Mrs. Talley
English IV AP
Archetypes in Film, Fiction, and Nonfiction
Mythos
Plato seeking to refine and narrow the meaning of term logos, established a distinction between
the two basic ways human beings comprehend those principles that govern the universe; first, he
redefined and used the term logos to identify an explicitly rational account which seeks to explain, by
accurate knowledge, a universal truth. Plato then invoked the new term, mythos, to identify an
implicitly subjective account which seeks to explain, by the telling of a story of figurative significance, a
universal truth.
C. J. Jung to Joseph Campbell (1904-1987)
Carl Jung was a twentieth century Swiss psychologist and contemporary of Sigmund Freud. He
studied and developed far-reaching ideas about archetypal symbols and the corollary human myths that
were, in his opinion, associated with those same symbols. Like Freud, Jung believed that the practice of
dream interpretation was a potentially crucial key to understanding the complexities of the human
mind. Freud and Jung both used dream interpretation as a foundation for developing an understanding
of their patients’ neuroses; they held that when an individual dreamt, certain repressed elements
(impulses, desires, fears) in the “subconscious” rose to the surface, or “conscious” level. At the turn of
the twentieth century, both Jung and Freud began using the aforementioned, and relatively
undeveloped, system of dream analysis to further examine their theories on the complexities of the
human psyche.
Around 1912, the two renowned psychologists had a rather famous falling out. While Freud
sought to further develop his concept model of the human mind (the Id, Ego, and Super-ego) Jung began
to develop an equally complex model that established a distinction between the personal unconscious,
the repressed feelings and thoughts developed during an individual’s life, and the collective unconscious,
those inherited feelings, thoughts, and memories shared by all humanity. The collective unconscious is
made up of what Jung called archetypes (primordial images) that manifest themselves symbolically in
religions, myths, and fantasies. Jung believed these archetypes were universal he claimed these
universal characters and symbols occurred in the dreams—hence the myths—of individuals in every
culture throughout the world.
How are the studies of Carl Jung relevant to this course? Good question. Here’s the answer:
since psychoanalysis seeks to explain how the human mind works, it contributes insight into whatever
the human mind produces, from great works of art to weapons of mass destruction.
Joseph Campbell—anthropologist, writer, and professor—made the myths of the world his
passion. Taking his cue from Jung’s concept of the collective unconscious, Campbell believed that the
myths share a common foundation; in his extensive study of the myths and epics of disparate cultures,
certain archetypal patterns and characters were clearly discernible. Christopher Volger explains the
natural synthesis of Jung and Campbell this way: “The repeating characters of world myth such as the
young hero, the wise old woman or man, the shapeshifter, and the shadowy antagonist are the same
figures who appear repeatedly in our dreams and fantasies. That’s why myths and most stories
constructed on the mythological model have the ring of psychological truth.” Campbell’s first original
work on this subject, The Hero with a Thousand Faces (1949), became an instant classic; in it he asserted
that there is a single pattern of heroic journey that is shared by all cultures in their heroic myths. This
idea of the archetypal hero, established by Jung and further developed by Campbell, will serve well in
your study of literature.
Archetype
Generally, the original model from which something is developed or made; in literary criticism,
those images, figures, character-types, settings, and story patterns that—according to Swiss analytical
psychologist Carl Jung—are universally shared by people across cultures. Archetypes, according to Jung,
are embedded deep in humanity’s “collective unconscious.” These archetypes not only manifest
themselves in the subconscious material of dreams but are also persistently expressed in the more
consciously constructed material of myths and literature. Jung postulates that when an author recounts
a narrative based on such unconscious memories, the reader’s mind subconsciously stirred, producing a
singularly powerful psychological effect because memories evoke primordial feelings, concerns, and
responses that cannot be logically explained. Literary critics who follow Jung’s theories seek to identify
archetypes within specific works and literature in general…[T] hey look for and analyze certain recurrent
images, character types, and story lines under the assumption that their persistence in literature
indicates their presence in the memories of the collective unconscious.—The Bedford Glossary of Critical
and Literary Terms
Joseph Campbell’s Structural Outline if the Hero’s Journey in The Hero with a Thousand Faces (1949)
Act I
Departure/Separation
1. World of Common Day
2. Call to Adventure
3. Refusal of the Call
4. Supernatural Aid (Meeting a Mentor with Supernatural Powers)
5. Crossing the First Threshold
6. Belly of the Whale
Act II Descent/ Initiation/ Penetration
7. Road of Trials
8. Meeting with the Goddess
9. Woman as Temptress
10. Atonement with the Father
11. Apotheosis (Exaltation to Devine Rank)
12. The Ultimate Boon
Act III Return
13. Refusal of Return
14. The Magic Flight
15. Rescue from Within
16. Crossing the Threshold
17. Return
18. Master of Two Worlds
19. Freedom to Live
Significant Excerpt taken from The Power of Myth (Joseph Campbell and Bill Moyers)
Joseph Campbell: The fourth function of myth is the one that I think everyone today must try to
relate to—and that is the pedagogical function of how to live a human lifetime under any circumstances.
