User:Sherrilledwards/sandbox: Difference between revisions

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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?

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?{{pg|339|340}}

Following Buske and Stoneback, I suggest not. Buske suggests that Hemingway’s early experiences “led him to embrace Catholicism.” {{sfn|Buske|2002|p=85}}{{efn|“It was long believed in many quarters that Hemingway’s early Protestantism made him a “nominal Catholic, pressured by Pauline into joining the Church. The opposite may be true: his early experiences led him to embrace Catholicism. He had found his father’s faith cold and unsatisfying; he had known his grandfather’s belief in a God of warmth and trust and now sought it for himself.”{{sfn|Buske|2002|p=85}}}} H. R. Stoneback denies that Hemingway’s Catholicism was only nominal:

<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>

=== Notes ===

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 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?
+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?{{pg|339|340}}
+Following Buske and Stoneback, I suggest not. Buske suggests that Hemingway’s early experiences “led him to embrace Catholicism.” {{sfn|Buske|2002|p=85}}{{efn|“It was long believed in many quarters that Hemingway’s early Protestantism made him a “nominal Catholic, pressured by Pauline into joining the Church. The opposite may be true: his early experiences led him to embrace Catholicism. He had found his father’s faith cold and unsatisfying; he had known his grandfather’s belief in a God of warmth and trust and now sought it for himself.”{{sfn|Buske|2002|p=85}}}} H. R. Stoneback denies that Hemingway’s Catholicism was only nominal:
+<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>
 === Notes ===