Christianity In The Seafarer

The son had loved his father dearly but does not favor his way of life. His interest in school greatly outweighed his interest or desire to work on ‘The Boat’. He still had a love for the sea and in some way felt like he should carry out his family’s tradition. After his uncle had accepted a new job he took his position on the boat and promised his father that we would continue to sail with him for as long as he lived, and when his father passed despite the desires of his mother he followed his dreams and pursued education and all of its wonders. After living his life he finds himself longing for the sea again and isn’t so satisfied with his life.

The play illustrated by Adu-Gyamfi & Schmidt (2011), “Everyman” written by an anonymous writer late in the fifteenth-century (p. 265-287), interconnects religious allegories with worldly moral lessons on several main reasons that good deeds and works are required and needed, but they do not save humanity from spiritual death. The play conveys a story about Everyman’s (representing human individuals) natural life journey to death. The morality of the play helps the audience appreciate the history of Christianity. The focal point throughout the play is about humanities, life plan and a journey that requires every man to construct an unworldly firm foundation built up strong to help overcome any uprooting storm within a lifetime. Its personification comes in the form of the characters Everyman, Goods, and Goods Deeds, who embodied the concept of teaching lessons to humanity of the significance of living a Christ-centered life and learning to allow the heart restored and guided by God to help aid good judgement (Adu-Gyamfi & Schmidt, 2011). Thomas F. Van Laan (1963) describes Everyman’s play, “The human action and its allegorical significance together form a distinct structural pattern which not only imposes discipline but also contributes its own intrinsic meaning”. From the start of the first phase 5-6, the first point of view of the play engages, “…That of our lives and ending* shows / How transitory we be all day.*…” (Adu-Gyamfi & Schmidt, 2011). The play displays how

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. Even the position in which

The Mariner’s lifelong penance is to relay his story and message throughout the lands to the various individuals he holds a calling towards. The Mariner can only relieve his frequents bouts of extreme agony and guilt from his past by narrating his story and lesson to others, bidding them not to make the same mistake he did. Initially, the listener is reluctant to hear the Mariner’s tale, eager to get to the wedding that is about to begin. However, the listener is somehow drawn to the Mariner and yields to his tale. He becomes enchanted, and by the tale’s end, the listener is left, shocked, speechless, and in awe. He gains a new perspective of the world, and the poem ends with the words, “He [the listener] went like one that hath been stunned / And is of sense forlorn; / A sadder and a wiser man, / He rose the morrow morn.”

Even though people have been dying since the start of life, we can never get use to the idea of leaving our loved ones behind. Therefore humans choose to disregard death and get pleasure from life, and consequently we tend to stray away from righteousness. Two works; Everyman by an unknown author, and The Pardoner’s Tale by Geoffrey Chaucer have been written to preach humans toward Christianity-the right way of living. These authors utilize plot to reveal the role of death in understanding life. This is achieve by drawing on the foolishness of mankind, their response to the inevitable death and the effect of death on protagonists which altogether helps the readers understand worldly treasures are temporary.

First of all, in “The Seafarer” the writer discusses the internal conflicts he is having among the waves of the sea. Even though this self-chosen exile causes this man pain and sorrow, peace is not a common entity for him while on land. “The time for journeys would come and my soul/ called me eagerly out, sent me over/ the horizon, seeking foreigners’ homes.” (lines 36-38). The gallant mortal does not doubt that there is no fear among his heart, but his longing for the tides is far too strong to be confined to the dry, lifeless land. His experiences only bring him back to where he feels at home the most - the sea. “But there isn’t a man on earth so proud,/…/he feels no fear as the sails unfurl/…/only the ocean’s heave; But longing wraps itself around him.” (lines 39-47). The way he shows his fearful arrogance is an example again of his internal conflict.

Art work has gone missing from as far back as 1930. It really hard to locate something that went missing decades ago. Famous artifacts went missing like 10 pages of Walt Whiteman's papers, Christ in the Storm on the Sea of Galilee, and etc. The GSA and the FBI are working to recover all the art that went missing and having a hard time. They are trying to recover these art work for the public.

Santiago is an old fisherman from Cuba. He’s a man who doesn’t have much, except for a strong will. From the things he does to the things that he says, he is perceived, by the means of literary analysis, as a Christ figure. For one thing, Santiago is a fisherman. This is the clearest biblical allusion in the entire novel, and it comes straight from the title itself. His endurance throughout the book also reflects the spirit of faith that Christ had, giving us the impression that the old man might have some sort of unspoken bond with the fish, like Christ with his strong love for humanity. The old man struggles and even succeeds in his attempt to catch the fish, only to see it ripped and torn away from him. This is parallel to the story of Christ, who had to bear suffering and betrayal until his death. In many senses, Santiago’s endeavor symbolizes the labor of Christ described in the Gospels.

