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A hero (feminine: heroine) is a real person or a main fictional character who, in the face of danger, combats adversity through feats of ingenuity, courage, or strength. The original hero type of classical epics did such things for the sake of glory and honor. Post-classical and modern heroes, on the other hand, perform great deeds or selfless acts for the common good instead of the classical goal of wealth, pride, and fame. The antonym of hero is villain.[1] Other terms associated with the concept of hero may include good guy or white hat.
In classical literature, the hero is the main or revered character in heroic epic poetry celebrated through ancient legends of a people, often striving for military conquest and living by a continually flawed personal honor code.[2] The definition of a hero has changed throughout time. Merriam Webster dictionary defines a hero as "a person who is admired for great or brave acts or fine qualities".[3] Examples of heroes range from mythological figures, such as Gilgamesh, Achilles and Iphigenia, to historical and modern figures, such as Joan of Arc, Giuseppe Garibaldi, Sophie Scholl, Alvin York, Audie Murphy, and Chuck Yeager, and fictional "superheroes", including Superman, Spider-Man, Batman, and Captain America.
The word hero comes from the Greek ἥρως (hērōs), "hero" (literally "protector" or "defender"),[4][better source needed] particularly one such as Heracles with divine ancestry or later given divine honors.[5] Before the decipherment of Linear B the original form of the word was assumed to be *ἥρωϝ-, hērōw-, but the Mycenaean compound ti-ri-se-ro-e demonstrates the absence of -w-. Hero as a name appears in pre-Homeric Greek mythology, wherein Hero was a priestess of the goddess Aphrodite, in a myth that has been referred to often in literature.
According to The American Heritage Dictionary of the English Language, the Proto-Indo-European root is *ser meaning "to protect". According to Eric Partridge in Origins, the Greek word hērōs "is akin to" the Latin seruāre, meaning to safeguard. Partridge concludes, "The basic sense of both Hera and hero would therefore be 'protector'." R. S. P. Beekes rejects an Indo-European derivation and asserts that the word has a Pre-Greek origin.[6] Hera was a Greek goddess with many attributes, including protection and her worship appears to have similar proto-Indo-European origins.
A classical hero is considered to be a "warrior who lives and dies in the pursuit of honor" and asserts their greatness by "the brilliancy and efficiency with which they kill".[7] Each classical hero's life focuses on fighting, which occurs in war or during an epic quest. Classical heroes are commonly semi-divine and extraordinarily gifted, such as Achilles, evolving into heroic characters through their perilous circumstances.[2] While these heroes are incredibly resourceful and skilled, they are often foolhardy, court disaster, risk their followers' lives for trivial matters, and behave arrogantly in a childlike manner.[2] During classical times, people regarded heroes with the highest esteem and utmost importance, explaining their prominence within epic literature.[8] The appearance of these mortal figures marks a revolution of audiences and writers turning away from immortal gods to mortal mankind, whose heroic moments of glory survive in the memory of their descendants, extending their legacy.[2]
Hector was a Trojan prince and the greatest fighter for Troy in the Trojan War, which is known primarily through Homer's Iliad. Hector acted as leader of the Trojans and their allies in the defense of Troy, "killing 31,000 Greek fighters," offers Hyginus.[9] Hector was known not only for his courage, but also for his noble and courtly nature. Indeed, Homer places Hector as peace-loving, thoughtful, as well as bold, a good son, husband and father, and without darker motives. However, his familial values conflict greatly with his heroic aspirations in the Iliad, as he cannot be both the protector of Troy and a father to his child.[7] Hector is ultimately betrayed by the deities when Athena appears disguised as his ally Deiphobus and convinces him to challenge Achilles, leading to his death at the hands of a superior warrior.[10]
Achilles was a Greek hero who was considered the most formidable military fighter in the entire Trojan War and the central character of the Iliad. He was the child of Thetis and Peleus, making him a demi-god. He wielded superhuman strength on the battlefield and was blessed with a close relationship to the deities. Achilles famously refused to fight after his dishonoring at the hands of Agamemnon, and only returned to the war due to unadulterated rage after Hector killed his beloved companion Patroclus.[10] Achilles was known for uncontrollable rage that defined many of his bloodthirsty actions, such as defiling Hector's corpse by dragging it around the city of Troy. Achilles plays a tragic role in the Iliad brought about by constant de-humanization throughout the epic, having his menis (wrath) overpower his philos (love).[7]
Heroes in myth often had close but conflicted relationships with the deities. Thus, Heracles's name means "the glory of Hera", even though he was tormented all his life by Hera, the Queen of the Greek deities. Perhaps the most striking example is the Athenian king Erechtheus, whom Poseidon killed for choosing Athena rather than him as the city's patron deity. When the Athenians worshiped Erechtheus on the Acropolis, they invoked him as Poseidon Erechtheus.
