Simon the Fiddler

Doris Dillon is the love interest and secondary point of view character in the novel. She is characterized as sweet, inquisitive, and intelligent, with a specific interest in the natural world and new experiences. Throughout the novel, Simon has an intense desire to protect her. Her physical appearance characterizes her as someone in need of protection—she is small, even smaller than him, and beautiful in a delicate way; most aspects of her appearance are described as “little” or “elegant” to emphasize her doll-like presence. Additionally, she is introduced to Simon partially after Colonel Webb shoves her like she is unimportant, further characterizing her as in need of physical care and protection. Much of her function in the story is as a goal for Simon to fight for; his determination to free her from Colonel Webb’s attempts at assault is the center of the novel’s plot progression.

Doris is an Irish immigrant trapped in a constricting indentured servanthood; she works as a governess, a job that suits her intelligence and care for others. Despite her kind nature, however, the Webb family treats her cruelly, mocking her for her personality and interests. Through Doris, Jiles draws attention to the realities of the oppression of women and immigrants at this time. This treatment catalyzes Doris’s growth, as she chooses not to give in to their unkindness and instead uses her love for Simon to escape from their clutches. Doris becomes more confident through the novel, eventually choosing to marry Simon to save him from the court martial, but she still retains some of her childlike innocence and wonder. Doris’s love for others provides a sizable portion of her characterization. She befriends people easily, including Mercedes the maid and many of the wealthy families in the area, and she attempts to befriend Josephine Webb regardless of her harsh treatment in return. This kindness is what draws her and Simon together, as he needs someone gentle to help him appreciate the world he wants to reject.

Damon Lessing is the sidekick and deuteragonist in the novel. He is Simon’s steadiest companion and friend, characterized as kind, patient, and eccentric. A former professor of poetry, Damon’s speech is his primary quirk; he regularly interjects quotations from Poe into conversations and seems to have most of the famous author’s works memorized. While others sometimes react impatiently to this, he does not express shame or embarrassment for his interests. Damon is described physically as middle-aged, with “a dark beard and hair like coal, a top hat tipped over his nose” (9). He is disabled, with an injury to his right hand that inhibits his use of the tin whistle. While not necessarily effusive, he is caring and loyal and helps Simon significantly towards his goals, only leaving to pursue his own family when Simon has found a stable home with Doris.

Damon’s past remains hidden until the very end of the story, emphasizing that he would rather stay on the sidelines. He is perpetually avoidant; he tries to avoid serving both the Union and the Confederacy and uses Simon as an excuse to avoid returning home to fight for custody of his adopted children. Damon’s growth at the end of the story is therefore sudden. His relationship with Simon changes them both, as he takes inspiration from Simon’s fight for a place in the world by choosing to return home and find his children.

Doroteo Navarro is a secondary sidekick character in the novel. Doroteo is a Tejano, or a Mexican American living in Southern Texas; his homeland is in the dangerous Nueces Strip. Doroteo plays the guitar and stays with Simon and the band until they return to his hometown. He is more playful than the other men, although still serious at times; he enjoys conversations with Damon and acts the most protective of Patrick, scolding him when he swears or acts out of turn. Doroteo peppers his speech with Spanish, characterizing him based on his heritage, and he is well-spoken. His appearance is described sparsely but he does have a mustache that he twirls into points when he has access to wax.

Like the others in the band, Doroteo is fleeing his home, but his reasons characterize him as emotional and overreactive—he left because his girlfriend flirted with another man. This is one example in the text of men being possessive due to patriarchal power structures that make them believe that they have ownership over women. Doroteo’s playful nature hides this more negative emotionality at times, but he also expresses emotions freely in other situations, such as his open tears when Patrick died. Doroteo grows through the novel to eventually accept his place at home; he makes up with his girlfriend and leaves Damon and Simon to stay with her.

Patrick O’Hehir is a tragic character in the novel. He is the youngest character in the novel—only 13—and is subsequently characterized through his competing innocence and wisdom. He is physically described as small, with a “thatch of dirty yellow hair stuck up in sweaty points” (25), emphasizing his youth. His instrument is the bodhran, or Irish drum, which alludes to both his Irish heritage and his role within the group. The bodhran keeps the beat for the band, and similarly, Patrick is the glue that keeps the group together. After his tragic death, they fragment and end up pursuing their own paths.

Patrick’s death colors the rest of the work. Simon is shaken by his loss; it motivates him to pursue his goals faster and more stubbornly. Simon’s guilt over “using” Patrick as an excuse to write to Doris additionally shapes the narrative, as Simon becomes more compelled to find Doris to make good on their letter-writing work. In this way, Patrick is a somewhat flat character, and he represents the tragedy and cruelty of the yellow fever. His death motivates Simon and the others, but even Patrick himself notes that he has not had enough time to truly become anyone.

Colonel Webb is the primary antagonist in the novel. Unlike many of the characters, he is not described much physically, except as bearded and intimidating; instead, his actions and treatment of others characterize him as rude, thoughtless, controlling, and volatile. Jiles villainizes drunkenness in the novel, so like Pruitt, Colonel Webb’s personal drinking correlates to other poor behavior. He is the ultimate representation of the upper class hypocrisy, as he has a noble outward standing and a terrible family and personal life. He has little respect for his wife, daughter, or Doris, and he assaults Simon and attempts to have him killed as an expression of control and anger. Colonel Webb’s behavior towards others characterizes him as a man terrified of losing honor and control of his world; he is willing to use others to regain this control, even if it costs them their lives.

Colonel Webb’s lust for Doris, which she firmly rejects, manifests through his determination to control her and her actions; this is the primary way in which he is constructed as a villain. He does not change or grow throughout the novel; instead, he remains a harsh and negative presence who simply loses relevance in the face of Doris and Simon’s fight for independence. Colonel Webb is impotent compared to the law and compared to their love, which is reflected by his disappearance from the narrative entirely in the final chapters.