“The Hero With 1,000 Faces” Commentary & Summary
The collection of stories deconstructed by Campbell weave together what he calls the mono-myth. The mono-myth is the constituents of elements used to construct the fundamental framework for creation stories, literature in general, and theology. For those who are attempting to navigate through a life filled with tragedy and obstacles learning these symbolic representations may give you the inspiration to continue enduring as you undertake the hero’s journey.
This book is cited numerous times in respected literature pertaining to sociology, behavioral psychology, and evolutional psychology. For that reason (among many others) it was a MUST read for me. If you are equally enthusiastic about those subject then this book will certainly keep you captivated throughout. I would definitely place this book as a significant piece of work for understanding the primordial mind (emotional mind. The Elephant to the Rider).
About the Authour
Joseph John Campbell (March 26, 1904 — October 30, 1987) was an American Professor of Literature at Sarah Lawrence College who worked in comparative mythology and comparative religion. His work covers many aspects of the human experience. Campbell’s most well-known work is his book The Hero with a Thousand Faces (1949), in which he discusses his theory of the journey of the archetypal hero shared by world mythologies, termed the monomyth [1].
Heres a video on one of his lectures here:
Summary
The book takes us through a journey of stories that have been constructed from behavioral patterned observed by a self-conscience organism, humans. We later assigned significance to those patterns, constructing patterns to them. Those patterns then transcended beyond the representations of specific events and evolve into psychological representations for life at a high-level.
Like a tarot card or astrology reading that could be broadly applied to nearly everyone, the symbolic representation in these stories are fluid and relevant differently subject to a particular culture.
In the prologue, he suggests that our intrinsic desire to connect with our ancestral spirit (which is the lessons encoding into our mind throughout the mind's evolution) is elemental to the nourishment of the success of survival.
Part One
The call to action engenders the hero to begin his journey beyond his real of comfort and the constraints of society. The hero is introduced to multiple trials and tribulations along the journey. Once the hero is triumphant he passes the threshold and moves onto a new world of knowledge. Upon the end of his voluntary voyage into the unknown, he must invoke his life changing-boon.
“The Keys” commentates how the secular perspective towards mythology catalyzes in the removal of its primary utility which is to episodically represent symbolism. The symbolism is the suggested narrative that we act out to tend towards Peterson’s heaven — for example.
Part Two
Campell cites Jung often, especially his main idea of the collective unconscious construction of archetypes and symbols. These symbols can characterize many things but the common elements consist of fear, hope, good, evil, and other fundamental elements for survival observed and encapsulated by the narrative.
Emphasis on both the creator’s sexes aspects is depicted by stories and mythology. The sequence of life from the virgin birth to death; mainly, mortality is a quintessential component needed for the exploratory character to become the hero. During the hero’s journey s/he has the ability to become one of the various options: the warrior, the lover, the emperor/tyrant, the world redeemer, or the saint.
There are two types of deaths that mythologies describe, the first is personal (microcosm), and the second is universal(macrocosm). The birth, life, thriving and death/parish. The
Epilogue
Campbell culminates the book by commenting on the relevance of myths today, how myths are viewed and how you can make use of them in your own life.
Analysis
I will tie together other philosophers and psychological perspective, slowly shaping my own thoughts on the fascinating subject of the collective unconscious and its capacity for utility.
Prologue
The Monomyth
This is my interpretation of how the monomyth was created. Jung, along with Freud, suggests that the dreams are unconscious symbolic representations of our emotions (and arguably the behavioral patterns from a particular culture). Myths and legends (later Peterson’s narratives/dramas) would be conscious representations of our unconscious emotions mainly fear, curious tendencies, desire for good, repulsion of the bad, and yearn for a purpose which is to represent delayed gratification — ability to think long term.
Campbell again calls for a comparison between the two pioneers of psychological conclusions pertaining to sex, mainly in relations with the father and mother. He specifically recalls the “Oedipus complex” (If I get good feedback I can go into detail on this).
I question the interpretive conclusions from a single psychologist. Interpretation is biased towards your personal experiences. Unless the symbol is peer-to-peer approved to represent a specific psychological behavior or emotion then, to me, that's no different than astrology, which in lab coats placebos tend to work well — as we have been shown.
