Ernest Hemingway Vs. F. Scott Fitzgerald Essay, Research Paper
Ernest Hemingway vs. F. Scott Fitzgerald
F. Scott Fitzgerald and Ernest Hemingway, though both evolved from the same literary clip and topographic point, created their plants in two really dissimilar authorship manners which are representative of their capable affair. The two authors were both merchandises of the post-WWI lost coevals and first gained ill fame as members of the American exile literary community life in Paris during the 1920 & # 8217 ; s. Despite this underlying fact which influenced much of their stuff, the plants examined in category dramatically differ in manner every bit good as capable affair. Equally far as manner, Fitzgerald decidedly takes the award for fluency with his flowery descriptive linguistic communication whereas Hemingway & # 8217 ; s mastermind comes from his short, simple sentences. As for topic, Hemingway writes farinaceous, crude stuff while on the other manus Fitzgerald & # 8217 ; s authorship is centered around societal hierarchy and yearning to be with another individual. Although the plants that these two literary Masterss are so unambiguously different, one thing that they have in common are their melancholy and frequently tragic decisions.
To research the two distinguishable composing manners, one can get down with how the narratives do. ( That is, how they begin excessively. ) The gap paragraphs of Fitzgerald & # 8217 ; s & # 8220 ; Winter Dreams & # 8221 ; and Hemingway & # 8217 ; s & # 8220 ; Indian Camp & # 8221 ; typify the basic difference between their authorship manners. & # 8220 ; Winter Dreams & # 8221 ; Begins, & # 8220 ; Some of the caddies were hapless as wickedness and lived in one-room houses with a neurasthenic cow in the front pace, but Dexter Green & # 8217 ; s father owned the 2nd best grocery-store in Black Bear-the best one was & # 8216 ; The Hub, & # 8217 ; patronized by the affluent people from Sherry Island-and Dexter caddied merely for pocket-money & # 8221 ; ( 1504 ) . & # 8220 ; Indian Camp & # 8221 ; starts out, & # 8220 ; At the lake shore there was another dinghy drawn up. The two Indians stood waiting & # 8221 ; ( 15 ) . The thoroughly descriptive four-line, one-sentence gap versus the two-lines consisting of two sentences demonstrates Fitzgerald & # 8217 ; s development of words as opposed to Hemingway & # 8217 ; s less is more principle with his multiple short and simple sentences.
Another differentiation between the two manners is that Fitzgerald narrated much of what the characters think and feel whereas Hemingway, for the most portion with the exclusion of & # 8220 ; Soldier & # 8217 ; s Home, & # 8221 ; let action and duologue reveal the narrative & # 8217 ; s message. & # 8220 ; Winter Dreams & # 8221 ; offers a complete narration of the cardinal characters & # 8217 ; ideas from the beginning when Dexter & # 8217 ; s winter phantasies are related to the reader to the terminal when his image of Judy is shattered and lost vernal passion for life is realized. & # 8220 ; Even the heartache he could hold borne was left behind in the state of semblance, of young person, of the profusion of life, where his winter dreams had flourished & # 8221 ; ( 1519 ) . The exact same is true about & # 8220 ; Babylon Revisited & # 8221 ; as in the concluding paragraph provides a clear position into Charlie & # 8217 ; s head. & # 8220 ; He would come back some twenty-four hours ; they couldn & # 8217 ; Ts make him pay everlastingly. But he wanted his kid, and nil was much good now, beside that fact. He wasn & # 8217 ; t immature any more, with a batch of nice ideas and dreams to hold by himself. He was perfectly certain Helen wouldn & # 8217 ; Ts have wanted him to be so entirely & # 8221 ; ( Norton Anthology 1511 ) . Now to look at Hemingway, & # 8220 ; The End of Something & # 8221 ; reveals the characters through duologue and it is via this medium that the reader learns most of what the narrative is about. & # 8221 ; & # 8216 ; I feel as though everything was gone to hell inside of me. I don & # 8217 ; T know, Marge. I don & # 8217 ; t cognize what to say. & # 8217 ; ? & # 8216 ; Isn & # 8217 ; t love any merriment? & # 8217 ; Marjorie said & # 8221 ; ( 34 ) . & # 8220 ; A Clean, Well-Lighted Place & # 8221 ; lets the reader get to cognize the three chief character & # 8217 ; s through the duologue between the two servers before switching wholly to the position of the old server wherein the constructs discuss
