the art of the impossible: the esthetics a thesis
TRANSCRIPT
THE ART OF THE IMPOSSIBLE: THE ESTHETICS
OF ERNEST HEMINGWAY
~ 1-""
A Thesis
Presented to
the Faculty of the Department of English
Kansas State Teachers College of Emporia
In Partial Fulfillment
of the Requirements for the Degree
I·'laster of Arts
by
Robert Charles ~edlacek
'" August 1967
T l'\~'5 !',
'"
Approved for the Major Department
255¢55
• • • • • • • • • • • • • • • • •
¥JEETING
He ~ent, to the crowd of tourists furrowing,As if barely from the helm. And like the sea's foam, the b~ard, Wnite, bordered his face
The ground under him seemed to cave in-Thus heavily he walked on it. And someone amongst us said to me, smiling:ltLook, just like Hemingwayl If He ~alked, in each short gesture suppressingThe burdened step of a fisherman. Entirely from granite scales hewn out, Walked, as through bullets, through the ages.He ~alked, bending down as if in a trench; Walked, moving apart chairs and people ••• He so resembled Heming~ayl . • • • And later I found out
that it was Hemingway.
--Evgenii Evtushenko
dad aloun AID oSl~ pu~
'~a+s1s AID pu~ ~aq+oID AID ~od
TABLE OF CONTENTS
CHAPl'ER PAGE
I. INVESTIGATION OF PREVAILING ATTITUDES • • • • • • 1
II. SETTING UP OF THE ESTHETIC • • • • • • • • • • • 30
III. THE ESTHETIC IN PRACTICE • • • • • • • • • • • • 60
IV. ESTHETICS IN RETROSPECT • • • • • • • • • • • •. • 84
v. THE ART OF THE IMPOSSIBLE • • • • • • • • • • • • 1~2
BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • • • • 125
PREFACE
Hemingway was always a fascinating author to :ne.
For a long time, I have wanted to investigate the esthetics
of the man who appears to be acutely easy to read and
understand, and yet his seeming simplicity is pure deception.
There are facets of Hemingway's writing which are ~onstantly
being revealed to the light, as though for the first time. _
The esthetics of Hemingway as patterned after Aristotle's
concept of tragedy is a case in point. With Dr. Wyrick's
help, I began to investigate this distinct relationship.
Although the critics have admired and respected the
writing of Hemingway as artist, rarely have they given due
credit to Hemingway as a man of deep thinking. Rather than
search for a prevailing esthetic in both Hemingway and his
art, the critics have attached the label of Itsportsman's
codelt to the esthetics of both Hemingway and his fictional
heroes. This label of Itcodeu has been allowed to suffice.
In the following study, I will attempt to prove
-that the critics have been wrong in their jUdgments regarding
the non-fiction of Hemingway, where his personal esthetics
are found. I will also attempt to show that Hemingway's
non-fiction follows closely Aristotle's theory of tragedy.
vii
The tragic esthetic theory which Hemingway evolved, although
impossible to live up to as an individual, ~as eminently
successful in Hemingway's art, yet this has been completely
ignored by the critics. A man like Hemingway may have
flaws in his make-up which disqualify him from living up
to an ideal around which he has built his personal esthe
tics, but at least he has given it all of his honest effort.
The importance of Hemingway's prose in the canon of American
literature bespeaks its own triumphant stability.
I should deeply like to thank Dr. Green D. Wyrick
for his invaluable suggestions and his unending kindness
in helping me make this study a reality. I wish to express
my sincere gratitude to Dr. Charles E. Walton for his
careful reading and his many corrections which have made
this thesis vastly smoother in style. I also want to thank
my typist, Sharon Watson, for her patience, and my best
friends, Rip and Marilyn, who were constant in their moral
support. Finally, I must admit that without my mother's
perserverance, I should not have accomplished this endeavor.
She never lost faith in me.
August, 1967 R. C. S. Emporia, Kansas
CHAPTER I
INVESTIGATION OF PREVAILING ATTITUDES
Most authors have esthetic theories which they
either consciously or subconsciously adhere to and endeavor
to follow. The more time that a man has devoted to a study
of the philosophy of his esthetics, the more co~plex they
will be, quite naturally. tfuen that man is a writer of
stature, the complexity of his esthetics will increase
as proportionately as his scope of writing increases.
The esthetics of Ernest Hemingway which are to be found
in his non-fiction, being of a classic nature; and drawing
inspiration from Aristotlets idea of Greek tragedy, have,
therefore, escaped the critics.
Those objects and events which a man finds beatiful
and inspiring and which give bim great pleasure and enjoyment
are the ones which contribute toward his esthetic development,
and they should not be equated with his esthetics; ~ ~~
A man's esthetics; then, shoulcl not be judged subjectiv~ly
upon the reputation of the objects and events which Give
pleasure, but, instead, objectively on those elemer~s
contained within that a m~n draws out for himself ar.d
2
contributes to that core of personal esthetic theory•. On
this matter~ the critics have gone wrong when judging or
criticizing Hemingway's books. They have jUdged them on
their face value or for subject matter instead of for the
integral and inherent value which Hemingway was attempting
to project in. the form of his esthetic principles, and by
the critics, esthetic was either misunderstood completely
or deliberately distorted.
For many years now, and almost without exception,
nearly every American literary critic has attempted to
explain the work of Ernest H~~ingway. His fiction has
been analyzed~ dissected~ and scrutinized down to the
smallest detail, from a conjecture by Levin on Hemingway's
early debt to Steinl in QE 1Q Michigan to the significance
of Santiago's "hero worship of Joe DiMaggio, the great
Yankee outfielder,,2 in The Old I·Tan and The Sea.
From this combing of Heming\"iay's novels and short
stories has arisen the famous Hemingway "coden which his
characters have either lived up to or fallen short of.
The same critics~ Wilson~ Cowley and Young~ just to name
,.IHarry Levin, nObservations on the Style of Ernest
Hemingway~" Kenyon Reviet'J~ in Heming'ltJay and His Critics, p. 110.
2Clinton S. Burhans, Jr .. , liThe Old Man and T.££ 3e:::,: ECl1l.ingT:Jay's Trc:gic Visio:.'l 0:: Iv'JE.n,tt Am.erican Literature, in U . d H" C .~. ~61.•- .::.:ml :1g1;Jay .§:lL. -l:.§. rl. v 1.C S ~ p. ;G .....
3 3three, have c:losely and carefully documented this ttp::>se,n
as Wilson refers to it. Re~ders of Hemingway have COQe to
be extremely familiar with the Hemingway hero. a tight
lipped. hard drinker who remains outwardly stoical in the
midst of any emotionally gripping circumstance. perhaps
best personified by Jake Barnes in the novel. The Sun Also
Rises. (1926). Hemingway has Jake say during one of the
nights of heavy drinking at the Pamplona fiesta:
Perhaps as you went along you did learn something. I did not care what it was all about. All I ~anted to know was how to live in it. Maybe if you found out how to liV~ in it you learned fro~ that what it was all about.
With slight variations, this code or pose has
se~-ved to distinguish the characters in Hemingway who are
to be admired from those who are not; Robert Cohn, for
example. is one of those who is not. Because his actions
clash with the rest of the crowd. Cohn acts ttbadly. n
thereby. failing to live up to the code.
This code, then. which has been refined out of
H~~ingway's fiction. with its elaborate rules for proper
manner and conduct. is beld up against the fictional creations
in order to judge their character. providing them \rlth
3Edmund Wilson, ltHemingt·:ay: Gauge of l.forale, n lli. ~~uhd ~nd the Bow, in Ernest He2i~s~az: The I~n and His;:-:--:::-,:- -;-2~~7--'- - - - - -~, p • .L.
4Ernest HemingvJay. 1h£. S:ln Also Rises, p. 148.
4
what must serve as an esthetic theory. Yet to stamp
He~ir~way the artist with this sa~e code and look no
further for any use of esthetics in his work is not only
a glaring error, but demeans the intelligence of the man
who, in the opinion of O'Hara, "is the most important
author living today [1950J, the outstanding author since
the death of Shakespeare. n5 In referring to O'Hara's
words, Levin tries to disparage O'Hara's high praise but
is forced to ad~, "yet Hemingway too, one way or another,
is literature. n6
In the lesser read non-fiction, Death in the
A~ternoon, ~ Green Hills of Africa, and A Moveable ~east,
there has always been a finer and more sensitive theory of
esthetics than the critics have either given Hemingway
credit for or have taken the time to find. They have been
content to give these books a thorough but cursory reading
and have, then, relegated them to a category of interezting
but inferior works. This judgment, although undeserved,
has persisted down to the present because the early reviews
of the critics of stature were negative and unfavorable.
Oth~~ critics read the reviews and fell into line like
5John O'Hara, Ne~1 ~ Ti~es, VII (October 1, 1950),37.
,
°L . ':t 0"ev~n, ~~.£2. £=-., p.
5
nlittle t.in soldiers. u He~ingv'Jay's esthetics are r~v"c a
sport~~an's code as Edmund ~ilson would call it. Nor are
his esthetics of chest-pounding and baggadocio as other
critics \vould have the reader believe. The critics l.·;ho
would ascribe this type of code to Hemingway have only
given HeT.ingway's non-fiction a superficial reading and
have missed the true esthetics which are to be found there.
Hemingway's esthetics are not even Christian-oriented; they
are more closely allied to a Grecian-pagan philosophy.
Frye, in his splendid book, Anatomy of Criticism, comes
closest to divining the image Hemingway would have projected
into his esthetics. Frye writes:
If superior in degree to other men but not to his natural environment, the hero is a leader. He has authority, passions, and powers of expression far greater than ours, but what he does is subject both to social criticism and to the order of nature. This is the hero of the hiFh ~~tic mode; of most epicand tragedy, ar~ is pl~arily the kind of hero that Aristotle had in mind.
This tRhigh mimetic mode" is the basis for the actions
involved in Hemingway's esthetics, and as Frye points out,
this mode is linked directly to Aristotle, (384-322 B.C.).
Quite naturally then, it must follow that Ha~ingway's
esth~tics are a twentieth century metaphor of the Aristotelian
conc~pt of tragedy which entails six classic elements,
7Northrop Frye, Anator.:v of Criticism~ p. 34. ')
6
• ...., '" ..... a; .. "" .. .: ~ •• .","-, ...- ...... ,.. -."'- .......,.... __ ...... _, r-1!' .. .., r ~_ 8sP":;l"t"'"c~c, rr.u.S-;..C, a~ct~onJ) \.;,;.~c;._c;.c:;",er, "C ... ~ouoh .... , a.~~u. ~J .....,..iI,,,.
The individuals ~1ho are measured in ter:.:.s of Hemingi.·:''::.:y's
esthGtics either eT.body tho five facets of A~istotle's
ideal character or, through SOwe personal flaw, they \
rail.
The ideal tragic character ~ust engender the following
qualities:
1. I·~ust pass from hap)iness to mise:."'Y (not the reverse) •
2. ~mst not be perfectly vircuous a~d just. 3 .. His dO'tm.fall must not result from vise or baseness. 4. His downfall must come about because of a. flaw
of character (tragic flaw) and error in ju~gment. 5. Must belong to distin~uished fami9y, so that
the fall will be all the greater.
Ve~ few people, in view of Hemingway's esthetics, are able
to meet the requirements based on Aristotle's definition of
the ideal tragic character, including Hemin~Jay, himself.
One man has sarcastically pictured Hemingway as
I'The Dum.b Ox, ,,10 \'Jhile another critic enjoyed referring
to Dsath in the Afternoon as Bull in the Afternoon but
added that H~ingway was a man of full stature whose
"flying strokes of the poet's broad axe" he greatly admired. ll
v' . "''-''''1 -" .~'~~&'[ R 1 Id""'"~,'=:!c:"'~ " ~ 1 f G 1 ~'rI'd P1 eyer .e~nno , ..J.",..;.> ..,TI'J S 2- reCK ~,-, ...,,~n
C' a ",,",-,-1 ," (. p 240 •~ ~.:'; __ Y.....:J,.
9Ibid ., p. 241.
lOVlyndham Le\.·Jis, ~':l'he D'tE1b Ox: A Study of Ernest riGr.1.ing-t::ay,U American Revic:~~:» XX (June, 1934), 75.
I
111'...... x E~s+-,...,an roB,,11 ';1'1 t'\-,'" Af"-e'l'"noo'n n A....t '-'1"\-1.L1Q 0. V~ • t.,.;,. ........ ..L._.L ~ ...... V _ _.I.,:.:.:.~ ~:~
~r .~)~ ~~.: f'~ ..!' A ~· ..: P"':"""", '~"l ••-.' p 'l ... " ~'·"1"'"'J'. "",_'!,- r~,.· 't-, ....~ H.; .....'".';" :,..;..l. ... v OJ. ~on, .Lon <..'':' ~",-. ,G .;l:;•.:_n;:,;:.::.. l. ln~ cL._. __ ,-"~'~c:.:l
:")r~:';1 p. 54. - - -
7
But since these early a:.~d so~~:e;'::1.a·c personal revie1:1s:; it
is surprising to find that d~illcd a~d highly intelligent
men such as Wilson, Cowley, Baker and Young, who have
prided themselves on their astuteness and perceptivity,
have never gone back to the early non-fiction and the
posthumous A !(ovcable Feast for a closer examination and
re-evaluation for it is here that Hemingway is strivlng
hardest to project his personal esthetic theories.
lmenever anyone has mentioned Hemingway's esthetics,
the old nchestnuts" are brought out and tritely put on
display and th~n returned to the bottom drawer along with
other outdated and unfashionable oddities. Foremost amor~
the chestnuts is the ultra-ove~Jorked quotation from Death
in the Afternoon, ttl know only that what is moral is \'Jhat
you feel good after • • • • "12 This illustration, in its
entirety, coming early in the book, has completely satisfied
many critics. Those, nevertheless,. \'1ho have wanted further
to substaniate their criticism of Hemingway's esthetics
have used probably the most often quoted paragraph in all
of his 'l..:orks: "! ~Jas always embarrassed by the 'Words sacred,
glorious, and sacrifice • • • • u13 The critics became
so eager to fit Hemingway to his own code that they confused
12Ernest Hcming\'Jay, D~2.th in the Afternoon, p. 4.
13v""nest~_ Hem~nO"way..... .~ ~ c.o.L to p • 1 01 - 40 ,.:::. '::'~.·""'"··;:,.11l..:.~.J\.:,,__ ~r""'" 0l.loo._~,
8
hiill with his characters, as d~d Kashkeen in speaking of
.Hemingway's face as being only a mask for Nick Adams,
Lieutenant Henry, Jake Barnes and the rest.li;. These
overworked examples will no longer function as the esthetics
of Hemingway, and it is embarrassing how long they have
had to function.
UCodeu is a poor synonym for esthetics. nposen is
worse. Yet, these are some of the terms Wilson used in his
critical essay of 1941. In a sense, Wilson is blaming
Hemingway for the pseudo-gallantry and the pseudo-chivalry
in the twenties, that great age of disillusion and social
upheaval, because of the dialogue which Hemingway wrote
that was so appealing to his generation. 15 Writing of
Death in the Afternoon, Wilson finds Hemingway's use of
the first person "unexpected and disconcerting,u16 giving
no other explanation than to say that the book is infected
by a Itqueer kind of maudlin emotion. ,,17 Thi s seems to be
Hilson's case, and this analysis is adequate for him to
condc~n this work of an artist who, Lincoln Kirstein wrote,
lihas penetrated further into the anatomy of a kind of
14J • Kashkeen, nErnest Heming\iay: A Tragedy of C:caftsmanship,n International Literature, XI lJune, 1934), 64.
