Horatio Alger Jr. was the quintessential class optimist: born to privilege, if not actual wealth, and convinced that poverty could be easily cured by simple hard work, proactivity and good character. The formula didn't quite work for him personally - he died nearly destitute - but during the height of his fame he published dozens of titles aimed almost exclusively at young male readers. Novels were very popular in the late 19th century, when the “American Dream” of a comfortable middle-class life was an extremely marketable cultural meme. Alger's novels thus featured young men who, pushed by circumstance into poverty, gradually made their way to middle-class respectability or beyond, despite occasional setbacks. The phrase "Horatio Alger story" became part of the English lexicon partly because of the type of story for which Alger became famous and partly because of the types of characters, themes, and recurring plot devices that Alger used to illustrate the his tales of morality. Creating a fantasy of empowerment for his readers, he shows that a young man with the right middle-class values ​​can overcome poverty and even serious setbacks such as being an orphan. Alger's heroes never receive anything for nothing: unexpected gains such as those that come from performing heroic or risky actions in the selfless service of others, and they are small, utilitarian gifts such as a new suit given by an older mentor they respect. earned. Troubled as they are by cowardly rivals or antagonists, Alger's heroes are protected by their mentors and given opportunities for advancement through their display of integrity and character. They undergo a long period of hard work that is ultimately rewarded by a higher level of well-being and economic security than before. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Horatio Alger's heroes are almost always adolescent boys, the group of readers for whom his books were intended. But Alger's boys are forced by circumstances to soon take on adult responsibilities. In the absence of an adult protector, the hero must fend for himself. He can also take on the role of parent by providing for the weaker members of the community. Younger siblings, especially siblings, are common in Algiers families. But even lonely orphans like Richard Hunter confront and protect younger, more vulnerable boys like Henry Fosdick, whose interests the hero promotes in a parental way. The heroes of Horatio Alger are a little larger than life even before they begin their individual lives. climb. They're not necessarily the biggest and strongest kids in history, but somehow they're always above average. They tend to be braver, stronger and fitter than their peers. Many outperform wealthier children their age in rowing races, foot races, and other competitions of skill and athletics. This does not prevent them from being bullied by older, stronger children or adults. Indeed, antagonism from more powerful people is something that every hero of Algiers experiences at some point in the story. Horatio Alger's heroes are often robbed, beaten, framed for theft, or stripped of their rightful inheritance. Often the persecution comes from a much stronger and wealthier antagonist. This is a narrative device that is the main source of conflict for the hero. Most of the heroes of Algiers are smarter than average. Richard Hunter has a knack for quick responses and learningmath and reading quickly when taught by a younger peer. Harry Walton in Bound to Rise is intelligent and has a great aptitude for academic learning. They also display an attribute commonly known as “courage,” which is a combination of proactivity, assertiveness, confidence, and courage. However this is not a universal rule. The relatively small and weak Philip from Phil the Fiddler, for example, is a rare exception. He's not assertive or "brave." everything: he's terrified and submissive at the way he's being exploited by his guardians. Over the course of the story he eventually breaks free from them and finds a more loving set of adoptive parents. But most of Algiers' heroes gain economic security by taking on adult responsibilities until they restore their family's previously good economic status or gain the opportunity to complete their education or work in a job that will eventually provide mobility toward the future. 'high. Many heroes of Algiers have a special ability. In Phil the Fiddler and The Young Musician, heroes Philip and Philip use their musical skills to fend for themselves. In The Young Acrobat, Kit has a talent for gymnastics. Giving the hero a way to temporarily support himself at an early age allows a young male reader of the same age to imagine himself in a similar role. In the face of adversity, Alger's heroes never give up. They have confidence in their ability to overcome obstacles, and even if they experience setbacks, they are not defeated by them. They also possess extraordinary maturity for their age, perhaps as a result of their life experiences. This attribute invariably attracts the attention of authority figures who, impressed by the hero's honesty and sincerity, function as mentors and advisors in ways that advance the plot by creating opportunities for the hero's advancement. Regardless of how an Alger hero begins life, he has strong middle-class values ​​and ethics even