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1895 war novel by Stephen Crane

First edition cover of The Red Badge of Courage (1895)

The Cherry Badge of Courage is a war novel by American author Stephen Crane (1871–1900). Taking identify during the American Civil War, the story is about a young individual of the Union Army, Henry Fleming, who flees from the field of boxing. Overcome with shame, he longs for a wound, a "red badge of courage," to counteract his cowardice. When his regiment once over again faces the enemy, Henry acts as standard-bearer, who carries a flag.

Although Crane was built-in later the war, and had not at the time experienced battle first-hand, the novel is known for its realism and naturalism. He began writing what would become his 2d novel in 1894, using diverse contemporary and written accounts (such equally those published previously past Century Magazine) as inspiration. It is believed that he based the fictional battle on that of Chancellorsville; he may also have interviewed veterans of the 124th New York Volunteer Infantry Regiment, unremarkably known as the Orange Blossoms. Initially shortened and serialized in newspapers in December 1894, the novel was published in full in October 1895. A longer version of the work, based on Crane's original manuscript, was published in 1982.^[ane]

The novel is known for its distinctive style, which includes realistic battle sequences as well as the repeated employ of color imagery, and ironic tone. Separating itself from a traditional war narrative, Crane's story reflects the inner feel of its protagonist (a soldier fleeing from gainsay) rather than the external world around him. As well notable for its employ of what Crane chosen a "psychological portrayal of fear",^[2] the novel's allegorical and symbolic qualities are frequently debated by critics. Several of the themes that the story explores are maturation, heroism, cowardice, and the indifference of nature. The Cherry-red Badge of Courage garnered widespread acclaim, what H. G. Wells called "an orgy of praise",^[3] shortly later its publication, making Crane an instant celebrity at the historic period of twenty-four. The novel and its author did accept their initial detractors, however, including author and veteran Ambrose Bierce. Adapted several times for the screen, the novel became a bestseller. Never out of impress, information technology is Crane's most important work and a major American text.

Background [edit]

Stephen Crane in 1894; impress of a portrait past artist and friend Corwin One thousand. Linson

Stephen Crane published his first novel, Maggie: A Daughter of the Streets, in March 1893 at the age of 21. Maggie was non a success, either financially or critically. About critics thought the unsentimental Bowery tale crude or vulgar, and Crane chose to publish the piece of work privately afterward it was repeatedly rejected for publication.^[4] Crane found inspiration for his adjacent novel while spending hours lounging in a friend's studio in the early summer of 1893. At that place, he became fascinated with issues of Century Mag that were largely devoted to famous battles and armed services leaders from the Civil War.^[5] Frustrated with the dryly written stories, Crane stated, "I wonder that some of those fellows don't tell how they felt in those scraps. They spout enough of what they did, but they're equally emotionless as rocks."^[six] Returning to these magazines during subsequent visits to the studio, he decided to write a war novel. He later stated that he "had been unconsciously working the detail of the story out through most of his boyhood" and had imagined "war stories e'er since he was out of knickerbockers."^[7]

At the fourth dimension, Crane was intermittently employed equally a freelance author, contributing articles to various New York City newspapers. He began writing what would become The Red Bluecoat of Courage in June 1893, while living with his older brother Edmund in Lake View, New Jersey.^[8] Crane conceived the story from the point of view of a young private who is at first filled with adolescent dreams of the glory of war, merely to become disillusioned by war'due south reality. He took the individual'due south surname, "Fleming," from his sister-in-constabulary's maiden proper noun. He would later chronicle that the first paragraphs came to him with "every discussion in identify, every comma, every flow fixed."^[2] Working generally nights, he wrote from effectually midnight until four or five in the morn. Because he could not afford a typewriter, he advisedly wrote in ink on legal-sized paper, occasionally crossing through or overlying a discussion. If he changed something, he would rewrite the whole page.^[nine] He later moved to New York Metropolis, where he completed the novel in Apr 1894 .^[8]

Publication history [edit]

