Human aspects of the non-human in Tintin in Tibet
Course Code - CC5
NAME – ASSHREE BANERJIE
ROLL NO. – 2021-ENGA-31
REGISTRATION NO. – 014-1211-0139-21
INTRODUCTION
Tintin in Tibet, unveils an array of relationships between the characters in this graphic novel. It is
a journey of unending faith and strife against unyielding trouble, strongly shielded by belief in
will and most importantly, a sense of togetherness that binds the characters of our concern. What
evolves mainly is a new concept of family between man and animal that proves far more potent
than conventional inter-human relationships. Being a product of the author from a period of
intense personal trauma, this book in many ways reflects the subtle nuances of social intercourse,
while shedding light on the significance of previously marginalized characters.
The course of the narrative starts off from Tintin’s concern about rescuing Chang, and
throughout the work we see how Snowy and the Yeti go beyond their animal nature and reflect a
sense of having human characteristics such as loyalty, compassion and kindness in their actions.
They represent imperfection in the ideal, humanity in the ‘non-human’, as well as mirror the
stereotypes they face from their human counterparts. The non-human characters serve the
purpose of breaching racial stereotypes, while representing miscommunication and
misunderstanding between the human characters, and highlighting the fallibility of human
intelligence.
Tintin in Tibet explores the depth, humanity and beauty of filial bonds existing across racial and
man-animal divides.
MAIN BODY
Non-human characters, in the novel Tintin in Tibet, represent the nuances of human quality
directly or indirectly. Their human traits present them as relatable characters, fallible,
conscientious, with their own desires and disappointments.
The non-human characters that occupy the panel provide an analysis of human nature as Herge
understands it. Snowy acts as a foil to the heroic Tintin, who is a representation of an ideal boy
scout. He is exempt from corruption and amorality, rarely fallible and singularly driven towards
his goal. He does not suffer any doubts regarding his mission, nor does he hesitate to risk his life
for a friend he may have already lost. His intentions, while inherently noble, are not realistic and
therefore unlikely to feel relatable to a flawed reader. The non-human characters, such as Snowy,
are a bridge between the ideal boy scout of Tintin and the comic relief of Captain Haddock. He
acts as a representation of the reader’s own character, a ‘window’ for the reader to insert himself
in the story. Snowy, as Tintin's friend and constant companion in all his adventures, receives the
most screen time in the story. The deep attachment between Snowy and Tintin exists despite
certain marked differences in character and an inclination to be independent. Snowy is much
more down to earth than his master; unlike him, he does not have an unbendable sense of duty.
His taste for adventure is also more muted; he yearns for peace and quiet and is suspicious of
Tintin's ideas. However, Snowy is vital to the progression of the plot. His asides represent the
common man and act as a portrayal of the reader’s own character.
For example, when Captain Haddock is about to fall off the bridge, he gives in to his very
‘human’ desire for entertainment and his childishness, hoping he falls.
Other minor characters in the panel, such as the cow in Delhi and the yak in Tibet, represent a
contrast to human rationality. The cow doesn’t care for Haddock's logic in wanting it to move
out of the way, and to a degree, may represent human blindness and self-absorption in its
oblivious actions.
The non-human characters also represent the misunderstanding and miscommunication of the
human characters, as well as their tendency to be limited by their own stereotypes. Snowy
believes the yak is a dangerous animal, even though it is a herbivore, because he is as prejudiced
as his human master, and shares many of the same values. Similarly, when he goes to the
monastery to seek help from the monks, he is categorized as a mad dog. This paradox points to
the very irony known as ‘superior human intelligence’.
The Yeti, or the Abominable Snowman, a creature with a humanitarian, compassionate heart,
absolutely vital in saving Chang’s life, was portrayed as a bloodthirsty monster until the very end
despite the fact that there was no evidence of him ever harming anyone in the first place. This
points to a very human concept of “the fear of the unknown”.
As readers, we are following the writer’s directions, and Snowy's miscommunication is
representing the recurrent misunderstandings in the narrative. Like Snowy, we are
preconditioned to be prejudiced and cautious of the unknown.
European characters, in Tintin in Tibet, are usually portrayed as rational. Captain Haddock’s
actions in trying to move the cow is driven by his rational thought that the cow is blocking his
way. He has little regard for the fact that an animal has no care for human rationality. Such
idiosyncrasies are only present in the human characters, who are dominated by their supposed
rationality and prejudice.
When Snowy is consuming alcohol, an angel and devil appear on his either side, giving him
contrasting counsel. The angel tells him not to bring himself down to the level of man. This
proves that human beings cannot be expected to live up to their own moral standard. This
intrinsically Catholic concept is ironic, because humans are the only race to have any religious
affiliations. This proves that the non-human characters are a reflection of their relationship with
their master, as Snowy adopts Tintin's religious beliefs.
During the time Tintin in Tibet was written, Herge himself was facing a tremendous moral
conflict, torn between his love for Fanny Vlaminck and the vows he made to his wife, Germaine.
He is stranded between his desire and sense of Catholic righteousness which is portrayed in
Snowy’s dilemma.
Herge also presents values of love, compassion and kindness in his portrayal of the Yeti. The
Yeti, seen in popular culture as a ferocious, unforgiving beast, takes on a hitherto unassigned role
in creative art as a nurturer, and the jolt we get from seeing this behemoth assume a motherly
mantle and take care of an alien being with utmost love and care is precisely what Herge wants
us to feel. Chang’s grateful comment at the end, when he wonders out loud whether the Yeti,
“…hadn’t a human soul…” epitomizes the purpose served by the Yeti in this work. The symbol
of unconditional, overflowing love stands over everything around; a divide has been breached,
but only because of the unflinching love that transcends biological categorizations. He also
suggests the potential of cruelty in human beings, when Chang requests not to expose the Yeti, to
protect it from any unwanted attention.
Above all, Herge points to the arbitrariness of humanity by endowing the non-human characters
with humanitarian values and showing them gullible to human vices by blurring the line between
man and animal.
CONCLUSION
Tintin in Tibet is a work drenched in the creator’s deep emotional investment. He portrays the
non-human characters as an extension and mirror to human values, insecurities and stereotypes.
He blurs the line between human and animal, portraying the arbitrary and whimsical traits of
human nature. Above all, he portrays “humanity” as a virtue sometimes found in those farthest
from what appears to be human. Herge has created an enthralling tale of friendship and loyalty,
unbreakable bonds and unconventional relationships. He deceives his audience with the theme of
appearance versus reality, in which he steers the plot to an unexpected outcome, with
unpredictable twists on the way. Herge proves that even without a voice, non-human characters
can still have a massive impact on the outcome of the story.
BIBLIOGRAPHY
Herge, Tintin in Tibet, Le Petit Vingtième, 1959
Mukhopadhyay, Apratim. Tintin in Tibet: Man, Animal and Beyond. Academia.edu, 2001.