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F toJ esu sCh irs t
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f Hi samazing blessing and grace which srtengthen me du irng thi sthesi s
. n o it e l p m o c
y l d n o c e
S , Iwould also ilke to extend my grattiude to my advisor ,Henny
M , . d P . S i t a w a r e
H .Hum .fo rwliilngly guiding and supporitng mei n compleitng
. s i s e h t s i h
t I t hank AnggaBenedikto ,S.Pd. ,who gladly helpe d mei n co rrecitng
. s i s e h t s i h t
Iwould also thank al l PBI’ slecturer sfo r thei rguidance and fo r thei r
o n k r i e h t e r a h s o t s s e n g n il li
w wledge wtih me . I am also gratefu l to PBI’ s
a ir a t e r c e
s t ,mbakDanikandmbakTairf ort hei rhelpandt hei rcooperaitondu irng
. y d u t s y m
, n e h
T Igive my greates tthank sto my deares tparents ,F.X .Suyad iand Y .
n it s ir
K K , .H. who give me the greates tsupport sin my lfie. Ialso thank my
y m o s l a d n a , n e c I d n a i r a T i C , o e h T , s a m o h T : s r e t s i s d n a s r e h t o r b d e v o l e b
r o f , y b e G e c e i n l u fi t u a e
b thei rendlesssuppo trs andtheriwonderfull ove.
s d n e ir f t s e b y m o t o g s k n a h t l a i c e p s y
M Piu sDw iSetyo (Pius) ,Esthe r
, ) r e h t s E ( i t n a y l u
Y Maryska Fi irady (Ika) ,Yohane sGab ire lA ir sWidana Purta
) o Y ( a g o Y u n s i W s u i n o t n A d n a , ) s n a H
( who give me a lo t o f wonderfu l
s e ir o m e
m . Iam also i ndebted t o Gusitn Lawis ,Pau ilneWidyastuit ,Lucia A i ,srt
a r P h il a G , a n t a R a n it s ir h
C baswaraP .andal lPB Istudent swhokeepi nspiirngme
x
Laslty , Iwould ilke to give my bes tregard sto those who suppo tred me in
. n o it e l p m o c s i s e h t y m g n ir u d g n i h t y r e v e
i x
S T N E T N O C F O E L B A T
e g a P E
G A P E L T I
T ... .. i S
E G A P L A V O R P P
A ... ii E
G A P N O I T A C I D E
D ... i v T
N E M E T A T
S OFWORK’SORIGINALITY ... v I
S A K I L B U P N A U J U T E S R E P N A A T A Y N R E P R A B M E
L ... v i T
C A R T S B
A ... .... v ii K
A R T S B
A ... .... v iii S
T N E M E G D E L W O N K C
A ... i x S
T N E T N O C F O E L B A
T ... xi S
E C I D N E P P A F O T S I
L ... x iv
R E T P A H
C I INTRODUCTION
.
A Backgroundoft heStudy... 1 .
B ProblemFormulaiton... .... 3 .
C Objecitve soft heStudy ... 3 .
D Benefti soft heStudy ... .... 4 .
E De ifniitono fTerm ... 4
R E T P A H
C I I REVIEWOFRELATEDLITERATURE
.
A Reviewo fRelatedTheo ires ... 6 .
1 Theoryo fNewC iritcism ... 6 .
2 Theoryo fSymbols ... 7 .
ii x .
B Theoreitca lFramework ... 14
R E T P A H
C I II METHODOLOGY
.
A Objec toft heStudy... 1 5 .
B Approachoft heStudy ... .. 1 6 .
C Methodoft heStudy... 17
R E T P A H
C I V ANALYSIS
.
A TheSymbol sExpressedi nBrida ... 1 8 .
1 TheSymbol sRelfectedThroughtheMainCharacters ... 1 9 .
a B irda ... 1 9 )
1 B irdaa saSymbol... 1 9 )
2 TheCharacte irsitc so fB irda ... 2 0 .
b TheMagus ... 2 8 )
1 TheMagu sa saSymbol ... 2 8 )
2 TheCharacte irsitc soft heMagus ... .... 2 9 .
c Wicca ... 4 0 )
1 Wiccaa saSymbol ... 40 )
2 TheCharacte irsitc so fWicca ... 4 1 .
2 TheSymbol sRe lfectedThroughtheMainCharacters ’Aciton 47 .
a LearningMagicandFindingaSou lM ate... 4 7 .
b RecalilngChlidhoodMemo ires... 4 8 .
c TurningOu ttheLight swhlieLetitngOneAcryilcSculpture n
i a m e
ii i x .
B TheMeaningo ftheSymbol sExpressedi nBrida... 5 2 .
1 TheSymbol sRelfectedThroughtheMainCharacters ... 52 .
a B irda ... 53 .
b TheMagus... 5 7 .
c Wicca ... 5 8
.
2 TheSymbol sRe lfectedThroughtheMainCharacters ’Aciton .. 5 9 .
a LearningMagicandFindingaSou lMate ... 6 0 .
b RecalilngChlidhoodMemo ires ... 6 2 .
c TurningOu ttheLight sWhlieLetitngOneAcryilcSculpture n
i a m e
R tiL ... 6 3
R E T P A H
C V CONCLUSIONS,I MPLICATIONS ,ANDSUGGESTION .
A Conclusions ... 65 .
B Impilcaitons ... 6 8 .
C Suggesiton ... 69
S E C N E R E F E
R ... 7 0 S
E C I D N E P P
v i x
S E C I D N E P P A F O T S I L
x i d n e p p
A ... Page .
A Summaryo fBridabyPauloCoelho ... 73
.
B Biographyo fPauloCoelho ... 7 5
.
C LessonPlanfo rParagraphW iritngClass... 7 7
.
D LearningMateiralf o rParagraphWiritngClass... 8 1
.
E Students ’Worksheetf o rParagraphWiritngClass... 8 4
.
1
I R E T P A H C
N O I T C U D O R T N I
e s s u c s i d r e t p a h c s i h
T s ther eason behind t hetopicchosenfort hi sstudy. Thi s
x i s f o s t s i s n o c r e t p a h
c secitons. They are the background of t he study ,problem
. m r e t f o n o it i n if e d d n a , y d u t s e h t f o s ti f e n e b , y d u t s e h t f o s e v it c e j b o , n o it a l u m r o f
b e h
T ackgroundoft hes tudydescirbest het opicandt her easono fwhyt het opici s
. g n i y d u t s h tr o w d n a n e s o h
c The problem formulaiton represent sthe formulaiton
. y d u t s s i h t n i d e s s u c s i d s i h c i h w m e l b o r p f
o Theobjecitve soft hestudy statet he
y d u t s s i h t f o s e v it c e j b
o based on the problem formulaiton .The benefti so fthe
y fi t n e d i y d u t
s et h contirbuiton o fthi sstudy fo rstudent sand people who are
d e t s e r e t n
i in analyzing the same topic .The de ifniiton o fterm deifne sa specia l
h c i h w m r e
t i sdiscussedi nt hiss tudy .
.
