Chapter 1

Summary:

The first chapter of For Whom the Bell Tolls introduces us to the protagonist, Robert Jordan, an American who joins the Loyalists in the Spanish Civil War as a demolition expert. We first see him climbing a treacherous mountain path with his elderly, but incredibly strong, guide Anselmo. Robert Jordan emphasized that in war, there exist only those who can and cannot be trusted; he trusts everything about Anselmo except his judgement, which has not yet been tested and which Jordan reasons is "his own responsibility." Anselmo is a good guide and the job to which he leads him, to blow out a bridge, is like many others Jordan has performed, but for an undefined reason he is worried about "other things."

These worries seem to stem form the conversation Jordan has with General Golz before beginning on his mission, as the narrative immediately jumps to a flashback of Jordan receiving his orders. General Golz is a Russian officer sent to aid the Spanish communists directing the attack in which Jordan must destroy the bridge, and in a flashback scene we learn that the crucial mission is to be performed in an unorthodox fashion, and thus is highly dangerous. So too, Golz frustrations that his operations, strictly military test ground from his perspective, are always stalled or botched, may be the cause of Jordan's sense of trepidation. Golz is a direct contrast to Jordan's idealistic selflessness.

Anselmo leads Jordan to Pablo, the leader of the guerilla band whose aid Jordan enlists in the destruction of the bridge. Although Pablo mistrusts the foreign Jordan and is mentally and emotionally wearied from fighting and the threat of death, Anselmo convinces Pablo to help by intimating that Pablo has lost his willingness to fight- meaning to give up all he has- now that he has property, horses stolen from slain Monarchists. Now that Pablo has wealth he wants to enjoy life; devoting this life to a cause now comes at a much greater proce.

The chapter closes with Jordan mentally assessing Pablo, whose gloom is dangerous, he concludes, because "he is going bad fast and without hiding it." Jordan appears inclined to analyze and mentally prepare himself for future occurrences, as he reminds himself to beware if ever Pablo acts friendly, for then he will have made a decision for the worst. Jordan also notices that he too has been gloomy, which is unlike his usual joking self. Jordan admits to himself that he feels overwhelmed and wishes he were in gay spirits, as were General Golz and Anselmo. The best soldier, according to Jordan, is happy, because high spirits in the midst of combat is "like having immortality while you were still alive." Noticing how few happy soldiers were left, and dually noting that his own positive attitude, and thus chance for survival, were faltering, Jordan tells himself that he is not a thinker anymore, but merely a "bridge-blower."

Analysis

An important theme in the first chapter is that of superstition. Robert Jordan is afraid when he forgets Anselmo's name, as he considers it a "bad sign." There is much foreboding in this chapter, as Jordan worries for an unknown cause and finds himself slipping into gloominess, which is unlike his nature.

Another important theme is the ironic and skeptical view of life, which is revealed by the cynicism of Jordan's comrades-in-arms. For example, in the scene in which Jordan and Golz discuss the proposed attack, the Russian general speaks mistrustfully of the Spanish because he knows they will interfere in the offensive, which he would like to use as a military maneuvering practice.

This cynicism is matched by Pablo, the Spanish guerilla leader who mistrusts Jordan, a foreigner who has come into his country to give him orders. Pablo has given up hope himself, yet resents the interference of an outsider into a war which is ostensibly being waged for the benefit of the underrepresented, like himself: "If they know we are here and they hunt for us with planes, they will find us. If they send Moors to hunt us out, they will find us and we must go. I am tired of all this. You hear? He turned to Robert Jordan. ŒWhat right have you, a foreigner, to come to me and tell me what I must do?'" Pablo is not a selfless freedom fighter, but rather is only interested in the survival of himself and his group. Ironically, at the same time he manifests a defeatist attitude, as he feels it is futile to run and hide any longer, and will remain in the mountains until he is inevitably found and killed.

Another ironic twist in the character of Pablo is the fact that he recently acquired five beautiful horses- booty from the killing of two civil guardsmen from the Monarchist side. The fact that Pablo owns something of value for the first time in his life lessens his interest in the Loyalist cause. Thus, Hemingway compels the reader to think about the selflessness that one must have in order to make a political and military fight their life, and perhaps even their death. The figure of Pablo also introduces the important theme of the relationship between the downtrodden individuals for whom wars are supposedly fought and the higher political forces which actually control their destinies.

Hemingway's writing style is another important aspect to consider; although the main characters Jordan, Anselmo and Pablo are introduced, their characters are depicted very subtly through conversation, instead of narrative description. Indeed, from the verbal test Jordan undergoes when appraising Pablo's horses, we know that there already exists a personality conflict between the two characters.

Hemingway does provide physical descriptions of the characters. We know that Jordan is tall, lanky and fair, and that Anselmo is aging and strong. While these depictions are rather spare, especially in regards to facial characteristics, Hemingway portrays the faces of the more cantankerous characters, Golz and Pablo, vividly. Perhaps this is because much about a person, especially strong traits, are revealed in the face. Golz has a "strange white face that never tanned, his hawk eyes, the big nose and thin lips and shaven head crossed with wrinkles and with scars." Indeed, in this face the one reads the history of a keenly alert, willful man who lived to be a soldier.

Pablo's face is the portrait of the peasant who has seen much hardship: "Šhis head was round and set close on his shoulders. His eyes were small and set too wide apart and his ears were small and set close to his head. He was a heavy man about five feet ten inches tall and his hands and feet were large. His nose had been broken and his mouth was cut at one corner and the line of the scar across the upper lip and lower jaw showed through the growth of beard over his face." Pablo's face not only holds the scars of battle but reveals that luxury and beauty are things that have not figured in his life experience. His apparent ugliness symbolizes the rough life and burdens endured by this peasant. So too, his small wide-set eyes are traditionally associated with mistrust, which is indeed the sentiment Jordan feels upon initially meeting Pablo.

Chapter Two

Summary:

Robert Jordan and Anselmo arrive at the guerillas' camp- a cave beneath a tree-covered valley that could not be spotted from the air. The gypsy Rafael guards the entrance to the cave. Despite his vulgar manner of speaking, Rafael appears high spirited, as he jokes about his gypsy heritage and how many meals he can eat in one day. Rafael draws a parallel between Jordan and "the other with the rare name." Kashkin, was captured upon completing his mission of blowing up a train and killed himself. Jordan reassures Rafael that he will not premeditate the outcome of battle and ask his men to kill him to escape the hands of the enemy, as his predecessor did.

Pablo and his men then sit down to a meal prepared by "the woman of Pablo," Pilar, and Maria, a girl they rescued from the train, which was carrying prisoners of war. Despite her cropped hair, which was shaved during her interment in the Fascist jail at Valladolid, and her unsure manner, she is beautiful. Throughout the dinner she gazes at Jordan steadily and smiles, leaving him with a "thickness in his throat" and an inability to speak. Pilar is described as very ugly, "barbarous" but very brave. She is more of a leader to the men than Pablo, for she lacks his fear of death. Since Pablo "went bad" and lost the courage and zeal he displayed at the beginning of the war, Pilar maintains the unity of his band. Pilar is a gypsy and, upon introductions, reads Jordan's palm. She refuses to tell Jordan what she saw, but makes Jordan promise that he will lead Maria to safety at a refugee home in Valencia after he completes his mission at the bridge.

Analysis:

The main theme of Chapter Two is the building sense of impending doom. First, the comparison of Kashkin and Jordan is unsettling. One wonders if Jordan too will become cowardly and fail in his mission. For the time being, Jordan remains firm in placing the Republic before all else, and does not even admit fear in his own intimate thoughts. He distances himself from Kashkin to convince both himself and others that he will not lose his ability to think like a soldier: "Poor old Kashkin, Robert Jordan thought. He must have been doing more harm than good around hereŠThey should have pulled him out. You can't have people around doing this sort of work and talking like that. That is not way to talk. Even if they accomplish their mission they are doing more harm than good, talking that sort of stuff."

The second bleak foreshadowing occurs when Pilar reads Jordan's palm and refuses to reveal his future. The reader knows her premonition is dark from the fact that she rises without smiling and tells him she saw "nothing," only that Jordan believes in his work. Her tone is bitter when she asks him how dangerous the bridge will be, thus increasing the text's sense of impending doom. After Jordan asks Pilar to reveal what she has seen a third time, she says, "I saw nothing. Go now to thy bridge." This important line reveals that Jordan's destiny, indeed his life, is inextricably linked to the outcome of the mission to blow the bridge.

Another important element to this chapter is the image of the "earth moving." Rafael tells Jordan the story of the blowing of the train. "Šat the moment of the explosion, the front wheels of the engine rose up and all of the earth seemed to rise in a great cloud of blackness and a roar and the engine rose high in the cloud of dirt of the wooden ties rising in the air as in a dream and then it fell onto its side like a great wounded animal." In this description, the earth moves in war and death; we will see in subsequent chapters that the Hemingway also writes of the "earth moving" in love. This passage also contains a notable simile, that of the hunted animal describing the military target. Throughout the story, many acts of war are compared to hunting animals; this technique makes sense when we consider the inherent dehumanization of one victim that is necessary for war. Also, Hemingway was an avid hunter and bullfighting aficionado; thus one must watch for subsequent metaphors comparing war to not only hunting, but also to the struggle between bull and matador.

