Volume 18 Number 1 Article 3

Fall 10-15-1991

Archetypes, , and The Female : Transformations in Contemporary Perspectives

Terri Frontgia

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Recommended Citation Frontgia, Terri (1991) ", Stereotypes, and The Female Hero: Transformations in Contemporary Perspectives," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 18 : No. 1 , Article 3. Available at: https://dc.swosu.edu/mythlore/vol18/iss1/3

This Article is brought to you for free and open access by the at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm

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Abstract Points out deficiencies of traditional mythic and psychological archetypes in encompassing females. Considers some heroes and heroines of modern who demonstrate a new of archetypes not tied to gender.

Additional Keywords Archetypes, female; Feminist criticism; Heroines; Heroine’s journey; Sex roles in literature

This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol18/iss1/3 CPgTHLORe Issue 67 - Autumn 1991 Page 15 AiRdheapes, StcRcotypcs, amd TThc Female THIcro TramFoRmarions Jm Concempowmg topectivcs TeRRi FRontgia

p egardless of its medium or message, fantasy has al- recognition of female achievement goes, but in reality it iVw ays relied heavily on mythology and archetypes, and only affirms a very general and simplistic truth. Further­ on the figure of the hero most of all. Whether incarnated more, this heroic image may ultimately work more harm as a woolly-toed Hobbit from "once upon a time," or as an than good, for it is yet another manifestation — a embittered male leper from the late 20th century, or as a profoundly potent and evocative one —of woman's old telekinetic and telepathic female "Prime Talent" from dis­ nemesis, biological determinism. tant reaches of time and space,1 the hero and his or her have been the stuff of fiction since time out of mind. Obviously, biological determinism does not inform the On the contemporary scene, however, the confluence of "Mother" alone. Virtually all of the traditional popular literature, popularized mythography, and ar­ archetypes applied to women — "the virgin," "the wife," chetypal has produced new insights into the "the lover or seductress," "the m use,"— have as their basis heroic paradigm, and what it means to modem . sexual roles and expectations. That is, they are always defined in terms of their relationship to men. In Psyche as In the western tradition, this paradigm has been Hero, Lee R. Edwards observes that even when a woman founded on one basic form of doing and being. As Carol is depicted as heroic, she is inescapably presented as "dif­ S. Pearson observes, "W hat we imagine immediately ferent from the male — her sex [is] her sign."5 when we think of the hero really is only one heroic ar­ chetype: the W arrior."2 This bias, the cumulative result of Heroes, relationships, sex, power, and difference have a long and selective cultural process, is still alive and well, provided the deepest wellsprings for all of literature. Like even in the broad, "universalizing" approach of such a other , fantasy has utilized these to create some masterful mythographer as . In fact, in his unforgettable representations of women heroes. J.R.R. introduction to Campbell's thought, Robert A. Segal une­ Tolkien, for example, successfully summarizes the image quivocally states that, at least initially, "Like Hahn, Tylor, of the female "W arrior" or Amazon archetype in his brief Propp, Rank, and Raglan, Campbell ignores heroines."3 unveiling of Eowyn/Demhelm: "maiden of the Rohirrim, Segal also goes on to point out that, although Campbell child of kings, slender but as a steel-blade, fair yet ter­ may occasionally cite female heroes as examples, his rible."6 paradigmatic pattern of the monomyth presupposes ex­ He is more fulsome in his depiction of Galadriel, that clusively male heroes (54). sublime incarnation of the "eternal feminine" in the ar­ While Pearson views this curious conceptual "over­ chetypal aspects of "Wise Woman"/"Awful Lady.” Ac­ sight" as a natural result of Campbell's assumption "either companied by Frodo the Ring-Bearer, she divines in the that the hero was male or that male heroism and female "M irror of Galadriel" a potential alternate fate and conse­ heroism were essentially the same" (xx), the mythog­ quence of the Ring Quest: rapher himself provides us with a slightly different, "And now at last it comes. You will give me the Ring though clearly related, perspective on the matter. For ex­ freely! In place of the you will set up a Queen. ample, when Bill Moyers asks, "Then heroes are not all And I shall not be dark, but beautiful and terrible as the Morning and the Night! Fair as the Sea and the Sun and