The importance of recreating Elijah`s biblical miracles in Paulo Coelho`s the fifth mountain

ii

THE IMPORTANCE OF RECREATING ELIJAH’S BIBLICAL

MIRACLES IN PAULO COELHO’S

THE FIFTH MOUNTAIN

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra

in English Letters

By

YOHANNES BRAMANDA RYAN KHARISMA Student Number: 134214093

ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

YOGYAKARTA 2017

THE IMPORTANCE OF RECREATING ELIJAH’S BIBLICAL

MIRACLES IN PAULO COELHO’S THE FIFTH MOUNTAIN

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra

in English Letters

By

YOHANNES BRAMANDA RYAN KHARISMA Student Number: 134214093

ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

YOGYAKARTA 2017

ASClI]'ClnCl SClstraUndergraduate Thesis

THE IMPORTANCE OF RECREATING ELIJAH'S BIBLICAL MIRACLES IN PAULO COELHO'S THE FIFTH MOUNTAIN

By

YOHANNES BRAMANDA RYAN KHARISMA

Student Number: 134214093

Approved by

Paulus Sarwoto, S.S., M.A., Ph.D. Advisor

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Co-Advisor

iii

May 25,2017

A Sarjana Sastra Undergraduate Thesis

THE IMPORTANCE OF RECREATING ELIJAH'S BIBLICAL MIRACLES IN PAULO COELHO'S THE FIFTH MOUNTAIN

By

YOHANNES BRAMANDA RYAN KHARISMA

Student Number: 13 4214 093

Defended before the Board of Examiners On June 6, 2017

and Declarecl Acceptable

BOARD OF EXAMINERS

Chairperson: Paulus Sarwoto, S.S., M.A., Ph.D.

: Paulus Sarwoto, S.S., M.A., Ph.D. : Dewi Widyastuti, S.Pd., M.Hum.

: Dewi Widyastuti, S.Pd., M.Hum.

Signature

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: Dra. Theresia Enny Anggraini, M.A., Ph.D.

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Yogyakarta, June 30, 2017 Faculty of Letters /" ;J ＺａＮｾｾＩｯＮ anata Dham1a University

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r.P. Ari Subagyo, M. Hum.

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS

Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma Nama

Nomor Mahasiswa

: Yohannes Bramanda Ryan Kharisma : 134214093

Demi pengembangan ilmu pengetahuan, saya memberikan kepacla Perpustakaan Universitas Sanata Dhanna karya ilmiah saya yang beljuclul

THE IMPORTANCE OF RECREATING ELIJAH'S BffiLICAL MIRACLES IN PAULO COELHO'S THE FIFTH MOUNTAIN

beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan kepada Perpustakaan Sanata Dham1a 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 kepada saya maupun memberikan royalty kepada saya selama tetap mencantumkan nama saya sebagai penulis. Demikian pernyataan ini saya buat dengan sebenamya.

Dibuat di Yogyakarta Pada tanggal25 Mei 2017

Ｂｭ･ｮｙ｡ｴ｡ＺＬｾ

te-annes Bramanda Ryan Kharisn

STATEMENT OF ORIGINALITY

I certify that this undergraduate thesis contains no material which has been previously submitted for the award of any other degree at any university, and that, to be the best of my knowledge, this undergraduate thesis contains no material previously written by any other person except where due reference is made in the text of the undergraduate thesis.

Yogyakarta, May 25, 2017

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vii

“

There is a reason

for everything under the sun.

”

viii

For

My Beloved Parents, Frans and Luhur,

My Brother, Bonaventura,

and My Sister, Carolina,

Who are always there for Me.

ix

ACKNOWLEDGEMENTS

First and foremost, I am blessed to express praises and immense thanks to Jesus Christ for His continuous guidance, showers of blessings, and mercy in every step throughout the process of making this undergraduate thesis.

Second, I would like to thank my family, especially my parents. They have become my motivation to finish this undergraduate thesis. I thank them so much for their supports, both for moral and financial and the endless love and prayers. I hope that I can make them happy and proud of what I have done.

In particular, my sincerest gratitude is extended to my advisor Paulus Sarwoto, S.S., M.A., Ph.D. for his advisory support to conduct this undergraduate thesis, motivating discussion and suggestions, and for reading and re-reading my undergraduate thesis. My special thanks also addressed to Dewi Widyastuti, S.Pd., M.Hum. as my co-advisor for agreeing to review this thesis and her valuable comments. I would also like to thank all my English Letters lecturers at Sanata Dharma University whose teachings have enriched my knowledge.

Last but not least, I deliver my best thanks to all my friends of English Letters Department. I thank them for bringing one more color in my rainbow. All of our memories will always be carved in my heart.

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TABLE OF CONTENTS

TITLE PAGE ... ii

APPROVAL PAGE ... iii

ACCEPTANCE PAGE ... iv

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH ... v

STATEMENT OF ORIGINALITY ... vi

MOTTO PAGE ... vii

DEDICATION PAGE ... viii

ACKNOWLEDGEMENTS ... ix

TABLE OF CONTENTS ... x

ABSTRACT ... xii

ABSTRAK ... xiii

CHAPTER I: INTRODUCTION ... 1

A. Background of the Study ... 1

B. Problem Formulation ... 3

C. Objectives of the Study ... 3

D. Definition of Terms ... 3

Narratology ... 3

Hypertextuality ... 4

CHAPTER II: REVIEW OF LITERATURE ... 5

A. Review of Related Studies ... 5

B. Review of Related Theories ... 7

1. Theory of Narratology ... 8

a. Theory of Narratology According to Aristotle... 8

b.Theory of Narratology According to Vladimir Propp ... 9

c. Authorship of the Text ... 11

2. Theory of Hypertextuality ... 12

3.Theory of Miracle ... 14

C. Review of Related Background ... 16

D. Theoretical Framework ... 17

CHAPTER III: METHODOLOGY ... 19

A. Object of the Study ... 19

B. Approach of the Study ... 20

xi

CHAPTER IV: ANALYSIS ... 22

A. The Recreation of Elijah’s Biblical Miracles in Coelho’s The Fifth Mountain ... 22

B. The Importance of Recreating Elijah’s Miracles ... 43

CHAPTER V: CONCLUSION ... 46

BIBLIOGRAPHY ... 48

APPENDIX ... 50

xii ABSTRACT

KHARISMA, YOHANNES BRAMANDA RYAN. The Importance of

Recreating Elijah’s Biblical Miracles in Paulo Coelho’s The Fifth Mountain.

Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2017.

Bible is one of the most influential books in the world. Not only for being the holy book for the Christians, but it also becomes the most discussed book. Bible is divided into two parts: the Old Testament and the New Testament. The New

Testament tells about Jesus’s life and the continuance of his teachings by His

disciples. The Old Testament tells about the creation of the world and the prophets before Jesus. One of those prophets in the Old Testament is Elijah. He escapes from Israel because the king wants him dead. In his exile, he is accepted in the house of a widow in Zarephath and performs two miracles there. Paulo Coelho, an author

from Brazil, also writes a novel about Elijah’s journey. However, the miracles in his novel are different from the miracles in the Bible. Those differences move the writer to have an academic analysis in this undergraduate thesis.

There are two problems observed in this study. The first one is to see how

Elijah’s biblical miracles are recreated in Coelho’s novel. Second is to find out what is the importance of recreating Elijah’s miracles. The answer of the first problem becomes the basis to answer the second problem formulation. Therefore, the two problems are connected one another.

In this study, the writer uses library research method. The first problem formulation is answered by using narratological approach. The writer identifies the narrative functions of each story and tries to see how the miracles in the Bible are recreated and constructed in Coelho’s The Fifth Mountain by using Vladimir

Propp’s theory of narratology. Hypertextuality also helps the writer to compare the same stories in the Bible and in the novel. The analysis of the narrative functions in both literary works becomes the basis to the analysis of the second problem formulation which leads to the importance of recreating Elijah’s miracles.

Two findings in this study become the result of the analysis. There are 9 narrative functions in the Bible and 21 narrative functions in Coelho’s novel. The events related to the miracles have the same order, but the rest are different. One

miracle in the Bible is differently described in Coelho’s novel. Instead of God, Paulo Coelho writes that Elijah is the one who makes the miracle of the multiplication of flour and oil. It shows that Elijah can perform a miracle. The

importance of recreating Elijah’s biblical miracles in Coelho’s novel is that his ability to move and encourage people. Coelho shows that human can perform miracle too because Elijah is the representation of human in the novel.

xiii ABSTRAK

KHARISMA, YOHANNES BRAMANDA RYAN. The Importance of

Recreating Elijah’s Biblical Miracles in Paulo Coelho’s The Fifth Mountain.

Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2017.

Alkitab adalah salah satu buku yang paling berpengaruh di dunia. Tidak hanya menjadi Kitab Suci kaum Kristiani, Alkitab juga merupakan buku yang paling banyak dibahas. Alkitab dibagi menjadi dua bagian: Perjanjian Lama dan Perjanjian Baru. Perjanjian Baru mengisahkan kisah hidup Yesus dan kelanjutan ajaran-ajaran-Nya oleh para murid-Nya. Perjanjian Lama mengisahkan penciptaan dunia dan para nabi sebelum Yesus. Salah satu dari para nabi di Perjanjian Lama tersebut adalah Elia. Ia melarikan diri dari Israel karena sang raja menginkannya mati. Dalam pengasingannya, Ia diterima di rumah seorang janda dari Sarfat dan membuat dua mukjizat di sana. Paulo Coelho, seorang pengarang dari Brazil, juga menulis sebuah novel tentang kisah perjalanan Elia; akan tetapi mukjizat-mukjizat di novelnya berbeda dari mukjizat-mukjizat di Alkitab. Perbedaan itulah yang menggerakkan penulis untuk melakukan analisis akademik dalam skripsi ini.

Ada dua pokok masalah yang diteliti di dalam studi ini. Pertama, untuk melihat bagaimana mukjizat biblis Elia dibuat ulang di dalam novel Coelho. Kedua, untuk melihat pentingnya pembuatan ulang mukjizat-mukjizat Elia. Jawaban atas rumusan masalah pertama menjadi dasar untuk menjawab rumusan masalah kedua. Oleh karena itu, dua rumusan masalah tersebut saling berkaitan satu sama lain.

Di dalam studi ini, penulis menggunakan metode studi pustaka. Rumusan masalah pertama dijawab menggunakan pendekatan naratologi. Penulis mengidentifikasi fungsi-fungsi narasi dari setiap cerita dan mencoba melihat bagaimana mukjizat Alkitab dibuat ulang dan di susun dalam novel The Fifth

Mountain karya Paulo Coelho dengan menggunakan teori naratologi milik Vladimir

Propp. Hipertextualitas juga membantu penulis untuk membandingkan cerita-cerita yang sama di Alkitab dan di novel. Analisis dari fungsi-fungsi narasi di kedua karya sastra menjadi dasar untuk menganalisa rumusan masalah kedua yang menuntun pada pentingnya pembuatan ulang mukjizat Elia.

Ada dua temuan yang menjadi hasil dari analisa ini. Terdapat 9 fungsi-fungsi narasi di dalam Alkitab dan 21 fungsi-fungsi-fungsi-fungsi narasi di dalam novel Coelho. Kisah-kisah terkait mukjizat memiliki urutan yang sama, tetapi sisanya berbeda. Satu mukjizat di Alkitab dikisahkan secara berbeda di novel Coelho. Ia menulis bahwa bukan Tuhan yang membuat mukjizat penggandaan tepung dan minyak, tetapi Elia. Ini menunjukkan bahwa Elia mampu membuat mukjizat. Pentingnya penciptaan kembali mukjizat alkitabiah Elia di novel Celho adalah kemampuan Coelho untuk memotivasi orang. Ia menunjukkan bahwa manusia juga bisa membuat mukjizat karena Elia adalah representasi manusia di dalam novel.

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CHAPTER I

INTRODUCTION A. Background of the Study

Bible has become the most important book for Christians throughout centuries. It is also one of the oldest literary works in the planet. The Bible tells

about Jesus’ story, teachings, preaches, encounters, messages, commandments and

prohibitions, and the most important, it tells the Gospel or Good News for human kind. Bible itself is divided into two major parts, the Old Testament and the New Testament. The Old Testament contains the stories start from the creation of the

world until the moment just before Jesus’ arrival. The tales of the prophets are also told in the Old Testament, such as Moses, Isaiah, Jeremiah, Ezekiel, Jonah, Hosea, Amos, Haggai, Micah, Nathan, Elijah, Samuel, Elisha, and many more. The New Testament contains the stories starting from the nativity until the revelation, which is written by Saint John.

Prophet Elijah is one among great prophets in the Old Testament. He is the only prophet who is not dead, but instead carried by chariots of fire into heaven. He

answers God’s calling in such a young age and receives a huge impact because of

his decision. He is banished from Israel for telling God’s words to King Ahab so that the king does not worship Baal or any idols anymore. Prophet Elijah escapes from Israel and goes to the brook of Cherith where he gets foods from a crow sent by God. So God sends him to a widow in Zarephath and Elijah performs a miracle there by resurrecting the widow’s son. He lives with that widow and her son until God sends him back to Israel.

One of the world’s famous authors, Paulo Coelho, also writes the same story

about Prophet Elijah. Coelho re-tells, or re-create, the story by putting in some additions such as romance, adventure and drama that are told in details. It seems that the story itself is beautifully reconstructed by Coelho. In his novel, The Fifth Mountain, Coelho creates the events which are not mentioned in the Bible. For example, when Prophet Elijah is chased by Israeli troops and banished from Israel. He creates a conversation between Prophet Elijah and a crow by the brook of Cherith. He makes Prophet Elijah falls in love to the widow in Zarephath. He makes Prophet Elijah struggling his calling when that widow burned in a fire caused by Assyrians. In a way, Coelho makes Prophet Elijah accepts God’s design.

There are two different stories sharing the same idea of Prophet Elijah. The

Bible and Coelho tell us about Prophet Elijah’s story. Both are telling the story with their own version. It is the writer’s belief that Coelho writes his novel based on Bible, since the Bible is already written in the 3rd _{century. The story itself is all}

about Prophet Elijah’s journey, his interaction, his encounter, and his conflict; but

there are so many additions that can be found in Coelho’s novel if it is compared to

the Bible. Of course there is a purpose why Coelho puts some additional stories in his novel and that purpose re-creates the story of Prophet Elijah. Both stories have their own narrative structures in telling and that is what makes them different. That difference has encouraged the writer to conduct further research to analyse both stories.

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B. Problem Formulation

This undergraduate thesis is aimed to answer several questions related to the topic, The Importance of Recreating Elijah’s Biblical Miracles inPaulo Coelho’s The Fifth Mountain, such as:

1. How are Elijah’s miracles recreated in Paulo Coelho’s The Fifth Mountain? 2. What is the importance of recreating Elijah’s miracles?

C. Objectives of the Study

In accordance with the problems above, this undergraduate thesis is aimed at discovering some points. Firstly, how Elijah’s miracles are recreated in Paulo

Coelho’s The Fifth Mountain. Secondly, the importance of recreating Elijah’s miracles. The first and the second problems are related to each other. The answer of the first problem helps the writer to answer the second problem. The process of

recreation of Elijah’s biblical miracles in Coelho’s novel makes the analysis of the importance of the novel becomes essential. Those are the objectives which are going to be described and explained in this thesis.

D. Definition of Terms Narratology

Narratology is the study of narrative structure. It focuses on how a narrative is constructed and how the meaning is attached to it. Narratology sees the nature of a story as a cultural practice, therefore an author has a major influence to his/her work (Barry, 2009: 214).

Hypertextuality

Hypertextuality is a relation of two texts which makes a text cannot exist without its pre-text. Gerard Genette defines that a text may exist because of the transformation of the previous text. It means that text B may have no reference to text A, but it could not exist without text A (Alfaro, 1996: 268).

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CHAPTER II

REVIEW OF LITERATURE

A. Review of Related Studies

There is a thesis by Jimmy Joseph Uzhunnupara which is related to this undergraduate thesis that discusses the same novel, The Fifth Mountain. He states that themes that run throughout the novel are faith and love which help people to have trust in the providence of the Lord. There are some symbols related to the novel: the crow is symbol of one who helps at the moment of needs; the two faces of the river Cherith symbolize the abundance and the scarcity; the hospitality shown by the widow and her son and the shepherd family is the symbol of the custom and practice that any foreigner who comes as a guest must be treated well; the killing of the general is as equal to that of the Stephan the first martyr; and the angels which are seen and unseen stand as the providence of the Lord in the moments of needs (Uzhunnupara, 2016).

