the old Man and the Sea

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A marlin

The old man and the sea (original title The Old Man and the Sea ) is a short novel written by Ernest Hemingway in the spring of 1951 in Cuba , which was first published in August 1952 in Life magazine . The first version of the book was published in the same year by Scribner Verlag in New York.

The Old Man and the Sea is Hemingway's last work to be published during his lifetime and is considered one of his most famous. The focus of the action is the Cuban fisherman Santiago, who is wrestling with a huge marlin . Although the work was the subject of harsh criticism, it is one of the most important works in the literature of the 20th century. The old man and the sea reaffirmed Hemingway's rank in world literature and helped win the 1954 Nobel Prize in Literature .

action

The Old Man and the Sea tells the epic battle between an old, skilled fisherman and a gigantic marlin , probably the biggest catch of his life.

The novella begins with the fisherman Santiago returning home - for 84 days without a successful catch. Bad luck haunts him. The parents of his assistant Manolin have already forbidden him to continue going out with Santiago. Instead, they send manolin out to sea with more successful fishermen. But Manolin is still connected to Santiago and sneaks into his hut in the evening, hauls the old man's nets and brings him food. They often talk about American baseball , especially Joe DiMaggio , Santiago's great idol. One day, Santiago confidently declares to the boy that he will drive far out into the Gulf the next morning to end his losing streak.

On the 85th day, Santiago drives far into the gulf alone. He puts out his lines. Around noon a big fish takes a bite. Santiago is sure to have a marlin on the hook. He cannot heave the big fish into the boat, instead the marlin pulls the vehicle behind him. Two days and two nights of fighting go by, with the old man clutching the cutting line with sore hands. Because of the wounds and agony the marlin inflicts on him, Santiago develops a spiritual bond with the fish. He starts calling him brother.

On the third day of the ordeal, the fish begins to circle - a sign of exhaustion. Santiago, completely drained and delirious , reaches for his harpoon and uses it to kill the mighty marlin.

He ties the fish to his boat and makes his way home. The fish will fetch a good price and fill a lot of people, he thinks. With these considerations, Santiago realizes that the powerful marlin possesses an extraordinary dignity. Nobody has the right to eat it.

On the way home, a multitude of sharks are drawn to the blood that the marlin loses. The first, a large mako shark , is killed by Santiago with his harpoon, which he loses in the process. But even without this weapon, he kills three more sharks with the help of his knife, but it breaks. He tries to kill more sharks with a club, without much success. At night, other predatory fish also tear the remaining meat off the marlin's body. Santiago is just the bare skeleton. Finally he reached the port before dawn on the fourth day. Santiago scourges himself for losing the marlin and drags the heavy mast of his boat on his shoulders to the hut. There he immediately falls into a deep sleep.

The next day, many fishermen meet on Santiago's boat, to which the skeleton of the marlin is still tied. Tourists from a nearby café think it is a shark skeleton. Manolin is also among them and worries about the old man. He bursts into tears when he finds him safely asleep with his hands wide open. Then he brings the newspaper and coffee. After Santiago wakes up, the two promise to fish together again. For the time being, Santiago continues to sleep and dreams of lions on an African beach.

Overlaying different layers of meaning

In The Old Man and the Sea , the plot is consistently interwoven with an autobiographical, socially critical, intertextual and religious layer of meaning. Even in the first few sentences of the exposition , Hemingway linked the plot with a religious level of meaning; the introduction to the situation is presented linguistically in a form that contains echoes of Job 1,1  EU and in the second sentence to the temptation of Christ in the desert ( Matthew 4,2  EU and Luke 4,2  EU ). As in the fate of Job in the Old Testament and in the episode from the life of Christ, the story of the old man is about the theme of temptation, perseverance, and probation.

Some performers see the relationship between 'Man and God' in The Old Man and the Sea . The old man stands for the "simple and good" people, the sea symbolizes the creative evolution. Hemingway's novella deals in both a religious and a non-religious sense with the limitation of man and the omnipotence of nature.

