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From Wikipedia, the free encyclopedia

Illustration of Peter Pan playing the pipes, from the novel Peter and Wendy published in 1911, illustrated by FD Bedford

Peter Pan is a character created by Scottish novelist and playwright J. M. Barrie (1860–1937). A mischievous boy who can fly and magically refuses to grow up, Peter Pan spends his never-ending childhood adventuring on the small island of Neverland as the leader of his gang the Lost Boys, interacting with mermaids, Indians, fairies and pirates, and from time to time meeting ordinary children from the world outside. In addition to two distinct works by Barrie, the character has been featured in a variety of media and merchandise, both adapting and expanding on Barrie's works.



Cover of 1915 edition of J.M. Barrie's novel, first published in 1911, illustrated by FD Bedford.

Peter Pan first appeared in a section of The Little White Bird, a 1902 novel written for adults. Following the highly successful debut of the play about Peter Pan in 1904, Barrie's publishers, Hodder and Stoughton, extracted chapters 13–18 of The Little White Bird and republished them in 1906 under the title Peter Pan in Kensington Gardens, with the addition of illustrations by Arthur Rackham.[1]

The character's best-known adventure debuted on 27 December 1904, in the stage play Peter Pan, or The Boy Who Wouldn't Grow Up. The play was adapted and expanded somewhat as a novel, published in 1911 as Peter and Wendy, later as Peter Pan and Wendy, and still later as simply Peter Pan.

Peter Pan has appeared in numerous adaptations, sequels, and prequels since then, including the widely known 1953 animated feature film Walt Disney's Peter Pan, various stage musicals (including one by Jerome Robbins, starring Cyril Ritchard and Mary Martin, filmed for television), live-action feature films Hook (1991) and Peter Pan (2003), and the authorized sequel novel Peter Pan in Scarlet (2006). He has also appeared in various works not authorized by the holders of the character's copyright, which has lapsed in most parts of the world. A major new stage production that will tour internationally was performed in Summer 2009 in Kensington Gardens in a specially built theatre pavilion within view of the Peter Pan statue. The production opens in the US in May 2010.

Major stories

Of the stories written about Peter Pan, several have gained widespread notability. See Works based on Peter Pan for a list of books, films, etc. featuring these and other Peter Pan stories.


Barrie never described Peter's appearance in detail, even in the novel Peter and Wendy, leaving much of it to the imagination of the reader and the interpretation of anyone adapting the character. Barrie mentions in "Peter and Wendy" that Peter Pan still had all of his baby teeth. He describes him as a beautiful boy with a beautiful smile, "clad in skeleton leaves and the juices that flow from trees". In the play, Peter's outfit is made of autumn leaves and cobwebs. His name and playing the flute vaguely suggest the mythological character Pan.

Traditionally the character has been played on stage by an adult woman, a decision driven primarily by the difficulty of casting actors even younger than the one playing Peter as the other children, so the presentation of the character on stage has never been viewed as implying how Peter "really" looks.

In Peter Pan in Scarlet, Geraldine McCaughrean adds to the description of his appearance, mentioning his blue eyes, and saying that his hair is light (or at least any colour lighter than black). In this novel, Never Land has moved on to autumn, so Peter wears a tunic of jay feathers and maple leaves, rather than his summertime garb. In the 'Starcatcher' stories written by Dave Barry and Ridley Pearson, Peter has carrot-orange hair and bright blue eyes.

In the Disney films, Peter wears an outfit that is easier to animate, consisting of a short-sleeved green tunic and tights apparently made of cloth, and a cap with a feather in it. He has pointed elf-like ears, and his hair is orangish brown. In the live-action 2003 film, he is portrayed by Jeremy Sumpter, who has blond hair and blue eyes, and his outfit is made of leaves and vines. In Hook, he appears as an adult as Robin Williams with dark brown hair, but in flashbacks to his youth his hair is more orangish. In this film his ears appear pointed only when he is "Peter Pan", not "Peter Banning"; his Pan clothing resembles the Disney outfit.


