CULTURAL LITERACY UNIT ON ARCHETYPES
Archetype, Archetypal Criticism:
Archetype is a term from literary criticism that accepts Carl Jung’s idea of recurring patterns of
situation, character, or symbol existing universally and instinctively in the collective unconscious
of man. Jung’s concept of the collective unconscious was in contrast to Sigmund Freud’s idea of
the personal unconscious.
Personal Unconscious vs. Collective Unconscious
Sigmund Freud:
The personal unconscious varies for each person because it is based
on individual experiences that have been forgotten or repressed.
Carl Jung:
The collective unconscious is not learned and has never been conscious,
but is that part of the mind that we share with all humanity. Proof of its
existence can be found in the study of the commonality of trances, dreams,
delusions, myths, religion, and stories.
Stereotypes are culturally based and grow out of our personal
unconscious. Archetypes are universal and are shared by all cultures.
Rationale: Recognition of archetypes in literature and incorporation of archetypes into literary
papers written by students are essential skills as part of preparation for higher thinking and
learning, for upper level courses in high school, and for college entrance or advanced placement
testing. It is to the students’ advantage to introduce them to archetypes as early as possible.
Sophomore English is an ideal level in which to incorporate archetypes into the curriculum.
Approaches for the Teacher: Present the information about archetypes to the students in
outline form as included in this unit. Have the students give examples from their own
knowledge/experience that fit the various archetypes. Be prepared to supply examples if they
cannot give them. To reinforce the learning, discuss why the suggested examples fit or do not fit
the particular category of archetype. After taking notes on the background of archetypes, you
might want to show the film of Star Wars (or portions of the film, since nearly everyone would
have already seen it) and have the students identify the roles of the characters with the archetypes
which they represent. After this, give the students the multiple-choice test on archetypes. Be sure
to tell them that they will be responsible for applying these archetypes to everything they read
and on their entire six weeks test throughout the school year.
Included in this unit:
1. Background notes for the teacher
2. Outline form for presenting the information to students
3. Examples of archetypes
4. Examples of archetypes from Star Wars
5. Question sheets for students to use in conjunction with showing the film Star
Wars
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6. Multiple choice test
7. Answer key for multiple choice test
8. Suggestions for incorporating archetypes into the novels and units taught at the
sophomore level. Also included are questions which may be used for class
discussion, essay questions on tests, or writing assignments.
OUTLINE OF ARCHETYPES
I. UNDERSTANDING ARCHETYPES
A. The collective Unconscious
1. Introduced by Jung
2. Has never been conscious
3. Is not individual, but universal
4. Is instinctive, not learned
B. The Personal Unconscious
1. Set forth by Freud
a. Based on personal experience – learned
b. Repressed memories
c. Forgotten memories
2. Is individual, not collective
C. Other characteristics of archetypes
1. Expressed in forms
2. Grow out of man’s social, psychological, and biological being
3. Cannot be explained by interaction of cultures
a. Geography--widespread throughout remote and separated cultures
b. History of cultures has been different; yet archetypes are similar
4. Archetypal forms are recurrent
a. Slightly altered by time and geography
b. Take present-day situations and relate them to the past in order to
find meaning in a contemporary world
II. SITUATION ARCHETYPES
A. The Quest - the search for someone or some talisman
1. When fulfilled, will restore fertility to wasted land
2. Desolation is mirrored by leader’s disability
B. The task - what the hero must perform (often nearly superhuman)
C. The Initiation – an experience which creates an awakening or awareness of the
world, of people, of one’s responsibilities
D. The Journey – all those things experience d along the way to fulfilling the quest
E. The Fall – describes a descent from a higher to a lower state of being
1. Spiritual defilement
2. Loss of innocence or bliss
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F.
G.
H.
I.
J.
