Introduction
A Narrative of Mrs. Mary Rowlandson’s Captivity and Restitution is a sermon, a moral lesson, and a sensation. It borrows elements from the Gothic book that would emerge a century later and the Western that would emerge another century later and become a popular culture classic for years to come. The film Dances with Wolves depicts Indian life, displaying their experiences and inner thoughts. These two pieces are similar in their simplicity, yet they depict two aspects of Indian life.
Comparison of Rowlandson’s Captivity and Restitution with the Dances with Wolves Film
Rowlandson’s story is an excellent example of “simple style.” However, as in Bradford’s chronicle, Cotton’s sermons, Bradstreet’s poetry, and other Puritan authors’ works, the narrative’s simplicity, thoroughness, and precision help to allow the reader to read the Lord’s all-directing will in earthly events without distortion. The key issue for Rowlandson, as for her New England audience, was not the storyline of the novel but the larger meaning behind its vicissitudes (Rowlandson 440). The author continuously emphasizes the presence of this second strategy. Rowlandson adds in her account that the Indian who became her teacher has empathy for her, emphasizing his spiritual simplicity.
In turn, by putting his character in the heart of a foreign culture, Kevin Costner does more than merely respect the Indians’ simplicity, honesty, and spiritual depth (Costner 0:30). The open ending transforms into a sincere lament, making it apparent that what lies ahead – years of harsh difficulties, which are destined to survive, sadly, few. Thus, in the film Dances with Wolves, a second plot adds complexity to the piece.
Mary Rowlandson uses Scripture extensively to compare the circumstances of her imprisonment to countless episodes of captivity and liberation in the Bible. Thus, the victim associates the violent movements with the Indian detachment and the aimless wanderings of the soul, driven by the devil down the numerous highways of existence. Mary Rowlandson’s salvation, like the salvation of His chosen people for the kingdom of heaven, is inexplicable evidence of God’s grace. Being imprisoned is the most significant event in the narrator’s spiritual history. On the other hand, Mary Rowlandson’s heroic example was meant to teach New Englanders about piety and faith and lift their spirits.
In contrast to the plot, the author emphasizes the causes of Indian harshness in the film, revealing their inner thoughts. Immersion in the way of life of Indians, whom most whites see as savages and barbarians, only permits to transcend the poisonous, soul-crushing individualism (D’Amata 25). The major distinction is not brutality, for, as John emphasizes, his tribe members sometimes have to resort to no less harsh measures. By becoming Dances with Wolves, Dunbar returns to his origins, regaining the significance of human existence – in conjunction with the existence of other individuals, the community, and the natural environment as a whole.
Conclusion
As a result, the two works share and vary. They are comparable in terms of storytelling style and depth of meaning. Both paintings contain nuances that remain in the background yet are critical to comprehending the piece. The film captures the spirit of Indians and provides insight into the motivations behind their acts. In turn, the narrative demonstrates that cruelty is a result of the wandering of the human spirit. For the author, suffering is a display of love from God, which is a kind of encouragement to her people.
Works Cited
D’Amata, Stephanie Anne. “A Case Study of Indigenous Representation in Film Music: Smoke Signals and Dances with Wolves.” (2020). Web.
Dances with Wolves. Directed by Kevin Costner, Orion, 1990.
Rowlandson, Mary White. “A Narrative of the Captivity and Restauration of Mrs. Mary Rowlandson. The Heath Anthology of American Literature. Vol. A. Ed. Paul Lauter.” (2006): 440-468.