Heroic Archetypes

Stories about heroes are deep and eternal. Joseph Campbell, in The Hero with a Thousand Faces, identified both the archetype of the Hero and the quest that the hero follows, in many of the folk tales and myths of the world. This archetype, and its journey, was surprisingly constant through many of the tales. Carol Pearson, in Awakening The Heroes Within, expands the idea of the Hero into twelve distinct archetypes, each of which can follow the Hero Quest. It is important to note that, during the course of a journey, a hero may transform into another archetype as a result of his quest. [See "Shape-shifters."]

 Innocent Quest: To remain in safety. Fear: Being abandoned. Dragon: Will deny it or seek outside rescue from it. Task: To gain fidelity and discernment. Virtue: Trust and optimism.  Orphan [Also known as "The Young Man from the Provinces"] Quest: To regain safety. Fear: Being exploited. Dragon: Will be victimized by it. Task: To process and feel pain fully. Virtue: Interdependence and realism.  Warrior Quest: To win. Fear: Weakness. Dragon: Will slay or confront it. Task: To fight only for what really matters. Virtue: Courage and discipline.  Caregiver Quest: To help others. Fear: Selfishness. Dragon: Will take care of it and those it harms. Task: To give without maiming self or others. Virtue: Compassion and generosity.  Seeker Quest: To search for a better life. Fear: Conformity. Dragon: Will flee from it. Task: To be true to the deeper self. Virtue: Autonomy and ambition.  Lover [sometimes, "Star-Crossed Lovers"] Quest: To gain bliss. Fear: Loss of love. Dragon: Will love it. Task: To follow bliss. Virtue: Passion and commitment.  Outlaw/Outcast Quest: To metamorphosis. Fear: Annihilation. Dragon: Will allow dragon to destroy oneself. Task: To let go. Virtue: Humility.  Creator Quest: To gain identity. Fear: Of being illusionary. Dragon: will claim it as part of oneself. Task: To self-create and self-accept. Virtue: Individuality and vocation.  Ruler Quest: To create order. Fear: Of creating chaos. Dragon: Will find constructive uses for it. Task: To take full responsibility. Virtue: Responsibility and control.  Magician Quest: To transform. Fear: Of assuming evil sorcery. Dragon: Will transform it. Task: To align self with the cosmos. Virtue: Personal power.  Sage Quest: To find truth. Fear: Deception. Dragon: To transcend it. Task: To attain enlightenment. Virtue: Wisdom and non-attachment.  Fool Quest: To enjoy life for its own sake. Fear: Of being not-alive. Dragon: Will play tricks on it. Task: To trust in the process of becoming. Virtue: Joy and freedom