The motif of solitary fishing refers intertextually to Ahab's fight with the white whale in Melville's Moby-Dick ; A little later, with the mention of the harbor restaurant and the introduction of society and the social environment, the Melville class in turn is networked with the socially critical level of meaning. The plot itself moves initially within the framework of Hemingway's scheme of a representation of the inevitable struggle for existence, the description of which is characterized by the combination of simple verbs and nouns in simple, but stylized sentences. As the protagonist, Santiago stands in a long tradition of Hemingway heroes ( Code Hero ) with clear autobiographical features, who represent Hemingway's own views, but in this novella age at the same time as the author.

According to Hemingway's own statements, the background is drawn over a large area based on Cézanne ; the old man's lion dream expresses the autobiographical layer of meaning as a leitmotif . After the first dream on the evening before the trip, the dream helps the old man to survive the sufferings and closes the story in apparent consolation. Next to it stands Santiago's memory of the victorious battle with the black man from Cienfuegos . Once strong, he had believed that he could defy others and the environment in order to assert himself. The glittering, great time is over, however; he only fights for the sake of the fight and lives from memory. This is how Santiago fights his last great battle; however, he is denied ultimate victory; only solitude remains.

The problem of inner self-confidence is expressed in the motifs of dreams and memories; Santiago has to ask himself whether his confidence in loneliness is not ultimately just a dream or an illusion - a self-deception to make his life bearable. Although Santiago finds a dignity in this self-deception that is also recognized by those around him, it remains questionable whether this type of dignity makes sense.

From an autobiographical point of view, Hemingway weakens his own ideal with the figure of Santiago, which he has so far represented in his literary work as a possibility of life and which in part has also exemplified in his own life: in the fight with the fish, the old man recognizes his own limits and accept them; As the writer grows old, Santiago has to prove his strength again and again.

Unlike the narrative character of Nick Adams , who at Indian Camp combines the experience that life and death are inseparable and at the same time combines the feeling that he would never die himself, Santiago as a hero is far closer to death; The Old Man and the Sea now represents the transition of the Hemingway hero from adulthood to old age, in which the strength gradually wears out.

The connection to the level of social criticism is made through the figure of Manolin and the theme of partnership, which takes the place of natural fatherhood or the love relationship between man and woman in Hemingway's early works. With the baseball game, the other topics are equally as leitmotif: newspaper, radio and the social environment in the harbor restaurant.

The model is based on the reality figure of the great baseball player Joe DiMaggio, who differs from other baseball players in his awareness that as a great lone fighter he is also a team player. He also endures the suffering and continues to fight for his team despite a painful foot bone injury. The Yankees can't lose if he's the same; With this intended scene statement, it becomes clear at the same time that Hemingway here, as can also be seen in the closeness and connection between Manolin and Santiago, gives up the dream of the independent lone warrior and admits to the idea of ​​a community in which individualists become equal partners through solidarity. Only through this kind of cooperation and mutual help and support can the historical idea of ​​"Life, Liberty and the Pursuit of Happiness" from the American Declaration of Independence be implemented and implemented in contemporary social reality to be met. In a sentential , as it were evocative form, the belief in the American Dream is repeatedly affirmed in The Old Man and the Sea .

Background and publication

Ernest Hemingway with family and four captured marlins, 1935

Most biographers agree that the works of Hemingway, which appeared after Who Takes the Hour , that is, after 1940 and up to 1952, are the weakest of his career. Above all, the novella About the river and into the woods from 1950 was almost unanimously judged by the critics as a self-parody . Apparently, his participation in the Second World War as an Allied war correspondent did not lead to an equally fruitful creative phase as his experiences in the First World War ( In Another Land , 1929) or in the Spanish Civil War (For whom the hour strikes ).

