Ernest-Hemingway 歐內(nèi)斯特·海明威

ErnestHemingway

1899-1961HislifeandwritingSpokesmanforthe"LostGeneration”HismajorworksHisthematicpatternsHisstyleSelectedReadingHislifeandwritingHemingwaywasamythinhisowntimeandhislifewascolorful.borninOakPark,Illinois;lovedsportsandoftenwenthuntingandfishingwithhisfather,whichprovidedhimwithwritingmaterials.Afterhighschool,workedasareporter.DuringWorldWarIheservedasanhonorablejuniorofficerintheAmericanRedCrossAmbulanceCorpsandin1918wasseverelywoundedinbothlegs.Afterthewar,hewenttoParisasaforeignreporter.InfluencedandguidedbySherwoodAnderson,StephenCraneandGertrudeSteinhebecameawriterandbegantoattractattention.LaterheactivelyparticipatedintheSpanishCivilWarandWorldWarII.In1954,wasawardedtheNobelPrizeforliterature.In196l,inillhealth,anxietyanddeepdepression,shothimselfwithahuntinggun.Spokesmanforthe"LostGeneration“

WhentheFirstWorldWarbrokeout,manyyoungAmericansvolunteeredtotakepartinthewarwiththewishtoendallwars.Buttheharshrealitymadethemawarethatmodernwarfarewasnotthatgloriousorheroicastheythoughtittobe.Disillusionedbythewaranddisgustedbythefrivolous,greedy,andheedlesswayoflifeinAmerica,theylefttheirhomecountryagain.Asawriter,Hemingwayvividlyrecordedinhisworkthelifeofthosephysicallyandmentallywoundedsoldiers,revealedthefrustration,lonelinessanddisillusionmentofmodernpeoplewhoseidealswereshatteredatatimewhen"Godisdead".Thehorrorandmenace,theanguishanddereliction,andthefutilityandsterilityexpressedinhisworkshadbeenafflictingallsensitivemembersofthepost-wargeneration.Thus.

Hemingwaybecamethespokesmanforthe"LostGeneration".Greatlyandpermanentlyaffectedbythewarexperiences,Hemingwayformedhisownwritingstyle,togetherwithhisthemeandhero.Majorworks

InOurTime(1925)Itisacollectionof15shortstories,mostofwhichtreatlifeintheMiddleWest,buttheinterpolatedsketchesdescribewarinEuropeandbullfights.Thestoicimpersonalityofhisfirsthero,hisalterego,NickAdamsishisfirsteye'slookingattheworldastheboyobservesandlearnsfromthestupiditiesandsordidviolenceofasuccessionofintimatehumanepisodes-InOurTimerankshighinHemingway'sworksbecauseitisthefirsttimewhenaHemingwayhero,psychologicallyandphysicallywounded,stepsintothespotlighttolearntolivewithgraceunderpressure.Eventheverytitleisanirony,becauseunlikeaChristianprayer"Giveuspeaceinourtime"thereisnopeaceinNick'slife.Sincehecannotmakeaseparatepeacewiththeenemy,theonlywaytoitistofaceitboldly.Moreimportantly,Nick,thenascentHemingwayhero,isaprototypeforlaterheroes.Inthissense,hislaterworkscanbeseenasarepetitionofNickAdam'sstories,inwhichNickisbecomingmoreandmoremature.TheSunAlsoRises(1926)

Hemingway'sfirsttruenovel,castslighton"TheLostGeneration."Theyoungexpatriatesinthisnovelareagroupofwandering,amusing,butaimlesspeople,whoarecaughtinthewarandremovedfromthepathofordinarylife.