Quest: This is the journey which the archetype has set out on. The hero may not realize he is on such a quest until it is too late to retreat. Fear: This is the fear that is usually the motivating factor for undergoing the quest (why else would the hero need to put himself at risk?) It is also the principal danger that lurks in the shadow of the archetype, what the hero must overcome in order to undergo the necessary transformation of consciousness. Dragon: In most quests the hero soon meets his dragon. This represents the major problem or obstacle of the quest -- the opposition that must be overcome in order for the quest to be successful. Task: This is the task that the hero must accomplish in order to succeed at the quest. Succeeding at the task is usually sufficient to overcome the dragon; however failure to do so can lead to becoming what the hero fears most -- his dark self, or shadow. Boon/Virtue: Succeeding at the quest earns the hero these rewards of self. In addition to the hand of the princess, the castle, and the gold... Other Character Archetypes Mentor In the traditional tales of swords and sorcery, the mentor was often a crusty old man who could wield magic and always had a pithy word of advice for the protagonist. In historical romances, this may still be the case, but the mentor could also be the knowledgeable cook or the master of the stables. In romances of the Regency period, the mentor is usually a wed or widowed woman of character and station. The mentor serves a number of purposes: source of wisdom, gift giver, and conscience. The role of gift-giver comes out most strongly in the sub-genres that reflect mythology and fairytales. Typically such a gift is given after the protagonist has earned it, by passing a test, by learning, sacrifice or commitment. Other Mentors can act to motivate the protagonist and help overcome fear. Still others act as initiators of love. In romance novels, sexual initiation usually occurs between the hero and heroine, with the more experienced character taking on the momentary role of mentor. Mentors may have appeared and passed out of the protagonist's life before the novel begins. They are brought into the story by way of the character saying " I remember Mother always used to say..." Objects, animals and forces of nature may also act as Mentors. Another form of Mentor is the internal one. Some protagonists have no need or no contact with another character who can act as Mentor. Such experienced heroes and heroines carry their own Mentor in the form of their conscience and code of honor. Keep in mind that the Mentor need not always have the best interests of the Protagonist in mind. While the Mentor typically acts as a fount of wisdom and an outside conscience for the protagonist, they may have their own agendas. Damaged protagonists may also carry guilt around as a form of negative internal mentor. The Threshold Guardian[s] The Threshold Guardian's job is to ensure the protagonist is worthy of passing the threshold, and thus they act as part of the tests the protagonist must face in the journey. A hero who depends on his strength might attempt to overcome Threshold Guardians, while a hero who depends on his wits might evade, bribe, learn from and even convert the Guardians to his cause. Needless to say, running away from a Threshold Guardian is not a successful way of dealing with one. . As with Mentors, the Guardian can also be an inanimate object, animal or force of nature. Threshold Guardians are typically the henchmen of the villain or antagonist, but they can also be neutral to either side, simply doing their job. The third type of guardian is a secret helper, there to act as a guide if the protagonist is able to pass the initial test and learn from the result. A delayed form of secret helper is the guardian who turns to your protagonist’s side after the protagonists shows them mercy or aids them. The final type of threshold guardian is more difficult to define and fight, because they are the protagonist's own fears, hatred and obsessions. A wise hero or heroine recognizes such guardians as signals that they are progressing. Each guardian represents tests of new skills or beliefs, and act as warm-ups for the great confrontation. The Herald Heralds act to signal change and invite the character to answer the call to adventure. Their job is to motivate the hero into action, despite the hero’s frequent desire to maintain the status quo. Heralds can be people, objects or acts of nature. They may be positive, neutral or negative. We usually encounter the Herald in the first stages of the journey, although this archetype can be used to signal major direction changes later in the plot. The Shapeshifter The Shapeshifter archetype is hard to describe by its very nature but in essence it acts to bring uncertainty and tension into a story, by changing appearance, mood, or behavior. In a romance, the hero and heroine can both be shapeshifters, adapting as external and internal demands require. Secondary characters may be Shapeshifters as well, turning from Mentor to Herald to Trickster to Villain and back through the cycle in turn. Shapeshifters can reflect the protagonist's unspoken desire for transformation, and successful dealings with such shifters can result in new understanding of the opposite sex or restrained energies within themselves. A shapeshifter's job is usually to dazzle, confuse, lie to, occasionally help and delay a protagonist. They can be any of the following:

* The Temptress Seeks to tempt and destroy (or at the very least, delay) the hero from accomplishing the quest tasks. Uses sexual desires and physical distraction; preys upon the hero's weakness * Creature of the Nightmare This is a symbolic, horrifying monster summoned from the deepest, darkest part of the human realm of unconsciousness; represents perversion and desecration of the human form * Evil Figure with a Good Heart Though he is evil, he is redeemable, saved by the nobility or love of the hero * Damsel in Distress Vulnerable woman who may temporarily, through her need, distract hero's attention away from quest * The Devil Figure Evil incarnate, this archetype offers bribes to the hero in an effort to make him abandon his quest. He is not, however, above trickery or threats. The Shadow At first thought, you might instinctively peg the term Shadow on the villain of a dark-toned story. While this could be accurate, it leaves out many of the other aspects of this archetype. The Shadow can also be the dark side of the hero, the unexpressed, hidden or suppressed side of their nature. Another aspect of the Shadow can be the light or good side of the villain that the protagonists cannot initially see or that the villain tries to hide. Other Shadows may be people who agree with your protagonist's goals, but disagree with the way they should be achieved. In any of these situations, the Shadow should be a worthy opponent who brings out the best in the hero. The Shadow character is normally filled with a huge amount of repressed energy and emotion, aspects of the protagonist that have festered from lack of expression. It can be an outside force, or a reflection of part of your protagonist's character. Doubts that cripple the protagonist at the critical moment, or frighten them out of taking crucial steps are the footprints of the protagonist's Shadow. Villains' own Shadows can humanize them and prevent them from being cardboard characters. Let some of their suppressed good natures out, even if only for a moment, to give your protagonists that crucial moment of doubt. Likewise Shadows can humanize and soften an anti-hero protagonist. And to add another element, Shadows are often shapeshifters, which truly tests your hero. Shadows can be dealt with in several ways. External ones, such as Villains, can be defeated, exposed or rendered powerless. Internal ones can be faced and dealt with to reduce their impact. Others can be brought over and transformed to a their opposite form.

