User:Sherrilledwards/sandbox: Difference between revisions

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=== God-Language in Hemingway: "Scared Stiff Looking at It" ===

It is easy to list God-language in Hemingway: deciding significance is harder. The title of ''In Our Time''{{sfn|Hemingway|1925}} came perhaps unconsciously from an English Prayer: “Give us peace in our time, O Lord” (1928 31).{{sfn|1993}}{{efn| “Give us peace in our time, O Lord” can be found in the 1928 Episcopal Book of Common Prayer,{{sfn|1993}}|p=31}} but presumably Hemingway knew it from the 1662 English BCP. Significantly, peace and Lord are not in Hemingway’s title: certainly, his parents saw little traditional faith in this work. In 1932, Hemingway admits “Ezra Pound discovered I lifted from the English Book of Common Prayer.”{{sfn|Hemingway|1984|p=90}} In this work, however, there is little overt God-language, maybe the awkwardness of Krebs with his mother’s sentimentalism in a “A Soldier’s Home”{{sfn|Hemingway|1925|p=76}} or the unnamed soldier’s fearful bargaining with God in the accompanying vignette.{{sfn|Hemingway|1925|p=67}} Perhaps the final story, “Big Two-Hearted River,” with Nick Adams dealing with an indeterminate trauma by returning to Nature, has echoes of Genesis in its simple declarative sentences, “It was a good camp” and “It was a good feeling."{{sfn|Hemingway|1925|p=147}} The fragment, “Scared stiff looking at it,"{{sfn|Hemingway|1925|p=21}} could be seen as a ''signifier'' of modernism, much as the final words of Kurtz, “The horror, the horror”{{sfn|Conrad|2008|p=178}} from Heart of Darkness. Conrad’s words, Cedric Watts suggests, “serve as a thematic nexus, a climatic but highly ambiguous utterance which sums up, without resolving, several of the paradoxical themes of the tale."{{sfn|Conrad|2008|p=215}} A quarter century later, Hemingway’s ''In Our Time'' offers yet another such thematic nexus.

It is easy to list God-language in Hemingway: deciding significance is harder. The title of ''In Our Time''{{sfn|Hemingway|1925}} came perhaps unconsciously from an English Prayer: “Give us peace in our time, O Lord” (1928 31).{{sfn|1993}} {{efn|“Give us peace in our time, O Lord” can be found in the 1928 Episcopal Book of Common Prayer,{{sfn|1993|p=31}} but presumably Hemingway knew it from the 1662 English BCP. Significantly, peace and Lord are not in Hemingway’s title: certainly, his parents saw little traditional faith in this work. In 1932, Hemingway admits “Ezra Pound discovered I lifted from the English Book of Common Prayer.”{{sfn|Hemingway|1984|p=90}}}} In this work, however, there is little overt God-language, maybe the awkwardness of Krebs with his mother’s sentimentalism in a “A Soldier’s Home”{{sfn|Hemingway|1925|p=76}} or the unnamed soldier’s fearful bargaining with God in the accompanying vignette.{{sfn|Hemingway|1925|p=67}} Perhaps the final story, “Big Two-Hearted River,” with Nick Adams dealing with an indeterminate trauma by returning to Nature, has echoes of Genesis in its simple declarative sentences, “It was a good camp” and “It was a good feeling."{{sfn|Hemingway|1925|p=147}} The fragment, “Scared stiff looking at it,"{{sfn|Hemingway|1925|p=21}} could be seen as a ''signifier'' of modernism, much as the final words of Kurtz, “The horror, the horror”{{sfn|Conrad|2008|p=178}} from ''Heart of Darkness.'' Conrad’s words, Cedric Watts suggests, “serve as a thematic nexus, a climatic but highly ambiguous utterance which sums up, without resolving, several of the paradoxical themes of the tale."{{sfn|Conrad|2008|p=215}} A quarter century later, Hemingway’s ''In Our Time'' offers yet another such thematic nexus.

In The Sun Also Rises,{{sfn|Hemingway|1926}} two themes are balanced. One epigraph,“You are all a lost generation,” from Gertrude Stein, suggests that the narrative is a war novel, although the war seems absent. The other epigraph from Ecclesiastes, perhaps the most secular passage in the bible, includes the words, “One generation passeth away, and another generation cometh; but the earth {{pg|335|336}}abideth for ever."{{sfn|1926|p=Ecc. 1.4–7}} This theme, the continuation of the earth, is a metonymy for the continuation of humanity. Linda Wagner-Martin suggests this theme “maintains its dominance” (6).10 Maybe this motif is an attenuated form of providence.