3. May be accompanied by expulsion from a paradise as penalty for
disobedience or moral transgression
Death and Rebirth – parallels the cycle of nature and the cycle of life
1. Morning night
2. Spring  winter
3. Birth  death
4. Resurrection of body or spirit
Nature versus Mechanistic World
1. Nature and natural things are good
2. Technology and society are often evil
The Unhealable Wound – either physical or psychological
1. Cannot be fully healed - continues to ache or pain
2. Indicates a loss of innocence
3. Often drives the sufferer to unreasonable actions
Battle between Good and Evil – battle between two primal forces
The Ritual – actual ceremony that marks the initiate’s rite of passage into another
state
III. CHARACTER ARCHETYPES
A. The Hero1. Mysterious/unusual circumstances surround his birth
a. Is endangered from hostile force from birth on
b. Is reared by foster parents
c. Little is known of his childhood
2. Returns to his future kingdom upon reaching manhood
a. Overcomes antagonistic force
b. Marries princess and becomes king
c. Reigns uneventfully
3. Loses favor with the gods
a. Is driven from his home
b. Meets a mysterious death
c. Body is not always buried, but can have some holy
sepulcher
B. Young Man from the Provinces
1. Spirited away as a young man
2. Raised by strangers
3. Returns home as a stranger where he is aware of new problems and
new solutions
C. The Initiates--heroes or heroines
1. Usually innocent
2. Must go endure some training and/or ceremony prior to quest
D. Mentors – teachers, counselors, role models, father (mother) figures for initiates
E. Mentor – Pupil Relationship – mentor teaches the initiate, often by example, the
skills needed to survive the quest and rule successfully
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F. Father – Son Conflict – tension arising due to various factors
1. Separation during childhood
2. Disagreement from external sources
3. Resentment over role played by mentor in affections of
hero/heroine
G. Hunting Group of Companions – loyal companions willing to face any number of
perils in order to be together
H. Loyal Retainers- -somewhat like servants, they are heroic themselves
1. Duty is to protect the hero
2. Reflect the nobility of the hero
I. Friendly Beast – represents nature on the side of man/the hero
J. Evil figure with Ultimately Good Heart – redeemable devil figure
1. Saved by the nobility of the hero/heroine
2. Saved by the love of the hero/heroine
K. The Outcast – A figure who is banished from a social group for some crime
against his fellow man
1. Is usually destined to become a wanderer
2. Has sometimes self-initiated his outcast state because he disagrees
with norms of society
L. The Scapegoat – someone/something whose death in public ceremony expiates a
taint or sin upon a community
M. The Devil Figure – Evil incarnate, this character offers worldly goods, fame, or
knowledge to the protagonist in exchange for his/her soul
N. Creature of Nightmare – monster usually summoned from the deepest, darkest
part of the human psyche to threaten the hero/heroine
O. Star–crossed Lovers – union ends tragically in the death of either or both of the
lovers
P. The Woman Figure
1. The Earthmother –
a. Symbol of fruition, abundance, and/or fertility
b. Offers spiritual and emotional nourishment
2. The Temptress – characterized by sensuous beauty
a. One to whom the protagonist is physically attracted
b. Ultimately brings about the downfall of the protagonist
3. The Platonic Ideal – serves as a source of inspiration and a spiritual
ideal for whom the protagonist has an intellectual, rather than a
physical attraction
4. The Unfaithful Wife
a. Married to a man she sees as dull or unimaginative
b. Physically attracted to someone she sees as virile and
desirable
5.
Damsel in Distress –
a. Vulnerable woman who needs rescue
b. Often used as a means of ensnaring the hero
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IV. SYMBOLIC ARCHETYPES
A. LightDarkness
1. Light suggests hope, renewal, or intellectual illumination
2. Darkness implies the unknown, ignorance, or despair
B. Water Desert
1. Water is necessary to life and growth
a. Appears as birth or rebirth symbol
b. Used in services which solemnize spiritual births (e.g.
baptismal)
2. Desert is associated with spiritual sterility and barrenness
C. HeavenHell--dwelling places of the primordial forces that govern the world
1. Skies, mountain tops, and heights house the gods
2. Bowels of the earth contain the diabolic forces of the universe
D. Innate Wisdom  Educated Stupidity
1. Instinctive wisdom and understanding of situations as opposed to
those supposedly in charge
2. Superiority of common sense over “book learning”
E.
Haven  Wilderness-places of safety contrast sharply against the dangerous
wilderness
1. Heroes are often found in unexpected surroundings
2. Wilderness threatens civilization
F.
Supernatural Intervention- gods intervene on behalf of or against the hero
G.
Magic Weapon- symbolizes the extraordinary quality of the hero
1. Has special properties
2. Only the hero can wield the weapon or use it to its fullest potential
3. It is usually given by a mentor figure
ARCHETYPE EXAMPLES
SITUATION ARCHETYPEs
1. 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. Jessie L. Weston’s From Ritual to
Romance traces one facet of this archetype through the quests of Gawain, Perceval,
and Galahad for the Holy Grail. More contemporary examples are The Lion King,
Excalibur, and Idylls of the King.
