Are Any.Of.The Orginal Cast.Members From.Top.Gun Also.Being.In.Second.Movie The Writing Style of Hemingway

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The Writing Style of Hemingway

For Whom the Bell Tolls embodies the typical Hemingway characters and addresses themes of machoism and women’s creativity. In this novel, as in many of his other works, Hemingway makes extensive use of what is known as the Hemingway Code. Many influences from different people and events from his personal life also influenced his writing.

Many people hold the opinion that there was no American writer like Ernest Hemingway. A member of the “Lost Generation” in World War I, Hemingway was in many ways its best figure. Whether as his childhood nickname “Champion” or as his older “Dad,” Ernest Hemingway became a legend in his own lifetime. Although the drama and romance of his life sometimes seem to overshadow the quality of his work, Hemingway was first and foremost a literary scholar, writer and book reader. It is often overlooked in all the talk of safari and its hunting trips, bullfighting adventures, fishing and war. Hemingway enjoyed being famous, and was happy to play in the public spotlight. However, Hemingway considered himself an artist, and he didn’t want to be famous for all the wrong reasons.

Hemingway was born in the quiet town of Oak Park, Illinois, a suburb of Chicago, on July 21, 1899. His father was a physician, and Ernest was the second of six children born to Dr. and Mrs. Clarence E. Hemingway. His mother, a pious, religious, musically talented woman Evidently, she hoped her son would develop an interest in music.Instead, Ernest acquired his father’s enthusiasm for firearms and fishing trips in the north woods of Michigan (Lynn 63).

Almost from the beginning of his writing career, Hemingway used a unique style that drew comments from many critics. Hemingway does not give way to a long geographical and psychological description. His style has been said to lack content because it avoids direct statements and descriptions of emotion. Basically his style is simple, direct and a bit ordinary. He developed a forceful prose style characterized by simple sentences and few adjectives or adverbs. He wrote concise, vivid dialogue and accurate description of places and things. Critic Harry Levin pointed out the weakness of syntax and diction in Hemingway’s writing, but was quick to praise his ability to convey action (Rovit 47).

Hemingway spent the early part of his career as a journalist. In 1937, he traveled to Spain to cover the Spanish Civil War for the Press Alliance of North America. After several months in Spain, Hemingway announced his plan to write a book with the Spanish Civil War as a backdrop. The result was For Whom the Bell Tolls.

Most of his early novels were told in the first person and established in a single point of view, however, when Hemingway wrote For Whom the Bell Tolls, he used a number of different narrative techniques. He used internal monologues (when the reader is inside the “mind” of a particular character), objective descriptions, rapid changes of point of view, and generally a looser structure than in his earlier works. Hemingway believed that “the writer’s style should be direct and personal, his images rich and earthy, and his words simple and vigorous. The great writers have the gift of brevity, they are hard workers, diligent researchers and talented stylists (from the age of 1287).

For Whom the Bell Tolls is the most serious and politically motivated novel that Hemingway wrote. There are few comedic or lighthearted chapters in the entire book. For Whom the Bell Tolls is an attempt to present in depth a country and people that Hemingway loved very much. It was an effort to deal honestly with a very complex war made even more complex by the beliefs it served (Gorko 127).

Common to almost all of Hemingway’s novels is the concept of the Hemingway hero, sometimes referred to as the “code hero”. When Hemingway’s novels were first published, they were readily accepted by the public. Part of this acceptance was due to the fact that Hemingway created a character whose response to life appealed greatly to those who read his works. The reader saw Hemingway’s hero as a person they could identify with almost in a dream sense. Hemingway’s hero was a man’s man. He moved from one love to another, he participated in wild hunting, enjoyed bullfights, drank insatiably, he was involved in all the so-called masculine activities in which the typical American male did not participate (Robit 56).

Hemingway’s involvement in the war instilled in him deep political views. For Whom the Bell Tolls is a study of the man involved in what was a politically motivated war. But this novel is very different from Hemingway’s earlier depiction of the individual hero in the world. In this book, the hero accepts the people around him, not just a few select friends from the respectable, but with the whole community. The organization of this community was very eloquently stated in a quote from one of the poet John Donne’s sermons on the death of a close friend. This is the quote from which the book takes its title:

No man is an Island, all in himself, Every man is a part of the Continent, a part of the Maine, If Claude bee washed by the sea, Europe is less, As well if a promontory were, As well if a tunnel were your friends or yours; Every man’s death diminishes me, for I am involved in Mankinde; And therefore never send to know for whom the bell tolls; It pays off for you.

