Introduction
J.M. Barrie’s story of Peter Pan, the boy who refused to
grow up, is one of the most enduring and well-known children’s tales from the
past century. What was first conceived as a play staged in 1904, has inspired
countless interpretations and re-imaginings over time—from Disney movies, to
comic books, to Broadway musicals—but before the Disneyfication of Peter and
all his friends, or even the formal release of the play, the book Peter Pan and Wendy (first titled simply
Peter and Wendy) was published.[1]
First released in 1911, this book has caught the imagination of readers young
and old, resulting in the release of numerous editions, and truly allowing for
the character of Peter Pan to remain forever young.[2]
Many editions of Peter Pan and Wendy
have been illustrated, in order to provide readers with glimpses of Neverland.
Illustrating such a book can be no easy task, as Barrie’s descriptions of
Neverland make it appear fantastical and almost beyond imagination. For
example, when describing the Mermaid’s Lagoon he writes:
If you shut your eyes and are a lucky
one, you may see at times a shapeless pool of lovely pale colours suspended in
the darkness; then if you squeeze your eyes tighter, the pool begins to take
shape, and the colours become so vivid that with another squeeze they must go
on fire. But just before they go on fire you see the lagoon. This is the
nearest you ever get to in on the mainland, just one heavenly moment; if there
could be two moments you might see the surf and hear the mermaid’s singing. [3]
As conveyed in this passage, we mere mortals are never able
to picture the lagoon in full detail. Yet illustrators have attempted to do the
impossible, and have presented readers with their interpretations of Neverland
and the majestic Mermaid’s Lagoon. This paper will explore depictions of
Neverland by illustrators in four imaginings of the story of Peter Pan, two of
which were written by Barrie, and two which were adapted from Barrie’s play by
other authors in: 1907, 1911, 1921, and 1988. It will discuss the artistic
styles and illustrative techniques used by the illustrators, as well as examine
what the illustrators choose to include in their depictions, and attempt to
assess why these choices were made. In doing this, it will present an evolving
portrait of illustrative history through time, as well as display evolving
thoughts on Peter Pan and Neverland.
Background
Art Mirroring Life: J.M.
Barrie and the Lost Boys
J.M.
Barrie was born in 1860 in the town of Kirriemuir, Scotland.[4]
His childhood was radically shaped by the death of his older brother David, who
was killed in 1866 in a skating accident, two days before his fourteenth
birthday. In fact, it was the death of his brother that caused Barrie to
develop the character of Peter Pan, a boy who would never grow up.[5]
But it was Barrie’s interactions with the Llewellyn Davies family, which began
in 1898 that acted as a catalyst in the creation of Neverland, and publication
of the story of Peter Pan in its various forms.[6]
Barrie
met two of the Llewellyn Davies brothers while spending time in Kensington
Garden, and shortly after was introduced to the entire family, which consisted
of Sylvia, Arthur, and their five boys: George, Jack, Michael, Peter, and
Nicolas.[7]
Barrie became a fixture in the lives of each of the children, whom he inspired
to act as though they were Lost Boys, and taught to imagine the mystical world
of Neverland.[8] However, it
was not these games of make-believe that resulted in the publication of the
play Peter Pan, but rather the
children’s loss of innocence, and the end to their willing suspension of
disbelief. In Barrie’s now infamous dedication to ‘the five’ in the publication
of Peter Pan he states: “A time came
when I saw that No.1 the most gallant of you all, ceased to believe that he was
ploughing woods incarnadine…it was these circumstances, I suppose, was begun
the writing of the play of Peter.”[9]
Sadly,
tragedy also cast a shadow over the lives of the Llewellyn Davies family.
