- Imagery: "They were seventy-sevens and came with a whishing rush of air, a hard bright burst and flash and then gray smoke that blew across the road. The carabinieri waved us to go on. Passing where the shells had landed I avoided the small broken places and smelled the high explosive and the smell of blasted clay and stone and freshly shattered flint" (Hemingway 24).
- Analogy: "I knew I did not love Catherine Barkley nor had any idea of loving her. This was a game, like bridge, in which you said things instead of playing cards. Like bridge you had to pretend you were playing for money or playing some stakes. Nobody had mentioned what the stakes were. It was alright with me" (Hemingway 30-31).
- Simile: "I sat up straight and as I did so something inside my head moved like the weights on a doll's eyes and it hit me inside in back of my eyeballs" (Hemingway 55).
Hemingway's use of rhetorical stategies affects his style of writing. His style is portrayed when he chooses to use extensive details to enable the narrator to appear initially detached from the life surrounding him. This also allows Hemingway to paint a picture of the uncompromising war efforts in the readers mind and allows them to live vicariously through the narrator's experiences of World War I. Hemingway's style of declaritive, terse prose is also used to produce a realistic narrative, moving away from intricate plots and descriptions. For example, the love between Henry and Catherine is elegant but not romanticized and becomes more of a function of existence rather than the primary focus of the novel.