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Rhett Butler
Rhett Butler
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Rhett Butler
Gone with the Wind character
Clark Gable played Rhett Butler in the 1939 film Gone with the Wind
First appearanceGone with the Wind
Last appearanceRhett Butler's People
Created byMargaret Mitchell
Portrayed by
In-universe information
GenderMale
Occupation
FamilySteven Butler (father, named in Scarlett; deceased)
Eleanor Butler (mother, named in Scarlett)
Rosemary Butler (sister)
Ross Butler (brother, named in Scarlett)
Margaret Butler (sister-in-law, named in Scarlett)
SpouseScarlett O'Hara (1st; divorced and remarried)
Anne Hampton (2nd, in Scarlett; deceased)
ChildrenWade Hampton Hamilton (stepson)
Ella Lorena Kennedy (stepdaughter)
Eugenie Victoria "Bonnie Blue" Butler (daughter with Scarlett; deceased)
Unborn child (second child with Scarlett; miscarried)
Katie Colum "Cat" Butler (daughter with Scarlett in Scarlett)
Unborn child (child with Anne; deceased)
RelativesGerald O'Hara (father-in-law, deceased)
Ellen O'Hara (née Robillard) (mother-in-law, deceased)
Susan Elinor "Suellen" Benteen (née O'Hara) (sister-in-law)
Caroline Irene "Carreen" O'Hara (sister-in-law)
Gerald O'Hara Jr. (name of 3 brothers-in-law, all deceased)
Will Benteen (brother-in-law)
Susie Benteen (niece-in-law)
Pauline Robillard (aunt-in-law)
Carey Smith (uncle-in-law; Pauline's husband)
Eulalie Smith (née Robillard) (aunt-in-law)
James O'Hara (uncle-in-law)
Andrew O'Hara (uncle-in-law)
Pierre Robillard (maternal grandfather-in-law)
Solange Robillard (née Prudhomme) (maternal grandmother-in-law; deceased)

Rhett Butler (born 1828) is a fictional character in the 1936 novel Gone with the Wind by Margaret Mitchell and in the 1939 film adaptation of the same name. Rhett is a complex character with many complex relationships throughout the novel and movie. He is known as both a scoundrel and a gambler, and he is considerably wealthy. Rhett Butler acts as a supporting character to the main character, Scarlett O'Hara, with whom he has numerous encounters. Scarlett holds a negative impression of Rhett upon their first meeting. Over the course of the story, he slowly earns her favor, and the two eventually wed. However, their conflicting personalities, a scandal, and the death of their daughter results in a doomed marriage.

The producer of the movie, David O. Selznick, went through different negotiations to borrow an actor from another studio for the role of Rhett Butler. Many other actors were considered for the part, but quite a few of them turned it down. A deal between Metro-Goldwyn-Mayer (MGM) and Selznick landed Clark Gable the role. The role of Rhett Butler is one of Clark Gable's most recognizable and significant roles.

Several sequels to Gone with the Wind bring the character back, including the miniseries Scarlett, based on the novel of the same name by Alexandra Ripley, as well as Rhett Butler's People, a novel written by Donald McCaig. In addition to those two, a novel by Alice Randall, The Wind Done Gone, is an alternative account of the story from the perspective of a slave. Several musical adaptations also bring other portrayals of Rhett Butler, adding to the depth of the character.

Role

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Rhett's personality is that of a cynical, charming, and mocking philanderer. He frequently declares that he has no honor, though he respects those he considers true gentlemen or ladies. He often thinks the worst of Scarlett, even as he admires and loves her. During their first meeting, he says she is no lady, just as he is no gentleman. He often mocks her attempts to be gentle, kind, or ladylike, believing it does not suit her, and encourages her scheming ways, even as he despises them. He presents a fickle and dapper front, saying things he doesn't mean and causing Scarlett to misunderstand him. His constant, defensive teasing causes her to distrust his true intentions, even when she manages to perceive them. In turn, he does not recognize that Scarlett uses charm and acid to protect herself, rather than out of malicious intent.

As the novel begins, Rhett is first mentioned at the Twelve Oaks Plantation barbecue, the home of John Wilkes and his son Ashley and daughters Honey and India Wilkes. The novel describes Rhett as "a visitor from Charleston", a black sheep who was expelled from West Point and is not received by any family with a reputation in the whole of Charleston, and perhaps all of South Carolina. He is considerably older than the 16-year-old Scarlett, being about 32-33 at the time, and has made a name for himself as a wealthy scoundrel and professional gambler. Rhett witnesses Scarlett's young confession to Ashley at the plantation barbecue and is immediately attracted to her boldness in breaking social conventions and her beauty. Rhett mocks Scarlett over her confession, which causes a lasting negative impression.

After Scarlett is widowed for the first time, Rhett makes significant headway in gaining her favor by showering a depressed and isolated-in-mourning Scarlett with attention, though he tells her he isn't going to marry her and keeps her flirtatious advances at arm's length. She requests that he help her return to Tara with her family in order to wait out the war. However, partway on the dangerous journey, his convoluted convictions lead him to give her a kiss and a gun before he abandons her on the road in order to enlist in the doomed American Civil War. Following, Scarlett undergoes one of the most significant and traumatizing times in her life without support, facing starvation, disease, and violence as she becomes the sole support for her family.

