Kurdistan Regional Government

Ministry of Higher Education

and Scientific Research

University of Sulaimani

College of Languages

Department of English

Graduation Research

In

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Dedicated to

The Old Man

I
 Acknowledgements

We would like to express our deepest gratitude to our supervisor Mr.

Pishtiwan Faraj Muhammad, lecturer in English Department without his
valuable suggestions and ideas this research would have been a failure. We
are also greatly indebted to all who helped us even with a single word.

II
 Table of Contents

Subject Page

Dedication……………………………………………………………II

Acknowledgments……………………………………………….…..III

Table of Contents …………………………………………………...IV

Introduction……………………………………………………….. ..1

Chapter One: The Novel and The Author

1.0 Introduction………………………………………………….......2

1.1 Ernest Hemingway's Biography………………………….…….2

1.2 About The Old Man and The Sea………………………………4

1.3 Hemingway’s Style……………………………………………....6

1.3.1 Narrative ………………………………………………………8

1.4 The Synopsis of the Novel……………………………………….9

1.5 Hemingway’s Code Hero……………………………………….12

III
Chapter Two: Free Will and Fate

Introduction…………………………………………………………..14

2.1 Free Will …………………………….…………..……………..…14

2.1.1 The Concept of Free Will……………………………...………14

2.1.2 The Qualities of Will……………………………………….......18

2.1.2. a: Energy……………………………………………………….18

2.1.2. b: Persistance (Patience)………………………….….……..…21

2.1.2. c: Courage………………………………………….……......…23

2.2 Fate of Humanity………………………………………………...24

2.2.1 Fate and Man’s Condition………………………………….….24

2.2.2 The Purpose Driven Life……………………………………....26

2.3 Human Relationships....……………………………………….....27

Chapter Three: The Triumph of the Will

3.0 Introduction……………………………………………………...30

3.1 Will against Difficulties………………………………………… 30

3.2 The Outcomes of Will and Fate………………………………....33

3.3 Will against Absurdity of Everyday life ….…………………....35

VI
Conclusion…………………………………………………………....37

Bibliography………………………………………………………… 38

V
 1

Introduction

This research paper is a study of the heroic actions of the Old Man and an end to
which he is destined ―Free Will and Fate in The Old Man and The Sea‖. The given
title is an attempt to revaluate the main viewpoints of the text.

The aim of the research is an elaborate study toward the better understanding of
modern fictional novella. It also investigates two main interrelated themes
throughout The Old Man and the Sea, first Free Will as an instinctive feature in
almost all human being and how some are the masters of their own free spirit like
The Old Man. Second is the predetermined Fate of an individual and the extent in
which he belief.

The first chapter is general presentation to the novella and its author, where
readers are provided with the style and a sort of code which assist them to
comprehend the massage of the text.

The second chapter is a profound analysis of the title which includes the concept
of will and fate. Then a number of quotations are given and further explained to
enrich the analysis.

The third chapter is a dual outcome of the will against the absurd and repetition
of the period of birth and death, the will to overcome the burdens of life.
 2

Chapter One

The Novel and The Author

1.0 Introduction

In this chapter the main concern is about Ernest Hemingway and his The Old
Man and The Sea. As to the author his biography along with his literary
background will be discussed. Additionally the synopsis of the novel is going to be
given, and a brief analysis of his stoic code hero.

1.1 Ernest Hemingway's Biography

One of the most famous American novelist, short-story writer and essayist,
whose deceptively simple prose style have influenced wide range of writers.
Hemingway was awarded the 1954 Nobel Prize for Literature. He was unable to
attend the award ceremony in Stockholm, because he was recuperating from
injuries sustained in an airplane crash while hunting in Uganda. (kirjasto.sci)

Ernest Hemingway was born on July 21, 1899, in Oak Park, Illinois, the son of
Grace and Clarence Edmonds Hemingway. Hemingway first published his writing
in the Oak Park High School newspaper, and he began his journalistic
apprenticeship as a teenage reporter for the Kansas City Star in 1917. Although his
family expected him to attend college, Hemingway was drawn instead toward the
excitement of First World War. In the spring of 1918 he volunteered with the
 3

American Red Cross as an ambulance driver on the frontline in Italy; in July 1918,
two weeks shy of his nineteenth birthday, he was wounded in a battle.

After recovering from his wounds, and until he was able to make a living through
writing fiction, Hemingway supported himself as a journalist. He lived in Paris in
the early 1920s and worked as a foreign correspondent for the Toronto Star. His
first important work of fiction, a collection of short stories entitled In Our Time,
appeared in 1925, followed in 1926 by The Sun Also Rises, considered a classic
novel of the twentieth century. For the next three decades, Hemingway published
one best-selling volume after another, including A Farewell to Arms, For Whom
the Bell Tolls (1940), and The Old Man and the Sea. Being One of the most
famous and influential novelists in history, Hemingway is known for his precise,
innovative prose style and his unique vision of experience.

Hemingway married Hadley Richardson in 1921; following their divorce, he

married Pauline Pfeiffer in 1927. That marriage also ended in divorce, and
Hemingway married Martha Gelhorn in 1940, only to divorce her and marry Mary
Welsh in 1945. His macho public image—hunter, aficionado of bullfighting,
drinker, and womanizer—made him a celebrity. The author's persona tended to
overshadow Hemingway's actual writing, and many readers, caught up in the
superficial and glamorous aspects of his life and career, overlooked the timeless,
fundamental values that anchored his fiction. The Hemingway code has often been
summed up by the author's own phrase 'grace under pressure,' yet many observers
fail to see that this 'grace' is not only physical, but moral and spiritual as well.
Much of Hemingway's important fiction is value-centered and profoundly
religious.
 4

None of Hemingway's fiction was written specifically for young adults. Yet, as
with many classic authors, many of his works appeal to adults and young adults
alike. Hemingway's short stories and some of his longer fictions, especially The
Old Man and the Sea, are taught in schools around the world, and editions of The
Old Man and the Sea have appeared in many languages. Hemingway received
many awards, including the Pulitzer Prize for The Old Man and the Sea in 1953. In
1961, his ability as a writer severely compromised by his physical problem, On
July 2, 1961 Hemingway committed suicide. Whether viewed as an act of courage
or surrender, such a choice by the author of The Old Man and the Sea was no
surprise. As the critic Earl Rovit speculates, ―Having chosen to do battle with
nothing less than eternity on a day-to-day basis, it may have been his way of
complying with rules insofar as the rules required the unconditional surrender of
one of the combatants‖.( Carl 2) One can judge Hemingway‘s suicide through his
own speech to Janet Flanner that ―liberty could be as important in the act of dying
as in the act of living‖ Hemingway agreed with Nietzsche‘s belief ―die at the right
time‖, thus Meyers concludes in a book on Hemingway‘s suicide: ―It had elements
of self-pity and revenge, but was not inspired by desperation and derangement. It
was a careful and courageous act‖ (Meyers 559).

