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Mind Supersedes Age, Conquering Incapabilities of Social Potential –
A Blow to Social Prejudices as Reflected in the Novel “The Old Man
and The Sea”
Faisal Emon
MA in English Language Teaching (ELT), Master of governance and Development Studies (MGDS), BA
Hons, MA in English Literature
DOI: https://dx.doi.org/10.51244/IJRSI.2025.1210000354
Received: 05 November 2025; Accepted: 11 November 2025; Published: 24 November 2025
ABSTRACT
Man is the mastermind of all social constructs, keeping pace with the share and distribution of the resources
though in scarcity. As a man is grown up into materials maturity, his metaphysical and spiritual vigour can
either vapourize him into dust or solidify him into the hardihood of survival. Santiago the aged man in the
-economic
stature. His unending passion of living a simple but dignified life in the capitalist society points to the self-help
associating life, which is impeded under the capital led super structure. He is a member of such a power
dominating society that being inactive in the excuse of agility is accepted under criticism of delinquency
between the old and the young. The research tries to explore the immenseness of nature with grandeur
provision to its major agent human being. Nature loves and blesses those ever active persons as spiritual
bond. Santiago the fisherman is neither a famous person nor a family bringer of his own. He is a lonely person
which is somewhat trivial to all the neighbors but a boy Manolin who wants to learn fishing from him. A
society under income discrimination can snare at its aged member of his inactiveness to be a burden. But the
boy realizes the vigor and stamina the old man has to navigate himself in the ocean. What the article tries to dig
out is the legacy of human activities to cohere the socio-economic status for the existence of human beings, and
the ecology of society. Does Santiago at any time of his presence in the novel imply in any of his activities that
he becomes aged and burdensome? Does he really? He has the power of self-dignity for which none but nature
and God love him to go actively forward. He does not find noticeable fishes, but he is not disappointed. He
believes in the steadiness of work as the blessing of God. Finally, he catches an enormous fish ever to his
joyfulness which is a blow to those snaring at him. On his way back home, he brings not the flesh but the bones
a satire to the disrespectful and capitalistically blind society. Who knows that the enormous fish if anchored
on the shore could be the root cause of more greediness and chaos for its major share and distribution? Finally,
Nature does both to the old man disappoints him for not bringing the flesh to the shore and pacifies him for
not standing him into the massive chaos in greediness, thus establishing him a social critique.
Keywords: Santiago, Aging and Cognitive Agency, Social Prejudice, Ernest Hemingway, The Old Man and
the Sea, Ethics and Morality, Ecocriticism, Capitalism and Labor, Existentialism.
INTRODUCTION
The Old Man and the Sea presents Santiago as an archetypal figure whose struggle
against the marlin and the ocean transcends physical endurance, reflecting profound themes of human
resilience, moral fortitude, and intellectual agency. Critics such as Bloom (1999) identify Santiago as a
modernist hero whose perseverance embodies the Hemingway code of ethical action, while Young (1966)
situates his struggle within the universal human confrontation with limitation and adversity. The novel
interrogates societal and capitalist constructions of value where age, productivity, and physical capability are
tightly bound to social recognition. According to Althusser (1971), ideological pressures render those
perceived as unproductive particularly the elderly socially marginal. Beauvoir (1972) and Gullette
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(2004) reinforce this, showing that cultural narratives systematically diminish the perceived potential of aged
individuals. Santiago challenges this social prejudice through his code-heroic discipline, demonstrating that
mastery, persistence, and moral integrity preserve dignity beyond chronological age.
From a literary-theoretical perspective, this study engages multiple critical lenses, including structuralism,
historicism, neo-historicism, postmodernism, deconstruction, existentialism, Marxism, formalism, and
moralism. These frameworks illuminate Santi material and capitalist
structures that undervalue experience and against the natural forces
exploration of nature vs. man, the ethical implications of labor, and socio-economic hierarchies positions
Santiago as both a literary archetype and a critique of societal structures.
By signaling these frameworks and highlighting the tension between social prejudice and personal integrity,
this article prepares for a thematically coherent and analytically rich exploration of how mind and moral
strength supersede age, challenging narrative conventions and capitalist ideology alike. Subsequent sections
tegrating literary
critique with philosophical and socio-economic insights.
The Old Man and the Sea has been widely studied, this research incorporates recent
peer-reviewed scholarship (2019
heroism. Studies such as ‘A Real Old Man: Aging Masculinity and Late-Life Creativity in Hemingway’s The
Old Man and the Sea’ (2025) and ‘Non-Human Relationships in Ernest Hemingway's The Old Man and the
Sea’ (2024) expand the discussion of cognitive and moral agency in aging. Additionally, cross-disciplinary
perspectives from psychology of aging, sociology of labor, and ethics in literature provide insights into
societal role, and moral decision-making. This research also engages non-English
scholarship
cultural and historical frameworks of Cuba.
While critical scholarship on The Old Man and the Sea spans existentialist, Marxist, ecocritical, and
gerontological perspectives, few studies integrate these approaches to foreground the role of cognitive agency
and social prejudice in old age. This research deliberately focuse
agency, acknowledging that some contemporary and non-English studies on Hemingway are beyond its
immediate scope.
THEORETICAL FRAMEWORK
structuralism, Marxism, existentialism, ecocriticism, and formalist
literary analysis
and aging masculinity. Cross-disciplinary approaches from psychology of aging
persistence, while sociology of labor situates his struggle within socio-economic structures. Ethical
with non-English and Latin American studies further situates the novella within the Cuban cultural and
historical milieu.
Structuralism: Santiago as Archetype
This study posits that Santiago's character exemplifies the triumph of the mind over age, challenging societal
prejudices and affirming the enduring potential of the human spirit. From a structuralist perspective, Santiago
functions as a universal archetype the hero of endurance. His journey across the sea represents the recurrent
mythic structure of struggle, fall, and transcendence. By analyzing the recurrent binary patterns and narrative
mind (conscious
endurance, craft, ethical reflection) the operative principle that overturns the social myth equating old age with
incapacity. Drawing on Claude Lévi-
failure), Hemingway constructs Santiago as a timeless figure who redefines victory through defeat. The
archetypal pattern of the quest myth
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deterioration becomes secondary to his cognitive and moral elevation the mind supersedes age, breaking the
myth of incapability. Through minimalist prose and symbolic motifs, Hemingway constructs Santiago as an
archetypal hero. The repetitive narrative structurestruggle, endurance, and returnmirrors classical heroic
cycles, emphas
repetitive motifsnight and day, fish and shark, solitude and recognitionserve as structural units that situate
Santiago within a mythic system rather than a mere portrait of aging. For example, Muhammad (2015) applies
a structuralist method to show how paired oppositions in The Old Man and the Sea (youth/age, mastery/defeat,
sions are the
clarity become the narrative centerdemonstrating how mind supersedes age, defying the cultural script that
equates old age with incapa-heroic figure whose moral
rather than conquest. Josephs (1973) highlights the ethical dimensions
dignity.
Historicism & Neo-Historicism: Socio-Economic Context
This analysis examines how Hemingway critiques capitalist structures that devalue the elderly, positioning
Santiago's struggle as a resistance to societal norms that equate worth with productivity. Santiago's isolation
and poverty are evident. This marginalization reflects societal attitudes towards the elderly. Hemingway subtly
critiques capitalist society by portraying Santiago's struggle as a metaphor for the devaluation of experience
and wisdom in favor of productivity and youth. Historically, Hemingway wrote The Old Man and the Sea
(1952) amid the Cold War and post-war capitalist expansion, where economic identity determined social value.
Through a neo-historicist lens, Santiago embodies the marginalized labour class who exists at the periphery of
prosperity. His isolation parallels the economic alienation of post--
historicism reminds that literature reflects the circulation of social energy
becomes a metaphor for human labour commodified under economic necessity. His defiance against poverty
mirrors mid-century struggles of survival within systemic inequality. A historicist/neo-historicist reading
situates Santiago within mid-twentieth-century economic realitiespostwar markets, declining small-scale
fisheries, and social valuations of productivity. Neo-historicism directs attention to how the text encodes social
against sharks and market loss reflect concrete historical structures that produce prejudice against the aged
worker. Thus, historicism explains why
the text is also a critique of those historical forces. Thus his triumph of mind over body becomes a commentary
on a society that equates usefulness with youth and wealth. Althusser (1971) argues that capitalist ideology
equates human value with productivity, thereby marginalizing individuals who cannot participate in economic
production. Similarly, Beauvoir (1972) and Gullette (2004) demonstrate that cultural narratives systematically
frame aging as decline, rendering older adults socially invisible and diminishing their perceived potential.
Together, these perspectives highlight how ideologywhether economic or culturaldefines human worth in
restrictive, exclusionary terms.
