Howl’s Moving Castle by Diana Wynne Jones is a captivating story that incorporates fantasy and fairy tale elements to capture the attention of readers. The novel features Sophie, a wonderful protagonist who is featured as a good person, but still has her flaws. Sophie’s major flaw is being nosey. Moreover, if she is told to go somewhere or ask specific questions, she cannot help herself, but she still does it anyway. These aspects extend to Jones, who is also a likable character but has distinct flaws. Character flaws are also evident in Calcifer’s grumpiness and Michael’s insecurity. But despite their flaws, the characters in the novel are likeable because they still have an opportunity to grow and transform their character without making …show more content…
The concept of an archetype is a crucial aspect of literature, as it facilitates understanding of the author’s intended message in a text. An archetype is defined as a universally understood symbol or term that describes behaviours through which others are copied, patterned, or emulated (FIU Libraries). In the context of literature, fairy tales have rich archetypal characters, motifs, and themes that resonate across different cultures and times in history. In “Howl’s Moving Castle,” Jones found her story on archetypes to create a fantastical world with a wide range of characters, including witches, wizards, and other magical creatures. These archetypal elements serve as the backbone of Jones’ narrative, providing the basis for understanding the tradition presented in the story. For instance, the archetype of witches and wizards is dominant in the story and most fairy tales. In Jones’ book, both Howl and the Witch of the Waste embody both benevolent and malevolent antagonistic archetypes, which are often portrayed in many fairy tales. Howl is an enigmatic and charismatic wizard who possesses immense magical
Everyone can relate to an archetype character in a movie, book, or television show. An archetype in literature is a typical character with an action or a situation that seems to represent such universal patterns of human nature. Common archetypes of characters are: a hero, caregiver, rebel, damsel in distressed, lover, villain, or tragic hero. In the play, The Crucible, there are several kinds of characters with archetypes. Tragic hero normally are in tragic plays which also can be called tragedy. “Tragedy is a drama in which a character that is usually a good and noble person of high rank which is brought to a disastrous end in his or her confrontation with a superior force but also comes to understand the meaning of his or her deeds and to
Flannery O’ Conner’s short story, “A good man is hard to find”, explains emotional reactions, betrayal, and violence. The misfit is an example of a devil figure. This character archetype is best seen when we see the misfit’s true colors shine as he murders the grandmother and her family. O’ Conner uses setting archetypes best when she uses a clear bright sky or an open dirt road, which can mean a variety of outcomes. This helps understand the many plot twists in the story. We best see symbolic archetypes as the three bandits including the misfit. They represent a mock of the holy trinity and represent evil. “The fall” is a good archetype that shows the misfit’s lack of innocence when he betrays the grandmother. This best explains the whole
Film analysis with a critical eye can give the viewer how animation giant Disney uses literary element to relay key messages to the audience. Walt Disney’s “The Princess and the Frog” is a perfect example how different literary theories like ‘the Marxist theory’ and ‘Archetypal theory’ can be embedded in the simplest of the fairy tales. The different literary elements in the movie, shows a person how characters like ‘the banker’ and the setting of the houses helps to portray the socio-economic differences in New Orleans at that time. Applying ‘the Marxist theory’ and ‘the Archetypal theory’ to the plot, characters and the setting, shows how movies can be a medium to confront social issues and to prove that all fairy tales are of the same base.
Everyone remembers the nasty villains that terrorize the happy people in fairy tales. Indeed, many of these fairy tales are defined by their clearly defined good and bad archetypes, using clichéd physical stereotypes. What is noteworthy is that these fairy tales are predominately either old themselves or based on stories of antiquity. Modern stories and epics do not offer these clear definitions; they force the reader to continually redefine the definitions of morality to the hero that is not fully good and the villain that is not so despicable. From Dante’s Inferno, through the winding mental visions in Shakespeare’s Hamlet, spiraling through the labyrinth in Kafka’s The Trial, and culminating in Joyce’s abstract realization of morality in “The Dead,” authors grapple with this development. In the literary progression to the modern world, the increasing abstraction of evil from its classic archetype to a foreign, supernatural entity without bounds or cure is strongly suggestive of the pugnacious assault on individualism in the face of literature’s dualistic, thematically oligopolistic heritage.
As a novel recounted in the fairy tale tradition, The Princess and the Goblin succeeds beautifully. It employs the element of the Old Man archetype to aid and advise the princess, woven into an intriguing character with peculiar supernatural aspects drawn from the wider folk tradition. As such, the grandmother becomes a witch who is more than folklore would have one believe, an old woman not quite of this world, and exactly as she would have Princess Irene see her - as a grandmother.
