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THE REFLECTION OF WOMEN IN TWO GREAT AMERICAN WRITER'S CREATIVE WORKS: F. SCOTT FITZGERALD AND ERNEST MILLER HEMINGWAY
© Shahla Sorkhabi Darzikola, Fahimeh Keshmiri, Maliheh Gholian
English Department, Payame Noor University, Firozkooh, Tehran, Iran English Department, Farhangian University, Isfahan, Iran
The literary of heritages of two great writers in 20th century, F. Scott Fitzgerald and Ernest Hemingway, include many themes that are derived from experiences in their life. Lots of these experiences they describe were with the women in their life. The first major women who influenced Fitzgerald and Hemingway's lives and works were their mother. About Fitzgerald, besides his mother, his wife Zelda and two other women, Ginevra King and Sheilah Graham, played a major role in his life and deeply influenced his fiction as sources of inspiration. Agnes Von Kurowsky as Hemingway's nurse, his four wives, Jane Mason, and Adriana Ivancich were the women who really had affected his life and creative works. The other women who influenced both of them, was Gertrude Stein.
Key words: Ernest Hemingway, Scott Fitzgerald, American writers, women's role.
Introduction
The role of women in society is continually questioned and for centuries women have struggled to find their place in a world that is mostly male oriented. Literature provides the reader a window into the lives, actions, and thoughts of women. In the 19th century, women in literature were frequently portrayed as obedient to men. Literature of this time often characterized women as subjugated by society, as well as by the male influences in their lives. This era is particularly captivating because it is a time in modern society when women were still treated as second-class populace.
Fitzgerald appeared in the October issue of the Nassau Lit with a long poem, The Cameo Frame, and stories, The Pierian Springs and The Last Straw. The story grows a main theme in Fitzgerald's fiction: The talented man corrupted by an egotistical woman. The protagonist is an outrageous middle-aged novelist who lost his Ginevra as an adolescent and never got over it. When he married her after she became widow, he was not able to write again. Most of Fitzgerald's fiction would take the form of self-warnings or self-judgments, and this story is the first in which he examined the conflicting pulls of literature and love. The girl was the writer's inspiration, but only when she was unreached. The contented artist was uncreative. "Yet Fitzgerald was determined to pursue both love and literature
because his idealized girl was an integral part of his ambitions. Fitzgerald created a procession of female destroyers of men in his fictions, but his judgment was not misogynistic. His women - even at their most destructive - are warmly attractive. If his men become their victims, it is the fault of the men for being weak. Given the romantic temperament of his male characters, it is clear they seek destruction -or at least welcome its potentiality. Fitzgerald's attitude toward women as agents of destruction has little to do with sexual corruption, although he remained puritanical about sex. His heroes, like Shakespeare's Troilus are betrayed or destroyed by women who lack the capacity for total romantic commitment" (Bruccoli, 2002, P. 50). That these women were attractive and amazingly beautiful has supplied a tragic dimension to their story; similar to the subjects of one of Fitzgerald's stories, they seem the personification of The Beautiful and Damned.
Hemingway at the same time was also one of the worst in depicting life and women. The stories of Ernest Hemingway, mainly The Short Happy Life of Francis Macomber and The Snows of Kilimanjaro, are concentrated on women, alcohol, money, and ambition. In both of these stories, Hemingway describes the wife either as a bitch in character or was considered to be a bitch by the husband. The woman is also looked upon as smart and challenged the male's ego. The women in these stories are shown either by a male character or by the husband as controlling and manipulative.
During his career, Hemingway has always been controversial with regards with his writing. He was openly criticized by his critics because of the negative portrayal of women in his books. People however did not notice that some of the scholarships he gave for literary studies were granted to women. Although he was influenced by the unconventional understanding of women probably developed during his childhood, some observers' claim that the result of this experience surface on the struggles of women in his works.
Influential Women in Fitzgerald's Creative Works
The first major woman who influenced Fitzgerald's life was his mother. Mary (Mollie) McQuillan was of Irish decent. Her parents were Irish expatriates who became wealthy as grocery possessors in St. Paul. Mollie inherited a large sum of money from her family, but the family had trouble preserving the high standard of living they were habituated to. When they fell into financial difficulty, it was her father they turned to.
The fact that Fitzgerald's mother rather than his father was the monetary foundation for their family influenced Fitzgerald deeply. Even as a young boy he was conscious about these circumstances. The theme that derived from this, about a wife's hereditary money appears repeatedly in Fitzgerald's writing. While the Fitzgeralds fell into financial difficulty, the family had to count on Mollie family's money. When times like that came "Mollie abandoned the attempt to keep up her personal appearance (neglecting both grooming and fashion), which embarrassed
her fastidious son. Scott later recorded a dream in which he admitted being ashamed of her" (De Koster, 1969, P. 15).