Postmodernism & Deconstruction: Challenging Binaries
There lies tension between societal perception and personal dignity challenging binary oppositions. Through
ambiguous symbolism and layered narrative, Hemingway deconstructs traditional binaries such as
success/failure and youth/age, presenting a nuanced portrayal of Santiago's experience. This study explores
how Hemingway's narrative techniques deconstruct societal binaries, offering a complex portrayal of Santiago
that challenges conventional perceptions of aging and success. In Derridean terms, difference replaces
hierarchy. The supposed inferiority of old age deconstructs into a new superiority a consciousness that
surpasses phys-
conversations show postmodern fragmentation of the self: the fisherman, the philosopher, and the believer
coexist. Hemingway thus redefines meaning as fluid, open-ended, and self-negating what Derrida terms
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différance
Existentialism: Agency and Moral Responsibility
Santiago's struggle embodies the existential belief in creating meaning through action. Hemingway portrays
Santiago as an existential hero who confronts the absurdity of life with dignity and moral clarity, emphasizing
personal responsibility and the search for meaning. This analysis examines how Santiago's struggle exemplifies
existentialist principles, asserting that meaning is constructed through individual action and moral
ey epitomizes existential heroism action without assurance, faith without
knows the inevitability of loss. His statement “A man can be destroyed but not defeated” encapsulates
moral agency under absurdity. His choices define his being, asserting autonomy against determinism.
essence is created through action, not given by
fate or faith. E
mind supersedes age because it is through purposive choice (not bodily capacity) that social potential is
realized and prejudice is challenged, resonating with existential philosophy: what matters is not external
success but inner freedom, decision, and integrity. Even his solitude becomes a space of self-creation, not mere
victimhood. The mind, understood here as moral commitment and consciousness, thus supersedes body and
social prejudice.
Marxism & Capitalism: Class and Ideology
capitalist society by depicting Santiago's labor as undervalued, highlighting the exploitation of the individual in
a capitalist system that prioritizes profit over human dignity. This study explores how Hemingway critiques
capitalist structures that devalue the elderly, positioning Santiago's struggle as a resistance to societal norms
that equate worth with productivity. Viewed through Marxist criticism, Santiago represents the proletariat
the labourer alienated from his production. The marlin is both product and property, yet the sharks (capitalist
ruit. Hemingway symbolically dramatizes the unequal exchange between
praxis self-realization through labour. His struggle is both
personal and collective the eternal revolt of the working class against commodification.
expropriation, and class ideology. From a Marxist perspective, the novella becomes a study of labour, value,
(and the sea economy) strip him of its fruitsechoin
appropriated. His age and economic status make him marginal in a system that privileges youthful productivity.
ue solely with
market utility. Marxist critics highlight that Hemingway embeds class struggle subtly in the fishing myth. The
product), while Santiag-realization despite
structural dispossession. This lens explains how ageism intersects with economic marginalization: older
workers are devalued because their exchange-value decreases, not because their human capacities vanish.
Formalism & Moralism: Literary Craft and Ethical Interpretation
Santiago's internal monologue and actions reveal his moral compass. His character embodies ethical principles
through his actions. Hemingway's minimalist prose and symbolic motifs enhance the moral dimensions of
Santiago's character, emphasizing themes of dignity, perseverance, and ethical conduct. This analysis examines
how Hemingway's literary techniques underscore the moral aspects of Santiago's character, asserting that
invites a
formalist reading. Meaning arises not through overt moral preaching but through the restraint of language. Yet
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beneath this f
humility reflect aesthetic morality form as ethics. The sparse diction mirrors the simplicity of virtue. This
convergence of art and ethics justifies Cleanth - a unity of design
code visible as ethical structure economy of language becomes an ethics of endurance. Thus form and moral
meaning cohere: the craft models the moral claim that mind (judgement, restraint, respect) outlasts and
outvalues bodily decline.
Nature vs. Man: Ecocritical Perspectives
Santiago's relationship with nature is complex. His struggle with the marlin symbolizes humanity's interaction
with nature. Hemingway portrays nature as both adversary and ally, highlighting the interconnectedness
between Santiago and the natural world. This duality reflects the complexities of human-nature relationships.
This study explores how Hemingway's portrayal of Santiago's interaction with nature reflects broader themes
of ecological interconnectedness and human resilience. Ecocritically, The Old Man and the Sea portrays a
complex symbiosis between man and nature. Sant
“You are killing me, fish, but you have a right to.” The novel resists anthropocentrism, seeing nature as
respect through
coexistence.
Economics and Society: Social Structures and Prejudices
Santiago's marginalization is evident. His status reflects societal attitudes towards the elderly. Hemingway
critiques societal structures that devalue individuals based on age and productivity, portraying Santiago as a
symbol of resistance to these prejudices. This analysis examines how Hemingway critiques societal structures
that marginalize the elderly, positioning Santiago's struggle as a challenge to these prejudices. Social prejudice
in The Old Man and the Sea manifests through ageism, class, and productive efficiency. Society values youth,
against capitalist ableism. He redefines worth through perseverance, compassion, and wisdom qualities the
profit-driven world ignores. His friendship with Manolin dismantles generational barriers, symbolizing an
how social prejudices are reproduced: taste, cultural capital, and institutional valuation translate into ageism
devaluation that the novel contests by showing moral capital craft, skill, and ethical comportment that
outstrips market-imposed worth. His mind, skill, dignity and intergenerational bond with Manolin demonstrates
latent potential ignored by society. The novella invites reevaluation of what constitutes social value. Works on
social prejudice in literature show how the elder, the poor, the worker are undervalued until moral and mental
capacities are recognized. Thus the text stages a critique of social structures that measure human worth by
productivity rather than dignity.
LITERATURE REVIEW
Critical Reception of Santiago
Since its publication in 1952, The Old Man and the Sea has drawn extensive scholarly attention, particularly
-
hero
ethical endurance in the face of hardship. Similarly, Bloom (1999)
stoicism, framing him as a literary ar
heroism, they largely focus on symbolic and narrative elements, leaving age and social marginalization
underexploredo both his struggle and the
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Age, Social Prejudices, and Cultural Bias
The theme of age and societal prejudice has been explored more directly in socio-cultural studies. Gullette
(2004)
societies often equate physical decline with social incapability. Beauvoir (1972) similarly argues that ageism is
socially constructed, systematically eroThe Old Man and the
Sea
intellectual acumen, moral discipline, and physical resilience consistently defy these prejudices. Previous
scarcity of research
connecting his aging to socio-economic marginalization and societal judgment, a dimension this study
emphasizes.
Hemingway’s Style and Ethical Portrayal
Burhans
(1960) and Hollenberg (2012)
create a layered moral and ethical narrative. The “iceberg theory”—emphasizing the unspoken beneath the
visible struggle
marlin, framed through sparse yet vivid prose, becomes not merely a physical contest but a moral and ethical
endeavor, reflecting themes of perseverance, dignity, and social critique. While these analyses address
do not link literary technique to social and ethical implications,
particularly regarding age and societal perception, which is the focus of this research.
Nature, Ethics, and Human Resilience
Ecocritical perspectives provide another lens for understanding Santiago. Hollenberg (2012) interprets
naturesimultaneously adversarial and instructive. Nature serves both as a challenge to human capability
and a source of ethical and spiritual reflection, reinfo
ecocritical studies treat these interactions symbolically; however, they rarely consider how human dignity and
social potential are intertwined with ethical engagement with nature. This study positio
endurance and moral compass as evidence that mind and character transcend physical and social
limitations
Socio-Economic Critique and Class
-economic implications that literary criticism has only partially
addressed. Althusser (1971) frames capitalist ideology as valuing individuals according to productivity, a lens
h Beauvoir (1972)
and Gullette (2004) highlight how society devalues aged individuals, associating economic inactivity with
synthesize socio-economic
critique with literary analysis, leaving a gap in understanding the broader implications of age, skill, and
ethical labor in a capitalist or socially hierarchical framework. This study fills that gap by examining how
Santiago’s mind, skill, and moral agency counteract structural marginalization.
Gaps in Existing Research
A synthesis of existing literature reveals that while scholars have explored Santiago’s heroism, ethical code,
and symbolic struggle, there is a lack of comprehensive research integrating age, social prejudice, socio-
economic context, and ethical resilience simultaneously. Most studies either treat age symbolically or focus
narrowly on literary form and style, without connecting these dimensions to social critique or universal
human potential. This article addresses that gap by highlighting Santiago as a figure whose mind, moral
fortitude, and ethical action surpass physical limitations, offering insights into human dignity and social
perception that are universally relevant.
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Research Justification
The literature review establishes a clear need for this study: previous research recognizes Santiago’s
heroism and literary significance but fails to fully interrogate the interplay of age, social prejudice,
ethics, and socio-economic marginalization. By situating Santiago within these intersecting frameworks, this
article contributes a novel, multidimensional perspective to Hemingway scholarship. It demonstrates that
human potential, guided by mind and morality, can overcome both physical decline and societal
incapacity, directly supporting the central thesis: “Mind supersedes age, conquering incapabilities of social
potential – a blow to social prejudices.”
Recent scholarship expands the critical reading of The Old Man and the Sea beyond traditional heroic
-ethical lens, emphasizing his
respect for the non-
resilience, showing how memory and reflection shape late-life action. Sadaf & Kayany (2025) and the study A
Real Old Man (2025) foreground aging masculinity and late-life creativity, challenging assumptions that old
age equals decline. Collectively, these studies provide a multidimensional view of Santiago, linking ethical,
ecological, and social themes.
