Psychosocial Aspects of the Old Man and the Sea

Psychosocially therapeutic aspects of The old Man and the Sea

This exceptional story should be used as a therapeutic aid for hopeless and depressed people who needed a powerful force for continuing struggles of life against fate. They should say as the boy Manolin, "I'll bring the luck by myself." In the story the old man tells us "It is silly not to hope...besides I believe it is a sin." Hemingway draws a distinction between two different types of success: outer-material and inner-spiritual. While the old man lacks the former, the importance of this lack is eclipsed by his possession of the later. He teaches all people the triumph of indefatigable spirit over exhaustible resources. Hemingway's hero as a perfectionist man tells us: To be a man is to behave with honor and dignity, not to succumb to suffering, to accept one's duties without complaint, and most importantly to have maximum self-control. At the end of the story he mentions, "A man is not made for defeat...a man can be destroyed but not defeated." The book finishes with this symbolic sentence: "The old man was dreaming about lions."

It is a psychological analysis of Hemingway famous story that we have used it as a psychotherapeutic aid for hopeless and depressed people and also psychological victims of war in a more comprehensive therapeutic plan.

The first sentence of the book announces itself as Hemingway's: "He was an old man who fished alone in a skiff in the Gulf stream and he had gone eighty-four days now without taking a fish" . The words are plain, and the structure, two tightly-worded independent clauses conjoined by a simple conjunction, is ordinary, traits which characterize Hemingway's literary style.

Santiago is the protagonist of the novella. He is an old fisherman in Cuba who, when we meet him at the beginning of the book, has not caught anything for eighty-four days. The novella follows Santiago's quest for the great catch that will save his career. Santiago endures a great struggle with a uncommonly large and noble marlin only to lose the fish to rapacious sharks on his way back to land. Despite this loss, Santiago ends the novel with his spirit undefeated. Some have said that Santiago represents Hemingway himself, searching for his next great book, an Everyman, heroic in the face of human tragedy, or the Oedipal male unconscious trying to slay his father, the marlin, in order to sexually possess his mother, the sea.

We are told that after forty days Manolin's parents decided that "the old man was now and definitely salao, which is the worst form of unlucky". This sentence proclaims one of the novel's themes, the heroic struggle against unchangeable fate. Indeed, the entire first paragraph emphasizes Santiago's apparent lack of success. For example, "It made the boy sad to see the old man come in each day with his skiff empty." And most powerfully, "The sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat".

This type of descriptive degradation of Santiago continues with details of his old, worn body. Even his scars, legacies of past successes, are "old as erosions in a fishless desert" . All this changes suddenly, though, when Hemingway says masterfully, "Everything about him was old except his eyes and they were the same color as the sea and were cheerful and undefeated". This draws attention to a dichotomy between two different types of success: outer, material success and inner, spiritual success.. Also, Santiago's eye color foreshadows Hemingway's increasingly explicit likening of Santiago to the sea, suggesting an analogy between Santiago's indomitable spirit and the sea's boundless strength.

"The old man had taught the boy to fish and the boy loved him". Manolin is Santiago's apprentice, but their relationship is not restricted to business alone. Manolin idolizes Santiago‹as we are meant to‹but the object of this idolization is not only the once great though presently failed fisherman; it is an idolization of ideals. This helps explain Manolin's unique, almost religious, devotion to the old man, underscored when Manolin begs Santiago's pardon for his not fishing with the old man anymore. Manolin says, "It was Papa made me leave. I am a boy and I must obey him," to which Santiago replies, "I know....It is quite normal. He hasn't much faith" .

Despite the clear hierarchy of this teacher/student relationship, Santiago does stress his equality with the boy. When Manolin asks to buy the old man a beer, Santiago replies, "Why not?...Between fisherman". And when Manolin asks to help Santiago with his fishing, Santiago replies, "You are already a man" . By demonstrating that Santiago has little more to teach the boy, this equality foreshadows the impending separation of the two friends, and also indicates that this will not be a story about a young boy learning from an old man, but a story of an old man learning the unique lessons of the autumn of life.

In fact unity us one of main themes of the story.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 sea is both kind and cruel, feminine and masculine, the Portuguese man of war is beautiful but deadly, the mako shark is noble but a cruel, etc. The novella's premise 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 himself and nature. As long as he focuses on this unity and sees himself as part of nature rather than as an external antagonist competing with it, he cannot be defeated by whatever misfortunes befall him.

This ecstatic, almost erotic, imagery stands in stark contrast to the careful art of fishing we see later in the novel. The fact the fishing requires both calm detachment and violent engagement (a kind of masculine flourish) further illustrates the unity of a world which both oppresses man and out of which the strength to resist that oppression comes.

Hemingway also peppers the novella with numerous references to sight. We are told, for instance, that Santiago has uncannily good eyesight for a man of his age and experience. When Manolin notices this, Santiago replies simply, "I am a strange old man" . Given