The Virginian
The cowboy hero, The Virginian, as portrayed in Owen Wister’s novel was the first of his kind and today is known as the stereotypical mythic cowboy figure which our view of the western frontier are based from. The Virginian was the first full length western novel apart from the short dime novels which marked the final stage in the evolution of the cowboy hero to a national icon. The Virginian was published in 1902 and at that time was wildly popular because of the settlement of the west. The story of the cowboy who had the skill and courage to take control of the untamed frontier enthralled people. The cowboy hero had a few distinguished qualities, he was a self-appointed vigilante, he had a very strict moral code, he had exceptional perception skills and he had the ability to adapt. Owen Wister’s The Virginian was the first to portray these qualities and really created a deeper cowboy character.
While the western frontier was still new and untamed, the western hero often took on the role of a vigilante. The vigilante’s role in the frontier was that of extralegal verve which was used to restrain criminal threats to the civil peace and opulence of a local community. Vigilantism was typical to the settler-state societies of the western frontier where the structures and powers of government were at first very feeble and weak. The typical cowboy hero had a willingness to use this extralegal verve. The Virginian demonstrated this throughout with his interactions with Trampas, most notably in the interactions leading up to the shoot out and during the shoot-out itself. “Others struggled with Trampas, and his bullet smashed the ceiling before they could drag the pistol from him… Yet the Virginian stood quiet by the...
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...nd a man of reserve against violence. Also as a man who will stand for the good of the community, protecting those who need protecting as the Vigilante of the western frontier. The Virginian was a true cowboy hero because he was a vigilante who followed his own moral code. The cowboy’s moral code was not dictated by the laws of society because he was an independent who was working to escape civilization. The Virginian was the first of the western heroes who gave the world someone to look unto as an example. He showed a very strong moral code which had a special responsibility to the protection and respect of women such as Molly. He also had a great many skills which gave him the realistic air that made the hero’s of the west so popular in the early 1900’s as the western frontier came to a close.
Works Cited
Wister, Owen. The Virginian. Penguin Books. 1902. Print.
A young Apache at the time, Geronimo set out one day with his family from their homeland, which is now located in southeastern Arizona, on a trading mission into Mexico. Many other families also went with him. The men went into town to trade each day, leaving their families behind. On this momentous evening, they returned home to find that Mexican soldiers had ferociously attacked their camp. They had murdered their women and children and stolen their supplies and horses. The dead were scattered everywhere. Geronimo’s wife, three children, and his mother were among those slaughtered. He found their bodies lying in a pool of blood. “I had lost all,” Geronimo said. His heart was broken. He would never be the same again. The loss of his family led Geronimo to a lifelong hatred of all Mexicans. He was filled with hatred, and he would spend a lifetime pursuing vengeance for all that he and his people had lost. He became one of the most feared Apache warriors of all time. The career and accomplishments of Apache warrior Geronimo were indicative of the fight for a Native American way of life in conflict with that of the progressing American frontiersmen and Mexican soldiers.
According to Ray “Embodied in the adventurer, explorer, gunfighter, wanderer, and loner the outlaw hero stood for that part of the American imagination valuing self-determination and freedom from entanglements” (378). He is referring to an outlaw charter from the wild west for example Davey Crockett or Jesse James who according to Robert Ray were outlaw legends that had “mythical” (378) stories told about them in order to increase their legend, ego, and popularity. These types of heroes according to Robert Ray were the outlaws that embodied the gunslinger mentality that would appeal to audiences who lived on the frontier or in the wilderness. Another type of hero according to Robert Ray are a smaller breed of legend or “The Good Good Boys” (378). These legends included George Washington, Thomas Jefferson, Abraham Lincoln, and Robert E. Lee. These men were either generals who served in the military ...
One of the darkest times in American history was the conflict with the natives. A “war” fought with lies and brute force, the eviction and genocide of Native Americans still remains one of the most controversial topics when the subject of morality comes up. Perhaps one of the most egregious events to come of this atrocity was the Sand Creek Massacre. On the morning of November 29th, 1864, under the command of Colonel John Chivington, 700 members of the Colorado Volunteer Cavalry raped, looted, and killed the members of a Cheyenne tribe (Brown 86-94). Hearing the story of Sand Creek, one of the most horrific acts in American History, begs the question: Who were the savages?
