ignificant meaning of one's life could cause the change of
expectation, and the change of one's expectation can lead different
decision.
The protagonist of the story, 'Harry, a
writer who has abandoned his craft to live
a life of
aimless pleasure, marrying ever richer woman as his driver to write
fades away' (Plot Summary of 'The Snows of Kilimanjaro',69) who is
from Paris. He takes a trip to the African to track his happiness
of ideal, and also, he is trying to figure out a way to handle his
life problems, just like Harry states, 'that is some way he could
work the fat off his soul'(Hemingway, 261). He want a new life, 'He
had had his life and it was over and then he went on living it
again with different people and more money, with the best of the
same places, and some new ones.'(261) He suffers the gangrene which
cause by a trauma and finally, died of it.
Harry has a lot of confusions and
conflictions in his life.
He does so many things inconsequently. He
lies to others, especially his woman, ' He slipped into the
familiar lie he made his bread and butter by'(260). When he awakens
his wife is hurt again by his attacks, he tells her the he never
loved her. But when she cries, he tells her 'You know I love
you.'(260) And at the same time, he call her ' You bitch,' he said.
'You rich bitch. That's poetry. I'm full of poetry now. Rot and
poetry. Rotten poetry.'(260)
At the same time, Harry believes
that he has the talent of writing, but he wastes it, ' he would
never do it, because each day of not writing, of comfort, of being
that which he despised, dulled his ability and softened his will to
work so that, finally, he did no work at all. '(261)' It was a
talent all right but instead of using it, he had traded on
it.'(261),instead of writing, he lie to others to earn money, ' He
had traded it for security, for comfort too, there was no denying
that, and for what else?(263). He hates this, 'He had been in it
and he had watched it and it was his duty to write of it; but now
he never would.'(268) He want to write a lot of story that he
believes he should have to write, but he didn't. 'He knew at least
twenty good stories from out there and he had never written
one.'(274)
Most of his writing are for money, ' He had
sold vitality, in one form or another, all his life and when your
affections are not too involved you give much better value for the
money.'(262) He even doesn't have time and energy and willing to do
what he should to do, ' He had found that out but he would never
write that, now, either. No, he would not write that, although it
was well worth writing.'(262)
He is weary of his life, he cannot find out
the right way to go for the future. That's the reason that he comes
back to the African. He hope he can review the happy time here
again like before, ' Africa was where he had been happiest in the
good time of his life, so he had come out here to start
again.'(261). He hope he can find out the right way that he should
to go, ' That in some way he could
his soul the way a
fighter went into the mountains to work and train in order to burn
it out of his body.'(261). He wish he can even find the answer of
his uncle's conundrum.
Harry thinks a lot, a lot about his life,
his history, and his behaviors.
Even though the author doesn't give the
answers of all those questions, readers can understand that Harry
have already found out his answer. He realizes that he need to be
revived, he should to give his faulty life up, let his dirty body
die and spirit with pursuit immortal. He makes the choice.
In this story, Hemingway uses a lot of
high-level writing skills to represent his ideas.
Symbolism, as a important writing skill
which can interprets deep meaning with very few words, be used in
the story for many times.
First all, the snows is a symbol of death
and revive. As we know, snow is white and cold, and in this story,
on some way, it means death and holy, and it foreshadows the ending
of Harry----he will dead in front of the snows of Kilimanjaro,
which is white and holy, near the gate of heaven. 'Its western
summit is called the Masai 'Ngaje Ngai.' the House of God.' (255)
Leopard is another symbol of
Harry's moral nature.
Harry's life is full of conflicts of
'fundamental moral idealism and the corrupting influence of aimless
materialism.' (Walcutt, 74)
On one hand, Harry is falling into the
aimless materialism----he lie to others to make money, he doesn't
write anything that he should to write, he wastes his talents of
writing, he sale his vitality. His life is full of blemishes, just
like the spots on the body of leopard.
On the other hand, he has the dream of
pursuing the fundamental mortal idealism----'He has, in short,
lived with an impulse toward truth, an obscure respect for man, and
a sense of human dignity and integrity that constitute a set of
values.'(74) Like the leopard trying to approach the top of the
mountain. Walcutt states, 'Gazing on the white peak of Kilimanjaro,
he sees a symbol there of truth, meaning,----or an incarnation of
the ideal, The mountain represents the undefined ideal for which he
has struggled. From a purely naturalistic point of view, it is
illogical that Harry should have such ideals, for they are not
found in or justified by the environment in which he has
lived.'(75)
The realization of all those, causes the
deep thinking of Harry. The final death of leopard on the top of
Kilimanjaro inspires him that he should to try to find a way to
correct all mistakes, like Stallman states, 'these multiple
interrelationships of recollected scenes with their recurrent
motifs of death, deception, betrayal, and fight.', and 'the final
death-dream is itself a scene of flight, flight from the Dark
Continent to the House of God.'(80)
Hyena is also a symbol of Harry's life. The
hyena, as we know, is a kind of animals that cannot hunt by itself,
they live depend on the other animals dead body. Harry is a writer
with talents, he is also a hunter. He like to hunt very much, and
goes to so many places such as Europe, such as African. His writing
life is also like the hunting----writers always wander all around
the world to search more materials to write, just like a hunter
wanders in a forest to find animals. But he even can't write
anything now, 'But he would never do it, because each day of not
writing, of comfort, of being that which he despised, dulled his
ability and softened his will to work so that, finally, he did no
work at all.'(Hemingway, 261)
He hate his behaviors like
the hyenas. At this moment, it's the hyenas that lead his thinking
about his life deeply.
