MORE AFFECTION AND PAIN IN ERNEST HEMINGWAY THE SUN ALSO RISES

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1 KAAV INTERNATIONAL JOURNAL OF ENGLISH, LITERATURE AND LINGUISTICS A REFEREED BLIND PEER REVIEW BI-ANNUAL JOURNAL KIJELL/ JUL-DEC (2018) /VOL-5/ISS-2/A4 PAGE NO ISSN: WWW.KAAVPUBLICATIONS.ORG MORE AFFECTION AND PAIN IN ERNEST HEMINGWAY THE SUN ALSO RISES 1 P. ARULMOZHI 1 Research Scholar, Department of English PRIST Deemed University, Vallam, Thanjavur 2 Dr. R. VISALAKSHI 2 M.A., M.Phil., Ph.D., Research Supervisor Department of English, PRIST Deemed University, Vallam, Thanjavur Received July 26 th, 2018; Revised August 25 th, 2018; Accepted September 23 st, 2018 ABSTRACT The story fixates on the storyteller, Jake Barnes his affection intrigue, Lady Brett Ashley, with whom he can't support a sentimental relationship because of war damage that has rendered him feeble. In this article love is shown a very superficial manner. It is so because most of characters are self-seeking in the love. Love fails to offer it natural and becomes a dehumanizing force. The love between Jake and Brett doesn t rise to desirable proportions because Jake is physically disabled and Brett spiritually incapacitated. Had Brett not been so, the union with Romero should have proved to be perfect one. The failure of their love was not failure of Romero who is both bodily and spiritually sound; it is owing to the inadequacy of Brett as beloved her in ability of the total absorption in love and surrender to her lover. Jake is the suitable partner in love who can act for the happiness of another and can be rising above all self-seeking, but he fails to give physical satisfaction. Romero s love possesses Brett fully for time and brings some change which has a moral significance in her character and sheds light on what love can really do if it is perfect. This novel provides a clue about Hemingway s negative attitude to love. Keywords: Hemingway, The Sun Also Rises, Social instability, Moral decay, disillusionment, loss. 1. INTRODUCTION Ernest Hemingway's was the first novel, The Sun Also Rises, was written in eight weeks in July-September 1925 a few days after the fiesta ended in Pamplona (Spain). The manuscript was extensively revised in December 1925 when the Hemingway sspend the winter in Schruns, Austria, and further in March It was published by the son of Charles Scribner in New York, in October The Sun Also Rises exemplified the post- World War I generation. It got positive reviews, is the "recognized as Hemingway's greatest work". Hemingway himself later kept in touch with his proofreader Max Perkins that the "purpose of the book" was not such a great amount about age being lost, but rather that "the earth abideth forever"; he trusted that characters in The Sun Also Rises may have been "battered" however not lost. It has been described as a modernist novel, a travelogue, and a novel of disillusionment, the tone being somber, detached, ironic, and nostalgic. Jake Barnes, an American expatriate in Paris and a World War I veteran, tells the story of 24

2 what has come to be regarded as the "lost generation" from his point of view. The "lost generation" alludes to ostracized American journalists who were living in Paris after World War I ( ). Ernest Hemingway was one of these journalists. He was filling in as a remote journalist for the Toronto Star around then. The greater part of journalists in "Lost Generation" were veterans of World War-I. They had seen done horrible things which left them crushed after the war was finished. They came back to a nation that was prepared to disregard war and from multiple points of view the officers who battled in it. They were not able modify the evolving scene. This made the earth for new type of writing. The writing amid this time would be entirely different from the pre-war writing. The works made were not hopeful as previously, relatively critical much of the time. This was because of the way that these journalists had persevered through numerous hardships in their lives were of no blame their own. Ernest Hemingway was just viewed as a piece of the "Lost Generation" development, he likewise made it. The expression, "Lost Generation" made by Gertrude Stein, who was companion of Hemingway. As indicated by Hemingway, Stein was a technician shop where her auto had been ineffectively repaired. The shop proprietor told the repairman that he was a lost age. She at that point disclosed to Hemingway that he was likewise part of the affection "Lost Generation". The age was for the most part seen can be indiscreet and overwhelming consumers. The definition certainly fit Hemingway's identity. He later utilized the term in The Sun Also Rises, a huge work of his and also of the age he spoke to. The "Lost Generation" had real job in the short story turning into a regarded type of writing. Before this time short stories were not viewed as beneficial, but rather the essayists of this time ready to compose stories that were great writing as well as could profit. The short story had turned out to be exceptionally famous. This was because of the American scholars of the "Lost Generation". Despite the fact that Hemingway was not just essayist of the "Lost Generation", he is the one most connected with it. Other than the workman, he was additionally the first marked with this title.the tale starts in Paris, France, moves to the Pamplona, Spain, and finishes up in Madrid, Spain. The storyteller cum-hero Jake Barnes is enamored with Lady Bretty Ashley, a British socialite, yet they can't keep up a relationship since he was rendered barren by a war wound-and Brett isn't willing to surrender sex. Jake loses various kinships and has been his life more than once disturbed in light of his unwaveringness to Brett, who has a dangerous arrangement of relationships with other men. Jake, Brett, and the companions seek after a dispersed life in Paris. Jake acquaints Brett with Robert Cohn; Brett and Cohn engage in extramarital relations; Cohn pursues Brett to Pamplona, where the abandoned Cohn thrashes Mike and Jake, and subsequently Pedro Romero. Jake and his companions leave Spain, and Jake appreciates the isolation of San Sebastian yet then Brett wires Jake to save her in Madrid in the wake of constraining Romero to abandon her. The topics of the novel are: the aimlessness of the Lost Generation, male uncertainty, and the danger of sex. The themes are the disappointment of correspondence, unnecessary drinking, and false companionships. The image utilized is that of bullfighting as the conduct of the bulls over and again portends the activities of the general population in the novel. There is nothing especially convoluted about A Farewell to Arms. It would give off an impression of being basically the narrative of two individuals who meet in an impossible place and experience passionate feelings for. In any case, there is a war going on and their lives are modified by it. It might be said, the plot adjusts to the great equation: kid meets young lady, kid loses young lady, kid gets young lady back. Yet, Hemingway adjusts the last' part. As in almost every great novel, there are elements of the au tobiographical in this one. Like the hero of the novel, Hemingway was a driver of Red Cross ambulance on the Italian front in World War I. He was also severely injured in the legs by mortar fragments and heavy machine-gun fire. But all this was after (not before. as in the novel) the Italians' disastrous retreat from Caporetto, so- we can only presume that he wrote about the retreat from 25

