Michelle Romero
Eng 48B
Dr. Scott Lankford
A THEMATIC COMPARISON OF 3 WORKS
“The Open Boat” pg. 907
"Shipwrecks are apropos of nothing. If men could only train for them and them occur when the men had reached pink condition, there would be less drowning at sea."
In several of Crane's works, we see a struggle between the men in his stories trying to conquer the world, and them getting their butts kicked. In the above quote, Crane reveals that shipwrecks are meaningless, the event itself is meaningless. Then he goes on to suggest that humans might actually be able to take control of these events by training better for them. The irony is that training or not, nature would have to yield to the preparedness of man and this of course is not going to happen. Therefore, the force of nature acting in the wrecking of a ship really is something. It is a testimonial to what we as humans cannot control. Regardless of what we can control, nature will always have the element of surprise which often times determines the outcome.
Likewise, in "An Episode of War" Crane places a similar quote: "It is as if the wounded man's hand is upon the curtain which hangs before the revelations of all existence, the meaning of ants, potentates, wars, cities, sunshine, snow, a feather dropped from a bird's wing, and the power of it sheds radiance upon a bloody form, and makes the other men understand sometimes that they are little" (947-948). In this story, the man who is wounded was unexpectedly hit while preparing the simple routine of preparing coffee, another unfortunate and unexpected event which got the better of man.
No wonder Stephen Crane is labeled a cynic. It is not so much that he believes in nothing, for he certainly acknowledges the power of nature, but this belief is one which leaves his audience feeling powerless, a feeling they can not accept.
“The Blue Hotel” deters from this idea only slightly when Crane writes, “This poor gambler isn’t even a noun. He is kind of an adverb. Every sin is the result of a collaboration. We, five of us, have collaborated in the murder of this Swede” (946). Here, he shows us again how one man is affected by the events of things he can not control. In this case the consequence just happened to be murder. Unlike the usual placement of blame, Crane has now placed it on the other characters rather than one nature. This seems like more of a fair fight now, man against man. However, ironically the consequences of this conflict are far greater than the consequences in his other dramas. In “The Open Boat” the main characters were able to survive though they suffered many losses including death, and in “An Episode of War” the man loses an arm, but at the same time gains some dignity being able to cheat death. These losses while great are not quite the same as the overt targeting and murdering of an innocent man by his peers, at least not in the American sense of law. Murder is cruel and intentional.
It is possible, if Crane in some way did this intentionally, that he was showing his readers how yes, nature takes its toll on the human race, but how humans can and do destroy each other. The latter is of greater significance because it is in the realm of what we can control. Crane may have come across very cynical, but I think he, like most humans, understood and believed generally that humans have the ability to be good. He just also happened to recognize the realities which occurred when they were not.
Thursday, February 22, 2007
Wednesday, February 21, 2007
Journal 12: Stephen Crane
Stephen Crane, "The Blue Hotel."
"One morning, when a snow-crusted engine dragged its long string of freight cars and its one passenger coach to the station, Scully performed the marvel of catching three men. One was a shaky and quick-eyed Swede, with a great shining cheap valise; one was a tall bronzed cowboy, who was on his way to a ranch near the Dakota line; one was a little silent man from the East, who didn't look it, and didn't announce it. Scully practically made them prisoners. He was so nimble and merry and kindly that each probably felt it would be the height of brutality to try to escape. They trudged off over the creaking board sidewalks in the wake of the eager little Irishman." He wore a heavy fur cap squeezed tightly down on his head. It caused his two red ears to stick out stiffly, as if they were made of tin" (Crane 928).
I feel this passage is a representation of what the American Dream does to people who emigrate here from other places. Distinct characters act as representations of various ethnic groups and how they are captured and made prisoners by the proprietor Scully. In fact, “he was so nimble and merry and kindly” making he and his hotel that much more appealing. Once they came within reach though, they became prisoners. This image is a sharp contrast from a later image of their comfort and laziness as they become content in their surroundings of the hotel room. In this initial stage, they are met with many challenges and face a reality which is not quite the exciting adventure the blue of the hotel made it out to be.
