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The Old Man and the Sea Author(S): Leo Gurko Source: College English, Vol The Old Man and the Sea Author(s): Leo Gurko Source: College English, Vol. 17, No. 1 (Oct., 1955), pp. 11-15 Published by: National Council of Teachers of English Stable URL: http://www.jstor.org/stable/495716 Accessed: 08/01/2009 13:02 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ncte. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. National Council of Teachers of English is collaborating with JSTOR to digitize, preserve and extend access to College English. http://www.jstor.org The Old Man and the Sea LEO GuRKo MOST of Hemingway's novels empha- the Virgen de Cobre" (The Old Man and size what men cannot do, and define the Sea, Scribner's, 1952, p. 71), but these the world's limitations, cruelties, or built- are rituals that come after the event and in evil. The Old Man and the Sea is re- have no significant relationship with it. markable for its stress on what men can In this universe, changeless and bare of do and on the world as an arena where divinity, everyone has his fixed role to heroic deeds are possible. The universe play. Santiago's role is to pursue the great inhabited by Santiago, the old Cuban marlin, "That which I was born for" fisherman, is not free of tragedy and pain (p. 44), he reflects; the marlin's is to live but these are transcended, and the affirm- in the deepest parts of the sea and escape ing tone is in sharp contrast with the the pursuit of man. The two of them pessimism permeating such books as The struggle with each other to the death, but Sun Also Rises and A Farewell to Arms. without animosity or hatred. On the con- One aspect of this universe, familiar trary, the old man feels a deep affection from the earlier works, is its changeless- and admiration for the fish. He admires ness. The round of Nature-which in- its great strength as it pulls his skiff cludes human nature-is not only eternal out to sea, and becomes conscious of its but eternally the same. The sun not only nobility as the two grow closer and closer rises, it rises always, and sets and rises together, in spirit as well as space, during again without change of rhythm. The re- their long interlude on the Gulf Stream. lationship of Nature to man proceeds In the final struggle between them, his through basic patterns that never vary. hands bleeding, his body racked with fa- Therefore, despite the fact that a story by tigue and pain, the old man reflects in his Hemingway is always full of action, the exhaustion: action takes inside a world that is place You are killing me, fish... But have static. you fundamentally a right to. Never have I seen a greater, or Moreover, its processes are purely secu- more beautiful, or a calmer or a more noble lar in character: Hemingway's figures are thing than you, brother. Come on and kill often religious but their religion is pe- me. I do not care who kills who. (p. 102) ripheral rather than central to their lives. On the homeward with the mar- In The Old Man and the Sea, Santiago, journey, lin tied to the principal figure, is a primitive Cuban, the boat and already under at- tack from his at once religious and superstitious. Yet sharks, Santiago establishes final with the that neither his religion nor his superstitious relationship fish, great of Nature: beliefs are relevant to his tragic experi- phenomenon ence with the great marlin; they do not You did not kill the fish only to keep alive create it or in any way control its meaning. and to sell for food, he thought. You killed The fisherman himself, knowing what it him for pride and because you are a fisher- is all about, relies on his own resources man. You loved him when he was alive and you loved him after. If love it is and not on God (in whom he devoutly be- you him, not a sin to kill him. (p. 116) lieves, just as Jake Barnes, while calling himself a bad Catholic, is also a devout A sense of brotherhood and love, in a believer). If he succeeds in catching the world in which everyone is killing or be- fish, he "will say ten Our Fathers and ten ing killed, binds together the creatures of Hail Marys ... and make a pilgrimage to Nature, establishes between them a unity 11 12 COLLEGE ENGLISH and an emotion which transcends the de- To be a hero means to dare more than structive pattern in which they are caught. other men, to expose oneself to greater In the eternal round, each living thing, dangers, and therefore more greatly to man and animal, acts out its destiny ac- risk the possibilities of defeat and death. cording to the drives of its species, and On the eighty-fifth day after catching his in the process becomes a part of the pro- last fish, Santiago rows far beyond the found harmony of the natural universe. customary fishing grounds; as he drops This harmony, taking into account the his lines into water of unplumbed depth hard facts of pursuit, violence, and death he sees the other fishermen, looking very but reaching a stage of feeling beyond small, strung out in a line far inland be- them, is a primary aspect of Hemingway's tween himself and the shore. Because he view of the world. Even the sharks have is out so far, he catches the great fish. their place. They are largely scavengers, But because the fish is so powerful, it but the strongest and most powerful pulls his skiff even farther out-so far among them, the great Mako shark which from shore that they cannot get back makes its way out of the deep part of the in time to prevent the marlin being chewed sea, shares the grandeur of the marlin. to pieces by the sharks. "I shouldn't have Santiago kills him but feels identified with gone out so far, fish," he said. "Neither him as well: for you nor for me. I'm sorry, fish" (p. The of the and But the he 121). greatness experience you enjoyed killing dentuso, the of the loss are bound He lives on the live fish as you do. inevitability up thought. bound- He is not a scavenger nor just a moving together. Nature provides us with appetite as some sharks are. He is beautiful less opportunities for the great experience and noble and knows no fear of anything. if we have it in us to respond. The experi- (pp. 116-117) ence carries with it its heavy tragic price. No matter. It is worth it. When Santiago Nature not only has its own harmony at last returns with the marlin still lashed and integration but also its degrees of to the skiff but eaten away to the skeleton, value. In The Old Man and the Sea this he staggers uphill to his hut groaning is contained in the idea of depth. The under the weight of the mast. He falls deeper the sea the more valuable the crea- asleep exhausted and dreams of the Afri- tures living there and the more intense can lions he had seen in his younger days the experience deriving from it. On the at sea. The next morning the other fisher- day that he catches the great marlin, the men gaze in awe at the size of the skeleton, old man goes much farther out than the measure it to see by how much it is record- other fishermen and casts bait in much breaking, while the reverential feeling of deeper water. The marlin itself is a deni- the boy, Manolin, for the fisherman is zen of the profounder depths. Even the strongly reinforced. Everyone has some- Mako shark lives in the deep water and how been uplifted by the experience. Even its speed, power, and directness are quali- on the lowest, most ignorant level, it creates ties associated with depth. There are, in a sensation. The tourists in the last scene fact, two orders in every species: the great of the story mistake the marlin for a marlins and the lesser, the great sharks shark but they too are struck by a sense and the smaller, bad-smelling, purely of the extraordinary. scavenger sharks who dwell in shallower The world not only contains the possi- water and attack with a sly indirectness in bilities of heroic adventure and emotion demeaning contrast with the bold approach to which everyone, on whatever level, can of the Mako.
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