Romero's Heroism

In “The Sun Also Rises,” the young bullfighter Romero is portrayed as a dramatic foil to the expatriates in that his sense of morals and ethics are still intact, being untouched by the war. This allows Romero to be portrayed also as a heroic figure, one who exhibits grace under pressure and is not afraid of confronting danger in the face of adversity.

Romero displays the heroic trait of exhibiting grace under pressure in his bullfighting. The very practice of bullfighting is dangerous, yet Romero remains calm and makes the practice look like an art. Hemingway describes him as working slowly, which requires courage as he is giving the bull more chances to kill him by delaying the killing of the bull. He provides “real emotion” in his bullfighting by putting himself closer to death. In this way, he puts the art of bullfighting ahead of himself. He fights the bull not for personal fame, but for art itself. Unlike other fighters, who only give the appearance of working close to the bull, Romero actually does work close to the bull, which shows his fearlessness. This also portrays Romero as truth where others are false. Romero's bravery is also shown out of the bullring, specifically when he is attacked by Cohn. Cohn, upon finding Romero and Brett together, fought Romero, and being a boxer, gave Romero a brutal beating. However, despite Cohn's boxing skill, Romero continued to fight Cohn. In the situation, Cohn is the proverbial bull. Romero fights Cohn as a way of defending his honor, despite the fact that it could lead to him being injured even more. Even when Cohn offers a truce and apologizes for attacking him, Romero continues to attempt to fight. Romero's unwillingness to take the easy way out in a bullfight by faking closeness and his willingness to fight Cohn despite being an inferior pugilist show his heroic qualities.

Romero's qualities mesh with modern heroes in that both Romero and today's hero are portrayed as fighting for a cause. Heroes typically make a selfless sacrifice for a cause they believe is just or for a person. An example of this hero type include Captain Miller in Saving Private Ryan. Miller sacrifices his life for a cause and for Ryan. In a similar way, Romero takes the beating from Cohn because of his desire to be with Brett. This is also related to his willingness to bullfight; he puts his life at risk for the sake of art, which is his cause. Romero also displays elements of less selfless heroes, such as Rocky from the eponymous film. Rocky is primarily self motivated, however, he overcomes adversity and confronts the threatening situation of boxing Apollo Creed head on. This is similar to Romero's boxing match with Cohn, which Romero could not win, but would not give up.

Hemingway's ideals of exhibiting grace under pressure apply to Cohn's bullfighting and his willingness to put his life on the line for his art and for Brett. This is comparable to our perception of heroes today, who face adversity head on and confront danger. However, today's heroes are typically more self centered in their causes compared to Romero.

In "The Execution of Tropmann," Ivan Turgenev examines the morality and effectiveness of capital punishment after attending the execution of spree killer Jean-Baptiste Tropmann and being horrified by the "medieval procedure" of the event.
The purpose of the essay is to question the purpose of capital punishment and the ethics of the procedure. Turgenev asserts that the purpose of public executions, crime deterrence, is lost on the public. Turgenev observes that soldiers were present at the execution, despite the rule against this, because lawlessness among the crowd was feared, paradoxical to the idea that the execution is meant to provide civilians with an example of law and order. This ideal was indeed lost on the public, as members of the crowd would shout random, wordless phrases and chant folk tunes, showing that for the common folk, the execution, designed to bring order, was little more than a show. The procedure of the execution is also brought under moral scrutiny, as it requires "undressings, dressings, hair-cutting, [and] journeys up along corridors and up and down staircases" by the condemned, and the entire procedure goes on for half an hour before the execution. Turgenev also establishes his belief killing a human being for any reason, as he states Tropmann's face "could have been described as handsome," in an attempt to gather reader sympathy for Tropmann.
The strengths of Turgenev's argument include the reactions of the crowd to the execution and demonstrating the drawn-out procedure of the toilette du condamne. These points show the purpose of the public execution is not apparent to the public and creates sympathy for the condemned. His description of Tropmann as polite and handsome while maintaining innocence also causes doubt in the reader as to if Tropmann actually committed the crime he was accused of. The argument is weak in that the execution it describes is not typical of all forms of capital punishment. If an execution was made private and quick, Turgenev's argument would not stand up. The argument also primarily appeals to emotion as opposed to logic or authorities on the subject.
Turgenev's tone could be described as uneasy, disgusted, and indignant. At the beginning of the text, he stands that he only attended because he was invited and did not want to be considered a coward, and later regretted his decision. He is disgusted and shocked by members of the crowd, who seem not to understand why they are there and treat the event like a party. He also shows disgust at the drawn out toilette procedure.