The Irrelevant God in A Farewell to Arms
A Farewell to Arms begins with a god's-eye-view, cinematic pan of the hills surrounding Gorizia-the camera of our mind's eye, racing forward through time, sweeps up and down the landscape, catching isolated events of the first year in the town as it goes. The film ultimately slows to a crawl, passing through the window of a whorehouse to meet the eyes of Frederic Henry watching the snow falling. As we attach ourselves to Frederic Henry's perspective we turn (as he turns) back to the conversation at hand, a theological debate between the priest and Lieutenant Rinaldi. This debate, its dialectic made flesh in these two polar opposites, is a central question of A Farewell to Arms: What is our relationship to God? This is, indeed, the overriding philosophic arc of the novel; A Farewell to Arms can be seen as the synthesizing of these two worldviews into Henry's final relationship with God.
Fredrick Henry's silence during this original debate is very telling-it indicates, of course, that he has not yet made up his mind. It would be very easy for him to cast his lot with either Rinaldi and his atheists or the priest, yet he remains silent as they talk-even after comments about an antireligious book called Black Pig are directed at him from both camps. "It is very valuable. It tells you about those priest. You will like it," says Rinaldi. "Don't you read it," responds the priest (8). Henry's only comment in this chapter is his statement that the coming of winter will end the offensive-a comment which is seized upon by the group and used as another bone of contention for the group. The priest wants Henry to go to the Abruzzi: "There is good hunting. You would lik...
... middle of paper ...
...ta P, 1984.
Bloom, Harold. Introduction. Ernest Hemingway’s A Farewell to Arms. Ed. Harold Bloom. New York: Chelsea, 1987.
Donaldson, Scott. Frederic Henry’s Escape and the Pose of Passivity. Hemingway: A Revaluation. Ed. Donald R. Noble. Troy: Whitson, 1983.
Fenton, Charles A. The Apprenticeship of Ernest Hemingway. New York: Farrar, 1954.
Fetterly, Judith. Hemingway’s Resentful Cryptogram. Ernest Hemingway’s A Farewell to Arms. Ed. Harold Bloom. New York: Chelsea, 1987.
Fiedler, Leslie A. Love and Death in the American Novel. Rev. ed. New York: Stein and Day, 1966.
Grebstein, Sheldon Norman. Hemingway’s Craft. Carbondale: Southern Illinois P, 1973.
Hemingway, Ernest. A Farewell to Arms. New York: Scribner Paperback Fiction, 1957.
Killinger, John. Hemingway and the Dead Gods: A Study in Existentialism. Lexington: U of Kentucky P, 1960.
When approached by Arnold Friend at first, she was skeptical but was still charmed by him. As she began to feel uneasy, Connie could have used her intuition to realize that he was trouble. Once she had been engaged by Arnold, her life was over. The influences on Connie and her lack of instilled reasoning led to her down fall. Her family’s fragmented nature was echoed in her actions; consequently, she was unable to communicate with her parents, and she was never was able to learn anything of significance. She felt abandoned and rejected, because no one took the initiative to teach her how to make good decisions. Connie was unable to mature until she was faced with death and self sacrifice. In the end, her situation made it difficult for her to think and reason beyond the position she was in. By not being able apply insight, she fell into Arnold Friends lure. Misguidance by the parents strongly contributed to Connie’s
Ernest Hemingway used an abundant amount of imagery in his War World I novel, A Farewell to Arms. In the five books that the novel is composed of, the mind is a witness to the senses of sight, touch, smell, hearing, and taste. All of the these senses in a way connects to the themes that run through the novel. We get to view Hemingway’s writing style in a greater depth and almost feel, or mentally view World War I and the affects it generates through Lieutenant Henry’s eyes.
In The Heath Anthology of American Literature, Volume II. Edited by Paul Lauter et al. Lexington, MA: D.C. Heath and Company, 1991: 1208-1209. Hemingway, Ernest. A.
