The Alchemist Themes

Disguised as a fable or a hero’s journey, Paulo Coelhos The Alchemist reflects a pantheistic worldview where all things—from humans to kernels of sand—share the same spiritual essence.   Themes Personal Legend Each individual has a Personal Legend, which, according to the lore of The Alchemist, is the only means by which to achieve a satisfying life. The universe is attuned to that, and it can achieve perfection if all of its creatures strive to achieve their own Personal Legend, which in turn leads to an inner evolution that comes with a higher Personal Legend and an even higher goal. When it comes to alchemy, for example, even metals have their own Personal Legends, which is their turning into gold. The Personal Legend is an individual’s highest calling, which comes at the expense of other things bringing joy. In order to fulfill his own destiny, for example, Santiago has to give up his sheep and put his budding relationship with Fatima on hold. The crystal merchant, having put off his Personal Legend, lives a life of regret, especially because his attitude also caused the universe to not bestow him with any favors.   Close to the concept of Personal Legend is the word maktub, which several characters pronounce. It means â€Å"it is written,† and it is usually spoken when Santiago has taken a significant risk in order to proceed in his quest, which, in turn, reassures him. As Santiago learns, fate actively cooperates with those pursuing their own Personal Legends.   Pantheism In The Alchemist, the Soul of the World represents the unity of nature. As Santiago comes to realize, every natural element, from a grain of sand to a river and all living beings, are connected, and they have to undergo similar processes in a pantheistic worldview, which posits that everything shares the same spiritual essence. Just like a metal has to be purified in order to turn into gold, so does Santiago have to transform into something else in order to achieve the Personal Legend. This is a purification process, with an individual having to tap into the Soul of the World in order to achieve it.   Santiago communicates with nature, and by doing so, he starts understanding the common language of the world, and this serves him well when he has to speak to the Sun when he needs to turn into the wind.   Fear Giving in to fear hinders the fulfillment of one’s own Personal Legend. Santiago himself is not immune to it. He was afraid of letting go of his sheep, of letting the old woman interpret his dream, and of having to let go of his security by departing Tangier to join the caravan.   Both of his mentors, Melchizedek and the alchemist, condemn fear, as it is usually tied to material wealth, which leads people to get distracted from the fulfillment of their own Personal Legends. The crystal merchant is the embodiment of fear. He thinks that his calling is to make a pilgrimage to Mecca, but he never does that, out of fear of the future, and he remains an unhappy individual. Omens and Dreams Throughout the novel, Santiago experiences both dreams and omens. His dreams are a rough form of communication with the Soul of the World and a representation of his Personal Legend. Omens serve as a guidance to fulfill his dreams. Dreams are also a form of clairvoyance. Santiago dreams of fighting hawks, which he relates to the tribal chieftain of the desert, as they indicate an impending assault. Santiago’s propensity for dreams likens him to the biblical figure of Joseph, who, through his prophetic visions, was able to save Egypt. Omens are more instrumental and are usually singular events, seen as a sign that the universe is helping him achieve his Personal Legend. They are also signifiers of Santiago’s personal growth.   Symbols Alchemy Alchemy is the medieval forerunner of modern chemistry; its end goal was to transform base metals into gold and to create a universal elixir. In the novel, alchemy serves as a metaphor of people’s journeys in pursuit of their own Personal Legend. Just like a base metal’s Personal Legend is to turn into gold by ridding itself of impurities, so must people rid themselves of their own impurities to achieve it. In Santiago’s case,  it’s his flock of sheep, which represent material wealth, as well as his budding relationship to Fatima.   Despite the tomes devoted to alchemy, actions are better teachers than written instruction. As we see with the Englishman, book-centric knowledge does not take him very far. The right way is listening to omens and acting accordingly.   The Desert As opposed to Spain, the desert area is quite harsh. Santiago first gets robbed, then has to trek all the way to the oasis, and then is subject to even harsher trials, including becoming the wind and enduring a severe beating, before fulfilling his own Personal Legend. The desert, as a whole, symbolizes the trials that the hero must endure while on his quest. However, the desert is not just a land of trials; it pulses with life underneath its barren appearance, as the Soul of the World makes everything on Earth partake in the same spiritual essence. Sheep Santiago’s sheep represent  shallow material wealth and his mundane existence before he became attuned to his own Personal Legend. While he loves his sheep, he mainly sees them as his material livelihood and belittles their intelligence, asserting that he could kill them one by one without them even noticing. Some characters remain in the â€Å"sheep† stage of their lives. The crystal merchant, for example, , prefers to stay in his everyday life despite having a Personal Legend, which leads to regret. Literary Devices: Biblical Metaphors Despite being an allegorical hero’s journey with a pantheistic worldview, The Alchemist is rife with references to the Bible. Santiago’s name is a reference to the Road of Santiago; Melchizedek, the first mentor figure he encounters, is a biblical figure who helped Abraham. Santiago himself is likened to Joseph for his gift of prophecy. Even the mundane flock of sheep have a biblical connotation, as congregants of a church are usually likened to sheep.