Arthur and Sylvia Llewellyn Davies died in 1907 and 1910, from jaw and lung
cancer respectively. In 1915, George was killed fighting in World War I,
Michael drowned while swimming in 1921, and Peter committed suicide by jumping
in front of a train in 1960.[10]
Though Barrie was not alive at the time of Peter’s suicide, the deaths of the
Llewellyn Davies boys profoundly affected Barrie, and in fact after Michael’s
death, he all but stopped writing.[11]
The
tragic nature of Barrie’s life is clearly reflected in both the writing of his
play Peter Pan and book Peter Pan and Wendy. The melancholy tone
of Barrie’s writing seeps through the pages of Peter Pan and Wendy, and prose filled with longing, and beautiful
sadness can be highlighted in almost every chapter. As a result, it is expected
that illustrations pertaining to Barrie’s work should also present the
melancholy tone of the story to readers. However, it must also be noted that
early in the publication history of the story of Peter Pan, other authors
adapted Barrie’s play and wrote illustrated stories geared towards younger
readers. These editions present a much more direct, and less fantastical or
tragic telling of Peter’s story.[12]
This paper will compare two illustrated editions of the story of Peter Pan and Wendy to two editions
written by other authors, and will assess whether changes in the tone of the
illustrations exist.
Illustrated Children’s Novels
and the Function they Serve
Unlike
in picture books, illustrations in novels are not seen as essential in conveying
the themes or messages of a story; as a result, illustrators may often be given
a larger degree of freedom when illustrating a text.[13]
This allows for a greater number differences between illustrated editions of a
novel that are published over time. Such is the case with the story of Peter
Pan, which has been re-released in illustrated form many times since it first
appeared as a play in 1904.[14]
The illustrations that depict the magical world of Neverland in the story of
Peter Pan, reflect not only the personal tastes and aesthetics of the
illustrators, but also the time in which they were published, and the cultural
values of the story’s intended audience. As a result, the images in the Peter
Pan books re-create and multiply the literary and cultural values of the text,
but also transmit the cultural and artistic conventions an illustrator holds at
the time that the book is published.[15]
In
many cases, the illustrations of characters or landscapes within a text become
so well known that they develop into stereotypical images, ingrained in the
minds of society.[16] In the case
of the Peter Pan books, it is not actually illustrations of Peter Pan or
Neverland that are most well recognized, but rather cartoon images created by
Walt Disney, when the film Peter Pan was
released in 1953.[17] In fact, in
this paper I argue that illustrated editions of Peter Pan and Wendy published after the release of this Disney film,
highlight characteristics of Peter and Neverland, which are reflected in Disney’s
movie, and not Barrie’s text.
The Four Editions Selected
In
order to present an evolving portrait of J.M. Barrie’s story of Peter Pan, and
the mystical island of Neverland, four illustrated Peter Pan books were
selected for comparison. The selected volumes are: Daniel O’Connor’s The Peter Pan Picture Book, published in
1907 with illustrations by Alice B. Woodward; J.M. Barrie’s Peter and Wendy published in 1911 with
illustrations by F.D. Bedford; Peter Pan
and Wendy: Retold by May Byron for Little People with the Approval of the Author,
published in 1921 with illustrations by Mabel Lucie Attwell; and Barrie’s Peter Pan and Wendy, published in 1988
with illustrations by Michael Foreman.[18]
Peter Pan was first staged as a play in
1904, and was not published in book form by J.M. Barrie until 1911.[19]
However, before Barrie’s publication of Peter
and Wendy was released, another novelization of the play was written. This
was Daniel O’Connor’s The Peter Pan
Picture Book, which was published in 1907 with Barrie’s permission.[20]
The Peter Pan Picture Book was
written as a companion to the play, which was intended to allow children to
relive memories of the play at any time of their choosing.[21]
It contains 27 illustrations, which were created by Alice B. Woodward. These
illustrations were meant to not only help children re-live the play Peter Pan, but also tempt others to view
the play after taking in this book.[22]
O’Connor’s writing is direct and rather simplistic, and it is clear that the
intended audience for this edition is young children. This Peter Pan book was
selected for examination because it is the first illustrated publication, which
tells the story of Peter Pan and Wendy.
Peter and Wendy was written by J.M.
Barrie and published in 1911. It contains thirteen full-page sketched
illustrations, which were completed by F.D. Bedford.[23]
As previously stated, Peter and Wendy
is filled with complex writing, adult themes, and is written in a melancholy
tone, making it clear that it is not intended solely to be read as a children’s
novel. As this is the first published edition of Peter Pan and Wendy, the illustrations by Bedford are of key
importance in the analysis of illustrations of Neverland. In addition, it
should be noted that because this edition was published with the supervision
and approval of J.M. Barrie, the illustrations found within this text may hold
a greater significance to the author, and may more accurately reflect what
Barrie imagined Neverland to be.
