Archetypes and the Collective Unconscious
People who had no contact with each other at all formed myths to explain natural
phenomena such as great floods and the creation of the world as well as to answer such
questions as why we die and why we are born. These fantasy images of the primitive mind
are so alike for all cultures that Jung calls them Collective Unconscious. They remain part
of every human unconscious mind as dreams of fantasy and fear. They are living, psychic
forces which demand to be taken seriously. Jung believes that we can never legitimately
be cut loose from our archetypal foundations or we will go mad and become suicidal.
Characteristics of Archetypes
1. They are not individual, but the part we share with all humanity.
2. They are the inherited part of being human which connects us to our past and goes
beyond our personal experience to a common source.
3. They are not directly knowable, but instead express themselves in symbols.
4. They grow out of man’s social, psychological, and biological being.
5. They are universal. From the Roman gladiator to the astronaut, they remain the
same.
6. Their existence cannot be explained by interaction among cultures because
geography and history often made this impossible.
7. They are recurrent, appearing in slightly altered forms to take present day situations
and relate them to the past in order to find meaning in a contemporary world.
Archetypes: A term from literary criticism that accepts Jung’s idea of recurring
patterns of situation, character or symbol existing universally and instinctively in
the collective unconscious of the human race.
Situational Archetypes
1. 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 or
psychological hell and is forced to discover the blackest truths, quite often concerning
his faults. Once the hero is at this lowest point, he must accept personal responsibility
to return to the world of the living. A second use of this pattern is the depiction of a
limited number of travelers on a sea voyage, bus ride or any other trip for the purpose
of isolating them and using them as microcosm of society.
2. 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. NOT THE SAME AS THE QUEST—A FUNCTION OF THE ULTIMATE GOAL, THE
RESTORATION OF FERTILITY. (Arthur pulls Excalibur from stone.) What must be
done to restore the kingdom?
3. The Quest—This motif describes the search for someone or some talisman which,
when found and brought back, will restore fertility to a wasted land, the desolation of
which is mirrored by a leader’s illness and disability. How do you restore the
kingdom?
4. The Initiation— Usually takes the form of an initiation into adult life. The adolescent
comes into his\her maturity with new awareness and problems along with new hope
for the community. This awakening is often the climax of the story.
5. The Fall—This archetype describes a descent from a higher to a lower state of being.
The experience involves a defilement and\ or 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)
6. Death and Rebirth—The most common of all situational archetypes, this motif grows
out of the parallel between the cycle of nature and the cycle of life.
 Springtime and morning and represent birth, youth, or rebirth; genre/comedy

Summer represents life; genre/romance

Autumn represents death and dying; genre/tragedy

Winter and nighttime suggest lifelessness/old age or death; genre/irony
7. Nature vs Mechanistic World—Nature is good while technology and society are
often symbols of evil. (E.g.The Terminator.)
8. Battle between Good and Evil-- Obviously the battle between two primal forces.
Mankind shows eternal optimism in the continual portrayal of good triumphing over
evil despite great odds.
9. 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.
10. The Ritual—The actual ceremonies the initiate experiences that will mark his rite of
passage into another state. The importance of ritual rites cannot be over stressed as
they provide clear sign post for character’s role in society as well as our own position
in this world. (e.g. weddings, baptisms, coronations)
11. The Magic Weapon—This symbolizes the extraordinary quality of the hero because
no one else can wield the weapon or use it to its full potential. It is usually given by a
mentor figure. (Excalibur)
Symbolic Archetypes
It should be noted that the primitive mind tends not to make fine discriminations, but thinks rather in terms of polarities. Thus,
when archetypes appear in a work of literature they usually evoke their primordial opposites. Good is in conflict with evil; birth
symbols are juxtaposed with death images; depictions of heaven are countered by descriptions of hell; and for every Penelope there is
usually a Circe to balance the archetypal scales.
The collective unconscious makes certain associations between the outside world and psychic experiences. These associations
become enduring and are passed from one generation to the next. Some of the more common archetypal associations are as follows:
1.
Light- images of or references to light usually suggests
hope, renewal, or intellectual illumination.
Darkness-images of or references to darkness implies the
unknown ignorance, or despair.
2.
Water-- Because water is necessary to life and growth, it
commonly appears as a birth or rebirth symbol. Water is
used in baptismal services, which solemnizes spiritual births.
Similarly, the appearance of rain in a work of literature can
suggest a character’s spiritual birth.
Desert- The desert is barren and hostile and it usually
represents death and desolation. Any image of or reference
to a place that is barren or desolate or does not support life
illustrates this archetype.
3.
Heaven —Man has traditionally associated parts of the
universe not accessible to him with the dwelling places of
the primordial forces that govern his world. The skies and
mountain tops house his gods. Ascension usually
represents a rise to goodness (climbing stairs, flying…).
Hell- the bowels of the earth contain the diabolic forces that
inhabit his universe. This is often depicted when characters
descend (going down stairs, falling…) the decline into hell.
4.
Innate Wisdom—Some characters exhibit wisdom and
understanding of situations instinctively. Loyal retainers
often exhibit this wisdom as they accompany them on the
journey.
