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For Whom the Bell Tolls

BY Earnest Hemingway

For Whom the Bell Tolls is a novel by Ernest Hemingway published in 1940. It tells the story of Robert Jordan, a young American volunteer attached to a Republican guerrilla unit during the Spanish Civil War. As a dynamiter, he is assigned to blow up a bridge during an attack on the city of Segovia.

SUMMARY and Analysis 

 Chapter 1- 42

Hemingway develops several themes in the course of For Whom the Bell Tolls. Before we examine the themes which make their appearance in this section, certain facts about the bitterly fought Spanish Civil War should be explained. First, that the war was a completely undisguised war between communism and fascism. Within a month after its beginning, Russia on the one hand and Germany and Italy on the other were using it as a training and testing ground for their men, techniques, and equipment. Second, though in recent years communism has adopted a "soft" policy toward religion, in the communism of the Spanish Civil War religion was completely done away with.

The first theme which makes its appearance in the book is what might be called the theme of "mysticism-superstition." Robert Jordan thinks that it is a "bad sign" that he has forgotten Anselmo's name. This idea of "signs" and "luck" is simply introduced in this chapter, but it is developed to a much greater degree as the book moves on. Its importance in the psychological makeup of Robert Jordan will become more apparent in later chapters.

One of the major ideas in a large part of Hemingway's writing is the irony of life. In Chapter 1, it is tied in with the cynicism of the people involved in the war. We see it first in the scene between Jordan and Golz in which they discuss the proposed attack. The Russian general is interested in the offensive mainly as a military maneuver, and he is cynical because he knows that the Spanish will interfere.

The irony becomes obvious when this same cynicism is expressed by Pablo. The guerilla leader resents the fact that a foreigner has come to tell him what to do. This puts Pablo into a subservient position where he is no longer the spokesman or leader of the group. Consequently, one of the major conflicts in the novel involves Pablo's qualifications as a leader. From his point of view, he is interested only in the preservation of his band and himself. The military maneuvers of foreigners is of little importance to him. Also, Pablo has recently become the owner of a number of fine horses, making him a capitalist for the first time in his life. As a result, he is not nearly so interested in fighting for the cause as he once was, and this adds further to the ironic theme.

This theme of irony, of the relationship between the individuals — the "little people," for whose benefit wars are, ostensibly, fought — and the politico-military machine, is interwoven with other themes throughout the book, but it is the major theme of For Whom the Bell Tolls.

The first chapter, as might be expected, is largely introductory. It is to Hemingway's credit as an artist, however, that it is not blatantly so. This subtlety is accomplished primarily by virtue of the fact that he allows the reader to deduce the situation. For instance, within 500 words after the opening of the book, Robert Jordan has, through his dialog, told the reader that he is carrying explosives and that he is most interested in the bridge. Thus we already know, by the time we are told so specifically some 1,000 words later, that Jordan's mission is to destroy the bridge.

This same subtlety is apparent in Hemingway's introduction of his characters. In fact, rather than to say that he introduces his characters, the dramatic term make their entrance is more appropriate. Three of the most important characters do appear in this first chapter — the protagonist, Robert Jordan, his guide, Anselmo, and the guerilla leader, Pablo. Though we are given physical descriptions of these three men which range from merely adequate, as in the case of Anselmo, to vivid, as in the case of Pablo, most important is the fact that we are made acutely aware of their characters.

And so the stage is set. We know, almost from the beginning that the main dramatic situation is the problem of destroying the bridge. We know, from the flashback scene between Jordan and General Golz, that the manner in which the mission is to be accomplished is highly unorthodox and, therefore, highly dangerous. And we know that there is a dangerous conflict of personalities between Jordan and Pablo.

The main action in Chapter 3 is that Jordan and Anselmo go to look at the bridge, but it is a very important chapter because the moral problems of war are introduced in the conversation between Jordan and Anselmo. Jordan has considered himself an instrument of a war which is being fought for the good of the common people. Thus, while he was idealistic about the aims of the war, he had forced himself to ignore the damage war does to the individual.

