprive other men of theirs"). In the Latin lists of the Seven Deadly Sins, envy is referred to as invidia. Bertrand Russell said envy was one of the most potent causes of unhappiness. It is a universal and most unfortunate aspect of human nature because not only is the envious person rendered unhappy by his envy, but also wishes to inflict misfortune on others.

     Although envy is generally seen as something negative, Russell also believed that envy was a driving force behind the movement towards democracy and must be endured to achieve a more just social system. [2;96]

3. Sloth or laziness — idleness and wastefulness of time and/or other allotted resources. Laziness is condemned because it results in others having to work harder; also, useful work will not be done. Sloth is referred to in Latin as accidie or acedia. Despite Sigmund Freud's discussion of the pleasure principle, Leonard Carmichael notes that "laziness is not a word that appears in the table of contents of most technical books on psychology...

           It is a guilty secret of modern psychology that more is understood about the motivation of thirsty rats and hungry pecking pigeons as they press levers or hit targets than is known about the way in which poets make themselves write poems or scientists force themselves into the laboratory when the good golfing days of spring arrive." A 1931 survey found that high school students were more likely to attribute failing performance of students to laziness, while teachers ranked "lack of ability" as the major cause, with laziness coming in second. [2;96]

 

 

Chapter 2 Human vices in the literature (on the example of the A.A.Milne work “Winnie-the-Pooh”)

2.1 Some words about A.A.Milne and his work “Winnie the Pooh”

Alan Alexander Milne  (18 January 1882 –31 January 1956) was an English author, best known for his books about the teddy bear Winnie-the-Pooh and for various children's poems. Milne was a noted writer, primarily as a playwright, before the huge success of Pooh overshadowed all his previous work. Milne was almost always credited as A. A. Milne.

A. A. Milne was born in Kilburn London, to parents John Vine Milne and Sarah Maria (née Heginbotham) and grew up at Henley House School, 6/7 Mortimer Road (now Crescent), Kilburn, a small public school run by his father. One of his teachers was H. G. Wells who taught there in 1889–90. Milne attended Westminster School and Trinity College, Cambridge, where he studied on a mathematics scholarship. While there, he edited and wrote for Granta, a student magazine. He collaborated with his brother Kenneth and their articles appeared over the initials AKM. Milne's work came to the attention of the leading British humour magazine Punch, where Milne was to become a contributor and later an assistant editor.

Milne joined the British Army in World War I and served as an officer in the Royal Warwickshire Regiment and later, after a debilitating illness, the Royal Corps of Signals. He was discharged on February 14, 1919.

After the war, he wrote a denunciation of war titled Peace with Honour (1934), which he retracted somewhat with 1940's War with Honour. During World War II, Milne was one of the most prominent critics of English writer P. G. Wodehouse, who was captured at his country home in France by the Nazis and imprisoned for a year. Wodehouse made radio broadcasts about his internment, which were broadcast from Berlin. Although the light-hearted broadcasts made fun of the Germans, Milne accused Wodehouse of committing an act of near treason by cooperating with his country's enemy. Wodehouse got some revenge on his former friend by creating fatuous parodies of the Christopher Robin poems in some of his later stories, and claiming that Milne "was probably jealous of all other writers.... But I loved his stuff."

He married Dorothy "Daphne" de Sélincourt in 1913, and their only son, Christopher Robin Milne, was born in 1920. In 1925, A. A. Milne bought a country home, Cotchford Farm, in Hartfield, East Sussex. During World War II, A. A. Milne was Captain of the Home Guard in Hartfield & Forest Row, insisting on being plain 'Mr. Milne' to the members of his platoon. He retired to the farm after a stroke and brain surgery in 1952 left him an invalid and by August 1953 "he seemed very old and disenchanted".

After graduating from Cambridge in 1903, A. A. Milne contributed humorous verse and whimsical essays to Punch, joining the staff in 1906 and becoming an assistant editor.

During this period he published 18 plays and 3 novels, including the murder mystery The Red House Mystery (1922). His son was born in August 1920 and in 1924 Milne produced a collection of children's poems When We Were Very Young, which were illustrated by Punch staff cartoonist E. H. Shepard. A collection of short stories for children Gallery of Children, and other stories that became part of the Winnie-the-Pooh books, were first published in 1925.

Milne was an early screenwriter for the nascent British film industry, writing four stories filmed in 1920 for the company Minerva Films (founded in 1920 by the actor Leslie Howard and his friend and story editor Adrian Brunel). These were The Bump, starring Aubrey Smith ; Twice Two; Five Pound Reward; and Bookworm . Some of these films survive in the archives of the British Film Institute. Milne had met Howard when the actor starred in Milne’s play Mr Pim Passes By in London.

