The Seven Basic Plots: Why We Tell StoriesFrom The Epic of Gilgemesh to Jaws and Schindler's List, Christopher Booker examines in detail the stories that underlie literature and the plots that are basic to story telling through the ages. In this magisterial work he examines the plots of films, opera libretti and the contemporary novel and short story. Underlying the stories he examines are Seven Basic Plots: rags to riches; the quest; voyage and return; the hero as monster; rebirth and so on. Booker shows that the images and stories serve a far deeper and more significant purpose in our lives than we have realised. In the definition of these basic plots, Booker shows us we are entering a realm in which the recognition of the plots proves only to be the gateway. We are in fact uncovering a kind of hidden universal language: a nucleus of situations and figures which are the very stuff from which stories are made. With Booker's exploration, there is literally no story in the world which cannot be seen in a new light: we have come to the heart of what stories are about and why we tell them. Here, Christopher Booker moves on from some of the themes he outlined in his hugely bestselling book The Neophiliacs. Seven Basic Plots is unquestionably his most important book to date. |
Contents
Introduction and historical notes | 1 |
THE SEVEN GATEWAYS TO THE UNDERWORLD | 7 |
Prologue to Part One | 17 |
Overcoming the Monster | 21 |
The Monster II and the Thrilling Escape From Death | 31 |
Rags to Riches | 51 |
The Quest | 69 |
Voyage and Return | 87 |
Prologue to Part Two | 239 |
The Dark Figures | 241 |
The Feminine and Masculine Values | 253 |
The Perfect Balance | 267 |
The Unrealised Value | 277 |
The Archetypal Family Drama Continued | 289 |
The Light Figures | 297 |
Reaching the Goal | 311 |
Comedy | 107 |
The Plot Disguised | 131 |
The Five Stages | 153 |
The Divided Self | 173 |
The Hero as Monster | 181 |
Rebirth | 193 |
From Shadow into Light | 215 |
The Rule of Three the role played in stories by numbers | 229 |
THE COMPLETE HAPPY ENDING | 237 |
The Fatal Flaw | 329 |
Enter the Dark Inversion | 347 |
End From Chekhov to Close Encounters | 425 |
Why Sex and Violence? The Active Ego The TwentiethCentury | 455 |
WHY WE TELL STORIES | 541 |
The Light and the Shadows on the Wall 699 | |
Glossary of Terms 707 | |
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Common terms and phrases
Aladdin Amleth anima Anna Karenina archetypal arrives beautiful become begins Beowulf central figure centre century characters Comedy comes complete consciousness Creon dark feminine dark figure dark masculine Dark Mother dark power Dark Rival death developed Don Giovanni Dream Stage egocentric egotism emerge eventually everything familiar fantasy father film finally girl goal happens happy ending heart hero and heroine hero or heroine hero's human imagination inner James Bond Jane Eyre journey killed king kingdom liberated light lives look Macbeth married Moby Dick murder mysterious nature Nightmare Stage novel obsession Odysseus Oedipus ordeals Overcoming the Monster pattern play plot Princess Quest Rags to Riches realise recognise represents role seems sense shadow story's storytelling symbolic symbolised Teiresias tells Theseus thing Tragedy transformation true turn type of story ultimately uncon unconscious values Voyage and Return whole wife Wise Old woman young