Limerick: Creating and Critiquing

A limerick is a specific form of humorous and often nonsensical five-line poetry that adheres to a distinct rhyme scheme and metrical pattern.

Introduction to Limerick

A limerick is a specific form of humorous and often nonsensical five-line poetry that adheres to a distinct rhyme scheme and metrical pattern, typically with lines one, two, and five featuring rhyming, and lines three and four also rhyming. These poems are characterized by their witty wordplay, whimsical themes, and concise structure, making them a popular choice for light-hearted and entertaining verse. Limericks have a long history of use in literature and are known for their ability to deliver humor and satire in a succinct and memorable manner.

How to Create Limerick

A limerick is a five-line poem that follows a specific rhyme scheme and rhythm. Here’s how you can create a limerick:

StepExplanationExample
1. Choose a TopicLimericks can cover any subject, so select an interesting or amusing topic.N/A
2. Determine the Rhyme SchemeLimericks use an “AABBA” rhyme scheme: The first, second, and fifth lines rhyme with each other. The third and fourth lines rhyme with each other.N/A
3. Write the First LineThe opening line introduces the topic and should be attention-grabbing.There was an old man from Peru
4. Write the Second LineThe second line continues the topic and rhymes with the first line.Whose shoes were too tight to undo
5. Write the Third and Fourth LinesThese lines should rhyme with each other. They are shorter than the first two lines and often contain humor or a twist.He hopped and he jumped Till he fell with a thump
6. Write the Fifth LineThe fifth line rhymes with the first two lines and provides a satisfying conclusion.And then swore off tight shoes, it’s true!
7. Revise and EditAfter composing the limerick, read it aloud for rhythm and flow. Make necessary revisions to enhance the poem’s overall quality.N/A

And here’s the example limerick:

There was an old man from Peru

Whose shoes were too tight to undo

He hopped and he jumped

Till he fell with a thump

And then swore off tight shoes, it’s true!

Benefits of Limerick

Limericks can provide several benefits:

Benefit of Writing LimerickExplanation
1. Fun and EntertainmentLimericks are a source of amusement and joy, providing an enjoyable experience for both writers and readers.
2. Creative OutletThey offer a creative outlet for writers, serving as a structured framework for experimenting with language and ideas.
3. Language Skills ImprovementWriting limericks enhances language skills, including rhyming, word choice, and rhythmic composition.
4. Educational ToolLimericks can be utilized as educational tools, effectively teaching concepts or ideas in an engaging and fun manner.
5. Icebreaker and Conversation StarterThey serve as excellent icebreakers and conversation starters, appealing to people of various ages and backgrounds.
6. StorytellingLimericks are also a means of concise and memorable storytelling, conveying messages or narratives effectively.
Limerick and Literary Theories

There once was a scholar of theories

Whose interests were wide and not eerie

From formalism to post-structuralism,

And everything in between and without a prism,

But always found time for limericks, so cheery.

Literary theories are a broad field

With many approaches to yield

From Marxist to FeministFeminism,

Postcolonial to Ecocriticist,

Each lens brings new insights to wield.

But amidst the dense and heady prose

Sometimes a limerick brings repose

With a playful twist and a rhyming list

It can make even theory enthusiasts

Laugh and smile, and their minds compose.

So let us not forget the power

Of a limerick, in any hour

To lighten the mood and break the mold

And remind us that even the most serious theories can be told

With a bit of humor, cleverly dowered.

Suggested Readings
  1. Lear, Edward. A Book of Nonsense. Dover Publications, 1992.
  2. Legman, Greshan. The Limerick: 1700 Examples, with Notes, Variants, and Index. Bell, 1969.
  3. Parrott, Eric Oakley. The Penguin Book of Limericks. Penguine, 1983.

Limerick: A Literary Device

As a literary device, Limerick is a type of humorous poetry that plays with language and rhythm to create a playful and entertaining effect.

Etymology of Limerick

The term “limerick” refers to a type of humorous and often nonsensical five-line poem with a distinctive AABBA rhyme scheme. Its etymology is believed to be rooted in the Irish city of Limerick, which is thought to have a historical association with this form of verse, although the exact origin remains uncertain. The name “limerick” may have been popularized in the 19th century when these amusing poems gained widespread popularity, but the true etymological origins are not definitively documented.

Meanings of Limerick
CharacteristicDescription
Five-Line StructureConsists of exactly five lines.
AABBA Rhyme SchemeFollows an AABBA rhyme pattern.
Humorous and NonsensicalTypically humorous, witty, or nonsensical in nature.
Anapestic MeterWritten in anapestic meter (da-da-DUM).
Short and Light-heartedConcise and often conveys humor briefly.
Common ThemesFeatures comical situations, wordplay, and absurdity.
Traditional OriginAssociated with the city of Limerick, popularized in the 19th century.
Definition of Limerick

As a literary device, Limerick is a type of humorous poetry that plays with language and rhythm to create a playful and entertaining effect. Limericks are characterized by their distinctive rhyme scheme and meter, which contribute to their bouncy, sing-song quality. By using puns, wordplay, and unexpected twists, Limericks are able to convey a message or tell a story in a way that is both memorable and enjoyable.

