Unlike many of the books published before the 1920s, in Hemingway's The Sun Also Rises there is a distinct lack of the stereotypical nineteenth-century hero figure. In looking for such a hero, the reader expects one character to stand out as the champion of a moral truth or of a standard above mere human existence. Though all of the main characters exhibit the characteristics of a classic noble protagonist at one time or another throughout the narrative, limitations prevent each from exhibiting the consistency innate in the classic hero figure. There isn't one character that stands out enough, or for any significant period of time, to merit the label of "a hero."

Hemingway gives each character a chance at being the champion of the story, but never allows that dream to be realized. By examining each of the four main characters individually, it will become apparent how Hemingway structured the novel so that the hope for a single hero is ever-present, but the reality of such an individual actually existing is an unfortunate impossibility given the personality flaws present in each.

When one speaks of unfortunate impossibilities in this novel, it is Jake's war injury

Hemingway asks the reader to disregard this conduct, however, and temporarily elevates Brett's status at the end of the story. By giving Brett the strength to leave Romero at the conclusion, Hemingway places her in a position reminiscent of the ancient Greek, tragic, female hero. Her position as a woman sacrificing her own happiness for a stronger purpose is comparable to Medea, or possibly Electra. She "released" Romero from her grasp so that he could continue his life as he should, in the ring. Brett says, "He [Romero] shouldn't be living with any one. I realized that right away." She alludes to the fact that Romero had shifted his focus totally away from bullfighting, and by using the phrase "shouldn't be living with any one," Brett implies that her realization was more for his benefit than hers was. "Shouldn't" has the connotation of abstaining from an action for the well being of the parties involved. This case is no exception as Brett decides that, despite possible happiness with him, not only was it to her advantage to leave Romero now, but was also the best thing for him (and his bullfighting). In addition to that, by saying that she "didn't have a soul to go away and leave him," yet sending Romero away anyway (without taking his money), her action seems even more admirable.

And, one might ask, what of the notorious fiance, Mike? From what perspective might he be seen as the hero? It seems apparent that his cruelty towards Cohn, his excessive drinking, and the lack of sympathy he displays towards Brett have more than excluded him from consideration. Mike, at one point in the narrative, states, "Brett's gone off with men before. But they weren't ever Jews, and they didn't come and hang about afterward." This rampant jealousy and bigotry, though more socially acceptable in Hemingway's time, is nonetheless a strong indicator that Mike does not possess the values or sensitivity to fit the mold of the moral champion of anything. His bankruptcy also serves to reinforce the impression that he is a deadbeat and a drunkard. To many readers, in fact, Mike comes across as an annoying character serving little purpose beyond irritating Cohn.

If such courage were consistently all that Jake displayed, at the end of the novel he would quite clearly merit the hero title. His petty jealousies and sadistic tendencies towards Cohn, however, destroy any possibility of that. Early in the narrative, when he and Cohn are waiting for Brett, Jake comments on Cohn's anxiety by saying, "We walked to the station. I was enjoying Cohn's nervousness." Later, he takes his sadism a step further, saying, in fact, " I liked to see him [Mike] hurt Cohn." These are not the words of a hero. It appears, from these passages, that Jake acquires some evil pleasure in the difficulties that Cohn has in their elite circle of friends, a community in which Jake seems to exist comfortably. By drawing entertainment and strength from the ways by which he feels superior to Cohn, Jake shows personal insecurities and an ego unbecoming of a traditional hero.

In the Robert Cohn dream world of knights in shining armor and damsels in distress, the hero is always there to save the day at the end. In the disillusioned world of our four main characters, however, there is no champion of justice, no gallant knight. Each of them had the chance to ride off on the proverbial white horse, knowing that what they had accomplished

Some common words found in the essay are:
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Approximate Word count = 2292
Approximate Pages = 9 (250 words per page double spaced)