Critical CompARISON: The two Horsemen
Within the novel, The Legend of Sleepy Hollow, Washington Irving uses satire to criticise the conventions of his society. The character Ichabod Crane, from his appearance to his singing voice, is satirically exaggerated- "One might have mistaken him for the genius of famine descending upon the earth, or some scarecrow eloped from a cornfield." And although he is likeable due to his humour, Ichabod is generally cast in a negative light. He is brutal as shown by his vicious use of corporeal punishment- "He ever bore in mind the golden maxim- 'spare the rod, spoil the child.' Ichabod Crane's scholars were certainly not spoiled." However, his main vice is doubtlessly his overwhelming greed. Ichabod has a constant desire for food- “He was a huge feeder, and though lank, had the dilating powers of an anaconda.” America was primarily agricultural at this time, with more than 80% of Americans working on farms. After the American Revolutionary war, the products of agriculture became ever more important to the American economy. Ichabod's insatiable appetite is a reflection of Irving's criticisms of this consumptive attitude. Ichabod's desire to take over property and wealth also reflects this.
Due to the prominence of agriculture, land owners were incredibly wealthy, and good-fortune was generally associated with abundance. This is reflected by Ichabod seeking the land of the farmer Baltus Van Tassel through the marriage of his daughter Katrina. In fact, his soul reason for pursuing Katrina is to the inherit her property- "“as the enraptured Ichabod fancied all this…which surrounded the warm tenement of Van Tassel, his heart yearned after the Damsel who would inherit these domains, and his imagination expanded with the idea how they might readily be turned into cash.” This material attitude is reiterated by Baltus, who compares his love for Katrina with the love of his favourite material possession, his pipe. However, Baltus is "satisfied with his wealth but not proud of it.” Ichabod instead focuses solely upon the acquisition of wealth and status. Irving is critical of this, as is demonstrated when Ichabod imagines all of Baltus' animals as potential meals. The description of the Rooster changes dramatically in tone; "the gallant rooster... a fine gentlemen... crowing in the pride and gladness of his heart" becomes a "bright chanticleer...sprawling on his back, in a side dish, with uplifted claws as if craving that quarter which his chivalrous spirit disdained to ask while living." This demonstrates how old values of nobility are overshadowed by the 19th century desire for material possessions.
Washington reiterates his criticisms of materialism through Ichabod's vanity. Although his appearance unappealing, Ichabod still takes an exorbitant amount of time in "arranging his looks." Ichabod's skewered perspective of himself suggests that Irving found humour within similar attitudes in his own society. Ichabod is the antithesis of the classic 19th Century male. He takes on the classic feminine roles of the era: gossiping, performing domestic duties, looking after children- “rocking cradles." He also happens to be utterly terrified by the supernatural. In fact, he is literally afraid of his own footsteps when walking home at night- "How often did he shrink with curdling awe at the sound of his own steps on the frosty crust beneath his feet!" All the while, stories of the demon Hessian trooper of Sleepy Hollow are related to Ichabod. It is on a night walk that he encounters the horseman and, in a spectacular final scene, is chased from town. The horseman is supposedly a vicious German cavalryman who fought to quell the American uprisings. This highlights America’s experience in the aftermath of the Revolutionary war. However, it is strongly suggested that it was simply Brom Van Brunt in disguise - "look exceedingly knowing whenever the story of Ichabod was related." So, in all likelihood the horseman is a figment of the town's imagination like other "phantoms of the mind that walk in darkness." Thus, Ichabod, an embodiment of the wicked aspects of 19th century America, has been conquered by his own fear- “he who runs races with goblin troopers is likely to have rough riding of it.”
