For Western literature, the concept of individuality is a remarkably recent innovation. It goes without saying that the classics feature many notable individual characters, but they are only notable in their ability to meet and exceed the highest expectations of their roles in society. (Just think of Beowulf playing the ultimate male role as warrior, provider, and peacemaker.) This is why so many ancient stories end in weddings, which are basically a rite of passage to turn individuals into a group unit.
To illustrate a point, let’s look at the protagonists of Village Y Kill a Mockingbird. In the first, Prince Hamlet’s nonconformity turns the play into a tragedy, while in the second, Scout’s development into an independent thinker turns the novel into a bildungsroman.
Hamlet is haunting, passive aggressive, deceptive, and utterly uncompromising. Even if you love him for it, these aren’t exactly princely qualities. At a time when he (and the rest of the kingdom) is expected to surpass the old king and befriend the new one, all Hamlet can do is cry. He is even visually distinguished from his peers by wearing dark mourning clothing.
When Hamlet Sr.’s ghost informs Hamlet Jr. that his death was murder, and fratricidal, Hamlet proceeds to … do nothing about it. For four acts. If this seems unthinkably passive to you, imagine how unacceptable it would have been in the days when sword fighting was the way to settle the score. To make matters worse, Hamlet is painfully aware of his inaction; For example, when he sees a soldier marching to fight for something that does not even concern him, Hamlet despairs in his failure not only as a male, but also as a prince and son.
As if he weren’t isolated enough to begin with, Hamlet further distinguishes himself from the royal court by pretending to be insane. He takes on the role of the lunatic outcast with such dedication that even after accidentally killing his girlfriend’s father, knowing full well what THAT will do for their relationship, he pretends he doesn’t give a shit.
Of course, Hamlet finally fulfills his obligation as a son by murdering his uncle, but only after he has already been fatally poisoned by Laertes’ sword. Hamlet’s change in inertia is also the moment of his destruction, symbolically representing the sacrifice of individuality at the altar of the whole. (In case Shakespeare misunderstood that, he also makes Ofelia commit suicide after losing her mind.)
If this isn’t your idea of a toner, you’ll be happy to turn your attention to the 20th century thought of To Kill a Mockingbird. According to Scout Finch’s characterization of Harper Lee, becoming an individual is the truer way to become a functional member of adult society.
While Scout has a very strong personality (not to mention the notable advantage of being Atticus Finch’s daughter), she doesn’t start out as an especially strong character. Much of his toughness in dusting his knuckles is simply behavior learned from spending too much time with an older brother. Also, despite being (relatively) culturally enlightened, Scout drops the n-bomb as easily as the next fan and expresses utter amazement at the realization that her black caregiver has a life, family, and community of her own.
Of course, without her eventual foray into the world of nonconformity thoughts and feelings, Scout would not be a great protagonist. As she matures, she learns to be more “feminine,” not because her aunt thinks she is socially appropriate, but because she no longer feels the need to react against a female stereotype by modeling herself like her older brother. (After all, whether you’re working against it or adhering to it, letting popular opinion dictate your behavior shows a lack of independent thinking.)
When Atticus agrees to defend Tom Robinson in court, Scout witnesses firsthand the insanity of the mob mentality, as faceless and nameless men attempt to ambush her father at night. On an even larger scale, witnessing the blatant injustice of Tom Robinson’s conviction (and subsequent murder) opens Scout’s eyes to the blinding power of groupthink.
Scout’s development as an independent thinker is reflected in Boo Radley’s subplot, in which she learns to substitute her own unique experience for the local legend. For Scout, and for us, the luck of the people of the 21st century, coming of age means becoming yourself.
