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Joseph CampbellThe Hero's Journey

ContentsArticles

Monomyth 1

The Hero with a Thousand Faces 12

ReferencesArticle Sources and Contributors 17

Image Sources, Licenses and Contributors 18

Article LicensesLicense 19

Monomyth 1

MonomythJoseph Campbell's monomyth, or the hero's journey, is a basic pattern that its proponents argue is found in manynarratives from around the world. This widely distributed pattern was described by Campbell in The Hero with aThousand Faces (1949).[1] An enthusiast of novelist James Joyce, Campbell borrowed the term monomyth fromJoyce's Finnegans Wake.[2]

Campbell held that numerous myths from disparate times and regions share fundamental structures and stages, whichhe summarized in The Hero with a Thousand Faces:

A hero ventures forth from the world of common day into a region of supernatural wonder: fabulousforces are there encountered and a decisive victory is won: the hero comes back from this mysteriousadventure with the power to bestow boons on his fellow man.[3]

Campbell and other scholars, such as Erich Neumann, describe narratives of Gautama Buddha, Moses, and Christ interms of the monomyth[citation needed] and Campbell argues that classic myths from many cultures follow this basicpattern.[citation needed]

A chart outlining the Hero's Journey.

Summary

In a monomyth, the hero begins in the ordinary world, and receives acall to enter an unknown world of strange powers and events. The herowho accepts the call to enter this strange world must face tasks andtrials, either alone or with assistance. In the most intense versions ofthe narrative, the hero must survive a severe challenge, often with help.If the hero survives, he may achieve a great gift or "boon." The heromust then decide whether to return to the ordinary world with thisboon. If the hero does decide to return, he or she often faces challengeson the return journey. If the hero returns successfully, the boon or giftmay be used to improve the world. The stories of Osiris, Prometheus,Moses, Gautama Buddha, for example, follow this structure closely.

Campbell describes 17 stages or steps along this journey. Very few myths contain all 17 stages—some myths containmany of the stages, while others contain only a few; some myths may focus on only one of the stages, while othermyths may deal with the stages in a somewhat different order. These 17 stages may be organized in a number ofways, including division into three sections: Departure (sometimes called Separation), Initiation, and Return."Departure" deals with the hero's adventure prior to the quest; "Initiation" deals with the hero's many adventuresalong the way; and "Return" deals with the hero's return home with knowledge and powers acquired on the journey.

Monomyth 2

The 17 Stages of the Monomyth

Departure

The Call to Adventure

The hero begins in a mundane situation of normality from which some information is received that acts as a call tohead off into the unknown.

Campbell: "... a forest, a kingdom underground, beneath the waves, or above the sky, a secret island, loftymountaintop, or profound dream state; but it is always a place of strangely fluid and polymorphous beings,unimaginable torments, super human deeds, and impossible delight. The hero can go forth of his own volition toaccomplish the adventure, as did Theseus when he arrived in his father's city, Athens, and heard the horrible historyof the Minotaur; or he may be carried or sent abroad by some benign or malignant agent as was Odysseus, drivenabout the Mediterranean by the winds of the angered god, Poseidon. The adventure may begin as a mere blunder... orstill again, one may be only casually strolling when some passing phenomenon catches the wandering eye and luresone away from the frequented paths of man. Examples might be multiplied, ad infinitum, from every corner of theworld."

Refusal of the Call

Often when the call is given, the future hero first refuses to heed it. This may be from a sense of duty or obligation,fear, insecurity, a sense of inadequacy, or any of a range of reasons that work to hold the person in his or her currentcircumstances.

Campbell: "Refusal of the summons converts the adventure into its negative. Walled in boredom, hard work, or'culture,' the subject loses the power of significant affirmative action and becomes a victim to be saved. Hisflowering world becomes a wasteland of dry stones and his life feels meaningless—even though, like King Minos,he may through titanic effort succeed in building an empire or renown. Whatever house he builds, it will be a houseof death: a labyrinth of cyclopean walls to hide from him his minotaur. All he can do is create new problems forhimself and await the gradual approach of his disintegration." [4]

Supernatural Aid

Once the hero has committed to the quest, consciously or unconsciously, his guide and magical helper appears, orbecomes known. More often than not, this supernatural mentor will present the hero with one or more talismans orartifacts that will aid them later in their quest.

Campbell: "For those who have not refused the call, the first encounter of the hero journey is with a protectivefigure (often a little old crone or old man) who provides the adventurer with amulets against the dragon forces he isabout to pass. What such a figure represents is the benign, protecting power of destiny. The fantasy is areassurance—promise that the peace of Paradise, which was known first within the mother womb, is not to be lost;that it supports the present and stands in the future as well as in the past (is omega as well as alpha); that thoughomnipotence may seem to be endangered by the threshold passages and life awakenings, protective power is alwaysand ever present within or just behind the unfamiliar features of the world. One has only to know and trust, and theageless guardians will appear. Having responded to his own call, and continuing to follow courageously as theconsequences unfold, the hero finds all the forces of the unconscious at his side. Mother Nature herself supports themighty task. And in so far as the hero's act coincides with that for which his society is ready, he seems to ride on thegreat rhythm of the historical process." [5]

Monomyth 3

The Crossing of the First Threshold

This is the point where the person actually crosses into the field of adventure, leaving the known limits of his or herworld and venturing into an unknown and dangerous realm where the rules and limits are not known.

Campbell: "With the personifications of his destiny to guide and aid him, the hero goes forward in his adventureuntil he comes to the 'threshold guardian' at the entrance to the zone of magnified power. Such custodians bound theworld in four directions — also up and down — standing for the limits of the hero's present sphere, or life horizon.Beyond them is darkness, the unknown and danger; just as beyond the parental watch is danger to the infant andbeyond the protection of his society danger to the members of the tribe. The usual person is more than content, he iseven proud, to remain within the indicated bounds, and popular belief gives him every reason to fear so much as thefirst step into the unexplored. The adventure is always and everywhere a passage beyond the veil of the known intothe unknown; the powers that watch at the boundary are dangerous; to deal with them is risky; yet for anyone withcompetence and courage the danger fades." [6]

Belly of The Whale

The belly of the whale represents the final separation from the hero's known world and self. By entering this stage,the person shows willingness to undergo a metamorphosis.

Campbell: "The idea that the passage of the magical threshold is a transit into a sphere of rebirth is symbolized inthe worldwide womb image of the belly of the whale. The hero, instead of conquering or conciliating the power ofthe threshold, is swallowed into the unknown and would appear to have died. This popular motif gives emphasis tothe lesson that the passage of the threshold is a form of self-annihilation. Instead of passing outward, beyond theconfines of the visible world, the hero goes inward, to be born again. The disappearance corresponds to the passingof a worshipper into a temple—where he is to be quickened by the recollection of who and what he is, namely dustand ashes unless immortal. The temple interior, the belly of the whale, and the heavenly land beyond, above, andbelow the confines of the world, are one and the same. That is why the approaches and entrances to temples areflanked and defended by colossal gargoyles: dragons, lions, devil-slayers with drawn swords, resentful dwarfs,winged bulls. The devotee at the moment of entry into a temple undergoes a metamorphosis. Once inside he may besaid to have died to time and returned to the World Womb, the World Navel, the Earthly Paradise. Allegorically,then, the passage into a temple and the hero-dive through the jaws of the whale are identical adventures, bothdenoting in picture language, the life-centering, life-renewing act." [7]

Initiation

The Road of Trials

The road of trials is a series of tests, tasks, or ordeals that the person must undergo to begin the transformation. Oftenthe person fails one or more of these tests, which often occur in threes.