So far, Robert Jordan has been pictured as being what any good fighter for a cause should be. He is developing into the Hemingway "code" hero. (See the section entitled "The Hemingway Code Hero.") He is skilled in his work, he is dedicated, he is determined to carry out his orders, since he knows that they are always for the good of the Cause, and he is willing to sacrifice himself as well as others for the Cause. In this chapter, however, we see the suggestion of a change coming over his character. When he sees how simple it would have been to destroy the bridge in the normal way, he resents the fact that he must do it in an unorthodox, dangerous way. He begins to have the first glimmerings of the idea that perhaps a cause is not always worth the lives of the individuals who die for it, but he brushes the idea aside, not wanting to think such thoughts.

Another underlying purpose of Chapter 3 is the characterization of the simple peasants who make up Pablo's band of guerillas. It is shown best in the scene of comic relief in which Jordan and Anselmo are stopped by the guard who has forgotten the password. Agustin is tired, hungry, uncomfortable, and bored; he would rather be almost any place than to be engaged in a war.

The ominous note on which the previous chapter ends reverberates with increasing volume in Chapter 4.

Pablo's announcement that he is against blowing up the bridge creates a crisis. When Pilar says that she is for destroying the bridge, the men side with her, not because they feel that it is their duty, but because Pablo has "gone bad" — another demonstration of the lack of interest of the individual in dying for a cause. The attitude of the men toward the bridge is obviously one of indifference. In fact, they would really rather blow up another train. There was looting at the train which they destroyed earlier, and they had taken a childish delight in the explosion and ensuing wreck. They would like to relive this moment of glory, the high point of their war career. Pablo tries to use this feeling in his argument against the bridge, assuming that the men are most interested in gaining material wealth, such as his own herd of horses.

The near-showdown in 

Chapter 4 has left Jordan with a problem. Should he have killed Pablo? As much as he dislikes the idea of assassination, he feels that he probably should have, especially when the gypsy tells him that the entire band was waiting for him to kill Pablo. Jordan loses the initiative in the situation when Pablo joins him outside the cave and tries to be friendly. To kill the guerilla leader now would simply be cold-blooded murder.

In Chapter 3, we first saw signs of a subtle change in Jordan's attitude toward this war. That change becomes evident again here. In former days, he would not have hesitated a moment before killing Pablo, but now he gives himself a whole series of excuses for not having done so. He feels that he should take no useless risks and he maintains that it was not clear to him that the gypsies expected him to kill Pablo. Mainly, he excuses himself by saying that he did not know how Pilar would have reacted to the slaying. When Pablo goes to see about the horses, Jordan hopes that one of the others will kill him, but he knows they will not.

As for poor Pablo, he is homesick and he is tired of the war and he does not want to be killed, either by his own people or in the battle of the bridge. He strokes his horse and talks to it gently, but even the horse is relieved when he finally moves the picket pin and stops bothering him.

The nature of the philosophy behind the Republican movement is revealed here in both positive and negative terms. Jordan objects to being called "Don Roberto" because only the ruling class were addressed as "Don" under the previous form of government. That the people for whom the war is supposedly being fought do not take the matter so seriously is a part of Hemingway's theme of ironic contrasts.

The scene of humor in which Jordan makes the most of the double meaning of "republican" leads Maria into a feeling of rapport with the American and makes her embryonic love for him begin to grow. The question of Pablo returns, also. Jordan brings up the matter of whether or not he should have killed him, but Pilar says that he was right in not doing so. She, unlike Jordan, understands the change that has begun to come over the guerilla leader.

In spite of all attempts to remain aloof from emotional involvements and to maintain a coldly critical attitude toward his work, Jordan finally finds himself falling in love. There is some contrast between his emotions and his surroundings, but the main item here is the contrast between Maria's rape at the hands of her fascist captors and the act of love between her and Jordan. 

The appearance of the unusually large number of enemy aircraft at the beginning of Chapter 8 serves two purposes. The fact that there are many enemy planes in the area indicates that the fascists either know about the planned communist offensive or are planning an attack of their own in the sector. The large number of planes serves, by contrast, to point out the fact that the fascists are being much better supplied with weapons than are the communists.

Whether the planes mean that a fascist offensive is coming or that the fascists know a communist offensive is coming, the situation has become critical. Fernando's arrival with rumors of a Loyalist attack is further proof that the fascists are expecting that attack. Jordan is appalled at this inexcusable leak in security. Jordan's thoughts about the lackadaisical way in which the Spaniards are running their war (and here we must remember that it is not really the Spaniards who are running it) are interrupted by Pilar's reminiscing about the "good old days" in Valencia. One gets the feeling in this scene that these people would almost prefer a more "usual" kind of existence, even under the fascists, to fighting in this war for their own liberation.

