Download Additional Archetypes

Aristotle's ideas about the tragic hero:
1. The tragic hero is a character of noble stature and has greatness. This should be readily evident in the
play. The character must occupy a "high" status position but must ALSO embody nobility and virtue as part of
his/her innate character.
2. Though the tragic hero is pre-eminently great, he/she is not perfect. Otherwise, the rest of us--mere mortals-would be unable to identify with the tragic hero. We should see in him or her someone who is essentially like
us, although perhaps elevated to a higher position in society.
3. The hero's downfall, therefore, is partially her/his own fault, the result of free choice, not of accident or
villainy or some overriding, malignant fate. In fact, the tragedy is usually triggered by some error of judgment or
some character flaw that contributes to the hero's lack of perfection noted above. This error of judgment or
character flaw is known as hamartia and is usually translated as "tragic flaw" (although some scholars argue that
this is a mistranslation). Often the character's hamartia involves hubris (which is defined as a sort of arrogant
pride or over-confidence).
4. The hero's misfortunate is not wholly deserved. The punishment exceeds the crime.
5. The fall is not pure loss. There is some increase in awareness, some gain in self-knowledge, some discovery
on the part of the tragic hero.
6. Though it arouses solemn emotion, tragedy does not leave its audience in a state of depression. Aristotle
argues that one function of tragedy is to arouse the "unhealthy" emotions of pity and fear and through
a catharsis (which comes from watching the tragic hero's terrible fate) cleanse us of those emotions. It might
be worth noting here that Greek drama was not considered "entertainment," pure and simple; it had a
communal function--to contribute to the good health of the community. This is why dramatic performances
were a part of religious festivals and community celebrations.
Addtionally,
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Unusual circumstances of birth; sometimes in danger or born into royalty
Leaves family or land and lives with others
An event, sometimes traumatic, leads to adventure, quest for something, or journey for knowledge
Hero has a special weapon only he can wield
Hero has supernatural help
The Hero must prove himself many times while on adventure
The Journey and the Unhealable Wound
Hero experiences atonement with the father (often, heroes have to make up for father’s wrong)
When the hero dies, he is rewarded spiritually
Additional Archetypes
The HERO: this archetype is so well defined that the life of the protagonist can be clearly divided into a series of
well-marked adventures. At birth some attempt is made to kill him. He is however, spirited away and reared by
foster parents. We know almost nothing of his childhood, but upon reaching manhood he returns to his future
kingdom. After a victory over the king or a wild beast, he marries a princess, becomes king, reigns uneventfully,
but later loses favor with the gods. He is then driven from the city after which he meets a mysterious death,
often at the top of a hill.
THE TASK—To save the kingdom, to win the fair lady, to identify himself so that he may reassume his rightful
position, the hero must perform some nearly superhuman deed. (Arthur pulls Excalibur from the stone, Frodo
must arrive at Rivendale.)
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. (e.g. some cowboys, Cain, the
Ancient Mariner)
THE JOURNEY—The journey sends the hero in search for some truth or information necessary to restore fertility
to the kingdom. Usually the hero descends into a real of psychological pit and is forced to discover the blackest
truths, quite often concerning his faults. Once the hero is as this lowest point, he must accept personal
responsibility. (The Odyssey, The Canterbury Tales, The Aeneid, The Fellowship of the Rings.
THE FALL—This archetype describes a descent from a higher to a lower state of being. The experience involves a
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 and Eve, Lancelot and Guinevere, Paradise Lost, etc.)
THE UNHEALABLE WOUND—This wound is either physical or psychological and cannot be healed fully. This
wound also indicates a loss of innocence. These wounds always ache and often drive the sufferer to desperate
measures. (Frodo’s shoulder, Lancelot’s madness, Ahab’s wooden leg)
Light vs. Darkness
Light usually suggests hope, renewal, or intellectual illumination; darkness implies
the unknown, ignorance, or despair (sight/blindness)
Innate Wisdom vs.
Educated Stupidity
Some characters exhibit wisdom and understanding of situations instinctively as
opposed to those supposedly in charge. (Sam from The Lord of the Rings, Alfred
the Butler to Batman)