1. The Myth, the Hero, and the Epic Mr. Hill Pre-AP English I

2. Myth Myth A traditional, typically ancient story dealing with supernatural beings, ancestors, or heroes that shapes the worldview of a people, as by explaining aspects of the natural world or delineating the psychology, customs, or ideals of society: the myth of Eros and Psyche; a creation myth. A traditional, typically ancient story dealing with supernatural beings, ancestors, or heroes that shapes the worldview of a people, as by explaining aspects of the natural world or delineating the psychology, customs, or ideals of society: the myth of Eros and Psyche; a creation myth. "myth." The American Heritage® Dictionary of the English Language, Fourth Edition. Houghton Mifflin Company, 2004. 30 Jan. 2009.. "myth." The American Heritage® Dictionary of the English Language, Fourth Edition. Houghton Mifflin Company, 2004. 30 Jan. 2009.. http://dictionary.reference.com/browse/myth

3. Myth (other definitions) Such stories considered as a group: the realm of myth.Such stories considered as a group: the realm of myth. A popular belief or story that has become associated with a person, institution, or occurrence, especially one considered to illustrate a cultural ideal: a star whose fame turned her into a myth; the pioneer myth of suburbia.A popular belief or story that has become associated with a person, institution, or occurrence, especially one considered to illustrate a cultural ideal: a star whose fame turned her into a myth; the pioneer myth of suburbia. A fiction or half-truth, especially one that forms part of an ideology.A fiction or half-truth, especially one that forms part of an ideology. A fictitious story, person, or thing: "German artillery superiority on the Western Front was a myth" (Leon Wolff).A fictitious story, person, or thing: "German artillery superiority on the Western Front was a myth" (Leon Wolff). [New Latin mthus, from Late Latin mthos, from Greek mūthos.] "myth." The American Heritage® Dictionary of the English Language, Fourth Edition. Houghton Mifflin Company, 2004. 30 Jan. 2009.. http://dictionary.reference.com/browse/myth

4. Mythos the underlying system of beliefs, esp. those dealing with supernatural forces, characteristic of a particular cultural group. the underlying system of beliefs, esp. those dealing with supernatural forces, characteristic of a particular cultural group. "mythos." Dictionary.com Unabridged (v 1.1). Random House, Inc. 30 Jan. 2009.. http://dictionary.reference.com/browse/mythos

5. Mythology Two broad approaches to the study of Myth: Two broad approaches to the study of Myth: –Comparative: the comparison of similarities and differences between or among belief systems –Particularist: breaking down individual myth systems and analyzing them

6. Functions of Myth Instills a sense of awe and/or mystery Instills a sense of awe and/or mystery Explains the world Explains the world Maintains a culture’s social order/identity Maintains a culture’s social order/identity

7. Categories of Myth Pure Myth: Pure Myth: –Ancient form of science that uses religious stories to explain: natural phenomena natural phenomena man’s relationship to God or the gods man’s relationship to God or the gods –Often answers the big “why” questions.

8. Categories of Myth Heroic Myth Heroic Myth –Primitive form of history; –Most important functions are: the establishment of a glorious past for a people and the establishment of a glorious past for a people and to set forth the near-perfect example of how they should live (teaches values) to set forth the near-perfect example of how they should live (teaches values)

9. Archetype & the Collective Unconscious Carl Jung (Swiss Psychologist)‏ Carl Jung (Swiss Psychologist)‏ Jung states that, behind each individual’s ‘unconscious’ (the blocked-off residue of the past) lies the ‘collective unconscious’ of the human race (thoughts, feelings and inferences which are believed to be passed on from generation to generation and which influence the behavior of the individual.)‏ Jung states that, behind each individual’s ‘unconscious’ (the blocked-off residue of the past) lies the ‘collective unconscious’ of the human race (thoughts, feelings and inferences which are believed to be passed on from generation to generation and which influence the behavior of the individual.)‏

10. Archetype & the Collective Unconscious This unconscious memory makes powerfully effective for us a group of ‘primordial images’ shaped by the repeated experience of our ancestors and expressed in myths, religion, dreams, fantasies, and literature. This unconscious memory makes powerfully effective for us a group of ‘primordial images’ shaped by the repeated experience of our ancestors and expressed in myths, religion, dreams, fantasies, and literature.