His mother was outstandingly unconventional in dress and manner, causing young Scott some suffering during his childhood. Mollie's family provided hold for the family during the author's childhood and they could live close to all of the affluent St. Paul families, and could not help but notice the manor belonging to railroad tycoon, James J. Hill, in walking distance from his own modest home. He wrote that "he felt like an outsider throughout his childhood, for although he lived among them and socialized with them, the rich inhabited a different world" (Prigozy, 2004, P. 115). That idea would find its way into his fiction - notably The Great Gatsby and Tender Is the Night.
Furthermore, Fitzgerald's feelings toward his mother influenced him as an individual. Since two of Mollie's children had died before Scott's birth, she was very protective of him and frequently anxious about his physical condition. Fitzgerald reminded his mother's nervousness regarding his health all through his babyhood. But her efforts to ruin him strengthened his aversion for her. She desired her only son to have social ambition. This aspiration to have a high social status and be a manager influenced Scott's personality and reflected in the most heroes of his fiction.
The second woman who influenced Fitzgerald was Ginevra King. Fitzgerald attended in prestigious Princeton University, but could not quite fit in because nearly all of the students were more affluent and came from more prosperous families than his own. In 1914, through a trip home to St. Paul, he met Ginevra King, at a dance. She was the core of whole thing Scott wanted and could not have. He pursued the relationship for over a year, but gave it up in 1916 after her father supposedly told Fitzgerald that "poor boys shouldn't think of marrying rich girls" (Mangum, 1981, P. 956).
In 1918, Ginevra King married a man of her own social class and sent Fitzgerald a wedding announcement, which he saved. This first romance is reflected in most of his stories such as his first novel, The Romantic Egoist, which was named This Side of Paradise afterward. Ginevra King served as inspiration for the characters Isabelle, Rosalind, and Eleanor, the three very fashionable girls in the novel. As important as she was to Fitzgerald - the model for characters such as Isabelle in Babes in the Woods, which he wrote for the Nassau Lit in 1917 and in which he gave an austere account of their meeting; Judy Jones in Winter Dreams, Josephine Perry in Josephine stories, and, most notably, Daisy Buchanan in The Great Gatsby - she never has been more than a figure of enticing deduce to his critics and biographers.
Fitzgerald later would say that "King dumped me with the most supreme boredom and indifference" (Merrell, 2003, P. 21) but the letters do not prove that. It's hard, if not ultimately impossible, to tell the real deepness of her feelings for Fitzgerald. Many years later, King would let the relationship loose lightly, as a
childish passing romance. His failure to win Ginevra cut deep. The femme fatale, the wealthy and attractive woman always just idealistic, became a frequent theme in his works as well as his life.
About the role of Zelda Sayre, Fitzgerald's wife, as a source of inspiration it can be said when Fitzgerald was 23 years old and the First Lieutenant 67th Infantry and aspiring writer he met the beautiful young Zelda Sayre at a Country Club dance in her hometown, Montgomery in July 1918. Several weeks later Scott seemed to have decided to marry Zelda, who in the end became, in effect, Scott's material. Almost all his books depicted variations on their life together, now and then incorporating bits of her diaries and letters as well.
Zelda's family was Southern aristocracy. Undeniably, a Fitzgerald biography becomes a combined biography of Scott and Zelda Fitzgerald. "She had the strongest influence on him after 1919, and the circumstances of their marriage formed his career. Without Zelda aside he might or might not have been a better caretaker of his genius; but it is folly to assign blame to either partner. They conspired in a hazardous game for which only they knew the rules"(Bruccoli, 2002, P. 3) Zelda possessed a natural beauty and an attractive body. But what distinguished her from other young women was her character - playful, often disobedient, rebellious and even uncontrolled and reckless. She became the muse of the Jazz Age. She was the personification of all things modern, embodiment of new, the prototype for every flapper to go after. "She described herself as without a thought for anyone else... I did not have a single feeling of inferiority, or shyness, or doubt, and no moral principles" (Ruunaniemi, 2001, P. 5). She was without a doubt the ideal girl for Scott at that time, fervent for victory, a member of a famous (but not rich) family, self-governing, and beautiful. Her mother treated her with tender open-mindedness, allowing this youngest child the liberty she desired from her first years. She was disobedient, cheery, and joyful, and even inconsiderate. There was for all time psychological instability in the family she grew in: her father's nervous breakdown, and suicides by her motherly grandmother and afterward her brother. Lots of questions have been arisen about Zelda's later mental breakdown in the light of her family history. She married Fitzgerald who was considered The Prophet of Roaring Twenties.