Campbell: "Once having traversed the threshold, the hero moves in a dream landscape of curiously fluid, ambiguousforms, where he must survive a succession of trials. This is a favorite phase of the myth-adventure. It has produced aworld literature of miraculous tests and ordeals. The hero is covertly aided by the advice, amulets, and secret agentsof the supernatural helper whom he met before his entrance into this region. Or it may be that he here discovers forthe first time that there is a benign power everywhere supporting him in his superhuman passage. The originaldeparture into the land of trials represented only the beginning of the long and really perilous path of initiatoryconquests and moments of illumination. Dragons have now to be slain and surprising barriers passed — again, again,and again. Meanwhile there will be a multitude of preliminary victories, unretainable ecstasies and momentaryglimpses of the wonderful land." [8]

Monomyth 4

The Meeting With the Goddess

This is the point when the person experiences a love that has the power and significance of the all-powerful, allencompassing, unconditional love that a fortunate infant may experience with his or her mother. This is a veryimportant step in the process and is often represented by the person finding the other person that he or she loves mostcompletely.

Campbell: "The ultimate adventure, when all the barriers and ogres have been overcome, is commonly representedas a mystical marriage of the triumphant hero-soul with the Queen Goddess of the World. This is the crisis at thenadir, the zenith, or at the uttermost edge of the earth, at the central point of the cosmos, in the tabernacle of thetemple, or within the darkness of the deepest chamber of the heart. The meeting with the goddess (who is incarnatein every woman) is the final test of the talent of the hero to win the boon of love (charity: amor fati), which is lifeitself enjoyed as the encasement of eternity. And when the adventurer, in this context, is not a youth but a maid, sheis the one who, by her qualities, her beauty, or her yearning, is fit to become the consort of an immortal. Then theheavenly husband descends to her and conducts her to his bed—whether she will or not. And if she has shunned him,the scales fall from her eyes; if she has sought him, her desire finds its peace." [9]

Woman as Temptress

In this step, the hero faces those temptations, often of a physical or pleasurable nature, that may lead him or her toabandon or stray from his or her quest, which does not necessarily have to be represented by a woman. Woman is ametaphor for the physical or material temptations of life, since the hero-knight was often tempted by lust from hisspiritual journey.

Campbell: "The crux of the curious difficulty lies in the fact that our conscious views of what life ought to beseldom correspond to what life really is. Generally we refuse to admit within ourselves, or within our friends, thefullness of that pushing, self-protective, malodorous, carnivorous, lecherous fever which is the very nature of theorganic cell. Rather, we tend to perfume, whitewash, and reinterpret; meanwhile imagining that all the flies in theointment, all the hairs in the soup, are the faults of some unpleasant someone else. But when it suddenly dawns onus, or is forced to our attention that everything we think or do is necessarily tainted with the odor of the flesh, then,not uncommonly, there is experienced a moment of revulsion: life, the acts of life, the organs of life, woman inparticular as the great symbol of life, become intolerable to the pure, the pure, pure soul. The seeker of the lifebeyond life must press beyond (the woman), surpass the temptations of her call, and soar to the immaculate etherbeyond." [10]

Atonement with the Father

In this step the person must confront and be initiated by whatever holds the ultimate power in his or her life. In manymyths and stories this is the father, or a father figure who has life and death power. This is the center point of thejourney. All the previous steps have been moving into this place, all that follow will move out from it. Although thisstep is most frequently symbolized by an encounter with a male entity, it does not have to be a male; just someone orthing with incredible power.

Campbell: "Atonement consists in no more than the abandonment of that self-generated double monster—the dragon thought to be God (superego) and the dragon thought to be Sin (repressed id). But this requires an abandonment of the attachment to ego itself, and that is what is difficult. One must have a faith that the father is merciful, and then a reliance on that mercy. Therewith, the center of belief is transferred outside of the bedeviling god's tight scaly ring, and the dreadful ogres dissolve. It is in this ordeal that the hero may derive hope and assurance from the helpful female figure, by whose magic (pollen charms or power of intercession) he is protected through all the frightening experiences of the father's ego-shattering initiation. For if it is impossible to trust the terrifying father-face, then one's faith must be centered elsewhere (Spider Woman, Blessed Mother); and with that reliance for support, one endures the crisis—only to find, in the end, that the father and mother reflect each other, and are in

Monomyth 5

essence the same. The problem of the hero going to meet the father is to open his soul beyond terror to such a degreethat he will be ripe to understand how the sickening and insane tragedies of this vast and ruthless cosmos arecompletely validated in the majesty of Being. The hero transcends life with its peculiar blind spot and for a momentrises to a glimpse of the source. He beholds the face of the father, understands—and the two are atoned." [11]

Apotheosis

When someone dies a physical death, or dies to the self to live in spirit, he or she moves beyond the pairs ofopposites to a state of divine knowledge, love, compassion and bliss. A more mundane way of looking at this step isthat it is a period of rest, peace and fulfillment before the hero begins the return.

Campbell: "Those who know, not only that the Everlasting lies in them, but that what they, and all things, really areis the Everlasting, dwell in the groves of the wish fulfilling trees, drink the brew of immortality, and listeneverywhere to the unheard music of eternal concord." [12]

The Ultimate Boon

The ultimate boon is the achievement of the goal of the quest. It is what the person went on the journey to get. Allthe previous steps serve to prepare and purify the person for this step, since in many myths the boon is somethingtranscendent like the elixir of life itself, or a plant that supplies immortality, or the holy grail.

Campbell: "The gods and goddesses then are to be understood as embodiments and custodians of the elixir ofImperishable Being but not themselves the Ultimate in its primary state. What the hero seeks through his intercoursewith them is therefore not finally themselves, but their grace, i.e., the power of their sustaining substance. Thismiraculous energy-substance and this alone is the Imperishable; the names and forms of the deities who everywhereembody, dispense, and represent it come and go. This is the miraculous energy of the thunderbolts of Zeus, Yahweh,and the Supreme Buddha, the fertility of the rain of Viracocha, the virtue announced by the bell rung in the Mass atthe consecration, and the light of the ultimate illumination of the saint and sage. Its guardians dare release it only tothe duly proven." [13]

Return

Refusal of the Return

Having found bliss and enlightenment in the other world, the hero may not want to return to the ordinary world tobestow the boon onto his fellow man.

Campbell: "When the hero-quest has been accomplished, through penetration to the source, or through the grace ofsome male or female, human or animal, personification, the adventurer still must return with his life-transmutingtrophy. The full round, the norm of the monomyth, requires that the hero shall now begin the labor of bringing therunes of wisdom, the Golden Fleece, or his sleeping princess, back into the kingdom of humanity, where the boonmay redound to the renewing of the community, the nation, the planet or the ten thousand worlds. But theresponsibility has been frequently refused. Even Gautama Buddha, after his triumph, doubted whether the messageof realization could be communicated, and saints are reported to have died while in the supernal ecstasy. Numerousindeed are the heroes fabled to have taken up residence forever in the blessed isle of the unaging Goddess ofImmortal Being." [14]

Monomyth 6

The Magic Flight

Sometimes the hero must escape with the boon, if it is something that the gods have been jealously guarding. It canbe just as adventurous and dangerous returning from the journey as it was to go on it.

