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Content Warning: The source text and the guide discuss enslavement, racialized physical abuse, racism, and rape. The guide quotes and obscures the author’s use of racial slurs.
It is late summer of 1862—several months after the events of Part 1. In a rural part of the South, the Colonel has taken a Union man named Smith captive. The Colonel sings a war song and scolds Smith for not singing along. He continues singing, and Smith joins in but changes the words to say he’s “being held prisoner by a drunken dumb Jeb / When I get my freedom I’ll cut off his head” (58). The Colonel is angry that Smith is ungrateful for being saved after being abandoned and wounded in the field.
Cannons sound around 10 miles off. The Colonel wandered away from his Regiment and found Smith. He plans to bring him back alive for a reward. Smith is a captain for the “1st Kansas Colored Infantry” (61). The Colonel asks what it’s like to lead Black men. Smith says they are brave and hardworking, so it’s just like leading any group of men. Smith denies the Colonel’s inquiries about whether he’s likely to “own” another human, and he declines the Colonel’s offer of a drink. The Colonel thinks that when Smith is on his deathbed in his old age, he’ll regret both decisions. The Colonel himself enslaves 100 men. Smith recalls a captured Confederate soldier who was a poor white man. He signed up in to fight in a rich man’s place, just for the promise of 10 people to enslave.
The Colonel thinks that “deep down,” Smith and the Union “think like we think” (64); Smith claims otherwise. Smith taunts the Colonel, saying that Hero—who left to get firewood an hour ago—has “run off” (66). The Colonel claims he knows Hero, and Hero would think running away is the same as stealing. He tells Smith that Hero joined him freely in the war after the Colonel promised him his freedom. He won’t answer when Smith asks him if he intends to keep his promise.
Hero arrives with a report that the Union Army is approaching fast and in large numbers, while the Confederate forces are smaller and weaker; however, the Confederates are slightly closer to where they are. The Colonel tries to goad Smith into guessing how much Hero is “worth,” but Smith refuses to play along. Then, the Colonel says if Smith can guess Hero’s “worth,” he’ll give Hero to Smith. Smith says he’d free Hero instantly if this were to happen. Smith asks for Hero’s permission before engaging further.
The Colonel begins to inspect Hero to determine his worth; Smith guesses too high, but Hero claims he could be worth more now than when the Colonel enslaved him. The Colonel asks Hero to undress for the inspection to continue and implies he will make him forcibly orgasm, essentially raping him. Smith demands that the Colonel stop; the Colonel acquiesces, but he hits Hero. The Colonel tells Hero how heartbroken he’ll be once Hero is free. He then thanks God he is white and says that he can manage any adverse economic circumstance with the consolation that he’s a white man.
Smith asks the Colonel how much he thinks he’d sell for himself “up on the auction block” (83). He continues to nettle the Colonel about his “worth” until the Colonel gets ready to shoot him. He shoots, but the gun isn’t loaded: it was a trick to make Smith show fear. Then the Colonel tells Hero to watch the camp while he scouts the approaching armies.
With the Colonel gone, Smith tries to engage Hero in conversation. Hero asks him about the Union army and General Grant. He tells Smith that the Colonel only enslaves 10 people—not 100, like he claimed. Hero notices that Smith is wearing two coats, one for a private and one for a captain. Smith says the private’s coat is from one of his men who fell, but Hero notices that the private’s coat fits Smith better. Smith admits he is a private in the 1st Kansas Colored Infantry, and he passes as white.
Hero asks what it’s like to fight in the war as a private and whether Smith thinks the Union will win. Smith shows Hero a brand on his arm from his former enslaver. Hero releases Smith and asks if he ever “ran off.” Smith says he was freed when his enslaver died. Smith tells Hero that “when Freedom comes” (95), neither of them will “have a price” (95). Hero says that when patrollers ask him “whose” he is and he says the Colonel’s, they leave him alone. When he imagines saying “I belong to myself,” he knows the patrollers will hurt him (96).
Smith tells Hero to try on his Union captain’s coat. Hero says it “feels good.” He admits that he calls the Colonel “Peacock” behind his back because of a large feather he wears in his hat, which makes him look foolish. Smith compliments Hero’s name and asks what name he would take if he could name himself; Hero doesn’t know.
Smith says that “the heart of the thing” won’t be fixed when they get freedom, but the “mark of the marketplace” will linger (98). He thinks Hero needs to “steal” himself and “steel” himself (99). They hear the Colonel returning and Hero returns the coat. The Colonel orders Hero to pack up camp so they can find their Regiment. He puts a rope around Smith’s neck and makes Hero lead him as the Colonel scouts ahead.
When the Colonel is out of sight, Hero takes the noose off Smith’s neck and tells him to go. Smith gives Hero his private’s jacket and tells him to come with him. He has Hero swear to the Union army and tries to pull him away, but Hero won’t go. Finally, Smith embraces him and leaves. Hero puts on the Union coat under his Confederate coat, and he then follows the Colonel.
