Category: Hero’s Journey

One may believe isolation to be a terrible weakness, but it can be a great advantage: confinement can be used to build individual strength, integrity, and character. In certain circumstances, teamwork may be increasingly beneficial, but that team calls for a strong leader to take them all the way. A capable leader is a vital part of a team, providing Graff’s necessity to make the best commander of Ender through isolation. In Ender’s Game written by Orson Scott Card, this can be demonstrated throughout Andrew ‘Ender’ Wiggin’s life as he makes his way through childhood and blossoms during Battle and Command School. Ender experiences many hardships put forth by his teachers, but ultimately, these hardships result in a triumph that saves mankind. In Ender’s Game, Card demonstrates how isolation builds individual strength through the meticulous characterization of Ender Wiggin, the symbolism of the Battle Room, and the use of a limited third-person point of view.

Orson Scott Card uses the idea of isolation to depict how being confined can help an individual become stronger and more capable than he or she has before. For example, Card illustrates that isolation can help make an individual more able and intelligent: “Graff had isolated Ender to make him struggle. To make him prove, not that he was competent, but that he was far better than everyone else. That was the only way he could win respect and friendship. It made him a better soldier than he would ever have been otherwise” (Card, 142). Individual strength can be built up in many ways, and Graff determines he will confine Ender to heighten his intended results. This isolation causes Ender many struggles, however, he becomes a stronger and more gifted fighter. Second, Graff reveals to a fellow authoritative individual that ‘when Ender is given command of an army, he is further isolated by his inability to share the burdens of command” (287). Once Ender becomes the commander, he must take it upon himself to learn to cope with the intense burden placed on his shoulders. This added difficulty shapes Ender’s character to become more ruthless toward the enemy. Ender represents the ideas sketched in Graff’s head of the most competent soldier, and with confinement, he can achieve these standards.

Andrew Wiggen, nicknamed ‘Ender’ by his sister, reveals his compassion and vindictiveness through his relationships with others. To illustrate, Ender can be depicted throughout the plot line as “ruthless enough to earn the total victory, but compassionate enough to hate the methods needed to gain it” (Napierkowski). Due to these traits, Ender possesses the perfect balance needed to be a successful fighter in times of war. An individual’s temperament can greatly impact his or her thinking, implementing great stress on the ideal mindset. In addition, as Ender reveals his inner thoughts to his sister, Valentine, he states

At that moment when I truly understand the enemy, understand him well enough to defeat him, then in that very moment, I also love him. I think it’s impossible to understand someone, what they want, and what they believe, and not love them the way they love themselves. And then, in that very moment when I love them –’ You beat them”. (127)

The compassion he learns from his sister is brought with him to Battle School, helping Ender create level-headed decisions. Learning about the enemy until you know everything about them proves to be tough for Ender, but due to his rational thinking, he manages to become very successful. Ender’s mature brain must be properly used by the military to produce the largest positive outcome with the fewest amount of consequences during this war.

Orson Scott Card wrote this story in a generally limited third-person point of view creating depth to Ender’s character. To demonstrate, while Card was writing this novel, he declares that he “believes that a breakthrough occurred for him when he discovered that fiction allows the writer to reveal a character’s thoughts, whereas playwriting does not” (Napierkowski). The card used this breakthrough to reveal the internal thoughts of a few characters, including Ender and Graff. By understanding the internal thoughts and conflicts a character has, one can grasp the reasoning for various actions taken. Furthermore, at times the story “very easily slips into a first-person viewpoint by dropping into Ender’s thoughts” (Napierkowski). Ender provides imperative insight with his feelings and ideas offering more detail and structure in certain situations. These added thoughts provide his internal conflicts, giving a personal relation with Ender while keeping one from guessing about what he may be thinking. The reveal of personal feelings offers an intimate relation to the character adding importance to the thoughts being shared.

Card uses metaphors to provide an underlying message revealing hidden ideas. For instance, while Ender is in Battle School, Blackmore, a critic writer, claims, “Card uses the Battle Room as a metaphor for life. Winning does not mean peace; it simply means one is allowed to play again” (Blackmore). The Battle Room is used as an area to practice, offering the ability to fight numerous times without direct consequences or losses. Outside of the Battle Room, there are no do-overs for one’s mistakes, delineating the bitter reality of the real world. Additionally, as time moves on, it can be shown that “the Battle Room is an apt symbol of Ender’s growth and maturation throughout the novel” (Blackmore). Ender lives his life drifting from moment to moment, similarly as he drifts inside the zero gravity chambers in the Battle Room. With time, as Ender masters how to control himself in these chambers, he learns to take control of his destiny. Ender’s future is being created every moment that he trains in the Battle Room, providing a grand significance to these chambers.

In conclusion, isolation can be used in a variety of ways to provide positive results depicting the idea isolation builds individual strength. Confinement strengthens the individual character as a whole in a multitude of ways creating an exceptional leader. One may experience a hardship in their path, and use it as an excuse to give up. Ender uses the numerous misfortunes he repeatedly runs into to make him stronger and superior to his peers. By using rational thinking, one can turn a dreadful situation into a positive one to promote individual growth.  