Campbell: "If the hero in his triumph wins the blessing of the goddess or the god and is then explicitlycommissioned to return to the world with some elixir for the restoration of society, the final stage of his adventure issupported by all the powers of his supernatural patron. On the other hand, if the trophy has been attained against theopposition of its guardian, or if the hero's wish to return to the world has been resented by the gods or demons, thenthe last stage of the mythological round becomes a lively, often comical, pursuit. This flight may be complicated bymarvels of magical obstruction and evasion." [15]

Rescue from Without

Just as the hero may need guides and assistants to set out on the quest, oftentimes he or she must have powerfulguides and rescuers to bring them back to everyday life, especially if the person has been wounded or weakened bythe experience.

Campbell: "The hero may have to be brought back from his supernatural adventure by assistance from without. Thatis to say, the world may have to come and get him. For the bliss of the deep abode is not lightly abandoned in favorof the self-scattering of the wakened state. 'Who having cast off the world,' we read, 'would desire to return again?He would be only there.' And yet, in so far as one is alive, life will call. Society is jealous of those who remain awayfrom it, and will come knocking at the door. If the hero. . . is unwilling, the disturber suffers an ugly shock; but onthe other hand, if the summoned one is only delayed—sealed in by the beatitude of the state of perfect being (whichresembles death)—an apparent rescue is effected, and the adventurer returns."[16]

The Crossing of the Return Threshold

The trick in returning is to retain the wisdom gained on the quest, to integrate that wisdom into a human life, andthen maybe figure out how to share the wisdom with the rest of the world.

Campbell: "The returning hero, to complete his adventure, must survive the impact of the world. Many failuresattest to the difficulties of this life-affirmative threshold. The first problem of the returning hero is to accept as real,after an experience of the soul-satisfying vision of fulfillment, the passing joys and sorrows, banalities and noisyobscenities of life. Why re-enter such a world? Why attempt to make plausible, or even interesting, to men andwomen consumed with passion, the experience of transcendental bliss? As dreams that were momentous by nightmay seem simply silly in the light of day, so the poet and the prophet can discover themselves playing the idiotbefore a jury of sober eyes. The easy thing is to commit the whole community to the devil and retire again into theheavenly rock dwelling, close the door, and make it fast. But if some spiritual obstetrician has drawn the shimenawaacross the retreat, then the work of representing eternity in time, and perceiving in time eternity, cannot be avoided"The hero returns to the world of common day and must accept it as real.[17]

Master of Two Worlds

This step is usually represented by a transcendental hero like Jesus or Gautama Buddha. For a human hero, it maymean achieving a balance between the material and spiritual. The person has become comfortable and competent inboth the inner and outer worlds.

Campbell: "Freedom to pass back and forth across the world division, from the perspective of the apparitions of time to that of the causal deep and back—not contaminating the principles of the one with those of the other, yet permitting the mind to know the one by virtue of the other—is the talent of the master. The Cosmic Dancer, declares Nietzsche, does not rest heavily in a single spot, but gaily, lightly, turns and leaps from one position to another. It is possible to speak from only one point at a time, but that does not invalidate the insights of the rest. The individual, through prolonged psychological disciplines, gives up completely all attachment to his personal limitations,

Monomyth 7

idiosyncrasies, hopes and fears, no longer resists the self-annihilation that is prerequisite to rebirth in the realizationof truth, and so becomes ripe, at last, for the great at-one-ment. His personal ambitions being totally dissolved, he nolonger tries to live but willingly relaxes to whatever may come to pass in him; he becomes, that is to say, ananonymity."[18]

Freedom to Live

Mastery leads to freedom from the fear of death, which in turn is the freedom to live. This is sometimes referred toas living in the moment, neither anticipating the future nor regretting the past.

Campbell: "The hero is the champion of things becoming, not of things become, because he is. 'Before Abrahamwas, I AM.' He does not mistake apparent changelessness in time for the permanence of Being, nor is he fearful ofthe next moment (or of the 'other thing'), as destroying the permanent with its change. 'Nothing retains its own form;but Nature, the greater renewer, ever makes up forms from forms. Be sure there's nothing perishes in the wholeuniverse; it does but vary and renew its form.' Thus the next moment is permitted to come to pass." [19]

Other formulationsCampbell's proposed structure has been expanded and modified since its conception. Many modern characterizationsof it add in new steps (such as the hero having a miraculous birth) or combine or prune others. For instance, PhilCousineau, in his book, The Hero's Journey, divides it up into the following eight steps:

1.1. The Call to Adventure2.2. The Road of Trials3.3. The Vision Quest4.4. The Meeting with the Goddess5.5. The Boon6.6. The Magic Flight7.7. The Return Threshold8. The Master of Two Worlds[20]

Another eight-step formulation was given by David Adams Leeming in his book, Mythology: The Voyage of theHero:

1.1. Miraculous conception and birth2.2. Initiation of the hero-child3.3. Withdrawal from family or community for meditation and preparation4.4. Trial and Quest5.5. Death6.6. Descent into the underworld7.7. Resurrection and rebirth8. Ascension, apotheosis, and atonement[21]

The Hero's JourneyThe phrase "the hero's journey," to describe the monomyth, first entered into popular discourse through twodocumentaries. The first, released in 1987, The Hero's Journey: The World of Joseph Campbell, was accompaniedby a 1990 companion book, The Hero's Journey: Joseph Campbell on His Life and Work (with Phil Cousineau andStuart Brown, eds.). The second was Bill Moyers's series of seminal interviews with Campbell, released in 1988 asthe documentary (and companion book) The Power of Myth. The phrase was then referenced in the title of a popularguidebook for screenwriters, released in the 1990s, The Writer's Journey: Mythic Structure For Writers, byChristopher Vogler [22]. Though they used the phrase in their works, Cousineau, Moyers, and Vogler all attributethe phrase and the model of The Hero's Journey to Joseph Campbell.

Monomyth 8

Influence of the MonomythThe monomyth has influenced a number of artists, musicians, poets, and filmmakers, including Bob Dylan andGeorge Lucas.[citation needed]

George Lucas and Star Wars

In addition to the extensive discussion between Campbell and Bill Moyers broadcast in 1988 on PBS as The Powerof Myth (Filmed at "Skywalker Ranch"), on Campbell's influence on the Star Wars films, Lucas himself gave anextensive interview for the biography Joseph Campbell: A Fire in the Mind (Larsen and Larsen, 2002, pages541-543) on this topic. In this interview, Lucas states that in the early 1970s after completing his early film,American Graffiti, "it came to me that there really was no modern use of mythology...so that's when I started doingmore strenuous research on fairy tales, folklore and mythology, and I started reading Joe's books. Before that I hadn'tread any of Joe's books.... It was very eerie because in reading The Hero with A Thousand Faces I began to realizethat my first draft of Star Wars was following classical motifs"(p. 541).

