This blog intends to give insight in the meaning of the title, The Sun Also Rises (SAR) and what it means in relation to the central character, Jake Barnes and his narrative technique. Some criticisms claim that Jake is a hero, fighting a battle against himself. Conversely, some critics view Jake simply as a victim of a “lost generation”. Our findings include several perspectives concerning Hemingway’s connection to Ecclesiastes and how the epigraph and the title guides readers throughout the narrative.
Some of the more unusual theories included the use of Jake as at tool for Hemingway to tell a personal story about himself. Equally as creative theories present the idea that Hemingway was not writing about Jake at all, but is instead focusing the novel on the earth and its connection to the SAR characters. One source even included a letter written by Hemingway to a friend in which he explains what he was trying to convey in the title. A common trend among the criticisms was that Brett Ashley influenced Jake’s narration as did his war injury. Many commentators also felt that Jake’s injury was connected to the title because of a circular path that it put him on.
Gertrude Stein’s remark which appears before the Ecclesiastes epigraph was also referenced quite a bit. In fact, it was revealed that Hemingway considered using her remark, “you are all a lost generation” as the basis for a possible title of the SAR. Gertrude Stein’s quote is an integral part of this novel and of Hemingway’s understanding and intention with each of the characters.
Although we cannot accept or reject any opinion or perspective over another, we hope that this compilation of commentaries and our educated interpretations can help other readers in their pursuit of ethical reading and understanding of this literary work. This annotated bibliography gave us a new found appreciation for Hemingway as an author and revealed to us his careful and thoughtful style.
Saturday, December 12, 2009
Friday, December 11, 2009
Brett's Affect on Jake's Narration
Fulton, Lorie. “Reading Around Jake’s Narration:” Brett Ashley and The Sun Also Rises. Rev. of The Sun Also Rises, by Ernest Hemingway. Hemingway Review vol. 24 (2004): 61-80.
Fulton begins by telling us that The Sun Also Rises is a novel full of contradiction. This contradiction lies within many aspects of Hemingway’s post-war generation characters such as their constant celebration which never seems to lead to true happiness. Fulton also uses the epigraphs from Stein and Ecclesiastes to describe this contradiction: “The novel begins with a two-part epigraph at odds with itself.”(61) Fulton’s main criticism about the novel is that Jake’s contradiction of himself, “defin[ing] himself as a man even as a war-related genital wound denies him the most basic assertion of manhood,sexual gratification,”(61) skews the reader’s vision of Brett Ashley whom Fulton believes is Hemingway’s “richest female characters.”(61) Fulton goes on to explain that Jake’s view of Brett is the reason for her bad reputation. His convincing narration never leads the reader to think that he may not be completely trustworthy in his judgments.
Lady Ashley plays an important role in The Sun Also Rises, but her over all character is left for the reader to discern, assuming the reader can get around Jakes narration as Fulton has. This may also be an excellent way for the reader to not only learn more about Brett, but also about the eyes through which Brett is seen; Jake’s. Jake’s feelings for Brett are more than contradictory and this leads the reader to feel the same, much as the epigraphs do. Jake’s love for nature and Brett’s apparent dislike of it also seem to resemble the epigraphs when taking this view. Stein’s quote comments on the misled qualities of the generation while Ecclesiastes, Fulton claims, seems only to express the regeneration of the world and nature itself. This contrast between the characters and the epigraphs gives insight into certain parts Jake’s narrative, especially Jake and Brett’s relationship which is one of constant pushing away and pulling back. This idea of looking deeper into Lady Ashley by reading around Jake obviously has a wide range of advantages, but possibly two of the most important are the depth of her character and the motivation which she provides Jake throughout their quests for happiness. These are much more prominent when taking a view such as Fulton’s and I believe it’s important to consider these apparent contradictions in Jake’s narration in order to give all other characters an equal chance.
Fulton begins by telling us that The Sun Also Rises is a novel full of contradiction. This contradiction lies within many aspects of Hemingway’s post-war generation characters such as their constant celebration which never seems to lead to true happiness. Fulton also uses the epigraphs from Stein and Ecclesiastes to describe this contradiction: “The novel begins with a two-part epigraph at odds with itself.”(61) Fulton’s main criticism about the novel is that Jake’s contradiction of himself, “defin[ing] himself as a man even as a war-related genital wound denies him the most basic assertion of manhood,sexual gratification,”(61) skews the reader’s vision of Brett Ashley whom Fulton believes is Hemingway’s “richest female characters.”(61) Fulton goes on to explain that Jake’s view of Brett is the reason for her bad reputation. His convincing narration never leads the reader to think that he may not be completely trustworthy in his judgments.
Lady Ashley plays an important role in The Sun Also Rises, but her over all character is left for the reader to discern, assuming the reader can get around Jakes narration as Fulton has. This may also be an excellent way for the reader to not only learn more about Brett, but also about the eyes through which Brett is seen; Jake’s. Jake’s feelings for Brett are more than contradictory and this leads the reader to feel the same, much as the epigraphs do. Jake’s love for nature and Brett’s apparent dislike of it also seem to resemble the epigraphs when taking this view. Stein’s quote comments on the misled qualities of the generation while Ecclesiastes, Fulton claims, seems only to express the regeneration of the world and nature itself. This contrast between the characters and the epigraphs gives insight into certain parts Jake’s narrative, especially Jake and Brett’s relationship which is one of constant pushing away and pulling back. This idea of looking deeper into Lady Ashley by reading around Jake obviously has a wide range of advantages, but possibly two of the most important are the depth of her character and the motivation which she provides Jake throughout their quests for happiness. These are much more prominent when taking a view such as Fulton’s and I believe it’s important to consider these apparent contradictions in Jake’s narration in order to give all other characters an equal chance.