They lived for a short time on the French Riviera, where Fitzgerald went on working on The Great Gatsby. Probably because she was alone while he was working - may be continuing her irresponsible pattern from her youth -Zelda started an affair with Edouard Jozan, a young French aviator, whom they had both met at the seaside. It was possibly no more than an unconsummated love, but Fitzgerald was angry when he was informed about it. Intensely distressed, Fitzgerald forced a quarrel with Jozan, who left. The whole episode endured six weeks. Such as Fitzgerald's control and severely imagined and felt was the material for his stories that these distressing events did not ruin his growth on the manuscript, called at diverse times Among The Ash Heaps and Millionaires, Tri-
malchio in West Egg, The Great Gatsby and Tender Is the Night, where the theme of betrayal is steady. Zelda included elements of that event into Save Me the Waltz too. In his Notebooks, Fitzgerald wrote: "That September of 1924, I knew something had happened that could never be repaired" (Bruccoli, 1978, P. 113).
Zelda thought of herself as the new woman - the flapper, and oppressed her own image in the media. Of course, Scott's work was interrupted by the infinite party-going; they soon began to have quarrels, for their life together lacked any resemblance of order. Hemingway described her as: "an insane and encouraged her husband to drink so as to distract Scott from his work on his novel" (Canter-bery, 2006. P. 189). But they were riding the top of success and enjoying the fame that his novel, This Side of Paradise had brought. Their family life was subject to nonstop stress from their drinking, his desire about his work, her feelings of disregard, and their steady worry about enough profits. «In January 1922, Scott wrote to the literary critic Edmund Wilson that, the complete, fine and full-hearted selfishness and chill-mindedness of Zelda enormously influenced his writing. Edmund Wilson agreed with Scott, saying, I have rarely known a woman who expressed herself so delightfully and so freshly; she had no ready-made phrases on the one hand and made no straining for effect on the other" (Mathews, 2012, P. 1120).
Possibly the selfishness to which Scott referred was Zelda's effort to recognize herself outside her role in Scott's fiction. She desired to express herself and be praised through her own virtues. She would spend the rest of her life annoying to escape from Scott's shadow. Zelda primarily attempted to express herself through writing. She had frequently kept a diary, which she showed to Scott whereas they were courting, and which Scott found so innovative that he used some passages in both This Side of Paradise and the Beautiful and the Damned. Zelda was Scott's personal muse, the model for nearly every fictional heroine he created. Reflecting on their association in later years, Scott wrote, "I fell in love with her courage, her sincerity and her flaming self-respect and it's these things I'd believe in even if the whole world indulged in wild suspicions that she wasn't all that she should be... I love her and that's the beginning and the end of it" (Kurth, 1996, P. 21).
At the end of the Jazz Age, Scott wrote, "Sometimes I don't know whether Zelda and I are real or whether we are characters in one of my novels" (Kurth, 1996, P. 25). The Beautiful and the Damned is considered his most autobiographical novel. Beautiful Gloria, who loves spending a good time and wants to marry a rich man, is the reflection of both his earlier romance with Ginevra and his wife, Zelda. Vain and self-centered Gloria is money-oriented, materialistic, and not interested in anything but her own selfish desires. Fitzgerald accepted the character Gloria was stimulated by his wife in both appearance and personality, but declared that Gloria was more shallow and vain than Zelda. Some overtones of Zel-da can also be seen in the character of Daisy in The Great Gatsby. And in his novel, Tender is the Night the relationship between Dick and Nicole, a mental pa-
tient, is an obvious parallel to his marriage to the troubled Zelda. «She dreamt that his voice called to her, 'I have lost the woman I put in my book.' Even when they were fighting a battle of wills, they were fighting more for each other than against each other.
Another American writer, whose friendship with Fitzgerald and Hemingway should be mentioned, is Gertrude Stein. She was an American expatriate who had been living in Paris for 18 years. She was famous along with modern artists such as Picasso, Matisse, Cézanne, Henry James, Ezra Pound, Hemingway and Fitzgerald. They all met in the Stein's salon, which was a popular meeting-point for discussions on Modernism. "Stein herself had decided to experiment with the English language instead of writing common fiction. She practiced a kind of cubist writing which was based on rhythm, rhyme and repetition rather than on a sense making plot" (Bradbury, 1991. P. 251).