Deprivation Of Liberty Safeguards A Best Interest...

DEPRIVATION OF LIBERTY SAFEGUARDS A Best Interest Assessment The Mental Capacity Act (MCA) 2005 states that â€Å"an act done, or decision made, under this Act, for or on behalf of a person who lacks capacity must be done, or made, in his best interests’. The Deprivation of liberty safeguards are a legal framework introduced into the mental capacity act 2005 (MCA) by the mental health act 2007 (MHA). This legislation protects the rights of people in care homes or hospitals, where the care is imputable to the state, who lack capacity or have a mental dysfunction to make decisions regarding their care and treatment (Jones, 2008 p 383). DOLS ensures against arbitrary deprivation of liberty (dol) which was identified in the Bournewood Case ( HL v UK 45508/99 (2004) ECHR 471). 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Eighteenth Century Religious Change in Uncle Toms Cabin...

Eighteenth Century Religious Change in Uncle Toms Cabin and Moby Dick The central religious themes of Uncle Toms Cabin and Moby Dick reflect the turbulent and changing religious climate of their time. In their use of themes from both traditional Calvinism and modern reform, the syncretic efforts of both of these texts offers a response to the uncertainty and change of the period. However, their uses of these themes are different; while Stowe used a precise focus on a Christian polemic against slavery, Melville intentionally de-centralized his text in a way that asks the reader to look beyond the medium of expression to the truth which lays behind it, but cannot be contained in it. In this paper, I will investigate the shift in†¦show more content†¦Neither one of them can be precisely placed in any of the religious categories of the period; Calvinism (both orthodox and reformed), Unitarianism, Transcendentalism, and liberal Christocentric humanism all exerted definite influences on both works, but both works similarly resist direct placement not only because of the syncretic nature of their programs, but the fluidity of these very traditions. Therefore, while some hesitancy is a necessary hazard of such a investigation, it nevertheless preserves a respect for the complexity of the religious history involved. With this much said precautionarily, it is nevertheless possible to place both of these works in the climate of questioning, re-definition, and uncertainty which occurred in the American political and social scenes as part of this religious shift. The first important factor in this shift was the Second Great Awakening; while William McLoughlin dates its conclusion at 1830, it had an important influence on both of these works which were composed between 1850 and 1852. This movement established a break from the Calvinism of Jonathan Edwards through both in popular form of revivals and its connection to the more elite movement of Unitarianism, and thus set a precedent for later religious reform. The concept of American nationhood was challenged in the early eighteenth century onShow MoreRelatedThe History of American Literature3501 Words   |  15 PagesGods will. Nearly all events could be explained from this religious perspective: Foul weather and diseases were perceived as Gods wrath; a bountiful harvest represented Gods blessing. Given the Puritans relationship with God, it is not surprising that sermons and other religious writings dominated literature in America in the 1600s. John Cotton, Thomas Hooker, Roger Williams, and John Winthrop were among the most prominent religious writers. A Narrative of the Captivity and Restoration of

