The Wild Man of the West: A Tale of the Rocky Mountains — Background and Themes
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There was not a fence in the whole countryside that March had not bolted over at full gallop, or ridden crash through if he could not go over it. There was not a tree within a circuit of four miles from the top of which he had not fallen. There was not a pond or pool in the neighbourhood into which he had not soused at some period of his stormy juvenile career, and there was not a big boy whom he had not fought and thrashed--or been thrashed by--scores of times.
But for all this March had not a single enemy. He did his companions many a kind turn; never an unkind one. He fought for love, not for hatred. He loved a dog--if any one kicked it, he fought him. He loved a little boy--if any one was cruel to that little boy, he fought him. He loved fair play--if any one was guilty of foul play, he fought him. When he was guilty of foul play himself (as was sometimes the case, for who is perfect?) he felt inclined to jump out of his own body and turn about and thrash himself! And he would have done so often, had it been practicable. Yes, there is no doubt whatever about it March Marston was mad--as mad, after a fashion, as any creature, human or otherwise, you choose to name.
Young Marston's mother was a handsome, stout, blue-eyed, flaxen-haired woman, of a little over thirty-five summers. She was an English emigrant, and had, seventeen years before the time we write of settled at Pine Point, on the banks of the Yellowstone River, along with her brother, the blacksmith above referred to. At that time she was the sweetest maiden in all the village, and now she was the handsomest matron. Indeed, the bloom of her youth remained on her cheeks so little impaired that she was often mistaken by strangers for March Marston's elder sister. The men of the place called her pretty widow Marston; but she was not a widow--at least, they had as little ground for saying that she was as they had for asserting that her son was mad. Mrs Marston was peculiarly circumstanced, but she was not a widow.
The peculiar circumstances connected with her history are soon told. Immediately after the arrival of the blacksmith and his pretty sister at Pine Point settlement, a tall stout young stripling--a trapper--about a year older than herself, fell deeply in love with Mary West--that being Mrs Marston's maiden name. The young trapper's case was desperate. He sank at once so deep into the profundities of love, that no deep-sea lead, however ingeniously contrived, could reach him.
Although just emerging from boyhood, Louis the trapper was already a tall, strong, handsome man, and Mary felt flattered by his attentions. But when, a month afterwards, he boldly offered her his hand and fortune (which latter consisted of a trapper's costume and a western rifle), she was taken aback and flatly refused him. Louis was hare-brained and passionate. He told her he would give her one day and a night to think of it. At the end of that time he came back and was again refused, for Mary West had no notion of being taken by storm in that fashion. But she trembled and grew pale on observing the storm of angry passion that gleamed from the young trapper's eyes and caused his broad chest to heave violently. He did not speak. He did not even look at Mary--had he done so, years of sorrow and suffering might have been spared them both. He stood for one moment with his eyes fixed upon the ground--then he turned, sprang through the doorway, vaulted on his horse, and went off from her cottage door as an arrow leaps from a bow. The fences and ditches that lay in his way were no impediment. His powerful steed carried him over all and into the forest beyond, where he was quickly lost to view. Mary tried to resume her household occupations with a sigh. She did not believe he was gone. But he was!
At first Mary was nettled; then she grew sad; as weeks passed away she became nettled again, and at this juncture another suitor appeared in the shape of a young immigrant farmer, whose good looks and insinuating address soothed her irritation at the strange abrupt conduct of her lover. She began to think that she must have been mistaken in supposing that she cared for the wild trapper--and, in order to prove the correctness of her supposition, she married Obadiah Marston, the farmer.
Alas! poor Mary discovered her error too late. Marston turned out a profligate drunkard. At first he did not come out in his true colours. A son was born, and he insisted on calling him March, for no other reason than that he was born in the month so named. Mary was obliged to consent, and at last came to congratulate herself that the child had been born in March, and not in April or October, or any other month equally unsuitable for a Christian name. After the first year, Obadiah Marston treated his wife badly, then brutally, and at last he received a sound drubbing from his brother-in-law, the blacksmith, for having beaten poor Mary with a stick. This brought things to a climax. Marston vowed he would forsake his wife, and never set eyes on her again; and he kept his vow. He embarked one day in a boat that was going down to the Missouri with a cargo of furs, and his poor wife never saw him again. Thus was Mary West forsaken, first by her lover and then by her husband.
