The Old Man And The Sea

Man: The Sinner & The Saint---- The Old Man And The Sea (ZT)

1. MAN THE SINNER
Even Santiago accuses himself of treachery. He deliberately went out far beyond the usual fishing waters, violating the sanctuary of the marlin. In other words, he sinned. Just as the flood waters of Genesis brought destruction upon the earth as the result of sin, so the sin of Santiago is followed by destruction.
2. STOICISM
Greek "Stoic" philosophers taught that the glory of a human being is to accept suffering and misfortune without complaint, even without resistance. Santiago certainly exemplifies this. "Suffering does not matter to a man," he says. He endures the sustained pain of the line across his back and the cuts on his face and hands. Although he expresses rage at the scavenger sharks, he does not complain to heaven or to anyone over the destruction of his incredible catch.
3. THE "CODE HERO"
Closely related to the concept of stoicism is the "Code Hero," a phrase used to describe the main character in many of Hemingway's novels. Some critics regard Santiago as the finest, most developed example of these code heroes.
In this phrase, "code" means a set of rules or guidelines for conduct. In Hemingway's code, the principal ideals are honor, courage, and endurance in a life of stress, misfortune, and pain. Often in Hemingway's stories, the hero's world is violent and disorderly; moreover, the violence and disorder seem to win.
The "code" dictates that the hero act honorably in the midst of what will be a losing battle. In doing so he finds fulfillment: he becomes a man or proves his manhood and his worth. The phrase "grace under pressure" is often used to describe the conduct of the code hero.
4. COMMUNITY
Although Santiago's great adventure takes place while he is completely alone, he feels the need to return to the company of others. He is supported by Manolin both before and after the three-day ordeal. In many ways he is dependent on him. Others in the community support him too-Martin, the owner of the Terrace, for example. Santiago knows they will be worried about him. "I live in a good town," he says. Santiago's loneliness highlights the value/necessity of community.
5. MAN DEFEATED
In spite of being good, in spite of being skilled and dedicated, in spite of putting forth noble and heroic efforts, Santiago does not enjoy success. Even his prayers go unanswered. He ends up weaponless and helpless, a complete victim of forces beyond his control.
6. MAN TRIUMPHANT
Santiago comes ashore with only the skeleton of his fish, but he has not truly been defeated. He has achieved a spiritual victory, something far more meaningful than having fifteen hundred pounds of marlin meat to bring to market. Against great odds and in spite of intense personal suffering, he conquered the fish itself and survived the grueling three days on the sea. There may be nothing to sell; at market, but the massive skeleton itself stands as proof of his heroic accomplishment.
7. SUFFERING
Suffering is both common and unavoidable throughout the story. Santiago suffers from hunger and general poverty. His hands bear the scars of old wounds and they receive new ones. The pain in his back is relentless. He nearly passes out from exhaustion several times. All of it is unavoidable because it results from his being what he was born to be: a fisherman. The conclusion is that being true to yourself and your destiny will bring inevitable suffering.
8. GOOD AND EVIL
As noted before, Santiago can be seen both as saint-even a Christ figure-and as sinner. The destructive forces of evil are readily symbolized by the sharks. If you see Santiago's losing the fish as losing the entire battle, then evil has triumphed. If you see Santiago's endurance and survival as the true victory, then evil has brought tragedy but has not actually conquered.
9. MAN THE SAINT
In order to suggest the profundity of the old man’s sacrifice and the glory that derives from it, Hemingway purposefully likens Santiago to Christ, who, according to Christian theology, gave his life for the greater glory of humankind. Crucifixion imagery is the most noticeable way in which Hemingway creates the symbolic parallel between Santiago and Christ. When Santiago’s palms are first cut by his fishing line, the reader cannot help but think of Christ suffering his stigmata. Later, when the sharks arrive, Hemingway portrays the old man as a crucified martyr, saying that he makes a noise similar to that of a man having nails driven through his hands. Furthermore, the image of the old man struggling up the hill with his mast across his shoulders recalls Christ’s march toward Calvary. Even the position in which Santiago collapses on his bed—face down with his arms out straight and the palms of his hands up—brings to mind the image of Christ suffering on the cross. Hemingway employs these images in the final pages of the novella in order to link Santiago to Christ, who exemplified transcendence by turning loss into gain, defeat into triumph, and even death into renewed life.