Appearance
Excerpt
Excerpt from The Last of the Mohicans; A narrative of 1757, by James Fenimore Cooper
“’Twas like himself!” cried the inveterate forester, whose
prejudices contributed so largely to veil his natural sense of justice in all
matters which concerned the Mingoes; “a lying and deceitful varlet as he
is. An honest Delaware now, being fairly vanquished, would have lain still, and
been knocked on the head, but these knavish Maquas cling to life like so many
cats-o’-the-mountain. Let him go—let him go; ’tis but one
man, and he without rifle or bow, many a long mile from his French commerades;
and like a rattler that lost his fangs, he can do no further mischief, until
such time as he, and we too, may leave the prints of our moccasins over a long
reach of sandy plain. See, Uncas,” he added, in Delaware, “your
father is flaying the scalps already. It may be well to go round and feel the
vagabonds that are left, or we may have another of them loping through the
woods, and screeching like a jay that has been winged.”
So saying the honest but implacable scout made the circuit of the dead, into
whose senseless bosoms he thrust his long knife, with as much coolness as
though they had been so many brute carcasses. He had, however, been anticipated
by the elder Mohican, who had already torn the emblems of victory from the
unresisting heads of the slain.
But Uncas, denying his habits, we had almost said his nature, flew with
instinctive delicacy, accompanied by Heyward, to the assistance of the females,
and quickly releasing Alice, placed her in the arms of Cora. We shall not
attempt to describe the gratitude to the Almighty Disposer of Events which
glowed in the bosoms of the sisters, who were thus unexpectedly restored to
life and to each other. Their thanksgivings were deep and silent; the offerings
of their gentle spirits burning brightest and purest on the secret altars of
their hearts; and their renovated and more earthly feelings exhibiting
themselves in long and fervent though speechless caresses. As Alice rose from
her knees, where she had sunk by the side of Cora, she threw herself on the
bosom of the latter, and sobbed aloud the name of their aged father, while her
soft, dove-like eyes, sparkled with the rays of hope.
Explanation
Detailed Explanation of the Excerpt from The Last of the Mohicans (1826) by James Fenimore Cooper
This passage from The Last of the Mohicans (1826) captures a pivotal moment in the novel, reflecting its central themes of racial prejudice, frontier violence, noble savagery, and the contrast between European and Native American cultures. The scene occurs after a skirmish between the protagonists—Natty Bumppo (the scout, "Hawkeye"), the Mohican warriors Chingachgook and Uncas, and their allies—and a group of hostile Mingoes (allied with the French). The excerpt highlights the aftermath of battle, revealing the characters' differing moral responses to war, survival, and humanity.
Context of the Scene
The novel is set during the French and Indian War (1754–1763), a conflict between Britain and France for control of North America, with Native American tribes allied to both sides. The Mingoes (a term Cooper uses for Iroquois allied with the French) are portrayed as treacherous, while the Delaware (Lenape) and Mohicans are depicted as noble and honorable.
In this scene, the group has just defeated a Mingo war party. The scout (Hawkeye) and the Mohicans (Chingachgook and Uncas) debate whether to kill a surviving Mingo warrior. Meanwhile, the two sisters (Cora and Alice Munro), who were captured by the Mingoes, are freed by Uncas and Major Heyward, leading to an emotional reunion.
Breakdown of the Excerpt
1. Hawkeye’s Prejudice Against the Mingoes
“’Twas like himself!” cried the inveterate forester, whose prejudices contributed so largely to veil his natural sense of justice in all matters which concerned the Mingoes; “a lying and deceitful varlet as he is. An honest Delaware now, being fairly vanquished, would have lain still, and been knocked on the head, but these knavish Maquas cling to life like so many cats-o’-the-mountain.”
Characterization of Hawkeye:
- Hawkeye is a frontiersman who respects Native American allies (like the Delaware) but despises the Mingoes, whom he sees as deceitful and cowardly.
- His prejudice clouds his judgment—he assumes all Mingoes are treacherous, while idealizing the Delaware as "honest."
- The simile “cling to life like so many cats-o’-the-mountain” (referring to wildcats) reinforces his view of the Mingoes as savage and cunning.
