عندي مشكله أرجوووووووووووووووووووووووووكم مستعجل

[الفرحة اليتيمة]

انا عندي مشكلة برواية the old man and the sea

للمؤلف ايرنست هيمنغواي

لازم احلل القصة وانا ياجماعه ماقدرت احللها

لان جدتي الله يرحمها ويغفر لها توفت ونفسيتس تعبت

طلبت من الاستاذه انها تمهلني لبعد الاجازة رفضت

وجبت لها عذري والشهادة الوفاة

قالت العزى ثلاث ايام

قسم بالله ناس ماعندها احساس

الي طالبتة هي طبعا بالانجليزي

1- tone
2-diction الي هي (formal&informal language) من الي يستخدمها من الشخصيات مع ذكر مثال الموجود من القصة
3-theme
4-title
5-style
6-characters طالبه كل الشخصيات الموجوده حتى لو ماسود دور كبير وتحليل الشخصية

مع كتابة مثال من القصة تدل على هذا التحليل
7-plot stages
8-point of viow
9-setting
الباقي كل شي بمثال مع شرح


الله يخليكم احتاجه ظروري

الله يطول باعماركم افرجوها لي

ابيها خلال يومين

طبعا كل هذا بالانجليزي

[scorpionking4999]

أولا وقبل كل شئ اقدم لك التعازى
ثانيا : أأسف لظروفك الصعبة
سأحاول ان اجد لك ما أردت إذ أن لدى فكرة عن الموضوع و لكن قد لا استطيع ان أجد كل ما تريدين لأن ما أملته عليكى هذه السيدة هو تحليل كامل اشبه بكتب نقد الدراما و الادب البريطانى و الامريكى
بالاضافة اذ ان الوقت المتاح ضيق بعد الشئ
سأبذل كل جهدى لانجاز ما استطيع
وأرجو ان يساعدك الافراد هنا فى المنتدى
و على الله قصد السبيل

[scorpionking4999]

إليكى بعض ماطلبت
1-Major Themes



Unity: 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.

Heroism: Triumph over crushing adversity is the heart of heroism, and in order for Santiago the fisherman to be a heroic emblem for humankind, his tribulations must be monumental. Triumph, though, is never final, as Santiago's successful slaying of the marlin shows, else there would be no reason to include the final 30 pages of the book. Hemingway vision of heroism is Sisyphean, requiring continuous labor for quintessentially ephemeral ends. What the hero does is to face adversity with dignity and grace, hence Hemingway's Neo-Stoic emphasis on self-control and the other facets of his idea of manhood. What we achieve or fail at externally is not as significant to heroism as the comporting ourselves with inner nobility. As Santiago says, "[M]an is not made for defeat....A man can be destroyed but not defeated" (103).

Manhood: Hemingway's ideal of manhood is nearly inseparable from the ideal of heroism discussed above. To be a man is to behave with honor and dignity: to not succumb to suffering, to accept one's duty without complaint, and most importantly, to display a maximum of self-control. The representation of femininity, the sea, is characterized expressly by its caprice and lack of self-control; "if she did wild or wicked things it was because she could not help them" (30). The representation of masculinity, the marlin, is described as Œgreat,' Œbeautiful,' Œcalm,' and Œnoble,' and Santiago steels him against his pain by telling himself, "suffer like a man. Or a fish," referring to the marlin (92). In Hemingway's ethical universe, Santiago shows us not only how to live life heroically but in a way befitting a man.

Pride: While important, Hemingway's treatment of pride in the novella is ambivalent. A heroic man like Santiago should have pride in his actions, and as Santiago shows us, "humility was not disgraceful and it carried no loss of true pride" (14). At the same, though, it is apparently Santiago's pride which presses him to travel dangerously far out into the sea, "beyond all people in the world," to catch the marlin (50). While he loved the marlin and called him brother, Santiago admits to killing it for pride, his blood stirred by battle with such a noble and worthy antagonist. Some have interpreted the loss of the marlin as the price Santiago had to pay for his pride in traveling out so far in search of such a catch. Contrarily, one could argue that this pride was beneficial as it allowed Santiago an edifying challenge worthy of his heroism. In the end, Hemingway suggests that pride in a job well done, even if pride drew one unnecessarily into the situation, is a positive trait.

