Harold Frederic, review, New York Times

January 26, 1896, 22

Frederic (1856-98) was London correspondent for the New York Times. His best-known novel, The Damnation of Theron Ware, outsold The Red Badge in 1896.

Two weeks before Frederic's long review appeared, he published the following short note in his column of general news from London in the New York Times, 12 January 1896:

The general reader, however, is talking a hundred times more about The Red Badge of Courage, written by Stephen Crane, who is presumably an American, but is said to be quite young and unknown, though he is understood to be living here. I have never known any other book to make its own way among the critics so absolutely swiftly. Everybody who reads it talks of nothing else. The Saturday Review gives it nearly two pages at the head of its list today, and everywhere else it is getting exceptional attention.

Who in London knows about Stephen Crane? The question is one of genuine interest here. It happens, annoyingly enough, that the one publishing person who might throw some light on the answer is for the moment absent from town. Other sources yield only the meagre information that the name is believed to be a real, and not an assumed, one, and that its owner is understood to be a very young man, indeed. That he is an American, or, at least, learned to read and write in America, is obvious enough. The mere presence in his vocabulary of the verb 'loan' would settle that, if the proof were not otherwise blazoned on every page of his extraordinary book. For this mysteriously unknown youth has really written an extraordinary book. The Red Badge of Courage appeared a couple of months ago, unheralded and unnoticed, in a series which, under the distinctive label of 'Pioneer,' is popularly supposed to present fiction more or less after the order of The Green Carnation, which was also of that lot. The first one who mentioned in my hearing that this Red Badge was well worth reading happened to be a person whose literary admirations serve me generally as warnings what to avoid, and I remembered the title languidly from that standpoint of self-protection. A little later others began to speak of it. All at once, every bookish person had it at his tongue's end. It was clearly a book to read, and I read it. Even as I did so, reviews burst forth in a dozen different quarters, hailing it as extraordinary. Some were naturally more excited and voluble than others, but all the critics showed, and continue to show, their sense of being in the presence of something not like other things. George Wyndham, M.P., has already written of it in The New Review as 'a remarkable book.' Other magazine editors have articles about it in preparation, and it is evident that for the next few months it is to be more talked about than anything else in current literature. It seems almost equally certain that it will be kept alive, as one of the deathless books which must be read by everybody who desires to be, or to seem, a connoisseur of modern fiction.

If there were in existence any books of a similar character, one could start confidently by saying that it was the best of its kind. But it has no fellows. It is a book outside of all classification. So unlike anything else is it that the temptation rises to deny that it is a book at all. When one searches for comparisons, they can only be found by culling out selected portions from the trunks of masterpieces, and considering these detached fragments, one by one, with reference to the Red Badge, which is itself a fragment, and yet is complete. 'Thus one lifts the best battle pictures from Tolstoi's great War and Peace, from Balzac's Chouans, from Hugo's Les Miserables, and the forest fight in '93,' from Prosper Merimee's assault of the redoubt, from Zola's La Debacle and Attack on the Mill, (it is strange enough that equivalents in the literature of our own language do not suggest themselves) and studies them side by side with this tremendously effective battle painting by the unknown youngster. Positively they are cold and ineffectual beside it. The praise may sound exaggerated, but really it is inadequate. These renowned battle descriptions of the big men are made to seem all wrong. The Red Badge impels the feeling that the actual truth about a battle has never been guessed before.

In construction the book is as original as in its unique grasp of a new grouping of old materials. All the historic and prescribed machinery of the romance is thrust aside. One barely knows the name of the hero; it is only dimly sketched in that he was a farm boy and had a mother when he enlisted. These facts recur to him once or twice, they play no larger part in the reader's mind. Only two other characters are mentioned by name Jim Conkin and Wilson; more often even they are spoken of as the tall soldier and the loud soldier. Not a word is expended on telling where they come from, or who they are. They pass across the picture, or shift from one posture to another in its moving composition, with the impersonality of one's chance fellow-passengers in a railroad car. There is a lieutenant who swears new oaths all the while, another officer with a red beard, and two or three still vaguer figures, revealed here and there through the smoke. We do not know, or seek to know, their names, or anything about them except what, staring through the eyes of Henry Fleming, we are permitted to see. The regiment itself, the refugees from other regiments in the crowded flight, and the enemy on the other side of the fence, are differentiated only as they wear blue or gray. We never get their color out of our mind's eye. This exhausts the dramatic personae of the book, and yet it is more vehemently alive and heaving with dramatic human action than any other book of our time. The people are all strangers to us, but the sight of them stirs the profoundest emotions of interest in our breasts. What they do appeals as vividly to our consciousness as if we had known them all our life.