Thenovelisusuallyinterpretedasachronicleofalostgeneration,asanexpressionofnihilism,orasarepresentationof"motion,whichgoesnoplace.Jake'swarinjuryandhisresultingimpotencemakehimthesymbolofhisownandhiscreator'sgeneration.Hisphysicalimpotenceisatokenofmodernman'sspiritualimpotence.However,

manhood

for

Hemingway

is

measured

not

by

sexualprowessbutbyone'sabilitytomasterhisownlife,andJakeBarneshasdemonstrated,

despitehisphysicalincompleteness,

that

he

isfullyamanineverysensethatmatterstoHemingway.AFarewelltoArms(1929)

Hemingway'ssecondbigsuccessIttellsaboutthetragiclovestoryaboutawoundedAmericansoldierwithaBritishnurse.FrederickHenryrepresentstheexperienceofawholenation,whoiswoundedinwaranddisillusionedwiththeinsanityandfutilityoftheuniverse.Inthisnovel,Hemingwaynotonlyemphasizeshisbeliefthatmanistrappedbothphysicallyandmentally,butgoestosamelengthstorefutetheideaofnatureasanexpressionofeitherGod'sdesignorhisbeneficenceandtosuggestthatmanisdoomedtobeentrapped.UnlikeJakeBarnsin

TheSunAlsoRises

whoisphysicallyscarred,

Frederickishealthyinbody,butsufferingfromakindofmentalillness,

becausewhatheistoldtobelieveinwar,

that

is,glory,

honorandnobility,

finallyturnsintobloodanddeath.

ByfleeingfromthewararmsandgettingintoCatherine'sarms,

Frederickwantstoachieveaseparatepeaceinthechaoticuniverse.Bothofthemconfrontthehostileworldandfightitfortheirhappiness.However,theyneverhaveachance.

Intheend,

weseeFrederickwalkingintherain,headingsomewherewedon'tknow.ButwedoknowthatFredericwillnotcommitsuicideafteralltheseexperiencesofwarandlove.

Heisnowmature;

hehasseenthecrueltyandindifferenceoftheworld;andhehasrealizedthatnothingeverhappenstothebrave.

TheHemingwayherowillcontinuetolivewithgraceunderpressure.ForWhomtheBellTolls(1940)ItconcernsavolunteerAmericanguerrillaRobertJordanfightingintheSpanishCivilWar.Althoughfullyawareofthedoomedfailureofhisstruggle,hekeepsonstrivingbecauseitisacauseoffreedomanddemocracy.Intheend,themannerofhisdyingconvincespeoplethatlifeisworthlivingandtherearecausesworthdyingfor.ThetitleisfromasermonbyJohnDonne.RobertJordan,anAmerican,hasenteredtheLoyalistarmyduringtheSpanishCivilWarandhasbeensenttojoinaguerrillabandinthemountainsnearSegoviatoblowupastrategicbridgeattheexactminutethatwillhelpaloyalistadvance.DuringthethreedaysandnightshefallsinlovewithMaria,daughterofaRepublicanmayor,whoisherselfrapedbyFalangists.Afteraseriesofincidents,thegeneralorderstoretreatandfailstoinformJordanwhosuccessfullyblaststhebridge.Intheattempttofleeheiswoundedandforcestheotherstoleavehim.Heliesonthehillsidealmostdelirious,restraininghimselffromsuicidesothathemayshoottheleaderoftheFascists.TheOldManandtheSea(1952)Itisactuallyaparableofman'sstruggleagainstthenaturalworld,highlightinghisnoblecourageandendurance-theCubanfishermanSantiagoisthefocusofthestory.CappingHemingway’scareerandleadingtohisreceiptoftheNobelPrize,isaboutSantiagoandhislosingbattlewithagiantmarlin.Inatragicsense,itisarepresentationoflifeasastruggleagainstunconquerablenaturalforcesinwhichonlyapartialvictoryispossible.Nevertheless,thereisafeelingofgreatrespectforthestruggleandmankind.Thestoryisaboutcourage,withwhichmancanfightoldageandpovertyandlonelinessandeventhegiganticsea.Santiago'sheroismliesinhisknowledgethatheisupagainstaforcefarmorepowerfulthanhimself,andhisheadstrongresolutiontofightitanyway.Hewinsbecausehehaschallengedtheoldage,hisownlimits;helosesbecausehecouldnotsavehisprize,whichisahardevidenceofhiscourageandstrength.HisotherimportantworksincludeMenWithoutWomen(1927),DeathintheAfternoon(l932),TheGreenHillsofAfrica(1935),TheSnowsOfKilimanjaro(1936)andToHaveandHaveNot(1937)TheThematicPatterns1.TheLostGeneration:Itrefersto,ingeneral,thepost-WorldWarⅠgeneration,butspecificallyagroupofexpatriatedisillusionedintellectualsandartists,whoexperimentedonnewmodesofthoughtandexpressionbyrebellingagainstformeridealsandvaluesandreplacingthemonlybydespairoracynicalhedonism.GertrudeStein,"Youareallalostgeneration,”usedasanepigraphtoHemingway'snovelTheSunAlsoRises,whichbrilliantlydescribesthoseexpatriateswhohadcutthemselvesofffromtheirpastinAmericainordertocreatenewtypesofwriting.Thegenerationwas"lost"inthesensethattheyweredisillusionedwiththewarwreckedworldandspirituallyalienatedfromaU.S.thatseemedtobehopelesslyprovincial,materialistic,andemotionallybarren.ThetermembracesHemingway,F.ScottFitzgerald,EzraPound,E.E.Cummings,andmanyotherwriterswhomadeParisthecenteroftheirliteraryactivitiesinthe1920s.2.TheHemingwaycodeheroInAmericanliterature,Hemingwayhimselfandhisprotagonistsarerepresentationsofheroism.FromhisfirstbookInOurTimetohislastworkTheOldManandtheSea,fromNickAdamstoSantiagothereareaseriesofheroes.Whateverthedifferencesinexperienceand

