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The Old Man and the Sea

Ernest Hemingway

←Context→

Ernest Hemingway was born in Oak Park, Illinois, in 1899, the son of a o!tor an a m"si!tea!her# He began his writing !areer as a re$orter for the %ansas City Star. &t age eighteen, he'ol"nteere to ser'e as a (e Cross amb"lan!e ri'er in )orl )ar I an was sent to Italy,where he was baly in*"re by shra$nel# Hemingway later fi!tionali+e his ex$erien!e in Italy inwhat some !onsier his greatest no'el, A Farewell to Arms. In 191, Hemingway mo'e to Paris,where he ser'e as a !orres$onent for the -oronto Daily Star. In Paris, he fell in with a gro"$ of&meri!an an English ex$atriate writers that in!l"e .# /!ott .it+geral, E+ra Po"n, 0ertr"e

/tein, an .or aox .or# In the early 192s, Hemingway began to a!hie'e fame as a!hroni!ler of the isaffe!tion felt by many &meri!an yo"th after )orl )ar I3a generation ofyo"th whom /tein memorably "bbe the 45ost 0eneration#6 His no'els The Sun Also Rises 719 an A Farewell to Arms 7199 establishe him as a ominant literary 'oi!e of his time#His s$are, !harge style of writing was re'ol"tionary at the time an wo"l be imitate, for better or for worse, by generations of yo"ng writers to !ome#

&fter lea'ing Paris, Hemingway wrote on b"llfighting, $"blishe short stories an arti!les,!o'ere the /$anish Ci'il )ar as a *o"rnalist, an $"blishe his best:selling no'el, For Whom

the Bell Tolls 719;2# -hese $ie!es hel$e Hemingway b"il "$ the mythi! bree of mas!"linityfor whi!h he wishe to be known# His work an his life re'ol'e aro"n big:game h"nting,fishing, boxing, an b"llfighting, enea'ors that he trie to master as serio"sly as he i writing#In the 19<2s, Hemingway li'e in %ey )est, .loria, an later in C"ba, an his years ofex$erien!e fishing the 0"lf /tream an the Caribbean $ro'ie an essential ba!kgro"n for the'i'i es!ri$tions of the fisherman=s !raft in The Old Man and the Sea. In 19<, he wrote a $ie!efor Esquire abo"t a C"ban fisherman who was ragge o"t to sea by a great marlin, a game fishthat ty$i!ally weighs h"nres of $o"ns# /harks ha estroye the fisherman=s !at!h by thetime he was fo"n half:elirio"s by other fishermen# -his story seems an ob'io"s see for thetale of /antiago in The Old Man and the Sea. 

& great fan of baseball, Hemingway like to talk in the s$ort=s lingo, an by 19>, he baly4neee a win#6 His no'el Across the River and nto the Trees! $"blishe in 19>2, was a isaster#It was his first no'el in ten years, an he ha !laime to friens that it was his best yet# Criti!s,howe'er, isagree an !alle the work the worst thing Hemingway ha e'er written# anyreaers !laime it rea like a $aroy of Hemingway# -he !ontrol an $re!ision of his earlier $rose seeme to be lost beyon re!o'ery#

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-he h"ge s"!!ess of The Old Man and the Sea! $"blishe in 19>, was a m"!h:neee'ini!ation# -he no'ella won the 19>< P"lit+er Pri+e for .i!tion, an it likely !in!he the ?obelPri+e for Hemingway in 19>;, as it was !ite for $arti!"lar re!ognition by the ?obel &!aemy# Itwas the last no'el $"blishe in his lifetime#

&ltho"gh the no'ella hel$e to regenerate Hemingway=s wilting !areer, it has sin!e been met byi'ie !riti!al o$inion# )hile some !riti!s ha'e $raise The Old Man and the Sea as a new!lassi! that takes its $la!e among s"!h establishe &meri!an works as )illiam .a"lkner=s shortstory 4-he @ear6 an Herman el'ille=s Mo"y#Dic$! others ha'e atta!ke the story as 4imitationHemingway6 an fin fa"lt with the a"thor=s e$art"re from the "n!om$romising realism withwhi!h he mae his name#

@e!a"se Hemingway was a writer who always relie hea'ily on a"tobiogra$hi!al so"r!es, some!riti!s, not s"r$risingly, e'ent"ally e!ie that the no'ella ser'e as a thinly 'eile atta!k "$onthem# &!!oring to this reaing, Hemingway was the ol master at the en of his !areer beingtorn a$art by3b"t "ltimately tri"m$hing o'er3!riti!s on a feeing fren+y# @"t this reaing

"ltimately re"!es The Old Man and the Sea to little more than an a!t of literary re'enge# -hemore !om$elling inter$retation asserts that the no'ella is a $arable abo"t life itself, in $arti!"larman=s str"ggle for tri"m$h in a worl that seems esigne to estroy him#