1.2 About The Old Man and The Sea

The Old Man and the Sea is very similar to Hemingway's "On the Blue Water," a
story published in Esquire in April, 1936. Like The Old Man, the short story
concerns an old fisherman who battles against Marlin for three days and nights.
Hemingway had heard from a longtime friend about such an incident actually
 5

happening and ever since he had published the first version, he had considered the
possibility of expanding the tale. In January, 1939, Hemingway began seriously
planning revisions, telling this time what The Old Man thought during those days
and nights. He hoped to include it in a volume containing already published war
stories, plus two other new stories. Hemingway was very optimistic about the
success of the volume and especially about the story of the fisherman. He was
anxious to return to Cuba to absorb atmosphere and sail out in a skiff to check
details.

He did return to Cuba a few weeks later but he did not work on the story of the
fisherman; instead, he began to work on a new novel, For Whom the Bell Tolls.

It was not until after Christmas, 1951, that Hemingway began writing on his
story of the old Cuban fisherman. It was virtually finished by mid-February and the
entire text appeared in the fall in a single issue of Life magazine. The magazine
sold over five million copies within forty-eight hours. The book itself had advance
sales of 50,000 copies and was immediately proclaimed a masterpiece. Malcolm
Cowley wrote in the New York Herald Tribune that the novel was (as nearly
faultless as any short novel of our times.). Hemingway's writing, he said, had the
quality of being familiar and yet perpetually new the essence of classical prose;
and critic Edward Weeks, in the Atlantic, cited the story's "clean thrusting power".
Hemingway, speaking about his writing, said (reminiscent of the old fisherman)
that ''a writer is driven far out past where he can go, out to where no one can help
him. This Hemingway did as Robert Davis in a New York Times review noted:
Hemingway, he said, had the strength and craft and courage to go far out, and
perhaps even far down, for the truly big ones.
 6

The Old Man of American Letters was not "finished," as the critics had once
said; he had triumphed over them all, producing a classic worthy of the Nobel
Prize which he was awarded in 1954.

The Old Man and the Sea is a small volume, but it is full of challenging thoughts
for even the casual reader. This is a powerful story of a lonely, wise old fisherman
who conquers a magnificent fish, endures the heart-breaking loss of it, and rises
gallantly above his defeat. He is a hero in deed and spirit, a defeated but valiant
man who has the courage to try again. Furthermore, this is the touching story of
companionship the deep love and respect that a young boy and an old man hold for
each other.

The more sophisticated reader, familiar with Hemingway's life and attitudes,
catches glimpses of Hemingway as he may have thought of himself in his later
years when he was widely called "Papa" and his image was that of a mellowed
adventurer, but one still filled with heart and fire. Santiago, the old fisherman,
though old, still dares to try, persists in doing the very best he can and succeeds
only to lose. He loses the battle with the sharks and his prize fish, but he wins a
victory for himself because he knows that he fought well and that he has the
courage to try again.

1.2 Hemingway's Style

A great deal has been written about Ernest Hemingway's distinctive unique style.
He came to the attention of English-speaking readers in the 1920s; he has been the
subject of praise and sometimes-savage criticism. He has never been ignored.
 7

When Hemingway published his first novels, he was still a young man, but he had
perfected his style. He was already recognized as a new force in English literature,
and he did not fail his critics. In 1954, he was cited for "the art of modern narration.

Hemingway's ear for dialogue is keen, and he has often been described as a
master of dialogue. Yet a study of his dialogue will reveal that this is rarely the way
people really speak. It is rather that by calculated emphasis and repetition, he makes
us remember what has been said, or is being said. Parodists can make fun very
easily by caricaturing Hemingway's dialogue, and a few writers can imitate it
convincingly. It is artificial, but it is effective.

Hemingway's unique style was by no means a spontaneous one. It was the result
of several years of newspaper writing, where he learned to report facts crisply, and
then a improvement from roomy reading of the masters and a study of their different
styles, then of writing and rewriting. Writing did not flow out of Hemingway as it
apparently did from some others, but the end product was a masterfully constructed
piece of work.

A massive amount of material has been written about Ernest Hemingway's style,
his way of life, and his philosophy. It may be said that probably of no other living
man than Hemingway has so much tripe been penned or spoken.

Hemingway focuses on Santiago's consciousness in this quest story. Very much

in the way that a traditional soliloquy or an interior monologue serves to reveal
character, this novella functions as one long exploration of The Old Man's
character.
 8

1.3.1 Narrative

Once upon a time, literature meant above all poetry. The novel was a modern
upstart, too close to biography or chronicle to be genuinely literary, a popular form
that could not aspire to the high callings of lyric and epic poetry. But in the
twentieth century the novel has eclipsed poetry, both as what writers write and
what readers read and, since the 1960s, narrative has come to dominate literary
education as well. People still study poetry – often, it is required – but novels and
short stories have become the core of the curriculum.

This is not just a result of the preferences of a mass readership, who happily pick
up stories but seldom read poems. Literary and cultural theories have increasingly
claimed cultural centrality for narrative.

―Stories are the main way we make sense of things, whether in thinking of our
lives as a progression leading somewhere or in telling ourselves what is happening
in the world. Scientific explanation makes sense of things by placing them under
laws –whenever A and B obtains, C will occur – but life is generally not like that‖.
(Culler 82)

It follows not scientific logic of cause and effect but the logic of story, where to
understand is to conceive of how one thing leads to another, how something might
have come about.

