They are the Hero, Mentor, Threshold Guardian, Herald, Shapeshifter, Shadow, Ally, and Trickster.
Most writers are familiar with some of these archetypes, albeit by different names, such as the Protagonist (Hero), Antagonist (Shadow), and Sidekick (Ally). Others, such as the Shapeshifter and Trickster, however, are less obvious.
The Trickster and Shapeshifter Archetypes
The Trickster represents mischief and the desire for change in the story. Clowns and comical sidekicks are examples of this sort of character. A chief psychological function of the Trickster is to cut the Hero’s ego down to size, typically through humour, in order to spotlight some absurdity in his thoughts and actions.
The Trickster’s dramatic function, as distinct from his psychological one, is to add comic relief to the tale. Some Tricksters may even rise to the level of a Trickster Hero, such as Bug’s Bunny or Duffy Duck. Eddie Murphy’s character in Beverly Hills Cop, captures many of the energies of this archetype, disrupting the Californian police system, while remaining unchanged himself.
The Shapeshifter expresses the energy of the animus and anima, which, in Jung’s psychology, characterises the male and female elements in our unconscious mind. We all embody aspects of the opposite sex within us, traits which are often repressed by society. We are told that girls play with dolls and teddies, and boys with cars and guns. When they cross over, it creates conflict in the characters, which, in story terms, enriches the plot.
The Shapeshifter’s dramatic function is to bring uncertainty and suspense to the tale. When the Hero keeps enquiring, “Is he friend or foe? Does she love me? Will she betray me?” a Trickster is generally present. A famous Trickster, who also embodies the attributes of the Shadow (Antagonist), is Iago who helps push Othello to murder and despair.
Women, portrayed through sudden changes in mood and appearance, typically make great Shapeshifters. In Fatal Attraction, for example, the woman quickly shifts from passionate lover to murderous harpy when the man with whom she is having an affair tries to end it.
Wizards, witches, and ogres are typical of this archetype in fairytales. The femme fatale, found in the noir films of the forties and fifties, finds deadly expression in cop and detective stories – Sharon Stone in Basic Instinct, or Kathleen Turner in Body Heat.
Archetypes, then, allow us to create more complex characters by mixing them together to create more unique characters. At the same time, they allow us to map and track the psychological and dramatic requirements of a story – a boon to any writer’s toolkit.
Understanding the psychological and dramatic function of archetypes allows us to mix specific elements from each. The result is new, exciting, and viable characters for our stories.