ErnestHemingwayErnestMillerHemingway(1899–1961),Americannovelistandshort-storywriter,awardedtheNobelPrizeforLiteraturein1954.Hewasnotedbothfortheintensemasculinityofhiswritingandforhisadventurousandwidelypublicizedlife.HissuccinctandlucidprosestyleexertedapowerfulinfluenceonAmericanandBritishfictioninthe20thcentury.ErnestHemingwayErnestMiller1Hemingway'sWritingYearsThewritingofbooksoccupiedHemingwayformostofthepostwaryears.HeremainedbasedinParis,buthetraveledwidelyfortheskiing,bullfighting,fishing,andhuntingthatbythenhadbecomepartofhislifeandformedthebackgroundformuchofhiswriting.HispositionasamasterofshortfictionhadbeenadvancedbyMenWithoutWomenin1927andthoroughlyestablishedwiththestoriesinWinnerTakeNothingin1933.Amonghisfineststoriesare“TheKillers,”“TheShortHappyLifeofFrancisMacomber,”and“TheSnowsofKilimanjaro.”Atleastinthepublicview,however,thenovelAFarewelltoArms(1929)overshadowedsuchworks.Hemingway'sWritingYearsThew2“TheHemingwayCode”Hemingway’scharactersplainlyembodyhisownvaluesandviewoflife.ThemaincharactersofTheSunAlsoRises,AFarewelltoArms,andForWhomtheBellTollsareyoungmenwhosestrengthandself-confidenceneverthelesscoexistwithasensitivitythatleavesthemdeeplyscarredbytheirwartimeexperiences.

WarwasforHemingwayapotentsymboloftheworld,whichheviewedascomplex,filledwithmoralambiguities,andofferingalmostunavoidablepain,hurt,anddestruction.Tosurviveinsuchaworld,andperhapsemergevictorious,onemustconductoneselfwithhonour,courage,endurance,anddignity,asetofprinciplesknownas“theHemingwaycode.”Tobehavewellinthelonely,losingbattlewithlifeistoshow“graceunderpressure”andconstitutesinitselfakindofvictory,athemeclearlyestablishedinTheOldManandtheSea.“TheHemingwayCode”Hemingway’3WritingStyleInstrivingtobeasobjectiveandhonestaspossible,Hemingwayhituponthedeviceofdescribingaseriesofactionsbyusingshort,simplesentencesfromwhichallcommentoremotionalrhetorichasbeeneliminated.Thesesentencesarecomposedlargelyofnounsandverbs,havefewadjectivesandadverbs,andrelyonrepetitionandrhythmformuchoftheireffect.Theresultingterse,concentratedproseisconcreteandunemotionalyetisoftenresonantandcapableofconveyinggreatironythroughunderstatement.Hemingway’suseofdialoguewassimilarlyfresh,simple,andnatural-sounding.Theinfluenceofthisstylewasfeltworldwidewherevernovelswerewritten,particularlyfromthe1930sthroughthe’50s.WritingStyleInstrivingtobe4ModernreceptionAconsummatelycontradictoryman,Hemingwayachievedafamesurpassedbyfew,ifany,Americanauthorsofthe20thcentury.Thevirilenatureofhiswriting,whichattemptedtore-createtheexactphysicalsensationsheexperiencedinwartime,big-gamehunting,andbullfighting,infactmaskedanaestheticsensibilityofgreatdelicacy.Hewasacelebritylongbeforehereachedmiddleage,buthispopularitycontinuestobevalidatedbyseriouscriticalopinion.Modernreception5ErnestHemingwaybibliographyNovels(1926)TheTorrentsofSpring(1926)TheSunAlsoRises(1929)AFarewelltoArms(1937)ToHaveandHaveNot(1940)ForWhomtheBellTolls(1950)AcrosstheRiverandintotheTrees(1952)TheOldManandtheSea(1970)IslandsintheStream(1986)TheGardenofEdenNonfiction(1932)DeathintheAfternoon(1935)GreenHillsofAfrica(1962)Hemingway,TheWildYears(1964)AMoveableFeast(1967)By-Line:ErnestHemingway(1970)ErnestHemingway:CubReporter(1985)TheDangerousSummer(1985)Dateline:Toronto(2019)TrueatFirstLight(2019)UnderKilimanjaroErnestHemingwaybibliographyN6TheSnowsofKilimanjaroThisshortstory--writtenin1938--reflectsseveralofHemingway'spersonalconcernsduringthe1930sregardinghisexistenceasawriterandhislifeingeneral.HemingwayremarkedinGreenHillsthat"