English 582 Rhetoric and Poetics

7/24/2019 English 582 Rhetoric and Poetics

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Edwards 1

Andrea M. Edwards

English 582- Rhetoric and Poetics

Kraemer, Dr. Donald

7 !ne 2"12

Re#ised$ %all 2"15

&'ow ( )a* Me+- emingwa* and 'arrati#e

(n Ernest emingwa*s short stor* &'ow ( )a* Me+, 'ic Adams is reminiscing a/o!t a

time when he had insomnia, ha#ing nightmares ca!sed /* the war he ser#ed in where he co!ld

ha#e died at an*time, so instead decides to reminisce on his childhood, con#erses with his

orderl* a/o!t marriage, /* the end the stor* mo#es to his orderl* #isiting him in the hos0ital

months later, and /eing disa00ointed when he sees 'ic has not gotten married. is orderl*,

ohn, who is married and has three da!ghters emingwa* 34, !ses some o6 Phelans idea o6

red!ndant stor*telling, &E0lanations that see to 0reser#e the mimetic com0onent o6 the stor*

0la!si/le, nat!ralistic rationale 6or the narration+ 25. ohn does this /* constantl* sa*ing to

'ic that he sho!ld get married emingwa* 34-7". Phelan wo!ld sa* this narration is act!all*

more o6 a &l*ric narrati#e+ " or to e0lain in more detail$

o clari6* that claim, ( t!rn now to more general descri0tions o6 what

mars a gi#en tet narrati#e, what mars another as l*ric, and what mars a third

tet as a character 0ortrait9 these descri0tions are all /ased on the rhetorical

de6inition o6 narrati#e ( re6erred to in the introd!ction$ somebody telling


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somebody else on some occasion for some purpose that something happened

131.

( /elie#e that his theor* on red!ndant or re0etitio!s stor*telling is more 0recise than his theor*

on it /eing a &l*ric narrati#e+. Altho!gh it seems as tho!gh it wo!ld /e classi6ied as a &l*ric

narrati#e+ /eca!se o6 this$

( /egin with &'ow ( )a* Me+, 0a*ing attention to the logic o6 its

0rogression, its mo#ement 6rom 'ic the tellers memories o6 how he !sed to sta*

awae d!ring the war /* remem/ering his 0ast to his memor* o6 a con#ersation

on the s0eci6ic night to his 0resent sit!ation Phelan 13.

( wo!ld arg!e that Phelan is !sing his theor* o6 re0etitio!s

stor*telling and &l*ric narrati#e+ to descri/e the narrati#e

de#ices !sed 6or &'ow ( )a* Me+.

emingwa* 0ro:ects himsel6 thro!gh his character 'ic

Adams, and he shows !0 in a/o!t twent*-6o!r o6 emingwa*s

short stories %lora 2-. &'ow ( )a* Me+ is where readers learn some in6ormation on 'ic, is

told 6rom the 6irst-0erson 0oint-o6-#iew, and is in6ormation which co!ld /e !se6!l to how readers

might /e a/le to relate to him or get to now more a/o!t him in other stories, &;!r#i#ing and

creating


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Edwards

what the reader learns is 'ic is the cr!sading 0rotagonist o6 this stor*, and this is his stor* to

tell. Phelan states$

emingwa*s disclos!re eceeds 'ics narration /eca!se emingwa*,

!nlie 'ic, has constr!cted logic /ehind the twist and t!rns o6 'ics

monolog!e. (ndeed, this mo#e on emingwa*s 0art is cr!cial to o!r res0onding

to the stor* as a l*ric narrative/eca!se it

!nderlines the distance /etween the im0lied

a!thor and his character narrator 135.