age,

they

all

have

something

in

common

whichHemingwayvalues:

theyhaveseenthecoldworldandforonecauseoranother,theyboldlyandcourageouslyfacethereality;whatevertheresultis,theyarereadytolivewithgraceunderpressure.TheHemingwaycodeherohasanindestructiblespiritforhisoptimisticviewoflife,thoughheispessimisticabouttheworld.Hemingwayhimselfisoneofthosecodeheroes;somecriticssayhisprotagonistsareautobiographical,fortheysharesomethingthatisHemingway.Ineffect,heisaPapainAmericanliterature.InthegeneralsituationofHemingway'snovels,lifeisfulloftensionandbattles;theworldisinchaosandmanisalwaysfightingdesperatelyalosingbattle.Thosewhosurviveandperhapsemergevictoriousintheprocessofseekingtomasterthecodewithasetofprinciplessuchashonor,courage,endurance,wisdom,disciplineanddignityareknownas"theHemingwaycode".Tobehavewellinthelonely,losingbattlewithlifeistoshow"graceunderpressure"andconstitutesinitselfakindofvictory,athemeclearlyestablishedinTheOldManandTheSea.Thoughlifeisbutalosingbattle,itisastrugglemancandominateinsuchawaythatlossbecomesdignity;mancanbephysicallydestroyedbutneverdefeatedspiritually.Obviously,Hemingway'slimitedfictionalworldimpliesamuchbroaderthematicpatternandseriousphilosophicalconcern.HemingwayCodeHeroesplainlyembodyHemingway'sownvaluesandviewoflife.Hemingwayhero

(1)awoundedheroconfrontsallthedifficultiesofthesituationwithhisdignityandcourage.(InOurTimes-NickAdams)(2)agroupofwandering,amusingandaimlesspeoplecaughtinthewar.(TheSunAlsoRises-TheLostGeneration)(3)mansuffersbothphysicallyandmentally,andisdoomedtosuffer,refuteGod‘skindnesstoman.(AFarewelltoArms-FrederickHenry)(4)proveslife‘sworthandtherearecausesworthdyingfor.(ForWhomtheBellTolls-RobertJordan)(5)showsgreatrespectforthestruggleofmankindagainstunconquerablenaturalforces,thoughonlyapartialvictoryispossible.(TheOldManandtheSea-Santiago)(6)Heiswiththehonesty,thediscipline,andtherestraint.Manalwaysfightsalosingbattleoflife,butneverlosesdignity.Mancanbephysicallydestroyed,butneverdefeatedspiritually.(7)manofcourage,andmasculinityandinflexibleheroism.(TheUndefeated)

Graceunderpressure:TheHemingwayCode"Graceunderpressure"

isanoutstandingvirtueofHemingway'sheroes,whichbestsumsuphisphilosophicalattitudetowardlife.Almostall

hisheroesare"soldiers"

either

ina

narroworbroadsense.Theyareouttheretofightagainstnatureortheworld,oreventhemselves.Butnomatterwherethebattlegroundisandhowtragictheendingis,theywillneverbedefeated.

