Category: Mythology

Greek mythology includes numerous outstanding and influential figures worth researching. Besides, the details of this vibrant world imply many fascinating insights that can be translated into modern society. One of the Greek gods is Hades, the god of death and the dead, who was also called the King of the underworld, Aides, or Pluto (Hades (Aides, Aidoneus) para. 1). The purpose of this paper is to research the events and facts from the life of Hades.

First, it is crucial to look into the family background and how Hades became the lord of the underworld. He is the brother of Poseidon and Zeus, and the son of Cronus and Rhea, where Poseidon became the ruler of the sea and Hades  the ruler of the world below the ground (Jung, p. 1). A curious fact is that two brothers became the lords of the vast, mighty domains, where they are ruling over the humans shadows. In other words, they are united in their rulership of the unconscious realms, while Zeus is commanding the sky. (Jung, p. 1). Thus, Hades comes from an influential family, where each sibling is the King and has his territory. The division came after the victory over Titans, and when Hades found himself in the underworld, he couldnt even hear anything from the living world (Hades (Aides, Aidoneus) para. 3). It is possible to say that Hades lived among the shadows in his kingdom.

It is also essential to mention the private life of the Greek god. When Hades became the ruler of his domain, he desired a wife and agreed with Zeus that the latter would give one of his daughters (Hades (Aides, Aidoneus) para. 5). As a result, despite her unwillingness, Persephone became Hades wife. Persephone was guided into the trap, and, after the wrath of her mother, Demeter, Hades agreed to return her (Hades (Aides, Aidoneus) para. 5). However, the King of the underworld did not want to give up so quickly and came up with a trick that would bind Persephone to his domain. Hades tricked his bride with sweet pomegranate, after consuming which she had to return to the world of the dead anyway (Hades (Aides, Aidoneus) para. 5). In such a way, Hades got one of Zeus daughters as his wife, as agreed and desired.

Another curious fact from the analyzed Greek gods life is that he possessed the invisibility helmet. Cyclops gave this head-dress to Hades during the war between Zeus and Cronus, which enabled the lord of the underworld to steal his fathers weapons (Jung, p. 8). This aspect can be compared to the psychology of personality, because on the earth, outside of his kingdom, Hades is invisible and cannot be recognized. Putting it differently, it refers to an absence of persona, which characterizes the essence of this god and his powers (Jung, p. 9). Consequently, Hades, as the leader of the souls who left the earth, became an invisible shadow in the world of the living.

Different myths, involving other characters, are created around the life of Hades. For instance, one of the stories describes the connection between Hades and Heracless intention to take Cerberus from the underworld. The narrative states that the underworld lord let Heracles take the beast under the condition that he can defeat him (Hades (Aides, Aidoneus) para. 7). Another myth talks about the enchantment of Hades and Persephone by Orpheuss music. Orpheus succeeded in the attempts to return his wife to earth, after alluring the god of the dead and his wife (Hades (Aides, Aidoneus) para. 7). In conclusion, it is possible to say that Hades is a significant figure in Greek mythology, and numerous stories and attributes revolve around his life.

Works Cited

Hades (Aides, Aidoneus, Pluto, Orcus). GreekGods. 

Jung, Carl. Poseidon and Hades: Unconscious and Underworld. 

Introduction

Mythology is a critically important element of any culture. It represents values and ideas that attract people and contribute to the creation of inspiring stories. Myths also reveal the current state of societys evolution and issues that are important at the moment. At the same time, there are still universal motifs that are always popular because of the peculiarities of human nature and traditionally attractive phenomena such as power, might, honor, wisdom, and knowledge (Campbell 23). For this reason, myths of various periods can have both similarities and differences at the same time. For instance, the ancient German and Scandinavian god Odin resembles the modern character from Harry Potter Dumbledore, as they both are mighty persons who represent the idea of knowledge and power.

Odin

Odin is one of the ancient German and Scandinavian gods who have always been given significant attention. For the first time appears as one of supernatural creates at the period of the Roman occupation of some German regions in 12 BCE (Gaiman 23). With the following evolution of the myth, he becomes a more important character who also transforms into the head of the Scandinavian pantheon. Odin is usually associated with wisdom, royalty, healing, power, knowledge, and sorcery (Gaiman 56). In such a way, in the mentality of ancient people, he becomes the embodiment of qualities that were respected by individuals and inspired them. Odin is also a father of other mighty gods, which means that he guides them and helps to perform their main functions.