Types of Limerick

Limericks are a type of humorous poem that consists of five lines. The first, second, and fifth lines typically rhyme with each other, while the third and fourth lines form a shorter, rhyming couplet. Here are some different types of limericks:

TypeExplanation
Classic LimericksThe most common type with a traditional rhyme scheme and humorous style.
Double LimericksTwo limericks intertwined or connected, often by the same or different authors.
Nonsense LimericksUtilize nonsensical words or phrases, aiming to be silly or absurd.
Offensive LimericksEmploy offensive language, typically to insult or offend someone.
Clean LimericksSuitable for all ages, free from offensive or inappropriate content.
Personal LimericksSpecifically written about a particular person or situation, personalized content.
Political LimericksMake political commentary or satirize political figures or events.
Literary Examples of Limerick
ExampleReferenceExplanation
Example 1: There was an Old Man in a tree, Who was horribly bored by a bee; When they said, “Does it buzz?” He replied, “Yes, it does! It’s a regular brute of a bee!”From Edward Lear’s “A Book of Nonsense” (1846)Features a classic limerick structure with a humorous and nonsensical theme.
Example 2: `Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the mome raths outgrabe.Found in Lewis Carroll’s “Alice’s Adventures in Wonderland” (1865)Exhibits a nonsense limerick with whimsical wordplay, typical of Carroll’s style.
Example 3: Behold the duck. It does not cluck. A cluck it lacks. It quacks. It is specially fond Of a puddle or pond. When it dines or sups, It bottoms ups.From Ogden Nash’s “The Duck” (1942)Showcases a modern limerick with clever wordplay, characteristic of Nash’s humorous poetry.
Suggested Readings
  1. Lear, Edward. A Book of Nonsense. Dover Publications, 1992.
  2. Nash, Ogden. The Pocket Book of Ogden Nash. Pocket Books, 1968.
  3. Rosen, Michael, editor. A Book of Limericks. Penguin, 2011.
  4. Reed, Edward Bliss. English lyrical poetry from its origins to the present time. Yale University Press, 1912.

Tragic Flaw: Using and Critiquing It

Also known as hamartia, tragic flaw is a prominent literary device, utilized in ancient Greek drama and tragedy.

Introduction to Tragic Flaw

Also known as hamartia, tragic flaw is a prominent literary device, utilized in ancient Greek drama and tragedy. It refers to a character’s inherent flaw or error in judgment, which leads to their downfall and eventual tragic fate.

This flaw is often a moral or psychological weakness, a character trait, or an inherent feature of their disposition that drives the protagonists to make bad/wrong decisions or commit actions, having severe consequences.

The presence of tragic flaw or hamartia allows for a sense of inevitability in the character’s tragic arc, highlighting the concept of fate or destiny within the narrative.

Literary Examples of Tragic Flaw
Literary ExampleTragic flaw or hamartia TypeExplanation
MacbethAmbitionMacbeth’s tragic flaw or hamartia is his ambition, which leads him to pursue the throne and commit murder to achieve his goals. His desire for power and status blinds him to the consequences of his actions, and he becomes increasingly ruthless and paranoid as he tries to maintain his position.
OedipusPride and ArroganceOedipus’ tragic flaw or hamartia is his pride and arrogance, which cause him to ignore warnings and pursue the truth about his identity. His relentless pursuit of the truth leads to the discovery that he has unknowingly killed his father and married his mother, resulting in his tragic fate.
Jay GatsbyIdealized LoveJay Gatsby’s tragic flaw or hamartia is his idealized vision of love and success, which causes him to pursue Daisy Buchanan with a single-minded obsession. His belief that money and success can buy happiness and love blinds him to the reality of his situation and ultimately leads to his downfall.
Willy LomanDelusional BeliefWilly Loman’s hamartia is his delusional belief in the American Dream and his inability to accept reality. He believes that success and popularity will solve his problems, but his failures and disappointments cause him to spiral into despair which ultimately leads to his suicide.
Romeo and JulietImpulsivenessRomeo and Juliet’s tragic flaw or hamartia is their impulsiveness and passion, which lead them to make hasty decisions without considering the consequences. Their intense love for each other causes them to defy their families and society, ultimately resulting in their tragic deaths.
How to Create tragic flaw or hamartia in a Fictional Work

Creating it for a character can add depth and complexity to their personality and can help to drive the plot of a story. Here are some steps to create a tragic flaw or hamartia for a character:

  1. Character’s Personality: Assess strengths, weaknesses, motivations, and background for potential downfall factors.
  2. Identify the Flaw: Pinpoint an inherent flaw or weakness that drives the character’s decisions and leads to tragedy.
  3. Connect to the Story: Link the flaw to the central conflict or theme, creating tension and propelling the plot.
  4. Develop Consequences: Explore the ultimate outcome of the character’s actions, impacting others and the overall story.
  5. Show the Character’s Journey: Depict the emotional evolution and impact on relationships and environment, engaging readers or audiences. Creating a compelling tragic flaw or hamartia adds depth and meaning to a character’s narrative, making their journey powerful and resonant.
Benefits of Tragic flaw or hamartia

Tragic flaw or hamartia, when well-executed in literature, has several benefits. Here are some of them:

  1. Adds Complexity to Characters: It creates multi-dimensional characters with depth and nuance.
  2. Creates Tension and Drama: Tragic flaw or hamartia drives the plot, leading to impending doom, suspense, and conflict.
  3. Increases Empathy: Characters’ struggles with their flaws make readers empathize and connect with their journey.
  4. Provides Insight into the Human Condition: It explores universal human experiences, shedding light on emotions like pride, ambition, and love.
  5. Creates a Memorable Story: Captivating characters and their struggles make the story memorable long after it ends. In short, it serves as a powerful storytelling tool, crafting memorable characters and offering insights into the human experience.
Tragic flaw or hamartia and Literary Theory

Tragic flaw or hamartia can be analyzed and understood through different literary theories, each offering a unique perspective on the concept. Here are some literary theories and how they relate to tragic flaw or hamartia:

Literary TheoryInterpretation of Tragic flaw or hamartiaExample of Literary Work
Psychoanalytic Literary TheoryHere hamartia arises from the character’s unconscious desires and impulses, which are deeply rooted in their childhood experiences, relationships, and innermost desires. This theory suggests that the character’s behavior and downfall can be traced back to unresolved psychological conflicts.Oedipus Rex by Sophocles
Feminist Literary TheoryHere hamartia is shaped by societal expectations and gender roles imposed on the character. Feminist theory examines how power dynamics, cultural norms, and the character’s struggle for agency contribute to their tragic fate.Madame Bovary by Gustave Flaubert
Marxist Literary TheoryTragic flaw or hamartia is influenced by social class and economic factors that affect the character’s decisions and actions. Marxist theory explores how the character’s position in society, access to resources, and relationship to power contribute to their downfall.Death of a Salesman by Arthur Miller
New Criticism Literary TheoryLiterary elements such as language, imagery, symbolism, and structure are employed to convey the character’s flaws and foreshadow their tragic fate. New Criticism theory focuses on close reading of the text to analyze how these elements contribute to the character’s downfall.Macbeth by William Shakespeare
Postcolonial Literary TheoryHere hamartia is influenced by the character’s identity and experiences shaped by colonialism, imperialism, and cultural hegemony. Postcolonial theory explores how the character’s struggle for cultural assimilation, loss of agency, and internal conflicts contribute to their tragic fate.Things Fall Apart by Chinua Achebe
Suggested Readings
  1. Aristotle. Poetics. Translated by Malcolm Heath, Penguin Classics, 1996.
  2. Miller, Arthur. Death of a Salesman. Penguin Books, 1976.
  3. Shakespeare, William. Hamlet. Edited by Barbara A. Mowat and Paul Werstine, Folger Shakespeare Library, 2003.
  4. Sophocles. Oedipus Rex. Translated by David Grene, University of Chicago Press, 2010.
  5. Stoll, Elmer Edgar. Hamlet: An Historical and Comparative Study. University of Minnesota Press, 1919.
  6. Williams, Tennessee. A Streetcar Named Desire. New Directions, 2004.
  7. McGinn, Colin. Shakespeare’s Philosophy: Discovering the Meaning Behind the Plays. Harper Perennial, 2008.

Tragic Flaw or Hamartia: A Literary Device

A tragic flaw is a trait or characteristic that leads a character in a tragedy to make decisions that ultimately result in their downfall.

Etymology of Tragic Flaw or Hamartia

The term “tragic flaw” was first introduced by the Greek philosopher Aristotle in his work Poetics, which he wrote in the 4th century BCE. In Greek, the term is hamartia, means “missing the mark” or “error.” Aristotle used the term to describe a character trait or action that leads to the downfall of the tragic hero in a tragedy.

Meanings of Tragic Flaw
Literal Meanings
Tragic Flaw: The character’s inherent imperfection or weakness that leads to their downfall.
Fatal Error: An irreversible mistake or misjudgment that has severe consequences.
Character Defect: A flaw or deficiency in the character’s personality or morals.
Tragic Mistake: A critical error in judgment that results in a tragic outcome.
Tragic Flaw’s Consequences: The negative outcomes and suffering caused by the character’s hamartia.
Fateful Misstep: An unfortunate action or decision that sets the character on a path to tragedy.
Character’s Downfall: The character’s ultimate failure or ruin as a result of their hamartia.
Tragic Imperfection: The character’s innate quality or trait that ultimately leads to their downfall.
Flawed Decision Making: Poor choices or decisions made by the character due to their hamartia.
Tragic Character Trait: A personality trait or characteristic that contributes to the character’s tragic fate.
Tragic Flaw in Grammar
  • Singular Noun Phrase and Singular Verb: When “tragic flaw” is used to refer to a single flaw or characteristic that leads to a tragic outcome, it should take a singular verb. For example:
    • Macbeth’s tragic flaw was his ambition.
  • Plural Noun Phrase and Plural Verb: When “tragic flaw” is used to refer to multiple flaws or characteristics that lead to a tragic outcome, it should take a plural verb. For example:
    • Hamlet’s tragic flaws were his indecisiveness and his tendency to overthink.
Definition of Tragic Flaw

A tragic flaw is a trait or characteristic that leads a character in a tragedy to make decisions that ultimately result in their downfall. It is often a personal flaw such as pride, ambition, or jealousy that causes the character’s downfall. Tragic flaws are a common element in literature, specifically, in tragic plays and novels.

Types of Tragic Flaw

There are several types of tragic flaws that lead to a character’s downfall. Some common examples include:

Type of Tragic Flaw or HamartiaDefinitionExamples from Literature
HubrisExcessive pride or arrogance leads the protagonist to defy the gods or ignore warnings, ultimately leading to their downfall.Example: In Sophocles’ play Oedipus Rex, Oedipus’ pride and belief in his ability to outsmart fate lead him to unwittingly fulfill the prophecy of killing his father and marrying his mother.
GreedInsatiable desire for wealth or possessions causes the character to make morally questionable decisions that result in their tragic undoing.Example: In Shakespeare’s play Macbeth, Macbeth’s insatiable ambition and greed for power drive him to commit regicide and descend into madness, leading to his downfall and eventual death.
JealousyIntense envy or resentment towards others leads the character to engage in destructive actions that lead to their own downfall or the downfall of others.Example: In William Shakespeare’s Othello, the titular character’s jealousy of Cassio’s promotion and suspicion of his wife’s fidelity leads him to murder Desdemona, resulting in his own tragic end.
Lack of Self-AwarenessThe inability of the characters to recognize their own flaws or the consequences of their actions leads them to repeat mistakes and eventually suffer the consequences.Example: In F. Scott Fitzgerald’s The Great Gatsby, Jay Gatsby’s lack of self-awareness and his obsession with the past and social status blind him to the reality of his unattainable dreams.
ImpulsivenessThe tendency to act hastily without considering the consequences leads to reckless actions that bring about their downfall.Example: In William Shakespeare’s Romeo and Juliet, both Romeo and Juliet’s impulsive decisions, such as rushing into marriage and taking their own lives, lead to the tragic end of the play.

These types of tragic flaws are often used in combination with other literary devices to create a powerful and moving story.