Thursday, December 10, 2009
Hemingway as a Pessimist
Schmigalle, Gunther. “How People Go to Hell:” Pessimism, Tragedy, and Affinity to Schopenhauer in The Sun Also Rises. Rev. The Sun Also Rises, by Ernest Hemingway. Hemingway Review vol. 25 (2005): 9-21.
This criticism offers a somewhat gloomy view of the novel for the reader, but it constructs this view from a philosophical source, Arthur Schopenhauer. Schmigalle’s point of view is that, after careful reading of Schopenhauer’s work on philosophical pessimism, Hemingway’s The Sun Also Rises falls into the genre of tragedy because of its close connection to this philosophical traditions of pessimism. Though Schmigalle has a total of seven points in which he argues his outlook on the novel’s narration, his first, The Epigraphs, is the most important in our situation. The passage from Ecclesiastes in particular, Schmigalle writes, is “not on regeneration but on repetition”(11) ultimately means a “non-existence of progress.”(11) Interpreting the exert in this way is how Schmigalle connects Hemingway to Schopenhauer. This section of the criticism will be the main focus of this commentary for the sake of helping the reader to answer the research question.
At first glace, this might seem a dismal way to look at the novel but Schmigalle reminds the reader that philosophical pessimism is different from everyday pessimism in that philosophical pessimism is simply a more realistic way of looking at the and its overall negatives.Its rather easy to agree with Schmigalle that The Sun Also Rises is full of negatives, but does Hemingway ever lead us to believe that the SAR characters overcome these negatives? On the Contrary, Hemingway makes his characters repeat their mistakes. As a result, repetition plays a large role in the novel and if the reader keeps this in mind, he or she can see what Scmigalle is getting at. For example, this idea leads the reader to see the epigraph from Ecclesiastes as a description of the world and it’s never ending repetition, not its regeneration. This repetition is the reason things seem new but in actuality, they have happened many times before. With this view, the reader might consider if Jake’s struggle is worth any value; I believe Schopenhauer and Schmigalle would say no.
This criticism offers a somewhat gloomy view of the novel for the reader, but it constructs this view from a philosophical source, Arthur Schopenhauer. Schmigalle’s point of view is that, after careful reading of Schopenhauer’s work on philosophical pessimism, Hemingway’s The Sun Also Rises falls into the genre of tragedy because of its close connection to this philosophical traditions of pessimism. Though Schmigalle has a total of seven points in which he argues his outlook on the novel’s narration, his first, The Epigraphs, is the most important in our situation. The passage from Ecclesiastes in particular, Schmigalle writes, is “not on regeneration but on repetition”(11) ultimately means a “non-existence of progress.”(11) Interpreting the exert in this way is how Schmigalle connects Hemingway to Schopenhauer. This section of the criticism will be the main focus of this commentary for the sake of helping the reader to answer the research question.
At first glace, this might seem a dismal way to look at the novel but Schmigalle reminds the reader that philosophical pessimism is different from everyday pessimism in that philosophical pessimism is simply a more realistic way of looking at the and its overall negatives.Its rather easy to agree with Schmigalle that The Sun Also Rises is full of negatives, but does Hemingway ever lead us to believe that the SAR characters overcome these negatives? On the Contrary, Hemingway makes his characters repeat their mistakes. As a result, repetition plays a large role in the novel and if the reader keeps this in mind, he or she can see what Scmigalle is getting at. For example, this idea leads the reader to see the epigraph from Ecclesiastes as a description of the world and it’s never ending repetition, not its regeneration. This repetition is the reason things seem new but in actuality, they have happened many times before. With this view, the reader might consider if Jake’s struggle is worth any value; I believe Schopenhauer and Schmigalle would say no.
Jake Goes Green
Savola, David. “A Very Sinister Book:" The Sun Also Rises as Critique of Pastoral. Rev. of The Sun Also Rises, by Ernest Hemingway. Hemingway Review vol. 26 (2006): 25-46.
The approach to The Sun Also Rises that David Savola takes in his criticism is an ecological one. Savola feels that critics have concerned themselves too much with the “lost generation” and not enough with how Hemingway’s characters are interacting in their natural environment. “The novel criticizes conventional depictions of nature, and calls for a literature that offers a more complex picture of the connection between humanity and the natural world,”(2) writes Savola. Savola feels that Hemingway wrote Jake’s narrative technique in a way that exemplifies this connection, backing up his theory with an analysis of pastoral references throughout the novel and with a quote from Hemingway himself that admits to these principles. Of course, the passage Hemingway chose from Ecclesiastes is the bases of this idea, stating that “characters could find that meaning and value in cultivating a more intimate connection with the natural environment.”(2)Savola strongly suggests that the reader can see this connection to nature if they allow the Ecclesiastes exert to bring forth the true hero of the novel into the reader’s mind: the Earth. Savola infers that the Earth is Hemingway’s real protagonist of the novel because it lives on after humanity is gone. Savola claims that Hemingway points this out to reader with the use of “the earth abideth forever” in Ecclesiastes.
This proposal, if accepted, completely changes the reader’s perception of Jake and his struggle throughout the narrative for the fact that Jake is no longer fighting to get free of Brett Ashley, but to get closer to Mother Nature. In this respect, the reader may choose to see Brett Ashley a the antagonist of sorts, constantly reeling Jake into her grasps. Under this lense of thought, Jake’s narration has a much greener tent to it, accentuating scenes and ideas that, if they go without mention, are practically lost into the rest of the narative. For example, Jake's narration has a much more descriptive and colorful tone to it when He and Bill are on their fishing trip, surrounded by nature. This point of view adds a lot to the narration and for the more naturalistic reader, this is an excellent way in which he or she can look at Jake’s narrative technique.
