A Critical Analysis of the Legend of the Sleeping Cavity of Washington Irving

Washington Irving weaves tons and tons of spider webs before he gets to the main plot of the story. I would like to analyze the story from the standpoint of romance, gothic fiction, Marxism, psychoanalysis and feminism.

Like romance, the story revolves around the main character Ichabold Crane's efforts to wake Katrina. Ichabold Crane comes to the village to be a schoolmaster. Katrina's in love lady has many fans and the story sets up a confrontation between Bromo Bones, a rustic guy and Ichabold, who is also a fan of hers. Romance follows the typical medieval pattern of courtly love. Men strive to advance Katrina in a kind way. Katrina finds it tempting to be woken by many men. The philosopher Kristeva identified this kind of romantic paradigm as belonging to a melancholy that longs for something that cannot be obtained. In this game of romance, women are silenced, and romance acts as a ritual play of men. Are women objects to worship in the court and receive them with auditory gestures? Does the ideal of romance change in women who have a more active role? Are women, poetic hearts decorating? Do gender roles change and become more feminine in today's romance? The questions are easy to ask, but the answers are hard to guess.

The story is modeled after Gothic fiction and the village is littered with many spooky stories. The most prominent of these is the legend of a headless horseman who visits the village at night and returns to his grave before sunrise. The legend of the headless horseman becomes at the heart of the story that we will eventually realize that after a party at Katrina's house, while Ichabold Crane is riding on a horse, he is attended without a head. horseman and loses control of his horse and when his head throws him, it becomes a complete mess. We can only imagine that the author played up the plot as a plot made by Ichabold's rival Brom Bones, who is Katrina's fan who drove him out of the village. The author has created a plot that is weak but still leaves much room for imaginary imagination. The post modern fiction genre has declared the chub of death a Gothic. New Age readers can read the plot through the plot as a fictional construct, and Gothic conspiracies in the postmodern era are boring. The reality is not fantastic but aesthetically pleasing in the modern fictional sense. Ridicula, irony and self-reflection are the devices through which the post modern writer explores his work.

From a Marxist perspective, the story portrays the life of an elite bourgeoisie, which is rich but rustic and not very educated. The irony is that they don't pay much importance on their children's education. This is revealed in the dry construction of the school which is really a pity. Non-gravity is also portrayed in the story with a class of scorn consciousness. The story portrays the evolution of rural America and fits into the paradigm of class consciousness that is snobbery, elite and still confused in the waters of disability. The cultural beliefs and values ​​of Rural America are primitive and deeply engrossed in super-naturalism and myths. The main character of the play, Ichabold, is the only character reminiscent of the proletariat. But then again the author dresses him with superstitious beliefs. Women are limited to the role of virtuous housewives or as men as objects to determine their charms.

Psychoanalytically, the story revolves around persecuted spectacles, Christianity, and witchcraft. People in the village are riddled with panofin confused jargon about persistent Christian beliefs and still ardent worshipers of witchcraft. This salmagundi is a unified reel of irrationality. It is difficult to digest these myths in the postmodern era. It also reveals the author's confusion of emotional dialectic between hard Christian beliefs and paganism. At the archetypal level, the dualism of the cosmos with good and evil emerges as silhouettes that wear down the mind in perforated materials. The devil and God become allegorical attributes of a mind puzzled by hidden puzzles. The author's unconsciousness is manifested by a consciousness that myth and superstition intensify with reality.

Looking at the story from a feminist standpoint, we can say that the men are phallic fathers looking for an Oedipal female. Women are either docile, housewives or flirtatious ladies ready to be attracted to men. Yes, Katrina is an authoritarian feminist when it comes to romance. She enjoys charming all men to seduce her. But Katrina's role is limited to the gender stereotype and lacks autonomy and democracy. The phallic language of the text by creating stereotypes of male and female should be questioned through the lens of feminist deconstruction. Gender and language vibrate with a magnet that is a utopian phallic father.