Twelve years after the making of The Power of Myth, Moyers and Lucas met again for the 1999 interview, theMythology of Star Wars with George Lucas & Bill Moyers, to further discuss the impact of Campbell's work onLucas's films. In addition, the National Air and Space Museum of the Smithsonian Institution sponsored an exhibitduring the late 1990s called Star Wars: The Magic of Myth which discussed the ways in which Campbell's workshaped the Star Wars films A companion guide of the same name was published in 1997.

Chris Vogler, The Writer's Journey, and Hollywood filmsChristopher Vogler, a Hollywood film producer and writer, created a 7-page company memo, A Practical Guide toThe Hero With a Thousand Faces,[23] based on Campbell's work. Vogler's memo was later developed into the late1990s book, The Writer's Journey: Mythic Structure For Writers.

The men's movementPoet Robert Bly, Michael J. Meade, and others involved in the men's movement have applied and expanded theconcepts of the hero's journey and the monomyth as a metaphor for personal spiritual and psychological growth,particularly in the mythopoetic men's movement.[24][25]

Characteristic of the mythopoetic men's movement is a tendency to retell fairy tales and engage in their exegesis as atool for personal insight. Using frequent references to archetypes as drawn from Jungian analytical psychology, themovement focuses on issues of gender role, gender identity and wellness for modern men. Advocates would oftenengage in storytelling with music, these acts being seen as a modern extension to a form of "new age shamanism"popularized by Michael Harner at approximately the same time.

Among its most famous advocates were the poet Robert Bly, whose book Iron John: A Book About Men was abest-seller, being an exegesis of the fairy tale "Iron John" by the Brothers Grimm.

The mythopoetic men's movement spawned a variety of groups and workshops, led by authors such as Bly andRobert L. Moore. Some serious academic work came out of this movement, including the creation of variousmagazines and non-profit organizations, such as the Mankind Project.

Monomyth 9

CriticismScholars have questioned the very validity of the monomyth, its usefulness as a tool for critical investigation andinterpretation of narrative, and its male bias. According to Lesley Northup, the theory does not have much support inthe mainstream study of mythology, which currently tends to view highly general and universal claims withsuspicion.[26] Donald J. Consentino remarks, "It is just as important to stress differences as similarities, to avoidcreating a (Joseph) Campbell soup of myths that loses all local flavor."[27] Marta Weigle rejects the idea of a"monomyth" in which women appear only exceptionally, and then as indistinguishable from men.[28] Others havefound the categories Campbell works with so vague as to be meaningless, and lacking the support required ofscholarly argument: Muriel Crespi, writing in response to Campbell's filmed presentation of his model[29]

characterized it as "...unsatisfying from a social science perspective. Campbell's ethnocentrism will raise objections,and his analytic level is so abstract and devoid of ethnographic context that myth loses the very meanings supposedto be embedded in the "hero." In Sacred Narrative: Readings in the Theory of Myth (1984), editor Alan Dundesdismisses Campbell's work, characterizing him as a popularizer: "like most universalists, he is content to merelyassert universality rather than bother to document it. […] If Campbell's generalizations about myth are notsubstantiated, why should students consider his work?"[30]

The novelist David Brin has criticized the monomyth, arguing that it is anti-populist, and was used by kings andpriests to justify tyranny. Brin also pointed out that the existence of a monomyth may reflect cross-cultural historicalsimilarities, rather than some deeper "human insight". He points out that, until relatively recently, storytellers weredependent upon the oligarchy for their livelihood and that the aristocracy only recently lost its power to punishirreverence. Once those historical factors disappeared, science fiction emerged—a story-telling mode Brin sees as theantithesis of Campbell's monomyth.[31]

While Frank Herbert's Dune on the surface appears to follow the monomyth this was in fact to subvert it and take acritical view, as the author said in 1979, "The bottom line of the Dune trilogy is: beware of heroes. Much better [to]rely on your own judgment, and your own mistakes." He wrote in 1985, "Dune was aimed at this whole idea of theinfallible leader because my view of history says that mistakes made by a leader (or made in a leader's name) areamplified by the numbers who follow without question."

In a similar vein, American philosopher John Shelton Lawrence and American religious scholar Robert Jewett havediscussed an "American Monomyth" in many of their books, The American Monomyth, The Myth of the AmericanSuperhero, and Captain America and the Crusade Against Evil: The Dilemma of Zealous Nationalism. They presentthis as an American reaction to the Campbellian monomyth. The "American Monomyth" storyline is: A communityin a harmonious paradise is threatened by evil; normal institutions fail to contend with this threat; a selflesssuperhero emerges to renounce temptations and carry out the redemptive task; aided by fate, his decisive victoryrestores the community to its paradisiacal condition; the superhero then recedes into obscurity.[32]

Some scholars have disagreed with the concept of the "monomyth" because of its oversimplification of differentcultures. According to Robert Ellwood, "“A tendency to think in generic terms of people, races... is undoubtedly theprofoundest flaw in mythological thinking.”[33]

Monomyth 10

Notes[1] Monomyth Website, ORIAS, UC Berkeley (http:/ / orias. berkeley. edu/ hero/ ) accessed 2009-11-03[2] Joseph Campbell Foundation - Works: Skeleton Key to Finnegans Wake, A (http:/ / www. jcf. org/ works. php?id=331) and Joseph Campbell,

The Hero with a Thousand Faces. Princeton: Princeton University Press, 1949. p. 30, n35. Campbell cites James Joyce, Finnegans Wake. NY:Viking, 1939, p. 581

[3] Campbell, Joseph. The Hero with a Thousand Faces. Princeton: Princeton University Press, 1949. p.23.[4] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_. 3B[5] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_GCH[6] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_NCR[7] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_. 5BC. 5C[8] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_aCm[9] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_mCw[10] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_yCz[11] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_. C2. 82C. C2. 83[12] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_. C2. A7[13] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_. C2. B5C. C2. B6[14] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_. C3. 80[15] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_. C3. 84C. C3. 85[16] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_. C3. 8F[17] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_. C3. 9AC. C3. A1[18] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_. C3. ACC. C3. AD[19] http:/ / en. wikipedia. org/ wiki/ Monomyth#endnote_. C3. B3[20] The hero's journey: Joseph Campbell on his life and work. Edited and with an Introduction by Phil Cousineau. Forward by Stuart L. Brown,

Executive Editor. New York: Harper and Row, 1990.[21] Leeming, David Adams. Mythology: The Voyage of the Hero. New York: Harper & Row. 1981.[22] http:/ / www. thewritersjourney. com/ generic1. html[23] The Writer's Journey (http:/ / www. thewritersjourney. com/ hero's_journey. htm#Practical) accessed 2011-03-26[24] Boston Globe (http:/ / www. boston. com/ news/ globe/ ideas/ articles/ 2005/ 06/ 19/ daddy_what_did_you_do_in_the_mens_movement/ )

accessed 2009-11-03[25] Use by Bly of Campbell's monomyth work (http:/ / www. robertbly. com/ int_8. html) accessed 2009-11-03[26][26] Northup, p. 8[27][27] "African Oral Narrative Traditions" in Foley, John Miles, ed., "Teaching Oral Traditions." NY: Modern Language Association, 1998, p. 183[28][28] "Women's Expressive Forms" in Foley, John Miles, ed., "Teaching Oral Traditions." NY: Modern Language Association, 1998, p. 306[29][29] American Anthropologist, 92:4 (December 1990), p. 1104[30] http:/ / web. archive. org/ web/ 20060903000820/ http:/ / www. raritanval. edu/ departments/ humanitiessocsci/ Part-Time/ Wheelock/