Common Examples of Tragic Flaws
Ancient Hamartia (Tragic Flaw):
TermDefinition
HubrisExcessive pride or arrogance, often leading the character to challenge or defy the gods, resulting in their downfall.
Hamartia (in the original Greek sense)A mistake or error in judgment, which sets off a chain of events leading to the protagonist’s tragic fate.
AteBlind recklessness or folly, causing the character to act rashly and make destructive decisions.
HybrisSimilar to hubris, representing pride and arrogance that results in defiance of divine or natural order.
Modern Tragic Flaw (Hamartia):
  1. Ambition: An intense desire for success or power, often leading the character to take morally questionable actions that lead to their downfall.
  2. Greed: An insatiable desire for wealth or possessions, driving the character to engage in unethical behavior, leading to their tragic end.
  3. Jealousy: Intense envy or resentment towards others, causing the character to engage in destructive actions that bring about their own demise.
  4. Lack of Self-Control: The inability to control one’s impulses or emotions, leading to impulsive actions that have severe consequences.
  5. Obsession: Fixation on a particular goal or desire, disregarding everything else, which leads to disastrous outcomes.
  6. Revenge: A strong desire for vengeance, causing the character to act destructively, often leading to their own ruin.
  7. Lack of Self-Awareness: The character’s inability to recognize their own flaws or the consequences of their actions, resulting in repeated mistakes and eventual downfall.
Suggested Readings
  1. Aristotle. Poetics. Translated by Malcolm Heath, Penguin Classics, 1996.
  2. Bradley, A. C. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, and Macbeth. Macmillan, 1904.
  3. Hegel, G. W. F. Aesthetics: Lectures on Fine Art. Translated by T. M. Knox, Oxford University Press, 1998.
  4. Knox, Bernard. The Heroic Temper: Studies in Sophoclean Tragedy. University of California Press, 1964.
  5. Miller, Arthur. Death of a Salesman. Penguin Books, 1976.
  6. Shakespeare, William. Hamlet. Edited by Barbara A. Mowat and Paul Werstine, Folger Shakespeare Library, 2003.
  7. Sophocles. Oedipus Rex. Translated by Robert Fagles, Penguin Classics, 1984.
  8. Steiner, George. The Death of Tragedy. Faber and Faber, 1961.

Hero: Creating and Critiquing

Hero serves as a focal point in narratives, symbolizing universal themes and ideals while demonstrating courage, selflessness, and integrity.

Introduction to Hero

A hero, as a literary device, embodies the archetype of a central character who embarks on a transformative journey, often facing adversity and challenges that reveal his/her inner qualities and virtues.

This character serves as a focal point in narratives, symbolizing universal themes and ideals while demonstrating acts of courage, selflessness, and moral integrity. Through their actions and personal growth, heroes contribute to the development of the plot and themes, resonating with readers as embodiments of human aspirations and heroism.

Literary Examples of Hero
  1. Siddhartha Gautama in Siddhartha by Hermann Hesse: Siddhartha embarks on a spiritual journey to seek enlightenment and discover the path to true wisdom. His quest for self-discovery and enlightenment makes him a central hero in this philosophical novel.
  2. Prince Hamlet in Hamlet by William Shakespeare: Hamlet, the Prince of Denmark, grapples with existential questions and seeks to avenge his father’s murder. His introspection, moral dilemmas, and tragic journey make him an iconic literary hero.
  3. Raskolnikov in Crime and Punishment by Fyodor Dostoevsky: Raskolnikov is a complex antihero who contemplates committing a heinous crime for what he believes is a greater good. His internal struggles and eventual moral reckoning are central to this psychological masterpiece.
  4. Kunta Kinte in Roots: The Saga of an American Family by Alex Haley: Kunta Kinte, an African man sold into slavery, remains a symbol of resilience, identity, and the enduring spirit of his people. His journey and determination to preserve his heritage resonate throughout this epic narrative.
  5. Oscar Wao in The Brief Wondrous Life of Oscar Wao by Junot Díaz: Oscar is a nerdy and overweight young man who navigates life as an outsider while struggling with his Dominican heritage and family’s curse. His pursuit of love, acceptance, and identity makes him a memorable modern hero.

These literary heroes from world literature masterpieces represent diverse cultures, time periods, and themes, contributing to the rich tapestry of global literary heritage.

