Summary of Archetypes
1
JUNGIAN ARCHETYPES
Phillip Wedgeworth, Center for the Humanities
Derived from the work of Carl Jung
(a few additions from other sites or
from Ms. McPherson)
Characters
A. 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 his 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.
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 a hill. His body is not buried; but
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,
Beowulf, Frodo, and Llew Llawgyffes (Celtic
hero). Father-Son Conflict: Tension often
results from the 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, Luke and Anakin).
B. Mentors – They are the hero’s conscience
and teacher. They motivate the hero to
achieve his goals, plant ideas in the hero’s
mind that, later on, the hero draws upon, or
initiate the hero into the mysteries of life and
love. They also train the hero so that he may
have the skills to face dangers he will
encounter on his quest. They are role
models and often serve as father figures
(e.g., Merlin, Gandalf, Obi Wan).
C. Young Man from the Provinces – This
hero is spirited away as a child or young
man and raised by strangers. He later
returns home, where he is seen as a
stranger. He can see new problems and new
solutions. (e.g., Dorothy from Wizard of
Oz, Tarzan, Arthur, Spock.)
D. The Initiate – A young hero, who prior to
his quest, must endure training and
ceremony/ritual. He/she is usually
innocent and often wears white (e.g.,
Arthur, Luke & Leia, The Karate Kid).
E. Hunting Group of Companions – Loyal
companions willing to face any number of
dangers in order to be together (e.g., the
Knights of the Round Table, Robin
Hood’s Merry Men).
F. Loyal Retainers – These individuals are
somewhat like servants who are heroic
themselves. Their duty is to protect the
hero and physically and emotionally
support him in his role (e.g., Sam in Lord
of the Rings, Watson in Sherlock
Holmes).
G. Friendly Beast – This animal or creature
shows that nature is on the side of the
hero (e.g., Toto, Chewbacca, Dobby).
H. 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 (e.g.,
Oedipus, the Jews that were historically
blamed for the ills of the times, Shirley
Jackson’s “The Lottery”).
I.
Trickster – A wise fool, a rascal, a
troublemaker. A trickster might be
mischievous or evil. He often breaks
rules and causes destruction, but he may
also create tools or help salvage a
situation. He often crosses the barrier
between humans and gods or peasants
and kings (e.g., Loki in Norse
Mythology, Jar Jar Binks in Star Wars,
Briar Rabbit, Jack Sparrow, clowns,
magicians)
J.
The Outcast – A figure who is banished
from a social group for some crime
against his fellow man. The outcast is
usually destined to become a wanderer
from place to place (e.g., Cain, the
Ancient Mariner, some cowboys).
K. The Devil Figure – Evil incarnate, this
character offers worldly goods, fame, or
knowledge to the protagonist in
exchange for possession of his soul
(e.g., Lucifer, the Faust legend, Ursula).
L. The Evil Figure with the Ultimately
Good Heart – A redeemable devil
figure is saved by the nobility or love of
the hero (e.g., Scrooge, the Grinch,
many romance novel men)
M. The Creature of Nightmare – A monster
usually summoned from the deepest,
darkest part of the human psyche to
threaten the lives of the hero.
(Frankenstein, werewolves, vampires,
huge snakes, Aliens)
N. Women’s Roles
1. The Earthmother – Symbolic of fruition,
abundance, and fertility, this character
traditionally offers spiritual and emotional
nourishment to those with whom she
comes in contact. Often depicted in earth
colors with a large chest and hips,
representing her childbearing capabilities
and motherly nature (e.g., Mother Nature,
Mother Country, Fairy Godmother).
2. The Temptress – Characterized by
sensuous beauty, this woman is one to
whom the protagonist is physically
attracted, but she ultimately brings about
his downfall (e.g., Delilah, the Sirens,
Cleopatra, Helen of Troy).
3. The Platonic Ideal – This woman is a
source of inspiration and a spiritual ideal,
for which the protagonist or author has
an intellectual or spiritual attraction. He
sees her as perfect and pure (e.g., the
Virgin Mary, women of the court that
knights tried to impress).
4. The Unfaithful Wife – A woman, married
to a man she sees as dull and
unimaginative, is physically attracted to
a more manly and desirable man (e.g.,
Guinevere, Anna Karenina, Hester from
The Scarlet Letter, Mrs. Wilson in The
Great Gatsby).
5. 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,
Sleeping Beauty, Snow White,
girlfriends in superhero movies).
6. Amazon Warrior – A female character
who displays a fearless sense of honor.
She usually handles weapons well and is
knowledgeable in defending herself and
her people/land. Many times, she is
wrongly perceived as hating men.
O. The Star-Crossed lovers –These lovers
are from opposing groups, such as enemy
camps, rival gangs, or different species,
and their love is seen as against the proper
order. The couple, against the odds (and
usually secretly), enters a love affair,
which usually ends tragically in the death
of either or both of the lovers (e.g.,
Romeo and Juliet, West Side Story,
Tristan and Isolde).