2. The Task
To save the kingdom, to win the fair lady, to identify himself so that he may
resume his rightful position, the hero must perform some nearly superhuman deed.
The task is NOT the same as the The Quest. It is a function of the ultimate goal, the
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restoration of fertility (Arthur pulls the sword from the stone, Grendel is slain by
Beowulf, Frodo must arrive at Rivendale).
3. The Initiation
This usually takes the form of an initiation into adult life. The adolescent comes
into maturity with new awareness and problems along with new hope for the
community. This awakening is often the climax of the story. (Huckleberry Finn,
Stephen Dedalus, King Arthur, the hobbits)
4. The Journey
The journey sends the hero in search of 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 own faults.
Once the hero is at his 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 a microcosm of society, e.g. The Odyssey, The
Canterbury Tales, The Aeneid, The Fellowship of the Rings.
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, e.g., Adam and Eve, Lancelot and Guinevere, Paradise Lost
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. Thus, morning and springtime
represents birth, youth, or rebirth; evening and winter suggest old age and death.
7. Nature vs. a Mechanistic World
Nature is good while technology and society are often evil, e.g., Walden, Mad
Max, and The Terminator.
8. The Battle between Good and Evil
This archetype is obviously the battle between two primal forces. Mankind shows
eternal optimism in the continual portrayal of good triumphing over evil despite great
odds. Examples are the forces of Sauron and those of Middle Earth in The Lord of the
Rings, Satan and God in Paradise Lost, any western, and most cartoons.
9. The Unhealable Wound
This wound is either physical or psychological and cannot be fully healed. This
wound also indicates the loss of innocence. These wounds always ache and often drive
the sufferer to desperate measures, e.g., Frodo’s shoulder, Lancelot’s madness, Ahab’s
wooden leg.
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10. The Ritual
The ritual is the actual ceremony the initiate experiences that will mark his rite of
passage into another state. The importance of ritual rites cannot be sufficiently stressed
as they provide a clear sign post for the character’s role in society as well as our own
position in the world, e.g., weddings, baptisms, and coronations.
11. The Magic Weapon
The weapon 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, Odysseus’ bow, Thor’s hammer).
SYMBOLIC ARCHETYPES
According to Carl Jung, 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. The following are some of the more
common archetypal associations.
1. Light and Darkness
Light usually suggests hope, renewal, or intellectual illumination; darkness implies
the unknown, ignorance, or despair.
2.
Water vs. Desert
Because water is necessary to life and growth, it commonly appears as a birth or
rebirth symbol. Water, which solemnizes spiritual births, is used in baptismal services.
Similarly, the appearance of rain in a work of literature can suggest a character’s
spiritual birth, e.g., “The Wasteland,” the sea and river images in The Odyssey.
3. Heaven vs. Hell
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; the bowels of the earth contain the diabolic forces that
inhabit his universe. (Paradise Lost, The Divine Comedy)
4. Innate Wisdom vs. Educated Stupidity
Some characters exhibit wisdom and understanding of situations instinctively as
opposed to those supposedly in charge. Loyal retainers often exhibit this wisdom as
they accompany them on the journey, e.g., Sam from The Lord of the Rings, animals.
5. Haven vs. Wilderness
Places of safety contrast sharply with the dangerous wilderness. Heros are often
sheltered for a time to regain health and resources, e.g., the Batcave, Camelot,
Rivendale, the Crystal Cave.
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6. Supernatural Intervention
The gods intervene on the side of the hero or sometimes against him, e.g., The
Odyssey, The Lord of the Rings, The Bible.
7. Fire vs. Ice
Fire represents knowledge, light, life, rebirth while ice, like desert, represents
ignorance, darkness, sterility, death, e.g., the phoenix, Dante’s The Inferno.
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 primal 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.
CHARACTER ARCHETYPES
1. 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 the hero’s mother is a virgin, the circumstances of this
conception are unusual, and at birth some attempt is make 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. After a victory over the
king or a wild beast, he marries a princess, becomes king, reigns uneventfully, but
later loses favor with the gods. He is then driven from the city after which he meets a
mysterious death, often at the top of hill. His body is not buried; nevertheless, he has
one or more holy sepulchers. Characters who exemplify this archetype to a greater or
lesser extent are Oedipus, Theseus, Romulus, Perseus, Jason, Dionysus, Joseph,
Moses, Elijah, Jesus Christ, Siegfried, Arthur, Robin Hood, and Frodo.
