The Cowboy Figure
The figure of the cowboy is prominent, not only in America’s history, but also in contemporary society. The cowboy has always been regarded as the epitome of freedom, machismo and individuality, and his character maintains a certain romantic quality about it. Riding the range with his trusty horse, forging the frontier, and exposing himself to the mercy of the wilderness, the cowboy lives for himself alone and yet he lives the life about which the rest of society can only fantasize. The cowboy, fearless hero of the West, has become a cultural icon. One literary critic, Sara Spurgeon, sums up the cowboy fantasy by saying that:
the figure of the cowboy personifies America’s most cherished myths--combining ideas of American exceptionalism, Manifest Destiny, rugged individualism, frontier democracy, and communion with and conquest of the natural world…The icon of the sacred cowboy is one of our potent national fantasies, viable in everything from blue jeans to car commercials to popular films. (79)
The question that remains, then, is why the cowboy figure is so appealing. How has he survived in the age of industrialization and technology? Perhaps the cowboy represents what is pure and untamed, and is a model on which to base a longing for a purer time in history and a more authentic, animalistic, and natural existence in the world.
As Spurgeon points out, the cowboy figure is most often associated with freedom, self-reliance, and individualism. These virtues are the main components of the American dream; they are the things that every American supposedly aspires toward. The space of the cowboy is not defined by borders or fences, but in fact it is defined by the absence of them; he is lord of...
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...nt day. The public seems quite content to ignore the historical facts and focus on the fantasy, using the cowboy as a romantic foundation on which to project their longings and innermost desires.
Bibliography and Works Cited
Jarrett, Robert L. Cormac McCarthy. New York: Twayne, 1997.
Lambert, Neal E. “Freedom and the American Cowboy.” Brigham Young University Studies 8 (1967): 61-71.
McCarthy, Cormac. Blood Meridian. New York: Vintage International, 1992.
Pearson, Demetrius W., & C. Allen Haney. “The Rodeo Cowboy as an American Icon: The Perceived Social and Cultural Significance.” Journal of American Culture. Bowling Green: Winter 22, 4 (1999): 17-21.
Spurgeon, Sara L. “‘Pledged in Blood’: Truth and Redemption in Cormac McCarthy’s All the Pretty Horses.” Cormac McCarthy. Ed. Harold Bloom. Philadelphia: Chelsea House, 2002. 79-94.
My analysis begins, as it will end, where most cowboy movies begin and end, with the landscape.Western heroes are essentially synedoches for that landscape, and are identifiable by three primary traits: first, they represent one side of an opposition between the supposed purity of the frontier and the degeneracy of the city, and so are separated even alienated from civilization; second, they insist on conducting themselves according to a personal code, to which they stubbornly cling despite all opposition or hardship to themselves or others; and third, they seek to shape their psyches and even their bodies in imitation of the leanness, sparseness, hardness, infinite calm and merciless majesty of the western landscape in which their narratives unfold.All of these three traits are present in the figures of Rob Roy and William Wallace--especially their insistence on conducting themselves according to a purely personal definition of honor--which would seem to suggest that the films built around them and their exploits could be read as transplanted westerns.However, the transplantation is the problem for, while the protagonists of these films want to be figures from a classic western, the landscape with which they are surrounded is so demonstrably not western that it forces their narratives into shapes which in fact resist and finally contradict key heroic tropes of the classic western.
The cowboys of the frontier have long captured the imagination of the American public. Americans, faced with the reality of an increasingly industrialized society, love the image of a man living out in the wilderness fending for himself against the dangers of the unknown. By the end of the 19th century there were few renegade Indians left in the country and the vast expanse of open land to the west of the Mississippi was rapidly filling with settlers.
In All the Pretty Horses, Cormac McCarthy reveals the limitations of a romantic ideology in the real world. Through his protagonist, John Grady Cole, the author offers three main examples of a man’s attempt to live a romantic life in the face of hostile reality: a failed relationship with an unattainable woman; a romantic and outdated relationship with nature; and an idealistic decision to live as an old-fashioned cowboy in an increasingly modern world. In his compassionate description of John Grady, McCarthy seems to endorse these romantic ideals. At the same time, the author makes clear the harsh reality and disappointments of John Grady’s chosen way of life.
When looking at the vast lands of Texas after the Civil War, many different people came to the lands in search for new opportunities and new wealth. Many were lured by the large area that Texas occupied for they wanted to become ranchers and cattle herders, of which there was great need for due to the large population of cows and horses. In this essay there are three different people with three different goals in the adventures on the frontier lands of Texas in its earliest days. Here we have a woman's story as she travels from Austin to Fort Davis as we see the first impressions of West Texas. Secondly, there is a very young African American who is trying his hand at being a horse rancher, which he learned from his father. Lastly we have a Mexican cowboy who tries to fight his way at being a ranch hand of a large ranching outfit.