The
next Peter Pan book to be released was Peter
Pan and Wendy: Retold by May Byron for Little People with the Approval of the
Author, published in 1921. As highlighted in the title, this book was
written by May Byron, and intended to be read to or by young children.[24]
The text in this edition highlights the book’s intended audience, as it is
somewhat simplistic in nature, and contains less imaginative writing and
descriptions of Neverland than those seen in Barrie’s 1911 text. The
illustrations completed by Mabel Lucie Attwell, are also clearly geared towards
a younger audience, as the characters are pictured as joyful babes and playful
nymphs. In total, this edition contains thirteen black and white illustrations,
which are displayed on the same page as the text, and seven colour
illustrations that are allotted their own page, and include a reference to a
corresponding quote in the text. [25]
The illustrations in this Peter Pan book are of great importance, as they are
radically different from illustrations seen in any other Peter Pan story.
Additionally, as it is the first illustrated Peter Pan book to be released
after J.M. Barrie’s edition, it marks an important landmark in the publication
history of the story Peter Pan and Wendy.
The
final illustrated Peter Pan book that will be examined, is a publication of
Barrie’s Peter Pan and Wendy, which
was released in 1988. It was important to select an illustrated edition of Peter Pan and Wendy that was published
in recent history, and more importantly after the release of the Disney film Peter Pan in 1953.[26]
This edition is completely illustrated in colour by Michael Foreman. It
contains partial illustrations at the start of every chapter, as well as
thirteen additional illustrations, which are allotted full pages of the text.[27]
This edition was selected for examination, because it is a well recognized
illustrated edition of Peter Pan and
Wendy, which has been published within the last twenty-five years, and
contains more modern representations of Barrie’s Neverland.
Neverland and the Mermaid’s
Lagoon
World
building is an inherently important aspect of writing, particularly when the
world being described is distinct from the one that we inhabit. Such is the
case with Neverland and the Mermaid’s Lagoon in the story of Peter Pan.
Neverland is wonderfully majestic, and a truly magically place where anything
can happen. Barrie does a wonderful job of bring Neverland to life in his text,
and makes it possible for readers to visualize the magical island. However, as
stated earlier, illustrators must also bring this fantastical land to life, creating
with pictures, a land filled with magic, whimsy, and youth. This can be a
rather difficult task, as Barrie makes it clear in his text, that Neverland is
a place that can be envisioned quite differently by each and every reader
stating: “Of course the Neverlands vary a good deal. John’s for instance, had a
lagoon with flamingos flying over it at which John was shooting, while Michael,
who was very small, had a flamingo with lagoons flying over it.”[28]
Despite this, in the four described Peter Pan books, as well as in countless
other editions and retellings of Peter
Pan and Wendy, illustrators have attempted to bring Neverland and the
Mermaid’s Lagoon to life.
The Peter Pan Picture Book,
1907
The illustrator: Alice B.
Woodward
Alice
B. Woodward is a British illustrator, who today remains most well known for her
work on The Peter Pan Picture Book.[29]
Born in 1862, Woodward was raised
in England, and received her artistic training at the Westminster and South
Kensington Schools.[30] Recognized
for her skills in engraving, Woodward’s illustrations are praised for their
graceful and economical lines, and for her ability to draw lively and life-like
children.[31]
The illustrations
Overview of
Illustrations
The
twenty-seven illustrations included in The
Peter Pan Picture Book are each allotted their own page, upon which they
are centred. The book is divided into six sections: Early Days (six
illustration), The Never-Never-Land (six illustrations), The Mermaid’s Lagoon
(five illustrations), The Underground Home (four illustrations), The Pirate
Ship (four illustrations), and Home Sweet Home (three illustrations).[32]
A large number of illustrations in this volume are presented to the reader over
the first half of the book, indicating that a conscious decision was made by
the book’s creators, to allow readers gain a clear understanding of Woodward’s
interpretation of Neverland, and the world of Peter Pan. Surprisingly, this
retelling of Peter Pan, showcases
Neverland in a cold climate, and illustrations depict frosty and cold
landscapes. This was unexpected, as there is no indication in the play Peter Pan or any subsequent editions of Peter Pan and Wendy that the story takes
place in the winter.[33] It was also
surprising to find that illustrations depicting the magical island of
Neverland, contained few elements that made the island appear magical or
fantastical in nature. Both the land and the humans shown in the illustrations
are drawn in a realistic manner. In fact, the most fantastical images portrayed
in Woodward’s illustrations are those that highlight nature or wildlife in a
fearsome and harsh manner.