It was long before she recovered from the blow; but time gradually reconciled her to her lot, and she devoted herself thenceforth to the training of her little boy. As years rolled on, Mrs Marston recovered her spirits and her looks; but, although many a fine young fellow sought her heart and hand, assuring her that she was a widow--that she _must_ be a widow, that no man in his senses could remain so long away from such a wife unless he were dead--she turned a deaf ear to them all.
March Marston's infancy was spent in yelling and kicking, with the exception of those preternaturally calm periods when he was employed in eating and sleeping. As he grew older the kicking and yelling decreased, the eating increased, and the sleeping continued pretty much the same. Then came a period when he began to learn his A, B, C. Mrs Marston had been well educated for her station in life. She had read much, and had brought a number of books to the backwoods settlement; so she gave her boy a pretty good education--as education went in those days--and certainly a much better one than was given to boys in such out-of-the-way regions. She taught him to read and write, and carried him on in arithmetic as far as compound division, where she stuck, having reached the extreme limits of her own tether.
Contemporaneously with the cessation of squalling and kicking, and the acquirement of the A, B, C, there arose in little March's bosom unutterable love for his mother; or, rather, the love that had always dwelt there began to well up powerfully, and to overflow in copious streams of obedience and considerate attention. About the same time the roving, reckless "madness," as it was styled, began to develop itself. And, strange to say, Mrs Marston did not check that! She was a large-minded, a liberal-minded woman, that semi-widow. She watched her son closely, but very few of his deeds were regarded by her in the light of faults. Tumbling off trees was not. Falling into ditches and horse ponds was not. Fighting was, to some extent; and on this point alone did mother and son seem to entertain any difference of opinion, if we may style that difference of opinion where the son fell into silent and extreme perplexity after a short, and on his part humble, discussion on the subject.
"Why, mother," said March in surprise (having attained the mature age of eight when he said it), "if a grisly bear was to 'tack me, you'd let me defend myself, wouldn't you?"
Mrs Marston smiled to see the rotund little object of two-feet-ten standing before the fire with its legs apart and its arms crossed, putting such a question, and replied--
"And when Tom Blake offered to hit Susy Jefferson, wasn't I right to fight him for that?"
"Yes, my boy, I think it right to fight in defence of the weak and helpless."
The object of two-feet-ten began to swell and his eyes to brighten at the unexpected success of this catechising of its mother, and went on to say--
"Well, mother, why do you blame me for fightin', then, if it's right?"
"Because fighting is not always right, my boy. You had a fight with Bill Summers, hadn't you, yesterday?"
Two-feet-ten said this in a hesitating tone, and shrank into its ordinary proportions as it continued--
"But I didn't lick him, mother, he licked _me_. But I'll try again, mother--indeed I will, and I'll be sure to lick him next time."
"I don't want you to try again," rejoined Mrs Marston; "and you must not try again without a good reason. Why did you fight him yesterday?"
"Because he told a lie," said the object promptly, swelling out again, and looking big under the impression that the goodness of its reason could not be questioned. It was, therefore, with a look of baffled surprise that it collapsed again on being told that that was not a sufficient reason for engaging in warfare, and that it was wrong to take the law into its own hands, or to put in its word or its little fist, where it had no right to interfere--and a great deal more to that effect.
"But, March, my boy," said Mrs Marston, drawing the object towards her and patting its round little fair head, "what makes you so fond of fighting?"
"I ain't fond o' fighting, mother, but I can't help it."
"Can't help it! Do you ever try?"
"I--I--no, I don't think that I do. But I feel so funny when I see Bill Summers cheatin' at play. I feel all over red-hot--like--oh! you've seen the big pot boilin' over? Well, I just feel like that. An' w'en it boils over, you know, mother, it must be took off the fire, else it kicks up _sich_ a row! But there's nobody to take me off the fire when I'm boilin' over, an' there's no fire to take me off--so you see I _can't_ help it. Can I?"
As the object concluded these precociously philosophical remarks, it looked up in its mother's face with an earnest inquiring gaze. The mother looked down at it with an equally earnest look--though there was a twinkle in each eye and a small dimple in each cheek that indicated a struggle with gravity--and said--
"I could stop the big pot from boiling-over without taking it off the fire."