Dumbledore

Dumbledore is a perfect example of the modern hero who attracts peoples attention and embodies qualities that are attractive to people today. First of all, in the contemporary worldview, he is taken as one of the most powerful mages of the popular culture. In such a way, he also stands as a symbol of magic and power guaranteed by it. Moreover, in Harry Potter, he possesses knowledge unavailable to other people, which makes him one of the most important heroes for that fictional world (Rowling 57). From this perspective, he can also be considered the head of the magic society who guides it and remains responsible for its effective functioning.

Image of Heroes

Comparing the given two heroes, it is possible to admit the fact that both heroes have similar appearances. During his multiple journeys and wanders on the earth, Odin is often depicted as an older man with grey hair and a long beard (Gaiman 23). He usually wears a hat that serves as his differentiating feature (Gaiman 23). Moreover, he has only one eye, but multiple myths devoted to this character emphasize the cunning look that is peculiar to Odin (Gaiman 23). It reflects the concept of wisdom combined with lively character and the humorous nature of the ancient god.

Dumbledore has a similar description. Joan Rowling describes him as a tall older man with grey hair and an extremely long beard (45). Moreover, he looks attractive and makes people feel comfortable because of the feeling of power and kindness that are usually associated with this figure. Dumbledore also wears a hat and has a specific cunning look that adds some elements of naughtiness to his image.

One can see that Odin and Dumbledore look similar as they are presented as older men with grey hair. The choice of the given image is not accidental as it represents the archetype of a wise person or a magician who managed to acquire outstanding knowledge and might (Rank 78).

Powers

Odin is known as a god who concentrates multiple powers. Wisdom is a fundamental trait of this god, as there are myths devoted to it. In accordance with the legend, he sacrificed his eye to Mimir in return for wisdom (Gaiman 67). It demonstrates the importance of knowledge for people and its sacred character (Rank, 99). On the other hand, Odin is a god of war who is always depicted with a spear and described as a mighty warrior who can destroy enemies.

Dumbledore has some similar attributes and traits that can be revealed why analyzing his image. First of all, he also possesses wisdom, which is emphasized during the whole story (Rowling 56). This feature makes him one of the most powerful sorcerers in the world of Harry Potter. At the same time, he remains a mighty warrior under the stipulation that his magic wand is his weapon. He is the only person who can struggle with Voldemort and resist him, which proves the might of the given character. That is why Dumbledore can be considered a modern representation of Odin as military conflicts are replaced by magical ones, which is more topical for the myth (Jung 56).

Struggle with Evil

In German mythology, Odin plays a critical role in protecting the world from evil. He is the most powerful god who struggles with Fenrir, jotunns, and the powers of darkness to protect the earth and guarantee that it will exist. From this perspective, he acts as a force that restrains evil forces by his wisdom and might. As the master of Asgard, he represents the archetypical opposition of good and evil peculiar to the worldview of ancient German people (Larrington 45).

Dumbledore also serves as the embodiment of light that struggles against darkness. He is the only sorcerer who can resist Voldemort, who is described by the author as pure evil. With his death, the world faces a great danger. This idea resembles visions of Odins death during Ragnarok, which will also mean the end of the world (Larrington 56). Dumbledore devotes all his life to attempts to find a way to defeat the powers of evil and protect the world, which makes him one of the central figures of all books.

Differences and Similarities

In such a way, Dumbledore and Odin have multiple common features. They both serve as archetypical figures representing the concept of knowledge, magic, and wisdom. The similarity is emphasized by the fact that both heroes have mythological birds that accompany them. Odin is always followed by two ravens Huginn and Munnin, while Dumbledore has a phoenix Fawkes who is his friend till the death (Gaiman 78). At the same time, there are some differences that are preconditioned by the shifts in the contemporary value system. Dumbledore is not associated with ware and some bloody rituals as people follow humanistic values today.

Conclusion

Altogether, every epoch has its heroes that serve as an archetypical embodiment of essential qualities. Odin and Dumbledore are two figures that are associated with wisdom, knowledge, and power. Their similarity is also evidenced by their almost identical appearance, which comes from traditional images of wise old men that exist in peoples mentalities. At the same time, they have some differences preconditioned by the peculiarities of epochs when they were created.

Works Cited

Campbell, Joseph. The Hero with a Thousand Faces. 3rd ed., New World Library; 2008.

Gaiman, Neil. Norse Mythology. W. W. Norton & Company, 2018.

