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The purpose of this article is to analyse the design of romance and the anti-feministic narrative strategy revealed in “The Legend of Sleepy Hollow.” Washington Irving reveals his conservative and anti-feministic view by satire on a romantic love through the design of Gothic romance in “The Legend of Sleepy Hollow.” First, he selects the drowsy, dreamy, and tranquil Sleepy Hollow to make Gothic mood, and then uses the ghost of a Hessian trooper, the legend of the Headless Horseman of Sleepy Hollow, to make a fantastic stage. He also enters two main characters who seem to be knights in the middle ages on the stage. One is Ichabod Crane who is a schoolmaster came to instruct the children of Sleepy Hollow. He is tall, but exceedingly lank with narrow shoulders, long arms and legs. Irving makes him a comic and anti-hero person in appearance and character. The other is Brom Van Brunt who is the hero of the country round, which rang with his feats of strength and hardihood. He is broad-shouldered and double-jointed with short curly black hair, but a rantipole hero. These two people fight each other for Katrina Van Tassel who is a blooming lass of fresh eighteen and a little coquette, famed for both her beauty and her vast expectations. In the fight for love, Ichabod is rejected by Katrina and expelled by Brom who disguised himself in the Headless Horseman. Irving, outwardly, makes only allegorically an attacks on Gothicism in “The Legend of Sleepy Hollow” through the design of Gothic romance and the comic characters. But, inwardly, he reveals his anti-feministic view through a double narrative strategy using the narrator, the third character in the story. The narrator reveals his conservative and anti-feministic view using the male discourse. He has gender anxiety and reinforces his male discourse to oppress female discourse. Irving projects his anti-feministic view indirectly through the design of Gothic romance and the narrator, his spokesman.