The Tale of Two Cities - Dickens

In many books, writers and authors use different strategies and techniques in their writing to convey messages to their readers. Some common strategies in writing include archetypes and allusions. In The Tale of Two Cities, Charles Dickens uses many archetypes and allusions in his writing to communicate his messages and themes to his readers well.

Many of the allusions Dickens makes in his book refer to the bible. For example, in the book there is a line that says “…his oath on the two Testaments…” which obviously refers to the two testaments of the bible. Instead of saying “The Bible”, he says, “the two Testaments” because he knows the readers will understand what he is referring to and that he doesn’t have to make a direct reference to the bible. The Bible consists of the Old Testament, containing the books of the old or Mosaic Law, and the New Testament, containing the new or Christian covenant. The Bible is a common book of law that many people around the world are familiar with, so it was easy for him to allude to this book and the power it beholds, proving why the oath was so valuable and important.

Another classical allusion made to the Bible in The Tale of Two Cities, was the line where it said, “In both countries, it was clearer than crystal to the lords of the State preserves of loaves and fishes, that things in general were settled for ever.” This particular line refers to a passage in the bible Revelations 21:11. In this passage, the vision of Jerusalem descending from Heaven is described: the city has “the glory of God: and her light was like unto a stone most precious, even like a jasper stone, clear as crystal.” The “loaves and fishes,” on the other hand, refers to the miracle performed by Christ in Matthew 14:17-21, the multiplication of loaves and fishes to feed the faithful. Again, Dickens references to the Bible in order to find a common ground that many of his readers can relate to so that they can understand the message and theme of the book better. 

Yet another allusion made in the book to a passage of the bible is in the line, “…as the ocean is one day to give up its dead.” This is an allusion to Revelations 20:13, which describe part of St. John’s vision of Judgment Day: “And the sea gave up the dead that were in it; and death and hell delivered up the dead who were in them: and they were judged every man according to their works.” Again, the Bible is used as common ground by Dickens to relate to his readers better.

Sula Archetypes -Carlson

Everything about Sula as a character reflects her ungodliness. She’s certainly not anti god or against him, but her free way of thinking and acting and her wild and random emotions that she accepts of herself are not what one would think of when they discuss what a follower of christ is. That’s why it is so fascinating the amount of biblical references regarding the book Sula. The references that were made are often of unholy and “bad” people, the author uses these references to compare the characters to these people, to emphasize to you as the reader how unholy and horrible the “bottom” was and the citizens that lived there.

Eva is Sula’s grandmother, and commonly referred to in the book as the head/starter of the family. She is what is known to the reader as the beginning of the generation, and her name is even close to that of “Eve” from the Bible. Eve is known to be the first sinner, she also deceived Adam into taking a bite of the apple. Eve doomed mankind and made them all sinners by her act. Eva is somewhat the form of Eve, from her mistakes, her foolishness, and her distinct and somewhat chaotic personality, the rest of her children and grandchildren, particularly Sula, were doomed from their birth.

In the bible, Shadrach was an Israelite who was taken captive by a Babylon king. He was an avid follower of christ, and one of his most faithful servants. The king, named King Nebuchadnezzar, built a golden statue of himself, and whenever a musical herald played, he required anyone to worship him on their knees. If they refused, they were thrown into a huge burning furnace. One of the ten commandments of the bible is to never worship another God. Shadrach, and a few other of his companions, refused to bow down and worship, and therefor were thrown into the furnace. However, according to the Bible God appreciated their bravery and loyalty, and saved their lives, and as King Nebuchadnezzar looked into the furnace, he saw the four men walking about in the flames, alive and well. Shadrack, a character in Sula, could also be considered a reference to Shadrach from the Bible. The second chapter of the book begins by describing Shadrack’s history. Here, it explains why Shadrack celebrates “National Suicide Day”.  Shadrack is similar to Shadrach in the Bible as he was brave when fighting in World War II, and he stood by his comrades, even though he got severely severed and torn apart from the battle, such as “But stubbornly, taking no direction from the brain, the body of the headless soldier ran on, with energy and grace, ignoring altogether the drip and slide of brain tissue down its back.” (pg 13) Shadrack is a reference because of his bravery and spirit, and loyalty to his comrades in the army, similar to Shadrach’s feelings towards God.

The last great example of a biblical reference is Nel’s husband, Jude. In the Bible, Judas did not quite believe that Jesus was God. This is similar to Jude, Nel’s husband. He wasn’t quite in love with Nel, or truly believe he ever could be. He just wanted someone to be with, as Judas likely wanted just someone to follow as a safeguard. Jude in Sula married Nel because he wanted a wife, he wanted that image. He had no personal affections or ties to her. This is the same relationship between Judas and Jesus, Judas never had a personal connection with Christ or any intimate affections of companionship for him. Before Jesus’s crucifixion, Judas gave away where Jesus was hiding, and said to the priests that he would kiss the man that was Jesus. He immediately went up to Jesus and kissed him, and from there Jesus was arrested to be crucified. Jude from Sula did not quite get Nel crucified, or pick out Sula, but he did deceive Nel and Judas is typically referred to a deceitful person because of Judas’s actions in the bible. Therefor, Jude’s name being so close to Judas can only be assumed that the reader should’ve known he would’ve deceived Nel because of his name.

The biblical references of Sula are fascinating and deep, but what’s more interesting is how dark many of them are, such as with Jude and with Eva. The dark references help to represent the story as the depressing book it is, and how the characters and the “bottom” are living in a time full of deceit and sin.

Hamlet Archetypes - Hostetler

Modern day written works, as well as cinematic productions, are full of the quintessential characters a story needs to hold the interest of an audience. These archetypical characters were pioneered by authors and playwrights of Ancient Greek times, only to be expanded upon following the first millennium of Jesus Christ. The historically famous writers of this era, including Machiavelli, Chaucer, and Shakespeare, gave characters complex internal conflict rather than simply good or evil. It is no surprise that Shakespeare's Hamlet conveys some of the best backbones of character archetypes that are still taught to this day.