There is no other previous undergraduate thesis in English Letters in Sanata Dharma University that discusses the same novel, however there are two undergraduate theses in Faculty of Teacher Training and Education which analyse The Fifth Mountain, although the topics are different. Stephanus Dio Christi

Nugraha conducts a research about the motivation behind Elijah’s confrontation

and struggle with the Lord. He argues that there are two motivations behind his

confrontation. First, Elijah wants to get God’s acceptance. Second, he wants to

is conducted by Christina Rindang Kurniasari. She says in her undergraduate thesis

that there are three Christian values in Paulo Coelho’s The Fifth Mountain: love, faith, and hope (Kurniasari, 2009).

There is also a study about narrative structure in sea adventure fiction by Margaret Cohen by analysing the well-known sea novels of the nineteenth century, such as Daniel Defoe’s Life and Strange, Surprising Adventures of Robinson

Crusoe of York, Mariner. She concludes the plot of such adventure novels focus on

the action. The performance entails a form of human agency skilled at overcoming dangers. The core of narrative poetics in maritime literature is the saltwater adventure (Cohen, 2009).

Another study comes from Francisco Collado Rodríguez. He argues in his paper that the narratological analysis of the famous poem offers one of the best ways to re-think or to start a process of doubt about some of the most difficult parts of the text, such as the ultimate or "real" intentions of the author, the effect created by the editorial work, or the importance of a certain element for the final understanding of the whole construction. A narratological analysis will reveal the important role played in the text by technical devices. He also sees that hypertextual references and the mixture of a "brown fog" in a "winter dawn" in Eliot’s The Waste Land can make a parody of the cycle of myth, temporal dissolution, and more hypertextual and ironic references accumulate in the last fragment which ends with the metaleptical and hypertextual ideas. Eventually, the result created by the use of hypertextuality can be understood as an indirect comprehension of many different aspects and moments (Rodríguez, 1994).

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Irene de Jong also states in her paper that narratology as a discipline is also applicable to oral poetry, but it has further consequences as well. It might stimulate additional narratological research on oral poetry and increase our knowledge of the narrative techniques applied in these texts. In the particular case of the Homeric epics, a narratological approach has proved to be fruitful. It contributes to a stimulating combination of formulaic research and literary interpretation. She argues that a narratological analysis does not need to restrict itself to the purely oral nor written elements (Jong, 1991).

This undergraduate thesis is different from the previous studies that have been reviewed above because the focus of this undergraduate thesis is to analyse how the narratives structures could construct a meaning and what is its significance,

especially in Paulo Coelho’s The Fifth Mountain. This undergraduate thesis does not analyse the intrinsic elements of the novel, but it emphasizes on how the meaning is constructed by narrative structures. In a way, this undergraduate thesis is trying to discover something new if it is compared to the previous studies.

B. Review of Related Theories

The theory which is related to this undergraduate thesis is narratology. The review of the theory will help the reader to be able to comprehend the whole concept of the undergraduate thesis.

1. Theory of Narratology

According to Peter Barry, narratology is the study of narrative structures. It is about the study of how narratives make meaning, and what the basic mechanisms and procedures which are common to all acts of story-telling. Narratology is not the reading and interpretation of individual stories, but the attempt to study the nature of story as a concept and as a cultural practice. He differentiates the definition of story and plot. The 'story' itself is the actual sequence of events as they happen, whereas the 'plot' is those events as they are edited, ordered, packaged, and presented in what we recognize as a narrative. So the 'plot' is a version of the story which should not be taken literally (Barry, 2009).

a. Theory of Narratology According to Aristotle

The history of narratological analysis comes from Aristotle. He identifies 'character' and 'action' as the essential elements in a story, and says that character must be revealed through action, which is to say through aspects of the plot. Therefore, plot is very essential to every narrative. The structure of a narrative can be identified by analysing the elements in its plot.

Aristotle identifies three key elements in a plot. The first element is hamartia, a 'sin' or 'fault' which in tragic drama is known as the 'tragic flaw'. The second element is anagnorisis, 'recognition' or 'realization', this being a moment in the narrative when the truth of the situation is recognized by the protagonist - often it's a moment of self-recognition. The last element is peripetia, the 'turn-round' or a

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'reversal' of fortune. In classical tragedy this is usually a fall from high to low estate, as the hero falls from greatness; or the otherwise (Barry, 2009).

b. Theory of Narratology According to Vladimir Propp

There is another theory of narratology that comes from Vladimir Propp. His work is based on a study of his 'corpus' of a hundred Russian folktales, and he concluded that all these tales are constructed by selecting items from a basic repertoire of thirty-one 'functions'. No tale contains all the items in his list, but all are constructed by selecting items from it (Barry, 2009).

The basic 31 functions of Propp’s narratological theory are these: first, one of the members of a family absents himself from home. Second, an interdiction [that is, a prohibition] is addressed to the hero. Third, the interdiction is violated. Fourth, the villain makes an attempt at reconnaissance. Fifth, the villain receives information about his victim. Sixth, the villain attempts to deceive his victim in order to take possession of him or his belongings. Seventh, the victim submits to deception and thereby unwittingly helps his enemy. Eighth, the villain causes harm or injury to a member of a family/or one member of a family either lacks something or desires to have something. Ninth, misfortune or lack is made known; the hero is approached with a request or command; he is allowed to go or he is dispatched. Tenth, the seeker (that is, the hero in 'questor' mode) agrees to or decides upon counteraction. Eleventh, the hero leaves home. Twelfth, the hero is tested, interrogated, attacked, etc., which prepares the way for his receiving either a magical agent or helper. Thirteenth, the hero reacts to the actions of the future

donor. Fourteenth, the hero acquires the use of a magical agent. Fifteenth, the hero is transferred, delivered, or led to the whereabouts of an object of search. Sixteenth, the hero and the villain join in direct combat. Seventeenth, the hero is branded. Eighteenth, the villain is defeated. Nineteenth, the initial misfortune or lack is liquidated. Twentieth, the hero returns. first, the hero is pursued. Twenty-second, rescue of the hero from pursuit. Twenty-third, the hero, unrecognized, arrives home or in another country. Twenty-fourth, a false hero presents unfounded claims. Twenty-fifth, a difficult task is proposed to the hero. Twenty-sixth, the task is resolved. Twenty-seventh, the hero is recognized. Twenty-eighth, the false hero or villain is exposed. Twenty-ninth, the hero is given a new appearance. Thirtieth, the villain is punished. Thirty-first, the hero is married and ascends the throne (Barry, 2009).

Those 31 functions are the basic tools to make a narrative. Even though a narrative does not have all the 31 functions, it can be still constructed by selected or some of those functions. Peter Barry does not mention the minimum require-ments of Propp’s functions to make a narration, therefore there can be differences

of narrative functions of one’s story compared to other narrative. The identification

of a narrative based on those functions make the analysis of one’s story becomes easier.

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c. Authorship of the Text

Monika Fludernik argues that there is a new concept in literary research which concentrates to the author who becomes the original constructor of the ideology in her work:

Among literary specialists, there is currently a renewed interest in the

author. Roland Barthes’s contention that the author is dead did not prove

particularly useful to British Cultural Studies and the New Historicism. These approaches foreground the idea of the author as a conduit for ideologically charged discourses rather than as an individual responsible for her/his text. At the present time, narratologists are also more immediately

concerned with the figure of the author (Fludernik, 2009: 13).

The author of a text is not necessarily the person who composed that text. As Harold Love explains in his book on textual criticism, there are different types of authorship: for example precursory authorship, executive authorship, declarative authorship and revisionary authorship (Fludernik, 2009).

The first kind is precursory author, an author that has the authority to

influence a text. The second type is executive author who responsible for the creation of the text, we can say that these writers are the ones who write down the words on the page or composes text. The third type is declarative author, the person who features as author on the title page, even if that person has had nothing whatsoever to do with producing the text. The last type is revisionary author who is responsible for amendments to the text and is often the publisher or editor of a work.

