Patterns In Hemingway And Camu Essay Example
Patterns In Hemingway And Camu Essay Example

Patterns In Hemingway And Camu Essay Example

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  • Pages: 13 (3516 words)
  • Published: November 22, 2018
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In the past, literature was believed to represent life and criticism focused on fiction. However, this simplistic view is no longer true. We now understand that fiction revolves around other fiction and criticism can serve as a metaphor. Moreover, criticism reveals the inherent difficulty of expressing anything meaningful about life or even fiction itself. This understanding has removed the concept of "aboutness" and shown that language is often tautological or nonsensical. If language does convey meaning, it primarily pertains to language itself (Robert Scholes).

When we read literature, we find fascination in uncovering patterns that were previously unnoticed. As pattern finders, discovering these patterns within a text brings us great pleasure. An interesting observation can be made about A Farewell to Arms - regardless of the edition, all versions ha

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ve forty-one chapters divided into five books.

After careful observation, we noticed something multiplying 41 by 5 gives us 205. Additionally, if we add up the number of letters in Frederic's name (8) with Catherine's name (9), we get 17. By combining 205 and 17 together, their sum is 222.

Considering that the events in the novel span three years, a pattern emerges – similar to a figure appearing on a background or writing in lemon juice when heated over a flame. The product of 222 multiplied by 3 results in the infamous number mentioned in Revelations 13:18 – 666The discovery of a similar 666 pattern in The Outsider brings delight. By multiplying the number of letters in Meursault's name, 'Albert,' and 'Arab,' which equals 216, adding the 6 from 'Albert,' and multiplying by 3 (derived from dividing the number of chapters in Part one (6) by the numbe

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of books (2) in The Outsider), we once again arrive at the number '666'. This reveals that these two novels hold new meaning when examined through this lens. Critics who fail to acknowledge this interpretation are proven wrong by this finding. The significance of '666' lies in its reference back to the original text that these novels engage with and revolve around, if indeed they have any underlying themes. Bickford Sylvester exclaims, "Wait a minute, here!" as he points out that even Hemingway scholars will not support such nonsense. Indeed, this pattern can be found anywhere if someone manipulates facts to fit it. Skilled detectives can discover this devilish number anywhere; just ask the soap company if you don't believe us. However, we must consider the legitimate boundaries of interpretations. Does everything count? How do we determine when an interpretation has descended into nonsense while working on or reading it?The text presents the idea that there are observable facts and interpretations that can be made based on those facts. This is similar to how different interpretations of quantum theory exist despite dealing with the same facts. A Farewell to Arms and The Outsider also elicit various interpretations, just like scientific theories and works of art. According to Gerry Brenner, both novels are considered masterworks because they generate multiple interpretations. These works provide a broad theory about the human condition and our search for meaning, similar to how science aims to explain events in the world through unified theories. At its core, a "broad and general theory of the human condition and the human hunger for meaning" can be interpreted in two ways: humans being part

of a meaningful divine plan or humans seeking meaning through hints outlined in a special text.Humans are not inherently special, but rather the result of chance and time. Our uniqueness lies in our ability to find meaning through our own experiences and connections with others. There are two interpretations that exist regarding this notion. The first seeks a universal Truth or hierarchy of values guided by God, while the second emphasizes subjective emotions and the constant evolution of individuals through their choices and reactions to the world.

Those who align with the first interpretation see death as a gateway, whereas those who align with the second view it as an unavoidable fate and a barrier shared by all individuals. Hemingway and Camus both depict death as final in their works, despite belonging to different generations and worlds. Surprisingly, there are several striking similarities between them.

Hemingway explores these similarities in his novel A Farewell to Arms, while Camus continues where Hemingway left off in his novel The Outsider written fifteen years later. Both authors utilize a straightforward writing style and portray a sense of "primitiveness" in the early stages of their novels through characters such as Frederic Henry and Meursault. Furthermore, they both acknowledge aspects of the Absurd philosophy and have personal connections or outsider statuses within Paris.The purpose of this paper is to compare and contrast the works of A Farewell to Arms and The Outsider in order to gain a better understanding of their importance and influence in literary history. It is important to differentiate between the actual author's work (Camus's novel) and the fictional character's portrayal of events (such as Frederic Henry's narrative or