Therefore, while the hero retains the qualities of the Hemingway Code, he is built by his unity with humanity. In the end, he finds a “fine place” in the world, which is “worth fighting for” (Curly 795). In his personal confrontation with death, Robert Jordan realizes that there is a greater cause that a person can choose to serve. In this way he differs from Hemingway’s previous hero. The insistence that the action and its form be placed solely on one individual still exists, along with the need for the character to control this action. However, this issue is no longer a single matador against a single bull, or an individual figure against his entire environment. Man is “humanity’s instrument” against the horrors of war. The political themes of this book are therefore presented not as a “contrast of black and white, but in the shadowy shades of reality” (Magil 491).

While Jordan is the epitome of the hero in his actions, he is also in control of himself and his circumstances to a far greater degree than Hemingway’s previous heroes; He is prevented from facing reality by deep emotional needs. Jordan’s impulses in the novel seem to be a direct reflection of his own Hemingway, as Hemingway was also deeply affected by his own father’s suicide (Kunitz 561). Ironically, suicide as an escape from reality is a violation of Hemingway’s own code. The self-doubt and fear that such an act brings to the children of a person who commits suicide is a well-known psychological consequence. This is perhaps why the pain of their fears makes Hemingway’s heroes avoid “thought” at all costs. Because “thinking” too much can prevent a person from responding. And without anything to respond to, the hero is left to face his inner fears (from the age of 474). Death is also used by Hemingway at the end of the novel to resolve the dramatic conflicts created by the story. The theme of death can also be seen in other parts of the book, such as when the characters express their fear of dying during the attack on the bridge. As in other works following his father’s suicide, Hemingway brings his characters face to face with death. He admires those who face death bravely and without expressing emotions. For Hemingway, one has not truly lived life until one analyzes the meaning of death personally (Brooks 323).

In contrast to Hemingway’s heroes are his female characters. Hemingway’s approach to women in his works is particularly masculine. They are seen and valued in relation to the men in his stories to the extent that they are completely feminine. Hemingway does not enter their inner world except because that world is related to the men with whom they are involved. The reader comes to see them as objects of love or as anti-love characters (Whitlock 231). Part of the reason Hemingway thought of the woman was because of the way he saw his mother. He believed his mother to be manipulative and blamed her for his father’s suicide. “The qualities he thought were admirable in a man’s ambition and independent point of view, defiance of his superiority—became menacing in a woman” (Cert 103).

Hemingway’s heroines almost always present the physical appearance of the ideal woman in her beauty. But in their personality they appear as two types: the “whole woman” who devotes herself entirely to the hero and the “femme fatale” who keeps to herself and prevents the hero from possessing her completely. “The whole woman” is acceptable to Hemingway because she surrenders to the hero. She doesn’t want any other life than with him. By submitting to the hero, she allows him to control her and affirm his masculinity. The “femme fatale” is usually a more complex figure than the “whole woman” (Lynn 98). Although she may or may not be obnoxious, she doesn’t give in to the hero and hurts him and all the men around her mostly because they can’t manage her and therefore can’t assert their masculinity through her. But despite Hemingway’s portrayal of women, he generally makes them fall into the same basic category as the men. The heroine, like the hero, obeys the “Hemingway Code”. She sees life as it is, even as she longs for something more. She is actually brave in life, choosing reality over thought, and she faces death stoically. In almost every case, there was already some tragic event in her life – loss of a lover, violence – that gave her the strength to face life this way (Lynn 102).

For Whom the Bell “is a living example of how, in modern times, the epic quality should be projected” (Baker 132). Heroic action is an epic quality, and for whom the bell contains this element. The setting is simple and the emphasis is on the basic virtues of uncomplicated people. The men involved in the conflict are willing to sacrifice their lives; They are extraordinary in their acts of daring and heroism (Baker 94).

Behind this concept of the hero lies the disillusionment of the American public, the disillusionment brought about by the First World War. The impressionable man realized that the old ideas and beliefs rooted in religion and ethics did not help to save man from the disaster of the First World War. As a result, after the war came to an end, Hemingway and other writers began to search for a new set of values, a set of values ​​to replace the old approaches that they believed had proven useless. The writers who adopted these new beliefs were called the “Lost Generation”.

“The Lost Generation”, was a name coined by Gertrude Stein and it denoted the post-war generation and the literary movement produced by the young writers of that time (Unger 654). Their writing reflected their belief that “the only reality was that life was hard” (Briponsky 1874).

Much has been written about Ernest Hemingway’s unique style. Since he began writing in the 1920s, he has been the subject of lavish praise and sometimes savage criticism. He was not ignored.

To explain Hemingway’s style in a few paragraphs in a way that will satisfy those who have read his articles and books is almost impossible. It is a simple, straight forward and humble style. Hemingway’s prose is unadorned as a result of his avoiding the use of adjectives as much as possible. He tells a story in the form of direct journalism, but because he is a master at conveying emotions without embellishing them, the product is even more enjoyable.

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