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I. 서론 5
II. 경험의 세계와 진실한 글쓰기 16
『오후의 죽음』 (Death in the Afternoon) 16
『아프리카의 푸른 언덕』 (The Green Hills Africa) 37
III. 허무주의·단독강화와 비정적 문체 54
『해는 또 다시 떠오른다』 (The Sun Also Rises)·『무기여 잘 있거라』 (A Farewell to Arms) 54
IV. 이상현실을 위한 사회참여와 서사시적 만연체 86
『누구를 위하여 종은 울리나』 (For Whom the Bell Tolls) 86
V. 범애정신과 시적우화어법 112
『노인과 바다』 (The Old Man and the Sea) 112
VI. 결론 139
Bibliography 144
ABSTRACT 151
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The purpose of this dissertation is to examine the interrelation of style and theme in Hemingway's representative novels such as The Sun Also Rises, A Farewell to Arms, For Whom the Bell Tolls, and The Old Man and the Sea. To illuminate Hemingway's central ideas in his works properly, it is necessary that we should probe into the relation of his thematic development to stylistic change. Chapter II defines Hemingway's main literary techniques and ideas in his two non-fiction works of Death in the Afternoon and Green Hills of Africa to make clear the organic relation between style and theme in his four major novels.
Death in the Afternoon and Green Hills of Africa deal with the relation of bullfighting or hunting to Hemingway's aesthetics. Death in the Afternoon and Green Hills of Africa are Hemingway's first full-length ventures into nonfiction. They present not only Hemingway's curiosity about bullfighting or hunting but also his understanding of what it takes to be a good writer. For Hemingway, the bullfighting (corrida) or hunting is a figurative expression of "writing" and "the upright way of living". During his stay in Spain or Africa, Hemingway managed to notice the marked similarity of the expressions of bullfighting or hunting and writing. And he employs the language of the bullfighting or hunting to the writing craft and especially, to the description of ethical attitudes of his heroes.
In Hemingway's world, to engage in any athletic activities such as bullfighting, fishing, hunting and any other sports in the correct way corresponds to the value involved in writing which will be true to himself, readers and his principles of ethical attitudes. With Hemingway, the bullfighter, or the hunter, or the writer, or the hero must work by his own code comprising self-control and grace and courage so that he can create truly. It is important that the literary man must write by his own experiences, not imitating others.
In Death in the Afternoon and Green Hills of Africa, Hemingway constantly investigates the relationship between what happens to a bullfighter or hunter facing a fierce bull or a big game and what happens to a literary man facing a blank page or a hero facing a difficult experience. Furthermore, he presents not only the surface action of the bullfighting or hunting but also his deeper concern for the technique of art and the substance of moral belief. In conclusion, Death in the Afternoon and Green Hills of Africa are nonfiction recapitulations of what the author felt about how to write truly and how to live uprightly and with grace under pressure.
Chapter III, Chapter IV and Chapter V attempt to examine the basic themes and convictions Hemingway expresses in his representative four novels respectively and some of the main concepts in which these ideas are embodied, and the final interrelation of his four novels' themes to their own unique styles in turn.
Chapter III examines The Sun Also Rises and A Farewell to Arms to catch the theme and style in Hemingway's earliest works. It proves how the themes of non-commitment such as nihilism and separate peace are embodied in the hard-boiled style representing Hemingway's art of the unsaid, which is a token to reject the false and to convey the truth. Verbal scepticism refers to the distrust of rhetoric or sentimentality which is shown by such heroes as Jake Barnes and Frederick Henry in The Sun Also Rises and A Farewell to Arms. Because Hemingway thought World War I produced an extreme outpouring of rhetorical propaganda leading to lies and deceits, he apparently came to hold distrust in all abstractions. As a result, he deliberately limited his vocabulary to concrete words, things, actions, with as few abstractions as possible to pursue the truth as his literary object. The heroes in his early works avoid the false sentimental rhetoric or overstatement and show their stoic endurance to cope with the negative situations. Beneath their monotone talk and verbal skepticism is a profound and very real emotion. In Hemingway's early works, the deeper the emotion, the less it is verbalized. Instead of talking, his heroes take actions. They don't talk about bravery, justice, and all the rest of positive qualities, but prove them by action. It is true of their love of a woman. In brief, in his early works Hemingway effectively manages to convey his central ideas to present the truth by means of hard-boiled style.
