![]() Hemingway vision of heroism is Sisyphean, requiring continuous labor for essentially ephemeral ends. Triumph, though, is never final, as Santiago's successful slaying of the marlin shows, else there would be no reason to include the final 30 pages of the book. Triumph over crushing adversity is the heart of heroism, and in order for Santiago the fisherman to be a heroic emblem for humankind, his tribulations must be monumental. As long as he focuses on this unity and sees himself as part of nature rather than as an external antagonist competing with it, he cannot be defeated by whatever misfortunes befall him. ![]() ![]() They are transitory forms which capriciously arrive and depart without affecting the underlying unity between himself and nature. For Santiago, success and failure are two equal facets of the same existence. The novella's premise of unity helps succor Santiago in the midst of his great tragedy. Also, apparently contradictory elements are repeatedly shown as aspects of one unified whole: the sea is both kind and cruel, feminine and masculine the Portuguese man of war is beautiful but deadly the mako shark is noble but cruel. Hemingway spends a good deal of time drawing connections between Santiago and his natural environment: the fish, birds, and stars are all his brothers or friends, he has the heart of a turtle, eats turtle eggs for strength, drinks shark liver oil for health, etc. ![]()
0 Comments
Leave a Reply. |