We make sense of events through possible stories; philosophers of history have

even argued that the historical explanation follows not the logic of scientific
causality but the logic of story: to understand the French Revolution is to grasp a
 9

narrative showing how one event led to another. Narrative structures are pervasive:
Frank Kermode notes that when we say a ticking clock goes' tick-tock‘, we give
the noise a fictional structure, differentiating between two physically identical
sounds, to make tick a beginning and tock an end.

The theory of narrative (‗narratology‘) has been an active branch of literary

theory, and literary study relies on theories of narrative.

But narrative is not just an academic subject. There is a basic human drive to
hear and tell stories. Children very early develop what one might call a basic
narrative competence: demanding stories, they know when you are trying to cheat
by stopping before reaching the end. So the first question for the theory of narrative
might be, what do we completely know about the basic shape of stories that
enables us to distinguish between a story that ends ‗properly‘ and one that doesn‘t,
where things are left hanging? The theory of narrative might, then, be conceived as
an attempt to spell out, to make explicit, this narrative competence, just as
linguistics is an attempt to make explicit linguistic competence: what speakers of a
language unconsciously know in knowing a language. Theory here can be
conceived as a setting forth of an intuitive cultural knowledge or understanding.

1.4 The Synopsis of The Novel

Old Santiago has fished in the Gulf Stream of Havana for eighty-four days
without catching a fish. For the first forty days, the boy Manolin went with him, but
now his parents have sent Manolin another boat. Still the boy serves the man,
bringing him food; beer, bait, and helping him carry his tackle to the skiff. In The
Old Man's shack, they discuss baseball, the great Di Maggio, the splendid hauls
 10

they have made in the past. The Old Man sleeps and dreams of his youth in Africa
and of the lions who played on the beaches.

At dawn on the eighty-fifth day, Santiago sets sail again, confident that
somewhere in the sea he loves as if a woman is the big fish he must catch. He sails
for out into the stream, baits and sets his lines, and drops them into the deep water.
Waiting he watches, a school of dolphin pursues flying fish and he curses a
malicious Portuguese man-of- war that drifts nearby. He catches a small tuna and
waits hopefully for the big strike. When it comes, it is deceptively gentle, the
merest tug, but Santiago knows that it is a Marlin nibbling his bait 600 feet below.
Speaking aloud, The Old Man urges the Marlin to sample more of the bait. When
he senses the right moment, Santiago pulls hard and settles the hook. The long
battle has begun.

With the noon sun high and hot, Santiago feeds his Marlin the line it needs as it
swims off the towing the skiff northwest, away from land. Santiago can do nothing
except wait for the fish to tire. Meanwhile, he grips the heavy line in his scratchy
hands and braces it across his naked shoulders. All afternoon the fish tows the bait,
then after sunset and into the chill night. Although he wishes he had Manolin with
him to help, The Old Man is determined to conquer the fish alone. At the same
time, he begins to think of the fish at the end of the line and about other great fish,
he has caught. During the night, the fish lurches, pulling Santiago down on his face
and cutting his cheek. The Old Man never relaxes his vigil.

By morning, The Old Man is stiff as well as hungry. Still he cannot exert tension
on the line lest the fish break it. As Santiago talks to the birds overhead, the fish
suddenly surges and the line cuts through The Old Man's hand. Despite his pain,
The Old Man is pleased for he senses that his prey has begun to tire. He wonders
 11

what the fish intends and he will do. He wishes that might feed the fish, his
brother, but knows that his own strength must be the greater if he is to prevail, and
worries about the paralyzing cramp that stiffens his left hand.

Suddenly the line grows slack; the fish surfaces, leaping out of the water. It is the
largest Marlin Santiago has ever seen, even longer than his skiff. Santiago prays
for victory, sure that he can 'what a man can do and what a man endures' all
afternoon and again into the night the fish tows the skiff, now to the east. To
strengthen himself, Santiago a titanic hand wrestle he won years ago at the tavern.
Hungry, he catches and eats a dolphin. During the night, the Marlin jumps a gain,
cutting Santiago's hands once more. He dreams Africa and the lions.

At sunrise on the third morning, the line almost tears through Santiago's hand as
the fish begins a series of leaps. Now The Old Man begins to shorten the line even
though each pulls lacerates his hands anew. He washes his bleeding hands in the
sea, and then he continues to draw in his line as the fast-siring Marlin circles the
skiff in ever narrowing areas. Just before the fish is close enough to the harpoon,
The Old Man pleads with it not to kill them both. For a fleeting moment, in
admiration most in love he exclaims that he would not care if the noble creature, at
once his brother and his enemy in nature killed him. However, The Old Man
knows that he must overwhelm the Marlin. He harpoons the mighty fish and lashes
it to the side of his boat.

The return to Havana is a nightmare that begins an hour after the Marlin has been
tied to the skiff. A Mako shark attaches the corpse and mutilates it before The Old
Man can kill it. As other sharks come, The Old Man fights them off tenaciously,
defending not only his own victory but also the dignity of the dead Marlin. He
wonders whether it was a sin to kill his fish, but he realizes that man must struggle
 12

against defeat by nature. Sorry that the fish is dead, its corpse ravished he knows
also that he had to do what he did. Although continues to battle the sharks, his
struggle is in vain. His knives break, and his torn hands will not even hold the club
he tries to wield. All he can do is steer his boat toward harbor as the starved sharks
strip the Marlin into a Skeleton. To himself, Santiago says that he went out too far.
That was why he suffered defeat.

His boat beached, only the head and tail of catch remaining, The Old Man
shoulders his mast and climbed the slowly up the hill to his shack. Once he
stumbles and falls, but he rises and struggles on. He sleeps sprawled face down on
his bed, his arms outstretches, his palms turned up. Manolin comes to The Old
Man in the morning and tends him. Despite Santiago's insistence that his luck has
turned bad, Manolin says that it will turn good again and that he wants to sail again
with The Old Man. As the novel ends, The Old Man sleeps dreaming about his
lions, Manolin sits beside him.

