Essays about ichabod crane

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The story was the longest one published as part of The Sketch Book of Geoffrey Crayon, Gent. (commonly referred to as The Sketch Book ), which Irving issued serially throughout 1819 and 1820, using the pseudonym "Geoffrey Crayon". [9] Alongside " Rip Van Winkle ", "The Legend of Sleepy Hollow" is one of Irving's most anthologized, studied, and adapted sketches. Both stories are often paired together in books and other representations, and both are included in surveys of early American literature and Romanticism . [10] Irving's depictions of regional culture and his themes of progress versus tradition, supernatural intervention in the commonplace, and the plight of the individual outsider in an homogeneous community permeate both stories and helped to develop a unique sense of American cultural and existential selfhood during the early nineteenth century. [11]

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A major theme in The Sketchbook is the strength of the imagination and whether it should be allowed to overpower reality. It is rarely a dangerous event in the other stories of The Sketchbook , but “The Legend of Sleepy Hollow” shows what the dangers can be, in the example of the overly-imaginative, indolent Ichabod Crane. This complicates what appears to be Crayon’s verdict throughout the rest of Irving's book—that it is not necessary to pick reality if you can imagine something better. By 1820, writers had generally turned the corner from classical to romantic themes, and questions about what to do about the imagination were of significant interest.

Essays about ichabod crane

essays about ichabod crane

A major theme in The Sketchbook is the strength of the imagination and whether it should be allowed to overpower reality. It is rarely a dangerous event in the other stories of The Sketchbook , but “The Legend of Sleepy Hollow” shows what the dangers can be, in the example of the overly-imaginative, indolent Ichabod Crane. This complicates what appears to be Crayon’s verdict throughout the rest of Irving's book—that it is not necessary to pick reality if you can imagine something better. By 1820, writers had generally turned the corner from classical to romantic themes, and questions about what to do about the imagination were of significant interest.

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