A Background fo theStudy
g n i e b n a m u h y b d e s u s i t a h t y a w a s i e g a u g n a
L s in orde rto communicate
h ti
w o nne a other .A man eu s s language a sa way to deilve rhi sfeeilng sand hi s
. m i h d n a t s r e d n u n a c s g n i e b n a m u h r e h t o t a h t o s s g n i h t y n a m t u o b a s a e d
i There
r
aemany form sofl anguage which areused by human beingsi n ordert o deilve r
m r o f e s o h t f o e n O . e g a s s e m r i e h
t s ofl anguagei ssymbols. Symbol i sacommon
g n i h t t n a c if i n g i s t n e s e r p e r o t d e s u y ll a u s u s i h c i h w m r e
t . A sstated by Harirs
(2010),“Symboli sani maget hatr epresentssomethingelse”.Amanusess ymbols
. t c e j b o f o m r o f e n o n i s e g a s s e m s i h r e v il e d o t r e d r o n
e c it o n e l p o e
p ar edr oset or epresents omeone’sl ove.Anothe rexamplei sthecolo r
r e d i s n o c n e tf o s i h c i h w n e e r
g eda sas ymbo loff etrlitiy.
e g a u g n a l f o m r o f a s a l o b m y s f o e s u e h t o t d e t a l e
R f dor eilve irng messages,
s r o h t u
a oa els u s symbo lin thei rltierary works .The use o fsymbol sin ltierary
k r o
w s increase stheriaestheitca laspect .Accordingt o Symons( 1908), symboilsm
t r a p l a it n e s s e n a s
i which i n lfuencestheexistenceof l tierary works .Through hi s
a g n i k a m n i l o b m y s f o e s u e h t t n a tr o p m i w o h s e b ir c s e d ) 8 0 9 1 ( s n o m y S , t n e m e t a t s
. s i k r o w y r a r e ti
l Relatedt ot heword‘ aestheitc ’whichi ss tatedbySymons( 1908,)
n i s l o b m y s f o e s u e h
t et h form o fparitcula robjec tin ltierary works h s elp the
r e d a e
r s in drawing images descirbed in tho se ltierary works. By being able to
e g a m i w a r
d s in l tierary works, t hereaders wli lunderstand thestori esand ifnally
rt e
r ieve the rea lmessage swhich are deilvered by the authors o frelated l tierary
k r o w s.
n o it c if
A storysuchas a noveli soneoft heexample sofl tierarywork swhich
e s u n e tf
o s symbolsi n ordert odeilvert heauthor’ smessage .sTheuseo fsymbol s
t e k a m n a
c hes toryi nt henove lbecomemoremeaningfu.lPauloCoelho’ sBrida si k
r o w y r a r e ti l f o e l p m a x e n
a s whichusess ymbol .sThi snovelt ell sabou taj ourney
r I n a f
o i shgri lnamedBirda .I nhi snovel ,PauloCoelhodescirbe showB irda ifnds
r e
h love through learning magic. Through ‘Brida’, Paulo Coelho deilver shi s s
e g a s s e
m no tonlythroughthes torywhichcanbeeasliyi nterpretedbyt her eaders
o s l a t u
b through some symbols .However ,the message swhich are contained in
e b t e r p r e t n i o t tl u c if fi d m e e s s l o b m y
s cause each symbo lmay contain more t han
e n
3
u d e . e t a t s e n a o r. w w
w , 2001 .) Meanwhlie , the ablitiy to interpre t symbol s i s
f o s t c e p s a e ri t n e e h t y o j n e d n a d n a t s r e d n u o t r e d r o n i t n a tr o p m
i arelated l tierary
. k r o
w Reuben( 2010)s tate s“Theablitiyt oi nterprets ymbolsi sessenitalt ot hef ul l
n a t s r e d n
u ding and enjoymen to fltierature.” Therefore ,in orde rto revea lthe
y r o t s e h t d n i h e b s e g a s s e m s ’ r o h t u
a in the novel, someone need sto analyze the
. s l o b m y s
n
I thi sstudy ,the wrtie rintend sto analyze the symbol so fa nove lenitlted
’ a d ir B
‘ who wa sw irtten by Paulo Coelho. Through t hi sstudy, t he i denit ifcaiton
s ’ o h l e o C o l u a P n i s l o b m y s f
o Bridamayhelpther eader stogett heentriemessage .
y r o t s e h t f
o T hisstudy analyzest hesymbolst ha tareexpressed i n t henove land
n a e m r i e h t t u o d n
if ing .s Therefore , the focu s o f thi s thesi s i s only the
n o it a c if it n e d
i oft hesymbol sandt hemeaningoft hesymbol swhichareexpressed
s ’ o h l e o C o l u a P n
i Brida .
.
B Problems Formula iton
r e ti r w e h t t a h t s m e l b o r p e h
T intend stoanalyzei nt hi sthesis :a re
.
1 Wha taret hes ymbol sexpressedi nPauloCoelho’ sBrida? .
2 Wha taret hemeanings fo thosesymbols?
.
C Objecitves fo theStudy
o l u a P n i d e s s e r p x e e r a h c i h w s l o b m y s e h t t u o d n if o t s m i a y d u t s s i h T
s ’ o h l e o
.
D Beneftis fo theStudy
s i h
T thesisi sexpectedt oen irch t hestudents ’knowledgeespeciallyf ort hose
y d u t s o t t n a w o h
w the same novel .Thi sthesi scan be usefu lfo rthose who are
g n i k a
m fu trhe r research abou t symbo ilsm. Fu trhermore ,thi sthesi s can help
o h w e l p o e
p hope fo r more enjoymen t in reading and are interested in
s ’ o h l e o C o l u a P g n i d n a t s r e d n
u Bridaa sapar tofl tierarywork .
.
E Deifniitono fTerm
, g n i d n a t s r e d n u s i m d i o v a o t r e d r o n
I thewrtie rprovide ssomedeifniiton so fa
. y d u t s s i h t n i d e s s u c s i d e b l li w t a h t m r e
t Here aresomedeifniitons relatedt o t he
.’ l o b m y s ‘ m r e t
l o b m y S
t a h t n o it n e m ) 9 0 0 2 ( n o s n h o J d n a p r
A “ A ltierary symbo lmean smore than
a , g n i n a e m e n o s a h e g a m i n a s a e r e h W . s g n i n a e m f o s r e y a l s a h t I . s i t i t a h w
. y n a m s a h l o b m y
s ” The same de ifniiton abou tsymbo li salso stated by Harir s
) 0 1 0 2
( ,“As ymboli ssomethingtha tont hes urfacei stisl tierals el fbu twhichalso e
m r e h t o n a s a
h aningo revensevera lmeaning .s”Fo rexamplewaterdoesno tonly
t u b r e t a w n a e
m alsos ymboilzesl fieorr ebitrhandaswordmaysymboilzej usitce .
g n i d r o c c
A toKennedyand Gioia( 1999) ,asymbo lgenerallyi sno tabsrtactt erm s
d n u o f s l o b m y s e h t n e tf O . s t c e j b o e l b it p e c r e p e b o t y l e k il s i t u b , h t u rt r o e v o l e k il
y ll a c il o b m y s n o it c n u f y a m o s l a s g n i h t r e h t o t u b , s t c e j b o e t a m i n a n i n
i (p .218). I n
, e s a c s i h
5
t a h t e t a t s ) 9 0 0 2 ( n o s n h o
J thesymbols can beused i nto t hreeforms .Theset hree
s n o it c a d n a , s t c e j b o , s e m a n e r a s m r o
f (p .289) .