3 what he had heard. Also, the love story is evidently of Hemingway's invention. However, he knows the region and the general population and, by the philosophy, that expresses that an author ought to compose just about what he knows, Hemingway is consistent with his art. This is not a pleasant story. In some of the descriptions of war, Hemingway's narrative is every bit as gruesome as the horrific tales that-were written about World War II. There is one difference, however; he writes far better. And, at the same time, Hemingway's is a shining and beautiful story of the love of two people who need each other in a period of upheaval. ''Ernest Hemingway was already regarded before the publi cation of A Farewell to Arms in 1929), by a restricted scholarly open as an essayist of remarkable freshness and power, one of the creators, for sure another American fiction," says Robert Penn Warren. "A Farewell to Arms more than justified the early enthu siasm of the connoisseurs for Hemingway and extended this repu tation from them to the public at large. Its great importance was at once acknowledged, and its great importance has survived through the changing fashions and interests of twenty years." All of novels of Hemingway are adversity. For sure, a few faultfinders have blamed him for being fixated on death, while others keep up that he is basically portraying the fundamental reality of life. In any case, one does not read Hemingway expecting a happy ending. There is a doom that hangs over this novel from the very first chapter, yet Hemingway's skilful construction does allow the immediate ap pearance of stark tragedy; he provides a sort of roller coaster, happy sad, life-death tempo that brings us to the last chapter uplifted, only 'o be cast down into the depthsof sadness. Neither in Romeo and Juliet-nor A Farewell to Arms is the disaster an immediate and consistent aftereffect of the shameless social circumstance. Catherine's substantial structure, which precludes a typical conveyance for her child; is a grievous organic mischance. The demise of Shakespeare's darlings is additionally hastened by a mischance the confinement of the message-bearing minister. The understudy of feel; perceiving another sort of rationale in craftsmanship than that of scientific cause and-impact, may anyway presume that Catherine's passing, similar to that of Juliet, demonstrates a sort of aesthetic certainty. But by an expansive indirection the war does not murder Catherine any more than the Veronese quarrel executes Juliet. Be that as it may, in the enthusiastic experience of the novel, Catherine's diminishing is specifically related and interlaced with the entire sad example of weariness and enduring, forlornness, thrashing and fate, of which the war is itself the wide and social sign. Furthermore, one may make a comparable contention about Romeo and Juliet. Stylistically.' the novel exists on the level of those wonderful stories that declared the author's uniqueness. The 49 Stories contain less. Violence and more sympathetic examinations of human rela tionships than the conventional view of Hemingway's reputation would suggest. The retreat of the Italian forces has been described as Hemingway's best narrative passage. The dialogue between Henry and Catherine is filled with the sensations of those unspoken, but recognizable, overtones shared by lovers in private. The stripping away of all superfluous matter, the simplified sentence structure learned in the Paris years, the heightened. Awareness of natural forces these are some of the aspects of A Farewell to Arms that will retain for the novel a lasting place in the history of American fiction. It will remain safe, most likely, from the assaults that time makes upon those works whose prominence rests too greatly upon transitory fashions. In this book, Hemingway largely succeeded in his search for the appearance of things as he felt them to really be. The grace of a poet and the disciplined craftsmanship of a novelist combined to produce' a novel that is far more than the picture of a small episode in World War I. It is a gathering of injured individuals, injured either physically or mentally because of the war. They are American ostracizes who are having a denied existence in Paris after the World War I. The ostracizes' gathering stands firm decisively on standard of an estrangement from the general public that had been constrained upon it by the conditions of the occasions. The war damage results in impotency of Jake Barnes, focal hero of the novel. It was force 26