Myths can teach you that.
Bill Moyers: Someone asked me, “Why are you drawn to myths? What do you see in what
Joseph Campbell is saying?” And I answered, “These myths speak to me because they express what I
know inside is true.” Why is this so? Why does it seem that these stories tell me what I know inside is
true? Does that come from the ground of my being, the unconscious that I have inherited from all that
has come before me?
Joseph Campbell: That’s right. You’ve got the same body, with the same organs and energies,
that Cro-Magnon man had thirty thousand years ago. Living a human life in New York City or living a
human life in the caves, you go through the same stages of childhood, coming to sexual maturity,
transformation of the dependency of childhood into the responsibility of manhood or womanhood,
marriage, then failure of the body, gradual loss of its powers, and death. You have the same body, the
same bodily experiences, and so you respond to the same images. For example, a constant image is that
of the conflict of the eagle and the serpent. The serpent bound to the earth, the eagle in spiritual
flight—isn’t that conflict something we all experience? And then when the two amalgamate, we get a
wonderful dragon, a serpent with wings. All over the earth people recognize these images. Whether
I’m reading Polynesian or Iroquois or Egyptian myths, the images are the same, and they’re talking
about the same problems.
Bill Moyers: They just wear different costumes when they appear at different times?
Joseph Campbell: Yes. It’s as though the same play were taken from one place to another, and
at each place the local players put on local costumes and enact the same old play.
Archetypal Characters in the Hero’s Journey
The Hero (Serve and Sacrifice)
This is the protagonist of the story, whose primary purpose is to separate from the Ordinary
World and sacrifice himself for the service of the journey at hand. The Hero is called upon to: answer
the challenge, complete the quest, and heal the wounded. The Hero must learn to sacrifice himself
(sometimes even give his life) for the service of others. The Hero doesn’t have to be all good. In fact
some of our most endearing Heroes are flawed characters; in these cases, the Hero’s journey is also a
journey of personal growth and development.
The Mentor (Guide)
An essential archetype, the Mentor provides motivation and delivers insight as he/she train the
Hero. The Mentor seeks to teach the Hero how to overcome his doubts and fears and prepare for the
Journey. Often the Mentor has traveled the road before and can provide needed guidance to the Hero
who is reluctant to face the unknown. Occasionally, a Mentor is not an actual character, but instead a
code of honor or rule of justice that must be respected.
The Shadow/ Nemesis (Destroy)
The shadow is the ultimate enemy of the Hero. The Shadow typically represents the Hero’s
darkest desires and may personify certain qualities that the Hero has rejected (doppelganger). A
Shadow often represents a given society’s greatest fears and phobias. While the Shadow is often a
villainous character, in some texts he/she may reveal admirable qualities which arouse the audience’s
sympathies. It’s also possible that the Shadow may not be a literal character, but instead may be part of
the Hero (think Fight Club).
Threshold Guardian (Test)
Threshold Guardians protect the Special World and its secrets from the Hero; they also provide
essential Tests to prove the Hero’s commitment and worth. The Hero must bypass the obstacles put in
place by Threshold Guardians, who will occasionally turn into allies.
The Herald (Warn and Challenge)
Herald characters issue challenges and announce significant change. They can make an
appearance at any time in the Journey, but often appear at the beginning of the Journey to announce
the Call to Adventure.
The Shapeshifter (Question and Deceive)
The Shapeshifter misleads the Hero by hiding his/her intentions and loyalties. The
Shapeshifter’s presence raises doubts and questions in the Hero’s mind. If the Shapeshifter is a female
character, she is often portrayed as a femme fatale.
The Trickster (Disrupt)
Tricksters relish the disruption of the status quo. If they are Enemies of the Hero, they serve as
a constant irritant; if they happen to be Allies of the Hero, they are often disruptive because of their
gross incompetence; in each case, the World they inhabit is transformed by their antics.
