This story mainly tells about a town marshal bringing his bride to the town of Yellow Sky. It happens at the time when the Old West is being civilized in a slow pace. At the end of the story, the seemingly inevitable gunfight, which is one feature of the west, is prevented, and the reader senses that all such gunplay is a thing of the past, that in fact Crane is describing the “end of an era.”
The story concerns man’s interaction with his environment.
It begins with the description of the “great Pullman” train that is luxuriously equipped. Everything on the train is new and foreign to the newlyweds. We can see the self-conscious uneasiness throughout the passage. Jack’s hands “perform” in a “most conscious fashion,” and his bride is “embarrassed” by her puff sleeves. The couple are so self-conscious and intimidated by their surroundings that the black porter “bullies” them, regards them with “an amused and superior grin,” and generally “oppresses” them, treatment that they also receive from the black waiter, who “patronizes them.” As the train nears Yellow Sky, Jack becomes “commensurately restless,” primarily because he knows that he has committed an “extraordinary crime” by going “headlong over all the social hedges” and ignoring his “duty to his friends,” members of an “innocent and unsuspecting community.” Marshals in frontier towns apparently do not marry because they need to be free of domestic entanglements. Because Jack and his bride sense their “mutual guilt,” they “slink” away from the train station and walk rapidly to his home, a “safe citadel” from which Jack can later emerge to make his peace with the community.
... particular. In the first part of the story, Crane portrays Jack Potter and his new wife as humorous characters ... lone drunk is able to scare a whole town just because Jack Potter is away. This situation is especially ... Stephen Crane’s short story “The Bride Comes to Yellow Sky” is ... the courageous town marshals who fight them are not supposed to have wives. Once the bride comes to ...
At the same time, six men including the Eastern “drummer,” sit drinking at the bar. While the drummer tells a story, another man appears at the door to announce that Scratchy Wilson is drunk and “has turned loose with both hands.” The “innocent” drummer, whom Crane describes as a “foreigner,” is told that there will be some shooting, that Scratchy and Jack are old adversaries, and that Scratchy is “the last one of the old gang that used to hang out along the river here.”
Scratchy issues unanswered challenges, shoots at a dog, and then approaches the saloon, where he demands a drink. When he is ignored, he uses the saloon door for target practice and then, remembering his traditional opponent, goes to Jack’s house and raises challenges.
Jack and his bride encounter Scratchy near Jack’s house. Scratchy accuses him of trying to sneak up on him, and warns him about trying to draw his gun. When Jack tells him that he has no gun, Scratchy tells him, “Don’t take me for no kid.” Jack’s response is to Scratchy almost as unlikely: “I’m married.” Scratchy supposes that “it’s all off now” and walks away.
Crane’s frontier setting concerns the conflict between the East and West and the passing of an era. The train acts as a “vehicle” to bring Eastern civilization to the West. Jack has assumed a different role in a new ritual. In fact, Yellow Sky has already been civilized, despite Scratchy Wilson, who seems determined to preserve the “good old days.” But his clothes reveal that he has been “Easternized”, too. He wears a “maroon-coloured flannel shirt” made by “some Jewish women on the East Side of New York,” and his red-topped boots have gilded imprints beloved by “little sledding boys on the hillsides of New England.”
... to work in these factories as well along with children when necessity demanded it from Appalachian families (6 ... will and benevolence. In this way I find Jack Weller's book to draw many similarities to ... towards outsiders. This is a misconception well supported in Jack E. Weller's ethnography, "Yesterday's People: ... to the advantage of man, it is still for the most part intact in West Virginia. Nature is ...
Just as marriage is a foreign condition to Scratchy, the last vestiges of the Old West are “foreign” to the drummer, who has apparently ignored the possibility that men like Scratchy might still exist. The drummer is “innocent” of the implications of Scratchy’s drinking, and his questions reveal not only his fear, but also his astonishment that someone might be killed in this “civilized” town.
At the end of the story Scratchy is described as “In the presence of this foreign condition he was a simple child of the earlier plains,” thereby indicating that Scratchy is a “holdover,” a man with ties to the Old West, but also that he is a “simple child.” The story depicts Scratchy not as a mature adult, but as a child-man, an adult who refuses to “grow up.” His boots are related to children, and he “plays” with the town, which is described as a “toy for him.” When Jack tells him that he has no gun, Scratchy is concerned that he not be taken “for no kid,” and Jack himself seems to understand the importance of being treated as an adult for he assures Scratchy, “I ain’t takin’ you for no kid.” In fact, the confrontation between Jack and Scratchy resembles the “show downs” between young boys who cannot back down, but who have to assert their own lack of fear while simultaneously not provoking their opponent. In taking a bride, Jack has broken with the traditions of the Old West and also become a civilized man, one who has truly “put away childish things.”