Part 2 takes place several months after Part 1; in this time, Hero has been fighting in the Civil War alongside the Colonel. The Colonel’s captive, Smith, adds nuance to the play’s depiction of Civil War-era politics and complicates Hero’s journey.
The Colonel’s interactions with Smith cast light on the racist ideas that provided the foundation for the enslavement of Black people. The Colonel assumes Smith is a captain in the Union Army since he wears a captain’s coat, and the Colonel hopes he’ll be rewarded by the Confederate Army for bringing Smith to them. Both the Union and Confederacy caught enemy soldiers. Notably, the Confederate Army only captured white soldiers. The Colonel tells Smith, “You’re a white man. Lucky you’re not a Union n*****. If you were, I’d be obligated to shoot you on the spot” (59). The Colonel doesn’t realize that Smith is a Black man who presents as white. When Smith was injured, and cold on the battlefield, he put on his white captain’s coat over his own private’s coat.
Though Smith is a Black soldier who fights for the Union, he passes as a white man, which is why the Colonel spares his life. In the era of enslavement and Jim Crow, the United States operated under a “one drop rule,” which dictated that “anyone with a known Black ancestor is considered Black” (Hickman, Christine B. “The Devil and the One Drop Rule: Racial Categories, African Americans, and the U.S. Census.” Michigan Law Review, vol. 95, no. 5, 1997). If someone is “passing,” that means that their appearance alone might not denote that they had Black ancestors. In the era of enslavement, to “pass as white […] was to escape the shackles of slavery,” though after enslavement ended, many people found that “the grief, loneliness, and isolation” outweighed “expanded opportunity and mobility” (Hobbs, Allyson. “A Chosen Exile: A History of Racial Passing in American Life.” Stanford Department of History, 2014). Importantly, outside of this life-or-death moment, Smith chooses not to pass. He tells Hero: “I could pass. Yeah. Get myself more money, better rank. Plenty like me who can, they do it. But that’s not me” (94). He never claims to be a white man even when talking to the Colonel. He simply lets the Colonel continue with his assumption, knowing that it is saving his life.
The Colonel has the racist belief that white men are naturally suited to enslave Black men: He continually pesters Smith about whether he has ever considered it, and he tells Smith that on his deathbed, he’ll regret having never tried enslaving another person, “Just for the feel of it. Because there’s nothing like it” (63). The Colonel believes white men are superior to Black men, and because he perceives Smith as white, he aligns himself with Smith. He tells Smith he reminds the Colonel of his late son, and he tells him that he and Smith “are more alike than different” under their blue and grey coats (64). Based on his incorrect racial perceptions, the Colonel immediately feels connected to Smith, his enemy, rather than to Hero, who has been compelled to go to battle alongside the Colonel. His misperception and the Colonel’s corresponding actions point out the irony behind the Colonel’s racist ideas: He believes white and Black men are fundamentally and biologically different, yet his misperception of Smith’s race proves this to be a fallacy from the outset. His misperception proves instead what people know to be true in the 21st century: that “races” are socially constructed political categories. The Colonel has socially constructed whiteness for Smith based on what he perceives.
This part of the play continues to build on the themes of the Subversion of the Hero’s Journey and The Struggle for Freedom in an Unjust System, especially when it comes to Hero’s apparent obedience to the Colonel, the choice he is given by Smith, and the choice he ends up making. The second part in a typical “hero’s journey” narrative is called “initiation,” where a hero must “go through a series of tests or ordeals,” meet “one or more allies, who pick him up and help him continue his journey,” be “tempted to abandon or stray from his quest,” and ultimately confront himself and gain a new understanding of his journey (“Writing 101”). Hero’s actions in the second part of the play follow these guidelines. The main goal on his journey is to be a free man. To attain his freedom in a way that Hero considers honorable, he believes he must follow the Colonel’s orders and trust that the Colonel will free him, thus going through the various tests and ordeals that a hero typically undertakes in the initiation stage of the hero’s journey. As the Colonel continues to goad Smith, Hero must undergo the humiliating experience of being assessed as an object, as the Colonel values everything from Hero’s “skills” (73) to his “teeth” (76). When the Colonel asks to see Hero’s “‘private’ matters,” Hero thinks “No fucking way” (79), but the rest of the assessment he allows, in pursuit of his eventual freedom. The Colonel, following the tenets of the cruel and unjust system of human enslavement, dehumanizes and commodifies Hero.
In a subversion of the usual hero’s journey, the “temptation” to stray from Hero’s quest takes the form of Smith asking Hero to come with him back to the Union Army. In the play, the “ally” that a hero is supposed to meet is Smith, who encourages Hero to abandon his quest rather than helping him on his intended path, as would be typical in a classic hero’s journey. Hero has the chance to leave, and ostensibly to gain his freedom by doing so, but at the end of Part 2 he resists this form of “temptation,” sticking to the personal path to freedom he’s chosen for himself.
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By Suzan-Lori Parks