WC1religionbib9605. doc[31] Salon Arts & Entertainment | "Star Wars" despots vs. "Star Trek" populists (http:/ / www. salon. com/ 1999/ 06/ 15/ brin_main/ )[32] Jewett, Robert and John Shelton Lawrence (1977) The American Monomyth. New York: Doubleday.[33] Ellwood, Robert, "The Politics of Myth: A Study of C.G. Jung, Mircea Eliade, and Joseph Campbell" (http:/ / books. google. com/

books?id=zebkwceFI9UC& printsec=frontcover), SUNY Press, September 1999. Cf. p.x (http:/ / books. google. com/books?id=zebkwceFI9UC& printsec=frontcover& dq=The+ Politics+ of+ Myth& hl=en& sa=X& ei=E6uZT4qtLqix6AGo083rBg&ved=0CDkQuwUwAA#v=onepage& q=tendency& f=false)

References• Campbell, Joseph. The Hero with a Thousand Faces. Novato, California: New World Library, 2008 ISBN

978-1-57731-593-3.• Joyce, James. Finnegans wake. 1939.• MacKey-Kallis, Susan. The hero and the perennial journey home in American film. University of Pennsylvania

Press (2001). ISBN 0-8122-1768-3• Northup, Lesley. "Myth-Placed Priorities: Religion and the Study of Myth". Religious Studies Review 32.1(2006):

5-10.• Vogler, Christopher. The writer's journey: mythic structure for writers. Studio City, CA: Michael Wiese

Productions, 1998.

Monomyth 11

• Voytilla, Stuart and Vogler, Christopher. Myth & the Movies: Discovering the myth structure of 50 unforgettablefilms. Studio City, CA: Michael Wiese Productions, 1999. ISBN 0-941188-66-3

• Amanieux Laureline, Ce héros qui est en chacun de nous, book in French on the monomyth of Campbell, AlbinMichel, 2011.

Books based upon interviews with Campbell• The Hero's Journey: Joseph Campbell on his Life and Work Edited and with an Introduction by Phil Cousineau.

Forward by Stuart L. Brown, Executive Editor. New York: Harper and Row, 1990.• The Power of Myth (with Bill Moyers and Betty Sue Flowers, ed.), 1988

DVD/Discography• Joseph Campbell and the power of myth (1988)• The Hero's Journey: The World of Joseph Campbell (1987)

External links• Monomyth Website, ORIAS, UC Berkeley (http:/ / orias. berkeley. edu/ hero/ )• The Monomyth Cycle (http:/ / www. wiu. edu/ users/ mudjs1/ monomyth. htm)• Examples of Each Stage of a Hero's Journey (http:/ / www. moongadget. com/ origins/ myth. html) in Star Wars

and The Matrix• Hero's Journey (http:/ / www. mythichero. com/ what_is_mythology. html)• The Hero's Journey Defined. Anthony Ubelhor for ENG 104: Fairy Tales, Myths, and Other Archetypal Stories

(http:/ / www. uky. edu/ ~aubel2/ eng104/ myth/ hero. pdf)• The Romantic Appeal of Joseph Campbell (http:/ / www. religion-online. org/ showarticle. asp?title=766)

The Hero with a Thousand Faces 12

The Hero with a Thousand Faces

The Hero with a ThousandFaces

First edition

Author Joseph Campbell

Country United States

Language English

Genre Mythology

Published • 1949 (Pantheon Books)•• 1968 (2nd ed.)•• 2008 (3rd ed.)

Media type Print (hardback)

ISBN 978-1-57731-593-3

OCLC 224442464 [1]

Dewey Decimal 201/.3 22

LC Class BL313 .C28 2008

The Hero with a Thousand Faces (first published in 1949) is a non-fiction book, and seminal work of comparativemythology by Joseph Campbell. In this publication, Campbell discusses his theory of the journey of the archetypalhero found in world mythologies.

Since publication of The Hero with a Thousand Faces, Campbell's theory has been consciously applied by a widevariety of modern writers and artists. The best known is perhaps George Lucas, who has acknowledged a debt toCampbell regarding the stories of the Star Wars films.[2]

The Joseph Campbell Foundation and New World Library issued a new edition of The Hero with a Thousand Facesin July, 2008 as part of the Collected Works of Joseph Campbell series of books, audio and video recordings. In2011, Time placed the book in its list of the 100 best and most influential books written in English since themagazine was founded in 1923.

SummaryCampbell explores the theory that important myths from around the world which have survived for thousands ofyears all share a fundamental structure, which Campbell called the monomyth. In a well-known quote from theintroduction to The Hero with a Thousand Faces, Campbell summarized the monomyth:

“A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and adecisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.[3] ”

In laying out the monomyth, Campbell describes a number of stages or steps along this journey. The hero starts in the ordinary world, and receives a call to enter an unusual world of strange powers and events (a call to adventure). If the hero accepts the call to enter this strange world, the hero must face tasks and trials (a road of trials), and may have to face these trials alone, or may have assistance. At its most intense, the hero must survive a severe challenge, often with help earned along the journey. If the hero survives, the hero may achieve a great gift (the goal or "boon"), which often results in the discovery of important self-knowledge. The hero must then decide whether to return with this boon (the return to the ordinary world), often facing challenges on the return journey. If the hero is successful in

The Hero with a Thousand Faces 13

returning, the boon or gift may be used to improve the world (the application of the boon).

Very few myths contain all of these stages—some myths contain many of the stages, while others contain only afew; some myths may have as a focus only one of the stages, while other myths may deal with the stages in asomewhat different order. These stages may be organized in a number of ways, including division into threesections: Departure (sometimes called Separation), Initiation and Return. "Departure" deals with the hero venturingforth on the quest, "Initiation" deals with the hero's various adventures along the way, and "Return" deals with thehero's return home with knowledge and powers acquired on the journey.

The classic examples of the monomyth relied upon by Campbell and other scholars include the stories of Osiris,Prometheus, the Buddha, Moses, and Jesus, although Campbell cites many other classic myths from many cultureswhich rely upon this basic structure. These similarities between these shared hero legends is one of the basicarguments of the Christ myth theory.

While Campbell offers a discussion of the hero's journey by using the Freudian concepts popular in the 1940s and1950s, the monomythic structure is not tied to these concepts. Similarly, Campbell uses a mixture of Jungianarchetypes, unconscious forces, and Arnold van Gennep's structuring of rites of passage rituals to provide someillumination.[4] However, this pattern of the hero's journey influences artists and intellectuals worldwide, suggestinga basic usefulness for Campbell's insights not tied to academic categories and mid-20th century forms of analysis.

BackgroundCampbell used the work of early 20th century theorists to develop his model of the hero (see also structuralism),including Freud (particularly the Oedipus complex), Carl Jung (archetypal figures and the collective unconscious),and Arnold Van Gennep (the three stages of The Rites of Passage, translated by Campbell into Separation, Initiationand Return). Campbell also looked to the work of ethnographers James Frazer and Franz Boas and psychologist OttoRank.