The portrait of a little Irishman wearing this hat that is two small for him has a specific purpose. He is a preview of the transformation the travelers are about to go through as change begins to foster casually and comfortably within the confines of the four hotel walls. Again, the Irishman is called “little” as the Swede is later called “little.” They are casually marginalized in dialogue. In addition, the Irishman is wearing a fur cap which takes me to a portrait of this Daniel Boone kind of American character (I hope I am thinking of the right person and I hope this is relative to the time; I am not sure where he fits on the timeline). Trying to assimilate, the Irishman forces the cap on to his head, yet it is still very awkward and makes his ears read, looking stiff and unusual. The Irishman is not meant for that cap. Likewise, Crane suggests that not every man is meant for every cap and they are certainly not all meant for the same cap.
I think this initial scene in conjunction with a variety of scenes which follow, take us through this process as it happens in America, of social in-group and out-group relations in addition to the process of assimilation. After all, Crane while electing to spend much of his time living among the bums on the streets, learning to be a skilled observer of psychological and social behavior. Likewise, this story has many dimensions, and this is one of them.
"One morning, when a snow-crusted engine dragged its long string of freight cars and its one passenger coach to the station, Scully performed the marvel of catching three men. One was a shaky and quick-eyed Swede, with a great shining cheap valise; one was a tall bronzed cowboy, who was on his way to a ranch near the Dakota line; one was a little silent man from the East, who didn't look it, and didn't announce it. Scully practically made them prisoners. He was so nimble and merry and kindly that each probably felt it would be the height of brutality to try to escape. They trudged off over the creaking board sidewalks in the wake of the eager little Irishman." He wore a heavy fur cap squeezed tightly down on his head. It caused his two red ears to stick out stiffly, as if they were made of tin" (Crane 928).
I feel this passage is a representation of what the American Dream does to people who emigrate here from other places. Distinct characters act as representations of various ethnic groups and how they are captured and made prisoners by the proprietor Scully. In fact, “he was so nimble and merry and kindly” making he and his hotel that much more appealing. Once they came within reach though, they became prisoners. This image is a sharp contrast from a later image of their comfort and laziness as they become content in their surroundings of the hotel room. In this initial stage, they are met with many challenges and face a reality which is not quite the exciting adventure the blue of the hotel made it out to be.
The portrait of a little Irishman wearing this hat that is two small for him has a specific purpose. He is a preview of the transformation the travelers are about to go through as change begins to foster casually and comfortably within the confines of the four hotel walls. Again, the Irishman is called “little” as the Swede is later called “little.” They are casually marginalized in dialogue. In addition, the Irishman is wearing a fur cap which takes me to a portrait of this Daniel Boone kind of American character (I hope I am thinking of the right person and I hope this is relative to the time; I am not sure where he fits on the timeline). Trying to assimilate, the Irishman forces the cap on to his head, yet it is still very awkward and makes his ears read, looking stiff and unusual. The Irishman is not meant for that cap. Likewise, Crane suggests that not every man is meant for every cap and they are certainly not all meant for the same cap.
I think this initial scene in conjunction with a variety of scenes which follow, take us through this process as it happens in America, of social in-group and out-group relations in addition to the process of assimilation. After all, Crane while electing to spend much of his time living among the bums on the streets, learning to be a skilled observer of psychological and social behavior. Likewise, this story has many dimensions, and this is one of them.
Journal 11: Stephen Crane
Stephen Crane, "The Blue Hotel."
"As the men trooped heavily back into the front room, the two little windows presented views of turmoiling sea of snow. The huge arms of the wind were making attempts--mighty, circular, futile--to embrace the flakes as they sped. A gate-posted like a still man with a blanched face stood aghast amid this profligate fury. In a hearty voice Scully announced the presence of a blizzard. The guests of the blue hotel, lighting their pipes, assented with grunts of lazy masculine contentment."
I love the scene described here because it really describes the effects of this overly welcoming, comfortable, and luring environment and how it makes the men who are staying there feel. The windows in this picture allow the men to see the "turmoiling sea of snow" which of course, would make anyone feel more lazy. No one sees a problem or inconvenience up ahead and says "Yay!" as they run right out to meet it. Instead, as we see here, they take it all in with a sigh.
