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The Old Man And The Sea


            
             Ernest Hemingway uses religious symbolism throughout the novella, The Old Man and the Sea to depict the life of Jesus. The use of Hemingway's symbolism is very obvious in the certain periods of time chosen, as well as through Santiago, and the marlin. The reader gets to go for a ride on a self-defining journey as he or she reads about Santiago's defeat and his undying pride.
             The symbolism Hemingway uses in the days and numbers of the book are very important. Hemingway did not pick certain numbers because they sound good. He chose them because they are symbolic to the Christian religion. In the beginning of the story, Santiago had been with Manolin, his young follower, on a boat for forty days. This is symbolically religious because Jesus was banished to the wilderness for forty days (http://www.thespark). Manolin's parents would not let him fish with Santiago anymore because of Santiago's bad luck. In this sense, Santiago could be seen as an outcast, just as Jesus was. .
             Santiago had gone eighty-seven days without catching a fish prior to his eighty-four unlucky days. Eighty-seven could be symbolic to the "sum of Jesus" forty days in the desert, the forty days of Lent, and the seven days of Holy Week" (Williams 183). The second drought of fish catching needs to add three days to make eighty-seven. The symbolism of these three days could be the time it took between the death and resurrection of Jesus (Williams 183). Santiago also battled with the large fish for three days, which is very significant. During those three days, he went through a crucifixion of his own.
             Santiago's trial with the fish begins in "simple physical pain." When the fish is caught, the physical pain doesn't seem agonizing and Santiago's battle becomes more of a heroic action (Wells 58). Santiago goes through much pain and defeat to achieve a victory of self gain and a new purity. As Jesus, Santiago also endures a great suffering that rejuvenates his soul.


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