Aes$ite the soberly life:affirming tone of the no'ella, Hemingway was, at the en of his life,more an more $rone to ebilitating bo"ts of e$ression# He !ommitte s"i!ie in 191 in%et!h"m, Iaho#

Plot O'er'iew→

&!eastB n"'elB 7!onsieratB e "nii !riti!i "n s!"rt roman, "ltima o$erB !" ae'Brat im$ortantBa l"i Hemingway, re$re+intB n!"n"narea !rea iei s!riitor"l"i atDt $rin sens"rile ei $rof"nț

"mane, !Dt i $rin mBre ia sobrB a mi*loa!elor e ex$resie#ș ț

@BtrDn"l /antiago, $es!ar sBra! intr:"n sat e $e !oasta C"bei, se $regBte te sB iasB in no" inș

larg, la $es!"it, "$B a$roa$e trei l"ni e tr"B +aarni!B# Cititor"l este intro"s ire!t in s"bie!t

4/ing"r ntr:o bar!B $es!"ia bBtrDn"l $e 0"lf:/tream  i tre!"serB o$t+e!i si $atr" e +ile fBrB sB:iș

!aB 're"n $e te#ș In $rimele $atr"+e!i e +ile i in"se to'Bra ie "n bBiat# Aar !Dn s:a m$linitț ș

soro!"l a!esta i $e te tot n:a" $rins $Brin ii i:a" s$"s bBiat"l"i, fBrBș ș ț oar i $oate, bBtrDn"l e "nș

salao, ai!B "n om mai o!olit e noro! ni!i !B se mai afla i, la $or"n!a lor, bBiat"l a tre!"t $eș

altB bar!B !e in $rima sB$tBmDnB a $rins trei $e ti mari#6ș

In !ea e:a o$t+e!i si !in!ea +i se $rine in "ni a bBtrDn"l"i "n marlin, "nț  $e te s$aBș  "ria #ș

Ao"B +ile si o"B no$ i "rea+B l"$ta nDr*itB intre om si $e te !are trage bar!a "$B el n larg#ț ș

Fn sfDr it rB$"s, marlin"l este $rea mare !a sB $oatB fi rii!at laș  bor si /antiago l leagB e bar!BlBsDn":l n a$B, ar, $e r"m"l e ntoar!ere, re!hinii l e'orea+B !" toatB m$otri'ireais$eratB a batran"l"i, !are re'ine la tarm e$"i+at si a"!an !" el oar s!helet"l $e tel"i#ș

&!eastB $o'estire a$arent sim$lB re$re+intB in realitate o ae'aratB $arabolB a !oni iei "mane, aț

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in'in!ibilita ii om"l"i# .iin $es!ar, /antiago n" exer!itB o $rofesi"ne oare!are, !i ne$line teț ș

"n estin, "n at tot atDt e ine'itabil !a i a!ela e a fi omș   4Poate !B n:ar fi treb"it sB fi" $es!arG Il strBf"lgerB "n gDn# Aar $entr" asta am fost fa!"t#6

5"$ta !" $e tele simboli+ea+B bBtBlia om"l"i !" existen a, n!orare s"rB 7ș ț !a at"n!i !Dn

 bBtrDn"l strDnge n mDinile rBnite frDnghia e !are trage in rBs$"teri "ria "l 'enit in aDn!"ri,șnfr"ntarea $e fa B 7!a la "!ierea marlin"l"i sa" la l"$ta !" re!hinii, iar rarele momente eț

estinere nseamnB mai ales efort !otiian, b"!"ria, 'i!toria si mBre ia nfrDngerii# Im$"ls"l lț

!onstit"ie !D tigarea trai"l"i e +i !" +i, ar l"$ta a*"nge sB semnifi!e, in!olo e satisfa!ereaș

ne!esita ilor materiale, orin a om"l"i e a: i afirma $ro$ria 'aloare, !a *"stifi!are a existen ei#ț ț ș ț

Aar b"!"ria afirmBrii, a tri"mf"l"i este re$ee "rmatB e $iererea a !eea !e a fost obDnit !"tr"B si s"ferin Bț   4Era $rea fr"mos !a sB Bin"ie6 este gDn"l bBtrDn"l"i la ata!"l re!hinilor#Iar !Dn i $"ne sing"r intrebarea 4 i !e te:a nfrDnt6, rBs$"ns"l este 4?imi!# J###K &m ie itș Ș ș

 $rea n largG6, $es!ar"l a$arDn":ne astfel ns!ris ntr:"n mit al nrB+nelii si seme iei om"l"i,ț