2. The Young Man from the Provinces
This hero is spirited away as a young man and raised by strangers. He later returns
to his home and heritage where he is a stranger who can see new problems and new
solutions. e.g., Tarzan, King Arthur, Dorothy from The Wizard of Oz, Mr. Spock.
3. 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, e.g., Arthur in
Once and Future King and Daniel in The Karate Kid.
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4. 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, e.g., Merlin, Gandalf
to Frodo.
5. Mentor-Pupil Relationship
The mentor teaches by example the skills necessary to survive the quest.
6.
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. e.g., Arthur and Uther, Romeo and Lord
Montague.
7. Hunting Group of Companions
These are 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.
8. Loyal Retainers
These individuals are somewhat like servants and are heroic themselves. Their
duty is to protect the hero, e.g., Sam in The Lord of the Rings, Watson to Sherlock
Holmes.
9.
Friendly Beast
This character shows that nature is on the side of the hero, e.g., Toto, Lassie, and
Trigger.
10.
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, Mephistopheles,
Hitler.
11.
The Evil Figure with the Ultimately Good Heart
A redeemable devil figure saved by the nobility or love of the hero, e.g., the
Green Knight, Scrooge, any romance novel hero.
12.
The Scapegoat
The scapegoat is an animal or more usually a human whose death in a public
ceremony expiates some taint or sin that has been visited on a community. The death of
the scapegoats often makes them a force in the society more powerful than when they
lived, e.g., Oedipus, the Jews and minorities that can be blamed for the ills of the times.
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13.
The Outcast
The outcast is 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, the Ancient Mariner, Cain.
14.
The Creature of Nightmare
This creature is a monster usually summoned from the deepest, darkest part of the
human psyche to threaten the life of the hero or heroine. Often it is a perversion or
desecration of the human body, e.g., werewolves, vampires, huge snakes,
Frankenstein.
15.
The Woman Figure
a.
The Earthmother: 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 having large
breasts and hips symbolic of her childbearing capabilities, e.g., Mother Nature,
Goldberry in The Lord of the Rings, Mammy in Gone with the Wind.
b.
The Temptress: Characterized by sensuous beauty, this woman is one to
whom the protagonist is physically attracted and who ultimately brings about his
downfall, e.g., Delilah, Guinevere, Cleopatra, the Sirens.
c.
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, e.g., Dante’s Beatrice, Petrarch’s Laura, the Virgin Mary.
d.
The Unfaithful Wife: This character is a woman married to a man she
sees as dull or distant but is attracted to a more virile or interesting man, e.g.,
Guinever, Madame Bovary, Anna Karenina.
e.
The Damsel in Distress: She is the vulnerable woman who must be
rescued by the hero. She often is used as a trap to ensare the unsuspecting hero,
e.g. Guinevere, Snow White, and Sleeping Beauty.
f.
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, family, or some tragic situation, e.g., Romeo and Juliet, Tristan
and Isolde, Lancelot and Guinevere.
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AN ANALYSIS OF THE USE OF ARCHETYPE IN STAR WARS
SITUATIONAL ARCHETYPES IN STAR WARS
1. The Quest
The Quest is to destroy the Empire and restore liberty to the universe.
2. The Initiates
The initiates are Luke and Leia. Notice their colors. Luke in the first two films
wears white or beige. In the Return of the Jedi, he wears black. In the final scenes of
the last film, the collar of his black uniform is open and we see that the lining of the
uniform is blue-white. His light sabre is always white. Leia wears white in film one
and a beige uniform in most of film two except in the sky city, where her love for Han
is becoming obvious and she wears a red cape over beige dress. In film three, she
wears her beige uniform again except in the scene at the Ewok village where she wears
earth colors.
3. The Task
The task differs in each movie, e.g., destroy the Death Star, rescue Leia.
4. The Magic Weapon
Luke is given the light sabre by Obi Wan as he explains to the initiate about his
father and the Jedi tradition. Obi Wan becomes the mentor now.
5. The Ritual
Luke goes through Jedi training to master the weapon and the force. He will not
complete this ritual, which sets up his fall.