William Shakespeare broke new ground in the creation of dramatic roles. The protagonist and title character of the play, Hamlet, is the perfect example of the archetypical 'Tragic Hero' turned greedy when vengeance takes over. With uncanny likeness to the Shakespearean character Macbaeth, this hero archetype tells of a good person of high influence who is influenced by evil or supernatural means to kill another, whether it be for revenge or greed. Another archetype that Hamlet experiences is 'The Fall'. This describes a once joyful soul who goes through a series of internal distress and conflict, influencing an action of evil, typically murder. Once this act is committed, the character goes insane and is typically sought out by enemies and killed. A modern day example of a character that follows suit is Johnny from The Shining.

Almost every character in Hamlet can fall under a general character archetype. One of the most prominent examples of this is in King Claudius. Like most antagonists, King Claudius is the archetypical 'Villain' of the story. A villain's sole purpose amidst the timeline of the story plot is to ultimately destroy the hero, who in this case is Hamlet. While it's obvious in most stories who the villain is, many conceal a character who is archetypically 'Ambitious'. As displayed by the actions of King Claudius, an ambitious character is one that believes that they are invincible, and will do almost anything to secure power over others. An example that is similar to King Claudius, in terms of being the antagonist, is Voldemort from the Harry Potter series.

The rest of the roles in Hamlet represent vital character archetypes Shakespeare used for more plays and modern authors and directors use for assigning character personalities. A character archetype brought about in Hamlet is 'The Friend'. This character has the role of staying alongside the protagonist and risking their image and status to stand up for their friend. While Harotio fills this role in the play similar to Banquo in Macbeth, he also can reliable be called the 'Wise Man', for keeping the protagonist in check, or offers advice that they know is more beneficial than the original thought or proposal. An more recent example of a loyal companion in literature is Samwise Gamgee from the Lord of the Rings trilogy. Another character in Hamlet, Ophelia, is created to fill the role of 'Innocence'. It is easiest to find innocent characters in fairy tales, for they are characters who tend to be more pure in mind as well as naive. Typically princesses, innocent characters await saving by a their own Prince Charming. The play also presents the archetype of 'Traitor' in the character Gertrude, Hamlet's mother. A traitor is a character in the story that is relentlessly selfish, doing whatever they can to help themselves stay safe. This usually comes about by aligning with the evil characters of the story, but can involve jumping back and for between good and evil, like Gertrude did. Draco Malfoy from the Harry Potter series is a great example of what the traitor archetype is in literature. Finally, Laertes, the  brother of Ophelia, presents the archetypical character of doppelgänger. The duty of this archetype is to present an equal, but opposite force of the hero. While they seek the same vengeance for evil acts against them personally, the doppelgänger tends to act more on impulse than logic, and rarely ends well for them. An accurate example of the archetype would be the boy at school from Edgar Allan Poe's William Wilson.

In conclusion, Shakespeare created and implemented many revolutionary character archetypes into his plays and other works. Hamlet does a good job of including a wide variety of archetypical characters that are still taught and praised today. From the standard hero and villain, to the beloved companion and traitor, Hamlet sets the basic understanding and guidelines for what's successful use of these archetypes looks like. 

Archetypes and Allusions in The Scarlet Letter - Elzinga

Archetypes and allusions are common literary devices used in many novels, particularly classics.  One novel that uses both of these quite often is The Scarlet Letter.  It alludes to many biblical topics some of those being Satan, the story of Adam and Eve, and God’s promise of painful childbearing.  The author also uses the classic archetypes of the martyr, or scapegoat, the outcast, the saint, and the concept of forbidden love, which is present in many classic works of literature.   

First, some of the many allusions that take place in The Scarlet Letter are those to Satan, to the story of Adam and Eve, and to God’s promise of painful childbearing.  The allusions to Satan take place in a couple of different forms.  One of the forms is in the mention of the “Black Man” as an object of fear and terror.  The other is through Chillingworth once he figures out that Dimmesdale is the one with whom his wife cheated.  Chillingworth becomes consumed with torturing him and keeping him from redemption, much like the character of Satan himself.  He takes glee in this just like the Devil.  He is defeated when Dimmesdale announces his sin in the only place where he could achieve redemption, much like the Devil when Jesus is crucified on the cross.  Another allusion Hawthorne makes is to the story of Adam and Eve.  Hester is seen as the one who led Dimmesdale into the sin, and they both paid dearly for it.  This is exactly like Eve leading Adam to eat the apple, and their subsequent expulsion from the garden of Eden.  She is also then viewed as an outcast from the rest of the village, similar to how Adam and Eve had to live out of the garden.  An additional allusion in the novel is that to God’s promise of painful childbearing as another punishment.  Pearl is similar to this because she is Hester’s punishment and pain.  Whenever Hester looks at her she is reminded of the sin that she committed and the shame that she endures.  She is reminded of the passion and of the love, and this is like another form of torture for her.  The use of allusions is very common in classic novels.

Another classic literary device used in novels is the use of archetypes.  Some of the ones that are used in The Scarlet Letter are the martyr, or scapegoat, the outcast, the saint, and the concept of forbidden love.  Hester Prynne embodies the martyr because even though she was only one of the people who committed the sin she is the one who has to endure the public punishment.  She is the one who is used as the example for the society.  Through her public shame and embarrassment, Hester represents what will happen to anyone else who commits that act.  When the community sees her they are reminded of the consequences of their actions and continue to abide in the Puritan law.  This is exactly why the martyrs of the Dark Ages took place, the burnings and drownings of those who broke the law happened to discourage everyone else from breaking the same laws.  She is also the scapegoat since she is the one who paid publically for both her and Dimmesdale’s crime, and for any similar crimes that may have been committed.  Hester also embodies the outcast.  Everyone in town is embarrassed by her, they refuse to speak to her, and continue to treat her terribly.  She lives outside of town in a house that is somewhat hidden from the rest of the village.  In all of these ways, she is an outcast.  Another archetype that is used by Hawthorne is the saint.  Dimmesdale is viewed by everyone as a young minister, perfectly holy, and the best example.  When he gets sick they simply assume it is because he spends so much time reading and studying.  They hold him on a pedestal as the best a human can strive to be.  They assume that he is so holy that God just wants to take him sooner than most.  In these ways he embodies the saint, the perfect person.  Finally, another archetype that is used is the concept of forbidden love. This is seen in many classic literature pieces, the most prominent of those being Shakespeare’s Romeo and Juliet.  Hester and Dimmesdale are kept apart by circumstances.  At first they are forbidden to be together because she is married, and he is a man of God, who would never break the ten commandments.  Later, they are kept apart by him being a man of God, and because she is the town outcast, who is shamed, and an adulterer.  This type of lady is simply not appropriate for a reverend to be with in the eyes of God and of the townspeople.  These are just a few examples of classic archetypes used in The Scarlet Letter.