As early as 1936, the short story On the Blue Water appeared in Esquire magazine . Hemingway had originally planned to use this story of Santiago the Fisherman, which later emerged as The Old Man and the Sea , as part of a great work he would call The Sea Book . Some aspects of this planned book can be found in the posthumously published novel Islands in the Stream . However, the positive response to the Santiago story prompted Hemingway to write an independent work.

The approximately 27,000 word long novella first appeared in full in 1952 in the August issue of the literary magazine Life . 5.2 million issues of this issue were sold within two days. Hemingway dedicated the book to his publisher Charles Scribner and his editor Maxwell Perkins .

Hemingway did not publish The Old Man and the Sea until two years after it was written, almost exactly 100 years after the appearance of Melville's novel about Ahab's battle with the white whale in 1851; this date of first publication chosen by Hemingway indicates that he intended to present his work on the 100th anniversary of Moby-Dick .

Originally, The Old Man and the Sea as the third part of a magnum opus planned over the land, the air and the sea, depict the social criticism probably in a comprehensive manner Hemingway's vision of the modern age and design should.

The novella was translated into German by Annemarie Horschitz-Horst . This version, which was only in German until 2012, was first published in 1952 by Steinberg Verlag in Zurich and Rowohlt Verlag in Hamburg. Curiously, in some of the early editions, the original title was misspelled as "The Old Men and the Sea". With just under a million copies, the book is also a bestseller in Germany . In 2012 a new translation by Werner Schmitz was published by Rowohlt-Verlag .

Inspiration for the main character

Gregorio Fuentes 1998, Pilar can be seen on the photo .

When asked about the role model for the character of the old fisherman, Hemingway said to a journalist: “It's a man's fight with a fish [...] The old man is not a specific person ... A lot of people have said that this or that is the old man and someone else be the child. It's a big donkey! I wrote this story based on my fishing experience over the course of thirty years in these waters and before. Most fishermen from Cojimar have had similar experiences ... If the old man is anyone, he is the father of Chago, who died four years ago. I've often fished with him. "

The biographers largely agree, however, that the Cuban fisherman Gregorio Fuentes , who is best known by his nickname Goyo , served as a model for the figure of Santiago .

Fuentes was born in Lanzarote in 1897 and immigrated to Cuba with his parents when he was six. There he met Hemingway in 1928, and in the following years he looked after his boat for a fee. Hemingway himself lived in Cuba with his third wife Martha Gellhorn from 1940 and with Mary Welsh , his fourth wife, from 1946 . One of his favorite activities there was sailing and fishing in the boat he had named Pilar .

A close friendship developed between the two men. Fuentes was the captain of the Pilar for over 30 years , including when Hemingway was away from Cuba.

Fuentes himself stated that the story did not go directly back to him. Rather, it is based on an encounter with Hemingway during a fishing trip. He and his friend Carlos Gutierrez met an old fisherman and boy companions who were fighting a large fish on a rickety wooden boat. Hemingway and Gutierrez offered to help, but it was vehemently rejected.

Fuentes died of cancer in 2002 at the age of 104. Shortly before his death, he donated the Pilar , which Hemingway had bequeathed to him in his will, to the Cuban government, which is exhibiting the boat in front of Hemingway's former farmhouse "Finca Vigía" near Havana. He never read The Old Man and the Sea because he was illiterate.

Since Gregorio Fuentes was only 54 years old in 1952, so too young to be a role model for the fisherman Santiago, other Hemingway researchers assume that the fisherman is not a single person but a multitude of role models. The fishermen of Cojímar known to Hemingway such as Anselmo Hernández, Carlos Gutiérrez or Miguel Ramírez influenced the main character of this novella.

Reaction and critical analysis

The Old Man and the Sea revived Hemingway's literary reputation and led to a re-evaluation of all of his work. The novella quickly became very popular and re-instated readers' confidence in Hemingway's talent. The publisher Charles Scribner called the novella Neue Klassik and compared it with William Faulkner's Der Bär from 1942 and Herman Melville's Moby-Dick from 1851.

