Category: Legend

For the purposes of this assignment, I have chosen to study the significance of a character`s arc throughout a story. Building realistic characters is a weakness I have struggled to overcome. Therefore, it was logical to study this area to gain a better understanding of how to create strong characters and overcome the problem.

I will analyze the Legend series by Marie Lu because she writes in the same genre I am currently writing in. Marie was born in China and emigrated to the United States with her family during the Tiananmen Square Protest. She got her inspiration for Legend (2012) from Les Misérables (2012). Marie said I remember thinking: wouldn`t it be fun to tell a teenage version of the criminal vs. detective story? (Lu, 2021). She also grew a love of storytelling from interning with Disney Interactive Studios.

As a child, Lu witnessed tanks and soldiers preparing for what would become the Tiananmen Square massacre in 1989 (GradeSaver, 2021). Marie has also stated in an interview that when you`re going on the street and you smell, like, street food and it`s kind of gritty and grimy, those are all of my memories of wandering the streets in Asia (Lu, 2016) and that this influenced her writing. Considering Marie`s experiences, it is expected that she has messages she wishes to share and that consciously or otherwise, included these in her novels.

I intend to look at the relationship between a character`s arc and theme and the importance they share.

Script Reader Pro writes of character arcs, At the beginning of a movie, the protagonist is unaware of their unconscious desire and acts purely according to their conscious desire. Therefore, they`re completely unaware of the answer. Being unaware makes them feel safe and it`s how they`ve always lived (Script Reader Pro, 2018). Although discussing films in this quote, the same applies to books. Take June, for example, the female protagonist of Marie`s Legend (2012). June had always lived in the shelter of her rich, privileged life, with her older brother to protect and support her. She felt safe. Conversely, Day, the male protagonist, had started in the poorer neighborhood. After scoring low on his trial, he had been taken, experimented on, and left for dead. His resulting escape and the overall experience had left him wary and watchful, and through this and his new habits of living, he felt safe in his hideaways, watching from the outside rather than being seen.

Marie`s choice to write from two points of view effectively crafted contrasting differences in the alternating chapters that allowed the readers to connect and relate to both characters. One can clearly see the opposite upbringings and ways of life June and Day experience, as well as their differing beliefs June, feels loyal to the government, and Day the opposite.

Then, when inciting incidents throw the characters out of their usual world, their beliefs dictate how they react. Day`s reaction to his father being beaten resulted in him committing his first, perfect crime: an ice ball through a window, leaving broken glass but no evidence once the ice had melted. This propelled him into rebellion, into using his cunning and intelligence to fight against the government, consequently placing him on the most wanted list.

June, on the other hand, had been taught loyalty to the government. Her brother, a soldier, also added to her beliefs. So, when her brother is murdered, she makes a silent promise, I will hunt you down. I will scour the streets for you. I make you this promise: your life is mine (Lu, 2012, p.590). It is debatable that June`s upbringing didn`t influence her reaction to this occurrence, that even if she lived in Day`s circumstances, she would still feel anger and a desire for revenge. For instance, later in the novel, when Day`s mother is shot, Day manages to get hold of a soldier`s gun. His previous efforts not to hurt anyone in that particular moment evaporated. He even goes so far as to agree to be part of an assassination plot in Prodigy (2013). He tells June, I should`ve never saved you from that Skiz fight. I should`ve left you to die (Lu, 2012, p.1912). We clearly see the same anger and pain from his loss as with June, therefore supporting the theory that these characters are not so different and that their anger lies within their humanity rather than their surroundings.

Moreover, as the story progresses, [the characters] become more and more aware of their unconscious desire (Script Reader Pro, 2018). Despite the death of Day`s mother, during his interrogation, he feels a weird tinge of sympathy (Lu, 2012, p.1940), and June`s face hardens but behind that [Day] can see something waver (Lu, 2012, p.1968). Once again, we see a similar reaction from both of them despite their differences. Saying that, in previous chapters, they had spent enough time together to begin developing feelings for one another, including a kiss they shared before Day`s capture. This begs the question of whether had they been strangers, would they have felt any softening at all.

Upon facing the choice of handing Day over to the authorities, June feels a surprising pang of guilt (Lu, 2012, p.1713) and she recalls the way he saved [her] from the Skiz fight, that he had helped [her] heal this burning wound in [her] side (Lu, 2012, p.1723). Her conflicting feelings set her up for a softening of her heart later. Likewise, Day trusts her word completely when she directs him toward the soldiers. He even admits he`d been duped into kissing her. Even falling for her (Lu, 2012, p.1802).

Alternatively, Day took in Tess, a young girl living on the streets, and he helped June when she was injured in a fight. At the time of doing this, they were strangers to him, and yet he still chose to assist them.

Martin Wenglinsky, a sociology professor, wrote about natural disposition. He tells of a native of Arabanoo who was forcibly taken to serve as a hostage. He was found to be likable, even going so far as to build a friendship with his jailor. He cared for victims of smallpox in a touching manner and buried them. He was known for his amiability (Wenglinksy, 2016). Wenglinksy went on to speak of Phillips, a governor, who, during a conference, was deliberately wounded with a spear by one of the native warriors. Despite this, he spoke well of his enlightenment (Wenglinksy, 2016) as to the tribe`s reasonings and continued on to make peace with them. Both men, despite originating from entirely different backgrounds and cultures, held the same compassion.

The 14th Dalai Lama said Love and compassion are necessities. Without them, humanity cannot survive (Dwivedi, 2021). Perhaps then, June and Day`s feelings of compassion, albeit unwanted by the characters, is their humanity fighting to survive.

This change in June`s character is continued when further details come to light, like discovering her brother was murdered by someone else. Her mindset begins to change, opening her up to a greater realization of the truth. This is strengthened even more when she sees the violent personality of Thomas, one of her friends, and the orders to shoot protestors all given by those she believed to be good guys. As this new knowledge is revealed to June, she begins to commit to her hidden need. Script Reader Pro writes It`s only near the end of the film that they`re able to fully commit to their unconscious desire and fully complete their character arc at the film`s climax by realizing the answer (Script Reader Pro, 2018). The answer, in this case, extends to more than just the characters, but also to the readers by discovering exactly what Marie is trying to say, what the theme is.

As we look at June`s character growth, we see her compassionate side of her from the start, from helping Tess despite this resulting in a brutal fight to rejecting Thoma’s kiss because of her revulsion to his violent personality. This highlights that the compassionate trait was already there, but in order to access it more fully, June needed certain triggers to help her realize it, for instance, the death of Day`s mother, Thoma’s violence, and her brother`s secret blog about the government deliberately spreading the plague. These triggers increased her turn against those she once worked with, especially that of her brother`s blog since she fully trusted him. Likewise, in Prodigy (2013), after June agrees to help assassinate the new elector primo, a series of events leads her to discover he isn`t antagonistic like his father was and signals to Day to stop the assassination plot.

It is interesting to see the growth of these characters, and arguable that there isn`t much of growth at all since they had the truth in them all along. All it took were the right circumstances to bring it about. One could question if June`s trait of compassion came from her brother. Perhaps having someone to instill it in her made a difference. However, Day didn`t have that person since he`d been taken as a boy and treated harshly. Despite this, he still helped those in need. Perhaps, then, it was the humble beginnings. The day certainly had that. June was also kept in check by the humility of her brother. Saying that it is important to note that Thomas began much as Day, living in the slums, yet his nature is vastly different. He says to Day, I`m from a poor sector, too. I worked my way up. I earned my country`s respect. The rest of you just sit around and complain and blame the state for your bad luck. Bunch of dirty, lazy cons (Lu, 2012, p.2520). His contempt towards those less fortunate than him is clear. Of course, his interest in June and his statement, How dare you force yourself onto someone of her rank (Lu, 2012, p.2520) shows his anger and jealousy. It is possible that he was acting solely out of his emotions and may have reacted differently had the circumstances been different, but Marie demonstrates several instances of his violence without jealousy.

