Abstract This paper examines the way in which Hemingway uses Christ imagery to characterize Santiago in his novel, "The OldMan and the Sea." The paper explains how Hemingway emphasizes the power of suffering.
From the Paper "On the surface Ernest Hemingway's novella "The Old Man and the Sea" appears to be a rather simple story about an old fisherman and his struggles on the open sea. If one delves deeper into the narrative, however, it becomes apparent that Hemingway's intent is much more complex. Indeed the way in which the author utilizes religious symbolism within the novella works to effectively convey his main theme, namely, man's ability to endure through hardships and the nobility of such struggles."
Tags: hemingway, oldman and the sea, santiago, christ, crucifixion, religious, symbolism, suffering, sacrifice, nobility
Abstract This paper explains that, in "The OldMan and the Sea", Hemingway uses symbolism: The sea itself, the birds and the fish, which the protagonist Santiago finally catches. The author points out that the birds, which are Santiago's friends, dive and plunge for the fish thus showing him where the fish are. The paper relates that the old fisherman's frustration turns to elation when the "big fish" finally does bite, next begins the symbolic and real struggle between the oldman and the sea and, finally, Santiago has his long-sought gift from the sea, the fish, his prize for respectfully honoring the sea and for all his endurance of her fickle and unpredictable nature.
From the Paper "On the other hand, Santiago seems to identify closely with the birds he sees on the ocean, who appear small and powerless, like himself, except for the "robber birds" (29) which are perhaps equivalent to some of the other, more aggressive fishermen, who also lack Santiago's abiding reverence for the sea itself. He was "sorry for the birds, especially the small delicate dark terns that were always flying and looking and almost never finding . . . the birds have a harder life than we do except for the robber birds and the heavy strong ones" (29). Some of the younger fishermen behave much like the "robber birds", stealing irreverently from the sea, and thinking of the sea as a competitor rather than as a woman to love, as Santiago himself does."
Abstract This paper introduces, discusses and analyzes the novel "The OldMan and the Sea" by Ernest Hemingway. Specifically, the paper focuses on the theme of religion and spiritualism in the novel. According to the paper, at first glance Hemingway's novel may simply seem to be the story of an oldman's quest for a giant fish off the coast of Cuba. The paper then goes on to explain that the story really tells a tale of brotherhood, courage, and a sense of spirituality and belief that carries the man through his lengthy battle with the marlin.
From the Paper "Some critics even equate Santiago with Christ, as another critic notes. He writes, "A great deal of scholarship interprets Hemingway's 1952 novel in terms of Christian symbolism, with Santiago representing at times a Christ-figure, a failed Christ-figure, or a simple apostle wrestling, like Thomas, with doubt" (Waggoner 1998). Santiago does seem larger than life in the novel, and his three-day fight with the fish would certainly kill a lesser man. Perhaps Hemingway did see Santiago as a Christ-like figure. At any rate, reading this novel with an eye for meaning and symbolism gives added depth to an already great work, and makes Santiago even more sympathetic and appealing."
Tags: Santiago, fishing, fish, catch, sea, village, marlin, battle
Abstract This paper analyzes Earnest Hemingway's "The OldMan and the Sea" about the troubles and the travails that the oldman is willing to face to restore his lost pride. It shows how with only a very few characters and no real plot Hemingway has managed to evolve a novel rich in themes and symbolic import. It discusses how pride and self respect are the motivating factors and the driving force that propels the oldman to fight it out in the face of adversity and that the essential theme of this novel is that man is not honored by victory alone rather honor comes from the resoluteness of purpose and perseverance.
From the Paper "The Marlin (the big catch) in the sea represents the cherished goal (wealth, fame or any other thing) that people go after. Just like Santiago the Marlin also symbolizes valor. It does not meekly succumb but puts up a great fight against the old man. Even the old man acknowledges the bravery of the Marlin when he states it as a brave opponent. The Marlin symbolizes or represents the cherished accomplishment or the achievement of man. If we take a slightly different viewpoint we can also ascribe a different symbolic meaning. It is generally perceived in the literary circles that Hemingway was constantly bogged by literary critics and even under these adverse circumstances he managed to hold on to his gifted art. (Of writing). Now if we look under this pretext we can easily infer that the Marlin represents the "ART" and the sharks that try to eat away the Marlin represent the critics who were cynical to Hemingway's literary creations. The triumph of the old man implies the triumph of Hemingway in the world of literature. "
Abstract This paper relates that the conclusion of Hemingway's "The OldMan and the Sea" represents a physical defeat for Santiago the fisherman but a psychological victory for Santiago the man. The author points out that, although this story is set in an obscure Cuban fishing village, it contains universal psychological relevance about humanity's struggle against forces greater than itself and against itself. The paper relates that psychologically, as Samtoago struggles with the fish, just as the sea is a woman in Santiago's mind, the fish is a man, and his struggle with it becomes a sort of man to man, "mano a mano" (hand-to-hand) struggle.
