Interpretation of literary

The factual information (i.e. the plot) of the story is on the surface of it. The narrator is a wounded soldier who takes a cure at •he Milan hospital among a group of other patient soldiers.

He describes them, three young boys with medals, and middle-aged major "who had a little hand like a baby's". While sitting in machine, the narrator was speaking to the major in Italian in order to improve his grammar. One day he came to know that the major's wife, who was very young and whom be had not married until he was dcfinity invalided out of the war, had died of pneumonia. No one expected her to (lie. The major did not come to the hospital for 3 days. When he came hack, there were photographs around the wall, demonstrating the possibilities of the machine to restore the hands like this. But he only looked out of the window.

3. 
   The composition of the story is very simple, though in some way it deviates from the traditional model: it has no exposition, prologue, or the beginning of the plot. The story begins from, the middle: "In the fall off the war was always there but we did not go
   

to it any more"-as if the reader is aware o the place (there), personages (we), or of their previous participation in the war actions ("did not go to it any more"). So, the story has the implication of the precedence and begins with the development of the plot. Climax of the story is reached when the major says: "I wouldn’t be rude.
My wife has just died". The following conclusive passage of the story can hardly be regarded as the denouement or the end of the story. The story has an open ending very typical of Hemingway's style of writing so the reader is supposed to be sufficiently trained •and attentive to discover the implied meaning.

4. 
   The shapes of prose, used by the author, are as follows: nar- ration, description, the elements of dialogue and monologue.
   
5. 
   The conceptual information of the text is much more important than the factual one. It can be revealed by picking out from the text its most essentional categories, such as:
   
6. 
   1) the Text Categories of Modality and Implication.
   

The story is told in the name of the author and seems to be an autobiographical one. The narrator's attitude to the described events and personages is never expressed explicitly but always hidden. Hemingway avoids straight-forward evaluations, never characterizes the peraconnages directly, but only through depiction of their actions, some details, i.e., through different kinds of artistic details: depicting, authentic, implicit.
Depicting details: "It was cold in the fall in Milan and the dark] came very early. "The wind blew their tails.., small birds blew in] the
wind and the wind turned their featheres. It was a cold fall and] the wind came down from the mountain".
The constant, persist ant repetition of depicting details "cold", "wind", "blew" at the opening passage creates the atmosphere of alarmed tension.
The next passage: "We were all at the hospital every afternoon". . . abounds in a number of implicit details, unmasking of which proves our idea of "expectation something wrong".
The word "hospital" implies that all those "we" are the soldiers wounded at the war. Wounded seriously, so "they need to be at the hospital every afternoon". The word combination "usual funerals' implies that not all of these soldiers might happily be recovered. A¹ their hopes are concentrated "in the machines that were to make so much difference "—that is, to return them health and mobility.