This paper examines the argument and theory proposed by Richard H. Tyre of the six basic movements of a plot in a hero story. Although Tyre’s theory does seem too narrow focused, fixed and direct to fit with the plot structure of all hero stories, he makes a great point and provides adequate evidence to support his statement.
Introduction
A plot is arguably the most important element of a story. Whether strong or weak, it is the glue that holds everything together. In 1978 Richard H. Tyre wrote the article, “You Can’t Teach Tolkien.” According to Tyre’s article there are six basic movements in the plot of a heroic story. He suggests that all hero stories follow this same six step plot pattern every single time. The pattern does not change nor does the order in which the plot happens change either. The six plot elements of a hero story, according to Tyre, are: “(1) those who hunt for treasure, (2) must go alone, (3) at night, (4) and they find it, (5) they must leave some of their blood behind, (6) and the
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The higher realism of Tolkien is that he tells the truth in his fairy tale; TV dramas, on the other hand, lie with realistic buildings and cars and heroes who get the treasure without bleeding. The blood can be a metaphor for any of the secretions that contain the body’s salt: sweat or tears” (Tyre, p. 20). The dragon blew fire at Biblo in Chapter 12 when he narrowly escapes after going back into the dragon’s lair to get the treasure. On page 246, when the dragon blew the fire, the passage stated: “he was nearly overcome, and stumbled on the ground with pain and fear.” Upon returning to the dwarfs in the afternoon, he stumbled to the doorstep and “the dwarfs revived him, and doctored his scorches as well as they could; but it was a long time before the hair grew properly again” (Tolkien, 1937, p. 247). These quotes point out the “blood” Biblo left behind. He gained battle
Tens of thousands of stories fit into the hero’s journey archetype created by Christopher Volger. Out of these, a large number of them are stories with remakes that share notable resemblances in their heroes’ journeys. However, none of these quite match those very strong similarities found between Homer’s The Odyssey and Joel Coens’s O Brother, Where Art Thou? These stories share crucial components of the hero’s journey whether it be “crossing the first threshold,” where the main characters of both stories begin their long adventure that transforms them into heroes; “the supreme ordeal,” where the main characters are both deprived of the opportunity to get home sooner; or “return with elixir,” where Odysseus and Ulysses both return to their homes alive the comfort of their wives. In their major plot points, the novel The Odyssey and the motion picture O Brother convey obvious similarities in key elements of their heroes’ journeys such as “crossing the first threshold,” “the supreme ordeal,” and “return with elixir.”
the traits of becoming a hero. Sometimes it would have to depend on the wisdom that the character has. It is their purpose to explain what is going on in this story to make it clear for the audience to understand. Even some stories have insights of what a person can do.
As the story comes to its conclusion, the hero has endured his hardships; he went from the one that started fights to the one that thought of what could make everything work. An ordinary person in an ordinary world faced his share of trials and tribulations to come out as a new person. Defining the hero myth—he struggled and still was able to triumph to his prize at the end ; individuals relish these type of stories, they can
The mold of the heroic template is evident throughout various types of media. Within movies, novels, and poems the hero’s journey is present. Of course, not every piece of literature or movie follows the cycle. However, the idea of the monomyth arose from Joseph Campbell. He wrote his own book, The Hero of a Thousand Faces, within his writing he describes that heroes’ follow the same basic procedure throughout their quest(s). This is where the idea of the hero monomyth arose. In Michael Lewis’s novel, The Blind Side, he portrays “The heroic monomyth.” The Blind Side consists of the basic characters and archetypes that accurately reflect the heroic template.
Often, when a story is told, it follows the events of the protagonist. It is told in a way that justifies the reasons and emotions behind the protagonist actions and reactions. While listening to the story being cited, one tends to forget about the other side of the story, about the antagonist motivations, about all the reasons that justify the antagonist actions.