Archetypal Female Characters
The Earthmother—Symbolic of fecundity, abundance, and fertility, this character traditionally offers
spiritual and emotional nourishment to those with who she comes in contact. Often depicted in earth
colors, she typically has large breasts and wide hips symbolic of her childbearing capabilities.
The Temptress—Characterized by sensuous beauty, this woman is one to whom the protagonist is
physically attracted and who ultimately brings about his downfall.
The Platonic Ideal—This woman is a source of inspiration and spiritual ideal, for whom the protagonist
or author has an intellectual, rather than a physical, attraction.
The Unfaithful Wife—A woman married to a man she sees a dull or distant; she is attracted to a more
virile or interesting man.
The Damsel in Distress—The vulnerable woman who must be rescued by the Hero; she is often used as
bait to trap the unsuspecting Hero.
Archetypal Steps in the Hero’s Journey
Ordinary World: The Ordinary World allows us to get to know the Hero and identify with him before
the Journey begins. The ORDINARY World gives us the opportunity to identify with the Hero’s drives,
urges, and problems, while showing unique characteristics and flaws that make him three-dimensional.
Call to Adventure: The Call to Adventure sets the story rolling by disrupting the comfort of the Hero’s
Ordinary World. The Hero is presented with a challenge or recognizes a quest that must be undertaken.
Often delivered by a Herald, the Call to Adventure can take a multitude of forms.
Refusal of the Call: The Hero refuses to embark on the Journey or quest because of fears and
insecurities that surfaced when he experienced the Call to Adventure. The Hero, unwilling to make
changes, prefers the safe haven of the Ordinary World and thus rejects the Journey.
Meeting the Mentor: After initially rejecting the Journey, the Hero meets a Mentor. Through
interaction with this Mentor, the Hero receives advice, gathers insight, and gains confidence. The
Mentor has survived a similar Journey and he or she may provide the Hero with essential lessons and
training needed to better face the Journey’s Tests and Ordeals. The Mentor may be a character, an
object (a map, or logbook), or an established code of ethics. The Mentor typically passes on some
magical gift to the Hero.
Crossing the Threshold: Crossing the Threshold signifies that the Hero has finally committed to the
Journey. The Hero is prepared to cross the gateway that separates the Ordinary World from the Special
World. The Hero typically confronts an event (a second or third Call to Adneture) that forces him to
commit to his Journey, from which there is no turning back. (Liminal Experience)
Tests, Allies, Enemies: Having crossed the threshold, the Hero faces Tests, encounters Allies, confronts
Enemies, and learns the rules of the Special World. The Hero needs to find out who can be trusted, thus
Allies are earned. Important Enemies are encountered and the Shadow is, at least partially, revealed.
Approach to the Inmost Cave: The Hero makes preparations to Approach the Inmost Cave where the
central Ordeal of the story will take place. A Hero and his Allies may encounter setbacks before or
during this stage, thus the Approach to the Inmost Cave is a time to reorganize, remember the dead or
wounded, and rekindle morale.
The Ordeal: Once inside the Inmost Cave, the Hero confronts the Ordeal, the most serious (life-ordeath) crisis to date; during this step, the Hero faces his greatest fear, confronts his most difficult
challenge to date, and experiences death in some way—often the Hero witnesses the death of a mentor
or Ally (in some cases the Hero may even be responsible for that death). At this point, the Hero’s
Journey teeters on the brink of failure.
Receiving the Reward: The Hero’s Reward is awarded to the Hero for surviving the Ordeal. This reward
comes in many forms: the Hero may receive a magical sword or a powerful elixir; the Hero may obtain
greater knowledge or significant insight; or the Hero may win reconciliation with an estranged lover.
Whatever the Reward, the Hero has earned the right to celebrate.
The Road Back: The Hero must now recommit to completing the Journey. By definition (to serve and
sacrifice) the Hero is required to return to the Ordinary World with that aforementioned Reward. A
Hero’s success in the Special World may make it difficult to return to the Ordinary World; as was the
case with Crossing the Threshold, a serious event may be required to prompt the Hero to set off on The
Road Back. (Liminal Experience: Special World back into Ordinary World)
The Resurrection: The Hero faces the Resurrection, his most significant confrontation with death during
the Journey. Similar to the Ordeal—this step requires the Hero to apply and employ all that he has
learned during his Journey, the difference being that his knowledge, powers, and Rewards are now put
to use in the Ordinary World. This is the point in the Journey when the Hero has his final confrontation
with the Shadow. Allies may aid the Hero in this step, but ultimately the Hero must act alone.
