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Showing posts with label Modern Drama. Show all posts
Showing posts with label Modern Drama. Show all posts

Friday, 31 July 2026

What Is the Difference Between Drama and Play? A Complete Guide

What Is the Difference Between Drama and Play? A Complete Guide

What Is the Difference Between Drama and Play? A Complete Guide

Many students, readers, and literature lovers often ask one common question: What is the difference between drama and play? At first, both words may seem almost the same because both are connected with acting, theatre, characters, dialogues, emotions, and performance. However, in literature, drama and play are not always exactly the same.

A drama is usually considered a broader literary form that presents a story through dialogue and action. A play, on the other hand, is a written dramatic work that is designed to be performed on stage in front of an audience. In simple words, every play is a form of drama, but every drama is not always limited to a stage play.

Difference between drama and play with theatre stage, book and masks
Simple answer: Drama is the broader literary genre, while a play is a specific written work created for performance.

Meaning of Drama

Drama is a form of literature that tells a story through characters, dialogue, conflict, emotions, and actions. Unlike a novel or short story, drama is not usually narrated by a storyteller. Instead, the story moves forward through what the characters say and do.

The word “drama” comes from the Greek word dran, which means “to do” or “to act.” This meaning is very important because drama is based on action. A drama is meant to show life, human behavior, emotions, struggle, conflict, and relationships in an artistic way.

Drama may be written for the stage, television, radio, film, or even reading. It can be serious, funny, emotional, tragic, historical, romantic, or political. Because of this, drama is a very wide term.

Key Features of Drama

  • Drama tells a story through dialogue and action.
  • It has characters who speak and perform actions.
  • It usually contains conflict or tension.
  • It may be written for stage, film, television, or radio.
  • It presents emotions and human experiences.
  • It can be tragic, comic, romantic, historical, or realistic.

Meaning of Play

A play is a written piece of drama that is usually created to be performed by actors on a stage. It contains dialogues, scenes, stage directions, characters, acts, and sometimes instructions for movement, lighting, costume, and setting.

A play is not just meant to be read silently like a novel. Its real life begins when actors perform it in front of an audience. The audience sees the characters, hears their voices, watches their movements, and experiences the story live.

For example, Shakespeare’s Hamlet, Macbeth, and Romeo and Juliet are plays. They are also dramas because they belong to the dramatic form of literature. But more specifically, they are plays because they are written for performance.

Key Features of a Play

  • A play is written mainly for stage performance.
  • It is divided into acts and scenes.
  • It includes dialogue between characters.
  • It often includes stage directions.
  • It needs actors, audience, and performance space.
  • It is a practical form of drama.

Main Difference Between Drama and Play

The main difference between drama and play is their scope. Drama is a larger category, while play is a more specific form within that category. Drama can refer to any story presented through action and dialogue, whether it is on stage, television, film, or radio. A play specifically refers to a written dramatic work prepared for theatrical performance.

Think of drama as the big umbrella. Under this umbrella, you can find plays, television dramas, radio dramas, and film dramas. A play is one branch of drama, especially connected with theatre and stage performance.

Point Drama Play
Meaning A broad literary form based on action and dialogue. A specific dramatic work written for performance.
Scope Wider term. Narrower term.
Medium Can be stage, film, TV, or radio. Mostly stage or theatre.
Purpose To present human life, emotions, and conflict. To be performed by actors before an audience.
Structure May vary depending on the medium. Usually divided into acts and scenes.
Example A TV drama, radio drama, or stage drama. Hamlet, Macbeth, A Doll’s House.

Drama as a Literary Genre

In literature, drama is one of the major genres along with poetry, fiction, and non-fiction. It has its own style and structure. A novel may explain the thoughts of characters in long paragraphs, but drama depends mostly on speech, action, and performance.

Drama is powerful because it brings human emotions directly in front of us. When a character cries, argues, laughs, or makes a difficult decision, the audience feels connected. This is why drama has remained popular for thousands of years.

From ancient Greek tragedies to modern television dramas, this form has always helped people understand society, morality, love, ambition, jealousy, family, justice, and human weakness.

Play as a Performance Text

A play is not complete only as words on paper. It becomes fully alive through performance. The script gives the basic structure, but actors, directors, stage designers, costume designers, lighting experts, and sound teams bring it to life.

