In compliance with the request of a friend of mine, who wrote me from the East, I called on good-natured, garrulous old Simon Wheeler, and inquired after my friend’s friend, Leonidas W. Smiley, as requested to do, and I hereunto append the result. I have a lurking suspicion that Leonidas W. Smiley is a myth; and that my friend never knew such a personage; and that he only conjectured that if I asked old Wheeler about him, it would remind him of his infamous Jim Smiley, and he would go to work and bore me to death with some exasperating reminiscence of him as long and as tedious as it should be useless to me. If that was the design, it succeeded.
I found Simon Wheeler dozing comfortably by the bar-room stove of the dilapidated tavern in the decayed mining camp of Angel’s, and I noticed that he was fat and bald-headed, and had an expression of winning gentleness and simplicity upon his tranquil countenance. He roused up, and gave me good-day. I told him a friend had commissioned me to make some inquiries about a cherished companion of his boyhood named Leonidas W. Smiley—Rev. Leonidas W. Smiley, a young minister of the Gospel, who he had heard was at one time a resident of Angel’s Camp. I added that if Mr. Wheeler could tell me anything about this Rev. Leonidas W. Smiley, I would feel under many obligations to him.
Simon Wheeler backed me into a corner and blockaded me there with his chair, and then sat down and reeled off the monotonous narrative which follows this paragraph. He never smiled, he never frowned, he never changed his voice from the gentle-flowing key to which he tuned his initial sentence, he never betrayed the slightest suspicion of enthusiasm; but all through the interminable narrative there ran a vein of impressive earnestness and sincerity, which showed me plainly that, so far from his imagining that there was anything ridiculous or funny about his story, he regarded it as a really important matter, and admired its two heroes as men of transcendent genius in finesse. I let him go on in his own way, and never interrupted him once.
“Rev. Leonidas W. H’m, Reverend Le—well, there was a feller here once by the name of Jim Smiley, in the winter of ’49—or may be it was the spring of ’50—I don’t recollect exactly, somehow, though what makes me think it was one or the other is because I remember the big flume warn’t finished when he first came to the camp; but any way, he was the curiousest man about always betting on anything that turned up you ever see, if he could get anybody to bet on the other side; and if he couldn’t he’d change sides. Any way that suited the other man would suit him—any way just so’s he got a bet, he was satisfied. But still he was lucky, uncommon lucky; he most always come out winner. He was always ready and laying for a chance; there couldn’t be no solit’ry thing mentioned but that feller’d offer to bet on it, and take any side you please, as I was just telling you. If there was a horse-race, you’d fiind him flush or you’d find him
Analyze the literary styles of Poe and Twain by comparing and contrasting their use of language to create precise, vivid images and convey details regarding character, setting, and plot.
Author: Mark Twain
Story: The Celebrated Jumping Frog of Calaveras County
Characterization:
Smiley:
The frog:
The dog:
The stranger:
Story: The Celebrated Jumping Frog of Calaveras County
Characterization:
Smiley: Jim Smiley is characterized as an obsessive gambler, defined by his inclination to bet on anything. Twain evokes this trait through a humorous and exaggerated portrayal that highlights Smiley's opportunism and luck.
The frog: The frog is described as a clever and unsuspecting participant in Smiley's betting schemes, representing the theme of deception and how appearances can be misleading.
The dog: Smiley's dog is characterized as lazy and overweight, contrasting Smiley's relentless energy and ambition, an illustration of the humor underlying the story.
The stranger: The stranger enters as an outsider, representing a foil to Smiley. His cunningness plays a significant role in the outcome of the frog race, showcasing the tension between the locals and outsiders.
Setting:
The town: Angel's Camp is portrayed as a dilapidated mining camp, signifying a rough, rugged environment that complements the story's themes of chance and fortune.
The saloon: The tavern serves as a hub for community activity and gossip, framing the tale's humorous narrative and the characters' interactions.
The race: The frog race epitomizes the anticipation and excitement in the local culture, while also being a vehicle for irony and trickery.
Plot:
Exposition: The introduction of Simon Wheeler and the inquiry about Leonidas W. Smiley set the stage for the whimsical recounting of Jim Smiley’s adventures.
Rising Action: Jim Smiley's many betting exploits build tension as the focus narrows to the impending frog race against the stranger.
Climax: The climax occurs when Smiley's frog, which is trained to jump, loses unexpectedly, turning the story into a comedic twist.
Falling Action: After discovering he has been deceived, Smiley’s realization and frustration unfold as he tries to understand how he lost.
Resolution: The story concludes without delivering a moral, instead maintaining an air of ironic humor about the nature of gambling and gullibility.
Author: Edgar Allan Poe
Poem: The Raven
Characterization:
The narrator: The narrator is depicted as a despondent and anxious figure, consumed by grief and longing, which is effectively conveyed through dark imagery and emotive language.
The raven: The raven symbolizes a foreboding presence, serving as a catalyst for the narrator's descent into madness and despair, encapsulating themes of loss and memory.
Setting:
The room: The room is described as a lonely and somber space, filled with a sense of isolation and a haunting atmosphere that amplifies the narrator's emotional turmoil.
Plot:
Exposition: The poem opens with a night filled with sorrowful contemplation, establishing the narrator's fragile emotional state.
Rising Action: The raven’s arrival builds suspense as the narrator increasingly interacts with this mysterious creature, revealing his deepening obsession with loss.
Climax: The climax occurs when the narrator confronts the raven about the permanence of his grief, reaching a peak of existential despair.
Falling Action: The narrator’s mental state deteriorates further, marked by frantic dialogues with the raven, symbolizing his battle with overcoming deep-seated sorrow.
Resolution: The poem concludes with the narrator accepting his fate of eternal lament, illustrating a profound sense of hopelessness.
In summary, Twain’s use of colloquial language and humor contrasts sharply with Poe’s somber, elaborate diction and gothic imagery. Twain’s characters, setting, and plot are grounded in the absurdity of everyday life, while Poe’s evoke a haunting, emotional landscape, revealing the complexities of the human psyche in moments of loss and despair.
