1. What are they? Why do we study them?
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 (cont’d)
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 (cont’d) 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 (cont’d) Dreams (cont’d)
Biblical: The Israelite prophet Daniel was summoned to
interpret the dreams of King Nebuchadnezzar
(Old Testament 4:535)
Joseph interprets the Pharaoh’s dreams in Genesis 41:138
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 Archetypes 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 which is mirrored by a leader’s 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 (Frodo’s shoulder, Harry Potter’s scar, Martin Rigg’s 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 character’s 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 Archetypes Light & 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 character’s 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
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. (Dante’s 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
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 person’s 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 Hamlet’s 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 hero’s 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 Beuller’s 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.