'ic is reiterating the stor* o6 his insomnia to the

a!dience and his orderl* ohn, and his #oice is rendering

itsel6 to a l*ric narrati#e when he remem/ers the insomnia

and his childhood 0ast, /!t when ohn /egins to s0ea

a/o!t marriage and he /egins to em0hasi?e it, then it

/ecomes an amalgamation o6 a l*ric narrati#e and

re0etiti#e stor*telling. emingwa* enco!rages readers to create their own e0lanations o6 'ics

o#erall character or actions to 0re#ent readers 6rom considering 'ic as an !ndis0!ted

re0resentation o6 emingwa*, /!t to sa* there is a &distance+ /etween emingwa* and his

character, 'ic, is to sa* emingwa* has little similarities or relationshi0 to 'ic, when in

realit* 'ic is similar to emingwa* /eca!se he is a re6lection o6 what emingwa* had gone

thro!gh d!ring his time in two @orld @ars and the ;0anish i#il @ar emingwa* 5"1.

Aside 6rom the l*ric narrati#e which

is 0resented in this stor*, the l*ric

narrati#e can /e lined to memor*,

and in this case, 0ossi/l* arti6icial

memor* in the sense that

emingwa* wants the reader to

remem/er 'ic and his stor* /*

re0etition 0resented thro!gho!t the

stor*9 altho!gh the a!dience does

not now i6 what 'ic is

remem/ering is real, or i6 it ma*

ha#e somehow /een altered in some

6orm to allow or 0re#ent 'ic 6rom

remem/ering certain areas o6 his

0ast.


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Edwards B

'ic Adams ma* or ma* not /e a relia/le narrator /eca!se o6 his memories, his second

name, and his insomnia and /eca!se o6 dialog!e s!ch as this$

&ant *o! slee0, ;ignor enenteC+ he ased.

&'o.+

&( cant slee0, either.+

&@hats the matterC+

&( dont now. ( cant slee0+ emingwa*

37.

'ic does not call himsel6 &'ic+, and 6or reasons the

reader is not gi#en he is going /* the name o6 &;ignor

enente+, so this change in his name is the 6irst sign o6 his

credi/ilit* as a narrator coming into 0la* /eca!se he is

going /* two di66erent names. he second sign is his

ina/ilit* to slee0 which can lead to del!sions and those del!sions can hinder his a/ilit* as a

narrator. ( wo!ld lie to classi6* this as insomnia thans to what ( am gi#en in the stor* on 0age

3, and thro!gho!t the remainder o6 the stor*, /!t ( now a critic who will disagree with me,

&'ic did not ha#e insomnia /!t 6ear+ Phelan 137, and ( com0letel* disagree with this

statement /eca!se 6ear can /ring on insomnia and i6 the c!rrent de6inition in he Merriam-

@e/ster Dictionar* is correct$ &0rolonged and !s!all* a/normal ina/ilit* to get eno!gh slee0+

htt0$www.merriam-we/ster.comdictionar*insomnia, then 0oor 'ic is certainl* s!66ering

6rom insomnia. ( thin this 6ear co!ld 6all into the &a/normal ina/ilit* to get eno!gh slee0+

( had to 0oint o!t the di66erences in

names /eca!se the a!dience isnt

aware o6 this change at 6irst, and

then /egins to reali?e it as the stor*0rogresses. he a!dience !estions

'ics credi/ilit* /eca!se i6 he

cannot remem/er his own name,

then how is the a!dience to tr!st an*

other memories he might ha#e /een

descri/ing in the stor*C Dreams can

alwa*s /e dece0ti#e, and in 'ics

case, it a00ears to /e an iss!e 6or

'ic and the a!dience.
http://www.merriam-webster.com/dictionary/insomniahttp://www.merriam-webster.com/dictionary/insomnia


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categor* es0eciall* i6 it is 6ear /ro!ght on /* /eing in a war sit!ation, &;a*, ;ignor enente, what

did *o! get in this war 6or, an*wa*C+ emingwa* 34. Phelan states &'ic the teller is in m!ch

the same 0s*chological state as 'ic the soldier. Altho!gh he ma* no longer worr* that his so!l

will go o!t o6 his /od* i6 he 6alls aslee0, 'ic is still li#ing with dee0 wo!nds that dist!r/s his

nights+ 135. Phelan seems to contradict himsel6 when he states 'ic does not ha#e insomnia

