Main Topic: Monomyth-Separation Defined
- This show covers the first of the three sections of the monomyth as described by Joseph Campbell in his book “The Hero with a Thousand Faces.” (ISBN 0-691-01784-0)
Sections of the Monomyth:
- Separation
- Initiation
- Return
Essay References:
- http://en.wikipedia.org/wiki/Joseph_Campbell
- http://en.wikipedia.org/wiki/Monomyth
- http://www.monomyth.org/
Music Provided by Jon Schmidt: http://www.jonschmidt.com/
Next Special Edition: Merry Christmas
Next Episode: Monomyth-Initiation Defined
Click “Read the Article” to see the transcript
Transcript
Welcome to the Myth Show, where timeless stories are discussed and brought to life. I am your host, Gregory Lemon and this is episode four. This show is for those who would like to know more about the wide and fascinating field of mythology, folk lore, and fairy tales.
During this episode we’ll discuss the first third of the Monomyth, the Separation, as described in the book “The Hero with a Thousand Faces”, written by Joseph Campbell in 1948. Future and separate episodes of the MythShow will cover remaining Monomyth sections of Initiation and Return.
The music for this podcast is provided by Jon Schmidt at jonschmidt.com
Main Topic: Monomyth
Introduction
Joseph Campbell “was an American professor, writer, and orator best known for his work in the fields of comparative mythology and comparative religion.” (Wikipedia, Joseph Campbell). His book, “The Hero with a Thousand Faces” is a classic in the study of mythology. The book discusses two patterns found in the mythology of many cultures: The Monomyth and the Cosmogonic Cycle. The Monomyth pattern focuses of stories where there is one character at its center. The Cosmogonic Cycle focuses on stories that discuss the creation and eventual destruction of the world. This episode of the MythShow will be the first of three that will focus on the Monomyth.
The term “monomyth” is was originally used by James Joyce in his text, “Finnegans Wake”. The term has come to describe the similarities found throughout many mythological heroes or the more common “Everyman”. The term “Hero’s Journey” is also used to refer to the same concept we’re discussing. Simply stated, the story of each hero has three phases: separation, initiation and return.
Campbell describes these three phases in this following quote:
“A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.” (p. 30)
Each of these three sections are broken down into different sub-sections. While I have found different subsets listed for the monomyth. I will use the ones Campbell describes in his book.
“The first great stage, that of the separation or departure, will be shown…in five subsections: (1) “The Call to Adventure,” or the signs of the vocation of the hero; (2) “Refusal of the Call,” or the folly of the flight from the god; (3) “Suppernatural Aid,” the unsuspected assistance that comes to one who has undertaken his proper adventure; (4) “The Crossing of the First Threshold”; and (5) “The Belly of the Whale,” or the passage into the realm of night.
“The stage of the trials and victories of initiation will appear…in six subsections: (1) “The Road of Trials,” or the dangerous aspect of the gods; (2) “The Meeting with the Goddess”…or the bliss of infancy regained; (3) “Woman as the Temptress,” the realization and agony of Oedipus; (4) “Atonement with the Father”; (5) “Apotheosis”; and (6) “The Ultimate Boon.”
“The return and reintegration with society, which is indespensable to the continuous circulation of spiritual energy into the world, and which, from the standpoint of the community, is the justification of the long retreat,…[will be shown in] six subheadings: (1) “Refusal of the Return,” or the world denied; (2) “The Magic Flight,” or the escape of Prometheus; (3) “Rescue from Without”; (4) “The Crossing of the Return Threshold,” or the return to the world of common day; (5) “Master of the Two worlds”; and (6) “Freedom to Live,” the nature and function of the ultimate boon.” (p. 36-37)
In total, Campbell suggests that there are seventeen steps in all of the hero’s journey. This show will cover steps one (the Call to Adventure) through six (the Belly of the Whale). In the book, Campbell didn’t follow one mythological figure through all of the steps. He used examples where the myth or folklore exemplified the subsection being discussed. As I was reading the book, I was hoping to see a hero carried throughout each of the steps of the hero’s journey. This is just a small critique. I will discuss some more scholarly criticisms of the monomyth near the end of the essay.
To Campbell’s credit he did provide a short narrative that hits all of the steps in the monomyth. This following quote is an example of writing English to be read, and not to be spoken. With all of the commas, really long sentences, and parenthetical asides, I’ll do my best.