Slotkin, R. Regeneration Through Violence: The Mythology of the American Frontier 1600-1860. Norman, OK: University of Oklahoma Press, 1973.
Slotkin, Richard. Regeneration Through Violence: The Mythology of the American Frontier, 1600-1860. Middletown: Wesleyan University Press, 1942.
In the award-winning novel, Empire Falls, by Richard Russo, there is a glimpse into the lives of the people who live in a small mill town in Empire Falls, Maine. There are many different inhabitants of this small town, but the character who is easiest to feel connected to is Christina, or "Tick", Roby. Tick is very mature and grown-up for her age and she avoids trouble as much as possible. While she is in her junior year of high school, she seems to be experiencing many more burdens than the average teenager. One of the things she has to deal with is a menacing ex-boyfriend, Zack Minty. Another problem of Tick’s is the fact that after her parents got divorced, Janine, Tick’s mom, was given custody of Tick, even though Miles, her father, was undoubtedly better fit to be a parent. Tick also had to deal with the sudden appearance of Walt Comeau, her future stepfather, in the home she and her mother live in. An issue Tick had at school was that she decided to take an art class, but her art teacher couldn’t understand. Also, because Tick was given a special lunch hour to eat by herself, the principal decided she would be a good candidate to spend lunch with John Voss, who had no friends and needed someone to eat with. He would later prove to be dangerous and instable. All of the problems that Tick has encountered in her short life have been caused by the adults in Empire Falls.
Over the years, the idea of the western frontier of American history has been unjustly and falsely romanticized by the movie, novel, and television industries. People now believe the west to have been populated by gun-slinging cowboys wearing ten gallon hats who rode off on capricious, idealistic adventures. Not only is this perception of the west far from the truth, but no mention of the atrocities of Indian massacre, avarice, and ill-advised, often deceptive, government programs is even present in the average citizen’s understanding of the frontier. This misunderstanding of the west is epitomized by the statement, “Frederick Jackson Turner’s frontier thesis was as real as the myth of the west. The development of the west was, in fact, A Century of Dishonor.” The frontier thesis, which Turner proposed in 1893 at the World’s Columbian Exposition, viewed the frontier as the sole preserver of the American psyche of democracy and republicanism by compelling Americans to conquer and to settle new areas. This thesis gives a somewhat quixotic explanation of expansion, as opposed to Helen Hunt Jackson’s book, A Century of Dishonor, which truly portrays the settlement of the west as a pattern of cruelty and conceit. Thus, the frontier thesis, offered first in The Significance of the Frontier in American History, is, in fact, false, like the myth of the west. Many historians, however, have attempted to debunk the mythology of the west. Specifically, these historians have refuted the common beliefs that cattle ranging was accepted as legal by the government, that the said business was profitable, that cattle herders were completely independent from any outside influence, and that anyone could become a cattle herder.
One of the main forms of violence in the Old West was murder; the rising tension between the American soldiers and the Native Americans was a main contributor to this violence. An example of this strain is the Sand Creek Massacre. American soldiers attacked unaware Native Americans of the Cheyenne and Arapahoe ethnic groups. All men, women, and children were killed and/or tortured. There were no survivors. “Two soldiers drew their pistols and shot her [a little girl]”, portraying that these sort of crimes came about regularly in the West (Document G). Another example of this is the Battle of Beecher Island. The Battle of Beecher Island, also known as the Battle of Arikaree Fork, was the armed disagreement between soldiers of the U.S. Army and a few Native American tribes. According to Document H, there were “at least 50 [men dead]; perhaps as many as 200 [men] were wounded” (Document H). Adding on to the uneasiness between the Native Americans and the white soldiers, many killings were encountered by foolishness, not battle. The Native Americans and the soldiers wanted to prove that their race is more macho and better than the other. Even though Document L states that “113 [people] recorded no trouble with the Indians”, Document M detects many problems with the Native Americans resulting in “919” troops killed (Document L, Document M). The white soldiers in the Old West would have loved to kill the Native American’s buffalo popu...
