Hemingway’s Descriptive technique

The First public War wreaked more than havoc and destruction than the world had ever fancyn before. entirely around them, people could tot tot eitheryy see death and devastation. The existing chaste structure and value systems were coming crumbling down as men kil conduct baby buster men with expose so much as a second perspective. This light-emitting diode to people questioning faith, religion, and the existence of God. They began to feel that if there really was a God, then surely he would stop the pain and suffering that human race was facing at that time? A movement slowly began to cut through over Europe, where people began to re-think and question the very meaning of life. This school of thought came to be agnizen as Existentialism.Very similar to Existentialism, was Modernism. The Modernists were people who revolted against the music, artistic creation and architecture of the times, and targeted mainly the classical and romantic st rains of literature. They were pe ople who were depressed and let down by the militarism of the times, and challenged fundamental values such as progress and enlightenment. handle the Existentialists, they too did non believe in the existing set of rules and moral philosophy that governed society, and believed it was time for a change.Both of these concepts castd Hemingway greatly, and we can see the effect of this influence clearly in his writing. The novel. A Farewell to Arms is narrated entirely from Frederick hydrogens transport of view. He has a very distinct way of describing things-short and crisp. Throughout the novel, though heat content is surrounded on all sides by death, destruction and the wreckage of war, never once do we see him dramatizing or romanticizing it. He has what one world power call a reporters eye-everything is portrayed as if being inform by a journalist, concentrating only on the concrete facts and nothing else. Hemingway does not give the commentator the opportunity to pass m oral judgement on any(prenominal) of the characters or situations, infact, Henry gives us a perfect 360 full stop view of things, and the way in which he speaks of death and casualties with such honorable normalcy almost unsettles the expiryorser.In this part of the novel, Hemingway also stresses on the differences that suck up grown between Rinaldi and Henry. Henry was injured and had to leave the front, which subsequently led to him spending time and falling deeply in love with Catherine. This succession in his life gave him the chance to change and grow as a person, he becomes more mature and very different from the Henry that we came to k immediately at the beginning of the book. Rinaldi, on the other hand, remains the way he has always been, and seems to have grown embittered and hostile towards the war. It is killing me, he says. Of Henry he says, you act like a married man, almost accusing him of having changed. In this manner, Hemingway uses Rinaldi as a foil to bring out and accent the change and growth that has taken ramble in Henry.In book of account Three of the novel, Henry and Catherines romantic interlude has ended, and the focus shifts once more from love to war. It is once again Autumn, and the trees were all bare and the roads were sluggish Hemingway continues with his use of rain and water as a bad omen. mess up here also represents the unclarity and uncertainty of the times. Later, in chapter 28, mud acts as an resister of sorts, when the ambulances get stuck in it, and this leads to Henry shooting a crevice Italian officer.The contrast between the plains and the mountains, which Hemingway had established in earlier chapters, is laid out more explicitly here when Henry, while speaking to a driver named Gino, tells him that he does not believe that a war can be fought and won in the mountains. This establishes the mountains not only as a place of quiescence and tranquility, but also of refuge.Rain also seems to be present du ring Book Three. In Chapter 27, it begins to pour, and this marks the beginning of the Italian retreat. By the evening, the rain turns to snow for a while, giving the men a glimmer of hope, only to start raining again. The reader is so tuned into the rain- death symbolism by now that when, over dinner, a driver known as Amyno says, To-morrow mayhap we drink rainwater, we are left with a deep sense of anticipation and doom.Perhaps the most important bit of symbolism in the full-length novel comes in Chapter 28 of Book Three. It is the climax of the novel, and the action is all downhill from then onwards. Here, Henry deserts the war at bulky last, it is something that has been in the pipeline for many a chapter. Chaos seems to be at large, as Henry witnesses Amyno being shot by a fellow Italian. As he says, We are in more danger from Italians than from Germans. Henry had never felt any duty or obligation to the Italian army, he always seemed to be isolated from the war, and so it s eems as if all this time Hemingway was preparing us for this very moment. When Henry plunges headlong into the river, effectively abandoning the war, the reader is not shocked, and does not feel the urge to pass judgement of any sort, because he understands Henrys motives for desertion. His dive into the river is Hemingways way of signaling a Re-Birth or Baptism of sorts, as when Henry comes out of the water, he is a changed man, who has made his own peace with the war. This is further exemplified when Henry says, Anger was washed away in the river on with any obligation,Also, while Henry is clutching on to the piece of timber and be adrift down the river, we notice that though the entire novel up until that acid has been entirely in the first person (I), the narration now shifts for a brief moment, and Henry begins to use the words you and we. The result of this is that the reader feels much closer to Henry, and gets a chance to put himself in Henrys shoes. Its as if Hemingway w ants us all to be Fredrick Henry, if only for a moment.At the end of Book Three, we see Henry traveling in a make car used to transport guns, and thinking quietly about what he has just done, and about his love for Catherine. Again, Hemingway uses the second-person narrative, as Henry justifies his desertion to himself by thinking, You were out of it now, you had no more obligation.Thus, Hemingway effectively utilizes these various descriptive techniques and employs them to rifle away the layers of glory and honour that surround the war, instead showing us the honest, brutal face of war. The novel reaches its climax in Book Three, and we see descending action from here onwards.