In each of the two stories, "To Build a Fire", by Jack London, and "A Mystery of Heroism", by Stephen Crane , the author portrays the realism of life through the thoughts, actions, and descriptions of a central character. Both characters endure harsh and dangerous, yet realistic circumstances as they attempt to achieve a particular goal. The authors ridicule romantic principles, reveal arrogance and ignorance, expose 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 Shouldn't Be Banned"? Get an original essay. London and Crane flout romantic notions to amplify realism. For example, London downplays every romantic event her character experiences with reality: “There was the fire, which crackled and crackled and promised life with every dancing flame… it grew like an avalanche, and descended without warning upon the man and on the fire, and the fire was put out!" (502-503). London accustoms the reader to this false sense of romantic optimism to heighten and dramatize the return to reality. Furthermore, London erases any notion of hope the reader may have for the character and, in effect, this reveals the harsh reality of the character's situation. Furthermore, the nourishing fire seems incongruous in this freezing and unforgiving climate. This unnamed character – unnamed so that he can represent humanity – is not supposed to survive so long in such low, dangerous temperatures, and by destroying the fire, London brings the reader back into the realm of reality. Likewise, Crane uses a similar technique: "Sometimes the infantry soldiers would gaze upon a beautiful meadow stretching out at their feet. Its long green grass rippled gently in the breeze. Beyond it was the gray form of a house half destroyed, torn to pieces by the grenades and greedy axes of the soldiers..." (488). Once again, the "fair" and "green" lawn seems absurd in the current harsh conflicts and bloodshed. However, these adjectives have meaning because they contrast the crude "gray" and "half-torn" house. After looking beyond the romantic vision, the soldiers see the demolished house, which reminds them that they are currently fighting a war and that there is nothing romantic about war. To undermine the romance, Crane uses a different technique. Being an impressionistic writer, Crane describes the landscape in very modest words so that the reader can simply grasp the outline of the story without venturing into the details. This technique paints a realistic picture, because in reality a soldier would not be meticulous in describing the scene; instead, he cast a quick glance while continuing to look out in his own self-interest. Furthermore, both authors ridicule man's arrogance by giving characters absurd goals and concluding with pessimistic outcomes. In London's story, the character must rationalize why he stops to rest: "It was a steep bank, and he stopped to catch his breath at the top, apologizing for the deed 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 higher priority than his personal safety and well-being. He also contests the old man's advice to travel alone in temperatures below negative one hundred and fifty degrees, which shows his haughtiness even more. The character chooses to ignore this crucial advice and suffers because of his stubbornness. On a symbolic level, this can represent the lack or loss of instinct.