For Whom the Bell Tolls

For Whom the Bell Tolls

by

Ernest Hemingway

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Violence, Cowardice, and Death Theme Analysis

Themes and Colors
Love in War Theme Icon
Cultural Connections Theme Icon
Violence, Cowardice, and Death Theme Icon
The Eternality of the Present Theme Icon
LitCharts assigns a color and icon to each theme in For Whom the Bell Tolls, which you can use to track the themes throughout the work.
Violence, Cowardice, and Death Theme Icon

Though the novel is rife with images of murder and destruction, the characters who commit or witness these gruesome acts are highly conflicted about the necessity of killing and the value of brutality in human life. The guerillas Pablo, Robert Jordan, El Sordo, and Anselmo express concern about killing fascists and fear about facing death themselves. Even as the novel seems to uphold a monolithic view of courage, often portraying Robert Jordan as a capable, single-minded fighter destined for martyrdom, this image is undermined by Jordan’s own struggle with motivation and disillusionment as he attempts to understand his place in the war and his perspective on violence, death, sacrifice, and suffering.

Anselmo, Robert Jordan’s guide, is a “very good man” who wonders about the “problem of the killing,” becoming a source of morality and righteousness in the novel: “I think that after the war there should be some form of civic penance organized that all may be cleansed from the killing or else we will never have a true and human basis for living.” Anselmo tells Robert Jordan that he has killed several times, “but not with pleasure,” since he feels that “it is a sin to kill a man,” demonstrating a kind of religious conviction that the fascists—though heavily Catholic—do not share, given their belief in authoritarianism and oppression. While Pablo, El Sordo, and Robert Jordan face the task of killing fascists with less guilt than Anselmo, they still feel ambivalent about their role in perpetuating violence. On one hand, violence is necessary to match the force exerted by the fascists; nonetheless, the guerillas believe themselves to be supporting a moral cause, the cause of the Republic, and thus find it difficult to reconcile morality and violence.

Feeling guilty about his own participation in killing fascists, Jordan orders himself to “admit that you have liked to kill as all who are soldiers by choice have enjoyed it at some time whether they lie about it or not.” Though he approaches his tasks as a volunteer soldier with steely, grim determination, he also tells himself not to “believe in killing,” regarding it instead as a terrible “necessity” (thus, he refuses to keep track of the number of men he has killed): “but to shoot a man gives a feeling as though one had struck one’s own brother when you are grown men.”

Moreover, Jordan’s own equivocations throughout the novel, presented in the form of disjointed inner monologues, demonstrate his vacillation between fear and impassivity. He tells himself that he knows “death was nothing,” and that he must stay focused on his work, believing that “harm to one’s self” can be ignored, and that “if I die on this morning now it is all right.” Yet these attempts at self-reassurance simultaneously demonstrate his severe apprehension about death, which is especially heightened because of his own repressed grief about his father’s suicide: Jordan is forced to command himself to act brave and stoic.

Additionally, though El Sordo is “not at all afraid of dying,” he “hates” his fate, since death represents “nothing,” while living is a “hawk in the sky […] an earthen jar of water in the dust of the threshing”—that is, tangible and understandable. Like Robert Jordan, El Sordo grapples with the notion of his own inevitable demise, finding a degree of peace but continuing to wonder about the nature of death.

Pablo presents the most clear-cut example of a fighter disillusioned with violence and killing, since he openly admits that he has become disenchanted with the Republican cause, explaining that the day he murdered the fascists living in his hometown—an act heralded by Pilar as his most courageous—was the “worst day” of his life until the fascists took back the town three days later. Pilar declares that the “depriving of life” is “a thing of ugliness but also a necessity to do if we are to win, and to preserve the Republic,” but Pablo feels that further destruction is useless, given the fascists’ strength—and that violence will only create more danger and suffering for the anti-fascists.

Though Jordan and El Sordo die as martyrs, while Pablo is branded a coward for his desertion of the guerillas, the novel refuses to condemn Pablo for failing to live up to the examples set by Jordan and El Sordo. All three men are deeply concerned with death and killing, and all are intent on surviving in some way, or easing the pain of death. Though El Sordo and Jordan face death with less fear than Pablo, who wishes desperately to return to an enjoyable, peaceful life, they are no less worried about the end of their lives than Pablo: both El Sordo and Jordan search for images of life to give them solace in the face of death (for El Sordo, the mountain landscape, and for Jordan, his love of Maria). Ultimately, Jordan confronts death peacefully, content with the life he has led and no longer concerned about his own “cowardice,” or his own inability to remain stoic in the midst of destruction and chaos. Using Jordan, El Sordo, Pablo, and Anselmo as examples, Hemingway argues that even emboldened fighters are not immune to the difficulty of maintaining courage, committing acts of violence, and facing certain death.