Several themes which have already made their appearance are brought back into view in Chapter 9. The fact that the enemy is better equipped is re-emphasized by Jordan's explanation that their side does not have enough planes to start an offensive. The religious theme is also reintroduced, though it is just barely touched upon as Pilar says that God still exists even though they have tried to abolish him.

Jordan's battle within himself has now passed the beginning stage. He speaks to Pilar of "duty," but he acknowledges that he cares very much for Maria, and he is still worried about what it was that Pilar saw when she read his palm.

Pablo's sudden deterioration is mentioned again, but we find that he may regain a great deal of his importance after all since he is the best equipped to get them away safely after the bridge has been blown.

Here, too, as in previous chapters and in the chapters to come, there is much lip service paid to the idea that "we must win." But it is hardly more than lip service. It is obvious that the enemy is better equipped. It is obvious that they cannot be defeated. It is obvious that the war is "an idiocy without bounds." And it is becoming less and less obvious to all of them that it is worth their lives and the lives of others like them.

Chapter 10 serves one major purpose in the book, and that is to demonstrate that the "good guys" display just as much cruelty in a war as do the "bad guys." In masterly fashion, Hemingway shows also, in this chapter, that both sides are made up of individual human beings with their individual hopes, fears, and desires. Among the Loyalists in Pilar's story are those who do not like what is going on and do not want any of the captives killed, but many of these are afraid not to participate for fear of being brought under suspicion themselves. There are those who succumb to the mob hysteria and become raving beasts out for blood, and there are those, like Pablo, who enjoy the massacre immensely. Among the Monarchists in Pilar's story are those who cringe before their captors and plead for mercy. There are those who, in a horror-induced catatonic state, do not seem to understand what has happened or why they are being so treated. And there are those who face their captors scornfully and defiantly shout insults at their executioners.

Nearly every possible human reaction to the situation described by Pilar is artfully brought out here by Hemingway. How better could he emphasize the fact that, whether Monarchist or Loyalist, it is those whom the Spanish themselves would call la gente (the people) who are involved in the struggle?

Chapter 11 is devoted to filling in some of the blank spaces left in earlier chapters. The reader learns more of the details of the rescue of Maria. He learns, too, the details of Kashkin's death. He also gets further information about the danger connected with blowing up the bridge. The reader, however, is not left for long to feel sorry for the poor fascists whose murders Pilar described in the previous chapter. Jordan's thoughts, upon hearing of the death of Joaquin's family, serve to enlighten the reader as to the cruel practices of the Monarchists.

The Kashkin theme, which, by comparing Jordan with his predecessor, carries a tone of premonition, makes another appearance here. In fact, Pilar brings Kashkin into the conversation because of this tone. She feels that Jordan has bragged too much about what he and his kind have done in the war, so she "takes him down a peg" by reminding him of the similarity between himself and Kashkin.

Chapter 12, by dramatizing Pilar's mood, "sets the reader up" for Jordan's thoughts in the first part of the next chapter.

The discussion with El Sordo has made Pilar realize the real seriousness and danger of the bridge operation; this is the reason for her sudden ill temper. Jordan knows that Pablo's sullenness upon hearing of the bridge operation was based on his immediate understanding of the danger involved. He also has seen that El Sordo, too, grasped the real nature of the problem very quickly. And now, he realizes, Pilar has come to understand.

The love theme, played mostly in little pianissimo snatches in earlier chapters, swells to a crescendo in Chapter 13. Jordan wants to live. He wants to live out a normal life with Maria as his wife. He does not want to die for a Cause. What are they fighting against, anyway? They are fighting against just exactly those things which they are doing themselves — things they were forced to do if they were to stand any chance of winning.

Jordan argues bitterly with himself. It is true that they are doing many of the things which they condemned in their enemies, but in this case the enemies were the leaders of Spain. Then he realizes that the phrase "enemies of the people" is one of the stock phrases of the communists. He has associated with the communists so closely and for so long that he has started using the clichés easily and uncritically. This disgusts him, for now he has no politics. His love for Maria (and he admits to himself now that, for the first time, he is truly in love) has made him see the situation clearly.

