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A Critical Analysis of Animal Imagery in


Crane's comparison of the hotel's hue to a heron, or a bird that acts as an overt representation of nature's inherent peace and tranquility, leads the reader to believe that the hotel is a type of safe haven; and moreover, that the town acts as a harbor shielding its members from the danger and peril that one may face in other regions of the west
             However, as Scully, the owner of the hotel, escorts the guests into his establishment for the evening, the author's implementation of animal imagery quickly changes from serene to chilling. .
             The three guests at the hotel, the Swede, the cowboy, and the Easterner, settle in for the night, and engage in a competitive yet trivial game of cards with Johnnie, Scully's son. As the game wages on, the Swede, "hyper-alert because of his reading of dime novels- begins hysterically accusing the other guests of attempting to kill him (Church 99). In frenzy, and described as exuding a "dying-swan look,"" he spats, "I suppose I am going to be killed before I can leave this house- (330). Because a dying-swan illustrates an end to perfection and beauty within nature, this explicit imagery parallels Fort Romper and the manner in which its image of safety and civility is proven superficial by the Swede, whom "can see the signs of the community's latent corruption and violence- (Church 99). Thus, the author's inclusion of natural imagery transforms the hotel, as well as the entire community, from a refuge that possesses the heron, or perhaps heroin-like characteristics of peace and safety, to a dangerous internment - which is capable of stealing the lives of its visitors.
             In addition to the previously included examples of animal imagery in regards to the community, the true barbaric nature of the individuals in Fort Romper is also revealed by the Swede's ability to "see things as they are- (Church 99). When the Swede attacks Johnnie with the following words, "You are cheatin'!- the room is immediately transformed into a battle ring, and the men into savage animals, fighting for survival and spurred by the blinding fury of masculine pride (339).


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