Author: Serhii Yaremko

Showshenk1@gmail.com

Introduction

Many of us have seen that certain elements (such are: scenes, episodes, details, phrases, etc.) are constantly repeated in writings. Scientifically, those phenomena are called “literary clichés,” (hereinafter - clichés) and they mark details that become predictable and even boring because of overusing (MasterClass, 2021). Although, as it can be clearly seen, the set of clichés is quite bulk, at the moment we are interested only in clichés that refer to works' character actions (that is because we are moving in the Propp's “Morphology of the Folktale” paradigm). But, if we observe the latter concept, we will see that many character actions cannot be considered as clichés due to their rareness (such are “Hero/heroine pulls out the sword as enemy gets too close” (we can see it in the Garden-labyrinth scene from the movie “Last Knights” (Kiriya, 2015)) and “Hero/heroine gets ready to kill himself/herself in order to not be captured alive by enemy” (well, Cersei Lannister is ready to kill herself while so-called the Blackwater Battle (Benioff, Martin, Weiss & Marshall, 2012)) for example; it seems that clichés related to character actions in common are only "the top of iceberg" if we talk on the whole literary clichés set in this case). So, it would be correct to call the character actions in works rather “repeated elements.”

The main objective of the work

I am going to show with this paper that works' repeated elements set has a general interpretation. Of course, similar attempts had place much more earlier than mine, - the Monomyth conception by Joseph Campbell (it was described in detail in the book "The Hero with a Thousand Faces" (Campbell, 2008)) probably the most famous one in this case.

Literature on the topic

I must say that there are literally few science works which can help us with the current survey. The mentioned Campbell's book tells about only few repeated elements, - it is really not enough (well, if we are introduced to narrative studies, such as the book “Dramatica” (Phillips, 2004), we know that the Monomyth conception describes in general only hero's inner conflict, - it seems that Monomyth theory has limited ability for usage in this case). Some thoughts on the subject that must be explored has another already mentioned book, - I mean ”Morphology of the Folktale” (Propp, 1968).

Postulates

Such term as “Order,” in essence, has the characteristic of equivalent for both classic thermodynamics and works’ repeated elements theory when the latter refers to human society (I must explain that we need this postulate in order to have oppottunity of applying Second law of thermodynamics (its essence lays in the fact that entropy, which is the measure of chaos, has the tendence to growth in isolated systems, - it means that, with identical initial terms, rather chaos than order would be spontaneously born in isolated systems (Hoking, 1998; Drake, 2024; Nave, n.d.)), as well as last achievements of cosmology surveys, to the current exploring);

The set of clichés, due to its stability, must have a general interpretation (the mentioned stability means that certain clichés are permanently presented in works with some proportion; it must be added that at this moment we don’t have the statistics of clichés appearing in writings, it’s just my own opinion based on more than two decades of working in this field, – but postulates don’t need to be proven).

Usage of Prohibition principle (Pauli principle) while exploring literature

As we know, Vladimir Propp have been distancing from character nature, focusing on only the functions of dramatis personae (Propp, 1968); if we are interested in searching out the general interpretation of the clichés set, we need to take a look, in every such case, whether character is positive or negative. For example, let's draw our attention to the scene from the movie "The Lord of the Rings: The Two Towers " (Jackson, 2002) in which Legolas releases arrows in the warrior that performs the explosion of King Theoden fortress' wall at that moment. In this case, we clearly see the action "Enemy provides a hard shelling on hero/heroine," - I have chose a negative emphasis for the action because the latter mostly refers to antagonist (let's remind of a hard shelling to a forest shack in the movie "The Dark Valley" (Prochaska, 2014) for example). Prohibition principle for literature says that hero's and antihero's spheres of activity cannot overlap (in other case, it leads to the situation in which a clear interpretation of action is impossible); thus, if we have the action that refers to both antagonistic characters in the same time, we get two interpretations at once, - one of them is related to Form when another is related to Content.

Law of balance

This law stages that moral and physical abilities sum for every character is constanta; for our searching, there is an important consequence the law has: In the initial phase of conflict in which both protagonist and antagonist are involved a negative character always has a physical advantage over hero/heroine. It must be added to what was said that Balance law works accordingly to Second law of thermodynamics, - so, I don't need to call arguments on the probability of its existing here.

