BASiC_liTERARY_SHORT_FiCTiON_TERMS

A PERSON OR FORCE WHICH OPPOSES THE PROTAGONIST IN A LITERARY WORK.

• ANOTHER PERSON
• FORCE OF NATURE
• SITUATION
• FATE
• SOCIETY
• PROTAGONIST

THE MAIN CHARACTER IN THE STORY.

PROTAGONIST BUT THEY MAY NOT LIKE HIM/HER

A COMPLETE NARRATIVE WHICH MAY BE APPLIED TO ANOTHER PARALLEL SETS OF SITUATIONS

A THEME EMBLEM OR CHARACTER THAT SOME CRITICS THINK HAS A COMMON MEANIN IN AN ENTIRE CULTURE OR EVEN THE ENTIRE HUMAN RACE

THE GROUP OF LITERARY WORKS A GIVEN CULTURE JUDGES TO PROSSESS SPECIAL MERIT

IT WAS APPLIED TO THE LIS TOF BOOKS TO BE INCLUDED AS AUTHENTIC BIBLICAL DOCTRINE IN THE HEBREW AND CHRISTIAN BIBLE.

TYPICALLY REFERS TO THOSE WOEKS IN ANTHOLOGIES THAT HAVE COME TO BE CONSIDERED STANDARD OR TRADITIONALLY INCLUDED IN THE CLASSROOM AND PUBLISHED TEXTBOOKS

THE ENTIRE BODY OF LITEARURE TRADITIONALLY THOUGHT TO BE SUITABLE FOR ADMIRTAION AND STUDY

ANY PERSON WHO PLAYS A PART IN A NARRATIVE

• ACTIONS- HOW CHARACTER REACTS IN CERTAIN SITUATIONS AND TO OTHER CHARACTERS
• SPEECH- WHAT HE SAYS AND HOW HE SAYS IT
• CHARACTERS THOUGHTS
• NARRATORS DESCRIPTION
• WHAT OTHER CHARACTERS SAY ABOUT HIM OR HER
• GESTURES, EXPRESSIONS, CHARACTER'S NAME

THE KIND OF CHARACTER HE/SHE IS

• DYNAMIC
• ROUND
• FLAT
• STATIC
• STOCK

• CHARACTER WHO DURING THE COURSE OF THE STORY UNDERGOES A PERMANET CHANGE IN SOME ASPECT OF HIS/HER PERSONALITY/OUTLOOK
• THE GROW AND CHANGE IN THE COURSE OF THE STORY SO THAT THEY ARE SOMEWHAT DIFFERENT PEOPLE BY THE END OF THE STORY, JUST AS PEOPLE ARE CHANGED BY EVENTS IN THEIR LIVES.

CHARACTER WHO IS COMPLEX, MULTI-DIMENSIONAL, AND CONVINCING, BUT DOES NOT CHANGE IN SOME SIGNIFICANT MANNER BY THE END OF THE STORY. AUTHORS PRESENT ENOUGH DETAILS ABOUT THE TO RENDER THEM, LIFELIKE, AND MEMORABLE.

MANY-SIDED, WITH CONFLICTIONG IMPULSES. LIKE REAL PEOPLE HEY HAVE GOOD AND BAD TRAITS.

A CHARACTER WHO HAS ONLY ONJE OUTSTANDING TRAIT OR FEATURE, OR AT THE MOST A FEW DISTINGUISHING MARKS(THE GOOD GUY WHO IS ALWAYS GOOD OR THE BAD GUYS WHO IS ALWAYS BAD) A FLAT CHARACTER IS WRITTEN WITH FEW DETAILS

CHARACTER WHO IS THE SMAW SORT OF PERSON AT THE END OF A STORY AS HE OR SHE WAS AT THE BEGINNING. THEY REMAIN THE SAMW THROUGHOUT THE STORY AND MAKE NO SHIFTS IN THEIR THOUGHTS OR PERSONALITIES.