Dreams unconsciously assist us in transitioning from major life experiences. Mythology is the result of conscious creatures that create stories based on behavioral patterns that are observed over time. The observations are relative to the culture, therefore, mythologies vary based on sociocultural significance. We look at myths to learn how to behave. He also suggested that myths were never taken wholeheartedly until religions started propagating the idea that literal interpretation was necessary by building belief structures that needed to be followed or risk eternal hell.
He talks in greater detail on the story of Minos and the Minotaur. His seduction for worldly materials leads to the production of a monster as a result of his wife’s infidelity. The hero's journey can be identified as the creation of a monster (typically CTA or death or earthly birth), and the defeat of the monster (hero’s transformation or rebirth).
Comedy & Tragedy
Myths and legends are dramatically presented as a comedy to act as satire to the observations of the behavioral patterns and subsequently their primary and secondary consequences.
Comedy over tragedy as tragedy is the life that we experience and comedy is used to express relief form a tragic life and provide inspiration for redemptions, exploration, and triumph.
The Hero and The God
Here Campbell adds pre-context dependencies used to better prepare the reader for the arc of the hero. Each step of the journey has its own dedicated chapter. The Separation phase is leaving the mundane world or voluntary contact with chaos. The Initiation phase characterized as trials and tribulations where new skills are gained and they become an adult by passing the threshold. Them he emphasizes the importance of the hero’s return, which usually places the society into regeneration. The hero’s journey exposes the dormant powers hidden in the hero since conception. Only through trials does the hero become aware of the dormant powers. The hero and the god are often the same mirror image one only has an arc and is mortal (important). We are all the hero and have the divine ability in us to attain “success” we have an option to stay in “hell” or tend towards “hell” or tend towards “heaven” your ideal future.
The World Navel
This is where Peterson's background chaos is represented. We of the three constituent of elements surrounded by chaos which he characterized as the divine creator. It is both good and evil thus generating the ability for the three elements to possess the polarizing valence of good and evil; protector or tyrant, nurturer or destroyer. The two are represented as characterized as yin and yang in eastern theology.
Part I is called “The Adventure of the Hero”
The Call to Adventure
The chapter could be summarized as the call is the result of a crisis (Leaving the Gardened wall for Buddha). This crisis engenders the hero to deploy into action (voluntary contact with chaos, plan of action toward ideal future). The call to action is usually dangerous with serious mortal threats (the unknown). Often a character is greeting the hero and warning them about the extreme dangers ahead of them if they plan to enter into the realm of the unknown — into chaos.
He uses the Princess and the Frog fairy tale along with King Arthur and the story of an Indian woman from North America as more examples to represent this call to action.
Often the father or the protector overpowers his protection acting like a tyrant of sorts. The conservative figure who asks you to cling to society, mainly if fear of your mortality but can be used with malicious intent. This is illustrated by Buddha and his father who wanted to suppress his sons' adventures, sheltering him from reality.
Refusal of the Call
Often in myth, as portrayed by reality, the hero refuses the call to the myth or is otherwise distracted. The refusal of the myth under (most circumstances) is rather draconian. Mythologically it is represented by eternal suffering. In reality, the problem creates stagnation. Stagnation causes the immature ego to portray the psychoanalytical desperate fixations. The paternal and maternal character both act as guardians of the unknown. Often the refusal of the call results in the manifestation of malevolent tendencies. Peterson even believes that the refusal of the call is the source for “bad” people. Lies and denial plague the mind. Fear of potential repercussions — failure to breach the “walls” to explore the unknown — prevents the possibility of rebirthing, the redemption or resurrection process. Here motivation is extinguished and fear and denial consume the hero turned antagonist. The antagonist is usually hidden in a fog of lies.
Supernatural Aid
Imagine that the bifurcation of the hero’s timeline leads to a fork in the road, a moment to decide the future outcome of the story. Then replicate that process on each leg of the decision for as long as needed (over x-layers over time). Now we moved towards the “good day” spectrum which is towards a “good life”, ultimately. The hero is often encountered by a wise sage who aids in matriculation as well as provide knowledge and skills necessary to contend in the next stage. They offer refuge during the initial steps for disintegration from reality towards the integration with chaos (voluntary contact with the unknown).
