The only story ever told… The Hero’s Journey The only story ever told… English 12 - Cultural Studies

The Father of the Journey Joseph Campbell World famous mythologist Believed in a “collective unconscious” – fundamental level of the human psyche, identical in all of us Wrote The Hero with a Thousand Faces (1949) Coined the term “monomyth” (mono = one, myth = story) the basic pattern found in stories from around the world. The Hero’s Journey is an example of this monomyth.

Why Does This Matter? Framework of the Hero’s Journey is universal – occurring in every culture, in every time. Mythology and stories of a culture contain the most profound and enduring truths. Ideas found in stories and through the Hero’s Journey can be applied to understanding almost any human problem. We are surrounded by examples of this framework – in movies, TV shows, songs, novels, short stories, comic books, poetry, etc. Inspires filmmakers and writers across the world. The most persistent theme in all of literature, it forms the basis for every story ever told – including our own lives!

The Story The hero’s story is always a journey, can be physical and/or emotional. Throughout the story, the hero grows and changes. Can be found in all kinds of stories, not just stories featuring “heroic” action and adventure. The protagonist of every story is the hero, male or female, human or not. Several common steps along the way…

Framework of the Journey 3 Phases, (about) 12 Steps Phase 1: Separation from the Ordinary World The Ordinary World Call to Adventure Refusal of the Call Meeting the Mentor Crossing the Threshold Phase 2: Descent and Initiation Tests, Allies, and Enemies Approaching the Cave Crisis or Ordeal Seizing the Reward Phase 3: The Return to the Ordinary World The Road Back Climax (Death and Resurrection) Return with the Elixir

The Ordinary World The exposition of the story – set the mood, introduce the hero, suggest where story may go, introduce themes, etc. Baseline for comparison to the Special World Very “normal,” even boring Identify with the Hero, relatable Hero is lacking something, has conflict(s) Establish what’s at stake for the Hero

Call to Adventure Hero is presented with a challenge he/she feels must be resolved. May be more than one call; can be internal and/or external A message, declaration of war, or something unconscious within hero. May even be an actual “call” A “herald” may deliver the call

Refusal of the Call Natural for a hero to refuse the call at first. Hero may be frightened, unsure, have second thoughts, be influenced by past experiences, comfort of Ordinary World seems more attractive, etc. We bond with the hero because we’d be likely to refuse the call too. Refusal must be overcome – persistent refusal can lead to tragedy. Some willing heroes automatically seek out adventure and, therefore, may not refuse the call at all. Emotional suspense – is the hero ready? Can he really do it?

Meeting the Mentor Like Threshold Guardians, Mentors are often encountered at the Call, but they can be found anywhere, anytime. Help to prepare Hero for adventure – supplies, knowledge, confidence, etc. Not necessarily a character, may be inside Hero Often an experienced Hero – one who has already made the journey. May only appear once or twice to get the story started, or may appear repeatedly throughout story. Can change to a Threshold Guardian and/or a villain who betrays the Hero

Crossing the Threshold Hero decides to embark on journey and crosses over into the Special World. Often an physical event, but can also be emotional or psychological External – villain hurts someone, rough weather forces ship to sail, Hero runs out of options, etc Internal – Hero is at a crossroads or decision point, must decide whether to go on as before or make a change Generally, readers can identify physical, concrete differences between Ordinary and Special Worlds Requires a “leap of faith” on the part of the Hero. Not always a soft landing. Turning point at which the Journey begins in earnest.

Tests, Allies, and Enemies Mentor may accompany the Hero for further training. One of the most important tests – figuring out who to trust, who is an ally. In the Special World, the stakes (and costs) are higher. Different set of rules and expectations. New rules must be learned quickly. Hero is confronted with increasingly difficult challenges. Hero's character is both highlighted and developed. Now bonded to the hero, we feel a vicarious sense of pleasure as these challenges are met. Requests for help along the way must be honored. Enemies may be the villain or just his helpers. Events along the road in may begin a chain reaction and/or set up future challenges. Watering holes are an important location in the new world – Heroes can learn a lot about the Special World, gain allies, and meet enemies.