Marsha Lederman wrote an article titled "Patrick DeWitt, Sensitive Cowboys Strike Gold." for the Globe and Mail on Patrick deWitt, a Canadian auth...
...pective of this the slaves did the best they could to maintain stability (Wiley and cliff notes, 2011).
The image of the cowboy as Jennifer Moskowitz notes in her article “The Cultural Myth of the Cowboy, or, How the West was Won” is “uniquely
For many Americans, the image of the cowboy evokes pleasant nostalgia of a time gone by, when cowboys roamed free. The Cowboy is, to many Americans, the ideal American, who was quick to the draw, well skilled in his profession, and yet minded his own business. Regardless of whether the mental picture that the word cowboy evokes is a correct or incorrect view of the vocation, one seldom views cowboys as being black. The first cowboy I met was from Texas and was black. After he told me that he was a cowboy, I told him that he had to be kidding. Unfortunately, I was not totally to blame for my inability to recognize that color has nothing to do with the cowboy profession; most if not all popular famous images of cowboys are white. In general, even today, blacks are excluded from the popular depiction of famous Westerners. Black cowboys were unheard of for almost a century after they made their mark on the cattle herding trade, not because they were insignificant, but because history fell victim to prejudice, and forgot peoples of color in popular depictions of the West and Western history.
The Cotton Gin was an invention that allowed the mass production of cotton. Cotton was previously a very difficult crop to profit from, because of the long hours required to separate cotton seeds from the actual cotton fibers. This all changed when Eli Whitney invented the cotton gin in 1793, a machine that sped up the process, thereby making cotton farming a profitable industry for the Southern States. With large areas of prime land ready for crops the Southern states bought and transported slaves in record numbers in order to work on their cotton farms. Although there are no definitive statistics approximately 1,000,000 slaves were moved west from the 'old Southern states' to the new ones; i.e. Maryland, Virginia and the Carolinas to Georgia, Tennessee and Alabama. The new ease of cotton ginning coupled with the high demand for cotton in the textile industry gave rise to the need for a workforce to harvest the cotton. The farmers turned to a readily available labor force they didn't have to pay: slaves.
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.
When one thinks of the cowboys the first thing that comes to their mind, or at least my mind would be a white man riding in the open parries of the West. But in many cases that was extremely untrue. "Nearly a third of all cowboys who helped build the American west were black (Black Pioneers Pg.16)". Many people do not know about this due to segregation. Mainly if not only white cowboys were given recognition due to the fact that slavery had just ended and many people were getting use to the fact that blacks were free and equal to them.
Poll data seems to suggest that in general public's evaluation presidential greatness is shortsighted. When asked to identify whom they considered the greatest president, over 53% voted for a president whose term in office occurred after the latter half of the 20th century. Of the 17 presidents who received votes, 11 had served after 1950 and only four served prior to 1900. At the top of the list was Ron...
As history cascades through an hourglass, the changing, developmental hands of time are shrouded throughout American history. This ever-changing hourglass of time is reflected in the process of maturation undertaken by western America in the late nineteenth century. Change, as defined by Oxford’s Dictionary, is “To make or become different through alteration or modification.” The notion of change is essential when attempting to unwind the economic make-up of Kansas in the 1880’s and 1890’s. Popular culture often reveres the American cowboy, which has led him to become the predominate figure in America’s “westering” experience (Savage, p3). However, by 1880 the cowboy had become a mythical figure rather than a presence in western life. The era of the cowboy roaming the Great Plains had past and farmers now sought to become the culturally dominant figure and force in the American West. Unlike the cowboys, farmers were able to evolved, organizing and establishing the Populist Party. The farmers’ newly formed political organization provided them with a voice, which mandated western reform. Furthermore, the populist ideas spread quickly and dominated western thought in the 1880’s and 1890’s. The period of the 1880’s and 1890’s marked the end of the American cowboy and gave farmers a political stronghold that would forever impact the modernization of the West.
"Relocating the Cowboy: American Privilege in "All the Pretty Horses"" Pepperdine University: Global Tides Seaver Journal of Arts and Sciences. Maia Y. Rodriguez, 2014. Web. 2 May 2016. . The Western typically illustrates the journey of a man, usually a horse riding cowboy, into the Western frontier where he must conquer nature "in the name of civilization or [confiscate] the territorial rights of the original inhabitants... Native Americans" (Newman 150). What this brand of mythology promotes is precisely the values of American culture: rugged individualism, achievement and success, activtity and work, democracy and enterprise, and--most importantly--
In “The Thematic Paradigm,” University of Florida professor of film studies, Robert Ray, defines two types of heroes pervading American films, the outlaw hero and the official hero. Often the two types are merged in a reconciliatory pattern, he argues. In fact, this