Major Themes: 海明威（可能会考最后一个有分数标记的简答题）
Unity:burglary 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. Also, apparently contradictory elements are repeatedly shown as aspects of one unified whole: the a is both kind and cruel, feminine and masculine, the Portugue man of war is beautiful but deadly, the shark is noble but a cruel, etc. The novella's premi of unity helps succor Santiago in the midst of his great tragedy. For Santiago, success and failure are two equal facets of the same existence. They are transitory forms which capriciously arrive and depart without affecting the underlying unity between himlf and nature. As long as he focus on this unity and es himlf as part of nature rather than as an external antagonist competing with it, he cannot be defeated by whatever misfortunes befall him.
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Heroism: 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 monstrawberry怎么读
umental. Triumph, though, is never final, as Santiago's successful slaying of the marlin shows, el there would be no reason to include the final 30 pages of the book. Hemingway vision of heroism is Sisyphean, requiring continuous labor for quintesntially ephemeral ends. What the hero does is to face adversity with dignity and grace, hence Hemingway's Neo-Stoic emphasis on lf-control and the other facets of his idea of manhood. What we achieve or fail at externally is not as significant to heroism as the comporting ourlves with inner nobility. As Santiago says, "[M]an is not made A man can be destroyed but not defeated" (103).
Manhood: Hemingway's ideal of manhood is nearly inparable from the ideal of heroism discusd above. To be a man is to behave with honor and dignity: to not succumb to suffering, to accept one's duty without complaint, and most importantly, to display a maximum of lf-control. The reprentation of femininity, the a, is characterized expressly by its caprice and lack of lf-control; "if she did wild or wicked things it was becau she could not help them" (30). In Hemingway's ethical univer, Santiago shows us not only how to live life heroically but in a way befitting a man.
2014高考志愿填报时间Pride: While important, Hemingway's treatment of pride in the novella is ambivalent. A heroic man like Santiago should have pride in his actions, and as Santiago shows us, "humility was not disgraceful and it carried no loss of true pride" (14). At the same, though, it is apparently Santiago's pride which press him to travel dangerously far out into the a, "beyond all people in the world," to catch the marlin (50). While he loved the marlin and called him brother, Santiago admits to killing it for pride, his blood stirred by battle with such a noble and worthy antagonist. Some have interpreted the loss of the marlin as the price Santiago had to pay for his pride in traveling out so far in arch of such a catch. Contrarily, one could argue that this pride was beneficial as it allowed Santiago an edifying challenge worthy of his heroism. In the end, Hemingway suggests that pride in a job well done, even if pride drew one unnecessarily into the situation, is a positive trait.
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Success: Hemingway draws a distinction between two different types of success: outer, material success and inner, spiritual success. While Santiago clearly lacks the former, the import of this lack is 初中英语教学方法eclipd如何学习韩语 by his posssion of the later. One way to descr
ibe Santiago's story is as a triumph of indefatigable spirit over exhaustible material resources. As noted above, the characteristics of such a spirit are tho of heroism and manhood. That Santiago can end the novella undefeated after steadily losing his hard-earned, most valuable posssion is a testament to the privileging of inner success over outer success.
Worthiness: Being heroic and manly are not merely qualities of character which one posss or does not. One must constantly demonstrate one's heroism and manliness through actions conducted with dignity. Interestingly, worthiness cannot be conferred upon onelf. Santiago is obsd with proving his worthiness to tho around him. He had to prove himlf to the boy: "the thousand times he had proved it mean nothing. Now he was proving it again. Each time was a new time and he never thought about the past when he was doing it" (66). And he had to prove himlf to the marlin: "I'll in all his greatness and glory. Although it is unjust. But I will show him what a man can do and what a man endures" (66). A heroic and manly life is not, then, one of inner peace and lf-sufficiency; it requires constant demonstration of one's worthiness through noble acti
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His Writing Style:
Hemingway’s fiction usually focus on people living esntial, dangerous lives—soldiers, fishermen, athletes, bullfighters—who meet the pain and difficulty of their existence with stoic courage. His celebrated literary style, influenced by Ezra Pound and Gertrude Stein, is direct, ter, and often monotonous, yet particularly suited to his elemental subject matter.
While Hemingway’s early career benefited from his connections with Fitzgerald and (more so) with American novelist Sherwood Anderson, his aesthetic is actually clor to that shared by the transplanted American poets that he met in Paris during the 1920s; T. S. Eliot, Ezra Pound, and, most crucially, Gertrude Stein. In this context, we must realize that Hemingway’s approach to the craft of fiction is direct but never blunt or just plain simple.
