Name - Jyotiba Gohil
Paper no 10
Roll no 13
Enrollment no 2069108420180017
Submitted to MKBU Department of English
Topic Hemingway's craft in The old man and the sea.
The Old man and the sea, published in 1952, was the last major work of fiction by Hemingway to appear in his life time . Although several years of creative effort remained to him before his death in 1961, the writing of those year is not likely to either enhance or materially alter his reputation at least in the opinions of Carlos Baker and Philip young, who have examined the writer's unpublished papers. If this is indeed the case, the old man and the sea will probably solidify its position as the final boundary of Hemingway’s career, just as in our Time marks it’s beginning. The judgment of the Nobel Committee, which singled out The old Man and the Sea for special praise in its award of the 1954 Literature prize to Hemingway had proved to be unusually percipient.
Nor have the critics neglected the work.
Soon after its publication it became the subject for serious and generally sympathetic commentary ,continuing to this moment. Some have hailed The old man and the sea his affirmation and reconciliation of man and nature other have interpreted it as his reiteration of man's tragic or ironic defeat by in super able forces . The story allegorical dimensions have also been examined, especially it’s use of Christian symbolism and the parallels between Santiago ordeal and Christ or that of a mythic quest hero. An early and persistent reading holds that the novella poses a parable of his own literary fate, with himself as the gallant fisherman and his career as the splendid Marlin develop Ed by bloodthirsty shark critics . In sum , the old man and the sea would not seem to be a neglected work.
First the essential design of the old man and the sea can be compared to that of the drama, for the narrative moves through three distinct phases of action which are symmetrically proportioned in relation both to one another and to the whole. In the first part or act Hemingway established the old man relationship with the boy Santiago uniqueness and potentiality for tragic stature, the ethical values to be tested and the voyage out to sea. This part occupies almost exactly one fourth of the entire work. The second section act two in the drama is introduced by Santiago twice repeated yes and begins at the moment when the great Marlin takes the fisherman bait. It proceeds to describe the harrowing combat between man and fish and concludes with Santiago killing of the Marlin. This section is virtually twice the length of the opening phase and occupies the middle half of the work. The concluding section, the denouement , completed the symmetry for it is the same length as part one. It narrative the voyage back, the destruction of the Marlin by sharks, and the old man reconciliation with the boy. This the story comes full circle. This sequence of action, then , in its proportional arrangement , comprises the work basic architecture. However, this is hardly it’s only structural principal. The large frame is reinforced by other, more intricate design.
Among the essential symbol in patterns which support the structure of the old man and the sea, as of other his narrative is the movement sometimes applies literally as the progression from in doors to out of doors from nature to dwelling or dwelling to nature as in Indian camp, three day blow an Alpine Idyll and many others. In some instances the pattern has only two phase, in other three with the action returning to the place or sphere of origin. The inside outside pattern has many ramifications. Of course. Which break through the literal naming and which inherently convey deep emotional association and values.
Just as Hemingway established paradoxical values for the land, he bestows even more ironically ambiguous meaning upon the sea . As the vast arena for Santiago struggle with the great Marlin, it is that sphere in which man becomes most intensely alive , most severely tested, most heroic . The sea is beneficial the source of peace and nourishment and of inexpressible grandeur. But it is a trap, too, the elements populared by deceptively beautiful yet poisonous creatures such as the Portuguese man of war, and by the vicious sharks. The sea succors and exalts man even as it overwhelms and ruins him. This is what Santiago means when he days repeated in the book concludeing section that he has gone out too far . The sea becomes, finally, the objective correlative for the abstractions we name Nature ,fate.
Thus the work narrative pattern and frame , the land sea land movement, embodies also the polarities of its meaning the known against the unknown, the human against the infinite. Furthermore, Hemingway strengthens the principal narrative pattern by interweaving two other subpatterns, which serve to reduplicate the three part structure. Together alone together, darkness light darkness.
In the together alone together design the narrative opens with its depiction of Santiago intimate comradeship with the boy, takes him out to sea alone, then closes with the renewed and intensified love of the boy. The narrative and symbolic pattern of light darkness can be studied in further detail, for it serves in the story both as simple external frame and as internal imagery. As frame, the story both as begins and ends in daylight,from the late afternoon of the eighty fourth day Santiago has gone unlucky to the afternoon three days later, when the tourists comments ignorantly while Santiago sleeps exhausted. More important, Hemingway uses a recurrint imagery and light.