There is no rush to leave the cozy environment which has been intricately developed for their comfort. One quote says, "It was notable that throughout this series of small ceremonies the three travelers were mad to feel that Scully was very benevolent" (928). Scully, the proprietor, makes every attempt to make his guests comfortable and enjoy their stay. The large stove which hums with "god-like violence" provides warmth and comfort. In the background, there are even a couple young girls who prepare their meals while they relax and play cards. No wonder, they begin to have this "lazy masculine contentment" the longer they stay and can compare their cozy environment with the harsh nature which awaits them just outside the windows.
It is so profound and quite subtle the way he does it, to have this picture painted for the reader which casually leaves us feeling somewhat sympathetic for the cowboy who was as much a part of the problems in this story as anyone. Crane demonstrates through these scenes the affects of luring strategy and seduction, comfort, and a sense of being in this peaceful little place in the middle of a storm which nurtures the thoughts and feelings of these men. Then, finally in the end, as the Easterner is going off on his enlightenment concerning each of their roles in a murder, the cowboy just says, "Well I didn't do anythin', did I?" (946). We almost stop to think, well did he know what he was doing? Did he really know the consequences of his subtle suggestions and casual actions? Here, Crane really hits the issue of nature vs. nurture and lends the reader insight to how it can even influence the cowboy (who represents the West, which represents the United States taking over native land, and specifically the dominant white male group which rules). By effecting the cowboy, others are also effected and so on, but not always on purpose.
"As the men trooped heavily back into the front room, the two little windows presented views of turmoiling sea of snow. The huge arms of the wind were making attempts--mighty, circular, futile--to embrace the flakes as they sped. A gate-posted like a still man with a blanched face stood aghast amid this profligate fury. In a hearty voice Scully announced the presence of a blizzard. The guests of the blue hotel, lighting their pipes, assented with grunts of lazy masculine contentment."
I love the scene described here because it really describes the effects of this overly welcoming, comfortable, and luring environment and how it makes the men who are staying there feel. The windows in this picture allow the men to see the "turmoiling sea of snow" which of course, would make anyone feel more lazy. No one sees a problem or inconvenience up ahead and says "Yay!" as they run right out to meet it. Instead, as we see here, they take it all in with a sigh.
There is no rush to leave the cozy environment which has been intricately developed for their comfort. One quote says, "It was notable that throughout this series of small ceremonies the three travelers were mad to feel that Scully was very benevolent" (928). Scully, the proprietor, makes every attempt to make his guests comfortable and enjoy their stay. The large stove which hums with "god-like violence" provides warmth and comfort. In the background, there are even a couple young girls who prepare their meals while they relax and play cards. No wonder, they begin to have this "lazy masculine contentment" the longer they stay and can compare their cozy environment with the harsh nature which awaits them just outside the windows.
It is so profound and quite subtle the way he does it, to have this picture painted for the reader which casually leaves us feeling somewhat sympathetic for the cowboy who was as much a part of the problems in this story as anyone. Crane demonstrates through these scenes the affects of luring strategy and seduction, comfort, and a sense of being in this peaceful little place in the middle of a storm which nurtures the thoughts and feelings of these men. Then, finally in the end, as the Easterner is going off on his enlightenment concerning each of their roles in a murder, the cowboy just says, "Well I didn't do anythin', did I?" (946). We almost stop to think, well did he know what he was doing? Did he really know the consequences of his subtle suggestions and casual actions? Here, Crane really hits the issue of nature vs. nurture and lends the reader insight to how it can even influence the cowboy (who represents the West, which represents the United States taking over native land, and specifically the dominant white male group which rules). By effecting the cowboy, others are also effected and so on, but not always on purpose.
Journal 10: Stephen Crane
Michelle Romero
Eng 48b
Dr. Scott Lankford
Stephen Crane, "The Blue Hotel."
"A new game was formed jocosely. The cowboy volunteered to become the partner of Johnnie, and they all then turned to ask the Swede to throw in his lot with the little Easterner. He asked some questions about the game, and learning that it wore many names, and that he had played it when it was under an alias, he accepted the invitation." pg. 929
This passage seems to parallel the realities of "social change" during the Civil Rights Movement. Many "faces" were tried on, yet the same discrimination persisted. Most disturbing about this passage is the reference to this sort of reality as just a game.