Santiago is the hero of The Alchemist. Conceived in a community in Andalusia, Santiago goes to the theological school as a kid however aches to venture to the far corners of the planet. He at last gets the fearlessness to request that his dad’s authorization become a shepherd so he can venture to every part of the fields of Andalusia. At some point, he meets a baffling man in the town of Tariff, who sends him on a voyage to the opposite side of Africa.

Santiago is an inquisitive kid whose receptive outlook makes him especially fit to discovering his Personal Legend. He additionally values his opportunity all around exceptionally, which is the reason he turned into a shepherd and why he is hesitant to get associated with things which undermine his opportunity. At last, he understands that taking no chances is frequently more threatening to his opportunity than going for broke.

Santiago is most likely one of those folks with a guide over his bed brimming with pins on each spot he’s been and he unquestionably can’t quit discussing his semester abroad. Santiago wasn’t generally a shepherd. Truth be told, he should be a minister until he chose he was unreasonably cool for school.

His folks had needed him to turn into a cleric, and in this way a wellspring of pride for a straightforward ranch family. But as far back as he had been a youngster, he had needed to know the world, and this was significantly more imperative to him than knowing God and finding out about man’s transgressions. One evening, on a visit to his family, he had called up the bravery to tell his dad that he would not like to turn into a cleric. That he needed to travel.

We’re not talking ‘travel’ like hiking around Europe for the late spring after secondary school this would be increasingly similar to advising your folks you need to drop out of school and join the carnival, when you’ve never recently shown any ability for trapeze work. A certain something see that he contemplates the world is not quite the same as knowing God. No doubt, he’ll get that rectified later on in the novel. Regardless, this tells us that Santiago is a child with enormous dreams. He’s not content doing what his folks need or what his locale anticipates he’s going to fashion his own way throughout everyday life.

Luckily, his folks take it genuinely well. His father gives him some gold and his approval and instructs him to turn into a shepherd, since they’re the main ones who travel. Santiago absolutely burrows it.

At whatever point he might, he be able to searched out another street to travel. He had never been to that destroyed church, regardless of having gone through those parts ordinarily. The world was tremendous and limitless. He had just to enable his sheep to set the course for some time, and he would find other fascinating things.

This is the life for Santiago. Missed a congregation, No big deal he can generally return. Exhausted with this town not an issue on to the following. More than anything, Santiago esteems opportunity. He wouldn’t like to be secured to a nine to five, and we’re almost certain he won’t need a house with a white picket fence, either. 

Hero Cycle 

Quote: “In the shade of the house, in the sunshine on the riverbank by the boats, in the shade of the sallow wood and the fig tree, Siddhartha, the handsome Brahmin’s son, grew up with his friend Govinda.”

Explanation: This quote, which is the first sentence in the novel, describes the Ordinary world very well, and represents each element. Mainstream faith is represented through the identification of Siddhartha as a Brahmin’s son. When Siddhartha crosses the threshold into Special World, he abandons the mainstream religion and philosophy of his father, as well as his buddy Govinda. Govinda himself is a component of Ordinary World, as Siddhartha’s departure from Govinda symbolizes his departure from Ordinary World, and his reappearance later on in the novel is symbolic of a return. Finally, Siddhartha’s thought of fatherhood and household is a component of the Ordinary World. This is seen extra later in the novel, when Siddhartha realizes that as he returns to the Ordinary World he is continuing the cycle that started by using himself and his father at the start of the novel.

Quote: “Siddhartha had begun to feel the seeds of discontent within him. He had begun to feel that the love of his father and mother, and also the love of his friend Govinda, would not always make him happy, give him peace, satisfy and suffice him.”

Explanation: Siddhartha’s Call to Adventure is viewed in the discontent and doubt that grows within him. He begins to trust that the elements of the Ordinary World, Govinda, his family, and his religion, will no longer make him happy and will not permit him to acquire enlightenment. Therefore, Siddhartha realizes that he ought to discover his route to enlightenment. This search for a path, and the ensuing journey, is Siddhartha’s adventure.

Quote: “As Siddhartha left the grove in which the Buddha, the Perfect One, remained, in which Govinda remained, he felt that he had also left his former life behind him in the grove.”

Explanation: As Siddhartha finds his inner mentor, he also Crosses the Threshold into a Special World. At this point, he has abandoned every element of Ordinary World.

Quote: “His face was still more clever and intellectual than other people’s, but he rarely laughed…Slowly the soul sickness of the rich crept over him.”

Explanation: This quote describes the first set of assessments Siddhartha has to face on his Heroic Journey. While dwelling in the metropolis near Kamala and Kamaswami, he began to feel the effects of greed and wealth. As the quote describes, Siddhartha battled sadness and “soul sickness” for the duration of his time as a wealthy man.

Quote: “Then Siddhartha knew that the game was finished, that he could play it no longer. A shudder passed through his body; he felt as if something had died.”

Explanation: Siddhartha realizes that he can no longer stand his life as a wealthy man. This realization is necessary for him to continue on his journey toward enlightenment, and it foreshadows an important event shortly, making it an Approach to the Innermost Cave.