Meursault's novel) for clarity. By doing so, we can avoid conflating Hemingway with his characters, which has been a common mistake in the past but should be avoided here. The relationship between these two novels can be likened to that between the "Old Testament" and the "New Testament". While there are similarities in their worldviews, there is also progression and modification. Both novels explore the concept of the modern hero through their protagonists, who differ in many ways but represent attempts from different generations to embody this idea. In A Farewell to Arms, Frederic Henry experiences a loss of faith in traditional sources of meaning such as religion, government, language, and love due to his war experiences. This leads him towards creating a Modernist style novel. On the other hand, Meursault from The Outsider does not seem to have much faith in these structures and institutions right from the start as seen through his behavior at his mother's funeral.The text highlights the differences between Meursault and Frederic Henry in terms of their beliefs and actions. While Meursault's relationship with Marie starts without any complications, Frederic feels the need to go through a courtship process and deceive Catherine to achieve his goal of sleeping with her. Additionally, the theme of loss and search for certainty present in A Farewell to Arms is replaced by Camus's concept of the Absurd, which refers to the indifference of the universe. In Hemingway's novel, Frederic reflects on a malevolent universe that ultimately aims to kill him. Therefore, Frederic needs to understand his own subjectivity in constructing meaning, while Meursault already seems aware of this. Both characters need to acknowledge that

subjective meaning is influenced by their relationships with others. Lastly, both works utilize a first-person narrator who subtly evaluates events through methods like selection and emphasis.In both A Farewell to Arms and The Stranger, the protagonists, Meursault and Frederic Henry, search for meaning in their life experiences. Like in real life, this meaning is not solely derived from objective facts but also emerges from a combination of inputs from the world and their own creative intelligence's organization and valuation of those inputs. Both characters find inner peace as they accept their limitations, an essential step towards finding peace. Additionally, both novels employ a similar writing style where the authors do not explicitly convey meaning through fixed propositions but instead encourage readers to actively construct meaning through suggestions and omissions. Hemingway and Camus utilize an economical, realistic, and modern technique that incorporates signifiers as well as unspeakable meanings. This technique effectively creates a strong sense of omitted things in both texts. For example, in A Farewell to Arms, the use of pronouns allows room for interpretation as the narrator struggles to fully articulate the differences between day and night. However, those who have experienced it would understand its significance.The other character in the passage understands the narrator's desire to go to Abruzzi, even though he hasn't experienced it himself, thus maintaining their friendship despite their differing knowledge and understanding. However, I was unaware of this at the time, but later acquired the knowledge (page 14). The question arises: what did Frederic Henry possess that the priest lacked? What was the knowledge he attained but forgot? What was the matter he didn't know then but "learned later"?

And what sets him apart from the priest? The first "I" and second "I" represent Frederic Henry during the events, while the third "I" refers to me as the narrator. The term "you" includes you as a reader who has also experienced "it" and been transformed by it through understanding. In the last two sentences, once again there is a change in time with regard to "I", initially referring to Frederic Henry before his lesson, then after his lesson, followed by him as a participant in action and ultimately as a knowledgeable narrator. This serves as an example of a constantly evolving and dynamic self.An important part of understanding the novel involves finding out who or what these pronouns refer to - what is the core knowledge that is hinted at but not directly stated? The text explores different interpretations and analyses of Ernest Hemingway's novel "A Farewell to Arms". One interpretation suggests that Frederic's choice to spend his leave in the city instead of the Abruzzi reflects his entire way of life. Another interpretation, presented by Stoneback, argues that this passage offers multiple options for interpretation. These options include themes such as true love and sacrifice, questions about faith and love for God, a preference for good hunting over bad drinking, an appreciation for orderliness and good manners versus chaos, and the realization of having a soul with its accompanying consequences. Frederic is particularly drawn to the sixth interpretation because it aligns with his Catholic beliefs. However, this misinterpretation is partly based on another misinterpretation of the scene where Frederic gets wounded; according to Stoneback, this moment serves as a pivotal turning point that

changes everything. Instead of using the term "epiphany," Stoneback proposes calling it a "boundary situation," which Jaspers defines as a transformative experience. Jaspers emphasizes how individuals undergo psychological transformations when they encounter boundary situations.Boundary situations can occur unexpectedly at any time and under any circumstances. These situations can include making serious moral decisions, facing death, or dealing with threats to one's reputation. In the midst of other noises, I heard a cough followed by a rapid and intense sound, like a blast-furnace door opening. Then there was a blinding flash and a roaring sound that started white and transformed into a rushing wind. I tried to breathe, but couldn't. I felt my physical self being pulled away by the wind, going farther and farther until I felt like I was outside of myself. In that moment, I knew I was dead and that my previous beliefs about death were mistaken. However, instead of continuing on, I felt myself sliding back and eventually regained my ability to breathe.