1.5 Hemingway’s 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.

It is the duty of the Hemingway hero to avoid death at almost all cost. Life must
continue. Life is valuable and enjoyable. Life is everything. Death is nothing. With
this view in mind it might seem strange then to the casual or superficial reader that
the Hemingway code hero will often be placed in an encounter with death, or that
the Hemingway hero will often choose to confront death. From this we derive the
 13

idea of grace (or courage) under pressure. This concept is one according to which
the character must act in a way that is acceptable when he is faced with the fact of
death. The Hemingway man must have fear of death, but he must not be afraid of
death. This may be parallel with Beckett‘s view in Waiting for Godot when Pozzo
desperately said: ―The give birth astride of a grave‖ (Beckett 89), because man is
born to die without having capacity to avoid such experience. By fear we mean that
he must have the intellectual realization that death is the end of all things and as
such must be constantly avoided in one way or another. A man can never act in a
cowardly way. He must not show that he is afraid or trembling or frightened in the
presence of death. If man wishes to live, he lives most intensely sometimes when he
is in the direct presence of death. The man has not been tested yet; we don‘t know
whether he will withstand the pressures, whether he will prove to be a true
Hemingway man. It is only by testing, by coming into confrontation with something
that is dangerous that man lives with this intensity. In the presence of death, then,
man can discover his own sense of being, his own potentiality. Death is right in
front of us, difficulties oppose human wishes constantly, yet a stoic man like
Santiago with the everlasting pain endurance cries out:

―A man can be destroyed, but not defeated.‖ (Hemingway 89)

 14

Chapter two

Free Will and Fate

2.0 Introduction

In this chapter, readers will be provided with some significant information

about the aspects of Will such as the concept of will, and its qualities with
references to the novel. Fate is rather is being explained universally through the
efforts and processes of events that the Old Man goes through.

2.1 Free Will

“I wish I was the fish, he thought, with everything he has against only
my will and my intelligence” (Hemingway 54)

2.1.1 The Concept of Free Will

Will has been the subject of philosophers, writers, theologians etc. they tried to
define or explain the meaning of their understanding, but they were unable to
comprehend it explicitly. Generally free will is ―The doctrine that human beings
are free to control their own actions, which are not determined by cause and effect,

God or fate.” (Stokes 212)

 15

Theological school claimed that the nature of the soul is will. Gottfried Wihelm
Leibniz, a German philosopher who lived during 1646-1716, emphasized on
purpose as the basic characteristic of the will and maintained that purpose and
activity are basic in metal life.

The concept can be properly explained as follows, at a given moment perhaps

during a crisis, one has a vivid and unmistakable inner experience of its reality and
nature. When danger threatens to paralyze us suddenly from the mysterious depth
of our being abrupt, an unexpected strength which enables us to place a fire foot an
the edge of the precipice or confront an aggressor calmly before the threatening
attitude of an unfair superior or when facing an excited mob while personal reasons
would induce us to yield, the will gives us the power to say ‗No‘ at all costs I stand
by my convictions I will perform what I take to be right.

The inner experience of willing may come also in other more quiet and subtle
way during periods of silence and meditation in the careful examination of our
motives.

The simplest and most frequent way in which we discover our will is through
determined action and struggle. When we make a physical or mental effort; when
we are wrestling with some obstacles or coping up with opposing forces, we feel a
specific power rising up within us, and this inner energy gives us the experience of
‗willing‘.

The discovery of the will in oneself and the realization of the self and the will are
strongly connected. They may come as a real revelation which can change a man‘s
self-awareness and his whole attitude toward himself, other people, and the world.
One might perceive that he is a ‗living subject‘ endowed with power to choose, to
 16

relate, or bring about changes in his own personality, in others and finally in the
circumstance he live in. This enhanced awareness or awaking a new vision gives
anew feeling of confidence, security, and joy.

―I am the detector of something beyond life and something out of language‖

Hemingway tries to tell the reader that he captures the inner feelings of his heroes
rather than representing their normal life. (Hawler 9).

Comparatively, seeing these deep explanations ought to be reference to the

novel. “He had gone eighty-four days now without taking a fish‖ (Hemingway 5).

―The sail was patched with flour sacks and, furled it looked like the flag of
permanent defeat” (Hemingway 5)

“They set on the Terrace and many of the fishermen made fun of The Old Man
and he was not angry” (Hemingway 6).

When readers see such sentences in the novel; they will immediately realize that
The Old Man lives in a bad situation near the village among other fishermen. He
had caught no fish the definite article [a] is an indication of fishless sails he had
made during eighty four days, it is almost three months.

After that the skiff is not working convincingly; the flag seems to be the symbol
of defeat and surrender. When flags were put down by enemies, it meant defeat.
The enemy here is nature ‗sea‘ he keeps fishing every day, but he is always
defeated since he cannot catch any fish. This view completely parallels with what
people in the village think of him.

Nevertheless, a living example happened in the Terrace, while The Old Man was
sitting with his loyal friend ―Manolin‖ the other fishermen laughed at his
 17

misfortune, they thought of him as a ‗ salao‘ which is a porteagues word for

extreme bad lack in contrast, The Old Man did not care about what they had said,
he did not even become angry.

Moreover, Santiago‘s shack is very simple; he is satisfied with ordinary, small

materials as it is described “The shack was made of tough bud shields of royal
palm…………,there was a bed, a table, one chair and a place …………. To cook
with charcoal.‖ (Hemingway10). One can say it is almost an empty cottage, as
there is humiliation in his character there is also in his home.

It sounds highly depressing for anyone who reads the novel because, their first
impression of the main character is that he is a failure. As a matter of fact, readers
are going to understand that most of the men of the village do not regard him even
as a man. They believe in a code which is based on fate. Fate, it seems, has denied
fish to The Old Man since he is too old now to be either a real fisher man or a real
man. He is useless, more important, he is unlucky.

In this Difficult circumstance a voice rose in his mind or conscious which told
him “his hope and his confidence had never gone, but now they were freshening as
when the breeze rises.” (Hemingway 8)

“Tomorrow is going to be a good day with this current” (Hemingway 9)

“I feel confident today” (Hemingway 20)

The Old Man attempts to psych himself up, is positive toward future. His
resultless actions do not stop him fishing. He feels confidence in his inner world.
He does not blame the sea or luck for not catching fish nor does he believe that he
 18

is cursed with bad luck. He knows that he is a good, skillful fisherman, he is

optimistic. These feelings are rooted in his faith and confidence.