Finally,theywillprevail

because

of

their

indestructible

spirit

and

unquenchablecourage.

Althoughlifeistragic,

thereisnothingbetterthanlife.Since"grace

under

pressure"

isoften

the

focusof

attention

inHemingway'sworks,itispreferablyreferredtobythecriticalworldas"TheHemingwayCode",tohighlightthisparticularandtypicallifeattitude.Hemingway’sstyleprobablythemostwidelyimitatedofanyinthe20thcentury.generallyknownforhis"masteryoftheartofmodernnarration.""iceberg"analogy.AccordingtoHemingway,goodliterarywritingshouldbeabletomakereadersfeeltheemotionofthecharactersdirectlyandthebestwaytoproducetheeffectistosetdownexactlyeveryparticularkindoffeelingwithoutanyauthorialcomments,withoutconventionallyemotivelanguage,andwithabareminimumofadjectivesandadverbs.Theicebergtechnique“Thedignityofmovementofanicebergisduetoonlyone-eighthofitbeingabovewater”

Hemingwaydescribeshisaestheticprincipleasanalogoustoaniceberg,seven-eighthofwhichisconcealedbeneaththesurfaceofthewaterinwhichitfloats.Hebelievesthatagoodwriterdoesnotneedtorevealeverydetailofacharacteroraction;theone-eighththatispresentedwillsuggestallothermeaningfuldimensionsofthestory.Thus,Hemingway'slanguageissymbolicandsuggestive.Itistruetherewon'tbegreatdifficultiestounderstandtheliteralmeaningoftheshortsentencesandsimplewords,butaworkbyHemingwaydemandsdeliberateattention.Seeminglysimpleandnatural,Hemingway'sstyleisactuallypolishedandtightlycontrolled,buthighlysuggestiveandconnotative.WhilerenderingvividlytheoutwardphysicaleventsandsensationsHemingwayexpressesthemeaningofthestoryandconveysthecomplexemotionsofhischaracterswithaconsiderablerangeandastonishingintensityoffeeling.Besides,HemingwaydevelopsthestyleofcolloquialisminitiatedbyMarkTwain.Theaccentsandmannerismsofhumanspeecharesowellpresentedthatthecharactersarefulloffleshandbloodandtheuseofshort,simpleandconventionalwordsandsentenceshasaneffectofclearness,tersenessandgreatcare.Thisruthlesseconomyinhiswritingstandsasamaxim:"Lessismore."NowonderHemingwaywashighlypraisedbytheNobelPrizeCommitteefor"hispowerfulstyle-formingmasteryoftheart"ofcreatingmodernfiction.BysayingthatallmodernAmericanliteraturecomesfromasingle

book

called

The

Adventures

ofHuckleberry

Finn,

HemingwaymakesahighpraiseofMarkTwain'scolloquialstyle.

LikeTwain,Hemingwayalsowritesinasimplebut

highlysuggestivestyle,whichismetaphoricallyknownasthe"iceberg"technique..Hissentencesaresimpleandshortbutheavilyloadedwithmeaning,whichgivesanimpressionofintensityanddynamism.

Heprefersactiveverbstostaticonessoastocreatetheeffectofvitality.Besides,hisdictionisplainandelemental,fullofmonosyllabicwordsandhisdialoguesarestrippedoffunnecessaryadjectivesoradverbs.Inthisre-spect,HemingwayisindebtedtoEzraPoundandtheImagistpoetry.