One inconspicuous symbol is the gangrene.
The gangrene, as well as Harry states, ' The marvelous thing is
that it's painless'(Hemingway, 253) but it's deadly and could kill
one insensibly. similar as Harry's life, he wastes his talents, he
doesn't want to do anything that he should to do, his spirit is
already dead while his body laying on the cot waiting for death. He
doesn't afraid of death, as Hovey states, 'the gangrenous leg
suggesting the long-standing castration anxiety, its stench the
decay of Harry's moral nature. He admits that for years he has been
'obsessed' by death.' ' He has, in fact, been steadily destroying
himself.'(82) The painless deadly disease enlighten Harry to do the
deep thinking of
death, 'that he neglected the thorn
scratch which turns out of to be fatal points to Harry's
unconscious wish to die.' (82)
All those symbolism in the story have a
same function is to lead reader thinking deeply about life.
As a very high level and rare writing
skill, the spatial form is also be used in this story by Hemingway.
The spatial for, as Pound states, 'the modernist conception of
'spatial form', in which temporal narratives are unified through
recurring motifs and scenes composed of vivid images.'(Gale Virtual
Reference Library: Imagism, 4-5)
In the story, the
time frame is started in the afternoon and finished in the middle
night. How could Hemingway deal with those many loose and complex
things such as Harry's thinking, his histories, his women, his
experiences in Paris and other countries, his memories of war,
etc.? How could Hemingway handle the whole story in a compact,
completed, and smooth firm?
Hemingway uses his incomparable writing
skill and the excellent technique to represents Harry's whole life
within only a half day.
Usually, a traditional classic novel always
characterize plots according the time line or the space, and also,
reveal the relationship of different circumstances explicitly. The
using of spatial form, mainly, abandons the consecutiveness of
occurrence of events.
Hemingway leaves the traditional writing
habits away, doesn't care about all of restrictions of time frame
and space, and use the spatial form to make Harry's story as a 3-D
cube. That means, the events happened in different time and
different space appear in the same scene.
It makes the
whole story as a special compact unite, just an
umbrella----everything related with Harry are connected with him
directly, such as his life, his ideals, his dream and realities.
All elements confound together, not only his attitudes, but also
his perspectives of relationship with man and women, friends, wars,
death, etc.
Hemingway
doesn't represent elements of this story sequent, but by Harry's
thinking. For example, there are a lot of fragments of Harry's
thinking often 'flash' back to somewhere in some old time. On some
way, Harry's painful fragmentary and bitty memories can be feel
empathy by readers, and it can lead readers start their deep
thinking of life.
In conclusion,
the story 'Snows of
Kilimanjaro' tells readers a story of a writer, Harry's death.
Hemingway uses his perfect writing skills to interprets some deep
meaning of human's life, and it also lead people into the deep
thinking: what's the real meaning of life? How could a man or a
woman to life? How should people to choice when they are facing
some ordeal of life? Only the deep thinking can gives the
conclusion.
Works Cited
1. The Leopard and the Hyena: Symbol and Meaning in 'The Snows of
Kilimanjaro'. Marion Montgomery. The University of Kansas City
Review 27.4 (June 1961): p277-282.
Rpt. in Short
Story
Criticism. Ed. Lawrence J. Trudeau. Vol. 25. Detroit: Gale
Research, 1997. Word
Count:3153. From
Literature Resource Center.
2. Gale Virtual Reference Library. Materer, Timothy.
'Imagism.'American History Through Literature
1870-1920. Ed. Tom Quirk and Gary Scharnhorst. Vol. 2.
Detroit: Charles Scribner's Sons, 2006. Gale Virtual Reference
Library. Web. 20 July 2011.
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3. Bloom, Harold. 'Plot summary of 'The Snows of Kilimanjaro.''
(n.p.)(1999). (69-72).
4. Charles Child Walcutt, 'Hemingway's 'The Snows of
Kilimanjaro,''The Explicator 7, No. 6 (April 1949): item 43
5. Robert Wooster Stallman, 'Erenest Hemingway, A New Reading of
'The Snows of Kilimanjaro,'' The House that Built and Other
Literary Studies (Ann Arbor: Michigan State University Press,
1961): 198-199
6. Richard Hovey, Hemingway: The Inward Terrain (Seattle:
University of Washington Press, 1968): 127-128
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