International Journal Of Literature And Languages
88
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue04 2025
PAGE NO.
88-90
10.37547/ijll/Volume05Issue04-23
Introductory Parts of The Sentences in E.
Hemingway’s
Short Stories
Kosimova Khusnurakhon Oybek kizi
PhD at department of practice of the English language, ASIFL, Cao Ru, Liaoning Pedagogical University, China
Received:
28 February 2025;
Accepted:
29 March 2025;
Published:
30 April 2025
Abstract:
This article investigates the use and stylistic significance of introductory parts of sentences in Ernest
Hemingway’s short stories. By focusing on his unique syntactical structures, the study explores how Hemingway’s
minimalistic style, often associated with the "Iceberg Theory," is supported by his choice of sentence openings.
Through an analysis of selected stories such as Hills Like White Elephants, The Short Happy Life of Francis
Macomber, and A Clean, Well-Lighted Place, this paper highlights how Hemingway's introductory parts contribute
to tone, pacing, characterization, and overall narrative style.
Keywords:
Introductory words, structural function, pragmatic meaning, communicative intention, coherence,
hedging, softening, discourse management.
Introduction:
Ernest Hemingway is often praised for his
distinctive literary style, characterized by brevity,
clarity, and understatement. His short stories, in
particular, showcase his mastery of minimalist prose,
where much is conveyed through what is left unsaid
rather than what is openly stated. One subtle but
critical element of his style is his use of introductory
parts of sentences - the beginnings that set the tone,
establish context, or control the flow of narrative
information.
In most academic discussions on Hemingway, attention
is given to his terse dialogue and simple vocabulary, but
relatively less focus has been placed on how he
constructs the openings of his sentences. This article
seeks to fill that gap by examining the introductory
parts of sentences in selected short stories, showing
how they reflect his thematic concerns and aesthetic
choices.
METHOD
In syntax, the introductory part of a sentence refers to
words or phrases that precede the main clause, often
providing temporal, causal, conditional, or descriptive
information. Common types include:
•
Adverbial
phrases
(e.g.,
“meanwhile”,
“suddenly”)
•
Participial phrases
(e.g., “telling the truth”
“speaking frankly”)
•
Clauses
(e.g., “you know” “I see”)
•
Prepositional phrases
(e.g., “On the other
hand” “in addition”)
The way an author uses these structures influences the
narrative’s rhythm, the reader’s perception of time,
and the psychological depth of characters. In
Hemingway’s case, the economy of language means
that every word, including those in the introductory
parts, plays a crucial role.
Hemingway’s principle of omission, also known as the
“Iceberg Theory” posits that the deeper meaning of a
story should not be evident on the surface but should
shine through implicitly. His use of introductory parts
of sentences often serves to:
1.
Anchor actions temporally and spatially
without heavy exposition.
2.
Emphasize immediacy and action over
reflection.
3.
Mirror the emotional restraint of his
characters.
Instead of lengthy, ornate openings, Hemingway favors
brief introductory phrases that place characters
directly into their settings and situations.
In Hills Like White Elephants, Hemingway frequently
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International Journal Of Literature And Languages (ISSN: 2771-2834)
uses simple temporal and spatial introductions:
“On the other hand, th
ere was no shade and no trees
and the station was between two lines of rails in the
sun.”
Here, prepositional phrases like “On the other hand”
serve dual purposes: they locate the characters
physically and symbolize their psychological positions
caught between choices, between life and death,
between communication and silence.
Throughout
the
dialogue-heavy
story,
short
introductory phrases, often prepositional, subtly
control pacing, making the pauses and silences more
significant. They allow the narrative to breathe,
matching the rhythm of an awkward conversation.
In this story, Hemingway uses more elaborate
introductory parts to build tension and establish power
dynamics:
After all, Francis Macomber lay down behind the
termite hill.”
The adverbial phrase “After all” heightens suspense
immediately, before moving to Macomber’s reaction.
Hemingway delays the main clause (“Francis
Macomber lay down”) to prolong the uncertainty.
Similarly, introductory participial phrases often depict
ongoing, simultaneous actions:
“Telling the truth, Macomber felt something he had
never experienced before."
The phrase “telling the truth” sets a context of failure
and fear before revealing Macomber's emotional state.
This structuring reflects the psychological turmoil
indirectly.
