George monteiro stephen crane the contemporary reviews american critical archives 2009

STEPHEN CRANE AMERICAN CRITICAL ARCHIVES 17 Stephen Crane: The Contemporary Reviews general editor: M Thomas Inge, Randolph-Macon College 10 11 12 13 14 15 16 Emerson and Thoreau: The Contemporary Reviews, edited by Joel Myerson Edith Wharton: The Contemporary Reviews, edited by James W Tuttleton, Kristin O Lauer, and Margaret P Murray Ellen Glasgow: The Contemporary Reviews, edited by Dorothy M Scura Nathaniel Hawthorne: The Contemporary Reviews, edited by John L Idol, Jr and Buford Jones William Faulkner: The Contemporary Reviews, edited by M Thomas Inge Herman Melville: The Contemporary Reviews, edited by Brian Higgins and Hershel Parker Henry James: The Contemporary Reviews, edited by Kevin J Hayes John Steinbeck: The Contemporary Reviews, edited by Joseph R McElrath, Jr., Jesse S Crisler, and Susan Shillinglaw Walt Whitman: The Contemporary Reviews, edited by Kenneth M Price Langston Hughes: The Contemporary Reviews, edited by Letitia Dace Mark Twain: The Contemporary Reviews, edited by Louis Budd Willa Cather: The Contemporary Reviews, edited by Margaret Anne O’Connor Louisa May Alcott: The Contemporary Reviews, edited by Beverly Lyon Clark T S Eliot: The Contemporary Reviews, edited by Jewel Spears Brooker Eudora Welty: The Contemporary Reviews, edited by Pearl S McHaney Flannery O’Connor: The Contemporary Reviews, edited by R Neil Scott and Irwin H Streight Stephen Crane The Contemporary Reviews Edited by George Monteiro Brown University cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao ˜ Paulo, Delhi Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521382656 c Cambridge University Press 2009 This publication is in copyright Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press First published 2009 Printed in the United Kingdom at the University Press, Cambridge A catalogue record for this publication is available from the British Library Library of Congress Cataloguing in Publication data Stephen Crane : the contemporary reviews / edited by George Monteiro p cm – (American critical archives ; 17) Includes index ISBN 978-0-521-38265-6 Crane, Stephen, 1871–1900 – Criticism and interpretation I Monteiro, George II Title III Series PS1449.C85Z935 2009 2009014263 813 – dc22 ISBN 978-0-521-38265-6 hardback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate For Daniel G Hoffman R W Stallman John Berryman Contents Series editor’s preface Introduction Acknowledgments page viii ix xxvi Maggie: A Girl of the Streets (1893) The Black Riders and Other Lines (1895) The Red Badge of Courage (1895) George’s Mother (1896) Maggie: A Girl of the Streets (1896) The Little Regiment and Other Episodes of the American Civil War (1896) The Third Violet (1897) The Open Boat and Other Tales of Adventure (1898) Pictures of War (1898) War is Kind (1899) Active Service: A Novel (1899) The Monster and Other Stories (1899) Bowery Tales (1900) Whilomville Stories (1900) Wounds in the Rain: War Stories (1900) The Monster and Other Stories (1901) Great Battles of the World (1901) Last Words (1902) The O’Ruddy (1903) 133 143 161 187 193 205 213 219 223 237 245 251 257 263 Index 271 vii 21 69 99 Series editor’s preface The American Critical Archives series documents a part of a writer’s career that is usually difficult to examine, that is, the immediate response to each work as it was made public on the part of reviewers in contemporary newspapers and journals Although it would not be feasible to reprint every review, each volume in the series reprints a selection of reviews designed to provide the reader with a proportionate sense of the critical response, whether it was positive, negative, or mixed Checklists of other known reviews are also included to complete the documentary record and allow access for those who wish to further reading and research The editor of each volume has provided an introduction that surveys the career of the author in the context of the contemporary critical response Ideally, the introduction will inform the reader in brief of what is to be learned by a reading of the full volume The reader then can go as deeply as necessary in terms of the kind of information desired—be it about a single work, a period in the author’s life, or the author’s entire career The intent is to provide quick and easy access to the material for students, scholars, librarians, and general readers When completed, the American Critical Archives should constitute a comprehensive history of critical practice in America, and in some cases England, as the writers’ careers were in progress The volumes open a window on the patterns and forces that have shaped the history of American writing and the reputations of the writers These are primary documents in the literary and cultural life of the nation M Thomas Inge viii Introduction In the 1890s, no one took Stephen Crane lightly or casually From the start his work sparked controversy, renewed with every publication he crowded into the single decade of his career There was great and noisy disagreement over the merits of his journalism, his first novel, his poetry, his early stories and sketches—in short, everything he wrote Those who championed him no less than those who attacked him worked hard at describing that writing, characterizing it or fixing it into categories It was praised and it was ridiculed He was personally reviled and occasionally honored The evidence is in the reviews Even his early death did not modify the situation, at least not immediately, though the poet Wallace Stevens thought he detected