The Trickster The energy of mischief and the potential for change are the signposts for the Trickster Archetype. They may be as obvious as the clownish sidekick or as subtle as the hidden troublemaker. Tricksters serve important purposes. They can serve to cut egos down to size, be they the egos of your protagonists or the people they encounter. In books with a serious or action-filled tone, they can give moments of contrasting light relief. Tricksters serve as catalysts because they can't stand to see things stay as they are. As catalysts, they affect other lives but remain unchanged themselves. Their entire purpose is to promote change, and by words or action help to shine a light on situations that must be modified for balance. As an element of your protagonist, the Trickster side may reveal unhappiness with the status quo through slips of the tongue or spontaneous and unusual actions. Your protagonist may also deliberately don the Trickster mask to outwit enemies or get around obstacles.

Allies Assorted "good guys" who assist the hero at various points during the journey. They can be any of the following: * The Earth Mother This feminine archetype represents fertility, growth, abundance. She offers spiritual / emotional nourishment and support to the hero/heroine. The hero / heroine will have an actual relationship with this character akin to mother/son.

* The Platonic Ideal / Goddess This feminine archetype is a strong, admirable woman who provides hero with intellectual inspiration. He will never engage in a physical relationship with this woman; she serves to provide something to aspire towards; some greater intellectual or spiritual goal.

* The Hunting Group of Companions These sometimes buffoon-like characters remain loyal to the hero until the very end. They keep him company even in the darkest of times, though they cannot actually have a hand in the quest or tasks themselves.

* The Loyal Retainers Though similar to the Hunting Group of Companions, the Loyal Retainers are hired servants of the hero, and can even perform heroic deeds themselves if chance should have it

* The Friendly Beast(s) These creatures, through their undying loyalty to our hero/heroine, demonstrate that nature itself favors the hero, aligns itself for the hero's general good. They also point to the hero's essential goodness. [think Lassie, Flipper, etc.]

* The Scapegoat This character's public punishment, exile, or death relieves the hero / community / individual of a curse / taint / sin / consequences. Sacrifices himself/herself for the public good; can enable hero to continue on journey. Situational / Symbolic Archetypes

Father/Son Conflict This theme usually presents itself early on in a hero's journey. This is the conflict that must be resolved in order for the Hero to experience his transformation of consciousness.

Innate Wisdom vs. Educated Stupidity In a striking turn of events, the characters whom society would deem "educated" or "scholarly" make foolish choices, while the true wisdom comes from those uneducated fools who are simply born with internal knowledge of the way the world works.

Supernatural Intervention Almost every hero experiences some form of supernatural intervention - either on his behalf or against him - at some point in his journey.

Heaven or Hell These are the inaccessible parts of the Universe, represented most commonly by the skies, high mountains, the abyss. These places contain either supernatural or diabolical forces.

Nature vs. the Mechanistic World Many tales of heroic journeys will contain the stark contrast between the natural world and the manmade world, Nature vs. Civilization. Nature is often presented in a positive light, while the Mechanistic World is full of coldness, fear, danger, obstacles.

Death and Rebirth This represents the cycle of life. It also represents the Hero's transformation of consciousness, the moment near the end of the journey when he is transformed in his thinking / spiritual state / emotional state / position in society. He must experience this stage before he can return home.

Fall from Grace This usually occurs just after the hero has reached the heights of his personal power. If he falls [tragic hero], then it must be from the heights to the depths.

Fire and Ice Fire, though dangerous, represents nurturing, warmth, and is required for growth - even when the encounter is painful. The hero is often purified and strengthened by fire, moved toward his transformation of consciousness. Ice, however, is fire's polar opposite, representing sterility, lifelessness, ignorance. Ice appears in a place that won't sustain life.

Light and Dark Light represents hope, intelligence, illumination. Dark is indicative of the unknown, ignorance, fear.

Water and Desert Water represents rebirth, life, a place where a transformation can occur. But when combined with darkness, water takes on a more ominous meaning, an abyss, a Hell-like place where diabolical forces reside and pose danger for the hero. Deserts are barren places where no life can be possible, places where intellect and enlightenment are absent, where souls run dry.

Haven or Wilderness A haven is a place of safety, while the wilderness is a place of danger.

The Unhealable Wound Any hero - but most likely the hero - can experience this wound, either physical, emotional, spiritual, or psychological. Though time may lessen the pain, the scar will always remain and shadow the hero.