Quote: “He bent, with closed eyes – towards death. Then from a remote part of his soul, from the past of his tired life, he heard a sound. It was one word… Om”

Explanation: This Ordeal is Siddhartha’s closest brush with death in the novel and the closest he comes to failing his journey. While he has been strong, determined, and wise throughout the novel, during his Ordeal Siddhartha becomes weak, and is close to giving up. Finally, at the last second, he is saved by his mentor, his inner path: Om. Through his rediscovery of Om, Siddhartha is saved and is once again on the right path to enlightenment.

Quote: “Siddhartha stayed with the ferryman and learned how to look after the boat…he was pleased with everything that he did and learned and the days and months passed quickly. But he learned more from the river than Vasudeva could teach him.”

“…Siddhartha began to realize that no happiness and peace had come to him with his son, only sorrow and trouble. But he loved him and preferred the sorrow and trouble of his love rather than happiness and pleasure without the boy.”

Explanation: The first quote suggests Siddhartha’s gradual transition again to the Ordinary World. As Siddhartha learns from the river and Vasudeva he begins to pass farther into the Ordinary World, as this studying from an exterior trainer is comparable to the following of a faith or philosophy.

The 2nd quote suggests Siddharth’s warfare with his relationship with his son. This battle is the event that pushes Siddhartha again into the Ordinary World. The introduction of a father-son relationship, which is comparable to that of Siddhartha and his father, allows him to go the threshold out of the Special World.

Quotes: “Siddhartha realized that the desire that had driven him to this place was foolish, that he could not help his son, that he should not force himself on him. He felt a deep love for the runaway boy, like a wound, and yet felt at the same time that this wound was not intended to fester in him, but that it should heal.”

Explanation: Siddhartha’s Resurrection is his acceptance of his son’s departure. After realizing that he needed to let his son find his path, Siddhartha reached a new level of wisdom and enlightenment, but this realization was very difficult for him to reach. This was the most difficult struggle for Siddhartha, but in the end, he was resurrected and came out stronger.

Quotes: “Govinda stood yet a while bending over Siddhartha’s peaceful face which he had just kissed, which had just been the stage of all present and future forms.”

Explanation: Siddhartha’s Elixir is his enlightenment, and his unique ability to share this enlightenment with others. The Return with the Elixir is represented by his ability to finally teach Govinda the secret to enlightenment, and metaphorically share the Elixir with him. Govinda’s return further proves that Siddhartha has fully returned to the Ordinary World by the end of the novel, as he was the last missing element. 

Introduction: The Timeless Tale of Gilgamesh

‘The Epic of Gilgamesh’ significantly studied by global scholars since it’s discovery in the ruins of the Library of Ashurbanipal in 1853 (Dalley, 2008). It is the longest written literature in Akkadian cuneiform that regales about the protagonist, Gilgamesh’s adventures. This epic poem from the ancient Mesopotamian civilization, centres around the infamous king of Uruk, who is, at the beginning of the story, unfit to rule his people but through guidance from the heavenly gods, Gilgamesh becomes the wise king that gives this epic poem a hero’s ending (Pruyser and Luke, 1982). The story follows many of Gilgamesh’s immoral adventures with his accomplice, Enkidu, and then later adventures on its own, yet Gilgamesh’s journey of self-discovery and wisdom bestows him with the ‘hero’ title, that is usually given to the main protagonist of many Mesopotamian and other ancient mythological tales. Gilgamesh’s hero status can be corroborated by Joseph Campbell’s cycle, a Hero’s Journey. In Campbell’s book, ‘The Hero with a Thousand Faces’, he outlines many specific steps in what is organized into three main stages of the Hero’s Journey. Each of the steps is a key plot that a ‘hero’ or the protagonist usually partakes in, in order to gather the valuable wisdom and life-lessons that allows him to go through such hero’s journey. The three main stages of the Hero’s Journey as follows: Departure, Initiation and Return (Campbell, 2004). When ‘The Epic of Gilgamesh’ is thoroughly examined, it is seen that Gilgamesh does go through the Hero’s Journey as depicted by Campbell, despite what characteristics would morally constitute one as a hero. The term ‘hero’ is given to the character that “…tale takes him to a journey that ultimately transforms the hero forever. This transformation may be physical, social or spiritual” (Kaushal, 2003). This essay will look in-depth into how specific tales from ‘The Epic of Gilgamesh’ falls in line with Joseph Campbell’s analyzation of what every popularized the Hero’s Journey looks like, a concept that was theorized over 4000 years after the historic Gilgamesh supposedly reigned in Uruk (Dalley, 2008).

The Hero’s Departure: Gilgamesh’s Early Adventures

The first stage in Campbell’s Hero’s Journey is Departure. The hero is our case is Gilgamesh, the reigning king of Uruk and the offspring of a previous king, Lugalbanda and the goddess Ninsun, making the Epic’s hero, two-thirds god and one-third human (Dalley, 2008). Due to his parentage, he poses ‘extraordinary energy’ and uses that against the people of Uruk in order to oppress them (Pruyser and Luke, 1982). According to the Old Babylonian text of the Epic, the heavenly gods create Gilgamesh’s equal, a beastly Enkidu, to confront him about his immoral treatment of his citizens in Uruk (Abusch, 2001). Despite the intentions of the gods, Gilgamesh befriends Enkidu and embarks on an adventure to the Cedar Forest in order to defeat and kill the guardian of the forest, Humwawa (or also known as Humbaba) in a quest for glory (Abusch, 2001). This desire for the hero is interest to defeat the forest guardian is what Campbell would describe as the ‘Call for Adventure’. The hero and the possible company seek out an unexpected undertaking which is a “result of suppressed desires and conflicts and amounts to the opening of a destiny” (Campbell, 2004). This call for adventure that Gilgamesh takes on is due to his feeling the need to showcase his strength and dominance as the all-powerful ruler. It also sparks the beginning of the long journey that Gilgamesh will eventually go through.