How to Create a Hero
StepExplanation
Character DevelopmentBegin by crafting a well-rounded protagonist with a distinct personality, background, and motivations.
Clear Goals and MotivationsDefine your hero’s goals, desires, and motivations, ensuring they are emotionally resonant.
Flaws and VulnerabilitiesGive your hero imperfections that humanize them and provide opportunities for growth.
Backstory and HistoryDevelop a backstory that shapes your hero’s beliefs, values, and decisions throughout the story.
Conflict and ChallengesIntroduce obstacles, both external and internal, that your hero must overcome for depth and tension.
Moral Code and ValuesDefine the principles guiding your hero’s actions and decisions, establishing their integrity.
Heroic QualitiesShowcase qualities like courage, empathy, and selflessness through your hero’s actions.
Character ArcPlan a transformation or growth arc for your hero, reflecting changes in response to experiences.
Relatable MotivationsEnsure readers can connect with your hero’s motivations, making them invest in the character’s journey.
Complexity and DepthDevelop your hero as a multi-dimensional character, revealing various facets of their personality.
Supporting CastCreate a supporting cast of characters who interact with your hero, providing contrast and conflict.
Symbolism and ThemesConsider how your hero may symbolize or represent larger themes or ideas central to your story.
ConsistencyMaintain consistency in your hero’s characterization and actions to keep their behavior believable.
Reader EngagementCraft emotionally engaging scenes and situations that allow readers to root for your hero.
Memorable MomentsCreate pivotal moments where your hero faces challenges or decisions, showcasing their heroism.
Benefits of Creating a Hero
  • Engagement: Heroes captivate readers, fostering a strong emotional connection and keeping them invested in the story.
  • Identification: Readers often identify with heroes, seeing themselves in the protagonist’s struggles and triumphs.
  • Conflict and Resolution: Heroes drive the plot by facing conflicts and striving toward resolution, creating tension and suspense.
  • Moral Exploration: Heroes can explore complex moral dilemmas, prompting readers to contemplate ethical choices and consequences.
  • Character Development: The hero’s journey allows for profound character growth and transformation, adding depth to the narrative.
  • Inspiration: Heroes inspire readers with their courage, resilience, and noble qualities, offering role models and ideals.
  • Universal Themes: Heroic narratives often address universal themes like good vs. evil, justice, and the human condition.
  • Escapism: Heroes transport readers to fantastical or extraordinary worlds, providing an escape from daily life.
  • Symbolism: Heroes can symbolize cultural, social, or historical values, enriching the story’s symbolism.
  • Entertainment: Heroic tales are inherently entertaining, offering excitement, adventure, and a sense of wonder.
  • Empowerment: Heroes empower readers by showing that individuals can make a difference and overcome adversity.
  • Catharsis: The hero’s journey often leads to catharsis, allowing readers to experience emotional release and cathartic relief.
  • Teaching and Learning: Heroic stories can impart valuable life lessons and wisdom through the hero’s experiences.
  • Timelessness: Heroic archetypes have enduring appeal, making hero-driven narratives timeless and accessible across generations.
  • Variety: Heroes come in various forms, allowing writers to explore diverse perspectives and character types.
  • Memorability: Iconic heroes and their stories remain etched in readers’ memories, becoming part of literary canon.
  • Cultural Significance: Heroes often reflect cultural values and serve as symbols of cultural identity.
  • Social Commentary: Heroes can be used to comment on societal issues and provoke thought on important topics.
  • Artistic Exploration: Crafting heroes challenges writers to create compelling and multi-dimensional characters.
  • Narrative Structure: Heroes provide a structured framework for storytelling, aiding in plot development and pacing.
Hero and Literary Theory
Literary TheoryCritique of HeroPractical Examples from Literature
StructuralismStructuralism focuses on the underlying binary oppositions and structures in literature. It may critique the hero as a binary opposite to the antagonist, simplifying characters into static roles.Examples from The Lord of the Rings where heroes are clearly demarcated from villains based on structural roles.
FormalismFormalism emphasizes the form and structure of a literary work. It may critique the hero’s characterization as formulaic and predictable, potentially hindering creativity.Analysis of classic hero patterns in ancient epics like The Iliad and The Odyssey that adhere to formal conventions.
Psychoanalytic TheoryPsychoanalytic theory delves into the unconscious motives of characters. It may critique the hero’s one-dimensional nature, lacking depth in terms of inner conflicts and subconscious desires.Exploration of Hamlet’s psychological struggles in Shakespeare’s Hamlet through a psychoanalytic lens, revealing deeper dimensions of the hero.
Marxist TheoryMarxist theory examines the socio-economic and political aspects of literature. It may critique the hero for often upholding the status quo or capitalist values, potentially reinforcing the dominant ideology.Examination of the hero’s role in reinforcing societal norms and economic structures in dystopian literature like 1984 by George Orwell.
Feminist TheoryFeminist theory scrutinizes gender roles and representations. It may critique the hero for perpetuating traditional gender stereotypes and for often being male-centric.Analysis of gender dynamics and feminist critiques in works like Pride and Prejudice where heroines challenge traditional hero roles.
Postcolonial TheoryPostcolonial theory examines the impact of colonialism and cultural imperialism. It may critique the hero for embodying colonial or Western values and overshadowing indigenous or marginalized voices.Discussion of colonial hero narratives in Heart of Darkness by Joseph Conrad and their implications in postcolonial literature.
Reader-Response TheoryReader-response theory emphasizes the role of the reader in interpreting a text. It may critique the hero as a subjective construct, with interpretations varying widely among readers.Exploration of how readers’ personal interpretations and reactions shape their perception of heroes in a diverse range of texts.
DeconstructionDeconstruction challenges binary oppositions and hierarchies in literature. It may critique the hero as a construct that can be deconstructed to reveal the instability and contradictions within the concept.Deconstructive analysis of the hero figure in works like Don Quixote by Cervantes, exposing the character’s inherent contradictions and complexities.
Suggested Readings
  1. Campbell, Joseph. The Hero with a Thousand Faces. Princeton University Press, 1949.
  2. Frye, Northrop. Anatomy of Criticism: Four Essays. Princeton University Press, 1957.
  3. vi-Strauss, Claude. Structural Anthropology. Basic Books, 1963.
You may read more on Literary Devices below:

Hero: A Literary Device

I’m no hero. Heroes don’t come back. Survivors return home. Heroes never come home. If anyone thinks I’m a hero, I’m not. Bob Feller

Etymology of Hero

The word “hero” entered the English language through Latin and Old French, eventually deriving from the Greek word hērōs. Its earliest recorded usage in English dates back to the 14th century, as it made its way into Middle English from Old French.

In English literature, “hero” has been used since its introduction to refer to the central character of a narrative or a figure possessing exceptional qualities or valor. Over centuries, its usage has evolved to be used for heroic archetypes and cultural interpretations, becoming a fundamental term in the study of literary characters and themes.

Meanings of Hero
ContextLiteral Meaning
Mythology and Ancient LiteratureA mythological or legendary figure with extraordinary abilities and valor.
Everyday LanguageA person admired for their outstanding qualities, achievements, or noble qualities, such as a war hero or sports hero.
Literature and StorytellingThe main character or protagonist of a narrative who often demonstrates courage and moral integrity while overcoming challenges.
Generic or Archetypal SenseAn archetypal symbol representing the universal human quest for greatness, virtue, and accomplishment.
Hero in Grammar
  • Noun: “Hero” primarily functions as a noun, referring to a person admired for their exceptional qualities, achievements, or noble actions.
  • Adjective: In some cases, “hero” can be used as an adjective to describe something as exceptionally admirable or heroic, as in “heroic deeds.”
  • Verb: While not common in standard English, “hero” may be used as a verb in creative or informal writing to describe someone performing heroic actions, although this usage is not standard.
Definition of Hero

This literary device shows a character archetype often found in narratives, possessing qualities such as courage, moral fortitude, and the willingness to confront adversity for noble causes. Heroes typically serve as the central figures in a story and undergo significant personal growth or transformation throughout the narrative, embodying the values and ideals of the culture or society they represent. Their actions and choices often drive the plot and symbolize universal themes, making them pivotal elements in literature and storytelling.