2. Theory of Hypertextuality

The concept of hypertextuality can be ambiguous if it is compared to the concept of intertextuality. Intertextuality as a term was firstly used by Julia Kristeva. The concept of intertextuality she initiated as a dynamic site in which relational processes and practices are the focus of analysis instead of the static structure (Alfaro, 1996). The interpretation of Bible already depended on an intertextual practice and, at a time in which literature was subordinated to Theology, what was true of religious texts was also made extensible to secular ones. All literary works were seen as going back to the Bible and all could be read like it. The production of art and literature during 1800s – 1900s has become an act of creation based on a re-cycling of previously existing works. Sometimes it becomes ambiguous if we read some literary works, in this case is a text. Ambiguity exists only as a stage in the reading process and serves to alert the reader to the presence of an intertext that will resolve the work’s difficulties. Such "clues" are enough to set in train an intertextual reading, even if the intertext is not yet known or has been lost with the tradition it reflected. Alfaro also re-states Genette’s ideas in Palimpsestes and offers five subcategories on the globality of the notion of transtextuality. They are:

a. Intertextuality: the relation of co-presence between two or more texts,

that is, the effective presence of one text in another which takes place by means of plagiarism, quotation or allusion.

b. Paratextuality: the relations between the body of a text and its title, subtitle, epigraphs, illustrations, notes, first drafts, and other kinds of accessory signals which surround the text and sometimes comment on it.

c. Metatextuality: the relation, usually called "commentary", which links one text with another that comments on it without quoting it or, even, without mentioning it at all. It is the critical relation par excellence.

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d. Archtextuality: the generic category a text belongs to. The text may not recognize its generic quality, which should be decided by its readers, critics. However, this generic perception determines to a great extent the reader's "horizons of expectation", and, therefore, the work's reception. e. Hypertextuality: the relation between the late come text (hypertext) and its pre-text (hypotext). He defines hypertext as every text derived from a previous one by means of direct or indirect transformation (imitation), but not through commentary. In the former, direct or simple transformation, a text B may make no explicit reference to a previous one A, but it couldn't exist without A (Alfaro, 1996: 280-281).

Therefore, by seeing those definitions, there are major differences between intertextuality and hypertextuality. It is important to understand the meaning of both terms because they are often revered in an ambiguous way. The ambiguous concept of them may create a confusion, however Riffaterre mentions that there are four differences between intertextuality and hypertextuality (Riffaterre, 1994):

First, hypertextuality comes from the text in a concerted effort to summarize the ideas, of the descriptive and narrative sign-systems, of the thematic material the text has appropriated to its own purposes, and, finally, of the text's social, cultural, and historical backgrounds, while intertextuality comes from textuality which beyond the text's limits, the production of those formal features that make for the text's unity.

Second, hypertextuality is a metalinguistic tool for the examination and interpretation of an existing text. This analysis may go beyond the text, while intertextuality is a linguistic network connecting the existing text with other preexisting or future, potential texts.

Third, hypertextuality contextualizes the text, examining literature in the light of what is not literature but what may lead to the creation of it. Intertextuality decontextualizes the text.

Fourth, hypertextuality is open-ended analysis because it leads to a further analysis, while intertextuality is a closed-circuit exchange between text and intertext. As this closed circuit defines the autonomy of the text and depends on necessarily perceived signs.

3. Theory of Miracle

Humans are striving to comprehend the questions regarding chance and miracle as a natural desire for a broader and more thorough study of the perspectives revealed by contemporary natural history. In everyday life, human sometimes misunderstands miracle as fate or chance. In common parlance, the word "chance" means an event or occurrence, unexpected and unlooked-for, which we are unable to predict on the basis of either the known laws of nature or experience. It is

sometimes called "coincidence," "a twist of fate," or "a stroke of luck;” nonetheless,

Leucippus posited that nothing happens by chance, but everything arises from a cause and an inevitability, while the successor of his thinking, Democritus of Abdera, believed that humans devise an illusory image of chance for themselves as a cover for their powerlessness. The common understanding of chance was as the materialization of an event unintended by the causative factors, due to their inherent nature or by conscious design (Świeżyński, 2011).

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Baruch Spinoza also argues that, in nature, nothing occurs by chance; everything, of nature's divine necessity, is determined with a particular way of existing and acting. Many persons believe, for instance, that the natural calamities visited upon us are a matter of chance. They believe so for no more reason than that they know naught of the laws governing these matters. If they were to become familiar with those laws, if they were therefore to learn, that such-and such a calamity is determined by such-and-such a previous event, on the strength of the laws of nature, they would no longer hold that calamity to be a matter of chance (Spinoza, 2001).

It should be noted that chance can appear or disappear as soon as the perspective from which we view a given event changes. Kazimierz Kloskowski considers that two types of event exist; that determined by circumstances, which we are not always able to define, and the miracle, understood as phenomena that elude the laws of nature, phenomena that we fail to understand, and the role of which is an affirmation of God (Kloskowski, 1990).

The understanding of the miracles itself is very various. There are some definitions of miracle related to certain literatures. First, it is an unusual occurrence by means of which God gives humankind a sign, through which they are filled with wonderment (Léon-Dufour, 1977). Second, an event caused specifically by God's intervention, stepping beyond the normal law of nature and bringing with it a religious message for the people of today and later times (O'Collins, 1911). Third, a marvel act by God, who as a Creator is able to interrupt the operation of ordinary natural laws (Miller, 1998). Fourth, an event of an extraordinary kind, brought about

by God, and of religious significance (Swinburne, 1970). Fifth, a miracle is God's intercession in the natural order of things (Kellenberger, 1968); and the last one, a special or immediate act of God, as opposed to God's continuous work of creating and sustaining the world. The result of this act will be beneficial and religiously significant (Corner, 2005).

There are also some classifications of miracle by Świeżyński related to the miraculous events. Those classifications are (Świeżyński, 2011):

a. The miracle in the wide sense, the "relative miracle," where the empirical element can be considered as momentary chance.

b. The miracle in the strict sense, the "absolute miracle," the empirical element of which can be defined as constant chance, or as ontological chance.

C. Review of Related Background

Paulo Coelho’s background contributes a lot in the analysis of this undergraduate thesis. His role as the author also contributes in making his novel. He was born on August 24, 1947, in Rio de Janeiro, Brazil. Coelho studied in Jesuit school and was raised by his devout Catholic parents. He determined to be a writer but was discouraged by his parents, who saw no future in that profession in Brazil. Coelho's rebellious adolescence made his parents to send him to a mental asylum three times, starting when he was 17. Coelho eventually got out of institutional care and enrolled in law school, but dropped out to indulge in the "sex, drugs and rock 'n' roll" of hippie life in the 1970s. He wrote song lyrics for Brazilian musicians

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protesting the country's military rule. He was jailed three times for his political activism and subjected to torture in prison. After drifting among several professions, Coelho changed his life's course while on a visit to Spain in 1986 at the age of 36. Coelho walked more than 500 miles along the Road to Santiago de Compostela, a site of Catholic pilgrimage. The walk and the spiritual awakening he experienced inspired him to write The Pilgrimage in his native Portuguese. He quit his other jobs and devoted himself full-time to the craft of writing (Hefner, 2016).

Paulo Coelho’s country, Brazil, was also affected by the global economic

crisis in 1990s. Inflation is the primary reason of Brazil’s crisis. Brazil’s central bank made an action during the 1990s to rein in inflation and public spending. Investors, attracted by high interest rates, poured money into the Brazilian economy at unprecedented rates. In 1997, foreign direct investment grew by 140% over the year before (Evangelist, 2006).

D. Theoretical Framework

There are two problems in this undergraduate thesis. First, how are the

Elijah’s miracles recreated in Paulo Coelho’s The Fifth Mountain? Second, what is

the significance of recreating Elijah’s miraclesfor the novel’s readers?

The first problem is answered by applying the theory of narratology. The theory of narratology by Aristotle stands as the base and theory from Vladimir Propp helps to identify the narrative structures in both literary works. They are very important in analysing narrative structure in the novel and in the Bible. The theory from Aristotle sets the first concept of narrative structure and stands as the

foundation on which the further ideas are built; the theory from Vladimir Propp helps to conduct further analysis related to the narrative structure of both literary works. Both theories support each other to make a clear stressing on the miraculous events. By comparing and analysing the narrative structure on miracle in the novel

and in the Bible, the question about how Elijah’s miracles are recreated in Paulo Coelho’s The Fifth Mountain is going to be answered.

The answer of the first problem contributes a lot in answering the second problem formulation. The review of hypertextuality creates a relation between the novel and the Bible, while the review of miracle will help us to see the difference of the miracle in the novel if it is compared to the bible. The authorship of the text

also stand as an important element. The review of author’s background and the

condition of Brazil in the late 1990s (time when the novel was firstly published) also help the writer to see the significance of the novel in the bigger scale. Such differences become the significant things for novel’s reader in comprehending the meaning of miracle itself.