In contrast to previous works by Hemingway, the response from literary critics was initially quite positive, although the work was understood and interpreted differently. One of the criticisms took The Old Man and the Sea as the story of a simple fishing story, whose plot largely Hemingwayschen sense as realistic is to understand representation of a vital struggle for existence, while in other positions, the importance of narrative to a solid parabola was increased .

In the period that followed, the early criticism switched from the originally positive image, which extended to the veneration of cautious mysticism and pseudo-religious intonation, to a rejection and reduction of its meaning to mere deception. The latter with the reference to the fact that Hemingway, once a devoted student of realism, lost himself in a description of Santiago in a supernatural, almost clairvoyant impossibility and failed.

The initially rather exuberant reception of the story was followed by an interpretation of the novella as a disappointing smaller work. Particularly noteworthy in relation to this change is the critic Philip Young . In 1952, right after the novella was published, he wrote: "[It is the book] in which [Hemingway] expresses the finest single thing that he ever expressed and that he could ever hope to express." In 1966 the same author remarked, that in "the failed novella" Hemingway too often "loses himself".

Hemingway's biographer, Kenneth S. Lynn , considered the work "a barely veiled parable about Hemingway's struggle with himself as a writer and as a man."

Only in the subsequent literary discussion and examination of the work did the analyzes and work assessments turn out to be more differentiated.

Hemingway's formulation from the novella: "One can be destroyed, but one must not give up" has been incorporated into common parlance as an aphorism .

Awards

The old man and the sea has received several awards. On May 4, 1953, Hemingway received the Pulitzer Prize for Fiction for the novella . In the same year he was awarded the Award of Merit Medal for the Novel by the American Academy of Letters . In 1953 Hemingway was also nominated for the National Book Award for the novella , but was subject to Ralph Ellison . Finally, Hemingway received the Nobel Prize in Literature in 1954 , "for his mastery in the art of storytelling, just demonstrated in The Old Man and the Sea," and for the influence he had on today's style. "

The old man and the sea has been included in the ZEIT library of 100 books .

Film and theater

The novella was filmed several times . The first film adaptation was made in 1958 with Spencer Tracy as Santiago and Felipe Pazos as Manolin. The script was adapted by Peter Viertel . Directed by John Sturges and, unnamed, Henry King and Fred Zinnemann . The film won the Academy Award for best music and was nominated in the categories " Best Actor " and " Best Cinematography ". The film-dienst describes the film as a "true to the text, but only partially doing justice to the atmosphere and literary rank of Hemingway's short novel of the same name; excellent in the embodiment of the main character, worth considering in the spiritual dimensions. "

In 1989 a remake was made of a television film with Anthony Quinn in the role of Santiago. In this version, two characters appear who do not appear in the novel: Tom and Mary Pruitt, played by Gary Cole and Patricia Clarkson . Directed by Jud Taylor based on the script by Roger O. Hirson .

The 1990 Cuban film Hello Hemingway , directed by Fernando Pérez , is about Larita, a girl who reads the novel The Old Man and the Sea and dreams of studying. Their failure due to social conditions takes place parallel to the failure of the fisherman in the novel.

In 1999, the 100th year of birth of Hemingway, appeared with The Old Man and the Sea , an existing from 29,000 hand-painted frames big-screen animation movie by Alexandr Petrov . The project started in 1995 after Petrov met the Canadian animation film company Productions Pascal Blais . This film won the Oscar for best animated short film in 2000 .

The 2013 movie All Is Lost with Robert Redford in the lead role, in which a man takes up the fight against wind and weather after the accident on his yacht , is not a direct adaptation of the book, but is very similar to the novella in several respects . This applies above all to loneliness, the will to fight and the recurring and more serious setbacks. These parallels have been repeatedly emphasized by film reviews.

In 2011 the novella was first performed as a play at Cape Arkona on Rügen . Horst Janson took over the leading role , directed by Jens Hasselmann.