Cross-disciplinary perspectives enrich the reading of The Old Man and the Sea. Psychological research on
stence and strategic
decision-making despite physical limitation (Carstensen, 1995; Masten, 2014). Sociological studies on labor
and social value reinforce critiques of capitalist ideology, showing how human worth is often narrowly
measured by productivity, a standard Santiago resists through moral and physical perseverance (Bourdieu,
with the marlin and the sea, framing his struggle as a form of moral engagement with the non-human world
(Naess, 1973; Glotfelty, 1996).
Moreover, non-Anglophone scholarship offers illuminating cross-cultural insights into the reception and
translation of The Old Man and the Sea. For instance, Umaña Chaverri (1987) examines the novel in its
Spanish-language context, drawing attention to economic and symbolic dimensions of the Cuban fishing
milieu. Huamán Villavicencio (2018/19) interrogates the Latin American reception of Hemingway and
suggests that translation and author-
translation-studies perspective, Meilinawati Rahayu (2024) demonstrates how two Indonesian translations
differ in diction and reader perception, while Al-Najjar & Bahumaid (2024) show that Arabic translations shift
syntactic and semantic features, thereby affecting normative readings of the text. These studies together
underscore that ethical engagement, ageing, labour and human-nonhuman relationships in the novella are not
fixed but mediated by language, culture and translation.
METHODOLOGY
Research Design
This study employs a qualitative, interpretive research design grounded in literary-critical and socio-
cultural analysis. The Old Man and the Sea
(1952), exploring how his mental fortitude, ethical conduct, and resilience transcend physical age and
societal prejudices. The study employs a hermeneutic approach, emphasizing systematic textual interpretation
and triangulation with scholarly literature to ensure interpretive depth and validity (Patton 2015; Creswell
2018).
This research employs a qualitative textual analysis grounded in literary theory, drawing on recent peer-
reviewed scholarship (20192025), cross-disciplinary studies in aging, labor, and ethics, and relevant non-
English criticism to provide a culturally and theoretically nuanced interpretation of The Old Man and the Sea.
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The combination ensures both rigor and global perspective. While not exhaustive of all critical interpretations,
the selected sources provide focused depth
Research Objectives
The study is guided by the following objectives:
1. To examine how Santiago’s intellectual and moral capacities challenge conventional perceptions of
age and social incapacity.
2. To investigate how Hemingway’s minimalist prose, symbolism, and narrative strategies convey
3. To analyze how societal structures, capitalist ideology, and cultural ageism are reflected and
4. To demonstrate the interconnectedness of mind, ethical action, and social dignity, highlighting
Santiago as a model for overcoming societal and physical limitations.
Data Sources
Primary Source: Hemingway, E. (1952). The Old Man and the Sea.
Secondary Sources: Critical literature and scholarly analyses on:
o 1973)
o Age and social prejudice (Gullette, 2004; Beauvoir, 1972)
o
o Socio-economic critique and class dynamics (Althusser, 1971)
This combination ensures comprehensive coverage and allows for triangulation of textual interpretation
with scholarly perspectives, enhancing the credibility and reliability of the findings.
Analytical Framework
The study applies a multi-theoretical lens, integrating:
Structuralism analyzing narrative patterns and archetypes.
Historicism & Neo-Historicism contextualizing Santiago within socio-economic and cultural
conditions.
Postmodernism & Deconstruction examining narrative ambiguity and challenging binaries (age vs.
capability, success vs. failure).
Existentialism
Marxism & Capitalism critiquing societal structures that equate productivity with human worth.
Formalism & Moralism understanding literary craft and ethical dimensions.
Nature vs. Man & Ecocritical Perspectives exploring human-nature relationships.
This framework allows for systematic mapping of textual evidence to theoretical perspectives, ensuring a
coherent and analytically rigorous investigation.
Research Procedure
1. Close Reading:
with the marlin, the sea, and other characters.
2. Motif and Symbol Analysis: Identification of recurring symbols (e.g., the marlin, sharks, fishing tools)
to interpret ethical, existential, and social themes.
3. Cross-Referencing with Literature: Integration of critical scholarship to situate the analysis within
existing discourse and identify gaps.
4. Synthesis: Mapping textual evidence to theoretical and socio-economic frameworks, highlighting how
mind and moral fortitude supersede age and societal constraints.
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Research Approach and Justification
Interpretive and Critical: The study prioritizes meaning-making over quantification, appropriate
for literary and ethical analysis.
Comparative and Synthesizing: Aligns textual evidence with Hemingway’s narrative, scholarly
interpretation, and socio-economic critique.
Validity and Trustworthiness: Triangulation of textual evidence and critical scholarship ensures
rigorous, reliable interpretation (Creswell, 2018).
Original Contribution: This methodology enables the study to integrate literary, ethical, socio-
economic, and age-related analyses
character rarely addressed in prior research.
ANALYSIS AND DISCUSSION
Santiago’s Voice: Words of Endurance and Dignity
The central character Santiago speaks in ways that consistently reject passivity and defeat. His becoming aged
and lonely transcends resignation. Instead, he immediately tempers his vulnerability with resolve: “But I will
try it once more. The great DiMaggio played in pain” dy
with his unwavering mental conviction, implying that the mind alone safeguards dignity against decline. His
most famous declaration, “A man can be destroyed but not defeated”, encapsulates existential courage.
Sartrean existentialism insists that humans define themselves not by circumstances but by choices (Sartre,
1943/1993). Santiago chooses to confront the sea and the marlin, knowing the odds, thus affirming agency over
binary opposition (youth vs. age,
strength vs. weakness, defeat vs. dignity), but the narrative resolves these binaries in favor of mental
resilience“Pain does not matter to a man” (p. 75)is
crucial. He does not merely endure silently; he constructs meaning through speech,
notion of dialogism (Bakhtin, 1981). His voice becomes a site where social prejudiceold age as weakness
is contested and overturned.
Santiago realizes that physical pain is insignificant compared with the deeper, incomprehensible struggle of
The punishment he endures is not merely bodily suffering but the
spiritual trial of facing the unknown. His humility and endurance make hunger a lesson in acceptance part of
hunger
represents not weakness but moral education the discovery that deprivation can yield wisdom. Baker
-
into empathy with na
his literal hungerconstitutes his subjectivity and gives meaning to his struggle. Symbolic readings
universal quest for transcendence.
Santiago senses of nature under whom man keeps his faith to live with. Man can be strong and move
courageously if he can realize the spirit of nature. In size, so many things are greater than man, which is all for
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the moon and the sun sleep and even the ocean sleeps sometimes on certain days when there is no current and a
pantheism the old man can feel in. Through this cosmic kinship, Hemingway constructs an image of faith
grounded not in dogma but in natural order a
belief that divinity resides in the harmony of all beings embodying how spiritual insight transcends physical
limitationmental clarity
over bodily decay, aligning with the central thesis that age can deepen rather than diminish human potential.
The old man's experience in how he can understand the physical condition of a giant fish. “But I do not want
him to rest. He must pull until he dies.”
suffering. He understands its exhaustion because he feels
true sympathy through struggle. Baker saw Santiago and the fish as two aspects of the same spiritual being,
t and reflection of his own
of man and nature, where ki
feel with what he
life through bodily
a symbolic reading, o
depiction of Santiago
skilled work even when undertaken by an old man at the edge of exhaustion. “He put one of his feet on the
fish and slit him quickly from the vent up to the tip of his lower jaw. Then he put his knife down and
gutted him with his right hand, scooping him clean and pulling the gills clear”. Mark P. Ott (2012) reads
The Old Man and the Sea as an allegory of human labor within the capitalist mode, where Santiago represents
protagonist embodies an economic individualism that defies both poverty and modern mechanization. The old
iet critique of capitalist productivity norms. Lisa Tyler (2001) interprets
his sustained skill and effort as an assertion of human dignity against systems that measure worth by profit.
The old man embodies the steady effort and patience to reach to his s
He is now in the ocean and fearless to a passionate profession he longs for and he is not recognized which is a
pain to him mentally. From a Marxist-humanist perspectiveinvisible labor
of those marginalized by age and class unacknowledged by society yet essential to its moral economy. His
physical struggle reflects a class metaphor: the elderly laborer as the forgotten backbone of production, denied
recognition yet maintaining self-
absurd heroism Camus speaks of in The Myth of Sisyphus (1942): the triumph lies not in outcome but in
that mind supersedes age, and that psychological endurance transforms social
invisibility into existential victory. The old man is not submissive to defeat or getting down. He is really a
strange old man looking high in fulfilling his professional action which is catching fishes in economic
emancipation. He is alone and aged but he is to sail alone in the ocean for his earning. He has nothing but his
determination and confidence to live him by. “You better be fearless and confident yourself, old man. It is
not bad. And pain does not matter to a man. Why was not I born with two good hands? Perhaps it was
my fault in not training that one properly. But God knows he has had enough chances to learn. He has
only cramped once. If he cramps again, let the line cut him off.” So far he knows inches of fishing skills -
nature teaches him. Who can be afraid in the ocean but a coward? He does not feel pain physical, he rather
condemns his hand falling in cramp. It shows his perspiration in learning the philosophy of life which is to
stand erect even in difficulties. His monologue is a direct assertion of existential courage and self-sufficiency,
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strength is
mental, not muscular, and that dignity is retained through self-discipline. When he rebukes his cramped hand
it is not fatalism but defiance: a symbolic refusal to submit to either physical
weakness or societal marginalization. From an existentialist viewpoint -talk mirrors
authentic existence, where man defines himself through choices despite suffering. His
only youth and profit define value.
a spiritual resistance, a protest against the alienation of aging
workers.
