Chickamauga Research Paper Thesis StatementAmbrose Bierces Essay
Chickamauga Essay, Research Paper
More Essay Examples on
Ambrose Bierce? - Chickamauga Research Paper Thesis StatementAmbrose Bierces Essay introduction.? s? Chickamauga? is representative of his typical capable affair, subject, and manner.
II. Biographical Sketch
A. Military experiences
B. Consequence of the loss of his married woman and eldest boy
III. Bierce? s capable affair
IV. Bierce? s subjects
A. Supernatural subjects
B. Military subjects
V. Bierce? s manner of composing
VI. Bierce? s capable affair in? Chickamauga?
A. Civil War
VII. Bierce? s subject in? Chickamauga?
VIII. Bierce? s manner in? Chickamauga?
A. Switching points of position
B. Adult and kid positions
Ambrose Bierce? s? Chickamauga? is representative of his typical capable affair, subject, and manner. His capable affair frequently deals with the Civil War and its horrors. Having served in several conflicts during the Civil War, Bierce strives to expose, through his Hagiographas, the true desolation which comes as a consequence of wars. His subject, although sometimes ghastly, emphasizes the world of warfare. Again, Bierce is trusting on his ain war experiences in order to hold his audience empathize with his characters. Ambrose Bierce? s manner of composing includes shifting of positions from one character to another. With his ain unique capable affair, subject, and manner, Bierce develops narratives which involvement readers from coevals to coevals.
Ambrose Bierce was born in 1842 ( May 368 ) . At the age of 19, Ambrose Bierce joined the 9th Indiana Volunteers, in 1861, for the United States of America ( Appelbaum three ) . He was in several of the bloodiest conflicts of the Civil War ( Appelbaum three ) . Bierce was at Chickamauga, where 34,000 work forces lost their lives ( Appelbaum three ) . During conflicts, he risked his ain life several times to deliver his fallen companions ( Appelbaum three ) . Once, at Kennesaw Mountain in northern Georgia, he himself was earnestly wounded ( Appelbaum three ) . Bierce recovered, though, and he went on to compose many narratives covering with the Civil War. The conflicts he participated in and the things he saw in those conflicts gave him inspiration for his narratives ( Hall 87 ) .
Ambrose Bierce used his experiences in the Civil War to understand and to convey to other people through his authorship that war is non glorious & # 8211 ; it is atrocious. Even though Bierce wrote more supernatural narratives, he is better known for his Civil War short narratives ( Hall 87 ) . Of a sum of 93 short narratives, 53 were supernatural ( Gullette ) . Bierce was able to compose converting narratives with less than one 1000 words ( Gullette ) . Many of his Hagiographas are less than three 1000 words ( Gullette ) . Some of his short narratives had a Civil War and a supernatural facet to them. ? Chickamauga? is an illustration of one of these narratives. Sharan K. Hall described Ambrose Bierce? s narratives as holding? an attractive force for decease in its more eccentric signifiers, having word pictures of mental impairment, eldritch manifestations, and showing the horror of being in a meaningless existence? ( 87 ) . Many of Bierce? s narratives shock the reader, and the narratives tell about a bloodcurdling world ( May 370 ) . James K. Folsom described Ambrose Bierce? s composing like this:
Many people think Ambrose Bierce is obsessed with decease ; incapable of compassion. A less moralistic and biographical reevaluation of Bierce? s work, nevertheless, reveals his rational captivation with the consequence of the occult on the human imaginativeness. ( 222 )
Alan Gullette suggested that possibly the ground Bierce is so dark and negotiations about such morbid things is because the separation from his married woman and the self-destruction of his eldest boy made him acrimonious. Gullette suggested that possibly this resentment strengthened the consequence of his pen and darkened his sarcasm and morbid fiction to an extent possibly no other writer has achieved. In fact, Bierce earned the moniker of? Bitter Bierce? ( Probst 466 ) .
Even though Bierce wrote short narratives that dealt with supernatural subjects, he is better known for his military subjects ( Folsom 225 ) . The ground is that Bierce was one time in the United States Army during the Civil War, and he was familiar with the armed forces ( Folsom 225 ) . In Bierce? s military narratives, the subject is an antiwar one ( May 369 ) . His Hagiographas centre on warfare and the cruel joke it plays on humanity ( Probst 466 ) . Ambrose Bierce wants to destruct the position of many people that war is a topographic point to derive glorification. Bierce wants to replace this point of view with the images of people deceasing and what war is truly similar. War is atrocious, and it is a topographic point where people die.
Ambrose Bierce uses point of position good ( May 370 ) . He shifts positions from one individual to another. Gertrude Franklin Atherton said, ? Bierce? s art of building is so elusive and his power so dominant that the heads of his readers are his until they lay down the work? ( 88 ) .
Vincent Starrett explained? Chickamauga? as being matchless and representative of Bierce? s greatest achievement in the art of authorship ( 89 ) . He wrote:
? Chickamauga? is a monstrously flooring history of a deaf deaf-and-dumb person kid who, rolling from place, brushs in the forests a host of hurt soldiers horridly creeping from the battleground, and thinks they are playing a game. Rebuffed by the jawless adult male, upon whose dorsum he tries to sit, the kid finally returns to his place, to happen it burned and his female parent slain and dreadfully mutilated by a shell. It probes the really depths of material horror. ( 89 )
? Chickamauga? follows Ambrose Bierce? s typical capable affair. This short narrative is about the Civil War because the scene centres around Chickamauga in northern Georgia, in 1864, duri
ng the Civil War. ? Chickamauga? is besides a supernatural narrative which focuses non so much on external world as it does on the strange, surreal universe that lies someplace between phantasy and world ( May 369-370 ) . Bierce holds the reader suspended between world and phantasy until the concluding grotesque realisation, which, in hindsight, explains a great trade ( May 370-371 ) . The concluding episode reveals why the male child ne’er spoke and why he did non wake up when the soldiers walked right near him and when the cannons were being fired during the conflict at Chickamauga. Turns at the terminal of Bierce? s narratives are common ( Gullette ) .