!are n!e$e !" I!ar, $rab" it fiin!B se a$ro$iase $rea m"lt e soare#ș

Ca i la eroii trageiilor anti!e, mare ia bBtrDn"l"i !onstB n as"marea !"ra*oasB a e e!"l"i, nș ț șe$B irea l"i $rin $Bstrarea emnita ii "mane# /imbol"l s!helet"l"i "ria !" !are $es!ar"l seș ț ș

ntoar!e a!asB se o$"ne simbol"l"i maim" ei albe in 4Comeia moerna6 a l"iț 0alsworthy#Aa!B a!esta in "rmB semnifi!B bla+area "nei l"mi s"$erfi!iale, !are g"stB fBrB efort mie+"lfr"!t"l"i 7ai!B $lB!erile " oare ale 'ie ii i i ar"n!B ne$BsBtoare !oa*a, s!helet"l $e tel"iș ț ș ș

simboli+ea+Ba n mo esen iali+atț 'i!toria moralB a om"l"i, satisfa! ia $e !are i:o a n" !astig"lț

in sine, !i !onstiinta fa$t"l"i !a si:a n'ingerii $ro$riilor slBbi!i"ni, !a i:a e$B it $ro$riileș ș

limite# .or a i mBre ia om"l"i !onsta" n fa$t"l !B, $ier+Dn o bBtBlie, n" se lasB nfrDnt, !i seț ș ț

 $regate te e alta# 4@atran"l siș marea6 se in!heie !" $lan"rile e 'iitor $e !are i le fa! /antiagoș

si bBiat"l# Aes!"ra*area e moment a bBtrDn"l"i fa!e tre$tat lo! "n"i o$timism ex$rimat $rin $roie!te !on!rete, a$arent mar"nte, ar !are, $rin ns" i a!est fa$t, a" sen+a ia re'enirii la 'ia B#ș ț ț

The Old Man and the Sea is the story of an e$i! str"ggle between an ol, seasone fisherman anthe greatest !at!h of his life# .or eighty:fo"r ays, /antiago, an age C"ban fisherman, has seto"t to sea an ret"rne em$ty:hane# /o !ons$i!"o"sly "nl"!ky is he that the $arents of hisyo"ng, e'ote a$$renti!e an frien, anolin, ha'e for!e the boy to lea'e the ol man in orer to fish in a more $ros$ero"s boat# ?e'ertheless, the boy !ontin"es to !are for the ol man "$onhis ret"rn ea!h night# He hel$s the ol man tote his gear to his ramsha!kle h"t, se!"res foo forhim, an is!"sses the latest e'elo$ments in &meri!an baseball, es$e!ially the trials of the olman=s hero, Loe Aiaggio# /antiago is !onfient that his "n$ro"!ti'e streak will soon !ome toan en, an he resol'es to sail o"t farther than "s"al the following ay#

On the eighty:fifth ay of his "nl"!ky streak, /antiago oes as $romise, sailing his skiff far beyon the islan=s shallow !oastal waters an 'ent"ring into the 0"lf /tream# He $re$ares hislines an ro$s them# &t noon, a big fish, whi!h he knows is a marlin, takes the bait that /antiagohas $la!e one h"nre fathoms ee$ in the waters# -he ol man ex$ertly hooks the fish, b"t he!annot $"ll it in# Instea, the fish begins to $"ll the boat#

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Mnable to tie the line fast to the boat for fear the fish wo"l sna$ a ta"t line, the ol man bearsthe strain of the line with his sho"lers, ba!k, an hans, reay to gi'e sla!k sho"l the marlinmake a r"n# -he fish $"lls the boat all thro"gh the ay, thro"gh the night, thro"gh another ay,an thro"gh another night# It swims steaily northwest "ntil at last it tires an swims east withthe !"rrent# -he entire time, /antiago en"res !onstant $ain from the fishing line# )hene'er the

fish l"nges, lea$s, or makes a ash for freeom, the !or !"ts /antiago baly# &ltho"gh wo"nean weary, the ol man feels a ee$ em$athy an amiration for the marlin, his brother ins"ffering, strength, an resol'e#

On the thir ay the fish tires, an /antiago, slee$:e$ri'e, a!hing, an nearly elirio"s,manages to $"ll the marlin in !lose eno"gh to kill it with a har$oon thr"st# Aea besie the skiff,the marlin is the largest /antiago has e'er seen# He lashes it to his boat, raises the small mast,an sets sail for home# )hile /antiago is ex!ite by the $ri!e that the marlin will bring at market,he is more !on!erne that the $eo$le who will eat the fish are "nworthy of its greatness#

&s /antiago sails on with the fish, the marlin=s bloo lea'es a trail in the water an attra!ts

sharks# -he first to atta!k is a great mako shark, whi!h /antiago manages to slay with thehar$oon# In the str"ggle, the ol man loses the har$oon an lengths of 'al"able ro$e, whi!hlea'es him '"lnerable to other shark atta!ks# -he ol man fights off the s"!!essi'e 'i!io"s $reators as best he !an, stabbing at them with a !r"e s$ear he makes by lashing a knife to anoar, an e'en !l"bbing them with the boat=s tiller# &ltho"gh he kills se'eral sharks, more anmore a$$ear, an by the time night falls, /antiago=s !ontin"e fight against the s!a'engers is"seless# -hey e'o"r the marlin=s $re!io"s meat, lea'ing only skeleton, hea, an tail# /antiago!hastises himself for going 4o"t too far,6 an for sa!rifi!ing his great an worthy o$$onent# Hearri'es home before aybreak, st"mbles ba!k to his sha!k, an slee$s 'ery ee$ly#

