JELL (Journal of English Language and literatur.
STIBA IEC Jakarta Volume 10.
Issue 2.
September 2025 p-ISSN 2540-8216, e-ISSN 2654-3745 https://journal.
stibaiec-jakarta/ojs/index.
php/jell A Jungian Archetypal Study of Main Characters in the TV Series Bridgerton Season 1 Ikhwan Muslim1 ikhwanmuslim91@gmail.
English Literature Department.
Sekolah Tinggi Bahasa Asing IEC Jakarta Abdulloh abdulloh@cwe.
Manajemen Logistik.
Politeknik Kelapa Sawit- Citra Widya Edukasi Bekasi Eny Suprihandani enysuprihandani@stibaiec-jakarta.
English Literature Department.
Sekolah Tinggi Bahasa Asing IEC Jakarta Mutia Nilda mutianilda@stibaiec-jakarta.
English Literature Department.
Sekolah Tinggi Bahasa Asing IEC Jakarta Muslim I.
Abdulloh.
Suprihandani.
and Nida.
A Jungian Archetypal Study of Main Characters in the TV Series Bridgerton Season 1.
Journal of English Language and Literature, 10.
Doi: 10.
37110/jell.
Received: 31-07-2025 Accepted: 22-08-2025 Published : 02-09-2025 Abstract: This study investigates the psychological development of the two main characters in Bridgerton Season 1AiDaphne Bridgerton and Simon BassetAithrough the lens of Carl Gustav JungAos archetype theory.
The research is motivated by the need to understand how archetypal structures shape emotional growth, internal conflicts, and relational dynamics within popular screen narratives.
The research employs a qualitative descriptive approach within the framework of literary criticism.
Selected dialogues and narrative events were analyzed to identify the presence and function of five primary Jungian archetypes: Persona.
Shadow.
Anima/Animus.
Hero, and Self.
The analysis reveals that Daphne undergoes a transformation from conformity to societal expectations toward the assertion of a more authentic self.
In contrast.
Simon confronts his fragmented emotional identity by reconciling with his past, ultimately achieving greater psychological integration.
These archetypal patterns illuminate each characterAos individuation process and their evolving relationship The findings suggest that Jungian archetypes not only serve as effective analytical tools for understanding character development in television narratives but also function as symbolic frameworks that resonate with audiences.
By highlighting the interplay between psychological archetypes and narrative construction, this study contributes to broader discussions of how media representations provide insight into human emotional experiences.
Keywords: Jungian archetypes, character development, individuation, psychological analysis, literary criticism of human existence, serving not only as a record of external events but also as a medium that reveals the complexities of the human psyche.
INTRODUCTION
Literature has long functioned as a reflection Corresponding author Ikhwan Muslim.
Abdulloh.
Eny Suprihandani & Mutia Nilda.
A Jungian Archetypal Study of Main Characters in the TV Series Bridgerton Season Characters in literary and media narratives often embody profound emotional, psychological, and philosophical dimensions, providing readers and viewers with insight into both individual consciousness and broader social In this sense, literary characters operate as symbolic vessels that articulate internal conflicts, social tensions, and moral dilemmas, positioning literature as more than a mere mirror of society.
Rather, it becomes a critical instrument for interrogating cultural norms and power structures.
Within the diverse array of critical psychoanalysisAiand theoretical framework of Carl Gustav JungAi offers a deeply influential and enduring JungAos conception of the collective unconscious posits that humanity inherits a reservoir of primordial images and symbolic patterns that manifest universally across myths, dreams, and narratives (Jung, 1.
These archetypes, far from being simple literary motifs, function as foundational psychological structures that shape perception, guide behavior, and inform identity formation.
Consequently.
Jungian theory provides a powerful interpretive lens through which to examine the psychological undercurrents that inform character development and narrative Basically Jungs theory is psychology theory, but JungAos also influences other studies such as inAy Psychedelic Drugs and Jungian Therapy GregAy.
This study was a review the history of and recent research on the psychotherapeutic The psychological effects of psychedelic drugs are reviewed from the perspective of Jungian (Mahr & Sweigart, 2.