In conclusion, The Scarlet Letter contains many different allusions and archetypes.  The allusions are to Satan, the story of Adam and Eve, and to the promised pain of childbirth.  The archetypes are the martyr, the scapegoat, the saint, and the concept of forbidden love.  

Archetypes in Handmaid's Tale - Dell

            Rather than a stereotype, and archetype is something that represents the majority of a group. Allusions are described as a reference to a historical event or item. Margaret Atwood’s classic novel The Handmaid’s Tale is a quick choice for finding archetypes and allusions, as it is a book that takes place in a futuristic setting (for the time, as this book takes place present day but was written in 1985).

            The first archetype that came to my mind when I read the assignment was feminist. It is pretty clear that this book in itself is an outcry about women’s rights, yet the obvious feminist in this story was Offred’s mother. One can clearly see this by the things she says throughout Offred’s recollections, however she seems to be the unruly type of feminist that plagues our fight to this day. You know, the one people like to call feminazis and stereotype the entire group with.

            The first example of this that I discovered was the sight of Offred’s mother in the movie they watched at the Red Center.  Offred tells us that:

“She's in a group of other women, dressed in the same fashion; she's holding a stick, no, it's part of a banner, the handle. The camera pans up and we see the writing, in paint, on what must have been a bedsheet: TAKE BACK THE NIGHT … Behind this sign there are other signs, and the camera notices them briefly: FREEDOM TO CHOOSE, EVERY BABY A WANTED BABY, RECAPTURE OUR BODIES, DO YOU BELIEVE A WOMAN'S PLACE IS ON THE KITCHEN TABLE? Under the last sign there's a line drawing of a woman's body, lying on a table, blood dripping out of it. Now my mother is moving forward, she's smiling, laughing, they all move forward, and now they're raising their fists in the air. The camera moves to the sky, where hundreds of balloons rise, trailing their strings: red balloons, with a circle painted on them, a circle with a stem like the stem of an apple, the stem of a cross. Back on the earth, my mother is part of the crowd now, and I can't see her anymore.” (Atwood 119-120)

            I found this to be a solid example of feminism; a group of women attending a protest including Offred’s mother. It appears to me to be a sort of pro-choice rally, especially since at this time there would have been lowering birth rates so pro-lifers would most likely be becoming more intense. However, I am not completely sure what they are rallying for or against. Nevertheless, this sort of action is still taking place to this day. Many pro-lifers are known to crowd around abortion clinics and harass women who are making a decision that is already difficult enough. There are also many restrictions placed on women and their bodies, including the pink tax, price of birth control, laws against abortion, and even the way people treat women. In this case I found the mother of Offred to be a good example of a feminist archetype. In addition, there is also the negative radical feminist archetype, the small majority of men-hating women that want total control, and have put a damper on the reputation of women’s rights activists and the word feminism itself. Offred’s mother seems to possess this trait mainly when she’s intoxicated, yet I can see the radicalism slip through. For example, her statement that “man is just a woman's strategy for making other women.” (Atwood 121) This sentence shows an example of women’s power over men, saying that they are only needed for reproductive purposes. The mother also furthers this thought in her action with how she never seemed to be bothered by her lover leaving her with their child. She claims her own salary and her own care, and makes a clear example of her strength. Yet, I would consider this idea to be more of a stereotype than an archetype.

            I find this archetype is an obvious addition to the story as the novel is centered around the idea of women’s control over their own bodies in the first place. It paints a clear picture of what women were fighting for before the abandonment of the U.S. Constitution, and I feel like what they were wearing is a symbol in itself. Offred says about the film that “She's wearing the kind of outfit Aunt Lydia told us was typical of Unwomen in those days, overall jeans with a green and mauve plaid shirt underneath and sneakers on her feet; the sort of thing Moira once wore, the sort of thing I can remember wearing, long ago, myself. Her hair is tucked into a mauve kerchief tied behind her head.” (Atwood 119) Considering so many women were wearing overalls and green shirts, including Moira (who I would also consider to be a feminist), says to me that there is something symbolic to it. I may be looking into it too much, but the overalls make sense considering that they are basically the complete opposite of skirts, a required garment for the women of the Gilead period. Green represents Earth and the environment, which connects me to the idea of Mother Earth. Lastly, the kerchief made me think of the “We Can Do It!” poster from World War II, when many women were working in the factories. It is for this reason that I consider Offred’s mother to be a solid symbol of feminism and an archetype that adds greatly to the story.

Allusions and Archetypes, Seeger

Despite having very different plots and writing styles, the plays and novels that I have read over the summer share many archetypes. According to the University Interscholastic League of Texas, based on the research of Carol S. Pearson, Ph.D. and written by J.J. Jonas, there are twelve distinct character archetypes, many of which are easily found in literature; the lover, the innocent, and the caregiver are just three examples of character archetypes that Pearson identifies. Additionally, according to Hillsborough Community College, based on the work of Carl Jung, there are also universal patterns regarding symbols. Light opposing darkness, fire contrasting ice, and heaven and hell are just three of the many commonly recurring symbols found in literature.

