A Natural Self Controlled by Instincts and Ruled by Passion

In order to punctuate the reality of the dangers which accost them at the toss of every wave, from the starting signal the reader senses that not every man will successfully arrive on shore.

One of crane's naturalist techniques is to present nonliving objects as if alive. The boat in which the four work labor rely upon is described as if a "bucking bronco" (Lauter 715). Yet flummox against this animation of the objects and environment in which they find themselves trapped, these men ar continually assaulted by an ominous and pervasive "grayness" (Lauter 714-5). The waves are described to be like "slate" in the premier(prenominal) paragraph (Lauter 714). Crane coyly adds that although n unmatchable of these men deal the color of the sky, each one could exhaustively describe the " colorize of the sea" (Lauter 714). Their eyes gazing out at the sea in a mix of terror and awe turn grey as if in sympathetic correspondence (Lauter 715).At the end of the prime(prenominal) parting Crane has already left the clue that the oil well may not survive. The interchangeable is drawn as inquisitive, impetuous to know what is happening and why. The cook is seen to be almost light-hearted and affirmatory of life. The passe-partout is intent on developing a schema for bringing his new crew successfully ashore. The oiler is presented as the most dispassionate, the most cynical. Already in this f

irst section, Crane's compressed technique hints that in this naturalist history the one who accepts the harshness of his condition and does not battle against it may be the one most easily victimized by nature.

In the second section Crane continues the action of the story's plot. The sea is seen to be a difficult and treacherous opponent. The captain orders the men to bail and the cook cheerfully responds (Lauter 718). In the third section Crane artfully develops the br otherhood of man as a compelling counterpart to the destructive nature which surrounds these men. Nature is seen as always threatening. Yet Crane employs almost a unusual tone at times to lighten the story's ominous rack and to suggest that nature must be understood as the confining force of the universe.

To this end, in the third section, the correspondent feels as if they are four men involved in a circus act, riding the dinghy as if it were a bleached pony. Yet they also take a moment to make relaxed and celebrate the pleasures of life when they uncover four cigars and dry matches (Lauter 720). Crane seems to be suggesting that in this moment of reprieve, they feel confident that they kitty better nature.

Lauter, Paul, ed. The Heath Anthology of American Literature.

In the sixth and conclude section, Crane allows a touch of hope to enter into the narrative. The correspondent awakens from his sleep of the dead to see the sky resplendent with blood-red and gold (Lauter 728). Recognizing that they are unlikely to be rescued the captain plots to bring the boat into the surf themselves. There seems no other plan. As they draw relatively near to shore, fierce waves force all four men out of the boat. They essay to shore. unaccompanied the oiler does not survive. Crane suggests that this life and death struggle with the ocean must demand some legal injury. In this tale, the price to be paid for battling against nature and emerging victorious is that one man must die. Crane seems to ch
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