JungianAos theory mostly employed in psychological AuContemporary Psychotherapy Research.
Psychodynamic PsychotherapyAy.
This article gives an overview of the evidence found for Psychodynamic Therapy in general and for Jungian Psychotherapy, on the background of the state of the art in psychotherapy research.
(Roesler.
Jungs analytical psychology identifies several core archetypes that frequently appear in literature: the Persona .
ocial mas.
Shadow .
epressed fears and instinct.
Anima/Animus .
nternal feminine/masculine aspect.
Hero .
he transformative seeke.
, and Self .
he ideal of wholenes.
These archetypes serve as internal forces that guide the psyche toward individuation a lifelong process of integrating the conscious and unconscious mind (Feist & Feist, 2.
Through this framework, literary characters are not simply fictional constructs but psychological representations of human development and struggle.
Applying Jungian archetypes in literary criticism allows scholars to uncover hidden psychological dimensions in texts, moving beyond surface-level plot to interpret characters as manifestations of universal psychic patterns.
Transformations within characters often mirror the inner journey toward self-realization, conflict resolution, or existential meaning.
This approach is particularly useful in modern visual storytelling, where television and film increasingly prioritize psychological realism and layered character arcs.
This study applies Jungian theory to Bridgerton, a contemporary television series created by Chris Van Dusen and produced by Shonda Rhimes.
Adapted from Julia Quinns bestselling novels.
Bridgerton premiered on Netflix in December 2020 and is set in Regency-era London.
It follows the Bridgerton family's romantic and societal lives, receiving critical acclaim for its visual appeal, diverse casting, and emotionally resonant storytelling.
The researcher found that many recent studies have used Jungian theory to analyze characters in modern films and animations.
For example.
Fatihah and Mustofa .
studied the character Estella in Cruella .
They showed how EstellaAos journey reflects the struggle between her public image .
and hidden emotions .
, which leads her toward self-understanding.
Bostan .
also used Jungian ideas to study the film Turning Red.
She explained how the main characterAos JELL (Journal of English Language and literatur.
STIBA IEC Jakarta Volume 10.
Issue 2.
September 2025 p-ISSN 2540-8216, e-ISSN 2654-3745 https://journal.
stibaiec-jakarta/ojs/index.
php/jell changes show archetypes like the inner child, the mother, and the shadow.
The researcher also found a study by Bahri et al.
, who looked at the character Otto in the film A Man Called Otto.
They showed how his behavior fits into different Jungian archetypes such as ego, shadow, and self, especially as he moves from sadness to healing.
Another study by Danylova .
looked at the idea of beauty in society using the AuKoreAy archetype, showing how it affects womenAos mental health.
In addition.
Goodwyn .
explained archetypes in a new wayAihe said they are not just cultural, but also part of our Even though these studies are useful, the researcher noticed that most of them talk about movies or theory, not TV series.
So far, there is very little research that uses Jungian archetypes to study romantic-period shows like Bridgerton.
This research tries to fill that gap by looking at how characters in Bridgerton change in ways that match JungAos ideas about psychological The analysis centers on two primary characters from Season One: Daphne Bridgerton and Simon Basset.
Duke of Hastings.
Daphne begins as the archetypal Personaan ideal debutante, graceful and obedientwhile Simon initially embodies the Shadow, emotionally distant and shaped by childhood trauma.
As their relationship unfolds, both characters confront internal and interpersonal tensions that reflect the archetypal Their transformation invites a deeper understanding of how Jungian psychology can be mapped onto modern narratives.
This research is guided by two central questions: What archetypal patterns, based on Jungian theory, are evident in the characters of Daphne and Simon? How do these development and narrative function within the Through qualitative textual analysis of key scenes, dialogue, and character interactions, this study seeks to demonstrate how archetypal dynamics enhance emotional resonance, narrative cohesion, and character depth.
Moreover, it affirms the relevance of Jungian psychoanalysis in analyzing contemporary media, offering a bridge between classical literary theory and modern visual storytelling.
