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1、The Lost Generation: Ernest Hemingway & F. Scott Fitzgerald,The Lost Generation,Many prominent American writers of the decade following the end of World War I, disillusioned by their war experiences and alienated by what they perceived as the crassness of American culture and its “puritanical” repre
2、ssions, are often tagged as the Lost Generation. A number of these writers became expatriates, moving either to London or to Paris in their quest for a richer literary and artistic milieu and a freer way of life. Ezra Pound, Gertrude Stein, and T.S. Eliot lived out their lives abroad, but most of th
3、e younger “exiles”, came back to America in the 1930s.,The Lost Generation,Hemingways The Sun Also Rises (1926) and Fitzgeralds Tender Is the Night (1934) are novels that represent the mood and way of life of two groups of American expatriates.,Ernest Hemingway （1899-1961）,In the work of Ernest Hemi
4、ngway, praised by Pound as a prose “imagist”, the high modernist remedy of using a disciplined, muscular, classical style to redeem the fragmentation, loss of value, and chaos both symptomatized and produced by the war, without wasting the energy of its violence, achieved its most successful fiction
5、al realization.,Hemingway learned to think of writing as a rigorous craft of producing clarity, simplicity, and strength of statement and expression while working as a young reporter for the Kansas City Star.,A Farewell to Arms (1929),The story of a young American serving as ambulance driver for the
6、 Italian army, who deserts and escapes the horror of the war with a young English nurse, only to have his idyllic sanctuary destroyed by her death in childbirth.,A Farewell to Arms (1929),Hemingways novel could be construed as romanticizing the war by a tragic love story. But the clean, hard prose k
7、eeps any sentimentality or idealism at bay.,Hemingways anti-style.,This simple declarative sentences built on a strong scaffolding of substantives (nouns) have been stripped of adverbial or descriptive excess and poetic adornment to the point where Ihab Hassan refers to Hemingways style as an anti-s
8、tyle.,The Sun Also Rises (1926),his first, and perhaps major novel,The Sun Also Rises (1926),The protagonist narrator, Jake Barnes, is a man literally castrated by the war, whose language must emblematize a mode of coping with the sterility, nihilism and corruption of the postwar modernity without s
9、elf-indulgence or self-delusion. The jaded coterie of the opening Paris episodes of the novel was based on a circle of Hemingway friends that gives The Sun Also Rises the status of a roman clef.,The Sun Also Rises (1926),Hemingways own straightness and purity of line, that is, his refusal to contriv
10、e inflated emotional effects or extravagant plots and ornamental prose, become the stylistic equivalent of the protoexistentialist stoicism that makes Jake Barnes able to accept an face existence as it is without the crutch of romanticism, idealism, or illusion.,F. Scott Fitzgerald（1896-1940）,Americ
11、an author of novels and short stories, whose works are evocative of the Jazz Age, a term he coined himself. He is considered a member of the “Lost Generation“ of the Twenties. He finished four novels, This Side of Paradise, The Beautiful and Damned, Tender is the Night and his most famous, the celeb
12、rated The Great Gatsby. A fifth, unfinished, novel, The Love of the Last Tycoon was published posthumously.,F. Scott Fitzgerald（1896-1940）,The work of Fitzgerald, gazed over these churning classes and masses populating the American landscape.,The “Jazz Age”,The era of Prohibition and wild financial
13、speculation, the jostling of Jamesian “old money” with vulgar American arrivistes.,Fitzgerald vs. Hemingway,Hemingway and Fitzgerald seem to have been influenced differently by their literary traditions, with Hemingway choosing Huckleberry Finn as his American gospel, while Fitzgerald grounded himse
14、lf in the late nineteenth-century architects of the American moral imagination, Henry James and Theodore Dreiser.,Fitzgerald vs. Hemingway,This stylistic and philosophical divergence in the strategies of Hemingway and Fitzgerald was etched in their different secular “occupations” before coming to Eu
15、rope: Hemingways stints as a reporter and journalist against Fitzgeralds work for an advertisement agency and as a contributor to Smart Set.,Fitzgerald and Conrad,Fitzgerald also read and admired the work of Joseph Conrad, and it is Conrads Heart of Darkness that leaves the clearest imprint on that
16、text.,The Great Gatsby,The Great Gatsby is Fitzgeralds tale of a single, hot Long Island summer in 1922, when Jay Gatsby, the fabulously wealthy and glamorous tycoon is unmasked and destroyed in his attempts to realize the American dream by recapturing his lost and now married sweetheart, Daisy Buchanan. But Fitzgerald keeps his focus on the same issue as Conrad the disastrous moral cost in hypocrisy and destructiveness that civilization at its most opulent and attractive entails.,
