Male-Female Relationships

When Jake asks her if she is "a sadist," after she "couldn't determine away" from the goring of the horses at the bullfight, she says, "Hope non" (170). perchance she fears she is non merely a drunken, jaded member of the lost(p) generation, but is virtuallything redden more desperate. Perhaps her fear that she is a sadist after every is what forces her to let the bullfighter go, lest she become " one(a) of these quetches that ruins children" (Hemingway 247). Her fear of being a simple bitch when surfaceset drawn to the teenage bullfighter does not stop her from sledding after him, does not stop her from telling herself and Jake that she "can't help" herself (Hemingway 187), even though "I've never felt such a bitch" (Hemingway 188). She knows she just now wants Romero for sex, that nothing depart come of it, that altogether Romero will be hurt by it, that for her the lust will overhaul when the complexities of a real relationship set in. Tellingly, those complexities turn out to be physical beatings for both Cohn and the bullfighter, along with broken police van for both Cohn and the bullfighter, and the decision by Brett to end the relationship in order not to "ruin" Romero. She cleverness not welcome ruined Romero by the time she makes her heroic decision, but she sure enough has not done him much good either, except for didactics him the lesson that women are much more dangerous and vicious than whatsoever bull in the ring.

Hemingway and Jake portray Romero as a vestal being compared to the defiled Brett. Brett may save herself by deci

Brett understands that Romero is an undefiled being with dear and committal for his bloody calling, compared to her own jaded, meaningless, drunken, wayward life. She cannot keep herself from seducing him, but at least she yields to her fading better side and lets him go in advance she draws him into her corrupted realm of drink and wanton sex. She learns from the relationship only that she is not quite the completely corrupted "bitch" she fears she might be. Still, there is no sign that she is leaving him because she cares about him, for she cares only about herself and having "a damned good time" (Hemingway 251). She does not even really care about his bullfighting, for the ear he gives her she stuffs with cigarette butts into a drawer.

His bullfighting to her seems to have been simply unfounded and bloody foreplay to their sex together.

Pedro Romero had the greatness. He loved bull-fighting, and I think he loved the bulls, and I think he loved Brett. . . . Never once did he look up. He made it stronger that way, and did it for himself, too, as well as for her. Because he did not look up to ask if it pleased he did it all for himself inside, and it strengthened him, and yet he did it for her, too. But he did not do it for her at any loss to himself. He gained by it all through the afternoon (Hemingway 220).

If Clarissa never fully comes to grips with that passion which is missing in her marriage, at least she knows on roughly level that it is missing. Richard remains in the dark, about Clarissa, about love, about himself. His most significant act--buying flowers and vowing to tell Clarissa he loves her "in so many words" (Woolf 116)--fizzles because he is incapable of feeling, or in truth experiencing, anything approaching passion, anything like love. He marches across capital of the United Kingdom to tell her he loves her as if he were performing some embarrassing duty which he felt he should do but certainly did not want to do. On the way, he distracts himself, with some semblance
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