Winnie the Pooh came at the very end of the First Golden Age Of Children’s Literature, as described by Peter Hunt:

THE AUDIENCE

  • Winnie the Pooh has been described as not really a book for children, but rather ‘collegiate’. (Sure enough, my mother bought me the complete hardcover works when I was in university. I hadn’t truly read them until then — like Seuss’s The Lorax, the stories had always been enjoyed more by my mother than by me.) In the early years the books were very much in vogue among adults but were later condemned by some as being smug/bourgeois/whimsical. Winnie is like The Bee Gees — he tends to go in and out of fashion, but unlike The Bee Gees, he’s currently in fashion. People don’t complain about his whimsy much these days.
  • Roger Sale said that the Pooh books are essentially about the fact that Christopher Robin is now too old to play with toy bears.
  • Maria Nikolajeva says that ‘the books present a subtle balance between the creation of Arcadia and the subversion of it, so that our final interpretation of them can easily topple over to either side, which we also see clearly in many studies of Pooh’. She explains that Milne tries to create an illusion that Paradise is indeed eternal, while the text subverts the author’s intention.
  • Apart from his Pooh stories (written 1924-1928, A.A. Milne wrote plays for adults. After his four Pooh stories that’s all he wrote, until he died in 1956.

FOOD IN THE POOH STORIES

  • Food is an important part of Pooh’s paradise, though surprisingly little is said about it compared to, say, The Wind In The Willows. Pooh is fixated, of course, upon ‘hunny’.

As a side note, children are likely to identify with Pooh’s love of honey. Human evolution explains why we love it:

The honeyguide lives in much of Africa, where it eats the wax, brood, and eggs of honeybees. In this, it is relatively unique. Wax is indigestible to most animals. The honeyguide has been simultaneously blessed with the ability to eat wax and cursed with the dilemma of how to obtain it. Honeyguide beaks are too small to break into beehives. Humans have a different problem. We crave beehives for their honey. We are willing to do almost anything to get to honey. In Thailand, little boys are sent a hundred feet up into trees with a smoking stick to do battle with three-inch-long giant bees and take from them their honey… Honey, to paraphrase the anthropologist Claude Levi-Strauss has “a richness and subtlety difficult to describe to those who have never tasted [it], and indeed can seem almost unbearably exquisite in flavour… [It] breaks down the boundaries of sensibility, and blurs is registers, so much so tat the eater of honey wonders whether he is savoring a delicacy or burning with the fire of love.”

– from The Wild Life Of Our Bodies, by Rob Dunn

 

  • Pooh is often punished for being greedy, though the punishment is rather mild compared to the punishment in most gluttony stories. (Compare with Charlie and the Chocolate Factory.)

  • Food is always joyful. Most adventures end with Pooh going home to eat lunch. He is always excusing himself to go home to eat. He lives to eat. Pooh immediately interprets unfamiliar words as food, which is a good source of humour. A similar technique is used in the more modern book Guess Who’s Coming To Dinner, in which the animal protagonists structure their days around mealtimes, and almost don’t live to tell the tale.
  • As in many children’s stories, a picnic is an important part of any outing.
  • Food takes a less significant role in the stories once they move from mythic to linear (i.e. when changes start to occur), when Christopher Robin’s departure from this world is imminent and later becomes a fact. Food moves into the background because emotional development comes to the fore.

THE SETTING OF WINNIE THE POOH

  • Alison Lurie sees Pooh books as an intact idylls, with their strong “reversal of parental authority”. The Forest is a self-contained universe without economic competition or professional ambition. Any danger that can threaten always comes from natural causes. This is similar to the idyll in the Moomin stories. Apart from occasional bad weather, there’s nothing unsafe about this world.
  • The world is a stable one. Tigger’s and Roo’s arrive in the Forest is like the appearance of a sibling in early childhood, inexplicable and unexpected. Both characters soon become an integrated part of the idyllic world.
  • Humphrey Carpenter sees in the Pooh books the Biriths Goldne Age’s farewell to enchanted places.
  • Some critics say that Milne wrote these books because he himself was estranged from his parents, and the world is a kind of escape. But this doesn’t explain why other authors wrote similar worlds, and they were not estranged from their parents. (Astrid Lindgren, Tove Jansson etc.)
  • The toys represent the childish part of Christopher Robin. They cannot follow him out into the Wide World.
  • All scenes that take place at Christopher Robin’s house take place outdoors, including the party he gives at the end of the first book.

  • Homes and houses play a significant role in the books in general, though. But home doesn’t exactly represent security — Owl’s house gets blown down. (This anticipates Christopher Robin’s departure.)
  • The Forest is a natural world, where civilization has not yet entered, at least not in the beginning. It’s basically a modern version of an archetypal legend. A peaceful animal kingdom is ruled by a single benevolent human being. But the final threat to the Forest comes from knowledge and education. Pooh’s poems represent oral, mythical culture but the education Christopher Robin receives on the outside is written and therefore linear. When Christopher Robin writes his first correct sentence, he takes a step away from the world of innocence.
  • The Forest is a child’s inner landscape.

