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:
- The deliberate hero who is often marked for greatness in some way and
- 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:
- K.T. found a link to a free, legal audio copy of Heart of Darkness and examined the depiction of the people of Africa in Heart of Darkness and Things Fall Apart;
- Amy looked at the idea of male and female roles in Africa and Europe;
- Dayne wondered if Things Falls Apart wouldn’t be easier to relate to if the narrator was less detached;
- Alyssa argued that Things Fall Apart critiques both African and Western societies.
Here are a few ideas for discussion points about Achebe’s Things Fall Apart. If you have any additional ideas, please let me know.
- Is Okonkwo a tragic hero? An Aristotelian one? Is he a villain?
- One of the elements of the book that is so compelling is Achebe’s authentic portrayal of a culture that contains some elements that a Western audience might find distateful or even morally wrong. How do these elements contribute to the work as a whole?
- The work’s portrayal of the relationship between men and womyn is complex. What conclusions do you take from this portrayal? What about the Igbo idea that things in the world, roles, even crimes can be divided into masculine and feminine?
- Achebe is considered to be the first African author to succesfuly fuse African forms of expression with the Western novel. In what ways does this seem to be true?
- What significance do the folk tales and legends have?
- In many way, Obierka is a foil for Okonkwo. Why, if his intention was to authentically present Igbo culture, did Achebe not make his protagonist the noble Obierka?
- How does Achebe describe the Europeans who come to Umofia? Is his depiction stereotypical? Does that matter?
- What role does Ezinma play in the novel?
- What is Achebe saying about the people who convert to Christianity at the end of the book?
Period 3
- Alexis
- Becky
- Karissa
- Ali
- Haley
- Shauna
- Kelsey
- Morgan
- Carly
Period 4
- Brittany B
- Ty H
- Kate
- Lauren
- Jake
- Marija
- Dayna
- Ty A
- Brittany G
Period 5
- Jana
- Chris
- Jill
- Julian
- Corinna
- Joe