Looking back on this period (in 1926) Milne observed that when he told his agent that he was going to write a detective story, he was told that what the country wanted from a "Punch humorist" was a humorous story; when two years later he said he was writing nursery rhymes, his agent and publisher were convinced he should write another detective story; and after another two years he was being told that writing a detective story would be in the worst of taste given the demand for children's books. He concluded that "the only excuse which I have yet discovered for writing anything is that I want to write it; and I should be as proud to be delivered of a Telephone Directory con amore as I should be ashamed to create a Blank Verse Tragedy at the bidding of others."

The real stuffed toys owned by Christopher Robin Milne and featured in the Winnie-the-Pooh stories. They are on display in the Stephen A. Schwarzman Building (formerly the New York Public Library Main Branch) in New York.

Milne is most famous for his two Pooh books about a boy named Christopher Robin after his son, and various characters inspired by his son's stuffed animals, most notably the bear named Winnie-the-Pooh. Christopher Robin Milne's stuffed bear, originally named "Edward", was renamed "Winnie-the-Pooh" after a Canadian black bear named Winnie (after Winnipeg), which was used as a military mascot in World War I, and left to London Zoo during the war. "The pooh" comes from a swan called "Pooh". E. H. Shepard illustrated the original Pooh books, using his own son's teddy, Growler ("a magnificent bear"), as the model. Christopher Robin Milne's own toys are now under glass in New York.

Winnie-the-Pooh was published in 1926, followed by The House at Pooh Corner in 1928. A second collection of nursery rhymes, Now We Are Six, was published in 1927. All three books were illustrated by E. H. Shepard. Milne also published four plays in this period. He also "gallantly stepped forward" to contribute a quarter of the costs of dramatising P. G. Wodehouse's A Damsel in Distress.

The success of his children's books was to become a source of considerable annoyance to Milne, whose self-avowed aim was to write whatever he pleased and who had, until then, found a ready audience for each change of direction: he had freed pre-war Punch from its ponderous facetiousness; he had made a considerable reputation as a playwright  on both sides of the Atlantic; he had produced a witty piece of detective writing in The Red House Mystery (although this was severely criticised by Raymond Chandler for the implausibility of its plot). But once Milne had, in his own words, "said goodbye to all that in 70,000 words" (the approximate length of his four principal children's books), he had no intention of producing any reworkings lacking in originality, given that one of the sources of inspiration, his son, was growing older.

His reception remained warmer in America than Britain, and he continued to publish novels and short stories, but by the late 1930s the audience for Milne's grown-up writing had largely vanished: he observed bitterly in his autobiography that a critic had said that the hero of his latest play ("God help it") was simply "Christopher Robin grown up...what an obsession with me children are become!".

Even his old literary home, Punch, where the When We Were Very Young verses had first appeared, was ultimately to reject him, as Christopher Milne details in his autobiography The Enchanted Places, although Methuen continued to publish whatever Milne wrote, including the long poem 'The Norman Church' and an assembly of articles entitled Year In, Year Out (which Milne likened to a benefit night for the author).

He also adapted Kenneth Grahame's novel The Wind in the Willows for the stage as Toad of Toad Hall. The title was an implicit admission that such chapters as Chapter 7, "The Piper at the Gates of Dawn", could not survive translation to the theatre A special introduction written by Milne is included in some editions of Grahame's novel.

Several of Milne's children's poems were set to music by the composer Harold Fraser-Simson. His poems have been parodied many times, including with the books When We Were Rather Older and Now We Are Sixty.

After Milne's death, his widow sold the rights to the Pooh characters to the Walt Disney Company, which has made many Pooh cartoon movies, a Disney Channel television show, as well as Pooh-related merchandise.

Royalties from the Pooh characters paid by Disney to the Royal Literary Fund, part-owner of the Pooh copyright, provide the income used to run the Fund's Fellowship Scheme, placing professional writers in U.K. universities.

Winnie-the-Pooh, also called Pooh Bear, is a fictional anthropomorphic bear created by A. A. Milne. The first collection of stories about the character was the book Winnie-the-Pooh (1926), and this was followed by The House at Pooh Corner (1928). Milne also included a poem about the bear in the children’s verse book When We Were Very Young (1924) and many more in Now We Are Six (1927). All four volumes were illustrated by E. H. Shepard.

