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THE MEANING OF PAULO AND CHRIS’ FORTY-DAY JOURNEY IN THE MOJAVE DESERT AS SEEN IN PAULO COELHO’S THE VALKYRIES
A SARJANA PENDIDIKAN THESIS
Presented as Partial Fullfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education
By F.X. Hening Pamungkas Jagaddhita Student Number: 071214146
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2014
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A Sarjana Pendidikan Thesis
THE MEANING OF PAULO AND CHRIS’ FORTY-DAY JOURNEY IN THE MOJAVE DESERT AS SEEN IN PAULO COELHO’S THE VALKYRIES
By F.X. Hening Pamungkas Jagaddhita Student Number: 071214146
Approved by
Sponsor
Drs. Antonius Herujiyanto, M.A., Ph.D. Date 10 June 2014
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A Sarjana Pendidikan Thesis on
THE MEANING OF PAULO AND CHRIS’ FORTY-DAY JOURNEY IN THE MOJAVE DESERT AS SEEN IN PAULO COELHO’S THE VALKYRIES
By: F.X. Hening Pamungkas Jagaddhita Student Number: 071214146
Defended before the Board of Examiners on 10 June 2014 and Declared Acceptable
Board of Examiners
Chairperson P. Kuswandono, Ph.D. ______
Secretary Drs. Barli Bram, M.Ed., Ph.D. ______
Member Drs. Ant. Herujiyanto, M.A., Ph.D. ______
Member Ag. Hardi Prasetyo, S.Pd., M.A. ______
Member Drs. Barli Bram, M.Ed., Ph.D. ______
Yogyakarta, 10 June 2014 Faculty of Teachers Training and Education Sanata Dharma Unversity Dean,
Rohandi, Ph.D.
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STATEMENT OF WORK’S ORIGINALITY
I honestly declare that this thesis, which I have written, does not contain the work or parts of the work of other people, except those cited in the quotations and the references, as a scientific paper should.
Yogyakarta, 10 June 2014 The writer
F.X. Hening Pamungkas Jagaddhita 071214146
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LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS
Yang bertanda tangan di bawah ini, saya mahasiswa Sanata Dharma:
Nama : F.X. Hening Pamungkas Jagaddhita Nomor Mahasiswa : 071214146
Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul:
THE MEANING OF PAULO AND CHRIS’ FORTY-DAY JOURNEY IN THE MOJAVE DESERT SAS SEEN IN PAULO COELHO’S THE VALKYRIES beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan kepada Perpustakaan Sanata Dharma hak untuk menyimpan, mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendistribusikan secara terbatas, dan mempublikasikannya di Internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin dari saya maupun memberikan royalti kepada saya selama tetap mencantumkan nama saya sebagai penulis.
Demikian pernyataan ini saya buat dengan sebenarnya.
Dibuat di Yogyakarta Pada tanggal: 10 Juni 2014 Yang menyatakan
(F.X. Hening Pamungkas Jagaddhita)
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ABSTRACT
Jagaddhita, F.X. Hening Pamungkas. 2014. The Meaning of Paulo and Chris’ Forty-Day Journey in the Mojave Desert as Seen in Paulo Coelho’s the Valkyries. Yogyakarta: English Education Study Program, Department of Language and Arts Education, Faculty of Teachers Training and Education, Sanata Dharma University.
This study discusses The Valkyries, a literary work written by a Brazilian novelist, Paulo Coelho. The Valkyries tells the forty-day journey in the Mojave Desert conducted by Paulo and Chris in order to see Paulo‘s angel; a fictional character in a form of nature that guide a person‘s life. The objective of the study is to see the true meaning of the forty-day journey in the Mojave Desert conducted by the main characters, Paulo and Chris. There are two problems to be discussed in this study (1) ―How are Paulo and Chris portrayed in the novel?‖ and (2) ―What is the true meaning of Paulo and Chris‘s journey in desert as seen in the novel?‖. The primary datum of this study is the novel itself while the secondary data are taken from related books, articles, and the internet. This study uses five theories such as theories of character and methods of characterization, theory of psychology and psychological approach, theory of motivation, theory of symbol, and theory of love. There are two things that can be concluded after analysing the novel. They are the portrayal of Paulo and Chris and the true meaning of Paulo and Chris‘ journey in Mojave Dessert. In the portrayal of the main characters, Paulo is depicted as a magus who goes to Mojave Desert to see his angel. He is portrayed as a careless and loving person. Moreover, he is also portrayed as a strong-willed man. Paulo has a faithful-loving wife named Chris. Chris is a brave and strong woman who has a good instinct and a strong will. The literal meaning of Paulo and Chris‘s journey in Mojave Desert is to complete Paulo task‘s given by J., his master and to converse with his angel. As for the deeper meaning of their journey is not just to converse with the angel. In the process of learning how to converse with his angel, Paulo also learns to accept forgiveness and love and to achieve self-actualization. Finally, future researchers may explore more about feminism aspects for this novel also deals with women‘s struggle. In addition, religion aspects can also be another interesting topic to discuss. As for English teaching-learning activity, this novel can be used as a material to teach Prose.
Keywords: Valkyries, journey, true meaning
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ABSTRAK
Jagaddhita, F.X. Hening Pamungkas. 2014. The Meaning of Paulo and Chris’ Forty-Day Journey in the Mojave Desert as Seen in Paulo Coelho’s the Valkyries. Yogyakarta: Pendidikan Bahasa Inggris, Jurusan Bahasa dan Seni, Fakultas Keguruan dan Ilmu Pendidikan, Universitas Sanata Dharma.
Studi ini membahas novel The Valkyries, sebuah karya sastra yg ditulis oleh novelis Brasil, Paulo Coelho. The Valkyries mengisahkan tentang perjalanan Paulo dan Chris selama empat puluh hari di Gurun Mojave untuk mencari malaikat Paulo: sebuah karakter fiktif dalam bentuk alam yang membimbing hidup seseorang. Tujuan dari studi ini adalah untuk menemukan makna yang sebernarnya dari perjalanan empat puluh hari tersebut yang dilakukan oleh karakter utama, Paulo dan Chris. Ada dua rumusan masalah yang dibahas dalam studi ini (1) “Bagaimanakah penggambaran Paulo dan Chris dalam novel?” dan (2) “Apakah makna yang sebenarnya dari perjalanan Paulo dan Chris selama empat puluh hari di Gurun Mojave?” Sumber utama dalam penelitian ini adalah novel itu sendiri sedangkan sumber tambahan yang digunakan diambil dari buku, artikel, dan internet. Studi ini menggunakan lime teori; teori karakter dan metode perwatakan, teori psikologi dan pendekatan psikologis, teori motivasi, teori cinta, dan teori simbol. Setelah menganalisis novel ini, ada dua hal yang dapat disimpulkan, Hal tersebut adalah penggambaran Paulo dan Chris dan makna sebenarnya dari perjalanan empat puluh hari Paulo dan Chris di Gurun Mojave. Paulo digambarkan sebagai seorang magus yang pergi ke Gurun Mojave untuk mencari malaikatnya. Dia adalah orang yang ceroboh dan penyayang. Selain itu, dia juga memiliki kemauan yang kuat. Paulo memiliki istri yang setia dan penyayang, Chris. Chris adalah seorang wanita yang kuat, pemberani, instingtif, dan berkemauan kuat. Makna harafiah dari perjalanan tokoh utama adalah untuk menyelesaikan tugas yang diberikan oleh J., guru Paulo, dan untuk bertemu dengan malaikatnya. Sedangkan makna sebenarnya dari perjalanan mereka bukan hanya untuk bertemu dengan malaikatnya. Dalam prosesnya, Paulo belajar untuk sungguh menerima pengampunan dan cinta dan juga untuk mencapai aktualisasi diri. Akhirnya, penulis dimasa yang akan datang dapat menganalisis lebih lanjut mengenai aspek feminisme pada novel. Aspek agama juga merupakan aspek yang menarik untuk dianalisis. Untuk kegiatan belajar-mengajar bahasa Inggris, novel ini dapat digunakan sebagai materi pengajaran Prose.
Kata kunci: Valkyries, journey, true meaning vii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI
ACKNOWLEDGEMENTS
Thesis writing is a series of hard work. It consumed both time and energy.
A lot of difficulties that I faced during the writing process but by the blessings from the Lord Jesus Christ I could finally finish this thesis. Therefore, I would like to express my deepest gratitude to the Almighty God, Lord Jesus Christ for the wonderful blessings, love and guidance along the process.
I would like to express my gratitude to my family, my lovely parents, my mother MB Herwantari Prihatiningsih and my father in heaven FX Bambang Rudi
Santosa for the love and everything they have given. I also thank my brothers and sister, Henricus Budi Satria Wonoardi, Theresia Ratri Tetuko Avianti, Vincentius
Titih Gita Arupadhatu, and Petrus Respati Haryo Sadewa for the love, conflict, and support during the writing process.
My deepest gratitude also goes to my advisor, Drs. Antonius Herujiyanto,
M.A., Ph.D., for the guidance, patience, and for providing time and a supporting atmosphere along the writing process. I thank him for the valuable advice and corrections on my thesis. I would also like to thank all lecturers and staff of
English Education Study Program, Sanata Dharma University.
My gratitude also goes to my friends, especially Bretya and Wendy for their help in grammar correction, Marianus for the guidance, and Asep, Seto and
Felix for the insolence that has motivated me a lot to finish my thesis. I also thank my friends whom I cannot mention individually. Moreover, I would like to thank
Mbak Dhani, Mbak Tari, and Mbak Rinda for helping me along the process.
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My special thanks go to Catharina Brameswari for her great love, patience, caring and support. She is my place to share joys and sorrows. I thank her for her help in the writing process and for accompanying me doing my thesis and helping me to solve my problems. Last but not least, I would like to thank those whom I cannot mention individually, but surely this thesis could not be done without their support and help. May God always be with us.
Fransiscus Xaverius Hening Pamungkas Jagaddhita
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TABLE OF CONTENTS
TITLE PAGE ...... i PAGES OF APPROVAL ...... ii STATEMENT OF WORK’S ORIGINALITY ...... iv PERNYATAAN PERSETUJUAN PUBLIKASI ...... v ABSTRACT ...... vi ABSTRAK ...... vii ACKNOWLEDGEMENTS ...... viii TABLE OF CONTENTS ...... x
I. INTRODUCTION ...... 1 A. Background of the Study ...... 1 B. Objectives of the Study ...... 2 C. Problem Formulation ...... 3 D. Definition of Terms ...... 3 1. Valkyrie ...... 3 2. Journey ...... 4 3. True Meaning ...... 4 4. Careless ...... 4 5. Strong-willed ...... 4 6. Instinctive ...... 5 7. Strong ...... 5 8. Symbol ...... 5
II. LITERATURE REVIEW ...... 6 A. Review of Related Studies...... 6 B. Review of Related Theories ...... 7 1. Theories of Character ...... 7 2. Methods of Characterization ...... 8 a. Personal Description ...... 8 b. Character as Seen by the Other Character ...... 8 c. Speech ...... 9 d. Past Life ...... 9 e. Conversation of Other Characters ...... 9 f. The Character‘s Reaction to Various Situations and Events ...... 9 g. Direct Comment of the Author ...... 10
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h. Thoughts ...... 10 i. Mannerism ...... 10 3. Theory of Psychology and Psychological Approach ...... 10 a. The Id ...... 11 b. The Ego ...... 12 c. The Superego ...... 13 d. The Interaction of the Id, Ego, and Superego ...... 14 4. Theory of Motivation ...... 14 a. Self-Actualization ...... 15 b. Esteem Needs ...... 16 c. Social Needs ...... 16 d. Safety Needs ...... 16 e. Physiological Needs ...... 17 5. Theory of Symbol ...... 17 6. Theory of Love ...... 20 a. Intimacy ...... 21 b. Passion ...... 21 c. Commitment ...... 21 d. Forms of Love ...... 21 i. Liking/Friendship ...... 22 ii. Infatuated Love ...... 22 iii. Empty Love ...... 22 iv. Romantic Love ...... 22 v. Companionate Love ...... 22 vi. Fatuous Love ...... 22 vii. Consummate Love ...... 22 C. Theoretical Framework ...... 22 D. Context of the Novel ...... 23
III. METHODOLOGY ...... 26 A. Object of the Study ...... 26 B. Approach of the Study ...... 26 C. Method of the Study ...... 27
IV. DISCUSSION ...... 29 A. Characterization of Paulo and Chris ...... 29 1. Paulo ...... 30 a. Paulo is a Magus ...... 30 b. Careless ...... 31 c. Loving ...... 31 xi PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI
d. Strong-Willed ...... 32 2. Christina ...... 33 a. Faithful ...... 33 b. Loving ...... 35 c. Strong-Willed ...... 35 d. Instinctive ...... 37 e. Brave and Strong ...... 38 B. The Meaning of Paulo and Chris‘s Journey in the Mojave Desert ...... 39 1. The Literal Meaning of Paulo and Chris‘s Journey in the Mojave Desert ...... 39 a. Break a Pact ...... 42 b. Accepting Forgiveness ...... 42 c. Make a Bet ...... 43 2. The Deeper Meaning of Paulo and Chris‘s Forty-Day Journey in the Mojave Desert ...... 44 a. Accepting Forgiveness ...... 44 b. Accepting Love...... 49
V. CONCLUSIONS AND SUGGESTIONS ...... 56 A. Conclusions ...... 56 1. Portrayal of Paulo ...... 56 2. Portrayal of Chris ...... 57 3. Literal Meaning ...... 58 4. Deeper Meaning ...... 59 B. Suggestions ...... 60 1. Suggestion for Future Researchers ...... 61 2. Suggestion for English Teaching Learning ...... 61 3. The Implementation of Teaching Prose ...... 62
REFERENCES ...... 64
APPENDICES ...... 67 Appendix 1: Summary of The Valkyries ...... 68 Appendix 2: Biography of Paulo Coelho ...... 70 Appendix 3: Syllabus of Prose ...... 74 Appendix 4: Lesson Plan ...... 77 Appendix 5: Material ...... 82
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CHAPTER I INTRODUCTION
This chapter consists of four sections; they are background of the study, problem formulation, objectives of the study, and definition of the terms. The purpose of the study is to find the true meaning of the main characters, Paulo and
Chris‘s journey, as seen in Paulo Coelho‘s The Valkyries. In order achieve the goal of this study, the writer uses theories of character and methods of characterization, theory of motivation, theory of love, theory of psychology and psychological approach, and theory of symbol.
A. Background of the Study
The writer chooses this novel, The Valkyries by Paulo Coelho, as the subject of the analysis because the writer is interested in the story of the novel, which mostly deals with faith. Due to the fact that literary works are like reflections of human life, the writer is interested in studying the main characters‘ lives as seen in the novel.