The title of Crane's original, 55,000-word manuscript was "Private Fleming/His diverse battles", but in club to create the sense of a less traditional Civil War narrative, he ultimately changed the title to The Cherry-red Badge of Backbone: An Episode of the American Civil War.^[10] In early on 1894, Crane submitted the manuscript to South. S. McClure, who held on to information technology for vi months without publication.^[11] Frustrated, the author asked for the manuscript to be returned, after which he gave it to Irving Bacheller in October.^[12] An abbreviated version of Crane'due south story was commencement serialized in The Philadelphia Press in December 1894. This version of the story, which was culled to 18,000 words by an editor specifically for the serialization, was reprinted in newspapers across America, establishing Crane's fame.^[xiii] Crane biographer John Berryman wrote that the story was published in at least 200 small-scale city dailies and approximately 550 weekly papers.^[14] In October 1895, a version, which was 5,000 words shorter than the original manuscript, was printed in book form by D. Appleton & Company. This version of the novel differed greatly from Crane's original manuscript; the deletions were thought by some scholars to exist due to demands by an Appleton employee who was agape of public disapproval of the novel's content. Parts of the original manuscript removed from the 1895 version include all of the twelfth chapter, too as the endings to capacity seven, ten and fifteen.^[15]

Crane's contract with Appleton allowed him to receive a apartment ten pct royalty of all copies sold. Yet, the contract also stipulated that he was non to receive royalties from the books sold in U.k., where they were released by Heinemann in early 1896 as office of its Pioneer Serial.^[16] In 1982, W. Westward. Norton & Company published a version of the novel based on Crane's original 1894 manuscript of 55,000 words. Edited by Henry Binder, this version is questioned by those who believe Crane fabricated the original edits for the 1895 Appleton edition on his own accordance.^[17] Since its initial publication, the novel has never gone out of print.^[18]

Plot summary [edit]

On a common cold day, the fictional 304th New York Infantry Regiment awaits boxing beside a river. Eighteen-twelvemonth-old Private Henry Fleming, remembering his romantic reasons for enlisting likewise every bit his mother's resulting protests, wonders whether he will remain brave in the confront of fear or turn and run back. He is comforted by 1 of his friends from home, Jim Conklin, who admits that he would run from battle if his fellow soldiers also fled. During the regiment'south first battle, Confederate soldiers charge, just are repelled. The enemy chop-chop regroups and attacks again, this fourth dimension forcing some of the unprepared Wedlock soldiers to flee. Fearing the battle is a lost cause, Henry deserts his regiment. It is not until afterwards he reaches the rear of the army that he overhears a full general announcing the Union'due south victory.

In despair, he declared that he was non like those others. He now conceded information technology to be incommunicable that he should always become a hero. He was a craven loon. Those pictures of glory were piteous things. He groaned from his middle and went staggering off.

The Carmine Badge of Courage, Affiliate 11^[19]

Ashamed, Henry escapes into a nearby forest, where he discovers a decomposable body in a peaceful clearing. In his distress, he hurriedly leaves the clearing and stumbles upon a group of injured men returning from battle. One member of the group, a "tattered soldier", asks Henry where he is wounded, only the youth dodges the question. Among the group is Jim Conklin, who has been shot in the side and is suffering delirium from blood loss. Jim eventually dies of his injury, defiantly resisting assist from his friend, and an enraged and helpless Henry runs from the wounded soldiers. He adjacent comes upon a retreating cavalcade that is in disarray. In the panic, a man hits Henry on the head with his rifle, wounding him. Exhausted, hungry, thirsty, and now wounded, Henry decides to render to his regiment regardless of his shame. When he arrives at camp, the other soldiers believe his injury resulted from a grazing bullet during battle. The other men care for the youth, dressing his wound.

The next morning Henry goes into boxing for the tertiary time. His regiment encounters a small group of Confederates, and in the ensuing fight Henry proves to be a capable soldier, comforted past the belief that his previous cowardice had non been noticed, every bit he "had performed his mistakes in the dark, so he was withal a human".^[20] Afterward, while looking for a stream from which to obtain water with a friend, he discovers from the commanding officer that his regiment has a lackluster reputation. The officer speaks casually about sacrificing the 304th considering they are nada more than "mule drivers" and "mud diggers". With no other regiments to spare, the general orders his men frontwards.