Types of Hero
TypeDefinitionExample from Literature
Tragic heroA character with noble qualities but a fatal flaw or error in judgment that leads to their downfall.Oedipus in Oedipus Rex, Hamlet in Hamlet
Epic HeroA larger-than-life character known for embarking on grand adventures and displaying extraordinary qualities.Beowulf in “Beowulf,” Odysseus in “The Odyssey”
AntiheroA protagonist who lacks traditional heroic qualities, often behaving in morally ambiguous ways.Walter White in “Breaking Bad,” Raskolnikov in Crime and Punishment
Byronic HeroA complex and morally ambiguous character known for introspection and emotional depth, often with a dark or troubled past.Heathcliff in Wuthering Heights, Mr. Rochester in Jane Eyre”
Everyman HeroA relatable, ordinary character who becomes heroic through their actions or decisions.Frodo Baggins in The Lord of the Rings
Folk HeroA hero who emerges from folklore or legends, often based on real historical figures or exaggerated, mythic personas.Robin Hood in English folklore, Paul Bunyan in American folklore
SuperheroHeroes with supernatural or extraordinary powers, often found in comic books and modern popular culture.Superman, Spider-Man, Wonder Woman
Trickster A clever and often mischievous character who uses wit and cunning to outsmart adversaries.Loki in Norse mythology, Anansi in African folklore
Reluctant A character who initially resists or is reluctant to take on a heroic role but eventually accepts their destiny or duty.Harry Potter in the Harry Potter series
Mythic HeroA hero from ancient myths and legends, often embodying cultural and religious symbolism.Hercules in Greek mythology, Gilgamesh in Mesopotamian mythology
Romantic A character known for their idealism, passion, and commitment to love or a cause.Mr. Darcy in “Pride and Prejudice,” Cyrano de Bergerac
Cultural HeroA hero who symbolizes the values, ideals, and identity of a specific culture or community.King Arthur in Arthurian legends, Sun Wukong in Chinese mythology
Messianic A character believed to be a savior or prophesied figure who will bring about significant change or salvation.Jesus Christ in Christian theology, Neo in “The Matrix”
Action HeroA hero known for their physical prowess, combat skills, and ability to handle dangerous situations.James Bond in the James Bond series, Lara Croft in “Tomb Raider”
Classic HeroA hero who embodies traditional heroic qualities like courage, honor, and selflessness.King Arthur in Arthurian legends, Achilles in Greek mythology
Symbolic A hero who represents abstract concepts or ideas, such as justice, freedom, or the human spirit.Atticus Finch in “To Kill a Mockingbird,” John Proctor in “The Crucible”
Silent HeroA hero who speaks little or not at all but communicates heroism through actions and deeds.The Stranger in The Stranger by Albert Camus, The Man With No Name in Sergio Leone’s Dollars Trilogy
Common Examples of Hero
  1. First Responders: Police officers, firefighters, paramedics, and other emergency personnel who risk their lives to protect and save others during crises and disasters.
  2. Medical Professionals: Doctors, nurses, and healthcare workers who provide critical care and treatment to patients, especially during times of health crises like the COVID-19 pandemic.
  3. Teachers: Educators who inspire and mentor students, shaping their futures and contributing to society’s intellectual development.
  4. Parents: Individuals who selflessly care for and nurture their children, often making sacrifices to ensure their well-being and upbringing.
  5. Community Volunteers: People who dedicate their time and effort to volunteer work, helping those in need, and contributing to the betterment of their communities.
  6. Good Samaritans: Individuals who step in to assist strangers in distress, whether it’s helping someone stranded on the roadside or intervening in a dangerous situation.
  7. Humanitarian Aid Workers: Those who work in war zones, disaster-stricken areas, and impoverished regions to provide essential aid and support to vulnerable populations.
  8. Environmental Activists: Advocates who work tirelessly to protect the environment, raise awareness about climate change, and promote sustainability.
  9. Social Activists: Those who champion social justice causes, fight against discrimination, and work to improve the lives of marginalized or oppressed groups.
  10. Military Service Members: Soldiers who serve their countries, often facing danger in combat zones, to protect national security and uphold freedom.
  11. Rescue Workers: Search and rescue teams, including lifeguards and mountain rescue teams, who save lives in perilous situations.
  12. Mentors and Coaches: Individuals who guide and inspire young athletes, artists, or professionals, helping them reach their full potential.
  13. Caregivers: People who provide compassionate care for the elderly, disabled, or terminally ill, often within their own families.
  14. Entrepreneurs and Innovators: Visionaries who create businesses, products, or technologies that improve lives and drive economic growth.
  15. Environmental Conservationists: Those dedicated to preserving wildlife and natural habitats, working to protect endangered species and ecosystems.
  16. Advocates for Mental Health: Individuals who raise awareness about mental health issues, reduce stigma, and offer support to those struggling with mental health challenges.

These examples illustrate that heroes are not limited to fictional characters but exist all around us, making positive contributions to society and demonstrating admirable qualities in their everyday lives.

Suggested Readings
  1. Campbell, Joseph. The Hero with a Thousand Faces. Princeton University Press, 1949.
  2. Frye, Northrop. Anatomy of Criticism: Four Essays. Princeton University Press, 1957.
  3. Jung, Carl G. Man and His Symbols. Dell, 1964.
  4. Raglan, Lord. The Hero: A Study in Tradition, Myth, and Drama. Dover Publications, 1936.
  5. Rank, Otto. The Myth of the Birth of the Hero: A Psychological Exploration of Myth. Vintage, 1952.

