Joseph Campbell’s Joseph Campbell’s Monomyth: The Hero’s Monomyth: The Hero’s

JourneyJourney

Joseph Campbell’s Joseph Campbell’s Monomyth: The Hero’s Monomyth: The Hero’s

JourneyJourney

Joseph CampbellJoseph Campbell• An American professor, writer, and orator best

known for his work in the fields of comparative mythology and comparative religion.

• In 1949 Joseph Campbell made a big splash in the field of mythology with his book The Hero With a Thousand Faces. This book built on the pioneering work of German anthropologist Adolph Bastian, who first proposed the idea that myths from all over the world seem to be built from the same "elementary ideas."

• An American professor, writer, and orator best known for his work in the fields of comparative mythology and comparative religion.

• In 1949 Joseph Campbell made a big splash in the field of mythology with his book The Hero With a Thousand Faces. This book built on the pioneering work of German anthropologist Adolph Bastian, who first proposed the idea that myths from all over the world seem to be built from the same "elementary ideas."

Swiss psychiatrist Carl Jung (1875-1961) named Swiss psychiatrist Carl Jung (1875-1961) named these elementary ideas "archetypes," which he these elementary ideas "archetypes," which he believed to be the building blocks not only of the believed to be the building blocks not only of the unconscious mind, but of a unconscious mind, but of a collective collective unconsciousunconscious. In other words, Jung believed that . In other words, Jung believed that everyone in the world is born with the same everyone in the world is born with the same basic subconscious model of what a "hero" is, or basic subconscious model of what a "hero" is, or a "mentor" or a "quest," and that's why people a "mentor" or a "quest," and that's why people who don't even speak the same language can who don't even speak the same language can enjoy the same stories. enjoy the same stories.

Campbell's contribution was to take this idea of archetypes and use it to map out the common underlying structure behind religion and myth. He proposed this idea in The Hero With a Thousand Faces, which provides examples from cultures throughout history and all over the world. Campbell eloquently argues that all stories are fundamentally the same story, which he named the "Hero's Journey," or the "monomyth.“

Remember Prezi: An epic is a long narrative poem that recounts the adventures of an epic hero, a larger-than-life figure who undertakes great journeys and performs deeds requiring remarkable strength and cunning.

Other points from Prezi:

1.Hero is great leader who embodies ideals & values that culture considers admirable.

2.Hero is on quest/journey to achieve something of great value to self or society.

3.Hero achieves type of immortality b/c lives in after death by being forever remembered by those who live after.

Other points from Prezi:

4.Hero possesses superhuman strength & craftiness but doesn’t have magical powers. Heroes are “regular” humans whose aspirations & accomplishments set them apart.

5.Hero overcomes obstacles/opponents but maintains humanity emerging victorious from perilous situations.

6.Hero experiences typical human emotions yet is able to master & control these human traits to a greater degree than a typical person.

Other points from Prezi:

7.Hero often connects/makes contact with “lesser” humans in order to succeed but is also helped & harmed by intersecting gods.

8.Hero is also an archetypal character (archetype more on that later).

George Lucas had already written two drafts of Star Wars when he rediscovered Joseph Campbell's The Hero With a Thousand Faces in 1975 (having read it years before in college).

This blueprint for "The Hero's Journey" gave Lucas the focus he needed to draw his sprawling imaginary universe into a single story.

The Wachowski Brothers' film The Matrix is also carefully built on the same blueprint.

Campbell sites three stages of the Hero’s Journey. Each stage contains various elements that build the protagonists’ character, bringing them closer to their self knowledge – the true purpose of the quest.

• Stage I: Departure • Stage II: Initiation• Stage III: Return

Campbell sites three stages of the Hero’s Journey. Each stage contains various elements that build the protagonists’ character, bringing them closer to their self knowledge – the true purpose of the quest.

• Stage I: Departure • Stage II: Initiation• Stage III: Return

I. Departure (or Separation)

The Call to Adventure

I. Departure (or Separation)

The Call to Adventure

• The quest begins with the heroes in a state of anguish, and they become aware of a place beyond the world they have known. The quest is often announced to the hero by another character who acts as a "herald."

• The quest begins with the heroes in a state of anguish, and they become aware of a place beyond the world they have known. The quest is often announced to the hero by another character who acts as a "herald."

Refusal of the CallRefusal of the Call

• In many stories, the hero initially refuses the call to adventure. When this happens, the hero suffers somehow, and eventually chooses the quest.

• In many stories, the hero initially refuses the call to adventure. When this happens, the hero suffers somehow, and eventually chooses the quest.

Supernatural AidSupernatural Aid

• Along the way, the hero often encounters a helper, usually a wise old man (or a

helper disguised as one) who gives the hero both psychological and physical weapons for the journey.

• Along the way, the hero often encounters a helper, usually a wise old man (or a

helper disguised as one) who gives the hero both psychological and physical weapons for the journey.

Crossing of the First ThresholdCrossing of the First Threshold

• The heroes eventually must cross into a dark underworld, where they will face evil and darkness, and, thus, find true enlightenment. Before this can occur, however, the heroes must cross the threshold between their home world and the new world of adventure. Often this involves facing off against and quelling a “threshold guardian,” and this point represents the transition into the world of adventure.

• The heroes eventually must cross into a dark underworld, where they will face evil and darkness, and, thus, find true enlightenment. Before this can occur, however, the heroes must cross the threshold between their home world and the new world of adventure. Often this involves facing off against and quelling a “threshold guardian,” and this point represents the transition into the world of adventure.

Belly of the WhaleBelly of the Whale• Having defeated the threshold

guardian, the heroes find themselves in a place of darkness where they begin their true adventure, perhaps discovering their true purpose. This “belly of the whale” is a frightening and restricting place, from which the hero must somehow escape. (The name for this stage of the monomyth is based upon the story of Jonah.)