The hyphens in the character's name were later dropped when The Walt Disney Company adapted the Pooh stories into a series of features that became one of its most successful franchises.

The Pooh stories have been translated into many languages, including Alexander Lenard's Latin translation, Winnie ille Pu, which was first published in 1958, and, in 1960, became the only Latin book ever to have been featured on the New York Times Best Seller List.

Since the 1970s, Pooh Bear has been voiced by three actors: Sterling Holloway, Hal Smith and Jim Cummings.

Milne named the character Winnie-the-Pooh after a teddy bear owned by his son, Christopher Robin Milne, who was the basis for the character Christopher Robin. His toys also lent their names to most of the other characters, except for Owl and Rabbit, as well as the Gopher character, who was added in the Disney version. Christopher Robin's toy bear is now on display at the Main Branch of the New York Public Library in New York.

Christopher Milne had named his toy bear after Winnie, a Canadian black bear which he often saw at London Zoo, and "Pooh", a swan they had met while on holiday. The bear cub was purchased from a hunter for $20 by Canadian Lieutenant Harry Colebourn in White River, Ontario, Canada, while en route to England during the First World War. He named the bear "Winnie" after his hometown in Winnipeg, Manitoba. "Winnie" was surreptitiously brought to England with her owner, and gained unofficial recognition as The Fort Garry Horse regimental mascot. Colebourne left Winnie at the London Zoo while he and his unit were in France; after the war she was officially donated to the zoo, as she had become a much loved attraction there. Pooh the swan appears as a character in its own right in When We Were Very Young.

In the first chapter of Winnie-the-Pooh, Milne offers this explanation of why Winnie-the-Pooh is often called simply "Pooh":

The Winnie-the-Pooh stories are set in Ashdown Forest, Sussex, England. The forest is a large area of tranquil open heathland on the highest sandy ridges of the High Weald Area of Outstanding Natural Beauty situated 30 miles (50 km) south of London. In 1925 Milne, a Londoner, bought a country home a mile to the north of the forest at Cotchford Farm, near Hartfield. According to Christopher Milne, while his father continued to live in London "...the four of us—he, his wife, his son and his son's nanny—would pile into a large blue, chauffeur-driven Fiat and travel down every Saturday morning and back again every Monday afternoon. And we would spend a whole glorious month there in the spring and two months in the summer."

From the front lawn the family had a view across a meadow to a line of alders that fringed the River Medway, beyond which the ground rose through more trees until finally "above them, in the faraway distance, crowning the view, was a bare hilltop. In the center of this hilltop was a clump of pines." Most of his father's visits to the forest at this time were, he noted, family expeditions on foot "to make yet another attempt to count the pine trees on Gill's Lap or to search for the marsh gentian". Christopher added that, inspired by Ashdown Forest, his father had made it "the setting for two of his books, finishing the second little over three years after his arrival".

Many locations in the stories can be linked to real places in and around the forest. As Christopher Milne wrote in his autobiography: “Pooh’s forest and Ashdown Forest are identical”. For example, the fictional "Hundred Acre Wood" was in reality Five Hundred Acre Wood; Galleon's Leap was inspired by the prominent hilltop of Gill's Lap, while a clump of trees just north of Gill's Lap became Christopher Robin's The Enchanted Place because no-one had ever been able to count whether there were sixty-three or sixty-four trees in the circle.

The landscapes depicted in E.H. Shepard’s illustrations for the Winnie-the-Pooh books are directly inspired by the distinctive landscape of Ashdown Forest, with its high, open heathlands of heather, gorse, bracken and silver birch punctuated by hilltop clumps of pine trees. In many cases Shepard's illustrations can be matched to actual views, allowing for a degree of artistic license. Shepard's sketches of pine trees and other forest scenes are on display at the V&A Museum in London.

The game of Poohsticks was originally played by Christopher Milne on a footbridge across a tributary of the River Medway in Posingford Wood, close to Cotchford Farm. It is traditional to play the game there using sticks gathered in nearby woodland. When the footbridge required replacement in recent times the engineer designed a new structure based closely on the drawings by E. H. Shepard of the bridge in the original books, as the bridge did not originally appear as the artist drew it. An information board at the bridge describes how to play the game.

Winnie-the-Pooh's début in the 24 December 1925 London Evening News

There are three claimants, depending on the precise question posed. Christopher Robin's teddy bear, Edward, made his character début in a poem called "Teddy Bear" in Milne's book of children's verse When We Were Very Young (6 November 1924) although his true first appearance was within the 13 February 1924 edition of Punch magazine which contained the same poem along with other stories by Milne and Shepard. Winnie-the-Pooh first appeared by name on 24 December 1925, in a Christmas story commissioned and published by the London newspaper The Evening News. It was illustrated by J. H. Dowd.