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CHAPTER III

METHODOLOGY

A. Object of the Study

This undergraduate thesis analyses a novel by Paulo Coelho, entitled The Fifth Mountain. It is a fictional novel which is similar to an event in the Bible (Book of 1 Kings Chapter 17: 1-24). This novel is the eighth novel written by Coelho and it contains of 245 pages. Those previous novels are Eleven Minutes, The Alchemist, The Pilgrimage, The Valkyries, By The River Piedra I Sat Down and Wept, Veronika Decides to Die, and Warrior of The Light: A Manual. The novel itself, The Fifth Mountain, was originally published in Portuguese version in Brazil in 1998. It was translated later into English by Cliford E. Landers and internationally published by HarperTorch in June 2004.

The novel tells a story about Prophet Elijah in the ninth century B.C., when the Phoenician princess Jezebel orders the execution of all the Israelite prophets who refuse to worship the pagan god Baal. Commanded by an angel of God to flee Israel, Elijah seeks safety in the land of Zarephath, where he unexpectedly finds true love with a young widow. But this newfound rapture is to be cut short, and Elijah sees all of his hopes and dreams irrevocably erased as he is swept into a whirlwind of events that threatens his existence. In what is truly a literary milestone, Coelho gives a quietly moving account of a man touched by the hand of God who must triumph over his frustrations in a soul-shattering trial of faith.

Ejilah’s journey is not easy. He must face many obstacles in achieving his goal. Elijah, as the representation of humankind, put all of his life in God’s hand.

Instead of getting help from God, Elijah has to face never-ending tests in his life.

Finally Elijah can see God’s grand design for him after overcoming those test. In

the hard times, God performs miracles through him. He can create a miracle. Humans, in a way, can do the miracle; therefore, it is essential to see how the miracles are recreated in Coelho’s novel to know its importance.

B. Approach of the Study

This undergraduate thesis uses theory of narratology as the literary approach to analyse the novel. Narratology is a study about narrative structures. It is a branch of structuralism, but it has a certain independence from structuralism. Different from structuralism which relates narratives to some larger structure and interpreting literature in terms of a range with the structure of language, narratology looks at individual narratives seeking out the recurrent structures which are found within all narratives. Narratology also counteracts the tendency of conventional criticism to foreground character and motive by foregrounding instead action and structure (Barry, 2009).

It seems appropriate that narratology is used as the approach in this under-graduate thesis since the title is The Importance of Recreating Elijah’s Biblical

Miracles in Paulo Coelho’s The Fifth Mountain. Narratology helps the writer to see

the narrative structure and the significance of miracles in the novel. The same miracles are also found in the Bible and done by Elijah. The Bible has its own

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structure and so does the novel. Each work share a different structure with the same miracles. Therefore, narratology can be applied to see how the biblical miracles are recreated in the novel and the importance of those miracles.

C. Method of the Study

There are two main texts used in this undergraduate thesis: primary texts and secondary texts. The primary texts are the novel, The Fifth Mountain, by Paulo Coelho and the Bible, Book of 1 Kings 17:1 -24. The novel is used to analyse the narrative functions of the biblical miracles and to see how those biblical miracles are recreated in the novel, while the Bible is used to see how the miracles are originally narrated and stands as a comparison to the miracles in the novel. The secondary texts are the books, journals, other undergraduate theses, and internet articles in reliable websites which provide supporting literary theories, approaches, and information to this undergraduate thesis.

This undergraduate thesis uses library research method. There are several steps needed in finishing this undergraduate thesis. The first step was that the writer

read Coelho’s The Fifth Mountain several times and focused on the miraculous

events. After reading Coelho’s novel, the writer read the Bible, Book of 1 Kings

17:1 -24, to comprehend the miracles within the text. Then, the writer identified the narrative functions of each story and tried to see how the miracles in the Bible were

recreated and constructed in Coelho’s The Fifth Mountain by using literary theories.

After knowing the identification of each story, the writer observed the Brazil’s

condition in 1990s to see the effect of the recreation of the miracles in the novel in Brazil.

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CHAPTER IV

ANALYSIS

This chapter aims to answer the two problems that have been stated in Chapter I in this undergraduate thesis. This chapter is divided into two parts. The

first part discusses how the Elijah’s miracles are recreated in Paulo Coelho’s The Fifth Mountain. The second part of this chapter discusses the significance of

recreating Elijah’s miracles. In answering those two problems, the analysis is based on the steps in the Theoretical Framework which have been discussed earlier in the Chapter II.

A. The Recreation of Elijah’s Biblical Miracles in Coelho’s The Fifth

Mountain

There are two tales that tell Elijah’s story and of course one story is different

from the other. Knowing the differences between these stories is very essential in analysing them. Narratology provides a just answer in that matter. There are two important terms in narratology that can be used to differentiate two similar stories; they are 'story' and 'plot.' The 'story' is the actual sequence of events as they happen, whereas the 'plot' is those events as they are edited, ordered, packaged, and presented as a narrative. It can be summarized that the 'plot' is a version of the story which should not be taken literally (Barry, 2009).

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It can be concluded by those definitions that the story of The Fifth Mountain is the 'plot,' and the Bible (1 Kings 17: 1-24) is the 'story.' Bible not only stands as the Holy Scripture for Christians, but also as historical recorder as well. It records human history, especially Israelite history, excluded from their experiences of

God’s companionship. Therefore, Bible is considered as the actual sequence of

events that happened, whereas the novel is those events as they are edited, ordered, packaged, and presented in what we recognize as a narrative. Paulo Coelho is the author who created all the events in the novel, arranged them by structure, and edited them so that the novel has a greater impact toward its readers.

There are three elements of plot in the novel if it is seen from Aristotle’s point of view. First, the hamartia is the moment when Elijah decides to do God’s command and he is banished from Israel (Coelho, 2004: 14-15). Second, the anagnorisis is when Elijah has understood God’s will and accepts himself as an Israelite prophet (Coelho, 2004: 236). The last one, the peripeteia is when everyone in Akbar against Elijah and decide to banish him to the Fifth Mountain, however he could live and resurrect the widow’s son. People of Akbar respected Elijah ever since (Coelho, 2004: 55-58).

In order to know Elijah’s biblical miracles, it is necessary to analyse the

Bible as well. However, there is something interesting. The hamartia is not found in the Bible. There is no sin or fault done by Elijah as a character. If there is a tragic flaw, it is done by God for bringing the drought to Israel (1 Kings 17, 2016). The anagnorisis does not exist in the Bible as well. It is because there is no truth of the situation that is recognized by Elijah, the protagonist. What he knows is all about

truth sent by God and he knows it from the beginning of the story, but there are two peripeteia-s in the Bible. Those are the stories when Elijah performs miracles in Zarephath and followed by other characters’ acknowledgement (1 Kings 17, 2016).

The Aristotle’s elements are complete in the Coelho’s novel. The events

which are encountered by Elijah bring a major role to his presence, while the absence of hamartia and anagnorisis in the Bible becomes the fact that the Bible does not consist of sufficient elements of plot to analyse. The two peripeteia-s becomes a significant point to show that the Bible wants to emphasize the miracle as its core.

The analysis about the structure of the story of The Fifth Mountain and the Book of 1 Kings Chapter 17: 1-24 is classified by using Vladimir Propp’s thirty -one 'functions.' The stories are identified by using those functions. It is very important to see how the miracles are seen from both stories.

According to Propp’s functions, the structure in the Book of 1 Kings 17: 1-24 starts when the misfortune or lack is made known; the hero is approached with a request or command; he is allowed to go or he is dispatched. It happens when God brings drought to Israel for several years as it is stated in the first verse (1 Kings 17, 2016). The drought or the misfortune stands as the starting point of the narrative that leads to another narrative function.

The function goes when the hero leaves home. God commands Elijah to leave Israel and go to the brook Cherith, which is in the east of the Jordan and stays there for a period of time. Elijah drinks from the brook and the ravens deliver bread and meat for him every day (1 Kings 17, 2016).

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The next event continues and the hero is transferred, delivered, or led to the whereabouts of an object of search. After a while the brook is dried as God has told Elijah before. God speaks to him to go to the Zarephath, which belongs to Sidon and dwell there, where God has commanded a widow to feed Elijah (1 Kings 17,

2016_).

The narrative keeps going and the hero is tested, interrogated, attacked, etc., which prepares the way for his receiving either a magical agent or helper. Elijah meets a widow that is gathering sticks when he arrives at the gate of Zarephath. He asks her for water and she gives him water, but she refuses to give to Elijah bread when he asks for it. That widow tells him that she does not have anything left, only a handful of flour in a jar and a little oil in a jug. She gathers the sticks so that she could make a bread for her son and herself for the last time and die. Even though Elijah knows the condition, he tries to persuade her to make him the bread and give a little piece of it to him first (1 Kings 17, 2016_).

