1. The Red Badge of Courage

2. T HE R ED B ADGE OF C OURAGE By Stephen Crane

3. T HE R ED B ADGE OF C OURAGE 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. T HE R ED B ADGE OF C OURAGE 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. T HE R ED B ADGE OF C OURAGE 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. 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. 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. 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 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. 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. 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. 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. 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

51. 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 Lost

52. He tries to resolve in his own mind whether he is guilty of cowardice

53. This is a story of a young man who must overcome EGOISM

54. He tries to resolve in his own mind whether he is guilty of cowardice This is a story of a young man who must overcome EGOISM An excessive concern for himself

55. He tries to resolve in his own mind whether he is guilty of cowardice This is a story of a young man who must overcome EGOISM An excessive concern for himself A way to look at a world that is too self- centered.

56. He tries to resolve in his own mind whether he is guilty of cowardice This is a story of a young man who must overcome EGOISM An excessive concern for himself A way to look at a world that is too self- centered. This may be on of Cranes themes

57. It is true that Henry has only been concerned with himself

58. As he wanders about, he continues to ponder

59. It is true that Henry has only been concerned with himself As he wanders about, he continues to ponder His actions

60. It is true that Henry has only been concerned with himself As he wanders about, he continues to ponder His actions Personality

61. It is true that Henry has only been concerned with himself As he wanders about, he continues to ponder His actions Personality welfare

62. When he searches

63. When he searches for heroism

64. When he searches for heroism, self- respect,

65. When he searches for heroism, self- respect, for courage,

66. When he searches for heroism, self- respect, for courage, for manhood

67. He gets clubbed with the butt of a rifle from one of his own men.

68. When he searches for heroism, self- respect, for courage, for manhood He gets clubbed with the butt of a rifle from one of his own men. He gets wounded—his Red BADGE OF COURAGE

69. When he searches for heroism, self- respect, for courage, for manhood He gets clubbed with the butt of a rifle from one of his own men. He gets wounded—his Red BADGE OF COURAGE And he lies saying he had been shot

70. When he searches for heroism, self- respect, for courage, for manhood He gets clubbed with the butt of a rifle from one of his own men. He gets wounded—his Red BADGE OF COURAGE And he lies saying he had been shot Making him seem like a hero rather than a deserter.

71. When he searches for heroism, self- respect, for courage, for manhood He gets clubbed with the butt of a rifle from one of his own men. He gets wounded—his Red BADGE OF COURAGE And he lies saying he had been shot Making him seem like a hero rather than a deserter. THE NEXT DAY HE GETS A CHANCE TO PROVE HIMSELF.

72. One of the major turning points of the novel is in Chapter 17

73. Crane shows a stereotype of heroism.

74. One of the major turning points of the novel is in Chapter 17 Crane shows a stereotype of heroism. Henry appears to be a hero in Chapter 17

75. One of the major turning points of the novel is in Chapter 17 Crane shows a stereotype of heroism. Henry appears to be a hero in Chapter 17 Crane says he is no hero at all

76. One of the major turning points of the novel is in Chapter 17 Crane shows a stereotype of heroism. Henry appears to be a hero in Chapter 17 Crane says he is no hero at all Henry develops a hatred for the enemy

77. One of the major turning points of the novel is in Chapter 17 Crane shows a stereotype of heroism. Henry appears to be a hero in Chapter 17 Crane says he is no hero at all Henry develops a hatred for the enemy He fights like a maniac shooting and reloading feverishly.

78. One of the major turning points of the novel is in Chapter 17 Crane shows a stereotype of heroism. Henry appears to be a hero in Chapter 17 Crane says he is no hero at all Henry develops a hatred for the enemy He fights like a maniac shooting and reloading feverishly. Even continues after the attack has been repulsed.

