One image that serves as a great example is the dark forest. We usually associate this image with danger, obscurity, confusion, the unknown, evil, sin, or death. I think of the jungle in Heart of Darkness or the forest in Hawthorne's "Young Goodman Brown." These types of symbols are external stimuli, but only because they illicit an internal response from the reader, tapping into the mind at an unconscious level.
The following is a short list of primordial symbols commonly found in literature:
- river (the passage of time)
- overcast sky (gloom, depression, despair)
- lamb (innocence, vulnerability)
- violent storm ( wrath, inconsolable grief)
- flowers (delicacy, perishability, beauty)
- mountain (obstacle, challenge)
- eagle (majesty, freedom)
- the color white (purity, innocence)
- the color red (anger, passion, war, blood)
- the color green (new life, hope)
- water (birth or rebirth)
- autumn (old age)
- winter (death)
One specific symbol that I came across while reading was the poison apple in Snow White. Many Western students familiar with Christian mythology would recognize this as a symbol of temptation or sin. We think of the forbidden fruit in Genesis and the implications this might contain. The salient point here is that the best primordial symbols are those which are deeply rooted in a culture's identity (religion, mythology, literature).
Perhaps the most effective way of teaching literary theory to adolescents is through an exploration of fairy tales. These types of stories are rich with culture, allowing students to identify patterns. Because the content is familiar and simplified, more attention can be paid to the application of a lens, allowing for a balanced approach to studying literature through multiple perspectives. However, we should always remember that our students may come from a diverse range of cultural backgrounds and might not share the same ability as their peers to identify patterns which are culture-specific.
Finally, it is important to note the importance of primordial symbols, but also to understand that the Archetypal Lens is not limited to symbolic imagery. For example, archetypal characters like "Femme Fatale" (a female character who causes catastrophic events) are equally important in our understanding of the lens. There are also narrative archetypes like "The Journey" (where the protagonist must overcome a series of obstacles before reaching a goal). These three components - primordial symbols, archetypal narratives, and character types - help us to broaden our scope of the Archetypal Lens.
I thought it was very nice how Brian separated the archetypal lens into three components: primordial symbols, archetypal narratives, and character types. This really helps me understand the concept of the archetype, which initially seems like a pretty broad concept. I think this would be an excellent way to introduce this lens to students, as it is much less overwhelming when in these three parts. I also think it would be a nice activity for different groups to look up or brainstorm examples of each type and then share their ideas.
ReplyDeleteIn this post, Brian focused on the primordial symbols. This was perfect timing, because “Young Goodman Brown” is filled with these types of symbols- the forest, the snake, fire, the color red- are just a few examples. I really liked Brian’s comment that “the best primordial symbols are those which are deeply rooted in a culture’s identity.” I agree with this comment, because I think it takes time and consistency for an archetype to form within a culture. The forest, for example, must constantly be linked with the same meaning over and over, so that eventually we will unconsciously be able to make that link ourselves.