Monthly Archives: September 2015

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“The Battler” as a coming-of-age story

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When we discussed “The Battler” by Ernest Hemingway in class, we mentioned how it seemed to be a coming-of-age story. Many of us were reminded of stories such as Huckleberry Finn and Catcher in the Rye. This connection is pretty obvious –these stories all feature a young boy lost in a big world, who learns some sort of lesson about life or adulthood by the end of the story. However, we discovered in class that it’s a bit more difficult to classify “The Battler” as a true coming-of-age story. For one, it’s a short story, so it gives us less to work with and decipher than those classic novels do. However, the main issue is the ambiguity of the ending –we are not sure if Nick has learned anything at all from the encounter, especially not something important enough to be associated with his “coming of age”.  We discussed this ambiguity in class, but we didn’t ask the question that interests me now: why? If Hemingway intended for this story to be a coming-of-age story, why make it so difficult to understand the message? The previously mentioned coming-of-age books, Huckleberry Finn and Catcher in the Rye, have clear messages that they establish through the “journey” of their main characters. It is fairly obvious in both (particularly Huck Finn) in which ways the main characters come of age and what they learn, and it’s completely clear that they do come of age in some way. “The Battler”, again, is a different story –nothing is clear. Perhaps Hemingway does this as a reflection of his realistic views on growing up. These coming-of-age stories, though often inspiring, can be seen as unrealistic in the “real world”, as many things in life do not contribute to some sort of life lesson and are just arbitrary and meaningless.

-Audrey Doidge

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Reflection

The Meaning of Modernism

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Reflection on Modernism

As we approach the due date for our first major essay, I thought I’d take this opportunity to explain my notion of Modernism gained from our in-class discussions and analyses.

Modernism began as a reactionary movement against the changes in society brought on by the Industrial Revolution. As science and technology transformed the social and economic landscape of Western civilization, productivity and innovation came to be regarded as the keystone principles at the forefront of societal progress. Communities began to value science over the traditional humanities, and leaders in education experienced conflict over the role of non-scientific subjects in producing well-educated citizens, as seen in the heated debate between Huxley and Arnold. In a world of factories, mass production, and ever-accelerating technological progress, efficiency became paramount in all pursuits. As countries honed their industries and pushed for greater profits, that same discerning eye was turned onto literature. What was the role of literature, a traditionally lofty and abstract field, in a world increasingly concerned with the concrete, the measurable, and the profitable?

The uncertainty of the role of literature in a ‘modern’ society is the fundamental question Modernists sought to answer. Pervasive doubt over the definition and worth of literary merit forms a common thread linking the different off-shoot movements of Modernism we have discussed in class. Ezra Pound sought to incorporate literature into the realm of science by imposing empirical values onto the literary form, uniting the utility of science as a means for expanding human knowledge with literature as a means of expanding the human soul. Imagism, as defined by Ezra Pound and Amy Lowell, addressed the ambiguity of sensation and perception by capturing only the essential aspects of an idea, isolating the point of confluence between absolute reality and human reality. The function of literature as a means of addressing ambiguity was further expanded by Ernest Hemingway, in whose short stories “The Battler” and “The End of Something”, the character Nick Adams experiences significant conflicts whose ultimate implications are left unsaid, existing only under the surface of the narrative, inviting interpretation. Throughout these works, the central meaning often begets a greater complexity or unknowability, reflecting a broad appreciation of the mercurial ambiguity of modern reality. I believe that this tension in the relationship between the concept of modernity and the demands of reality is the defining characteristic of Modernism and the artists who worked to define and re-define it.

 

Carolyn Baxter

Reflection

Do Lowell and Pound agree?

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During week 2 of class, we read two articles that explained the concept of imagism. The first being, “A Retrospect” and “A Few Don’ts” by Ezra Pound. The second being, “Preface to Some Imagist Poets”  by Amy Lowell. Many people have found differences in the two’s definition of imagism, however, I have found that they agree on the important stuff. The important stuff being: rhythm and form, clarity, and the use of imagery (duh).