Virtually all literature contain instinctive trends in the human consciousness to represent certain themes or motifs, these are defined as archetypes. Archetypes can be thought as blueprints or as bundles of psychic energy that influence the manner in which we understand and react to life. There are two different categories of archetypes, the plot archetype and the character archetype. The orphan, martyr, wanderer, warrior, magician, villain, wise child, temptress, rebel, underdog, fool, saint, virgin, wise, old man or woman are all considered to be character archetypes. Call to adventure, isolation, quest and monster that turns against its creator are all considered to be plot archetypes. The novel, Mary Shelley’s Frankenstein, contains archetypes.
Archetypes refer to the persistently recurring symbols or motifs in literature. The term itself has its origins in ancient Greek and continues to play a prominent role in analyzing literature. Archetypal images and story patterns encourage readers to participate ritualistically in basic beliefs, fears, and anxieties of their age. These archetypal features not only constitute the eloquence of the text but also tap into a level of desires and concerns of civilization. The Anglo-Saxon poem, Beowulf, translated by Seamus Heaney, integrates many of the common archetypes that still exist today. The outcast archetype is one that particularly expressed the desires, anxieties and values of the people who lived during the Beowulf era. Grendel, a character of monstrous appearance and hazily human emotion, is portrayed as the principal outsider in Beowulf. The incorporation of a banished character against his fellow society effectively expressed the anxiety and fears that the Anglo-Saxon culture felt towards seclusion and abnormality, caused by a societal absorption in family lineage and traditionalism.
In most works of literature there is an “evil” character that has conflicting interests with the protagonist. This issue may arise in multiple forms including, but not limited to, abuse and manipulation. In this paper we will be discussing the similarities and differences between Shakespeare’s character Iago from Othello and J.K. Rowling’s character Voldemort from the Harry Potter series.
Archetypal Characters: Characters are presented from the start of the novel as good or evil. There are no characters that the reader see as good and turn out to be evil at the end or vica versa. Their goodness or evilness is clearly shown from the beginning. 	
... typical archetype. These characters are obviously supposed to mirror the archetypes that are common in fairy tales, but their flaws are contradictions to the archetypes that they are supposed to represent; through this Goldman mocks typical and standard fairy tales.
An archetype is a character, situation, or action, which represents a template throughout all forms of literature. These archetype templates have been used countless times since the existence of literature. Take the Anglo-Saxon epic Beowulf for example. The main character, Beowulf, is a leader that everyone looks up to in times of distress. He is an example of the “hero” character archetype. The “hero” archetype can be found in almost every from of literature, especially in eastern culture. In western culture, one of the most distinguished archetypes is the serpent. The serpent is a very powerful archetype dating back to the Bible. The serpent archetype represents deception, evil, and temptation. These devil-like attributes represent Claudius,
Warner, Marina. From the Beast to the Blond on Fairy Tales and Their Tellers. New York: Chatto & Windus, 1994. Print.
Produced in 2009, The Frog Princess is a Disney animation inspired by the Grimm Brothers’ fairytale, The Frog Prince. Both The Frog Princess and The Frog Prince deal with a multiplicity of issues, all of which contribute to supporting positive messages and morals (Ceaser, 2009). However, though The Frog Princess is based on a classic fairytale, it is far from being the same. The writers at Disney have taken a classic fairytale and created a “Monster” (Prince, 2001). This essay will examine the evolution of the original Grimm Brothers’ fairytale, the messages both main characters represent, and how the adaptation to fit a modern child readership diminishes a classic fairytale. Through discussing these arguments, this paper will prove that Disney’s adaptation into The Princess and The Frog is counter-productive in representing the original story’s messages, morals, and values.
The novel “Frankenstein” by Mary Shelley involves the complex issues with the creation of life through an inanimate life. Shelley uses these character archetypes to develop a deeper meaning of the characters intentions. Shelley does an excellent job at allowing the reader to have a peak at the characters inner thoughts and feelings. The archetypes presented in Frankenstein allow readers to identify with the character's role and purpose.
Unfortunately not all giddy minds can be suppressed through the frenzied excitement of foreign quarrels, as some have long memories and remarkable persistence for minds supposedly so giddy. It becomes apparent in act two that Lord Scroope, Thomas Gray and Richard, Earl of Cambridge have accepted French gold to conspire against the King. Regrettably for the conspirators, Henry has already foreknown the existence of the plot and subsequently exposes and denounces their treachery, leading to the inevitable conclusion of their execution. The conspiracy has brought forth centre stage the wide disparity of responses the play has elicited regarding Shakespeare’s concept of his protagonist. Partisans of Henry view this incident as further illustration