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SANTIAGO’S INTRAPERSONAL CONFLICTS IN PURSUING

HIS DREAM AS SEEN IN COELHO’S THE ALCHEMIST

A SARJANA PENDIDIKAN FINAL PAPER

Presented as Partial Fulfillment of Requirements to Obtain the Sarjana Pendidikan Degree

in English Language Education

By

Vinsensia Sulistiani Students Number: 081214101

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION

SANATA DHARMA UNIVERSITY YOGYAKARTA

2015

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJIPLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

i

SANTIAGO’S INTRAPERSONAL CONFLICTS IN PURSUING

HIS DREAM AS SEEN IN COELHO’S THE ALCHEMIST

A SARJANA PENDIDIKAN FINAL PAPER

Presented as Partial Fulfillment of Requirements to Obtain the Sarjana Pendidikan Degree

in English Language Education

By

Vinsensia Sulistiani Students Number: 081214101

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION

SANATA DHARMA UNIVERSITY YOGYAKARTA

2015


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ABSTRACT Sulistiani, Vinsensia. 2015. Santiago’s Intrapersonal Conflicts in Pursuing His Dream as Seen in Coelho’s The Alchemist. Yogyakarta: English Language Education Study Program, Department of Language and Arts Education, Faculty of Teachers Training and Education, Sanata Dharma University.

This paper discusses a novel entitled The Alchemist by Paulo Coelho. Further, it analyzes Santiago’s intrapersonal conflict in pursuing his dream. This novel tells about Santiago. He is a shepherd from Andalusia who loves travelling. When he stays in an abandoned church, he has a dream about a hidden treasure twice. It is buried near the Egyptian pyramids. In pursuing the treasure, he has to face several intrapersonal conflicts.

This paper aims to find out Santiago’s intrapersonal conflicts in pursuing his dream. Therefore, there are two problems formulated in this paper. First, “How is Santiago described in the novel?” Second, “What are Santiago’s intrapersonal conflicts in pursuing his dream?”

Further, this study is a library study. The Alchemist written by Paulo Coelho is the primary source of this study. The other sources are taken from books related to critical approaches to literature, psychology, and some articles are taken from the internet. The psychological approach is employed in this study. Some theories used in this study are theory of character and characterization, theory of conflict and conflict resolution.

Based on the analysis, Santiago is described as a man who is adventurous, determined, and optimistic. Furthermore, he has three intrapersonal conflicts in pursuing his dream. Firstly, he has to decide whether to sell his sheep or not which is classified as approach-avoidance conflict. He applies know who is involved to solve the conflict. The second conflict is to decide whether to return to Spain or not which is categorized as an approach-avoidance conflict. In dealing with this conflict, he chooses avoiding style and then he uses know who is involved. The third conflict is to decide whether to leave Fatima or not which is considered as approach-avoidance conflict. He uses mediation to solve this conflict.

This study also gives several recommendations to future researchers who are interested in analyzing The Alchemist. Future researchers may analyze Santiago’s motivation in pursuing his dream. They can also analyze the symbols in the novel such as “the alchemist” or “the treasure”. Further, after analyzing The Alchemist, this study also presents an implication. Key words: intrapersonal conflict, conflict resolution, the alchemist, treasure


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ABSTRAK

Sulistiani, Vinsensia. 2015. Santiago’s Intrapersonal Conflicts in Pursuing His Dream as Seen in Coelho’s The Alchemist. Yogyakarta: Program Studi Pendidikan Bahasa Inggris, Jurusan Pendidikan Bahasa dan Seni, Fakultas Keguruan dan Ilmu Pendidikan, Universitas Sanata Dharma.

Makalah ini membahas tentang sebuah novel berjudul The Alchemist karangan Paulo Coelho. Selanjutnya, makalah ini menganalisis konflik-konflik intrapersonal Santiago dalam memperjuangkan mimpinya. Novel ini bercerita tentang Santiago. Dia adalah seorang gembala laki-laki dari Andalusia yang sangat suka berkelana. Suatu hari, ketika menginap di sebuah gereja tua, dia mengalami mimpi dua kali tentang harta karun. Harta itu terpendam di dekat piramida-piramida di Mesir. Dalam memperjuangkan harta karun itu, dia harus mengalami konflik-konflik dengan dirinya sendiri.

Makalah ini bertujuan untuk menganalisis konflik-konflik intrapersonal yang dialami Santiago dalam memperjuangkan impiannya. Oleh karena itu, dua masalah dirumuskan dalam makalah ini. Pertama, Bagaimana Santiago digambarkan dalam novel? Kedua, Apa saja konflik-konflik intrapersonal Santiago dalam memperjuangkan impiannya?

Selain itu, studi ini merupakan studi pustaka. Novel berjudul The Alchemist karangan Paulo Coelho adalah sumber utama penelitian ini. Sumber-sumber lain yang mendukung diambil dari berbagai buku yang berkaitan dengan sastra dan pendekatan sastra, psikologi, dan beberapa artikel yang diambil dari internet. Pendekatan psikologi digunakan dalam penelitian ini. Beberapa teori yang digunakan dalam penelitian ini adalah teori karakter dan karakterisasi, teori konflik dan pemecahan konflik.

Berdasarkan hasil analisis, Santiago digambarkan sebagai seorang yang berjiwa petualang, gigih, dan optimis. Selain itu, Santiago memiliki tiga konflik intrapersonal dalam memperjuangkan impiannya. Pertama, Santiago harus memutuskan untuk menjual dombanya atau tidak yang merupakan konflik approach-avoidance. Santiago menggunakan know who is involved untuk menyelesaikan konflik pertama. Konflik kedua adalah keputusan untuk kembali ke Spanyol atau tidak yang digolongkan sebagai konflik approach-avoidance. Untuk memecahkan konflik ini, Santiago menerapkan gaya avoiding, kemudian menggunakan know who is involved. Konflik ketiga adalah tentang keputusan untuk meninggalkan Fatima atau tidak yang dikategorikan sebagai konflik approach-avoidance. Mediasi digunakan untuk memecahkan konflik ini.

Beberapa rekomendasi diberikan kepada para peneliti selanjutnya yang ingin menganalisis The Alchemist. Mereka dapat menganalisis tentang motivasi Santiago untuk mengejar impiannya. Selain itu, mereka juga dapat menganalisis tentang simbol-simbol yang ada di novel seperti “sang alkemis” dan “harta karun”. Pada akhirnya, makalah ini juga memberikan sebuah implikasi.

Kata kunci: intrapersonal conflict, conflict resolution, the alchemist, treasure


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ACKNOWLEDGEMENTS

First of all, I would like to address my sincere gratitude to Almighty God. I

can finish this paper because of His love and blessing. I thank Him for being a

faithfulGuide who never leaves me, especially when struggling to finish my final

paper.

Furthermore, I am deeply indebted to Dr. Antonius Herujiyanto, M.A. for

his patience, guidance, advice, and time during the process of finishing my final

paper. Additionally, I would like to express my great appreciation to all PBI

lecturers who have taught and helped me during my study in Sanata Dharma

University.

My eternal gratitude goes to my beloved parents, IbuYulianaTukirah and

BapakStefanusJokoPurnomo for believing in my capacity to finish my study, for

material and spiritual support, and for all the good things they have given to me. I

thank Bang DionisiusSutarto, my elder brother, for giving me encouragement to

finish this study. My gratitude is also addressed to all the members of Sunter

family, especially the late PakdeYatno and the late BudeRusmiyati, MasMoko,

andEnengTiwi for their kindness, advice, and support. I also thankPakOto, Mas

Santo,MbakMuginah, DekEfri, and AdenAnggifor their encouragement and

advice.

I want to express mythanks toall of my friends, namelyChristina Prima W.,

YolanMooy, Lusia Hani S., Paulina H.I., Agatha Viti A., Agatha TriAgungB.L.,

MaryskaFiriady, FransiskaYulia, Esther Y. Siahaan, Nita TifaniM.,and


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MasAdiHermawanfor giving me a great deal of encouragement. Additionally, I

would like to address my gratefulness to Patricia Yuristavia, Sister Fortunata,

MbakWinda, AndreoAsdifati, Elizabeth, GrasiaAnggia and HenyArdyaningrum

for the jokes, help, support, and sharing during the process of finishing this paper.

I also want to thank the members of “Enlight” group, namely Riska, Lia, Rika,

and Widifortheir friendship. Further, my gratitudealso goes tomy friends in junior

high school and senior high school, namely M. F. Clarissa, Giovanny

S.,Ambrosiana C.,WidyaJ., and Cindy for their friendship and support.

I would like to express my thankfulness to MbakDanik for her help. My

appreciation also goes to all of the library staff of Sanata Dharma University for

their service during my study. Further, I do realize that there are still many names

which I have not mentioned yet. Therefore, I am immensely grateful for what they

have done, especially during the time of finishing this final paper.

May God give them the best in return☺.

