Ernest Hemingway's short story "Hills Like White Elephants" is a masterclass in concision and subtext, presenting a seemingly simple conversation between an American man and a girl named Jig at a Spanish train station. Beneath the surface of their dialogue about drinks and the surrounding landscape lies a profound exploration of a critical juncture in their relationship: the decision about an abortion. Hemingway masterfully employs symbolism to convey the unspoken tensions, the characters' differing desires, and the weighty implications of their choices. The "hills like white elephants," the sterile train station setting, and the contrasting drinks all serve as potent symbols that illuminate the central conflict, revealing the emotional and existential chasm separating the couple.
The most prominent symbol, the "hills like white elephants," introduces the story's thematic ambiguity and Jig's evolving perspective. When Jig first observes the hills, she remarks, "They look like white elephants." This initial comparison carries multiple layers of meaning. White elephants are traditionally rare, precious, and burdensome, often gifted to rulers as a symbol of power but also a financial drain. For Jig, the hills might represent the potential child – a precious, life-altering reality that the American sees as a burden, a drain on their carefree, nomadic lifestyle. Her subsequent withdrawal of the comparison ("And anyway, I just meant the hills. They don't really look like white elephants. I just said so.") signals a shift. She is beginning to internalize the American's perspective, or perhaps she is realizing the futility of articulating her own desires to him. The hills, initially a point of shared observation, become a screen onto which she projects her anxieties and hopes, only to retract them as the conversation progresses. Later, as the landscape shifts, she notes the hills are "all brown." This transformation mirrors the dying of her initial hopeful, albeit uncertain, sentiment towards the pregnancy. The brown, barren landscape reflects the American's desire for a return to their former life, devoid of the "complication" of a child.
The setting of the train station itself functions as a powerful symbol of the couple's liminal state. They are literally at a crossroads, waiting for a train that will take them to different destinations – the American to Madrid, and Jig's potential destination unstated, but implicitly tied to the procedure. The station, situated between two lines of tracks, embodies their relationship: poised between a shared past and an uncertain future, caught between the desire for continuation and the impulse for termination. The description of the station as having "a curtain, wonderful to shadow the heat" and "two apparatums, one on each side, for filling water bottles" highlights its functional, sterile nature. It is a place of transit, not of permanence or comfort. The "hot" and "dry" air further emphasizes the arid emotional climate of their exchange. The station is a place where decisions are made, but it offers no solace or warmth, reflecting the transactional and emotionally charged nature of their discussion. The barrenness of the landscape surrounding the station, contrasted with the fertile possibility represented by the "white elephants," underscores the stark choice before them.
Finally, the symbolic significance of the drinks they consume cannot be overlooked. The American orders "two Anis del Toro." Anisette is a strong, anise-flavored liqueur, known for its potency and often associated with a certain decadence or escapism. The act of drinking itself becomes a way for the characters to navigate their discomfort and avoid direct confrontation. The American insists that the procedure is "perfectly simple" and "not really an operation at all," urging Jig to drink to "feel better." This encourages a reliance on external aids to numb their feelings and evade the gravity of the situation. Jig's increasing intoxication can be seen as a metaphor for her own struggle to confront reality. She drinks, then looks at the hills, then drinks more. The dialogue about the drinks is a proxy for their argument. He wants her to drink and agree, to numb herself to the idea of the abortion and accept his reassurance. She drinks, perhaps to gain courage, perhaps to escape the unbearable reality, or perhaps to prolong the moment before a decision is made. The "ebony trees" and "fields of grain" seen from the train also serve as subtle symbols of fertility and life, which Jig observes and which the American dismisses.
In conclusion, Ernest Hemingway’s "Hills Like White Elephants" uses a rich tapestry of symbols to explore the profound unspoken conflict at the heart of the story. The ephemeral "hills like white elephants," the sterile and liminal train station, and the potent alcoholic drinks all contribute to a layered narrative that transcends simple dialogue. Through these symbolic elements, Hemingway masterfully reveals the characters' internal struggles, their differing perceptions of life and responsibility, and the ultimate tragedy of their inability to truly connect or communicate their deepest desires, leaving the reader to ponder the enduring consequences of their choice.