The Significance Of Omens To Direct Santiago's Journey In The Alchemist

A spiritual journey is not all about the discovery, more importantly it is about uncovering the inner nature of one’s being. In the light of, a spiritual growth which is seen in Santiago's character due to the fact, he was not centered on the journey itself. Instead, he was engaged with the meaning of the atmospheric elements along the way which directed his path with a sense of purpose. During Santiago's journey he will learn about the interconnectedness of the surrounding world through the omens of nature that will reveal a hidden message about of the soul of the world. Additionally, Santiago learns along his travels that his personal legend is the essence of his life as well as, the purpose of his existence to fulfill his individual legend

Santiago made a reasonable sum of money working for the crystal merchant, and decided it was time to abandon his job to continue his search for his treasure. Along the way, he was halted by a tribal war in the desert and forced to stay in an oasis. During his visit he met a young woman named Fatima. After only a few interactions, Santiago decides he wants to marry this woman, “‘I came to tell you just one thing,’ the boy said. ‘I want you to be my wife. I love you’(Coelho, 95). What once was negative became positive. Santiago’s journey had been paused multiple times, and he was stuck in an oasis instead of venturing to the

Throughout the book, Coelho addresses the attractive quality and the sense of security that wealth and acceptable social status bring. Nevertheless, he also illustrates that one must reject the lure of riches and reputation in order to attain one’s highest potential. At first, Santiago ignores his dream to travel to Egypt because of his strong desire to earn back the money that he has lost due to the robbery. As such, Santiago becomes employed at a crystal shop and works “incessantly, thinking only of putting aside enough money so that he could return to Spain with pride” (62). Instead of saving his money for a trip across the Sahara desert to pursue his dream, at this time, Santiago wishes to return to Spain to become a shepherd once again. Here, Santiago is tempted to permanently settle down and live among people. Furthermore, Santiago also encounters a group of tribesmen and becomes a prisoner along with the alchemist. When the alchemist gives up all of Santiago’s gold, Santiago gets upset and says “You gave them everything I had! Everything I’ve saved in my entire life!” (141). Santiago is frustrated because he has saved up enough to live a life luxurious back home. Although Santiago’s sacrifice of wealth is unwillingly done by another individual, it allows him to continue his path of becoming his Personal Legend as it spares his life. By sacrificing his earthly desire and obsession with fortune, Santiago’s

How to Read Literature like a Professor, by Thomas C. Foster, is like painting a picture; with painting the first step is to paint inside the lines, but an advanced artist understands that a picture is made up of not just color, texture, and shapes, but also considers the purpose behind each stroke. Foster brings a different meaning to reading a book and draws attention to the author and his or her intention. While applying Fosters teaching's to Paulo Coelho's The Alchemist, the main character, Santiago's journey becomes more than a journey- it turns into a quest. Simple drinks and foods turn symbolic into acts of communion and while

     After teaching the boy a lot about the journey he will go through, the king gave him omens to follow. Santiago sells his sheep, and travels to a town on his way to Egypt. He finds a man that could take him past the desert to Egypt. So the boy gives him the money that he got for the sheep. When the man shows Santiago the town for a little Santiago loses him in a crowd of hundreds shopping in the markets, and loses all his money. The boy learns not to trust anyone, and is told that there are many thieves in that town.

In the novel the king of Salem tells Santiago that he is blessed to aid him in finding the treasure, and if he didn’t aid him ever he would feel guilty.

The foreshadowing in this novel prepares readers for decisions Santiago will make later on. This idea is evident when Santiago is explaining to the king why he is shepherd. "They wanted me to be a priest, but I decided to become a shepherd." "Because you really like to travel."" (Coelho 18). When the King completes Santiago's claim by saying that he loves to travel, an inference can be that he will make decisions that will keep him traveling. For example, he decides to keep going on his personal legend instead of staying with Fatima. Nonconformity is seen when Santiago tells the King that even though his parents want him to be a priest, he decides to become a shepherd. In using foreshadowing, Coelho also manages to implant symbolism in the same idea.

