Professional Documents
Culture Documents
Nathan Quinn
Mary Ray
12/4/2009
“A long time ago in a galaxy far, far away…” These words are easily recognizable by nearly
all people young and old, nerdy or not. They are the words that unlock the imagination to a brand
new experience full of mystery, romance, drama, and action. They, of course, are the opening lines
to the Star Wars saga, the science fiction saga that has captured the hearts of far more than just the
typical sci-fi nerds. When it first hit the silver screen in the 1974 it was a revolution in technology.
George Lucas, the director, invented more than a few cinematic techniques for the movies. He was
also no stranger to the art of writing for film, creating movies rich with symbolism, profound
Despite these overt merits, they are not the only reasons for the success of Star Wars. The
undying love for the movies seems enigmatic to most and many wonder if it deserves such devotion.
A movie titled Star Wars is expected to have only a cult following but it is truly a classic because it
follows the simple rules and precedents that also make for classic and brilliant literature. They both
use what some psychologists claim to be the common themes of the human psyche and are called
archetypes (MacLennon p1). They theorize that humans process cultural information in certain
predetermined ways. Skilled authors and filmmakers utilize these archetypes to influence human
culture and it is often the reason classic works of literature and movies like Star Wars are so
immensely popular and timeless. Through the course of this paper I will attempt to expose
archetypal characters and themes as they are found in George Lucas’ Star Wars and as they relate to
classic works of literature to explain the large cultural appeal of the Star Wars movies in modern
society.
The Star Wars saga is laid out over six movies (referred to as episodes I through VI) and a
plethora of “expanded universe” novels and comic books written by authors and approved by Lucas.
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For the purposes of this essay I will confine the discussion to film references, though I personally
Episode IV, A New Hope, released in 1977, begins with a battle in which the first archetypal
character to be analyzed is introduced, Darth Vader. Vader is clearly a villain from his dramatic
entrance. His attire screams evil lord; dressed in all black, he has a helmet reminiscent of ancient
Greek and Roman war helmets like those used by great warriors in mythology and history like
Achilles (“Achilles”) and a facemask that seems to show classically demonic features like large teeth
and large, pupil-less eyes. A floor length cape has also been sported by such literary villains as Bram
Stoker’s Count Dracula (Stoker), so Darth Vader’s very appearance is meant to instill dread in the
viewer and immediately posit him as a villain. His actions also show the viewer that he belongs to
the villain archetype. He uses cruel and unnecessary means to get what he wants, including choking
his own allies for simply stating the ugly truth of their shortcomings. This is wanton cruelty that is
often portrayed in representations of the devil and Grudzina says that a “villain’s malice is often
limitless” (p36).
This limitless malice continues later in the saga in episode V, The Empire Strikes Back,
when Vader attempts to “turn” Luke Skywalker to the dark side, an action that is analogous to the
actions of Satan in the bible and those of Mephistopheles from Goethe’s Faust (“Mephistopheles”).
Mephistopheles was conscripted by the devil to convince unwitting men to sell their souls in
exchange for their desires and Vader mirrors this classic evil action in attempting to corrupt Luke
with promises of the unlimited power of the dark side. Another characteristic of the villain is that in
defeat caused by the hero, he is sometimes reformed and this certainly applies to Vader (Grudzina,
p36). After the revelation that Vader is his father, Luke stops at nothing to try and redeem him,
believing that the good in him will conquer the evil, a theme portrayed in many classic works and
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especially many fairy-tales; good always overcomes evil in the end. In episode VI, Vader is finally
redeemed and, as a last act, helps Luke destroy the more evil Emporer Palpatine.
