A Farewell to Arms (1929) (edit title/settings)

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Characters/People edit see section history

• Frederic Henry: The narrator of the story. Henry is a volunteer ambulance driver from the United States. In Henry, we see the beginnings of what comes to be called Hemingway's "Code Hero", a term used to describe a character who follows Hemingway's conception of an internal moral code. Henry is stoic under duress or pain; he modestly deflects praise for his contributions to the war; he is unflappable under fire; he does his work. He is a "man's man," in that his thoughts revolve on women ("girls") and drink. He participates in and seems to enjoy the banal, everyday conversation between the soldiers. He is attracted to the simple goodness of the priest, who, like Henry (who is not religious), sticks to his beliefs despite the war's constant presence. Henry is most characterized throughout the novel by his passionate love and dedication to Catherine Barkley.
• Catherine Barkley: A British Voluntary Aid Detachment Nurse. She loves the men so much that she started to write a short story about her love affairs with her fiancé, who since died. She volunteered in the war at the same time her fiancé of eight years joined the army. He was killed in the Battle of the Somme. She is originally from Scotland, emotional, and dependent upon Henry's love for her. Her sexual desires and her simple urge for companionship are sometimes at odds with her needs to tend to the ill. Like the code hero, she handles conflicting needs with grace, giving to both, but shorting none. Feminist thinkers will see in Catherine, Hemingway's perfect woman: wise and cynical in many ways, her wisdom cannot contain her desire. As Henry gives his health and youth to the war effort, Catherine's chief heroism is to accept the pain and death of childbirth stoically. Barkley has been "consistently ignored" as a code hero, probably because she is a woman.
• Helen Ferguson: Catherine's friend and fellow nurse, who expresses a strong distaste for Henry, because he impregnated her outside of marriage and during wartime. Hemingway based her on Kitty Cannell (1891–1974), an acquaintance of his who was a Paris-based American dance and fashion correspondent for major US papers and periodicals.
• Rinaldi: A physician through whom Hemingway draws his idea of an Italian male. Sketched somewhat jingoistically, Rinaldi is unfailingly exuberant, ignoring small details that would stop his large and giving gestures. He loves women and alcohol, bearing a bottle of the latter and tales of the former to his friend Henry as Henry recovers from his wounds. He enjoys performing surgery, seeing it as an enjoyable challenge; he greets his friend Frederic Henry with a formal European-style kiss. He usually refers to Henry as "baby". Rinaldi is a form of the code hero as well. He allows Hemingway to explore another, non-Anglo-American, way of being male, of facing even a difficult world, an injured Italy, with joie de vivre, ignoring all danger, giving himself. Henry reunites with a tired and syphilitic Rinaldi in the middle of the novel, illustrating the flaws of this approach to the war and to life.
• The Priest: The chaplain in Henry's unit. Baited by the other officers, he is befriended by Henry, to whom he offers spiritual advice. The last time we see this character, his faith is wavering. Can also be interpreted as a "Code Hero".
• Bonello: Ambulance driver serving under Henry.
• Mrs Meyers: Add a description of this character.
• Gordini: Ambulance driver
• Piani: Another ambulance driver. He is with Lt. Henry when the Italians retreat.
• Miss Van Campen: The unsympathetic nursing superintendent at American Hospital in Milan
• Fergy: Another name for Helen Ferguson, the nurse that is friends with Catherine
• Crowell
• Tenente: The men call Henry this - Italian for "Lieutenant"
• Miss Gage: Another American nurse in Milan, sympathetic to Henry and Catherine's affair.
• Count Greffi: An old but vigorous Italian whom Henry knows from Stresa and who serves as a mentor to Henry.
• Ralph Simmons: An American student of opera and Henry's friend.
• George
• Ettore Moretti: An Italian-American Officer from San Francisco serving in the Italian army.
• Federico: Another name for Henry - Italian for Frederick
• Mrs Walker
• Barto

Quotes edit see section history

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• “If people bring so much courage to this world the world has to kill them to break them, so of course it kills them. The world breaks every one and afterward many are strong at the broken places. But those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry.”