During the war, Rhett's wealth and influence balloon as he acts as a smuggler and blockade runner, often in and out of prison. Southern society marks him as an outsider, though they are occasionally charmed by him. An impoverished and desperate Scarlett seeks him out to request a loan of $300 (equivalent to $6031 in 2024) to save Tara, and after leading her in circles to see how much she'd be willing to debase herself for the funds, including her offering to be his mistress (to which he replies she wouldn't be worth that much) reveals he was never going to lend her the money, lacking sufficient liquid assets. Scarlett is furious and humiliated. In response, Scarlett convinces Frank Kennedy, her sister Suellen's beau, to marry her instead in order to save her family, since her sister intended to abandon the family and enjoy Frank's wealth.

Rhett is upset, since he actually was going to lend her the money once out of prison, and later praises her scheming and ability to steal her newest husband from under her sister's nose. During this time, Rhett admires that Scarlett makes ventures as a businesswoman, running and expanding Frank's businesses, but deplores her hard-nosed and miserly tactics, which earn her few fans, and does not understand her all-consuming need to hoard money.

Her unladylike and brutal business behavior causes Scarlett to be attacked in shanty town, and when her husband, Frank, dies during a retaliatory Ku Klux Klan raid, Rhett saves Ashley Wilkes and several others by alibiing them to the Yankee captain, a man with whom he has played cards on several occasions. Though he blames her for the death of her husband, Rhett laughs at Scarlett's sincere fears that she's going to hell for her role in Frank's life and death, and proposes to the newly widowed Scarlett, saying he always knew he'd have her, one way or another, and she should marry him for fun and their physical compatibility.

Rhett with his future wife, Scarlett O'Hara

Scarlett agrees, though only for his money. In the novel, Rhett's fortune is estimated at $50,000,000 (equivalent to $1005 million in 2024). Rhett secretly hopes that Scarlett will eventually return the love he's had since the day he saw her at Twelve Oaks. But Rhett is also determined not to show Scarlett he loves her, believing those who love Scarlett become wretched, and the pair have volcanic arguments from the start of their marriage.

Rhett's jealousy over Scarlett's continuing affection for Ashley Wilkes becomes a problem for the couple, however, as well as their low opinions of each other. Scarlett does not view Rhett as a gentleman or good person and resents that he does not see her as a lady. She does not believe or trust that he loves her and often uses her idealized infatuation with the gentlemanly Ashley Wilkes to comfort herself from the worldly, and frequently flippant, Rhett. Rhett views her money-grubbiness as tacky, loathes the position Ashley continues to play in her heart, and is unable to sway her hardened affections with his sardonic teasing. Still, Rhett completely adores their daughter, Bonnie. Rhett is an infatuated and doting father, showering his daughter with the affection Scarlett will not accept from him, which further isolates him from his wife.

In contrast with his wife, Rhett forms a genuinely warm and fond friendship with Melanie Wilkes, Ashley Wilke's wife, and Scarlett's only friend, whom he considers a rare, true 'lady', and often performs acts of service for her and relies on her for consolation. He also continues his shadier associations, much to Scarlett's displeasure and suspicion.

Rhett at home

The Butlers' marriage becomes tattered and eventually wrecked by scandal, the death of their daughter, an accident where Rhett causes Scarlett to tumble down the stairs and miscarry, and the final nail in the coffin, the death of Melanie, Ashley's wife. Melanie makes Scarlett promise to care for Ashley after she's gone and speaks of how much Rhett loves Scarlett. Rhett, believing Scarlett has never loved him and will jump at the chance to marry the now free and receptive Ashley, becomes apathetic to Scarlett's declarations to the contrary. Tired of it all, Rhett walks out of his marriage, seeking to abandon everything to find something left of "charm and grace" in the world.

Character

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In the course of the novel, Rhett becomes increasingly enamored with Scarlett's sheer will to survive in the chaos surrounding the war. The novel contains several pieces of information about him that do not appear in the film. After being disowned by his family (mainly by his father), he became a professional gambler, and at one point was involved in the California Gold Rush, where he ended up getting a scar on his stomach in a knife fight. He seems to love his mother and his sister Rosemary, but has an adversarial relationship with his father which is never resolved. He also has a younger brother who is never named, and a sister-in-law (both of whom he has little respect or regard for), who owns a rice plantation. Rhett is the guardian of a little boy who attends boarding school in New Orleans; it is speculated among readers that this boy is Belle Watling's son (whom Belle mentions briefly to Melanie), and perhaps Rhett's illegitimate son as well.

Despite being thrown out of West Point, the Rhett of the novel is obviously very well-educated, referencing everything from Shakespeare to classical history to German philosophy. He also has an extensive knowledge of women, both physically and psychologically, which Scarlett does not consider to be "decent" (but nonetheless considers fascinating). Rhett has tremendous respect and gradually gains affection for Melanie as a friend, but very little for Ashley. Rhett's understanding of human nature extends to children as well, and he is a much better parent to Scarlett's children from her previous marriages than she is herself; he has a particular affinity with her son Wade, even before Wade is his stepson. When Bonnie is born Rhett showers her with the attention that Scarlett will no longer allow him to give to her and is a devoted, even doting and overindulgent, father.

Rhett also decides to join in the Confederate Army but only after its defeat at Atlanta, and when the "cause", as it were, was clearly understood by a man of his perception to be truly lost. This facet of the character is completely at odds with the worldly and wise predictor of Southern defeat on the eve of hostilities. Rhett has known and believed (and has said so publicly) the South is doomed to lose. And he has risked neither his life nor his fortune for the cause of the South, when to have done so at the beginning of the war might have been worth the risk to establish a new nation.