The last point of agreement, imagery, seems obvious to have when describing imagist poetry because it is in the name itself. However, agreeing on rhythm and form and clarity is quite the importance. By rhythm and form, I mean that both Pound and Lowell believed that it was not necessary to follow a certain meter while writing in poetry. Lowell says that free verse should be fought for as a “principle of liberty” and that the new rhythms found in free verse convey “new moods”. By being modernist, one would assume there would be modern rhythms and not “old rhythms, which merely echo old moods” like those in a set meter. Pound agrees that composition “in the sequence of a metronome” is not the best rhythm. Pound believes the poems should be “composed in the sequence of the musical phrase”.

Miraculously, the pair not only agree on the use of free-verse, but they also agree on being succinct in way they are trying to convey. In Lowell’s words, the job of the imagist is “to produce poetry that is hard and clear, never blurred nor indefinite”. In other words, don’t beat around the bush in what you are trying to say. It isn’t necessary to have an extended metaphor that extends through out the whole poem and is up for 87 different interpretations. Pound agrees that the imagist should have “direct treatment of the ‘thing'” in which they are writing about. As someone who greatly appreciates clarity, I’m incredibly glad that both Pound and Lowell think it is good to be straight forward.

Lastly, does the importance of imagery in imagist writing really need to be explained? It seems pretty straight forward to me. Kind of like, you need a basketball to play a basketball game. Or you need to know how to write, to write an essay. So, I’m not really surprised they agreed on that front. I’d be more surprised if they disagreed.

 

Dani Shewmake

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Reflection

“In a Station of the Metro”

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This poem has been stuck on my mind for a while, so now I’m finally going to post about it; more specifically, the switch from the colon to the semicolon. Although this shift in punctuation may seem completely trivial, it definitely impacts my interpretation of the work. According to the Oxford Dictionary, a colon is used “between two main clauses in cases where the second clause explains or follows from the first,” whereas a semicolon is used “between two main clauses that balance each other and are too closely linked to be made into separate sentences.” Taking these two definitions into account, I think I can see why Pound made the change. In the earlier version, “the faces in the crowd” are LIKE “petals on a wet, black bough.” However, in the revised version, the faces ARE petals. The former suggests that the faces appear to be petals while the latter implies that the two are equal and the same. Therefore, I believe Pound is representing the close relationship between humanity and nature. Nature and man are on equal footing, and Pound makes his message more apparent by converting the colon into the semicolon. Since he spent 13 years contemplating this change, I’m assuming it is crucial to the interpretation of the poem, and I believe that the switch does have a significant impact on the analysis of the lines. If I had only read the more recent version, I probably could’ve guessed what Pound is conveying, but reading the earlier one definitely reinforces my beliefs. I usually don’t regard extremely short poems like “In a Station of the Metro” with much importance, but I think that the punctuation shift is worth noting, and Pound’s message is beautiful.

Anna Truong

Reflection

“Charge of the Light Brigade” and “The Dead”

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I read “The Charge of the Light Brigade” in my European History class in high school, and I really enjoyed it. I found our recent discussion in class interesting, but I have some differing viewpoints. First, I agree that the work is a eulogy that is meant to glorify the actions of the men who perished in combat. However, I disagree that the author is expressing the senselessness of the war. Tennyson is conveying that although the specific purposes of the war may not have been completely understood by the soldiers,  the men are willing to risk everything for the sake of their hopes, dreams, wishes, and country. To be clear, this sense of duty is not blind. The men are not aware of the exact political or strategic objectives at hand, but this is irrelevant to Tennyson’s purpose. The soldiers are willing to enter the dangerous war because they have individual, as well as nationalist, motivations. Their families and desires spur them to do everything in their power to protect the prospects of their futures, even if it means risking their lives. The battlefield might be a “valley of Death” or the “mouth of Hell,” yet the men enter it regardless.  Therefore, I view “The Charge of the Light Brigade” as a kind of nationalist piece solely meant to glorify the battle and inspire the populace.

I appreciate the contrast “The Dead” provides from the first poem.  It is notably a Shakespearean sonnet, and as a result, the diction is more melodic and poetic, and the tone is nostalgic and soothing. Even though the poem seems to be tranquil and serene, I feel that Brooke is subtly guilting and blaming society for the deaths of the soldiers. By glorifying the civilian aspect of the soldiers’ lives and exaggerating the joys of mundane occurrences, he insinuates that their deaths are meaningless. Since the men’s lives are cut short, they will never be able to experience simple pleasures such as “the stir of wonder,” “rich skies,” and “waves that dance.” At the poem’s conclusion, I feel slightly unsettled knowing that these men perished at preventable means.