  Lieutenant Henry

• “…and nights when the room whirled and you needed to look at the wall to make it stop, nights in bed, drunk, when you knew that that was all there was, and the strange excitement of waking and not knowing who it was with you.”

• “The world breaks everyone and afterward many are strong at the broken places.”

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• If people bring so much courage to this world the world has to kill them to break them, so of course it kills them. The world breaks every one and afterward many are strong at the broken places. But those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry.

  Highlighted by 148 Kindle customers

• I knew I did not love Catherine Barkley nor had any idea of loving her. This was a game, like bridge, in which you said things instead of playing cards. Like bridge you had to pretend you were playing for money or playing for some stakes. Nobody had mentioned what the stakes were. It was all right with me.

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• “No, that is the great fallacy; the wisdom of old men. They do not grow wise. They grow careful.”

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• Abstract words such as glory, honor, courage, or hallow were obscene beside the concrete names of villages, the numbers of roads, the names of rivers, the numbers of regiments and the dates.

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• I know that the night is not the same as the day: that all things are different, that the things of the night cannot be explained in the day, because they do not then exist, and the night can be a dreadful time for lonely people once their loneliness has started.

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• That was what you did. You died. You did not know what it was about. You never had time to learn. They threw you in and told you the rules and the first time they caught you off base they killed you. Or they killed you gratuitously like Aymo. Or gave you the syphilis like Rinaldi. But they killed you in the end. You could count on that. Stay around and they would kill you.

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• “The coward dies a thousand deaths, the brave but one?”

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• “They were beaten to start with. They were beaten when they took them from their farms and put them in the army. That is why the peasant has wisdom, because he is defeated from the start. Put him in power and see how wise he is.”

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• I went out the door and suddenly I felt lonely and empty. I had treated seeing Catherine very lightly, I had gotten somewhat drunk and had nearly forgotten to come but when I could not see her there I was feeling lonely and hollow.

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• The wine was bad but not dull. It took the enamel off your teeth and left it on the roof of your mouth.

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Setting & Locations edit see section history

• Rome
• Milan
• Italy
• Udine
• Switzerland
• Bainsizza
• America
• Gorizia
• Locamo
• Pordenone
• France
• Austria
• San Gabriel
• Playa
• Lake Como

Organizations edit see section history

• Freemasons (Order of the Free and Accepted Masons, Freemason Brotherhood): The lieutenant said he believed in the Free Masons, and it was a nobel organization.