Statue of Peter Pan in London

The notion of a boy who would never grow up was based on J. M. Barrie's older brother who died in an ice-skating accident the day before he turned 14, and thus always stayed a young boy in his mother's mind. Ironically, the "boy who wouldn't grow up" has appeared at a variety of ages. In his original appearance in The Little White Bird he was only seven days old. Although his age is not stated in Barrie's later play and novel, his characterization is clearly years older. The book states that he has all of his baby teeth, and Barrie's intended model for the statue of Peter that was erected in Kensington Gardens was a set of photos of Michael Llewelyn Davies taken at the age of six. Early illustrations of the character generally appeared to be that age or perhaps a few years older. In the 1953 Disney adaptation and its 2002 sequel, Peter appears to be in late childhood, between 10 and 13 years old. (The actor who provided the voice in 1953 was 15-year-old Bobby Driscoll.) In the 2003 film, Jeremy Sumpter was 13 at the time filming started, but by the end of filming he was 14 and had grown several inches taller. In the movie Hook, Peter is said to have left Neverland many years earlier, forsaking his eternal youth and aging normally. When remembering his buried past, Peter is shown as a baby, and little boy, and also a near-teenager, suggesting that the aging process does not entirely stop in Neverland until puberty or just before. When Peter says "I remember you being a lot bigger," in the final duel, Hook answers, "to a 10-year-old I'm huge." He is portrayed by Robin Williams, who turned 40 during production of the film.


Statue of Peter Pan in Kirriemuir

Peter is mainly an exaggerated stereotype of a boastful and careless boy. He is quick to point out how great he is, even when such claims are questionable (such as when he congratulates himself for Wendy's successful reattachment of his shadow).

Peter has a nonchalant, devil-may-care attitude, and is fearlessly cocky when it comes to putting himself in danger. Barrie writes that when Peter thought he was going to die on Marooner's Rock, he felt scared, yet he felt only one shudder run through him when any other person would have felt scared up until death. With his blissful unawareness of the tragedy of death, he says, "To die will be an awfully big adventure".

In some variations of the story and some spin-offs, Peter can also be quite nasty and selfish. In the Disney adaptation of the tale, Peter appears very judgmental and pompous (for example, he called the Lost Boys 'blockheads' and when the Darling children say that they should leave for home at once, he gets the wrong message and angrily assumes that they want to grow up).

In the 2003 live-action film, Peter Pan is sensitive about the subject of "growing up". When confronted by Hook about Wendy growing up, marrying and eventually "shutting the window" on Peter, he becomes very depressed and finally loses the will to fight.


Peter's archetypal ability is his un-ending youth. In "Peter and Wendy" it is explained that Peter must forget his own adventures and what he learns about the world in order to stay child-like. Author Kevin Orlin Johnson argues that the Pan stories are in the German-English tradition of the Totenkindergeschichte (roughly, "tales of dead children"), and the idea that Peter and all of the lost boys are dead in a Never Land afterlife is consistent with that genre, and rooted in Barrie's own life story.[citation needed] The fact that the other Lost Boys are growing up and able to be killed in Peter and Wendy contradicts this idea. The unauthorized prequels by Barry and Pearson attribute Peter's everlasting youth to his exposure to starstuff, a magical substance which has fallen to earth.

Peter's ability to fly is explained somewhat, but inconsistently. In The Little White Bird he is able to fly because he – like all babies – is part bird. In the play and novel, he teaches the Darling children to fly using a combination of "lovely wonderful thoughts" (which became "happy thoughts" in Disney's film) and fairy dust; it is unclear whether he is serious about "happy thoughts" being required (it was stated in the novel that this was merely a silly diversion from the fairy dust being the true source), or whether he requires the fairy dust himself. In Hook, the adult Peter is unable to fly until he remembers his 'happy thought'. The ability to fly is also attributed to starstuff – apparently the same thing as fairy dust – in the Starcatcher prequels.