men?," Campbell replies: the Snow upon the Mountain! Dreadful as the Storm and Oh, no. The male usually has the more conspicuous role, the Lightning! Stronger than the foundations of the earth. just because of the conditions of life. He is out there in the All shall love me and despair!" world, and the woman is in the home.... Giving birth is She lifted up her hand and from the ring that she definitely a heroic deed, in that it is the giving over of wore there issued a great light that illumined her alone oneself to the life of another.4 and left all else dark. She stood before Frodo seeming now tall beyond measurement, and beautiful beyond endur­ Clearly, Campbell's operative archetypal paradigm of the ing, terrible and worshipful.7 female hero is none other than the primordial image of woman as "the Mother." This is unfortunate, for, although Indelible archetypal images such as these, however, the idea of "the mother as hero" conveys a truth basic to also face the same diminishment Galadriel perceives for female experience and to cultural values, it nonetheless herself. Partly because of their over-familiarity, partly be­ imprisons women in an all-too- conceptual and cause of their basis in gender roles, profound and resonant representational "box." The equivalency of motherhood archetypes often degenerate into sexual stereotypes. As and heroism may be a move in the right direction as far as Pearson observes, "[Limiting] stereotypes are laundered, Page 16 Issue 67 - Autumn 1991 CPyTHLORC domesticated versions of the archetypes from which they intend to be a . At the first menstruation, the girl is a derive their power. The shallow seems control­ woman. The next thing she knows, she's pregnant, she's a mother (138). lable and safe, but it brings then less, not more, life" (xix-xx). Campbell's elision of the totality of female human ex­ perience represented in the rapid progression of girl- The cardboard figures resulting from such stereotypes woman-mother comes as a profound shock. But perhaps especially abound in imaginative literature. For example, the most glaring negation of individual female identity in Roger Zelazny's best-selling Amber series,8 there is not and personhood is the statement that a girl "becomes a only a dearth of articulated female characters, but also a woman whether she intends it or not." Without inten- tendency to have those which are present function either as incidental decoration or as "" stereotypes tionality, without consciousness and choice, there cannot be the attainment of an adulthood based on psychological, out to waylay or destroy the hero.9 While female presence is much stronger in Stephen R. Donaldson's two Chronicles emotional, and spiritual maturity, rather than on mere physiological age and functions. Only in this truer human of Thomas Covenant trilogies, the author nonetheless relies on the stereotypes of the victimized "virgin" (Lena) and sense can adulthood be considered as independent per­ the "sorceress" (Elena), to inform two of his three principal sonhood. female characters. Although his heroine, former High In Campbell's pattern, becoming a "man" involves not Lord Elena, attains heroic stature, unlike Galadriel she only descriptive elements concerning biological maturity, becomes tainted by the evil she seeks to overcome. but prescriptive ones about what "being a man" entails as Linden Avery, Donaldson's heroine of the second set well. His perception of a girl's becoming a woman, on the of Chronicles, is a more convincing heroic figure, for she other hand, involves none of these prescriptive implica­ manages to move out of the realm of sexual stereotype tions, no distinction based on the successful negotiation of altogether. Although she acts out the opposing roles of the a cultural rite of passage into maturity. The actual pos­ two archetypes normally adopted to express female sibility of the hero's journey, and therefore of heroism, is heroism — the "masculine' "Warrior” and the "feminine" thus implicitly denied women, for they have supposedly "Martyr" — she effectively transcends these traditional reached their maturity, their developmental being, heroic by the end of The One Tree, the second through the advent of normal reproductive functions. If book of the Second Chronicles. The means and nature of this there is no separation and journey, no choices to be made transcendence are clear in her ruminations, which serve to and trials to face, no revelation and acquired boon to close the book: bestow upon the return, then there can be no heroine. This was her life after all — as true to herself, to what she Also, since there is no journey, there is no real identity was and what she wanted to become, as the existence she quest either: biology has already provided the ready-made had left behind on Haven Farm. The old man whose life answer to a woman's identity. Coming from the mother and she had saved there had said to her. 