The Crossing of the First Threshold
The threshold guardian is depicted by Campbell as a primary obstacle to overcome before thrusting themselves into the exploratory environment. The primary obstacle can be a figure of fear, doubt, three-headed dogs, or even the protector warning the hero of the dangers beyond the protection of the parents and the guardian, similar to the child left alone; vulnerable. Sometimes the guardian is a test of sorts, to see if the hero has the knowledge needed to move forward or still not ready.
If by battle or other methods the hero passes the guardian, then the hero enters into the next stage of this journey.
The Belly of the Whale
The story of the whale is another example of the spherical rebirthing process found in so much literature and the foundations of theology. The obstacle is more reflecting internal battles (the ego or spiritual development) rather than fighting external stimuli. Once this obstacle is conquered then the hero can move onto the initiation process into the unknown.
Reading this reminded me of Luke Skywalker after Ben dies. He is even presented with dark colored robes in contrast to his initial white robes of innocence. The black robes show mental maturity and the ability to inflict extreme malevolence yet the capacity to refrain from succumbing to its lustful tendencies.
Initiation
The Road of Trials
Freud and Jung suggested that the dreams presented obstacles that we did not know how to vanquish. The hero is meant to delineate a symbolic way for overcoming the symbolically represented fears and anxieties. The trial usually is introduced in a “spiritual labyrinth,” populated by “symbolic figures” that test the hero.
The Meeting with the Goddess
After the obstacles are conquered the hero has the opportunity to meet the goddess, and possibly even woe her. The interesting thing is that the goddess is symbolically to represent the feminine attributes as a symbol. She is everything, good and bad. However, that does not mean that she is both equally. At times the Goddess is portrayed with the negative valence of attributes manifesting. This will be discussed in the next. Most other times the goddess is represented by the positive valence attributes associated with the Goddess.
He also gives polarizing examples to illustrate that valance can be attributed (although the symbol is to represent all feminine attributes: good and bad).
It’s interesting that to get the good goddess the hero must humble himself tremendously and show compassion and unconditional affection rather than brutality or deceit.
The heroine (female exploratory figure: the hero) can win over the god if she demonstrates her worthiness as a companion. She may pursue the god but is complete without one.
Woman as the Temptress
What’s interesting is if the hero takes the mother-goddess he is HIGHLY susceptible to the woman turning into a temptress. This is to represent lust and often infatuation with worldly possessions. The women (specifically if in the negative valence spectrum) can become the lustful siren luring the hero to his peril.
Another psychoanalytical view would be the son presuming the place of the father.
Atonement with the Father
So the Father figure has the ability to be both good and bad, similar to the mother. However, the father can also turn into the rival. The Father is the one that initiates the hero to the world. So presuming his place by taking his mother-goddess is punishable because (my opinion) it is resulting in the stagnation.
The father has the power of the world, and he is willing to pass the power over to the hero, but only if the hero is worthy. The hero achieved this by dying (spiritually) and rebirthing. After rebirth, we see that the power resides in us and we and God are one and the same all this time.
The hero recognizes that both good and bad are in the universe so they can deny that fact or embrace that truth. Therefore killing themselves — so to speak.
The best example I know of is Job which demonstrated that if the hero can pass the test he gains atonement from the father figure. Job relentlessly followed The Lord even when punished without merit.
Apotheosis
Once the atonement of the father is gained the hero is released from earthly possessions. The world then transforms into enlightenment, which is a power wielded by the hero. The figure of enlightenment is unisexual. Additionally, the best aspects of the mother and father are kept while all the bad aspects are removed.
With the father's atonement and the newly gained power of enlightenment, the hero and the god effectively become one.
To me, eastern mythology does a proper job of representing the process of attaining enlightenment. The secret is that we don’t just find enlightenment. We are enlightenment! Campbell uses the Bodhisattva as an example for this portion of the hero’s journey. Enlightenment can be achieved through the adoption and integration of Buddhahood.
The Ultimate Boon
Once again I call to Christian theology to illustrate the concept of the Ultimate Boon. Heaven, or the ideal future as Petersons put it, is the desired goal. The ultimate boon is the attainment of that boon. After the hero transcendence s/he is rewarded with wisdom. This new skill (that was merely dormant) provides the unlimited ability and infinite bliss (heaven).
I agree with Harris, stories and later religions are primal solutions that have not properly evolved with our empirical understanding of the world, but I too agree with Peterson in that religion and the stories found in narratives are significant and they are integral for society. The bridge between the two is that Peterson is the conservative holding onto tradition (protector) while the horsemen of atheism are merely propelling society into chaos by removing the symbolic shield from society. The bridge is that the two can be accomplished with caution.