The main question that arises from these points is how these triggers help the readers understand what Marie is saying.

If we look at Marie`s past, we discover that she and her family moved to the United States Texas when she was five years old, during the Tiananmen Square Protest (Wikipedia, 2021). Even as a very young child, her time in China influenced her life. The World Biographical Encyclopaedia writes of Marie, Before moving to the United States[,] she remembers sucking on a popsicle and observing the people as they gathered around to protest (Prabook, 2021). Obviously, this protest led to tragedy, and although Marie wasn`t present in China at that particular time, it is part of her history. When looking at Day, it is interesting that his real name is Daniel, and that only after being taken from his family, he chooses the name Day. When asked about it, he says it helps him try to walk in the light (Lu, 2021, p.3534). It is reasonable to theorize that the Tiananmen Square Protest influenced this point in Marie`s stories. For Day, he uses the name to give himself hope, to remember that with each new day, everything is possible again. As well as reminding people that even great tragedies do not mean the end of all things, this works as an introduction to a deeper message.

At the beginning of Legend (2021), the JumboTrons boards advertise the wanted posters for Day. Marie writes, They always have a different photo running alongside the report. One time it was a boy with glasses and a head full of thick copper curls a boy with black eyes and no hair at all. Sometimes I`m black, sometimes white, sometimes olive or brown or yellow, In other words, the Republic has no idea what I look like (Lu, 2021, p.67). Just as no one truly knows what a new day will bring, each day will be different for each person. Marie lists several different kinds of people in this description, which can easily be symbolic of the genders, races, colors, and personalities of people throughout the world.

June and Day are extremely opposite in their upbringings, circumstances, and beliefs. June is a hunter. The day is the hunted. June got a perfect score on her trail. Day failed his. As Marie reveals more of their past, we discover Day did, in fact, get a perfect score, too, and that he was taken so the government could experiment on him. We discover that they are both smart, intelligent, and capable. It seems Marie is referring, through June and Day, to race, gender, and the variations of people on earth. We are all the same, despite the differences people initially see.

It is only after all the triggers occur that June comes to the full realization of the truth, and as a consequence, takes the necessary steps to show that she has learned the relative lessons. In the mirror, I look the same. But I am a different person inside. I`m a prodigy who knows the truth, and I know exactly what I`m going to do. I`m going to help Day escape (Lu, 2012, p.2911). Her determination to help Day and give an electro-bomb to the rebels wasn`t something she would have considered at the start not without knowing the truth. But upon discovering that Day shouldn`t be cast out and that he is, in fact, the same as June, she couldn`t sit back and do nothing.

With Marie`s Chinese heritage, it is reasonable to believe that wanting to be accepted was a part of her childhood, and this desire has come through in her story with the fight for justice and equality.

Script Reader Pro wrote, Conscious desire equals a lack of awareness of the theme and the answer. Unconscious desire equals eventual awareness of the theme and embracing the answer (Script Reader Pro, 2018). June and Day both had an unconscious awareness of the theme of equality through diversity, and as they learned about it throughout the story, the reader can see that all isn`t as it seems. We see that people deserve respect and kindness, and to be fought for.

K.M. Weiland writes, These changes must flow naturally from the characters (Weiland, 2008). Take June, for instance. She only wanted to fight for those she loved at the beginning of Legend (2012). Although the compassion was in her, shown when she stands up for Tess, she thinks, I should have let her fend for herself (Lu, 2012, p.1260). As stated earlier, Marie uses switching points of view to show the different perspectives of June and Day and create sympathy and connection between the readers and the characters. In an interview, Marie stated, [I]n Prodigy, there`s an early scene where [June] starts listing off the metal composition of a paper clip. So I had to stop and go online and read about the history of paper clips (Lu, 2013). These little details Marie inputted into June`s character made her unique and real to the reader, and as such, relatable. So, when June makes this choice to defend Tess, despite it being shown through Day`s point of view, we understand it.

Marie said, Mostly, I`m hoping to show a world that is diverse and filled with different people from all walks of life, and hopefully makes for a reading experience that is rich in heritage (Lu, 2016). When discussing the end of Champion (2013), Marie stated, I left it to the reader, what happened to them in the future. That was how I left them in my head as well (Lu, 2019). When referring to the theme of the novels, we can assert that Marie left the future open so the readers can act on the message she was trying to convey. This belief is strengthened with Marie`s continuation, I`m one of those people who likes open-ended endings. I want to keep it that way and let the fans take it from there It`s something that belongs to the readers (Lu, 2016).

To conclude, this study has highlighted that a character`s arc must sync seamlessly with the theme so as to avoid redundancy and a floppy story. The importance of doing this has opened my knowledge to new ways of writing and planning a novel that I wasn`t previously aware of. By matching character growth with the theme, I can create stronger characters and understand why they should act in a certain way. I also understand now why particular actions and thoughts don`t fit in a certain scene. This truth has never registered with me before and has left me stuck on how to improve.

Marie has shown that a character`s hidden needs and motivations link directly to the theme of a novel. We see that circumstances and triggers bring characters to the realization of a certain truth that is the message the author wishes to share and that this truth is inside them all along. We also see the significance of the theme and its relation to the character arc since they work hand-in-hand to demonstrate the theme through growth. One can argue that character arc is the theme, and that by adhering to this rule, not only can one`s writing significantly improve, but the author`s message can reach far past the page and bring about a realization and change within the reader, and hopefully, begin to make the world a better place.

Bibliography

1. Canfield, D. (2019) Marie Lu talks about returning to Legend with Rebel: I didn`t realize I wanted closure. Available from: https: ew.comauthor-interviews20190808marie-lu-rebel-legend [Accessed 12 June 2021].
2. Dalai Lama (1998) The art of happiness: a handbook for living. Cited in Dwivedi, M (2021) How do love and compassion sustain humanity? Available from: https:www.beaninspirer.comlove-compassion-sustain-humanity [Accessed 23 June 2021].
3. GradeSaver (2021) Biography of Marie Lu. Available from: https:www.gradesaver.comauthormarie-lu [Accessed 7 July 2021].
4. Les Mis ©rables (2012) Directed by Tom Hooper. United Kingdom: Working Title Films.
5. Lu, M. (2012) Legend. United States: Penguin.
6. Lu, M. (2013a) Prodigy. United States: Penguin.
7. Lu, M. (2013b) Champion. United States: Penguin.
8. Lu, M. (2016) Marie Lu answers your Legends and The Young Elites questions. Available from: https:www.youtube.comwatch?v=icKyQtOgpWM [Accessed 6 July 2021].
9. Lu, M. (2021) Frequently asked questions. Available from: https: Marilu.Compaq [Accessed 4 July 2021].
10. Prabook (2021) Marie Lu. Available from: https: prebook. comwebmarie.lu2266812 [Accessed 14 July 2021].
11. Script Reading Pro (2018) Character arc: the secret sauce to showing a hero`s growth. Available from: https:www.scriptreaderpro.comcharacter-arc [Accessed 15 July 2021].
12. The SC Ninjas (2013) An interview with author Marie Lu. Available from: https: surviving college.coman-interview-with-marie-lu-author-legend-prodigy#:~:text=An Interview with Author Marie Lu. We were, with you our favorite moments from the interview [Accessed 13 June 2021].
13. Weiland, K. (2008) The all-important link between theme and character progression. Available from: https:www.helpingwritersbecomeauthors.comall-important-link-between-theme-and [Accessed 6 July 2021].
14. Wenglinsky, M. (2016) Natural disposition. Available from: https:www.wenglinskyreview.comwenglinsky-review-a-journal-of-culture-politics2017914natural-disposition [Accessed 23 July 2021].
15. Wikipedia (2021) Marie Lu. Available from: https: en. Wikipedia.orgwikiMarie_Lu#:~:text=Marie Lu (born Xiwei Lu) is an American, and Batman: Nightwalker in the DC Icons series [Accessed 1 June 2021].

