Jones 1

Robbie Jones
Mr. Platt
IB English SL
30 October 2013
Redefinition of Masculine in The Sun Also Rises
Set in the countries of Spain and France, Ernest Hemmingways The Sun Also Rises is
indicative of the changes in society during the post-World War I era. Men and women
disillusioned by the Great War made up the Lost Generation, who felt disconnected from
traditional values after hearing of the terrors of the war. As a result, this Lost Generation tried to
seek meaning in and redefine the world whose previous meaning the war had shattered. One
social construct that felt the effects of this redefinition was the distinction between male and
female, masculine and feminine. Originally two distinct ideas, the qualities of man and woman
began to blur after the war, leaving the Lost Generation responsible for redefining the concepts
of masculine and feminine. In The Sun Also Rises, Hemmingway offers a redefinition of
masculine, espousing the idea that manhood is not an inherited, static quality but rather an
obtainable attribute that a man can gain or lose, his natural biology and physical abilities
notwithstanding.
This new definition of masculinity begins with Robert Cohn, who experiences both the
gain and loss of manhood. Jake introduces Cohn as middleweight boxing champion of
Princeton and someone who could knock down anybody who was snooty to him
(Hemmingway). As a victor in a physically grueling sport, Cohn emerges as a formidable man.
However, Jake continues on to show how Cohn lacks confidence despite his physical prowess,
saying, [Cohn] cared nothing for boxing, in fact he disliked it, but he learned itto counteract

Jones 2
the feeling of inferiority and shyness he had felt (Hemmingway). Just because Cohn is male
does not mean he was born with an inclination for engaging in such a vicious sport as boxing.
Instead, he uses boxing to gain a sense of manhooda sense of confidenceand overcome his
insecurities. However, just as he gains this masculinity, so too does he lose it. Cohn clings to a
notion of relationships based on blind romance which leaves him vulnerable to emasculating
criticism from other characters. He hopelessly falls in love with women, such as Brett, and his
infatuation blinds him from seeing when he is no longer wanted by his beloved. When a drunken
Mike lashes at Cohn, telling him Brett no longer loves him and wants him to leave, Cohn stays
put, ready to do battle for his lady love (Hemmingway). His inability to see past his obsession
with a woman leaves him subject to attacks on his manhood, such as Frances haranguing
monologue in which she tells Cohn, Dont have scenes with your young ladies. Try not to.
Because you cant have scenes without crying (Hemmingway). The masculinity which Cohn
worked so hard to achieve through boxing is thus lost because of his blind sense of romance and
commitment.
In addition, Jake Barnes ability to overcome his impotence illustrates how physical
abilities are superfluous in the new definition of masculinity. Jakes handicap is introduced early
in the novel as barring him from being with the woman he loves, Lady Brett Ashley, who desires
a full-fledged physical relationship that he cannot provide. His inability to consummate a
relationship causes him psychological torment and pain. In a twist of irony, Jake grows jealous
of a group of homosexuals standing at a bar with Brett, stating, I wanted to swing on one, any
one, anything to shatter that superior, simpering composure (Hemmingway). Despite their lack
of desire to be with Brett, Jake cannot help but dwell on his own inability to sexually satisfy her,
a capability which the homosexuals do have. The only way for Jake to attain some form of

Jones 3
masculinity is to overcome the mental pain caused by his impotence. His emotional journey to
acceptance occurs in Spain, when he travels to the Pamplona Festival to watch his favorite sport,
bullfighting. Jake reunites with his friend Montoya, a bullfighting pundit, who calls him a true
aficionado, someone passionate about bullfighting. Montoya does not perfunctorily toss this
label around. He knows deep in Jakes heart that there is genuine and passionate enthusiasm, or
aficion, for bullfighting. He is thus accepted by Montoya and the bullfighters, for one who
[has] aficion he [can] forgive anything (Hemmingway). Jakes acceptance by the bullfighters
demonstrates that this new masculinity is independent of biology. The strong, powerful
bullfighters do not consider Jakes physical capabilities, or lack thereof, factors in his aficion.
Only an authentic zeal for the sport makes a true bullfighting fan. Jake sees that despite his
biological shortcomings, he can still be seen as an honorable man and garner respect in the
modern world.
Finally, Pedro Romero serves to both epitomize this new definition of masculinity and aid
Jake in the path to finding his. Jake is incredibly admiring of Romero as he calls him the best
looking boy I [have] ever seen (Hemmingway). This compliment does not stem from any
homosexual nature within Jake, but rather from an awe of Romero as the paragon of masculinity.
Pedro Romero exhibits all the characteristics of a man that Jake wants in himself. When
describing Romeros sublime bullfighting abilities, Jake contrasts them with the tactics of the
common bullfighters, who give a faked look of danger (Hemmingway). He illustrates how
they ostentatiously dodge the bulls, attempting to display themselves in great peril, when in
reality, they are in no danger at all. Romero, on the other hand, fights purely and gracefully. He
allows the bulls to pass dangerously close to him while remaining quiet, calm, and ultimately
unattainable from the bulls horns. Jake sees himself in the average bullfighters, the ones who

Jones 4
affect courage but actually face no true danger. He criticizes this method, saying Afterward, all
that [is] faked [turns] bad and [gives] an unpleasant feeling (Hemmingway). The common
bullfighters fabricated escapes from danger parallel Jakes fruitless attempts to escape his
impotence, namely his heavy drinking and his expatriatism. Though they might provide
temporary relief, he will inevitably face the unpleasant feeling when reality comes back full
circle. Jake longs to have the real courage that Romero displays: staring at danger straight in the
eye while remaining steady and poised, so confident in his abilities that no matter what life
brings, he will remain the victor. Jake realizes that this valiance and willingness to face true
danger is what makes a man.
The Sun Also Rises proves to be a telling commentary on the changing view of
masculinity during the post-war era. Cohn experiences the triumph of gaining masculinity but
proceeds to lose it through hopeless commitments to women. Jake finds assurance in his
manhood despite his impotence when he is accepted by Montoya and the aficionados. Romero
displays the true meaning of manhood, which is not inordinate physical strength but sublime
mental strength and poise. According to Hemmingway, masculinity is no longer dependent on
biology, but can be gained or lost through other means.

Jones 5
Works Cited
Hemingway, Ernest. The Sun Also Rises. New York: Scribner, 1996. Print.