In the final battle, Henry acts as the flag-bearer afterward the color sergeant falls. A line of Confederates subconscious behind a fence beyond a immigration shoots with impunity at Henry's regiment, which is ill-covered in the tree-line. Facing withering fire if they stay and disgrace if they retreat, the officers order a charge. Unarmed, Henry leads the men while entirely escaping injury. Nearly of the Confederates run before the regiment arrives, and four of the remaining men are taken prisoner. The novel closes with the post-obit passage:

Information technology rained. The procession of weary soldiers became a bedraggled train, despondent and muttering, marching with churning endeavor in a trough of liquid brown mud under a low, wretched heaven. Yet the youth smiled, for he saw that the world was a world for him, though many discovered it to be made of oaths and walking sticks. He had rid himself of the cerise sickness of boxing. The sultry nightmare was in the by. He had been an beast blistered and sweating in the heat and pain of war. He turned now with a lover's thirst to images of tranquil skies, fresh meadows, absurd brooks, an beingness of soft and eternal peace. Over the river a gilt ray of sun came through the hosts of leaden rain clouds.^[21]

Historical accuracy and inspiration [edit]

Although Crane once wrote in a letter, "You can tell nothing... unless yous are in that condition yourself," he wrote The Red Bluecoat of Courage without any experience of war.^[22] He would, however, later serve as a war contributor during the Greco-Turkish and Castilian–American Wars. Nevertheless, the realistic portrayal of the battleground in The Red Badge of Courage has often misled readers into thinking that Crane (despite existence born six years later on the end of the Civil War) was himself a veteran. While trying to explain his ability to write nigh battle realistically, Crane stated: "Of course, I take never been in a boxing, but I believe that I got my sense of the rage of conflict on the football field, or else fighting is a hereditary instinct, and I wrote intuitively; for the Cranes were a family of fighters in the onetime days".^[23]

Crane drew from a variety of sources in order to realistically depict boxing. Century 'south "Battles and Leaders" series served as direct inspiration for the novel, and one story in particular (Warren Lee Goss'southward "Recollections of a Private") contains many parallels to Crane's piece of work.^[24] Thomas Beer wrote in his problematic 1923 biography^[25] that Crane was challenged past a friend to write The Cherry Badge of Courage after having appear that he could do better than Émile Zola's La Débâcle. This anecdote, still, has not been substantiated.^[26] The metaphor of the "red badge of courage" itself may have been inspired past true events; historian Cecil D. Eby, Jr. noted that Union officer Philip Kearny insisted his troops wear brilliant red unit insignia patches, which became known every bit marks of valor and bravery.^[27] While the 304th New York Volunteer Infantry is fictional, many strategies and occurrences in the novel echo actual events during the Civil War. Details concerning specific campaigns during the war, peculiarly regarding battle formations and deportment during the Boxing of Chancellorsville, have been noted by critics.^[28]

It is believed that Crane listened to state of war stories in the town square of Port Jervis, New York (where his family at times resided)^[29] told by members of the 124th New York Volunteer Infantry Regiment, commonly known as the Orange Blossoms.^[ten] The Orangish Blossoms start saw battle at Chancellorsville, which is believed by local historians to have been the inspiration for the boxing depicted in The Red Badge of Courage.^[30] Furthermore, at that place was a Individual James Conklin who served in the 124th New York Volunteer Infantry Regiment,^[31] and Crane'southward short story "The Veteran", which was published in McClure's Mag the year after The Red Bluecoat of Courage,^[32] depicts an elderly Henry Fleming who specifically identifies his showtime gainsay experience as having occurred at Chancellorsville.^[33]

Style and genre [edit]

A river, amber-tinted in the shadow of its banks, purled at the army's feet; and at nighttime, when the stream had become of a sorrowful black, one could run into across it the red, eyelike gleam of hostile army camp-fires set in the low brows of distant hills.