Ralph Waldo Emerson once declared that “Life is a journey, not a destination”. This recurring idea can be found throughout numerous works of literature. These pieces are conveying the message that one should focus on what they gain from their experiences, rather than living for the goal. In The Alchemist by Paulo Coelho, the author presents a comparable idea through the use of Personal Legends and a treasure that one can find at the destination of their journey. The most significant theme found in Coelho’s novel is that when pursuing one’s dream, the journey is more meaningful than the prize.

During his journey, Santiago observes two stall owners communicating though they speak different languages, and he learns that “there must be a language that doesn’t depend on words” and thinks “If I can learn to understand the language … I can learn to understand the world” (Coelho 46). One influential lesson that Santiago gradually discovers is that people can communicate without words, through the language of the world, as done by the stall owners. Through this experience, Santiago attains precious knowledge that will stay with him for his entire life and this is more important than a material treasure. Later in Santiago’s travels, the alchemist also understands the value of one’s journey and attempts to share this with Santiago by stating that “They were seeking the treasure of their Personal Legend, without wanting actually to live out the Personal Legend” (Coelho 129). Throughout their journey, the alchemist teaches Santiago essential lessons and when he does not recognize their purpose, the alchemist hopes to explain by saying that one will not realize their Personal Legend without the events along the way.

Until now, Santiago was not able to understand the importance of his journey, but he does realize its significance in the latter half of the novel. Santiago is speaking to the sun when he states that alchemy exists “So that everyone will search for his treasure … and then want to be better than he was in his former life” (Coelho 155). Santiago knows that alchemy is an analogy for the idea that one must become a better person on his journey and that the prize at the end is not the ultimate goal. In addition, just before Santiago arrives at the Pyramids, he speculates that “on the way toward realizing his own Personal Legend, he had learned all he needed to know” (Coelho 165). Santiago reflects on his journey and discovers that he would be content to return home without the treasure at the Pyramids because the information he has acquired along the way is adequate as a treasure.

All in all, the overarching theme found in The Alchemist by Paulo Coelho is that when one is hoping to fulfill their dreams, their experiences during their journey are more powerful than the rewards. Coelho’s purpose in writing this novel was to demonstrate the value of the events and the mentors that one meets in his travels. During his trip, there are multiple instances in which Santiago learns valuable lessons through his encounters with certain situations and people. Similar to Emerson’s statement, Coelho uses Santiago’s travels to illustrate that one’s life and dreams should not be about the destination, but the journey has taken along the way.

Works Cited

1. Coelho, Paulo. The Alchemist. 25th Anniversary Edition, HarperCollins Publishers, 1993.
2. Emerson, Ralph Waldo.

Originated from Latin legendus, legend means “something which ought to be read.” According to J. A. Cuddon, a legend is “a story or narrative that lies somewhere between myth and historical fact and which, as a rule, is about a particular figure or person.” Traditionally, a legend is a narrative that focuses on a historically or geographically specific figure, and describes his exploits. Similar to a myth, a legend can provide an etymological narrative, often filling in historical gaps.

There are marked differences between a legend and a myth. While legends are made up stories, myths are stories that answer questions about the working of natural phenomenon. Myths are set in olden times, even in pre-historic times. However, legends are stories about people and their actions, or deeds they perform to save their people or nations.

The people mentioned in legends might have lived in recent times, or sometime in known history. Legends are told to serve a specific purpose, and can be based on facts – but they are not completely true. People mentioned in a legend might not have really done what the story of the legend relates. In some cases, legends change the historical events.

King Arthur, Beowulf, and Queen Boadicea are some popular English legends. However, it is also important to understand that some of the stories about the Knights of the Round Table, and Merlin the Magician may not be true. The common point between a myth and a legend is that they both have been passed down from generation to generation in oral form.

Faust is the major character in the classical German legend. According to the legend, Faust was a dissatisfied scholar. On account of his dissatisfaction, he makes a deal with the devil in exchange for his soul. The deal promises him a great deal of knowledge, and limitless pleasures of the world. However, he meets his tragic end, as the devil takes his soul after his death.

In fact, the legend of Faust presents an over-ambitious man, who surrenders his moral integrity for the achievement of worldly powers and success for a limited period of time. This kind of character teaches us the lessons of moral integrity, and the value of ethical uprightness.

The Flying Dutchman is the legend of a ghost ship. According to the legend, the Flying Dutchman is cursed to never dock at a port, being doomed to sail in the oceans forever. It is likely that the legend has originated from the nautical folklore of the 17th century. The oldest surviving version of this legend dates back to the late 18th century. During the 19th and 20th centuries, there were reports of sighting the ship as a hull glowing with ghostly light. When another ship tried to make contact, the crew from the Flying Dutchman tried to send messages to land, or to people dead long ago. According to the lore, seeing the Flying Dutchman is an omen of doom.

According to medieval histories, King Arthur was the British leader who led the British army against the invaders in the 5th and 6th centuries. It is mainly folklore that led to the composition of the legendary King Arthur story. Some literary inventions have been made in the story, but historical existence of King Arthur has always been questioned. There exist a few historical sources, such as the Annales Cambrige, the Historia Brittonum, and the writings of Gildas, which may be attributed as sources of the legend of King Arthur.

In literature, the function of a legend is to present the story of human actions in such a way that they are perceived by the audience to be true. Actions are presented as if they have taken place within human history. For its audiences, a legend has to include happenings that are not outside the realm of possibility, but it may include miracles. Change has certainly occurred in legends over time, giving them a freshness, vitality, and a realistic taste. On the contrary, a large number of legends function in the realm of uncertainty; neither believed, nor doubted by the audiences.

A legend is a very old and popular story that may be true. the legends of ancient Greece. If you refer to someone as a legend, you mean that they are very famous and admired by a lot of people.

Though customarily told as “true” stories, legends often contain supernatural, bizarre, or highly improbable elements. Types of legends include folk legends and urban legends. Some of the world’s most famous legends survive as literary texts, such as Homer’s “Odyssey” and Chrétien de Troyes’ tales of King Arthur.

A legend is a genre of folklore that consists of a narrative featuring human actions, believed or perceived, both by teller and listeners, to have taken place within human history. Narratives in this genre may demonstrate human values, and possess certain qualities that give the tale verisimilitude.

Legends are stories that are handed down through generations. They are partly true. Robin Hood features real people from history. Unlike myths, legends don’t have magic or monsters, because they’re based on reality.

Legends resemble folktales in content; they may include supernatural beings, elements of mythology, or explanations of natural phenomena, but they are associated with a particular locality or person and are told as a matter of history.

A legend is a semi-true story, which has been passed on from person-to-person and has important meaning or symbolism for the culture in which it originates. A legend usually includes an element of truth, or is based on historic facts, but with ‘mythical qualities’.