15Wilson, QQ. cit., p. 217.
16-,od 21rld:...Q.L., p. o.
171 . oJ-2£. ~.
9
bravery and co~ardice than ?ernaps any living writer 18except T .. E. La1::rence. n But Vlilson does go on to say
that Hemingway is able to us~ bullfighting as a subject
for stating his idea of man v;ho has "eternallyn placed
himself in a challenging position against the power of the
bulls and the risk of death. 19 This is precisely the
concept which Hemingway wanted his readers to grasp, as
Wilson did, for much of Ha~ingway's esthetics regarding
ticath is found in this general statement. And Wilson also
agrees that the matador in the bullring alone is "impressive"
alongside much of the banality of the contemporary business
world,20 yet states that he ~inds the book nhysterical. n21
Later, \vilson comments that, by writing in the first person,
HemingvJay loses his "disciplined and objective art, •••
becomes befuddled, slops over • • • • "22 Wilson also notes
that VJinner Take Nothing deals more e~fectively with contem
porary decadence than Death in the Afternoon. 23 Barea, a
18Lincoln Kirstein, liThe Canon of Death, n Hound and Horn, VI (May, 1933), 341.
19Wilson, £E. cit., p. 21$.
20L . T.-2.£•. ~.
211.oc. ~.
22~., p. 219.
23T °td.£.. £L.
10
u;....Jv.,C:'~0-r,-;:::;......__ ......i. ~ ","no..... .:::'o"r;-h+ ....... ;-,1-.,..., "'"".-'c,,",<,·,.:csh....... _.......L. Cl.·~6-i ..... -. '·!a has ,,]"I"'·:'-'-e·'w"'" ""..., .....u ..L .......b v ':'1 ..,,,,..1.,- " ~ ~... _ ...
of Heni!lg";ay, ~~He "Ilrote l;hat to fJ.y knol11edge is the best
'Afol- 0 "'1 , D ,."; '< _ __ -"ri _21L, Cf'-,~::-"'r...,. It-rb00.k on v h b<.41"~ r_no , ~~ 2 tne ternoo..• Baker,I;;
the official Herr~ngway biographer, has displayed sensitivity
in discussing De&th i.n th2 Afternoon and, at one point,
offers the conjecture~
SOfie of He':2ingIJay'l s critics have even professed to find evidence of a kind of hectic hysteria within the book itself, a point for which the objec~ive reader is likely to discover little support. ,
Baker's praise of Death ill ~ Afternoon is effuse and
intelligent. He begins by recalling that the book has been
termed the finest of its kind in English and that it is
the finest of its kind uin any language" because of the time
and effort that Hemingway spent on it 26 so that the work
l>Jould not become confused l'Jith the none-visit· books, n27
such as Julius Meier-Graefets The Spanish Journey and
Waldo Frame's Virgin Spain.
Aldridge prefers that his readers take a different
view of Hemingway's no~-fiction, and, even better, writes
that:
24Arturo Barea, UNot Spain but Hemingway," Horizon,III (I1aY, 1941), 211.
/ 25Carlos Baker, Hemingway: The Writer ~ Artist, p. loO.
26Tbid ., p. 144.=-27Ernest Hemingway, D8~th in thG Afterr-oon, p. 52.
11
R8m.ir~g1-:a.y bGc2.me S0 l:'5l?l:ct,i . _;;d by the lO';E:rlcl that it a~"ld his functioll as a ~.,~ll"'i·t,el'" :Jecame confused i:.1. his mind Q He 20t. so he ""::";J~'1 '.'.c, sure \'Jhen he '!r.'as SUpDO s.::d
.. ....... .. ~ 'l • .. - r ... to ue the \·J:....lt er u:-:.d 1.:~18~1 nc ...·JUS suppa sed "Co De tne legend. After a while the legend began writing Ins books for him and the ~':ritc:" began spending F.l0rd
and more of his time fishing for marlin off the h'lo··..J..·da co"""'~- '1"-')e '...,·... ~·-n Hl.-ll'" of Af'rica nea+),., l~J:.... J. ~ u \"II • _ ••_ ~i.::.}-·~. . .;::) _ - Ie \J;:' =..:..;,.u .-"' the Afternoon, and To have and' Have Not were all vJritten by t,he legend and, as a result, almost ~;8ery
thing in th~J read like cheap Hemingway parody.~
In his preface, Aldridge stated, however, n\'Je knew Her.'lingvJiiY,
Dos Passos, Fitzgerald, Eliot, Stein, and Joyce even better
than we knew one another. n29
Young, one of the critics who certainly should have
been sure of himself regarding the literary merit of Death
in the Afternoon, is particularly indecisive as to which
side of the fence he should be on. He begins by saying that
H0i:'ling\l1ay has al::n.ost come Uto the end of his ropeu in an
effort to leave society behind him just as [Henry] had
r~pudiated it in A Farewell ~ ~.30 Hemingway, Young
feels, has desce:lded into a Llood of upessimismn31 because
of the subject matter (death) and points to H~~ingwayts
taL~in6 to the old lady in Death in the Afternoon, saying,
uThere is r:o remedy for anything in life. Death is a
28John W. Aldridge, After the Lost Generation, p. 200.
29~b' d - ..LL., p. XJ..~~.
30p ' 'l';'~ Y n H'.,......,.,~c·-'- T_"~"-i, /667"nl...J...l:' ou•.g, _" ... _'"'"C'_'J .. pp. 0 ,,_.;~n€1JaY, •
31Ibid., p. 67.
12
sover-:;ign for all our ffiisfo::.~tuncs :u32 Befo:"'G le2.ving0 • • •
the :::::ubj ect, Young i1:ci. tes that Heming\'Jay's Utortured theories
of art and tragedy and bulls--though not entirely silly-
••• accounts for [Hemingway9sJ presence in the grandstands. n33
vrnen Young has failed to see the classic overtones behind
Hemingway's dialogue about death as being the ultimate
remedy, it is easy to understand that he should wish to
attach the label of Utortl.:.red theories of art" to Hening\'lay's
esthetics. In the classic view of He~ingway's esthetics,
there is nothing tIltortured,U they are stated simply and a
man either selects the~ as his governing passion or he
ignores them.
But, then, so as then to protect himself, Young
injects the statement, "the Spanish critics, who ought to
know about these things, said that it was the best book on
n34bullfighting ever. Rather lame praise after having
personally found the book only not entirely "silly.it
Young wrote the above analysis of Death in the
Afternoon in 1952. By 1959, he uas once again to write
on the same subject, but in the intervening seven years,
he had not only kept very much the same opinion, he had also
32Ernest Hemingway, Death in the Afternoon, p. 104.
33y . 67ou:ng, OPe £&., p. • ")1
..I'+Loc. ill.
---
13
begun ~o use adjectives ~G (8cc~iba the book uhich are
re:-~i:~scen~G or'" I:d!l:.und ~J:-lco2"'':'~';':; ~':0~'""~S", RegarC:irJ.g De:=lt:l-:.
in th3 A=~ernoon and 'l'h,;; C." ;C;~'l E:'=l.ls of Africa, Young \'ll"ote#-- . f1Neither of them is of prir:.c.::7 im~)Ol'"'tance/t since they are
both essentially about deat~~~) Young also felt that both
books are u a little hysterical:;! as if \o,Jritten under a great
nervous tension. tz36 He e:-ids by explaining:
But more clearly than anT~hing else the books presentthe picture of a man \Jho has; since that separate peace, cut himself so coupletely off from the roots that nourish that he is starving. 3?
Seott~s looking at this period of Hemingway's life
as one of indust~y and accomplishment clashes sharply with
that of Frohoek, writing in 1947. Frohock was want to
believe this to have been a period of retirement for
He~ingway, stating that in the throe books at this stage,
n'"-''-l''"h ;.f'l "i-t-o Af'tp-,."Y'looYl--.=.=, The G::een Hills of Africa and To....... \.:.... '-..~J... ~ ~ ... _,1 ~_ .....
ftYQ and Have Not~ HGoir~w~y is the protagonist and tho
other figures who people tte books are the minor characters. 38
Thus one critic c~v:~:ons Hemingway busily at work
~\}hile another sees him in :"~·~:':"'e::lent. Another critic has
.., ..))Uh"1" Y cr- ." ..r"d""""' 'l"""!'l ,v p IIJ: ... J. J.p Ou..l'lb) ,_. ~ ·",·'J.-~r",·.a" • "'1-.
30 ~
Ioe • cit.
37Loc • cit.
3dr"r'" 1! rl'".... h . ("to l.,... ~~'yy-:~, --, ., ~ :. ":1~"" "'" "'·7 "C'''''; ""'.1.."'1" ne n ~o"''- ht-'o","!,J • • 1.... 0 ....0'-'_10.::> J_'-'_ _,~ ~. __~ -..J-:;.. ...; ....... _J , U '-.\...... __ " .. "-"UIJ
i1c:~1in~\":{~.:r~ 2 ___r'r.'·:' '.,:: t'T,,;oJ.,;(.•",1 ,.. -:.J: ..,' .. ,.-'-'0 ,.R0"il:' c~~·'J, in Er:l~~:f;":~ ~~.'::._.~~ "_-,-S u -2":-;0'-
• • • •
14
a f:.::::"or treat!.-~cr~t ~~1. :;'"1I;zza:"~2 -'co D(,;2.th in the i~ft e~rlO('):~_i)
--n~110"(')"'1-.";~"O T.n__ .. ..;t&:>c,'v, .:r:'n' e irr>y,l.:-:,C'>
~ ... """"io_ 0--4·· :J ,.;....O-~--_. _.......,--..._-"" to"Q"r'a' au+o'o";oP'''r'::'"1"')ry""""- _---;,...1-,
<110 ....... - w
Hcmirrgway had hitherto so ~iEely restrained, thrusts i~zelf
,,39to the fore at the begin~ing of the Thirties
He feels that Heming';Jay 1vas undergoing a crisis in r.is
basic romanticism and that ~~the very nature of his talent
and his cultural background forced toward an accentuated
ae.::rtheticisrn. 'R40 Looking at Heming\"Jay in this light, the
critic deduces that Heming\';ay adopted the code of behavior
which he had prescribed for his heroes which reversed the
code into a purely ridiculous search atfor excitement for its
O'im s~~.::.s.tt41 Calling Death in t.he Afternoon a ntreatise,n42
D'Agostino believes uThe vJhole book is debased by the
. incomprehension implied in this impoverished idea of
death, u43 mainly because he feols the book is filled '.'lith
too much verbosity, rhetoric and fake lyricism and finds the
only authenticity in the accounts of the matadors. 44 In
39Nemi D' Ago stino, nThe Lat er Hemingway, U The Se1»anee E.·;rie~;J, LXVIII (Sumrner l 1960);1 482-493.
40-,- ~,.. c-; '.L..;,...... ,..J.l.,.J •
41:r,:)c. cit.
42Ibid., p. 153.
43L~c. cit.
44Loc • cit.
--
15
an e ..... .:..u. v c"-:,::,,~.... ",-i.,..__ v_ "1"'" " ~J., n- 'up·O"'''_':;r.oj, -·""'-·~-·~1'" to _t.: __ ....v ....-.,'"c ~ """~ L_ .. ..;;, "'0,..,-1"":""-'::10(-';0""... .a.u\:;': ...J...i. .....Q,v. ..... u ...,,,,••.1.
soothes himself with this tho~~~t~
3ut after all the book on bullfighting should be seen as one of those u~plGasant but useful outlets ~ which sometimes serve to purify an author's talcnt. 4)
One famous NC\"J York nmJspapar columnist found D,s:.:~th
in thc) Aftel~noon i1enthralling.t;r l'Jrites Franklin P. Aclams:
In the ev~ning I bega~ to read E. Hemingway~s D~~th in th0 -~~fte:rnoon and k::,oi.Jing that it treated of oulllIgh(ing thought that I \'Jould read a page or ti::O, but beca.me so enthralled in the ,,~riting of it, which I thought was the best Hemingway had done, 46 that r read the whole book until late in the night.
Other men, not so much interested in the book, were
rather core interested in the title, as was Gingrich:
Arnold offered to send Ernest a complete set of the files of Appa~~~ ~, if he could get Ernest to inscribe his first edition copy of Death in th~ Afternoon, which he described as the greatest four word poem ever written.47
Gingrich, although ignoring the book completely, was paying
Hemir~way a complioent for, as Hemingway told Leonard
Lyons, tar want titles that are poetic and mysterious. :~4a
Lewis, who recently completed a study on HemingvJay~s
45Ibid., p. 154.
46Fraru{lin P. Adams~ in Jhe ~ X2lj~ Hnra~q T~~~~g auo~ed in Saturday ~3vie~'] of l.,:5.terature, XLIV (July 29,196.L), 29.
47Le';ce e ter H"""";nrr·,'ay~u~ 51'11' ,. 1':T"T{- B""otheyo..... T;'·~·"~st~ ..- • ..1.~._.. ...... - J~.;J - ~ H"'""'J-~ .........""~""~,"tT".:..;,.~ , ' .... f
p. 118 ..
48Leonard Lyons, t;'J:'~.'·ado tJind.;:;;.1 U Sa"'c Ul~(tav R'3~"i 81:) "" i~
Literat~r8, XLIV (July 29, 1951), 6. ....J..;..
16
abscr~1~'~io11 on tt-~o subject, 0:: love;; calls Death in ..\,,;'- .......~"'1..'~ ..,
1\ {"'- c'" ..:....,-;- """ tJ ,., "" t~·1"'1 ~ .., ..: ('"! ~ Y ,,) ~ .~ 1... .1 i..,:-'9::. __ v·... '.,. _......... \_ ..._ Q. ... ,l"J -:......0.. u...... Uv oJ_\. • L8~'Jis says that Ecmins'.'.'ay l'~1as
hinting at a connection bct~c8n love and death,50 the idea
to i:Jhich Gcis2ar is referring 1::hen he \"Jrites that Wbeneath
the for~alized mu~der which joins these curious lovers lies
the true protagonist of the book, death itself. n5l Never
to '1e OIn w ~v _.... _ ... _ "'_",'C..fj .?~- ""~1'1oon........_.>._ ,6.trleless St Geismar thinks the .. ne,;Jt" h ;n the- v
is wrong~ "denying and accusing, wrangling and quibbling;
yet again often rich and aQusing, and including some of
Heming\'Jay's sharpest studi0S of the human constitution.~~52
With ~ecnness of perception, Wyrick writes that Death
~.::1 the After~-_oon is Heming'f,"Jay's ttspiritual autobiography,r<
and ~~ile representing a study of Spanish manners, it may
symbolically be interpreted as a study of worldmanners. 53
Quoting Kirstein's phrase, "ecstasy of valor,u54 \!lyrick
feels that:
49Robert W. 16'1.'Jis, J:."'., H8Tlingl':av .Q.£~, p. 58.
50T . t.:::££. S-.
5i:..:.1ax'\;vell Geis-rnar~ t:you Could Al'l'Jays Come Back," T-r",.1t·~;,:!.!.;::)..... ~ 'r, C.,...·co·e.
... ~.L'"'", P""'1"\-C:-":.~,e;)'-'IJ :.~,...... r.'llhoul:: M;1 d 1...... u,~"'-:nO'T1;:>'Y·, • .:..L ~H J. ,:;,1."" .;.:; ... [:,::'•••:.-" .l-l.c...n an H"C" \"".,.i'";--- ~1-4"1 - - - ~Jf p. '.
52Ibid., p. 140.