Peter has an effect on the whole of Never Land and its inhabitants when he is there. Barrie states that although Never Land appears different to every child, the island "wakes up" when he returns from his trip to London. In the chapter 'The Mermaid Lagoon' in Peter and Wendy, Barrie writes that there is almost nothing that Peter cannot do. He is a skilled swordsman, rivaling even Captain Hook, whose hand he cut off in a duel. He has remarkably keen vision and hearing. He is skilled in mimicry, copying the voice of Hook, and the tick-tock of the Crocodile.

In both Peter Pan and Wendy and Peter Pan in Scarlet, there are various mentions of Peter's ability to imagine things into existence, such as food, though this ability plays a more central role in Peter Pan in Scarlet. He also creates imaginary windows and doors as a kind of physical metaphor for ignoring or shunning his companions. He is said to be able to feel danger when it is near. In Peter Pan in Scarlet, it says that when Curly's puppy licks Peter, it licks off a lot of fairy dust, which may be interpreted to mean that he has become fairy-like to the point of producing his own dust, but could also simply mean that he spends so much time with fairies that he is coated in their dust.

In Peter and Wendy, Barrie states that the Peter Pan legend Mrs Darling heard as a child was that when children died, he accompanied them part of the way to their destination so that they would not be scared.


Peter does not know his parents. In Kensington Gardens Barrie wrote that he left them as an infant, and seeing the window closed and a new baby in the house when he returned, he assumed they no longer wanted him. In Starcatchers he is said to be an orphan, though his friends Molly and George discover who his parents are in Rundoon. In Hook, Peter remembers his parents, specifically his mother, who wanted him to grow up and go to the best schools in London to become a judge and have a family life. After Peter "ran away" to Neverland, he returns to find his parents forgot about him and had another child (the gender of Peter's sibling is revealed to be another boy in "Peter and Wendy").

Peter is the leader of the Lost Boys, a band of boys who were lost by their parents, and came to live in Neverland; it is reported that he "thins them out" when they start to grow up. He is best friends with Tinker Bell, a common fairy who is often jealously protective of him.

His nemesis is Captain Hook, whose hand he cut off in a duel. Hook's crew, including Smee and Starkey, also consider him a foe. The Starcatchers books introduce additional foes: Slank, Lord Ombra, and Captain Nerezza.

From time to time Peter visits the real world, particularly around Kensington Gardens, and befriends children there. Wendy Darling, whom he recruited to be his "mother", is the most significant of them; he also brings her brothers John and Michael to Never Land at her request. He later befriends Wendy's daughter Jane (and her subsequent daughter Margaret), and Peter and Wendy says that he will continue this pattern indefinitely. In Starcatchers he previously befriends Molly Aster and young George Darling.

Peter appears to be known to all the residents of Neverland, including the Indian princess Tiger Lily and her tribe, the mermaids, and the fairies.

In Hook, Peter states the reason he wanted to grow up was to be a father. He married Wendy's granddaughter, Moira, and they have two children, Maggie and Jack.

In popular culture

The character of Peter Pan (or thinly disguised versions of him) has appeared in countless tributes and parodies, and has been the subject of several later works of fiction. (See Works based on Peter Pan for notable examples.) J. R. R. Tolkien's biographer Humphrey Carpenter has speculated that Tolkien's impressions of a production of Barrie's Peter Pan in Birmingham in 1910 "may have had a little to do with" his original conception of the Elves of Middle Earth.[2] Since featuring the character in their 1953 animated film, Walt Disney has continued to use him as one of their traditional characters, featuring him in the sequel film Return to Neverland and in their parks as a meetable character, and the focus of the dark ride, Peter Pan's Flight; he appears in House of Mouse, Mickey's Magical Christmas, and the Kingdom Hearts video games.