79. Crane makes it clear that Henry is no hero.

80. Refers to Henry as a beast

81. Crane makes it clear that Henry is no hero. Refers to Henry as a beast Not a thinking human being

82. Crane makes it clear that Henry is no hero. Refers to Henry as a beast Not a thinking human being “He was not going to be badgered all his life as a kitten chased by boys. It was not well to drive men into final quarters at those moments they could all develop teeth and claws.”

83. Crane makes it clear that Henry is no hero. Refers to Henry as a beast Not a thinking human being “He was not going to be badgered all his life as a kitten chased by boys. It was not well to drive men into final quarters at those moments they could all develop teeth and claws.” Says, “Henry’s teeth are set in a curl like snarl.”

84. Crane makes it clear that Henry is no hero. Refers to Henry as a beast Not a thinking human being “He was not going to be badgered all his life as a kitten chased by boys. It was not well to drive men into final quarters at those moments they could all develop teeth and claws.” Says, “Henry’s teeth are set in a curl like snarl.” “To the youth, the fighters resembled animals tossed for a death struggle in a dark pit.”

85. Crane makes it clear that Henry is no hero. Refers to Henry as a beast Not a thinking human being “He was not going to be badgered all his life as a kitten chased by boys. It was not well to drive men into final quarters at those moments they could all develop teeth and claws.” Says, “Henry’s teeth are set in a curl like snarl.” “To the youth, the fighters resembled animals tossed for a death struggle in a dark pit.” “The lion is curled like a snake stepped on.”

86. Crane makes it clear that Henry is no hero. Refers to Henry as a beast Not a thinking human being “He was not going to be badgered all his life as a kitten chased by boys. It was not well to drive men into final quarters at those moments they could all develop teeth and claws.” Says, “Henry’s teeth are set in a curl like snarl.” “To the youth, the fighters resembled animals tossed for a death struggle in a dark pit.” “The lion is curled like a snake stepped on.” Henry charges forward like a dog

87. Crane makes it clear that Henry is no hero. Refers to Henry as a beast Not a thinking human being “He was not going to be badgered all his life as a kitten chased by boys. It was not well to drive men into final quarters at those moments they could all develop teeth and claws.” Says, “Henry’s teeth are set in a curl like snarl.” “To the youth, the fighters resembled animals tossed for a death struggle in a dark pit.” “The lion is curled like a snake stepped on.” Henry charges forward like a dog The Lieutenant calls Henry and his mates Wild Cats.

88. Crane makes it clear that Henry is no hero. Refers to Henry as a beast Not a thinking human being “He was not going to be badgered all his life as a kitten chased by boys. It was not well to drive men into final quarters at those moments they could all develop teeth and claws.” Says, “Henry’s teeth are set in a curl like snarl.” “To the youth, the fighters resembled animals tossed for a death struggle in a dark pit.” “The lion is curled like a snake stepped on.” Henry charges forward like a dog The Lieutenant calls Henry and his mates Wild Cats. Crane says Henry thought of himself as a barbarian, a beast.

89. None of these reference as animals accidental

90. Neither was the references of Henry as a unthinking, unconscious automaton.

91. None of these reference as animals accidental Neither was the references of Henry as a unthinking, unconscious automaton. “The youth was not conscious when he was erect upon his feet.”

92. None of these reference as animals accidental Neither was the references of Henry as a unthinking, unconscious automaton. “The youth was not conscious when he was erect upon his feet.” His rifle barrel grew so hot that ordinarily he could not bear it upon his palms, but he kept stuffing cartridges into it, and pounding them in with his clanking bending ramrod.”

93. None of these reference as animals accidental Neither was the references of Henry as a unthinking, unconscious automaton. “The youth was not conscious when he was erect upon his feet.” His rifle barrel grew so hot that ordinarily he could not bear it upon his palms, but he kept stuffing cartridges into it, and pounding them in with his clanking bending ramrod.” “He was so engrossed with his occupation that he was not aware of a lull.”