6. The Journey
The journey is through the entire galaxy. Settings become more frightening as
situations worsen. Hoth, the ice planet, is full of danger and devoid of life, indicating
the desperation of the rebels. Action returns to Tatooine with Jabba, and the desert
reflects the monster’s symbolic disregard for life. The Emperor lives in a completely
sterile environment of machines, reflecting his disregard for life.
7. The Fall
Luke falls from innocence and protection when he fails to complete his training
and so is not prepared to face Darth. He is intimately connected to the Dark Side since
Darth Vader is his father. He loses his hand and literally falls down the tube of the sky
city to emerge an experienced man. There is no going back now. He must fight with
his own emotions and desires as all men do. He never ears all white again.
8.
Death and Rebirth
Obi Wan is presumed dead but is found by Luke. Later in the film, Obi Wan is
actually killed by Vader, but his body disappears and his spirit returns with greater
strength—a very common archetype in savior stories.
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9.
Natural vs. Mechanistic World
The Ewoks illustrate the archetypal notion that nature is ultimately good, and their
planet is rampant with life—as is Yoda’s. The machine world of the Emperor is cold
and sterile. Darth is more machine than man, and thus evil is more obvious. The
stormtroopers hide behind masks of metal and reveal no life and no feeling. Note that
their uniforms are white lined with black signifying essential corruption.
10.
The Battle Between Good and Evil
Inherent in all myth, this battle is always easy to determine in these films. Good
and evil are designated by archetypal colors, actions, and music. The dichotomy
between good and evil is illustrated by each turn of the plot.
11.
The Unhealable Wound
Luke’s fall from grace and innocence is represented by his artificial hand. Darth
suffers an unhealable wound as is made obvious by his portable life support system
through which he breathes.
12.
The Ritual
At the end of the trilogy, Luke, Leia, Han and the others are honored in a grand
ceremony in which they re hailed as heroes.
11.
The Magic Weapon
Luke wields his light saber (his modern-day Excalibur) as he defeats Darth
Vader and the Emperor.
CHARACTER ARCHETYPES IN STAR WARS
1.
The Hero
Luke Skywalker is the primary hero and fits all the archetypal patterns, though Lucas
made a mistake by allowing Han to have the love affair. As in the Arthurian legends,
Han/Lancelot often overshadows Luke. Notice the hero’s name with all its symbolic
associations: Luke the physician, Skywalker.
2.
The Platonic Ideal Heroine
Luke is involved in a platonic relationship with Leia, filled with great affection but
devoid of physical involvement. Leia provides a reason for Luke and Han to join with
the rebel alliance.
3.
The Young Man from the Provinces
Luke is raised in a very remote, “safe” area where he is hidden and protected from
Darth and the Emperor. When he is thrust into the rebellion, he brings with him an
outsider’s eye as well as new enthusiasm.
4.
The Damsel in Distress
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Leia is rescued by Han and Luke several times and is also used to trap our heroes,
especially in the City of Clouds and in the desert with Jabba.
5.
The Spiritual Earthmother
Leia becomes more motherly, softer, and more a part of nature—culminating with her
acceptance by the Ewoks. Notice that her hair is down and she wears the color of
nature.
6.
The Mentor-Pupil Relationship
Luke has two mentors. Yoda is the ultimate teacher of the force and personally directs
Luke’s training. Obi Wan continues to guide Luke throughout the series by reminding
Luke of the power of the force.
7.
Apparently Evil Figure with Ultimately Good Heart
Luke’s love is able to penetrate to the human part of Darth to save his soul, if not his
life. Darth reappears as Anakin at the end of the third film, indicating his return to
grace or the good side of the force.
8.
Woman as Temptress
Leia is used to tempt Luke from his Jedi training. Similarly, because of Han’s love for
her, he is dragged into the rebellion.
9.
The Devil Figures
The primary devil figure is the Emperor who always wears black. Darth Vader (‘Dark
Father’) also plays this role for much of the series.
10.
The Father-Son Conflict
We discover this archetype in film two when we realize that Luke is Vader’s son. The
primary battle is between them.
11.
The Outcast
Both Obi Wan and Han are outcasts—one for a noble purpose, the other for a crime.
Both join forces with the rebels to defeat the ultimate evil. Notice Han’s colors, a
white shirt with a black vest, symbolizing his ambivalent stature and experience.