In both of the official sequels, Scarlett (1991) by Alexandra Ripley and Rhett Butler's People (2007) by Donald McCaig, and in the unofficial Winds of Tara by Kate Pinotti, Scarlett succeeds in getting Rhett back.

Family

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Rhett with Bonnie, his daughter with Scarlett

Rhett is the eldest child. In Gone with the Wind only his younger sister Rosemary is named; his brother and sister-in-law are mentioned very briefly, but not by name. In the sequel Scarlett by Alexandra Ripley, the Butler parents are called Steven and Eleanor, the younger brother is Ross. In this sequel Rhett marries Anne Hampton after divorcing Scarlett and he reunites with Scarlett only after Anne dies. He and Scarlett have a second daughter called Katie "Cat".

In the authorized prequel and sequel Rhett Butler's People his parents are called Langston and Elizabeth, his brother is Julian. In this novel Belle Watling's son plays an important role; in the end he is revealed to be another man's son even though he believed Rhett was his father.

Searching for Rhett

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In the 1939 film version of Gone with the Wind, for the role of Rhett Butler, Clark Gable was an almost immediate favorite for both the public and producer David O. Selznick (except for Gable himself). But as Selznick had no male stars under long-term contract, he needed to go through the process of negotiating to borrow an actor from another studio. Gary Cooper was thus Selznick's first choice, because Cooper's contract with Samuel Goldwyn involved a common distribution company, United Artists, with which Selznick had an eight-picture deal. However, Goldwyn remained noncommittal in negotiations.[1]

Warner Bros. offered a package of Bette Davis, Errol Flynn, and Olivia de Havilland for the lead roles in return for the distribution rights. When Gary Cooper turned down the role of Rhett Butler, he was passionately against it. He was quoted saying, "Gone With The Wind is going to be the biggest flop in Hollywood history. I’m glad it’ll be Clark Gable who’s falling flat on his nose, not Gary Cooper".[2][3] But by then Selznick was determined to get Clark Gable, and eventually found a way to borrow him from Metro-Goldwyn-Mayer. Selznick's father-in-law, MGM chief Louis B. Mayer, offered in May 1938 to fund half of the movie's budget in return for a powerful package: 50% of the profits would go to MGM, the movie's distribution would be credited to MGM's parent company, Loew's, Inc., and Loew's would receive 15 percent of the movie's gross income.

Selznick accepted this offer in August, and Gable was cast. But the arrangement to release through MGM meant delaying the start of production until Selznick International completed its eight-picture contract with United Artists. Gable was reluctant to play the role. At the time, he was wary of potentially disappointing a public who had formed a clear impression of the character that he might not necessarily convey in his performance.

Adaptations and sequels

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Clark Gable as Rhett in the 1939 film adaption (shown with Vivien Leigh as Scarlett O'Hara)

In the 1939 film adaptation, Rhett was played by Clark Gable. Despite his initial reservations about playing the role, Gable ultimately enjoyed playing the part. His performance is critically acclaimed (as is the film) and is considered the definitive portrayal of the character and he was nominated for Best Actor.

In Scarlett, (based on the above sequel novel), Rhett was played by Timothy Dalton.

In the musical production by Takarazuka Revue, Rhett had been played by several top stars of the group, including Yūki Amami (currently a film/TV actress), Yu Todoroki (currently one of the directors of the group) and Yōka Wao (former leading male role of the Cosmos Troupe that retired from the group in July 2006).

Alice Randall's novel, The Wind Done Gone is either a parallel historical novel, or (after litigation) a parody. It is told from the slave point of view.

Donald McCaig's novel, Rhett Butler's People is told from Rhett Butler's perspective.

In the 2008 Margaret Martin musical Gone with the Wind, the role of Rhett Butler was originated by Darius Danesh.

Reception

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Michael Sragow of Entertainment Weekly compared Butler to James Bond, arguing that both characters share an analytical sense, are good at seducing "ambivalent" women, and are "masters of maneuvering behind enemy lines".[4] He also stated that "007's erotic quips follow straight from Rhett's verbal jousts with Scarlett."[4]

References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
Rhett Butler is a fictional character created by for her 1936 novel Gone with the Wind, depicted as a charismatic yet cynical and speculator operating during the in the Confederate States. Introduced as a mysterious outsider at a social gathering, he embodies and , openly doubting the South's chances of victory and profiting from wartime commerce while scorning romanticized notions of honor and . Butler develops a complex romantic relationship with the protagonist , eventually marrying her as her third husband and fathering their daughter , though their union dissolves amid mutual flaws and unresolved tensions. Distinguished by traits such as , , forthrightness, and a manipulative streak, Butler serves as a foil to the idealistic characters around him, highlighting themes of realism and in the face of . His character's historical inspirations may trace to real-life figures like Confederate financier , whose blockade-running activities and post-war influence mirror Butler's arc of wartime profiteering followed by Reconstruction-era business success. In the film directed by , Butler was portrayed by , whose commanding performance amplified the character's allure and delivered the iconic farewell line to Scarlett, "Frankly, my dear, I don't give a damn," which became emblematic of mid-20th-century American cinema. This portrayal contributed to Butler's enduring cultural resonance as an of the roguish anti-hero, influencing perceptions of and Southern identity in and popular media.

