Introduction
This essay explores the character of Lady Brett Ashley in Ernest Hemingway’s *The Sun Also Rises* (1926) as a representation of the modern woman in the post-World War I era. Set against the backdrop of the Lost Generation, Hemingway’s novel captures the disillusionment and shifting social norms of the 1920s. Brett, as a central female figure, embodies the complexities of modernity through her independence, sexual agency, and emotional turmoil. This analysis will examine Brett’s character in relation to the changing gender roles of the time, her defiance of traditional femininity, and the limitations of her freedom within a patriarchal society. By drawing on textual evidence and academic perspectives, this piece aims to highlight how Brett serves as both a product and a critique of modernity.
Brett’s Independence and the New Woman Archetype
Lady Brett Ashley epitomises the ‘New Woman’ of the 1920s, a figure associated with greater independence and rejection of Victorian ideals. Unlike the traditional female roles of wife and mother, Brett is divorced, financially autonomous, and socially mobile, flitting between Paris and Pamplona with a circle of male admirers. Her short hair and androgynous style, often noted by critics, visually signal her break from conventional femininity (Wagner-Martin, 1990). Moreover, Brett’s decision to pursue romantic and sexual relationships on her terms—evidenced by her affairs with multiple men, including Jake Barnes and Robert Cohn—demonstrates a boldness that challenges societal expectations. Wagner-Martin (1990) argues that Brett’s behaviour reflects the era’s shifting gender dynamics, where women began to claim spaces previously reserved for men, such as public drinking and casual intimacy. However, her independence is not without conflict, as her actions often provoke judgment from those around her, highlighting the tension between personal freedom and social norms.
Sexual Agency and Its Complexities
Brett’s sexual agency is a defining trait of her modernity, yet it also underscores the complexities of her position. She openly engages in relationships, most notably with the young bullfighter Pedro Romero, displaying a confidence in her desires that was radical for the time. As Donaldson (1984) suggests, Brett’s pursuit of pleasure positions her as a symbol of post-war liberation, where traditional moral codes were questioned. Nevertheless, her agency is complicated by emotional dependency and the objectification she faces. Despite her assertiveness, Brett remains tied to Jake Barnes, whose war injury renders their love unconsummated, creating a sense of unfulfilled longing. This dynamic implies that, while Brett can act freely in some respects, she is still bound by emotional and societal constraints, a point often overlooked in simplistic readings of her as a liberated figure.
Limitations of Brett’s Freedom in a Patriarchal Context
While Brett embodies aspects of the modern woman, her freedom is ultimately limited by the patriarchal structures of her world. Her relationships, though self-initiated, often leave her vulnerable to exploitation or heartbreak, as seen in her tumultuous engagement to Mike Campbell. Furthermore, her reliance on male companionship for validation suggests an internal conflict between autonomy and societal pressure. Indeed, critics such as Bloom (2005) argue that Brett’s modernity is superficial, as she remains trapped by the male gaze and the expectations of those around her. For instance, her decision to leave Romero to protect his innocence reveals a self-sacrificing impulse that echoes traditional feminine ideals, thus questioning the extent of her liberation. This duality—between freedom and constraint—positions Brett as a nuanced critique of the modern woman’s struggle in a still-patriarchal society.
Conclusion
In conclusion, Lady Brett Ashley in *The Sun Also Rises* embodies the contradictions of the modern woman in the interwar period. Her independence, sexual agency, and defiance of traditional gender roles mark her as a progressive figure, reflective of the era’s changing social landscape. However, her emotional struggles and subjugation to patriarchal norms reveal the limitations of her freedom, suggesting that true emancipation remained elusive. Brett’s character thus serves as both a celebration and a critique of modernity, capturing the tension between individual desire and societal expectation. Further exploration of Hemingway’s portrayal of gender could illuminate broader insights into the cultural anxieties of the Lost Generation, underscoring the relevance of Brett’s story in understanding the complexities of gender in the early twentieth century.
References
- Bloom, H. (2005) Ernest Hemingway’s The Sun Also Rises. Chelsea House Publishers.
- Donaldson, S. (1984) By Force of Will: The Life and Art of Ernest Hemingway. Viking Press.
- Wagner-Martin, L. (1990) The Sun Also Rises: A Novel of the Twenties. Twayne Publishers.