According to Lombardi (2010), ―literature represents a language or a people: culture and tradition. However, literature is more important than just a historical or cultural artefact. It introduces us to new worlds of experience.‖ On the other hand, literature can be a media to express feelings, ideas, thoughts, and even personal experience in life. By reading literary work, people can get the author‘s ideas and thoughts. Therefore, analysing the intrinsic aspects of the literary work can help the reader to understand the work deeper.
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The story begins with the meeting between J. and Paulo. J. is Paulo‘s master. He told Paulo to go on a journey in the Mojave Desert in order to search for the Valkyries. Paulo needs to meet the Valkyries in order to learn how to converse with his angels. Chris, Paulo‘s wife went to the journey with Paulo. In the Mojave Desert, they made it to meet the Valkyries. They experienced so many things during the journey. This journey is the most important point in the novel.
By the end of their journey, Paulo and Chris learned a lot of things and they could finally converse with their angels.
The writer has a specific reason for choosing The Valkyries as the novel that the writer wants to analyse. It is because of the story of the novel itself. The writer thinks that the purpose of the main character‘s forty-day journey in the
Mojave Desert in a search of the Valkyries, in a real life, is like someone who is looking for the answers to one‘s questions of life, such as, what do we live for?
Why do we kill the things we love? These are questions which the writer also has in life.
B. Objective of the Study
The objective of the study is to find the true meaning of the forty-day journey in the Mojave Desert conducted by the main characters, Paulo and Chris as seen in Paulo Coelho‘s The Valkyries.
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C. Problem Formulation
The problems of the study can be formulated as follows:
1. How are Paulo and Chris portrayed in the novel?
2. What is the true meaning of Paulo and Chris‘s journey in the desert as seen
in the novel?
D. Definition of Term
The following part is the meaning of certain words used in the study. The purpose was to avoid misunderstanding in perceiving some important terms in this research.
1. Valkyrie
According to The Penguin Dictionary of Symbols by Jean Chevalier, Alain
Gheerbant, and John Buchanan Brown (1996), Valkyries are the nymphs from
Wotan‘s palace who have often been compared with the Amazons. As messengers of the gods and war leaders, they led heroes to their death and having brought to the paradise, they poured their beer and meat. They incited the heroes to battle by the love which their beauty instilled into their hearts and by the bravery they displayed at the forefront of the battle on horses charging as swiftly as the clouds or the storm-wracked waves. The Valkyries stood for the risks inherent in love conceived as a struggle, with its alternations of triumph, disaster, life, and death
(p. 1059). As for this novel, the Valkyries refer to a group of women riding a powerful motorcycle roaming around the desert preaching about the kingdom of heaven.
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2. Journey
Literary, journey means the act of travelling from one place to another.
Here, the journey refers to Paulo, the main character‘s forty-day journey in the
Mojave Desert in searching for the Valkyries.
3. True Meaning
The true meaning here is the extrinsic aspects of the literary works. The definition of meaning in this study refers the definition of meaning explained by
Audi. According to Audi (1999),
―Meaning is the conventional, common, or standard sense of an expression, or of a non-linguistic signal or symbol. Literal meaning is the non-figurative. Synonymy is the sameness of literal meaning. In another sense, meaning is what a person intends to communicate by a particular utterance. Meaning means the extrinsic aspects in the literary works. It is not the literal meaning. It is has two aspect, literal meaning or surface meaning and non-literal meaning or deeper meaning‖. (p. 545)
In this study, the true meaning refers to the deeper meaning of the journey conducted by Paulo and Chris in the Mojave Desert.
4. Careless
According to The New Oxford American Dictionary, careless can be defined as not giving sufficient attention or thought to avoiding harm or errors. In this study, careless refers to Paulo‘s act which is not concerned or worried about his own safety.
5. Strong-willed
As stated by Cambridge Advanced Learners’ Dictionary and Thesaurus, strong-willed is when a person is determined to behave in a particular way although there might be good reasons for not doing so.
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6. Instinctive
According to The New Oxford American Dictionary, instinctive can be defined as doing or being a specified thing apparently naturally or automatically.
In this study, instinctive refers to Chris‘ action when learns how to control her second mind.
7. Strong
According to The New Oxford American Dictionary, strong can be defined as showing determination, self-control, and good judgement. Moreover, it can be defined as powerfully affecting the mind, senses, or emotions. In this study, strong refers to Chris‘ character and her action when she is confronting Valhalla.
8. Symbol
According to The New Oxford American Dictionary, symbol is a thing that represents or stands for something else especially a material object representing something abstract. In this study, symbol refers to the appearance of Paulo‘s angel. It is used to see things that symbolise the forms of Paulo‘s angel.
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CHAPTER II LITERATURE REVIEW
This chapter deals with the theories and approach as well as context of primary datum. This chapter is divided into four sections. The first section provides a review on related study, in which contains some criticisms and studies by other writers on Paulo Coelho‘s The Valkyries. The second section constitutes a review on related theories, in which those concepts fundamental to further discussion on the object of this study are explored concisely. This section comprises the important concepts on theories of character and methods of characterization, theory of motivation, theories of symbol, theory of love, theory of psychology and psychological approach.
The third section of this chapter provides the theoretical framework, of which the previously mentioned concepts are described as contributing to the analysis of the novel.
A. Review of Related Studies
Paulo Coelho‘s third novel, The Valkyries is one of Paulo‘s best seller novels which was sold more than 25 million copies and had been translated into
43 different languages. El Espectador, Columbia, states that,
Coelho is a pilgrim of a literature that soothes the soul, and of a philosophy that rediscovers the spirituality in people, our personal quest and reunion with the forgotten, everyday beauty of the world in which we live and the paths we weave. His books are a mirror: Refreshing, intense, messengers of love and of man‘s most essential path. His magic irradiates when, after reading his books, one feels happy.
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Excelsior, Mexico, states that, ―Coelho reveals, through his powerful poetry, a unique and incomparable message of life as well as developing a path to teach the Eternity‖ (Coelho, 1996, p. i).
B. Review of Related Theories
This section deals with the theories, which comprise the fundamentals of the analysis of this study. They are theories of character and methods of characterization, theory of love, theory of psychology and psychological approach, theory of motivation, and theories of symbol.
1. Theories of Character
Stanton (1965), argues that character is one of the most important elements in the literary works. Character is a person who does the action in a story
(p. 17). According to Abrams (1971), a character is ―an individual who exists in a dramatic or narrative work and he/she has moral dispositional qualities that can be seen from his/her dialogue and action. Dialogue and action have important roles in understanding the characters‖ (p. 21). There are two kinds of character in the fictional story according to Milligan (1983), they called main character and minor character (p. 155).
A main character is the most important character in a literary work. It plays a very important role because everything it does will have a major impact on the story. A main character becomes the centre of the story because it endures problems, conflict, happiness, and sorrow, from its actions; the reader could
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Their appearance supports the main character to develop the story so that they appear only in a certain setting. They do not endure the problem of the story.
2. Methods of Characterization
Murphy (1972, pp. 160-173) in Understanding Unseen: Introduction in
English Poetry and the English Novel for Overseas Students states that there are some ways of the author to make his or her characters understandable are: a. Personal Description
The author can describe the person‘s appearance and clothes in the story.
The author describes what the characters are like and tells the reader the details of the characters‘ appearance such as the face, skin colours, eyes, hair, and the clothing. b. Character as Seen by the Other Characters
Instead of describing the character directly, the author can describe a character through the eyes and opinions of another people in the story. The reader gets as it were, a reflected image. In other words, the author describes a character in the story by letting another people in the story make an opinion toward the character him or herself.
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9 c. Speech
The author can give the reader an insight into the character of one of the characters in the story through what the person says. Whenever a person speaks, whenever he is in conversation with another, whenever he put forward an opinion, he is giving his readers clue to his character. d. Past life
By letting the reader learn something about a person‘s past life, the author can give the readers a clue to events that have helped to shape the person‘s character. This can be done by direct comment by the author, through the person‘s thought, trough the conversation or through the medium of another person. e. Conversation of Other Characters
The author can give the readers‘ clue to a person‘s characters through the conversation of other people and the things they say about the character. The clues which the readers have, comes from the character who talk about the things they say to the character of the person who spoken about. f. The Character’s Reaction to Various Situations and Events
The author can give the readers a clue to a person‘s characters by letting the readers know how that person reacts to various situations and events.
Therefore, through this reaction, the readers can understand the mental and moral qualities of the person in the story.
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10 g. Direct Comment of the Author
The author can describe or comment on a person‘s character in the story directly. In this way, the reader will understand what kind of people in the work easily. h. Thoughts
The author can give the readers direct knowledge of what a person in the story is thinking about. Here, the author is able to do what the author himself or herself cannot do in the real life. The author also can tell the readers what different people are thinking. i. Mannerism
The author can describe a person‘s mannerisms, habits, or idiosyncrasies, which may also tell us something about his character.
3. Theory of Psychology and Psychological Approach
Hurlock (1974), in Personality Development, states that the individual aspect of human life concerns with the physical changes and individual‘s personality development. Individual‘s personality development is usually influenced by two factors, which are individual‘s early experience within his family and the important events happened outside the home or the social aspect
(pp. 19-20). In 2000, Huffman, M. Vernoy and J. Vernoy define ―personality as an individual‘s unique and relatively stable pattern of thoughts, feelings, and actions that defines you as a person: how you are different from other people‖ (p. 464).
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Moreover, Worchel and Shebilske (1989) in their book Psychology:
Principles and applications explain:
Personality as the unique set of behaviours (including thoughts and emotions) and enduring qualities that influence the way a person adjusts to his or her environment. Personality is seen as influencing, guiding, and motivating behaviour.‖ Personality is what someone really is toward his or her own life want to be. Personality is what makes people unique and causes them to act or see situations different from anyone else. (p. 461)
Furthermore, Worchel and Shebilske (1989) describe Sigmund Freud‘s
Psychological theory. They explain that in the structure of personality,
Freud believes that the individual‘s personality is the scene of a never-ending battle. On one hand, there are primitive and unacceptable drives striving for expression, while on the other hand there are forces trying to deny or disguise these impulses. Freud not only viewed the personality as a battlefield, but he also identified the participants in this battle: the id, the ego, and the superego. (p. 471)
Sigmund Freud defines these three elements of personality. The first element of personality is known as the id. The second element is known as the ego and for the third element is called the superego. These three elements of personality are working together to create complex human behaviours.
a. The Id
Id operates at the unconscious level of our personality. Each of us has a savage quality at the root of our personality. According to Freud, people are born with two instinctual drives which serve as the basic motivation for all behaviour.
One called eros and another one is called thanatos.
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Eros is the drive for survival. Included in this drive are the needs to eat and drink, to be warm, and above all to engage in sexual activity. The energy force that propels the person to satisfy these drives is called libido.
Thanatos, is a destructive drive. The aim is to destroy others, but there is also a self-destructive aspect to it. In fact, Freud took the grim position that ―the aim of all life is death.‖ This self-destructive impulse is seen not only in suicide, but also in the harmful excesses in which so many people engage, such as drinking alcohol, smoking, and overacting. It is the unconscious desire for self- destruction. The id, like savage, wants to satisfy these primitive drives in the most direct and immediate way. It is not concerned with logic, reality, or manners. It functions on pleasure principle, which dictates the immediate satisfaction of drives.
b. The Ego
The ego is a person‘s view of physical and social reality. It tries to satisfy the id impulses by taking into account the possibilities of reward and punishment that exist in a situation. In other words, it works on the reality principle. Although each of us may have the primitive desires, it is clear that we could not function long in our social world if we give free expression to the savage within ourselves.
For example, suppose you are very thirsty and see a nice cold beer in a restaurant.
Your Id impulses would tell you to grab the beer and drink it. The Ego, however,
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13 would calculate the possible result of this action; the worst thing may happen.
Thus, the Ego would direct you to order and pay for your own beer.
c. The Superego
We can view the Id as operating on the signal ―I want it now.‖ The Ego answers this demand by saying ―Let‘s be realistic and get it in a way that won‘t cause trouble.‖ These two forces, however, must also controlled by the Superego, which says, ‗Think. Is it right to want it?‖ The Superego represents our conscience. It includes the moral values of right and wrong which are largely instilled in us by our parents. The Superego makes us feel guilty when we have done the wrong thing. As you might imagine, people who are dominated by the
Superego will be very uptight and self-conscience; they must constantly ask themselves, ―Is it right to feel or act this way?‖ It is also the superego which motivates us to better ourselves and to live up to our ideals. According to Freud, the superego begins to emerge at around age five. There are two parts of the superego. The first part is called the ego ideal. The ego ideal includes the rules and standards for good behaviors. These behaviors include those, which are approved of by parental and other authority figures. Obeying these rules leads to feelings of pride, value and accomplishment. The second part is called the conscience. The conscience includes information about things that are viewed as bad by parents and society. These behaviours are often forbidden and lead to bad consequences, punishments or feelings of guilt and remorse.
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14 d. The Interaction of the Id, Ego and Superego
With so many competing forces, it is easy to see how conflict might arise between the id, ego and superego. Freud used the term ego strength to refer to the ego's ability to function despite these duelling forces. A person with good ego strength is able to effectively manage these pressures, while those with too much or too little ego strength can become too unyielding or too disrupting. According to Freud, the key to a healthy personality is a balance between the id, the ego, and the superego.
4. Theory of Motivation
The basis of Maslow's motivation theory is that human beings are motivated by unsatisfied needs, and that certain lower factors need to be satisfied before higher needs can be satisfied. According to Maslow, there are general types of needs (physiological, survival, safety, love, and esteem) which must be satisfied before a person can act unselfishly. He called these needs ―deficiency needs.‖ As long as we are motivated to satisfy these cravings, we are moving towards growth and self-actualization. Satisfying needs is healthy, while preventing gratification makes us sick or act evilly (pp. 80-122).
As a result, for adequate workplace motivation, it is important that leadership understands the active needs for individual employee motivation.
In this manner, Maslow‘s model indicates that fundamental, lower-order needs like safety and physiological requirements have to be satisfied in order to pursue
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15 higher-level motivators along the lines of self-fullfillment. As depicted in the hierarchical diagram, sometimes called ―Maslow‘s Needs Pyramid‖ or
―Maslow‘s Needs Triangle‖, after a need is satisfied it stops acting as a motivator and the next need one rank higher starts to motivate. (pp. 123-154)
Self-Actualization
Esteem Needs
Social Needs
Safety Needs
Physiological Needs a. Self-actualization
Self-actualization is the summit of Maslow‘s motivation theory. It is about the quest of reaching one's full potential as a person. Unlike lower level needs, this need is never fully satisfied; as one grows psychologically there are always new opportunities to continue to grow. Self-actualized people tend to have motivators such as truth, justice, wisdom, and meaning. Self-actualized persons have frequent occurrences of peak experiences, which are energized moments of profound happiness and harmony. According to Maslow, only a small percentage of the population reaches the level of self-actualization.
