In the following essay, Nakjavani draws upon philosophy, military history, psychoanalysis, and literary theory to consider Hemingway's treatment of the metaphysics and psychology of war in A Farewell to Arms and other works.

In the following essay, Stoltzfus presents a complex analysis of the use of language in A Farewell to Arms, with particular reference to the way in which Hemingway's use of metaphor and shifting pronoun references masks the primal story of Frederic's (and the author's) unconscious separation anxiety.

In the following essay, Phelan emphasizes the novel's progression in voice which allows Frederic's character to develop gradually into a manifestation of Hemingway's views of the universe.

In the following essay, Fetterley states that the character of Catherine is a scapegoat for Frederic's hostility rather than a true object of romantic love, providing a way for Frederic to avoid commitment.

In the following essay, originally published in 1934, Lewis accuses Hemingway of borrowing the style of Gertrude Stein, purveying brutish speech patterns, and championing the unthinking masses, but at the same time praises his skill as a writer.

In the following essay, Norris uses reader-response criticism to argue that Hemingway uses the love story in the novel to turn readers' attention from the brutal realities of war.

In the following essay, Bell uses drafts and revisions of the novel to show that, while not autobiographical in every detail, A Farewell to Arms is highly realistic as a reflection of Hemingway's state of mind.

In the following essay, Schneider compares A Farewell to Arms to a lyric poem, where plot, character, and images all contribute perfectly to a feeling of hopelessness and desolation.

In the following essay, Watkins asserts that, in both theme and style, A Farewell to Arms sets up a conflict between abstract notions of patriotism and honor and the concrete world of individual choice.

In the following essay, Merrill asserts that a work of art should not be divorced from aesthetic judgments because of an author's alleged male bias.

In the following essay, Warren answers critics of Hemingway and explores themes of the quasi-religious significance of human love and the solitariness of the individual in A Farewell to Arms.

In this introduction, originally published in the 1932 edition of A Farewell to Arms, Ford, a novelist himself and a friend and colleague of Hemingway's from his days in Paris in the 1920s, dwells on Hemingway's literary discipline, clarity of language, and economy of form.

In the following essay, Herrick raises questions about the propriety of certain frank sexual references in A Farewell to Arms, comparing them unfavorably with similarly explicit passages in Erich Maria Remarque's All Quiet on the Western Front.

In the following essay,originally published in 1961, Light discusses the four ideals of service in A Farewell to Arms.

In the following essay, Carson explores the ways in which A Farewell to Arms fuses a naturalistic approach with compressed, symbolic language.

In the following review, originally published in 1929, Matthews outlines Hemingway's transition in A Farewell to Arms from the realism of war to the idealism of a love story.

In the following review, originally published in 1929, Davidson criticizes what he calls Hemingway's behaviorist, “scientific” approach to writing in A Farewell to Arms.

In the following essay, Hackett asserts that Hemingway's hero in the novel represents a false concept of male dignity.

In the following essay, the Priestley recommends Hemingway's A Farewell to Arms to readers while expressing some reservations about its franker aspects.

In the following review, originally published in 1929, Hartley states that A Farewell to Arms is particularly interesting because of its account of war on the Italian front.