Chapter Three

Summary:

Now that the main characters- Jordan, Pablo, Anselmo, Pilar, and Maria have been introduced, along with the unfolding of a private love affair and the public concern of the war, Hemingway focuses this chapter on furthering the mission to blow the bridge. Anselmo and Jordan go to inspect the bridge that lies over a deep gorge in a mountain stream. Jordan's internal observations reveal that "the problem of its demolition was not difficult." Happy to finally be about the task at hand, he happily makes a few sketches. He and Anselmo then speak of the plans to blow the bridge, and then discuss the similarities between Gypsies and American Indians. Specifically, they note how both groups "believe the bear to be a brother to man."

Upon their return to camp at nightfall, Agustin, another member of Pablo's band, greets Jordan and Anselmo at the mouth of the cave. Agustin has forgotten the password to the cave, revealing how tired he has become with fighting for the cause.

Agustin speaks in vulgar slang, but he nevertheless conveys two warnings to Jordan: one is that Pablo has "gone bad," or turned into a coward, and that it would be best to complete the bridge mission as soon as possible. The other warning is more prophetic, as he repeats that Jordan should "look after his stuff," meaning his explosives. Thus, the tension surrounding the bridge and Jordan's interaction with Pablo is heightened.

Analysis:

The character of Anselmo is important in this chapter as an anti-war and violence symbol. His story of hanging a bear claw on the door of his church ("On the dorr of the church of my village was nailed the paw of a bear that I killed") suggests that he reveres nature in the manner of a folk healer. Although he has killed this animal which he respects, ironically, Anselmo has never killed an enemy. His repugnance and hesitance at facing this possible task is Hemingway's means of introducing the moral dilemma of war. Jordan's explanation of why he hasn't minded killing in war shows how Jordan considers himself an instrument of the republican cause; thus, Jordan has the idealistic notion that his actions, even killing, are linked to the good of the common people. Thus, his character represents the ignorance, cloaked in the virtue of a worthy cause, of the harm war inflicts on individual lives.

The brief meeting with the peasant band member Agustin is also important, as the irony of this character's joking and vulgar manner not only provide comic relief, but ironically pinpoint the physical and mental weariness of the peasants fighting the war.

No analysis of Hemingway is complete without a portrait of his "code hero," indigenous to almost all of his novels. Indeed, Robert Jordan fulfills the standards with his dedication, manly skills, obedience to orders, and willingness to sacrifice for a cause. However, the Hemingway code hero also lives life through action and sensual pleasure and accepts the risk of death; we see the character of Jordan begin to subtly question his traditional standards. He resents "Golz's orders, and the necessity of them," when he sees that the bridge could be destroyed in a more orthodox, less dangerous manner. As quickly as they arise, Jordan disregards the thoughts that a cause may not be worth risking lives and reassures himself of his purpose.

Jordan's mantra: "the bridge can be the point on which the future of the human race can turn" is important for two reasons. One, it reaffirms the central theme of For Whom the Bell Tolls: the necessity for a republican soldier to believe that the cause for which he both kills and risks lives will benefit his countrymen. Second, the affirmation that each action man makes- such as blowing the bridge- will have great consequence is key to fulfilling the role of "code hero." However, it is important to notice that the verbs "can be" and "can turn" create an unsettling tone of doubt and foreboding. It is possible that the mission will fail, and more disastrous to the morale of the republican band- it is possible that the loss and risk of life affects nothing.

Chapter Four

Summary:

Pablo tells Jordan that he is "not for the bridge" and he will not help in such a risky mission. When Jordan and Anselmo say they can accomplish the mission without his help, Pablo says that as the leader of the band, he forbids the bridge to be blown. Pilar then speaks up and says that she is for the bridge and the Republic. The men support Pilar, and she becomes the real leader of the group. Pablo is visibly defeated, and he leaves the cave.

Analysis:

This chapter establishes the good-bad contrast between Jordan and Pablo. Indeed, one of the recurring themes of the novel is Pablo as a man "gone bad." We receive accounts of his past bravery and see his current cowardice, yet it is up to the reader to deduce why he underwent such a transformation.

An important characterization in this chapter is that of Pilar. Previously she was described as an ugly woman, but now as she asserts her willingness to lead and die for the Cause, she is transformed into its symbol. "Her face was lit by the fire and it was flushed and it shone warm and dark and handsome now in the firelight as it was meant to be." The depth of Pilar's belief in the Republic, and the nobleness of her character, shine through. Throughout the story, we will see that Pilar, more than any other character, shows no doubt about dying for the Cause.

Chapter Five

Summary:

After the confrontation, Jordan leaves the cave to clear his head and Rafael, the gypsy, follows him. He tells Jordan that he should provoke Pablo so not to assassinate him, but killing him was the only safe option: "Kill him. Do not let it become difficult."

Pablo then tries to engage Jordan in a reconciliatory conversation. He tells him to disregard Pilar's difficult manner, and states the obvious- that she is a good woman who is very loyal to the Republic. He further tells Jordan that he is glad he came, and to pay no attention to their argument. Pablo steps away to tend to the horses, and Jordan sends Rafael to tell Agustin, who is on guard-duty, what has happened. Thinking that Jordan will take this opportunity to kill Pablo, Rafael leaves satisfied.

Jordan then contemplates his options, and decides that his first priority is to the bridge, and that killing Pablo might actual damage the unity of the band. He is unsure of how Pilar would have reacted to the death, and he needs her support to sustain the unity of the band and complete the mission. He wishes that one of their own would kill Pablo instead of having it done by an outsider, but he knows that the only people who would are the woman or Anselmo, if it were necessary for the Republican cause. Jordan then comes to an important conclusion, that only Anselmo and Pilar "really believe in the Republic as far as I can see; but it is too early to know that yet." Jordan decides not to kill Pablo and returns to the cave. Pablo remains outside stroking his horse and praising his virtues to the insults of a "woman like a rock that is burning" and others.

Analysis:

An important metaphor in the scene between Jordan and Rafael is the owl. "As they spoke, the owl flew between the trees with the softness of all silence, dropping past them, then rising, the wings beating quickly, but with no noise of feathers moving as the bird hunted." This his how Jordan should hunt Pablo, swiftly and before more turmoil can be initiated. Rafael furthers the connection between Jordan and the predatory hunter when he says "Thus should men move." Jordan's decision not to kill Pablo shows that, although he will kill men for a cause, Jordan is not an instinctual killer. Thus, the question of the value of life and the justification for taking it is reasserted.

The final scene of this chapter, in which Pablo speaks sadly to his pony, subtly reveals why he has "gone bad." "Thou my big good little ponyŠThou with the big neck arching like the viaduct of my puebloŠthou art no woman nor a fool." For one, his tenderness towards the pony, contrasted with his brusque treatment of people, shows that war has isolated him from his fellow man. Moreover, he seeks affection and acceptance from one who will not judge him for his cowardice.

Another animal metaphor gives the reader new insights into the character of Pablo. Pablo is tired of leading and commanding respect; instead, he longs for the natural affection, such as bestowed by animals upon their masters. Pablo's praising of the pony also reveals that the leader is homesick. He no longer wants to fight for the cause, but rather would like to live to see the "viaduct" of his hometown once more. Finally, Pablo resents that Pilar and Jordan, both still willing to die and kill for the cause, will not listen to his valid arguments about the danger of the mission. Indeed, this sad scene shows Pablo to be a truly isolated figure. Hemingway goes so far as to portray the emotions of the horse to show how truly disliked and isolated Pablo is: "the man annoyed himŠthe horse went on grazing and was relieved now that the man did not bother him." Pablo is now a cynical realist, and thus can no longer justify dying for the Cause that has evidently destroyed his manhood. However, he still needs acceptance, and isolation from the rest of the band does not bode well for his mental stability or his future actions.

Chapter Six

Summary:

Jordan reenters the cave and speaks with Maria and Pilar. The three plan to climb up the mountain to enlist the help of the guerilla leader El Sordo, whose nickname means "the deaf one." Pilar goads Jordan into revealing his feelings for Maria by asking him how she looks to him and how he finds her. The young people openly flirt, and Pilar teasinly scolds Jordan and addresses him as Don Roberto. Jordan objects to being called Don Roberto, which leads to a discussion of his political views. He calls himself not a communist but an anti-fascist, and Pilar and Maria then both recount their Republican roots.

Maria tells them that her father was a life-long republican, and that is why he was shot. Jordan takes advantage of the similarities the girl sees between by saying "My father was also a republican all his life. Also my grandfather." It is clear that Jordan's attempts to remain focused only on his work have failed and that he returns the affections that Maria has willingly displayed from the onset. He strokes Maria on the head and their emotions are confirmed. Jordan tells Maria to step out and asks Pilar whether he was wrong to have let Pablo lived. Pilar understands the source of Pablo's enmity- he is disheartened and no longer wants to fight. Thus, she assures Jordan that Pablo will not threaten Jordan or his mission.

Analysis:

The fact that the peasant band members want to call Jordan "Don Roberto." Even though Pilar tells him that it is a joke, Jordan's "religious politics" remain firm. He says that "camarada to me is what all should be called with seriousness in this war. In the joking commences a rottenness." The word rotten is very important, as it reveals the negative aspects of the Republican cause; it is an ironic contrast that the peasants for whom the cause is meant to benefit do not take the matter as seriously as the foreigner.