The story continues with the magical agent that is used by the hero. Elijah tells the widow that she does not need to be panic for God has spoken to him that He will keep the flour in the jar and the oil in the jug running until the day that He sends rain on earth. The widow does what Elijah has said and it is true that the flour and oil are multiplied. Elijah stays in her house and her household can survive for many days (1 Kings 17, 2016_{). That is the first miracle according to the bible: the}

The next two Propp’s functions come in inseparable order: the villain causes harm or injury to a member of a family and the hero acquires the use of a magical agent. The widow’s son becomes ill after Elijah stays in the house. The illness

becomes so severe and it leads to the boy’s death. She blames Elijah over her son’s death because he was fine before Elijah’s arrival. It becomes an unfortunate event, but it prepares Elijah to perform the second miracle. He takes the boy to the upper chamber in the house. Elijah prays and cries three times to God so that He would

give the boy’s life back. After listening Elijah’s voice, God gives what Elijah asks.

The boy is back from the death. He lives again. Elijah takes him downstairs so that the widow could see the miracle (1 Kings 17, 2016_{). That is the second miracle: the}

resurrection of the widow’s son.

Finally, the task is resolved along with the widow’s final utterance at the final verse of the chapter that shows her belief in God: 24 And the woman said to

Elijah, “Now I know that you are a man of God, and that the word of the Lord in

your mouth is truth” (1 Kings 17, 2016_).

The novel The Fifth Mountain by Paulo Coelho also has that kind of

Propp’s narrative function as well. In order to make an equal comparison, the

novel is also classified using Propp’s 'narrative functions.' However, they may appear in a different order than the Bible. It begins when Misfortune or lack is made known; the hero is approached with a request or command. It all starts when Elijah receives a vision from God in his carpentry shop. He sets a task to Elijah to remind King Ahab because the king worships a Phoenician god after marrying a Phoenician princess, Princess Jezebel. It is not hard to see the king because he

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always makes time to see his subjects. Then, Elijah tells King Ahab about his vision that the king must stop worshiping the Phoenician god or there will be a great drought upon Israel. Even though Elijah talks to the king, his eyes are fixed to the queen because that Phoenician princess is now his queen. He never sees a beautiful princess before. He knows that the queen also pays attention to him. Elijah returns home after telling the king about his vision and thinks that his job is done. By the morning, the king has ordered to capture all prophets in Israel who refuse to worship Baal, the Phoenician god, but there is no option other than death for Elijah (Coelho, 2004: 14-15). Jezebel knows that Elijah is a great threat for her religion and he has to be eliminated. Now she is the queen of Israel, the wife of King Ahab, and she has persuaded the king to capture all prophets and to kill Elijah.

The stories continues and the hero leaves home. Elijah is forced to leave

Israel because of Jezebel’s threat. There is an archer, the greatest among King

Ahab’s infantry, that tries to shoot an arrow while Elijah tries to escape from Israel. That archer misses his shoot and he stops because he thinks that God protects Elijah. Elijah does not waste that opportunity and runs leaving the city. He keeps running away from the city until he arrives at a bank of the rivulet of Cherith (Coelho, 2004: 17-18). Elijah is ashamed for his cowardice but glad that he is alive. He keeps thinking and reflecting about his experience during his time there. Yesterday he was in his carpentry shop but that day he runs away from his own country.

The next function comes when the hero is tested, interrogated, attacked, etc., which prepares the way for his receiving either a magical agent or helper. There is a crow comes every day and gives Elijah a piece of meat to eat. In the morning Elijah pretends to be a crow and in the evening he pretends to be the moon that both interrogate him. The crow asks who Elijah is and he answers that he is a man that has found peace in the desert and he has known himself, but he cannot give an answer when the moon asks the same question in the evening. It always happens until one day Elijah answers the crow differently. He says that he is a prophet in confident. He has heard God’s voice and banished because doing God’s command. He knows that a man must go through many challenges to fulfil his destiny (Coelho, 2004: 29-30). The crow and the moon stop asking him ever since he gives that answer. This is the fact that Elijah has passed the test or the interrogation.

The next two Propp’s narratve functions come in inseparable order: the hero acquires the use of a magical agent and he is transferred or led to the whereabouts of an object of his search. One day Elijah meets his guardian angel in his dream. The guardian angel reminds Elijah that he must go to the brook of Cherith. Elijah tells his guardian angel that he has done that command. Then his guardian angel tells him to wake up because an angel of God is waiting to speak to him. Although it is night, Elijah sees a great light. That is the angel of God. That angel tells him that his task is to avenge God that is forsaken by the Israelis. Elijah is ready to go back and destroy Jezebel, but the angel tells Elijah not to destroy anything until he learns to build. Therefore, the angel commands him to go to Zarephath, which

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belong to Sidon, for God has ordered a widow to help him there (Coelho, 2004: 30-31). By the help of the angels, Elijah knows his next task. He is led to a widow in Zarephath.

The narrative structure keeps going when the hero, unrecognized, arrives in another country. In this case, Elijah arrives at Zarephath as a stranger in a strange

land as the angel’s guidance. Zarephath is also known as Akbar by the locals. He meets a widow that is gathering woods as he enters the city (Coelho, 2004: 32). It is just like what the angel has said: there is a widow in Zarephath to help him.

The event goes when a misfortune is made known; the hero is approached with a request or command. Elijah lives in the widow’s house in Akbar. That widow has a son, her only son that lives in that house too. One day, the boy

becomes sick after Elijah’s arrival. He cannot stand, nor recognize people who come to visit him. The high priest comes to the house for two weeks to give the boy herbal poultices. The women of Akbar also come to the Fifth Mountain to offer

a sacrifices so that the boy’s soul wouldn’t leave his body. One day the boy wants

to go outside and he is accompanied by his mother and Elijah. After a few steps, he falls on the floor. The boy is dead (Coelho, 2004: 45-47). The death of the boy is the misfortune that leads Elijah to the next development.

The narrative function continues when a difficult task is proposed to the hero. The Phoenicians believe that their gods live on the top of the Fifth Mountain and they strike whoever tries to climb that mountain with lightning as punishment.

Because of the death of the widow’s son, Elijah is forced to climb up the Fifth

him with lightning. If the gods don’t strike Elijah, the people would execute him

by the morning. His head would be removed from his body and his heart would be removed from his breast. He is scared to be executed because according to ancient beliefs, a man without a heart could not enter the paradise. He asks God for help but nothing happens at that time (Coelho, 2004: 49). Climbing the mountain becomes the difficult task that is proposed to Elijah.

The next event comes when Elijah, as the hero, finishes the difficult task. He enters the forbidden terrain and begins to climb the slope of the Fifth Mountain. He keeps climbing until he cannot hear the sound of the people behind him. He walks a bit farther until he enters the mountain top. He thinks to run away but he is afraid if the curse follows him. Elijah sits on the rock while he decides to go back to Akbar (Coelho, 2004: 51-52). He finishes his task to climb the Fifth Mountain. However, there’s nothing happens when he arrives at the top of the mountain. He does not get struck by the lightning. Nothing happens.

The next narrative function goes when the hero is tested, interrogated, attacked, etc., which prepares the way for his receiving either a magical agent or helper. Elijah stays for a while at the top of the Fifth Mountain. He sees the scenery of Akbar from distance and dwells on his past. Now he accepts himself as a failed prophet and God needs someone else to continue His work. Suddenly there is a light from the sky. Instead of being struck by lightning on the top of Fifth Mountain, Elijah meets an angel that that gives him instructions. The angel commands Elijah to return to the Akbar and pray three times for the boy to come back to life. The third time, God will listen to his prayer. This miracle must be done

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is for the grandeur of God. This is Elijah’s task and he must not question it because no one can doubt God’s plan (Coelho, 2004: 52-53). Elijah is interrogated by the angel who prepares Elijah performing the miracle.

The next Propp’s function in the story is that the hero acquires the use of a

magical agent. Elijah comes down from the mountain to resurrect the widow’s son

and does what the angel has commanded. Elijah tells the guard that has waited for

him that he must go to the widow’s house and ask for her forgiveness. Despite all of his guilt, doubts, and fear, Elijah takes the boy’s body from his mother’s arm

and goes to a chamber upstairs. He prays and cries to God so that He makes the boy lives again. Three times he prays and nothing happens. His mind travels to his past where he was only a carpenter in Israel. He believes that something happens for a reason. It is then that the boy opens his eyes. The boy tells him that he had a strange dream but Elijah awoke him from that dream. Then Elijah takes the boy downstairs to meet his mother (Coelho, 2004: 56-58).