53Green D. Wyrick, The. lLorl~ of :Z:::'~eE,~ H.emin('l'.j:lClY, C2r;l::~?ria State Research Studies~ &'1lporia, ~~ansas, Il, SeptGmber, 1953j~ p. 23 ..
54".~ t' .'+ ~~/ ~~rs c~n, Ope ~., p. ~JO.
-- ---
- -
17
of .fail'" l)lay bC'(:'I"JOCn r::,::,n 2..~-cc! nat.ure, €,nd of honesty -i n "-ho"~"''''t ~J.::>1"'),,'..~ u,_.-j-i r'''''· ... --· 0'-:- \..1.......1.. 5)__ v.... ~bJ.... C;;:~V -o,,:,c' d"C ..... .:; onI",;;,-......1.
And so the critics 22VC t~cir own opinions concerni~g
the m.crit of Do:;~th i:-l ·to h~.::: l ...~~·t (,;"C:::.l.OO:n., many seeing it as
, , 1 .'I~or·.::.n css, scvcraJ. vic1.'JirlG i. t ~s 'I;:ritten during a period
O f' .;,_J'"<'",',"l"o.'e_ ~ 'ou;·'· 0'11 'y' c;.;.." ~"c.,,",~,'1 ~Wlo"':"",'" • ot;nu ~ e",~-het;cC!~- ... Vw.... v._ \I~-J 4 """-""'0 "'ny ,..".., ...... -i.
., ." t n'~he ~ee~ l' ,
Deat~ '"' h' ~. , II "'-'
~nn0rcn~ ~n ~. ~!~S 2.DOUt ~n ~I~ernoon
have been mixed as this cross-section of criticisn has
tried to show. Yet as to the value of The Green Hills of
~o~:ri(;a, the critics have marched as little. tin soldiers
even core perfectly in u~ison. DtAgostino, echoing Aldridge,
and characteristically expressir~ his own subjective view,
\'Jrote:
Fi."om Death in the Afte:'~~noon to ~:h,,,,; GY'G(m Hills of AfFica, another book VJhicfi'; as I:Lc{:....lCFiSays, vJas \<jritten not by He:ming';'Jay but by his legend, the pursuitof excitement becomes less convinced s nearer to the noint of crisisc The second is cer~ainly the le~st important and most untidy of Hemingway~s books.56
The thoughts of Melvin Backman follow, som~what, the
'He r . D ~ .... , , t'h d~l""""'"same pattern. ' eaaS8~vn In ~ A vornoon an Th~~
r;",-'-ont:;"Jl.. ;..H-i 11""_~~ ....::) of II........('r;. C':lC:1., as a ,ao-:,c,~r';nrr..'l.""'", of v;olence as a m'"an'''...\,;\;..;. ~ ..h ...::..... .t" _ ...,~I;; Q..... .. i::}
of aascrting oneself in des~:)ite the \'Jorld,n57 and finds in
':.'~~2 G::'''',':;,::::1 Ho; lIs of Ai:r:ica. a:1 t~u:'1easily insistent and
55\IJyrick, OD. cit., ~) .. 2.3. ~", . )OD ,:.c.go;:;t~no, O'? c~it, 0 ·cJ. 154.t!l-- -"57-"T-.1H':"" B""ck,.....-·.... t~'-"~ .. ,.: .,-,--•• "~,,, ""ne 11'~""'''a.·or ,...,.,rJ ~,~ ,
,i;.\j ... ~.4-lJ .._.:._ (Or .. 1.~~-:;":':'.l.""'j .i..-';";'~_._":"l.~"";' ...'<;;;";;- /iii J.. ... - lli':';;:;.o,.I..Ic;. c:...l.il,..." 1I.L .. ..:...:' ... ,no" ,.... • , ~ , , ,. (1\ ,., 9'"5 \ 9""U''''-i",,''-,r'' .... 'r;erY1 '··\C~·,,"·n .... _. "{"C.· ,·uer'us'" "\ JiC__ "..i._ ..... c ..... ~ _ .. '_./1"..... 1 .. _ ....... v-'-U ... _ ~,,-,-.,... ,,),.J.. ... b '"', .... ." , •
18
~·~5 8be:L..igerent !:ot e Q • 41 0
It "JOuld a?pca::- ~that, B~;..clccan had read and re~c~bered
quito accurately YOl.:;:-~g~ s earli0r 1952 study of Herningl:Jay
-. UT"Y' ..£±. __ lcawherein Young detected that The Greon H..·~:..J•., "1..L.;'., ..P ...
reflected. even more st::cikingly :athe grir:ding need for
self-just.ification and the nervous, eloquently belligerent
attitudes st,ruck in •• [Dee.th] ot~59 Before concluding0
r~s criticism, Young informs the reader that in The Green . e.O
Hills of Africa. there is n something for everyone, nO
finally conceding it is tamoderately entertaining. n61
Wilsonts literal-j evaluation of !hQ Green Hills of-Africa, like that of Young, echoes that of his analysis of
Death in the Afternoon. P:8supposing our agreement ~llth him,
vlilson begins by stating that Hcminb~Jay's journalism
corrtributed to the writing of several unsatisfactory boOks,62
allowing that Tho Green Hills of Africa's failure can be- -- - ---..-...;;.;..........
attributed to the book's falling between two genres;
t~personal exhibitionism and fiction. n63 Wilson is also
.. Q- " , uTln.d. I p. 11.=-"9 /) Young, £E. cit.~ p. 09.
60.,. . "+ ~. ~.
6IIbid ., p. 70.
62,,11." leon OPe cit., p. 221.\/ ... , - 63Lac • cit.
19 . ,quicl( to assure 'Iu ...,'-:_v ~ re2..C:c~ .,tcl'"~t :rr~e Gret~::1 }~:·_I.J_s re"~:: J~f:(~:_c,?~
lS• a -.C',,:,";l r,·~r·"'" ~ Y':l";:r.:=. _n_·,..;.v~"~'~<:'l.""1;;• ..>-n v.lv Af"'+-a'')'''t" .. -- ,J.~~c h":'·,C "'Q' .. ~ "i-h, 0. ~.·h"'·.1.<.4 .... u U""~<;;'~""~" Ll.~_-,- •• G •._v,J .... noo,.l , -
gave its r~adG~ i~formation on Qu11fighting, its successor 0
A.....•• -r.l.-.....l.-c." 6!.J.gives little i~formation on ._ Co.."l Hilson is up..ab1e to
. +- ' . H' . 1 ! f . ,. J,. 1accGp~ ~nat .cilllngway wou Q go on sa arl, 'a cosv~y
ar...aesthetic, u 65 as D'Agostino calls it, for, because he
enjoyed big game hunting, there has to be another, oore
sinister motive:
It is as if he were throwing himself on African hunting as .something to live for and believe in, as something tp~ough which to realize himself; and as if, ~:pectingof it too much, he had got out of ~~.~bng~mally little, less than he is willing to o;;;.CLnllt. 0
Baker has other opinions:
O::le suspects that :M::..... l'Jilson ~ s misunderstandingof Hemi:1g1;Jay's plan -c.nderlies his belief that The G:..... ccr:. H:t!:.l,': o.t: ?&f~~ic.?.::.. is t:one of "the only books ever w~itten ~hich make Africa and its animals seem dull. t3b7
Baker is fully cogr~zant of the plan of The Groen Hills oT
.:\.fX'·ica and explains that, besides Herning\'1ay' s sincere
att~~pt at complete 'verisimilitude' and 'architetonics'
(the pattern of a month's action), he also
64Loc. cit.
65DfA · " l~'gostlno, Ope ~., p. )4.
66r"'1 . + 222 ... ~ son, Ope ~., p. •
67Baker, Q£. cit., p. 170.
20
.. 0 ~ ;:,;ish(~d to r':l~0j2;:;'C 2,ccurc.....tely a~1d shar:oly his 8~.'1:l a-DPre11eD.siorlS of ·:';~:'3 li(3 of th::.: lal'1d, ~chG habi~s ,.,.f' i-'L..~-~n-.l..:·~1,:,1,,, ~··h·", l-iV-i''''''- l)cY""1"\''1·-'":l·t';,:'''- 0.;':' -f-r.r:.v... vl':''V 1..- .... _ h"'~""'-"':;' v._v ....... .,::) _ _ ,,-,v._c;.;.-,- __ ~..J oJ. v ...... \.".
no:' .:. -; ""7 r.> CO ;.., ...,., ~1 e'" t r"" 8'" '" ~- .,..'1. c; ,~~ .:- ':" e l'" c' ,~ .... 1,,·;·.·.-- ..... ,-, I:' ",', '. '" ' -'i ,- Y ... _......':.v-.\: ....... ..::o ........... l .. V, .... \o".o'VI".n;,""~ U.L u.l._ "'.J~l,.."'.\J_, V.,J,v L:'-"'-"o ...._v
O "co -<-r,~ ..;""'''oa~ ·'- ....... e r."l_,J_"~~ ~,.... 0:- ~·-1..... -:':) ""'''''<.''':'\ ":-1}(."\ "--""lIOC"~''''~''~-~-'r'l ..i- \..I ...... ""...Lv , LJ.:.J. ~ .:. ..l~l.o __v ....;i 1. lJJ.;.."V '-'c..~"":'~..J, u. '-i jJJ. ~.....-..I...A."':'''';;';..:..
of the hu::t $I and--:,'C:.r.r..i::::..; throug}:'~ it all like elas'cic threads in a oa.ttern--the emotio~al tensions a~d "!".c,lqx~tio7·'''' ':If-·- .... n· rf~'T!OI ".-h,,,, oveni -.";' of e::lr'h c'~y 'I"'h."i·... _ v_~ """'- _ .;. .. ~ \0 ...... 4 l· "",(~ .. ~\"l \:,; \",11 ••,- '-" .£. vu ~'-' C4. \,,1 .. ,:,(,;;_ ...
tone and llieaningQ Oo
~hp+ T~~ G~Gi~n ~i~lleBy this use of form, Bal{el~ feels \..1 .. _ v ~ .;... '~' ..,. r .. _.. ~~_·.,~ of
P.::ri,~a surpasses the status of a unable e::perimei'lt ar.:ci
be:cor:..es a \-~ork of· aTt in it s m·m ri.:;ht. n69 f~Nothing that
I have ever read, n said H\Sming','Jay ~ nhas given any idea
of the country or the still remaining quantity of gac.e"n
,.....::"To this, Baker adds that the reader of The Green Hills V..."-.
1.(;' • '" , • 1 . ... 70"·l..lrl.ca canr.:o't nave -effiS comp a~n".
Kazin felt differe~tly a~out the matter. He depicted
Hezin6way as a Tarzan standing against a backdrop called
nature and grinning over the wany anL~als he had killed
while the style became more mechanical, the philosophy
core juvep~le, and the pleasures more desperate. 71 Kazin
lias another iilhopictured Uthe old manu in a drought, but
a fe\1 years later, \'lrote:
6s.,., ~ ct p".1.. 0-,_ ". ~ • 167 •
691oc • c:t t.
70Ibid., p. 166.
('1 r"\ ~ .... - .." ~',.. 1.171Alfred Kazin, ~J He:-.lingt:ay : Synopsi S 0 f a Vc~_ O:;;~~ $J
C "> "'~""-:~ G·,...·,..." .,.-._·c.' ';n ~ ... _c H' »' 01'._:' :..·..:.~v-:..ve 1.,.\. ........1~ ...1.-.'--1, ..&...£. ErI:\~~~~....:. Hc;:::.in..~~'~~ay: Tr:.,2: ~
T;S:c',c, p. 1"78. ~~
21
~·:'::,;.eIl l{cr:1iI1g\>~~ay ~:all O~"G 0:.... l~ll:'TIan deat~l~, he foll ~acl{
0~ 2~i~21ss took to b~g :aso hunting~ a~d dGsc~it8d
• J...., .~~2~t~gGEf:~nrt%~;SsI;~~::~}~aat~~c~U~~~ffi~i~~~~~;i~;... v
';<Ji th an 8,ccuracy and rel;:;ased tension beautifui. 'to behold .. 72
~ J_ G ~-~n ulll~ ~ "~~j
~uA much more unus~al look T~L(~ ~~ ,'__ -::., 0." •.. .J.."- .ca
is that of Lewi~, who e~deavo~s to fit the book into his
love thesis, eros versus c~~':a·:;::;. Leuis believes that
Hc:::ing:Jay I'Jrote rrh8 GreeD. --=-O ~ 4?~i~a Cl. ~ i~_,-"Eills ............ ..:. __L;, 'oec~u~e
repr0sents aga~8 rather th2n the simple love life of b~ll
and natador; thus, the book divides the early and the late
HeM", ..... - •..-.. 73 .... ... .. ~ .. ~.;.6'.. ·o.y· A little later in his book, Lewis oakes the
poirrt that if one reads the African book as a love dra~a
and not an adventure story~ the opening discussion on
writing and love is not so incongruous or gratutitous,74
an~ also that the book can be i~terpreted as a story of
Hemingway~s ~aturation through a struggle within himselfe 75
'fih'" G-r t"'8-n .. -1.._ --=. A ·,:'-"'1~'" .11 not ..l,........::'e'''c e""t .J. ... ~__ ... ~ H"' lIs- 0 f' .r;._.i~ ~_L:c:.. 1- as .6., there.r>ore
in the case of Baker, a~d, possibly, Lewis, been understood.
The critics have been content to read and judge it as a
shallow book about H~iling~ay on safari and, then, assail
72Leo Gurko) t~Her:1in:;'.:ay in Spain,u The Ang.:t..Decad8, in ;:;'rne""t H~m'; n...,.···"'~r· 'I'h::> '-~;1 ~·("ld Hoi C' Tl1o""'k p 233:-J _1 -.. ....../1 ;;.;;.;";.;,;;!'.;.;'.;;;;.L;.=.i.~,,:,"",.,;.;,._'c:..;;...,,-. __\:;;_ ~ ~ ~~,. •
73Lewis, ODe cit., p. 61.
74Tbid • , p. 65.=--7:: .-. -~ .J" ..•• , p. 61..-.'-'-
--
22
-~ ..'- '.~" ..... v...;,it for its belligerent tone 2Ld its iail~~G to ~aka
pc ~~~~~ .. __ ...... qu;~cin~~.J..~Y__ _._ ..... V ~o~rJ.'~~_ ... ..., _ ou~v;; --" .'-~._ <,;_".... c'v- ...... 1...1 n!~~~~-..~a:-J.iL~~als l~eal.
i~ the Afternoon cane out at the bottom of the DeDressio~,--- . a~c: Heming'/lay 't'-Jas damned fo:.." havi:;".:; the temerity to ::mblish
a n:anual of the bullfight v:hi12 Ar.:.ericans 'i:Jere selling
apples on street-corners, fi 6hting over restaurant garbage
c&ns for food, or being laid off in wholesale lots~76
And, again, regardi~~ The Green Hills of Africa, Baker
'lfJrit es;;
l'.'hy did Heming\'Jay 'VJ2.ste time and talent in Tan6anjika \jhich might better- have been eruployed in \'Jri ting of the ft~erican scene, labor strife, money barons, ~unicipal slums like those that produced Stephen Cran~~s l';=ag:,,;ie~ or the lengt.hening bread-lines-- ••• ? 77
B~kGr responds to this question with conviction and great
in.telligence. He states t.h.s:t H0:'1ing"Jay \vas not only
interested primarily in imp~oving his prose dexterity,
but also was interested in attacking the problem of the
cultural synecdoche and thus surl1rr.arizing the moral situation
of the times. 78 Baker noted this tendency in Death in the
Aft.'<:)7."nOOl1 and The Grcc;:n Hill:"') of Africa and its deuiction-- - ...
in To Have and Have Kot as a microscopic treatment of the
: 53aker , 0-0. cit., p. 202.