Campbell called this journey of the hero the monomyth.[5] Campbell was a noted scholar of James Joyce (in 1944 heco-authored A Skeleton Key to Finnegans Wake with Henry Morton Robinson), and Campbell borrowed the termmonomyth from Joyce's Finnegans Wake. In addition, Joyce's Ulysses was also highly influential in the structuring ofThe Hero with a Thousand Faces.

Publishing historyThe book was originally published by the Bollingen Foundation through Pantheon Press as the seventeenth title inthe Bollingen Series. This series was taken over by Princeton University Press, who published The Hero through2006. Originally issued in 1949 and revised by Campbell in 1968, The Hero with a Thousand Faces has beenreprinted a number of times. Reprints issued after the release of Star Wars in 1977 used the image of Mark Hamill asLuke Skywalker on the cover. Princeton University Press issued a commemorative printing of the second edition in2004 on the occasion of the joint centennial of Campbell's birth and the Press's founding with an added foreword byClarissa Pinkola Estés.

A third edition, compiled by the Joseph Campbell Foundation and published by New World Library, was released asthe twelfth title in the Collected Works of Joseph Campbell series in July 2008.

The Hero with a Thousand Faces has been translated into over twenty languages, including Spanish, Portuguese,French, German, Italian, Japanese, Korean, Chinese (simplified and traditional), Turkish, Dutch, Greek, Danish,Norwegian, Persian, Polish, Czech, Croatian, Serbian, Slovenian, Russian, Hungarian, Bulgarian and Hebrew, andhas sold well over a million copies worldwide.[6]

The Hero with a Thousand Faces 14

The hero's journey and womenOne of the questions that has been raised about the way that Campbell laid out the monomyth of the hero's journey inHero with a Thousand Faces was that it focused on the masculine journey. Although this was not altogethertrue—the princess of the Grimms' "The Frog Prince" tale and the saga of the hero-goddess Inanna's descent into theunderworld feature prominently in Campbell's schema—it was, nonetheless, a question that has been raised about thebook since its publication.

Late in his life, Campbell had this to say:

“All of the great mythologies and much of the mythic story-telling of the world are from the male point of view. When I was writing The Herowith a Thousand Faces and wanted to bring female heroes in, I had to go to the fairy tales. These were told by women to children, you know,and you get a different perspective. It was the men who got involved in spinning most of the great myths. The women were too busy; they hadtoo damn much to do to sit around thinking about stories. [...]

In the Odyssey, you'll see three journeys. One is that of Telemachus, the son, going in quest of his father. The second is that of the father,Odysseus, becoming reconciled and related to the female principle in the sense of male-female relationship, rather than the male mastery of thefemale that was at the center of the Iliad. And the third is of Penelope herself, whose journey is [...] endurance. Out in Nantucket, you see allthose cottages with the widow's walk up on the roof: when my husband comes back from the sea. Two journeys through space and one throughtime.[7] ”

Artists influenced by the workIn Pathways to Bliss: Mythology and Personal Transformation, a book drawn from Campbell's late lectures andworkshops, he says about artists and the monomyth:

“Artists are magical helpers. Evoking symbols and motifs that connect us to our deeper selves, they can help us along the heroic journey of ourown lives. [...] The artist is meant to put the objects of this world together in such a way that through them you will experience that light, thatradiance which is the light of our consciousness and which all things both hide and, when properly looked upon, reveal. The hero journey isone of the universal patterns through which that radiance shows brightly. What I think is that a good life is one hero journey after another.Over and over again, you are called to the realm of adventure, you are called to new horizons. Each time, there is the same problem: do I dare?And then if you do dare, the dangers are there, and the help also, and the fulfillment or the fiasco. There's always the possibility of a fiasco. Butthere's also the possibility of bliss.[8] ”

The Hero with a Thousand Faces has influenced a number of artists, musicians, poets, and filmmakers, includingBob Dylan, Jim Morrison, and George Lucas. Mickey Hart, Bob Weir, and Jerry Garcia of the Grateful Dead hadlong noted Campbell's influence and agreed to participate in a seminar with him in 1986, entitled "From Ritual toRapture".[9]

Stanley Kubrick introduced Arthur C. Clarke to the book during the writing of 2001: A Space Odyssey.[10]

George Lucas' deliberate use of Campbell's theory of the monomyth in the making of the Star Wars movies is welldocumented. On the DVD release of the famous colloquy between Campbell and Bill Moyers, filmed at Lucas'Skywalker Ranch and broadcast in 1988 on PBS as The Power of Myth, Campbell and Moyers discussed Lucas's useof The Hero with a Thousand Faces in making his films.[11] Lucas himself discussed how Campbell's work affectedhis approach to storytelling and film-making.[12]

Dan Harmon, the creator of the TV show Community, has stated that he has used the monomyth as inspiration for hiswork.

Christopher Vogler, a Hollywood film producer and writer, wrote a memo for Disney Studios on the use of The Herowith a Thousand Faces as a guide for scriptwriters; this memo influenced the creation of such films as Aladdin, TheLion King, and Beauty and the Beast. Vogler later expanded the memo and published it as the book The Writer'sJourney: Mythic Structure For Writers, which became the inspiration for a number of successful Hollywood filmsand is believed to have been used in the development of the Matrix series.

The Hero with a Thousand Faces 15

Novelist Richard Adams acknowledges a debt to Campbell's work, and specifically to the concept of themonomyth.[13] In his best known work, Watership Down, Adams uses extracts from The Hero with a ThousandFaces as chapter epigrams.[14]

Author Neil Gaiman, whose work is frequently seen as exemplifying the monomyth structure,[15] says that he startedThe Hero with a Thousand Faces but refused to finish it: "I think I got about half way through The Hero with aThousand Faces and found myself thinking if this is true—I don't want to know. I really would rather not know thisstuff. I’d rather do it because it's true and because I accidentally wind up creating something that falls into thispattern than be told what the pattern is."[16]

Many scholars and reviewers have noted how closely J. K. Rowling's popular Harry Potter books hewed to themonomyth schema.[17] To date, however, Rowling has neither confirmed that she used Campbell's work as aninspiration, nor denied that she ever read The Hero with a Thousand Faces.

The sixth and final season of Lost also recognizes Campbell's theories on the hero. During one of the bonus features,theyWikipedia:Avoid weasel words discuss the journey of the main characters and how each is a hero in their ownway. Before each little segment of this particular feature, they quote Campbell and then expound on that particularquote by discussing the various characters.

Singer Janelle Monáe, in the liner notes of her 2010 album, The ArchAndroid, cites Hero as one of her inspirationsfor the track "57821".

Mark Rosewater, head designer of the Magic: The Gathering trading card game, cites "The Hero's Journey" as amajor inspiration for "The Weatherlight Saga", an epic storyarc that went from 1997 to 2001, and spanned multiplecardsets, comic books, and novels.