A STEROTYPES CHARACTER:ONE WHOSE NATURE IS FAMILIAR FROM PROTOTYPES IN PREVIOUS FICTION, SUCH AS THE MEAN STEPMOTHER,THE CROOKED POLITICIAN OR THE DUMB BLONDE. SUCH CHARACTERS MAY BE SUMMED UP IN ONE SENTENCE.

• FAIRY TALES: PRINCE CHARMING AND ABLE TO RESCUE THE MAIDEN
• THE MADIAN IS ALWASY YOUND AND BEAUTIFUL
• THE WITCH OR STEPMOTHER IS ALWAYS UGLY AND WICKED

THE PROTAGONIST IS INITIATED INTO ADULTHOOD THROUGH KNOWLEDGER EXPERIENCE OR BOTH OFTEN BY A PROSCESS OF DISILLUSIONMENT

• IGNORANCE OF KNOWLEDGE
• INNOCENCE TO EXPERIENCE
• FALSE VIEW OF WORLD TO CORRECT VIEW
• IDEALISM TO REALISM
• IMMATURE RESPONSES TO MATURE RESPONSES

A STRUGGLE BETWEEN OPPOSING CHARACTERS OR OPPOSING FORCES

INTERNAL CONFLICT IS THE STRUGGLE THAT TAKES PLACE WITHIN A CHARACTERS OWN MIND SUCH AS THE STRUGGLE BETWEEN OPPOSING NEEDS OR DESIRES

STRUGGLES A CHARACTER ENCOUNTERS WITH WITH AN OUTSIDE FORCE SUCH AS ANOTHER CHARACTER, SOCIETY AS A WHOLE OR NATURAL FORCES

THE IMPLIED MEANING OF A WORD

THE DICTIONARY MEANING OF A WORD

TERM USED TO DESCRIBE A NARRATIVE OR OTHER WORK OF ART THAT TEACHES A SPECIFIC LESSON, CONVEYS MORAL, OR INSPIRES AND PROVIDES A MODEL FOR PROPER BEHAVIOR

WORDS SPOKEN BY TWO OR MORE CHARACTER IN A STORY PLAY OR POEM

A LONG NARRATIVE TALE, OFTEN O FLEGENDARY ADVENTURES AND SUPERHUMAN HEROES

THE FIRST EPIC TO SURVIVE IN WRITTEN FORM ON 12 CUNEIFORM TABLETS

TERM "INVENTED" BY JAMES JOYCE; A START AWAKENING OF THE TRUE NATURE OF A CHARACTER OR SITUATION THROUGH A SPECIFIC EVENT

MESSAGE THAT IS CLEARLY AND PRECISELY EXPRESSED AS OPPOSED THO THAT WHICH IS IMPLIED

OPPOSED TOI EXPLICIT, THE MESSAGE REMAINS HIDDEN

A DIDACTIC TALE IN WHICH ANIMALS ASSUME THE ROLES OF HUMAN CHARACTERS

HIGHLY IMAGINATIVE, SOMETIMES DREAMLIKE LITERATURE DEPARTING FORM THE UNDERSTANDING OF REALITY

NARRATIVES BASED ON THE IMAGINATION OF THE AUTHOR NOT IN LITERAL FACTS

LITERARY GENRE WHICH IS AN ACCOUNT OR REPRESENTATION OF A SUBJECT WHICH IS PRESENTED AS FACT. THIS PRESENTATION MAY BE ACCUREATE OR NOT; THAT IS, IT CAN GIVE EITHER A TRUE OR A FALSE ACCOUNT OF THE SUBJECT IN QUESTION. HOWEVER IT IS GENERALLY ASSUMED THAT THE AUTHORS SUCH OF ACCOUNTS BELIEVE THEM TO BE TRUTHFUL AT THE TIME OF THEIR COMPOSTION

• SIMILES
• METAPHORS
• PARALLELISM USED TO BROADEN UNDERSTANDING

A METHOD OF NARRATION IN WHICH THE PAST EVENTS ARE INTRODUCES INTO A PRESENT ACTION

A DIAGRAM CREDITED TO THE NINETEENTH CENTURY GERMAN NOVELIST AND CRITIC GUSTAV FREYTAG, THAT GRAPHICALLY SHOWS THE STAGES OF DRAMATIC STRUCTURE

