Stephen Crane Essay Research Paper Stephen CraneToday

Stephen Crane Essay, Research Paper

Stephen Crane

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Today in modern America, it has become about impossible to avoid the narratives of horror that surround us about anywhere we go. Scandals, slayings, larceny, corruptness, extortion, maltreatment, harlotry, all common happenings in this twenty-four hours in age. A hundred old ages ago nevertheless, people did non see the universe in quite such an unfastened mode despite the fact that in many ways, similarities were abundant. People & # 8217 ; s lives were, in their positions, free of all evil and pollution. They assumed they lived peaceable lives and those around them lived the same flawless lives untouched by corruptness every bit good. Many were excessively unsighted to see beyond their ain places and into the lives of others who dealt with a more unfortunate destiny. Those being the 1s who lived in poorness, maltreatment, and other harsh conditions which were eventually exposed to America in 1893 by a 22-year old college free spear author who merely wished to demo things as they appeared to him: bitterly existent. Stephen Crane was America & # 8217 ; s first realistic author who exposed the worlds of the slums, tenement life and other unfavourable conditions to a really na? ve American audience. Through difficult work and his great devotedness to the scrutiny of the darker side of life Crane eventually was able to print his novel in which explored his experiences of the New York slums. Through his great usage of idiom, sarcasm and pragmatism in his fresh Maggie: A Girl of the Streets Stephen Crane is able to carry through his end of making a

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graphic image in his reader & # 8217 ; s head, portraying the harsh, opprobrious conditions of the many lives condemned to this luck.

Stephen Crane began his pursuit for the truth in the summer of 1889 while sing his brother who lived in New Jersey ( Peden, 104 ) . While populating with his brother Crane was drawn to the thought of realistic authorship. He would go to New York on about a day-to-day footing to witness and see the poorness and opprobrious conditions of the slums ( Colvert, 104 ) . During his visits to New York Crane was able to set up an apprehension and develop a feeling for what life was like in the slums. He shortly acquired a craving for individualism and a longing to show his experiences. He began his mission by puting upon himself the desire to go his ain person, dividing himself from other authors of the epoch by utilizing his alone manner of realistic authorship every bit good as idiom ( Cantwell, 141 ) .

Harmonizing to Hamlin Garland a well-known critic every bit good as a author during this clip, Crane, & # 8220 ; & # 8230 ; gives the idiom of the slums as I ne’er before seen it written & # 8212 ; chip, direct, crisp & # 8221 ; ( 121 ) . His usage of idiom throughout the novel is virtually impossible to disregard. The jerky uneducated lines and duologue shows the obvious cognition of the manner the hapless lived and the intent behind the authorship. Crane was able to develop his ain idiom which was reflected in his Hagiographas. His duologue is possibly the best facet of his authorship gained through his experience. Crane used idiom as the footing of his Hagiographas ( Karlen, 5843 ) . All other techniques fell into topographic point and based themselves around this facet ( Karlen, 5843 ) . Crane & # 8217 ; s alone manner of showing the events that are taking topographic point is possibly one of the most admirable qualities of his Hagiographas. & # 8220 ; The miss,

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Maggie, blossomed in a clay puddle. She grew up to be a most rare and fantastic production of a tenement territory, a reasonably girl & # 8221 ; ( Crane, 16 ) . Crane & # 8217 ; s pick of give voicing in this description of a adult Maggie is one of the many illustrations of Crane & # 8217 ; s alone pick of give voicing in contrasting Maggie, a beautiful miss, to a clay puddle, the tenements, which she & # 8217 ; d turn up about. Amo Karlen describes this sort of authorship as being one of Crane & # 8217 ; s, & # 8220 ; & # 8230 ; small chef-d’oeuvres of the most elusive and hard prose effects & # 8212 ; beat, vowel rhyme, initial rhyme & # 8212 ; and full of premeditated sarcasm or endangering beauty & # 8230 ; & # 8221 ; ( 5844 ) . Aside from his contrasting positions, the duologue among Crane & # 8217 ; s character & # 8217 ; s is ineluctable and at times slightly hard to follow. & # 8220 ; The conversation has the exactness of the dull repetitive address of half-drunken braggers, and Crane is responsible for the fictional theory that such repeat is realistic art & # 8221 ; ( Quinn, 534 ) . Possibly the best illustration of the uneducated duologue between the characters is most apparent at the beginning of the novel when Maggie and her fuss Jimmy are merely kids. They have both merely come place merely to be greeted with the loud weeping of a babe & # 8217 ; s voice:

Ah, what deh snake pit! , cried Jimmie. Shut up Er I & # 8217 ; ll thwack yer mout & # 8217 ; . See? & # 8230 ; .The father heard and turned approximately. Stop that Jim, d & # 8217 ; yeh hear? Leave yer sister entirely on the street. It & # 8217 ; s like I can ne’er crush any sense into yer dammed wooden caput ( Crane, 7 ) .