It’s easy to tell that the ocean is a mysterious and isolating place from all of the tragic tales we hear from sailors both real and fictional. Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner” and an anonymous author’s “The Seafarer” are quite similar in that they both revolve around said tragic tales told by sailors. However, there seem to be more commonalities between their themes, tones, and messages rather than their seaward-bound settings. But before we can discuss these similar settings and deeper themes, we have to tackle their origins.

The poem reminds me of my nanny and how she always believes the best in people. She is aware that there are things in this world such as the rich and the poor however, none of that matters in terms of the way she sees people. My nan always tells us that her grandchildren are her world and like the speaker in the Seafarer she has been through many struggles alone the way. I feel like the portrayal of god being the one who decides our fate in the end, and that we should fear him comes from the same perspective that my nanny has. I feel that the way she views the significance of money and social status is what the speaker in The Seafarer is trying to tell us. None of it means much to her, even though she understands that it’s a big part of todays

Unlike the wandering narrator, the seafaring narrator focuses his descriptions of the community that is present in nature. The seafarer the utterly rejects the notion that a “sheltering family / could bring consolation for his desolate soul” (25-26). This “sheltering family” (25) that the seafaring narrator alludes to in this line is the exact form of close-knit family that the narrator in “The Wanderer” laments for desperately. While the seafaring narrator offers striking similar descriptions of the landscape being “bound by ice” (9), he does not focus on these descriptions to dwell on the loss of an earthly community. Instead, the narrator in “The Seafarer” finds the landscape that he inhabits wonderfully abundant with natural — even spiritual — elements that are commonly associated with an earthly community. In the barren landscape, the seafaring narrator discovers “the wild swan’s song / sometimes served for music” (19-20) and “the curlew’s cry for the laugher of men” (20-21). These vibrant and vivid descriptions of the natural world that the narrator discovers in the harsh,

Ernest Hemingway's The Old Man and the Sea has engendered some lively debate in literary circles. Critics have concentrated on everything in the novella from the verity of Rigel's early evening appearance over Cuban skies in September (Weeks 192) to William Faulkner's judgment that Hemingway discovered God while writing The Old Man and the Sea (Bradford 158-62). Yet the most insightful commentary has gravitated invariably toward biblical, natural, and classical imagery in the novel. These images turn an otherwise simple fishing tale into a sublime narrative of human endurance. A reading that examines these images will serve to clarify the hidden significance in

The Seafarer by Burton Raffel was written during the Anglo-Saxon period where the Anglo-Saxon warriors lived to defend their King, like in the story Sir Gawain and The Green Knight. One of the warriors speaks about his challenges and begins saying that his story is not at all joyful. It is a story full of pain and suffering. The story paints a picture of what it means to be “dislocated”, “set out”, all by oneself and how badly it feels. “My feet were cast in icy bands, bound with frost,with frozen chains, and hardship groaned around my heart. Hunger tore at my sea-weary soul. No man sheltered on the quiet fairness of earth can feel how wretched I was”.(Raffel 1) The powerful imagery in this stanza sets the tone that the narrator is trying to

Symbolically, the sea is what keeps him apart from the world and that creates exile. There are a lot of symbols and images being used to prove the writer's point: "In icy bands, bound with frost, with frozen chains, and hardship groaned around my heart." (9-11). The images represent how he feels and how he sees his life at that moment. Symbolic gestures such as, "The song of the swan might serve for pleasure, the cry of the sea-fowl, the death-noise of birds instead of laughter, the mewing of gulls instead of mead." (19-22), suggest that sounds can play an effect on a person.

Four varying viewpoints exist concerning what or who the mariner represents, the first being the superficial idea that he is simply the wise old man who imparts wisdom to the younger generations (Williams 1116). Going beyond the literal connotation, the most common and supported argument it that the mariner represents the Christian sinner. The diction chosen by Coleridge often alludes to Christianity, examples include “Christian soul”, ”God’s name”, “[i]nstead of the cross…about my neck was hung”, and “Dear Lord in Heaven” (Coleridge 1616-1632). Howard Creed believes that the mariner is symbolically a poet, due to the fact that he learns “the great truth about the world they live in” and then attempts to communicate it to others through the art of a story (221). The final possibility is that the mariner represents a mother. Repeated connection to conventionally female things like the sea, motherhood, spontaneity/irrationality, and nature begins to support this conclusion. The role of instructing the young, in this case the wedding guest whom “listens like a three years’ child” is also traditionally female, further developing the argument (Coleridge 1616). Overall, the poem is an exemplar at employing Coleridge’s idea of symbol to use the ordinary to show the transcendent, especially Christianity, yielding that the second option is the preeminent choice.