Methods

Applying of differentiation and integration to literature exploring

When we are introduced to Campbell's conception, we see that the latter certainly follows plot ongoing, - it means that we should seek the beginning of Monomyth roughly at the beginning of work, when the middle part of Campbell's conception should be found probably around of the middle of writing, and so on. But what if the way is not correct? In my opinion, we should use achievements of mathematical analysis in this case. I think, Propp is the first person on the planet who did this thing when he extracted the elementary action of character, calling it the function of dramatis person (Propp, 1968). Such operation of Propp is essentially differentiation, - and integration, the meaning of which is puzzling actual character actions in a general logical picture, should be performed next. In order to get a better understanding of the method when it is used to explore writings (in my opinion, movie scenarios can be considered as literary works too in this case), let's imagine that there are mixed (like usually the works' character actions are mixed in comparison with the ordered set of Propp's functions) without any order pieces of an ancient mosaic lay right before us; the first step is obviously to make them parted (this is essentially differentiation), - and then we are able to connect all of them in order to find the initial message (so, we would say that we performed integration in this case). It must be added that the proposed way has a consequence, - I mean that it is not necessar for gotten picture to follow writing plot.

The simplest episode

I think, that the spotting of elementary actions of character in work texts presented by Propp is kind of revolution as we are able to apply differential calculation for a better understanding of literature greatness in this case. Also, it is very useful to unite the actions in order to get episodes that consist of only the two functions of Propp in a wider sense (episodes with a higher number of character actions are not able to be much or less clearly interpreted). It can be added that the example of the simplest episode (hereinafter - episode) is mentioned by Campbell in "The Hero with a Thousand Faces" when such repeated element as "At the beginning, hero refuses to react to Call and then hero reacts to Call" is told.

Fractal projection (fractal reflection)

Let's take a look at the fractal (objects, parts of which are reduced copies of those objects, were given this name by the famous French mathematician Benoit Mandelbrot (Mandelbrot, 2021)) called Sierpiński triangle (Fig. 1) that is known to people from medieval times. In order to create such geometric shape, we should take the triangle in which all sides are equal (Phase A) and connect all the three middles by lines in the latter (as a result, we will get four triangles (each of them has equal sides), which are equal if we mean square; central one must be painted out in this case): these are Phase B and Phase C. On the next step we should project the gotten concept on all the triangles that were not painted out. It is clear that we would repeat such acts in all the next stages.

Figure 1. (Credits: ResearchGate; Soesoo et al.). Serpieński triangle, stages of its creating.

So, when biogenetic “postulation, by Ernst Haeckel in 1866, that ontogeny recapitulates phylogeny—i.e., the development of the animal embryo and young traces the evolutionary development of the species” (Britannica, T. Editors of Encyclopaedia, 2010), is observed from the other side we can say that a general evolution of vertebral organisms on the Earth is projected to embryonal development of every single vertebral organism, - such thoughts are placed here in order to give an idea of how we can make the exploring of literature much more effective through spreading the area of the fractal usage. Another example of projection is an ordinary shadow – when we see object shadow we can say with some approximation that the object is projected on the ground (in this case, we can consider that fish-, amphibia-, and lizard- phases which must be come across by every vertebral organism while embryo development are the "shadow" of evolution in common to the mentioned development).

Explanation of the fact that generation goes after generation constantly on the Earth

When a new generation, that is much or less healthy, goes at the place that the current generation, which is quite unhealthy in its turn, occupies, we can say that the fractal projection of the process in which order goes to take the place of chaos while the Big Bang (as Steven Hocking explains, nature laws, which are associated with order obviously, started to act at the Universe's birth time (Hocking, 1998)) is observed in this moment.

The mentioned subject is important in this case as it provides one of the explanations for causes of dissident murders in the world. It is interesting, if we draw our attention to episodes, we will see that the latters essentially do not include such concept as "Hero/heroine death," - for example, let's take a look at such episodes as "Hero/heroine dies and then he/she is resurrected" (it often can be seen in Disney’s films, such as “Tangled” (Greno & Howard, 2010)) and "Hero/heroine agrees to die for his/her views and then hero/heroine sees that the scaring is just the part of examination" (this is the example of parallel conception that stages that hero/heroine crisis is initiated by the Lord in personal for the purpose to perform the test of loyalty for servants, instead of the conception of inspired by Lord’s enemy a major servant rebellion (in this case, I must say that rebellion conception is mostly being discussed in this manuscript)) - we meet it in the movie “V for Vendetta” (McTeigue, 2005). Because of this, I think, we should consider the murder of dissident as the last observed fractal projection in order to avoid sense non-accordance, referring to episodes, in this case.