before he begins his struggle for personal success. The homeless Dick in Ragged Dick, for example, is ashamed of his illiteracy and sloppy handwriting. Unlike most of his peers who live hand-to-mouth and avoid learning, Dick has a strong desire to cultivate middle-class habits like saving money and becoming educated, because he believes these habits will lead to the kind of opportunity and prosperity that middle class has. the class enjoys it. It's unclear exactly why he should believe this, especially since many of his peers continue to spend every penny they earn smoking, eating oyster stew, or watching shows on the Bowery. He definitely wants to advance his career, especially after the brief taste of respect he experiences while guiding another young man around New York. But it's unclear how exactly he knows what habits to cultivate to achieve this goal. His work ethic never wavers. The relatively bourgeois behaviors of saving money in a bank account, renting long-term accommodation, and staying in that accommodation at night to be educated by Henry Fosdick are completely foreign to Dick, yet Alger presents them. as something the character wants and desires. Dick never questions the necessity or practicality of saving, nor is he shown bored or frustrated by his lessons. He enjoys going to church and Sunday school with the Greyson family. Such an appetite for middle-class values ​​is not normal for someone used to going out every night, yet Dick never feels deprived. This is proof that even though Dick was born poor, he still has the same values ​​as someone born into the middle class and believes in the connection between sacrifice and long-term reward even if he doesn't see much of it initiallytests. Dick's aversion to theft and his propensity for sincerity are also presented as innate virtues in contrast to things Dick may have learned from his surroundings. When he experiences a setback such as being the victim of a robbery, Dick does not question the validity of his bourgeois strategy. The obstacles he experiences arise from substantial generosity towards others or as a result of the malice of others. He never, for example, loses patience with the idea of ​​saving and gambles a day's pay. Indeed, he shows a maturity and discipline far beyond what one might expect from a boy his age. Many heroes of Algiers have a much more plausible reason to believe in the virtues of the middle class, because they grew up in that class. They are the sons of inventors, entrepreneurs, farmers, or other men with respectable professions. Until their fathers die or pass away, they are raised according to normal middle-class ethics. Respect for religion, aversion to theft and sincerity are things that have been taught to them from an early age. Indeed, the hero of The Young Musician speaks with exceptional diction and grammar compared to other characters, including those from wealthier families. In many respects, the heroes of Algiers can be considered fish out of water: entering the middle class, they are finally gaining ground. access to their natural social element. Before that, they show their superiority over their peers in various ways. In Bound to Rise, Harry, the son of a poor farmer, is described as a keen scholar who ranked first in the local school despite circumstances that prevented him from attending regularly: he had a burning thirst for learning and, young as he was he was, , ranked first in the district school he attended. I'm not going to present my young hero as a marvel of learning, because he wasn't. He had improved the opportunities he had enjoyed, but these were very limited. From the age of nine his education had mostly been limited to eleven weeks a year. There was a summer and a winter school; but in the summer he attended only irregularly, it being necessary to work at home. [1]The heroes of Algiers are ambitious. Once they are hungry for progress, they are no longer satisfied with the poverty they once lived in. This produces conflict with their lower-class peers. One of the reasons why Dick and Mickey have a rivalry in Ragged Dick and Fame and Fortune is because Mickey resents Dick's gradual progress towards his goal. Meanwhile, until the transformation is complete and the hero gains a legitimate place on the next rung of the social ladder, he often feels conspicuously uncomfortable around people he perceives as legitimate members of the class to which he aspires. Dick expresses the sensation as similar to that of “a cat in a strange attic.” [2] The occasional embarrassment or snub directed at the hero by longtime members of higher social classes creates further motivation to work hard and seek opportunity and education. This is important, because Alger's plots often show characters progressing through several stages of difficult struggle before succeeding or finding the fortune they need. None of Alger's heroes, almost all male, have effective parents. Fathers are conspicuously absent. In Ragged Dick, the hero Richard Hunter is an orphan. So is Kit, the hero of The Young Acrobat of the Great North American Circus. In Young Captain Jack, Jack Ruthven has a widowed mother. The maternal characters in Alger's novels are almost invariably flat: the mother, if she exists, is unable to effectively raise her children on her own due toof illness, poverty