Old Fashioned Type Write With Piece Of Paper In It The Writing Style of Hemingway

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The Writing Style of Hemingway

For Whom The Bell Tolls features typical Hemingway characters and highlights themes of macho and femininity. In this novel, as in many of his other works, Hemingway makes extensive use of what is known as the Hemingway Code. Many influences from many people and events in his personal life also influenced his writing.

Many people believe that there has never been an American writer like Ernest Hemingway. A member of the World War I “lost generation,” Hemingway was in many ways his best character. Ernest Hemingway, nicknamed “Champ” as a child or “Dad” as a grown-up, became a legend in his lifetime. Although the drama and romance of his life sometimes seem to overshadow the quality of his work, Hemingway was first and foremost a literary scholar, writer and reader. This is often overlooked in all the talk about safaris and hunting trips, hunting adventures, fishing and fighting. Hemingway enjoyed his fame, and enjoyed playing for the public limelight. However, Hemingway considered himself an artist, and he didn’t want to be celebrated for all the wrong reasons.

Hemingway was born on July 21, 1899 in the quiet town of Oak Park, Illinois, a suburb of Chicago. His father was a doctor, and Ernest was one of six children born to Dr. His mother, a devout, religious woman with considerable musical talent, hoped that her son would develop an interest in music. Instead, Ernest acquired his father’s passion for guns and for fishing trips in the woods of northern Michigan (Lynn 63).

Almost from the beginning of his writing career, Hemingway used a distinctive style that drew comments from many critics. Hemingway does not allow long descriptions of geography and psychology. His style is said to be flawed because he avoids direct expressions and emotional descriptions. Basically, his style is simple, direct and somewhat simplistic. He developed a powerful prose style characterized by simple sentences and few adjectives and adverbs. He wrote short, clear dialogue and descriptions of places and things. Critic Harry Levin noted the weakness of syntax and narration in Hemingway’s writing, but was quick to praise his ability to convey action (Rovit 47).

Hemingway spent the early part of his career as a journalist. In 1937, he went to Spain to cover the Spanish Civil War for the North American Newspaper Alliance. After a few months in Spain, Hemingway announced his plan to write a book with the Spanish Civil War as its background. The result was For Whom the Bell Tolls.

Most of his early novels were told in the first person and told from a single point of view, however, when Hemingway wrote For Whom the Bell Tolls, he used many different narrative techniques. He used interior monologues (where the reader is in the “mind” of a particular character), objective descriptions, rapid switching of points of view, and generally a more flexible structure than his previous works. Hemingway believed that “a writer’s style should be direct and personal, his imagery rich and earthy and his words simple and powerful. The greatest writers have the gift of brevity, are hard workers, diligent scholars, and skilled stylists (Magill 1287 ).

For Whom the Bell Tolls is the most serious and political novel Hemingway wrote. There are several comical or lighthearted passages throughout the book. For Whom the Bell Tolls is an attempt to present in depth the country and people Hemingway loved so much. It was an attempt to face a very complicated war honestly, made even more complicated by the beliefs that inspired it (Gurko 127).

Common to almost all of Hemingway’s novels is the concept of Hemingway’s hero, sometimes known as the “code hero.” When Hemingway’s novels were first published, the public readily accepted them. Part of this acceptance was due to the fact that Hemingway had created a character whose response to life strongly appealed to those who read his works. The reader saw in Hemingway’s hero a person whom he could almost identify with in a dream. Hemmingway’s hero was a man. He went from one love to another, he participated in wild game hunting, he enjoyed bull fights, he drank heavily, he participated in all the so-called manly activities, which the typical American man did not participate in (Rovit 56).

Hemingway’s involvement in the war made him deeply political. For Whom the Bell Tolls is a study of a person who participated in a politically motivated war. But this novel is very different from Hemingway’s earlier portrayal of the individual hero in the world. In this book, the hero accepts the people around him, not just a select few famous members, but society as a whole. The organization of this community is told with great eloquence in the description of one of the sermons of the poet John Donne about the death of a close friend. This is the quote from which the book is named:

No man is an Island, for himself, every man is a Continent, a part of the main, if a Clod be washed by the sea, less Europe, if it be a Promontorie, as if a Mannor of your friends or of those be yours; every human death diminishes me, because I belong to humanity; And therefore never send to know for whom the bell tolls; He does it for me.