change On June 5, 1900, the twenty-eight-year-old Stephen Crane died in Badenweiler, Baden, where his wife, Cora, had taken him in the final days of his illness During the long journey to his interment in Elizabeth, New Jersey, the young writer was memorialized at the Central Metropolitan Temple in New York The New York Tribune man who reported on the funeral service filed a modest, non-committal and rather perfunctory account of the service Only seventy-two years later, when a selection of the unidentified reporter’s letters was published, did the world learn that Wallace Stevens had covered the funeral service for Crane, a fellow-poet only three years his senior Here is what Stevens set down in his journal: This morning I went to the funeral of Stephen Crane at the Central Metropolitan Temple on Seventh Avenue near Fourteenth Street The church is a small one and was about [a] third full Most of the people were of the lower classes and had dropped in apparently to pass away the time There was a sprinkling of men and women who looked literary, but they were a wretched, rag, tag, and bob-tail I recognized John Kendrick Bangs The whole thing was frightful The prayers were perfunctory, the choir worse than perfunctory with the exception of its hymn “Nearer My God To Thee” which is the only appropriate hymn for funerals I ever heard The address ix “King of the Irelands.” New York Times, November 21, 1903, p BR8 A romance galloping splendidly on its headlong way, and looking back now and again to smile gayly and wink at the reader and to jeer at itself, that’s “The O’Ruddy.” As a story it begins well and ends well As a rhodomontade it goes with a whoop and a shower of sparks from the hoofs of speeding horses, high words and jests of the riders flung behind As a sly satire upon other rhodomontades it is magnificent You can, if you choose, however, forget the satire utterly in the pounding of horses, the clash of swords, and the resounding hubbub caused by the O’Ruddy “figuring the use of boots” by “kicking a blackguard into the inn yard adjacent,” or be swept along by the whirlwind raised by the same O’Ruddy revolving eagerly about a table in the inn while the Countess of Westport with equal eagerness revolves after him And you can also, if you are so minded, forget the world and the “commercialism of the age” while you watch the Irish hero run the first swordsman in England harmlessly through the body, or, backed up against a friendly wall, contrive so to pink in the knuckles nine hired ruffians that their nine swords fall clattering all at once to the pavement in a shower of clanging steel, while nine bleeding right fists fly to the nine mouths of the owners Moreover, you can warm over an old heart or fire a young one by attending to the “King of the Irelands” as he makes love And if you have a mind for jest and laughter, inventions in injurious epithet, and other daring felicities of language, hot from the grid of a sizzling fancy, for solemn absurdities, for weird tangles of inconsequences in the best Irish idiom of disorder—why, all these things are here To tell the truth—and if you think we are letting our enthusiasm run away with us, remember that we are not supposing we are in the masterpiece class, only the company of jolly good stories—to tell the truth, there is hardly a dull page in the book, whole dozens that sweep you along breathless, and many where, if you are a natural man, you must stop and emit shrill notes of glee Ha! Ha! A slashing narrative—for hero, the flower of Irishmen; for hero’s valet, a highwayman in the way of being reformed; for heroine, an Earl’s daughter, “not extremely plump, but when she walked something moved within her skirts.” And this dear lady with a mother, a tremendous old harridan, and her father advanced in years and malice Then plenty of broken heads and slit skins, but never a man killed—mad calls for the doctor, but none for the undertaker The late Mr Crane and the present Mr Barr between them have made what seems to us the gallantest story of its kind that has seen the light this long time For wit, for dash, for many brave inventions of phrase and incident, and not the least, for steering clear of everything that could mar the happy effect of the whole The story begins wisely, runs its race inspiringly, and ends delightfully And it leaves no man a chance to laugh at it Always it laughs first “Books of the Week.” Indianapolis Journal, January 4, 1904, p When Stephen Crane died he left his most delightful book unfinished It was a wonderful story, bubbling over with humor, 265 crammed full of pithy philosophy and vivid phrases, sparkling with wit and every page alive with action The manuscript was more than half completed when poor Crane died, and for a long time it lay in that condition Then Robert Barr, Crane’s intimate friend and one of the best storytellers of the day, took up the work and finished it And so “The O’Ruddy” is now at last given to the public To say that the O’Ruddy is the most delightful Irishman since Barry Lyndon would not be overstating the case And he appeals to the reader more strongly than ever Thackeray’s rollicking gamester could, for he is not a rascal, but a genuine, whole-souled fellow, whose system of ethics may be primitive, but who is ever a gentleman even while he is a roisterer Fresh and green from an Irish village, this scion of an ancient house lands in England, and kicks the greatest swordsman in the realm downstairs ere he has been an hour ashore Him he worsts in a duel the next morning, and then starts on a series of incredible adventures in which a