Question
adapted from The Prairie
by James Fenimore Cooper
Note for Learner: The emigrant Ishmael Bush is moving his family across the prairie. The spectacle they come across is a man named Natty Bumppo.
1The effect of such a spectacle was instantaneous and powerful. Ishmael Bush, the man in front of the emigrants, stopped and remained gazing at the mysterious object with a dull interest that soon quickened into superstitious awe. His sons, as soon as their surprise had abated a little, drew slowly around him. Those who guided and drove the teams gradually followed. The whole party was soon condensed in one, a silent and wondering group. Even though the impression of a supernatural being was common among the travelers, the ticking of gunlocks was heard. One or two of the bolder youths cast their rifles forward in readiness for service.
2“Send the boys off to the right,” exclaimed the resolute wife and mother, in a sharp, dissonant voice; “I declare Asa or Abner will give some account of the creature!”
3“It may be well enough to try the rifle,” muttered a dull-looking man, whose features, both in outline and expression, bore resemblance to the first speaker. He loosened the stock of his weapon and brought it dexterously to the front while delivering this opinion. “The Pawnee Loups are said to be hunting by hundreds in the plains. If so, they’ll never miss a single man from their tribe.”
4“Stay!” exclaimed a soft but alarmed female voice, which was easily traced to the trembling lips of the younger of the two women; “we are not all together! He may be a friend!”
5“Who is scouting now?” demanded the father, scanning, at the same time, the cluster of his stout sons, with a displeased and sullen eye. “Put by the rifles,” he continued, diverting the other’s aim with the finger of a giant and with the air of one it might be dangerous to deny. “My job is not yet ended; let us finish the little that remains in peace.”
6The man, who had manifested so hostile an intention, appeared to understand the other’s allusion. The sons turned their inquiring looks on the girl who had spoken to require an explanation. But, as if content with the respite she had obtained for the stranger, she chose to affect a maidenly silence.
7During this time, the hues of the heavens had often changed. In place of the brightness, which had dazzled the eye, was a gray and more sober light. As the setting lost its brilliancy, the proportions of the fanciful form became less exaggerated and finally were distinct. Ashamed to have hesitated now that the truth was apparent, the leader of the party resumed his journey, using the precaution, as he ascended the slight acclivity, to release his own rifle from the strap and to cast it into a situation more convenient for sudden use.
8There seemed little necessity, however, for such watchfulness. From the moment when it had unaccountably appeared between the heavens and the earth, the stranger’s figure had neither moved nor given the smallest evidence of hostility. Had he harbored any evil intention, the individual who now came plainly into view seemed little qualified to execute them.
9A frame that had endured the hardships of more than eighty seasons did not awaken apprehension in the breast of one as powerful as Ishmael Bush. Even with the stranger’s years and his look of emaciation, if not of suffering, this solitary being looked as though time, and not disease, had laid a heavy hand on him.
10The stranger’s form had withered, but it was not wasted. The sinews and muscles, which had once denoted great strength, though shrunken, were still visible. His whole figure had attained an appearance of endurance. His dress was chiefly of skins, worn with the hair to the weather. A pouch and horn were suspended from his shoulders. He leaned on a rifle of uncommon length, which, like its owner, exhibited the wear of long and hard service.
11As the party drew nigh to this solitary being, a low growl issued from the grass at his feet. A tall, gaunt, toothless hound arose lazily. Shaking himself, he made some show of resisting the nearer approach of the travelers.
12“Down, Hector, down,” was said in a voice that was a little tremulous and hollow with age. “What have you to do, pup, with men who journey on their lawful callings?”
13“Stranger, if you are acquainted with this country,” said Ishmael, the leader of the emigrants, “can you tell a traveler where to find necessaries for the night?”
14“Is the land filled on the other side of the Big River?” demanded the old stranger. “Why do I see a sight I had never thought to behold again?”