Ultimately, this study shows that archetypes are not static templates but dynamic forces that shape how stories speak to universal human Characters In literary studies, character is a central element in narrative construction, serving as the medium through which stories unfold and themes are conveyed.
According to Boggs .
, a character is defined as "a fictional representation of a person usually a psychologically realistic depiction," which emphasizes the complexity of human behavior as portrayed through various expressive elements such as actions, reactions, physical appearance, speech, gestures, and expressions.
These elements collectively shape a believable and relatable figure within the story.
Further elaborating on this.
Boggs .
identifies five primary techniques used to reveal character traits: .
appearance, where visual description suggests personality.
dialogue, which unveils motivations, beliefs, and .
external action, reflecting moral choices and decision-making.
internal action, showing thoughts and emotions.
reactions of other characters, which mirror how a character is perceived within the narrative.
Roberts .
reinforces this by stating that characters are persons in dramatic or narrative works who are interpreted by the reader as being endowed with the moral and dispositional qualities that are expressed through what they say in dialogue and what they do in action.
This view places emphasis on the interpretive role of the reader in discerning character depth based on textual cues.
Importantly, characters are not limited to human forms.
They may be supernatural, mythical, divine, animalistic, or symbolic metaphorically or thematically within a story.
Regardless of their form, characters are Ikhwan Muslim.
Abdulloh.
Eny Suprihandani & Mutia Nilda.
A Jungian Archetypal Study of Main Characters in the TV Series Bridgerton Season constructed through a combination of narrative exposition, dialogue, action, and authorial commentary, which collectively build their psychological and emotional dimensions.
Flat Character Flat Characters, by contrast, represent a single trait or idea.
As Kirszner and Mandell .
note, they do not evolve much, if at all, and often function as symbolic figures.
Despite their simplicity, flat characters can still serve to reinforce themes or highlight In modern narratives, particularly in screenwriting and television, characters are expected to exhibit psychological realism and dynamic development.
This realism enables audiences to emotionally invest in their journeys, conflicts, and resolutions.
As such, character analysis becomes a crucial tool in literary criticism, helping to decode deeper psychological dimensions within a narrative Jungian Criticism Carl Gustav Jung .
, a Swiss psychiatrist, developed the theory of analytical psychology as a distinct branch of Freud's Although both recognized the existence of conscious and unconscious levels in the human psyche.
Jung placed much greater emphasis on the concept of the collective unconscious, which is the deepest layer of the human psyche that derives from humanity's ancestral psychological heritage, not just personal experience.
Kinds of Character Characters can be categorized based on their narrative function, psychological depth, and role in the story.
These distinctions help in understanding how characters contribute to both plot and theme.
Conscious Major Character According to Jung, as cited in Feist and Feist .
, consciousness is centered on the ego, which is the part of the self that is aware of current experiences.
However, the ego is not the true core of personality.
The ego is only a starting point that must then be completed by the true self, which is the true center of personality and is largely unconscious.
Jung emphasized that overemphasizing consciousness can lead to psychological imbalance.
Healthy individuals are those who are able to live a conscious life, while remaining connected to and accepting the unconscious aspects of themselves-a process called individuation.
Major Characters are central to the story.
Orson .
explains, these characters drive the plot and capture the audienceAos empathy.
Their motivationsAioften tied to love, fear, or lossAianchor the emotional weight of the Wright .
emphasizes that such motivations are key to making characters relatable and impactful.
Griffith .
distinguishes between protagonists .
ho pursue goal.
and antagonists .
ho obstruct Minor Characters Minor Characters may not be central to the plot, but they play vital roles.
They offer support, conflict, context, or contrast.
According to Card .
, minor characters can act as catalysts, pushing the story forward investment from the audience.
Personal Unconscious Schultz .
explains that the personal unconscious includes an individual's forgotten, repressed, or subliminally unconscious This includes painful memories, abandoned experiences, or unconscious events that influence behavior.
Although similar to Freud's concept of the unconscious and preconscious.
