User:LogansPop22/sandbox: Difference between revisions

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For women at the war front, now at home in the public sphere, what in {{pg|387|388}} fact was there to return to, since the home front was publicly defined by the presence of a waiting wife? Yet such a return was necessary if the balance between the male public sphere and the female private sphere was to be reestablished. Margaret Mead addressed this male anxiety, complaining about the “continuous harping on the theme: ‘Will the women be willing to return to the home?’’’ and noting the male self-interest involved in this particular skirmish between the sexes: “[This question was] repeated over and over again. . . by those to whose interest it will be to discharge women workers . . . as soon as the war is over” (qtd. in Gilbert and Gubar 3:214). The female war correspondent at the battle front was an extreme example of the millions of women who had entered the public sphere of war work, if most often on the home front.

Dorothy Bridges’ identity as female war correspondent is undermined not only by her characterization but by the very structure of the play, which rigidly confines her to the domestic sphere—a strategy that Hemingway later employed more subtly in For Whom the Bell Tolls. Act One, where Dorothy is prominent, has three scenes, all set at the Hotel Florida. Act Two, where Dorothy is less prominent, has only one scene set at the Hotel Florida; the other two scenes are set at Seguridad headquarters, where two Loyalist soldiers are being interrogated for suspected treason, and at Chicote’s Bar, the hangout for International Brigade soldiers, prostitutes, and war correspondents. Act Three, where Dorothy is again less prominent, has two scenes set at the Hotel Florida; the other two scenes are set at Seguridad headquarters, and at a Republican artillery observation post that Philip and Max infiltrate. The active Philip’s scenes include not only those in his and Dorothy’s rooms at the Hotel Florida, but also those at Seguridad Headquarters, Chicote’s Bar, and the Republican observation post. In contrast, Dorothy is never presented outside of the Hotel Florida, almost always in her own room (only once entering Philip’s room). Indeed, she is most frequently seen in bed, for example “sleeping soundly” through Philip’s extended conversation with the hotel manager (16), “go[ing] back to sleep for just a little while longer” after waking for breakfast and conversation (26), pushed by Philip “toward the bed” in a protective gesture when the Loyalist soldier is shot in Philip’s room (33), eating breakfast in bed, reading in bed, lying in bed with Philip while she wears her new silver fox cape, 15 “asleep in bed” when Philip and Max discuss the initial failure of their counterespionage plan (55). Jeffrey Meyers de- {{pg|388|389}} scribes her with understandable hyperbole as “virtually narcoleptic” (318). The bed is Dorothy’s locus classicus, both defining and containing her.

Dorothy Bridges’ identity as female war correspondent is undermined not only by her characterization but by the very structure of the play, which rigidly confines her to the domestic sphere—a strategy that Hemingway later employed more subtly in ''For Whom the Bell Tolls''. Act One, where Dorothy is prominent, has three scenes, all set at the Hotel Florida. Act Two, where Dorothy is less prominent, has only one scene set at the Hotel Florida; the other two scenes are set at Seguridad headquarters, where two Loyalist soldiers are being interrogated for suspected treason, and at Chicote’s Bar, the hangout for International Brigade soldiers, prostitutes, and war correspondents. Act Three, where Dorothy is again less prominent, has two scenes set at the Hotel Florida; the other two scenes are set at Seguridad headquarters, and at a Republican artillery observation post that Philip and Max infiltrate. The active Philip’s scenes include not only those in his and Dorothy’s rooms at the Hotel Florida, but also those at Seguridad Headquarters, Chicote’s Bar, and the Republican observation post. In contrast, Dorothy is never presented outside of the Hotel Florida, almost always in her own room (only once entering Philip’s room). Indeed, she is most frequently seen in bed, for example “sleeping soundly” through Philip’s extended conversation with the hotel manager (16), “go[ing] back to sleep for just a little while longer” after waking for breakfast and conversation (26), pushed by Philip “toward the bed” in a protective gesture when the Loyalist soldier is shot in Philip’s room (33), eating breakfast in bed, reading in bed, lying in bed with Philip while she wears her new silver fox cape,<sup>15</sup> “asleep in bed” when Philip and Max discuss the initial failure of their counterespionage plan (55). Jeffrey Meyers de- {{pg|388|389}} scribes her with understandable hyperbole as “virtually narcoleptic” (318). The bed is Dorothy’s locus classicus, both defining and containing her.

