| Topic: |
Religions > Atheism |
| User: |
"Immortalist" |
| Date: |
01 Dec 2006 12:06:02 PM |
| Object: |
The Hero's Journey (Plotting) Along 12 Steps |
The Hero with a Thousand Faces (1949) is the seminal work of
comparative mythologist Joseph Campbell. In this text Campbell
discusses his theory of the journey of the archetypal hero found in
world mythologies and religions.
Campbell's insight was that important myths from around the world which
have survived for thousands of years, all share a fundamental
structure, which Campbell called the monomyth.
This fundamental structure contains a number of stages, which include
(1) a call to adventure, which the hero has to accept or decline, (2) a
road of trials, regarding which the hero succeeds or fails, (3)
achieving the goal or "boon," which often results in important
self-knowledge, (4) a return to the ordinary world, again as to which
the hero can succeed or fail, and finally, (5) application of the boon
in which what the hero has gained can be used to improve the world.
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.
--Joseph Campbell
http://en.wikipedia.org/wiki/The_Hero_with_a_Thousand_Faces
What About Mythic Structure?
Ever since Star Wars writer-director George Lucas credited Joseph
Campbell for the mythic structure of the film, we've had a plethora of
books and articles about the value of this template. And it is valuable
because it is all about elements lining up-which is what structure
means.
Mythic structure, sometimes called "The Hero's Journey" after the title
of a book by Campbell, is an order of events. It comes in various
forms, but usually follows a pattern similar to this:
Readers are introduced
to the hero's world.
A "call to adventure" or a
disturbance interrupts the
hero's world.
The hero may ignore the
call or the disturbance.
The hero "crosses the
threshold" into a dark world.
A mentor may appear to
teach the hero.
Various encounters occur
with forces of darkness.
The hero has a dark moment
within himself that he must
overcome in order to continue.
A talisman aids in battle (e.g.,
the shield of Athena for Perseus;
the sword, Excalibur,
for King Arthur).
The final battle is
fought.
The hero returns to his
own world.
Why does this work? Because it perfectly corresponds to the three-act
structure:
----------------------------
ACT I
[1] Readers are introduced to the hero's world.
[2] A "call to adventure" or a disturbance interrupts the hero's world.
[3] The hero may ignore the call or the disturbance.
[4] The hero "crosses the threshold" into a dark world.
----------------------------
ACT II
[5] A mentor may appear to teach the hero.
[6] Various encounters occur with forces of darkness.
[7] The hero has a dark moment within himself that he
must overcome. [8] A talisman aids in battle.
----------------------------
ACT III
[9] The final battle is fought.
[10] The hero returns to his own world.
Plot & Structure
by James Scott Bell
http://www.amazon.com/Plot-Structure-Techniques-Exercises-Crafting/dp/158297294X
################################
The stages of the HERO are:
1) THE HERO IS INTRODUCED IN HIS ORDINARY WORLD.
Most stories take place in a special world, a world that is new and
alien to its hero. If you're going to tell a story about a fish out
of his customary element, you first have to create a contrast by
showing him in his mundane, ordinary world. In WITNESS you see both
the Amish boy and the policeman in their ordinary worlds before they
are thrust into alien worlds -- the farmboy into the city, and the
city cop into the unfamiliar countryside. In STAR WARS you see Luke
Skywalker bored to death as a farmboy before he takes on the
universe.
2) THE CALL TO ADVENTURE.
The hero is presented with a problem, challenge, or adventure.
Maybe the land is dying, as in the Arthur stories about the search
for the Holy Grail. In STAR WARS again, it's Princess Leia's
holographic message to Obi Wan Kenobi, who asks Luke to join in the
quest. In detective stories, it's the hero accepting a new case.
In romantic comedies it could be the first sight of that special --
but annoying someone the hero or heroine will be pursuing/sparring
with the remainder of the story.
3) THE HERO IS RELUCTANT AT FIRST.
Often at this point, the hero balks at the threshold of adventure.
After all, he or she is facing the greatest of all fears -- fear of
the unknown. At this point Luke refuses Obi Wan's call to adventure,
and returns to his aunt and uncle's farmhouse, only to find they
have been barbqued by the Emperor's stormtroopers. Suddenly Luke is
no longer reluctant, and is eager to undertake the adventure. He is
motivated.
4) THE HERO IS ENCOURAGED BY THE WISE OLD MAN OR WOMAN.
By this time many stories will have introduced a Merlin-like
character who is the hero's mentor. In JAWS it's the crusty Robert
Shaw character who knows all about sharks; in the mythology of the
Mary Tyler Moore Show, it's Lou Grant. The mentor gives advice and
sometimes magical weapons. This is Obi Wan Kenobi giving Luke
Skywalker his father's light sabre.