Vinsensia Sulistiani


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TABLE OF CONTENTS

Page

TITLE PAGE .......................................................................................................... i

APPROVAL PAGES ............................................................................................. ii

STATEMENT OF WORK’S ORIGINALITY .................................................... iv

DEDICATION PAGE ............................................................................................ v

PERNYATAAN PERSETUJUAN PUBLIKASI ..................................................... vi

ABSTRACT ........................................................................................................ vii

ABSTRAK ........................................................................................................... viii

ACKNOWLEDGEMENTS ................................................................................. ix

TABLE OF CONTENTS ..................................................................................... xi

LIST OF APPENDICES .................................................................................... xiii

CHAPTER I. INTRODUCTION ........................................................................... 1

A. Background of the Study ..................................................................... 1

B. Review of Related Literature ............................................................... 3

1. Theory of Character ...................................................................... 3

2. Theory of Characterization ........................................................... 4

3. Theory of Conflict ......................................................................... 6

C. Theoretical Framework ....................................................................... 9

D. Approach of the Study ........................................................................ 9

E. Method of the Study .......................................................................... 10


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CHAPTER II. DISCUSSION .............................................................................. 12

A. The Description of Santiago in The Alchemist ................................... 12

1. Adventurous ............................................................................... 12

2. Determined ................................................................................. 14

3. Optimistic ................................................................................... 15

B. Santiago’s Intrapersonal Conflicts in Pursuing His Dream .............. 16

1. To decide whether to Sell His Sheep or not ............................... 16

2. To decide whether to Return to Spain or not ............................. 18

3. To decide whether to Leave Fatima or not ................................. 20

CHAPTER III. CONCLUSIONS, IMPLICATION, AND

RECOMMENDATIONS ..................................................................................... 22

A. Conclusions ....................................................................................... 22

B. Implication ........................................................................................ 24

C. Recommendations ............................................................................. 26

REFERENCES ..................................................................................................... 27

APPENDICES ..................................................................................................... 29


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LIST OF APPENDICES

Page

Appendix A: Summary of The Alchemist ............................................................. 29

Appendix B: The Biography of Paulo Coelho ...................................................... 33

Appendix C: Lesson Plan to Teach Prose ............................................................. 34

Appendix D: The Student’s Worksheet ................................................................ 37

Appendix E: The Student’s Handout .................................................................... 39

Appendix F: The Excerpt from The Alchemist ..................................................... 43


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CHAPTER I

INTRODUCTION

This chapter consists of the background of the study, review of related

literature, theoretical framework, approach of the study, and method of the study.

The background of the study explains the reason of conducting the study. The

review of related literature shows some theories which are employed in the study.

The theoretical framework presents how the theories are applied in the study. The

approach of the study describes the approach used in the study. The method of the

study presents some steps of conducting the study.

A. Background of the Study

Works of literature can be divided into four genres, namely short stories,

novels, poetry, and plays (Rohrberger and Woods, 1971). Further, according to

Barnet, Burto, and Cain (2005), literature tells about human experiences which are

thoroughly made by the author so that it gives the readers things to value.

Therefore, reading literary works, such as novels enables the readers to understand

human experiences which are portrayed through what happens to the fictional

characters. An example of human experiences which is portrayed in a novel can

be about intrapersonal conflict in pursuing one’s dream.

Dream is something that people want to achieve in life. Therefore, people

are willing to do everything to make it come true. However, living out one’s

dream is not always easy. There is a possibility that people may face a difficulty

when trying to pursue their dreams. Another possibility is that they may face


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failure in pursuing their dreams. Nonetheless, all of those possibilities make their

lives worth living.

Further, facing the difficulty or failure may lead people to stop pursuing

their dreams. Then, they sometimes choose to live in a comfortable life in which

everything can be handled easily. Yet, it does not always make them happy.

When people have a dream to pursue, living in a comfortable life does not

always bring them happiness. However, pursuing a dream requires people to face

the difficulty. When these choices appear at the same time, it is possible to bring

people into uncertainty. It is because every choice has a consequence. Thus, it is

hard for them to make a decision. Further, this situation can trigger an

intrapersonal conflict. Lewin states that an intrapersonal conflict occurs when

people, at the same time, face two or more opposing forces that make them move

from one direction to another (as cited in Weiner, 1980). According to Kennedy

and Gioia (2010), conflict usually exists when there are some persons or things

that inhibit the protagonist from achieving his or her goal.

The Alchemist, a novel written by Paulo Coelho, tries to describe such

experience. The novel tells about Santiago. He is a young shepherd from

Andalusia. One day, while staying in an abandoned church, he dreams twice about

a hidden treasure in Egypt. He wants to search for the treasure. However, in

pursuing his dream, he has to deal with several intrapersonal conflicts.

Therefore, this study aims to find out Santiago’s intrapersonal conflicts in

pursuing his dream. There are two problems which are formulated in this study.


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The first is “How is Santiago described in the novel?” The second is “What are

Santiago’s intrapersonal conflicts in pursuing his dream?”

Furthermore, this paper hopefully can give the readers an understanding of

the meaning of a novel entitled The Alchemist especially in dealing with

intrapersonal conflict. Future researchers who are interested in the novel can

analyze the motivation of Santiago in pursuing his dream. Besides, they can also

analyze the symbols in the novel such as “the alchemist” or “the treasure”.

B. Review of Related Literature

This section contains several theories applied in this study. Each will be

explained as follows.

1. Theory of Character

Several experts have defined the meaning of characters in literary works.

For instance, Kennedy and Gioia (2010) describe a character as a made-up person

who exists in a story and behaves consistently because of his or her motive.

Furthermore, Abrams and Harpham (2009) in A Glossary of Literary Terms

describe characters as:

The persons represented in a dramatic or narrative work, who are interpreted by the reader as possessing moral, intellectual, and emotional qualities by inferences from what the persons say and their distinctive ways of saying it—the dialogue—and from what they do—the action (p. 43).

In other words, the characters are the people existing in literary works whose

morality, intelligence, and emotion can be inferred by the readers from their

dialogues and actions.


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Moreover, characters in a story can be classified as major and minor

characters (Koesnosoebroto, 1988). The major characters are the most essential

characters in a story. On the other hand, the minor characters are less essential

than the major ones because they only appear in a certain part of a story.

According to E.M. Forster, fictional characters can also be divided into

two types, namely “flat” and “round” characters (as cited in Abrams and

Harpham, 2009, p. 43). The former is described as the characters whose

characteristic does not have much detail. They usually have only one personality

and thus can be described in a single phrase or sentence. The latter is more

complicated in temperament and motivation. In addition to round characters, they

are presented with characteristics which are not immediately noticeable, and

therefore they are difficult to be described in a single sentence. In addition, Arp

and Johnson (2012) state that characters can be classified into two types, “static”

and “dynamic” or “developing” characters (p. 106). The static characters remain

the same from the beginning until the end of the story. Meanwhile, the dynamic

characters experience some changes in character, personality, or attitude.

2. Theory of Characterization

Theory of characterization is applied in this study. It is used in order to

know how the author portrays his or her characters in a story. The following are

several definitions of characterization.

According to Abcarian & Klotz (1998), characterization is a method which

aims to make the characters in literary works alive for the readers. Furthermore,

Murphy (1972) in Understanding Unseen states that characterization is “the ways


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in which the author attempts to make his characters understandable to and come

alive for his readers” (p. 61). It means that the characterization is a technique that

the author uses to describe the characters in literary works so that they seem lively

and can be understood by the readers.

As proposed by Murphy (1972), the following ways show how the author

describes his or her characters in literary works.

a. Personal description

A character can be portrayed through the way he or she looks like or the way

he or she wears clothes, for instance, the author directly shows the shape of

their body, their skin, their face, and their clothing.

b. Character as seen by another

The author can also represent his or her character from the point of view of

other characters. From the other characters’ point of view, the readers can get

the description of the character’s personality or appearance.

c. Speech

The author can also represent the personality of his or her character through

the way he or she speaks, the way he or she gives an idea, or the way he or

she is talking with another characters.

d. Past life

The author helps the readers to discover the character’s personality from his

or her past life.


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e. Conversation of others

The readers can also determine the character’s personality from the

conversation between the characters in the story and from what other

characters say about him or her.

f. Reactions

The personality of the character can also be seen through the way he or she

gives a response to an event or situation happening to him or her.

g. Direct comment

The author directly gives his or her opinion of what kind of person his or her

character is.

h. Thoughts

The readers can have an insight of the character’s personality in a literary

work through what is on the character’s mind.

i. Mannerism

The character’s personality can also be seen through his or her action.

3. Theory of Conflict

a. Definition and Types of Conflict

Conflict can be divided into two types, namely intrapersonal conflict and

interpersonal conflict (Worchel and Cooper, 1979). The intrapersonal conflict is a

conflict when a person has to make a decision between two or more different

choices. Meanwhile, the interpersonal conflict is a conflict between two or more

individuals.


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Moreover, Lewin, as cited in Weiner (1980), defines a conflict as a

situation in which many opposing forces are acting upon a person, causing the

person to move into different direction. Further, Lewin has classified a conflict

into three types, namely “approach-approach”, “avoidance-avoidance”, and

“approach-avoidance” (as cited in Weiner, 1980, p. 154). These types of conflict

are explained as follows. The first type of conflict is approach-approach. The

conflict appears when a person deals with two attractive goals. The conflict is

unstable since it is easy to solve. The second type is avoidance-avoidance conflict.

A person faces this conflict when he or she deals with two unattractive goals. The

conflict is stable since it is usually difficult to solve. The third type is approach-

avoidance conflict. A person experiences this conflict when he or she deals with a

goal which has both attractive and unattractive aspects. Moreover, this conflict

seems stable because it cannot be solved easily.

b. Conflict Resolution

Decenzo and Silhanek (2002) propose several ways that can be used in

dealing with conflict; they are “pick your battles”, “know who is involved”,

“determine the conflict source”, and “respond to the conflict” (pp. 288-291). The

first is pick your battles. In this case, a person is doing nothing. It seems that an

individual is trying to escape from the conflict. Yet, sometimes this skill is

effective, especially when the conflicting parties want to continue the

disagreement or when the situation is hard to handle.

