The term “protagonist” might sound academic, but understanding it is key to grasping any story, whether it’s a novel, film, or play. In simple terms, the protagonist is indeed the main character. However, a deeper dive reveals a more nuanced definition that’s crucial for anyone studying or enjoying literature.
The protagonist is more than just the central figure; they are the driving force of the narrative. This is the character whose journey we follow most closely, and whose fate holds the greatest weight in the story’s outcome.
Essentially, the protagonist is deeply intertwined with the plot and, most significantly, the central conflict of the story. They are not merely present; they are often the catalyst for events and are always at the emotional core of the narrative.
Sometimes, identifying the protagonist is straightforward. Take Marjane Satrapi’s acclaimed graphic memoir, Persepolis. This powerful story explores the complexities of the Iranian Revolution, tackling themes of identity, state oppression, and feminism. Yet, at its heart, Persepolis is Marjane’s personal story. The plot unfolds through her experiences as a young woman growing up during this turbulent period, and the memoir’s emotional peak is undeniably her profound grief and anger over the loss of her friend. In this case, Marjane is clearly the protagonist.
However, pinpointing the protagonist isn’t always this simple. Literature often presents us with intricate narratives where the central character might be less obvious at first glance.
Image: A panel from Persepolis, visually representing Marjane Satrapi as the central figure in her graphic memoir.
To further refine our understanding, consider this crucial characteristic: protagonists undergo change. They are dynamic characters who make choices, initiate actions, and are profoundly affected by the consequences of these actions and the events around them. This transformation is often the most compelling aspect of their journey.
This idea of change is intrinsically linked to the protagonist being the emotional heart of the story. In many works of literary fiction, the narrative isn’t driven by dramatic plot twists but by character development. To identify the protagonist in such cases, ask yourself: “Who is different by the end of the story? Who has traveled an emotional, mental, or relational distance?” The character who exhibits significant personal growth or transformation is often the protagonist, and their journey is the very essence of the story’s meaning.
Consider Tim O’Brien’s poignant story, “The Things They Carried.” While the story provides intimate glimpses into the lives of an entire platoon of soldiers during the Vietnam War, it ultimately centers on Lieutenant Jimmy Cross. Initially, he is portrayed as a young man distracted by romantic fantasies of a girl back home. By the story’s conclusion, he has undergone a significant shift, consciously releasing these distractions to embrace his responsibilities as a leader and soldier. The emotional climax arrives when he burns Martha’s letters, symbolic of his letting go of the past to face the present realities of war. While set against the backdrop of war, “The Things They Carried” is fundamentally a coming-of-age narrative focused on the protagonist, Jimmy Cross.
Another potential area of confusion in identifying the protagonist arises when the title of a work is misleading.
While some stories and series are straightforwardly named after their protagonists – think of the Percy Jackson series or Roald Dahl’s Matilda – this isn’t always the case.
Image: Book covers of Matilda and Percy Jackson, examples of stories named after their protagonists.
Moby-Dick, for example, bears the name of the iconic white whale. Although the whale undeniably drives much of the plot, it is not the emotional center of the narrative. Herman Melville’s masterpiece is truly about the human characters aboard the Pequod, particularly Captain Ahab and Ishmael. Similarly, The Wizard of Oz might suggest the Wizard is central, but Dorothy is unequivocally the emotional core of this classic tale. Her journey is one of transformation and self-discovery, as she learns to appreciate the value of home. The Wizard’s personal growth, or lack thereof, is largely inconsequential to the story’s emotional impact.
In rare instances, a story might feature more than one protagonist. A classic example is Romeo and Juliet. Shakespeare’s tragedy gives us equal access to both Romeo and Juliet’s perspectives. Both characters undergo significant change, make critical choices, and take decisive actions. Crucially, the fates of both are central to the profoundly tragic nature of the play.
Finally, it’s important to remember that the protagonist is not always a hero in the traditional sense. In fact, the anti-hero protagonist has become increasingly prevalent, particularly in modern television and literature. This type of protagonist lacks conventional heroic attributes such as bravery, moral righteousness, or altruism. Think of Walter White in Breaking Bad, a character who descends into moral ambiguity, or Iago in Shakespeare’s Othello, a villainous character who nonetheless drives the play’s action and captures our attention.
Image: A still from Breaking Bad, featuring Walter White as an example of an anti-hero protagonist.
The protagonist doesn’t need to be likable or morally upright to be the central character. Even if we don’t admire their choices or condone their actions, they can still be the protagonist if their journey is what the story is primarily about.
In conclusion, while the simplest definition of a protagonist is “the main character,” a more complete understanding encompasses their role as the driver of action, the emotional heart of the narrative, and a figure who undergoes significant change. Recognizing these nuances allows for a richer and more insightful appreciation of literature and storytelling in all its forms.