We must consider, finally, the techniques by which Hemingway portrays his hero, and here again there appears a kind of ambivalence . That is his comments Santiago to our affection and admiration at the same time , he carefully foreshadow the story tragic or ironic outcome and demonstrates the protagonist frailties as a man. Hemingway method is dual first he established the old man's attribute through a series of contrast and associates which convey both strength and weakness, innocence and guilt, second the writer makes his hero intimately familiar to us by his skillful use of a particular narrative perspective.
It was noted earlier in this essay that one of the important function of the story opening section is to elevate the fisherman to heroic stature. The most obvious means is direct statement, and three such assertion occur in the work .
With a single exception, the third person mode is scrupulously maintained during the books first twenty pages which treat events on shore . We know the contents of Santiago thoughts by Hemingway statement of them but we do not share in them directly. However, once Santiago is alone and rows out to sea we enter into his mind with increasing frequency, sometime moving from outside to inside with the traditional Hemingway crues, he thought, he said, sometimes gliding over directly from third person to first person. In other words, we get to know Santiago better when we have him alone. The initial instance of Santiago voiced thought is indicated by quotation marks after that the author uses no typographical markers except for what is actually spoken aloud.
Thus to the reader third person and first person narration seem visually the same, as they do aurally. Likewise, the seams of the narrative the transition in voice, are kept from intruding upon the reader attention.
Surely the passage appears simple enough and wholly characteristic of Hemingway, yet this seemingly transparent and artless prose employs, in sequence, four distinct narrative modes. It begins with third person narration. But with the writer occupying the same point in time, space, and outlook as his character. It then shifts to direct utterance, set off by conventional punctuation and introduced by a conventional phrase. Next, however, there is a passage of interior monologue with out any cues, followed immediately by another brief passage of outside narrative, followed in turn by a passage which integrates cried interior monologue and third person narration.
What is true of The old man and the sea is true at large. Who does not know Hemingway writing yet who can profess to understand exactly ho it is made, or unruffled the secret of its special magic. We want to know more, for at its best as in the old man and the sea, it partakes of the miracle of enduring art. That it can never be exhausted by critic or reader , but that it renews itself and it's audience perpetually.
Paper no 10
Roll no 13
Enrollment no 2069108420180017
Submitted to MKBU Department of English
Topic Hemingway's craft in The old man and the sea.
The Old man and the sea, published in 1952, was the last major work of fiction by Hemingway to appear in his life time . Although several years of creative effort remained to him before his death in 1961, the writing of those year is not likely to either enhance or materially alter his reputation at least in the opinions of Carlos Baker and Philip young, who have examined the writer's unpublished papers. If this is indeed the case, the old man and the sea will probably solidify its position as the final boundary of Hemingway’s career, just as in our Time marks it’s beginning. The judgment of the Nobel Committee, which singled out The old Man and the Sea for special praise in its award of the 1954 Literature prize to Hemingway had proved to be unusually percipient.
Nor have the critics neglected the work.
Soon after its publication it became the subject for serious and generally sympathetic commentary ,continuing to this moment. Some have hailed The old man and the sea his affirmation and reconciliation of man and nature other have interpreted it as his reiteration of man's tragic or ironic defeat by in super able forces . The story allegorical dimensions have also been examined, especially it’s use of Christian symbolism and the parallels between Santiago ordeal and Christ or that of a mythic quest hero. An early and persistent reading holds that the novella poses a parable of his own literary fate, with himself as the gallant fisherman and his career as the splendid Marlin develop Ed by bloodthirsty shark critics . In sum , the old man and the sea would not seem to be a neglected work.
First the essential design of the old man and the sea can be compared to that of the drama, for the narrative moves through three distinct phases of action which are symmetrically proportioned in relation both to one another and to the whole. In the first part or act Hemingway established the old man relationship with the boy Santiago uniqueness and potentiality for tragic stature, the ethical values to be tested and the voyage out to sea. This part occupies almost exactly one fourth of the entire work. The second section act two in the drama is introduced by Santiago twice repeated yes and begins at the moment when the great Marlin takes the fisherman bait. It proceeds to describe the harrowing combat between man and fish and concludes with Santiago killing of the Marlin. This section is virtually twice the length of the opening phase and occupies the middle half of the work. The concluding section, the denouement , completed the symmetry for it is the same length as part one. It narrative the voyage back, the destruction of the Marlin by sharks, and the old man reconciliation with the boy. This the story comes full circle. This sequence of action, then , in its proportional arrangement , comprises the work basic architecture. However, this is hardly it’s only structural principal. The large frame is reinforced by other, more intricate design.
