In Search of the Heroine

The archetypal image of the hero is familiar and has been described extensively in analytical psychology. (See CAMPBELL 2, JUNG 5, KERENYJ 6, NEUMANN 7). There is, however, no reference in these works to ‘heroine’ nor any description as to who she might be or what characterises her. We are left to assume, along with the Oxford English Dictionary, that ‘heroine’ is the feminine form of hero, or in other words, a female hero. The concept of the ‘heroine’ is relatively recent as compared with that of the ‘hero’, and the term ‘heroine’ was not used in Homeric or classical Greek literature until it appears for the first time, used ironically, in Aristophanes's play, Clouds (ARISTOPHANES 1). Even more remarkably it was not used in English and French medieval literature. ‘Heroine’ appears to have come into regular use first in French and then in English classical language, where it evokes a classical world in which the concept would have been unknown.

As a female hero, the heroine shares the characteristics of the hero and is principally recognised by her heroic feats, through which she acquires the status of a demi-goddess or saint. Her heroism may also transform her into a symbol of state or nation, such as Boudicca and Jeanne d'Arc. The female hero is essentially the woman warrior whose battles take place within the male world. Although she is unusual in this one respect, her sex is nevertheless incidental. She might as well be a hero.

The female hero is also characterised by sacrifice. She is not to be confused with the Gothic and romantic heroine so often portrayed as a social victim. This is the heroine, as exemplified by Medea and Antigone, who sacrifices her life to uphold patriarchal authority and a higher moral order. These are women ruled by the masculine principle, the purpose of whose sacrifices is the preservation of the old order and protection against chaos, It is their actions which make them heroic.

Another role assumed by the heroine is that of partner, or