highwayman plays a prominent part He falls heels over head in love with a noble lady, whose curmudgeon of a father and virago of a mother are his bitter enemies And so throughout the book he blarneys and ruffles and bullies his way to fortune and fame as none but an Irishman could Barr has hardly been as successful in finishing this book as was Quiller-Couch with Robert Louis Stevenson’s “St Ives.” The story does not lose interest, as far as strenuous adventure goes, one of the most startling of the O’Ruddy’s bold acts occurring at the end of the book But the sparkling humor and flashing wit are missing; the earlier half of the book is much more entertaining reading “The O’Ruddy” is a new proof of a well-known fact—that Crane was just beginning to his best work when death put an end to all his plans It cannot fail to add new laurels to the name of one who seemed destined to become America’s greatest writer of fiction “Fiction.” Times Literary Supplement (July 29, 1904), p 237 A certain brilliance of intuitive realism was wont to show itself in the best work of the late Mr Stephen Crane, who, as is well known, wrote “The Red Badge of Courage” without ever having seen a battle Mr Robert Barr’s historical romances, again, are conspicuous for the verisimilitudes about which the breezes of his fancy play Anticipation is therefore alert when these writers combine, as in The O’Ruddy, to imagine a gay young Irishman embarking for mid-eighteenth century England with papers relating to a somewhat vague inheritance in his mails, the last word consistently up his sleeve, and a rapier ever ready to flicker from his side The result is a capital bit of fictitious autobiography, though perhaps “verisimilitude” and “realism” are words too high and serious for it Under these joint auspices The O’Ruddy invades the land of the haughty Saxon; and stimulated, as it were, by two brains the thread of his adventures passes through a network of commentary pleasantly bracing and ironic Opening with a duel in which he cannot help fancying that the sturdy colonel opposed to him is his mother, his deadly point crunches, a day or two later, against the shoulder-blade of the first swordsman in England, whom, by the way, he has kicked in the interval “with enthusiasm and success.” He enters London at the head of a retinue consisting of a reformed highwayman and a flameheaded son of Erin He abashes the wits of 266 the coffeehouses Nay, more, he confronts and opposes, woos and wins, members of the proudest aristocracy in the world He is, at will, anachronistic, independent, bland, boisterous, epigrammatic; and the authors seem to enjoy his career throughout, while each, if we may hazard a guess, occasionally indulges in a laugh at his collaborator’s share in him For instance:— What was the matter with me? Had I grown in stature or developed a ferocious ugliness? No; I now was a famous swordsman That was all I now was expected to grab the maids and kiss them wantonly I now was expected to clout the grooms on their ears if they so much as showed themselves in my sight [Thus far, at a guess, Mr Stephen Crane.] In fact [summarizes Mr Robert Barr] I was now a great blustering, overpowering, preposterous ass! Or again:— I turned and left his chamber Some few gentlemen yet remained in the drawingroom as I passed out into the public part of the inn I went quietly to a chamber and sat down to think [Thus Mr Robert Barr.] I was for ever [comments Mr Stephen Crane] going to chambers and sitting down to think after these talks with the Earl, during which he was for ever rearing up in his chair and then falling back among the cushions Edward Garnett “Two Americans.” Speaker 30 (August 4, 1904), pp 436–437 Of the two novels before us we may say that Stephen Crane’s posthumous work is the missfire of a man of genius, and that Mr Winston Churchill’s The Crossing is a most industrious performance on the dead level of mediocrity In The O’Ruddy, on the other hand, we have the curious spectacle of the fire of a true genius trying vainly to prevail over a heap of incombustible material and darting out here and there flickering flame tongues—in a few unforgettable scenes Some years ago the present writer, in a paper on Stephen Crane’s art, chanced to remark, “If he fails in anything he undertakes it will be through abandoning the style he has invented.” Unhappily for American literature, Stephen Crane is dead, and this posthumous novel comes to us as a careless experiment he made with a scene and period of English life of which he knew practically nothing The O’Ruddy narrates the adventures of a young fighting Irish gentleman amid fashionable eighteenth-century English society taking the waters at Bath Now, for Crane to write of the old-world aristocracy was to waste his peculiar power The first and last impression that the novel conveys is that there is a fundamental disharmony between the author and his subject There is no illusion in the social atmosphere shown: the plot is a crude collocation of lucky happenings; the minor characters, as Jem and Bottles the highwayman, are, so to say, careless shots at a disappearing target; but none the less it is curious to see how the intensity of Crane’s vision in the best passages almost forces us to accept his conception In Chapter XVIII, for example, which describes the O’Ruddy’s meeting with the immortal Fancher, a gay ferocity of mood leaps out, and the whole scene has a biting force and sharp movement, seeming to swarm with figures as with lively dancing shadows cast sharply on a wall Throughout the scenes generally we have a sense as though a