Amadís, Superhero

The term superhero generally refers to a kind of fictional character originating in the first half of the twentieth century, at first chiefly in comic books and pulp fiction, then later expanding into the many different media of the present-day culture industry. Cultural and media critics debate the ancestry of the type, namely which heroes of the ancient, medieval, or non-Western worlds might be seen as precursors or analogues of the modern superhero. What follows is not meant to decide the question of which folkloric or literary personage is the first superhero or which of the emerging national literatures arrived first at the superhero tourney. My intention, rather, is to demonstrate that the eponymous protagonist of the most famous Spanish chivalric romance must be considered an early example of this pop-cultural type. The chivalric romance in question is Amadís de Gaula, written in its extant form by Garci Rodríguez de Montalvo (princeps edition, 1508). Comparing its protagonist with a composite profile of modern superheroes reveals significant thematic and structural analogies between knight-errantry and superheroism.

Superheroes share many attributes with folkloric (the Cid, Robin Hood), literary (the Cid, Roland), legendary (Achilles, Odysseus), or mythic figures (Greek or Norse gods). The superhero can be classed as a sub-type of the traditional or folkloric hero defined by Lord Raglan’s well-known scoring system for heroes (141–217; see also Joseph Campbell 3–25).¹

The quintessential component of the superhero’s profile is superhuman power. This type of hero is stronger, quicker, and more agile than ordinary men. He or she is possessed of preternatural courage, stamina, resistance to pain, and fighting skills. These superpowers may derive from actual superhuman origins (e.g., Superman, the scion of a superior extraterrestrial race), or they may amount to a de facto invulnerability (the case of Tarzan and Batman). Demigods such as Hercules and Achilles, sons of mixed marriages between gods and humans, are traditional and folkloric precedents for Superman and his present-day analogues. Odysseus, Roland, and the Cid, epic heroes of human parentage but preternatural strength and prowess, are, to some degree, influential precedents of the human type of superhero. The wealth and resources of such heroes as Batman and Iron Man, while conferring enormous advantages, do not change the essential humanity of the characters. This differentiates them from such characters as Superman or Spider Man, whose physical superiority makes them different from ordinary men.

Superheroes present other variations. These have prompted division into subsets or provoked disagreement as to membership in the superheroic confraternity. Critics argue, for example, whether the so-called masked avenger, of which Zorro is probably the best known modern example, is a superhero or a similar but distinct type: a brave, dedicated, and supremely gifted swordsman, but not superhuman enough to match the profile. Another discernible division is that between loners, of whom Tarzan is a prominent example, and those who, by contrast, have sidekicks (e.g., Batman and Robin, Xena and Gabrielle). Yet another variation is represented by superheroes who work with teams of friends or collaborators (e.g., the X-Men, the Justice League, Buffy and her Scoobies, the Watchmen).²

The list could be extended to include other traits. Superheroes, for instance, often have a headquarters or secluded residence. They often make use of special kinds of weaponry or equipment that allow them to confront adversaries who are usually possessed of their own special powers, weapons, and equipment. Sometimes, the superhero’s equipment (e.g., Green Lantern’s ring; Iron Man’s mechanized armor) confers abilities that are tantamount to superpowers.

Double identity is another common trait. The superhero typically has an everyday persona, often seemingly harmless or nondescript, and a secret identity. When performing superheroic deeds, he often wears a distinctive costume. Another frequent feature is the mentor, teacher or ally who both advises and assists the superhero in time of need. In addition, superheroes generally have formidable arch-adversaries –super-villains– who represent a serious threat to the superhero and his or her cause.

Another essential trait of the superhero is that he or she...