Hemingway has the uncanny gift of imagery, and he possesses a brilliant mastery of the English language. He is adept at manipulating words and weaving complex sentences; furthermore, "Meticulous description takes its place For Hemingway description is definition." (Tanner 228) All of this genius can show the ultimate beauty and grace of existence, but the flipside to that is the same devices used to show all of the wonder and greatness in life can also be used to show to many hardships and painful truths we must endure, such as violence and gory injustices:
"Then some one hit the drunkard a great blow alongside the head with a flail and he fell back, and lying on the ground, he looked up at the man who had hit him and then shut his eyes and crossed his hands on his chest, and lay there beside Don Anastasio as though he were asleep. The man did not hit him again and he lay there and he was still there when they picked up Don Anastasio and put him with the others in the cart that hauled them all over to the cliff where they were thrown over that evening with the others after there had been a cleaning up in the Ayuntamiento." (Hemingway 126).
The mob-violence that is portrayed in that passage is one inspired by ignorance, weak wills, and alcohol. All through Pilar and Robert Jordan's flashbacks, one cannot help but be overwhelmed with feelings of disgust towards humankind. These stories are
Cited: Hemingway, Ernest. For Whom the Bell Tolls. New York: Charles Scribner 's Sons, 1940 Howe, Irving. A World More Attractive: A View of Modern Literature and Politics. New York: Horizon Press, 1963 Tanner, Stephen L. "Hemingway 's Islands." Southwest Review. Winster: Southern Methodist University Press, 1976 Press, 1965. 228-57.