The second is know who is involved. In dealing with conflict, a person tries

to face it by considering the key players. The key players are the persons involved


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in the conflict, the interest, the importance, the character, the feelings, or the

assets of each party.

The third is determine the conflict source. In dealing with conflict, a

person can try to find the reason that triggers the conflict. There are two sources

that commonly cause a conflict, namely communication or personal differences.

Decenzo and Silhanek (2002) state that communication differences are conflicts

caused by “difficult semantic misunderstanding, or unpleasant sound in

communication channels” (p. 290). Meanwhile, personal differences are

differences which result from an individual’s value or belief.

The last is respond to the conflict. There are some responses in coping

with conflict, such as avoiding, accommodating, compromising, forcing, and

collaborating. In avoiding style, a person usually tries to deny or to escape from a

conflict. Accommodating style refers to approaching a conflict by sacrificing

one’s own interest or concern while giving others a chance to get what they want.

Compromising style is used when a person is sacrificing their own interest

partially in order to meet an agreement in satisfying both interests. Forcing style

enables one party to achieve his or her goal while others have to lose their goals.

Collaborating style is approaching a conflict by satisfying the interests of both

parties.

Moreover, Borisoff and Victor (1989) propose two ways in dealing with

conflict, especially when a person cannot solve his or her conflict on their own.

Thus, a person needs someone else to be involved in handling the conflict. They

are mediation and arbitration (Borisoff & Victor, 1989). A mediator must be


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someone who is neutral and helps the conflicting parties to determine and

understand all the facts. Meanwhile, an arbitrator is a third party who manages the

differences and makes a decision.

C. Theoretical Framework

The use of each theory applied in this study is explained as follows. First,

theory of character by Abrams and Harpham, Arp and Johnson, Koesnosoebroto,

and E. M. Forster are used to describe what type of character Santiago is. Besides,

Murphy’s theory of characterization is employed to show how Paulo Coelho

describes Santiago’s characteristics in the novel. Then, theory of the types of

conflict by Worchel and Cooper is applied to identify what kind of conflict that

Santiago faces. Lewin’s theory of intrapersonal conflict is used to examine

Santiago’s intrapersonal conflicts in pursuing his dream. After examining

Santiago’s intrapersonal conflicts, several theories of conflict resolution proposed

by Decenzo and Silhanek, Borisoff and Victor are used to find out the resolutions

of Santiago’s intrapersonal conflicts.

D. Approach of the Study

In Reading and Writing about Literature, Rohrberger and Woods (1971)

state that to be able to comprehend the meaning and the value of literary works,

critical approaches to literature are needed. In addition, applying a critical

approach is helpful to give a careful and reasonable judgment on a literary work

so that it is not only based on whether people like it or not. One of the critical


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approaches to literature is psychological approach. It focuses on an understanding

of human nature through how characters in literary works behave (Kennedy &

Gioia, 1999).

The psychological approach is applied because this study aims to find out

Santiago’s intrapersonal conflicts in pursuing his dream. Since intrapersonal

conflict deals with a struggle between two or more desires existing within a

person’s mind, thus it is included in one of some aspects in psychological field. In

addition, the way Santiago solves his conflict shows one’s behavior which is

included in psychological field. Therefore, this approach is appropriate to be used

in this study.

E. Method of the Study

Library study is used as a method in this study. According to George

(2008), library research method is defined as a method which “involves

identifying and locating sources that provide factual information or personal or

expert opinion on a research question” (p. 6). By using library study, the

researchers can select and find the sources which are needed to analyze the

problems formulated in the study.

Further, both primary and secondary sources are used in conducting this

study. The primary source of this study is a novel entitled The Alchemist by Paulo

Coelho. The secondary sources are taken from some books related to literature,

critical approaches to literature, and psychological theories. Besides, some articles

are also taken from the internet.


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Moreover, in order to answer the formulated problems, there are some

steps in conducting this study. First, the novel is read several times. Second, after

having read the novel thoroughly, one topic is chosen. That is the Santiago’s

intrapersonal conflicts in pursuing his dream. Third, some notes related to the

topic are taken. Fourth, some books and articles related to the topic are gathered.

Fifth, the character and the characterization of Santiago are analyzed. Sixth, his

intrapersonal conflicts and the conflict resolutions are analyzed. Seventh, the

conclusions are drawn. Then, an implication is made. The last, several

recommendations for future researchers are given.


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CHAPTER II

DISCUSSION

This part aims to answer the problems formulated in this study. It is

divided into two sections. The first section focuses on the description of Santiago

in the novel. The second section analyzes Santiago’s intrapersonal conflicts in

pursuing his dream.

A. The Description of Santiago in The Alchemist

Santiago is one of the characters in The Alchemist. According to

Koesnosoebroto (1988), Santiago can be categorized as a major character because

he appears intensely in the story. Moreover, according to Forster, as cited in

Abrams and Harpham (2009), he is classifed as a round character because his

characters cannot be easily described in a single phrase or sentence. Furthermore,

based on Arp & Johnson (2012), Santiago is described as a dynamic character

since he has been changing along the story. For instance, he eventually can speak

Arabic after staying for several months in Tangier and he also changes his

clothing style as well. Further, his perception of the treasure also changes as he

learns from his experience along the journey to pursue his dream. Moreover, by

using Murphy’s theory of characterization, the way Paulo Coelho describes

Santiago’s characteristics in The Alchemist can be explained as follows.

1. Adventurous

Santiago is eager to try something new. It is seen when he always tries to

find a new road while he is travelling in Andalusia. This characteristic is revealed


13

through Coelho’s direct comment, “Whenever he could he sought out a new road

to travel” (p. 10). Besides, this characteristic can be seen through Santiago’s

thought when he decides to continue going to Egypt instead of looking after his

flock again in Andalusia. His decision shows that he is ready to have a new

experience. “I can always go back to being a shepherd, the boy thought. I learned

how to care for sheep, and I haven’t forgotten how that’s done. But, maybe I’ll

never have another chance to get to the Pyramids in Egypt” (p. 67).

Besides, his adventurous character can be seen when he is willing to take

risks to pursue his dream. It is seen when he gives up his flock in order to get to

Egypt. His flock is the only thing he has. He risks selling his flock even though he

has never been to Egypt and he does not know whether he will be able to find the

treasure. Another example of his adventurous character is when he has an idea to

build a crystal display outside the shop. After Santiago tells his idea, the crystal

merchant is worried about it. He worries that people who pass by will only break

it.

“I’d like to build a display case for the crystal,” said the boy to the merchant. “We could place it outside, and attract those people who pass at the bottom of the hill.” “I‘ve never had one before,” the merchant answered. “People will pass by and bump into it, and pieces will be broken.” “Well, when I took my sheep through the fields, some of them might have died if we come upon a snake. But, that’s the way life is with sheep and with shepherd” (p. 53).

From his speech, it can be assumed that Santiago wants to take risks for

his plan. By giving an example of his past experience when becoming a shepherd,

Santiago wants to tell the crystal merchant that every job has its risk. The fact that

some pieces of crystal may be broken is the risk of selling crystal.


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2. Determined

Santiago keeps trying to realize what he wants. His determination can be

seen from his past life. He keeps telling his father that he really wants to travel

even though his father thinks that he does not need to travel. According to his

father, it is because their countryside is the best and people who see it want to stay

there forever.

“People from all over the world have passed through this village, son,” said his father. “They come in search of new things, but when they leave they are basically the same people they were when they arrived. They climbed the mountain to see the castle, and they wind up thinking that the past was better that what we have now. They have blond hair, or dark skin, but basically they’re the same people who live right here.” “But I’d like to see the castles in the towns where they live,” the boy explained. “Those people, when they see our land, say that they would like to live here forever,” his father continued. “Well, I’d like to see their land and see how they live,” said his son. “The people who come here have a lot of money to spend, so they can afford to travel,” his father said. “Among us, the only one who travel are shepherds.” “Well then I’ll be a shepherd!” His father said no more. The next day he gave his son a pouch that held three ancient Spanish gold coins (p. 9).

Another example of his determination is seen from his reaction to the

crystal merchant’s offer to buy a return ticket to Spain. After losing all of his

money, he knows from the merchant that he needs a lot of money to get to Egypt

because the distance between Tangier and Egypt is so far. To accept the offer

from the crystal merchant means that he gives up facing the difficult situation.

Instead of receiving money from the merchant and going back to Spain, Santiago

wants to work at the crystal shop to buy sheep.


15

There was a moment of silence so profound that it seemed the city was asleep... He sat there, staring blankly through the door of the cafe, wishing that he had died, and that everything would end forever at that moment. The merchant looked anxiously at the boy. All the joy he had seen that morning had suddenly disappeared. “I can give you the money you need to get back to your country, my son,” said the crystal merchant. The boy said nothing. He got up, adjusted his clothing, and picked up his pouch. “I’ll work for you,” he said. And after another silence, he added, “I need money to buy some sheep” (pp. 49-50).

