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The Writing Style of Hemingway
For Whom the Bell Tolls portrays Hemingway’s typical heroines and addresses issues of machoism and femininity. In this novel, as in his other works, Hemingway makes extensive use of the Hemingway Code. His writing was influenced by various people and events in his personal life.
Many believe that there has never been an American writer like Ernest Hemingway. Hemingway’s “lost era” of World War I was, in many ways, his own persona. Ernest Hemingway, whether by his childhood nickname “Champ” or his older “Dad,” became a legend in his lifetime. Although the drama and romance of his life sometimes seemed to overshadow the quality of his work, Hemingway was first and foremost a literary scholar, writer, and reader. It is overlooked in all the talk of his safaris, hunting trips, bullfights, fishing, and war adventures. Hemingway loved being famous and was happy to play in the spotlight. However, Hemingway considered himself an artist, and he didn’t want fame 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 physician, Ernest was the second of six children born to Dr. and Mrs. Clarence E. Hemingway. His mother, a devout, devout woman with musical talent, hoped to instill in her son an interest in music. Instead, Ernest takes inspiration from his father’s guns and goes on a fishing trip in the north woods of Michigan (Lynn 63).
Almost from the beginning of his writing career, Hemingway used a unique style that was praised by many critics. Hemingway does not provide long geographical or psychological descriptions. His style is considered to lack meaning because it avoids direct expression and depiction of emotion. Basically, his style is simple, direct and somewhat simple. He developed a powerful writing style characterized by simple sentences, few verbs, and adverbs. He wrote concise, clear dialogues and accurate descriptions of places and things. Critic Harry Levin pointed out the weak syntax and diction of Hemingway’s writing, but praised his ability to convey action (Rovit 47).
Hemingway spent his early career as a journalist. In 1937, he went to Spain to cover the Spanish Civil War for the North American Newspaper Association. After a few months in Spain, Hemingway announced plans to write a book about the Spanish Civil War. For whom the result rang a bell.
While most of his early novels were told in the first person and anchored within a single point of view, Hemingway used a number of different narrative techniques when he wrote Who Hits Whom. He used interior monologue (the reader is “inside” a certain character), realistic imagery, rapid shifts of point of view, and generally a looser structure than his previous works. Hemingway said, “A writer’s style should be direct and personal, his imagery rich and earthy, his words simple and vigorous. The greatest writers are hard workers, diligent scholars, and skilled stylists with a gift for brevity (Magill 1287) .
“For Whom the Bell Tolls” is Hemingway’s most serious and politically charged novel. There are few comic or light episodes in the entire book. For Whom the Bell Tolls is an attempt to deeply portray the country and people Hemingway loved so much. It was an attempt to deal fairly with a very complex war made even more complicated by the beliefs it inspired (Gurko 127).
Common to almost all of Hemingway’s novels is Hemingway’s concept of the hero, sometimes called the “code hero.” When Hemingway’s novels were first published, they were immediately embraced by the public. Hemingway’s response to his life is due to the fact that he created a character that resonates with those who read his works. The reader sees in Hemingway’s hero a person he recognizes almost in a dream. Hemingway was a heroic man. He moved from one love affair to another, participated in hunting, loved bullfights, drank insatiably, and engaged in all the activities known to men that the typical American man did not participate in (Rovit 56).
Hemingway’s involvement in the war gave him deep political views. “For Whom the Bell Tolled” is an individual study of a politically motivated war. But this novel is very different from Hemingway’s image of the individual hero of the world. In this book, the hero recognizes the people around him, not just a select few members of the elite, but the entire community. The organization of this society is eloquently expressed in a passage from a sermon delivered by the poet John Donne after the death of a close friend. This is the quote from which the book is titled:
No man is Ireland, it is itself, every man is a part of the Continent, a part of Maine, if the sea-washed Clod bees Europe less, as well as the Promontory, as well as your friends’ or your own Mannor; the death of any man will diminish me, for I participate in Humanity; So never send to know for whom the bell tolls; This is me for you.
Thus, the hero, while retaining Hemingway’s grammatical characteristics, is created by virtue of his solidarity with humanity. In the end, he finds the world a “good place” “worth fighting for” (Curly 795). When Robert Jordan faces death, he realizes there is a greater cause a man can choose to serve. In this way, he differs from the previous Hemingway characters. There is still the concept that action and its form should be entrusted to only one individual, and a character is needed to dominate the action. However, the issue is no longer a single matador against a single bull, or an individual figure against his entire environment. Man is the “weapon of humanity” against the horrors of war. Thus, the book’s political issues are presented not in terms of “black and white contrasts,” but in a shadowy tone of reality (Magill 491).
