Wyche agrees with this notion, adding that the station's position "between two sets of rails, whose significance lies 'in their figurative implications' (Renner qtd in Wyche 34), and between two contrasting landscapes that symbolize the couple's options" (Wyche). One side of the tracks, the landscape gives the couple the scene of the hills and the valley and on the other side of the tracks trees and grain flourish on the banks of the river. This scene "illustrates Jig's choice 'between sterility and fertility'" (O'Brien qtd. In Wyche 19). Johnston writes that the description of the Ebro valley "embodies the poles of the conflict too: It is both barren and fruitful. On the side which they sit facing, there are no trees and no shade, and in the distance the country is brown and dry; on the other side of the valley, there are 'fields of grain and trees along the banks of the Ebro.'" (Johnston). The couple cannot stay at the station forever just as things will not stay the same for them. They are waiting on a train but they are also waiting on Jig's decision. When Jig looks to the hills, she does not see him there with her. It is a desolate world for her no matter which way she goes because something will be lost either way.
Other symbols add flavor to the story. The railroad tracks represent the pair's individual courses in life. Their lives are like two parallel lines that will never met. This is something Jig knows and it is something her boyfriend refuses to consider. This is how things will always be with him, especially if he does not agree with her. The baggage in the story represents the couple's past. This could also point to Jig's boyfriend's future but it cannot be hers nor will the future be anything the two of them share, regardless of what they do. The baby is a burden; like baggage it must be picked up, carried and remembered. Kenneth Johnston also remarks that the couple's lifestyle is represented by their baggage. Their bags have labels on them from different cities and the station "sits between two lines of rails...
The family is the choice Jig would enjoy. We see that she wants to make things "nice again" (Hemingway 1391), but there is no way this can happen now. He wants to erase everything and his lie that an abortion is "not really an operation at all" (1391), "really not anything. it's just to let the air in" (1391), "it's all perfectly natural" (1391) are all said to motivate her to kill the baby and let him live. He tries to play the situation down to something without any moral or emotional implications. Jig suspects it is not this easy and is correct to question him but she may not be strong enough to walk away from him.
"Hills like White Elephants" is an example of a story telling a story without the author telling the whole story with words. In fact, with very few words, Hemingway forces the reader to depend on other literary techniques to figure out what is going on in the story. The tale relies heavily on symbolism, which fills it from the beginning to the end, as Jig contemplates her decision and the rest of her life. The hills are significant because of all the things they represent. They represent more than anything, her incredible journey, which she will make on her own, regardless of what her boyfriend says. They symbolize a difficult journey regardless of what happens. An abortion will allow her boyfriend to live the same life he has always lived and this is the only thing he is concerned about -- regardless of her best hopes. She, however, will never be the same, regardless of what she chooses. One choice seems to be the easy one but she cannot know what an abortion will do to her mind. She must also realize that abortion is not something she can take back or undo. The other choice is the more difficult one but it is
The documents we provide are to be used as a sample, template, outline, guideline in helping you write your own paper, not to be used for academic credit. All users must abide by our "Student Honor Code" or you will be restricted access to our website.
Hills like White Elephants -- Critical Literary Analysis One of the first things entering the mind of a reader (on an obvious level) in Hemingway's short story is that the image of a white elephant the woman sees in the line of hills in the distance has created a classic man-woman conundrum. She sees it her way and he sees it his. The beer and the anis del Toro -- and
Hills Like White Elephants Ernest Hemingway's "Hills like White Elephants" Ernest Hemingway's "Hills like White Elephants" Ernest Hemingway's short story, "Hills like White Elephants" draws largely on the themes of selfishness and naivety, which can be seen in looking at the story's main characters. In order to further embed these themes into his writing, Hemingway skillfully utilizes the literary tools of setting and symbolism to not only give readers an understanding of the
Hills like White Elephants is one of the most discussed works of Ernest Hemingway primarily due to excessive use of symbolism in the story to depict conflict of interest of a young couple on the subject of abortion. Interestingly the word pregnancy or abortion is never used in the story but a reader still gets the message through variety of symbols. These symbols and theme augment the iceberg technique used
Ernest Hemingway "Hills Like White Elephants" Kate Chopin "The Story Hour" Hemingway rich symbolism build "The Story of an Hour" is rife with irony. This literary device is demonstrated in Mrs. Mallard's reaction to the purported death of her husband, and in the fact that he is really alive. The literary device of irony is mainly about opposition -- words are used in the exact opposite way of their literal meaning,
Ernest Hemingway's - Hills Like White Elephants, write essay supports Final Act It is quite possible that Ernest Hemingway was being deliberately deceptive when he wrote "Hills Like White Elephants," which first appeared in 1927 in the collection of short stories entitled Men Without Women. Regardless of his intention, when the story is read outside of the social and cultural context in which it was written -- as is the case
"She relaxed limply in the seat. "Oh, no. No. I don't want to go. I'm sure I don't." Her face was turned away from him. "It will be enough if we can have wine. It will be plenty." She turned up her coat collar so he could not see that she was crying weakly -- like an old woman" (Steinbeck). There are a number of fairly eminent points to be