The name "Peter Pan" has been adopted for various purposes over the years. Three thoroughbred racehorses have been given the name, the first born in 1904. It has been adopted by several businesses, including Peter Pan peanut butter, Peter Pan Bus Lines, and Peter Pan Records. An early 1960s program in which Cuban children were sent unattended to Miami to escape feared mistreatment under the then-new Castro regime was called Operation Peter Pan (or "Operación Pedro Pan"). The term Peter Pan syndrome was popularized in 1983 by a book with that name, about individuals (usually male) with underdeveloped maturity.

Peter Pan is depicted in public sculpture. There are seven statues cast from a mould by sculptor George Frampton, following an original commission by Barrie in 1912. The statues are in Kensington Gardens in London, England; Liverpool, England[3]; Brussels, Belgium[4]; Camden, New Jersey[5], United States; Perth, Western Australia[6]; Toronto, Ontario,[7] Canada; and St. John's, Newfoundland, Canada[8]. Two more statues (though not of Frampton's mould) are in Kirriemuir, Scotland, the birthplace of JM Barrie[9][10]. A new bronze statue by Diarmuid Byron O'Connor was commissioned by Great Ormond Street Hospital in London and unveiled in 2000, showing Peter blowing fairy dust, with Tinker Bell added in 2005.[11]

See also


External links


Up to date as of January 14, 2010

From Wikiquote

The difference between him and the other boys at such a time was that they knew it was make-believe; while to him make-believe and true were exactly the same thing.

Peter Pan is a book written by British novelist and playwright J. M. Barrie (1860–1937). Originally titled Peter Pan and Wendy, it was an adaptation of a stage play about the same characters. It is a story of a mischievous little boy who refuses to grow up. Peter Pan spends his never-ending childhood adventuring on the small island of Neverland as leader of his gang, the Lost Boys.


Chapter 1-5

What a funny address!
  • Two is the beginning of the end.
    • Ch. 1 : Peter Breaks Through
  • He got all of her, except the innermost box and the kiss. He never knew about the box, and in time he gave up trying for the kiss.
    • Ch. 1 : Peter Breaks Through
  • The many gentlemen who had been boys when she was a girl discovered simultaneously that they loved her, and they all ran to her house to propose to her except Mr. Darling, who took a cab and nipped in first, and so he got her.
    • Ch. 1 : Peter Breaks Through
  • ... but at last Wendy just got through, with mumps reduced to twelve six, and the two kinds of measles treated as one.
    • Ch. 1 : Peter Breaks Through
  • As they were poor, owing to the amount of milk the children drank, this nurse was a prim Newfoundland dog, called Nana, who belonged to no one in particular until the Darlings engaged her.
    • Ch. 1 : Peter Breaks Through
  • 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.
    • Ch. 1 : Peter Breaks Through
  • For instance, they may remember to mention, a week after the even happened, that when they were in the wood they met their dead father and had a game with him.
    • Ch. 1 : Peter Breaks Through
  • She had found her two older children playing at being herself and father on the occasion of Wendy’s birth.
    • Ch. 2 : The Shadow : The Shadow
  • I warn you of this, mother, that unless this tie is round my neck we don’t’ go out to dinner to-night, an dif I don’t go out to dinner to-night, I will never go to the office again, and if I don’t go to the office again, you and I stare, and our children will be flung into the streets.
    • Ch. 2 : The Shadow
  • ‘That is not the point,’ he retorted. ‘The point is, that there is more in my glass than in Michael’s spoon.’ His proud heart was nearly bursting. ‘And it isn’t fair; I would say it though it were with my last breath; it isn’t fair.’
    • Ch. 2 : The Shadow
  • ‘What’s your name?’ he asked.
    ‘Wendy Moira Angela Darling,’ she replied with some satisfaction. ‘What is your name?’
    ‘Peter Pan.’
    She was already sure that he must be Peter, but it did seem a comparatively short name.
    ‘Is that all?’
    ‘Yes,’ he said rather sharply. He felt for the first time that it was a shortish name.
    ‘I’m so sorry,’ said Wendy Moira Angela.
    ‘It doesn’t matter,’ Peter gulped.
    She asked where he lived.
    ‘Second to the right,’ said Peter, ‘and then straight on till morning.’
    ‘What a funny address!’
    Peter had a sinking feeling. For the first time he felt that perhaps it was a funny address.
    “A moment after the fairy’s entrance the window was blow open by the breathing of the little stars, and Peter dropped in.”
    • Ch. 3 : Come Away, Come Away!
  • She was in a jug for the moment, and liking it extremely; she had never been in a jug before
    • Ch. 3 : Come Away, Come Away!
  • ‘And you could darn our clothes, and make pockets for us. None of us has any pockets.’
    • Ch. 3 : Come Away, Come Away!

