Exaggeration and Intolerance Exploring Irvings Social Criticism Strategy
Literature has always been part of human life and culture. It exists to inform or entertain people, to satirize or argue social issues, to emphasize or to deconstruct certain themes we encounter in our lives. Generally, a literary piece can be classified according to its function and this function has a lot to do with the authors motive in writing a literary material. In Washington Irvings (2009) The Legend of the Sleepy Hollow, it is very clear that above anything, the authors motive is to provide a social criticism of the American society during his time. Specifically, he uses exaggeration of the storys elements, especially of the setting and characterization, and intolerance of peoples behavior, beliefs, and values.
By judging its setting and characterization, it is no doubt that The Legend of the Sleppy Hollow is a gothic story (Elite Skills Classics 2009). Harris (2008) explains that gothic stories usually use an atmosphere of mystery and suspense, supernatural and inexplicable visions and events, and high, even overwrought emotion among others.In the legend, there is an atmosphere of mystery and suspense especially when Ichabod encounters the headless goblin. Mainly, the goblin, which appeared as a horseman of large dimensions, and mounted on a black horse of powerful frame makes the story gothic. Likewise, his chase of Ichabod results in a high, even overwrought emotion, thus making readers feel tension as they continue reading. On the one hand, these elements strongly suggest the gothic elements of the story, but on the other, Irvings use of exaggeration makes the story more disturbing.
Irvings description of the events and characters makes it look exaggerated. He uses exaggerated adjectives and modifiers to elaborate characteristics, behavior, motif, and actions. This strategy stirs up imagination, and allows the reader to be absorbed in reading. For example, in describing the goblin, he first reveals that the goblin is of large dimensions. (Irving 39) Note that Irving uses this phrase instead of saying that the goblin is huge. Also, he uses the term, dimensions instead of size, making the goblin seem like an unknown figure of different shapes. Irving shows fondness of double adjectives to describe things. For example, There was something in the moody and dogged silence of this pertinacious companion that was mysterious and appalling. (Irving 40) Note the use of moody and dogged then of mysterious and appalling. When the party at the Van Tassels is over, Ichabod is described as heavy-hearted and crestfallen, (Irving 36) which likewise employs the use of double adjectives.
Irvings description of characters also reveals his propensity to become overly emphatic and exaggerated. Describing Katrina Van Tassel, he states,
She was a blooming lass of fresh eighteen plump as apartridge ripe and melting and rosy-cheeked as one of herfathers peaches, and universally famed, not merely for herbeauty, but her vast expectations. She was withal a little of acoquette, as might be perceived even in her dress, which was amixture of ancient and modern fashions, as most suited to set offher charms. She wore the ornaments of pure yellow goldand withal a provokingly short petticoat, to display the prettiest foot and ankle in thecountry round. (Irving 13)
These descriptions, which give the physical characteristics of the character, form a vivid illustration to the minds of the readers. Comparing Katrina to a partridge, Irving uses ripe, melting, and rosy-cheekedthree adjectives that emphasize attractiveness of the girl. Also, the description of the characters attire presents the triviality of the author, and further illustrates his exaggerated way of description.
These exaggerations that Irving employs make the story unbelievable. Instead of giving a realistic depiction, Irving chooses to exaggerate to suit the requirements of the folktale, which is expected to be formed out of peoples collective imagination. Unlike other literary pieces which aim to portray reality, the legend makes use of exaggerated elements that imply the authors objective to make it look fictional so as to discourage readers from believing. Such motive is evident in his ending, where he relates the story of a New York farmer who reports that Ichabod actually left to pursue a career in politics. This revelation leads the readers to a realization that after all, the tales of the sleepy hollow are not true. At the end, Irving wants his readers to denounce triviality and superstition, and embrace realism instead.
Aside from exaggeration, Irving also shows intolerance of trivial matters. First, he employs a fictional character named Diedrich Knickerbocker to emphasize the fallaciousness of the story. By assigning a tale collector, Irving emphasizes the fictional quality of the story. As the readers learn that a certain D.K. is the source of the story, they become open to the possibility that this collector may have altered the storys content to please his readers. Unlike a folktale told firsthand, the story seems to be one that is handed down by an unknown gossiper to a person who takes interest in it, a story collector by the name of Knickerbocker. This motif makes the story less credible, thus showing Irvings intent not to tolerate readers to believe in the legend.