Approaching the Cave Hero must prepare for the biggest test yet. Gathering supplies, preparing for battle, readying for intense conflict. The “Cave” is the lair of the dread enemy. Hero is on his own; he must use all he has learned to succeed. Usually another threshold (with Guardians) is crossed to enter the innermost cave. Hero may pause to consider the challenge ahead. This pause helps show the hero as still human and helps build the story tension before the high point of the story. Hero may be given a seemingly impossible task. Must use all knowledge and tools to achieve. No exit at the end of the approach – the Hero must fight, will either live or die.

The Crisis or Ordeal Crisis (NOT climax) is a spike in tension and conflict. Halfway point of story. Hero must be victorious in order to earn the reward (elixir) and trip back home. Battle with the Hero’s primary villain; the ultimate test. Can be a crisis of the heart or other emotional battle, not always physical. Sometimes Hero will lose friends or allies in this battle. Villain may die or escape. Hero will be forever changed. His old ways are gone, behaves like a native to the Special World. Hero will behave in a way that proves he is a hero. Readers are scared/worried for Hero. We face fears along with him.

Reward Now, the hero can enjoy the benefits of facing the ordeal and surviving. Celebration – almost always, hero is recognized Hero must take possession of whatever he/she came seeking (gold, file, computer chip, girl, knowledge, etc) Often reward is an ELIXIR – medicine, potion, or knowledge Reward may be self-realization or an epiphany Hero as been initiated, emerges from ordeal a changed person. Reward can distort the Hero's character The journey isn't over – there are more ordeals to come

The Road Back Hero must choose to stay in Special World or return home. The Road Back home is the opportunity to test and implement lessons learned in the Special World. Rededicate themselves to the adventure; must leave new comfort of SW either through inner resolve or external force Passage into final act of story causes a change in the aim of the story (achieving a goal becomes escape, physical danger becomes emotional risk, etc) Retaliation from villains is possible here. Hero also may encounter set-backs along the way. Hero uses all he has learned and gained along the Road Back, but he must face a final test to finish his journey.

Resurrection Heroes are tested one more time to be sure they have learned/changed; this is the biggest challenge the Hero will ever face. CLIMAX of the story; last, most dangerous meeting with the “enemy” Secret of the Journey: The Hero must DIE and be REBORN. Hero must undergo a final purging and purification before he can return to his Ordinary World; catharsis for him and the reader. Resurrection cleanses Hero of fear, death, danger of journey but helps him retain the lessons of the Special World. Stakes are highest for the Hero – maybe the fate of the world, climactic choice for Hero, villain may die, HERO may die. Often Hero must make a sacrifice to show he has changed; old self is completely dead and new Hero will return home to Ordinary World.

Return with the Elixir Hero returns home, forever changed. True Heroes will share something (literal or metaphoric) with others back in the Ordinary World – knowledge, money, cure, love, etc. Return also includes handing out final rewards and punishments Circular format to stories – often there will be visual or atmospheric cues to illustrate the return to the beginning – allows reader to compare old and new Hero. Elixir is the key to the final stage – proves the Hero has been there, done that. Hero may go on to further adventure, but this one is completed.

Review Phase 1: Separation from the Ordinary World The Ordinary World Call to Adventure Refusal of the Call Meeting the Mentor Crossing the Threshold Phase 2: Descent and Initiation Tests, Allies, and Enemies Approaching the Cave Crisis or Ordeal Seizing the Reward Phase 3: The Return to the Ordinary World The Road Back Climax (Death and Resurrection) Return with the Elixir

The Hero’s Journey Plot Line

THE JOURNEY BEGIN Call to Adventure Return with the Elixir Refusal of the Call Death and Resurrection Meeting the Mentor Ordinary World Crossing the Threshold Special World Tests, Allies, and Enemies The Road Back Approaching the Cave Seizing the Reward The Ordeal

Archetypes Common character traits, types, symbols, and relationships Part of that “collective unconscious,” archetypes are ancient patterns of personality shared across times and cultures. Part of the universal language of storytelling – becoming aware of the archetypes can help us understand characters’ function and purpose in stories. Not rigid character roles; rather, functions performed temporarily by characters to achieve certain effects in a story Think of archetypes like masks that characters can wear to advance the story. Personified symbols of various human qualities

