Among twentieth-century American fiction writers, his work is most often compared to that of his contemporaries William Faulkner and F. As or more important, Hemingway's style, with its consistent use of short, concrete, direct prose and of scenes consisting exclusively of dialogue, gives his novels and short stories a distinctive accessibility that is immediately identifiable with the author.
Known for his abbreviated style and stories which picture men proving their worth in situations of conflict, Hemingway attempted to live what he wrote. An associate of F. A recipient of the Nobel Prize for Literature, Hemingway committed suicide in See also CLC, Vols.
As critics have pointed out, The Torrents of Spring satirizes [Sherwood] Anderson's experimental novel Dark Laughterin which he had gone pretty far out. Straining for new effects, he had drifted uncertainly.
Especially tempting to the shark-like instincts of the satirist were some of Anderson's experiments with impressionism and stream of consciousness…. There are whole paragraphs in The Torrents of Spring exaggerating the jerky, noun-heavy style which resulted from [Anderson's] experiments….
It is risky to apply the stream-of-consciousness elements of the parody exclusively to Anderson, for Hemingway was also sniping at Gertrude Stein. Although Dark Laughter's attempts at stream-of-consciousness narrative and its catalogs are definitely Joycean, Hemingway's profound and lasting respect for Joyce rules out satire.
But in matters of style, there are parallels of far-reaching significance, parallels which can be extended to vernacular elements found throughout the body of the authors' works.
Polysyndeton is less prominent in his later prose, although Green Hills of Africa provides a few good examples. He was at the same time beginning to forsake the coordinated sentence for more involved ones.
Two outstanding stories appearing in continued the movement toward a new style: In " The Snows of Kilimanjaro ," a fondness for polysyndeton is still discernible, but even the compound sentences manifest an increasing amount of subordination.
The trend toward two widely divergent styles accelerates in For Whom the Bell Tollswhich has on the colloquial side Pilar's account of the massacre of the Fascists, but is more typically represented by denser, more complexly subordinated sentences.
The thrust of Hemingway's stylistic development after A Farewell to Arms, then, may be seen as being toward greater complexity and increased subordination. Overall evaluations of Hemingway's style have always been complicated by eccentric works such as Death in the AfternoonTo Have and Have Notand Across the River and Into the Treeswhich are sometimes interpreted as being his attempt to attain that "fourth and fifth dimension" in prose.
With his last two books, The Old Man and the Sea and A Moveable Feastit seemed that Hemingway was trying to return to his proven vernacular strength. Although not specifically colloquial, yet providing examples of polysyndeton, the style of The Old Man and the Sea is nonetheless simpler than the middle works, if rather mannered.
It is in returning to Paris, appropriately, in attempting to recapture the simple pleasures, that Hemingway most closely approaches the style he was writing thirty years before….
Comparing A Moveable Feast with Across the River and Into the Trees, it occurs to the reader not only to question Faulkner's widely shared opinion that Hemingway never experimented, but also to lament that he ever sought any other than the third dimension of prose he found in Paris.
While he employed it … Hemingway apparently made more extensive use of polysyndeton than did Anderson. Influence is difficult to ascribe here, but it should be noted that Anderson did not really use polysyndeton as much as appearances suggest.
Also, it is unwise to overlook possible sources of influence on both. And it is Hemingway who made the most of the legacy left by vernacular pioneers such as Mark Twain and Gertrude Stein. This subjective descriptive technique, which later came to be associated with Hemingway, is very evident in "I Want to Know Why.
It would seem from the evidence of "I Want to Know Why" and "My Old Man" that this was Anderson's clearest technical gift to him, the others bearing to varying degrees the mark of Gertrude Stein. Whereas in matters of syntax and repetition, Anderson was in a way his fellow pupil, in this stylistic area above all others, he showed Hemingway the way to convey immediacy with emotional intensity.
As a man [severely wounded in World War I], Hemingway lived every day in the full knowledge of his own death; and as a writer, he sought, at the deepest levels of his art, to confront this knowledge and to shape its meanings.
In the process, he highlights the flowering of the tremendous and probably irreversible change in the direction and content of human consciousness which began in the twelfth and thirteenth centuries and culminated in the middle and late nineteenth century: Then as now, the most characteristic and influential thinkers and artists increasingly saw reality in, and only in, this world and man and in the dynamic interrelationship between them.
Then and since, the shifting glow of the magical, the supernatural, the transcendent, the absolute increasingly flickered out in those remote and mysterious mental processes we call human consciousness.
So it was too with Hemingway. The beliefs and values implanted by his childhood … were shredded in the explosion of the trench mortar. For Hemingway, death and its implications for life became entirely existential realities to be confronted existentially—though, to be sure, with a small rather than with a large e.
In his writing, religion appears only as an empty echo of what once was but is no more; and men turn to objective nature and to themselves and each other for meaning and solace.
The famous and extraordinarily eloquent concreteness of Hemingway's style is inimitable precisely because it is not primarily stylistic: Tortured to the edge of insanity by a world gone mad in war, Nick Adams keeps his hold on reality by returning to the pure and absorbing sensuousness of camping and fishing on the Big Two-Hearted River ….
Waiting to be killed by Fascist cavalry, Robert Jordan in For Whom the Bell Tolls finds meaning not in religious or philosophical abstractions but in the people he loves and is dying for and in his sensuous perceptions of nature. Then he looked up at the sky. There were big white clouds in it.
He touched the palm of his hand against the pine needles where he lay and he touched the bark of the pine trunk that he lay behind.Start studying TExES Learn vocabulary, terms, and more with flashcards, games, and other study tools. The two-part analysis of a poetic line. Count the number of syllables per line and determine where the accents fall.
The Great Gatsby and Tender is the Night Ernest Hemingway -- A Farewell to Arms and For Whom the Bell Tolls. Catherine Barkley is an impeccable example of this social norm in Ernest Hemingway's, A Farewell to Arms.
Her submissive nature is key to the existence of the story. So important, in fact, that the story may not be at all possible without it. Essays and criticism on Ernest Hemingway - Hemingway, Ernest (Vol.
8) and both possess cogent likenesses which can be found in other works by the two men. A Farewell to Arms. A Farewell To Arms written by Ernest Hemingway illustrates a typical love story between two people, this love story plays out in a war torn Italy during world war I, where Italy was battling Austria, the novels main characters, lieutenant Fredrick Henry an American ambulance driver serving in the Italian army and Catherine Barkley an English.
Catherine Barkley is an impeccable example of this social norm in Ernest Hemingway's, A Farewell to Arms. Her submissive nature is key to the existence of the story. Her submissive nature is key to the existence of the story.
An Analysis of How Love Can Start by Two Totally Opposite Persons in “In a Farewell to Arms” by Ernest Hemingway ( words, 2 pages) In A Farewell to Arms Ernest Hemingway illustrates in a simple and pure style the development of the relationship between a young American ambulance driver and an English nurse during World War I in Italy.