Likewise, Irvings description of the setting implies his intolerance of triviality. Set in a Dutch community after the U. S. independence, the story relays the triviality of the Dutch who settled in America. The name of the place, Sleepy Hollow suggests the backwardness of the place, its inability to progress and embrace reforms. As the narrator recounts, despite the migration and improvement during the said time, population, manners, and customs remain fixed (Irving 2) in the Sleepy Hollow, and people are given to all kinds ofmarvelous beliefs, are subject to trances and visions, and frequently see strange sights, and hear music and voices in the air. (Irving 2) In addition, the characters submit to all kinds of tales and such is their pastime and main activity during occasions. No single character is exempted from this behavior, even the male figures Ichabod and Brom, who are often contrasted. As Daniel Hoffman notes, Ichabod and Brom present the regional clash between characters. In the story, we see the Yankee versus the Backwoodsman (86).
Nevertheless, this contrast does not affect the way the two behave in the story in regard to their belief in superstitions. The main character, Ichabod, who is a schoolteacher is fond of telling tales of magic and superstitions. Surprisingly and more ridiculously presented is the character of Brom Van Brunt, who likewise believes in such stories, and even makes up his own. Nevertheless, his attitude is quite different from the rest, because while everyone fears the headless creature, he claims to have defeated it. In addition, the old man, Balt Van Tassel, a respected landowner, is himself fond of supernatural tales too. During the party, he engages in storytelling about the unknown. Considering these, Irving once again exaggerates in his description of the characters. As Greven (89) claims, a certain fetishization of fraternity exists here, making male characters such as Ichabod a homosocial individual. Irving actually involves all characters, implying that they share the same attitude. Assigning similarities, Irving implies his strong criticism and intolerance of the people, especially of Dutch settlers during the said time.
Overall, the exaggerated description of the characters, setting, and events in the story make it appear too fictional. The imaginary place, trivial characters, and their gossiping that leads them to backwardness imply the authors strong criticism of such societies that existed during his time. In particular, he sets his story in New York to effect a contrast between Sleepy Hollow and the citys reforms. Moreover, Irving shows intolerance of the peoples behavior by making Ichabod disappear. Not knowing what happens to him, the people will believe what they want to believe, thus suggesting two options, whether to dwell in the impossible or to be realistic. Furthermore, Irving does not just present sleepy societies in exaggeration. He also expresses intolerance of them. Using a dead fictional character by the name of Knickerbocker, he suggests that such tales should remain as tales. He does not make Knickerbocker a living narrator in order to emphasize that along with the tales he collected, he too is obsolete, and should just remain a memory.
By judging its setting and characterization, it is no doubt that The Legend of the Sleppy Hollow is a gothic story (Elite Skills Classics 2009). Harris (2008) explains that gothic stories usually use an atmosphere of mystery and suspense, supernatural and inexplicable visions and events, and high, even overwrought emotion among others.In the legend, there is an atmosphere of mystery and suspense especially when Ichabod encounters the headless goblin. Mainly, the goblin, which appeared as a horseman of large dimensions, and mounted on a black horse of powerful frame makes the story gothic. Likewise, his chase of Ichabod results in a high, even overwrought emotion, thus making readers feel tension as they continue reading. On the one hand, these elements strongly suggest the gothic elements of the story, but on the other, Irvings use of exaggeration makes the story more disturbing.
Irvings description of the events and characters makes it look exaggerated. He uses exaggerated adjectives and modifiers to elaborate characteristics, behavior, motif, and actions. This strategy stirs up imagination, and allows the reader to be absorbed in reading. For example, in describing the goblin, he first reveals that the goblin is of large dimensions. (Irving 39) Note that Irving uses this phrase instead of saying that the goblin is huge. Also, he uses the term, dimensions instead of size, making the goblin seem like an unknown figure of different shapes. Irving shows fondness of double adjectives to describe things. For example, There was something in the moody and dogged silence of this pertinacious companion that was mysterious and appalling. (Irving 40) Note the use of moody and dogged then of mysterious and appalling. When the party at the Van Tassels is over, Ichabod is described as heavy-hearted and crestfallen, (Irving 36) which likewise employs the use of double adjectives.
