Character Brett Ashley in Ernest Hemingway’s The Sun Also Rises

Hemingway is viewed as a sexist because of the way he writes about women. His writing makes the reader believe that Hemingway has a strong dislike for women. Both "Hills like White Elephants" by Ernest Hemingway and "A Clean Well-Lighted Place" represent Hemingway's view on male's dominance over women and that women are the cause of men's misery. Ernest Hemingway's short story, "Hills Like White Elephants", is about abortion. In this short story, Hemingway has made one of the characters, the waitress, an eavesdropper.

he truly loves her but she uses Jake to get the emotional fix she cannot find is sexual union . . . this is ironic since she would most likely find both if Jake were fully functional'; (59). By looking at her treatment of Robert Cohn, Mike Campbell, and Jake Barnes, Brett could easy be seen as a self-centered, promiscuous nymphomaniac whose quest for love destroys men but leaves her relatively unharmed.

True Love in A Farewell to Arms At first look, Catherine Barkley, the woman from Hemingway's A Farewell to Arms, appears to be an example of a dream girl. She emerges as a mindless character who asks nothing of her man and exists only to satisfy his needs. Therefore, it has been propounded that Catherine's character is demeaning to women. By analyzing the actions of only one of the characters, however, the special relationship that exists between Frederic and Catherine is overlooked. If Catherine is Hemingway's manner of demeaning women then one must also examine the manner in which Frederic is described, for he too is very dependent and dedicated to Catherine as she is to him.

He cannot separate his vision of her from his vision... ... middle of paper ... ... Gatsby, in the eyes of a feminist critic, is based on a lie of a double standard that makes female characters in classic literature not persons but symbols. It makes women's experience no part of that literature's concern. The male romantic imagination wants women to remain outsiders so that they can be forever available as occasions for the heroic gestures of men and as scapegoats for the failure of men's dreams. Works Cited Feminist Criticism. http://www.cumber.edu/engl230/femcrit.htm Fetterley, Judith.

Brett falls for a bullfighter, who is a symbol of virility and passion. However, there is a deeper level to the bull-steer dichotomy than their respective sexual traits. The imagery associated with bulls and steers is more illustrative than their possession or lack of testicles. In their roles and in the images associated with them, bulls are glorious, exciting and dangerous. Steers are humble, impotent and safe.

For Whom the Bell Tolls. New York: Charles Scribner’s Sons, 1968. Hemingway, Ernest. The Old Man and the Sea. New York: Simon and Schuster Inc., 1980.

The likening of the docto... ... middle of paper ... ...on to leave behind his hometown with its plethora of beauties underscores his view of young women as inconsequential objects of pleasure. *Paragraph Break*Both "Indian Camp" and "Soldier's Home" place young women in a secondary, objectified role. Hemingway takes this approach to focus attention on the psyches of his male protagonists, self-obsessed in their youth or war-weariness. It may not endear the author to feminist readers, but it does make for some powerful short fiction. Bibliography: 1.DeFalco, Joseph.

Chelsea House, 1985. 368-401. Understanding The Sun Also Rises by Ernest Hemingway. 01 Aug. 2001 http://ct.essortment.com/sunalsorisesu_rqek.htm Waldhorn, Arthur. A reader’s Guide to Ernest Hemingway.

Hart, James D. ed. "Hemingway" The Oxford Companion to American Literature, 364-395. New York: Oxford University Press, 1965. McDowell, Nicholas. Hemingway.

"Hemingway was in search of his manhood (an ignoble quest? ); he hated women; he had a "death wish" and a "thin persona"; he was the archpriest of violence, etc." (6). However, Newton sees women in Hemingway's works as the "positive life-directed force which transports the male Hemingway hero away from a debilitating wound" (2), and he places them into "[t]he roles manifested by Hemingway's women in aiding the hero": "Ideal Women," "Sister Guides," "Icons and Dream Visions," "Wicked Women Who Also Serve," "Feminine Points of View," and "Full Cycle." My problem with Newton's approach to the feminine in Hemingway is that Newton seems to accept that, in presenting women as archetypal Eve's, the woman as "help-meet"-type image, that Hemingway is somehow presenting women favorably.