77I]Jid., p. 203.
7 6 ~,...,I'0lli£., p. 'uo.
----
23 SCi c: _!, ,:~':'~~ \/ 79ills of Unitc~ S0~tc8 - _v.,;' lit B,alcc:'-' 'V2~i t, es::
.i:~ r2a~;o:~c d~_i·ferc::cc l>8M~~J2C::-l *~£is novel and C:.Q?:~Gssion
i:'1Gl:)ired ~Jl~olet2.riE~~1 ::~:l.C-Ci011 "V~Ci.S t,llat it :c'e2.1l..y C:..T~bodied the .(iagnosti.:= notes on dGcay; it diel not preach thcr.1" 8u
Ttis is Bakervs rebuttal to the que~y by the critics of
E.:;r:ri:'1g'iJay in the 1930~ s, a~-.i.d. he concludes, ItHemingvJay
\'Jas not:; out, to please the ~r0cently politically enlightened
.... r; <-.; r> C' ~ t: 81¥' ..... v .... v;.J •
But He.!71il1g~Jay had stru.:;gled., gone VJi thout, and \'Jorked
ha:cd for \·;hat he had~ and as he said in The Green H:.J.li3 of
}:.f:C"j.. c2., n ••• it vias my Ot'm dar:med life and I 'ltJou.ld
lead it \vhere and hOt'J I pleased.:t 82 This ",,;as He.'!lingi·Jay~s
ansver to the critics.
Ti'Jel1.ty-nine years 'tJcre to elapse before Heming'llJay
again ventured into the ficld of non-fiction. A Moveable
FS2st appeared posthilluously and, as usual, received varied
rcvie'(/Js. A !Jloveable F02St "Je..::; a book of rauiniscences
by Hemingt'Jay of his contenqor.;;.~"y artists in Paris in the o
m .... • V" ·t . d bU. t d·d0.i t'JC:mli~es. ~'iany cn ~cs \K;r6 a~~gere y nenang\'Jay scan 1.
pOl~raits of the people he knew; other critics were
deli0"hted.<:>
79Loc. cit.
80 .Loc. C1.t.
$1.,. '"'1..,,l.,oc. ~ v.
T1· , ~ o of' :i .<> ; '"1 7282Ernest Hemingway, '1::1 (": G:'1CS:'1 nl-LJ..S or _co., po •
24
:~/ ~:. ',,",, """;. ..... Y"; ,~~ ./""11"'" "'"'1 j';",,~ 0C'" ":" ..~- -1 ":l--::-.~ I-',r~' -1 ~i~ ~.~ 0 ~~ ,~ol_ 1 ~ i'"Y~''' i,..... ';"; >.. ',r: .-- ";.-. "j -,7 ...--..... _ ........J. ....
O ) ... v • ., ..........~~ u.v ...... \.c '-'~-'-vu. J.. .l_V ' .....!.. ...... ,) __ \" .... ~J .., ... ',.;,,_ ....-_#\!,
visited the Ha~ing~aY8 at tteir Cuban hOwe in 1954, b~t
did not publish his a~ticle on them until 1965. S;)ea:{ir:gJ.
0 _"' A v:o~, ,~~)1 "" 1:.:',.,~ c·l- lIi[~,n ~ 1'0"" "","ot'::> U \- -,. I....'!. ~. ;rectL-'-C .I.1:,~c'"L;\J, ~·.o.••n..l.. ••b 'tJ. 1;;;;;;) • • • Lhemlng"'Jay.j
had a curious and unbecoming compulsion to poke and peck at
'"'3the reputations of many of ria literary conteraporarios .no
••• l' • -,. d .co H' " ~ann~ng may nave Deen a gooa lr~en o~ .errun6W&Y'S;;)
or he m~y just have been another journalist on assigT~er~,
but~ in either case, there is some doubt as to whethe~ or
not If.lan."ling kne't'J vJhat Her.1ingl'Jay 'I s 't:sork 't'Jas all about.
The objective writer feels that Hemingway was not deliber
ately poking fun at his old acquaintances~ instead, o~e
feels that Ha~ingway is forcing himself to be very hon~st
about his ea~ly Paris days, to tell; as exactly as he can
rc~~nbor, ~hat Paris society was like, how the other
expa~riates lived and '-'Jorked, and "hovi'the \.<JBather ~'Jas.n
L.nother \liriter, Kazin,:l \'Jrote that, uln the early
cbapters there are details on a writer's daily regi~e
that are more vivid than anything I have ever read. n84
Heming't'Jay certainly had the poi'Jcr to invoke a spell over
his readers. ene of Hemingway's secretaries, Valerie
83Robert l·:~·nning" UHemingi'Jay in Cuba, It Atlantic ",">, n+ h l;r CC"VI.l.' (' 1"' a'US'" 1°6;:; ) 1 03..\.'"_\"/.1 IJ_.L_j)l , A "'--"""'6 l"., "7",.J.. •
eli-Alfred K2.2in, uHC:I-:ing\·J2.Y as His OvJn Fable,~t At12.ntic l".~ ",..,.'-1- 1 ~ C",,,,r-l. II (J''''' "1 9b~ I,) 1:::0/"".J ".0L":"1., . v.... u••e,.J.....,. , •,.I
25 r\":,·-.:...,""y_.'C:::-,..:.:..j...\· ~:',~'->'-":":'" ~,,-~ ~;,,::~r~ ':,':-:"~'>: ~.~r-"'j -1'!-1 c;.p,'J;'l.""'t -j-:..., J,-l""'e_, ':-2":t~,'l1~~~',"".LJ~_.. ..J _ ............ 4." , 1,j"' .......v_...~ _",I".; _,J._~ ...'...... v ....... _ ...... _ ... r...J __ J.4 _ ...... v._ ...... '--............. ""' ..
,.." , ...... /'~ .. 'l'T· <) , .OI .l.'jOU:J 1~e::lei:L001~S r-.. C!TIlr:G't-"J~Y S 't]or.l{J..ng in the quiet of ·t,11e\r
.. ......,..eal"'ly r:.:o:'"'nings ~n l'·1a-,-aga ~
I did 110t l~nc"~'l '~,;r~8tl'1c:"" he ~'~:.:lS 1';orlcing on the Pa:cis •,:' ": ,-- rho ....., .~ 'r,..... ,.', .-. ..;... ~"'. ,,~~ "-~ 'I .... \. -', .,;.... ,''''I ' ~•. ". .-..~ ~ 'r .;' ''1 /~, '. .""'~.' ,.... ,.i". :..; '="10 ,.., ~.,i"'O' ~ I"-.~ l,..,J:~,:,\",UV\""~1v~ i"".o"".~~., uL.v u .l..1.:'J L:.i.-~/ ~J.:. '-:"W.~L~~V ... ~c U... U.b~.;LLt
88v8::-al chc.:.pt ~l"S C:O\l~-:st,c..i:."'s j and I rcrnernber read.ing the:Il Eu:d "'.:,hinking hOt'.' \'·Jor'..C:crful it ffiL.:.st have been to , ,.-.J" , ~ +-' .., .. ' ,.. D .. oe ')001', ar.u. a iiJl.7J.'CerS/ a::-.:.......0 nave .LJ.vec. J..n .I.arJ..s . ... "., ... ~~5J..n the ll.Jen:CJ.8S. V
Of course~ ~he critics ':JE;r-e grateful for the
autobiog:aphical matel~al contained in A NOVC2ble ?Ccst.
rr~ f'" ... . b 1 ... m' - '- '" ,.".z..u ::.n:ann, revJ.m'J:l.l1g tne 00,,( Ior l.!l£ l-:epor(.,s:."', l.oune..
it I~highly affcc'ci:.'1.g a:1.o biographically invaluable, n 86
... _.7 .I:'e't that r··'~~'';...,- • "·r~~.~~",,"~ ""'le~~'" 'Ja"" Uo..i... \..ii, ..!........... ~~I..J..J..LLb ::;,. l~.:.vv~;:;a.w..L(::; li- ... c'... ~L, "0, e. • like
getti~g a clear view back thru the thick forest of r~s
.,... .. . d 1,., •• .' ... t h ,? 87own SG.L~-J.mltatJ..on an tue l81.ta'CJ.ons Ol. 0 "ers.
R -'c'" 1 1 ~ •.., (1' Gert""UQ':> Stein's r~~ark on Hemingway in TheL~~ ~~~.J.~~6 ~ ~ ~
A'''':'''1-0~ i ,'j"',,;~ .. nh ,f' v.l; ~-- B rr'.-1.rl':)·;'..1 K-::. ,...~..m,...n .c7"'''+.'''''.! ........ v 0_0;-",,21-'''.Y £=. ........-'- .... e _" _<...' ..• _.c ...." coUIJ.lld.un 1.]... 1. ... eo.
This book is prob~bly r-ot tho confession that Miss Stein and Anderson envisionzd •• " but their intuition ',':2.3 sound. The Heming'\'Jay viho vJcnt back to himself fou~d much of himself and made this boo~dabout his youth the'best work of his later years. co
Or. the other hand, Kazinfound A Moveable Feast
r.~
:1.?Valerie Dan'oy-Sni th;. 2<B.~!'[i.niscG:'1.ce of He:nir..gvJay,:: Ci~'-'-'l"""''':;'' R,"',r' '"C''' ~T"lrII (~,-~y C 1 9/' \ 30.."c:.v,-...•..cc,y ....... 1.l~_., A..i.lJ~ _"0. ';/, _ 04), •
$/OStanley Kaui'fman.."1, uParis and Hemin£lIJay in the SprL.1g;U N2:·J R;;;uubl:Lc, CL (~.:ay 9, 1964), 17.
87-... ".,,,,, r ., p.~ 23.
.~
8u·-:'id., p. 17. ~
26
t~f'"h-i ,:0 l~ no-'- 'lr-,-"",::,,c:-,'O:> o~" ',"'o'j' r"-7 c';'1v-,,.,,""''=''t ""ai-G''''''; ':1 1 '(-,.,.:- b,"',,,,,,,,u~:'''''a _"-"'~'-':'; J. 1I 1...I,""",\"C(j,,",,",~_ -. '-__ ' \....:,_u ..... _J.'I,;;;....., ....... ..., J. ..I..Cilo ....... U'-4iJ \,J\"c.;.. ~"""
t~rJ.e iT.aJccl~ial ~:has beC11 so lC~iri!:~ly Cl'1el-isr~ed and J.....et,l...aced
b:r the author himself, nG9 a.cd.i:-:';; tJ,1at autobiographies 90probably get written in ordGr to justify the narratoro
An anonymous revie~'Jer fa:.'" 'l~il':".e found the til artless t2
1sketches to be t2 glittering t:" i via /,91 but Krauss, upon
r t;;:'·~aa.'';..l.. .; ,- \0;; Itn""0":' .......... , '-'''0+,,~.... v,e :2 T........L_; -7 k co.' l' 'C'- • I liked it, very much ..
\'Jas very good, I thought. And ve-:-y sad. a92
Kauffmann, noting that H~uingway had slipped in
critical estee~ in the latter half of his writing career,
conclud.es~
A novelist once said to me: ;sHe all knOH vJhat it ~akes to be a great writer, even if you have the talent.. You have to give your life. 11 Heming,>Jay g&VG his life; then by circlli~scribing his growth~
he took it back again. This book suggests that he r-' .... -.,....,. I'J- ri of-'J,... of- ,.,o4_..1-~ 1 .... -i- ' 'f.- ~ ""'f""'~Cdme ~o ~ea~~ze ~l" an~ ~1~~~ ~l" l"ne ~s~, ne ~dnl,,~~
to say 50 .. 93
Young feels, like Kauffmann~ tr~t Hemingway wro~e
J.. r~o'leable F2ast in the rlanner tZof his best prose of nearly
forty years before,n94 anti discusses L Moveable Feast at
89v "n o~ C'l"t ~••az~ , ~. ~., ~. 56 •
90", . . 57 ~., p.. ..
9:L-i'ime, U,.XXIII ( 'U ~ ~1, "9"1) 90i'Joay (;; j) .L 0-+, o.
9~',/-- --" II" A I""C ..,""1,--'" , . CI f H". .., I .. Y')~'" '\"¥l"_ ,.;..!.. lam .. ~raus>J' .l.uO"C••Ol"tJ ro". C!l1~ng\'Jay s Paris,
1964,n HarpE;r Z;;l, CGXXXI (Augt..;,..:c, 1965), 92. .
93 ~ .". t ",~ -'? .J,Kaufl~ann, Ope ~ .. , ~ .. .........
94D1 .,. P Yo ill_e» "R,1l'l"",,","1-.. J._~"~,, '-!--'----,; >'''':>''T';,''1''7'' .~, R,,,,c:-nq;~/._,J dt:'"..~·,..;~~-_c•• ;\"\00 .,.,.....1~~ L •• H -." '-'~:.-:.
p. 279 ..
27
the V0~j e~d of r~s book b3C2~=8 h8 fe10 it should ~8
11 .. .. .. saved for last so ~~l-l.s..t, '~JG may finish as is p:.~oper
"lith the cognac " . .. .. t:95 ·:(ou;::~ feols th~'t ~enlir.i.g1c'Jay,
like: Yea:c s, [-lad his success in language96 through the .., . ,... , . ,·97 h' , ... . • ~ . ~ "snoc.K: 01. ~mr::ecaacy," \-;ll ~C£1 ~2;!1:~r~gVJay ~s excreme.ly ac..Le
·~·"o,:,,·.. ,- r ~ .<'. '-~ .'v~gue tt rc;o.to }'.l.' J~"'" .;;!.S~ ~"- eo.ce.... r 0 ... C.l.~~ -._+- '- es ~~J..-':.!..zes.o.L~y i;,\;;~~vY
B·u.~t, Young cio es not co ::.:.c cee tl:a1:, 4~ =~CJ·~l \::ao It; F~~c'.\:~~;~
is faultless. He viri tes) nThc:CG are fla,;';s L1 the diamond "n9S
One of the fla1:Js is the cl"iticism 'ltJhich the book has dra\iJn
for atelling tales out of schcoln99 or telling anecdotes
about such people as Stein and Fitzgerald which, Young
feels, perhaps justly, may have been damaging to their
descendents. IOO But it was not of the descendents that
. . .,~ "-h 1 t' 1H.l.Gml:::g"',2.y \vas conce:."nea.; It. .,..:as c!.. e pC':)~J ..... e nenlse ves ~1." ..
and he 'ii~{'ote of them as he l"e:::()mbered tl:ern.
Another flaw that Young poi~ts out is the unreal and
enbarrassing dialogue that H~~ingway and his wife, Hadley,
SP0~~ in the book. It is the kind of dialogue which
95;" '"' c (;:3. t • ~. -
90Tbici., p. 282. ~---
97T"c ci"'c. ~.-
98I.oc. cit.
