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Content Warning: This section discusses a pandemic and death. The source text includes ableist and racist language, which this guide reproduces only in quotations.
The color scarlet is a motif principally due to the color that humans turned after contracting the plague—a bright shade of red that gave the plague its official name, the “Scarlet Death.” Since the plague was invariably fatal, scarlet thus symbolizes the inevitability of death and, more generally, imminent societal collapse, illustrating the theme of The Impermanence of Humanity in the Face of Nature’s Power.
The word “scarlet” also becomes a focal point in the generational clash between Smith and his grandchildren, who object to their grandfather’s use of this “fancy” term and substitute the simpler “red” instead. This illustrates The Cyclical Nature of History and Civilization, as the culture that Smith embodies has all but died out.
Throughout the book, “savage” functions as a motif related to the social changes caused by the plague. London describes one of the grandchildren as “savage-looking,” and Smith takes every opportunity to decry the children as “savages”; he remarks, for example, “You are true savages” (36), after the children dig up a human skeleton for its teeth.
During the period in which the book was written, “savage” (along with “barbaric” and its derivatives) was still a common way to refer to Indigenous peoples; it also connoted the traits purportedly associated with such peoples—e.g., cruelty and lack of “culture.” For the book’s original readers, “savage” would thus have implied both a standard of life considered to be below that of the industrialized world (e.g., wearing animal skins or living as a hunter-gatherer) and an immorality or amorality supposedly intertwined with such a lifestyle. London’s application of the term to white American children both upholds and subverts such ideas, implying that the lives that Smith’s grandchildren lead do in fact correlate with a kind of “savagery” but detaching this from race or ethnicity by presenting it as a possible fate for all humans. London’s critique of pre-plague society functions similarly, tacitly questioning whether the postapocalyptic world is in fact more “savage” or simply more open in its embrace of violence.
These two animals serve as contrasting motifs illustrating different “stages” of human society. The grandchildren work as goatherds, and Smith emphasizes that their job means that they “know a great deal about goats” (52), just as a bacteriologist “watches germs” and knows a lot about them. The boys’ occupation highlights the nomadic existence that humanity leads in the wake of the plague, a blend of pastoralism and hunter-gathering.
However, at the end of the book, Edwin and Smith notice a herd of “beautiful” wild horses arriving on the seashore from the mountains, driven there by the mountain lions. Given that horses have a higher status than goats in the literary imagination (and are less directly related to subsistence, not typically serving as a source of milk or meat), this ending suggests the eventual reemergence of “advanced” civilization of the kind that existed before the plague.
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By Jack London