Patriarchy in “The Yellow Wallpaper”

During the period when Gilman started writing, social norms divided gender spheres, the reason behind patriarchy in “The Yellow Wallpaper”.

Introduction to Patriarchy in “The Yellow Wallpaper”

During the period when Charlotte Perkins Gilman started writing, social norms divided gender spheres, making men responsible for earning and women for doing household chores, the reason behind the depiction of patriarchy in “The Yellow Wallpaper”. Men were responsible for making critical decisions. They were supposed to be practical and women imaginative. If some individuals from the opposite faction tried to avoid those norms, they were considered unconventional, rebellious, or mentally unstable. “The Yellow Wallpaper” depicts this realization of a female character of those inherent gender norms which not only limit her movement but also muffles her imaginative power. This anonymous wife of Dr. John, who is seemingly suffering from some psychological ailment, thinks on the same conventional pattern. Pitting the practicality of men against the fruitless imaginative ability of women, Gilman shows how gender norms transform women’s psyche, making them think men are always right, become obedient, and are willing to sacrifice their comforts and talents against so-called patriarchy in “The Yellow Wallpaper” showing rationality despite, ultimately harboring a mental conflict.

Patriarchy in “The Yellow Wallpaper”

One of the major gender norms of those days was that patriarchal thinking or opinion was always superior to that of women. It is still the same in some societies as it is about patriarchy in “The Yellow Wallpaper”. At that time, it was, however, more pervasive. The anonymous wife, though, knows full well the cause of her ailment and its cure, yet she does not speak out to John about why she is being treated in that way. She cannot say it in the face of John, who himself is a physician. And top it all, her brother, too, is a renowned physician, who agrees with John. This is really going to put her at odds if she contradicts their opinions about her situation. Her husband John “does not believe that I am sick,” she says adding, “I disagree with their ideas” (648). She knows the treatment that “congenial work, with excitement and change”, would cure her, but she cannot face both the male doctors. Even she is not allowed to pen down her thoughts. This is a gender norm that a woman should not contradict a rational and practical man and should keep her mum in every case if there are two male members. This clearly means that she is to be an obedient creature, showing the domination of patriarchy in “The Yellow Wallpaper”.

Obedience to Patriarchy in “The Yellow Wallpaper”


          Obedience to men was also considered a virtue and an accepted gender norm. It means a woman is to be at the beck and call of a man. He can treat her with love or reproach her over nothing. John treats his anonymous wife in the same way. Sometimes he fondles her with love but at other times reproaches her for her suggestions of changing the room or over her thinking about her ailment. This obedience borders submissiveness despite insulting laughs “John laughs at me, of course, but one expects that in marriage,” she says clearly referring to it as an inherent gender norm (Gilman). She has been taught to expect such sarcasm and tolerate it. Even if she is reasonable in her talk, John flatly refuses to accept her opinion. She knows that he is right, as it has already been set as another gender norm. Her obedience creates a sort of conflict in her mind. Despite her obedience, she stays on the opposite pole, thinking that she has busied herself with her imaginative creativity of fancying the shapes of the yellow wallpaper. The writer has used the extended metaphor of making yellow wallpaper a tool of her creativity to highlight her mental conflict about patriarchy in “The Yellow Wallpaper”.

Stifling Creativity Due to Patriarchy in “The Yellow Wallpaper”.

Although this creativity does not let her sleep or take a rest and makes her become excited, she has to keep it muffled due to the gender norm of sacrificing everything for men. Despite suffering from such an acute mental illness which could be cured by busying her mind or leaving her alone, she thinks in terms of the gender norm of providing traditional feminine comfort to John. She says, “I meant to be such a help to John, such a real rest and comfort” and thinks herself a burden on him (Gilman). Despite the fact that she has suggested him change the room and also mentioned the reasons, John does not accept. She then agrees with him in the same conventional way. Although there are conflicts in her mind about these contradictions, she carries on living with these inherent gender norms of not rejecting patriarchal suggestions. The problem of her mental state of mind gets worse so much so that even John faints by the end of the story when he sees her plight of crawling on the floor, a typical weakness of patriarchy in “The Yellow Wallpaper”. The conflict has taken its toll on her in worsening her ailment and from John by making him faint to see her plight.

Conclusion

This clearly shows that the patriarchal setup was so much ingrained in women’s psyche that despite knowing themselves as being oppressed not only in keeping their voices muffled but also in restricting their movements and keeping them mental patients, they never tried to break these shackles. The anonymous wife clearly knows the ailment, knows how to cure it, and also knows her creative power, but she does not demure in the face of the so-called suggestions of the two practical male doctors. She harbors a mental conflict, making her mental ailment worse than before, bordering delirium by the end of the story. Gilman, through this allegorical tale, seems to suggest that women, too, can think rationally, and if their suggestions and opinions are treated at par with that of men, they can find solutions to several of their own problems. That is why it is clear that this anonymous wife knows the cure for her ailment – freedom from patriarchy in “The Yellow Wallpaper”.

Works Cited
  1. Gilman, Charlotte Perkins. “The Yellow Wallpaper.” Literature. n. d. Web. 07 Jul. 2017.

Relevant Questions about Patriarchy in “Yellow Wallpaper”

  1. How does the theme of patriarchy in “Yellow Wallpaper” influence the protagonist’s mental state and her perception of reality throughout the story?
  2. In what ways does the patriarchal society depicted in “Yellow Wallpaper” restrict the protagonist’s agency and autonomy, and how does this impact her eventual descent into madness?
  3. Can you identify specific symbols or metaphors in “Yellow Wallpaper” that serve to critique or expose the oppressive nature of patriarchy in the context of the story?