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Violence, Cowardice, and Death Quotes in For Whom the Bell Tolls

Below you will find the important quotes in For Whom the Bell Tolls related to the theme of Violence, Cowardice, and Death.
Chapter 1 Quotes

All the best ones, when you thought it over, were gay. It was much better to be gay and it was a sign of something too. It was like having immortality while you were still alive. That was a complicated one. There were not many of them left though. No, there were not many of the gay ones left. There were very damned few of them left. And if you keep on thinking like that, my boy, you won’t be left either. Turn off the thinking now, old timer, old comrade. You’re a bridgeblower now.

Related Characters: Robert Jordan / Roberto / The Young Man (speaker)
Related Symbols: The Bridge
Page Number: 17
Explanation and Analysis:
Chapter 4 Quotes

Robert Jordan […] saw also the wife of Pablo standing there and watched her blush proudly and soundly and healthily as the allegiances were given.

“I am for the Republic,” the woman of Pablo said happily. “And the Republic is the bridge.”

Related Characters: Pilar / Pablo’s Wife (speaker), Robert Jordan / Roberto / The Young Man, Pablo
Related Symbols: The Bridge
Page Number: 53
Explanation and Analysis:
Chapter 10 Quotes

“Do you ever go to Segovia?

Que va. With this face? This is a face that is known. How would you like to be ugly, beautiful one?” [Pilar] said to Maria.

“Thou art not ugly.”

Vamos, I’m not ugly. I was born ugly. All my life I have been ugly. You, Ingles, who know nothing about women. Do you know how an ugly woman feels? Do you know what it is to be ugly all your life and inside to feel that you are beautiful? It is very rare […] I would have made a good man, but I am all woman and all ugly. Yet many men have loved me and I have loved many men. It is curious.”

Related Characters: Maria (speaker), Pilar / Pablo’s Wife (speaker), Robert Jordan / Roberto / The Young Man
Page Number: 97
Explanation and Analysis:

Because the people of this town are as kind as they can be cruel and they have a natural sense of justice and a desire to do that which is right. But cruelty had entered into the lines and also drunkenness or the beginning of drunkenness and the lines were not as they were when Don Benito had come out. I do not know how it is in other countries, and no one cares more for the pleasure of drinking than I do, but in Spain drunkenness, when produced by other elements than wine, is a thing of great ugliness and the people do things that they would not have done.

Related Characters: Pilar / Pablo’s Wife (speaker), Robert Jordan / Roberto / The Young Man, Pablo, Don Benito Garcia
Page Number: 118
Explanation and Analysis:
Chapter 13 Quotes

[Robert Jordan] had gotten to be as bigoted and hide-bound about his politics as a hard-shelled Baptist and phrases like enemies of the people came into his mind without his much criticizing them in any way. Any sort of clichés both revolutionary and patriotic. His mind employed them without criticism. Of course they were true but it was too easy to be nimble about using them. […] Bigotry is an odd thing. To be bigoted you have to be absolutely sure that you are right and nothing makes that surety and righteousness like continence. Continence is the foe of heresy.

Related Characters: Robert Jordan / Roberto / The Young Man (speaker)
Page Number: 164
Explanation and Analysis:
Chapter 18 Quotes

But this is another wheel. This is like a wheel that goes up and around. It has been around twice now. It is a vast wheel, set at an angle, and each time it goes around and then is back to where it starts. One side is higher than the other and the sweep it makes lifts you back and down to where you started. There are no prizes either, [Robert Jordan] thought, and no one would choose to ride this wheel. You ride it each time and make the turn with no intention ever to have mounted. There is only one turn; one large, elliptical, rising and falling turn and you are back where you have started. We are back again now, he thought, and nothing is settled.

Related Characters: Robert Jordan / Roberto / The Young Man (speaker)
Page Number: 225
Explanation and Analysis:

In all that, in the fear that dries your mouth and your throat, in the smashed plaster dust and the sudden panic of a wall falling, collapsing in the flash and roar of a shellburst, clearing the gun, dragging those away who had been serving it, lying face downward and covered with rubble, your head behind the shield working on a stoppage, getting the broken case out, straightening the belt again, you now lying straight behind the shield, the gun searching the roadside again; you did the thing there was to do and knew that you were right. You learned the dry-mouthed, fear-purged, purging ecstasy of battle and you fought that summer and that fall for all the poor in the world, against all tyranny, for all the things that you believed and for the new world you had been educated into.

Related Characters: Robert Jordan / Roberto / The Young Man (speaker)
Page Number: 236
Explanation and Analysis:
Chapter 23 Quotes

Yes, Robert Jordan thought. We do it [killing] coldly but they do not, nor ever have. It is their extra sacrament. […] They are the people of the Auto de Fé; the act of faith. Killing is something one must do, but ours are different from theirs. And you, he thought, you have never been corrupted by it? […] admit that you have liked to kill as all who are soldiers by choice have enjoyed it at some time whether they lie about it or not.