cowboy of genius had accidentally strayed into 267 one of Sheridan’s comedies, and the iridescent flashes of democratic phraseology of which Crane showed so unique a mastery help to change the eighteenth-century characters into a society of disconcerted ghosts The O’Ruddy, in short, is a failure artistically, but yet it holds for us its own special revelation of primitive human emotion A gay delight in revealing the fantastic irregular rhythms of human appetite and passion, underlying all human motives, Stephen Crane’s work always gave us that, and by that it will always hold its own high place What American literature has gained by his appearance and what has been lost to it by his death is apparent indeed when we turn to the unnatural and carefully-staged picturesqueness of works such as Mr Winston Churchill’s Crane’s best work is always a strange, subtle, and deep revelation of the odd workings of the passions within us, but works of the calibre of The Crossing really add to our knowledge of human nature as much as can a horse grazing in a field In The Crossing everything conceivable happens: battle, murder, and sudden death, elopements and ambuscades, surrenders of garrisons, the march of armies, love’s raptures and achievements, &c., but all these panoramic effects, speaking literally, reveal to us less about human nature than does a single sketch of Crane’s “An Ominous Baby” (The Open Boat, 1898), which describes how a small child drags a piece of rope about the sidewalk and robs another baby of its toy! It is mysterious, it is disconcerting that this should be so, but so it is We not expect the great American public, that solaces itself with the loves of impossible vicomtesses for conventional American patriots, to believe us, but we are prepared to bear that burden calmly Crane in his somewhat narrow range was a psychologist of genius In what lay his originality? It is extremely hazardous to try and trace the subterranean roots of genius, but we may hazard the remark that Crane’s artistic vision sprang from his strange capacity of criticising and analysing the tumultuous rush of the elemental human passions in the very flash of his feeling them He had an extraordinary gift of feeling actively and imaginatively the blindly animal impulses of the human will, of watching them artistically, and of viewing them in ironical perspective against the environing forces of life with which they clashed In George’s Mother, for example (pp 90– 99), there is an extraordinarily fine analysis of a drunken man’s thoughts and feelings, of the whole psychology of getting drunk and being drunk Stupid people and idealistic moralists may object to the subject being treated, not seeing that Crane’s sympathetic analysis goes deeper and further in summing up pro and contra all that can be said as to the progressive mental stages of drunkenness than all the arguments of all the moralists put together Crane’s analysis goes further and deeper, because, as a true artist, his picture explains and makes clear the infinitely subtle processes by which human nature persuades itself gently and almost insensibly till the final abysm of moral oblivion is reached Similarly, in the picture of George’s mother herself, all the mysterious craving of maternal love, its fierce pleasure in self-sacrifice, its self-regarding heroism, and self-denial based on its egoistic interests, is presented with an unerring truthfulness that leaves nothing further to be said Where Crane, as an artist, beats all his youthful American contemporaries out of the field—and to mention the names of his popular contemporaries, such as Harold Frederic, Paul Leicester Ford, James Lane Allen, Richard Harding Davis, Hamlin Garland, &c., is to show that none of the younger school can enter the lists with him—lies in his 268 lightning-like revelation of these blind animal forces of human nature which impel mankind into all those delicious incongruities, those unseemly and funny exhibitions of self, those attractive, whimsical, repulsive actions and feelings that we sum up under the convenient headings of human appetite, character, temper, &c To Crane’s intuitive understanding of, and intense delight in, all such manifestations, as we have said, was superadded the finest and most discriminating sense of their meaning, of their value, of their curious interplay in the whole cunning fabric of human life And in dozens of his stories and sketches, such as “The Duel that Was Not Fought,” “The Monster,” “The Men in the Storm,” “An Ominous Baby,” the primal guiding instincts of human nature are laid bare with a directness of insight that amounts to a special revelation No other artist—certainly no modern artist— has so led us to concentrate our gaze on the disconcertingly abrupt changes of our human egoism How admirably in “An Ominous Baby,” for example, we feel the subtle changes in the mind of the baby who is dragging a piece of rope and gazing at the pretty child playing with the gorgeous toy fire-engine? Humble admiration passes into envy, and envy into a passionate covetousness The analysis of the baby’s subsequent conduct is a masterpiece of psychological insight, and, we repeat, teaches us far more than all the six hundred pages of The Crossing can teach But if this is so, why is the most brilliant of all the young American writers— the only genius among them, in fact— thought the least of, while Mr Winston Churchill’s mediocre works are rapturously hailed? The answer is appallingly simple The average man wants to be told that his own sentiments him credit, that his immediate ideals are glorious, that