The Hemingway style has probably been as analyzed as any in American literature. From a reductionist perspective the Hemingway style translates to the Hemingway man and Hemingway code, an ideology that is typically seen to encompass the machismo male hero who purposefully woos danger in order to prove himself, a man who is terse with words, has an intimate relationship with alcohol and who is obsessed with fear and courage. In A Farewell To Arms, we are treated to a love affair between an army ambulance driver and an English nurse. Throughout the novel we are treated to may incidents that form the Hemingway style. Before looking at these, it is important to address another technique that is synonymous with the Hemingway style, understatement. We see this at the end of chapter 1, when after describing the dour conditions of war, Hemingway writes “at the start of the winter came the permanent rain and with the rain came the cholera. But it was checked and in the end only seven thousand died of it in the army” (Hemingway 2).
Hemingway’s style also encompasses plenty of allusions to classical literature and culture and to Christian mythology. We see this in the novel when Frederic gets into a drinking match because of the major, and like any Hemingway hero, he likes to drink: “The major said that he had heard a report that I could drink. I denied this. He said it was true and by the corpse of Bacchus we would test whether it was true or not. Not Bacchus, I said. Not Bacchus. Yes, Bacchus, he said” (Hemingway 29). The Hemingway character and style also embody an awareness of mortality and the meaninglessness of man in the face an indifferent universe. His characters are often proving themselves against other humans or openly challenging nature, a dilemma Hemingway would perfect by the time he wrote The Old Man and the Sea.
Hemingway’s style also incorporates the use o