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37 pages 1 hour read

Ernest Hemingway

The Old Man and the Sea

Fiction | Novella | Adult | Published in 1952

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Pages 23-60Chapter Summaries & Analyses

Pages 23-60 Summary

Suddenly, one of Santiago’s lines dips on its pole. Quietly, he ships his oars and removes the line from the pole and into his hands so the fish won’t notice the tension. The line jerks repeatedly as a marlin, far below, nibbles on sardines. The old man hopes and prays that the fish—which he assumes must be big if it is so far out at this time of year—will swallow the tuna head that hides the hook.

A hard pull yanks the line; Santiago lets it unspool, hundreds of feet of it, as the big fish takes off at high speed; he connects extra spools of line to the one unreeling between his fingers. Suddenly he grips the line tightly and begins to pull it in until he can’t anymore. He holds on, and the boat begins to move northwest, pulled by the marlin.

Four hours later, Santiago still grips the line, bracing it against his back, as the fish drags the boat onward. Santiago manages to take a drink one-handedly from his water bottle. More hours pass; the fish keeps swimming, the sun sets, and night falls. The old man wraps a sack around his shoulders for warmth. The current pulls them eastward; the glow of Havana, near his home port, begins to fade. He wishes he had a radio to hear ball games, and he wishes the boy were with him. He decides to eat the tuna in the morning before it spoils.

The old man begins to respect the marlin for its calm determination. He remembers catching a female whose mate stayed next to the boat until Santiago and the boy had killed and butchered her. “That was the saddest thing I ever saw with them” (29), he recalls.

Before dawn, another fish takes the bait on one of the other lines; quickly, the old man cuts that line and the other two baited lines and splices their unused coils onto the marlin’s line. The sun rises; the fish isn’t tired, but it is swimming less deeply—a good sign that it might soon jump. If it jumps, its bladders will fill, and it will no longer be able to dive too far. He does not dare pull harder on the line, lest it break.

A small bird alights on the taut fishing line. Santiago talks to the bird, inviting it to rest a moment during its long, harrowing journey through life. The line jerks, nearly dragging him overboard; when he looks up, the bird has flown. The jerked line cut his hand. He washes it in the sea, but the cut will hamper him. His other hand is already cramping as it holds onto the line.

Using a gaffer, Santiago pulls the tuna from the stern, cuts long strips of meat from it, and throws the carcass overboard. He eats the raw strips, wishing he had some lemon or salt to go with them. He shifts his hold and lets go his left hand so it can un-cramp. The day is bright; he is out of sight of land, but the weather is good. Ducks fly overhead; with the animals, he is never alone.

The line angles up suddenly. The fish jumps from the water. It is very large—longer than the boat: “He came out unendingly and water poured from his sides” (38). Its pointed snout alone is as long as a baseball bat. Santiago has caught fish over 1,000 pounds, but never alone, and this is the largest he’s ever seen or heard of.

Though not religious, he prays, reciting ten Our Fathers and ten Hail Marys. To the latter he adds: Blessed Virgin, pray for the death of this fish. Wonderful though he is” (40). Under the bright sun, his hand slowly unclenches, but, holding onto the line these many hours, his body suffers. Still, he is determined to prove himself against this regal animal, as his hero DiMaggio daily proves himself despite the pain of the bone spur in his foot.

He remembers an arm wrestling contest long ago in Casablanca between him and a powerful dockworker. The match lasted all day and night, causing their fingernails to bleed, but Santiago finally won. He always won with his right hand, but when he experimented with his left, it tended to betray him.

An airplane flies north overhead toward Miami. He wonders what it would be like to look down on the ocean’s animals from up there. Perhaps it would be like it was when he climbed the masts of the turtle boats when he was young.

Santiago sets out a small line to catch a meal; after some time, a dolphinfish takes the bait and leaps several times into the air. Santiago manages, one-handed, to pull it in, club it, re-bait the line, and toss the line back in the water. He now has food for another day, but the marlin hasn’t eaten; it is swimming a bit slower. He remembers seeing how the hook rested in the fish’s closed mouth; that pain is nothing against the “punishment of hunger, and that he is against something that he does not comprehend” (47).

That night, still holding the marlin’s line, Santiago fillets and guts the dolphinfish—inside it are two flying fish, which he sets aside—and throws the carcass overboard; it glows with phosphorescence in the water. He eats the fillets. He hasn’t slept in nearly two days, so he braces himself carefully against the bow, leans back, and sleeps. He dreams of dolphins leaping and mating, of a storm during which his right arm goes to sleep, and finally of lions on the beach.

The line wakes him as it burns past his hand and back. The marlin leaps several times; the line, dry and without the boy to keep it wet, cuts his hands as he lets it out slowly. Carefully he washes each hand in the sea. He eats one of the flying fish, bones and all.