One symbolic archetype that is prominent in both Hamlet and Death of a Salesman is the use of a supernatural intervention. Shakespeare utilizes it in the form of the ghost, who appears throughout the play and is the catalyst for Hamlet’s descent into madness and crusade against his step-father. In Death of a Salesman, Miller employs the use of supernatural intervention in the form of the character Ben. In the play, Ben is the driving force behind Willy’s downward spiral; his “conversations” with Ben makes him realize that he has not been as successful as he could have been in life. These discussions ultimately lead to Willy’s suicide. In both plays, the use of the supernatural element introduces additional information that is necessary for the reader to understand the plot of the play. The ghost in Hamlet exposes Claudius’s murderous act, while Ben in Death of a Salesman provides backstory regarding Willy’s childhood, insecurities, and delusional tendencies.  I believe that the supernatural element is used in order to foreshadow the upcoming madness of the protagonists; both Hamlet and Willy become disillusioned after their encounters with their ghosts. It could even be suggested that their encounters with the dead signify their own upcoming deaths. Both authors differ on how they address the ghost. Miller incorporates Ben into his story seamlessly; there is no confusion for the characters of interacting with a dead man, though I as a reader initially had a difficult time understanding what was happening. However, Shakespeare’s characters question the existence of the ghost. They initially don’t believe what they are seeing, and often ask other characters to confirm its presence.

One character archetype that I recognized in many of the works is “the innocent”. According to Jonas of the University Interscholastic League of Texas, “the innocent, fearing abandonment, seeks safety. Their greatest strength is the trust and optimism that endears them to others and so gain help and support on their quest.” Jonas also states the pitfalls of the innocent as obliviousness, denial, and childish naivete. One character that embodies the archetype of the innocent is the Boy from The Road. The Boy is unwavering in his trust and devotion in the Man. He also exhibits denial and obliviousness in some situations. Throughout the book, the Boy is constantly looking for the good guys, despite that fact that most everyone that he has ever encountered has been corrupted; he blindly believes the Man when he says that the good people are still out there. While the Boy does exhibit many of the traits of the Innocent, he is missing the optimism that often characterizes the archetype. The Boy became disenchanted with life, and at one point tells the Man that he wants to join his dead mother. An additional character that displays many of the characteristics of the innocent is Ophelia from Hamlet. Ophelia is oblivious to the fact that her reputation might be in question if she continues to spend her time with Hamlet. Her simplicity and trust in her father, brother, and Hamlet further classify her as an innocent character. A third character that is an example of an innocent archetype is Linda Loman from Death of a Salesman. Linda is unwaveringly optimistic in her belief that Willy’s career will improve, and that he will be able to provide for the household. Additionally, Linda is in denial of Willy’s suicidal tendencies, and chooses to look the other way rather than get him help. She is oblivious to Willy’s failures as a businessman and his affair with the Woman, traits that further categorize her as an innocent.

Some other archetypes that characters in the different novels and plays represent are Biff Loman as the seeker and explorer in Death of a Salesman. According to Jonas and Pearson of the University  Interscholastic League of Texas, the seeker’s goal is to search for a better life, while their weakness is chronic disappointment. Biff Loman is a very accurate portrayal of these characteristics. In the play, Biff is constantly looking for a better life, moving around from job to job out West looking for self fulfilment. However, he is a disappointment to both himself and his father because of the lack of apparent progress that Biff is making in his life.Other common archetypes that are in the novels and plays are Shadrack as the outsider in Sula and Claudius as the villain in Hamlet.

Outside of situational and characteristic archetypes, many of the authors utilize classical allusions in their works. In The Handmaid’s Tale, Atwood incorporates many biblical allusions. The name of the fictional country in which Offred lives, Gilead, is in reference to the verse “is there no balm in Gilead?”(New International Version, Jer.8.22), and the handmaids are read biblical verses to condition them to become god-fearing servants. Additionally, stores with the names of Milk and Honey are in reference to the promised land of Canaan, described in the Bible as the “land flowing with milk and honey”(Exo.33.3) Both Hamlet and Death of a Salesman utilize allusions to classical Greek literature, Hamlet with the retelling of the story of Pyrrhus in Act 2 Scene 2, and Willy’s reference to his sons as Hercules and Adonis in Death of a Salesman.

A Tale of Two Cities - Nordmann

Throughout time literary works have seen reoccurring characters, settings, symbols, and storylines (called archetypes) that represent universal patterns of human nature. Charles Dickens’ A Tale of Two Cities is no exception to that pattern. His literary elements fall into many of the different archetype categories which allow his works to be widely connected with and understood over many diverse places and time periods. However his use of allusions can put present day readers at a disadvantage if they fail to posses the knowledge to catch his references.

When observing character archetypes, Lucie Manette is one that corresponds to the “Innocent” archetype. She is inexperienced in the real world and will seek safety with others. In the novel we see her portrayed as a typical Victorian heroine; she is beautiful, gentle, compassionate, patient, and submissive. Lucie continuously looks for the good in all people, like Carton, and believes all people are honorable at heart, which can be seen in her appeals Madam Defarge’s humanity, "I implore you to have pity on me and not to exercise any power that you possess against my innocent husband, but to use it in his behalf. O sister-woman, think of me. As a wife and mother!” (Dickens 338). By having Lucie fit the archetype of the “Innocent”, Dickens creates a female figure, who in his era, would have been someone girls aspired to be and men aspired to meet. She is effective in keeping the story light with her child-like innocence and consistent compassion throughout the book. 

Sydney Carton is one of Dickens’ most complex characters in this novel, so unsurprisingly it is hard to match him to just one archetype. At first you would be tempted to cast him as the “Loner”, always by himself and rarely showing any desire of interacting with others. As the novel progresses we begin to learn more about Carton and how he believes he is destined to suffer along with his pessimistic outlook on the world around him. All of this would lead us to think of him as the “Victim”, however I feel the archetype that fits Carton best is that of the “Martyr”. In the end he sacrifices himself for love and finds his purpose of life in dying for Lucie’s happiness. By evolving his portrayal of Carton as the novel progresses, Dickens is able to build the readers sympathy for Carton’s death as the full extent of his tortured soul is revealed. Having a character willing to lose it all for love, even when he feels unworthy, draws the audience in and creates a deeper bond between the reader and the story. 

