In order to begin their journey to Mexico, Josey must first acquire a horse for Watie. He rides into a trading post. It is at this post where Josey encounters his first damsel, a young Navajo woman, who is raped by the two men who own the horses at the post. Josey approaches the men, and they recognize him as the wanted outlaw. The two men try to corner Josey. However, Josey is a legendary gunfight and he kills off the men with ease, saving the young Navajo. As a token of her gratitude, she joins Josey along his journey. As they continue toward Mexico, Josey and the gang ride through a small town in Texas. They encounter Union soilders and bounty hunters as they pass through. Since Josey is a wanted man, it is likely that everywhere he goes trouble will follow. Leaving a trail of more dead men behind, Josey and the gang continue on in search of freedom from those pursuing them. Shortly after their encounter in Texas, Josey and the gang come across a group of Comancheros who have taken in their captivity a family from Kansas. Here Josey not only saves a Grandmother and her husband, but also his second damsel. This scene features Josey riding in on his horse, out numbered by the Commancheors, yet he still manages to kill them all with the quick draw of his pistols. Although Josey saves the day yet again, this creates more trouble for Josey because the Commancheros he killed had intended to trade the captives to the Comache Chief, known as Ten Bears, in exchange for horses. There is also the conflict of Josey trespassing on the land of the Comanches. Once saved, the Kansas family tags along with Josey and his gang. They are in seek of refuge on a farm near Blood Butte, Texas. On their way to Blood Butte, Josey and his growing group... ... middle of paper ... ... up his belongings and sets out in preparation for the final showdown. Despite the efforts of the community to make the ranch feel like home, Josey struggles with this transition. It is too similar to the life he once had. Josey tries to adjust to this community, however, he is reminded of his family and his untimate pursit of vengeance agaist the men who killed his family. Josey recognizes that this ranch is a symbol of a new life, but in order to enjoy this he must first take of what is important to him. Josey is a wanted man and the longer he lingers around this community without killing off those men after him, he puts their life in danger. This is one of many honorable acts of Josey. He knows that he man not live on to see the further development of his new community, but he is still willing to fight for the sake of avenging his family and saving their lives.
As soon as this happens, Josey rides in on his horse and begins saving some of the outlaws by killing nearly all of the Union soldiers, revealing his heroic nature. His horse plays a big role in this. The fact that he does all this while on his horse portrays the idea that his horse represents Josey’s heroic character. Clearly, Josey was utterly outnumbered in this scenario and there was an noticeable chance that Josey would die, but he proceeded anyway because he felt that he needed to do so. Additionally, Josey rode out to Ten Bears and his tribe towards the end of the movie. Undoubtedly, he was on his horse. Before this, Josey said that he was going to kill as many indians as he could, including Ten Bears, and that he had no intention of coming back (The Outlaw Josey Wales). This was an extremely courageous sacrifice for the rest of his group. Without his horse, Josey would not have had the courage or ability to perform these gallant acts, which is why it represents his heroic
• Setting: Oklahoma City, OK – The county jail; the trail around the lighthouse and Gary’s house. • Plot: Tony is a young adult who has no direction or hope for this future. That is until he meets Malcom, a businessman who has faced similar challenges. Malcom comes to the county jail on Monday’s and soon builds a connection with Tony. Malcom shares his knowledge and experience with Tony and he soon becomes successful himself.
The plot of this movie is about the struggle between the farmers and the cowboys. The farmers all want to start up crops, but the cowboys want to run their cattle through the open space so they can feed. Obviously, the two sides don’t agree. The cowboys end up attempting to use strong-arm tactics to get their way. They even try to scare the farmers off the land by burning down one of the homes of the farmers. Eventually, Shane, a former gunfight, realizes what he must do. He rides into town and kills all of the cowboys, including Wilson, the hired gun.
Henry Starr was a real man, in the real Old West. He wrote his life story while in prison in a book called Thrilling Events. Although the book I read is based on a true man, some of the events are exaggerated, or retold differently then the actual event.
In 1880 a group of strangers board a stagecoach. The stagecoach is heading eastward from Tonto, Arizona to Lordsburg, New Mexico. Among these strangers is Doc Boone an alcoholic doctor, Dallas a prostitute, Mrs. Mallory a pregnant lady and Samuel Peacock a whiskey salesman. Marshal Curly Wilcox tells the stagecoach driver, Buck that his regular ride along guard went hunting for Ringo Kid. Wilcox decides to ride in place of the regular guard when Buck informs him the Plummer brother's are in Lordsburg.
