In five pages the hero, mentor, and trickster archetypes are examined in an analysis of The Aeneid by Virgil. There are no other sources listed.
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more information on using this paper properly! The term archetype is attributed to Freudian psychologist Carl Jung, who defined it as symbolic patterns which have been perpetuated throughout the
centuries to represent certain types of human behavior. These archetypes appear in abundance throughout mythology (in the form of gods and goddesses) and in the literary classics of ancient
Greece and Rome, thanks in large part to Homers epic poems, "The Iliad" and "The Odyssey." Virgils ode to the founding of Rome, "The Aeneid," contains many archetypes, which
were selected to represent the popular Roman ideals of his time. Three significant archetypes are the trickster, the mentor, and, of course, the hero. Book II of
"The Aeneid" describes a wooden horse that was mysteriously left on the battlefield after a Greek (Danaan) and Trojan conflict. A young boy, Sinon, had apparently been deserted when
the Greek forces retreated, and elicited pity from the citizens of Troy. When asked the significance of the wooden horse, Sinon replied, "They set this figure up in reparation
/ For the Palladium stolen, to appease / The offended power and expiate the crime / Enormous, though, he made them build the thing / With timber braces, towering to
the sky, / Too big for the gates, not to be hauled inside / And give the people back their ancient guardian. / If any hand here violates this gift
/ To great Minerva, then extinction waits, / Not for one only - would god it were so -- / But for the real of Priam and all Phrygians" (245-255).
This was hardly a gift, as the Trojans were to discover, but rather, a hiding place for the Greek army, who used the wooden horse to launch a surprise