Composed circa the end of the eighth century by Greek poet Homer, The Odyssey is an epic poem which retells the journey of Ithaca’s king Odysseus’s return home after the fall of Troy. During his voyage, Odysseus encounters a variety of different characters, all presented with their own set of attributes unique to them, but none of which deviate from the typical example consistent with their respective archetypes. Heroes, heralds, mentors, threshold guardians, tricksters, shapeshifters, shadows, allies, and temptresses make an appearance in the storyline of the poem, and it is not uncommon for one character to embody two or more archetypes. Although it may not always be obvious which category—or categories—a character belongs to, they are never
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For example, after allies Athena and Zeus discuss the fallen hero’s condition, by their command Hermes travels to Ogygia to persuade the goddess Calypso to release her captive of seven years. In ceasing her detainment and furnishing Odysseus with the means to quit her island, Calypso demonstrates behaviour in agreement with that of an ally, regardless of her previous conduct belonging to a shadow and temptress. Calypso’s new treatment allows the story to progress; yet, the archetypes she formerly acted as are not without purpose to the plot: in confining and seducing Odysseus for seven years, the nymph gradually replaced the hero’s world from being that which he enjoyed in Ithaca to what he endures on Ogygia. Therefore, once he accepts the call to action in the form of his liberation, Odysseus agrees to begin a new Hero’s Journey in which he takes charge the office of hero, consequently, leaving behind the status quo of old world in search of a new one.
In conclusion, the role of archetypes as presented in this work is to further the storyline of the poem by means of interfering with various character’s and their intentions in order to derive from the circumstances the desired outcome. Whether or not certain archetypes have a positive or negative impact on the plot is of no importance. As a whole, each one is a part working for a certain, already fixed ending which through their respective contributions, creates an interesting story with many
For example, after allies Athena and Zeus discuss the fallen hero’s condition, by their command Hermes travels to Ogygia to persuade the goddess Calypso to release her captive of seven years. In ceasing her detainment and furnishing Odysseus with the means to quit her island, Calypso demonstrates behaviour in agreement with that of an ally, regardless of her previous conduct belonging to a shadow and temptress. Calypso’s new treatment allows the story to progress; yet, the archetypes she formerly acted as are not without purpose to the plot: in confining and seducing Odysseus for seven years, the nymph gradually replaced the hero’s world from being that which he enjoyed in Ithaca to what he endures on Ogygia. Therefore, once he accepts the call to action in the form of his liberation, Odysseus agrees to begin a new Hero’s Journey in which he takes charge the office of hero, consequently, leaving behind the status quo of old world in search of a new one.
In conclusion, the role of archetypes as presented in this work is to further the storyline of the poem by means of interfering with various character’s and their intentions in order to derive from the circumstances the desired outcome. Whether or not certain archetypes have a positive or negative impact on the plot is of no importance. As a whole, each one is a part working for a certain, already fixed ending which through their respective contributions, creates an interesting story with many