Chapter 6-10

  • ‘I did it,’ he [Tootles] said, reflecting. ‘When ladies used to come to me in dreams, I said, ‘Pretty mother, pretty mother.’ But when at least she really came, I shot her.’
    • Ch. 6 : The Little House
  • The difference between him and the other boys at such a time was that they knew it was make-believe; while to him make-believe and true were exactly the same thing. This sometimes troubled them, as when they had to make-believe that they had had their dinners.
    • Ch. 6 : The Little House
  • When she [Wendy] sat down to a basketful of their stockings, every heel with a hole in it, she would fling up her arms and exclaim, ‘Oh dear, I am sure I sometimes think spinsters are to be envied.’
    • Ch. 7 : The Home Under the Ground
  • ‘Oh dear, oh dear,’ cried Wendy, ‘I’m sure I sometimes think that spinsters are to be envied.'
    • Ch. 7 : The Home Under the Ground
  • As time wore on did she think much about the beloved parents she had left behind her?...Wendy did not really worry about her father and mother; she was absolutely confident that they would always keep the window open for her to fly back by, and this gave her complete ease of mind. What did disturb her at times was that John remembered his parents vaguely only, as people he had once known, while Michael was quite willing to believe that she was really his mother. These things scared her a little, and nobly anxious to do her duty, she tried to fix the old life in their minds by setting them examination papers on it, as like as possible to the ones she used to do at school…The questions were all written in the past tense. What was the colour of Mother’s eyes, and so on. Wendy, you see, had been forgetting too.
    • Ch. 7 : The Home Under the Ground
  • For one thing he [Peter] despised all mothers except Wendy, and for another he was the only boy on the island who could neither write nor spell; not the smallest word. He was above all that sort of thing.
    • Ch. 7 : The Home Under the Ground
  • He [Peter] was less sorry than Wendy for Tiger Lily: it was two against one that angered him, and he meant to save her.
    • Ch. 8 : The Mermaids' Lagoon
  • ‘What’s a mother?’ asked the ignorant Smee.
    • Ch. 8 : The Mermaids' Lagoon
  • ‘Captain,’ said Smee, ‘could we not kidnap these boys’ mother and make her out mother?’
    ‘It is a princely scheme,’ cried Hook, and at once it took practical shape in his great brain. ‘We will seize the children and carry them to the boat: the boys we will make walk the plank, and Wendy shall be our mother.’
    • Ch. 8 : The Mermaids' Lagoon
  • ‘A codfish!’ Hook echoed blankly, and it was then, but not till then, that his proud spirit broke. He saw his men draw back from him.
    ‘Have we been captained all this time by a codfish!’ they muttered. ‘It is lowering to our pride.’
    They were his dogs snapping at him, but, tragic figure though he had become, he scarcely heeded him. Against such fearful evidence it was not their belief in him that he needed, it was his own. He felt his ego slipping from him.’
    • Ch. 8 : The Mermaids' Lagoon
  • Peter was alone on the lagoon.
    The rock was very small now; soon it would be submerged. Pale rays of light tiptoed across the waters; and by and by there was to be heard a sound at once the most musical and the most melancholy in the world: the mermaids calling to the moon.
    Peter was not quite like other boys; but he was afraid at last. A tremor ran through him, like a shudder passing over the sea; but on the sea one shudder follows another till there are hundreds of them, and Peter felt just the one. Next moment he was standing erect on the rock again, with that smile on his face and a drum beating within him. It was saying, "To die will be an awfully big adventure."
    • Ch. 8 : The Mermaids' Lagoon; Peter, expecting to to die while trapped on Marooner's Rock, after insisting that Wendy escape on Michael's kite, which could only support one of them, a scene originally added in the 1905 production of the play. This has also sometimes been quoted as "To die would be an awfully great adventure", "To die will be a great adventure", and "To die would be a great adventure."