Neverland
A
number of illustrations depicting the island of Neverland appear in The Peter Pan Picture Book. One of the
first illustrations of Neverland is entitled: “Slightly was dancing merrily with
an ostrich” and is displayed on page twenty of this work (Figure 1).[34]
The inclusion of this illustration was somewhat confounding, as once again no
mention of an ostrich is included in Barrie’s play.[35]
Furthermore, the ostrich clashes with the natural winter landscape surrounding
it, and appears to be quite out of place in the scene.
Figure 1: Slightly Dancing with an
Ostrich
Source, O’Connor, 1907: 20.
The
illustration of Wendy’s wolf, depicted on page twenty-eight is no less
terrifying than Slightly’s ostrich.[36]
In fact, although in Barrie’s rendition of the story, Wendy’s wolf is described
as a friendly pet, here we see it portrayed as frighteningly large, and lurking
mere steps outside of Wendy’s home.[37]
Not only is the wolf terrifying, but in Woodward’s illustrations, even the
natural landscape itself is something to be feared. The sky is nearly black,
the earth is dead and desolate, and the trees are free of leaves and barren.
This Neverland, is not a joyful escape where children never grow old, but instead
a dark forest, in which children are trapped.
Figure 2: Wendy’s Wolf
Source, O’Connor, 1907: 28 .
The Mermaid’s
Lagoon
The mermaid’s lagoon is also a
fearful sight in Woodward’s illustrations (Figure 3). First displayed on page
thirty of the text, the Mermaid’s Lagoon, does not appear to be a majestic
oasis where Wendy and the Lost Boys can waste away the day, but rather is
displayed as a frightening waterway, with massive fish and rough waters.[38]
Once more, Woodward has interpreted Neverland, not as a magical island that
children long to see, but as a land of nightmares characterized by a harsh and
unforgiving natural environment.
Figure 3: The Mermaid’s Lagoon
Source, O’Connor, 1907: 30
Although
Woodward’s illustrations are contrary to the textual descriptions of Neverland
found in Barrie’s play, as well as in his later released book Peter and Wendy, they are in fact in
line with O’Connor’s telling of the story, in which nature is often perceived
as the enemy. The different approaches taken to explaining a scene in which
Peter is in danger of drowning, but saved by a passing bird are included below,
as they most clearly highlight the differing approaches to nature taken by both
authors. First the scene as described by Barrie in Peter and Wendy:
He thought he saw a piece of floating
paper, perhaps part of the kite, and wondered idly how long it would take to
drift ashore…It was not really a piece of paper; it was the Never bird, making
desperate efforts to reach Peter on her nest…
“I-want-you-to-get-into-the-nest,” the bird called, speaking as slowly and
distinctly as possible.[39]
This
is very different to what is described by O’Connor:
The water reached his feet, and he was
beginning to think it would be a “tremendous adventure to die” when who should
come sailing by but a great sea-bird on its nest, which had been blown off the
cliffs by a rising storm. “Hurrah!” cried Peter, “There’s a lovely boat for
me!” and chasing the bird off, in he stepped.[40]
Clearly both authors envisioned scenes that greatly differ
from one another. It is unclear why O’Connor chose to represent the natural
world in such a harsh light. But the differing text helps to illuminate why
Woodward illustrated Neverland as she did.
Peter and Wendy,
1911
The illustrator: F.D. Bedford
Born
in 1864, Frances Donkin Bedford is a well known children’s book illustrator,
recognized for his illustrations in a number of books including works by
Charles Dickens, George MacDonald, and of course J.M. Barrie. Bedford was
trained as an architect, and this training is clearly reflected in the content
and design of his illustrations.[41]
The illustrations
Overview of
Illustrations
Peter
and Wendy
contains thirteen full-page sketched illustrations, which stay very true to
Barrie’s text. In Bedford’s illustrations Neverland is magical, and not a land
to be feared, as was the case with Woodward’s depictions. However, the drawings
are also less whimsical in nature, and it is clear that they are intended for
an older audience.
