中文题目：浅谈《太阳依旧升起》的主题
英文题目：Major themes of The Sun Also Rises
提纲：The Sun Also Rises is a 1926 novel written by American author Ernest Hemingway about a group of American and British expatriates（流浪者） who travel from Paris to the Festival of Fermín in Pamplona to watch the running of the bulls and the bullfights. An early and enduring（不朽的） modernist novel, it received mixed reviews upon publication. Hemingway biographer（自传作家） Jeffrey Meyers writes that it is "recognized as Hemingway's greatest work", and Hemingway scholar（学者） Linda Wagner-Martin calls it his most important novel. The novel was published in the US in October 1926 by the publishing house Scribner's. A year later, in 1927, the British publishing house Jonathan Cape published the novel in England with the title of Fiesta（喜庆日，嘉年华）. Since then it has been continuously in print.
《太阳依旧升起》是美国作家米勒尔·海明威在1926年写的一部小说
Hemingway began writing the novel on his birthday (21 July) in 1925, finishing the draft（草稿） manuscript（手写本） barely two months later in September. After setting aside the manuscript for a short period, he worked on revisions（修订） during the winter of 1926. The basis for the novel was Hemingway's 1925 trip to Spain. The setting（背景） was unique and memorable（值得记忆的）, showing the seedy（不愉快的） café life in Paris, and the excitement of the Pamplona（潘普洛纳）festival, with a middle section devoted to（用于） descriptions of a fishing trip in the Pyrenees（ 比利牛斯山脉）. Equally unique was Hemingway's spare writing style, combined with his restrained use of description to convey（表达） characterizations and action, which became known as the iceberg（冰山） theory（理论）.
On the surface the novel is a love story between the protagonist（故事的主角） Jake Barnes—a man whose war wound has made him impotent—and the promiscuous divorcée Lady Brett Ashley. Brett's affair with Robert Cohn causes Jake to be upset and break off his friendship with Cohn; her seduction（诱惑） of the 19-year-old matador（斗牛士） Romero（罗梅） causes Jake to lose his good reputation（名声） among the Spaniards（西班牙人） in Pamplona. The novel is a roman à clef; the characters are based on real people and the action is based on real events. In the novel, Hemingway presents his notion（观点） that the "Lost Generation"（迷惘的一代）, considered to have been decadent（颓废的）, dissolute（放荡的） and irretrievably damaged by World War I, was resilient and strong.
Additionally, Hemingway investigates the themes of love, death, renewal in nature, and the nature of masculinity.
海明威的成名作是长篇小说《太阳依旧升起》。小说主要内容是描写一群英美青年战后流落巴黎的生活。主人公杰克·巴恩斯是位美国记者，战争期间与英国女护士布莱特倾心相爱。但因一次受伤而丧失性爱能力，因此炽热的爱情不仅
未能给他带来幸福，反而造成两人精神上的难言的痛苦。布莱特在失望之余变得消沉放荡，整日出没于酒吧、咖啡馆与斗牛场，并且同美国作家罗伯特、斗牛士罗梅等人之间发生爱情纠葛。他们流落异乡，表面上看其生活快乐惬意，但背后却潜伏着一种绝望、颓废情绪。战争给他们造成的生理与心理的创伤，使他们迷茫厌世，生活变得毫无目标与意义，仅仅是借助纵酒狂欢、放纵不羁来麻醉自我，忘却痛苦，逃避现实，寻找暂时的解脱。在他们看来，一切状态都不会改变，人生短暂而宇宙永恒，如同太阳一天天依旧升起一样。小说前页引用了老作家斯泰因的一句题辞：“你们都是迷惘的一代。”由于该小说真实地表现了第一次世界大战后整整西方一代青年精神的迷惘与困惑、幻灭与痛苦，因而被公认为“迷惘的一代”文学的宣言书与代表性作品。
===============以下为正文，请根据你学校的要求设置好以下内容的格式，设计好页面的板式。
Major themes主题
（1） Paris and the Lost Generation法国和迷惘的一代
（2） Gertrude Stein in 1924 with Hemingway's son Jack. She coined the phrase
"Lost Generation".
The first book of The Sun Also Rises is set in mid-1920s Paris. Americans were
drawn to（被吸引到） Paris in the Roaring Twenties by the favorable exchange（贸易） rate, with as many as 200,000 English-speaking expatriates（外籍人） living there. The Paris Tribune（论坛） reported in 1925 that Paris had an American Hospital, an American Library, and an American Chamber of Commerce（商会）. Many
American writers were disenchanted with the US（对美国不在抱有幻想）, where they found less artistic freedom than in Europe. Hemingway had more artistic freedom in Paris than in the US at a period when Ulysses, written by his friend James Joyce, was banned（禁止） and burned in New York.
太阳依旧升起的第一部书是以20世纪20年代的巴黎为故事背景。由于非常吸引人的贸易比率，在20世纪初期美国人被吸引到了巴黎，和20多万说英语的外籍人住在一起。在1925年，巴黎论坛发表了报告，巴黎已经有了美国人的医院，美国人的图书馆，还有一个美国人的商会。许多美国人已经对美国不在抱有幻想，和欧洲相比，在美国他们有更少的艺术自由。和美国相比，在巴黎海明威有更多的艺术自由，而在纽约，他的朋友写的著作却被完全地禁止。
The themes of The Sun Also Rises are apparent（明显的） from its two epigraphs（题词）. The first is an allusion（暗指） to the "Lost Generation", a term coined（创造） by Gertrude Stein referring to the post-war（战后） generation; the other epigraph is a long quotation（引用） from Ecclesiastes: "What profit（利益，有益于） hath a man of all his labour which he taketh under the sun? One generation passeth away, and another generation cometh: but the earth abideth for ever. The sun also ariseth, and the sun goeth down, and hasteth to his place where he arose."[ Hemingway told his editor（编者） Max Perkins that the book was not so much about a generation being lost, but that "the earth abideth forever". He thought the characters in The Sun Also Rises may have been "battered" but were not lost.