, y d u t s s i h t n
I the symbol s refe r to the names o f the characters , main
r a h
c acters ,andaciton sperformedbyt hemaincharacters inPauloCoelho’ sBrida. e
m a n e h t o t r e f e r s e m a n f o s l o b m y s e h
T s o fB irda and Wicca a sthe main
. y r o t s e h t f o s r e t c a r a h
c Thesymbol so fcharactersr efert o B irda, t heMagus ,and
a c c i
W .Meanwhlie, t he symb s ol o faciton srefert o t he aciton sdoneby t hemain
s a h c u s s r e t c a r a h
c learning magic and ifnding a sou lmate ,recalilng chlidhood
.t il n i a m e r e r u t p l u c s c il y r c a e n o g n it t e l e li h w s t h g il e h t t u o g n i n r u t d n a , s e ir o m e
6 I I R E T P A H C
F O W E I V E
R RELATEDLITERATURE
r e t p a h c s i h
T present s the review o f related theo ire s and theoreitca l k
r o w e m a r
f .Ther eviewof r elated t heo iresr eviewstheo ire swhich arer elevant t o d
e y o l p m e e
b ni thi sstudy.Thet heoreitca lframeworkexplainst hecontirbuitono f y
r o e h t h c a
e ins olvingt heproblem soft hes tudy.
.
A Reviewo fRelatedTheories
e h t r e w s n a o t s n a e m a s a d e s u e b n a c t a h t s e ir o e h t e m o s s t n e s e r p y d u t s s i h T
e r a s e ir o e h t e s e h T . y d u t s e h t f o s m e l b o r
p the New C iritcism, t heory o fsymbol , .
n o it a z ir e t c a r a h c d n a r e t c a r a h c f o y r o e h t d n a
.
1 NewCriitcism
r e r a l
K (1999) state stha ta cenrta lterm o tfen used synonymously wtih New e h t n i h ti w s p i h s n o it a l e r e h t n o g n it a rt n e c n o c s i h c i h w , g n i d a e r e s o l c s i m s i c it ir C
e v i g t a h t t x e
t the t ext ti sown disitncitve characte ro rform (p .86). In sho tr, the c
a o r p p a n a s i m s i c it ir C w e
N h which requrie sthe wrtie rto perform a close g
n i d a e
r . Performi ngacloser eading si donebyf ocusingont hei nternalf eature so f .
t x e t e h
t A san addiiton ,Murifn and Ray (1997) state tha tthe New C iritcism d
r o w , y n o ri , x o d a r a p , g n i n a e m e l p it l u m s a h c u s a n e m o n e h p n o s e s u c o
f - play ,
h c i h w , s e r u g if l a c ir o t e h r r o , s n u
p – sa thesmalles tdisitnguishable element so fa k
r o w y r a r e ti
l -formi nterdependent ilnk swtiht heoveral lcontext .Specia latteniton n
i s l o b m y s r o s e g a m i r a l u c it r a p d n a n o it it e p e r o t d i a p s
7
n ir e u
G , Labor ,Morgan ,Reesman ,and Wliilngham (2005)statet hatt heNew m
s i c it ir
C i smadebasedont hei deao fhowt heautho rdeilver shist houghtt hrough (
s l o b m y s d n a s e g a m i s a h c u s s l o o t n i a tr e c g n i s u y b k r o w s i
h pp.1 -43 149) .
, e r o m r e h tr u
F Mur ifn a nd Ray (1997 )add t ha tthe New C iritcism ha ssomeitme s a
o r p p a " e v it c e j b o " n a d e ll a c n e e
b ch t o l tieraturebecause i tsrtesse sclose t extua l d
n a s i s y l a n
a seeing the tex ta sa carefully cratfed ,ordelry objec tcontaining n
r e tt a p e l b a v r e s b o , l a m r o
f . Based on t hei rstatement ,s i tcan beconcludedt hat na f
o s i s y l a n
a the symbol ,s images, and t hei rintended meaning sby using t he New m
s i c it ir
C would ilkely be marked a san objecitve work . hT si theory i sused to e
z y l a n
a thet ext fo altierarywork wtihou tconsideirng ti sexternalf eaturesand to g
n i n a e m d e d n e t n i s ti l a e v e
r s by giving specia l atteniton to repeititon and .
s l o b m y s d n a s e g a m i r a l u c it r a p
.
2 Theoryof Symbol
9 1 ( s m a r b
A 99 )deifne sasymbo la sawordo raphraset ha tsigniife san objec t r
o anevent ,whicht urns signi ifess omething ,o rar angeofr eference ,beyond tisefl .
p
( 3 ). 11 Stanton( 1965 )menitonst hats ymbol smaybeconsistedi neveryelement a , t c e j b o f o e p y t d e t a e p e r a , t c e j b o e l g n i s a f o m r o f e h t n i s a h c u s y r o t s a f o
y a m d n a e c n a r g a r f a , d n u o s a , r o l o c a , e r u t s e g a , e p a h s a , e c n a t s b u s l a c i s y h p
e s e r p e
r n ta par to fa human personaltiy ,the indfiference o fnature to man’ s d
n a , y ti li b i s n o p s e r n a m u h , n o it i b m a e li t u f , g n ir e f f u
s the romanitcism o fyouth
p
( aar .31) .Meanwh lie ,Guth( 1997 )de ifnes et h symbol sa simagessucha sdetalis , r
e t c a r a h c
9
h ti w y r o t s e h t y l p p u s n e v e y a m t i r o y r o t s e h t t u o h g u o r h t y l d e t a e p e r d e n o it n e m
. e lt it e h
t According to Kennedy and Gioia ,the reader sshould pay atteniton to words ,phrases ,o rsentence swhicharemenitonedr epeatedly ,becauset heymigh t
t s e g g u
s tha t they are symbols . Kennedy and Gioia (1999) fu trhe r add tha t s
e m it e m o
s ,an i mpo tran tsymbo lwli lopen astoryo rend ti .Asymbol ,anobjec,t n
a act ,o ra character i sgiven specia lemphasi sand impo trance . nI et h ltierary k
r o
w s, t he readers may ifnd t ha tsomecharacter so tfen are no twel lrounded and s
u o ir e t s y m y lt h g il s n i a m e r d n a y l g n it e e lf n e e s e r a t u b , n w o n k y ll u
f . Thist ypeof
r e t c a r a h
c s may also be the symbols (p .218) .Therefore ,focusi ng on cetrain d
n a s r e t c a r a h
c aciton si s necessary in orde rto look fo rthe symbol sbecause s
e s o p r u p n i a tr e c n o d e s a b m e h t s t n e v n i r o h t u a e h t y ll a u s
u especiallyt os uppor thi s a
e d i .
, r e v o e r o
M KennedyandGioia(1999 )addt ha ta nobject ,anact ,o racharacte r r
e d a e r e h t n e h w , fi c il o b m y s y l e r u s s
i s ifnishreading thestorythey reailzet hati t e
h t d e l h c i h w m e ti e h t s a
w m to the essen ita lmeaning o fthe story (p .218) . ,
e li h w n a e
M Stanton(1965 )menitonst hatt heexistenceo fsymbol susually b irng s s
t c e f f e e e r h
t depend son how tii sused .Thefris teffecti sa symbolt ha tappear s t a h t f o e c n a c if i n g i s e h t s e n il r e d n u y r o t s e h t f o t n e m o m t n a tr o p m i n a g n ir u d
t n e m o
m .Thes econdeffecti sas ymbolr epeateds evera litmesr emindst her eader s d
lr o w s ’ y r o t s e h t n i t n e m e l e t n a t s n o c e m o s f
o .The t hrid effect i sa symbolt ha t .
e m e h t e h t y fi r a l c r o e n if e d o t s p l e h t x e t n o c g n i y r a v n i s r u c e r
h c i h w g n i n a e m e n o n a h t e r o m e v a h y a m l o b m y s a s e t a t s ) 1 1 0 2 ( n e b u e R
fi t n e d i o T . e g a m i n a m o r f ti s e h s i u g n it s i
n i s l o b m y s f o m r o f e h t e z i n g o c e r o
t tha tltierarywork .Accordingt o Kennedyand o
i
G ia (1999), a symbo lgenerally i sno tabsrtac tterm s ilke love o r rtuth ,bu ti s s
t c e j b o e l b it p e c r e p e b o t y l e k
il .O tfen t hesymbolsfound in ifciton arei nanimate (
y ll a c il o b m y s n o it c n u f y a m o s l a s g n i h t r e h t o t u b , s t c e j b
o p .218 .)