The human need to be relatable is unquenchable. We love to be able to see parts of ourselves in others, and to be able to feel like our idols are not untouchable. The Hero’s Journey format is one that can be found in almost any story, even in real life. Overall, it is the perfect recipe for keeping readers engrossed. Another place the journey has shown up is in Unbroken by Laura Hillenbrand and Odyssey by Homer. These two stories—one a biography, the other, an epic poem—are so effective in their storytelling, it is easy to see how authors today continue to use the same method to make stories that grab the readers’ attention. What makes them most alike, however, is the emotions and thoughts they have the power to provoke.
To fully appreciate the significance of the plot one must fully understand the heroic journey. Joseph Campbell identified the stages of the heroic journey and explains how the movie adheres meticulously to these steps. For example, the first stage of the hero’s journey is the ordinary world (Campbell). At the beginning, the structure dictates that the author should portray the protagonist in their ordinary world, surrounded by ordinary things and doing ordinary tasks so that the author might introduce the reasons that the hero needs the journey in order to develop his or her character or improve his or her life (Vogler 35). The point of this portrayal is to show the audience what the protagonist’s life is currently like and to show what areas of his or her life are conflicted or incomplete. When the call to adventure occurs, the protagonist is swept away into another world, one that is full of adventure, danger, and opportunities to learn what needs to be learned. T...
“The Hero’s Journey.” Ariane Publications, 1997. Course handout. AS English I. Dept. of English, Woodside High School. 26 October 2013.
Yann Martel’s “Life of Pi” shows all three of the main elements of a hero’s journey: the departure, initiation and the return, helping the story to greatly resemble Joseph Campbell’s structure of a hero’s journey. Through the trials Pi has to face, he proves himself to be a true hero. He proves himself, not just while trapped on the lifeboat with Richard Parker, but also before the sinking of the Tsimtsum. His achievement to fulfill the heroic characteristics of Campbell’s model are evident as he goes though the three stages.
The Hobbit shows J.R.R. Tolkien’s belief in the ancient heroic tales of the Anglo-Saxon and Scandinavian epics. He asserts that a being goes through many adventures with the help of friends who believe that anything can happen. Tolkien reveals how bravery and courage make ordinary individuals succeed at ordinary tasks.
This passage solidifies the theory of the Hero’s Journey that much further. Thomas Foster explains that every story is a quest, and every quest structurally consists of the same five things. There’s the quester, the destination, the reason to go, challenges on the trip there, and the real reason for the journey. He also explains there are other components to the quest that every story seems to have. There is the knight, the dangerous road, the “holy grail”, a dragon, an evil knight, and a princess. When one thinks about it, it’s a little hard to agree that every story is the same, but if each story is at it’s bare bones, they can be fairly similar. In Foster’s example story there is the knight, Kip, the dark knight, Tony, the princess, the
A hero is a man who is distinguished by exceptional courage, nobility. and strength to carry out tasks that involve great risks. A hero can also be a person who fights for other people to help or save them. from their fears and fears. He opposes the villain - a person who does wicked or intentionally harm others in some way, emotionally or otherwise.
(200)This mythic study will define the first ten stages of the hero’s journey as defined by Joseph Campbell in The Hero with a Thousand Faces. Campbell defines the various stages of the hero’s journey within the context of a universal mythic "cycle” found in world ligature. These similar events define the universal stages of the hero’s journey in (1) the call to adventure, (2) refusal of the call, (3) supernatural aid, (4) the first threshold, (5) challenges, (6)revelation (7) abyss (rebirth), (8) transformation, (9) atonement, and (10) the return in the gift of the goddess. These ten stages define the cycle of the heroic journey, which
actions of a character and the concept of the tragic hero. Comparisons are drawn to the tragedies
A set of practices concerning the narrative structure compose the classical Hollywood Paradigm. These conventions create a plot centering around a character who undergoes a journey in an attempt to achieve some type of goal (). By giving the central character more time on screen, the film helps the audience to not only understand the character’s motivation but also empathize with his/her emotional state. Additionally, some antagonistic force creates conflict with the main character, preventing immediate success(). Finally, after confronting the antagonist, the main character achieves his or her goal along with growing emotionally(). This proven structure creates a linear and relatively easily followed series of events encompassing the leading character and a goal.