从文章的两个题词，我们可以很容易地理解《太阳依旧升起》这篇文章的主题。第一个题词是“迷惘一代”的暗指，指的是战后的一代；另一个题词是出自于圣经当中：“什么利益促使一个男人献出了他的所有劳动力？一代过去，另一代又来，地狱永远长存。太阳依旧起起落落，徘徊于他升起的地方。”海明威告诉他的编者Max Perkins，这本书对于迷惘的一代讲述的不是很多，而是想阐述一个观点“地球依旧存在”。他认为《太阳依旧升起》这部书中的角色可能已经消失但是他的精神是不会消失的。
Hemingway scholar（学者） Wagner-Martin writes that Hemingway wanted the book to be about morality（道德规范）, which he emphasized（强调） by changing the working title from Fiesta to The Sun Also Rises. The book can be read either as a novel about bored（令人厌烦的） expatriates（居住在国外的人） or as a morality（道德） tale （故事）about a protagonist（主角） who searches for integrity（正直） in an immoral（放荡的） world. Months before Hemingway left for Pamplona潘普洛纳, the press was depicting（描述） the Parisian（巴黎人） Latin Quarter, where he lived, as decadent（堕落的） and depraved. He began writing the novel as a story of a matador（斗牛士） corrupted（堕落） by the influence of the Latin Quarter crowd（人群）; he then expanded（发展） it into a novel about Jake Barnes at risk of being corrupted by the wealthy and inauthentic（不可靠的） expatriates.
海明威学者Wagner-Martin写道：海明威通过把文章的标题由《嘉年华》改变为《太阳依旧升起》，想让这本书成为道德规范。这本书能够被看作是一部讲述令人厌烦的居住在国外的人的小说，也可以被看作是一部讲述主人公在放荡的社会寻找正义的道德故事。在海明威前往潘普洛纳的前几个月，出版社已经在描述巴黎的Latin Quarter，他生活和堕落的地方。海明威开始写这部小说，讲述的是一个斗牛士受Latin Quarter群体影响，从此变得堕落；进而，他在把他变为一部小说，讲述巴恩斯正处在财富和不可靠侨民迫害的危机中。
Hemingway at home in his apartment（公寓） on the Left Bank（左岸）, Paris, 1924 The characters（角色） form a group, sharing similar norms（标准）, and each greatly affected by the war. Hemingway captures（表达） the angst（烦扰） of the age and
transcends（超越） Brett and Jake's love story, although they are representative（代表人物） of the period: Brett勃莱特 is starved（急需的） for reassurance（安慰） and love and Jake is sexually（在性方面的） maimed（损伤）. His wound symbolizes（象征） the disability of the age, the disillusion（理想破没）, and the frustrations（挫折） felt by an entire generation.
1924年，海明威回到了他在巴黎左岸的家。这部书中的角色，都共享着相同的标准，都受到了战争的影响。虽然勃莱特和杰克是这个时期的代表性人物，但是海明威仍然表达了他对时代和超越勃莱特和杰克爱情故事的烦扰。勃莱特对安慰和爱情是多么的渴望。杰克在性能力方面是受损伤的。他的伤害象征这个群体对于时代，理想，和挫折的无能为力。
Hemingway thought he lost touch with（和„失去联系） American values（美国人的价值观） while living in Paris, but his biographer（传记记者） Michael Reynolds claims the opposite, seeing evidence（迹象） of the author's midwestern American（美国中西部的） values in the novel. Hemingway admired（欣赏） hard work. He portrayed（描绘） the matadors（斗牛士） and the prostitutes（妓女）, who work for（为„而工作） a living, in a positive（积极） manner（态度）, but Brett, who prostitutes herself（糟蹋她自己）, is emblematic（象征） of "the rotten（腐朽） crowd（人群）" living on inherited(继承的) money. It is Jake, the working journalist（新闻工作者）, who pays the bills again and again when those that can pay do not. Hemingway shows, through Jake's actions, his disapproval of（谴责） people who did not pay up（付清）. Reynolds雷诺 says that Hemingway shows the tragedy（不幸）, not so much of the decadence（堕落） of the Montparnasse蒙帕尔纳斯crowd, but of the self-destruction（自毁） of American values of the period. As such（同样地） the author created an American hero who is impotent and powerless（在性方面有缺陷的）. Jake becomes the moral（情感） center of the story. He never considers himself part of the expatriate（居住在国外的） crowd because he is a working man; to Jake a working man is genuine（真实的，真诚的） and authentic（可靠的）, and those who do not work for a living spend their lives posing.
