Archetypal/Mythological Criticism: Recurrence in Literature

Archetypal/Mythological Criticism: Recurrence in Literature

The word archetype refers to any recurring image, character type, plot formula, or pattern of action. An archetype, then, is a kind of supertype, or model, different versions of which recur throughout the history of human production… (Tyson, L. (2015). Critical Theory Today (3rd ed., p. 211).

We are at the third blog, we have studied two blogs: Formalism (Russian) and New Criticism. When you read this blog, mo

st of you will consider that “I have already known that!” I have this topic in the Theory and Criticism of Literature. I have enjoyed it, so writing this topic will make me excited. Let’s start.

Before starting, I want to ask you that

All literary works should be unique?

Your answer now will show how you approach Archetypal Criticism.

Archetypal/Mythological Criticism suggests that when we look at literature, we find certain stories and characters that show up repeatedly, even across different cultures. It is as if we all know the same fundamental stories, and these stories connect us to each other. For instance, a hero setting out on a journey, facing evil, and returning with new wisdom is a pattern we see in many tales and myths. These common themes and characters are what we call “archetypes.” The hero, the guide, the villain, or even elements like nature are universal figures that hold meaning for all of us.

Frye's archetypal criticism focuses on identifying and analysing recurring narrative patterns, symbols, and character types in literature. By examining these archetypes, Frye believed we could uncover the universal themes and structures that support Western literature. This method highlights how certain stories and patterns resonate across different cultures and periods, revealing the shared human experiences and emotions that these archetypes represent.

Archetypes function as structural models that generate various versions of themselves, maintaining the same underlying structure despite different surface phenomena. This means that while the specific content of romances, tragedies, ironic/satiric narratives, and comedies may differ, their fundamental structures remain consistent. Archetypes provide a framework that shapes the narrative elements, allowing for diverse expressions while preserving a core pattern. This structural consistency is what makes archetypes so powerful and universal in literature.

Carl Jung's studies of mythology, religion, ancient symbols, and the customs of primitive people led him to several key conclusions.

• Causality and Teleology: Human behaviour is influenced not only by individual and racial history (causality) but also by future goals and aspirations (teleology). Both past experiences and future potentials shape present behaviour.

• Creative Development: Jung believed in the constant and often creative development of individuals, driven by the search for wholeness, completion, and rebirth.

• Ancestral Influence: He saw individual personality as a product of ancestral history. Modern humans are shaped by the cumulative experiences of past generations, extending back to the origins of humanity. These foundations are archaic, primitive, innate, unconscious, and likely universal.

• Inherited Predispositions: Humans are born with many predispositions inherited from their ancestors.

• Inner and Outer Forces: An individual's personality results from the interaction of inner forces (such as instincts and unconscious drives) and outer forces (such as social and environmental influences).

• The Persona: This is the mask we wear to meet the expectations of society and our own inner needs. It is the public face we show to the world, often concealing our true nature.

• The Anima and Animus: These represent the feminine and masculine aspects of each person. The anima is the feminine side in men, and the animus is the masculine side in women. These archetypes reflect the influence of the opposite sex on our psyche, shaped by our interactions with the opposite gender throughout history.

• The Shadow: This consists of our primal, animal instincts inherited from our evolutionary past. It embodies the darker aspects of our personality, such as unpleasant thoughts and actions. When projected outward, the shadow can appear as an enemy or a devil.

• The Self: This represents the total personality, the central point around which all other systems are organized. It provides unity, equilibrium, and stability to the personality, motivating our behaviour and driving the search for wholeness, often through spiritual or religious means.

Jung's theories on self-realization and individuation are central to his understanding of human development. He believed that individuals are constantly striving to progress from a less complete stage to a more complete one, with the ultimate goal being self-realization. This means achieving the fullest and most harmonious integration of all aspects of one's personality, where the self takes precedence over the ego.

• Individuation is the process by which this development occurs. It involves the differentiation and full development of various systems of personality. Neglected or underdeveloped systems can create resistance, so for a healthy, integrated personality, every system must be allowed to reach its fullest potential.

• Symbolization plays a crucial role in this process. Symbols are embodiments of archetypal material and represent the psyche. They carry the accumulated wisdom of humanity, both racial and individual. To understand the knowledge contained in a symbol, one must decipher it, as it often holds important messages that are not directly known to the conscious mind. The creation of symbols is driven by both a motivating force and an attracting force, reflecting the dynamic nature of the psyche.