Larrington, Carolyne. The Poetic Edda. Oxford University Press, 2018.

Jung, Carl Gustav. Man and His Symbols. Dell, 2012.

Rank, Otto. The Myth of the Birth of the Hero: A Psychological Exploration of Myth. Johns Hopkins University Press, 2004.

Rowling, Joanne. Harry Potter and the Sorcerers Stone. Arthur A. Levine Books, 1999.

The Homeric worldview resembles the orthodox Greek perspective (Cunningham & Reich 39). The Homeric conception of the world characterized a flat and rounded disk of land enclosed by an endless ocean stream. Based on the above representation, it was believed that the earths plateau was amid Oceanus. The sun, the moon, and the stars were thought to be rising from the edges of Oceanus. As such, the above heavenly bodies were believed to have moved in an arc across the skies before sinking into the Oceanus.

Similarly, Homeric believed that Greece was the center of the world. Regions outside Greece were considered to be at the periphery parts of the world. Individuals from outside Greece were perceived to be uncivilized.

Another main feature of Homeric worldview is that metaphysical features and related to oriental worldviews (Cunningham & Reich 42). The above implies that none of the features sees any absolute separation between the animate and inanimate worlds. For instance, in Homeric epics, anthropological gods were organized in societies and lineages resembling human societies and lineages.

Also, it should be noted that Homers worldview was not deprived of supreme beings (Cunningham & Reich, 43). For instance, Homer thought that individuals could only succeed when gods were on their side. Similarly, Homer believed that a supernatural force-controlled human life. Homer referred to this force as fate. In Early Greece, the authors indicated that Clothos, Atropos, and Lachesis governed the life of humans.

Works Cited

Cunningham, Lawrence, and John Reich. Readings for Culture and values: a survey of the humanities, seventh edition. Boston, MA: Wadsworth/Cengage Learning, 2010. Print.

Introduction

Greek mythology refers to a collection of legends and myths as used by the ancient Greeks in reference to their heroes and gods. It is also taken to mean the nature of the world, as well as the genesis and importance of the Greeks rituals and cult practices. In the ancient Greece, these mythologies constituted a part of their religion too. The scholars of today find themselves referring to these myths with a view to shedding light on both the political and religious institutions that were a characteristic of the ancient Greece (Powell 1996). Further, the Assessment of these mythologies aids a more profound understanding of the form of civilization that characterized the ancient Greece, besides playing a huge part in the appreciation of the actual practice of myth-making (Campbell 1964). Greek mythology is personified clearly in a huge compilation of narratives and completely in such figurative arts as votive gifts and vase-paintings. Besides offering an explanation as regards the origin of the world, the Greek myths also offer facts on the adventures and lives of different gods and heroes (Powell 1996).

Sources of the Greek myths

Mythical narration occupies a central role in virtually all the different kinds of the Greek literature. Mythical narration plays an important role in nearly every genre of Greek literature. On the other hand, the only broad mythographical manual to endure the antiquity of the Greeks happens to be the Pseudo-Apollodorus library. This library attempts to bring together the conflicting accounts of the poets and presents an imposing outline of customary Greek mythology, as well as heroic legends (Rouse 1937).

The odyssey, and Iliad- the epic poems- are but some of the oldest known literary sources of the Greeks. Archaeological proof is a key basis of detail regarding Greek mythology, with heroes and gods prominently being attributed to a majority of the decorated artifacts. In Theogony (Greek for origin of the gods), Homer has presented the fullest explanation of the original Greek myths, that talks about the worlds creation. On the other hand, another literary source of the Greek mythology is the Titans and Giants, which helps explain elaborate folktales, descendants and myths on etiology (Rouse 1937).

Another source is Hesiods works and days. This is an informative poem that explains farming life, while also explicitly clarifying Pandora and Prometheus myths, as well as the four ages. The poet has also attempted to offer some advice to the readers on how best to thrive an unsafe world made even more unsafe by the gods of this world (2). Moreover, myth was fundamental to traditional Athenian drama. The dreadful writers Euripides, Sophocles and Aeschylus sourced the plots of their plays from both the Trojan War, as well as the heroes age (Vernant 1991).