his self-congratulatory virtues will reap for him subsantial reward in the opinion of his fellows and flattering benefit hereafter; he wants to be soothed, comforted, upheld in his own estimation, and propelled gently upon a profitable path of virtue He does not, in short, wish to know from art what human nature is, and he wishes, above all, to forget that the dough of his finest actions is always leavened with pride or vanity Is it any wonder, therefore, that the artist whose vision goes so unerringly to the roots of our being, to the fundamental passions, who creates such subtle and diverting patterns out of what the moralists tell us are our reprehensible human qualities, is it any wonder that such an artist as Stephen Crane should carry little weight with Mr Winston Churchill’s six million readers? Checklist of Additional Reviews “Fiction.” New York Tribune Illustrated Supplement, November 22, 1903, p 12 “New Novels.” Manchester Guardian, July 27, 1904, p “Fiction.” Academy 67 (August 6, 1904), p 99 “New Novels.” Athenaeum (August 13, 1904), p 200 “With the Sword.” T P.’s Weekly (September 2, 1904), p 297 269 Index Abbott, Jacob, 76 Rollo, 76 Rollo Learning to Read, 76 Academy, xxiv, 147, 184, 240, 248, 254 Adolphus, Gustavus, 253, 254, 256 Aesop, 13 Africanus, Scipio, 106 Alcott, Louisa May, Little Women, 230 Alfieri, Vittorio, 84 Alfred A Knopf (publisher), xi Allen, James Lane, 128, 130, 167, 268 Summer in Arcady, 157 American Ecclesiastical Review, xxi Arena, Argonaut, 110 Aristotle, 124 Army and Navy Gazette, 254 Arnold, Matthew, 197 Athenaeum, xxv, 60, 149, 210, 249 Atlantic Monthly, 19 Atherton, Gertrude, 159 Patience Sparhawk, 159 Austen, Jane, 95 Autolycus, 14 Bachelor of Arts, 50, 116, 145 Baden-Powell, Robert, 128 Baltimore Sun, 151 Balzac, Honor´e de, xvi, 27, 48, 56, 112 Les Chouans, 48 Bangs, John Kendrick, ix Barbauld, Anna Laetitia, 230 Barnum, P T., 61 Barr, Robert, xii, xxiv, 265, 266, 267 Barrie, James M., xxii Barry, John D., xxi, 3, 7, 96, 201 Batchelor Syndicate, xx Bates, H E., xi, xx Baudelaire, Charles, 178 Petits Po`emes en Prose, 178 Beardsley, Aubrey, xviii, 11, 15, 195, 198, 202, 203, 204 Beer, Thomas, x, xi, xx Bennett, Arnold, xx Bierce, Ambrose, 23, 27, 34, 36, 60, 61, 64 “An Occurrence at Owl Creek Bridge,” 61 “Chickamauga,” 61 Tales of Soldiers and Civilians, 60 Blackwoods Magazine, 52, 53, 59 “The Blue Blazed Path of the Scarlet Woman,” 113 Bok, Edward W., 73 Bonaparte, Joseph, 255 Bonaparte, Napoleon, 30, 41, 106, 255 Book Buyer, 139, 171, 198, 218 Bookman, xviii, 11, 80, 153 Bookseller, 120 Boston Beacon, 35, 58 Boston Budget, 107 Boston Commonwealth, 14 Boston Courier, 58 Boston Daily Advertiser, 13, 58, 227 Boston Evening Transcript, xx, 35, 58, 155, 202, 217 Boston Home Journal, 35 Boyd, Ernest, xi Boyesen, Hjalmar Hjorth, 94 Bradley, Will H., xviii, 195, 197, 198–200, 202, 203 Bright, Edward, 109 Brooke, Emma, 171 Brooklyn Daily Eagle, xxii, 58, 72, 107, 145, 225, 253 Brooks, Sydney, 59 Brown, Alice, 130 Meadow-Grass, 130 Browning, Robert, 14, 17, 42 “England in Italy,” 17 “Martin Relf,” 42 The Ring and the Book, 42 Brunton, Lauder, 62 Buffon, Comte de (Georges Louis Leclerc), 75 Burnett, Frances Hodgson, 271 Cable, George Washington, 130 Cadogan, William, 255 Cady, Edwin H., xiii Cahan, Abraham, 87, 113, 116 Yekl, a Tale of the New York Ghetto, 87, 113, 116 Carlyle, Thomas, 65, 217 Carroll, Lewis, Alice in Wonderland, 90, 230 Cather, Willa (“Siebert”), 200 Catholic World, 236 Century Magazine, xv The Century’s Battles and Leaders of the Civil War, xv, 50 Cervantes, Miguel de, 56, 84 Chaucer, Geoffrey, 182 “Chelifer” (see Rupert Hughes) “Chevy Chase,” 183 Chicago Daily Tribune, 104, 150, 170, 208 Chicago Daily News, 111 Chicago Evening Post, xix, 30, 35, 58, 105, 189, 208, 215, 243 Churchill, Winston, 267, 268, 269 The Crossing, 267, 268, 269 Churchman, xx, xxi, 215 Clapp, Henry Austin, 227 Clark, Frederick T., 130 The Mistress of the Ranch, 130 Cleveland Plain-Dealer, 35, 58 Cleveland World, 58 Cobbett, William, 182 Cody, Sherwin (In the Heart of the Hills), 94–95 Coleridge, Samuel Taylor, 146 Condillac, Etienne Bonnet de, 75 Conrad, Joseph, x–xi, xvii–xviii, 66 The Nigger of the “Narcissus,” 66 Cooper, James Fenimore, 136 Copeland and Day, xiv, 12, 13, 14 Corelli, Marie, 171 Cosgrave, John O’Hara, 26 Courtney, William Leonard, 166 Crane, Cora, ix, xx, xxiv Crane, Jonathan Townley (father), Crane, Jonathan Townley (brother), xii Crane, Stephen agnosticism, 12–13 controversy, ix, xiv–xv, xvii–xviii death, ix–x, xii decadence, 12, 13, 14, 15, 26, 52, 155, 199 dialect, xiii, 3, 4, 32, 34, 38, 55, 73, 78, 87, 115, 122 environment, xvi, 3, 5, 8, 106 heroism, xi–xii impressionism, xvii–xviii, 166–167, 173, 186, 232, 259 local color, 55–56 realism, xiii, xv–xvi, 5, 6, 11, 20, 32, 34, 35, 37, 55, 56, 80–81, 84–85, 88, 103–104, 106, 107, 109, 110, 111–113, 116, 117, 125, 127, 130, 139, 166–167, 203, 218, 231, 234–235, 266 symbolism, 12 Stephen Crane’s works Active Service, xviii–xix, 205–212, 231 “At Clancy’s Wake,” 26 “A Detail,” xvii, 176, 178 “An Eloquence of Grief,” xvii “An Experiment in Luxury,” “An Experiment in Misery,” xvii, “A Gray Sleeve,” 140 “A Great Mistake,” xvii “A Man and Some Others,” xvii, 177, 179, 180–181 “A Mystery of Heroism,” 135 “An Illusion in Red and White,” xix, 235, 248, 249 “An Ominous Baby,” xvii, 268, 269 Bowery Tales, xii, xx, 219–222 “Death and the Child,” xvii, 173, 176, 178, 179, 180, 248 “Flanagan and his Short Filibustering Adventure,” xvii, 165, 166, 175, 176, 178, 179, 181, 184 George’s Mother, xii, xv, xvi, xx, 69–98, 106, 109, 111, 114, 119, 121, 126, 127, 