Chris Jenkinsson Archetypes

It is in prison that Charles Primrose meets Ephraim Jenkinson, who had once tricked Moses into giving up the family’s horses. Together they send a letter to Sir William Thornhill, Squire Thornhill’s uncle, explaining the situation, but it is to no avail. Dr. Primrose learns that Sophia has been abducted, but she is rescued by Mr. Burchell, who was actually Sir William Thornhill all along. Jenkinson reveals that the Squire was planning to pretend to rescue Sophia to seduce her. He also claims that he was the one who pretended to marry the Squire and Olivia, but he actually made the marriage legal, preventing the Squire from taking Arabella’s fortune. The novel concludes with George marrying Arabella and Sir William marrying Sophia. The vicar’s

Not all archetypes play major roles in the story, but characters that re-appear such as Ephraim Jenkinson play key archetypes while not being main characters and can be seen from different perspectives depending on the situation. Jenkinson (who at this point in the story was not known as Ephraim Jenkinson) tricked Moses into giving away his horses in exchange for worthless spectacles toward the opening of the novel (Goldsmith 38). Later in the story, Jenkinson plays a pivotal role in the uncovering of Mr. Thornhill’s plot and the fulfillment of justice for the Primrose Family. This dynamic character changes roles in the story, first assuming the role of the serpent who is a helper and representative of evil known for his deceptive qualities. Toward the conclusion of the novel, Jenkinson reveals the Squire’s plot, and his previous actions prevent the Squire from attaining Arabella’s fortune, which places him in the role of the The Wise One, whose knowledge is key in the resolution of the story’s

Toward the beginning of the novel, Mr. Burchell saves Sophia who was in the midst of a rapid stream, thrown from her horse, and struggling with the torrent” (Goldsmith 10). At this moment she is unable to save herself and relies on the aid of Mr. Burchell to save the day. Later in the novel, Olivia plays the damsel as she is found abandoned by who she thought was her husband, and she is helpless until saved and brought home by her father. These classic archetypes are used commonly to fit any story, which is what makes The Vicar of Wakefield the relatable and captivating work that it is. Readers are familiar with character dynamics while being exposed to an entirely new story. This was what not only made the novel successful during the Enlightenment but today as well. Oliver Goldsmith’s novel is certainly fit to be studied as a result of Enlightenment thought and mid-18th century creativity, but it is more than that: it is a story the readers of today will connect