海明威认为住在巴黎他失去了美国人的价值观，但是他的传记记者却不这样认为，从这部小说中他可以看出作者的美国中西部的价值观。海明威欣赏努力工作的态度。他描绘了斗牛士和妓女以一种积极的态度为了生活而努力的工作，但是勃莱特糟蹋自己的生活态度，却是依靠遗留下来的财产生活 的腐朽人群的象征。 杰克，作为一名新闻工作者，本不应该他来付出的，却一次次的由他来买单。对于人们的谴责，杰克还无法还清。雷诺表示海明威在文章中表达着不幸，与其说是蒙帕尔纳斯人群的堕落，还不如说是美国人价值观的自毁。同样地，作者构造了一个在性能力方面有缺陷的美国英雄，杰克成为这个故事的情感中心。他从来没有把自己看做是居住在国外的人群，因为他仅仅是一名工作人员；对于杰克来说，工作人员是真诚的和可靠的，而不为生活而工作的人们总是在浪费生活。
（2）Women and love
In Lady Brett Ashley, Hemingway created a character who reflected her time. Paris was a city where divorce was common and easy to be had in the mid-1920s. The twice-divorced Brett represented the liberated new woman. James Nagel writes that Hemingway created in Brett one of the more fascinating women in 20th-century American literature. Sexually promiscuous, she is a denizen of Parisian nightlife and cafés. In Pamplona she is out of her element and causes chaos: in her presence, the men drink too much and fight; she seduces the young bullfighter; she literally
becomes a Circe in the festival. Critics describe her variously as complicated, elusive, and enigmatic; Donald Daiker writes that Hemingway "treats her with a delicate balance of sympathy and antipathy". She is vulnerable, forgiving,
independent—qualities that Hemingway juxtaposes with the other women in the book, who are either prostitutes or overbearing nags.
Nagel considers the novel a tragedy. Jake and Brett, in spite of their love, have a relationship that becomes destructive because the love cannot be consummated. Brett destroys Jake's friendship with Cohn, and in Pamplona she ruins his hard-won reputation among the Spaniards. Meyers sees Brett as a woman who wants sex
without love while Jake can only accept love without sex. Although Brett sleeps with many men, it is Jake she loves. Dana Fore writes that Brett is willing to be with Jake in spite of his disability, in a "non-traditional erotic relationship".Other critics such as Leslie Fiedler and Nina Baym see her as a supreme bitch; Fiedler sees Brett as one of the "outstanding examples of Hemingway's 'bitch women'". Jake ends up pimping Brett to Romero and becomes bitter, as when he says, "Send a girl off with a man .... Now go and bring her back. And sign the wire with love."
Critics interpret the Jake–Brett relationship in various ways. Daiker suggests that Brett's behavior in Madrid—after Romero leaves and when Jake arrives at her
summons—reflects her immorality. Scott Donaldson thinks Hemingway presents the Jake–Brett relationship in such a manner that Jake knew "that in having Brett for a friend 'he had been getting something for nothing' and that sooner or later he would have to pay the bill". Daiker notes that Brett relies on Jake to pay for her train fare from Madrid to San Sebastián, where she rejoins her fiancée Mike. In a piece Hemingway cut, he has Jake thinking, "you learned a lot about a woman by not sleeping with her".By the end of the novel, Jake likely has changed—although he loves Brett, he undergoes a transformation—and in Madrid he finally begins to
distance himself from her. Reynolds believes that Jake represents the "everyman" and that in the course of the narrative he loses his honor, faith, and hope. He sees the novel as a morality play with Jake as the person who loses the most.
（3）The corrida, the fiesta, and nature
Ernest Hemingway (in white trousers) fighting a bull in the amateur corrida at Pamplona fiesta, July 1925.
In The Sun Also Rises, Hemingway contrasts Paris with Spain, and the frenzy of the fiesta with the tranquillity of the Spanish landscape. Spain was Hemingway's favorite European country; he considered it a healthy place, and the only country "that hasn't been shot to pieces".] He was profoundly affected by the spectacle of bullfighting, writing, "It isn't just brutal like they always told us. It's a great tragedy—and the most beautiful thing I've ever seen and takes more guts and skill and guts again than anything possibly could. It's just like having a ringside seat at the war with nothing going to happen to you."[ He demonstrated what he considered the purity in the culture of bullfighting—called afición—and presented it as an authentic way of life, contrasted against the inauthenticity of the Parisian bohemians.To be accepted as an aficionado was rare for a non-Spaniard; Jake goes through a difficult process to gain acceptance by the "fellowship of afición".Hemingway scholar Allen Josephs thinks the novel centers around the corrida, (the bullfighting), and how each character reacts to it. Brett's reaction is to seduce the matador; Cohn fails to understand and expects to be bored; Jake understands fully because only he moves between the world of the inauthentic expatriates and the authentic Spaniards; the hotel-keeper Montoya is the keeper of the faith; and Romero is the artist in the ring—he is both innocent and perfect and the one who bravely faces death. The corrida is presented as an idealized drama where the matador faces death, creating a moment of existentialism, or nada (nothingness), broken when death is vanquished and the animal killed.
Hemingway named his character Romero for Pedro Romero, shown here in Goya's etching Pedro Romero Killing the Halted Bull (1816).
Hemingway presents matadors as heroic characters dancing in a bullring. He
considered the bullring as war with precise rules, in contrast to the messiness of the real war that he, and by extension Jake, experienced. Critic Keneth Kinnamon notes that young Romero is the novel's only honorable character. Hemingway named Romero after Pedro Romero, an 18th-century bullfighter who killed thousands of bulls in the most difficult manner: having the bull impale itself on his sword as he stood perfectly still. Reynolds says Romero, who symbolizes the classically pure
matador, is the "one idealized figure in the novel".Josephs says that when Hemingway changed Romero's name from Guerrita and imbued him with the characteristics of the historical Romero, he also changed the scene in which Romero kills a bull recibiendo (receiving the bull) in homage to the historical namesake.