Essay about Human Evolution and Adaptation - 637 Words

Over the course of evolution, humans have evolved to adapt the ever-changing conditions to improve their chances of surviving. Is there still room for natural evolution or has the time come for us to use our technological innovations and further our development beyond previously thought possible by biological means. Past trends have shown that as time has passed, significant body structures have changed to counteract the changes to our environment. The changes that have been most significant are: dentation; brain size; muzzle angles; average body weight, skull structure. Will these continue to change and progress along similar trend lines, or has the time come for the evolution of our species to become technologically driven? As humans†¦show more content†¦However as the planet warmed, natural selection may have started to favour a slighter stature in humans. Therefore, as the skeletons and skulls got smaller the brain shrunk in size as a result (McAuliffe, 2011). Another theory that is circulating the science community is that the decrease in cranial capacity is attributed to the arrival of agriculture One theory is that H. sapiens have reached the end of the evolutionary line. As evolutionary changes have occurred, it is known that these changes become fixed in isolated populations. For example, the Galapagos Finches that evolved from the mainland species to survive in the unique habitat of the isolated islands. When natural selection occurs, a genetic mutation, e.g. spine suited to bipedal locomotion, is passed through the generations, as it provides some benefit to the value of life of the organism. Eventually this mutated trait becomes the desired gene for further generations. However if the populations where these mutations are occurring, the potential for significant mutations to take effect within the gene pool decreases as a result of interbreeding between populations (Owen, 2009). 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Humans, however, are always adapting and changing to the world and environment around, which creates a unique perspective for Anthropologists. Physically and culturally, Anthropologists work to gather data through various subfields within Anthropology to adapt to the human species. Evolution would be defined as when â€Å"something† can develop from something that is simplistic to something that can adapt to the world around it and is more complex. All human beings in past and

The Dictators of World War II free essay sample

An extensive paper on the dictatorships of WWII, based upon a chapter from the 8th Edition of the book, A History of Western Society. This paper talks about the rise and fall of Adolf Hitler, from his childhood up to his eventual suicide at the end of World War II. It also talks about the rise of the other major dictators of the time period, namely Stalin and Mussolini, and how the Axis Powers were eventually crushed by the Allied Forces in WWII. Coming off of World War I, and wrapped up in the Age of Anxiety, morale was low among the people of Europe. People were losing hope in their lives, and countries began to look for security and stability anywhere they could find it. This led to the rise of dictatorships, mainly two opposing forces: Communism and Fascism. It was the beginning of the totalitarianism era in Europe, and would plunge the continent, as well as much of the rest of the world, into another World War. We will write a custom essay sample on The Dictators of World War II or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Chapter twenty-nine of A History of Western Society (Mc Kay, Hill, Buckler 956-88) goes into great detail about this chaotic period of European history.