Tim Burton’s movie adaption, Sleepy Hollow, is radically different and strongly reflective of his own time and personal context. The film opens with representations of New York in 1799, dark and bleak in Burton’s classic style. The process of police officers of the time is portrayed as brutal and inefficient. This is where the character Ichabod is introduced, a constable, who strives for justice. It becomes clear that Ichabod values logic, scientific processes and pursuits of the mind. This is in stark contrast with Washington’s Ichabod, whose irrationality is fundamental. Thus, this is a reflection of Burton’s own time; one where technology and science are more prominent forces that religion and superstition. This is continued through Ichabod’s lack of religious faith, due to the cruelty of his religious father- “A bible black tyrant, behind a mask of righteousness.” Ichabod is sent to sleepy hollow to investigate a series of deaths which are the work of the Headless Horseman. Ichabod quickly becomes isolated within the town due to his overwhelming scepticism- “it is truth, but truth is not always appearance.” This is a powerful reflection of Burton’s style: a persecuted outsider for a hero. Burton’s own childhood was one of self-isolation and Ichabod is doubtlessly a reflection of this.
However, the character Katrina, whilst blindfolded, picks Ichabod out of the crowd and gives him a kiss- “A kiss from a lovely young woman before she saw my face or knew my name.” Thus begins a story of true romance between Ichabod and Katrina. This starkly contrasts with Irving’s novel, in which Ichabod only sees Katrina as a means of attaining wealth. She is instead represented as the classicly pure woman, as opposed to Washington’s slightly promiscuous Katrina. This is contrasted with her step-mother who is ultimately revealed to control the rampage of the horseman. Throughout the film, she is painted to be the mad, sexualised female persona who represents sexual aggression. This persona is commonly represented within 1990s popular culture. Her sexuality is reflected through her affair with the town reverend. She often wears a startling yellow dress with a reptilian, scale like print which could be attributed as a reference to the Serpent of the Garden of Eden. Katrina on the other hand reads romances, nurses Ichabod when he is injured and wears only white or blue. Yet, she hides a dark secret: she is a witch. This is reminiscent of images of Ichabod’s mother, a witch who was murdered by Ichabod’s father- “my mother was an innocent, a child of nature, condemned.” She too wears blue, a colour associated with innocence. These parallels highlight Katrina’s nurturing and maternal nature, something that is reflective of modern society’s focus upon the family unit.
Finally, the Horseman himself plays a far greater role in the movie than in the book. He represented as pure evil; ruthlessly murdering those who he is sent after. Thus, he takes on the role of the classic Hollywood villain to be destroyed by those of virtue. The use of excessive amounts of blood and gore highlight the shifting of genre during the 1990s in which screen violence became more publically acceptable. Ichabod finds his entire scientific mindset challenged by his encounters with the horseman and experiences nervous breakdowns- “You don’t know because you were not there!” However, he emerges from these spells of illness with greater focus and ultimately tackles the Horseman and the evil step-mother. Ichabod and Katrina’s love manages to withhold throughout and together they return to a bright and colourful New York- “I am now twice the man, it is your white magic.” This creates a sense of optimism that is classically associated with the Hollywood film formula of the 1990s.
Due to the prominence of agriculture, land owners were incredibly wealthy, and good-fortune was generally associated with abundance. This is reflected by Ichabod seeking the land of the farmer Baltus Van Tassel through the marriage of his daughter Katrina. In fact, his soul reason for pursuing Katrina is to the inherit her property- "“as the enraptured Ichabod fancied all this…which surrounded the warm tenement of Van Tassel, his heart yearned after the Damsel who would inherit these domains, and his imagination expanded with the idea how they might readily be turned into cash.” This material attitude is reiterated by Baltus, who compares his love for Katrina with the love of his favourite material possession, his pipe. However, Baltus is "satisfied with his wealth but not proud of it.” Ichabod instead focuses solely upon the acquisition of wealth and status. Irving is critical of this, as is demonstrated when Ichabod imagines all of Baltus' animals as potential meals. The description of the Rooster changes dramatically in tone; "the gallant rooster... a fine gentlemen... crowing in the pride and gladness of his heart" becomes a "bright chanticleer...sprawling on his back, in a side dish, with uplifted claws as if craving that quarter which his chivalrous spirit disdained to ask while living." This demonstrates how old values of nobility are overshadowed by the 19th century desire for material possessions.