I digress, the understanding of immortality is crucial for to apprehend the utility of the stories. The immortal ultimate boon is a spiritual one NOT the physical one. Desiringphysical immortality or worldly boons leads to insatiable craving and ultimately, eternal hell.
The Golden Thumb story is called to demonstrate the outcome if the hero desires greed.
Return
Refusal of the Return
The hero is faced with three options. He can continue on the path on enlightenment as did Buddha (rare exceptions), return back into society to share the newly gains gifts (Peterson’s reintegration with society), or they refuse the call. if they refuse the call bad things may transpire as the eternal cycle repeats itself. We will talk about that in the transformation of the hero, found in part two.
The Magic Flight
The story of Orpheus is particularly illuminating on the symbolic significance of the magical flight back home. Human failure in contrast with divine failure is the source of obstacles found in this stage of the hero’s journey. However, fulfillment is the emphasis on the hero’s journey. The hero is often used as the necessary vehicle to deliver the boon and treasures of the gods back into society during reintegration to progress the community (world) forward. The gods comedically chase the hero to prevent the hero from taking the treasures back home. The obstacles and passage towards the hero’s return to his worldly society is a preamble for the hero’s passage through the threshold back home. Read 2 more chapters in greater detail.
Campbell’s example, in this case, is the story of Jason, who must overcome a number of tasks once he seizes the Golden Fleece.
Back to Orpheas who looks back when he is told not to and loses his love, who he’d ventured into the underworld to find. Once again, Human failure, not a divine failure, is what causes troubles at this stage in the Hero’s Journey.
The Crossing of the Return Threshold
The main distinction between the physical realm (often the hero’s home) and the spiritual realm is that the hero had most of his adventures in the spiritual realm where he was tested and rewarded. Since the home and spiritual world (the unknown realm) is a part of the same universe the exploratory character (the hero) bridges the two realms. Often the human realm is not ready to receive the wisdom given by the hero, the same wisdom (enlightenment, ultimate power) that was gained from the adventures in the unknown domain. The hero’s journey is tedious and difficult, nonetheless, the task is necessary to advance society forward rather than stagnation or other self-destructive actions. The hero is tasked with conveying the ultimate boon of spiritual wonders and eternal bliss to society that is not ready or not responsive (i’d argue responsive just not executed properly, religion is best for this).
Though the transition is difficult, it’s also inevitable: destiny will make sure it happens.
Master of the Two Worlds
Once again, the goal of the hero is the act as a mediator for the human and the spiritual realm. The mortal with the divinity. The best example that I am aware of is Jesus Christ who was both divine and human in one.
The stories facts in history are irrelevant, the happenings do matter on the same level of significance as the stories themselves. They convey ultimate truths for society to flourish and how to properly respond to conflicts (internal) and respond to trials (external) that we encounter in our life.
The symbols used in the hero’s journey are merely symbolic representations of the mono-myth relevant to a specific culture. The symbols can be fluidly represented by the culture or new times (religion doesn’t evolve with time). To reach spiritual enlightenment the hero must relinquish himself of fears, anxiety, limitations, and failings — the self and physical needs (greed mainly).
Freedom to Live
The raison d’être of the hero is to lead the human realm (usually his or her culture/society) forward in progress rather. The hero has various forms after his/her journey which we will go into greater detail in at the end. S/he demonstrates that the universe is chaotic and unpredictable and extremely tragic. So, accepting that truth and using the power of wisdom to propel society into prosperity is the hero’s main utility.
The Keys
The chapter acts as a synopsis for Part One. The symbols are fluid and each culture emphasizes different symbols more than others. Usually, the culmination of stories tells a comprehensive story that creates the mono-myth.
If the myth has not evolved with the changing landscape of the culture, especially with technology, then the image can be eclipsed by the mundane symbol representing the problem that the story is attempting to portray.
To stay relevant the myth needs to relate to a modern context.
Part II is called “The Cosmogonic Cycle.”
From Psychology to Metaphysics
The pioneers of psychology would argue that myths are the observed patterns of our behaviors symbolically presented to us in a tragic drama. Our dreams are unconscious constructions of our unconscious fears, desires, and tensions; usually displayed in an illogical format. The myths that we created are a bridge between the two. Observations of our behavioral patterns (promoting the good) and consciously picking our unconscious fears, desires, and tensions relevant to a specific culture.