15“There is country left for those who have money and are not particular in the choice,” returned the emigrant, “but to my taste, it is getting crowded. What is the distance from this place to the nearest point on the main river?”
16“A hunted deer could not cool his sides in the Mississippi without traveling a weary five hundred miles.”
17“And what may you name this place?”
18“By what name,” returned the old stranger, pointing significantly upward, “would you call the spot where you see yonder cloud?”
19The emigrant looked at the other, like one who did not comprehend his meaning and who half suspected he was trifled with. He contented himself by saying, “You are a new inhabitant, like myself, I reckon, stranger. Otherwise you would not be backward in giving a traveler some advice. Words cost little and sometimes lead to friendships.”
20“Advice is not a gift, but a debt that the old owe to the young. What would you wish to know?”
21“Where I may camp for the night. I don’t need much, but all old journeyers, like myself, know the virtue of sweet water and a good browse for the cattle.”
22“Come then with me, and you shall be master of both. Little more is it that I can offer on this hungry prairie.”
23As the old stranger was speaking, he raised his heavy rifle to his shoulder with a facility a little remarkable for his years and appearance, and without further words led the way over the acclivity to the adjacent bottom.
Adapted from THE PRAIRIE by James Fenimore Cooper—Public Domain
How does the author use the character of the stranger to contribute to the aesthetic impact of the passage?
by James Fenimore Cooper
Note for Learner: The emigrant Ishmael Bush is moving his family across the prairie. The spectacle they come across is a man named Natty Bumppo.
1The effect of such a spectacle was instantaneous and powerful. Ishmael Bush, the man in front of the emigrants, stopped and remained gazing at the mysterious object with a dull interest that soon quickened into superstitious awe. His sons, as soon as their surprise had abated a little, drew slowly around him. Those who guided and drove the teams gradually followed. The whole party was soon condensed in one, a silent and wondering group. Even though the impression of a supernatural being was common among the travelers, the ticking of gunlocks was heard. One or two of the bolder youths cast their rifles forward in readiness for service.
2“Send the boys off to the right,” exclaimed the resolute wife and mother, in a sharp, dissonant voice; “I declare Asa or Abner will give some account of the creature!”
3“It may be well enough to try the rifle,” muttered a dull-looking man, whose features, both in outline and expression, bore resemblance to the first speaker. He loosened the stock of his weapon and brought it dexterously to the front while delivering this opinion. “The Pawnee Loups are said to be hunting by hundreds in the plains. If so, they’ll never miss a single man from their tribe.”
4“Stay!” exclaimed a soft but alarmed female voice, which was easily traced to the trembling lips of the younger of the two women; “we are not all together! He may be a friend!”
5“Who is scouting now?” demanded the father, scanning, at the same time, the cluster of his stout sons, with a displeased and sullen eye. “Put by the rifles,” he continued, diverting the other’s aim with the finger of a giant and with the air of one it might be dangerous to deny. “My job is not yet ended; let us finish the little that remains in peace.”
6The man, who had manifested so hostile an intention, appeared to understand the other’s allusion. The sons turned their inquiring looks on the girl who had spoken to require an explanation. But, as if content with the respite she had obtained for the stranger, she chose to affect a maidenly silence.
7During this time, the hues of the heavens had often changed. In place of the brightness, which had dazzled the eye, was a gray and more sober light. As the setting lost its brilliancy, the proportions of the fanciful form became less exaggerated and finally were distinct. Ashamed to have hesitated now that the truth was apparent, the leader of the party resumed his journey, using the precaution, as he ascended the slight acclivity, to release his own rifle from the strap and to cast it into a situation more convenient for sudden use.
8There seemed little necessity, however, for such watchfulness. From the moment when it had unaccountably appeared between the heavens and the earth, the stranger’s figure had neither moved nor given the smallest evidence of hostility. Had he harbored any evil intention, the individual who now came plainly into view seemed little qualified to execute them.