Success: Hemingway draws a distinction between two different types of success: outer, material success and inner, spiritual success. While Santiago clearly lacks the former, the import of this lack is eclipsed by his possession of the later. One way to describe Santiago's story is as a triumph of indefatigable spirit over exhaustible material resources. As noted above, the characteristics of such a spirit are those of heroism and manhood. That Santiago can end the novella undefeated after steadily losing his hard-earned, most valuable possession is a testament to the privileging of inner success over outer success.

Worthiness: Being heroic and manly are not merely qualities of character which one possesses or does not. One must constantly demonstrate one's heroism and manliness through actions conducted with dignity. Interestingly, worthiness cannot be conferred upon oneself. Santiago is obsessed with proving his worthiness to those around him. He had to prove himself to the boy: "the thousand times he had proved it mean nothing. Now he was proving it again. Each time was a new time and he never thought about the past when he was doing it" (66). And he had to prove himself to the marlin: "I'll kill him....in all his greatness and glory. Although it is unjust. But I will show him what a man can do and what a man endures" (66). A heroic and manly life is not, then, one of inner peace and self-sufficiency; it requires constant demonstration of one's worthiness through noble action.

[scorpionking4999]

ثانيا الشخصيات

Character List

Santiago: 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. Depending on your reading of the novel, 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.

Manolin: Manolin is Santiago's only friend and companion. Santiago taught Manolin to fish, and the boy used to go out to sea with the old man until his parents objected to Santiago's bad luck. Manolin still helps Santiago pull in his boat in the evenings and provides the old man with food and bait when he needs it. Manolin is the reader's surrogate in the novel, appreciating Santiago's heroic spirit and skill despite his outward lack of success.

The Marlin: Although he does not speak and we do not have access to his thoughts, the marlin is certainly an important character in the novella. The marlin is the fish Santiago spends the majority of the novel tracking, killing, and attempting to bring to shore. The marlin is larger and more spirited than any Santiago has ever seen. Santiago idealizes the marlin, ascribing to it traits of great nobility, a fish to which he must prove his own nobility if he is to be worthy enough to catch it. Again, depending on your reading, the marlin can represent the great book Hemingway is trying to write, the threatened father of Santiago's Oedipus, or merely the dramatic foil to Santiago's heroism.

The Sea: As its title suggests, the sea is central character in the novella. Most of the story takes place on the sea, and Santiago is constantly identified with it and its creatures; his sea-colored eyes reflect both the sea's tranquillity and power, and its inhabitants are his brothers. Santiago refers to the sea as a woman, and the sea seems to represent the feminine complement to Santiago's masculinity. The sea might also be seen as the unconscious from which creative ideas are drawn
و سأحاول كتابة او ايجاد الباقى لكى فى أقرب وقت و إذا وجدت تحليل بالامثلة للشخصيات سأضيفه بإذن الله

[scorpionking4999]

نبذة عن الكاتب
قد تكون مفيدة

Biography


Ernest Hemingway was born on July 21, 1899 in Oak Park, Illinois, and was educated there in the public schools. Rather than attend college, however, Hemingway decided to work for the Kansas City Star newspaper. In World War I Hemingway served as a Red Cross ambulance driver until he was severely wounded in action. After recuperating in Italy, he settled in Paris, where he began his serious writing career while spending time with other American expatriates, including Ezra Pound and Gertrude Stein. In 1926 Hemingway published his first major novel, The Sun Also Rises, a depiction of what Stein referred to as the "lost generation" of young people in the 1920's. This novel not only established Hemingway as the preeminent writer of his generation, but revealed two key principles that would inform the writing of most of his career. First, he demonstrated his determination to strip language to its most essential components by omitting any word not absolutely necessary. Second, he stressed the importance of authentic experience in his work, confessing, "I found the greatest difficulty, aside from knowing what you really felt, rather than what you were supposed to feel, and had been taught to feel, was to put down what really happened in action: what the actual things were which produced the emotion that you experienced." During the following decade Hemingway traveled to Spain, Africa, and Florida, gaining material for his future works through his experiences as bullfight aficionado, big game hunter, and deep sea fisherman. He served as a war correspondent during the Spanish Civil War -- which eventually became the background for his 1939 novel For Whom the Bell Tolls -- and World War II. Hemingway's short novel The Old Man and the Sea won the Pulitzer Prize in 1953, and contributed to his winning the Nobel Prize for Literature in 1954. By the 1960's, however, Hemingway was in poor health, depressed, and losing his memory, and he committed suicide in Ketchum, Idaho on July 2, 1961.

