Christian symbolism, especially images that refer to the crucifixion of Christ, is present throughout The Old Man and the Sea. During the old man’s battle with the marlin, his palms are cut by his fishing cable. Given Santiago’s suffering and willingness to sacrifice his life, the wounds are suggestive of Christ’s stigmata, and Hemingway goes on to portray the old man as a Christ-like martyr. As soon as the sharks arrive, Santiago makes a noise one would make “feeling the nail go through his hands and into the wood. And the old man’s struggle up the hill to his village with his mast across his shoulders is evocative of Christ’s march toward Calvary.Order now
Even the position in which Santiago collapses on his bedâ€”he lies face down with his arms out straight and the palms of his hands upâ€”brings to mind the image of Christ on the cross. Hemingway employs these images in order to link Santiago to Christ, who exemplified transcendence by turning loss into gain, defeat into triumph, and even death into life.
In order to suggest the profundity of the old man’s sacrifice and the glory that derives from it, Hemingway purposefully likens Santiago to Christ, who, according to Christian theology, gave his life for the greater glory of humankind. Crucifixion imagery is the most noticeable way in which Hemingway creates the symbolic parallel between Santiago and Christ. When Santiago’s palms are first cut by his fishing line, the reader cannot help but think of Christ suffering his stigmata.
Later, when the sharks arrive, Hemingway portrays the old man as a crucified martyr, saying that he makes a noise similar to that of a man having nails driven through his hands. Furthermore, the image of the old man struggling up the hill with his mast across his shoulders recalls Christ’s march toward Calvary. Even the position in which Santiago collapses on his bedâ€”face down with his arms out straight and the palms of his hands upâ€”brings to mind the image of Christ suffering on the cross.
Hemingway employs these images in the final pages of the novella in order to link Santiago to Christ, who exemplified transcendence by turning loss into gain, defeat into triumph, and even death into renewed life. Life from Death Death is the unavoidable force in the novella, the one fact that no living creature can escape. But death, Hemingway suggests, is never an end in itself: in death there is always the possibility of the most vigorous life.
The reader notes that as Santiago slays the marlin, not only is the old man reinvigorated by the battle, but the fish also comes alive “with his death in him. ” Life, the possibility of renewal, necessarily follows on the heels of death. Whereas the marlin’s death hints at a type of physical reanimation, death leads to life in less literal ways at other points in the novella. The book’s crucifixion imagery emphasizes the cyclical connection between life and death, as does Santiago’s battle with the marlin.
His success at bringing the marlin in earns him the awed respect of the fishermen who once mocked him, and secures him the companionship of Manolin, the apprentice who will carry on Santiago’s teachings long after the old man has died. The Marlin Magnificent and glorious, the marlin symbolizes the ideal opponent. In a world in which “everything kills everything else in some way,” Santiago feels genuinely lucky to find himself matched against a creature that brings out the best in him: his strength and courage, his love and respect.
The Shovel-Nosed Sharks The shovel-nosed sharks are little more than moving appetites who thoughtlessly and gracelessly attack the marlin. As opponents for the old man, they stand in bold contrast to the marlin, which is worthy of Santiago’s effort and strength. They symbolize and embody the destructive laws of the universe and attest to the fact that those laws can be transcended only when equals fight to the death. Because they are base predators, Santiago wins no glory from battling them.