As if failure does not exist, but there are certain perspectives toward practicing.
―People would like to turn back on their hurtful, troublesome past experiences
therefore, they will look at the recent issues and disputes as a failure or
disappointment and they soon lose their confidence and patience‖. (Ibraheem al-
Fiqhi 47). This is what Santiago refused to think of.

2.1.2 The Qualities of Will

It is inevitable that willers have many unique characteristics which deviate them
from common people. If we study the phenomenology of the will in action that is,
the qualities displayed by willer, one will find a number of outstanding elements
within their characters such as; energy, persistence and courage.

It is worth mentioning that these are major needs for every simple willer, which are
fully portrayed in the novel.

2.1.2.a Energy

This quality is the indispensable characteristic of the strong will. It is the quality
which is generally attributed to the will and with which the will is often identified.
If this quality is not associated with other quality it is apt to defeat its own
purposes, it can have harmful effects on both sides the willer himself and the target
of his willful action. A proper understanding of the world includes a clear and
 19

balanced view of its dual nature. The power element is realized when there is
conflict or effort due to opposing condition or forces that one wills to overcome.

It is divided into two major sub-categories which are physical and psychological
energy. Furthermore one must have control to overcome the desirous and
disastrous results which may appear after applying the power, because of the chief
uses of energy of the will is to exercise control over the other psychological
matters. Control does not mean repression or suppression; it means aiming at
guided, constructive physical and psychological energy.

Santiago as the hero in the novel has being given many qualities. Moreover, he
faces many accusations but Hemingway portrays his hero as a strong, tricky and
skillful old man who has morals standard of behavior. The boy had worked with
The Old Man but he was forced to transform to another boat due to Santiago‘s
luck. The old fisherman is now alone, he carries his stuff and necessities by
himself which means that he is not counting on others or technology. He is only
dependant on himself when readers compare him to other fisherman they will soon
realize he is strong, Santiago uses a small skiff and his hands to steer the boat
while others uses motor boats.

Besides, they have many workers and helpers to hold several lines while they are
fishing, in contrast Santiago has three lines all operated by his own hand. Another
thing that makes Santiago better is his experience. He has been a fisherman all his
life. He applies his tactics to succeed since he has lost a bit of his bodily strength.

Hemingway uses the literary device of metaphor in his novel, as we read “He no
longer dreamed of storms nor of women nor of great occurrences... he only
 20

dreamed of places now and of the lions on the beach. They played like cat in the
dusk…?”(Hemingway 19)

The author used the metaphor of the lion to signify wishes to have a strong
quality; physically and psychologically. It also stands for people who live their
lives as active participant. Hemingway feels that there are people who fully enjoy
life to its extreme end, and people who only observe as it passes just like the boat
in the ocean and do not test their boundaries.

“Sometimes someone would speak in a boat. But most of the boats were silent
except for the dip of the oars” (Hemingway 21-2). The fishermen go to areas they
know to be safe and always are cautious not to damage the life that they have
created for themselves.

―People without target are just like boats without oars; they move according to
the current of the sea.‖ The quotation fits Santiago strongly; he attempts to return
his dignity by catching a fish even if he risks his life. The Old Man is testing his
limits, he has not been far out for a long time, but on eighty-fifth day he decided to
“Where are you going? The boy said. Far out…” (Hemingway 9)

“The Old Man knew he was going far out…” (Hemingway 22)

“…are you strong enough now for a truly big fish? I think so…” (Hemingway 9)

“There is no such a fish if you are still strong” (Hemingway 17)

Santiago does not directly say he is strong; it has been reported by the boy. The
Old Man doubts his strength but he still believes in his fishing skill which can fill
 21

his deficiency as he said ―I know many tricks and I have resolution‖ (Hemingway
17).

As time goes by, he controls his life his anger and his psychological strength till
he use them in the right place or time when he catches the great fish and fights the
sharks.

2.1.2. b Persistence (Patience)

For certain tasks of great length, persistence is needed even more than energy.
The kind of persistence is that exercised in spite of repeated failures. This is the
secret of many successful inventors and scientists. This kind of persistence can be
― tenacity‖ an instance of tenacity is the author who offers his manuscript to
several publishers in spite of continual refusal as a Latin proverb goes ―the drop
that makes a hole in the stone not through its force, but by its constant falling.‖
This principle is also described as patience which could be another form of it.
Hemingway himself wrote fluently without revising, rewrote one of his short
stories several dozen times.

Persistence and patience are Santiago‘s slogan; he fits the quality very likely,
although he has not caught any fish for a long time, he does not give up. ―Fish… I
will stay with you until I am dead.‖ (Hemingway 43). The Marlin fish was two feet
greater than the skiff, it could easily break it and swim away, but The Old Man
neglects this crucial fact. He insists on winning the battle and the fish. He has
fought many times before unlike this one ―I have never seen or heard of such a
fish‖ (Hemingway 63), he knows what he ought to carry out despite its peril. ―If he
 22

will jump I can kill him. But he stays down for ever. Then I will stay down with him
forever” (Hemingway 50)

This is Santiago; he is ready to die for the sake of his triumph and dignity. He will
utilize every possible way so as to overcome his so being called luck.

After a shark had attacked the fish, he was hopeless because he knew that blood
will bring up the rest of the shark “I must think of nothing and wait for the next
ones” (Hemingway 96)

―I am too old to club sharks to death. But I will try as long as I have the oars and
the short club and the tiller” (Hemingway 96-7). He lost his weapon when he had
hit the shark. He promised himself to preserve it as long as he can.

2.1.2.c Courage

There is no complete security in life so the craving for security at any cost is self
defeating. Courage is the enhancement and stimulation given by risk. This often
brings a feeling of intense aliveness and charity and can create a true expansion of
consciousness.

Danger should not be reckless and thoughtless; there is a hazard of overdoing,

overtaking needless actions that have no purpose except the emotional excitement
they give.
 23

All the animals that surround The Old Man are pictured as living where they
must exercise will and effort even the little bird that rests for a time on Santiago‘s
fishing line must take its chance.