Besides revealing further details of Jordan's personal background, his lengthy consideration of his position brings out one of the two instances of irony in the chapter. When has he met the person whom he can truly love? Seventy-two hours before he must blow up a bridge in an unnecessarily dangerous manner and, probably, die. The other instance of irony comes at the end of the chapter when it becomes obvious that, even though it is May, it is going to snow. Not only must the guerillas retreat in daylight, but their tracks will be easily followed.

Though the main part of Chapter 14 is taken up by Pilar's story of the bullfighter, her tale is sandwiched between two important scenes. Pablo assumes that the blowing up of the bridge will be called off, and he tells Jordan that he need not go for the scouts because they will come in out of the snow even though they were ordered to wait for Jordan to come to them. Jordan curses his bad luck but indicates that the job will proceed as planned, anyhow. He is inclined to believe that Pablo is right about the scouts; the whole war is being fought in just such a lackadaisical way after all. The second scene comes at the end of the chapter when the gypsy does, indeed, leave his post and return to the cave. Nor, since he is cold and hungry, will he go with Jordan to show him where Anselmo is.

Pilar's story is itself important because it gives additional background material about life before the movement. Bullfighting is one of the few ways in which a man could raise himself above his station. Pilar's friend paid a dreadful price, however. Though almost dying of consumption, he feels that he must stay in the tavern to satisfy his fans. But when, at the climax of the evening, they unveil the mounted bull's head, the bullfighter is horror-stricken. His courage, drained away by his illness and injuries, has finally left him.

In Chapter 15, the reader finds Anselmo, who, uncharacteristically for most of the guerillas and soldiers, has stayed at his post waiting for Jordan. He thinks of all the people whose lives are disrupted or ended by the war. He does not want to kill. All day he has been watching the fascist guards and he feels a close identification with them. He feels that he could walk over to the mill where the guards are and that they would welcome him, except that they have orders to challenge all travelers. "It is only orders that come between us," he thinks. "Those men are not fascists. They are poor men as we are." Then Hemingway takes the reader across the road and into the mill to witness the conversation between the fascist soldiers. Indeed, they are just the kind of people that Anselmo has thought they were.

While Chapters 16 and 17 serve mainly to bring the serious problem of Pablo to a temporary head, they also furnish the reader additional information which he has not previously had. Primitivo's questions about America, for instance, demonstrate the nature of some of Spain's political problems. Jordan's answers, in turn, show his feeling that the fascistic ills of the world will someday have to be corrected.

The fact is also brought out that Jordan was an instructor of Spanish in America. And Fernando, who symbolizes the formality and prudishness of the lower-middle-class Spaniard of that time, provides comic relief to the scene when he complains at length that a foreigner should not be allowed to teach Spanish.

In Chapter 17, the decision to kill Pablo is made and abandoned when Pablo returns in a friendly and cooperative mood. Pilar indicates to Jordan that Pablo's change of heart has undoubtedly come about because he overheard the plans to kill him. But when Pablo points out that he is the only one who can lead them to safety after the bridge, the assassination is tacitly canceled. However, Pablo still remains a real threat to the success of the operation.

The student will probably have noticed by now that Hemingway seldom allows one of his scenes to have only a single purpose. This multiplicity of purpose is evident in Chapter 18, the basic ingredient of which is Jordan's thoughts about Gaylord's. The flashback reveals Jordan's disillusionment at finding so much cynicism in the meeting place of the communists. He discovers that the emotional appeal of the Cause is ridiculed by those whose job it is to make the appeal. He learns that the leaders of the movement, who were supposed to have been peasants who rose to command at the hour of need, were really members of an earlier revolution who had fled Spain and been trained in Russia for the next revolution. And he discovers that those who naively believe in the humanitarian doctrines of communism are laughed at, but that they are catered to so long as they are useful.

In the beginning, Jordan hates the lying and cynicism, but he comes to realize the necessity for it. He feels that he has progressed through the three Hegelian steps from "thesis" to "antithesis" to "synthesis," but this is not true. He is not fully aware, at this point in the book, that he is still what Pablo has called him a short time earlier, one of the "illusioned ones."

In addition to the main idea of this chapter, Hemingway gives the reader additional bits of information, some of which has been given before and is here simply being re-emphasized. We find, for instance, that Jordan is enough of a writer to have had a book published. We are told again that he was a college teacher, and that he may not be able to teach again because of his political sympathies. And, in the scene involving the armored car, we see again the unwillingness of the peasants to die for the Cause.