Cultural Contrast:
- Hawkeye’s belief that a "fairly vanquished" Delaware would accept death honorably reflects the Romantic ideal of the "noble savage"—a concept Cooper explores, where some Native Americans are portrayed as morally superior to Europeans.
- The Mingoes, in contrast, are demonized as dishonorable, reinforcing the binary of "good" vs. "bad" Indians in 19th-century American literature.
2. Hawkeye’s Ruthless Pragmatism
“Let him go—let him go; ’tis but one man, and he without rifle or bow, many a long mile from his French commerades; and like a rattler that lost his fangs, he can do no further mischief...”
- Metaphor of the Rattlesnake:
- Hawkeye compares the wounded Mingo to “a rattler that lost his fangs”—a dangerous but now harmless enemy.
- This suggests that Hawkeye sees the Mingo as subhuman, reducing him to a venomous animal rather than a person.
- His decision to let the Mingo live is not out of mercy but practicality—the man is no longer a threat.
“See, Uncas,” he added, in Delaware, “your father is flaying the scalps already. It may be well to go round and feel the vagabonds that are left, or we may have another of them loping through the woods, and screeching like a jay that has been winged.”
- Scalping as a Cultural Practice:
- Hawkeye notes that Chingachgook is already taking scalps—a war trophy in many Native American cultures.
- The phrase “feel the vagabonds that are left” is a euphemism for finishing off the wounded, showing the brutality of frontier warfare.
- The simile “screeching like a jay that has been winged” (a wounded bird) dehumanizes the Mingoes further, comparing their cries to animal noises.
3. The Cold-Blooded Aftermath of Battle
So saying the honest but implacable scout made the circuit of the dead, into whose senseless bosoms he thrust his long knife, with as much coolness as though they had been so many brute carcasses.
- Hawkeye’s Desensitization to Violence:
- The word “honest” is ironic—Hawkeye is morally conflicted, capable of both nobility and brutality.
- His methodical killing of the wounded (“thrust his long knife”) is described with detached efficiency, emphasizing the harsh realities of frontier life.
- The comparison to “brute carcasses” reinforces the dehumanization of the enemy, a common psychological mechanism in war.
He had, however, been anticipated by the elder Mohican, who had already torn the emblems of victory from the unresisting heads of the slain.
- Chingachgook’s Role:
- As a Mohican warrior, Chingachgook follows traditional practices (scalping) without remorse.
- The phrase “emblems of victory” suggests that scalping is not just savage mutilation but a cultural ritual tied to honor and warfare.
4. Uncas and Heyward’s Humanity vs. Hawkeye’s Brutality
But Uncas, denying his habits, we had almost said his nature, flew with instinctive delicacy, accompanied by Heyward, to the assistance of the females, and quickly releasing Alice, placed her in the arms of Cora.
Uncas as the "Noble Savage":
- Uncas, the young Mohican, defies expectations by prioritizing the rescue of the women over battlefield rituals.
- The phrase “denying his habits, we had almost said his nature” suggests that his compassion is unusual for a warrior, reinforcing the Romantic ideal of the "noble savage"—a Native American who is morally pure despite the brutality around him.
- His instinctive delicacy contrasts with Hawkeye’s ruthless pragmatism.
Heyward’s Role:
- As a British officer, Heyward represents civilized European values, yet he is dependent on Native allies for survival.
- His assistance in freeing Alice shows chivalry, but also helplessness—he is not as capable in the wilderness as Hawkeye or the Mohicans.
5. The Sisters’ Emotional Reunion
We shall not attempt to describe the gratitude to the Almighty Disposer of Events which glowed in the bosoms of the sisters, who were thus unexpectedly restored to life and to each other. Their thanksgivings were deep and silent; the offerings of their gentle spirits burning brightest and purest on the secret altars of their hearts; and their renovated and more earthly feelings exhibiting themselves in long and fervent though speechless caresses.
- Religious and Emotional Catharsis:
- The sisters’ silent gratitude reflects 19th-century sentimentalism, where women’s emotions are portrayed as pure, spiritual, and wordless.
- The phrase “Almighty Disposer of Events” suggests a Providential view of history—God has intervened to save them.
