Joe is described as a bad character with no sense of morality or honesty, but he once was a good and honest worker and was a very friendly person. His flaw is tragic because it turned a good and honest man into a killer. This is called a “tragic flaw”, present in the tragic hero in tragedies. Miller believes that tragedy does not only befall a hero, but the common man as well “I believe that the common man is as apt a subject for tragedy in its highest sense as kinds were”i. This belief lead him to create the tragic man, and with the creation of the tragic man came Joe Keller. He is seen as a polite man through his personality, a man who likes to socialize and keep everyone on a positive spirit “Without Frank the stars wouldn’t know when to come out…Take it easy, Frank, you’re a married man.”(All My Sons, pg. 28). This is true for the common man and hero as well, who by Aristotle’s definition has good and bad characteristics. Joe had bad characteristics as well, which ended up being his tragic flaw. Miller believed the tragic flaw was “the flaw, or crack in the character and was really nothing—and need be nothing—but his inherent unwillingness to remain passive in the face of what he conceives to be a challenge to his dignity”i. Joe’s unwillingness to let his company go bankrupt forced him to decide whether his family’s wealth or the lives of fighter pilots was more important to him. Unfortunately, he chose wrong, loving his family so much he would do anything for them “Chris, I did it for you…For you, a business for you!”(All My Sons, pg. 70). This was his tragic flaw because due to his decision, his son committed suicide, which in turn caused Joe to commit suicide realizing his guilt in the matter “Sure, he was my son. But I think to him they were all my sons. And I guess they were, I guess they were”(All My Sons, pg. 83). The tragic hero is meant to create sympathy because of the lost potential. Due to Joe Keller’s tragic decision with the faulty cylinder heads, he went from a polite and friendly man into a disrespected man among his neighbours and his own family.
Great tragedies have always focused on the tragic hero, like Hamlet in “Hamlet”, Macbeth in “Macbeth” and Oedipus in “Oedipus Rex”. These plays show that focusing the story on the tragic hero is not a bad idea, giving good reason why Arthur Miller did this in All My Sons. Miller’s purpose was to bring the beauty of tragedy to modern literature, proving it wasn’t only meant for the upper classes of aristocracy. He succeeded, making a modern tragedy partially based on the form of past Shakespearean masterpieces, leaving the death of the tragic hero towards the end of the play for example. The conflicts between the Keller family and between all the characters brought up tragic themes. These themes, in conjunction with the plot, made a tragic hero out of Joe Keller, or in Miller’s case, a tragic man. This tragic man fits the play perfectly with the themes associated with him. All My Sons can be considered a modern tragedy because of the creation of the tragic man and how his actions created several tragic themes. These actions resulted in his death, which occurs to most tragic men and heroes in great tragedies
2.2 E. Heminqway’s “Fiesta” as a new approach to the tragic hero
Ernest Miller Heminqway (July 21, 1899 — July 2, 1961) was an American writer and journalist. He was part of the 1920s expatriate community in Paris, and one of the veterans of World War I later known as "the Lost Generation." He received the Pulitzer Prize in 1953 for The Old Man and the Sea, and the Nobel Prize in Literature in 1954.
Heminqway's distinctive writing style is characterized by economy and understatement, and had a significant influence on the development of twentieth-century fiction writing. His protagonists are typically stoical men who exhibit an ideal described as "grace under pressure." Many of his works are now considered classics of American literature.
The Sun Also Rises (Later Fiesta) is the first major novel by Ernest Heminqway.[1] Published in 1926, the plot centers on a group of expatriate Americans in Europe during the 1920s. The book's title, selected by Heminqway (at the recommendation of his publisher) is taken from Ecclesiastes 1:5: "The sun also ariseth, and the sun goeth down, and hasteth to his place where he arose." Heminqway's original title for the work was Fiesta, which was used in the British, German and Spanish editions of the novel.
The novel explores the lives and values of the so-called "Lost Generation," chronicling the experiences of Jake Barnes and several acquaintances on their pilgrimage to Pamplona for the annual fiesta and bull fights. After serving in World War I, Jake is unable to consummate a sexual relationship with Brett Ashley because of either psychological or physical damage that leaves him impotent. However, he is still attracted to and in love with her. The story follows Jake and his various companions across France and Spain. Initially, Jake seeks peace away from Brett by taking a fishing trip to Burguete, deep within the Spanish hills, with companion Bill Gorton, another veteran of the war. The fiesta in Pamplona is the setting for the eventual meeting of all the characters, who play out their various desires and anxieties, alongside a great deal of drinking.
Jake Barnes: The narrator of the story, Barnes is an American World War I veteran who suffers from physical injuries and psychological damage that renders him, which leads him to become unable to pursue a sexual relationship with Brett. Having lost direction of his life as a result of his experiences during the war, Barnes attempts to satisfy himself through hard work, drinking, and bull fights.