The central idea of the book is of less importance than the magnificent graft of externals upon it. We begin with the young raw recruit, hearing that at last his regiment is going to see some fighting, and brooding over the problem of his own behavior under fire. We follow his perturbed meditations through thirty pages, which cover a week or so of this menace of action. Then suddenly, with one gray morning, the ordeal breaks abruptly over the youngster's head. We go with him, so close that he is never out of sight, for two terribly crowded days, and then the book is at an end. This cross-section of his experience is made a part of our own. We see with his eyes, think with his mind, quail or thrill with his nerves. He strives to argue himself into the conventional soldier's bravery; he runs ingloriously away; he excuses, defends, and abhors himself in turn; he tremblingly yields to the sinister fascination of creeping near the battle; he basely allows his comrades to ascribe to heroism the wound he received in the frenzied 'sauve qui peut' [stampede] of the fight, he gets at last the fire of combat in his veins, and blindly rushing in deports himself with such hardy and temerarious valor that even the Colonel notes him, and admits that he is a 'jimbickey.' These sequent processes, observed with relentless minutiae, are so powerfully and speakingly portrayed that they seem the veritable actions of our own minds. To produce the effect is a notable triumph, but it is commonplace by comparison with the other triumph of making us realize what Henry saw and heard as well as what he felt. The value of the former feat has the limitations of the individual. No two people are absolutely alike; any other young farm boy would have passed through the trial with something different somewhere. Where Henry fluttered, he might have been obtuse; neither the early panic nor the later irrational ferocity would necessarily have been just the same. But the picture of the trial itself seems to me never to have been painted as well before.

Oddly enough, The Saturday Review and some other of the commentators take it for granted that the writer of the Red Badge must have seen real warfare. 'The extremely vivid touches of detail convince us,' says The Review, 'that he has had personal experience of the scenes he depicts. Certainly, if his book were altogether a work of imagination, unbased on personal experience, his realism would be nothing short of a miracle.'] This may strike the reader who has not thought much about it as reasonable, but I believe it to be wholly fallacious. Some years ago I had before me the task of writing some battle chapters in a book I was at work upon. The novel naturally led up to the climax of a battle, and I was excusably anxious that when I finally got to this battle, I should be as fit to handle it as it was possible to make myself. A very considerable literature existed about the actual struggle, which was the Revolutionary battle of Oriskany, fought only a few miles from where I was born. This literature was in part the narratives of survivors of the fight, in part imaginative accounts based on these by later writers. I found to my surprise that the people who were really in the fight gave one much less of an idea of a desperate forest combat than did those who pictured it in fancy. Of course, here it might be that the veterans were inferior in powers of narration to the professional writer. Then I extended the test to writers themselves. I compared the best accounts of Franco-German battles, written for the London newspapers by trained correspondents of distinction who were on the spot, with the choicest imaginative work of novelists, some of them mentioned above, who had never seen a gun fired in anger.

There was literally no comparison between the two. The line between journalism and literature obtruded itself steadily. Nor were cases lacking in which some of these war correspondents had in other departments of work showed themselves capable of true literature. I have the instance of David Christle Murray in mind. He saw some of the stiffest fighting that was done in his time, and that, too, at an early stage of his career, but he never tried to put a great battle chapter into one of his subsequent novels, and if he had I don't believe it would have been great.

Our own writers of the elder generation illustrate this same truth. Gen. Lew Wallace, Judge Tourgee, Dr. Weir Mitchell, and numbers of others saw tremendous struggles on the battlefield, but to put the reality into type baffles them. The four huge volumes of The Century's Battles and Leaders of the Civil War are written almost exclusively by men who took an active part in the war, and many of them were in addition men of high education and considerable literary talent, but there is not a really moving story of a fight in the whole work. When Warren Lee Goss began his Personal Recollections of a Private, his study of the enlistment, the early marching and drilling, and the new experiences of camp life was so piquant and fresh that I grew quite excited in anticipation. But when he came to the fighting, he fell flat. The same may be said, with more reservations, about the first parts of Judge Tourgee's more recent Story of a Thousand. It seems as if the actual sight of a battle has some dynamic quality in it which overwhelms and crushes the literary faculty in the observer. At best, he gives us a conventional account of what happened; but on analysis you find that this is not what he really saw, but what all his reading has taught him that he must have seen. In the same way battle painters depict horses in motion, not as they actually move, but as it has been agreed by numberless generations of draughtsmen to say that they move. At last, along comes a Muybridge [Eadward Muybridge (1830-1904), English-born American photographer who proved with his photography that all four of a horse's feet leave the ground at one time], with his instantaneous camera, and shows that the real motion is entirely different. It is this effect of a photographic revelation which startles and fascinates one in The Red Badge of Courage. The product is breathlessly interesting, but still more so is the suggestion behind it that a novel force has been disclosed, which may do all sorts of other remarkable things. Prophecy is known of old as a tricky and thankless hag, but all the same I cannot close my ears to her hint that a young man who can write such a first book as that will make us all sit up in good time.

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