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Literary devices and their effects
Symbolism in the sun rises essay
An essay into literary devicees
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Earnest Hemingway is one of the most revered and debated writers of all time. He authored many great novels including: For Whom the Bell Tolls, A Farewell to Arms, The Old Man and the Sea, and The Sun Also Rises. He was a true master of the English language, and his unique skill set becomes apparent in each of his works through the use of his exemplary literary knowledge. Hemingway shows an exceptional utilization of literary devices in his well acclaimed novel, The Sun Also Rises. From the bull-fights of Pamplona to Lady Brett Ashley, Hemingway fills the story line with seemingly endless examples of symbolism giving each of the characters and figures its own specific purpose and underlying meaning.
Imperialism in The Sun Also Rises is shown through the character of Lady Brett Ashley. She has a way of collecting men like land: the more she can accumulate, the more powerful she becomes. Like a conquering army would move from country to country after each victory, she moves from man to man after they fall to her power. Peter L. Hays writes, “Thus, a spirit of rebellion from domination by exacting masters, a need to be free from the control of others, runs through the novel, as Jake seeks to separate himself from Brett’s hold on him”(238). Throughout the novel, Jake Barnes strives to fall out of love with Brett and free himself from her power. Meanwhile, she continues to instill infatuation for herself in other men, thus creating for herself the resemblance of an imperial power. This is also shown by Hays when he writes, “The imperial force in The Sun Also Rises is Brett, and the first “territory” we see controlled is Robert Cohn. He falls under the sway of Brett’s sexual power, a new fief for her feudal empire” (239), and then ...
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...Imperial Brett in The Sun Also Rises.” ANQ: A Quarterly Journal of Short Articles, Notes, and Reviews. Fall 2010, Vol. 23, Issue 4, p238-242. Web. 27 March, 2011.
Hemingway, Ernest. The Sun Also Rises. New York: Charles Scribner’s Sons, 1926, 1954. Print.
James, Henry. "Symbolism." in American Writers Classics. Ed. Jay Parini. Vol. 1. New York: Charles Scribner's Sons, 2003. 332-334. Web. 29 Mar. 2011.
McCormick, John (with Mario Sevilla Mascarenas). The Complete Aficionado. Cleveland: World, 1967. Web.
Shams, Ishteyaque. “Symbolism in The Sun Also Rises”. Studies in American Literature. Ed. Mohit K. Ray. Rajouri Garden, New Delhi: Atlantic Publishers and Distributers, 2002. 124-unknown. Web. 2 April 2011.
Stoneback, H. R. “Hemingway and Faulkner on the Road to Roncevaux”. Hemingway: A Revaluation. Ed. Donald R. Noble. Troy, New York: Whitston, 1983, 135-163.
All forms of literature consist of patterns that can be discovered through critical and analytical reading, observing and comparing. Many patterns are discussed in the novel, How to Read Literature like a Professor, by Thomas C. Foster. Among these patterns, he discusses the use of symbolism and the representation something can have for a different, underlying aspect of a piece of literature. These symbols tend to have multiple meanings and endless interpretations depending on who is reading and analyzing them. No matter
Kennedy, X. J., & Gioia, D. (2013). Symbol. In J. Terry, K. Glynn & D. Campion (Eds.), Literature: An Introduction to Fiction, Poetry, Drama, and Writing (7 ed., pp. 234-245; pp. 250-256). Upper Saddle River, NJ: Pearson Education Inc.
Throughout The Sun Also Rises, Hemingway paints a tragic picture of young adults being haunted by the lasting effects of post traumatic stress disorder onset by their participation in World War I and the restrictions it placed on their ability to construct relationships.
Hemingway presents takes the several literary styles to present this short story. Hemingway’s use of Foreshadowing, Pathos, Imagery and Personification allows the reader to enter the true context of the frustration and struggle that the couples face. Although written in the 1920’s it the presents a modern day conflict of communication that millions of couples face. At first glance the beautiful landscape of the Barcelonian hillside in which Jig refers to frequently throughout the text appears to have taken the form of White Elephants. The Americans’ response to Jigs’ observation was less than enthusiastic as he provides a brief comment and continues on with his cerveza. This was but the first of the many verbal jousts to come between Jig and the American. The metaphorical inferences in those verbal confrontations slowly uncover the couple’s dilemma and why they may be on the waiting for the train to Madrid.
eration are weighed. From this point, Pedro can be seen as the real hero, man whose code gives meaning to a world where love and religion are defuncts, where the proofs of manhood are difficult and scarce, and where every man must learn to define his own moral condition and then live up to them (Bloom, 1985, p. 118). Hemingway purposely shaped the main characters in The Sun Also Rises as allegorical figures. Jake Barnes and Brett Ashley were two lovers desexed by the war. Robert Cohn was the false knight who challenged their despair.
