I have been working through a specific vision of the hero. A 3-part structuralist model of heroic narrative that seeks to establish a unified framework. A global system that will help unify the far-flung depictions of the hero and facilitate their comparison for study.
Narratives, both modern and ancient are filled with heroes, in fact if you were to accept an entirely reductionist approach to the hero, you may define them as the protagonist of any story. I am not comfortable with this notion, it is entirely to simple even for myself.
As someone who studies heroic narrative I see that the hero is both a character and an idea. They are manifest in narratives, but their source is informed by deeply embedded cultural codes. This universal heroic narrative structure I have come to define as the “Heroic Complex”.
The Heroic Complex is akin to a form of narrative consciousness. It is not as Nicholson states a perfect place but an ethos that is “an uneasy thing” (2). A ‘telling world’ where heroics are at play. I would suggest that within the Heroic Complex the ideas of heroes and their stories are to be rationalized as Claude Levis Strauss suggests “[as] patterns showing affinity, instead of being considered in succession, [they are] to be treated as one complex pattern and read globally” (6).
As a result of this the hero is transformed into an epistemological figure, that allow its audience and yet even further, its culture to shape, display and validate our moral truths (Rollins 433). We are never finished with this process. The Heroic Complex is a churning gyre of new material and association. It is an ever-evolving metanarrative structure of connected parts that dialogue with one another. This ongoing discourse is subject to fluctuations and is never cemented in place.
Our heroes allow us to move beyond ourselves and engage with narrative on a vicarious level that is transfixed by the heroic ethos. This is the Heroic Complex. This metanarrative realm existing independently of genre – yet simultaneously permitting all genres to intermingle and inform each other. Nothing is excluded here; the Heroic Decision (discussed early) has identified the hero and the Heroic Enterprise has transitioned the hero across this liminal boundary, placing them within the Heroic Complex.
Works Cited
Levis-Strauss, Claude. The Structuralism of Myth. The Journal of American Folklore. Vol. 68. No. 270. Nov. 1955. pp. 428-44.
Nicholson, Adam. Why Homer Matters. New York: Henry Holt and Company, 2014.
Rollin, Roger B. Beowulf to Batman: The Epic Hero and Pop Culture. College English. Vol. 31. No. 5. Feb. 1970. pp. 431-449.
mythTake 