Lions would never be found on a beach; the only lions that would be found on it
are those who dare to go, they are testing their boundaries, seeing how far they can
go. Santiago is similar to them he does what other are afraid of. He lives in a world
where the coming of the sharks is no accident and each animal must pursue a role
defined by its own nature. However man has a choice whether he will live up to his
potential or not. Whether man will choose to remain in shallow water or go out
into the deep water and exercise his abilities to the fullest. Only man has to fight
the internal as well as the external battle, he could hold on to the line or let go.

He is not allowed to return peacefully otherwise, he would not have been so

heroic and respectable. The most terrible and disaster exist in his returning trip.
The sea is the battlefield in which The Old Man could die in any time. The sea is
very wide, the boat is small, and the peril is serious. Another risk he takes is that he
goes by himself; he will fulfill his destiny using only his own resources.
 24

2.2 Fate of Humanity

2.2.1 Fate and Man’s Condition

Destiny or Fate, predetermined course of events is considered to be beyond

human control. Hence this concept has been and still a controversial viewpoint
toward life concerning the existence of mankind and their final downfall.

“Man holds the remedy in his own hand” (Dostoyevsky 9) the great novelist
Dostoyevsky once stated in his novel Crime and Punishment, even with this
promising claim man still bounded by everlasting struggle for survival.
Hemingway draws his readers‘ attention to this through Santiago‘s continual
attempt to catch a fish for about three months. For an Old man like Santiago that
must rest and enjoy the few years left in his life time is out of joint, yet through his
attempt for daily living he must set it right.

A single man can portray the entire unchangeable condition of Mankind, thus
Hemingway‘s portrayal of The Old Man is a reiteration of Michel de Montaigne‟s
thought when he stated that “Every man carries the entire form of human
condition”.( Encarta 2009)

Santiago has chosen to dedicate his life to the art of fishing and to the art of
living. He admits his being old and his need of physical strength and also
emotionally he is mocked by some other fishermen. For him catching Marlin is to
 25

kill two birds with one stone. It will prove that he is still a gifted hunter and has
kept his spirit strong and free.

“Only man is really conscious of the risk and the consequences of accepting the
responsibilities of his role- he can hold on to the line or let go”. (Jackson 179)

The absurdist world view in The Old Man and The Sea is cleverly drawn. One
might draw an analogy between the same alienation that is shown in Samuel
Beckett‘s Waiting for Godot. There is a barren waste land in which two tramps
Vladimir and Estragon are endlessly waiting for their would be rescuer with a
symbolic beam of hope represented by the few leaves of the single tree; the same
thing can be observed in The Old Man and The Sea a single man destined to
encounter a sea of trouble and deal with the survival triangle of his and the Marlin
along with the hungry sharks. The Old Man is intended to be a fisherman and his
continual adventurous journey to the sea. He speculated “Perhaps I should not
have been a fisherman, but that was the thing I was born for”. (Hemingway 42).
The sea is life giving source for Santiago just as Godot is the Savior for the two
tramps and both are incapable to provide an eternal rest and satisfactory mean to
the characters. Hence it makes the absurd hero to pull his own strength and
determination to create their own fate and after all as Rick Warren stated, “We
become whatever we are committed to”. (Rick Warren 207) Santiago takes his
chances with his struggle with the sea and establishes his own code of behavior.

2.2.2 The Purpose Driven Life

It is rather controversial to decide the exact motive of men‘s actions and what is
the reason that makes them to live in a particular way they choose. Thus one might
 26

say it is the personal purpose of an individual, which is the main concern in this
research. What are the reasons behind Santiago‘s continual journey into the sea?

The will to prove one‘s physical abilities is a cornerstone in composing The Old
Man and The Sea, Hemingway‘s massage is rather apparent just like the solitary
philosopher Friedrich Nietzsche argued : “He who has a 'why' to live, can bear
with almost any 'how'”. (sezer.org). Santiago is a man in whose character both
physical strength against the stages of life and spiritual or rather imaginative
pursuits of mental relaxation are balanced. “Every day is a new day” (Hemingway
25), this is a speech of a man of everlasting hope and self-confidence. He is simply
seizing the day and enjoys every minute of his life. In the midst of his tiredness he
dreams of his youth and the champion he used to be called.

Suffering is another mean that can be considered as a first and final inevitable
task of man. Hence the division of existence emerges as a combination of spirit and
body which has long affected the way of living in all the stage of civilizations. As a
writer who has experienced the bitterness of unjustifiable wars and radical thought
of modernism, Hemingway‘s focus goes to the self rather than the other‘s
interference. In The Old Man and The Sea, though mostly said that Santiago is a
Christ like figure yet this is insufficient because the struggle is between man and
material not man and spiritual submission as Christ went through. The Old Man
confesses that, ―I am not religious‖ and he is rather uncaring about unconditional
surrender to Christianity he says “I promise to make a pilgrimage to the Virgin de
Corbe if I catch him that is a promise”. (Hemingway 54), it is apparent that this
point focuses on the idea that man is worshiping his creator not for appreciation
but rather to achieve his goals.
 27

2.3 Human Relationships

“There is power here, and feeling, not only for people, but for all living things”

Being a social animal as Aristotle confirmed human are bounded by their

mutual interactions, simply due to the needs rather than other factors. In The Old
Man and the Sea one can observe the strong attachment of the two characters,
Santiago and Mandolin “The Old Man had taught the boy to fish and the boy loved
him” (Hemingway 6). They both love each other very much. Their social
relationship is based on respect, mutual understanding. Two different ages and
thinking with a single goal that is to catch a fish. The boy is rather sympathetic
toward The Old Man but sure of his skill he never personally questions The Old
Man‘s luck and futile attempts. The boy also provides physical support to Santiago
in the village, bringing him food and clothing and helping him load his skiff, in
return for Santiago‘s mentorship and company. He provides emotional support too
by encouraging Santiago throughout his unlucky streak. This strong emotion leads
the boy to state “you will not fish without eating while I am alive” (Hemingway
14) Santiago is rather different he remembers the boy once he is in need of the
boy‘s help he wished “If the boy was here he would wet the coils of line. Yes. If the
boy were here. If the boy were here” (Hemingway 70-1)

“There is only the boy to worry…Many of the older fishermen will worry. Many
others too, he thought. I live in a good town” (Hemingway 99)

Some reader may deny Santiago‘s heroic status and blamed Santiago for his lack
of social concern as well as his failure to develop an independent perception of life.
For Santiago, many things are limited by his narrow personal circumstances, and
 28

Santiago‘s experiences are not broad, yet his life circumstances are of much wider
significance. His life is full of meaning, particularly when he faces the big fish in
the sea. He is also deeply concerned about society. Santiago has developed close
relationships with the people around him and he is not isolated from the real world.
He is able to enjoy the warmth of friendship, and he is also able to give his concern
and love to Manolin.

