Romanticism's Sublime Style in Rip Van Winkle, Legend of Sleepy Hollow and Billy Budd
"Sublime refers to an aesthetic value in which the primary factor is the presence or suggestion of transcendent vastness or greatness, as of power, heroism, extent in space or time"(Internet Encyclopedia). This essay will explore different levels of Romanticism's sublime style in Washington Irving's Rip Van Winkle, The Legend of Sleepy Hollow and Herman Melville's Billy Budd. The essay will particularly focus on how the writers incorporate the spiritual and the terror aspects of the sublime into their work.
American romanticism requires the wilds of nature to be the setting for the sublime. It is in this setting that the protagonist senses a conflict of good and evil. Even though the beautiful surroundings would suggests a pure serenity, the shadows in the beautiful setting reminds one that there is a dark side to nature. In each story there is an antagonist lurking about requiring the protagonist to choose his thinking - and ultimately his destiny. The antagonist in Billy Budd is Claggart, in The Legend of Sleepy Hallow, Brom Bones, and in Rip Van Winkle it could be a toss up between his nagging wife or the "company of odd-looking personages" he meets in the mountains.
Essentially it is Longinus, a first century philosopher, who is first credited with introducing the idea of the sublime into the arts (Weiskel 8). Longinus suggests five sources of sublimity in literature: "(1) the ability to conceive great thoughts, (2) intense emotion, (3) powerful figures of speech, (4) the choice of noble words, and (5) harmonious composition of sentences" (Kennedy, vol. 12). Each of Longinus? foundational sources for sublimity suggests an...
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...n Boulton 40).
Works Cited
Boulton, J. T. Burke?s Enquiry Into The Sublime And The Beautiful. New York: Columbia University, 1958.
The Internet Encyclopedia of Philosophy. 1997. University of Tennessee at Martin. 4 April 2001. http://www.utm.edu/research/iep/s/sublime.htm.
Kennedy, George. "Longinus." The World Book Encyclopedia. 1985. Vol. 12:399.
Melville, Herman. "Billy Budd." Ed. Paul Lauther. The Heath Anthology of
American Literature. New York: Houghton 1998. 2512-2570.
Washington, Irving. "The Legend of Sleep Hallow." Ed. Paul Lauther. The Heath Anthology of American Literature. New York: Houghton 1998. 1354-1373.
-------- "Rip Van Winkle." Ed. Paul Lauther. The Heath Anthology of
American Literature. New York: Houghton 1998. 1342-1354.
Weiskel, Thomas. Romantic Sublime. Baltimore: John Hopkins University, 1976.
Fifteen years separate Washington Irving’s short story “The Legend of Sleepy Hollow” with Nathaniel Hawthorne’s short story, “Young Goodman Brown.” The two share an eerie connection because of the trepidation the two protagonists endure throughout the story. The style of writing between the two is not similar because of the different literary elements they choose to exploit. Irving’s “Sleepy Hollow” chronicles Ichabod Crane’s failed courtship of Katrina Van Tassel as well as his obsession over the legend of the Headless Horseman. Hawthorne’s story follows the spiritual journey of the protagonist, Young Goodman Brown, through the woods of Puritan New England where he looses his religious faith. However, Hawthorne’s work with “Young Goodman Brown” is of higher quality than Irving’s “The Legend of Sleepy Hollow” because Hawthorne succeeds in exploiting symbols, developing characters, and incorporating worthwhile themes.
Burke, Edmund. "Proportion Further Considered". A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and the Beautiful. New York: P.F. Collier & Son, 1909-1917 (New York: Bartleby.com, 2001). http://www.bartleby.com/24/2/305.html
What can be said about the sublime? Class discussion led to the definition of sublime as the element found in travel literature that is unexplainable. It is that part of travel literature where the writer is in awe of his or her surroundings, where nature can be dangerous or where nature reminds a human being of their mortality. The term "sublime" has been applied to travel texts studied in class and it is hard not to compare the sublime from texts earlier in the term to the texts in the later part of the term. Two texts that can be compared in terms of the sublime are A Tour in Switzerland by Helen Williams and History of a Six Weeks' Tour by Mary Shelley and Percy Bysshe Shelley. There are similarities and differences found in both texts concerning individual perspectives of travel and the sublime. The main focus of this commentary will be comparing and contrasting the perspectives of Williams and Shelley within their respective texts, the language of the sublime and the descriptions of the sublime.
Washington Irving was a very ingenious writer; he did not express his stories with Romanticism but with something more creative and dark. Washington Irving has a big role for mood; his stories are creepy, mysterious, and evil. Irving’s stories reflect on the mood, a lot of his work had deep and evil thoughts. “T...
Springer, Haskell. “Introduction to Rip Van Winkle & The Legend of Sleepy Hollow.” (1974). Rpt. in A Century of Commentary on the works on Washington Irving. Ed. Andrew B. Myers. Tarrytown: Sleepy Hollow Restorations, 1976. 480-486.
In 1989 the results of a five year study by the American Psychological Association indicated that the average child has witnessed 8,000 murders and 100,000 other acts of violence on television by the time he or she has completed sixth grade. In further studies it was determined that by the time that same child graduates from high school he or she will have spent 22,000 hours w...
