Santiago Pride

Throughout the whole book Santiago shows many signs of courage. In the beginning, Santiago gets in his boat and sails out into the sea. He usually stays near shore, like all the other boats. However, today “He elects to risk all by reaching beyond man’s reach by going ‘too far out”’ (a readers guide 192).   He is not a man with a lot of strength. He is very old and has to have someone help him do certain tasks. His hands are very brittle and there is times where he can not rely on them. They bleed and get stuck in the fist position when he does too much manual labor. Often times his left hand is what gives him the most trouble.  However, none of this ever stops him from doing what he believes in. Hemingway uses this quote to show readers that Santiago can still do anything he wants, “I will handle him with the right arm alone” (16). While his left hand is not much use, Santiago does not let that stop him from holding onto the line with only his right hand. In the end, after the fish dies he is finally on his way back home. With him being such full of courage “he did not need a compass to tell him where Southeast was. He only needed the feel of the trade winds” (Hemingway 27). He is not scared at all about getting lost. He knows exactly how to get himself home. He does not need anyone or anything telling him which direction he needs to travel. As he was relying on the trade winds he finally makes it back

In both competitions, Santiago demonstrates a great sense of will power and perseverance. For example, the arm wrestling match was also a test of endurance, just like his battle with the marlin: “They had gone one day and one night with their elbows on a chalk line…the odds would change back and forth all night…but [Santiago would] raise his hand up to dead even again” (70). Similarly, he fights the fish for three long days and does not give up. After this twenty-four hour arm wrestling game, “everyone called him The Champion” (70). This defeat was important for Santiago because it proved that Santiago once had enough strength to beat the strongest man on the docks, who is implicitly compared to the marlin. It is also interesting to note that during this part of the narrative, Santiago also remembers another worthy opponent: Joe DiMaggio, another hero who shows an amazing strength of will that helps him overcome adversity. With this flashback, then, Hemingway establishes a sense of heroic virtues as spiritual rather than physical qualities.

Supervisors impose many styles and skills to oversee and provide support to supervisees. There are many leadership and supervision styles that contribute to the success of social work supervisors. Taibbi (2013) indicates the running the session concept is the supervisor focusing on the information they need to complete their job and what the supervisees need to complete theirs (Taibbi, 2013). Additionally, the methods supervisors use to juggle the 2 agendas reflects the demand of the employment, the supervisees stage of development, and the supervisor strengths and style (Taibbi, 2013). Also, supervisors should establish clear supervisory goals with the supervisees(Taibbi,2013) Goals help the supervisor determine how much teaching is needed

In the book, the Old Man and the Sea by Ernest Hemingway, the Old man describes many sea animals that reveal how Hemingway views on humankind values and morality. The Old man saw different aspects of humanity n every sea creature. Three sea creatures that Ernest Hemingway described were the jellyfish, sea turtle, and the mako shark. The jellyfish is like a disguised beauty, a sea turtle is very stron, and the mako shark is like a thief.

But perhaps the greatest figure of masculinity found in Hemingway’s work is Santiago from The Old Man and the Sea. He keeps his composure and maintains dignity after the fish that he has been fighting is lost to the sharks.

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

There is tension between Santiago and the marlin throughout the entire novel. The old man finds kinship with the fish against a common enemy. “‘Half fish,’ he said. ‘Fish that you were. I am sorry that I went too far out. I ruined us both. But we have killed many sharks, you and I, and ruined many others. How many did you ever kill, old fish? You do not have that spear on your head for nothing’” (Hemingway 115). Although he does not recognize it himself, the stakes of the battle with the marlin are so high thanks to

The language used in the lonely londoners is in the native Trinidad , the dialect denoting that the emmigrants are not fully integrated into English society. Moses is an authority figure, mentor, and guide in the eyes of the newcomers. He is aware of the changes to his own position as an immigrant and more importantly in the English attitudes towards the newest influx of West Indians. The new arrivals meetings with other immigrants and Moses binds them into a mutual understanding of how it feels to be a minority in a big city such as London.

