Mindi Swenson
Literature  5535
9/30/03

The Romantic Spirit of the Journey

             In every romantic piece of literature there is a journey being undertaken and within this journey there are numerous ways in which the author knowingly or unknowingly includes the spirit of romanticism.  I see the journey itself as the main course of action taken by the characters in these works.  Whether the characters are making a physical or mental journey they are truly evolving new aspects into their personality on their way to find peace and transcendence.  The author has therefore started on his/her journey when they read the work of the author.  As seen in objective 1b “the quest or journey of the romance narrative typically requires crossing borders or transgressing physical, social, or psychological boundaries.”  Within these journeys there are numerous aspects of American romanticism revealed which lead up to the first American romantic novel, The Last of the Mohicans.

            In Ann Rowlandson’s “A Narrative of the Captivity and Restoration” there are numerous aspects of the romantic spirit seen throughout her journey.  As we see in her battle within her mind to adjust to her captivity we see her anguish with the indians.  “I should choose rather to be killed by them than taken alive, but when it came to the trial my mind changed:  their glittering weapons so daunted my spirit, that I chose rather to go along with those ravenous beasts, than that moment to end my days;” When Ann was starting her journey she was undergoing a drastic mental change.  The aspects of romanticism that Ann clearly brings out in her quest for freedom are the great loss she feels for her children and the personal emotion shown in her devout focus on God. 

            Ann is deeply connected to her children.  In most European romantic novels the women are usually not shown to be emotionally connected to their children.  In other words they are distant and have nannies to raise their children.  In American romantic novels the parents are one of the only stable elements the children have in any sort of upbringing.  When Ann is taken captive with her wounded child you can feel her sense of loss, “I cannot but take notice how at another time I could not bear to be in the room where any dead person was, but now the case is changed:  I must and could lie down by my dead babe, side by side all the night after.”  Anyone who is a mother can identify with that emotion.  I have read numerous European novels and do not usually  sense this deep emotion that is felt towards the children.  During her journey with the Indians Ann’s children fuel her and bring a sense of solace that calms her. 

            The second romantic aspect seen in her narrative is her devotion to the Lord.  Ann is told from the Indians not to read from The Bible however she continues to hide it and read from it daily.  “My mistress, before we went, was gone to the burial of a papoose, and returning, she found me sitting and reading in my Bible; she snatched it hastily out of my hand, and threw it out of doors.  I ran out and catched it up, and put it into my pocket, and never let her see it afterward.”  Ann’s belief and constant unwavering devotion to the Lord helps guide her journey with the mysterious ways of the Indians.   

            Throughout this narrative the use of deep emotions and devote loyalty to the Lord bring out the aspects of romanticism.  In these early romantic period writings we are only getting a glimpse of the strong romantic narrative’s later to come.  One such early writing that also has romantic elements of the journey is Washington Irving’s Legend of Sleepy Hollow. 

            The use of the gothic in The Legend of Sleepy Hollow seems to be drawn out through the entire story so that the reader can feel the eeriness of the town and its surroundings.  In the very beginning Irving describes the town as having a “drowsy, dreamy influence to hang over the land and to pervade the atmosphere”.  In Alvaro Rodriguez’s summer 2002 mid term paper he states, “Irving takes the wilderness and shows us its beauty only to show us in turn its menace, its unknowable, unconquerable dark power, a truly Gothic notion.”  Within this gothic atmosphere Irving introduces Ichabod.  It is Ichobad’s journey in this tale through which we see romantic elements.

            Within the story Irving talks of the Ichobad and the residents of Sleepy Hollow like they have been passed over by time.  That the inhabitants do not converge with the changes going along the outside world, “…that population, manners, and customs remain fixed; while the great torrent of migration and improvement, which is making such incessant changes in other parts of this restless country, sweeps by them unobserved”.  I feel these characters are stuck in a never-ending journey.  Not unlike a nightmare relived over and over night after night.

            The fact that there is a rumor of a headless horseman appearing in town is a striking gothic element.  As mentioned in class, in European novels the gothic characters/apparitions are usually found in castles and old buildings but Irving puts his in nature and brings out the eeriness of the outside which is a familiar aspect of American Romanticism.  Ichobad’s journey to his doom is made frightfully clear to the reader through these romantic elements.

            Within these two tales, “A Narrative of the Captivity and Restoration”, and “The Legend of Sleepy Hollow”, the concepts which delve in romanticism but are clearly shown are the deep sense of emotion, closeness with God, and aspects of the gothic.  Both of these tales contain these elements which bring us to the first most complete novel of the romantic period in America, The Last of the Mohicans.

            This novel brings together many elements of the romantic novel that we saw in the two narratives previously discussed.  The idea of the “romantic journey” that the characters take delivers their minds to a different plain.  Both of the girls Cora and Alice are determined to get to their father.  Whether or not it is a safe idea they care not.  The challenge of going seems to drive them, especially Cora.  When they start off on their journey the path itself is described as a, “dark and tangled pathway”, that “savages should be lurking”, and there are “dark arches of the forest”.  These gothic elements describe the beginning of their journey.  It helps set the tone for the remainder of the novel.  The characters that start off in the dark blinded by the unbridled path-way are trying to get to the “light at the end of the tunnel” as we say. 

            The deep emotions seen in this early novel reflect those of an inner desire to please one’s fantasies but not their realities.  It is mentioned numerous ways how Uncas feel’s for Cora.  Their relationship is never truly brought together but their emotions drive them in their quest to get to safety.  The hints throughout the novel only bring the reader a little glimpse.  Right before the daughters are reunited with their father, “Duncan willingly relinquishes the support of Cora to the arms of Uncas, and Cora as readily accepted the welcome assistance”.  Throughout the novel the reader senses these deep feelings even thought they are only gently touched upon by the author.  It is these small glimpses that make the reader assume the attraction. 

            As stated in “The Bedford Glossary of Critical and Literary Terms under romance, “Romantic/Gothic literature is typically characterized by a general mood of decay, action that is dramatic and generally violent, loves that are destructively passionate, and grandiose yet gloomy settings.”  The individuals that become romantically involved are not necessarily the smartest or the richest.  They are the most deserving.  That is a quality that I believe is singular to American romantic writers.  Within these journeys there are truly identifiable elements of the romantic genre set by American writers who are distinguishing their own niche in literature. 

Work Cited

 

Cooper, James Fenimore.  The Last of the Mohicans.  New York:  Viking Penguin, Inc., 1986.

Irving, Washington.  “The Legend of Sleepy Hollow”.  The Norton Anthology of American Literature 4^th edition, v. 1.  Ed. Nina Baym.  New York: Norton & Company, 1999.  2093-2112.

Murfin, Ross and Supryia M. Ray, eds.  The Bedford Glossary of Critical and Literary Terms.  Boston:  Bedford/St. Martin’s, 2003.  

Rowlandson, Mary.  “A Narrative of the Captivity and Restoration.”  The Norton Anthology of American Literature.      Ed. Nina Baym.  New York:  Norton & Company, 2003.  136-152.