The monomyth, or the hero's journey, is a universal narrative pattern found in literature. It often follows a circular structure and can take various forms, such as:

• The Quest: A hero embarks on a journey to achieve a goal, facing obstacles and temporary defeats before ultimately succeeding. An example is Abraham's quest for a son.

• The Death-Rebirth Motif: A hero experiences death or danger and then returns to life or safety. The story of Jesus is a classic example.

• The Initiation: A character is thrust out of an ideal situation and undergoes a series of ordeals, encountering various forms of evil or hardship for the first time. The story of Joseph illustrates this pattern.

• The Journey: Characters face danger and grow as they move from one place to another.

• Tragedy: Often involves a fall from innocence, as seen in the stories of Adam and Eve.

• Comedy: A U-shaped story that starts in prosperity, descends into tragedy, but ends happily as obstacles are overcome.

• Crime & Punishment: Focuses on the consequences of wrongdoing.

• The Temptation: Someone falls victim to an evil tempter or temptress.

• The Rescue: A character is saved from danger or distress.

• The Suffering Servant or Scapegoat Pattern: A character undergoes unmerited suffering to secure the welfare of others, like in the stories of Joseph and Jesus.

1)    The Young Hero

• Unusual or Prophesied Birth: Often born under extraordinary circumstances.

• Remarkable Courage: Displays bravery beyond the ordinary.

• Princely Status: Often of noble birth or destined for greatness.

• Struggles with Pride or Impatience: Faces internal conflicts.

• Boredom with Current Situation: Feels a sense of restlessness.

2)    During their journey, the Young Hero

• Performs Impossible Tasks

• Battles Monsters

• Solves Unanswerable Riddles

• Overcomes Insurmountable Obstacles

• Saves a Kingdom

• Marries a Princess

3)    The Sacrificial Scapegoat

• Hero Figure: Represents the welfare of the tribe or nation.

• Must Die to Atone: Sacrifices themselves to restore balance or fertility.

• Savior or Deliverer: Becomes a figure of salvation.

4)    The Wise Old Man (Helper or Guide Figure)

• Savior or Redeemer: Embodies wisdom and spirituality.

• Possesses Knowledge and Insight: Offers guidance and tests the hero's moral qualities.

• Surrogate Father: Acts as a mentor and assists the hero on their journey.

5)    The Devil Figure

• Opposes the Hero and Wise Old Man: Represents chaos and evil.

• Fights the Hero: Engages in spiritual, psychological, or physical battles.

• Personifies Negative Traits: Embodies corruption, deceit, and selfishness.

 

Female Figures

1)    The Good Mother

• Represents Life and Nourishment: Symbolizes fertility, growth, and protection.

• Maternal Support: Provides care and support to the hero.

2)    The Terrible Mother

• Represents Danger and Darkness: Embodies fear, death, and the terrifying aspects of the unconscious.

• The counterpart to the Devil Figure: Often depicted as a witch or sorceress.

3)    The Soul Mate

• Inspiration and Fulfilment: Represents spiritual fulfilment and often appears as a princess or beautiful lady.

These archetypes help us understand the universal patterns and themes that resonate across different cultures and periods. They provide a framework for analysing the deeper meanings and connections within literary works.

Archetypal Images

• Water: Symbolizes the mystery of creation, birth/death/resurrection, purification/redemption, fertility/growth, and the unconscious.

• Sun: Represents creative energy, law in nature, consciousness, enlightenment, and wisdom.

• Tree: Stands for life, consistency, growth, proliferation, generative and regenerative processes, inexhaustible life, and immortality.

• Circle/Sphere: Signifies wholeness and unity.

• Serpent/Snake/Worm: Embodies evil, corruption, sensuality, destruction, mystery, wisdom, and the unconscious.

Strengths of Archetypal Criticism

• Focus on Symbols: It emphasizes the meanings of symbols in literature, which are often used to convey significant events and themes.

• Universal Feelings and Ideas: It helps in teaching and expressing universal feelings, beliefs, and ideas, closely linked with psychological theories and criticism. This explains why literature resonates deeply with readers.

Weaknesses of Archetypal Criticism

• Reductionistic and Formulaic: Some critics argue that it is too reductionistic and formulaic, often excluding other sources or criticisms.

• Neglect of Literary Individuality: It may ignore the individuality of literary works by focusing too much on cycles and patterns. Not all literature contains symbolism; some are written purely for enjoyment.

• Overlap with Other Fields: Critics argue that archetypal approaches can also be covered in psychology, anthropology, comparative religion, and other fields. Symbols can have multiple meanings, leading to interpretations that may differ from the author's intentions.