Each myth represents a particular spiritual principle which varies from culture-to-culture like karma, power of the god, mana, etc. The goal of the myth is to elevate the individual to be “good” and seek divine enlightenment.
The Universal Round
The successful myth depicts the universe continually in a state of birth, thriving, and death. This cycle form an evolutionary psychologist perspective can episodically represent the cycle of the day: [spiritual] awakening, living [tragedy & adventure], and sleeping (death, eternal). Everything beyond that is the “cosmos” as Campbell puts it, the unknown, chaos and the divine.
Out of the Void — Space
Mythology is encapsulated by chaos, so to understand and enjoy the good or heaven the appearance of hell and destruction must also be present. Ultimately, the fulfillment of the hero’s journey is usually the main theme.
To be honest this seemed like a repeat of previous chapters. Basically, there is a beginning and an end — usually the elements associated with tragedy. The myth illustrates the drama called life is to represent life as an inherent tragedy, symbolically.
Within Space — Life
So, this is possibly the second stage of the cycle which is in my interpretation the production of life. Petersons “Earthly parents” not the divine father or mother. This is the creation of the first humans.
The chapter actually talks about love more than anything else. If you man acts accordingly to the law with a gentle heart (agape?) and sincerity then he is to find his missing half — his soul mate.
The birth of humans is two parts of both female and male. Upon conception the child is both as one, then in the birthing process, the two sexes separate embodying a human form, the respected genders. Only if the man is godly and worthy will he meet his soul mate. Obviously subjective and works for females, too of course. Genesis with Eve being born of the man’s rib — each is both.
The Breaking of the One into the Manifold
This chapter is the foundation for the Christian creation story. The first portion of the cycle deals with the god's back-story and the creation of the levels of life (sky(heaven), underworld(hell) and the living domain(earth)). The children rebel against the divine and take the power from the dive parents to separate the power into the world. This is more prevalent in the ancient mythologies, the monotheism is almost willingly distributed to the masses. However, the fall from perfect to innately flawed is still relevant throughout the mono-myth.
The creation of the world involved pain on some level and destruction of sorts. Remember the universe is both good and bad. Mythology projects that malevolence through dramatic representations with the reminder that the bliss and harmony that surrounds the tragedy — if one can transcend to that level.
Campbel uses the Babylonian story of Marduk and Tiamat as an example.
Folk Stories of Creation
Folk stories were oriented around the local community rather than a cosmogonic myth. Both still contain spiritual truths and dramatically present our subconscious through symbolic representation. Folk stories, unlike religions and other myths, were more playful and used more like a story rather than a belief structure. People didn’t take most of those literally. If you are Mexican or Latino then you probably know of La Llorona — same concept.
Sometimes the mischievous character is represented as a clown, you know WHY SO SERIOUS? The clown is often the antagonist of the hero always messing things up. Take the serpent in Eden.
The Virgin Birth
Mother Universe
The mother universe or female divine is the female version of the male counterpart. She like the male is the creator of all. Peterson classifies her as the creator and destroyer. She is usually characterized as nurturing symbols (like the water of life) or devastating symbols (like the abyss).
Matrix of Destiny
This is an interesting chapter based on my interpretation. The cosmic cycle is hitting the end portion of phase two, the waking life. After the first phase is completed, earth and later humans were created — the gods disappear into the void. This allows humans to act out in waking life. The gods merely observe to see if the human will progress forward to the next cycle.
Womb of Redemption
Obviously, this comedic drama will have a hero to redeem the failing society. Human ego and arrogance, along with other faulty human emotions, stimulate the creation of problems placing society at risk. Without the divine’s grace human creation begins to struggle. They require a redeemer to save them. Remember the hero is the moderator between the human and the divine realm. He often is both divine and human in one.
Jonah and the Whale story, as well as the bible with the virgin birth saving us all, are fantastic illustrations of this chapter. The womb is the spiritual womb that propagates redemptive heroes.
Folk Stories of Virgin Motherhood
This basically states that the virgin birth motif is prevalent even in folklore. The procreation powers of the virgin birth are significant. With that power comes the possibility to produce either a hero or malevolent monster with the mission to obliterate the earthly realm.
