Introduction
Hey there! Welcome to study guide 4.3. Today, we’ll be exploring a few topics. We’ll focus on archetypes, but also briefly look at contrasts within texts. The form relates to plot, and the latter relates more so to the conflicting ideas represented in a text. Let’s get started!
What are Archetypes?
First, let’s begin with an introduction/definition of archetypes. You may have heard of this word before, but maybe not!
Archetypes are universal, recurring patterns or themes that are present in works of literature. They are universal patterns that are deeply ingrained in the human psyche and often reflect fundamental human experiences or desires. Examples of archetypes in literature include the hero, the mentor, the villain, the mother, the trickster, and the outcast. You can almost think of them as “templates” for characters. These archetypes can be found in stories, myths, and legends from around the world and are often used by authors to create complex and relatable characters.
Let’s define a few archetypes to better understand each:
- The Hero: This archetype is typically a protagonist who overcomes obstacles and adversity to achieve a goal or accomplish something great. Examples include Beowulf, Odysseus, and Holden Caulfield in The Catcher in the Rye.
- The Mentor: This archetype is typically an older, wiser character who guides and advises the hero. Examples include Merlin in Arthurian legend, and Atticus Finch in To Kill a Mockingbird.
- The Villain: This archetype is typically an antagonist who opposes the hero and cause conflict. Examples include Iago in Othello, and the witch in Hansel and Gretel.
- The Mother: This archetype is typically a nurturing, supportive character who cares for the hero. Examples include Mrs. Bennet in Pride and Prejudice and Marmee in Little Women.
- The Trickster: This archetype is typically a clever and cunning character who uses wit and deception to achieve their goals. Examples include Loki in Norse mythology and Puck in A Midsummer Night's Dream
- The Outcast: This archetype is typically a character who is marginalized or rejected by society. Examples include Victor Frankenstein in Frankenstein and Scout Finch in To Kill a Mockingbird.
These are just a few examples, and different books will use archetypes in different ways. Archetypes are not limited to any single work of literature and are not limited to the above examples.
Note: on the AP Lit exam, you will not be expected to identify/name archetypes. However, you may find them useful to know for essay writing and general English literature studying purposes.
Archetypes Importance
Archetypes in literature serve several important functions. One of the most important is that they help to create relatable, multi-dimensional characters. By using archetypes, authors can write stories that resonate with readers across different cultures and time periods. Everyone knows the difference between a hero and a villain, for example. The archetypes impart on the reader certain expectations for what the character’s actions will be like and how the story will progress.
Archetypes also help to create a sense of familiarity and comfort for the reader. Because they are based on universal patterns, readers can often identify with the characters and situations in a story even if they are in a completely different setting or context. This can make the story more engaging and memorable for the reader.
Third, archetypes can be used to add depth and complexity to a story by exploring the different facets of a single archetype. For example, a writer may create a hero-like villain, where it is unsure what the character really is. This can create a rich and nuanced narrative that explores the human experience from multiple perspectives.
Finally, archetypes can also be used to create a sense of unity and continuity within a work of literature. By using archetypes that are found in myths, legends, and stories from around the world, authors can create a sense of shared humanity and connect their work to a larger literary tradition.
Overall, archetypes play an important role in literature by helping to create relatable characters, convey universal themes, and add depth and complexity to stories.
What are Contrasts?
A contrast in literature refers to the use of two or more elements, such as characters, themes, or writing styles, to create a sense of opposition or difference between them. As the name of the concept suggests, this technique can create a sense of contrast between different themes or ideas in a work of literature. This technique is also used to highlight the similarities and differences between characters and to create tension or conflict in a story.
Contrasts Importance
In literature, contrasts are used to draw attention to the specific traits, aspects, or characteristics of the elements being compared. This helps the reader to understand the similarities and differences between those elements, and to see how they relate to each other.
For example, in a novel, a contrast may be used to compare and contrast the main character with a secondary character. This helps the reader to understand the main character's personality, motivations, and beliefs, and to see how they differ from those of the secondary character. Additionally, this can also help in understanding the theme and message of the story.
Furthermore, contrasts often represent conflicts in values related to character, narrator, or speaker perspectives on ideas represented by a text. This means that the different elements being compared may have different beliefs, values, or perspectives on the ideas and themes presented in the text. This can create a sense of tension or conflict, which can be used to drive the plot or to explore complex ideas and themes.
“Metamorphosis” Example
Let’s look at an example to make this concept more concrete. We’ll use Franz Kafka’s “Metamorphosis.”