Scenes like these are typical in the gap chapters of the novel. His uncensored idiom aid in the creative activity of Crane & # 8217 ; s, & # 8220 ; & # 8230 ; modern slum-world, fierce and sorid & # 8230 ; & # 8221 ; ( Berryman58-59 ) . It continues in this mode until Maggie and Jimmie are

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introduced as immature grownups. The tone every bit good as the idiom of the book becomes much lighter and the tenseness between the characters lessens.

The chief focal point of the staying chapters is the alteration of Maggie. After being introduced to Peter, one of Jimmie & # 8217 ; s friends, Maggie undergoes a drastic alteration. She becomes cognizant of her milieus and begins to take note of the universe around her. Possibly the greatest sarcasm of the novel lies in this alteration that occurs to Maggie. When foremost introduced to Maggie, we are given a image of complete and arrant artlessness. She is presented to us as a strong, noncompliant kid combating to get the better of life & # 8217 ; s adversities. She is incognizant of life beyond her manner of life and is much excessively na? ve to recognize how ailing she lives. All this alterations when she meets Peter. She becomes more self witting, taking notice of things around her that she has ne’er earlier taken note of and ne’er in her life had any significance to her:

Turning, Maggie contemplated the dark, dust-stained walls and the light and rough furniture of her place. A clock, in a splintered and battered oblong box of stained wood, she all of a sudden regarded as an abomination. She noted that it ticked gratingly. The about vanished flowers in the carpet-pattern, she conceived to the freshly horrid. Some swoon efforts she had made with bluish thread, to refresh the visual aspect of a dingy drape, she now saw to be hapless. She wondered what Pete dined on ( Crane, 20 ) .

This shows Maggie & # 8217 ; s first marks of consciousness every bit good as her large world cheque. Crane intent buttocks is all, merely to be existent. John Berryman one time found a quotation mark of Crane & # 8217 ; s

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which stated, & # 8220 ; I believe in Irony & # 8221 ; ( 55 ) . His belief in this is created his inspiration for the footing of Maggie & # 8217 ; s subject. In the fresh Crane uses sarcasm as arm against both Maggie and her household member who merely see life as their milieus and are incapable of seeing things beyond that point ( Colvert, 105 ) . He presents it to his audience in this mode because he knows it & # 8217 ; s ineluctable. It becomes about impossible for his audience to disregard the truth and the rough world of this immature miss & # 8217 ; s life. James Colvert quotes, & # 8220 ; & # 8230 ; Maggie & # 8217 ; s sarcasm marks the contrast between world and phantasy which is the footing of the novel & # 8217 ; s construction & # 8221 ; ( 105 ) .

Although the whole subject of the novel lies in its sarcasm, it does non merely exist at that place. Possibly the first spot of sarcasm prevarications in the gap chapter of the novel as Jimmie stands to contend for the award of Run Alley, which is merely a pile of crushed rock which he prides

himself in ( Pizer 5850 ) . His rebelliousness to support something so undistinguished is non merely dry, but humourous every bit good. He is about beaten to decease, but none the lupus erythematosus remains noncompliant in his award of supporting Rum Alley. Chester Walford notes of Crane’s technique, “…it’s illustriousness lies in the sarcasm of this rough environment, no one’s pursuit is fulfilled, and no 1 learns anything: the fresh swings from pandemonium on the one side to finish semblance on the other.”

The terminal of the fresh brings along with it, the terminal of Maggie herself. In the concluding chapter Maggie meets her ultimate destiny. Edwin Moses says of Maggie & # 8217 ; s decision, & # 8220 ; It is one of the most harrowingly dry terminations in all of fiction & # 8230 ; & # 8221 ; ( 433 ) . After being disowned by her female parent for go forthing her place to populate with Peter, Maggie is disowned by Peter every bit good. In the terminal she is left for a more beautiful adult female with more beautiful

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vesture and more money. When Maggie tries to return place to her female parent, she is cast off and turns to prostitution as a manner of life. She finally dies entirely and abandoned on the streets of New York. After hearing intelligence of her girl & # 8217 ; s decease, Maggie & # 8217 ; s detached, uncompassionate, heartless, drunkard female parent calls out in torment, & # 8220 ; Oh, yes, I & # 8217 ; ll fergive her! I & # 8217 ; ll fergive her! & # 8221 ; ( Crane, 61 ) . With this, the novel is ended and one is left with a disappointing feeling of overpowering unhappiness. Pizer states that Crane & # 8217 ; s aim behind it all, & # 8220 ; & # 8230 ; was non to demo the effects of environment but to separate between moral visual aspect and world, to assail the holier-than-thou self-deceit and sentimental emotional satisfaction of moral airss & # 8221 ; ( 5850 ) .