According to Stoneback's argument, this scene not only "changes everything," but also serves as the key interpretation for the novel. It is through this experience that Henry learns about his immortal soul. If we agree with this interpretation, then this experience will profoundly change Henry's life. However, could there be a better reading? Without being excessively critical, can we offer an alternative understanding? We believe soConsidering the broader context of the text, these lines do not support a specific interpretation. In this passage, Frederic Henry expresses two ideas: "I knew I was dead and that it had all been a mistake to think you just died." The first statement

is clearly incorrect since he is not actually aware of being dead, making the overall statement false. However, the second part of his statement is open to interpretation. If we interpret "just" as meaning "only, merely, simply," then Henry suggests that death is not only death, supporting a theistic view. However, "just" has an ambiguous meaning and can also imply "barely" or "scarcely," among other things. It could be that Henry is conveying that death is not simply a simple phenomenon but sometimes a painful one. Later in the scene of Passini's brutal injury, we witness such a painful death through his maimed and convulsing body. As he cries out in pain to Jesus with no response - only silence from the heavens and eventually silence as his voice fades and twitching subsides - there is no additional information provided by this passage to settle on either reading conclusively. Therefore, we are left with multiple interpretations until further evidence is examined within the larger context of the entire work - similar to how a scientist would approach ambiguous results without resorting to persuasive language or flipping a coin for an answer.In the upcoming chapters, Hemingway delves deeper into the story as Frederic Henry interacts with Rinaldi and the priest at the hospital. Chapter X focuses on discussions about awards, women, and alcohol, while Chapter XI centers around the visit from the priest. The contrast between these two chapters presents a promising opportunity for the narrative to explore which way of life is superior - represented by Rinaldi and the priest. It is an ideal moment for Henry to share any profound realizations or spiritual awakenings

he may have had while lying alone in his hospital bed with someone who will truly comprehend. We are eager to discover what Henry has learned about death, God, and eternal souls. However, instead of an expected revelation about boundlessness, we are surprised with a conversation about limitations - a shift from our anticipations. This is the perfect time and place for Henry to unveil his newfound truth to the priest - a moment that has been carefully prepared for. Unfortunately, there is no revelation because there never was one to begin with. According to Ernest Hemingway's belief that all stories ultimately lead to death, this also holds true for each individual's narrative. The connection between a story and one's life and the significance of its ending - known as a "boundary situation" - greatly impacts both fictional narratives in A Farewell to Arms and The Outsider.Both novels feature death as a crucial element in the characters' lives. Frederic Henry witnesses death multiple times while experiencing war and ultimately loses Catherine. Similarly, Meursault's story begins with his mother's death and leads to his own trial and death sentence after killing an Arab. The defining moments of their lives, such as Frederic losing Catherine or Meursault receiving a death sentence, transform them into storytellers who share their experiences with death. These fictional characters strive to find order and meaning in situations that may lack clarity. They may encounter existing narratives that do not satisfy them, leading them to create their own stories. This is evident when Meursault confronts the priest, who represents a meta-narrative in his life. In the climax of the novel, Meursault finally releases

built-up anger and frustration, feeling purged of his troubles and hopes dashed. Looking at the night sky filled with signs and stars, he opens himself up to the apathetic universe which he finds strangely similar to himself - almost like a brotherly connection.Meursault and Frederic Henry both question the meaning behind the dominant symbols in their societies, such as laws, religion, and conventional morality. They both feel a sense of hollowness and corruption within these institutions. Meursault surrenders to the indifferent nature of the world, finding a personal and profound "meaning" in his acceptance of it. Camus builds on Hemingway's skepticism about conventional language, criticizing its inflated use and accusing institutions of being irrelevant or deceitful. Both characters are critical of how certain words are manipulated for control. Frederic is embarrassed by words like "sacred" and "glorious" that lack true meaning in his experiences. Similarly, Meursault sees law, religion, and conventional morality as corrupt contributors to a vocabulary used for control. Initially selfish and lacking self-awareness, Frederic indulges in pleasure while accepting teachings from the past.The Italian army is where he finds himself because he can and speaks Italian. Meursault, on the other hand, values immediate pleasure and simplicity in Part I. When his employer offers him a chance to move to Paris, Meursault's response echoes Frederic's sentiment: "I said yes but really I didn't mind." Similarly, Meursault's perspective on marriage reflects his nonchalant attitude: "I said I didn't mind and we could do if she wanted to." He further emphasizes his lack of attachment by stating that he would accept a similar proposal from another woman with whom he had a similar relationship.