Common Archetypes There are almost as many Archetypes are there are human emotions, but some of the most frequently used Archetypes are: The Hero The Mentor Threshold Guardian Herald Shapeshifter Shadow Trickster

The Hero Willing to sacrifice his own needs on behalf of others; the root of the hero is connected with self-sacrifice Transcends the bounds and illusions of the ego, but at first, Heroes are all ego – think they are separate from the rest of the group Heroes are in the process of becoming complete All have qualities we can identify with and recognize in ourselves, especially weaknesses, imperfections, and quirks At the same time, Heroes are unique, not stereotypical Hero is generally the one who learns and grows the most in the story; the most active person in the story; his will drives the story Heroes are willing to sacrifice – give up something of value, even their own lives, on behalf of an ideal or a group Several sub-categories: Unwilling Hero, Anti-Hero, Tragic Hero, Catalyst Hero, etc.

The Mentor Often a wise old man or woman Teaches and protects hero; gives him gifts Often speak in a voice of god or are inspired by divine wisdom Represent the Self or the god within us; part of us that is wiser, nobler, more god-like. Teaching or training is the Mentor’s primary role Provides or donates (temporary) aid to the Hero; usually a gift (weapon, key, clue, magic, medicine, advice, etc) The gift or help of the Mentor should be earned, by learning, sacrifice, or commitment. Motivates the Hero, helps him overcome fears Several different types of Mentors: Dark Mentors, Fallen Mentors, Continuing Mentors, Inner Mentors, etc. Mentors are almost always a Hero who has already completed the Journey

Threshold Guardian Will test the hero with fears and doubts, questioning the hero’s worthiness. NOT usually the main villain or antagonist; often a lieutenant or lesser villain, can also be neutral or secret helpers Can appear anywhere in a story, often appear to try to dissuade the hero from accepting the call to adventure. Hero can be his/her own Threshold Guardian. Mentors can also serve as Threshold Guardians if they are protecting or teaching the hero. Purpose is to test the Hero, to ensure he is ready for bigger challenges

The Herald Issue challenges and announce the coming of significant change Provide motivation, offer the Hero a challenge, get the ball rolling, etc. May be a person or a force (coming of a storm, declaration or war, damsel calling for help, etc) Positive, negative, or neutral figure Most often in first part of the story to get the Hero into the adventure

The Shapeshifter Hard to define because they are constantly changing, especially from the Hero’s point of view Most powerful function is to express the animus and anima (male and female, ying and yang) of the story. Catalyst for change, a symbol of the psychological urge to transform Brings doubt and suspense to the story Often a “femme fatale” or “homme fatale” Shapeshifting is a function or mask that may be worn by any character in the story, even the Hero

The Shadow Represents the energy or the dark side, the unexpressed, unrealized, or rejected aspects of something Negative face of the Shadow is projected onto villains, antagonists, or enemies Create conflict and bring out the best in a Hero by putting her in a life-threatening situation Shadows aren’t totally wicked, often humanized by a touch of goodness May be a character or force external to the Hero, or something deeply repressed within the Hero; something depressed, neglected, or forgotten

The Trickster Is all about mischief and desire for change Primarily clowns or comical sidekicks, though the Trickster can be a Hero too. Cut big egos down, help us realize our common bonds, point out folly and hypocrisy, bring about healthy change and transformation Comic relief – relieve tension and suspense Can be a servant or ally working with the Hero, a Shadow, or an independent agent The Trickster Hero is common in mythology and folklore (B’rer Rabbit, Bugs Bunny, Mickey Mouse, etc) Tricksters like to stir up trouble for its own sake Catalyst character – affects the lives of others but remains unchanged

Archetypes Review Hero Mentor Threshold Guardian Herald Shapeshifter Shadow Trickster

GOOD LUCK ON YOUR JOURNEY TO A GOOD GRADE ON YOUR QUIZ TOMORROW. STUDY HARD! GOOD LUCK ON YOUR JOURNEY TO A GOOD GRADE ON YOUR QUIZ TOMORROW.