Notice also Han’s name (Hand alone).
12.
The Scapegoat
Obi Wan’s death occurs in order to save Luke’s life and allow Obi Wan to offer
Luke greater spiritual nourishment.
13.
The Star-crossed Lovers
Han and Leis survive many trials (Han believes Leia loves Luke, Han is encased in
carbonite, Leia is captured, their social positions are disparate), finally to reach
happiness.
14.
The Hunting Group of Companions
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All of the band who help Luke form this group.
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15.
The Loyal Retainers
Separate from the ‘Hunting Group,’ R2D2 and C3PO are loyal servants who are
heroic in themselves, risking their “ lives” many times in service to Luke and Leia.
16.
The Creature of Nightmare
Darth Vader, Jabba, the Emperor, as well as minor figures, serve to terrify the
heroes and their companions.
17.
The Friendly Beast
Chewbacca and the Ewoks, more animal than human, represent the supportive
force of nature.
SYMBOLIC ARCHETYPES IN STAR WARS
1.
Light vs. Darkness
The three films are replete with contrasting light and dark images. Any time the
characters are on screen, their moral qualities are made obvious by the quality and
quantity of light. Notice that the bar scene is quite dark, symbolizing the degradation
of the occupants. Notice also costuming in this regard.
2.
Water vs. Desert
Notice that wherever there is water and lush vegetation, there is an abundance of
life—the force. Contrast Tatooine, the desert planet, which harbors such life forms as
Jabba and his minions, with Yoda’s planet of Degoba.
3.
Innate Wisdom vs. Educated Stupidity
The primitive Ewoks play an instrumental part in defeating the technologically
superior forces of the Empire.
4.
Supernatural Intervention
The force (both Good and Dark) is clearly a supernatural entity which governs the
action of the films.
5.
The Magic Weapon
Obviously, only a Jedi knight can effectively wield the light sabre.
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ARCHETYPES ASSOCIATED WITH INDIVIDUAL CHARACTERS IN STAR WARS
Luke Skywalker:
Hero, Young man from the Provinces, Initiate, Quest, Task, Magic Weapon, Ritual,
Journey, Fall, Death and Rebirth, Unhealable Wound, Good vs. Evil, Father-son Conflict,
Mentor-Pupil Relationship, Hunting Group of Companions, Monster Slayer
Princess Leia:
Heroine, Damsel in Distress, Platonic Ideal, Hunting Group of Companions, Star-crossed
Lovers, spiritual Earthmother, Journey, Initiate, Good vs. Evil
Han Solo:
Hero, Task, Journey, Hunting Group of Companions, Death-Rebirth, Star-crossed Lovers
Obi Wan Kenobi:
Mentor, Outcast, Journey, Magic Weapons, Scapegoat, Death-Rebirth, Supernatural Power,
The Mana (the power of the elemental forces of nature embodied in an object or person),
Light vs. Darkness, Good vs. Evil, The Ritual
Yoda:
Mentor, Supernatural Power, Water vs. Drought, The Mana, Death-Rebirth, Natural vs.
Mechanistic World, Good vs. Evil, The Ritual, The Elf-Figure
Darth Vader (Anakin Skywalker):
Devil Figure, Magic Weapon, The Fall, Unhealable Wound, Father-Son Conflict, DeathRebirth, Light vs. Darkness, Apparently Evil Figure with Ultimately Good Heart, Monster
of Nightmare
Chewbacca:
Friendly Beast, Hunting Group of Companions, Innate Wisdom vs. Educated Stupidity
Lando Calrisian:
Task, Journey, Hunting group of Companions
The Emperor:
Devil Figure, Good vs. Evil, Heaven vs. Hell, Light vs. Darkness
Jabba the Hutt:
Monster of Nightmare, Good vs. Evil
The Two Droids (R2D2 and C3PO):
Loyal Retainers, Hunting Group of Companions
The Ewoks:
Friendly Beast, Hunting Group of Companions, Natural vs. Mechanistic World
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Questions to Accompany the Study of Archetype and Star Wars
1.
a. How does the film begin?
b. What is the problem?
2.
a. Who are R2D2 and C3PO?
b. Describe their personalities.
c. What archetypes do they represent?
3.
a. Describe the relationship between the robots.
b. Who else has a similar relationship?
4.
a. Who is Darth Vader?
b. Describe him and his personality.
c. What archetype does he fit?