Unplaced by chapter and sequence

  • “Her [Mrs. Darling’s] romantic mind was like the tiny boxes, one within the other…however many you discover there is always one more; and her sweet mocking mouth had one kiss on it that Wendy could never get, though there it was, perfectly conspicuous in the right-hand corner.” – pg. 1
  • “It was a girl called Tinker Bell exquisitely gowned in a skeleton leaf, cut low and square, through which her figure could be seen to the best advantage.” – pg. 19
  • “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 round her neck.” – pg. 23
  • “‘You see, Wendy, when the first baby laughed for the first time, its laugh broke into a thousand pieces, and they all went skipping about, and that was the beginning of fairies.’” – pg. 24
  • “‘Wendy, Wendy, when you are sleeping in your silly bed you might be flying about with me saying funny things to the stars.’” – pg. 27
  • “‘And you could darn our clothes, and make pockets for us. None of us has any pockets.’” – pg. 28
  • ‘For Wendy?’ John said, aghast. ‘Why, she is only a girl!’
    ‘That,’ explained Curly, ‘is why we are her servants.’ – pg. 58
  • “‘Ay, ay,’ said Slightly at once, and disappeared, scratching his head. He knew Peter must be obeyed, and he returned in a moment, wearing John’s hat and looking solemn.” – pg. 58
  • “John rubbed his eyes. ‘Then I shall get up,’ he said. Of course, he was on the floor already. ‘Hallo’, he said, ‘I am up!’”.

