I was reading a friend's journal today, and he commented on being upset that a good character died in a movie he was watching. I was very surprised, because in my mind, the character wouldn't have been nearly as good . . . if he hadn't died. He fit an archetypal role--maybe not as ancient an archetype as the Hero, the Ingenue, or the Fool, but an archetype, nonetheless.
For the sake of convenience, let's call him the Expert. He's the grizzled old veteran who's been there and done that. He knows that the thing he's involved with can kill him. If it weren't deadly, he wouldn't respect it. If he didn't respect it, he wouldn't be fascinated by it. When he's faced with the prospect of his own death, he walks forward into danger, anyway.
He's not the hero; the hero survives. The Expert has to die at the hands of this thing that he understands, this thing that looms so large in his life. Anything less would be, in a way, demeaning to him. He maintains his respect of these forces larger than him right up until the moment that they kill him. If they didn't kill him, he wouldn't be
right. His input would carry less weight. Instead, with death, he becomes larger than life to the survivors. The character has died, but his influence lives on in the lives of everyone who interacted with him.
Some examples of the Expert:
- Liet-Kynes, in Frank Herbert's Dune
- Robert Muldoon, in Jurrasic Park
- Hayes, in the recent Peter Jackson version of King Kong
- Quint, in Jaws
- Rieux, in Albert Camus's The Plague
Hmm. Looking at my list of examples, the Expert may be a post-modern archetype. I can't think of any examples back before a certain time.
Archetypes are not stereotypes. A stereotype is one particular instance of something that repeats so often it's cliched. When I say that, keep in mind that cliches become cliches because at one point, there was a great deal of truth in them. With the caveat that truth is in the eye of the beholder--stereotyping a particular race, for example, doesn't mean that that stereotype is or was true. It means that somebody looked through a specific set of cultural filters and saw the same thing over and over again, whether that thing was really there or not.
Archetypes are kind of backwards from this. Instead of being done to death, they're the roles you can't do without. The faces and facets may be different from instance to instance, but the role they fill is always the same. So . . . if I give you a list of heroes, I bet it'll make sense to you that they're all heroes, even though they're vastly different:
- Luke Skywalker, from the Star Wars films
- Hamlet, from William Shakespeare's Hamlet
- McMurphy, from Ken Kessy's One Flew Over the Cuckoo's Nest
- Huckleberry Finn, from Mark Twain's Huckleberry Finn
- Neo, from The Matrix
- Lew Alton, from Marion Zimmer Bradley's The Heritage of Hastur (a Darkover novel)
- Ender Wiggin, from Orson Scott Card's Ender's Game
- Jack Sparrow, from The Pirates of the Caribbean: The Curse of the Black Pearl
They all fill the hero's function, but if I did that right, they're pretty vastly different. So much so that it might make more sense of I broke it down like this:
Conquering Hero - Luke Skywalker
- Ender Wiggin
- Harry Potter
- Anita Blake
Tragic HeroAnti-Hero - McMurphy
- Jack Sparrow
- Yossarian
The Fool - Lew Alton
- Huckleberry Finn
They each run a different kind of story. The Fool isn't even properly a heroic category, but sometimes, that character functions in the hero's role. (I think this may also be a relatively recent development). If you let the Tragic Hero live, the whole story becomes vastly different. If the Conquering Hero has typically non-heroic qualities, again, you end up changing the overarching plot.
At a certain level, it becomes a design question. Some stories begin in birth and end in death. Some begin in death and end in birth. Some begin with a question and end with an answer. Some begin with a question and end with the understanding that there
is no answer. Not every problem has to be solved.
Archetypal characters are the same way. Some have to come to the rescue. Some have to be in trouble. Some have to
cause trouble. And some . . . have to die. To make you care about the story.