In this book, Robert M. Utley depicts the life of Sitting Bull a Hunkpapa Indian, from when he was born to his death in 1890. Utley shows both the personal life and political life that Sitting Bull endured throughout the years. Utley looks at Sitting Bull's life from both “...the white as well as the Indian perspective. From both, he emerges as an enduring legend and a historical icon, but above all as a truly great human being.” (xvi). To his tribe Sitting Bull was an extraordinary man who was brave and respected, but to many in the US government believed him to be a troublemaker and a coward. Utley works to prove how Sitting Bull was a man who became an American patriot.
Although cowboys played a large role in the western United States most of the stories surrounding them are heavily steeped in myth and lure which only added to the overall grandeur of their image. This and the code that John Grady tries to live by seems to indicate that John Grady was idolizing a single cowboy or a particular cowboy but the idea of a cowboy, “The cowboy in various guises is popularly accepted by Americans as a symbol, indicative of this stature as myth” (Savage 3). All of this together may have contributed to John Grady's decision so pursue a cowboy
In “The Thematic Paradigm,” Robert Ray explains how there are two vastly different heroes: the outlaw hero and the official hero. The official hero has common values and traditional beliefs. The outlaw hero has a clear view of right and wrong but unlike the official hero, works above the law. Ray explains how the role of an outlaw hero has many traits. The morals of these heroes can be compared clearly. Films that contain official heroes and outlaw heroes are effective because they promise viewer’s strength, power, intelligence, and authority whether you are above the law or below it.
The image created for the outlaw hero is the “natural man.” They are adventurous but also wanderers, and loners. Outlaw heroes are more likely to commit a crime, use weapons and carry guns. The outlaw hero represents self-determination and freedom from conflicts. On the other hand, the official hero is portrayed to be “the civilized” man. He often follows the norms of society, and has typical roles such as a lawyer, teacher, and family man.
When reflecting and writing on Eiseley’s essay and the “magical element”, I balk. I think to myself, “What magic?”, and then put pen to page. I dubiously choose a kiddie pool to draw inspiration from, and unexpectedly, inspiration flows into me. As I sit here in this little 10x30 foot backyard, the sky is filled with the flowing gaseous form of water, dark patches of moist earth speckle the yard, the plants soak up their scattered watering, and the leaves of bushes and trees imbue the space with a sense of dampness from their foliage. As my senses tune into the moisture that surrounds me, I fill Braedon’s artificial pond with water. I stare at the shimmering surface, contemplating Eiseley’s narrative, and the little bit of life’s wellspring caught in Brae’s pool. I see why Eiseley thought the most abundant compound on the earth’s surface is mystical.
In "The Thematic Paradigm", Robert Ray explains how there are two distinctly different heroes, the outlaw hero and the official hero. The official hero embraces common values and traditional beliefs, while the outlaw has a clear sense of right and wrong but operates above the law (Ray). Ray explains how the role of an outlaw hero has many traits. "The attractiveness of the outlaw hero's childishness and propensity to whims, tantrums, and emotional decisions derived from America's cult of childhood", states Ray. (309) Ray also says, "To the outlaw hero's inconsistence on private standards of right and wrong, the official hero offered the admonition, you cannot take the law into your own hands." (312) The values of these two traditional heroes contrasts clearly. Society favors the outlaw hero because we identify with that character more. We see ourselves more so in the outlaw hero than in the official hero. The outlaw hero has the "childlike" qualities that most of us wish we had as adults. To civilians it may seem that the outlaw hero lives more of a fantasy life that we all wish to have.
Alexie Sherman’s, “The Lone Ranger and Tonto Fistfight in Heaven” displays the complications and occasional distress in the relationship between Native-American people and the United States. Despite being aboriginal inhabitants of America, even in present day United States there is still tension between the rest of the country, specifically mainstream white America, and the Native-American population. Several issues regarding the treatment of Native-Americans are major problems presently. Throughout the narrative, several important symbols are mentioned. The title itself represents the struggles between mainstream America and Native-Americans. The theme of racism, violence, and prejudice is apparent throughout the story. Although the author