Origins and Creation

Literary Inspiration and Historical Basis

George Alfred Trenholm, a prominent Charleston merchant and Confederate , has been identified by historians as a primary historical for Rhett Butler. Trenholm, born in 1807 to a respectable family, amassed wealth through cotton shipping and evaded Union blockades during the Civil War, running cargoes of arms, medicine, and luxury goods that sustained the Confederacy's economy. He later served as the Confederacy's Secretary of the Treasury in 1864, financing vessels like the , mirroring Rhett's opportunistic profiteering and disdain for traditional Southern honor codes. Historian , through archival research tied to the wreck of the (which Trenholm owned), argues that Mitchell romanticized Trenholm's life—his , financial acumen, and post-war —to craft Rhett's cynical, self-made persona. Margaret Mitchell, who conducted extensive research at the Atlanta Public Library and consulted Civil War veterans' accounts in the 1920s, incorporated authentic details of blockade running operations, such as the high risks and profits from Nassau runs, which Rhett exploits in the novel. While Mitchell denied modeling Rhett on any single individual, claiming composites from Atlanta society figures and her own observations, the parallels to Trenholm—down to his Charleston roots and speculative ventures—exceed coincidence, as evidenced by matching timelines like Rhett's pre-war shipping parallels to Trenholm's firm, which operated from 1835 onward. Speculation linking Rhett to Mitchell's abusive first husband, Berrien Upshaw, persists in popular discourse but lacks substantiation beyond superficial charm and volatility traits, which Mitchell explicitly rejected. Literarily, Rhett embodies archetypes of the rogue anti-hero found in 19th-century adventure tales, such as those in Rafael Sabatini's swashbuckling novels, though Mitchell's innovation lies in grounding him in Southern realism rather than pure fantasy. Her portrayal avoids idealized heroism, instead drawing causal links from economic incentives—blockade profits reaching 200-300%—to Rhett's pragmatic , reflecting undiluted historical amid the Confederacy's logistical desperation by 1862. This basis underscores the novel's fidelity to wartime over romanticized .

Development by Margaret Mitchell

Margaret Mitchell began crafting Gone with the Wind in 1926, amassing research over a decade that informed the development of Rhett Butler as a blockade-running profiteer who navigates the Civil War's economic upheavals with pragmatic cynicism. Her process involved non-linear writing, with the novel's 63 chapters often revised out of sequence during an intensive period from 1929 to 1930 while she was bedridden due to a fractured ankle; Rhett, introduced early in the narrative as an outsider to Atlanta society, emerged as a foil to protagonist Scarlett O'Hara's idealism, embodying realism toward the Confederacy's doomed cause. To ground Rhett in historical authenticity, Mitchell drew from primary sources including thousands of books, diaries, letters, old newspapers, and personal interviews, emphasizing that character creation required the same rigor as backdrop: "And when you come right down to it, if you go back to original sources for background you have to go back to original sources for characters." This led to strong parallels with George Alfred Trenholm, the Confederacy's secretary of the treasury and a prolific who operated over 60 steamers, amassing equivalent to billions in modern value through cotton exports and luxury imports amid wartime scarcity. Trenholm's exploits mirrored Rhett's on multiple fronts: both hosted lavish entertainments with fine attire for servants during privation, faced for without confessing guilt, and were linked to rumors of concealing —Trenholm via documented shipments, Rhett through speculation about the missing treasury. Mitchell incorporated Charleston settings and details suggestive of Trenholm family connections via her Regina , yielding over 90% alignment in key traits without direct attribution, as she preferred composite authenticity over singular . Mitchell explicitly denied personal inspirations for Rhett, rejecting claims he reflected her abusive first husband, Berrien "Red" Upshaw, or prefigured actor , whose fame postdated her writing. She infused Rhett with echoes of her own upbringing, assigning him adapted versions of speeches her mother delivered about the South's pre-war vitality and post-war resilience, as in chapter 43 where he counsels Scarlett on survival amid ruin. The character's surname derives from South Carolina's influential Rhett family, known for advocacy.

Role in the Novel

Involvement in Key Plot Events

Rhett Butler first encounters at the barbecue in spring 1861, where he overhears her declaration of love to and remarks on the inevitability of Northern victory in the impending . He compliments Scarlett's unconventional behavior, marking the start of his fascination with her character. During the Civil War, Rhett establishes himself as a , profiting from smuggling goods past Union lines while based in . He frequently visits Scarlett, defying social norms by encouraging her to abandon widow's mourning customs and scandalizing Atlanta society with their association. Rhett proposes that Scarlett become his mistress but withholds professions of love, reflecting his cynical toward romance. As Union forces besiege in 1864, Rhett aids Scarlett, Wilkes, and the newborn Beau in evacuating the burning city by wagon, securing a for their journey to Tara. He confesses his love to Scarlett in a moment of vulnerability, kisses her, and then departs to enlist in the Confederate Army, abandoning her to fend for herself amid the chaos. Post-war, Rhett amasses significant wealth through blockade-running and wartime speculation but faces imprisonment by Union authorities in . When Scarlett seeks his financial aid to pay Tara's taxes, intending to manipulate him into , Rhett discerns her motives and refuses, later securing his release through . He subsequently loans her funds to acquire sawmills, enabling her entry into the lumber business. Following the death of Scarlett's second husband, Frank Kennedy, in 1868, Rhett covers for during a Ku Klux Klan raid investigation by claiming they were at Belle Watling's . Rhett then proposes to Scarlett, who accepts primarily for his fortune; their union includes a in New Orleans and the birth of their daughter, Bonnie Blue Butler, whom Rhett adores. Tensions escalate after Bonnie's fatal riding accident in 1871, which devastates Rhett and exacerbates marital strains rooted in Scarlett's lingering attachment to Ashley. In 1873, following Wilkes's death, Rhett rejects Scarlett's belated realization of her love for him, declaring his affections extinguished, and departs permanently, stating, "Frankly, my dear, I don't give a damn."