Irvings description of characters also reveals his propensity to become overly emphatic and exaggerated. Describing Katrina Van Tassel, he states,
She was a blooming lass of fresh eighteen plump as apartridge ripe and melting and rosy-cheeked as one of herfathers peaches, and universally famed, not merely for herbeauty, but her vast expectations. She was withal a little of acoquette, as might be perceived even in her dress, which was amixture of ancient and modern fashions, as most suited to set offher charms. She wore the ornaments of pure yellow goldand withal a provokingly short petticoat, to display the prettiest foot and ankle in thecountry round. (Irving 13)
These descriptions, which give the physical characteristics of the character, form a vivid illustration to the minds of the readers. Comparing Katrina to a partridge, Irving uses ripe, melting, and rosy-cheekedthree adjectives that emphasize attractiveness of the girl. Also, the description of the characters attire presents the triviality of the author, and further illustrates his exaggerated way of description.
These exaggerations that Irving employs make the story unbelievable. Instead of giving a realistic depiction, Irving chooses to exaggerate to suit the requirements of the folktale, which is expected to be formed out of peoples collective imagination. Unlike other literary pieces which aim to portray reality, the legend makes use of exaggerated elements that imply the authors objective to make it look fictional so as to discourage readers from believing. Such motive is evident in his ending, where he relates the story of a New York farmer who reports that Ichabod actually left to pursue a career in politics. This revelation leads the readers to a realization that after all, the tales of the sleepy hollow are not true. At the end, Irving wants his readers to denounce triviality and superstition, and embrace realism instead.
Aside from exaggeration, Irving also shows intolerance of trivial matters. First, he employs a fictional character named Diedrich Knickerbocker to emphasize the fallaciousness of the story. By assigning a tale collector, Irving emphasizes the fictional quality of the story. As the readers learn that a certain D.K. is the source of the story, they become open to the possibility that this collector may have altered the storys content to please his readers. Unlike a folktale told firsthand, the story seems to be one that is handed down by an unknown gossiper to a person who takes interest in it, a story collector by the name of Knickerbocker. This motif makes the story less credible, thus showing Irvings intent not to tolerate readers to believe in the legend.
Likewise, Irvings description of the setting implies his intolerance of triviality. Set in a Dutch community after the U. S. independence, the story relays the triviality of the Dutch who settled in America. The name of the place, Sleepy Hollow suggests the backwardness of the place, its inability to progress and embrace reforms. As the narrator recounts, despite the migration and improvement during the said time, population, manners, and customs remain fixed (Irving 2) in the Sleepy Hollow, and people are given to all kinds ofmarvelous beliefs, are subject to trances and visions, and frequently see strange sights, and hear music and voices in the air. (Irving 2) In addition, the characters submit to all kinds of tales and such is their pastime and main activity during occasions. No single character is exempted from this behavior, even the male figures Ichabod and Brom, who are often contrasted. As Daniel Hoffman notes, Ichabod and Brom present the regional clash between characters. In the story, we see the Yankee versus the Backwoodsman (86).
Nevertheless, this contrast does not affect the way the two behave in the story in regard to their belief in superstitions. The main character, Ichabod, who is a schoolteacher is fond of telling tales of magic and superstitions. Surprisingly and more ridiculously presented is the character of Brom Van Brunt, who likewise believes in such stories, and even makes up his own. Nevertheless, his attitude is quite different from the rest, because while everyone fears the headless creature, he claims to have defeated it. In addition, the old man, Balt Van Tassel, a respected landowner, is himself fond of supernatural tales too. During the party, he engages in storytelling about the unknown. Considering these, Irving once again exaggerates in his description of the characters. As Greven (89) claims, a certain fetishization of fraternity exists here, making male characters such as Ichabod a homosocial individual. Irving actually involves all characters, implying that they share the same attitude. Assigning similarities, Irving implies his strong criticism and intolerance of the people, especially of Dutch settlers during the said time.
Overall, the exaggerated description of the characters, setting, and events in the story make it appear too fictional. The imaginary place, trivial characters, and their gossiping that leads them to backwardness imply the authors strong criticism of such societies that existed during his time. In particular, he sets his story in New York to effect a contrast between Sleepy Hollow and the citys reforms. Moreover, Irving shows intolerance of the peoples behavior by making Ichabod disappear. Not knowing what happens to him, the people will believe what they want to believe, thus suggesting two options, whether to dwell in the impossible or to be realistic. Furthermore, Irving does not just present sleepy societies in exaggeration. He also expresses intolerance of them. Using a dead fictional character by the name of Knickerbocker, he suggests that such tales should remain as tales. He does not make Knickerbocker a living narrator in order to emphasize that along with the tales he collected, he too is obsolete, and should just remain a memory.
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