The Scarlet Bluecoat of Courage, Chapter one^[34]

The Red Badge of Courage has a distinctive style, which is often described as naturalistic, realistic, impressionistic or a mixture of the three.^[35] Told in a third-person limited point of view, the novel reflects the inner-experience of Henry Fleming, a immature soldier who flees from combat, rather than upon the external world around him. The Scarlet Badge of Courage is notable in its vivid descriptions and well-cadenced prose, both of which assist create suspense within the story.^[36] Critics in detail take pointed to the repeated utilize of color imagery throughout the novel, both literal and figurative, equally proof of the novel's use of Impressionism. Bluish and grayness uniforms are mentioned, equally are yellow and orange sunlight, and green forests, while men's faces grow red with rage or courage, and gray with death.^[8] Crane also uses animalistic imagery to comment upon people, nature, and war itself. For example, the novel begins past portraying the army as a living entity that is "stretched out on the hills, resting."^[37]

While the novel takes identify during a series of battles, The Red Badge of Courage is not a traditional Civil War narrative. Focusing on the circuitous internal struggle of its principal graphic symbol, rather than on the war itself,^[10] Crane's novel ofttimes divides readers as to whether the story is intended to be either for or against war.^[38] By avoiding political, war machine, and geographic details of the disharmonize between the states, the story becomes divorced from its historical context.^[39] Notably defective are the dates in which the activity takes place, and the proper name of the boxing; these omissions effectively shift attending away from historical patterns in order to concentrate on the emotional violence of battle in general.^[40] The writer alluded to as much in a alphabetic character, in which he stated he wished to depict state of war through "a psychological portrayal of fearfulness."^[2]

Writing more than thirty years subsequently the novel's debut, author Joseph Conrad agreed that the novel'southward main struggle was internal rather than external, and that Fleming "stands before the unknown. He would like to prove to himself by some reasoning process that he will non 'run from the battle'. And in his unblooded regiment he can find no help. He is lonely with the problem of courage."^[37] Crane'due south realistic portrayal of the psychological struck a chord with reviewers; as one contemporary critic wrote for The New York Press: "At times the clarification is and then vivid as to be about suffocating. The reader is right down in the midst of it where patriotism is dissolved into its elements and where only a dozen men tin can exist seen, firing blindly and grotesquely into the smoke. This is war from a new bespeak of view."^[3]

At times he regarded the wounded soldiers in an envious way. He conceived persons with torn bodies to exist specially happy. He wished that he, also, had a wound, a red badge of courage.

The Reddish Badge of Backbone, Chapter 9^[41]

With its heavy use of irony, symbolism and metaphor, the novel also lends itself to less straightforward readings.^[42] As with many of Crane'due south fictional works, the novel's dialogue often uses distinctive local dialects, contributing to its apparent historicity; for example, Jim Conklin muses at the beginning of the novel: "I s'pose we must go reconnoiterin' 'circular thursday' kentry jest t' keep 'em from gittin' too clost, or t'develope'1000, or something".^[43] The ironic tone increases in severity every bit the novel progresses, especially in terms of the ironic distance between the narrator and protagonist.^[44] The title of the work itself is ironic; Henry wishes "that he, too, had a wound, a cherry-red badge of courage", echoing a wish to accept been wounded in boxing. The wound he does receive (from the rifle barrel of a fleeing Spousal relationship soldier), nonetheless, is not a badge of courage simply a badge of shame.^[45]

By substituting epithets for characters' names ("the youth", "the tattered soldier"), Crane injects an allegorical quality into his piece of work, making his characters point to a specific characteristic of human.^[46] There accept been numerous interpretations concerning subconscious meanings inside The Ruby-red Badge of Courage. First with Robert W. Stallman's 1968 Crane biography, several critics have explored the novel in terms of Christian allegory.^[47] In item, the death of Henry Fleming's Christ-like friend, Jim Conklin, is noted for evidence of this reading, also as the final sentence of affiliate nine, which refers to the sun equally "tearing wafer" in the sky.^[48] John Berryman was one of the first critics to translate the novel equally a modern wasteland through which the protagonist plays the role of an Everyman. Still others read the novel every bit having a Naturalist construction, comparison the work to those by Theodore Dreiser, Frank Norris and Jack London.^[49]

Themes [edit]

As the title of the work suggests, the main theme of the novel deals with Henry Fleming's attempt to evidence himself a worthy soldier by earning his "red badge of courage". The first twelve capacity, until he receives his accidental wound, betrayal his cowardice. The following chapters particular his growth and patently resulting heroism.^[fifty] Before the onset of battle, the novel'south protagonist romanticized war; what little he knew well-nigh battle he learned from books: "He had read of marches, sieges, conflicts, and he had longed to run across it all".^[51] Therefore, when confronted by the harsh realities of war, Henry is shocked, and his idealism falters. Finding solace in existential thoughts, he internally fights to brand sense of the senseless world in which he finds himself. When he seems to come to terms with his situation, he is yet over again forced into the fears of battle, which threaten to strip him of his enlightened identity.^[52] Joseph Hergesheimer wrote in his introduction to the 1925 Knopf edition of the novel that, at its eye, The Red Badge of Backbone was a "story of the birth, in a boy, of a knowledge of himself and of self-command."^[53]