Jung considered the personal unconscious to be a unique region that only Round Character Round Characters are multidimensional and psychologically realistic.
Griffith .
describes them as evolving figures shaped by internal conflict.
They mirror the emotional complexity of real people and are ideal subjects for psychological analysis.
JELL (Journal of English Language and literatur.
STIBA IEC Jakarta Volume 10.
Issue 2.
September 2025 p-ISSN 2540-8216, e-ISSN 2654-3745 https://journal.
stibaiec-jakarta/ojs/index.
php/jell each individual possesses based on his or her own life experiences.
Jung identified several fundamental archetypes that are especially relevant in literary and psychological analysis:
Collective Unconscious Jung's most original and controversial concept is the collective unconscious.
Unlike the personal unconscious, the collective unconscious is the deepest layer of the human psyche that is inherited and passed down from generation to generation as psychic potential.
This unconscious contains universal ideas .
rchetypal image.
that are not learned through direct experience, but rather passed down from our earliest ancestors.
Examples are the ideas of "mother", "water", "hero", or "God" - concepts that consistently appear in various cultures and Jung believed that these crosscultural symbolic similarities reflect the same psychological structure in all humans.
Persona The Persona represents the social mask that individuals wear to conform to external expectations and roles.
It is the aspect of the self that is shown to others, shaped by culture, occupation, and social norms.
While it is essential for functioning in society, overidentification with the persona may lead to a loss of authentic self and psychological In literature, characters heavily influenced by their persona often struggle with inner conflict or crises when their public identity no longer aligns with their private self.
Shadow These structuresconsciousness, personal unconscious, and collective unconscious- interact to form the basis of individual conflict, development, and In the context of literary works and narratives, these structures are often manifested through symbols, characters, and the psychological journey of the protagonist.
The Jungian critical approach is therefore particularly relevant for analyzing character, as it explores not only what characters do or say, but also what they symbolize and represent The Shadow embodies the repressed or denied aspects of the psyche traits, desires, or impulses that are considered socially or morally It is often associated with darkness, fear, or taboo, yet also contains creative and transformative potential.
Jung emphasized that integrating the shadow is vital for psychological growth and individuation.
narrative terms, the shadow may be externalized as an antagonist, inner turmoil, or moral dilemma that the protagonist must confront.
Anima The Anima is the unconscious feminine dimension within the male psyche.
It originates from a man's early experiences with significant female figures .
, mother, sister, love.
and influences his emotional life, creativity, and capacity for intimacy.
The anima often appears in dreams or literature as a mysterious woman, muse, or spiritual guide.
Confronting the anima leads to greater emotional balance and deeper self-awareness.
Archetypes Carl Gustav Jung .
defined archetypes as patterns that repeat themselves in the collective unconscious of human beings, manifesting in dreams, myths, art, literature, and religious imagery across different cultures and historical periods.
These archetypes are not learned but inherited as innate psychic They emerge spontaneously in the human psyche when personal experiences resonate with these primordial images, often appearing through symbols, fantasies, visions, or literary representations.
Archetypes serve not only as templates for thought and behavior but also as frameworks for narrative and character .
Animus Conversely, the Animus is the masculine aspect within the unconscious of women.
symbolizes rationality, strength, and intellectual Formed through interactions with Ikhwan Muslim.
Abdulloh.
Eny Suprihandani & Mutia Nilda.
A Jungian Archetypal Study of Main Characters in the TV Series Bridgerton Season criticism, particularly Carl Gustav JungAos theory of archetypes.
This method is appropriate because it allows the researcher to interpret symbolic character behavior, inner conflicts, and psychological transformation through textual analysis of visual media.
The researcher conducts a close reading of selected male figures, the animus may shape a womanAos inner voice, reasoning, and belief systems.
narratives, the animus may manifest as a wise teacher, critic, or hero figure.
When integrated, it allows for the development of assertiveness and autonomy in female characters.
Hero dialogues, and character interactions in Bridgerton Season 1 to identify recurring archetypes such as the Persona.
Shadow.
Anima/Animus.