Analogue to the connecting of protons process from the interior of a star

A perfect writing needs the complexity of conflict presence in it (Strathy, n.d.), - for hero/heroine, it means a multiple "obstacle overcoming." One of these conflicts, referring to the current investigation, is the mentioned already primordial conflict between order and chaos, which I imagine as the process of potential barrier “battling”. For example, let’s draw our attention to the connection of protons process that occurs in the interior of the Sun: such thing is very important in general as one of its results – I mean electromagnetic expulsion that is providing light and warmness on the Earth right now – is key-factor when we talk about the existence of life on the planet. The main trouble while this is that protons are elementary particles with a positive charge, and there is a great power of electromagnetic repulsion (that roughly in 10^39 (it means that there are thirty-nine zeros (!) in this number) times greater than gravitation between any two protons) has place between each pair of them), – only a high temperature (dozens of million Kelvins), presented in the interior of a star, brings this process [protons connecting is meant] to reality. But, when the mentioned elementary particles get very close to each other, another great power enters the stage – I mean the power of nuclear attraction which is in a hundred times (it is not strictly again) greater than electromagnetic repulsion power which have been told. It must be added that Prof. Steven Hocking’s book “A Brief History of Time: From the Big Bang to Black Holes” (Hocking, 1998) can provide much more information on the concept of potential barrier if it is interesting.

A principally new set of basic characters

The Proppian folktale shows us such main dramatis personae: Hero, Villain, Princess, Dispatcher, Donor, Helper, False Hero and Father (Propp, 1968); in this case, we can conclude that Propp simply told us fact (I should say that I pay respect to his efforts in any way). On the other hand, when today the consensus on the twelve character archetypes (these are: The Innocent, Orphan, Hero, Caregiver, Seducer, Rebel, Lover, Creator, Joker, Mentor, Magician and Ruler (MasterClass, 2021)) existing have place, I would rather call such a thing analytics, not fact. For me, I propose another way – analyzing character actions, to extract the minimal set of basic characters that we need for exploration.

Such are: the Lord (a higher level phenomenon), the Enemy of the Lord, the Traitor to the Lord (so called First Servant), the Helper to the Lord (another name – Second Servant), People, and the Remnant of People.

My proposition is to consider classic thermodynamics concept “Order” as the Lord, and chaos as Enemy. Next, as writings are being created by humans and just for humans – and a human person is a social organism as we know – then we would better find concept that can serve as bridge between classic thermodynamics and social sciences; the concept of “Law” (it is much more close to the Declaration of the Rights of Man and of the Citizen (Britannica, T. Editors of Encyclopaedia, 2024) claimed at the starting phase of the French Revolution than to Salic Law (Britannica, T. Editors of Encyclopaedia, 2018), or Rus’ka Pravda (Історія України: Зародження української нації, n.d.), the medieval codes of law, in this case) can be that bridge I think.

About Traitor, - well, it is the person that actively builds a new order in society, that is People in essence, at the beginning but does not have enough charge to overcome the lure of staying in power as long as it is possible, – moral rise and fall both are correctly illustrated by such basic plot shape as “Man on hill” (Reagan et al., 2016; Jason Underwood, 2020) in this case. Another explanation of the concept is that First Servant is the looser, the personality that became the enemy to Law after he/she had been pushed back, being weak to overcome potential barrier, and so on.

For me, one of the first examples of Traitor in history is an ancient Roman politician Sulla (Valgiglio, 2023) that forced Senate to claim himself Dictator after years of a glorious serving for Republic. But it must be noted that Sulla was not the person to create Roman Republic, the latter had been claimed long before him; due to this thing, I think that the concept of “First Servant” most clearly reveals itself during various revolutions, – as the initial unloyal revolution leader (like Maximilian Robespierre (Bouloiseau, 2024)).