The mentor can only go so far with the hero. Eventually the hero
must face the unknown by himself. Sometimes the wise old man is
required to give the hero a swift kick in the pants to get the
adventure going.
5) THE HERO PASSES THE FIRST THRESHOLD.
He fully enters the special world of his story for the first time.
This is the moment at which the story takes off and the adventure
gets going. The balloon goes up, the romance begins, the plane or
spaceship blasts off, the wagon train gets rolling. Dorothy sets
out on the Yellow Brick Road. The hero is now committed to his
journey... and there's no turning back.
6) THE HERO ENCOUNTERS TESTS AND HELPERS.
The hero is forced to make allies and enemies in the special world,
and to pass certain tests and challenges that are part of his
training. In STAR WARS, the cantina is the setting for the forging
of an important alliance with Han Solo, and the start of an
important enmity with Jabba The Hut. In CASABLANCA, Rick's Cafe is
the setting for the "alliances and enmities" phase, and in many
westersn it's the saloon where these relationships are established.
The tests and challenges phase is represented in STAR WARS by the
scene of Obi Wan teaching Luke about the Force, as Luke is made to
learn by fighting blindfolded. The early laser battles with the
Imperial Fighters are another test which Luke passes successfully.
7) THE HERO REACHES THE INNERMOST CAVE
The hero comes at last to a dangerous place, often deep underground,
where the object of his quest is hidden. In the Arthurian stories
the Chapel Perilous is the dangerous chamber where the seeker finds
the Grail. In many myths the hero has to descend into hell to
retrieve a loved one, or into a cave to fight a dragon and gain a
treasure. It's Theseus going into the Labyrinth to face the
Minotaur. In STAR WARS it's Luke and company being sucked into the
Death Star where they will rescue Princess Leia. Sometimes it's the
hero entering the headquarters of his nemesis; and sometimes it's
just the hero going into his or her own dream world to confront his
or hers worst fears... and overcome them.
8) THE HERO ENDURES THE SUPREME ORDEAL.
This is the moment at which the hero touches bottom. He faces the
possibility of death, brought to the brink in a fight with a
mythical beast. For us, the audience standing outside the cave
waiting for the victor to emerge, it's a black moment. In STAR
WARS, it's the harrowing moment in the bowels of the Death Star,
where Luke, Leia and company are trapped in the giant trash-masher.
Luke is pulled under by the tentacled monster that lives in the
sewage, and is held down so long the audience begins to wonder if
he's dead. E.T. momentarily appears to die on the operating table.
This is a critical moment in any story, an ordeal in which the hero
appears to die and is born again. It's a major source of the magic
of the hero myth. What happens is that the audience has been led to
identify with the hero. We are encouraged to experience the
brink-of- -death feeling with the hero. We are temporarily
depressed, and then we are revived by the hero's return from death.
This is the magic of any well-designed amusement park thrill ride.
Space Mountain or The Great White Knuckler make the passengers feel
like they're going to die, and there's a great thrill that comes
from surviving a moment like that. This is also the trick of rites
of passage and rites of initiation into fraternities and secret
societies. The initiate is forced to taste death and experience
resurrection. You're never more alive than when you think you're
going to die.
9) THE HERO SIEZES THE SWORD.
Having survived death, beaten the dragon, slain the Minotaur, the
hero now takes possession of the treasure he's come seeking.
Sometimes it's a special weapon like a magic sword, or it may be a
token like the Grail or some elixer which can heal the wounded land.
Sometimes the "sword" is knowledge and experience that leads to
greater understanding and a reconciliation with hostile forces.
The hero may settle a conflict with his father or with his shadowy
nemesis. In RETURN OF THE JEDI, Luke is reconciled with both, as he
discovers that the dying Darth Vader is his father, and not such a
bad guy after all.
The hero may also be reconciled with a woman. Often she is the
treasure he's come to win or rescue, and there is often a love scene
or sacred marriage at this point. Women in these stories (or men if
the hero is female) tend to be SHAPE-SHIFTERS. They appear to
change in form or age, reflecting the confusing and constantly
changing aspects of the opposite sex as seen from the hero's point
of view. The hero's supreme ordeal may grant him a better
understanding of women, leading to a reconciliation with the
opposite sex.
10) THE ROAD BACK.
The hero's not out of the woods yet. Some of the best chase scenes
come at this point, as the hero is pursued by the vengeful forces
from whom he has stolen the elixir or the treasure. This is the
chase as Luke and friends escape from the Death Star, with Princess
Leia and the plans that will bring down Darth Vader.
