天蚕土豆吧海明威老人与海英文版

2020年12月14日发(作者：红层)
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Ernest Miller Hemingway (July 21, 1899 – July 2, 1961) was an American author and
journalist. His distinctive writing style, characterized by economy and understatement,
influenced 20th-century fiction, as did his life of adventure and public image. He produced
most of his work between the mid-1920s and the mid-1950s. He won the Nobel Prize in
Literature in 1954. Hemingway's fiction was successful because the characters he
presented exhibited authenticity that resonated with his audience. Many of his works are
classics of American literature. He published seven novels, six short story collections, and
two non- fiction works during his lifetime; a further three novels, four collections of short
stories, and three non-fiction works were published posthumously.

Hemingway was born and raised in Oak Park, Illinois. After leaving high school he worked
for a few months as a reporter for The Kansas City Star, before leaving for the Italian front
to become an ambulance driver during World War I, which became the basis for his novel
A Farewell to Arms. He was seriously wounded and returned home within the year. In
1922 Hemingway married Hadley Richardson, the first of his four wives, and the couple
moved to Paris, where he worked as a foreign correspondent. During his time there he
met and was influenced by modernist writers and artists of the 1920s expatriate
community known as the GenerationHis first novel, The Sun Also Rises, was
published in 1926.

After divorcing Hadley Richardson in 1927 Hemingway married Pauline Pfeiffer; they
divorced following Hemingway's return from covering the Spanish Civil War, after which
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he wrote For Whom the Bell Tolls. Martha Gellhorn became his third wife in 1940, but he
left her for Mary Welsh after World War II, during which he was present at D-Day and the
liberation of Paris.

Shortly after the publication of The Old Man and the Sea in 1952 Hemingway went on
safari to Africa, where he was almost killed in a plane crash that left him in pain or
ill-health for much of the rest of his life. Hemingway had permanent residences in Key
West, Florida, and Cuba during the 1930s and '40s, but in 1959 he moved from Cuba to
Ketchum, Idaho, where he committed suicide in the summer of 1961.
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The Old Man and the Sea
+++++++ The Old Man and the Sea is a story by Ernest Hemingway, written in Cuba in
1951 and published in 1952. It was the last major work of fiction to be produced by
Hemingway and published in his lifetime. One of his most famous works, it centers upon
Santiago, an aging Cuban fisherman who struggles with a giant marlin far out in the Gulf
Stream.[1

Plot summary
The Old Man and the Sea tells an epic battle between an old, experienced fisherman and
a giant marlin. It opens by explaining that the fisherman, who is named Santiago, has
gone 84 days without catching any fish at all. He is so unlucky that his young apprentice,
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Manolin, has been forbidden by his parents to sail with the old man and been ordered to
fish with more successful fishermen. Still dedicated to the old man, however, the boy visits
Santiago's shack each night, hauling back his fishing gear, getting him food and
discussing American baseball and his favorite player Joe DiMaggio. Santiago tells
Manolin that on the next day, he will venture far out into the Gulf to fish, confident that his
unlucky streak is near its end.

Thus on the eighty-fifth day, Santiago sets out alone, taking his skiff far onto the Gulf. He
sets his lines and, by noon of the first day, a big fish that he is sure is a marlin takes his
bait. Unable to pull in the great marlin, Santiago instead finds the fish pulling his skiff. Two
days and two nights pass in this manner, during which the old man bears the tension of
the line with his body. Though he is wounded by the struggle and in pain, Santiago
expresses a compassionate appreciation for his adversary, often referring to him as a
brother. He also determines that because of the fish's great dignity, no one will be worthy
of eating the marlin.

On the third day of the ordeal, the fish begins to circle the skiff, indicating his tiredness to
the old man. Santiago, now completely worn out and almost in delirium, uses all the
strength he has left in him to pull the fish onto its side and stab the marlin with a harpoon,
ending the long battle between the old man and the tenacious fish. Santiago straps the
marlin to the side of his skiff and heads home, thinking about the high price the fish will
bring him at the market and how many people he will feed.
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While Santiago continues his journey back to the shore, sharks are attracted to the trail of
blood left by the marlin in the water. The first, a great mako shark, Santiago kills with his
harpoon, losing that weapon in the process. He makes a new harpoon by strapping his
knife to the end of an oar to help ward off the next line of sharks; in total, five sharks are
slain and many others are driven away. But the sharks keep coming, and by nightfall the
sharks have almost devoured the marlin's entire carcass, leaving a skeleton consisting
mostly of its backbone, its tail and its head. Finally reaching the shore before dawn on the
next day, Santiago struggles on the way to his shack, carrying the heavy mast on his
shoulder. Once home, he slumps onto his bed and falls into a deep sleep.

A group of fishermen gather the next day around the boat where the fish's skeleton is still
attached. One of the fishermen measures it to be 18 feet (5.5 m) from nose to tail. Tourists
at the nearby café mistakenly take it for a shark. Manolin, worried during the old man's
endeavor, cries upon finding him safe asleep. The boy brings him newspapers and coffee.
When the old man wakes, they promise to fish together once again. Upon his return to
sleep, Santiago dreams of his youth—of lions on an African beach.

