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Theme Of Romanticism In An Occurrence At Owl Creek Bridge

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The Execution of Romanticism in “An Occurrence at Owl Creek Bridge”
Ambrose Bierce’s “An Occurrence at Owl Creek Bridge” is one of the most thought-provoking Civil War stories written in the 19th century. In this story, Bierce digs his pen into philosophical questions about “the nature of time and the nature of abnormal psychology” (Logan 102). Yet because of the story’s multifaceted poignancy, scholarship has debated whether it is a Romantic yarn, a Gothic tale, or something abruptly more cynical. I will argue that “An Occurrence at Owl Creek Bridge” is actually a transitional short story that explores how the rise of regionalism and realism during the Civil War led to the death of romanticism. In “An Occurrence at Owl Creek Bridge,” the central character Peyton Farquhar functions as a symbol of romanticism. He is an idealistic man with a decidedly romantic view of war: “no service was too humble for him…no adventure too perilous” (Bierce 320). In addition, Farquhar’s reemergence from underwater is a classic romantic rebirth image (Owens 85). Yet while Farquhar himself represents romanticism, Bierce’s characterization of him is far from rose-colored. Bierce makes uses of burlesques to transform Farquhar from a romantic symbol to a satiric object. These burlesques include martial rhetoric (words like ‘gallant,’ ‘inglorious,’ and ‘distinction’), isocolons (the parallel syntax of “no service too humble…no adventure too perilous”), and alliteration (words like ‘longing,’

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