老人与海读后感英文版

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老人与海读后感英文版

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老人与海读后感英文版 老人与海读后感英文版

When I was a middle school student, Irsquo;ve finished this book in Chinese.But when I read it in English,I really gain something new both in the way of expression and the spirit it shows to us.May be different ages to read the same book we will learn different things from it.At least, for my part, that is true.

Firstly,I would like to review some information about this book.Such as the background,major characters and the topic of it.

The Old Man and the Sea is a story by Ernest Hemingway, written in Cuba in 1951 and published in 1952. It was the last major work of fiction to be produced by Hemingway and published in his lifetime. One of his most famous works, it centers upon Santiago, an aging Cuban fisherman who struggles with a giant marlin far out in the Gulf Stream.

The Old Man and the Sea served to reinvigorate Hemingway's literary reputation and prompted a reexamination of his entire body of work. The novella was initially received with much popularity; it restored many readers' confidence in Hemingway's capability as an author. Its publisher, Scribner's, on an early dust jacket, called the novella a new classic, and many critics favorably compared it with such works as William Faulkner's The Bear and Herman Melville's Moby-Dick.

This book gives me a deep impression especially the description about the manrsquo;s braveness and persistence.

In this book, in order to suggest the profundity of the old manrsquo;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 Santiagorsquo;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 Christrsquo;s march toward Calvary. Even the position in which Santiago collapses on his bed;face down with his arms out straight and the palms of his hands up;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. The major characters in this book are also vivid and lively.

Santiago?,the old man of the novellarsquo;s title, Santiago is a Cuban fisherman who has had an extended run of bad luck. Despite his expertise, he has been unable to catch a fish for eighty-four days. He is humble, yet exhibits a justified pride in his abilities. His knowledge of the sea and its creatures, and of his craft, is unparalleled and helps him preserve a sense of hope regardless of circumstance.

The marlin?,Santiago hooks the marlin, which we learn at the end of the novella measures eighteen feet, on the first afternoon of his fishing expedition. Manolin?,a boy presumably in his


adolescence, Manolin is Santiagorsquo;s apprentice and devoted attendant. The old man first took him out on a boat when he was merely five years old. Due to Santiagorsquo;s recent bad luck, Manolinrsquo;s parents have forced the boy to go out on a different fishing boat. Manolin, however, still cares deeply for the old man, to whom he continues to look as a mentor.

Joe DiMaggio, although DiMaggio never appears in the novel, he plays a significant role nonetheless. Santiago worships him as a model of strength and commitment, and his thoughts turn toward DiMaggio whenever he needs to reassure himself of his own strength. Perico ?,Perico, the reader assumes, owns the bodega in Santiagorsquo;s village. He never appears in the novel, but he serves an important role in the fishermanrsquo;s life by providing him with newspapers that report the baseball scores. This act establishes him as a kind man who helps the aging Santiago.

Martin,like Perico, Martin, a cafeacute; owner in Santiagorsquo;s village, does not appear in the story. The reader learns of him through Manolin, who often goes to Martin for Santiagorsquo;s supper. As the old man says, Martin is a man of frequent kindness who deserves to be repaid.

From the very first paragraph, Santiago is characterized as someone struggling against defeat. He has gone eighty-four days without catching a fish;he will soon pass his own record of eighty-seven days. Almost as a reminder of Santiagorsquo;s struggle, the sail of his skiff resembles “the flag of permanent defeat.” But the old man refuses defeat at every turn: he resolves to sail out beyond the other fishermen to where the biggest fish promise to be. He lands the marlin, tying his record of eighty-seven days after a brutal three-day fight, and he continues to ward off sharks from stealing his prey, even though he knows the battle is useless.

Because Santiago is pitted against the creatures of the sea, some readers choose to view the tale as a chronicle of manrsquo;s battle against the natural world, but the novella is, more accurately, the story of manrsquo;s place within nature. Both Santiago and the marlin display qualities of pride, honor, and bravery, and both are subject to the same eternal law: they must kill or be killed. As Santiago reflects when he watches the weary warbler fly toward shore, where it will inevitably meet the hawk, the world is filled with predators, and no living thing can escape the inevitable struggle that will lead to its death. Santiago lives according to his own observation: “man is not made for defeat . . . [a] man can be destroyed but not defeated.” In Hemingwayrsquo;s portrait of the world, death is inevitable, but the best men （and animals） will nonetheless refuse to give in to its power. Accordingly, man and fish will struggle to the death, just as hungry sharks will lay waste to an old manrsquo;s trophy catch.

The novel suggests that it is possible to transcend this natural law. In fact, the very inevitability of destruction creates the terms that allow a worthy man or beast to transcend it. It is precisely through the effort to battle the inevitable that a man can prove himself. Indeed, a man can prove this determination over and over through the worthiness of the opponents he chooses to face. Santiago finds the marlin worthy of a fight, just as he once found “the great negro of Cienfuegos” worthy. HSantiago, though destroyed at the end of the novella, is never defeated. Instead, he emerges as a hero. Santiagorsquo;s struggle does not enable him to change manrsquo;s place in the world. Rather, it enables him to meet his most dignified destiny.

While it is certainly true that Santiagorsquo;s eighty-four-day run of bad luck is an affront to his pride as a masterful fisherman, and that his attempt to bear out his skills by sailing far into the gulf waters leads to disaster, Hemingway does not condemn his protagonist for being full of pride. On the contrary, Santiago stands as proof that pride motivates men to greatness. Because the old man acknowledges that he killed the mighty marlin largely out of pride, and because his capture of

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