Narrator
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| - | == ''' | + | == '''The Narrator in John Richardson's Wacousta''' == |
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| + | Over the course of the novel, the narrator of John Richardson’s Wacousta uses language and bias as a medium to expose both the complicated and greyness of Euro-Indigenous relations, as well as the contrasting values that go along within this sphere. Accordingly, the respective cultural biases of both women and Indigenous people within the novel are present, however throughout the novel, these biases slowly begin to change. | ||
| + | ---- | ||
| - | + | == '''Volume 1''' == | |
| + | |||
| + | Social norms are constructed by one’s belief about what others do. Over time, we have seen as social norms evolve into what we consider to be appropriate in our modern society today. However, this was not always the case. John Richardson’s Wacousta reiterates the idea of applying a historical lens when considering the language and biases during a specific time period. Specifically, the Narrator illustrates racism and sexism through their use of language throughout the story. | ||
| + | The Narrator's use of racist language in contrast to modern social norms quickly becomes apparent during the early chapters of the book. These terms would be considered quite inappropriate today but possess a deeper meaning within the context of the story. One example of this is when the narrator states “It was that peculiar cry which an Indian utters when the reeking scalp has been wrested from his murdered victim” (30). The use of the term “Indian” is unacceptable in today’s society due to the history centered around the treatment of Indigenous people. The narrator within a story typically has access to all of the thoughts and feelings of people in the story. Therefore, the narrator in this case has access to the general feeling of discrimination during this time period against the Indigenous community. From a historical context, this term was normalized during 1832, meaning the narrator was portraying an accurate representation of the language used during the time. | ||
| + | The question then becomes why is this relevant in our current society? Through the use of language, the narrator is luring the audience into a different perspective in order to better understand the inherent racism towards the Indigenous people. This is critical when analyzing stories throughout history as it helps to give an accurate representation of what really happened during these events. Furthermore, the Narrator also uses sexist language to depict gender roles and gender discrimination during the 1800s. Females have faced intense discrimination throughout history ranging from a lack of legal rights to little independence from their husbands. In many societies, women have long been viewed as less than fully human. This is evident in Volume 1 Chapter 2 when Sir Everard says, “I pity Halloway from my soul, and feel the deepest interest in his pretty and unhappy wife; but that is no reason one should attach importance to the incoherent expressions wrung from her” (47). A lack of respect towards Halloway’s wife and her thoughts are a direct reflection of the treatment of women during this time period. This is again alluding to the concept that the narrator is exposing readers to a different perspective in history. | ||
| + | |||
| + | ---- | ||
| + | |||
| + | == '''Volume 2''' == | ||
| + | |||
| + | In this volume, the Narrator further explore biases towards women. For example, in Volume 2 Chapter 1, the Narrator portrays Babette and her father Francois having a conversation that the readers are unable to hear and learn about. By depicting Babette as not having a limited amount of agency, the Narrator adds suspense to the story because it is still unknown whether Francois will betray them or not, while also beginning to unravel some of the biases towards women (165-166). In Volume 2 Chapter 2, Francois’ daughter Babette is still given no agency, but in this case, it is not because he holds a bias against her. It is simply for the suspense that she does not speak to the two British officers. They do not speak to her because they do not want to betray their mission (170). The Narrator also shows his bias against women in Volume 2 Chapter 3 by depicting them as weak and foolish. The governor told Ponteac that “... he weakly took council like a woman from another” (198) and he makes comments about women being weak (200) and foolish (205). The Narrator’s bias slowly begins to unravel towards the Natives as he gives Ponteac agency in Volume 2 Chapters 3, 4, and 6. The governor clearly respects Ponteac and his warriors; he also uses their language as a gesture of respect (187). | ||
| + | Towards the second half of the Volume 2, the narrator proposes opposing ideas surrounding racial bias and the roles of women. The Narrator uses the racial bias of the British viewpoint initially to tell a specific story with specific perspectives and flips that in the second volume to remind us that things are more complex than they seem. A good example of this is the use of female characters (Oucanasta, Clara, and Madeline). The introduction of Oucanasta leaves her outside of the colonial sphere of power. She is described as a “guide” (239) and feminine despite being contrary to the regular passive expectations of the British. An example of this is when she convinces Frederick to touch her feet. The Narrator describes her foot as “anything but delicate”, (241). Frederick’s pride is described as a “defense to the weaker sex”, and yet he continues to participate in this “un-European” and “backwards” experience in order to complete his mission (240). Discarding expectations for gender for both himself and for her, this results in a “wonderful revolution” (241). As opposed to later on in the novel to the Haldimar girls, this is new. Clara is described as “Elegant”, “slight, and “petite” (295). Madeline is described as “attractive, or rather winning” with “power in her voice” (296). Oucanasta’s participation in the heat of conflict and suspense contrasts the presence of the Haldimar girls who are withheld from the action in the narrative. Clara fainting in the heat of battle, Madeline taken captive (314), both oppose this. A further example is told by the Captain of the guard on Clara’s ship. He runs into a sentry (Middleton) who is drawing an Indigenous woman. Middleton described her as “a Venus, a Juno”, promising that if the captain could find a more attractive woman, he would change his mind set (300). The Captain, upon seeing Clara and Madeline, told him he lost the bet. These key examples both counter and enforce moments of racial and sexual prejudice associated with cultural upbringing. | ||
Revision as of 18:11, 14 June 2020
The Narrator in John Richardson's Wacousta
Over the course of the novel, the narrator of John Richardson’s Wacousta uses language and bias as a medium to expose both the complicated and greyness of Euro-Indigenous relations, as well as the contrasting values that go along within this sphere. Accordingly, the respective cultural biases of both women and Indigenous people within the novel are present, however throughout the novel, these biases slowly begin to change.