...en he was at her house, and who Arnold Friend truly was. Some people believe that Arnold Friend is a predator seeking out a new victim, but I think that in some strange way Arnold becomes Connie way to escape into her fantasy world. When she learns his true intentions she is scared to death at first but eventually that fear gives way when entering his car. Connie may think that she’s not going to see her mother again or sleep in her bed again, but at the same time she’s going to escape from her old life. Maybe she has made her decision at that moment; Connie no longer resists Arnold after that moment and does everything he says to do. As she steps out the door, she sees the "vast sunlit reaches of the land behind him," in contrast with the house she is leaving, which "looked small." This shows that she is stepping out into her fantasy world, or so she thinks she is.
"After a while I went out and left the hospital and walked back to the hotel in the rain" (332). This last line of the novel gives an understanding of Ernest Hemingway's style and tone. The overall tone of the book is much different than that of The Sun Also Rises. The characters in the book are propelled by outside forces, in this case WWI, where the characters in The Sun Also Rises seemed to have no direction. Frederick's actions are determined by his position until he deserts the army. Floating down the river with barely a hold on a piece of wood his life, he abandons everything except Catherine and lets the river take him to a new life that becomes increasing difficult to understand. Nevertheless, Hemingway's style and tone make A Farewell to Arms one of the great American novels. Critics usually describe Hemingway's style as simple, spare, and journalistic. These are all good words they all apply. Perhaps because of his training as a newspaperman, Hemingway is a master of the declarative, subject-verb-object sentence. His writing has been likened to a boxer's punches--combinations of lefts and rights coming at us without pause. As illustrated on page 145 "She went down the hall. The porter carried the sack. He knew what was in it," one can see that Hemingway's style is to-the-point and easy to understand. The simplicity and the sensory richness flow directly from Hemingway's and his characters' beliefs. The punchy, vivid language has the immediacy of a news bulletin: these are facts, Hemingway is telling us, and they can't be ignored. And just as Frederic Henry comes to distrust abstractions like "patriotism," so does Hemingway distrust them. Instead he seeks the concrete and the tangible. A simple "good" becomes higher praise than another writer's string of decorative adjectives. Hemingway's style changes, too, when it reflects his characters' changing states of mind. Writing from Frederic Henry's point of view, he sometimes uses a modified stream-of-consciousness technique, a method for spilling out on paper the inner thoughts of a character. Usually Henry's thoughts are choppy, staccato, but when he becomes drunk the language does too, as in the passage on page 13, "I had gone to no such place but to the smoke of cafes and nights when the room whirled and you
When a writer picks up their pen and paper, begins one of the most personal and cathartic experiences in their lives, and forms this creation, this seemingly incoherent sets of words and phrases that, read without any critical thinking, any form of analysis or reflexion, can be easily misconstrued as worthless or empty. When one reads an author’s work, in any shape or form, what floats off of the ink of the paper and implants itself in our minds is the author’s personality, their style. Reading any of the greats, many would be able to spot the minute details that separates each author from another; whether it be their use of dialogue, their complex descriptions, their syntax, or their tone. When reading an excerpt of Hemingway’s A Moveable Feast one could easily dissect the work, pick apart each significant moment from Hemingway’s life and analyze it in order to form their own idea of the author’s voice, of his identity. Ernest Hemingway’s writing immediately comes across as rather familiar in one sense. His vocabulary is not all that complicated, his layout is rather straightforward, and it is presented in a simplistic form. While he may meander into seemingly unnecessary detail, his work can be easily read. It is when one looks deeper into the work, examines the techniques Hemingway uses to create this comfortable aura surrounding his body of work, that one begins to lift much more complex thoughts and ideas. Hemingway’s tone is stark, unsympathetic, his details are precise and explored in depth, and he organizes his thoughts with clarity and focus. All of this is presented in A Moveable Feast with expertise every writer dreams to achieve. While Hemingway’s style may seem simplistic on the surface, what lies below is a layered...
" The Hemingway Review. 15.1 (Fall 1995): p. 27. Literature Resource Center -.
Hemingway, Ernest. "Soldier's Home." The Bedford Introduction to Literature, 6th Edition. Ed. Michael Meyer. New York: Bedford/St. Martin's. 2002. 152-57.