First Sentence edit see section history

Table of Contents edit see section history

Themes & Symbolism edit see section history

• The Grim Reality of War: As the title of the novel makes clear, A Farewell to Arms concerns itself primarily with war, namely the process by which Frederic Henry removes himself from it and leaves it behind. The few characters in the novel who actually support the effort—Ettore Moretti and Gino—come across as a dull braggart and a naïve youth, respectively. The majority of the characters remain ambivalent about the war, resentful of the terrible destruction it causes, doubtful of the glory it supposedly brings.The novel offers masterful descriptions of the conflict’s senseless brutality and violent chaos: the scene of the Italian army’s retreat remains one of the most profound evocations of war in American literature. As the neat columns of men begin to crumble, so too do the soldiers’ nerves, minds, and capacity for rational thought and moral judgment. Henry’s shooting of the engineer for refusing to help free the car from the mud shocks the reader for two reasons: first, the violent outburst seems at odds with Henry’s coolly detached character; second, the incident occurs in a setting that robs it of its moral import—the complicity of Henry’s fellow soldiers legitimizes the killing. The murder of the engineer seems justifiable because it is an inevitable by-product of the spiraling violence and disorder of the war.Nevertheless, the novel cannot be said to condemn the war; A Farewell to Arms is hardly the work of a pacifist. Instead, just as the innocent engineer’s death is an inevitability of war, so is war the inevitable outcome of a cruel, senseless world. Hemingway suggests that war is nothing more than the dark, murderous extension of a world that refuses to acknowledge, protect, or preserve true love.
• The Relationship Between Love and Pain: Against the backdrop of war, Hemingway offers a deep, mournful meditation on the nature of love. No sooner does Catherine announce to Henry that she is in mourning for her dead fiancé than she begins a game meant to seduce Henry. Her reasons for doing so are clear: she wants to distance herself from the pain of her loss. Likewise, Henry intends to get as far away from talk of the war as possible. In each other, Henry and Catherine find temporary solace from the things that plague them. The couple’s feelings for each other quickly pass from an amusement that distracts them to the very fuel that sustains them. Henry’s understanding of how meaningful his love for Catherine is outweighs any consideration for the emptiness of abstract ideals such as honor, enabling him to flee the war and seek her out. Reunited, they plan an idyllic life together that promises to act as a salve for the damage that the war has inflicted. Far away from the decimated Italian countryside, each intends to be the other’s refuge. If they are to achieve physical, emotional, and psychological healing, they have found the perfect place in the safe remove of the Swiss mountains. The tragedy of the novel rests in the fact that their love, even when genuine, can never be more than temporary in this world.
• Masculinity: Readers of Hemingway’s fiction will quickly notice a consistent thread in the portrayal and celebration of a certain kind of man: domineering, supremely competent, and swaggeringly virile. A Farewell to Arms holds up several of its minor male characters as examples of fine manhood. Rinaldi is a faithful friend and an oversexed womanizer; Dr. Valentini exhibits a virility to rival Rinaldi’s as well as a bold competence that makes him the best surgeon. Similarly, during the scene in which Henry fires his pistol at the fleeing engineering sergeants, Bonello takes charge of the situation by brutally shooting the fallen engineer in the head. The respect with which Hemingway sketches these men, even at their lowest points, is highlighted by the humor, if not contempt, with which he depicts their opposites. The success of each of these men depends, in part, on the failure of another: Rinaldi secures his sexual prowess by attacking the priest’s lack of lust; Dr. Valentini’s reputation as a surgeon is thrown into relief by the three mousy, overly cautious, and physically unimpressive doctors who precede him; and Bonello’s ruthlessness is prompted by the disloyal behavior of the soldier whom he kills.
• Games and Divertissement: Henry and Catherine begin flirting with each other in order to forget personal troubles. Flirting, which Henry compares to bridge, allows Henry to “drop the war” and diverts Catherine’s thoughts from the death of her fiancé. Likewise, the horse races that Catherine and Henry attend enable them to block out thinking of Henry’s return to the front and of their imminent separation. Ironically, Henry and Catherine’s relationship becomes the source of suffering from which Henry needs diversion. Henry cannot stand to be away from Catherine, and while playing pool with Count Greffi takes his mind off of her, the best divertissement turns out to be the war itself. When Catherine instructs him not to think about her when they are apart, Henry replies, “That’s how I worked it at the front. But there was something to do then.” The transformations of the war from fatal threat into divertissement and love from distraction into pain signal not only Henry’s attachment to Catherine but also the transitory nature of happiness. Pathos radiates from this fleeting happiness because, even though happiness is temporary, the pursuit of it remains necessary. Perhaps an understanding of the limits of happiness explains the count’s comment that though he values love most in life, he is not wise for doing so. The count is wiser than he claims, however. He hedges against the transitory nature of love by finding pleasure and amusement in games, birthday parties, and the taking of “a little stimulant.” That one can depend on their simple pleasures lends games and divertissement a certain dignity; while they may not match up to the nobility of pursuits such as love, they prove quietly constant.
• Loyalty Versus Abandonment: The notions of loyalty and abandonment apply equally well to love and war. The novel, however, suggests that loyalty is more a requirement of love and friendship than of the grand political causes and abstract philosophies of battling nations. While Henry takes seriously his duty as a lieutenant, he does not subscribe to the ideals that one typically imagines fuel soldiers in combat. Unlike Ettore Moretti or Gino, the promise of honor and the duties of patriotism mean little to Henry. Although he shoots an uncooperative engineering sergeant for failing to comply with his orders, Henry’s violence should be read as an inevitable outcome of a destructive war rather than as a conscious decision to enforce a code of moral conduct. Indeed, Henry eventually follows in the engineering sergeants’ footsteps by abandoning the army and his responsibilities. While he does, at times, feel guilt over this course of action, he takes comfort in the knowledge that he is most loyal where loyalty counts most: in his relationship with Catherine. That these conflicting allegiances cannot be reconciled does not suggest, however, that loyalty and abandonment lie at opposite ends of a moral spectrum. Rather, they reflect the priorities of a specific individual’s life.
• Illusions and Fantasies: Upon meeting, Catherine and Henry rely upon a grand illusion of love and seduction for comfort. Catherine seeks solace for the death of her fiancé, while Henry will do anything to distance himself from the war. At first, their declarations of love are transparent: Catherine reminds Henry several times that their courtship is a game, sending him away when she has played her fill. After Henry is wounded, however, his desire for Catherine and the comfort and support that she offers becomes more than a distraction from the world’s unpleasantness; his love begins to sustain him and blossoms into something undeniably real. Catherine’s feelings for Henry follow a similar course.While the couple acts in ways that confirm the genuine nature of their passion, however, they never escape the temptation of dreaming of a better world. In other words, the boundary between reality and illusion proves difficult to identify. After Henry and Catherine have spent months of isolation in Switzerland, Hemingway depicts their relationship as a mixture of reality and illusion. Boredom has begun to set in, and the couple effects small daily changes to reinvigorate their lives and their passion: Catherine gets a new haircut, while Henry grows a beard. Still, or perhaps because of, the comparative dullness of real life (not to mention the ongoing war), the couple turns to fantasies of a more perfect existence. They dream of life on a Swiss mountain, where they will make their own clothes and need nothing but each other, suggesting that fantasizing is part of coping with the banal, sometimes damaging effects of reality.
• Rain: Rain serves in the novel as a potent symbol of the inevitable disintegration of happiness in life. Catherine infuses the weather with meaning as she and Henry lie in bed listening to the storm outside. As the rain falls on the roof, Catherine admits that the rain scares her and says that it has a tendency to ruin things for lovers. Of course, no meteorological phenomenon has such power; symbolically, however, Catherine’s fear proves to be prophetic, for doom does eventually come to the lovers. After Catherine’s death, Henry leaves the hospital and walks home in the rain. Here, the falling rain validates Catherine’s anxiety and confirms one of the novel’s main contentions: great love, like anything else in the world—good or bad, innocent or deserving—cannot last.
• Catherine’s Hair: Although it is not a recurring symbol, Catherine’s hair is an important one. In the early, easy days of their relationship, as Henry and Catherine lie in bed, Catherine takes down her hair and lets it cascade around Henry’s head. The tumble of hair reminds Henry of being enclosed inside a tent or behind a waterfall. This lovely description stands as a symbol of the couple’s isolation from the world. With a war raging around them, they manage to secure a blissful seclusion, believing themselves protected by something as delicate as hair. Later, however, when they are truly isolated from the ravages of war and living in peaceful Switzerland, they learn the harsh lesson that love, in the face of life’s cruel reality, is as fragile and ephemeral as hair.