Hero, and Self.
The analysis is interpretive and descriptive, aiming to reveal how these archetypes function in the development of Daphne and Simon, and how their transformation mirrors JungAos concept of The method combines literary theory with psychological insight, making it suitable for uncovering deeper narrative meaning and character complexity in visual The Hero archetype represents the egos quest for identity, purpose, and triumph over Typically depicted in mythology and literature as a character who overcomes trials, slays monsters, or brings transformation to others, the hero embodies courage, sacrifice, and self-realization.
This motif reflects the psychological journey from unconsciousness to consciousness, and from fragmentation to unity.
The hero must often face their shadow, endure isolation, and undergo symbolic death and FINDING AND DISCUSSION .
Self Part A: Identification of Jungian Archetypes The Self is the most comprehensive archetype, symbolizing unity, wholeness, and the integration of all parts of the psyche.
represents the goal of individuation the lifelong process of becoming a psychologically complete individual.
The Self harmonizes the .
conscious/unconscious, masculine/feminine, good/evi.
In literature, the Self may be symbolized through the mandala, a sacred circle representing order and wholeness, or through In Jungian psychology, archetypes are symbolic structures embedded in the unconscious and frequently emerge in literature and media.
In Bridgerton Season 1.
Daphne Bridgerton and Simon Basset reflect archetypal patterns of transformation, repression, and eventual psychological integration.
This section identifies five dominant Jungian archetypes as they manifest in these characters through scenes and dialogue.
The Persona The Persona is the social identity an individual projects to meet external Daphne begins the series as the diamond of the season, praised for her elegance and manners.
This image is sharply emphasized Queen Charlotte: Flawless, my dear.
(Season 1.
Episode 1: "Diamond of the First Water", 00:05:.
Despite public admiration.
Daphne suppresses self-doubt.
When she confronts her brother for scaring off suitors, she reveals the burden of her role:
Daphne: I have done everything expected of And yet still, it is not enough.
(Season 1.
Episode 1, 00:32:.
Jungs archetypal theory underscores the dynamic structure of the human psyche and its natural drive toward integration.
This framework makes Jungian criticism particularly effective in analyzing character development, as it illuminates how symbolic roles, inner conflicts, and transformations reflect universal psychological patterns.
Characters are thus not only narrative agents but also embodiments of timeless human experiences embedded in the collective unconscious.
METHOD
This study uses a qualitative descriptive method grounded in literary and psychological JELL (Journal of English Language and literatur.
STIBA IEC Jakarta Volume 10.
Issue 2.
September 2025 p-ISSN 2540-8216, e-ISSN 2654-3745 https://journal.
stibaiec-jakarta/ojs/index.
php/jell Simons Persona is one of calculated distance and control.
He appears indifferent, almost cold, especially during social functions:
Simon: I am only here to close my fatherAos IAove no interest in the social scene.
(Season 1.
Episode 1, 00:14:.
He wears this Persona to fend off vulnerability and protect himself from emotional exposure.
reclaims control:
Daphne: You made a vow.
Not to me.
To a dead man.
(Season 1.
Episode 6: "Swish", 00:46:.
Here, she exhibits logic, will, and moral clarity no longer the passive ideal but a woman asserting emotional and intellectual autonomy.
The Hero The Shadow The Hero archetype embodies growth through Daphne begins as a social ornament but grows into someone who demands truth, respect, and genuine connection.
After uncovering SimonAos deception:
Daphne: I cannot live with half a marriage.
choose love.
Simon.
Do you? (Season 1.
Episode 7: "Oceans Apart", 00:52:.
Leaving Simon reflects her willingness to risk societal judgment to preserve self-worth.
Simons Hero journey is internal.
His emotional climax arises not from external action but from surrendering pride.
During Daphnes childbirth Simon .
: Stay with me Please, stay with me.
I cannot lose you.
(Season 1.
Episode 8: "After the Rain", 00:46:.
This emotional plea signifies his vulnerability an act more heroic than any duel or challenge.