Chapter IV is focused on the themes and the epic inflated style in For Whom the Bell Tolls. For Whom the Bell Tolls deals with the Spanish Civil War and the three-day-love affairs between Robert Jordan and Maria. Robert Jordan is an American ex-college instructor who joins the Loyalist guerilla to fight the Fascists. He loves Maria truly but he chooses to sacrifice himself for the sake of the cause. His transcendental sacrifice for the common good of humanity is rendered profound. About two years before the Spanish War broke out, Hemingway warned that writers who use politics as an easy way to success are cheating themselves and their readers. Hemingway had a firm belief that if the writer is to be a true writer instead of a paid propagandist, he must choose up sides not for any political creed, but for humanity itself. It is apparent that the Spanish War was too complicated for his hard-boiled style to approach aesthetically. So he turned to the epic inflated style to sustain his most enduring theme of love under the severest Spanish political situations, whether it be for individual or for country or for humanity. He manages to maintain aesthetic distance, recreate the whole truth to present the Spanish Civil War objectively and finally give a true insight into human problems and human motivations by instrumentality of his epic inflated style. Hemingway's earlier novels are narrated in the first-person and enclosed within a single point of view, but For Whom the Bell Tolls employs several different narrative techniques such as epic genre, internal monologues, objective descriptions by the author rather than by any specific character, rapid shifts of point of view, and especially a looser structure than that of his earlier works. This is made necessary by the fact that For Whom the Bell Tolls is more ambitious in thematic scope than his earlier ones.
Chapter V discusses Hemingway's philosophical growth, an encompassing and transcendental spirit embodied by poetic style of allegory in The Old Man and the Sea. One guaranty of the enduring power of Hemingway's art can be regarded as its grasp of reality, its content of truth and its simplicity and precision of word choice. Its use and control of poetic quality can be called as a second guarantee of his art. Both of them are true of The Old Man and the Sea With Hemingway, poetic style of allegory might be defined as his grasp of the relationship between the temporal and the eternal. His power of poetic grasp is expressed through the considered use of imaginative symbols in The Old Man and the Sea. The basic plot can be told in a few words. The protagonist Santiago is an old Cuban fisherman without taking a fish for 84 days. The only other important character is the boy Manolin, who used to be his helper but is now compelled to work with other more successful fishermen since Santiago's luck has given out. Here it is important that the old man and the boy still remain faithful friends, an allegiance of old age and youth comparable to the relationship of Colonel Cantwell and Renata in Across the River and Into the Trees. With Manolin's help, Santiago prepares for one more trip. Going out alone the next morning in his small skiff, he manages to hook an enormous marlin and kill it undergoing all kinds of acutest hardships. But sharks attack the marlin and rip away its flesh. Crushed in body and spirit, Santiago makes his way to his shack and is taken care of by Manolin. The Old Man and the Sea, as simple as it appears in plot and style, is one of the most poetic of Hemingway's works in symbolism and latent meaning. Santiago's stoicism, his love of other creatures, his attitude toward nature - the sea, the fish, the weather and all the rest of things - is a final reflection of Hemingway's philosophy, an encompassing and transcendental pantheism beyond the Christian quality here.
In conclusion, the things that Hemingway's style most suggest are the very things that he has been trying to say outright and directly on the surface, and at the same time imply poetically and symbolically beneath the surface. It can be safely said that his style is as eloquent of his content as the content itself, which is consistent with his philosophy. The strictly disciplined controls which Hemingway exerts over his heroes are precise parallels to the sentences he writes truly based on his bitter experiences, which reflect his view of life as well as his literary creed.
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