Economic and Social Position During the War

Rhett Butler derived his primary economic advantage during the from running, a high-risk enterprise involving the evasion of the Union Navy's coastal to export Confederate to and import and essentials into the . As depicted in Margaret Mitchell's novel, Butler operated fast steamships, such as the Corsair, to transport cargoes that yielded extraordinary profits amid wartime ; for instance, successful runs could generate returns of up to 200% due to inflated for commodities like , medicines, and . This speculative activity positioned him as one of the Confederacy's most notorious smugglers, amassing a fortune estimated in the hundreds of thousands of dollars by 1864, far exceeding the declining wealth of traditional reliant on disrupted agriculture. His economic pursuits extended beyond mere to broader , including investments in operations that capitalized on the South's isolation; Butler openly boasted of these ventures at social gatherings, highlighting cargoes of "whiskey and " alongside strategic goods, which underscored his pragmatic focus on market arbitrage over ideological commitment. Despite occasional arrests by Confederate authorities suspicious of his loyalties—leading to brief imprisonments—his wealth insulated him, allowing reinvestment into further runs and properties like a Charleston mansion. Socially, Butler occupied an ambiguous and largely reviled position within Confederate , ostracized as a "scoundrel" and "profiteer" for declining to enlist in the until the war's desperate final months in 1865, when he briefly joined as a private after Atlanta's fall. Atlanta's , steeped in chivalric notions of , branded him an outsider whose prewar fortune from speculative trades disqualified him from aristocratic respect; his candid dismissal of the Confederate cause as doomed—"a lost cause from the start"—further alienated him, evoking scorn at events like the charity bazaar where he mocked the war's . Yet, his and occasional , such as donating to the Confederate under duress, earned grudging tolerance from figures like Melanie Wilkes, though he remained emblematic of the "New South" pragmatists derided by the old guard.

Character Traits and Philosophy

Core Personality Attributes

Rhett Butler exhibits a profound cynicism toward the antebellum Southern society, dismissing its pretensions of honor and as rooted in " and arrogance" with no viable prospect against Northern industrial might. This realism manifests in his early prediction of Confederate defeat and his disdain for the "Old Guard's" blind devotion to a lost cause, often expressed through mocking humor and direct verbal challenges that deflate egos without remorse. His prioritizes pragmatic over romantic , viewing opportunities in societal upheaval akin to pioneers exploiting new frontiers or, in his case, profiting from a crumbling one through blockade-running and speculation. Opportunism defines Butler's economic pursuits, as he amasses wealth via , wartime of luxuries, and postwar ventures, embodying the shift to a mercantile "New South" unburdened by feudal traditions. Yet this self-interest coexists with independence and bold forthrightness; disowned by his Charleston family and expelled from West Point, he rejects social constraints, pursuing desires relentlessly and scorning conventions like gentlemanly restraint. His dashing, pirate-like charisma—marked by a powerful physique, swarthy features, and a perpetual mocking smile—facilitates manipulation and alliance-building, though it masks deeper capacities for sentiment, such as devotion to children and selective evidenced by his late enlistment in the Confederate army. These attributes render Butler a complex figure: a scoundrel by societal standards, yet one whose clear-eyed assessment of contrasts sharply with the afflicting peers, enabling survival amid ruin while highlighting the novel's critique of Southern .

Cynicism and Realism Toward Southern Society

Rhett Butler demonstrates cynicism toward Southern society's romanticized self-image by dismissing its core as " and arrogance," a view that shocks the Atlanta elite who cling to notions of chivalric superiority and inevitable victory in the Civil War. This perspective underscores his realism, as he recognizes the Confederacy's structural weaknesses, including the absence of to produce arms and sustain warfare against the industrialized North. In a pivotal scene at the in , Butler warns the assembled that while Southern men possess "enthusiasm" and bravery, they lack "cannon foundries, shipyards, machine shops, [and] rolling mills," predicting their slaughter by Union forces equipped with factories, railroads, and a advantage of over two million fighting-age men. His blockade-running exploits further illustrate this pragmatic detachment, as Butler profits from smuggling cotton and through Union naval lines from 1861 onward, amassing wealth without enlisting until February 1865, when the South's collapse became undeniable. This opportunism reflects a realist assessment that the Southern cause, rooted in agrarian and slave-based economy, cannot compete with Northern output, which by 1860 included 90% of U.S. iron production and most mills. Butler's refusal to indulge in the "hypocrisy and self-delusion" of Confederate patriotism—such as the inflated egos of ladies' aid societies or gentlemen's dueling codes—positions him as a of societal illusions, prioritizing and over futile honor. Postwar, Butler's cynicism evolves into forward-looking realism, embodying the shift to a commercial "New South" that discards obsolete aristocratic traditions for entrepreneurial vigor, as evidenced by his investments in railroads and speculation amid Reconstruction-era upheaval from to 1873. He rejects nostalgia for the antebellum order, viewing its collapse not as tragedy but as overdue reckoning with economic realities, including the South's prewar reliance on exports that comprised 57% of U.S. totals in 1860 but left it vulnerable to . This stance aligns with historical data on Confederate industrial deficits, where the South produced fewer than 100 in compared to Northern arsenals yielding thousands annually.