The old man becomes logical in gaining nourishment to control the gigantic fish. It looks to him that he is
against a massive task preparation in the ocean with his courage. Old, Santiago is very conscious of his
headed than to lose your strength from nausea. It has more nourishment than almost any fish, he thought. At
least the kind of strength that I need. Now I have done what I can, he thought. Let him begin to circle and let
fish. He is at his desperate will to catch it. He knows how to control the fish into his capture. He is not afraid of
his loneliness as he is having mental strength from his surrounding nature. He shows his intellectuality in how
he can control the odds of the life.
Hemingway’s Craft: Narrative and Symbolic Presentation
iceberg principle implies that the
visible struggle (catching the marlin) conceals deeper symbolic struggles (resisting aging, confronting
return with the marsymbol of the marlin
is central. Gurko (1968) argues that the marlin is not merely prey but a worthy opponent, whose nobility and
the challenging nature of his struggle with Santiago ele
endurance. The old man watches the fish, “Never have I seen a greater, or more beautiful, or calmer, or more
noble thing than you, brother” nd
economics (a fish for money) to ethics
-down existence. As Cleanth Brooks (1947) suggested that in modernist
formalism, form is inseparable from meaning: the minimalist narrative of The Old Man and the Sea embodies
endurance, silence, and authenticity. Santiago is thus rendered not as a social relic but as a figure exemplifying
inalization. Thus, Hemingway
dismantles cultural stereotypes about old age through both theme and form.
The old man is watching the ways the gigantic fish shows. He wants to pray for having the fish. He is a
religious mentality on his struggle which is livelier than a regular praying person as usual. “I could not fail
myself and die on a fish like this. Now that I have him coming so beautifully, God help me endure. I will
say a hundred Our Fathers and a hundred Hail Marys. But I can not say them now.” This moment
human will and divine grace.
religion transforms into an
ethical strength rather than ritual obligation. The struggle, the endurance, and the unyielding will are his living
faith. From a symbolic and theological perspective, this scene is an echo of the Christian concept of redemptive
suffering 952) and
present in the sea, the stars, and the fish all constituting a single moral universe. Psychologically, this
moment also demonstrates San cognitive discipline: he channels faith as a mental strategy to resist
despair. The invocation of prayer becomes a way to control fear and sustain concentration.
The old man is a master of knowing the behaviour of his hunted animal. It is like an artistic design of how a
I must
hold his pain where it is, he thought. Mine doesn't matter. I can control mine. But his pain could drive
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him mad.” The olpsychological discipline, empathy, and mastery of self-
control. He distinguishes between his own pain, which he can dominate through willpower, and ,
which he must respect and strategically contain. Hemingway transforms this physical contest into a metaphor
for human endurance the moral and spiritual ability to confront suffering without yielding to it. Critics such
as Philip Young (1966) and Carlos Baker (1956) have noted that this moment encapsulates S“code
the stoic ethic an inner law of conduct that makes the old man heroic despite material defeat. At the same
existential tenderness.
Mental strength and endurance, the old man wants to show over his hunting. He feels the necessity of surviving
I have no cramps. He will be up soon and I can last. You have to
last. Don't even speak of it.” Santiago wants to befit himself till the last stage of subduing the fish. It looks
that he tries regain his strength in his hard condition which shows his willingness to live longer. His refusal to
modernist valorization of silence a Hemingway trademark where
restraint replaces complaint. From a Marxist-humanist lens, this struggle also dramatizes the dignity of labor:
Santiago represents the working individual whose value lies not in material reward but in persistence.
Critical Interpretations: Hero, Survivor, Symbol
Code Hero -figures (including Santiago) enact a spiritual
resilience characterized by stoicism and an unbroken ethical will (Waldmeir 161-
stoic, dignified, undefeated.
Christian Allegory: Santiago as a Christ-like figure, noting his endurance, wounded palms, and cross-
like posture carrying the mast.
Humanist Laborer: Benson (1989) and Gurko (1968) both interpret Santiago as a celebration of
the aged and supposedly unproductive.
Ecological Symbol ruggle is portrayed as a balance
between exploitation and reverence for nature.
Existential Survivor: Santiago is famed as embodying existential enduranceaffirming life through
struggle rather than outcome.
beyond ordinary old age: he is seen as hero, allegory, or
symbol. Yet, most of these readings emphasize abstraction (religion, symbolism, labor) rather than the
concrete social prejudice of age. This gap is where your study intervenes.
Beauty depicting, the old man is describing the colour, beauty and size of the fish. How possible it was for a
person like aged to observe the enormous size and mention it's beauty living in the ocean ? The old man wants
on hunting and shows his feeling and emotion to the fish. It points to his aesthetic mind over the beauty of
nature and his religiosity to accept his dominating existence over natural objects to survive. “But he was that
big and at the end of his circle he came to the surface only thirty yards away and the man saw his tail out
of water. It was higher than a big scythe blade and a very pale lavender above the dark blue water. It
raked back and as the fish swam just below the surface the old man could see his huge bulk and the
purple stripes that banded him. His dorsal fin was down and his huge pectorals were spread wide.”
Killing animal is necessary in terms of commercially and fundamentally living in the world. In this scene,
Hemingway merges the realism of fishing with the metaphysical awe of confronting natur
reveals not
Joseph Waldmeir
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e as transcending mere physical contest
commercial or exploitative but reflective and reverent. The scene thus encapsulates pantheism and existential
awareness simultaneously
it. His reverence does not contradict his act; rather, it sanctifies it. In Marxist-humanist terms, his labor
becomes creative and self-defining an aesthetic and ethical necessity. In contemporary interpretations, the
passage has been revisited as a meditation on ecological humanism and moral coexistence. Moddelmog (2018)
-
Santiago transcends his aesthetic mind into cruelty of killing that shows the dual position of a man to live by.
Man sacrifices his life for a purpose. Man is neither good nor bad. Man is strange like the old man which
existential ambiguity But I must get him close, close, close, he thought. I
must not try for the head. I must get the heart. Be calm and strong, old man. The old man thinks about
the artistic effort of capturing the fish. Does he look nihilistic here in expressing his getting the heart of
the fish? In a warcraft, the soldiers try for the weak point of the opponent to win. Similarly the old man
wants to find a trickery of winning the fish.” Santiago is at once destroyer and admirer, killer and
worshipper The Myth of Sisyphus
futility, yet con “Be calm and strong, old
man,” is not mere self-“code hero” one who
faces defeat, pain, and mortality with stoic grace.
From a philosophical perspective, this episode resonates with Nietzsche’s concept of the “will to power”
immoral; it is ontologicals instinct to live meaningfully in an indifferent universe. From a
Marxist reading
commodified, yet his mastery gives that labor a humanistic and spiritual dimension. His target the
becomes a metaphor for the worker’s pursuit of the essence of creation
age, nature, or capitalist neglect. However, a closer reading reveals a philosophy that transcends nihilism, both
may appear nihilistic focused on the violent act and the inherent suffering of life. Yet, an existential lens
reveals that Santiago creates meaning through action. His deliberate self-discipline and calm resolve “Be
calm and strong, old man” transform struggle into moral and existential affirmation rather than surrender to
meaninglessness.
dual fronts:
1. Social: challenging prejudices about age, productivity, and invisibility.
2. Metaphysical: asserting meaning, dignity, and moral consciousness in the face of lif
actively
constructs meaning, proving that human mind, will, and ethical sensibility can supersede age and social
constraints, reinforcing the central thesis of this study:
Mind supersedes age, conquering incapabilities of social potential — a blow to social prejudices.
Santiago is a man of submissiveness to beauty. He looks in double standard about whether he kills or the fish
kills the man. In the existence of hardihood of the old man's life, he reaches to the culmination of what beauty
he discoverers in this fish. He looks like a poet to represent the beauty of a nature - it is his humanitarian self-
You are killing me fish. But you have a right to. Never I have seen a greater, or more
beautiful, or a calmer or more noble thing than you, brother. Come on and kill me. I do not care who
kills who.” But his professional self- conscious- urges him into an economic existence - a tiresome labour. He
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feels sacrificing his life either to the fish for beauty or to the economy for socio economic position. This
dual consciousness the coexistence of aesthetic appreciation and pragmatic
labor ethics. On one level, he responds to the marlin with poetic reverence
mere survival or utilitarian concern. At the same time, Santiago is aware of the economic and existential
necessity of killing the fish. He recognizes the fish as both a challenge and a source of sustenance, linking
labor, survival, and ethical responsibility. This duality reflects the Marxist-humanist perspective, in which
labor is not merely physical exertion but also an ethical and cognitive engagement with the environment
morally attentive an embodiment of the thesis that mind supersedes age, conquering incapabilities of
social potential. Existentially, Santiago embraces life and death simultaneously. His statement, “Come on and
kill me. I do not care who kills who,” The Myth of Sisyphus,
1942): acknowledging the inevitability of struggle and mortality, yet persisting with dignity and purpose. Here,
the dual consciousness of the old man aesthetic admiration versus economic necessity shows that
human action is morally complex, not reducible to simplistic binaries of good and evil.