99_._,... -; ('1 ~'). 281. ~.,
100.,._.... cit. .. ~. ~-
28 T"' •r:cL..i:::c·~_a~r ~':O:''''~(C':: so 112.:cd t,o ~)C;~""::..,.GCk~ in t,~1.e (.;2.:.... 1~r .:'20:..--.... s
yea~s a:-..C: Yvu:J..~ corrccrid.s tit2.tr ·~:-:e HGci:1g\·~ays sound aff~cted
i:l sDeakin~:I· t118 \~2ay l-reDing~-';2.Y \.:!.."'i-ces it. ~ <::>
I!;.ary Hemi:2g1'Jay has obj8cted that very little in. t.:;.e
.... " o~- Q"""~ 1 S d-i "V>.""",+ '"i Y T';-;~';" ~->""",;.;o. ~"T'Jay 101 'O"i- U err'll." nr,T"ayu"",, _.... \,;Ct.- _..I. c __ "" ~ •• ~ """Jr,.. .. .. ...., ............. -o~' ~ \.4V 0.1",o.JJ.. Ii'll
p~eferred that he rG~&in in tLe book as by rcflection~ or . ~r-o.'l"- ,- lO?~ ... ,_·...:~ul~c;. - PGI"haps, because O.:L this point, Young has
rei..81....:r'cd to the book as I?alrr.oz·c ·c .....-l v.:; .... l t2.L'0'";) "OU''-v, il'l lil{(;....... .l.CI. ,
n1o.nn.er, he also cor:cedes t~that this little collection of
ar-- 1'.1(;/anecdotes and rGni4iscences is a minor \·;ork oi' '" 0" v-;...
~lthough Young found errors in the book, as uany critics
did, he also fel"~ that ufo;:, "the rr:.ost part the prose gli'tters,
i':arr.:s and delights. Hemingl::ay is not re:ncr;:bering but
." t d ., " l' ,.105re-~~?sr1enCl.ng; no eSCrl.D1n~, ma~~ngo'
, . . das eVl.oence , then, in this survey of criticisn,
the non-fiction I'Jorks of ncr:ing...·.1,2.y at best ha.ve not bee:.1.
acco~d€d much praise and at ~orse have been placed a1ong~ide
T1'.- -.:-ro "'~"'\d H ~v~ ~ot and ~~ro~chis poorer novels, such as ~~'O ~ :.:.- ..... """ "'-'';,~)~~
+~,....::l rr'"t".7:1-(,,;~t::.,3 2~_\r81~ 2~r:d irr'Go ~ _ ... ...... ,.... "J.
-i 0' , .-c.', .L ~Ibid.~ p. ~04.
~"-"2 ...Lv Toe. ClOG.
." r.3 ~-
6 9~u Th~a.~ p. 20 •.=...::.=--. J
~ 0 1
.L ..,.~. Cl.'ol.LOC. __v.
l05I~id ~. 2$3. ~., .£'
29
r~'~-lZ fact 0:7 Hc:::ill.g-~,}2.J~~ s choosing his r:.or~-fic~~io:1
irJ. l:r;.ich to G:~l):i.~ess hi s eS~~:iEr~ic3 has escaped all bL~t, the
most p8rccptive of critics" A fm; of the cr-':'tics have
icicntifi ed Helningl·.ay in 'ehe role of hero of the code ~ or . ' 106 . 0 • ,
l'gr.s.;:;8 under pressure,u v;.ucn ne crea.ted for his
~; ~,-.:; "., ';" ,,·1 ch"""~ ,., ... e""s b"';-'"O '-'8 ~., CYf' C'!"", '" 1 135"- h ",or 1. C '" of' H·~"r,,':; ng-"ayr. _'-'v ...... u_............ "" C\,..\.oot" ...... ~ _ ~ 1...0&." lJ.. ..~~ ...... v ... _ lJ iliJlJ 0
V .... ~ ..~__ V-4J.
are r.,:,t Quite the sc:me as t::'OS0 lvhicb. his characters lived
• • tb' . h" . 'b ~ d oJ-h h .'0oy, a~1d. nl.S es .8t.1CS s_~oUJ..c. r.:::rce con:.use' \<;ill; t .•Clrs.
A ffi2.n ''I1hOS8 lifo is as COffil)lica.ted as Heming\';aylls must
haV8 ci more highly developed and refined esthetic Ugyro
scopeH by which to steer his course in a 'l.'Jorld vJhere
nada is common and the clean and well-lighted places
are rare.
10 /' J- P ?;;:0oYo un!" 0 D • c:... \.. • , ..,1 '" •• 0' ~ _
· CI-I..;l:;:IER II
SETTING UP OF THE ES~HETIC
i'he esthet.ics of Ernest Eerdng\:c::.y vJl'1ich are to bo
• '".;-, "1- }"l \'::1 ..~. ~T':' f-. fe:· .,.... ~(l u~ 0 n ~found in Death ]. .... .... _ ..... _ ..,-'" ........ !J by necessity, surl---'ound
and havo to co "Jith the death of the bull in a ritualized.,
fOl'"'H.al ceremony in 'Jhich the matador has approximately
fifvG~n 2inutos to kill the bull in a prescribed manner.
-~":'> ..-:"' ....t'" e,). "--":'>':':'C' 'r>"'I +'l!. '?"""" "'.,..., I +- 1 -II th ~,'O-ll --).-.._1._ 5/ ... 0_ ...orne ........0. ....0 ..... , uno ffio,vaao ... canno.., .{J.. e ,..1\..4_-, .......en
the bull is let back into the corrals and destroyed and
t~e matador cay suffe? a great loss to his reputation.
or 1, 0D~a.tli in l'd"GCZ',::OO!1 ';Jas not a book that Her:lingltJayu_·~':.;"
, ... h ..... , ·"1 d t ...~naa ~one nor \;a3 ne ~..L -prepare' 0 J..~.urrJ..Ga~y~ wrJ..~e
Corr~8ncing about 1922, Heming~ay spent much of the next
~Gn years of his life in S~ain and the personal witnessing
of the death of more than 1500 bulls had convinced him
that, the bullfight t'Jas neither simple, barbaric, cruol
lr7 ,~ "'_ ,,_ ,_ 11 '"'0 .'" • .i. lJ.l. c:. '!C~V i,J.U
Q ra~e, ~~p~ ~c: _ o~~......~0::" ~ sport; U i~ was a o ~.;;. u H ......... w.,,_•• , .... _
of thG. first rc:;:'erences by Heming1.'Jay to the ackno'irJledgem8!:t
)\
of tragedy wr~ch operates i~ Ins esthetics. To Hemingway's
~ 0' /'"07 >,.,.., i • ,......L 'D~'(''''r 0') .. c:=-..c., 1"''' ~;...,.v •.l..Jo.h..... ~ _' __
., 0('( .J.. u1<'r""'c-c.+- H"'~-:""""""''''Y :' ',0'-'.., ';n ",r'" /\·"t""""Y'l"'on p 1 6..., .£.~ ..... v "~"'Co."~ , ~_~ .J_._. ,,-1 •• ~ ~ ~ .....1 l(;.:.,... _ ... 1...' , .......
·9 °0
c&~-GG: -c: ~¥ ;-""1.1-
0-::
-d -9G
q.cu P1='P C)q pU1j
'!'..,....,,-.~-....,--,- <. ,J
r-. ..,.. __... ..."-,...,--,....,--.
~
0";. en ....'. -,--~_":";.
-- ---
32
the !~'Cad81"S of ::-:2[::.irLg'ij:~1Y C:c~uced that 11e trlOl:..cnt o~... '-CI-",'8
h0r~cs as comic because of tno 2&ny times he had see~ ~he
, d • , b 1 1 " , t" b' '"1norsas gore wnen ~ne u ~ ~as ~n ~na ac' 01 'Olng plc~cae
But Hemingway says that he did not beco~e insensitive to
,." .. . t' .,-. -r f ~ .a 't.l"nng rrOiTI 5ee~ng l"C ma;:-.:.y l.mes, "hO'i;i8Ver _ eool a.Jout,
, t . 11 ~:"'. 1~ ., " . . t . I ' - ..norses Gmo lana y, ~ Ie G tne Ilrst lIDO saw a OU~.L-
1"; O"'r>';- 11.L12 -0,·..'"""'8
Horsas in the bullring are not generally an animai
\;; 'O,c.''''''';,\""<,,r-!.... J.,..... .....,vci-rictly U"-;l-i·:-·'::·""l·"'·" .......... ~+0 '0~ '-'i. _ \,J""",. "'~'je"'y \J".L"'.a·....ve a ,""' ..... ...,,~~ ~ .... .:. D"-"'DO'~'"...... ;",;,;.v 1..a ... __
which is that of placing the picador in a high 0nough position
ttat he may oe able to perform his part in the ceremony
with accuracy and skille If the horse on which the picador
sits is gored by the bull, it is only incide~tal and
~"";""'1..., ('J'" t 1 ",,,, ~':-i ~... co -r.;- +·J-~bl """'\~ l-T" ; r::",'!,~~ dr; ..... t'"....... l".L.OUbl'l n ..... s I""CC l ..... rl;;bre ......c:. e, c:...;;l •• em_n..;:, .....y a .n.!. ..... ~
it shcald not detract from the ritual as a wholee Hemingway
writes tl~t esthetically:
m" ,,""'.., "'" f" 1 1"" , .ine 2Ilclonaao, or Lover 0 tne DU~ llgnt, may oe <:'~i'::"; 0 ''''0 h"~~ one, ,;'n'0
.. h~<::, v • .-..,.1jOJ \J"-"L"l,:;''''''''''"'.. ...,,;\:; Of' '-'~"'(1':'"rl-yVC"-"Uf) 0 • v ... _"-J \,..... Q.!U +hi'" .... \J- ....... o-~'
aLd ritual of t~e fig-ht 50 that the minor aspects are - '"'1- ""I
~ot i~portant excG?t as they r0late to the whole.~ ~
Early in D3;:~~:.h :', .. tr~:": L.:t,;;;:~~ri.oon, Heming'l,'Jay st2.t os
, .. .. ,. 1 .." b 11'" . , . y,-, c- ;;,.J_ C"'::,.,;JC 0""".i. 'r'-'.''::"\JC4.....':'or"'l lor Ll-'.... .:;;) ,.. "'se ~'" "' ....,""'y 01. U ....Y"...L...o0"'''':-,",... J.v...... ng••_..., ,""'i"<'~'~-,~.......... .. ~ '" ..... _u ~u •
H ·~ ,...~-:A-~";-:\c t1 D, ~ " - ..... .;;. in all arts the enjoyment increases vuth.. loI'ojI_ v 'c;....., i
-1 ? -, ., . rl.1.-- ! ~"'1 n • p. II o.=:..::::..::::. ,
11"; " P 1 ....-~rOlO' ., . e ",.
-----
33 --; i ,
...... ".. :;;. - ....... ~:'.;:C::':'·~.'.·-,_C.63 0;"" '':' ~-:.. ::; -.:.... ......,.. 'i.' ::...:Cc; , In.. :~t,aUl""c::.:.c.c..l.lia, t~IV ..... '"'
Ol~ -Ci12 c..~'\:' 'v_ ....~~.~"-._--. ',~ ~~""0 2.:"'C ~SCGlltiall:r on:y
.- . ~ _.. . ~.... '",'"1:,:':0 t~:inbS to t ~ ::.J~t. uC:i c,~ C,,_ ,_. ,-,__._~ .. ;,;:;..\...... ;:-::-.ich <::.:ce the o&sis
""1 • ..,, ,,;- " i ~;.,of EC2i~gway~s es~hetics --" . - v '..... -~~f·l: rnoon, the
n~t~~cr and the bull~
-:--.~. 'l' "':'.y o,.::t "- 'I,...., ""; ,,...., .~- ..- ,,",~ - ~ '~ .,In tne ..;.L ~\..l,,' J.. vJ.l"'; • __ ....:i.v.;;....Uv_ j ~ ;-;1an nay come ".:;0
discov(;:.~ :71any things abou:;:, :-im.::.;,:;;;lf of lIihich he is not
co~s~iously awareo The mat<::.dor who struts into ~he b~illiant
s~u~ight of the :~2~ fro2 out 0; the sha~ov~ recesses is a
r.:z..:1 l'J:~o syrr.oolizes m.z..ny things to the Spanish people~
~He ru:..y certainly personify 'br2..very and courage in tr.0 :Lace
""\ ,~ u ... c..~c:.th.. He may symboliz3 the glamor and romance of a
ritual whose roots a~e ve~y~ v0ry old .. But as he strides
t"'"' 1"~ , -'. C' ~~ the ring and bO~'JS bGfoT'0 the president:J the matador
wil: ~ost assuredly reprGsctit that virtue which men every-
Q",-, Vvv
" ••-:'''''l:.. ...... ,~ '")·rrT ......)-- eVI-:::'''Y'i,y +·~mcJ> h.~\-r",:', <:·""i(".~h·- ':'~~'- ....~.;"" nnc.:'! "y"'·-y"li Z~(: h":'.J.I",;_ \;; c:...J.'-' c..v '-'_ ....,,J,.. ... ,i, ........ _.L_ \I ~ _.J """-0""''''''''' 10-._ 'tj "'-"- a. J. .t" ... - "' ..... ~
rl~r;;",",':;,-~y D~')"ll';-y to P",r:-';~.-·-<c·y· ~,';' i· r :"";;-"0"":- al.L~ [,o""n\...lO..J.b~"""'V. .J.. o " v, ... t.:,;;......... _-...:J~ ... ~\ , c..v vU __...... vv .... c;;;,;: .. ,
is that virtue fro~ which othc~ vir~u6s 22Y radi<::.te and
~i.1itho,,::;::' it 2.. man is very ]..ittlG .. Ho:r:ingvjE..Y cit es the
L'lstance of a bullfi6hter ho C:f.lC:G \:atched in Madrid named
('i'~. ':.• ~.: ','•. " •.•.• ",.- ~,~ i- c· ';n("/ rt'·I"'''''C ',0.1" ," 'C:!JOwi~Go Hcrnan~oro~~~ V_"'-""'o_~"''''''~_. __•. ~_", '4\1oJ U ..... 0 o-lo:..io ~ \;J-.J~;
_v ....... _ __ __I ...·' .... , " ., .,,~ ,.~r~Grvzlcss and "f/Ji~::,::~·~.:t .:.~-_c.)rena epitomized
tl1at VJhich Hemin::;;:Jay ~--' ~_._~ :..~_~:.._,-:...'..:..·.:.:"e" a man i.'Jithout
, , ---....:'~:)j_c. ~ _J.... _v ....f;;I
·':'.~·.:O ·O(/·~I"". __ • ... ';/ ... L
I.~l-' :-'-1._.(77
~ 1-...
0 ....... ".:("'+88] S1V: JO SS9USnOAJ.GU 07_1'+ "'[0~"':~.t .. O:) ~.CU "JTTlr~:> .. '-'
/ L i..
0-cI~;]1:S .. .