Before the group arrives in Pamplona, Jake, Bill and Cohn take a fishing trip to the Irati River. As Harold Bloom points out, the scene serves as an interlude between the
Paris and Pamplona sections, "an oasis that exists outside linear time". More importantly, on another level it reflects "the mainstream of American fiction
beginning with the Pilgrims seeking refuge from English oppression"—the prominent theme in American literature of escaping into the wilderness, as seen in Cooper,
Hawthorne, Melville, Twain, and Thoreau. Fiedler calls the theme "The Sacred Land"; he thinks the American west is evoked in The Sun Also Rises by the Pyrenees and even given a symbolic nod with the naming of the "Hotel Montana". In Hemingway's writing, nature is a place of refuge and rebirth, according to Stoltzfus, where the
hunter or fisherman gains a moment of transcendence at the moment the prey is killed. Furthermore, nature is where men are without women: men fish, men hunt, men find redemption. In nature Jake and Bill do not need to discuss the war because their war experience, paradoxically, is ever-present. The nature scenes also serve as
counterpoint to the fiesta scenes.
All of the characters drink heavily during the fiesta and generally throughout the novel. In his essay "Alcoholism in Hemingway's The Sun Also Rises", Matts Djos says the main characters exhibit alcoholic tendencies such as depression, anxiety and sexual inadequacy. He writes that Jake's self-pity is symptomatic of an alcoholic, as is Brett's out-of-control behavior. William Balassi thinks that Jake gets drunk to avoid his feelings for Brett, notably in the Madrid scenes at the end where he has three
martinis before lunch and drinks three bottles of wine with lunch. Reynolds, however, believes the drinking becomes more relevant when set against the historical context of Prohibition in the United States. The atmosphere of the fiesta lends itself to
drunkenness, but the degree of revelry reflects a reaction against Prohibition. Bill, visiting from the US, drinks in Paris and in Spain. Jake is rarely drunk in Paris where he works, but on vacation in Pamplona he drinks constantly. Reynolds says that
Prohibition split attitudes about morality, and in the novel Hemingway made clear his dislike of Prohibition.
（4）Masculinity and gender
Critics have seen Jake as an ambiguous code hero of Hemingway manliness. Critic Philip Young believes that Jake is an extension of Hemingway's autobiographical character Nick Adams, first introduced in his earlier short stories. However, Kathy and Arnold Davidson write in "Decoding the Hemingway Hero" that neither Jake nor the novel itself should be minimized to such an extent, for there are many ambiguities. For example, in the bar scene in Paris, Jake is angry at the homosexual men. Elliot believes that Hemingway viewed homosexuality as an inauthentic way of life, but he aligns Jake with homosexual men because, like them, he does not have sex with women. Jake's anger shows his self-hatred at his inauthenticity and lack of
masculinity. His sense of masculine identity is lost—he is less than a man.
Hemingway's writing has been called homophobic. For example, in the fishing scenes, Bill confesses his fondness for Jake but then goes on to say, "I couldn't tell you that in New York. It'd mean I was a faggot." Elliot wonders if Jake's wound perhaps signifies latent homosexuality, rather than only a loss of masculinity. Romero is the symbol of
masculine identity; at the bullring Jake can only be a spectator. The Davidsons write that Romero reflects the code of masculinity in his bravery, and that Brett is attracted to him for this reason. Jake destroys the code hero Romero in bringing Brett to him, diminishing him and diminishing his own afición.
Critics have examined issues of gender misidentification that are prevalent in much of Hemingway's work. He was interested in cross-gender themes, as shown by his depictions of effeminate men and boyish women. In his fiction, a woman's hair is often symbolically important and used to denote gender. Brett, with her short hair, is androgynous and compared to a boy—yet the ambiguity lies in the fact that she is described as a "damned fine-looking woman". Her feminine traits are minimized and her masculine traits emphasized. Daiker speculates that Romero may have left Brett because he disliked her image and her short hair; she lacked the womanly qualities he wanted.
Anti-semitism
Hemingway has been called anti-semitic, most notably because of the language he used and the characterization of Robert Cohn in the book. Cohn is often referred to as "kike" or Jew. It was Harold Loeb, on whom Cohn's character is based, who perhaps lost the most when Hemingway immortalized him as the unlikeable Jew in the story. As Susan Beegel writes about Cohn, "Hemingway never lets the reader forget that Cohn is a Jew, not an unattractive character who happens to be a Jew but a character who is unattractive because he is a Jew." Shunned by the other members of the group, Cohn is characterized as "different", unable or unwilling to understand and participate in the fiesta. Cohn is never really part of the group—separated by his difference or his Jewishness. Reynolds writes that in 1925 Loeb should have declined Hemingway's invitation to join them in Pamplona. Before the trip he was Lady Duff's lover and Hemingway's friend; during the fiasco of the fiesta he lost Lady Duff and
Hemingway's friendship, but more importantly Hemingway based on Loeb a character chiefly remembered as a "rich Jew". Hemingway critic Josephine Knopf thinks
Hemingway likely intended to depict Cohn as a "shlemiel" (or fool), but that Cohn is the least authentically presented character in the book, lacking any of the
characteristics of a traditional "shlemiel".