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16 b. Esteem Needs
After a person feels that they ―belong‖, the urge to attain a degree of importance emerges. Esteem needs can be categorized as external motivators and internal motivators. Internally motivating esteem needs are those such as self- esteem, accomplishment, and self-respect. External esteem needs are those such as reputation and recognition. Some examples of esteem needs are recognition
(external motivator), attention (external motivator), social status (external motivator), accomplishment (internal motivator), self-respect (internal motivator), and success. Maslow later improved his model to add a layer in between self- actualization and esteem needs: the need for aesthetics and knowledge. c. Social Needs
Once a person has met the lower level physiological and safety needs, higher level motivators awaken. The first level of higher level needs is social needs. Social needs are those related to interaction with others and may include friendship, acceptance, affection, belonging to a group, and giving and receiving love. d. Safety Needs
They are security, shelter, freedom from fear and anxiety. Once physiological needs are met, one's attention turns to safety and security in order to be free from the threat of physical and emotional harm. Living in a safe area, medical insurance, job security, and financial reserves might fulfil such needs.
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According to the Maslow hierarchy, if a person feels threatened needs further up the pyramid will not receive attention until that need has been resolved. e. Physiological Needs
Physiological needs are those required to sustain life, such as air, water, food, sex, and sleep. According to this theory, if these fundamental needs are not satisfied then one will surely be motivated to satisfy them. Higher needs such as social needs and esteem are not recognized until one satisfies the needs basic to existence.
5. Theory of Symbol
According to Yelland, Jones, and Easton (1953, p. 201), symbolism is the use of expressions which represent or recall certain ideas in literature. Such symbols are in daily use, and writers find that they not only simplify a thought but also express it more picturesquely. Besides being used directly in this way, symbolism is the basis of much figurative language. Symbols are used not only to our understanding but also to our imagination and sense of literary works. An interesting recent use of the symbol is in connection with aliterary movement called expressionism.
Here are some theories of symbol by Emerson, Carlyle, Lawrence, Wilson, and Dewey that is written by Quina (1971) in her document resume. The transcendental approach to symbolism is represented by Emerson, who in his essay ―The Poet‖ says that ―things admit of being used as symbols because nature
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18 is a symbol...‖ Emerson‘s fundamental assumptions in defining the symbol are grounded in Neo-Platonism. ―All form is an effect of character, all condition, of the quality of the life, all harmony, of health...‖
From the notion that all form is grounded or conditioned by an essential nature of the universe as good, Emerson concludes that ―everything in nature answers to a moral power.‖ Since nature is a symbol, ―in the whole, and in every part,‖ it is not surprising to find that the coachman values riding, and that the hunter values his dogs. All such people, says Emerson, are participating in
―beauty not explicable.‖ It is because we so enjoy participating in the supernatural that we are driven to the use of emblems and symbols to communicate the ineffable:
―...See the power of national emblems. Some stars, lilies, leopards, a crescent, a lion, an eagle, or other figure which came into credit God knows how, on an old rag of bunting, blowing in the wind on a fort at the ends of the earth, shall make the blood tingle under the rudest or the most conventional exterior.‖ In
Sartor Resartus: The life and Opinions of Herr Tuefelsdroch, Carlyle has his amiable Professor maintain that ―the Universe is one vast symbol of God...(that) man himself is a symbol of God.‖ Carlyle makes a distinction between what he calls extrinsic and intrinsic symbols. Extrinsic symbols are accidental. They grow out of a kind of herd instinct that people have to gather together.
In this category, Carlyle would place Emerson‘s common man. ―Under such symbolism, has stood and can stand the stupidest hearldic Coat of arms
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19 military banner everywhere. The symbol of necessity to band together reflects only a glimmer of the Divine idea of duty.‖ Carlyle also argued that intrinsic symbol, on the other hand, is presented in the great works of art. This symbol reflects the Divinity; ―it is the Godlike rendered visible.‖
Because the intrinsic symbol is a true representation of the Godlike, it is fit that men should gather about it and value it in itself. It does not have the arbitrary nature of the herd symbol. In Emerson‘s case the reality is God, Divinity, absolute reality, or what you will. In Carlyle‘s case the absolute symbol, the highest conceivable symbol, is Christ.
In order to define the symbol, Lawrence first makes a distinction between allegory and myth. ―Allegory,‖ he says, ―is a narrative description using, as a rule, images to express certain definite qualities.‖ Then Lawrence defines the myth:
―Myth is descriptive narrative using images. The purpose of myth is too deep, going to deep in the blood and soul, for mental explanation or description. So, the meaning of symbol is that the symbol is an image of a myth. ―Symbol don‘t mean.
They stand for units of human feeling.‖
Wilson, then, defines symbolism as an act, as a creative process. ―And symbolism may be defined as an attempt by carefully studied means to communicate unique personal feelings. The pragmatic approach is represented by
Dewey regards all words which represent objects and actions as symbols. All symbols have a meaning, but the meaning is not in the symbol themselves.
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6. Theory of Love
Love is the most powerful of incitements to ambition. A lover will do anything and endure anything to win the admiration of his ―beloved‖ and avoid disgracing himself in his eyes. Since man is only half a complete creature, and each half goes about with a passionate longing to find union with the lost half of one‘s original self is what we call ―love‖ and until it is satisfied, none of us can attain happiness. The goal of love, as Socrates conceives it, is not incorporation with a mate of flesh and blood, nor even lifelong ―marriage‖ with a ―kindred mind,‖ but the soul with the ―eternal wisdom‖ in a region ―all breathing human passion far above.‖
Eros, then, is always a desirous love of its object, and that object is always something not yet attained or possessed (Taylor, 1963, pp. 213-223).
Expressionist love is considered an expression of a state of affairs towards a beloved, which may be communicated through language or behaviour, but is a reflection of an internal, emotional state, rather than an exhibition of physical responses to stimuli. Others in this vein may claim love to be a spiritual response, the recognition of a soul that completes one‘s own soul, or complements or augments it. The spiritualist vision of love incorporates mystical as well as traditional romantic notions of love, but rejects the behaviourist or physicalist explanations (Moseley, 2001).
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Sternberg (1986, pp. 119-135) came up with a Triangular Theory of Love.
The underlying idea of this theory is that love can be dissected into three main parts: intimacy, passion and decision/commitment. a. Intimacy
This encompasses feelings of closeness, connectedness, and boundedness.
With passion, there is the initial infatuation, the strong emotions, and the attraction. It involves a high level of trust between two individuals b. Passion
This encompasses drives that lead to romance, physical attraction, and sexual consummation. With intimacy, the lovers become closer, inter-dependant, and psychologically their self-concepts begin to overlap. c. Commitment
This encompasses, in the short term, the decision to remain with another, and in the long term, the shared achievements and plans made with that other.
Commitment is the most volitional of the three, the decision to take steps to maintain the love and the relationship. d. Forms of Love
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22 i. Liking/Friendship: is characterizes true friendships, in which a person feels
a bond, warmth, and a closeness with another but not passion or long-term
commitment. ii. Infatuated Love: It is pure passion. iii. Empty Love: It is characterized by commitment without intimacy or passion. iv. Romantic Love: It bonds individuals emotionally through intimacy and
physically through passionate arousal, but neither is sustained without
commitment. v. Companionate Love: It is an intimate, non-passionate type of love that is
stronger than friendship because of the element of long-term commitment.
The love ideally shared between family members is a form of companionate
love, as is the love between close friends who have a platonic but strong
friendship. vi. Fatuous Love: Its commitment is motivated largely by passion without the
stabilizing influence of intimacy. vii. Consummate Love: It is the complete form of love. Consummate love is
theorized to be that love associated with the ―perfect couple‖ (Sternberg,
1987, p. 341).
C. Theoretical Framework
The theories reviewed in the previous part are very important for the writer to get into the analysis part. In analysing Paulo Coelho‘s The Valkyries, the writer
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23 uses five theories. They are theory of character, method of characterization, theory of psychology and psychological approach, theory of motivation, theory symbol, and theory of love.
Theory of character, method of characterization, and theory of psychology and psychological approach can be used to analyse the main characters, Paulo and
Chris in order to answer the first research question, which is how they are portrayed in the novel.
In order to answer the second research question, the writer uses theory of motivation, theory of symbol, and theory of love. These theories are used to find out the meaning of Paulo‘s forty-day journey in the Mojave Desert. Moreover, theory of symbol is used to see things that represent the forms of Paulo‘s angel.
This theory is important to see whether or not the angel appear because the appearance of Paulo‘s angel is critical to the study. These theories can be applied to help the writer to analyse the true meaning of Paulo‘s forty-day journey in the
Mojave Desert related to Paulo‘s will in achieving his self-actualization through the fullfillment of his safety needs, social needs, and esteem needs.
D. Context of the Novel
The Valkyries is a novel written by Paulo Coelho. This novel consists of
212 pages. The original version Paulo Coelho‘s The Valkyries was written in
Portuguese. The novel was first printed and bound in Brazil by Editora Rocca Ltd.
The novel was translated into English by Alan R. Clarke and published in 1995 in
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24 the United States of America by Harper Collins Publisher Inc. The story is narrated from the third person point of view.
Paulo Coelho is a Brazilian novelist who likes to use his personal experience as the inspiration in writing a literary works. The Valkyries, is one of Paulo Coelho‘s novels which was written based on his personal experience such as, his marriage and his social life, which can be seen from the Author‘s
Note in Paulo Coelho‘s The Valkyries (1995),
―In order to relate the events that took place, I had to reveal details from my personal life-my marriage, my relationships with others, and the fragile distance that separates the magical Tradition to which I belong from the person I am. As is true for any human being, exposing my weaknesses and my private life is not easy‖. (p. 211)
The events narrated in the novel occurred on September 5 and October 17,
1988. Besides The Valkyries, Paulo Coelho also wrote some other famous novels such as The Alchemist, The Pilgrimage, Eleven Minutes, Veronika Decides to
Die, By the River Piedra I Sat Down and Wept, The Fifth Mountain, and
Warrior of the Light: A Manual. As stated by the jury of Bambi Award 2001 which took place in Germany, the jury gave the Germany‘s most prestigious prize to
Paulo Coelho. They also announced that Coelho is not only one of the most widely read, but also one of the most influential authors writing today
(www.paulocoelho.com).
Paulo Coelho‘s The Valkyries, tells a story about his spiritual journey accompanied by his wife named Chris. The story began with the meeting between
J. and Paulo. J. is Paulo‘s master. J. gave Paulo a task. He told Paulo to go to Los
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Angeles, to meet Gene. Gene was meant to teach Paulo of how to converse with his angels. But then, Gene told Paulo to search for the Valkyries. The Valkyries were a group of women who rode on motorcycles, wandering around the Mojave
Desert. Gene said that Paulo needed to meet the Valkyries in order to learn how to converse with his angels. Valhalla is the leader of the Valkyries. Paulo finally met the Valkyries and Valhalla gave Paulo and even his wife some tests before they were finally able to converse with their angels.
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CHAPTER III METHODOLOGY
This chapter presents the methods of the study to solve the problems formulated in chapter I. This study is intended to answer: How Paulo and Chris are portrayed in the novel? And what is the true meaning of Paulo‘s journey as seen in the novel as seen in Paulo Coelho‘s The Valkyries?
A. Object of the Study
The object of the study is The Valkyries, one of the most popular novels of
Paulo Coelho. It was published in 1996 by Harper Collins Publisher and later became the bestseller. The novel was first printed and bound in Brazil by Editora
Rocca Ltd. The novel consists of 212 pages. The story is narrated through the third person point of view. The events narrated in the novel occurred on
September 5 and October 17, 1988.
B. Approach of the Study
This study uses a psychological approach. The psychological approach is used to answer the formulated question. This approach can help the writer to understand the two main characters‘ personalities better and the meaning of their forty-day journey in the Mojave Desert. The psychological approach is also useful for the writer to find the extrinsic aspects of the novel or the deeper meaning.
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C. Method of the Study
The method used in the study was library research. Two kinds of data were used; they were the primary and the secondary data. The primary datum was the novel itself, Paulo Coelho‘s The Valkyries. The secondary data were books and articles on theories and reviews used in the analysis. There are steps in conducting the research. The first step was to select a literary work that was going to be analysed. The second step was the technical reading of the novel as fundamental step before continuing to the further analysis. As the object of this study, the authoritative text of the novelette as obtained from the 1996‘s of Paulo Coelho‘s
The Valkyries, by Harper Collins Publisher (London) is used. The reading is conducted to recognize the data; especially, those dealing with the main characters, Paulo and Chris‘ journey.
The third step was deciding the topic to be analysed. The writer concluded the analysis into two problem formulation. After formulating the research questions related to the topic and finding the appropriate approach for the analysis, the next step was to find the secondary data related to the topic or problems, which would be analysed. In this step, the writer found the secondary data from books and online references as stated above. The next step was analysing and answering the research questions. In this step, the writer tried to answer the research question using the primary and secondary data.
In the analysis, the writer was applying the secondary and primary data to analyse Paulo and Chris, the main characters and their journey by observing their attitudes, actions, behaviour, conversations, or others‘ opinion towards them.
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Then, the writer gave some explanations on the characters. Afterwards, the theories and the psychological approach were used to answer the research question. The theory of character, method of characterization, and theory of psychology and psychological approach were used to answer the first research question. While the theory of motivation, theory of symbol, and theory of love were used to answer the second research question.
The last step was to conclude the study of the novel. In this step, the writer concluded the findings as the result of the analysis and gave some suggestions to the future researchers who want to analyse Paulo Coelho‘s The Valkyries.
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CHAPTER IV
DISCUSSION
This chapter contains the discussion and analysis in order to answer the research questions formulated in the problem formulation. This chapter is divided into two parts. The first part deals with how Paulo and Chris, the main characters of Coelho‘s The Valkyries, are portrayed. In this part, the writer describes Paulo and Chris‘s characters. In the second part, the writer analyses the literal and true meaning of Paulo‘s forty-day journey in the Mojave Desert as seen in Coelho‘s
The Valkyries.
A. Characterization of Paulo and Chris
Characters are one of the most important aspects in a novel. Each character plays a different role in the novel to create a story. Paulo and Chris are the main characters in Paulo Coelho‘s The Valkyries. They are the ones who become the focus of the story and the analysis of this study.