-he next morning, a !row of ama+e fishermen gathers aro"n the skeletal !ar!ass of the fish,

whi!h is still lashe to the boat# %nowing nothing of the ol man=s str"ggle, to"rists at a nearby!afN obser'e the remains of the giant marlin an mistake it for a shark# anolin, who has beenworrie si!k o'er the ol man=s absen!e, is mo'e to tears when he fins /antiago safe in his be# -he boy fet!hes the ol man some !offee an the aily $a$ers with the baseball s!ores, anwat!hes him slee$# )hen the ol man wakes, the two agree to fish as $artners on!e more# -heol man ret"rns to slee$ an reams his "s"al ream of lions at $lay on the bea!hes of &fri!a#

Chara!ter 5ist→Santiago : -he ol man of the no'ella=s title, /antiago is a C"ban fisherman who has ha anextene r"n of ba l"!k# Aes$ite his ex$ertise, he has been "nable to !at!h a fish for eighty:fo"r ays# He is h"mble, yet exhibits a *"stifie $rie in his abilities# His knowlege of the sea an its!reat"res, an of his !raft, is "n$arallele an hel$s him $reser'e a sense of ho$e regarless of!ir!"mstan!e# -hro"gho"t his life, /antiago has been $resente with !ontests to test his strengthan en"ran!e# -he marlin with whi!h he str"ggles for three ays re$resents his greatest!hallenge# Paraoxi!ally, altho"gh /antiago "ltimately loses the fish, the marlin is also hisgreatest 'i!tory#

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The marlin : /antiago hooks the marlin, whi!h we learn at the en of the no'ella meas"reseighteen feet, on the first afternoon of his fishing ex$eition# @e!a"se of the marlin=s great si+e,/antiago is "nable to $"ll the fish in, an the two be!ome engage in a kin of t"g:of:war thatoften seems more like an allian!e than a str"ggle# -he fishing line ser'es as a symbol of thefraternal !onne!tion /antiago feels with the fish# )hen the !a$t"re marlin is later estroye by

sharks, /antiago feels estroye as well# 5ike /antiago, the marlin is im$li!itly !om$are toChrist#Manolin : & boy $res"mably in his aoles!en!e, anolin is /antiago=s a$$renti!e an e'oteattenant# -he ol man first took him o"t on a boat when he was merely fi'e years ol# A"e to/antiago=s re!ent ba l"!k, anolin=s $arents ha'e for!e the boy to go o"t on a ifferent fishing boat# anolin, howe'er, still !ares ee$ly for the ol man, to whom he !ontin"es to look as amentor# His lo'e for /antiago is "nmistakable as the two is!"ss baseball an as the yo"ng boyre!r"its hel$ from 'illagers to im$ro'e the ol man=s im$o'erishe !onitions#Joe DiMaggio : &ltho"gh Aiaggio ne'er a$$ears in the no'el, he $lays a signifi!ant rolenonetheless# /antiago worshi$s him as a moel of strength an !ommitment, an his tho"ghtst"rn towar Aiaggio whene'er he nees to reass"re himself of his own strength# Aes$ite a

 $ainf"l bone s$"r that might ha'e !ri$$le another $layer, Aiaggio went on to se!"re atri"m$hant !areer# He was a !enter fieler for the ?ew ork ankees from 19< to 19>1, an isoften !onsiere the best all:aro"n $layer e'er at that $osition#Perico : Peri!o, the reaer ass"mes, owns the boega in /antiago=s 'illage# He ne'er a$$ears inthe no'el, b"t he ser'es an im$ortant role in the fisherman=s life by $ro'iing him withnews$a$ers that re$ort the baseball s!ores# -his a!t establishes him as a kin man who hel$s theaging /antiago#Martin : 5ike Peri!o, artin, a !afN owner in /antiago=s 'illage, oes not a$$ear in the story#-he reaer learns of him thro"gh anolin, who often goes to artin for /antiago=s s"$$er# &sthe ol man says, artin is a man of fre"ent kinness who eser'es to be re$ai#

 Themes, Motifs & Symbols

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Themes

 Themes are the fundamental and often universal ideas explored in a literary work.