5.
a. Who is Leia?
b. Describe her physically and emotionally.
6.
a. Who is Luke Sykwalker
b. Describe him.
c. Which archetype does he fit?
7. a. Who is Obi Wan (Ben)?
b. Describe him.
c. Which archetypes does he fit?
8.
a. Describe Luke’s planet of Tatooine.
b. What archetype does it fall into and why is this important to the story?
9.
Describe the Jawas.
10.
a. Why is Luke being raised by his aunt and uncle and which archetypes does this
fit?
11. a. Describe the Death Star.
b. What can it do?
12. a. What do the Emperor’s men look like and who do they remind you of?
b. Why is this important?
13. The “Bar Scene” is archetypal. Why? Explain.
14. a. Describe Han Solo.
b. What kind of trouble is he in?
c. What archetypes does he fit?
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15.
a. Describe Chewbacca
b. What archetype does he fit?
c. Describe his relationship with Han.
16. a. What is the magic weapon?
b. Who gets if from whom and why?
17. What is the force and why is it important?
18. What is the task?
19. What is the significance of Luke’s last name?
20. In this story, why are loyal retainers and hunting companions important?
21. Why does Ben allow Darth to kill him?
22. a. What are Han’s motives for helping the rebellion?
b. Do his motives change? Why?
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Test on Archetypes
The answer choices for the matching statements may be used more than once. Not all choices
will be used.
A. The Quest
1.
2.
3.
4.
5.
B. The Journey
C. The Ritual
D. The Task
E. The Initiation
adventures encountered by the hero as he searches for information or intellectual truth.
actual ceremonies experienced by hero, making his passage into another state
the awakening experience which increases maturity, awareness, or perception
the search for some person or some talisman which will restore fertility to a wasted land
Nearly superhuman deed which must be performed in order to win the fair lady, assume his
rightful position, etc.
A. Battle between Good & Evil
D. Natural Vs. Mechanistic
B. The Fall
C. Death & Rebirth
E. Unhealable wound
6. situations which parallel the cycle of nature or cycle of life
7. situations which point out the evils of technology and/or society
8. describes a descent from a higher to a lower state of being
9. spiritual or physical regeneration or resurrection
10. physical or psychological scar which may indicate a loss of innocence or a “tainting”
11. conflict between primal forces
12. an example of this would be someone who, despondent and withdrawn, finds new hope or
motivation
13. Which of these is NOT characteristic of a Hero?
a. reared by foster parents b. has to overcome some flaw to his character
c. circumstances surrounding his conception/birth are mysterious
d. returns to his future kingdom on some quest e. marries a princess and becomes king
14. Which of these is NOT characteristic of the Magic Weapon?
a. It symbolizes the extraordinary quality of the hero
b.it cannot be wielded by the common person c. it can only be wielded for Good.
