Cast-off being
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The cast-off being is an often occurring theme in fantasy/fiction. It typically comes in one of two forms, that of the 'split-being' or as the 'evil-counterpart' (which is divided into two sub-types). "the earliest occurrence of these mythological motifs is unknown to this author", however the 1st concept seems to stem from the yin and yang notion of dualism or bilocation, and the second from Carl Jung. He described dream archetypes called "The shadow" and "The persona".[1]
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[edit] The two types of cast-off beings
There are several types of cast-off beings, they differ in their creation, and in their purpose within the narrative. Regardless of the story and the universe they are contained in, the two prominent types follow an almost specific canon governing their motives. The one shared trait of all types is that they are manifestations of an essence or personality of the original 'whole-being' wich has been 'cast-off' and now contained in its own separate body, thus the original is now somehow lacking, until the two are reunited. The two personas sharing a common past also have access to the same memories and often similar abilities, but have very distinct personalities and separate bodies.
[edit] The split-being
A person or creature with sage-like powers or strong mystical abilities through some course of reasoning comes to the decision to purify himself. He then uses his abilities to draw out all that he deems undesirable; often corresponding to negative emotions such as fear,hatred,violence,lust,desire and scorn. The original creature is now split into two entities. One entity embodies all that is virtuous and is fair in visage, the other embodies all that is vile and often of an ugly or corrupted form. Though the two creatures are now of 'separate bodies and minds' they are still considered as one being. Typically they share a sympathic bond. Any harm done to one is transferred to the other almost instantaneously and simultaneously. If one dies they both die. This 'shared fate' is the major difference from the split-being and the evil-counterpart.
Due to the nature of the creation of the two entities they naturally loath each other. The evil half often seeks retribution against the good for being abandoned. Unable to physically harm the good half without killing himself in the process, he often resorts to psychological warfare. He usually attempts to torment the good-half by destroying everything the good-half cherishes, not stopping at murdering his loved ones, breaking fellowships or despoiling favored regions. In turn the good-half, aware of the danger of the evil-one and taking responsibility for its creation either exiles or attempts to imprison the evil-half in some desolate location. Failing this he will often seek the aid of some hero to do the dirty work for him, and often keeps their shared origin secret, lest the hero become reluctant to destroy the evil one.
[edit] The Evil-counterpart
A sentient often malevolent alter ego often referred to as a doppelganger. It's purpose in the story-frame is to be an obstacle that must be overcome, or as a learning experience for the hero. Essentially it serves as a threshold guardian and the hero gains new powers or insight when it is ultimately defeated.
This entity differs in its creation from the split-being. The Split-being is created by the will of the original, but the Evil-counterpart is most often created through an 'external influence'; usually through magic ritual, a curse or with a sage's intercession.
The evil-counterpart can come in many forms usually as a shadow, an animated reflection, a mirage, or even a hallucination. It can appear to have it's own body, either solid or incorporeal, and can also possess abilities and powers not owned by the originator. Often there is a telepathic bond between the two, but the original personality is usually unaware of that fact. The evil-counterpart often hates the source-being that it spawned from, and will usually struggle to gain control of his body/powers or attempt to torment him by disrupting/destroying his life and his friends.
Unlike the 'split-being' it can often be attacked or it can attack directly without being harmed by shared injury, however the hero usually is unable to vanquish this entity until he learns the secret of doing so.
[edit] The Persona
As "The persona" the 'cast-off being' often represents something that the protagonist must leave behind in order to grow as an individual. A physical manifestation representing the battle of good and evil within the conflicted individuals own soul. It's form often appears as how the originator views himself or as his hearts secret desire. This type of being must usually be 'destroyed' by the hero for him to gain peace.
[edit] The Shadow
AS "The shadow" the 'cast-off being' becomes an allegory of the negative impulses that the protagonist is trying to suppress within himself. It is often invincible until the hero comes to terms with himself and accepts it into his being willingly. thus becoming a whole individual by defeating the shadow through invocation and finally gaining control of his dark-side.
[edit] Examples of the 'cast-off being' in fiction
- Split-beings (bilocations of good/evil personas)
- In the anime series dragonball and dragonball-Z it is stated that "The Nameless Namek" in order to be worthy to ascend to the title of 'Guardian of the Earth' Splits himself into Kami and the evil king piccolo
- In the television series "Star trek the next generation" in the episode Skin of evil the crew meet a Cast-off being named Armus who's back-story is similar to the Split-being and is left trapped on a desolate planet.
- In the movie "The Dark Crystal" it is stated the beings called urSkeks split themselves into the good and docile UrRu/Mystics and, the warmongering and ill-mannered skeksis
- Evil-counterparts,the persona (defeated by forceful banishment)
- In the NES game Zelda, the adventure of link In order to prove worthy of possessing the trifoce of courage, in a final test Link must defeat Dark Link who is evoked by a sage.
- In the Nintendo 64 game Zelda, occarina of time In order to further his quest past an enchanted room with a reflecting pool Link must defeat A Wicked reflection that mimes all his sword slashes.
- In the PlayStation game Castlevania: Symphony of The Night Alucard must defeat a doppleganger type creature in order to exit a room, though it is not apparent if it split off from him.
- In the movie "Army of Darkness" Ash must fight Bad-ash, an evil-counterpart that literally grows from his body after he ingests a Mini-Ash that originated as a reflection in a mirror shard.
- Evil-counterparts,the shadow (defeated by peaceful assimilation)
- In the TV Miniseries "Legend of Earthsea" the protagonist 'Ged' is haunted by 'The Gebbeth'Skiorh who is only defeated when Ged realizes The Gebbeth is actually his evil essence and thus re-absorbs the creature into his being.
- In the video game Final Fantasy IV in order to ascend to Paladin status the dark knight Cecil must confront an image of himself but not counter attack the onslaught against him, instead choosing the path of peace by not fighting.
- In the movie/book "The Never Ending Story" As a test of worth, the protagonist Atreyu must pass through a mirror that reflects his true self in order to reach the Southern Oracle; most who see this revelation will flee or go insane.
- In the movie/book "Fight Club" the main character and narrator of the story creates an Imaginary friend called Tyler Durden who later fights for control of the body to become the main personality. He differs from the usual split personality disorder in that the narrator actually imagines him as being a real person that he can see,feel, and hold conversations with.
- In the series Bleach, Ichigo has encounters with his suppressed 'Hollow' personality that appears as he does, but is more pale and demonic looking with sunken eyes and a wicked grin. They struggle for control of his body.
[edit] See also
[edit] References
- ^ Fontana, David (1994). The Secret Language of DREAMS A Visual Key To Dreams And Their Meanings. Chronicle Books, 36/37. ISBN 0-8118-0728-2.