The mythological hero, setting forth from his commonday hut or castle, is lured, carried away, or else voluntarily proceeds, to the threshold of adventure. There he encounters a shadow presence that guards the passage. The hero may defeat or conciliate this power and go alive into the kingdom of the dark (brother-battle, dragon-battle; offering, charm), or be slain by the opponent and descend in death (dismemberment, crucifixion). Beyond the threshold, then, the hero journeys through a world of unfamiliar yet strangely intimate forces, some of which severely threaten him (tests), some of which give magical aid (helpers). When he arrives at the nadir of the mythological round, he undergoes a supreme ordeal and gains his reward. The triumph may be represented as the hero’s [...sexual...] union with the goddess-mother of the world (sacred marriage), his recognition by the father-creator (father atonement), his own divinization (apotheosis), or again—if the powers have remained unfriendly to him—his theft of the boon he cam to gain (bride-theft, fire-theft); intrinsically it is an expansion of consciousness and therewith of being (illumination, transfiguration, freedom). The final work is that of the return. If the powers have blessed the hero, he now sets forth under their protection (emissary); if not, he flees and is pursued (transformation flight, obstacle flight). At the return threshold the transcendental powers must remain behind; the hero re-emerges from the kingdom of dread (return, resurrection). The boon that he brings restore the world (elixir). (p. 245-246)
To help to clarify what each of the monomyth steps mean, I will provide samples from Campbell’s book and from other sources I found while researching this topic. Some of the examples provided will come from ancient myths. However, I will use examples from more current stories that have been patterned after the monomyth. My copy of “The Hero with a Thousand Faces” has a picture of Luke Skywalker on the cover. A movie character that came nearly thirty years after the book was originally published. The most popular literature today that I will use to provide monomyth examples include Star Wars, Harry Potter, The Lord of the Rings, and the Bible. (With annual Bible sales totaling between $425 million and $609 million, I consider that popular literature)
1. The Call to Adventure
Every Hero’s journey begins with a hero or an Everyman character. (While the hero can be male or female, to keep things simple, I will refer to the mythical heroes or Everyman characters using male pronouns.) The monomyth is a circular pattern. It can occur for the same character many time. Doesn’t have to, but it can. The first time through the cycle, the character is an “Everyman” The next time through the cycle, he goes through as a hero.
The Harry Potter series can be used as an example of the cyclical nature of the monomyth. While the seven books and the seven years at Hogwarts the book chronicle could be encompassed with one monomyth, each year or book follows it’s own mini-monomyth. In Year/Book One, the eleven-year old Harry is an “Everyman”. Each of the subsequent years has Harry returning as a hero ready for another turn through the monomyth. Anakin and Luke Skywalker in the Star Wars movies could also have had six or three mini-monomyths respectively within their own over-arching hero’s journey.
The actual call to adventure may be provided by a herald. Usually typified as the wise old man. Think of Obi-Wan Kenobi, Merlin, Gandalf, and Hagrid as examples of heralds
2. Refusal of the Call
When presented with the call to adventure, the Hero has one of two choices: accept it, or reject it. From the book, Campbell says the following: “The myths and folk tales of the whole world make clear that the refusal is essentially a refusal to give up what one takes to be one’s own interest.” (p. 59-60)
Let’s dissect that statement. What is one’s self interest? What ever “it” is, it’s what the hero believes to be the best for him and maybe what is best for those around him. But Campbell was talking about what “one takes” or one believes to be their own interest. This means the hero’s belief in preserving what he believes is best, is wrong. It all boils down to selfishness. By refusing the call to adventure, the hero is placing himself, or his status-quo above the positive results that may come from the adventure. Luke Skywalker did not want to leave Tatooine because all he knew what life with his aunt and uncle. Odysseus pretended to be crazy to get out of his oath to go to war to retrieve Helen of Troy.
For the monomyth to continue, the true hero accepts the call, often putting aside his own objections. That is lucky for us. There would be no story if the hero staid home. How boring would the Iliad be if Odysseus never went to the Trojan war. Never mind that the Oddessy wouldn’t have happened at all.
3. Supernatural Aid
Once on the hero’s journey, the hero will come across some form of supernatural aid.
Campbell stated: “For those who have not refused the call, the first encounter of the hero-journey is with a protective figure (often a little old crone or old man) who provides the adventurer with amulets against the dragon forces he is about to pass.” (p. 69)
There are many examples of the protective figure that helps the hero. While the herald who extended the call to adventure may also provide this role, it is not always the case. In Star Wars, Obi-wan Kenobi calls Luke to the adventure AND provides him his father’s lightsaber. However, in the Lord of the Rings, Gandalf was the herald to the adventure, but it was Bilbo who gave Frodo the chain-mail shirt made of the fictional metal “mithril” and the Elven dagger, named “Sting.”
