The Red Badge of Courage by Stephen Crane
Supposing that “the youth” (Henry Fleming) deserted is comrades, escaped the battle and then went to be with his aging mother, farm the land and live in peace, he would been subjected t several humiliations. After the end of the war, which would ultimately have ended, he would have been seen as a coward by those who know that he had enlisted in the army. He would have been the laughing stock. Thus, the writer could have portrayed Henry, in such a situation, as a person who was jeered, mocked and flattered by his fellow folks after the war ended.
It is always said that it takes manure to mature. The gory acts that he saw in the war, the confusion and the adrenaline that propelled them him to fight, served as a passport of Henry from innocence to maturity. The war emboldened him and brought out his real self, what the writer writes as that, he never knew existed. If he could have escaped, he could still have remained naïve, full of his romantic fantasies of the glory of war. Thus, was it to be otherwise, the writer could have brought out a story of not only a conscientious objector but also cowardice.
The war, with its manifold horrors, injustice and monotony, reflected all the tendencies of the then naïve Henry. If he could have escaped from his comrades, his tendencies could still be deeply rooted in him and peace, which he could have found if he went to till the land with his aging mother, could conceal not only his true self, but also made extensively revere his tendencies. Thus the story would have another different character portrayed by Henry.
There are several reasons why Crane wrote “Red Badge of Courage” instead of otherwise. First, the writer wanted to bring out what men face in their life times. They face hard times; strive hard to go through them and when they deem themselves as unable to cope with the situation, they try to quit (Stephen, 2009). Upon quitting, they realize they need be brave, and then they go back and pick the pieces from where they had ended and with new courage, soldier on. Second, the writer wanted to show the many challenges and sometimes heartbreaks (loss of hope) that comes on the way to success. Third, drawn from how the youth enlists in the army against his mother’s wishes, it reflects the stance that parents have over their children: they can advice them but not decide for them. This implies that parents don’t have dominance over their children. Last, it was to show the grim lessons that life metes out to those who live. Perhaps this can be explained from the certitude of the saying that experience is the best teacher, and also through the conversely put saying, experience is a hard teacher because she gives first the test and then the lesson.
Such a story would be told by fellow comrades who were in the same regiment with him, more so those who knew the reason that drove him to leave the army. It would be with such lambasting that it would portray the would-be Henry in such a story as coward and someone dominated by his parents. It would be told in such a way to flatter those who are cowards in times of war, thus creating brave regiments would a war arise.

Section B
“The boy who cried ‘wolf’ was the first novelist” (Vladimir Nabokov)
The boy who cried ‘wolf’ is a moral story. The story revolves around a shepherded who was only a boy. The boy, all alone grazing the sheep in the hills would feel bored and so started singing, saying that there was a wolf running after the sheep. However, the boy just sang to alleviate his boredom. The villagers who heard came running so as to assist the young boy in chasing the wolf away. They were surprised to see the boy laughing at them, since there was no wolf to be seen. Disheartened and furious, there went back to their village albeit after warning the boy against singing “wolf, wolf” when real sense there wasn’t any.
A second time, the young boy sang “wolf, wolf” again prior to which the villagers came to his “aid”, just to meet the boy bent double with laughter. Same too, the angry villagers warned the boy and went back to their village. When the true wolf really came, the boy raised the alarm. Who would really come? It was a false, as the trend, so they thought. The sheep scattered and the boy was in trouble. The moral lesson of the story was a liar is not believed, even at the times he’s truthful. Vladimir Nabokov used that phrase in his article “Good readers and good writers” to drive home some moral lesson. Vladimir warned writers not only to use nature clues to prop up their imaginative writing thus bringing out a seemingly real world in their writings.
Vladimir urge writers to first visualize that “wolf” (read it as ‘their story’) before they write it to make the readers believe of the “wolf” (their work). Thus he urges literary true lies. Like the boy who was met the real wolf, the phrase urges writers to avoid the work that could be met by the wolf, which is, busted by readers.
As a literature scholar, Vladimir Nabokov advises that writers should not write work that is literary real in their imagination, but literary unreal in the minds of their readers since even though the readers may keep quiet about it; they may bring out the literary white lies: the genuinely unimaginative world. If the writer is met by the real wolf, like the shepherd boy, readers may cease from buying literary works by such a writer.
In my viewpoint, the writer of “The boy who cried wolf would credit Vladimir Nabokov for using such a moral lesson meant to the world, to address issues that would be merely limited to the literature field. In any case, Aesop would be surprised to find that such a phrase could be fit seamlessly into a field that he featured. Perhaps, he would never have figured it that way.
Writers can learn from the moral of the methodological fable: to take time to write literary genuine materials that unfolds into the minds of their readers as literary genuine writings, for them to be successful in their writing. Writers need to weave their fictional stories using world that is imaginatively real: thus be genuine literary deceiver.
The last novelist will be the writer who writes literal work which he believes is real; a supposition that is conjured in his mind, while in his work is viewed in disdain by his readers: writers who will make readers suffer for a protracted duration when reading their work, yearning it be over instead of the books which one can read and yearn never to end.

References
Stephen, C. (2009). The Red Badge of Courage. London: Collector’s Library.