• Having defeated the threshold guardian, the heroes find themselves in a place of darkness where they begin their true adventure, perhaps discovering their true purpose. This “belly of the whale” is a frightening and restricting place, from which the hero must somehow escape. (The name for this stage of the monomyth is based upon the story of Jonah.)

II. Initiation: The Road of TrialsII. Initiation: The Road of Trials• Once in the other world, the hero is

repeatedly challenged with mental and physical obstacles that must be overcome. Often these take the form of a test, by which the heroes improve their skills and proves their worth. Also, these trials help the hero move from childishness to self-reliance. Thus, this step is a personal evolution,

• Once in the other world, the hero is repeatedly challenged with mental and physical obstacles that must be overcome. Often these take the form of a test, by which the heroes improve their skills and proves their worth. Also, these trials help the hero move from childishness to self-reliance. Thus, this step is a personal evolution,

Meeting with the GoddessMeeting with the Goddess• After overcoming the Road of Trials, the hero often

encounters a goddess-like, approachable woman: beautiful, queenlike, or motherly. The male hero faces the goddess and in doing so, faces his anima anima (( Jung’s term for the feminine side of a man’s personality)Jung’s term for the feminine side of a man’s personality). By uniting with the goddess, he becomes a whole person, reconciling his feminine nature with his masculine nature. This can also be a negative encounter when the goddess is replaced by The Temptress (see next slide). Campbell cites the lure of the woman, leading the hero astray (the hero is assumed to be male).

• After overcoming the Road of Trials, the hero often encounters a goddess-like, approachable woman: beautiful, queenlike, or motherly. The male hero faces the goddess and in doing so, faces his anima anima (( Jung’s term for the feminine side of a man’s personality)Jung’s term for the feminine side of a man’s personality). By uniting with the goddess, he becomes a whole person, reconciling his feminine nature with his masculine nature. This can also be a negative encounter when the goddess is replaced by The Temptress (see next slide). Campbell cites the lure of the woman, leading the hero astray (the hero is assumed to be male).

Woman as Temptress(Temptation) Woman as Temptress(Temptation)

• In some Hero's Quests, the male hero will encounter the goddess, but before he can unite with her, he must prove his worthiness by overcoming the temptation of the Woman as Temptress. This is the negative side to the previous slide, and can plunge him back into darkness.

• In some Hero's Quests, the male hero will encounter the goddess, but before he can unite with her, he must prove his worthiness by overcoming the temptation of the Woman as Temptress. This is the negative side to the previous slide, and can plunge him back into darkness.

Atonement with the FatherAtonement with the Father• The male hero may encounter

a father-like figure of patriarchal authority. 'Father' and 'son' are often pitted against each other for mastery of the universe. To understand the father, and ultimately himself, the hero must reconcile with this ultimate authority figure.

• The male hero may encounter a father-like figure of patriarchal authority. 'Father' and 'son' are often pitted against each other for mastery of the universe. To understand the father, and ultimately himself, the hero must reconcile with this ultimate authority figure.

Apotheosis (becoming god-like)

Apotheosis (becoming god-like)

• The heroes’ ego is disintegrated in a breakthrough expansion of consciousness. It is a realization of the essence of life. Quite frequently their ideas of reality is changed, they may find themselves able to do new things or able to see a larger point of view, allowing a sacrifice of self.

• The heroes’ ego is disintegrated in a breakthrough expansion of consciousness. It is a realization of the essence of life. Quite frequently their ideas of reality is changed, they may find themselves able to do new things or able to see a larger point of view, allowing a sacrifice of self.

The Ultimate Boon(boon = blessing)

The Ultimate Boon(boon = blessing)

• Having reconciled with the father and achieved personal enlightenment, the heroes’ psychological forces are again balanced. Their new found knowledge, or boon, also has potential to benefit society.

• Having reconciled with the father and achieved personal enlightenment, the heroes’ psychological forces are again balanced. Their new found knowledge, or boon, also has potential to benefit society.

III. Return:Refusal of the ReturnIII. Return:Refusal of the Return

• Having found bliss and enlightenment in the underworld, the hero may not want to return with the boon for a variety of reasons (others may not understand experiences)

• Having found bliss and enlightenment in the underworld, the hero may not want to return with the boon for a variety of reasons (others may not understand experiences)

Magic FlightMagic Flight

• A mad dash is made by the hero to return with the prize to inform, heal, or share with a community.

• A mad dash is made by the hero to return with the prize to inform, heal, or share with a community.

Rescue from WithoutRescue from Without

• The heroes may need to be pulled back from the adventure by the outside world. It’s time to return, and when they do, others will benefit from their boon.

• The heroes may need to be pulled back from the adventure by the outside world. It’s time to return, and when they do, others will benefit from their boon.

• Before the heroes can return to the real world, they must confront another threshold guardian. The first threshold was a symbolic death; this is now a symbolic rebirth.

• Before the heroes can return to the real world, they must confront another threshold guardian. The first threshold was a symbolic death; this is now a symbolic rebirth.

Crossing of the Return ThresholdCrossing of the Return Threshold

Master of the Two WorldsMaster of the Two Worlds

• Once the final threshold is crossed, the heroes are now free to move back and forth between the two worlds at will. Heroes must explore and learn how to bring the two worlds together.

• Once the final threshold is crossed, the heroes are now free to move back and forth between the two worlds at will. Heroes must explore and learn how to bring the two worlds together.

Freedom to LiveFreedom to Live

• With the journey now complete, the heroes have found true freedom, and can turn their efforts to helping or teaching humanity.

• With the journey now complete, the heroes have found true freedom, and can turn their efforts to helping or teaching humanity.