冰山原则.docx

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forworkssuchas,,and.
Hemingwaybeganhiswritingcareerasajournalistandinthe1920s,whilelivinginParis,
learnedtofocusonlyoneventsbeingreported,andtoomitsuperfluousandextraneousmatter.
Thetheoryisthis:Themeaningofapieceisnotimmediatelyevident,
meditationuponyouthandage,eventhoughtheprotagonistspendslittleornotimethinkingonthoseterms.
Background
LikeotherAmericanwriterssuchas,,,and,
wenttoworkasacubreporterfor,,andthatinhospitalemergencyroomsandpolicestationsamaskofcynicismwasworn"likearmourtoshieldwhatevervulnerabilitiesremained."Inhispieceshewroteaboutrelevantevents,excludingthe
,whilelivinginParisintheearly1920s,,but
asbiographerJeffreyMeyersexplains,hewroteinsuchawaythat"he
objectivelyreportedonlytheimmediateeventsinordertoachievea
concentrationandintensityoffocus—aspotlightratherthana
stage."FromtheGreco-,butthatifanexperienceweretobedistilled,ashe
explained,then"whathemadeupwastruerthanwhatheremembered."
[]Definition
Ifawriterofproseknowsenoughofwhatheiswritingabouthemayomitthingsthatheknowsandthereader,ifthewriteriswritingtrulyenough,-bergisduetoonlyone-.
—ErnestHemingwayin
In1923Hemingwayconceivedoftheideaofanewtheoryofwritingafterfinishinghisshortstory"OutofSeason".In,hisposthumouslypublishedmemoirsabouthisyearsasayoungwriterinParis,heexplains:"Iomittedtherealend[of"OutofSeason"]...
andtheomittedpartwouldstrengthenthestory."Intheopeningchapterofhecompareshistheoryaboutwritingtoaniceberg.
HemingwaybiographerbelievedthatasawriterofshortstoriesHemingwaylearnedhowto"getthemostfromtheleast,howtoprunelanguagehowtomultiplyintensities,andhowtotellnothingbutthetruth
inawaythatallowedfortellingmorethanthetruth".Furthermore,Bakerexplainsthatinthewritingstyleoftheicebergtheorythehardfactsfloatabovewater,whilethesupportingstructure,completewithsymbolism,
operatesout-of-sight.
Icebergtheoryisalsoreferredtoasthe"theoryofomission".HemingwaybelievedawritercoulddescribeanactionsuchasNickAdamsfishingin""
whileconveyingadifferentmessageabouttheactionitself—"TheArtoftheShort
Story",Hemingwayisclearabouthismethod:",
,,notyoureditors,omit."
Fromreadingheabsorbedthepracticeofshorteningasmuchasitcould
,Hemingwaywrotein"TheArtoftheShortStory":"Youcouldomitanythingifyouknewthatyouomittedand
theomittedpartwouldstrengthenthestoryandmakepeoplefeelsomethingmorethantheyunderstood."Bymakinginvisiblethestructure
ofthestory,hebelievedtheauthorstrengthenedthepieceoffictionand
thatthe"qualityofapiececouldbejudgedbythequalityofthematerialtheauthoreliminated."Hisstyleaddedtotheaesthetic:using"declarative
sentencesanddirectrepresentationsofthevisibleworld"withsimpleandplainlanguage,Hemingway'sbecame"themostinfluentialprosestylistinthetwentiethcentury"accordingtobiographerMeyers.
Inherpaper"Hemingway'sCameraEye",,sheclaims,it"isalsoaglacierwaterfall,
infusedwithmovementbyhismulti-focalaesthetic."Furthermore,shebelievesHemingway'sicebergtheory"demandedthatthereaderfeelthewholestory"andthatthereaderismeantto"fillthegapsleftbyhis
omissionswiththeirfeelings".
