At a first glance, few individuals in the contemporary world might be regarded without reservation as heroes. There are perhaps even fewer who are so inextricably linked to modern cultural perception of a hero as to be nearly inseparable from that lofty, mythically rooted archetype associated with the concept of the heroic from past ages. However, one figure who has arguably achieved heroic stature in both his life and through the iconic characters he has embodied is Sylvester Stallone, born with no connections or advantages to recommend him for the singular achievement to which he has aspired, and which he has attained. Against all odds, not only has he shaped his own life to match his dreams, but also managed to emblazon the values by which …show more content…
Although he is clearly possessed of a natural talent for histrionics, he lends more than just expressions and lines to his character—he lends himself. Stallone’s experience as the rather unremarkable underdog in his own life clearly translates into Rocky’s stultifying existence as a boxer with the talent and ambition to fight the best in the world, but without the essential belief that he is worthy of his potential abilities. When Rocky has the conversation with Mickey in his apartment, he sees exactly what a person who never lives their self-imposed destiny often becomes. When Mickey shows Rocky the picture of his former glory that holds all his dead hopes and aspirations, Rocky remarks, “You take very good care of the picture” (Rocky). This muttered statement marks the point when Rocky realizes that he must not only train and act like the best, he must go the distance mentally. Otherwise, Rocky could have become like Mickey in the end, searching futilely for greatness in young upstarts while showing ancient snapshots to anyone who cared to see them. Stallone certainly realized this painful truth at some point in his early life. His personal resolve to become the greatest is the life-blood of the entire Rocky franchise. Stallone’s nearly unique ability to completely transcend the divide between that which is and that which could be …show more content…
This persona, the silhouette that can only be cast by a hero, exists neither in reality nor in possibility. It is, as Northrop Frye says of myth in Anatomy of Criticism, an “extreme of literary design” (136). No one can really be as great as their image, the glorious shadow that always stretches ahead of the person himself. Yet, in the cases of these four, their images are somehow more real than life itself. Odysseus and Beowulf, immortalized by epic narrative poems, will never cease to exist in the memories of all who have experienced the enchantment of The Odyssey or Beowulf. Rocky and Rambo, in turn, have been etched in the public imagination by Sylvester Stallone’s performances on their behalf. He is similar to both the heroes he portrays and those portrayed by long-dead epic poets in that, while his gifts are considerable indeed, his struggles are of an equal, if not greater, magnitude. This principle of matching titanic abilities with gargantuan faults is evidenced best by Odysseus first and then by Stallone as John Rambo, and it is what lends these figures a certain human appeal, despite what Homer repeatedly labels a “godlike”
In “The Thematic Paradigm,” University of Florida professor of film studies, Robert Ray, defines two types of heroes pervading American films, the outlaw hero and the official hero. Often the two types are merged in a reconciliatory pattern, he argues. In fact, this
Fitch, John. Archetypes on Screen: Odysseus, St. Paul, Christ and the American Cinematic Hero and Anti Hero. Vol. 9. No. 1.
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
" The hero within: Six archetypes we live by.
In the genre of western films, the hero plays a key role. Humanity portrays civilization overcoming the hostile country (Miller 66). In many films the American civil war is over, and people have turned their attention to more constructive pursuits. Battling nature to progress America's future, rather than each other. In between this wild country, fraught with danger and corruption lies the role of the hero. A hero is an individual with exceptional skills and through his abilities is able to rid a stricken town of the corrupt elements within. In many cases however, the hero's skills are not enough. His relationship with the community can define how successful his help can be.
An integral part of every epic story is the epic hero, a character often with superhuman qualities, designed to complete a difficult or seemingly impossible task. Ancient Greek poet Homer’s classic epics The Iliad and the The Odyssey center around some of the most memorable epic hero archetypes, Achilles and Odysseus, respectively. Each of these characters exhibits essential traits of the Greek epic hero, but Homer also designs Achilles and Odysseus to possess unique, complex identities that distinguish and highlight their particular strengths and weaknesses. When examining these heroes, one can admire Odysseus for the resilience, cunning, and faithfulness that set him apart from the brash, impulsive, and occasionally selfish Achilles. Both
Hercules is one of the most well-known mythical heroes in history; his associations with adventure and violence exemplify as to why audiences are so interested in him. Virgil briefly writes about Hercules within The Aeneid, showcasing his heroic qualities within a climactic event with the monster, Cacus. Through the characterization of Hercules and Cacus, demonstrations of Hercules’ anger, and exemplifications of vividness, Virgil’s account of the battle between Hercules and Cacus in Book 8 of The Aeneid exemplifies an element of impact, heightening the conflict between the two characters for entertainment purposes.