The story continues with the recognition of the hero. There are already so

many people in the widow’s house when Elijah takes the boy downstairs. The widow takes her son in her arm. She is fulfilled with joy. After experiencing that miracle, the widow throws herself on her knees and believes that Elijah is a man

of God. The people who gather in the widow’s house cannot believe by what they see. One by one, they also kneel before Elijah (Coelho, 2004: 58). It happens when

people of Akbar knows that Elijah has resurrected the widow’s boy and all of them

The next function comes when the hero is tested, interrogated, etc., which prepares the way for his receiving either a magical agent or helper. Akbar is surrounded by Assyrian army at that time. They want to have Akbar in possession. Elijah sees that this event can bring chaos to the city, so he prays to God. An angel of God comes before him. The angel instructs Elijah to gather people to the mountain. He must make two altars with bullocks on the top; one altar is meant for God and the other for Baal. Elijah must tell the Phoenician to call their god to come forth and take the offering, but nothing will happen. After that, Elijah must call upon the Lord of Abraham, Isaac, and Israel, and ask Him to receive the sacrifice. However, that miracle can only happen once. Elijah must choose to use it whether to avoid the battle for Akbar or free the Israelis from Jezebel. (Coelho, 2004: 124-125). Again, the arrival of God’s angel before Elijah is to help him preparing a miracle. He must choose where to perform this miracle for it can only happen once.

The next narrative function is that the villain causes harm or injury to a member of a family. Elijah decides to use the miracle in Israel, so there is a war in Akbar. The Assyrian army attacks the city during the night. They break through every house and kill the people who live in it. Elijah is awoken from his sleep and taken by force by the soldiers. He does not have a chance to check whether the widow or her son are alive or not. Now he is out from the house. Elijah is there when he sees the widow, whom he finally loves, is burnt alive in the house. The soldiers stop him when he tries to save the widow. They want to make Elijah suffers

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by watching the widow dies. (Coelho, 2004: 158). This is the moment where harm or injury is done to a member of a family.

The story keeps going when the hero is transferred to whereabouts of an

object of search. The Assyrians don’t kill Elijah because they think that he would

only become a burden. Then the soldiers leave Akbar because their true target is

Sidon and Akbar’s location is just before that city. Elijah meets the widow’s son

who also survived from the attack. The boy becomes the widow’s legacy for Elijah.

He is determined to take care of the boy. They walk together through the city. The victims of the attack are countless. They go out of the city and walk to the valley even though Elijah does not know a place to go (Coelho, 2004: 170). Elijah and the boy are transferred to a place they don’t know yet. It is the process to whereabouts of an object of search. The place that is referred in this function is a

shepherd’s house in a valley. The shepherd lives with his wife and two children (Coelho, 2004: 176). They welcome Elijah and the boy in their house because there is a law of hospitality. The law says that the host must welcome strangers is his/her

house so that he/she will also be welcomed in a stranger’s land.

The object of search that is referred in the previous function is Elijah’s

motivation in doing God’s will and be loyal to Him. The shepherd has seen so many people on their way to Akbar. He tells Elijah that they are men without purpose when the go to Akbar, but they return home with ardour and pride. There are also some men that go back to their home with bags full of gold because Akbar is a good for trading. The shepherd tells Elijah that those people achieve what they desire because they are not limited by the frustration of the past and to these people,

life is a constant triumph. The shepherd’s words touch Elijah’s heart. Elijah realizes

the fact that it is not difficult to rebuild a life if he has the strength and determination. The shepherd does not know Elijah’s past but he suggests him to forget his past and start a new one. He also tells Elijah that there is a prophet in Akbar who help him. The prophet is so powerful that he could bring back the dead. The shepherd tells Elijah to go to him so that that prophet can help Elijah (Coelho, 2004: 180-181). After hearing those words, Elijah knows that he needs nobody but himself to move on. The shepherd helps Elijah to rediscover that motivation.

The development of narrative function continues when the hero returns home. Elijah decides to go to Akbar after staying in the shepherd’s house for two days. He can see Akbar from distance. He is not strong enough to see the destroyed city. He closes his eyes and asks the boy to guide him into the city. Elijah has asked the boy to rebuild Akbar if he dies on the way into the city. His mind travels as he walks. He knows that this battle is not between Assyrians and Phoenicians. This battle is between him and God. He asks God to kill him now because Elijah would

destroy God’s plan if he opens his eyes. He is determined to rebuild the destroyed Akbar. He wouldn’t let God destroys Akbar as God has killed the widow (Coelho, 2004: 185-186).

The next narrative function is difficult task is proposed to the hero. Elijah know that he and Akbar are similar. But just like the city, his task is no yet completed. God has told Elijah to remove Jezebel but He ignores and sends him away from his homeland. God has forgotten Elijah. He must do things by his own effort. He sets his mission to rebuild the city because the widow has said that she

35

would always be with them. She has gone and united with the city. She is Akbar. Elijah must help her recover her beauty (Coelho, 2004: 189). It becomes the new difficult mission for Elijah to rebuild Akbar, which is already destroyed completely by the Assyrians, as an act of protest to God.

The next development comes when the difficult task to rebuild Akbar is finally done. In rebuilding the city, Elijah gathers all the survivors. He put them in groups according to their capability: the men rebuild the houses, temple, and city wall; the women collect food and treat the sick people; the children study the alphabets and write what Akbar’s has been through in clay tablet so the people will not forget it. Elijah goes to the high temple when the city is rebuilt. He sees the Akbar from above, the great city of Akbar. The city is his lover, the widow. He is proud for bringing back the beauty of his lover. He is one with his lover. He is one with Akbar. Elijah realizes that he too is Akbar (Coelho, 2004: 226-227). The new Akbar symbolizes the new Elijah. By rebuilding the city, Elijah also rebuild himself.

The next two Propp’s narrative functions come in inseparable order. The hero acquires the use of a magical agent and he is transferred or led to the whereabouts of an object of his search. An angel of God comes to Elijah after he has finished rebuilt the city. The angel tells Elijah to return to Israel to liberate his people from Jezebel. Elijah refuses the angel’s command, then the angel says that Elijah must return to Israel and apply what he has learnt in Akbar to rebuild Israel. Elijah does not want to leave Akbar, but he knows that Akbar can survive without him. Israel needs him more (Coelho, 2004: 233-234). Elijah knows that he has to

leave Akbar and go to Israel. Therefore he leaves the city at night when all people is asleep. Without looking back, he goes Israel (Coelho, 2004: 240).

The classification of narrative functions from the Book of 1 Kings 17 and the novel are very essential for the analysis. They are put in a table in order to simplify and to compare the order of narrative functions in both literary works as follow:

Vladimir Propp’s Narrative Functions Propp’s

Function

The Bible (Book of 1 Kings 17: 1-24)

Propp’s

Function The Fifth Mountain 9 11 15 12 14 8

1. Misfortune or lack is made known; the hero is approached with a request or command; he is allowed to go or he is dispatched. 2. The hero leaves

home.

3. The hero is transferred,

delivered, or led to the whereabouts of an object of search. 4. The hero is tested,

interrogated,

attacked, etc., which prepares the way for his receiving either a magical agent or helper.

5. The hero acquires the use of a magical agent [that is, an object, and animal, etc.].

6. The villain causes harm or injury to a member of a family.

9 11 12 14 15 23

1. Misfortune or lack is made known; the hero is approached with a request or command; he is allowed to go or he is dispatched.

2. The hero leaves home.

3. The hero is tested, interrogated,

attacked, etc., which prepares the way for his receiving either a magical agent or helper.

4. The hero acquires the use of a magical agent [that is, an object, and animal, etc.].

5. The hero is transferred,

delivered, or led to the whereabouts of an object of search.

6. The hero,

unrecognized, arrives home or in another country.

37

12

14

26

7. The hero is tested, interrogated,

attacked, etc., which prepares the way for his receiving either a magical agent or helper.

8. The hero acquires the use of a magical agent [that is, an object, and animal, etc.].

9. The task is resolved. 9 25 26 12 14 27 12 8 15 20 25 26 14

7. Misfortune or lack is made known; the hero is approached with a request or command; he is allowed to go or he is dispatched.