The primary purpose of Chapter 19 is, of course, obvious. The problem of Pablo has been temporarily resolved, and Hemingway does not want his reader to become too contented, so he reintroduces the theme of mysticism, which bears along with it the premonition of tragedy.

The theme of mysticism is one of the most fascinating of the minor (but important) themes which run through For Whom the Bell Tolls. It is first encountered on the second page of the text when Jordan feels that it is a "bad sign" that he has forgotten Anselmo's name. And it reappears again and again throughout the book, first as part of the "Kashkin theme" and again in relation to what Pilar has seen in Jordan's palm. In Chapter 19, the idea is brought out overtly by Hemingway and discussed openly by his characters.

The highly superstitious nature of gypsies is well known, of course, so the supernatural beliefs of Pilar and Rafael are understandable. But what of the others? None of the rest of the band, except Pablo, dismisses the idea of mysticism as summarily as does Jordan. Hemingway seems here to be emphasizing again the proneness of these people to mystical belief, especially at a time when the mysticism of their church has been denied them by the revolution.

The conversation in Chapter 19 has had its effect on Jordan. His momentary detour into homesickness and the urgency of his desire for Maria show that he is afraid that they have little time left. The fear is shown again when Jordan awakes in the night and holds her tightly, as though he were afraid of losing her.

Chapter 21 is devoted primarily to physical action; Jordan's fears seem to be turning into reality. But he is now the soldier, no longer the lover, as he dispatches the men and weapons strategically. Nevertheless, Hemingway takes another opportunity to bring in the mystical-religious theme again. He does this by having Maria ask about the medal worn by the cavalryman whom Jordan has just shot. Then Jordan has to take the time to assure her that he had not aimed at the Sacred Heart badge worn by the soldier.

Here begins the slow build-up of emotional tension which will have as its climax the battle at the bridge. Since the physical action over the next few chapters is restricted — the guerillas are simply manning their posts, waiting to see if anything happens — Hemingway takes the opportunity to refresh the reader's memory on several points.

First, he lets the reader see again how sloppily the war is being handled. Rafael deserts his post to chase a couple of rabbits, thereby letting the cavalryman slip through. Jordan finds that the machine gun has been sent to them with no instructions as to how to fire it or place it properly.

Later, the problem of Pablo is brought up again. Agustin tries to convince Jordan that Pablo is still a very smart guerilla leader. Jordan is already aware of this, but his personal dislike for Pablo has made him deny the man the credit he deserves for having successfully evaded capture for so long.

Then, Hemingway re-establishes the character of Anselmo. When Agustin says that they (the Loyalists) will have to kill many people after they have won the war, Anselmo disagrees. His conscience bothers him terribly about the killing he has done and will have to do. All he wants to do is win the war and then to govern justly and educate those who have fought against them so that they will see their error.

In Chapters 24 through 26, the tension continues to build, now based on the theme of irony. Agustin has told Jordan that El Sordo's band is much better than Pablo's but, almost immediately, they realize that El Sordo has been attacked and surrounded by the cavalry. The irony is continued in Jordan's thoughts about the soldier whom he has killed. Though he has thought, in the previous chapter, that he has grown to like the killing, he now admits to himself that of the twenty men he has killed only two of them were really fascists.

The reader also finds Jordan once again engaged in a struggle with his conscience. He questions again his political beliefs, acknowledging the fact that he has never believed in the purely materialistic conception of society held by the communists. He tells himself that he believes in "Liberty, Equality and Fraternity," and in "Life, Liberty and the Pursuit of Happiness." Though neither communism nor fascism offers these things, the main problem is to get rid of the present enemies of the people. Later, one can decide what not to believe in.

Chapter 27 involves the young and innocent Joaquin. He has been taught the stock communist phrases of La Pasionaria, he has believed them, and now he bravely tries to keep up the spirits of his comrades by repeating them. He refuses to believe that the peasant generals have been trained in Russia and that others like himself have been sent to the safety of Russia to study. But he adds, in his naively conventional concern for the Cause, that he hopes they study well and come back to help the people. At the end, though, he stops quoting the communist slogans and starts saying Hail Marys.