However, she gave useful advices to writers when required and was mentor for some of them. Included in this select crowd, was Scott Fitzgerald, for whose writing Stein always had a great admiration. Hemingway was well associated in the Paris emigrant literary colony and introduced Fitzgerald to several American writers living on the Left Bank. Fitzgerald went with Hemingway to 27 rue de Fleurus to meet Stein, whom he enamored. She considered Fitzgerald as the most talented of the young American writers and delivered her declaration on The Great Gatsby: "Here we are and have read your book and it is a good book. I like the melody of your dedication it shows that you have a background of beauty and tenderness and that is a comfort. The next fine thing is that you write naturally in sentences and that too is a comfort. You write logically in sentences and one can read all of them and that among other things is a comfort. You are creating the modern world much as Thackeray did his in Pendants and Vanity Fair and this isn't a bad compliment. You make a modern world and a modern orgy strangely enough it was never done until you did it in This Side of Paradise. My belief in This Side of Paradise was alright. This is as good a book and different and older and that is what one does, one does not get better but different and older and that is always a pleasure" (Stein, 1925, P. 2).
Although Fitzgerald was intrigued by Stein and flattered by her praise, he did not become a disciple of her theories or a member of her coterie. "He felt that Three Lives was a solid achievement, but that her later books were coo-coo. In The Autobiography of Alice B. Toklas, Stein wrote: Fitzgerald will be read when many of his well known contemporaries are forgotten (Stein, 1961. P. 218).
The last woman, who should be considered as the last source of inspiration for Fitzgerald was Sheilah Graham. When Fitzgerald received an offer to work for Metro-Goldwyn-Mayer Studios in Hollywood, with a generous salary, he accepted the offer and moved to California in 1937. There he began an affair with British journalist Sheilah Graham, whom he met in a hotel on Sunset Boulevard called The Garden of Allah. At that time, the hotel was home to many famous
writers and actors of the time. Sheilah Graham became Fitzgerald's companion for the rest of his life. At times their relationship was difficult because of his alcoholism. She was supportive of him and helped him quit drinking while he was working on his last novel, The Last Tycoon. Graham, who physically resembled Zelda, was the model for Kathleen Moore, who resembles Monroe Stahr's dead wife, Minna Davis, in Fitzgerald's uncompleted last novel.
Before the publication of The Great Gatsby, in 1924, the Fitzgeralds had moved to Paris to unite a growing community of American artists and writers drawn to France for its economical cost of living, great bars, liberal sexual systems, various presses and magazines eager to publish their works. Regardless of parties and the drinking and the matrimonial trouble Fitzgerald produced an imposing amount of work all through his first six years (1925-1931) as a professional writer -forty-one stories, three novels, a play, and twenty-seven articles or reviews, as well as movie scenarios. This was the most creative stage of his life. After 1925 it became increasingly hard for him to devote successive months to writing.
For some years F. Scott Fitzgerald was to serve as ambassador of literature to that Paris of the rich. He said of the 1920s: "America was going on the utmost, gaudiest spree in history and there was going to be plenty to tell about it. ... All the stories that came into my head had a touch of disaster in them - the lovely young creatures in my novels went to ruin, the Diamond Mountains of my short stories blew up." (Fitzgerald, 1964. P. 8).
Influential Women in Hemingway's Creative Works
Hemingway's mother, Grace Hemingway was an opera singer by training; she married a doctor with whom she was basically incompatible. Stuck it out more-or-less cheerfully, bearing six children. But she remained obdurate about the lifestyle she wanted which was a cosmopolitan Chicago lifestyle, filled with art and music. In the subsequent fantasy world of Ernest Hemingway's perpetually subservient female characters, this was a cardinal sin.
In Hemingway's childhood, his mother had a strange habit of dressing her son like a girl, complete with dresses and long hair, and his older sister as a boy, with overalls and cropped hair. When Ernest became six, she finally ended the charade and allows him to cut his long hair. The damage has already been done. In adulthood John dos Passos, one of his best friends, will describe Hemingway as the only man he ever knew who truly hated his mother. "From my earliest days with Ernest Hemingway, wrote Major General Charles T. Lanham about his friend Ernest Hemingway, he always referred to his mother as that bitch. He must have told me a thousand times how much he hated her and in how many ways. At other moments in his mature years Ernest spat out same invective. Grace Hemingway was a domineering shrew who drove her husband to suicide; she had a rule everything. John Passos said that Ernest was the only man he ever knew who really hated his mother" (Kert, 1998. P. 23).
Hemingway's nurse, Agnes Von Kurowsky Stanfield, was the second woman who influenced on him. She started to serve as a nurse in American Red Cross hospital in Milan during First World War. One of her patients was Ernest Hemingway, who fell in love with her. That time Hemingway was nineteen years old, and maybe, here in this romantic setting of a hospital in wartime Milan, he discovered for the first time, he was attracted to women and women were attracted to him. By the mid of August, Ernest was enthusiastically in love with Agnes. It was his first adult love issue and he heaved himself into his emotions. Agnes did not fully respond. She had a duty to do and rejected to let the affair pass the kissing stage. Ernest wanted to marry her but she was dedicated to her nursing career. Agnes called Ernest Kid and herself Mrs. Kid and kept a photograph of him in her pocket and wrote to him nightly, in spite of seeing him every day. But she probably supposed this wartime romance would not last. Their last meeting was not a very successful one. She criticized his manner and convinced Hemingway to go back to his home. She also hinted that maybe in two years or so they would get married. She wanted to pursue her career as a nurse and she was worried about their age gap. She was 26 and he was only 19. They continued their relationship when suddenly Agnes sent him a letter of rejection. Hemingway was very sad at what he saw as Agnes running away from him.