11. Archetype In Jungian psychology, archetype is an inherited pattern of thought or symbolic imagery derived from the past collective experience and present in the individual unconscious. In Jungian psychology, archetype is an inherited pattern of thought or symbolic imagery derived from the past collective experience and present in the individual unconscious. A reader would use the term archetype for any image, pattern, or character type that occurs frequently in literature, myth, religion, folklore. It would evoke a strong response in us. A reader would use the term archetype for any image, pattern, or character type that occurs frequently in literature, myth, religion, folklore. It would evoke a strong response in us.

12. The Half-human

13. The Wicked Stepmother

14. The Beast Who Yearns for the Love of an Innocent Beauty

15. The Beautiful Garden

16. Initiation into Life

17. The Loss of Innocence

18. Other Archetypes Sidekick- helper Sidekick- helper –The hero’s “sidekick;” usually has his own abilities but somehow lacks the necessary traits of being a hero himself.

19. Other Archetypes Mentor Mentor –“wise old man;” gives the hero wisdom and often has trained and helped the hero develop his abilities

20. Other Archetypes Femme Fatale (French oh la la) Femme Fatale (French oh la la) –“Deadly Lady”; a temptress who seeks to destroy the Hero or keep him from completing this mission (often is truly attracted to the hero and vice versa.)

21. Other Archetypes Good (or Earth) Mother Good (or Earth) Mother –Opposite the Femme Fatale; she possesses all the positive aspects of life (protection, warmth, nurturing, sustenance.)

22. Father Figure Father Figure –Represents all that the hero is trying to attain or find in his search –Possesses or is involved in a secret that can change the hero’s destiny

23. Other Archetypes Trickster Trickster –Many times a “helper” to the hero –Although he/she may often cause problems or “mess things up,” he/she does not want to hurt the hero.

24. Nemesis Nemesis –The hero’s “sworn enemy” who oftentimes is the reason for many of the hero’s trials, adventures, and temptations. –The nemesis is a perfect adversary for the hero, usually evenly matched in ability yet opposite in temperament or values.

25. Other Archetypes Nemesis Nemesis –The hero can never seem to destroy his nemesis; he merely banishes or imprisons him for a short time.

26. Character Archetypes Hero: Embodies the values of a society and gives an example for proper behavior Hero: Embodies the values of a society and gives an example for proper behavior

27. The Hero

28. Hero: the Primitive Hero Usually a slayer of monsters or other ghastly menaces Usually a slayer of monsters or other ghastly menaces

29. Hero: the Primitive Hero Examples: Beowulf, Conan, Ripley from Alien Examples: Beowulf, Conan, Ripley from Alien

30. Hero: the Warrior Hero Fights for personal glory and/or a dying or doomed culture or cause Fights for personal glory and/or a dying or doomed culture or cause –Has no fear of death –Lives by a rigid code of conduct –Seeks to create or revive a society

31. Hero: the Warrior Hero Examples: Examples: –Achilles –Rambo –King Arthur –Hercules –William Wallace

32. Hero: the Metaphysical Hero On a quest for enlightenment or an unusual, very spiritual journey. The conflict is against himself as he conquers selfish urges and undergoes great temptation. On a quest for enlightenment or an unusual, very spiritual journey. The conflict is against himself as he conquers selfish urges and undergoes great temptation.

33. Metaphysical Hero Examples from fiction?

34. Common Hero Patterns Born under unusual circumstances Born under unusual circumstances Son/daughter of a great king or deity Son/daughter of a great king or deity Marked for greatness by prophecy or physical trait Marked for greatness by prophecy or physical trait While young-exiled or placed in harm’s way in an attempt to be killed While young-exiled or placed in harm’s way in an attempt to be killed

35. Common Hero Patterns Must prove his “royal” claim by test or trial Must prove his “royal” claim by test or trial Accomplishes great deeds for his people Accomplishes great deeds for his people Mysterious or ambiguous death Mysterious or ambiguous death A suggestion or promise that the hero will someday return to reward or rescue A suggestion or promise that the hero will someday return to reward or rescue

36. Joseph Cambell and the Monomyth Joseph Campbell wrote extensively about world mythology in his book The Hero with a Thousand Faces. He applied Jung’s idea of archetypes to study myths of various cultures. During his studies he came to a stunning conclusion: that heroic myths from various cultures follow the same pattern. Joseph Campbell wrote extensively about world mythology in his book The Hero with a Thousand Faces. He applied Jung’s idea of archetypes to study myths of various cultures. During his studies he came to a stunning conclusion: that heroic myths from various cultures follow the same pattern.

