User:Sherrilledwards/sandbox: Difference between revisions

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<blockquote>Hemingway’s personal religious pilgrimage takes him through a rejection of Puritanism, and far beyond the social-gospel brand of Protestantism, into an ever-deepening discovery of Catholicism. This personal faith-journey is manifest . . . with the aesthetic and historical and spiritual sensibility centered in ritual and ceremony (e.g., most obviously, as in the world of ''Toreo,'' or the bullfight; and, less obviously, in the vision of life-as-pilgrimage). Hemingway’s rootedness in the sacramental sense of experience, in the incarnational paradigms of Catholic Christianity, grows ever deeper.{{sfn|Stoneback|2003|p=50}} </blockquote>

Stoneback’s argument is plausible. Yes, Hemingway’s rhetoric is always unsentimental, open-ended, embedded in modernity: that is hard to dispute. Cleanth Brooks said Hemingway confined himself to“his secular terms.”{{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}}}} I think that he went further. Granted, in Hemingway there is no parallel to T. S. Eliot’s pilgrimage from the agnosticism of ''The Waste Land'' (1922) to the faith of ''Four Quartets'' (1943). But then most of the Modernists felt unable to follow Eliot in his particular journey. Nor is there any equivalent to Mailer’s final book, ''On God'' (2007), his “quest into the nature and context of ‘reality,’ particularly non-material entities”—in effect “Mailer’s metaphysics.”{{sfn|Sipiora|2008|p=503}}

=== Notes ===

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 <blockquote>Hemingway’s personal religious pilgrimage takes him through a rejection of Puritanism, and far beyond the social-gospel brand of Protestantism, into an ever-deepening discovery of Catholicism. This personal faith-journey is manifest . . . with the aesthetic and historical and spiritual sensibility centered in ritual and ceremony (e.g., most obviously, as in the world of ''Toreo,'' or the bullfight; and, less obviously, in the vision of life-as-pilgrimage). Hemingway’s rootedness in the sacramental sense of experience, in the incarnational paradigms of Catholic Christianity, grows ever deeper.{{sfn|Stoneback|2003|p=50}} </blockquote>
+Stoneback’s argument is plausible. Yes, Hemingway’s rhetoric is always unsentimental, open-ended, embedded in modernity: that is hard to dispute. Cleanth Brooks said Hemingway confined himself to“his secular terms.”{{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}}}} I think that he went further. Granted, in Hemingway there is no parallel to T. S. Eliot’s pilgrimage from the agnosticism of ''The Waste Land'' (1922) to the faith of ''Four Quartets'' (1943). But then most of the Modernists felt unable to follow Eliot in his particular journey. Nor is there any equivalent to Mailer’s final book, ''On God'' (2007), his “quest into the nature and context of ‘reality,’ particularly non-material entities”—in effect “Mailer’s metaphysics.”{{sfn|Sipiora|2008|p=503}}
 === Notes ===