3. Optimistic

Facing an unfamiliar situation in Africa, he hopes that something good will

happen. Having seen how strange Africa is, Santiago begins to feel alone. When

he thinks about the signs and omens he used to learn, he believes that God will

also guide him as He leads his sheep. This character can be shown through his

thought, “If God leads the sheep so well, he will also lead a man,” he thought, and

that made him feel better” (p. 37).

Another example of his being optimistic can be concluded from his

speech. Having seen a man who needs a cozy place to drink after climbing the

hill, Santiago tells the merchant about his idea to sell tea in crystal glasses. Even

though there are many shops which already sell tea, Santiago is confident enough

that selling tea in crystal glasses will attract more customers. He believes that they

will buy the crystal glasses.

One afternoon he had seen a man at the top of the hill, complaining that it was impossible to find a decent place to get something to drink after such a climb. The boy, accustomed to recognizing omens, spoke to the merchant. “Let’s sell tea to the people who climb the hill.” “Lots of places sell tea around here,” the merchant said.


16

“But we could sell tea in crystal glasses. The people will enjoy the tea and want to buy the glasses. I’ve been told that beauty is a great seducer of men” (pp. 58-59).

B. Santiago’s Intrapersonal Conflicts in Pursuing His Dream

In trying to pursue his dream, Santiago experiences three intrapersonal

conflicts. The first conflict is to decide whether to sell his flock or not. The second

one is to decide whether to return to Spain or not. The last one is to decide

whether to leave Fatima or not. These conflicts are explained as follows.

1. To Decide whether to Sell His Sheep or not

The first intrapersonal conflict faced by Santiago is to decide whether to

sell his sheep or not. The conflict appears after he meets Melchizedek. He is an

old man who promises to tell Santiago how to find the treasure on condition that

he has to give one tenth of his flock. The conflict happens because Santiago wants

to know how to find it but he has to give one tenth of his flock to the old man. He

then starts to think about selling his sheep. By selling his sheep, Santiago will

have a chance to travel searching for the treasure. On the other hand, his flock is

his companion in travelling around Andalusia. However, Santiago starts to realize

that he has been accustomed to look after them. Even though he is accustomed to

do that, he begins to feel burdened since the flock only concerns with food and

water. Yet, if he decides to sell his sheep, he will have to leave something he has

been accustomed to. It is life as a shepherd. That is why he is in conflict with

himself when he has to decide whether to sell his sheep or not.

There was a small building there, with a window at which people bought tickets to Africa. And he knew that Egypt was in Africa.


17

“Can I help you?” asked the man behind the window. “Maybe tomorrow,” said the boy, moving away. If he sold just one of his sheep, he’d have enough to get to the other shore of the strait. The idea frightened him. “Another dreamer,” said the ticket seller to his assistant, watching the boy walk away. “He doesn’t have enough money to travel.” While standing at the ticket window, the boy had remembered his flock, and decided he should go back to being a shepherd. In two years he had learned everything about shepherding: he knew how to shear sheep, how to care for pregnant ewes, and how to protect the sheep from wolves. He knew all the fields and pastures of Andalusia. And he knew what was the fair price for every one of his animals (p. 27).

From the situation above, based on Lewin’s theory of intrapersonal

conflict as cited in Weiner (1980), Santiago faces an approach-avoidance conflict

where there are two different aspects which are involved in one action. Selling his

sheep has both attractive and unattractive sides. The attractive side of selling his

sheep is that he will have a chance to travel to search for the treasure. On the other

hand, the unattractive side of selling his sheep is that he will have to leave

something he has been accustomed to.

As proposed by Decenzo and Silhanek (2002), Santiago uses know who is

involved skill to solve the conflict. By using this skill, Santiago tries to consider

his sheep’s habit and his own character. In this case, Santiago thinks he has left

his parents and his hometown and he get used to that situation. He also thinks that

his sheep will get used to his absence if he decides to pursue his dream. This can

be seen from the following quotation, “I left my father, my mother, and the town

castle behind. They have gotten used to my being away, and so have I. The sheep

will get used to my not being there, too, the boy thought” (p. 29). After

considering about that, Santiago finally solves his conflict by deciding to sell the

rest of his flock to his friend and meet the old man on the next day.


18

2. To Decide whether to Return to Spain or not

The second intrapersonal conflict faced by Santiago is to decide whether to

return to Spain or not. After being robbed, Santiago works at the crystal shop and

has succeeded in improving the crystal business. Having earned enough money to

buy sheep, Santiago plans to return to Spain.

When he had finished his smoke, he reached into one of his pockets, and sat there for a few moments, regarding what he had withdrawn. It was a bundle of money. Enough to buy himself a hundred and twenty sheep, a return ticket, and a license to import products from Africa into his own country (p. 63).

The conflict appears when Santiago finds Urim and Thummim falling to

the floor as he takes his jacket out of his old shepherd pouch. After that, he feels

doubt about his plan to return to Spain. The two stones remind him of the old man

who has said to keep dreaming and following the omens. However, he tries to

convince himself that he will do what he did before, “I’m going to go back to

doing just what I did before, the boy thought. Even though the sheep didn’t teach

me to speak Arabic” (p. 64).

Moreover, he feels that the old king is nearby as he picks up the stones. He

also remembers what the old man has said. The old man says that he always

appears to help those who try to pursue their destiny. It makes Santiago feel more

confident as if he can conquer the world. However, he keeps convincing himself

that he will return to Spain.

“But I’m going back to the fields that I know, to take care of my flock again.” He said that to himself with certainty, but he was no longer happy with his decision. He had worked for an entire year to make a dream come true, and that dream minute by minute, was becoming less important. Maybe because that was not really his dream (p. 66).


19

From this situation, it can be concluded that his thought about the old man

reminds him of his dream. That is to search for the treasure. He knows that

returning to Spain makes him unhappy even though he can buy sheep. It is

because it is not what he really wants to do. Therefore, according to Lewin as

cited in Weiner (1980), he faces an approach-avoidance conflict. The attractive

aspect of returning to Spain is that he can buy sheep. On the other hand, to return

to Spain also makes him unhappy because it is not his dream.

In facing the conflict, Santiago tries to avoid it. He tries to deny his desire

to go to Egypt by convincing himself that maybe it is better not to pursue his

dream like the crystal merchant, “Who knows... maybe it’s better to be like the

crystal merchant: never go to Mecca, and just go through life wanting to do so, he

thought, again trying to convince himself” (p. 66). He then uses know who is

involved skill as proposed by Decenzo and Silhanek (2002) in dealing with this

conflict. In this case, Santiago tries to consider the importance of the goal. As

stated in the previous quotation, Santiago feels that to return to Spain becomes

less important because it is not his dream. Then, he considers his own character

and interest as well. Santiago knows that to return to Spain means that he will

look after his flock again. He will never forget how to do that. Meanwhile, he will

not probably have a chance to get to Egypt if he decides to return to Spain. This

can be seen from the following quotation.

I can always go back to being a shepherd, the boy thought. I learned how to care for sheep, and I haven’t forgotten how that’s done. But maybe I’ll have another chance to get to the Pyramids in Egypt. The old man wore a breastplate of gold, and he knew about my past. He really was a king, a wise king (pp. 66-67).


20

Santiago finally decides to continue going to Egypt. His being adventurous

influences his decision. He knows that his flock can be a good friend but he wants

to know whether the desert can be a friend for him. The desert is a place where the

treasure is buried. He can always go home if he does not find it. Yet, he has

enough money and the time he needs to go to Egypt. This becomes the

opportunity to pursue his dream.

3. To Decide whether to Leave Fatima or not

The third intrapersonal conflict faced by Santiago is to decide whether to

leave Fatima or not. In the middle of his journey to Egypt, the caravan has to stay

at Al-Fayoum because of a tribal war happening in the desert. There, Santiago

falls in love with an Arabian girl named Fatima when he helps the Englishman to

find the alchemist who lives at Al-Fayoum. He starts to think about becoming a

shepherd again since Fatima is more important than the treasure, “The boy looked

around him at the date palms. He reminded himself that he had been a shepherd

and that he could be a shepherd again. Fatima was more important than his

treasure” (p. 100).

Moreover, having saved the oasis from the attack of an army, Santiago

finally meets the alchemist. At first, Santiago does not know why the alchemist

wants to see him. Eventually, he knows that the alchemist is a person who will

help him to pursue his dream, “When a person really desires something, all the

universe conspires to help that person to realize his dream,” said the alchemist,

echoing the words of the old king. The boy understood. Another person was there

to help him toward his destiny” (p. 120). However, to continue searching for the


21

treasure, Santiago has to face the tribal war and he has to be separated from

Fatima. Thus, Santiago has a conflict with himself, “His heart was heavy, and he

had been melancholy since the previous night. To continue his search for the

treasure meant that he had to abandon Fatima” (p. 124).

From the situation, according to Lewin as cited in Weiner (1980), Santiago

faces an approach-avoidance conflict. If he leaves Fatima, he will be able to

continue searching for his treasure. On the other hand, he has to be separated from

Fatima and deal with the tribal war as well.

Further, in dealing with this conflict, Santiago cannot solve his problem

alone. Therefore, he needs someone who can help him to solve it. He uses

mediation. In this case, the alchemist becomes the mediator. First, Santiago tries

to tell the alchemist what makes him worried. The conflict arises because

Santiago wants to search for the treasure but he has to leave Fatima and has to

face a tribal war. Then, the alchemist tries to give his point of view related to the

problem that Santiago has. He tells Santiago the fact that Fatima is a woman of

the desert who will await her man and that she has found her treasure. He is her

treasure. She wants him to find his own treasure. Moreover, the alchemist tells

about Santiago’s future if he decides to stay at the oasis. In the future, Santiago

will marry Fatima and both will be happy. He will also be a wealthy man.