The Epic then follows Gilgamesh and Enkidu preparing for their quest to the Cedar Forest, and does so by visiting his goddess mother, Ninsun who blesses the two companions for their adventure and ‘adopts’ Enkidu as her own (Pruyser and Luke, 1982). This portion of the Epic, which can be described by Campbell as the ‘Meeting with the Goddess’. As mentioned in ‘The Hero with a Thousand Faces’, “Woman, in the picture language of mythology, represents the totality of what can be known” (Campbell, 2004). Hence, meeting with the goddess Ninsun prior to embarking on his quest signifies that Gilgamesh sought out the one person that can assure him that he is on the right path and being blessed by Ninsun is the assurance he receives.

The most significant plot in the Departure stage is receiving the ‘Supernatural Aid’. Gilgamesh undergoes this step of a Hero’s Journey, by receiving aid from the Sun God, Shamash, which later helps him to defeat the forest guardian Humwawa (Abusch, 2001). As Campbell explains, “… a protective figure, who provides the adventurer with amulets against the dragon forces he is about to pass”. With his blessing from the mother goddess and supernatural aid from the protective figure, Gilgamesh arrives at the mouth of the forest, where Enkidu tries to “prevent him from penetrating the (mountain) abode”, which signifies as the ‘Refusal of the Call’ for Adventure, yet Gilgamesh marches ahead, with his desire for glory in mind, thus Crossing the Threshold (Pruyser and Luke, 1982). Upon entering the first threshold, Gilgamesh is making his way into the “… darkness, the unknown and danger, which gives him every reason to fear so much as the first step into the unexplored” (Campbell, 2004). Crossing the Threshold signifies that there is no return from this point in the Epic without facing what is ahead to come. With the arrival of the Gilgamesh and Enkidu in the Cedar Forest, they encounter the forest guardian, Humwawa, and defeats him with aid from the Sun God Shamash (Abusch, 2001). Therefore, the Epic reaches the final step, the ‘Belly of the Whale’, in the Departure stage of a Hero’s Journey. The killing of Humwawa is the what initiates the next set of events in the Epic. ‘The Epic of Gilgamesh’ highlights the key steps like the sudden call for adventure and meeting with the goddess, in the first stage of the Hero’s Journey, that can be seen depicted in many hero stories, suggesting that Gilgamesh can indeed be considered a hero and his tale heroic, despite the circumstances of his actions.

Initiation: Trials, Temptations, and Realizations

The second stage of Campbell’s Hero’s Journey is Initiation. The Epic now continues with the tales that lead to the main moral of Gilgamesh’s story, the journey to find wisdom about life and death. In this stage, the hero, Gilgamesh and his beloved companion, Enkidu return to Uruk from their previous adventure of defeating the Cedar Forest guardian, Humwawa. Once there, they encounter the goddess Ishtar, who comes to Gilgamesh with a proposal for marriage. This is where the hero is faced with the Women as the Temptress step, which Campbell describes as source of causing the hero to deviate from his intended journey (Campbell, 2004). “The seeker of the life beyond life must press beyond (the woman), surpass the temptations of her call, and soar to the immaculate ether beyond”, which is done so by Gilgamesh by rejecting her proposal of marriage (Campbell, 2004). With the rejection, the goddess Ishtar also faces humiliation as Gilgamesh discloses the many flaws of the goddess, which provokes Ishtar’s rage and her call upon the ‘Bull of Heaven’ “to retaliate for her injured vanity” (Pruyser and Luke, 1982). Enkidu comes to Gilgamesh’s aid by striking down on the ‘Bull of Heaven’ with his sword and slays the bull. This results in a chain reaction, which sees the sacrifice of Enkidu “… as a punishment of that (Bull of Heaven) killing” (Abusch, 2001). Here, the hero is forced to endure with the Apotheosis step of his tale, the most significant step in the Initiation stage in the hero’s journey. In this stage in the Epic, Gilgamesh has a realization moment and is faced to question life and death and is forced to accept that no matter one’s glory and achievements in life, humankind is mortal.

