Angela Douglas

3 October 2006

The Spirit of the True American Romantic Heroine

The image of an American Romantic heroine usually involves a beautiful, angelic woman who is graceful, eloquent and well-spoken.  At first glance, Cooper’s Alice Munro from The Last of the Mohicans and Susan Rowanson’s Charlotte Temple could fit this description.  However, if we look at course objective 1a we find additional requirements for the Romantic heroine.   This course objective says that a Romantic heroine must also possess, “a desire for anything besides ’the here and now’ -or ’reality’” and “may appear empty or innocent of anything except readiness or desire to transform or self-invent.”  Neither Charlotte nor Alice has these traits at least with respect to themselves. Cooper does, though, create a character with these qualities in Cora Munro, who could have been modeled after Susan Rowlandson, a real woman who chronicled her captivity at the hands of Indians in America. 

            Both Mary and Cora are strong women who stand up to the physical and mental challenges of being held captive in 18^th Century America.  From the earliest pages of the book, Cooper identifies Cora as a robust, strong character.  Cooper writes, “Her [Cora] complexion was not brown, but it rather appeared charged with the colour of the rich blood, that seemed ready to burst its bounds.”  This description has more to do with her internal qualities than physical characteristics.  Cora’s strength and perseverance comes from inside her chest where her heart pumps this “rich blood” through her veins. 

            Likewise, we get a description of Mary’s fortitude at the beginning of her self-written narrative.  She says, “I had often before this said that if the Indians should come, I should choose rather to be killed by them than taken alive, but when it came to the trail my mind changed; their glittering weapons so daunted my spirit, that I chose rather to go along with those (as I may say) ravenous beasts, than that moment end my days; and that I may better declare what happened to me during my grievous captivity.”  With this sentence, we learn that though she is terrified, she would rather suffer at the hands of the Indians so she can tell her story, then take the easy way out and die.  

Course objective 1a tells us that a Romantic heroine should have a “readiness or desire to transform or self-invent.”  Both Mary and Cora go through an inner reflection that brings out qualities that, perhaps were always present, but due to the circumstances have been brought to the surface.   Mary Rowlandson goes through a transformation when her child finally dies after lingering with a wound for several days.  She says, “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.”  There was a time when she would not have been able to stay in the same room with a dead body.  When the dead body is that of her child, she realizes an inner strength she did not know she possessed.  From that point in her life she will never be the same.  She has changed.

            Similarly, Cora’s experiences a transformation, though, it is really more of a revelation of her existing personality.   The events in the wilderness of America open up circumstances where her true character is revealed.  When faced with certain death at the hands of Magua in Chapter XXXII she continues to be defiant to her captor.  She tells Magua, “I will go no farther […] Kill me if though wilt, detestable Huron, I will go no farther.”   Cora probably did not know how she would react in that situation until she was faced with it.  Just like Mary, Cora’s personal qualities shine in the face of trying situations.  She and others realize through her transformation that she is a force to be reckoned with.  In fact, Hawkeye acknowledges her individuality when he tells Cora, “Wisdom is sometimes given to the young, as well as to the old.”

            In addition to the desire to transform mentally, both women are also ready to assume the role as protector to the weaker people around them, many times at a great peril to themselves.  Mary devotes many lines to her six-year-old daughter who is wounded in the initial attack on her settlement.  At first, the child is placed on a horse, but Mary chooses to carry her herself.  She carries the injured child until she falls down from exhaustion.  They are both placed on a horse, but end up falling off.  At any point, Mary could have allowed her child to be carried on the horse while she walked alongside.  By carrying her child, she wants to provide what little comfort she can.  At a great inconvenience to herself her motherly instincts place her child ahead of her own well being.  She says, “I sat much alone with a poor wounded child in my lap, which moaned night and day, having nothing to revive the body, or cheer the spirits of her […].” Mary is willing to do anything for her child who is suffering, even if it means risking her own life.