Although “Charge of the Light Brigade” and “The Dead” discuss men in combat, the purpose of each are distinct. Tennyson extols the fallen soldiers in a nationalist manner, whereas Brooke suggests that promising lives are lost in meaningless wars. Determining the authors’ intents was somewhat challenging because it required noticing subtleties, but I enjoyed each poem and respect the differing perspectives.

Reflection

The Changed View of War: Reflection on “The Charge of the Light Brigade” and “The Dead”

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Alfred Lord Tennyson’s poem, “The Charge of the Light Brigade” highlights a moment during the Crimean War where 600 British soldiers mistakenly charged heavily fortified Russian artillery forces after receiving incorrect orders. Subsequently, most of them died without having gained much during the attack. Rather than describing the pointless loss of life during that charge, Tennyson chooses to glorify the soldiers’ choice to courageously follow through with the orders without hesitation over its feasibility. Nowadays, we might refer to this as “blind obedience”, and would rarely declare it an act of valor. Instead, most of us would feel contempt towards the leader giving orders and pity for the soldiers who followed them. In the 19th century, the battlefield was considered just as much a place for nations to show off their “muscle” and military wit as it was to settle diplomatic disputes. Sixty years later, this mentality led to several European powers being eager to find an excuse to wage war with one another. When that excuse finally arrived and the First World War began, the mentality dramatically shifted as tens of thousands of people were dying every day without a clear reason as to why. War no longer seemed distant as the possibility of knowing someone who died in battle severely increased with each passing year. War became personal. Rupert Brooke describes it best in his poem “The Dead”. Brooke individualizes the perished troops and gives them a “story” to their lives. The poem consists of descriptions of very human experiences such as love and watching sunsets. He makes it very clear that all those who died in battle were not born soldiers. They shared the same experiences we have every day and would most likely continue those experiences for several more years had they not died in battle. Brooke highlights that any loss of life is cruel as it terminates the human experiences we all partake in. If anything, Brooke is trying to glorify the men who died based on how they lived rather than what they were doing when they died.

Reflection

“The Dead” & WWI poetry

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I chose to analyze “The Dead” by Rupert Brooke (although I’ll bring up “The Charge of the Light Brigade” if I run out of ideas before 10 minutes pass). At first glance, “The Dead” seems to fit the typical mold of a World War I poem, as it it appears to be a perversion of the classical poetry at the time. It is beautiful, lyrical, and mentions nature, yet its subject matter is death. While this is normal for a World War I poem, it does stand out in some ways from other WWI poetry. For one, many WWI poems address the reader as “you”, which Brooke does not do. This poem also seems to have more idealism than other WWI poetry. For example, CH Sorley also mentions victims of the war in his poem “When you see millions…”, but his poem is very dark and startling. This poem by Brooke only mentions the beautiful parts of life that these soldiers left behind, which idealizes them. (ugh sorry)

Reflection

Reflection on “The Dead”

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“The Dead” is a somber meditation on human loss. It is both reverent and mournful, celebrating the richness of life while echoing the utter emptiness felt in the wake of tragedy.

In contrast with the bold eulogizing tone of “The Charge of the Light Brigade”, “The Dead” concerns itself not with the honor of battle but rather with the emotional cost of war; the speaker focuses attention on the individuals lost in conflict, whose lives held meaning beyond the context of war and whose legacy is defined by sorrow rather than glory. Allusions to nature reinforce the ephemeral loveliness of life, the complexity and subtlety of which is broken by the jarring pivotal phrase “All this is ended now”. The final lines describe lively waters brought to stillness by frost, mirroring the quiet, sobering impact of war on both its victims and survivors.

This poem had a profound effect on me. I found myself unprepared for the mention of “a width, a shining peace, under the night” which drew the poem to a close by attaching gentle, natural imagery to the ending of life. While undeniably mournful, “The Dead” also conveys a sense of serenity in death, a bittersweet concept that lingers in the mind, deeply humbling and vaguely haunting.