The interaction between Maria and Jordan reinforces two themes surrounding their love affair. One is that they experienced love at first sight, which is necessary both in wartime and to facilitate a plot encompassing three days. Also, the fact that both young people have lost their fathers, despite the fact that Jordan's father committed suicide, links their destinies in Maria's mind. Thus, her premonitions are fulfilled by this coincidence ("then you and me we are the sameŠnow I know why I have felt as I haveŠ"). Jordan, for his part, gives in to the impulses he has been denying all day: "he ran his hand over the top of her head. He had been wanting to do that all day and now he did it, he could feel his throat swelling."

Though Maria's love to this point could have been described as a young girl's fancy, the following lines make it clear that Maria's love for Jordan will save her from the aftermath of the horrors of her captivity. "He looked at her brown face and at the eyes that, since he had seen them, had never been as young as the rest of her face but that now were suddenly hungry and young and wanting." Maria herself is a mixture of immaturity and world-weariness, for she has experienced many of the horrors and few of the joys of life.

Chapter Seven

Summary:

That night, while Jordan sleeps outside the cave, Maria runs, barefooted to his side. She does not need much persuasion to join him, and they are soon lying side by side. As Jordan removes her clothes, Maria makes him promise that he loves her; he says that he loves "his little rabbit" and asks her if she had ever been with another man. She answers no, but admits that "things were done to me." Maria tells him that she was raped by he fascists, and confesses that she has faith in what Pilar has told her: "She said that if nothing is done to oneself that one does not accept and that if I loved someone it would take it all away." They then confess their love for each other, and make love.

Analysis:

Pilar's suggestion to Maria shows that love is idealized in this novel as the balm to heal Maria's previous sexual trauma: "if we do everything together, the other maybe never will have been." There is also the theme of love at first sight, as Maria tells Jordan:

"I loved you when I saw you today and I loved you always but I never saw you beforeŠ"

Maria is cleansed and made a woman by Jordan, and he is given true happiness by her.

Indeed, the rarity of their love is apparent when one analyzes the diction and syntax describing their lovemaking: "lightly, lovingly, exultingly, innerly happy and unthinking and untired and unworried and only feeling a great delight and he said ŒMy little rabbit. My darling. My sweet. My long lovely.'" The repetition of word structures and then sentence structures creates a catharsis. The alliteration patterns (repetition of words beginning in "l" and then "u") establish a rhythm alluding to their own physical interaction. It is important that the reader perceive that Jordan has lost control and given in to base emotion, which is generally against the mantra of dependability and rationality of the code hero. Thus, the reader must see if this newfound love creates moral conflicts with Jordan's duty to fulfill his mission to blow the bridge at all costs.

Chapter Eight

Summary:

Jordan awakes once in the night to find Maria beside him, but in the morning she is gone. Jordan decides to take advantage of his time and sleep but he is awakened when a large configuration of enemy planes pass overhead. This worries all the members of the camp, and Pablo assures him that they have never seen so many planes at once; Jordan is preoccupied and wonders if troops are already being brought in because they have found out about the attack. Jordan ironically notes that this could be the case because "They've known about all the others."

Over breakfast, Jordan orders Anselmo to monitor all the vehicles that pass on the road during the day while he is at El Sordo's camp. Jordan devises a code by which the illiterate Anselmo can keep track of the traffic and thus help determine whether troops are being mobilized for a counter-attack. Jordan then tells Rafael to follow Anselmo so that he can lead Jordan to him upon his return. Fernando then tells Jordan rumors of a loyalist attack- further evidence that that the fascists know about the planned offensive.

Jordan is infuriated by this security leak, and ironically wonders why the Spaniards run this war so haphazarly. The conversation then becomes lighter Fernando's assertion that he did not enjoy his time in Valencia compels Pilar to tell anecdotes about her life of carnal pleasures in Valencia with the bull fighter Finito.

Analysis

In this section, the enemy aircraft overhead symbolizes the poor odds that the guerillas face. Indeed, the scattered terror the planes produce in these bold people foreshadows disaster. Pilar's story reveals that perhaps she, too, longs for the "good old days" before the war. The contrast between the luxuries of the past and the impending doom of the present create an ominous and sobering mood.

Chapter Nine

Summary:

The planes are still the main focus of the band's attention, and while they observe the sky Jordan and Pilar discuss Maria. Her promises to be careful with her. Pilar obviously likes Jordan a great deal, as she exalts him above Pablo to Agustin. Pilar, Jordan, and Maria then embark to climb the mountain to El Sordo's camp. There, they hope to enlist the guerilla leader's help in blowing the bridge.

Analysis:

The planes play an important role in increasing the dramatic tension in this chapter. Once again, an animal metaphor describes warfare, as the planes are likened to sharks. Jordan thinks of the planes as "the wide-finned, sharp-nosed sharks of the Gulf Stream. But these, wide-finned in silver, roaring, the light mist of their propellers in the sun, these do not move like sharks. They move like no thing that has ever been. They move like mechanized doom." This metaphor is important because it reaffirms the tone of dread and impending doom that dominates the novel. So too, the fact that these planes are like nothing before them indicates that these warplanes, most likely the German Luftwaffle, will transform Spain, ushering her into a new modern age where she is ruled by violence and a power, like the sharks, yet unknown.

The appearance of the planes also makes time a very important theme in For Whom the Bell Tolls. Pilar, for example, urges Jordan and Maria to make love because "there is not much time." Sexual love and death are in constant juxtaposition, and they are paralleled with night and day. Pilar reminds them not to waste time and of the unknown dangers that threaten to end their bliss when she tells them: "You have the night. But there is the day, too." On one level, Pilar is urging them to spend as much time alone during the day as possible ("you could pick wild strawberries"). On the other hand, she is reminding Jordan of what must be accomplished during the day, the blowing of the bridge, violent physical destruction which is now in direct contrast with the mystical union he has formed with Maria during the night. Jordan's internal battle reveals itself in conversation with Pilar- he speaks to her of duty to the cause but also admits his love for Maria. He seems to question whether the cause is worth losing Maria in death, as he now reveals his preoccupation with the omen Pilar saw in his hand.

Chapter Ten

Summary:

Jordan, Pilar, and Maria climb the mountain to El Sordo's camp. While Pilar stops to wash her feet in a stream, she tells the story of how Pablo led the revolutionary uprising in his hometown. The story is a brutal description of how the Fascists of the town were forced to run a "gauntlet" of Republican peasants armed with clubs and farming tools. Praying with a priest inside the town administration building, one by one emerged the braver men to be beaten and thrown over a cliff into the river. Finally, when the crowd, mostly composed of frightened or drunk people, became impatient, they stormed the administration building and killed all, including the priest.

Analysis:

This chapter is a small novella in itself, as it is a testimony to the brutal violence men can inflict upon with the apparent loss of the spiritual human connection between men. The tale is one of grim reality, yet it is written in an almost poetic and symbolic prose.

One symbol is the position of the characters half way up the mountain. Pilar points out that one can only go up or down on a mountain; this connotes the themes of life versus death, good versus bad, love versus war, and night versus day in the novel. It is very hard to be in between, as the characters are now, and forced to look at ambiguous and gray reality. A related symbol is the bird called the water wagtail that only goes up and down and is good for nothing else because it is inedible and does not sing. Pilar's insistence upon comparing her ugliness to Maria's beauty is also related to the theme of contrasts.

Another poignant symbol is the harvesting tools the Republican peasants use to torture the Fascists. These weapons are significant, as they symbolize the lowly origins of those who have risen to power. Also, the act of harvesting, separating the bad from the good, is alluded to by the harvesting tools. Thus, we see that the Fascists are dehumanized, like "bad seeds" whose removal will promote a crop of liberty.

The metaphor of separating the good from the bad relates to the nature theme. The fascists are thrown into the river to die, thus swallowed up by the earth from which they were reaped. Thus, nature is once more the only law that men should live by; the Republican violence is a natural force of renewal, as are acts of violence in nature.

It is interesting to note, however, that natural competition never ends. The revolution creates the same competitive struggle for ascendancy and power as existed in the capitalist world it tries to replace. Pilar herself is a metaphor for this as she struggles to watch the proceedings while balancing on a chair, struggling with her comrade for a view. Indeed, this chapter reveals some of the darkest aspects of human nature, including selfishness and ruthlessness.

Hemingway seems to criticize the hypocrisy of the mob mentality with his ironic lines: "it would have been better for the town if they had thrown over twenty or thirty of the drunkardsŠbut in the next days we were to learn." Hemingway's descriptive prose also shows how fearsome a mob can be: "it was as though the mob were on my back as the devil is on your back in a dream."

Chapter Eleven

Summary:

At El Sordo's camp, Jordan and Pilar convince the deaf old guerilla leader to help them blow the bridge. El Sordo does not like the fact that they have to complete the mission during the day because it will be very difficult to escape unharmed. El Sordo also has disturbing news from Segovia: the Fascists know about the Republican offensive, and many troops are being mobilized towards the bridge. El Sordo also points out that horses will be needed for their escape.

