Ernest Hemingway- Allegorical Figures In THE

SUN ALSO RISES Essay, Research Paper

Hemingway 1

Ernest Hemingway:

Allegorical Figures in

The Sun Besides Rises

Kat

Hemingway 2

Thesis: Hemingway intentionally shaped the supporters in The Sun

Besides Rises as allegorical figures.

Outline

I. The Sun Besides Rises

A. Hemingway? s novel.

B. Hemingway? s supporters are intentionally shaped as allegorical

figures.

C. Novel typifying the powerlessness after W.W.I.

I. Jake Barnes.

A. Wound.

1. Damaged genital organ.

2. Can? t brand love.

3. Feels desire.

B. Wound is symbol of life in old ages after W.W.I.

C. Wound from accident.

1. Accidents ever happen.

2. Can? t prevent accidents.

3. ? It was similar certain dinners that I remember from the

war. There was much vino and ignored tenseness, and a

feeling of things coming that you could non forestall. ?

D. Condition represents a curious signifier of powerlessness.

E. Restrained romantic.

F. Private heartache with Cohn? s public agony.

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G. Strongly attracted to Pedro Romero.

H. Later, when Barnes says that he hates? gay? and wants to

hit them.

II. Lady Brett Ashley.

A. First appears with a group of homophiles.

B. Wears adult male? s hat on short hair.

C. Refers to work forces as chap? fellows? .

D. All complete deformation of sexual functions.

E. The war has turned Brett into the equality of a adult male.

F. This is similar Jakes demasculation.

G. All releases her from her feminine nature.

H. ? Steps off of the romantic base to stand beside her

peers.

III. Robert Cohn.

A. Women dominate him.

B. Old fashioned romantic.

C. Lives by what he reads.

D. To experience like a adult male.

1. Boxs.

a. Helps him to counterbalance for bad intervention from

schoolmates.

B. Turns him into an armed romantic.

2. Likes authorization of redacting and award of authorship, but is

a bad editor and a hapless novelist.

E. Looks for internal strength in outward marks and beginnings.

F. Willing to endure publically and to absorb abuses for interest of

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true love.

G. He is ready to contend for his lady and knocks down his

opposition like a knight.

1. When he goes against Pedro for Brett.

a. Brett tells him off.

b. Pedro won? t autumn.

c. Brett stays with Pedro.

d. Cohn is left entirely.

2. Romantic hero met his lucifer.

3. Shows difference between physical and moral triumph.

a. Pedro battles for self-respect and his spirit is

untouched by Cohn.

b. Cohn? s spirit is crushed.

H. Cohn based his manhood on accomplishment at packaging or on a adult female? s

love, non on internal strength.

IV. Pedro Romero.

A. Manhood stands without adult females.

B. Reason Barnes is attracted to him.

C. ? Cohn and Pedro are seen as extremes and Barnes remains the

unhappy medium. ?

D. ? Romero provides an image of unity against which Barnes

and his coevals are weighed. From this point, Pedro can

be seen as the existent hero, adult male whose codification gives intending to a

universe where love and faith are defuncts, where the cogent evidence

of manhood are hard and scarce, and where every adult male

must larn to specify his ain moral status and so populate

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up to them.

V. Summary.

A. Hemingway intentionally shaped the chief characters in The Sun Besides

Rises as allegorical figures.

B. Jake Barnes and Brett Ashley are two lovers desexed by the

C. Robert Cohn is the false knight who challenges their desperation.

D. Pedro Romero personifies the good life which will last

their failure.

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The Sun Besides Rises is a fresh by Ernest Hemingway ( 1926 ) .

Hemingway intentionally shaped the supporters in The Sun Besides Rises

as allegori

cal figures ( Bloom, 1985, pp. 107 ) . The novel symbolizes

the powerlessness felt by the chief characters after World War I.

Jake Barnes, the storyteller, had a lesion from an? accident?

that happened during the war. The hurt damaged his genital organ. As a

consequence, Barnes could no longer do love, but could still experience the

desire. Barnes felt physically less than a adult male. Barnes made a

remark about detesting? gay? . This shows that Barnes was insecure

about his maleness. For this ground, he subsequently found himself

strongly attracted to the immature toreador, Pedro Romero, whose

manhood stood without adult females.

The lesion is a symbol of life in the old ages following Universe

War I. It was used as a metaphor of the powerlessness felt after the war.

The lesion can besides be seen as a parable that reminded Barnes

invariably that accidents could ever go on and could non be

prevented. This can be seen in a transition from the novel. ? It was

like certain dinners I remember from the war. There was much vino and

ignored tenseness, and a feeling of things coming that you could non

prevent happening. ? ( Hemingway, 1926, p.146 )

Lady Brett Ashley was besides an fable of the powerlessness

after the war. She foremost appeared with a group of homophiles, she

wore a adult male? s chapeau over her short hair, which gave her a masculine

visual aspect, and she spoke of work forces as her chap? fellows? . All

completed the deformation of sexual functions and released her from her

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womanly nature ( Bloom, 1985, p. 113 ) . This is similar to Barnes?

status. Brett stepped off of the romantic base to stand beside

her peers ( Bloom, 1985, p. 118 ) .

Robert Cohn was an old fashioned romantic. He lived by what

he read and ignored world. Women dominated Cohn. To do him

feel like a adult male, Cohn became a pugilist. Boxing turned him into an

? armed romantic? ( Bloom, 1985, p. 108 ) . Cohn became an editor and a

novelist. He liked the authorization of redacting and the award of authorship,

but was a bad editor and a hapless novelist. He looked for internal

strength in outward marks.

Cohn ever found himself ready to contend for a adult female and

when he did, he knocked down his opposition like a knight. However,

when Cohn went against Pedro for Brett, Brett told him off, Pedro

wouldn? t autumn, Brett stayed with Pedro, and Cohn went place entirely.

This shows the difference between physical and moral triumph. Pedro

fought with self-respect and his spirit remained untasted by Cohn ; Cohn? s

spirit was crushed ( Bloom, 1985, p. 114 ) . Cohn based his manhood on

accomplishment at packaging or on a adult female? s love, non on internal strength. Cohn

found that romantic love was dead.

Pedro Romero? s manhood stood without adult females. This was the

ground that Barnes was so attracted to him. ? Cohn and Pedro are seen

as extremes and Barnes remains the unhappy medium? ( Bloom, 1985, P.

114 )

Romero provides an image of unity against which Barnes

and his coevals are weighed. From this point, Pedro can

be seen as the existent hero, adult male whose codification gives intending to a

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universe where love and faith are defuncts, where the cogent evidence

of manhood are hard and scarce, and where every adult male

must larn to specify his ain moral status and so populate

up to them ( Bloom, 1985, p. 118 ) .

Hemingway intentionally shaped the chief characters in The Sun

Besides 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 desperation. Pedro Romero personified the good life

which will last their failure.

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Mentions

Baron? s Educational Series, Inc. ( 1984 ) . The Sun Besides Rises- The

Story. [ WWW ] . URL hypertext transfer protocol: //www.kidzone.com: /ecc/sunalso3.htm

Bloom, H. ( ED. ) . ( 1985 ) . Modern Critical Positions: Ernest

Hemingway. New York: Chelsea House Publishers

Hemingway, E. ( 1926 ) . The Sun Besides Rises. New York: Charles

Scribners? Sons