94. None of these reference as animals accidental Neither was the references of Henry as a unthinking, unconscious automaton. “The youth was not conscious when he was erect upon his feet.” His rifle barrel grew so hot that ordinarily he could not bear it upon his palms, but he kept stuffing cartridges into it, and pounding them in with his clanking bending ramrod.” “He was so engrossed with his occupation that he was not aware of a lull.” “He had not been aware of the process. He had slept, and awakening found himself a knight.”

95. None of these reference as animals accidental Neither were the references of Henry as a unthinking, unconscious automaton. “The youth was not conscious when he was erect upon his feet.” His rifle barrel grew so hot that ordinarily he could not bear it upon his palms, but he kept stuffing cartridges into it, and pounding them in with his clanking bending ramrod.” “He was so engrossed with his occupation that he was not aware of a lull.” “He had not been aware of the process. He had slept, and awakening found himself a knight.” Henry Fleming is not a hero at this point. He is a unthinking unintelligent animal.

96. And he is still very self-centered.

97. To Crane, the individual members of an army are not of much consequence.

98. They are like pawns on a chessboard

99. To Crane, the individual members of an army are not of much consequence. They are like pawns on a chessboard They are used and directed

100. To Crane, the individual members of an army are not of much consequence. They are like pawns on a chessboard They are used and directed They do not make decisions

101. To Crane, the individual members of an army are not of much consequence. They are like pawns on a chessboard They are used and directed They do not make decisions Do not do anything to directly affect the outcome of the battle

102. To Crane, the individual members of an army are not of much consequence. They are like pawns on a chessboard They are used and directed They do not make decisions Do not do anything to directly affect the outcome of the battle The have no wills to exert

103. To Crane, the individual members of an army are not of much consequence. They are like pawns on a chessboard They are used and directed They do not make decisions Do not do anything to directly affect the outcome of the battle The have no wills to exert. Even the Generals directing each campaign have very little control over the outcome of the war.

104. A change comes to Henry when the Color Bearer is killed

105. A change comes to Henry when the Color Bearer is killed. Henry takes up the flag and carries it forward in battle

106. A change comes to Henry when the Color Bearer is killed. Henry takes up the flag and carries it forward in battle. He leads the way for his comrades.

107. A change comes to Henry when the Color Bearer is killed. Henry takes up the flag and carries it forward in battle. He leads the way for his comrades. The flag takes on meaning to him.

108. A change comes to Henry when the Color Bearer is killed. Henry takes up the flag and carries it forward in battle. He leads the way for his comrades. The flag takes on meaning to him. The other soldiers mean something to him.

109. A change comes to Henry when the Color Bearer is killed. Henry takes up the flag and carries it forward in battle. He leads the way for his comrades. The flag takes on meaning to him. The other soldiers mean something to him. His own life and importance begin to mean less to him.

110. A change comes to Henry when the Color Bearer is killed. Henry takes up the flag and carries it forward in battle. He leads the way for his comrades. The flag takes on meaning to him. The other soldiers mean something to him. His own life and importance begin to mean less to him. The Cause is everything

111. A change comes to Henry when the Color Bearer is killed. Henry takes up the flag and carries it forward in battle. He leads the way for his comrades. The flag takes on meaning to him. The other soldiers mean something to him. His own life and importance begin to mean less to him. The Cause is everything. His own life means very little

112. A change comes to Henry when the Color Bearer is killed. Henry takes up the flag and carries it forward in battle. He leads the way for his comrades. The flag takes on meaning to him. The other soldiers mean something to him. His own life and importance begin to mean less to him. The Cause is everything. His own life means very little. AS THE NOVEL ENDS, HENRY KNOWS HE HAS BECOME A MAN.

113. The final sentence of the novel reads:

114. “Over the river a golden ray of sun came through the hosts of leaden rain clouds.”

115. The final sentence of the novel reads: “Over the river a golden ray of sun came through the hosts of leaden rain clouds.” This sentence was not part of the original manuscript.

116. The final sentence of the novel reads: “Over the river a golden ray of sun came through the hosts of leaden rain clouds.” This sentence was not part of the original manuscript. Added by Crane just before going to print.

