Symbols In The Old Man And The Sea Quotes

Then there is the other secret. There isn't any symbolysm [sic]. The sea is the sea. The old man is an old man. The boy is a boy and the fish is a fish. The shark are all sharks no better and no worse. All the symbolism that people say is shit. What goes beyond is what you see beyond when you know.

No good book has ever been written that has in it symbols arrived at beforehand and stuck in. ... I tried to make a real old man, a real boy, a real sea and a real fish and real sharks. But if I made them good and true enough they would mean many things

All things in the world are created for Man, yet all have two purposes. The waters run that we might drink of them, but they are also symbols of the futility of Man. They reflect our lives in rushing beauty, birthed in the purity of the mountains. As babes they babble and run, gushing and growing as they mature into strong young rivers. Then they widen and slow until at last they meander, like old men, to join with the sea. And like the soles of men in the Nethervoid, they mix and mingle until the sun lifts them again as raindrops to fall upon the mountains.

Nations disappear, but their effect remains on the way of society, industry and craft. The manner of thinking and the character of literature and art; languages become dead but their words, proverbs, symbols and metaphors enter new languages to become a part of them; the divinity of old beliefs comes to an end, but old idols remain in the sleeve of every new religion and every fold of the turban and tiara; civilisations vanish but the palaces of a new civilisation keep dazzling with their marks and decorations Five thousand years ago such a civilisation arose in the valley of the Tigris and the Euphrates and before the eyes, it spread across the entire East. This civilisation established its authority for 2500 years from the Mediterranean to the Arabia Sea. Then the chants of the worshippers of Zoroaster arose in the fire temples of Persia, and the Achaemenid rulers raised the buildings of Iranian civilization over the rubble of Babylon and Nineveh. The civilisational current of the Tigris and the Euphrates mixed with the Iranian civilisation and neither the religion of the land between the two rivers remained nor the language; but we cannot forget the favour which the inhabitants there have bestowed on the world by introducing man to the knowledge and arts for the first time. The world’s oldest villages have been found in this same land between the two rivers; cultivation became a custom there for the first time indeed; the potter’s wheel was first invented there; the remains of the most ancient cities were found there; city-states were established for the first time in the same valley; and the first code of law was compiled on this very land. But the greatest feat of the ancient inhabitants is the invention of the art of writing. The first schools were also opened on the coasts of the Tigris and the Euphrates. The oldest libraries have also been available there and the oldest epics are also the creation of this area.

A film, The Lost Continent, throws a clear light on the current myth of exoticism. It is a big documentary on 'the East', the pretext of which is some undefined ethnographic expedition, evidently false, incidentally, led by three or four Italians into the Malay archipelago. The film is euphoric, everything in it is easy, innocent. Our explorers are good fellows, who fill up their leisure time with child-like amusements: they play with their mascot, a little bear (a mascot is indispensable in all expeditions: no film about the polar region is without its tame seal, no documentary on the tropics is without its monkey), or they comically upset a dish of spaghetti on the deck. Which means that these good people, anthropologists though they are, don't bother much with historical or sociological problems. Penetrating the Orient never means more for them than a little trip in a boat, on an azure sea, in an essentially sunny country. And this same Orient which has today become the political centre of the world we see here all flattened, made smooth and gaudily coloured like an old-fashioned postcard. The device which produces irresponsibility is clear: colouring the world is always a means of denying it (and perhaps one should at this point begin an inquiry into the use of colour in the cinema). Deprived of all substance, driven back into colour, disembodied through the very glamour of the 'images', the Orient is ready for the spiriting away which the film has in store for it. What with the bear as a mascot and the droll spaghetti, our studio anthropologists will have no trouble in postulating an Orient which is exotic in form, while being in reality profoundly similar to the Occident, at least the Occident of spiritualist thought. Orientals have religions of their own? Never mind, these variations matter very little compared to the basic unity of idealism. Every rite is thus made at once specific and eternal, promoted at one stroke into a piquant spectacle and a quasi-Christian symbol. ...If we are concerned with fisherman, it is not the type of fishing which is whown; but rather, drowned in a garish sunset and eternalized, a romantic essense of the fisherman, presented not as a workman dependent by his technique and his gains on a definite society, but rather as the theme of an eternal condition, in which man is far away and exposed to the perils of the sea, and woman weeping and praying at home. The same applies to refugees, a long procession of which is shown at the beginning, coming down a mountain: to identify them is of course unnecessary: they are eternal essences of refugees, which it is in the nature of the East to produce.