Volume 1
Social norms are constructed by one’s belief about what others do. Over time, we have seen as social norms evolve into what we consider to be appropriate in our modern society today. However, this was not always the case. John Richardson’s Wacousta reiterates the idea of applying a historical lens when considering the language and biases during a specific time period. Specifically, the Narrator illustrates racism and sexism through their use of language throughout the story. The Narrator's use of racist language in contrast to modern social norms quickly becomes apparent during the early chapters of the book. These terms would be considered quite inappropriate today but possess a deeper meaning within the context of the story. One example of this is when the narrator states “It was that peculiar cry which an Indian utters when the reeking scalp has been wrested from his murdered victim” (30). The use of the term “Indian” is unacceptable in today’s society due to the history centered around the treatment of Indigenous people. The narrator within a story typically has access to all of the thoughts and feelings of people in the story. Therefore, the narrator in this case has access to the general feeling of discrimination during this time period against the Indigenous community. From a historical context, this term was normalized during 1832, meaning the narrator was portraying an accurate representation of the language used during the time. The question then becomes why is this relevant in our current society? Through the use of language, the narrator is luring the audience into a different perspective in order to better understand the inherent racism towards the Indigenous people. This is critical when analyzing stories throughout history as it helps to give an accurate representation of what really happened during these events. Furthermore, the Narrator also uses sexist language to depict gender roles and gender discrimination during the 1800s. Females have faced intense discrimination throughout history ranging from a lack of legal rights to little independence from their husbands. In many societies, women have long been viewed as less than fully human. This is evident in Volume 1 Chapter 2 when Sir Everard says, “I pity Halloway from my soul, and feel the deepest interest in his pretty and unhappy wife; but that is no reason one should attach importance to the incoherent expressions wrung from her” (47). A lack of respect towards Halloway’s wife and her thoughts are a direct reflection of the treatment of women during this time period. This is again alluding to the concept that the narrator is exposing readers to a different perspective in history.
Volume 2
In this volume, the Narrator further explore biases towards women. For example, in Volume 2 Chapter 1, the Narrator portrays Babette and her father Francois having a conversation that the readers are unable to hear and learn about. By depicting Babette as not having a limited amount of agency, the Narrator adds suspense to the story because it is still unknown whether Francois will betray them or not, while also beginning to unravel some of the biases towards women (165-166). In Volume 2 Chapter 2, Francois’ daughter Babette is still given no agency, but in this case, it is not because he holds a bias against her. It is simply for the suspense that she does not speak to the two British officers. They do not speak to her because they do not want to betray their mission (170). The Narrator also shows his bias against women in Volume 2 Chapter 3 by depicting them as weak and foolish. The governor told Ponteac that “... he weakly took council like a woman from another” (198) and he makes comments about women being weak (200) and foolish (205). The Narrator’s bias slowly begins to unravel towards the Natives as he gives Ponteac agency in Volume 2 Chapters 3, 4, and 6. The governor clearly respects Ponteac and his warriors; he also uses their language as a gesture of respect (187). Towards the second half of the Volume 2, the narrator proposes opposing ideas surrounding racial bias and the roles of women. The Narrator uses the racial bias of the British viewpoint initially to tell a specific story with specific perspectives and flips that in the second volume to remind us that things are more complex than they seem. A good example of this is the use of female characters (Oucanasta, Clara, and Madeline). The introduction of Oucanasta leaves her outside of the colonial sphere of power. She is described as a “guide” (239) and feminine despite being contrary to the regular passive expectations of the British. An example of this is when she convinces Frederick to touch her feet. The Narrator describes her foot as “anything but delicate”, (241). Frederick’s pride is described as a “defense to the weaker sex”, and yet he continues to participate in this “un-European” and “backwards” experience in order to complete his mission (240). Discarding expectations for gender for both himself and for her, this results in a “wonderful revolution” (241). As opposed to later on in the novel to the Haldimar girls, this is new. Clara is described as “Elegant”, “slight, and “petite” (295). Madeline is described as “attractive, or rather winning” with “power in her voice” (296). Oucanasta’s participation in the heat of conflict and suspense contrasts the presence of the Haldimar girls who are withheld from the action in the narrative. Clara fainting in the heat of battle, Madeline taken captive (314), both oppose this. A further example is told by the Captain of the guard on Clara’s ship. He runs into a sentry (Middleton) who is drawing an Indigenous woman. Middleton described her as “a Venus, a Juno”, promising that if the captain could find a more attractive woman, he would change his mind set (300). The Captain, upon seeing Clara and Madeline, told him he lost the bet. These key examples both counter and enforce moments of racial and sexual prejudice associated with cultural upbringing.
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