Okay, not really…but read it and think about it. Maybe even write a comment about it.

Some Nights Are Difficult for Me, Listen by James Tipton

Some nights are difficult for me, listen:
I want to talk about that hunger
that rises up in the old house;
I want to talk about the loneliness
that wakes at two a.m.
and stares at the deserted bed;
I want to talk about the sadness
of old clothes in the flea market,
and the tongues lost in tiny children;
I want to talk about the woman
who said she would meet me
at the theater and the part of me
that still waits for her; I want
to talk about how bullies
hurt the sweet heart, how
the heart walks in sleep, how
the heart hides in the clock,
hides in the hands of strangers;
I want to talk about this:
the wedding dress that poetry wore
o­ne morning in the apple trees
so long ago, when she came to me,
innocent, distressed, and lovely.

Definition of an Archetype

ARCHETYPE –The model of a person, personality or behavior from which later examples are developed.



What is an archetype? Well, if you looked in A Handbook to Literature,
you would find three paragraphs about archetypes. It begins… “ This
literary term applies to an image, a descriptive detail, a plot
pattern, or a character type that occurs frequently in literature,
myth, religion, or folklore…” and it goes on.

This term, whose earlier meaning, "original model," or "prototype," has
been enlarged by Jung and by several contemporary literary critics. A
Jungian archetype is a thought pattern that finds worldwide parallels,
either in cultures (for example, the similarity of the ritual of Holy
Communion in Europe with the tecqualo in ancient Mexico) or in
individuals (a child’s concept of a parent as both heroic and tyrannic,
superman and ogre). Jung believed that such archetypal images and ideas
reside in the unconscious level of the mind of every human being and
are inherited from the ancestors of the race. They form the substance
of the collective unconscious. Literary critics such as Northrop Frye
and Maud Bodkin use the term archetype interchangeably with the term
motif, emphasizing that the role of these elements in great works of
literature is to unite readers with otherwise dispersed cultures and
eras.


Example of Archetypes Found in Literature

  • The Hero The Hero in Greek mythology and folklore, was originally a demi-god,
    the offspring of a mortal and a deity. Later, hero and heroine came to
    refer to characters that, in the face of danger and adversity or from a
    position of weakness, display courage and the will for self-sacrifice, that is, heroism, for some greater good.
  • The Great Mother,
    either good or terrible. This archetype represents the life giving or
    nurturing characteristics associated with one’s mother. This archetype
    may represent mother earth, or a more personal mother figure.
  • The Father Figure
    –This is the authority figure archetype. Usually, during the hero’s
    quest, there is some conflict with the father figure and, in the end,
    there is some reconciliation or break from that authority.
  • The God or Goddess:
    This archetype usually represents temptation for the hero figure to
    stray from or abandon his/her hero quest in return from physical
    comfort, wealth, power or romance. This figure tests the hero’s
    commitment to his or her quest.
  • The Spiritual Guide/Magic Helper/Wise Old Man This archetype is typically some sort of mentor or wizard who advises the hero.
  • The Trickster is a god, goddess, spirit, man, woman, or anthropomorphic animal who plays pranks or otherwise disobeys normal rules and norms of behaviour.
  • The Companion (Sidekick):
    The companion of the hero can be present from the outset or join the
    hero part way through the adventure. Often the companion is on a hero
    quest of his own, as well as serving as a friend to the main character.
    The companion may or may not have special powers, but he or she usually
    “saves” the hero or redirects him at least once during the journey.
  • The Dragon—or
    Greatest Fear: This archetypal element is crucial to the journey. It
    is, in fact, the reason for the journey. The dragon is not necessarily
    a “real” dragon, but represents whatever the hero fears most and what
    he/she must confront in order to become a hero.
  • The Ultimate Boon:
    The hero seeks this reward. It may appear at first to be some physical
    reward like money, power, etc. Usually, in the end, it is a change or a
    transformation of the hero’s character, which leads to freedom from
    whatever he/she feared most. The reward may also include wealth, power,
    etc.
  • Dark Lord or Evil Overlord
    – a villain of near-omnipotence in his realm, who seeks to utterly
    dominate that realm with the help of devoted followers and "Legions of
    Doom", and whose very name is usually anathema to the lips of the
    innocent.
  • The Hero-There are two types:
  1. The deliberate hero who is often marked for greatness in some way and
  2. the reluctant hero
    who is thrust into his/her hero quest (i.e. drafted into the army) and
    has some fear or sense of not fitting in the world which pushes him/her
    into a hero quest.

Some Important Archetypes

  • Archetypal women – the Good Mother, the Terrible Mother, and the Soul Mate (such as the Virgin Mary)
  • water – creation, birth-death-resurrection, purification, redemption, fertility, growth
  • garden – paradise (Eden), innocence, fertility
  • desert – spiritual emptiness, death, hopelessness
  • red – blood, sacrifice, passion, disorder
  • green – growth, fertility
  • black – chaos, death, evil
  • serpent – evil, sensuality, mystery, wisdom, destruction
  • seven – perfection
  • shadow, persona, and anima (see **psychological criticism**)
  • hero archetype – The hero is involved in a quest (in which he overcomes obstacles). He experiences initiation (involving a separation, transformation, and return), and finally he serves as a scapegoat, that is, he dies to atone.

Archetypal Approach to Literature

A mythological / archetypal approach to literature assumes that there is a collection of symbols, images, characters, and motifs (i.e. archetypes) that evokes basically the same response in all people. According to the psychologist Carl Jung, mankind possesses a "collective unconscious"
that contains these archetypes and that is common to all of humanity.
Myth critics identify these archetypal patterns and discuss how they
function in the works. They believe that these archetypes are the
source of much of literature’s power.
 

                              I

We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw.  Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats’ feet over broken glass
In our dry cellar

Shape without form, shade without colour,
Paralysed force, gesture without motion;

Those who have crossed
With direct eyes, to death’s other Kingdom
Remember us–if at all–not as lost
Violent souls, but only
As the hollow men
The stuffed men.

                                II

Eyes I dare not meet in dreams
In death’s dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind’s singing
More distant and more solemn
Than a fading star.

Let me be no nearer
In death’s dream kingdom
Let me also wear
Such deliberate disguises
Rat’s coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer–

Not that final meeting
In the twilight kingdom

                                  III

This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man’s hand
Under the twinkle of a fading star.

Is it like this
In death’s other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.

                                  IV

The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms

In this last of meeting places
We grope together
and avoid speech
Gathered on this beach of the tumid river

Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death’s twilight kingdom
The hope only
Of empty men.

                                  V

Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o’clock in the morning.

Between the idea
And the reality
Between the motion
And the act
Falls the shadow
                                For Thine is the Kingdom

Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
                                                Life is very long

Between the desire
And the spasm
Between the potency
and the existence
Between the essence
And the descent
Falls the Shadow
                                For Thine is the Kingdom

For thine is
Life is
For Thine is the

This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.

A few great updates from the blogs worth taking a look at: