By Stephen Crane
A distinct mix of functionality and observation. themes contain physique language and digital camera angles; practice session vs. functionality; set layout, gown and makeup; and historic context. on hand in basic terms IN NORTH the United States.
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Exactly what impelled him to begin The Red Badge we do not know; it is significant of the widespread interest in the Civil War that Crane was able first to publish his novel in a Philadelphia newspaper. His attitude toward war was so cool and ambiguous that jingoes like Theodore Roosevelt (later a bitter critic of Crane's war correspondence from Cuba) were among the first admirers of The Red Badge. War, alas, can be very exciting to men. General Robert E. ” War has traditionally been a surefire subject for writers.
There was an occasional flash and glimmer of steel from the backs of all these huge crawling reptiles. From the road came creakings and rumblings as some surly guns were dragged away. The men stumbled along still muttering speculations. There was a subdued debate. Once a man fell down, and as he reached for his rifle a comrade, unseeing, trod upon his hand. He of the injured fingers swore bitterly and aloud. A low tittering laugh went among his fellows. Presently they passed into a roadway and marched forward with easy strides.
Of course not everybody reads The Red Badge this way. Critical discussion of the book centers on a fundamental disagreement. How seriously did Crane mean us to take the personality of Henry Fleming? Is it possible that for purposes of naturalistic fiction Henry is not required to be a complex personality at all? Or is Henry a hero who disappoints, whom Crane judges critically as a violator of the heroic code? This last interpretation supposes that Crane meant Henry to be a hero. I believe, on the contrary, that in persistently calling Henry “the youth” Crane indicated that he saw war as an “experiment” (a favorite word of Crane's) and that “the youth” is nothing more to Crane than the leading figure in his experiment.