            Cora’s relationship to her sister Alice is similar to Mary and her child.  Sawsan Sanjak states in a Fall 2003 midterm, “Thus, when Alice is in danger or in doubt Cora is always there for her.  Cora is the emotional and physical comfort for Alice.”  This statement is unquestionably true and many examples are available throughout the book.  Cora knows that Alice is child-like, and emotionally weaker.  Taking this idea one step further, Cora plays the role of “mother figure” to Alice.  Alice acknowledges this when she says, “And you too, Cora, my sister; my more than sister, my mother, you too are spared!” An excellent example of Cora caring for Alice is in Chapter XXII.  Hawkeye and the Mohicans rescue the group after being taken captive by the Hurons.  During the ensuing fight we are told that, “She [Cora] eluded the grasp of the savage, and reckless of her own safety, threw herself on the bosom of Alice, striving with convulsed and ill-directed fingers, to tear asunder the twigs which confined the person of her sister.”  Cora knows she is emotionally stronger than Alice and is willing to literally throw herself into the face of danger for her sister, and she does. 

            Both women put their faith in God during the low points of their ordeals.  Turning to God shows their desire to change from their current situation.  This correlates with objective 1a Romantic Spirit and Ideology in our course objectives.  Neither woman wants to remain in their present situation of captivity.  When they are at the depths of despair during their captivity, their strength and faith in God is shown.   Signs of Mary Rowlandson’s faith in God are present throughout her writings.  She turns to scripture both at high and low points during her confinement.  “Whereupon I earnestly entreated the Lord, that He would consider my low estate, and show me a token for good […] And indeed quickly the Lord answered, in some measure, my poor, prayers; […] my son came to me […]”  All the changes that happen to Mary throughout her life, especially during her captivity, she attributes to God.  She puts faith in God no matter the circumstance, good or bad.

            Cora, like Mary, has a strong faith in God and turns to Him during the most tragic scene in the book.  Magua is standing over her, commanding that she choose to marry him or die.  Her conscience will not allow her to be the wife of a “detestable Huron.”  She falls to her knees and instead of answering him says, “I am thine! Do with me as thou seest best!”  Ironically by refusing to answer Magua, she denies him the one thing he truly desires, revenge.  Because of the passion she stirs within him, Magua hesitates to kill her, most likely because she has not outright said at this point that she will not marry him.  This indecision gives Unca enough time to appear and place Magua off balance.  It is not Magua’s knife that ultimately kills Colonel Munro‘s daughter, but that of another Indian.  Cora puts her faith in God during her darkest hour and causes a change in Magua’s ultimate plan of revenge.

            Another theme of Romanticism that is evident is both Cora and Mary is “the quest or journey to attain or regain some transcendent goal or dream.”  In both stories, the heroines seek a common, underlying goal; to reunite their families.              Mary Rowlandson is separated from her children and her husband when the Indians take her captive.  Throughout her story, she wonders about her children.  She also makes repeated pleas to her captors to sell her to her husband.  Escaping is not enough for her.  She wants her family to be whole again.  Unfortunately, we know she will not get her complete wish when her six-year-old daughter dies.  Even after facing the tragedy of having to leave her dead child buried in the woods, she continually attempts to reunite her family.   Her children are always on her mind.  She attempts to locate them throughout her story.  She is frustrated when “she is but miles away from her daughter.”  Her quest to attain her dream will not be complete until she brings her family together again.

            Cora Munro has the same goal as Mary, to reunite her family.  The book begins with her and Alice wanting to join their father at Fort William Henry.  Knowing the dangers involved with traveling outside the British controlled forts, the women set out.  Consistent with her character, Cora always thinks of others before herself during every dangerous situation.  In Chapter XXIX when she is pleading with the great chieftan Tamenund, she begs not for herself, but for the rest of her family.  Speaking of Alice she says, “She is the daughter of an old and failing man, whose days are near their close. […] and she is too good, much too precious, to become the victim of that villain [Magua].”  By mentioning her ailing father, she hopes to convince Tamenund that he should at least free Alice so she can reunite with their father.  Her journey to reunite her family continues throughout the book and she attempts to achieve this goal by any means possible.