By dawn of the third day, the marlin has tired and begins to swim more slowly, veering eastward with the current. The line slackens and he knows the fish has begun to circle. Carefully, inch by inch so it doesn’t break, Santiago pulls the line in; as the fish circles deep underwater, the line retightens, and he must let it out again. For a few moments, the fish strikes at the line with its spearlike snout; then it resumes circling. The old man feels bouts of faintness and sees spots before his eyes; he splashes water on his head and neck.

The circles grow smaller; Santiago prepares his harpoon. Near noon, the great fish finally passes directly under the boat; as it slides beneath him, enormous, Santiago pulls in the slack line; this causes the weakened fish to tip sideways, but it rights itself and continues. The marlin makes several more circles; finally the old man, exhausted, manages to pull the fish alongside his skiff. With his last strength, he lifts high his harpoon and plunges it deep into the giant fish and through its heart. The marlin jerks and jumps from the water, then splashes down, dead.

Pages 23-60 Analysis

The middle section of the story describes the great battle between the old, savvy fisherman and the gigantic fish he has snared. It is a contest of endurance, and Santiago learns to love and admire his determined adversary, even as he must kill the marlin to keep himself fed, housed, and alive.

The encounter contains elements of skill, patience, and respect common to bullfights, a sport that figures prominently in many of Hemingway’s works, especially his novel The Sun Also Rises. As with bullfighting, the battle between Santiago and the marlin is, for both of them, a matter of life and death. Like bullfighter and bull, each faces that challenge squarely without flinching—a hallmark of Hemingway’s beliefs about how to live authentically. (Study guides and plot summaries for many of Hemingway’s works, including a complete guide for The Sun Also Rises, are available at SuperSummary.com.)

Marlin, like their cousins the swordfish and sailfish, sport tall dorsal fins, along with snouts shaped like long spears that they use to kill smaller sea creatures for food. Marlin can grow to 15 feet and weigh nearly a ton, and they can reach top speeds of more than 60 miles an hour. Their flesh is prized for eating; a marlin is a sought-after catch among deep-sea sport fishing enthusiasts.

The battle lasts for two full days, during which Santiago’s big fish drags the boat far out into the ocean. Soon, the old man can no longer see the shoreline. He plans on finding his way back by locating the nighttime glow of lights from the city of Havana. Thus, he is at sea north of Cuba and south of Florida. It is September, which is hurricane season; Santiago believes the weather will be good, as the skies are cloudless and will otherwise give several days’ warning, should a hurricane approach.

Taut as it is with the marlin’s forward motion, the line cannot be tied off to the boat lest the fish jerk and break it. Holding the line across his back makes Santiago’s body into a shock absorber. He settles in for a long bout. At one point, he reminisces about his youthful side career as an arm wrestler who goes undefeated; his ability to endure for up to 24 hours against powerful opponents has prepared him for the climactic battle with the marlin.

This section of the story also introduces some of its most powerful religious symbolism. Specifically, the cuts on Santiago’s hands recall Christ’s wounds from being nailed to the cross. These elements establish the story as a broader Christian allegory, in which the old man is the Christ-like figure. Santiago endures extraordinary pain and suffering, all while facing down death and ultimately conquering it, much like Jesus did in the New Testament narrative of crucifixion and resurrection.

During the lengthy and painful standoff with the giant fish, Santiago finds inspiration in baseball hero Joe DiMaggio, “who does all things perfectly even with the pain of the bone spur in his heel” (41). DiMaggio was out for much of the 1949 season with foot problems, but, despite pain, he came back for a critical series against the Boston Red Sox, hitting six home runs and helping the Yankees win the pennant and, later, the World Series. Between this and Santiago’s thoughts about September in hurricane season, The Old Man and the Sea arguably takes place as summer turns to fall in 1949.

Santiago talks to the great fish as if they are friends. He anthropomorphizes the beast, addressing it as if it were another person with whom he is having a conversation. Santiago is too smart and experienced to suppose that a fish has the same type of mind as a person, yet he offers respect to the animal by addressing him in this manner.

Several times, the old man apologizes to the fish for trying to kill it. Old-fashioned hunters speak respectfully to their prey; it is a tradition that dates back to prehistory. They know that both animal and human face great challenges in life, that all creatures great and small will die, and that a hunter can easily become the hunted. It is an attitude largely lost in today’s age of high-tech weapons that make hunting too easy.

This is part of why Hemingway was so enamored of bullfighting: The torero puts his life on the line while contesting with the bull. After two days of battle, Santiago raises his harpoon in the manner of a bullfighter lifting his sword to deliver the fatal blow. In Hemingway’s universe, Santiago has won the battle and earned the kill. 

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