The Initiation stage starts to come to an end with Gilgamesh finding his ‘Ultimate Boon’, which Campbell describes as the search for the ultimate goal of the hero’s journey (Campbell, 2004). ‘The Epic of Gilgamesh’ eludes to the search for immortality from the beginning, and Gilgamesh has finally come to the realization that he is required to find the secret to immortality since being devasted by the death of his dear friend Enkidu (Abusch, 2001).With his ultimate boon in mind, Gilgamesh sets about on one of his final adventures in the Epic, searching for Utnapishtim, the only survivor of the flood brought down by the heavenly gods and was awarded immortality (Pruyser and Luke, 1982). Lastly, Gilgamesh must face the ‘Road of Trials’, the final step in the initiation stage in order to reach Utnapishtim and demonstrate his merit to him, for the reward of immortality. Gilgamesh is required to sail across a sea to reach Utnapishtim, and the hero must make poles to safely sail safely across the dangerous waters. Upon reaching across the sea, Utnapishtim tasks him to not sleep for six days and seven nights, to further prove his worth yet Gilgamesh was unsuccessful (Abusch, 2001). This falls in line with what Campbell describes as the ‘Road of Trials’ that eventually, if successful, allows the hero to reach their ultimate goal (boon). The many substages of the initiation stage like coming across a temptress, apotheosis and the road of trials are the significant plotlines in many heroic stories since it shows the many barriers that come in different forms and are faced by the hero on their journey.

The Return: From Immortality to Wisdom

The third and last stage of a Hero’s Journey is the Return stage. In this stage of the Epic, the hero, Gilgamesh has faced many trials in order to achieve his ultimate goal of immortality and has failed the last task, given to him by Utnapishtim. Despite being unsuccessful, Utnapishtim’s wife bestows upon the knowledge of the plant of immortality and sets him off to find the plant (Pruyser and Luke, 1982). Upon finding the plant of immortality, the plant is stolen from Gilgamesh by a snake, whom “…carries it off, eating it as he goes”, while Gilgamesh is kept busy showering (Pruyser and Luke, 1982). Despite not actually achieving his ultimate boon, Gilgamesh learns from his consecutive failures to gain immortality. He has matured from the immoral king from the beginning of the Epic and returns home to Uruk, having accepted that he is to live life as a common man (Abusch, 2001).

The Epic ends with the last step where Gilgamesh have become the ‘Master of the Two Worlds’ (the mortal and part of the immortal world) and achieved the ‘Freedom to Live’. Gilgamesh was able to master the mortal world by running into its limitations with the use of his ‘extraordinary energy’ bestowed upon him due to his demi-god status. He lived his mortal life to the fullest of his desires, even if his desire were to oppress his people under terrible reign and defeating the Cedar Forest guardian. The Epic’s hero was able to master the immortal world, despite not achieving immortality. This is due to the hero having failed many times to achieve his various evolving goals, yet Gilgamesh lived through each of his failures, unlike his beloved companion Enkidu. At the end of the Epic, Gilgamesh has accepted that he was destined to live life “…as a normal man of the royal class, who can hope for no more than achievements and descendants” (Abusch, 2001). As a result, Gilgamesh has achieved his unknown goal, the ‘Freedom to Live’ as the reigning king of Uruk, which will eventually come to an end but not for the time being.

Conclusion: The Universality of the Hero’s Journey

‘The Epic of Gilgamesh’ follows the demi-god king of Uruk, Gilgamesh on his many adventures. These adventures consist of oppressing the citizens of Uruk, killing a forest guardian, demeaning the goddess Ishtar, and going out of one’s way to find a source of immortality for selfish reason to name a few. Yet Gilgamesh is Mesopotamian mythology’s most famous hero figure. When analyzing the Epic based on Joseph Campbell’s concept of a Hero’s Journey, the tales do fall in line to show that throughout the epic, Gilgamesh underwent a hero’s journey. “… he hero wanders for years, for eons in wilderness; in deep forests… suspended between two poles of life and death; in the grip of fate and destiny. After several trials and ordeals, he is allowed to make the crossover, and pass on to the other world” (Kaushal, 2003). This is exactly how Gilgamesh is seen throughout the entire Epic. He is in a single continuous journey through the many adventures, that lead him to the realization of his mortal limitations and coming to the eventual acceptance of these limitations. Hence despite the what modern-day morals and characteristics are associated with a hero figure, ‘The Epic of Gilgamesh’ is tale depicting a hero’s journey.

Citations

1. Abusch, T. (2001). The Development and Meaning of the Epic of Gilgamesh: An Interpretive Essay. Journal of the American Oriental Society, 121(4), 614-622. doi:10.2307/606502
2. Campbell, J. (2004). The hero with a thousand faces. Princeton, NJ: Princeton University Press.
3. Dalley, S. (2008). Myths from Mesopotamia: Creation, the Flood, Gilgamesh, and Others. Oxford: Oxford University Press.
4. Kaushal, M. (2003). Crossing Seven Seas: The hero’s quest in oral narratives. India International Centre Quarterly, 30(3/4), 57-72. Retrieved from www.jstor.org/stable/23006124
5. Pruyser, P., & Luke, J. (1982). The Epic of Gilgamesh. American Imago, 39(2), 73-93. Retrieved from www.jstor.org/stable/26303754

Campbell’s concept of monomyth (one myth) refers to the theory that sees all mythic narratives as variations of a single great story. The central pattern most studied by Campbell is often referred to as the Hero’s Journey and was first described in ‘The Hero with a Thousand Faces’ (1949)

Joseph Campbell, discusses his theory of the mythological structure of the journey of the archetypal hero found in world myths. Campbell explains his belief that there is a spiritual world that parallels the physical world. He metaphorically uses the Hero’s Journey to bring these two worlds together; all while quoting from different myths and including stories from various socio-cultural experiences. One of Campbell’s main points is that the human experience has become shallow and increasingly less of what myth intended.