This passage

demonstrates a significant contrast between the two novels. Frederic Henry shares Marie's views on marriage and societal conventions, while Meursault's remarks resemble Catherine Barkley's thoughts on these same matters. Like Frederic Henry, Meursault exhibits self-centeredness and inertia, but as a character created by Camus, he also absorbs some of Catherine's world-weariness. There is evidence that Meursault has abandoned some of his once-held faith in traditional ideals but chooses not to elaborate much on this possibility. He mentions having ambitions as a student but acknowledges their insignificance after abandoning his studies.The pursuit of pleasure, religious faith, and adherence to social codes are all inadequate if done without reflection. The novels revolve around the importance of thought and insight, which can be difficult and even painful but are necessary for a full understanding of humanity. Initially, Frederic believes his purpose is solely satisfying basic needs and being intimate with Catherine. However, he eventually confronts reality and must comprehend what has happened through exertion, contemplation, and often experiences unintended pain. Early on in the novel, the major declares that "All thinking men are atheists," a sentiment that resonates throughout as Frederic reflects on his own experiences. In A Farewell to Arms, the term "realize" signifies the protagonist's awakening - not just intellectually comprehending something but making it a tangible reality. The priest discusses how this realization leads to disgust towards war as one's expectations clash with harsh reality. Hemingway's concept of "realizing" closely aligns with Camus's idea of the Absurd: both involve losing faith and gaining an altered perspective through confronting actuality.The comparison between the Old and New Testament reveals that Meursault in The Outsider already possesses the

understanding that Frederic Henry only acquires by the end of A Farewell to Arms. However, there is a parallel process happening - Meursault's "re-education" within society. Similar to Frederic's realization that words like "glory", "honor", and "courage" hold no value and only place names possess dignity, Meursault also discovers the significance of abstract concepts such as "liberty" and later on, "guilt". This realization occurs when he senses a commotion in the room and becomes aware of his guilt for the first time. Throughout Part II of The Outsider, Meursault realizes that various individuals construct narratives about his life, including the magistrate, prosecuting attorney, and defense attorney. This makes him understand that this kind of activity is inevitable. Gradually, Meursault gains consciousness about what it means to be an individual self in a community. Even if one does not find meaning in their actions, others can attribute significance to them based on observation. The transformation from Part I to Part II is not sudden; instead, Meursault gradually realizes the impossibility of escaping language, values, and narratives.Frederic Henry undergoes a similar ordeal when he withdraws from Caporetto. Upon reflecting on the hollowness of certain words, he becomes aware of the dangers that language poses when his accent labels him and leads to a death sentence. Meursault is troubled by how effortlessly societal institutions can create causal explanations for individual actions. The first part of the novel presents events and actions that derive significance through society's perspectives, symbolized by law, religion, and conventional morality in the second part. It is beyond the text where Meursault's meaning as a character is established and then conveyed to readers within the

text itself.

The exploration of the meaning behind drinking a cup of coffee unfolds throughout the narrative. In Part one, it is depicted as innocent. However, in Part two, the prosecuting magistrate views it as evidence of evil. Ultimately, in the final interpretation, it represents an assertion of freedom.

In The Outsider, Camus incorporates philosophical ideas from The Myth of Sisyphus into his artistic representation with a particular emphasis on seeking truth. The Myth examines various sources such as religion, science, and logic but finds them all deficient. Camus concludes that a meaningful system's foundation lies within an evolving and non-static concept known as "I" perception."The mentioned references are John W. Aldridge's article "The Sun Also Rises - Sixty Years Later" in the Sewanee Review (1986) and The Hemingway Review (1989). According to Stoneback, regardless of Hemingway's personal beliefs like being a nihilist, atheist, devout materialist, anti-clerical Marxist-Leninist, typically modern wishy-washy laicist, Pollyanna progressive, or social planner, he acknowledges that Hemingway's writing is deeply rooted in the Christian tradition (Albert Camus, The Outsider, translated by Joseph Laredo, Penguin Modern Classics, 1983, page 117).

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