Impact history

Numerous allusions in pop culture refer to Hemingway's novella, e.g. B. in individual episodes of the television series Arrested Development , Family Guy , The Simpsons , South Park and others. The title of the novel was the inspiration for the name of the Danish prog rock band The Old Man & The Sea . In the band's autobiography Until the bitter end… of the rock group Die Toten Hosen , the chapter on drummer Wolfgang “Wölli” Rohde is entitled “The old man and the snare ”.

Others

In 1952, in its review of the novella on the occasion of the publication of the German first edition, Der Spiegel pointed out that, to the surprise of American critics, the “long-suffering old fisherman first appeared in an article in 1936 that Hemingway had written for the men's magazine Esquire. "Smugly, it was emphasized in this review that those critics" who had smelled the big fish a symbol for Hemingway's previous novel 'Across the River and into the Forests', which was not very favorably received by the critics, "were completely wrong with this interpretation would have been.

literature

  • Ernest Hemingway: The Old Man and the Sea . Authorized translation by Annemarie Horschitz-Horst , 20th edition, Rowohlt Taschenbuch rororo 22601, Reinbek bei Hamburg 2005, ISBN 978-3-499-22601-4 ; New edition and new translation by Werner Schmitz, Rowohlt, Reinbek bei Hamburg 2012, ISBN 978-3-498-03020-9 (= Belletristik BV 03020 ).
  • Ernest Hemingway: The Old Man and the Sea. Reclam's Universal Library for Foreign Language Texts, edited by Hans-Christian Oeser , Reclam, Stuttgart 2013, ISBN 978-3-15-009075-6 .
  • Harold Bloom (Ed.): Ernest Hemingway's The Old Man and the Sea. Bloom's Literary Criticism Books, New Edition, Infobase Publishing, New York 2008, ISBN 978-1-60413-147-5 . Online as a PDF file
  • Reiner Poppe: Ernest Hemingway: The Old Man and the Sea. King's explanations and materials , vol. 256. Bange , Hollfeld 2005. ISBN 978-3-8044-1723-6 .
  • Philip Young: Ernest Hemingway . Holt, Rinehart & Winston, New York 1952, ISBN 0-8166-0191-7 .
  • Joseph Waldmeir: Confiteor Hominem: Ernest Hemingway's Religion of Man . Papers of the Michigan Academy of Sciences, Arts ans Letters XLII, 1957, pp. 349-356.
  • Katherine T. Jobes (Ed.): Twentieth Century Interpretations of “The Old Man and the Sea”. Prentice Hall, Englewood Cliffs 1968, ISBN 0-13-633917-4 .
  • Paul G. Buchloh: Layers of meaning in Ernest Hemingway's The Old Man and the Sea . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger - interpretations. (= Kiel contributions to English and American studies. Volume 6.) Karl Wachholtz Verlag, Neumünster 1968, pp. 224–241.

Audio books

There are three German-language readings that have also been published on CD :