Neverland
The
first image of Neverland depicted by Bedford is displayed on Page sixty-six of
the text of Peter and Wendy (Figure 4).[42]
The illustration is rather busy, and though centred on Peter playing a pipe, it
also includes many details of the story that are described by Barrie later in
the text. These include: a larger than life Captain Hook, The Jolly Roger
Pirate Ship, Wendy’s wolf, and flamingos. The realistic nature of the
illustration is quite striking, as is Bedford’s adherence to Barrie’s text.
From this illustration, it is clear that Bedford took pains to ensure the text
of Peter and Wendy was well followed.
Figure 4: The Never Never Land
Source, Barrie, 1911: 66 .
The
illustration of Peter himself, in Figure 3, as well as in other illustrations
throughout this edition further drive home the point that Bedford carefully
adhered to the text of Peter and Wendy.
In Bedford’s hands, Peter is not a hero, or the unstoppable boy so often
pictured today, but rather is seen as innocent, childish, and very lost. He rarely
makes eye contact with other characters, nor do his eyes ever focus upon the
reader.
The Mermaid’s
Lagoon
Bedford’s
illustration of the Mermaids Lagoon (seen on page 122 of the text), is
stylistically similar to his earlier discussed depiction of Neverland (Figures
4 and 5).[43]
The illustration is busy, showcasing many features of the lagoon, which are
once again present in the text. It is playful in nature, but not simplistic, yet
again, Bedford’s black and white artistic style does not appear to be geared
towards a younger audience.
Figure 5: Summer Days on the Lagoon
Source, Barrie, 1911: 122.
Peter Pan and Wendy: Retold by
May Byron for little people with the approval of the author,
1921
The illustrator: Mabel Lucie
Attwell
Born
in 1879, Mabel Lucie Attwell is a well recognized British illustrator, most
famed for her depictions of rubbery babies, and whimsical fairies, which even
today can be seen on greeting cards, clothing, and children’s toys.[44]
In addition to illustrating May Bryon’s retelling of Peter Pan and Wendy, Attwell was also responsible for illustrating
other children’s classics including: Mother
Goose Rhymes, Alice’s Adventures in
Wonderland, and Hans Christian
Andersen’s Fairy Tales. Attwell’s illustrations are highly praised for
their sensitive line and pleasing composition, however, her continued use of
similarly illustrated infantile characters and landscapes have been criticised.[45]
The illustrations
Overview of
Illustrations
Mabel Lucie Attwell’s
illustrations mark a radical departure from any other Peter Pan book, as she
illustrates using her characteristic style, in which characters are depicted as
innocent infants. This edition of Peter
Pan and Wendy, which was retold by May Byron with a younger audience in
mind, contains thirteen black and white illustrations, and seven colour
illustrations. Unlike Barrie’s Peter and
Wendy, the text of Byron’s edition is simplistic, and less colourful in
nature. The plot too has been simplified, and remarks more relevant to adult
readers including: Mrs. Darling’s unattainable kiss, and the possibility of not
keeping Wendy after her birth are eliminated from the story.[46]
Similarly, less imaginative writing and descriptions pertaining to the island
of Neverland are seen in Byron’s writing. As a result, Attwell depicts less
imaginative and magical images of Neverland. In addition, her depiction of all
characters as innocent children, remove any danger originally present in the
character of Peter Pan.
Neverland
In
Attwell’s illustrations, Neverland is never shown in full detail. The
illustration, which most fully portrays it, depicts Peter Pan ‘standing guard’
outside of Wendy’s house, on page forty-eight of the text (Figure 6).[47]
In this illustration, readers are able to view the trees and the moon behind
Wendy’s home. However, even in this instance little detail is shown, and it is
even difficult to ascertain whether the island is tropical or temperate in
climate. In addition, despite the presence of many magical beings included
fairies, the drawing lacks a certain level of magic expected in a Peter Pan
book. All of the fairies are on the ground, it seems as though they are unable
to fly; Neverland is an ordinary environment, and though the characters are
whimsical, the setting is far from it.
Figure 6: Peter Pan outside Wendy’s House
Source, Byron, 1921: 48 .