[ola4]

العوض بسلامتك أختي الكريمة و البقية بحياتك

و ثانيا شكرا لك أخي الكؤيم مصطفى على مساعدتك

و أختي الكريمة سأحاول أن اقدم لك المساعدة بقدر المستطاع

Plot Summary
In a small fishing village in Cuba, Santiago, an old, weathered fisherman has just gone 84 days without catching a fish. On the 85th day, he is determined to catch a big, impressive fish.
For years, Santiago has been fishing with a young boy named Manolin. Manolin started fishing with the old man when he was only 5 years old. Santiago is like Manolin's second father, and has taught the young boy everything about fishing. Manolin is extremely loyal to Santiago and makes sure that the old man is always safe, fed and healthy. Manolin's parents, however, force the boy to leave Santiago and fish on a more lucrative fishing boat.
Manolin does not want to leave Santiago, but must honor his duty to his parents. On the new boat, Manolin catches several fish within the first few days. Santiago, meanwhile, decides to head out on the gulf stream alone. He feels the 85th day will be lucky for him. He sets out on his old, rickety skiff. Alone on the water, Santiago sets up his fishing lines with the utmost precision, a skill that other fisherman lack.
Finally, he feels something heavy tugging at one of his lines.

A huge Marlin has found Santiago's bait and this sets off a very long struggle between the two. The Marlin is so huge that it drags Santiago beyond all other boats and people - he can no longer see land from where the fish drags him. The struggle takes its toll on Santiago. His hands become badly cramped and he is cut and bruised from the force of the fish

Santiago and the Marlin become united out at sea. They are attached to each other physically, and in Santiago's case, emotionally. He respects and loves the Marlin and admires its beauty and greatness. He sees the fish as his brother. Despite this, Santiago has to kill it. He feels guilty killing a brother, but after an intense struggle in which the fish drags the skiff around in circles, Santiago harpoons the very large fish and hangs it on the side of his boat. He feels brave, like his hero Joe DiMaggio, who accomplished great feats despite obstacles, injuries (http://www.bookrags.com/notes/oms/SUM.html#) or adversities.
After enjoying a few moments of pride, a pack of sharks detects the blood in the water and follow the trail to Santiago's skiff. Santiago has to fend off each shark that goes after his prized catch. Each shark takes a huge bite out of the Marlin, but the old man fends them off, himself now bruised, but alive. He sails back to shore with the carcass of his Marlin. He is barely able to walk and slowly staggers back to his hut, where he falls into bed.
The next morning, the boy finds his mentor and cries when he looks at Santiago's bruised hands. He promises he will reject his parents' wishes and vows to fish with Santiago again.

[ola4]

Major Characters
Santiago: The hero of the story. He is an old Cuban fisherman who is a perfectionist when it comes to fishing. Despite his precise methods, he has no luck at sea. Santiago wants to be unique: a greater and stranger person than his peers out at sea. He loves baseball and dreams of lions.

He is alone, except for the company of Manolin. He is determined to catch
one big fish.


Manolin: The young boy who is a disciple of Santiago and who takes care of him. His parents prefer that he work with more successful fishermen, but as he becomes his own man, he chooses to be loyal to Santiago.

Marlin: The Marlin is the big fish that Santiago desperately wants and needs to catch. It is an awesome fish that impresses the old man. Because of the fish's greatness, he becomes like a brother to Santiago Minor Characters
Manolin's Parents: The parents of the young boy. They want their son to abandon Santiago and fish with fishermen who are more successful and will earn more money. Manolin is torn between his duty to them and his loyalty to the old man.
Local Fishermen: The fishermen in town who either laugh at or pity Santiago. They are not as precise in technique as the old man, but they catch more fish.

