Chapter I this line indicates that there is no help from God

This line indicates that there is no help from God.
With Darwin’s and Zola’s affect apparent, the naturalists sought to push Realism even further, or as Frank Norris argued in his essay “A Plea for Romantic Fiction,” to go past the “meticulous presentation of teacups, rag carpets, wall paper, and hair-cloth sofas” or past Realism as mere photographic accuracy and to include a variety of writing that explores the “unplumbed depths of the human heart, and the thriller of sex, and the black, unsearched penetralia of the souls of men.” Norris is calling for a grittier method in analyzing the human being as surely an upright animal, a variety of on foot complex combination of inherited traits, attributes, and habits deeply affected through social and economic forces.
Naturalistic works went the place Realistic works did no longer go, dealing with taboo subjects for the time, topics such as prostitution, alcoholism, domestic violence, violent deaths, crime, madness, and degeneration. Sometimes defined as pessimistic materialistic determinism, Naturalism sought to look at human nature in a scientific light, and the author frequently took on the function of scientist, coolly gazing the human animal in a variety of plights, at the mercy of forces past his manipulate or understanding, compelled by way of intuition and decided by way of motive and effect to behave in certain, regularly self-destructive, methods as a result of heredity and environment. In such works, the plot plays out on the fabric evolutionary plain, the place a benevolent deity or any supernatural shape is absent and idealistic concepts, such as justice, liberty, innate goodness, and morality, are shown as illusions, as easy fabrications of the human animal making an attempt to increase himself above the other animals.
In the Naturalistic works, nature is depicted as indifferent, from time to time even hostile, to humans, and human beings are often depicted as small, insignificant, anonymous losers in battles towards an allpowerful nature. Characters might also dream of heroic actions in the midst of a war to survive extreme conditions, but they are most frequently trapped through circumstances, unable to summon the will to change their decided outcome. Characters rarely exhibit free will at all; they regularly stumble through events, victims of their personal vices, weaknesses, hereditary traits, and grim social or herbal environments. A male persona in a Naturalistic novel is frequently characterized as section “brute,” and he normally exhibits sturdy impulses, compulsions, or instinctive drives, as he attempts to satiate his greed, his sexual urges, his decadent lusts, or his wish for energy or dominance. Female characters also commonly exhibit subconscious drives, acting without knowing why, unable to exchange course.
Naturalistic works are not described with the aid of a region; the characters’ action may take location in the frozen Alaska wilderness, on the raging sea, or inside the slums of a city. Stylistically, Naturalistic novels are written from an nearly journalistic perspective, with narrative distance from action and the characters. Often characters are now not given names as a way to enhance their cosmic insignificance. The plot of the story regularly follows the consistent decline of a character into degeneration or dying (known as the “plot of decline”).
Throughout the story, Stephen Crane appears to advocate that the destiny of the four men is pre-determined by nature and that they had no control over their own lives. The story starts amidst hopelessness and chaos. The sea is stormy and the waves are dashing. The 4 men may want to solely seem to be in awe. They could now not navigate the ship to their desires. When the captain of the ship asks whether they have an awful lot of a show, the three stay silent, expressing no optimism at all. “Oh, well,” said the captain, soothing his children, “we’ll get ashore all right” (Crane 5). But there was once that in his tone which made them think; so the oiler quoth, “Yes! if this wind holds.” The cook used to be bailing. “Yes! if we don’t catch hell in the surf.”” (Crane 5).

This line indicates that there is no assist from God. According to Naturalism, someone born or thrown into a determined circumstance ought to depend solely upon themselves to survive. Here, when the captain expresses an optimistic statement, he tells it in a depressed voice. In fact, he is only trying to decrease the fears of the different three guys in the boat like a father trying to soothe his children. But the tone of his voice raises doubts in the minds of the other men. The oiler says they would possibly attain the shore if the wind holds and the cook provides if they don’t get caught in the waves. Thus the hazard of the wind and the waves – natural forces – are so wonderful – that without their help, the guys feel there is no hope of getting to the shore. These traces show the indifference of nature, the forces of environment and an indifferent, deterministic universe. Together, these factors mean a sense of hopelessness in overcoming fate which is a predominant trait of naturalism.

As naturalist writers write, Crane portrays nature as uncaring in his descriptions of the unforgiving and relentless sea. He states at one point in his story that, “A singular disadvantage of the sea lies in the truth that after correctly surmounting one wave you find out that there is every other in the back of it simply as vital and simply as nervously anxious to do something nice in the way of swamping boats” (Crane 1). Despite the fact that the guys in the lifeboat are tired and that their demise seems forthcoming if the sea does no longer let up, the sea continues on in wave after wave of relentless fatigue.
Nature, in this case the sea, is portrayed as uncaring. Even the tower is no longer certainly “a giant, standing with its back to the plight of the ants” (Crane 2). It is God, standing with his back to men. To be “impressed with the unconcern of the universe” (Crane 2) implies that there is no sort God or religion resting at the middle of the world. Man is alone, Crane says, having to rely completely on his personal resources. Under such conditions man learns to count on fellow human beings for survival. Crane tells us that though he had been taught to be cynical of men, his shared tragedy with the other three men forces him to shape a comradeship. So touchy they end up to human struggling that the correspondent, recalling a childhood verse, feels sympathy for a dying soldier, one who does now not even exist. All of this is the consequence of the uncaring sea that is a powerful image of naturalism.
Finally, actual to the writing style of literary naturalism, Stephen Crane, in his story “The Open Boat” makes use of a number of figures of speech involving snap shots drawn from nature make comparisons with land animals or objects. “Canton-flannel gulls flew close to and far. Sometimes they sat down on the sea, near patches of brown seaweed that rolled over the waves with a motion like carpets on a line in a gale. The birds sat effortlessly in groups, and they were envied by way of some in the dinghy, for the wrath of the sea was no greater to them than it was to a covey of prairie chickens a thousand miles inland. Often they got here very shut and stared at the men with black bead-like eyes” (Crane 4).The waves viewed against the horizon appear like jagged rocks. The bucking broncho contrast compares the ride in the boat to a wild journey on a horse (Crane 2). The snarling waves endorse a land animal of any variety that snarls. The crest of every wave is a hill. The sea gulls are like prairie chickens, and “it is less complicated to steal eggs from beneath a hen than it was to exchange seats in the dinghy” (Crane 2). These figures drawn from exterior nature serve to broaden the scope of the tale. What the guys understand at the quit of the tale they research from the sea, but the lesson is a lesson about the entire of life, about man’s relation to man and to nature. Best remembered for his Civil War narrative, The Red Badge of Courage, Stephen Crane used to be born on November 1, 1871, six years after the struggle ended. He was once born in Newark, New Jersey, and later launched his career in New York as a journalist for the New York Herald, New York Tribune, and New York Journal. His first story, the novella, Maggie: A Girl of the Streets, was self-published when he was twenty-two years old. In 1895 The Red Badge of Courage used to be published, making Crane internationally well-known and enabling him to focal point on writing fiction for the relaxation of his quick life. Crane died of tuberculosis on June 5, 1900, in Badenweiler, Germany. His physique is buried in Hillside, New Jersey.