Furthermore, his wife has died, he lives and fishes alone he refuses to give in to
loneliness as strong as he refused to surrender. Since the boy is no longer goes
fishing with him, Santiago finds friends in other creatures, Santiago‘s high passion
or love is not merely for people but also for animals and even nature itself. The
Marlin becomes his partner through their shared struggle “Fish, he said, I love you
and respect you very much” (Hemingway 45)

“I am with a friend” (Hemingway 46)

“I wish I could feed the fish, he thought. He is my brother” (Hemingway49)

The Old Man addresses the fish as a brother or friend several times; he regards it as
his victory, company in the outsight sea in which includes he enemies also.

Nevertheless, nature is another aspect which the novel depicts its relationship
with Men. At the very beginning readers are told “he always thought of the sea as
la mar which is hat people call her in Spanish when they love her.” (Hemingway
23). Santiago considers the sea as female. The sea is dangerous with its sharks and
treacherous weather, but it also sustains him by providing food in the form of
dolphins, tuna, and shrimps. The relationship can be best described as intimate,
close and very personal. He is sensitive to nature and feels a deep appreciation for
her sights, sounds, and smells. While he loves nature, and feels a sincere respect
 29

for her laws, thus he accepts the violence in nature as a necessary part of her
overall harmony.

“Come on and kill me, I do not care who kills who” (Hemingway 79), he hints at
the fundamental law of nature that unites Men and animals, all beings must die,
must kill or be killed. In this way Men and nature are joined in a circle system in
which death is necessary. Taine says “For man is not alone in this world; nature
surrounds him and his fellowmen surround him, accidental and secondary
tendencies overlay his primitive tendencies” (Culler 106) so climate and people are
affecting the growth of the character.
 30

Chapter Three

The Triumph of will

3.0 Introduction

This final chapter of the research paper will illustrate several barriers which
face the protagonist while trying to prove his personal abilities, in addition to the
consequences of will through out the journey of the lifetime.

3.1 Will against Difficulties

Santiago has come up against few obstacles while he is fishing at sea, they can
be summed up in three major ones such as, loneliness, aging, and his being less
armed than before. These are difficulties which he faces in front of his enthusiastic
will.

Firstly, loneliness is a common phenomenon appears in Modern literature to

identify the most characters of this age. The Old Man has not been deprived from
this widespread characterization. As Hemingway developed his own kind of hero,
a man who only depends on himself and the hero is mostly self- reliant and an
expert in some area. It was stated before that the hero will not surrender easily, but
at the end, it seems, he will do so because there is no assistance. One of the
fundamental beliefs which The Old Man carries is “„Man is not made for defeat,‟
he said. „a man can be destroyed but not defeated” (Hemingway 89 ), this is one of
the most popular and outstanding statement in the novel, he said this while the first
 31

shark attacked the noble fish, after it took the harpoon and all the rope he realized
that the fish is at risk. At the very beginning of catching the Marlin he wished the
boy were with him “I wish I had the boy” (Hemingway 36) he has been saying this
sentence in different forms for about six times till the end.

He, moreover, has not been defeated so simply. He had decided to go far out
alone, but it was not a wise decision because if he had not been alone he could
have made his way home or at least killing the sharks would have been easier, He
was eventually beaten. Realizing his mistake he apologized for the fish and he said
“I should not have gone out so far, fish he said, neither for you nor for me. I am
sorry fish” (Hemingway 95).

“I am sorry that I went too far out. I ruined us both” (Hemingway 99).
Ultimately, The Old Man is defeated by going beyond the scope of nature‘s limits.
The author is implicitly telling us that there are certain boundaries that Men ought
to stay within, otherwise whatever happens they should suffer the consequences by
themselves.

Secondly, aging is another factor stands against Santiago‘s will in the first line
the author describes him as “He was an old man who fished alone in a skiff…”
(Hemingway 5) although, he is old he fishes alone. The more one thinks deeply
about The Old Man the more readers worry about him, he must depend on
technique and courage alone to stay alive. Furthermore, Hemingway frequently
compares youth and age implicitly, throughout his work he attached skill and
intelligent to age and natural ability to youth, additionally Santiago appears to be
admirable for sticking on his tricks and contemptible for his lack of youthful
confidence and real talent for life.
 32

Santiago is made the source of so much admiration it can be embarrassing, and

yet The Old Man who is admired for his skill and wisdom calls out repeatedly for
the boy, a ritual restoration, but also a plaintive cry for the lost ease and natural
talents of youth, moreover a protest against the injustice of being old and alone
“No one should be alone in their old age he said. But it is unavoidable”
(Hemingway 39). It is a common sense of mankind that old age turns human being
into their disable days while they were a child as children always need a careful
watching in the early years of their life.

The overall situation of Santiago consists of the courage, persistence, skill in

opposition to his bad luck, as it seem to be, his loss of the boy finally his old age in
connection with his stressed condition of being alone in a hostile world. The
pattern which emerges from this implicit comparison of the conditions of the boy
and The Old Man involves the boy‘s youth which certainly emphasizes The Old
Man‘s age and exhaustion as well as the burdens of life that he has carried so well
in addition to the boy‘s devotion which stressed the lonely ordeal that he has gone
through and the hostility which he has survived without becoming horrible or
hostile himself, these are all bitterly disappointing matters which make the hero to
lose the battle.