Over and over again he is remarked to be a strange old man, and he himself is the one to glorify that. He seems to struggle with the fact that he must prove himself to the other fisherman who mock him and believe him to be a fallen hero. He sets off to sea in his boat one day, but what he does not know that it will be the three most tiring days of his life. He first catches a smaller fish and instead of turning back, he decides to go farther out into the ocean to see what he can catch with that fish. He soon is dragged all over and back by a shiny purple marlin, that is two feet longer than his skiff. The response to Santiago’s poor decision or lack of creativity to harpoon the marlin instead of try to kill it another was as to not attract mako sharks was confusing. He is shown to be a man of intelligence and greatness, yet his decision to kill the marlin in this manner knowing what could happen proves that he had a distinct motive for harpooning the fish. By the words of Gery Brenner, “that motive is self validation-the need to prove himself”(Brenner 55). In the end, after the three day struggle, when Santiago returns to the dock, he is told by Manolin later that he was said to be lost at sea, and everyone was completely taken away by the length of the mangled carcass that he brought in. The take many get from Hemingway’s novel is

Lions, although seemingly shallow in meaning and minor in importance, suggests deeper ties not only with the elderly protagonist, Santiago, but to the author himself. At first glance, the lions are but mere dreams and glimpses of Santiago’s glorious and extravagant past. With a more perceptive eye, the lions begin to exhibit the desirable qualities the old man yearns for - youth, courage, strength, and prominence. Ancient civilizations regarded lions as as the physical manifestations of such qualities, and even worshipped these creatures in hopes of being blessed with their traits. The lions of Santiago’s life, the livelihood and source of motivation, are none other than Manolin and Santiago’s own youthful self. Hemingway hints this analogy as he expounds on the dreamt lions: “[The lions] played like young cats in the dusk and he loved them as he loved the boy” (Hemingway 25). The boy, vaguely presented to The frequent dreams and dependence on Manolin are, as Hemingway revealed, the source of faith that “keeps [him] alive” (Hemingway 106). The dreams of the lions are gateways, reminding Santiago of his former grandeur; Manolin, his successor and youthful parallel. Despite this implication, at even closer scrutiny, the lions begin to represent pride. The group of lions on the

'What 's that? ' she asked a waiter and pointed to the long backbone of the great fish that was just now garbage waiting to go out with the tide. 'Tiburon, ' the waiter said, 'Shark. ' He was meaning to explain what dare grapple happened. 'I didn 't know sharks had such handsome tails. ' 'I didn 't either, ' her male companion said." (page 109) these two tourists who speak are hardly differentiated from the group to which they belong. They are all metaphors for individuals who are spectators of the human scene rather than participants in its activity. They see, but they see without fully comprehending. They are only faintly curious, only passingly interested, only superficially observing, they have not been initiated into the mysteries that Santiago understands. These tourists live their lives as tourists, skimming the surface of life, without resolution or clarity. Their life reflects that of all people who live their lives ashore, who dare not grapple with the mysteries of the ocean, or of life. This is the type of life that Hemingway always tried to avoid, to the point of his taking his own life. Hemingway uses metaphors to reflect his opinions of life and the people that he has met in life. The metaphor of the sea symbolizes all of life and the roles that people must choose to have in life. The lions are a metaphor for the

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“Santiago’s ordeal, first in his struggle with the big fish, and then in fighting against the sharks, is associated by Hemingway with Christ’s agony and triumph,” (Bloom 2). When Santiago sees the second and third sharks coming, he shouts “Ay,” and Hemingway notes: “There is no

Throughout the book, The Old Man and the Sea, Hemingway uses a writing style known as stream of consciousness which entails using uninterrupted thoughts and feelings of the main character. This writing style shows through the character Santiago while he is at sea. Santiago talks to himself which essentially correlates to how he feels at that moment. The usage of the technique stream of consciousness engages the reader into how the character feels during that moment making the reader connected to the character. Hemingway uses this technique to its fullest in the novel when the author shows Santiago talking to himself about DiMaggio and to then eventually thinking that he wanted to be the marlin.

Within the book, strong and enduring Santiago battles the marlin for days, although he has nothing but his hands to hold the line, and, then, fights against the fish with his knife and his old hands. When the Mako shark comes and eats the flesh of the marlin that is tied to the side of the boat, Santiago continues to fight for the marlin; however, the shark takes much flesh from the marlin. The sharks symbolize destruction in Santiago’s life; however, The Old man perseveres as Hemingway pulls out his thoughts, “But I killed the shark that hit my fish, he thought. And he was the biggest dentuso that I have ever seen. And God knows that I have seen big ones.”(pg103) Here, Hemingway exemplifies that even when the Old Man has experienced destruction, he overcomes