In this analysis the writer applies the methods to understand the characters of Paulo and Chris, the main characters in Coelho‘s The Valkyries. Quotations from the novel are used to support the analysis. The writer focuses on describing the characteristic of Paulo and Chris, the main characters of the novel.
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1. Paulo
Paulo is one of the main characters in Coelho‘s The Valkyries. In the novel, Paulo is described as a magus. He is J.‘s disciple and Chris‘s husband. The story begins when Paulo was sent by J. to go to Mojave Desert to search for Gene.
Paulo goes to Mojave Desert with his wife. During their journey, there are major changes or developments in their characters. Paulo‘s character can be described as follows: a. Paulo is a Magus
In the novel, Paulo is described as a magus. Magic, for Paulo, is something of great importance (p. 1) and he also conducts many rituals, exercises, and practices on it (p. 13). Paulo and Chris‘s friends said that Paulo was a sorcerer (p.
12). There are some descriptions, which showed that Paulo is a magus.
―Only then he did reveal what she already knew: that for seven years he had dedicated himself to learning magic.‖ Chris remembered that day. Paulo had wept. He said that he was being called but didn‘t know how to respond. ―Should I go back to magic?‖ he has asked. ―Yes, you should,‖ she had answered, but she wasn‘t sure. (p. 13)
More supporting argument can be seen from Paulo‘s thoughts that he is a magus during his conversation with Gene.
―Why is he saying all this? Paulo thought. Has he forgotten that I’m a master of magic, too?” (p. 51)
From the opinion of the main characters‘ friends towards Paulo, Paulo‘s magic activities and practices, and Paulo‘s thought, speech and conversation with
Chris, it can be concluded that Paulo is a magus.
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31 b. Careless
Paulo is a careless person. This can be seen when he and Chris are walking around the desert. When the feeling of freedom begins to emerge in his soul, he takes his clothes off and so does Chris.
―Let‘s take off our clothes,‖ Paulo said. ―But someone might be watching,‖ Chris said automatically. ―Only our angles are watching,‖ he answered. He took off his shorts and his shirt and the canteen, placing them all in the bag. Chris struggled to keep from laughing. She took her clothes off too, and in a few moments they were two people crossing the Mojave in their sneakers, their hats, and their sunglasses. (p. 39)
They are walking on the Mojave Desert wearing only their sneakers, hats, and sunglasses. After only half an hour, they suddenly feel tremendously tired.
They do not realize that their lives are in danger.
―When you took off your clothes, the water in your bodies began to evaporate immediately. You can‘t even perspire, because the climate is so dry. In fifteen minutes, you were both already dehydrated. No thirst or anything—just a slight feeling of disorientation.‖ ―And the exhaustion?‖ ―That exhaustion is death arriving.‖ (p. 48)
From Paolo‘s action and reaction towards various situations and events in the novel, it can be concluded that Paulo is a careless person.
c. Loving
Paulo is a husband who loves his wife very much. However, he rarely shows his love and affection to Chris. Moreover, what happens to their marriage
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32 recently has disturbed their relationship. Paulo needs some strong emotions and this journey is not only about a spiritual search.
He knew that if he continued the way he was, nothing in his life would last for long. He loved his wife, but he was getting fed up with marriage. He needed some strong passion in his love, in his work, in almost everything he did in his life. And that were against one of nature‘s most important laws: Every movement needs to pause at times. (pp. 72-73)
Even though Paulo is getting tired of his marriage, it does not mean that Paulo does not love his wife. He just needs time to have a self-introspection in order to fix his marriage life. In addition, the ritual holds by Valhalla in the abandoned gold mine emphasizes that Paulo loves his wife. It can be seen when Paulo says that now he has a wife that he loves (p.112).
From Paulo‘s action and speech it can be concluded that he is a loving person. Paulo loves his wife very much even though he rarely shows his love to
Chris.
d. Strong-willed
From Paulo‘s action, it can be seen that he is a strong-willed man. Paulo will do anything to get what he wants and will never give up before he gets them.
In order to converse his angel, Paulo flies for twelve hours from Brazil to Los
Angeles, drives for hours in the desert just to find Gene (p. 15). Then, traveling the desert to find a group of women motorists called the Valkyries. Valhalla, the leader of the Valkyries gives Paulo tests to prove that he is worthy to converse with his angel. There are rituals that Paulo has to do before he can converse with
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33 his angel. Paulo does everything that is necessary to be able to converse with his angel. He even pushes himself to do things that he does not think he could do, it is on the Ritual that Demolishes Rituals. Paulo does not giving up when he still not able to converse with his angel during his last days of journey even though he knows that only a miracle could help him. He bets all of his faith in God, in life, in his work, and in J., he bets everything that he has just to see his angel (p. 196).
2. Christina
Christina is also one of the main characters in Coelho‘s The Valkyries. She is Paulo‘s wife. She goes to Mojave Desert with Paulo to accompany Paulo on his spiritual journey. She is actually not interested in what Paulo‘s doing related to magic, but she goes there anyway because she wants to be with the one she loves,
Paulo, her husband. Chris is an interesting character in the novel. Her character grows and developes. Chris‘ journey with her husband has changed her into a strong woman. Chris‘s character can be described as follows: a. Faithful
She married to Paulo even though the rumour said that Paulo is a sorcerer.
Actually, Christina knows that her husband is a magus but she never talks about it.
Only then in the third year of their marriage, Paulo reveals something about him being a magus to Christina, which she already knew. Christina does not complain and she does not even take it as a problem. She even shows a firm support to her
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34 husband‘s activity as a magus and respects her husband‘s world even though it has nothing to do with her.
Only then he did reveal what she already knew: that for seven years he had dedicated himself to learning magic. Chris remembered that day. Paulo had wept. He said that he was being called but didn‘t know how to respond. ―Should I go back to magic?‖ he had asked. ―Yes, you should,‖ she had answered, but she wasn‘t sure. (p.13)
Chris goes along with Paulo in their forty-day journey to find Paulo‘s guardian angel. They drop everything, jump to a plane, fly for twelve hours from
Brazil to Los Angeles International Airport, drive for almost six hours in the
Mojave Desert to the gas station, and remain in the desert for forty days (p. 15).
Furthermore, in a meeting with the Valkyries in the dessert, Chris insists to go with Paulo because her angel tells her to accompany her husband and says that
Paulo would need her.
She had come because her angel had required that she do so; her angel had said that Paulo was going to need her that afternoon. No, no, it wasn’t a mistake. My angel insisted that I be here, she thought. (p. 91)
After studying the passages and Chris‘ reaction to the various situations and events happened, it can be seen that Chris is a faithful wife. She knows that her husband is doing magical activities for many years but she always supports him and respects his world.
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35 b. Loving
Chris loves her husband very much. She will do anything to protect and preserve her marriage no matter how hard it would be. She decides to accompany
Paulo to the Mojave Desert to see his angel and to save their marriage, which is going to fall apart.
―That‘s just I wanted to talk to you about,‖ Chris insisted. ―I didn‘t come here to do work. I came because I thought our marriage was beginning to fall apart. She feels the same way I do, he thought. (p. 75)
Moreover, Chris would also fight for her love and her husband. She challenges Valhalla in one of the rituals to defend her love.
They don’t know that I have been speaking to my angel, and that my soul has grown. They’re used to me, and they know how I think. I love him. She is only enamored. (p. 162)
Furthermore, Chris said that Paulo is her man. She will not allow Valhalla to covet Paulo merely out of capriciousness because Valhalla does not love Paulo
(p. 165). According to Christina‘s speech and her responds to Paulo, and also from her action to fight for her love, it can be seen that Chris is a loving woman.
She loves her husband very much and she proves it by challenging Valhalla on a ritual to defend her love toward her husband.
c. Strong-willed
It is not only Paulo who is a strong-willed person but Chris also has that trait. It can be seen when Christina gives a firm statement to Gene—who suggests
Paulo not to bring his wife on the journey—that she wants to accompany her
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36 husband on the journey. She says that she does not come to Mojave Desert to learn about magic, she comes only to be with Paulo.
―If you meet the Valkyries, there‘s something that will make it easier for you to get along with them,‖ Gene said. ―What‘s that?‖ The young man laughed. ―You‘ll find out. But it would have been a lot better if you hadn‘t brought your wife along.‖ (p. 24)
Chris also said that she did not come along with Paulo to the desert to learn about magic or converse with angels. She came only to be with Paulo (p.
25).
Moreover, Chris does not only want to accompany her husband in this journey but she also wants to save her marriage and her relationship with Paulo.
She insists to accompany her husband wherever he goes in his journey to converse with his angel.
―I‘m going with you. No matter what.‖ ―But this is my quest. I brought you with me because I wanted you at my side. But there are certain things I have to do alone.‖ ―I want to go with you,‖ she said. ―Magic has never been important to you before. Why now?‖ ―Because I began the journey. And I‘ve asked that I not be abandoned in the middle of the road,‖ she answered, putting the matter to rest. (p. 89)
From Christina‘s speech and her responds to Gene‘s suggestion to Paulo for not bringing his wife along, and also from Chris‘ insistence to be with her husband wherever he goes, it can be seen that Chris is a strong-willed woman.
Even though Gene does not allow her to follow Paulo, she insists to join the journey.
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37 d. Instinctive
According to The New Oxford American Dictionary, instinctive can be defined as doing or being a specified thing apparently naturally or automatically.
It can be seen when Chris tries to learn how to use her second mind for the first time.
―What should I do?‖ she asked Paulo. ―Whatever you think,‖ he answered. She felt his hands touching both sides of her head. ―Relax. Relax.‖ His voice was gentle. ―What are you thinking?‖ ―A melody,‖ she answered. ―I‘ve been singing this melody to myself ever since I heard it yesterday on the radio on our way here.‖ ―That‘s the second mind,‖ he said. ―It‘s your second mind that‘s humming the song. Chris was astonished. She had never thought of such a thing as a second mind. ... She has two minds. Functioning at the same time. (pp. 26-27)
Valhalla sees something different from Chris. On the Ritual That
Demolishes Rituals, Valhalla remembers the first time she met Chris at the luncheonette. A shiver has coursed through her body, and strange intuitions— intuitions she was unable to understand—has taken hold of her (p. 163).
From the conversation between Chris and Gene, Chris‘ speech, and
Valhalla‘s speech, it can be seen that Chris is an instinctive woman. Chris is able to control her second mind on her first try even though it is actually unintended.
She is just following Gene‘s instructions. Controlling the second mind is a difficult thing, Paulo even found it hard to do so. On the contrary, Chris is able to manage her two minds, functioning at the same time (p. 27).
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38 e. Brave and Strong
Chris is a brave woman. Chris‘ journey with her husband in the Mojave
Dessert has changed her into a strong woman who would fight for her love. She is able to speak with her angel and her soul has grown. She has died so many times here in the dessert and been reborn so many times, as well (p. 162). This can be seen when Chris comes face-to-face with Valhalla. She looks directly into
Valhalla‘s eyes. Even though she feels dizzy because of the blinding sun and is certain that she will faint but this is about a woman‘s pride. Valhalla‘s position as the leader of the Valkyries does not make her hesitate, too (pp. 90-91).
Additionally, Chris also challenges Valhalla, the leader of the Valkyries. Chris screams at Valhalla, challenging Valhalla to face her on the ritual. On page 162, it reads, ―Now, it‘s you and me, Valkyrie! The Ritual That Demolishes Rituals!‖
On the ritual, Chris walks to the very edge of a precipice and challenging
Valhalla to do so. Chris challenges Valhalla because she knows that Valhalla tries to take Paulo away from her. Chris does not hesitate to fight for her love and her man even if she has to face Valhalla, a strong and courageous woman, the leader of the Valkyries. She even dresses like Valhalla, a strong character and a woman she admires and would like to be, and she has enough power to defeat her (p.
164).
She had transformed herself into a woman in love, who marched with her man, carrying his sword when necessary, and protecting him from all danger. She was a strong woman, although she appeared to be a weak one. (p. 164)
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39
Furthermore, on the edge of the cliff Chris says that she is going to take one more step. She says that she is going to survive because she is a courageous woman (p. 165). Chris‘s conviction to defeat Valhalla in the ritual shows that her
Id, which called eros controls her personality. Chris‘s eros has driven her to defend her love and her marriage in this forty-day journey. As it is stated by
Sigmund Freud that eros is the drive for survival, which operates at the unconscious level of our personality.
To sum up, Chris‘s challenge to Valhalla and her personal statement above show that Chris is a brave and strong woman. Even though Chris looks weak, she is actually strong and brave. She will do anything to defend her love even doing dangerous things.
B. The Meaning of Paulo and Chris’s Journey in the Mojave Desert
This part discusses the meaning of Paulo and Chris‘s journey in the desert as seen in the novel. The discussion is divided into two parts. The first part discusses the surface meaning of their journey. The second part focuses on discussing the deeper meaning of Paulo and Chris‘s journey.
1. The Literal Meaning of Paulo and Chris’s Journey in the Mojave Desert
Paulo and Chris‘s forty-day journey in Mojave Desert is in order to complete Paulo task given by his master, J., and to talk face-to-face to his angel. J. sends Paulo to the Mojave Desert to meet a person named Gene, who could help
Paulo in completing his task. Paulo has to meet Gene in order to learn to converse
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40 with his angel and this has something to do to accomplish the task given by his master. Gene is also a magus, a part of the tradition. He is still a young man but he is already a master like J. Gene taught Paulo about channelling and controlling the second mind through Chris because a master may not teach another master‘s disciple and Paulo is already J.‘s disciple.
―Everything Gene told you is important,‖ Paulo said. ―He has already seen and talked with his angel, and he is using you as a means of instructing me. ―Well, why doesn‘t he show these things directly to you?‖ ―Because there is an unwritten rule in the Tradition: A master never teaches another master‘s disciple. And he knows that I am J.‘s disciple. But since he wants to be of help to me, he is using you for that purpose.‖ (p. 33)
In addition, Gene is also an important person in the tradition. His father, a powerful magus, wants him to maintain the family tradition (p. 30). He is a powerful magus in the paranormal processes and he has been prepared by the tradition to take action whenever the gates to paradise opened.
He didn‘t want to tell his wife that ... there was another reason that Gene was here: He was powerful in the paranormal processes, and had been prepared by the Tradition to be ready to act when the gates to paradise opened. (p. 31)
J. asks Paulo to meet Gene, a young man who lives in the Mojave Desert, who is able to help Paulo to complete the task given by J. Gene tells Paulo that the
Valkyries—a group of women riding powerful motorcycles roaming around the desert—are the ones who are able to teach Paulo to converse with his angel.
