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significance of symbolism in Hemingway,s the old man and the sea
ernest hemingway's writing style
hemingway's use of symbolism in the old man and the sea
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Analysis of Style and Theme in Works by Ernest Hemingway
This research paper will analyze style and theme in two of Ernest Hemingway's short stories, "The Snows of Kilimanjaro" and "The Big Two-Hearted River," and two novels, The Sun Also Rises and Green Hills of Africa.1
"The Snows of Kilimanjaro" is about an author named Harry, who is lying on the African plain and dying of gangrene. "The Big Two-Hearted River" is about an ex-World War I soldier, Nick, who is trying to put his life back together after the war. Similarly, The Sun Also Rises involves an ex-soldier who is coping with a personal injury and seeks love with a woman named Brett Ashley. Lastly, Green Hills of Africa, is a non-fiction story about Hemingway hunting in Africa. Hemingway visited Africa in 1923. This is the only book that is completely autobiographical. In the four works reviewed, Ernest Hemingway has two themes, one about the self and another about his interpretation of a hero, and uses several techniques such as symbolism, first person narrative, and ambiguity that define his style of writing.
Analysis of all of Hemingway's prose reveals many themes. Two themes though stand out in the four works reviewed for this paper. One of them is that the main character (usually the hero) must assert the self, has a fear of failure, and attacks those things which threaten the successful assertion of the self. "Assertion of the self in the stories usually takes the form of the assertion of the masculine principle." In Green, Hemingway exerts his masculinity by killing animals. He would really like to shoot a kudu, which is a deer-like animal. Since this is his goal, when he kills the kudu, it means that he is more masculine. The fear of failure is shown as...
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... A Reader's Guide to Ernest Hemingway. New York: Farrar, Straus, and Giroux, 1972.
Wright, Jerianne. "Hemingway's Use of Animals as Psychological Symbols" (The University of Florida's Hemingway Collection). 15 Sep. 1997. http://www.atlantic.net/~gagne/pol/annie.html (5 May 1998).
Bibliography
Hemingway, Ernest. Green Hills of Africa. New York: Charles Scribners, 1963.
- - - . The Nick Adams Stories. New York: Charles Scribners, 1972.
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- - - . The Snows of Kilimanjaro and Other Stories. New York: Charles Scribners, 1964.
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- - - . The Sun Also Rises. New York: Simon & Schuster, 1957.
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Notes
1. In the body paragraphs, "The Big Two-Hearted River" will be referred to as "Two-Hearted," "The Snows of Kilimanjaro" will be referred to as "Snows," The Sun Also Rises will be referred to as Sun, and Green Hills of Africa will be referred to as Green.
Oliver Cromwell was a prominent leader during the civil war. Cromwell played a leading role in capturing Charles I to trial and execution. During the civil war, Cromwell’s military abilities commit highly to the parliamentary victory which made him appointed as the new model army leader. Also, the parliaments determined that he would end the civil war as the powerful man in England. In the selection, Edmund Ludlow criticize about the new models of government. Cromwell dislikes the idea of new models of government because he feel the new models of government would destroy the power. Also, Ludlow criticizes about Cromwell’s power is being abused too much, so he feels that the nation should governed by its own. Cromwell’s responded that the government
Hemingway’s narrative technique, then, is characterized by a curt style that emphasizes objectivity through highly selected details, flat and neutral diction, and simple declarative sentences capable of ironic understatements; by naturalistic presentation of actions and facts, with no attempt of any kind by the author to influence the reader; by heavy reliance on dramatic dialogue of clipped, scrappy forms for building plot and character; and by a sense of connection between some different stories so that a general understanding of all is indispensable to a better understanding of each. He thus makes the surface details suggest rather than tell everything they have to tell, hence the strength of his “iceberg.” His short stories, accordingly, deserve the reader’s second or even third reading.
Do not judge a book by its cover. Those are the words of a famous American proverb that says a person’s character cannot be judged based on their appearance. This proverb is very fitting in regards to the monster from Frankenstein. On the outside, he has a terrible appearance, and as a result is victimized and made to suffer by those who cannot see past his looks. Yet he has a kind soul and is simply looking for happiness and a little compassion from others. Both the book and the play present him as a sufferer in a cruel world but ultimately the book does a better job portraying his pain and eliciting empathy from the reader. The monster in the book details his suffering in greater detail, is more eloquent and persuasive and also experiences a more tragic ending, and as a result the reader feels more sympathy towards him than an audience member would feel towards the monster in the play.
The Australian Budget is an annually published document which details the Federal Government's plans to affect the level of economic activity, resource allocation, and income distribution through the use of fiscal policy. It describes the framework which the government intends to follow during the next financial year which will result in the attainment of their objectives. The budget is a publication of the government's plans regarding the use of fiscal policy, and is published to parliament and the general public on “budget night”, so as to allow open dissemination about the status of public finances and to promote transparency in Australia's fiscal policy.
