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Importance of magic in literature
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In literature, every story follows a cycle. Although some stories’ cycles can somewhat differ from others, they still contain the same aspects. All of these stories also incorporate archetypes through each character, which falls in line with Carl Jung’s psychological phenomenon, Jungian Archetypes. Upon further examination, all stories with a hero or heroine share the archetypes and the cycle, both in and outside of the world of literature. In A Hero with a Thousand Faces, author Joseph Campbell explains the cycle he calls the Monomyth Cycle in great detail. Joseph Campbell defines as an American mythologist, writer, and lecturer whose many works discusses the human experience, which gives him momentous credibility in explaining the psychological …show more content…
The “Holy Grail” is a metaphor for what every character desires in life. At times, it can come in the form of an object, but for most novels, it is a lesson or a realization. The entire quest tests the hero’s and heroine’s abilities to see exactly how much they want it. To summarize the Monomyth in accordance to Campbell, the first step the hero or heroine experiences, the “Call to Adventure”, occurs when they first receive an invitation to embark upon their journey. The second stage, “Refusal of the Call”, shows whether the hero or heroine chooses to either take their quest or to refuse it. In most stories, the hero or heroine chooses to accept their quest and they continue along the cycle. If they do not want the “Holy Grail” as much as they should, they will refuse the call and remain the waste land, or purgatory, which is the land where nothing flourishes. In the third stage, the hero or heroine receives paranormal assistance, or “Supernatural Aid”. The next stage occurs when the hero or heroine first takes a step to officially begin their journey by “Crossing the First …show more content…
The next stage, “Apotheosis”, occurs when the hero or heroine reaches a point of realization where they obtain a greater sense of understanding. The “Ultimate Boon” occurs when the hero or heroine achieves the primary goal of the entire journey. However, the quest still continues. In the Refusal of Return, the hero or heroine may not wish to return to their own world. The “Magic Flight” occurs when the hero or heroine leaves with their boon. The “Rescue from Without” refers to when a powerful guide assists in bringing the hero or heroine back to their normal life. “Crossing the Return Threshold” occurs when the hero or heroine integrates the wisdom they gain from their quest into their life. The final stage, “Master of Two Worlds”, refers to when they achieve a balance between the spiritual world and reality. Most, if not all, poems, novels, and other forms of literature follow all of these stages in some way with the quests that their hero or heroine
Most myths have a common pattern between them. Today, this pattern is often seen in some of our most beloved motion pictures. Joseph Campbell-a respected 20th century American mythologist, lecturer, and writer- observed this and created a theory based off of the similarities he saw. He showed the world that almost every story with a hero follows the three stages in his theory he called “Monomyth” (Campbell). The monomyth, often times called “The Hero’s Journey” or “The hero with a thousand faces”, includes the departure, initiation, and return stages (Campbell). In these stages the hero leaves his normal life behind, fulfills him/herself in some activity, and returns as a hero (Campbell). These stages can be applied to a smash hit released in 2009, a science-fiction film titled Star Trek. James T. Kirk in Star Trek closely follows Campbell’s theory as he departs from his childhood home in Iowa, fights a rogue Romulan enemy, and returns to Earth as a Starfleet captain.
Carl Jung was a Swiss psychologist and psychiatrist who developed many theories concerning the unconscious mind. Jung’s theories state that the unconscious part of a human’s psyche has two different layers, the personal unconscious and the collective unconscious. The personal unconscious is unique to every individual; however, the collective unconscious “is inborn.” (Carl Jung, Four Archetypes, 3) The collective unconscious is present in everyone’s psyche, and it contains archetypes which are “those psychic contents which have not yet been submitted to conscious elaboration” (Jung, Archetypes, 5); they are templates of thought that have been inherited through the collective unconscious. Jung has defined many different archetypes such as the archetype of the mother, the archetype of the hero, the archetype of the shadow, etc. These Jungian archetypes are often projected by the collective unconscious onto others. If the novel A Prayer for Owen Meany by John Irving is examined through a Jungian archetypal lens it is possible to discern different archetypes projected by the protagonist’s unconscious self to illustrate the effects of the collective unconscious on character and plot analysis.
MD: Rowman & Littlefield. Mayes, C. (2010). The archetypal hero’s journey: A study in Jungian
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.
Sir Gawain and the Green Knight is a great example of the hero cycle. There are many other stories that follow Joseph Campbell's theory, which is why I agree with him. Being familiar with the hero cycle makes these stories easier to predict and interpret. We can refer to the hero cycle when we want to find out why the hero goes on his journey, what he wants to accomplish, and what good he has done for the rest of his people.