The Mermaid’s
Lagoon
The
scene that illustrates the Mermaid’s Lagoon is vaguely portrayed, though in
this case, it is rather fitting, as in Peter
Pan and Wendy, the Lagoon is never described in full detail (Figure 7).[48]
Displayed on page ninety-four of the text, Attwell’s illustration depicts Wendy
being dragged into the Lagoon by a mermaid, while Peter sleeps nearby.[49]
The watercolour palette, and innocent appearance of all characters in the
scene, makes this and other illustrations appealing to younger readers. The
lack of detail present in each illustration also makes it possible for young
readers to envision Neverland on their own terms, while still receiving support
from Attwell’s depictions.
Figure 7: A Mermaid Caught Wendy
Source, Byron, 1921: 94.
Peter Pan and Wendy,
1988
The illustrator: Michael Foreman
Michael
Foreman is another well-recognized and prominent British illustrator. Born in
1938 in Pakefield, England, Foreman studied at the Lowestoft School of Art, St.
Martin’s School of Art, and the Royal College of Art. Though best known as a
writer and children’s book illustrator, Foreman has held many art related jobs,
including working as Art Director at Playboy magazine.[50]
Foreman has been classified as having a distinct illustrative style, which utilizes
rough-textured cartridge paper, colour washes (particularly utilizing shades of
blue), and detailed fine line drawings. He has also been noted for possessing
the ability to convey a variety of scenes from: humorous, to the romantic, tender,
magical, haunting, to the horrific.[51]
As a result of his ability to present such contrary emotions in illustrations,
Foreman should be considered an ideal illustrator for the text of Peter Pan and Wendy, as Barrie himself
is able to paint a multi-layered story, which causes readers to experience
emotions across a large spectrum.
The illustrations
Overview of
Illustrations
All of the illustrations in
this edition of Peter Pan and Wendy were
created using watercolour paints. In total, Foreman created thirteen full-page
colour illustrations, as well as additional images, which introduce every
chapter of the book.[52] His
illustrations are light, and present readers with positive depictions of the
island and its inhabitants. In this way, they are similar to Disney’s 1953 film
Peter Pan, as Foreman has removed much
of the sadness and darker themes present within the text.[53]
The Lost Boys are childlike, and in fact are much smaller in size than the
pirates, Redskins, and even Wendy. The pirates, including Captain Hook, are
displayed rather meekly, and would not be considered overly fearsome, by even
the youngest of readers, making the book’s intended audience very clear. Finally,
as in the Disney film, Peter is drawn as a strong alpha male, a character
always in charge, and cocky, but rightfully so.[54]
Neverland
Neverland
is first pictured on page forty-five of Peter
Pan and Wendy (Figure 8).[55]
A full-page illustration displays Peter leading Wendy, John, and Michael to the
island of Neverland, which has just come into view. The island consists largely
of a white mountain, which sprawls outwards, and then down towards the sea. The
deep blue ocean that surrounds the island seems to be incomplete; it is almost
as though the island is being imagined into existence by the sheer will power
of Peter and the Darling children. Foreman’s appreciation for the colour blue
is clearly evident, but little else can be extracted from this illustration.
Figure 8: The Flight
Source, Barrie, 1988: 45.
The Mermaid’s
Lagoon
The
Mermaid’s Lagoon is pictured on page seventy-seven of this edition (Figure 9).[56]
In the illustration, Peter is shown on top of a rock in the middle of the Lagoon.
Mermaid’s sit along the rock, and appear to be quite docile, and enraptured
with what ever it is that Peter is telling them. Wendy is pictured off in a
corner, peering through some ferns at Peter, likely upset that the mermaid’s
are preening over him in such a matter. This is highlighted through Foreman’s
use of colours, while the portion of the illustration showing Peter is framed
in warm oranges and pinkish hues, Wendy is shrouded in dark blues and greys. It
is also important to note that such a scene is not in fact written in Barrie’s
text.[57]
This leads the reader to question why this image was included in this edition.