 The Honor in Struggle, efeat & eath

.rom the 'ery first $aragra$h, /antiago is !hara!teri+e as someone str"ggling against efeat# Hehas gone eighty:fo"r ays witho"t !at!hing a fish3he will soon $ass his own re!or of eighty:se'en ays# &lmost as a reminer of /antiago=s str"ggle, the sail of his skiff resembles 4the flagof $ermanent efeat#6 @"t the ol man ref"ses efeat at e'ery t"rn he resol'es to sail o"t beyon

the other fishermen to where the biggest fish $romise to be# He lans the marlin, tying his re!orof eighty:se'en ays after a br"tal three:ay fight, an he !ontin"es to war off sharks fromstealing his $rey, e'en tho"gh he knows the battle is "seless#

@e!a"se /antiago is $itte against the !reat"res of the sea, some reaers !hoose to 'iew the taleas a !hroni!le of man=s battle a%ainst  the nat"ral worl, b"t the no'ella is, more a!!"rately, the

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story of man=s $la!e within nat"re# @oth /antiago an the marlin is$lay "alities of $rie,honor, an bra'ery, an both are s"b*e!t to the same eternal law they m"st kill or be kille# &s/antiago refle!ts when he wat!hes the weary warbler fly towar shore, where it will ine'itablymeet the hawk, the worl is fille with $reators, an no li'ing thing !an es!a$e the ine'itablestr"ggle that will lea to its eath# /antiago li'es a!!oring to his own obser'ation 4man is not

mae for efeat # # # JaK man !an be estroye b"t not efeate#6 In Hemingway=s $ortrait of theworl, eath is ine'itable, b"t the best men 7an animals will nonetheless ref"se to gi'e in to its $ower# &!!oringly, man an fish will str"ggle to the eath, *"st as h"ngry sharks will lay wasteto an ol man=s tro$hy !at!h#

-he no'el s"ggests that it is $ossible to trans!en this nat"ral law# In fa!t, the 'ery ine'itabilityof estr"!tion !reates the terms that allow a worthy man or beast to trans!en it# It is $re!iselythro"gh the effort to battle the ine'itable that a man !an $ro'e himself# Inee, a man !an $ro'ethis etermination o'er an o'er thro"gh the worthiness of the o$$onents he !hooses to fa!e#/antiago fins the marlin worthy of a fight, *"st as he on!e fo"n 4the great negro ofCienf"egos6 worthy# His amiration for these o$$onents brings lo'e an res$e!t into an e"ation

with eath, as their estr"!tion be!omes a $oint of honor an bra'ery that !onfirms /antiago=sheroi! "alities# One might !hara!teri+e the e"ation as the working o"t of the statement4@e!a"se I lo'e yo", I ha'e to kill yo"#6 &lternately, one might raw a $arallel to the $oet Lohn%eats an his insisten!e that bea"ty !an only be !om$rehene in the moment before eath, as bea"ty bows to estr"!tion# /antiago, tho"gh estroye at the en of the no'ella, is ne'erefeate# Instea, he emerges as a hero# /antiago=s str"ggle oes not enable him to !hange man=s $la!e in the worl# (ather, it enables him to meet his most ignifie estiny#

!ride as the Sour"e of #reatness & etermination

any $arallels exist between /antiago an the !lassi! heroes of the an!ient worl# In aition to

exhibiting terrifi! strength, bra'ery, an moral !ertainty, those heroes "s"ally $ossess a tragi!flaw3a "ality that, tho"gh amirable, leas to their e'ent"al ownfall# If $rie is /antiago=sfatal flaw, he is keenly aware of it# &fter sharks ha'e estroye the marlin, the ol mana$ologi+es again an again to his worthy o$$onent# He has r"ine them both, he !on!ees, bysailing beyon the "s"al bo"naries of fishermen# Inee, his last wor on the s"b*e!t !omeswhen he asks himself the reason for his "noing an e!ies, 4?othing # # # I went o"t too far#6

)hile it is !ertainly tr"e that /antiago=s eighty:fo"r:ay r"n of ba l"!k is an affront to his $rieas a masterf"l fisherman, an that his attem$t to bear o"t his skills by sailing far into the g"lfwaters leas to isaster, Hemingway oes not !onemn his $rotagonist for being f"ll of $rie# Onthe !ontrary, /antiago stans as $roof that $rie moti'ates men to greatness# @e!a"se the ol man

a!knowleges that he kille the mighty marlin largely o"t of $rie, an be!a"se his !a$t"re of themarlin leas in t"rn to his heroi! trans!enen!e of efeat, $rie be!omes the so"r!e of /antiago=sgreatest strength# )itho"t a fero!io"s sense of $rie, that battle wo"l ne'er ha'e been fo"ght, or more likely, it wo"l ha'e been abanone before the en#

/antiago=s $rie also moti'ates his esire to trans!en the estr"!ti'e for!es of nat"re#-hro"gho"t the no'el, no matter how balef"l his !ir!"mstan!es be!ome, the ol man exhibits an"nflagging etermination to !at!h the marlin an bring it to shore# )hen the first shark arri'es,