This is why reading a play and watching a play can feel very different. When you read a play, you imagine the characters and scenes in your mind. When you watch it, you see the emotions, gestures, voice, expressions, and atmosphere directly.

A good play depends not only on the writer but also on performance. The same play can feel different when performed by different actors or directed by different directors.

Types of Drama

Drama has many types. Each type presents life in a different way. Some dramas make us cry, some make us laugh, and some make us think deeply about society and human nature.

1. Tragedy

Tragedy is a serious type of drama where the main character usually faces suffering, failure, or death. It often shows human weakness, fate, pride, revenge, or moral conflict. Shakespeare’s Macbeth and Hamlet are famous examples of tragedy.

2. Comedy

Comedy is a lighter form of drama that creates humor and usually ends happily. It may use mistaken identity, funny situations, clever dialogues, or social satire.

3. Tragicomedy

Tragicomedy combines serious and comic elements. It reflects real life because human life is often a mixture of happiness and sadness.

4. Melodrama

Melodrama focuses on strong emotions, clear heroes and villains, and dramatic situations. It is often popular because it is easy to understand and emotionally powerful.

5. Historical Drama

Historical drama is based on past events, kings, wars, revolutions, or important personalities. It mixes history with dramatic imagination.

Types of Plays

Plays can also be divided into different types depending on their length, subject, and style. Some plays are long and divided into several acts, while others are short and simple.

1. One-Act Play

A one-act play is short and has only one act. It usually focuses on one main situation or conflict. It is popular in schools, colleges, and short theatre performances.

2. Full-Length Play

A full-length play is longer and may have two, three, or more acts. It develops characters, conflict, and themes in detail.

3. Stage Play

A stage play is written specifically for live performance in a theatre. It depends on actors, stage setting, lighting, and audience reaction.

4. Radio Play

A radio play depends on voice, sound effects, and music because the audience cannot see the actors. It creates images through sound.

5. Screen Play

A screenplay is written for film or television. It includes camera directions, scenes, dialogues, and visual details.

Why People Confuse Drama and Play

People confuse drama and play because both use characters, dialogue, conflict, and action. In daily conversation, many people use these words interchangeably. For example, someone may say, “I watched a drama at the theatre,” or “I read a play in class.” Both statements can be correct depending on the context.

The confusion becomes clearer when we understand that a play is a type of drama. So, when someone calls a play a drama, they are not completely wrong. But when we study literature carefully, we should understand the technical difference.

Examples to Understand the Difference

Let us understand with simple examples. If you watch a serious story on television about family problems, emotions, and conflict, you may call it a drama. But it is not a stage play unless it is written and performed for theatre.

If you read Shakespeare’s Macbeth in your literature class, you are reading a play. It is also a drama because it belongs to dramatic literature. But its specific form is a play.

If a story is written only as a script for actors to perform on stage, with acts, scenes, and stage directions, it is a play. If the same idea is presented through film or television, it may still be drama, but not necessarily a stage play.

Importance of Drama and Play in Literature

Drama and play are important because they show life in action. They help us understand people, society, relationships, and emotions. They also teach moral lessons, raise social questions, and entertain audiences.

A powerful drama can make people think about justice, love, power, corruption, family, gender, class, and human responsibility. A good play can create a live emotional experience that stays in the audience’s memory for years.

Unlike many other forms of literature, drama and play connect writing with performance. This makes them unique. They are not only read; they are spoken, heard, watched, and felt.

Drama vs Play: Simple Explanation for Students

If you are a student and want a very simple answer, remember this:

Drama is the general form of literature based on action and dialogue.

Play is a written drama prepared for stage performance.

You can also remember it like this: drama is the category, play is the example. Drama is the idea of presenting a story through action, while play is the actual written script performed by actors.

Common Elements Found in Both Drama and Play

Although drama and play are different, they share many common elements. These elements make them close to each other.

  • Characters: People who take part in the story.
  • Dialogue: Conversation between characters.
  • Conflict: A problem or struggle that moves the story forward.
  • Theme: The main idea or message of the work.
  • Setting: The time and place of the action.
  • Plot: The sequence of events.
  • Stage Directions: Instructions for movement, expression, or setting in plays.

Final Conclusion

The difference between drama and play is simple but important. Drama is a broad literary form that presents a story through action, dialogue, and conflict. It can appear on stage, television, film, or radio. A play is a specific written dramatic work usually created for stage performance.