If the hero has not yet managed to reconcile with his father or the
gods, they may come raging after him at this point. This is the
moonlight bicycle flight of Elliott and E.T. as they escape from
"Keys" (Peter Coyote), a force representing governmental authority.
By the end of the movie, Keys and Elliott have been reconciled, and
it even looks like Keys will end up as Elliott's father. (The script
not the final cut, guys).
11) RESURRECTION.
The hero emerges from the special world, transformed by his
experience. There is often a replay here of the mock
death-and-rebirth of stage 8, as the hero once again faces death and
survives. Each ordeal wins him new command over the Force. He is
transformed into a new being by his experience.
12) RETURN WITH THE ELIXIR.
The hero comes back to his ordinary world, but his adventure would
be meaningless unless he brought back the elixir, treasure, or some
lesson from the special world. Sometimes it's just knowledge or
experience, but unless he comes back with the exlixir or some boon
to mankind, he's doomed to repeat the adventure until he does. Many
comedies use this ending, as a foolish character refuses to learn
his lesson and embarks on the same folly that got him in trouble in
the first place.
Sometimes the boon is treasure won on the quest, or love, or just
the knowledge that the special world exists and can be survived.
Sometimes it's just coming home with a good story to tell.
----------------------------------------------------
THE SHORT FORM OF THE HERO STORY:
The hero is introduced in his ordinary world, where he receives the
call to adventure. He is reluctant at first but is encouraged by
the wise old man or woman to cross the first threshold, where he
encounters tests and helpers. He reaches the innermost cave, where
he endures the supreme ordeal. He seizes the sword or the treasure
and is pursued on the road back to his world. He is resurrected and
transformed by his experience. He returns to his ordinary world with
a treasure, boon, or elixir to benefit his world.
http://www.skepticfiles.org/atheist2/hero.htm
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| User: "Mark D J. Mark D" |
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| Title: Re: The Hero's Journey (Plotting) Along 12 Steps |
01 Dec 2006 11:10:52 PM |
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"Immortalist" <reanimater_2000@yahoo.com> wrote in message
news:1164996362.443377.96770@n67g2000cwd.
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.
Oh no, not *more* boons: I've got six already...
M.
.
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| User: "Immortalist" |
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| Title: Re: The Hero's Journey (Plotting) Along 12 Steps |
02 Dec 2006 01:38:34 PM |
|
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Mark D J. wrote:
"Immortalist" <reanimater_2000@yahoo.com> wrote in message
news:1164996362.443377.96770@n67g2000cwd.
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.
Oh no, not *more* boons: I've got six already...
Boons for sale, blessing deal: a desirable state; "enjoy the blessings
of peace"; "a spanking breeze is a boon to sailors"
M.
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| User: "Tron" |
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| Title: Re: The Hero's Journey (Plotting) Along 12 Steps |
02 Dec 2006 07:32:26 AM |
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Hi,
"Immortalist" <reanimater_2000@yahoo.com> skrev i melding
news:1164996362.443377.96770@n67g2000cwd.googlegroups.com...
The Hero with a Thousand Faces (1949) is the seminal work of
comparative mythologist Joseph Campbell. ........>
Campbell's insight was that important myths ......, all share a
fundamental
structure, which Campbell called the monomyth.
.......> Ever since Star Wars writer-director George Lucas credited Joseph
Campbell for the mythic structure of the film, .....
Why does this work? Because it perfectly corresponds to the three-act
structure:
Isn't t a bit problematic to first point out that Lucas used Campbell's
theories as a skeleton for Star Wars,
and then look at how (well) this skeleton works by "finding" it i e.g. Star
Wars?
T
.
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| User: "Immortalist" |
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| Title: Re: The Hero's Journey (Plotting) Along 12 Steps |
02 Dec 2006 01:36:47 PM |
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Tron wrote:
Hi,
"Immortalist" <reanimater_2000@yahoo.com> skrev i melding
news:1164996362.443377.96770@n67g2000cwd.googlegroups.com...
The Hero with a Thousand Faces (1949) is the seminal work of
comparative mythologist Joseph Campbell. ........>
Campbell's insight was that important myths ......, all share a
fundamental
structure, which Campbell called the monomyth.
......> Ever since Star Wars writer-director George Lucas credited Joseph
Campbell for the mythic structure of the film, .....
Why does this work? Because it perfectly corresponds to the three-act
structure:
Isn't t a bit problematic to first point out that Lucas used Campbell's
theories as a skeleton for Star Wars,
and then look at how (well) this skeleton works by "finding" it i e.g. Star
Wars?
Do you mean George Lukas finding Campbell?
http://youtube.com/results?search_query=power+of+myth
T
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