o t g n i d r o c c A . s l o b m y s n i s e ir o g e t a c l a r e v e s e r a e r e h
T A rp and Johnson
) 9 0 0 2
( ,the symbol scan beused i nto t hreeforms .Thoset hreeform sarenames , s
n o it c a d n a , s t c e j b
o (p.289) .Symboilsm i n name can befound i n a story ,where .
s e m a n r a il u c e p s r e t c a r a h c s i h g n i v i g y l e s o p r u p r o h t u a e h
t Thi si sno tonlyt ol abe l r
e t c a r a h c e h
t s ,bu talso t o guide t hereaders’ understandingabout somethingelse e
h t o t d e t a l e
r characters. Simlia lry , Stanton (1965 ) also meniton s tha t the r
e t c a r a h
c s ’ names may contain the author’ sexpilci tdesc irpiton and commen t r
e t c a r a h c e h t n o p
u s p( .18) . e
h t o t d e t a l e
R catego ires o f symbols , Myer s and Simm s (1989 ) divide e
e r h t o t n i s l o b m y
s d fiferentt ypes .Thef risti s‘thearchetypa lo rcutlura lsymbols’ o
t s r e f e r t c e j b o l a r u t a n a h c i h w n
i a ilmtied a numbe ro finterpretaiton stha t .
s r e ir r a b l a r u tl u c s d n e c s n a
rt Fo rexample the sun which represent senergy ,a r
u o
s ceof l fie ,and t he maleacitve p irnciple .Thesecond i st'hegenera lsymbol,' c
i h
w h appeal sto a smalle raudience .However , i tcontain smore associaitve g
n i n a e
m . The las t symbo l i s t'he p irvate symbo l o rautho ira l o rcontextua l ,'
l o b m y
s whichi screatedi nanauthors'i maginaitonandconveyinganynumbe ro f (
t x e t n o c g n i d i u g e h t n i s g n i n a e
m p . 298) .Thi smeans t ha tasymbo lcan also be y
r o t s a n i s t s i x e h c i h w n o it a n i g a m i s ’ r o h t u a e h
t in ordert o convey et h readers’ h
t d r a w o t g n i d n a t s r e d n
1 1
e li h w n a e
M ,Harirs( 2010 )divide ssymbolsi ntot wogeneralt ypes .Thef risti s ’
s l o b m y s l a s r e v i n u
‘ which embody universally recognizable meaning swhereve r e h T . h t a e d e z il o b m y s o t l l u k s a r o , e g d e l w o n k e z il o b m y s o t t h g il s a h c u s , d e s u
s i d n o c e
s ‘consrtucteds ymbols’whicharegivensymboilcmeaningbyt hewayan l i v e f o l o b m y s a s e m o c e b e l a h w e ti h w e h t s a , k r o w y r a r e ti l a n i m e h t s e s u r o h t u a
) 4 . p ( . k c i D y b o M n i
d n a r e g r e b r h o R o t g n i d r o c c
A Wood s(1971), thepresence o fsymbolsi n the i
s k r o w y r a r e ti
l si nevtiable .Somepeoplet hink t ha tmany grea twork so far tuse e
h
t ltierary symbol sbecause t hey sugges tcomplextiy, i ntircacy ,and irchnes .s fI e
h
t symbol sarepresenti n l tierary works ,whethert hrough emphasis ,repeititon , a
p g n ir r u c e r r o , n o it a c il p m
i ttern ,si tmeanst hatt heautho rpurposelyuses thema s o
t l o o t
a deilve rhi smessages .Therefore such ahin tshould no tbe neglected i n k
r o w y r a r e ti l e h t f o g n i d n a t s r e d n u l a u t c a e h t t e g o t r e d r
o tisefl(p .17).
.
3 Theor oy fCharacterandCharacteriza iton
e h t , y d u t s s i h t n
I implementaiton o f the theory o f characte r and y
r a s s e c e n s i n o it a z ir e t c a r a h
c consideirng t he fact t ha tthe character sc an convey f
o s a e d i e h
t theauthors. Wheele r(n.d. )deifnes a character sa any representaiton d e d n e t x e h g u o r h t k r o w e v it a r r a n r o c it a m a r d a n i d e t n e s e r p g n i e b l a u d i v i d n i n a f o
n o it a t n e s e r p e r l a b r e v r o c it a m a r
d . Meanwhlie ,Abrams( 1999)deifnes acharacte r o
h w n o s r e p a s
a i so tfenendowedwtihmoral ,disposiiton ,andemoitona lquailite s t
a h
o t g n i d r o c c
A Arp and Johnson (2009), et h author susually presen tthei r r
e t c a r a h
c s in two ways ,driec tpresentaiton and indriec tpresentaiton .The driec t s
n a e m n o it a t n e s e r
p t hat the author spresen tthei rcharacter ssrtaighlty to the s
r e d a e
r by analyzing o r through anothe r character .The indriec tpresentaiton s
n a e
m tha ttheauthor spresentt hei rcharacters throught hei racitons p( p . 21 - 56 1 ).6 n
o d e s a
B Abram and Arp and Johnson’ sdeifniiton abou tthe characters ,the s
r e d a e
r are able to understand the disposiiton of the characters through the s
e c n a r e tt
u andacitons descirbedi nt hes tory . n
o it i n if e d r e h t o n
A abou tcharacteri s oa ls givenbyRobe trsandJ acobs (1986 ) e h t , g n i e b n a m u h f o n o it a t n e s e r p e r l a b r e v d e d n e t x e n a s a r e t c a r a h c e n if e d o h w
h c e e p s , t h g u o h t s e n i m r e t e d t a h t fl e s r e n n
i , and behavio r(p .143) .Through theri ,
n o it i n if e
d Robetrs and Jacob smeniton tha tthe character sin a work o f ifciton have t he sameway t o express t hei rfeeilng a swel la shuman beings in rtue l fie .
s a e v a h e b d n a k l a t y a m d n a , e g n e v e r , y r g n a , e t a h , y p p a h l e e f y a m s r e t c a r a h c e h T
c it s ir e t c a r a h c e v a h s r e t c a r a h c e h t t a h t e l b i s s o p s i t I . o d s g n i e b n a m u h s a l l e
w s
a h c e h t e s u a c e
b racter sin ifciton funciton a sthe representaitves fo the human g
n i e
b s in rtuel fie .
