User:Sherrilledwards/sandbox: Difference between revisions

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“Clearly I miss Him, having been brought up in religion. But now a man must be responsible to himself.”{{sfn|Hemingway|1940|p=41}} </blockquote>{{pg|338|339}}

After making love with Maria, Jordan criticizes his political ''clichés.''{{efn|“Hard-shell ~~Baptist”was~~ applied to the Primitive Baptists, a group dating from early nineteenth century splits.}} “He had gotten to be as bigoted and hide-bound about his politics as a hardshelled Baptist. . . . Bigotry is an odd thing. To be bigoted you have to be absolutely sure that you are right and nothing makes that surety and righteousness like continence.”{{sfn|Hemingway|1940|p=164}} Finally, in the novel’s last few pages, Jordan reflects on facing death “with religion” and “taking it straight.”{{sfn|Hemingway|1940|p=468}} Here Jordan’s perspective, echoing Feuerbach and Freud, is typical of the rhetoric of modernism. “Who do you suppose has it easier? Ones with religion or just taking it straight? It comforts them very much but we know there is no thing to fear.”{{sfn|Hemingway|1940|p=468}}

After making love with Maria, Jordan criticizes his political ''clichés.''{{efn|“Hard-shell Baptist” was applied to the Primitive Baptists, a group dating from early nineteenth century splits.}} “He had gotten to be as bigoted and hide-bound about his politics as a hardshelled Baptist. . . . Bigotry is an odd thing. To be bigoted you have to be absolutely sure that you are right and nothing makes that surety and righteousness like continence.”{{sfn|Hemingway|1940|p=164}} Finally, in the novel’s last few pages, Jordan reflects on facing death “with religion” and “taking it straight.”{{sfn|Hemingway|1940|p=468}} Here Jordan’s perspective, echoing Feuerbach and Freud, is typical of the rhetoric of modernism. “Who do you suppose has it easier? Ones with religion or just taking it straight? It comforts them very much but we know there is no thing to fear.”{{sfn|Hemingway|1940|p=468}}

There is more God-language that could be quoted. The child’s prayer in “Now I Lay Me,"{{sfn|Hemingway|2003|p=276-282}} the Crucifixion told by the Roman soldiers in “Today Is Friday,”{{sfn|Hemingway|2003|p=271-273}} the quest for an original paradise in ''The Garden of Eden,''{{sfn|Hemingway|1986}} but these examples may be sufficient. In summary, what can be said? The rhetoric of Modernism is integral to Hemingway’s writing: always and everywhere, his God-language is embedded in that cognitive framework. Inherently, modernism is interrogative and indeterminate—suspicious of dogma, skeptical of organized religion. The fragment, “Scared stiff looking at it”{{sfn|Hemingway|1925|p=21}} may serve as a signifier of modernity, revealing Hemingway’s vision of a world “that was adrift."{{sfn|Stewart|2001|p=113}} Modernism presents a hard-boiled picture of the world, stripped of traditional certainties, bereft of religion’s “opium." This was the world of which, like the dying Harry in “Snows," Hemingway must write.{{efn|“Harry thinks, “There was so much to write. He had seen the world change; not just the events . . . He had been in it and he had watched it and it was his duty to write of it; but now he never would.” {{sfn|Hemingway|1991|p=17}}}} This is the world we have inherited.

But what is the ''cognitive'' status of Hemingway’s God-language? Is it merely an ironic use of ancient myths—seen in T. S. Eliot, D. H. Lawrence, James Joyce and others—with no underlying substance? Hemingway had little sympathy with the moralistic faith of his parents, leaving their Congregationalism for Catholicism. Morris Buske suggests that his father’s “corporal punishment with a religious orientation” may have contributed to his “psychic difficulties.”{{sfn|Buske|2002|p=86}} Indeed. We might also envisage some religious impact. Perhaps there is a psychoanalytic link between the Liberal Protestant Fatherhood of God,Nietzsche’s “death of God,” and the suicide of Hemingway’s father.{{efn|“The doctor’s suicide shook Hemingway: it added another painful memory to those from years of powerful mixed emotions. As in other times of need he turned to the faith he had embraced, rather than to that of his father, for support.”{{sfn|Buske|2002|p=87-88}}}} So, is Hemingway’s God-language ironic, emotional and bereft of cognitive reality?

=== Notes ===

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* {{cite book |last=Hemingway |first=Ernest |date=1940 |title=For Whom the Bell Tolls|location=New York |publisher= Scribner, 2003 |ref=harv }}

* {{cite book |last=Hemingway |first=Ernest |date=1986 |title=The Garden of Eden|location=New York |publisher= Scribner |ref=harv }}

* {{cite book |last=Hemingway |first=Ernest |date=1984 |title=Ernest Hemingway on Writing|location= Ed. Larry W. Phillips. New York |publisher= Touchstone |ref=harv }}

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* {{cite book |last=Hemingway |first=Ernest |date=2009 |title=A Moveable Feast|location=Ed. Sean Hemingway. Restored ed. New York |publisher=Scribner |ref=harv }}

* {{cite journal |last=Hemingway |first=Ernest |date=1991 |title=The Snows of Kilimanjaro |journal=The Snows of Kilimanjaro and Other Stories |location=New York |publisher= Scribner |pages=3-28 |ref=harv }}

* {{cite book |last=Hemingway |first=Ernest |date=1926 |title=The Sun Also Rises |location=New York |publisher=Scribner, 2006 |ref=harv }}