The typical superhero film is about some flawed guy who lacks self-confidence. But then he gains superpowers, finds his inner strength and humanity, and self-actualizes by saving the innocent and bringing evildoers to justice. Films like ‘Guardians of the Galaxy II’ are remarkably explicit in positioning superheroes not as heirs to myths, but as antidotes to them. The film’s villain is Ego (Kurt Russell), a godlike being who behaves much like the Greek Gods of myth. He sleeps with lots of women, kills people for obscure reasons, and generally wields his power in an arbitrary and cruel manner because he’s a god and can do whatever he wants.

The Hero’s Journey is a classic story structure that’s shared by stories worldwide. Coined by academic Joseph Campbell in 1949, it refers to a wide-ranging category of tales in which a character ventures out to get what they need, faces conflict, and ultimately triumphs over adversity.

‘Ordinary World’ is where the Hero’s exists before his present story begins, oblivious of the adventures to come. It’s his safe place. His everyday life where we learn crucial details about our Hero, his true nature, capabilities and outlook on life. This anchors the Hero as a human, just like you and me, and makes it easier for us to identify with him and hence later, empathize with his plight.

The Hero’s adventure begins when he receives a call to action, such as a direct threat to his safety, his family, his way of life or to the peace of the community in which he lives. It may not be as dramatic as a gunshot, but simply a phone call or conversation but whatever the call is, and however it manifests itself, it ultimately disrupts the comfort of the Hero’s Ordinary World and presents a challenge or quest that must be undertaken.

Although the Hero may be eager to accept the quest, at this stage he will have fears that need overcoming. Second thoughts or even deep personal doubts as to whether or not he is up to the challenge. When this happens, the hero will refuse the call and as a result may suffer somehow. The problem he faces may seem to much to handle and the comfort of home far more attractive than the perilous road ahead. This would also be our own response and once again helps us bond further with the reluctant Hero.

Campbell described three stages of the hero’s journey: departure, initiation and return. Campbell called the initial stage departure or the call to adventure. The Hero departs from the world he knows. Luke Skywalker leaves his home planet to join Obi-Wan to save the princess. Neo gets unplugged from ‘The Matrix’ with the help of Morpheus and his crew. In the departure stage, you leave the safety of the world you know and enter the unknown. Now the Hero must face a series of trials and tribulations. The Hero’s journey isn’t safe. The Hero is tested in battle, skill, and conflict. The Hero may not succeed in each action but must press on. The Hero will meet allies, enemies, and mentors with supernatural aid throughout the initiation stage. Having endured the trials and hardships of the adventure, the Hero returns home. But the Hero is no longer the same. An internal transformation has taken place through the maturation process of the experience. Luke is now a Jedi and has come to peace with his past. Neo embraces his destiny and liberates himself from the conventions of ‘The Matrix’.

In 1949 Joseph Campbell released ‘The Hero With a Thousand Faces’, in which he outlined a monomyth called the hero’s journey, which would last for generations and provide a template for thousands of stories. Given how popular the hero’s journey has been, it’s worth asking why. Why do most people seem to love it so much? An examination of films from multiple eras and genres shows why Campbell’s hero’s journey is the most influential monomyth in the history of film. It mirrors the process all human beings go through in order to grow from adolescents into adults: leave home, get mentored, overcome challenges, and finally come back a new person.

The first step in the hero’s journey is the call to adventure. According to a memo from former Disney executive Christopher Vogler, the call to adventure is the moment when “the hero is presented with a problem, challenge, or adventure”. In other words, the hero is living his or her normal/boring life when something or someone comes along to change everything by forcing the hero to adapt. In ‘The Wizard of Oz’ (1939), the call to adventure takes the form of a tornado. Dorothy is living a boring life in Kansas when a tornado hits and literally carries her away to her adventure. In ‘Star Wars’ (1977) the call to adventure comes when Luke Skywalker finds R2D2. Luke is bored on Tatooine and then a droid shows up with a hidden message from a beautiful princess who needs help from someone named Obi-Wan Kenobi. This development gets Luke to search for this mysterious figure. Finally, in ‘The Matrix’ (1999), the call to adventure comes when Neo is bored at work opens a mysterious package and finds a cell phone. As soon as he answers, he hears Morpheus’s voice telling him that he is in danger and has to leave the office immediately. These heroes, no matter whether they are living on a distant planet or in Kansas, have one thing in common. Everything around them is familiar, even boring. And on some level, they are yearning to break free from that familiarity. In that sense, they are like most teenagers. We usually want to get away from our parents and go on our adventure.