? Chickamauga? follows Ambrose Bierce? s typical subject. In his military narratives, Ambrose Bierce normally has an antiwar subject. James K. Folsom described the subject of the narrative:
Upon the first reading of the narrative leaves one with a somewhat false feeling of its significance. The narrative does non state us, as it seems to, and as so many faery narratives do, that it is better non to go forth place and venture into the wild wood. In the universe of? Chickamauga, ? safety is to be found neither at place nor abroad. By rolling off into the forests the male child possibly escaped the destiny of those who remained at place, and yet his symbolic journey has merely brought him back to a universe where decease is everyplace supreme. ( 225 )
The descriptions of the grotesque positions that the male child sees show that Bierce is seeking to demo the horrors of war. He wants to demo what the soldiers go through during war. Of Ambrose Bierce? s subject in? Chickamauga? Charles E. May said:
The antiwar subject of Bierce? s narrative depends on the basic tensenesss between the kid universe and the grownup universe and between phantasy and world. The male child? s fantasy universe is his world. When he meets the existent world, he is intrigued. He thinks the work forces who are deceasing are in his fantasy universe and they become portion of his world. He doesn? T know that the work forces are deceasing. Bierce develops the narrative on the dry realisation that the grownup position of war frequently springs from childly positions in which work forces glorify conflict in a heroic and fantasy image, merely to happen out excessively tardily that the world of war is horror and decease. ( 369 )
? Chickamauga? follows Ambrose Bierce? s typical manner. He shifts points of position often in his narratives. In? Chickamauga, ? Ambrose Bierce uses the position of a deaf deaf-and-dumb person kid ( May 370 ) . Charles E. May wrote that the narrative depends on Bierce? s development of the position of the kid, in which the reader is made to see the wounded and shed blooding soldiers as circus buffoons and childlike playfellows for the male child ( 370 ) . The kid does non understand what is traveling on, and he pretends the soldiers are at that place for his amusement and that they are friends with which to play. May wrote that this point of position is balanced by that of an grownup storyteller, who counterparts the male child? s infantile position, sometimes in a developed background expounding, sometimes in a consecutive declaratory statement ( 370 ) . For illustration, when the male child seems to see some unusual animate beings that he does non acknowledge creeping through the wood, the storyteller merely says, ? They were work forces? ( May 370 ) . Another illustration is when the male child sees work forces lying in the H2O as if without caputs, the storyteller merely says, ? They were drowned? ( May 370 ) . The grownup storyteller is non named in the narrative, but is presented as a discorporate presence who non merely sees what the male child sees but besides sees the male child and draws decisions about the male child? s responses ( May 370 ) . This technique allows the reader to see the male child? s and the grownup storyteller? s point of position ( May 370 ) . The storyteller in the narrative is the voice of truth. He truly sees what is traveling on, and he helps the reader understand what the male child is seeing. Without the grownup storyteller, the reader would acquire confused about what the male child is truly seeing. The male child is guiltless in his playful point of position, but at the same clip the playful point of position is what is responsible for the decease of the persons who surround the kid ( May 370 ) .
? Chickamauga? trades with Ambrose Bierce? s typical capable affair. It besides contains Ambrose Bierce? s usual subject and manner. ? Chickamauga? represents all of these features. ? Chickamauga? is about the Civil War, and it besides has a supernatural side to it. The narrative takes topographic point at a Civil War conflict, and there is a deaf male child who is rolling around seeing monstrous figures of worlds. The subject of? Chickamauga? is an antiwar subject. Ambrose Bierce besides uses switching of positions. He changes from the grownup to the male child and back and Forth. In his usage of these different narrative elements of capable affair, subject, and manner, Ambrose Bierce has developed his ain alone manner of authorship.
Appelbaum, Stanley, Ed. Civil War Stories. New York: Dover Publications, Inc. , 1994.
Atherton, Gertrude Franklin. ? The Literary Development of California. ? Twentieth Century
Literary Criticism. Ed. Sharon K. Hall. Detroit: Gale Research Comp. , 1982.
Folsom, James K. ? Ambrose Bierce. ? Critical Survey of Short Fiction. Ed. Frank N. Magill.
Rev. Ed. Englewood Cliffs, NJ: Salem Press, 1993.
Gullette, Alan. Ambrose Bierce. 13 December 1999.
hypertext transfer protocol: //www.creative.net/~alang/lit/horror/abierce.sht
Hall, Sharon K. , Ed. ? Ambrose Bierce. ? Twentieth Century Literary Criticism. Detroit: Gale
Research Comp. , 1982.
May, Charles E. ? Chickamauga. ? Masterpoints II: Short Story Series. Ed. Frank N. Magill.
Pasadena, CA: Salem Press, 1986.
Probst, Robert, Ed. ? Ambrose Bierce. ? Elementss of Literature. Fifth Course: Literature of the
United States. Atlanta: Holt, Rinehart, and Winston, 1997. 466.
Starrett, Vincent. ? Ambrose Bierce. ? Twentieth Century Literary Criticism. Ed. Sharon K. Hall.
Detroit: Gale Research Comp. , 1982.