35
~~eri:i::_g~'l2.jr is :~..::~lci::l':; \~].r,j,c ~:>:;:i:'1.t, that &::.::l ~;~2.n :"2:"".:. 2.{"J.y
l)U:''"'S:l.i.t in 1tJ11icr~ thel~G iz cod:'-::l c..2..::-16G~"" rl2.Y S~10';;J r:.G~""i/Cll211ess
an~ ~ack of conZ~doncG ~~~ ~~~~L~G~ I~ this only thc~a
r. ..... .. - . .. l~
f. • S'. '"'r.°l· J_ J.,.'; Y'. ~i" 1" t 1.0lS r:o disI10rlo:'~~ tha alshon0~ ~~GS In F... !:.QL..I.Yo •• v V..6.""l.~ (I
-: ..... ~.., ~- ,,'" 1 .~ , - c.i ''''''; i·": 1'1 0' '" C ~ 0 l ~- c·a r. ",.; -: .') C':..n 2:1:7 job;) ~';:1c:~r~Gl-" ~\" -.... v-. u.. ......"-. .... _ ,/..1-_ ....,:), ....... J. v _ v \,rJ.~"' ••b,)
o:c 0 :.:ll~"'i gl:t i:16 :; there is ~n i~herent dignity ~:~ch a m2n
cnt~~i~G that p~ofessicn stoul~ assuuc as nat~rally ~s
brc~thing, or st~y outo \~ ..,., .. , ~ M ... ." ~ .. .. t 1 1.- - ,;...1 .. ..i':ot O'f"l.Ly Q1Cl. hernandorer..a. .l.<S,.C.rC G.lg:n. y ana tnc: .::...;::...":":1 "y
to co~~:ol his nervousness but he also lacked confidencG¥
ooth in himself and in the bull. In contrast to Hern&ndo~ena~
, . '.' . . .. b' . 'T' f'"' h ~r::"8 n8l"VeS ana illS aa gorL1.g, nCnl:1ngvJay 0 1ers t e exaE:~:;..Le
O f" C~· 0'''''''', C .1hO .. , t '" ..... '"c 7V'p""y'J b""1 -I .C',:: a-h""... v 8'1" e '-4bl. "'ubJ' ec"-v_ bJ' _ ,\ 1 -i-ho" ".1n "-' +- 0o..oo..L~ \..i".-.J... .......... o h_v.. ""
co~ardice a~d usually witho~t integrity, Cagancho, when he . . t "i • ,."." n_ .. •
~eCG1V8S In 0 tne rln6 a O~~~ ne nas conlloence 1n~ can
do th";n6s rr.ost bullfighters CLn do but in a way that they ., ~ a
he.V'8 :::e",?cr b 83:1 e,'.O'''''·- OJ '.l. _ ... ..:...'j In a bit of admi0tedlyhe'~o'~ ~.LJ.iC ~
flo:.---id \'Jriti n:; JI HC..1ir,L61~:2.Y \:Jl":"~C os of Cagancho~
So III @ st,andirlZ abso!ut,Gljr str~aig11t VJi th hi s fe,:;~::
s~~ill, plarf1:ed as tho~;h 11c; l-Jere a tr-ec, \\}i;th the arrogance 2z.d g::..-'ace tL1&t Gypsies have and of lyhi.::h -:Jli r'';-'JC',~ ·l""~~.-.:~''O·''''C::> -,-,(~ ";"c"'lC"" C.'D,,"'''"'''' a'a lm-j';"""l-l"O''''~-- VvJ. ... __ ... U---6COo-.1. I.:; c...- ..~ o .... c;" """ ""' ....... '- ....... t::; ... _"4_V~V "'-:J
mOV0S th8 c~?es spre&c f~ll as the pullinG jib o~ a y2.cht before "Che bull': S L:uzzls so SlOI'Jly that the c.rt of bullfighting 9 whicj is only kept from being c~e
of the major arts because it is impermanent, in ~he
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CHAPTER IV
ESTHETICS IN RETROSPECT
A Moveable Feast was a very different kind of a
book than Hemingwayts other, earlier two works of non
fiction had been. Death in the Afternoon had been an
instructive book while The Green Hills of Africa had ,
been
an experiment. A Moveable Feast was a looking, and a kind
of yearning, backward.
Hemingway had learned a deep lesson in personal
happiness when he made the simple comment that tt • • • the
only thing that could spoil a day was people • • • People
were always the limiters of happiness except for the very
few who were as good as spring itself. u260 From this
statement, Hemingway shows evidence that his personal
esthetics had come to be formed around the simply philosophy
that every person finds his own true happiness in the best
way he can, without the interference of other people. And
he came to believe that a person derives joy and beauty
from that which makes him personally joyful, not from that
which he is told by others should make him happy. As
260Ernest He~ingway, A Moveable Feast, p. 49.
85
George Santayana maintained, tithe beauty we attribute to 261objects is not in the objects, it is in :!:!§..n In r..is
book on esthetics, Sense of Beautv, Santayana believed
that UBeauty is 'pleasure objectified t ,u262 although he
felt that a sense of beauty is quite naturally subjective. 263
But unlike Santayana's esthetics of beauty which held that
the senses of touch, taste and smell were unesthetics
because of their being organs of a lower bodily function,264
Hemingway's esthetics took into account the pleasu~es and
the beauty he received from all of his senses, not just
from sight and sound. Hemingway found beauty and pleasure
in walking along the Seine, searching through the old
bookstalls that lined the quais, watching the fishermen
catching the fish called goujon265 and later eating the
goujon and drinking white wine at the open air restaurant
called La P~che Miraculeuse built out over the river at
Bas Meudon. 266 Hemingway wrote that with the fishermen
and the life on the river, the barges and the tugs, the
26lpeyton E. Richter (ed.), Perspectives in Aesthetics, p. 327.
262George Santayana, The Sense of Beauty, p. 52.
263Richter, QE. cit., p. 327 •.
264Santayana, QE. cit., pp. 65-66, 68-70.
265Ernest Hemingway, A Moveable Fe~, p. 43. 266 .
Lac. cit.
86
great elms, the plane trees and the polars, he could never
be lonely along the river. 267 All of Hemingway's sensory
perceptions gave him great and unending esthetic pleasure
and beauty, such as eating trout and drinking Sion wine
at Aigle, Switzerland, looking down and across the lake
to the Dent du Yddi and the mouth of the Rhone flowing
into the lake. 26S
In Death in the Afternoon, Hemingway had looked
closely to observe the inner workings of the kind of man
who would face death as a way of earning a living. In
The Green Hills of Africa, Hemingway portrayed himself as
the hunter who had a firm grip on his esthetic and his
beliefs and was putting them to the test. In A Moveable
Feast, he ra~embered the people he had known in the begin
ning of his career in Paris, the places he had lived and
visited and the things which had impressed him and from
which' he was later to draw inspiration for many of his
stories. Not all of the people, places or thi~gs he
remembered were of esthetic value to him but from all of
them he learned as he matured into a writer and he remembered.
The scenes that Hemingway sketches in A Moveable Feast are
all striking and memorable although they are by no means
267Ibid., pp. 44-45.
26SIbid ., p. 55.
87
all picturesque or lovely. The twenty carefully polished
and styled reminiscences bring to life the milieu of Paris
in the 1920's, the people who worked, or wasted themselves,
the lovely places one could go which had not yet been spoiled
by progress, and the fine foods and wines one could buy
cheaply, or do without. Hemingway and his young wife
Hadley were very much a part of this society and the
impressions they gained as they walked the sidewalks of
Paris and the quais of the Seine were to have a la~ting
and moving effect on young Hemingway at the outset of his
literary career and at the inception of his esthetic
beliefs.
By rereading the old notebooks he had left in a
trunk in the basement of the Ritz· many years ago, and
thinking about his early development as a writer, Hemingway,
after a span of many years, was quite able to see his
esthetical theories beginning to take shape. In a real
sense, Hemingway was developing esthetics which were
modeled perfectly after Aristotle's dictates for an ideal
character enumerated earlier. If, perhaps, Hemingway,
as big game hunter, could not measure up to his esthetical
standards, he could most certainly measure up to them as
artist. The rigid discipline that he enforced on himself
made it easy for him to recognize those artists who were
sincere in their profession from those that were not.
gs
For himself, Hemingway set the esthetic discipline
of work before pleasure, and he clung to it fiercely all of
his life. He worked best when he would get up very early
while his wife was still asleep and the goatherd was just
piping his goats up the street and the cobblestones were
beginning to dry after the rain. 269 And he liked to work
well very early when only he and his son Burnby and the
cat, F. Puss, were the only ones awake. Hemingway could
also write in the room which he had at the top of a hotel,
the same one Verlaine had died in,270 that looked across
all the roofs and chimneys of that quarter of Paris. 271
Another fine place where Hemingway could often work, and well,
when let alone, was the cafes of Paris. One of his favorites
was the Closerie des Lilas on the Place St.-Michel. 272 He
would go there early, order a cafe §...£ Lait to warm him and
begin writing in his notebook. Sometimes, he would have
trouble getting started with a story and so he would say
to himself that all he had ,to do was to write one true
sentence, the truest one he knew, and then write another
one. 273 The writing of true sent,ences was extremely
269Ibid ., p. 49.
270Ibid., p. 4.
271Ibid., p. 11.
272Ibid., p. 5.
273Ibid ., p. 12.
89
impo~ant to Hemingway's esthetics. He felt that a writer
who tried to write of things about which he knew nothing
was cheating by not being true either to himself or his
readers. Cheating and faking were things that Hemingway
detested, both in his life and in his writing. Wnen
Hemingway missed a day's writing for some reason, he would
feel the loss deeply, as on the trip he took with F. Scott
Fitzgerald to Lyon to pick up the car which Fitzgerald
had left there. Hemingway writes, already ,I missedIt • • •
not working and I felt the death loneliness that comes at
the end of everyday that is wasted in your life. u274 The
only training that Hemingway mentions in regard to his
writing is in reference to drinking. UMy training was
never to drink after dinner nor before I wrote nor while I
was writing, u275 although in his room at the top of the
hotel, Hemingway had a bottle of kirsch, and he writes,
"I took a drink of kirsch when I would get toward the
end of a story or toward the end of a day's work. u276
By adhering to his esthetics, Hemingway found that there
was no way in which he could drink.and write at the same
time. This would have been concession to vice or baseness
274Ibid. , pp. 165-166.
275Ibid ., p. 174.-, 276Ibid. , p. 12.
90
and, thus, could not be termed a "tragic flaw," but just
simply a personal vice.
Part of Hemingway's esthetic discipline toward his
work involved a careful attitude toward luck, which he
seems to have had much faith in. He mentions that he always
carried a horse chestnut and a rabbit's foot, although the
fur had worn off the foot long ago, so that, when he
walked, he felt the claws scratching in the lining of his
pocket, and he knew he still had his luck. 277 At ~nother
point in the book, Hemingway mentions how lucky he and
his wife are, and, then, on an ominous note says that he
was a fool not to knock on wood, although there was wood
everywhere in their apartment. 278
The writers of great fiction that Hemingway held
in high admiration, because of the reality and immediacy . .
they conveyed to a reader, were the IlRooshians,u 279 as
Ezra 'Pound called them. Hemingway was striving for the
same unchanging timeless quality in his works, and so he
was very glad to be allowed to borrow from Sylvia Beach's
bookstore, Shakespeare and Company, such books as Turgenev's
Sportsman's Sketches and Constance Garnett's translation
277Ibid ., p. 91.
278Ibid., p. 38.
279Ibid ., p. 134.
91
of Dostoyevsky's War and Peace and The Gambler and Other
Stories. 280 Hemingway wrote:
In Dostoyevsky there were things believeable and • • • true they changed you as you read them • • • madness ••• and the insanity of gambling were thereto know as you knew the landscape and roads in Turgenev, and the movement of troops ••• and the fighting in Tolstoi. 281
Hemingway felt Dostoyevsky had made the people in his
books come alive as almost no one else had ever done. 282
Hemingway also read Chekov and Gogol, and, later, he said
that trying to read the stories of Katherine Mansfield
after he had read the Russian authors was like drinking
near-beer. 283
The one thi,ng that came closest to sidetracking
Hemingway in his career of writing was his gambling on
the horses, which he preferred to call racing. 2$4 Racing
never came between Hemingway and Hadley, but he writes
that it stayed very close to them like a demanding friend
for a long time. 2$5 And he finally quit, because he found
it was taking up too much of his time and that he was
280Ibid ., p. 36.
281Ibid ., p. 133.
282Ibid ., p. 134.
283Ibid., p. 133.
284'bid o. 61.,L-e, ..
28512.£. cit.
92
getting too involved. He finally broke himself from
gambling with the same philosophy as had his friend, Mike
Ward, "Anything you have to bet on to get a kick isn't
vJorth seeing. n286 And Hemingway discovered that everything
that is good and bad leaves an empty place when it is
gone and if it is bad the emptiness will fill up of its
own accord but if it is good, one must find something
better to fill the empty place with. 287 Gradually, Hemingway
filled up the empty place left by the horse races QY going
28Bto watch the bicycle races.
The esthetics Hemingway has concerning writing
are very stable and very private, and they saved him
several times from straying away from writing in those
days when he was not making any money and was always
hungry, n ••• explaining at home that you were lunching
out with someone • • • n289 and then going .to the Luxembourg
gardens. Almost inherently, Hemingway was obsessed by the
compulsion to remain faithful to his esthetics as the only
means of ever achieving success. This obsession was remark
able in a young man facing so many obstacles and being in
286I.lli., p. 63.
287Ibid., p. 62.
2B8Ibid ., p. 64.
2B9l.QiQ.., p. 69.
93
a society where there were so few artists who were genuine
in their endeavors. The privacy of Hemingway's esthetics
arose from his policy of doing his work alone, and in
not discussing it. The stability of his esthetics lay in
the fact that, as a classic statement of character, they
allowed for absolutely no deviation, and although Hemingway
was tempted to yield several times, he did not.
The constant· hunger that haunted Hemingway was a
severe ordeal for a young man just beginning a new career,
and although being hungry then, as now, was never a pleasant
experience, he still had the esthetic courage necessary
to continue to write "straight and true lt instead of sacri
ficing r~s art for' money and writing what would have been,
to him, inferior literature. Once, after being broke and
very hungry, Hemingway stopped to see Sylvia Beach, who
·had an envelope for him containing six hundred francs for
a story that a German magazine had bought. Now, he was
able to eat and drink. He spoke to Sylvia about his hard
ships and grievances, but when he was back out on the
sidewalk, he was very angry with himself:
You God damn complainer. You dirty phony saint and martyr • • • Sylvia would have loaned you money. Sure. And the next bhing you would be compromising on something else. 29
By holding out against his hunger, which he thought was
290Ibid., p. 72.
94
healthy, Hemingway had kept his honor and not compromised
his esthetic principles.
There were plenty of people in Paris who played
at being writers or artists who did not feel strongly
about maintaining one's dignity over hunger or maintaining
one's dignity over anything. Hemingway could not tolerate
these pe9ple or their phoniness.
In the beginning, Hemingway had affection for Gertrude
Stein. He liked some of her early writing, such as
ulvlelanctha, n and he thought that the very long book, lli
Making of Americans, had great brilliance in it at the
start,291 but as it went on, he felt it became repetitious
garbage and that any less lazy writer would have thrown
it away.292 Stein, as a writer, was of some talent when
she began to first write, Hemingway felt, but as she had
become entranced with her own inventions of word rhytr~s
and patterns and repeated them endlessly, thereby turning
her writing into unintelligible gibberish. 293 As Hemingway
became more and more acquainted with Stein, he found that
she refused to admit that certain things existed which
were contrary to her beliefs or were objectionable. One
291Ibid ., p. 17.
292lb.i..d.., p. 18.
293Loc • cit.
• • • •
95
of the foremost ideas which she would not acknowledge,
or even give thought to, was that there was anything wrong
with the relationship between Stein and her companion,
Alice Toklas. Stein tried to make Hemingway believe that,
whereas a friendship which might exist between two men was
always ugly and repugnant, the relationship of two women
was the opposite because women were made happy by it and
could live together happily.
Stein was exceptionally narrow minded about ,any
idea or any person holding differing opinions. She tried
to convince Hemingway that many of his ideas about writing
were wrong and that hers were right. At this time, Hemingway
was selling his stories to Der Querschnitt, the Frankfurter
Zeitung and The Transatlantic,294 while Stein was publishing
nothing except what Hemingway was forcing Ford Madox Ford
to publish from The Making of Americans in The Transatlantic,
and she was becoming increasingly bitter. Stein wanted
publication in the Atlantic Monthly, and she told Hemingway
he was not good enough for the Saturday Evening Post. 295
Hemingway wrote that, in order fo:r her to be happy, Stein
had to be published, but added, "This had not become an
n 296acute situation when I first knew her
294Ibid ., p. 71.'
295Ibid., p. 18.
296Ibid .,P. 17.
