Romanticism/Escapism and Manifest Destiny

ROMANTICISM/ESCAPISM AND MANIFEST DESTINY

John L. O'Sullivan on Manifest Destiny, 1839, Excerpted from "The Great Nation of Futurity," The United States Democratic Review, Vol. 6

The American people having derived their origin from many other nations, and the Declaration of National Independence being entirely based on the great principle of human equality, these facts demonstrate at once our disconnected position as regards any other nation; that we have, in reality, but little connection with the past history of any of them, and still less with all antiquity, its glories, or its crimes. On the contrary, our national birth was the beginning of a new history, the formation and progress of an untried political system, which separates us from the past and connects us with the future only; and so far as regards the entire development of the natural rights of man, in moral, political, and national life, we may confidently assume that our country is destined to be the great nation of futurity.

It is so destined, because the principle upon which a nation is organized fixes its destiny, and that of equality is perfect, is universal...What friend of human liberty, civilization, and refinement, can cast his view over the past history of the monarchies and aristocracies of antiquity, and not deplore that they ever existed?

America is destined for better deeds. The expansive future is our arena, and for our history. We are entering on its untrodden space, with the truths of God in our minds, beneficent objects in our hearts, and with a clear conscience unsullied by the past. We are the nation of human progress, and who will, what can, set limits to our onward march? Providence is with us, and no earthly power can. We point to the everlasting truth on the first page of our national declaration, and we proclaim to the millions of other lands, that "the gates of hell" -- the powers of aristocracy and monarchy -- "shall not prevail against it."

Yes, we are the nation of progress, of individual freedom, of universal enfranchisement. Equality of rights is the cynosure of our union of States, the grand exemplar of the correlative equality of individuals; and while truth sheds its effulgence, we cannot retrograde, without dissolving the one and subverting the other. We must onward to the fulfilment of our mission -- to the entire development of the principle of our organization -- freedom of conscience, freedom of person, freedom of trade and business pursuits, universality of freedom and equality. Who, then, can doubt that our country is destined to be the great nation of futurity? Excerpts from explanatory text that George A. Croffut provided to market John Gast's 1872 lithograph American Progress:

This rich and wonderful country--the progress of which at the present time, is the wonder of the old world--was until recently, inhabited exclusively by the lurking savage and wild beasts of prey. If the rapid progress of the "Great West" has surprised our people, what will those of other countries think of the "Far West," which was destined at an early day, to be the vast granary [grain producing region], as it is now the treasure chamber of our country?...

In the foreground, the central and principal figure, a beautiful and charming Female, is floating westward through the air bearing on her forehead the "Star of Empire...." On the right of the picture is a city, steamships, manufactories, schools and churches over which beams of light are streaming and filling the air--indicative of civilization. The general tone of the picture on the left declares darkness, waste and confusion. From the city proceed the three great continental lines of railway.... Next to these are the transportation wagons, overland stage, hunters, gold seekers, pony express, pioneer emigrant and the warrior dance of the "noble red man." Fleeing from "Progress"...are Indians, buffaloes, wild horses, bears, and other game, moving Westward, ever Westward, the Indians with their squaws, papooses, and "pony lodges," turn their despairing faces towards, as they flee the wondrous vision. The "Star" is too much for them....

Analyzing Gast’s “American Progress” Panel by Panel 1. Railroads

The railroad tracks push right into the prairie grass, in a nice metaphor for the driving force of technology.

2. Native Americans

Like naïve savages, the Indians flee from the white goddess of progress. Their tomahawk, bow-and- arrow, and travois sled will be no match for guns and railroads. Of course, Native Americans in the West were in fact well acquainted with European technology by the 1800s. Moreover, few groups fled from progress. Rather, most used the fruits of progress, such as the rifle, to fight for self-determination.

*Could this be a portrayal of a savage dance, as seen from a white?

3. Pioneers

In Gast's vision, white pioneers—and white labor—pave the way for westward expansion. In fact, African Americans were heavily represented among the laborers who emigrated west. Moreover, the expansion of slavery played a crucial political role among the forces that pushed the country westward.