Article #369-1 | Gutenberg Articles

Excerpt

Excerpt from The outlaw of Torn, by Edgar Rice Burroughs

In the little room, but two could engage him at once, but so fiercely
did his blade swing and so surely did he thrust that, in a bare moment,
The Black Wolf lay dead upon the floor and the red giant, Shandy, was
badly, though not fatally wounded. The four remaining ruffians backed
quickly from the hut, and a more cautious fighter would have let them
go their way in peace, for in the open, four against one are odds no
man may pit himself against with impunity. But Norman of Torn saw red
when he fought and the red lured him ever on into the thickest of the
fray. Only once before had he fought to the death, but that once had
taught him the love of it, and ever after until his death, it marked
his manner of fighting; so that men who loathed and hated and feared
him were as one with those who loved him in acknowledging that never
before had God joined in the human frame absolute supremacy with the
sword and such utter fearlessness.

So it was, now, that instead of being satisfied with his victory, he
rushed out after the four knaves. Once in the open, they turned upon
him, but he sprang into their midst with his seething blade, and it was
as though they faced four men rather than one, so quickly did he parry
a thrust here and return a cut there. In a moment one was disarmed,
another down, and the remaining two fleeing for their lives toward the
high road with Norman of Torn close at their heels.

Young, agile and perfect in health, he outclassed them in running as
well as in swordsmanship, and ere they had made fifty paces, both had
thrown away their swords and were on their knees pleading for their
lives.

Explanation

**Detailed Explanation of the Excerpt from The Outlaw of Torn by Edgar Rice Burroughs**

Context of the Source

The Outlaw of Torn (1914) is a historical adventure novel by Edgar Rice Burroughs, best known for creating Tarzan and John Carter of Mars. Set in 13th-century England, the story follows Norman of Torn, a nobleman raised by a band of outlaws after being kidnapped as a child. The novel blends swashbuckling action, medieval intrigue, and themes of identity and vengeance, with Norman torn between his noble heritage and his life as a feared outlaw.

This excerpt depicts Norman’s ferocity in battle, showcasing his unmatched swordsmanship, reckless bravery, and bloodlust—qualities that make him both a terrifying foe and a legendary figure.

Themes in the Excerpt

The Warrior’s Bloodlust & the Love of Battle
- The passage emphasizes Norman’s instinctive, almost primal, enjoyment of combat. The line:
  "Only once before had he fought to the death, but that once had taught him the love of it" suggests that violence has become an addiction—something he craves rather than merely endures.
- His "seeing red" (a phrase later popularized in psychology as a metaphor for blind rage) reinforces his loss of rational control in battle, making him more beast than man.
Superhuman Skill & Fearlessness
- Norman is portrayed as nearly invincible, with descriptions like:
  "as though they faced four men rather than one" and "absolute supremacy with the sword and such utter fearlessness."
- This mythic exaggeration (common in adventure tales) elevates him to a legendary status, blurring the line between man and superhuman warrior.
Defiance of Logic & Self-Preservation
- A "cautious fighter" would retreat after winning, but Norman chases his enemies into an unfair fight (4 vs. 1), showing his disdain for survival instincts.
- This recklessness is both his greatest strength and potential downfall, a classic trait of tragic or Byronic heroes who are doomed by their own extremes.
Fear & Admiration
- The passage notes that even those who hate Norman acknowledge his skill, creating a duality in his reputation:
  "men who loathed and hated and feared him were as one with those who loved him"
- This mirrors real-life outlaw legends (e.g., Robin Hood, Jesse James), where the hero is both feared by authorities and revered by the people.
The Outlaw as a Force of Nature
- Norman’s speed, strength, and relentlessness make him seem more like a storm than a man. His pursuit of the fleeing men—disarming them in moments, forcing them to beg for mercy—reinforces his predatory dominance.

Literary Devices & Stylistic Choices

Hyperbole (Exaggeration for Effect)
- "as though they faced four men rather than one"
- "absolute supremacy with the sword"
- These over-the-top descriptions serve to mythologize Norman, making him larger than life—a common technique in pulp adventure fiction.
Simile & Metaphor
- "Seething blade" (metaphor) – suggests his sword is alive with fury, mirroring his own rage.
- "Saw red" (idiom/metaphor) – implies blind, uncontrollable anger, a phrase that has since entered common usage.
Contrast & Juxtaposition
- Norman’s skill vs. his enemies’ cowardice (they flee, beg, throw away weapons).
- His fearlessness vs. their terror (they are "pleading for their lives" while he is unrelenting).
Repetition for Emphasis
- The repetition of "red" (blood, rage, the "red giant" Shandy) creates a visceral, violent atmosphere.
- "Never before had God joined in the human frame..." – this biblical-sounding proclamation elevates Norman to a divinely gifted warrior, almost a chosen one.
Pacing & Action Sequencing
- The short, punchy sentences ("In a moment one was disarmed, another down") speed up the action, making the fight feel fast and brutal.
- The shift from indoor combat (confined) to outdoor chase (open) mirrors Norman’s uncontrollable, expansive fury.