131, 135, 137, 146, 158, 185, 221, 231, 268 Great Battles of the World, xii, xxiii–xxiv, 251–256 “His New Mittens,” xix, xx, 215, 218, 235, 247, 248 “Irish Notes,” 261 Last Words, xii, xxiv, 257–261 “lines” (poems), xiv, 7, 23, 111 “Lynx Hunting,” 235 Maggie: A Girl of the Streets (A Story of New York) (1893), xiii, 1–8, 11, 15, 32, 51, 80–81, 85, 91, 97, 101, 102 Maggie: A Girl of the Streets (1896) (or Maggie: A Child of the Streets), xii, xv, xvi, xx, xxi, xxv, 79, 81, 82–83, 86, 99–132, 135, 141, 145, 146, 149, 150, 151, 153, 158, 163, 165, 166, 221, 231, 235, 248 “Making an Orator,” 228 “Manacled,” xix, 248, 249 “The marines signaling under fire at Guantanamo,” 240 “The Men in the Storm,” xvii, 178, 269 “Midnight Sketches,” xvii, 176 “Minor Conflicts,” xvii “The Monster,” xix, xx, 215, 216–218, 235, 247–248, 249, 269 272 “Moonlight on the Snow,” xix “One Dash—Horses,” xvii, 166, 176, 179 Pictures of War, 187–191 “Shame,” 235 “Spitzbergen Tales,” 261 “The Angel-Child,” 235 “The Auction,” xvii, 165 The Black Riders and Other Lines, 9–20, 37, 52, 73, 89–90, 91–92, 111, 118, 119, 164, 200, 201, 202 “A man went before a strange God,” 17 “Behold the grave of a wicked man,” 17 “Blustering God, stamping across the sky,” 13 “I looked here,” 92 “I saw a man pursuing the horizon,” 11, 14, 16, 73 “I stood musing in a black world,” 13 “I was in the darkness,” 19 “If I should cast off this tattered coat,” 12, 15 “In a lonely place,” 17 “In the desert,” 18, 19–20, 51 “‘It was wrong to this,’ said the angel,” 12 “Love walked alone,” 13 “Many red devils ran from my heart,” 12, 15 “On the horizon the peaks assembled,” 17 “Once there was a man,” 20 “Should the wide world roll away,” 12, 16, 18, 92 “There was a man who lived a life of fire,” 15 “There was, before me,” 18–19 “‘Think as I think,’ said a man,” 13 “Tradition, thou art for suckling children,” 13 “Two or three angels,” 11, 51 “The Blue Hotel,” xix, xx, 215, 218, 235, 248, 249 “The Bride Comes to Yellow Sky,” xvii, 165, 175, 177–178, 179, 181, 183, 185 “The Clan of No-name,” 240, 242–243, 244 “The Duel that was not Fought,” xvii, 269 “The Five White Mice,” xvii, 165, 176, 180 The Little Regiment, xvi, 129, 133–142, 145, 149, 151, 231 The Little Regiment,” 189 The Monster and Other Stories (1899), xviii, xix–xx, 213–218, 235 The Monster and Other Stories (1901), 235, 245–249 273 “The Open Boat,” xvii, xviii, 163, 164–165, 166, 167, 168–169, 170–171, 172–175, 176–177, 178, 179, 180, 182, 183–184, 215, 233–234, 248, 261 The Open Boat and Other Tales of Adventure, xvii, xix, 161–186, 268 “The Pace of Youth,” xvii “The Price of the Harness,” 243 The Red Badge of Courage (newspaper version 1894–95), xiii–xiv, 23 The Red Badge of Courage, xiii, xv, xvi, xvii, xxi, xxii, xxv, 15, 21–67, 71, 72, 74, 76, 81, 84, 85–86, 88–89, 90, 91, 92–93, 94, 96, 97, 101, 102, 104, 105, 106, 107, 108–109, 110, 111, 113, 114, 115, 119, 120, 121, 123, 124, 125, 128, 129, 131, 135, 136, 137, 138, 139, 141, 145, 146, 147, 150, 151, 152, 153, 155, 156, 157, 158, 159, 163, 164, 165, 166, 167–168, 173, 175, 177, 178, 180, 183, 185–186, 189, 191, 197, 202, 203, 207, 208, 221, 225, 231, 232, 235, 236, 239, 240, 242, 243, 248, 253, 254, 255, 256, 261, 266 The O’Ruddy, xii, xxiv–xxv, 244, 263–269 “The Second Generation,” xxiii, 241, 243 “The Sergeant’s Private Madhouse,” 243 The Third Violet, xvi, xvii, xix, 129, 143–159, 167, 171, 210, 231 “The Trial, Execution and Burial of Homer Phelps,” 228 “The Veteran,” 137, 140 “The Wise Men,” xvii, 165, 176, 179, 183 “Three Miraculous Soldiers,” 139 “Twelve O’clock,” xix, 248 “Uncle Jake and the Bell Handle,” xii War is Kind, xviii, 193–204 “A man said to the universe,” 199 “A slant of sun on dull brown walls,” 196 “Ah, God, the way your little finger moved,” 199, 200 “Aye, workman, make me a dream,” 198 “Fool, not to know that thy little shoe” [from “Love forgive me if I wish you grief”], 195 “God give me medals” [from “Love forgive me if I wish you grief”], 196 “‘Have you ever made a just man?,’” 201 “I explain the silvered passing of a ship at night,” 198 “I have heard the sunset song of the birches,” 197 “In the night,” 201 “‘My good friend,’ said a learned bystander” [from “Forth went the candid man”], 196, 200 Crane, Stephen (cont.) “Now let me crunch you” [from “Love forgive me if I wish you grief”], 196, 200 “On the desert a silence,” 197, 198 “The chatter of a death-demon from a tree-top,” 89, 200, 204 “The flower I gave thee once” [from “Love forgive me if I wish you grief”], 196 “The impact of a dollar upon the heart,” 201 “The trees in the garden,” 198 “Thou art my love,” 195, 199, 200, 204 “War is kind,” 196, 198, 199, 200, 204 “Woe is Me” [from “Intrigue”], 199 “‘You are too candid,’ cried the candid man,” 201 “War Memories,” xxiii, 239, 243, 244 Whilomville Stories, xii, xx, xxi–xxii, 223–236, 248 Wounds in the Rain, xii, xx, xxii–xxiii, 231, 234, 237–244 Crane, William H., Criterion, xvii, 163, 198 Critic, xvii, 37, 58, 78, 156 Crockett, Samuel Raymond, 111–112 Cleg Kelley, 111 D Appleton and Company, xiv, xv, xvi, xxv, 15, 57, 85, 105, 111, 135, 136 Da Vinci, Leonardo, 185 “La Joconda,” 185 Daily Inter Ocean, 13, 26 Daily Tatler, 96, 136 Daily Telegraph, 166 Dallas Morning News, 239 Daniel, 92 Daudet, Alphonse, 116, 207 Davis, Richard Harding, xi, 4, 110, 130, 167, 172, 179, 268 Gallegher, 130 Van Bibber, De Quincey, Thomas, 74, 75, 76 Defoe, Daniel, 182 Denyes, Thomas, 40 Detroit Free Press, 35 Dial, 52, 57, 59 Dickens, Charles, 95, 96, 176, 182, 230 Wreck of the Golden Mary, 176 characters Little Nell, 230 Paul Dombey, 230 Sary Gamp, 209 Tiny Tim, 230 Weller, 195 