Drama Portfolio Essay Example For Students

Drama Portfolio Essay In workshop one there was two forms of drama; straight improvisation and teacher in-role. This was structured by having the class in a semi circle and the teacher walking in straight in-role as the manager of the youth hostel. The teacher said in-role that we were experienced therapists this automatically made clear on the role we were to play so we were quick to think as the form was straight improvisation. Structuring the drama as a semi circle of chairs gave the impression it was a meeting of some sort. The opening of the circle where the manager sat showed the meeting was being lead by a person of higher status. In the second half of the workshop the class was working in pairs, the form was still straight improvisation. We were carrying on from being therapists in this youth hostel but one of the pairs was now the girl we were treating with therapy. This is where our stimulus came in to use. Our stimuli was a picture of a girl screaming, holding her head in pain, surrounded by a lake with two people walking away. This was drawn by the girl who was in therapy. The aim of the drama was to try and get as much information out of the girl about why she had drawn this picture, what it represented and find out who she was, using therapy, as she didnt talk. The stimulus helped us with the form because we couldnt plan what we were going to do but from the stimulus we could see what drama we could create. Both pairs knew what the therapist would be doing but no one knew how the girl was going to react this was good because the straight improvisation would mean each pairs drama piece would differ. During workshops two and three the significant moment in our drama piece was when the disturbed girl, who was being treated by therapists, was taken to a river. This was suggested by a therapist as the girl had drawn water in her picture so maybe taking her to a river would open her up. Her reaction to being taken to the river was a frightened one. The girl became scared and then saw a cigarette being lighted this frightened her even more and she ran in to a corner. This showed the therapists that not only did she have a strange reaction to water but to open flames too so maybe something had happened in the past involving flames and water that had caused her to have such a reaction. This was the significant moment in the drama however due to lack of time we didnt get to symbolize it as much as we would have liked. If we had the time, I would put a red spotlight on the disturbed girl, when she ran in the corner, and then play some dramatic classical music to signify her panic. While the red spotlight would indicate the danger she was in before that made her scared of the river and lighter. After that I would do a flashback showing what actually happened that had made her so frightened. In workshop four we had to create a nightmare sequence based upon a phobia. Our group talked about the kinds of phobias we could do but due to lack of time we were not able to create the nightmare sequence. If we had the time to form it I would have chosen the phobia; fear of clowns.I would start off by having the music playing at a slow speed and the volume quite low; gradually I would speed the music up and increase the volume. .u004e2b79270333030e784b683a1a53e6 , .u004e2b79270333030e784b683a1a53e6 .postImageUrl , .u004e2b79270333030e784b683a1a53e6 .centered-text-area { min-height: 80px; position: relative; } .u004e2b79270333030e784b683a1a53e6 , .u004e2b79270333030e784b683a1a53e6:hover , .u004e2b79270333030e784b683a1a53e6:visited , .u004e2b79270333030e784b683a1a53e6:active { border:0!important; } .u004e2b79270333030e784b683a1a53e6 .clearfix:after { content: ""; display: table; clear: both; } .u004e2b79270333030e784b683a1a53e6 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u004e2b79270333030e784b683a1a53e6:active , .u004e2b79270333030e784b683a1a53e6:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u004e2b79270333030e784b683a1a53e6 .centered-text-area { width: 100%; position: relative ; } .u004e2b79270333030e784b683a1a53e6 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u004e2b79270333030e784b683a1a53e6 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u004e2b79270333030e784b683a1a53e6 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u004e2b79270333030e784b683a1a53e6:hover .ctaButton { background-color: #34495E!important; } .u004e2b79270333030e784b683a1a53e6 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u004e2b79270333030e784b683a1a53e6 .u004e2b79270333030e784b683a1a53e6-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u004e2b79270333030e784b683a1a53e6:after { content: ""; display: block; clear: both; } READ: Dramatic Methods Essay PaperThe girl would be walking but as the volume increases so would her pace. At this point I believe her thoughts would be jumbled, to show this, people off-stage would shout out her thoughts for example; what is happening?, where am I? the voices would be echoed for a bigger impact such as; where am I? am I am I am I I hereafter I would suddenly turn the lights off and stop the music to create a sense of panic and anxiety within the girl and audience, as nobody knows whats going to happen. In the darkness I would bring on four people in clown masks, position them around the girl, but not too close, then turn the lights on but have them on full and all colours such as bright red, blue and green. Red being the brightest creating a sense of danger and the green would give the