Legend of Sleepy Hollow and Other Writings (Barnes & Noble Classics Series) (69 page)

3
(p. 297)
the old gentleman with the haunted head proceeded:
The subsequent tale is not “The Adventure of My Uncle” referred to here, but a later tale in the sequence that is also narrated by “the old gentleman with the haunted head.”

4
(p. 298)
Adventure of the German Student:
The conservatism of this story can be seen in its association of “the liberal doctrines of the day” (p. 302) with a gruesome conclusion that drives the protagonist insane. More importantly for students of American literature, the woman dressed in black introduces a figure and a theme whose psychological depths Edgar Allan Poe would explore in stories such as “Morella” and “Ligeia.”

5
(p. 304)
Adventure of the Mysterious Picture:
With this story Irving is attempting a Gothic tale of greater intensity than the stories that figure in “Dolph Heyliger” or “The Legend of Sleepy Hollow.” It is not the features of the painting that terrorize the narrator but “some horror of the mind, some inscrutable antipathy awakened by this picture” (p. 306). Whereas the reader of “The Legend of Sleepy Hollow” realizes that Ichabod Crane is being chased by Brom Bones disguised as the Headless Horseman, the reader of “The Mysterious Picture” participates in the narrator’s “state of nervous agitation” (p. 307).

6
(p. 312)
Adventure of the Mysterious Stranger:
Presented as an explanation of “Adventure of the Mysterious Picture,” this story anticipates the theme of alienation central to stories such as Nathaniel Hawthorne’s “Wakefield” or Edgar Allan Poe’s “The Man of the Crowd.” However, the subsequent “The Story of the Young Italian” provides a solution to the mystery that renders this sequence more conventional than Hawthorne’s or Poe’s narratives of isolation in the midst of society.

7
(p. 320)
The Story of the Young Italian:
“The Story of the Young Italian” concludes the sequence of stories that began with “Adventure of the Mysterious Picture.” Irving set “Adventure of the German Student” in Paris and “The Story of the Young Italian” in Genoa, cities he stayed in on more than one occasion; but his descriptions lack the verisimilitude of his evocative accounts of the Hudson River Valley. This may in part explain why a critic for
Blackwood’s Edinburgh Magazine
(September 1824) found
Tales of a Traveller
to be derivative, except for the concluding stories set in America, which were “not only worth the bulk of it five hundred times over, but really, and in every respect, worthy of the author and his fame.”

8
(p. 346)
About six miles ... within its clutches:
This description of the strait at the mouth of the East River, which provides access to Long Island Sound from New York Harbor, provides the frame-narrative for the fourth part of
Tales of a Traveller.
Irving uses it to establish the narrative voice of Diedrich Knickerbocker (fictional narrator of
A History of New York),
with his characteristic allusions to classical antiquity and New York’s Dutch colonial history.

9
(p. 349)
Kidd the Pirate:
“Kidd the Pirate” is a second frame-narrative for the fourth part of
Tales;
it is designed to bridge the gap between history and fiction. Irving begins with a popular history of William “Captain” Kidd (c.1645-1701), a Scottish privateer who was ultimately convicted of piracy and murder and hung for his crimes in London. This history provides the basis for the stories that follow.

10
(p. 355)
The Devil and Tom Walker:
This is one of the few stories Irving sets in New England. Walker’s encounter with the Devil in the swamps of Back Bay perhaps anticipates Nathaniel Hawthorne’s “Young Goodman Brown,” but Irving’s characteristic vein of light humor sets a very different tone than Hawthorne’s puritan sensibility.

1
(p. 369)
The following work ... :
Irving first published A History of New York in 1809, but he significantly revised it on five separate occasions throughout his career, culminating with the Author’s Revised Edition of 1848. This last version is the one included in this edition, and as it reflects Irving’s later style and political sensibilities, it has been placed at the end of the volume. The selections included here are designed to introduce readers to the major historical figures around whom Irving chose to organize his work: Oloff Van Cortlandt, founder of the Dutch colony at Manhattan, and the subsequent director-generals of the colony, Wouter Van Twiller, Willem Kieft, and Peter Stuyvesant. Irving’s decision to limit his
History
to the Dutch colonial period preceding England’s control of the colony is significant insofar as it provided his contemporary readers with an historical past free from the influence of English cultural traditions (see the Introduction, pp. xviii, xix and xxx).

2
(p. 373)
Notices:
In the weeks prior to the publication of A History of
New York,
Irving published these notices as a promotional hoax to increase sales (see the Introduction, p. xxiii). His ploy was successful, and a second edition of
A History
was printed in 1812.

America’s first man of letters inspired a host of American authors who alternately revered, questioned, lambasted, and imitated him. The first generation of great American writers—Nathaniel Hawthorne, Herman Melville, and Edgar Allan Poe, among others—all explicitly acknowledged Irving’s influence. Some of them even published their works in
Knickerbocker Magazine,
one of the many invocations of Diedrich Knickerbocker, Irving’s narrator in A History
of New York
(1809). The term “Knickerbocker” eventually came to refer to the descendants of the Dutch of New York and finally to identify all New Yorkers; it is now found in dictionaries.

