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Ernest Hemingway, Psalmist Author(S): George Monteiro Source: Journal of Modern Literature, Vol

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Ernest Hemingway, Psalmist Author(S): George Monteiro Source: Journal of Modern Literature, Vol Ernest Hemingway, Psalmist Author(s): George Monteiro Source: Journal of Modern Literature, Vol. 14, No. 1 (Summer, 1987), pp. 83-95 Published by: Indiana University Press Stable URL: http://www.jstor.org/stable/3831342 Accessed: 06/01/2010 17:30 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=iupress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Indiana University Press is collaborating with JSTOR to digitize, preserve and extend access to Journal of Modern Literature. http://www.jstor.org GEORGEMONTEIRO BROWN UNIVERSITY Ernest Hemingway, Psalmist THESUBJECT OF ErnestHemingway and the Bible has been touched on here and there in Hemingwayscholarship and occasionally acknowl- edged by the critics, yet the mattercontinues to call for extended treat- ment. It is clearly the subject for a book. Here, however, it may be worthwhileto sketch out one small segment of such a study: Heming- way's readingof one well-known piece of Scriptureand its effect on his writingsin the late twenties and early thirties.The Biblicaltext is King David's "Twenty-ThirdPsalm," and the Hemingwaytexts are "Neo- thomist Poem," publishedby EzraPound in The Exilein 1927, A Fare- well to Arms (1929), and "A Clean, Well-LightedPlace" (1933). By examining, in some detail, Hemingwaymaterials-in manuscriptand typescript-at the John F. KennedyLibrary, we can trace the genesis of an idea and relate it to Hemingway'svision. Among the Hemingway papers at the Kennedythere are five texts included in four numbered documents that are relevant: documents 597a, 597b, 597c, and 658a. Two of these are typescripts(597a and 658a), the other two (597b and 597c) are penciled manuscriptsin Hemingway's hand. Of the typescripts, 658a presents Hemingway's "NeothomistPoem" as we know it from publicationin The Exile.The only one of these five texts that carriesthe poem's title, it now rests as part of a sheaf of Hemingway'spoems, eighteen in all, including the seventeen poems that appear in the several unauthorizededitions in which Hemingway'spoetry has circulatedfor decades. The eighteenth poem entitled "They All Made Peace-What Is Peace?" does not ap- pear in those piratedchapbooks. The second typescript(597a), untitled, is a single sheet of ten lines. A clean copy of the longer version of 83 George Monteiro, "ErnestHemingway, Psalmist," Journal of Modern Literature,XIV: 1 (Summer 1987), 83-95. ? 1988 Temple University. 84 GEORGEMONTEIRO Hemingway'spoem, this text is reproducedin facsimile on page 82 of Nicholas Gerogiannis'edition of ErnestHemingway: 88 Poems.' The manuscriptssurvive in two notebooks. Item 597b, the flyleaf of which contains the signatureand address"Ernest Hemingway/Note Book/1i13 Rue Notre Dame des Champs/ParisVI,"2 offers two tries-the earliestof those at Kennedy-at the longer version of the poem. The second half of the firstof these two (on the second manuscriptpage) is reproduced in facsimile in 88 Poems (also page 82), along with the complete second attempt at the longer version on the third page. These versions are untitled. Item597c is also an untitledmanuscript in pencil in Heming- way's hand. It appearsin a lined notebookwith writingon the firstfive leaves. The front flyleaf is signed "ErnestHemingway/69 Rue Froi- devaux/ 155, BouldSaint-Germain/Paris G." At the Kennedythis item is described, in part, 597c Manuscript. Untitled pencil manuscript beginning "The Lord is My Shepherd I shall not want. ." 1 p. Also one page of sentences on the dust and dew in the dark in Italy. This manuscriptoffers, in some ways, the most intriguingof the five versionsavailable at Kennedy.The descriptionof it, as I shall arguelater on, is misleading-as is, I think, the numbering.For reasons that I hope to establish, I now list the five texts contained in these manuscriptsand typescriptsin their order of composition and/or recording: Version 1, 597b (firstand second pages); Version2, 597b (thirdpage); Version 3, 597a (typescriptof ten lines); Version4, 597c; and Version5, 658a ("NeothomistPoem"). To begin at the beginning as we can best know it from the extant materials,here is Version 1, before Hemingway'scancellations: The wind blows in the fall and it is all over The wind blows the leaves ErnestHemingway: 88 Poems,ed. NicholasGerogiannis (Harcourt Brace Jovanovich/Bruccoli-Clark, 1979). 