Relationships and Family

Dynamic with Scarlett O'Hara

Rhett Butler's relationship with begins in April 1861 at the barbecue, where he overhears her bold confession of love to , immediately drawing him to her defiance of social norms and spirited nature. As a profiting from the Civil War, Rhett provides covert financial support to Scarlett during her hardships, recognizing her pragmatic survival instincts amid her romantic fixation on Ashley. Despite Scarlett's successive marriages to Charles Hamilton and Frank Kennedy, Rhett persistently courts her, amused by her manipulative charm yet frustrated by her denial of mutual attraction. Following Frank Kennedy's death in 1867 during a Ku Klux Klan skirmish, Rhett proposes marriage to the widowed Scarlett, declaring, "I can't go all my life waiting to catch you between husbands," capitalizing on her vulnerable state after the loss of Tara's mortgage security. Their 1868 wedding marks a union of convenience for Scarlett, who seeks Rhett's to rebuild her life, and strategic for Rhett, who views her as a match for his cynicism and resilience. The couple's dynamic evolves into a passionate but volatile partnership, producing daughter Bonnie Blue Butler in 1873, whom Rhett adores, while Scarlett's ongoing emotional entanglement with Ashley breeds jealousy and verbal clashes. Rhett's profound love for Scarlett is tempered by pride and realism; he admits his feelings during her pregnancy with Bonnie but withholds full vulnerability, critiquing her materialism and refusal to reciprocate authentically. Scarlett, in turn, gradually recognizes Rhett as her true counterpart—sharing his unscrupulous drive for success—yet her epiphany comes too late, after Bonnie's fatal 1879 horse-riding accident and Melanie Wilkes's death, prompting Rhett's departure with the words, "Frankly, my dear, I don't give a damn," reflecting exhaustion from unrequited emotional investment. Their bond exemplifies a clash of unyielding individualisms, where mutual admiration for pragmatism fails against Scarlett's idealism toward the past and Rhett's detachment from sentiment.

Ties to Family and Other Figures

Rhett Butler's primary familial connection in the novel is his daughter, Bonnie Blue Butler, born to him and Scarlett O'Hara in 1869 shortly after their 1868 marriage. Rhett exhibits rare tenderness as a father, spoiling Bonnie with indulgences, personally teaching her equestrian skills from age two, and prioritizing her above Scarlett's prior children from earlier unions—Wade Hampton Hamilton and Ella Lorena Kennedy—toward whom he shows indifference. Bonnie's fatal fall from her pony in 1874 devastates Rhett, exacerbating marital strains and prompting his emotional withdrawal. Butler hails from a respectable Charleston family, including a father with whom he clashed severely, leading to estrangement, yet he anonymously sustains his mother and sisters financially, including acquiring a Battery residence for them. Beyond family, Rhett forges a profound platonic bond with Melanie Wilkes, Ashley's wife, marked by mutual esteem; he praises her unyielding integrity amid Southern pretensions, and she defends his character publicly, recognizing depths unseen by others. His ties extend to Belle Watling, Atlanta's prominent and a pragmatic survivor like himself; Rhett funds her postwar establishment rebuild and coordinates her discreet hospital donations during , suggesting a prior intimate association, though unconfirmed paternity of her son remains speculative based on textual hints of his guardianship role.

Portrayals in Adaptations

Clark Gable's Film Depiction

Clark portrayed Rhett Butler in the 1939 film adaptation of Gone with the Wind, directed by and produced by . , under exclusive contract to (MGM), was loaned to after public demand and negotiations involving MGM head delayed casting for nearly two years. Initially reluctant, expressed apprehension about embodying the character's complexity, stating in a 1940 Liberty magazine article that Margaret Mitchell's creation of Rhett placed him "on a spot, a hot one," as he feared not meeting audience expectations for the rogue . Gable's preparation involved immersing himself in Mitchell's novel, despite his admitted nervousness, which he later reflected contributed to his authentic delivery of Rhett's cynical charm and pragmatic worldview. In the film, released on December 15, 1939, in , Gable depicted Rhett as a suave opportunist who profits from the Civil War's chaos, engaging in and while maintaining from Southern idealism. His performance emphasized Rhett's roguish masculinity and wit, particularly in scenes showcasing banter with (), though it softened some of the novel's edgier elements, such as Rhett's more overt cynicism and moral ambiguity, to align with Production Code restrictions. Critics praised Gable's chemistry with Leigh and his command of Rhett's pivotal farewell line—"Frankly, my dear, I don't give a damn"—added by screenwriter , which encapsulated the character's disillusionment and became one of cinema's most quoted phrases. For his role, received his third and final for at the 12th Oscars on February 29, 1940, though he lost to in . The portrayal solidified 's status as "King of Hollywood," with contemporaries noting how his forthright persona mirrored Rhett's anti-romantic realism, despite lacking a Southern accent.