Later Hemingway wrote Three Stories and Ten Poems that one story summarized his love affair with Agnes in Milan, concluding with an account of his homecoming and her letter of rejection. Even eleven years later Hemingway was still remembering his love affair with Agnes. He wrote A Farwell to Arms which is based on him and Agnes. He was still trying to purify himself of his first real love. His five month unconsummated love affair with Agnes notwithstanding any circumstances was to live with him for the rest of his life.
Other sources of inspiration for Hemingway were his wives. His first wife, Hadley Richardson married him in 1921 and upon the advice of "... Sherwood Anderson, American novelist and short story writer, they moved to Paris where they met other expatriate writers and artists including Ezra Pound, Gertrude Stein and F. Scott Fitzgerald. When Hadley became pregnant, the couple decided to go to Toronto" (Baker, 1972. P. 15). They made plan to watch the bullfighting at the festival of San Fermin in Pamplona, begins at midday on 6th July every year, for the first time. Such a life style and his accompany by Hedley, acted as the igniting fuel for the emergence of his under discussion novel. In December 1922, Hadley packed all of Hemingway's manuscripts in a suitcase to take to Switzerland, where Hemingway was covering the Lausanne Peace Conference, but his fiction had been stolen and Hemingway had lost everything that he had written. With the loss of the manuscripts, and with the short of time to put down those vanished words in his bid to become a respected writer, Hemingway may have adopted and adapted the lean prose style for which he became famous. "Gertrude Stein advised him to go to Spain; he would find new stories there. The Sun Also Rises is
drawn from the Hemingway's real life experience with bullfighting in Spain, but Hadley was not in the book as a character although she was imperative to its making. In fact, without her financial and emotional support, Hemingway could not write this great novel. Next year Hadley and Hemingway got along by a group of American and British exile left Paris for visiting annual festival in Pamplona again" (Meyers, 1985. P. 117).
During this journey he met Pauline Pfeiffer and this was the beginning ice for their marriage. Thereafter, his relationship with Hadley got worse and worse. Many critics favor this idea that this has been the starting point for a drastic alteration in his writing and the theme of his novel. After the journey, their marriage broke up when Hemingway was still writing it. One can see that the selection of the title that The Sun Also Rises refers to the way he has put an end to a life and has started a new one inspiring the critics and the readers to get courageous enough to take action for saving their life which at a macro level implicates the efforts of modern man for a better living after the depression.
The second of three St. Louis women who wed Hemingway was Pauline Pfeiffer. "A Farewell to Arms was output of the new life within this period. As one of Pauline became one of Ernest's only supporters in his plan to break his contract with Boni and Liveright. So Hemingway in only a few weeks during the autumn wrote a take-off on Anderson's recent novel. Both Gertrude Stein and John Dos Passos thought the work nasty and demeaning. Only Paulin Pfeiffer thought Hemingway's The Torrent of Spring brilliantly comic. In this first encounter between a non-supportive wife and chic woman who, though an outsider, was herself a part of the literary world, Hemingway succumbed to Pauline's flattery" (Martin, 2007. P. 57).
A Farewell to Arms is a semi-autobiographical novel written according to his second wife's difficult labor, Paulin Pfeiffer, and fighting on the Italian front. It implies some facts about his life and his attitude which can be deduced from this novel and the following novels under discussion. One can clearly come up with this idea that Hemingway as a war correspondent in Spain, during the years of his life with Pauline and according to the events of the Spanish Civil war, also wrote the novel For Whom the Bell Tolls. But he certainly hated bullshit. And women exhale bullshit like men exhale carbon dioxide. From his domineering mother who made him wear pink gowns and flowered lace bonnets that matched his sister's to the World War I nurse who broke his heart she cured the yellowing of jaundice but caused the bluing of balls to the unsatisfactory spouses who drove him to other unsatisfactory spouses, the females in Papa's life each taught him a new lesson in disappointment.
