The Red Badge of Courage

1. The Red Badge of Courage

2. The Red Badge of Courage By Stephen Crane

3. The Red Badge of Courage • seems to be a story of adventure, of action, just another war story that is heavy on plot rather than on character, theme, mood.

4. The Red Badge of Courage • seems to be a story of adventure, of action, just another war story that is heavy on plot rather than on character, theme, mood. • But first impressions can be deceiving.

5. The Red Badge of Courage • seems to be a story of adventure, of action, just another war story that is heavy on plot rather than on character, theme, mood. • But first impressions can be deceiving. • one of the most difficult novels most students have read.

6. deeply psychological story

7. deeply psychological story • takes us inside the mind of the central character

8. deeply psychological story • takes us inside the mind of the central character • what goes on with a man who faces death for the first time.

9. Employs a writing style that is sometimes difficult to read

10. Employs a writing style that is sometimes difficult to read • His imagery is sometimes very vivid, extremely memorable

11. Employs a writing style that is sometimes difficult to read • His imagery is sometimes very vivid, extremely memorable • Refrains for the most part in indentifying any of his characters by name.

12. Employs a writing style that is sometimes difficult to read • His imagery is sometimes very vivid, extremely memorable • Refrains for the most part in indentifying any of his characters by name. • The loud soldier

13. Employs a writing style that is sometimes difficult to read • His imagery is sometimes very vivid, extremely memorable • Refrains for the most part in indentifying any of his characters by name. • The loud soldier • The friend

14. Employs a writing style that is sometimes difficult to read • His imagery is sometimes very vivid, extremely memorable • Refrains for the most part in indentifying any of his characters by name. • The loud soldier • The friend • The tall soldier

15. Employs a writing style that is sometimes difficult to read • His imagery is sometimes very vivid, extremely memorable • Refrains for the most part in indentifying any of his characters by name. • The loud soldier • The friend • The tall soldier • The tattered man

16. Employs a writing style that is sometimes difficult to read • His imagery is sometimes very vivid, extremely memorable • Refrains for the most part in indentifying any of his characters by name. • The loud soldier • The friend • The tall soldier • The tattered man • The lieutenant

17. Employs a writing style that is sometimes difficult to read • His imagery is sometimes very vivid, extremely memorable • Refrains for the most part in indentifying any of his characters by name. • The loud soldier • The friend • The tall soldier • The tattered man • The lieutenant • The Colonel

18. Employs a writing style that is sometimes difficult to read • His imagery is sometimes very vivid, extremely memorable • Refrains for the most part in indentifying any of his characters by name. • The loud soldier • The friend • The tall soldier • The tattered man • The lieutenant • The Colonel

19. Further difficulties arise trying to keep straight all the military skirmishes.

20. Further difficulties arise trying to keep straight all the military skirmishes. • Conflicts are both physical and psychological

21. Further difficulties arise trying to keep straight all the military skirmishes. • Conflicts are both physical and psychological • Physical conflict between the Union and Confederate Armies is merely incidental

22. Further difficulties arise trying to keep straight all the military skirmishes. • Conflicts are both physical and psychological • Physical conflict between the Union and Confederate Armies is merely incidental • Used as a backdrop for the main conflict

23. Further difficulties arise trying to keep straight all the military skirmishes. • Conflicts are both physical and psychological • Physical conflict between the Union and Confederate Armies is merely incidental • Used as a backdrop for the main conflict • Main conflict is in the mind of Henry Fleming, the youth

24. Henry wonders if he will be a hero or a coward.

25. Henry wonders if he will be a hero or a coward. • Henry must learn what type of man he is

26. Henry wonders if he will be a hero or a coward. • Henry must learn what type of man he is • It is a man against himself conflict

27. Henry wonders if he will be a hero or a coward. • Henry must learn what type of man he is • It is a man against himself conflict • Is he a man in the true sense of the word?

28. Henry wonders if he will be a hero or a coward. • Henry must learn what type of man he is • It is a man against himself conflict • Is he a man in the true sense of the word? • Is he courageous or cowardly?

29. Early in the Novel, Henry has lofty ideas, but that is what they are, ideas.

30. Early in the Novel, Henry has lofty ideas, but that is what they are, ideas. • He has no experience with war

31. Early in the Novel, Henry has lofty ideas, but that is what they are, ideas. • He has no experience with war • Views war as a great affair

32. Early in the Novel, Henry has lofty ideas, but that is what they are, ideas. • He has no experience with war • Views war as a great affair • Sees it in terms of Greek-like struggles

33. Early in the Novel, Henry has lofty ideas, but that is what they are, ideas. • He has no experience with war • Views war as a great affair • Sees it in terms of Greek-like struggles • Classical warriors as depicted by Homer.

34. Waiting for his first test under fire, he wonders whether he will be heroic.

35. Waiting for his first test under fire, he wonders whether he will be heroic. • He tries to use mathematics to prove he would not run

36. Waiting for his first test under fire, he wonders whether he will be heroic. • He tries to use mathematics to prove he would not run • Math nor logic have nothing to do with the emotional experience of fighting a war

37. Waiting for his first test under fire, he wonders whether he will be heroic. • He tries to use mathematics to prove he would not run • Math nor logic have nothing to do with the emotional experience of fighting a war • Henry resorts to Mathematics, logic, to help develop some kind of confidence.

38. In the first series of battles, Henry proves nothing.

39. In the first series of battles, Henry proves nothing. • It is true that during his first assult, he stands his ground and fires his rifle.

40. In the first series of battles, Henry proves nothing. • It is true that during his first assult, he stands his ground and fires his rifle. • He does what he is directed to do.

41. In the first series of battles, Henry proves nothing. • It is true that during his first assult, he stands his ground and fires his rifle. • He does what he is directed to do. • That does not make him a HERO

42. In the next assault, he drops his rifle and runs

43. In the next assault, he drops his rifle and runs • Does so because others are around him also are retreating

44. In the next assault, he drops his rifle and runs • Does so because others are around him also are retreating • It seems the only sensible thing to do.

45. In the next assault, he drops his rifle and runs • Does so because others are around him also are retreating • It seems the only sensible thing to do. • That does not make him a COWARD

46. In the next assault, he drops his rifle and runs • Does so because others are around him also are retreating • It seems the only sensible thing to do. • That does not make him a COWARD • But he thinks of himself as a coward.

47. In the next assault, he drops his rifle and runs • Does so because others are around him also are retreating • It seems the only sensible thing to do. • That does not make him a COWARD • But he thinks of himself as a coward. • He wanders about the battlefield in

48. In the next assault, he drops his rifle and runs • Does so because others are around him also are retreating • It seems the only sensible thing to do. • That does not make him a COWARD • But he thinks of himself as a coward. • He wanders about the battlefield in • Confusion

49. In the next assault, he drops his rifle and runs • Does so because others are around him also are retreating • It seems the only sensible thing to do. • That does not make him a COWARD • But he thinks of himself as a coward. • He wanders about the battlefield in • Confusion • Unarmed

50. In the next assault, he drops his rifle and runs • Does so because others are around him also are retreating • It seems the only sensible thing to do. • That does not make him a COWARD • But he thinks of himself as a coward. • He wanders about the battlefield in • Confusion • Unarmed • Unwounded