Situations
A. The Fall – This archetype describes a descent
from a higher to a lower state of being. The
experience involves spiritual defilement and/or
a loss of innocence. The Fall is also usually
accompanied by expulsion from a kind of
paradise as penalty for disobedience and moral
transgression (e.g., the Garden of Eden,
Paradise Lost—the story of Lucifer cast from
heaven).
B. Death and Rebirth – A common archetype,
this motif shows the parallel between the cycle
of nature and the cycle of life. Thus, morning
and springtime represent birth, youth, or
rebirth; evening and winter suggest old age or
death.
Symbols
A. Light-Darkness – Light usually suggests
hope, renewal or intellectual illumination;
darkness implies the unknown, ignorance, or
despair.
B. Water-Desert – Because water is necessary to
life and growth, it commonly appears as a
birth or rebirth symbol. Water is used in
baptismal services, which symbolize spiritual
birth. Similarly, the appearance of rain in a
work of literature can suggest a character's
regeneration or rebirth. Conversely, the aridity
of the desert is often associated with a spiritual
death or lack of hope.
C. Heaven-Hell – Man has traditionally associated
parts of the universe inaccessible to him with
the dwelling places of the beings that govern his
world. The skies and mountaintops house his
gods; the innards of the earth contain the devil
and his creatures (e.g., Mount Olympus & the
Underworld, Christian views of Heaven and
Hell).
D. Haven vs. Wilderness – Heroes are often
sheltered for a time in places of safety (havens)
to regain their health or spiritual strength before
they are thrust out into the dangerous
wilderness (e.g., Lord of the Rings, The Matrix,
Hunger Games)
E. Nature vs. the Mechanistic World – Nature is
good while technology and society is often evil.
F. Innate Wisdom vs. Educated Stupidity –
Some characters naturally have wisdom and
understanding of situations as opposed to those
often in charge who have extensive book
learning yet usually make poor decisions.
G. Fire vs. Ice – Fire represents knowledge, light,
life, and rebirth (and may be present if the hero
is experiencing such enlightenment). Ice
represents ignorance, darkness, lack of hope or
growth, and death (and may be present if the
hero is experiencing such despair).
H. Supernatural Intervention – A supernatural
force, god, or being intervenes either on the side
of the hero or sometimes against him.
I.
J.
The Unhealable Wound – The hero or some
other character has a wound, either physical or
psychological, that cannot be fully healed. This
wound often indicates a loss of innocence. It
always aches and often drives the sufferer to
desperate measures.
The Magic Weapon – This is a weapon that
can only be wielded or used to its full potential
by the hero. It symbolizes the extraordinary
quality of the hero.
Color Archetypes
A. Red – Depicts great passion as in love,
violence, and artistry. Also denotes blood,
sacrifice, disorder, boldness, and danger. The
hero (or one of his partners) may wear this
color in battle.
B. Green – Positive associations are life, rebirth,
growth, hope, and fertility. Sometimes seen
with yellow (hope, sunshine). Negative
associations (usually for a brownish-green or
sickly green) are death and decay. In some
cultures, green represents wealth (and greed
and envy) as well as intellect.
C. Blue – A positive color associated with
compromise, serenity, truth, security, loyalty,
and spiritual purity. Characters wearing this
color represent peacemakers or noble, virtuous
heroes.
D. Black – Positive associations are knowledge
and intelligence. Black may also represent
boldness, power, and sophistication. Neutral
associations are mystery and the unknown.
Negative associations are evil, depression,
chaos, and death. The hero may wear a
combination of black and white while
progressing through various trials.
E. White – Positive associations are light,
innocence, purity, virginity, and timelessness.
A heroic character will usually wear this color
prior to experiencing a rite of passage (or
during early training before maturity).
Negative associations of white are death,
terror, the supernatural, emptiness, and fear of
the great unknown in the universe.
F. Yellow – Depicts hope and happiness. Positive
association with the sun—as long as the sun
shines, there is hope for a new beginning. In
some cultures, yellow can also represent
cowardice or illness.
G. Orange – A combination color (of yellow and
read) used to represent hope and passion.
Orange has also been identified with
adventure, change, energy, and danger.
H. Brown – Earth tones representing unity with
the land. Seen as a color of simplicity,
dependability, health, warmth, and
friendliness. Frequently seen with native
animals or characters in harmony with their
homeland. Earthmothers, farmers, shepherds,
and monks often wear this color.
I.
Purple – Rare in nature (and, therefore,
mysterious and also prized), purple is
associated with magic, the supernatural, the
mystical, creativity, the subconscious,
spirituality, power, and royalty. Darker, richer
purple is symbolic of royalty, power, dignity,
and intellect. (Purple was an expensive dye
and only worn by royals or popes.) Pale
purples is symbolic of delicate femininity.
Note: Many cultures today use purple with
mourning.
J.
Gold/Silver – Associated with wealth, status,
and power.