Beyond Criticism: A New Reading – Mind Over Age and Social Prejudice
After several efforts, the old man finally aims at the fish to kill and he succeeds. He is so keen in this mission
that he can describe how he killed the fish. He shows his skill and patience in accomplishing this task. In this
moment, Hemingway transforms
human endurance and existential triumph. The harpooning of the fish is not merely the fulfillment of a
human will against the overpowering indifference of nature
action represents the fusion of technical mastery, spiritual courage, and moral conviction. His precise attention
to detailunderscores the
pressure”
dialogue with the marlin. By
creative destructiona paradoxical union of compassion and necessity. This moment marks the culmination of
, where human perseverance fuses with craftsmanship and faith. The act
of striking the harpoon is not mere violence; it is the sacramental fulfillment of labour
From a philosophical viewpoint, S transcendence of defeat. Even
echoing
“a man can be destroyed but not defeated.” The harpoon, thus, becomes both an
economic instrument and a spiritual weapon a balance between material survival and moral dignity.
Economically, this act represents
symbol of the s invisible heroism, showing that skill, persistence, and faith still define the worth
of labour even in capitalist or utilitarian contexts where such work goes unrecognized.
Santiago elaborates beauty to seek through and after killing. Why does the old man need to describe the beauty
and giant shape of the fish? Even why does he need to describe a pictorial scene of how the aftermath of the
killing looks? Does he feel guilt conscience? It focuses on the sense of beauty the old man has though he is
acknowleThe fish was
silvery and still and floated with the waves. ‘Keep my head clear’, he said against the wood of the bow. I
am a tired old man. But I have killed this fish which is my brother and now I must do the slave work.”
This moment captures the tragic aesthetic of human existence the intersection of creation and destruction.
sacred contemplation,
moral
awareness, revealing his guilt-conscience masked as reverence. Rather than rejoicing in victory, Santiago
experiences the paradox of creation through destruction. This is not nihilism, but ethical realism an
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duality of human existence: man must conquer nature to live, yet he
remains spiritually tied to it. His self-
of capitalist labour th
pride-driven domination; he kills out of necessity, not ego. In this sense, he embodies the moral citizen of the
sea, bound to ethical responsibility even in victory.
Santiago is a man of observation of the giant fish. Who can describe the dead fish as lively as the old man?
The fish had turned silver from his
original purple and silver, and the stripes showed the same pale violet colour as his tail. They were wider
than a man’s hand with his fingers spread and the fish’s eye looked as detached as the mirrors in the
periscope or as a saint in the procession. He’s over fifteen hundred pounds the way he is. May be much
more. It he dresses out two-thirds of that at thirty cents a pound?”
It looks the old man has an aesthetic mind which is suppressed by the hard reality of his emaciated life who has
nothing in the world. He has nobody except God to live him up. Keeping this in mind, he addresses the fish as
his brother. Coming back to his harsh reality in economic burden, he has not a home but a shack and he sleeps
inside it without light -unwrapping his bottom , half naked, he sleeps flat on the floor keeping his trouser
rolling into making it a pillow with the newspapers kept inside it. He feels and becomes calculative what the
fish gets worth in the market for his hardihood thus fusing aesthetic sensitivity and economic consciousness,
beauty and survival. Hemingway renders Santiago not
merely as a fisherman but as an artist of endurance, whose descriptive precision transforms physical struggle
into spiritual vision. The fish, a creature of immense beauty, becomes a commodity. At the same time,
Christian humanism and pantheistic spirituality. The saint-
aesthetic sensitivity combined with practical
calculation
human consciousness
his
struggle transcends mere killing and becomes an act of hero
The old man is characterized into a man of religiosity. He is not a conventional religious person. He is a
He
could see the fish and he had only to look at his hands and feel his back against the stern to know that
this had truly happened and not a dream. At the time when he was feeling so badly toward the end , he
thought perhaps it was a dream. Then when he had seen the fish come out of water and hang motionless
in the sky before he fell, he was sure there was some great strangeness and he could not believe it. Then
he could not see well, although now he saw as well as ever.”
of the gigantic fish. It is the realization of his feeling that some invisible thing is there to save him. At this
spiritual perception triumphs over physical weakness. His eyesight a symbol of his
bodily limitation fades, yet his inner vision sharpens.
Socially, Santiago represents those marginalized by age and poverty those presumed incapable of
religious sensibility reveals a deeper form of productivity: moral and
metaphysical insight. When he ackno
Hemingway portrays the mental evolution
economic but existential the old man redefines social potential as faithful endurance and spiritual cognition.
faith and imagination
are not signs of frailty but of inner power. a faith born
from solitude, hunger, and necessity. He stands as an emblem of those ignored by the system the old, the
poor, the unseen yet whose mind and faith defy all prejudices. His vision is both literal and symbolic:
though society may deem him blind, he sees clearer than most.
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The old man is a man of struggle to catch the fish, and his over struggle of how he can protect the fish from the
sharks. His journey of struggle is not over yet. It is a lesson to show the endless journey of struggle.
encounter with the sharks demonstrates human vulnerability despite skill and effort He took about 40
pounds. He took my harpoon and all the rope and now my fish bleeds again and there will be others. The
old man feels worried about what to come next as danger to engulf his fish which is the root cause of his
earning.” -final
arg
demonstration of moral perseverance, a conscious responsibility to his craft and to nature, showing that human
endeavour remains bound by challenge even
Gerontological research supports this view. Rowe and Kahn (1997) emphasize that successful aging involves
sustained engagement, resilience, and cognitive agency rather than merely the absence of decline Santiago
personifies this: though frail in body, his cognitive and moral resolve remains unbroken.
Moreover, this interpretation aligns with postmodern critiques of grand narratives. Postmodernism destabilizes
rigid binaries such as youth versus old, strong versus weak, and productive versus useless (Lyotard 1984).
economic capacity.
universal human figure: a man who demonstrates
that age is not incapability and the mind resists social marginalization, and that endurance redefines what it
means to live with dignity.
Santiago and Capitalist Valuation: Marxist and Political Readings
Many readings reg-economic frame but stop short of showing how Hemingway targets
capitalist valuation itself. Reading Santiago through Marxist concepts of commodification and ideological
nd their valuation of the marlin in material
terms) is an instance of ideological reduction: human worth = exchange-
reduction his respect for the marlin, his refusal to sell dignity for a single transactional gain is an ethical
-luck as social evidence of
-
readings explicitly interpret the marlin as a commodified object and Santiago as a figure resisting
cy to equate human value with productivity;
skilled judgment, moral restraint, epistemic labor refuses to be priced out of dignity.
This makes the novel as much a political text as a moral one.
Santiago faces helplessness against the brutality of nature. Nature is blessing and negative to the old man. He
lives in the ocean to hunt the fish for his livelihood. He is not a born fisherman though he is destined to as he is
an economically handicapped person. Nature gives him the fish with his indomitable struggle and at the same
He did
not like to look at the fish any more since he had been mutilated. When the fish had been heat it was as
though he himself were hit. It was too good to last to last. I wish it had been a dream now and that I had
never hooked the fish and was alone in bed on the newspapers.” The marlin gets mutilated by the sharks
and this hit becomes a torture to the old man. But, he can not control them from biting his hunted fish- as they
are a natural opposite force to impede man's success. He finds killing is natural saying everything kills
everything and he can not distinguish sin separately from his social construct. It looks like that he becomes
defeated and he should not have caught the giant fish. Man becomes oscillating in his fulfilling the
fundamental desires respectively, especially an economically retarded person.
human vulnerability and existential struggle. Baker (1969) argues that Hemingway depicts labor not as a finite
and human effort must persist. Gurko (1955)
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The ultimate philosophy of life outspoken by the old man Santiago focuses on the spirit of dignity man prefers
But man is not made for defeat. A man can be destroyed but not defeated.” Nothing is
beautiful without labour associating work. Individual, social, national, man must face struggle to uphold his
magnanimity of work. It is like protecting independence is more difficult than attaining it. Why should man
face defeat? The old man becomes objective and universal in his speech. He has killed the gigantic fish for
economic servitude, and he faces hostility in bringing the market value fish ashore. Old, he echoes the spirit of
human fame that lies in honour and it must be protected, not defeated. The old is gold, not rusted and
ignored
ignity through labour and perseverance. Within the scope of the research
title Mind supersedes age, conquering incapabilities of social potential – a blow to social prejudices as
reflected in The Old Man and the Sea this statement embodies the intellectual and moral rebellion of an
supremacy of his mind. His courage and endurance redefine capability beyond biological or social limitation.
In a prejudiced world where old age is often equated with incapacity, Santiago becomes a philosophical
counterpoint asserting that . His labour
is thus not merely economic; it becomes existential a form of self-justification and proof of worth before
society and God alike. This line encapsulates , emphasizing endurance,
honor, and moral triumph over adversity. Carlos Baker argues that Hemingway locates human dignity in the
character (Baker 1969).
and spiritual integrity, exemplifying existential resilience (Gurko 1955).
The Old Man and the Sea exemplifies a human perseverance grounded
not simply in physical victory but in moral endurance and philosophical meaning (Cirino 2019).
his place within the non-human worldhis labour is thus ecologically embedded, not simply combative.
Burhans (1960) shows that Sa
dignity in an indifferent universe of violence and death.