Joe DiMaggio: Santiago's idol.
A New York Yankee (whose father was a fisherman) who always performed his best despite injuries and obstacles.

lions: The great creatures on the beaches of Africa about which Santiago dreams. Santiago loves great and majestic animals and considers them as his peers.

sea: Santiago thinks of the sea as a feminine creature because it is temperamental and emotional. Santiago is at one with nature.
sharks: Creatures that attack Santiago, his skiff and the Marlin as they head back towards the shore. They tear up the flesh of the Marlin and take some of the glory of victory away from the old man.

[scorpionking4999]

ثالثا : المكان و الزمان
SETTING

The actual mechanics of setting-the time and place-are easy to identify from a small amount of research. We know the story takes place on the ocean off the coast of Havana, Cuba. An atlas will enable you to locate Cuba and see its close relationship to the southern tip of Florida.

Note the position of Havana on the northern coast of Cuba. By checking indicators of the direction of the Gulf Stream, you can plot the course of Santiago's skiff as it was towed by the marlin, which began swimming against the stream but was finally carried by it.

The time aspect of the setting is equally interesting to track down, although there are few clues. In many ways, Santiago fishes with the same method and equipment as generations before him did. The story would be believable if it were set in the eighteenth century. But some definite references to a more recent time are Santiago's mention of beer in cans and the airplanes which fly over him on their way to Miami. Most obvious of all, however, are the references to Joe DiMaggio. His career lasted from 1936 to 1951, and checking with a more complete biography may enable you to pinpoint the time more precisely by means of DiMaggio's bone spur.

Often the setting of a story contributes greatly to the conflict of the plot itself. The sea is perfectly suited for this and has been the source of conflict (man vs. nature) in countless stories. But not here. It isn't the sea itself that Santiago battles. Here the sea is simply the perfect place for a single man's battle because it powerfully emphasizes-actually creates-Santiago's aloneness. Santiago "on the sea" is a great vehicle for talking about Santiago ("Everyman") "everywhere."

[scorpionking4999]

الاخت العزيزة المشرفة الفاضلة علا
جزاك الله كل خير على مساعداتك و هرولتك لنجدة الملهوف و جعل مثواك الجنة
لا اجد فرد اساعده الا و قد وجدتك سباقة
أثابك الله و جعلكى من قاطنى الفردوس الاعلى من جنته

[scorpionking4999]

رابعا : وجهة النظر
POINT OF VIEW


Point of view in general is also considered in The Story section of this guide because it figures so prominently in this particular work.

Hemingway himself considered first person point of view somewhat more dramatic but extremely limited and said that it took him a while to master the third person and omniscient point of view which we find in The Old Man and the Sea.

Even this all-knowing point of view is more simple and direct in Hemingway's hands than it is in most authors'. Usually an allknowing narrator reports what is happening with a character's thoughts and emotions. Sometimes Hemingway does this too: "The old man would have liked to keep his hand in the salt water longer but he was afraid of another sudden lurch by the fish."

Far more often, however, we have what amounts to a direct monologue of Santiago's thoughts: "I wish I could feed the fish, he thought. He is my brother. But I must kill him and keep strong to do it."

[scorpionking4999]

خامسا : التركيب و الاسلوب :
FORM AND STRUCTURE



Unlike most novels, The Old Man and the Sea has no chapter divisions. This could be attributed to its relative shortness, but there is another reason. From beginning to end, we are given a continuous account, almost a motion picture of Santiago's three-day ordeal. Until the last pages, there is never a moment when we are not with him. Chapter divisions or headings would be an unnatural intrusion into this exceptionally intimate slice of life.

In this study guide we look at the novel from a conventional framework of time: three days on the sea, with a "day before" and a "day after."

There are other ways, however, of assigning a time structure to the story. The days on the sea itself could be divided into (a) the time before Santiago hooks the marlin, (b) the battle to bring the marlin in and kill it, and (c) the journey back to the harbor. The second section could be further divided into the period wherein the marlin keeps pulling the skiff further out to sea, and the period wherein the marlin begins to circle the skiff and finally is brought in and harpooned.


