Statement: War is one of the main themes of Hemingway (for example, the history of nick Adams)
War is one of the main themes of Hemingway (for example, the history of nick Adams)
The composition of the book, which facilitates identification of the contrast between the experiences and trials that befell Nika before and after the war. It is particularly important paradoxically prosperous and, despite some very heavy episodes, a bright, optimistic and open to the future pre-war world of Nika, presented in contrast hopeless tragic post-war world, a decisive disadvantage which cannot be fully compensated for any joys, nevertheless important.
It is likely that the name Adam Hemingway produced on behalf of Adam (Hemingway liked something to “hide” in the text), and prewar and postwar story of the nickname is a kind of parallel story of Adam before and after his expulsion from Paradise, and a turning point for the main character of a book (the ethical loss of innocence, feelings of immortality, naive notions, and the like) is a world war.
Note, incidentally, that in the fiction of Hemingway and other literary allusions are quite common. So, we can say that, in addition to the contrast caused by the location of “war” chapters in the history of pre-war nickname, the collection provides a contrast of psychology, mental state of the nickname at the beginning and end of the novels on this character. The role of contrast generally very large in creating hemingwayesque synthesis, of which more will speak next. Note that the sprat moral perspective captured by Hemingway in the book, forces the writer to confine ourselves to the history only one nickname, but to devote six stories (here we do not talk about “My old man”) portrayal of the mental States of other characters, each of which embodies a kind of General global malaise.
The story begins with nick Adams in the story “Indian village”.
The boy is present at a cesarean section, which his father does not in a hospital setting dirty Indian huts. Pornusy the husband of the mother (it is on the top pairs and for a long time listening to the cries of his wife), unable to endure her anguish, cuts his throat with a razor that is detected only after successful completion of the operation. This story contains the key to understanding the Angora General idea of the collection, and in addition, Hemingway immediately demonstrates to the reader the most important ideological and stylistic features of his work 20 years. Some of these features will preserve the value of the significant traits of the author’s style in the future, until the last works.
The essence of the story is clearly expressed in its concluding lines, which allows to understand all the previous, and ascertain that the story is written not about the doctor, the death of the Indian, the Indian settlement or such, but about Nick and his relationship to the world:
“Why did he kill himself, daddy?
— I don’t know, Nick. Could not bear, must be…
— It’s hard to die, dad?
— No. I think it’s quite easy, Nick. It all depends on the circumstances.
They sat in the boat. Nick is in the stern, his father rowing. The sun was rising over the hills. Splashed perch, and the water went in circles. Nick lowered his hand into the water. In the sharp cold of the morning, the water seemed warm. At this early hour on a lake, in a boat, near his father sitting at the oars, Nick was absolutely sure that he will never die.”
Now, the boy had just seen the violent death, Yes, even in an environment which was considerably more damaging, are generally not designed for children, and yet he is completely confident in his own immortality. Hemingway, using his usual private synthesis, throughout the story an indirect means of “escalating the vibe” and Nick is in the field of view of the author and the reader. Noting this feature of stories about Nick and I. L. Finkelstein rightly says:
“…all shown through the perception of nick and at the same time, dispassionately, objectively. This is so typical of Hemingway, the organic combination of subjective and objective captures the essence of his method of study and creative transformation of reality”.
In fact, the story is written in the third person, but a specific action invariably occurs before the eyes of nick. Moreover, Hemingway, as is generally peculiar to him, where possible, not limited to visual impressions of his character, and gives the external perception through the other senses. The materiality, perceptibility, eastermost external world with the density, smell, taste, the most important trait hemingwayesque style associated, ultimately, with the worldview of the writer. The reader perceives what is happening, not only “together” with Nick. The work appears as if two visual plan: sometimes what happens before the eyes of the hero, is increasing dramatically, but mostly we see the overall picture, and watching her nickname at the same time. In cases when the total picture, as it takes up the whole screen, leaving no room for the figure of Nika, his presence is still felt, as it his feelings are the main subject of the narrative of the author, which cannot be said about other characters. Uncle George can stay back or sit in a different boat from his father and you can turn away, the Indians go on the road not to hear the cries of the mother, but the Nickname is not “running out” for a minute, and this again returns us to the question about what the boy has to move in a miserable hut of the Indian.
Dr. Adams tells his son and the birth-pangs, but the mother yelled again. “Oh, dad,’ said Nick, aren’t you can’t give her anything that she didn’t scream?”. Hemingway says nothing about the power of scream, not to describe it, but yelling is not lost for the reader of their reality (even before we learn that all the men of the village went to the road, where they heard the screams of the women); during the operation the doctor asks nick if he likes the role of an assistant, to which Nick responds with just one word, but the author does not forget to add: “He looked to the side, not to see what the father does”; in two rows, it should again be revealing remark: “Nick wasn’t looking down there”, and in three lines: “Nick did not watch. Any curiosity he had long lost.” But when the doctor discovers that the husband of a pregnant woman stabbed to death, Nick see everything, he “accidentally” at this moment in the correct position. So, it is clear that Hemingway does not miss any opportunity to stress the severity of the experiences that befell the boy. Need is, among other things, to maximize given the ending of the story.
At the core of the story the contrast between what the boy saw and suffered, and a sense of immortality. The tragedy shown in the story is not the tragedy of nick and other people. Experience nick – only a special case that could not determine (and in any measure not determined) the life of the hero. At this time, nick is still ahead, and it looks tactile, durable, promising, reliable. The final sentence of the story is important in all respects. It’s not even just that the boy is experiencing a normal childhood sense of immortality, albeit in unusual circumstances. Let’s see in what particular situation this feeling came to him. It is important to literally every word, and it is significant that Hemingway broke the final sentence into several shorter, although it could do it without causing significant damage to the rhythm of the narrative. Information contained in the last sentence, is extremely significant. Ended the terrible night of agony and death, comes the dawn, as if symbolizing the dawn of life, Nika; the boy is not in a stinking hut and the PA lake, in the boat; he was not alone, next to his father. It looks highly optimistic, life-affirming. But… it remains so only as long as life does not break in really tragic that the General (not private) tragedy, which breaks the emerging hope and densely painted beautiful in its innocence, the world. It tragic for the writer and his hero was a world war. Refer to the previous story Chapter and see what it sounds like the ominous laughter of the evil gods know that the mortals do not escape from the fate. When comparing the story with the cupola becomes clear that, according to the author, only one tragedy of war holds neperehodimyh the boundary between the normal world and beautiful, for all its horror, and tragic, becoming in his tragedy of a ridiculous and perverted. The fear of the adjutant of the cupola acts as the ironic background of the story, the background, which covertly refutes the optimistic confidence of the boy.