Earnest Hemingway: Would Be King :: Writing Literature Papers

Earnest Hemingway Would Be KingIn the period immediately in front World War I, there was a revolution in tot all in ally art forms. The impressionists in France, late in the nineteenth century, had abandoned photographic realism to imply their emotional impressions of a scene. By the time of Picasso and Braqueat the set aside of the first decade of the twentieth century, painters were analyzing shapes, deconstructing them for component elements, or later, doing away with representationalreality all together. Composers bid Igor Stravinski and Charles Ives introduced atonal, dissonant passages into music. Artists did not want to create in the equal manner as theirpredecessors they wanted to extend the range of their art. Beyond the arts, Sigmund Freud present the existence of the sub-conscious, a theory that would revolutionize the field of psychology. Einstein changed the mettle of Physics by proposing the theory of relativity and Werner Heisenberg predicted that complete and a ccurate depictions of phenomena wereimpossible. It was a time of sweeping change the world if literature was no exception.In poetry, Ezra Pound was reacting against the metronomic beat of Victorian poetry. His credo was Make it new. He insisted that writers handling no superfluous enounce and avoidabstractions at all cost. T.S. Elliot followed Pounds technique, his piece and the voice of post-war Europe coming by means of in his masterpiece, The Wasteland. In fiction, James Joyce was insistency on removing the obvious presence of the author. Gertrude Stein was experimenting with sentence structure and word repetitions, trying to immerse her readers in a sense of ongoing present. Sherwood Anderson, like Joyce, wrote stories that did not snap shut at the ending, but developed gradually, aim slightly, their innovation being a revelation of character. All these authors defined character less through authorial description and more through what the character verbalise and did. Earn est Hemingway knew and studied with many of the best modernists. Their influence accentuated the marginal terse style he had already developed in high school. The spare unadorned, grammatically simple, declarative sentences, largely devoid of adjective or adverb, in any case echoed Hemingways own ism. For Hemingway, loss was inevitable fate, circumstance, something always brought on the end. Love expired, through death or disenchantment, fame always dwindled, youth and vitality crumbled through the years life itself was nothing more than a unpredictable feast of the senses. His philosophy is both stoic and existential one should not complain, one should turn up grace under pressure (Hays, 41) Also, one should care about ones swop because it was the individuals actions which defined the character.