Archetypes

1
Archetypes

• What are they?
• Why do we study them?

2
Carl Jung

• Definition of Archetype
• A universally recognizable element . . . that
  recurs across all literature and life (Latrobe
  13). Psychologist Carl Jung called these
  elements a kind of collective unconscious of
  the human race, prototypes rather than something
  gained from experience.
• The word is derived from the Greek arche,
  original, and typos, form or model thus,
  original model (Latrobe 13).
• A key to understanding folk literature is to
  understand archetypes. An archetype is to the
  psyche what an instinct is to the body. . . . .
  Archetypes are the psychic instincts of the human
  species. (Edinger as quoted in Knapp 10).
  Archetypes are universal in human beings.
• Archetypes are repeated patterns that recur in
  the literature of every age (Sloan 48).
• In literature an image, story-pattern, or
  character type that recurs frequently and evokes
  strong, often unconscious, associations in the
  reader. For example the wicked witch, the
  enchanted prince, fairy godmother in folklore
  literature that may appear slightly different in
  poetry, novels, or drama.

3
Archetypes (contd)

• Sign- signifies an object, like an abbreviation,
  trademark, or product name
• Example a dollar 1

• Symbol Jung classifies this as a term, name,
  or even a picture that may be familiar in daily
  life, yet that possesses specific connotations in
  addition to its conventional and obvious meaning
• Can be analyzed , but cannot be fully explained
• A larger unconscious aspect

4
Archetypes (contd)

• DREAMS
• Historically, world cultures believed that dreams
  came from an outside source, such as carrying
  messages from the gods about our present lives or
  predicting our future.
• Greeks believed in dream oracles and built over
  300 shrines for them. They believed that
  nightmares were caused by demons
• trying to seduce the dreamer
• -Greek god Hypnos, son of Somnus, was the god of
  sleep.
• -Caesar invaded Rome because he was prompted to
  do so by dreams.

5
Archetypes (contd)

• Dreams (contd)
• Biblical The Israelite prophet Daniel was
  summoned to
• interpret the dreams of King Nebuchadnezzar
• (Old Testament 4535)
• Joseph interprets the Pharaohs dreams in Genesis
  41138
• Muhammad founded Islam after having a dream.
• Indian seers believed some dream symbols are
  universal while
• other symbols are personal to the dreamer.
• During the middle ages Christians believed that
  dreams should be ignored.
• During the Renaissance period 15th century, dream
  dictionaries were printed
• 19th century- Carl Jung and Sigmund Freud
  (psychoanalyst) studied dreams and the causes of
  neurosis in the unconscious mind.
• Ego the conscious mind
• Id the unconscious mind
• When we sleep, our egos relax control dreams are
  the wish fulfillments of our repressed desires.

6
The connection of dreams and archetypes

• Carl Jung spent his entire career studying
  dreams. He says that our unconscious mind speaks
  to us in the form of dreams. These dreams have
  their own language they speak to us in symbols.
  The symbols are filtered through our dreams and
  come from our unconscious mind.
• He said that our unconscious mind acts almost as
  another person inside us, a second personality
  within.
• Dreams contain certain basic patters that contain
  messages carrid from our unconscious mind to our
  conscious mind.
• Each symbol in a dream is called a motif these
  symbols or motifs have two meanings a personal
  meaning for the dreamer, but also a collective
  meaning because she symbolizes a wise old person
  or guardian figure (archetype).
• Archetypes/dream patterns appear and reappear in
  world myths, legends, and literary themes. They
  are inherited as part of our humanity which
  connects us to our past.

7
Classification of archetypes

• Three basic situation, symbolic, character
• Other authors/analysts also state there are seven
  major archetypes.
• There are twelve archetypes subcategories just
  for the hero archetype, according to Carol
  Pearson.