Dickerman, Nathan, 230 Dickinson, Emily, 16, 17, 19, 202 Digby, Long and Company, xxiv Doubleday & McClure, xvii Douglas, George, 131 The House with the Green Shutters, 131 Doyle, Arthur Conan, 65 Micah Clarke, 65 Dreiser, Theodore (“Edward Al”), 57 Du Maurier, George, xvi, xvii Trilby, xvi, xvii, 155 (character) Trilby, 150, 152, 153 Duclos, Charles Pinot, 75 Dunn, Robert Steed, 97 Dus´e, Eleonora, 185 Edinburgh Review, 128 Edward Arnold (publisher), xv, 74, 106 Edwards, Elisha J (“Holland”), 6, 23, 24 Emerson, Ralph Waldo, 64, 73 Erckmann-Chatrain, 30, 46, 217 Conscript, 30 Euripides, 91 Medea, 91 Evans, Richardson, 261 Ev’ry Month, 57 Faulkner, William, xv Fawcett, Edgar, Field, Eugene, 236 Fielding, Henry, 95 Fildes, Luke, 166 Applicants to a Casual Ward, 166 Fitch, George Hamlin, 176 Flaubert, Gustave, 61, 171, 232 Fleming, Marjorie, 230 Florian (Captain), 88 Ford, Isaac N., 85 Ford, Paul Leicester, 268 Fortnightly Review, 125 Frederic, Harold, xii, 47, 130, 167, 172, 229, 268 Frederick A Stokes (publisher), xviii, xx, xxiv, 198, 239 Frederick the Great, 106, 253, 254 Frost, A B, 197 Fuller, Henry B., 157 Garland, Hamlin, xiii, 4, 27, 50, 58, 130, 268 A Little Norsk, 130 Main Traveled Roads, 27 Garnett, Edward, x–xi, xx, 184, 267 Friday Nights, x Gaskell, Mrs Elizabeth, 95 Gilbert, William S., 88 Gilder, Jeannette L., xviii, 135 Gissing, George, 94, 95 274 Gladstone, William E., x A Glance at New York (by Benjamin A Baker), 84 Glasgow Evening News, 163 Godey’s Magazine, 8, 89, 158 Goethe, Johann Wolfgang von, x, 66 Goldsmith, Oliver, 95 Goncourt, Edmond and Jules de, 232 Goss, Warren Lee, 50 Personal Recollections of a Private, 50 Goya y Lucientes, Francisco Jos´e de, 260 Grahame, Kenneth, 235 The Golden Age, 235 Hugo, Victor, 7, 27, 35, 48, 123, 164, 199 Les Mis´erables, 7, 48 (character) Fantine, 123 Hume, David, 234 Hyde, George Merriam, 171 Hardy, Thomas, 81, 86, 124, 146 Desperate Remedies, 81 Jude the Obscure, 86, 124 “The Roman Road,” 235 Harper & Brothers, xix, xx Harper’s Magazine, xi, xxi, 55 Harper’s Weekly, xiii, 18, 32 Harrigan, Edward A., 85 Harte, Bret, xx, 58, 66, 170, 183, 248 Snow-Bound at Eagle’s, xx Hartford Daily Courant, 106 Hartford Daily Times, 58, 112, 138 Harvard Monthly, 97, 230 Hawthorne, Julian, 215 Hawthorne, Nathaniel, x, 119 Helvetius, Claude Adrien, 75 Hemingway, Ernest, xv Herodotus, 45 Aristodemus, 45 Hichens, Robert S., The Green Carnation, 47 “Hickity, Pickity, My Black Hen,” 200 Higginson, Thomas Wentworth, 16, 64 Hitchcock, Ripley, 57 Hobson, Richmond P., 241, 244 “Holland” (see Elisha J Edwards) Homer, 38; Iliad, 73 Hope, Anthony, 81 The Dolly Dialogues, 149 Howe, Edgar Watson, A Story of a Country Town, Howe, Mark Anthony DeWolfe, 19 Howells, William Dean, xiii, 5, 6, 7, 15, 18, 32, 33, 35, 58, 72, 73, 84, 87, 105, 113, 120, 126, 130, 131, 155, 157, 184 “Appreciation,” 120, 123, 124, 126 Hubbard, Elbert, xviii Hughes, Thomas, 230 Tom Brown’s Schooldays, (character) Tom Brown, 230 Hughes, Rupert (“Chelifer”), 8, 89, 158, 198 “Jack and Jill,” 200 Jackson, Thomas “Stonewall,” 35 James, Henry, 33, 66, 96, 116, 149, 157, 184 Jeffrey, Francis, 74 Jerome, Jerome K., Three Men in a Boat, 260 “Johnston Smith,” xiii, xxv Joubert, Joseph, 17 Julius Caesar, 106 Ibsen, Henrik, 15, 93 Ideas, 179 Illustrated American, 109 Illustrated London News, 172, 191 Independent, xix, 32 Indianapolis Journal, 265 Isle of Man Examiner, 191 Kansas City Journal, 58 Keats, John, 31 Endymion, 31 Kennedy, Sidney R., 123 Kerfoot, J B., xxiii–xxiv Kingsley, Henry, 141 Kipling, Rudyard, 31, 35, 76, 104, 129, 149, 163, 169, 170, 178, 183, 185 Stalky & Co., 230 Lady’s Pictorial, 158 Landseer, Andrew, 124 Lang, Andrew, 35, 94 Lathrop, George Parsons, 136 Le Gallienne, Richard, 95 Leslie, Amy, 111 Lever, Charles, xxiv Lewis, Charles Bertrand (“M Quad”), 24 Life, 115 Lincoln, Abraham, 53 Lippincott, J B., xxiii Lippincott’s Magazine, xxiii Literary World, 114, 201 Literature, 173, 189, 235 Liverpool Post, 157 Logan, Annie, xxi London Times, xxii, 20, 183 Longman’s, 94 Lorraine, Claude, 218 Lotus, 117 Louisville Courier-Journal, 154 Lowell, James Russell, 19, 119 Last Poems of James Russell Lowell, 19 Lyons, Kate, xii, xxiii 275 “M Quad” (see Charles Bertrand Lewis) Macaulay, George Babington, 74 McClurg, Alexander C (“A C McC.”), xiv, 52, 59, 60 Maeterlinck, Maurice, 12, 13, 26, 74, 75, 140, 157, 180 Manchester Guardian, xxv, 38, 122, 177, 211, 221, 247, 259 Marbot, Jean-Baptiste, 40 The Memoirs of Baron de Marbot, 40 Marriott-Watson, H B., 36 Marshall, Edward, Matthews, Brander, 218 Maugham, Somerset, 130 Liza of Lambeth, 130 Maupassant, Guy de, 171, 184, 200 Melbourne Age, 157 Meredith, George, 52, 95, 96, 184, 202 The Ordeal of Richard Feverel, 202 M´erim´ee, Prosper, 48 Methuen & Co., xx, xxiv Milton, John, 197 Paradise Lost, 73 Minneapolis Journal, 58 Minneapolis Times, 35 Mitchell, S Weir, 50 Moltke, Helmuth von, 255 Monet, Claude, 97 Montague, Gilbert H., 230 Montesquieu, Charles de Secondat, 75 Moore, George, 94, 111 Morrison, Arthur, 8, 122, 124, 125, 127–128, 130, 167 A Child of the Jago, 127, 130, 167 (characters) Leary, 124 Perrott, 124 Dick Perrott, 124 Tales of Mean Streets, 122, 127 Morrow, Marco, 113 Murray, David Christie, 50 Murray, Lindley, 89 Muybridge, Eadweard, 50 Napier, Charles, 129 Napoleon III, 256 Nation, xxi, 16, 108 “Nearer My God to Thee,” ix Nelson, Horatio Lord, 64, 106 New Haven Leader, 58 New Review, 39, 48 New York Commercial Advertiser, 16, 58, 77, 87 New York Herald, xxii, 58, 71 New York Journal, 60 New York Mail and Express, 31, 58, 101, 152, 207, 242 New York Observer, 203 New York Press, 