Crane could hold most likely used any technique to uncover the truths and worlds to his audience. His usage of idiom and sarcasm are merely a few, but possibly his most effectual every bit good as his most powerful technique lies in his usage of pragmatism. Robert Cantwell claims, & # 8220 ; Crane wanted to visualize the truth scathingly, as he saw it, in footings every bit violent as the life was violent, non for the intent of get downing a campaign, but because he believed that an art which glossed over or ignored so much of the American scene was narrow at best. & # 8216 ; We are most successful in art when we approach nearest to nature and truth, & # 8216 ; he said & # 8221 ; ( 141-142 ) . Crane & # 8217 ; s barbarous descriptions of life and rough portraitures of the slums are what give his work a alone turn in comparing to other American literary plants of the clip:

The drape at the window had been pulled by a heavy manus and hung by one tack, swinging to and fro in the bill of exchange through the clefts at the sash. The knots of bluish thread appeared like profaned flowers. The fire in the

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range had gone out. The displaced palpebras and unfastened doors showed tonss of sullen Grey ashes. The leftovers of a repast, ghastly, like dead flesh, lay in a corner. Maggie & # 8217 ; s ruddy female parent, stretched on the floor, blasphemed and gave her girl a bad name ( Crane, 21-22 ) .

In this scene Crane paints his depressing, glooming yet utterly existent scene and is able to convey his ideas and positions of his experiences. This technique is frequently repeated and occurs frequently in his Hagiographas. Crane is credited and recognized for holding the ability to make this so good. & # 8220 ; Both pragmatism and symbolism, the two major waies of modern fiction, have their beginnings in Crane & # 8217 ; s work & # 8221 ; ( Peden, 150 ) . The quality of Maggie & # 8217 ; s world was excessively in writing for many people of the clip to manage and was hence looked down upon by many.

Upon first being published Maggie was non released due to its in writing nature. Crane subsequently made some minor accommodations and sent it back to the publishing house for publication. He was one time once more denied due to its contents. So instead than holding to set it one time once more, Crane borrowed money from his brother and had it in private published at his ain disbursal under the pseudonym Jonhston Smith. Maggie was extremely criticized and rather unpopular. It was non until after the publication of his chef-d’oeuvre The Red Badge of Courage, that Crane became good known. Maggie, although non the most good known piece of composing done by Crane, was possibly his best realistic authorship. Many criticized his manner of composing but it finally gained support every bit good as popularity. Credit is given to Crane & # 8217 ; s, & # 8220 ; uncompromising pragmatism & # 8221 ; which lead to many others, such as Frank Norris and Theodore Dreiser, to follow in his footfalls

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( Peden, 150 ) . Martin Seymour-Smith points out, & # 8220 ; Regardless of whether naturalism is a & # 8216 ; true & # 8217 ; doctrine or non, Crane gave an unforgettable history of one hapless animal whose life was rapidly snuffed out by her environment & # 8221 ; ( 38 ) . In Maggie, the lone manner out of the rough worlds was her semblances and phantasies, much like it is today in many people & # 8217 ; s lives. They feel trapped in a universe in which it is hard to travel forward and about every bit every bit difficult to travel on.

In many ways it is in this mode and idea of head that Stephen Crane created Maggie with his alone usage of idiom, sarcasm and possibly most of all pragmatism. Crane & # 8217 ; s usage of them created Maggie and in Maggie lies his small chef-d’oeuvre. Possibly non his most well-known or popular piece, but doubtless a piece of composing whose impact has non gone unnoticed. It can be credited to the success and development of a whole new manner of composing that began a new chapter of American literature. Not merely is Maggie the tragic narrative of the devastation of a immature miss & # 8217 ; s life, but instead a narrative of truth. A truth that lies in the lives of many, but remains unnoticed and unheard by those whose lives remain clean and untasted from its corruptness.

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Berryman, John. Stephen Crane: A Critical Biography. New York: McGraw-Hill,

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Donald Pizer. Detroit: Gale, 1982. 100-24. Vol. 12 of Dictionary of Literary Biography.

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Quinn, Arthur Hobson. & # 8220 ; The Journalists. & # 8221 ; American Fiction: An Historical and

Critical Survey. New York: Appleton Century-Crofts, Inc. , 1936. 521-49.

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Literature. New York: Funk and Wagnalls, 1973. 37-40.

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N. Magill. Vol. 2. New Jersey: Salem Press, 1983. 638-47.