What makes a man a hero? Where lies the line which when crossed changes a mortal man into a legend? Is it at the altar at Canterbury? in the Minotaur’s labyrinth? or is it an age or a time? Does a man become a hero when he transforms from a boy to an adult? or when he stops being a man and becomes a martyr? Where are the heroes of 1993? In whom do the children of this age believe? Like whom do they strive to be? Kennedy, Lennon, and even Superman are dead. World leaders are mockeries of real men, more like Pilates than Thomas Mores. Pop culture’s icons change daily. It is interesting that nearly 600 years ago someone was writing about heroism in a way that can be understood today. The poet of Sir Gawain and the Green Knight tells a tale in which a man is proven to be a hero through the seemingly un-heroic decisions made in the course of numerous tests. Sir Gawain is a hero for the 21st century. He is tried and trapped, he is inundated with opportunities to fail and yet he does not lose. More importantly though, in the end he learns an essential, inescapable fact about himself and human nature.
Heroes are found everywhere in the world. They are seen in movies, on television, in books, and in reality. A hero can be anyone, from a friend to a fictional character. To be considered a hero, one must make selfless sacrifices, develop and learn, overcome challenges and temptations, and ultimately present their known world with a gift of any kind. Homer’s
Homer's two central heroes, Odysseus and Achilles, are in many ways differing manifestations of the same themes. While Achilles' character is almost utterly consistent in his rage, pride, and near divinity, Odysseus' character is difficult to pin down to a single moral; though perhaps more human than Achilles, he remains more difficult to understand. Nevertheless, both heroes are defined not by their appearances, nor by the impressions they leave upon the minds of those around them, nor even so much by the words they speak, but almost entirely by their actions. Action is what drives the plot of both the Iliad and the Odyssey, and action is what holds the characters together. In this respect, the theme of humanity is revealed in both Odysseus and Achilles: man is a combination of his will, his actions, and his relationship to the divine. This blend allows Homer to divulge all that is human in his characters, and all that is a vehicle for the idyllic aspects of ancient Greek society. Accordingly, the apparent inconsistencies in the characterization of Odysseus can be accounted for by his spiritual distance from the god-like Achilles; Achilles is more coherent because he is the son of a god. This is not to say that Achilles is not at times petty or unimaginative, but that his standards of action are merely more continuous through time. Nevertheless, both of Homer's heroes embody important and admirable facets of ancient Greek culture, though they fracture in the ways they are represented.
Everyone dreams of being a hero however the path is narrow. The mantle of responsibility is important aspects and the presence of the heroic traits must be shown in some form. However, there will always be outliers and deemed delusional who attempt to be heroes. In Watchmen, Moore creates an omnipotent hero who lacks humanity in the portrayal of the Dr. Manhattan as a psychopathic anti-hero.
Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the films Pulp Fiction, Taxi Driver, Watership Down, and Trainspotting are all versions of The Hero’s Journey, consequently demonstrating just how prevalent these archetypes have become in modern cinema. And that mythology and storytelling are important parts of each culture because they prevent the darkness in our hearts from spreading.
Suffice it to say that Percy Jackson and the Olympians is a contemporary masterpiece of a series and is more than worth its salt in the context of classic, factual Greek mythological references. Therefore, one can examine the series through the scope of Joseph Campbell’s Hero’s Journey and explore the heroic parallels between Percy Jackson and the great Greek heroes Perseus, Theseus, and Hercules through a timeless lens. No paragraph provided.
As George Eliot once said, “It is a narrow mind which cannot look at a subject from various points of view.” Whether viewing a piece of artwork or another person, there are often many points of view to evaluate in order to find the true core of the subject. In great works of literature, authors often create complex and dynamic characters to add depth and meaning into the story. In the Iliad, Homer beautifully depicts the multifaceted character of Achilles as an epic hero. As readers look closely at Achilles, he reveals different sides of himself as the epic poem develops. Representing the struggle between his dominant, selfish, and Dionysian nature as an epic hero and his hidden empathetic Apollonian core, Achilles reveals the mythos of the Iliad which states that war degrades mankind into objects and only the pursuit of Apollonian regard for others renews their humanity.
There is another type of hero that almost no one is aware of. In the poorest areas of the country, live mostly minorities and other ethic background. All their lives they’ve been expected to work harder and expected not succeed in life. Some individuals living in poverty with a determination to succeed work hard all of their lives to become what everybody doubted they could. Escaping the crime, drugs, and prostitution is enough to escape hell, even if they don’t go to college. Despite of their financial problems, drug and crime surroundings, or difficulties in the language skills, their desire to triumph fuels their persistence. Those who make it to success are the few living examples of the purest form of hero anyone can be. They are not only their own heroes but also the heroes of the poor children who dream of becoming like them someday.