The first collection of Pooh stories appeared in the book Winnie-the-Pooh. The Evening News Christmas story reappeared as the first chapter of the book, and at the very beginning it explained that Pooh was in fact Christopher Robin's Edward Bear, who had simply been renamed by the boy. The book was published in October 1926 by the publisher of Milne's earlier children's work, Methuen, in England, and E. P. Dutton in the United States.

 

2.2 Vices of “Winnie-the-Pooh” characters

The main character, Winnie the Pooh has been a favorite cartoon show among kids and kids-at-heart alike. Pooh bear, with his friends Christopher Robbin, Piglet, Tigger, Rabbit, Eyore, Owl, Helufun, Kessie, Kanga, and Roo all provide kiddie entertainment like no other. Each episode is fully-packed with exciting stories and adventures to tell and I am glad to see many meaningful stories from the show.

The only problem is that Winnie the Pooh is not so good an example to kids because of his gluttonous nature, especially when it comes to honey. It is possible to recognize his need for honey but can he not be so selfish when it comes to it?

There is this one episode where Winnie practically ate everything that Rabbit has which ultimately got him into trouble. There is also that episode where Pooh’s utter lack of consideration for the others around him has led me to think he definitely is not a good role model.

Among his friends though, I admire most Piglet because of his humble and sweet nature. His gluttonous nature which can motivate him to do things he would not normally do.

The other characters correspond also to the human vices.

Rabbit is a responsible rabbit who happens to be a good friend of Winnie-the-Pooh. He is always practical and keeps his friends on their toes, although they sometimes raise his ire unintentionally. The first appearance of Rabbit is in chapter II in the Winnie-the-Pooh book. He also appears in chapters VII, VIII, IX and X of that book, as well as in chapters III, V, VI, VII, VIII, IX, and X in The House at Pooh Corner.

Unlike most of the cast in the books, who are based on stuffed animals owned by Christopher Robin Milne, the illustrations of Rabbit look more like a living animal than a stuffed one. This idea is also supported by Rabbit's own comment to Owl, "You and I have brains.

The others have fluff." In Ernest H. Shepard's illustrations, Rabbit appears like a typical, long-eared rabbit, except that he walks on two legs and uses his front paws as hands. The top of his head reaches about to Pooh's nose; his ears, when pointed straight up, reach to just above Pooh's head. While loyal to the friends he knows, Rabbit shows a certain reluctance to welcome newcomers, as evidenced by his initial negative reaction to the arrival of Kanga and Roo in the first book, and to Tigger in the second book. Nonetheless, he warms up to all of them in time.

Rabbit likes to take charge and come up with elaborate plans, such as the one to scare Kanga by hiding Roo, and the one to "unbounce" Tigger. He is also an organizer, as in the case of the Search for Small. As detailed as his plans are, they often miss certain key points, and thus go wrong in one way or another.

Rabbit tends to include Pooh and Piglet in his plans, and he goes to Owl when there is "thinking to be done". He sees his relationship to Christopher Robin as being the one that Christopher depends on.

Rabbit also has good relationships with the minor animals in the forest, who are usually referred to as his "friends-and-relations". Several are mentioned by name, including a wasp called Small, a beetle named Alexander Beetle, another member of the beetle family named Henry Rush, and three unspecified creatures called Smallest-of-All, Late, and Early.

According to the illustrations of the book, his other friends-and-relations include other rabbits, a squirrel, a hedgehog, some mice, and insects. At one point, Rabbit estimates that he would need "seventeen pockets" if he were going to carry all his family about with him; whether that number refers just to his relatives or to the friends-and-relations as a group is unknown, if it had any basis at all.

Rabbit lives in a house in the north central part of the Hundred Acre Wood, between the sandy pit where Roo plays and the area where his friends-and-relations live.

The Rabbit would be Anger. He's got a complaint on everyone.  
Piglet is is a baby pig who is the best friend of Winnie-the-Pooh. Despite the fact that he is a "Very Small Animal" with a stutter and a generally timid disposition, he often conquers his fears and seems to want to be brave.