Web links

Individual evidence

  1. ↑ See the genesis of the work Carlos Baker: Ernest Hemingway - A Life Story . The Literary Guild , London 1969, pp. 582ff. See also Megan Floyd Desnoyers: Ernest Hemingway: A Storyteller's Legacy , pp. 12f, available online from John F. Kennedy Presidential Library Online Resources . Accessed on 13 May 2017. The printer's proof of the work that Hemingway after completion of the manuscript also on his Finca Vigía near Havana proofread has, established in October 2009 by the Cuban government of John F. Kennedy Presidential Library in Boston passed. See Hemingway Letters and Documents from Cuba Now Available in the US for the First Time at the JFK Library . Retrieved on May 13, 2017. For the publication history, see also Carlos Baker: Hemingway - The Writer as Artist . Princeton University Press, New Jersey, 4th edition 1972, ISBN 0-691-01305-5 , pp. 294ff.
  2. ↑ Cf. the summary of the various interpretive approaches mentioned in host Williams: The Old Man and the Sea: The Culmination. In: Harold Bloom (Ed.): Ernest Hemingway's The Old Man and the Sea. Bloom's Literary Criticism Books, New Edition, Infobase Publishing, New York 2008, ISBN 978-1-60413-147-5 , pp. 31-52, here especially pp. 32ff.
  3. ↑ See Paul G. Buchloh: layers of meaning in Ernest Hemingway's The old Man and the Sea . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger - interpretations. (= Kiel contributions to English and American studies. Volume 6.) Karl Wachholtz Verlag Neumünster 1968, pp. 224–241, here pp. 228f. For the symbolic biblical parallels see also Reiner Poppe: The Old Man and the Sea . In: Reiner Poppe: Ernest Hemingway · From the short story · Investigations and comments . Beyer Verlag Hollfeld / Ofr. 1978, ISBN 3-921202-40-X , pp. 69-77, here pp. 74f. and Melvin Backman: Hemingway: The Matador and the Crucified. Reprinted in: Carlos Baker (Ed.): Hemingway and his Critics. An International Anthology. Hill and Wang, New York 1961, pp. 245-258, here pp. 256 f.
  4. ↑ See host Williams: The Old Man and the Sea: The Culmination. In: Harold Bloom (Ed.): Ernest Hemingway's The Old Man and the Sea. Bloom's Literary Criticism Books, New Edition, Infobase Publishing, New York 2008, ISBN 978-1-60413-147-5 , pp. 39ff. See also Wolfgang Stock: What is Hemingway's 'The Old Man and the Sea' about? Hemingway's World, accessed on February 19, 2019. For a Christian interpretation of the novella, see also Carlos Baker: Hemingway - The Writer as Artist . Charles Scribner's Sons , 4th ed. New York 1973, ISBN 0-691-01305-5 , pp. 299f. and Melvin Backman: Hemingway: The Matador and the Crucified. Reprinted in: Carlos Baker (Ed.): Hemingway and his Critics. An International Anthology. Hill and Wang, New York 1961, pp. 245-258, here pp. 256 f. See also the review by Dieter E. Zimmer : The old man and the sea. In: Die Zeit from April 20, 1979. Online , accessed August 18, 2018.
  5. ↑ See Paul G. Buchloh: layers of meaning in Ernest Hemingway's The old Man and the Sea . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger - interpretations. (= Kiel contributions to English and American studies. Volume 6.) Karl Wachholtz Verlag Neumünster 1968, pp. 224–241, here pp. 228f. On the intertextual, autobiographical and symbolic-religious levels of meaning, see also Arvin R. Wells: The Old Man and the Sea . In: John V. Hagopian and Martin Dolch (Eds.): Insight I - Analyzes of American Literature . Hirschgraben Verlag, 4th supplemented edition, Frankfurt am Main 1971, pp. 111–121, here in particular pp. 112–117.
  6. ↑ See Paul G. Buchloh: layers of meaning in Ernest Hemingway's The old Man and the Sea . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger - interpretations. (= Kiel contributions to English and American studies. Volume 6.) Karl Wachholtz Verlag Neumünster 1968, pp. 224–241, here p. 230.
  7. ↑ See Paul G. Buchloh: layers of meaning in Ernest Hemingway's The old Man and the Sea . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger - interpretations. (= Kiel contributions to English and American studies. Volume 6.) Karl Wachholtz Verlag Neumünster 1968, pp. 224–241, here p. 231.