Lady Ashley, or Brett: Brett is the object of lust for most of the male characters of the book. Portrayed as elusive and promiscuous, Brett, like Barnes, also lacks direction in life and finds emptiness in activities that she would have normally enjoyed during pre-war times. She is engaged to Michael.
Robert Cohn: His status as an outsider as a result of being Jewish has caused Cohn to develop an inferiority complex. Despite attempts to be civil and courteous, Cohn is the object of scorn from other characters. The novel's plot turns on his attempt to recover a brief affair he had with Brett, leading him to tag along with the group of expatriates, much to their collective vexation.
Michael Campbell, or Mike: A Scottish veteran of the war, Michael is close friends with Jake and Bill, and engaged to Brett. Though he attempts to hide his contempt for Cohn, his fiery temper usually manifests itself during periods of heavy drinking. Also, he is bankrupt as a result of his excessive borrowing.
Bill Gorton: An old friend of Barnes, Bill is also a veteran of the war and is less cruel than Michael in his attitudes towards Cohn. Despite also being a heavy drinker, Bill is often more light-hearted than the rest of his peers.
Pedro Romero: The star bullfighter of the fiesta, Romero is introduced to Jake and his friends, falls in love with Brett, and then they split up when they recognize her inability to commit to a sustained relationship. His autonomy, steadfastness, and commitment make him a model for Jake, who possesses none of these qualities even though he aspires to them. Furthermore, the younger Pedro Romero having been born in 1905 represents the younger Civic Generation, often referred to as the Greatest Generation. This served to further demonstrate the Lost Generation's feelings of insecurity and disillusionment compared to their next-younger Generation.
The novel has heavy undercurrents of suppressed emotions and buried values. Its weary and aimless expatriates serve as metaphors for society's lost optimism and innocence after the war. The topic of war is rarely discussed explicitly by any of the characters, but its effects are alluded to through the sexual impotence of Jake and his war wound, and the behavior of the other characters, whom Carlos Baker described as "floundering in an emulsion of ennui and alcohol." The war is also present as the tragedy that affects the way characters are able to deal with themselves, and post-war society. The themes of the novel are cast against the background of the Biblical quotation the book opens with: "One generation passeth away, and another generation cometh; but the earth abideth forever"[2].
The Sun Also Rises is considered one of Heminqway's best novels alongside A Farewell to Arms and For Whom the Bell Tolls.[citation needed] It is considered ground-breaking in its economic use of language for creating atmosphere and recording dialogue. Upon its publication, many U.S. critics denounced its focus on aimless, promiscuous, and generally licentious characters. On the other hand, it was extremely popular with a young and international readership. Since then, the novel has gained general recognition as a modernist masterpiece.
While most critics tend to take the characters seriously, some have argued that the novel is satirical in its portrayal of love and romance. It shows Jake and Cohn, the two male protagonists, vying for the affections of Brett, who is clearly unworthy of the naive praise they heap on her (Cohn openly, Jake implicitly). This could be true in the sense that all of Heminqway's writing "pokes fun at" humans, their vulnerabilities and foibles. However, Heminqway is usually considered too dismayed with the human condition to have been anything but serious, and the situations of his characters so pathetic as to have moved well beyond simple sarcasm.
In The Sun Also Rises, gender issues are dealt with very seriously by critics, though there is little consensus among them. Some critics charge that the depiction of Brett as a 'liberated woman' is intrinsic to her divisiveness in relationships throughout the novel, and therefore that Heminqway saw strong women as causing trouble, particularly for the men who otherwise dominate the novel [21, 156]. The reading of Brett as a 'strong' or 'liberated woman' is itself debatable, however, as she seems unable to live outside a heterosexual relationship. Twice divorced, she has a sexual relationship with almost every man she meets, which suggests a neurotic and necessarily unsuccessful craving for security rather than independence from men. In this reading, Brett is as much a victim of the war and its destruction of social mores as are the male characters. Other critics have argued that Brett signifies the castration of Jake, meanwhile defenders suggest that Brett actually becomes the main character by being the only person Jake is truly interested in. Although the reasons vary significantly from critic to critic, the majority of critical opinion still labels Brett's character as an expression of misogyny [16, 182].
Another point of criticism is Heminqway's depiction of character Robert Cohn, a Jewish man who is often the subject of mockery by his peers. Though some critics have interpreted this as anti-Semitism on the part of Heminqway, defenders of the book argue that Cohn is depicted in a sympathetic manner, mocked not due to his religion but due to his failure to serve during World War I. Interestingly, Heminqway is reported to have said that Cohn was the "hero" of the book, and Harold Loeb, the Jewish writer who served as a model for Cohn, defended Heminqway from charges of anti-Semitism.