The approach to The Sun Also Rises that David Savola takes in his criticism is an ecological one. Savola feels that critics have concerned themselves too much with the “lost generation” and not enough with how Hemingway’s characters are interacting in their natural environment. “The novel criticizes conventional depictions of nature, and calls for a literature that offers a more complex picture of the connection between humanity and the natural world,”(2) writes Savola. Savola feels that Hemingway wrote Jake’s narrative technique in a way that exemplifies this connection, backing up his theory with an analysis of pastoral references throughout the novel and with a quote from Hemingway himself that admits to these principles. Of course, the passage Hemingway chose from Ecclesiastes is the bases of this idea, stating that “characters could find that meaning and value in cultivating a more intimate connection with the natural environment.”(2)Savola strongly suggests that the reader can see this connection to nature if they allow the Ecclesiastes exert to bring forth the true hero of the novel into the reader’s mind: the Earth. Savola infers that the Earth is Hemingway’s real protagonist of the novel because it lives on after humanity is gone. Savola claims that Hemingway points this out to reader with the use of “the earth abideth forever” in Ecclesiastes.
This proposal, if accepted, completely changes the reader’s perception of Jake and his struggle throughout the narrative for the fact that Jake is no longer fighting to get free of Brett Ashley, but to get closer to Mother Nature. In this respect, the reader may choose to see Brett Ashley a the antagonist of sorts, constantly reeling Jake into her grasps. Under this lense of thought, Jake’s narration has a much greener tent to it, accentuating scenes and ideas that, if they go without mention, are practically lost into the rest of the narative. For example, Jake's narration has a much more descriptive and colorful tone to it when He and Bill are on their fishing trip, surrounded by nature. This point of view adds a lot to the narration and for the more naturalistic reader, this is an excellent way in which he or she can look at Jake’s narrative technique.
Jake’s Challenge in The Sun Also Rises
Daiker, Donald A. “The Affirmative Conclusion of The Sun Also Rises.” Critical Essays on Ernest Hemingway’s The Sun Also Rises." Ed. James Nagel. New York: G.K. Hall & Co. 1995. 74-88.
In the act of defending Jake Barnes’ personal growth throughout The Sun Also Rises, Donald Daiker gives helpful insight into this research question. Though many critics believe that Hemingway has created a novel which, in the end, is right back where it started, Daiker explains that this is completely untrue and as a result, Jake is a contrast to the quote from Ecclesiastes. In The Affirmative Conclusion of The Sun Also Rises, Daiker suggests that each character has his or her own “Sun.” “By the end of the story, Jake’s sun has risen, and there is no suggestion that it will set.” (74) Unlike the other characters, Daiker suggests that Jake has defeated his “bull” (Brett) and broken free from his circular path that Ecclesiastes hints at.
The reader can assume that Daiker is referring to “The sun also ariseth, and the sun goeth down, and haseth to the place where he arose.” If the reader accepts this point of view it turns the quote from Ecclesiastes into more of a challenge for Jake in which he must break free from the circular theme for the novel which this epigraph also hints at. If the reader keeps this idea in mind, he or she can see the qualities of Jake's growth throughout the story in contrast to the other characters’ mental impotence. In reference to the title, The Sun Also Rises, the reader will expect more from Jake and this may cause the reader to judge Jake more harshly along his journey rather than sympathize with him as the wounded individual that Hemingway seemingly makes Jake out to be otherwise. Daiker’s viewpoint could actually turn Jake into more of a hero protagonist for many reasons. The idea that Jake defeats his “bull” adds a completely different aspect of struggle to the narration which, more often than not, can come off as pathetic to the reader. Jake's emotional distance and inability to enjoy the routine pleasures of the others can give a dismal sense to the narration. Overall, this critical point of view from Daiker could greatly increase the liveliness of the narration for the reader.
In the act of defending Jake Barnes’ personal growth throughout The Sun Also Rises, Donald Daiker gives helpful insight into this research question. Though many critics believe that Hemingway has created a novel which, in the end, is right back where it started, Daiker explains that this is completely untrue and as a result, Jake is a contrast to the quote from Ecclesiastes. In The Affirmative Conclusion of The Sun Also Rises, Daiker suggests that each character has his or her own “Sun.” “By the end of the story, Jake’s sun has risen, and there is no suggestion that it will set.” (74) Unlike the other characters, Daiker suggests that Jake has defeated his “bull” (Brett) and broken free from his circular path that Ecclesiastes hints at.
The reader can assume that Daiker is referring to “The sun also ariseth, and the sun goeth down, and haseth to the place where he arose.” If the reader accepts this point of view it turns the quote from Ecclesiastes into more of a challenge for Jake in which he must break free from the circular theme for the novel which this epigraph also hints at. If the reader keeps this idea in mind, he or she can see the qualities of Jake's growth throughout the story in contrast to the other characters’ mental impotence. In reference to the title, The Sun Also Rises, the reader will expect more from Jake and this may cause the reader to judge Jake more harshly along his journey rather than sympathize with him as the wounded individual that Hemingway seemingly makes Jake out to be otherwise. Daiker’s viewpoint could actually turn Jake into more of a hero protagonist for many reasons. The idea that Jake defeats his “bull” adds a completely different aspect of struggle to the narration which, more often than not, can come off as pathetic to the reader. Jake's emotional distance and inability to enjoy the routine pleasures of the others can give a dismal sense to the narration. Overall, this critical point of view from Daiker could greatly increase the liveliness of the narration for the reader.
Why Try?: Illuminating the Darkness Proposed by Ecclesiastes
Earl, Rovit, and Brenner Gary. "The Sun Also Rises:" An Essay in Applied Principles. Ernest Hemingway, Rev. New York, New York: Twayne Publishers, 1986. 128-142.
