31 pages • 1 hour read
Ernest HemingwayA Day's Wait
Fiction | Short Story | Adult | Published in 1933A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Themes
Heroic Fatalism
Heroic fatalism, also called fatalistic heroism, is a common theme in Hemingway’s works. Fatalism is the idea that all things, particularly death, are up to fate and therefore predestined and unavoidable. Heroic fatalism posits that because death and other circumstances are unavoidable, they should be met with grace and dignity. There’s no crying about one’s fate in heroic fatalism.
Schatz, in “A Day’s Wait,” embodies heroic fatalism. Even before he assumes that he’s dying, Schatz accepts his illness as part of life and merely goes about his day. He doesn’t wake his parents to ask them to close the windows; he does it himself. When his father points out that Schatz is sick and should go back to bed, Schatz insists that he’s fine. He then gets dressed and goes downstairs, despite “shivering” and walking “slowly, as though it ached to move” (Lines 2-3). Schatz is visibly struggling yet simply accepts it and moves on with his day without complaint.
This calm acceptance only continues when Schatz believes that he’s dying. Schatz’s prior education in France taught him that a human couldn’t live with a temperature over 44 degrees. Therefore, when he hears the doctor state that his temperature is 102, he immediately assumes that he’s going to die. While most nine-year-olds would probably cry or at least make a fuss, Schatz is more concerned about the others around him. For example, when Papa asks Schatz if he wants to be read aloud to, Schatz replies, “All right. If you want to” (Line 28). Later on, he tells his father, “You don’t have to stay in here with me, Papa, if it bothers you” (Line 42). This self-sacrifice continues when Papa leaves, and Schatz refuses to let anyone in his room, claiming, “You can’t come in [...] You mustn’t get what I have” (Line 65). In truth, this is the closest to an emotional outburst that Schatz gets during the story—and it’s out of concern for others, not fear of his own death.
Even when Schatz finally reveals his concern, he does so calmly. Schatz asks his father, “About how long will it be before I die?” (Line 88). This question reveals the misunderstandings, but Papa seems far more emotional than Schatz. When Papa finally explains the misunderstanding in a way that Schatz comprehends, the only thing that the boy says is, “Oh” (Line 102). Schatz’s actions throughout “A Day’s Wait” perfectly exemplify heroic fatalism. However, while Hemingway generally views heroic fatalism as the prime characteristic of masculinity, in this story, he seems to be pointing out some of its drawbacks. Although Schatz’s calm stoicism is admirable, he could have saved himself a day of emotional turmoil had he simply asked a question.
To a lesser degree, Papa demonstrates heroic fatalism in his role as narrator. He maintains a calm facade, though his actions indicate much concern. For example, he calls for a doctor as soon as he feels Schatz’s forehead. He writes down the times to give Schatz his pills and keeps track of his temperature. Despite his worry, he tries to keep Schatz calm by reading to him and encouraging him to sleep. Papa goes out hunting, ostensibly to take his mind off of Schatz’s illness. When Schatz’s fever goes up, he lies to his son to avoid worrying him. It is not until Schatz asks when he is going to die that Papa shows some emotion. Like Schatz, Papa has accepted Schatz’s illness as part of fate. Papa recognizes that he has little control over the situation. He’s simply trying to get through it with as much grace as possible.
Bravery and Manliness
“A Day’s Wait” is a story that brings up many questions. Specifically, it seems to focus on what it means to be brave and, through that bravery, what it means to be a man. Perhaps one of the story’s most notable features is its absence of women. While the story has few main characters, it seems odd that none of them is female, particularly considering that most of the story involves caregiving. As mentioned before, it would have been a woman’s role to take care of the children in a 1930s household. Even if the woman had several children and was trying to keep them separated to avoid infection, she’d still be the primary caregiver for all the children.
However, this isn’t the case in “A Day’s Wait.” Papa is Schatz’s primary caregiver. In fact, when a woman tries to take care of him, Schatz won’t let her (or others) enter the room lest she catch the illness. While this requires some inference, when Papa goes hunting, a woman is most likely left in charge of Schatz, as this statement implies: “At the house they said the boy had refused to let anyone come into the room” (Line 63). While we can’t be certain of who “they” are, most likely, they include a wife, nanny, or servant. Again, in the 1930s, these three roles were performed primarily by women. However, these women are barred from Schatz’s room and, likewise, the story. Whatever is happening, it concerns “men’s work,” according to Hemingway.
A big part of this work is silence. Despite his fears and his age, Schatz doesn’t complain about what he thinks is his upcoming death. He protects those around him and tries extremely hard not to bother others. While the reason for his behavior may be a misunderstanding, these actions are doubtlessly brave—far braver, in fact, than those of Papa. While his son grapples with perceived death, Papa pursues a more traditional masculine activity: hunting. He does a good job, managing to hit two quail despite less-than-favorable conditions. His attitude toward hunting likewise suits Hemingway’s masculine ideal. Rather than complaining about the ice, Papa continues on his hunt and returns home happy that he has more to hunt in the future.
However manly Papa’s actions are, though, his son is the braver of the two in the story. Papa’s temper begins to fray, while Schatz remains calm. Schatz protects his family, however misguided, while Papa leaves. Schatz’s bravery, even if misplaced, makes him truly a man in Hemingway’s eyes.
Miscommunication and Lack of Communication
The plot in “A Day’s Wait” centers on Schatz’s misunderstanding the difference between Celsius and Fahrenheit because no one ever told him about it. Schatz carries no responsibility for this misunderstanding. He’s only nine, and his education has taken place overseas. However, the entire misunderstanding could have been avoided had either the doctor or Papa talked to Schatz about his illness. Instead, they try to shield the boy from worry, ultimately exacerbating Schatz’s worries.
Throughout the story, Schatz is portrayed as a selfless, mature, and responsible boy. However, Papa goes out of his way to conceal information about Schatz’s illness and care from him, though Schatz certainly could have handled monitoring his own temperature at least. Most of Papa’s interactions with Schatz involve him trying to soothe and calm the boy—but Papa’s words and actions have the opposite effect because of miscommunication.
For example, when Papa asks Schatz if he wants him to read a story, Schatz says, “All right. If you want to” (Line 28). Papa reads to Schatz, thinking that will help soothe the boy. Schatz, however, has no interest in being read to and most likely thought that action would comfort his father. Schatz probably assumes that Papa is trying to spend time with him before he dies. The original miscommunication leads to a misunderstanding in which both characters do something they don’t want to do to help comfort the other.
The miscommunications only continue in this scene. Papa tells Schatz to go to sleep, and Schatz replies that he’d rather stay awake. Papa is utterly confused by this because “[i]t would have been natural for him to go to sleep” (Lines 36-37). Papa doesn’t understand the boy’s refusal to sleep but, even worse, doesn’t question him about it. Schatz, conversely, is trying to savor what he thinks are his last moments alive but likewise doesn’t communicate that to his father. Schatz continues the miscommunication by telling Papa that he needn’t stay if it bothers him. While this is a selfless act on Schatz’s part, Papa leaves the room because he thinks Schatz is light-headed from fever and needs to sleep. Papa is trying to give Schatz space so that he can rest, and Schatz doesn’t want his father to feel uncomfortable at his deathbed.
Both Schatz and his father are trying to help the other, but their inability to communicate effectively leads both to be upset. This misunderstanding is particularly tragic, as Schatz must feel as though he has been abandoned while he’s dying. Although the numerous misunderstandings are eventually solved, Schatz’s emotional turmoil was unnecessary and could have been alleviated had either the doctor or Papa respected the patient enough to include him in his treatment plan.
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By Ernest Hemingway