Analysis:

Hemingway's characterization of El Sordo is important, as he is the archetype of the rugged guerilla leader. His looks seem equal to the strength of his character: "he was clean shaven and he walked toward them from the mouth of the cave, moving with the bow-legged walk that went with his cattle herdsman's breeches and boots." Indeed, Hemingway the writer seems to make his presence clear through the thoughts of Jordan. For example, he observes the figures of Pilar, Maria, and Joaquin, one of Sordo's men, from a distance and says that they are representations of both tradition and change in Spain. Jordan's own aspirations to write as well as Pilar can tell a story are a subtle means of Hemingway to show that there is much of his own personality in Robert Jordan.

"If that woman could only write. He would try to write it and if he had luck and could remember it perhaps he could get it down as she told it."

Thus, Hemingway subtly confirms that much of the action in For Whom the Bell Tolls is based on his own observations of the Spanish Civil War.

Chapter Twelve

Summary:

Returning to Pablo's camp, Maria tries to convince the visibly tired Pilar to rest. Pilar angrily tells the girl to "shut up" but, on the verge of fainting, concedes. They rest in a clearing and Pilar apologizes to Maria and explains that she is jealous that Maria is no longer hers. Maria displays much love and acceptance of Pilar. She is not angered but rather reassures Pilar that her jealousy "was not sillyŠand my head is well where it is." Thus, Maria still regards Pilar as a mother and remains seated with her head in Pilar's lap. She then leaves them, alluding that she prefers the couple stay behind so that they can again make love. She brushes off her anger by saying that she was upset because she noticed her ugliness in Joaquin's repulsed look. While Jordan tries to persuade her to let the group walk together, Pilar insinuates to Maria, who waits with her head lowered under the tree, that she too will not always be nineteen. Maria seems to understand Pilar's insinuations about the importance of being with ones lover before the battle comes. When Jordan tries to follow her, Maria shouts at him, "let her go!"

Analysis:

Pilar's stormy outburst further complicates the tangle of relationships that have arisen quickly during Jordan's arrival, the day before, at camp. Although Pilar supports Jordan over Pablo in their conflict of ideas- whether or not to risk the danger of bombing the bridge- Pilar now admits jealousy towards Jordan. Whereas Hemingway portrays sharp glances and sarcastic remarks from the other men when they notice that Pilar does not fiercely guard Maria around Jordan as she does with them, he now reveals that Pilar herself has hidden hostility about the love affair.

What is notable about this jealously is that Pilar does not want to possess Jordan, but rather Maria, the girl her caring saved from death. A few of the lines even go so far as to indicate that Pilar might have a hidden homosexual love for Maria: " ŒHe can have thee,' Pilar said and ran her finger around the lobe of the girl's ear, but I am very jealous.' ŒBut Pilar,' Maria said. ŒIt was thee explained to me there was nothing like that between us.' ŒThere is always something like that,' the woman said. ŒThere is always something like something there should not beŠ'" It is important to notice the ambiguity of this exchange. While touching Maria on the ear could be perceived as a gesture of sexual attraction, it could also be a sign of motherly affection. The allusion to a past conversation shows that it might have been the traumatized Maria who turned to Pilar for an extension of their platonic love. The repetition of "something" and the layers of allusion in the line "something like something" give a direct hint to the reader against quickly interpreting the jealousy of Pilar or the women's relationship.

An important metaphor in this chapter is the snow on the mountains at which Pilar gazes during her confession. She says, "What rotten stuff is snow and how beautiful it looksŠwhat an illusion is the snow." Indeed, the snow is a metaphor for the masking of horror with splendor; specifically then, it contributes to the theme of the cause of the republic merely being a hollow reason for death.

Another important symbol in this chapter is the daylight. Pilar specifically states that "in the daytime" she can confess her jealousy to Maria. Thus, a symbolic contrast between night and day is established: night is the time for covert action and feelings, while day represents truth. Also, as the character of Pilar represents passion for the cause and for physical pleasure, she not reveals the danger of passion when she says she is "so simple I am very complicated." Thus, the reader wonders if Pilar's love of the republic could ever falter as well. Jordan's response, that he is neither simple nor complicated, alludes that his character as well might experience a moral crisis and be forced to follow or abandon his feelings. Indeed, Pilar's crisis of conscience over Maria is symbolic of questions one might feel about the love of the republic.

Chapter Thirteen

Summary:

Jordan and Maria walk, lovers-style, through the forest. They end up making love in a clearing, and describe their passion as "the earth moved." Jordan is now completely enamored with Maria, and thinks about taking her back with him to Montana. He wonders if he will even be welcome back there after fighting for the communists.

When they find Pilar, she makes them reveal a detail about their time together. When she learns that the earth moved, Pilar superstitiously tells them that they will have that experience only three times in their lives. As the chapter closes, it begins to snow, even though it is May. Thus, they note that their retreat will not be invisible to their enemies, for they will leave tracks in the snow.

Analysis:

In this chapter we see that the love between Maria and Jordan has many mystical or religious elements. Not only does it purify Maria of her past experiences, but also, for Robert Jordan, physically loving Maria is a celebration of the senses. Indeed, after making love to Maria in the forest Jordan seems reaffirmed in his belief of living for the moment: "There is nothing else than now. There is neither yesterday, certainly, nor is there any tomorrowŠthere is only now, and if now is only two days, then two days is your life and everything in it will be in proportion." Not only do these lines formulate Hemingway's religious theme for the novel, but it also explains why it is not improbable that, with perhaps only two more days to live, the love affair between Maria and Jordan developed so quickly.

Pilar makes both Maria and Jordan confess to her how their time together was not to emphasize the vulgar tendencies of her character, as it may appear, but rather to contrast her character with Jordan. Pilar's mysticism, for example when she says "such a thing can happen only three times in a lifetime" is contrasted with Jordan's continual refusal to admit that his inner trepidation of the inexplicable. Jordan, despite his new feelings of physical and emotional ties with Maria and the seedlings of doubt about the fate of the mission, must fulfill his duty at all costs. To do this, it seems that he must fulfill the role of the code hero in words as well as deeds, thus he says "focus less on mysteries and more on work."

Chapter Fourteen

Summary:

When Jordan, Pilar, and Maria return to camp, the snow is falling heavily. A drunken Pablo greets Jordan and tells him "with this thy offensive goes, Ingles." Although he appears outwardly calm and reassures Maria that there is no use in worrying, Jordan is enraged by Pablo's snide remarks. He curses his luck to be involved in such an inefficient war and to have the bad luck to be caught in a snowstorm. Jordan takes the opportunity to ask Pablo about his past. Pablo tells Jordan that he was "always for the left" and that he used to furnish horses for the bullfighting rings. He met Pilar when she was traveling with the bullfighter Finito.

Pilar then picks up the threads of the story, and tells of how she stayed faithful (almost, she concedes) for five years until Finito died, and then she became Pablo's woman. At the end of the chapter Rafael comes in and reports the locations of various Fascist watches in the area. He reports "nothing out of the ordinary." Jordan then recruits Fernando to accompany him to relieve Anselmo from his day-long watch by the road.

Analysis:

The snow is very important element, as it is nature's sudden upsets, and not the disunity of the band, that ultimately cause the hiding place of El Sordo to be discovered, thus destroying Jordan's hope of backup. Thus, Jordan is truly alone, unable to depend upon man or nature; this reaffirms the theme of the isolation of man in For Whom the Bell Tolls.

The snowstorm is also a metaphor for the anti-thesis of warfare- not so much peace as a unity with nature. "It was like the excitement of battle except that it was cleanŠin a snowstorm it always seemed, for a time, that there were no enemies. Indeed, the snow metaphor reveals that Jordan has a great of a need for purification as Maria. He obsesses over the snow's cleansing powers with words such as "white cleanness" and "stillness." Jordan's resignation to enjoy the storm, despite the fact that "it ruined everything" and could ultimately cause his death is ironic. Perhaps he, like Pablo before him, is beginning to wish for a way out of the war. As we saw in the previous chapter, Jordan's spirituality has helped him rationalize living life for only two more days, if it is lived to the fullest. Thus, as he is quick to make love to Maria whenever he can, he will enjoy the power of nature despite the threat it poses to his mission.

Pilar's flashback to the bullfight is another important metaphor for warfare in this chapter. Unlike the peace of the storm, the bullfight is a metaphor for the violence that permeates Spain, not only in times of war, but within its very culture and social structure. The bullfight indeed alludes to how quickly a life is risked, and how death does not matter as much as if one dies honorably. Thus, the reader understands why the peasants were ready to die for the cause, but why they now have grown weary, the glory days of the Republic over.

Pilar's story also gives us a glimpse into her own character: we see that the rock hard patriotism might be cracking a little, but that even she will not admit this to herself. "Neither bull force nor bull courage lasted, she knew now, and what did last? I last, she thoughtŠbut for what?" She quickly dismisses these thoughts, but the reader knows that she is disturbed by her own question of her life's dedication to Republicanism by the manner in which she brusquely snaps at Maria to care for the fire. "This is a fire to cook with. Not to burn down a city." The quick wit masks self-doubt.