The old man is apprenticed to patiently signify the value of hard working, and the belief in hopefulness. He
must It is silly not to hope. Besides, I believe it is a sin.
Do not think about sin. There are enough problems now without sin. Perhaps it was a sin to kill the fish.
I suppose it was even though I did it to keep me alive and feed many people. But then everything is a sin.
You are born to be a fisherman as the fish was born to be a fish.” He is a man of fishing, thinking and
critiquing. He merges his personal subjective into the objective appeal for the basic features of human being
who is to work, sin, expiate and die in the end. He is in the transition of possessing and losing the fish upon the
binary terms of hope and despair. His hope first is to be economically sound with his profession. He thinks of
marketing the fish with thirty cents ($0.30) per pound. His one hope is fulfilled in killing the giant marlin. His
next hope is to sail it ashore for a price. His professionalism is to carry out his fishing for him and his
associates which indicates his socialism. His hope falling despair gives him logic that his killing the fish can
not be sin as long as everything gets tied with sin. It is just to objectify the sin upon human flaw. He is an
skilled fisherman and to glorify or register it - what he must do is to either catch the fish or kill it for survival
and support. In that sense, the old man is a genuine social construct of balancing human relationship upon
socio economic discrimination in labour and product. What I tend to interpret identifies the old m
reflection on sin, hope, and necessity as a human reconciliation between moral idealism and practical survival.
ty.
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a post-Christian
humanism where moral worth lies not in sinlessness but in perseverance. His journey becomes a critique of
social and economic structures that devalue age and labor, turning his struggle into a moral rebellion against
defeat.
through the old man Santiago is referred to be an existential recognition. Pride is worked here as courage,
confidence and self-You did not kill the fish only to keep alive
and to sell for food. You killed him for pride and because you are a fisherman. You loved him when he
was alive and you loved him after. If you loved him it is not a sin to kill him.” He can not but kill the fish
as he is not a poet or artist to decipher the beauty of the fish only. His beauty expression towards the fish is his
moral submissiveness to the religiosity and his agnostic approach (which is, may be, hidden) to the
capitalistically led economy in which the age is set aside for production deficit. It contrasts youth the
production profit with the age the burden and negligence. To me, the old man synonymizes catch the fish with
kill the fish. His every utterance of killing the fish - legalizes his careering position which is full of vigour and
experiences although he is lucky enough to change his economic conditions into a well off status. Because he
has nothing but a shack to sleep in with his trouser put off to do support his head as pillow by keeping him half
naked in the dark in the shack. He is defending himself that killing the fish is not a sin as he has loving heart to
atone for. What else can he do except killing - this killing is not intentional to show him pride- rather essential
to defend him for being capable in the youth based capitalistically competitive society under production
efficiency. His killing the fish is a message to the production authority for an urge to reconsider the aged, I
think. This connection between economic survival, moral justification, and spiritual resilience fits powerfully
Mind supersedes age, conquering incapabilities of social potential – a blow to social prejudices as reflected in
the novel The Old Man and The Sea.
e fish thus becomes symbolic of the mind’s triumph he kills not out of cruelty, but as
an assertion of human worth beyond age and social utility.
it becomes a spiritual and moral act
in which dignity is preserved despite defeat.
The Old Man and the Sea to be read as morally defensible and
Santiago and Ageism: Cultural Theory (Beauvoir, Gullette)
Sociocultural theories of aging (Beauvoir, Gullette) show that ageism is manufactured by cultural narratives.
Reading Hemingway with these social-theoretic l
cultural, not inevitable
repeated self- cognitive agency and
The Coming of Age argues that
Aged by Culture shows how narrative,
economy, and media produce premature aging in social imagination. Applying these frameworks to Santiago
ivileging experience, moral judgment,
opposes cultural ageism.
The old man passes his simple statement of killing the fish. He kills it as means of his breI
killed in self defence. And I killed him well. Besides, everything kills everything else in some way. Fishing
kills me exactly as it keeps me alive. The boy keeps me alive.” He defends himself in the necessity of the
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killing of animal. We kill animal for both our security and protection. He kills marlin for income and the fish
kills the old man in a sense that it snatches his rest and comfort. It allows him to think deep about it more than
anything else. It gives him to live and he finds a good analogy between his passion for the fish and his affection
for the boy who takes care of him. So, he finds a life bond between him, the fish and the boy. It is the legacy of
generation to hold for the process and advancement of civilization. Santiago
that survival inevitably involves destruction. When he says, “I killed in
self-defence”, he is not merely excusing his action but recognizing a universal principle: to live is to kill, and
to kill is to affirm life’s continuity. Santiago understands that his profession, his hunger, and his identity as a
fisherman all demand the act of killing, yet he performs it with reverence. His line “Fishing kills me exactly as
it keeps me alive” shows the paradox of human existence: labour sustains life even as it exhausts it.
the same
labour that dignifies him also destroys him. The mention of “the boy keeps me alive” brings this philosophy
generational continuity and the moral
transmission of human values.
echoing the mind supersedes age, conquering incapabilities of social potential.
mind remains fertile, moral, and socially productive even as his body decays. Symbolically, this statement
binds nature, labour, and affection into one existential circle:
Nature demands struggle.
Labour defines dignity.
Affection gives meaning.
stoic humanism a
reconciliation with the order of life. By understanding killing as participation rather than cruelty, Santiago
transcends guilt and becomes a moral victor in defeat. The old man justifies his act of killing not as moral
mbody the moral paradox of
human existence: one must destroy to live, and in that destruction lies both guilt and grace. Scholars of
ecological one where human life and the natural world are mutually
e life feeds upon life, suggesting the futility of
and ecological continuum: the marlin sustains Santiago materially and spiritually, while the boy sustains him
emotionally and symbolically representing the continuity of human spirit beyond defeat.
The experienced Santiago as fisherman points to the man's empirical knowledge of the quality of the fish in
market value. His killing is on market valHe leaned
over the side and pulled loose a piece of the meat where the shark had cut him . He chewed it and noted
it's quality and good taste. It was firm and juicy like meat, but it was not red. There was no stringiness in
it and he knew that it would bring the highest price in the market.” Consumer does value what to consume
economic consciousness
his practical evalua
greed. Hemingway transforms a simple act of tasting into an epistemological gesture Santiago validates his
survival struggle through knowledge, not mere instinct. His mind triumphs over physical exhaustion,
demonstrating the continuing social potential of age against capitalist marginalization. The commodification of
hedly
dignified understanding value without being consumed by it. Having endured both physical and moral trials
in his pursuit, the old man now evaluates the marlin not as a majestic creation but as an economic commodity
an object of trade within a capitalist world that measures value by utility rather than beauty.
The old man is concerned over the possession of the fish. He finds the mutilated fish to go bitten and torn by
They were hateful sharks, bad smelling, scavengers as well as killers, and when they were
hungry they would bite at an oar or the rudder of a boat. It was these sharks that would cut the turtles'
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legs and flippers off when the turtles were asleep on the surface , and they would hit a man in the water ,
if they were hungry , even the man had no smell of fish blood nor of fish slime on him.” May be he sees
his society's bourgeois to snatch the possessed property of the production people who do continuous efforts to
run the production. The capitalist grab the majority of the production profit with just a conventionally
prevailing wages given to the manpower. They can not understand that the production class is the real source of
mutilated marlin, won through immense endurance and skill, represents the fruit of labor seized by the
exploiters of society those who contribute nothing yet consume the largest share of production profit. The
fore bourgeois domination,
sharks is more than physical; it embodies a moral and intellectual rebellion against structural injustice. In this
ligh an emblem that mind and
moral integrity transcend physical decline and social marginalization. -won marlin, a product
of endurance and craftsmanship, is torn apart by creatures that contribute nothing to its creation. This imagery
greed and exploitation.
Santiago and Existential/Absurd Affirmation (Camus, Sartre; modern existentialist readings)
Santiago models an existential response to meaninglessness: he faces likely failure, yet chooses action
thereby creating meaning through struggle. That existential stance is crucially cognitive: the mind chooses
signifiI wish it were a dream and that I had never hooked him. I am sorry
about it, fish. It makes everything wrong. He stopped and he did not want to look at the fish now.
Drained of blood and awash he looked the colour of the silver backing of a mirror and his stripes still
showed. I shouldn't have gone so far fish. Neither for you nor for me. I am sorry, fish.” It points to the
forceful and unjust charge over something by the mighty. It looks like that nature itself is playing injustice
among its living organs. In one sense, the sharks appear to be the symbol of strength to illegally own
somebody's property as the capitalist does over the labour class. The old man gently revolts that getting hold of
the giant fish is wrong as it is not ultimately belonging to his purpose fulfilling. It gives the notion of dialectic
materialism. He gives his steady timeless effort to catch and kill the giant fish to gain market value, which is
disappearing with the presence of the hyenas like sharks to snatch the tasty meats of the fish. He has a heart to
realize the injustice played upon him by the powerful. Alone in the deep sea, losing the market of the fish, the
old man wants the reality itself to become dream. He does not want to accept the harsh reality which is
dragging him down - snatching his merriment through biting the meats of the marlin by the sharks. He looks
like expiating himself not to go too far to catch the fish. Loving the beauty of the marlin, he defends himself
that he kills the fish for his and the neighbors' livelihood - a socializing role-play in the scarcity of resources.