5

EXPOSITION OR INTRODUCTION, WHICH BRINGS OUT EVERYTHING WE NEED TO KNOW AND UNDERSTAND AND FOLLOW WHAT IS TO HAPPEN

COMPLICATION AND DEVELOPMENT WHICH MARKS THE ONSET OF THE MAJOR CONFLICTS

CRISIS OR CLIMAX WHICH IS THE CULMINATION OF THE CONFLICTS AND COMPLICATIONS THE INTENSE MOMENTS OF DECISION IN WHICH THE HERO OR HEROINE TO RECOGNIZE WHAT NEEDS TO BE DONE TO RESOLVE THE MAJOR CONFLICT

FALLING ACTION WHICH CONTAINS COMPLICATING ELEMENTS DEFERRING THE CONCLUSION

DENOUEMENT RESOLUTION OR CATASTRPHE WHICH IS THE END THE LOGICAL OUTCOME OF WHAT HAS GONE BEFORE- ALL MYSTERIES ARE EXPLAINED, ALL CONFLICTS ARE RESOLVED ALL MISTAKES ARE CORRECTED ALL DASTARDLY SCHEMES ARE DEFEATED ALL LONG LOST CHILDREN ARE IDENTIFIED ALL OBSTACLES TO LOVE ARE OVERCOME ALL DESERVING CHARACTERS ARE REWARDED

TYPE OR CATEGORY OF LITERATURE OR FILM MARKED BY CERTAIN SHARED FEATURES OR CONVENTION

THREE

• POETRY
• DRAMA
• FICTION

CONCRETE LANGUAGE THAT APPEALS TO THE SENSES TO CREATE MENTAL PICTURES

STATEMENTS OR ACTIONS CONTRARY TO WHAT IS EXPECTED

• VERBAL
• SITUATIONAL
• COSMIC
• DRAMATIC

ONE THING IS SAID BUT THE OPPOSITE IS MEANT

THE DIFFERENCE BETWEEN WHAT WE HOPE FOR OR EXPECT AND WHAT ACTUALLY HAPPENS

EMPHASIZES THE PESSIMISTIC AND FATALISTIC SIDE OF LIFE

A SPECIAL KIND OF SITUATIONAL IRONY WHEN A CHARACTER EITHER HAS NO INFORMATION ABOUT A SITUATION OR ELSE MISJUDGES IT, BUT READER SEES EVERYTHING

ACRONYM FOR MODERN LANGUAGE ASSOCIATION THE DOCUMENTATION USES TO DOCUMENT LITERATURE

THE ATMOSPHERE OF LITERARY WORK, CREATED NOT ONLY THE CHARACTER AND EVENTS BUT ALSO THE THE AUTHORS STYLE AND CHOICE OF LANGUAGE

STORIES INVOLVING SUPERNATURAL BEINGS THAT USUALLY EXPLAINS THE COSMOS AND THE MYSTERIES OF LIFE AND DEATH OFTEN RELATING TO EXPLOITS OF THE GODS AND GODESSES

THE VOICE OF THE PERSON TELLING THE STORY

THE AUTHORS VOICE

• SPEAKER
• PERSONA
• VOICE

SHORT NOVEL

FICTIONS WITH OPEN ENDINGS HAVE INCONCLUSIVE OR NO SPECIFIC ENDINGS

UNEXPECTED ENDING

INVENTION OF SUPRISE ENDING

STORIES WIHT A MORAL OFTEN RELIGIOUS, THE PURPOSE OF WHICH IS INSTRUCTION; USUALLY ASSOCIATED THE TEACHINGS OF JESUS

THE ATTRIBUTION OF HUMAN QUALITIES AND CHARACTERISTICS TO NONHUMAN THINGS OR ABSTACTIONS

THE ARRANGEMENT OF EVENTS IN A NARRATIVE OR DRAMATIC WORK; A SEQUENCE OF EVENTS AND ACTIONS CONNECTED THROUGH CONFLUCT TO MOVE THE STORY ALONG THUS INDUCING CURIOSITY AND SUSPENCE IN READER

