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The journey of a hero
Elements of the hero's journey
Elements of the hero's journey
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The Hero’s Journey
The Hero’s Journey is a genre of text that describes the adventures of the archetypal character “The Hero”. The Hero’s Journey is a narrative that was identified by the American scholar Joseph Campbell. Two narratives that clearly represents and show the typical story line of The Hero’s Journey are The Hobbit, By J.R. Tolkien and Shrek, By Ted Elliot, both of these stories conduct of the archetypal character “The Hero” starting as a mediocre person and getting a challenge set for them before they set off to overcome the challenge and on this journey they learn valuable skills and return from the journey with a new way of looking at life.
The hero’s journey has a monomyth a wheel that consists of 12 sections that help to
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create a well-structured narrative that contains drama, thrill, suspense and development, however there is three sections that are significant and are important because they bring the whole story together and keep the reader captivated. These three sections include The Refusal, The Approach and The Mentor Helper. The Refusal The Refusal is typically at the beginning of the story and generally happens after ‘The Hero’ has been confronted with a challenge that he/she has to face to be able to collect their reward.
What typically happens in the refusal is that the character, or mentor in some cases, isn’t sure on whether they want to take up this challenge or not. In the movie Shrek the refusal runs slightly different compared to how it does in The Hobbit because ‘the mentor’ is the one who is trying to talk their way out of the challenge. As Shrek and donkey embark on their journey to the palace to rescue princess Fiona for Lord Farquaad and in return Shrek can have his swamp back, the refusal occurs when they are walking through a field of sunflowers and donkey is trying to tell Shrek that it is not a very good idea. Donkey states to Shrek “So let me get this straight you’re only going to rescue this princess, so you can get your swamp back from Farquaad?” he then backs himself up again by saying “I don’t know Shrek I think it would be easier to just pull some ogre stuff on them [to get his swamp back]”. The refusal in The Hobbit is when bilbo says to “We don’t want any adventures here, thank you”. Here Bilbo made it clear to Gandalf that he did not want to go on any ‘journey’s’ and he refuses to accept Gandalf’s offer. The refusal plays an important in ‘The Hero’s’ development because the hero must overcome a mind block before they can continue onto the journey, when Bilbo rejects Gandalf’s
offer it is because he does not think he can handle an adventure like what Gandalf proposed. The Approach The Approach is very important in the development of ‘The Hero’ because to have the ability to be able to approach things in a sensible manner can take a role in whether ‘The Hero’ will be able to overcome the challenge. The Approach often comes in the lead up to a climatic event in the story where danger may be lurking. The approach in Shrek is when he and donkey go to save princess Fiona from the castle that is guarded by a dragon. The approach in The Hobbit is at the stage where Bilbo enters the cave and encounters Smaug, the dragon, for the first time. The Approach is a very important part in the development of ‘The Hero’ because this is where things such as setbacks occur causing the character to have to find a new approach to overcome the challenge therefore enabling ‘The Hero’ to develop and grow as a character.
Watching a film, one can easily recognize plot, theme, characterization, etc., but not many realize what basic principle lies behind nearly every story conceived: the hero’s journey. This concept allows for a comprehensive, logical flow throughout a movie. Once the hero’s journey is thoroughly understood, anyone can pick out the elements in nearly every piece. The hero’s journey follows a simple outline. First the hero in question must have a disadvantaged childhood. Next the hero will find a mentor who wisely lays out his/her prophecy. Third the hero will go on a journey, either literal or figurative, to find him/herself. On this journey the hero will be discouraged and nearly quit his/her quest. Finally, the hero will fulfill the prophecy and find his/herself, realizing his/her full potential. This rubric may be easy to spot in epic action films, but if upon close inspection is found in a wide array of genres, some of which are fully surprising.
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.
Throughout literature, there is a prevalent model found in various narratives that ensures its success. This archetype, called the “journey of the hero,” discovered by Joseph Campbell, serves as a guideline of three stages for authors to manipulate to their own desire. The departure, the initiation, and the return essentially create the same storyline, yet these formats can be molded into unique and refreshing works of art. Aspects of the “journey of the hero” in the movie Shrek 2 are highlighted as the main hero, Shrek, and his wife Princess Fiona depart from their accustomed residence, the swamp, rediscover the meaning of true love through peril, and return with Shrek being able to balance his identity between an ogre and royalty.