To begin his long journey, Santiago meets a wise old king name King Melchizedek. He is in a local market when the king walks up and asks Santiago what he is reading. The king continues to say that the book he is reading is important but irritating because it describes the characters inability to choose their own Personal Legend. When Santiago asks where this mysterious stranger is from, King Melchizedek replies with “I am from many places, but I was born in Salem as I am the king there” (Coelho 64). Accepting his statement as true, Santiago continues the conversation allowing them to eventually talk about his dream of the Pyramids. The king wants to help Santiago, but for a price of six sheep. Before leaving with Santiago’s sheep he shares, “’The secret of happiness is to see all the marvels of the world, and never to forget the drops of oil on the spoon’” (Coelho 32). His message to Santiago reminds him that by following his dream he will witness beautiful sights and people, but that he should always remember the purpose of his travels. Leaving it at that, the king pointed Santiago in the direction to follow his dream.

Even though the acts of the Mirabal sisters are based on true events, Julia Alvarez gives a fictional voice to capture and remember the spirit of their memory and carry out their legacy. Alvarez argues “a novel is not, after all, a historical document, but a way to travel through the human heart” (Alvarez 324). Alvarez successfully does this in her historical fiction novel, In the Time of the Butterflies, by enticing her readers and transporting them as if they were a part of the Mirabal family.

After living a difficult childhood life, Julia Alvarez wrote a book to represent and explain her strenuous childhood. Since In the Time of Butterflies was a representation of Alvarez’s life, she incorporated themes that she felt were attached to her childhood. In her life, family was a major

Santiago the poor adventurer boy, seeks the treasure in his dreams. Despite having a family that wanted him to become a priest. But as Santiago made way towards his journey, he was faced with the unlucky fate of being robbed of all he had. While he had nothing, he could only go up. He learned to find omens which that will lead him towards a better future. As a result he managed to land a job within a crystal merchant’s shop. Another instance is when Santiago is confronted by the love of his life. He wanted to stay with her forever, however doing so would force him to abandon his journey. Fatima,

In the story, “A Very Old Man with Enormous Wings,” writer Gabriel Garcia Marquez intertwines the supernatural with the natural in an amazing manner. This essay analyzes how Marquez efficiently utilizes an exceptional style and imaginative tone that requests the reader to do a self-introspection on their life regarding their responses to normal and abnormal events.

There are many obstacles in everyday life, but none as detrimental to ones future as fear. Fear can cause people to not only avoid achieving their goals in life but it also forces them to think about it throughout every day. Paulo Coelho’s The Alchemist shows that those who wallow in fear will never achieve their personal legend, and those who conquer fear will achieve anything they strive for. Paulo Coelho’s The Alchemist is a commonly analyzed and criticized piece of literature. One of these articles is Rejendra Kumar Dash’s “Alchemy of the Soul: A Comparative Study of Hermann Hesse’s Siddhartha and Paulo Coelho’s The Alchemist”. Dash’s article is a literary criticism of the different parts of the character’s journey in The Alchemist.

The Alchemist is a novel written by the Brazilian author Paulo Coelho, originally written in Portuguese in 1988 and later translated to English in 1993, which follows the journey of Santiago on his quest to not only follow his Personal Legend, but also to discover a world full of changes and transformations. Looking at this story at first glance might give you the feel that it will be about a boy on a quest filled with the expected trials that test his heart, strength, and character. Elements like this are present, however, the story makes the reader think deeply about the motif dealing with following the signs the universe gives. This is due to various symbols and motifs, one having to do with omens, that Santiago and many characters

Who the narrator is and where he stands in the social environment of their community allows the author to create magical realism as well. The genre of magical realism is what enriches the sense of time and helps the narrator tell the story after his return to unfold the truth of it all. This is shown through Santiago’s dreams, “He’d dreamed he was going through a grove of timber trees where a gentle drizzle was falling,...”(pg. 3) the narrator states that Santiago’s mother's interpretations of dreams had earned her a reputation, “but she hadn't noticed any ominous augury in those two dreams of her son’s, or in the other dreams of trees he’d described to her on the morning preceding his death.” (pg. 4) Reminiscing on the past events and the misinterpretation of the dreams led the narrator to later say “Nor did Santiago Nasar recognize the omen.” (pg. 4) as if he wished that Santiago could’ve noticed the foreshadowing created by the dream.