Fate, or destiny, plays a massive role in the stories of classical heroes. The classical hero's heroic significance stems from battlefield conquests, an inherently dangerous action.[7] The deities in Greek mythology, when interacting with the heroes, often foreshadow the hero's eventual death on the battlefield. Countless heroes and deities go to great lengths to alter their pre-destined fates, but with no success, as none, neither human or immortal can change their prescribed outcomes by the three powerful Fates.[11] The most characteristic example of this is found in Oedipus Rex. After learning that his son, Oedipus, will end up killing him, the King of Thebes, Laius, takes huge steps to assure his son's death by removing him from the kingdom. When Oedipus encounters his father when his father was unknown to him in a dispute on the road many years later, Oedipus slays him without an afterthought. The lack of recognition enabled Oedipus to slay his father, ironically further binding his father to his fate.[11]
Stories of heroism may serve as moral examples. However, classical heroes often did not embody the Christian notion of an upstanding, perfectly moral hero.[12] For example, Achilles's character-issues of hateful rage lead to merciless slaughter and his overwhelming pride lead to him only joining the Trojan War because he did not want his soldiers to win all of the glory. Classical heroes, regardless of their morality, were placed in religion. In classical antiquity, cults that venerated deified heroes such as Heracles, Perseus, and Achilles played an important role in Ancient Greek religion.[13] These ancient Greek hero cults worshipped heroes from oral epic tradition, with these heroes often bestowing blessings, especially healing ones, on individuals.[13]
The concept of the "Mythic Hero Archetype" was first developed by Lord Raglan in his 1936 book, The Hero, A Study in Tradition, Myth and Drama. It is a set of 22 common traits that he said were shared by many heroes in various cultures, myths, and religions throughout history and worldwide. Raglan argued that the higher the score, the more likely the figure is mythical.[14]
The concept of a story archetype of the standard monomythical "hero's quest" that was reputed to be pervasive across all cultures is somewhat controversial. Expounded mainly by Joseph Campbell in his 1949 work The Hero with a Thousand Faces, it illustrates several uniting themes of hero stories that hold similar ideas of what a hero represents despite vastly different cultures and beliefs. The monomyth or Hero's Journey consists of three separate stages: the Departure, Initiation, and Return. Within these stages, there are several archetypes that the hero of either gender may follow, including the call to adventure (which they may initially refuse), supernatural aid, proceeding down a road of trials, achieving a realization about themselves (or an apotheosis), and attaining the freedom to live through their quest or journey. Campbell offered examples of stories with similar themes, such as Krishna, Buddha, Apollonius of Tyana, and Jesus.[15] One of the themes he explores is the androgynous hero, who combines male and female traits, such as Bodhisattva: "The first wonder to be noted here is the androgynous character of the Bodhisattva: masculine Avalokiteshvara, feminine Kwan Yin."[15] In his 1968 book, The Masks of God: Occidental Mythology, Campbell writes, "It is clear that, whether accurate or not as to biographical detail, the moving legend of the Crucified and Risen Christ was fit to bring a new warmth, immediacy, and humanity, to the old motifs of the beloved Tammuz, Adonis, and Osiris cycles."[16]
The philosopher Hegel gave a central role to the "hero", personalized by Napoleon, as the incarnation of a particular culture's Volksgeist and thus of the general Zeitgeist. Thomas Carlyle's 1841 work, On Heroes, Hero-Worship, & the Heroic in History, also accorded an essential function to heroes and great men in history. Carlyle centered history on the biographies of individuals, as in Oliver Cromwell's Letters and Speeches and History of Frederick the Great. His heroes were not only political and military figures, the founders or topplers of states, but also religious figures, poets, authors, and captains of industry.
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