息切れする読者 : 『誰がために鐘は鳴る』と批評家の息遣い

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  • Readers out of Breath : For Whom the Bell Tolls and the Breathing of Critics
  • イキギレ スル ドクシャ : 『 ダレ ガ タメニ カネ ワ ナル 』 ト ヒヒョウカ ノ イキズカイ

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For Whom the Bell Tolls has long been regarded as one of the major novels of Ernest Hemingway, but almost no critics of the 80's and 90's, when the drastic revising of Hemingway's works took place, seem to have paid much attention to it. Still, two small critical movements supporting this novel can be recognized. One is a discussion presented from Spanish scholars : Edward F. Stanton and Allen Josephs are versed in the language, tradition, and culture of Spain and try, for example, to find the models of Pilar and Maria in the history and culture of Spain, not of the US of America. They maintain that what Hemingway had learned in Spain in the course of eighteen years, especially the primordial Spain which was the other world to him, is realized in this novel. The other movement is made by the critics who highly praise the organically united structure of the novel. The point of their argument is that the plural narrative voices, interior monologues, and recollections which form the multiple narrative structure of For Whom the Bell Tolls are all united with the simple and single action of blowing the bridge. This paper critically examines and denies the reliability of those two movements and concludes that the most convincing reading so far presented of For Whom the Bell Tolls could be found in Edmund Wilson's review published as early as in 1940, where he criticized the defects of the form and the story development of the novel.

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