8
Situation ArchetypesThe Quest

• This motif describes the search for someone or
  some talisman which, when found and brought back,
  will restore fertility to a wasted land, the
  desolation of which is mirrored by a leaders
  illness and disability. (A talisman is an object
  which is believed to contain certain magical or
  sacramental properties which would provide good
  luck for the possessor or possibly offer
  protection from evil or harm)
• Classical examples are the quests of Gawain,
  Perceval, and Galahad for the Holy Grail.
  Contemporary examples are The Lion King,
  Excalibur, and Idylls of the King

9
Situational The Task

• The task is a mission or job To save the
  kingdom, to win the fair lady, to identify
  himself so that he may resume his rightful
  position, the hero must perform some nearly
  superhuman deed. The task is NOT the same as the
  quest. It is a function of the ultimate goal,
  the restoration of fertility
• (Arthur pulls Excalibur from the stone, Grendel
  is slain by Beowulf, Frodo must arrive at
  Rivendale in Lord of the Rings.)

10
Situational The Initiation

• This usually takes the form of an initiation into
  adult life. The adolescent comes into maturity
  with new awareness and problems along with new
  hope for the community. This awakening is often
  the climax of the story. (Huckleberry Finn, King
  Arthur)

11
Situational The Journey

• The journey sends the hero in search of some
  truth or information necessary to restore
  fertility to the kingdom. Usually the hero
  descends into a real or psychological hell and is
  forced to discover the blackest truths, quite
  often concerning his own faults. Once the hero
  is at his lowest point, he must accept personal
  responsibility to return to the world of the
  living. A second use of this pattern is the
  depiction of a limited number of travelers on a
  sea voyage, bus ride, or any other trip for the
  purpose of isolating them and using them as a
  microcosm of society (The Odyssey, The Canterbury
  Tales, The Aeneid, The Fellowship of the Rings)

12
Situational The Fall

• Fall (from innocence) and out of paradise. This
  archetype describes a descent from a higher to a
  lower state of being. The experience involves a
  defilement and/or loss of innocence and bliss.
  The fall is often accompanied by expulsion from a
  kind of paradise as penalty for disobedience and
  moral transgression. (Adam Eve, Lancelot and
  Guinevere, Paradise Lost)

13
Situational Death and Rebirth

• (cycle of nature) The most common of all
  situational archetypes, this motif grows out of
  the parallel between the cycle of nature and
  cycle of life. Thus, morning and springtime
  represent birth, youth, or rebirth evening and
  winter suggest old age and death.

14
Situational Nature vs. a Mechanistic World

• Nature is good while technology and society are
  often evil (The Terminator, Mad Max, I Robot)

15
Situational The Battle Between Good and Evil

• The battle between two primal forces. Manking
  shows eternal optimism in the continual portrayal
  of good triumphing over evil despite great odds.
  Examples are the forces of Sauron and those of
  Middle Earth in The Lord of the Rings, Satan and
  God in Paradise Lost, any western, most cartoons.

16
Situational The Unhealable Wound

• This wound is either physical or psychological
  and cannot be fully healed. This wound also
  indicates the loss of innocence. These wounds
  always ache and often drive the sufferer to
  desperate measures (Frodos shoulder, Harry
  Potters scar, Martin Riggs madness in Lethal
  Weapon)

17
Situational The Ritual

• The actual ceremonies the initiate experiences
  that will mark his rite of passage into another
  state. The importance of ritual rites cannot be
  sufficiently stressed as they provide a clear
  sign post for the characters role in society as
  well as our own position in the world. (weddings,
  baptisms, coronations)

18
Situational The Magic Weapon

• The weapon symbolizes the extraordinary quality
  of the hero because no one else can wield the
  weapon or use it to its full potential. It is
  usually given by a mentor figure (Excalibur,
  Odysseus bow)

19
Symbolic ArchetypesLight Darkness, water vs
desert, heaven/hell

• Light Darkness -Light usually suggests hope,
  renewal, or intellectual illumination darkness
  implies the unknown, ignorance, or despair.
• Water vs. Desert - water commonly appears as a
• birth or rebirth symbol. Water, which
  solemnizes
• spiritual births, is used in baptismal
  services. Similarly, the appearance of
  rain in a work of literature can suggest a
  characters spiritual birth. (the sea and river
  images in The Odyssey)
• Heaven vs. Hell the skies and the mountain tops
  house gods the bowels of the earth contain the
  diabolic forces that inhabit his universe.

