hero


{{Redirect|Heroism|the film|Heroism (film)}} {{Otheruses}} A hero (heroine in female) (), in Greek mythology and folklore, was originally a demigod, their cult being one of the most distinctive features of ancient Greek religion.(1) Later, hero (male) and heroine (female) came to refer to characters who, in the face of danger and adversity or from a position of weakness, display courage and the will for self sacrifice – that is, heroism – for some greater good, originally of martial courage or excellence but extended to more general moral excellence. Stories of heroism may serve as moral examples. In classical antiquity, hero cults – veneration of deified heroes such as Heracles, Perseus, and Achilles – played an important role in Ancient Greek religion. Politicians, ancient and modern, have employed hero worship for their own apotheosis (i.e., cult of personality).

Etymology

The literal meaning of the word is "protector" or "defender" (2) and etymologically it is thought to be cognate with the name of the goddess Hera, the guardian of marriage; the postulated original forms of these words being *, hērwōs, and *, Hērwā, respectively. It is also thought to be a cognate of the Latin verb servo (original meaning: to preserve whole) and of the Avestan verb haurvaiti (to keep vigil over), although the original Proto-Indoeuropean root is unclear.According to the American Heritage Dictionary of the English Language, the Indo-European root is ser meaning "to protect". According to Eric Partridge in Origins, the Greek word Hērōs "is akin to" the Latin seruāre, meaning to safeguard. Partridge concludes, "The basic sense of both Hera and hero would therefore be 'protector'."

Classical hero cults

{{Refimprove|section|date=July 2007}}Hero cults could be of the utmost political importance.{{Or|date=June 2008}}{{Clarify|date=August 2009}} When Cleisthenes divided the ancient Athenians into new demes for voting, he consulted the Oracle of Delphi about what heroes he should name each division after. According to Herodotus, the Spartans attributed their conquest of Arcadia to their theft of the bones of Orestes from the Arcadian town of Tegea.Heroes in myth often had close but conflicted relationships with the gods. Thus Heracles's name means "the glory of Hera", even though he was tormented all his life by Hera, the Queen of the Gods. Perhaps the most striking example is the Athenian king Erechtheus, whom Poseidon killed for choosing Athena over him as the city's patron god. When the Athenians worshiped Erechtheus on the Acropolis, they invoked him as Poseidon Erechtheus.In the Hellenistic Greek East, dynastic leaders such as the Ptolemies or Seleucids were also proclaimed heroes. This was an influence on the later, Roman apotheosis of their emperors.{{Citation needed|date=September 2008}}

Analysis

{{Refimprove|section|date=July 2007}}The classic hero often came with what Lord Raglan (a descendant of the FitzRoy Somerset, Lord Raglan) termed a "potted biography" made up of some two dozen common traditions that ignored the line between historical fact and mythology.{{Citation needed|date=September 2008}} For example, the circumstances of the hero's conception are unusual; an attempt is made by a powerful male at his birth to kill him; he is spirited away; reared by foster-parents in a far country. Routinely the hero meets a mysterious death, often at the top of a hill; his body is not buried; he leaves no successors; he has one or more holy sepulchres.The first Hero: Hero (mythical priestess), in Greek mythology, priestess of Aphrodite, goddess of love, at Sestos, a town on the Hellespont (now Dardanelles). Hero was loved by Leander, a youth who lived at Abydos, a town on the Asian side of the channel. They could not marry because Hero was bound by a vow of chastity, and so every night Leander swam from Asia to Europe, guided by a lamp in Hero's tower. One stormy night a high wind extinguished the beacon, and Leander was drowned. His body was washed ashore beneath Hero's tower; in her grief, she threw herself into the sea.

The validity of the hero in historical studies {{Refimprove|section|dateJuly 2007}}

{{See|Philosophy of history|Great man theory}}The philosopher Hegel gave a central role to the "hero", personalized by Napoleon, as the incarnation of a particular culture's Volksgeist, and thus of the general Zeitgeist. Thomas Carlyle's 1841 On Heroes and Hero Worship and the Heroic in History also accorded a key function to heroes and great men in history. Carlyle centered history on the biography of a few central individuals such as Oliver Cromwell or Frederick the Great. His heroes were political and military figures, the founders or topplers of states. His history of great men, of geniuses good and evil, sought to organize change in the advent of greatness.Explicit defenses of Carlyle's position were rare in the second part of the 20th century. Most philosophers of history contend that the motive forces in history can best be described only with a wider lens than the one he used for his portraits. For example, Karl Marx argued that history was determined by the massive social forces at play in "class struggles", not by the individuals by whom these forces are played out. After Marx, Herbert Spencer wrote at the end of the 19th century: "You must admit that the genesis of the great man depends on the long series of complex influences which has produced the race in which he appears, and the social state into which that race has slowly grown....Before he can remake his society, his society must make him."(3)As Michel Foucault pointed out in his analysis of societal communication and debate, history was mainly the "science of the sovereign", until its inversion by the "historical and political popular discourse".The Annales School, led by Lucien Febvre, Marc Bloch and Fernand Braudel, would contest the exaggeration of the role of individual subjects in history. Indeed, Braudel distinguished various time scales, one accorded to the life of an individual, another accorded to the life of a few human generations, and the last one to civilizations, in which geography, economics and demography play a role considerably more decisive than that of individual subjects. Foucault's conception of an "archeology" (not to be confused with the anthropological discipline of archaeology) or Louis Althusser's work were attempts at linking together these various heterogeneous layers composing history.{{Clarify|date=June 2008}}