The same old man now acknowledges that he was mistaken in killing the fish, rather he wants it to be a dream.
Does he become escapist now in his guilt conscience statement that he should not have killed the fish? Like the
old man in the poem "The Rhyme of the Ancient Mariner" who killed the luck providing bird the Albatross
whimsically, the old man looks like a revolting man against the injustice of the society and nature, but he can
not leave his profession as it becomes morally rich with his down to earth observation of the fish to capture and
the fish to mutilate. The sharks embody the predatory capitalist class
Santia dialectical reflection: his act of mastery becomes
his moment of defeat, not because of failure, but because of the moral disillusionment of production under
inequality. He perceives the oceanic systemlike human societyas unjustly ordered, where the weak
produce and the powerful devour.
Ecocritical and Non-Human Relations: Nature as Test and Teacher
When nature resists being an object of commerce, the capitalist valuation system (which marginalizes aged
respects value that capitalism cannot price. Aged and fishing expert, Santiago is a role play of the unending
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effort to protect his property the fish. Though questions bitten by himself about his not having killed the fish
and gone too far away from the normal fishing nautical miles, he criticizes himself not to have sufficient arms
Now is no time to think of what you do not have. Think of what you can do with what
there is. He knew that each of the jerking bumps of the sharks had been meat torn away and that the
fish now made a trail for all sharks as wide highway through the sea. He did not want to look at the fish.
He knew that half of him had been destroyed.” It points to his bravery over the sharks and his lonely
movements in the sea. He can not be defeated but destroyed as he is possessing dignity. He feels hurt to accept
the sharks' tearing the meats of the fish- he is not emotional to dive into the ocean to fight the sharks as he can
not be armed enough, rather he will have his life riskiness if he does so. Here he is hopeless to defeat silently to
be submissive to nature. He can not be suicidal in saving the marlin as it is unwise and his age suggests so in
his empirical knowledge in fishing in the sea against some hostilities. But, he feels tortured mentally to see his
fish pieced apart by the sharks. He kills and he hymns the beauty of the marlin -and in his killing - there is
moral subjugation to fate for killing everything by everything in a sociological nature and ecological features.
But, sharks, killing the dead fish into meats pieces, point to the hyenas biting over hunger and brutality concept
that points to the coercion and domination by the capitalist who only sees profit and capture. The old man and
the sea is a multilayered and multifaceted and dimensional literary work in social phenomena. Santiago
recognizes that half of the marlin, symbolically half of himself, has been destroyed. Yet he refuses despair.
Instead, he focuses on what remains possible, demonstrating that dignity persists even amid defeat. It
insightfully connects this moment to class struggle and existential endurance reading the sharks as emblems
exploiters, consume the fruits of human labour, while the true producer (Santiago) is left with ruin and
exhaustion.
However, from a socioeconomic
alienation of
labor
reflection thus becomes an act of silent defiance: though stripped of material reward, he preserves moral
ownership of his labor.
Psychoanalytic, Autobiographical, and Psychological Readings
foregrounded: the text is as much inner landscape as external action. The recurrence of memory, ritual
(repairing sails, talking to himself), and symbolic wounds (hands, back) indexes psychological depth. Recent
psychoanalytic and existential-psychologica
offering evidence of projection and symbolic self-reconstruction. This reading supports the primacy of mind:
again reinforcing that mental agency (not automatic
biological decline) defines dignity.
Aged and conscious, Santiago is characterized how oldness is matured into reality of accepting the reality of
fish directed profitless life. He accepts that he is not taking the full and final possession of the fish although he
Luck is a thing that comes in many forms and
who can recognize her.” But, the conventional society is having its ethical eyes shut to see the old man under
such initiative. Ethics, Christianity pass their reward arrow 💘 to the persevering and the old man must
deserve it for his indomitable passion in catching such huge fish for his and his neighbours' feeding and
business. But the adversity falls in with the appearance of the sharks who can grab the fish's meats top to the
bottom leaving nothing saleable or profitable. It is in moral sense injustice. The old man knows it and passes
this discrimination into the term luck which can either come to him good or in different forms. In that sense,
human condition, where effort does not always guarantee reward. Hemingway intentionally personifies Luck as
an entity that visits selectively and departs without notice.
Santiago, having caught the marlin but lost its flesh to sharks, accepts that luck cannot be domesticated by will
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rests not on success but on perseverance.
As the old man struggles longer, he is about to show his anger and hatred towards the sharks disguised as
He spat into the ocean and said, "Eat that, galanos. And make a dream you've killed a man.”
The sharks are natural fatality to create conflict, having the role of capitalist monsters w
property through both conventional and structural power. Anguished, the old man spits at the sharks who are
tearing off the meat of the fish. They are hunger-mad over the fish which belongs to the old man. It is like
dialectical materialism in motion the old man becomes the victim of an exploitative structure where the
producers (laborers) are consumed by the system (sharks) they sustain. This interpretation connects strongly
Intergenerational Ethics: Manolin, Recognition, and Pedagogy
The boy-
cognitive authority. This interpersonal ethic is practical and social not merely symbolic and works
- and audience-focused criticism (e.g.,
and social reception) highlight how small communities and younger agents
The Skeleton as Satire: Material Loss and Moral Gain
n what Santiago ultimately returns with is a powerful symbolic satire. On the surface
it reads as defeat (no flesh, no profit). But read carefully, the skeleton stages a moral victory: the marrow of the
kely reaction greed, petty calculation about meat is
He saw the white naked line of his backbone and the dark mass of
the head with the projecting bill and all the nakedness between.” It points to the vacuum and emptiness of
the oppressed after being consumed full by the capitalist moron. Whose property is to be consumed by who and
what a discrimination is by the natural supremacy! In fact, the sharks may be appearing as brutally strong with
ugliness marked all over their body. Whereas the marlin appears beautiful with its possessor having moral
education in nature and faces the injustice that he is killing the fish for servitude. The old man becomes
watchful till the last devouring of the marlin by the sharks. Perhaps he points to the downfall of the
aestheticism in the marlin. Consumers to consume with the capitalist having the major and cream of the
production! The naked backbone of the marlin represents the total exhaustion and consumption of valueboth
materially and morally. Santiago, as the observer and struggler, witnesses the culmination of his labor stripped
becomes a metaphor for capitalist exploitation, consuming the product of skill, effort, and experience, leaving
white naked line and dark mass juxtaposes
beauty and brutality, highlighting the ethical and aesthetic dimensions of work and nature. The marlin retains
its inherent nobility and visual grandeur, even as its physical form is destroyed
moral and spiritual victory amid material defeat. Santiago returns to shore with bones and a ruined prize;
onlookers marvel at the size but seldom grasp the moral labor involved. Literary and ironic readings emphasize
- and Marxist critics have used the final
image to critique commodification and to argue that value resides outside market calculations. The skeleton
becomes a corrective emblem: loss in the market sense is not the same as moral or intellectual loss. By
e mind
and moral courage are inalienable assets.
Comparative and Global Implications (why this matters beyond Hemingway)
novella functions as a cross-cultural critique: modern societies (not only mid-
century America/Cuba) commodify human worth and prematurely erase the social potential of the aged.
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rethinking age beyond
policy-relevant moral rhetoric: societies would do well to value cognitive agency, mentorship, and ethical labor
not merely market output when designing social recognition, retirement norms, or intergenerational
programs.
Synthesis: Why this reading changes the critical conversation
1. Shifts the axis from symbol → social critique. Instead of treating Santiago solely as altarized hero or
allegory, this reading insists on his social function
incapacity.
2. Bridges disciplinary gaps. By bringing Marxist, gerontological, ecocritical, existential, and
psychoanalytic studies into conversa
marginalization.
3. Produces testable inferences. If critics accept this reading, subsequent empirical studies (literary
reception, classroom studies, cross-cultural gerontology) can test whether texts like The Old Man and
the Sea
FINDINGS
Reassessing the Myth of Old Age
weakness and dependency. Rather than embodying decline, Santiago symbolizes resilience, spiritual vitality,
and intellectual independence. This challenges the long-standing ageist prejudice in capitalist societies
proving that mind supersedes age in shaping human dignity.
dismissive perception of the elderly. Early in the novel, neighbors mock him as
“A man can be destroyed
but not defeated”. This aphorism elevates him beyond the stereotype of dependency.
Santiago embodies a counter-
derives from cognitive persistence rather than physical vigor. This reading demonstrates that Hemingway
anticipates global conversations about the value of mental agency in aging populations.
Katz argues that ageism and neoliberal discourse frame old age as “a problem of productivity”, where the
elderly are valued only insofar as they remain economically active or self-sufficient. He warns that this
reduces aging to a measure of usefulness, marginalizing those who can no longer perform productive labor.
Santiago as a Critique of Capitalist Superstructures
satire of capitalist greed
social critique: worth is not measured
by economic output, but by endurance, integrity, and moral depth.
futility of capitalist greedflesh would only have caused
envy and chaos as it is insightfully phrased in the abstract, “a satire to the disrespectful and capitalistically
blind society.” In this light, Santiago is not merely heroic but revolutionary: his endurance becomes a moral
rejection of capitalist valuation.
as narrow and destructive. The village sees failure in absence of profit; Santiago reveals that moral and
cognitive labor are invisible yet invaluable.
