2.3 The Monomyth
2.3.2 Character Archetypes
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Freedom to Live
In the final stage of the return, the narrative characterizes the new order brought about as a result of the myth. The boon brought back to the mortal world by the hero is actualized as best as possible, but the new order may already reveal cracks and imperfections that result from the transposition of an ideal into practical application. For example, “one may invent a false, finally unjustified, image of oneself as an exceptional phenomenon in the world, not guilty as others are, but justified in one’s inevitable sinning because one represents the good,” (Campbell, 2004). In other words, despite the divine revelation that all are equal and one in the cosmos, one might develop an image of one’s self, or one’s group as somehow exceptional, and more deserving of the divine gift than “others.” As in other stages, the characterization of this stage reveals values inherent in the narrative.
2.3.2 Character Archetypes
Students of Campbell’s framework have identified a host of different character archetypes essential to the monomyth. Campbell’s notes that his use of archetypes was inspired by his readings of Feud and especially Carl Jung, (Jung & Franz, 1964). Nowhere in his book, The Hero with a Thousand Faces, does Campbell specifically reveal an exhaustive list of character archetypes, though many have extrapolated one. Generally, the hero and some variation of the shadow are in any list, but more have been identified with different names and roles, though some have overlapping characteristics. Moreover, it is not uncommon for more than one character in the narrative to fill the role of one archetype. The archetypes identified are those most related to national origin narratives: the hero and the tyrant monster (a variation of the shadow), as well as several supporting archetypes, including the
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herald, the mentor, the ally, the shapeshifter, and the threshold guardians. This section will explicate each of these in five subsections.
The Hero
The hero archetype is the center of the narrative. He or she is meant to achieve, for him or herself, submission to, and possession of a divine power in the course of his or her journey.
Through the hero’s journey, the precise nature of that power is revealed. Campbell writes,
“The hero is the man of self-achieved submission. But submission to what? That precisely is the riddle that today we have to ask ourselves and that it is everywhere the primary virtue and historic deed of the hero to have solved,” (Campbell, 2004). In his or her journey, the hero comes to represent more than just him or herself, and through his or her struggles we learn the nature of some divine revelation, “His solemn task and deed therefore… is to return then to us, transfigured, and teach the lesson he has learned of life renewed,”
(Campbell, 2004).
The Tyrant Monster
The tyrant monster is a variation of the shadow character archetype. The shadow is what the hero might be if he or she is seduced by a darker path, and it represents the greatest anxieties and vices the hero must reject or overcome. However, the more specific tyrant monster, is characterized in more detail in Campbells book, and is a variation of the shadow that is especially relevant to national origin narratives. Campbell describes this archetype, saying, “Wherever he sets his hand there is a cry (if not from the housetops, then – more miserably – within every heart): a cry for the redeeming hero, the carrier of the shining blade, whose blow, whose touch, whose existence, will liberate the land,” (Campbell, 2004). This archetype functions as the principal antagonist in the narrative.
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The Supporting Character Archetypes
As mentioned above, there is not an explicit number of supporting characters. This list is not exhaustive, but the archetypes discussed below are common, and are likely to be found in national origin narratives. Supporting characters discussed here include, the herald, the mentor, the ally, the shapeshifter, and the threshold guardians.
The herald is an especially unique character archetype in that it is not always an actual character. Sometimes the herald is nothing more than an inanimate object. Regardless of its characterization the herald always behaves in communion with the forces that are leading the hero into the initial stages of his or her journey. They tend to play a very small role in terms of how much time is devoted to them, but their role in announcing the coming of the stages of adventure is pivotal.
The mentor archetype is typically represented as a wise, elderly sage. In folk tales he or she is often a bent, old man or woman living as a hermit in some secluded place. He or she is often one who has already completed their own mythic journey long ago, and guides the hero with helpful advice and wisdom. The hero gains inspiration from this character, and often direct help along his or her own path, but the final stage of the quest for apotheosis must be completed by the hero, his or herself. Many times, the mentor dies or sacrifices his or herself before the hero reaches his or her final challenge.
The ally is a character which comes from outside the central conflict to help the hero along the way. He or she often plays some pivotal role in the trials of the hero and may even be instrumental in the final challenge. According to Campbell, not much help is usually essential from the outside, but without this small addition the hero may be completely without hope.
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The shapeshifter archetype is represented by a character who betrays one side or the other of the major conflict in the narrative. Sometimes this character literally is able to change his or her appearance, and occasionally the character flops between the two sides of the conflict multiple times. This character often overlaps with another archetype that is associated with Campbell’s monomyth, the trickster, who is representative of the forces of mischief and often functions as comic relief. Although many have separated these two archetypes, the distinction is not always clear, and like many of the other archetypes, they often merge or overlap.
The threshold guardians are often numerous and variable across the narrative, but they always serve the function of blocking the hero’s path, either figuratively or literally. They are the masters of trials that the hero must overcome before he or she is able to reach apotheosis, and sometimes act as obstacles to the hero’s escape after reaching apotheosis.
Each guardian is a miniature shadow, representing a particular vice or anxiety that the hero has about his or herself.