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/antiago=s resol'e is mentione twi!e in the s$a!e of *"st a few $aragra$hs# .irst we are tol thatthe ol man 4was f"ll of resol"tion b"t he ha little ho$e#6 -hen, senten!es later, the narratorsays, 4He hit Jthe sharkK witho"t ho$e b"t with resol"tion#6 -he ol man meets e'ery !hallengewith the same "nwa'ering etermination he is willing to ie in orer to bring in the marlin, anhe is willing to ie in orer to battle the feeing sharks# It is this !ons!io"s e!ision to a!t, to

fight, to ne'er gi'e "$ that enables /antiago to a'oi efeat# &ltho"gh he ret"rns to Ha'anawitho"t the tro$hy of his long battle, he ret"rns with the knowlege that he has a!"itte himself $ro"ly an manf"lly# Hemingway seems to s"ggest that 'i!tory is not a $rere"isite for honor#Instea, glory e$ens "$on one ha'ing the $rie to see a str"ggle thro"gh to its en, regarlessof the o"t!ome# E'en if the ol man ha ret"rne with the marlin inta!t, his moment of glory,like the marlin=s meat, wo"l ha'e been short:li'e# -he glory an honor /antiago a!!r"es!omes not from his battle itself b"t from his $rie an etermination to fight#

Motifs

Motifs are re"urring stru"tures, "ontrasts, and literary devi"es that "an help to

develop and inform the text$s ma%or themes.

ru"i'xion (magery

In orer to s"ggest the $rof"nity of the ol man=s sa!rifi!e an the glory that eri'es from it,Hemingway $"r$osef"lly likens /antiago to Christ, who, a!!oring to Christian theology, ga'ehis life for the greater glory of h"mankin# Cr"!ifixion imagery is the most noti!eable way inwhi!h Hemingway !reates the symboli! $arallel between /antiago an Christ# )hen /antiago=s $alms are first !"t by his fishing line, the reaer !annot hel$ b"t think of Christ s"ffering hisstigmata# 5ater, when the sharks arri'e, Hemingway $ortrays the ol man as a !r"!ifie martyr,saying that he makes a noise similar to that of a man ha'ing nails ri'en thro"gh his hans#."rthermore, the image of the ol man str"ggling "$ the hill with his mast a!ross his sho"lers

re!alls Christ=s mar!h towar Cal'ary# E'en the $osition in whi!h /antiago !olla$ses on his be 3fa!e own with his arms o"t straight an the $alms of his hans "$3brings to min the imageof Christ s"ffering on the !ross# Hemingway em$loys these images in the final $ages of theno'ella in orer to link /antiago to Christ, who exem$lifie trans!enen!e by t"rning loss intogain, efeat into tri"m$h, an e'en eath into renewe life#

)ife from eath

Aeath is the "na'oiable for!e in the no'ella, the one fa!t that no li'ing !reat"re !an es!a$e# @"teath, Hemingway s"ggests, is ne'er an en in itself in eath there is always the $ossibility ofthe most 'igoro"s life# -he reaer notes that as /antiago slays the marlin, not only is the ol man

rein'igorate by the battle, b"t the fish also !omes ali'e 4with his eath in him#6 5ife, the $ossibility of renewal, ne!essarily follows on the heels of eath#

)hereas the marlin=s eath hints at a ty$e of $hysi!al reanimation, eath leas to life in lessliteral ways at other $oints in the no'ella# -he book=s !r"!ifixion imagery em$hasi+es the!y!li!al !onne!tion between life an eath, as oes /antiago=s battle with the marlin# His s"!!essat bringing the marlin in earns him the awe res$e!t of the fishermen who on!e mo!ke him, an

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se!"res him the !om$anionshi$ of anolin, the a$$renti!e who will !arry on /antiago=stea!hings long after the ol man has ie#

 The )ions on the *ea"h

/antiago reams his $leasant ream of the lions at $lay on the bea!hes of &fri!a three times# -hefirst time is the night before he e$arts on his three:ay fishing ex$eition, the se!on o!!"rswhen he slee$s on the boat for a few ho"rs in the mile of his str"ggle with the marlin, an thethir takes $la!e at the 'ery en of the book# In fa!t, the sober $romise of the tri"m$h anregeneration with whi!h the no'ella !loses is s"$$orte by the final image of the lions# @e!a"se/antiago asso!iates the lions with his yo"th, the ream s"ggests the !ir!"lar nat"re of life#&itionally, be!a"se /antiago imagines the lions, fier!e $reators, $laying, his ream s"ggests aharmony between the o$$osing for!es3life an eath, lo'e an hate, estr"!tion anregeneration3of nat"re#

Symbols

Symbols are ob%e"ts, "hara"ters, 'gures, and "olors used to represent abstra"t ideasor "on"epts.

