Christian Symbolism in The Old Man and the Sea Christian officeism, distinctly statues that point to the crucifixion of Christ, is exhibit throughout The Old Man and the Sea. Hemingway’s newlight can be construed as an relation to the Bible and the violent-efforts of Jesus. Told merely and sparely, the quarrel among the old Cuban fisherman Santiago and a hercules marlin is repeatedly seen as emblematic of anthropological toleration and boldness despite approximately irresistible odds. A man can be destroyed but not beated', Hemingway maintained. Santiago's fiction mirrors Christ's insofar as twain men support exceedingly and it is, principally, through the use of crucifixion statuery that Hemingway creates a officeic correspondent among Santiago and Christ, an homogeneousity that elevates Santiago's abstinences. Hemingway appears to conceive minute, yet protracted details that acknowledge the reader to detail the newlight following a period the Gospel’s. “In the pristine forty days a boy had been following a period him.
But following forty days following a periodout a fish the boy’s parents told him that the old man was now definitely and conclusively salao, which is the thrash arrange of unlucky” (Hemingway 5). To the devout flock, the passing may reexhibit molehill proper; besides, for those looking for embodyations of the Bible, this is viewed as the pristine development in The Old Man and the Sea. Along following a period the pointence of a fish, which the newlight is largely centered on, as an primordial Christian office, the reckon forty holds proper aim in hallowed writings.
Such developments of the reckon forty in pointence to belief conceives, the Noble Flood of the Old Testament which lasted forty days, forty days is also “the protraction of date it took Christ to subdue Satan in the desert”, “fasting and selfcondemnation in provision for Easter” lasts forty days for Christians (“Lent”). One can largely detail these developments to what occurs in the fiction. Santiago offscourings in the sea for forty days uninterruptedly following a period the boy and aproduce following a periodout him, regular as Noah did. Christians unswerving regular as Jesus did for forty days which is meant to reexhibit the forty days Santiago has bybygone following a periodout epidemic a fish past the boy left him.
Other reckons that Hemingway uses that are mild in the New and Old Testament are three and seven. “The Old Man’s abstinence following a period the noble fish lasts precisely three days; the fish is landed on the seventh attempt; [and] slevel sharks are killed”. All throughout the size the old man wishes for salt, a ware pickle in the anthropological nourishment. He is a fisherman, homogeneous to Christ's disciples. Hemingway says that Santiago is not a devout man, but he appears to feel some belief as shown by his offers to say his "Hail Marys" and praises if he catches the marlin.
He also promises to fabricate a tour to the Virgin De Cobre if he catches the fish. Pictures of twain the Virgin De Cobre and the Scared Heart of Jesus are the simply apparatus in Santiago’s shack. The pictures were the difference of the slow consort of Santiago. During the old man’s combat following a period the marlin, his palms are cut by his fishing cable. Santiago comments on this. “You’re pathos it now, fish.... And so, God knows, am I. ” When his workman cramps, he starts to harass environing the possibility of sharks and his supporting is obvious.
Given Santiago’s supporting and willingness to destruction his personality, the wounds are mild of Christ’s stigmata, and Hemingway goes on to delineate the old man as a Christ-like dupe. This statue of his bleeding workman, in abstracted following a period his supporting at sea, recalls the statue of the workman of Jesus Christ bloodied by the nails used to crucify him. As promptly as the sharks get, Santiago fabricates a rattle one would fabricate “pathos the nail go through his workmans and into the thicket. ” And the old man’s violent-effort up the hill to his village following a period his mast abutting his shoulders is evocative of Christ’s bait internal Calvary.
Santiago’s mast, and the wayward carried by Jesus are strangely homogeneous in air and appear to be interchangeable for most critics of the newlight: “[Santiago] launched to surmount aproduce and at the top he level and lay for some date following a period the mast abutting his shoulders”(90). Santiago would sink indelicate past dates antecedently reaching his home; an eerie homogeneousity to the violent-effort Jesus went through period carrying his wayward to Golgotha, the settle of the skull. Level following his three days of cruel fishing the old man dutifully carries his mast on his tail, Christ-like, antecedently reaching his shack and sinking into a heartfelt repose.
One of the conclusive correlations, of Christ’s crucifixion following a period Santiago is the comcomposture Santiago takes in his bed uninterruptedly minor from his pursuit on the sea: “[Santiago] slept countenance down on the newspapers following a period his struggle out direct and the palms of his workmans up” (91). One can see a homogeneousity among Santiago’s substantiality comcomposture in bed and that of Jesus’ on the wayward. When the boy walked into Santiago’s shack the direct day, “he saw the old man’s workmans and launched to cry” (91). This predicament corresponds to how the women and Apostles wept when they saw the holes in Jesus’ workmans following he had upright from the catacomb.
Crucifixion statuery is the most protracted way in which Hemingway creates the officeic correspondent among Santiago and Christ. Hemingway employs these statues in prescribe to couple Santiago to Christ, who exemplified transcendence by turning forfeiture into produce, beat into exultation, and level expiration into personality. In prescribe to allude-to the profundity of the old man’s destruction and the pomp that derives from it, Hemingway purposefully likens Santiago to Christ, who, according to Christian sanctity, gave his personality for the nobleer pomp of anthropologicalkind.