e r e h t ,) 2 7 9 1 ( y h p r u M o t g n i d r o c c
A areninemethod swhichcan beemployed d
n a t s r e d n u o t r e d r o n
i the characteirsitcs fo a character .The fris ti spersona l ,
n o it p ir c s e
d in which the autho rdesc irbe sa persons' physica lappearance and r
e t c a r a h c e h t d li u b o t s e h t o l
c .Thesecond i spresenitng t he characte ra sseen by .r
e h t o n
a In t hi smethod, t he autho rdescirbes thecharactert hrough t he eye sand i
r e t c a r a h c r e h t o n a f o s n o i n i p
3 1
t a h w h g u o r h t r e t c a r a h c e h t s e b ir c s e d r o h t u a e h t h c i h w n
i hesays. The fou trh i s
. e fi l t s a
p In t hi smethod, t heautho rcan givet her eader sacluet othe character’s t
s t n e v e e fi l t s a
p o descirbe hi scharacter. The iftfh i sconversaiton o fother ,s in s
’ n o s r e p a o t s e u l c s e v i g r o h t u a e h t h c i h
w charactert hrough t heconversaiton so f t
u o b a y a s y e h t s g n i h t d n a e l p o e p r e h t
o mh . i Thesixth i sreacitonswhich enable the reader sto ge ta descirpiton o fa person’ scharacter through hi sreaciton s
s t n e v e d n a s n o it a u ti s d r a w o
t . Theseventh i sdriec tcommen,t inwhich t heautho r l
a n o s r e p s i h s e v i
g commen t on a person’ scharacte r drieclty. The eighth i s s
t h g u o h
t which enable t hereaders t o recognizea person’s characte rby knowing t
h g u o h t s i
h s. The las tone i smanneirsms ,in which the autho rcan descirbe a s'
n o s r e
p manne irsms ,habtis ,o runusua lbehavior sin orde rto tel lthe reader s g
n i h t e m o
s abou thi scharacter( pp. 11 -6 173 .) ,
e li h w n a e
M Rohrberge rand Wood s(1971 )deifne ‘characteirzaiton ’a sthe s
s e c o r
p bywhichanautho rcreate sa character . tIi sthedeviceusedbyt heautho r s
r e d a e r e h t e k a m o
t beileve tha teach o fthe characters i sthe paritcula rtype o f s
i e h n o s r e
p .(p 2 ). 0 Therefore,t heautho rof a ltieraryworkuse sthecharacterst o .
y ti l a e r n i s a s g n i e b n a m u h r o e l p o e p e b ir c s e
d RobetrsandJ acobs(1986 )statetha t s
i h
t i sa srtategy to emphasize tha t the characters ' acitons , statement ,s and a
m u h t a h w e b l l a t s u m s t h g u o h
t n being sare ilkelyt o do ,say ,andt hink undert he (
k r o w e h t n i d e t n e s e r p s n o it i d n o
c p .148) .Meanwh lie ,according t o Gli l(1995), (
d e t a e r c s i r e t c a r a h c a h c i h w n i y a w e h t s i n o it a z ir e t c a r a h
c p .3 5 .) To pu ti t
y l p m i
9 0 0 2 ( n o s n h o J d n a p r
A ) statet hreep irnciple so fcharacteirzaiton .Frislty ,the e v a h e b t o n o d y e h T . r o i v a h e b r i e h t n i t n e t s i s n o c y ll a r e n e g e r a s r e t c a r a h c
r o f n o s a e r t n e i c if f u s d n a r a e l c a s i e r e h t s s e l n u n o i s a c c o n a n i y lt n e r e f fi
d change .
, y l d n o c e
S the characters ’ word sand aciton ssp irng from moitvaitons t hereaders e
v e il e b d n a d n a t s r e d n u n a
c .Laslty , thecharacters mus tbeplausibleorl fieilke .
.
B Theore itcalFramework
s e s u r e ti r w e h t , y d u t s s i h t n
I three theo ires .These theorie sare the New ,
m s i c it ir
C theoryof symbo,landtheoryof characterandcharacteirzaiton. Eacho f l
a it n e s s e s i s e ir o e h t e s e h
t in ordert o solvet heproblemsoft hi sstudy .Frislty,t he y
r o e h
t o fsymbolsi sused t oidentfiy t hesymbol sexpressedi n t henovel. I thelp s s l o b m y s e h t t a h t e v o r p o t d n a s l o b m y s e h t f o s n r e tt a p e h t e z i n g o c e r o t r e ti r w e h t
. y r o t s s i h t n i t s i x
e Secondly,t het heoryo fcharacte randcharacteirzaitoni susedt o B
f o s c it s ir e t c a r a h c e h t y fi t n e d
i irda ,Wicca, and the Magus a s the symbol s s
r e t c a r a h c n i a m e h t h g u o r h t d e t c e lf e
r .Findingt hei rcharacteirsitc shelpst hewrtie r o
t revealt hei dea sbehindt hecharacters .Reveailngt hei dea sbehindt hecharacter s n
o it a z ir e t c a r a h c r i e h t d n
a enablest hewrtiert orevealt hepossiblemeanings fo the s
l o b m y
s relfected through the main characters in Brida. Thridly ,the theory o f r
e ti r w e h t p l e h o t d e il p p a s i m s i c it ir C w e
N to analy ze the i ntended meanings fo h
g u o r h t s l o b m y s e h
t the intirnsic feature so fthe text. Thi stheory enable sthe o
t r e ti r
5 1
I I I R E T P A H C
Y G O L O D O H T E M
t a h w d n a y d u t s e h t h ti w s k r o w r e ti r w e h t w o h t n e s e r p o t d e m i a s i r e t p a h c s i h T
k r o w y r a r e ti l f o d n i
k i sconcerned in thi sstudy. Thi schapte rconsist so fthree
s n o it c e
s . They are theobjec tof t hestudy ,approach of t hestudy ,and method o f
. y d u t s e h
t The objec to fthe study give sgenera linformaiton abou tthe ltierary
k r o
w which i sanalyzed by the wrtier .The approach o fthe study discusse sthe
h c a o r p p
a which i sbeing used i n analyzing t hel tierary work .The method oft he
e h t s e b ir c s e d y d u t
s methodandt heproceduresi nanalyzingt hel tierarywork .
.
A Objec toft heStudy
o h l e o C o l u a P y b n e tt ir w l e v o n a s i s i s e h t s i h t n i y d u t s e h t f o t c e j b o e h T
n
e itlted “Brida” .Thi snovel which sw a pubilshed in 2008 atfe rPaulo Coelho’ s
” t s i m e h c l A e h T “ k r o w s u o i v e r
p consists fo 266 pages .Thi snove lwa so irginally
n i n e tt ir
w the Po truguese .Howeve,r thi sthesi sonly focuse son studying the
s ’ o h l e o C o l u a P f o n o i s r e v h s il g n
E ‘Brida’ . In thi s novel , Paulo Coelho
f o s c i p o t e h t s a y r e t s y m d n a , y ti l a u ti ri p s , e v o l d e z i s a h p m
e thes tory.
k r o w a s
A o f ifciton, t hi snovelt ell saboutt hecharacte rnamedB irdawho i s
d e t s e r e t n
i in magic and wants t o be a wtich i n order t o know t he secret so fthe
. d lr o
w Du irng he rprocess fo learning magic ,B irda should be able to make
d n a s n o i s i c e d t l u c if fi
d srtuggle to ifnd he rsou lmate .She almos tstop shersel f
e h s , r e v e w o H . e fi l t s a p r e h o t g n il e v a rt r e tf a c i g a m g n i n r a e l m o r
f i s ifnallyablet o
e k a
.