However, Santiago will not be happy since he will regret not trying to pursue his

dream and it will be too late for him to pursue it. After listening to the alchemist’s

explanation, he finally decides to leave Fatima in order to search for the treasure.


22

CHAPTER III

CONCLUSIONS, IMPLICATION, AND RECOMMENDATIONS

This chapter consists of three sections. They are the conclusions,

implication, and recommendations. The conclusions contain the summary of the

answers of the problems formulated in this study. The implication presents the

inference of this study to education. The recommendations present several

suggestions for future researchers who are interested in using The Alchemist as an

object of their studies and for English lecturers who teach Prose.

A. Conclusions

This study aims to answer two problems. Firstly, how Santiago is

described in the novel. Secondly, what intrapersonal conflicts that Santiago faces

in pursuing his dream.

Based on the discussion, there are two conclusions in this study. The first

conclusion deals with the description of Santiago in the novel. Having employed

several theories of character, it is concluded that Santiago is a major character of

The Alchemist because he becomes the important character who appears in every

part of the story. He is also described as a round character since his personality

cannot be easily described in a single phrase or sentence. He is also categorized as

a dynamic character since he experiences some changes in his appearance, ability,

and perception.

Moreover, by using Murphy’s theory of characterization, how Paulo

Coelho makes Santiago’s characteristics come alive for the readers can be shown


23

through several ways. Santiago is described as an adventurous, determined, and

optimistic man. He is adventurous because he is eager to have a new experience

and he wants to take risks to get what he wants. It can be seen through Coelho’s

direct comment, Santiago’s thought and speech. He is described as a determined

man because he never stops pursuing what he wants. This characteristic is shown

through his past life and reaction. He is also described as an optimistic man since

he thinks positively, especially when he faces unpleasant situations. His being

optimistic is shown through his thought and speech.

The second conclusion is about Santiago’s intrapersonal conflicts in

pursuing his dream and the conflict resolution. From the analysis, there are three

intrapersonal conflicts faced by Santiago in pursuing his dream. The first conflict

is to decide whether to sell his sheep or not. It is categorized as an approach-

avoidance conflict. In dealing with the conflict, Santiago applies know who is

involved skill in which he considers about his sheep and his own character. Then,

he decides to give one-tenth of his flock to the old man and sell the rest of his

sheep. The second conflict is to decide whether to return to Spain or not. This is

categorized as an approach-avoidance conflict. At first, he solves this conflict by

using avoiding style. Then, he applies know who is involved by considering the

importance of the goal, his own character, and his interest. He solves his conflict

by going to Egypt instead of returning to Spain. The last conflict is to decide

whether to leave Fatima or not. It is classified as an approach-avoidance conflict.

Santiago uses mediation to solve this conflict. The alchemist acts as his mediator


24

in helping him to reach the decision. Santiago eventually solves his conflict by

deciding to leave Fatima in order to pursue his dream.

B. Implication

This part presents the inference of this study to education. The implication

of this study is related to the importance of making a decision to pursue a dream.

Everyone wants to be happy. Happiness can emerge from many things. People

have their own definition about happiness. However, some people are happy

because they can pursue their dreams. Dream becomes the purpose of their lives.

However, to make a dream come true is not always easy. People have to

struggle for it. Sometimes they want to stop pursuing their dreams when they find

a difficulty. This situation can trigger intrapersonal conflict. On the one hand,

people will be unhappy when they stop pursuing their dreams. On the other hand,

they have to struggle to overcome the difficulty. Therefore, it is important to make

a decision.

Having an intrapersonal conflict can be frustrating. However, people who

face the conflict can also learn to make a decision for themselves. They will

consider the consequence of each choice carefully. In making a decision, they also

try to determine their own priority. These lead them to choose one of the

alternatives because they have considered what is important for them and its

consequence. Thus, they learn to be responsible for their own choice.

Besides, by making a decision, people can learn to take a risk. Sometimes

the option they choose has an unpleasant consequence. When there is no way to


25

escape from the situation, all they can do is to face it. Here, they learn to take the

risk of their own choice. By doing so, they will know whether they can handle it

or not.

In relation to education, students, especially college students seem to have

control of making a decision for their own future. They can choose what they are

going to do. They can also think about the consequences of their choices. Thus,

they will be responsible for their own choice. To complete their studies is one of

the responsibilities that the college students have. This responsibility is not only

related to themselves but also their parents. Meanwhile, there are some things that

might distract their studies, such as being lazy, being unable to manage their time,

and so on.

However, they have to struggle to complete their studies. If they fail, it

will not only hurt themselves but also their parents. Thus, it is better for them to

find a way to overcome their problems. Further, there are many ways to struggle.

For instance, they can ask their advisors, they can find someone who can support

and help them, or they can discuss their problems with their friends. As long as

they do not give up, they can complete their studies. They might face an

unpleasant consequence of their choices. However, when it happens, they already

learn to take risks because they accept the consequence which might be

unpleasant. And it shows their struggles. Moreover, by reading The Alchemist, the

students can see how Santiago struggles to pursue his dream. The decisions he has

made are important to make him succeed in achieving his dream.


26

C. Recommendations

This part aims to give several recommendations to future researchers who

are interested to conduct a study using The Alchemist as an object of their studies.

There are many novels which are interesting to discuss. The Alchemist by Paulo

Coelho can be an alternative. This study has focused on Santiago’s intrapersonal

conflicts. However, there are several aspects in the novel that have not been

discussed yet. The first aspect is about Santiago’s motivation in searching for the

treasure. From this study, it can be seen that Santiago never stops pursuing his

dream. Thus, there must be a reason why he wants to pursue his dream. Future

researchers can employ psychological approach to find out his motivation.

The second aspect is about symbol in the novel. Future researchers can

analyze several symbols that appear in the novel. They are “the alchemist” and

“the treasure”. These things seem to symbolize something. For instance, the

meaning of “the alchemist” can be more than a person who is able to transform

any lead into gold.

In addition, this study also gives recommendations to English lecturers.

This study provides an example of learning material and lesson plan to teach

Prose class. It enables the students to have an understanding on the elements of

literary works.


27

REFERENCES

Abcarian, R., & Klotz, M. (1998). Literature: Reading and writing the human experience (7th ed.). New York: St.Martin’s Press.

Arp, T. R., & Johnson, G. (2012). Perrine’s story and structure: An introduction

to fiction. Boston: Wadsworth Cengage Learning. Abrams, M. H., & Harpham, G. G. (2009). A glossary of literary terms (9th ed.).

Boston: Wadsworth Cengage Learning. Barnet, S., Burto, W., & Cain, W. E. (2005). Literature for composition: Essays,

fiction, poetry, and drama (7th ed.). New York: Pearson Longman. Borisoff, D. & Victor, D. A. (1989). Conflict management: A communication

skills approach. Englewood Cliffs, New Jersey: Prentice Hall, Inc. Coelho, P. (1995). The alchemist. New York: Harper Collins Publisher. DeCenzo, D. A. & Silhanek, B. (2002). Human relations: Personal and

professional development (2nd ed.). Upper Saddle River, New Jersey: Pearson Education, Inc.

Kennedy, K. J., & Gioia, D. (1999). Literature: An introduction to fiction, poetry,

and drama (7th ed.). New York: Longman. Kennedy, K. J., & Gioia, D. (2010). Literature: An introduction to fiction, poetry,

and drama (11th ed.). Boston: Longman. Koesnosoebroto, S. B. (1988). The anatomy of prose. Jakarta: Proyek

Pengembangan Tenaga Lembaga Pendidikan Tenaga Kependidikan. Murphy, M. J. (1972). Understanding unseen. London: George Allen & Unwin

Ltd. Rohrberger, M. & Woods, Jr., S. H. (1971). Reading and writing about literature.

New York: Random House, Inc. Weiner, B. (1980). Human motivation. Los Angeles, California: Holt, Rinehart, &

Winston. Worchel, S. & Cooper, J. (1979). Understanding social psychology. Homewood,

Illinois: The Dorsey Press.


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Sources from the Internet:

George, M. W. (2008, July 23). The elements of library research: What every student needs to know. Retrieved May 28, 2014, from press.princeton.edu/chapters/s8711.pdf

Haughton, Mifflin, & Harcourt. (2008, January 31). The alchemist by Paulo

Coelho: Paulo Coelho biography. Retrieved June 5, 2013, from www.cliffnotes.com: http://www.cliffsnotes.com/literature/a/the-alchemist/paulo-coelho-biography

Hooker, R. Elements of fiction [PDF document]. Retrieved March 3, 2015, from

Rebecca Hooker’s English 150 Web site: http://www.unm.edu/~hookster/Elements%20of%20Fiction.pdf


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29

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30

Having arrived in a port town in Africa, Santiago loses the money he needs to get to the Egyptian pyramids. A thief steals all his money. He, consequently, has to work to get some money to go to Egypt as soon as possible. He gets a job in a crystal shop. The crystal merchant tells him that he has to earn a lot of money to go to Egypt since it is far away from where he is now. Knowing that it was impossible for him to go to Egypt, he decides to collect the money to buy sheep. He has worked hard at the crystal shop for almost a year. He is able to expand the business there. He is finally able to earn enough money to double his flock and go back to Andalusia. He asks the merchant’s permission to leave the shop for having earned enough money to buy his sheep. While packing all of his belongings, Urim and Thummim fall in the floor. It reminds him of Melchizedek. It gives him the spirit of the king who wants him to follow his destiny. Santiago then changes his mind and begins to search for the treasure in Egypt.