中文题目：浅谈《太阳依旧升起》的主题
英文题目：Major themes of The Sun Also Rises
提纲：The Sun Also Rises is a 1926 novel written by American author Ernest Hemingway about a group of American and British expatriates（流浪者） who travel from Paris to the Festival of Fermín in Pamplona to watch the running of the bulls and the bullfights. An early and enduring（不朽的） modernist novel, it received mixed reviews upon publication. Hemingway biographer（自传作家） Jeffrey Meyers writes that it is "recognized as Hemingway's greatest work", and Hemingway scholar（学者） Linda Wagner-Martin calls it his most important novel. The novel was published in the US in October 1926 by the publishing house Scribner's. A year later, in 1927, the British publishing house Jonathan Cape published the novel in England with the title of Fiesta（喜庆日，嘉年华）. Since then it has been continuously in print.
《太阳依旧升起》是美国作家米勒尔·海明威在1926年写的一部小说
Hemingway began writing the novel on his birthday (21 July) in 1925, finishing the draft（草稿） manuscript（手写本） barely two months later in September. After setting aside the manuscript for a short period, he worked on revisions（修订） during the winter of 1926. The basis for the novel was Hemingway's 1925 trip to Spain. The setting（背景） was unique and memorable（值得记忆的）, showing the seedy（不愉快的） café life in Paris, and the excitement of the Pamplona（潘普洛纳）festival, with a middle section devoted to（用于） descriptions of a fishing trip in the Pyrenees（ 比利牛斯山脉）. Equally unique was Hemingway's spare writing style, combined with his restrained use of description to convey（表达） characterizations and action, which became known as the iceberg（冰山） theory（理论）.
On the surface the novel is a love story between the protagonist（故事的主角） Jake Barnes—a man whose war wound has made him impotent—and the promiscuous divorcée Lady Brett Ashley. Brett's affair with Robert Cohn causes Jake to be upset and break off his friendship with Cohn; her seduction（诱惑） of the 19-year-old matador（斗牛士） Romero（罗梅） causes Jake to lose his good reputation（名声） among the Spaniards（西班牙人） in Pamplona. The novel is a roman à clef; the characters are based on real people and the action is based on real events. In the novel, Hemingway presents his notion（观点） that the "Lost Generation"（迷惘的一代）, considered to have been decadent（颓废的）, dissolute（放荡的） and irretrievably damaged by World War I, was resilient and strong.
Additionally, Hemingway investigates the themes of love, death, renewal in nature, and the nature of masculinity.
海明威的成名作是长篇小说《太阳依旧升起》。小说主要内容是描写一群英美青年战后流落巴黎的生活。主人公杰克·巴恩斯是位美国记者，战争期间与英国女护士布莱特倾心相爱。但因一次受伤而丧失性爱能力，因此炽热的爱情不仅
未能给他带来幸福，反而造成两人精神上的难言的痛苦。布莱特在失望之余变得消沉放荡，整日出没于酒吧、咖啡馆与斗牛场，并且同美国作家罗伯特、斗牛士罗梅等人之间发生爱情纠葛。他们流落异乡，表面上看其生活快乐惬意，但背后却潜伏着一种绝望、颓废情绪。战争给他们造成的生理与心理的创伤，使他们迷茫厌世，生活变得毫无目标与意义，仅仅是借助纵酒狂欢、放纵不羁来麻醉自我，忘却痛苦，逃避现实，寻找暂时的解脱。在他们看来，一切状态都不会改变，人生短暂而宇宙永恒，如同太阳一天天依旧升起一样。小说前页引用了老作家斯泰因的一句题辞：“你们都是迷惘的一代。”由于该小说真实地表现了第一次世界大战后整整西方一代青年精神的迷惘与困惑、幻灭与痛苦，因而被公认为“迷惘的一代”文学的宣言书与代表性作品。
===============以下为正文，请根据你学校的要求设置好以下内容的格式，设计好页面的板式。
Major themes主题
（1） Paris and the Lost Generation法国和迷惘的一代
（2） Gertrude Stein in 1924 with Hemingway's son Jack. She coined the phrase
"Lost Generation".
The first book of The Sun Also Rises is set in mid-1920s Paris. Americans were
drawn to（被吸引到） Paris in the Roaring Twenties by the favorable exchange（贸易） rate, with as many as 200,000 English-speaking expatriates（外籍人） living there. The Paris Tribune（论坛） reported in 1925 that Paris had an American Hospital, an American Library, and an American Chamber of Commerce（商会）. Many
American writers were disenchanted with the US（对美国不在抱有幻想）, where they found less artistic freedom than in Europe. Hemingway had more artistic freedom in Paris than in the US at a period when Ulysses, written by his friend James Joyce, was banned（禁止） and burned in New York.
太阳依旧升起的第一部书是以20世纪20年代的巴黎为故事背景。由于非常吸引人的贸易比率，在20世纪初期美国人被吸引到了巴黎，和20多万说英语的外籍人住在一起。在1925年，巴黎论坛发表了报告，巴黎已经有了美国人的医院，美国人的图书馆，还有一个美国人的商会。许多美国人已经对美国不在抱有幻想，和欧洲相比，在美国他们有更少的艺术自由。和美国相比，在巴黎海明威有更多的艺术自由，而在纽约，他的朋友写的著作却被完全地禁止。
The themes of The Sun Also Rises are apparent（明显的） from its two epigraphs（题词）. The first is an allusion（暗指） to the "Lost Generation", a term coined（创造） by Gertrude Stein referring to the post-war（战后） generation; the other epigraph is a long quotation（引用） from Ecclesiastes: "What profit（利益，有益于） hath a man of all his labour which he taketh under the sun? One generation passeth away, and another generation cometh: but the earth abideth for ever. The sun also ariseth, and the sun goeth down, and hasteth to his place where he arose."[ Hemingway told his editor（编者） Max Perkins that the book was not so much about a generation being lost, but that "the earth abideth forever". He thought the characters in The Sun Also Rises may have been "battered" but were not lost.