Series & Lists edit see section history

Preceded by Catch-22, and followed by The Old Man and the Sea.

Preceded by A Separate Peace, and followed by The Stranger.

Followed by My Ántonia.

Preceded by Passing, and followed by Red Harvest.

Preceded by The Death of Artemio Cruz, and followed by Brideshead Revisited.

Preceded by Catch-22, and followed by The Iliad.

Preceded by The Day of the Locust, and followed by Scoop.

Preceded by One Flew Over the Cuckoo's Nest, and followed by The Sheltering Sky.

Authors & Contributors edit see section history

1. Ernest Hemingway (Author)

First Edition edit see section history

Classification edit see section history

• Library of Congress: Add the Library of Congress Classification.
• Dewey: 813.52

Subjects edit see section history

• Books › Literature & Fiction › World Literature › United States › Classics › Hemingway, Ernest
• Books › Literature & Fiction › World Literature › United States › 20th Century
• Books › Literature & Fiction › Authors, A-Z › ( H ) › Hemingway, Ernest
• Books › Literature & Fiction › Literary
• Books › Literature & Fiction › Classics
• Books › Literature & Fiction › Classics
• Books › Literature & Fiction › Contemporary

Movie Connections edit see section history

• A Farewell to Arms (1932) (IMDb)
• A Farewell to Arms (1957) (IMDb)

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