The Role of Nature in Ernest Hemingway's The Old Man and the Sea

Ernest Hemingway's famous novel "The Old Man and the Sea" tells the story of a poor fisherman. One day he catches a very big fish and has a three-day long struggle with it. In the end Santiago reaches the harbor after a fierce fight with nothing but the bones of his catch. The significance of nature is presented in the novel "The Old Man and the Sea". It can be seen as "itself" when we just look at how it is described and how Santiago's relation to this nature looks like. Or it can be interpreted as a symbol. The environment of the fisherman Santiago seems to be at first sight something completely ordered and in perfect harmony. In his "world" every element is somehow united in harmony or love almost. He feels for the bird like he feels for any creature he "meets" during his time on the sea.
He had no mysticism about turtles although he had gone in turtle boats for many years. He was sorry for them all, even the great trunk-backs that were as long as the skiff and weighed a ton. Most people are heartless about turtles because a turtle's heart will beat for hours after he has been cut up and butchered. But the old man thought, I have such a heart too and my feet and hands are like theirs. (p. 29)
The old man is certainly not like "most people," who have no compassion for animals and see them as small or less deserving than humans. We have the idea that Santiago is nothing more than a marine monster. It can also be observed that each piece (including Santiago) is integrated to form a whole. In this context, Santiago wonders "what the water looks like from [...]" (p. 60) inside an aeroplane. One gets the idea that he is like the fish in the water who can't see the sea from such a distance. In that instant, the elderly man and the sea are as one and cannot be separated.
We may also claim that the old man is entirely dependent on nature because it provides his means of subsistence. Nature can be considered a living donor from this viewpoint. There is, of course, more to nature than this optimistic vision. It may be both destructive and unfriendly. Rowing on the water in quest of fish is not always a joyful experience. Nature, which appears to be so tranquil at first glance, may sometimes be an opponent. We can tell from the opening page of "The Old Man and the Sea" that nature delivers tragedy. "[...] fished alone in a skiff on the Gulf Stream for eighty-four days [...] without catching a fish." (p. 5) It becomes evident that, although being a part of nature, man is sometimes completely inferior to it.
The description of the old man's natural features demonstrates the extremely cruel side of nature. Nature's destructiveness may be seen throughout his physique. The sun scorched his skin, leaving him with "[...] brown patches of benign skin cancer [...]." His "[...] deep-creased scars from manipulating big fish on the ropes" (p. 5) bear testament to Santiago's lengthy fight with nature. Of course, there are sharks that eventually take the old man's catch. Nature appears to take away what it offers. Sharks, too, are a part of this oneness; in this case, they reflect nature's destructive force.
This clearly indicates uncertainty. Every aspect of this nature is in perfect harmony, but there is a battle going on among the species. This is also evident in Santiago's concern for the fish. Because the old man's emotions are contradictory, the situation is uncertain. We already know that he feels sad for the bird and the turtles, but his sentiments for the marlin appear to be different - they appear to be larger. The fish, unlike the small bird, is a perfect fit for Santiago. It is so large and powerful that the old man had to fight it for three days. 
His hands even begin to bleed. The fish and the guy are now linked by the line. They only have to wait till one of the two loses strength. Both are probably thinking the same thing: they must persevere until the other gives up. This is seen on page 79, when Santiago thinks, "Keep your brain clear and know how to suffer like a man." Or a fish, he thought." This puts them on an equal level. Again, the reader gets the feeling that Santiago is just like any other creature in nature, or that he considers the fish to be human.
Then he felt sad for the big fish that had nothing to eat, and his intention to kill him never wavered. He pondered how many people he could feed. But are they ready to eat him? No way, no how. Because of his demeanor and enormous dignity, no one is worthy of eating him. I don't get these things, he thought. But it's a good thing we don't have to try to destroy the sun, moon, or stars. It is sufficient to dwell on the water and murder our beloved brothers.
In this part of the novel, one thing becomes clear: not only are fish and mankind equal in Santiago's eyes, but so are all other components that are joined in nature. Even the stars are "brothers" to him (p. 65).