More often than not, the age of gods has especially appealed to the contemporary myth scholars. Nevertheless, the Greek writers of the classical and ancient ages had a more refined inclination towards the age of heroes. For instance, the heroic Odyssey and Iliad have made the Homeric Hymns and Theogony appear small, both in terms of popularity and size. Thanks to influences from Homer, the cult of the heroes has led to reorganization in the spiritual life, as has been articulated in the disconnection of the sphere of the gods from the heroes sphere (Powell 1996).

Hesiod, in the works of days, has utilized the four races of man, that is the golden, the silver race, the bronze age, and finally, the iron age. The ages are a representation of the gods distinct creations. As such, Cronus reign fall under the golden age, while the creation of Zeus falls under the silver age. The Heroes age falls under the Bronze Age, while the age of iron is when Hesiod lived. Hesoiud has regarded the Iron Age as being the worst of the four ages, as has been explained by the prevailing evils in the myth of Pandora (Vernant 1991).

Greek myths analyzed

For students of the Greek mythology, it is not unusual to view the Greek gods as frivolous, capricious and at times, immoral actors. As such, one would often hold a supposition that the Greek gods may not after all be all that heroic. If addition, such a scholar would also view them wanting of the expected form of seriousness often possessed by a god (Vernant 1991). While there could be some amount of truth in all this, this does not in any way reveal the full picture of these gods of the Greeks. To emphasize this point, it would be important to note here that for the Greeks of the ancient times, the gods were not held in the same regard as say; the Americans have come to think about their God.

According to the customary Christian-Judeo point of perspective, God is view at as being omnipotent, omnipresent, and the foundation of moral decency. To the Greeks however, their gods were seen as being much more knowledgeable, insightful, but not so markedly powerful than humans. Furthermore, the most distinguishing quality of the Greek gods is power, as opposed to goodness (Powell 1996).

Given that power is often the defining basis of a god; it then follows that a Greek god should be a symbol of a given force, or even a form of action. For this reason, Aphrodite represents lust and love, Ares reigned supreme over the run amok battle, while Zeus is both the power of empathy and thunderbolt. To the rest of us, we might look at the Greek gods as being too much of human, on the basis of their behaviors. We see them getting angry out of some very minor insults. They are also carried away by their lust, as in the case of Aphrodite, Zeus and Ares. In addition, the Greek gods rob each other, like in the case of Hermes, while others have been portrayed as getting themselves involved in some very trivial disputes, as in the case of Hera and Zeus (Campbell 1964).

Furthermore, the gods of the Greeks not only appear to the humans, they also tend to blend with them, at times hindering or even helping them out. Some have even been portrayed as having made love to the humans. Although the picture painted thus far is that of a god who in all likelihoods, is a representation of a man, on the whole, the Greek gods are not exactly like man (Vernant 1991). For starters, the bodies of men get old and later dies. In addition, the bodies of men are in a constant need of nourishment, rest, and replenishment. On the other hand, the Greek gods are seen to be the occupants of a body that experiences no death. In addition, they tend to maintain their beauty and young ages.

Humans have always harbored the intention of becoming like gods, in terms of both beauty and power. In extreme cases, as exhibited by the Achilles and Helen, the portraying of excessive behavior may eventually turn out to be godlike. When these behaviors pass a certain limit, they result in pride and arrogance. Owing to their powerful nature in relation to the humans, the gods of the Greeks may tend to commit rape and incest (Vernant 1991).

On the other hand, the humans may not surpass this set limit. When the Greek humans have exceeded such limits, then they are seen as having committed a fault. It is the same case when the humans also attempt to mock their gods. Even though the gods are do not suffer death, they are however prone to a definite type of fate. For instance, Apollo is charged with the responsibility of being the gods of healing and plague, singing and also prophecy.

Conclusion

For the present day human being, viewing human life in the context of religion, fate and the afterlife may appear to be more of optimism. However, this is not how the Greeks saw it. The Greeks had long resigned to the fact that a larger portion of life is both insubstantial and frail, recognizing that even with the best intentions, one is bound to fail.Nevertheless such likelihood could fail to happen in the event that the Greeks believed that such an endeavor was capable of being enhanced. The behaviors that have often characterized the Greek gods may appear quite strange to the rest of us, but the Greeks had long come to accept and accommodate them, thus justifying an argument that they were firm believers of the Greek mythology.

Work cited

1. Campbell, Joseph. The Masks of God: Occidental Mythology. New York: Viking- Penguin, 1964.
2. Powell, Barry. Classical myth, 5^th edition. New York: prentice hall, 1996
3. Rouse, W. Homer. The Odyssey: translation. New York, NAL 1937.
4. Vernant, Jean-Pierre. Mortals and Immortals: Collected Essays. Princeton: Princeton UP, 1991.