/eca!se o6 the de6inition ( ha#e gi#en states he does.

he iss!e o6 'ics memories and his o!t-o6-/od* e0erience are mentioned in this stor*,

&'icFs so!l did once lea#e him, /!t ret!rned, as he was wo!nded in >'ow ( )a* Me 273+

ann!m 4B. 'ic does state on 0age 3, &( m*sel6 did not want to slee0 /eca!se ( had /een

li#ing 6or a long time with the nowledge that i6 ( e#er sh!t m* e*es in the dar and let m*sel6

go, m* so!l wo!ld go o!t o6 m* /od*.+ ( /elie#e this co!ld ha#e /een an idea his 0arents or

someone in his li6e ma* ha#e 0laced into his head as a child, or he has /een awae 6or so long he

is /ecoming del!sional, or he is so 6rightened /* what co!ld ha00en /eca!se o6 the war he is in

he con#inces himsel6 to /elie#e that i6 he goes to slee0 his so!l will lea#e his /od*. Another critic

states, &'ic in >'ow ( )a* Me e#en e0lains how he does it, as well as recalling 6or !s which

da*-dreams wor and which dont in relie#ing his aniet*+ Genson 51, his da*-dreams are his

memories o6 his childhood emingwa* 3B-3, and he !ses these memories to ease his 6ear, /!t

these memories do not hel0 him in easing his 6ear or aniet*. his goes /ac to his credi/ilit* as

a narrator /eca!se according to Phelan, &des0ite his retros0ecti#e stance, 'ic has not 6!ll*

6orm!lated the stor* he is a/o!t to tell9 indeed, he is less 6oc!sed on the narrati#e than on

6eelings that moti#ate his memories+ 133. 'ic co!ld co!nt as a credi/le narrator /eca!se he

did not ha#e time to reco!nt the stor* he is telling. e is :!st sim0l* telling his stor* as it !n6olds


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and as he remem/ers it. he im0lied a!thor wants !s to /elie#e this is what 'ic remem/ers and

this is his stor* as he remem/ers it.

&'ow ( )a* Me+ is /ased on the 0ra*er &'ow ( )a* Me Down to ;lee0+, and 0ra*er is

act!all* mentioned a 6ew times in this stor*. here is the &ail Mar*+ and the &H!r %ather+ on

0age 35, and &Hn earth as it is in hea#en+ which is 0art o6 the &H!r %ather+, or the &)ords

Pra*er+ on 0age 33, and the iron* o6 this is as he is 0ra*ing, he does not want his so!l to lea#e

his /od* emingwa* 3, and the title o6 the stor* is

&'ow ( )a* Me+ which is 0art o6 the 0ra*er &'ow ( )a*

Me Down to ;lee0+. Monteiro mentions this little 6actoid

in his article, &And indeed the* m!st in emingwa*Fs

0eo0led world, 6rom the rattled 'ic Adams o6 >'ow (

)a* Me with its ironic tit!lar re6erence to still another

0ra*er to the a!thor who himsel6 com0!lsi#el* 0arodied

the >went*-hird Psalm in the late 142"s, /oth in his

0oem and in his 6ragmentar* 6irst tr* at writing his no#el

a/o!t the loss o6 con6idence in war, lo#e, and sel6+ 4B. Phelan mentions the title o6 the stor*

and how it relates to the stor*, &he title 0ro#ides an im0ortant cl!e in its !se o6 the 0resent tense

and its in#ocation o6 the well-nown childs /edtime 0ra*er$ >'ow ( la* me down to slee0 ( 0ra*

the )ord m* so!l to ee0. (6 ( sho!ld die /e6ore ( wae ( 0ra* the )ord m* so!l to tae+ 13B.

his 0ra*er does relate to the stor*, /!t it also demonstrates the iron* o6 this stor* and its title

/eca!se it is a 0ra*er a/o!t going to slee0 when 'ic is !na/le to go to slee0. his 0ra*er

coincides with the dar and deadl* theme o6 the 0ra*er and the stor* /eca!se /oth are a/o!t

slee0ing and death, and how slee0 and death are related in s!ch a wa* were one goes to slee0,