Related Characters: Robert Jordan / Roberto / The Young Man (speaker)
Page Number: 287
Explanation and Analysis:
Chapter 26 Quotes

But you mustn’t believe in killing, he told himself. You must do it as a necessity but you must not believe in it. If you believe in it the whole thing is wrong. But how many do you suppose you have killed? I don’t know because I won’t keep track. But do you know? Yes. How many? You can’t be sure how many. Blowing the trains you kill many. Very many. But you can’t be sure. But of those you are sure of? More than twenty. And of those how many were real fascists? Two that I am sure of.

Related Characters: Robert Jordan / Roberto / The Young Man (speaker)
Page Number: 304
Explanation and Analysis:
Chapter 30 Quotes

[Robert Jordan] had put the gun back in the drawer in the cabinet where it belonged, but the next day he took it out and he had ridden up to the top of the high country above Red Lodge, with Chub, where they had built the road to Cooke City now over the pass and across the Bear Tooth plateau, and up there where the wind was thin and there was snow all summer on the hills they had stopped by the lake which was supposed to be eight hundred feet deep and was a deep green color, and Chub held the two horses and he climbed out on a rock and leaned over and saw his face in the still water, and saw himself holding the gun, and then he dropped it, holding it by the muzzle, and saw it go down making bubbles until it was just as big as a watch charm in that clear water, and then it was out of sight.

Related Characters: Robert Jordan / Roberto / The Young Man (speaker), Chub
Page Number: 337
Explanation and Analysis:
Chapter 31 Quotes

There is no finer and no worse people in the world. No kinder people and no crueler. And who understands them? Not me, because if I did I would forgive it all. To understand is to forgive. That’s not true. Forgiveness has been exaggerated. Forgiveness is a Christian idea and Spain has never been a Christian country […] This was the only country that the reformation never reached. They were paying for the Inquisition now, all right.

Related Characters: Robert Jordan / Roberto / The Young Man (speaker)
Page Number: 355
Explanation and Analysis:
Chapter 37 Quotes

If I die on this day it is a waste because I know a few things now. I wonder if you only learn them now because you are oversensitized because of the shortness of the time? There is no such thing as a shortness of time, though. You should have sense enough to know that too. I have been all my life in these hills since I have been here. Anselmo is my oldest friend. I know him better than I know Charles, than I know Chub, than I know Guy, than I know Mike, and I know them well. Agustin, with his vile mouth, is my brother, and I never had a brother. Maria is my true love and my wife. I never had a true love. I never had a wife. She is also my sister, and I never had a sister, and my daughter, and I never will have a daughter. I hate to leave a thing that is so good.

Related Characters: Robert Jordan / Roberto / The Young Man (speaker), Maria, Anselmo / The Older Man, Agustin, Chub
Related Symbols: The Hills and Mountains
Page Number: 381
Explanation and Analysis:
Chapter 39 Quotes

This was the greatest gift that he had, the talent that fitted him for war; that ability not to ignore but to despise whatever bad ending there could be. This quality was destroyed by too much responsibility for others or the necessity of undertaking something ill planned or badly conceived. For in such things the bad ending, failure, could not be ignored. It was not simply a possibility of harm to one’s self, which could be ignored. He knew he himself was nothing, and he knew death was nothing.

Related Characters: Robert Jordan / Roberto / The Young Man (speaker)
Page Number: 393
Explanation and Analysis:
Chapter 43 Quotes

“There is no good-by, guapa, because we are not apart. That it should be good in the Gredos. Go now. Go good. Nay,” [Robert Jordan] spoke now still calmly and reasonably as Pilar walked the girl along. “Do not turn around. Put thy foot in. Yes. Thy foot in. Help her up,” he said to Pilar. “Get her in the saddle. Swing up now.” He turned his head, sweating, and looked down the slope, then back toward where the girl was in the saddle with Pilar by her and Pablo just behind. “Now go,” he said. “Go.”

Related Characters: Robert Jordan / Roberto / The Young Man (speaker), Maria, Pilar / Pablo’s Wife, Pablo
Page Number: 464
Explanation and Analysis:

Lieutenant Berrendo, watching the trail, came riding up, his thin face serious and grave. His submachine gun lay across his saddle in the crook of his left arm. Robert Jordan lay behind the tree, holding onto himself very carefully and delicately to keep his hands steady. He was waiting until the officer reached the sunlit place where the first trees of the pine forest joined the green slope of the meadow. He could feel his heart beating against the pine needle floor of the forest.

Related Characters: Robert Jordan / Roberto / The Young Man, Lieutenant Paco Berrendo
Page Number: 471
Explanation and Analysis: