Metamora Sparknotes

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The nineteenth-century, a period of expansion in the eyes of the Americans; fostered an increase in preexisting feelings of superiority over the indigenous peoples of America. They were referred to as “Indians” or “savages.” The Euro-American belief of distinction between the “civilized” and “savages” were accentuated in the universal law of progress, and law of vices and virtues, leading to the emergence of the famed myth, the “vanishing” Indian, which enforced the Euro-American notion of the Native American population dwindling into nothingness (Ferdinando). The eighteen-hundreds marked the rise in naturalistic literature integrating the myth of the vanishing Indian into popular culture. Playwrights with their increased popularity in the nineteenth-century incorporated these elements of white ideology into their plays, as seen in Metamora; or The Last of the Wampanoags; a play written by John Augustus Stone in 1828, and first performed in 1829 at the Park Theater in New York City (Jones 13). Metamora clearly establishes the stereotype of American Indians being savages and the Euro-Americans being civilized, and stresses the notion that …show more content…

Metamora exasperated by the ill-treatment bestowed upon him by the “palefaces,” converses with Kaweshine on how the Europeans “…move in the region…for plunder and for prey” (Stone 8). This of course reinforces the white ideology of civilization moving in, and eventually alienating and eradicating the Native population. In the final scene of the play, Metamora is cornered by English forces, bleeding out, he cries, “The last of the Wampanoags’s curse be on you!” (Stone 16) Metamora was ultimately defeated due to the unstoppable wave of European civilization and his own stubbornness, a vice of savagery (Jones 16). This comment made by Metamora accentuates that his death will mark the end of his tribe; representing the white ideology of the vanishing

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