从文章的两个题词，我们可以很容易地理解《太阳依旧升起》这篇文章的主题。第一个题词是“迷惘一代”的暗指，指的是战后的一代；另一个题词是出自于圣经当中：“什么利益促使一个男人献出了他的所有劳动力？一代过去，另一代又来，地狱永远长存。太阳依旧起起落落，徘徊于他升起的地方。”海明威告诉他的编者Max Perkins，这本书对于迷惘的一代讲述的不是很多，而是想阐述一个观点“地球依旧存在”。他认为《太阳依旧升起》这部书中的角色可能已经消失但是他的精神是不会消失的。
Hemingway scholar（学者） Wagner-Martin writes that Hemingway wanted the book to be about morality（道德规范）, which he emphasized（强调） by changing the working title from Fiesta to The Sun Also Rises. The book can be read either as a novel about bored（令人厌烦的） expatriates（居住在国外的人） or as a morality（道德） tale （故事）about a protagonist（主角） who searches for integrity（正直） in an immoral（放荡的） world. Months before Hemingway left for Pamplona潘普洛纳, the press was depicting（描述） the Parisian（巴黎人） Latin Quarter, where he lived, as decadent（堕落的） and depraved. He began writing the novel as a story of a matador（斗牛士） corrupted（堕落） by the influence of the Latin Quarter crowd（人群）; he then expanded（发展） it into a novel about Jake Barnes at risk of being corrupted by the wealthy and inauthentic（不可靠的） expatriates.
海明威学者Wagner-Martin写道：海明威通过把文章的标题由《嘉年华》改变为《太阳依旧升起》，想让这本书成为道德规范。这本书能够被看作是一部讲述令人厌烦的居住在国外的人的小说，也可以被看作是一部讲述主人公在放荡的社会寻找正义的道德故事。在海明威前往潘普洛纳的前几个月，出版社已经在描述巴黎的Latin Quarter，他生活和堕落的地方。海明威开始写这部小说，讲述的是一个斗牛士受Latin Quarter群体影响，从此变得堕落；进而，他在把他变为一部小说，讲述巴恩斯正处在财富和不可靠侨民迫害的危机中。
Hemingway at home in his apartment（公寓） on the Left Bank（左岸）, Paris, 1924 The characters（角色） form a group, sharing similar norms（标准）, and each greatly affected by the war. Hemingway captures（表达） the angst（烦扰） of the age and
transcends（超越） Brett and Jake's love story, although they are representative（代表人物） of the period: Brett勃莱特 is starved（急需的） for reassurance（安慰） and love and Jake is sexually（在性方面的） maimed（损伤）. His wound symbolizes（象征） the disability of the age, the disillusion（理想破没）, and the frustrations（挫折） felt by an entire generation.
1924年，海明威回到了他在巴黎左岸的家。这部书中的角色，都共享着相同的标准，都受到了战争的影响。虽然勃莱特和杰克是这个时期的代表性人物，但是海明威仍然表达了他对时代和超越勃莱特和杰克爱情故事的烦扰。勃莱特对安慰和爱情是多么的渴望。杰克在性能力方面是受损伤的。他的伤害象征这个群体对于时代，理想，和挫折的无能为力。
Hemingway thought he lost touch with（和„失去联系） American values（美国人的价值观） while living in Paris, but his biographer（传记记者） Michael Reynolds claims the opposite, seeing evidence（迹象） of the author's midwestern American（美国中西部的） values in the novel. Hemingway admired（欣赏） hard work. He portrayed（描绘） the matadors（斗牛士） and the prostitutes（妓女）, who work for（为„而工作） a living, in a positive（积极） manner（态度）, but Brett, who prostitutes herself（糟蹋她自己）, is emblematic（象征） of "the rotten（腐朽） crowd（人群）" living on inherited(继承的) money. It is Jake, the working journalist（新闻工作者）, who pays the bills again and again when those that can pay do not. Hemingway shows, through Jake's actions, his disapproval of（谴责） people who did not pay up（付清）. Reynolds雷诺 says that Hemingway shows the tragedy（不幸）, not so much of the decadence（堕落） of the Montparnasse蒙帕尔纳斯crowd, but of the self-destruction（自毁） of American values of the period. As such（同样地） the author created an American hero who is impotent and powerless（在性方面有缺陷的）. Jake becomes the moral（情感） center of the story. He never considers himself part of the expatriate（居住在国外的） crowd because he is a working man; to Jake a working man is genuine（真实的，真诚的） and authentic（可靠的）, and those who do not work for a living spend their lives posing.