It's as if everything in this "community" has a set function to perform. Santiago's duty is to overwhelm the marlin; the marlin's function is to elude the old man; the bird (p. 27) has to capture the fish to survive, but he has no chance since the "[...] flying fish are too huge for him and they travel too quickly." The smaller is always inferior to the larger." [2]
This notion is subsequently shown to Santiago when the bigger animals (the sharks) attack and steal his catch.
"A sense of brotherhood and love, in a world where everyone is killing or being murdered, bonds together the animals of nature, generates a oneness and an emotion between them that transcends the destructive pattern in which they are bound," one reviewer said. [2] All of the novel's combatants are concerned with survival; they are all looking for food.
Another characteristic of nature depicted in "The Old Man and the Sea" is its constancy. The boats set sail for the sea, the sun rises ("[...] it rises always and sets and rises again without change of rhythm"[3]), the fisherman gather their catch, row back to land, and the sun sets. It's like a ritual that is continually repeated. Changeless is also the greatest way to define Santiago's existence: fishing is likely the only thing he ever learnt and the only thing he has done his whole life. It is safe to presume that the old guy will resume fishing as soon as he recovers from the stresses of the sea. 
And because the ocean has remained constant for centuries, this changelessness is reflected in the water itself.
In this sense, it's intriguing to consider Santiago's behavior as a part of or inside this nature. We've previously seen that there's a sense of brotherhood in the oneness that exists between each element. But how is the old guy depicted as a component of this unity? Santiago has earned a lot of expertise throughout his lengthy voyage on the ocean.
The old man could feel the dawn approaching in the dark, and as he rowed, he heard the quivering sound of flying fish leaving the water and the hissing of their rigid set wings as they flew away in the darkness. (p. 22)
We discover here that he is well familiar with the sea. Even at night, in complete darkness, he knows which animals surround him; sensing the arrival of daylight informs us that Santiago is extremely connected to nature. As a result, he is able to interpret natural indications. The birds, for example, offer him an indication as to where he may get fish (p. 30): "Now the old man glanced up and saw the bird circling once more."
 He said loudly, 'He's found fish.' " The fish are indeed of great assistance. They can be referred to as his guides:
 The bird dived again as he watched, slanting his wings for the dive and then flailing them wildly and ineffectually as he pursued the flying fish. The old guy could see the little bulge in the water caused by the enormous dolphin's pursuit of the escape fish. [...] He kept watching the flying fish break out and the bird's ineffective motions. [...] But maybe I'll get a stray, and maybe my big fish is nearby. (p. 27) 
The stars can also be useful for wayfinding: "Once he stood up and urinated over the side of the skiff and gazed at the sky and verified his course." (pp. 38/39) He doesn't feel lost even in the dark. He's alone in a hazardous environment (at least to most others), but he shows no signs of anxiety. He can count on Mother Nature.
Many analysts analyzed "The Old Man and the Sea" for symbolism. I believe the Christian symbolism is extremely clear. Just in the scene where Santiago returns to the cabin, there are several Christ-related motifs. Some Christian symbolism may also be found in nature descriptions (I'll get to that later). Because the theme of this essay is the significance of nature, I will now attempt to highlight some of the novel's symbolic characteristics of nature. It is clear to begin with a peek at the sea. It is the novel's most essential feature.
It covers 71% of the solar system. As a result, someone who is out on the water may feel lost or, at the very least, considerably smaller than the huge sea. As a species that originated on the soil, it must be referred to as a hostile element. The land is our "home," but the water has always been frightening, incomprehensible, and strange. As a result, the sea is frequently invoked as a metaphor of life in fiction. A voyage on the water is a metaphor for a journey through life. The participants live life with all of its complexities, much like Santiago on the sea.
 Except for the dip of the oars, most of the boats were silent. They split off as they were out of the harbor's mouth, each heading towards a section of the ocean where he hoped to locate fish. The old man knew he was going far out, so he rowed out into the clean early morning smell of the ocean, leaving the smell of the land behind.