( learned later on in another 0a0er (

was writing that the name 6or this

o!t-o6-/od* e0erience is

a//re#iated as HHGE, and is also

nown as a &near death e0erience.+

his also /ecomes im0ortant

/eca!se i6 'ic had a near death

e0erience, then this also changes

the wa* the a!dience is anal*?ing

this stor*. Did 'ic come close to

d*ingC @as he in a comaC @hat

does the a!dience now a/o!t his

HHGE as it relates to his memoriesC


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the* ne#er now i6 the* are going to wae !0. his had to ha#e /een the case 6or 'ic /eca!se i6

he had gone to slee0, then he might ha#e died in his slee0. Phelan claims, &'ic also shi6ts awa*

6rom the memor* o6 0eo0le and things to the memor* o6 his 0ra*ing 6or them, and to the

e66ecti#eness o6 the 0ra*ers in 0assing the time. At the same time, the s0eci6ic 0ra*ers, &ail

Mar*+ and &H!r %ather,+ are easil* associated with images o6 'ics 0arents+ 17", and (

/elie#e that Phelan is correct in sa*ing that his 0ra*ers 6or other 0eo0le are associated with his

0arents, /!t ( do gen!inel* /elie#e that he is also 0ra*ing to ee0 himsel6 awae and to 0ra* 6or

sa6et* o6 others and ma*/e e#en himsel6. Also, in the

atholic h!rch, Mar* is seen as the mother o6

h!manit* or o6 the ch!rch, and =od is seen as the 6ather,

so this can easil* re0resent 'ics 0arents in a literal or

meta0horical sense /eca!se the a!dience is not aware o6

who 'ics 0arents are. his will also tie into his

memories and how this stor* is a l*ric narrati#e.

he l*rical as0ects o6 this 0oem can also /e seen thro!gh 'ics 0ra*ers and his attem0t

to !ell his 6ears o6 what ma* come, &'icFs gentle #oice and his e#ident indness and co!rage

in this l*ric mode l!ll !s into acce0ting witho!t :!dgment claims and analogies we wo!ld not

assent to in narrati#e+ lar 171. 'ics gentle #oice descri/es what we wo!ld see in the stor*

itsel6, &@hat his method 6!ndamentall* amo!nts to is this$ he sa*s nearl* e#er*thing the wa* we

might see it, the wa* we might 6eel it, in the rh*thm o6 o!r e#er*da* s0eech and tho!ght+

Dewing 37. Phelan states, &he 6irst s!ch g!idance 6rom the im0lied emingwa* concerns the

answer to the !estion o6 wh* 'ic is telling this stor*, wh* his monolog!e is a memor* o6 the

slee0less nights he s0ent remem/ering his 0ast, what we might call a metamemor*+ 13B. he

his re#erts /ac to his 0ossi/le

near death e0erience. @as he

c!rrentl* e0eriencing one as he

was sa*ing the &)ords Pra*er+C

his 0ortion is also a/o!t how the

title relates to the 0ra*er, and ( 6elt

the need to incl!de this /eca!se (

6elt as tho!gh there was a strong

connection /etween the title and the

0ra*er.


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Edwards 8

&metamemor*+ goes /ac to the iss!e o6 'ics memor*

and /ac to the de6inition o6 a l*ric narrati#e. 'ic is

ha#ing an &ince0tion+ o6 memories /eca!se he /egins

thining a/o!t the time when he co!ld not slee0, and

/eca!se he co!ld not slee0, he then /egins to thin a/o!t

other memories, childhood memories, to hel0 ee0

himsel6 awae /eca!se he does not want to 6all aslee0

/eca!se he is a6raid o6 what will ha00en to his so!l i6 he does emingwa* 3-71. &e66re*

Me*ers !ses a 0assage o!t o6 &'ow ( )a* Me+ in which 'ic descri/es his 6irst memor* in order

to descri/e the a!thorFs earliest memor*+ Genson B3. 'ic Adamss memor* is im0ortant