In Kafka's "Metamorphosis," there is a contrast between the character of Gregor Samsa, the protagonist, and his family. Before Gregor's transformation into a giant insect, his family relies on him for financial support, but they show little appreciation for him. After his transformation, his family's attitude towards him changes to one of disgust and repulsion. They see him as a burden and are eager to be rid of him. They become increasingly neglectful and abusive towards him, and ultimately, they lock him away in his room.
This contrast in the attitude of Gregor's family towards him before and after his transformation emphasizes the theme of alienation and rejection. Before his transformation, Gregor feels alienated from his family due to their lack of appreciation for him. After his transformation, this alienation becomes even more pronounced as his family actively rejects and mistreats him. This contrast also highlights the theme of the dehumanization of the individual in modern society and how one's value is often determined by their usefulness.
“Moby Dick” Example
In Herman Melville's "Moby Dick," there is a contrast between the characters of Ahab, the captain of the ship, and Ishmael, the narrator. Ahab is consumed by his obsession with revenge against the white whale, while Ishmael is more level-headed and rational. This contrast between the two characters highlights the theme of obsession and its destructive effects. Ahab's obsession with the white whale ultimately leads to the destruction of his ship and the deaths of many of his crew, while Ishmael is able to survive and tell the story. This contrast also helps to create a sense of tension and conflict, which drives the plot of the story.
Additionally, there is a contrast between the natural and the supernatural, as the giant white whale is seen as a supernatural creature, and the sailors are portrayed as mortal, limited, and fallible. This contrast helps to create a sense of awe and danger, and also to emphasize the theme of the human being in front of nature.
Overall, the contrast in "Moby Dick" is a powerful tool to convey the themes of obsession, destruction and the human being's relation to nature.
Conclusion
In this guide, we looked at two main concepts: archetypes and contrasts. Archetypes are universal patterns or themes that are present in works of literature and help to create relatable, multi-dimensional characters. Contrasts in literature are used to create a sense of opposition or difference between two or more elements in a text to highlight similarities and differences and create tension or conflict. Both archetypes and contrasts play important roles in literature by helping to convey universal themes and add depth and complexity to stories.
Vocabulary
The following words are mentioned explicitly in the College Board Course and Exam Description for this topic.
| Term | Definition |
|---|---|
| adjective | A descriptive word that modifies a noun and conveys the perspective or attitude of the narrator or speaker toward what is being described. |
| adverb | A descriptive word that modifies a verb, adjective, or other adverb and conveys the perspective or attitude of the narrator or speaker. |
| character | A person or entity in a narrative whose actions, thoughts, and relationships drive the story forward. |
| diction | The choice and use of words in a text that conveys meaning and reveals the perspective or attitude of the narrator or speaker. |
| narrative | A story or account of events presented in a text, including how those events are ordered and connected. |
| narrative distance | The physical, chronological, relational, or emotional separation between the narrator and the events or characters in the narrative. |
| narrator | The voice or character who tells the story and whose perspective shapes how events and subjects are presented to the reader. |
| perspective | The viewpoint, background, and beliefs of a narrator, character, or speaker that shape how they perceive and present events or subjects. |
| point of view | The perspective from which a narrative is told, determined by the narrator's position, knowledge, and relationship to the events and characters in the story. |
| speaker | The voice presenting ideas or emotions in a text, particularly in poetry or non-narrative works, whose perspective influences the tone and content. |
| stream of consciousness | A narrative technique that presents a character's thoughts, feelings, and sensations in a continuous, unfiltered flow. |
| syntax | The arrangement and structure of words and sentences in a text that can reveal a narrator's or speaker's perspective and attitude. |
| tone | The attitude or emotional quality conveyed by the speaker, narrator, or author toward the subject matter. |
Frequently Asked Questions
What is narrative perspective and how do I identify it in a passage?
Narrative perspective is who’s telling the story and how their viewpoint shapes what you see. To identify it in a passage, scan for these AP-CED cues: narrator type (first-person “I,” second-person “you,” third-person “he/she”), whether the narrator is a character (retrospective or immediate), and focalization (whose thoughts/feelings are shown). Then note narrative distance (close or distant), diction and syntax (adjectives, tone, sentence rhythm), and any interior access (stream of consciousness, interior monologue, or free indirect discourse). Watch for signs of an unreliable narrator (contradictions, extreme bias). On the exam you’ll be asked to name the narrator/POV and explain how those choices shape meaning—use specific words/lines as evidence. For quick review, see the Topic 4.3 study guide (https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO). For extra practice with POV questions, try the AP Lit practice set (https://library.fiveable.me/practice/ap-english-literature).
What's the difference between first person, second person, and third person narrators?