Gilman creates a horrific tone that helps explore the idea of freedom and confinement within a certain place. The story is created to follow the situation of the narrator and how slowly she begins to deteriorate psychologically due to the wallpaper. The narrator is never assigned a name, therefore it can be assumed that the story is suppose to serve as a voice for the women who have been in a similar situation and have lost their freedom and say on their own lives. However, the narrator appears to come from a wealthy family with privilege so there cannot be this idea that all women who have been through this form of depression and inequalities have experienced it in the same form. Through the use of imagery, the reader was able to understand and clearly visualize the situation in which the narrator is in and see how she has begun to slowly deteriorate, even though she is finally freed in the end of the story, or at least that is what is assumed. “The Yellow Wallpaper” is indeed a very profound image of what it was like to be a female during the 19th century while emphasizing the themes of freedom and confinement. Even though it illustrates the impact that confinement can have on a person, it restricts the situation to fit only women who had similar social backgrounds as the narrator, which is
Hemingway uses the book to explain the brutality of war and the burdens it places to those who becomes victims of it. It is a lesson Lieutenant Henry learns early on during the book, and it is one that we as a society should keep in mind especially in these ever cautious time we live in. It also gives the reader a chance to view the insight of those who participated in the action of wars, and in chapter XXVI we are reminded of these peoples’ views through the statements made by the priest in Henry’s quarters. He proclaims, “You cannot believe how it has been. Except that you have been there and you know how it can be. Many people have realized the war this summer. Officers whom I thought could never realize it realize it now.
Ernest Hemingway’s classic novel, A Farewell to Arms, is one of the greatest love and war stories of all time. The success and authenticity of this tale is a direct result of Hemingway’s World War I involvement. The main character, Frederick Henry, encounters many of the same things as did Hemingway and creates a parallel between the author and character.
A Farewell to Arms, by Ernest Hemingway, is a story about love and war. Frederic Henry, a young American, works as an ambulance driver for the Italian army in World War I. He falls tragically in love with a beautiful English nurse, Miss Catherine Barkley. This tragedy is reflected by water. Throughout the novel Ernest Hemingway uses water as metaphors. Rivers are used as symbols of rebirth and escape and rain as tragedy and disaster, which show how water plays an important role in the story.
From an early age, Ernest Hemingway found himself obsessed with the subject of heroism. He looked up to his grandfather, who he saw as a hero, and sought to fulfill the war legacy left behind by joining the army. Hemingway was a participant in many wars, but one in particular shaped the rest of his life and his outlook on the world. It was during the end of World War I and Hemingway was serving the Italian army as an ambulance driver. During the battle at Fossalta di Piave, Hemingway circulated the trenches with chocolates, providing them to soldiers. Out of nowhere, an Austrian trench mortar shell exploded a few feet away from Hemingway, killing one man and wounding many others (Meyers, p.30). Hemingway was one of these wounded men. It was once said by Ted Brumback that Hemingway had acted heroically, for once he regained consciousness, he picked up a wounded man and carried him to the first aid dugout despite his own serious leg wounds (Meyers, p.30). Considered the turning point in his life, Hemingway had faced death but been called a “hero” as a result of it. Even though Hemingway’s obsession with heroism was still prevalent throughout his life, and this event on July 8, 1918, made its way into many of his novels, the heroes Hemingway wrote about never forsook glory or fortune. They were more concerned with the righting of wrongs and the longing of experience (Baker (2), p.129). In Hemingway’s novel, A Farewell to Arms, the protagonist Frederic Henry is more obviously a form of Hemingway, but also a prime example of the heroes Hemingway liked to write about. Even though Henry faced danger, pain, and death throughout this wartime novel, none of it was glorified. Despite his obsession with heroism in war, while writing the novel...
In Book III Henry says (175): ”I was always embarrassed by the words sacred, glorious, sacrifice and the expres...
“A Farewell to Arms Essay – A Farewell to Arms, Ernest Hemingway.” Twentieth Century Literary Criticism 115 (1929): 121-126. JSTOR. Web. 19 Feb. 2014.