"How?" inquired Two-feet-ten eagerly.
"By letting it boil over till it put the fire out."
The object opened its eyes very wide, and pursed its mouth very tight; then it relaxed, grinned a little with an air of uncertainty, and was about to laugh, but checked itself, and, with a look of perplexity, said--
"Ay, my boy," resumed the mother, "just you try the boiling-over plan next time. When you feel inclined to fight, and know, or _think_, that you shouldn't, just stand quite still, and look hard at the ground-- mind, don't look at the boy you want to fight with, but at the ground-- and begin to count one, two, three, four, and so on, and I'm quite sure that when you've counted fifty the fire will be out. Now, will you try, my son?"
"Mother," replied Two-feet-ten earnestly (and becoming at least two feet eleven while he spoke), "I'll try!"
This ended the conversation at that time, and we beg leave to apologise to our reader for having given it in such full detail, but we think it necessary to the forming of a just appreciation of our hero and his mother, as it shows one phase of their characters better than could have been accomplished by a laboured description.
Before March Marston had attained to the age of sixteen he had read aloud to his mother--not once, but several times--the "Vicar of Wakefield", "Robinson Crusoe," the "Pilgrim's Progress," and "Tales of a Grandfather", "Aesop's Fables," and a variety of tales and stories and histories of lesser note--all of which he stored up in a good memory, and gave forth in piecemeal to his unlettered companions as opportunity offered. Better than all this, he had many and many a time read his Bible through, and was familiar with all its leading heroes and histories and anecdotes.
Thus, it will be seen that March Marston was quite a learned youth for a backwoodsman, besides being a hero and a "madman."
THE GREAT PRAIRIE--A WILD CHASE--A REMARKABLE ACCIDENT AND AN EXTRAORDINARY CHARGER, ALL OF WHICH TERMINATE IN A CRASH--BOUNCE TALKS PHILOSOPHY AND TELLS OF TERRIBLE THINGS--OUR HERO DETERMINES TO BEARD THE WILD MAN OF THE WEST IN HIS OWN DEN.
The rising sun lifted his head above the horizon of the great western prairie, gilding the upper edges of those swelling undulations that bear so strong a resemblance to solidified billows as to have acquired the name of prairie waves.
On the sunny side of these waves the flowerets of the plains were already basking in full enjoyment of the new day; on the summits only the tips of their petals were turned to gold. On the other side of those waves, and down in the hollows, everything was clothed in deep shadow, as if the still undissipated shades of night were lingering there, unwilling or unable to depart from so beautiful a scene. This mingling of strong lights and deep shadows had the effect of rendering more apparent the tremendous magnitude of those vast solitudes.
There were no trees within the circuit of vision, but there were a few scattered bushes, so low and insignificant in appearance as to be quite unobvious to the eye, except when close to the feet of the spectator. Near to a clump of these bushes there stood two horses motionless, as if chiselled in stone, and with their heads drooping low, as if sound asleep. Directly under the noses of these horses lay two men, each wrapped in a blanket, with his head pillowed on his saddle, and his rifle close at his side. Both were also sound asleep.
About a mile distant from the spot on which those sleepers rested, there grew another small bush, and under its sheltering boughs, in the snuggest conceivable hole, nestled a grouse, or prairie hen, also sound asleep, with its head lost in feathers, and its whole rotund aspect conveying the idea of extreme comfort and good living. Now, we do not draw the reader's attention to that bird because of its rarity, but because of the fact that it was unwittingly instrumental in influencing the fortunes of the two sleepers above referred to.
The sun in his upward march overtopped a prairie wave, and his rays, darting onward, struck the bosom of the prairie hen, and awoke it. Looking up quickly with one eye, it seemed to find the glare too strong, winked at the sun, and turned the other eye. With this it winked also, then got up, flapped its wings, ruffled its feathers, and, after a pause, sprang into the air with that violent _whirr-r_ which is so gladdening, yet so startling, to the ear of a sportsman. It was instantly joined by the other members of the covey to which it belonged, and the united flock went sweeping past the sleeping hunters, causing their horses to awake with a snort, and themselves to spring to their feet with the alacrity of men who were accustomed to repose in the midst of alarms, and with a grunt of surprise.