Finally, there is another minor reason in front of his will that he is less armed.
The more fishermen sail out far to the sea the more risk they will come across;
therefore they must be fully armed so that they will be able to catch and bring back
what they had hooked. Santiago had not, in fact, been better armed than before
otherwise he would not have lost the great Marlin easily. Although he made up
another harpoon out of the oars with his knife but it did not work, because the
sharks were many. Eventually, when Santiago is unarmed he is bitterly
 33

disappointed about his attempts “Now it is over, he thought. They will probably hit
me again. But what can a man do against them in the dark without a weapon?”
(Hemingway 101)

3.2 The Outcomes of Will and Fate

Modern literary creations are the beginning of the end of traditional themes and
heroic characterizations. Santiago is the challenger of almost all the obstacles but
he lacks luck. The outcomes of his will to catch a fish traditionally would be futile
but in modern perspective Santiago is a typical hero. His physical appearance at
the very starting point of the novel is rather matches perfectly with the sea his blue
eyes are the hidden strength of our old hero. In modern age it is not significant
whether the hero achieves his objective or not, being a protagonist depends on the
readers‘ view of The Old Man as a crucial element of the story. The age of Nada
which Hemingway experienced leads him to the belief that any attempt to make the
sense of human life is a Sisyphean. The Old Man battles with the sharks, who have
more or less infinite reserves of numbers, energy, and vicious determination.
Driving a harpoon at the first, he hits it ―without hope, but with resolution and
complete malignancy‖ (Hemingway 102). One can observe the similarity between
Sisyphus and Santiago; the eyes of Santiago are just full of hope and pride as wide
as the sea and Camus describes Sisyphus‘s appearance ―A face that toils so close to
stones is already stone itself! I see that man going back down with a heavy yet
measured step toward the torment of which he will never know the end‖. (Camus
76).
 34

Nevertheless, Hemingway‘s feelings do not change much, so it is natural that his

plot, so called in the traditional sense, akin to an epic story. The hero undertook a
hard task then with a tremendous effort he succeeded, but he lost the prize or the
final victory for which he has been out. The particular defeat on which the novella
focuses is obviously Sisyphean in its combination of repetitive, painful struggle
and the clear-eyed awareness of that ultimate nothingness he was left with.

An existential hero is indeed an individual who actively exercises his personal

freedom to construct his authentic self. It is only that he knows he is placed in an
absurd world, a world in which no definite meaning or purpose of life can be
indubitably affirmed. Facing the absurd world, the existential hero often feels the
threat of nihilism and sees mere nothingness of void in everything. Consequently
he always lives under the tension of anguish a state not exactly of anxiety nor of
fear, but of agonizing dread about something indefinite and uncanny.

One characteristic of the absurd which makes most of the anguish is meaningless
repetition ―Beginning again from zero‖. Thus for the some like old man this is the
core of the agony he has to go for fishing over and over again although he caught
the biggest fish. He is determined to identify himself with the surrounding because
he despises the repetition. For repletion is a restrain of freedom, a cutting off of
one‘s chance to set up his individuality anew.

To conclude the overall outcome of any man‘s action is secondary to the

preparation and resolution to take the steps toward the eternal and restless attempt
to run parallel with the waves of life.
 35

3.3 Will and Absurdity of Everyday Life

―The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a
mountain, whence the stone would fall back of its own weight. They had thought
with some reason that there is no more dreadful punishment than futile and
hopeless labor‖. (Camus 75). These lines are from THE MYTH OF SISYPHUS by
Albert Camus in which he tackled with the absurd everydayness of human
existence. Once a person senses this absurdity the need for answers and solutions
will emerge. Santiago is fully acquainted with his futile voyage into the sea; hence
he must put an end to this fruitlessness of his suffering. He sees his weary soul in
the fish he caught, thus ―He wants to destroy the fish in other word (Himself)‖
(Askandar 156). The Old Man simply wants to put an end for his continual struggle
through a symbolic suicide. He does not give up, yet he sees himself dead in the
fish, because traditionally the water represents life and the fish is the same old
man. (Askandar 152).

―Life is a prison, an eternal prison‖ (Kazantzakis 11) how one should break out
from this prison in other word how one will search for oneself in an absurd
surrounding? The Old Man suffers not from his surrounding rather he is raging
against his wearied soul. He is mere an actor rather than a character, he is in the
same stage direction (The Sea) for nearly three months, and furthermore catching a
fish is the final scene follows by curtains. As it mentioned that the Marlin is the
symbolic representation of The Old Man‘s soul and he intends to destroy, yet this
suicide is differ from any other self-inhalation because he gives meaning to his
 36

existence rather than showing his permanent defeat. This is can be compared with
Camus‘ famous denunciation of suicide ―Camus thus rejects suicide as an option.
We cannot solve the problem of the absurd by negating its existence. It is a
necessary condition of the confrontation between man and world. Suicide, as a
resolution of the absurd, would be a defeat, a denial of the very condition of man‟s
Existence”. (Stokes 155)

The Old Man is dead right after he was born but not physically, he compares
himself with the turtles saying ―Most people are heartless about turtles because a
turtle‟s heart will beat for hours after he has been cut up and butchered. But The
Old Man thought, I have such a heart too and my feet and hands are like theirs‖.
(Hemingway 29).

He lives in a nostalgic sense, continually dreams of his youth and old days which
he cannot return to. Times is irreversible the first forty days of The Old Man with
the boy is a reference of his youth that had ended after he reached his forty. He
wished the boy would be with him while struggling with the fish, in other word he
wished that his youth strength would have remained in him.
 37

Conclusion

Throughout this research paper the researchers concluded that Hemingway‘s

code hero is the epitome of illustrating the two concepts of fate and free will. The
creation of The Old Man‘s character is a clear response to the age itself. The age of
radical modernism and the starting point of dehumanization of man and the moral
decadence of codes of behavior. The Old Man is both creator and director of his
own fate.

His free will is his own redline that even age and hostile environment cannot cross.
He decides to catch a big fish and triumphantly accepts his final futile attempts to
protect his objective. This is Hemingway‘s portrayal of the modern man; live with
dignity and accept responsibilities. In modern age man must be as strong as
possible to have a bold and fresh look on the events that strikes him like the waves
of the sea. The real code hero is as this research valuated is the one who do not
have prior sets of rules to live by them, instead his actions are paving the way
toward challenging burdens of life. To cut the story short “A Man can be destroyed
but not defeated” (Hemingway 93).
 38

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