9A frame that had endured the hardships of more than eighty seasons did not awaken apprehension in the breast of one as powerful as Ishmael Bush. Even with the stranger’s years and his look of emaciation, if not of suffering, this solitary being looked as though time, and not disease, had laid a heavy hand on him.
10The stranger’s form had withered, but it was not wasted. The sinews and muscles, which had once denoted great strength, though shrunken, were still visible. His whole figure had attained an appearance of endurance. His dress was chiefly of skins, worn with the hair to the weather. A pouch and horn were suspended from his shoulders. He leaned on a rifle of uncommon length, which, like its owner, exhibited the wear of long and hard service.
11As the party drew nigh to this solitary being, a low growl issued from the grass at his feet. A tall, gaunt, toothless hound arose lazily. Shaking himself, he made some show of resisting the nearer approach of the travelers.
12“Down, Hector, down,” was said in a voice that was a little tremulous and hollow with age. “What have you to do, pup, with men who journey on their lawful callings?”
13“Stranger, if you are acquainted with this country,” said Ishmael, the leader of the emigrants, “can you tell a traveler where to find necessaries for the night?”
14“Is the land filled on the other side of the Big River?” demanded the old stranger. “Why do I see a sight I had never thought to behold again?”
15“There is country left for those who have money and are not particular in the choice,” returned the emigrant, “but to my taste, it is getting crowded. What is the distance from this place to the nearest point on the main river?”
16“A hunted deer could not cool his sides in the Mississippi without traveling a weary five hundred miles.”
17“And what may you name this place?”
18“By what name,” returned the old stranger, pointing significantly upward, “would you call the spot where you see yonder cloud?”
19The emigrant looked at the other, like one who did not comprehend his meaning and who half suspected he was trifled with. He contented himself by saying, “You are a new inhabitant, like myself, I reckon, stranger. Otherwise you would not be backward in giving a traveler some advice. Words cost little and sometimes lead to friendships.”
20“Advice is not a gift, but a debt that the old owe to the young. What would you wish to know?”
21“Where I may camp for the night. I don’t need much, but all old journeyers, like myself, know the virtue of sweet water and a good browse for the cattle.”
22“Come then with me, and you shall be master of both. Little more is it that I can offer on this hungry prairie.”
23As the old stranger was speaking, he raised his heavy rifle to his shoulder with a facility a little remarkable for his years and appearance, and without further words led the way over the acclivity to the adjacent bottom.
Adapted from THE PRAIRIE by James Fenimore Cooper—Public Domain
How does the author use the character of the stranger to contribute to the aesthetic impact of the passage?
Answers
Answered by
GPT-4o mini
In this passage from *The Prairie*, the character of the stranger, Natty Bumppo, serves multiple aesthetic functions that enhance the overall impact of the narrative. Here are several ways in which the author utilizes his character:
1. **Symbol of Wisdom and Experience**: The stranger embodies the wisdom of someone who has traversed the land and experienced its challenges. His age and demeanor, along with his sparse but thoughtful dialogue, create an impression of depth and knowledge that stands in contrast to the naïveté of the emigrants. Ishmael’s cautious questions reflect both a recognition of the stranger's authority and an acknowledgment of his own insecurity in the unfamiliar terrain. This dynamic enhances the theme of the passage, emphasizing the struggle of the emigrants against the backdrop of the vast and often harsh prairie.
2. **Contrast to the Emigrants**: The stranger’s calm demeanor and emotional restraint sharply contrast with the initial tension and fear exhibited by Ishmael and his family. While the emigrants react with a mix of apprehension and readiness for conflict (evident in their discussions of rifles and potential danger), the stranger remains composed and non-threatening. This contrast not only serves to highlight the travelers' vulnerabilities but also introduces a sense of mystery and intrigue surrounding the stranger. The emotive responses of the Bush family evolve from fear to cautious curiosity, guided by the stranger’s presence.