Chapter Fifteen

Summary:

Anselmo is waiting by the road in the freezing cold. He debates returning to camp, as he knows Jordan will understand his motivations, but his loyalty wins out and he remains on duty. While he observes a car pass and the activity of the Fascist soldiers in the sawmill next to the bridge, he thinks about his own revolutionary past in the early days of Pablo's band. He never had to kill a man, and he hopes it will not be necessary to complete the bridge mission. When Jordan and Fernando finally reach Anselmo, Jordan thinks about how remarkable it is that Anselmo weathered the storm to obey his orders. He is sure that Anselmo would not run in battle and is encouraged to have him by his side for the bridge offensive. Jordan also thinks that, despite his lighthearted manner, Fernando too would not desert.

Analysis

This chapter lets the reader enter the mind of Anselmo, the only truly noble character in the novel. Anselmo obeys orders he questions in the name of honor, and professes a hatred of killing. He is truly humane, as he spies on the Fascist soldiers he reaffirms his belief that the two sides are made up of the same men.

Anselmo's great connection to nature is displayed in his manner of speaking, as he uses many animal metaphors to convey his thoughts. When comparing the past bravery of Pablo with the broken man of the present, for example, Anselmo calls him "ended as a boar that has been altered." This metaphor for Pablo's loss of virility explains his inability to lead the men nor dominate Pilar. Anselmo reveals his true goodness by not being able to hate Pablo, as everyone assumes he should: "he is not that badŠone can think too badly of Pablo. But he is ugly enough and changed enough."

Once again, Hemingway uses the storm as a metaphor for the force of warfare; by weathering the storm, Anselmo has proved his courage to face any other form of violence. Jordan internally praises Anselmo: "It's not for nothing that the Germans call an attack a storm." This statement is ironic though, considering that Anselmo's actions are not motivated by a soldier's stamina, but by his sense of honor. It is a bitter commentary on the cruelty of warfare when the one who has the courage to risk his life is the one who truly values the life in all human beings.

Chapter Sixteen

Summary:

When Jordan returns to the cave, Maria flutters about him and helps him dry himself by the fire, much to Pilar's contempt. Pilar tells Robert Jordan that El Sordo stopped by the camp and has gone to find more horses. When Maria brings Jordan his dinner, he asks her to eat with him and says that in his country men do not eat before the women. Pablo begins to insult Jordan, telling Maria to "eat with him. Drink with him. Sleep with him. Die with him. Follow the customs of his country."

Jordan tries to take this opportunity to provoke Pablo into a confrontation so that he might kill him without assassinating him. Pablo refuses to fight, even when Agustin joins in and hits him in the face. Agustin asks him, however, to speak his thoughts, and Pablo says "I have thought you are a group of illusioned peopleŠled by a woman with her brains between her thighs and a foreigner who comes to destroy you."

Pilar insults Pablo and orders him to leave the cave, perhaps saving his life in this way. Pablo goes out to check the horses but reminds the group that he will return. He pointedly remarks to Jordan that the snow is still falling, thus trying to bolster his argument about the foolishness of the band.

Analysis:

In this chapter, Hemingway introduces the image of Jordan as Christ. Indeed, we already know that he is willing to martyr himself for the Cause. Now, we see that Maria is compared to Mary Magdalene when she tends to Jordan's needs. Although Maria is not a reformed woman, she has been purified by Jordan's love. "Thou canst not dry them with thy hairŠfirst he is Lord of the Manor. Now he is our ex-Lord Himself." This passage is also noteworthy because the addition "ex" emphasizes the fact that the Republic has abolished religion. Ironically though, religion is referred to frequently, revealing that it is still an important, though covert, presence in the peasants' lives.

Chapter Seventeen

Summary:

Inside the cave, the band decides that Pablo should be killed. Jordan says that he will kill Pablo that night, as he poses a danger to the safety of the group and the mission. This plan is abandoned, however, when Pablo returns in a conciliatory mood. He is smiling and overly friendly, and markedly questions if they were speaking of him.

Although Pilar tells Jordan that Pablo is acting agreeable because he has overheard his death sentence by the group, Pablo brings up a good argument in his own defense when he reminds Jordan that he is the only one who can lead them to safety after the bridge is blown. He says that he is now in agreement with the mission, and that he will help blow the bridge. Thus, Pablo's assassination is called off, but his threat to the group is even more prevalent in the minds of all.

Analysis:

This chapter is an ironic commentary about the license the Cause gives to normal men to decide the fate of others' lives. When the decision is made to kill Pablo, Fernando says, "I believe we are justified in believing that he constitutes a danger to the Republic." Pilar's comments seem to be Hemingway's own criticism: "Even here on man can make a bureaucracy with his mouth." Comparing the peasants to the Loyalist leadership is a criticism of how the Cause has become an excuse for anyone to grasp power and justify their violent actions.

Chapter Eighteen

Summary:

The near-confrontation with Pablo sends Jordan into a reverie, and he compares the interminable conflict to a merry-go-round or a wheel of fortune. He then starts to think about what he will do when the war is over. He wants to return to Madrid with Maria, and to visit his friend, the Russian journalist Karkov, at the Gaylord hotel, which the Russians have adopted as a place for meetings of the communist party. Jordan reveals the inconsistencies in the war- such as peasant guerilla leaders who were trained in Russia and inept Internationals such as "Gall, the Hungarian, who ought to be shot if you could believe half you heard at Gaylord's."

Jordan reveals his disillusionment at finding so much cynicism among the communists. The cause itself is manufactured for the political purposes of those who make jest of its ideology. Jordan's thoughts reveal other inconsistencies in the Republican cause and the realities of its leadership. For example, the Republican leaders were not peasants, but actually the losers of a previous uprising and trained, during their exile in Russia, for the next revolution. Humanitarianism is scoffed at by the true communist leaders, but nevertheless used as a rallying slogan so that the peasants will enlist to fight for a worthy cause, such as the good of man. Interestingly enough, Jordan's knowledge of the lying and cynicism of the Republican leaders lets him accept its necessity, yet he still believes in the cause.

Analysis:

This chapter is a commentary on the falsehoods of communist leadership. Ineptitude of leaders is decried in such angry and image-laden descriptions as "the old bald, spectacled, brave-and-as-dumb-as-a-bull, propaganda-built-up defender of Madrid, Miaja." Indeed, the unusual syntax of this passage show how quickly these angry thoughts are conjuring in Jordan's mind. Hemingway reveals why Jordan feels so betrayed by comparing the religious dedication and severity of the early movement to the propaganda and falseness of the present. The decadence of Gaylord's is a direct contrast to the "puritanical, religious communism of Velazquez 63, the Madrid palace that had been turned into the International Brigade headquarters in the capital. In Velazquez 63 it was like being a member of a religious order." Indeed, this passage reveals that, at the beginning of the movement, Jordan considered himself a crusader.

Religious symbolism thus pervades this chapter. Namely, symbols such as the first communion and the repetition of names of cathedrals establish a contrast between the young believer and the more realistic Jordan who must now blow the bridge. "It was a feeling of consecration to a duty to all of the oppressed of the world which would be as difficult and embarrassing to speak about as a religious experienceŠ" Throughout the novel, religious imagery such as this describes Jordan's most poignant emotions. (For example, the love he shares with Maria purifies her and acts as his sanctuary.) Just as Jordan's past belief in communism was like a religious fervor, his disillusionment can also be described as a loss of religion: "Šin the fighting soon there was no purity of feeling for those who survived the fighting and were good at." Thus, Hemingway prods the reader to wonder if the only holy war or morally fulfilling cause is martyrdom.

Jordan reveals his disillusionment at finding so much cynicism among the communists. The cause itself is manufactured for the political purposes of those who make jest of its ideology. Jordan's thoughts reveal other inconsistencies in the Republican cause and the realities of its leadership. For example, the Republican leaders were not peasants, but actually the losers of a previous uprising and trained, during their exile in Russia, for the next revolution. Humanitarianism is scoffed at by the true communist leaders, but nevertheless used as a rallying slogan so that the peasants will enlist to fight for a worthy cause, such as the good of man. Interestingly enough, Jordan's knowledge of the lying and cynicism of the Republican leaders lets him accept its necessity, yet he still believes in the Cause.

Chapter Nineteen

Summary:

This chapter is a scene inside the cave, in which the band simply exchange stories and discuss beliefs. The main topic is superstition, in which all people believe except for the cynical Pablo and realist Jordan. Pilar talks about how gypsies can predict death from its smell. Jordan refuses to believe in any such mysticism, and Fernando berates Pilar for revealing gypsy folktales to an educated man such as Jordan.

Analysis:

The theme of mysticism is prevalent in this chapter, and it is important because it reiterates the fact that, although the crisis with Pablo has been averted, the success of the bridge mission is still at risk. This important theme has been alluded to throughout the novel in instances such as the palm reading and the parallel between Jordan and Kashkin. But it is only now that the characters discuss it openly; it is interesting to note that Pablo is the only one who professes to be not superstitious. The belief of the other band members is on one level a play upon the cultural stereotype of the Spanish as very mystic people; on the other hand, the human need to believe in something, especially in a time of war and banishment of religion, is emphasized. Overall, the theme of mysticism is used deftly to heighten dramatic tension in the work.

