Thorpe’s tall tale about the Big Bear of Arkansas is written from an outside perspective but only in an effort to bring the listener into the tall tale that Jim Dogget, the Big Bear, relays to the audience. As a result, the story is almost entirely dialogue. Longstreet’s “Georgia Theatrics,” on the other hand, makes the narrator a more natural part of the story and as a result uses minimal dialogue. Longstreet unfolds the story before the audience’s eyes, from the perspective of the speaker. Therefore, the audience is never really introduced to the narrator and instead discovers him through the details that Longstreet sprinkles into the story (e.g. “he dismounts” means that the narrator was at some point on a horse. This information was never provided directly).
While both stories contain minimal dialogue, Irving’s tall tale is almost entirely fictional and few people are likely to believe it. It’s a fable, a folk story. Thorpe’s “Big Bear of Arkansas,” on the other hand, is more realistic and probable. Irving tries to ground “Rip Van Winkle” in history by providing the reader with an introduction that indicates that the story was found in the papers of the late Dietrich Knickerbocker but in comparison to Thorpe’s “Big Bear of Arkansas,” it still seems to be only a sketch. As a tall tale is not as believable and appears to be an allegory.
Tall tales are appealing to young America because they capture the imagination of the frontier. Photos are rare and black-and-white and video is not existent. All America has at this time is stories or rather spoken word stories, since many people can’t read and books are expensive and difficult to transport. The spoken word relies on plot and the more exciting the plot (or the essence of the story) the more exciting the story itself. Exciting stories also engage listeners more and are as a result more likely to be retold. As a result unbelievable or almost believable tall tales are ideal vehicles for entertainment in a young America.