Identity and Individuality of Derivative Fictions -- continued

I could sew it on for you. This may hurt a little. …Might I borrow your knife? Thank you. ／ Oh, the cleverness of me! ／ Of course, I did nothing. ／ You did a little. ／ A little? … Good night. Wendy is stunned by Peter, who has completely forgotten that he finally got through the obstacle with Wendy’s help and is rejoicing because he mistakenly thinks that he was able to attach the shadow on his own. However, when Wendy slips into bed sulking, Peter cleverly calls out to placate her. Wendy? One girl is worth more than 20 boys. ／You really think so? ／I live with boys, The Lost Boys. They are well-named. Because he is a completely ignorant boy who does not know any reflection on himself, Peter demonstrates a skillful conversation skill,(note) which is the ability to deal with all situations without the need for calculation or ingenuity, Wendy comes out involuntarily and asks him a question. note: This dichotomous trait embodied by Peter is discussed in “Peter’s Ignorance and Mysterious Wisdom”, included in Fantasy as Antifantasy, (2005). Who are they? ／ Children who fall out of their prams when the nurse is not looking. If they are not claimed, they’re sent to the Neverland. This leads to the famous kiss exchange scene between Wendy and Peter. The bizarre idea of handing over a thimble and giving a kiss instead of it also implied a mutually dependent topology of the archetypal substrate of the universe, which allowed the transformation describing of concept and mass, mind and phenomenon.(note) note: For the influence of Einstein’s Theory of Relativity, which overturned the norms of conventional scientific thought, and the metaphysical qualities that Peter and Wendy seems to reflect, please refer to “Kiss and Riddle”, included in Fantasy as Antifantasy, (2005). Are there girls, too? ／ Girls are much too clever to fall out of their prams. ／ Peter, it is perfectly lovely the way you talk about girls. I should like to give you … a kiss. …… Don’t you know what a kiss is? ／ I shall know when you give me one. … …I suppose I’m going to give you one now. ／ If you like. …… Thank you. If you extract only the dialogue of the movie, which describes most of the story in the video, it will be a little difficult to grasp the scene as shown above, but in the original novel, Peter and Wendy, this impressive scene was described as follows with the effective use of characteristic narration. “I think it’s perfectly sweet of you,” she declared, “and I’ll get up again,” and she sat with him on the side of the bed. She also said she would give him a kiss if he liked, but Peter did not know what she meant, and he held out his hand expectantly. “Surely you know what a kiss is?” she asked, aghast. “I shall know when you give it to me,” he replied stiffly, and not to hurt his feeling she gave him a thimble. “Now,” said he, “shall I give you a kiss?” and she replied with a slight primness, “If you please.” She made herself rather cheap by inclining her face toward him, but he merely dropped an acorn button into her hand, so she slowly returned her face to where it had been before, and said nicely that she would wear his kiss on the chain around her neck. It was lucky that she did put it on that chain, for it was afterwards to save her life. p. 31-32 The metaphysical hyper-logic that subverts the conventional scientific concept introduced in the original Peter and Wendy presented an important philosophical theme, and in the movie Peter Pan, a transformation operation to the original work’s transformation description is furthermore carried out, forming an interesting metafictional manipulation as a derivative work. It was a highly technical description of the story in anticipation of the progression of it, that it is narrated the acorn would later lead to the saving of her life because Wendy hanged it on a chain around her neck. This is one of the most striking passages in the metafictional structure of the original Peter and Wendy as a narrative that is aware of its narrative structure. Adding to that, it was a major feature of the original novel that the author’s own voice eloquently tells the story of Peter and Wendy in a rather harsh and sometimes sarcastic tone towards the children. The scene of the movie Peter Pan proceeds almost faithfully to the original, concerning the dialogue after this. How old are you, Peter? ／ Quite young. ／ Don’t you know? ／ I ran away. One night, I heard my parents talking… of what I was to be when I became a man. So I ran away to Kensington Gardens and I met Tink. ／ But there’s no such thing as a …／Don’t say that. Every time somebody says that, a fairy somewhere falls down dead.／ And I’ll never find her if she’s dead. ／ You don’t mean to tell me there’s a fairy in this room. ／ We come to listen to the stories. I like the one about the prince who couldn’t find the lady … who wore glass slippers. ／ Cinderella. Peter, he found her, and they… And they… …lived happily ever after. ／ I knew it.／ Peter… I should like to give you……a……thimble. ／ What’s that? In response to the fact that she handed Peter a thimble pretending it to be a “kiss” earlier, Wendy now kisses Peter under the guise of a “thimble”. In this way, a new spiritual coordinate system is constructed in the overlapping of the minds of Wendy and Peter, in which the concepts of kissing and “thimbling” are interchangeable. It is a scene that implies that the establishment of the exchange of meanings between the kiss and thimble/acorn has led to the birth of a parallel universe, in which the original composition of the sets has been slightly replaced in a new one, at the intersecting space of consciousness. This episode will be an important metaphysical attribute that defines the story of Peter Pan, which can be compared to the many-worlds interpretation theory, envisioning a branching parallel universe, adopted to understand the inexplicable relationship between the indeterminacy nature of quantum particle and the phenomenal world in which the disposition of potential elements is definitively materialized.(note) note: The very existence of Peter Pan functioned as a symbol that implied non-existence through logical contradictions in the fictional axiom system of Peter and Wendy. Please refer to “Peter’s Ignorance and Mysterious Wisdom” included in Fantasy as Antifantasy, (2005), for further discussion of the boy’s nature suggesting antinomy. 　In fact, in the original novel, Peter and Wendy, the attempt at a conceptual manipulation in the exchange of meanings transformed between Wendy and Peter, which presented a particularly memorable episode, was similarly repeated in the description of Neverland. Let’s take a look at the original Peter and Wendy’s account by the author’s narration. Of course the Neverlands vary a good deal. John’s, for instance, had a lagoon with flamingoes flying over it at which John was shooting, while Michael, who was very small, had a flamingo with lagoons flying over it. p. 11 It was implied here that Neverland was a mental imaginary world in the subjectivity of each child. It is not only an independent inner world for each child, but also a shared space that allows the coexistence of each other's consciousnesses. In this context, contradictions based on misunderstandings also function positively as world-axes constructing elements that form one of the conceptual multiple worlds. It is implied that there is the same conversion mechanism as between the kiss and the thimble that occurred between Peter and Wendy. The world of potentiality before manifested as events, which is equal to the supposed conditions of the myriad parallel worlds that manifest themselves as result of the combination of semantic elements, is referred to in the consciousness space of Neverland.