Fear In Mcmurty's All The Pretty Horses

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Horses are subject to varying depictions in All the Pretty Horses. The most archaic portrayal is their representation as tools. To ranchers, horses are a necessity they use them to travel and herd cattle. Yet, horses are also pictured as having a basic emotional similarity as humans; they both experience the primitive emotion of fear. Although, McMurtry also portrays horses by their ability to escape fear when they are free. Simply put, horses may be a tool, but when analyzed critically they also share an important similarity with humans and, more so, they have a beauty in their ability to escape the burden of fear. The most straightforward delineation of horses is their significance as tools. Throughout the history of the west horses have …show more content…
Most beings are afraid at times, including humans and horses. For example, when John Grady is about to tame the horses, they are stricken with fear. “The horrified animals began to climb over one another and to break up and move along the fence in both directions” (98). Similarly, when Rawlins, a tough cowboy, is imprisoned he displays a similar sort of fear after being questioned. “He was almost in tears” (171). Rawlins is almost crying because of what he fears may happen. Yet, what makes horses special is their ability to escape their fear by running. In some ways, they are greater than humans. In All the Pretty Horses, McMurtry described them as having a freedom many dream of. They are capable of transcending to a level greater than humans; a level in which they can escape the burdens that plague modern day society. People always have some fear. They may fear death, losing their loved ones, getting fired, or even just getting a bad grade on literature essay. What makes horses different is their ability to transcend fear when they are running in the wild. In a dream, John Grady describes several horses as they gallop through the countryside. As they are in their element, he states, “[. . .] none of them afraid neither horse nor colt nor mare and they ran in that resonance [. . .] which cannot be spoken but only praised” (161). There

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