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.

Question

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.

Characterization: How we know what we know about the characters.
Direct characterization- explicitly told to us by the author.
Indirect characterization- things we learn about the character from what they do, say, think.

Answer 1

Edgar Allan Poe and Mark Twain are two distinct literary figures whose styles reflect their unique approaches to language, character development, and narrative techniques. Here, I'll compare and contrast their use of language in terms of characterization, creating vivid images, and conveying details regarding character, setting, and plot.

Characterization

Poe:

• Direct Characterization: Poe often uses direct characterization, explicitly stating information about characters to evoke their psychological depth and motivations. For instance, in "The Tell-Tale Heart," the narrator describes himself as "nervous, very dreadfully nervous," offering a direct insight into his disturbed psyche.
• Indirect Characterization: Poe excels at indirect characterization through mood and setting. His characters often reveal themselves through their actions and thoughts, particularly in moments of distress or anxiety. The narrator's obsession in "The Tell-Tale Heart" grows from his inner turmoil, hinting at madness without overtly stating it.

Twain:

• Direct Characterization: Twain also employs direct characterization but often uses it in a more colloquial manner. Simon Wheeler from “The Celebrated Jumping Frog of Calaveras County” is described directly as "garrulous" and "good-natured." This straightforward depiction helps set an accessible tone for Twain's works.
• Indirect Characterization: Twain is a master of indirect characterization, frequently revealing characters through their dialect, actions, and humorous anecdotes. For example, Jim Smiley’s betting habits convey his opportunistic nature and obsession with gambling, allowing readers to infer much about his personality through his behavior rather than through explicit description.

Language Use and Vivid Imagery

Poe:

• Evocative Language: Poe's use of language is rich with dark, evocative imagery that elicits strong emotional responses. His sentences often have a rhythmic quality, enhancing the atmosphere. For example, his descriptions in "The Fall of the House of Usher" include phrases like "decayed trees" and "white lace draperies," creating a foreboding tonal landscape that serves to heighten the tension and impending doom.
• Symbolism and Psychological Depth: Poe’s language often harbors deep symbolism and a focus on the psychological aspects of the characters. His word choice conveys feelings of despair, obsession, and decay, contributing to a complex understanding of his characters’ motivations.

Twain:

• Colloquial and Humorous Language: In contrast, Twain employs everyday language and regional dialects, capturing the vernacular speech of his characters. This approach creates an immediacy and accessibility in his storytelling, as seen in Wheeler's narration. His humorous style, such as the absurd bets Jim Smiley makes, enriches the narrative with comic relief, offering insight into human nature through satire.
• Descriptive Detail and Setting: Twain’s setting descriptions are less ornate than Poe's but are grounded in a vivid realism that transports readers to the American West. For example, the setting of Angel's Camp, a dilapidated mining town, is painted with a realism that immerses the reader in the social dynamics and historical context of the story.

Conveying Details Regarding Setting and Plot

Poe:

• Atmospheric Detail: Poe's settings contribute to a sense of claustrophobia and horror, often mirroring the inner turmoil of the characters. The oppressive atmosphere in stories like "The Masque of the Red Death" serves as both setting and character, reflecting the futility of escape from death.
• Plot Development: The meticulous pacing of Poe's narratives builds suspense and engages readers in the psychological unraveling of characters, connecting plot development to the overarching themes of madness and guilt.

Twain:

• Social Commentary: Twain’s settings often reflect the societal attitudes and conflicts of his time, using humor and anecdotal storytelling to critique social norms, as exemplified in "The Adventures of Huckleberry Finn." His plots weave through a series of humorous yet poignant encounters that reflect broader themes of morality and human folly.
• Episodic Structure: Twain frequently employs an episodic structure, where the plot unfolds through a series of interconnected vignettes, allowing for an exploration of character interactions within the larger setting of the American landscape.

Conclusion

In conclusion, while both Poe and Twain exhibit mastery of language and characterization, they utilize these elements in vastly different ways. Poe’s writing tends to immerse readers in intense psychological landscapes and morbid themes, characterized by dark imagery and a focus on individual turmoil. Conversely, Twain’s work employs humor and regional dialect, creating relatable characters and satirical commentaries on society. These contrasting styles highlight their distinctive contributions to American literature, making each author’s work resonate in uniquely significant ways.