Other characters that are often found providing this help. Campbell also said:
“In fairy lore it may be some little fellow of the wood, some wizard, hermit, shepherd, or smith, who appears, to supply the amulets and advice that the hero will require. The higher mythologies develop the role in the great figure of the guide, the teacher, the ferryman, the conductor of souls to the afterworld. In classical myth this is Hermes-Mercury; in Egyptian, usually Thoth (the ibis god, the baboon god); the Christian, the Holy Ghost.” (p. 71-73)
4. The Crossing of the First Threshold
During the hero’s journey, he will cross two thresholds. The first threshold is the symbolic (or literal) doorway into the realm where the adventure will take place. The second threshold is the doorway back to the hero’s home.
Crossing the First Threshold is a major step for the hero. This is where he often meets a Threshold Guardian. This guardian (human, beast, or other magical something) will test the hero to see if he is worthy to begin the journey.
A classical example of a Threshold Guardian is the Cerberus. It is the three-headed dog that guards the gates to the Greek underworld. An example from the Lord of the Rings has the Ring-Wraiths as the Threshold Guardians to the Elven city of Rivendale. Frodo has to get past the Wraiths (and survive) to prove that he is worthy to carry the Ring all of the way. An example of a non-living threshold guardian comes from the Harry Potter world. To get onto Platform nine and three-quarters, Harry must run at the barrier between platforms nine and ten. This is a literal barrier that grants passage and transportation to the magical school of Hogwarts.
Some stories from mythology provide examples of characters who do not pass through the first threshold. Usually this involves the death of the character and the hero’s journey becomes a tragedy.
5. The Belly of the Whale
Often the Threshold Guardian from the previous step in the journey is protecting the part of the journey called the Belly of the Whale. Regarding the Belly of the Whale, Campbell said:
“The idea that the passage of the magical threshold is a transit into a sphere of rebirth is symbolized in the worldwide womb image of the belly of the whale. The hero, instead of conquering or conciliating the power of the threshold, is swallowed into the unknown, and would appear to have died.” (p. 90)
To the world that was left behind when the hero crossed the First Threshold, he is dead. He finds himself in a new world, separated from his old realm by the threshold he has just crossed. Having passed through the threshold and its guardian, this is where the “Everyman” character becomes a hero.
The name of this step in the journey does invoke images of a very small, tight, and slimy gullet of a water-based mammal. For me, the name of this step makes me think of the Old Testament prophet of Jonah. He was literally in the belly of the whale. While he was inside the whale for the three days, Jonah had amply time to think about his life and the choices he had made that lead his to his claustrophobic situation. In the dark and slimy belly, Jonah found enlightenment. Campbell also suggests that this step is similar to a worshiper who goes “into a temple-where he is to be quickened by the recollection of who and what he is, namely dust and ashes unless immortal. The temple interior, the belly of the whale, and the heavenly land beyond, above, and below the confines of the world, are one and the same. This is why the approaches and entrances to temples are flanked and defended by colossal gargoyles; dragons, lions, devil-slayers with drawn sword, resentful dwarfs, winged bulls. These are the threshold guardians to ward away all incapable of encountering the higher silences within.” (p. 91-29)
The belly of the whale or the temple experience is where the hero gains the insight of himself or a glimpse into the eternal worlds. The hero will emerge born-again as if coming from his mother’s womb ready to continue on with the journey.
Other biblical examples of this step of the hero’s journey include: Joseph, the son of Jacob who was thrown into a well or pit by his jealous brothers emerged as a slave that was to become regent of Egypt, Saul of Tarsus was struck blind and entered into the belly of blindness to emerge as Paul the Apostle, Jesus, the carpenter of Nazareth was placed in the Garden Tomb for three days to emerge as Jesus Christ, the Messiah and Resurrected Lord of all mankind.
Resources
Resource material for this episode came from:
The book “The Hero with a Thousand Faces” by Joseph Campbell. Originally written in 1948 with a second edition in 1973.
http://en.wikipedia.org/wiki/Monomyth – Retrieved October 12, 2006
http://www.monomyth.org/ - Harry Potter and Lord of the Rings references provided by Rich Schwab.