20
Symbolic Archetypes Innate Wisdom vs. Educated
Stupidity

• Innate Wisdom vs. Educated Stupidity
• some characters exhibit wisdom and understanding
  of situations instinctively as opposed to those
  supposedly in charge. Loyal retainers often
  exhibit this wisdom as they accompany them on the
  journey.
• (Sam from The Lord of the Rings, animals, Donkey
  in Shrek)

21
Symbolic Archetypes

• Haven vs. Wilderness places of safety contrast
  sharply against the dangerous wilderness. Heros
  are often sheltered for a time to regain health
  and resources (Camelot)
• Supernatural Intervention The gods intervene on
  the side of the hero or sometimes against him.
  (The Odyssey, Clash of the Titans, The Lord of
  the Rings, The Bible.)
• Fire vs. Ice - fire/(flame)light (goodness) ice
  (death, coldness). Fire represents knowledge,
  light, life, rebirth while ice, like desert,
  represents ignorance, darkness, sterility, death.
  (Dantes The Inferno) Fire contrast Raging
  fires from voluntary evil destruction symbolizes
  loss and regret.

22
Character Archetypes

• The Hero
• The Archetype of the hero in modern myth and
  media is one that is a fairly set pattern. In
  order to have a successful heroic figure, the
  tale must follow along these lines
• The hero usually suffers a great loss, which
  makes him set off on a quest.
• The hero generally has a mentor or helper who
  helps him on his quest.
• The hero must face a set of trials/obstacles,
  which allow him to overcome "evil".
• The hero narrowly escapes death, usually more
  than once.
• The hero escapes the "evil villain's" stronghold
  or destroys him.
• The hero is then reintegrated into society with a
  new status, wealth, or marriage to the princess.
• There has to be some type of happy ending.
• Recently a female hero or heroine has become
  accepted and very common.
• Some attempt to kill him at birth and/or reared
  by foster parents.
• Returns to future kingdom/ victory over the king
  or a wild beast, he marries a princess, becomes
  king.
• Examples Moses, Perseus, Arthur, Robin Hood,
  Frodo, Superman

23
Character archetypes mentors

• Mentor also known as the sage, wise old
  man/person.
• Serve to teach and guide role models
• Often serve as mother or father type figures
• Teaches by examples the skills necessary to
  complete a quest.
• Examples Karate Kid (Mr. Miyagi), Obi Wan Kenobi
  in Star Wars, Dumbledore in Lord of the Rings.

24
Character archetypes initiates

• Initiates can be referred to an orphan type
  character
• Young heroes who must go through some training
  and/or ceremonies to complete their quest.
• Sometimes they may wear white.

25
Character archetypes young man/person from the
provinces

• Young man from the provinces (can also be known
  as the orphan)
• Not raised by his own parents
• Can be raised by strangers
• He/she may later return to homeland and see
  problems
• Examples Tarzan, Arthur, Dorothy from Wizard of
  Oz

26
Character archetypes hunting group of companions

• Hunting group of companions are loyal companions
  willing to face any number of perils in order to
  be together.
• Examples The Knights of the Round Table, the
  toys in Toy Story, the seven dwarves in Snow
  White.

27
Character archetype loyal retainers

• Loyal retainers also known as sidekick
• Servant-like with heroic qualities
• Their job is to protect the hero and reflect the
  nobility of the hero.
• Examples Sam in Lord of the Rings

28
Character archetype friendly beast

• Friendly beast less common in stories
• Shows that nature is on the side of the hero
• Toto from Wizard of Oz, Lassie, White Fang

29
Character archetype Evil figure with ultimately
good heart

• Evil figure with ultimately good heart
• A devil figure throughout story but is eventually
  saved by the nobility or love of the hero.
• Example Darth Vader, Scrooge

30
Character archetype devil figure

• Devil figure can also be known as the
  destroyer, outlaw, sadist, tyrant which all
  contain qualities of evil.
• Evil in the flesh-offers worldly goods, fame, or
  knowledge to the protagonist in exchange for
  possession of the soul.
• May desire to create pain and suffering.
• Examples Hitler, Maleficent

31
Character archetypes the scapegoat

• Scapegoat also known as sacrificial lamb.
• An animal or human whose death in a public
  ceremony offsets some taint or sin that has been
  visited upon a community.
• The death can make him a more powerful force in
  the society.
• Examples Oedipus, Sir William Wallace in
  Braveheart., Jesus

