Description
This study analyzes an innovative rhetorical strategy employed in certain of the most challenging and frequently misunderstood stories of the American Renaissance, including Young Goodman Brown, Murders in the Rue Morgue, and Benito Cereno. In these stories, the reader is rhetorically beguiled into sharing the point of view of a character who is self-deluded and implicated in crime, yet whose true nature is never explicitly revealed, except through the works latent symbolic structure. Although the study draws on the insights of previous scholarship, it seeks to offer original readings of these stories, identifying them as a significant sub-genre of the modern short story.
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