Looking to Disney’s portrayal of Peter Pan and the Mermaid’s Lagoon, some
answers can be found (Figure 10). Figure 10 is an image taken from Disney’s
film Peter Pan. In this scene, the
mermaid’s are completely enraptured with Peter, and rather jealous of Wendy.[58]
Because Barrie never writes of the mermaid’s crowding around Peter, while Wendy
looks on from the side, it is very likely that Foreman was inspired to create
this scene by Disney’s film, and not Barrie’s text. In fact, many of the
illustrations found in this edition of Peter
Pan and Wendy correlate greatly with the film Peter Pan. Peter is no longer illustrated as a lost child, as he
was by previous illustrators such as F.D. Bedford, but as the cocky boy, who
has enough spirit and strength to stand up to anything.
Figure 9: The Mermaid’s Lagoon
Source, Barrie, 1988: 77.
Figure 10: Disney’s Mermaid’s Lagoon
Source, Wikia, n.d..
Conclusion
Examining
the four different illustrated Peter Pan stories, it is clear that Neverland
and the Mermaid’s Lagoon have been illustrated differently by each of the selected
artists, and changes in the depiction of Neverland, as well as characters
including Peter Pan can be seen through time. A number of factors including:
the intended audience of the book, the author’s intentions, the illustrators
background, and pop cultural influences have all factored into the ways in
which Neverland has been imagined by illustrators through time. The ways in
which readers understand and react to a story are influenced both by the text
and the illustrations presented to a reader. The different illustrations found
in every edition of Neverland mould what the reader sees, and how they
interpret what they are reading. Today the characters found in J.M. Barrie’s Peter Pan and Wendy have become
ingrained in the minds of many. But in most cases, people do not envision
illustrations by artists including F.D. Bedford, which strive to embody what is
present in the text, but rather the cartoon characters found in the film Peter Pan. In some cases, illustrated
editions of Peter Pan and Wendy have
begun to embody characteristics of the story presented in the film Peter Pan, even when they are meant to
correspond with Barrie’s text. With the centenary of the publication of Peter Pan and Wendy now past, it is
likely that such changes will become more prevalent, as the meaning and sadness
inside Barrie’s story is forgotten.
References
Barrie,
J.M.. Peter and Wendy. New York:
Charles Scribner’s Sons, 1911.
Barrie,
J.M.. The Plays of J.M. Barrie. New
York: Charles Scribner’s Sons, 1929.
Barrie,
J.M.. Peter Pan and Wendy. New York:
Clarkson N Potter Inc./Publishers, 1988.
Byron,
May. Peter Pan and Wendy: Retold by May
Byron for Little People with the Approval of the Author. London: Hodder and
Stoughton, 1921.
Lane,
Anthony. “Lost Boys; Why J.M. Barrie created Peter Pan.” The New Yorker, November 22, 2004, http://www.newyorker.com/archive/2004/11/22/041122crat_atlarge.
“Mermaid’s
Lagoon- Disney Fairies Wiki.” Wikia.
Accessed April 1st 2012, http://dfairies.wikia.com/wiki/Mermaid_Lagoon.
O’Connor,
Daniel. The Peter Pan Picture Book.
London: George Bell and Sons, 1907.
Routh,
Chris. “Man for the Sword and for the Needle She: Illustrations of Wendy’s Role
in J.M. Barrie’s Peter and Wendy.” Children’s
Literature in Education 32, no. 1 (2001): 57-75.
Seville,
Catherine. “Peter Pan’s Rights: To Protect or Petrify.” Cambridge Quarterly 33, no. 2 (2004): 119-154.
Peter Pan. Directed by Clyde Geronimi, Wilfred
Jackson, and Hamilton Luske. 1953. Walt Disney Productions. 2003. DVD.
Pereira,
Nilce M. “Book Illustration as (Intersemiotic) Translation: Pictures
Translating Words.” Meta: Translators’
Journal 51, no. 1 (2008): 104-119.
Watson,
Victor. The Cambridge Guide to Children’s
Books in English. Cambridge; New York: Cambridge University Press, 2001.
[1] Catherine
Seville, “Peter Pan’s Rights: To Protect or Petrify,” Cambridge Quarterly 33, no. 2 (2004): 119-154.
[2] Anthony
Lane, “Lost Boys; Why J.M. Barrie created Peter Pan,” The New Yorker, November 22, 2004, http://www.newyorker.com/archive/2004/11/22/041122crat_atlarge.