Jenova Chen, lead designer at thatgamecompany, also cites "The Hero's Journey" as the primary inspiration for thegame Journey for PlayStation 3.[18]

Footnotes[1] http:/ / www. worldcat. org/ oclc/ 224442464[2] Joseph Campbell, The Hero's Journey: Joseph Campbell on His Life and Work, 3rd edition, Phil Cousineau, editor. Novato, California: New

World Library, 2003, pp. 186-187.[3] Joseph Campbell. The Hero with a Thousand Faces. Princeton: Princeton University Press, 1968, p. 30 / Novato, California: New World

Library, 2008, p. 23.[4] Since the late 1960s, with the introduction of post-structuralism, theories such as the monomyth (to the extent they are based in structuralism)

have lost ground in the academic world. Nonetheless, the resonance of this theory and of Campbell's schema remains; every year, The Herowith a Thousand Faces is used as a text-book in thousands of university courses worldwide. Source: Joseph Campbell Foundation website(http:/ / www. jcf. org/ new/ index. php?categoryid=83& p9999_action=details& p9999_wid=692).

[5] Source of term monomyth. (http:/ / ias. berkeley. edu/ orias/ hero/ )[6] The Complete Works of Joseph Campbell data base on the Joseph Campbell Foundation website (http:/ / www. jcf. org/ new/ index.

php?categoryid=83), accessed July 2, 2010.[7] --Joseph Campbell, Pathways to Bliss: Mythology and Personal Transformation, Edited by David Kudler. Novato, California: New World

Library, 2004, pp. 145, 159.[8] --Joseph Campbell, Pathways to Bliss: Mythology and Personal Transformation, Edited by David Kudler. Novato, California: New World

Library, 2004, pp. 132, 133.[9] Joseph Campbell Timeline on the Pacifica Graduate Institute website (http:/ / www. pacifica. edu/ innercontent-m. aspx?id=1754)[10] "Clark's 2001 Diary," extracted from Arthur C. Clark, Lost Worlds of 2001. New American Library (New York), 1972. (http:/ / www.

visual-memory. co. uk/ amk/ doc/ 0073. html)[11] Joseph Campbell and the Power of Myth: The Hero's Adventure - TV.com (http:/ / www. tv. com/ joseph-campbell-and-the-power-of-myth/

the-heros-adventure/ episode/ 432756/ summary. html)[12] Joseph Campbell, The Hero's Journey, loc. cit.[13] Bridgman, Joan (August 2000). "Richard Adams at Eighty". The Contemporary Review (The Contemporary Review Company Limited)

277.1615: 108. ISSN 0010-7565.[14] Richard Adams, Watership Down. Scribner, 2005, p. 225. ISBN 978-0-7432-7770-9[15] See Stephen Rauch, Neil Gaiman's The Sandman and Joseph Campbell: In Search of the Modern Myth, Wildside Press, 2003

The Hero with a Thousand Faces 16

[16] The Wild River Review, "Interview with the Dream King" (http:/ / www. wildriverreview. com/ interview/myth-magic-and-the-mind-of-neil-gaimon/ ogline-tim)

[17] Sharon Black, " The Magic of Harry Potter: Symbols and Heroes of Fantasy (http:/ / www. springerlink. com/ content/ xt7h23t634384024/?p=24521dabc015437594d8130b96ec8bf3& pi=0)," Children‘s Literature in Education (http:/ / www. springerlink. com/ content/ 104754/?p=5c5d7f0018de4f98a31723439fe57332& pi=0), Springer Netherlands, Volume 34, Number 3 / September, 2003 (http:/ / www. springerlink.com/ content/ pr8p7mg4av20/ ?p=5c5d7f0018de4f98a31723439fe57332& pi=0), pp. 237–247, [ISSN 0045-6713] (Print), [ISSN 1573-1693](Online); Patrick Shannon, "Harry Potter as Classic Myth"; Deborah De Rosa, "Wizardly Challenges to, and Affirmations of the InitiationParadigm in Harry Potter," Critical Perspectives on Harry Potter, Elizabeth Heileman, ed. Routledge, 2002, pp 163–183—there are numeroussimilar references.

[18] Kevin O'Hannessian, GAME DESIGNER JENOVA CHEN ON THE ART BEHIND HIS “JOURNEY” (http:/ / www. fastcocreate. com/1680062/ game-designer-jenova-chen-on-the-art-behind-his-journey); CoCreate Magazine

References• Campbell, Joseph. The Hero's Journey: Joseph Campbell on His Life and Work (http:/ / books. google. com/

books?id=2wnmb50GJfsC). Edited and with an Introduction by Phil Cousineau. Forward by Stuart L. Brown,Executive Editor. New York: Harper and Row, 1990.

• Campbell, Joseph and Henry Morton Robinson. A Skeleton Key to Finnegans Wake, 1944.• Campbell, Joseph. The Hero with a Thousand Faces (http:/ / books. google. com/ books?id=2wnmb50GJfsC). 1st

edition, Bollingen Foundation, 1949. 2nd edition, Princeton University Press. 3rd edition, New World Library,2008.

• Campbell, Joseph. Pathways to Bliss: Mythology and Personal Transformation (http:/ / books. google. co. in/books?id=B1n-aCk6UOsC& dq). Edited by David Kudler. Novato, California: New World Library, 2004.

• Ford, Clyde W. The Hero with an African Face. New York: Bantam, 2000.• Henderson, Mary. Star Wars: The Magic of Myth. Companion volume to the exhibition at the National Air and

Space Museum of the Smithsonian Institution. New York: Bantam, 1997.• Larsen, Stephen and Robin Larsen. Joseph Campbell: A Fire in the Mind. Rochester, Vermont: Inner Traditions,

2002.• Manganaro, Marc. Myth, Rhetoric, and the Voice of Authority: A Critique of Frazer, Eliot, Frye, and Campbell.

New Haven: Yale, 1992.• Moyers, Bill and Joseph Campbell. The Power of Myth. Anchor: Reissue edition, 1991. ISBN 0-385-41886-8• Pearson, Carol and Katherine Pope. The Female Hero in American and British Literature. New York: R.R.

Bowker, 1981.• Vogler, Christopher. The Writer's Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese

Productions, 1998.

External links• Information on the 2008 third edition from the Joseph Campbell Foundation (http:/ / www. jcf. org/ new/ index.

php?categoryid=83& p9999_action=details& p9999_wid=692)• Monomyth from UC Berkeley (http:/ / ias. berkeley. edu/ orias/ hero/ )• The Archetype of the Hero's Journey from Web English Teacher (http:/ / www. webenglishteacher. com/ hero.

html)• A Practical Guide to THE HERO WITH A THOUSAND FACES (http:/ / web. archive. org/ web/

20090219134358/ http:/ / skepticfiles. org/ atheist2/ hero. htm)• The Hero Cycle as seen in the Star Wars saga (http:/ / www. powerhousemuseum. com/ pdf/ education/ starwars/

star_wars_teachers_notes. pdf)• Star Wars Origins - Joseph Campbell (http:/ / www. moongadget. com/ origins/ myth. html)• The Matrix - Joseph Campbell Monomyth (http:/ / www. youtube. com/ watch?v=8AG4rlGkCRU)