First person: "I" voice—the narrator is a character who remembers or experiences events (retrospective or immediate). It gives close interior access (thoughts, tone) and can be unreliable because it's filtered through that character’s perspective (CED: first-person narration, unreliable narrator, interior monologue). Second person: "you" voice—the narrator addresses the reader or a character as "you." It creates immediacy and unusual narrative distance; it can make readers feel implicated or disoriented (CED: second-person narration, narrative distance). Third person: uses "he/she/they." It ranges from limited (focalized through one character’s thoughts and perceptions) to omniscient (all-knowing narrator who can report multiple characters’ minds). Tools like free indirect discourse and stream of consciousness blur the line between third-person narration and a character’s interior life (CED: third-person limited, third-person omniscient, free indirect discourse, stream of consciousness). On the exam you’ll often identify narrator type (LO 4.A) and explain how POV shapes tone, distance, and meaning (LO 4.B). For a quick review, check the Topic 4 study guide (https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO) and practice questions (https://library.fiveable.me/practice/ap-english-literature).
How do I know if a narrator is reliable or unreliable?
Look for clues in what the narrator says, how they say it, and what they don’t know. Reliable vs. unreliable isn’t a label the text hands you—it’s a judgment you make from evidence: - Point of view: first-person or a highly limited focalization (CED keywords) often signals possible unreliability because the narrator is a character with biases, gaps, or faulty memory (retrospective narrators are common). - Contradictions: the narrator’s statements clash with other characters’ actions or with facts the reader can infer. - Diction & syntax: exaggerated, evasive, or defensive language, repeated qualifiers, or inconsistent tone suggest bias or self-deception (NAR-1.M, NAR-1.N). - Narrative distance: emotional or chronological distance can distort recall (NAR-1.K). - Authorial signals: irony, gaps, or other characters’ reactions can invite skepticism. On the exam, note these elements in both multiple-choice and prose prompts—cite specific lines showing bias or ignorance to argue unreliability. For more practice and examples, see Topic 4.3 study guide (https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO), the Unit 4 overview (https://library.fiveable.me/ap-english-literature/unit-4), and 1,000+ practice questions (https://library.fiveable.me/practice/ap-english-literature).
What does narrative distance mean and why does it matter for analysis?
Narrative distance = how close or far the narrator feels (physically, chronologically, relationally, emotionally) from the events or characters (CED NAR-1.K). A close distance (first-person interior, stream of consciousness, free indirect discourse) gives intimate access to thought and feeling; a distant voice (retrospective narrator, third-person omniscient or detached) shapes what details are shown or withheld. It matters because distance influences tone, reliability, focalization, and what the reader empathizes with—so when you analyze a passage you should link distance to diction, syntax, and narrator background (NAR-1.M, NAR-1.N, NAR-1.O). On the AP exam, narration questions count heavily (about 21–26% of multiple choice and appear in Prose Fiction FRQs), so identify narrator type, note distance, cite specific language that signals closeness or distance, and explain how that perspective shapes meaning. Need more practice? See Topic 4.3 study guide (https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO) and hundreds of practice questions (https://library.fiveable.me/practice/ap-english-literature).
I'm confused about stream of consciousness - can someone explain it with examples?
Stream of consciousness = narration that records a character’s continuous flow of thoughts and sensations (interior monologue). It collapses the boundary between thought and description: run-on syntax, free associations, sensory bursts, abrupt topic shifts, and sometimes nonstandard punctuation. It can be first-person (direct thought) or third-person close (free indirect discourse) where the narrator’s language slips into a character’s mind. Examples: James Joyce’s interior monologues in Ulysses (famous for long associative passages), Virginia Woolf’s Mrs. Dalloway (third-person free indirect style that echoes Clarissa’s thoughts), and sections of Faulkner’s The Sound and the Fury (fragmented, interior voices). On the AP exam, label this as stream of consciousness or interior monologue (CED NAR-1.L) and analyze diction, syntax, and narrative distance (NAR-1.K, NAR-1.M–O). For more review, see the Topic 4.3 study guide (Fiveable) here: https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO, unit overview (https://library.fiveable.me/ap-english-literature/unit-4), and practice questions (https://library.fiveable.me/practice/ap-english-literature).
How do I analyze a narrator's tone and perspective in my essay?
