The Alchemist: Theme of Fear
The first obstacle referring to The Alchemist is that, at every young age, many are told that they cannot achieve their personal legend. Coelho says that the primary purpose of someone should be to connect with his dream, apply all the energy towards his/her objectives. Santiago meets this obstacle during the last segment of his expedition with the Alchemist, when he assimilates from the desert to look at himself and silence his petty tears. Through tears silencing, he is finally able to see that he one with the globe around him and that his personal phenomenon is a harmonious part of that world. This is applied as a magical way when Santiago is intelligent to communicate with the elements, in the climactic part in which he turns himself into the wind. “When you desire anything, all the world intrigues to help you achieve it,” Coelho comments in The Alchemist.
Fear of Love
The Alchemist story starts by Santiago looking onward to a congregation with a daughter of the merchant he met during the previous year. As he is quickly convinced to go in search of his precious metal, however, Santiago forgets all about the girl. He then meets Fatima at the AlFayourn oasis, and ruminates about giving up his quest to have a relationship with her. The dissimilarity between the two interests is clear. “If what one perceives is made of pure matter, it will never spoil, and everybody can always advance back. If what you have found was only a moment of life, as the detonation of a star, you would observe nothing on your return,” Coelho advices Santiago. The Alchemist suggests that people often assume their objectives because they fear that they will have to vacate behind loved ones as they achieve their dreams.
Fear to Endure the Hits
Coelho, “Way towards one’s individual legend is always long and one may have to face many challenges and obstacles before attaining a dream.” One should not be annoyed nor allow the obstacles to stop him from moving forward. The alchemist story aids elements attain their personal legends in much a similar way as the Alchemist helps Santiago discovers his own legend. The unity displayed with the natural world can also be looked like when Santiago speaks with the wind, the desert and lastly, the one hand which wrote everything. In a sense, the last information given in the book is that Santiago’s psyche is just a section of the inspiration of the world, which is related to God. This later translates into a much more main idea. Thus, initial thoughts of Santiago about the oddness of the agnostic as he first refers to the members of the city of Tangiers, are somehow quickly taken away by his notice that the intangible concerns of Muslims are very alike to his own. Coelho suggests that one should agree on the difficulties and follow the omens and institutional listening very carefully to the hurt; the spirit will lead you towards legend. No matter what problems and the obstacles experienced, The Alchemist says that there is always signs that point the way towards one’s goal that is a dream.
Fear of Failure
This is another obstacle experienced by Santiago towards his goal of reaching the pyramids in Egypt. This obstacle according to The Alchemist makes ones dream to be impossible to achieve. This obstacle occurs when a person has outstretched his personal legend, but he is dithered when it is time to seize it. Coelho writes, “One dies of thirst when the palm trees have emerged on the horizon.” The dream of Santiago finding treasure is very man’s dream to fulfill his desires and objectives. The lesson to be studied is that nonetheless of what that dream may be, the crucial issue is to have a dream, also the bravery and conviction to accomplish it, the strength to withstand the hard way, sacrifice and failure along the way and the humility to go on with success when it finally comes. All this things, Santiago applied them and eliminated fear so as to attain his dream and goal of reaching the pyramids and got what he wanted (Alan 34-98).
Alan, Riding. “Paulo Coelho: Writing in a Global Language”. The New York Times. 2005, 34-89. Print