=== Notes ===

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

* {{cite book |last=Jung |first=Carl |date=1955 |title=Man in Search of a Soul |location=New York |publisher=Harcourt |ref=harv }}

* {{cite book |title=King James Bible |location=Ed. Robert Carroll and Stephen Prickett. Oxford |publisher=Oxford University Press |ref=harv }}

* {{cite journal |last=Kroupi |first=Agori |title=The Religious Implications of Fishing and Bullfighting in Hemingway's Work |journal=The Hemingway Review |volume=28.1 |date=2008 |pages=107-121 |ref=harv }}

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 === God-Language in Hemingway: "Scared Stiff Looking at It" ===
-It is easy to list God-language in Hemingway: deciding significance is harder. The title of ''In Our Time''{{sfn|Hemingway|1925}} came perhaps unconsciously from an English Prayer: “Give us peace in our time, O Lord” (1928 31).{{sfn|1993}}{{efn| “Give us peace in our time, O Lord” can be found in the 1928 Episcopal Book of Common Prayer,{{sfn|1993}}|p=31}} but presumably Hemingway knew it from the 1662 English BCP. Significantly, peace and Lord are not in Hemingway’s title: certainly, his parents saw little traditional faith in this work. In 1932, Hemingway admits “Ezra Pound discovered I lifted from the English Book of Common Prayer.”{{sfn|Hemingway|1984|p=90}} In this work, however, there is little overt God-language, maybe the awkwardness of Krebs with his mother’s sentimentalism in a “A Soldier’s Home”{{sfn|Hemingway|1925|p=76}}  or the unnamed soldier’s fearful bargaining with God in the accompanying vignette.{{sfn|Hemingway|1925|p=67}} Perhaps the final story, “Big Two-Hearted River,” with Nick Adams dealing with an indeterminate trauma by returning to Nature, has echoes of Genesis in its simple declarative sentences, “It was a good camp” and “It was a good feeling."{{sfn|Hemingway|1925|p=147}} The fragment, “Scared stiff looking at it,"{{sfn|Hemingway|1925|p=21}} could be seen as a ''signifier'' of modernism, much as the final words of Kurtz, “The horror, the horror”{{sfn|Conrad|2008|p=178}} from Heart of Darkness. Conrad’s words, Cedric Watts suggests, “serve as a thematic nexus, a climatic but highly ambiguous utterance which sums up, without resolving, several of the paradoxical themes of the tale."{{sfn|Conrad|2008|p=215}} A quarter century later, Hemingway’s ''In Our Time'' offers yet another such thematic nexus.
+It is easy to list God-language in Hemingway: deciding significance is harder. The title of ''In Our Time''{{sfn|Hemingway|1925}} came perhaps unconsciously from an English Prayer: “Give us peace in our time, O Lord” (1928 31).{{sfn|1993}} {{efn|“Give us peace in our time, O Lord” can be found in the 1928 Episcopal Book of Common Prayer,{{sfn|1993|p=31}} but presumably Hemingway knew it from the 1662 English BCP. Significantly, peace and Lord are not in Hemingway’s title: certainly, his parents saw little traditional faith in this work. In 1932, Hemingway admits “Ezra Pound discovered I lifted from the English Book of Common Prayer.”{{sfn|Hemingway|1984|p=90}}}} In this work, however, there is little overt God-language, maybe the awkwardness of Krebs with his mother’s sentimentalism in a “A Soldier’s Home”{{sfn|Hemingway|1925|p=76}}  or the unnamed soldier’s fearful bargaining with God in the accompanying vignette.{{sfn|Hemingway|1925|p=67}} Perhaps the final story, “Big Two-Hearted River,” with Nick Adams dealing with an indeterminate trauma by returning to Nature, has echoes of Genesis in its simple declarative sentences, “It was a good camp” and “It was a good feeling."{{sfn|Hemingway|1925|p=147}} The fragment, “Scared stiff looking at it,"{{sfn|Hemingway|1925|p=21}} could be seen as a ''signifier'' of modernism, much as the final words of Kurtz, “The horror, the horror”{{sfn|Conrad|2008|p=178}} from ''Heart of Darkness.'' Conrad’s words, Cedric Watts suggests, “serve as a thematic nexus, a climatic but highly ambiguous utterance which sums up, without resolving, several of the paradoxical themes of the tale."{{sfn|Conrad|2008|p=215}} A quarter century later, Hemingway’s ''In Our Time'' offers yet another such thematic nexus.
+In The Sun Also Rises,{{sfn|Hemingway|1926}} two themes are balanced. One epigraph,“You are all a lost generation,” from Gertrude Stein, suggests that the narrative is a war novel, although the war seems absent. The other epigraph from Ecclesiastes, perhaps the most secular passage in the bible, includes the words, “One generation passeth away, and another generation cometh; but the earth {{pg|335|336}}abideth for ever."{{sfn|1926|p=Ecc. 1.4–7}} This theme, the continuation of the earth, is a metonymy for the continuation of humanity. Linda Wagner-Martin suggests this theme “maintains its dominance” (6).10 Maybe this motif is an attenuated form of providence.
 === Notes ===
@@ Line 85: / Line 87: @@
 * {{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 book |last=Hemingway |first=Ernest |date=1926 |title=The Sun Also Rises |location=New York |publisher=Scribner, 2006  |ref=harv }}
 * {{cite book |last=Jung |first=Carl |date=1955 |title=Man in Search of a Soul |location=New York |publisher=Harcourt |ref=harv }}
+* {{cite book |title=King James Bible |location=Ed. Robert Carroll and Stephen Prickett. Oxford |publisher=Oxford University Press |ref=harv }}
 * {{cite journal |last=Kroupi |first=Agori |title=The Religious Implications of Fishing and Bullfighting in Hemingway's Work |journal=The Hemingway Review |volume=28.1 |date=2008 |pages=107-121 |ref=harv }}