• EMPHASIS (WHAT AUTHOR WANTS TO FOCUS ON OR IGNORE)
• PACING (HOW QUICKLY TO COVER EVENTS
• ORDER(TYPE OF PRESENTATIONS SUCH AS FLASHBACK OR CHONOLOGICAL ORDER

LITERARY GENRE, GENERALLY SHORT IN NATURE WHICH RELIES HEAVILY OF IMAGERY, FIGURATIVE LANGUAGE, AND SOUND

THE POSITION FROM WHICH DETAILS ARE PERCEIVES, OBSERVED AND RELATED

• FIRST PERSON
• SECOND PERSON
• THIRD PERSON

THE VOICE OF WORK IS IN "I"

• THIS IS THE LEAST COMMON
• YOU

THE SPEAKER EMPHASIZES THE ACTIONS AND SPEECHES OF OTHERS

3

• DRAMATIC/OBJECTIVE
• OMNISCIENT
• LIMITED OMNISCIENT

THE "FLY ON THE WALL"

SEEING INTO THE MINDS OF ALL CHARACTERS

SEEING INTO ONE OR INFREQUENTLY, TWO CHARACTERS' MINDS

LITERARY PARAPHRASE OR SYNOPSIS

ANY MATIERAL THAT IS NOT WRITTEN IN A REGULAR METER LIKE POETRY.

MANY MODERN GENRES SUCH AS SHORT STORIES NOVELS LETTERS AND ESSAYS

A FICTITIOUS MANE THAT A WRITER EMPLOYS TO CONCEAL HIS/HER IDENTITY FOR EXAMPLE SAMUEL CLEMENS USED THE PEN NAME "MARK TWAIN" WILLIAMSYDNEY PERTER WROTE HIS SHORT STORIES UNDER THE PEN NAME "O'HENRY"MARY ANN CROSS USED THE PEN NAME "GEORGE ELIOT" TO HIDE SHE WAS A FEMALE WRITER

SAMUEL CLEMENS

WILLIAM SYDNEY PORTER

MARY ANN CROSS

SCHOOL OF LITERTURE WHICH PORTRAYS A "SLICE OF LIFE" WITH AVERAGE CHARACTERS IN NORMAL ACTIVITES TO CREATE DETAILED, PROBING ANALYSIS OF THE WAY THINGS REALLY ARE; A LITERARY MOVEMENT IN AMERICA,EUROPE AND ENGLAND THAT DEVELOPED OUT OF NATURALISM IN THE NIETEENTH AND TWENTIETH CENTURIES

A LITERARY MOVEMENT THAT FLOURISHED IN THE NINETEENTH CENTURY THAT VALUED INDIVIDUALITY, IMAGINATION, AND THE TRUTH REVEALED IN NATURE

A WORK THAT RIDICULES SOME ASPECT OF HUAMJN BEHAVIOR BY PORTRAYING IT AS ITS MOST EXTREME

A LITERARY OR CINEMATIC GENRE IN WHICH FANTASY, TYPICALLY BASED ON SPECULATIVE SCIENTIFIC DISCOVERIES OR DEVELOPMENTS, ENVIRONMENTAL CHANGES, SPACE TRAVEL, OR LIFE ON OTHER PLANETS, FORMS PART IF THE PLOT OR BACKGROUND

THE NATURAL, MANUFACTURED AND CULTURAL ENVIRONMENT IN WHICH CHARACTERS LIVE ADN MOVE, INCLUDING ALL THE ARTIFACTS THEY USE IN THEIR LIVES.

