Hemingway uses vague pronouns and simple language to reflect the reality of the characters’ situation in a straightforward manner. The simplicity of the language and the lack of detailed exposition emphasize the directness and rawness of life in wartime, illustrating how the characters navigate their circumstances with a focus on practicality rather than introspection or elaborate description.
Read the excerpt from Hemingway’s A Farewell to Arms.
The major was a little man with upturned mustaches. He had been in the war in Libya and wore two wound-stripes. He said that if the thing went well he would see that I was decorated. I said I hoped it would go well but that he was too kind. I asked him if there was a big dugout where the drivers could stay and he sent a soldier to show me. I went with him and found the dugout, which was very good. The drivers were pleased with it and I left them there.
Hemingway uses vague pronouns and simple language to
convey the intelligence level of the men in the scene.
illustrate the sense of fear the narrator is experiencing.
reflect the reality of the characters’ situation in a straightforward manner.
indicate that the narrator may not fully understand his surroundings.
11 answers
Read the excerpt from Hemingway’s A Farewell to Arms.
Outside it was getting dark. I asked what time the attack was to be and they said as soon as it was dark. I went back to the drivers. They were sitting in the dugout talking and when I came in they stopped. I gave them each a package of cigarettes, Macedonias, loosely packed cigarettes that spilled tobacco and needed to have the ends twisted before you smoked them. Manera lit his lighter and passed it around.
What about the actions of these men exemplifies them as Hemingway heroes?
They talk about the oncoming attack, clearly with a deep sense of worry for their own safety and the safety of others.
They have not yet lived through a battle and are naive about the imminent danger that awaits them.
They have the bond only men in battle can share, and this is related by the way they partake of the cigarettes.
They act casually and go about regular business, such as smoking, while actually in grave danger.
Outside it was getting dark. I asked what time the attack was to be and they said as soon as it was dark. I went back to the drivers. They were sitting in the dugout talking and when I came in they stopped. I gave them each a package of cigarettes, Macedonias, loosely packed cigarettes that spilled tobacco and needed to have the ends twisted before you smoked them. Manera lit his lighter and passed it around.
What about the actions of these men exemplifies them as Hemingway heroes?
They talk about the oncoming attack, clearly with a deep sense of worry for their own safety and the safety of others.
They have not yet lived through a battle and are naive about the imminent danger that awaits them.
They have the bond only men in battle can share, and this is related by the way they partake of the cigarettes.
They act casually and go about regular business, such as smoking, while actually in grave danger.
The actions of these men exemplify them as Hemingway heroes because they act casually and go about regular business, such as smoking, while actually in grave danger. This reflects Hemingway's characteristic portrayal of stoic individuals who maintain an air of normalcy and camaraderie in the face of impending crisis, illustrating their resilience and the often understated way that they confront the realities of war.
Read the excerpt from Hemingway’s A Farewell to Arms.
“I believe we should get the war over,” I said. “It would not finish it if one side stopped fighting. It would only be worse if we stopped fighting.”
“It could not be worse,” Passini said respectfully. “There is nothing worse than war.”
“Defeat is worse.”
“I do not believe it,” Passini said still respectfully. “What is defeat? You go home.”
“They come after you. They take your home. They take your sisters.”
“I don’t believe it,” Passini said. “They can’t do that to everybody. Let everybody defend his home. Let them keep their sisters in the house.”
“They hang you. They come and make you be a soldier again. Not in the auto-ambulance, in the infantry.”
What does Hemingway’s indirect characterization of the narrator reveal?
The narrator agrees with Passini, although he does not admit this.
The narrator recognizes that war is cruel, unjust, and inescapable.
The narrator has little patience for opposing reasoning.
The narrator tends to patronize those who disagree with him.
“I believe we should get the war over,” I said. “It would not finish it if one side stopped fighting. It would only be worse if we stopped fighting.”
“It could not be worse,” Passini said respectfully. “There is nothing worse than war.”
“Defeat is worse.”
“I do not believe it,” Passini said still respectfully. “What is defeat? You go home.”
“They come after you. They take your home. They take your sisters.”
“I don’t believe it,” Passini said. “They can’t do that to everybody. Let everybody defend his home. Let them keep their sisters in the house.”
“They hang you. They come and make you be a soldier again. Not in the auto-ambulance, in the infantry.”
What does Hemingway’s indirect characterization of the narrator reveal?
The narrator agrees with Passini, although he does not admit this.
The narrator recognizes that war is cruel, unjust, and inescapable.
The narrator has little patience for opposing reasoning.
The narrator tends to patronize those who disagree with him.