Therefore, while the hero retains the characteristics of the Hemingway Code, he is built on his unity with humanity. In the end, he sees the world as “a beautiful place,” one that is “worth fighting for” (Curly 795). In his personal confrontation with death, Robert Jordan realizes that there is a greater reason than one can choose to serve. In this way, he differs from Hemingway’s previous hero. The insistence that the action and its form should be placed on only one person, along with the need for the mastery of the character on that action, is still there. However, the subject is no longer a single matador against a single bull, or an individual character against his entire environment. People are “humanity’s tool” against the atrocities of war. Therefore, the political challenges of this book are not presented as “black and white contrasts, but in the dark tones of reality” (Magill 491).

While Jordan is the epitome of a hero in his actions, he is also much more in command of himself and his circumstances than Hemingway’s previous heroes; he is driven to reality by deep emotional needs. Jordan’s drives in the novel seem to be a direct reflection of Hemingway himself, as Hemingway was also deeply affected by his father’s suicide (Kunitz 561). Ironically, suicide as an escape from reality is a violation of Hemingway’s own code. The self-doubt and fear that such an act brings to the children of a suicidal person is a well-known psychological consequence. Maybe that’s why the pain of their fears causes Hemingway’s heroes to avoid “thinking” at all costs. Because “thinking” is too much to block from reacting. And with nothing to react to, the hero is left to face his inner fears (Magill 474). Death is also used by Hemingway at the end of the novel to resolve the dramatic conflicts established by the story. The theme of death is also seen in other parts of the book, such as when the characters express their grief about dying during the attack on the bridge. As in other works after his father’s suicide, Hemingway also confronts his characters with death. He admires those who face it with courage and without emotion. For Hemingway, one does not truly live until one has personally analyzed the significance of death (Brooks 323).

Against Hemingway’s heroes are his female characters. Hemingway’s approach to women in his works is particularly masculine. They are seen and valued in his stories with men as much as women as a whole. Hemingway does not go into their inner world except that this world is connected to the men with whom he is associated. The reader comes to see them as objects of love or as anti-romantic figures (Whitlock 231). Part of the reason Hemingway had this view of women was because it was his view of his mother. He believed that his mother was a manipulator and blamed her for part of his father’s suicide. “The qualities he thought admirable in a man—objectivity and an independent opinion, disregard for his authority—became dangerous in a woman” (Kert 103).

Hemingway’s heroes almost always personify the physical appearance of the ideal woman in their beauty. But in their personality they appear as two types: the “everywoman” who gives herself completely to the hero and the “femme fatale” who protects herself and does not let the hero take care of her completely. The “all-female” is accepted in Hemingway’s view because she submits to the hero. She doesn’t want any other life than with him. By submitting to the hero, she allows him to dominate her and assert his masculinity. The “femme fatale” is often a more complex character than the “all-female” (Lynn 98). Whether or not it becomes evil, it does not yield to the hero and wounds him and all the men around him in the head because they cannot control it and thus cannot assert their masculinity through it. But even when Hemmingway depicts women, he often places them in the same basic category as men. The hero fulfills the “Hemmingway’s Law” just like the hero. He sees life for what it is, even as he longs for something else. He is fundamentally brave in life, choosing truth over opinion, and he faces death head on. In practically every case there has already been some tragic event in her life—loss of a lover, violence—that has given her the strength to face life in this way (Lynn 102).

For Whom the Bell Tolls is “a living example that in modern times, epic quality must be displayed” (Baker 132). Heroic action is an epic trait, and For Whom the Bell Tolls embodies this element. The setting is simple and the emphasis is on the basic virtues of uncomplicated people. Men in war are ready to sacrifice their lives; they are exceptional for their acts of courage and heroism (Baker 94).

Behind the conception of this heroic idea is the disillusionment of the American public, the disillusionment brought about by the First World War. The influential man realized that the old ideas and beliefs contained in religion and morality did not help people survive the disaster of the First World War. As a result, after the war ended, Hemingway and other writers began to search. a new system of values, a system of values ​​that would replace old attitudes that they thought were useless. Writers who accepted these new beliefs were known as the “lost generation”.

“The Lost Generation”, was a name coined by Gertrude Stein and it refers to the post-war generation and the literary movement produced by the young writers of the time (Unger 654). Their writing reflected their belief that “the only truth was that life is hard” (Bryfonski 1874).

Much has been written about the unique style of Ernest Hemingway. Ever since he began writing in the 1920s, he has been the subject of praise and sometimes harsh criticism. It has not been ignored.

It is almost impossible to describe Hemingway’s style in a few paragraphs in a way that will satisfy those who have read his articles and books. It is a simple, direct and gentle style. Hemingway’s prose is decorative because it avoids the use of adjectives as much as possible. It tells a story in the form of straight journalism, but because it is a master of conveying emotions without embellishment, the work is even more beautiful.

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