After a 16-year hiatus, Lucas gave viewers episode I, which portrays Vader as the child,
Anakin Skywalker, before his fall to evil. This shows that his evil is not inherent in him but rather
the cause of unique circumstances, just like story of the most famous villain, Lucifer ("Story of
Lucifer"). Lucifer was once God’s most favorite archangel, a beacon of good, but in that good
Lucifer found ambition and sought power and was struck down by God, punished to Hell for
eternity. Ambitions of greatness and power coming from a promising young person describes young
Anakin Skywalker, later called Darth Vader. Many have said of him, “the force is strong in this
one,” and from his promising abilities grew arrogance and ambition through episode II, the causes of
his ultimate downfall. With his arrogance already in place, all that was needed was one event to set
him down the path of evil, that being the cruel death of his mother by the hands of the savage
Tuskan Raiders, or Sand People of Tatooine in episode III. His desire for revenge was so great that it
Vader’s son, Luke Skywalker, also had great promise and aptitude, however his life did not
progress as his father’s did. His life instead took the path of the archetypal hero. Luke takes on the
form of the archetypal “orphaned prince” (Grudzina, p35) because he was taken away and raised in
secret by his uncle on the secluded desert planet, Tatooine, not far from where his grandmother was
murdered. He is “raised ignorant of his heritage” (Grudzina p35) just like Theseus of Greek
mythology (“Theseus”) and King Arthur of more recent Anglo-Saxon mythology (Ford). Arthur was
harbored by Merlin in times of political turmoil just as Luke was harbored by Obi-Wan Kenobi (both
Merlin and Obi-Wan could be considered archetypal sages). Luke can also be described as an
underdog archetype as well. Few in the universe expected him to become much besides a moisture
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farmer, but in the end he rose to greatness and victory from being “smaller, weaker, less-worldly-
Both Luke and Arthur were at the cusp of adulthood when their protectors took them on a
quest of initiation, a common archetypal theme, to prove the hero’s powerful heritage. For Luke, this
quest was to save a princess, Princess Leia, from the evil clutches of Darth Vader, a theme that has
surpassed archetype territory and has become cliché in modern times. Ironically none involved
except Obi-Wan realized that it was a son’s quest to save his sister from their father, an irony that
has put a grin on a nerds face every time he watches A New Hope. Once liberating her, Luke had
completed his initiation quest but was thrown into another quest with the Rebel Alliance to
overthrow Vader and the emperor he served. In terms of archetypes this quest can be described as a
destiny quest to champion all that is good in the universe against the dark side (Grudzina p35).
Along his quest, Luke met many archetypal characters such as the loner and the sage, archetypal
symbols like colors, and situations like the renewal of life, the taboo, and the decent into the
underworld.
Luke’s first mentor, Obi-Wan “Ben” Kenobi, can be considered a sage character. Male sages
generally have great spiritual knowledge like Merlin from the Arthur legend (Ford). Obi-Wan
certainly has much spiritual knowledge from the adventures of his youth with his mentor, Qui-Gon
Jin, as well as from years of meditation on the ways of “the force” as a hermit on Tatooine. He
teaches Luke about “the force,” the spiritual force that supposedly binds and connects all beings in
the universe, and leads him through his life even from beyond the grave.
Later, near death on the ice planet Hoth, Luke is visited by the spirit of Obi-Wan, guiding
him to his next mentor and another sage, Yoda. Yoda holds even more knowledge of the force than
Obi-Wan and has lived for over nine hundred years, therefore he is the perfect person to train Luke
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and set him off on his destiny quest to confront his evil father, Darth Vader. Yoda trains Luke in the
ways of the force and teaches him everything he can that will help Luke survive as the last Jedi and
After embarking with Obi-Wan Luke meets Han Solo, a smuggler, who is a clear
representation of the loner archetype: even his name, Solo, highlights this. He is inherently good, but
some choices have led Han astray and he has decided that he and his loyal companion, Chewbacca,
will keep to themselves while trying to discern his destiny. Many classic loners have left society to
contemplate their roles in the universe such as Jesus Christ on his forty-day sojourn in the desert
("Temptation of Jesus") and Buddha to create a new philosophy ("The Life of Buddha”). Upon
meeting Luke, Han’s life has been put back on track to fulfilling his destiny to aid the hero in his
quest for good. A greatly memorable scene from episode IV is Han’s return to help Luke in the
space battle to destroy the Death Star. It seemed that Han had left his new friends to continue his
self-serving behaviors, but in a change of heart appeared just in time to knock Darth Vader’s ship off
Colors play an obvious role in Star Wars because any young child can articulate that Darth
Vader’s lightsaber is red because he is evil and Luke’s is blue (then later green) because he is good.