96
In addition to not admitting her sexual relationship
with Toklas to be unusual, nor her inability to get herself
published, Stein would also not face the evil of the world
outside her door. ~fuen Hemingway went on journalistic
trips and returned, Stein would want to know all of the
amusing details, the Ugallo\vs-hurnor stories. u297 Hemingway.
writes, nShe vlanted to know the gay part of how the world
was going; never the real, never the bad • • • • The
other things I did ·not talk of and wrote by myself .,n298
Stein was pitifully small minded; she would not read
D. H. Lawrence because she thought him pathetic;299 and . 300
she would not allow James Joyce's name to be mentioned.
Her smallness reached its peak when she became angry at
E3ra Pound, because he had cracked a chair in her apartment. 301
Stein had told Hemingway that he was of the ulost generation,"
and that it did no good to argue with her. 302 . Thus, it
ltlaS not long before Hemingway became .disgusted with her
and wrote, "But the hell wi:th her . lost-generation talk and
297Ibid., p. 25.
298Loc • cit.
299Ibid ., p. 26.
300Ibid., p. 28.
301Loc. cit.
302Ibid., p. 29.
97
all the dirty, easy lab~ls."303 Stein's lazy writing
habits, her narrowmindedness and her intolerance 'of other
writers whose works contradicted her own beliefs marked
her, by Hemingway's esthetics, as having all the flaws
alien to a classic character. Stein did not perform her
functions as a writer; she was not true to type or to life
and she was inconsistent. Originally, Hemingway had
become friends with her through Sherwood Anderson, and
Hemingway had enjoyed her paintings, her generosity, and her
conversation, but the Stein of their early acquaintanceship
wore off as Hemingway realized that there was no esthetic
discipline behind Stein's writing and very little unity
or discipline in anything she undertook. Disenchantment
was the next step in Hel'ningway's relationship with her and
soon they parted friends.
The one person in Paris who seemed completely to
typify Hemingway's idea of a kind and sinc~re friend, an
individual to whom Hemingway was to be attracted all of
his life, was Sylvia Beach. As Hemingway had written of
the Masai natives in The Green Hills of Africa:
They certainly were our friends • • • • They had that attitude that makes brothers, that unexpressedbut instant and complete acceptance • • • • That attitude you only get from the best of the English, the best of the Hungarians and. the very best Spaniards;
303Ibid~, pp. 30-31.
98
the thing that used to be the most clear distinction of nobility • • • the people who have it do not survive, but very few pleasanter things ever happen to you than the encountering of it.304
Hemingway encountered this feeling in Sylvia the first
time he ever met her. Although Hemingway lived in one of
~he poorest sections of Paris and did not have enough
money to join her lending library, Beach was not concerned
with the problem or a deposit and told him to take as many
books as he wanted. 305 She even asked him and his wife
to come to dinner at the time of their first encou~ter.306
There was absolutely no reason for Beach to trust Hemingway,
but she did, and Ha~ingway found her delightful and charming,
me. n307and vJrote, nNo one· that I ever knew was nicer to
Of course, Hemingway as an author was perfectly unknown
at that time, but Beach accepted him immediately, almost
as though she was blessed with that quality of nobility
which Hemingway referred to in The Green Hills of Africa.
Although Sylvia Beach ran a bookstore and ·was not a prac
ticing artist as such, she typified for Hemingway a woman
of remarkable adherance to her own set standard of values
which closely resembled Hemingway's, for which he held
304Ernest Hemingway, The Green Hills of Africa, p. 221. 30~
'Ernest Hemingway, A Moveable Feast, p. 35.
306Ibid ., p. 37.
307Ibid., p. 35.
99
her in high esteem. In an Aristotelian sense, she would
have measured up to the classic concept of the ideal
character, and Hemingway admired her for it, although she
was only a shop-keeper and never aspired to anything else.
Ford Madox Ford was one of the expatriates in Paris
whom Hemingway knew but did not particularly like. Ford
published The Transatlantic, and Hemingway had helped to
get Stein published in it. As Hemingway pictures him,
Ford is a pathetic figure, boasting of how he ttcut~ Hillaire
Belloc until later, when Hemingway finds out the man who
Ford thought was Belloc was actually Aleister Crowley,
the diabolist. 30g Ha~ingway tries to be polite to Ford
because Ford is a mutual friend of Pound's, but the prose
portrait of Ford is very derogatory, because Hemingway
finds Ford pompous and stuffy and more interested in ancient
and outdated habits, such as ttcuttingtt someone, rather than
pursuing the more important matter of attending to the
profession of writing. Ford is guilty of the flaw of
baseness, i.e., smugness and pomposity. Ford exhibits
no sense of esthetics and degrades himself by stooping to
petty snobbery.
Another writer wIth little talent and few scruples
was a man Hemingway identified only once as Hal, probably
30SIbid., p. ge.
100
Harold ~tearns, who served as a model for Harvey Stone in
The Sun Also Rises. Hal found Hemingway writing in the
Closerie des Lilas, and he began to whine and complain
about his writing with such false statements as, uSuppose
you wanted to be a writer and felt it in every part of your
body and it just wouldn't come,u309 or even more theatrical,
"Suppose once it had come like an irresistible torrent and
then it left you mute and silent. n310 Hemingway had no
use for men like Hal who talked in fake emotional language
and only wasted his time instead of working hard at writing
and taking it as the serious profession that it was.
Hal is guilty of the flaw of expecting life and
success to come easy to him without working. He is a
complainer who mouths sad stories about fate's injustice
but makes no effort to better himself or improve his
situation. He is not true to life as he makes no sincere
effort at working seriously, and he·finds no sympathy in
Hemingway.
In Paris, Hemingway knew the artist Pascin who was
a strange combination of man who outwardly flaunted the
reality of the world as though it was.of no importance
but who inwardly was very deeply troubled at the reality
309~., p. 93.
310Loc. ill.
101
~hat surrounded him and so he eventually destroyed him
self. 311 The time that Hemingway met him in a cafe, Pascin
was drinking heavily in the company of two of his models
and was the only one at the table who was comfortable and
enjoying himself. 312 They all had a drink together and
Pascin was in a fine frame of mind. Later he hung himself
and Hemingway wrote:
I liked to remember him as he was that night at the D8me. They say the seeds of what we will do are in all of us, but it always seemed to me that in those who make jokes in life the seeds are covered 313 with better soil and with a higher grade of manure•.
Of the many artists whom Hemingway knew, Pascin probably
came the closest to being a tragic character in the classic
sense. Pascin lived unconsciously by the esthetics that
Hemingway tried to follow, and yet Pascin was unable to
face death rationally. He ended his life' through an act
of vice, or suicide, which is an ultimate act of cowardice
to escape having to face lifets demands.
H~ningway had affection for Ezra Pound: uEzra Pound
was always a good friend and he was always doing things
for people. u314 Pound was always helping others, his
311Ibid., p. 104.
312Ibid., p. 103.
313Ibid., p. 104.
314Ibid., p. 107.
--
102
only fault as Hemingway saw it, if overgenerosity of nature
can be a fault. Hemingway said, n[PoundJ liked the works
of friends, which is beautiful as loyalty but can be
disasterous as judgment. n315 Pound was willing to help
anyone who he felt had talent and needed help, men like
T. S. Eliot. Hemingway probably considered Pound's
generosity was wrong for two reasons: one reason might be
that in helping others, Pound had little time to do his
own work, and secondly, Pound made no distinction between
the sincere artist and the fake, and thus exposed himself
needlessly to too many sham artists. Pound could have no
place in Hemingway's idea of esthetics, because not only
did he not perform the proper functions of his profession,
i.~., artist, through devoting his time to too many other
people, but also, as an ideal tragic character, he was
a~nost too virtuous and just, instead of being more
discriminating in his aid. In this instance, the element
of peripety worked against Pound instead of for him.
Besides Hal, another pseudo-writer that Hemingway
called a "con man~n316 was Ernest Walsh. Walsh was
co-editing a small literary magazine called The Dial which
was to award one thousand dollars to the most deserVing
315Loc • cit.
3161£i£., p. 127.
103
writer of tne year, except Walsh was going about Paris
offering the prize to almost all the writers, Hemingway,
Joyce and probably Pound among them. Walsh violated
Hemingway's esthetics and Aristotle's design for an ideal
tragic character in every respect'through his overriding
passion of greed, and his tremendous capacity for fakery
and insincerity. Hemingway could not abide Walsh, as was
quite natural.
Evan Shipman was a fine poet and a good friend that
Hemingway liked very much. Hemingway writes that Shipman
cared for poetry, horses, writing and painting. 317 And
esthetically, Shipman went a long way toward meeting the
Aristotelian concept of a tragic character. He performed
his professional duties well, he was sincere about life
and there was unity in his actions. Perhaps if there were
'any flaw in his make-up, it was the same flaw as Pound's;
Shipman was too virtuous and just. Shipman was an unambi
tious writer,318 and Hemingway respected him because he
was genuine about his profession and his relationship
to his friends.
P~lph Cheever Dunning was a man whom Pound had
befriended who could not bear to live up to the reality
of his beir~ without poetical talent. Dunning smoked
317Ibid., p. 135.
31SIbid. p. 146.-- ,
104
opium and rarely ate food but Pound liked him because he
wrote poetry in terze riruce. 319 Before Pound left Paris
for Rapallo, where he still lives, he entrusted a jar of
opilliil to Hemingway for Dunning in case he was ever in
nor took writing seriously as a profession and, thus,
wasted and dissipated his talent and his life was F. Scott
Fitzgerald. The first time Hemingway and Fitzgerald met,
Fitzgerald told Hemingway how he wrote good short stories
319Ibid., p. 143.
320Ibid., p. 145.
--
105
and then put in the changes necessary to make them salable
'">2"to the Saturday Evening Post • .) J.. Hemingway writes" "I
had been shocked at this and I said I thought it was
whoring. n322 Fitzgerald agreed that it was whoring" but
that he had to do it to make money" and Hemingway answered"
til said that I did not believe anyone could vJrit e anyway
except the very best he could write without destroying
his talent. n323 Fitzgerald quite naturally does not agree
with this view.
This confession on Fitzgerald's part about faking
his stories to make them sell must have been Hemingway's
first indication that Fitzgerald was not" at the time"
a true artist and was" thus" throwing his talent away"
a most unforgivable sin where Hemingway was concerned.
Hemingway's esthetics did not permit any cheating or faking
of any kind" but demanded that the artist make full use
of his time everyday" the principle reason for Hemingway's
giving up racing.
The burden which Fitzgerald bore was his wife Zelda.
Zelda was extremely jealous of Fitzgerald's work,,324 and
321Ibid." p. 155.
322Loc • cit.
323Ibid ." pp. 155-156.
324Ibid." p. leO.
--
106
~hen he made up his mind to stop drinking and start working,
she \'Jould taunt him with such jeers as Ukilljoytt and
f1spoilsportn325 until she could eventually distract him
and get him to drinking again. When Fitzgerald would
drink wine, Zelda would smile happily at him, and Hemingway
\'Jrites, ttl learned to know that smile very well. It meant
she kne,,'J Scott would not be able to work. n326
Fitzgerald disappointed Hemingway when they first
met, and Hemingway discovered that Fitzgerald was cheating,
and later, when the two returned from Lyon after retrieving
Fitzgerald's car, Hemingway was angry and disgusted. He
was bent on avoiding Fitzgerald and working until Fitzgerald
brought over a new book, The Great Gatsby, for Hemingway
to read. Then, Hemingway wrote:
IVnen I finished the book I knew no matter what Scott did, nor how he behaved, I must know it was like a sickness and" be of any help I could to him and try to be a good friend.327
Hemingway thought The Great Gatsby a very fine book and
knew that Fitzgerald was capable of even better things,
but, he adds, "r did not know Zelda yet, and so I did not
know the terrible odds that were against him. tt328
325Ibid., p. 179.
326Ibid ., p. 180.
327Ibid., p. 176.
328Loc • cit.
107
Hemingway looked back on Fitzgerald as a tragic
man because he had brought upon himself a.terrible destruc
tion and an almost complete waste of talent that I1 was as
natural as the pattern that was made by the dust on a
butterfly's wings. 11329 Fitzgerald shared the blame \'Jith
Zelda for his dissipation of talent, and Hemingway could
never quite forgive the two of them for ruining Fitzgerald.
To Hemingway, a \'Jriter owed a great debt to himself to do
his work and to do it the best way he knew how, not to
squander his talent or waste it in any way. His esthetics
forbade it in him, and he found it inexcusable in others.
Part of the reason also for Hemingway's inability
to excuse Fitzgerald was because Fitzgerald had violated
another of Hemingway's esthetic tenets--Fitzgerald would
not face reality.
In order to write the first realistic stories he was
attempting, Hemingway felt it profoundly necessary to
face reality in any form it took, no matter how harsh or
cruel it seemed. Then, just as now, one encountered many
harsh and cruel aspects of life. The terribly painful
problem of reality which Fitzgerald would not let himself
face openly was that of his wife's mental instability.
By not facing the reality of his wife's mental deterioration,
329Ibid ., p. 147.
10$
Fitzgerald was subject to the flaw of not being true to
life. Hemingway mentions that Zelda was a beautiful
woman,33 0 and she was also an accomplished dancer, but
as she verged more and more upon insanity, she became more
insistent that Fitzgerald stay away from his work and
accompany her on all-night drinking parties. 331 Fitzgerald
had written a fine novel and Hemingway told him he must
not write cheaply but he must write as Ustraight n as he
could. Fitzgerald objected that he had to write stories
that would sell, but added that he would try to follow
Hemingway's advice. 332 Unfortunately, Fitzgerald could
not do so, because Zelda would not let him, and Fitzgerald
was fortunate to find any work accomplished at all. Still,
Fitzgerald would not admit that Zelda was destroying him
along with herself. Instead of leaving her, he remained
with her until she was co~nitted to an asylum for what
was then called a nnervous breakdown. tr333 Hemingway
relates that they all knew Zelda was in grave danger when
she confided to Hemingway that she thought Al Jolson was
greater than Jesus. 334 And Hemingway writes, nScott did
330Ibid., p. 186.
331Ibid., p. 183.
332Ibid., pp. 1$2-183.
333Ibid., p. 189.
334Ibid ., p. 186.
--
109
not write any more that was good until after he knew that
she \"Jas insane. n335 Zelda had exhibited signs of her
unnaturalness for a long time before she was committed
but Fitzgerald closed his eyes to it. He would not face
the reality of her problem until she had almost ruined
him in making him compete with her in her drinking. 336
Because of Zelda, Fitzgerald was never consistent in his
work; he could only write when Zelda would leave him alone,
which was not frequent. As Hemingway implies in his
epigram of Fitzgerald, in the beginning his career as a
talented writer seemed positively assured in every way,
until he married Zelda, and then she wrecked both of them.
Fitzgerald had, however, several of the elements of the
tragic character: he went from happiness to misery; he
was not virtuous and just; and he belonged to a distin
guished family, thus making his fall seem greater.
These, then, were the men and women whom Hemingway
knew in Paris, and they were the ones who made lasting
impressions on him. Hemingway adhered to his esthetic
discipline, worked hard, and ach~eved fame and the rewards
that go along with it. In another sense', He~ingway found
lasting esthetic enjoyment from all of the beauty that
335Loc. cit.
336Ibid., p. 183.