Charles Darnay is portrayed in this book as the classic protagonist archetype of “Hero”. While Darnay gets captured on his quest to free Gabelle from prison, he is still cast as a “Hero” because as Tami Cowden says about archetypes,  “what the character does is not the defining element. The defining element is WHY the character does what he does” (www.tamicowden.com). The why behind Darnay’s actions are often based on nobel and selfless reasons which is how he is classified as a “Hero”. Compared to Carton, Darnay’s character development is stagnant, remaining relatively the same throughout the story. From the beginning we are shown his dignified and honorable traits that help to identify him as the “Hero”. Having a hero that the reader can depend on and root for during the story causes the reader to have more personal interest and investment in the narrative. 

Dickens uses allusions almost immediately by referencing “Mrs. Southcout… a prophetic private… and the Cock-lane ghost” all in the opening chapter. In modern America, you would be hard pressed to find someone who knows all three of these references without having to look them up, but when Dickens was writing, his audience would have not only understood but appreciated the references. In this instance the allusions are used to set up the scene and give the audience a little bit of background as to where the story is picking up. While these allusions help to inform they also connect the audience to Dickens because they now feel included in the story knowing that the author has similar experiences and is relatable. 

Before reading A Tale of Two Cities I had some basic knowledge on the French Revolution, but not any sort of in-depth understanding. While reading the book I realized that to fully comprehend the plight of the characters I would need to learn more about the time period. This knowledge soon became useful to me while reading, like in Chapter 21 when the Defarges’ lead a charge on Bastille, I was able to recall that Bastille Day is still celebrated today and commemorates the beginning of the French Revolution. When Dickens was writing his novel, his audience would have no trouble following the allusion to Bastille Day and other French Revolution occurrences, however today readers might need some prior background knowledge before reading. 

Archetypes are able to link together different generations, different geographical locations, and even fiction and reality through their universal themes. Allusions, while more specific to the time period and place, can be a useful tool to give context and make readers feel included. Using both provides a simultaneously timeless and current reading experience. 

A Tale of Two Cities - Kennedy

Writers use many strategies to make it easy for readers to relate and understand their writing.  Archetypes are often used to make characters easily recognizable and allusions are used to relate the text to other well-known stories.  Charles Dickens uses both of these strategies in A Tale of Two Cities and they are used very often throughout all types of literature.

Carl Jung, a Swiss psychiatrist and creator of Jungian archetypes, describes archetypes in his book Man And His Symbols. He says that, “The archetype is a tendency to form such representations of a motif—representations that can vary a great deal in detail without losing their basic pattern.” What he is saying is that an archetype is like the basic outline for a character, and that these outlines are recurring throughout literature. Writers often use archetypes to allow the reader to easily identify the role and personality of a character.

In A Tale of Two Cities, Charles Dickens uses archetypes often with his characters. Lucie Manette clearly fits the innocent archetype, with her unwavering loyalty and compassion. Charles Darnay is a good example of the hero archetype, as he is courageous and noble. He renounces his family name because of their cruelty and is willing to put himself into danger to rescue others. Marquis Evermonde is the ruler archetype through his cruel and uncaring nature to the peasants of France. This rigid conformity to archetypes, especially in Lucie and Charles, make some of Dickens’ characters seem two dimensional and unrealistic. Real people have so many emotions and ideas that  anyone being such a perfect representation of an archetype is ridiculous. However, what he lacks with some characters he makes up with the others. Sydney Carton’s struggle to become a better person is very real and believable, and this is only possible through the virtuousness and innocence of Lucie. Having some characters that are simple and archetypes creates contrast with the more complex characters, and gives the reader a person who they can understand easily.

An allusion is a reference or comparison between something the writer is describing and something well-known throughout the target audience. This allows the reader to more easily understand the characters and events that otherwise would be confusing and foreign to them. Classical allusions are especially helpful, because the alluded material is something integral to a society’s past and culture and is not something that will fade or pass with time. A classical allusion is a reference to a character or event from a classical work of literature, usually Greek, Roman, or biblical. However, in other cultures classical allusions would be to a classic work within that culture rather than Greek or Roman.

Charles Dickens uses classical allusions often throughout A Tale of Two Cities. Dickens compared the guillotine worker Sanson to Sampson of the Bible by saying, “The name of the strong man of Old Scripture had descended to the chief functionary who worked it; but, so armed, he was stronger than his namesake, and blinder, and tore away the gates of God’s own Temple every day” (284). This is comparing Sampson’s destruction of a pagan temple with Sanson’s numerous killings, as calling the body a temple is a metaphor often used in the Bible. It also compares Sampson’s literal blindness and strength to the metaphorical blindness and strength Sanson and the Parisians. Another, more subtle, allusion is made between Madame Defarge and the Fates of Greek mythology. The Fates were the gods of fate and vengeance and were associated with knitting. When they sentenced someone to death it would be by cutting the line of thread they were knitting with. Madame Defarge was ruthless and vengeful and she also sentenced people to death with her knitting.

Many other authors use classical allusions in their writing. In Death of a Salesman by Arthur Miller, Willy compares his suns to Heracles and Adonis, beautiful demigods in Greek mythology and literature. In Sula, by Toni Morrison, several of the characters’ names are classical allusions. Shadrack is a character from the bible who walked through fire and lived and Ajax is a Greek hero with character flaws.

Archetypes and allusions are two of the tools writers often use to make easy for the reader to understand and relate to the events and characters in literature. They are used commonly throughout all types of literature and are integral parts of connecting literature to the reader’s life.

The Color Purple - Fenneuff

In most fiction books, no matter what the tale is about, there always seems to be the same few characters throughout the story. There’s the protagonist, who usually needs a slight (or not so slight) push in order to reach their full potential. There’s the secretly insecure villain, who actually does have more depth than others suspect. There’s the hero, who comes along and shows the protagonist what they’re missing in life. The characters in Alice Walker’s The Color Purple fit these archetypes to a T.

                Right at the beginning of the story, we’re introduced to the protagonist: Celie. It doesn’t take long to learn that Celie has very little faith in herself and what she can do with her life. In general, she’s much less concerned with her wellbeing; her main focus is the wellbeing of her sister. She tries her hardest to protect her sister from the atrocious acts that her father does to her, but she is soon shipped off to live with the villain due to the wishes of her father. Celie doesn’t necessarily think that her life is horrible or boring, as most of her life (that we know about) has been a rocky road. However, in her letters to God, there is an underlying tone which can be translated into her knowing that her life could be much more enjoyable and introduces her subliminal longing for a better life.