HemingwayscholarJacksonBensonbelievesHemingwayusedautobiographicaldetailstoworkasframingdevicestowriteaboutlifein
general—,BensonpostulatesthatHemingwayusedhisexperiencesanddrewthemoutfurtherwith"whatif"scenarios:"whatifIwerewoundedinsuchawaythatIcouldnotsleepat
nightWhatifIwerewoundedandmadecrazy,whatwouldhappenifIweresentbacktothefront"Byseparatinghimselffromthecharactershecreated,
strongdramaistominimize,oromit,thefeelingsthatproducedthefiction
hewrote.
Hemingway'
man',"whilerepresentinghumanlifethroughfictionalforms,hehasconsistentlysetmanagainstthebackgroundofhisworldanduniversetoexaminethehumansituationfromvariouspointsofview".
[]Earlyfictionandshortstories
GwendolynTetlowbelievesthatHemingway',inIndianCamptheuseofdescriptivedetailsuchas
ascreamingwoman,mensmokingtobacco,,astorycancommunicatebysubtext;forinstance,Hemingway'sdoesnotmentiontheword","althoughinthestorythemalecharacterseemstobeattemptingtoconvincehisgirlfriendtohaveanabortion."BigTwo-HeartedRiver"Hemingwayexplains"is
aboutaboy..inghomefromthewar....Sothewar,allmentionofthewar,
anythingaboutthewar,isomitted."Hemingwayintentionallyleftout
somethingin"IndianCamp"and"BigTwo-HeartedRiver"—twostorieshe
consideredtobegood.
BakerexplainsthatHemingway',thestory""whichonthesurfaceisaboutnothingmorethanmendrinking
inacafelateatnight,isinfactaboutthatwhichbringsthementothecafe
todrink,andthereasonstheyseeklightinthenight—noneofwhichisavailableinthesurfaceoftheplot,butlurksintheiceberg
'sstory"BigTwo-HeartedRiver"isostensiblyaboutnothing,asis"ACleanWellLightedPlace",butwithinnothingliesthecruxofthestory.
[]Novels
BensonbelievesthattheomissionHemingwayappliesfunctionsasasortofbufferbetweenhimselfasthecreatorofacharacter,andthecharacter
"distance"betweenhimselfandthecharacterhe"becomesmorepracticed,itwouldseem".
Furthermore,Bensonclaimsthedistanceisnecessary,whichintheearlyfictionsuchasissuccessful,butif"theauthordoesnotdeliberatelycreate
suchdistancethefictionfails",asinthelaterworkssuchas.
BakercallsHemingway'sAcrosstheRiverandintotheTreesa"lyric-poeticalnovel"inwhicheachscenehasanunderlyingtruthpresented
,likeother
heroinesinHemingway'sfiction,suffersamajor"shock"—themurderof
herfatherandthesubsequentlossofherhome—':"Hemingwaywalksthereadertothebridgethatheorshemustcrossalonewithoutthenarrator'shelp."
Hemingwaybelievedthatifcontextorbackgroundhadbeenwrittenaboutbyanother,andwrittenaboutwell,:"Inwritingyouarelimitedtobywhathasalreadybeen

thatafterheorshehasreadsomethingitwillbecomepartofhisorherexperienceandseemactuallytohavehappened."PaulSmith,authorofHemingway'sEarlyManuscript:TheTheoryandPracticeofOmission,
believesHemingwayappliedthetheoryofomissionineffortto"strengthen[the]iceberg."
[]Legacy
,butthattheprizemoney
"forhismasteryoftheartofnarrative,mostrecentlydemonstratedin,andfortheinfluencethathehasexertedoncontemporarystyle".Afewdaysaftertheannouncement,Hemingwayspokewithamagazinecorrespondent,while
,andparticularlyinthemostrecentlypublishedOldManandtheSea,heexplained:"Nogoodbookhaseverbeenwrittenthat
hasinitsymbolsarrivedatbeforehandandstuckin...,butplainbreadisbetter....Itriedtomakearealoldman,arealboy,arealsea,arealfish
."