Introduction

In his poems, which Ovid wrote while being inspired by Roman folklore, he demonstrated the entire mythology of his time. In addition, the author also managed to illustrate through the prism of poetry the life of the people around him. Even though many of his characters are gods, they are depicted with human characteristics and flaws. For example, Jupiter, being the main deity of Olympus, has an inexhaustible desire for sensual love and passion. For this reason, he is in constant confrontation with his jealous and petty wife Juno. Jupiter cheats on her with several women; however, after encountering him, they always suffer consequences. For instance, even though it is Jupiter who initiates this connection, it is Io who is made to atone for this sin through transformation.

Main body

Even though Jupiter and Juno are divine creatures, in this poem they are shown as imperfect, with negative characteristics that are natural for humans, but not for gods. In other words, ancient deities are far from the standards of morality and ethics. The scene of Junos conversation with her husband is a prime example. Despite the fact that Jupiter has serious power and a formidable disposition, he is truly timid in front of his harsh wife. He never admits the fact that he cheated on her and tries to save himself and his mistress by deceiving Juno. As the author states, He lied  The earth had brought her forth  so to deflect questions about her [Io] birth (Ovid, 1960, p. 9). It means that in some way, Jupiter is afraid of his partner, which is a feature that is natural for an ordinary human, but not for the greatest god of Olympus.

In addition, aside from his timidity against Juno, Jupiter has other human characteristics. The most obvious one is his strong sense of lust, which is the prime reason he commits his act of cheating with Io. Thus, even though Jupiter is depicted in mythology as a strong heavenly ruler, through his actions, the poet shows the lowest manifestation of such type of love as Ludus.

Nevertheless, it would be wrong to assume that Jupiter possesses only negative human traits. He is also shown as a compassionate man because he does not want to see Io in danger. Seeing what suffering he had brought upon the unfortunate girl, Jupiter instructed his son Mercury to kill the giant who was looking after Io. As the author mentions, but now heavens master could no more endure Ios distress, and summoned Mercury, whom the bright shining Plaid bore, and charged him to accomplish Arguss death (Ovid, 1960, p. 11). Without disagreeing with his father, he fulfilled his instructions, having previously put Argus to sleep with his speeches and freed the captive. It means that even though initially Jupiter was moved by his lust, he truly cared about Io, an ordinary human.

When Jupiter falls in love with Io, she almost endures the wrath of his wife. However, he manages to save her, and, in order to conceal his connection with Io, he turns the poor girl into a cow. Despite this fact, Juno sees through this lie and makes Io suffer by forcing her to stay in that form for a long time. She demanded to give her the animal and assigned the hundred-eyed giant Argos to guard her husbands mistress. Nevertheless, as Ovid states, even if the goddess won the trial, the distrust lingered and still, she feared her husbands tricks (Ovid, 1960, p. 9). In this case, Juno, along with her husband, demonstrates flaws that make her more human-like. Just like any other woman, she is jealous and non-forgiving. Although Io is an ordinary woman, who is no match for the goddess, Juno feels competition between them for her husbands attention. For this reason, she makes Io suffer and go through hardships. This poem demonstrates to the reader how far the gods of Olympus were from the ideals of morality. The reason for this is that because even the most respected among them were vulnerable to human passions that were completely human in nature.

As for the depiction of the human in this poem, Io herself, however, is portrayed as a victim of gods actions and her own carelessness. From the first glance becoming the lover of a powerful god would probably seem like a dream from heroines of ancient Greek myths. However, Io is an excellent example that such a fate is not easy and even dangerous. As Jupiter fell in love with her, he would not stop pursuing her. She, however, did not deny his advances, although she could hardly imagine how this relationship would turn out for her.

Then, she was made to experience a horrible transformation and captivity because Juno found out about their connection. She has been stripped of the opportunity to express her woes, speak with her parents, and live as a normal girl again. Moreover, the cow form was unpleasant to Io, as even her own voice frightened her (Ovid, 1960). When her father meets and surprisingly recognizes her, he is devastated. These facts make the reader sympathize with Io and root for her as she manages to escape from Argus and search for a way to regain her form. After Io go through many trials and reaches Egypt, Jupiter turns her into a girl again, and she lives happily ever after. Because of her connection with the thunder god, she had to endure a lot of torment, even though it is doubtful if Ios fault was that significant.