                Shortly afterwe meet Celie, the villain is introduced. Celie does not name this man, instead calling him “Mr. ____” in her letters to God. Mr. ____ seems intimidating, as all villains do, and he certainly is in some aspects, such as how easily he can throw punches at Celie, his wife. Now, this type of behavior is certainly not uncommon in the time frame that this story is set in, but that does not make Mr. ____’s behavior any less horrible. However, like all villains do, Mr. ____ has a secret weakness: Shug Avery. We learn that as evil as Mr. ____ can be, Shug is able to convince him to (mostly) cease the beating of Celie and brings out the happiness in Mr. ____ that causes him to stop being so cruel towards Celie.

                Not only does Shug bring out the good in Mr. ____, she teaches Celie that life can be enjoyable. Shug is the hero: throughout the novel, she teaches Celie what life is about and how to enjoy herself more. She teaches Celie that she can find joy in the midst of her seemingly miserable and monotonous life and marriage. Shug is both a motherly and a friendly figure to Celie: she teaches Celie about the things that Celie never learned from her mother, as well as consoles her and provides advice when she needs it. Shug invites Celie into her world of fun and pleasure, and as she does this, Celie beings to learn about the wonders that the world can hold.

                While authors use archetypes to create a familiar cast of characters that readers can recognize throughout stories, they also use allusions to deeper the reader’s interpretation of the texts. Authors allude to many other ideals, other pieces of literature, or events in order to help the reader connect their works to countless others and make their pieces more meaningful.

                The Color Purple has an abundance of allusions throughout the text. The most prominent one is the allusion to the racial prejudice that occurs in the book. Walker never explicitly explains that during the time period of the book, there is still immense racism going on. Instead, she uses the actions and words of the characters to provide the feelings of racial inequality that are happening in the time that the story is set in.

                Walker alludes to the time period that the story is set in, without ever giving a specific year. She uses Celie’s experiences as a black woman, as well as the traditions of marriage to allow the reader to infer when the story takes place. The way that Celie is treated as a woman and a black person are the biggest hint to when the story takes place. She is made to do much of the work in taking care of children and keeping up with the house, and is also regarded as lesser of a person due to her skin color. While these things are not necessarily rare or untraditional nowadays, they are less common than they were in the 70s and 80s, which is when the story likely takes place. Celie is also handed off by her father to a man that she has no romantic feelings for and has no desire to be with, yet she goes quietly, another thing that is highly uncommon nowadays, but was less uncommon decades ago when the story assumedly takes place.

                Throughout her story, Walker uses classical allusions and archetypes to tell her story. These strategies help the reader obtain a deeper meaning from the story and relate to characters that they can recognize throughout literature.

The Scarlet Letter- Kransberger

Not being incredibly familiar with the term archetype or the term classical allusion, before beginning  to write this piece I had to do some research. According to the dictionary definition, an archetype is “a recurring symbol or motif on literature, art, or mythology.” A classical allusion can be defined as “a passing or casual reference; an incidental mention of something, either directly or by implication.” With a new and more clear understanding of both these terms, I decided to analyze Nathaniel Hawthorne’s “The Scarlet Letter” in search of examples.

As far as archetypes go, this concept is incredibly interesting to me. During my research, I stumbled upon Joseph Campbell’s philosophical book “The Hero With a Thousand Faces.” In this book, Campbell discusses his theory that every story and even sometimes real life is a different variation of the same story with a classic hero facing a conflict and in the end emerging victorious and establishing a new norm. Thinking of things this way, I discovered the pattern to ring true. The heroes in “The Scarlet Letter” is obviously Hester Prynne. Although without her mistake, none of the ridicule would have come to be, at the end of the day it is clear that both of their hearts are good. Hester is heroic in the act of putting Dimmesdale’s reputation as a minister before herself and continuing to take all the heat on her own for the mistake that both of them had made. “”Ask me not!” replied Hester Prynne, looking firmly into his face. “Thou shall never know!” (64)

Another archetype found in “The Scarlet Letter” is the constant battle of good vs. evil. In the case of this story, it aggressively rages on inside the mind of Arthur Dimmesdale. Dimmesdale is the young  town minister and also the mysterious adulterer with whom Hester Prynne had the notorious affair. He knows he has committed a terrible sin according to his religion making him view himself as evil in his mind. Dimmesdale wishes to confess and often punishes himself both physically and mentally for his one mistake, wrestling constantly with his worth as a human as a result . In the end, he finally reveals the scarlet letter “A” branded on his own chest and admits to Hester, his seven year old daughter, and the town as a whole, that this is God’s mercy because he couldn’t die an unrepentant sinner. “”Hester Prynne,” cried he with a piercing earnestness, “In the name of Him, so terrible and merciful who gives me grace, at this last moment to do what- for my own heavy sin and miserable agony- I withheld myself from doing seven years ago, come hither now and twine thy strength about me!” (207) He goes on to own up to illegitimately fathering Hester’s child.  “At last! At last I stand upon the spot where seven years I should have stood...There stood one in the midst of you, at whose brand of sin and infamy ye have not shuddered!” (208) After his confession and a final kiss from his daughter, he passes away then and there. Good beat evil in his mind before it was too late and he died a clean man. Throughout the entire book he knew right from wrong and that he had a choice to make. It took seven years, but eventually Dimmesdale did the right thing.

A classical allusion ever present in “The Scarlet Letter” is the mention of and reference to The Bible. When Hester commits adultery the puritan society in which she lives literally tries her as a criminal. Nowhere in the laws of the United States has having an affair ever actually been illegal. No, Hester broke laws established by the Bible and the way her town treated her was a result of their religious views.””Hester Prynne”, said the Clergyman, “I have striven with my young brother here, under whose preaching of the word you have been privileged to sit.. That he should deal with you, here in the face of Heaven and before these wise and upright rulers and in hearing of all the people, as touching the vileness and blackness of your sin.”” (56) She is literally on trial for a SIN not a crime. This sin sets the entire story line and all leads back to the Bible without a direct mention of a verse forbidding adultery.