Hemingway is as famous for how he wrote as for what he wrote. Few authors have become so identified with a particular style or with the word "style" itself. Many writers have attempted, for better or for worse, to "write like Hemingway." And the vast majority have failed miserably.

[ola4]

معلومات اضافية عن البطل الرئيس للقصة

Santiago is an impoverished old man who has endured many ordeals, whose best days are behind him, whose wife has died, and who never had children. For 84 days, he has gone without catching the fish upon which his meager existence, the community’s respect, and his sense of identity as an accomplished fisherman all depend. As a result, the young man who is like a son to him (the young man who, since the age of five, has fished with him and learned from him) now fishes, at the behest of his parents, with another fisherman.

Indeed, Santiago’s philosophy and internal code of behavior make him unconventional in his society (as critics such as Bickford Sylvester have mentioned). Santiago’s dedication to his craft (beyond concerns of material gain or survival) separates him from the pragmatic fishermen motivated by money. He stands apart from Cuba’s evolution to a new materialism and a village fishing culture converting to a fishing industry. He remains dedicated to a profession he sees as a more spiritual way of life and a part of nature’s order in the eternal cycle that makes all creatures brothers in their common condition of both predator and prey.

What Santiago desperately wants is one epic catch—not just to survive, but to prove once more his skill, reassert his identity as a fisherman, secure his reputation in the community, and ensure for all time that Manolin will forever honor his memory and become his successor in what matters most in life. For Santiago, what matters most in life is to live with great fervor and nobility according to his beliefs, to use his skills and nature’s gifts to the best of his ability, to struggle and endure and redeem his individual existence through his life’s work, to accept inevitable destruction with dignity, and to pass on to the next generation everything of value that he has gained. In these desires, he reflects the desires of us all.

What makes Santiago special is that despite a lifetime of hardships that have hurt him (as the morning sun has always hurt his eyes), he is still a man in charge and an expert who knows the tricks of his fisherman’s craft. His eyes remain young, cheerful, and undefeated. He knows how to rely on the transcendent power of his own imagination to engender the inspiration and confidence he needs and to keep alive in himself and others the hope, dreams, faith, absorption, and resolution to transcend hardship.

[ola4]

Character Analyses
Manolin

Manolin is Santiago’s last and deepest human relationship, his replacement in the generational cycle of human existence, the one to whom he wishes to entrust his skill as a fisherman, the transforming power of his vision, and his memory. As Santiago is mentor, spiritual father, and the old man or old age, Manolin is pupil, son, and the boy or youth. Manolin loves and cares for Santiago, and at the story’s end, he professes his faith in Santiago and everything Santiago represents. Living up to his name, which is the diminutive of Manuel (Spanish for Emmanuel, the Redeemer), Manolin articulates for Santiago the true meaning of his great struggle, which has brought him the intangibles he craves. Three times, Manolin professes his faith in Santiago. In accepting the marlin’s spear, Manolin demonstrates once and for all that he clearly understands and accepts all that Santiago wishes to bequeath him—and all that comes with that inheritance.

[ola4]

Character Analyses
Marlin

The marlin is more than a great fish locked in an evenly balanced and protracted battle with an accomplished fisherman. It is also a creature onto whom Santiago projects the same qualities that he possesses, admires, and hopes to pass on: nobility of spirit, greatness in living, faithfulness to one’s own identity and ways, endurance, beauty, and dignity. As Santiago and the marlin remain locked in battle for three days, they become intimately connected. Santiago first pities and admires the fish and then empathizes and identifies with it. He recognizes that just as the marlin was born to be a fish, he was born to be a fisherman. They are brothers in the inevitability of their circumstances, locked in the natural cycle of predator and prey.

