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Archetypes, Stereotypes, and the Female Hero: Transformations in Contemporary Perspectives

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Archetypes, Stereotypes, and the Female Hero: Transformations in Contemporary Perspectives Volume 18 Number 1 Article 3 Fall 10-15-1991 Archetypes, Stereotypes, and The Female Hero: Transformations in Contemporary Perspectives Terri Frontgia Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Frontgia, Terri (1991) "Archetypes, 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 Mythopoeic Society 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 Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Points out deficiencies of traditional mythic and psychological archetypes in encompassing females. Considers some heroes and heroines of modern fantasy who demonstrate a new paradigm 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 quest 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" archetype alone. Virtually all of the traditional popular literature, popularized mythography, and ar­ archetypes applied to women — "the virgin," "the wife," chetypal psychology 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 culture. 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 genres, fantasy has utilized these to create some masterful mythographer as Joseph Campbell. 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 Dark Lord 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-familiar 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 man. At the first menstruation, the girl is a derive their power. The shallow stereotype 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 "femme fatale" 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 paradigms by the end of The One Tree, the second through the advent of normal reproductive functions.
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