In short, drama is the wider term, and play is one form of drama. Every play can be called a drama, but every drama is not necessarily a play. Understanding this difference helps students, readers, and theatre lovers appreciate literature more clearly.

Drama gives us the emotional world of human life, while a play brings that world directly in front of an audience. Both are valuable, both are artistic, and both continue to inspire people across cultures and generations.

Frequently Asked Questions

1. Is drama the same as play?

No, drama and play are closely related but not exactly the same. Drama is a broad genre, while a play is a specific dramatic work written for performance.

2. Can every play be called drama?

Yes, every play is a type of drama because it uses dialogue, characters, action, and conflict.

3. Can every drama be called a play?

No. A television drama or radio drama may not be a stage play. A play is usually written for theatre performance.

4. What is the main purpose of drama?

The main purpose of drama is to present human life, emotions, conflict, and ideas through action and dialogue.

5. What is the main purpose of a play?

The main purpose of a play is to be performed by actors before an audience, usually on a stage.

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Friday, 19 January 2018

What is Modern Drama & Modernism ?

1) After the death of Shakespeare, drama declined for two centuries.
2) Revived in the last decade of 19th century.
3) Two important factors for the revival in 1980s.
Influence of Ibsen: Great Norwegian dramatist, give rise to the Comedy of Ideas. Dramas ceased to deal with themes remote in time and place, real drama must deal with emotions. Gave up melodramatic romanticism and pseudo-classical remoteness, start treating the actual life, made drama a drama of ideas.

Important dramatist: George Bernard Shaw.

Drama of Ideas:
* Revolutionary against past literary models, social conventions and morality.

* Dealt with the problem of sex, youth.
* Against romance, capitalism, parental authority. * Number of theories, slow actions and frequently interrupted.
* Study of soul.
* Inner conflict substituted the outer conflict.
Characters: Questioning, restless, dissatisfied, struggling against prejudice.
Cynical atmosphere: Treat the moral assumptions with frivolity, make polite fun, revived the Comedy of Manners in 20th century.
Important dramatist: Oscar Wilde.
Other dramatist: Granville Barker, Galsworthy, James Birdie, Priestley, Sir James Barrie and John Masefield. William Somerset Maugham and Noel Coward directly followed Wilde.
Comedy of Manners:
* Witty, satirical, purely fanciful and dependent.
* Cynical and bitter when dealing with social problems.
Failure in last 50 years: Confusions, scepticism, change in social manners, change in modes of speech and attitudes to life.
4) Irish Dramatic Movement: Another type of drama developed under its influence. Originator: Lady Gregory, W.B.Yeats.
Important dramatist: J.M.Synge, Sean O’Casey.
Poetic Drama: Revived in 20th century.
Practitioner: T.S.Eliot
Other dramatist: Christopher Fry, Stephen Philips, Stephen Spender.
MODERN DRAMATISTS
1) George Bernard Shaw (1856-1950): Irishman, practitioner and father of new Comedy of Ideas, great thinker, genius, representative of Puritan side of Anglo Irish tradition, social entertainer, socialist.
Purpose: Propaganda.
Characters: Types studied thoroughly, puppets, himself as a chief character in disguises.
Style: Jest and verbal wit, artistic form, no clumsiness.
Characteristics: certain modern life problem, prefaces, civilized man either develop or perish, no revolt.
Themes:
Political: Man and Superman (1902), John Bull’s other Island (1904) and Major Barbara (1905). These plays dealt with issues as poverty and women’s rights and implied that socialism could help solve the problems created by capitalism.