The marlin’s death represents Santiago’s greatest victory and the promise of all those intangibles he so desperately hopes for to redeem his individual existence. Yet, like the marlin, Santiago also must inevitably lose and become the victim. After the mako shark’s attack, Santiago eats the marlin’s flesh to sustain himself, completing the natural cycle in which the great creature passes on something of itself to Santiago. Not only are all creatures predator and prey, but all also nourish one another. Allusions to the crucified Christ that were previously associated with the marlin (images that represent suffering, apparent defeat, and the endurance through which one redeems an individual life within nature’s tragic cycle) are transferred to Santiago (as critics such as Philip Young and Arvin Wells have suggested). The marlin’s brave and unavailing struggle to save its own life becomes Santiago’s brave an unavailing struggle to save the marlin from the scavenger sharks.
The scavenger sharks strip the marlin of all material value, leaving only its skeleton lashed to Santiago’s skiff. But before that skeleton ends up as so much garbage to be washed out with the tide, it becomes a mute testimony to Santiago’s greatness and the vehicle for those intrinsic values Santiago craves to give his existence meaning and dignity. The fisherman who measures the marlin’s skeleton reports that it is 18 feet long—evidence of the largest fish the villagers have ever known to come out of the Gulf. And when Manolin accepts the marlin’s spear, he accepts for all time everything that Santiago wishes to bequeath him.

[scorpionking4999]

سادسا القصة و تحليها

THE PLOT




Exposition
complication ( the Rising action )
climax
( the falling action )
The Resolution
Compared to most novels, The Old Man and the Sea is unusual in many ways. The time span is very short; most of the action occurs during three days and three nights on the sea. There are also a "day before" and part of a "day after." Consider the demands this makes on the writer. Three days in the life of one person-with no other people around. Normally that would make a very boring story. But most readers agree that The Old Man and the Sea is not boring.


1- Exposition : It is the First stage of The lirerary work in which the author clears the way to
the complications or the rising action .

Compared to most novels, The Old Man and the Sea is unusual in many ways. The time span is very short; most of the action occurs during three days and three nights on the sea. There are also a "day before" and part of a "day after." Consider the demands this makes on the writer. Three days in the life of one person-with no other people around. Normally that would make a very boring story. But most readers agree that The Old Man and the Sea is not boring. How did Hemingway make this tiny time span in the life of only one person interesting?

• THE DAY BEFORE

Santiago, the "old man," has gone eighty-four days without catching a fish. He's a widower and there's no mention of any children of his own. He has only "the boy," Manolin, as companion and genuine friend. Manolin had been Santiago's apprentice, but the boy's parents have made him work on another fishing boat because Santiago has "bad luck." But he's still loyal to Santiago and helps the old man prepare for an attempt to catch "the big one."


Complication : It is the second stage in which the author sets forth
the problems that would face the protagonist until it reaches the climax .
Santiago rows his skiff out from the Havana harbor far beyond normal fishing waters, hoping to end his string of bad luck with a really huge catch. He sets his lines and reads the signs of the sea, finding them favorable.
His deepest line shows signs of a fish nibbling at the bait, and he can tell it's a very large fish. After a final strike, he sets the hook-and the fish begins to tow the boat with ease! Santiago realizes this is not an ordinary fish.





Climax : It is the third stage in which the struggle between the protagonist on one hand or problems on the other comes to
the peak creating suspese

• THE FIRST NIGHT

The fish continues to pull Santiago's skiff out to sea like a child pulling a toy wagon. Still, the fish is a prisoner and Santiago begins to feel pity for this great catch. But this does not soften his resolve to "stay with you until I am dead."

• THE SECOND DAY

Santiago increases tension on the line to the breaking point, attempting to make the fish jump. The line has been stretched over his back for hours now. He begins to feel intense pain. At an unexpected lurch from the great fish, the line cuts his right hand. And to make matters even worse, his left hand has become cramped like "the gripped claws of an eagle."

the falling action : it's the stage in which the author resolves the climax
and the complications towards the end of the story
The fish surfaces for the first time. Santiago sees he has hooked a marlin "longer than the skiff." By noon his left hand uncramps, and he repeats prayers for success as the fish continues towing the skiff. They are now far beyond sight of the shore.

Baseball, an intense interest he shares with Manolin, occupies his thoughts, particularly his idolization of "the great DiMaggio." Santiago recalls a time in his youth when he too was "the champion" in a daylong arm-wrestling match with a mighty opponent.

• THE SECOND NIGHT

Santiago eats a small fish he has caught on one of his other lines, and he sleeps for the first time. Then a furious jerk of the lines wakes him, and his hands get badly cut. The great marlin is jumping. This is good because its air sacs will fill and the fish won't sink to the bottom and die, unable to be pulled back up.

