PART DETAILED STUDY OF THE OLD MAN AND THE SE. 4, is ICAL, INTRODUCTION AND A Cri, APPRECIATION on THE OLD MAN AND yyy SHA Sere The ‘Theme The Old Wy sible, whieh Of Tie He Han and The Sea Was vain an gota, ningway' based on th ‘e simplest of themes pos a1 incident Hemings way had heard “Maalerpiece a novella, larg sly responsible for the Nobel Prize that Was awarded to hin in 1954. It is the simple story of “nol Cuban fishirmay And his couray dignity and f roism, Santiago, (7 ld Man Profesional tis Gur Stroun, they I days, on tho Siebty fityy Mortechandedty for hy Od Mivabts ermian and he fish dle bo day he poos { ve days and two the stoic de YS in hie sul Mmatoly destroy | Sharks iMuge Miton | TENOR to de Jone along the for vighty four a huge marlin vble struggle and indom against the shark - is fight against th profession, He kee? M8 Not beon al atch any fis far out and fights nights. His indefa termination, endurance equent batth chard won p V8 strony cominitment to hi till he Tend in prize oven when dete: need Won il Mochins let of the mani Se Oe alld lin haw bon destroyed tar the ofd man is not defeat a nto with the skoleton and eventually mak of luck cst he theme, therefore, is how a man alone and out igh! Pant flat ne a SU oy, NX ch he ar in whi Pending upon the manner it to rally vie srye moral ein defeated, he may emerge t OF all the wor ORAL the Pont of b Hong, though, fi HM he may be physically beaten ton Scanned with CamScannergon and a erition! Appreciation 109 ot yariow! td Mon and The Sea adres emingway's personal cil Mepis eraft and his eriti Pan's fife on earth, & paral eas an allegory of youth and age. § ' oon with Christian syrabols and in personal and Private Parable Meanings and Interpretations Flos inverpretatio t, * parable of the artis pine Crities interpret of human « Still other: Many eritics Hemingway as the a verpretes his struggle as his own etruggle. After he River and Into the Trees, he received a lot of criticism. Cri gut against him saying, that he no longer of th that he had lost. his touch. He, therefore, had to prov the thouvand times he had proved himself befol fifieance, Therefore, Santiago's struggle again Hemingway struggling to master hie art. Th against the sharks with thing he had against the opposing, critica and the sharks t fish, ultimately reducing the marlin to its infavorable critics lashing out and tearing apart Hemingway’ reaultof hie hard work. Finally, even destroyed he is not beaten and he dreams of a better future. ‘This again is interpreted symbolising Hemingway's hope and confidence and his unbeatable belie AParable of Human Struggle From another point of the view, Santiogo's struge Mle of human struggle, as an allegory of man’s life Ymbolises man fighting for the good, and fighting against u Life in fall of trials and tribulations. Man has to face problems 2% &¥ cb and at every point. He has to grapple with great determination, “utfage and endurance, the uncontrollable forces of nature that work ahi, Moreover, he has to * rictly adhere to the rules of living, ta itiago faces with the task of catching and conquering huge fish 1 strictly follow the rules and go by his technians “Te also tells Mak y be destroyed but not defeated while facing the snore Santiago struggle agai arks, trials that threaten to de- toy. uggle against the sharks, r : Hs and tee oe ee ee and all tat he has achieved. Bus by y s the nature of bis sistence, by still dar- c al and thus score a moral elf is a {him in the face ted and 10 Wh Hemingway aring off th eleton is see marlin’s ag the n earth. 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He fails and he attempts and fails seven Limes beg Iwan finally able (o harpoon tt, The fish turns out to he LWO feay the, than the skiff [tin impossible to take the fish on board and jushow the fiftesn hundred pound fish alongside and begins to. ward, But eharks attracted by the blood from the marlin out the night, Siunbiago valiantly defends his prize, He loses ic yon in killing the firut shark, then he uses the knife, elu a tiller Ul finally he iv weapontoss and there ie nothing left of thee ¢ marlin oxcopt ita akeleton, Still he do 5 hitting out ev when he cannot. see, al what he can hear and feel, Thus Santiageg plays an indofatigablences and an indomitable spirit that seq and elevates him fur beyond ordinary men, He may be phy fented and destroyed but he refuses to be det moral courage can be seen in the manner in whieh he expre regret to the fish and says that nothing had b gone too far out, He had gone beyond all peop! punishment for his transgression. In this view, he Christ and to Saint James. Hemingway himself intended Santiago to portray the Greek philosophy that “God doesn’t forbid human kind to cross the mortal limits but those who do have to pay ah Santiago, therefore, pays a heavy price, but his heroism is not the ordi- nary, kind, He is again able to rejuvenate himself, to retain his conli- dence and having proved himself make happy plans for the future and dreams happy dreams, “The old man was sleeping again...,The old man was dreaming about the lions.” in't give up, He keep en is. Narrative Style As always, Hemingway, the master story teller comes up with a mar- vellous story based on an ultra simple storyline and in accordance t9 the Hemingway technique, the story is told with simple candour in @ Hxnguage simplistic, bare and minimal, devoid of any kind of flourishes or embellishments, Though some critics have pointed out that Lemingway’s style had become another rhetoric which he merely sees \o be attempting again, there can be no doubt of the beauty and oF i « and the pale of the prose, As simple as Santiago is, as simple his story andthe hanes ™ which it is told. There is a grace and rhythm in a ha Not even el, Possesses a musi Using alliteration age jassieal prose can boast of. The colloquial lant, cal quality that Hemingway enhan nage ‘phere is nothing difficay ‘The sentences he uses are short Pa ot text, Howmet in his prose, even children can east ye levels of me, “r, this simplicity is deceptive for under aes An example moe and herein lies the beauty and grea Tor close consideration as follows : Scanned with CamScannerand 2 Critical Appreciation ‘ 443 man was en me gaunt with deep wrinkles in the back of ‘The brown © jotches of the wolent skin cover the sun ection on the tropic sea were on his cheeks. The ts refl 1] down the sides of his face and hands had the deep 3 geold san well t ose ATS from handling heavy fish on the cords. But none of these fresh. They were as old as erosions in a fishless desert. m was old except his eyes and they were the same were cheerful and undefeated.” is renowned. The and to the ere ting about hi Oper as the 62a an se of colloquial, non-literary prose en in his dialogues which are spare highly suitable for his subject. Hemingway's U Het on be better s This medium is «nd the best fisherman is you" “No, [know others better.” ‘quéve! the boy said. ‘There are many good fishermen and some great ones. But there is only you.” Thank you. You make me happy. I hope no fish will come along so great that the will prove us wrong.’ ‘There is no such fish if you are still st he old man sai rong as you say.’ ‘may not be as strong as I think’, t 4. ‘But I know many tricks and I have resolution.” “You ought to go to bed now so that you will be take the things back to the Terrace” arrative com! ffect and ren fresh in the morning. Iwill This simplistic dialogue and n municate facts and thus contribute greatly to the realistic e! der his work naturalis- Flaws in the Story The Old Man and The Sea, is Heminews: ithetiwnnts twentieth century but it is not completely f ts and criticis! *s masterpiece, & classic of ly free from faults. He re- m for thenovel. Philip that in his rhetoric he e style he himself had q Hemingway for not ceived ted que few negative comments on Red te te of the opinion tstablished acy longer original, but imitating thi being creati as a rhetoric, Therefore, he accus®' , he no abhi Robert P.Weeks, an eminent Hemingway critic, has called ‘ela Takery’ because he has net fen Jeed 2 real fish, a real sea or 11 a8 Hemingway asserted. 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