Professional Documents
Culture Documents
Linda E. Newman
English 101
Relationships are, most will agree, the main ingredient to procreation. To date, scientific
research has indicated time and time again that love, affection, and the emotional attachments
that surround a man and a woman are exclusive to human beings alone. It is these very
relationships that keep the planet populated. But the uncertainty and doubt that comes pre-
packaged with the gift of emotional awareness can sometimes lead to trouble within this “master
plan.” In his short story “Hills Like White Elephants,” author Ernest Hemingway examines the
effect such variables have on both relationships and major life decisions. Using symbolic
elements within the setting of his work, Hemingway subtly but effectively emphasizes the clear
separation of thought in a tension-filled, life or death situation facing an older American man and
The symbolism begins as the story does. Located in the valley of the Ebro between Madrid
and Barcelona, the train station at which the lovers wait is in full view of hills that are “long and
white,” as described in the opening sentence. Later, when Jig comments that “[t]hey look like
white elephants,” her statement becomes the initial precipitator of the conflict that separates
them. Miriam-Webster’s dictionary defines the term “white elephant” as “something of little of
Newman 2
no value to its owner.” When her American lover responds that he has never seen a white
elephant, Jig automatically retorts “[n]o, you wouldn’t have.” Thus, the white hills serve their
purpose by instigating dialogue that shows a clear separation of the two characters’ differing
viewpoints on the impending abortion. While her nameless companion sees the unborn child as
an inconsequential burden, Jig’s position seems to be that life itself, and the promise of certain
things it brings, has much potential value indeed. Her repetitive commentary on the hills
appearance reveals the inner struggle she faces, waging the value of the life inside of her against
Secondly, the curtain “made of strings and bamboo beads” that hangs across the door to the
bar serves a symbolic purpose in the story by representing both the division between them, as
well as the uncertain future of their relationship. The curtain plays the symbolic role of barrier—
representing the protective wall that Jig has put up to protect both her and her unborn child. As
the conversation begins to localize on the topic of her abortion, Jig “put[s] her hand out and
[takes] hold of two of the strings of beads,” as she is conversing with her companion. This sets
up the barrier itself. More importantly, the two individual strands themselves represent the
relationship between the two, while the beads that encircle them represent the baby. Without the
beads, the strands would be barren, worthless—merely dangling strings. Jig’s focus on them
betrays the instability of their relationship, as well as the unknown consequences of either route
Even more effective than the emphasis on the white hills and beaded curtain, however, is the
way Hemingway draws attention to the two contrasting sides of the valley in which the train
station sits, and the tracks that run through the middle. Once again, this symbolic aspect of the
setting helps to reinforce the central conflict between the two travelers surrounding the decision
Newman 3
that must be made. One side of the valley is bleak and barren with “no shade and no trees.” It is
a desert landscape, lacking life or any hint of animation. This side represents the American
man’s position, and symbolizes the deadly consequences of abortion. The opposite side, where
there are “fields of grain and trees,” a “river,” and “mountains,” is lush with vegetation and
vitality. Marking Jig’s position, this side symbolizes life and stability, betraying Jig’s desire to
have the child and settle down in a permanent, loving relationship—as solid, one might say, as
the mountains in the distance. The train tracks that divide them clearly symbolize Jig and her
companion as conjoined but with stark differences. Running parallel, but each in an opposite
direction, one track is closer to the emptiness of death, while the other borders the fullness of
life.
Although Hemingway does not overemphasize the setting of his story, his references to it are
nearly always symbolic when examining the clear separation between the two characters within
the conflict they both face. The hills, the curtain, and the mere geography of the location all
contribute powerfully to the story’s impact and effectiveness. Hemingway is famous for his
crisp, bare-bones style, and well-known for his refusal simply to tell the reader how to react to
his stories’ characters and events. Nevertheless, as his use of the setting in “Hills Like White
Elephants” indicates, he was fully capable of exploiting the symbolic dimensions of language to
make his stories richer and full of deeper meaning. And it is in examining his use of such literary
devices that helps one appreciate one more aspect of a great man’s brilliant artistry.
Newman 4
Like many of Dickinson’s other poems, “I Felt a Funeral in my Brain” explores the workings
of the human mind under stress and attempts to metaphorically replicate the stages of a mental
breakdown through the uses of a funeral, mourners, and a wooden plank. The author uses the
common rituals of a funeral to mark the stages of the speaker’s mental collapse until she faces a
destruction that no words can articulate. The event that this funeral is used to describe, however,
does not necessarily have to be a mental breakdown—it could be the mind’s inability to cope
with pressures from the outside world, or a situation in which one is assaulted by an idea that
threatens to destroy all of his or her dearly held assumptions. The poem’s ambiguity allows for
multiple interpretations, all of which, however, converge on the idea that the speaker’s mind is
Works Cited
Dickinson, Emily. “I Felt a Funeral in My Brain.” Perrine’s Literature: Structure, Sound, and
Sense, Seventh Edition. Ed. Michael Rosenberg. Fort Worth: Harcourt Brace College
“On 280—I felt a Funeral, in my Brain." Modern American Poetry 1.1-10 (2002). 23 February
2005 <http://www.english.uiuc.edu/maps/poets/a_f/dickinson/280.htm>.