Moreover, the Valkyries have also helped Gene in the process of conversing with his angel.
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41
―Tell me about the Valkyries you mentioned,‖ Paulo said. ―They can help you to find your angel,‖ replied Gene. They‘re the ones who instructed me. But the Valkyries are jealous and tough. They try to follow the same rules as the angels—and, you know, in the kingdom of the angels, there is no good and no evil.‖ (p. 23)
Paulo searches for the Valkyries around the desert. He finally meets them in a small dinner place early in the morning. Then, one of the Valkyries, the oldest of them, stares at Paulo and Chris and approaches them. Her name is Valhalla, she asks about Paulo‘s ring. That is a ring given by J., a ring from the tradition with the shape of a serpent, a symbol of wisdom.
The red-haired woman walked to the couple‘s table and ... she spoke. ―Where did you get that ring?‖ she asked Paulo. ―At the same shop where you brought you brooch,‖ he answered. Chris has already seen many rings in the Tradition of the Moon—of every colour, metal, and carved—which always in the form of serpent, the symbol of wisdom. ―What do you want?‖ the redhead asked. ―To speak with my angel. And something else.‖ (p. 81)
After they speak their minds, the Valkyries decide to teach Paulo how to converse with his angel. However, in order to see an angel, Paulo needs to pass three steps. These steps are break a pact, accept forgiveness, and make a bet (p.
85).
―I told you that there was something else I wanted.‖ ―Gene saw his angel. I want to see mine. I want to speak to my angel, face- to-face.‖ ―What for?‖ The Valkyrie appeared to be intimidated. ―Because I‘m desperately in need of help. I won important things for myself, but I am going to destroy them, because...they have lost their meaning. ...And that if I destroy them, I‘ll be destroying myself, as well.‖ (pp. 82-83)
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42
In the first step, Paulo has to break his pact with the darkness, a pact which is a promise to abandon his dreams (p. 111). In order to accept forgiveness, Paulo has to do a ritual called The Ritual That Demolishes Rituals, and make a bet, as the last process. a. Break a Pact
The first step is conducted in the abandoned gold mine (p. 95). Paulo and
Chris come to meet the Valkyries and they go deeper into the gold mine. After ten minutes walk, they stop and Valhalla starts the procession. She asks Paulo to break his pact with defeat, which is about destroying what he loved most (p. 96).
On the beginning, Paulo does not confess that he has a pact, a pact which makes him raised his hands on himself, a kind of self-betrayal (p. 114). But, Valhalla insists that he has to mention and remember his pact with the darkness. Paulo finally tells the story about his pact. Then, Valhalla continues with the ritual, she helps Paulo to break the pact with forgiveness. Paulo has tell the truth and the truth gives him freedom (p. 114).
b. Accepting Forgiveness
In the second step, Valhalla asks Paulo to come in the Golden Canyon to make him accept the forgiveness through The Ritual That Demolishes Rituals, which would be conducted using hatred (p. 138).
―…what is the Ritual That Demolishes Rituals?‖ ―Since a magus is unable to change the magus. It‘s kind of Sacred Theater in which the magus has to play a different character.‖ (p. 141)
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43
This is a sacred moment in the life of a magus (p. 148). Paulo and Rotha, the youngest Valkyries, make a trade in the second ritual. Paulo asks her to teach him how to see his angel while Rotha insists that Paulo should tell her the rules of victory. There are five rules of victory, first is the morality rule, second is the weather rule, third is the space rule, fourth is the choice rule, and the strategy rule is the last rule of victory (p. 149). The secret of this ritual is hatred and in this process, Paulo feels his hatred emerges. Paulo, then, recalls that he has always been wrong and he has always forgiven—not because he is a good person, but because he is a coward (p. 152). He realises that he, too, should learn how to forgive others in return, just as he is always forgiven (p. 154).
c. Make a Bet
Paulo has made a bet. That night, up on the mountain, he bet all of his faith in God, in life, in his work, in J. He bet everything he has and he also bet that his angel would show his self before him (p. 196).
Paulo and Chris‘s forty-day journey in the Mojave Desert are literally meant for Paulo to be able to meet his angel and fulfil his task, which is given by his master, J. This task is very important for Paulo because he wants to meet face- to-face with his guardian angel. His search for the angel is driven by the pleasure principle, which strives for immediate gratification of all desires, wants, and needs. After the rituals with Valhalla, Paulo has not yet able to see his angel. This
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44 condition causes a state of anxiety and tension for Paulo. However, Paulo is finally able to see his angel on his last days.
2. The Deeper Meaning of Paulo and Chris’s Forty-Day Journey in the
Mojave Desert a. Accepting Forgiveness
Valhalla brings back Paulo‘s memory and scenes from his life begin to emerge before him. She asks Paulo to remember his darkness, the time he made a pact with the demon. It is fourteen years ago, when he makes a pact with the demon to earn money, fame, everything he desired. He is twenty-six years old and he is a musician. His music spreads the words of the demon or what so-called as the Beast of the Apocalypse in the novel. The pact is made with the cost of his soul.
―All right,‖ the Valkyries said. With a rapid movement, she blew out the lantern. The darkness was total. Valhalla began to pray in a strange language. The darkness was changing. Various scenes from his life began to pass before him—suddenly, he was once again in darkness. I don‘t want to remember that...‖ he pleaded with the Valkyrie. ―Remember! Whatever it is, try to remember every minute of it.‖ The darkness brought terror to him, the terror he had experienced fourteen years earlier. (pp. 99-100)
In order to converse with his angel, he needs to break the pact he makes fourteen years ago with the demon. Since that encounter fourteen years ago, he has lost the meaning of his life. Paulo seems to be punishing himself for walking the path of the darkness. It lasts for seven years; years of regret. It is on the fourth
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45 year, when he could finally have a job and a friend. It is the director of the recording studio who gives him the job and becomes his only friend (p. 112). In the following years, Paulo quits his job and goes to work in another place and it happens every year where he quits his job and does another job.
During their third year together, he quit his job again (a mania for leaving everything behind!). ...He changed jobs every year. Then, at the end of their third year together, he decided—once again—to quit his job. He gave no explanation, saying only that he was fed up with what he was doing, that it didn‘t make sense to keep quitting his jobs, changing one for another. He needed to discover what it was that he wanted. (p. 12)
Paulo‘s motivation in changing his jobs can be included on stage two, which is Safety Needs. They are security, shelter, freedom from fear and anxiety.
Once physiological needs are met one‘s attention turns to safety and security in order to be free from the threat of physical and emotional harm. According to the hierarchy of needs, if a person feels threatened needs further up the pyramid will not receive attention until that need has been resolved.
In order to achieve safety needs, Paulo has to break the pact he makes with the demon. Paulo has paid the price of the pact. He is imprisoned by the Brazilian authorities. He lost his friends and he has been living in insecurity, fear, and anxiety ever since. However, Social Needs are those related to interaction with others and may include friendship, acceptance, affection, belonging to a group, and giving and receiving love.
As seen in the novel, the price of the pact has made Paulo lost his friends, his lover and his sense of security. He is even threatened with death (p. 111). On
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46 the other hand, the director of the recording studio considered Paulo as a friend.
He offered Paulo a friendship and an acceptance. He gave him a job, an opportunity to rebuild his life (p. 112). Here, Paulo has fulfilled his Social needs.
He has a friendship, an acceptance, and a sense of belonging to a group.
The higher stage of Maslow‘s needs pyramid after Social Needs is Esteem needs. After a person feels that they ―belong‖, the urge attain a degree of importance emerges. Esteem needs can be categorized as external motivators and internal motivators. Internally motivating esteem needs are those such as self- esteem, accomplishment, and self-respect. External esteem needs are those such as reputation and recognition. Some examples of esteem needs are recognition
(external motivator), attention (external motivator), social status (external motivator), accomplishment (internal motivator), self-respect (internal motivator), and success
In order to achieve Esteem needs, Paulo needs to have either internal motivation or external motivation or even both. During his work on the recording studio, Paulo manages to accomplish something; he had others‘ recognition for his work. Paulo gets married to Chris and lives a good life. The problem is that Paulo has lost his self-esteem and self-respect.
He feels that his life goes too well, like everything is too good to be, especially, after what happened earlier; Paulo‘s encounter with the demon (p.
105). This is the reason why Paulo always changes his job until finally he is settled as being a writer. Paulo thinks that he does not deserve what he has
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47 achieved whereas he actually deserves it. However, Paulo has lost his self-respect whereas in order to achieve Esteem needs, a person must have self-respect. Paulo seems to be underestimating himself, like he is punishing himself for making a pact with the demon without considering the consequences. He sells his soul but he has it back even though he thinks that his soul is no longer worthy.
For seven years, he paid the price for the trade. But God was generous, and allowed him to rebuild his life. The director of the recording studio, the same person he had dreamed about that May morning, gave him a job and became his only friend. He went back to composing, but every time his work brought some success, something wound up happening, and everything went down the drain. He remembered J‘s words: People destroy what they love. ―I always figured it was part of the bargain,‖ he said. ―No,‖ Valhalla said. ―God was severe, but you were more severe than he was.‖ ―I promised that I would never grow again. I thought that I could no longer trust myself.‖ (p. 111-112)
As implied in the paragraphs above, Paulo has lost his self-respect. Paulo has to regain his self-respect to achieve Esteem needs. During his journey in the
Mojave Desert with the Valkyries, he learns to accept himself, to accept the fact that he has survived and managed to live a better life. Valhalla, the leader of the
Valkyries, helps Paulo to regain his self-respect. Valhalla teaches him that he is worthy of the love of God. Paulo has to learn to accept it.
―From the moment you set foot outside,‖ the Valkyrie said, ―promise, in the name of archangel Michael, that never again-never again-will you raise your hand against yourself.‖ ―I‘m afraid to say that,‖ he answered. ―Because I don‘t know how to comply.‖ ―You have no choice, if you want to see your angel.‖ ―I didn‘t realize what I was doing to myself. I might continue with the same kind of betrayal.‖
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48
―Now you know,‖ Valhalla said. ―And the truth gives you freedom.‖ (p. 113)
Furthermore, Valhalla ensures Paulo who is still in doubt that Paulo has broken the pact and accepted forgiveness.
―I still don‘t know how to see my angel,‖ he answered. ―You have already broken a pact. You have already accepted forgiveness. The bet you must make with your angel.‖ (p. 167)
As mentioned above, Paulo begins to learn to accept himself, to forgive himself. In the end, he is finally able to regain his self-respect. Therefore, by regaining his self-respect means that he has met the Esteem needs. Regaining his self-respect by forgiving himself is essential for Paulo in order to be able to converse with his angel.
The higher stage of Maslow‘s needs pyramid after Esteem needs is Self- actualization needs. Self-actualization is the summit of Maslow‘s motivation theory. It is about the quest of reaching one‘s full potential as a person. Unlike lower needs, this need is never fully satisfied; as one grows psychologically there are always new opportunities to continue to grow. Self-actualized people tend to have motivators such as truth, justice, wisdom, and meaning. Self-actualized persons have frequent occurrences of peak experiences, which are energized moments of profound happiness and harmony. Paulo reaches self-actualization when he meets his angel. His heart was content (p. 196). Paulo feels a lump in his throat. It is a miracle, and he gives thanks to God (p. 198).
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49 b. Accepting Love
Paulo goes on the journey in the Mojave Desert with Chris his wife. Chris insists to go with Paulo on the journey. She loves Paulo and she tries to save their marriage, their love (p. 75). On the journey, Paulo and Chris are trying to make it up to each other. However, during their journey, their loves are tested.
As seen in the novel, during Paulo and Chris‘ journey in the Mojave
Desert, they meet the Valkyries. They go on the journey following the Valkyries.
Valhalla is the leader of the Valkyries. Valhalla is also the one who taught Paulo how to converse with his angel.
Here, Paulo and Chris‘ loves are tested. Paulo falls for Valhalla. Chris has to fight for her love and Paulo has to learn to realise his true love. However, according to Sternberg‘s (1986), A Triangular Theory of Love, love can be dissected into three main parts; intimacy, passion and decision/commitment.
Commitment in short term encompasses the decision to remain with another, and commitment is the most volitional of the three, the decision to take steps to maintain the love and relationship. Paulo and Chris have the commitment but they lack of intimacy, intimacy encompasses feelings of closeness, connectedness, and boundedness. It involves a high level of trust between two individuals, which
Paulo and Chris are lacking of.
Paulo falls for Valhalla (p. 129). During their journey, Paulo has done what he is told by Valhalla. Until at some point, Paulo feels something towards
Valhalla. He falls in love. Paulo‘s feelings towards Valhalla can be categorized as
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50 infatuated love. Infatuated love is pure passion. It does not include commitment, which is important to sustain a relationship.
That was when he had learned the difference between infatuation and love. Like conversing with the angels, it was really very simple. Valhalla was a fantasy. The warrior woman, the huntress. For her, Paulo was the man who wore the ring of the Tradition of the Moon, the magus who knew about the occult mysteries. Each would always be fascinated by the other—so long as each remained exactly what the other imagined. (pp. 192-193)
That is what infatuation is; the creation of an image of a person, without advising that person as to what the image is. It is pure passion (p. 193).
Chris fights for her love. Chris realises what is happening to Paulo. The fact that Paulo falls for Valhalla makes Chris has to fight for her love. Chris challenges Valhalla on a ritual.
Between the moon and the desert floor, two women confronted each other. ―He is my man. Don‘t covet him merely out of capriciousness. You don‘t love him,‖ Chris said. Valhalla didn‘t respond. ―I‘m going to take one more step,‖ Chris continued. ―I‘ll survive. I‘m a courageous woman.‖ ―I‘ll do it with you,‖ answered Valhalla. ―Don‘t. You know about love now. It‘s a huge world, and you will have to spend the rest of your life trying to understand it.‖ (p. 165)
According to passage above, it can be seen how much Chris‘ love towards
Paulo, her husband. Chris is fighting for her love, she even endangers her own life by walking to the edge of the cliff on the ritual of her fight against Valhalla. In the end of the ritual, Chris wins the battle, a battle for her love.
During Paulo and Chris‘ journey in the Mojave Desert, Paulo learns about his true love. He falls for Valhalla but he realises that was merely an infatuation
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51 whereas with Chris, he has Consummate Love. Consummate love is the complete form of love. Consummate love is theorizes to be that love associated with
―perfect couple‖. Paulo‘s realization for his true love can be seen in the novel.