117. The final sentence of the novel reads: “Over the river a golden ray of sun came through the hosts of leaden rain clouds.” This sentence was not part of the original manuscript. Added by Crane just before going to print. It seems clear that Crane was trying to add some kind of symbolism to this sentence

118. The final sentence of the novel reads: “Over the river a golden ray of sun came through the hosts of leaden rain clouds.” This sentence was not part of the original manuscript. Added by Crane just before going to print. It seems clear that Crane was trying to add some kind of symbolism to this sentence. He implies that although Henry had achieved manhood, some measure of the “golden sun,” hardships, trials and tribulations were ahead like leaden rain clouds.

119. Another part that dealing heavily with symbolism occurs as Henry is wandering over the battlefield and comes across the dead soldier staring at him from a grove of trees.

120. Symbolizes for Henry all the horror of war

121. Another part that dealing heavily with symbolism occurs as Henry is wandering over the battlefield and comes across the dead soldier staring at him from a grove of trees. Symbolizes for Henry all the horror of war All the fear he seems to have of war

122. Another part that dealing heavily with symbolism occurs as Henry is wandering over the battlefield and comes across the dead soldier staring at him from a grove of trees. Symbolizes for Henry all the horror of war All the fear he seems to have of war It seems to accuse Henry of cowardice.

123. Another part that dealing heavily with symbolism occurs as Henry is wandering over the battlefield and comes across the dead soldier staring at him from a grove of trees. Symbolizes for Henry all the horror of war All the fear he seems to have of war It seems to accuse Henry of cowardice. The grove of trees is called the chapel, adding to the feeling of solemn death, giving a funeral atmosphere to the place.

124. O THER SYMBOLS IN THE BOOK

125. Jim Conklin, the tall soldier had been Henry’s friend since childhood.

126. O THER SYMBOLS IN THE BOOK Jim Conklin, the tall soldier had been Henry’s friend since childhood. When Henry finds Jim staggering along the road to his death, critics believed he represents a kind of Christ-figure

127. O THER SYMBOLS IN THE BOOK Jim Conklin, the tall soldier had been Henry’s friend since childhood. When Henry finds Jim staggering along the road to his death, critics believed he represents a kind of Christ-figure He has the same initials The wound in his side is similar to

128. O THER SYMBOLS IN THE BOOK Jim Conklin, the tall soldier had been Henry’s friend since childhood. When Henry finds Jim staggering along the road to his death, critics believed he represents a kind of Christ-figure He has the same initials The wound in his side is similar to the wound suffered by Christ at the crucifixion.

129. O THER SYMBOLS IN THE BOOK Jim Conklin, the tall soldier had been Henry’s friend since childhood. When Henry finds Jim staggering along the road to his death, critics believed he represents a kind of Christ-figure He has the same initials The wound in his side is similar to the wound suffered by Christ at the crucifixion. Henry thinks of Jim as a devotee to some form or religion.

130. S YMBOLISM BY C OLORS

131. Stephen Crane builds his novel with colors.

132. S YMBOLISM BY C OLORS Stephen Crane builds his novel with colors. Color is mentions 218 times in the novel.

133. S YMBOLISM BY C OLORS Stephen Crane builds his novel with colors. Color is mentions 218 times in the novel. Blue (the color of Henry’s uniform) is mentioned 51 times

134. S YMBOLISM BY C OLORS Stephen Crane builds his novel with colors. Color is mentions 218 times in the novel. Blue (the color of Henry’s uniform) is mentioned 51 times Red is mentioned 42 times

135. S YMBOLISM BY C OLORS Stephen Crane builds his novel with colors. Color is mentions 218 times in the novel. Blue (the color of Henry’s uniform) is mentioned 51 times Red is mentioned 42 times Crimson ( synonym for red)is used 8 times.