PHYSICAL ENVIRONMENT TIME WEATHER AND SOCIAL CONDITIONS

RELATIVELY BRIEF FICTIONAL NARRATIVE IN PROSW THAT RANGES FROM 500 WORDS UP TO THE LONG SHORT STORY OF 12,000 TO 15,000. IT HAS DEFINITE FORMAL DEVELOPMENT

• PLOT
• EFFECT
• THEME
• CHARACTER
• TONE
• MOOD
• STYLE

SHORT STORY TENDS TO REVEAL CHARACTERS THROUGH ACTIONS(THE PURPOSE OF THE STORY BEING ACCOMPLISHES WHEN THE READER COMES TO KNOW WHAT THE NATURE OF A CHARACTER) WHILE NOVELS TEND TO SHOW CHARACTERS DEVELOPING AS A RESULT OF ACTIONS

• A BEGINNING
• MIDDLE
• END
• POSSESSESS AT LEAST THE RUDIMENTS OF PLOT

• NINETEENTH CENTURY
• SIR WALTER SCOTT
• WASHINGTON IRVING
• NATHANIEL HAWTHORNE
• EDGAR ALLAN POE

ART

WASHING IRVING

WRITING THE FIRST AMERICAN SHORT STORY

THE FATHER OF MEDERN SHORT STORY

INDIVIDUAL TRAITS OR CHARACTERISTS OF A PIECE OF WRITING; THE WAY WRITERS ASSEMBLE WORDS IN A WORK, SUCH AS THE LENGHT AND COMLEXITY OF SENTENCES

THE DICTATION OR THE QUALITIES OF WRITERS WORDS CHOICES

3

• FORMAL OR HIGH DICTION
• NEUTRAL OR MIDDLE
• INFORMAL OR LOW

STANDARD AND ALSO"ELEGANT" WORDS, THE RETENTION OF CORRECT WORD ORDER AND THE ABSENCE OF CONTRACTIONS

ORDINARY, EVERYDAY STANDART VOCABULARY THAT SHUNS LONGER WORDS BUT USES CONTRACTIONS WHEN NECESSARY

RANGING FORM COLLQUIAL TO THE LEVEL OF SUBSTANDARD OR SLANG EXPRESSION

A PERSON OBJECT WORD INAGE OR EVENT THAT EVOKES A RANGE OF ADDITIONAL MEANING BEYOND AND USUALLY MORE ABSTRACTTHAN ITS LITERAL SIGNIFICANCE

CULTURAL OR UNIVERSAL

RECOGNIZED NY A SOCIETY JOR CULTURE

• CHRISTIAN CROSS
• STAR OF DAVID
• SWASTIKA
• NATIONS FLAG

• SETTING
• CHARACTER
• ACTION
• OBJECT
• NAME
• ANYTHING ELSE IN A WORKTHAT MAINTAINS ITS LITERAL SIGNIFICANCE WHILE SUGGESTING OTHER MEANING
• THESE SYMBOLS GO BEYOND CONVENTIONAL SYMBOLS; THEY GAIN THEIR SYMBOLIC MEANING WITHIN THE CONTEXT OF A SPECIFIC STORY

RATHER THAN A SUMMARY OF CHARACTER OR EVENTS, THEME IS THE CENTRAL MEANING OR DOMINANT IDEA IN A LITERARY WORK.

A UNIFYING POINT AROUND WHICH THE PLOT CHARACTERS SETTING POINT OF VIEW SYMBOLS AND OTHER ELEMENTS OF A WORK ARE ORGANIZED

OPINIONS AND VALUES AND CRITICIZES OR SUPPORTS SPECIFIC TYPES OF HUMAN BEHAVIOR RELATIONSHIPS AND INSTITUTIONS

CREATED BY BOTH WORD CHOICE AND SYNTAX TONE REFLECTS THE AUTHOR'S ATTITUDE TOWARD THE SUBJECT MATTER, WHICH CAN VE HUMOROUS, SARCASTIC, AND SO FORTH

A CHARACTERISTIC WHEREBY THE SETTING, CIRCUMSTANCES, CHARACTERS, DIALOGUE, ACTIONS, AND OUTCOMES IN A WORK ARE DESIGNED TO SEEM TRUE, LIFELIKE, REAL, PLAUSIBLE, AND PROBABLE