Santiago is very lucky because there is a caravan heading to the Pyramids. In the middle of his journey, he meets an Englishman who is looking for an alchemist. The Englishman then explains that the alchemist is someone who is able to transform any metal into gold. Santiago makes a friend with the Englishman. Because of war amongst tribes in the desert, the caravan cannot continue the journey to the Pyramids. As a result, the caravan winds up in Al-Fayoum.

The Englishman then asks Santiago to help him find the alchemist who lives in Al-Fayoum. They begin to look for the alchemist by themselves, but they find nothing. Santiago suggests the Englishman to ask some people at the oasis. They begin to ask the people who come to the well. Finally, they ask a woman named Fatima where they can find the alchemist. At the moment Santiago sees the woman, he falls in love with her. She then tells them where the alchemist lives. As soon as she leaves the well, the Englishman disappears to find the alchemist as well.

Santiago tells Fatima that he loves her and that he wants her to be his wife. He adds that the war seems a curse for him at the beginning, but now he feels that the war becomes a blessing that it makes him meet her. He begins to wish living in Al-Fayoum with his loved one. However, Fatima wants Santiago to be as free as the desert wind. She wants him to pursue whatever he is looking for. Santiago realizes that it means he has to leave her even though he does not want to. This leads him in a conflict.

He wanders through the desert and sees a pair of hawks flying in the sky. Suddenly, one of the hawks attacks the other one and he has a vision that there will be an army coming and attacking the oasis. Having seen a vision, he needs to


31

tell the camel driver about it. The camel driver then suggests him to tell his vision to the chieftains of the oasis. Santiago finally comes to a tent where the chieftains of the oasis stay and tells them his vision about an army who is going to attack the oasis. The elder who believes in what Santiago has said tells that they are going to carry arms at the oasis preparing for the upcoming battle. In the middle of his way back to his tent, Santiago meets the alchemist who asks him to find the alchemist if he is still alive. Santiago finally saves the people at the oasis with his vision. Thus, he receives fifty pieces of gold and becomes the counselor of the oasis.

After saving a lot of people at the oasis, Santiago tries to find the alchemist. He finally meets the alchemist. The alchemist then asks him to show life in the desert. At the beginning, he does not know how to find it. With the help of the alchemist, the boy finally can do it. It becomes an omen for the alchemist that Santiago is the one whom he is waiting for. Santiago thinks that the alchemist gets a wrong person since it is the Englishman who is looking for him. The alchemist wants him to search for the treasure, but he refuses to do that because he has met Fatima and he has been a rich man with fifty pieces of gold. Searching for the treasure means that he has to leave Fatima. Knowing that Santiago is about to abandon his dream, the alchemist tells him what will happen if he abandons it. Having heard about the alchemist’s prediction of his future, he decides to leave Fatima. He believes that her love will enable him to search for the treasure. He finally decides to go to the Pyramids with the alchemist.

During the journey to the Pyramids, they meet some tribesmen who warn them not to wandering too far. Moreover, they are taken to a military camp belonging to one of the tribesmen who are in a conflict. The chief of the tribesmen will not let them go unless Santiago can transform himself into the wind. Having penetrated the Soul of the World, Santiago is finally able to transform himself into the wind. After having transformed himself into the wind, the chief lets him and the alchemist go and offers them a group of guides who will escort them as far as they need.

In brief, it will only take three hours to get to the Pyramids where the treasure is buried. The alchemist lets Santiago to find the treasure by himself. Before moving apart, the alchemist reminds Santiago that it is his heart which will tell him where his treasure is. Santiago finally arrives at the Pyramids. He begins to dig the sand where his tears fall as what his heart tells him to do so. Yet, he finds nothing. While he is trying hard to dig the sand, some men come and approach him. They are refugees from the tribal wars and want to know what he is doing there. They believe that the boy hides something there. The boy refuses to tell that he is searching for his treasure because he is afraid that they will take it


32

all. They yank him and take his gold. Thinking there are more gold hidden in the ground, they ask him to dig the sand. Being exhausted, Santiago gives in and tells that he is searching for the treasure and that he has dreamed about it twice. The refugees finally leave him. However, the leader approaches the boy and tells him that he has a dream about a hidden treasure as well. Yet, the treasure is in an abandoned church somewhere in Spain where shepherds and his sheep sleep. It is buried under the old sycamore growing out of the sacristy. Then the leader leaves him. At the moment, his heart is full of joy because he knows where the treasure is.

Adapted from Paulo Coelho’s The Alchemist


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34

Appendix C

LESSON PLAN

Subject : Prose

Semester : III

Time Allocation : 2 x 50 minutes

A. Competence Standard On completing this course, students are able to: 1) comprehend the literary basics that include knowledge of the literary elements and 2) analyze the intrinsic elements of prose.

B. Indicators 1. Students are able to understand the character in a novel. 2. Students are able to understand the characterization in a novel. 3. Students are able to understand the conflict existing in a novel.

C. Course objectives:

At the end of the course, students are able to: 1. Classify the type of the characters which are presented in Paulo Coelho’s

The Alchemist by writing down the type of each character. 2. Identify the methods the author uses to describe his characters by writing

down the trait(s) of each character and the clues taken from the given excerpt to prove their opinion.

3. Identify the conflict that exists in the given excerpt.

D. Learning Strategies 1. Individual work 2. Group discussion 3. Class discussion 4. Lecturing

E. Class Activities

No. Activities DurationLecturer Student

1 Pre‐Activities 1. The lecturer greets the

students. 2. The lecturer asks the

Pre‐Activities 1. The students greets the

their lecturer. 2. The students read the pre‐

Pre‐Activities 2’ 7’


35

students to read the pre‐reading questions and then asks them to answer the questions

3. The lecturer discusses the answers with the students.

4. The lecturer explains the topic that is going to be discussed in the class.

reading questions and answer the questions individually.

3. The students discuss it with their friends and lecturer.

4. The students listen attentively to the lecturer’s explanation.

10’ 5’

2 Main Activities 5. The lecturer distributes the

handout about the elements of fiction.

6. The lecturer explains the elements of fiction briefly.

7. The lecturer distributes the excerpt of Coelho’s The Alchemist and the students’ worksheet.

8. The lecturer asks the students to make a group of 4 or 5 students.

9. The lecturer asks the students to read the excerpt of The Alchemist and do the exercises provided in the given worksheet.

10. The lecturer discusses the exercise with the students.

Main Activities 5. The students have their

handouts. 6. The students listen

carefully to the lecturer’s explanation.

7. The students have the excerpt and worksheet.

8. The students make a group of 4 or 5 students.

9. The students read the

excerpt and do the exercises.

10. The students discuss it

with their lecturer and friends.

Main Activities 2’

10’ 2’ 3’

35’

15’

3 Post‐activities 11. The lecturer summarizes

today’s lesson and ends the class.

Post‐activities 11. The students listen

carefully to the lecturer.

Post‐activities 10’

F. Learning Materials 1. An excerpt from Paulo Coelho’s The Alchemist. 2. The student’s handout 3. The student’s worksheet


36

G. Learning Sources 1. http://www.unm.edu/~hookster/Elements%20of%20Fiction.pdf 2. Arp, T. R., & Johnson, G. (2012). Perrine’s story and structure: An introduction to

fiction. Boston: Wadsworth Cengage Learning. 3. Coelho, P. (1995). The alchemist. New York: Harper Collins Publisher. 4. Murphy, M. J. (1972). Understanding unseen. London: George Allen & Unwin

Ltd.


A

A

B

12

Appendix D

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37

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38

d. What kind of conflict that you can find in the excerpt? ______________________________________________________________________________________________________________________________________

e. Who experiences the conflict? Why does the character have the conflict? _________________________________________________________________________________________________________________________________________________________________________________________________________

f. How does the character solve his or her conflict? _________________________________________________________________________________________________________________________________________________________________________________________________________

☺Good luck☺


39

Appendix E The Student’s Handout

Elements of Fiction 1. Characters in fiction can be conveniently classified as major and minor, static

and dynamic. A major character is an important figure at the center of the story’s action or theme. The major character is sometimes called a protagonist whose conflict with an antagonist may spark the story’s conflict. Supporting the major character are one or more secondary or minor characters whose function is partly to illuminate the major characters. Minor characters are often static or unchanging: they remain the same from the beginning of a work to the end. Dynamic characters, on the other hand, exhibit some kind of change – of attitude, purpose, behavior, as the story progresses.

2. Characterization is a means by which writers present and reveal characters – by direct description, by showing the character in action, or by the presentation of other characters who help to define each other. In addition, Murphy (1972) in Understanding Unseen states that characterization is “the ways in which the author attempts to make his characters understandable to and come alive for his readers” (p. 61). It means that the characterization is a technique that the author uses to describe the characters in literary works so that they seem lively and can be understood by the readers. As proposed by Murphy (1972), the following ways show how the author describes his or her characters in literary works. a. Personal description

A character can be portrayed through the way he or she looks like or the way he or she wears clothes, for instance, the author directly shows the shape of their body, their skin, their face, and their clothing.

b. Character as seen by another The author can also represent his or her character from the point of view of other characters. From the other characters’ point of view, the readers can get the description of the character’s personality or appearance.