Washington reiterates his criticisms of materialism through Ichabod's vanity. Although his appearance unappealing, Ichabod still takes an exorbitant amount of time in "arranging his looks." Ichabod's skewered perspective of himself suggests that Irving found humour within similar attitudes in his own society. Ichabod is the antithesis of the classic 19th Century male. He takes on the classic feminine roles of the era: gossiping, performing domestic duties, looking after children- “rocking cradles." He also happens to be utterly terrified by the supernatural. In fact, he is literally afraid of his own footsteps when walking home at night- "How often did he shrink with curdling awe at the sound of his own steps on the frosty crust beneath his feet!" All the while, stories of the demon Hessian trooper of Sleepy Hollow are related to Ichabod. It is on a night walk that he encounters the horseman and, in a spectacular final scene, is chased from town. The horseman is supposedly a vicious German cavalryman who fought to quell the American uprisings. This highlights America’s experience in the aftermath of the Revolutionary war. However, it is strongly suggested that it was simply Brom Van Brunt in disguise - "look exceedingly knowing whenever the story of Ichabod was related." So, in all likelihood the horseman is a figment of the town's imagination like other "phantoms of the mind that walk in darkness." Thus, Ichabod, an embodiment of the wicked aspects of 19th century America, has been conquered by his own fear- “he who runs races with goblin troopers is likely to have rough riding of it.”
Tim Burton’s movie adaption, Sleepy Hollow, is radically different and strongly reflective of his own time and personal context. The film opens with representations of New York in 1799, dark and bleak in Burton’s classic style. The process of police officers of the time is portrayed as brutal and inefficient. This is where the character Ichabod is introduced, a constable, who strives for justice. It becomes clear that Ichabod values logic, scientific processes and pursuits of the mind. This is in stark contrast with Washington’s Ichabod, whose irrationality is fundamental. Thus, this is a reflection of Burton’s own time; one where technology and science are more prominent forces that religion and superstition. This is continued through Ichabod’s lack of religious faith, due to the cruelty of his religious father- “A bible black tyrant, behind a mask of righteousness.” Ichabod is sent to sleepy hollow to investigate a series of deaths which are the work of the Headless Horseman. Ichabod quickly becomes isolated within the town due to his overwhelming scepticism- “it is truth, but truth is not always appearance.” This is a powerful reflection of Burton’s style: a persecuted outsider for a hero. Burton’s own childhood was one of self-isolation and Ichabod is doubtlessly a reflection of this.
However, the character Katrina, whilst blindfolded, picks Ichabod out of the crowd and gives him a kiss- “A kiss from a lovely young woman before she saw my face or knew my name.” Thus begins a story of true romance between Ichabod and Katrina. This starkly contrasts with Irving’s novel, in which Ichabod only sees Katrina as a means of attaining wealth. She is instead represented as the classicly pure woman, as opposed to Washington’s slightly promiscuous Katrina. This is contrasted with her step-mother who is ultimately revealed to control the rampage of the horseman. Throughout the film, she is painted to be the mad, sexualised female persona who represents sexual aggression. This persona is commonly represented within 1990s popular culture. Her sexuality is reflected through her affair with the town reverend. She often wears a startling yellow dress with a reptilian, scale like print which could be attributed as a reference to the Serpent of the Garden of Eden. Katrina on the other hand reads romances, nurses Ichabod when he is injured and wears only white or blue. Yet, she hides a dark secret: she is a witch. This is reminiscent of images of Ichabod’s mother, a witch who was murdered by Ichabod’s father- “my mother was an innocent, a child of nature, condemned.” She too wears blue, a colour associated with innocence. These parallels highlight Katrina’s nurturing and maternal nature, something that is reflective of modern society’s focus upon the family unit.
Finally, the Horseman himself plays a far greater role in the movie than in the book. He represented as pure evil; ruthlessly murdering those who he is sent after. Thus, he takes on the role of the classic Hollywood villain to be destroyed by those of virtue. The use of excessive amounts of blood and gore highlight the shifting of genre during the 1990s in which screen violence became more publically acceptable. Ichabod finds his entire scientific mindset challenged by his encounters with the horseman and experiences nervous breakdowns- “You don’t know because you were not there!” However, he emerges from these spells of illness with greater focus and ultimately tackles the Horseman and the evil step-mother. Ichabod and Katrina’s love manages to withhold throughout and together they return to a bright and colourful New York- “I am now twice the man, it is your white magic.” This creates a sense of optimism that is classically associated with the Hollywood film formula of the 1990s.