He found love on a cliff where two women had tried to stare each other down, with full moon as a backdrop. And love meant dividing the world with someone. He knew one of the women well, and had shared his universe with her. They had seen the same mountains, and the same trees, although each had seen them differently. She knew his weaknesses, his moments of hatred, of despair. Yet she was there at his side. They shared the same universe. He was still thinking about Chris and Valhalla as he made his way to the ravine. I think I’ll probably be infatuated many more times, he said to himself. He felt no guilt about it. Infatuation was a good thing. It gave spice to life, and added to its enjoyment. But it was different from love. Love was worth everything and couldn‘t be exchanged for everything. (Pp. 193-194)
As seen in the paragraphs above, Paulo realises that Chris, his wife, is his true love that their love can be categorized as a consummate love, which is the complete form of love. However, Paulo‘s feeling towards Valhalla is merely an infatuation.
Angels are the other form of love, which is accepted by Paulo. In the process of searching for his angel, Paulo feels very sad and desperate in the end of his forty-day journey for he has not met his angel face-to-face, yet. This statement is supported by Taylor that Paulo as a half complete creature, who has a passionate longing to unite with the lost half of his self, cannot contain happiness because he has not find his angel.
Gene says that angels are love and they are also made of love and at the same time becomes the messenger of love.
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―Angels are love in motion. They never rest, they struggle to grow, and they are beyond good and evil. Love that consumes all, that destroys all, that forgives all. Angels are made of that love, and are the same time its messengers.‖ ―The love of exterminating angel, who one day will take away our soul, and of the guardian angel, who brings our soul back. Love in motion.‖ (p. 55)
After accepting love, a spiritual response and the recognition of a soul that completes, complements, and augments his soul, Paulo is getting closer to his angel. Furthermore, in the end of the story he is finally able to see his guardian angel which appears in a form of a brilliant ray of morning (p. 196)
In the discussion above, it is clear that Paulo has learned to accept forgiveness and love. Accepting forgiveness and love are essential in order to converse with one‘s angel. As Paulo is finally able to accept forgiveness and love, he could finally continue the process of conversing with his angel. However, before he could converse with his angel, he needs to be aware of his angel‘s presence. During his last days of journey, he almost gives up because he still could not see his angel though he has done what was necessary to converse with his angel.
It is when Paulo is walking alone in the desert, leaving behind his wife sleeping at the motel. He bet his faith; he believes that only God could help him now (p. 196). He surrenders himself into the hands of God and that is when his eyes are opened. He can see things clearly. He is no longer seeing only the danger of the desert but also the beauty of it, the beautiful scenery that he has missed.
Feeling the sense of peace, love and harmony, Paulo begin to feel the presence of
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53 his angel (p. 196). That it is there all this time, protecting and guiding him, that he needs is to believe; need the angel (p. 196).
Things admit of being used as symbols because nature is a symbol. In this novel, Paulo considers some things as symbols, such as, the blue butterfly, the name of the city, and the desert itself. During Paulo‘s last days of journey in the
Mojave Desert, Paulo finally learns to converse with his angel. It begins when
Paulo is walking alone in the desert, giving his last effort; he bet his faith and let
God decides whatever happens to Paulo. A blue butterfly flies towards him. Paulo has seen numbers of white butterflies in the desert but this one is blue. Paulo believes that it is his angel‘s response. A blue butterfly flutters about him. It is his angel, responding (p. 195).
The blue butterfly is a start (p. 195). Paulo is encouraged; he believes that he will be able to see his angel, and even to talk to it. What happens next is the appearance of his angel. The angel is in a form of nature.
―Do you remember what you said? You said: ‗Look around, this is my face. I am the place where you are. My mantle will cover you with the rays of the sun in daytime, and with the glow of the stars at night.‘ I heard your voice clearly! And then you said: ―Always need me.‖ (p. 196)
Paulo feels the presence of his angel from the light and warmth. Then, he is finally able to see his angel. A streak of light appears on the horizon. The sun is coming alive. His heart is content. He will wait for the sun to rise, and look for a long time at the face of his angel (p. 196).
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Paulo soon learns that to see one‘s angel is easier than he thinks. What is important is to believe and need the angel. And they will show themselves, as brilliant as the rays of morning (p. 196). The next stage after seeing one‘s angel is conversing. Paulo has been able to see his angel; he could feel the presence of his angel and in the end, Paulo finally able to converse with his angel. He hears voices, the voice of his angel speaking to him. ―Write something,‖ he hears a voice within him says (p. 197).
Paulo can hear his angel‘s voice. At the moment, he thinks seeing his angel is enough for him but then he can converse with his angel. Paulo‘s angel tells him to write something, a message dictates by his angel. During the moment,
Paulo is conscious. He could hear the voice clearly. He takes a pen and a paper to write down the words that his angel dictates.
For Zion‘s sake, I will not hold my peace. And for Jerusalem‘s sake, I will not rest, Until her righteousness goes forth as brightness, And her salvation, as a lamp that burns. You shall called by a new name, Which the mouth of the Lord will name. You shall also be a crown of glory in the hand of the Lord, And royal diadem in the hand of your God. You shall no longer be termed Forsaken, Nor your land anymore be termed Desolate; But you shall be called Hephzibah, For the Lord delights in you, and you land shall be married. (p. 198)
From the passage above, it can be seen how clear the voice is that Paulo heard. Paulo has a conversation with his angel. Paulo then asks his angel to whom should he say this. It has already been said, the voice answered. It is simply being
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55 remembered (p. 198). It is clear that according to the theory of symbol nature is a symbol and in the novel, Paulo‘s angel is symbolized in a form of nature.
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CHAPTER V CONCLUSIONS AND SUGGESTIONS
This chapter is divided into two parts; they are conclusions and suggestions. Conclusions are the answers of the research question while suggestions consist of two parts, suggestions for the future researchers and suggestion for English teaching and learning processes.
A. Conclusions
Based on the analysis of the previous chapter, there are two conclusions that can be drawn in this chapter. They are the description of the two main characters, Chris and Paulo and the true meanings of Paulo and Chris‘s journey in the Mojave dessert. By using the theories of character and methods of characterization, the theories of psychology and psychological approach the writer has managed to answer the first research question about the main characters‘ descriptions, Chris and Paulo. While the theory of motivation, theory of love and the theory of symbol are used to answer the second question about the true meanings of the journey towards Chris and Paulo.
1. Portrayal of Paulo
Paulo was portrayed as a magus. He was J.‘s disciple who was given a task to meet Gene in Mojave Desert in order to meet his guardian angel. He had been dedicating himself to learn magic and he also mentioned that he was a master of magus. Moreover, Paulo was a careless man. He almost made himself and his wife, Chris, killed in the middle of Mojave Desert by asking Chris to take off their
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57 clothes because of the hot weather. Even though Paulo was a careless man but he was a loving husband and a strong-willed person. As a husband, Paulo loved his wife very much. Through the journey, Paulo also wanted to fix his relationship with his wife, which was recently not going well. His effort in order to be able to speak with his guardian angel showed how strong his will is. Even though he had to fly for twelve hours from Brazil to Los Angeles and drove for hours to find
Gene, so that he could meet the Valkyries to teach him to see his angel, but he could pass the tests and in the end he was able meet his guardian angel.
2. Portrayal of Christina
Christina, known as Chris, was Paulo‘s wife. She accompanied Paulo in the Mojave Desert in order to search for the Valkyries. In The Valkyries, Chris‘s character was grown and developed along with her contact with her angel. Chris loved Paulo very much and she was very faithful to Paulo. She accepted Paulo‘s path as a magus and she did not even take it as a problem. She always supported
Paulo‘s activity as a magus and she respected her husband‘s world. Chris would do anything to protect and preserve her marriage no matter how hard it would be.
It is not only Paulo who is a strong-willed person but Chris also has that trait. In the forty-day journey in Mojave Desert, she insisted to accompany her husband wherever he went in his journey to converse with his angel no matter what challenges she faced.
Chris was also an instinctive woman. It can be seen when Chris was trying to learn how to use her second mind for the first time. In addition, she was also a brave woman. The journey that she took with her husband in the Mojave Dessert
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58 had changed her into a strong woman who would fight for her love. Though, Chris looked like a weak woman but she was actually strong and brave. She would do anything to defend her love even doing dangerous things, such as when she came face-to-face with Valhalla and challenged her on the Ritual That Demolishes
Ritual.
3. Literal Meaning
Literary, Paulo and Chris‘s forty-day journey in Mojave Desert was conducted in order to complete Paulo‘s task given by his master and to learn how to converse with his angel. Paulo had to find Gene somewhere in Mojave Desert because Gene was the one who would guide Paulo in the process of completing the task. Gene taught Paulo the first step before he could converse with the angel, which was channeling. Gene used Chris as a medium of his teaching. Gene said that he could not help Paulo to converse with his angel. He told Paulo to find the
Valkyries to teach him to converse with his angel because the Valkyries were also the ones who taught Gene in the process of conversing with his angel.
Paulo and Chris met the Valkyries in a dinner place. Valhalla, the leader of the Valkyries, agreed to teach Paulo how to converse with his angel. From this moment on, Paulo and Chris went to travel with the Valkyries following them roaming around the desert. During their journey together, Valhalla taught Paulo what was necessary in order to converse with his angel. In the end, Paulo was able to converse with his angel.
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4. Deeper Meaning
The deeper meaning of Paulo and Chris‘s forty-day journey in the Mojave
Desert was more than just conversing with one‘s angel. In the process of learning how to converse with his angel, Paulo also achieved a lot of things, such as self- forgiveness, self-esteem, and love. Paulo accepted God‘s forgiveness when he broke his pact with the demon and self-forgiveness when he could finally accept himself.
During his journey in the Mojave Desert with the Valkyries, Paulo learned how to accept himself, to accept the fact that he had survived and managed to live a better life. Valhalla helped Paulo to regain his self-respect by forgiving himself.
She taught him that he is worthy of the love of God and he had to learn to accept it. In the end, he was finally able to regain his self-esteem, which was the result of achieving self-respect.
During their journey, Paulo and Chris‘s love were tested. They tried to save their marriage and love. Chris had to fight for her love and Paulo had to learn to realize his true love. Paulo and Chris had the commitment but they lack of intimacy, intimacy encompasses feelings of closeness, connectedness, and boundedness. It involves a high level of trust between two individuals, which
Paulo and Chris are lacking of. In the end, Paulo learned about his true love. He fell for Valhalla but he realized that it was merely an infatuation whereas with
Chris, his wife—the woman who fought for her love—he had Consummate Love, which is the complete form of love. Chris was Paulo‘s true love.
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In the paragraphs above, it is clear that Paulo had learned to accept forgiveness and love. Accepting forgiveness and love were essential in order to converse with one‘s angel. When Paulo walked alone in the desert, he bet his faith and surrendered himself into the hands of God; he believes that only God could help him. In the end, his angel appeared. He could see his angel. He felt the presence of his angel. Paulo was able to converse with the angel. Paulo‘s angel is symbolized in a form of nature.
In conclusion, the deeper meaning of the journey is for forgiveness and love. Being able to converse with the angel indicates that Paulo has achieved both forgiveness and love as well as reached self-actualization.
B. Suggestions
This part consists of three sections. The first section is suggestion for future researchers, the second is suggestion for English teaching learning, and the third is the implementation of this literary work in teaching.
1. Suggestion for Future Researchers
The writer realises that this study still needs further improvements.
Therefore, the writer has suggestions about the aspects that can be explored more in this literary work, such as feminism aspects for this novel also deals with women‘s struggle. In addition, religion aspects can also be an interesting topic to discuss in relation to the Tradition and the characters‘ beliefs.
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2. Suggestion for English Teaching Learning
Literature is a ―tool‖ and media that is used to teach English as a Second
Language. It is very beneficial to improve students‘ English proficiency. Many teachers consider the use of literature in language teaching as an interesting and worthy concern (Sage, 1987, p. 1). The use of literature as a method for teaching basic language skills is very popular within the field of foreign language teaching and learning nowadays. His manog lu (2005) supports the statement above by give further explanation that ―literature plays an important role in teaching four basic language skills like reading, writing, listening, and speaking; however, they should be taught in integrated way‖ (p. 57).
As in Obediat‘s, Language vs. Literature in English Departments in the
Arab World (1997), literature helps students acquire a native-like competence in
English, express their ideas in good English, learn the features of modern English, learn how the English linguistic system is used for communication, see how idiomatic expressions are used, speak clearly, precisely, and concisely, and become more proficient in English, as well as become creative, critical, and analytical learners (p. 30). Grabe and Stoller (1997) say that ―using literary work in English language class may contribute greatly to pronunciation development and also to listening comprehension‖. Hi mano lu (200 ) also supports that
―drama and role-play activities are valuable to be used in the English language class. Those activities facilitate and accelerate development of the oral skills since they motivate students to achieve a clearer comprehension of a work‘s plot and a deeper comprehension and awareness of its characters‖ (p. 57).
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Ramsaran (1983) states that using literature to teach language not only contributes to a better linguistic understanding, a development of creative skills, and higher language proficiency, but also makes an important contribution to literary appreciation (p. 42). According to Collie and Slater
(1990), there are four main reasons, which lead a language teacher to use literature in the classroom. These are valuable authentic material, cultural enrichment, language enrichment and personal involvement (p. 3). Moreover His manog lu
(2005) adds that,
―the use of a novel is a beneficial technique for mastering not only linguistic system but also life in relation to the target language. In novel, characters reflect what people really perform in daily lives. Novels not only portray but also enlighten human lives. Using novel in language class offers educational benefits such as improves critical thinking skills and develops students‘ knowledge about different cultures.‖ (p. 63)
The writer suggests that educational practitioners should use The Valkyries as the material for teaching. It is an interesting novel that can be used as the resource for stimulating language activities. The writer suggests this novel to be used as the media to attract students‘ attention in learning English. Through reading literary works, students broaden their horizons, become familiar with the other cultures, and learning how to view the world from different perspective. The result will be the possession of critical thinking and writing. (His manog lu, 2005, p. 64) Hopefully, by using this novel, the students will be motivated to learn
English.
3. The Implementation of Teaching Prose
It will take 3 x 50 minutes for one meeting. The following are the steps to implement The Valkyries in teaching Prose for PBI students in semester III:
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63 a. The lecturer explains today‘s material b. The lecturer distributes the handouts on character and characterization c. The lecturer explains the material on the hand out d. First group presentation e. Questions and answers session f. Second group presentation g. Questions and answers session h. Third group presentation i. Questions and answers session j. Lecturer closes the presentation session and concludes it k. Lecturer asks the students to write what they have learned today and asks them
to submit it l. Lecturer concludes today‘s material and activities
The detail of these activities can be seen in the appendices: syllabus, lesson plan, and material. This material is applied to Prose students of English
Education (PBI) Sanata Dharma University who are in the third semester.