The Hero’s Journey is an ancient archetype that we find throughout our modern life and also, in the world of literature.Whether metaphorical or real, the journey that a character goes on shows not only the incredible transformation of the hero but it also gives them their life meaning. It is the ultimate human experience and it reflects on every aspect of life. Take Logan, also known as Wolverine, from the X-Men movie as an example. His adventure starts with “The Call,” which is the first step of the Hero’s Journey. This step happens due to the realization of imbalance and injustice that the character has in their life. Logan steps into the first stage of the pattern but is hesitant to start his adventure because he does not know what and
In “ The Odyssey ” by homer Odysseus goes on a journey to get home after twenty years the trojan war. The “ Hero’s Journey “ by Joseph Campbell represents the journey the hero's take on their journey as a hole in the story. The main parts of most stories include twelve parts to the hero's journey and some additional points.. The three parts of the hero's journey supernatural aid, test and supreme ordeal , and reward and journey home. These are some of the most important parts of the odyssey.
“The Hero’s Journey.” Ariane Publications, 1997. Course handout. AS English I. Dept. of English, Woodside High School. 26 October 2013.
Joseph Campbell defines a hero as “someone who has given his or her life to something bigger than oneself” (Moyers 1). The Hero’s Journey consists of three major parts: the separation, the initiation, and the return. Throughout a character’s journey, they must complete a physical or spiritual deed. A physical deed involves performing a daunting and courageous act that preserves the well-being of another person. A spiritual deed calls for action that improves another individual’s state of mind.
From the beginning of time, mythology has appeared to be one key method of understanding life’s confusions and battles. Within these myths lies a hero. From myth to myth and story to story, heroes experience what may be called a struggle or a journey, which lays down their plot line. Bearing tremendous strength, talent, and significant admiration, a hero holds what is precious to their audience, heroism. Over time however, no matter the hero, the hero’s role remains indistinguishable and identical to the position of every other hero.
In The Hero with a Thousand Faces, Joseph Campbell argues that most of the world’s mythologies and stories that feature a protagonist, or “hero,” going on a journey share an eerily similar structure. Campbell dubs this structure the “monomyth,” which he describes as follows: “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” (30). What is most important, however, is the purpose behind this journey. Campbell writes that the “modern hero-deed must be that of questing...
Myths have been a great example of the hero’s journey. Many heroes have journeys and trials to face throughout their life. Most of their journeys start out with their origin and end with the return. However, the hero’s role remains identical to every other hero. Most heroes like Gilgamesh has heroic traits because of the stages in the hero's journey. Gilgamesh is a man who can turn into a hero by changing himself, even when he has unusual circumstances surrounding his birth. Gilgamesh is viewed as a hero due to the stages of the hero's journey.
The monomyth or more commonly known as the hero's journey, is the found in many stories/myths/movies from around the world no matter what culture or time the myth is a part of. There are twelve steps in which the hero participates in and usually the hero goes on an adventure or quest, is in a decisive crisis, wins a reward and comes out of it a changed or transformed person.
Vogler’s reasoning for creating this article is to promote the idea that all stories follow a generic outline. Some stories may alter a few steps or add some in, but they still respect the same framework. He has given much evidence and supported his ideas with a chart called The Hero’s Journey that gives the specific outline (Vogler, 1985, p. 2). Vogler explains the twelve steps that make up The Hero’s Journey given in his memo. They are,
Very few books can challenge the Bible in terms of sales. “The Hobbit”, and its successors, is one of them. Written by J.R.R. Tolkien, the book has sold about 100 million copies till date. It features the story of a hobbit and his adventures. The book is very well written, and contains many different characteristics that appeal to the reader. One of these is the plot, which can be easily fit in a Hero's Journey chart. A Hero's Journey chart is divided into 3 ‘acts’, which are further divided into a total of 23 archetypal steps. J.R.R. Tolkien exceptionally develops three archetypal steps, namely ‘ Refusal of the Call’,' The Approach’, and ‘The Road Back’ in “The Hobbit.”
The hero's journey is a very simple process that can fit in with almost any story. The book that I have chosen to analyze is Harry Potter And The Sorcerer's Stone which is written by J.K Rowling. After analyzing the book I have seen that it does in fact follow the hero's journey.
One well-known example of “The Hero’s Journey” from popular culture is the Harry Potter and the Philosopher’s Stone, by J.K. Rowling. In the novel, Harry Potter, the main character, is the chosen one and “The Hero’s Journey” applies to his life from the moment he is attacked by He-Who-Must-Not-Be-Named as a baby. Joseph Campbell calls the initial phase of a hero’s development the “Call to Adventure.” The call is the in... ...