40

c. Speech The author can also represent the personality of his or her character through the way he or she speaks, the way he or she gives an idea, or the way he or she is talking with another characters.

d. Past life The author helps the readers to discover the character’s personality from his or her past life.

e. Conversation of others The readers can also determine the character’s personality from the conversation between the characters in the story and from what other characters say about him or her.

f. Reactions The personality of the character can also be seen through the way he or she gives a response to an event or situation happening to him or her.

g. Direct comment The author directly gives his or her opinion of what kind of person his or her character is.

h. Thoughts The readers can have an insight of the character’s personality in a literary work through what is on the character’s mind.

i. Mannerism The character’s personality can also be seen through his or her action.

3. Plot, the action element in fiction, is the arrangement of events that make up a

story. Many fictional plots turn on a conflict, or struggle between opposing forces, that is usually resolved by the end of the story. Furthermore, Arp and Johnson (2009) state “Characters may be pitted against some other person or group of persons (conflict person against person); they may be in conflict with some external force-physical nature, society, or “fate” (conflict of person against environment); or they may be in conflict with some elements in their own natures (conflict of person against himself or herself). The conflict may be physical, mental, emotional, or moral. There is conflict in a chess game-during which the competitors sit quite still for hours-as surely as in a wrestling match; emotional conflict may be raging within a person sitting alone in a silent room” (p. 104). Typical fictional plots begin with an exposition that provides background information needed to make sense of the action, describes the setting, and


41

introduces the major characters; these plots develop a series of complications or intensifications of the conflict that lead to a crisis or moment of great tension. The conflict may reach a climax or turning point, a moment of greatest tension that fixes the outcome; then, the action falls off as the plot’s complications are sorted out and resolved (the resolution or dénouement). Be aware, however, that much of twentieth-century fiction does not exhibit such strict formality of design.

4. Point of view refers to who tells the story and how it is told. The possible ways of telling a story are many, and more than one point of view can be worked into a single story. However, the various points of view that storytellers draw upon can be grouped into two broad categories: a. Third-Person Narrator (uses pronouns he, she, or they):

Omniscient: The narrator is all-knowing and takes the reader inside the characters’ thoughts, feelings, and motives, as well as shows what the characters say and do. Limited omniscient: The narrator takes the reader inside one (or at most very few characters) but neither the reader nor the character(s) has access to the inner lives of any of the other characters in the story.

b. First-Person Narrator (uses pronoun I): The narrator presents the point of view of only one character’s consciousness, which limits the narrative to what the first-person narrator knows, experiences, infers, or can find out by talking to other characters.

5. Setting is the physical and social context in which the action of a story occurs.

The major elements of setting are the time, the place, and the social environment that frames the characters. These elements establish the world in which the characters act. Sometimes the setting is lightly sketched, presented only because the story has to take place somewhere and at some time. Often, however, the setting is more important, giving the reader the feel of the people who move through it. Setting can be used to evoke a mood or atmosphere that will prepare the reader for what is to come.

6. Theme is the central idea or meaning of a story. Theme in fiction is rarely

presented at all; it is abstracted from the details of character and action that compose the story. It provides a unifying point around which the plot, characters,


42

setting, point of view, symbols, and other elements of a story are organized. Be careful to distinguish theme from plot – the story’s sequence of actions – and from subject – what the story is generally about.

Taken from: http://www.unm.edu/~hookster/Elements%20of%20Fiction.pdf Arp, T. R., & Johnson, G. (2012). Perrine’s story and structure: An introduction to fiction. Boston: Wadsworth Cengage Learning. Murphy, M. J. (1972). Understanding unseen. London: George Allen & Unwin Ltd.


43

Appendix F An Excerpt from Paulo Coelho’s The Alchemist

The boy had been working for the crystal merchant for almost a month, and

he could see that it wasn’t exactly the kind of job that would make him happy. The merchant spent the entire day mumbling behind the counter, telling the boy to be careful with the pieces and not to break anything.

But he stayed with the job because the merchant, although he was an old grouch, treated him fairly; the boy received a good commission for each piece he sold, and had already been able to put some money aside. That morning he had done some calculating: if he continued to work every day as he had been, he would need a whole year to be able to buy some sheep.

“I’d like to build a display case for the crystal,” the boy said to the merchant. We could place it outside, and attract those people who pass at the bottom of the hill.”

“I’ve never had one before,” the merchant answered. “People will pass by and bump into it, and pieces will be broken.”

“Well, when I took my sheep through the fields some of them might have died if we had come upon a snake. But, that’s the way life is with the sheep aand with shepherds.”

The merchant turned to a customer who wanted three crystal glasses. He was selling better that ever... as if time had turned back to the old days when the street had been one of Tangier’s major attractions.

“Business has really improved,” he said to the boy, after the customer had left. “I’m doing much better, and soon you’ll be able to return to your sheep. Why ask more out of life?”

“Because we have to respond to omens,” the boy said, almost without meaning to; then he regretted what he had said, because the merchant had never met the king.

“It’s called the principle of favorability, beginner’s luck. Because life wants you to achieve your destiny,” the old king had said.

But the merchant understood what the boy had said. The boy’s very presence in the shop was an omen, and, as time passed and money was pouring into the cash drawer, he had no regrets about having hired the boy. The boy was being paid more money than he deserved, because the merchant, thinking that sales wouldn’t amount to much, had offered the boy a high commission rate. He had assumed he would soon return to his sheep.

“ Why did you want to get to the Pyramids?” he asked, to away from the business of the display.


44

“Because I’ve always heard about them,” the boy answered, saying nothing about his dream. The treasure was now nothing but a painful memory, and he tried to avoid thinking about it.

“I don’t know anyone around here who would want to cross the desert just to see the Pyramids,” said the merchant. “They are just a plie of stones. You could build one in your backyard.”

“You’ve never had dreams of travel,” said the boy, turning to wait on a customer who had entered the shop.

Two days later, the merchant spoke to the boy about the display. “I don’t much like change,” he said. “You and I aren’t like Hassan, that rich

merchant. If he makes a buying mistake, it doesn’t affect him much. But we two have to live with our mistakes.”

That’s true enough, the boy thought, ruefully. “Why did you think we should have the display?” “I want to get back to my sheep faster. We have to take advantage when luck

is on our side, and do as much to help it as it’s doing to help us. It’s called the principle of favorability. Or beginner’s luck.”

The merchant was silent for a few moments. Then he said, “The Prophet gave us the Koran, and left us just five obligations to satisfy during our lives. The most important is to believe only in the one true God. The others are to pray five times a day, fast during Ramadan, and be charitable to the poor.”

He stopped there. His eyes filled with tears as he spoke to the Prophet. He was a devout man, and, even with all his impatience, he wanted to live his life in accordance with Muslim law.

“What’s the fifth obligation?” the boy asked. “Two days ago, you said that I had never dreamed of travel,” the merchant

answered. “The fifth obligation of every Muslim is a pilgrimage. We are obliged, at least once in our lives, to visit the holy city of Mecca.

“Mecca is a lot farther away than the Pyramids. When I was young, all I wanted to do was put together enough money to start this shop. I thought that someday I’d be rich , and could go to Mecca. I began to make some money, but I could never bring myself to leave someone in charge of the shop; the crystals are delicate things. At the same time, people were passing my shop allthe time, heading for Mecca. Some of them were rich pilgrims, travelling in caravans with servants and camels, but most of the people making the pilgrimage were poorer than I.

“All who went there were happy at having done so. They placed the symbols of the pilgrimage on the doors of their houses. One of them, a cobbler who made his living mending boots, said that he had traveled for almost a year through the


45

desert, but that he got more tired when he had to walk through the streets of Tangier buying his leather.”

“Well, why don’t you go to Mecca now?” asked the boy. “Because it’s the thought of Mecca that keeps me alive. That’s what helps me

face these days that are all the same, these mute crystals on the shelves, and lunch and dinner at that same horrible cafe. I’m afraid that if my dream is realized, I’ll have no reason to go on living.

“You dream about your sheep and the Pyramids, but you are different from me, because you want to realize your dreams. I just want to dream about Mecca. I‘ve already imagined a thousand times crossing the desert, arriving at the Plaza of the Sacred Stone, the seven times I walk around it before allowing myself to touch it. I’ve already imagined the people who would be at my side, and those in front of me, and the conversations and prayers we would share. But I’m afraid that it would all be a disappointment, so I prefer just to dream about it.”

That day the merchant gave the boy permission to build the display. Not everyone can see his dreams come true in the same way.

***

Two more months passed, and the shelf brought many customers into the

crystal shop. The boy estimated that, if he worked for six more months, he could return to Spain and buy sixty sheep, and yet another sixty. In less than a year, he would have doubled his flock, and he would be able to do business with Arabs, because he was now able to speak their strange language. Since that morning in the marketplace, hehad never again made use of Urim and Thummim, because Egypt was now just as distant a dream for him as was Mecca for the merchant. Anyway, the boy had become happy in his work, and thought all the time about the day when he would disembark at Tarifa as a winner.

“You must always know what it is that you want,” the old king had said. The boy knew, and was now working toward it. Maybe it was his treasure to have wound up in that strange land, met up with a thief, and doubled the size of his flock without spending a cent.