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REFERENCES
Abrams, M. H. (1981). A glossary of literary terms (4th ed.). New York: Holt, Rinehart and Winston, Inc.
Audi, R. (1999). The Cambridge dictionary of philosophy (2nd ed.). Cambridge: CUP.
Chevalier, J., & Gheerbrant, A. (1996). The Penguin dictionary of symbols. London: Clays Ltd St Ives Plc.
Coelho, P. (1996). The Valkyries. London: Harper Collins Publisher.
Collie, J. & Slater, S. (1990). Literature in the language classroom: A resource book of ideas and activities. Cambridge: CUP.
Grabe, W. & Stoller, F. (1997). Reading and vocabulary development in a second language: A case study. Second language vocabulary acquisition. J. Coady and T. Huckin. (Eds). Cambridge: CUP.
Hi mano lu, M. (2005). Teaching English through literature. Journal of language and linguistic studies. Vol.1, No.1, April 2005. Retrieved December 1, 2012 (18:16), from http://www.jlls.org/Issues/Volume1/ No.1/murathismanoglu.pdf
Huffman, K., Vernoy, M., & Vernoy, J. (2000). Psychology in action (5th ed.). New York: John Wiley and Sons, Inc.
Hurlock, E. B. (1974). Personality development. New Delhi: Tata McGraw Hill International.
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Maslow, A. H. (1954). Motivation and personality (3rd ed.). New York: Harper and Row Publishers, Inc.
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Milligan, I. (1983). The novel in English: An introduction. London: Macmillan Press Ltd.
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Moseley, A. (2001, April 17). Philosophy of love: An overview. United Kingdom: Internet encyclopedia of philosophy. Retrieved September 29, 2012 (23:24), from http://www.iep.utm.edulove#H4
Murphy, M. J. (1972). Understanding unseen: Introduction in English poetry and the English novel for overseas students. London: George Allen and Unwin Ltd.
Obeidat, M. (1997). Language vs. literature in English departments in the Arab world. English teaching forum. January-March, Vol.35, No.1. Retrieved December 1, 2012 (12:35), from http://eca.state.gov/ forum/vols/vol35/no1/p30.htm
Quina, J. H., Jr. (1971). Theories of symbolism: A pluralistic approach to teaching literature. For annual meeting of the national council of teachers of English 61st. Las Vegas. November 25, 1971. pp. 1-19. Retrieved July 23, 2012 (17:45), from http://www.eric.ed.gov/PDFS/ED092950.pdf
Ramsaran, S. (1983). Poetry in the language classroom. ELT Journal 37. pp. 36- 43.
Ranu. (2013). The Valkyries. El Espectador. Retrieve April 26, 2013 (20:15), from http://sabethville.wordpress.com/2013/04/23/book-report-a-novel- the-valkyries-posted-by-ranu/
Sage, H. (1987). Incorporating literature in ESL instruction. Upper Saddle River, NJ: Prentice-Hall, Inc.
Stanton, R. (1965). An ntroduction to fiction. New York: Holt, Rinehart and Winston, Inc.
Sternberg, R. J. (1986). A triangular theory of love. Psychological review 93. pp. 119-135.
Sternberg, R. J. (1987). Liking versus loving: A comparative evaluation of theories. Psychological bulletin 102. pp. 331–345.
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Worchel, S. & Shebilske, W. L (1989). Psychology: Principles and applications. Englewood Cliffs, NJ: Prentice-Hall.
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Yelland, H. L., Jones, S. C., & Easton, K. S. W. (1953). A Handbook of literary terms. Sydney: Angus and Robertson.
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APPENDICES
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Appendix 1
SUMMARY of The Valkyries
The story begins with the meeting between J. and Paulo on a restaurant located on the top floor of J.‘s hotel in Rio de Janeiro, Brazil. J. is Paulo‘s master. They spoke of work, magic, and women. Then, two days later, on their second meeting at the same restaurant, J. gave Paulo a task. J. explained nothing about the task and Paulo did not even bother to ask how or where because he knew that his master would not tell him. A week later, on their third meeting, at the airport, Paulo insisted to ask about the task. J. said that Paulo had to find Gene who lived somewhere in the California Desert, United States of America. J. also said this task is important for Paulo, ―It‘s for love. For victory. And for the glory of God.‖ Paulo went on the journey with Chris, his wife. They drove their car for hours to Mojave Desert. They did not know the exact location of Gene because their only clue was that Gene lived somewhere in the California Desert, USA. It was the Mojave Desert. Paulo‘s ‗contact‘ helped him to find Gene. Gene lived in a trailer out in the desert, several miles from Borrego Springs. Upon their meeting, Gene helped Paulo to do the task given by J. He taught Paulo about few things in order to complete the task. Gene did not taught Paulo directly because according to the Tradition, a master might not teach another master‘s disciple. Paulo was well aware about the rules. Therefore, Gene used Chris as a medium. Unfortunately, Gene could not help Paulo to complete the task. Gene could only prepare Paulo before he could go on to the next stage; conversing with the angel. Gene told Paulo that he had to find the Valkyries. The Valkyries were a group of women riding powerful motorcycles roaming around the desert preaching about the kingdom of heaven. It was a coincidence; Paulo met the Valkyries in a small dinner place in the desert. Valhalla, the leader of the Valkyries approached Paulo‘s table and asked him about the ring that he wore. It was not an ordinary ring, it was a ring from the Tradition with the shape of a serpent, a symbol of wisdom. Since that meeting,
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Paulo and Chris went on the journey with the Valkyries. During Paulo and Chris‘s early arrival in Los Angeles, they decided that they will stay there for forty days whether Paulo could complete the task or not. During Paulo and Chris‘s journey with the Valkyries, Valhalla taught Paulo how to complete the task. She taught him how to converse with the angel. It was a long and difficult process. Paulo had to break a pact, truly accept forgiveness and love, and made a bet. This journey was a process; the most important point of the novel. In the end, Paulo was succeeded. He had done what had to be done in order to converse with the angel. It was during their last days in the Mojave Desert, Paulo was desperate. He wished for a miracle. Only God‘s hand could help him. He bet his faith. At last, a sign appeared. Firstly, in the form of a blue butterfly that flew towards Paulo. There were lots of white butterflies, but this one was blue. It was his angel responding. Paulo could now feel the presence of his angel. It took form of nature. In the final moment, Paulo could hear the voice of his angel and he could even speak to it. Paulo made it to converse with his angel. At the end of his journey, Paulo finally realized the purpose of the task given by his master.
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Appendix 2
Biography of Paulo Coelho
Paulo Coelho was born on August 20, 1946, in Rio de Janeiro, Brazil. He attended a Jesuit school. As a teenager, Coelho wanted to become a writer. Coelho concluded that a writer ―always wears glasses and never combs his hair‖ and has a ―duty and an obligation never to be understood by his own generation,‖ amongst other things. At 16, Coelho‘s introversion and opposition to following a traditional path led to his parents committing him to a mental institution from which he escaped three times before being released at the age of 20. Coelho later remarked that ―It wasn't that they wanted to hurt me, but they didn't know what to do. They did not do that to destroy me; they did that to save me.‖ At his parents‘ wishes, Coelho enrolled in law school and abandoned his dream of becoming a writer. One year later, he dropped out and lived life as a hippie, traveling through South America, North Africa, Mexico, and Europe and started drugs in the 1960s. Upon his return to Brazil, Coelho worked as a songwriter, composing lyrics for Elis Regina, Rita Lee, and Brazilian icon Raul Seixas. Composing with Raul led to Paulo being associated with Satanism and occultism, due to the content of some songs. In 1974, Coelho was arrested for ―subversive‖ activities by the ruling military government, who had taken power ten years earlier and viewed his lyrics as left-wing and dangerous. Coelho also worked as an actor, journalist, and theatre director before pursuing his writing career. In 1982 Coelho published his first book, Hell Archives, which failed to make any significant impact. In 1986 he contributed to the Practical Manual of Vampirism, although he later tried to take it off the shelves since he considered it ―of bad quality.‖ After making the pilgrimage to Santiago de Compostela in 1986, Coelho wrote The Pilgrimage. The following year, Coelho wrote The Alchemist and published it through a small Brazilian publishing house that made an initial print run of 900 copies and decided not to reprint. He subsequently found a bigger
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71 publishing house, and with the publication of his next book Brida, The Alchemist became a Brazilian bestseller. The Alchemist has gone on to sell more than 65 million copies, becoming one of the best-selling books in history, and has been translated into more than 70 languages, the 71st being Maltese, winning the Guinness World Record for most translated book by a living author. ―The Alchemist,‖ easily known as his most successful story, is a story about a young shepherd who follows his spiritual journey to the Egyptian pyramids in search of a treasure. Since the publication of The Alchemist, Coelho has generally written one novel every two years including By the River Piedra I Sat Down and Wept, The Fifth Mountain, Veronika Decides to Die, The Devil and Miss Prym, Eleven Minutes, Like the Flowing River, The Valkyries and The Witch of Portobello. This dates back to The Pilgrimage: While trying to overcome his procrastination of launching his writing career, Coelho said, ―If I see a white feather today, that is a sign that God is giving me that I have to write a new book.‖ Coelho found a white feather in the window of a shop, and began writing that day. In total, Coelho has published 30 books. Three of them – The Pilgrimage, The Valkyries and ―Aleph‖ – are autobiographical, while the majority of the rest are fictional, although rooted in his life experiences. In total, Coelho has sold more than 100 million books in over 150 countries worldwide, and his works have been translated into 71 languages. He is the all-time bestselling Portuguese language author. Coelho has been married to his wife, the artist Christina Oiticica, since 1980. Together the couple spends half the year in Rio de Janeiro and the other half in a country house in the Pyrenees Mountains of France. In 1996, Coelho founded the Paulo Coelho Institute, which provides support to children and the elderly. He continues to write, following his own version of The Alchemist's ―Language of the World.‖ [Jorge Luis] Borges said there are only four stories to tell: a love story between two people, a love story between three people, the struggle for power and the voyage,‖ Coelho has said. ―All of us writers rewrite these same stories ad infinitum.‖
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Here are Paulo‘s achievements as a writer: Prizes and awards o Order of Honour of Ukraine (Ukraine 2004), o Order of St. Sophia for contribution to revival of science and culture (Ukraine 2004), o Nielsen Gold Book Award for The Alchemist (UK 2004), o Ex Libris Award for Eleven Minutes (Serbia 2004), o Golden Bestseller Prize from the largest circulation daily ―Vecernje Novosti‖ (Serbia 2004), o Literary Latino for Eleven Minutes - The best book 2004 E.U.A. 2004, o Medalha de Oficial das Artes e Letras – (medal) France 2003, o Ville D’Orthez – Pyrénées Atlantique (France 2002), o Planetary Conciousness Literature Prize (France 2002), o Best Fiction Corine International Award 2002 for The Alchemist (Germany 2002), o Club of Budapest Planetary Arts Award 2002 as a recognition of his literary work (Germany 2002), o Miembro de Honor (Bolívia 2002), o Diploma Membro da Academia Brasileira de Letras (Brazil 2002), o Membro titular Pen Club Brasil (Brazil 2001), o Bambi 2001 Award (Germany 2001), Ville de Tarbes (France 2001), o XXIII Premio Internazionale Fregene (Italy 2001), o Guerrero de la Luz (México 2001), o Tau Latin Special Acknowledment (Latin America 2001), o Crystal Mirror Award (Poland 2000), o Chevalier de l'Ordre National de la Légion d'Honneur (France 1999), o Crystal Award”World Economic Forum (1999), o Golden Medal of Galicia (Spain 1999), o Libro de platina 300 mil ejemplares vendidos en la Argentina de ―El Alquimista‖ (Argentina 1999),
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73 o Libro de oro 100 mil ejemplares vendidos en la Argentina de ―Verónica decide morrer‖ (Argentina 1999), o Libro de oro 100 mil ejemplares vendidos en la Argentina del ―Guerrero da luz‖ (Argentina 1999), o Buésped Distinguido de la Ciudad de Nuestra Señora de la Paz (Bolivia 1999), o Finalist for the “International IMPAC Literary Award” (Ireland, 2000 and 1997), o Comendador de Ordem do Rio Branco (Brazil 1998), o Contribuition to the 17th Istanbul book (Turkey 1998), o Comendador da Ordem do Rio Branco (Brazil 1998), o Flutuat Nec Mergitur (France 1998), o Human Rights (Brazil 1998), o La medaille de la Ville de Paris (France 1998), o Fiera del libro per i ragazzi (Bologna 1998), o Diploma Ordem Fraternal do Cruzeiro do Sul (Brazil 1998), o Participação na 43ª feira de livros de Porto Alegre (Brazil 1997), o Protector de Honor (Spain 1997), o Golden Book (Yugoslavia '95, '96, '97, '98, '99, 2000 and 2004), o Super Grinzane Cavour Book Award (Italy 1996), o Flaiano International Award (Italy 1996), o Knight of Arts and Letters (France 1996), o Prêmio ABERP formador de opinião (Brazil 1996), o Grand Prix Litteraire Elle (France 1995), Guinness Book – O livro dos recordes (Brazil 1995, 1996)
Adapted from: Paulocoelhofanclub.com. Retrieved May 15, 2013, from: http://paulocoelhofanclub.com/eng/pc_premios.htm
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Appendix 3
SYLLABUS OF PROSE ENGLISH EDUCATION STUDY PROGRAM SANATA DHARMA UNIVERSITY
PROSE (Short Story and Novel) – KPE 245 3CR/3CH.SEM III
This course is aimed to develop students‘ ability in appreciating process fiction by reading and analysing World short stories and novels. In this course, students will read at least five short stories, one novella as intermediary between the short story and the novel, and two novels. It is expected that students will be able to write critical analysis on the literary works read by using literary theories. Students will also give responses, such as in a form of reflective writings or art works that aim to encourage students to be more emphatic, sensitive, and mature. Moreover, students‘ ability to analyse the intrinsic and extrinsic aspects of novels, which include plot, character, setting, point of view, atmosphere, symbol, and theme will be developed.
A. COMPETENCE STANDARD On completing this course, the students are able to appreciate process fiction by reading, analysing World short stories and novels, and put forward their own opinions and give critic concerning the context of them.
B. TOPICS: Short stories and novel analysis on 1. Setting, Plot and Conflict 2. Character and Characterization 3. Point of View 4. Symbol, Atmosphere, Theme, and 5. Related Literary Theories.
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C. LEARNING STRATEGIES Class/group discussions, group presentations, questions and answers, and individual assignments in writing critical analysis on the selected literary works.