• QUEST
• TASK
• INITIATION
• RITUAL
• JOURNEY
• FALL
• DEATH/REBIRTH
• BATTLE BETWEEN GOOD AND EVIL
• FATHER/SON CONFLICT

THE SEARCH FOR SOMEONE OR SOMETHIGN THAT WHEN FOUND AND BROUGHT BACK WILL RESTORE FERTILITY TO A WASTED LAND, THE DESOLATION OF WHICH IS MIRRORED BY A LEADERS ILLNESS AND DISABILITY

TO SAVE THE KINGDOM, TO WIN THE FAIR LAD, TO IDENTIFY HIMSELF SO THAT HE MAY REASSUME HIS RIGHTFUL POSTION, THE HERO MUST FORM PERFORM SOME NEARLY SUPERHUMAN DEED

TAKES THE FORM OF INITIATION INTO LIFE- THE DEPICTION OF AN ADOLESCENT COMING INTO MATURITY AND ADULTHOOD WITH ALL THE PROBLEMS AND RESPONSIBILITIES THIS PROCESS INVOLES

NOT TO BE CONFUSED WITH THE INTIATION THE RITUAL REFERS TO AN ORGANIZED CEREMONY THAT INVOLES HONORED MEMBERS OF A GIVEN COMMUNITY AND A INITIATE THIS SITUATION OFFCIALLY BRINGS THE YOUNG MAN OR WOMAN INTO THE REALM OF THE COMMUNITYS ADULT WORLD

USUALLY COMBINED WITH ANY OR ALL THE FOREGOING SITUATIONAL ARCHETYPES, THE JOURNEY IS USED TO SEND THE HERO IN SEARCH OF INFORMATION OR SOME INTELLECTUAL TRUTH

DESCENT TO HELL, DEPICTION OF A LIMITED NUMBER OF TRAVELERS ON AN AIRPLANE FLIGHT, SEA VOYAGE, BUS RIDE. WALKING TRIP FOR THE PURPOSE OF ISOLATING THEM AND USING THEM AS A MICROCOSM OF SOCIETY

A DESCENT FROM A HIGHER TO A LOWER STATE OF BEING- INVOLOVES SPIRITUAL DEFILEMENT AND/OR LOSS OF INNOCENCE AND BLISS- FALL ACCOMPANIED BY EXPULSION FROM A KIND OF PARADISE AS PENATLY FOR DISOBEDIENCE AND MORAL TRANSGRESSION

PARALLEL BETWEEN CYCLE OF NATURE AND CYCLE OF LIFE

YOUTG BIRTH AND REBIRTH

OLD AGE AND DEATH

IN THE SPRING B/C THIS IS THE TIE OF PHYSICAL REGENERATION OF NATURE MAKING IT THE PERFECT TIME TO ENACT RITULAISTIC STATEMENT OF SPIRITUAL REBIRTH AND RESURRECTION

SITUATIONS PIT OBVIOUS FORCES WHICH REPRESENT GOOD AND EVIL AGAINST ONE ANOTHER-TYPICALLY GOOD ULTIMATELY TRIUMPHS OVER EVIL DESPITE GREAT ODDS

TENSION OFTEN RESULTS FRIM SEPERATION DURNIG CHILDHOOD OR FROM AN EXTERNAL SOURCE WHEN THE INDIVIDUALS MEET AS MEN AND WHERE THE MOTHER OFTEN HAS A HIGHER PLACE IN THE AFFECTIONS OF THE HERO THAN THE NATURAL PARENT

ATONEMENT

• HOPE
• RENEWAL
• INTELLECTUAL ILLUMINATION

• UNKNOWN
• IGNORANCE
• DESPAIR

• SINCE ITS NECESSARY TO LIFE AND GROWTH, COMMONLY APPEARS AS A BIRTH OR REBIRTH SYMBOLS
• SPIRTUAL BIRTHS
• RAIN- REBIRTH OR REGENERATION

