Humankind has constantly been at war. From fighting over land, riches, or power to fighting for “more complex” or “more honorable” ideals such as freedom or equality, man has never had a lack of things to fight over. It is almost as if it is something innate, born and passed through generations. It has great consequences – both for the people fighting and for the civilians who watch their countries descend into turmoil – and yet, it is seen as a necessary evil. In The Red Badge of Courage, Stephen Crane weaves a tapestry of war themes using interlacing threads of personification, metaphor, and color symbolism and imagery to depict war’s dehumanization of man as Henry Fleming discards his youth and takes up the banner of adulthood.
Crane lends war many human aspects through use of personification while the actual human beings in the novel are dehumanized with the stripping of their names and individuality. When the individuals of Henry’s regiment move to perform any given action, the regiment as a collective creature is given the personification of a soldier’s body: “The sore joints of the regiment creaked as it painfully floundered into position” (Crane). Though many of Henry’s regiment are young, green recruits with only a spattering of veterans, the diction of this sentence shows that they are all already war-weary; the toll the violence and horrors of battle takes on the young men is terrible. This consolidation of the men – of individuals – into a single entity removes what little pretense of individuality Crane gives his characters. Even the protagonist, Henry Fleming, is referred to as only “the youth.” By neglecting to give his characters names and by so often referring to the men as only parts of a greater whole, Crane s...
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...t man may delude himself into thinking battles are fought for higher purposes like honor and glory when the reality is that all men are equal – in death.
Works Cited
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Crane, Stephen. "The Red Badge of Courage." Page by Page Books. N.p., n.d. Web. 30 Nov. 2013. .
Marcus, Erin. "Animal Imagery in the Red Badge of Courage." Modern Language Notes. By Mordecai Marcus. 2nd ed. Vol. 74. Baltimore: Johns Hopkins UP, 1959. 108-11. Print.
McDermott, John J. "Symbolism and Psychological Realism in The Red Badge of Courage."Nineteenth-Century Fiction. 3rd ed. Vol. 23. Berkeley: University of California, 1968. 324-31. Print.
In The Red Badge of Courage, Henry Fleming was drawn to enlist by his boyhood dreams. His highly romanticized notion of war was eclectic, borrowing from various classical and medieval sources. Nevertheless, his exalted, almost deified, conception of the life of a soldier at rest and in combat began to deflate before the even the ink had dried on his enlistment signature. Soon the army ceased to possess any personal characteristics Henry had once envisioned, becoming an unthinking, dispas...
Events of crisis tend to reveal people’s true character, as well as help those people learn from the experience. Decisions people make during crises can display what kind of personality they have. In The Red Badge Of Courage by Stephen Crane, the youthful main protagonist, Henry, decides to join the army. In the beginning of the novel, Henry exhibits multiple cowardly qualities. However, through a series of battles, Henry learns more about himself and begins to become a remarkably brave soldier. Henry’s transformation from cowardice to bravery is portrayed through Henry’s change in thoughts, actions, and dialogue.
“The Red Badge of Courage” was written by Stephen Crane in 1985 as a fictional tale of a soldier of the Civil War. With its accurate depictions, readers were led to believe that Crane had at one time been a soldier. This was however not the case. Crane has a unique way of using themes and symbols in “The Red badge of Courage” to relay a very realistic portrayal of war.
Through the four stages of growth and development that Henry overcame, the glorious dreams that he once had were replaced by the more realistic horrors of war. Crane represents courage as an instinct, similar to cowardice. Only when instinct dictates courage, one can be heroic. Along Henry’s struggle to become self-aware, he has discovered new ideologies about war, death, courage, and manhood. He has a realistic image of war, an indifference to death, an instinctive courage, and a quiet manhood.
Crane, Stephen. The Red Badge of Courage. New York, NY: Pocket of Books, 1895. Print.
The Red Badge of Courage takes place during the Civil war and begins with a soldier named Jim Conklin returning back to his regiment to inform them that they might go into battle any day now. The main character of the story Henry Fleming who was recently recruited in the 304th regiment begins to worry about how brave he really is since he has never really been in battle before. The main reason he joined the army was for the honor and glory that came after the battle but he never really analyzed what it took to gain all the glory and honor that he wanted to obtain.
The reaction of one soldier to another is the basis of war, as camaraderie is the methodology by which wars are won. Henry gave witness to the horrors of war, the atrocities of battle, the deaths of his friends, and later a life of victory. The ultimate transformation in Henry's character leading to a mature temperament was found by finding himself in the confusion of war and companionship.
The Red Badge of Courage, by it’s very title, is infested with color imagery and color symbols. While Crane uses color to describe, he also allows it to stand for whole concepts. Gray, for example, describes both the literal image of a dead soldier and Henry Fleming’s vision of the sleeping soldiers as corpses and comes to stand for the idea of death. In the same way, red describes both the soldiers’ physical wounds and Henry’s mental vision of battle. In the process, it gains a symbolic meaning which Crane will put an icon like the ‘red badge of courage’. Stephen Crane uses color in his descriptions of the physical and the non-physical and allows color to take on meanings ranging from the literal to the figurative.