In this case, I think that the opposition to the Traitor is a collective Second Servant, – social group that is simultaneously the reserve and the last line of defence for Order.

The last basic character that we must discuss is Remnant, as I call it, – at this time the consequence of a major crisis is told.

An important moment of the current survey is the need for aforementioned sets of characters to be shown as they are completely accorded to mine, – and this is not hard task if we continue to use Propp’s methods. Take in observing, for example, fairy tale situation in which Pierre sees Lucifer taking away the Princess (Yabuki, 1969), – here, we clearly see the action “Hero sees Enemy harming Lord” (so, King Lucifer must be considered as Chaos (or Traitor) in this case, when Princess Rosa is personalized Order from this sight). Analogously, let’s take a look at the activity of the magician Saruman, R R Tolkien works’ character: in sum, it can be considered as First Servant activity.

Results

Applying of the basic plot shapes to the search

If we have a deal with the article “The Emotional Arcs of Stories are Dominated by Six Basic Shapes” (Reagan et al., 2016), we are known that such plot archetypes as “Man in a hole,” which accords to the episode “Hero/heroine brings enemy down and then enemy rises up” (it can be clearly seen through the scene of self-restoring of T-1000, the cyborg, from the film “Terminator: Judgement Day” (Cameron, 1991)), and “Man on hill” (the latter can be illustrated with the episode “Villain saves himself/herself through cheating and then villain is down because of the cheating” which we meet in the TV series “Generation War” episode (Kolditz & Kadelbach, 2013)) are the most popular among authors, after such basic plot shapes as Tragedy and Comedy, of course. Let’s look at them with attention. About the comedy, it serves just as a simple recognition of the fact that Order progresses in the Universe after the Big Bang (in this basic plot shape, as if on physics graph, we, in essence, see the Universe self-spreading, the birthing and development of complicated structures, such as a star, galaxy, galaxies cluster, and so on (Hocking, 1998)), accordingly to Second law of thermodynamics. In this case, the tragedy analogously (as the comedy negation) just shows that the reducing of Chaos has place in the modern Universe.

Such article as “The shapes of stories: A “resonator” model of plot structure” (Brown & Tu, 2020) is right when it says that “Man in a hole” (fall (tragedy)-rise (comedy)) and “Man on hill” (rise-fall), the plot archetypes, both have advantage over various comedies and tragedies because of their informativeness (let’s remind that information is the measure of order in this case). Additionally, V- and Λ-, the plot shapes, are completely accord to Tzvetan Todorov’s equilibrium restoring theory (Todorov, 1971), – it appears that they both are elementary ethical stories, corresponding to ethics, so.

But mentioned emotional arcs have also “a dark side” - “Man in a hole” regarding to Order as well as “Man on hill” with regard to Chaos – they both contradict Second law of thermodynamics (according to the latter, Order’s starting point must be in a low position, when Chaos have to start from a high position). It seems, in this case, that we should use “Cinderella” (Fig. 2 (a)) or “Oedipus,” the basic plot shapes, if we want to have balanced out plot archetype for the current researching.

Figure 2. The plot shape “Cinderella” (a), and the demonstation of how the latter can be presented through the compilation of “Man on hill” and “Man in a hole” (b).

I think that, in order to get the model explaining the raw of events for Order with “Cinderella” (as well as the set of events for Chaos through the using of “Oedipus”) we must realize that the last element of Λ-plot (it is tragedy) and the first element of V-plot (it is tragedy again) both mean the same concept - hero/heroine crisis (Fig 2 (b)); so, I present “Cinderella” as well as “Oedipus” through the sum of V- and Λ-, the plots, (just remember that while observing “Oedipus” we speak about antagonist’s success instead of the mentioned hero/heroine crisis).

Next, regarding to both “Man in a hole” and “Man on hill,” we should use the type (Fig. 3) that can be spotted in the movie “The Showshenk Redemption” (Darabont, 1994): this means that situation for hero/heroine suddenly gets worse a lot and then, after a long time without practically any changes, it is repaired, relatively in a short time.

Figure 3. Another type of “Man in a hole.”

As a result, we have processed “Cinderella” for working now (Fig. 4).

Figure 4. The changed “Cinderella” that reflects the development of situation for Order in society in time.