Social: The Crime of imprisonment (1922), Intelligent Women’s Guide to Socialism (1928), and Everybody’s Political What’s What (1944).
Other:
Mrs. Warren’s Profession (1902): Problems of modern society, evils of prostitution.
Widower’s House (1892): Blame on society.Getting Married (1908): Unnaturalness of home-life.
The Doctor’s Dilemma (1906): Superstition.
Caesar and Cleopatra (1901): No particular theme.
The Apple Cart (1929): Ridicule on democratic form and work.
Back to Methuselah (1921): Nature of the Life Force and its effect on destiny of Man. St. Joan (1923): Universal theme involving grand emotions.
Fabian Society: Joined in May 1884, a fact-finding and fact-dispensing body, pamphlet on social issues, property was theft, in favour of equality of income, equitable division of land and capital.
The Fabian Manifesto (1884) The True Radical Programme (1887) Fabian Election Manifesto (1892) The Impossibilities of Anarchism (1893) Fabinism and the Empire (1900) Socialism for Millionaires
awrdedwith Nobel Prize in 1925
2) Oscar Wilde (1856-1900): Irishman, greatest practitioner of Comedy of Manners, lived in a luxurious life, attitude toward life was a playful, not a deep thinker, father of comedy of pure entertainment. Style: Epigrammatic, graceful, polished, full of wit, appealing to audience. Characteristics: Superficial, not knowledgeable or understanding to life, hackneyed. Tact of discovering the passing mood of the time and expressing it gracefully. Important Plays: i- Lady Windermere’s Fan (1892) iii- A Woman of Importance (1893) ii- An Ideal Husband (1895) iv- The Importance of Being Earnest (1894) * First three are conventional social melodramas with witty dialogues. * Last was built on model of popular farce of the time. * His literary career ended with his imprisonment in 1895.
3) John Galsworthy (1867-1933): Great dramatist, novelist. Technique: Naturalistic in both, not superficial. Important plays: His plays deal with social and ethical problems. The Forsyte Saga (1922): Series of novel with record of changing values of an upper-class English family. Strife (1909): Problems of strike, a social play. Justice (1910): A severe criticism on prison administration, a social play. The Skin Game (1920): Conflict between old aristocracy and new manufacturing class. The Silver Box: Old proverb
Sometimes he carries simplicity of aim and singleness of purpose too far and the result is that his plays lack human warmth and richness
4) Harley Granville-Barker (1877-1946): Dramatist who dealt with Domestic Plays and Problem Plays. Four Realistic Plays: The Marrying of Anne Leete (1899): Life Force, attacks convention and hypocrisy. The Voysey Inheritance (1905): Problems of prostitution. Waste (1907): Problem of sex. The Madras House (1910): Social forces. * Fine delineation of characters * Realistic style * Plays are excepts of real life * Natural dialogue near to ordinary conversation. 5) John Masefield (1878-1967): Imaginative, sternly classical spirit, enthusiastic, logical, fantastic, realistic, mystic.All these conflicting qualities are seen in The Tragedy of Nan (1909), a masterpiece. Melloney Holtspur: Spirit forces, not successful. The Campden Wonder and Mrs. Harrison: Domestic tragedies. Other plays are The Daffodil Fields, Reynard the Fox (1919), and Esther and Berenice
6) James.M.Barrie (1860-1937): A skilled technician, Scottish journalist, playwright, children's book writer.
Work: Imaginative fantasy, humour, tender pathos, crisp dialogues, contrast of characters.
The Admirable Crichton (1902): A drawing room comedy, most characteristic, original
Peter Pan (1904), The Golden Bird and The Golden Age: Children’s story characters.
A Kiss for Cinderella (1916): Fantasy.
The Boy David (1930): A fine picture of candid soul of boyhood, a story from bible.
7) The Irish Dramatic Revival: Reaction against new realistic drama of Shaw and Wilde.
Protagonist: Lady Gregory, W.B.Yeats, Lord Dunsany, and J.M.Synge. Irish dramatists.
Aim: To introduce flavour, richness, and poetry in drama, to give reality in a comprehensive and natural form.
(i) W.B.Yeats (1865-1939): Leader, interested in Gaelic League formed to revive interest in old fairy stories and Folk Lore of Irish people, primarily a lyrical poet.
Widely known: The Countess Cathleen (1892) and The Land of Heart’s Desire (1894).
Popularity depended upon poetic charm and strangeness than upon dramatic power.
Defect: Organic constructions, lack of proper balance between poetry, action and characterization.
(ii) Lady Gregory (1852-1932): * Experimented in her drama work. * Drew her material from the folk lore of her country. * Wrote Irish historical plays. * Seven short plays (1909) Characters: Peasant, more human. [B]Dialogue:[/B] Joyous.
(iii) John Millington Sygne (1871-1909):
Characteristics: Exercises strictest economy in his play, grim humour, bitterly painful tragedy.
Riders to the Sea (1909): Greatest tragedy, too harrowing and ruthless. The Shadow of the Glen: Comedy. The Playboy of the Western World: Provoked riots, impressive representation of Irish peasant phrases.
(iv) Sean O’Casey (1884-1964): Youngest dramatist, best in portrayal of women.
His plays: Symbolic of the Irish condition. Virtue and vice, heroism and cowardice, beauty and foulness, poetry and profanity were mingled, mixture of tragedy and comedy as in The Plough and the Stars.
Faults: Undisciplined power and exuberance.
Satire: The Silver Tassie (1928) and Within the Gates (1933)
POETIC DRAMA
* Revived in 20th century,
* Reaction against the prose plays of Shaw and Wilde, certain loss of emotional touch with the moral issue.
T.S.Eliot (1888-1956)
Great critic, traditionalist rooted in classicism, innovator of new style, stern realist, conscious of modern civilization and its problems, a visionary great classical scholar, mystic, many sided personality
Classicism---a sort of training of order, poise and right reason. The Rock: Pageant play. The Murder in the Cathedral: Commemorating the death of St. Thomas Backet, religious impulse, strictly interior, outward value is spectacle and commemorative ritual. The Family Reunion: Hallucination produced from the inherited, illusion of reality. The Cocktail Party: Most successful, profound and serious theme, typical problem of ordinary behaviour. Characters: Symbols, personification of various simple abstract attitudes.Received a Nobel Prize in 1948.

