Hemingway & the Crack-Up Report

The entire novel is written in his perspective with little recognition if any, of Capitu’s side of the story. Bento perceives Capitu as a “capricious [creature]” with “undertow eyes” and spends much of the latter half of the book trying to undermine her credibility (244). This is because Bento is incredibly jealous of Capitu, so he perceives the most insignificant of gestures as an act of adultery. Keep in mind, Bento admits to having a terrible memory, claiming that he “can’t remember the color of [the trousers he] put on yesterday”, so the reader must question his statements often—especially when discussing Capitu (111). Another shortcoming of his is that he is neither hero nor antihero.

Throughout the novel, Eddie has always blamed his leg from stopping his dreams. It is his leg that prevented him from becoming an engineer, leaving Ruby Pier, and doing almost any activity he once enjoyed. Continuing to think about his leg Eddie realized “His running was over…worse, for some reason, the way he used to feel about things was over too. He withdrew. Things seemed silly or pointless.

A Defense of Whitman Whether they have loved or loathed his poetry, each writer or critic who has encountered "Leaves of Grass" has had to come to some sort of reckoning with Walt Whitman. The Good Gray Poet, the grandfather of American poetry, has been deified by some and labeled a cultural and artistic barbarian by others. While Whitman freely admitted in his preface to the final publication of "Leaves of Grass" that the work was faulty and far from perfect, some critics see no redeeming qualities in Whitman's art. Henry James goes so far as to say, "Whitman's verse...is an offense to art." (James, p.16) James chastises Whitman for extolling and exploiting what James feels are truisms.

He disdains John Dowell as narrator, particularly his unreliable and meandering style, calling it a “bad method” (Dreiser 41). Dreiser goes on to explain that he finds no fault with the plot, just with the way Ford went about telling it. It is interesting to note that Dreiser states that a story must proceed in a linear fashion, bemoaning the fact that The Good Soldier does not follow this form, but yet winds up his article by calling the book “fairly representative of that encrusting formalism which, barnacle-wise, is apparently overtaking and destroying all that is best in English life” (43). In the early 1950s, there was a resurgence in interest (and criticism) of The Good Soldier. Mark Schorer, in his introduction to the 1951 reprint of the novel, called it a “great work of comic irony” (44).

He does this by means of hinting the plot and sharing some elements of mystery, and Gothic elements of the novel. The second role of the preface was however more towards his disadvantage, although I would imagine he never intended this to happen. The preface served as a frame in which Walpole disguises himself as an objective, third party translator, or he is also known as William Marshal. This same frame which served him benefits also proved to be a large indicator that the novel could not have been written two hundred years ago. It had all the key aspect of many eighteenth and nineteenth century novels, authenticity, authority, antiquity and art... ... middle of paper ... ... rather interesting foretelling of the story, whilst still not giving too much of it away.

Because... ... middle of paper ... ...oneliness haunting her. (Blythe) This is a large fault in Faulkner’s writing, as he does not even follow his own principles. All in all, Faulkner does not follow the ideas he presents in his Nobel Prize Acceptance Speech in his short story, A Rose For Emily. In fact, it seems that he goes toward using the exact opposite ideas. Instead of planting hope, courage, and love into the hearts and minds of his readers, he provides a feeling of weariness, as well as confusion, and possibly even doubt.

Nevertheless, it comes out later on that the benefits of the Sonderweg were far much numerous and still on the contrary they harmed the Germans in both spiritual and material aspects. In conclusion, scientists that rejected the Sonderweg are deceived as the real facts favor it. The Sonderweg theory interrelates well with the German history in the Heinrich’s novel during the nineteenth century; however, it is difficult and painful to bear with at times.4 Works Cited Gunnemann, Karin Verena. Heinrich Mann's Novels and Essays: The Artist as Political Educator. London, UK: Camden House, 2002 .

Trepidation and lament are marked by the presence of drink and its quieting effects. On the few occasions where triumph over fear manifests itself, Hemingway seems to imply that the failure to fulfill one's potential is not inevitable, and that even if it does occur, it can be dealt with. Alcohol then becomes a sign of either celebration or at the very least endurance. Regardless of the individual case and outcome, Hemingway's use of alcohol is inextricably tied to despair and varied perspectives on the loss of hope. Works Cited Hemingway, Ernest.

In the open... ... middle of paper ... ... believes his life to be beyond his own control even when he is the only character to have made any significant decisions in the entire play. Because of the many times he refuses divine help and rejects the idea that he controls his life, Faustus' stubborn belief that he cannot be saved appears almost comically tragic to the audience. The reader gains a sense that Faustus uses fatalism as a justification to do whatever he wants. This may be Marlowe attempting to bring attention to a condition he saw in his society. For Faustus, fatalism became a self-fulfilling prophecy.

The... ... middle of paper ... ... Hemingway's problem is that "... he had not been discovered in any act of cowardice but he himself knew that Brady 4 he had been frightened" (Atkins 50). One part of him accuses the other and insists on reparation. Fear is not to be condoned or rated as a sin throughout the story. Coward is a familiar character in Hemingway's work but he is never the traditional cringing coward. Hemingway uses fear in relation to weakness and survival to test his character's courage.