The waiter watched him go down the street, a very old man walking unsteadily but with dignity. A young waiter is angry; he wishes that the old man would leave so that he and an older waiter could close the cafe and go home.
The truth is buried underneath the storythe emotional darkness, eventual isolation, and existential depression caused by the nada, the nothingness.
In fact, many believe that the major thematic concern of the story is the conflict between generations. Give us this nada our daily nada and nada us our nada as we nada our nadas and nada us not into nada but deliver us from nada; pues nada. He knows what it is to feel emptiness, to live on a deserted island.
After the waiters watch a young man and woman pass on the street, the young waiter serves the old customer another brandy and voices his impatience to the old waiter, complaining that the old man is keeping him from his warm bed and the comfort of his wife.
I am all confidence. Nor can you stand before a bar with dignity although that is all that is provided for these hours. The older waiter points out that he also has youth and a job, whereas the older waiter has only a job.
The younger waiter says he has confidence. This is not much — this aged scrap of human dignity — in the face of the human condition of nothingness, but, Hemingway is saying, sometimes it is all that we have. The younger waiter asks why she got him down, and the older waiter says they were concerned about his soul.
However, the author shows a way to escape the pain of "nada. And when the young waiter says that old men are nasty, the old waiter does not deny the general truth of this statement, but he does come to the defense of the old man by pointing out that this particular old man is clean and that he likes to drink brandy in a clean, well-lighted place.
The younger waiter says he wants to go home, and the older waiter remarks that they are very different. Instead, he theorized that Hemingway utilized anti-metronomic dialogue—allowing a character to speak consecutive lines of dialogue in a few places.
When the old man leaves, the waiters close the cafe. When the old man gestures for another brandy, the young waiter tells him that it is closing time. Until then, he must try to cope bravely with the dark nothingness of the night. The older waiter can only utter the following prayer: The older waiter points out that the old man is clean and drinks neatly.
How is that person able to avoid the darkness of nada, or nothingness? He is alone, he is isolated, sitting in the shadow left by nature in the modern, artificial world.
They went by five minutes ago.
I wish he would go home. Initially, however, the comments of both waiters concerning a passing soldier and a young girl seem very much alike; they both seem to be cynical.
After the old man pays his bill and leaves, the old waiter chides the young waiter for his lack of patience and empathy for the old man. The barman looked at him but did not answer. Hemingway himself suffered severe bouts of insomnia, feeling alone and deserted in the universe.
He has no regard for those who must work. What Hemingway is saying is this: When the old waiter asks why the old man tried to commit suicide, the young waiter tells him that the old man was consumed by despair.
You do not want music. Sleep is hours away.In "A Clean, Well-Lighted Place," the young waiter says "an old man is (complete the sentence)".
"A Clean, Well-Lighted Place" is a short story by Ernest Hemingway that was first published in A short summary of Ernest Hemingway's A Clean, Well-Lighted Place.
This free synopsis covers all the crucial plot points of A Clean, Well-Lighted Place. ‘A Clean Well-Lighted Place’ is one of Ernest Hemingway's best-known and most often reprinted short stories; yet until very recently its text contained a.
Hemingway gives just the bare minimum of information in "A Clean Well-Lighted Place." He leaves the readers with nothing so as to help them feel the "nada" and understand the connections between emotional darkness, isolation, and existential depression.
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