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- Charles M. Robinson III The Diaries of John Gregory Bourke. Volume 4, July 3, 1880 May 22,1881 (2009)
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- zanotowane.pl
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.Yet, in this revised version of theromance the power of love is still somewhat mysterious and does not alwayswork smoothly.In Rum Creeters, Fannie cannot abandon her Southernallegiance and in a moment of weakness betrays Frederick Huntington toConfederate authorities.This leads to his capture by one of Fannie s cousinsand then to a skirmish in which Frederick kills the cousin in retaliation.Fannie is distraught but within a year agrees to marry Frederick Huntingtonanyway. There was a passion of love in these two young hearts, the narratorexplains, which could make them forgive and ignore the terrific past. 88The romantic union thus marked a triumph over the past.At the end ofanother tale, a Union man vows to forgive and forget, or remember the pastonly to make the future redeem it. 89 In other stories writers symbolized thepast as a problem to be overcome with the presence of ghosts who trouble theprotagonists and with the death and effective burial of the past of menand women who threaten to thwart a romantic union.90 (In Rum Creeters, Fannie s father, who had forcibly removed her from her fiancée s clutches at reconciliations 185the start of the war, dies just before she and her former beau reunite.) Theseauthors shared the same concern with forgetting or putting the past in itsproper place that preoccupied families such as the Halseys and the Cabell-Ellets, but they were more successful in burying that past in their fiction.Marriage, more so than other familial relationships, offered them a usefulimaginative vehicle.As the Louisville Daily Journal explained in May 1865, inan appeal to Northerners and Southerners to literally unite through marriage,romantic unions could build a strong and beautiful bond of unity, respect,and interest that could replace the dreary and morose antagonism betweenthe two sections.Marriage connoted a fresh start, rather than the resumptionof a previously held kin relationship, and implied a more permanent unionthan had ever before existed between two individuals.This made it an idealmetaphor for a postwar nation that was eager to leave the past behind.91Writers encouraged intersectional marriage by eliminating the extremecontrasts between the two protagonists that had characterized wartime talesof romantic dysfunction.There are no great moral dichotomies between thecharacters, no villains or victims, no exceptionally good or outrageously evilindividuals although differences are acknowledged by the presence of twogenders.In Elizabeth Haven Appleton s What Five Years Will Do, whichappeared in the Atlantic Monthly in 1868, a Southern woman is pretty, gentle, and dignified, whereas her father is noble, considerate, andgenerous. Her Union suitor in that he is wise and a model Christiangentleman is not very different from her father.Although these individualsare far apart in their sectional allegiances and therefore disagree on the war,their characters, their internal sense of worth and virtue, are fairly similar.The moral contrast between Unionists and Confederates that once drovewartime seduction tales has disappeared, and in its place the authors haveoffered another dichotomy: politicians versus the people. I wonder if thepoliticians who made the war ever think how they are keeping people apart aswell as making them miserable, muses the narrator of Appleton s story.Thework of the politicians is objectionable because there are no two people inthe world better suited to each other than the Union man and Confederatewoman in this tale.Writers like Appleton do not blame one side or the other forthe troubles plaguing families and the nation but turn their attention instead,as real families such as the Halseys did, to the legislatures and leaders whostarted the war.Politicians were an easily identifiable target for any lingeringsectional animosities [ Pobierz caÅ‚ość w formacie PDF ]
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.Yet, in this revised version of theromance the power of love is still somewhat mysterious and does not alwayswork smoothly.In Rum Creeters, Fannie cannot abandon her Southernallegiance and in a moment of weakness betrays Frederick Huntington toConfederate authorities.This leads to his capture by one of Fannie s cousinsand then to a skirmish in which Frederick kills the cousin in retaliation.Fannie is distraught but within a year agrees to marry Frederick Huntingtonanyway. There was a passion of love in these two young hearts, the narratorexplains, which could make them forgive and ignore the terrific past. 88The romantic union thus marked a triumph over the past.At the end ofanother tale, a Union man vows to forgive and forget, or remember the pastonly to make the future redeem it. 89 In other stories writers symbolized thepast as a problem to be overcome with the presence of ghosts who trouble theprotagonists and with the death and effective burial of the past of menand women who threaten to thwart a romantic union.90 (In Rum Creeters, Fannie s father, who had forcibly removed her from her fiancée s clutches at reconciliations 185the start of the war, dies just before she and her former beau reunite.) Theseauthors shared the same concern with forgetting or putting the past in itsproper place that preoccupied families such as the Halseys and the Cabell-Ellets, but they were more successful in burying that past in their fiction.Marriage, more so than other familial relationships, offered them a usefulimaginative vehicle.As the Louisville Daily Journal explained in May 1865, inan appeal to Northerners and Southerners to literally unite through marriage,romantic unions could build a strong and beautiful bond of unity, respect,and interest that could replace the dreary and morose antagonism betweenthe two sections.Marriage connoted a fresh start, rather than the resumptionof a previously held kin relationship, and implied a more permanent unionthan had ever before existed between two individuals.This made it an idealmetaphor for a postwar nation that was eager to leave the past behind.91Writers encouraged intersectional marriage by eliminating the extremecontrasts between the two protagonists that had characterized wartime talesof romantic dysfunction.There are no great moral dichotomies between thecharacters, no villains or victims, no exceptionally good or outrageously evilindividuals although differences are acknowledged by the presence of twogenders.In Elizabeth Haven Appleton s What Five Years Will Do, whichappeared in the Atlantic Monthly in 1868, a Southern woman is pretty, gentle, and dignified, whereas her father is noble, considerate, andgenerous. Her Union suitor in that he is wise and a model Christiangentleman is not very different from her father.Although these individualsare far apart in their sectional allegiances and therefore disagree on the war,their characters, their internal sense of worth and virtue, are fairly similar.The moral contrast between Unionists and Confederates that once drovewartime seduction tales has disappeared, and in its place the authors haveoffered another dichotomy: politicians versus the people. I wonder if thepoliticians who made the war ever think how they are keeping people apart aswell as making them miserable, muses the narrator of Appleton s story.Thework of the politicians is objectionable because there are no two people inthe world better suited to each other than the Union man and Confederatewoman in this tale.Writers like Appleton do not blame one side or the other forthe troubles plaguing families and the nation but turn their attention instead,as real families such as the Halseys did, to the legislatures and leaders whostarted the war.Politicians were an easily identifiable target for any lingeringsectional animosities [ Pobierz caÅ‚ość w formacie PDF ]