Myth. What is the best definition of a myth? A body of stories and legends. You just studied 81 terms! According to the Dictionary of the Royal Spanish Academy, legend is also called a story based on real facts or characters, but deformed or magnified by fantasy or admiration. A person who has been very important or very admired by society, and this admiration lasts in time,…

A legend’s plot will include a lot of action, suspense and conflict. The characters of a legend are often faced with difficult obstacles to overcome, and struggle with their fate or destiny. Legends often explain natural phenomena, religious practices and human nature. They usually offer a straightforward moral, or a lesson for life.

The elements of a legend they are the characters, the plot, the plot and the environment. The legend is a particular type of narrative text that takes unverifiable events from the ancient history of a specific place.

We sometimes say of someone who is extremely famous that they are a “legend” or “of legendary fame”. Examples of legends are Ali Baba, the Fountain of Youth, Paul Bunyan, Kraken, the Loch Ness Monster, and Bigfoot.

Everyone loves a good story, be it fiction or not. It is understandable when a storyteller has to employ some form of real-life experiences or imaginations to form an interesting tale, but there are others that are not based on experiences and imaginations. Such tales are the basis of the cultural and religious beliefs of a group of people.

In this post, we would be talking about two distinct forms of stories, specifically, the difference between legend and myth. These two come quite close in meaning, too close. For instance, scholars refer to them as tools for the preservation of culture from one generation to another; but there are some differences you should be aware of if you must use these terms accurately.

Myth is defined as fiction aimed at demystifying life, its origin, how it works, and how it should be handled. Note that the term “life” in this definition refers to everything from the existence of human beings, plants, animals, the world, natural events like earthquakes, spirits, deaths, and so on. This term has a Greek origin, derived from the word “mythos” which literally translates to “thought, speech, or story”.

What makes a “myth” different from other forms of stories? To answer this question, we would make reference to one of the oldest widely known myth on earth today – the story of creation. If you remember this story, irrespective of version, then you would agree that it has the following qualities.

– Explaining natural events that were beyond natural human comprehension at the time. The tale about creation explained how the first man and woman came to be, the animals, plants, and skies, water bodies, and so on.

– Preserves the history of a people and that of every other generation after them. This history, more often than not, explains how and why certain events took place. For example, how the world started with the first man and woman – Adam and Eve.

– There is usually no evidence to prove certain events and characters involved. They are usually based on real facts.

In a legend vs myth comparison, scholars presumed that the latter can be likened to ancient science, which is drastically different from what is obtainable today but played a huge role in scientific revolutions.

Legend is defined as a tale about real life people that accomplished outstanding feats in life. This definition sounds like it is referring to non-fiction, but in some cases, these stories are known to have some elements of fiction in them. Whatever be the case, this form of tale always has an important purpose expected to serve as the moral.

Just to make it a little more interesting, the writer or storyteller may decide to exaggerate the facts, which is where the element of fiction comes in.

There are a lot of features that show the difference between myth and legend. For instance, some of the characters involved in the former are supernatural beings – gods, demigods, and supernatural creations, while the ones involved in the latter are real life persons.

Now that you know the difference between these two in terms of definition, let us take a more detailed look at how they are different from one another.

Stories would continue to be a part of human existence. They have helped to preserve the origin, culture and identity of different people. They were handed over from generation to generation, and as such, may have little alterations as a result, but the moral of these stories remains the same.

In conclusion, the myth vs legend comparison, we deduced that the latter mostly focused on humans that have achieved great feats, while the former usually involve humans and other supernatural beings.

Nandan is a legendary hero in Tamil literature, whose story is first mentioned in by one of the Saivite saints, Sundarar in the 8th century. His story has been sung by many poets down the ages. The slender skeletal story of Nandan is expanded and enhanced by Sekkizhar. According to the myth Nandan belongs to the lower caste of the society who has an ardent love for Lord Natrajar at Chidambaram temple. Owing to his lowly birth he dared not to enter the temple premise. In his dream, the Lord commands him to purify himself in the fire of immolation and cast off the sin of his birth. Nandan after self-immolation emerges as a Muni or Saint with a sacred thread on his chest. After purification, he walks into the temple and seen by none thereafter. Indira Parthasarathy, a renowned playwright has deconstructed the Legend of Nandan in his play with the same title in 1978. This paper explores how the dramatist has deconstructed the legend to encapsulate the society suffering from the most toxic social evil of casteism. The prime objective of this paper is to inquire how the author has portrayed Nandan as a representative voice of the voiceless and suppressed. Indira Parthasarathy recreates the character of Nandan, to reveal how burning casteism sets human ablaze and turns humanity into ashes.

Key words; Deconstruction, reading against the grain, casteism, social evil.

Introduction

“The world today, with some exceptions, is as furiously religious as it ever was, and in some places more so than ever” (Berger, 1999). Former Indian Prime Minister Jawaharlal Nehru wrote: “a secular state does not mean an irreligious state: it only means that we respect and honor all religions giving them the freedom to function” (Nehru, quoted in Hasan, 1992). On another occasion, Nehru defined a secular state as “One where there is free play for all religions, subject only to their not interfering with each other or with the basic conceptions of our state” (Gopal, 1980). In spite of westernization, industrialization, and secularization, untouchability one of the most abhorrent practices of Hinduism is prevalent in India and Tamil Nadu is no exception.

According to The Hindu article dated March 05.2019, more than 200 alleged hate crimes against marginalized people, including 87 killings, were documented by Amnesty India’s interactive ‘Halt the Hate ’website in 2018. About 65% of the crimes were against Dalits. As claimed by the website the term ‘hate crime’ is generally applied to criminal acts against people based on their real or perceived membership of a particular group, such as caste, religion or ethnicity, among others.

Of the 218 documented incidents, 142 were against Dalits, 50 against Muslims, and eight each against Christians, Adivasis, and transgender people. There were 97 incidents of assault and 87 killings reported. Of the 40 incidents of sexual violence, Dalit women were victims in 33 cases. For the third straight year, Uttar Pradesh recorded the highest number of reported crimes, with 57 such incidents. Gujarat, with 22 incidents, and Rajasthan, with 18 such cases, came next on the list. Amnesty has been tracking hate crimes since the lynching of Mohammad Akhlaq in Dadri, Uttar Pradesh, in September 2015. It has documented 721 such incidents since then.

Most recently this year in Mumbai on May 22nd , a post graduate student of gynecology Dr.Payal committed suicide after casteist slurs by three of her seniors. Those seniors have taunted Dr.Payal about her caste and securing her PG admission through the reservation. Hours before Dr.Payal died, she told her mother that she was unable to bear the torment from the trio who have been torturing and harassing her constantly based on her caste. Dr.Payal is basically from the tribal category, she had worked hard to get a seat in the MBBS and PG courses. “My daughter was extremely strong but this constant abuse eventually broke her,” says her mother to The Hindu dated 27th May. All her dream to work as a gynecologist in the rural area was shattered into pieces and her most precious and dear life was taken because of the evils of casteism.

Despite being under the influence of a strong social reform movement for many decades, Tamil Nadu continues to grapple with casteism. The first Dalit doctor from Tamil Nadu’s Pudukkottai village for an interview to the News Minute regrets that there is one disease that cannot be cured: Casteism. Arul Raj an orthopedic doctor, has witnessed cast showdowns in his village as a 14-year-old boy. In an interview to the News Minute, he states that “my biodata is an ordinary piece of paper but all the scrutiny over it (because it says I am SC) makes it clear that my place in society as a doctor is being challenged. To date, we are not allowed to enter the temple in my village. Be its school or college your caste identity looms over you”. Even today, when someone from a lower start of society strives to come up with the attitude of the upper caste is one of “Oh, he is trying to reach us!”. More than mere discrimination in the name of caste heinous crimes were committed against men, women and even children.