The boats on the water depict the individuals in real life. There are two types of people: those who participate actively in life and those who are passive spectators. Some boats are silent and paddle in areas of the water where they know they are secure. They don't push their limits. Boats indicate voyage, as well as adventure or discovery. Those who do not venture far cannot fully explore life and obtain little experience. Others, such as the old man, regard their lives as a struggle. 'Keep warm, old man,' said the boy. 'Remember, it's September.' 'The month of the enormous fish,' the old man said. 'In May, everyone may be a fisherman.'
Fishing in May doesn't mean anything to him, but he prefers to be at sea in September. This time, he may test himself with the "great fish." People who do not take risks cannot lose. The old guy takes many risks and suffers several setbacks. Despite the fact that he cannot be called a loser because he acquires more strength and knowledge than other fisherman each day, he is always testing himself. Santiago can only understand nature's clues due of his lengthy expertise at sea.
If you are at sea and there is a storm, you will always see indicators of it in the sky for days ahead. He argued that they don't notice it ashore because they don't know what to look for. (p. 51) This shows that life is full of mysteries. Those that live their lives to the fullest (such as Santiago) will be least harmed by these storms since they have the fortitude and experience to deal with them. The inhabitants of the country will be exterminated. They lack the capability to deal with the devastation caused by hurricanes.
 It's likely that the birds (p. 22) also represent specific persons. They might represent the inexperienced and inexperienced people that become lost on their way through life. "How come they created birds as delicate and exquisite as sea swallows when the water can be so cruel?" (p. 23) Getting lost here signifies being "swallowed" by the sea; in real life, it might also represent death or failure. Santiago is strong and competent; life can no longer damage him. However, certain people (for example, youngsters) with little experience can be "destroyed" more quickly.
The stars can be considered as Santiago's life guides. "Once at a time, he rose up, urinated over the side of the skiff, glanced at the stars, and checked his course." (pp. 38/39) Two contradictory behaviors are brought together in this scene: Santiago is doing something physical (urinating) and spiritual at the same time. Taking a peek at the sky and monitoring the route might signify taking a look at one's life, especially if the sea cruise represents a life journey. The person of Santiago represents the human being (both its physical and spiritual qualities).
The sea is also regarded as the mother of all life. The ocean is the source of all life on Earth; life began in the water. The fishermen on their boats profit from it and supply the people ashore with the seafood that the ocean provides. As a result, both the ship and the sea represent fecundity. The sea is seen as a lady in Santiago's "world." This viewpoint is consistent with the notion that the sea is the mother of all life. He always thought of the sea as la mar, which is what people call her when they adore her in Spanish. Those who adore her may criticize her, but they always do so as if she were a woman. Some of the younger fisherman, those who used buoys as floats for their lines and had motorboats purchased when the shark livers were worth a lot of money, referred to her as el mar, which means "the sea." They referred to her as a competitor, a place, or even an enemy. But the old man saw her as feminine, as something that offered or withheld wonderful flavors, and if she did crazy or evil things, it was because she couldn't stop herself. The moon has the same effect on her as it does on a woman, he thought. (p. 23) 
We can see here that two characteristics are united in one element: the sea is both masculine (to the young fisherman) and feminine (to the old men like Santiago). When the water is harmful and destructive, people feel compelled to compete or struggle against it. Then they imagine the ocean as a man. Those who adore it and do not regard it as an enemy describe it as feminine.