Chapter Twenty

Summary:

The chapter opens with Jordan waiting for Maria to join him in the bed he has fashioned from wood outside. His need for her is urgent, perhaps because of the talk of mysticism and death in the proceeding chapter. As he waits, Jordan enjoys the smell of the fresh pines, as is his custom for clearing his thoughts, and scorns Pilar's ideas of the smell of death. Just when Jordan is despairing that they have little time left, Maria comes bounding through the snow in her bear feet and wearing only her "wedding shirt."

The couple discuss how they fell in love at first sight, and that they now feel like one person. They make love and go to sleep, but in the middle of the night Jordan wakes up in a panic and clutches Maria close to him. He feels as if she were all he has of life, and even that will soon be taken away from him. He covers her from the cold and places his gun in front of him to remain the rest of the night awake and pensive.

Analysis:

This chapter establishes the important theme that will run through the rest of the novel, that of Maria and Jordan being one person. A feminist reading of this unity might look with disfavor on the character of Maria; while Jordan affirms that it is good that they are separate personalities ("it is better to be one and each one to be the one he is."), Maria says that she would change for Jordan. Indeed, her interpretation of love seems to a total giving of oneself. "But if thou should ever wish to change I would be glad to change. I would be thee because I love thee soŠI love thee so and I must care well for thee." Maria has found herself in her love, and it now encompasses her total being while Jordan still retains his old concerns and independent agency.

Although many of Maria's expressions of love merely reaffirm her dedication and connection to Jordan, one line is particularly interesting, for it seems to contain an ominous premonition of the couple's future. "I will be thee when thou are not there." Thus, the parting scene between Maria and Jordan, when he tells her that he will live on within her, is foreshadowed.

Just as Jordan has purified Maria with his love, Jordan's loneliness is abolished by his physical union with Maria. The theme of mysticism is bolstered by the description "magically, by a simple touching of flanks, of shoulders and of feet, making an alliance against death with him." It seems that before he found love with Maria, Jordan's loneliness or fear of death were less prevalent, both to the reader and to himself.

The use of animal imagery is a constant theme throughout the novel, and in this scene Maria and Jordan see themselves as one animal, instead of one man. "Afterwards we will be as one animal of the forest and be so close that neither one can tell that one of us is one and not the other. Can you feel my heart be your heart?" The message of living life under the guidance of one's instincts is thus reaffirmed.

Chapter 21

Summary:

Jordan awakes to the sound of a horse, and sees a Fascist soldier riding towards their bed. Maria hides beneath the robe and Jordan shoots and kills the enemy. Panic now hits the camp. Maria pesters Jordan by telling him she wants to be by Jordan's side. Visibly absorbed in his work, he sends her away to help Pilar. Maria is sad about the soldier's death, although he was the enemy and would probably have killed them all.

Analysis:

The religious theme is important in this chapter, as Maria's concern raises the issue of the right of one man to kill another. Ironically, the Sacred Heart medal worn by the soldier is respected by the Loyalists, as Jordan promises Maria that he did not aim for it.

Chapter 22

Summary:

Jordan orders Agustin and Primitivo to prepare the tripod machine gun and shows them how to hide it beneath the snow. We learn that Rafael was on guard and left his post to hunt hares. Jordan, after scolding the gypsy, worries that the cavalry in the area will follow the tracks El Sordo and his men made while looking for horses. The band members tensely wait at their posts for more troops to appear. Agustin and Jordan discuss Pablo; although Agustin emphasizes what a skillful leader Pablo is, Jordan's resentment towards him dissuades him from admitting that Pablo is still a smart ally who could be of use to the mission.

Analysis

This chapter heightens the dramatic tension that will only keep increasing throughout the development of the plot. The tense action of the band as they prepare for an attack is broken, however, by the comic relief supplied by the character of Rafael. He left his post as guard because he was hunting hares, which is an ironic commentary on the apathy and inefficiency of the peasant Loyalists trapped in the war. His description of what he found, two hares mating, is not only comic, but also is a parallel to Maria and Jordan. "You cannot imagine what a debauch they were engaged in." The fate of these lovers is not a good omen for the other couple in the snow. Also, the fact that Rafael followed their tracks foreshadows that the snow will reveal the men's tracks as well.

Chapter 23

Summary:

The Fascist cavalry pass by the camp without noticing the band. Thus, it is not necessary that they fire the machine gun and for the time being they are safe. Jordan must restrain Agustin, who is visibly sweating and smiling, from attacking the cavalry; this prompts a reflection on the corruption and bloodlust bred by war. When the cavalry is gone, Anselmo volunteers to sneak to the village of La Granja and see what he can find out about the Fascist's plans. Anselmo and Agustin argue about the fate of the Fascists should the Loyalists win the war. Anselmo reveals his pacifistic tendencies by saying that they should be allowed to reform.

Analysis:

Hemingway describes the irresistible desire to kill that comes from the corruption of human morality with a metaphor of animal sexuality. Agustin admits that "when I saw those four there and thought that we might kill them I was like a mare in the corral waiting for the stallion."

Typically, Hemingway uses religion to describe even the desire to kill. In the following passage, however, it is ironically a violent religious act, the "Auto de Fe" or Spanish Inquisition, that Jordan uses to describe the "corruption" of Agustin. "It is their extra sacramentŠthey are the people of the Auto de Fe, the act of faith." Thus, we see that Hemingway has a realistic view of Spain, both her contemporary and historical downfalls as well as greatness. Hemingway is even more ironic when he says that Anselmo, who objects to killing, is "a Christian. Something very rare in Catholic countries." It seems that the Inquisition could be a metaphor for the corruption that has rotted the Republican cause. The propaganda- whether religious or political doctrine- is euphemism or justification for the bloodshed of power struggles.

Chapter 24

Summary:

When the danger has passed, Jordan and Agustin have breakfast, during which they discuss Jordan's relationship with Maria. Agustin admits that he is in love with Maria and jealous that Pilar has given her to Jordan "as a present." Although the revolution has outlawed marriage, Agustin displays his respect for tradition when he agrees with Jordan that "it would be better" to be formally married.

Agustin then preps Jordan on the readiness of the band members to follow through with the mission. The bad seeds are naturally the dejected Pablo and the lazy gypsy, Rafael. The chapter closes when Jordan hears noise from the direction of El Sordo's. Agustin wants to ride for help, but Jordan knows they must stay there because their first duty is completing the bridge mission.

Analysis:

Time is an important theme in this chapter. War has made time short, and Hemingway constantly emphasizes this to justify the realism of his plot. Stressing how the revolution has changed the normal protocol explains Maria's forward behavior. Note the repetition of the very word "time" in Jordan's explanation: "It is because of the lack of timeŠwhat we do not have is timeŠwe must live all our life in this time."

The lack of time, coupled with the sounds of fighting in the background, creates a very tense mood. Hemingway uses irony to increase this dramatic tension by pinpointing the threat of death. Agustin's humor reveals that the peasant band knows their chances of surviving are slim: "the band of Sordo are as much better than we are as we are better than goat manure. Jordan does not look at imminent death so lightly, but rather his thoughts portray the horror of combat. For example, the description of the sound of the firing at El Sordo's is described in powerful, almost poetic, prose: "the precise, crackling, curling roll of automatic rifle fire." The contrast between Agustin's statement about the ability of El Sordo's band and the sound of their defeat heightens the irony of the moment.

Chapter 25

Summary:

Sounds of fighting can be heard from El Sordo's camp, and Primitivo tries to convince the band to help their comrades. Jordan refuses to help, however, as saving them now is a lost cause. Jordan knows he must live to complete his mission. He is able to accept death as a fact of war and tells Primitivo he must learn to do the same.

Jordan then reads a letter found on the body of the soldier he killed. He knows he takes an individual life with each kill he makes, and he doubts his own faith in the rightness of his actions. He decides that instead of the Cause, which he now doubts, he is fighting for the common Spanish people like those in the guerilla band.

Analysis:

In this chapter two recurring images- the snow and the planes- appear and fulfill the mystical premonitions from the beginning of the work. The tracks in the snow are what killed El Sordo's band: "they were lost when the snow stopped." So too, the planes fly by another time, and this time are likened to birds of bad luck by Pilar. Thus, as both superstition and logical reasoning are coming true, the planes represent certain doom.

Primitivo represents loyalty in this chapter, but Jordan has the sense and coldness that makes a successful soldier. "Such things happen in war," he says. However, Jordan's thoughts show that his beliefs are not as clear as they used to be.

Chapter 26

Summary:

Jordan then reads a letter found on the body of the soldier he killed. He knows he takes an individual life with each kill he makes, and he doubts his own faith in the rightness of his actions. He decides that instead of the Cause, which he now doubts, he is fighting for the common Spanish people like those in the guerilla band. The chapter ends when the planes reappear; the time is noted as three o'clock.

Analysis:

Jordan's inner monologue in this chapter casts full light on the duality of his conflicted personality that has been slowly developing throughout the text. He considers his ideas on war and politics in a rational sense. For example, he reminds himself pragmatically that he can discard what he does not believe in when he completes his mission. On the other hand, he takes a very sentimental view of love, which he says is "the most important thing that can happen to a human being."