There is a "general consensus among social scientists that television violence increases the propensity to real-life aggression among some viewers," and yet, paradoxically, "there is presently little evidence indicating that violence enhances program popularity" (Diener & DeFour, 1978). Top government studies insist, "violent material is popular" (Surgeon General's Scientific Advisory Committee on Television and Social Behavior, 1972). Differing conclusions may be viable. One leading social psychologist flatly states, "evidence suggests that violence on television is potentially dangerous, in that it serves as a model for behavior -- especially for children" ...
In many novels, such as The Turn of the Screw and The Mysteries of Udolpho, the role of the sublime is not to induce a power of nature in a familiar way but to use nature as an agent or conduit o...
Most Americans probably believe our times are different from Washington Irving’s era. After all, almost 200 years have passed, and the differences in technology and civil liberties alone are huge. However, these dissimilarities seem merely surface ones. When reading “Rip Van Winkle” and “The Legend of Sleepy Hollow,” I find that the world Irving creates in each story is very familiar to the one in which I grew up. The players may have changed, and institutions have mostly replaced roles traditionally taken on by people, but the overall pieces still fit the rural lifestyle of contemporary America.
We have spent a good deal of this semester concentrating on the sublime. We have asked what (in nature) is sublime, how is the sublime described and how do different writers interpret the sublime. A sublime experience is recognizable by key words such as 'awe', 'astonishment' and 'terror', feelings of insignificance, fractured syntax and the general inability to describe what is being experienced. Perception and interpretation of the sublime are directly linked to personal circumstance and suffering, to spiritual beliefs and even expectation (consider Wordsworth's disappointment at Mont Blanc). It has become evident that there is a transition space between what a traveler experiences and what he writes; a place wherein words often fail but the experience is intensified, even understood by the traveler. This space, as I have understood it, is the imagination. In his quest for spiritual identity Thomas Merton offers the above quotation to illustrate what he calls 'interpenetration' between the self and the world. As travel writers engage nature through their imagination, Merton's description of the 'inner ground' is an appropriate one for the Romantic conception of the imagination. ...
Although at times it is easy to get carried away with the adventure of a story, noticing the elements a writer has put into his work is very important. In reading “Young Goodman Brown” and “The Legend of Sleepy Hollow” you can see both similarities as well as differences of how both Nathaniel Hawthorne and Washington Irving chose to illuminate their romantic writing styles. The writers both use a mystical woodsy setting with supernatural twists to draw in readers. Underlying you will find the differing romantic themes each writer used, as well as how each writer chose to end their work.
In the nineteenth century, individuality, personal growth, and imagination characterized the period of Romanticism. Writers of this period searched within their own souls for truth and expression. One subgenre of this time period was Transcendentalism. Transcendentalists believed that nature was the closest you could get to God and that people were born good. When Transcendentalism emerged, many people disagreed with the optimism of the Transcendentalists and these people believed more in the darkness and evilness of humanity. These people came to be known as Dark Romantics. Dark Romanticism was seen in some authors’ poems and stories, such as Edgar Allan Poe’s “The Tell- Tale Heart” and “The Raven” and Nathaniel Hawthorne’s Scarlet Letter and “The Minister’s Black Veil.” These writers’ works contrast with the prospect of Romantic writer Henry David Thoreau’s “Walden.” The Dark Romantics wanted the darkness of the people in their time period be documented as well as the optimism and positivity of the people in their time period.
Furthermore, television violence causes aggressive behavior in children. Many people believe that children who watch violent television programs exhibit more aggressive behavior than that exhibited by children who do not (Kinnear 23). According to the results of many studies and reports, violence on television can lead to aggressive behavior in children (Langone 50). Also, when television was introduced into a community of children for the first time, researchers observed a rise in the level of physical and verbal aggression among these children (Langone 51). The more television violence viewed by a child, the more aggressive the child is (“Children” 1).
In conclusion, the sublime and the beautiful are major topics in romantic poems and novels. Different authors bring out the different ways they can be seen and interpreted. In the novel Frankenstein and the poem “I wandered lonely as a cloud”, the sublime and the beautiful are shown through the feelings and the mind of the main characters. In the poem “Mont Blanc,” the sublime is shown through the complexity of nature and how man will never truly be able to understand it. In order to have something beautiful there must be something sublime, and in order for they’re to be something sublime there must be something beautiful.
Romanticism and Transcendentalism are both literary movements that were appreciated in the American literature. Both movements are quite similar; however, Romanticism is a strong motivational force that depicted emotions, patriotism, and imagination. Dark Romanticism, on the other hand, is a branch of Romanticism that focuses on the evil qualities of the man. Not only it is a branch of Romanticism, however, it is a reaction of Transcendentalism. Transcendentalism focuses on self-realization, empowering the connection between man and nature, and the goodness of man and nature. Throughout the years, American authors such as Nathaniel Hawthorne, Edgar Allen Poe projected dark romantic features in their work, “Young Goodman Brown” and “Tell-Tale Heart”, where they show the conflict between the good and evil. However, Emerson portrayed transcendentlistic characteristics in his book “Nature” as he shows the power of knowledge, nature, and divinity.