Heroic myth

The concept of a story archetype of the standard "hero's quest" or monomyth pervasive across all cultures is somewhat controversial. Expounded mainly by Joseph Campbell, it illustrates several uniting themes of hero stories that despite vastly different peoples and beliefs hold similar ideas of what a hero represents.{{Citation needed|date=September 2008}}

Folk and fairy tales

Vladimir Propp, in his analysis of the Russian fairy tale, concluded that a fairy tale had only eight dramatis personæ, of which one was the hero,(4){{Rp|p. 80}} and his analysis has been widely applied to non-Russian folklore. The actions that fall into a such hero's sphere include:

1. Departure on a quest
2. Reacting to the test of a donor
3. Marrying a princess (or similar figure)

He distinguished between seekers and victim-heroes. A villain could initiate the issue by kidnapping the hero or driving him out; these were victim-heroes. On the other hand, a villain could rob the hero, or kidnap someone close to him, or, without the villain's intervention, the hero could realize that he lacked something and set out to find it; these heroes are seekers. Victims may appear in tales with seeker heroes, but the tale does not follow them both.(5) The larger-than-life hero is a more common feature of fantasy (particularly sword and sorcery and epic fantasy) than more realist works.(6)In modern movies, the hero is often simply an ordinary person in extraordinary circumstances, who, despite the odds being stacked against him or her, typically prevails in the end. In some movies (especially action movies), a hero may exhibit characteristics such as superhuman strength and endurance that sometimes makes him nearly invincible. Often a hero in these situations has a foil, the villain, typically a charismatic evildoer who represents, leads, or himself embodies the struggle the hero is up against. Post-modern fictional works have fomented the increased popularity of the antihero, who does not follow common conceptions of heroism.(7)

Hero-as-self

{{Refimprove|section|date=February 2007}}It has been suggested in an article by Roma Chatterji{{Citation needed|date=December 2009}} that the hero or more generally protagonist is first and foremost a symbolic representation of the person who is experiencing the story while reading, listening or watching; thus the relevance of the hero to the individual relies a great deal on how much similarity there is between the two. The most compelling reason for the hero-as-self interpretation of stories and myths is the human inability to view the world from any perspective but a personal one. The almost universal notion of the hero or protagonist and its resulting hero identification allows us to experience stories in the only way we know how: as ourselves.One potential drawback of the necessity{{Citation needed|date=August 2009}} of hero identification means that a hero is often more a combination of symbols than a representation of an actual person.{{Citation needed|date=August 2009}} In order to appeal to a wide range of individuals, the author often relegates the hero to a "type" of person which everyone already is or wishes themselves to be: a "good" person; a "brave" person; a "self-sacrificing" person. The most problematic result of this sort of design is the creation of a character so universal that we can all identify with somewhat, but none can identify with completely.{{Citation needed|date=August 2009}} In regard to the observer's personal interaction with the story, it can give the feeling of being "mostly involved," but never entirely.

See also

{{Commons category|Heroes|Hero}}{{Wiktionary|hero}}

• Antihero
• Bildungsroman
• Byronic hero
• Comparative mythology
• Culture hero
• Epic hero
• Folk hero
• Giant (mythology)
• Leadership
• List of action heroes
• List of women warriors in literature and popular culture
• Mythological king
• Nephilim
• Reluctant hero
• Romantic hero
• Sons of God
• Superhero
• The Hero with a Thousand Faces
• The My Hero Project
• Tragic hero
• Xia (philosophy)

References

1. See Heros, Henry George Liddell, Robert Scott, 'A Greek-English Lexicon', at Perseus and Plato, 'Cratylus'



2. Hero: Online Etymology Dictionary, entry "Hero"



3. Spencer, Herbert. The Study of Sociology, Appleton, 1896, p. 34.



4. Vladimir Propp, Morphology of the Folk Tale, ISBN 0-292-78376-0



5. {{Rp|36}}

   The modern fictional hero

   Hero or heroine is sometimes used to simply describe the protagonist of a story, or the love interest, a usage which can conflict with the superhuman expectations of heroism. William Makepeace Thackeray gave Vanity Fair the subtitle A Novel without a Hero.Northrop Frye, Anatomy of Criticism, p 34, ISBN 0-691-01298-9



6. L. Sprague de Camp, Literary Swordsmen and Sorcerers: The Makers of Heroic Fantasy, p 5 ISBN 0-87054-076-9



7. Hero: Encyclopedia - Hero

Further reading

• Guntis Smidchens, "National Heroic Narratives in the Baltics as a Source for Nonviolent Political Action," Slavic Review 66,3 (2007), 484-508.

External links

• Exploring the Function of Heroes and Heroines in Children's Literature from around the World
• The British Hero - online exhibition from screenonline, a website of the British Film Institute, looking at British heroes of film and television.
• Example of Joseph Campbell's Hero's Journey
• The Hero Myth, Transcendence, and Joseph Campbell - by Robert Novella, discusses Joseph Campbell's work as well as the appeal of the hero myth.
• Listen to BBC Radio 4's In Our Time programme on Heroism
• Addicted To Being Good? The Psychopathology of Heroism

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