For Whom the Bell Tolls

by

Ernest Hemingway

For Whom the Bell Tolls: Chapter 2 Summary & Analysis

Summary
Analysis
Anselmo, Pablo, and Jordan come up to the “cup-shaped upper end” of a valley and see the camp in front of a large cave. A Roma man (described as a “gypsy” throughout) is sitting in front of the camp, cutting a stick with a knife, and he tells Robert Jordan not to leave his pack too close to the cave, since there is a fire inside. The man is making a figure four trap for foxes; Anselmo says that he tends to exaggerate about what he traps.
Throughout the novel, prejudice against Roma people (who are always called “gypsies” in the novel) is frequently alluded to and discussed: the Roma are viewed by the Spaniards as a dishonest people, suggesting the deep divisions in Spanish society.
Themes
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Robert Jordan promises to help the “gypsy” make a trap to catch a tank, and the man introduces himself as Rafael. Jordan opens one of the packs and gives Pablo some cigarettes. Pablo says that “the other with the rare name,” Kashkin, had the same kinds of cigarettes. As the men drink wine, Pablo asks how Kashkin died, and Jordan tells him that he was captured and killed himself. Jordan lies and says that he doesn’t know anything else, and Pablo recalls that he used to make them “promise to shoot him in case he were wounded,” and that he had “a prejudice against killing himself” and a “fear of being tortured.”
Kashkin, Robert Jordan’s predecessor, is portrayed as a strange, nervous, and fearful man. It is later revealed that he asked Robert Jordan to kill him when he was wounded in action, since he did not want to kill himself (as Pablo recalls). That Jordan is reluctant to reveal this information at first shows his discomfort with killing: he is not proud of the fact that he has killed a friend and ally.
Themes
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Robert Jordan says that Kashkin was crazy to have talked about asking for his own death. Pablo asks Jordan if he would be willing to be left behind if wounded in “such a thing as this bridge.” Jordan responds that if he ever has “any little favors to ask of any man,” he will “ask him at the right time.”
Pablo’s comment foreshadows what is to come at the end of the novel. Jordan will be wounded and left behind after the bridge offensive, though unlike Kashkin, he will not ask to be killed: instead, he will use his last moments to plan one last attack against the fascists.
Themes
Violence, Cowardice, and Death Theme Icon
A girl (Maria) emerges from the cave and greets them with a cooking platter. Robert Jordan notices her white teeth, brown face, skin, and hair, and her high cheekbones, merry eyes, and cropped hair. Jordan thinks that she would be beautiful if “they hadn’t cropped her hair” (referring to the fascists). The girl says that they gave her the haircut in Valladolid. She sits down and watches him, and he looks back at her, feeling a “thickness in his throat.”
Maria’s short hair, a result of the torture she received at the hands of the Falangists, is a source of insecurity for her throughout the novel: it suggests the loss of her femininity and demonstrates the violent cruelty of the war, especially against women. Robert Jordan’s views of women are rather problematic—he thinks of his past girlfriends as mere distractions and sexual objects—and thus, he sees Maria as somehow diminished because of her short hair. Still, he is instantly attracted to her.
Themes
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Violence, Cowardice, and Death Theme Icon
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The men eat their food silently, and the girl continues to watch Robert Jordan. He asks for her name, and she tells him that she is called Maria, and that she has been in the mountains for three months. Her hair was shaved in the prison at Valladolid; she was on the train being taken to the south, and though many prisoners were caught when the train was blown up, she was not. Rafael says that he found her after the explosion. Maria asks Jordan about the other foreigner who was with them at the train, and Jordan says that he died ten days after the train in April.
The train explosion three months before the events of the novel was the last large offensive that the guerillas launched before Robert Jordan’s bridge offensive. Though the guerillas’ efforts were successful, resulting in Maria’s rescue, war violence continues to haunt the fighters, namely Maria and Robert Jordan (who recalls Kashkin’s death with guilt).
Themes
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Jordan tells Maria that he has “done” three days in Estremadura, and that he has come to take the place of the “other blond one,” Kashkin. He says that he will learn this area quickly, since he has a good map and a good guide. Anselmo thanks him, and Jordan realizes that he and the girl are not alone, and that he has been ignoring the other men to speak with her: though it is Spanish custom to leave women alone, he does not care. He tells Maria that she has a very beautiful face and that he wishes he had seen her before her hair was cut. She says that it will grow out in six months. Jordan asks if she is Pablo or Rafael’s woman, but she is neither; Rafael calls her a “very strange woman.”
As with many Hemingway characters, Robert Jordan’s attitudes toward Maria are in many ways sexist—he tells her that she would be more beautiful with longer hair, and he remembers that women are not supposed to be treated as equals to men in Spanish society—but his immediate attraction to and interest in her is striking, given what he told Golz earlier about his perspective on women (that he “doesn’t have time for them” during the war).
Themes
Love in War Theme Icon