Hemingway’s indirect characterization of the narrator reveals that the narrator recognizes that war is cruel, unjust, and inescapable. His insistence on the harsh realities of war, including the threats to safety and the inevitability of being forced back into combat, reflects a deeper understanding of the brutal consequences of conflict that contrasts with Passini's more idealistic view.
Based on A Farewell to Arms, how does Hemingway create realistic dialogue for his characters?
The characters give long, winding speeches to express their views.
The characters use simple words and speak in short, clear sentences.
The characters reference vague ideas and use difficult language.
The characters integrate needless conjunctions to join sentences.
The characters give long, winding speeches to express their views.
The characters use simple words and speak in short, clear sentences.
The characters reference vague ideas and use difficult language.
The characters integrate needless conjunctions to join sentences.
Hemingway creates realistic dialogue for his characters by having the characters use simple words and speak in short, clear sentences. This style reflects the straightforward nature of the characters' thoughts and experiences, making their conversations authentic and relatable, and effectively conveying the emotional weight of their circumstances without unnecessary embellishment.
Highlight clues about the setting’s role.
My own house was an eyesore, but it was a small eyesore, and it had been overlooked, so I had a view of the water, a partial view of my neighbor’s lawn, and the consoling proximity of millionaires – all for eighty dollars a month.
Across the courtesy bay the white palaces of fashionable East Egg glittered along the water, and the history of the summer really begins on the evening I drove over there.
—The Great Gatsby, F. Scott Fitzgerald
My own house was an eyesore, but it was a small eyesore, and it had been overlooked, so I had a view of the water, a partial view of my neighbor’s lawn, and the consoling proximity of millionaires – all for eighty dollars a month.
Across the courtesy bay the white palaces of fashionable East Egg glittered along the water, and the history of the summer really begins on the evening I drove over there.
—The Great Gatsby, F. Scott Fitzgerald
In the excerpt from The Great Gatsby, several clues about the setting's role can be highlighted:
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Contrasting Descriptions: The narrator describes their own house as "an eyesore," indicating a sense of humility or lower social status compared to the affluent surroundings. This contrast between the narrator's modest living situation and the "white palaces of fashionable East Egg" underscores themes of class distinction and aspiration.
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View and Proximity: The mention of having "a view of the water" and the "consoling proximity of millionaires" suggests that the setting is not just a backdrop but is integral to the character’s identity and aspirations. The view represents hope and the allure of wealth, while the affordability of the house (eighty dollars a month) highlights the narrator’s socioeconomic struggles.
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Geographical Context: The references to "courtesy bay" and "East Egg" establish the geographical and social landscape of the story, setting up a dichotomy between different social classes (East Egg being associated with old money and elite status, while the narrator's location implies a different, perhaps lesser, socioeconomic standing).
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Narrative Turning Point: The phrase "the history of the summer really begins" indicates that the setting is pivotal for the unfolding narrative, signaling important events and relationships that will develop, starting from the narrator's drive to East Egg, which is key to the plot's progression.
Together, these clues emphasize how the setting not only provides a physical context for the story but also reinforces themes of class, aspiration, and the social dynamics at play among the characters.
What are some differences between the homes on East Egg (a richer area) and those on West Egg? Check all of the boxes that apply.
West Egg homes imitate old styles, while East Egg homes were made when those styles were first designed.
East Egg homes are more flimsily constructed, while those on West Egg are more durable because they were built with higher-quality materials.
The narrator describes his first impressions of East Egg with light, dreamy imagery and those of West Egg with dark, shadowy imagery.
The narrator says that the homes on West Egg are more contemporary and fashionable than the homes on East Egg.
The homes on East Egg have smaller lawns and gardens than the homes on West Egg do.
West Egg homes imitate old styles, while East Egg homes were made when those styles were first designed.
East Egg homes are more flimsily constructed, while those on West Egg are more durable because they were built with higher-quality materials.
The narrator describes his first impressions of East Egg with light, dreamy imagery and those of West Egg with dark, shadowy imagery.
The narrator says that the homes on West Egg are more contemporary and fashionable than the homes on East Egg.
The homes on East Egg have smaller lawns and gardens than the homes on West Egg do.
Here are the differences between the homes on East Egg and those on West Egg that apply:
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West Egg homes imitate old styles, while East Egg homes were made when those styles were first designed.
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The narrator describes his first impressions of East Egg with light, dreamy imagery and those of West Egg with dark, shadowy imagery.
The other options do not accurately reflect the descriptions and themes presented in The Great Gatsby. For example, the homes on East Egg are generally depicted as being more luxurious and old-money, while West Egg homes represent the nouveau riche and are often seen as less sophisticated or imitative of past styles. The quality of construction and the size of lawns and gardens also reflect social status but are not explicitly articulated in the ways suggested in the other options.
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