A sacrificial lamb is a metaphorical reference to a person or animal sacrificed for the common good. The term is derived from the traditions of the Abrahamic religions where a lamb is a highly valued possession. [1]
A sacrificial lamb is a metaphorical reference to a person or animal sacrificed for the common good. The term is derived from the traditions of the Abrahamic religions where a lamb is a highly valued possession. [1]
In politics, a sacrificial lamb candidate is a candidate chosen to contest an election with little chance of victory. The political party thus appoints the person as a sort of "sacrifice" to the stronger opponent.
In some cases, fielding a sacrificial lamb candidate can serve as an opportunity for the party to be more creative in choosing a candidate than would normally be considered acceptable in a closely contested race. Alan Keyes and Geraldine A. Ferraro are examples in American politics. In 1956, Adlai Stevenson was considered a sacrificial lamb candidate for president against Dwight Eisenhower. In 2004, Howard Mills was considered a sacrificial lamb candidate for the U.S. Senate from New York against Chuck Schumer.
In cinema and literature, a "sacrificial lamb" is a supporting character who's murdered by a villain, which prompts the protagonist to avenge them. The sacrificial lamb is often the protagonist's family member, partner, or friend. They can also be a defenceless stranger, such as an orphan. The virtuous hero mourns the sacrificial lamb's death, foiling the wicked villain who celebrates their enemy's defeat. The lamb's murder justifies the rivalry between the hero and the villain. Because no complex setup is needed to establish the trope, it is often criticised as a shallow way to create narrative conflict. A similar trope is the Women in Refrigerators, where the male hero's girlfriend, sister, or mother gets murdered.
An example of this trope's use in early literature is Macaria in Heracleidae by Euripides. The revenge tragedy theatrical genre is defined by this trope, coupled with the hero's own tragic death.
In modern media, examples include Anthony Edwards' character Goose, in Top Gun as well as Phil Coulson in The Avengers .
A hero is a real person or a main fictional character who, in the face of danger, combats adversity through feats of ingenuity, courage, or strength. The original hero type of classical epics did such things for the sake of glory and honor. Post-classical and modern heroes, on the other hand, perform great deeds or selfless acts for the common good instead of the classical goal of wealth, pride, and fame. The antonym of hero is villain. Other terms associated with the concept of hero may include good guy or white hat.
A martyr is someone who suffers persecution and death for advocating, renouncing, or refusing to renounce or advocate, a religious belief or other cause as demanded by an external party. In colloquial usage, the term can also refer to any person who suffers a significant consequence in protest or support of a cause.
A protagonist is the main character of a story. The protagonist makes key decisions that affect the plot, primarily influencing the story and propelling it forward, and is often the character who faces the most significant obstacles. If a story contains a subplot, or is a narrative made up of several stories, then each subplot may have its own protagonist.
A sidekick is a slang expression for a close companion or colleague who is, or is generally regarded as, subordinate to those whom they accompany.
Thriller is a genre of fiction with numerous, often overlapping, subgenres, including crime, horror, and detective fiction. Thrillers are characterized and defined by the moods they elicit, giving their audiences heightened feelings of suspense, excitement, surprise, anticipation and anxiety. This genre is well suited to film and television.
A villain is a stock character, whether based on a historical narrative or one of literary fiction. Random House Unabridged Dictionary defines such a character as "a cruelly malicious person who is involved in or devoted to wickedness or crime; scoundrel; or a character in a play, novel, or the like, who constitutes an important evil agency in the plot". The antonym of a villain is a hero.
The damsel in distress is a narrative device in which one or more men must rescue a woman who has been kidnapped or placed in other peril. The "damsel" is often portrayed as beautiful, popular and of high social status; they are usually depicted as princesses in works with fantasy or fairy tale settings. Kinship, love, lust or a combination of those motivate the male protagonist to initiate the narrative.
An antagonist is a character in a story who is presented as the main enemy and rival of the protagonist.
Traditionally, conflict is a major element of narrative or dramatic structure that creates challenges in a story by adding uncertainty as to whether the goal will be achieved. In works of narrative, conflict is the challenge main characters need to solve to achieve their goals. However, narrative is not limited to a single conflict. In narrative, the term resolution refers to the closure or conclusion of the conflict, which may or may not occur by the story's end.
Vladimir Yakovlevich Propp was a Soviet folklorist and scholar who analysed the basic structural elements of Russian folk tales to identify their simplest irreducible structural units.
