The Sun Also Rises, written by Ernest Hemingway in 1926, portrays the different setting and characterization of few characters from the 1920s, an era of spiritual dissolutions, ignorant of love, and vanishing illusions. Realism is used as a literary movement to expose the ugly truth of life during this time period. This is the session of post World War I, when the country was in complete confusion and depression. Hemingway was also in the war. This affects his writing of the novel by making characters like Jake and Bill expatriates.
This is important to have so that later in the novel Jake and bill are able to relate and have a greater connection. Hemingway structurally brings numerous shifts into play throughout the novel to portray his ideas. He is creating a shift using setting to reveal the calmer nature of characters so that the audience can reassess them. Many of the main shifts were made throughout the changing books within the novel. The major shift from Paris to Spain takes the characters from the big city to a new setting in the countryside.
It is important to have this shift because it portrays the characterization of Jake revealing himself and taking off his mask. Jake has put up a mask to cover the real him. The characters face the shift away from the night life partying. Hemingway uses the mountains between Paris and Spain as a barrier to divide where Jakes character shift is uncovered. Hemingway makes it necessary to eliminate other characters in order for the fulcrum to happen. The fulcrum is created through characterization to unmask Jake as his true self adapting to a new environment during the fishing trip with Bill.
The pivotal moment is expressed through how Jake will function in the new surroundings. Hemingway supplants all other characters by adding in Bill, a mirror to Jake. Both Bill and Jake were in the war. Having gone through the war, this gives them a more mature and moral background than other characters. Jake is able to connect the most with Bill because of their similar background. Bill is therapeutic for Jake during the fishing trip, asking about Brett and Jakes relationship. “’Say,’ Bill said, ‘what about this Brett business? ” (Hemingway 28). Jake is able to bounce ideas of off Bill for a better understanding. It is important for Jake to be unmasked to show that the old, happy Jake can be revealed. Humor is achieved through dialogue to do this. Bill jokes around and brings out the inner Jake while joking about the stuffed dogs a night out in town. “’Pretty nice stuffed dogs,’ Bill said. ‘Certainly brighten up your flat,’” (Hemingway 78). While in Pamplona, the bull fighting symbolizes the fighting throughout the characters as well.
Pamplona exposes the truth behind Robert and his fighting rituals. Robert let go and his true colors were shown. He has always been this way, wanting to fight. Robert is taking of a mask as well. Differing from Jakes cover, Robert has a tough guy mask portrayed. In reality, Robert can’t live up to the actions and situations he allows himself to get into. This reveals he is not always doing the man like thing to do. Hemingway adds the bulls into the novel for comparison to Robert, exposing his falsehoods.
The bull is truly not afraid, whereas Robert pretends to not be afraid. Although Robert is an aficionado boxer and can fight anybody, the after affect is nothing more than cowardly. Hemingway made it a point to show the audience Roberts gutless after affect of fighting. “QUOTE” The last book in the novel shifts to symbolize the characters more thoroughly. Hemingway uses irony to show that Jake would physically be a steer, but is mentally a bull. Although Jake is “castrated”, he is aficionado and faces everything like a man.