The old man dropped the hook, put his foot on it, lifted the harpoon as high as he could, and slammed it down into the fish's side right beneath the enormous chest fin that soared up in the air to the man's chest altitude. He felt the iron go in, leaned on it, drove it farther, and then put his entire weight after it. (p. 80)
A critic who wrote on the relationship between the old man and the boy Manolin took into account the idea of the sea being a woman or mother. He saw the two of them (Santiago, the father, and Manolin, the son) together with the "mother" as if they were a family:
For the first time in Hemingway's literature, father, mother (sea), and son may work together in harmony (boy). [...] The mother is demolished as a figure and reduced to being essentially passive and receptive (while she is potentially hazardous, the professional can deal with her), and the boy is reduced to being a pupil who can provide unconditional loyalty and adoration to the father. [...] The boy elevates the parent ("I wish the boy were here") [...] [4]
In life, the symbols fish and water are inextricably linked. Both are associated with Christianity. The phrase on page 75 of the novel that follows reminds me of baptism: "With his left hand, he lifted some sea water and placed it on his head." Purification can be symbolized by washing his hands in water (page 47: "[...] he washed his hand in the ocean [...]"). The fish is even more associated with Christianity since it represents Jesus Christ. According to the Bible, Jesus informed Peter (the first apostle), a fisherman by trade, that if he followed Christ, he would become a "fisher of men." "San Pedro was a fisherman, as was the great DiMaggio's father." (p.90)
Santiago's dream about the lions plays a significant role in the story. Because the dream is referenced so frequently, it must have a significant impact on the plot, which is why we may interpret it in so many various ways. It is apparent that the lions can also be interpreted as a symbol, owing to the fact that dreams are usually symbolic. The dream depicts Santiago's perspective on his role in life. The dream is referenced for the first time on pages 18/19. He falls asleep one day and dreams of Africa and lions on a beach playing "[...] like young cats in the dark [...]."
This is surprising since you wouldn't expect to see lions on a beach. Aside from that, they don't act as we would anticipate. They imitate cats rather than predatory creatures. Thus, they may represent nature's tamed violent powers, which is, of course, an ideal but unattainable in nature. The lions might also represent Santiago when he was younger and more powerful. This is clear since a lion represents strength and courage. Because the lions in Santiago's dream are located on the beach (a site where such beasts would not ordinarily be seen), they most likely symbolize the same type of people as the boats that travel "too far out" on the sea.
'Tiburon,' the waiter said, 'Eshark.' He intended to explain what had occurred. 'I had no idea sharks had such lovely, well-formed tails.' 'Neither did I,' her male friend said. (p. 109)
They don't understand what they're seeing. They go through life as tourists, watching but not fully comprehending. They, like other people ashore, are unable or unwilling to investigate the mystery of the ocean or, as the water is a representation of life.
The lions go places where other lions would not dare to go. They're pushing their limits to see how far they can go, just like the old guy did when he caught the marlin. But, because Santiago is losing his capacity to participate actively in life as he ages, he can only be powerful and adventurous in his dreams. He's sort of living among the lions. He has returned home as a battered man after a lengthy fight. “The boy noticed the old man breathe, then noticed the old man's hands and began to cry. 
He went out quietly to get some coffee and cried the entire way down the road." (p. 105) Still, we cannot declare the elderly guy vanquished. He was undefeated in his thoughts. "The Old Man and the Sea's" closing sentence is, "The old man was dreaming about the lions." This demonstrates that he is the same guy he was previously. "Every day is a new day," he says. (p. 25) He just refuses to give up and attempts to make the most of a terrible situation.
To summarize, there are two ways to look at how nature is depicted in "The Old Man and the Sea." At first glance, there is nature "as itself": the author narrates the account of an elderly fisherman landing a large marlin. Hemingway discusses the main character's relationship with the fish. We gain a sense of Santiago's surroundings and "learn" about the difficulties that a guy faces when sailing. There, he learns about nature's frequently devastating energies as well as its "friendly" side. Santiago and the fish turn out to be pretty equal, as they both have the same "goal" - to survive.
Apart from that, we can tell that Santiago is a skilled fisherman, capable of reading "natural indications." Nature, on the other hand, may be viewed as a symbol. If we interpret the text symbolically, we might conclude that life and the roles that individuals play in it are depicted. The water represents life, and the boats and lions represent the people in actual life. There are two categories of people: those who are active, adventurous, and dare themselves, and those who are passive, worried, and don't dare anything.
The character of Santiago refers to Hemingway's own view of life. It's likely that he preferred the elderly man's way of life. Hemingway himself was a risk-taker. He dabbled in bullfighting and deep-sea fishing, and he served in the Spanish Civil War. His writings are a reflection of those experiences. Readers obtain an insight of Hemingway's life and their own via his works. Hemingway encourages his readers to take chances, daring them to go out to sea and capture their own marlin.