WHAT DEFINES A? The study of archetypal heroes in literature.
EPICS AND EPIC ES EPIC POEMS The epics we read today are written versions of old oral poems about a tribal or national hero. Typically these heroes live in a warlike age. Although many of them have been re-written most epics begin as long narrative poems. They are always about a serious subject and told in a formal style.
EPICS AND EPIC ES EPIC S Ancient archetype of human culture His courage (physical and moral) set standard for leadership Represents the values of a culture His experiences represent the spiritual life of a culture His life path establishes rituals and motivations for others to follow Famous prototypes of hero = King Arthur, Luke Skywalker, Dorothy (Oz)
EPICS AND EPIC ES CHARACTERISTICS OF THE EPIC Usually a foster child; separated from his natural parents Usually mixed of divine and human birth; can have human weaknesses Experiences an early restlessness in his environment Experiences separation from foster parents and familiar environment Finds a wise man who will teach him skills and knowledge; usually reveals true parents to him Must set out on quest; has a definite goal to accomplish Must pass a threshold guardian; must defeat it by wit or strength
EPICS AND EPIC ES CHARACTERISTICS OF THE EPIC Must go through initiation to enter manhood; initiation = trials and tests; usually confronts death or self-knowledge; dangers can be psychological or spiritual; must defeat temptation; must develop self-discovery and courage Usually visits netherworld/hell; visit usually lasts 3 days Quest is for a boon (a gift); hero brings boon to people; hero understands benefits of boon because of experiences; hero s people can t because they lack the experiences of the hero Hero transformed by quest; feels separated from people; may be honored for journey; will always keep wisdom of journey that his people will not be able to understand
TRAGEDY AND THE TRAGIC TRAGEDY Aristotle defined tragedy as "the imitation of an action that is serious and also, as having magnitude, complete in itself." A form of drama where the protagonist comes to an unhappy end. The Ancient Greeks and Shakespeare are famous for their tragedies. Some examples of tragedies include Oedipus Rex and Julius Caesar.
TRAGEDY AND THE TRAGIC CHARACTERISTICS OF THE TRAGIC Larger than life; seems invincible Neither exceptionally virtuous or exceptionally evil Often a lonely character Set against a force that is often incomprehensible to him/ her Illustrates human smallness in relation to the universe Nobler than the common citizen and is often of royal birth
TRAGEDY AND THE TRAGIC CHARACTERISTICS OF THE TRAGIC Endowed with a tragic flaw, and doomed to make a serious error in judgment because of this flaw Will fall from high esteem Will realize they have made an irreversible mistake Will face death with honor Will meet a tragic end/death Inevitably destroyed because of some tragic flaw
TRAGIC WHEEL Catharsis Tragic Hero Tragic Wheel Hamartia Peripeteia Anagnorisis
TRAGIC WHEEL HAMARTIA Tragic flaw The hero is neither good nor evil, but rather very human with a moral weakness or error Hubris or excessive pride is a common hamartia.
TRAGIC WHEEL ANAGNORISIS Recognition This is the moment of comprehension when our tragic hero becomes aware of his hamartia. Typically at this point the hero will attempt to rectify events all to no avail.
TRAGIC WHEEL PERIPETEIA The reversal from one state of affairs to its opposite This is the point at which the hero realizes all is lost.
TRAGIC WHEEL CATHARSIS The purging of emotions by the audience. A good tragedy will evoke both pity and fear in the audience. All of the destructive actions that take place at the close of the drama lead to the release of this emotion.
ROMANCES AND THE ROMANTIC ROMANCE A tale of High Adventure. Can be a religious crusade, a conquest for the knight's leige lord, or the rescue of a captive lady or any combination. The word romance comes from the Old French term "romans," which was used to differentiate the language of the people from the language of the Church. The Church wrote and spoke Latin, a language little changed from classical times. The lay population spoke French, which was continuously evolving from Celtic and Germanic influence; "romans" was the term for this language.
ROMANCES AND THE ROMANTIC ROMANCE These literatures were loosely-based historical accounts; from the beginning the authors who used the vernacular realized that they must please as well as edify, that history would not be acceptable to their patrons unless made entertaining. Legends, folk-lore, superstitions, etc. were added to the mix to please the audience, and historical truth became almost entirely lost. Any declarations of "historical truth" were simply for convention.
ROMANCES AND THE ROMANTIC ROMANCE Romance usually idealizes chivalry Chivalrous conduct, arising from the feudal system and Christian morals, were a strong force within romances. Such conduct included loyalty to duty, courtesy, and service to the oppressed. Loyalty was paramount in a hierarchical social system, courtesy and service to the oppressed was the ideal in a religious system focused on humility and godliness. Medieval romance Idealizes the hero and his noble deeds The settings of medieval romance tend to be imaginary and vague
ROMANCES AND THE ROMANTIC ROMANCE Medieval romance derives mystery and suspense from supernatural elements Although romance took on an unrealistic focus it still followed certain conventions drawn from real life. Christian morals find their way into most romances, even though often intermingled with pagan belief systems. Medieval romance uses concealed or disguised identity Repetition of the mystical number "3." (Repetitions of the number or multiples of 3)
ROMANCES AND THE ROMANTIC ROMANTIC Birth of a great hero is shrouded in mystery He is reared away from his true home in ignorance of his real parents. For a time his true identity is unknown After meeting an extraordinary challenge, he claims his right His triumph benefits his nation or group
MODERN TEXTS AND THE ANTI- ANTI- An anti-hero is a protagonist who typically lacks the traditional traits and qualities of a hero, such as trustworthiness, courage, and honesty. Unorthodox in actions - acts contrary to society s standards.
MODERN TEXTS AND THE ANTI- ANTI- Will have the reader s sympathy although this is sometimes difficult for us! Is imperfect/ has imperfections Has inner demons we learn about these during the course of the story Is often a screw-up, outsider, or loner Rebels/ struggles with good and bad Riddled with paradoxical traits ex: is a loner, but also seeks friendship Often will voluntarily help the innocent/ weak
MODERN TEXTS AND THE ANTI- ANTI- They aren t role models are selfish are motivated by self interest or self preservation often make bad choices because it s easier will embody bad behaviors when wronged will show little remorse for bad behavior
MODERN TEXTS AND THE ANTI- ANTI- The anti-hero : Has no moral code Is ordinary/ realistic Is rarely successful Battles are primarily within HIMSELF Is usually bad
MODERN TEXTS AND THE ANTI- ANTI- The world has lost its values (the war) and as a result many people, too, have lost their values In a world without values, the universe may appear to be without purpose, order, or meaning God often appears to be absent or nonexistent Social institutions, including religion, are not always reliable and should be approached with skepticism