Article Sources and Contributors 17

Article Sources and ContributorsMonomyth  Source: http://en.wikipedia.org/w/index.php?oldid=600118159  Contributors: 1000Faces, A.amitkumar, AAndre3000, ARUNKUMAR P.R, Absconditus, Acd1208, Aericanwizard,Aeusoes1, Airplaneman, Akhilleus, Alai, Alexlaird87, Ali, Allstarecho, Android Mouse, Andy Smith, Andycjp, Andyroo316, Antiuser, Antonio Lopez, Apeloverage, Aqwas, Aranel, AriRahikkala, Arrowcatcher, AsclepianLineage, AstroArsonist, Asukite, Avoided, BD2412, Bachrach44, Badagnani, Bananaclasic, BarretB, Beardo, Bender235, Binabik80, Bjengles3, Bobo192,C-squared, CSM-102, Can't sleep, clown will eat me, CanadianLinuxUser, Carl.bunderson, Chico Ravelli, Chris the speller, Christie1108, Christopher norton, Chronos Phaenon, Classicfilms,Closedmouth, Cmdrjameson, Cojbutler, Compynerd255, Conf, Craigyjack, Cyfal, Cynicalkane, Danieltheking, Danrduggan, Davemcarlson, DavidOaks, Deltabeignet, DerHexer, Devadatta, DevilMaster, Diane duane, Diego Moya, DionysosProteus, DisassemblyOfReason, Diza, Djnjwd, Dkudler, Dougt, Dp76764, Dposse, Dracosummoner, DropDeadGorgias, Dustynyfeathers, EEMIV,EGMichaels, Editor2020, Edmapa, Edward Z. Yang, Edward321, EggRoll, Ekabhishek, El Bit Justiciero, El Zoof, Elassint, Electric Wombat, Eliaspoveda, Elonka, Epbr123, Epicgenius, Erusseestelinya, Evanh2008, EverGreg, Everyking, Excirial, Falcon9x5, Fargoeth, Fastily, Ferengi, Feydey, Fishtron, Flood6, Fraggle81, FrankWilliams, Frymaster, FuegoFish, GLaDOS, GabrielWinnberg, George Ho, Gherald, Gilliam, Gimmetrow, Gisele teresinha, GiveItSomeThought, Gluonman, Goethean, GoingBatty, Goldenrowley, Goldfritha, HarryHenryGebel, Henrik,Hippietrail, IlGreven, Inferno, Lord of Penguins, Infophile, Inter, J.delanoy, JBPostma, JYOuyang, Jackmass, Jacoplane, Jamesx12345, Jargoness, Jengod, Jerry, Jklin, John of Reading, Jonawiki,Jonthecheet, Josve05a, Jsan, Jtneill, Karenfromseattle, Khazar2, Kidknownasred, Kinaro, Kintetsubuffalo, Kitoba, Koveras, Krich, LamontCranston, Lavamantis, Liftarn, Linesa, Lothar vonRichthofen, Lukcast, Lupin, Macg4cubeboy, Mandarax, Mani1, Marknen, Martarius, Martpol, Materialscientist, McSly, Messiahanic tea-cup, Michael Slone, Michael Von Locke, Mightyfastpig,Mo0, Moe Epsilon, Mollyjean, Mosesroth, Mozucat, Mrlevieux, Mstroeck, Myca, Nafkar, Naufana, Neelix, New worl, Night Gyr, Nightscream, Nihil novi, Nihiltres, Nihonjoe, Nishkid64,NorCalHistory, Nsaa, Number7, Oren0, Ottawa4ever, Ozba, Pariah, Paulmmj, Pedro Aguiar, Peter S., Petero9, Phaedriel, Phatius McBluff, PhilipO, Philippe, Phlegat, Phocks, Pigman, Pipian,Porelbiencomun, ProtoDrake, Pseudomonas, PudgyMoogle, Pyronoid77, R000t, Radagast83, Ravenclaw, Red Darwin, Red banksy, Reywas92, Rich Farmbrough, Richard Keatinge, Ricimer,Ricky81682, Rjwilmsi, Robert McClenon, RobertM525, RobyWayne, Rossumcapek, Rpyle731, SSJKamui, Sailsbystars, Saxifrage, Saə , Seaphoto, Seifer1886, Selket, SemperFideliS81,Shadowjams, Shalom Yechiel, Silence, SoM, Socrhet26, Soetermans, Staxringold, Steel, Stefanomione, Stewart.mccullough, Sturm55, SummerWithMorons, Susurrus, Syncategoremata,Synchronism, Tabletop, Tgeairn, The REGAL fire, The Singing Badger, TheOldJacobite, Theelf29, Theyman, Thiseye, Thu, Timmeh, Tom harrison, Tony Sidaway, Toussaint, Tripp, Trivialist,Tronno, Twinsday, Tyrol5, Urbrock, UrsusArctosL71, Useight, Vanished user kjij32ro9j4tkse, Vary, Vgivanovic, Vi Veri Veniversum Vivus Vici, Victors Monster, Voola, Vrenator, Wavelength,Wayne.denier, Wetman, Wiki-uk, Wikiklrsc, WilliamSommerwerck, Willowrose, Winston Ledet, Woodroar, Woohookitty, Yasya, Zalgo, Zap Rowsdower, Zenozoonotic, Zeppelin9898,Zetawoof, ZuluPapa5, Ærin, Δ, 906 anonymous edits

The Hero with a Thousand Faces  Source: http://en.wikipedia.org/w/index.php?oldid=600683131  Contributors: Aeusoes1, Alansohn, Amerdale, ArchonMagnus, ArcticFrog, Astronaut,Athaenara, Bisected8, Bochkov, BreakfastJr, CaveatLector, Chitomcgee, Chris the speller, Classicfilms, Closedmouth, Cobi, Coelacan, DNewhall, Davemcarlson, Diego Moya, Dkudler,Dobie80, Doczilla, Dom Kaos, DreamGuy, Edgar181, Ekabhishek, EvHoof, Everyking, Ewulp, Exerda, Finn Bjørklid, FrannyAnnie, Froid, Fuzzypeg, GTBacchus, Gisele teresinha,Goldenrowley, GrahamHardy, GreyDragon, HexaChord, Howdoesthiswo, Huifeng, Infophile, J.delanoy, JEN9841, Jnthnrnld, John, Jorunn, Josh the Nerd, Justpoppingintosayhi, Jxn,K1Bond007, Kanonkas, Kenetics, Kevinalewis, Kingturtle, Kortoso, Kristen Brennan, Kwi, Kznf, LittleOldMe, Lowellian, Madda, MakeRocketGoNow, Master shepherd, Materialscientist,Matthew Woodcraft, McAcademic, MegX, Mrwojo, Natalya, NawlinWiki, Nick, Nightscream, Nokternus420, NorCalHistory, OleMaster, Omnipaedista, Only, Panthos304, Paul A, Pegship,PhilipO, Pigman, Polisher of Cobwebs, Psy guy, Quadell, RL0919, Radath, Regulatorg, Renata3, Rich Farmbrough, RookZERO, Rrburke, Rustylane, Sailorptah, Sctfn, Shortride, Slash,Soetermans, Somercet, Stevenmitchell, Stewart.mccullough, Tanvir Ahmmed, Tarinth, TexasAndroid, The Wookieepedian, Timt1006, Toussaint, Triddle, UpdateNerd, Varano, Welsh, WikHead,Wiki-uk, Willerror, Zachorious, Zserghei, 165 anonymous edits

Image Sources, Licenses and Contributors 18

Image Sources, Licenses and ContributorsFile:Heroesjourney.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Heroesjourney.svg  License: Public Domain  Contributors: Anonymous poster, in a thread, gave permission to useit. Re-drawn by User:Slashme

License 19

LicenseCreative Commons Attribution-Share Alike 3.0//creativecommons.org/licenses/by-sa/3.0/