'You will not fail, however he may assail you.' The choices she had made soon becoming the mother, her identity described and in­ could not be taken from her.10 scribed in a closed loop, she does not need to "start forth" to find her "father," her own and destiny, for these are W e may recall that Campbell also emphasizes the role already predetermined by biology: girl-woman-mother. of choice in the heroic paradigm, especially when he inter­ prets the hero's journey in a psychological manner. As In order to present her own interpretation of female Segal points out, 'Campbell's hero discovers, not creates, identity and heroism, Jungian psychologist Jean Shinoda a deeper side to his, and others', personality. He discovers Bolen employs the familiar archetypes derived from Greek the unconscious. The quest for identity is therefore a quest mythology. Although, like Campbell, she selects tradition­ for a place less in society than within oneself’ (34). al archetypes based on specific gender roles, in her concep­ tion of female being and doing these models mean much This vision of an "'s" heroism which consists more than their sexual implications. For example, , of an "inner journey" or "quest for identity" comes into Demeter and Aphrodite are all distinctive expressions of conflict, however, with Campbell's positing of "the the diverse aspects — such as "independent," "vul­ Mother" as the female heroic paradigm. By emphasizing nerable," and "alchemical' — which can be found in any woman's biological "natural place," he necessarily limits individual woman. The realities of woman's nature and her potential for heroism. In fact, in the chapter titled "The life are thus more comprehensively represented than in Hero's Adventure" in The Power of , Campbell Campbell. Furthermore, Bolen repeatedly asserts in God­ remarks that desses in Everywoman that The rituals of primitive initiation ceremonies are all mythologically grounded and have to do with killing the There is a potential heroine in everywoman. She is the infantile ego and bringing forth an adult, whether it's the leading lady in her own life story on a journey that begins girl or the boy. It's harder for the boy than for the girl, at her birth and continues through her lifetime.... A woman because life overtakes the girl. She becomes a woman heroine is [a choicemaker,] one who loves or learns to whether she intends it or not, but the little boy has to love.11 CPyTHLQRe Issue 67 - Autumn 1991 Page 17 With Bolen's recognition of a multi-faceted female self honor at arms" (99). Her vision of womanhood, of which has the need and desire to make choices rather than heroism, is not theirs. simply be "overtaken" by life, there is now conceded the Quite understandably, Andromache's desire and will­ possibility of a "heroine's journey," in which the in­ ingness to subject herself to men is as alien to them as their dividual "confronts tasks, obstacles, and dangers. How "pretending to be warriors" (100) is to her. Neither cultural she responds and what she does will change her" (283). vision provides space for the other, for each has such Both the journey and the concomitant change are what divergent expectations of the female. Although Imandra make of tire heroine's trip, like the hero's, "a journey of responds to Andromache with the assertion that "I am a discovery and development, of integrating aspects of her­ warrior, and no less a woman for that!," Andromache self into a whole, yet personality" (283). Like reads her mother's own self-definition as a masking of Campbell's heroic male boon-bringer, the heroine also inherent deficiencies, for she responds with the comment: returns with both knowledge and power, as well as with "M en say that women who take up weapons are pretend­ a new sense of personal strength and authority. ing to be warriors only because they are unable to spin and This integrated vision of the female hero provides the weave and make tapestries and bear children — " (100). major impetus behind Marion Zimmer Bradley's depic­ The dualism of their definition of woman, and there­ tion of Kassandra in The Firebrand. As a priestess, one of fore of female heroism — either "masculine" warrior or the manifestations of the "Wise Woman" archetype, Kas­ "feminine" wife/martyr — ultimately becomes syn­ sandra must, as the Colchian Queen and Priestess Imandra thesized into an "and/also" vision through the character describes it, "stand between men and Immortals, to ex­ of Kassandra; that is, through the choices she makes and plain the ways of the one to the other."12 As a princess lives. By the