Assignment Paper 109

• Name: Divya Sheta 
• Paper Name: 109. Literary Theory & Criticism and Indian Aesthetics 
• Assignment Topic: Archetypes in Hamlet 
• Subject Code No:22402
• Roll No.:06
• Enrollment No :4069206420210033
• Email ID: divyasheta@gmail.com
• Batch:2020-23 MA SEM-II
• Submitted to: Smt.S.B.Gardi Department of English, MK Bhavnagar University. 

• Introduction: 

Archetype described as the original pattern or model of which all things of the same type are representations or copies. Northrop Frye defined an archetype as a symbol, usually an image, which recurs often enough in literature to be recognizable as an element of one’s literary experience as a whole.  

An archetype is a literary device in which a character is created based on a set of qualities or traits that are specific and identifiable for readers. The term archetype is derived from the studies and writings of psychologist Carl Jung who believed that archetypes are part of humanity’s collective unconscious or memory of universal experiences. In a literary context, characters (and sometimes images or themes) that symbolically embody universal meanings and basic human experiences, independent of time or place, are considered archetypes.

For example, one of the most common literary archetypes is the Hero. The hero is generally the protagonist of a narrative and displays ubiquitous characteristics such as courage, perseverance, sacrifice, and rising to challenge. Though heroes may appear in different literary forms across time and culture, their characterization tends to be universal thus making them archetypal characters.

Another way of thinking about archetypes is to imagine that in some way it is possible to plot the important aspects of a story onto a graph. If enough points from several stories were plotted a pattern would start to appear. If one then drew a line that approximated the pattern that emerged in the points, that best fit line would be an archetype. No story perfectly matches the archetype, and some stories will diverge from the archetype more than others. Still, recognizing that a pattern exists can be a powerful tool in understanding and comparing literature

• Archetypes in Hamlet:

Hamlet sits at the crossroads of three archetypes: the Child, the Tragic Hero, and the Trickster. As the title suggests, Hamlet is the main character and his evolution from innocent child to avenging killer is the focus of the play.

• The Child: aspects include growing to potential, growing up, realizing self
• The Tragic Hero: involves facing a fatal flaw, neither good nor evil, and suffering more than they 'deserve'
• The Trickster: involves breaking rules, destroying conventions, and promoting chaos to pursue one's own goals.

• The Child Archetype:

As a perennial student, Hamlet is an idealistic innocent or child archetype. While there is some debate about how old Hamlet is supposed to be in the play, he is called "young Hamlet" or "noble youth" several times. And despite its elements of ghosts and intrigue, the plot of the play revolves around the question of whether Hamlet can stop brooding, grow up, and avenge his father's murder. This archetype is universal in coming-of-age novels. It can also involve wise-beyond-their-years children, and it's opposite, adults who never grow up.

• The Tragic Hero Archetype:

After witnessing his father's ghost and the “immoral” relationship between his uncle and his mother, Hamlet is cast in the role of the Avenging Tragic Hero. This archetype almost always dies at the end of his or her story. This is because the task he or she desires to complete is beyond mortal justice. It becomes a fatal flaw that leads to a tragic end. By seeking to avenge his father by murdering his uncle, Hamlet subverts the natural order and causes several unintentional deaths, including that of a pure innocent, his love-interest Ophelia. Other tragic heroes include Oedipus from Oedipus Rex, Gatsby from The Great Gatsby, and Okonkwo from Things Fall Apart.

• The Trickster Archetype:

One of the enduring mysteries surrounding Hamlet is whether the main character is insane. Some claim that his misogynistic outbursts at his mother and Ophelia prove that he is actually mad. Others see these attacks and other statements as proof that Hamlet was, as he claims in the play, pretending to be crazy. And there's also a hybrid idea that Hamlet's mock madness eventually drives him really insane. A writer who has experts scratching their heads and debating character motivations centuries later is doing something right.

• This is Hamlet in his guise as the Trickster archetype. 
• The Trickster archetype is clever and usually uses evasion and tricks instead of a more straightforward tactic like fighting. Hamlet employs his trickster guise to find out the truth about his uncle, Claudius, and Ophelia's father, Polonius. Unfortunately, this doesn't save him from a bloody death at the end of the play.
• The King: The King archetype embodies control, power, and leadership. People choose to follow him.
• The Shadow King: There are two versions of the Shadow King: Weakling and Tyrant. The Weakling King uses lies and deceit to rule. The Tyrant using excessive force and violence.

• Old King Hamlet:

The King archetype is focused on matters of state. He wants to exercise power and control. The idealized King archetype inspires others to follow him rather than forcing them to do his bidding. Old Hamlet, as the appointed King, embodies this masculine persona. In the first act of the play, the ghost of Old Hamlet appears in full military regalia. The ghost commands his son's friends to swear upon the sword and keep his secrets. When the King archetype commands, his followers immediately obey.Old Hamlet is also described as a warrior, successfully leading his army against Norway and defeating its King in hand-to-hand combat, showing his strength and command on the battlefield.  

• Claudius:

Claudius embodies the weakling shadow of the King archetype. Unlike Old Hamlet, Claudius is a smooth-talking diplomat, not a warrior. He is compared poorly to the old King throughout the play, using sly and underhanded methods to accomplish his goals. First, he poisons his brother in his sleep. Then, he spies and plots against Hamlet, until finally, he attempts to have Hamlet killed instead of confronting face-to-face. 

