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Bullfights in the Sun Also Rises

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Bullfights in The Sun Also Rises Do some research into Hemingway’s life and you will find he had a great love for Spain, including bullfighting, wine, and fiestas. He shows his love of the fight in his writings such as The Sun Also Rises and For Whom the Bell Tolls. In The Sun Also Rises he not only talks about the bulls, but his characters can be compared to bulls or steers. It is a deep symbolism that shows Hemingway’s views on gender roles and androgyny in the 1920’s. Jake Barnes, the main character, is a WWI veteran who was rendered impotent during the war. This is the main reason he cannot be with the woman he loves, Lady Brett Ashley. Hemingway portrays him as a man with masculine interests like fishing, bullfighting, and drinking. Though he is shown this way, rather than being like a bull, Jake is considered a steer. Jake is calm, a peacekeeper between his friends just as a steers in bullfighting rings are used to calm the bulls. Jake considers himself an outcast, just as steers are not the main part of bullfights. Lady Brett Ashley would be considered a steer at first glance, but as the story progresses it is clear that she is a symbol of a bull. She is quite possibly the most masculine character in the book. When Hemingway first describes Brett, he describes that “she wore a slipover jersey sweater and a tweed skirt, and her hair was brushed back like a boy’s” (Hemingway 22). This gives off a very masculine image, especially considering they lived in a time where women had long hair and were very reserved. Brett is not what was considered ladylike back then. She loved drinking, sex, and continually had affairs though she was engaged to be married. In one of the first scenes with Brett, she is hanging out in a bar with a group of homosexuals. This scene shows that she loves the thought of being one of the guys and to be constantly surrounded by men. These men could also be considered steers and Brett a bull. They and Jake seem to be the only characters that she can let her guard down and be calm around, just like a bull is calm when surrounded by steers. Masculinity in the early 1900’s was seen as a man who was strong, not as emotional, and allowed to take part in promiscuous activities. Brett goes through lovers like days of the week, showing little emotional attachment though she always claims to love them. She may not be strong physically but she shows an emotional toughness that few in the novel can rival other than Jake. She has gone through a lot of pain in her life with the loss of her “true love” in WWI, dealing with her current husband and the divorce, and realizing that she can never be truly happy with Jake because of his inability to please a woman physically even though he is perfectly capable of pleasing her emotionally. Hemingway had a kind of code that he thought all masculine characters should be like. They needed to keep their word, repay their debts, to never appear to be drunk even if they are, and so on. Out of the five main characters, only Brett and Jake show these character traits. Ironically, though he would physically be considered a steer, Jake is stronger emotionally than the other bulls of the story, Robert Cohn and Mike Campbell. Jake has been in love with Brett longer than either Robert of Mike and has to live with the pain of knowing that they can never be together. He is the only love interest of Brett’s that is able to deal with seeing her loving other men. He has an emotional strength that far outweighs the physical strength and ability that the two obvious bulls have. He lacks the petty emotions that the others have and does not react violently or emotionally under stress, just as steers potentially allow themselves to be gored without fighting back. This also shows Hemingway’s thoughts, having the two characters that would normally be considered steers (Jake and Brett) to be the only ones who show the masculine characteristics that he valued, rather than the two bulls. Robert Cohn, the first of the bulls, is a writer, ex-boxer, and good friend of Jake’s. He’s egotistical and paranoid of people disliking him, which makes him annoying to the other characters. However, he is supposed to be a symbol of masculinity and pride. During any argument or show of annoyance towards Robert, he continually claims that they’re doing it just because he is a Jew. At this time, Jake steps in, becoming the steer, and calms Robert by giving him the illusion that all the others like him. Early in the novel, Robert falls madly in love with Lady Ashley and gets upset easily when she speaks about or spends nights with other men. One would think that he would realize her personality and give up pursuing her, but he shows the typical bull characteristic of charging blindly and struggling to the