海明威认为住在巴黎他失去了美国人的价值观，但是他的传记记者却不这样认为，从这部小说中他可以看出作者的美国中西部的价值观。海明威欣赏努力工作的态度。他描绘了斗牛士和妓女以一种积极的态度为了生活而努力的工作，但是勃莱特糟蹋自己的生活态度，却是依靠遗留下来的财产生活 的腐朽人群的象征。 杰克，作为一名新闻工作者，本不应该他来付出的，却一次次的由他来买单。对于人们的谴责，杰克还无法还清。雷诺表示海明威在文章中表达着不幸，与其说是蒙帕尔纳斯人群的堕落，还不如说是美国人价值观的自毁。同样地，作者构造了一个在性能力方面有缺陷的美国英雄，杰克成为这个故事的情感中心。他从来没有把自己看做是居住在国外的人群，因为他仅仅是一名工作人员；对于杰克来说，工作人员是真诚的和可靠的，而不为生活而工作的人们总是在浪费生活。
（2）Women and love
In Lady Brett Ashley, Hemingway created a character who reflected her time. Paris was a city where divorce was common and easy to be had in the mid-1920s. The twice-divorced Brett represented the liberated new woman. James Nagel writes that Hemingway created in Brett one of the more fascinating women in 20th-century American literature. Sexually promiscuous, she is a denizen of Parisian nightlife and cafés. In Pamplona she is out of her element and causes chaos: in her presence, the men drink too much and fight; she seduces the young bullfighter; she literally
becomes a Circe in the festival. Critics describe her variously as complicated, elusive, and enigmatic; Donald Daiker writes that Hemingway "treats her with a delicate balance of sympathy and antipathy". She is vulnerable, forgiving,
independent—qualities that Hemingway juxtaposes with the other women in the book, who are either prostitutes or overbearing nags.
Nagel considers the novel a tragedy. Jake and Brett, in spite of their love, have a relationship that becomes destructive because the love cannot be consummated. Brett destroys Jake's friendship with Cohn, and in Pamplona she ruins his hard-won reputation among the Spaniards. Meyers sees Brett as a woman who wants sex
without love while Jake can only accept love without sex. Although Brett sleeps with many men, it is Jake she loves. Dana Fore writes that Brett is willing to be with Jake in spite of his disability, in a "non-traditional erotic relationship".Other critics such as Leslie Fiedler and Nina Baym see her as a supreme bitch; Fiedler sees Brett as one of the "outstanding examples of Hemingway's 'bitch women'". Jake ends up pimping Brett to Romero and becomes bitter, as when he says, "Send a girl off with a man .... Now go and bring her back. And sign the wire with love."
Critics interpret the Jake–Brett relationship in various ways. Daiker suggests that Brett's behavior in Madrid—after Romero leaves and when Jake arrives at her
summons—reflects her immorality. Scott Donaldson thinks Hemingway presents the Jake–Brett relationship in such a manner that Jake knew "that in having Brett for a friend 'he had been getting something for nothing' and that sooner or later he would have to pay the bill". Daiker notes that Brett relies on Jake to pay for her train fare from Madrid to San Sebastián, where she rejoins her fiancée Mike. In a piece Hemingway cut, he has Jake thinking, "you learned a lot about a woman by not sleeping with her".By the end of the novel, Jake likely has changed—although he loves Brett, he undergoes a transformation—and in Madrid he finally begins to
distance himself from her. Reynolds believes that Jake represents the "everyman" and that in the course of the narrative he loses his honor, faith, and hope. He sees the novel as a morality play with Jake as the person who loses the most.
（3）The corrida, the fiesta, and nature
Ernest Hemingway (in white trousers) fighting a bull in the amateur corrida at Pamplona fiesta, July 1925.
In The Sun Also Rises, Hemingway contrasts Paris with Spain, and the frenzy of the fiesta with the tranquillity of the Spanish landscape. Spain was Hemingway's favorite European country; he considered it a healthy place, and the only country "that hasn't been shot to pieces".] He was profoundly affected by the spectacle of bullfighting, writing, "It isn't just brutal like they always told us. It's a great tragedy—and the most beautiful thing I've ever seen and takes more guts and skill and guts again than anything possibly could. It's just like having a ringside seat at the war with nothing going to happen to you."[ He demonstrated what he considered the purity in the culture of bullfighting—called afición—and presented it as an authentic way of life, contrasted against the inauthenticity of the Parisian bohemians.To be accepted as an aficionado was rare for a non-Spaniard; Jake goes through a difficult process to gain acceptance by the "fellowship of afición".Hemingway scholar Allen Josephs thinks the novel centers around the corrida, (the bullfighting), and how each character reacts to it. Brett's reaction is to seduce the matador; Cohn fails to understand and expects to be bored; Jake understands fully because only he moves between the world of the inauthentic expatriates and the authentic Spaniards; the hotel-keeper Montoya is the keeper of the faith; and Romero is the artist in the ring—he is both innocent and perfect and the one who bravely faces death. The corrida is presented as an idealized drama where the matador faces death, creating a moment of existentialism, or nada (nothingness), broken when death is vanquished and the animal killed.
Hemingway named his character Romero for Pedro Romero, shown here in Goya's etching Pedro Romero Killing the Halted Bull (1816).
Hemingway presents matadors as heroic characters dancing in a bullring. He
considered the bullring as war with precise rules, in contrast to the messiness of the real war that he, and by extension Jake, experienced. Critic Keneth Kinnamon notes that young Romero is the novel's only honorable character. Hemingway named Romero after Pedro Romero, an 18th-century bullfighter who killed thousands of bulls in the most difficult manner: having the bull impale itself on his sword as he stood perfectly still. Reynolds says Romero, who symbolizes the classically pure
matador, is the "one idealized figure in the novel".Josephs says that when Hemingway changed Romero's name from Guerrita and imbued him with the characteristics of the historical Romero, he also changed the scene in which Romero kills a bull recibiendo (receiving the bull) in homage to the historical namesake.