In the second scene of the play, Dorothy easily switches her sexual loyalties from Preston to Philip, thereby introducing the motifs of loyalty and betrayal that suffuse the play. These motifs are appropriate given the complex politics of the Spanish Civil War, but also the complicated personal situation of Hemingway, who was emotionally torn between his wife and his lover. In an unlikely judgment, the prostitute Anita criticizes Dorothy for “tak[ing] a man just like you pick a flowers [sic]” (43). Dorothy casually rejects Preston, who makes bad puns and takes cover during shelling, in favor of Philip, who does not take cover but otherwise seems Preston’s inferior. A war correspondent who spends his time drinking and carousing rather than writing, he is certainly “livel[y]” (5), as Dorothy notes with approval, but not productive. On the other hand, she scorns Preston’s productivity since “he never goes to the front . . . [but] just writes about it” (20)—a scruple that suggests her own ethics concerning war correspondence. Of course, Dorothy does not know that Philip is deadly serious, his carousing a cover for counterespionage activities at which he is extraordinarily successful. In company with Max, he overcomes a Nationalist command post, kills multiple soldiers, captures a general and a political leader, and gains information that ultimately results in the capture of three hundred Fifth Columnists in Madrid. Petra the hotel maid explains that the Fifth Column is “the people who fight us from inside the city” (46). This term gained its historical currency from Nationalist General Mola who, “when asked by a group of foreign journalists which of his four columns he expected would take Madrid . .. replied, in words repeated incessantly during the . . . years of treachery and espionage since that time, that it would be that ‘Fifth Column’ of secret Nationalist supporters within the city” (Thomas 317)—a term that Hemingway’s play popularized. General Mola’s words unleashed in Madrid and elsewhere a charged atmosphere of mistrust and paranoia, which promoted a civil war within the civil war, given the uneasy coalition of political parties that eventually composed the Republic’s Popular Front.

