Antagonist

An antagonist is a character in a story who is presented as the chief foe of the protagonist.[1]

This article is about the literary term. For the pharmacological term, see receptor antagonist. For other uses, see Antagonist (disambiguation).

Etymology

The English word antagonist comes from the Greek ἀνταγωνιστής – antagonistēs, "opponent, competitor, villain, enemy, rival," which is derived from anti- ("against") and agonizesthai ("to contend for a prize").[2][3]

Types

Heroes and villains

In the classic style of stories where the action consists of a hero fighting a villain, the two may be regarded as protagonist and antagonist, respectively. However, the villain of the story is not always the same as the antagonist, as some narratives cast the villain in the protagonist role, with the opposing hero as the antagonist. An antagonist is sometimes a neutral character who may represent a threat or obstacle to the main character by its existence, not necessarily by targeting him or her in a deliberate manner.

Antagonists are conventionally presented as making moral choices less savory than those of protagonists. This condition is often used by an author to create conflict within a story. This is merely a convention, however. An example in which this is reversed can be seen in the character Macduff from Macbeth, who is arguably morally correct in his desire to fight the tyrant Macbeth, the protagonist .

Examples from television include J.R. Ewing (Larry Hagman) from Dallas and Alexis Colby (Joan Collins) from Dynasty. Both became breakout characters used as a device to increase their shows' ratings.

Other characters

Characters may be antagonists without being evil – they may simply be injudicious and unlikeable for the audience. In some stories, such as The Catcher in the Rye, almost every character other than the protagonist may be an antagonist.[4]

Aspects of the protagonist
Main article: Anti-Hero

An aspect or trait of the protagonist may be considered an antagonist, such as morality or indecisiveness.[4]

Non-personal

An antagonist may not always be a person or people. In some cases, an antagonist may be a force, such as a tidal wave that destroys a city; a storm that causes havoc; or even a certain area's conditions that are the root cause of a problem. An antagonist also may or may not create obstacles for the protagonist.[5]

Societal norms or other rules also may be antagonists.[4]

Former protagonists

A character once a protagonist can turn into an antagonist under extremely negative circumstances. Examples include Anakin Skywalker from the Star Wars franchise who turns from protagonist Jedi to antagonist Sith. A supporting protagonist can become an antagonist by betraying a main protagonist.

Usage

An antagonist is used as a plot device, to set up conflicts, obstacles, or challenges for the protagonist.[4][6] Though not every story requires an antagonist, it often is used in plays to increase the level of drama. In tragedies, antagonists are often the cause of the protagonist's main problem, or lead a group of characters against the protagonist; in comedies, they are usually responsible for involving the protagonist in comedic situations.[6]

gollark: Yes, I saw.
gollark: Test.
gollark: Discord chat on what?
gollark: You should use the glorious code of this fork of ale's krist miner: https://pastebin.com/DKriPmPe
gollark: `write "ALSO YOUR CODE IS KIND OF BAD SOME OFFENSE"`

See also

References
  1. About.com, Literature: Contemporary "Antagonist." Online. 18 October 2007.
  2. "Antagonist". Online Etymology Dictionary. Retrieved 28 November 2010.
  3. "antagonist". Oxford English Dictionary (3rd ed.). Oxford University Press. September 2005. (Subscription or UK public library membership required.)
  4. Bulman, Colin (2007). Creative Writing: A Guide and/or Glossary to Fiction Writing. Polity Press. p. 17. ISBN 9780745636870 – via Google Books.
  5. "The Elements of Literature". roanestate.edu.
  6. Smiley, Sam (2005) [First published 1971 by Prentice-Hall]. Playwriting: The Structure of Action. Yale University Press. pp. 133–134. ISBN 0300107242 – via Google Books.
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