Rovit and Breener’s The Sun Also Rises: An Essay in Applied Principles hypothetically accepts the point of view of Jake’s narration in order to explain the search for the post war generation’s idea of “exchange value.” (140) This exchange value is measured by what a person gets out of life compared to what they put in. The article goes on to explain each character’s value system and concludes with Jake’s inability to retrieve his purchase because of his mentality that has been set by his war wound: “for many expatriates the war and the consequent moral vacuum were mere excuses for a life of empty sensationalism…” (140) Yet for others- and especially Jake- “the stock market of morality crashed and the bottom fell out of an instinctive rationale for life.” (140) This “wrestle for meaning” (142) Rovit and Breener’s work explains is exactly what helps Jake to make something out of what appears to be nothing and separate himself from the lost generation in which he lives, challenging the reader to observe the novel as an epistemological quest.
The article claims that the quote from Ecclesiastes “documents in full, unsparing detail the meaningless ant lives of petty, ephemeral humanity making its small noise of pleasure and sacrifice” (141) which Jake supersedes in his struggle for meaning. This view infers that the quote from Ecclesiastes illuminates the meaninglessness of the ever-regenerating world in which we live and that when we’re gone everything we have worked for goes with us. So why try? The reader might choose to accept this view of Jake’s narration and read with dramatic irony, knowing that Jake’s struggle is meaningless while Jake fights onward. Another choice is to at the end of the article. The close of this article suggests that this struggle for meaning and finding our own values as Jake does is worth the fight and echoes Emerson’s belief that “The Sun Shines to-day also.” (142) This final thought seems to point out that it is not about what is left afterward, but what is there in the present, inferring that meaninglessness literally means nothing and Jake’s narrative struggle is of valiance.
Rovit and Breener’s The Sun Also Rises: An Essay in Applied Principles hypothetically accepts the point of view of Jake’s narration in order to explain the search for the post war generation’s idea of “exchange value.” (140) This exchange value is measured by what a person gets out of life compared to what they put in. The article goes on to explain each character’s value system and concludes with Jake’s inability to retrieve his purchase because of his mentality that has been set by his war wound: “for many expatriates the war and the consequent moral vacuum were mere excuses for a life of empty sensationalism…” (140) Yet for others- and especially Jake- “the stock market of morality crashed and the bottom fell out of an instinctive rationale for life.” (140) This “wrestle for meaning” (142) Rovit and Breener’s work explains is exactly what helps Jake to make something out of what appears to be nothing and separate himself from the lost generation in which he lives, challenging the reader to observe the novel as an epistemological quest.
The article claims that the quote from Ecclesiastes “documents in full, unsparing detail the meaningless ant lives of petty, ephemeral humanity making its small noise of pleasure and sacrifice” (141) which Jake supersedes in his struggle for meaning. This view infers that the quote from Ecclesiastes illuminates the meaninglessness of the ever-regenerating world in which we live and that when we’re gone everything we have worked for goes with us. So why try? The reader might choose to accept this view of Jake’s narration and read with dramatic irony, knowing that Jake’s struggle is meaningless while Jake fights onward. Another choice is to at the end of the article. The close of this article suggests that this struggle for meaning and finding our own values as Jake does is worth the fight and echoes Emerson’s belief that “The Sun Shines to-day also.” (142) This final thought seems to point out that it is not about what is left afterward, but what is there in the present, inferring that meaninglessness literally means nothing and Jake’s narrative struggle is of valiance.
Wednesday, December 9, 2009
Hemingway Says...
Reynolds, Michael S. “False Dawn: The Sun Also Rises Manuscript.” Ernest Hemingway’s The Sun Also Rises. Ed. Harold Bloom. New York: Chelsea House Publishers, 1987. 117-132. Print.
The significance of this article does not lie in an explanation of Jake’s narration as it applies to the title of the work. But rather how Jake’s narration would apply to a multitude of titles. Reynolds lets the reader in on a few pieces of little known trivia about the alternate titles to Hemingway’s first published work of literature. The alternate titles that Hemingway contemplated are taken from Ecclesiastes and Paul’s First Epistle to the Corinthians:
1. Rivers to the Sea- Eccles. 1:7: “All the rivers run into the sea; yet the sea is not full.”
2. Two Lie together- Eccles. 4:11: “Again, if two lie together, then they have heat; but how can one be warm alone.”
3. The Old Leaven- 1 Cor. 5:1-7: “it is reported commonly that there is fornication among you. Know yet not that a little leaven leaveneth the whole lump? Purge out therefore the old leaven, that ye may make a new lump, as ye are unleavened.”
Each of these titles would shed light on Jake’s narration in variously different ways. Had the title been Rivers to the Sea, the reader might understand more clearly the lack of fulfillment that Jake feels even though he is being fulfilled sufficiently according to Hemingway. Perhaps that would explain why Jake is such a minimalist? To be more clear, Jake gives us what readers need to know without elaborating or giving anything mroe than necessary. The second title would present Jake as a lone ranger of sorts. Someone who is capable of producing nothing more than warmth, yet it destined to lie alone due to his impotence. This would make perfect sense in relation to the narration, because the narritive often gives the tone of being cold and alone. That is, there is never a feeling of a third party perspective. Only Jake. The third Title, and possibly the most obscure of the three would lead a reader to believe that Jake and his narration were in some way dead. Jake’s narration is often referred to as “flat” (unleavened) yet there are undeniable bright spots in the text when the pace of the book speeds up and comes alive. When Jake talks about Brett or of Bullfighting, his life seems to be alive again or leavened. It seems to be that Brett and bullfighting are the last few molecules of yeast in Jake’s life that have not yet died. They give hope for Jake’s life and his narration to rise at least somewhat. Two other titles that Hemingway considered were “The Lost Generation, A Novel” and “Fiesta”. Ultimately Hemingway decided not to use “Fiesta” as the title because he did not want a word that was not English as the title. “The Lost Generation, A novel” was instead used as a famous quotation from Gertrude Stein as an opening to the Ecclesiastes 1:5epigraph. Reynolds also included a paraphrase of a letter that Hemingway wrote to a friend. The letter’s purpose was essentially to explain why he chose the title The Sun Also Rises. Hemingway explains “That, he felt, [he] would make his point clearer, which was that the earth abideth forever. He told Perkins [his friend] he had not meant the book to be hollow or a bitter satire, but a tragedy with the earth abiding as the hero.” Hemingway stating that he meant for the earth to be the hero is allows the reader to acknowledge that the earth is triumphant over the sun. If this fact is considered in relation to Jake’s narration, the reader might question whether Hemingway thought of the earth triumphing over the sun in a literal sense, or as the earth as a representation for one of the characters? This acceptance of the earth as a hero seems a bit too easy though as Reynolds points out. The reader should keep in mind that a writer very seldom explains their work completely.