erectile dysfunction between the two are clarified. It is through their conversing that one learns of the customer’s self-destruction effort along with an apprehension of why he wanted to decease. This apprehension is made possible through the older waiter’s ability to associate to the old adult male. Furthermore, this duologue conveys the younger waiter’s deficiency of empathy and understanding which allows one non merely to hold on his mind but besides what sets him apart from the other two. “‘You have youth, assurance, and a occupation, ’ the older server said. ‘You have everything.’ ‘And what do you miss? ’ ‘Everything but work.’” It is besides from these lines that the reader discovers that the one thing forestalling the older server from retroflexing the actions of the old adult male is the fact that he has a occupation. In “Indian Camp, ” everything is exposed to the reader through description and duologue with the exclusion of the last paragraph which allows penetration into the child’s naivet? refering his ain mortality. The find of the Indian father’s decease is an nonsubjective description and it is non until Nick negotiations with his male parent that it is confirmed a self-destruction and the true life and decease subject of the narrative is to the full realized.
As mentioned before, the capable affair of both authors was influenced by the clip in which they wrote despite obvious differences in capable. This is apparent in the representation of the degeneracy of the 1920 & # 8217 ; s which is thematically of great importance in The Sun Besides Rises and The Great Gatsby. Furthermore, one can non overlook the presence of WWI in many of their plants. One similarity consistent throughout Fitzgerald & # 8217 ; s above mentioned Hagiographas, & # 8220 ; Babylon Revisited, & # 8221 ; & # 8220 ; Winter Dreams, & # 8221 ; and The Great Gatsby, which sets him apart from Hemingway is that each one is about a adult male fighting to achieve person with whom he is enamored which in all three cases is female. Fitzgerald uses his hallmark poetic manner to romantically depict these objects of desire as from & # 8220 ; Winter Dreams, & # 8221 ; & # 8220 ; Her weaponries, burned to butternut, moved sinuously among the dull Pt ripplings, cubitus looking first, projecting the forearm back with a meter of falling H2O? & # 8221 ; ( 1509-10 ) . Descriptions such as this one are representative of the idyllic phantasy nowadays in Fitzgerald & # 8217 ; s work. Hemingway, on the other manus, portrays more crude topics that are similar to his simple authorship manner which lacks beauty and fluency. One part of his authorship that exemplifies this construct is in & # 8220 ; A Clean Illuminated Place & # 8221 ; on page 421 in the 2nd half of the drawn-out paragraph in which the word nothing is used 21 times. Not merely does the significance of that work connote the obvious nihilistic message, but the fact that so much is said with the repeat of one word is pure Hemingway in its usage and imagination. By comparing the discussed samples from the two writers, it is obvious non merely how their manners differ but besides how their manners represent their two contrasting capable stuff.
In decision, despite the assorted differences discussed above, one likeness between the two is that their narratives all end in a negative if non tragic tone. In each of the Fitzgerald stories the chief character loses what he desires and dreams of obtaining. Not merely does this go on to Gatsby, but he is besides tragically murdered in a instance of misguided individuality. Hemingway & # 8217 ; s terminations besides force the reader to sympathise if non feel for the characters whether it be the male child & # 8217 ; s na? vely guiltless belief of self-immortality, Nick & # 8217 ; s and Marjorie & # 8217 ; s interrupt up, Krebs & # 8217 ; emotionally dead stolidity, or the solitariness of the old server.
Fitzgerald, F. Scott. Norton Anthology of American Literature. Norton & A ; Co. , pp. 1500-1568: 1992.
Hemingway, Ernest. Norton Anthology of American Literature. Norton & A ; Co. , pp. 420-486