  8. ↑ See Paul G. Buchloh: layers of meaning in Ernest Hemingway's The old Man and the Sea . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger - interpretations. (= Kiel contributions to English and American studies. Volume 6.) Karl Wachholtz Verlag Neumünster 1968, pp. 224–241, here p. 232.
  9. ↑ See Paul G. Buchloh: layers of meaning in Ernest Hemingway's The old Man and the Sea . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger - interpretations. (= Kiel contributions to English and American studies. Volume 6.) Karl Wachholtz Verlag Neumünster 1968, p. 224–241, here p. 232 f.
  10. ↑ See Carlos Baker: Hemingway - The Writer as Artist . Princeton University Press, New Jersey, 4th edition 1972, ISBN 0-691-01305-5 , pp. 294ff.
  11. ↑ The number of words refers to the American first edition in Life Magazine . See The Editors (August 25, 1952): From Ernest Hemingway to the Editors of Life. Life. Time Inc. 33 (8): 124. ISSN  0024-3019 . "Hemingway's work is a 27,000-word novel called The Old Man and the Sea" digitized . Retrieved May 13, 2017.
  12. ↑ See Carlos Baker: Ernest Hemingway - A Life Story . The Literary Guild , London 1969, pp. 592 and 595.
  13. ↑ a b See Paul G. Buchloh: layers of meaning in Ernest Hemingway's The old Man and the Sea . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger - interpretations. (= Kiel contributions to English and American studies. Volume 6.) Karl Wachholtz Verlag Neumünster 1968, pp. 224–241, here p. 227.
  14. ↑ In 1999 the Rowohlt-Taschenbuch-Verlag published the 949. – 968. Thousands, plus a large number of special editions
  15. ↑ Jessica Antosik: Hemingway translator Schmitz reports on his work. uepo.de, August 19, 2012.
  16. ↑ quoted from: Georges-Albert Astre: Ernest Hemingway in self-testimonies and image documents. rowohlts monographien, 73, Rowohlt, 3rd edition 1964, pp. 142f
  17. ↑ a b Hemingway's 'Old Man' dies in Cuba . BBC News , January 14, 2002, accessed May 7, 2008 .
  18. ↑ David Galens (Ed.): The Old Man and the Sea Study Guide . BookRags, Farmington Hills 2002 ( online [accessed May 7, 2008]).
  19. ↑ Gregorio Fuentes is Hemingway's captain , stockpress.de, September 19, 2010.
  20. ↑ Wolfgang Stock: Who is Hemingway's "old man"? - Hemingway's world. In: hemingwayswelt.de. June 15, 2014, accessed May 30, 2017 .
  21. ↑ Kenneth S. Lynn: Hemingway. A biography . Rowohlt, Reinbek 1989, ISBN 3-498-03851-6 , p. 721 f.
  22. ↑ See e.g. B. Paul G. Buchloh: Layers of meaning in Ernest Hemingway's The Old Man and the Sea . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger - interpretations. (= Kiel contributions to English and American studies. Volume 6.) Karl Wachholtz Verlag, Neumünster 1968, p. 226ff.
  23. ↑ The sentence "A man can be destroyed but not defeated" was translated into German quite differently by different Hemingway translators. See Wolfgang Stock, Ernest Hemingway and his German translator , April 26, 2019 on hemingwayswelt.de
  24. ↑ Original quote: "for his mastery of the art of narrative, most recently demonstrated in 'The Old Man and the Sea", and for the influence that he has exerted on contemporary style "- quoted and translated from: The Nobel Prize in Literature 1954 - Retrieved May 5, 2008
  25. ↑ cf. Lexicon of International Films 2000/2001 (CD-ROM)
  26. ↑ TIME: The old man and the fight. Retrieved April 23, 2014 .
  27. ↑ Frankfurter Rundschau: The old man and the ocean. Retrieved April 23, 2014 .
  28. ↑ The old man and the sea , deraltemannunddasmeer.de, accessed on October 1, 2011
  29. ↑ South Park - Episode 159: LesBos
    Family Guy - Episode 29: The White Thin Line
    The Simpsons - Episode 174: The Old Man and Lisa / Another allusion can be found in Simpsons Comics 138 under the title The Bald Man and the Sea .
  30. ↑ Die Toten Hosen: Until the bitter end ... - Die Toten Hosen tell their story . Arranged by Bertram Job . Kiepenheuer & Witsch, Cologne 1996. 1st edition. P. 273
  31. ↑ The old man and the criticism . In: Der Spiegel . No. 50 , 1952 ( online - 10 December 1952 ).