The significance of this article does not lie in an explanation of Jake’s narration as it applies to the title of the work. But rather how Jake’s narration would apply to a multitude of titles. Reynolds lets the reader in on a few pieces of little known trivia about the alternate titles to Hemingway’s first published work of literature. The alternate titles that Hemingway contemplated are taken from Ecclesiastes and Paul’s First Epistle to the Corinthians:
1. Rivers to the Sea- Eccles. 1:7: “All the rivers run into the sea; yet the sea is not full.”
2. Two Lie together- Eccles. 4:11: “Again, if two lie together, then they have heat; but how can one be warm alone.”
3. The Old Leaven- 1 Cor. 5:1-7: “it is reported commonly that there is fornication among you. Know yet not that a little leaven leaveneth the whole lump? Purge out therefore the old leaven, that ye may make a new lump, as ye are unleavened.”
Each of these titles would shed light on Jake’s narration in variously different ways. Had the title been Rivers to the Sea, the reader might understand more clearly the lack of fulfillment that Jake feels even though he is being fulfilled sufficiently according to Hemingway. Perhaps that would explain why Jake is such a minimalist? To be more clear, Jake gives us what readers need to know without elaborating or giving anything mroe than necessary. The second title would present Jake as a lone ranger of sorts. Someone who is capable of producing nothing more than warmth, yet it destined to lie alone due to his impotence. This would make perfect sense in relation to the narration, because the narritive often gives the tone of being cold and alone. That is, there is never a feeling of a third party perspective. Only Jake. The third Title, and possibly the most obscure of the three would lead a reader to believe that Jake and his narration were in some way dead. Jake’s narration is often referred to as “flat” (unleavened) yet there are undeniable bright spots in the text when the pace of the book speeds up and comes alive. When Jake talks about Brett or of Bullfighting, his life seems to be alive again or leavened. It seems to be that Brett and bullfighting are the last few molecules of yeast in Jake’s life that have not yet died. They give hope for Jake’s life and his narration to rise at least somewhat. Two other titles that Hemingway considered were “The Lost Generation, A Novel” and “Fiesta”. Ultimately Hemingway decided not to use “Fiesta” as the title because he did not want a word that was not English as the title. “The Lost Generation, A novel” was instead used as a famous quotation from Gertrude Stein as an opening to the Ecclesiastes 1:5epigraph. Reynolds also included a paraphrase of a letter that Hemingway wrote to a friend. The letter’s purpose was essentially to explain why he chose the title The Sun Also Rises. Hemingway explains “That, he felt, [he] would make his point clearer, which was that the earth abideth forever. He told Perkins [his friend] he had not meant the book to be hollow or a bitter satire, but a tragedy with the earth abiding as the hero.” Hemingway stating that he meant for the earth to be the hero is allows the reader to acknowledge that the earth is triumphant over the sun. If this fact is considered in relation to Jake’s narration, the reader might question whether Hemingway thought of the earth triumphing over the sun in a literal sense, or as the earth as a representation for one of the characters? This acceptance of the earth as a hero seems a bit too easy though as Reynolds points out. The reader should keep in mind that a writer very seldom explains their work completely.
Tuesday, December 8, 2009
A Beaten Generation
Wagner, Linda W. The Sun Also Rises: One Debt to Imagism. Ed. Harold Bloom. New York: Chelsea House, 1987. 103-115. Print.
Wagner’s article sheds light on the allusion to Ecclesiastes in The Sun Also Rises by explaining that the novel is not a picture of the lost generation. Wagner points out that the epigraph is in many ways intended by Hemingway to be a contradiction to Gertrude Stein’s remark. Overall, Wagner wants to show the symbolism between the changing times and ever changing social acceptability in society. Wagner's point of view is one of a scholar's train of thought at times and as a sociologist at others. She wants readers to think in depth about the use of repetition and imagery, but also wants to convey the inevitable gap that occures from generation to generation.