Among the essential symbol in patterns which support the structure of the old man and the sea, as of other his narrative is the movement sometimes applies literally as the progression from in doors to out of doors from nature to dwelling or dwelling to nature as in Indian camp, three day blow an Alpine Idyll and many others. In some instances the pattern has only two phase, in other three with the action returning to the place or sphere of origin. The inside outside pattern has many ramifications. Of course. Which break through the literal naming and which inherently convey deep emotional association and values.
Just as Hemingway established paradoxical values for the land, he bestows even more ironically ambiguous meaning upon the sea . As the vast arena for Santiago struggle with the great Marlin, it is that sphere in which man becomes most intensely alive , most severely tested, most heroic . The sea is beneficial the source of peace and nourishment and of inexpressible grandeur. But it is a trap, too, the elements populared by deceptively beautiful yet poisonous creatures such as the Portuguese man of war, and by the vicious sharks. The sea succors and exalts man even as it overwhelms and ruins him. This is what Santiago means when he days repeated in the book concludeing section that he has gone out too far . The sea becomes, finally, the objective correlative for the abstractions we name Nature ,fate.
Thus the work narrative pattern and frame , the land sea land movement, embodies also the polarities of its meaning the known against the unknown, the human against the infinite. Furthermore, Hemingway strengthens the principal narrative pattern by interweaving two other subpatterns, which serve to reduplicate the three part structure. Together alone together, darkness light darkness.
In the together alone together design the narrative opens with its depiction of Santiago intimate comradeship with the boy, takes him out to sea alone, then closes with the renewed and intensified love of the boy. The narrative and symbolic pattern of light darkness can be studied in further detail, for it serves in the story both as simple external frame and as internal imagery. As frame, the story both as begins and ends in daylight,from the late afternoon of the eighty fourth day Santiago has gone unlucky to the afternoon three days later, when the tourists comments ignorantly while Santiago sleeps exhausted. More important, Hemingway uses a recurrint imagery and light.
We must consider, finally, the techniques by which Hemingway portrays his hero, and here again there appears a kind of ambivalence . That is his comments Santiago to our affection and admiration at the same time , he carefully foreshadow the story tragic or ironic outcome and demonstrates the protagonist frailties as a man. Hemingway method is dual first he established the old man's attribute through a series of contrast and associates which convey both strength and weakness, innocence and guilt, second the writer makes his hero intimately familiar to us by his skillful use of a particular narrative perspective.
It was noted earlier in this essay that one of the important function of the story opening section is to elevate the fisherman to heroic stature. The most obvious means is direct statement, and three such assertion occur in the work .
With a single exception, the third person mode is scrupulously maintained during the books first twenty pages which treat events on shore . We know the contents of Santiago thoughts by Hemingway statement of them but we do not share in them directly. However, once Santiago is alone and rows out to sea we enter into his mind with increasing frequency, sometime moving from outside to inside with the traditional Hemingway crues, he thought, he said, sometimes gliding over directly from third person to first person. In other words, we get to know Santiago better when we have him alone. The initial instance of Santiago voiced thought is indicated by quotation marks after that the author uses no typographical markers except for what is actually spoken aloud.
Thus to the reader third person and first person narration seem visually the same, as they do aurally. Likewise, the seams of the narrative the transition in voice, are kept from intruding upon the reader attention.
Surely the passage appears simple enough and wholly characteristic of Hemingway, yet this seemingly transparent and artless prose employs, in sequence, four distinct narrative modes. It begins with third person narration. But with the writer occupying the same point in time, space, and outlook as his character. It then shifts to direct utterance, set off by conventional punctuation and introduced by a conventional phrase. Next, however, there is a passage of interior monologue with out any cues, followed immediately by another brief passage of outside narrative, followed in turn by a passage which integrates cried interior monologue and third person narration.
What is true of The old man and the sea is true at large. Who does not know Hemingway writing yet who can profess to understand exactly ho it is made, or unruffled the secret of its special magic. We want to know more, for at its best as in the old man and the sea, it partakes of the miracle of enduring art. That it can never be exhausted by critic or reader , but that it renews itself and it's audience perpetually.
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