politics,women,drink,moneyandambition"damageAmericanwriters.Hisfearthathisownacquaintanceswithrichpeoplemightharmhisintegrityasawriterbecomesevidentinthisstory.ThetextinitalicsalsorevealsHemingway'sfearofleavinghisownworkoflifeunfinished.TheSnowsofKilimanjaroThiss7Inbroaderterms,TheSnowsofKilimanjaroshouldbeviewedasanexampleofanauthorofthe"LostGeneration",whoexperiencedtheworldwarsandthewarinSpain,whichledthemtoquestionmoralandphilosophy.Hemingway,inparticular,foundhimselfinamoralvacuumwhenhefeltalienatedfromthechurch,whichwascloselyaffiliatedwithFrancoinSpain,andwhichhefeltobligedtodistancehimselffrom.Asaresult,hecameupwithhisowncodeofhumanconduct:amixtureofhedonismandsentimentalhumanism.Inbroaderterms,TheSnowsof8Analysisof“TheSnowsofKilimanjaro”SummaryThemeCharactersSymbolsStyleModernismAnalysisof“TheSnowsofKili9SummaryAsthestoryopens,thespeaker,lateridentifiedasHarry,isproclaimingthatsomethingispainless.ItsoonrevealsthatHarryandhiswife,Helen,areencampedsomewherenearMountKilimanjaro,which,atnearlytwentythousandfeet,isAfrica’shighestmountain.Anepigraphatthebeginningofthestory,beforetheactionisunderway,describesthesnow-cappedmountain,mentioningthatthenameforitswesternsummitistranslatedfromthelocalMasailanguageastheHouseofGod.SummaryAsthestoryopens,the10SummaryExtensivedialogueatthebeginningofthestoryrevealsthatthespeakers,husbandandwife,haveacombativerelationship.HarryhasceasedtobeinlovewithHelen,althoughsheadoreshim.InHarry’sdialogue,onequicklydetectsadeep-seatedunderlyingangerandacontemptfornotjustHelenbutallwomen.Indeed,Harryfeelsandexpressesguiltaboutthedeteriorationofhisrelationshipwithhiswife,whohasquitewillinglyputherconsiderablefortuneatHarry’sdisposal.TherubisthatthecomfortablelifethatHelenhasprovidedseemstohaverobbedHarryofthemotivationheneedstowrite.HarryandHelenhavelefttheirsuperficialrichfriendsbehindinParis,wheretheyarepursuingtheirinconsequentiallives.Harrytoyswithideaofwritingabouttheidlerich,viewinghimselfasasortofspyintheirterritory.SummaryExtensivedialogueatt11SummaryItissoonrevealedthatHarryisonhisdeathbed,sufferingfromgangrenethatismovingrapidlyfromhislowerlegstootherpartsofhisbody.HeandHelen,alongwiththeirAfricanservant,Molo,arestrandedinthisremotepartofTanganyikabecauseanineptdriverfailedtochecktheoilintheirtruck,causingittoburnoutabearingandbecomeinoperable.TheironlyhopenowisthataplanewilllandontheircompoundandflyHarrytoamedicalfacility.SummaryItissoonrevealedtha12SummaryThroughoutthestory,Harryvacillatesbetweenconsciousnessandunconsciousness.Hisconsciousperiodsbecomeshorterandshorter.Unconsciousnessreveriesofhispastfillhismindandrevealagreatdealabouthispast.ThepassagesduringtheunconsciousstateareprintedinitalicsexceptfortheoneveryneartheendinwhichHarryhallucinatesabouttheplanecomingtorescuehim.SummaryThroughoutthestory,H13SummaryAsitturnsout,Harry’sillusionoftheplaneisjustthat:anillusion.Intheend,HelenhasHarry’scotcarriedintotheirtent.Beforelong,shetriestorousehimbutcannot.Shebecomesawarethathisbreathinghasstopped,justasahyena,acarnivorethatfeedsondeadanimals,howlsoutsidetheirtent.SummaryAsitturnsout,Harry’14ThemeAnunderlyingthemein“TheSnowsofKilimanjaro”concernstheinroadsthatwealthcanmakeontalent.Harrywasonceregardedasapromisingauthor,apartoftheexpatriatemovementthatflourishedinParisfollowingWorldWarI.Hemingway,verymuchapartofthisliterarygroup,usesthisstorytoarticulateagreatmanyofhisownfearsandfeelingsregardinghisproblems.Thestoryhasstrongautobiographicalelements,althoughthefactsofHemingway’sexistencethatitoftensuggestsarenotintendedtobetakenasaccurateautobiographicalaccountsofhislife.ThemeAnunderlyingthemein“T15Theme——AlienationandNihilismTwothemescommoninModernismarefoundinthestory:alienationandNihilism.Harryhaslivedalifeofalienation,emotionallydistantfromhisseveralwivesandneveridentifyingwithorbelongingtothewealthysocietyinwhichhehaslived,courtesyofhismostrecentwife'smoney.Ashedies,nospiritualfaithsustainshim.HehasnothoughtsofaSupremeBeingoranafterlife.Hethinksonlyofallheintendedtowritebutdidnotwrite.Heworshipsonlythegifthesquandered.Theme——AlienationandNihilis16CharactersComptonComptonfliestheplanethatismeanttotakeHarrybacktothecitytosavehislife.HeisconfidentandtriestomakeHarryfeelbetterabouthispredicament.However,heexistsonlyinHarry’sdream.HarryHarryistheprotagonistofthestory.HeisawriterandhashadmanyexperiencesinEurope.Healsoverymuchenjoysbig-gamehunting.Whenthestorybegins,HarryissufferingfromgangreneinhislegandheisdyingintheAfricanbackcountrywhilewaitingforaplanetotakehimtothecity.MoloMoloistheAfricanservantwhoservesHelenandHarry.HedoesverylittleinthestoryapartfrombringingHarrywhiskeyandsodas.CharactersCompton17CharactersHelenHarry’swifeHelen,alsoknownasTheWife,remainsunnameduntiltheendofthestory,whenadeliriousHarryfinallyreferstoherbynameashedies.AfterHarryreachesthesummitofKilimanjaro,thepreviousnarrativevoiceresumesandagaincallshersimply‘‘thewoman.’’Harrydoesnotseemtoloveher,butherespectshertoacertaindegreeforherskillwithagun.ShecomesfromawealthyfamilyandHarryhascontemptforthat.She,ontheotherhand,caresforhimgreatlyandtriestoeasehissuffering.CharactersHelen18SymbolsThefrozenleopardonthesummitofKilimanjaroisassociatedwithdeath,immortality,andpossiblyredemption.Thehyenaandvulturesareassociatedwithillness,fear,anddeath.Kilimanjaro

itself,thoughitsrolehassparkedthemostcontroversyamongscholarsandcritics,seemsassociatedwithasortofredemptiveheavenlyafterlife.Low-lying,hotplainsareasareassociatedwithdifficultorpainfulepisodesinHarry’slife,includingthesituationinwhichhebeginsthestory,andsnowymountainousareasareassociatedwithhishappier,moreupliftingexperiences,includinghisfinalimaginedascenttothetopofKilimanjaro.Gangrene,therottingoftheflesh,issymbolicofHarry’srottingsoul.SymbolsThefrozenleopardont19Style“TheSnowsofKilimanjaro”istoldinthethirdpersonandisrichwithdialogue.Intheitalicizedportions,whichrepresentHarry’smentalmeanderingsduringhisfrequentperiodsofunconsciousness,thereaderencountersamanwhohaswanderedaroundEurope,hassleptwithagreatvarietyofwomen,andhasusedotherpeopleshamelessly.Style“TheSnowsofKilimanjaro20StyleAlways,however,thereisanaggingconscienceinHarrythatiscloselyrelatedtotheoverallsenseoflonelinessthathisexploitscannoteradicate.ThisunderlyingguiltismuchapartoftheHarry-Heleninteractionin“TheSnowsofKilimanjaro.”ItrevealsadecencyinHarrythatoncarefulconsiderationeclipseshiscynicismandself-servingbehavior.StyleAlways,however,thereis21ModernismThestoryisveryreflectiveofModernism,asaremanyofHemingway'sotherworks,suchashisfirsttwonovels,TheSunAlsoRisesandAFarewelltoArms.ModernismThestoryisveryref22ModernismThestructureofthenarrativeisModernisticasHemingwayshiftsbackandforthfromthetraditionalnarrativeformtotheitalicizedpassagesthatrevealtheprotagonist'sprivatethoughtsandmemories.Althoughtheitalicizedpassagesarenotwritteninfirstpersonorstreamofconsciousness,theyareinnovativeandeffectiveinexploringthepsychologyofHarry'sinnerlife,hisfeelingsandmemories.Anotherunusualtechniqueofstructureisemployedinthestory'sconclusionasHemingwaymovesbackandforthbetwe