Significance of the Passage

Characterization of Norman of Torn
- This scene defines Norman’s combat style: reckless, brilliant, and merciless.
- It also foreshadows his tragic potential—his love of battle could lead to his downfall, a common theme in outlaw and antihero narratives.
The Outlaw Archetype
- Norman embodies the romanticized outlaw: skilled, feared, but also admired.
- Unlike a pure villain, he has noble qualities (courage, skill), but his savagery keeps him morally ambiguous—a hallmark of Burroughs’ adventurers.
Historical Adventure Tropes
- The swashbuckling duel, the lone hero against many, and the dramatic surrender are classic elements of historical adventure fiction.
- Burroughs glorifies combat in a way that reflects early 20th-century ideals of masculinity and heroism.
Psychological Depth (Subtle but Present)
- The idea that Norman "loves" fighting to the death suggests trauma or a twisted sense of purpose.
- His lack of restraint could be read as a response to his stolen nobility—he fights not just to survive, but to prove himself.

Line-by-Line Breakdown (Key Moments)

"In the little room, but two could engage him at once..."
- Setting the odds: Even in a confined space, Norman is outnumbered but dominant.
"The Black Wolf lay dead upon the floor and the red giant, Shandy, was badly... wounded."
- Quick, decisive victory—Norman doesn’t just win; he dismantles his enemies efficiently.
"Norman of Torn saw red when he fought..."
- Loss of control: His rage fuels his strength but blinds his judgment.
"Only once before had he fought to the death, but that once had taught him the love of it..."
- Psychological shift: Combat is no longer necessity but passion.
"So it was, now, that instead of being satisfied with his victory, he rushed out after the four knaves."
- Defiance of logic: A normal warrior would retreat; Norman escalates.
"In a moment one was disarmed, another down, and the remaining two fleeing for their lives..."
- Brutal efficiency: His enemies don’t stand a chance.
"Young, agile and perfect in health, he outclassed them in running as well as in swordsmanship..."
- Superior in every way: Not just a swordsman, but a complete physical specimen.
"both had thrown away their swords and were on their knees pleading for their lives."
- Total submission: His enemies break completely, reinforcing his absolute dominance.

Conclusion: Why This Passage Matters

This excerpt captures the essence of Norman of Torn—a man shaped by violence, driven by rage, yet undeniably magnificent in battle. Burroughs romanticizes the outlaw, presenting him as a force of nature rather than a mere criminal. The passage is both an action set-piece and a character study, revealing:

Norman’s brilliance and flaw (his love of battle).
The duality of his reputation (feared yet admired).
The pulp adventure style (fast-paced, exaggerated, morally gray).

In the broader context of The Outlaw of Torn, this moment sets the stage for Norman’s legend—a man who defies kings, outmatches warriors, and lives by his own code, making him one of Burroughs’ most enduring and complex heroes.

Questions

Question 1

The passage’s portrayal of Norman of Torn’s combat style is most analogous to which of the following literary or mythological archetypes?

A. The berserker, whose fury transcends rational strategy and renders him an unstoppable but self-destructive force.
B. The knight-errant, whose chivalric code compels him to pursue justice even at personal cost.
C. The trickster, whose cunning and adaptability allow him to outmaneuver superior numbers.
D. The reluctant hero, who fights only when cornered and seeks to minimize bloodshed.
E. The martyr, whose suffering in battle elevates him to a symbolic figure of sacrifice.

Question 2

The phrase "men who loathed and hated and feared him were as one with those who loved him" primarily serves to:

A. underscore the paradoxical unity of Norman’s reputation, where extremes of emotion coalesce into a singular, mythic status.
B. highlight the moral ambiguity of medieval outlaw culture, where allegiance shifts based on self-interest.
C. suggest that Norman’s enemies secretly admire his skill, revealing their hypocrisy.
D. imply that fear and love are indistinguishable in the context of absolute power.
E. critique the fickleness of public opinion, which elevates violent men to undeserved heroism.

Question 3

The narrative’s description of Norman’s swordsmanship as "as though they faced four men rather than one" is best understood as an example of:

A. litotes, downplaying his skill to emphasize his opponents’ incompetence.
B. synecdoche, using a part (his sword) to represent his entire warrior identity.
C. irony, since the passage later confirms he is outnumbered in the open.
D. hyperbole, exaggerating his prowess to mythologize his combat abilities.
E. metaphor, equating his physical movements with a supernatural multiplicity.

Question 4

Which of the following inferences about Norman’s psychological state is least supported by the passage?

A. His combat prowess is a learned response to trauma, suggesting a disciplined but emotionally detached mastery of violence.
B. His pursuit of fleeing enemies indicates a compulsive need to dominate, bordering on pathological.
C. His "seeing red" implies a dissociative rage that overrides strategic thinking.
D. His refusal to accept victory and retreat reveals an addiction to the adrenaline of battle.
E. His enemies’ pleas for mercy are irrelevant to him, signaling a dehumanization of opponents.

Question 5

The passage’s structural shift from the confined hut to the open road most significantly functions to:

A. contrast Norman’s tactical adaptability in different environments.
B. symbolize his transition from defensive survival to offensive conquest.
C. amplify the inevitability of his victory by removing spatial constraints on his aggression.
D. underscore the futility of his enemies’ resistance in any setting.
E. mirror the psychological expansion of his bloodlust from controlled to unbounded.

Solutions and Explanations

1) Correct answer: A

Why A is most correct: The passage emphasizes Norman’s uncontrollable fury ("saw red"), reckless pursuit of combat (chasing four men alone), and self-destructive tendency (ignoring survival instincts). These traits align with the berserker archetype—a warrior whose rage grants superhuman strength but erodes rational judgment. The text explicitly states that his love of battle marks him until death, reinforcing the destructive, addictive nature of his combat style.