The third wife of Ernest Hemingway, Martha Gellhorn was a novelist and journalist who were born in St. Louis, Missouri. Gellhorn and Hemingway had a Christmas family trip to Key West in 1936 and traveled to cover the Spanish civil war. "It was in Christmas 1936 when Hemingway first met war correspondent
Martha Gellhorn at a bar in Key West, Florida. In 1937 Hemingway agreed to report on the Spanish Civil War for the North American Newspaper Alliance (NANA)." (Mellow, 1992, P.488). "In March he arrived in Spain with Dutch filmmaker Joris Ivens" (Koch, 2005. P. 87). "Ivens, who was filming The Spanish Earth, needed Hemingway as a screenwriter to replace John Dos Passos, who left the project when his friend José Robles was arrested and later executed." (Meyers, 1985, P. 311). The incident made Dos Passos' think differently of the leftist republicans, which created a rift between him and Hemingway, who spread a rumor that "Dos Passos was a coward for leaving Spain" (Koch, 2005. P. 164).
Martha Gellhorn went on to join him in Spain. Like Hadley, Martha was a native of St. Louis, and like Pauline, she had worked for Vogue in Paris. Of Martha, Bernice Kert explains, "she never catered to him the way other women did." Late in 1937, while in Madrid with Martha, "Hemingway wrote his only play, The Fifth Column, as the city was being bombarded. He returned to Key West for a few months, then back to Spain twice in 1938. He was present at the Battle of the Ebro, the last republican stand, and was among fellow British and American journalists who were some of the last to leave the battle as they crossed the river" (Meyers, 1985, P. 321). During living together, the two authors worked as literary partners both on articles for Colliers and on each other's manuscripts of books and stories in progress, including Hemingway's For Whom the Bell Tolls and Gellhorn's A Stricken Field, Heart of Another, and Liana.
Before his second marriage ended in 1940, Hemingway had published three story collections, Men without Women (1927), Winner Take Nothing (1933), and The Fifth Column and First Forty-Nine stories (1939); a bullfight treatise, Death in the Afternoon (1932); a nonfiction safari book, Green Hills of Africa (1934); and three novels, A Farewell to Arms (1929), To Have and Have Not (1937), and For Whom the Bell Tolls (1940).
Gellhorn established another perspective to that of Hemingway. While the latter played the leading role in his journalistic adventure, she recounted on the actors who died or survived. These metamorphoses in style would begin to go beyond the professional duel to intervene on the emotional level, and it would ruin the close bond. Both journalists and soldiers marched with the allies who had landed in Normandy in 1944. But on 25 November of the same year, in the Ritz Hotel in Paris where the liberation of that capital from the Nazi yoke was being celebrated, the relationship broke. Each went separate way; Hemingway with a correspondent Mary Welsh and Martha alone, because she was always faithful to him. Martha and Hemingway agreed to travel in Spanish together to cover the Spanish Civil War. She and Hemingway lived together off and on for four years, before marrying in December, 1940. Gellhorn resented her echoed fame as Hemingway's third wife, remarking that she did not intend of being a footnote in someone else's life. As a condition for yielding interviews, she was known to insist that Hemingway's name not be mentioned.
Gellhorn stimulated Hemingway to write his most famous novel, For Whom the Bell Tolls. Unfailing his habit of moving around while working on a manuscript, he wrote it in Cuba, Wyoming, and Sun Valley. It was Martha Gellhorn who convinced Ernest to come with her to observe the Spanish Civil War. It was she who saw the massacre of the D-Day beaches while he stayed safely on a ship. As a war reporter, she surpassed him; as a novelist, he put her in the shade and the opposition between them outlived their nine-year relationship, which ended in 1946.
His fourth and last wife was an American journalist, Mary Welsh. They lived in Cuba, Key West, Florida and Ketchum Idaho. In 1948 Hemingway and Mary traveled to Europe. In 1951 Hemingway wrote the rough copy of The Old Man and the Sea in eight weeks, considering it was the best he could write ever for all of his life. "The Old Man and the Sea became a book of the month selection, made Hemingway an international celebrity, and won the Pulitzer Prize in May 1952, a month before he left for his second trip to Africa" (Desnoyers, 1992, P. 6).
After Hemingway's suicide Mary passed the following years writing her autobiography, How It Was. It was published in 1976 and might as well have been subtitled like The Importance of Being Ernest's Wife and stressed passages of affection and love. Of course here It referred to life with Hemingway. Without Hemingway the book could not have been written. If it had, it would not have been published.
As before mentioned Gertrude Stein was one of the influential women on Hemingway. Meeting Stain with Hemingway was following a letter of recommendation Stein had received from Anderson in 1922. Gertrude Stein was an American expatriate who had been living in Paris for eighteen years. Hemingway, being one of those who often frequented her salon, began to admire Stein and her work; he soon realized that he could learn much from her. He was impressed by her "continuous present tense and her steady repetition of key phrases that created meanings larger than the words themselves and considered it useful to acquire those techniques" (Reynolds, 1999, P. 37).