B Approachoft heStudy
d e s u s i s e h t s i h
T New C iritcism . Gueirn, Labor , Morgan , Reesman ,and
m a h g n il li
W (2005 )divideapproache sofl tieraturei ntosix basicsecitons .Oneo f
s i s n o it c e s c i s a b e s e h
t the New C iritcism .By using thi sapproach ,the wrtie r
n e t n
i d os t studyt hemeaningoft het ex tbystudying tisi nternalf eature swhichare
n i d e n i a t n o
c words ,images ,acitons ,symbols ,ideas ,and personailite .s Gueirn,
r o b a
L , Morgan , Reesman , and Wliilngham (2005 ) conclude tha t the New
m s i c it ir
C allow sthe researche rto appreciate related ltierary work by recognize
s l o b m y s f o n r e tt a p e h
t .( 6p 1 ). 0 Fu trhermore ,theyalso statethatt hi sapproach i s
k r o w s i h h g u o r h t t h g u o h t s i h s r e v il e d r o h t u a e h t w o h f o a e d i e h t n o d e s a b e d a m
l o o t n i a tr e c g n i s u y
b ssuch asi mage sand symbols ( .p 1 p 4 - 93 14 ) .In shor,t the
m s i c it ir C w e
N suggestst ha tal tierarywork i sat oolt hati susedbyt heauthort o
r e d a e r e h t h ti w t h g u o h t s i h e t a c i n u m m o
c s.
n if r u
M a nd Ray (1997 )state tha tthe New Ciritcism ha ssomeitme sbeen
l a u t x e t e s o l c s e s s e rt s t i e s u a c e b e r u t a r e ti l o t h c a o r p p a " e v it c e j b o " n a d e ll a c
d n a s i s y l a n
a seeing the tex ta sa carefully cratfed ,orde lry objec tcontaining
n r e tt a p e l b a v r e s b o , l a m r o
f .They fu trhe radd tha t“New C iritc sare more ilkely
e h t o n i a tr e c n a h
t rc iritc sto beileve and say tha tthe meaning o fa tex tcan be
. ” y l e v it c e j b o n w o n
k ByusingtheNewCiritcismthewrtieri ntendst oi dentfiyt he
s ’ o l u a P n i d e s s e r p x e s l o b m y
s Bridaand ifndoutt hei rmeaning .sThi sapproachi s
s i s y l a n a s i h t n i d e y o l p m e e b o t e l b a ti u
s sincei tcanr evealt hemeaningoft het ex t
7 1
.
C Methodoft heStudy
s i s e h t s i h
T i sa ilbrary study .The p irmary source o fthi sstudy i s a nove l
n e tt ir
w by Paulo Coelho enitlted ‘Brida’. Thesecondary source soft hi sstudy a e r
s e i d u t s c if it n e i c s r e h t
o including reilable journal ,s books , and sties such as ,
e s n e S & d n u o S , e r u t c u r t S : e r u t a r e ti L s ’ e n i r r e
P w irtten by Arp and Johnson , A
s m r e T y r a r e ti L f o y r a s s o l
G w irttenbyM .H .Abrams ,ReadingandWriitngabou t
e r u t a r e ti
L wirtten by Mary Rohrberge rand Samue lH .Woods ,J.r ,Ficiton :An
g n it i r W d n a g n i d a e R o t n o it c u d o r t n
I wirttenbyRobetr sandJ acobs ,ands oon.
s i h t g n it c u d n o c n
I study ,the wrtie rtook severa lsteps .In the fris tstep, the
s ’ o h l e o C o l u a P f o y r o t s e h t d a e r r e ti r
w Bridarepeatedlyi nordert ounderstandt he
t n e t n o
c .The second ,the wrtie rcollected the necessary data and theo ire sto
s i h t tr o p p u
s study .Thethrid ,thewrtieri denitifed themaincharacter soft hestory
t d n
a ook note so ft he impo tran tpoints .The f u ho tr ,the wrtier iden itifed the
s l o b m y
s through the main character sof t he story and t hei racitons by using t he
l o b m y s f o y r o e h
t . The if tfh,t hewrtie rmadeananalysis tosolvetheproblem so f
y d u t s e h
t by applying the theory o fthe New C iritcism .The sixth ,the wrtie r
g n it r o p p u s d n a a t a d e h t h ti w a e d i r e h d e tr o p p u
s theo ires she ha scollected. The
b n e k a t p e t s t s a
8 1
I R E T P A H
C V
S I S Y L A N A
e z y l a n a l li w r e ti r w e h t ,r e t p a h c s i h t n
I the symbols t ha tare expressed i n
s ’ o h l e o C o l u a
P Brida .Therearet wopatrsi nt hi schapter .Thef ris tp atrcovers the
f o s i s y l a n
a the symbol swhich are relfected through the m ain characters :B irda ,
M e h t d n a , a c c i
W agu .s The second par tdiscusses the possible meaning so fthe
n i s r e t c a r a h c n i a m e h t h g u o r h t d e t c e lf e r s l o b m y
s Brida.
.
A TheSymbol sExpressedi nBrida
n i s l o b m y s y fi t n e d i o t r e d r o n
I Paulo Coelho’ sBrida , tii s i mpo trantt o pay
s t s e g g u s r o h t u a e h t y ll a u s u e s u a c e b s n o it c a d n a s r e t c a r a h c n i a tr e c o t n o it n e tt a
r i e h t d n a s r e t c a r a h c e s e h t h g u o r h t g n i h t e m o
s acitons( Kennedy& Gioia , .p 147) .
s r e v o c n o it a c if it n e d i s i h
T detalied informaiton abou tthe characters us ch a sthe
.s r e t c a r a h c f o s c it s ir e t c a r a h
c Focusi nng o adetai lsuch ast hecharacteirsitc so fa
. ti d n i h e b g n i n a e m e h t l a e v e r o t r e d r o n i y r a s s e c e n s i k r o w y r a r e ti l n i r e t c a r a h c
7 9 9 1 ( h t u
G )state stha tbecomesensiitvet o symboilcovetrone sand i mp ilcaiton s
y r o t s a o t d n o p s e r y ll u f o t r e d r o n i y r a s s e c e n s
i because et h symbol scanappeari n
e h
t form o f image ssuch a sdetalis ,characters ,ori ncidents tha thavea meaning
d n o y e
b thei rltieralr olei nt henarraitve(para.189) .Thi spatroft hestudyfocuse s
s l o b m y s f o n o it a c if it n e d i e h t n
o whichareexpressedi nPauloCoelho’ sB irda.
r e ti r w e h t , y d u t s s i h t n
I foundouts ixs ymbol swhicht henarecatego irzedi nto
o w
t typeso fsymbol .s Theset wo type so fsymbol saret hesymbol so fcharacter s
. s n o it c a f o s l o b m y s e h t d n
9 1
, s u g a
M and Wicca. Thesecond i sthesymbolsr elfected t hrought hei racitons are
, s e ir o m e m d o o h d li h c g n il l a c e
r learningmagicand ifndingasou lmateandturning
e r u t p l u c s c il y r c a e n o g n it t e l e li h w t h g il e h t t u
o remain til . eT h theory o fsymbo l
n o it a z ir e t c a r a h c d n a r e t c a r a h c f o y r o e h t e h t d n
a arei mplementedi nordert osolve
m e l b o r p t s ri f e h
t formulatedi nthiss tudy .
.
1 TheSymbol sRelfectedThrought heMainCharacters
f o s i s y l a n a e h t s r e v o c t r a p s i h
T the threemain character so fB irda including
s a a c c i W d n a , s u g a M e h t , a d ir
B thesymbol sandalsot hedescirpitono feachmain
. s c it s ir e t c a r a h c s ’ r e t c a r a h
c The analysi s o f the main character s a s symbol s
e m o c e b y e h t y h w s n o s a e r e h t s n i a l p x
e thesymbol sand t heanalysi so feachmain
.s l o b m y s s a s g n i n a e m r i e h t d n if o t r e ti r w e h t p l e h l li w s c it s ir e t c a r a h c s ’ r e t c a r a h c
.