or general incompetence. She is often in danger from which she lacks the wits to extricate herself and must be saved by her teenage son. In Phil the Violinist, the hero's mother is alive but lives abroad, in Italy. So he is unable to help him. Missing, sick or ineffective parents create a feeling of hopelessness and increase the dramatic value of what happens to the hero. They also create an opportunity for another standard character, the meddling guardian or authority figure, to harm the hero. Indeed, in The Young Acrobat it is the death of Kit's father that begins the events of the plot: five years before the death of Kit Watson's father. He resembled Kit in appearance and was very popular in Smyrna. His brother liquidated the property and had lived in luxury ever since, but Kit could not say whether the property was his or his nephew's. He had asked the question from time to time, but his uncle showed distaste for the subject and gave evasive answers. [3]Sometimes an Algiers character's father returns, having been feared dead or lost, and occasionally a character has a happy ending in which someone prominent or respectable turns out to be the hero's father. But in most cases fathers are missing. This is not due to the voluntary abandonment of the mother or children (art in Alger's case did not imitate life) but to illness, military deployment, death or some kind of disappearance. In Bound to Rise, the main character's father is poor and well-meaning, but incapable of solving his own problems, much less caring for his son. The absence of a father must have resonated with young readers whose fathers died during the Civil War, which had just come to an end when he began writing. Removing or neutralizing the hero's parents is not just a cheap ploy to stimulate empathy in the reader. . It's also a plot device that explains why the main character is poor through no fault of his own. It provides a rational explanation for why the hero is poor and in need of advancement. It also makes the character more vulnerable to theft or other forms of attack by antagonists, and ensures that the character does not have a relatively easy path to a respectable job or similar opportunity for advancement. Therefore, by ensuring that his heroes do not have a strong parental figure, Alger creates not only the initial circumstances that initiate the plot, but also sets the stage for the obstacles that the character must overcome throughout the story. Alger's heroes start out with very little in the way of material resources and must survive by their own hard work and wits, however the author often includes scenes where the hero gains money, a job, or some kind of advantage as a result of a act of courage and self-sacrifice. This accomplishes two purposes: it shows the character's inner courage and nobility, and it provides the character with a boost and help along their path. Manna or luck never comes from finding money or winning a bet: the heroes of Algiers must do something in exchange for what they receive. In Ragged Dick, the main character dives into the Hudson River to save a drowning boy, unaware that the child he is saving is the son of a rich man. The grateful father tries to repay Dick by offering him a better job. Other heroes of Algiers have attracted the attention of wealthy patrons by saving their drowning children, but sometimes the child is in danger from a fall, perhaps in front of a fast-moving carriage. In The Young Musician, Philip receives a monetary reward for helping to save Farmer Lovett from a thief: What was his astonishment when he produced three bills, two twenties and a ten, fifty dollars in all!There was a slip of paper on which was written in pencil: “Do not hesitate to use this money if you need it, as you undoubtedly will. I can save it or not, and I will be happy if it proves useful to someone who has done me a great service. JOHN LOVETT. [4]The person saved, or his father or guardian, rewards the hero materially. Sometimes the reward is money or a job, sometimes it's an item of clothing substantially better than what the hero is wearing. But the manna is never enough to lift the hero from rags to respectability. Philip receives enough from Farmer Lovett to pay his immediate expenses, but it is stolen from him. Later in the novel, after developing the necessary survival skills, he rescues the son of a Wall Street broker who has run away from home and brings the boy back to New York. As a reward, he is given the opportunity to earn an education: Mr. Taylor, the grateful father, sends Philip along with the boy he saved for a whole year to a private academy in Connecticut to complete his education. that Alger's heroes never receive enough earnings to ensure they are set for life: they still have to work. Philip Gray, in The Young Musician, receives the opportunity to study and educate himself, but the work is not finished for him. Richard Hunter, in Ragged Dick, receives a job that represents the next step for him on the socioeconomic scale. But he still has to work to earn a living, and receives the opportunity only after he has already educated himself to the point where he is competent to do so. Before he is offered the job, Richard must provide a sample of his handwriting. Without Henry Fosdick's months of careful mentorship, Richard would not