3. **Connection to Nature and the Land**: The description of the stranger—his weathered yet enduring physique, his attire of animal skins, and his companion, a hound—emphasizes his deep connection to the natural world. By depicting him as a figure shaped by and harmonious with the prairie, Cooper enhances the thematic element of survival in a landscape that is at once beautiful and intimidating. The description evokes a sense of authenticity and reverence for the wilderness, elevating the aesthetic quality of the passage.
4. **Mystique and Foreshadowing**: The stranger's cryptic conversation and enigmatic suggestions regarding the land he refers to contribute to a sense of mystique. His questioning about the "cloud" in the sky serves as a metaphorical element that prompts deeper reflection on the nature of home, belonging, and the ever-changing landscape of the West. This uncertainty foreshadows the broader experiences the emigrants will face, suggesting that their journey is not solely physical but also existential.
5. **Catalyst for Action**: Ultimately, the stranger catalyzes the action by providing guidance to the emigrants. His offer to lead them to a place where they can find water and good grazing for their cattle pushes the narrative forward. This interaction symbolizes the potential for communion and mutual assistance between disparate characters, embodying the hope for connection in the wilderness.
Through these functions, the character of Natty Bumppo enhances the aesthetic quality of the passage. He acts as a bridge between the unfamiliar and the familiar, grounding the emigrants in their journey while also deepening the thematic exploration of survival, community, and the most primal connections between people and the land they inhabit.
1. **Symbol of Wisdom and Experience**: The stranger embodies the wisdom of someone who has traversed the land and experienced its challenges. His age and demeanor, along with his sparse but thoughtful dialogue, create an impression of depth and knowledge that stands in contrast to the naïveté of the emigrants. Ishmael’s cautious questions reflect both a recognition of the stranger's authority and an acknowledgment of his own insecurity in the unfamiliar terrain. This dynamic enhances the theme of the passage, emphasizing the struggle of the emigrants against the backdrop of the vast and often harsh prairie.
2. **Contrast to the Emigrants**: The stranger’s calm demeanor and emotional restraint sharply contrast with the initial tension and fear exhibited by Ishmael and his family. While the emigrants react with a mix of apprehension and readiness for conflict (evident in their discussions of rifles and potential danger), the stranger remains composed and non-threatening. This contrast not only serves to highlight the travelers' vulnerabilities but also introduces a sense of mystery and intrigue surrounding the stranger. The emotive responses of the Bush family evolve from fear to cautious curiosity, guided by the stranger’s presence.
3. **Connection to Nature and the Land**: The description of the stranger—his weathered yet enduring physique, his attire of animal skins, and his companion, a hound—emphasizes his deep connection to the natural world. By depicting him as a figure shaped by and harmonious with the prairie, Cooper enhances the thematic element of survival in a landscape that is at once beautiful and intimidating. The description evokes a sense of authenticity and reverence for the wilderness, elevating the aesthetic quality of the passage.
4. **Mystique and Foreshadowing**: The stranger's cryptic conversation and enigmatic suggestions regarding the land he refers to contribute to a sense of mystique. His questioning about the "cloud" in the sky serves as a metaphorical element that prompts deeper reflection on the nature of home, belonging, and the ever-changing landscape of the West. This uncertainty foreshadows the broader experiences the emigrants will face, suggesting that their journey is not solely physical but also existential.
5. **Catalyst for Action**: Ultimately, the stranger catalyzes the action by providing guidance to the emigrants. His offer to lead them to a place where they can find water and good grazing for their cattle pushes the narrative forward. This interaction symbolizes the potential for communion and mutual assistance between disparate characters, embodying the hope for connection in the wilderness.
Through these functions, the character of Natty Bumppo enhances the aesthetic quality of the passage. He acts as a bridge between the unfamiliar and the familiar, grounding the emigrants in their journey while also deepening the thematic exploration of survival, community, and the most primal connections between people and the land they inhabit.