5, 6, 137 New York Recorder, 11, 12 New York Sun, 33, 106, 195 New York Times, xxiii, 27, 47, 58, 102, 172, 174, 211, 229, 265 New York Times—Saturday Review, 197 New York Tribune, ix, xvi, 14, 25, 81, 103, 139 New York Tribune Illustrated Supplement, 164, 226 New York World, xviii, 84, 135 Newell, Peter, xxi, 226, 227, 235, 236 Nietzsche, Friedrich, 20 Nordau, Max, 76 Norris, Frank, 131, 132 North American Review, 131 Ollendorff, Henri, 75 Outlook, xix, xxii, 58, 175 Page, Thomas Nelson, 130 Pains Fireworks, 136 Pall Mall Gazette, 36, 121, 141 Parker, Gilbert, Pascal, Blaise, 75 Pasha, Osman, 255–256 Payne, William Morton, 52 Peck, Harry Thurston, 11, 80 Penn, Jonathan, 117 “I heard a man mumbling in the horrid silence of the night,” 118 Pepys, Samuel, 182 Philadelphia American, 181 Philadelphia Evening Bulletin, 71 Philadelphia North American, 215 Philadelphia Press, xiii, 5, 23, 58 Philistine, xviii, 64 Picton, Thomas, 255 Pilsbury, Caroline T., 179 Pittsburg Leader, 200 Poe, Edgar Allan, 61, 93, 96, 183, 197, 215, 217, 218, 231–232 “The Facts in the Case of M Valdemar,” 215 “The Fall of the House of Usher,” 45 Pollard, Percival, 60 Port Jervis Union, 3, 34 Providence News, 35 Providence Sunday Journal, 146 Publishers’ Circular, xxiv Queen, the Lady’s Newspaper and Court Chronicle, 159 Quiller-Couch, Sir Arthur, 266 276 Ralph, Julian, 73, 85 Rembrandt, 55 Retreat of the Ten Thousand, 31, 35 Richardson, Samuel, (character) Lovelace, 127 Richmond, Leigh, The Young Cottager, 230 Riis, Jacob, xv Riley, James Whitcomb, 236 Rood, Henry Edward, 101 Rousseau, Jean-Jacques, 75 St Louis Republic, 15 St Paul Globe, 35, 58 St Paul Pioneer Press, 58 Saint-Pierre, Bernardin de, Paul and Virginia, 157 Saltus, Edgar, Sampson, William T., 239, 244 San Francisco Chronicle, 114, 176 Saroyan, William, xv Satrap, 255 Saturday Review, 49, 53, 87, 93, 123, 124, 178 Schopenhauer, Arthur, 88 Schwob, Marcel, 175 Scott, Sir Walter, 52, 56, 93 Scranton Tribune, 24 Sedgwick, Arthur George, 108 Seward, William H., 53 Shafter, William R., 244 Shakespeare, William, 52, 56, 74, 84 Hamlet, 157 (characters) Falstaff, 88, 95 Hamlet, 157 Pistol, 88 Romeo, 45 Touchstone, 76 Shaw, George Bernard, 61 Arms and the Man, 61 Shelley, Mary, 215 Frankenstein, 215 (character) Frankenstein, 215 Shelley, Percy Bysshe, x Sheridan, Richard Brinsley, 268 Sherman, William Tecumseh, 200 “Siebert” (see Willa Cather) “Simple Simon,” 200 Sioux City Times, 58 Sister-Songs, 19 Sketch, xxii Skobeleff, Mikhail, 256 Smith, Ashley A., 197 Smith, F Hopkinson, 197 Smollett, Tobias, 95 Society of Philistines, 73 Sophocles, 126 Speaker, 46, 66, 267 Spectator, xix, 62, 152, 180, 241, 247, 254, 259 Springfield Sunday Republican, 74 Starrett, Vincent, xiv Steevens, George W., 185 Sterne, Laurence, 95, 186 Stevens, Wallace, ix–x, xi Stevenson, Robert Louis, 184, 215, 235, 266 Kidnapped, 184 St Ives, 266 The Lantern Bearers, 235 The Wrecker, 215 Stoddard, Richard Henry, 31 Stowe, Harriet Beecher, xx Uncle Tom’s Cabin, xx Sunday-School Times, 61 Sunday Special, 165 Swinburne, Algernon Charles, 186, 235 Tennyson, Alfred Lord, xviii, 42, 199 Maud, 42 Thackeray, William Makepeace, xxiv, 56, 95, 146, 266 (character) Barry Lyndon, xxiv, 266 Thompson, Vance, 87 Thoreau, Henry David, 17, 51 Thrax, Dionysius, 89 Time and the Hour, 154 Times Literary Supplement, xxiv, 266 Tolstoy, Leo, 6, 7, 26, 27, 32, 36, 41, 46, 48, 56, 60, 64, 65, 85, 89, 92, 93, 94, 95, 175, 184, 189, 191, 244 S´ebastopol, 41, 56, 64, 92, 175 The Cossacks, 64, 65 War and Peace, 48, 64 Peace and War, 27, 175 La Guerre et la Paix, 41, 191 Tomkinson, William, 40 Diary of a Cavalry Officer, 40 Tourg´ee, Albion W., 50 Story of a Thousand, 50 Tourg´enieff, Ivan (Turgenev), 19, 56, 93, 94, 95, 96 Poems in Prose, 19 Town Topics, 92 “A bat on a church steeple,” 92 Townsend, Edward, 73, 85, 104, 108, 115 Chimmie Fadden, xiii, 108, 109, 116, 150 Traill, H D., 125 Trollope, Anthony, 146 Truth, xii, 120 Twain, Mark (Samuel Langhorne Clemens), 170 Adventures of Huckleberry Finn, xxi The Adventures of Tom Sawyer, 229 (characters) 277 Twain, Mark (cont.) Huck Finn, xxi Tom Sawyer, xxi Verestchagin, Vassily, 35, 37, 60 Virgil, 152 Voltaire (Franc¸ois-Marie Arouet), 75 Vorse, Albert White, 14 Wallace, Lew, 50 Warner, Charles Dudley, 55 Wave, 26, 82 Wellington, Duke of (Arthur Wellesley), 255 Wells, H G., xix, 124 Westminster Gazette, 112, 169 Weyman, Stanley J., 65 Whistler, James, 124 Whitman, Walt, 7, 11, 13, 14, 16, 17, 20, 92, 138, 197, 198, 200, 201–202, 231 Leaves of Grass, 13 “Poetry To-Day in America,” 200 Wilkins, Mary E., 130, 167 William Heinemann (publisher), xx, 121, 191 Williams, Ames W., xiv Womankind, 113 Wordsworth, William, 16, 31 “The Excursion,” 31 “The White Doe of Rylstone,” 16 Wyndham, George, 39, 48, 189–190, 191 Yale Courant, 123 ´ Zola, Emile, 26, 41, 44, 45, 46, 48, 60, 71, 81, 89, 92, 101, 113, 123, 191, 217 Attack on the Mill, 48 L’Assommoir, 81, 82 ˆ La D´ebacle, 41, 44, 48, 92, 191 Th´er`ese Raquin, 123 (character) Nana, 82 278 .. .STEPHEN CRANE AMERICAN CRITICAL ARCHIVES 17 Stephen Crane: The Contemporary Reviews general editor: M Thomas Inge, Randolph-Macon College 10 11 12 13 14 15 16 Emerson and Thoreau: The Contemporary. .. The Contemporary Reviews, edited by Pearl S McHaney Flannery O’Connor: The Contemporary Reviews, edited by R Neil Scott and Irwin H Streight Stephen Crane The Contemporary Reviews Edited by George. .. Publication data Stephen Crane : the contemporary reviews / edited by George Monteiro p cm – (American critical archives ; 17) Includes index ISBN 978-0-521-38265-6 Crane, Stephen, 1871–1900 – Criticism