Not recognizing the skeleton, she asks the waiter what it is. The old man succeeds in killing the fish but breaks his knife blade in the process. When Santiago pulls into the harbor, everyone is sleeping, and Santiago struggles to carry his mast back to his shack, leaving the marlin's skeleton still tied to his boat in the harbor. Other fisherman measured the skeleton and found it was eighteen feet long. But she can be so cruel. He concentrates purely on steering homewards and ignores the sharks that came to gnaw on the marlin's bones. At sunrise, the marlin begins a large circle.
Santiago tells Manolin that tomorrow he will go out far in the Gulf to fish. After high school, he got a job writing for The Kansas City Star, but left The Star after only six months to join the Red Cross Ambulance Corps during World War I, where he was injured and awarded the Silver Medal of Military Valor. But you have a right to. Eat them good now and then there is the tuna. For years, Santiago has been fishing with a young boy named Manolin. The old man alternately questions and justifies seeking the death of such a noble opponent.
The old man returns to sleep and dreams his usual dream of lions at play on the beaches of Africa. He prepares his lines and drops them. A flight of ducks passes overhead, and he realizes that it is impossible for a man to be alone on the sea. He first published The Old Man and the Sea in its entirety in Life magazine in 1952. In the night, the sharks return. Manolin is extremely loyal to Santiago and makes sure that the old man is always safe, fed and healthy. This type of descriptive degradation of Santiago continues with details of his old, worn body.
Instead, the fish begins to pull the boat. Two hours later, two shovel-nosed sharks arrive at the skiff. Similarly, Santiago's personal history represents something of universal journey, as critics such as Angel Capellán and Bickford Sylvester have pointed out. We are told, for instance, that Santiago has uncannily good eyesight for a man of his age and experience, while Manolin's new employer is nearly blind. Santiago sees a man-of-war bird overhead and notices that the bird has spied something in the water.
Rather, Santiago takes pride in being exactly what he is, a man and a fisherman, and his struggle can be seen as an effort to be the best man and fisherman that he can be. He promises he will reject his parents' wishes and vows to fish with Santiago again. He has to hold onto the line with all his might so that the marlin does not break free from the boat. Santiago tells Manolin not to fear the Cleveland Indians, but to have faith in the Yankees and trust in DiMaggio. Santiago's exact relation to the sea, though, will be taken up in later chapters. He decides to eat a tuna he has caught in order to give him strength for his ordeal.
The boy finds him the next morning and cries for what has happened to the old man. The next morning, a crowd of amazed fishermen gathers around the skeletal carcass of the fish, which is still lashed to the boat. The rich waters of the Gulf Stream provide a revolving cast of bit players—birds and beasts—that the old man observes and greets. So conspicuously unlucky is he that the parents of his young, devoted apprentice and friend, Manolin, have forced the boy to leave the old man in order to fish in a more prosperous boat. GradeSaver, 17 November 2011 Web. 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.
Like the case of Santiago and Manolin, this equalization demonstrates the novella's thematic concern with the unity of nature - including humanity - a unity which ultimately helps succor the heroic victim of great tragedy. Indeed, other sections of that proposed volume were published after his death as part of Islands in the Stream. His strength, resolve, and pride are measured in terms of how far out into the gulf he sails. GradeSaver, 17 November 2011 Web. However, the novella does reflect a universal pattern of socioeconomic change familiar even today among developing nations.
Unable to tie the line fast to the boat for fear the fish would snap a taut line, the old man bears the strain of the line with his shoulders, back, and hands, ready to give slack should the marlin make a run. After losing his harpoon to the mako, Santiago fastens his knife to the end of the oar and now wields this against the sharks. The two eat the food the boy has brought. He expresses ambivalence over whether he wants the fish to jump, wanting to end the struggle as quickly as possible but worrying that the hook might slip out of the fish's mouth. He has gone eighty-four days without catching a fish, and he is the laughingstock of his small village. He sees the fish as his brother. A small bird land on the boat, and while Santiago is speaking to the bird, the marlin lurches forward and pulls the old man down, cutting his hand.
The two gather Santiago's things from his boat and go to the old man's house. He feels brave, like his hero Joe DiMaggio, who accomplished great feats despite obstacles, injuries or adversities. Encouraged by a bite at so deep a depth so far out in the Gulf, Santiago reasons that the fish much be very large. In the struggle, the old man loses the harpoon and lengths of valuable rope, which leaves him vulnerable to other shark attacks. But none of these scars were fresh. Santiago dreams of Africa, where he traveled as a shipmate in his youth. 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.