a Brida
e h t s i e n o t s ri f e h T . s tr a p o w t f o s t s i s n o c t r a p s i h
T explanaiton o fhowB irda
f o s c it s ir e t c a r a h c e h t s i e n o d n o c e s e h t d n a y r o t s s i h t n i l o b m y s e h t s e m o c e b
. a d ir B
)
1 Bridaa saSymbol
l o b m y s a s i a d ir
B because she i sdescirbed a sa characte rwho lead sthe
s r e d a e
r ’ understanding about t heessence of t hestory .In t hi sstory ,B irda i sno t
e h t o s l a t u b r e t c a r a h c l a rt n e c a s a e l o r r e h g n i k a t y l n
o key to open t hemessage
d e s s u c s i d n e e b s a h t i , r e t p a h c s u o i v e r p e h t n I . r o h t u a e h t y b d e r e v il e d s i h c i h w
a t a h
t ys mboilc characte rleads the reade rto the essenita lmeaning o fthe story
g n i d n a t s r e d n u ’ s r e d a e r e h t d a e
l toward the meaning behind the story since i t
a e l n i y e n r u o j r e h s e d i v o r
p rning magic ,he rsrtuggle i n ifnding he rfatih ,and he r
r o f h c r a e
s asou lmate .Fu trhermore,theautho rprovidest he itltewtiht henameo f
: e n i o r e h e h
t Brida. In the previou schapter ,i ti salso menitoned tha tthe autho r
r a l u c it r a p s l o b m y s e h t s e v i g n e tf
o emphasi sand may be menitoned repeatedly
e lt it e h t h ti w y r o t s e h t y l p p u s n e v e y a m t i r o y r o t s e h t t u o h g u o r h
t (Kennedy &
a i o i
G ,p.218) .Theautho rprovidest he itltewtiht hemaincharacter’ snamei mpile s
l o b m y s e h t s a a d ir B o t e c n a tr o p m i n a s e v i g e h t a h
t which can lead the reader s
d r a w o
t theessenita lmeaningoft hestory .Wtihou tB irda’ sexistencei nt hi sstory ,
e h t y b d e v i e c e r e b t o n l li w y r o t s e h t f o g n i n a e m l a it n e s s e e h t f i e l b i s s o p s i t i
. s r e d a e r
)
2 TheCharacterisitc so fBrida
r e t c a r a h c
A i sa representaitve of a human being therefore a characte ri s
d e b ir c s e
d wtih severa lcharacteirsitc sjus t ilke a human being in the rea llfie .
r e H . s c it s ir e t c a r a h c l a r e v e s s a h y r o t s e h t n i s r e t c a r a h c n i a m e h t f o e n o s a , a d ir B
t c a r a h
c eirsitc scanbes eenasf ollow .s
)
a Young
f o r e t c a r a h c l a rt n e c e h t s i a d ir
B “Brida” .A sTheMagus’ ssou lmate ,B irdai s
c i g a m n r a e l o t s t n a w d n a s r a e y 1 2 s i e g a e s o h w n a m o w l u fi t u a e b a s a d e b ir c s e d
i c e p s e , g n u o y l li t s s i a d ir B t a h t s n a e m t I .) 4 . p ( e g d e l w o n k f o h c r a e s e h t r o
f allyf o r
r o f r e h t u o b a a d ir B s k s a s u g a M e h T . c i g a m g n i n r a e l n i d e t s e r e t n i s i o h w n o s r e p a
m i h m o r f c i g a m n r a e l o t g n u o y o o t g n i e
5 2
s i e h S . t h g i n e h t g n o l a e n o l a t s e r o
f afraidoft hedarkandshedoe sno tknowwha t
o d o
t .( )p 1 .6 WhenB irdaf eel suncetrain wtih he rdecision ,again sher ecall she r
n o s s e l s ’ r e h t a f r e h s n i a t n o c h c i h w y r o m e m d o o h d li h
c .Thi sitme ,herf athert augh t
g n i h t e m o s t u o b a t u o d n if o t s t n a w e h s e m it y r e v e k s ir g n i k a t n i e v a r b e b o t r e h
g p
( . 47 - )7 .5 Birdar espect sherf atherthati st her eason behind B irda’ sbravery i n
making decision. She beileve stha twha tha sbeen told by he rfathe ri s rtue :
“Nothing in the wo lrd i seve rcompletely wrong ,even a stopped clock i s irgh t
y a d a e c i w
t ”( p .77 .)
o t s a h e h s e m it y r e v e e fi l t u o b a s n o s s e l s ’ r e h t a f r e h s r e b m e m e r s y a w l a a d ir B
f r e h n e h w s e ir o m e m d o o h d li h c g n il l a c e R . s m e l b o r p r e h h ti w l a e
d athe rwa s
g n i k a t , h ti a f g n i v a h n i e v a r b e b o t a d ir B s e g a r u o c n e e fi l f o n o s s e l y n a m r e h g n i v i g
f o e p y t e h t s i e h s t a h t d e d u l c n o c e b n a c t I . d n e e h t l it n u t i g n i v e il e b d n a , k s ir
s e c i v d a s ’t n e r a p r e h s e t a i c e r p p a d n a s t n e r a p r e h t u o b a s n r e c n o c o h w r e t h g u a d
c e
b auseherr elaiton wtih he rparentsi sgood .B irdaconsider sherf athe ,rt heone
. e fi l r e h n i n o s r e p t n a tr o p m i n a s a , e fi l f o s n o s s e l y n a m r e h e v a g o h
w Consideirng
d e d u l c n o c e b n a c t i ,s ll a c e r a d ir B h c i h w s e ir o m e m d o o h d li h c f o y c n e u q e r f e h
t t hat
a d ir
B i s a person who respect s he r elder s especially he r father. Recalilng
d n if n e h t d n a s e ir o m e m d o o h d li h
c ingtheclue showtosolvehe rproblemi ndicate
t a h
t B irda ha sgood persona lre lfeciton abou thersefl . tI also srtengthen sB irda’ s
y ti l a n o s r e p e v it c e p s o rt n
d ir B , r e w s n a t s e n o h n a e v i g o t r e h s e ri u q e r h c i h w n o it s e u q a a d ir B s k s a s u g a
M a
: k s a t e l p m i s a s a t i s r e d i s n o
c “Shesimply had t o t ellt he rtuth, t ha twa sall .She
a t a h t d e m u s s a s y a w l a d a
h Teache rwould demand really dfi ifcul tthing so f
a d ir B t a h t s w o h s t I .) 7 . p ( ” li p u p a s a n o m e h t g n i k a t e r o f e b e n o e m o
s i san hones t
e s o o h c o t r e h s k s a s u g a M e h t n e h w y lt s e n o h s r e w s n a a d ir B , e r o m r e h tr u F . n a m o w
n e e w t e
b love and magic atlhough i ti ssuch a dfi ifcul topiton fo rher .Fo rher ,
e h t f o y n a e s o o h c o t t o n s r e f e r p e h s , e r o f e r e h T . o d t o n n a c e h s g n i h t e m o s s i g n i y l
n o it p
o s rather t han chooseone which doe sno trelfec the r rtuefeeilng. “Shewa s
e il t ’ n d l u o c e h s t u b , o o t ,f l e s r e h h ti w d e t n i o p p a s i
d ” (p.9 .)
,t r o h s n
I B irdaast hecenrta lcharacte roft hestoryha ssevera lcharacteirsitcs .
, e v i s i c e d n i , g n u o y a s a d e b ir c s e d s i e h
S srtong-willed ,in rtospecitve ,respecftul ,
t s e n o h d n a , e v it i s n e
s person. Theanalysi so fB irda’ scharacteirsitc swli lhelp t he
y l a n a n i r e ti r
w zingt hei ntirnsicmeaning so fB irdaa soneoft hes ymbolsi nBrida.
