T. S. Eliot and Ernest Hemingway
Modernism is referred to as a philosophical movement initiated during late 19th and early 20th centuries; encapsulating massive alterations in cultural trends that galvanized the development of pervasive transformations in the Western Society (Pericles, 2000). Industrialization, urbanization and horrific consequences of World War- I collaboratively attempted to instate modernism. Modernists were exclusively philosophers that rejected the religious beliefs and many of them emphasized on the dark side of humanity.
T. S. Eliot and E. Hemingway were the modernists—sharing some commonalities and divergences in literary works and views. Both of them focused more on the situation of man as a sufferer of World War- I that attempted to shatter the hopes, optimism and resiliency of humans—they tried to make sense of the situation encountered by war victims. Both of them conjoined the war experiences with deteriorated mental health, feelings and consciousness based on the ideas of Sigmund Freud (Pericles, 2000). Both of them presented the textual depiction of fragmented self that allowed them to introduce identical characters with the synchronized flow of sensations that manumits consciousness from the consecution of rational constructs.
In the Eliot’s The Waste Land (1922) and Hemingway’s The Sun Also Rises (1926), a super colossal emphasis is laid on the rituals for revitalizing the society through shaping distinctive consideration of identical and unifying senses beyond the incorporation of human rationality (Pericles, 2000). However, Hemingway’s The Old Man and the Sea (1952) and Eliot’s Four Quartets (1943) follow individualized patterns; one emphasized moral sense whereas the other one prioritizes religious solidarity respectively. Eliot thought of religion as a galvanizer of reinforcement to develop interrelation between society and individuals whereas Hemingway emphasized the moral entity as the basic and idealistic rationale behind interpersonal relationships (Pericles, 2000). Eliot and Hemingway occupy two distinctive poles of distorted reality experiences that make them distinctive of each other.
Pericles, L. (2000). Modernism, Nationalism, and the Novel (Cambridge University Press), 38–39.
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