SKIES AND MOUNTAIN TOPS HOUSE HIS GODS

BOWELS OF THE EARTH CONTAIN THE DIABOLIC FORCES THAT INHABIT HIS UNIVERSE

• HERO
• INITIATE
• MENTORS
• SCAPEGOAT
• OUTCAST
• STAR CROSSED LOVERS
• WOMAN FIGURES

• EARTH MOTHER
• TEMPTRESS
• PLATONIC IDOL
• UNFAITHFUL WIFE
• DAMSEL IN DISTRESS

• MOTHER IS A VIRGIN
• CIRCUMSTANCES OF HIS CONCEPTION IS UNUSAL
• AT BIRTH SOME ATTEMPT TO KILL HIM IS MADE SO SPIRITED AWAY TO LIVE WITH FOSTER PARENTS
• WE KNOW ALMOST NOTHING OF HIS CHILDHOOD BUT UPON REACHING MANHOOD HE RETURNS TO HIS FUTURE KINGDOM
• AFTER VICTORY OVER A KING OR WILD BEAST, HE MARRIES A PRINCESS, BECOMES KING, REIGNS UNEVENTFULLY, BUT LATER LOSES FAVOR WITH GODS
• HE IS DRIVEN FROM THE CITY WHERE HE MEETS A MYSTERIOUS DEATH, OFTEN AT THE TOP OF A HILL
• HIS BODY IS NOT BURIEDBUT HE HAS ONE OR MORE HOLY SEPULCHERS
• THIS CHARACTER IS THE ONE WHO MAY FULFILL A NECESSARY TASK AND WHO WILL RESTORE FERTILITY HARMONY AND OR JUSTICE TO A COMMUNITY

THESE ARE YOUNG HEROES WHO, PRIOR TO THE QUEST, MUST ENDURE SOME TRAINING AND RITUAL. THEY ARE USUALLY INNOCENT AT THIS STAGE

SERVE AS TEACHERS OR COUNCELORS TO THE INITIATES. SOMETIMES THE WORK AS ROLE MODELS AND OFTEN SERVE AS FATHER OR MOTHER FIGURE. THEY TEACH BY EXAMPLE THE SKILLS NECESSARY TO SURVIVE THE JOURNEY AND QUEST

ANIMAL OR MORE USUALLY A HUMAN WHOSE DEATH IN A PUBLIC CEREMONY EXPIATES(MAKES ATONES FOR) SOME TAINT OR SIN THAT HAS BEEN VISITED UPON A COMMUNITY

FIGURE WHO IS BANISHED FROMA SOCIAL GROUP FOR SOME CRIME AGAINST FELLOW MAN- OUTCAST USUALLY DESTINED TO BECOME A WANDERER FROM PLACE TO PLACE

A YOUNG MAN AND WOMAN ENTER AN ILL FATED LOVE AFFAIR THAT ENDS TRAGICALLY IN THE DEATH OF EITHER OR BOTH LOVER DUE TO THE DISAPPROVAL OF SOCIETY FRIENDS FAMILY OR GODS

• SYMBOLIC OF FRUITION, ABUNDANCE OF FERTILITY
• CHARACTER TRADITIONALLY OFFERS SPIRITUAL AND EMOTINAL NURSHIMENT TO THOSE WITH WHOM SHE COMES IN CONTACT
• DEPICTED IN EARTH COLORS WIHT LARGE BREAST AND HIPS

• HAS SENSUOUS BEAUTY
• ONE WHO THE PROTAGONIST IS PHYSICALLY ATTRACTED AND WHO ULTIMATELY BRINGS ABOUT HIS DOWNFALL

WOMAN IS SOURCE OF INSPIRATION AND A SPIRITUAL IDEAL FOR WHICH THE PROTAGONIST OR AUTHOR HAS INTELLECTUAL RATHER THEN PHYSICAL ATTRACTION

WOMAN MARRIED TO A MAN SHE SEES AS DULL AND UNIMAGINATIVE- PHYSICALLY ATTRACTED TO A MORE VIRILE AND DESIRABLE MAN

• VUNERABLE WOMAN MUST BE RESCUED BY THE HERO
• SHE ALSO MAY BE USED AS A TRAP BY AN EVIL FIGURE TO ENSNARE THE HERO