Educated Stupidity-Some characters are portrayed as leaders
who are smart or intelligent, but they are ignorant to basic
and simple truths that are necessary for authentic living.
5.
Haven-Places of safety where heroes are often sheltered for
a time to regain health and resources. (e.g. the Bat cave,
Camelot)
Wilderness— the dangerous wilderness. Often depicted as
the scary unknown, a place where danger is lurking around the
corner.
6.
Supernatural Intervention-- The gods intervene on the side
of the hero.
Supernatural Intervention-- The gods intervene against the
hero.
7.
Fire —Fire represents knowledge, light, life, rebirth (e.g. the
phoenix)
Ice- ice like desert represents ignorance, darkness, sterility,
death.
8.
Red- blood, sacrifice, passion, love, power
Red- blood, sacrifice, chaos, rage, anger,hate, disorder
9.
Green- growth, hope, fertility
Green- greed, envy
10.
Blue-highly positive, secure, tranquility, spiritual purity,
trust, peace
Blue-sadness, depression
11.
Black-wisdom, power
Black-darkness, chaos, mystery, the unknown, death, evil,
melancholy
12.
White- light, purity, innocence, timelessness
White- death, terror, supernatural
13.
Yellow- enlightenment, wisdom
Yellow- ostentatious wealth
14. Numbers:
 Three – the Trinity (Father, Son, Holy Ghost); Mind, Body, Spirit, Birth, Life, Death)
 Four – Mankind (four limbs), four elements, four seasons
 Six – devil, evil
 Seven – Divinity (3) + Mankind (4) = relationship between man and God, seven deadly sins, seven days of the
week, seven days to create the world, seven stages of civilization, seven colors of the rainbow, seven gifts of
Holy Spirit.
Character Archetypes
15. The Hero—Lord Raglan in The Hero: A Study in Tradition, Myth and Drama, contends that this
archetype is so well defined that the life of the protagonist can be clearly divided into a series
of well-marked adventures which strongly suggest a ritualistic pattern. Raglan finds that
traditionally, (not always) the hero’s mother is a virgin or gone, the circumstances of this
conception are unusual, and 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.
16. The Chief: a dynamic leader who has time for nothing but work. He/she might have been born
to lead, or perhaps he conquered the way to the top, but either way, this character is tough,
decisive, goal-oriented.
17. The BAD BOY: dangerous to know, he walks on the wild side. This is the rebel, or the boy
from the wrong side of the tracks. He’s bitter and volatile, a crushed idealist, but he's also
charismatic and street smart.
18. The BEST FRIEND: sweet and safe never lets anyone down. Kind, responsible, decent, this
character doesn't enjoy confrontation and can sometimes be unassertive because he/she
doesn't want to hurt anyone's feelings, but he/she will always be there.
19. The CHARMER: more than a gigolo, he creates fantasies. He’s fun, irresistible, a smooth
operator, yet not too responsible or dependable. He might be a playboy or a rogue, but he's
doesn’t commit to a woman easily.
20. The LOST SOUL: a sensitive being who understands. Tortured, secretive, brooding, and
unforgiving, but he/she is also vulnerable. This character might be a wanderer or an outcast. In
work he/she is creative, but probably also a loner.
21. The PROFESSOR: coolly analytical, and knows every answer. This character is logical,
introverted, and inflexible, but genuine about feelings. At work, this character likes cold, hard
facts. He/She is also honest and faithful, and won’t let you down.
22. The SWASHBUCKLER: Mr. Excitement, he’s an adventure. This guy is action, action, and
more action. He's physical and daring. Fearless, he’s a daredevil, or an explorer. He needs
thrills and chills to keep him happy.
23. The Initiates—These are young heroes or heroines who, prior to their quest, must endure some
training and ceremony. They are usually innocent and often wear white.
24. The WARRIOR: a noble champion, he acts with honor. This man is the reluctant rescuer or
the knight in shining armor. He's noble, tenacious, relentless, and he always sticks up for the
underdog. If you need a protector, he’s your guy. He doesn’t buckle under to rules, or and he
doesn’t go along just to get along.
25. Mentors – These individuals serve as teachers or counselors to the initiates. Sometimes they
work as role models and often serve as a father or mother figure. The mentor teaches by
example the skills necessary to survive the quest.
26. Father-Son Conflict—Tension often results from separation during childhood or from an
external source when the individuals meet as men and where the mentor often has a higher
place in the affections of the hero than the natural parent.
27. The Star-Crossed Lovers- These two characters are engaged in a love affair that is fated to
end tragically for one or both due to the disapproval of the society, friends, or family or some
tragic situation. (e.g. Romeo and Juliet )
28. Hunting Group of Companions—Loyal companions willing to face any number of perils in order
to be together. (e.g. Robin Hood and his Merry Men, the Knights of the Round Table)
29. Loyal Retainers—These individuals are somewhat like servants who are heroic themselves.
Their duty is to protect the hero and reflect the nobility of the hero.
