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1. In the bosom of one of the spacious coves which indent the eastern shore of the Hudson, at that broad expansion of the river denominated by the ancient Dutch navigators the Tappaan Zee, and where they always prudently shortened sail, and implored the protection of St. Nicholas when they crossed, there lies a small market town or rural port, which by some is called Greens burgh, but which is more generally and properly known by the name of Tarry Town. This name was given, we are told in former days, by the good housewives of the adjacent country form the inveterate propensity of their husbands to linger about the village tavern on market days. Be that as it may, I do not vouch for the fact, but merely advert to it, for the sake of being precise and authentic. 1) Identify the author and the title of work from which this part is taken? (Washington Irving; The Legend of Sleepy Hollow.) 2) What is the setting of this novel? (a quiet, dreamy and mysterious valley, full of superstitions or tales about the ghosts. ) 3) From the perspective of setting, what are the differences between traditional gothic fiction and early American fiction? (The settings of the traditional gothic fiction are often castles, basements, churches, abbeys, forests, chambers, etc. while the setting of the early American fiction is frontier wilderness.) 2. I have said that the sole effect of my somewhat childish experiment, of looking down within the tarn, had been to deepen the first singular impression. There can e no doubt that the consciousness of the rapid increase of my superstition — for why should I not so term it? —served mainly to accelerate the increase itself. Such, I have long known, is the paradoxical law of all sentiments having terror as a basis. And it might have been for upon my imagination as really to believe that around about the whole mansion and domain there hung an atmosphere peculiar to themselves and their immediate vicinity, an atmosphere which had no affinity with ht
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