The lightsaber given to Luke by Obi-Wan in episode IV is blue, a color that Grudzina describes as
pure and holy, just as Luke is in the beginning. Vader’s lightsaber is red, the color of blood and
anger, but most importantly passion. Passion is an emotion that is said to lead Jedi to the dark side,
which is exactly what happened to Vader. In a lightsaber duel with Darth Vader, Luke’s hand is cut
off and he loses both his right hand and the blue lightsaber in it that belonged to Anakin Skywalker
before his decent to the dark side. After his hand is repaired and Luke goes back to Yoda’s deathbed
to learn his final lessons, he trains and meditates on his own and creates a new, green lightsaber.
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Green is the color of growth according to Grudzina, which is certainly one thing Luke experienced
Luke witnesses the renewal of life in his quest through the power of the force. A higher
power capable through the force is a sort of immortality that allows the Jedi to return as a spirit or
even just a voice to guide others. In this way Luke was guided by Obi-wan and Yoda and it is a
classic symbol most easily recognized in the Bible. In Christianity, Jesus Christ returns from the
dead and guides his disciples on their destinies to create a religion and Lucas used this easily
Luke also experiences the taboo, a theme found in such myths as that of Oedipus Rex, a king
who killed his father and married his mother (“Oedipus”). Luke’s experience is not so dramatic as
Oedipus’, but Luke and Leia seem to have feelings for each other and even share a passionate kiss
before it is revealed to Luke by the dying Yoda that Leia is actually his twin sister.
Near Yoda’s home on the planet Dagobah was a cave strong in the dark side and, as a
culmination to his training, Luke was told to enter and face his fears. The cave can be a
representation of the common archetypal theme of the decent into the underworld. This obstacle is
faced by many heroes like Hercules who, for his final challenge, had to venture into the underworld
across the river Styx and defeat Cerberus (“Hercules”) and Luke’s experience was just as harrowing.
In the cave he faced a very real vision of Darth Vader whom he fought and killed, but when his
helmet was removed the face was Luke’s. These visions are analogous to those faced by Dante in his
journey through hell in “Inferno,” the first part of Dante’s The Divine Comedy ("Dante Alighieri”).
Luke’s trial in the dark side cave was an essential obstacle in his quest to defeat the dark side.
Archetypes can be found in modern culture as well as classic. For instance, an archetypal
hero like Beowulf can be easily compared to comic book heroes like Wolverine, Ironman, and
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Batman. These heroes and their stories are just as persistent and successful as Star Wars, with
successful comic books being recently made into successful movies. This is because they are modern
examples of archetypes being used to capture public adoration. With proper use of archetypes a work
of literature, film, or any entertainment medium can become immortalized in popularity. The term
“instant classic” has been coined for such works that immediately demand attention and appreciation
because of the masterful manipulation of archetypes. The same themes and characters that have
flung Batman into the limelight today are the same reason Star Wars induced a public fervor in 1977,
1980, and 1983, and then again in 1999, 2002, and 2005. Classic archetypes like those mentioned
People’s favorite entertainment media all have the same dramatic and character elements
despite the changing times, whether it is the epic poems of old, novels and stories of Elizabethan
times, the serials of Mark Twain, pulp novels of the early 1900s, radio programs in the Great
Depression, or films since the beginning of motion pictures. This is why Greek and Roman myths
are still read. They are some of the oldest examples of archetypes. Carl Jung, a Swiss Psychologist of
the 19th century was one of the first people to identify these archetypes and their relationship to the
human mind. Jung identified many archetypes in classic works and stories but he attributed them to a
collective unconscious. He claimed that all people shared a collection of unconscious and ancestral
experiences and that we draw from these in our daily lives and his proof was the presence of
archetypes throughout human history. He is quoted as calling archetypes the “preconscious psychic
disposition that enables a (man) to react in a human manner,” and this was the basis for many of his
theories. Though today Jung’s collective unconscious theory is not widely accepted, his research on
archetypes is very valuable. It is more commonly accepted today that something in the human
genome has evolved to have a structure of ideas about the world. If archetypes for heroes, villains
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and even colors appear so frequently in popular culture, it is plausible that they had some implication
for early man. For instance, perhaps it was necessary for their survival for them to fear the color red
or place emphasis on quests of initiation for heroes. This just gives possible reasons for common
themes in human culture and gives a possible explanation why archetypes make for such good
entertainment.