Hemingway has here another opportunity to show that the unwillingness to die for a Cause is not confined to the Loyalists. He does so by having the fascist captain unable to convince his men that the guerillas are dead and that they should go and investigate. The same scene indicates that the Loyalists are not alone in the idiotic manner in which they are running the war.

Irony, too, is present in this chapter. First, there is Joaquin's relapse into religion. Then there is El Sordo and his men, dying on the top of a useless "chancre of a hill." Finally, there is the irony that neither Lieutenant Berrendo and his men nor the guerillas really want to fight or die.

Hemingway, with characteristic irony, continues the religious theme which has been reintroduced in the previous chapter. As Lieutenant Berrendo rides down the hill in one direction, he is praying for the souls of the dead; as Anselmo walks down the hill in another direction, he too is praying — for the first time since the beginning of the movement.

Jordan's desire to remain alive continues to grow. Aware of this, he tries very hard to be sure that his message to Golz does not sound as if he wants the attack called off for personal reasons. He has little hope, though, that the offensive will be canceled. It is quite possible that the attack is not meant to succeed; it may be simply a holding action, or a diversionary movement to draw enemy troops away from another front. If this is the case, then the fact that the fascists are prepared for the attack will not make any difference to Golz.

In Chapter 30, Jordan's thoughts bring forth additional information for the reader. The courageous character of his grandfather is revealed, and we learn that his father had committed suicide — a shameful act of cowardice in Jordan's mind. Hemingway has shown in others of his works besides For Whom the Bell Tolls that his attitude toward suicide was the same as that of Robert Jordan. It was an ironic fate, indeed, that caused Hemingway, presumably, to take his own life.

In Chapter 31, though we have already been told that Maria is a "nice girl," we are now given additional specific details of her background. Her father was the mayor of the town, and her mother, though not a Republican, was loyal to her husband. Both died bravely, killed by a Falangist firing squad.

But the revelation of Maria's background is not the primary purpose of this chapter. Now, the intensity of a person's hopes and daydreams increases in proportion to the seriousness of his situation. The problem of the bridge has grown more and more hopeless up to this point, and Jordan's dream of taking Maria to Madrid is indicative of how little expectation he has of surviving the coming battle. Maria willingly joins Jordan in his dream, but there is desire on her part to "get everything said before it is too late." Jordan is also aware, from what Maria has said, that even Pilar has sought refuge, in reverie during the day.

Chapter 32, though very brief, is overflowing with significance — not that this quality is unusual in Hemingway's writing. And most of this significance is intensified by the contrast between it and the chapters immediately preceding. At the same time that Jordan and Maria are wishfully making plans for a future which they do not really believe they will live to see, other Loyalists are having a happy, sophisticated party in Madrid. This ironic juxtaposition of events is one of Hemingway's favorite tricks. In fact, he specifically mentions this type of irony in one of his short stories by referring to the lines from

W. H. Auden's poem, "Musee des Beaux Arts," which read, ". . . even the dreadful martyrdom must run its course / Anyhow in a corner, some untidy spot / Where the dogs go on with their doggy life and the torturer's horse / Scratches its innocent behind on a tree."

The fact that the party is being held at all, much less in the besieged capital city, indicates the lack of concern for the war effort on the part of the foreign interventionists. The military leaders are irritated to learn that the coming offensive is no longer a secret — another reflection on the haphazard way the war is being run — but they are not surprised and they do nothing about the leakage of information.

The irony is continued when the rumor that the fascists are fighting among themselves is circulated. The fighting referred to is, of course, the battle in which El Sordo's band was wiped out. The final touch, though the reader cannot fully appreciate the irony at this point, comes when the general says that they can expect a message from Jordan during the night. Jordan has, indeed, sent a message, but the irony is not complete until the reader has discovered the fate of that message.

From this point to the end of the book, Hemingway develops two stories at the same time. Chapter 33 and subsequent alternate chapters carry the story of Jordan (except that Chapters 37-39 are all focused on Jordan). Chapter 34 and its succeeding alternate ones (with the exception mentioned above) carry the story of Andres, who is trying to get Jordan's message through to Golz. This plot device is the same one of "proximity" which Hemingway has used in Chapters 31 and 32. Here, however, he is not using the juxtaposition simply for its ironic effect but has added the quality of suspense.