The plight of this suppressed, voiceless people was depicted by the Tamil writers from the early 20th century. Nandannar is the first known legendary character in Tamil literature representing the Dalits, whose story is first mentioned by one of the Saivite saints, Sundarar in the 8th century. Nandan is also referred to as ‘Thiru Naalai Povar’ (one who will go tomorrow); as he believed every day that he would go and have darshan of the dancing Nataraja the next day. Though many poets who came later have sung about Nandanar it is Sekkizhar (12th century) who greatly expanded this skeletal story and rendered it in 37 stanzas. According to the Legend, Nandan is an untouchable farm laborer and devotee of Lord Shiva. Owing to his lowly birth, he was not allowed to enter the premise of the Temple. He was crowned as a divinity after he immolated himself in front of the Nataraja Temple as dictated by the Brahmin priests who claimed that Lord Shiva appeared in their collective dreams to proclaim that Nandan is admitted into the temple after a purification ritual by fire. Nandan gained access to the Nataraja temple in Chidambaram as a reward for his saintliness.

19th century Gopala Krishna Bharati’s version in Nandanaar Charitra Kirthanai is different from the earlier version. He introduced the Brahmin and supernatural element in his creation. He used the story to criticize the upper caste ploys to keep the lower class in subjection. Way back in 20th century Indira Parthasarathy renowned Tamil play right, literary critic and historian have deconstructed the legend of Nandan in his play Nandan Kadhai which was published in 1978. Basically, trained as a rigorous classical scholar in Literature Parthasarathy has retold some of the Tamil Myths and Legends, including history like Aurangazeb (1974), Nandan Kadhai (1978) and Ramanujar (1996), to make them relevant in the context of contemporary values.

Nandan Kadhai was Trans created in English by C.T. Indra with the title The Legend of Nandan (2003). In her Critical Theory and a Reading on Nandan Kadhai: Hindu culture as text C.T Indra gives a detailed account of the post deconstruction critical theory of new historicism, which combines the spirit of deconstruction with the ideological orientation of Marxism and post Marxism. In the light of new Historicism and cultural materialism, she examines Indira Parthasarathy’s Nandan Kadhai and writes, “The playwright himself becomes a new historicist and a cultural materialist in the play because he brilliantly historicizes the original legend about Nandan” (C.T.Indra, 2003)

The play is a story about Nandan and not Nandanaar; according to Indira Parthasarathy “-aar” is not an honorific but a cross to bear. The play right has retold the story that the martyrdom of Nandan was engineered by the caste Hindu landlords and the Brahmins. Indira Parthasarathy has introduced not one but three Brahmins besides two more upper caste Hindus referred to by the names of their communities Mudaliyar and Udaiyar. They all conspire to put down the rise of Nandan belonging to the lower caste who strives to liberate himself and his clan from the impurities of their birth. Being born as a ‘Paraiyan’ (a general term used to refer low -class people) they are considered untouchables. Untouchability is a term, which denotes a rich ritual ‘uncleanness’ and hence untouchables deserved to be shunned. Nandan is disgusted with the paraiyan way of life and wants to educate the men and women of his community into a refined way of life which he finds among the upper caste society. While his fellow men and women are happy with their tribal gods and life of squalor and servile existence which they lead, Nandan feels deep discontent with it and offers an alternate vision of beauty and decency. He aspires to improve the tastes and habits of the paraiyans by exalting the beauty of Lord Nataraja over the gods and goddesses worshipped by the outcasts offering liquor and sacrifice.

Woman 3: All that we need to do is to change our birth.

Nandan: It’s enough that we change ourselves.

Woman 4: how do we change ourselves?

Nandan: Let’s go to the paarpaara temple

All of them together: You devil

Nandan: Let’s try worshipping Beauty

All of them together: What happens then?

Nandan: we ourselves will become Beauty.

Woman 2: What is Beauty?

Nandan: Being human.

Woman 2: Aren’t we human beings?

Nandan: No … we are beasts we must become human. (Indira Parthasarathy, 2003)

Nandan in this play aspires to break all the taboos related to religion, not because he is defiant but because he seeks spiritual knowledge and salvation. Nandan consciously tries to elevate himself to the dignity and the fullness of the self which is a privilege of only the higher-caste Hindus. Nandan persuades a few among his community to turn their backs upon drinking country liquor, meat -eating, sacrificing animals to their tribal gods and become civilized. the upper-caste Hindus who depend on the physical labour of the paraiyan for farming, begin to feel threatened by the rise of Nandan as a challenge to their hegemony. The Hindu landlords felt that this might loosen their hold and the economic power they had been enjoying. This is construed as a definite attempted subversion by the privileged and enlightened class of Mudaliyar, Udaiyar and Brahmin communities and they all band together and devise a ploy to finish Nandhan.

Nandan’s spirituality poses a threat to the brahmin community traditionally regarded as the enlightened segment of society. They sense that Nandan is fast becoming a saint and is being worshipped as a healer too by the lay. This makes them realise that Nandan and his followers were a threat to their religious and spiritual authority which they have been enjoying unprecedently. To stop Nandan’s meteoric rise they exploit Nandan’s pious orientation and spiritual aspiration to his own disadvantage. They all together draw a plot to trap Nandan in his own piety.

Vediyar 1: Do you know the news about Nandan?

Vediyar 2: He is trying to turn Paraccheri into an agraharam!

Vediyar 3: He talks of Sivapooja.

Vediyar4: He talks of Chithambalam.

…………………………………..

Vediyar 1: Sankaranti for a fox in the burrow

Vediyar 2: Must nip it in the bud.

Vediyar 3: We are finished if this is allowed to go

Vediyar 4: The parayan will start flaunting a sacred thread. (Indira Parthasarathy, 2003)

Nandan’s subversion is effectively ‘contained’ by an ingenious but gruesome stratagem devised by the clever Brahmin called Vediyar at the instance of Mudaliyar and Udaiyar who feel threatened not so much by Nandan’s insubordination as by his uncompromising piety. The play shows how these three upper caste men fan Nandan’s spirit of bhakti and devotion to the dancing Lord Nataraja, giving him the impression that he is ripe for redemption, thereby making him feel that he is a cut above fellow paraiyahs. Nandan was made to believe that he could perform miracles by the grace of God. Although Nandan is frightened at this awesome prospect, he is so deeply entrenched in the situation that he cannot now retract. On a chosen day, in front of a huge gathering, Nandan and Abirami enter the fire to the trepidation of the paraiyans watching the sight. The upper caste hail Nandan as sanctified and canonized and call to the other paraiyans to follow Nandan, but the latter flee for their dear lives, listening to an inhuman wailing apparently by the burning Nandan and Abirami. He entered the fire only to become a victim of the establishment that always succeeds ultimately. The fire engulfs Nandan turning him into ashes. Nandan symbolizes each and every Dalit who is fighting for the restoration of his dignity as a human being. Nandan pays a dear prize of his life and beloved for trying to Brahminize himself and his clan.

According to the legend, Nandan gets purified himself in the fire of immolation and cast off the sin of his lowly birth. After the self-immolation, he emerges as a saint with the sacred thread on his chest. But Indira Parthasarathy’s Nandan is an ordinary human who was conspired by the Brahmins to have extraordinary power as a gift of his devotion. Nandan falls prey for this and throws himself into the fire believing he will attain salvation but turns into ashes. The dramatist throws into relief what is happening even today to the Nandan’s in the corner of Indian society. He also stresses the point, however, that the term Brahmin does not refer to any unchanging fixed caste; it points to any hegemonizing force at any given point of time.