Oedipus Rex and The Don - Nick Brandt

  In today’s society, just as in the past, vision is a very important attribute. To drive a car or a chariot, to use a computer at work or to till the land. These practical benefits of sight are quite obvious. But on a deeper level, we need vision to foresee the consequences of our actions, we need vision to be able to assess the past, and furthermore we need vision to be able to learn from the past. Son of Laius, King of Thebes, Oedipus in Oedipus Rex exudes excellent vision in the physical sense. Yet, his sight, or better put, his clarity is astoundingly underdeveloped. This is quite similar to the Republican Party nowadays.
   The idea that Donald Trump could be stumped was weaved by most of the GOP, quite to the contrary of the reality. He was capitalizing off of free press, and using polarizing statements to garner the support of the Conservatives abroad, rather than appeasing moderates. His piquing of the public interest foreshadowed his ascendancy to the title of God-Emporer of the Grand Old Party (strictly satirical). He slew foe after trimming the flock of competitors. Similar to the Establishment’s initial veneer of stupidity, Oedipus, great solver of the Sphinx riddle couldn't  consider that the fact that he murdered men on his trek from Corinth and speculate as to whether he is the murderer the gods are angered by. While the probability of killing a man, and that man being a king is much slimmer, it's still worth putting a moment’s thought into the idea.
   Continuing down the line to the RNC, the list of candidates was shortened down to Kasich, The Don, and Lyin’ Ted. Opponents of Trump were taken aback by his prowess in the lingual and cognitive senses alike, he was playing 4D Chess as they played checkers. They had not seen such a man before, they had not the hindsight to know that just like Low Energy Jeb and Little Marco, they couldn't muster the power to match him. Cruz thought he could unethically steal delegates later on in the convention, while warned by some that fate would deliver glancing repercussions. He followed through in his wicked path and received the wrath of the media gods. Unwittingly, he would later commit political suicide. Similar to the enemies of Trump, Oedipus blindly (no pun intended) persisted in his search for the truth, despite attempted dissuading from his wife mother Jocasta. He found the thinly gilded truth and the sad reality destroyed his home. His wife mother sent to the gods, his sons into quarrel over the kingdom, his daughters into sorrow. The tragic hero also took away his mortal sight, all due to swearing by one’s impulse rather than greater vision.
   At the RNC, the fabled death of Ted Cruz’s political career came about, the stars aligned. The honest man who “always stuck to his guns” could not retain his word on a simple pledge. He sold out his party, his image, his countrymen, and his adversary Donald Trump due to a lack of vision of the repercussions as aforementioned. The God-Emperor was always mandated from the cosmos to receive the nomination, plain as pie and simple as sugar. Ted should've known you cannot defy Fate. You might have free will, yet the twain aren't mutually exclusive. The same concept applies when delving into Oedipus throughout all of Oedipus Rex. he did not possess the vision to view murder as wrong, he could not have likely foreseen killing his father, Laius, but he could've realized killing is bad nevertheless. And through his free will extraordinarily enough, the madman did what he was predestined to do. He thought he was running from his fate of killing his father Polybus in Corinth, while not realizing that Corinth was not his native land, Thebes was.
   Just like the adversaries of God-Emperor Donald Trump, the foe of the gods and their will got struck down. This largely precipitated due to their lack of vision in a larger sense; they had no understanding of the reality of their lack of say-so and their vulnerability, they had no substantial modicum of foresight or hindsight in any observable way, etc.

Week 6 Explanation

This week’s blog topic asks you to discuss and explain archetypes and classical allusions found in your summer reading books. Look up these terms to get a better idea of what they mean. Check out my example to see a possible way to address this topic. You can talk about several archetypes or allusions, or just focus on one and explain your take on its use in one or more summer reading books. The books can be ones you’ve read already or a new one you haven’t written about yet. Answer questions like: What do these archetypes and allusions add to the story? Why are they used? Does it make sense? Why is the archetype or allusion important? How does the author address the archetype or allusion?

You CAN use first-person POV if you’d like.

When you write for this assignment (and most of the others) keep the following general guidelines and possibilities in mind: 1). DO NOT SUMMARIZE. I don’t care if I haven’t read your book; I’m not asking for the plot. 2). Pay attention to your content, ideas, organization, using quotes, and citation as you structure your post. 3). Certainly mention the book title (use italics to set it off) and author. The title of the post should contain the title of the book and your last name, like in the example that follows these directions 4). Deal with other issues that are interesting, novel, and intellectual yet still relate to the general topic of the post.

Try to have a good time. Remember internet safety protocols: don’t use your entire name or give away identifying information. You should probably change your display name if you’re using your real name. Be tactful and don’t disparage anyone. You are graded on the quality of thought and expression in your post, its length (between 700 - 1000 words), and on using quoted material properly (if you use any). I suggest writing the post in a word processing program and then pasting it into the post window. Contact me if you have any questions and I’ll answer ASAP. The following example is not a strict template of what you should do but only a possibility, and a poor one at that. Off we go then…

Carl Jung and Ecclesiastes by de la Cruz

You have probably done it. You have looked at a person and said, “He [or she] is not my type.” This means that a person does not meet the general characteristics you find necessary for romantic sentiment to blossom. You may be into the Frat Boy type while your friend falls for the Cheerleader type and another person gravitates toward the AP English type. Each of these “types” have certain generic traits most people in our society instantly understand and picture. Likewise, Car Jung, a famous psychologist, theorized that all people across time and culture have certain universal archetypes they can recognize. These archetypes are found not only in people but also in literary characters.

The most prominent archetype I encountered in my reading this summer is what the Carl Jung-inspired The Complete Writer’s Guide to Heroes and Heroines calls “The Lost Soul.” TamiCowden.com describes The Lost Soul as “a sensitive being, he understands. Tortured, secretive, brooding, and unforgiving. That’s this man.” The characters that fall into this category I found exclusively in books classified as science-fiction: Guy Montag from Fahrenheit 451, Bernard Marx from Brave New World, Winston Smith from 1984, and Billy Pilgrim from Slaughterhouse-Five. Each of these four characters fits the Lost Soul archetype because they are all tortured by their society -- sometimes emotionally, sometimes physically, sometimes both -- and each is sensitive to the wrongs of his respective society. Moreover, every character, except perhaps Billy Pilgrim, broods over his situation and is unforgiving in his own way. While generally similar, the authors make the characters in these books unique in their idiosyncrasies an through a key part of the writing mechanism: the setting in which each character acts.