However, the text is ambiguous, making it questionable that Henry ever matures. Equally critic Donald Gibson stated in The Red Badge of Backbone: Redefining the Hero, "the novel undercuts itself. It says there is no reply to the questions information technology raises; withal it says the opposite.... It says that Henry Fleming finally sees things equally they are; it says he is a deluded fool. It says that Henry does not meet things as they are; merely no ane else does either."^[54] Although Crane critic and biographer Stallman wrote of Henry'south "spiritual change" by the terminate of the story, he also constitute this theme difficult to champion in light of the novel'south enigmatic ending. Although Henry "progresses upwards toward manhood and moral triumph", every bit he begins to mature past taking exit of his previous "romantic notions," "the didactics of the hero ends equally information technology began: in self deception."^[53] Critic William B. Dillingham also noted the novel's heroism paradox, especially in terms of the introspective Henry'southward lapse into unreasoning self-abandon in the 2d half of the book. Dillingham stated that "in guild to be mettlesome, a man in time of physical strife must abandon the highest of his human facilities, reason and imagination, and human activity instinctively, fifty-fifty animalistically."^[55]

The indifference of the natural globe is a reoccurring theme in Crane's piece of work.^[56] At the beginning of the novel, every bit the regiments accelerate toward battle, the sky is described as beingness an innocuous "fairy blue." In affiliate vii, Henry notes the inexplicable tranquility of nature, "a adult female with a deep aversion to tragedy", fifty-fifty as the battle rages on.^[57] Similarly, Heaven itself is indifferent to the slaughter he encounters on the battlefield.^[58] The dichotomy between nature's sweetness and war's destructiveness is further described in chapter 18: "A cloud of dark smoke every bit from smoldering ruins went up toward the lord's day now brilliant and gay in the bluish, enameled sky."^[59] After his desertion, however, Henry finds some comfort in the laws of nature, which seem to briefly affirm his previous cowardice:^[60]

This landscape gave him assurance. A fair field holding life. Information technology was the religion of peace. It would die if its timid eyes were compelled to meet blood.... He threw a pino cone at a jovial squirrel, and he ran with chattering fright. Loftier in a treetop he stopped, and, poking his head charily from behind a branch, looked down with an air of trepidation. The youth felt triumphant at this exhibition. There was the police force, he said. Nature had given him a sign. The squirrel, immediately upon recognizing danger, had taken to his legs without ado. He did not stand stolidly baring his hirsuite belly to the missile, and die with an upwards glance at the sympathetic heavens. On the contrary, he had fled as fast as his legs could carry him.^[61]

Reception [edit]

The Ruby Badge of Courage received generally positive reviews from critics on its initial publication; in particular, it was said to exist a remarkably modern and original work.^[62] Appleton's 1895 publication went through ten editions in the showtime year alone, making Crane an overnight success at the age of twenty-four. H. Thousand. Wells, a friend of the writer, later wrote that the novel was greeted by an "orgy of praise" in England and the Usa.^[iii] An anonymous reviewer for The New York Press wrote shortly after the novel's initial publication that "I should be forever tedious in charging an author with genius, only it must be confessed that The Carmine Badge of Courage is open to the suspicion of having greater ability and originality than can be girdled past the name of talent."^[63] The reviewer for The New York Times was impressed past Crane'due south realistic portrayal of war, writing that the book "strikes the reader as a argument of facts by a veteran",^[64] a sentiment that was echoed by the reviewer for The Critic, who called the novel "a truthful volume; true to life, whether it be taken as a literal transcript of a soldier'due south experiences in his outset battle, or... a dandy parable of the inner battle which every homo must fight."^[65]

