![]() And as in other classical tales, even though the structure of the narration follows a single protagonist in his journey, the way the writer adresses these topoi is universal. Not only does he use literary technics and structures specific to philosophical tales, but he also adresses topoi usually found in classic literature, such as the notion of fatum or the fulfillment of one's destiny. ![]() Indeed, alchemy, old kings and treasures are universal symbols which easily favor universal concepts, and by resorting to them, not only does Coelho place his work in a direct literary lineage, but he also conveys a certain philosophy. And myths, in a generic acceptation of the term, are the medium to communicate such a perception of reality. Most certainly, The Alchemist is an allegory, the narrative representation of a great idea, the idea that the universe is helping one to fulfill one's destiny if one but learns to recognize it. The very first lines of the novel illustrate this essentiality particular to classical tales: There are no superfluous characterizations, only the necessary ones to the set the plot and convey the essential thematics. It is a very classical literary scheme that the narrator proposes to the reader, and the omniscient point of view associated with the use of the narrative past definitely justify the "philosophical tale" label often used to speak about the Alchemist. ![]() They serve the initiatory process of the main protagonist, as well as the different episodes serve the experiences necessary to this process. The reader follows the journey of Santiago, and the other characters in the novel are auxiliaries to this quest. Indeed, the plot itself is linear, and the storyline one and only. The narrative features used to convey this topoi to the reader also participate in establishing Coelho's work as a direct inheritor of a classic literary form. Many thematic elements of The Alchemist's plot correspond to this tale archetype, such as the oneirism, the journey and the treasure. Indeed, with over 80 millions copies sold, translations into over 80 languages from its original Portuguese version, and many literary prizes won, it is still at this time one of the best selling novels ever, considered by many a reference as a modern philosophical tale. To do so, Paulo Coelho's most renowned work, The Alchemist, appears to be quite an appropriate case study. ![]() To that extent, it seems relevant to analyze the nature of the narratives conveying these myths, and so this particular approach of the latter philosophical considerations. ![]() Through myths, the philosophical fictions, and particularly philosophical tales, address questions that extend beyond the purely fictional and literary domain, thus converging toward philosophy. One of these main features, and probably the most relevant to this classification, is the fact that these works, from Candide to The Handmaid's Tale, propose through narration a reflection on questions usually addressed in discursive philosophy. There is no universally accepted definition of "philosophical fiction" however, some distinctive features found in literary works ranging from the classic era to the contemporary literary movements effectively allow to establish a connection between them, and thus to regroup them under this "philosophical fiction" label, or genre. ![]()
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