The rest of the books offered a broader array of archetypes. The title character in Sula is clearly The Seductress: Sula seduces her best friend’s husband, is cynical about society’s standards, and “hides a streak of distrust a mile wide and ten miles deep” (tamicowden.com). Nora Helmer from Ibsen’s A Doll’s House is a cross between The Waif and The Nurturer. In Julia Alvarez’s How the Garcia Girls Lost Their Accents each of the four girls is a pale representation of a different archetype: Carla is The Boss, Sandra is The Waif, Yolanda is The Free Spirit, and Sofia is The Seductress.

The discussion of archetypes here is limited to major characters. However, minor characters in each book also present archetypes in themselves. Besides heroic archetypes, there are also villainous archetypes. However, in most of the texts, the villain is not a single character but the situation created by the broader society or the struggle within him or herself.

Besides using archetypes in their art, authors allude to important and well-known works outside of their own text. These classical allusions surround Christian or Greek religion and religious icons. A few of the texts I read this summer do some interesting things with classical allusion.

In Brave New World the allusion to religion is satirical and not completely an allusion at all. In a world where so much of what we consider “normal” is turned on its head -- the nuclear family is no more -- there remains a vestige of religion. People in Brave New World often say “Our Ford” and have quasi-religious festivals where they sing “’Orgy-porgy, Ford and fun,/ Kiss the girls and make them One./ Boys at one with girls at peace;/ Orgy-porgy gives release’” and talk about the “Greater Being” (Huxley 85). The society in Huxley’s world has turned religion into a mantra that certifies the society’s value of self-gratification. “Our Ford” is an allusion to the Christian use of “Our Lord” as a way to draw attention to the Christian God; it is also a way of exalting Henry Ford who brought low-cost automobiles and a semblance of prosperity to the masses. In reality, “Our Ford” is not an allusion at all but an allusion to an allusion.

Fahrenheit 451 also makes allusions to religion. When Guy Montag steals, hides, and reads a forbidden book, he reads out of the Bible. The book he reads and then “becomes” is Ecclesiastes. By drawing attention to this book through Montag, Bradbury is hinting that the reader should also read Ecclesiastes, which has “there is a time for everything, and a season for every activity under heaven” as one of its central messages (Eccl 3:1). This verse ties into the novel’s message against censorship.

Archetypes help us connect with characters through our shared human experience. Allusions add depth to the reading of a text though its tie-ins to other seminal human works. Together, archetypes and allusions broaden our understanding of a work of literature and of ourselves.

McCarthy - Jessica Ruby

Today there are an abundance of religions, opinions, and values. The complexity of each set of belief systems can differ so much from person to person that it allows for an infinite number of questions, holes, and inconsistencies. This is a breeding ground for accusations, aggression, prejudice, and hate towards other cultures, and is a very real problem in our society and around the world. The Road, by Cormac McCarthy is a thought provoking novel, challenging readers to question society. It is also a prime example of what all belief systems have in common at their most raw state. There are three main similarities : the need for hope, the desire for strength, and the possession of fear.

Hope is a mindset, and not one that is always easily obtained. Hopelessness is easier to achieve than optimism and drive. Like any accomplishment made or barrier overcome in life, it is easier said than done and most often more easily achieved with some assistance. For many people this assistance comes from the belief that there is someone or something looking out for them and helping them along the way at all times. Whether it be a god or a goddess, a figure or a person, that something creates a force within people that keeps them optimistic and driven.

The Man and his son speak vaguely yet fondly of their own version of God and what his purpose is. A greater plan, or reward at the end, a life of eternity, or a sweet nothing. It is not the direction, but the push itself that relates all belief systems allowing people to get through life and not be alone.

With hope comes the strength to carry on. Once you have lost hope, there is no chance for survival. This is evident in the actions of The Man. He feels that God is challenging him and testing his strength. It may seem that, at times, The Man questions his own faith in God as he is faced with more and more obstacles everyday. However, at the same time he knows that he cannot lose hope if he wants to survive. “Then he just knelt in the ashes. He raised his face to the paling day. Are you there? he whispered. Will I see you at last? Have you a neck by which to throttle you? Have you a heart? Damn you eternally have you a soul? Oh God, he whispered. Oh God” (McCarthy, pg.  ). His demand and desperation for answers makes the even most miniscule everyday victories seem like God’s miracles, and he does not hesitate to show his appreciation. Deep down he knows that the challenges that he and his son face while they are still together are allowing him to learn and become stronger for the day that they cannot be together anymore. This combination of hope and strength gives people the motivation to overcome their own obstacles and learn from them.

Finally, it is fear itself that draws people to religion; fear of the unknown, the beginning, the end, and everything in between. This need for hope and strength would not be existent if we did not fear what will become of us and the world. With the idea that we cannot directly control our own fate, a relationship with what is potentially the source of our beginning and end is deemed necessary. The man and his son’s crude religion centered around an ambiguous God displays this desperation for answers and fear for their future without his guidance. However, near the end of his life and the novel The Man alludes to the fact that he sees the light of God in his son, and once he touches death, and therefore God himself, the fear dissipates and he passes away peacefully. “ He took the cup and moved away and when he moved the light moved with him. He'd wanted to try and make a tent out of the tarp but the man would not let him. He said that he didn’t want anything covering him. He lay watching the boy at the fire. He wanted to be able to see. Look around you, he said. There is no prophet in the earth's long chronicle who's not honored here today. Whatever form you spoke of you were right” (McCarthy, pg. 380).

In conclusion, the relationship between belief systems is most clearly represented by the need for hope, desire for strength, and possession of fear. This is displayed through the simplicity of the setting in this novel in the post apocalyptic world, where hope, strength, and fear is all people have to survive.