The Shadow houses repressed fears, anger, and Daphnes polite fayade cracks when she feels powerless:
Daphne: If I fail to find a match.
I shall be A burden.
Nothing.
(Season 1.
Episode 1, 00:32:.
This statement shows internalized societal fear the dread of worthlessness without Her suppressed anger at being controlled by others begins to emerge later when she accuses her brother of ruining her chances.
Simons Shadow is darker, rooted in childhood A flashback reveals him stuttering as a child while his father calls him an imbecile, leading to lifelong resentment:
Young Simons Father: You are an You are not my son.
(Season 1.
Episode 2: "Shock and Delight", flashback, 00:20:.
This results in SimonAos vow:
Simon .
t fatherAos grav.
: I will never sire an The Hastings name ends with me.
(Season 1.
Episode 2, 00:56:.
His Shadow drives him to sabotage love and legacy in revenge yet it also causes inner conflict as his relationship with Daphne The Self The Self is the integrated psyche the ultimate goal of Jungian individuation.
While full integration takes time, by the seasons end, both characters show signs of healing.
Daphne sheds her flawless image and embraces imperfection, compassion, and wisdom.
When Simon holds their newborn:
Daphne: This child will never question if they are loved.
Because you.
Simon, are not your (Season 1.
Episode 8, 00:50:.
Simon accepts his emotional lineage and consciously chooses a new legacy:
Simon .
oice-ove.
: Though I swore never to be a father I am glad.
Glad to be a father.
(Season 1.
Episode 8, closing narratio.
This choice shows reconciliation between his Persona.
Shadow, and true Self closing the Heros arc with inner unity.
How Archetypes Support Character Development Anima and Animus Jung's Anima and Animus are gendered inner opposites: the feminine side of a man (Anim.
and the masculine side of a woman (Animu.
, shaping intuition, feeling, logic, and Simons Anima awakens through Daphnes empathy and integrity.
During their fake engagement, his protectiveness turns genuine:
Simon: You deserve someone who sees you for who you are.
and admires you.
(Season 1.
Episode 4: "An Affair of Honor", 00:37:.
This shift marks the rise of his inner emotional compass a balance to his typical Daphnes Animus After discovering SimonAos deception regarding children, she boldly In literary and psychological analysis, character development is the process by which emotionally, or morally through their Jungian archetypes are not static Ikhwan Muslim.
Abdulloh.
Eny Suprihandani & Mutia Nilda.
A Jungian Archetypal Study of Main Characters in the TV Series Bridgerton Season categories but active psychological forces that influence how characters grow.
In Bridgerton Season 1.
Daphne Bridgerton and Simon Basset are not merely romantic leads.
they are characters undergoing profound psychological shifts catalyzed by archetypal tension.
Their Personas.
Shadows, and Anima/Animus dynamics shape their inner struggles and eventual transformation.
This section explains how these archetypes support their development as complex protagonists.
life of isolation.
His Shadow, rooted in childhood rejection, governs his actions, especially in his vow never to have children.
a result, his Persona is rigid, emotionally cold, and seemingly in control.
However, the deeper truth is repression and unresolved grief.
His relationship with Daphne challenges this Persona.
Her kindness activates his Anima, slowly opening him to emotional depth.
His Heros challenge is not external but psychological: he must choose between clinging to the past or allowing himself to heal.
The seasons climactic moment his breakdown during Daphnes labor exposes the dissolution of his defenses:
Daphne Bridgerton: From Idealized Innocence to Emotional Maturity Daphnes early arc is shaped by the Persona the perfect debutante.
She is socially adored but lacks agency.
Her conflict begins when her Shadow repressed frustration and fear of inadequacy emerges.
This internal tension deepens her realism, moving her away from a symbolic figure of perfection to a psychologically grounded woman.
For example, her confrontation with Simon regarding his deception about children is a major turning point:
Simon: I love you.
I cannot lose you.
(Season 1.
Episode .
In choosing love and embracing fatherhood.
Simon performs what Jung might describe as an integration of opposites a key step toward the Self.
He accepts vulnerability without seeing it as weakness.
