illustration of a cowboy riding a horse against the setting sun

Riders of the Purple Sage

by Zane Grey

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Revenge

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The novel introduces the theme of revenge early on, and as the narrative progresses, readers are guided through the events that culminate in a fulfilling conclusion when vengeance is finally achieved. For over fourteen years, Jim Lassiter has been on a mission to find the Mormon responsible for kidnapping his sister, Milly, away from her rightful husband, which ultimately led to her untimely demise. His primary challenge is Jane Withersteen, a charismatic Mormon woman who leverages her influence to protect her people from Lassiter's wrath. Although temporarily hindered, Lassiter continues his quest for justice as the perpetrator persists in his wrongdoing. In the end, the villain's misdeeds are exposed, justice is delivered, and Lassiter's unwavering pursuit is vindicated. Grey underscores that the guilty party merits his fate and that Lassiter's pursuit of revenge serves the broader interests of the Mormon community in Cottonwoods. This act of revenge is depicted not as a personal vendetta but as a commitment to a higher moral duty to administer deserved punishment.

Romantic Love

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When Berne Ventners, an employee of Jane Withersteen, is ambushed by Oldring's band of outlaws, he manages to defend himself and injures the mysterious "Masked Rider." To his astonishment, he realizes he has seriously wounded a young woman and dedicates himself to nursing her back to health. As expected, they soon fall in love. This love, along with the responsibilities it brings, transforms Ventners from a relatively weak and passive worker into a man of significant physical strength and mental resolve. He takes care of Bess and himself in an isolated valley, and when he returns to Cottonwoods, he bravely confronts the Mormons who had previously tormented him. Both Lassiter and Jane observe the change in Ventners, and he shares with Jane that love and relationships are the most important aspects of life. Lassiter and Jane also share a mutual affection, although Grey doesn't fully explore this romance. In contrast, characters who lack love for anyone but themselves are depicted as the antagonists.

Moral Relativism

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The real antagonists in the story are Bishop Dyer and Elder Tull, two prominent leaders in the Mormon Church. They misuse their church authority to pressure Jane into leaving her non-Mormon friends and marrying Tull. Initially, they try to manipulate her with guilt, and when that doesn't work, they use intimidation by causing chaos among her cattle and stealing them. They disguise these actions as concern for her spiritual welfare and a commitment to their religious responsibilities.

In contrast, Oldring, known as a notorious outlaw, raises Milly's daughter as his own, ensuring she receives an education and protecting her from his fellow outlaws. By the end of the novel, Oldring emerges as a respectable and even admirable figure, while Dyer and Tull are seen as deserving of severe punishment. Grey effectively demonstrates that one's profession and religious background do not truly reflect their character.

Role of Gunmen in the West

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A distinctive theme in Westerns is the role of the gunman in transforming the region into a society governed by law. Typically, the gunman is a character who has been wronged, often by the legal system or a personal relationship, driving him to act outside the law. Although he is hesitant to kill, he finds it necessary to protect his reputation from young, eager cowboys eager to prove themselves. The gunman confronts lawlessness head-on, outdrawing and outshooting those who threaten order, thereby protecting ordinary citizens from their oppression. Despite Lassiter's reputation as a "Mormon-hater" known for many kills, he is a crucial force in purging the leadership of the Mormon Church in Cottonwoods. The gunman faces his enemies directly, while they try to gain an advantage...

(This entire section contains 130 words.)

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by shooting from concealment.

The Landscape of the West

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The Western landscape, with its expansive plains, rolling valleys, arid deserts, towering mountains, and deep canyons, serves as a significant backdrop in Zane Grey's novels, particularly influencing the characters who inhabit these vast terrains. In Grey's novel, Riders of the Purple Sage, the setting is not merely a backdrop but an integral part of the narrative, deeply woven into the story's fabric. Set in Utah, this novel is one among seven of Grey's works that explore the state's rugged beauty. The titular purple sage blankets a wild and open highland, providing a formidable stage for the novel’s daring and perilous horse rides.

Grey's vivid and detailed descriptions of these natural features stand out, painting an immersive picture that pulls readers into the heart of the Western wilderness. While some critics may point to shortcomings in his narrative style, including plotting and characterization, they often concede that his portrayal of the Western landscape is unparalleled. Grey's ability to capture the essence of the West in lengthy and evocative descriptions has cemented his work as a touchstone for those seeking to understand the powerful and sometimes harsh beauty of this region. Through his words, the landscape becomes a character in its own right—an ever-present force shaping the lives and destinies of those who dare to traverse its vast, untamed expanse.

Critique of Organized Religion

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Zane Grey’s works often explore the intricate dynamics between individuals and organized religion, particularly highlighting its limitations and the moral rigidity it sometimes imposes. Grey's critique is not confined to a single religious group; while the Mormons are prominently featured, he also subtly addresses the broader Christian communities prevalent within his middle-American readership. This nuanced portrayal is evident in his sequel to Riders of the Purple Sage, titled The Rainbow Trail, where sectarian narrow-mindedness propels the protagonist, Reverend John Shefford, to venture westward after a schism with his congregation in Quincy, Illinois.

Grey further extends his critique in The Vanishing American, where he daringly depicts the head missionary on an Indian reservation as a criminal hiding behind religious texts, which he dismissively refers to as the “Old Book.” This portrayal sparked controversy among some religious factions, as it raises poignant questions about the missionary zeal to convert Indigenous people to Christianity, challenging the notion that such a profound transformation could be achieved rapidly and superficially.

In Riders of the Purple Sage, Grey delves into the theme of heart versus dogma, suggesting that genuine morality often conflicts with religious edicts. This narrative encourages following one's heart when it clashes with religious dogma, advocating for personal integrity over blind adherence to prescribed beliefs. Through these stories, Grey underscores the complexity and sometimes absurdity of moral choices when filtered through the lens of rigid religious frameworks.

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