Main drivers

Let’s begin the describing of characters interaction in general (according to the current conception), using such narratology term as “Driver” (Phillips, 2004); it must be added that we can also use “Turning point” (Moore, 2011), or “Plot point” (Field, 2005) in this case.

So, the main goal of Law is total vanishing of all Chaos manifestations from society life: these two are antagonists referring to their interests (creative power and destructive power, etc.) and one of them can rise only on opponent’s own (it is interesting that the humans’ and animals’ common need of permanent eating another organisms (except those that belong to the same species as eaters) can be presented as the fractal projection of the last thesis on biological life). But due to the fact that there is two main forces exist in the Universe, we have fractal reflection, and its result: Law needs a servant for the mentioned objective to be achieved.

In order for First Servant to be able to defeat Chaos, Order manages the rising of a future traitor (Fig. 5, Segment B – C), the receiving of the full power (this is the advantage, determined by law of balance, over the opponent) through a free choice of People; the driver for this is First Servant strong emotional decision to serve Law (Fig. 6, Segment A - D). So, it is the beginning of First Service (the first Order’s rise in society, – writings reveal this thing fragmentarily, mostly through flashbacks, where the past positive activity of a negative character is told); it must be added that emotional impulse of Firstborn serves as driver not only to Law, Second Servant strongly wishes to be repeating seen example in this case (due to this the latter should get some post in society as promotion from the Lord).

Figure 5. Changing of statuses of main determiners in society in time.

Figure 6. Changing of “Respect to Law” levels for First and Second Servant in time.

Continuing following this course, I should say that there is potential barrier on the way for Order to triumph over Enemy in society (Fig. 6, Level 1) – the fear that living standards would be reduced (with the probability of losing life at all) while supporting Lord, – so, we see another manifestation of the advantage that Chaos has over opponents in society; for personae with power the mentioned potential barrier means also the fear of losing the post, – this the cause of power usurpation that Traitor realises in society (Fig. 5, Segment E - F).

About the role of Second Servant, this person counteracts opponent’s rebellion, but only for a relatively short time (Fig. 6, Segment D – E) because of having no abilities to overcome the potential barrier; Traitor has success so (the key-point to such conclusion is “A paid policeman releases out the crime,” the action).

In this case, I must explain that First Servant has no opportunity for total vanishing Order out of society as the minimum level of Law, which is equalized with Monopoly on violence (you can know much more on this topic after reading out such books as “Guns, Germs, and Steel: The Fates of Human Societies” (Diamond, 1999) and “Before the Dawn: Recovering the Lost History of Our Ancestors” (Wade, 2007)) by me, is needed for civilization to have opportunity for a stable existing, – it appears that Traitor wants Law to be humiliated in society through the execution of exclusively technical function.

Returning to the mentioned rebellion, while which Chaos receive freedom (Fig. 7, Segment E – F; draw your attention on the same action “A paid policeman releases out the crime”), controlled by First Servant (the latter believes in that he/she can keep Chaos tamed in own mind as long as he/she wants in this case), as result, I must say that it [the rebellion] serves as driver for Second Servant’s new try to overcome potential barrier (Fig. 6, Segment F – G), – this activity expresses itself through opponent’s long-time repression for principal position (here, we see the manifestation of Prohibition principle – Traitor tortures Helper physically and morally when Second Servant strikes the opponent spiritually because of staying in the fidelity to Law in order for Chaos to be ashamed).

Figure 7. Changing of statuses of main determiners in society in time (additional).

And what should happen when Traitor mind gets fulfilled with Chaos (Fig. 6, Point G) because of the mentioned tortures (at this moment we clearly see the episode “Hero/heroine beats the enemy and then enemy gets fallen” revealing, – read Appendix 2 in this case)? This is the answer: First Servant should begin the waging war against a stronger opponent (Fig. 7, Segment G – G1), which [war is meant], in turn, obviously destroys criminal regime (this determined defeat (Fig. 7, Segment G1 – H) can be considered as People’s “hero/heroine crisis” in this case, and it is the trigger for at least two events: the process of re-thinking the law by Remnant, and the complete rehabilitation (Fig. 5, Segment H – H1) that Second Servant should get in society (note that only such person would be able to fulfil power vacuum after a major crisis).