From the Paper "The sea is an impetuous woman, and this huge fish represents, for Santiago, his long-sought gift from the sea, Santiago's prize for respectfully honoring the sea, and for all his endurance of her fickle and unpredictable nature. Now all is well. He will bring home a big fish, bigger than anyone else's, especially the younger show-off fishermen who do not respect the sea as he does, and his patience with his beloved woman, the sea, will at last be rewarded. The other fishermen will not laugh at him again, and the boy's parents will no longer consider Santiago's fishing boat a bad luck boat, and will let the boy come fishing with him again."
Abstract "The OldMan and the Sea" by Ernest Hemingway is marvelous piece of writing basically because of its lucidity and simplicity. Yet the story contains important messages and philosophies, which can only be read between the lines and through close analysis of Santiago's monologues, daydreams, and thoughts. The paper points out that one message, which consistently runs throughout the novel and is repeatedly highlighted, is that man must continuously fight against unfavorable forces, even if he is certain of the futility of his struggle.
From the Paper "While Santiago is an old man with hardly any real strength left, he must battle both physically and mentally against external forces that have lately been very unkind to him. The old man is pitted against the sea, which symbolizes a great force and sea life as allies of that force, and while Santiago knows that he may not succeed, he is required to continue fighting. This continuous struggle is in line with Christian belief that despair is unforgivable. He watched only the forward part of the fish and some of his hope returned."
Abstract This paper examines the core themes of Ernest Hemingway's "The OldMan and the Sea" by exploring the theme of naturalism, Santiago and the Grail Myth, and Santiago as a Christ figure.
Abstract This paper discusses the book, "The OldMan and the Sea," by Ernest Hemingway. The paper analyzes many articles and the book to show the symbolism of the protagonist's actions and the environment around him. The paper explores how Hemingway utilizes the heroic qualities of Santiago and the religious symbolism in this novella to depict a tone of isolation.
From the Paper "With every "thrust of the blades in the water" (30) Santiago cuts himself off from the world. "The old man knew he was going out far, and he left the smell of the land behind and rowed out into the clean early morning smell of the ocean" (31). These passages from Ernest Hemingway's The Old Man and the Sea express the triumphant yet tragic story of an old fisherman and his ultimate trial, a harsh, distressing battle with a Giant Marlin far of the coast of Cuba. This novella has the simplicity of a fable, the significance of a parable, and the drama of an epic (Macmillan cover). After leaving the mainland, Santiago starts his solitary quest for the big fish."
Abstract "The OldMan by the Sea" by Ernest Hemingway is the story of a rejected and failing fisherman, Santiago and the young boy who believes in him, Manolin. This paper examines how through the interactions of these characters and Santiago's personal struggle, Hemingway makes important points about people and life, ultimately delivering a positive message about the ability of every person to fight their own personal struggles and win.
From the Paper "The relationship between Santiago and Manolin is important to The Old Man and the Sea, and it is observed that there is a strong bond between the two. Santiago is the failing fisherman that has been rejected by everyone else. To him, Manolin is his only friend. Manolin himself is not rejected and he has other people in his life, but Santiago remains very special to him. This makes The Old Man and the Sea partly the story of a strong character seeing more than everyone else does and remaining devoted to a person everyone else sees as an outcast. Manolin has the unique ability to see beyond appearances and other people's perceptions and to form his own view."
Abstract This paper discusses the idea of grace under pressure, of which author Ernest Hemingway spent a career espousing through characters in his various novels and short stories. The paper reviews the story "The OldMan and The Sea" and studies the main character, Santiago, a fisherman down on his luck. It talks of how Santiago, despite his setbacks and physical limitations that age imposed on him, still approached each new day of fishing with cheer; a sign of grace under pressure.
From the Paper "Had the novel ended with the marlin's final submission, the extent of Santiago's true character may have never been revealed. It is not until he wages battle against the scavenger sharks that the reader is able to see the greatest example of grace under pressure. What makes the tale of Santiago's battle with the shark so significant an example of grace under pressure is not the fact that he show's great determination or pride. Certainly, both of these attributes were on display in earlier parts of the novel. It is the fact that his determination and pride remain in tact in the face of what he knows are insurmountable odds. His hope waned because he knew that he was too far from the shore and that he was ill-equipped to fight off the great number of sharks that would follow the blood trail being left by the great fish."
Abstract This paper explains that Gabriel Garcia Marquez's poem "A Very OldMan With Enormous Wings" has strong associative undercurrents linking it with ideas of Carl Jung; the embodiment of Jung's archetype of the shadow is presented in the character of the angel. The author points out that the influence of Jung can be witnessed in the opening of the poem, which is taken from Jung's writings that, only by difficult inner work, painstaking analysis and effort can humanity transcend the deep unconscious impulses of the shadow thereby avoiding neurosis and uniting the psyche in wholeness. The paper relates that Marquez's frequent referral to shipwrecks denotes that, the actual turbulence and destruction of the sea (strongly associated with the emotions) can wreak havoc on the ships (designating the ego) and the shore soon becomes the province of treasure.