37. Campbell used the term “monomyth” to describe this pattern—with thousands of myths from all over the world, essentially they are telling the same story: the hero's journey. An enthusiast of novelist James Joyce,[2] Campbell borrowed the term monomyth from Joyce's Finnegans Wake.[3] James Joyce[2]Finnegans Wake[3]James Joyce[2]Finnegans Wake[3] “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 introduction to The Hero with a Thousand Faces.

38. The Hero's Journey Stage I: Departure/Separation Stage I: Departure/Separation

39. The Hero's Journey Stage I: Separation Stage I: Separation 1.Call to Adventure

40. The Call to Adventure The call to adventure is the point in a person's life when they are first given notice that everything is going to change, whether they know it or not. The call to adventure is the point in a person's life when they are first given notice that everything is going to change, whether they know it or not.

41. The Hero's Journey Stage I: Separation Stage I: Separation 1.Call to Adventure 2.Refusal of the Call

42. Refusal of the Call Often when the call is given, the future hero refuses to heed it. This may be from a sense of duty or obligation, fear, insecurity, a sense of inadequacy, or any of a range of reasons that work to hold the person in his or her current circumstances. Often when the call is given, the future hero refuses to heed it. This may be from a sense of duty or obligation, fear, insecurity, a sense of inadequacy, or any of a range of reasons that work to hold the person in his or her current circumstances.

43. The Hero's Journey Stage I: Separation Stage I: Separation 1.Call to Adventure 2.Refusal of the Call 3.Supernatural Aid

44. Supernatural Aid Once the hero has committed to the quest, consciously or unconsciously, his or her guide and magical helper appears, or becomes known. Once the hero has committed to the quest, consciously or unconsciously, his or her guide and magical helper appears, or becomes known.

45. The Hero's Journey Stage I: Separation Stage I: Separation 1.Call to Adventure 2.Refusal of the Call 3.Supernatural Aid 4.Crossing the Threshold

46. The Crossing of the First Threshold This is the point where the person actually crosses into the field of adventure, leaving the known limits of his or her world and venturing into an unknown and dangerous realm where the rules and limits are not known. This is the point where the person actually crosses into the field of adventure, leaving the known limits of his or her world and venturing into an unknown and dangerous realm where the rules and limits are not known.

47. The Hero's Journey Stage I: Separation Stage I: Separation 1.Call to Adventure 2.Refusal of the Call 3.Supernatural Aid 4.Crossing the Threshold 5.The Belly of the Whale

48. The Belly of the Whale The belly of the whale represents the final separation from the hero's known world and self. It is sometimes described as the person's lowest point, but it is actually the point when the person is between or transitioning between worlds and selves. The separation has been made, or is being made, or being fully recognized between the old world and old self and the potential for a new world/self. The experiences that will shape the new world and self will begin shortly, or may be beginning with this experience which is often symbolized by something dark, unknown and frightening. By entering this stage, the person shows their willingness to undergo a metamorphosis, to die to him or herself. The belly of the whale represents the final separation from the hero's known world and self. It is sometimes described as the person's lowest point, but it is actually the point when the person is between or transitioning between worlds and selves. The separation has been made, or is being made, or being fully recognized between the old world and old self and the potential for a new world/self. The experiences that will shape the new world and self will begin shortly, or may be beginning with this experience which is often symbolized by something dark, unknown and frightening. By entering this stage, the person shows their willingness to undergo a metamorphosis, to die to him or herself.

49. The Hero's Journey Stage II: Initiation Stage II: Initiation

50. The Hero's Journey Stage II: Initiation Stage II: Initiation 1.Road of Trials

51. The Road of Trials The road of trials is a series of tests, tasks, or ordeals that the person must undergo to begin the transformation. Often the person fails one or more of these tests, which often occur in threes. The road of trials is a series of tests, tasks, or ordeals that the person must undergo to begin the transformation. Often the person fails one or more of these tests, which often occur in threes.