d. it is usually given by a mentor figure
e. has special properties
A. Young men from provinces
D. Loyal Retainers
B. Mentors
E. Scapegoats
C. Hunting group of companions
15. someone whose death in public ceremony expiates a taint upon the community
16. servant-like individuals who reflect the nobility of the hero
17. loyal companions willing to face great dangers to be together
18. Simba from The Lion King is an example of this
19. Merlin is an example of this
20. The Tin Woodman, Cowardly Lion, and the Scarecrow are examples of this
21. virgins given to appease dragons are examples of this
22. C3PO and R2D2 are examples of this
23. teachers, counselors, or role models for the initiates
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24. the Seven Dwarves
25. Puss-in-boots
A. Friendly beast
D. Initiates
B. Evil figures w/ultimately good hearts
E. The Devil Figure
C. Outcasts
26. Luke is an example of this
27. Chewbaca is an example of this
28. Princess Leia is an example of this
29. Obi Wan Kenobi is an example of this
30. Darth Vader
31. the Ugly Duckling
A. the Earthmother
E. Damsel in Distress
B. Temptress C. Platonic Ideal
D. Unfaithful Wife
32. Cleopatra
33. Snow White
34. Tinker bell
35. Little Red Riding Hood
36. Mother Goose
37. Princess Leia
38. Alice (in Wonderland)
True or False**
39. The collective unconscious consists of things one has forgotten or repressed
40. Everyone’s collective unconscious is identical
41. Everyone’s personal unconscious is identical
42. The personal unconscious has never been “I” consciousness
43. The contents of the personal unconscious are archetypal
44. The collective unconscious is a theory developed by Jung
45. The personal unconscious is a theory developed by Freud
46. Anthropologists believe the collective unconscious is the result of interaction of cultures
47. Archetypal forms are recurrent
48. The collective unconscious is: a. instinctive b. learned
49. The personal unconscious is:
a. instinctive b. learned
50. Which of the following is NOT a type of archetype?
a. situational
b. character c. setting
d. symbolic
**Note: The information provided in this guide about items 39-50 is very sketchy. The whole
unit was obtained from an AP presentation given about 10 years ago; the original unit did not
contain additional background information. Teachers may want to omit these items from the
test.
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Answer Key for Archetypes Test
1. B
2. C
3. E
4. A
5. D
6. C
7. D
8. B
9. C
10. E
11. A
12. C
13. B
14. C
15. E
16. D
17. C
18. A
19. B
20. C
21. E
22. D
23. B
24. C
25. D
26. D
27. A
28. D
29. C
30. E
31. C
32. B
33. E
34. C
35. E
36. E
37. E
38. E
39. False
40. True
41. False
42. False
43. False
44. True
45. True
46. False
47. True
48. A
49. B
50. C
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Incorporating Archetypes into the Units/Novels Taught
In order for students to fully understand and realize the importance of archetypes, it is
essential that teachers refer to archetypal representations as they are found in the literature
that will be covered throughout the school year. Below are suggested questions taken from
the major sophomore units. These may be used in class discussion, as essay test questions, or
as writing assignments. They may be included as class work, as individual assignments, or as
group assignments.
Animal Farm
1. Discuss the different archetypal roles played by the following animals on the farm:
Snowball, Boxer, Clover, Old Major, Squealer.
2. Discuss the situational archetype of Nature versus the Mechanistic World as it is
portrayed in the novel.
Les Miserables
1. How does Jean Valjean qualify as an archetypal hero on a quest? What is that quest and
how is it fulfilled? What other situational archetypes fit him?
2. Discuss Marius as an archetypal hero. What other archetypal categories does he fall into?
3. Examine the role played by Javert. What archetypes might describe the role he plays in
the novel?
4. What archetypes can be found in the characters of Fantine and Cosette? Support with
details.
5. What archetypal role does the Bishop play? Explain fully.
6. In what sections of the book is the symbolic archetype of light-darkness found? Explain.
King Arthur
1. What archetypes do we find in the female roles played by Guinevere and Morgan Le
Fay?
2. Examine Arthur as an archetypal hero on a quest. What situational, character, and
symbolic archetypes apply to his life story?
3. Examine Lancelot as an archetypal hero on a quest. What situational, character, and
symbolic archetypes apply to his life story?
4. Examine Lancelot and Guinevere as star-crossed lovers.
5. What archetypal roles does Merlin play or influence?
6. What symbolic and character archetypes are served by Camelot, the round table, and the
knights who served at the round table?
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Julius Caesar
1. Which character fits the archetypal form of hero better: Julius Caesar, Brutus, or Marc
Antony? Support your answer.
2. Which of the female archetypes would Portia best fit? Support you answer.
3. Find other examples of character, situational, or symbolic archetypes in Julius Caesar.
Tale of Two Cities
1. In what ways does Sidney Carton fit the archetype of hero on a quest? What are the
various other archetypes which match his character? Give detailed support.
2. What archetypes can be applied to Lucy Manette? Explain.
3. What archetypes can be applied to Madame de Farge? Explain.
4. What archetypes can be applied to Miss Pross and Mr. Lorry? Explain.
5. What archetypes can be applied to Dr. Manette? Explain.
6. What symbolic archetypes are found in this novel?
To Kill a Mockingbird
1. Think of Scout as an archetypal hero. What factors in her life would qualify her as fitting
this particular archetype? Think of her progress through the book as a quest. What was
the quest? What comprised the Task, the Initiation, the Journey, the Fall, and the Ritual?
2. What character archetypes does Boo Radley embody? Fully support your choices.
3. Look at the novel to find characters who served as the archetypal Initiates, Mentors,
Hunting Group of Companions, Loyal Retainers, Devil Figure, and Earthmother. Explain
how these characters fulfilled each of these roles.
4. Examine the symbolic archetypes of Light  Darkness and Haven versus Wildernesses
they can be found in the novel.
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