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Human-Nature Reciprocity Beyond Anthropocentrism
Contrary to readings that see Santiago as a conqueror of nature (Young, 2002), this research uncovers a deeper
reciprocal bond between man and the sea, where struggle becomes a form of communion rather than
domination. Santiago is not dominating the marlin; he is in communion with it. His triumph and loss together
reflect the ecological truth that man is both dependent on and humbled by nature. This expands eco-critical
interpretations into the moral domain: nature both blesses and disciplines human ambition. The research
reciprocitynature both blesses
and disciplines him. The sea disappoints him by taking away the flesh but saves him from capitalist chaos. This
is not anthropocentric victory; it is ecological harmony, where man is humbled yet dignified. Santiago models
a reciprocal ethic, demonstrating that human dignity is intertwined with nature. The sea punishes yet protects
him, reinforcing that moral and cognitive strength, not brute force, defines human excellence.
Reframing Santiago in Existential and Spiritual Dimensions
counterpoint: a metaphysical dignity that transcends existential despair. His endurance embodies spiritual
resistancework becomes worship, persistence becomes prayer. Thus, Santiago is neither absurd hero nor
with divine
blessing rather than nihilism.
Existentialists often cite Santiago as an absurd hero, echoing Camus: his struggle is endless, his triumph void.
Indeed, “He was comfortable but suffering, although he did not admit the suffering at all” (p. 65). Critics such
as Bloom views The Old Man and the Sea parable of absurd persistence
endurance becomes an assertion of meaning in a universe resistant to it. Yet the reading goes further:
sanctified. His repeated prayers“Hail Marys and Our Fathers” (p.
83)
his labour is prayer, his persistence worship. Hemingway thus fuses existential struggle with Christian
metaphysics, creating a hero both absurd and blessed.
Intergenerational Recognition: Manolin and the Ethics of Mentorship
intergenerational recognition.
to assert value beyond market and physical measures, offering a model for ethical social organization. It points
to the human relation, bringing empathy and closeness upon generation legacy with the mixture of the old and
the young based on love and respect.
“They beat me, Manolin. They truly beat me.
He did not beat you. Not the fish.
He noticed how pleasant it was to have someone to talk to instead of speaking only to himself and to the
sea.
I missed you.
Now we fish together again.
No, I am not lucky. I am not lucky anymore.
The hell with the luck. I will bring the luck with me.
What will your family say?
I do not care. I caught two yesterday. But we will fish together now for I still have much to learn.”
The old man remembers none but the boy in the ocean in his loneliness for fishing and the boy gives him
mental strength as soon as he returns home empty handed and declares himself unlucky. The boy knows what
the old man means to him in case of learning profession and skills. This is the ecology of sociology upon the
socio economic and socio political phases. At the end, humanity wins over capitalism - a cry - a feeling - a
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respect -and a healing and caring hand. The boy might be another marlin in the guise of a boy to return to the
old man, who has nothing left to live with, with a responsible social bond to take care of.
socially reinforced; mentorship and recognition allow elders to assert value beyond market and physical
measures, offering a model for ethical social organization. Critics like Carlos Baker (1969) interpret this
the passing of knowledge, skill, and
courage from one generation to another. Manolin functions as a symbolic conduit for continuity:
signifies both practical apprenticeship and emotional restoration. This relational ecology
aterial
success but in the cultivation of moral, social, and professional bonds. The conversation also highlights the
illusion and pragmatism of luck: Santiago rejects passive reliance on fortune (“The hell with the luck. I will
bring the luck with me”), embracing active agency and responsibilitya thematic echo throughout the novella,
emphasizing human resilience and self-determination. This final scene ties together the ethical, social, and
existential strands of the narrative, demonstrating that while nature and society may exact harsh penalties,
solidarity and mentorship preserve human dignity and hope.
The Skeleton as Moral and Satirical Symbol
literary critique of materialism. While villagers see only failure, the moral
victory is evident.
Critical perspectives:
Young (1966), Gurko (1968): the skeleton symbolizes ultimate loss and triumph.
Baker (1972): Hemingway critiques societal myopia focused on measurable output.
moral triumph and societal critique
reinforces that cognitive and ethical labor surpasses social and capitalist valuation, consistent with the
theme of the article.
Global and Cross-Theoretical Implications
across disciplines:
Gerontology & Cultural Theory: age is reinterpreted through cognitive agency.
Marxist & Political Theory: critique of capitalist valuation.
Existential & Spiritual Philosophy: conscious struggle creates meaning.
Ecocriticism & Ethics: reciprocal humannature relationships.
This study synthesizes these perspectives into a coherent argument: Santiago is not merely a hero; he is a
universal exemplar of dignity, resistance, and the triumph of mind over social prejudice.
By integrating recent peer-reviewed studies, cross-disciplinary perspectives, and non-English scholarship,
literary theory and real-world contexts:
Cognitive resilience and moral agency highlight age as an ethical, social, and psychological
construct.
Ecocritical and Marxist readings underscore the conflict between moral labor and capitalist
evaluation.
Existential and spiritual dimensions show that meaning arises from conscious, ethically guided
action.
Cultural and translatio Cuban social norms and
Latin American literary tradition.
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Santiago is a universal exemplar of dignity, ethical action, and social critique
thesis:
“Mind supersedes age, conquering incapabilities of social potential — a blow to social prejudices.”
Contribution of this Research
1. Thematic Innovation It shifts focus from mere heroism to social prejudices, ageism, and capitalist
critique.
2. Critical Expansion It integrates structuralism, Marxism, existentialism, and ecocriticism in one
coherent lens.
3. Scholarly Relevance It provides a fresh, globally resonant interpretation: Santiago as a universal
gments.
4. New Reading Santiago is neither a failed fisherman nor only a stoic hero; he is a symbol of human
dignity beyond flesh, profit, or productivity.
CONCLUSION
This research demonstrates that The Old Man and the Sea is far more than a tale of heroism or a study of
endurance; it is a sophisticated critique of social prejudice, capitalist valuation, and ageist assumptions.
Santiago, the aged fisherman, exemplifies the triumph of mind over physical limitation, revealing that
cognitive, ethical, and moral capacities are the true measures of human worth.
This study confirms that The Old Man and the Sea is far more than a narrative of endurance or adventure; it is
a complex social, moral, and ecological critique, exemplified through Santiago, whose character embodies
cognitive, ethical, and spiritual agencytranscend physical limitations, demonstrating
that mental fortitude, moral decision-making, and ethical engagement define true human dignity.
Critical Insights
1. Mind vs. Age:
that old age implies incapacity. The repeated observation “A man can be destroyed but not
defeated” affirms that human dignity resides in conscious engagement, not physical strength.
This observation teaches readers that age should never preclude societal respect or recognition.
2. Social and Economic Critique: The novella critiques capitalist logic by showing that material
measurement of success profit, flesh, market value cannot capture moral and cognitive
achievement mismatch between human
value and societal valuation, offering a pointed lesson: of worth are often blind,
narrow, and unjust.
3. Ethics of Nature and Reciprocity:
confrontational. It demonstrates ethical reciprocity, highlighting that humans thrive not by domination,
but by respect, restraint, and mindful engagement with nature. Readers are taught that dignity is
relational and that moral comprehension extends beyond human society to ecological interdependence.
4. Intergenerational Validation: reinforces the social mechanism
needed to resist ageist prejudice. This dynamic teaches an actionable lesson: mentorship, dialogue, and
recognition of cognitive competence across generations are vital to preserving human dignity.
5. Existential and Spiritual Dimensions:
existentially and spiritually productive. His conscious labor, reflection, and endurance demonstrate that
not merely by success or
failure.
ongoing relevance, providing a contemporary lens through which to
interpret age, resilience, and morality.
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Pedagogical and Scholarly Implications
This research contributes to multiple scholarly domains:
Literary Studies: It integrates formalist, structuralist, Marxist, existentialist, and ecocritical
perspectives into a coherent reading that prioritizes social critique and ethical cognition.
Gerontology and Cultural Studies: The study foregrounds age as a variable of cognitive and moral
value rather than physical decline, offering a framework for cross-cultural interpretation.
Policy and Ethics: By showing how society undervalues elders, the novella prompts reflection on
ethical social policies, intergenerational programs, and cultural recognition of aging.
Teaching the Reader
The central lesson of this research is that literature teaches ethics, sociology, and philosophy simultaneously.
t; it is a blueprint for social, ecological, and moral literacy. The
reader is urged to recognize that:
Age does not preclude agency.
Moral and cognitive effort cannot be commodified.
Ethical engagement with nature is a form of human dignity.
Recognition across generations strengthens both individuals and society.
Concluding Argument
“Mind supersedes age, conquering incapabilities of social potential — a blow to social prejudices.”
hrough Santiago, teaches that human dignity is actively constructed, ethically
defended, and socially validated
they interrogate societal norms, critique capitalist and ageist logics, and model universal moral principles.
Finally, my research reaches to a comprehension as such.
The old man and the sea become one self which is humanism, socialism, and freedom of mind to conquer all
the barriers of economic and social status. Hemingway u
show the equal characteristics of man and nature. The sea is the storehouse of treasures of economy and lives
with the old man equalized for bravery, longevity and intergenerational relations.
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