Abstract
THE MUCH-VEXED question of the structure of Huckleberry Finn has received both distinguished and penetrating attention; T. S. Eliot and Lionel Trilling have defended the plot as a whole in their introductions to editions of the novel, and Leo Marx has ably replied to both.' James Cox and Philip Young have attempted symbolic and psychological interpretations which make passing comments on structure.2 I should like to suggest, however, that both groups of critics, although they have made valuable exploratory searches, have neglected the one aspect of the structure which is perhaps the most rewarding to investigate. In the first place, as Edgar Goold points out in regard to Twain's theory of the novel:
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