The overarching stages of these steps defines the important trilogy of the departure, the initiation, and the return of the hero in the spiritual, physical, and emotional changes that are experienced in this mythic cycle. Campbell’s insightful evaluation of the ten stages of the hero’s journey define the initial reluctance of the hero to follow his destiny, yet he or she slowly walks through the various obstacles and the awakening of consciousness through the death and rebirth of their identity. Finally, the return of hero to “home” reveals the liberation from previous prejudices and limitations of the mind, soul, and body that were present before they partook in the adventure. Surely, Campbell’s’ heroic cycle defines the overarching challenges of selfhood that the hero must endure to raise his or her consciousness to a higher level of understanding and realization. These are the important aspects of the ten stages of Campbell’s heroic journey that define the transformative nature of the journey and the hero’s initiation into the mysteries of life in this mythic theory of the heroic
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.
Departure, is when the main character is leaving their ordinary world behind because they have received the call to adventure by the herald. Once they have enter the first threshold, their life begins to change. They come face to face with the threshold guardian, who is trying to prevent the potential hero from moving forward into their journey. However, with the amulet provided by the mentor, the hero is able to defeat the threshold guardian and continue on seeking knowledge. During the initiation, the hero goes through trials, allies and enemies. As well as, receiving enlightenment along the way. The hero slowly realizes their old world was a trapped for them because their have not fulfilled their needs and wants. One of the most prominent stages of the hero’s journey is the Belly of the Whale. When entered into the Belly of the Whale, the hero is reborn into a new person. After their resurrection, the hero encounters one last battle with death before returning to the ordinary world with the elixir. The elixir, or the boon, is a reward the hero receives once they completed their journey. Often, the hero’s thoughts were the boon being a physical object such as buried treasure or finding love from another. However, they receive a spiritual token or lesson to be shared with others because it is important to bring knowledge to others around you in order to not be lost. If the ones
Joseph Campbell splits the idea of the hero’s journey into three stages: departure/separation, Initiation, and the return. Not all heroes’ journeys are the same, for example, some do not have a return or the hero might be thrown right into the initiation (Campbell's 'Hero's Journey' Monomyth). Richard’s case of a hero’s journey is different from the normal journey because he is thrown into the situation with zero idea of what is going on and he has to help Door find out about her parents’ death and return himself to the normal life, facing many challenges along the way. There are many events in this novel similar to Joseph Campbell’s sequence of actions often found in stories. Richard has to go through the call to adventure, which is part of the departure, where he figures out about the quest he is on. “You can’t go back to your old home or your old job or your old life… None of those things exist. Up there, you don’t exist” (Gaiman, 127). This quote from Marquis de Carabas expresses when Richard crosses the first threshold which is the point in which he realizes that there is no turning back, this is when he realizes he is part of the underworld and non-existent in the normal world. He receives supernatural aid, which is part of the departure, from several people along the way, including Door, Marquis de Carabas, Hunter, Anasthesia, and Old Bailey. Another action of the departure
Furthermore, Campbell explained such patterns by using Carl Jung's theory of the collective unconscious, which he was strongly influenced with. Psychological organs that developed through the evolution, is the idea Jung gave of archetypes (Jung 81). To him they are recurring patterns, images and ideas which all humans inherited in their unconsciousness (Volgar 23). In addition, Campbell described his theory as a reoccurring cycle of pattern consisting of three phases: Departure, Initiation and Return, which he calls The Monomyth (Campbell 28), a deep inner journey of transformation that every hero must go through in order to grow (Voytilla vii).
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. While fulfilling their journey, a hero must undergo a psychological change that involves experiencing a transformation from immaturity into independence and sophistication.Campbell states that these events are what ultimately guides a hero into completing
The archetypal stages in books have been used since the works and discoveries of psychologist, like Carl Jung. Carl Jung saw archetypal stages as recurring images or patterns of situations that come from the unconscious mind. Whereas, Joseph Campbell, a mythologist who wrote a book The Hero of a Thousand Faces, a book about hero’s journeys, demonstrated how characters in books go through a series of stages in order to get to their final destination. In the novels, Jane Eyre and Their Eyes Were Watching God, the main characters all went through their own archetypal stages to get to their final journey to realize or discover their true destiny. Both of the main characters in these novels went through the four stages of the archetypal journey.
The Spiritual and Moral Journeys in The Quest of the Holy Grail. The Quest of the Holy Grail is an exciting tale that follows the adventures of King Arthur's knights as they scour the countryside for the legendary Holy Grail. Throughout their journeys, the knights engage in many exciting jousts and sword fights with a variety of enemies. The author of The Quest of the Holy Grail intends for the story to be more than just entertainment: the knights' search for the Holy Grail is analogous to the pursuit of morality and spiritual chivalry, showing success through asceticism, confession, chastity, and faith.
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... ...
This first stage of the mythological journey—which we have designated the "call to adventure" —signifies that destiny has summoned the hero and transferred his spiritual center of gravity from within the pale of his society to a zone unknown. (53)