The first quarter of this novella takes place on land, in a small Cuban fishing village on Tuesday evening, September 12, and Wednesday morning, September 13, 1950. The novella's point-of view in this section is that of an omniscient narrator (in the sense of knowing more than any one character and having access to the perspectives of multiple characters). With the exception of minor shifting to Manolin's thoughts, this third-person narrative is limited to and concentrates on Santiago and his actions. What readers know of Santiago's thoughts in this section of the novella comes from the narrator's statement of them, although this perspective later shifts when the story shifts to the sea. Most of this section's activities represent the characters' preparations for Santiago's setting out to sea on Wednesday morning for what will become the story's great struggle. Yet almost immediately those activities become surface realism, details that are mentioned but mostly glossed over and seen as the routine Santiago usually follows. On the other hand, Hemingway's preparations here not only set the stage but predict the plot of this deceptively simple tale, touch on the story's multiple themes, and begin to reveal in the story and its characters layers of meaning and larger and larger significances.
From its first paragraphs, the novella is replete with religious images and allusions. After 40 days without a catch in Santiago's boat, Manolin's parents have sent him out with another fisherman because they believe that Santiago is unlucky. The number 40 here suggests the stories of Noah (who also had to endure social separateness and ridicule and endure great hardship on a boat at sea) and of Moses (who was able to see the Promised Land and lead the children of Israel to it but never dwell there himself). Likewise, Manolin's catch of three fish his first day out with the other fisherman suggests the three days the people of Israel went without water before Moses struck the rock, the Trinity, and the story of the loaves and fishes that fed the multitude of Christ's followers. Santiago's name is Spanish for St. James, an apostle and fisherman. Men who are kind to Santiago are named Perico and Pedrico (both forms for Saint Peter) and Martin (for Saint Martin), suggesting disciples, spiritual followers, or men of faith. On the wall of Santiago's shack hangs a portrait of the Virgin of Cobre, the patroness of Cuba. Even Manolin's name (the diminutive of Manuel) is Spanish for Emmanuel, the Redeemer, although the full significance of his name becomes clear only at the story's end.