The novel, all the same, did have its initial detractors. Some critics found Crane'due south immature age and inexperience troubling, rather than impressive. For case, one reviewer wrote, "As Mr. Crane is too immature a man to write from feel, the frightful details of his book must be the outcome of a very feverish imagination."^[66] Crane and his work also received criticism from veterans of the war; i in item, Alexander C. McClurg, a brigadier general who served through the Chickamauga and Chattanooga campaigns, wrote a lengthy letter to The Dial (which his publishing company owned) in Apr 1896, lambasting the novel as "a vicious satire upon American soldiers and American armies."^[67] Author and veteran Ambrose Bierce, popular for his Civil State of war-fiction, also expressed contempt for the novel and its writer. When a reviewer for The New York Journal referred to The Red Bluecoat of Backbone equally a poor imitation of Bierce's work, Bierce responded by congratulating them for exposing "the Crane freak".^[68] Some reviewers also found fault with Crane's narrative way, grammer mistakes, and apparent lack of traditional plot.^[69]

While information technology eventually became a bestseller in the United states of america, The Cherry Bluecoat of Courage was more than popular and sold more rapidly in England when it was published in tardily 1895.^[70] Crane was delighted with his novel'southward success overseas, writing to a friend: "I take simply one pride and that is that the English edition of The Scarlet Badge of Courage has been received with not bad praise by the English reviewers. I am proud of this simply because the remoter people would seem more than only and harder to win."^[70] Critic, veteran and Member of Parliament George Wyndham chosen the novel a "masterpiece", applauding Crane's ability to "phase the drama of human, so to speak, within the listen of one human being, and and so admits yous as to a theatre."^[71] Harold Frederic wrote in his own review that "If there were in existence any books of a similar character, ane could kickoff confidently past saying that it was the best of its kind. But it has no fellows. Information technology is a book outside of all classification. And then unlike anything else is information technology that the temptation rises to deny that it is a volume at all".^[72] Frederic, who would after befriend Crane when the latter relocated to England in 1897, juxtaposed the novel'south treatment of war to those by Leo Tolstoy, Émile Zola and Victor Hugo, all of whose works he believed to exist "positively... common cold and ineffectual" when compared to The Red Badge of Courage.^[73]

Legacy [edit]

Crane himself after wrote about the novel: "I don't think The Cerise Bluecoat to be any great shakes but and so the very theme of it gives information technology an intensity that the writer can't reach every day."^[74] For the remainder of Crane's short career (he died from tuberculosis at the historic period of 28), The Carmine Badge of Courage served equally the standard against which the rest of his works were compared.^[75] Appleton republished the novel over again in 1917, shortly afterward the US entered World War I, reissuing it 3 additional times that same year.^[76]

Since the resurgence of Crane'south popularity in the 1920s, The Reddish Badge of Courage has been accounted a major American text and Crane's most important work.^[77] While modern critics take noted Crane's "anticipation of the modern spectacle of war",^[78] others, such as Crane scholar Stanley Wertheim, believe the work to be "unquestionably the most realistic novel about the American Civil War".^[79] Donald Gibson called the novel "ahead of its fourth dimension" considering it did "not conform to very many contemporary notions about what literature should be and do."^[80] The novel has been anthologized numerous times, including in Ernest Hemingway'southward 1942 collection Men at War: The Best War Stories of All Time. In the introduction, Hemingway wrote that the novel "is 1 of the finest books of our literature, and I include information technology unabridged because it is all as much of a slice as a keen poem is."^[81] Robert W. Stallman's introduction to the Modernistic Library's 1951 edition of The Blood-red Bluecoat of Courage contained 1 of the first modernistic assessments of the novel.^[81] This novel is followed by other works by Crane, such as the novella, Maggie: A Girl of the Streets.

The novel has been adapted several times for the screen. A 1951 movie past the same name was directed by John Huston, starring Medal of Honor recipient Audie Tater as Henry Fleming. Written past Huston and Albert Band, the film suffered from a troubled production history, went over budget, and was cut down to only seventy minutes despite objections from the director.^[82] A made-for-goggle box film was released in 1974, starring Richard Thomas every bit Fleming, while the 2008 Czech film Tobruk was partly based on The Red Bluecoat of Backbone.^[83]

Notes [edit]