Revenge tragedy is a theatrical genre, in which the principal theme is revenge and revenge's fatal consequences. Formally established by American educator Ashley H. Thorndike in his 1902 article "The Relations of Hamlet to Contemporary Revenge Plays," a revenge tragedy documents the progress of the protagonist's revenge plot and often leads to the demise of both the murderers and the avenger himself.
The final girl is a trope in horror films. It refers to the last girl(s) or woman alive to confront the killer, ostensibly the one left to tell the story. The final girl has been observed in many films, including Psycho, Voices of Desire, The Texas Chain Saw Massacre, Halloween, Alien, Friday the 13th, A Nightmare on Elm Street, and Scream. The term was coined by Carol J. Clover in her article "Her Body, Himself: Gender in the Slasher Film" (1987). Clover suggested that in these films, the viewer began by sharing the perspective of the killer, but experienced a shift in identification to the final girl partway through the film.
Anagnorisis is a moment in a play or other work when a character makes a critical discovery. Anagnorisis originally meant recognition in its Greek context, not only of a person but also of what that person stood for. Anagnorisis was the hero's sudden awareness of a real situation, the realisation of things as they stood, and finally, the hero's insight into a relationship with an often antagonistic character in Aristotelian tragedy.
A character arc is the transformation or inner journey of a character over the course of a story. If a story has a character arc, the character begins as one sort of person and gradually transforms into a different sort of person in response to changing developments in the story. Since the change is often substantive and leading from one personality trait to a diametrically opposite trait, the geometric term arc is often used to describe the sweeping change. In most stories, lead characters and protagonists are the characters most likely to experience character arcs, although lesser characters often change as well. A driving element of the plots of many stories is that the main character seems initially unable to overcome opposing forces, possibly because they lack skills or knowledge or resources or friends. To overcome such obstacles, the main character must change, possibly by learning new skills, to arrive at a higher sense of self-awareness or capability. Main characters can achieve such self-awareness by interacting with their environment, by enlisting the help of mentors, by changing their viewpoint, or by some other method.
Characterization or characterisation is the representation of characters in narrative and dramatic works. The term character development is sometimes used as a synonym. This representation may include direct methods like the attribution of qualities in description or commentary, and indirect methods inviting readers to infer qualities from characters' actions, dialogue, or appearance. Such a personage is called a character. Character is a literary element.
The representation of gender in horror films, particularly depictions of women, has been the subject of critical commentary.
Women in refrigerators is a literary trope coined by Gail Simone in 1999 describing a trend in fiction which involves female characters facing disproportionate harm, such as death, maiming, or assault, to serve as plot devices to motivate male characters, an event colloquially known as "fridging". Simone's original list of over 100 affected female characters, published on the "Women in Refrigerators" website, sparked discussions on sexism in pop culture and the comic-book industry. The trope's influence extends beyond comics, with critiques of its presence in film and television franchises. Notably, author Catherynne M. Valente, inspired by Gwen Stacy's portrayal in The Amazing Spider-Man 2, wrote The Refrigerator Monologues, addressing the trope's impact on female characters in superhero narratives.
Titus Andronicus is the main character in William Shakespeare's revenge tragedy of the same name, Titus Andronicus. Titus is introduced as a Roman nobleman and revered general. Prior to the events of the play, he dedicated ten years of service in the war against the Goths, losing 21 sons in the conflict. In the opening act, Titus orders that the eldest son of Tamora, Queen of the Goths, be sacrificed according to Roman tradition in order to avenge his dead kin. He is also offered the emperorship, but he declines the honor and bestows it upon the late emperor's son, Saturninus. When Saturninus is denied the ability to pick his first choice of empress, Lavinia, he chooses to wed Tamora. Throughout the rest of the play, Titus and Tamora remain locked in a battle of brutal revenge. The play thus descends into moral chaos as characters perpetrate or find themselves victims of various egregious offenses, including rape, mutilation, and murder.
Isekai is a subgenre of portal fantasy. It includes novels, light novels, films, manga, anime, and video games that revolve around a displaced person or people who are transported to and have to survive in another world such as a fantasy world, game world, or parallel universe with or without the possibility of returning to their original world. Isekai is one of the most popular genres of anime, and isekai stories share many common tropes – for example, a powerful protagonist who is able to beat most people in the other world by fighting. This plot device typically allows the audience to learn about the new world at the same pace as the protagonist over the course of their quest or lifetime. If the main characters are transported to a game-like world, the genre can overlap with LitRPG.
{{cite book}}: CS1 maint: multiple names: authors list (link)