Wagner also makes the interpretation that rather than being a “lost generation,” they are a “beaten generation,” worn down by war and constantly changing social norms. This however begs the question, what generation is not lost or beaten down? Each generation experiences unique social hardships, however despite our difference we all coexist. Society is in a constant state of change and generational cohorts must find their niche. A connection can be made between Gertrude Stein’s remark about Hemingway’s generation and the inevitable generational gap that must have occurred between Gertrude Stein and the generation that came before her. It would be ignorant to assume that one generation is worse than the next or the last. At one point, Wagner refers to Jake as being a sacrificial figure, but that this is overshadowed by the death of a young man who was killed by a bull. The wording used in the article allows the reader to understand the connection between life and death as it applies to the title and the epigraph. The reader might notice the pattern that is conveyed through the epigraph is also carried out through the patterns in Hemingway’s story via Jake's narration.When considering patterns, one would be overwhelmed with the patterns and repetition throughout the novel. By pointing out even more patterns and incidences of repetition, Wagner inspires the thought of Brett as an image or as an allusion to the sun. That is Brett, herself, is an example of repetition. After all, she met Jake while working as a nurse during the Great War and cared for him until he regained his strength. Similarly, she fell in “love” with Romero, the bull fighter, while taking care of him after being severely beaten up by Cohn. Brett falls in love almost habitually. She comes into men’s lives, loves them, makes them fall in love with her, and then leaves, however in time she is likely to return again. If it can be accepted that this were the case and Brett were in fact the sun, then the title guides the reader’s judgment in a very different direction. Instead of perceiving Brett as a reckless man-eater, the reader might see her as an invigorating burst of fresh air in the lives of the stale and mundane men that she “loves.”
Wagner’s article sheds light on the allusion to Ecclesiastes in The Sun Also Rises by explaining that the novel is not a picture of the lost generation. Wagner points out that the epigraph is in many ways intended by Hemingway to be a contradiction to Gertrude Stein’s remark. Overall, Wagner wants to show the symbolism between the changing times and ever changing social acceptability in society. Wagner's point of view is one of a scholar's train of thought at times and as a sociologist at others. She wants readers to think in depth about the use of repetition and imagery, but also wants to convey the inevitable gap that occures from generation to generation.
Wagner also makes the interpretation that rather than being a “lost generation,” they are a “beaten generation,” worn down by war and constantly changing social norms. This however begs the question, what generation is not lost or beaten down? Each generation experiences unique social hardships, however despite our difference we all coexist. Society is in a constant state of change and generational cohorts must find their niche. A connection can be made between Gertrude Stein’s remark about Hemingway’s generation and the inevitable generational gap that must have occurred between Gertrude Stein and the generation that came before her. It would be ignorant to assume that one generation is worse than the next or the last. At one point, Wagner refers to Jake as being a sacrificial figure, but that this is overshadowed by the death of a young man who was killed by a bull. The wording used in the article allows the reader to understand the connection between life and death as it applies to the title and the epigraph. The reader might notice the pattern that is conveyed through the epigraph is also carried out through the patterns in Hemingway’s story via Jake's narration.When considering patterns, one would be overwhelmed with the patterns and repetition throughout the novel. By pointing out even more patterns and incidences of repetition, Wagner inspires the thought of Brett as an image or as an allusion to the sun. That is Brett, herself, is an example of repetition. After all, she met Jake while working as a nurse during the Great War and cared for him until he regained his strength. Similarly, she fell in “love” with Romero, the bull fighter, while taking care of him after being severely beaten up by Cohn. Brett falls in love almost habitually. She comes into men’s lives, loves them, makes them fall in love with her, and then leaves, however in time she is likely to return again. If it can be accepted that this were the case and Brett were in fact the sun, then the title guides the reader’s judgment in a very different direction. Instead of perceiving Brett as a reckless man-eater, the reader might see her as an invigorating burst of fresh air in the lives of the stale and mundane men that she “loves.”
Is Jake Actually Hemmingway?
Doody, Terrence. Ernest Hemingway Seven Decades of riticism. Ed. Linda Wagner-Martin. East Lansing: Michigan State UP, 1998. 103-116. Print.
In this article, Doody takes a somewhat cynical point of view about Jake. He starts out by insinuating Jake is an unreliable narrator because the text often consists of recollections. However, he keeps in mind that the author is the one who is ultimately in control of the style. Doody poses the question, “How far does the author let the narrator get?” This is a very interesting question, especially when considering the title of the work, because it forces the reader to contemplate how much of Jake is actually Hemingway. If it can be assumed that a significant portion of Jake’s character and narration is Hemingway, then is the allusion to Ecclesiastes included on Jake’s behalf or on Hemingway’s behalf? And for that matter, is the title of the work given by Hemingway or by is it given by Jake?Doody points out that because Jake is not “located in space and time,” that is he is never far enough away from Hemingway to form his own style as a narrator. Doody’s perspective implies Hemingway meant for Jake to be used as a facade, allowing him to hide behind a character. Jake was never meant to take on a life or personality of his own, but rather served as a tool for Hemingway to be omnipresent.
Doody’s perspective offers the possibility that Jake is Hemingway. If this were true, it means that the research question posed takes on a very different connotation. The reader must not think of the title as Jake’s relationship with Ecclesiastes and what the sun might symbolize in terms of Jake’s experiences. The reader must think in terms of Jake when considering what Hemingway is trying to convey in the title.In a bold statement, Doody suggests that, “Hemingway sees in a world where the sun does not seem to rise for anyone.” If this were true, and supposing that the title is in fact Hemingway’s portrayal of Jake, then the title once again takes on an entirely different tone. The sun was once a possible symbol of renewal and rebirth, but this statement would suggest that the sun is a symbol of missed opportunities and regret. To say that the sun never rises on these characters and have a title that suggests otherwise is contradicting and confusing. Is this to say that the sun rises on Jake in the physical sense, but not in the metaphorical sense? Does Hemingway feel that Jake is in limbo, just passing time in the proverbial darkness that his life seems to be? When interpreting the title with a pessimistic slant, readers are liable to perceive the story in a negative light, thus missing the importance of the individuality of each character. As said by Wagner, they are not the lost generation, but the beaten down generation. Doody’s thoughts were very helpful in offering a different way for the reader to contemplate the ways in which the title guides them.