 The Marlin

agnifi!ent an glorio"s, the marlin symboli+es the ieal o$$onent# In a worl in whi!h4e'erything kills e'erything else in some way,6 /antiago feels gen"inely l"!ky to fin himselfmat!he against a !reat"re that brings o"t the best in him his strength, !o"rage, lo'e, anres$e!t#

 The Shovel+osed Sharks

-he sho'el:nose sharks are little more than mo'ing a$$etites that tho"ghtlessly an gra!elesslyatta!k the marlin# &s o$$onents of the ol man, they stan in bol !ontrast to the marlin, whi!h isworthy of /antiago=s effort an strength# -hey symboli+e an emboy the estr"!ti'e laws of the"ni'erse an attest to the fa!t that those laws !an be trans!ene only when e"als fight to theeath# @e!a"se they are base $reators, /antiago wins no glory from battling them#

The short happy life of Francis Macomber

Synopsis

.ran!is a!omber an his wife argaret 7"s"ally referre to as QargotQ, are on a big:gamesafari in &fri!a, g"ie by $rofessional h"nter (obert )ilson# Earlier, .ran!is ha $ani!kewhen a wo"ne lion !harge him# argot mo!ks a!omber for this a!t of !owari!e, an it isim$lie that she slee$s with )ilson#

-he next ay the $arty h"nt b"ffalo# a!omber an )ilson h"nt together an shoot three b"ffalo# -wo of the b"ffalo are kille, b"t the first is only wo"ne an retreats into the b"sh#

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a!omber now feels !onfient, an he an )ilson $ro!ee to tra!k the wo"ne animal, $aralleling the !ir!"mstan!es of the $re'io"s ayRs lion h"nt#

)hen they fin the b"ffalo, it !harges a!omber# &ltho"gh he stans his gro"n an fires at it,his shots are too high# )ilson fires at the beast as well, b"t it kee$s !harging# a!omber kills the

 b"ffalo at the last se!on# &t the same time, argot fires a shot from the !ar, whi!h instea hitsa!omber in the sk"ll an kills him# argot falls to the gro"n an wee$s#

Major themes

-he essen!e of Q-he /hort Ha$$y 5ife of .ran!is a!omberQ is !o"rage# )ilson has !o"rage b"ta!omber, who is afrai of lions, has none# )hen the !owarly h"sban, whose wife mae herway from )ilsonRs tent ho"rs before, fins the !o"rage to fa!e the !harging b"ffalo#JK he forgesthe ientity he wants the !o"rage to fa!e both wil animals an his wife#J<K -ragi!ally,a!omberRs ha$$iness is meas"re in ho"rs, an inee e'en in min"tes#JKJ<K Hemingway biogra$her Carlos @aker  !laims that a!omber loses his fear as the b"ffalo !harges, an the loss

of fear "shers a!omber into manhoo, whi!h argot instantly kills#JK

@aker belie'es )ilson symboli+es the man free of woman 7be!a"se he ref"ses to allow argot toominate him or of fearS the man a!omber wishes to be#JK )ilson "nerstans, as he blasts thelion ea, that argot is a woman who nees to be ominate#JK Leffrey eyers !onsiersargot a!omber to be the 'illain of the story#J;K /he !hara!terises Qa $reatory 7rather than a $assi'e female who is both betrayer an m"rererQS an she em$hasi+es the !onne!tion betweenQshooting an sex#QJ;K

.ran!is a!omber has li'e most of his a"lt life "ner the mani$"lati'e an omineeringinfl"en!e of argot# He !annot bring himself to fa!e her an assert his leaershi$ in their

marriage, allowing her to ste$ all o'er him# -he text im$lies that the affair with )ilson is not thefirst time argot has !heate on her h"sban# a!omber, fleeing from the lion, is "nim$ressi'ewhen !om$are with )ilson, the seasone h"nter an safari:'eteran, !ool an !olle!te in thefa!e of anger#

-he loss of a!omber=s manhoo in the en!o"nter with the lion mirrors the blow he takes whenargot blatantly !heats on him# -his a$$ears to be the last straw, $"shing him o'er the ege#a!omber translates his f"ry into the intensity of the h"nt# He ex$erien!es rising !onfien!e an bra'ery "ring the h"nt, as he seeks to take ba!k the manhoo he has lost, or $erha$s ne'er ha#

-his transformation is highlighte by 'ario"s symbols# -he story o$ens with a!omberRs

offering the gro"$ 4lime *"i!e or lemon s"ashQ# @"t at the en of the b"ffalo h"nt, he an)ilson toast their s"!!ess in whiskey# a!omber has $rogresse from a timi rabbit rinking *"i!e, to a h"nter, owning more mas!"line har li"or#J>K

Hemingway also em$loys animals to !arry the symbolism of Q-he /hort Ha$$y 5ifeQ# a!omber is referen!e as a rabbit se'eral times, an one of his kills is es!ribe as one of 4the big !owythings that *"m$ like haresQ# His !on"ests are gentle animals, easily frightene# In !ontrast,argot is es!ribe as 4$reatoryQ, like a lion# -he !om$arison to a!omber=s !owari!e "ring