Stephen Spender (1909-1995)
The Trial of a Judge: Most important and effective piece of poetic drama.
W.H.Auden (1907-1973)Verse and prose plays, contributed the verse chorus, neat prose dialogue.
Important Plays:
The Dog Beneath the Skin: A gay, satirical farce.The Ascent of F6 and Across the Frontier: Serious plays dealing with modern problems through symbolism.
Christopher Fry (1907-present)Verse and prose plays, comedies e.g. A Phoenix too Frequent, The Lady’s Not for burning and Venus Observed. * Fantastic wealth of language.* His plays often betray an air of wonderfully clever improvisations.
Historical and Imaginative Plays* Latest Movement.* Causes of Exploitation of historical themes: Deliberate endeavour to escape from the trammels of nature and to bring back something of the poetic expression of the theatre.
John Drinkwater (1882-1937)
Historical Plays:
Mary Stuart (1921): Study of a woman.
Oliver Crownwell (1922) and Robert E. Lee (1923): political & social problem. Abraham Lincoln (1918): a great success, made author internationally famous.
Clifford Bax (1886-1962
Important Poetic Plays: Socrates (1930), The Venitian (1931), The Immortal Lady (1931), and The Rose Without the Thorn (1932). All plays are lyrical, philosophical, characters within patter, on historic facts, imaginative.
OTHER DRAMATISTS
Ashley Dukes (1885-1959): The Man with a Load of Mischief (1924), The Fountain Head (1928) and Tyle Ulenspiegel (1930).
Rudolf Besier (1878-1942): The Barretts of Wimpole Street.odernism






Thursday, 18 January 2018

A Farewell to Arms :Character of Catherine Barkley

Catherine Barkley is a static character in the novel; that is, she does not undergo any major transformation over the course of A Farewell to Arms. Apparently she has done her growing and changing before the story began. Hemingway can therefore "use" Catherine as a foil to Henry and an index of his maturation. She is like a constant in a scientific experiment. Of course, this does not make her any less interesting than Henry, and it certainly makes her no less admirable. She's simply less dynamic.
The writer's use of Catherine to contrast dramatically with Henry — to show us just how much learning and growing he has yet to do — begins in the first scene they share together. Henry is still playing childish games: telling her he loves her when he doesn't, for instance. Soon, however, the tables are turned. Catherine not only resists Henry's advances; she reveals that she knows he has been playing a game. Apparently she has been playing one too: "You don't have to pretend you love me," she tells Henry. "You see I'm not mad . . . " Here Catherine proves wiser than she at first appeared — wiser in the ways of the world so far than the easily deceived Henry. Indeed, the latter may be attracted to Catherine precisely because of her aura of hard-earned maturity. Well, that and her hair.
Catherine rejects organized faith, and yet (unlike the priest-baiting officers at the front) she is no nihilist. She lives by a definite, unshakeable value system, and what she values is love. During one of the many nights they spend together in Milan, the couple discusses marriage, which Henry wants but Catherine resists for practical reasons. It would necessitate their separation, she explains — more worldly than he, despite his battlefield experience. She reminds him and us of her having been formally engaged to the soldier who died. Then Catherine tells Henry that she has no religion. She quickly corrects this statement, however, explaining "You're my religion."

