There are certain types of character that recur many times in legends and fiction. These archetypes may enter fiction to express something in the author’s mind, as shorthand for character or story development, or to conform to the expectations of the audience. It could be intentional or accidental.
When an archetype appears in a story, it influences a reader's or audience's expectations about the character or story. What an author intends, or what an audience expects, may change drastically over time. I’m going to quickly talk about two that I’ve noticed, and mention how they show in somewhat modern stories.
The first is the Scarecrow. (For those familiar with Jung, I do not mean that archetype. And for those familiar with Batman, I'm not talking about that scarecrow either.) In a story, the Scarecrow is a character, usually artificial, who appears foolish or unintelligent but is a guide for the main character, helping them understand a strange world.
The Scarecrow from The Wizard of Oz is a major example; he complains of lacking brains, but helps guide Dorothy to the Emerald city, and shows her how to survive in Oz. Gollum, while not quite artificial, is a highly altered character that guides Frodo and Sam to Mount Doom.
There’s the giant computer in The Hitchhiker’s Guide to the Galaxy which gives the answer ‘42’. Yes, that computer is intelligent, but it's also a little foolish. It gives an answer without knowing the question, and watches TV rather than using its vast intellect to do...well, anything. But it does provide clues which propel the story forward.
R2D2 in the original Star Wars is another excellent example. Yes, he’s intelligent and capable; but the only one that can understand him treats him like a fool. And he does things that seem very random, like running into the desert alone. But he brings Obi Wan into the story, and holds the information about the Death Star safe for the final sequence of events.
The other archetype I am going to mention is is the Damsel, which springs from the Damsel in Distress. The Damsel changed drastically since she dropped "in Distress". The Damsel in Distress needs rescuing. She is often the romantic interest and "prize" for a male hero. The Damsel, however, is capable of rescuing herself and/or others. While the she is still generally involved in a relationship involving romance, it is as an equal partner rather than as a prize. Buffy is an excellent example of the Damsel; she doesn't get rescued - she does the rescuing.
In Harry Potter, Hermione seems set to start as a Damsel in Distress when Harry and Ron try to rescue her from a troll. But she quickly shows herself to be the modern Damsel through the series, taking an active stance in rescuing herself, her friends, and the world.
Princess Leia is a bit more complicated. She has to be rescued, first from the Death Star and later from Jabba the Hutt. On the other hand, by the third movie, she is rescuing Hans. She is presented as being a rebel leader, but is rarely shown in the active role. However, even when she needs to be rescued, she participates in the rescue and shows some level of competency.
I think that this is because Star Wars came out when the Damsel archetype was just beginning to shed "in Distress". Lucas was trying to figure out how to portray the Archetype. I think he did a good job for the day and age it came out, though it is somewhat backwards for the Twenty-First Century.
These are only two of a great many archetypes, and just my take on them, at that. I hope you find them interesting, or even helpful if you are writing or analysing a story.
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