Throughout the story, Juvencio seems very selfish. He never cares about anyone besides himself and what happens to him, which causes him many problems with those who care about him. His selfishness creates a divide between him and his family. This is shown in the first few paragraphs of the story, “‘All right, I'll go. But if they decide to shoot me too, who will take care of my wife and kids?’ ‘Providence will take care of them. You go now and see what you can do for me. That's what matters.’” Even this early on in the story, Juan Rulfo shows the reader how self-centered Juvencio is, that he would tell his son to endanger his life to save Juvencio’s own life. Juvencio states to Justino that saving him matters more than the safety of Justino or his family. Juan Rulfo also shows that Juvencio’s selfishness makes his son less ready to help him by describing Justino having an inner conflict about whether to take the risk of helping his father. Justino almost doesn’t help his father, showing that he is losing empathy for his father as a result of Juvencio’s selfishness and self-centered lifestyle. Juan Rulfo uses this scene to illustrate his theme related to selfishness. There are also a few examples of Juvencio’s lack of empathy in this story, including the scene in which Juvencio talks about his crime, showing a total lack of caring for any other human
He stepped down on to the palomino that flourished with anger. There was a lot of hollering with excitement in the crowd. He looked around and saw his darling wife and baby girl. Seeing their faces seemed to calm him down and he knew that it would work out all in the best of ways. When the buzzer rings the gates sling open and all the men on the horses start to fling around. Jack shouts “yeehaw” in excitement as the mustang he rode leapt in the air, attempting to fling him off it's back. Only a few of the men remained on their horses now. Many of the defeated cowboys jump in to assist in the attempt to control the enraged horses. About midway through the race he realized that there was only three other guys on horses and the rest were trying to control the
Whilst making their way to a British Fort, Major Heywood and his party are attacked by Indians. Three men come to their rescue, two of them Indians, and another is a white man whom was raised by the eldest Indian. This man, Hawkeye, his brother and father rescue the Major and the two women that are in his party.
The scene in question opens with an image (shot 1 in the storyboard) atypical in a film coded as a Western: two men riding together atop the same horse, as one critic points out, "jogging listlessly in a limbo without perspectives" (Strick, 50). At the heart of the scene is the metaphor central to this opening shot; that of male instability, masculinity in crisis. Coley has given his horse to the Woman With No Name and rides on the back of Gashsade's steed out of necessity. He has given up his means of transport, his agency. Without his horse, Coley lacks mobility in the narrative and his position as a male is challenged. The male body is celebrated in the Western with "the phallic image of a man on horseback, sitting high above the ground, upright and superior, gazing down at a world whose gaze he in turn solicits" (Mitchell, 167).
He too had an internal conflict and it was that he was a runaway. Joby had run away to fight in the war, but he had come to recognize that he had fears of the upcoming battles. Battles of the unknown, about the enemy, how he was to protect himself and keep himself from dying. Joby only had a drum for he was the drummer boy. “Me, thought the boy, I got only a drum, two sticks to beat it, and no shield.” Joby cried with fear and he had to find a resolution on how to be in this battle and survive. The general then came to Joby and commented to Joby about it being all right to cry comforted him. The general told him about how he had also cried. The general went on to tell him, that many young men had died and were going to continue to die but he could not tell that to the young soldiers, for he feared that this would cause the soldiers to give up before even starting the battle. The soldiers would defeat themselves. “Sometime this week more innocents will get shot out of pure Cherokee enthusiasm than ever got shot before. Owl Creek was full of boys splashing around in the noonday sun just a few hours ago. I fear it will be full of boys again, just floating, at sundown tomorrow, not caring where the current takes them.” This was the symbolism of the young men dying. “You on the other hand have an idea about dying in the war, but they don’t,” the general told Joby, “you are the heart of the
Set against the backdrop of post-WWII reservation life, the struggles of the Laguna Pueblo culture to maintain its identity while adjusting to the realities of modern day life are even more pronounced in Ceremony. Silko uses a wide range of characters in order to give a voice to as many representatives of her tribe as possible. The main character, Tayo, is the person with whom the reader is more than likely to relate. The story opens with him reliving various phases of his life in flashbacks, and through them, the reader shares his inability to discern reality from delusion, past from present and right from wrong. His days are clouded by his post-war sickness, guilt for being the one to survive while his cousin Rocky is slain, and his inability to cope neither with life on the reservation or in the outside world. He is one of several representations of the beginnings of the Laguna Pueblo youth interacting with modern American culture.
The book The Cay is about a boy that was on a boat and the boat got shot by a missile. The boy was on the boat and didn't make it to a lifeboat and something hit him and he woke up on a island. On the island he seen a black man name timothy.
The Cay is a novel by Theodore Taylor in which the main character is presented with racial relations and the subject of war when World War II comes to his small island of Curacao. Being a boy of almost twelve, Phillip’s outlook on these subjects is greatly influenced by his parents and his ignorance of the realities. When the book first opens his perspective on the topics of racism and war are very different than the reality of things.
A thief tries to steal the pearl from Kino, and Kino kills the man. Juana sees “a dead man in the path and Kino's knife, dark-bladed beside him” Now Kino has truly abandoned his old life, as now he cannot go back. After all, one cannot rebuild a life. Due to Kino’s poor decision, Kino and his family are forced to leave. They “go into the mountains. Thinking they can lose the trackers in the mountains." Unfortunately for Kino a man cannot escape men with horses on foot. Kino tells Juana and Coyotito to hide in a cave. Kino decides to attack the trackers, but the trackers hear Coyotito, and as “Kino is in mid-leap the gun crashes and the barrel-flash makes
about a man who has no love and no friends. This we learn is because