• THE THIRD DAY

The marlin begins to circle the boat rather than tow it. This is a major breakthrough in the struggle to bring in the fish. Santiago puts as much tension on the line as possible to make the circles shorter. On the third turn the fish is close enough for Santiago to see him well. The fish is enormous beyond belief.

After several more circles, Santiago gets the marlin close enough to kill it with his harpoon. Since the fish is much longer than the skiff, it must be lashed to the side rather than towed behind. Santiago puts up the mast and sets sail to the southwest, back toward Havana.

ANOTHER COMPLICATIONS


a mako shark strikes the marlin and tears off at least forty pounds of flesh before Santiago can kill it. In the killing, he loses his harpoon. Now there is a massive trail of blood and scent in the water, which will inevitably attract other sharks.

And they come. They're shovel-nosed, scavenger sharks-galanos. Santiago kills one with his knife that is lashed to an oar; then he kills another, with greater difficulty. But a quarter of the prize marlin meat is now gone. Later, a third galano destroys even more of the marlin before Santiago can kill him, and the knife blade breaks in the process. At sunset come still two more. He is unable to kill them but injures them with a club made from an old broken oar.

• THE THIRD NIGHT

Santiago begins to see the reflected glare of Havana lights. But the galanos now come in a pack. He fights them with a club and even with the skiff's tiller, but they strip the remaining flesh from the marlin.




the resolution :
So now he pilots his small craft home, bringing only a skeleton. He arrives in the middle of the night, beaches his skiff, carries the mast to his shack, and falls into an exhausted sleep.

• THE DAY AFTER

Manolin finds him sleeping. There has been a big stir among the village fishermen over the incredible size of the skeleton still lashed to Santiago's skiff. Manolin tends to the spent, pain-ridden old man and vows to fish with him again.

Tourists look with detached amusement at the skeletal remains of Santiago's three-day battle. They do not understand the nature or significance of Santiago's experiences. Is Santiago a triumphant figure or a tragic figure, or a strange combination of both? You'll have to decide that for yourself.

[ola4]

Themes in the Novella

A commonplace among literary authorities is that a work of truly great literature invites reading on multiple levels or re-reading at various stages in the reader’s life. At each of these readings, the enduring work presumably yields extended interpretations and expanded meanings. Certainly, The Old Man and the Sea fits that de******ion. The novella invites, even demands, reading on multiple levels.

For example, readers can receive the novella as an engaging and realistic story of Santiago, the old man; Manolin, the young man who loves him; and Santiago’s last and greatest battle with a giant marlin. Indeed, Hemingway himself insisted that the story was about a real man and a real fish. Critics have pointed to Hemingway’s earlier essay—which mentions a presumably real fisherman who travels far out to sea in a small boat, catches a great fish, and then loses it to sharks—as the seed from which the novella springs.

However, the novella also clearly fits into the category of allegory—a story with a surface meaning and one or more under-the-surface meanings; a narrative form so ancient and natural to the human mind as to be universal; a form found in pagan mythology, in both Testaments of the Bible, and in Classical to Post-Modern literature. Likewise, the characters become much more than themselves or even types—they become archetypes (universal representations inherited from the collective consciousness of our ancestors and the fundamental facts of human existence).

From this perspective, Santiago is mentor, spiritual father, old man, or old age; and Manolin is pupil, son, boy, or youth. Santiago is the great fisherman and Manolin his apprentice—both dedicated to fishing as a way of life that they were born to and a calling that is spiritually enriching and part of the organic whole of the natural world. Santiago, as the greatest of such fishermen and the embodiment of their philosophy, becomes a solitary human representative to the natural world. He accepts the inevitability of the natural order, in which all creatures are both predator and prey, but recognizes that all creatures also nourish one another. He accepts the natural cycle of human existence as part of that natural order, but finds within himself the imagination and inspiration to endure his greatest struggle and achieve the intangibles that can redeem his individual life so that even when destroyed he can remain undefeated.
In living according to his own code of behavior, accepting the natural order and cycle of life, struggling and enduring and redeeming his individual existence through his life’s work, and then passing on to the next generation everything he values, Santiago becomes an everyman (an archetypal representation of the human condition). His story becomes everyone’s story and, as such, becomes genuinely uplifting. As the tourists who mistake the marlin for a shark still comprehend from its skeleton something of the great fish’s grandeur, readers of different ages and levels of understanding can find something inspirational in this story—perhaps even more if they dip into its waters more than once.

