Antihero

From Hero to Anti-Hero

The concept of a traditional ‘hero’ traces its origin to ancient civilizations and myths. In early societies, heroes were often depicted as figures possessing exceptional physical strength, courage, and noble qualities. These heroes typically embarked on quests, battles, and adventures, facing various challenges and enemies. Across cultures, heroes have emerged as symbols of hope and valour. In Greek mythology, heroes like Hercules and Perseus showcased strength and bravery in the face of adversity. In Hindu mythology, figures like Rama and Krishna exemplified righteousness and duty. These archetypal heroes transcend boundaries, embodying values that resonate with humanity’s shared aspirations. In literature, the archetype of the hero is a recurring character pattern that embodies certain universal traits and undertakes transformative journeys. This archetype serves as a central figure around which a story revolves. The Oxford English Dictionary defines a hero as “a person, especially a man, who is admired by many people for doing something brave or good.”Similarly, Cambridge Dictionary explains a hero as “a very brave person, often a man, that a lot of people admire.” According to M.H. Abrams, hero is a chief character in a plot around whom the readers’ interest centres (Glossary, 293). These definitions captures the essence of heroism as a blend of admirable traits and noteworthy actions, which literature has celebrated for centuries.

In English literature, the concept of heroism alongwith the portrayal of heroes has evolved over time. This evolution and growth of the traditional hero in literature reflect shifting cultural values, societal changes, and the exploration of human complexity. In early English literature, heroes often mirrored the archetypal figures found in ancient myths and epics. Beowulf, the titular character of the Old English epic poem, embodied the traits of valour, bravery, and loyalty. He faced monstrous adversaries to protect his people, showcasing heroic deeds on a grand scale. During the Middle Ages, the concept of chivalry emerged. Heroes often portrayed as a knight with a code of conduct, demonstrating bravery, gallantry and a commitment to protecting the weak. Knights like King Arthur and Sir Gawain in Arthurian legends exemplify this archetype.

The Renaissance period saw a shift towards individualism and exploration of human emotions. Hamlet, the tragic protagonist of Shakespeare’s play, is a prime example of a Renaissance hero. He is introspective and contemplative, grappling with his emotions, doubts, and moral dilemmas. Similarly, the titular character in Marlowe’s play, Doctor Faustus, is a Renaissance hero who embodies the era’s spirit of exploration and ambition.

In Romantic Age, the ideals of romanticism stressed on the individuality, emotions and passions of the characters, specially those of the protagonist. These characteristics are most pronounced in heroes like Heathcliff from “Wuthering Heights” and Victor Frankenstein from “Frankenstein.” Such heroes were an archetype of a specifically Romantic hero generally known as the Byronic hero. Byronic heroes often rebel against conformity and express their feelings passionately. Byronic heroes are called so after Lord Byron’s successful experimentation with his protagonists such as Manfred in “Manfred” .

Victorian era witnessed a return to moral values. Literary heroes like Pip in Charles Dickens’ stories, represented moral values, societal responsibility, and dealt with changing society and personal identity.

Modern age, characterized by a sense of decadence and disruption, produced writers who embarked on a journey of experimentation and rebellion against tradition. They realised that the traditional language and modes were insufficient in representing the complex dilemmas faced by the modern man. As societal norms underwent radical shifts and technology reshaped daily life, authors sought innovative ways to capture the essence of this transformative era. It was in this atmosphere of change and discontent that the emergence of the anti-hero took root. These characters, like Leopold Bloom from “Ulysses” and Jay Gatsby from “The Great Gatsby”—flawed and morally ambiguous—served as a stark departure from the conventional heroes of the past, offering a more authentic reflection of the uncertainties and challenges of the modern world.

Although the prominence of antiheroes in literature became more evident during and after the Modern age, the concept had been present since long before. Some of Shakespeare’s characters, like Macbeth and Iago, exhibit antiheroic qualities. They engage in morally reprehensible actions and manipulate others for their own gain. Another example is Daniel Defoe’s Robinson Crusoe who, although, is not a typical anti-hero, but undergoes a transformation from a flawed and impulsive individual to a more self-reliant and moral figure over the course of the novel. Fyodor Dostoevsky’s novel “Crime and Punishment” features Raskolnikov, a character who commits murder but grapples with the sense of guilt and redemption. He is a prime example of a pre-modern antihero. Similarly, Emily Bronte’s Heathcliff is a tormented character who engages in vengeful and morally ambiguous actions throughout the novel. His dark and brooding nature embodies antiheroic traits.

These early examples of non-traditional protagonists reveals that the concept of antiheroes has its roots in literature long before the advent of Modern era. However, the term “antihero” and the deliberate crafting of “antiheroic” characters became more pronounced and widespread during the Modern and Post-modern eras. The concept of traditional heroism was further deconstructed in Post-modern age. Authors subverted expectations about a hero by portraying protagonists with unconventional traits and motives. Some examples of Postmodern anti-heroes are Holden Caulfield (The Catcher in the Rye), Humbert Humbert (Lolita), Jim Dixon (Lucky Jim), Dmitri Ravinoff (Snow Crash) etc.

Definition and Characteristics of an Anti-hero

As per the Oxford English Dictionary, an anti-hero is “the main character in a story, but one who does not have the qualities of a typical hero, and is either more like an ordinary person or morally bad.”4 Similarly, American Heritage Dictionary defines an antihero or anti-heroine as the main character in a dramatic or narrative work who is characterized by a lack of traditional heroic qualities, such as idealism or courage.5 The term “antihero” was first used in 1714. Denis Diderot used the term in his 1761 work, Rameau’s Nephew.6

Anti-heroic characters generally deviate from traditional heroic ideals and reflect a growing awareness of human flaws, societal disillusionment, and a shift away from black-and-white moral narratives. Authors craft these types of characters as a compelling vehicle for exploring moral grey areas and the complexities of the human psyche.

On the basis of my understanding of various literary and scholarly texts, a typical anti-hero may have the following characteristics which sets it apart from a traditional hero:

1. Moral Ambiguity: Anti-heroes often have questionable morals. They engage in morally ambiguous actions. They may perform actions that society generally considers unacceptable or unethical, yet their motivations or the context of their actions can make it difficult to categorize them as purely villainous.

This blurring of moral lines adds depth to their characters and often prompts audiences to question the nature of right and wrong in the story’s context. Anti-heroes’ actions may be driven by personal circumstances, conflicting values, or a belief that the ends justify the means— even if those means are ethically questionable.

2. Flaws and Imperfections: Anti-heroes possess character flaws, such as selfishness, arrogance, cynicism, or an inclination towards violence, which set them apart from traditional virtuous heroes. They often prioritize their own needs, desires, or goals over others. In their pursuit of personal gain, survival, or their own interests, they may even disregard the needs or feelings of those around them neglecting all moral or ethical obligations. Many anti-heroes display “hubris” i.e. excessive pride, arrogance or overconfidence. They might believe that they know better than others which lead them to make reckless decisions or even underestimate their opponents. They also have cynical outlook due to their past disillusionment. They can even employ violence to achieve their end.

3. Rejection of Conventions: Anti-heroes often reject the traditional expectations placed on them. Instead, they choose to follow their own path or create their own rules. They may challenge authority, question moral codes, and operate outside the boundaries of the law. This rejection of conventions can manifest in various ways, such as unconventional behaviour, dissent of societal norms, or a willingness to break the rules for their own gain or principles. This feature makes anti-heroes unconventional and rebellious figures who offer a fresh perspective on storytelling by challenging the status quo.

4. Realistic: Anti- heroes are more realistic and less idealized than traditional heroes. These characters are often designed to resemble real people with genuine flaws, complexities, and struggles. They don’t fit the idealized, perfect hero archetype but rather reflect the messy, imperfect nature of humanity. This realism makes them more believable and allows audiences to connect with their struggles and imperfections on a deeper level. They often exist in morally gray areas where their actions are shaped by real-world situations.

5. Pragmatism: Anti-heroes are practical and realistic in their approach towards problems and goals. They are willing to make morally compromising decisions to achieve their objectives. They concentrate on strategies and actions that are effective in practical, everyday world. This pragmatism distinguishes them from traditional heroes who often adhere to strict ethical codes. It also makes anti-heroes resourceful and adaptable, who can switch to whatever means they deem necessary to navigate the challenges they face.

6. Complex Motivations: Anti-heroic characters have reasons for their actions that may be anything but simple or straightforward. They are fuelled by a complex amalgamation of driving forces resulting from the interplay of desires, beliefs, and conflicting motivations. Their choices are not just about doing what is right or wrong; they often have deeper and more intricate reasons for their behaviour. This complexity makes anti-heroes more interesting and multi-dimensional.

7. Emotionally Broken: Anti-heroes often have tangled emotional lives. They grapple with inner turmoil, guilt, and deep emotional scars from past experiences or traumatic events, which have left them emotionally wounded. This brokenness makes them cynical towards others, and therefore, they often struggle to connect with people on an emotional level.

8. Dark Humour: Dark humour is a kind of funny or witty way of looking at things that are usually serious or even a bit scary. Anti-heroes often use this kind of humour. They make jokes or say funny things in situations that others might find disturbing or distressing. Dark humour serves as a coping mechanism for anti-heroes. It also contributes to their overall eccentricity and uniqueness as characters.

These are some of the most common characteristic features of anti-heroes, though there can be many others considering the variety and complexity of myriad anti-heroic characters found in English Literature.