Like most of the Pooh characters, Piglet was based on one of Christopher Robin Milne's stuffed animals. In the original color versions of Ernest H. Shepard's illustrations in the Winnie-the-Pooh books, Piglet has pale pink skin and a green jumper. He is the second shortest of the animals, with only Roo being slightly smaller (although they are close enough in size that Kanga cannot tell the difference when Piglet jumps in her pouch instead of Roo). His voice is described as "squeaky".

Piglet is introduced in the text from Chapter III of Winnie-the-Pooh, although he is shown earlier in one of the illustrations for Chapter II (helping to pull Pooh out of Rabbit's door).

He also appears in Chapters V, VI, VII, VIII, IX, and X of that book, as well as being one of the few characters to appear in all ten chapters of The House at Pooh Corner.

Piglet's adventures in the first book include hunting Woozles, attempting to capture Heffalumps, giving Eeyore a birthday balloon (popped), impersonating Roo in an attempt to trick Kanga, joining the Expotition to the North Pole, and being trapped by a flood. In the second book, he helps build a house for Eeyore, meets Tigger, finds Small while trapped in a gravel pit, plays Poohsticks, gets lost in the mist, and helps rescue Pooh and Owl after they are trapped in Owl's fallen house. For that last feat, Piglet is the subject of a seven-verse "Respectful Pooh Song" that Pooh composes for him

Piglet himself can read and write, at least well enough for short notes. In the illustrations for The House at Pooh Corner, it appears that Piglet spells his own name "Piglit", although it is rendered as "Piglet" in the actual text even when describing his signature. In one chapter, Piglet is referred to as "Henry Pootel" by Christopher Robin, who claimed to not recognize Piglet after he was thoroughly cleaned by Kanga. Eeyore likes to refer to him as "Little Piglet"

Piglet's favorite food is acorns (or as the book often spells it, "haycorns"). At one point he plants one just outside his house, in hopes of someday having a handy supply.

Piglet lives in a "very grand house in the middle of a beech tree" in the Hundred Acre Wood, next to a sign which says "TRESPASSERS WILL." According to Piglet, that is short for "Trespassers William," his grandfather's name. Later in The House at Pooh Corner, Eeyore mistakenly offers Piglet's house as a new home for Owl, after Owl's house had blown down. Piglet does a "Noble Thing" and agrees to let Owl have the house, at which point Pooh asks Piglet to live with him and Piglet accepts.

Piglet is best friends with Pooh, and also seems especially close to Christopher Robin. His other friends include Rabbit, Owl, Kanga, Roo, Eeyore, and Tigger (even if the latter makes him nervous on occasion).

The Piglet would be Cowardice. He is hiding behind anyone from everyone. Piglet is a small, scared, and a little bit wimpy, Piglet seems to be a physical manifestation of fear. While many episodes end with Piglet conquering his fears or overcoming great obstacles, on the whole he is quite the pushover.

It only seems fitting that he represents Americas many fears: terrorism, an economic crisis, worries of tainted food, police brutality, and a plethora of other problems. We live in an age of fear, but if we can trust our economy, if we can trust the  food we eat, if we can trust law enforcement to not abuse it's power, we just might be able to beat our fears.The Donkey would be Sloth, I would guess, since he is a slow mover.

Tigger is easily recognized by his orange and black stripes, beady eyes, a long chin, springy tail, and his love of bouncing. As he says himself, "Bouncing is what Tiggers do best." Like other Pooh characters, Tigger is based on one of Christopher Robin Milne's stuffed animals.

Tigger is introduced in Chapter II of House at Pooh Corner, when he shows up on Winnie-the-Pooh's doorstep in the middle of the night, announcing himself with a big bounce.

Most of the rest of that chapter is taken up with the characters' search for a food that Tigger can eat for breakfast - despite Tigger's claims to like "everything", it is quickly proven he does not like honey, acorns, thistles, or most of the contents of Kanga's pantry. In a happy coincidence, however, he discovers what Tiggers really like best is extract of malt, which Kanga has on hand because she gives it to her son, Roo, as "strengthening medicine".

From that point on, Tigger lives with Kanga and Roo in their house in the northeastern part of the Hundred Acre Wood near the Sandy Pit. He becomes great friends with Roo (To whom he becomes a sort of older sibling figure), and Kanga treats him in much the same way she does her own son.

Tigger also interacts enthusiastically with all the other characters — sometimes too enthusiastically for the likes of Rabbit, who sometimes seems exasperated by Tigger's constant bouncing, Eeyore, who is once bounced into the river by Tigger, and Piglet, who always seems a little nervous about the new, large, bouncy animal in the Forest. Nonetheless, the animals are all shown to be friends.