32
Character archetypes the outcast

• Outcast a figure who is banished from a social
  group for some crime (real or imagined) against
  his fellow man.
• Is forced to wander from place to place
• Examples Cain, Romeo

33
Character archetypes the shadow (Doppelganger
ghostly double)

• Jung defines the shadow as the instinctive side
  of ourselves but that we repress and isolate it
  from consciousness. Represents a persons dark
  side.
• It reveals itself in the selfish, violent and
  often brutal actions of individuals, communities
  and nations.
• Feeds on greed and fear and can be projected
  outward as the hate that persecutes and makes
  scapegoats.
• Examples the ghost of Hamlets father, Dr.
  Jekyll and Mr. Hyde, Nazis

34
Character archetypes creature of nightmare

• Creature of nightmare can also be known as the
  monster.
• Threatens the life of the hero
• Can be a perversion or desecration of the human
  body
• Examples werewolves, vampires, zombies,
  Frankenstein

35
Female oriented character archetypes

• Earthmother (mother figure) symbolic of
  fruition, abundance, and fertility
• Traditionally offers spiritual and emotional
  nourishment to those with whom she comes in
  contact.
• Sometimes may wear earth colors, may have
  physical appearance of large chest and hips.
• Examples Alice (Brady Bunch), Mrs. Doubtfire

36
Character archetypes temptress (a.k.a. femme
fatale)

• Temptress characterized by sensuous beauty
• Hero is physically attracted to her
• The temptress will ultimately bring about the
  heros downfall
• Example Delilah, Cleopatra, Guinevere, the
  Sirens

37
Character archetypes platonic ideal

• Platonic ideal a woman who is a source of
  inspiration and a spiritual idea to the hero
• Intellectual attraction rather than physical
  attraction.
• Example Princess Leia from Star Wars

38
Character archetype unfaithful wife

• Unfaithful wife a woman married to a man she
  sees as distant or dull and is attracted to a
  more virile or interesting man.
• Examples Suzanne Stone in To Die For, Connie
  Sumner in Unfaithful

39
Character archetype damsel in distress

• Damsel in distress a vulnerable woman who must
  be saved by the hero.
• She may be used as a trap to ensnare the
  unsuspecting hero.
• examples Snow White, Sleeping Beauty, Princess
  Fiona

40
Character archetype star-crossed lover

• Star crossed lovers these two characters are
  engaged in a love affair that is fated to end
  tragically for one or both to the disapproval of
  the society, friends, or family.
• Example Romeo and Juliet

41
Other minor character archetypes which exist in
research

• Obstructive bureaucrat a workaholic type whose
  task is to prevent someone (usually the
  protagonists) from getting what they want -
  either the protagonists need something from the
  organization itself, in which case the
  Obstructive Bureaucrat will do his best to bury
  them in red tape, or (usually in the case of
  organizations with legal enforcement powers) the
  Obstructive Bureaucrat will get the organization
  itself involved in the current affairs of the
  player characters.
• There are various subtypes of Obstructive
  Bureaucrat.
• The first is seeking a bribe and is actually
  fairly common, particularly in places where
  salaries are inadequate and/or irregular -
  payment of an appropriate sum will make obstacles
  vanish with surprising speed. Possibly because
  they never existed in the first place.
• The second main type is hostile - they disapprove
  of the protagonists (or what they think the
  protagonists are) and are creating obstacles to
  their progress -. The bored and malicious (rather
  than directly hostile) bureaucrat and the "little
  Hitler" reveling in the chance to exercise power
  over someone for once belong to this subcategory.
• The third - and most troublesome type - are those
  who are not bending the rules and are absolutely
  correct (if over zealous) in their application.
• Example Mr. Rooney in Ferris Beullers Day Off,
  Inspector Javert in Les Miserables

42
Jungian basic archetypes
Jungian archetypes which can pattern/relate
themselves to others previously mentioned The
father Authority figure stern powerful. The
mother Nurturing comforting. The child Longing
for innocence rebirth salvation. The wise old
man Guidance knowledge wisdom. The
hero Champion defender rescuer. The
maiden Innocence desire purity. The
trickster Deceiver liar trouble-maker.