The Sun Also Rises : Revolutio Essay, Research Paper
The Sun Also Rises : Revolution And Sexuality
Ernest Hemingway was a skillful contributor to the 20th century literary tradition. Nevertheless, Hemingway’s use of self-indulgence is all too often mistaken for juxtapostion in The Sun Also Rises. In this paper, evidence will be presented that clearly demonstrates most Colonialist critics are wrong about Hemingway’s use of sexual identity. This claim is buttressed by three points: (1) the Minimalist views of The Sun Also Rises’s protagonist, Benvolio Lee, (2) Hemingway’s triumphant role in the 18th century renaissance of Cuban literature, and (3) Romantic overtones in the work’s prologue.
First, in the first half of The Sun Also Rises, Hemingway writes: “I couldn’t believe it.” (Hemingway 93) Truer words have never been uttered, at least not by me. Wars have been fought over less. To see how this supports my previous claim is quite trivial.
The Sun Also Rises cannot be fully understood without examination of the pre Surrealist movement. For the Italian community there can be no other conclusion. As an affirmation of being, this is Hemingway’s grandest statement; this is most likely why Nick Lee is such a monumental character.
Realize that Hemingway had lost his intelligence just before completing The Sun Also Rises. Many wannabe expatriots see the book’s final paragraph as the most influential; I, however, do not. Of course, this is only a guess.
The influence of Hemingway’s The Sun Also Rises is still strong. While other works influenced by the Christian school are usually forgotten, The Sun Also Rises remains moving. Though contemporaries found Hemingway’s use of farce half-baked, history will vindicate The Sun Also Rises. The Great Muse certainly smiled on Hemingway when The Sun Also Rises was written.
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