Hemingway Protagonist – Soldier’s Home Essay, Research Paper

Various authors, through years of discipline, develop their own style in

creating characters. Ernest Hemingway varied his style by establishing an

indestructible template for pressing characters into molded protagonists. This

"template" protagonist follows a unique set of standards unlike any

other character, produced by any other author. In his literary work

"Soldier’s Home", Hemingway creates the character Krebs to abide by

this set of standards. By working within the circumstances presented to him,

Krebs fits the mold of a typical Hemingway protagonist by overcoming his

disillusions through heroic actions. To begin with, Krebs returns home from

World War I to a society that he no longer feels attached to. It can be assumed

that before the war Krebs worked within society since he is depicted in a

college photo along with his similarly-dressed fraternity brothers. When he

enlists into the Marines though, life becomes simplistic; you eat, sleep, and

fight. The problem arises when Krebs tries to return from a simplistic lifestyle

of war, to a much more complicated domestic lifestyle. "Ironically, Krebs

is disillusioned less by the war than by the normal peacetime world which the

war had made him to see too clearly to accept" (Burhans 190). Krebs seeks

refuge from this disillusion by withdrawing from society and engaging himself in

individual activities. A typical day for Krebs consists of going to the library

for a book, which he would read until bored, practicing his clarinet, and

shooting pool in the middle of the day; this is common for a Hemingway

protagonist. Hemingway realizes "that with the disappearance of the

transcendent and the absolute from man’s consciousness, the universe becomes

empty of meaning and purpose…" (Burhans 284); a good basis for testing a

protagonist to see whether or not he’s heroic . A more specific way that Krebs

withdraws from society is his view of women and love. In a society full of talk,

Krebs would have to engage in conversation and interaction in order to win a

woman’s heart. Krebs did not want to go through all of that again. He found it

much easier during the war to become intimate with a French or German girl,

especially considering that there wasn’t as much "red tape" in

European relationships. It was just too complicated to adjust himself back to an

American relationship which he deemed full of consequences. In other works by

Hemingway, protagonists are "haunted by a sense of how simple it all was

once, when he could take his Indian girl into the clean-smelling woods, stretch

out beside her on the pine-needles (her brother standing guard), and rise to no

obligations at all" (Fiedler 143). Krebs is much the same way. He

experienced this obligation-free relationship in Europe and was disgusted by the

thought of returning to an obligated relationship in America. Hemingway himself

learned of obligations from four separate marriages; why should any of his

fictional characters escape this dreaded wrath. Another way that Krebs withdraws

from society is the loss of his faith. Before the war Krebs attended a Methodist

college, which reinforces the idea that he was a man of faith. During the war

though, Krebs experiences a change in his beliefs. It can only be imagined what

unholy things he had seen and done in the midst of battle. Once home, he

denounces existing in God’s Kingdom to his mother and refuses to pray. Hemingway

felt that it is this "determination to be faithful to one’s own experience,

not to fake emotions or pretend to sentiments that are not there" is

brought out in Krebs’ character (Howe 233). It is this tone, the importance of

one’s inner beliefs over anyone else’s, which pushes Hemingway’s protagonist

away from society. So how does one become heroic after denouncing so much of

society? If alive today, Hemingway’s answer may very well be "grace under

pressure." Customary in Hemingway’s literary works, such as Santiago in The

Old Man and the Sea, the protagonist is always fighting a losing battle. Philip

Young, a well-known critic of Hemingway, says it best when he states that in

life "you lose, of course; what counts is how you conduct yourself while

you are being destroyed" (Young 274). A Hemingway hero would take notice of

his ill fate and make the best of it. The motive behind Hemingway’s heroic

figures is not glory, or fortune, or the righting of injustice, or the thirst

for experience. They are inspired neither by vanity nor ambition nor a desire to

better the world. They have no thoughts of reaching a state of higher grace or

virtue. Instead, their behavior is a reaction to the moral emptiness of the

universe, an emptiness that they feel compelled to fill by their own special

efforts. (Gurko 229) In "Soldier’s Home", Krebs realizes the problems

that he faces; he no longer believes in society, particularly love and faith.

Krebs heroic deed is displayed when he moves on with his life, rather than

bringing it to a screeching halt. At one point, he denounces loving his own

mother. In order to satisfy his mother and avoid friction, Krebs holds back the

nausea and lies, saying that he does love her. Krebs also announces his plans to

move out of town for a job; to get on with his life. No doubt, Krebs displays

"grace under pressure." In the end, the protagonist from

"Soldier’s Home", Krebs, proves himself to be a typical product of

Hemingway. Hemingway’s mold often required a character to be socially withdrawn,

from women and faith, and to overcome these disillusions by becoming heroic.

Krebs succeeded in this mold by engaging in non-sociable activities, ridiculing

the complexity of relationships with women, and denouncing his Methodist faith.

To top it all off, Krebs can truly be seen as a Hemingway hero by demonstrating

grace under pressure.

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Dying Age." Modern Fiction Studies (1975): 173-191. Rpt. in Contemporary

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Detroit: Gale Research Company. 1978. 284-285. Burhans, Clinton S. Jr. "The

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Daniel G. Marowski. Detroit: Gale Research Company. 1984. 188-191. Fiedler,

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and Politics. (1963). 65-70. Rpt. in Contemporary Literary Criticism Vol 3. Ed.

Carolyn Riley. Detroit: Gale Research Company. 1975. 232-233. Young, Philip.

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