He was proud of himself. he had learned some important things, like how to deal in crystal, and about the language without words... and about omens. One afternoon he had seen a man at he top of the hill, complaining that it was impossible to find a decent place to get something to drink after such a climb. The boy, accustomed to recognizing omens, spoke to the merchant.

“Let’s sell tea to the people who climb the hill.” “Lots of places sell tea aorund here,” the merchant said.


46

“But we could sell tea in crystal glasses. The people will enjoy the tea and want to buy the glasses. I have been told that beauty is the great seducer of men.”

The merchant didn’t respond, but that afternoon, after saying his prayers and closing the shop, he invited the boy to sit with him and share his hookah, that strange pipe used by the Arabs.

“What is it you’re looking for?” asked the old merchant. “I’ve already told you. I need to buy my sheep back, so I have to earn the

money to do so.” The merchant put some new coals in the hookah, and inhaled deeply. “I’ve had this shop for thirty years. I know good crystal from bad, and

everything else there is to know about crystal. I know its dimensions and how it behaves. If we serve tea in crystal, the shop is going to expand. And then i’ll have to change my way of life.”

“Well, isn’t that good?” “ I’m already used to the way things are. Before you came, I was thinking

about how much time I had wasted in the same place, while my friends had moved on, and either went bankrupt or did better than they had before. It made me very depressed. Now, I can see that it hasn’t been to o bad. The shop is exactly the size I always wanted it to be. I don’t want to change anything, because I don’t know how to deal with change. I’m used to the way I am.”

The boy didn’t know what to say. The old man continued,”You have been a real blessing to me. Today, I understand something I didn’t see before: every blessing ignored becomes a curse. I don’t want anything else in life. But you are forcing me to look at wealth and at horizons I have never known. Now that I have seen them, and now that I see how immense my possibilities are, I’m going to feel worse than I did before you arrived. Because I know the things I should able to accomplish, and I don’t want to do so.”

It ‘s good I refrained from saying anything to the baker in Tarifa, thought the boy to himself.

They went on smoking the pipe for a while as the sun began to set. They were conversing in Arabic, and the boy was proud of himself for being able to do so. There had been a time when he thought that his sheep could teach him everything he needed to know about the world. But they could never have taught him Arabic.

There are probably other things in the world that the sheep can’t teach me, thought the boy as he regarded the old merchant. All they ever do, really , is look for food and water. And maybe it wasn’t that they were theaching me, but that I was learning from them.

“Maktub,” the merchant said, finally. “What does that mean?”


47

“You would have to have born an Arab to understand,” he answered. “But in your language iti would be something like ‘It’s written’.”

And, as he smothered the coals in the hookah, he told the boy that he could begin to sell tea in the crystal glasses. Sometimes, there’s just no way to hold back the river.

***

The men climbed the hill, and they were tired when they reached the top. But

there they saw a crystal shop that offered refreshing mint tea. They went in to drink the tea, which was served in beautiful crystal glasses.

“My wife never thought of this,” said one, and he bought some crystal—he was entertaining guests that night, and the guests would be impressed by the beauty of the glassware. The other man remarked that tea was always more delicious when it was served in crystal, because the aroma was retained. The third said that it was a tradition in the Orient to use crystal glasses for tea because it had magical powers. Before long, the news spread, and a great many people began to climb the hill to see the shop that was doing something new in a trade that was so old. Other shops were opened that served tea in crystal, but they weren’t at the top of the hill, and they had little business.

Eventually, the merchant had to hire two more employees. He began to import enormous quantities of tea, along with his crystal, and his shop was sought out by men and women with a thirst for things new.

And, in that way, the months passed.

***

The boy awoke before dawn. It had been eleven months and nine days sinece he had first set foot on the African continent.

He dressed in his Arabian clothing of white linen, brought especially for this day, He put his headcloth in place and secured it with a ring made of camel skin. Wearing his new sandals, he descended the stairs silently.

The city was still sleeping. He prepared himself a sandwich and drank soem hot tea from a crystal glass. Then he sat in the sun-filled doorway, smoking the hookah.

He smoked in silence, thinking of nothing, and listening to the sound of the wind that brought the scent of the desert. when he had finished his smoke, he reached into one of his pockets, and sat there for a few moments, regarding what he had withdrawn.


48

It was a bundle of money. Enough to buy himself a hundred and twenty sheep, a return ticket, a license to import products from Africa into his own country.

He waited patiently for the merchant to awaken and open the shop. Then the two went offto have some more tea.

“I’m leaving today,” said the boy. “I have the money I need to buy my sheep. And you have the money you need to go to Mecca.”

The old man said nothing. “Will you give me your blessing?” asked the boy. “You have helped me.”

The man continued to prepare his tea, saying nothing. Then, he turned to the boy. “I’m proud of you,’ he said. “You brought a new feeling into my crystal shop.

But you know that I’m not going to go to Mecca. Just as you know that you’re not going to buy your sheep.”

“Who told you that?”asked the boy, startled. “Maktub,” said the old crystal merchant. And he gave the boy his blessing.

***

The boy went to his room and packed his belongings. They filled three sacks. As he was leaving, he saw, in the corner of of the room, his old shepherd’s pouch. It was bunched up, and he had hardly thought of it for a long time. As he took his jacket out of the pouch, thingking to give it to someone in the street, the two stones fell to the floor. Urim and Thummim.

It made the boy think of the old king, and it startled him to realize how long it had been since he had thought of him. For nearly a year, he had beeen working incessantly, thinking only putting aside enough money so that he could return to Spain with pride.

“Never stop dreaming,” the old king had said. “Follow the omens.” The boy picked up Urim and Thummim, and, once again, had the strange

sensation that the old king was nearby. He had worked hard for a year, and the omens were that it was time to go.

I’m going back to doing just what I did before, the boy thought. Event though the sheep didn’t teach me to speak Arabic.

But the sheep had taught him something even more important: that there was a language in the world that everyone understood, a language the boy had used throughout the time that he was trying to improve things at the shop. it was the language of enthusiasm, of things accomplished with love and purpose, and as part of a search for somthing believed in and desired. Tnagier was no onger a


49

strange city, and he felt that, just as he had conquered this place, he could conquer the world.

“When you want something, all the universe conspires to help you achieve it,” the old king had said.

But the old king hadn’t said anything about being robbed, or about endless deserts, or about people who know what their dreams are but don’t want to realize them. The old king hadn’t told him that the Pyramids were just a pile of stones, o r that anyone could build one in his backyard. And he had forggotten to mention that, when you have enough money to buy your flock larger than the one you had before, you should buy it.

The boy picked up his pouch and put it with his other things. He went down the stairs and found the merchant waiting on a foreign couple, while two other customers walked about the shop, dringkign tea from crystal glasses. It was more activity than usual for this time in the morning. From where he stood, he saw for the first time that the old merchant’s hair was very much like the heir of the old king. He remembered the smile of the candy seller, on his first day in Tangier, when he had nothing to eatand nowhere to go—that smile had also been like the old king’s smile.

It’s almost as if he had been here and left his mark, he thought. And yet, none of these people has ever met the old king. On the other hand, he said that he always appeared to help those who are trying to realize their destiny.

He left without saying good-bye to the crystal merchant. He didn’t want to cry with the other people there. He was going to miss the place and all the good things he had learned. He was more confident in himself, though, and felt as though he could conquer the world.

“But, I’m going back to the fields that I know, to take care of my flock again.” He said that to himself with certainty, but he was no longer happy with his decision. He had worked for an entire year to make a dream come true, and that dream, minute by minute, was becoming less important. Maybe because that wasn’t really his dream.

Who knows... maybe it’s better to be like the crystal merchant: never go to Mecca, and just go through life wanting to do so, he thought, again trying to convince himself. But as he held Urim and Thummim in his hand, they had transmitted to him the strength and will of the old king. By coincidence—or maybe it was an omen, the boy thought—he came to the bar he had entered on his first day there. The thief wasn’t there, and the owner brought him a cup of tea.

I can always go back to being a shepherd, the boy thought. I learned how to care for sheep, and I haven’t forggotten how that’s done. But maybe I’ll never have another chance to get to the Pyramids in Egypt. The old man wore a brestplate of gold, and he knew about my past. he really was a king, a wise king.


50

The hills of Andalusia were only two hours away, but there was an entire desert between him and the Pyramids. Yet the boy felt that there was another way to regard his situation: he was actually two hours closer to his treasure...the fact that the two hours has streched into an entire year didn’t matter.

I know why I want to get back to my flock, he thought. I understand sheep; they’re no longer a problem, and they can be good friends. On the other hand, I don’t know if the desert can be a friend, and it’s in the desert that I have to search for my treasure. If I don’t find it, I can always go home. I finally have enough money, and all the time I need. Why not?

He suddenly felt tremendously happy. He could always go back to being a shepherd. He could always become a crystal salesman again. Maybe the world had other hidden treasures, but he had a dream, and he had met with a king. That doesn’t happen to just anyone!

He was planning as he left the bar. He had remembered that one of the the crystal merchant’s suppliers transported his crystal by means of caravans that crossed the desert. He held Urim and Thummim in his hand; because of those two stones, he was once again on the way to his treasure.

“I’m always nearby, when someone wants to realize their destiny,” the old king had told him.

What could it cost to go over to the supplier’s warehouse and find out if the Pyramids were really that far away?


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