He reclaims his identity from the Shadow of his father and becomes whole.
Archetypal Motor Daphne: You chose to lie to me.
To manipulate (Season 1.
Episode 6, 00:40:.
Tension Narrative The tension between Persona and Shadow, between Anima/Animus and ego, is what drives both characters forward.
Rather than being static embodiments of romance tropes.
Daphne and Simon evolve because their psychological archetypes are in conflict.
These conflicts give the story emotional stakes and psychological Their romance works not merely as attraction, but as mutual healing each character helping the other face and reconcile parts of This moment marks the clash between Daphnes Persona .
ayve romanti.
and Shadow .
ounded, angry, assertive sel.
Through this confrontation, she accesses her Animus expressing logic, autonomy, and emotional Her decision to separate from Simon shows individuation: she prioritizes truth and emotional integrity over mere social success.
By the end of the season.
Daphne reaches a more integrated Self.
She neither idealizes love nor rejects it blindly.
She understands its fragility and power.
Her development reflects a movement from dependence to self-possession a full character arc aligned with Jungs idea of the conscious individual negotiating the Toward Individuation: The Journey Continues Though the season ends with resolution, the characters development suggests individuation is a continuing journey.
Daphne still faces social expectations, while Simon must consistently choose love over pride.
Yet, they have taken meaningful steps: Daphne now speaks and chooses for herself.
Simon breaks Simon Basset: From Defensive Isolation to Emotional Integration Simon begins his narrative arc as a Hero in exile emotionally distant and committed to a JELL (Journal of English Language and literatur.
STIBA IEC Jakarta Volume 10.
Issue 2.
September 2025 p-ISSN 2540-8216, e-ISSN 2654-3745 https://journal.
stibaiec-jakarta/ojs/index.
php/jell SimonAos betrayal, signaling her growth beyond the passive role expected of her.
In contrast.
Simon begins to show emotional openness and tenderness in response to DaphneAos presence, reflecting the awakening of his Anima.
These shifts are not immediate but emerge through conflict, connection, and vulnerability.
the cycle of generational trauma.
Their development is not just narrative it is archetypal, embodying Jungs belief that true transformation comes from within.
The researcher observes that Bridgerton Season 1 offers more than just a romantic narrativeAiit presents a story of emotional psychological forces.
By applying Jungian archetypes, the researcher uncovers how Daphne Bridgerton and Simon Basset are not merely characters within a love story, but individuals undergoing profound internal Their actions, conflicts, and growth are deeply influenced by archetypal energies such as the Persona.
Shadow.
Anima/Animus, and ultimately, the Self.
Their development follows the path of the Hero archetypeAinot in the traditional sense of heroic action, but in the courage it takes to face oneAos inner world.
DaphneAos heroism is seen in her willingness to speak her truth and walk away from half-hearted love.
SimonAos growth is most visible in moments where he allows himself to be seenAiespecially during DaphneAos childbirth, where he finally surrenders pride in favor of love.
The researcher interprets these moments as crucial steps toward individuation, where each character begins to integrate the parts of themselves they once rejected or hid.
At the beginning of the series, both Daphne and Simon operate under strong PersonasAi social masks shaped by expectation and Daphne is celebrated as the "diamond of the season," while Simon appears emotionally distant and self-assured.
However, as the researcher points out, these roles are carefully constructed defenses.
Beneath DaphneAos grace lies uncertainty, and behind SimonAos stoicism is unresolved pain.
Their external images begin to fracture as they are challenged by personal conflict and connection.
By the seasonAos end, both Daphne and Simon begin to approach the SelfAiJungAos symbol of psychological wholeness.
Daphne learns to let go of perfection and embrace emotional honesty.
Simon, by choosing fatherhood and emotional connection, breaks free from the shadow of his own upbringing.
While their journeys are not complete, the researcher sees these developments as significant progress toward integration and This is where the Shadow archetype emerges most clearly.