THE CHARACTERS OF WINNIE THE POOH

Winnie the Pooh characters

  • The characters are humanised toys rather than humanised animals but there’s not much point in making a distinction. Each of their characteristics doesn’t have much to do with their real-world animal counterparts, except that Piglet likes Haycorns (as do real pigs, apparently).
  • Some feminist critics have ascribed Pooh with gender characteristics, but Nikolajeva argues for a gender-free Pooh. The Forest is a ‘pregender’ universe. Note that the voice of Pooh, when adapted for television/film is quite high pitched, though narrated by an older male. This is both ‘youthful’ and results in a sexually ambiguous character.The characters of the Pooh stories can be viewed as a ‘collective protagonist’ (from Jungian thought), with each character representing faults and virtues particular to some adults and some children, but Pooh himself (the hero) has faults and virtues common to children.
  • The characters are introduced gradually, one or two at a time in each story, which is like a child’s gradual discovery of their own traits.
  • Pooh is the bland, confident, mystic child.
  • Piglet is the small, nervous but very brave child. Piglet moves in with Pooh, which might be seen as a fusion of character. Piglet eats acorns.
  • Tigger is the wild child. He is fussy about his food. His attempts to find suitable food for himself is a search for identity. He must find his place int he hierarchy of the Forest (remember, the Forest equals childhood). Tigger is the only animal who doesn’t have a house of his own and stays with Kanga. This emphasises his smallness. (Not his physical dimensions but his general bouncy demeanour, which is childlike.) Normally — if he were a real animal — he would have gobbled up Kanga. This further disarms him. He is at the ‘pre-mirror’ stage of child development, and doesn’t recognise his own reflection. He is a baby who has just been weaned, tasting his mother’s different foodstuffs.
  • Roo is the baby, and critics find it difficult to say much interesting about Roo.
  • Rabbit often thought to represent is the egocentric, sarcastic adult. Rabbit is the most conservative part of the collective protagonist. He is against change. He wants to get rid of Kanga and then Roo, then Tigger. But Rabbit is also the most childish. He is the most reluctant part of the child. This is a stubborn child who has made up his mind and is unwilling to change. (Perhaps he is really a very old man.)
  • Owl is the pretentious and insecure egocentric adult.
  • Kanga is the loving but firm mother.
  • Eeyore — together with Owl, Eeryore is closest to the world of adults. This is partly symbolised by his food. Eeyore eats thistles, rather than the sweet foods of childhood.
  • Christopher Robin is small, powerless and oppressed. But in the Forest he is the God. He has the function of deus ex machina in the stories, stepping in to save the day. But Christopher Robin is never focalised, whereas all the other characters are.

 

NARRATIVE PERSPECTIVE IN WINNIE THE POOH

  • The story progresses toward an increasingly adult, detached view of the events.
  • The metadiegetic, didactic narrator gradually disappears. Some critics really don’t like this adult-like narrator’s voice, thinking it is intrusive. (Metadiegetic pertains to a secondary narrative embedded within the primary narrative. The secondary narrative can be a story told by a character within the main story or it can take the form of a dream, nightmare, hallucination, imaginary or other fantasy element.)
  • This kind of narration is typical of idyllic fiction.
  • In the Pooh stories, there is a metafictive father telling these stories to a metafictive son over and over again.
  • There is much irony between the words and the pictures, for example when Pooh is stuck in the hole because he’s eaten too much honey. Christopher Robin reads him a ‘sustaining’ book, which happens to be an ABC book, and opens to the page for ‘Jam’. Both Milne and Shepard (the original illustrator) make fun of the child.

 

ABSENCE OF THEME IN WINNIE THE POOH

  • ‘The Pooh stories are as totally without hidden significance as anything ever written.’ – Rowe
  • See: The Pooh Perplex, which is a satire of literary criticism. These books were perfect for that, since they don’t seem to stand up well to such criticism.
Notes above are from:

From Mythic to Linear: Time in Children’s Literature by Maria Nikolajeva

Written for Children by John Rowe Townsend

 

RELATED LINKS

The Ecology Of Winnie The Pooh, from Aeon

From The Hundred Acre Wood To Midtown – Winnie The Pooh in New York from Scouting New York

A catchy seventies song by a couple of guys with awesome shiny hair. It’s called Pooh Corner.

Celebrating Winnie-The-Pooh’s 90th With A Rare Recording (And Some Hunny) from NPR

Five Hundred Acre Wood: The forest that inspired Winnie-the-Pooh’s Hundred Acre Wood can be found outside London from Atlas Obscura

A.A. Milne was never particularly proud of his Winnie the Pooh books, always aspiring to see success in writing for adults. Nor did he especially enjoy children, though he’s not alone in that. A lot of the most beloved children’s writers did not like children — rather, they seemed to write to revisit the child within themselves.