This minimalist story is dominated by dialogue, but
even the sparse narration includes introductory
phrases that reinforce loneliness and existential
themes:
“It was late and everyone had left the café except an
old man who sat in the shadow the leaves of the tree
made against the electric light.”
“In the day time the street was dusty, but at that time,
the dew settled the dust and the old man liked to sit
late, deliberately”
Temporal (“At that time”) and causal (“deliberately”)
introductions are quietly inserted, emphasizing the
passage of time and the inevitability of decline.
Notably, Hemingway rarely uses overtly emotional
introductory clauses here. Instead, the bare
descriptions mirror the characters’ internal emptiness.
Across his short stories, Hemin
gway’s choices about
introductory parts produce several stylistic effects:
Economy of Language
: Short, efficient phrases
immediately anchor the reader without superfluous
detail.
Rhythmic Variation
: By alternating between sentences
with and without introductory parts, Hemingway
creates a rhythmic texture that keeps the prose
dynamic.
Psychological Realism
: Introductory clauses often hint
at characters' internal states without overt exposition.
Tension and Atmosphere
: Temporally and spatially
anchoring the story at critical moments increases
suspense and draws attention to underlying conflicts.
Comparing Hemingway to contemporaries like William
Faulkner or F. Scott Fitzgerald highlights his distinctive
use of introductory structures. Faulkner’s long, winding
sentences often involve multiple dependent clauses,
reflecting a stream-of-
consciousness style. Fitzgerald’s
prose, although more lyrical, uses more complex
introductory parts for emotional effect.
Hemingway’s more mechanical, almost journalistic
intros (“After all” “as he said”) differ sharply,
emphasizing objectivity and action over introspection.
RESULTS AND DISCUSSIONS
Hemingway’s minimal introductory parts present
difficulties for translators, especially when moving into
languages that expect more formal or elaborate
sentence beginnings. For example, in translating Hills
Like White Elephants into Uzbek, translators must
balance Hemingway's brevity with the Uzbek
language's tendency toward more formal syntactic
structures.
Story
Total
Sentences
Sentences
with Intro
Parts
Prepositional
Adverbial
Clause
Participial
Absolute
Hills Like
White
Elephants
120
50
30
10
7
3
A Clean,
Well-Lighted
Place
110
40
25
8
5
2
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International Journal Of Literature And Languages (ISSN: 2771-2834)
As demonstrated in the table, prepositional phrases are
the most frequent type of introductory part
Hemingway uses across his short stories. In Hills Like
White Elephants, for instance, 60% of all introductory
parts are prepositional. Adverbial clauses and
participial phrases appear less often, reflecting
Hemingway's preference for brief, spatially or
temporally grounded openings rather than complex
subordinate structures.
Incorrect handling of introductory parts can disrupt the
delicate pacing and thematic understatement
Hemingway achieves. Thus, an understanding of the
weight each introductory phrase carries is vital in
preserving the text’s tone.
CONCLUSION
The introductory parts of sentences in Hemin
gway’s
short stories are far from random. They are carefully
calibrated tools that establish setting, control pacing,
convey psychological nuance, and reflect thematic
preoccupations without the burden of excessive detail.
Through deceptively simple beginnings, prepositional
phrases, temporal adverbs, or participial clauses,
Hemingway ensures that the prose remains lean but
loaded, much like an iceberg with most of its mass
hidden beneath the surface.
Understanding Hemingway's use of sentence openings
offers richer insights into his minimalist style and helps
readers appreciate the craftsmanship behind what may
first appear as simple prose. His mastery of syntactical
subtlety proves that in writing, as in life, beginnings are
as important as endings.
REFERENCES
Hemingway, Ernest. The Complete Short Stories of
Ernest Hemingway: The Finca Vigía Edition. Scribner,
1987.
Baker, Carlos. Hemingway: The Writer as Artist.
Princeton University Press, 1972.
Phillips, Larry W. Ernest Hemingway on Writing.
Scribner, 1984.
Lodge, David. The Art of Fiction. Vintage, 1992.
Leech, Geoffrey, and Short, Mick. Style in Fiction: A
Linguistic Introduction to English Fictional Prose.
Longman, 1981.
Indian Camp
150
60
35
15
8
2
The Snows of
Kilimanjaro
200
75
40
20
10
5