Conclusion

In conclusion, it would appear that this particular poem can be compared to a story of a fallen Christian woman who experiences the consequences of her sins. Io was not lucky because she found herself in a difficult situation, of which she had little control. Despite the fact, Juno still puts most of the blame on her, although it was Jupiter who made the decision to initiate this connection. This factor, along with the agony that Io was forced to bear makes the reader pity her. In the end, however, she manages to endure all misery and distress, and, for her obedience, she is made human again. In addition, Io even becomes a goddess herself, famous, divine, and linen-robed adorers throng her shrine (Ovid, 1960, p. 23). In this case, the author embodies the human soul who goes through the cycle of being punished and atoning for her sins. Not only the one who suffered the most is free again, but she is also rewarded with becoming a being that is more powerful than a human.

Reference

Ovid. (1960). Metamorphoses. Indiana University Press.

The heros journey, or the Monomyth, is a primary component of stories in historical myths. According to Joseph Campbell, the expedition entails a hero venturing on an exploration, emerging victorious in a defining confrontation, and coming back to his home reshaped or transformed (Ross, 2019). Ross (2019) states that an analysis of folklores and myths of different universal cultures often reveals a similarity in their storylines, which Campbell refers to as Monomyths. This paper discusses Moses Biblical journey in relation to Campbells characteristics of a hero.

The suffering of the Israelites prompted God to look for Moses to rescue them from the bondage. The book of Exodus narrates how they were enslaved in Egypt under the cruel rule of Pharaoh and yearned for freedom (Langer, 2018). Due to the numerous problems faced by the captives, God decided to choose Moses as their savior (Langer, 2018). The first step in Moses journey to Egypt was when he encountered a burning bush. According to Ross (2019), this stage in Campbells Monomyths is referred to as the call to adventure. Here, a heros comfort in the ordinary world is disrupted when a challenge or quest is presented before them. Therefore, a vocation can take different forms, such as a persons dying words, an announcement, or any physical sign.

Moses had his summon when he was shepherding in the desert. In Exodus, chapter three, God approached him and caught his attention through a mysterious burning shrub (Langer, 2018). The voice came from the bush, yet it was not burning, which mesmerized Moses. He heard his name called and responded by affirming his availability. God formerly introduced himself and his intentions to save the Israelites from Pharaohs bondage. Moses was then mandated with the mission of rescuing the captives. Therefore, a call represents a heros ordinary world, which is out of balance and establishes a concrete relationship between the hero and the caller, in this case, God.

The second step in Mosess summoning was the refusal to embark on the journey. According to Campbell, due to fears and insecurities that emerge from a vocation to adventure, a hero may be prompted to abandon it (Ross, 2019). At this stage, they are not prepared to make sacrifices, thus, preferring the safety and comfort in the Ordinary World. Moses refused the appeal even when he knew how powerful God was. He believed he did not have what it takes to accomplish such a momentous task (Langer, 2018). He, therefore, tells God about his weaknesses, specifically when it comes to his speech. Refusal is essential in a protagonists journey as it projects the threats entailed and probabilities of failure (Ross, 2019). In the end, the hero is usually inspired to participate in the mission.

The last stage in Moses journey is meeting the mentor. Ross (2019) states that a protagonist usually finds a person who inspires confidence, trains, advice, and sometimes equips them with supernatural abilities. Moses is gifted with extraordinary powers by God, which enabled him to perform miracles, such as changing his walking stick into a snake and the River Nile to blood (Langer, 2018). Despite having all the capabilities, he still refuses until God finally decides to provide him with another confidant called Aron, who happens to be his brother, to complement him in terms of speech. Therefore, guides are essential in a heros journey as they know the specific requirements to succeed in a particular undertaking.

In conclusion, Campbells Monomyths theory is essential in linking myths from different cultures through standard characteristics of a heros journey. Looking at Mosess story, it is evident that for one to be a hero, they must receive a call that can be accepted immediately or reluctantly. In addition to that, a protagonist can also reject until the caller proves that the journey is worth it. It may then prompt the person to be assigned to the mission to request or be provided with extraordinary powers to aid their journey.

References

Langer, R. (2018). Book Review: Moses: A human life. By Avivah Gottlieb Zornberg. Theological Studies, 79(2), 428430.

Ross, S. L. (2019). The integration of transformation: Extending Campbells Monomyth. Heroism Science, 4(2), 7. Web.