Hemingway was immediately very fond of her and their friendship developed quickly. She read his first works and became his mentor. "Stein taught Hemingway about structure and composition with the example of cubist paintings as a guide and model for the organization of poetry and prose" (Leff, 1999, P. 6). Having in mind that he could use his teachers, "Pound and Stein, for his career, he readily gave them his work for revision and accepted their advice and recommendations concerning style and publication"(Benson, 1969, P. 91). In journalism Hemingway had already developed his "declarative style which he refined with stylistic elements acquired from Stein" (Mellow, 1974, P. 264).
Edmund Wilson, one of Hemingway's critics and friends, states that "... Hemingway felt the genius of Gertrude Stein's Three Lives and had evidently been influenced by it" (Wilson, 1952. P. 119). Wilson even says that "Ernest Hemingway, Gertrude Stein, and Sherwood Anderson formed a school of their own at the
time. Each one of them used simple colloquial language, avoiding description and decorative adjectives. This, they thought, increases the quality of a story because the emotion evoked in the reader will be stronger; additionally they were of the opinion that a trait of an excellent writer is to convey emotion through omission. Hemingway, being by far the youngest of the three, learned much from his mentors. Nonetheless, he had developed a style of his own in which he hides the Stei-nian stylistic elements in a way that they enforce emotion but do not affect the intelligibility of his work" (Wilson, 1952. P. 121).
In Stein exploration of the stream of consciousness, she attempted to convey the least easily-grasped area of consciousness the transitive. Her style was subsequently very difficult to follow. Hemingway, on the other hand, wrote decently about essential moments. Hemingway asked for and gladly accepted Stein's advice for a few years he told: "I wrote some pretty good poems lately in Rhyme. We love Gertrude Stein" (Baker, 1981, P. 63). "But their relationship slowly crumbled because both of them felt insulted by the other" (Sabin, 1996, P. 2). In the later years, Hemingway began to even deny the influence Stein had on him. Although Hemingway had not talked to Stein for years she is very present in novel For Whom the Toll Bells as a Spanish woman Pilar.
Jane Mason's role on Hemingway's life and works started with their first met on an ocean liner. He was thirty-two and married to Pauline, his second wife who that time was pregnant for second time. Jane was twenty-two when she married to Grant Mason, a rich American who worked in Cuba as an executive for Pan American Airways. They lived near Havana in a large villa where Jane, an aspiring sculptor, had a third-floor studio and became friends of Ernest and Pauline Hemingway, introducing the Hemingways into Cuban society. Hemingway and Jane created an affair as Hemingway took up protracted home at what would be his base in Havana for the next several years. In the following spring, as his second marriage kept on unraveling, Hemingway was in Havana for another extended stay, and once again Jane Mason was there.
Pauline used the reason of the annual visit of Hemingway's son Jack to come over from Key West as she took the boy to Havana to spend time with his father. But Hemingway made her feel undesirable and she soon went back to Key West alone. Hemingway also cheered rumors of an affair with Mason. He defined her as a damn fine girl, and used her as the model for the adulterous Margot Ma-comber in The Short Happy Life of Francis Macomber that the story, set in Africa, concerns three main characters including husband and wife Francis and Margot Macomber and their hired hunting guide, Robert Wilson.
19 year old Adriana Ivancich was the other influential women on Hemingway. "The Platonic love affair inspired the novel Across the River and into the Tree, published in 1950" (Meyers, 1985, P. 440). At the beginning of December in 1948 the Hemingways and Adriana were invited to a duck shooting party in Venice. It was the first time that Hemingway met Adriana. That day, became a
special day in the life of Hemingway. He met a girl that became his muse for five years. When he saw Adriana Ivancich he got immediately infatuated. "It struck me like lightning, Hemingway confessed." (Meyers, 1985, P. 440). "It was she, who made him write again, he said, the vein had dried out, around me there was only emptiness" (Kingge, 2011, P. 20).
Adriana also believed that she had broken his writer's block, and she was happy about her success. "I had been so full of life and enthusiasm, that I transferred these to him, she wrote later: Hemingway told me that he fell ill while writing Across the River and into the Trees and that he had to lay the book aside, because he could not write any longer, but then he had got to know me and had felt how a new energy flowed over from me into him. Hemingway confirmed again later; you have given back to me the ability to write, and for that I always will be grateful to you. I was able to finish my book and have given a face to the heroine" (Kingge, 2011, P. 20).