Jordan is the epitome of a hero in his actions, and is much more in control of himself and his circumstances than Hemingway’s previous heroes; his deep emotional needs lead him to confront reality. Jordan’s passion in the novel seems to be a direct reflection of Hemingway himself, as Hemingway was also deeply affected by his own father’s suicide (Kunitz 561). Ironically, escapist suicide is a violation of Hemingway’s own rules. Self-doubt and fear that the child of a suicidal person will bring such an act is a psychological consequence of people. That’s why their anguish is what drives Hemingway’s characters to avoid “thinking” at all costs. Because too much “thinking” prevents a person from reacting. Without reacting, the hero will face his inner fear (Magill 474). Death is also used by Hemingway at the end of the novel to resolve a dramatic conflict in the story. The theme of death is also seen in other parts of the book, such as characters expressing concern about dying during the attack on the bridge. As in other works after his father’s suicide, Hemingway confronts his characters with death. He admires those who face death bravely and without emotion. For Hemingway, one does not truly live life until one personally analyzes the significance of death (Brooks 323).
Unlike Hemingway, the heroines are his female characters. Hemingway’s treatment of women in his works is particularly masculine. They are seen and evaluated in comparison to the men in her stories, who are extremely feminine. Hemingway does not enter into their inner world, because this world is related to the men with whom they are associated. The reader sees them as objects of love or anti-love characters (Whitlock 231). One of the reasons Hemingway felt this way about women was because of how he viewed his mother. He believed his mother to be a manipulator and partly blamed him for his father’s suicide. “Qualities that he thought admirable in a man—ambition, independent opinion, disregard for one’s own authority—threatened a woman” (Kurt 103).
Hemingway’s characters almost always represent the image of a woman ideal for her beauty. But in their character they have two types: the “whole woman,” who gives herself entirely to the hero, and the “fatale,” who keeps herself and prevents the hero from completely possessing her. “All Women” is acceptable to Hemingway because it is subservient to the hero. He wants no other life than to be with her. By surrendering to the hero, she allows him to rule and prove himself as a man. The “femme fatale” is often a more complex figure than the “everywoman” (Lynn 98). Badass he may be, he refuses to obey his hero and hurts him and all the men around him because they can’t control him, so they can’t prove their manhood through him. But although Hemingway portrays women, he places them in the same basic category as men. The hero, like the hero, follows the “Hemmingway Code”. He sees life as it is, even if he wants more. He is brave in life, chooses reality over thought and will face death head on. In almost every case, there was some tragic event in her life—loss of a lover, violence—that gave her the strength to cope with life in this way (Lynn 102).
For Whom the Bell Tolls is “a living example of how heroism should be imagined in modern times” (Baker 132). Heroic action is heroism, and For Whom the Bell Tolls contains this element. The arrangement emphasizes the basic virtues of simple and uncomplicated people. Men in conflict are willing to sacrifice their lives; they stand out for their bravery and heroic deeds (Baker 94).
Behind this idea of the hero lies the American public’s disillusionment with World War I. A deeply impressed person realized that the old ideas and beliefs based on religion and ethics did not help to save man from the destruction of the First World War. As a result, after the end of the war, Hemingway and other writers began to search. a new system of values, a system of values to replace the old attitudes they find useless. Writers who embraced these new beliefs came to be known as the “lost generation.”
“Lost Generation” is a name coined by Gertrude Stein to refer to the post-war period and literary movement created by young writers of the time (Unger 654). Their text reflected the belief that “life is harsh and the only reality” (Bryfonski 1874).
Much has been written about Ernest Hemingway’s unique style. Ever since he began writing in the 1920s, he has been praised and sometimes savagely criticized. He was not ignored.
It is almost impossible to describe Hemingway’s style in a few paragraphs to the satisfaction of those who have read his articles and books. This is a simple style, straight and modest. Hemingway’s writing is unadorned as a result of his refusal to use adjectives as much as possible. He tells a story in straight journalistic fashion, but his product is more enjoyable because he excels at conveying emotion without embellishment.
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