In this article, Doody takes a somewhat cynical point of view about Jake. He starts out by insinuating Jake is an unreliable narrator because the text often consists of recollections. However, he keeps in mind that the author is the one who is ultimately in control of the style. Doody poses the question, “How far does the author let the narrator get?” This is a very interesting question, especially when considering the title of the work, because it forces the reader to contemplate how much of Jake is actually Hemingway. If it can be assumed that a significant portion of Jake’s character and narration is Hemingway, then is the allusion to Ecclesiastes included on Jake’s behalf or on Hemingway’s behalf? And for that matter, is the title of the work given by Hemingway or by is it given by Jake?Doody points out that because Jake is not “located in space and time,” that is he is never far enough away from Hemingway to form his own style as a narrator. Doody’s perspective implies Hemingway meant for Jake to be used as a facade, allowing him to hide behind a character. Jake was never meant to take on a life or personality of his own, but rather served as a tool for Hemingway to be omnipresent.
Doody’s perspective offers the possibility that Jake is Hemingway. If this were true, it means that the research question posed takes on a very different connotation. The reader must not think of the title as Jake’s relationship with Ecclesiastes and what the sun might symbolize in terms of Jake’s experiences. The reader must think in terms of Jake when considering what Hemingway is trying to convey in the title.In a bold statement, Doody suggests that, “Hemingway sees in a world where the sun does not seem to rise for anyone.” If this were true, and supposing that the title is in fact Hemingway’s portrayal of Jake, then the title once again takes on an entirely different tone. The sun was once a possible symbol of renewal and rebirth, but this statement would suggest that the sun is a symbol of missed opportunities and regret. To say that the sun never rises on these characters and have a title that suggests otherwise is contradicting and confusing. Is this to say that the sun rises on Jake in the physical sense, but not in the metaphorical sense? Does Hemingway feel that Jake is in limbo, just passing time in the proverbial darkness that his life seems to be? When interpreting the title with a pessimistic slant, readers are liable to perceive the story in a negative light, thus missing the importance of the individuality of each character. As said by Wagner, they are not the lost generation, but the beaten down generation. Doody’s thoughts were very helpful in offering a different way for the reader to contemplate the ways in which the title guides them.
Monday, December 7, 2009
Brett's Influence Over Jake's Nattation
O'Sullivan, Sibbie. "Love and Friendship/Man and Woman in The Sun Also Rises". Ernest Hemingway Seven Decades of Criticism. Ed. Linda Wagner-Martin. East Lansing: Michigan State UP, 1998. 61-79. Print.
O’Sullivan’s article emphasizes the relationship between Jake Barnes and Brett Ashley. She brings attention to the significance that Brett has on Jake’s daily life and behaviors. She offers the perspective that these feelings Jake has are subconsciously expressed in Jake’s narrative technique due to his deep adoration and love of Brett Ashley.In this article, O’Sullivan wants people to keep in mind how strong the power of love can be. She reminds the reader several times that women such as Brett have profound effects on narrators and authors alike. Her point of view is one with a deep and profound beliefe in love as the ultimate power force.
O’Sullivan writes, “They are in love with each other but because of Jake’s wound that love cannot be sexually fulfilled. They have tried making love but failed: ‘I don’t want to go through that hell again’ (26). ‘Love is hell on earth,’ but they continue to see each other. There is a sense of things being out of control; at the end of the taxi ride Brett is shaky, and later when Jake returns alone to his apartment he cries himself to sleep. When Jake leaves, Brett is at another bar in the company of another man.” This statement draws a connection between Brett and her influence on Jake as a narrator. Several times throughout the novel, Jake repeats himself when speaking of Brett Ashley, the most notable of which occurs when he is “damning” her. Brett, like the sun, comes and goes like clockwork. It is as if her presence is the light in Jake’s life and the night (or the darkness) is when she leaves again. It is no coincidence that the plot begins with her presence at the dance, goes dormant when she goes out of town to San Sebastian (as evidenced by part II in the book), and then picks up again with her arrival in Pamplona. When Brett is around, Jake feels alive and awake, with her absence though, Jake takes a considerably different tone.O’Sullivan also points out that both Brett and Jake have deviated from typical sex and gender roles. Brett seeks out and enjoys the freedom to sleep with whomever she pleases, while Jake craves monogamy and stability. This is significant because it allows for thought as to a possible motive for Jakes technique. Is Jake trying to prove or explain his manhood through the text? Is his wording and the way in which he shares his experiences designed to make him appear more masculine than he really is? O’Sullivan makes a valid point that Jake’s narrative technique is altered and influenced by Brett because the connection the pseudo lovers have is overwhelming. She also wants to reveal that Jake cannot help but consider the feelings of the woman he loves while writing, thus his technique is changed in order to please Brett.
O’Sullivan’s article emphasizes the relationship between Jake Barnes and Brett Ashley. She brings attention to the significance that Brett has on Jake’s daily life and behaviors. She offers the perspective that these feelings Jake has are subconsciously expressed in Jake’s narrative technique due to his deep adoration and love of Brett Ashley.In this article, O’Sullivan wants people to keep in mind how strong the power of love can be. She reminds the reader several times that women such as Brett have profound effects on narrators and authors alike. Her point of view is one with a deep and profound beliefe in love as the ultimate power force.