Poe’s tales of horror—some of them blackly comic and dealing with the supernatural—are often cited as the first American works that distinctly show Irving’s influence. Primarily a poet and writer of short stories, Poe struggled through most of his writing life for favorable attention. Looking to establish a reputation for himself in the American press, he courted Irving, and Irving, in his way, mentored the younger author. When he began to receive letters from Irving, the famously insecure Poe was jubilant. “I am sure you will be pleased to hear that Washington Irving has addressed me 2 letters, abounding in high passages of compliment in regard to my Tales—passages which he desires me to make public,” Poe wrote in a November 11, 1839, letter to his old friend Joseph Evans Snodgrass. “Irving’s name will afford me a complete triumph over those little critics who would endeavor to put me down by raising the hue & cry of
exaggeration
in style, of
Germanism
& such twaddle.” Poe built on the foundation of American folklore and mystery found in Irving’s works, adding to it his own lyricism and quiet beauty. Despite this, Poe never enjoyed literary success during his lifetime to rival Irving’s.

Another writer to whom Irving played mentor is
Twice- Told
Tales author, Nathaniel Hawthorne. Hawthorne is said to have modeled “The Custom-House,” a chapter that precedes the action in The Scarlet Letter (1850), after Irving’s work. Following publication of that novel, Hawthorne’s celebrity soared, and Irving became of one of the many admirers of Hawthorne’s genius. Their mutual affection established, Hawthorne sent the following letter to Irving on July 16, 1852, along with a copy of his newest effort,
The Blithedale Romance
(1852):

American poet Philip Freneau, in “To a New England Poet” (1823), derides Irving’s seeming subservience to Britain’s popular literary tastes: “Lo! he has kissed a Monarch’s—hand! / Before a prince I see him stand, / And with the glittering nobles mix, / Forgetting times of seventy-six.” But a host of American poets emerging in Irving’s wake thought him to be the most important literary figure among them. Henry Wadsworth Longfellow was one such writer who in his works gave Irving his due. In addition to his prose volume
Outre-Mer: A Pilgrimage Beyond the Sea
(1833-1834), which is heavily influenced by Irving, Longfellow composed the poem “In the Churchyard at Tarrytown” in tribute to the author:

Another poetic tribute to the writer of the
The Sketch-Book
came in the form of
A Fable for Critics
(1848), by James Russell Lowell. Lowell’s ten-part poem reads like a who’s who of American letters, including nods to Ralph Waldo Emerson, Poe, Longfellow, and Lowell himself. The stanza concerning Irving follows:

Today, encomiums to an author’s genius usually come in the form of film adaptations rather than verse. Washington Irving’s “The Legend of Sleepy Hollow” has been the stuff of spine-tingling cinema for more than a century, with versions including a handful of shorts from the silent era; the beloved Disney cartoon of 1958, narrated and with songs sung by Bing Crosby; a humorous 1980 television adaptation starring Jeff Goldblum; and, perhaps the most faithful adaptation, a 1999 movie made for Canadian television. The most innovative of the lot is by auteur director Tim Burton. Known for his macabre humor, Burton lends his visionary genius to the Headless Horseman myth with 1999’s
Sleepy Hollow.
The film’s lush atmosphere is accented by poignant and memorable images: a horse carriage careening through a valley reminiscent of Hudson River School paintings; a moonlit New England village enclosed, even preserved, in curtains of fog and mist; and, of course, an epic and unforgettable Headless Horseman, with a cloud of flittering fallen leaves in his terrible wake.

Burton’s film, featuring a screenplay by Andrew Kevin Walker, takes place in 1799. The coming century seems to promise order for the newly minted American nation, but for now, superstition reigns supreme. Ichabod Crane, played by a typically eccentric Johnny Depp, is a Manhattan-based, rational-to-a-fault solicitor, rather than the guileless schoolteacher of Irving’s narrative. Crane is investigating a series of gruesome decapitations, attributed by village locals to the legendary Headless Horseman. Scoffing at what he considers superstitious imaginings, Crane conducts his inquiry with a Holmesian levelheadedness, only to discover that his modern methods and theories are no match for the supernatural phenomena local to Sleepy Hollow. Though the film sags beneath a belabored plot, its heavily atmospheric setting is pitch perfect.

Sleepy Hollow, as its truncated title seems to suggest, is less reverent to its source than are other Irving adaptations. In fact, Burton seems to have cast his eye elsewhere, including at the campy horror films of the 1950s and 1960s produced by the British company Hammer Film Productions Ltd. It is Hammer luminary Christopher Lee playing an imperious New York judge who banishes Crane to Sleepy Hollow in Burton’s film. The Headless Horseman, played by a grotesque Christopher Walken and shown in various flashbacks, is revealed in all manner of gory detail to be a serial decapitator—the ghost of a Hessian soldier who fought in the Revolutionary War on the British side and who was buried sans head. The ensemble cast includes Christina Ricci and Miranda Richardson.