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the h"nt is !lear a!omber the rabbit r"ns from his wife, a lion# -he gaining of !o"ragein'ol'es a!omberRs feeling hot rage, an ex$erien!e asso!iate with the lion# .inally, a!omber lies ea, mirroring the $ost"re of the b"ffalo he has shot# )ilson !om$liments the ea !reat"reas a 4hell of a goo b"llQ, im$lying that a!omber is finally worthy of res$e!t by right of the beast he has !on"ere#JK

argot is ist"rbe by a!omber=s s"enly gaine !onfien!e an assertion of his manhoo,feeling her $osition of ominan!e threatene#JK His exhilaration after the b"ffalo h"nt "nner'esher# @"t with a!omber=s transition from boy to man !omes eath# Hemingway offers his $ers$e!ti'e on ha$$iness here howe'er brief, e'en a moment of !onfient ha$$iness is eno"ghto make one=s life worthwhile#JTK

It is no !oin!ien!e that argot is the one who kills him# -here is an "nresol'e ebate as towhether she m"rere a!omber or a!!ientally kille him# If she $"r$osef"lly shoots him, shehas $reser'e her ominan!e in the relationshi$ an ens"res that she will kee$ his wealth7$res"mably the only reason they marrie in the first $la!e#

If the shot is a!!iental, the moment a!t"ally be!omes "ite tener, as well as tragi!# /he has *"stobser'e her h"sban be!ome a man, an e'en tho"gh she fears how their relationshi$ will!hange, she is s"enly in'igorate with energy to start afresh# argaret $i!ks "$ the g"n toefen her h"sban, trying to sa'e him in the fa!e of anger# .or on!e in their li'es, h"sban anwife are both on the same sie, shooting at the same b"ll# It is tragi!ally ironi!, of !o"rse, as shekills the man she is trying to sa'e, b"t s"!h is Hemingway=s !ommentary on life# -he goo thingswe gain are the sweetest, an the most short:li'e#

& thir inter$retation of argot=s shot is that she is trying to regain ominan!e o'er her h"sban by killing the b"ll herself# If this is the !ase, she wins ba!k her $ower, b"t ironi!ally, she estroys

the thing she is trying to !ontrol# -he b"llet a!!om$lishes exa!tly what she was trying to a'oi#

J8K

eception

Q-he /hort Ha$$y 5ife of .ran!is a!omberQ has been a!!laime as one of HemingwayRs mosts"!!essf"l artisti! a!hie'ements#J9K -his is largely "e to the ambig"o"s !om$lexity of its!hara!ters an their moti'ations, an the ebate this ambig"ity has generate# In the estimationof !riti! %enneth 0# Lohnston, Qthe $re'ailing !riti!al 'iew is that she eliberately3or at best,Ra!!ientally on $"r$oseR3m"rere himQ,J12K b"t there are many, in!l"ing Lohnston himself,

who hol the o$$osite 'iew#

Hemingway s!holar Carlos @aker  !alls argot a!omber Qeasily the most "ns!r"$"lo"s ofHemingwayRs fi!tional femalesQS a woman Qwho is really an literally ealyQ an who Q!o'etsher h"sbanRs money b"t 'al"es e'en more her $ower o'er him#QJ11K 5iterary !riti! an earlymentor to Hemingway Em"n )ilson obser'e bl"ntly, 4-he men in Uthese &fri!an stories aremarrie to &meri!an bit!hes of the most so"l:estroying sort#6J1K Other a"thors who hol similar

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'iews regaring argot in!l"e Phili$ o"ng, 5eslie &# .ieler  an .rank ORConnor  7see below#

& relate $oint that has been wiely ebate is whether Hemingway intene the reaer to 'iew(obert )ilson as a heroi! fig"re, emboying HemingwayRs ieal of the !o"rageo"s, hy$er:

mas!"line male# Criti!s who arg"e for argotRs inno!en!e are es$e!ially likely to "estion this $ositi'e 'iew of )ilson# It is thro"gh )ilsonRs wors that argotRs intentions are "estione,notably when he asks after the shooting Q)hy inRt yo" $oison him -hatRs what they o inEnglan#Q If )ilson is intene to be the storyRs 'oi!e of morality, then this im$lie a!!"sation isamning# @"t if )ilson is a less:$erfe!t !hara!ter himself, then his *"gment of argot iss"s$e!t# /ome !riti!s ha'e note that )ilson !hases own the b"ffalo in a !ar, 'iolating the lawan $erha$s also HemingwayRs !oe of fairness in h"nting# %enneth 0# Lohnston arg"es that)ilson Qhas m"!h to gain by making rs# a!omber belie'e that the eath of her h"sban !o"l be !onstr"e as m"rer,QJ12K sin!e he !o"l lose his li!ense if argot a!!"rately es!ribe)ilsonRs "se of the !ar in the b"ffalo h"nt#