Catherine also tells the admitting nurse at the hospital where she goes to give birth at book's end that she lacks a formal religious affiliation of any kind. Henry too calls himself an agnostic, and yet, as virtually anyone would, Henry tries bargaining with God in his desperation at Catherine's impending death. Catherine, on the other hand, retains the courage of her convictions. To the very end, Catherine remains the somewhat stronger of the two. "Just you," she requests of Henry in response to his offer of a priest's visit. Despite everything, love is her religion until the instant she dies.

For much of the novel, Catherine is also more developed than Henry as a Hemingway hero, modest and truthful. Note that while Henry tolerates the "professional hero" Ettore Moretti, Catherine dislikes him intensely. "We have heroes too," Catherine says of Moretti, "But usually, darling, they're much quieter." Additionally, Catherine is distressed by the rigged racetrack betting in which Meyers is involved. "I don't like this crooked racing!" she declares. She suggests to Henry that they bet on a horse they've never heard of, and although it finishes fifth, she feels "so much cleaner." Again, while Henry is tolerant of a certain amount of corruption, Catherine demands purity.

The notion of Catherine's special bravery — another of her heroic qualities — is also introduced during the Milan idyll. With characteristic modesty, she suggests she would like to be brave. When Henry naively suggests that "Nothing ever happens to the brave," the more-experienced Catherine counters with the statement, "They die, of course." And Catherine's extraordinary fortitude is very much in evidence during the escape across Lake Maggiore. Despite her fairly advanced pregnancy, she not only travels through the November night in an open boat but also offers to hold the umbrella so it will serve as a sail. She steers and bails and even rows for a while, always maintaining a sense of humor.

Significantly, we don't doubt Catherine's bravery and stoicism as she perishes; we have been prepared for it by scene after scene in which she displayed just these qualities. What does surprise is her statement, "It's just a dirty trick," which seems to ally her with the cynical, nihilistic officers in Henry's unit. Perhaps Catherine has changed over the course of the novel after all.
















A Farewell To Arms : Title & Generation Lost

Heming Generation Lost way:
BACKGROUND OF “LOST GENERATION”
Seeking the bohemian lifestyle and rejecting the values of American materialism, a number of intellectuals, poets, artists and writers fled to France in the post World War I years. Paris was the center of it all.
American poet Gertrude Stein actually coined the expression "lost generation." Speaking to Ernest Hemingway, she said,

"You are all a lost generation."

The term stuck and the mystique surrounding these individuals continues to fascinate us.

Full of youthful idealism, these individuals sought the meaning of life, drank excessively, had love affairs and created some of the finest American literature to date.

There were many literary artists involved in the groups known as the Lost Generation. The three best known are F. Scott Fitzgerald, Ernest Hemingway and John Dos Passos. Others usually included among the list are: Sherwood Anderson, Kay Boyle, Hart Crane, Ford Maddox Ford and Zelda Fitzgerald.

Ernest Hemingway was the Lost Generation's leader in the adaptation of the naturalistic technique in the novel. Hemingway volunteered to fight with the Italians in World War I and his Midwestern American ignorance was shattered during the resounding defeat of the Italians by the Central Powers at Caporetto. Newspapers of the time reported Hemingway, with dozens of pieces of shrapnel in his legs, had heroically carried another man out. That episode even made the newsreels in America. These war time experiences laid the groundwork of his novel, A Farewell to Arms (1929). Another of his books, The Sun Also Rises (1926) was a naturalistic and shocking expression of post-war disillusionment.

John Dos Passos had also seen the brutality of the war and questioned the meaning of contemporary life. His novel Manhatten Transfer reveals the extent of his pessimism as he indicated the hopeless futility of life in an American city.

F. Scott Fitzgerald is remembered as the portrayer of the spirit of the Jazz age. Though not strictly speaking an expatriate, he roamed Europe and visited North Africa, but returned to the US occasionally. Fitzgerald had at least two addresses in Paris between 1928 and 1930. He fulfilled the role of chronicler of the prohibition era.