- “Secret altars of their hearts” is a metaphor for their inner piety, contrasting with the external violence of the frontier.
As Alice rose from her knees, where she had sunk by the side of Cora, she threw herself on the bosom of the latter, and sobbed aloud the name of their aged father, while her soft, dove-like eyes, sparkled with the rays of hope.
- Symbolism of Alice and Cora:
- Alice (fair, delicate, emotional) and Cora (darker-skinned, stronger, more reserved) represent contrasting feminine ideals.
- “Dove-like eyes” symbolizes innocence and peace, contrasting with the predatory imagery used for the Mingoes.
- Their hope for their father (Colonel Munro) foreshadows the tragic fate that awaits them—Cora’s eventual death and Alice’s survival, reinforcing the novel’s melancholic tone.
Key Themes in the Passage
Racial and Cultural Prejudice:
- Hawkeye’s bias against the Mingoes reflects colonial-era stereotypes of "good" vs. "bad" Native Americans.
- The Delaware and Mohicans are idealized, while the Mingoes are vilified, showing Cooper’s Romantic racial hierarchies.
Violence and the Frontier Ethos:
- The brutality of warfare is normalized—scalping, finishing off the wounded, and dehumanizing the enemy are part of survival.
- Hawkeye’s pragmatism contrasts with Uncas’s compassion, showing moral ambiguity in the wilderness.
The "Noble Savage" vs. Civilization:
- Uncas and Chingachgook embody the noble savage—honorable, brave, and closer to nature than corrupt Europeans.
- Yet, their participation in scalping complicates this ideal, showing that nobility and brutality coexist.
Gender and Emotional Contrasts:
- The women’s silent, spiritual gratitude contrasts with the men’s violent actions, reinforcing 19th-century gender roles.
- Alice and Cora represent fragility and resilience, respectively, reflecting Romantic ideals of femininity.
Fate and Providence:
- The sisters’ survival is framed as divine intervention, suggesting a moral order in the chaos of war.
- However, their ultimate fates (Cora’s death, Alice’s survival) undermine this, hinting at the tragic inevitability of the frontier’s violence.
Literary Devices
Simile & Metaphor:
- “Clings to life like cats-o’-the-mountain” (simile) → Mingoes as predatory animals.
- “Like a rattler that lost his fangs” (simile) → Enemy as defanged but still dangerous.
- “Secret altars of their hearts” (metaphor) → Inner spirituality.
Irony:
- Hawkeye is called “honest” despite his ruthless actions.
- The “noble savage” ideal is undermined by the Mohicans’ participation in scalping.
Foreshadowing:
- The sisters’ hope for their father hints at future tragedy (his eventual failure and Cora’s death).
Contrast:
- Hawkeye’s brutality vs. Uncas’s compassion.
- Masculine violence vs. feminine emotional purity.
Symbolism:
- Scalps = victory, honor, but also savagery.
- Dove-like eyes = innocence in a violent world.
Significance of the Passage
Historical & Cultural Context:
- The novel reflects 19th-century American anxieties about manifest destiny, racial conflict, and the "vanishing Indian" (the Mohicans are the "last" of their kind).
- Cooper’s portrayal of Native Americans is both sympathetic and stereotypical, influencing later Westerns and frontier myths.
Moral Ambiguity:
- The scene challenges simple notions of good vs. evil—even the "noble" Uncas is part of a brutal world.
- Hawkeye, though prejudiced, is also loyal and pragmatic, making him a complex frontier hero.
Romanticism vs. Realism:
- The emotional reunion of the sisters is highly Romantic, while the graphic violence grounds the story in harsh realism.
- This duality makes The Last of the Mohicans a bridge between Romantic idealism and Gilded Age realism.
Conclusion
This excerpt encapsulates the central tensions of The Last of the Mohicans: the clash of cultures, the moral complexities of war, and the fragility of civilization in the wilderness. Hawkeye’s prejudice and pragmatism, Uncas’s noble compassion, and the sisters’ emotional purity all converge to create a rich, contradictory portrait of life on the American frontier. Cooper’s Romanticized yet brutal depiction of Native Americans and colonial violence continues to shape American myths about the noble savage, manifest destiny, and the cost of expansion.