【正文】 ionship between the protagonist and the Marlin somewhat embodies the very existence and faith of human beings. The Marlin is graceful and noble, and its existence supports Santiago?s life and his faith. Yet the sharks are those dark forces that are destructive to human life. They are indicative of all the violence and injustice in the world. For them Santiago has no respect. What he has is but ruthless revenge and a desire to conquer. In the end he loses, but he is glorious. Hemingway vividly creates an image of a tough man. Santiago emerges as a guy who reflects the author39。 《老人與?！酚矟h形象分析 Code Hero in the Old Man and the Sea 【關(guān)鍵詞】 《老人與?！?；桑提亞哥；硬漢 Introduction Introduction to the Author Ernest Hemingway is a American novelist and shortstory writer (18991961), one of the greatest American writers of the 20th Century. In 1954, Hemingway was awarded the Nobel Prize for Literature. Hemingway?s fiction usually focuses on people living essential, dangerous lives, such as soldiers, fishermen, athletes, bullfighters, who meet the pain and difficulty of their existence with stoic courage. His celebrated literary style, influenced by Ezra Pound and Gertrude Stein, is direct, terse, and often monotonous, yet particularly suited to his elemental subject matter. Content of The Old Man and the Sea There is an old fisherman, Santiago, in Cuba who has gone eightyfour days without a catch. Santiago?s lack of success, though, does not destroy his spirit, as his “cheerful and undefeated” eyes show. On the eightyfifth day, he decides to venture far out to sea, hoping to change his bad luck. He is even optimistic enough to believe that he may catch a big fish. In tune with the natural world about him, he spies birds and plankton that lead him to a good fishing spot. He carefully baits his hooks and patiently waits. Santiago?s patience pays off. Something big takes his bait, and because of his skill, the old man is able to hook it, beginning the adventure of the story. For three days and nights, he does battle with this giant creature from the sea. For most of the journey he does not even know what he is fighting, though he assumes it is a giant marlin. When the magnificent fish finally surfaces, Santiago is tremendously impressed with its size, its beauty, and its nobility. He begins to identify with the fish, almost regretting that he feels pelled to kill it. He tries to justify his actions by saying that he is not fishing for sport, but to feed himself and others. II .The Origin of the Concept of the “Tough Guy” As early as 1930, critics noticed the mon features in Hemingway?s characters and began to discuss the“code” belief of Hemingway, namely, the code of courage and honour in this nonintellectual writer. Lincoln Kirstein, Max Eastman, Wyndham Lewis, and Delmore Schwartz all emphasized Hemingway?s attention to death and physical courage, and believed that the “tough guys” of Hemingway were still under construction and far from maturity. Some critics furthered the point that the “pretentious persistence” in Hemingway?s characters is but a deliberate disguise of the “depression, disguised skepticism, and despair” 1 that is deeprooted in their true self. In his The Great Tradition: An Interpretation of American Literature since the Civil War Granville Aicks made important distinctions for Hemingway?s characters. He thought there are two types of characters, that is, one is the “autobiographical” guy, the other is the kind of guy that Hemingway himself is not but expects to be, namely, the tough guy. According to such categorization, Captain Henry in Farewell to Arms is the “autobiographical” guy and his friend is the tough guy. The criticism prevailing in the thirties in China held that the main features in Hemingway?s guy are that “they bee dumb because of the injuries of war. They no longer think, nor do they meditate. And they despise traditional morality and wellrespected values. What is left in them is but selfabandonment and a strong desire for sex.” 2 Such criticism is basically a reflection of the contemporary views abroad at that time. In the fifties, Young expanded the concept of the “Hemingway?s guy” and the “tough guy” and related them to “psychopathological morbidity”, believing that the reason “Hemingway?s guy” always confront death and injury is due to the forced repetition of the wounded experience caused by their psychological morbidity, whereas the“code”serves to provide a solution to the dilemma of such characters, enabling them to control their emotions. And the relationship between the two is one of giver and receiver. The representation of such a relationship is successfully realized in Santiago。 they are good pany just like Manolin, more often than not, the old man dreams of the lions and thinks of the boy almost simultaneously. Then, the lions appear in the old man?s dream: “He began to dream of the long yellow beach and he saw the first of the lions e down onto it in the early dusk and then other lions came， and he rested his chin on the wood of the bows where the ship lay anchored with the evening offshore breeze