110
surrounded him in Paris, such as the Cezannes, or the
races at Enghien or ,the good and great friendships that
endured. He and Hadley enjoyed living in the Vorarlberg
in Austria in the autumn with the forests to walk in and
the winters to ski down the steep mountain slopes. All
of these things were a source of continuous pleasure to
him, and his esthetics gradually expanded to absorb all of
the greatness those early years had to offer. Although
he and Hadley were poor, financially, they never looked
at their poverty that way, and Hemingway says, " • • • we
did not ever think of ourselves as poor. We did not accept
"337it. We thought we were superior people. • • •
Rightly so, they were. They ate well and drank well; they
loved each other;338 and the city of Paris gave them her
charms and her Qeauty for nothing.
Unfortunately, Hemingway's marriage, to Hadley did
not survive, for two classic reasons. In terms of the
marriage as a classic plot, it dissolved because it lacked
thought, an important element. Hemingway admits that he
was preoccupied with his work and was not giving much
attention to the domestic situation of having two attractive
girls in the house. 339 -Hemingway's esthetics fail him
337Ibid., p. 51.
338Loc • cit.-339Ibid ., p. 210.
111
in terms of his marriage to Hadley, because they make no
provision for any human element, i.~., dissatisfaction,
lust, and emotional involvement. Hemingway becomes
-",,'discontented with Hadley, and, thus, in order to free
himself of her, he became false to life and inconsistent
in his actions. Hemingwayts esthetics worked splendidly
for him as an artist, but they failed him as a human being.
CHAPTER V
THE ART OF THE IMPOSSIBLE
From out of Hemingway's non-fiction arises a state
ment of his esthetics which few critics have taken the time
to interpret and* then, not in the depth which those esthe
tics required. Granted, Hemingway enjoyed bullfights,
big game hunting and fishing, and outdoor pursuits, but it
is ironic that intelligent critics should attribute to
Hemingway a sportsman's code and let it go at that. Aware
of Aristotle's classic definition of tragic character, he
sought to adapt it to his esthetics, both in life and in
art. Strangely enough, he realized quite early the demands
of a true tragic Aristotelian heroic eXistence, and yet,
thi concept did not d~ter him. From the very beginning,
he struggled valiantly to evade the flaws which are ever
present in existence. However, just as John Killinger
could not prove conclusively that Hemingway was an existen
tialist because the heroes of Hemingway's fiction do not
remain objectively free from emotional and worldly ties,340
Hemingway cannot be proved a tragic character, either.
340John Killinger, Hemingway and the Dead Gods, p. 99.
113
Hemingv,,-,y found that in life there are flaws of character
which must, by necessity, occasionally be broken, often
through personal error.
Hemingway's classic esthetic theory functioned
well for him in his art, explaining not only his universal
appeal, but also the timeliness and immediacy that is
found in his fiction, particularly his short stories.
One example might be "Today is Friday,tt a short story
illustrating the three different views of the Crucifixion
as seen through the eyes of three Roman soldiers who
witnessed the event and are drinking wine in a Jewish
wine shop. The first soldier views the Crucifixion in a
positive sense, "I'll tell you he looked pretty good to
be in "there today."tt341 The second soldier sees it in the
light of skepticism, ttAny time you sho\~ me one that doesn't
want to get down off the cross when the time comes • • •
I'll climb right up with him. n342 The third soldier, vJho
is sick, is totally indifferent, "He was all right. n343
"There is no reason that this short sketch, written in the
form of a playlet, should ever lose either its appeal or
its contemporaniety through the three universal attitudes
which people have held about Christ for over nineteen
341Ernest Hemingway, The Short Stories of Ernest Hemingway, p. 359.
342Ibid., p. 357.
343Loc • cit.
114
hundred years. "Today is Fridaylt is but a single illustra
tion of the success of Hemingway's fiction which reveals
his classic esthetics.
Basically, in the early 1920's, Hemingway came to
realize the intrinsic value of the bullring in relation
to the tragic plot of Aristotle. He studied the tragedy
of the death of the bull, and it taught him two fundamental
lessons. The first was how to describe death, one of
the simplest and most fundamental of men's actions. 344 The
second was that only through choosing and then adhering
to a basic esthetic could he ever hope to write the sort
of timeless prose he was at that time attempting. 345
Along with discovering that a basic esthetic was
necessary for a timeless prose, Hemingway also found that
a similar esthetics was necessary in day to day living if
man were to find in life a meaningful and positive existence.
Thus, in Death in the Afternoon, Hemingway elaborated on
the qualities or the faults of the matadors in order
better to clarify for himself the classic esthetics which
he was formulating. These esthetic principles were not a
new type of morality. Burhans observes, ItHemingway has not
evolved new moral values; rather, he has reaffirmed man's
344Ernest Hemingway, Death in the Afternoon, p. 2.
3451&£. cit.
115
oldest ones--courage, love, hlli~ility, solidarity, and inter
dependence. u346 In choosing Aristotelian tragedy as the
basis for his esthetics, Hemingway realized the formidable
task of maintaining them.' From Juan Be~aonte, Joselito,
and Maera, Hemingway learned of the obstacles that a man
encounters in the presence of death, and he observed how
these men calmly faced the challenge of the bull.
In Ari stotelian terms, as Hemingway vie'\tJed it,
life was the tragic plot in which a man tried to uphold
himself in the role of tragic character. A man must
perform his function in his chosen profession as honestly
and as accurately as he can. But a man has only himself
in life, and he can either be true to himself, or he can
cheat himself. Success has been €arned in both ways upon
many occa~ons, but Hemingway knew that to cheat was to
betray himself, and that eventually all a man has in life
is his own self-respect and identity. Burhans had the
same idea when he wrote that Santiago
••• expresses Hemingway's view of the ultimate tragic irony of man's fate: that only through the isolated individualism and the pride which drive him beyond his true place in life does man develop the qualities and the wisdom which teach him the sin of such individualism and pride and which bring him the deepest understanding of himself and of
346Clinton S. Burhans, Jr., uThe Old Man and the Sea: Hemin~way's Tragic Vision of Man," Americar. Literature, XXXI (January, 1960), 454.
116
his place in the world. 347
Burhans is expressing his belief in Hemingway's individual
quest for an esthetic that will serve him in life and art,
and, again, he came very close to stating this concept
when he wrote that, by accepting the world as it is and
trying to learn to live in it, "Hemingway has achieved a
tragic but ennobling vision of man which is in the tradition
of Sophocles, Christ, Melville and Conrad.,,348 Burhans
is correct. HemingvJay had achieved a "tragic but ennobling
vision," or esthetic, 'and he worked at its development
in his non-fiction. Through his study of bullfighting,
he learned of the virtues and the flaws that a man encounters
when trying to follow the requirements of the Aristotelian
concept of the heroic man. From the position of observer
in Death in the Afternoon, Hemingway moved to a position
of participant in The Green Hills of Africa. In the role
of hunter, Hemingway had a firsthand opportunity to test
his carefully evolved theory of esthetics. But he dis
covered, as have all men who have tried it, that it is
very difficult and of~en impossible to live by a vision
one has inside himself. Although Hemingway could shoot
well, and on safari he killed cleanly most of his game,
347Ibid., p. 453.
348Loc. cit.
117
his esthetics eventually became too demanding, and he fell
short of being a tragic character. But notwithstanding
Hemingr,-Jay's failure to live up to his esthetics, his stand
ards still gave him a goal in life, a set of principles to
live by, and a sense of order.
In his discussion of the position of Pedro Romero,
the matador of The Sun Also Rises, Mark Spilka could also
be tal~ing about Hemingway. Spilka writes that in
• • • a world where love and religion are defunct, where proofs of manhood are difficult and scarce • • • every man must learn to define his own moral conditions and then live up to them.349
Hemingway tried to live up to the morals inherent in his
esthetics in The Green Hills of Africa, but ultimately he
failed. His failure must be classified as the result of
a tragic flaw of inconsistency. By wounding the sable
bull instead of killing it cleanly, Hemingway is not only
inconsistent, he has also failed to perform the proper
functions of his character, i.~., that of the hunter. If
the same tragic flaws were carried into the bullring by
a matador, he would have every right to expect to be gored
severely or killed.
Although Hemingway personally failed his esthetics
in The Green Hills of Africa, he structured the book as
349Mark Spilka, uThe Death of Love in The Sun Also . Rise~Jn in T'VJelve Original Essaxs on Great American Novels, p. 2,0.
IlS
a t~agic plot according to his esthetics of art, and it
succ eeded beautifully. Ee:ning\'Jay carefully arranged to
have the animals killed in an ascending order of pleasure
and happiness to the hunter, until finally the kudu is
killed, and then depicted a moving from happiness to
misery as the ~ounded animal escapes. Hemingway, himself,
cannot be the true tragic character because of his envy
for his hunting companion, Karl, in addition to the other
flaws previously mentioned. This tension between the two
men creates suspense, and, in the end of the book, there
is a resolving catharsis of the anxiety thus established.
Because Hemingway thought of death as the final
tragedy that happens to a man, and he spent much time in
studying death in wars, in the bullring, and in hunting,
the critics have been quick to infer that Hemingway's
subject matter is gruesome and unnatural, dealing with
the lower elements of society which bear little relation
to actual life. Regarding Hemingway's much discussed
preoccupation with the subject of death, the perceptive
critic, Spilka, also writes tellingly of the manner in
which a man adapts beliefs to fit his private life:
In a sense, he moves forever on a kind of imaginative frontier, where the opposition is always Nature, in some token form, where the stakes are always manliness and self-respect, and where death invests the scene with tragic implications.350
350Ibid., p. 249.
119
According to Spilka's keen analysis, it is only the men
who are willing to explore life to its fullest and to
search for its true values, as Hemingway did, vJho ever
actually come close to realizing the simple tragedy that
death brings. Those who sit on the sidelines and comment
are only deluding themselves as to the pleasures and
experiences which life has to offer.
The concept of an esthetic' failure in life which
Hemingway depicted in The Green Hills of Africa was balanced
by his representation of the esthetic success in art
found not only in The Green Hills ££ Africa but also in
A Moveable Feast. Although Hemingway could not control
the every twist and quirk of fate that awaits a man seeking
to lead a life of classic character by adhering to a
classic esthetic, he could control, as he did so excellently,
the art that was formed under his hands. The rigeur of his
esthetics dictated that his writing be free of flaw, and
Hemingway saw to it that these dictates were followed.
'Andrew Turnbull, an eminent American author and critic,
writes:
Hemingway?s initial strength lay in his dedication. He scorned cheap publicity. He wouldn't debase his stuff to make it sell and got furious at exaggerationsof his exploits in puffs and press releases.j)l
"H'l ..U AndrevJ Turnbull, n Perkins's Three Generals, II The
New York Times ~ Review, (July 16, 1967), p. 25.
120
A Moveable Feast carefully documents the people
Hemingway was acquainted vJith in Paris at the outset of
his career as a writer, and in looking back upon them
over a span of forty years, Hemingway could see where his
esthetics separated him from those who lived and worked
without a similar esthetic theory. There were many very
talented people in Paris at the time, but talent is not
always the important measurement for deciding who will
succeed and who will fail. Rather it is what is inside a
man, his amount of ttdedication,1t that which keeps him going,
refusing to surrender his honor when there are many easy
ways to give in and only one difficult way to hold out.
Beginning with his first short story, "Up in lvlichigan,"
written in 1921, the prose that Hemingway wrote was what he
liked to call "straight" prose, by which he meant several
things, although mainly that he wrote only what he knew
about from personal experience; he did not cheat by trying
to evoke fake emotions; and he wrote of reality as he knew
it. These were the basic tenets of his esthetic art, and
he did not sacrifice them \'-Jhen life became difficult.
In 1935, Hemingway stated his firm conviction that
if a writer is serious enough and has luck, there is a
fourth and a fifth dimension which' can be achieved. 352
352Ernest Hemingway, The Green Hills of Africa, p. 21.
121
Upon being questioned about this remark, Hemingway listed
the elements which must combine to reach these dimensions
in prose. Hemingway i'Jrote:
First there must be much talent • • • such as Kipling. Then there must be • • • the disciplineof Flaubert • • • there must be • • • an absolute conscience ••• to prevent faking. Then the writer must be intelligent and disinterested and above all he must survive. The hardest thing ••• is for him to survive and get his "l'iork done.353
This is Hemingway revealing the key to his esthetics, the
art of surviving and getting his work done, without which
there is nothing. These were the necessities, bluntly
stated, along with his Aristotelian esthetics, that Hemingway
was counting on to help him reach lofty dimensions in prose,
if ever he could, and it is, now, for the critics to
decide if he did.'
Previously, Hemingway had made his clearest statement
about the Maerican writers and their place in literature,
saying that the New England school of writers, such as
Emerson, Hawthorne and Wnittier did not realize that the
classics they were trying to write need not bear any
resemblance to any classics that .had ever been written. 354
Hemingway wrote that a classic can steal from anything
it is superior to, and that all writers of classics do it. 355
353Loc. cit.
354J.Joc. Cl• +-
'-'.
355J.Joc. cit.
122
He contended, nSome writers are only born to help another
writer to write one sentence. But it cannot derive from ')~/
or resemble a previous classic.u.)O In this same context,
he reiterates that "Writers should work alone. They should
see each other only after their work is done, and not too
often then. n357 By saying that a classic may borrow from
anything that it is superior to, Hemingway means it may
borrow from any other work of prose. Aristotle laid down
the rules for the proper concept of plot and character
that has never been improved upon. Hemingway, of course,
was influenced by many writers, Kipling and Ring Lardner
being two of the earliest to whom he gives such credit. J58
These two writers were the ones Hemingway had imitated
as a high school student. 359
Without a stable esthetic, Hemingway felt that a
writer in &~erica could be easily destroyed. 360 They make
money; then they increase their standard of living, and
then they have to write hurriedly or sloppily to keep up
356Loc • ill.
357roid ., p. 21.
358Charles A. ~enton, ~ Apprenticeship of Ernest Hemingway, p. 26.
359Ibid., p. 29.
360Ernest Hemingway, The Green Hills of Africa, p. 23.
--- ----
123
their expensive standards. 361 Finally, the American writers
become ambitious, and once they betray themselves, they
write more inferior prose to justify themselves. 362 If
they read the critics, they may lose their confidence, and
then they may be unable to write at all. 363 This view
may serve as a partial explanation of Hemingvlay's always
avoiding living and writing in America when he could help
it. Another explanation may be found in his illustration
of the writers in New York whom he compared with angleworms
in a bottle that feed off each other, never leaving the
confines of the big city because of their fear of being
alone. 364
Hemingway felt no compulsion to live in America.
He found subject matter allover the world in any of the'
numerous pursuits in which he was always engaged. As a
man, he experienced inevitable circumstances and conditions
vJ:..... ch vJere able to sid.etrack him from his desire to live
an heroic existence. But from his early training, he was
skillfully able to avoid the traps and pitfalls that
await the serious writer. Throughout his life, Hemingway
"6 1 .;) "'Loc. Clt.
362Loc • cit •.
363Loc • cit.
364Ibid., pp. 21-22.
124 .
felt tnat his most important goal in life was to write
and get his work done. Of course, there was a sound
esthetic theory that lay solidly behind all that Hemingway
ever attempted. He tried to live up to his "rockribbed and
ancient n esthetic, and it defeated him in life, \'Jhere the
odds were always against a man who strives to lead a life
guided by a pure ar.~ unbending ideal. Nevertheless,
Hemingway was much more concerned with his effort to see
that the esthetic be maintained without flaw in his art,
and this goal he achieved. This esthetic that guided
both the man and his art was a stern one, but Hemingway
selected it as the only means whereby he could combine
both art and life in a single sphere. In this sphere,
only his art succeeded, and he would have approved of this
achievement, for he firmly believed that, in death, a man
achieves his own private tragedy.
XHdWDJI1818
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