The term antihero has a variety of definitions, ranging from unconventional heroes, a protagonist lacking heroic qualities or even one possessing traits antithetical to the traditional hero.

Characteristics of the Anti-Hero

An anti-hero in fictional works will typically take a leading role, performing acts which might be deemed “heroic” (at least in scale and daring), but using methods, manners, or intentions that may not be so - indeed they are often underhanded or deceitful. Usually rebellious and rival to that of a protagonist, but would do things for the greater good even if that is unseen.

The word is fairly recent, and its primary meaning has changed throughout the years.
Some definitions include:
1940: Merriam-Webster New International Dictionary, Second Edition, lists the word but without a definition.
1962: Oxford Encyclopedic Dictionary defines it as “Hero of unconventional type in novel, etc.”
1992: American Heritage Dictionary of the American Language defines anti-hero only as “a main character in a dramatic or narrative work who is characterized by a lack of traditional heroic qualities, such as idealism or courage” .
2004: Merriam-Webster’s Collegiate Dictionary, 11th Edition, says: “(1714): a protagonist or notable figure who is conspicuously lacking in heroic qualities.”

Anti-heroes as central characters in works of fiction will frequently deal with their flawed characteristics and on those of the characters they meet along the narrative. Another form an anti-hero may take is a character who avoids any idea of heroism, not out of a sense of humility, but due to a genuine fear of danger, or even risk. Therefore, typically, an anti-hero is a protagonist that lives by the guidance of their own moral compass, either striving to define and construe their own values as opposed to those recognized by the society of their world.

History

There is no definitive moment when the anti-hero came into existence as a literary trope. Apollonius of Rhodes’ Argonautica portrays Jason as a timid, passive, indecisive man that contrasts sharply with other Greek heroes.[ 1 ] Yet the anti-hero has evolved over time, changing as society’s conceptions of the hero changed, from the Elizabethan times of Christopher Marlowe’s Faust and William Shakespeare’s Falstaff, to the darker-themed Victorian literature of the 19th century, such as John Gay’s The Beggar’s Opera or Philip Meadows Taylor’s Confessions of a Thug. The Byronic hero also sets a literary precedent for the modern concept of the anti-hero.

Contemporary Literature

In modern times, the popularity of the anti-hero has seemingly boomed. Pulp fiction and noir detective stories of the mid-20th century presented characters such as Sam Spade, who lacked the glorious appeal of previous heroic figures, became more popular. Sergio Leone’s “spaghetti westerns” showcased a wandering vigilante (the “Man with No Name” played by Clint Eastwood) whose gruff demeanor clashed with other heroic characteristics. Mid-20th century playwrights such as Samuel Beckett and Tom Stoppard showcased anti-heroic protagonists recognizable for their lack of identity and determination. The late 20th and early 21st century saw the rise of comic books and graphic novels featuring a boom of anti-heroic characters such as Batman, whose dark and brooding nature, along with their questionable methods, contrasted with their openly “heroic” peers like Superman.

Many modern anti-heroes possess, or even encapsulate, the postmodern rejection of traditional values symptomatic of Modernist literature in general, as well as the disillusion felt after World War II and the Nuclear Age. It has been argued that continuing popularity of the anti-hero in modern literature and popular culture may be based on the recognition that a person is fraught with human frailties, unlike the archetypes of the white-hatted cowboy and the noble warrior, and is therefore more accessible to readers and viewers. This popularity may also be symptomatic of the rejection by the avant-garde of traditional values after the counter-culture revolution of the 1960s.[ 2 ] The values surrounding the characterization of an anti-hero have arguably changed. In the postmodern era, traditionally defined heroic qualities, akin to the classic “knight in shining armor” type, have given way to the “gritty truth” of life, and authority in general is being questioned. The brooding vigilante or “noble criminal” stereotype of characters like Batman is slowly becoming part of the popular conception of heroic valor rather than characteristics that are deemed un-heroic.[ 3 ]

Footnotes

1. Haggar, Daley (1996). “Review of Infinite Jest”. Harvard Advocate Fall 96.
2. Erickson, Leslie (2004). “The Search for Self: Everyday Heroes and an Integral Re-Visioning of the Heroic Journey in Postmodern Literature and Popular Culture”. Ph.D Dissertation University of Nebraska.
3. Lawall G, (1966). “Apollonius’ Argonautica. Jason as anti-hero”. Yale Classical Studies 19: 119-169.

Editor Note

Article inspired by Silverback’s retired Genesis Project website. This article can from Wikipedia, June 25, 2007. Be sure to check this entry over at Wikipedia as it may have been updated after the reposting of the article on ECORE Central. [Go to Wikipedia Entry]

No Responses to “The Antihero”

No comments yet

Leave a Reply

You must be logged in to post a comment.