There are many characteristics in Crane’s novel that would more readily fit within the category of realism: the ordinariness of his characters, the use of dialect, the portrayal of protagonist Henry Fleming as a complex individual, the description of nature as disinterested in human affairs, and the positive ending of the story. Realism, often described as "slice of life" or "photographic" writing, attempts to portray life exactly as it is, without twisting it or reworking it to fit it into preconceived notions of what is appropriate or what is aesthetically pleasing. In this book, Crane relies on neither the oversimplified rationalism of classicist literature nor the emotional idealism of romantic prose. Instead, he offers realistic, believable characters with average abilities. The soldiers are presented neither as epic heroes nor as bloodthirsty killers; rather, their most noticeable trait is their overwhelming normalcy. The soldiers of Henry’s regiment curse, fight, and argue just like normal people. This down-to-earth, gritty, everyday style is characteristic of realism. A particular convention used by Crane in convincing the reader of his characters’ existence is dialect. The distinctive speech of the soldiers enhances the photographic effect of the novel, lending it authenticity. Another distinctive trait of realism is complexity of character – a trait readily evident in Henry Fleming. As he switches between cowardice and heroism, compassion and contempt, and optimism and pessimism, the reader observes that he is more than just a stereotype. He is a person with fears, hopes, dreams, and foibles.
The world of Stephen Crane's fiction is a cruel, lonely place. Man's environment shows no sympathy or concern for man; in the midst of a battle in The Red Badge of Courage "Nature had gone tranquilly on with her golden process in the midst of so much devilment" (89). Crane frequently anthropomorphizes the natural world and turns it into an agent actively working against the survival of man. From the beginning of "The Open Boat" the waves are seen as "wrongfully and barbarously abrupt and tall" (225) as if the waves themselves had murderous intent. During battle in The Red Badge of Courage the trees of the forest stretched out before Henry and "forbade him to pass. After its previous hostility this new resistance of the forest filled him with a fine bitterness" (104). More omnipresent than the mortal sense of opposition to nature, however, is the mortal sense of opposition to other men. Crane portrays the Darwinian struggle of men as forcing one man against another, not only for the preservation of one's life, but also the preservation of one's sense of self-worth. Henry finds hope for escape from this condition in the traditional notion that "man becomes another thing in a battle"‹more selfless and connected to his comrades (73). But the few moments in Crane's stories where individuals rise above self-preservation are not the typically heroicized moments of battle. Crane revises the sense of the heroic by allowing selfishness to persist through battle. Only when his characters are faced with the absolute helplessness of another human do they rise above themselves. In these grim situations the characters are reminded of their more fundamental opp...
Crane, Stephen. The Red Badge of Courage. United States of America, Chatham River Press, 1984. Print.
Kaplan, Amy. “The Spectacle of War in Crane’s Revision of History”. Bloom, Harold ED. New
Gibson, Donald B. The Red Badge of Courage: Redefining the Hero. Boston: Twayne Publishers, 1988.
Henry Fleming’s growth is demonstrated after the first battle when he becomes mentally stronger and surmounts his fear of being a coward. Henry Fleming is a romantic dreamer, inspired by visions of a chivalric type of warfare in which he becomes a mighty hero (Solomon). He reads of “marches, sieges, conflicts, and longed to see it all. (Crane, 4)” He never knows where he is going or what is expected of him until the order comes. As a “fresh fish” (Crane, 9), Henry must prove to the veterans and himself that he is not a coward although he is not sure how he will react in real combat. Henry does not have much self-confidence in himself and contains many of his fears in terror of being ridiculed. His insecurity causes him to be in the state of mental agony until he can prove that he is not a coward in the heat of the battlefield. In the first battle, Henry believes he has passed his test and is in an ecstasy of self-satisfaction. “So it was all over at last! The supreme trial had been passed. The red, formidable difficulties of war had been vanquished. (Crane, 45).” His delight with his actions can be seen when he begins to chat with his companions. There was a little flower of confidence growing within ...
The Red Badge of Courage uses both color imagery and color symbols. While Crane uses color to describe, he also allows it to stand for whole concepts. Gray, for example, describes the both the literal image of a dead soldier and Henry Fleming's vision of the sleeping soldiers as corpses and comes to stand for the idea of death. In the same way, red describes both the soldiers' physical wounds and Fleming's mental visions of battle. In the process, it gains a symbolic meaning which Crane will put to an icon like the "red badge of courage" (110, Penguin ed., 1983). Crane uses color in his descriptions of the physical and the metaphysical and allows color to take on meanings ranging from the literal to the figurative.