Return with the Reward/Elixir: Once the Shadow is defeated, and the Hero has been resurrected and
purified, he must share the Reward/Elixir he obtained in the Special World with those in the Ordinary
World. The true Hero returns with a Reward/Elixir that will “heal” those in the Ordinary World.
Additional Archetypal Story-Lines
1. The Journey— see above
2. The 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 the Hero’s home
environs is typically mirrored in a leader’s illness and disability.
3. The Task—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. In many myths and
stories, the Hero must complete multiple tasks before completing the Quest or Journey.
4. The Initiation—This usually takes the form of an initiation into adult life. The adolescent comes
into his/her maturity with new awareness and problems along with new hope for community.
The Hero’s awakening is often the climax of the story.
5. The Fall—This archetypal story describes the descent from a higher to a lower state of being.
The experience involves the defilement and/or loss of innocence and bliss. The fall is often
accompanied by an expulsion from a kind of paradise as penalty for disobedience and moral
transgression.
6. Death and Rebirth—The most common of all situational archetypes, this motif grows out of the
parallel between the cycle of nature and the cycle of life. Thus, morning and springtime
represent birth, youth, or rebirth; evening and winter suggest old age or death.
7. Nature vs. the Mechanistic World—Nature is good, while science, technology, and society are
evil.
8. The Star-Crossed Lovers—These two characters are engaged in a love affair that is fated to end
tragically for one or both due to the disapproval of their society, their friends, their family, or
some tragic situation.
Recurring Conflicts in Archetypal Stories
1. Light vs. Darkness—Light usually suggests hope, renewal, or intellectual illumination; darkness
implies the unknown, ignorance, or despair.
2. Water vs. Desert—Because water is necessary to life and growth, it commonly appears as a
symbol of birth or rebirth. Water is used in baptismal services, which solemnize spiritual births.
Similarly, the appearance of rain in a work of literature can suggest a character’s spiritual birth
or rebirth.
3. Heaven vs. Hell—Man has traditionally associated parts of the universe not accessible to him
with the dwelling places of the primordial forces that govern his world. The skies and
mountaintops house his gods; the bowels of the earth contain the diabolic forces that inhabit his
universe.
4. 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 the Hero on his Journey.
5. Haven vs. Wilderness—Places of safety contrast sharply against the dangerous wilderness.
Heroes are often sheltered for a time to regain health and resources.
6. Fire vs. Ice—Fire represents knowledge, light, life, and rebirth; ice, like the desert, represents
ignorance, darkness, sterility, and death. When man began to control fire, he began to control
his environment and thus his life.
Recognizable Elements in Archetypal Stories
1. The Unhealable Wound—The wound is either physical or psychological; it cannot be healed
fully. This wound also indicates a loss of innocence. The Hero’s wounds always ache and often
drive the sufferer to desperate measures.
2. The Ritual—The actual ceremonies the initiate experiences will mark his rite of passage into
another state. The importance of ritual rites cannot be over-stressed as they provide clear sign
posts for the character’s role in society as well as our own position in this world. (Liminal
Experience)
3. The Magic Weapon—This symbolizes the extraordinary quality of the Hero because no one else
can wield the weapon or use it to its full potential. The Magic Weapon is usually given to the
Hero by a mentor figure.
4. Supernatural Intervention—The gods intervene on the side of the Hero or sometimes against
him.
5. Father-Son Conflict—Tension often results from separation during childhood or from an
external source when these two individuals meet as men. It is often the case that the mentor
has higher affections for the Hero than his natural father.
6. The Young Man from the Provinces—The Hero is spirited away as a young man and reared by
strangers. He later returns to his home and his heritage where he is a stranger who sees new
problems and new solutions.
7. Hunting Group of Companions—Loyal companions willing to face any number of perils in order
to be together. (Allies)
8. Loyal Retainers—These individuals are somewhat servants who are heroic themselves. Their
duty is to protect the hero and reflect the nobility of the hero. (Allies)
9. Friendly Beasts—This shows that nature is on the side of the Hero. (Allies)
10. The Evil Figure with the Ultimately Good Heart—A redeemable Shadow who is ultimately saved
by the nobility or love of the Hero.
11. The Scapegoat—An animal (more often human) whose death in a public ceremony expiates
some taint or sin that has been visited upon a community.
12. The Outcast—A figure who is banished from a social group for some crime (real or imagined)
against his fellow man. The outcast is usually destined to become a wanderer from place to
place.
13. The Creature of Nightmare—A monster usually summoned from the deepest, darkest part of
the human psyche. This Shadow threatens the Hero and his Allies. Often this creature is a
perversion or desecration of the human body.