Beyond this point - it must be said - we are not able to see any event of society evolution as writings do not mention any other details within the frameworks of the current theory.

Discussion

There are important things that I must report on: The theory that is told in this manuscript does not have the characteristic of universality (which was my initial goal), it is very hard to use it in the way for the beginning of civilization to be more or less completely explained. Although we have some separated examples of such concept as “First Servant” (such are: Sulla, many of the Scottish nobles during the late phase of Sir William Wallace’s war against the English (Britannica, T. Editors of Encyclopaedia, 2024), etc.) before the Age of revolution in human history, - it is not enough.

Next, even when we speak on the possibility of using the current theory in purpose to get the explaining of the ongoing that various revolutions have in common, we must remember that usage limitations of the theory are presented in this case too. It is because, in reality, we have two stages of revanche (instead of one stage that was explain by mine) during the revolution: first one refers to the power usurpation performed by the initial, unloyal revolution leader (as it was shown, Chaos stands right behind this person), when the second stage is the shape of revanche that is often called Reaction (the reason for this is that the mentioned Reaction force (it can be monarchy, dictatorship, a mighty empire, etc.) plays the role of Chaos while real revolution (so, I think that aristocratic people at the time of French Revolutuon can be presented as Chaos)).

When main failures have been described, I can say also that such corresponding of different in essence science methods (these are: classical thermodynamics – Second law, mathematical analysis - differentiation and integration, chaos theory – fractals, structuralism – Propp’s functions and simplest episodes, narrative studies – basic plot shapes, etc.) was unexpected; from this sight, it seems as an important evidence of rightness that the theory has.

Conclusion

Thanks to Propp's methods, one can see that there is a great amount of character actions in writings. We have already obtained a clear interpretation for this phenomenon after differentiation and integration, powerful instruments of mathematical analysis, as well as other science tools that were used. Additionally, it appears that received conception is checked in part through the observation, and it refers to revolution. As I see it, the corpus of literary works, starting with "Epic of Gilgamesh," hides the information on the most important stages of revolution. In such situation, I think that it is importantly for character actions that can be extracted from hunter-gatherer myths to be studied out. Creating the statistics for the appearing of character actions, as well as families of corresponding actions, in works is another future task that must be resolved. Concluding this manuscript, I want to say that character actions set deserves to be a deeply studied.

Appendix 1. On the essential similarity between major basic plot shapes theories

Starting the highlighting of the topic, I want to draw our attention to the fact that “Man on hill” and Freytag’s Pyramid (Fig. 8) are very similar principally, – so, “Rising action” means the rising of negative character (the losing out of the initial ethical balance, that in, part, corresponds with Todorov’s views (Todorov, 1971)) in this case, as “Falling action” means falling of villain (ethical balance finding up) at the same time. Next, from mathematical sight, such basic plot shapes as “Man in a hole” and “Man on hill,” found by Kurt Vonnegut (Vonnegut, 1981, 2007), are graphics that describe the movement of pendulum (though in general) – Fig. 9; and physics teaches us that circle movement (such one obviously corresponds with the graphic expression of Campbell’s Monomyth) can be presented as the movement of pendulum (especially such pendulum as conical (RefugioMilitia, 2011)). Thus, theories of such scholars as Freytag, Campbell, Vonnegut and Todorov are connected in essence.

Figure 8. (Credits: ResearchGate; Brown & Tu). Graphic reflections of major basic plot theories.

Figure 9. (Credit: Allaboutcircuits.com; Keim). The graphic of the function y=sin (x); the latter, among other things, expresses pendulum movement.

Appendix 2. The episode “Hero/heroine beats the enemy and then enemy gets fallen” variations

Hero/heroine beats the enemy and then enemy gets brought down;

Hero/heroine strangles the enemy (drowns the enemy in water) and then enemy gets strangled (drowned);

Hero/heroine breaks (makes enemy to drop) the enemy weapon while fighting and then enemy gets disarmed;

Hero/heroine produces the weapon and then hero/heroine gets armed;

Hero/heroine cuts out the rope with which he/she is tied out and then hero/heroine gets free;

Captured hero/heroine spits on the enemy face and then enemy gets ashamed;

The master stigmatizes the slave and then the slave gets marked;

The victim of attack rips out a piece of attacker clothes and then the attacker gets accused.

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