The Old Man and the Sea is a story that "should be read easily and simply and seem short", writes Hemingway in a letter to his friend Charles Scribner, "and yet they all dimensions of the visible world and of the world of the spirit of man" (738). Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Out of admiration of Santiago's 3-day hand-to-hand combat, his dream of the African lion, and his famous "destroyed but not defeated", it is often believed that the "spirit of a man" is represented by the Santiago's courage, strength, dignity, wisdom, and endurance, Philip Young praises Santiago's struggle as "heroic" and his capacity for "such decency, dignity" and "heroism" (100, 113). Likewise, Leo Gurko celebrates the Old Man's “emphasis on what man can do” in the world “where heroic deeds are possible” and Santiago's struggle as “transcendent” (377-82). Gerry Brenner summarizes that the Old Man is often seen as a fantasy to "nurture our imaginative capacity to wonder, marvel, and be awed" and "satisfies the conventional human desire to perform in extraordinary ways" (10). But is Santiago really such a courageous and self-confident hero, even a bit fairy-tale like, as we think? Is the hidden message of the “heart of man” really so unrealistically heroic and full of strength? Hemingway's own words might suggest another story: “I tried to make a real man, a real boy, a real sea, a real fish, and real sharks” (74). If it is to be “real,” then it may be necessary to re-examine Santiago, a heroic figure too often taken for granted to rise above the ordinary. A careful reading of Hemingway's fiction reveals that Santiago is not a hero but as an old man struggling desperately with age, like any other normal old man. Santiago's experience at sea highlights old age as his true adversary. The calm and apparently confident appearance and the violent fight with fish and sharks are self-deception and self-defense. Strong extrinsic actions have served, contrary to what they intend to cover, as a lens through which we can see what is fragile and problematic within. This observation not only reveals the fierce and desperate inner struggle beneath Santiago's calm and confident exterior, but can also serve as a way to see the sad part of “the spirit of man” thus enriching the character and making him more human. Santiago's lost confidence is evident from the first paragraph of the Old Man: “The sail was patched with flour sacks and, furled, it seemed the flag of permanent defeat” (5). The patched sail of flour sacks is the symbol of a man. As the next paragraph describes, Santiago has “deep scars” and “none” of which “[are] fresh” (6). When the old, worn sail is seen as “the flag of permanent defeat,” it might be better understood as a sign of its defeat. In the same way, the shadow that old age casts on Santiago's mind is truly a shadow that obsesses: it announces not a simple defeat but a "permanent" defeat - which every elderly person receives as a definitive sentence - which the young man, together with his confidence of youth is gone forever, no matter how much you want or even beg to stay. It is a "permanent defeat". It may not be a problem to accept the fact that Santiago is old, but it may take some effort to learn that Santiago's apparent confidence is a disguise, because the message that Santiago is confident and strong is well established. in the minds of readers by Hemingway's carefully designed description. This effort can beseen throughout the novella, particularly at the beginning. From the beginning, readers are constantly reminded of Santiago's “cheerful,” “undefeated,” and “confident” eyes (6, 8) and that “[h]is hope and his confidence had never disappeared” (8). These descriptions trap readers in the belief that Santiago is still full of strength, confidence, and power. A closer reading, however, neutralizes all the statements that are intentionally disguised. Below are two dialogues between Santiago and Manolo: “But are you strong enough now for a really big fish?” "I think so…". (9)“There are many good fishermen and some great ones. But it's only you." "Thank you. You make me happy. I hope no fish comes along big enough to prove us wrong." "There is no such fish if you are still as strong as you say." "I may not be as strong as I think." (16, emphasis added) When his strength and his confidence become the topic, Santiago gives a weak and helpless "I think so", nothing more than a definite and positive answer. In the second dialogue, he cautiously tries to make excuses for his possible failure – this happens even before he goes out into the sea and encounters some fish – a clear display of his lack of confidence. The reason he doesn't answer “no, I can't anymore” could be twofold: he doesn't want to disappoint Manolo and fail to live up to his expectations even more; importantly, he himself refuses to admit that he has lost faith, which begins long before any physical fight with fish and sharks, is the real battleground. so big” that he waved confidently; it is old age itself that leads him to doubt, however reluctant he is to admit and accept it. This point can best be demonstrated by examining another of Hemingway's short stories, "A Clean, Well-Lighted Place": "You have youth, confidence, and a job," said the older waiter. “You have everything.”“And what do you miss?”“Everything except work.”“You have everything I have.”“No. I've never had confidence and I'm not young." (105)This dialogue between two waiters – one old, the other young – directly reveals that the reason for an old man's trust is the passing of “youth”; in other words, “not young”, no longer young becomes the real problem of the old, and it is devastating. The old waiter is as helpless as Santiago; the only difference might be that, while the old waiter gives up the fight and acknowledges the sad truth, Santiago is still trying to deny it, even if he does so with wisdom, calm and dignity. The struggle Santiago faces in recognizing his declining confidence and refusing to acknowledge it happens over and over again throughout his fight with the big fish. Santiago’s monologues of encouragement to himself show his struggle: “…I can last. You have to last. Don't even talk about it” (65); “I'm not good for many more rounds. Yes, you are, he told himself. You are good forever” (68). These words, rather than being a demonstration of his strength and confidence, actually reveal his weakness. His constant self-deception in forcing himself to think positively and believe that he is capable and good reveals the internal battle he has against his weakness and tiredness. Although Santiago tries hard to deny that he is old and tired and is cautious in his words, there are still slips of the tongue. After the long and exhausting fight with the fish, he says: “I am a tired old man”. He must have realized the potential danger of acknowledging that he is “tired” and “old” – however true that is – so he immediately adds, “but I killed this fish” (70). He certainly pays a lot of attention to his words, even in the monologue, and his sigh of being “tired” and “old” is hidden too soon. But once he forgets to hide it and speaks openly (perhaps unconsciously): "Mi.