– pg. 58

  • “‘That doesn’t matter,’ said Peter, as if he were the only person present who knew all about it, though he was really the one who knew least. ‘What we need is just a nice motherly person.’” – pg. 61
  • “The little house was so pleased to have such a capital chimney that, as if to say thank you, smoke immediately began to come out of the hat. – pg. 61
  • “‘Very well,’ she said. ‘I will do my best. Come inside at once, you naughty children; I am sure your feet are damp. And before I put you to bed I have just time to finish the story of Cinderella.’” – pg. 62
  • “…for unless your tree fitted you it was difficult to go up and down, and no two of the boys were quite the same size. Once you fitted, you drew in your breath at the top, and down you went at exactly the right speed, while to ascend you drew in and let our alternately, and so wriggled up. Off course, when you have mastered the action you are able to do these things without thinking of them, and then nothing can be more graceful.” – pg. 63
  • “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.” – pg. 70
  • “The bubbles of many colours made in randow water they treat as balls, hitting them gaily fro one to another with their tails, and trying to keep them in the rainbow till they burst.” – pg. 71
  • Quick as thought he snatched a knife from Hook’s belt and was about to drive it home, when he saw that he was higher up the rock than his foe. It would not have been fighting fair. He gave the pirate a hand to help him up.
    It was then that Hook bit him.
    Not the pain of this but its unfairness was what dazed Peter. It made him quite helpless. – pg. 79
  • “Peter was not quite like other boys; but he was afraid at last…Next moment he was standing erect on the rock again, with that smile on his face and a drum beating within him. It was saying, ‘To die will be an awfully big adventure.’” – pg. 82
  • “You dunderheaded little jay,” she screamed, ‘why don’t you do as I tell you?”
    Peter felt that she was calling him names, and at a venture he retorted hotly:
    “So are you!”
    The rather curiously they both snapped out the same remark.
    “Shut up!”
    “Shut up!” – pg. 84
  • “At the same moment the bird fluttered down upon the hat and once more sat snugly on her eggs. She drifted in one direction, and he was borne off in another, both cheering...the hat was such a great success that she abandoned the nest…As we shall not see her again, it may be worth mentioning here that all Never birds now build in that shape of nest, with a broad brim on which the youngsters take an airing,” – pg. 85
  • “Every boy had adventures to tell; but perhaps the biggest adventure of all was that they were several hours late for bed.” – pg. 86
  • “They [the redskins] called Peter the Great White Father, prostrating themselves before him; and he liked this tremendously, so that it was not really good for him.” – pg. 87
  • “The way you got the time on the island was to find the crocodile, and then stay near him till the clock struck.” – pg. 88
  • “There was a fixed rule that they must never hit back at meals, but should refer the matter of dispute to Wendy by raising the right arm politely and saying ‘I complain of so-and-so’; but what usually happened was that they forgot to do this or did it too much.” – pg. 88
  • “O Wendy,” cried Tootles, “was one of the lost children called Tootles?”
    “Yes, he was.”
    “I am in a story. Hurrah, I am in a story, Nibs.” – pg. 95
  • “Let us now,” said Wendy, “bracing herself up for her finest effort, “take a peep into the future”; and they all gave themselves the twist that makes peeps into the future easier. – pg. 96
  • “You see,” Wendy said complacently, “our heroine knew that the mother would always leave the window open for her children to fly back by; so they stayed away for years and had a lovely time.” – pg. 96
  • …he was so full of wrath against grown-ups, who, as usual, were spoiling everything, that as soon as he got inside his tree he breathed intentionally quick short breaths at the rate of about five to a second. He did this because there is a saying in the Neverland that, every time you breathe, a grown-up dies; and Peter was killing them off vindictively as fast as possible. – pg. 98
  • “Tink,” he rapped out, “if you don’t get up and dress at once I will open the curtains, and then we shall all see you in your negligee.” – pg. 99
  • She loved to give them medicine, and undoubtedly gave them too much. Of course it was only water, but it was out of a bottle, and she always shook the bottle and counted the drops, which gave it a certain medicinal quality. – pg. 100
  • It is no part of ours to describe what was a massacre rather than a fight. Thus perished many of the flower of the Piccaninny tribe. – pg. 104

See also

External links

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Source material

Up to date as of January 22, 2010
(Redirected to Peter and Wendy article)

From Wikisource

Peter and Wendy
by J. M. Barrie
Peter Pan, or The Boy Who Wouldn't Grow Up and Peter and Wendy are the stage play and novel (respectively) which tell the well-known story of Peter Pan, a mischievous little boy who spends his never-ending childhood on the island of Neverland, and his adventure with the ordinary girl Wendy Darling and her brothers. The story was written by Scottish playwright and novelist J. M. Barrie (1860–1937). It features many fantastical elements, including children who can fly, a magical fairy, and mermaids. It was first staged at the Duke of York's Theatre on 27 December 1904, then adapted by Barrie into a novel published in 1911, and since adapted numerous times for film and other media, remaining popular with generations of children and adults. — Excerpted from Peter and Wendy on Wikipedia, the free encyclopedia.
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Up to date as of January 15, 2010

Definition from Wiktionary, a free dictionary




From the eponymous character in the novel Peter Pan


Peter Pan

Peter Pans

Peter Pan (plural Peter Pans)

  1. (books) The novel by J. M. Barrie.
  2. (fictional character) The eponymous protagonist of the novel.
  3. A man who acts as a child and does not accept the responsibilities of adulthood.
    • 1962, Aldous Huxley, Island
      "A Peter Pan if ever there was one. Hopeless at school. Incapable either of competing or co-operating."

See also

Simple English

Peter Pan is a fictional character created by Scottish novelist and playwright J. M. Barrie (1860–1937). His character is a magic boy who can fly and who refuses to grow up. Peter Pan spends his never-ending childhood playing on the small island of Neverland as the leader of his gang the Lost Boys.

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