1. ^ Crane, Stephen (1982). The reddish badge of courage : an episode of the American Civil War (1 ed.). Norton. OCLC 230349419.
2. ^ ^{a b c} Davis (1998), p. 65
3. ^ ^{a b c} Mitchell (1986), p. 5
4. ^ Stallman (1968), p. 70
5. ^ Davis (1998), p. 63
6. ^ Linson (1958), p. 37
7. ^ Davis (1998), p. 64
8. ^ ^{a b c} Wertheim (1997), p. 283
9. ^ Davis (1998), p. 74
10. ^ ^{a b c} Wertheim (1997), p. 282
11. ^ Johanningsmeier (2008), p. 226
12. ^ Wertheim (1997), p. 17
13. ^ Mitchell (1986), p. 9
14. ^ Johanningsmeier (2008), p. 229
15. ^ Mitchell (1986), p. x
16. ^ Weatherford (1997), p. 5
17. ^ Lentz (2006), p. iv
18. ^ Weatherford (1997), p. 6
19. ^ Crane (1917), p. 112
20. ^ Crane (1917), p. 86
21. ^ Crane (1917), pp. 232–233
22. ^ Flower (2007), p. 15
23. ^ Monteiro (2000), p. 86
24. ^ Morris (2007), p. 139
25. ^ While writing Stephen Crane: A Study in American Messages (1923), Thomas Beer is known to have fabricated letters also as particular events in Crane'due south life. Beer's biography continues to be used as a credible source, although it is understood past near critics and historians to incorporate many fictional elements. Wertheim (1997), p. 23
26. ^ Wertheim (1994), pp. 90–91
27. ^ Eby (1960), p. 205
28. ^ Lentz (2006), p. 28
29. ^ Sorrentino (2006), p. 59
30. ^ Morris (2007), p. 142
31. ^ Wertheim (1997), p. 59
32. ^ Wertheim (1997), p. 198
33. ^ Sears (1996), p. 510
34. ^ Crane (1917), p. 1
35. ^ Kent (1986), p. 125
36. ^ Knapp (1987), p. 61
37. ^ ^{a b} Flower (2007), p. twenty
38. ^ Lentz (2006), p. 269
39. ^ Kaplan (1986), p. 78
40. ^ Mitchell (1986), p. sixteen
41. ^ Crane (1917), p. 91
42. ^ Kent (1986), p. 130
43. ^ Habegger (1990), pp. 231–232
44. ^ Mailloux (1982), p. 183
45. ^ Gibson (1988), p. 42
46. ^ Knapp (1987), pp. 62–63
47. ^ Flower (2007), p. 30
48. ^ Kent (1986), p. 133
49. ^ Mitchell (1986), pp. 18–19
50. ^ Mitchell (1986), p. 17
51. ^ Mayer (2009), p. 258
52. ^ Gullason (1961), p. 61
53. ^ ^{a b} Mailloux (1982), p. 182
54. ^ Gibson (1988), pp. half dozen–seven
55. ^ Dillingham (1963), p. 194
56. ^ Horsford (1986), p. 112
57. ^ Flower (1996), p. 14
58. ^ Gullason (1961), p. 62
59. ^ Horsford (1986), pp. 112–113
60. ^ Bloom (2007), p. 35
61. ^ Crane (1917), p. 78
62. ^ Gibson (1988), p. 9
63. ^ Weatherford (1997), p. 86
64. ^ Weatherford (1997), p. 87
65. ^ Monteiro (2009), p. 37
66. ^ Monteiro (2000), p. 82
67. ^ Wertheim (1997), p. 207
68. ^ Wertheim (1997), p. 86
69. ^ Kaplan (1986), p. 92
70. ^ ^{a b} Weatherford (1997), p. 13
71. ^ Monteiro (2009), p. 42
72. ^ Mitchell (1986), p. vii
73. ^ Weatherford (1997), p. fourteen
74. ^ Wertheim (1994), p. 166
75. ^ Weatherford (1997), p. 16
76. ^ Gibson (1988), p. 13
77. ^ Wertheim (1997), p. nine
78. ^ Kaplan (1986), p. 106
79. ^ Wertheim (1997), p. 281
80. ^ Gibson (1988), p. 1
81. ^ ^{a b} Gibson (1988), p. xv
82. ^ Grant (2003), p. 65
83. ^ "Tobruk (2008)". IMDb. Retrieved on April 18, 2011.