Appearances in Sequels and Other Media

In the authorized sequel novel Scarlett (1991) by , Rhett Butler reunites with after a period of separation, ultimately reconciling and fathering another child with her , diverging from the ambiguous ending of Margaret Mitchell's original. This portrayal emphasizes Rhett's enduring affection despite his earlier declaration of indifference, framing him as a figure of pragmatic loyalty amid Scarlett's personal growth. The novel was adapted into a four-part CBS television miniseries in 1994, where British actor portrayed Rhett Butler opposite Joanne Whalley-Kilmer as Scarlett; the production, filmed across 53 locations in the U.S. and , aired from to 26 and drew 26.6 million viewers for its premiere episode. Dalton's interpretation depicted Rhett as intermittently involved in Scarlett's life, maintaining the character's roguish charm while resolving their relationship affirmatively, though critics noted deviations from the book's character maturation. Another authorized continuation, (2007) by Donald McCaig, serves as both and , retelling events from Rhett's viewpoint with added backstory on his family and life, portraying him as a resilient shaped by personal losses and Southern decline. McCaig's narrative extends Rhett's arc into Reconstruction-era challenges, emphasizing his cynicism toward idealized Southern nostalgia without a direct romantic resolution with Scarlett. Rhett has appeared in parodic works, such as Alice Randall's The Wind Done Gone (2001), a retelling from a slave's perspective authorized after legal disputes; here, Rhett's counterpart "R." retains roguish traits but is critiqued through an inverted racial lens, highlighting hypocrisies in the original's antebellum romance. In the 1976 Carol Burnett Show sketch "Went with the Wind," Harvey Korman played a comedic Rhett in a spoof exaggerating the film's melodrama, including a curtain-rod gown gag, broadcast on October 30 as part of season 10. These adaptations often lampoon Rhett's archetype as the suave anti-hero, though they vary in fidelity to Mitchell's characterization.

Reception and Analysis

Contemporary Responses to the Character

Upon the publication of Margaret Mitchell's Gone with the Wind on June 30, 1936, Rhett Butler emerged as a compelling figure in contemporary literary discourse, praised for embodying cynicism and realism amid the novel's romantic framework. Reviewers highlighted his role as a "cynical and hard-bitten realist" who foresaw the Confederacy's defeat and profited as a , transforming a potentially stereotypical rogue into a credible and vital character. Historian , in his extensive review for the Books, described the novel as "endlessly interesting," with Rhett contributing to its dramatic depth through his pragmatic and sharp . The character's unorthodox to Southern ideals, coupled with his , resonated as a to idealistic figures like , earning acclaim for adding layers of moral ambiguity to the narrative. The novel's commercial triumph—topping bestseller lists in 1936 and , and securing the in —reflected broad approval of its characterizations, including Rhett's portrayal as a scapegrace outsider whose charm and foresight captivated readers. While some critics noted the book's sentimental tendencies, Rhett's pragmatic detachment from Confederate fervor was generally viewed as a strength, underscoring themes of survival over ideology. With the 1939 film adaptation's premiere on , responses to Rhett Butler shifted to Clark Gable's embodiment of the role, which met heightened expectations. The New York Times critic Frank S. Nugent affirmed Gable's Rhett as "almost as perfect as the grandstand quarterbacks thought he would be," noting the performance's fidelity to Mitchell's vision and its appeal to audiences anticipating a roguish yet magnetic anti-hero. Gallup polls indicated over 56 million viewers by early 1940, with Gable's interpretation—infused with charisma and subtle cynicism—solidifying Rhett's status as an iconic figure, though some observed a softening of the novel's edgier traits for cinematic appeal. Overall, contemporary accounts positioned Rhett as a symbol of resilient , praised for challenging romantic illusions of the .

Psychological and Thematic Interpretations

Rhett Butler's psychological makeup centers on a pragmatic realism tempered by guarded emotional depth, often masked by cynicism toward the sentimentalism of antebellum Southern culture. Literary analysis portrays him as an opportunist who exploits wartime chaos through running, yet his predictions of Confederate failure—rooted in the region's economic vulnerabilities like overreliance on exports—demonstrate foresight grounded in empirical observation rather than loyalty to abstract ideals. This detachment serves as a adaptive mechanism, shielding him from the disillusionment that afflicts idealists, though it reveals underlying vulnerability in his persistent, unacknowledged devotion to , which he fears could be weaponized against him. Thematically, Rhett embodies the causal primacy of material realities over romanticized honor, critiquing the South's "" as a delusion sustained by arrogance and outdated . At social gatherings, he bluntly declares the war's true driver as financial , not defense of or gallantry, exposing how such blinds participants to strategic weaknesses like supply shortages and industrial inferiority. His arc from speculator to Confederate enlistee, followed by Reconstruction-era , symbolizes the inexorable shift from agrarian to commercial pragmatism, where survival demands discarding noble pretensions for profit-oriented action. Interpretations highlight Rhett's role in underscoring human limits under duress: his eventual sentimentality toward daughter and even rival contrasts his public scoffing, suggesting cynicism as a pragmatic rather than inherent callousness, enabling endurance amid loss. While some analyses attribute relational failures to emotional reticence—evident in his withdrawal after personal tragedies—others defend this as rational caution in a volatile world, prioritizing self-preservation over idealistic vulnerability that dooms figures like .

Controversies and Criticisms

Accusations of Toxicity and Misconduct

In Margaret Mitchell's 1936 novel Gone with the Wind, Rhett Butler's climactic confrontation with culminates in a scene where, after heavy drinking and an argument on December 20, 1868, he carries her upstairs to their bedroom despite her physical resistance and verbal protests of "No, Rhett! No!" The narrative describes Scarlett clawing at him and attempting to flee, but Rhett proceeds with intercourse, later revealed as the conception of their daughter Bonnie Blue, born nine months later on September 20, 1869. Feminist scholars and critics have accused this depiction of portraying , contending that the act lacks consent and that the text mitigates its severity by shifting focus to Scarlett's post-event reflection—"It had been nine days of , and she was thin and worn but her face was radiant"—followed by her admission to Mammy that "it wasn't so bad after all," which some interpret as victim-blaming or normalization of within . These interpretations, often advanced in academic journals since the , argue the scene reinforces patriarchal power dynamics, with Rhett's dominance excused by his charm and Scarlett's eventual emotional pivot toward him. In Victor Fleming's 1939 , the sequence is condensed: Rhett scoops up a protesting Scarlett and ascends the stairs, followed by a fade to black and intercut shots of burning , implying consummation without explicit detail; critics have faulted this as downplaying the novel's coercive elements to align with Hollywood Production Code standards, which prohibited overt depictions of but permitted suggestion. Broader accusations of toxicity target Rhett's interpersonal conduct, including his repeated emotional manipulation of Scarlett—such as goading her insecurities about to elicit vulnerability—and his speculative during the Civil War, which involved through Union blockades for personal gain, yielding him an estimated $1 million fortune by 1864 (equivalent to over $20 million in 2023 dollars), actions some contemporaries and later analysts labeled as opportunistic disloyalty to the Confederacy. These traits, combined with Rhett's admitted and excesses, have been characterized by detractors as emblematic of cynical masquerading as realism. Such critiques, prevalent in post-1970s literary analyses, often emanate from academic frameworks emphasizing power imbalances, though they overlook reciprocal manipulations by Scarlett, including her deception and financial opportunism.