Indira Parthasarathy is interested in a reconstructive use of Nandan story to offer a trenchant critique of social inequity. He introduces the characters of the Brahmin (Vediyar) and the other upper caste Hindus, the Mudhaliyar and Udaiyar with the intension to show how vested interest brings them all together to halt the social mobility of the untouchables. All the upper caste whose interests are jeopardized by the rise of new leadership like Nandan’s are denoted by the author as Brahmins. He also presents the master of Nandan as a degenerate feudal landowner so familiar in colonial India.

The play is a pungent attack on the regressive forces of the caste- ridden society. The dramatist deconstructs the legend to satires the oppressive caste system which does not allow the upward mobility. It is a play espousing the Dalit cause, the cause of the oppressed and downtrodden classes and castes. Contemporary Dalit leadership can find a forerunner in Nandan’s voice. As M.N Srinivas notes, “Only those who live in the villages know how suffocating and traumatic day to day life can be for those at the bottom of the ladder”. (Srinivas, 1997)

Indira Parthasarathy’s play graphically dramatizes such a state of affairs prevailing in Nandan’s time. Even in this 21st century, things have not completely changed. Casteism is a chronic disease that affects the mindset of the individuals and groups, which is a menace to the humanity. Discrimination, caste bias, and antisocial activities in the name of religion are still prevalent in every nook and corner of our society hampering the growth of humanity. Indira Parthasarathy recreates the story of Nandan, the marginalized by humanizing the tough war hero by highlighting his emotional drama in this compelling work that brings Nandan to life. Indira Parthasarathy has desacralized the very canonization of Nandan. Through his play, he exposes the bitter truth of how casteism sets human ablaze turning humanity into ashes.

Works Cited

1. Berger, Peter. The Desecularization of the World Washington, D.C. Ethics and Public Policy Center., 1999.
2. Correspondent, Special. ‘65% of Hate Crimes Against Dalits: Amnesty.’ The Hindu, 5 Mar. 2019, www.thehindu.com/news/national/65-of-hate-crimes-against-dalits-amnesty/article26440412.ece.
3. ‘Critical Theory and a Reading of Nandan Kadhai: Hindu Culture as a Text.’ The Legend of Nandan, C.T Indra New Delhi, Oxford University Press, 2003, pp. 69-82.
4. Gopal, Sarvepalli, editor. Jawaharlal Nehru: An Anthology. Delhi , Oxford University Press., 1980.
5. M.N, Srinivas, editor. Caste and its Twentieth Century Avatar. New Delhi, Penguin Book India, 1997.
6. Parthasarathy, Indira. The Legend of Nandan. New Delhi ,Oxford University Press, 2003.
7. Shariful, Hasan. Nehru’s Secularism in Nehru and the Constitution. Bombay, N.M.Tripathy Ltd, 1992.
8. Shelar, Jyoti. ”Payal Was the First Doctor in Our Family?’ The Hindu, 27 May 2019, www.thehindu.com/news/cities/mumbai/payal-was-the-first-doctor-in-our-family/article27257250.ece.
9. https://amnesty.org.in/news-update/over-200-alleged-hate-crimes-in-2018-reveals-halt-the-hate-website/

The legend of Robin Hood has been around for centuries. This story of an outlaw hero, a generous criminal, the “Prince of Thieves,” is a popular story that has been told in many different ways throughout generations. This legend does not tell the story of a common criminal. The courageous, selfless Robin Hood steals from the rich and gives to the poor.

The legend of Robin Hood is a tradition that has no specific location or era that it originated from. The first literary mention of Robin Hood was in 1377 in the English verse, The Vision of Piers Plowman by William Langland; however, this was only a reference to Robin Hood. Because this English verse did not tell the story of Robin Hood, it is inferred that the legend was derived from oral tradition dating back to at least the 13th or 14th century. A Gest of Robyn Hode, which was written around 1450, was one of the first iterations of Robin Hood stealing from the rich and giving to the poor. Robin Hood is mentioned all over the English map, including Derbyshire and Yorkshire. A common setting of the Robin Hood legend is Sherwood Forest near Nottingham. Another setting, common in English ballads, was Barnsdale Forest in Yorkshire.

Robin Hood was depicted as a skilled archer, dressed in Lincoln green and a hood. There is great symbolism of Robin Hood being depicted with a hood. The word “hood” has a negative connotation and is related to other words such as Someone who wears a hood is initially covering themselves and hiding their true identity Robin Hood is known as an outlaw hero, meaning he lives outside the protection of the law. One of the most common versions of the legend of Robin Hood has the story set in England during the reign of King Richard the Lionheart while others have the legend taking place during the reign of King Edward II. It was said the Robin Hood would fight in the Crusades with King Richard I, and returned home to his land taken over by the Sheriff of Nottingham, his most common enemy. He and his merry men also went after corrupt leaders of the Church such as Abbot of St. Mary’s and the Bishop of Hereford. Common companions of his are Little John and Will Scarlet who are part of his merry men. In early versions of the legend, the main focus of the story is about social injustice and Robin Hood and his Merry Men stealing from the rich and giving to the poor. These stories are often violent and bloody as Robin Hood and his merry men attack these corrupt individuals.

In later versions of the play the focus of the legend shifts to a love interest as Maid Marian is added to the story. Characters such as Maid Marian, Friar Tuck, and alan-a-dale are most likely added to the story due to May Day rituals in which the legend of Robin Hood was acted out. Maid Marian plays a major part in the legend of Robin Hood; she is Robin’s true love. She has multiple backgrounds depending on the version of the legend that she is in. Some say she is a Norman noblewoman while others say she was a Saxon. Some versions have Robin Hood saving her from unwanted suitors such as the Sheriff of Nottingham and Guy of Gisborne. While some legends say she is merely a damsel in distress, others portray her as a strong woman who acts as a spy or as an outlaw herself with archery skills.

The story of Robin Hood’s death has remained fairly consistent throughout the years. Although there are some other accounts, there is one that is the most common and long lasting version of the story. When Robin Hood grew old, he believed he was ill and was beginning to die, so he decided that he should be bled in order to be relieved of his illness. Accompanied by Little John, Robin Hood went to the priory to be healed by the prioress. Persuaded by her lover, the prioress slowly bled Robin to death. When he realized what was happening, he blew his horn for Little John to come rescue him, but it was too late. With the little strength he had left, he shot an arrow indicating where he was to be buried.

Even today, it is unknown whether or not the legend was inspired by a real person. As scholars have searched for signs of a real Robin Hood from the past, they ran into conflicting regions and eras. According to the time when the legend has grown in popularity, it is possible that a historical Robin Hood existed in 12th or 13th century. The only evidence of the existence of Robin Hood are in the writing of the English ballads. Many stories say Robin Hood would have been born in 1160 AD in Locksley, Yorkshire. Scholars have discovered many different records of people who were outlaws or fugitives that resembled Robin Hood in a way, all from differing areas. Therefore, most scholars believe that the idea of Robin Hood, if it were based on a true story, was inspired by multiple individuals rather than a single person.

The legend of Robin Hood greatly impacted the society and gained popularity throughout the world, for it easily appealed to the common people. During the time the Robin Hood ballads became popular, there were many events that were going on around England that resulted in rebellion of the peasants. They could not freely hunt and use land since everything was owned by kings and nobles. Also, the Black Death greatly affected these ordinary people. This disease constantly put their lives at risk as family members, neighbors, and friends were affected by the rapidly spreading plague. These hardships and challenging lifestyle led to the Peasants’ Revolt of 1381, and this social unrest is reflected through the legend of Robin Hood and really spoke to these people.