His first novel, This Side of Paradise became a best-seller. But when first published, The Great Gatsby on the other hand, sold only 25,000 copies. The free spirited Fitzgerald, certain it would be a big hit, blew the publisher's advance money leasing a villa in Cannes. In the end, he owed his publishers, Scribners, money. Fitzgerald's Gatsby is the story of a somewhat refined and wealthy bootlegger whose morality is contrasted with the hypocritical attitude of most of his acquaintances. Many literary critics consider Gatsby his best work.

The impact of the war on the group of writers in the Lost Generation is aptly demonstrated by a passage from Fitzgerald's Tender is the Night (1933):

"This land here cost twenty lives a foot that summer...See that little stream--we could walk to it in two minutes. It took the British a month to walk it--a whole empire walking very slowly, dying in front and pushing forward behind. And another empire walked very slowly backward a few inches a day, leaving the dead like a million bloody rugs. No Europeans will ever do that again in this generation."

The Lost Generation writers all gained prominence in 20th century literature. Their innovations challenged assumptions about writing and expression, and paved the way for subsequent generations of writers.

The Lost Generation is a term used to describe a group of American writers who were rebelling against what America had become by the 1900’s. At this point in time, America had become a great place to, “go into some area of business” (Crunden, 185). However, the Lost Generation writers felt that America was not such a success story because the country was devoid of a cosmopolitan culture. Their solution to this issue was to pack up their bags and travel to Europe’s cosmopolitan cultures, such as Paris and London. Here they expected to find literary freedom and a cosmopolitan way of life.

A cosmopolitan culture is one which includes and values a variety of backgrounds and cultures. In the 1920's the White Anglo Saxon Protestant work ethic was the only culture that was considered valued by the majority of Americans. It was because of ethics such as this which made the cosmopolitan culture of Paris so alluring. American Literature went through a profound change in the post WWI era. Up until this point, American writers were still expected to use the rigid Victorian styles of the 19th Century. The lost generation writers were above, or apart from, American society, not only in geographic terms, but also in their style of writing and subjects they chose to write about. Although they were unhappy with American culture, the writers were instrumental in changing their country's style of writing, from Victorian to modern.

Hemingway is probably one of the most celebrated authors of his time. Hemingway is well known for his fiction. His take on fiction is something invented or imagined. Main topics were centralized around his love of embellishment of the facts. Hemingway did not have the education as many other writers of his time, rebelling against his parents attempts to send him to colleges. His idea of education did not consist of lectures, and research papers, but of life experiences, and his love of reading. Hemingway's readings centered around Russian writers such as Tolstoy and Turgrnev, Tolstoy was a primary influence in Hemingway's writings. WWI also had a profound impact on him as well, as he was an ambulance driver during the war. He hated the abstract, especially abstract words such as honor, glory, and courage. Hemingway held strong to old beliefs, and symbolism, as he used symbolism to depict the Protestant religion he could not accept. He used observation and description in his works, rather than rhetoric views. The concept of war fascinated Hemingway, as well as the experiences one could endure in a lifetime. One of the most famous works, "Farewell to Arms" depicted the uselessness for words such as honor and glory, because they were not the first things in a soldier's mind as he walked onto the battlefield. Hemingway's works were raw, and dilled with the notion that one could be inside the characters mind, the concrete, and not around in the abstract view of his works.


The Aimlessness of the Lost Generation

World War I undercut traditional notions of morality, faith, and justice. No longer able to rely on the traditional beliefs that gave life meaning, the men and women who experienced the war became psychologically and morally lost, and they wandered aimlessly in a world that appeared meaningless. Jake, Brett, and their acquaintances give dramatic life to this situation. Because they no longer believe in anything, their lives are empty. They fill their time with inconsequential and escapist activities, such as drinking, dancing, and debauchery.

In “The Sun Also Rises” it is important to note that Hemingway never explicitly states that Jake and his friends’ lives are aimless, or that this aimlessness is a result of the war. Instead, he implies these ideas through his portrayal of the characters’ emotional and mental lives. These stand in stark contrast to the characters’ surface actions. Jake and his friends’ constant carousing does not make them happy. Very often, their merrymaking is joyless and driven by alcohol. At best, it allows them not to think about their inner lives or about the war. Although they spend nearly all of their time partying in one way or another, they remain sorrowful or unfulfilled. Hence, their drinking and dancing is just a futile distraction, a purposeless activity characteristic of a wandering, aimless life.

















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