Not going to lie, that was a rough section for me. I hope I interpreted it properly.
Transformations of the Hero
The Primordial Hero and the Human
Up to this point, we have seen the creation form the divine and now the human history is to transpire. ALong the passage of history, the hero arises amidst some cosmic tragedy. Usually near the climax towards the second half of the cycle. The hero is divine (possessing divine powers — enlightenment) in a mortal physical form.
Usually, this is an omen that the myth will turn legend and lay to rest as history where the symbolic significance is overlooked as mundane details of the past.
The Chinese emperors (and I’d argue pharaohs) are prime examples of this problem arising.
Childhood of the Human Hero
Often the hero as a child is already displaying magnificent and extraordinary abilities. The hero is either divine (destiny) selected by the gods, or s/he is normal and somehow becomes aware and attains his powers (enlightenment).
Part One describes the process that which the normal human obtained his/her heroic status. Campbell now explores the path of the hero selected by the divine — destiny. The divine hero is to be emulated or revered as something to attain.
The hero may live in obscurities while growing up. The emphasis is that he is exposed to the unknown darkness, often eternal evil and malevolence. The hero is often depicted traversing through the obscurities with a guide or companion of some sorts. Once again the intelligence and strength detected early in the child’s life demonstrates the hero’s capacity to withstand the intense travesties of the divine. He must — in essence — embody the cosmogenic cycle consciously.
When the child becomes known then the cycle of the childhood ends. Think of Mufasa dying on Simba. It launched him into the unknown.
The Hero as Warrior
The hero emerges from obscurity and the antagonist, or the one plotting his suppressions (death but will never win bc good prevails), is usually within the power acting as a protector overshadowed by the tyrannical oppressor. Instantly thought of Isle of Dogs. PERFECT example haha. The enemy is usually the status quo (oppressor once again) while he is successfully (through divine intervention) progressing society.
Also, he used the Kutoyus or Bloodcot Boy story to illustrate his point
The Hero as Lover
Once the monster or overarching challenge is vanquished and the society is progressing forward, as a result, the hero can take on a companion, a spouse in marriage. Interestingly enough, because he is divine it is only suiting that the companion is an exact mirror. He must forgo and conquer a specific obstacle in order to attain her affection, once again with a gentle heart.
The Hero as Emperor and Tyrant
The hero is often seen to reconnect the human realm with god again. This is usually more prevalent in the religious domain. If he attains his father’s atonement then the divine hero usually presumes the father's role as a ruler.
The hero as an agent of the cosmogonic cycle can choose from the virtuous sword or the scepter of dominion (the book of the law). Returning the tyrannical cycle, demanding another hero to depose the hero turned tyrant. This may represent the ability to still fall victim to worldly desires.
The Hero as World Redeemer
This chapter can more easily be deciphered if imagining Jesus. When the hero presumed the symbolic divine fathers’ role, then the hero must fall into one of two categories: 1. The hero is an emissary to the father, or 2. The hero reconciles with the truth that the father and the hero are one. The hero of that is both god and divine is revered as the highest of the redeemers.
Unless the hero sacrifices himself (to be later reborn/ resurrected ), he is likely to slip back into his human tendencies and become the tyrannical king.
We obviously see that being true with Jesus, but the Apache hero Jicarilla example is insanely profound. He performs heroic deeds with nullified versions of his powers, knowing that he can accomplish them instantly using his/her divine powers.
[Apache Hero Pic]
The Hero as Saint
The saint-hero is best demonstrated by Catholic saints or monks. They typically lived a flawless life [legend based on story turned to history]. Any personal interest is extinguished fully and only compassion, joy and altruism persist.
The saint-hero usually stays beyond the mortal realm. Similar to Buddha who is justified for not returning.
The Departure of the Hero
The hero must conclude the cosmogonic cycle, and this includes the need for death or a departure of some sorts. Campbell suggests that the hero doesn’t necessarily need to die, and often is dormant until needed again. I only can think of Jesus on this one again, specifically his return for the rapture.
Dissolutions
The End of the Microcosm
The reason why the hero is so magnetic is that we all are attracted to the good, the altruistic feeling attached to the hero. We all desire to emulate the hero character and that desire means that we have the heroic powers already in us, beckoning us towards them.
Here the hero formally dies and is reintegrated with the domain of chaos or the divine eternal powers.