/eca!se it determines whether or not he is a relia/le narrator, it determines the sco0e o6 the stor*,

it determines the o#erall narration o6 the stor* and it determines what he will choose to tell the

reader.

here are the emotional and 0s*chological as0ects o6 this stor* as well. 'ic emotional

and 0s*chological states can /e lined his 6ears, memories and nostalgia, &M!ta/ilit*, loss and

the 6ear o6 loss, longing, nostalgia, >h!nger9 lost lo#e, lost ill!sions, and 6inall* lost *o!th and

the 0eo0le, 0laces, and e0eriences o6 *o!th$ there are the /asic themes and moti#es and

>sit!ations o6 emingwa*Fs 6iction, and the* are almost alwa*s more essential than #iolence and

death+ Adair 244. 'ic is in an aniet* hea#* state and he will do an*thing to ee0 his cool

!nder 0ress!re, &he #al!e o6 disci0line is also lined to the most 6amo!s o6 emingwa*s

#al!es, co!rage


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Edwards 4

li#ing with dee0 wo!nds that dist!r/s his nights Phelan 13B-5. 'ic 0s*chological state is

centered on insomnia, and he does whate#er he can to ee0 himsel6 awae, &Positing

0h*siological 6oci 6or his 0rotagonistsF 0ro/lems co!ld seem ha00enstance !ntil one considers

the sco0e o6 the de#ice in emingwa*Fs writing$ )ie!tenant 'ic Adams tr*ing to ignore his

nighttime war 6ears &'ow ( )a* Me,+ 1427 while the silworms chew the lea#es as relentlessl*

as the enem* might chew on him and his comrades+ Raa/e 132. 'ic listens to silworms

chew lea#es, he 0ra*s, he thins a/o!t his 0ast, he goes /ac to 0ra*ing, and then he starts !0 a

con#ersation with ohn, his orderl* to ee0 himsel6 6rom 6alling aslee0, /!t what he 6ails to

reali?e is /* doing all o6 this it maes it harder 6or him to e#er go /ac to slee0.

he narration o6 &'ow ( )a* Me+ is 0ro/lematic 6or man* critics /eca!se some o6 them

/elie#e that it is not scr!tini?ed or critici?ed eno!gh, &he tension /etween those im0!lses and

the criticism that emingwa* himsel6 s!/:ects them to is most s!/tl*, and 0erha0s most

0ro6o!ndl*, e0ressed in >'ow ( )a* Me, a wor that has not recei#ed ade!ate critical scr!tin*,

tho!gh it is o6ten re6erred to /* st!dents o6 emingwa*+ older 153. Altho!gh, Phelan might

disagree with this /eca!se he /elie#es the narrati#e is critici?ed, &>'ow ( )a* Me remains 6or

me one o6 the most 0ower6!l and most disconcerting o6 emingwa*s /rilliant cor0!s o6 short

stories,+ Phelan 182. ( am going to agree with Phelan on this /eca!se this is one o6

emingwa*s /etter short stories, and ( sa* this /eca!se the narrati#e is engaging and it is one o6

those stories where the reader has to 6ig!re o!t what is ha00ening in the narrati#e, and what lead

'ic Adams to this 0oint. he narration /ecomes more 0ro/lematic /eca!se o6 the dialog!e

/etween 'ic and ohn that leads me to /elie#e this is red!ndant stor*telling and not :!st >l*ric

narrati#e. he dialog!e /etween 'ic and ohn also gi#es insight as to wh* &'ow ( )a* Me+ is

di66erent than man* o6 the other stories emingwa* has written in the 0ast, &>'ow ( )a* Me,


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Edwards 1"

also narrated /* a *o!ng American in the (talian arm* who has also /een wo!nded and who also

has a con#ersation a/o!t marriage. G!t whereas in the 6irst stor* the narrator wants to marr* and

is warned not to, in the second the narrator, who seems !nwilling to marr*, is ad#ised to do so /*

his orderl*, ohn+ ;mith 175. he narrati#e is clear on

this on 0age 7" o6 &'ow ( )a* Me+$

&'o, ohn, ( dont thin so.+

&Io! o!ght to get married, ;ignor

enente. hen *o! wo!ldnt worr*.