If archetypes had some sort of implication for early man, then perhaps the reason modern
man enjoys archetypes in his culture so much is because it makes stories much more real. If these
symbols instinctually triggered certain feelings in early man that meant something about real life,
then a modern man exposed to these symbols in a fictional work will be instinctually convinced the
experience is real on a subconscious level, though his conscious mind knows it is not. This also
explains why the most popular forms of entertainment are also the most immersive and convincing
ones. The utilization of archetypes to foster certain feelings in people was the reason that George
Orwell’s “War of the Worlds” radio special instilled so much fear and awe and it is the reason today
why our culture enjoys the immersive universes of Star Wars and other popular movies.
The use of archetypes in Star Wars is, in my opinion, one of the main reasons it has been so
popular. Star Wars, in its basest form, is a hero’s quest against evil, one found throughout great
literature. George Lucas took this preexisting theme that has been present throughout history and
simply put it in space with a new spin. Though it pains me to reduce such a deep work to its basest
form, it is basically true of any quality work. Most can be reduced to an archetypal character trying
to carry out an archetypal deed and human culture has always had a social need to identify with
others. By recognizing familiar themes in unfamiliar works people get a sense of belonging and
security and the bottom line for entertainers is that these feelings sell their product and make them
money. As long as people keep loving archetypes, other people will keep putting them in stories and
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these works will perpetually reinforce the simple fact that archetypal themes make for appealing
entertainment.
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Works Cited
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<http://www.mcgoodwin.net/pages/otherbooks/da_inferno.html>.
Ford, David N. "King Arthur: History & Legend." Britannia.com. 2007. Web. 1 June 2009.
<http://www.britannia.com/history/h12.html>.
<http://www.iloveulove.com/psychology/jung/jungarchetypes.htm>.
"The Life of Buddha: Part One: 13. Siddhartha the Hermit." Sacred-texts.com. Ed. John B. Hare.
<http://www.cs.utk.edu/~mclennan/papers/EJP.pdf>.
<http://www.faust.com/index.php/legend/mephistopheles/>.
Niles. All About GOD Ministries, Inc., 2006-2009. Web. 1 June 2009.
<http://www.allaboutjesuschrist.org/resurrection-of-jesus.htm>.
<http://www.mythweb.com/hercules/index.html>.
<http://www.mythweb.com/hercules/index.html>.
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<http://www.mythweb.com/encyc/entries/oedipus.html>.
<http://www.mythweb.com/heroes/theseus/index.html>.
Star Wars Episode I: The Phantom Menace. Dir. George Lucas. Perf. Liam Neeson, Ewan
McGregor, Natalie Portman, Jake Lloyd. 20th Century Fox, 1999. Film.
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Stoker, Bram. "Dracula by Bram Stoker." Online-literature.com. The Literature Network, 1897.
"Story of Lucifer." Allaboutgod.com. Ed. M. Houdmann, P. Matthews-Rose, and R. Niles. All About
lucifer.htm>.
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<http://www.allaboutjesuschrist.org/temptation-of-jesus-faq.htm>.
Wong, Martin R. "Male Initiation Rites." Apa.org. American Psychological Association. Web. 4
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