Ep. 562: Archetypal Antagonists for the Maiden Arc: Authority and Predator
Helping Writers Become Authors
K.M. Weiland
4.8 • 1.1K Ratings
🗓️ 6 September 2021
⏱️ 17 minutes
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Summary
The antagonists for the Maiden Arc can be seen archetypally as both her Authority Figures and a frightening Predator.
Transcript
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| 0:00.0 | This is K.M. Wyland and you are listening to the Helping Writers |
| 0:13.0 | Poohcast. I hope you enjoy this week's episode |
| 0:17.0 | Arctypal antagonists for the Maiden Arc, Authority and predator. |
| 0:23.0 | As the first transformational archetype within the life arc's cycle, |
| 0:29.0 | the maiden arc is the quintessential coming of age story. It is the to individuate into a fully autonomous and mature human being. |
| 0:45.0 | Like all the Arks, the maidens doesn't just happen. |
| 0:49.0 | Nor, for all her eagerness to turn 16 and get her first car, does she necessarily choose it? |
| 0:56.8 | Although humans can prepare themselves for transformation arcs, we don't get to initiate them for ourselves. The outer circumstances of our |
| 1:06.0 | social environment and our own chronological progression through life are major |
| 1:11.5 | factors in eventually creating the necessary forces to prompt a change |
| 1:17.1 | arc. |
| 1:18.1 | New circumstances can be viewed in many ways as the antagonistic force that defines both plot and theme in a life arc. |
| 1:28.1 | For the Maiden arc, this antagonistic force can be seen archetypily as the authority figures who initiate her |
| 1:36.4 | transition out of childhood into the beginnings of a hero arc. |
| 1:41.9 | But within her inner conflict and sometimes externalized into the outer |
| 1:46.4 | plot, we can see too that she also faces a frightening predator, aome guardian that seems to prevent her from passing through the gates of adulthood. |
| 1:59.8 | As mentioned in last week's introduction, there are actually multiple symbolic |
| 2:04.7 | antagonists that can be seen as important within archetypal character arcs. |
| 2:09.8 | Particularly, we can usually identify two. |
| 2:14.0 | One that represents the protagonist's outer conflict |
| 2:18.0 | and another that primarily symbolizes the inner conflict. |
| 2:22.0 | Which is which will largely depend on the unique |
... |
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