Robin Hood was a symbol of hope for the less fortunate. This legend symbolizes the common man going up against injustice, which was very encouraging to the common people of the Medieval time period. It was nearly impossible for these people, who had very little and were controlled by individuals who had extreme amounts of wealth, to control and be satisfied with the life they were born into. This legend told a story that appealed to them and gave them hope for a better future. The legend of Robin Hood has left many marks all over Europe and shows the rise of outsiders and lower class individuals. Whether the legend derived from a once living, breathing person or from a fictional character, the tale of Robin Hood continues to enrich people with an uplifting message of social justice and charity.

Originally published in 1988, The Alchemist was written by the world renown and best-selling author Paulo Coelho. Being an allegorical novel, the author writes a story about a young shepherd from Andalusia who is on a journey to the pyramids in Egypt. His goal is to acquire the treasure that he keeps having recurring dreams about. Throughout his journey, he meets many influential characters and faces a multitude of situations that leads him towards searching for his personal legend- one’s destiny or purpose in life to find something greater than themself. The main character Santiago, is trying to pursue his personal legend; although, he might not know it at times especially due to the adversity he has to face on his journey to understand the soul of the world. The author extensively uses various themes to deliver the message of the story; such as, achieving one’s personal legend, amalgamation of nature in life, and fear which guides the risks taken. Throughout the journey of Santiago attempting to achieve his treasure- searching for his personal legend- it allows us to reflect on our own lives and ask ourselves what our personal legends are; as well as making us more aware of the tests we may face in every aspect of life around us.

The main, and rather driving theme of the novel is discovering one’s personal legend. The author illustrates that personal legends are satisfied by venturing out on an unknown, yet educational quest by finding the someone’s personal significance and purpose in accordance with the rest of the world. In addition to that, the author emphasizes that seeking out our own personal legend and fulfilling it is an essential purpose in life. The old king of Salem, Melchizedek, explains the concept of personal legends when he tells Santiago that:

“Whoever you are, or whatever is is that you do, when you really want something, it’s

because that desire originated in the soul of the universe. It’s your mission on Earth…To realize one’s Personal Legend is a person’s only real obligation. All things are one. And, when you want something, all the universe conspires in helping you to achieve it.” (Coelho 24).

From this, the king of Salem unfolds that everyone, and even everything, has its own goals or dreams to achieve in life. In addition, the whole universe is there to support them as they try to achieve their destinies. But personal legends don’t necessarily have to be realized by finishing the race. A personal legend is truly fulfilled when one is satisfied with what they have completed of their journey so far. People interpret the omens that guide them to find their personal legend differently, which is why everyone’s is unique. And those who cannot reach their goals or dreams, are left the rest of their life wondering what their treasure was, because they didn’t know what they could achieve.

The danger of fear that Santiago experiences throughout his journey to seek his personal legend is the most frequently seen barrier. It is what is holding him back from actually achieving his personal legend. The reader sees how the situations Santiago encounters has an emotional and physical toll on him. One of Santiago’s most prominent weaknesses is his self-doubt mindset, which is perfectly highlighted towards the end of the book. When Santiago feared for his life because he couldn’t figure out how to turn himself into the wind, the alchemist told him that “if a person is living out his Personal Legend, he knows everything he needs to know. There is only one thing that makes a dream impossible to achieve: the fear of failure” (Coelho 146). The alchemist told Santiago that if he gave into his fears, then he would be able to listen to his heart, because his heart is always right. In doing so, Santiago learned the language of the desert and the wind- the Soul of the World. Ironically, the opposite of fear is love which is a universal language.

Love is what brings us towards our goals, unlike fear which drives us away, the latter being the beginning of Santiago’s journey and the former being the end. If we are love, we can do almost anything. Love is support, whether it is from our family and friends, or from the universe around us. As Santiago was trying to have the wind grant him the access to turn him into it, the boy told the element this, “When you are loved, you can do anything in creation. When you are loved, there’s no need at all to understand what’s happening, because everything happens within you, and even men can turn themselves into the wind” (Coelho 152). The wind, and eventually the desert, and the heavens all supported Santiago to show the tribal chiefs that he could turn himself into the wind. Without the sense of fear, Santiago believed in himself and with everything he already knew about his personal legend, he was able to perform alchemy and save his life.

Many times in life, the fear we have for own self doubt that doesn’t compare to the doubt others have for us. From the time we are young, many of us most likely dreamed of being a professional athlete, or attending some of the most prestigious colleges in the country. Often times we hear people say that we can’t do that, or that it is impossible or unlikely. Much like how Santiago thought that turning himself into the wind would be impossible. Nike’s “Just Do It” campaign has been a motivational call for athletes all around the world from youth to pro, whether disabled or gifted. But no matter the differences, all these people have in common the ability to move the world forward by the power of sports. The “Dream Crazy” video, narrated by Colin Kaepernick, displays feelings of encouragement to those who have what seem to be impossible or crazy goals that are unlikely to be achieved. At the end, Colin says “it’s only crazy until you do it” which sets the standard many seem to be afraid of. Santiago thought it was impossible to turn himself into the wind, but that is only because he never tried something so audacious. However, he put his mind to it and showed that anything is possible with power and love.

Many people have experienced the beginning of their journey to find their personal legend even though they probably never realized it. Sometimes like Santiago, we think our personal legend is seeking out our treasure whether tangible or intangible. But it seems like more often than not our personal legend it what we learn about on the journey to find our treasure and not the treasure itself. The adversity we face, especially by overcoming our fears, and the obstacles in the way, is where the true value of our destiny lives. The author uses the integration of the themes of achieving personal legends, unification of nature, and the danger of fear as a brilliant allegory to the reality of many people’s lives who don’t fulfill their destiny. The mood that the novel creates makes us, just like Santiago, realize what we were missing in life so we can venture out to find it.

Many of us have at least once heard of an ancient legend. As kids, we have heard mention a few, and who doesn’t love a legend with a bit of mystery to it. There are some legends that date back as far as 800AD. The early creation of these legends is what makes it consequently difficult for one to trace, since it is passed on by word of mouth from one generation to the next. Like the ancient legend of El Dorado, that with no doubt would catch the attention of any treasure hunter in no time. Today the legend of El Dorado is mostly known as an unfortunate myth and a symbol of greed. Still, even till today there are treasure hunters on the hunt for it.

El Dorado, known as the lost city of gold, is an ancient legend that takes place in South America and originated in Colombia. To many it is considered a legend, a myth, a campfire story but to others like treasure hunters and explorers they still hang on to the belief that the legend is true. If you’re asking yourself why people would want to believe this ancient legend to be true, well that would be thanks to the facts and findings that have been found related to the El Dorado legend. There have been many explorers who have even lost their lives in the search of this prestigious city of gold. So, let’s take it back to the very beginning of how this legend came to life.

The Colombian legend of treasure begins with the Muisca Confederation. In the Wikipedia article of the Muisca Confederation it mentions how the Muisca tribe are known to be one of the well-organized tribes of Colombia. How they were also one of the four advanced civilizations of the Americas and they were best known for the skills they had of working gold. They were the inhabitants of the central Andean highlands of Colombia and that was before the Spanish conquest of the Northern South America. The Muisca tribe was a loose confederation with several rulers that consisted of the Zaques, Zipas, Iraca, and the Tundama. However, out of the four rulers there was one in specific that stood out the most, that was the tribal chief the Zipa.