"Prairie-hens," muttered the elder of the two--a big, burly backwoodsman--as he turned towards his companion with a quiet smile. "It was very thoughtful on 'em to rouse us, lad, considerin' the work that lies before us."
"I wish, with all my heart, they didn't rise quite so early," replied the younger man, also a stout backwoodsman, who was none other than our hero March Marston himself; "I don't approve of risin' until one wakes in the course of nature; d'ye see, Bounce?"
"I _hear_; but we can't always git things to go 'xactly as we approves of," replied Bounce, stooping down to arrange the embers of the previous night's fire.
Bounce's proper name was Bob Ounce. He styled himself, and wrote himself (for he could write to the extent of scrawling his own name in angularly irregular large text), "B. Ounce." His comrades called him "Bounce."
"You see, March," continued Bounce in a quiet way, thrusting his rugged countenance close to the embers occasionally, and blowing up the spark which he had kindled by means of flint, steel, and tinder--"you see, this is a cur'ous wurld; it takes a feelosopher to onderstand it c'rectly, and even he don't make much o't at the best. But I've always noticed that w'en the time for wakin' up's come, we've got to wake up whether we like it or no; d'ye see, lad?"
"I'd see better if you didn't blow the ashes into my eyes in that way," answered March, laughing at the depth of his companion's philosophical remark. "But I say, old chap," (March had no occasion to call him "old chap," for Bounce was barely forty), "what if we don't fall in with a herd?"
"Then we shall have to go home without meat that's all," replied Bounce, filling and lighting his pipe.
"But I promised my mother a buffalo-hump in less than three days, and the first day and night are gone."
"You'd no right to promise your mother a hump," returned the plain-spoken and matter-of-fact hunter. "Nobody shud never go to promise wot they can't perform. I've lived, off an' on, nigh forty years now, and I've obsarved them wot promises most always does least; so if you'll take the advice of an oldish hunter, you'll give it up, lad, at once."
"Humph!" ejaculated March, "I suppose you began your _obsarvations_ before you were a year old--eh, Bounce?"
"I began 'em afore I was a day old. The first thing I did in this life was to utter an 'orrible roar, and I obsarved that immediately I got a drink; so I roared agin, an' got another. Leastwise I've bin told that I did, an' if it wasn't obsarvation as caused me for to roar w'en I wanted a drink, wot wos it?"
Instead of replying, March started up, and shading his eyes with his right hand, gazed intently towards the horizon.
"Wot now, lad?" said Bounce, rising quickly. "Ha! buffaloes!"
In half a minute the cords by which the two horses were fastened to pegs driven into the plain, were coiled up; in another half-minute the saddle-girths were buckled; in half a second more the men were mounted and tearing over the prairie like the wind.
"Ha, lad," remarked Bounce with one of his quiet smiles--for he was a pre-eminently quiet man--"but for them there prairie-hens we'd ha' slept this chance away."
The buffaloes, or, more correctly speaking, the bisons which young Marston's sharp eye had discovered, were still so far-distant that they appeared like crows or little black specks against the sky. In order to approach them as near as possible without attracting their attention, it was necessary that the two horsemen should make a wide circuit, so as to get well to leeward, lest the wind should carry the scent of them to the herd. Their horses, being fleet, strong, and fresh, soon carried them to the proper direction, when they wheeled to the right, and galloped straight down upon their quarry, without any further attempt at concealment. The formation of the ground favoured their approach, so that they were within a mile of the herd before being discovered.
At first the huge, hairy creatures gazed at the hunters in stupid surprise; then they turned and fled. They appeared, at the outset, to run slowly and with difficulty, and the plain seemed to thunder with their heavy tread, for there could not have been fewer than a thousand animals in the herd. But as the horsemen drew near they increased their speed and put the steeds, fleet and strong though they were, to their mettle.
The opening chapter of The Wild Man of the West introduces March Marston through a cascade of competing opinions: the Wesleyan clergyman calls him “as wild as a young buffalo bull,” the doctor says “as mad as a hatter,” and trappers compare him to a “grisly bear with a whooping-cough.” This comic accumulation establishes a narrator who delights in hyperbole and mock-serious taxonomy. The prose is loose, digressive, and fond of lists—March has fallen from every tree, soused in every pond, and fought every big boy. Yet beneath the rollicking surface, the narrative voice is precise about motive: March fights “for love, not for hatred.” This early tonal blend of farce and earnestness sets the stage for the book’s abrupt shifts into peril.