8. A difficult task is proposed to the hero. 9. The task is resolved. 10.The hero is tested,

interrogated,

attacked, etc., which prepares the way for his receiving either a magical agent or helper.

11.The hero acquires the use of a magical agent [that is, an object, and animal, etc.].

12.The hero is recognized.

13.The hero is tested, interrogated,

attacked, etc., which prepares the way for his receiving either a magical agent or helper.

14.The villain causes harm or injury to a member of a family. 15.The hero is

transferred,

delivered, or led to the whereabouts of an object of search. 16.The hero returns. 17.A difficult task is

proposed to the hero. 18.The task is resolved. 19.The hero acquires

the use of a magical agent.

15

11

20.The hero is transferred,

delivered, or led to the whereabouts of an object of search. 21.The hero leaves

home.

After classifying the narrative functions of the story by using Vladimir Propp’s theory of narratology, it can be seen that The Fifth Mountain and the Book of 1 Kings 17: 1-24 do not share the same order, yet they have some similarities. It is very clear that the novel and the Book of 1 Kings Chapter 17: 1-24 share some similar functions. They start with the same function: the misfortune is made known which makes the hero (Elijah) approaches his task or command. The misfortune in the Book of 1 Kings 17 is the drought sent by God, while in the novel, the misfortune happens when Elijah tells King Ahab about his vision that leads to a mass execution of Israelite prophets.

The second narrative function that appears in both literary works are also similar: the hero leaves home. The Book of 1 Kings 17 tells that Elijah leaves Israel

to do God’s will.Elijah is displayed as an obedient servant that obeys God’s will

and he does not ask the reason why he has to go. God himself is considered as a

‘magical helper’ who helps Elijah in accomplishing his task that becomes the focus in further structure, while the magical actions refer to the miracles done by Elijah. The novel also tells the same sequence where Elijah leaves Israel, however the

reason is different. He has to leave his hometown because he is chased by king’s

soldier. God has spoken to him and made him to go to King Ahab as a messenger

39

idol, Baal. She sees Elijah as a threat for her mission and makes the king to execute all the prophets who deny her. But for Elijah, she makes the king to command his army to kill him.

The rest of the narrative structures appear in a different sequence. However, there is a pattern that comes in a certain order. The function ‘The hero is tested, interrogated, attacked, etc., which prepares the way for his receiving either a magical agent or helper’ is always followed by ‘The hero acquires the use of a magical agent [that is, an object, and animal, etc.].’ This pattern shows that the miracle does not just appear out of nothing. It needs certain condition. In the Book 1 Kings 17, Elijah needs to talks and argues with the poor widow to know her condition before he can perform a miracle that makes the four in the jar and oil in the jug always full for a period of time. The same sequence also appears in the novel where Elijah needs to meet the angel of God on the top of Fifth Mountain

before he can resurrect the widow’s son from death.

There is an interesting point related to Propp’s narrative functions. He

clearly states that the order of those narrative functions are fixed because the events may have a due order (Barry, 2009). However, Coelho’s novel does not have that order. The narrative functions in the novel do not follow Propperian functions. The events leading to the miracle are repeated in order to reinterpret the miracles.

Miracle becomes the focus of this undergraduate thesis. There are two miracles mentioned in the Book 1 Kings 17: the resurrection of the widow’s son and the multiplication of the flour and oil.

The miracle of the resurrection of the widow’s son is stated in both literary works. They are told in the same way: Elijah performs a miracle to resurrect the

widow’s son (1 Kings 17, 2016). The same event is also told by Coelho in his novel. The angel of God comes to Elijah in the Fifth Mountain and tell him go back to

widow’s house to resurrect the boy. The death of the boy makes Elijah perform the

miracle (Coelho, 2004: 56-58).

The difference between the miracles in both literary works is in the cause of the boy’s death. It is clearly stated in the Bible that illness becomes the cause of the

boy’s death (1 Kings 17, 2016). However, Coelho narrates the story in a quite different way. He tells that people of Akbar believe that the death is a punishment from God because the widow allows Elijah to say in her house (Coelho, 2004: 45-47). Coelho puts a cause and an effect in his novel. He wants to give a logic perspective in his novel. He uses what is called magical realism. It becomes a typical style of writing among Latin American authors. Coelho uses karma, the

concept of cause and effect in the society to explain the death of the widow’s son.

Magical realism itself can be linked to an unsuspectedly rich history of related literary forms in different narrative modes (Campa, 1999) and in this case, to make a relation between the Bible and the novel about the death of the widow’s son.

One other miracle is differently narrated in the Coelho’s novel. It is the miracle related to the flour and oil. The first version of the story is clearly stated in the Bible. Elijah asks for a little cake to a widow. The widow is so poor that she would die after making that cake for her son and herself. Even though she does not have anything left, she gives Elijah what he has asked because Elijah promises that

46 CHAPTER V CONCLUSION

It is inevitable to discuss the story of Israel when the Bible is analysed. The

basic presentation of God’s character in life order of the Israelite's world in Old Testament is very essential. God is the centre of the story, therefore Paulo Coelho

recreates those functions in order to make the novel. He focuses on Elijah’s experience and the miracle itself. The similarities have been discussed in the earlier

part and they catch reader’s attention to be more focus on Elijah’ character.

The narrative of the novel focus on Elijah’s experiences and problems while narratives of the Bible focus on God who is omnipotent. It can be seen from the

analysis of plot’s elements according to Aristotle. The analysis of narrative functions according to Vladimir Propp brings a clear emphasis that Paulo Coelho

recreates the miracles in the novel by repeating the functions of miraculous events.

The recreation of Elijah’s miracle in the novel gives a new interpretation to the readers. Miracle is not a magical power that is unpredictable. Miracle can be made

and predicted. It is also quite anthropocentric because the focus is no longer on God,

but on Elijah as the representation of humankinds.

Paulo Coelho’s background also contributes in the making of his novel. His

journey and spirit are found in Elijah’s characteristic. Elijah is a very strong, devout, brave, and kind person. When his people banish him, he still wants to save them

from Jezebel’s influence. He still follows the Angel’s command as a sign that he also obeys God. He faces so many obstacle, but he does not lose faith. Elijah’s

ability to perform the miracle becomes a fact that human can also make a chance to

perform a miracle. It becomes the importance of the recreation of the miracles that

in his capacity as an author, Paulo Coelho wants to encourage and persuade the

48

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APPENDIX

Summary of Paulo Coelho’s The Fifth Mountain

Elijah is a carpenter in Israel. Sometimes he gets visions and angels of God

visit him, however he was forced by his parents to be a carpenter. He starts

considering himself as a normal person and starting to talk like common people.

Later on, something big happens. Princess Jezebel of Phoenicia marries

King Ahab of Israel. After becoming the queen, Jezebel asks Ahab to replace the

worship of Lord with the worship of Baal, the god of Phoenicia. She makes the king

to kill all the prophets of Israel, so there will be no one left to worship the Lord, the

God of Israel.

Elijah tries to get out from Israel with another prophet, but that prophet is

killed by the king’s soldier. Then, Elijah stays for a several days at the brook of Cherith. Later, his guardian angel guides him to go to the city of Akbar where he is

welcomed by a widow who gives him shelter. The people of Akbar do not like the

presence of the Israelite prophet because they do not want any problem with

Princess Jezebel.

One day, the son of the widow becomes very ill. People believe that it is

Elijah who has bought unfortunate thing to Akbar, including the condition of the

boy. The boy finally dies in his illness. The high priest of Akbar orders Elijah to

climb the Fifth Mountain so that the gods who live on it will kill him. Instead of

being killed by Phoenician gods, Elijah meets the angel of the Lord who commands

from death. After that, the people of Akbar start to respect and treat him like a man

of God.

Elijah has become a part of Akbar when Assyria is on the border of Akbar

and ready to invade the city. The people of Akbar do not worry because they have

had peace for more than 200 years. The war comes to Akbar eventually. It cannot

protect its people since Akbar is an economic city. Akbar is destroyed. The widow

whom Elijah loves also dies in the war.

Elijah takes the widow’s son with him as if the boy was his own. He and the boy start to rebuild the city of Akbar. The only people that live in Akbar now are

the old persons, children, and the widows. Elijah becomes the leader of the city and

teaches everyone to read and write. They write what they had been through so the

next generations know the history.

The angel of Lord comes to Elijah to say that the Lord is pleased by his

struggle. The angel tells Elijah that the Lord has ordered him to go to Israel and