eeming to almost stand still for Peyton, and thus alerts us to the difference between real time and the internal clock Farquhar thinks is real. Another example of Bierce’s use of foreboding is when Peyton Farquhar is in the process of being hanged and the author states, “…it seemed to him [Farquhar]…” It seemed like he had broken free from the bondage of the rope—it only seemed that way to him. When one rereads the story carefully, it is easy to see how such a small clue in that one word “seemed” could be so very important.Another amazing aspect of this story is how closely the author makes us examine this horrible situation. This clearly relates to the story’s theme, which makes us think of Bierce’s short biographical notes in our text. Bierce fought and was wounded in the Civil War, a war which jaded him forevermore. By giving us a cold, objective report on the story’s events, he lets us experience the cold, lonely feelings one would have in a war without having the narrator or the character simply experience the horror for us. Instead, the reader must go through the emotional work of the story; and this puts us squarely at the center of the action and the travesty of war. This really is a sweet irony, because while Bierce says less, he actually makes us think more. Kline, 2.Therefore, through Bierce’s artistry in developing style, plot and theme, a careful reader will bear witness to the absurdity of war. In a cold, clear style Bierce makes us deal with this man on the bridge -- and aren’t we all on that bridge, tottering between life and death? ...
