This also means that there is no limit to the duration of an individual′s initiation and, first of all, that one cannot find a certain moment of conclusion of this process (Freese 135). This fact should be kept in mind for the analysis of the Hemingway′s stories. .
In his work about stories of initiation, Marcus offers a provisional working definition which contains the above mentioned aspects:.
An initiation story may be said to show its young protagonist experiencing a significant change of knowledge about the world or himself, or a change of character, or of both, and this change must point or lead him towards an adult world. It may or may not contain some form of ritual, but it should give some evidence that the change is at least likely to have permanent effects. (192).
2.2.2 The aspect of movement in stories of initiation .
The aspect of movement plays an important role in many stories dealing with the initiation theme. Often, the inner process of initiation, the gaining of experience and insight, is depicted as a physical movement, a journey. This symbolic trip of the protagonist additionally supports the three-part structure, which is usually found in initiation stories. .
The three-part structure of initiation can shortly be described as the three stages of `innocence′ - `experience′ - `maturity′ (Muller 41). The motive of the journey reflects this structure, as the innocent protagonist leaves home (i.e. the secure place of childhood), is confronted with new situations, places and people on his journey and returns back home as a `new man′ himself, in a more mature state of mind (Freese 89).
2.2.3 The aspect of effect in stories of initiation .
Marcus suggests another classification of initiation in fictional texts "according to their power and effect" (192). He presents three types of initiation which help to analyze stories dealing with this topic:.
First, some initiations lead only to the threshold of maturity and understanding, but do not definitely cross it.