4 alone that they were looking for and that they found temporarily in unglued lovemaking, in death in the bull-ring. Skepticism was finished. In this way, an aggregate forswearing of qualities could appear to have just a single result estrangement. It is a their revelation of their emptiness and vicariousness that has made them withdraws their constancy from the gathering. The truth of this world is that confidence in religion and God is generally disillusioning; the overarching morals and social traditions are a sham and excellence and ethical quality are unimportant shrouds for unashamed disobedience every single essential rule of trustworthiness, dependability, and honorableness. Hemingway realize that whole may of the social apparatus comes enthusiastically against the blameless delights and yearning of a person's slants, which taken separately, every individual from the social mass a holds dear to his heart. The most offensive violations are submitted for the sake of religion God and equity and pateridtism. Nations with 'Thou shalt not kill' as their essential religious precepts gave the destruction and man-butcher of the First World War. The Sun Also Rises is an amazing archive of the general population who came to be known, in Gertrude Stein's words (which shape a large portion of the novel's epigraph), the "Lost Generation." The youthful age she is talks about had their fantasies and blamelessness crushed by World War I, rose up out of the war intense and erratic, and spent a great part of the prosperous 1920s drinking and celebrating without end their disappointments. Jake exemplifies the Lost Generation; physically and sincerely injured from the war, he is disappointed, thinks a little about regular wellsprings of expectation - family, companions, religion, and work unemotionally drinks his way through his exile life. Indeed, even travel, rich wellspring of potential experience, for the most part turns into a reason to drink in colorful areas. Flightiness likewise denotes the Lost Generation, Jake once in a while mediates in other's undertakings, notwithstanding when he could help (similarly as with Cohn), and Brett recklessly harms men and thinks of her as frail to quit doing as such. While Hemingway evaluates the shallow, void states of mind of Lost Generation, other statement in the epigraph from Ecclesiastes communicates the expectation that future ages may rediscover themselves. One of the key changes Hemingway sees in Lost Generation is that of the new male mind, battered by war and recently tamed. Jake typifies this new undermining; no doubt physically critical, he can't engage in sexual relations and, along these lines, can never have the unquenchable Brett. Rather, he is overwhelmed by her (see "Sexuality and bullfighting," below), as is Cohn, who is additionally mishandled by the other ladies throughout his life. 2. Conclusion We have studied A Farewell to Arms in the light of Hemingway s aesthetic principles and major themes. People have studied it for more than half a century as a great war novel and a great story of love. Since the drums of war retreat after the Caporetto retreat and fade away after Henry plunges into the Tagliamento and bids Farewell to Arms, novel looks more like a story of love in the time of war. Henry is out of it (war). What remains is his love for Catherine. Thus, in the novel, the love story outlives the war story. But that does not mean the end of all problems. A story may have a happy ending but there is no happy ending in life. They lived happily ever after is an unrealistic conclusion, for death may come in any form, not necessarily as the explosion of a trench mortar or a gunshot. It may come as one of the hazards of childbirth, as it happens to Catherine. Poor Henry bids farewell to the arms of war and rushes to the arms of his beloved but soon finds himself bidding farewell to those arms also. In the end he is lonely self like in the beginning a philosophical thought, which makes us hark back to the concept of the soul or self. When we look at the novel as the story of the growth of Henry s soul, an amazing meaning is revealed through war and love. If the love story outlives the war story, the story of the soul outlives the love story. When we look at the story of the growth of Henry s soul, the priest and Catherine on one side andrinaldi on the other assume considerable significance. Rinaldi, the snake of reason, fades away 27

5 from Henry s life along with the arms of war, yielding place to Catherine and her arms of love. There is still the element of carnal love, but the purer love preached by the priest becomes stronger and stronger in his mind. The priest s words assume a central significance in the novel: When you cherish you wish to get things done for. You wish to libation for. You wish to give. In short, true love demands the effacement of self and all selfishness, which means only giving and no grabbing. Count Greffi endorses this when he describe love as a religious feeling. Thus Catherine becomes an icon for Henry s realization of love. 3. References 1. Malone, Dennis J. The Development of the Hemingway Hero. MA Thesis. McMasters University Open Access Dissertation and Theses. Web. 1 May Field, Allyson Nadia. Expatriate Lifestyle as Tourist Destination: The Sun Also Rises and Experiential Travelogues of the Twenties. The Hemingway Review, Vol. 25, no. 2 Spring 2006, pp Kennedy, David M. Over Here: The First World War and the American Society. Oxford University Press, Kennedy, Gerald J. Imagining Paris: Exile, Writing, and American Identity. Yale University Press, Schwarz, Jeffrey A. The Saloon Must Go, and I Will Take it With Me: American Prohibition, Nationalism, and Expatriation in The Sun Also Rises. Studies in Novel, vol. 33, No. 2, University of North Texas. Pp

1. A French phrase meaning novel with a key, used to mean a novel in which real people are described but under false names.

The Sun Also Rises roman à clef. 1. A French phrase meaning novel with a key, used to mean a novel in which real people are described but under false names. 2. A story based on real characters and events