D. EVALUATION Presentation : 15% Mid-term test : 25% Assignments : 20% Final Project : 40%
E. REFERENCES Abrams, M. H. (1993). A Glossary of Literary Terms. New York: Holt, Rinehart and Winston. Eagleton, T. (1983). Literary Theory: An Introduction. Oxford: Basil Blackwell. pp. 10-15, 22-4. Pope, R. (2002). The English Studies Book: An Introduction to Language, Literature, and Culture. Second Edition. London: Routledge. Walder, D. (1990). Literature in the Modern World: Critical Essays and Documents. Oxford: Oxford University Press. Webster, M. (1995). Encyclopedia of Literature. Springfield, Massachusetts: Merriam Webster, Inc. Young, T. (2008). Studying English Literature: A Practical Guide. First Edition. Cambridge: Cambridge University Press.
F. READING MATERIAL 1. Short Stories a. ―Indian Camp‖ by Ernest Hemmingway b. ―The Lottery‖ by Shirley Jackson c. ―The Lady with the Dog‖ by Anton Chekov d. ―Hills Like White Elephant‖ by Ernest Hemmingway e. ―Marriage is a Private Affair‖ by Chinua Achebe
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2. Novels a. The Valkyries by Paulo Coelho b. A Mercy by Tony Morrison
(Taken from Panduan Akademik Program Studi Pendidikan Bahasa Inggris)
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Appendix 4
LESSON PLAN
Subject : Prose Class/Semester : A/III Meeting : 1-3 Time Allocation : 9 x 50 minutes (3 meetings)
A. STANDARD COMPETENCE On completing this course, the students are able to appreciate process fiction by reading, analysing short stories and novels, and put forward their own opinions and give critic concerning the context of them.
B. GOALS In the end of the meeting, students are able to: 1. determine the important aspects of a literary work. 2. analyse the intrinsic aspects of The Valkyries, which include setting, theme, point of view, conflict, plot, and symbol. 3. analyse the intrinsic aspects of The Valkyries, which include character and characterization.
C. TOPICS 1. Paulo Coelho‘s novel, The Valkyries. 2. The Elements in Literature. 3. Character and characterization in The Valkyries.
D. LEARNING STRATEGIES Class/small group discussions, questions and answers, and individual assignments
E. TEACHING MEDIA 1. Viewer 2. Laptop
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3. Whiteboard 4. Handout
F. LEARNING MATERIALS Hand out about elements in literature and character and characterization.
G. LEARNING ACTIVITIES 1. Meeting 1 Time No. Activities Method Allocation 1. Pre Activities a. Lecturer greets the students. 5‘ Lecturing b. Lecturer explains today‘s topic/material 10‘ and standard competence. 2. Main Activities a. Lecturer distributes the hand outs. 5‘ b. Lecturer explains the hand outs. 1 ‘ c. Ask the students to work in groups. 20‘ d. Class discussion. 30‘ Lecturing and e. Lecturer explains about the group 10‘ Discussions presentation f. Lecturer gives the task to every group 10‘ (a task that will become the topic of each group‘s presentation). g. Group discussion 1 ‘ 3. Post Activities a. Lecturer asks the students to write what 15‘ they have learned today and asks them Lecturing to submit it. b. Lecturer concludes today‘s material and 10‘ activities and gives the student a task to
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read The Valkyries by Paulo Coelho. c. Lecturer closes the meeting and ‘ reminds the next groups that they will be the next presenter next week.
2. Meeting 2 Time No. Activities Method Allocation 1. Pre Activities a. Lecturer greets the students. 5‘ Lecturing b. Lecturer explains today‘s standard 10‘ competence and activities. 2. Main Activities a. Groups‘ preparation. 5‘ b. Presentation of group 1. 15‘ Presentations c. Questions and answers session. 20‘ and d. Presentation of group 2. 15‘ Discussions e. Questions and answers session. 20‘ f. Presentation of group 3. 15‘ g. Questions and answers session. 20‘ 3. Post Activities d. Lecturer asks the students to write what 15‘ they have learned today and asks them to submit it. Lecturing and e. Lecturer concludes today‘s material and ‘ Individual activities Work f. Lecturer closes the meeting and ‘ reminds the next groups that they will be the next presenter next week.
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3. Meeting 3 Time No. Activities Method Allocation 1. Pre Activities a. Lecturer greets the students. 5‘ Lecturing b. Lecturer explains today‘s standard 10‘ competence and activities. 2. Main Activities a. Groups‘ preparation. 5‘ b. Presentation of group 4. 15‘ Presentations c. Questions and answers session. 20‘ and d. Presentation of group 5. 15‘ Discussions e. Questions and answers session. 20‘ f. Presentation of group 6. 15‘ g. Questions and answers session. 20‘ 3. Post Activities a. Lecturer asks the students to write what 15‘ they have learned today and asks them to submit it. Lecturing and b. Lecturer concludes today‘s material and ‘ Individual activities Work c. Lecturer closes the meeting and ‘ reminds the next groups that they will be the next presenter next week.
H. EVALUATION Presentation : 15% Mid-term test : 25% Assignments : 10% Reflections : 10%
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Final Project : 40%
G. REFERENCES Abrams, M. H. (1993). A Glossary of Literary Terms. New York: Holt, Rinehart and Winston. Coelho, P. (1996). The Valkyries. London: Harper Collins Publisher.
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Appendix 5
MATERIAL “THE ELEMENTS IN LITERATURE”
1. Plot Plot is the series of events in a story that explain to the reader what is happening. One of the easiest ways to understand plot is to look at the mountain shaped plot diagram and think of story in terms of climbing a mountain.
Stage 1 - Exposition Exposition is at the base of the mountain or the beginning of the story. This is where the author sets up the story including characters, setting, and main conflicts. Stage 2 - Rising Action The Rising Action occurs as you begin to move throughout the story. This is where conflicts start to build just like when you climb a mountain you are moving further along. Stage 3 - Climax The Climax is the turning point of the story. This point in the story is when things finally start to move in a different direction and it may not always be a positive direction.
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Stage 4 - Falling Action Falling Action occurs after the climax as things start to work themselves out in the story. You are coming down the mountain just as you are coming down from the excitement of the climax. Stage 5 - Resolution The Resolution is the solution to the problem as you have reached the bottom of the mountain. The solution might not be what you want, but the conflict has been resolved.
2. Conflict Every story has a conflict - a struggle between two opposing forces. The conflict may be between two people or it may be between a person and some other force, regardless, every story revolves around conflict and it's important for you to understand the various kinds of conflict. Internal Conflict is a struggle that occurs within the main character. This struggle happens within the character's own mind. External Conflict is a struggle that the main character has with another character, with society, or with a natural force.
3. Point of View Point of view signifies the way a story gets told – the mode established by an author by means of which the reader is presented with the characters, dialogue, actions, setting, and events. a. First Person The narrator is a character in the story who can reveal only personal thoughts and feelings and what he or she sees and is told by other characters. He can‘t tell us thoughts of other characters. b. Third-Person Objective The narrator is an outsider who can report only what he or she sees and hears. This narrator can tell us what is happening, but he can‘t tell us the thoughts of the characters. c. Third-Person Limited The narrator is an outsider who sees into the mind of one of the characters. d. Omniscient The narrator is an all-knowing outsider who can enter the minds of more than one of the characters.
4. Setting The setting refers to the time, the place, and the general environment and circumstances that prevail in a narrative. The setting helps to establish the
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84 mood of a story. There are two types of setting: Integral Setting: the setting is fully described in both time and place, usually found in historical fiction. Backdrop Setting: the setting is vague and general, which helps to convey a universal, timeless tale. This type of setting is often found in folktales and simply sets the stage and the mood. For example, ―long ago in a cottage in the deep woods‖ and ―once upon a time there was a great land that had an Emperor‖.
5. Theme The theme is the main, underlying idea of a piece of literature. It is woven subtly into the fabric of the story rather than being lectured or preached by the author. Among the frequently found thematic issues in children‘s literature are the problems of growing up and maturing, such as adjustment to society, love and friendship, achieving one‘s identity, and finding one's place in the world.
6. Symbol A person, place or object which has a meaning in itself but suggests other meanings as well. Things, characters and actions can be symbols. Anything that suggests a meaning beyond the obvious. Some symbols are conventional, generally meaning the same thing to all readers. For example: bright sunshine symbolizes goodness and water is a symbolic cleanser.
Online Sources: http://www2.nkfust.edu.tw/~emchen/CLit/study_elements.htm#plot http://literature-worldacces.blogspot.com/2010/05/about-literature.html http://edtech2.boisestate.edu/weltys/502/conceptmap.html http://www.lowvilleacademy.org/webpages/MBlow/imageGallery/Plot1.png
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“CHARACTER IN LITERATURE”
I. Character Character is one of the most important elements in the literary works. It is a person who does the action in a story (Stanton, 1965, p. 17). According to Abrams (1971, p. 21), a character is ―an individual who exists in a dramatic or narrative work and he/she has moral dispositional qualities that can be seen from his/her dialogue and action. Dialogue and action have important roles in understanding the characters.‖ There are two kinds of character in the fictional story according to Milligan (1983, p. 155). They called main character and minor character. A main character is the most important character in a literary work. It plays a very important role because everything it does will have a major impact to the story. A main character becomes the centre of the story because it endures problems, conflict, happiness, sorrow, etc. from its actions; the reader could probably see what author wants to convey from story. The minor characters are characters that plays less important role than main characters. Their appearance supports the main character to develop the story so that they appear only in a certain setting. They do not endure the problem of the story.
II. Types of Characters A. Protagonist (Hero) Protagonist is the leading character in a work, often playing the role of the hero or heroine. It is the central figure with whom we usually sympathize or identify. The word ―protagonist‖ comes from the Greek word protagonistes, meaning ―first combatant‖, and referred to the leading character, aided by the chorus, in classical Greek tragedy. A developing change in character is often seen in a protagonist from the beginning of the word to the end. In comedy, a protagonist‘s development also follows the plot, but instead is carried from chaos into order.
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B. Antagonist (Villain) The antagonist is the main opponent of the main character in a work of literature. On the other words, it is the figure that opposes the protagonist and creates the conflict. The antagonist doesn‘t necessarily have to be a person. It could be death, the devil, an illness, or any challenge that prevents the main character from living ―happily ever after.‖ In fact, the antagonist could be a character of virtue in a literary work where the protagonist represents evil. An antagonist in the story of Genesis is the serpent. He convinces Eve to disobey God, setting off a chain of events that leads to Adam and Eve being banished from paradise.
C. Foil Character Foil character is the figure whose personality traits are the opposite of the main characters. This is a supporting character and usually made to shine the protagonist.
III. The Way Characters are Portrayed A. Round/Dynamic Character A round character is a main character in a work of fiction that encounters conflict and is changed by it. Round characters tend to be more fully developed and described than flat or static characters. A number of elements in fiction reveal character, making the character dynamic, including descriptions of a character, the character‘s dialogue, a character‘s responses to the conflicts that arise in the plot, and a character‘s thoughts. A character‘s responses to conflict and his or her internal are also revelatory. B. Flat/Static Character A flat character is a minor character in a work of fiction that does not undergo substantial change or growth in the course of a story. Also referred to as ―two-dimensional characters‖ or ―static characters‖, flat
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characters play a supporting role to the main character, which as a rule should be round. Though we don‘t generally strive to write flat characters, they are often necessary in a story, along with round characters. A flat character has no depth and no change; we only see one side or aspect of them.
IV. The ways characters are revealed: A. What the narrator says about the character B. What the other characters say about the character C. What the character says about himself or herself D. What the character actually does
The act of presenting a character in writing is known as characterization. Characters are extremely important because they are the medium through which a reader interacts with a piece of literature. Every character has his or her own personality, which a creative author uses to assist in forming the plot of a story or creating a mood. The different attitudes, mannerisms, and even appearances of characters can greatly influence the other major elements in a literary work, such as theme, setting, and tone. With this understanding of the character, a reader can become more aware of other aspects of literature, such as symbolism, giving the reader a more complete understanding of the work.
V. Characterization Murphy (1972; 160-173) in Understanding Unseen: Introduction in English Poetry and the English Novel for Overseas Students states that there are some ways of the author to make his or her characters understandable are: a. Personal Description The author can describe the person‘s appearance and clothes in the story. The author describes what the characters are like and tells the reader
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the details of the characters‘ appearance such as the face, skin colours, eyes, hair, and the clothing. b. Character as seen by the other Characters Instead of describing the character directly, the author can describe a character through the eyes and opinions of another people in the story. The reader gets as it were, a reflected image. In other words, the author describes a character in the story by letting another people in the story make an opinion toward the character him or herself. c. Speech The author can give the reader an insight into the character of one of persons in the story through what the person says. Whenever a person speaks, whenever he is in conversation with another, whenever he put forward an opinion, he is giving his readers clue to his character. d. Past life By letting the reader learn something about a person‘s past life, the author can give the readers a clue to events that have helped to shape the person‘s character. This can be done by direct comment by the author, through the person‘s thought, trough the conversation or through the medium of another person. e. Conversation of other Characters The author can give the readers‘ clue to a person‘s characters through the conversation of other people and the things they say about the character itself. The clues that the readers have, comes from the reader who talk about the things they say to the character of the person who spoken about. f. The Character’s Reaction to Various Situations and Events The author can give the readers a clue to a person‘s characters by letting the readers know how that person reacts to various situations and events. Therefore, through this reaction, the readers can understand the mental and moral qualities of the person in the story.
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g. Direct Comment of the Author The author can describe or comment on a person‘s character in the story directly. In this way, the reader will understand what kind of people in the work easily. h. Thoughts The author can give the readers direct knowledge of what a person in the story is thinking about. Here, the author is able to do what the author his or herself cannot do in the real life. The author also can tell the readers what different people are thinking. i. Mannerism The author can describe a person‘s mannerisms, habits, or idiosyncrasies, which may also tell us something about his character.
References: Murphy, M. J. (1972). Understanding Unseen: Introduction in English Poetry and the English Novel for Overseas Students. London: George Allen and Unwin Ltd., pp. 160-173.
Online Sources: http://fictionwriting.about.com/od/glossary/g/flatcharacters.htm http://www.freeonlineresearchpapers.com/major-minor-charactors http://fictionwriting.about.com/od/glossary/g/RoundCharacter.htm http://fictionwriting.about.com/od/glossary/g/dynamic.htm http://contemporarylit.about.com/cs/literaryterms/g/antagonist.htm http://www2.nkfust.edu.tw/~emchen/CLit/study_elements.htm http://www.wisegeek.com/what-is-a-protagonist.htm http://www.uncp.edu/home/canada/work/allam/general/glossary.htm http://grammar.about.com/od/c/g/characterliteratureterm.htm