30. Friendly Beast— A loyal pet, this connection shows that nature is on the side of the hero. (e.g.
Toto, Lassie)
31. The Devil Figure—Evil incarnate, this character offers worldly goods, fame, or knowledge to
the protagonist in exchange for possession of the soul (e.g. Satan, Lucifer, Hitler)
32. The Evil Figure with the Ultimately Good Heart—A redeemable devil figure saved by the
nobility or love of the hero. (e.g Scrooge, any romance novel hero)
33. The Scapegoat—An animal or more usually a human whose death in a public ceremony expiates
some taint or sin that has been visited upon a community. Their death often makes them a
more powerful force in the society than when they lived. (e.g. Oedipus, the Jews and minority
that can be blamed for the ills of the times)
34. 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).
35. The Creature of Nightmare- A monster usually summoned from the deepest, darkest part of
the human psyche to threaten the lives of the hero/heroine. Often it is a perversion or
desecration of the human body.
36. The Martyr—A man or woman who gives their life for the good of others or for the good of
the cause.
37. The hyper-sensitive youth- a teen who overreacts to almost any situation; good or bad.
38. 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.
39. 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.
40. 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.
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.
The woman Figure/Heroine
41. The Earth Mother—Symbolic of fruition, abundance, and fertility, this character traditionally offers
spiritual and emotional nourishment to those with whom she comes in contact. She is often depicted in
earth colors and has large breasts and hips symbolic of her childbearing capabilities.
42. The Temptress—Characterized by sensuous beauty, this woman is one to whom the protagonist is
physically attracted and who ultimately brings about his downfall.
43. The Platonic Ideal—This woman is a source of inspiration and a spiritual ideal, for whom the
protagonist or author has an intellectual rather than a physical attraction.
44. The Unfaithful Wife- A woman married to a man she sees dull or distant and is attracted to a more
virile or interesting man.
45. The Damsel in Distress- The vulnerable woman who must be rescued by the hero. She is often used as
a trap to ensnare the unsuspecting hero. (e.g. Guinevere, Snow White, Sleeping Beauty)
46. The BOSS: climbs the ladder of success. This is a “take charge” character, who accepts nothing but
respect. Reaching the goal is the most important thing in life to him/her, and he/she isn’t bothered by a
few ruffled feathers along the way.
47. The SEDUCTRESS/CIRCE: an enchantress, she gets her way. This is a lady who is long accustomed
to sizing up everyone in a room the minute she enters. Mysterious and manipulative, she hides a streak
of distrust a mile wide and ten miles deep. Cynicism guides her every action, and her tough sense of
survival gives her the means to do whatever is necessary to come out ahead.
48. The SPUNKY KID: gutsy and true, she is loyal to the end. She is a favorite of many writers, and for
good reason. You can’t help but root for her. She’s the girl with moxie. She’s not looking to be at the
top of the heap; she just wants to be in her own little niche. She’s the team player, the one who is
always ready to lend a hand.
49. The FREE SPIRIT: eternal optimist, she dances to unheard tunes. Playful and fun-loving, she travels
through life with a hop, skip and a jump, always stopping to smell the flowers and admire the pretty
colors.
50. The LIBRARIAN: controlled and clever, she holds back. She’s prim and proper, but underneath that
tight bun lurks a passionate woman. Dressed to repress, she might be the know-it-all whose hand is
always up in class, or maybe she is the shy mouse hiding in the library.
51. The CRUSADER: a dedicated fighter, she meets her commitments. No shrinking violet, no distressed
damsel, here. This lady is on a mission, and she marches right over anyone in her way. Tenacious and
headstrong, she brushes off any opposition to her goal.
The Villain
52. The TYRANT/SHREW: the bullying dictator wants power at any price. He ruthlessly conquers all he
surveys, crushing his enemies beneath his feet. People are but pawns to him, and he holds all the power
pieces. Hesitate before getting in this man’s way – he’ll think nothing of destroying you.
53. The TRAITOR/SCHEMER: the double agent betrays those who trust him most. No one suspects
the evil that lurks in his heart. Despite supportive smiles and sympathetic ears, he plots the
destruction of his friends. Never turn your back on him -- he means you harm.
54. The EVIL GENIUS: the malevolent mastermind loves to show off his/her superior intelligence.
Intellectual inferiors are contemptible to him/her and that includes just about everyone.
55. The TERRORIST: serves a warped code of honor and does wrong in the name of good. Self-righteous,
this character justifies actions by intent. The end will always justify any nefarious means. Anyone who
is not an ally is an enemy.
56. The BLACK WIDOW/CIRCE: the beguiling siren, she lures victims into her web. She does her best
to make the victim want to be deceived. An expert at seduction of every variety, she uses her charms
to get her way. Don’t be fooled by her claims of love – it’s all a lie.
57. The MATRIARCH: the motherly oppressor, smothers her loved ones. She knows what’s best and will
do all in her power to controls the lives of those who surround her – all for their own good. A classic
enabler, she sees no fault with her darlings, unless they don’t follow her dictates. Don’t be lured into
her family nest – you’ll never get out alive.