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The Clansman Analysis

Better Essays

2 March 2017
Liv Schmidt
Yannick Marshall
Police, Klansman, Colonizer

Title

Thomas Dixon’s historical romance, The Clansman, is the centerpiece of his “Reconstruction Trilogy”– The Leopard’s Spots (1902), The Clansman (1905), and The Traitor (1907). The Clansman: An Historical Romance of the Ku Klux Klan is a compendium of racism, white supremacy, violence, and stereotypes of blacks and whites, centering on the rape of a white woman by a black man. The Clansman begins as the Civil War, “the long agony” (4) ends and the post-war white hysteria begins. Dixon was deeply conservative both politically and religiously, adamantly against extending rights to African Americans, fearing that social equality would inevitably result in miscegenation, …show more content…

The black brutes Dixon illustrates satiate their lust by raping young, virginal white women whose only hope after such a heinous offense was suicide. As the image of the violent, sexually aggressive black criminal flourishes; the Reconstruction belle is simultaneously developed. The Southern female is an idealized figure of sexual virtue and a piece of property representing the integrity of the patriarchal antebellum order. While the Klansman in Dixon’s novel may feel that they are protecting their women and embodying chivalric virtues by challenging violence with violence, in actuality they are enforcing a negative self-image and their own idealization of …show more content…

The narrative describes Marion as belonging “to the aristocracy of poetry, beauty, and intrinsic worth” (255) while Gus, the black Captain of the Union League, her opposite, is describes as ”thick-lipped, flat-nosed, spindle shanked negro, exuding his nauseating animal odor… ” (290) These descriptions helped to shape the American conception of the pure, helpless white woman and the black beast rapist. The rape scene is riddled with these stereotyped characterizations. The scene begins with: “The door flew open with a crash, and four black brutes leaped into the room, Gus in the lead, with a revolver in his hand, his yellow teeth grinning through his thick lips.”(303) The reader sees the white constructed beast: he “stepped closer, with an ugly leer, his flat nose dilated, his sinister bead-eyes wide apart gleaming ape-like, as he laughed: ‘We ain’t atter money!’” (304). Meanwhile Marion is described as “staggered against the wall, her face white, her delicate lips trembling with the chill of a fear colder than death.” (304) The rape of the white woman is the symbol of the violation of the South itself and of white masculinity. Ben Cameron predicted, “‘the next step’” of black rule “‘will be a black man’s hand on a white woman’s throat’” (262). And the rape scene ends with “the black claws of the beast sank into the soft white throat”

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