“Dead Man’s Path” is an Indictment

About the phrase that “Dead Man’s Path” is an indictment” it is fair to read Achebe more such as his article “Modern Africa as the Crossroads of Culture” from his book Hopes and Impediments.

Introduction to “Dead Man’s Path” as an Indictment

About the phrase that “Dead Man’s Path” is an indictment” it is fair to read Achebe more. For example, in his article “Modern Africa as the Crossroads of Culture” from his book Hopes and Impediments, dilating upon his experience, Achebe states that he was Christian but his whole family was heathen. Despite this, he states, “Those idols and that food had a strange pull on me in spite of my being such a thorough little Christian” (Achebe). He is of the view that sometimes he had to succumb to them. This shows the power of living in a culture and the power of cultist rituals and traditions. His story “Dead Man’s Path” is an Indictment, as it presents the character of a headmaster, Michael Obi, who wins unexpected promotion and feels it his duty to share the “white man’s burden” in spreading the light of education to make the people “just modern and delightful” in his wife’s words (464). However, he little knew what hornet’s nest he is going to move by tinkling with the long-held traditions. He could not sense from other teacher’s view that “there was a big row” over blocking the path (465). Although the story “Dead Man’s Path” is an Indictment is an indictment of such long-held African traditions as much as of the responsibility of the white man, it is also an indictment of the attitude of an enlightened man toward ignorant fellows.

African Culture and “Dead Man’s Path” as an Indictment

It is true that the story derides long-held traditions such as the visit of the dead people and going on the beaten path. Achebe achieves this end through the character of Michael and Nancy who are full of zeal and modern ideas to run Ndume Central School of the Mission authorities. He wants to make an end to these long-held irrational traditions. However, when they join the school, and Michael blocked the village path passing through the school, he faces the wrath of the public through the village priest, Ani, who vandalized the school. In fact, Michael’s depiction in the story is an indictment of Achebe against the irrational traditions because the spread of Christianity has made the “most aspects of traditional life … branded pagan and devilish” as Michael makes fun of the village priest, Ani (Ochiagha 132). However, this does not mean Achebe has left the white man as only the authority with no responsibilities. Hence, “Dead Man’s Path” is an Indictment of white man’s responsibilities as well.

“Dead Man’s Path” is an Indictment of White Invaders

Achebe has rather put the responsibility on the shoulders of the Mission authorities at the end of the story. It is because Achebe has clearly written at the end that when the “white Supervisor came to inspect the school and wrote a nasty report” in which he stated that the headmaster was misguided (466). However, overall it is clear that the headmaster was not misguided. He was very much clear. He was taught to do so, as he was working under the Mission. Therefore, it was his duty to spread the enlightenment. However, here the white man has failed. The indictment of the white man is in this sense as Johathan Peters writes in his article “English-Language Fiction from West Africa” that the major aim of Achebe is to teach fellow Africans the truth about colonialism (18). This is the message that he has given in this story. However, the story also shows that a person should not be arrogant and haughty toward ignorant fellows the reason that “Dead Man’s Path” is an Indictment of all people having authority and responsibility.

“Dead Man’s Path” is an Indictment of Arrogance

In fact, this arrogance is a part of the colonial legacy that comes with the knowledge of the English language. Achebe, in fact, does not like this on the part of locals. In her book, Interrogative Privilege: Reflections of a Second Language Educator, Stephanie Vandrik states her experience of teaching Achebe in an ESL classroom in which she has explained everything but then got the question that “So, missionary means arrogant?” which means that the headmaster has become too arrogant and ironic to be tolerated by the locals (32). That means that his zeal was not misguided, it was his own attitude that needs improvement. In other words, the word “Mission” mentioned earlier shows it clearly that Achebe wants to show the arrogance that the colonial masters exerted themselves or their modern idea-filled teachers like Michael. Therefore, “Dead Man’s Path” is an indictment of this arrogance.

Conclusion

In short, the “Dead Man’s Path” is an indictment of the wrong type of traditions as well as of the attitude of civilized people and the way they handle ignorant fellows by making fun of them. The long-held traditions that are irrational need uprooted. There is no doubt about it. However, people must be first taught to understand irrationality and the importance of education. Deriding them before that happens is as dangerous and harmful as the traditions themselves. In fact, Achebe has highlighted this attitude of the agents of colonialism along with the derision of colonialism in the story.

Works Cited
  1. Achebe, Chinua. “Modern Africa as the Crossroads of Culture.” Chinua Achebe. Hopes and Impediments. The University of Michigan. 1990.
  2. Achebe, Chinua. “Dead Man’s Path.” Literature: An Introduction to Fiction, Poetry, Drama, and Writing. Ed. Kennedy, X. J. and Dana Gioia. Pearson Longman. New York. Ed10th. 2009. Print. 465-470.
  3. Ochiagha, Terri. Achebe and Friends at Umuahia: The Making of a Literary Elite. Boydell & Brewer Ltd. 2015. Print. 132-135.
  4. Peters, A. Johathan. “English Language Fiction from West Africa.” A History of 20th Centuries African Literature. Ed. Oyekan Owomoyela. University of Nebraska Press. 1983. Print. 12-18.
  5. Vandrick, Stephanie. Interrogating Privilege: Reflections of a Second Language Educator. University of Michigan Press. 2009. 31-35.

Relevant Questions about “Dead Man’s Path” is an Indictment

  1. How does the story “Dead Man’s Path” by Chinua Achebe emphasize that “Dead Man’s Path” is an indictment through the character of Michael Obi and his actions?
  2. In what ways does Chinua Achebe make it clear that “Dead Man’s Path” is an indictment, using the character of the village priest as a focal point in illustrating the clash of cultures and beliefs?
  3. How does “Dead Man’s Path” by Chinua Achebe serve as an indictment not only of Michael Obi but also of the entire village, highlighting the consequences of their inflexibility and their inability to bridge the gap between tradition and modernity?