@@ Line 74: / Line 74: @@
 “Clearly I miss Him, having been brought up in religion. But now a man must be responsible to himself.”{{sfn|Hemingway|1940|p=41}} </blockquote>{{pg|338|339}}
-After making love with Maria, Jordan criticizes his political ''clichés.''{{efn|“Hard-shell Baptist”was applied to the Primitive Baptists, a group dating from early nineteenth century splits.}} “He had gotten to be as bigoted and hide-bound about his politics as a hardshelled Baptist. . . . Bigotry is an odd thing. To be bigoted you have to be absolutely sure that you are right and nothing makes that surety and righteousness like continence.”{{sfn|Hemingway|1940|p=164}} Finally, in the novel’s last few pages, Jordan reflects on facing death “with religion” and “taking it straight.”{{sfn|Hemingway|1940|p=468}} Here Jordan’s perspective, echoing Feuerbach and Freud, is typical of the rhetoric of modernism. “Who do you suppose has it easier? Ones with religion or just taking it straight? It comforts them very much but we know there is no thing to fear.”{{sfn|Hemingway|1940|p=468}}
+After making love with Maria, Jordan criticizes his political ''clichés.''{{efn|“Hard-shell Baptist” was applied to the Primitive Baptists, a group dating from early nineteenth century splits.}} “He had gotten to be as bigoted and hide-bound about his politics as a hardshelled Baptist. . . . Bigotry is an odd thing. To be bigoted you have to be absolutely sure that you are right and nothing makes that surety and righteousness like continence.”{{sfn|Hemingway|1940|p=164}} Finally, in the novel’s last few pages, Jordan reflects on facing death “with religion” and “taking it straight.”{{sfn|Hemingway|1940|p=468}} Here Jordan’s perspective, echoing Feuerbach and Freud, is typical of the rhetoric of modernism. “Who do you suppose has it easier? Ones with religion or just taking it straight? It comforts them very much but we know there is no thing to fear.”{{sfn|Hemingway|1940|p=468}}
+There is more God-language that could be quoted. The child’s prayer in “Now I Lay Me,"{{sfn|Hemingway|2003|p=276-282}} the Crucifixion told by the Roman soldiers in “Today Is Friday,”{{sfn|Hemingway|2003|p=271-273}} the quest for an original paradise in ''The Garden of Eden,''{{sfn|Hemingway|1986}} but these examples may be sufficient. In summary, what can be said? The rhetoric of Modernism is integral to Hemingway’s writing: always and everywhere, his God-language is embedded in that cognitive framework. Inherently, modernism is interrogative and indeterminate—suspicious of dogma, skeptical of organized religion. The fragment, “Scared stiff looking at it”{{sfn|Hemingway|1925|p=21}} may serve as a signifier of modernity, revealing Hemingway’s vision of a world “that was adrift."{{sfn|Stewart|2001|p=113}} Modernism presents a hard-boiled picture of the world, stripped of traditional certainties, bereft of religion’s “opium." This was the world of which, like the dying Harry in “Snows," Hemingway must write.{{efn|“Harry thinks, “There was so much to write. He had seen the world change; not just the events . . . He had been in it and he had watched it and it was his duty to write of it; but now he never would.” {{sfn|Hemingway|1991|p=17}}}} This is the world we have inherited.
+But what is the ''cognitive'' status of Hemingway’s God-language? Is it merely an ironic use of ancient myths—seen in T. S. Eliot, D. H. Lawrence, James Joyce and others—with no underlying substance? Hemingway had little sympathy with the moralistic faith of his parents, leaving their Congregationalism for Catholicism. Morris Buske suggests that his father’s “corporal punishment with a religious orientation” may have contributed to his “psychic difficulties.”{{sfn|Buske|2002|p=86}} Indeed. We might also envisage some religious impact. Perhaps there is a psychoanalytic link between the Liberal Protestant Fatherhood of God,Nietzsche’s “death of God,” and the suicide of Hemingway’s father.{{efn|“The doctor’s suicide shook Hemingway: it added another painful memory to those from years of powerful mixed emotions. As in other times of need he turned to the faith he had embraced, rather than to that of his father, for support.”{{sfn|Buske|2002|p=87-88}}}} So, is Hemingway’s God-language ironic, emotional and bereft of cognitive reality?
 === Notes ===
@@ Line 123: / Line 127: @@
 * {{cite book |last=Hemingway |first=Ernest |date=1940 |title=For Whom the Bell Tolls|location=New York |publisher= Scribner, 2003  |ref=harv }}
+* {{cite book |last=Hemingway |first=Ernest |date=1986 |title=The Garden of Eden|location=New York |publisher= Scribner  |ref=harv }}
 * {{cite book |last=Hemingway |first=Ernest |date=1984 |title=Ernest Hemingway on Writing|location= Ed. Larry W. Phillips. New York |publisher= Touchstone  |ref=harv }}
@@ Line 129: / Line 135: @@
 * {{cite book |last=Hemingway |first=Ernest |date=2009 |title=A Moveable Feast|location=Ed. Sean Hemingway. Restored ed. New York |publisher=Scribner  |ref=harv }}
+* {{cite journal |last=Hemingway |first=Ernest |date=1991 |title=The Snows of Kilimanjaro |journal=The Snows of Kilimanjaro and Other Stories |location=New York |publisher= Scribner |pages=3-28 |ref=harv }}
 * {{cite book |last=Hemingway |first=Ernest |date=1926 |title=The Sun Also Rises |location=New York |publisher=Scribner, 2006  |ref=harv }}