In the article “The Muisca Raft” on the Vintage News by David Goran he gives us an idea of how the Zipas ceremony ritual took place. He explains that the very well-known ceremony ritual took place when a new Zipa ruler was crowned. When a leader died within the Muisca tribe the new chief to be acknowledged would be the nephew of the previous chief. He mentions “stories indicate that during initiation ceremonies their chiefs would be covered in gold dust and taken to the center of Lake Guatavita on a raft. Once in the center he would throw precious items made of gold and gems as an offering to the gods.” (David Goran)

However, in the article by Visit Colombia Co: Feel the Rhythm, we get more detail picture wise of the ceremony. The article mentions how on the day of the ceremony braziers with burning Indian incense would be placed at the edge of the Guatavita lake to hide the light of day. That the young chief would then get undressed and cover his body in a mixture of gold dust and soil. Once done, he would get on a raft and stand in the very center of it with immense amounts of gold and emeralds at his feet with his people circling around him. The Zipas would then sail off to the lake where the chief would throw himself into the water with his offerings and offer the gold pieces and emeralds to the Guatavita goddess in the middle of the lake. Once the ritual was done the raft would return to the edge of the lake where a party was held to honor the new chief and prince.

Even though the El Dorado legend begins in 800AD it wasn’t until the 15th century that the legend spread according to the article by Historic Mysteries “The Legend of El Dorado”. The article also mentions how the Spanish explorers where led by their greed when they heard of the stories of how the Zipa chief would submerge himself in the lake with his golden treasure. There was even a point in time where the greedy Spaniards attempted to drain Lake Guatavita in their search for this lost city of gold. However, in their attempt they failed because even though they found immense amounts of gold they were unable to reach the trove that presumably existed in the deepest end of the lake. Lastly, the article explains how just like the Spaniards others were on the hunt for example, Sir Walter Raleigh. In fact, at the end of the 1500s people thought Sir Walter had found the actual treasure. They even marked it as a location in the north on the English maps, and it remained a credible location until the 1800s when an explorer by the name of Alexander Von Humbolt proved it to be otherwise.

In 1898 a limited company of contractors from London began an exploitation of the lagoon of Guatavita. They drained the lake by a tunnel that emerged in the center of it, with the drained water there was also up to 4ft of mud and slime. This made the exploitation a bit difficult since the heat of the sun would dry up the mud, making it be like concrete. Though they had difficulties, they managed to score artifacts that were worth up to 500 euros. Later, they were auctioned off at Sotheby’s, one of the world’s largest brokers of fine art. It was not until 1965 when the Colombian government decided to act and designate the Guatavita lake as a protected area. Meaning that all attempts to drain the lake and would be considered illegal. (“El Dorado,” n.d.)

Even though the Colombian government now protected the lake, findings of the El Dorado legend continued to pop up. Exactly three years later in 1969, three farmers found a golden raft sculpture in a cave in a small village located within the municipality of Pasca, Colombia. The golden sculpture represented the ceremony of the Zipas. The piece was in a shape of a log boat that had various figures on it, and exactly in the middle stood the largest figure which represented the chief. This golden sculpture is covered in an alloy containing pure gold with native silver and a small amount of copper. Unfortunately, the three farmers they were unable to keep the representative symbol of the Muisca raft statue. It was confiscated and set to be protected by the municipality priest which was then passed on to the Gold Museum of Bogota and to this day remains one of its major exhibition pieces. (“Muisca Raft,” n.d.)

Though it appears that we have enough evidence to explain the El Dorado legend, it is still yet to be found in South America. The question is that if it was to be found one day, would the world find out? Treasure hunting in the modern age has become more about monetary gain rather than it being a discovery of historical treasures. Dr. Jago Cooper even mentioned in a BBC article that. “El Dorado-inspired looting of gold has meant that the vast majority of precious pre-Colombian gold objects have been melted down and the real value of these artefacts as clues to the workings of an ancient culture have been lost forever.” Which explains why the El Dorado legend today is more of an unfortunate myth and more of a symbol of greed. Although, I hope that the interest in finding the lost city of gold “El Dorado” remains, if that’s not the case at least we still get to enjoy the mystery that this legend of historical treasure brings us.

A Personal Legend, as it is stated in The Alchemist by Paulo Coelho, is one’s destiny in life. It is identifying your purpose in life and pursuing it. It is a calling; it is something you have wanted to achieve your whole life. Coelho suggests a Personal Legend as “what you have always wanted to accomplish”. I believe that Personal Legends matter a lot to us in life without us even realizing it. They provide us with a purpose or a reason to be who we are. They are important because they give us the motivation, determination, and resilience that we need to be the best person we can be. The hero’s journey helps us achieve our personal legend by giving us a pathway to success if we are willing to pursue it. While Personal Legends vary from person to person, a Personal Legend is fulfilled by embarking on an enlightening journey and realizing the total importance of one’s own significance.

It begins with the routine and drab of your ordinary world. It is only when we understand we need to leave our ordinary world that we truly rise by becoming resilient. Coelho portrays this with Santiago and his repetitive life within the hills of Andalusia.” They are so used to me they know my schedule.” indicating that he needs to get out of the rut that is his tedious and dreary life because even his sheep know his schedule. He needs to get out of his ordinary world. We might need a dream to break free from the constraints of our regular world and Coelho illuminates this when he tells us that Santiago has the same recurring dream, almost indicating where his Personal Legend lies but feels like something is missing. The thing that is missing is a call, a call for us to leave the world we have always known and take a step into the unknown. Unfortunately, more often than not we refuse this call. Why? Because we are afraid. We are afraid of what is out there. This is elucidated by Coelho when Santiago remembers his sheep when he is on the brink of buying a ticket to go to Africa and feels as if he needs to stay with them. We have reluctance we don’t want to go out of our comfort zone. This is the point when we need to understand our Personal Legend and learn resilience to take the next step and cross the threshold.

The next stage of trying to attain our Personal Legend is when we meet our mentor. Our mentor could come in the form of anyone. My mentors are my father and mother. Ever since I could walk and talk my parents were guiding me in the right direction. They have always been there for me. Coelho expresses Santiago’s mentors as the old King and the Alchemist. Santiago gives up his old life and dives into the unfamiliar by selling his sheep and traveling to Africa on persuasion from the old King. This is certainly crossing the threshold and leaving your other world in the dust. The Alchemist gives some words of wisdom to Santiago when all is lost and it changes his viewpoint and determination to reach his Personal Legend. “Because wherever your heart is, that is where you’ll find your treasure.”- The Alchemist. Then comes the time when you need to prepare for your final challenge. This is the final obstacle standing in the way of you and achieving your Personal Legend. The last barrier between you and the thing that you’ve always wanted.

Then the time comes when you take on that encounter. You charge through with the resilience, determination, and newfound strength you have acquired on the way and achieve your goal. You’ve given time, and effort and have made many sacrifices, but you have done it. What you dreamed of as a child, your wildest dreams, your ultimate potential. Along the way, you have grown stronger, gained more wisdom, and grown as an individual. We have expanded our horizons and unlocked things we didn’t realize we had in us. We were triggered by the call and that motivated us to unlock our biggest potential, our Personal Legend. “It’s true; life really is generous to those who pursue their Personal Legend”. -Santiago. Life is given to those who are willing to go that extra mile and leave their first world and move on to an enlightened world. Only then are you worthy of achieving your Personal Legend?

After considering all this, I believe that Personal Legends are a significant thing in our otherwise non-exciting life. To live life to its fullest it is essential we do what we are fated to do, and complete our Personal Legend. We don’t know who we really are until we accomplish what we are destined to do. Our Personal Legends make us acquire important life traits like determination, and resilience and also teach us how to be rewarded. Personal Legends determine who we were, who we are, and who we will be. I wonder, have you found your Personal Legend yet?