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 For women at the war front, now at home in the public sphere, what in {{pg|387|388}} fact was there to return to, since the home front was publicly defined by the presence of a waiting wife? Yet such a return was necessary if the balance between the male public sphere and the female private sphere was to be reestablished. Margaret Mead addressed this male anxiety, complaining about the “continuous harping on the theme: ‘Will the women be willing to return to the home?’’’ and noting the male self-interest involved in this particular skirmish between the sexes: “[This question was] repeated over and over again. . . by those to whose interest it will be to discharge women workers . . . as soon as the war is over” (qtd. in Gilbert and Gubar 3:214). The female war correspondent at the battle front was an extreme example of the millions of women who had entered the public sphere of war work, if most often on the home front.
-Dorothy Bridges’ identity as female war correspondent is undermined not only by her characterization but by the very structure of the play, which rigidly confines her to the domestic sphere—a strategy that Hemingway later employed more subtly in For Whom the Bell Tolls. Act One, where Dorothy is prominent, has three scenes, all set at the Hotel Florida. Act Two, where Dorothy is less prominent, has only one scene set at the Hotel Florida; the other two scenes are set at Seguridad headquarters, where two Loyalist soldiers are being interrogated for suspected treason, and at Chicote’s Bar, the hangout for International Brigade soldiers, prostitutes, and war correspondents. Act Three, where Dorothy is again less prominent, has two scenes set at the Hotel Florida; the other two scenes are set at Seguridad headquarters, and at a Republican artillery observation post that Philip and Max infiltrate. The active Philip’s scenes include not only those in his and Dorothy’s rooms at the Hotel Florida, but also those at Seguridad Headquarters, Chicote’s Bar, and the Republican observation post. In contrast, Dorothy is never presented outside of the Hotel Florida, almost always in her own room (only once entering Philip’s room). Indeed, she is most frequently seen in bed, for example “sleeping soundly” through Philip’s extended conversation with the hotel manager (16), “go[ing] back to sleep for just a little while longer” after waking for breakfast and conversation (26), pushed by Philip “toward the bed” in a protective gesture when the Loyalist soldier is shot in Philip’s room (33), eating breakfast in bed, reading in bed, lying in bed with Philip while she wears her new silver fox cape, 15 “asleep in bed” when Philip and Max discuss the initial failure of their counterespionage plan (55). Jeffrey Meyers de- {{pg|388|389}} scribes her with understandable hyperbole as “virtually narcoleptic” (318). The bed is Dorothy’s locus classicus, both defining and containing her.
+Dorothy Bridges’ identity as female war correspondent is undermined not only by her characterization but by the very structure of the play, which rigidly confines her to the domestic sphere—a strategy that Hemingway later employed more subtly in ''For Whom the Bell Tolls''. Act One, where Dorothy is prominent, has three scenes, all set at the Hotel Florida. Act Two, where Dorothy is less prominent, has only one scene set at the Hotel Florida; the other two scenes are set at Seguridad headquarters, where two Loyalist soldiers are being interrogated for suspected treason, and at Chicote’s Bar, the hangout for International Brigade soldiers, prostitutes, and war correspondents. Act Three, where Dorothy is again less prominent, has two scenes set at the Hotel Florida; the other two scenes are set at Seguridad headquarters, and at a Republican artillery observation post that Philip and Max infiltrate. The active Philip’s scenes include not only those in his and Dorothy’s rooms at the Hotel Florida, but also those at Seguridad Headquarters, Chicote’s Bar, and the Republican observation post. In contrast, Dorothy is never presented outside of the Hotel Florida, almost always in her own room (only once entering Philip’s room). Indeed, she is most frequently seen in bed, for example “sleeping soundly” through Philip’s extended conversation with the hotel manager (16), “go[ing] back to sleep for just a little while longer” after waking for breakfast and conversation (26), pushed by Philip “toward the bed” in a protective gesture when the Loyalist soldier is shot in Philip’s room (33), eating breakfast in bed, reading in bed, lying in bed with Philip while she wears her new silver fox cape,<sup>15</sup> “asleep in bed” when Philip and Max discuss the initial failure of their counterespionage plan (55). Jeffrey Meyers de- {{pg|388|389}} scribes her with understandable hyperbole as “virtually narcoleptic” (318). The bed is Dorothy’s locus classicus, both defining and containing her.
 In the second scene of the play, Dorothy easily switches her sexual loyalties from Preston to Philip, thereby introducing the motifs of loyalty and betrayal that suffuse the play. These motifs are appropriate given the complex politics of the Spanish Civil War, but also the complicated personal situation of Hemingway, who was emotionally torn between his wife and his lover. In an unlikely judgment, the prostitute Anita criticizes Dorothy for “tak[ing] a man just like you pick a flowers [sic]” (43). Dorothy casually rejects Preston, who makes bad puns and takes cover during shelling, in favor of Philip, who does not take cover but otherwise seems Preston’s inferior. A war correspondent who spends his time drinking and carousing rather than writing, he is certainly “livel[y]” (5), as Dorothy notes with approval, but not productive. On the other hand, she scorns Preston’s productivity since “he never goes to the front . . . [but] just writes about it” (20)—a scruple that suggests her own ethics concerning war correspondence. Of course, Dorothy does not know that Philip is deadly serious, his carousing a cover for counterespionage activities at which he is extraordinarily successful. In company with Max, he overcomes a Nationalist command post, kills multiple soldiers, captures a general and a political leader, and gains information that ultimately results in the capture of three hundred Fifth Columnists in Madrid. Petra the hotel maid explains that the Fifth Column is “the people who fight us from inside the city” (46). This term gained its historical currency from Nationalist General Mola who, “when asked by a group of foreign journalists which of his four columns he expected would take Madrid . .. replied, in words repeated incessantly during the . . . years of treachery and espionage since that time, that it would be that ‘Fifth Column’ of secret Nationalist supporters within the city” (Thomas 317)—a term that Hemingway’s play popularized. General Mola’s words unleashed in Madrid and elsewhere a charged atmosphere of mistrust and paranoia, which promoted a civil war within the civil war, given the uneasy coalition of political parties that eventually composed the Republic’s Popular Front.