Jordan seems to use his love to justify dying; having two days with Maria has now replaced the Marxist cause, his faith in which he now questions, as the sustaining force justifying his actions. Yet we must note that even love does not compel Jordan to stray from the duty of the code hero; he has merely found a new reason that validates his dying in Spain- it brought him to love.

Tension mounts further with another repetition of the ominous image of the planes overhead. Note the spare, poetical syntax with which Hemingway constructs this image of doom: "It was three o'clock. Then he heard the far-off, distant throbbing and, looking up, he saw the planes." The planes are "throbbing," thus almost living; this is ironic considering they are machines of death, and indicates that Jordan is resigning himself to his possible death. An important symbol is the time- three o'clock. Hemingway would not have linked this seemingly mundane detail to the dramatic passing of the planes unless it had a mystical connection with approaching death. Indeed it has, as three o'clock is a religious symbol, the hour at which Christ died on the cross, and thus implies impending martyrdom.

Chapter 27

Summary:

The scene now switches to the fighting at El Sordo's. A young member of his band, Joaquin, tries to motivate his comrades by repeating the communist slogans of the leader, La Pasionaria. The older and more realistic men tell the boy that peasants his age have been sent to the safety of Russia to study. Joaquin refuses to believe this, but adds that if it is true, he hopes that these lucky ones return to help the Cause. When the threat of death is imminent, Joaquin begins reciting Hail Marys instead.

Analysis:

This chapter is full of bitter irony revealing the useless bloodshed of the war. Joaquin's relapse into religion, for example, casts doubt upon the sustaining power of the communist Cause. The defeat of El Sordo is a very painful account to read, for we indeed see man at his worst. Knowing that they will soon be killed, El Sordo and his men spend their final moments trying to kill as many of their enemies as possible. This does little but spill more blood. Ironically, despite their efforts, they are killed quickly by the dropping of a bomb. They are unable to prove themselves as soldiers when an impersonal and inhuman force from above effortlessly destroys them.

Chapter 28

Summary:

Back at Jordan's camp, the band each the stewed hairs that Rafael has killed, and the silence of death from El Sordo's camp is sobering. The Nationalist Lieutenant Berrendo marches towards La Granja through the forest. He prays for the soul of his dead comrade. Anselmo is tallying the bodies at the camp, and sees the enemies take leave. As he returns down the hill, Anselmo prays for the first time since the beginning of the war.

Analysis:

The religious theme is continued in this chapter. The fact that men from both sides of the war pray simultaneously symbolizes their common ties. Hemingway describes the act of praying with beautiful religious imagery: "the light coming through the tree trunks in patches as it comes through the columns of a cathedral." Indeed, it seems that the forest is a metaphor for a house of worship; ironically, it is also the scene of slaughter.

Chapter 29

Summary:

Jordan chooses Andres, a younger man than the willing Anselmo, to take a note through enemy lines to General Golz at Navacerrada. Jordan wants to persuade Golz to cancel the attack because of the unanticipated Fascist troops that have mobilized to stop the Loyalist offensive. Jordan is pessimistic, and he feels it is too late for Golz to receive orders from Madrid to cancel the attack

Analysis

At this point in the novel, the plot takes on a different form than the previous straight line of events we have followed. The narrative is now more complex, as we follow both the journey of Andres as well as the action at the camp. The parallel plots help to increase the work's dramatic tension. Our suspense increases as we follow the pitfalls Andres encounters on his mission, instead of simply relating what happens later.

Chapter 30

Summary:

Andres travels through the lines, and back at the camp Jordan loses himself in reverie. He thinks of his father's suicide and concludes that he was a coward. His grandfather, however, was a Civil War hero who Jordan idealized. He thinks now that he would like to talk with his grandfather again.

Analysis:

Jordan's condemnation of his father's suicide foreshadows a decision that he will have to make at the end of the novel. The theme of suicide was first introduced with Kashkin, with whom the band first draws parallels to Jordan. We see the pattern in this chapter that has been slowly developing throughout the novel. At first, death only sometimes dominated Jordan's thoughts. Now, any act of thinking portends death; this creates an ominous mood of impending doom.

Chapter 31

Summary:

At night in Jordan's sleeping bag, Maria is inflicted by "a great soreness and much pain" which she attributes to her rape, and not her sexual experiences with Jordan. Jordan does not mind, and tells her he likes to lie close and talk. They dream of their life in Madrid, and Maria promises to be a good wife. She tells Jordan she would be happy with him anywhere, and would learn English and learn to be an American wife if that would please him.

Maria then tells Jordan about the murder of her parents and the shaving of her head. We learn that her father was the mayor of her town and her mother, although not Republican, remained loyal to her husband and died next to him by firing squad. She does not, however, describe being raped. Jordan then binds them together for life by telling Maria: "I marry thee now. Thou art my wife." As Maria sleeps, Jordan reasons that perhaps he has lived his life in three days, culminating with his marriage to Maria.

Analysis:

Superstition appears in this chapter, as even the realist Jordan is now reading signs. He feels that not making love to Maria is "not good luck for the last night." Maria herself seems to believe that they are going to die when she says they should "get everything said before it is too late." Again, the image of time slipping away prevails.

Maria's descriptions of the horror she underwent are written in spare, poignant prose laden with imagery that pinpoints the reaction of the individual to extreme violence. "I could not look away from the horror that my face made with the mouth open and the braids tied in it and my head coming naked under the clippers." Maria is looking at herself from a distance; even at the moment she was being tortured her mind has separated from the body in pain. She seems more afraid of facing the agonized soul that dominates her own reflection that her captors.

Jordan's desire to live and start a real life with Maria is apparent when he whispers to her in English, thus symbolizing his desire to remove himself and her from the reality about them: "I'd like to marry you, rabbit. I'm very proud of your family."

Chapter 32

Summary:

This chapter switches the scene to Gaylord's Hotel in Madrid, the scene of a Loyalist party. The foreign leaders are irritated when they learn that the offensive is no longer a secret, but they are not surprise and do nothing to remedy the situation. Jordan's friend Karkov talks to a general about the reports that the fascists were bombing their own troops near Segovia. The General brushes the warning off by assuming that the

Fascists were probably only conducting maneuvers. He tells Karkov that Golz will have to fight for himself.

Analysis:

This brief chapter is very significant because of the ironic contrast it establishes between the terrible experience of the guerillas and the posh lifestyle and lack of concern of the international leaders in Madrid. The fact that the party is being held as there is fighting all around the capital indicates that these international Loyalist leaders do not have much concern for the Cause nor for the peasants fighting for it.

Chapter 33

Summary:

At two in the morning, Pilar wakes Robert Jordan and tells him that Pablo has fled. Upon inspecting the cave, Jordan finds that Pablo has taken dynamite and other supplies with him. Jordan reprimands Pilar for letting him escape, but then consoles her by saying that he will still be able to blow the bridge. Pilar is ashamed, and tells Jordan, "I have failed thee and I have failed the Republic."

Analysis:

This episode heightens the complications of Jordan and Pilar's relationship. They depend on each other's help and loyalty, yet are they are motivated by different ways of thinking- mysticism versus realism- and obviously frustrated by each other. The ominous tone of doom in this chapter also foreshadows disaster: "There is a hollow empty feeling that a man can have when he is waked too early in the morning that is almost like the feeling of disaster and he had this multiplied a thousand times."

Chapter 34

Summary:

Andres travels through the countryside and thinks about his brothers in his home village. He reminisces about his bravery baiting bulls, for which he earned the name "Bulldog." He is also happy that he will not be back for the attack in the morning; he knows the band is doomed. Andres continues happily until he reaches a Loyalist post "where he knew he would be challenged."

Analysis:

Andres' reminiscing paints another portrait of Spanish life before the war. Thinking about his village also reminds Andres that his enemies are merely men like himself. Indeed, a major theme is reiterated here, that peasants such as Andres are no longer willing to die for the Cause. We hear echoes of Pablo in Andres' wishes to return to his brothers in the village.

Chapter 35

Summary:

In bed again with Maria, Jordan is furious that he had not watched Jordan as closely as he should have. He transfers his anger to all Spaniards by saying that they are selfish, cowardly, and undisciplined. He then calms himself by focusing on revising his plans; he now must blow the bridge without proper men, arms, or horses. He then whispers to Maria that she is not to worry that he can accomplish the mission. He gives her a good night's sleep as a wedding gift.

Analysis:

Ironically, Jordan quickly turns his stereotyping of Spaniards as people worth fighting for into a very negative portrait. Hemingway himself seems to be pinpointing the dangers of associating personalities with nationalities while indicating that his work neither idealizes nor stereotypes Spaniards.

The final sentence of this chapter is also very ironic. "He lay there holding her very lightly, feeling her breathe and feeling her heart beat, and keeping track of the time on his wrist watch." Even love cannot end Jordan's preoccupation. Maria's breathing symbolizes life, and the ticking of the clock foreshadows that this life is limited.

Chapter 36

Summary:

At the post, the Loyalist soldiers delay Andres by questioning his legitimacy. After questioning him about the camp and the fate of El Sordo, and even threatening him with death, the soldier Gomez, finally agrees to take Andres to Golz.