death. Hemingway shows an image of Robert as a bull when Jake is describing the way a particular bull uses his horns. “‘Look how he knows how to use his horns,’ I said. ‘He’s got a left and a right just like a boxer.’” (Hemingway 139). Robert uses his fists to show his masculinity when he beats up Pedro Romero for being with Brett one night. Afterward, Hemingway twists the masculinity once again as Robert runs away crying and leaves the town (Hemingway 201-203). The second bull of the story is Mike Campbell, who also shows this backwards masculinity by getting drunk and constantly insulting Robert for hanging around Brett. Mike is engaged to Brett while they wait for Brett’s divorce from her current husband to go through and can’t bear to have her hanging around with other men. He has a sharp tongue and is a mean and cruel drunk. He especially picks fights with Robert, saying Brett doesn’t want him and that he is being a nuisance. Again, Jake takes up the task of the steer calming two bulls. Mike is persistent and uses his words as his horns to gore and injure Robert. He even goes so far as to say that Robert would enjoy being a steer (Hemingway 141). These two bulls using fists and words, are supposed to be symbols of masculinity but it is clear in the novel that neither of them show the strength that the others do. Once, when Mike was drunk, he yelled, “Tell him the bulls have no balls” (Hemingway 175). This could mean two things: One, that it was an insult directed at Robert saying he is a spineless coward or two; it was Hemingway’s way of implying that the real bulls of the story were the two without ‘balls’, Jake and Brett. The final character that is a part of this bullfighting symbolism is Pedro Romero. He symbolizes the bullfighter in many ways. For example, not only is the 19 year old an actual champion bullfighter in the story, but he also fits in with the group of bulls and steers and portrays this role well. Brett’s desire for Pedro begins at the bullfights when Jake explains the tools and techniques that each bullfighter used to take control of the bull with ease. She began to watch the sport and was amazed by how smooth and fluid Pedro was in the ring. Jake introduced them at dinner and they clicked easily, Brett finally admitting that she loved the man and later revealing that she had run off with him. In this way, the bullfighter defeats all of the bulls. He defeats Mike and Robert by stealing Brett away, intentionally or not, and is able to tame Brett in a way by having her run away with him. He stood up against Robert’s punches just like a bullfighter goes up against a bull’s horns. However, just as some bullfighters may lose a match with a bull, Pedro loses the fight with Brett in the end. After running away with him, Brett eventually rebels when Pedro asks her to grow her hair out to be more feminine. She refuses to change just so Pedro won’t be “ashamed” of her (Hemingway 242). When she calls for Jake to come pick her up, she says she is leaving Pedro because she doesn’t want to “ruin him” and his career as a professional bullfighter (Hemingway 243). As bullfighters aim to kill the bull, not simply tame them, the killing blow would be marriage with Brett, and she escapes him, effectively making the bullfighter lose the match. This symbolism is very well done by Hemingway in this novel. Using the bullfights as a representation of each character was a clever and well thought out way to further each of the character’s development. Using Jake Barnes’s physical deformities and cool demeanor, Hemingway labels Jake a steer. With Lady Brett Ashley, he again uses physical traits to label her a steer. Robert Cohn and Mike Campbell are labeled bulls because they are supposed to be ‘macho men’ who are strong and powerful. However, Hemingway uses a symbolic twist to switch the roles of the steer and bulls, making the steer emotionally and mentally stronger than both of the bulls. Pedro Romero is the extreme symbol of a bullfighter but Hemingway again causes the steer to each overcome the bullfighter. These twists allow the reader to see Hemingway’s views on the role of the different genders in society in a unique and interesting way.

Works Cited
Bannach, Jennifer. "Gender Identity and the Modern Condition in The Sun Also Rises." Literary Reference Center. EBSCO, 26 Jan. 2011. Web. 30 Apr. 2012.
Daiker, Donald A. ""Brett Couldn't Hold Him": Lady Ashley, Pedro Romero, and the Madrid Sequence of "The Sun Also Rises"" Literary Reference Center. EBSCO, 15 Feb. 2010. Web. 25 Apr. 2012.
Ganzel, Dewey. ""Cabestro and Vaquilla: The Symbolic Structure of The Sun Also Rises." Literary Reference Center. EBSCO, 26 Jan. 2011. Web. 30 Apr. 2012.
Onderdonk, Todd. ""Bitched": Feminization, Identity, and the Hemingwayesque in "The Sun Also Rises"" Literary Reference Center. EBSCO, 2011. Web. 30 Apr. 2012.

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