Defenses of Pragmatism and Anti-Idealism

Rhett Butler's is defended by literary critics as a realistic response to the South's self-destructive , exemplified by his blockade-running operations during the Civil War, which profited from the conflict's realities rather than ideological fervor. This approach, prioritizing economic over Confederate loyalty, enabled his financial resilience amid widespread ruin, contrasting with the faced by idealistic planters like Gerald O'Hara. Such actions underscore a causal understanding that war's outcomes depend on material capabilities, not chivalric myths, positioning Rhett as a survivor who adapts to inevitable change. Analyses portray Rhett's anti-idealism as the novel's corrective to romanticized Southern , with his early predictions of Union victory—dismissing secessionist optimism as folly—serving as prescient warnings ignored by war enthusiasts. By refusing to sentimentalize the "Lost Cause," Rhett embodies causal realism, recognizing that military defeat stems from industrial disparities and strategic errors, not moral failings. This stance, though alienating him socially, is lauded for highlighting the perils of collective delusion, as seen in Atlanta's fall despite defensive zeal. Defenders argue Rhett's traits foster individual agency in Reconstruction's chaos, as his unromantic marriage to and later withdrawal reflect a pragmatic acceptance of mismatched ambitions over illusory harmony. Literary interpretations credit this with advancing the narrative's survival ethos: while idealists perish or stagnate, Rhett's realism—tempered by selective loyalty, such as aiding Scarlett's escape from on September 1, 1864—demonstrates that anti-idealism, when paired with resolve, yields adaptive strength. This view counters portrayals of him as mere cynicism, instead framing his philosophy as essential for reinvention.

Cultural Impact

Symbolism as the "New South"

Rhett Butler embodies the pragmatic, opportunistic ethos of the post-Civil War "," characterized by commercial adaptability and realism in contrast to the chivalric idealism of the antebellum era. As a who profits from wartime rather than enlisting in the Confederate cause, Rhett prioritizes economic over romantic notions of honor, foreseeing the South's defeat as early as and dismissing the war as a futile "lost cause." This stance aligns with the historical movement, which emphasized industrialization, , and with the North to foster economic recovery after 1865, diverging from the agrarian, plantation-based glorified by characters like . In Margaret Mitchell's narrative, Rhett's investments in Scarlett O'Hara's lumber mills during Reconstruction exemplify this shift toward capitalist enterprise, enabling survival amid devastation while traditional Southern elites clung to outdated values. His cynicism toward Confederate patriotism—"I'm not a ," he declares, underscoring personal agency over societal expectations—mirrors the New South's embrace of and market-driven progress over feudal loyalties. Yet, Rhett's character introduces nuance; despite his forward-looking , he expresses for Charleston's pre-war refinement, suggesting a tension between adaptation and sentimental attachment to lost . Analyses position Rhett as an of the South's necessary , where survival demanded shedding idealistic illusions for ruthless realism, as evidenced by his in financing Atlanta's wartime economy through . This symbolism underscores the novel's broader theme of resilience through reinvention, with Rhett's arc from pariah to prosperous financier illustrating how the New South's creed of industriousness supplanted the Old South's mythic gentility.

Enduring Influence on Media and Masculinity Archetypes

Rhett Butler's depiction as a cynical with sharp wit and pragmatic opportunism established a enduring archetype of the charming rogue in American media, blending with selective and moral ambiguity. This character type, marked by defiance of societal norms and unyielding confidence, has influenced portrayals of anti-heroes in subsequent , where male leads navigate chaos through resourcefulness rather than idealism. In science fiction and adventure genres, Rhett's traits parallel those of in the Star Wars franchise, including the profession of during wartime, sarcastic banter, and a romantic tension with a strong-willed female counterpart that evolves from antagonism to devotion. Similarly, comparisons to highlight shared elements of suave detachment and adaptability in high-stakes environments, reinforcing the rogue's appeal as a masculine ideal unbound by convention. These echoes demonstrate Rhett's role in shaping media narratives where male protagonists embody resilience amid upheaval, prioritizing survival and personal code over collective honor. On masculinity archetypes, Rhett exemplifies a forthright, physically commanding presence that prioritizes action and realism over emotional vulnerability or adherence to outdated , traits embodied by Gable's performance as a "man's man." This model of adaptive, unapologetic —rooted in economic savvy and rejection of romanticized defeat—contrasts with more passive ideals, influencing cultural views of the self-reliant individual thriving in . Critics note that such portrayals perpetuate the allure of the "bad boy" figure, whose complexity and dominance resonate in romance and action tropes persisting into contemporary .

References

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