The next step in the journey is refusal of the call, when the hero decides not to step out of his or her comfort zone and go on the adventure. For whatever reason, the hero thinks he or she would rather stay home even though it’s not exciting there. In ‘Star Wars’ Luke Skywalker originally refuses to join Obi-wan Kenobi to go to Alderaan to find Princess Leia. His decision shows the conflict of emotions and turmoil in a character when they refuse the call. Here, Luke wants to go to Alderaan but cannot go because he feels that his responsibilities to his family are much more important than a personal adventure. In ‘The Matrix’, when Morpheus calls Neo and tells him the way to get out of the building, Neo first judges it too dangerous, which allows us to see Neo deciding whether he should trust this voice on his phone. Finally, in ‘The Lion King’ (1994), after Mufasa is killed, Simba refuses to return to pride rock and accept his destiny as king. What they all have in common is that the hero is reluctant to start the adventure, as exciting as it may be. The reluctance to leave home and stay with what is familiar is an experience most people can relate to. This may also help to explain the popularity of the hero’s journey. If the hero acted fearless all the time, he or she would be much less relatable. All of us have some anxiety about leaving home.

The next step in the journey is meeting the mentor, a mythical being who provides the hero with guidance in using his or her special abilities. This is a very important moment because it often forces the hero to overcome his or her reluctance. In ‘Star Wars’ this is the moment when Luke meets Obi-wan Kenobi. In ‘The Matrix’ Neo overcomes his reluctance with the help of Morpheus. And in ‘The Hobbit: An Unexpected Journey’ (2012) this is the moment when Bilbo Baggins meets Gandalf, who teaches Bilbo everything he needs to know about Middle Earth and gives him the confidence to become what he is at the end of the story. This again is a very relatable part of the hero’s journey. After leaving home, everyone will need guidance in order to survive and grow. Oftentimes this mentor takes the form of a professor, but it can also be a coach or a boss. Whatever the case, we all get mentored at some point in our life.

Perhaps the most important part of the hero’s journey is the supreme ordeal, the big fight or confrontation that the story has been leading up to. In ‘Star Wars’ this is Darth Vader and Luke Skywalker’s iconic lightsaber duel. In ‘The Matrix’ the final fight is between Neo and Agent Smith. And in ‘The Lion King’, Simba’s fight with Scar is the culmination of the whole movie. In the supreme ordeal, the hero has to overcome not only the opponent, but also fears and doubts. Luke doubts whether Darth Vader is his father. Neo fears that he can’t defeat Agent Smith. Simba has feared Scar his entire life. Plus, he knows that Scar killed his father, so Scar must be very dangerous. It is those fears and doubts that connect the supreme ordeal to our lives. While most of us will probably not have to fight a battle to the death, all of us can relate to overcoming a fear or doubt once we leave home. For some people the biggest test is getting into college. For others, the test is getting the job they have always wanted. Whatever the case, all of us can relate to a hero overcoming a major obstacle.

The last part of the hero’s journey is the return. This is the moment when the hero comes home a new person, often to a restored homeland. In ‘Star Wars’ the return occurs when Luke Skywalker goes back to the planet where all of his friends are after the Death Star has blown up. In ‘The Matrix’ it is when Neo returns with all the people he saved from the matrix. And in ‘The Lion King’, it happens when Simba returns from fighting Scar to accept his rightful place as king in his newly restored land. For us, the return is not always coming back to a once broken homeland. And it’s not like we are necessarily transformed in as dramatic a way as some of these heroes. Perhaps it is when we return from college with more experience. Or when we come back from getting a new job with greater confidence. Whatever the case, we do come back changed in some way after we’ve grown

The fact that our change is less dramatic is perhaps the other reason why people love the hero’s journey so much. We wish we could change as much as Dorothy, Luke, Neo, Bilbo and Simba do. We wish we could but we cannot. So, we watch their journey unfold instead and try to see ourselves in it.

Introduction:

The Disney animated film “Mulan” tells the empowering story of a young Chinese woman who defies societal expectations and embarks on a courageous journey to protect her family and honor. Mulan’s hero’s journey, as depicted in the film, showcases her transformation from a young woman burdened by societal norms to a fearless warrior who discovers her true identity and saves her country. This essay will critically analyze Mulan’s hero’s journey, exploring the themes of gender, self-discovery, and bravery.

Departure:

Mulan’s hero’s journey begins with her departure from her village. Faced with the prospect of her elderly father being called to war, Mulan takes it upon herself to disguise herself as a man and take his place. This departure represents her stepping outside the confines of traditional gender roles and challenging societal expectations. Mulan’s decision not only showcases her love for her family but also her determination to prove herself in a male-dominated world.

Initiation:

During her time in the military, Mulan undergoes a series of trials and tests that shape her into a skilled warrior. She faces physical challenges, but her true growth lies in her ability to adapt, strategize, and work alongside her comrades. The initiation phase of Mulan’s journey reveals her determination to prove her worth, even in the face of adversity. It also highlights the importance of loyalty, friendship, and teamwork as Mulan gains the respect and trust of her fellow soldiers.

Transformation:

As Mulan continues her journey, she not only transforms herself physically but also undergoes a profound inner transformation. Through her experiences, she discovers her true self and embraces her identity as a strong and capable woman. Mulan’s transformation challenges traditional gender norms and empowers viewers, especially young girls, to embrace their unique qualities and break free from societal expectations.