Or, in your case, as wide. Wait. Did you just say Gandalf?” “He is the founder of our order, and the first of the Five Warlocks. He comes from afar across the Western Ocean, from Easter Island, or perhaps from Japan.” “No, I think he comes from the mind of a story writer. An old-fashioned Roman Catholic from the days just before First Space Age. Unless I am confusing him with the guy who wrote about Talking Animal Land? With the Cowardly Lion who gets killed by a Wicked White Witch? I never read the text, I watched the comic.” “Oh, you err so! The Witches, we have preserved this lore since the time of the Fall of the Giants, whom we overthrew and destroyed. The tale is this: C. S. Lewis and Arthur C. Clarke were led by the Indian Maiden Sacagawea to the Pacific Ocean and back, stealing the land from the Red Man and selling them blankets impregnated with smallpox. It was called the Lewis and Clarke Expedition. When they reached the Pacific, they set out in the Dawn Treader to find the sea route to India, where the sacred river Alph runs through caverns measureless to man down to a sunless sea. They came to the Last Island, called Ramandu or Selidor, where the World Serpent guards the gateway to the Land of the Dead, and there they found Gandalf, returned alive from the underworld, and stripped of all his powers. He came again to mortal lands in North America to teach the Simon Families. The Chronicle is a symbolic retelling of their journey. It is one of our Holy Books.” “Your Holy Books were written for children by Englishmen.” “The gods wear many masks! If the Continuum chooses the lips of a White Man to be the lips through which the Continuum speaks, who are we to question? Tolkien was not Roman. He was of a race called the hobbits, Homo floresiensis, discovered on an isle in Indonesia, and he would have lived in happiness, had not the White Man killed him with DDT. So there were no Roman Catholics involved. May the Earth curse their memory forever! May they be forgotten forever!” “Hm. Earth is big. Maybe it can do both. You know about Rome? It perished in the Ecpyrosis, somewhat before your time.” “How could we not? The Pope in Rome created the Giants, whom the Witches rose up against and overthrew. Theirs was the masculine religion, aggressive, intolerant, and forbidding abortion. Ours is the feminine religion, peaceful and life-affirming and all-loving, and we offer the firstborn child to perish on our sacred fires. The First Coven was organized to destroy them like rats! When Rome was burned, we danced, and their one god was cast down and fled weeping on his pierced feet, and our many gods rose up. My ancestors hunted the Christians like stoats, and when we caught them, we burned them slowly, as they once did of us in Salem. What ill you do is returned to you tenfold!” “Hm. Are you willing to work with a Giant? I saw one in the pit, and saw the jumbo-sized coffin they pried him out from. What if he is a baptized Christian? Most of them were, since they were created by my pet pope and raised by nuns.” “All Christians must perish! Such is our code.” “Your code is miscoded.” “What of the Unforgettable Hate?” “Forget about it.

The true symbolic effect of the text depends on a magical transformation, where the things themselves—sea, old man, boy, fish, sharks—somehow remain themselves and also together create a feeling of greater meaning, one that is never specified.

A man consists of what I may call an Old World of personal consciousness and, beyond a dividing sea, a series of New Worlds - the not too distant Virginias and Carolinas of the personal sub-subconscious and the vegetative soul; the Far West of the collective unconscious, with its flora of symbols, its tribes of aboriginal archetypes; and, across another, vaster ocean, at the antipodes of everyday consciousness, the world of Visionary Experience.