Comic Catalogues and the Rhetoric of Excess
The narrator’s fondness for exhaustive lists and escalating comparisons is a defining feature of the early chapters. March’s madness is defined not by a single incident but by a barrage of analogies, each attributed to a different local authority. The effect is cumulative and humorous, but it also establishes a world where character is understood through communal storytelling. The same rhetorical pattern appears in descriptions of the settlement’s carpenter and blacksmith, who “had a pitched battle only once a month, or twice at most.” Such asides create a texture of everyday absurdity. The narrator rarely makes a simple statement; instead, he qualifies, multiplies, and exaggerates. This style gives the opening a performative, almost oral quality, as if the tale is being spun aloud by a fireside raconteur.
Abrupt Violence and the Shift in Register
The race at the Mountain Fort demonstrates how quickly the narrative can pivot from sport to horror. The scene begins with banter among French, Yankee, and Scottish characters, each speaking in dialect: Gibault’s “more slicker by far,” Lincoln’s “I calc’late you’ll do him slick.” The race is described with brisk clarity—the loop, the winning-post, the neck-and-neck gallop. Then, without warning, a puff of smoke, a fall, and a scalping. The prose becomes terse and brutal: “Dupont tossed his arms in the air, uttered a sharp cry, and fell headlong.” The contrast between the earlier comic register and this stark violence is jarring. The narrator does not linger on emotion; the widow’s shrieks are mentioned almost as an afterthought. This abrupt tonal shift is a deliberate structural choice, forcing the reader to recalibrate expectations.
Dialect and the Polyphonic Frontier
Ballantyne populates his frontier with speakers of varied dialects, each marked by distinct vocabulary and syntax. The Yankee Lincoln says “I guess” and “slick”; the French-Canadian Gibault uses “non” and “von”; the Scots Macgregor shouts “To horse! to horse, men!” These voices are not merely decorative—they signal regional identities and create a layered soundscape. The narrator himself shifts between a formal, almost mock-heroic tone and colloquial directness. When the trapper Redhand is described as “stalwart,” the word feels chosen for its archaic weight. Yet moments later, the same narrator reports that “the commotion and hubbub that now took place baffle all description.” The mix of registers suggests a world where different cultures and speech habits collide, and where the narrator must be versatile enough to contain them all.
Readers attuned to shifts in pace will find that Ballantyne’s novel rewards attention to its tonal hinges—the moments when a comic aside gives way to a deadly ambush, or when dialect comedy precedes a formal description of landscape. The narrative voice is not uniform; it adapts to scene and speaker. Watching for these changes offers a way into the book’s craft, beyond its surface adventure.
That rainy afternoon, Ballantyne’s wild boys and sudden ambushes left a restless feeling, less about adventure than about fate’s blunt turns. I sat a while, then picked up The Death Shot: A Story Retold — Themes and Context, and found the same quiet weight—how a single crack of a rifle can undo an entire evening’s laughter. One story simply handed me the other.
Samuel Anderson
3 weeks agoMia Baker
2 weeks agoHenry Green
3 weeks ago-
Thomas Dixon - 4 weeks ago
{'review_type': 'positive', 'text': "An exhilarating adventure set in the rugged Rocky Mountains, filled with daring exploits, fierce encounters, and the untamed spirit of the West. The protagonist's journey is vivid and engaging, with descriptions that put you right in the saddle. Ideal for fans of classic westerns who enjoy a good tale of survival, courage, and the wild frontier."} -
Kevin Washington - 3 weeks ago
{'review_type': 'neutral', 'text': "The book delivers plenty of action and a sense of adventure, capturing the wild frontier well. However, the characters are a bit one-dimensional, and the plot follows some predictable western tropes. It's a decent read for those who enjoy the genre but may not surprise seasoned western readers."} -
Timothy Moore - 3 weeks ago
{'review_type': 'negative', 'text': "This novel feels dated and formulaic, with a plot that meanders and lacks tension. The protagonist is too perfect, and the prose is stilted. The portrayal of Native Americans is stereotypical and offensive by modern standards. Overall, it's a slog to read, and there are far better westerns available."}
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