Start by naming the narrator (first-person, third-limited, omniscient, retrospective) and state how that POV shapes what we see—that’s your thesis. Then pick 2–3 bits of textual evidence that reveal perspective and tone: specific diction (adjectives/adverbs), syntax (short choppy sentences vs. long free-indirect style), narrative distance (emotional/chronological closeness), and focalization (whose consciousness filters events). Explain how each detail creates the narrator’s attitude (tone) and controls reader response—e.g., ironic adjectives + distant narration = skeptical tone; close first-person interior monologue = intimate, biased perspective (use terms like unreliable narrator, stream of consciousness, free indirect discourse from the CED). Always tie each example back to your thesis and why the narrator’s tone/perspective matters to the story’s meaning. For AP essays follow the FRQ rubric: clear thesis + specific evidence + analysis (practice with 1,000+ questions on Fiveable) (https://library.fiveable.me/practice/ap-english-literature) and review Topic 4.3 study guide (https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO).
What's the difference between the author and the narrator in a story?
The author is the real-world creator of the story; the narrator is the voice inside the text that tells it. They’re not the same: the author chooses narrator type (first-person, third-person limited, omniscient, second-person, retrospective, stream-of-consciousness, etc.) but the narrator is a constructed perspective that controls what we see (focalization), how close we feel (narrative distance), and what tone comes through. A narrator can be a character (first-person, unreliable), an all-knowing observer (third-person omniscient), or limited to one character’s thoughts (third-person limited/free indirect discourse). On the AP exam you’ll be asked to identify narrator traits and explain how diction, syntax, and narrative distance shape interpretation (CED Topic 4.3: Narration). Practice spotting these choices in passages—Fiveable’s Topic 4 study guide is a good review (https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO) and there are 1,000+ practice problems (https://library.fiveable.me/practice/ap-english-literature).
How do descriptive words show the narrator's bias or perspective?
Descriptive words (adjectives, adverbs, vivid verbs) are one of the clearest signals of a narrator’s bias or perspective. When a narrator calls a house “stately” versus “pretentious,” that single adjective shows approval or contempt (CED NAR-1.N). Repeated negative or positive diction creates tone and reveals emotional investment or distance (NAR-1.M, NAR-1.O). Also watch modifiers that indicate narrative distance: tentative words (“seemed,” “perhaps”) suggest uncertainty or distance (NAR-1.K), while absolute words (“clearly,” “always”) show certainty or judgment. In first-person or limited focalization, descriptive words filter the scene through a character’s beliefs, making the narrator potentially unreliable. On the AP exam you’ll often be asked to identify diction that reveals perspective on multiple-choice items and to analyze it in prose essays (Topic 4.3). For a quick refresher, check the Topic 4 study guide (https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO) and practice questions (https://library.fiveable.me/practice/ap-english-literature).
What does it mean when a narrator is a character in the story versus just telling it?
If the narrator is a character in the story (usually first-person or a retrospective narrator), they experience events directly or remember them—so their background, emotions, and limited knowledge shape what details they include, how close they feel to other characters (narrative distance), and the words/sentence choices they use. That creates focalization through a personal voice and can produce an unreliable narrator or interior monologue/stream of consciousness. A narrator “just telling it” (third-person narrator, limited or omniscient) can be more or less detached: third-person limited still focalizes through one character, while omniscient can report multiple minds and give broader context. On the AP exam you should identify who’s telling the story, note narrative distance and diction, and explain how that perspective shapes tone and meaning (CED NAR-1; exam weighting for narration 21–26%). Review Topic 4.3 study guide (https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO) and practice questions (https://library.fiveable.me/practice/ap-english-literature) to drill recognizing these effects.
I don't understand how to write about point of view in my rhetorical analysis essay - what should I focus on?
Focus your paragraph on how the narrator’s perspective shapes what the reader sees and feels. Start by naming the narrator (first-person/third-limited/omniscient/retrospective/stream-of-consciousness) and state one clear claim about its effect (controls detail, creates sympathy, limits knowledge, or creates irony/unreliability). Then give 2–3 short pieces of textual evidence (specific words, sentences, or syntactic patterns) that reveal narrative distance, diction, or tone—e.g., tight focalization, judgmental adjectives, interior monologue, or free indirect discourse. Always link each quote to how it affects interpretation: what the narrator emphasizes or hides and why that matters to theme or character. On the exam, your prose-analysis essay needs a defensible thesis, specific evidence from the 600–800 word passage, and commentary showing how POV functions (CED NAR-1.K, NAR-1.M–O). For a quick review of these ideas, see the Topic 4.3 study guide (https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO). Practice with 1,000+ AP questions (https://library.fiveable.me/practice/ap-english-literature).
How does the narrator's background affect how they tell the story?