&( dont now.+

&Io! o!ght to get married. @h* dont *o! 0ic o!t some nice (talian girl

with 0lent* o6 mone*C Io! co!ld get an* one *o! want. Io!re *o!ng and *o!

got good decorations and *o! loo nice. Io! /een wo!nded a co!0le o6 times.+

&( cant tal the lang!age well eno!gh.+

&Io! tal it 6ine. o hell with taling the lang!age. Io! dont ha#e to tal

to them. Marr* them.+

emingwa* maes it clear who is who in this stor* and who sa*s what in this stor*, so that the

reader is not 0la*ing a com0lete g!essing game with the dialog!e, altho!gh, as the readers can

see, ohn is re0eating himsel6 !ite a 6ew times when it comes to marriage, which is wh* this

short stor* can easil* /e #iewed as a re0etiti#e stor* and a l*ric narrati#e /eca!se these de#ices

are dis0la*ed within the stor*.

( 6elt it necessar* to address this

narrati#e /eca!se it /ecame clear to

me this was a rec!rring 0attern in

emingwa*s short stories.

emingwa* lo#es to !se re0etiti#e

stor*telling /eca!se he nows his

a!dience will remem/er the stor* i6

it is told in this manner.


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Edwards 11

(n concl!sion, ( s!00ort Phelan anal*sis re0etiti#e stor*telling and l*ric narrati#e as

narrati#e de#ices em0lo*ed in &'ow ( )a* Me+ /eca!se emingwa*s short stor* is a /lending

/oth t*0es o6 narrati#es as a mental #is!ali?ation 6or readers. &'ow ( )a* Me+ is di66erent 6rom

his other short stories s!ch as &A lean, and @ell-)ighted Place+ and &ills )ie @hite

Ele0hants+ /eca!se we immediatel* now who the narrator is, 'ic Adams, and the readers are

6airl* s!re that emingwa* is the im0lied a!thor /eca!se o6 how m!ch 'ic and emingwa*

ha#e in common with each another. emingwa* seems to 0ro:ect his tho!ghts and 6eelings onto

'ic, and ( get a sense o6 this in the narration. ( assert that i6 Phelan 0aid closer attention to the

stor*, then he wo!ld /e a/le to see that emingwa* is 0ro:ecting himsel6 onto this character. e

ma* not /e 0ro:ecting all o6 the as0ects o6 his 0ersonalit* and what he has /een thro!gh onto this

character, /!t the reader can get a sense that he is 0ro:ecting eno!gh o6 himsel6 onto the character

in order 6or the a!dience to get a 6eel 6or what real war sit!ations incl!de. emingwa* has /een

thro!gh war, and th!s he wants his a!dience em0athi?e what his e0eriences were lie thro!gh

the character o6 'ic Adams.

@ors ited

Adair, @illiam. &Ernest emingwa* and the Poetics o6 )oss+. College Literature, Jol. 1", 'o. ,

%irst-Decade (ss!e %all, 148, 00. 24B-"3. P!/lished /*$ ollege )iterat!re. Article

;ta/le R)$ htt0$"-www.:stor.org.o0ac.li/rar*.cs!0omona.ed!sta/le2511153B

Genson, acson . &Ernest emingwa*$ he )i6e as %iction and the %iction as )i6e+. American

Literature , Jol. 31, 'o. Hct., 1484, 00. B5-58. P!/lished /*$ D!e ni#ersit*

Press. Article ;ta/le R)$ htt0$"-

www.:stor.org.o0ac.li/rar*.cs!0omona.ed!sta/le242382B
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Edwards 12

lar, Miriam Mart*. &emingwa*Fs Earl* (llness 'arrati#es and the )*ric Dimensions o6 >'ow

( )a* Me+.Narrative , Jol. 12, 'o. 2 Ma*, 2""B, 00. 137-177. P!/lished /*$ Hhio

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