In the novel Frankenstein, the monster was singled out because of his monstrous looks. The reason he had such looks was because of the unnatural manner of his creation. The monster was created with a mix of stolen body parts and chemicals. One look at the monster would make anyone want to get out of his path. Once the monster came to life he was abandoned by his creator without any direction. He was left to fend for himself and deal with the prejudices that people had without getting to know his situation. The monster also didn't know how to react to the reactions from people which made him start to commit crimes. The monster said, "I, the miserable and the abandoned, am an abortion, to be spurned at, and kicked, and trampled on" (Shelley 19). This eruption of angry self-pity as the monster questions the injustice of how he has been treated compellingly captures his inner life, giving Walton and the reader a glimpse into the suffering that has motivated his crimes. While the monster was wandering the town he encountered a family, and he learned how to speak ...
Burroway, Janet. Writing Fiction: A Guide to Narrative Craft. 6th ed. New York: Longman, 2003. As Rpt. in Rankin, Paul "Hemingway's `Hills Like White Elephants'." Explicator, 63 (4) (Summer 2005): 234-37.
Sympathy for the Devil is a concept most people of lesser intelligence cannot comprehend. Sympathy should be the first thing one thinks when the primary character in Frankenstein, the unnamed result of Victor Frankenstein’s laborious task in the opening chapters of the novel, is mentioned. The “monster”, we shall call him, came into the world as innocent as a newborn babe; he had neither been corrupted by the wickedness of man, nor tainted by the animalistic savagery of nature. When the monster realizes the inherent destitution of the elementary components of human happiness he has been brought into the world with, his disposition is corrupted. It is because of his lack of the love of a family, the security of belonging, and a creator watching over him that he is driven to a bitter perspective towards his existence. Sympathy is warranted towards the monster’s plight, as any rational being can understand the misery of a creature in such miserable circumstances. The monster deserves our sympathy because he is a victim of circumstance.
Tragedy shows no discrimination and often strikes down on those undeserving of such turmoil. In Mary Shelley’s Frankenstein, a creature more repulsive than one can imagine is brought to life by a young scientist. Although this creature is horrifying in sight, he is gentle by nature. Unfortunately, the softer side of the creature is repeatedly overlooked and the so called “monster” is driven to a breaking point. Even though the Creature committed many crimes, Mary Shelley’s Creature was the tragic hero of this story because of his efforts rescue the life of a young girl and helping destitute cottagers.
...most readers tend to sympathize with Frankenstein because of the way in which he is mentally and physically harmed by his creation. However, one must also realize that while Frankenstein is a victim in the novel, he also exhibits features that make him a monster. These monstrous qualities, however, stem from his passion for science and his desire to create life. Not only does the reader criticize and pity Frankenstein, but the reader also empathizes with Frankenstein’s creation. He was unjustly shunned by society because of his physical appearance. On the other hand, the reader realizes that like Frankenstein, the creation can not be sympathized with entirely. He too exhibits traits that make him appear villainous. It is the duality of these two characters that make Frankenstein and his creation two of the most appealing characters of the nineteenth century.
The writing expertise of Hemingway and Faulkner, commonly referred to as Hemingwayesque and Faulknerian, are both styles that seem to parallel off of one another. One of the best ways to understand Hemingway is to read Faulkner, and vice versa. The obscurantism of Faulkner and the attentiveness of Hemingway foster their syntax and diction, as well as their similarities and differences. Faulkner displays Gothic remnants in Absalom, Absalom!, while Hemingway creates a more minimalist prose. Hemingway and Faulkner, as seen in The Sun Also Rises and Absalom Absalom! both possess uniquely different writing styles, while being able to hold the ability to parallel off of eachother's themes and diction.
Some argue that Oliver Cromwell was great for the country because Cromwell allowed Jews to enter the country. In 1290, King Edward I expelled all Jews from England, however in October 1651 Oliver Cromwell let them return after over 350 years because he wanted rich Jews from Holland to boost the English economy. Cromwell has also been seen as a heroic figure, because he formed the New Model Army. The New Model Army was powerful because they won all of the wars that they fought in. Prince Rupert of the Rhine called the New Model Army the ‘Ironsides’ as they seemed to cut through the
William Golding’s Lord of the Flies portrays the lives of young British boys whose plane crashed on a deserted island and their struggle for survival. The task of survival was challenging for such young boys, while maintaining the civilized orders and humanity they were so accustomed too. These extremely difficult circumstances and the need for survival turned these innocent boys into the most primitive and savaged mankind could imagine. William Golding illustrates man’s capacity for evil, which is revealed in man’s inherent nature. Golding uses characterization, symbolism and style of writing to show man’s inhumanity and evil towards one another.
Victor Frankenstein and his creation were both portrayed as a villain and a hero. The Monster learned that murdering innocent people and his creator, did not bring him any peace. Instead, his murders and agony he brought upon innocent families only increased his desolation and in the end, he vowed to kill himself to put an end to his, and everyone else’s suffering. As the Monster learned too late, not everyone in the world is going to neither accept nor appreciate the beauty and knowledge someone else brings into the world. However, like the Monster found the blind man, if an individual can find that one person in the world who can look past the flaws, their life would be filled with love and
The Cambridge Companion to Ernest Hemingway; edited by Scott Donaldson; Cambridge U. P.; New York, NY; 1996
Montgomery, Marion. "The Leopard and the Hyena: Symbol and Meaning in The Snows of Kilimanjaro.'" The University of Kansas City Review 27 (1961) : 277-82. Rpt. in Short Story Criticism. Vol. 25. New York: Gale, 1997. 81-83.