have been able to qualify. Horatio Alger uses clothing as a way to illustrate the social class a character occupies. It vividly describes the main character's tattered but whimsical costume in Ragged Dick, and serves not only to create a visual representation of the character, but to show the character's place in the story's social hierarchy. At the top of Dick's world are the Greysons, Rockwells and other wealthy self-made businessmen, wealthy independent rural "Squires", bankers and their families. Slightly lower are small entrepreneurs: traders, farmers and shopkeepers. Below these were the clerks and clerks in shops and offices, who often earned less than a shoe shiner but who were still above the factory workers, landladies, bartenders and laborers. These individuals, the working class, are generally adults and are also a social step above the children who sell black shoes, sell matches or newspapers and who are often homeless. Nearly every Horatio Alger novel contains what we would today call a “renewal” scene. in which the protagonist has the opportunity to dress "above" his current socioeconomic class. Sometimes this involves wearing a uniform or costume in the circus; other times the clothes are lent or given to the main character. Alger's purpose with clothing is not only to illustrate the extent to which people rely on appearances when interacting with others, particularly young adults. It also shows that the main character's class aspirations are not bad or unnatural: the character, if properly dressed, is treated by strangers as someone who belongs in the nice restaurant or store. When Dick Hunter gets his first taste of respect in Ragged Dick, it's partly due to the clothes he wears. This taste of respect is what ignites the desire to make change permanent. As a sign of acceptance by a member of a higher class, the heroes of Algiers oftenthey receive clothes as part of their reward for helping someone else. Philip Gray in The Young Musician receives a new set of clothes for finding Henry Taylor and bringing him home; Dick Hunter gets clothes twice. The first time is part of the compensation for accompanying a rich man's son around New York. The clothing identifies Dick as a "puffy" young man, well above the level of an ordinary shoe shiner. His second suit is a gift he receives after saving Mr. Rockwell's son from drowning in the Hudson River: “When Dick wore his new suit, he surveyed his figure with forgivable complacency. It was the best he had ever worn and it fit as well as if it had been made especially for him. [5] He subsequently continued to work for Mr. Rockwell. Indeed, a key component of Alger's stories is the need for an older mentor. His heroes are invariably aided, protected, and guided by an older man in the community who recognized the hero's inherent value and potential. Often the hero does something unusual to get the mentor's attention, such as an unusual display of honesty or courage. The mentor never provides money directly except as payment for services rendered, however often provides a new set of clothes, a character reference, a job opportunity, or protection when the main character is falsely accused of a crime. In Ragged Dick the hero and his best friend are invited to church and Sunday school by the wealthy Mr. Greyson, who provides Henry Fosdick with the role model he needs to work in a hat shop instead of shining boots on the street. In the sequel Fame and Fortune, Mr. Rockwell and his colleague Mr. Murdock believe in Richard and defend him from a false theft charge. In some of Alger's novels, the main character turns around and mentors, provides for, or protects other younger or more vulnerable kids. Dick, for example, receives a handout from his first mentor, the wealthy Mr. Whitney. Later in the novel, Dick gives five dollars of his savings to Tom Wilkins to feed and protect his starving family and sick mother. It will be remembered that when Mr. Whitney, on parting with Dick, gave him five dollars, he told him he could repay it to some other boy who was struggling to get on. Dick thought about it and it occurred to him that after all he was just paying off an old debt. [6]Alger's characters are generally beset by some sort of cowardly rival who, although bigger and stronger than the hero, fails to permanently disturb him. Mickey, from Ragged Dick, is an older, older boy who steals and bullies until Dick and his employers arrange a better job for him in Fame and Fortune. In that book, the main antagonist is Mr. Gilbert, a salesman who works with Richard. Squire Green, mortgage holder and main antagonist of Bound to Rise, is a grown man. In Young Captain Jack, St. John Ruthven attempts to deceive the younger, more innocent Jack. So does young Kit's guardian in The Young Acrobat, who attempts to steal Kit's inheritance. Most of the heroes of Algiers are victims of theft by older, stronger men. The bad guy doesn't always get his comeuppance, however sometimes a thief or rival thief is caught and punished for his failed shenanigans. Alger's characters steal very rarely, except before a major moral transformation in which they realize that stealing is wrong. This character transformation rarely occurred except in Alger's later novels. In most of his popular works, Alger featured much more emotionally developed heroes.