Conclusion
Two giant American Writers: F. Scott Fitzgerald and Ernest Hemingway, include many themes that are derived from experiences in their own life. Five women played a strong role in different periods of Fitzgerald's life as sources of inspiration his works. Fitzgerald's works include many themes that are derived from experiences in his life. Lots of these experiences he described were with the women in his life. Besides his mother and his wife Zelda, two other women, Gine-vra King and Sheilah Graham, and Gertrude Stein played a major role in F. Scott Fitzgerald's life and deeply influenced on his fiction. His mother was the first influential women on him. Ginevra King was the love of his adolescence. This first romance was reflected in most of his stories such as his first novel, The Romantic Egoist, which was named This Side of Paradise afterward. Ginevra King served as inspiration for the characters Isabelle, Rosalind, and Eleanor, the three very fashionable girls in the novel. As important as she was to Fitzgerald - the model for characters such as Isabelle in Babes in the Woods, which he wrote for the Nassau Lit in 1917 and in which he gave an austere account of their meeting; Judy Jones in Winter Dreams, Josephine Perry in Josephine stories, and, most notably, Daisy Buchanan in The Great Gatsby - she never has been more than a figure of enticing deduce to his critics and biographers. The Beautiful and the Damned is considered his most autobiographical novel. Beautiful Gloria, who loves spending a good time and wants to marry a rich man, is the reflection of both his earlier romance with Ginevra and his wife, Zelda. Zelda was Scott's personal muse, the model for nearly every fictional heroine he created and his wife Zelda was the love of his life, and Sheilah Graham his reassure in his later years.
There were nine women who really had effected on Hemingway such as his mother, Agnes Von Kurowsky, his four wives, Gertrude Stein, Adriana Ivancich, and Jane Mason who had a great role in the life of the writer as sources of inspiration.
It can be said it's a myth that Hemingway hated women, but in reality, Hemingway has had attractive wives - one for each big book - and he has loved women enough to marry four of them whose impact can be seen in four of his major works. The impact of the women in his novels can be detected from different orientations. Hemingway wrote Three Stories and Ten Poems that one story summarized his love affair with Agnes in Milan, concluding with an account of his homecoming and her letter of rejection. Even eleven years later Hemingway was still remembering his love affair with Agnes. He wrote A Farwell to Arms which is based on him and Agnes. One has been promising from the critical appraisal view point which is the case of his first wife, Hadley. The other's role can be detected in the development of his financial status, a role which, for sure, can go to Pauline. Without her influence, may be, Hemingway could not write any more and create any other work of art. Hadley Richardson appears to be Ernest Hemingway's Paris wife. The way Pauline Pfeiffer became known as his Key West wife, Martha Gelhorn as his Spanish Civil War wife and Mary Welsh as his last wife.
Hadley was truly central to the rest of his life and career. Hemingway could not have become the writer we know without his first wife's impact. The Sun Also Rises is critically acclaimed and commercially successful. A Farewell to Arms made Hemingway financially independent. Martha Gellhorn never stays of her love life with Ernest, although it constituted for him, as with all the writer's women, a very important period in his life. He dedicated for whom the Bell Tolls to her.
Gertrude Stein is very present in novel For Whom the Toll Bells as a Spanish woman Pilar. Jane Mason was as the model for the adulterous Margot Macomber in The Short Happy Life of Francis Macomber. The last and Platonic love affair with Adriana Ivancich inspired the novel Across the River and into the Tree.
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ФОРМИРОВАНИЕ ИНТЕРЕСА И МОТИВАЦИИ К ИЗУЧЕНИЮ ИНОСТРАННОГО ЯЗЫКА У СТУДЕНТОВ НЕЯЗЫКОВЫХ ВУЗОВ
© Бабжанова Г.Ж.*, Кашкенова А.М.*, Тогузбаева Г.М.*
Казахский гуманитарно-юридический университет, Республика Казахстан, г. Астана
Данная статья посвящена проблемам изучения иностранного языка в неязыковом вузе и способам формирования интереса и мотивации при изучении иностранного языка.
Ключевые слова: мотивация, мотивы изучения, неязыковой вуз, профессиональное становление, формирование интереса.
Современное общество вырабатывает свою собственную современную модель образования и создает новые государственные образовательные стандарты. Преподаватели иностранных языков в неязыковых вузах осознают практическую значимость модернизации языковой политики и вносят определенный вклад в решение следующих важных задач, таких как:
- совершенствование организации курса обучения иностранному языку (разработка учебных пособий);
- внедрение новых технологий и средств обучения (например, в области обучения дискурсу на базе печатных и аудитивных профессиональных иноязычных текстов);
- применение инновационных технологий: «Case-Study», проблемного обучения, проектного метода;
- создание в процессе обучения иностранному языку не только условных ситуаций профессионального общения, как это имеет место во время деловых игр, научных конференций, но и условий естест-
* Старший преподаватель кафедры Английского языка, магистр педагогических наук.
* Старший преподаватель кафедры Английского языка, МА in TESOL Master of Arts. " Старший преподаватель кафедры Английского языка.
