“What
symbols of religion did Ernest Hemingway use in The Old Man and the Sea?” In
this novel, he used several references to Christ and how he died on the
cross.
While out
at sea, Santiago
is trying to keep the sharks away from eating his fifteen hundred pound marlin
that is tied to the side of his skiff.
When the second wave of sharks comes, the old man says “Ay” (Hemingway
107). “There is no translation for this
word and perhaps it is just a noise such as a man might make, involuntarily,
feeling the nail go through his hands and into the wood” (Hemingway 107). In your mind you picture a man being nailed
to wood, which is exactly how Jesus Christ died. He had nails in his hands and feet that were
attached to a wooden cross.
Being a fisherman, Santiago has to be able to
carry all of his belongings from his shack to his skiff. His belongings consist of a sail, mast, and “the
wooden box with the coiled, hard-braided brown lines, the gaff and the harpoon
with its shaft” (Hemingway 15). “The
mast was nearly as long as the one room of the shack” (Hemingway 15). Can you imagine being an old, skinny man
trying to haul a mast that is almost as big as a shack from the harbor up a
hill? This alone is a big task. Try doing this after battling a marlin for three
days straight. The old man got back from
his fishing trip and had to bring his mast up to his shack. “He shouldered the mast and started to climb”
(Hemingway 121). On his way up the hill,
Santiago “had
to sit down five times before he reached his shack” (Hemingway 121). This symbolizes Christ’s walk with the
cross. He fell many times but kept
getting right back up even though he hurt and was tired.
After
reaching his shack after his struggle with the mast, Santiago collapsed in his bed of newspapers. “He slept face down on the newspapers with
his arms out straight and the palms of his hands up” (Hemingway122). This position of the old man shows how Jesus
Christ died on the cross, arms out straight with his palms facing up.
Hemingway, Ernest. The Old Man and the Sea. New York :
Scribner, 1952. Print.
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