stage an eerie atmosphere. The girl would realise immediately and try to escape; her pace would be almost robot-like because the panic of seeing the clown masks has made it hard for her to move, to emphasize this, the people in clown masks would be very quick when moving and circle her almost as if she was being suffocated. The girls thoughts would now be ones of shock, terror and panic. At this point I would make the masked clowns shout her thoughts out at her; shocking her more, as the most thing she is terrified of is now thinking her thoughts too. This is where I would end the nightmare sequence by switching the lights off suddenly and make the masked clowns go off stage leaving the girl on the floor. When the lights gradually come back on she will have just woken up unexpectedly as if she had an awful dream and lying on her pillow would be the clown mask and I would end the scene with her mouth open in fright. In workshop five the form for our first drama piece was sculpting a tableau. This is when one person creates a tableau then holds their position and lets another person literally sculpt them using their hands to change their physical posture. The person I was sculpting was meant to be hitting someone from behind. From where I was standing this looked unrealistic so I sculpted by moving their arm closer to the person they were attacking so it would look more forceful, plus, I made them look away from the person they were hitting because this would look as if they knew it was wrong and they didnt want to get caught, in the tableau there were SAS officers looking for violent people so effectively it would look like the person was being weary incase she/he got caught. Afterwards, our class did a drama piece; the form was forum theatre, teacher in-role and straight improvisation. It was structured by having rows of chairs where we all sat and at the front was where the teacher in-role stood playing the part of the SAS meeting speaker. The point of the drama was for the teacher in-role as the SAS speaker to inform us that we had been specially picked to do a very high secret mission and so we would have to move away from our homes for around six months and not tell our families why. Using forum theatre for this drama piece worked very well because when the speaker told us we were on a top secret mission and would have to move away without telling anyone was quite a shock so obviously we all in-role had an opinion about it. Forum theatre is good to use for something like this as we control when we say or do something and everyone gets an opportunity to voice their opinion. The straight improvisation worked well because it made everyone have something different to say each time. .ue16b07e6fdaec700a0ddef39850467aa , .ue16b07e6fdaec700a0ddef39850467aa .postImageUrl , .ue16b07e6fdaec700a0ddef39850467aa .centered-text-area { min-height: 80px; position: relative; } .ue16b07e6fdaec700a0ddef39850467aa , .ue16b07e6fdaec700a0ddef39850467aa:hover , .ue16b07e6fdaec700a0ddef39850467aa:visited , .ue16b07e6fdaec700a0ddef39850467aa:active { border:0!important; } .ue16b07e6fdaec700a0ddef39850467aa .clearfix:after { content: ""; display: table; clear: both; } .ue16b07e6fdaec700a0ddef39850467aa { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue16b07e6fdaec700a0ddef39850467aa:active , .ue16b07e6fdaec700a0ddef39850467aa:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue16b07e6fdaec700a0ddef39850467aa .centered-text-area { width: 100%; position: relative ; } .ue16b07e6fdaec700a0ddef39850467aa .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue16b07e6fdaec700a0ddef39850467aa .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue16b07e6fdaec700a0ddef39850467aa .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue16b07e6fdaec700a0ddef39850467aa:hover .ctaButton { background-color: #34495E!important; } .ue16b07e6fdaec700a0ddef39850467aa .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue16b07e6fdaec700a0ddef39850467aa .ue16b07e6fdaec700a0ddef39850467aa-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue16b07e6fdaec700a0ddef39850467aa:after { content: ""; display: block; clear: both; } READ: How does it appeal to a modern audience?   EssayIn workshop six the class had to before hand set up the scene of a disused warehouse. We did this by having chairs flung all around the place some broken, some free standing, and some stacked up as if they had not been used in ages. We also turned the lights off assuming that no lights worked in this warehouse. We used rostra tops and legs and had them just lying side by side or not fixed together properly to create the impression of a disused space that had not been looked after. The form of this drama was a tableau to start the scene off then straight improvisation where the class played either have nots or undercover SAS officers pretending to be have nots, thought tracking with our first thoughts of what we thought of the warehouse and the meeting that was due to take place inside, the last technique used was teacher in-role, this was unexpected as it was straight improvisation and we were not expecting the teacher to come in-role as a police officer checking to see if any have nots had broken into the warehouse. When this happened it created a real sense of electricity and panic amongst the group however it was up to us to keep this electricity going by staying in-role and reacting how we thought a have not would react in this situation. This was vital for the undercover SAS officers as they could not blow their cover.