The researcher notes that DaphneAos fear of becoming a social burden reflects a deeper anxiety about her worth beyond SimonAos Shadow is even more intense, shaped by childhood trauma and His vow never to father children is not just a decisionAiit is a defense mechanism rooted in deep emotional wounds.
These shadows add complexity to the characters, helping the audience understand their emotional walls and inner contradictions.
What compelling is the tension between archetypes.
The conflict between their Personas and Shadows, between their rational choices and unconscious drives, creates the emotional depth of the narrative.
The researcher emphasizes that their relationship works not simply because of attraction, but because they become catalysts for each otherAos growth.
Each character holds up a mirror to the other, revealing what needs to be faced, confronted, and ultimately, embraced.
As the story progresses, the interaction between Daphne and Simon activates their Anima and AnimusAithe unconscious gendered aspects within the psyche.
The researcher highlights how Daphne becomes more assertive and rational when confronting CONCLUSION This study has examined the psychological development of Daphne Bridgerton and Simon Ikhwan Muslim.
Abdulloh.
Eny Suprihandani & Mutia Nilda.
A Jungian Archetypal Study of Main Characters in the TV Series Bridgerton Season Basset in Bridgerton Season 1 through the lens of Carl Gustav Jungs archetypal theory.
The analysis reveals that both characters embody key Jungian archetypes Persona.
Shadow.
Anima/Animus.
Hero, and Self which serve as symbolic structures underlying their emotional conflicts and personal transformations.
Daphnes journey from idealized societal innocence to a more grounded emotional maturity illustrates the integration of her outward persona with her emerging sense of inner autonomy.
In contrast.
Simons progression from emotional isolation to vulnerability and acceptance highlights the confrontation and eventual reconciliation with his repressed Shadow.
Anna.
Jungian literary criticism.
Prezi.
https://prezi.
com/mdljhhfupvm6/jungianliterary-criticism/ Bahri.
Manik.
Simanjuntak.
Tanjung.
, & Morientes.
Archetype analysis of the main character in Marc ForsterAos movie A Man Called Otto.
Pragmatik: Jurnal Rumpun Ilmu Bahasa dan Pendidikan.
https://doi.
org/10.
61132/pragmatik.
Boggs.
The art of watching film .
rd ed.
California: Mayfield Publishing Company.
Bostan.
Jungian approach to cinema: Archetypal analysis of Turning Red animation.
RumeliDE Dil ve Edebiyat Aratrmalar Dergisi, .
, 541Ae552.
The interplay between these archetypal forces not only drives individual character arcs but also functions as a narrative mechanism that intensifies the romantic and psychological dimensions of the series.
The evolving relationship between Daphne and Simon becomes a dynamic space for the emergence of unconscious material, allowing both characters to confront and transcend cycles of fear, repression, and the constraints of inherited https://doi.
org/10.
29000/rumelide.
Carl.
Archetypes and analytical psychology.
Psychologist World.
https://w.
com/cogniti ve/carl-jung-analytical-psychology Casement.
Carl Gustav Jung.
London: SAGE Publications.
Cherry.
March .
What is The approach to About.
(Now under Verywellmind.
Creswell.
Educational research:
Planning, conducting, and evaluating And qualitative research .
th ed.
Smith.
Ed.
Boston.
MA: Pearson Education.
Danylova.
The modern-day feminine beauty ideal, mental health, and Jungian Mental Health: Global Challenges Journal, 3.
, 38Ae44.
Feist.
, & Feist.
Theories of personality .
th ed.
New York.
NY:
McGraw-Hill.
Goodwyn.
Revisiting Carl JungAos archetype theory: A psychobiological Consciousness Cognition.
https://doi.
org/10.
1016/j.
Through the application of Jungian criticism to a contemporary television narrative, this research demonstrates the enduring relevance of archetypal theory in uncovering the symbolic and psychological depth of fictional characters.
The findings affirm that modern visual storytelling continues to engage with universal patterns of human experience.
Future studies might expand this framework to explore additional characters or subsequent seasons of Bridgerton, or apply similar analytical approaches to other contemporary media texts that foreground psychological realism and character-driven narratives REFERENCES