Jordan awakes, still in his hopeful frame of mind, thinking that it is Maria's hand which is shaking him. But he returns to reality rapidly when he learns that Pablo has vanished. The trusted Pilar has failed him. Jordan rebukes her, but then he comforts her by assuring her that he can find another way to set off the explosion.

In Chapter 34, we discover that Andres is aware of what it is that he is fighting for. But he is relieved that he has been given the message to carry and will probably not get back in time for the fighting. He compares his relief to that which he had felt in his boyhood when he had awakened on fiesta day to find that it was raining and that the bull-baiting would be canceled. Not that he was not brave at the bull-baiting. In fact, he had been nicknamed "Bulldog" because he always grabbed the bull's ear and bit it during the final rush on the bull.

Andres does not lack courage, but he is here exemplifying one of the major ideas which has been brought out again and again in the book. He does not wish to die for the Cause. He does not really care much about fighting for it. He realizes that his enemies are simply other men like himself and that they are his enemies only because of a trick of fate. He reminisces about the happy days with his brother during their youth, and he wishes he could return to them. Then he knows that he must try to get back in time to help his brother and the others.

In Chapter 35, Jordan is furious with himself for having forgotten what he had known back in the first chapter — that Pablo would only be friendly in order to betray him.

And he is furious with Spain and with every Spaniard on either side. They are selfish, egotistical, treacherous, cowardly, undisciplined. But as his rage becomes more and more exaggerated, he realizes that he is being unjust. He decides that the situation is not as bad as he had thought. They will be killed, but they will blow the bridge.

The final sentence of the chapter is another excellent example of Hemingway's use of irony. Jordan lies by the sleeping Maria, holding her lightly and feeling the life in her, but at the same time he is keeping track of the time on his wrist watch.

After reading Chapter 36, one might tend to think that Jordan had been somewhat hasty in the preceding chapter in deciding that his criticism of the Spaniards was unjust. The comic relief of the chapter is accomplished with typical Hemingway humor — there is a serious and very unfunny basis underlying it. While Andres is trying desperately to get Jordan's message to Golz in time for the attack to be canceled, the soldiers on guard waste time arguing about whether it would not be simpler to just go ahead and kill him.

Andres is accustomed to the ignorance of the soldiers because he had encountered it on his other trips through the lines. He is exasperated, however, when the officer displays the same ignorance. All of this, of course, is simply another example of the haphazard way in which the war is being run. If the soldiers were seriously interested in the war, instead of making a dramatic game of it, they would certainly not treat a courier in such a manner. Hemingway shows this ignorance and lack of seriousness most pointedly in the last scene of the chapter. For it is only after Andres has walked behind him for some distance that the officer remembers to take Andres' gun from him.

Chapter 37 shows Jordan's and Maria's last intimate moments together. Jordan feels that he has lived his entire life at this place.

The guerillas are his brothers, his oldest friends; Maria is his wife, his sister, his daughter. Maria, trying to act as a wife would act, tells Jordan that she would like to be by his side in the coming battle. She says, though, that she will help him in any way that he thinks is best.

The scene in the cave at the beginning of Chapter 38 is not a happy one. The men's nerves are taut in anticipation of the fight, and they are making jibing remarks and snapping at each other. Nor is Jordan very happy. The plan which he had concocted during the night does not seem so good now that morning approaches. He snaps angrily at Pilar when she tries to tell him that her palm reading is gypsy nonsense. Then he talks to some of the other men and agrees that he is as nervous as they are.

For the last several chapters, the situation has been growing progressively worse. And this is probably the darkest hour of the book. Jordan does not have enough men to overcome the enemy guard posts, he no longer has the equipment necessary to blow the bridge properly, and he has very little hope that Golz will cancel the attack even if Andres reaches him in time.

The reappearance of Pablo marks what seems to be a turning point in the book. Things immediately begin to look better. With the additional men and horses, the job does not look as impossible as it had seemed. And Pilar, for the first time, shows that Pablo's "going bad" had hurt her deeply. She loves him, and she is proud of him for having come back.

At the beginning of Chapter 39, we discover that Pablo has some pride left also. For he has told the new men that he is still leader of the band, and he asks Jordan not to say anything to "disillusion" them. Pablo's words have a curious effect on Jordan, however. He feels that Pablo's "conversion" is anything but complete. And he is reasonably sure that the man has some other trick up his sleeve.