O’Sullivan writes, “They are in love with each other but because of Jake’s wound that love cannot be sexually fulfilled. They have tried making love but failed: ‘I don’t want to go through that hell again’ (26). ‘Love is hell on earth,’ but they continue to see each other. There is a sense of things being out of control; at the end of the taxi ride Brett is shaky, and later when Jake returns alone to his apartment he cries himself to sleep. When Jake leaves, Brett is at another bar in the company of another man.” This statement draws a connection between Brett and her influence on Jake as a narrator. Several times throughout the novel, Jake repeats himself when speaking of Brett Ashley, the most notable of which occurs when he is “damning” her. Brett, like the sun, comes and goes like clockwork. It is as if her presence is the light in Jake’s life and the night (or the darkness) is when she leaves again. It is no coincidence that the plot begins with her presence at the dance, goes dormant when she goes out of town to San Sebastian (as evidenced by part II in the book), and then picks up again with her arrival in Pamplona. When Brett is around, Jake feels alive and awake, with her absence though, Jake takes a considerably different tone.O’Sullivan also points out that both Brett and Jake have deviated from typical sex and gender roles. Brett seeks out and enjoys the freedom to sleep with whomever she pleases, while Jake craves monogamy and stability. This is significant because it allows for thought as to a possible motive for Jakes technique. Is Jake trying to prove or explain his manhood through the text? Is his wording and the way in which he shares his experiences designed to make him appear more masculine than he really is? O’Sullivan makes a valid point that Jake’s narrative technique is altered and influenced by Brett because the connection the pseudo lovers have is overwhelming. She also wants to reveal that Jake cannot help but consider the feelings of the woman he loves while writing, thus his technique is changed in order to please Brett.
What Jake's Repetition Reveals
Budick, E. Miller. "'The Sun Also Rises': Hemingway and the Art of Repetition." University of Toronto Quarterly, 56. 2 (1986): 319-337. Print.
What Budick is attempting to convey with this article is the connection and overwhelming symbolism of the epigraph within the novel.This article helped shed light on how the Allusion to Ecclesiastes guides Jakes narrative technique in several ways as well. Budick wants to show the reader that Ecclesiastes 1:5 is almost entirely based on the idea of repetition and human error. It become obvious that Budick himself is very appreciative of both the bible and Hemingway's usage of it. The overall message of the article is that the sun will rise again, no matter what. The sun will rise as will it set and no matter how many things in life, or in time change, some things will remain constant.
Thus, the sun could be perceived as a symbol of ultimate dependability. Surprisingly enough, the article attempts to answer the afore mentioned question and does an adequate job of allowing the reader to understand the relationship and the feelings that Hemingway held about Ecclesiastes. Knowing that Hemingway viewed Ecclesiastes as being about fullness rather than fulfillment helps guide the readers understanding of Jake’s narrative. Although Jake had everything he needed to live his life, he felt unfulfilled and was unable to fulfill the ultimate purpose of a marriage, which in this case would be reproduction. In this way, Budick’s writing suggests that the title is of a pessimistic nature. Jake goes on living with his impotence because simply being impotent is not a cause of death, but to him is a life sentence. Every day the sun rises and every day the sun brings something new, yet in Jake’s eyes, all remains the same.Budick also provides further understanding of the meaning behind the epigraph by stating, "It assures us that the sun also rises, the earth endures forever. This fact of earthly richness, of fertile and regenerative repetition, functions as a compensation for life’s endless futility. Furthermore, by reflecting and commenting on the pattern of endless cycling and recycling, by registering and interpreting this cycling, the text makes it available to human consciousness as a confirmation of its own potential growth and development.”This statement suggests that children too are a form of repetition. They are raised the way their parents want them to be, as slightly better forms of themselves. When thinking of regeneration in that sense, it does seem to be futile or in vain. However, the article is not trying to portray Jake as a vain narrator, but more as a person who longs to feel masculine. Over and over again, just like the sun, Jake repeats himself; his words, his thoughts, his feelings and his actions. Jake is condemned to a life that he is displeased with. He must accept that until he can change his view on life, the sun will just keep rising and setting; only finalizing his pointless existence.
What Budick is attempting to convey with this article is the connection and overwhelming symbolism of the epigraph within the novel.This article helped shed light on how the Allusion to Ecclesiastes guides Jakes narrative technique in several ways as well. Budick wants to show the reader that Ecclesiastes 1:5 is almost entirely based on the idea of repetition and human error. It become obvious that Budick himself is very appreciative of both the bible and Hemingway's usage of it. The overall message of the article is that the sun will rise again, no matter what. The sun will rise as will it set and no matter how many things in life, or in time change, some things will remain constant.
Thus, the sun could be perceived as a symbol of ultimate dependability. Surprisingly enough, the article attempts to answer the afore mentioned question and does an adequate job of allowing the reader to understand the relationship and the feelings that Hemingway held about Ecclesiastes. Knowing that Hemingway viewed Ecclesiastes as being about fullness rather than fulfillment helps guide the readers understanding of Jake’s narrative. Although Jake had everything he needed to live his life, he felt unfulfilled and was unable to fulfill the ultimate purpose of a marriage, which in this case would be reproduction. In this way, Budick’s writing suggests that the title is of a pessimistic nature. Jake goes on living with his impotence because simply being impotent is not a cause of death, but to him is a life sentence. Every day the sun rises and every day the sun brings something new, yet in Jake’s eyes, all remains the same.Budick also provides further understanding of the meaning behind the epigraph by stating, "It assures us that the sun also rises, the earth endures forever. This fact of earthly richness, of fertile and regenerative repetition, functions as a compensation for life’s endless futility. Furthermore, by reflecting and commenting on the pattern of endless cycling and recycling, by registering and interpreting this cycling, the text makes it available to human consciousness as a confirmation of its own potential growth and development.”This statement suggests that children too are a form of repetition. They are raised the way their parents want them to be, as slightly better forms of themselves. When thinking of regeneration in that sense, it does seem to be futile or in vain. However, the article is not trying to portray Jake as a vain narrator, but more as a person who longs to feel masculine. Over and over again, just like the sun, Jake repeats himself; his words, his thoughts, his feelings and his actions. Jake is condemned to a life that he is displeased with. He must accept that until he can change his view on life, the sun will just keep rising and setting; only finalizing his pointless existence.
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