[edit] Background and publication
Hemingway in n in 1951, and published in 1952, The Old Man and the Sea is
the final work published during Hemingway's lifetime. The book, dedicated to
Hemingway's literary editor Maxwell Perkins,[2] was featured in Life Magazine on
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September 1, 1952, and five million copies of the magazine were sold in two days.[3] The
Old Man and the Sea also became a Book-of-the Month selection, and made Hemingway
a celebrity.[4] Published in book form on 1 September 1952, the first edition print run was
50,000 copies.[5] The novella received the Pulitzer Prize in May, 1952,[6] and was
specifically cited when he was awarded the Nobel Prize in Literature in 1954.[7][8] The
success of The Old Man and the Sea made Hemingway an international celebrity.[4] The
Old Man and the Sea is taught at schools around the world and continues to earn foreign
royalties.[9]

“ No good book has ever been written that has in it symbols arrived at beforehand and
stuck in. ... I tried to make a real old man, a real boy, a real sea and a real fish and real
sharks. But if I made them good and true enough they would mean many things. ”
—Ernest Hemingway in 1954[10]


Hemingway wanted to use the story of the old man, Santiago, to show the honor in
struggle and to draw biblical parallels to life in his modern world. Possibly based on the
character of Gregorio Fuentes, Hemingway had initially planned to use Santiago's story,
which became The Old Man and the Sea, as part of an intimacy between mother and son
and also the fact of relationships that cover most of the book relate to the Bible, which he
referred to as
and other such things.) Some aspects of it did appear in the posthumously published
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Islands in the Stream. Positive feedback he received for On the Blue Water (Esquire, April
1936) led him to rewrite it as an independent work. The book is generally classified as a
novella because it has no chapters or parts and is slightly longer than a short story.

[edit] Literary significance and criticismThe Old Man and the Sea served to reinvigorate
Hemingway's literary reputation and prompted a reexamination of his entire body of work.
The novella was initially received with much popularity; it restored many readers'
confidence in Hemingway's capability as an author. Its publisher, Scribner's, on an early
dust jacket, called the novella a
such works as William Faulkner's

Following such acclaim, however, a school of critics emerged that interpreted the novella
as a disappointing minor work. For example, critic Philip Young provided an admiring
review in 1952, just following The Old Man and the Sea's publication, in which he stated
that it was the book
well as he could ever hope to say it.
novel
ranged from adoration of the book's mythical, pseudo-religious intonations to flippant
dismissal as pure fakery. The latter is founded in the notion that Hemingway, once a
devoted student of realism, failed in his depiction of Santiago as a supernatural,
clairvoyant impossibility.

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Joseph Waldmeir's essay entitled
Man—and one which
has defined analytical considerations since. Perhaps the most memorable claim therein is
Waldmeir's answer to the question—What is the book's message?

—as
a sort of allegorical commentary on all his previous work, by means of which it may be
established that the religious overtones of The Old Man and the Sea are not peculiar to
that book among Hemingway's works, and that Hemingway has finally taken the decisive
step in elevating what might be called his philosophy of Manhood to the level of a
religion.

The 2006 cover for the Charles Scribner's Sons edition of the novellaWaldmeir was one of
the most prominent critics to wholly consider the function of the novella's Christian
imagery, made most evident through Santiago's blatant reference to the crucifixion
following his sighting of the sharks that reads:

‘Ay,′ he said aloud. There is no translation for this word and perhaps it is just a noise
such as a man might make, involuntarily, feeling the nail go through his hands and into the
wood.
Supplemented with other instances of similar symbolism, Waldmeir's criticism stands as
one of the most durable, positive treatments of the novella.
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On the other hand, one of the most outspoken critics of The Old Man and the Sea is
Robert P. Weeks. His 1962 piece
that the novella is a weak and unexpected divergence from the typical, realistic
Hemingway (referring to the rest of Hemingway's body of work as
juxtaposing this novella against Hemingway's previous works, Weeks contends:

difference, however, in the effectiveness with which Hemingway employs this
characteristic device in his best work and in The Old Man and the Sea is illuminating. The
work of fiction in which Hemingway devoted the most attention to natural objects, The Old
Man and the Sea, is pieced out with an extraordinary quantity of fakery, extraordinary
because one would expect to find no inexactness, no romanticizing of natural objects in a
writer who loathed W.H. Hudson, could not read Thoreau, deplored Melville's rhetoric in
Moby Dick, and who was himself criticized by other writers, notably Faulkner, for his
devotion to the facts and his unwillingness to
Some critics suggest
criticism of his most recent work, Across the River and into the Trees.[14]The negative
reviews for Across the River and into the Trees distressed him, but were likely a catalyst
to his writing of The Old Man and the Sea.



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三、 蕴含深层内涵
1、 通过作品中展现的老人的精神与命运，赞美和讴歌了不服输的硬 汉子精神。海明威巧
妙的把这一主题镶嵌在故事情节中，使他想表达的主题升华到了更高的象征地位，获 得了永
恒的生命，读者的审美感同时也得到了升华。

2、 解读《老人与海》， 体会海明威人与自然的观念，我们得到的启示是：自然法则是人类
力量不可抗拒的，人类可以利用自然、 改造自然，但人类不能征服自然。
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