Earlier passages set the scene to describe the techniques and genius by which the proprietor attracts travelers to his hotel. Crane makes it clear that the painted color blue against the cultish brown-reds stands out on purpose when he calls Scully a "master of strategy" on page 927. This title indicates a clear understanding of his actions. It is Scully's purpose to lead travelers to his hotel. Even more so, he seduces the travelers from where they are as it was "Scully's habit to go every morning and evening to meet the leisurely trains that stopped at Romper and work his seductions upon any man that he might see wavering, gripsack in hand" until finally he "catches" three men (928). This word, "seduction" is not casual, it is not by accident. Crane is illustrating the details of a grand scheme which is orchestrated in his capture of unsuspecting travelers.
The real message behind the whole scene is that all the details and plans which go in to his luring of these strangers is just a game. It is in fact, a game which has undergone superficial changes, but not any real change.
In addition, the Swede is asked to partner with the "little" Easterner. What was little? I do not recall any mention to his height or weight previously because there is none, yet Johnnie and the cowboy view him as just a little Easterner. Johnnie and the cowboy do not even know him; they have all just recently met. Anyway, the two marginal races are grouped together against the two more Western characters.
Also important to note is how the Swede, who at the time was part of a marginalized, discriminated group, agreed to throw in his lot and play this game after already realizing he recognized it before. I almost feel that this mirrors Booker T. Washington who was the dominant Negro leader during the majority of Crane's time. Washington recognized well the problems which encumbered the Negro man, yet many times as Du Bois would later argue, he yielded to the familiar rules set by the white man in "compromise."
I do not feel Crane's writing reflects a distinct racial theme specific to one group, but much of his language is highly aware of the dominant group vs. the minority groups as we see in these passages and definitely seems to be a thematic thread throughout "The Blue Hotel."
Eng 48b
Dr. Scott Lankford
Stephen Crane, "The Blue Hotel."
"A new game was formed jocosely. The cowboy volunteered to become the partner of Johnnie, and they all then turned to ask the Swede to throw in his lot with the little Easterner. He asked some questions about the game, and learning that it wore many names, and that he had played it when it was under an alias, he accepted the invitation." pg. 929
This passage seems to parallel the realities of "social change" during the Civil Rights Movement. Many "faces" were tried on, yet the same discrimination persisted. Most disturbing about this passage is the reference to this sort of reality as just a game.
Earlier passages set the scene to describe the techniques and genius by which the proprietor attracts travelers to his hotel. Crane makes it clear that the painted color blue against the cultish brown-reds stands out on purpose when he calls Scully a "master of strategy" on page 927. This title indicates a clear understanding of his actions. It is Scully's purpose to lead travelers to his hotel. Even more so, he seduces the travelers from where they are as it was "Scully's habit to go every morning and evening to meet the leisurely trains that stopped at Romper and work his seductions upon any man that he might see wavering, gripsack in hand" until finally he "catches" three men (928). This word, "seduction" is not casual, it is not by accident. Crane is illustrating the details of a grand scheme which is orchestrated in his capture of unsuspecting travelers.
The real message behind the whole scene is that all the details and plans which go in to his luring of these strangers is just a game. It is in fact, a game which has undergone superficial changes, but not any real change.
In addition, the Swede is asked to partner with the "little" Easterner. What was little? I do not recall any mention to his height or weight previously because there is none, yet Johnnie and the cowboy view him as just a little Easterner. Johnnie and the cowboy do not even know him; they have all just recently met. Anyway, the two marginal races are grouped together against the two more Western characters.
Also important to note is how the Swede, who at the time was part of a marginalized, discriminated group, agreed to throw in his lot and play this game after already realizing he recognized it before. I almost feel that this mirrors Booker T. Washington who was the dominant Negro leader during the majority of Crane's time. Washington recognized well the problems which encumbered the Negro man, yet many times as Du Bois would later argue, he yielded to the familiar rules set by the white man in "compromise."
I do not feel Crane's writing reflects a distinct racial theme specific to one group, but much of his language is highly aware of the dominant group vs. the minority groups as we see in these passages and definitely seems to be a thematic thread throughout "The Blue Hotel."
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