Furthermore,

thesimplicityofhissyntaxparallelstheothersimplicity,thatis,heoftenusesungrammaticalbutintelligiblesentences,repetitions,ascolloquialspeechoftendoes,tointimateactuality.IronyIronyisanoutstandingandconspicuousfeatureofHemingway'sart,becausehehastransformeditintoaphilosophicalapproachtowardslife.Inabroadersense,ironycanbecomparedtoagapbetweenexpectationandfulfillment,intentionandconsequence,thewaythingsoughttobeandthewaythingsactuallyare.Inalmostallhisgreatnovels,thereisalwaysadiscrepancybetweenwhatpeoplewantthingstobeandwhatthingsreallyare.Forexample,FrederickHenrywantstoliveapeacefullifewithCatherineinSwitzerland,butCatherinediesinchildbirthandleavesFrederickalone.Santiagocatchesahugemarlinbutheonlyhasitsskeletontoprovehiscourage.Hemingway'ssubtleironyactuallyrevealsauniversaltruth,thatis,lifeisagreatironyandnoonecanescapetheobligationsimposedbyhumanlife.Everymanhastofacetheharshrealitiesandendurethem,andeverymanmusttakeanoptimisticviewtowardstheironyoflife.SelectedReading:AClean,Well-LightedPlace

firstpublishedin1926Itbeginswithadescriptionofaquiet,outdoorcaféatdusk.

Adeafoldman,whofrequentsthecaféregularly,sitsatatableunderatree,slowlydrinkinghimselftoastuporasusual.

Preparingtoclose,twowaitersspeaktothemselvesabouttheelderlygentleman,onetellingtheotherthatthemanattemptedsuicidetheweekbefore.

Soonthemandemandsanotherbottleofbrandy,andtheyoungerwaiterbelligerentlyconcedes,tellingthedeafman,"Youshouldhavekilledyourselflastweek,"ashepourshimanotherglass.

Thewaiterreturnsinside,andthetwocaféworkerscontinuetheirconversationabouttheoldman'ssuicideattempt.

Theyoungerwaiter,whosaysthathenevergetstobedbeforethreeo'clockandthathiswifeiswaitingforhim,seemsespeciallyangeredatthepatron'scontinuedpresence.

Itseemstheoldmanisverylonelyandhasnoremainingfamily,saveperhapshisniece,whocuthimdownfromtheropewithwhichhetriedtohanghimselfthepreviousweek.

Throughouttheconversation,theyoungwaitercontinuestoinsulttheoldman,callinghim"anastything."Theolderwaiterdefendsthesenior,however,sayingthatheiscleananddignifiedinhisdrunkenness.Finallytheyoungwaiter,orthewaiterwithawife,asHemingwayreferstohim,forcesthemantopaythebill,andsoonthemanleaves.

Cleaningup,theoldwaiterdispensesafewwordsofwisdomtohisyoungercolleague,tellinghimthatheidentifieswiththeoldman'sdesiretostayupallnightdrinking,feelingtheneedtokeepthecafé,aclean,well-lightedplace,openforanyonewhoneedsit.

Nowalone,theoldwaitercontinueshistrainofthought,decidingthatlifeismeaningless.

HerecitestohimselftheLord'sPrayer,exceptheremovesallreferencestoGodandreplacesthemwith"nada,"theSpanishwordfor"nothing."Onhiswayhome,thewaiterstopsatabar,tellingthebartenderthatthebarisunpolished,remindinghimselfofhisdisdainforbarsbecausetheyaren'ttheclean,well-lightedplacesherelishes.

Heleavesthebar,knowingthathewillnotgettosleepuntildawn.

Hetellshimself,"itisprobablyonlyinsomnia.""Manymusthaveit."Theoldmanisinhisfinalyearsoflifeandtheoldwaiterrecognizesthathesoonwillhavethesamefateastheoldman.Aprogressionofageisseenamongthecharactersdemonstratingthetransitionfrombeingyoungandsocialtoagingandfeelinglonely.In“AClean，WellLightedPlace,"Hemingwayportraysadifferenceinage,experience,andopinionofdrinkingthroughtheuniquecharactersthatcouldrepresentaprogressionofalcoholism.OldMan:Theelderly,deafgentlemanwhodrinksgracefullynearthebackofthecafé,outside,isthemainsubjectofdiscussionforthewaiters,whoarestartingtocloseupforthenight.

Thewaitersgossipwithoneanotherabouttheman'sattemptedsuicidethepreviousweek,andspeculateaboutotheraspectsofhislife.

Itseemsthemandrinksatthecaféeverynight,alone,topassthetimeinaclean,well-lightedenvironment.YoungWaiter:Theyoungwaiterisimpatientwiththeoldman,hopingtoreturnhometohiswifebyadecenthour.

Hedoesn'tunderstand