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The Old Man and the Sea served to reinvigorate Hemingway's literary reputation and prompted a reexamination of his entire body of work. The novel 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 novel a "new classic," and many critics favorably compared it with such works as William Faulkner's "The Bear" and Herman Melville's Moby-Dick. Following such acclaim, however, a school of critics emerged that interpreted the novel 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 "in which Hemingway said the finest single thing he ever had to say as well as he could ever hope to say it." However, in 1966, Young claimed that the "failed novel" too often "went way out." These self-contradictory views show that critical reaction 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. Santiago as a Spaniard A 2009 study, "'Eyes the Same Color of the Sea': Santiago's Expatriation from Spain and Ethnic Otherness in Hemingway's The Old Man and the Sea,"[12] focuses on the old man's national identity. Using the baseball references, the article points out that Santiago was at least 22 years old when he moved from Spain to Cuba. "Born in Spain’s Canary Islands, Santiago moved to Cuba as a young man; this circumstance has a significant impact on his social condition."[13] Santiago was old enough to have a Spanish identity when he immigrated, and the article examined how being a foreigner (and from a country that colonized Cuba) would influence his life on the island. Because Santiago was too poor to move back to Spain—many Spaniards moved to Cuba and then back to Spain at that time—he adopted Cuban culture like religious ceremonies, Cuban Spanish, and fishing in skiffs in order to acculturate in the new country. The dangerous hunt for the marlin was an effort to earn a place in the new community, something which had eluded him. Religion as Theme Joseph Waldmeir's essay "Confiteor Hominem: Ernest Hemingway's Religion of Man" is a favorable critical reading of the novel—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? "The answer assumes a third level on which The Old Man and the Sea must be read—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."[14] Waldmeir was one of the most prominent critics to wholly consider the function of the novel'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."[15] An Unrealistic Novel? One of the most outspoken critics of The Old Man and the Sea is Robert P. Weeks. His 1962 piece "Fakery in The Old Man and the Sea" presents his claim that the novel is a weak and unexpected divergence from the typical, realistic Hemingway (referring to the rest of Hemingway's body of work as "earlier glories").[16] In juxtaposing this novel against Hemingway's previous works, Weeks contends: "The 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 'invent.'"[16] Some critics suggest "The Old Man and the Sea" was Hemingway's reaction towards the criticism of his most recent work, Across the River and into the Trees.[17] The negative reviews for Across the River and into the Trees distressed him, and may have been a catalyst to his writing of The Old Man and the Sea.

“我和你奉陪到死”——这个硬汉面对挑战如是说。暗喻他自身的英雄主义所在，还有他趋向坚韧的力量。故事的头尾，都出现了名叫明诺林（manolin）的男孩——他希望继承老人的事业。何止捕鱼的事业要被传承，这副铮铮铁骨又何尝不为我们所崇敬、所供奉、所学习呢。在老人的故事里为什么有这个孩子的出现？年轻，象征着力量和希望，即便是老人，他的内心同样是年轻的。文中多次描写到狮子，阿非利加海滩上，狮子在笑闹嬉戏，它们浮现在老人的梦中，一直在老人的心中，同样揭示了老人永远不会老的意志。 海明威的这部小说荣获了诺贝尔文学奖和普利策奖。这个骨头里留有几百块弹片的硬汉作家，恰当地写出了生命的强度，告诉我们怎么去面对生、老、病、死，告诉我们心该有多宽，如海一般。老人是孤独的，他是在理想的道路上前行的旅人，但他又是不孤独的，因为他的意志是那样的坚强。 "you and i will fight to the death" - a tough guy, says the challenge. metaphor in which his own heroism, and his tendency tough force. beginning and end of the story, have emerged 名叫明诺林 (manolin) boy - he want to inherit the cause of the elderly. to be far greater than the cause of fishing heritage, then why not pair steadfast in upholding respect for us, the worship, the learning it. in the old story of why the emergence of this child? young, a symbol of strength and hope, even the elderly, his heart is also young. this paper describes several times to the lion, a non-american on the beach, the lions play in the laughter, they emerge in the old dream, has been in the hearts of the elderly, also reveal the will of the elderly will never grow old. hemingway's novel was awarded the nobel prize for literature and the pulitzer prize. the bones of hundreds of pieces of shrapnel left inside a tough guy writer, wrote a life of proper intensity, tell us how to deal with birth, old age, sickness, death, tells us how wide the heart, such as the sea. is a lonely old man, he is the front line of the road in an ideal traveler, but he is not alone, because his will is so strong.