References [edit]

• Bloom, Harold (1996). Stephen Crane'south The Red Bluecoat of Courage. New York: Chelsea Business firm Publishers. ISBN0-585-25371-4.
• Bloom, Harold (2007). Bloom'south Guides: The Red Badge of Courage. New York: Infobase Publishing. ISBN978-0-7910-9367-2.
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• Eby, Cecil D. (1960). "The Source of Crane's Metaphor, "Cherry Badge of Courage"". American Literature. 32 (2): 204–207. JSTOR 2922679.
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• * Gullason, Thomas A. (1961). "Thematic Patterns in Stephen Crane's Early Novels". Nineteenth-Century Fiction. 16 (1): 59–67. doi:10.2307/2932848. JSTOR 2932848. .
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• Horsford, Howard C. 1986. "'He Was a Man'". New Essays on The Red Badge of Courage. Ed. Lee Clark Mitchell. Cambridge: Cambridge University Printing. ISBN 0-521-30456-3.
• * Johanningsmeier, Charles (2008). "The 1894 Syndicated Paper Appearances of The Red Badge of Courage". American Literary Realism. twoscore (iii): 226–247. doi:10.1353/alr.2008.0023. JSTOR 27747296. S2CID 161735558.
• Kaplan, Amy (1986). "The Spectacle of War in Crane'south Revision of History". In Clark Mitchell, Lee (ed.). New Essays on The Ruddy Bluecoat of Courage. Cambridge: Cambridge Academy Press. ISBN0-521-30456-3.
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• Lentz, Perry (2006). Private Fleming at Chancellorsville: The Scarlet Badge of Courage and the Civil War . Columbia: University of Missouri Printing. ISBN0-8262-1654-iv.
• Linson, Corwin K. (1958). My Stephen Crane . Syracuse: Syracuse University Printing.
• Mailloux, Steven (1982). Interpretive Conventions: The Reader in the Report of American Fiction. Ithaca, NY: Cornell University Press. ISBN0-8014-1476-8.
• Mayer, Gary H. (2009). "A General Semantics Approach to the Scarlet Badge of Backbone". Etc: A Review of Full general Semantics. 66 (3): 258–262. JSTOR 42578943.
• Mitchell, Lee Clark (1986). "Introduction". New Essays on The Red Bluecoat of Courage. Cambridge: Cambridge Academy Press. ISBN0-521-30456-three.
• Monteiro, George. 2000. Stephen Crane's Blue Bluecoat of Backbone. Baton Rouge: Louisiana State University Printing. ISBN 0-8071-2578-4.
• Monteiro, George. 2009. Stephen Crane: The Gimmicky Reviews. New York: Cambridge Academy Press. ISBN 0-521-38265-three.
• Morris, Roy Jr. 2007. "On Whose Responsibility? The Historical and Literary Underpinnings of The Cherry Badge of Courage". Memory and Myth: The Civil War in Fiction and Moving picture from Uncle Tom's Cabin to Common cold Mountain. Ed. David B. Sachsman. West Lafayette, Ind.: Purdue University Press. ISBN 978-one-55753-439-2.
• Richardson, Marker. "The Mephistophelean Skepticism of Stephen Crane." In The Wings of Atalanta: Essays Written Forth the Color Line (pages 110-164). Rochester, New York: Camden Firm, 2019. ISBN 9781571132390
• Sears, Stephen W. 1996. Chancellorsville. Boston: Houghton-Mifflin Co. ISBN 0-395-63417-2.
• Sorrentino, Paul. 2006. Student Companion to Stephen Crane. Westport, Conn.: Greenwood Press. ISBN 0-313-33104-9.
• Stallman, Robert W. 1968. Stephen Crane: A Biography. New York: Braziller, Inc.
• Weatherford, Richard Yard. (1997). Stephen Crane: The Disquisitional Heritage. New York: outledge. ISBN0-415-15936-9.
• Wertheim, Stanley (1997). A Stephen Crane Encyclopedia. Westport, CT: Greenwood Press. ISBN0-313-29692-viii.
• Wertheim, Stanley; Paul, Sorrentino (1994). The Crane Log: A Documentary Life of Stephen Crane, 1871–1900 . New York: G. 1000. Hall & Co. ISBN0-8161-7292-7.

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Source: https://en.wikipedia.org/wiki/The_Red_Badge_of_Courage

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