Chapter 40 begins with the ironic observation that Andres had made his way comparatively rapidly through enemy territory, but had been slowed down once he was behind friendly lines. There, his progress is hampered by ignorance, stupidity, and lack of interest on the part of the soldiers he encounters. Nevertheless, the situation is still looking brighter. In spite of the lack of communication within the Loyalist army and the lack of interest in the war on the part of most of the soldiers — two problems with which the reader is already intimately familiar — Andres continues to make some progress. Finally, he finds two officers who do not fit the mold. They are sympathetic with Andres' problem, and they do everything in their power to aid him in the accomplishment of his mission.

In Chapter 41, everything is "organized confusion" as the pre-battle preparations are made. Jordan's nervousness is shown by his over-zealous repetition of the order that no one is to do anything until sounds of the offensive are heard. Pablo continues to present a problem, but Jordan washes his hands of the whole matter. He will leave on foot after the battle, he says, and the matter of the horses is Pablo's business. He thinks, though, that he is glad he does not know the five new men, whom Pablo will presumably kill for their horses after the battle.

Hemingway's planning is evident to the reader when he sees Jordan and Anselmo return to the spot from which they had earlier observed the bridge. Having already described the terrain, Hemingway does not now have to interrupt the reader's rising excitement with another description. All that he has to do to re-create the picture in the reader's mind is to insert a few reminders of the appearance of the position. At the same time, little by little, the reader is getting a clear idea of the manner in which the coming action will be handled by Jordan and the men.

Jordan temporarily forgets that Anselmo's conscience bothers him about the killing. Anselmo gives him a slight hint, however, and Jordan responds by "ordering" the old man to do what he has been told. Anselmo can thus, at least partially, excuse himself for the killing, since he will be acting under orders.

The next-to-last sentence of the chapter reminds the reader that even the fascists are human beings, living individuals. For Jordan, unable to see the firelight at times, realizes that this is because the man in the sentry box has moved and is standing in front of the brazier.

Irony is packed upon irony in Chapter 42. Despite brief delays, Andres is moving rapidly toward a meeting with Golz, and the reader's hopes continue to rise. When Andres and Gomez encounter another ignorant sentry who seems about to cause them further delay, they are relieved to see Comrade Marty drive up. Marty, a man who should be responsible as well as appreciative of the importance of Andres' mission, is instead a man driven insane by his own importance. He asserts this importance by having Andres and Gomez arrested, thereby causing enough delay so that the two men reach Golz' headquarters too late to see the general himself. Consequently, they have to give the dispatch to Golz' aide, Duval.

Though there is, possibly, still enough time to call off the offensive, Duval does not have enough information about the purpose of the attack to make him want to assume the responsibility for canceling it himself. By the time he reaches Golz on the telephone and discovers that the offensive is not simply a holding attack, it is too late to call it off.

So, here is the crowning irony of the book. Jordan must blow up a bridge, the destruction of which will be absolutely of no value. He must carry out his ineffectual assignment because of the ignorance, stupidity, indifference, and self-importance of people who should most logically have done all they could to help his courier get to his destination in time.

For Whom the Bell Tolls is a tragedy, as are all of Hemingway's novels. However, it is interesting to note in the last chapter how Hemingway's philosophy has developed. At the end of A Farewell to Arms, after Catherine's death, Frederick Henry walks back to his hotel in the rain, helpless and hopeless. At the end of To Have and Have Not, there is at least the implied hope that man will heed Harry Morgan's dying cry, "A man alone ain't got no bloody chance."

The end of For Whom the Bell Tolls shows the reader a more thoughtful and mature Hemingway at his best. The importance of the individual, mentioned in the "Ideology" section of these Notes, is brought out most vividly in Chapter 42. First, Jordan looks through his field glasses at the sentry and sees a human being — a fact which makes him decide not to look at the man again until the fighting begins. Then, Anselmo cries over the killing of the sentry at his end of the bridge. Finally comes the ultimate irony of the book. Jordan has done everything that he should have done in the way that it ought to have been done, and his mission has been successful. So far as the Cause for which he has been fighting is concerned, his death will serve no useful purpose. Realizing this, Jordan starts to commit suicide as his father had done. But he waits and will die, not for the Cause, but for the protection of an individual, Maria, the symbol of Love.