.
b TheMagus
s a e l o r s ’ s u g a M e h t s n i a l p x e t r a p t s ri f e h T . s tr a p o w t o t n i d e d i v i d s i tr a p s i h T
l o b m y s e h t f o e n
o s in the story and the reason why he become sa symbol .
s r e v o c t r a p d n o c e s e h t , e li h w n a e
M the descirpiton s abou t the Magus ’
.s c it s ir e t c a r a h c
)
1 TheMagu sa saSymbol
n
I Brida ,theMagusi samanwhoappear sint hebeginningand i n t heendo f
. y r o t s e h
t In the previou schapter ,i tis menitone d tha ta paritcular characte ri s
e c n a tr o p m i d n a s i s a h p m e l a i c e p s e m o s n e v i
7 4
.
2 TheSymbol sRelfectedThroughtheMainCharacters ’Acitons
e h t s e d i s e
B three symbol srelfected through the main characters ,the wrtie r
d n u o f o s l
a three symbol swhich are relfected through the aciton sdone by the
e r a s l o b m y s e s e h T . s r e t c a r a h
c learning magic and ifnding a sou lmate ,recalilng
t h g il e h t t u o g n i n r u t d n a , s e ir o m e m d o o h d li h
c s whliel etitngoneacryilcsculpture
n i a m e
r .til
.
a LearningMagicandFindingaSou lMate
g n i n r a e l e b ir c s e d o t s m e e s r o h t u a e h
T magicand ifnding asou lmateast wo
h c i h w s n o it c
a h old some impo tran troles in thi sstory .Among othe rpaths ,the
s e d r o h t u
a c irbe sB irdaas t heheroinewho chooses magici n order t o changehe r
e fi
l .Fo rB irda ,b oth learning magic and ifnding a sou lmate ea or t w impo tran t
e v e i h c a o t s t n a w a d ir B t a h t s g n i h
t .Fu trhermore,t heauthordescirbe showB irda si
s t e e m e h s e g n e ll a h c y r e v e g n i c a
f in t hemiddle o fherj ourney in learning magic
. e t a m l u o s r e h g n i d n if d n
a I tha sbeen discussed previously t ha tasymbo lcan be
’ s r e d a e r e h t y e v n o c o t r e d r o n i y r o t s a n i s t s i x e h c i h w n o it a n i g a m i s ’ r o h t u a e h t
g n i d n a t s r e d n
u toward the story (Myer s& Simms ,1989) .Learning magic and
g n i d n
if asou lmateareboth t hesymbol screatedbyt heauthori nordert oconvey
y r o t s e h t d r a w o t g n i d n a t s r e d n u ’ s r e d a e r e h
t .
e r o m r e h tr u
F ,theautho rdescirbesl earning magicand ifndinga sou lmat sea
t n e r e f fi d o w
t pathswhich a reactually correlated t o each other .I tcan be seen by
’ a c c i
W sstatementwhen shei sholding ar tiualf o rB irdat o rtavelt o he rpastl fie
tf i g r e h r o f h c r a e s o t r e d r o n
i , “Go in search o fyou rGi tf . Ican’ tgo wtih you
o
o t s a n e v e , g n o r w y l e t e l p m o
c ppedclocki s irghtt wiceaday”( p .77). tIi sce train
e s u a c e b k s ir e h t e k a t o t a d ir B s e g a r u o c n e e g a s s e m s ’ r e h t a f r e h t a h
t i s ti tn o
o t s e u l c e m o s a d ir B s e v i g y r o m e m d o o h d li h c s i h t g n il l a c e R . g n o r w y l e t e l p m o c
e g a r u o c n e d n a m e l b o r p r e h e v l o
s s hert ot ake irsk.
h c g n il l a c e
R lidhood memo ires becomes a repeititve acti on done by B irda
p s a h e h s n e h
w roblemands hef eel sunce trainwtihhe rdecision .Ass tatedbyArp
) 9 0 0 2 ( n o s n h o J d n
a the symbol s nea lry alway s signa l thei r existence by
n o it i s o p r o , n o it it e p e r , s i s a h p m
e . Moreover ,thi sacti on i salso given a specia l
. e c n a tr o p m
i B irdawouldno tbeablet o facet hedark nigh twtihout recalilng he r
y r o m e m d o o h d li h
c because he rchlidhood memory contain she rfather’ slesson
. s s e n k r a d e h t n i h ti a f a g n i v a h t u o b
a Shewouldno tbebravei n t aking irsk wtih
t u o h ti w n o i s i c e d t n e r r u c r e
h recalilnghe rchlidhood memoryetiher; tii sbecause
n i v a h t u o b a n o s s e l s ’ r e h t a f r e h s n i a t n o c y r o m e m d o o h d li h c r e
h g abravehea tri n
t c a s i h t o t s i s a h p m e s e v i g r o h t u a e h t s m e e s t I . k s ir g n i k a
t i non i ordert o suppor t
. y r o t s s i h t n i e g a s s e m s i
h Theacti on ofr ecalilngchlidhoodmemo ire sa sdoneby
a d ir
B canbeconcludeda sas ymbol .
.
c TurningOutt heLight swhlieLetitngOneAcry ilcSculptureRemain tiL
l o b m y s t s a l e h
T ic aciton found in the story is turning ou tthe ilght swh lie
e r u t p l u c s c il y r c a n a g n it t e
l remain til .Thi saciton i sdone by the Magu .s In the
story ,theMagusi nvtie sB irdat ohi shouseatfert hei rvisiitngt o pubilchouse .A t
g n i v a h e r a y e h t , e s u o h s ’ s u g a M e h
t aconversaitonabou tsou lmate .Atf rist ,B irda
n o s a e r e h t t u o b a s u g a M e h t s k s
1 5
a d ir
B f orbecoming he rsou lmate, t heMagu stell shert ha thewantst ospend hi s
e m
it wtiht hegri lbecauseheneedss omeonet ot alkt o(p.86).
h
T e conversaiton i sconitnued by B irda who i sasking anothe r quesiton
. e s o o h c o t r e h r o f h t a p t h g ir e h t s i n o o M e h t f o n o it i d a r T e h t r e h t e h
w TheMagu s
r e h s e v i
g the irgh tanswe rby telilng tha tshe i schoosing the irgh tpath .Then
a d ir
B give shim another equ siton. T his itme ,B irdaasks t he Magu show t o ifnd
r e
h sou lmate. Insteado fansweringhe rquesitondrieclty,t heMagusi sansweirng
t h g u o h t s i h n i
ti tha thei she rsou lmatea shegoesovert ot hecorne roft her oom
r e t a L . s t h g il e h t t u o s n r u t d n
a , theautho rconitnue sdescirbing t hedetalit hrough
a d ir B . ti l d e n i a m e r e r u t p l u c s c il y r c a f o d n i k a y l n O … “ w e i v f o t n i o p s ’ a d ir B
s e l b b u b d n a , d i u q il f o t r o s e m o s d e n i a t n o c t I . n i e m a c e h s n e h w t i e c it o n t ’ n d a h
h ti w m o o r e h t g n il li f ,t i e d i s n i ll e f d n a e s o
r redandblue ilghts” ( .p )8 . 6
h g u o r h
T thi sdetalie d descirpiton ,the autho rgive sthe objec tan emphasis .
t a h t t c a f e h t g n ir e d i s n o
C asymbo lcanbei nt hef ormo fadetali ,acharacter ,o ran
a h t a h t t n e d i c n
i s ameaning beyond tisl tiera lrolei n t henarraitve(Guth ,1997),
s i h
t objec tbecomes a symbol. Moreover, theacitonwhichi sdonebyt heMagu si s
o s l
a considereda sas ymboilcacitonbecause tii sgivenanemphasis .I ti sass tated
y
b Arp and Johnson (2009) tha t a symbo l usually appears in an emphasis ,
d n a , n o it it e p e
