By Mark Twain (1835–1910)

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:

Setting:
The town:
The saloon:
The race:

Plot:
Exposition:
Rising Action:
Climax:
Falling Action:
Resolution

Author: Edgar Allan Poe
Poem: The Raven

Characterization:
The narrator:
The raven:

Setting:
The room:

Plot:
Exposition:
Rising Action:
Climax:
Falling Action:
Resolution

answer only using the paragraphs ahead using quotes from the short story

1 answer

Mark Twain: "The Celebrated Jumping Frog of Calaveras County"

Characterization:

  • Smiley: Twain uses humor and exaggeration in describing Jim Smiley, illustrating his obsession with betting anywhere and on anything: “he was the curiousest man about always betting on anything that turned up.” This characterization reveals Smiley's comical nature and relentless pursuit of gambling.

  • The frog: The frog is central to Smiley's identity as a gambler. Twain describes it indirectly: Smiley's confidence in the frog’s jumping capabilities reflects his over-the-top expectations and adds to the comedic tension of the story.

  • The dog: Smiley’s dog, referenced indirectly through the narrative, serves as a comparison for Smiley’s determination: “But still he was lucky, uncommon lucky; he most always come out winner.” This implies the dog likely mirrors Smiley’s characteristics of competitiveness and luck.

  • The stranger: The stranger’s cool demeanor contrasts with Smiley’s exuberance. He enters the scene as an outsider, allowing for the development of the humorous climax as he tricks Smiley.

Setting:

  • The town: Twain establishes the setting through the mention of “the dilapidated tavern in the decayed mining camp of Angel’s,” which reflects the rough, rugged atmosphere of the western frontier and evokes a sense of nostalgia.

  • The saloon: The saloon is both a literal and metaphorical space for the story's unfolding events. The description of Simon Wheeler dozing by the stove creates a vivid image of a relaxed, leisurely environment: “I found Simon Wheeler dozing comfortably by the bar-room stove.”

  • The race: The race context creates tension and excitement, central to Smiley's character. The description brings visualization of the community and atmosphere: the anticipation of a frog jumping competition.

Plot:

  • Exposition: The story opens with a frame narrative that establishes the context of the inquiry into Leonidas W. Smiley.

  • Rising Action: The rising action builds with Simon Wheeler’s long, unbroken narrative about Jim Smiley’s betting habits, culminating in the introduction of the frog bet.

  • Climax: The climax occurs when the stranger tricks Smiley by filling his frog with quail shot, leading to the unexpected defeat of Smiley's frog in the race against the stranger's frog.

  • Falling Action: The falling action unfolds as Smiley’s realization dawns on him, providing a moment of comedic irony and realization of his gullibility.

  • Resolution: The story concludes with Simon Wheeler's unperturbed demeanor, creating an ironic distance as he continues reminiscing, leaving the narrator’s quest for Leonidas W. Smiley unfulfilled.

Edgar Allan Poe: "The Raven"

Characterization:

  • The narrator: Poe creates a deep sense of despair and obsession within the narrator, illustrated through his feelings of despair for his lost love, Lenore: “And the silken, sad, uncertain rustling of each purple curtain.” This imagery connects his psychological state to the setting.

  • The raven: The raven symbolizes the persistent nature of grief and despair, epitomized through its repeated utterance of “Nevermore,” which encapsulates the torment that shapes the narrator’s mental decline.

Setting:

  • The room: The setting is claustrophobic and laden with a sense of gloom. Poe crafts an atmosphere of tragedy and a somber reflection through descriptions of the midnight hour: “And each separate dying ember writhed upon the floor.” This imagery enhances the oppressive nature of the narrator’s sorrow.

Plot:

  • Exposition: The poem begins with the narrator’s sense of loss, setting a dark, somber tone and revealing his grief over Lenore: “While I pondered, weak and weary.”

  • Rising Action: The rising action consists of the narrator's encounter with the raven, whose presence begins to deepen his despair as he questions its meaning and the nature of his grief.

  • Climax: The climax occurs with the raven’s response “Nevermore,” marking a turning point in the narrator's realization of the permanence of his loss.

  • Falling Action: The falling action follows as the narrator grapples with the implications of the raven's words and his spiraling madness.

  • Resolution: The poem concludes with a haunting acceptance of futility as the narrator contemplates his undying sorrow, affirming his descent into despair.

Comparison and Contrast

Language and Imagery: Twain's style in "The Celebrated Jumping Frog" is characterized by its humor, colloquial language, and a focus on character dialogue that brings the narrative to life, creating a vivid, local color. In contrast, Poe’s "The Raven" employs rhythmic and ornate language, crafting a more atmospheric quality, rich with symbolism and emotional depth.

Character and Setting: In Twain's work, characters are defined by their idiosyncrasies and the setting deeply roots them in a humorous anecdote about gambling culture. Conversely, Poe’s characters embody the profound exploration of psychological states, while the eerie room setting amplifies the mood of despair and introspection.

Plot Development: Twain structures his plot around humor and irony, keeping the reader engaged with light-hearted storytelling despite its unfolding complications. In contrast, Poe offers a tragic arc where the plot spirals into despair, drawing readers into the intense emotional experiences of sorrow and eventual madness.

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