Abstract
Any conceptualization of a lictiorml world presupposes both a world as a reference point, and a mind through which that world is reflected. Thus a Mind Style becomes a realization of a narrative point of view - not What' is apprehended but 'how' a world /s conceptualized by a wnler or character-. G. N. Leech and M.H. Short
This paper analyses Narrator Mind Style in Ernest Hemingway 's The Old Man and the Sea. In the course of the study will also show how analyses of Hemingway's style have often been reduced to a single feature or a handful of features. In this way they fall short of accounting for the magnitude of artistic innovation in the narrative mode of The Oki Man and the Sea.
Robert P. Weeks states, aiHemingways style, apart from his broader strategies of irony and symbolism, has received surprisingly little attention. It has been more widely imitated than analysed". And although EM. Hailiday2 and C.Baker's3 seminal studies of Hemingway as a $ymbolist have given us valuable insights, they are reductive in their overemphasis on the existence of symbols, and distract from other important elements. Even Lukas's contention in 1936 that Hemingway's early work is his most typical in terms of the development of a stylistic signature4, was disproven by the Nobel Prize for Literature awarded in 1954 for The Old Man and the ea_(1954).
Amra Raza. (2004) THE BASE OF THE ICEBERG: Hemingway's The Old Man and the Sea , Journal of Research ( Humanities), Vol XL, Issue 2.
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