The End of the Macrocosm
The universe mirrors the hero and also experiences death. Campbell appropriately wraps up the chapter with Mathews prophecy of the “end times”, explaining the cosmogenic death that is to come.
Epilogue: Myth and Society
The Shapeshifter
The metaphors and symbolic representations of our primal emotions encapsulated by narrative helped our primordial ancestors survive, thrive, and cope with various tensions occurring in their life. The utility for these stories particularly in religion is still widely debated, especially for modern society. The application can be found in the hero (you, reading this) in modern times decide to use the lessons told in these stories to assist us with the problem in our own life.
The Function of Myth, Cult, & Meditation
From a sociological perspective, we understand why religions, myth, narrative, and ultimately philosophy was created and adopted. The creation leads for humans to manage tribes that grew beyond family and extended family. We can say that religion was essential for multilevel selection to become prosperous.
Religion triggers our hive mentality. Episodic representations of rituals cultivate connections amongst larger communities. Religion is also used as a method for order when government laws are feeble. An omnipresent god watching over you is rather terrifying and eternal hell sounds mortifying.
The other option is to recluse like a hermit monk. However, even the Dalai Lama advises against recluse like mentality. The reclusive tendency is only justified if the motivation for self-interest is completely extinguished.
The Hero Today
“Dead are all the gods. One knows the tale; it has been told a thousand ways. It is the hero-cycle of the modern age, the wonder-story of mankind’s coming to maturity. The spell of the past, the bondage of tradition, was shattered with sure and mighty strokes. The dream-web of myth fell away; the mind opened to full waking consciousness; and modern man emerged from ancient ignorance, like a butterfly from its cocoon, or like the sun at dawn from the womb of mother night.”
Focusing on the individual, however, can lead to the idolization of material things and collapse society as a whole. Even Dr. Haidt among many others suggest that (progressive) liberals are dangerous as the philosophy of the individual is not sustainable for running a country, a tribe of collective-individuals.
Durant cycle suggests that history ebbs and flows between the desire for religious order(dark ages) and carefree gluttony(greek era). Maybe we are on the secular cusp only to fall back into the craving of the religious order and community.
Conclusion
Purpose of the Hero’s Journey: To commit to self-discovery with the intention of living a fully realized (and fulfilled) life.
The hero must undergo interpersonal transformation involving the separation, descent, ordeal, and return. It is important that the hero confronts internal battles (with victory) as much as the hero is required to conquer external forces.
The Hero’s Journey for a Modern Time
1.) The Start: We are normal people in a mundane world adhering to the status quo. We are either fearful of failure, fearful of the unknown, or simply oblivious to the potential of an ideal future. Yet, we have a yearning for more, we desire to grow and explore rather than settle for complacency and comfort. Here we live in a tragic life filled with fractional oppression, and seemingly pointless suffering.
2.) The Call: We are continually offered “calls to action” that symbolically signify that we are ready to take the leap towards a new adventure, or that life is in a state of crisis. The call may be a career advancement as much as moving to a new country. Regardless of the call’s valence, positive or negative, his crisis engenders the hero to deploy into action participating in voluntary contact with chaos, plan of action toward ideal future. The call to action is usually dangerous with serious mortal threats in the domain of unknown. This is the first barrier that the hero encounters. This barrier prevents the ordinary from becoming the extraordinary by confronting their fears and chaos — the unknown. Refusing the call leads to dissatisfaction in life and possibly lead the development of some state of neurosis.
3.) Refusing to Take Action: Often in myth, as portrayed by reality, the hero refuses the call to the myth or is otherwise distracted. The refusal of the myth under (most circumstances) is rather draconian. Mythologically it is represented by eternal suffering. In reality, the problem creates stagnation. Stagnation causes the immature ego to portray the psychoanalytical desperate fixations. The paternal and maternal character both act as guardians of the unknown. Often the refusal of the call results in the manifestation of malevolent tendencies. Peterson even believes that the refusal of the call is the source for “bad” people. Lies and denial plague the mind. Fear of potential repercussions — failure to breach the “walls” to explore the unknown — prevents the possibility of rebirthing, the redemption or resurrection process. Here motivation is extinguished and fear and denial consume the hero turned antagonist. The antagonist is usually hidden in a fog of lies.
