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This paper introduces Hemingway's basic pattern or aesthetics of simplicity and rhythm, the two great wheels of his style, and then makes an extended analysis of this pattern or aesthetics in its varied aspects. Many of the characteristic features of Hemingway's writing such as understatement, painting technique, rigor, terseness, repetition, concreteness, omission, ob-jectivity, and rapid tempo can be traced back to this basic form of simplicity and rhythm which are closely interdependent in the actual operation. Ma-jor influences in the formation of this technique are his journalistic experience on the Kansas City Star and his exposure in the Paris years to the doctrines of Gertrude Stein and Ezra Pound. During his Kansas City Star days, C. G. Wellington and Galhoun Moise introduced him to a discipline of simplicity based on the Star's style sheet which contains 110 rules on writing. Rule 1 is: "Use short sentences. Use short first paragraphs. Use vigorous English, not forgetting to strive for smoothness. Be positive, not negative." More importantly, Rule 21 could have helped the young journalist to "avoid the use of adjectives, especially such extravagant ones as splendid, gorgeous, grand, magnificent, etc." It is noteworthy that under the tutelage of Moise, Hemingway could learn to create pure objective writing which is, according to Moise, the only true form of storytelling. It was during these years that he also could incorporate the device of brevity in his style, which was to mold his fiction in several important ways. In his Paris years Hemingway was under the direct influence of Gertrude Stein in terms of the technique of repetition and the treatment of time and he could use these stylistic devices for the development of his rhythmic style. Through his relationship with Ezra Pound he could gain masterful control over the technical method of simplicity and the rhythmic sentence or paragraph.