• The Maiden and Mother Archetypes: Ophelia and Gertrude:

Interestingly, there are no positive female archetypes in Hamlet. Hamlet spurs the seemingly genuine affection of both Ophelia and his mother, Queen Gertrude. These two characters may represent some aspects of Hamlet's twisted anima—the unconscious feminine sides of a man.

This negative light forces Ophelia and Gertrude into the shadows of their archetypes: the Maiden and the Mother.

The Maiden: The Maiden archetype embodies innocence and growth. She is beginning her journey and is full of idealistic hope.

The Shadow Maiden: The Shadow Maiden is stalled in her growth and has left her powerless. Someone else has stolen her agency.

The Mother: The Mother archetype embodies nurturing, love, and gentle governance.

The Shadow Mother: The Overbearing Mother is possessive and oppressive. Her attempts to nurture end up driving her literal or symbolic child away.

• Ophelia:

The Maiden archetype is an innocent young woman who is at one with nature. Snow White and Cinderella are excellent fairy tale examples. They sing to birds and dream of true love.Ophelia, as the Shadow Maiden archetype, is put in an untenable position. She cares for Hamlet, but she must help her father spy on him. Hamlet also rebuffs her love and says cruel things to her. In the famous Nunnery scene (Act 3, Scene 1), Hamlet tells her to "Get thee to a nunnery." This statement exemplifies the dual archetype of Ophelia. This is a double entendre—at the time, a nunnery was both a convent for religious nuns and slang for a brothel. 

The jaded harlot is the exact shadow archetype of the innocent maiden. Hamlet sees her as faithless, like a harlot that offers her favors to anyone with money. After her father's death, Ophelia goes mad. She sings, but her songs are twisted. Her death is also a dark fairytale; she drowns after falling into a stream.

• Gertrude:

Gertrude takes on the shadow of the Mother archetype. The Mother archetype nurtures her family and puts their well being ahead of her own. As written, Queen Gertrude tries to embody this archetype. She wasn’t involved in her first husband's murder. Her hasty marriage to her husband's brother appears to have been for the good of Denmark. 

But, in Hamlet’s eyes, Gertrude becomes the shadow of the Mother archetype: the Overbearing Mother. Every time she attempts to help her son, it ends up hurting one or both of them. She tries to comfort Hamlet in his grief, but he treats her relationship with Claudius as incestuous. By believing in Hamlet's insanity, she nearly gets him assassinated by her villainous new husband. And finally, she ends up drinking the poisoned wine intended for her son.

Hamlet’s twisted view of his mother can be clearly seen in an archetypal reading of Hamlet Act 3, Scene 4. Here, Hamlet confronts his mother about her relationship with Claudius, asking her why she would forsake her noble husband (Old Hamlet) for his “mildewed” brother. Even after murdering Polonius, Hamlet claims that his deed is only “almost as bad” as hers.

Hamlet is hyper-focused on his mother’s relationship with Claudius, ranting about “the rank sweat of an enseamed bed” and how it is “stewed in corruption.” In Hamlet’s view, the Mother archetype should limit her romantic relationships to her husband (even if he has died). Anything beyond that is a gross sin. This scene is an Oedipal reaction from Hamlet, where he is more offended than his ghostly father who appears later in the scene and takes pity on Gertrude. (3.4.113-115) 

• The Sage Archetype: Polonius

The Sage archetype is a wise advisor, able to guide the protagonist on his or her quest.

• Shadow Sage:

The Old Fool provides bad advice that puts the hero in danger. The Dogmatic Judge holds the hero back with restrictive rules and laws. The Sage represents spirituality or knowledge and acts as a mentor or adviser to the protagonist. Polonius embodies the shadows of this archetype: the doddering fool and the dogmatic judge. Hamlet describes him as a "tedious old fool." (Act 2, Scene 2) He speaks in cliched proverbs or maxims and is generally wrong about everything. The character wields a dual nature: naivete and cunning. Some experts suggest that, like Poirot or Columbo, he hides his cunning beneath an outward appearance of foolishness. Like Claudius, Polonius has his servants spy on his son, Laertes, suspecting that his son is gambling and behaving immorally.

• Conclusion: 

In literature, we study economics, science, social-science, etc. Like in Phonetics we studied biologically also. As Fry said that Literature is the center in 'Humanities' It is covered up all disciplines from different sort of humanities. We can identify many archetypes in particular literary text. From Shakespeare to J.K.Rowling, we can find many archetypal reading. It is quite wide area to read as particular model of story. 

Work Citation

“Archetype - Examples and Definition of Archetype.” Literary Devices, 29 Sept. 2020, literarydevices.net/archetype/. 

“Archetypes in Hamlet - the Narrative Arc: Learn the Secrets of the World's Best Writers.” The Narrative ARC | Learn the Secrets of the World's Best Writers, thenarrativearc.org/hamlet. 

neoenglish, Author. “Northrop Frye's Theory of Archetypes.” NeoEnglish, 1 Dec. 2010, neoenglish.wordpress.com/2010/12/01/northrop-frye%E2%80%99s-theory-of-archetypes/#:~:text=Northrop%20Frye%2C%20working%20in%20the,literary%20experience%20as%20a%20whole.