2 This and all quotationsfrom Hemingway'smanuscripts and typescriptsat the John F. KennedyLibrary, Boston,Massachusetts, have been permittedby MaryHemingway with the consentof the Library. HEMINGWAYAS PSALMIST 85 fromthe trees and it is all over They do not come back And if they do are We're gone. You can startit any time Butyou in --------- It will flush its self. When it goes it takes everythingwith it The Lordis my shepherd I shall not want him long. He makethme to lie down in green pastures And lo there are no green pastures He leadeth me beside still waters And still waters run deep. Surelygoodness and mercy shall follow me all the days of my life And I shall never escape them ThoughI walk throughthe vale shadow of the shadow of death I shall return to do evil. Forthou art with me In the morningand the evening Especiallyin the evening The wind blows in the fall And it is all over When I walk throughthe valley of the shadow of death I shall (feel) fear all evil Forthou art with me. In revisingthis version, Hemingwaycrossed out the firstthirteen lines, as well as lines 21-29. He also rearrangedlines 30-33 so that they would come at the end of the poem. The temporarilyfinal poem that emerges from these revisionsreads: The Lordis my shepherd I shall not want him long. He makethme to lie down in green pastures And lo there are no green pastures He leadeth me beside still waters And still waters rundeep. When I walk throughthe valley of the shadow of death I shall fear all evil Forthou art with me. In the morningand the evening Especiallyin the evening 86 GEORGEMONTEIRO The wind blows in the fall And it is all over My first observation is that the poem appears not to have been con- ceived, if the opening thirteen lines constitute its true beginning, as a parodyof the "Twenty-ThirdPsalm." Yet when, with line fourteen,the poet moves in that direction, he remainson targetfor the remainderof the poem with the single exception of lines 29-33, which returnthe poem to its opening motif-the blowing wind. These four lines would remain in the poem, in some form or other, throughthe ten-line typed version (597a). Purgedof its first thirteen lines, the poem reads as a rather straightforwardif a trifle lachrymose rewriting of David's "Twenty-ThirdPsalm": The Lordis my shepherd;I shall not want. He makethme to lie down in green pastures:he leadeth me beside the still waters. He restorethmy soul: he leadeth me in the pathsof righteousnessfor his name's sake. Yea, though I walk throughthe valley of the shadow of death, I will fear no evil: for thou artwith me; thy rod and thy staffthey comfortme. Thou preparesta table before me in the presence of mine enemies: thou anointestmy head with oil; my cup runnethover. Surelygoodness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lordfor ever. Thisversion of Hemingway'spoem parodiesthe "Psalm"only at certain points, namely verses one and two, and only the firstthree quartersof verse four. It does not touch verses three, five, and six. In the next versionof the poem Hemingwaymakes several changes in wordingand phrasing,adds lines (latercanceled), and insertsa treatmentof verse six of the "Psalm"(also largelycanceled). Some of the changes and addi- tions are significant: (1) Inthe line "Andstill watersrun deep" he crosses out "rundeep," replacing it with "reflectthy face." (2) As an alternativeto the line "Forthou art with me" he writes, "you are not with me," only to cross it out. (3) He writes and then crosses out "In the morning and in the evening." He then adds the line, "In the morning nor in the evening," which he changes, by adding "Neither"and crossing out "nor," to "NeitherIn the morningand in the evening"; and then he crosses out "Neither."(There may be a step here that I have left out.) HEMINGWAYAS PSALMIST 87 (4) He writes and then crosses out the line, "Nor in the valley of the shadow of death." (Itwill not reappearin laterversions.) (5) He writes "And," crosses it out, and then begins again, "In the nightthe wind blows and you are not with me," only to change, first, "you" to "thou" and "are"to "art,"then interpolatingthe clause, "I did not hear it for" so that the line reads: "Inthe night the wind blows and I did not hear it forthou artnot with me," and finally, puzzlingly, he crosses out "thou" and "not." (6) He writes, "You have gone and it is all gone with you," only to cross it out.
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