A narrator’s background (age, class, culture, education, relationship to events) shapes what they notice, how they judge it, and the language they use. That background affects point of view and narrative distance (how close they feel emotionally or chronologically), which changes tone and emphasis—so a working-class, retrospective first-person narrator will highlight different details and use different diction than an omniscient, neutral narrator. Background can make a narrator reliable or unreliable, produce focalization (limited perspective), encourage free indirect discourse or stream of consciousness, and determine what’s described with admiration, irony, or contempt (CED NAR-1.M, NAR-1.K, NAR-1.J). On the AP exam you’ll be asked to identify narrator/speaker and explain how POV shapes meaning; in prose FRQs use specific diction, syntax, and narrative-distance evidence to support your claim. For a quick unit review see the Topic 4 study guide (https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO) and practice questions (https://library.fiveable.me/practice/ap-english-literature).
What are some examples of stream of consciousness writing that might be on the AP exam?
On the AP exam you’ll most likely see 20th-century passages using stream of consciousness or interior monologue. Common authors/pieces to know: James Joyce (Ulysses—interior monologue), Virginia Woolf (Mrs. Dalloway, To the Lighthouse—free indirect discourse/stream of consciousness), and William Faulkner (The Sound and the Fury, As I Lay Dying—shifting interior perspectives). These texts show NAR-1.L in the CED: continuous presentation of a character’s thoughts, blurred sentence boundaries, sudden shifts in time, and subjective diction. On passages, look for first-person or focalized third with rapid associations, sensory detail tied to memory, and syntax that mirrors thought. Practice spotting how that perspective shapes tone and narrative distance (NAR-1.K, NAR-1.M). For more examples and targeted review of Topic 4.3, see the Unit 4 study guide (https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO) and drill passages in Fiveable’s practice problems (https://library.fiveable.me/practice/ap-english-literature).
How do I identify when a narrator is directly addressing the reader?
Look for direct signals in diction and syntax. A narrator addressing the reader will often use second-person pronouns (“you”), commands or imperatives (“remember,” “consider”), rhetorical questions aimed at the reader, or parenthetical asides and direct apostrophes (“—but you know—,” “dear reader”). CED Essential Knowledge NAR-1.J specifically notes narrators can function as characters who directly address readers, often recalling events or describing them as they occur. Also watch tone and narrative distance: a retrospective narrator may step out of the story to comment directly (closer distance to reader), while omniscient/third-person usually won’t. Diction (direct address words) and syntax (short imperative sentences, questions, parentheses) are your clearest clues. Practice spotting these features on passages—use the Topic 4.3 study guide (https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO) and the Unit 4 overview (https://library.fiveable.me/ap-english-literature/unit-4). For more drills, check the 1,000+ practice items (https://library.fiveable.me/practice/ap-english-literature).
What's the difference between narrative distance and physical distance in a story?
Physical distance is just one measurable part of narrative distance: it’s where the narrator or focalizer stands in space relative to events or characters (nearby in the room, watching from a window, across the country). Narrative distance is bigger—it’s the narrator’s overall closeness or remoteness to the story, including physical distance plus chronological distance (telling events long after they happen vs. in the moment), relational distance (friend, outsider, participant), and emotional investment (detached, intimate, biased). So a first-person narrator can be physically present but emotionally distant (retrospective, ironic), or physically removed but emotionally close (a memory-heavy retrospective). On the AP exam, you’ll be asked to identify and explain how those distances shape tone and meaning (see NAR-1.K, NAR-1.J). For a quick review of these ideas, check the Topic 4 study guide (https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO) and practice related questions (https://library.fiveable.me/practice/ap-english-literature).
How do adjectives and adverbs reveal a narrator's attitude toward characters or events?
Adjectives and adverbs are small but powerful clues to a narrator’s attitude. Because they’re part of diction, they don’t just describe— they evaluate (CED: NAR-1.N, NAR-1.M). A narrator who calls someone “stubborn” vs. “determined,” or who says someone walked “awkwardly” vs. “briskly,” signals different emotional distance and values. Adjectives often set tone (fond, contemptuous, ironic) while adverbs modify action in ways that reveal judgment (she “silently” wept vs. she “pathetically” wept). Those choices also affect narrative distance: close, sympathetic narration will favor intimate, approving modifiers; distant or unreliable narrators use ironic or minimizing words. On the AP exam, identify specific modifiers and explain how they shape perspective and tone in both multiple-choice and prose free-response (CED: Learning Objective 4.C). For extra practice breaking down diction in passages, see the Topic 4.3 study guide (https://library.fiveable.me/ap-english-literature/unit-4/archetypes-literature/study-guide/fGPFj9bhifKo2kyY43mO) and try practice questions (https://library.fiveable.me/practice/ap-english-literature).