An Occurrence at Owl Creek Bridge 1890 Ambrose

“An Occurrence at Owl Creek Bridge” (1890) Ambrose Bierce

Ambrose Bierce (1842 -1914) n n Journalist, essayist, fiction writer known for his biting wit and mysterious death Born in Ohio, 10 th of 13 children, all with names beginning with “A”; raised on farm in Indiana Worked as printer’s apprentice on anti-slavery newspaper Union soldier in Civil War, rose to rank of lieutenant; at Kenesaw Mountain, bullet in skull behind ear

Ambrose Bierce (1842 -1914) n 1870 s-80 s: journalist and writer in San Francisco (later with Hearst publications) q n n n 1872 -75: magazine writer in London Wrote stories about the War and about California: unsentimental & disillusioned; he read Stoic philosophy Married wealthy miner’s daughter in 1871; divorced in 1905 The Devil’s Dictionary (1911) is his often-quoted book of cynical definitions: Happiness: “an agreeable sensation arising from contemplating the misery of another. ”

Ambrose Bierce (1842 -1914) n n n 1900 -1913: mainly in Washington as political lobbyist for Hearst and journalist Sept. 10, 1913, age 71: "I am going away to South America, and have not the faintest notion when I shall return. ” He posted a letter from Mexico, then vanished; possibly killed in Mexican Civil War

“Occurrence” setting: northern Alabama

Civil War (1861 -65): Union (North) vs. Confederacy (South)

Film Version n n French, directed by Robert Enrico, 1962, 28 min. Starring Roger Jacquet Best short subject at Academy Awards, 1963 Broadcast as an episode of the TV series The Twilight Zone, in 1964 Images from the film are featured in this presentation

Vision vs. Reality n “Occurrence” plays games with vision and reality, on two levels q q n n The apparent Confederate soldier is in fact a “Federal [Union] scout” Farquhar’s apparent escape is only imaginary The confusion is not only Farquhar’s but the reader’s as well Ultimately vision & reality are clearly defined; no supernatural dimension as in “Rip Van Winkle”

Structure n n n Section I: Present; Realism: Military Ritual of Hanging; hint of subjectivity/fantasy Section II: Flashback; Realism/Satire: Framing of Peyton Farquhar by Union spy Section III: Present Future; Fantasy; ends realistically in present

Realism: Military Ritual n n n Section 1; ¶ 1 -2: Bierce establishes texture of reality through close description of execution scene: bodily positions, military rank, physical equipment, etc. ¶ 2, end: the formality of the scene associated with Death ¶ 3: description of protagonist appeals to historical reality and reader’s sympathy: “kindly expression”

Realism/Satire: Framing of Peyton Farquhar n Section II; ¶ 8 -17: Southern gentry portrayed through Bierce’s Northern satiric perspective: q q “Being a slave owner and like other slave owners a politician, he was naturally an original secessionist and ardently devoted to the Southern cause” (¶ 8) “the frankly villainous dictum that all is fair in love and war” (¶ 8) “Mrs. Farquhar was only too happy to serve him with her own white hands” (¶ 9) Ultimate irony: Soldier was a Union spy

Subjectivity/Fantasy (1) n Section 1; ¶ 4, end: subjectivity enters narrative: q Narrator’s detached intellect: n n q “simple and effective” “‘unsteadfast footing’”: quote from Shakespeare’s Henry IV, Part I Time appears to slow down: n n “stream racing madly” “sluggish stream” Slowing of his watch, increase in volume

Subjectivity/Fantasy (2) n n Section I; ¶ 6: “Flash” of thought expressed as words: “If I could free my hands. . ” Section III; ¶ 18: loss of consciousness; reawakening “ages later, it seemed”; pain of hanging, “unaccompanied by thought” Thought restored: impression that rope has broken and he is in stream ¶ 19: Detached from himself: “watched” his hands free themselves and remove noose; he surfaces

Subjectivity/Fantasy (3) n ¶ 20: Senses “preternaturally keen and alert”; observes natural world q q Ripples of stream Leaves of trees, insects Dewdrops on blades of grass Gnats, dragon flies, water spiders, fish

Subjectivity/Fantasy (4) n n ¶ 21: Sees his executioners: “their forms gigantic” ¶ 22: One of sentinels fires rifle; Farquhar sees his “gray eye” looking into the rifle sights: an impossible perception q n n Note: Farquhar’s own eye is gray (¶ 3) ¶ 25: Bullets fired; one lodges in his neck and “he snatched it out” (unrealistic detail) ¶ 30: cannon fired

Subjectivity/Fantasy (5) n ¶ 31: whirling: “Objects were represented by their colors only; circular horizontal streaks of color”; similar to painterly expressionism, e. g. , The Scream (1893; same decade as Bierce’s story) by Norwegian artist Edvard Munch (1863 -1944); see next slide

Subjectivity/Fantasy (6) n Details suggest artificial, dreamlike setting: q q q ¶ 31: Sand like “diamonds, rubies, emeralds; trees “giant garden plants; he noted a definite order to their arrangement” ¶ 33: “forest seemed interminable”; “He had not known that he lived in so wild a region”: uncanny ¶ 34: Nightfall: road “wide and straight as a city street, yet it seemed untraveled. No fields bordered it, no dwellings anywhere. ”

Subjectivity/Fantasy (7) n Some details hint at menace, threat: q q q ¶ 34: “black bodies of trees formed a straight wall on both sides” “strange constellations”: “secret and malign significance” “whispers in an unknown tongue”

Re-emergence of Reality n ¶ 35: Hints that Farquhar is still in the noose: q q Neck pain Eyes congested, unable to close Tongue swollen, thrust out Feet suspended above ground

Final Fantasy, Then Reality n n ¶ 36: Morning: approaches home Wife standing to meet him: “fresh and cool and sweet, ” “smile of ineffable joy” Farquhar “springs forwards with extended arms”; “stunning blow to back of neck”; “blinding white light”; “darkness and silence” ¶ 37: “Peyton Farquhar was dead; his body, with a broken neck, swung gently from side to side beneath the timbers of the Owl Creek bridge. ”

Conclusion n “Occurrence” is a psychological study of consciousness and its struggle against death Like the other stories in this section, it portrays a man lost in a journey beyond the home, trying to regain his place Like “Rip Van Winkle, ” there is a political dimension: here the Civil War q Southern Plantation life portrayed as fantasy