From the Paper "Jung and his adherents theorized that the shadow was an inevitable result of the light shed by the consciousness of one's ego, and though unpleasant to acknowledge, all people have unpleasant, unacceptable, inferior impulses that comprise the shadow. Though mostly enacted unconsciously or deeply repressed, these qualities are abundantly evident in every daily newscast, and help one to understand cruelty, war, injustices of all labels and rationalizations. Our shadow side is balanced by the self, a concept that goes beyond our own innate ego consciousness, but according to Jung encompasses our collective unconscious, and the opposite sex reflection of ourselves, which he termed anima and animus (the subconscious balancing of the ego by traits and aspects characteristic of the opposite sex). In "A Very Old Man...", Pelayo is the embodiment of the male archetype, Elisenda, the female, both have aspects of the anima and animus, and the newborn child serves as the Divine Child archetype.The fortuitous arrival of the angel reflects the transformation that can be undergone if the shadow side is not only recognized, but embraced."
Abstract The paper discusses Junichiro Tanizaki's "Diary of a Mad OldMan" in relation to several articles from literary criticism which pertain to narrative styles motifs and the admixture of memory and consciousness that first person styles so often impart. The paper describes the narrator as a 77 year old educated Japanese man who develops a near fetish for his son's wife, a former showgirl. He was born in the later 19th century and has thus seen Japan combine the very old and garish Western influences. The paper includes some commentary on presentations of women and on how the narrator regards himself and the author's ability.
From the Paper "Junichiro Tanizaki's "Diary of a Mad Old Man," in some respects, is a reflection of the author's own experience of how Western influence in Japan, through the later 19th and early 20th centuries, had combined with the tradition of centuries. (2004) The novel discusses a taboo but human subject of geriatric sexuality and this is done in a style to remind the reader of Japan's long tradition of story telling, in what is also an experiment in narrative. It is helpful to know that Tanizaki's own background was cultured."
Abstract This paper introduces five different reviews of the short story "A Very OldMan with Enormous Wings" by Gabriel Garcia Marquez which is set in a poor South American village and which discusses various themes and purposes for the readers. Three of the analyses examine the theme of magical realism in the story and one discusses the political allegory that Marques utilizes to express his political thoughts about Colombia. The last analysis is a discussion of how the existence of poverty in the story, reinforces the fact that the people depended heavily on religion and "folklore" in order to understand the sudden descent of an angel to their village.
From the Paper "After formally defining the term Magic Realism, Gioia provides further historical background about the nature of this new genre in fiction, and finally starts analyzing the short story (A Very Old Man with Enormous Wings) by providing a brief summary of it. Gioia's analysis of the story focuses on how the magic and the real are blended or fused together in order to come up with an interesting and good story. The author criticizes that Marquez's realistic characters are ?positively drab,? and that his style of narration is ?impersonal,? similar to that of ?a newspaper article, and as a episodic as a legend.? Gioia states that the story's impersonal style of narration gives Marquez an air of detachment with the story."
Abstract This paper reviews the short story "A Very OldMan With Enormous Wings" by Gabriel Garcia Marquez about a poor couple who live with their son in a poor South American village, who come upon an angel lying on the ground. It shows how the plot is unique because it is grounded in reality yet Marquez also introduces magical realism as a form of sublimity. It examines how Marquez's imagery comes into play because it is key to how he wishes the plot of unfolded. It considers how he deliberately makes the angel ungainly and ugly so that he can justify behavior of the villagers towards the angel and how Marquez presents to the reader a magical journey with overtones based in realism that everyone can identify with. Parallels are made between the novel and magical nature reminiscent of Franz Kafka's short story, "The Metamorphosis."
From the Paper "The angel also does nothing angelic. He behaves almost like an old man?crotchety, senile and ill. But in the grand scheme his fortuitous discovery by Pelayo and Elisanda near their home brings them fortunes. The angel takes nothing. He however, gives them riches beyond their earning capacities. At the end, the family reaches a level of comfort with the angel. After initial misgivings, they trust their child with him. When the angel finally leaves, one does not know if they miss him. The story ends as it begins. The angel enters a slice of life of the village and the family of Pelayo and leaves it a little richer but without any other significant change."
Abstract This paper examines the nature and meaning of faith as a theme as well as the literary technique of magical realism Gabriel Garcia Marquez's short story, "A Very OldMan with Enormous Wings". It concludes that Marquez seems to value innocent faith more than the authority that organized religion emphasizes and that his angel and his flawed miracles reflect the primacy of faith over organized religion.
From the Paper "The villagers' reaction to their celestial visitor incorporates a second layer of unreality on the angel's magical appearance. Confronted for the first time by a heavenly apparition, the villagers decide, "against the judgment of the wise neighbor woman, [that] they did not have the heart to club him to death." Instead, "Pelayo watched over him all afternoon from the kitchen, armed with his bailiff's club, and before going to bed he dragged him out of the mud and locked him up with the hens in the wire chicken coop." The villagers' initial reaction to the Old Man, like that of Pelayo, shows a definite lack of faith in his provenance and intentions."