Maria says that she will be no one’s woman, including Robert Jordan’s, and he says that he has no time for any woman. Maria blushes and clears the table. Anselmo reveals that the group has seven members, with two women; the other woman, “Pablo’s mujer (woman), is in the cave. Rafael says that she is ugly and barbarous but brave. Anselmo replies that Pablo used to be brave, but he has become “flaccid,” and Rafael remarks that at the start of the movement, he killed more people than the typhoid fever. Pablo would like to retire like a matador (bullfighter), but he cannot, since if he becomes a Fascist, they will take his horses and conscript him.
Though Maria will come to be characterized by her passivity and subservience to Robert Jordan, her comments here reflect a fierce sense of independence—perhaps instilled in her by the similarly bold Pilar. By contrast, Pablo’s bravery has faded over time, though he was once known for his brutality. His only wish now is to retire and tend to his horses, but the conditions of war make that dream impossible.
Themes
Violence, Cowardice, and Death Theme Icon
There are two other fighters in the cave and two on guard with a gun. Jordan asks what kind of gun it is, but Rafael doesn’t know; he says it has “an infinity” of rounds, and Jordan tries to figure out what type it is. Jordan, Rafael, and Anselmo discuss machine guns, which fire continuously—unless you run out of ammunition or the weapon overheats, as Jordan says in English. Anselmo asks him what he said, but Jordan says it was “nothing”: he was only “looking into the future.” Rafael says that Pablo’s mujer can read palms, and Jordan asks to see her, though Rafael cautions him against it. He says she is of “gypsy” blood but is “against” gypsies, though she is sometimes kind to others (she treats Maria well).
Jordan pessimistically predicts that the machine gun may prove faulty, based on his own experience with the weapon. When he mentions the future, Rafael brings up Pilar (“the mujer of Pablo”) and her abilities to predict the future: though Pilar does predict the future, foretelling Jordan’s own death at the end of the novel, she chooses not to tell him about his fate, confirming the importance of living in the present. No matter what is to come, Jordan stays focused on his life in the present.
Themes
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Rafael recounts their rescue of Maria, telling Jordan that she refused to speak when they first found her, though lately, she has been better. Pablo’s wife tied a rope to Maria after they found her by the train, and when Maria refused to walk further, Pablo’s wife would beat her with the rope. The old woman, Rafael, and Pablo also took turns carrying Maria. Anselmo recollects the explosion of the train, and Rafael explains how they found Maria after a shoot-out.
Though Pilar’s actions toward Maria during her rescue seem cruel, it is clear that she had Maria’s best interests in mind. The guerillas chose to save Maria from a dangerous situation, and by beating her with the rope, Pilar forced her to keep moving forward, toward safety. The guerillas demonstrate courage and loyalty toward each other even in the midst of war and in the face of danger.
Themes
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Pablo’s wife emerges from the cage, cursing: she is wearing a peasant skirt, and her brown face looks “like a model for a granite monument.” She tells Rafael to send her Andrés and greets Robert Jordan kindly. Jordan tells her that he is an explosives expert like Kashkin, though he has come to blow up a bridge this time, not a train, and she recalls the explosion at the train with Kashkin. Jordan explains that the bridge is close, and the woman says that it is for the best, since she is sick of the place. She spots Pablo through the trees and calls him a drunkard, and then turns back to Jordan to tell him that she is pleased that he has come.
Though Robert Jordan’s status as a foreigner (an American) sets him apart from the rest of the guerillas, Pilar (Pablo’s wife) treats him with kindness and trusts his knowledge, helping him to integrate into the group and form connections with the guerillas.
Themes
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Pablo’s wife tells Jordan that Pablo was a very good man, but that now he is “terminated.” She tells him to be “good and careful” about Maria, since she has had a bad time, and that she “begins to be beautiful,” though she is not beautiful. Jordan tells her that there are homes on the coast near Valencia that will take care of Maria after the war is over. The woman asks to see Jordan’s palm, and after she looks at it, she drops it and stands up. He asks her what she saw in it, but she refuses to tell him.
Though Pilar is seemingly able to predict the future, she refuses to tell Robert Jordan what she has predicted for him (suggesting that what she has seen is not positive). Having little knowledge of what is to come, Jordan accepts the uncertainty of his future and focuses on the present throughout the novel.
Themes
The Eternality of the Present Theme Icon
Pablo’s wife says that they have five “good” men, since Rafael is worthless and she does not trust Pablo, and El Sordo, another leader of a guerrilla group and a “very practical man,” has eight. The woman thinks highly of El Sordo, and she reminds Jordan that after the bridge, the group must move down from the mountain. Jordan thanks her for her frank advice and goes to wake Anselmo to travel to El Sordo and discuss the operation with him.
Pilar proves herself to be the true leader of the group, endowed with more determination and organizational knowledge than Pablo, the self-proclaimed leader of the guerillas. Throughout the novel, Pilar’s loyalty, honesty, and dogged perseverance contrast with Pablo’s “cowardice,” untrustworthiness, and oppositional nature.
Themes
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