end of her own story, Kassandra has become living in a particular moment of history, she must also a thoroughly human woman and heroine, for she is an mediate between two cultural systems: the soon-to-be-su­ individual who has made choices and taken on any and all perseded matriarchy, represented above all by the multi­ of the roles required of her by circumstance and character. form Great Goddess, and the successfully encroaching patriarchy, represented by the Sun-God Apollo. Finally, as Like the mythological heroine Psyche, another an individual and a woman, she must understand and mediator between the human and the , the moderate her own personal loyalties, desires, and choices. old order and the new, Bradley's Kassandra demonstrates a kind of heroism which closely integrates both doing and Even in this private realm Kassandra must "stand be­ knowing. Listening to the voices of the Gods and to her tween" two worlds, two visions of womanhood. One own experience, Kassandra finally moves beyond her world is represented by Andromache, who reveals her traditionally scripted role as victim, first of a sexually own character through her questions about her future frustrated Apollo, then of an insanely jealous or power- husband, . hungry Klytemnestra. The now-triumphant writer of her "He is a bully," Kassandra said forthrightly. "You must own life story, neither Kassandra's life nor her tale end in be very firm with him or he will treat you like a rug and Mycenae; now, fittingly, both continue with another jour­ walk all over you, and you will be no more than a timid ney, another quest. little thing perpetually yessing him, as my mother does my father." This quest — to found a culture firmly rooted in the "But that is suitable for a husband and wife," said idea of men and women working together and giving their Andromache. "How would you have a man behave?" (99) best, not as men and women, but as human beings — is also expressed in much broader conceptual terms by Lee Archetypal wife, willing and obedient helpmeet of a Edwards in her study of female heroism in fiction. Her patriarchal system and its values, Andromache represents understanding of the female hero focuses on the same our own culture's traditional view of the feminine. central forces which help to make of Kassandra the Significantly, she stands in direct opposition to her own remarkable heroine she is. As Edwards observes: name and heritage: Insofar as she resembles the male hero, [the female "It's horrible," Andromache said. "My name means 'Who hero] questions the conventional associations of gender fights like a man' — and who would want to?" and behavior.... And where she differs from the male hero, "I would," said Penthesilea, "and Ido" (99). she denies the link between heroism and either gender or behavior. Permitted, like others of her sex, to love and Penthesilea, of course, is the Queen of the Amazons, the nurture, to comfort, to solace, and to please, the heroic classical embodiment of the female "Warrior" archetype. woman specifies these impulses as human, not just female, Like Imandra of Colchis, Penthesilea represents a matriar­ and endows them with a value that counters their usual chal society which both encourages and demands female debasement (5). independence, self-assertion, and personal achievement. Andromache, the "feminine" female, feels out of place in The Kin o f Ata Are Waiting For You,13 a visionary this environment: "M y mother can't forgive me that I was which has been described as 'love story, , not bom to be a warrior like her, to bring her all kinds of Jungian myth and utopian ," is author Dorothy Page 18 Issue 67 - Autumn 1991 CPyTHLORe Bryant's vision of just this kind of non-gender based heroic Traditionally biased heroic paradigms like "the paradigm. In the self-regulating and self-realizing com­ Amazon," "the Martyr," and "the Mother," can now be munity of the Kin of Ata, while gender and individuality replaced by non-gender based archetypes like "the Or­ have their own unique place and function, it is the aspira­ phan," "the Wanderer," and "the ," such as those tion towards a total state of human being and community proposed by Pearson. which informs heroic action. This humanistic notion of The heroes proposed by recent imaginative fiction — heroism does not rely so much on doing, on specific from Bradley's Firebrand to Anne McCaffrey's The Rowan, "larger than life" actions, but rather on achieving minor from Bruce Sterling's Islands in the Net to Lew Shiner's triumphs in daily life, on listening to and trusting one's Deserted Cities o f the Heart — illustrate the profound shift own sense of "nagdeo," of what is right and good, and in the heroic paradigm currently underway. With a new building upon those. conception of the hero based on human needs, abilities, and Bryant, however, does not leave Atan society in a achievements, the heroic journey need no longer be em­ Platonic realm of ideals, a narcissistic entity unto itself. She phasized as a singular or atypical event, but may now also presents Ata as a world not merely in contact with our more significantly take its place as an aspect inherent in own, but also in profound symbiotic relationship. For the larger journey of life itself. Shedding the restrictions example, the nameless male narrator is one who has traditionally posed by gender and by cultural expectation, entered their world from the "outside." Irrevocably trans­ heroic being and heroic action may finally and more readi­ formed by his brief residence in Ata, he achieves his own ly express not only the integration of the individual's self, enlightenment and becomes the hero of his own life. In but also the unique contributions of that self to the larger addition, some of the Kin, like the narrator's lover, Augus­ community of humanity. And this, surely, constitutes the tine, are "sacrificial exiles," those "strong dreamer[s] sent very essence of heroic endeavor. H back to live briefly among the millions lost to Ata" (145). As the narrator from our world observes, "It was the closest thing I ever saw to hero worship among Atans. And, of course, a few of the heroes and heroines were startlingly familiar to m e" (145). Closest to our own tradi­ tional perception of the hero, especially in the archetypical mode of "Martyr," this Atan form of heroism becomes the easiest for the narrator from our own world recognize and understand. N otes 1. The heroic characters referred to are Bilbo Baggins and Frodo Baggjns It is hardly a coincidence that psychologists, scholars, of J.R.R. Tolkien's masterpieces. and The Lord of the Rings and creative authors like Pearson, Bolen, Edwards, Brad­ (a trilogy), respectively; Thomas Covenant of Stephen R. Donaldson's ley, and Bryant, have come to fundamentally the same First and Second Chronicles of Thomas Covenant (two trilogies); and the Rowan of Anne McCaffrey's novel by that same name. conclusions about the heroic paradigm, even though they 2. Carols. Pearson, The Hero Within: Six Archetypes We Live By (1986; New all had different departure points and diverse final goals. York; Harper & Row, 1989), 1. Realizing that the models proposed by myth and tradition­ 3. Robert A. Segal, Joseph Campbell: An Introduction (1987; New York: al archetypes severely limit our understanding and recog­ Penguin Books, 1990), 34. nition not only of our own heroic potential but of our 4 .Joseph Campbell, with Bill Moyers, The Pouter of Myth (New York: human reality as well, they propose alternate models for Doubleday, 1988), 125. 5. Lee R. Edwards, Psyche as Hero: Female Heroism and Fictional Form expression and emulation. Instead of accepting culture's (Middletown, Conn.: Wesleyan University Press, 1984), 4. expectation that gender define the differences between 6. J.R.R. Tolkien, The Return of the King (1955; : George Allen and male and female heroism, they affirm the judgment that it Unwin, Ltd., 1961), 117. is the role, not the sex, which divides the two. As Edwards 7. J.R.R. Tolkien, The Fellowship of the Ring (1954; George Allen and Unwin, summarizes, Ltd., 1956), 381. 8. Nine Princes in Amber, The Guns of Avalon, Sign of the Unicom, The Hand A primary character, the hero inspires and requires fol­ ofOberon, The Courts of Chaos, Trumps o f Doom, Blood of Amber, Sign of lowers; the heroine obeys, falls into line, takes second Chaos, and Knight of Shadows are the nine of the series to date. place. Although a hero can theoretically exist in a narra­ 9. Dara of Chaos and Julia of Shadow are the primary manifestations of tive without a heroine, the reverse is not the case.... Role, this stereotype, although Julia breaks from the simplistic mold of "the not sex, divides the two (5). lover" into that of (evil) "sorceress.' 10. Stephen R. Donaldson, The One Tree (1982; New York: Ballantine Once heroism is recognized as an aspect not only of action Books, 1983), 467. but of knowledge and understanding as well, then, as 11. Jean Shinoda Bolen, Goddesses in Everywoman, A New Psychology of Edwards observes, Women (New York: Harper & Row, 1984), 278,280. any action — fighting , seeking grails, stealing 12. Marion Zimmer Bradley, The Firebrand (New York: Simon and Schuster, 1987), 102. fleece, reforming love — is potentially heroic. Heroism 13. Dorothy Bryant, The Kin of Ata Are Waiting For You (1971; New York: thus read and understood is a human necessity, capable Random House, Inc., 1987). Description of the book is quoted from of being represented equally by either sex” (11). the back cover.