The Ultimate Test:

Mulan’s ultimate test comes when she confronts the primary antagonist, Shan Yu, and his army. In this climactic battle, Mulan uses her intelligence, bravery, and resourcefulness to outsmart and defeat Shan Yu, ultimately saving China. This test represents Mulan’s triumph over adversity, as she proves that she possesses the skills and qualities necessary to be a hero, regardless of her gender. Mulan’s victory not only highlights her individual strength but also serves as a symbol of empowerment for women everywhere.

Return:

After successfully saving China, Mulan returns home, where she is honored for her bravery and selflessness. The return phase of her journey emphasizes the importance of embracing one’s true identity and finding acceptance within one’s community. Mulan’s return is not only a celebration of her personal growth but also a message of acceptance and inclusion. The film sends a powerful message that one’s worth should not be determined by societal norms, but rather by individual character and actions.

Conclusion:

Mulan’s hero’s journey in the Disney film “Mulan” portrays a powerful narrative of self-discovery, courage, and breaking gender stereotypes. Mulan’s transformation from a young woman confined by societal expectations to a fierce warrior who embraces her true identity resonates with audiences of all ages. The film challenges traditional gender roles and highlights the importance of individuality, determination, and the pursuit of one’s dreams.

“Mulan” not only entertains but also serves as an inspiration to viewers, encouraging them to question societal norms, embrace their uniqueness, and stand up for what they believe in. Through Mulan’s journey, the film celebrates the strength and resilience of women and sends a powerful message of empowerment and self-acceptance.

The play The Crucible by the playwright, Arthur Miller, is set during the Salem Witch Trials in 1692. As a group of young girls claiming to be possessed by satanic influences, accuse other civilians of witchcraft, John Proctor the tragic hero finds himself at the center. Many lives are at stake as the girls cry out against people they despise or who have wronged them, Proctor and his wife are accused. In the process, his past affair with Abigail comes to light, and threatens his good standings in the Puritan society. He is in fact, a well-respected voice of reason in society, and his eventual downfall is a tragic one, even by Aristotle’s standards. His error in judgement is his affair. He is unable to compromise when he is accused, and his point of enlightenment causes the audience catharsis and makes him a tragic hero.

John Proctor’s error in judgment was a slip in his moral character. He had an affair with his young servant girl named Abigail. As Proctor is talking to Judge Danforth he admits, “ I have known her in the proper place where my beasts are bedded … I wish you had some evil in you that you might know me! (Miller 102).” John Proctor, guilt-ridden, cannot handle the feeling of lying to his wife and the court but in an attempt to reclaim his good name he recalls the night of his affair with Abigail. As he desperately scrambles to make up for his mistakes the reader connects to the disorder and realism in his role as a husband. Although Proctor lowered his morals and sinned, Proctor reminds himself of what other factors he has offended, “A man may think God sleeps, but God sees everything. I know it now… I have rung the doom of my good name (Miller 104).” All of his good actions up until the affair do not matter when church and state government prosecute as one. Proctor lacks the ability to forgive himself, which resembles the action of trying to hold onto his dignity when one makes grave error.

Proctor is unable to compromise Reverend John Hale stops by the Proctor’s house to see if the devout Christians who went to church. John Proctor replied, “I look down to see my money glaring at his [Parris’] elbows, it hurt my prayer. I see no light of God in that man (Miller 62).” Proctor believes Reverend Parris is an unholy man and instead of participating in a corrupt church, Proctor would rather not risk his outward appearance to the people and keep his opinion. The reader would feel as though Proctor would did the right thing for standing up for what he believes in, and his passion for the truth filled life. The way Proctor attempts to keep the only part of himself that is unstained becomes ruined. After signing his name to a confession paper, “ His breast heavy, his eyes staring, Proctor tears the paper and crumples it, and he is weeping in fury,but erect (Miller 133).” As the men talk about what has just happened in the court, Proctor is unable to sign away the only name his was given, saying that he has served the devil. The audience would sympathize with Proctor, he has been trying to keep calm while everything is falling around him, and all he has done was state his opinions.

John Proctor’s enlightenment comes towards the end of the book. As Proctor rips up the signed confession with irritation, “Because I lie and sign myself to lies. Because I am not worth the dust on the feet of them that hang (Miller 133).” He wants the prosecutors to know what they have done to him and that is was unjust. The reader would experience regret because Proctor is an honest man who got caught up in one lie and cannot get himself out. John Proctor finally realizes what has been happening, “ My honesty is broken. I am no good man, spite only keeps me silent (Miller 126).” The part of Proctor that wants to be free is taken by the court and in this fight he feels vulnerable. Meanwhile, the reader see Proctor’s guilt has overwhelmed him and this is too much for this strong man and causes him to have a breakdown.

Conclusion

Readers of the Crucible end up feeling just like the audience in a Greek play, who felt catharsis for the tragic heroes. John Proctor was a classic tragic hero. John Proctor fulfills his this journey as a tragic hero. Staying true to his beliefs and applying what he has learned kept him as a trusted figure in his society. When Proctor realizes that it is too late to undo the false accusations of the trials, Proctor and the readers are shocked with the potential hanging of the good man. The idea of a tragic hero is truly timeless, it can be found throughout history as a meaningful way to portray an event, emotions or ideas.

Work Cited

1. Miller, Arthur.The Crucible.New York: The Penguin Group,2003.Print.