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.
The Sun Also Rises was one of the earliest novels to encapsulate the ideas of the Lost Generation and the shortcomings of the American Dream. The novel, by Ernest Hemingway, follows Jake Barnes and a group of his friends and acquaintances as they (all Americans) live in Paris during 1924, seven years after World War I. Jake, a veteran of the United States, suffers from a malady affecting his genitalia, which (though it isn't detailed in the s...
This novel brings to mind many hard issues that face the individual within mankind. Hemingway shapes his characters and their actions to show the beliefs of those that follow the existentialist philosophy. It is a novel of the struggles of one man to overcome the hardships he faces in this world. Its' depiction of humankind is both ironic and triumphant. Just as the Book of Ecclesiastes explains that man's comprehension is limited by his understanding of the magnitude of time and space so does The Sun Also Rises show us the smallness of humanity in reference to the universe.
The pivotal character of Ernest Hemingway's novel, The Sun Also Rises is Jake Barnes. He is a man of complex personality--compelling, powerful, restrained, bitter, pathetic, extraordinarily ordinary yet totally human. His character swings from one end of the psychological spectrum to the other end. He has complex personality, a World War I veteran turned writer, living in Paris. To the world, he is the epitome of self-control but breaks down easily when alone, plagued by self-doubt and fears of inadequacy. He is at home in the company of friends in the society where he belongs, but he sees himself as someone from the outside looking in. He is not alone, yet he is lonely. He strikes people as confident, ambitious, careful, practical, quiet and straightforward. In reality, he is full of self-doubt, afraid and vulnerable.
# “Symbolism.” The Bedford Introduction to Literature. Ed. Michael Meyer. Boston: Bedford/St. Martin’s. 2002. 220.
Endings, whether beloved or hated, are meant to give the reader a good sense of closure and, if done well, some sense of satisfaction. Unfortunately, not all endings give their readers closure, let alone any satisfaction. Robert Hemingway’s The Sun Also Rises, a fiction novel focusing on the life of Jake Barnes, a World War I veteran, and his adventure to Spain with a small group of his friends, falls into this category of inappropriate endings. The ending of The Sun Also Rises is not appropriate because instead of concluding the story, it leaves the reader at the beginning of a cycle seen throughout the book. This aforementioned cycle dominates the characters’ lives, ruling over them, helping the reader predict their every move.
Love is a universal language; it is something that everyone understands. It does not necessarily have to be spoken of; instead it can be shown through people’s action. In most novels love is an unseen character yet it plays this strong force that moves the story along. Ernest Hemingway writes about a group of people who are trapped in a wearisome game of love. In The Sun Also Rises Jake Barnes, the protagonist, is a journalist whose war injury causes him to be handicapped. He is madly in love with Lady Brett who loves him in return. However, they cannot complete their relationship because of Jake’s injury. Therefore all he can do is helplessly watch as Brett dates other men. Their forbidden love is similar to the story of Romeo and Juliet, however this novel tells us about the scary ventures of love. Hemingway uses dialogue, imagery and omits description of the characters’ emotions to show the tragedies of love.
Finally, Ernest Hemingway wrote The Sun Also Rises as an allegorical tale of the times he realized first hand and experienced as a way of life; indeed, his utilization of symbolism and character development represent the aimlessness of the “Lost Generation.” Works Cited Bloom, Harold. A. A. American Fiction between the Wars. Philadelphia: Chelsea House, 2005.
Ernest Hemingway's The Sun Also Rises (1926) has been considered the essential prose of the Lost Generation. Its theme of alienation and detachment reflected the attitudes of its time.
As it can clearly be seen, Earnest Hemingway has reflected his life throughout his works. This outlet of expression has proven to be worth the time and effort he had put forward in crafting these stories. It is unfortunate that factors such as human suffering as well as intimate harm were present in Hemingway's life, but it is thanks to those themes that such great works came about. In the short stories "Indian Camp," "The Old Man at the Bridge," and "Hills Like White Elephants," Hemingway has proven that he was indeed the voice of his generation and has crafted a path for future authors and writers to write in a similar manner and style.