In considering theme, one may well keep in mind Marius Bewley's apt statement in Major Writers of America, Vol. I (1962): "The novels of Cooper are an exercise in national definition." In The Last of the Mohicans, the national phase being defined is the frontier, a major theme composed, like the plot, of significant constituent parts. Enough about the frontier has perhaps been said already, so that all is needed is a reminder that it is a place and a condition where differences meet head-on and often result in conflict. Since conflict is a basic ingredient of the frontier in the novel, the story's action of flight, skirmishing, disguise, warfare, etc. literally becomes theme. Rather than to illustrate something else, the conflict is meant to illustrate — that is, be — itself.
Embodied in the various elements of conflict is something sad and tragic — and universal. Revenge similar to Magua's may be found anywhere and at any time. So may the problem of divided loyalties, though seldom on such a scale as that of the nations of Indians. Conflict rarely ends in a lasting stalemate, and this fact is given tragic emphasis in the thematic passing of the Indians from the American scene. Although humans' natural, instinctive urge to mate and procreate might at first appear as a possible solution to the problem of differences, miscegenation also seems doomed to failure since it compounds differences by isolating individuals even more from their backgrounds, particularly isolating any offspring like Cora. (This very view, along with his great respect for individualism, may have been greatly responsible for Cooper's voiced opposition, through Hawkeye as a spokesman, to miscegenation.)