136. S YMBOLISM BY C OLORS Stephen Crane builds his novel with colors. Color is mentions 218 times in the novel. Blue (the color of Henry’s uniform) is mentioned 51 times Red is mentioned 42 times Crimson ( synonym for red)is used 8 times. He also mentions

137. S YMBOLISM BY C OLORS Stephen Crane builds his novel with colors. Color is mentions 218 times in the novel. Blue (the color of Henry’s uniform) is mentioned 51 times Red is mentioned 42 times Crimson ( synonym for red)is used 8 times. He also mentions Brown, green, black, purple, gold, yellow, white, gray, pink, silver, orange, amber tinted, brass colored, wine tinted, bronze colored, rose, iron colored, ebony, saffire.

138. S YMBOLISM BY C OLORS Stephen Crane builds his novel with colors. Color is mentions 218 times in the novel. Blue (the color of Henry’s uniform) is mentioned 51 times Red is mentioned 42 times Crimson ( synonym for red)is used 8 times. He also mentions Brown, green, black, purple, gold, yellow, white, gray, pink, silver, orange, amber tinted, brass colored, wine tinted, bronze colored, rose, iron colored, ebony, saffire.

139. The color yellow appears 16 times.

140. Crane uses yellow to symbolism cowardice.

141. T HE N OVEL AS AN A NTI -W AR BOOK

142. The novel is definitely an anti-war novel, certainly not in favor of war.

143. T HE N OVEL AS AN A NTI -W AR BOOK The novel is definitely an anti-war novel, certainly not in favor of war. Crane shows readers the horrors of war, the atrocities.

144. T HE N OVEL AS AN A NTI -W AR BOOK The novel is definitely an anti-war novel, certainly not in favor of war. Crane shows readers the horrors of war, the atrocities. He disregards any notion of glorifying war.

145. T HE N OVEL AS AN A NTI -W AR BOOK The novel is definitely an anti-war novel, certainly not in favor of war. Crane shows readers the horrors of war, the atrocities. He disregards any notion of glorifying war. He talks about arms dangling by shreds of skin and bone.

146. T HE N OVEL AS AN A NTI -W AR BOOK The novel is definitely an anti-war novel, certainly not in favor of war. Crane shows readers the horrors of war, the atrocities. He disregards any notion of glorifying war. He talks about arms dangling by shreds of skin and bone. He shows ants swarming over the face of the corpse.

147. T HE N OVEL AS AN A NTI -W AR BOOK The novel is definitely an anti-war novel, certainly not in favor of war. Crane shows readers the horrors of war, the atrocities. He disregards any notion of glorifying war. He talks about arms dangling by shreds of skin and bone. He shows ants swarming over the face of the corpse. He tells us Jim Conklin’s side looks as if it had been chewed by wolves.

148. T HE N OVEL AS AN A NTI -W AR BOOK The novel is definitely an anti-war novel, certainly not in favor of war. Crane shows readers the horrors of war, the atrocities. He disregards any notion of glorifying war. He talks about arms dangling by shreds of skin and bone. He shows ants swarming over the face of the corpse. He tells us Jim Conklin’s side looks as if it had been chewed by wolves. THE POINT IS THAT CRANE IS NOT TRYING TO GLORIFY WAR, RATHER, HE SEEMS TO BE DEPICTING ITS HORRORS.

149. Stephen Crane is not concerned about the ideologies of the war.

150. It makes no difference to him which side will win or why each side is fighting.

151. Stephen Crane is not concerned about the ideologies of the war. It makes no difference to him which side will win or why each side is fighting. We can tell the novel is the Civil war even though Crane never makes mention of the fact.

152. Stephen Crane is not concerned about the ideologies of the war. It makes no difference to him which side will win or why each side is fighting. We can tell the novel is the Civil war even though Crane never makes mention of the fact. Henry is a Union Soldier, but that dies not matter either. To Crane, he could have just as easily been a Confederate soldier.

153. The Red Badge of Courage is a nouvelle that takes the reader inside the mind of the main character, and allows the reader to see the psychological impact of war upon a single soldier.