Analysis

This chapter is a critic of the power that is given to undeserving people during war. Hemingway skillfully portrays the ignorance and lack of seriousness of the soldiers and the general lack of interest in the war. Hemingway makes the danger of such a situation clear when Andres says: "He did not like these people who were like dangerous children; dirty, foul, undisciplined, kind, loving, silly and ignorant but always dangerous because they were armed." Again, we see a stereotypical characterization of the Spaniards.

Chapter 37

Summary:

Maria and Jordan awake in the morning. Her pain now gone, Maria urges Jordan to make love to her. They agree that their love is rare, and that they are fortunate. Jordan thinks about dying and leaving their love behind. Maria tells him she would like to fight by his side, but he tells her she has helped enough.

Analysis:

Jordan now seems convinced that he has lived his whole life in three days. He has even formed a family: the guerillas are his brothers; Maria is his wife. The description of their love is almost like a poem, for it is constructed of repeated words, particularly "now" and "one." The rhythm alludes to that of their bodies, as the stream-of conscious release of words reveal Jordan's preoccupation with living in the moment and his celebration of their unity: "always now, always now, for now always one now."

Chapter 38

Summary:

It is the morning of the bridge mission, and the atmosphere at the cave is grim. The men make snide comments to each other to relieve their tension. Jordan is worried now that his plan won't work. Jordan does not have enough men and Pablo stole the equipment he needed to blow the bridge correctly. It is highly unlikely that the attack will be postponed, even if Andres does deliver the message to General Golz. To ease his fear, Pilar tells him that her palm reading is only superstition. Jordan does not appreciate her efforts and reproaches her. At the end of the chapter, he and the men admit to each other that they are all equally very scared.

Pablo returns at the end of the chapter, accompanied by five extra men and their horses. He explains his flight as a moment of weakness, but reasserts his pride by telling them "at bottom I am not a coward." Jordan is grateful that the mission now has a chance for success, and Pilar reveals her tender feelings for Pablo by telling him "thou art welcome." He talks to her as if the others are not present, telling her he found his old self when he was forced to be alone. Pilar believes that his courage has returned, and lets him know she is pleased by telling him, "I believe thou art backŠbut, hombre, thou wert a long way gone."

Analysis:

There is much religious imagery associated with Pablo's turn; he is likened to the traitor of Christ. "Thy predecessor Judas Iscariot hanged himself," Pilar tells him. Indeed, considering the obsession with the time of day, as analyzed in previously, and Jordan's willing "martyrdom" for the Cause, we see that the Jordan-Pablo conflict is a parallel to the story of Christ's betrayal.

Hemingway also treats the new recruits with much irony. Pablo tells Pilar that his men are how she prefers them, or in other words: "good ones and stupids. Ready to die and all." This line has double layers of irony. For one, Pablo is speaking bitterly about his own self, now returned to Pilar's graces because he is willing to die for the Cause. Also, Hemingway is commenting on the cynical way even the peasants themselves viewed the war. You either had to be either a martyr or a fool to be a member of the guerilla band.

Chapter 39

Summary:

Pablo tells Jordan that the men think he is still the leader, and warns him not to "disillusion" them. Jordan agrees, but feels uneasy about completely trusting Pablo. Jordan then thinks about how his confidence has been restored since Pablo returned to the cave. He feels he is fortunate to have "the talent that fitted him for war," or the ability to ignore the threat of harm.

The two conflicting sides of Jordan's personality- the lover and the warrior- battle when he begins to think of Maria. He quells thoughts of the happiness he found with her by telling himself that the best thing he can do for their future is "do the job well and fast and get out." Jordan tells Maria not to worry, and then goes to meet the men Pablo has recruited.

Analysis:

Hemingway the writer reveals himself in Jordan when he says: "Seeing Pablo again had broken the pattern of tragedy into which the whole operation had seemed grooved ever since the snow." This is not only an ironic commentary by the author on his tragic plot, but also confirms Jordan's growing superstition. The strange effect of Pablo's return is characterized very aptly: "he felt confidence rising in him as a tire begins to fill with air from a slow pump. There was little difference at first, although there was a definite beginning, as when the pump starts and the rubber of the tube crawls a little, but it came now as steadily as a tide rising or the sap rising in a tree until he began to feel the first edge of that negation of apprehension that often turned into actual happiness before action." The metaphor upon metaphor in this passage- from the tire, to the tide, to the tree- is a wonderful depiction of a ambiguous human emotion- relief.

Chapter 40

Summary:

The scene now shifts back to Andres and Gomez. They go to the post of a lieutenant colonel, whose men are as unorganized and rude as Gomez's own comrades. When Gomez takes out his pistol, a safe-conduct note is written for Andres so that he can journey alone and unharmed to General Golz. He gives Gomez a motorcycle to take Andres on his way.

Analysis:

This chapter is an ironic commentary on the uselessness of war. For example, Andres is not slowed down crossing enemy lines, but when he reaches Loyalist territory. It is evident that there is little interest for the Cause within the Loyalist army. This is also a chapter of brisk interaction between the soldiers and biting comments such as "all of you are crazy." However, the last passage, as Andres rides with Gomez to deliver the message to General Golz, celebrates the timeless beauty of a landscape that remains timeless despite the war. "The motorcycle moved, noisily exploding, into the light-split darkness of the country road that opened ahead sharp with the high black of the poplars beside it, dimmed and yellow-soft now as the road dipped into the fog along a stream bed, sharpening hard again as the road rose and, ahead of them at the crossroads, the headlight showed the gray bulk of the empty trucks coming down from the mountains." The machines- the motorcycle and the trucks- divide the landscape with either their noise or their presence. They represent war, and although they interrupt they cannot destroy the permanent beauty of the country.

Chapter 41

Summary:

Robert Jordan reviews the plans with Pablo and with Pilar. He shakes Pablo's hand, and suspects that Pablo plans to kill his new men for their horses. Then he says good-bye to Maria, feeling unreal, as though a train is pulling out of a station, and tells her not to cry. He and Agustin and Anselmo leave for the bridge with the tripod machine gun, and when they reach their position, Robert Jordan waits for daylight.

Chapter 42

Summary:

Andres and Gomex reach the Golz's camp, but the General is not to be found. The French man they ask for help, Andre Marty, orders them arrested as fascists. He has evidently gone mad. Karkov, Jordan's friend, uses his clout as a famous journalist to stop the arrest. The message is given to Golz's aid, Duval. At last the dispatch comes through, and Golz learns that the attack will fail. The message has arrived too late, and the attack will not be delayed.

Analysis:

Because of the incompetence of the Loyalist leaders, the guerillas must complete a mission of little value, the most likely result of which will be their deaths. If it was not for the indifference and self-importance of the men Andres had to cross to get the message through, Jordan and his band might die needlessly.

Chapter 43

Summary:

The attack on the bridge begins. Jordan and Anselmo first kill the sentries guarding the bridge, and they then put the dynamite in place. Fernando is the first to die. Anselmo dies soon after from the blast when Jordan blows the bridge. Pablo's new men are killed defending the camp from a tank, and Pablo comments that there will now be enough horses to escape. As they ride away, Jordan realizes that they still could be hit by machine gun fire from a tank below. He sends Maria off the trail, and suddenly a shell hits him.

Realizing that he is dying, Jordan sends the group away. He promises Maria that they will always be one; she must now live for both of them. They leave him a machine gun to defend himself. As his pain grows, Jordan thinks about committing suicide. He then decides that he must live, so that he can stall the soldiers and give the others more time to escape. When at last the soldiers appear, Jordan prepares to fire his gun. At this moment, the story ends.

Analysis:

Jordan's death is the crowning irony of For Whom the Bell Tolls; his mission his accomplished, yet he must fulfill the omens which have followed him during his "life in three days." The suddenness of Jordan's death comes as a shock to the reader, as he was almost on his way to safety. "The bright flash from the heavy, squat, mud-colored tank there on the road" is his death sentence. Hemingway describes Jordan's pain vividly; indeed, we almost feel his broken leg with "the sharp bone and where it pressed against the skin."

Jordan's goodbye to Maria reiterates the theme of their oneness: "Thou art all there will be of me." Having given his soul to Maria, Jordan can wait for his body to be "integrated" into the on which we first met him. Jordan's own acceptance of his death lets the reader consider that perhaps he did not die in vain, for he celebrates the greater understanding he has gained from his three days of life. "He knew he himself was nothing, and he knew death was nothing. He knew that truly, as truly as he knew anything. In the last few days he had learned that he himself, with another person, could be everything. But inside himself he knew that this was the exception. That was given to me, perhaps, because I have never asked for it. That cannot be taken nor lost." Jordan understands he has been blest; his doubts now fade away. He envisions Madrid, basked in a holy sheen of white, and admits to himself that he now believes Pilar's prophecies.

The last line of For Whom the Bell Tolls returns the reader full-circle to "the pine needle floor of the forest." The detail, "his heart beating," poignantly depicts Jordan's last moments of life. We are left to imagine his death.

• Biography of Ernest Hemingway
• About For Whom the Bell Tolls
• Character List
• Short Summary
• Full Summary and Analysis
• Summary and Analysis of Chapters 1-7
• Summary and Analysis of Chapters 8-14
• Summary and Analysis of Chapters 15-21
• Summary and Analysis of Chapters 22-28
• Summary and Analysis of Chapters 29-35
• Summary and Analysis of Chapters 36-43
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