Rises Jake Barnes is the character who maintains the typical Code Hero qualities; while Robert Cohn provides the antithesis of a Code Hero.
Jake Barnes, the narrator and main character of The Sun Also Rises, is left impotent by an ambiguous accident during World War I. Jake's wound is the first of many code hero traits that he features. This physical wound, however, transcends into an emotional one by preventing Jake from ever consummating his love with Lady Brett Ashley. Emotional suffering can take its toll on the Code Hero as it did with Jake Barnes. Despite the deep love between Jake and Lady Brett, Jake is forced to keep the relationship strictly platonic and stand watch as different men float in and out of Lady Ashley's life and bed. No one other than Jake and Brett ever learn the complexity of their relationship because Jake's hopeless love for Brett and the agony it entails are restricted to scenes known to themselves alone. Therefore, Jake suffers in silence because he has learned to trust and rely only upon himself, which is conducive to the Heminqway Code as well. Jake is an American who travels to Europe to satiate his appetite for exotic landscapes and to escape his pain. Jake tries to live his life to the fullest with drinking, partying, and sporting with friends. With these pastimes, Jake hopes to hide from his fault and get on with the life he has been made to suffer. Watching and participating in sports help accentuate the Code Hero's masculinity and provide the sense of pride Jake has lost. This gain of pride is essential in the Heminqway Code. Jake attends fishing trips with friends, he visits Pamplona, Spain to witness the running of the bulls, and he acts as a mediator between arguing friends. These characteristics reveal his strong character built of courage and grace. Jake, as with any Code Hero, is a man of action who spends more time achieving goals than talking about them.
Jake's friend, Robert Cohn violates everything a Heminqway Code Hero represents. He is rich, gifted, and skillful and is ready to discuss his emotions in detail. Robert refuses to admit defeat when Brett rejects him repeatedly. Unlike Jake, when Cohn is hurt, he insists on complaining to everyone instead of suffering in silence. Cohn does nothing to assert his masculinity, either. He allows people, especially women to ridicule him and knock down his self esteem. Cohn obviously can not stand up for himself and does not take action when he should. Consequently, Robert has no self control. When a matador sleeps with Brett, whom Cohn is in love with, he takes out his jealousy by beating him repeatedly. Although a man of action, Jake, the quintessential Heminqway Hero, knows when to control himself, Robert Cohn does not.
On the whole, Jake Barnes strictly adheres to the qualities of the typical Heminqway Code Hero. He relies solely on himself, utilizes his assets, enjoys bullfights and other honorable activities. He is an individual of action and speaks not of what he believes; rather he just does what he believes to be right subtlety without any fanfare. Jake has lived with disappointment and frustration all his life, yet he overcomes it and uses the lesson to his advantage. On the other hand, Robert Cohn, who has had the easy life is the perpetual loser. He allows people to walk all over him and continually feels sorry for himself. Robert Cohn is the false knight, who, in theory should be the victorious protagonist but will always turn out to be a shallow person who lives on the fringes of life. In the end, the person who does not possess the Code Hero qualities can never discover himself, and therefore never truly be happy.
2.3 The tragic hero as representation problem in the works E. Heminqway and Arthur Miller
Tragedy is exceptional suffering in life leading the protagonist to death. The hero suffers from a fault, a defect, an imbalance or a flaw leading to his downfall. The tragic hero may perish and may be destroyed but it is not possible to crush his soul easily. The novels of Ernest Heminqway fulfill most of these domains of tragedy.
Tragedy usually focuses on figures of stature whose fall implicates others such as family, an entire group, or even a whole society and typically the tragic figure becomes isolated from his group or society. Death, destruction, horror, sufferings are some of the major characteristics of a tragic hero.
The characters of “A Farewell to Arms” are only innocent victims of a war for which they are not responsible. They have nothing to do with its plans, slogans or objectives. However, the setting of the novel is the war itself with all its horrors and outcomes [13, 145]. The escape of the major characters Fredric Henry and Catherine Barkley softens to some extent the burdens of this bloody war. The escape represents a disgust at the failure of western civilization to achieve its objectives.
The vision of war is one of suffering, and destruction. War represents all the dark, diabolic powers and its quest is monomaniacal. Concerning the philosophy of love and war, one can see that Catherine and Fredric represent love and peace. Their escapism from war with all its vices and darkness softens the agony and burdens of war.
Heminqway has a message for mankind that we must seek a world devoid of wars. Life should continue within its continuum wheel for the welfare of the humanity
Tragedy presents situations that emphasize vulnerability, situations in which both physical and spiritual security and comforts are undermined, and in which the characters are pressed to the utmost limits – overwhelming odds, demonic forces within or without or even both. Against this tragic protagonist are the powers whether human or divine governed by fate or chance, fortune or accident, necessity or circumstances, or any combination of these elements.