4.) Meet Your Mentor: The hero needs a guide, a mentor — the wise sage — to help him or her navigate through the chaotic unknown. The symbol is the guide and in real life this is literally anything that assists your along your journey, usually in the form of attaining needed knowledge for the journey. Find someone who has more knowledge and/or experience than you to teach you the unknown. Youtube is a great platform for learning and finding “spiritual mentor” can by an idol and his/her lessons found in videos or books. The symbol is a guide for learning needed knowledge.
5.) Crossing the Threshold: Once the call is accepted there is some obstacle ahead preventing the hero from moving into voluntary contact with chaos. Sometimes the protective figure in life is holding back the hero, which Jung describes as tyrannical oppression. In reality the obstacle could be fear, doubt of abilities (insecurities → failure), understanding how challenging the journey may actually be, or other mental barriers inhibiting the hero from moving forward. Conquer those (usually inner) battles before you are fully capable of entering into the next stage of the journey.
6.) Trials & Love: Freud and Jung suggested that dreams presented obstacles that we did not know how to vanquish. The hero is meant to delineate a symbolic way for overcoming the symbolically represented fears and anxieties presented in our dreams. The trial usually is introduced in a “spiritual labyrinth,” populated by “symbolic figures” that test the hero.
This stage of the journey could potentially propell the hero down a self-destructive path. The trials may be too extreme for the hero (too much anxiety or too much exposure to too much unknown too fast). The hero may also be introduced to “mother-goddess”. This can be a positive or negative thing based on the hero’s approach to the lover. If the lover is perpetuating negative valence behavioral patterns then the lover will turn into a siren, luring the hero towards destruction. Otherwise the lover can be fruitful and nourishing to the hero along his journey.
The hero must be able to discern good from bad and be self sufficient mentally before accepting the lover or else risk inevitable peril.
7.) The Climax: Here the hero must confront the divine being that possesses ultimate authority — the creation and destruction of life. The confrontation leads to some physical or spiritual death where the two become unified as one and the hero realizes that the power was always in him/her. This is often sacrifice or rebirthing process that signifies that the hero is no longer the same person from before.
The hero recognizes that both good and bad are in the universe so they can deny that fact or embrace that truth. Therefore killing themselves — so to speak.
The best example I know of is Job which demonstrated that if the hero can pass the test he gains atonement from the father figure. Job relentlessly followed The Lord even when punished without merit. This is to symbolize unfair oppression and suffering. We have the ability to decide how to respond to such suffering. We can accept and embrace it or reject it and deny it, turning into the antagonist — pure evil.
8.) The Reward: After the hero has conquered the trials and the divine creator s/he can enjoy the ultimate boon which is basically eternal bliss. The hero attains above all else, wisdom and enlightenment. For us the reward can be as seemingly insignificant as settling conflict with a spouse or defeating the ego and its nihilistic lies. We find purpose, meaning to suffering in life, we achieve ultime bliss, and we discover wisdom needed to liberate ourselves and others.
9.) The Return: if the hero does not retain and act out the lessons learned in the spiritual world — in the chaotic unknown — the hero is subject to repeat the cycle until the lesson is actually learned and retained. This is the cycle of drug addiction, gambling habits, and other world problems we struggle with. The hero is tasked with spreading the knowledge and wisdom gained from his or her voyage into the abyss. Once the hero has died and been reborn (resurrected) as a new wo/man (killing the ego or making realization during deep depression or other traumatic event), then he is ready to bestow the enlightenment on society who may not be ready to hear what s/he has to say.
10.) Repeat the Cycle: The cycle is eternal in the myth because problems will continually arise like the hydra. Once one is vanquished two rise in its place. Although this idea may sound terrifying at first you quickly realize to love the process and take on the challenges and obstacles with Herculean enthusiasm.
References
[1] https://en.wikipedia.org/wiki/Joseph_Campbell
[2] “Maps of Meaning” Jordan b. Peterson
[3] “Memiors, Dreams, Relection” Carl Jung
[4] “The Red Book” Carl Jung
[5] “The Rightious Mind” Dr. Johnathon Haidt
[6] “Lies” Sam Harris
Thanks for reading! If you enjoyed this article, make sure to applaud us down below! Would mean a lot to me and it helps other people see the story.
Connect with me:
Instagram📸| Twitter🐦| Group Chat💬 | Free Forex Signals💰
Written by: Angel Mondragon.
