In each of the two short stories, “To Build a Fire” by Jack London and “A Mystery of Heroism” by Stephen Crane, the he author depicts the realism of life through the thoughts, actions, and descriptions of a central character. Both characters go through difficult and dangerous, but realistic, circumstances as they try to achieve a particular goal. The authors ridicule romantic principles, expose arrogance and ignorance, denounce naturalism, and use impressionistic writing to manifest their central theme of realism. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Both London and Crane mock romantic notions in order to amplify the realism. For example, London undermines all the romantic events his character experiences with reality: "There was the fire, crackling and crackling and promising life with every dancing flame... grew like an avalanche, and it descended without warning on the man and the fire, and the fire was put out! » (502-503). London lures the reader into this false sense of romantic optimism in order to heighten and dramatize the return to reality. Furthermore, London erases any notion of hope the reader may have for the character and, in fact, this reveals the harsh reality of the character's situation. Moreover, the nurturing fire seems incongruous in this cold and heartless weather. This nameless character – without a name to represent humanity – is not expected to survive such low and dangerous temperatures for so long, and by destroying the fire, London returns the reader to the realm of reality. Similarly, Crane uses a similar technique: “Sometimes the infantrymen would look at a pretty little meadow stretching out at their feet. Its long green grass swayed gently in the breeze. Beyond was the gray shape of a half-torn house. torn to pieces by the shells and by the occupied axes of the soldiers..." (488). Once again, the "fair" and "green" meadow seems absurd in today's harsh conflicts and bloodshed. However, these adjectives have meaning because they contrast with the stark "grey" and "half-torn" house. After moving beyond the romantic vision, the soldiers see the demolished house, which reminds them that they are currently fighting a war and that it There is nothing romantic about war. To undermine the romanticism, Crane uses a different technique. As an impressionist writer, Crane describes the landscape in very simple words so that the reader can simply grasp the broad outline of the war. story without venturing into details This technique paints a realistic picture, because in reality, a soldier would not be meticulous in describing the scene instead he would glance quickly while continuing to; look out for one's own interests. Furthermore, both authors ridicule man's arrogance by proposing absurd goals to the characters and concluding with pessimistic results. In the story of London, the character must explain why he stops to rest: "It was a steep bank, and he stopped to breathe at the top, apologizing for the act by looking at his watch." (497). Instead of simply admitting his fragility in this freezing temperature, he places his goal of reaching the "boys" at six as a greater priority than his personal safety and well-being. Furthermore, he disputes the elder's advice to travel alone in temperatures below one hundred and fifty degrees, which further manifests his haughtiness. The character chooses to ignore this crucial advice and suffers for his stubbornness. On a symbolic level, this..