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Significance of symbolism in Hemingway, 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.
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.
Gale. Weeks, Lewis E., Jr. "Hemingway Hills: Symbolism in 'Hills like White'" Elephants. Studies in Short Fiction. 17.1 (Winter 1980): 75-77.
Oliver Cromwell was an English peasant who became one of the most influential, effective and controversial leaders ever to rule England. A great military leader, he ultimately overthrew the King and, for the first time, changed his country from a monarchy to a Republic. Despite the fact that he was a strong leader, Cromwell’s goal and achievement of eliminating the monarchy did not last long after his death. Oliver Cromwell was and remains a controversial figure in history, reviled by many and revered by many others.
Golding constructs these images carefully, and at their very centre lies the concept of the beast. In the heart of the island, crawling about in the dark foliage of the jungle, the boys begin to unknowingly personify the beast as the snake. They become overcome with fear of the unseen monster which attacks from all fronts, land and sea, and from which there is no refuge. This broad abstraction of the beast later crystallizes to the reader when it evolves into the Dead Parachutist, who, while being human, has departed, still snared by a "complication of lines." His man-made trap, which will remain long after his earthly body has deteriorated, gives the illusion of life to the deceased soldier. This Dead Parachutist is aptly referred to as a "message from the adult world", as the parachute stands as the clinching metaphor for the hollow and bureaucratic constructs that serve as both the pillars and bars of society. For beyond the wars, the...
People go through life wanting to achieve their full potential; however, many never take a moment to analyze what may affect how their life turns out. In this essay, I will be identifying and analyzing the three most significant points of comparison shared by the character Harry in Hemingway’s “Snows of Kilimanjaro” and the narrator of T.S Elliot’s poem “The Love Song of J Alfred Prufrock”. The character Harry in “Snows of Kilimanjaro” has lived a good life and has traveled throughout many countries in Europe. Even though he pursued a career in writing, he is not well accomplished because he is drawn towards living a lazy luxurious life. While in Africa with his wife, he faces a huge conflict, which causes him to be regretful for how he has chosen to live is life. The narrator of T.S Elliot’s poem “The Love Song of J Alfred Prufrock” enters the dynamic consciousness of its character Alfred Prufrock whose feelings, thoughts, and emotions are displayed in an
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.
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.
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.
Baker, Sheridan. "Hemingway?s Two-Hearted River." The Short Stories of Ernest Hemingway: Critical Essays. Ed. Jackson, J. Benson. Durham: Duke UP, 1975. 158.
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.
...s one may establish a better understanding for theme, writing styles, and technique. Though “The Adventures of Huckleberry Finn” is a full length novel and “The Lost Boy” is a short story the writings are comparable in the aspect of writing structure and key characters. One may also associate characteristics in Wolfe’s story with those in “Daisy Miller”. These stories are alike in the theme of life lost and different in many ways, as well. Harry, the leading character in Hemingway’s “The Snows of Kilimanjaro” led a very different life than that of young Robert but the writings held numerous resemblances. The four stories depict humanity through the life stories of their developing characters. In comparing and contrasting the literary works written by Wolfe, James, Hemingway and Twain the student develops as certain appreciation for the literary community.
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...
Throughout the novel, Frankenstein by Mary Shelley, the monster is rejected by society because of his looks and actions. Victor Frankenstein, the creator of the monster, forced the monster to be mean and lonely because of how he was treated. Frankenstein could have made the monster look and act more kindly if he would have taught him how to. One should have taught the monster how to act, how to survive and show him right from wrong.
Baym, Nina, and Robert S. Levine. "The Snow of Kilimanjaro." The Norton Anthology of American Literature. 8th ed. Vol. D. New York: W. W. Norton &, 2012. 826-42. Print.
The Green Hills of Africa is Hemingway’s second non-fiction work, set in 1933, following the author and his second wife, Pauline, on a big-game safari in Africa. It was first serialized and then published in 1935. The first run was of 10,500 copies selling at $2.75 a piece. While many smaller critics passed their typical glossy review of Hemingway, those at the height of literary criticism bombarded it. Particularly with respect to what Hemingway claimed the novel was. In the foreword of the novel, Ernest Hemingway writes, “The writer has attempted to write an absolutely true book to see whether the shape of a country and the pattern of a month’s action can, if truly presented, compete with a work of the imagination.”1 Fittingly the critical response to Hemingway’s second non-fiction work examined the novel in that respect, as well as in its achievement as a free-standing novel.