Before the group arrives in Pamplona, Jake, Bill and Cohn take a fishing trip to the Irati River. As Harold Bloom points out, the scene serves as an interlude between the
Paris and Pamplona sections, "an oasis that exists outside linear time". More importantly, on another level it reflects "the mainstream of American fiction
beginning with the Pilgrims seeking refuge from English oppression"—the prominent theme in American literature of escaping into the wilderness, as seen in Cooper,
Hawthorne, Melville, Twain, and Thoreau. Fiedler calls the theme "The Sacred Land"; he thinks the American west is evoked in The Sun Also Rises by the Pyrenees and even given a symbolic nod with the naming of the "Hotel Montana". In Hemingway's writing, nature is a place of refuge and rebirth, according to Stoltzfus, where the
hunter or fisherman gains a moment of transcendence at the moment the prey is killed. Furthermore, nature is where men are without women: men fish, men hunt, men find redemption. In nature Jake and Bill do not need to discuss the war because their war experience, paradoxically, is ever-present. The nature scenes also serve as
counterpoint to the fiesta scenes.
All of the characters drink heavily during the fiesta and generally throughout the novel. In his essay "Alcoholism in Hemingway's The Sun Also Rises", Matts Djos says the main characters exhibit alcoholic tendencies such as depression, anxiety and sexual inadequacy. He writes that Jake's self-pity is symptomatic of an alcoholic, as is Brett's out-of-control behavior. William Balassi thinks that Jake gets drunk to avoid his feelings for Brett, notably in the Madrid scenes at the end where he has three
martinis before lunch and drinks three bottles of wine with lunch. Reynolds, however, believes the drinking becomes more relevant when set against the historical context of Prohibition in the United States. The atmosphere of the fiesta lends itself to
drunkenness, but the degree of revelry reflects a reaction against Prohibition. Bill, visiting from the US, drinks in Paris and in Spain. Jake is rarely drunk in Paris where he works, but on vacation in Pamplona he drinks constantly. Reynolds says that
Prohibition split attitudes about morality, and in the novel Hemingway made clear his dislike of Prohibition.
（4）Masculinity and gender
Critics have seen Jake as an ambiguous code hero of Hemingway manliness. Critic Philip Young believes that Jake is an extension of Hemingway's autobiographical character Nick Adams, first introduced in his earlier short stories. However, Kathy and Arnold Davidson write in "Decoding the Hemingway Hero" that neither Jake nor the novel itself should be minimized to such an extent, for there are many ambiguities. For example, in the bar scene in Paris, Jake is angry at the homosexual men. Elliot believes that Hemingway viewed homosexuality as an inauthentic way of life, but he aligns Jake with homosexual men because, like them, he does not have sex with women. Jake's anger shows his self-hatred at his inauthenticity and lack of
masculinity. His sense of masculine identity is lost—he is less than a man.
Hemingway's writing has been called homophobic. For example, in the fishing scenes, Bill confesses his fondness for Jake but then goes on to say, "I couldn't tell you that in New York. It'd mean I was a faggot." Elliot wonders if Jake's wound perhaps signifies latent homosexuality, rather than only a loss of masculinity. Romero is the symbol of
masculine identity; at the bullring Jake can only be a spectator. The Davidsons write that Romero reflects the code of masculinity in his bravery, and that Brett is attracted to him for this reason. Jake destroys the code hero Romero in bringing Brett to him, diminishing him and diminishing his own afición.
Critics have examined issues of gender misidentification that are prevalent in much of Hemingway's work. He was interested in cross-gender themes, as shown by his depictions of effeminate men and boyish women. In his fiction, a woman's hair is often symbolically important and used to denote gender. Brett, with her short hair, is androgynous and compared to a boy—yet the ambiguity lies in the fact that she is described as a "damned fine-looking woman". Her feminine traits are minimized and her masculine traits emphasized. Daiker speculates that Romero may have left Brett because he disliked her image and her short hair; she lacked the womanly qualities he wanted.
Anti-semitism
Hemingway has been called anti-semitic, most notably because of the language he used and the characterization of Robert Cohn in the book. Cohn is often referred to as "kike" or Jew. It was Harold Loeb, on whom Cohn's character is based, who perhaps lost the most when Hemingway immortalized him as the unlikeable Jew in the story. As Susan Beegel writes about Cohn, "Hemingway never lets the reader forget that Cohn is a Jew, not an unattractive character who happens to be a Jew but a character who is unattractive because he is a Jew." Shunned by the other members of the group, Cohn is characterized as "different", unable or unwilling to understand and participate in the fiesta. Cohn is never really part of the group—separated by his difference or his Jewishness. Reynolds writes that in 1925 Loeb should have declined Hemingway's invitation to join them in Pamplona. Before the trip he was Lady Duff's lover and Hemingway's friend; during the fiasco of the fiesta he lost Lady Duff and
Hemingway's friendship, but more importantly Hemingway based on Loeb a character chiefly remembered as a "rich Jew". Hemingway critic Josephine Knopf thinks
Hemingway likely intended to depict Cohn as a "shlemiel" (or fool), but that Cohn is the least authentically presented character in the book, lacking any of the
characteristics of a traditional "shlemiel".