By examining closely their "desire, or willingness to self-invent or transform," we see how both Mary and Cora exhibit the ability to change and adapt as necessary.  They both possess a faith in God to bring about change and assert the need to strive towards a transcendent goal.  Both Mary and Cora embody the spirit of the true Romantic heroine.  If we momentarily shift focus, however, from Mary and Cora, and look at Alice and Charlotte, we may also make additional discoveries by comparing the "true" heroines with the "angelic, innocent" characters who may have the appearance but not the "spirit" of the romantic heroine. 

            To begin, Alice Munro is a weak female and instead of doing anything to help her situation, she relies on others around her to take care of her, similar to Charlotte Temple by Susan Rowson.  Charlotte is a woman who can not seem to make a decision for herself.  Both women use the survival tactic of relying on others to assist them.  Ms. Rowson claims the story of Charlotte is a true story and therefore a correlation can be made between Alice and Charlotte similar to the one made concerning Cora and Mary.

            In contrast to Cora, Alice is more of a burden to those around her than an asset.  At the end of Chapter VIII when the Indians have escaped and left David, Duncan, Alice and Cora in the cave, Cora says, “[…] that the worst to us can be but death; a tribute that all must pay at the good time of God’s appointment.”  Cora remains rational in the face of tragedy.  The final sentence of the paragraph tells us that, “Cora […] drew the nearly insensible Alice after her into the deepest recess of the inner cavern.”  Instead of at least trying to stay level headed, Alice becomes a burden to Cora and the rest of the group. 

            This falling apart in the face of danger is similar to Charlotte Temple.  When faced with the decision of whether or not to follow Montraville to America, the last thing Charlotte actually says is, “Oh! my dear forsaken parents!”  Without actually making a decision, “She shrieked, and fainted into the arms of her betrayer.”  Just like Alice faints when faced with a difficult situation, so does Charlotte.  Charlotte faints to avoid being held responsible for her decisions, thus displaying an attribute of a weak personality.  Neither Mary Rowlandson nor Cora Munro would act this way if faced with a similar situation. 

            Both Alice and Charlotte look to others to try and get them out of difficult situations and for their survival.  A perfect example of Alice’s weakness occurs in Chapter XVII.  When the English come under attack as they are leaving the captured Fort William Henry, Alice calls out to her father, “Come to us, father, or we die!”  She looks to a strong protector to save her.  When he ignores her pleas we are told that, “[…] Alice had dropped senseless on the earth, and Cora had sunk at her side, hovering in untiring tenderness, over her lifeless form.”  Cora takes care of Alice, as she does throughout the story.  Alice can see no other way of helping her group survive than for someone else to save them.

                Similarly, Charlotte looks to others assist her when she is in a crisis.  She continually switches her decision on whether or not to go with Montraville to America.  When she is with him, she feels compelled to agree with him, though her parents are in the back of her mind.  Then she receives a letter from her parents she says, "I am snatched by a miracle from destruction!

This letter has saved me: it has opened my eyes to the folly I was so near committing. I will not go, Mademoiselle; I will not wound the hearts of those dear parents who make my happiness the whole study of their lives."  She does not make the decision herself, but sees the letter as making the decision for her.  Never does she do what she wants, mainly because she does not have the courage to make a decision. 

            Charlotte and Alice are both described in their respective stories as beautiful and innocent, both stereotypical qualities of a Romantic heroine.  Through course objective 1a, other traits of a Romantic heroine are revealed such as the “desire to self invent” or “for anything besides the here and now.”  Mary and Cora do not have the personalities to stand by and let others dictate what is going to happen to them like Charlotte and Alice, who rely on others to survive.   While Charlotte and Alice may have a desire for something, they do very little to bring about any change.  Strong Romantic heroines do not just stand by and let the world make decisions for them.  They are not solely beautiful and angelic.  Instead they make rational, sometimes instinctual decisions and control the course of their own lives.  This is the spirit of a true Romantic heroine.