[scorpionking4999]

أرجو توضيح ان مراحل القصة (الحبكة) قد أحضرت فيها ملخص للقصة وو ضعت مراحل القصة عليها من خلال فهمى لها
الان مع
سابعا : العنوان

the Title of the novel is expressive to a great extent
"The Old Man And The Fish "
it express on one hand about - the hero - the old man who
intends to overcome his bad luck but his obstacle was , on the other hand " the fish "
but he could manage the matters and fish it So he deserves the admirition
by the end of the story .
Although the title of the novel is simple but is impressive and sums up the whole story
in a couple of words

[scorpionking4999]

[CENTER]ثامنا و أخيرا style [/CENTER






Hemingway is as famous for how he wrote as for what he wrote. Few authors have become so identified with a particular style or with the word "style" itself. Many writers have attempted, for better or for worse, to "write like Hemingway." And the vast majority have failed miserably.


The essential characteristic of Hemingway's style, in the view of most critics, is simplicity and precision of word choice. See if you agree with that Let's invent a Hemingway-type de******ion similar to one that might have appeared in the story we're studying: "His head ached truly now. He rubbed it for a moment but felt no difference and stopped the rubbing."







Compare that with another possible version: "Waves of pain throbbed throughout his head, advancing and retreating and advancing once again until the pain threatened to drive off consciousness itself. For a few, brief, futile moments, he rubbed his head with near desperation, massaging his scalp with hopeful fingers that tried to push back the onslaught of pain. But it remained as relentless as ever, and despairingly he dropped his hand to his side."






فى النهاية أشكر اختى فى الله الاخت العزيزة علا على مساعدتها
و ارجو منكى ان تدعوا لى بالهداية لى و للمسلمين
و كذلك اذا كان لديك اى طلب خاص باللغة الانجليزية
فقط ضعيه هنا و ستجدى من يساعدك بإذن الله
أرجو ان اكون قد وفقت لاجابة طلبك بعون الله و إذا كان لكى اى ملحوظات تودين تعديلها على المقال
قوليه و سأعمله بإذن الله

[ola4]

شكرا لك أخي الكريم مصطفى

الله يعطيك الف عافية على تعبك

و الله يجازيك كل خير و يهديك و ينور لك طريقك

و بصراحة الكلام قليل جدا على التعب الذي تبذله في منتدى اللغات

http://i128.photobucket.com/albums/p165/3ola4/thx/thx3-1.gif

[الفرحة اليتيمة]

اول شي مشكور لمواساتكـ لي

الله يرحمها ويغمد روحها الجنة

شكرااااااااااااااااا اخوي مصطفى الله يجزاكـ خير

ويفرج لكـ همومكـ ويتفس لكـ كروبكـ

مثل مازحت همي

الله يعطيكـ العافيه مراح انسى ابدا معروفكـ وراح ادعي لكـ

[الفرحة اليتيمة]

ola4

يعطيكـ الف عافيه

على مساعدتكـ ومؤازرتكـ الله لا يحرمني منكم

قولي امين

مشكووووووووووره

[scorpionking4999]

لا شكر على و اجب
انا الذى من المفترض ان اشكرك على دعاءك الجميل
و شكرا للأخت علا على تشجيعها الدائم
جزاكما الله خيرا و جعلكما من ورثة جنة النعيم

[ola4]

آمين يا رب العالمين

بعتذر أختي الكريمة عن التأخر في الرد
و الله ما أخدت بالي

عزيزتي احنا هنا اخوة و الكل يساعد على قد ما يقدر

نورتينا في منتدى اللغات و يا ريت نشوفك دايما

تحياتي لك

و شكرا أخي الكريم مصطفى

تشجيعك و تشجيع اي شخص يقدم مساعدة
أو أي شيء مفيد في المنتدى واجب علي

و انا مهما شكرتك ما اوفيك حقك

شكرا كتير و بارك الله فيك