49 pages • 1 hour read
Washington IrvingA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Dutch settlers colonized present-day New York (then called New Netherland) in 1624, after Dutch explorer Henry Hudson discovered that the area, with its navigable rivers and natural resources, could become a lucrative colony for trade in goods and slaves. The colonists fought wars with the Manhattan Indians, from whom they infamously purchased Manhattan Island, and with the English, who sought control of the region, from 1626 to 1664. New York came under British control in 1664 but retained a significant Dutch population, especially in more remote regions like Sleepy Hollow.
Irving alludes to the Dutch colonization and culture of New York frequently. When describing Sleepy Hollow’s dreamlike atmosphere, he writes that these characteristics stem from “the peculiar character of its inhabitants, who are descendants from the original Dutch settlers” (3). He refers to Sleepy Hollow as one of the “little retired Dutch valleys […] in the great State of New York, [where] population, manners, and customs remain fixed” (8). He characterizes one of Ichabod’s students as a “Dutch urchin” (12), the women who tell ghost stories as “old Dutch wives” (20), and Van Tassel as a “Dutch farmer” (24). The narrator makes many more references to the Dutch-ness of Sleepy Hollow. In fact, everyone and everything in Sleepy Hollow are Dutch except for Ichabod Crane and the Headless Horseman.
Though the Headless Horseman myth is endemic to the Dutch community, the Horseman himself was a Hessian general who was decapitated by a cannonball during the Revolutionary War. This is significant because Dutch colonists had lived in the area for over a hundred years before the Revolutionary War took place. The narrator refers to the Headless Horseman as the “Galloping Hessian” throughout the story; Hessian is a term used to describe German soldiers who fought for the British during the American Revolutionary War. By calling the Headless Horseman the Galloping Hessian, Irving emphasizes the Horseman’s German—i.e., non-Dutch—heritage and that he fought for the enemy.
The other notable non-Dutch character in Sleepy Hollow is Ichabod Crane. Ichabod Crane is a “native of Connecticut,” which the English colonized in 1637 (9). Irving states that the witchcraft of which Ichabod is so fond “prevailed in the earlier times of Connecticut” (21). Though Irving does not specify Ichabod’s ethnic background, these details suggest that Ichabod, who is from New England, is of English heritage. Ichabod’s presumptive Englishness aligns him with the Headless Horseman, making them both outsiders.
The heavy emphasis on ethnicity and origin suggests that Dutch roots—or lack thereof—play an important role in the plot’s outcome and in Ichabod Crane’s fate.
Gothic literature is a broad genre, encompassing themes of terror, horror, and the uncanny. Whether due to the supernatural or another malevolent force, an element of inescapable fear is always present. Extreme physical, emotional, and psychological states define gothic literature. Everyday settings and events take on their most concentrated, outlandish forms. One of the key aspects of gothic literature, which is evidenced in “The Legend of Sleepy Hollow,” is that the comfortable becomes terrifying, the safe becomes dangerous, and the known becomes unknown. These dynamics create the dual nature of gothic literature, which blurs the line between life and death.
Gothic literature expresses themes of cultural anxiety. American gothic literature differs from European forms in that the unknowns of the Western frontier, the uncertainties of early democracy, the transition from agriculture to industrialization, and racial anxieties about Native Americans and enslaved African peoples are underlying themes.
In “The Legend of Sleepy Hollow,” the most applicable theme is tradition versus change. As a schoolteacher, Ichabod Crane represents urban learning, which makes the people of Sleepy Hollow uneasy. For example, after Ichabod disappears, Hans Van Ripper decides to take his children out of school, saying that “he never knew any good come of this same reading and writing” (81). When characterizing Sleepy Hollow, the narrator notes that the agricultural community has withstood “the great torrent of migration and improvement, which is making such incessant changes in other parts of this restless country” (8). The people of Sleepy Hollow do not want to change, and, consciously or subconsciously, they use the Headless Horseman as a gatekeeper to ward off the potential threat of outsiders.
The main action in “The Legend of Sleepy Hollow” takes place in the fall. In 1820, most colonies did not celebrate Halloween, but the singing, dancing, ghost stories, and harvest celebration at Van Tassel’s party characterized traditional festivities that became associated with Halloween later in the 19th century.
Halloween as a secular American holiday appeared in the 1840s, when Irish and English immigrants brought traditions akin to contemporary trick-or-treating. The holiday originates from the ancient Celtic festival of Samhain, which celebrated deceased ancestors returning to earth. It was a sacred occasion, and people made bonfires and offerings of prayer, food, and livestock to the dead. Samhain was also a harvest festival to signify the end of fall and the beginning of winter.
The Roman Catholic church appropriated the holiday in the Middle Ages, creating All Souls’ Day (the name Halloween comes from “All Hallows Eve”), which was celebrated on November 2. The day was a religious holiday that also focused on paying homage to the dead. By the early 20th century, Halloween in the United States was fully secularized, but it never lost its association with ghosts and even added other creatures like monsters, witches, zombies, and mummies. All of these beings blur the line between the living and the dead and allow society to celebrate the supernatural and the grotesque, which are otherwise taboo.
By Washington Irving