[3] J.M.
Barrie, Peter and Wendy, (New York:
Charles Scribner’s Sons, 1911), 122.
[4]
Lane, “Lost Boys; Why J.M. Barrie...”
[5]
Ibid.
[6]
Ibid.
[7]
Ibid.
[8]
J.M. Barrie, The Plays of J.M. Barrie,
(New York: Charles Scribner’s Sons, 1929).
[9]
Barrie, The Plays of J.M. Barrie, 4.
[10]
Lane, “Lost Boys; Why J.M. Barrie...”
[11]
Seville, “Peter Pan’s Rights…: 119-154.
[12]
Daniel O’Connor, The Peter Pan Picture
Book, (London: George Bell and Sons, 1907); May Byron, Peter Pan and Wendy: Retold by May Byron for Little People with the
Approval of the Author, (London: Hodder and Stoughton, 1921).
[13]
Chris Routh, “Man for the Sword and for the Needle She: Illustrations of
Wendy’s Role in J.M. Barrie’s Peter and Wendy,” Children’s Literature in Education 32, no. 1 (2001): 57-75.
[14]
Lane, “Lost Boys; Why J.M. Barrie...”
[15]
Nilce M. Pereira, “Book Illustration as (Intersemiotic) Translation: Pictures
Translating Words,” Meta: Translators’
Journal 51, no. 1 (2008): 104-119.
[16]
Pereira, “Book Illustration as (Intersemiotic) Translation…”104-119.
[17]
Seville, “Peter Pan’s Rights...: 119-154.
[18]
O’Connor, The Peter Pan Picture Book;
Barrie, Peter and Wendy; Byron, Peter Pan and Wendy: Retold; J.M.
Barrie, Peter Pan and Wendy, (New
York: Clarkson N Potter Inc./Publishers, 1988).
[19]
Lane, “Lost Boys; Why J.M. Barrie...”
[20]
O’Connor, The Peter Pan Picture Book.
[21]
Ibid.
[22]
Ibid.
[23]
Barrie, Peter and Wendy.
[24]
Byron, Peter Pan and Wendy: Retold…
[25]
Ibid.
[26]
Seville, “Peter Pan’s Rights...:119-154.
[27]
Barrie, Peter Pan and Wendy.
[28]
Barrie, Peter and Wendy, 9-10.
[29]
Victor Watson, The Cambridge Guide to
Children’s Books in English, (Cambridge; New York: Cambridge University
Press, 2001).
[30]
Watson, The Cambridge Guide to Children’s
Books in English.
[31]
Ibid.
[32]
O’Connor, The Peter Pan Picture Book.
[33]
Barrie, The Plays of J.M. Barrie;
O’Connor, The Peter Pan Picture Book;
Barrie, Peter and Wendy; Byron, Peter Pan and Wendy: Retold…
[34]
O’Connor, The Peter Pan Picture Book,
20.
[35]
Barrie, The Plays of J.M. Barrie.
[36]
O’Connor, The Peter Pan Picture Book,
28.
[37]
Barrie, Peter and Wendy.
[38]
O’Connor, The Peter Pan Picture Book,
28.
[39]
Barrie, Peter and Wendy, 146.
[40]
O’Connor, The Peter Pan Picture Book,
34.
[41]
Watson, The Cambridge Guide to Children’s
Books in English.
[42]
Barrie, Peter and Wendy.
[43]
Barrie, Peter and Wendy.9-10.
[44]
Watson, The Cambridge Guide to Children’s
Books in English.
[45]
Ibid.
[46]
Byron, Peter Pan and Wendy: Retold…
[47]
Ibid.
[48]
Byron, Peter Pan and Wendy: Retold…
[49] Ibid.
[50]
Watson, The Cambridge Guide to Children’s
Books in English.
[51]
Ibid.
[52]
Barrie, Peter Pan and Wendy.
[53]
Seville, “Peter Pan’s Rights: 119-154.
[54]
Barrie, Peter Pan and Wendy.
[55]
Ibid.
[56]
Barrie, Peter Pan and Wendy.
[57]
Ibid.
[58]
Peter Pan, directed by Clyde
Geronimi, Wilfred Jackson, and Hamilton Luske (1953; Walt Disney Productions,
2003), DVD.
