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In his book, The Life and Adventures of Joaquín Murieta, author John Rollin Ridge introduces readers to a fictional character, who is a larger-than-life bandit. According to the story, Murieta set out on a path of revenge and organized a large band of outlaws to terrorize Californians. Murieta and his men committed terrible and bloody crimes (including robbery and murder). This pattern of criminal behavior continued until the band was pursued by mountain rangers, ending the story in a dramatic climax for the protagonist. However, this story is not an accurate depiction of the important elements of the “New” West according to author Patricia Nelson Limerick, in The Legacy of Conquest: The Unbroken Past of the American West. Instead, the character Murieta exemplifies many of the myths of the American West and the idea of innocence.
In her book, Limerick describes the “idea of innocence” that permeated the American West (36). According to the author, the underlying motive for every action was pure (even when it really was not). According to Western American folklore, early settlers did intend to victimize Indians and trespass on their land, but instead came to America to pursue new opportunities and improve their lives (Limerick 36). The same ideological theory may be applied to the motivations of the sensationalized outlaws from the time. For example, in her book Limerick details the life of John Wesley Hardin, an outlaw, who began his violent life of crime at the age of fifteen (36). According to the story, Hardin shot and killed a black man (Limerick 36). However, idolized as the son of a preacher, Hardin hid his crimes behind the veils of “bravery” and “honor” (Limerick 36). He claimed that he actually shot the man --...
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...ior (Ridge 9-10). It is for this reason, and not simply “inexplicably,” that they attacked Murieta in the first place.
The character of Joaquín Murieta has been described as a Western Robin Hood. Even following a string of bloody crimes, he was glorified by the author, much like other traditional western outlaws. However, while Murieta’s crimes would have certainly “[left] his name impressed upon the early history of this State,” he was not extraordinary in mind or in heart (Ridge 158). Instead, Murieta is another classic example of Limerick’s myth of innocence often found in period literature.
Works Cited
Limerick, Patricia Nelson. The Legacy of Conquest: The Unbroken Past of the American West. New York: Norton, 1987.
Ridge, John Rollin. The Life and Adventures of Joaquín Murieta, the Celebrated California Bandit. Norman: University of Oklahoma Press, 1955.
McMurtry, Larry. 2005. Oh What a Slaughter: Massacres in the American West: 1846-1890. 10th Ed. New York, NY: Simon and Schuster.
When Spaniards colonized California, they invaded the native Indians with foreign worldviews, weapons, and diseases. The distinct regional culture that resulted from this union in turn found itself invaded by Anglo-Americans with their peculiar social, legal, and economic ideals. Claiming that differences among these cultures could not be reconciled, Douglas Monroy traces the historical interaction among them in Thrown Among Strangers: The Making of Mexican Culture in Frontier California. Beginning with the missions and ending in the late 1800s, he employs relations of production and labor demands as a framework to explain the domination of some groups and the decay of others and concludes with the notion that ?California would have been, and would be today, a different place indeed if people had done more of their own work.?(276) While this supposition may be true, its economic determinism undermines other important factors on which he eloquently elaborates, such as religion and law. Ironically, in his description of native Californian culture, Monroy becomes victim of the same creation of the ?other? for which he chastises Spanish and Anglo cultures. His unconvincing arguments about Indian life and his reductive adherence to labor analysis ultimately detract from his work; however, he successfully provokes the reader to explore the complexities and contradictions of a particular historical era.
Because of the outlaw hero’s definitive elements, society more so identifies with this myth. Ray said, “…the scarcity of mature heroes in American...
George Browm Tindall, David Emory Shi. American History: 5th Brief edition, W. W. Norton & Company; November 1999
Urrea, Luis Alberto. The Devil’s Highway: A True Story. New York: Little, Brown, 2004. Print.
Knowles, Thomas W. They Rode for the Lone Star:The Saga of the Texas Rangers. Dallas:
Borneman, Walter. The French and Indian War: Deciding the Fate of North America. New York: Harper Perennial, 2006.
The West: From Lewis and Clark and Wounded Knee: The Turbulent Story of the Settling of Frontier America.
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...
Somewhere out in the Old West wind kicks up dust off a lone road through a lawless town, a road once dominated by men with gun belts attached at the hip, boots upon their feet and spurs that clanged as they traversed the dusty road. The gunslinger hero, a man with a violent past and present, a man who eventually would succumb to the progress of the frontier, he is the embodiment of the values of freedom and the land the he defends with his gun. Inseparable is the iconography of the West in the imagination of Americans, the figure of the gunslinger is part of this iconography, his law was through the gun and his boots with spurs signaled his arrival, commanding order by way of violent intentions. The Western also had other iconic figures that populated the Old West, the lawman, in contrast to the gunslinger, had a different weapon to yield, the law. In the frontier, his belief in law and order as well as knowledge and education, brought civility to the untamed frontier. The Western was and still is the “essential American film genre, the cornerstone of American identity.” (Holtz p. 111) There is a strong link between America’s past and the Western film genre, documenting and reflecting the nations changes through conflict in the construction of an expanding nation. Taking the genres classical conventions, such as the gunslinger, and interpret them into the ideology of America. Thus The Western’s classical gunslinger, the personification of America’s violent past to protect the freedoms of a nation, the Modernist takes the familiar convention and buries him to signify that societies attitude has change towards the use of diplomacy, by way of outmoding the gunslinger in favor of the lawman, taming the frontier with civility.
In Harry Mulisch’s novel The Assault, the author not only informs society of the variance in perception of good and evil, but also provides evidence on how important it is for an innocent person experiencing guilt to come to terms with their personal past. First, Mulisch uses the characters Takes, Coster, and Ploeg to express the differences in perspective on the night of the assault. Then he uses Anton to express how one cannot hide from the past because of their guilt. Both of these lessons are important to Mulisch and worth sharing with his readers.
Alex Vernon. "Staging Violence in West's "The Day of the Locust" and Shepard's "True West"." South Atlantic Review 65.1 (2000): 132-151. Print.
Although today the only highwayman who people remember by name is Dick Turpin, the myth of the highwayman was created long before he came about. The idea of highwaymen was deeply engrained in the minds of the English people, and they were thought of as courageous national icons by many at the time.1 One of the main questions that the study of this matter focusses on his how highwaymen, who often committed abhorrent crimes, were able to gain such a favourable reputation. The explanation for this lies in the stories of highwaymen that depicted their activities, as well as the context in which the crimes took place. Popular literature, pamphlets and ballads, amongst other things, helped to depict highwaymen as gentlemanly, and as those who did good to the poor, even though this was largely not the case in reality. The political and social contexts in which the crimes took place also had a large influence on how highwaymen were perceived, often providing justification for the crimes they took part in. These factors helped to create the myth of the highwayman long before Dick Turpin was e...
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.
As the American landscape began to broaden its horizons, its administration of justice had to expand to accommodate new situations and environments. In the early nineteenth century, due to lack of law enforcement, the frontier presented itself as heavenly to outlaws and bandits (Schmalleger 139). Many citizens took up the task of protecting others in a form of vigi...