Hemingway and Hardy are authors from a different generation. Nevertheless, they both have a similar point of view on the question of fate. Fate exists, but a man should try as much as he can to be in control of his life. Ironically, they both experience the loss of control of their lives. Hemingway, is the one that in the end controlled his death:

He was a man of prowess and did not want to love without it: writing prowess, physical prowess, sexual prowess, drinking and eating prowess... But if he could only be made to adjust to a life where these prowess were not so all important...

However, he would not adjust. Throughout his final days at Ketchum, Idaho, and Rochester, Minnesota, Ernest Hemingway fulfilled the thoughts, which his personages had implied, all the way through his works. During the action and the way of thinking that he demonstrates all through his era, he composed his concluding plot: a plot, which answered the fundamental query of whether a man is capable of controlling his whole existence, or whether fate ultimately will take control.

Hemingway's well-known conception with reference to how the populace should live was repeatedly e

Unlike Ernest Hemingway, Thomas Hardy's disillusionment over religious conviction was a key argument in both his books and his poems. In his mind, there was a disagreement over whether fate or chance ruled the populace. He investigates this problem in the poems "I Look Into My Glass" and "Going and Staying." Each poem takes a dissimilar posture on the subject. It is up to the work of fiction The Mayor of Casterbridge to enlighten which position he at the end of the day approves.

Hemingway had a more authoritative compliance in what he believed. As a result of his personal viewpoints, he did the ultimate sacrifice and took control of his death; he did not admit the concept of fate and could not bare seeing his life shattered to the cause that he opposed for so long. In comparison, Hardy did not committed suicide as he accepted fate, or a higher authority. Hardy acknowledged the idea of fate to a certain extend, Hemingway did not. Nonetheless, they both have an analogous opinion on the query of fate. Fate is present, although a man should attempt as much as he can to be in power of his own life.

Bartleby. Going and Staying. Thomas Hardy. Modern British Poetry. 2002. 06/11/02. http://www.bartleby.com/103/2.html.

...unlike your baseball player and your prize fighter and your matador, how does a writer retire? No one accepts that his legs are shot or the whiplash gone from his reflexes. Everywhere he goes, he hears the same goddam question; what are you working on? (Hotchner, 298)

Wagner-Martin, Linda. A Historical Guide to Ernest Hemingway. New York, Oxford University Press, 2000.

Elliott, Albert Pettigrew. Fatalism in the works of Thomas Hardy. New York, Russell & Russell, 1966.

Hemingway, Ernest. A Farewell to Arms. New York: Scribner's 1995.

xpressed in his texts, although in all cases these thoughts were not actually finished. His deep-rooted policy of "Grace Under Pressure" along with the requisite of accepting decease were in no way ample for the reason that they did not designate any route of action by which someone possibly would extend control over existence into the control of death.

Some common words found in the essay are:
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Approximate Word count = 2312
Approximate Pages = 9 (250 words per page double spaced)