52. The Hero's Journey Stage II: Initiation Stage II: Initiation 1.Road of Trials 2.Meeting with the Goddess

53. The Meeting with the Goddess The meeting with the goddess represents the point in the adventure when the person experiences a love that has the power and significance of the all-powerful, all encompassing, unconditional love that a fortunate infant may experience with his or her mother. It is also known as the "hieros gamos", or sacred marriage, the union of opposites, and may take place entirely within the person. In other words, the person begins to see him or herself in a non-dualistic way. This is a very important step in the process and is often represented by the person finding the other person that he or she loves most completely. Although Campbell symbolizes this step as a meeting with a goddess, unconditional love and /or self unification does not have to be represented by a woman. The meeting with the goddess represents the point in the adventure when the person experiences a love that has the power and significance of the all-powerful, all encompassing, unconditional love that a fortunate infant may experience with his or her mother. It is also known as the "hieros gamos", or sacred marriage, the union of opposites, and may take place entirely within the person. In other words, the person begins to see him or herself in a non-dualistic way. This is a very important step in the process and is often represented by the person finding the other person that he or she loves most completely. Although Campbell symbolizes this step as a meeting with a goddess, unconditional love and /or self unification does not have to be represented by a woman.

54. The Hero's Journey Stage II: Initiation Stage II: Initiation 1.Road of Trials 2.Meeting with the Goddess 3.Woman as Temptress

55. Woman as the Temptress At one level, this step is about those temptations that may lead the hero to abandon or stray from his or her quest, which as with the Meeting with the Goddess does not necessarily have to be represented by a woman. For Campbell, however, this step is about the revulsion that the usually male hero may feel about his own fleshy/earthy nature, and the subsequent attachment or projection of that revulsion to women. Woman is a metaphor for the physical or material temptations of life, since the hero-knight was often tempted by lust from his spiritual journey. At one level, this step is about those temptations that may lead the hero to abandon or stray from his or her quest, which as with the Meeting with the Goddess does not necessarily have to be represented by a woman. For Campbell, however, this step is about the revulsion that the usually male hero may feel about his own fleshy/earthy nature, and the subsequent attachment or projection of that revulsion to women. Woman is a metaphor for the physical or material temptations of life, since the hero-knight was often tempted by lust from his spiritual journey.

56. The Hero's Journey Stage II: Initiation Stage II: Initiation 1.Road of Trials 2.Meeting with the Goddess 3.Woman as Temptress 4.Atonement with the Father

57. Atonement with the Father In this step the person must confront and be initiated by whatever holds the ultimate power in his or her life. In many myths and stories this is the father, or a father figure who has life and death power. This is the center point of the journey. All the previous steps have been moving in to this place, all that follow will move out from it. Although this step is most frequently symbolized by an encounter with a male entity, it does not have to be a male; just someone or thing with incredible power. For the transformation to take place, the person as he or she has been must be "killed" so that the new self can come into being. Sometime this killing is literal, and the earthly journey for that character is either over or moves into a different realm. In this step the person must confront and be initiated by whatever holds the ultimate power in his or her life. In many myths and stories this is the father, or a father figure who has life and death power. This is the center point of the journey. All the previous steps have been moving in to this place, all that follow will move out from it. Although this step is most frequently symbolized by an encounter with a male entity, it does not have to be a male; just someone or thing with incredible power. For the transformation to take place, the person as he or she has been must be "killed" so that the new self can come into being. Sometime this killing is literal, and the earthly journey for that character is either over or moves into a different realm.

58. The Hero's Journey Stage II: Initiation Stage II: Initiation 1.Road of Trials 2.Meeting with the Goddess 3.Woman as Temptress 4.Atonement with the Father 5.Apotheosis

59. Apotheosis To apotheosize is to deify. When someone dies a physical death, or dies to the self to live in spirit, he or she moves beyond the pairs of opposites to a state of divine knowledge, love, compassion and bliss. This is a god-like state; the person is in heaven and beyond all strife. A more mundane way of looking at this step is that it is a period of rest, peace and fulfillment before the hero begins the return. To apotheosize is to deify. When someone dies a physical death, or dies to the self to live in spirit, he or she moves beyond the pairs of opposites to a state of divine knowledge, love, compassion and bliss. This is a god-like state; the person is in heaven and beyond all strife. A more mundane way of looking at this step is that it is a period of rest, peace and fulfillment before the hero begins the return.

60. The Hero's Journey Stage II: Initiation Stage II: Initiation 1.Road of Trials 2.Meeting with the Goddess 3.Woman as Temptress 4.Atonement with the Father 5.Apotheosis 6.The Ultimate Boon

61. The Ultimate Boon The ultimate boon is the achievement of the goal of the quest. It is what the person went on the journey to get. All the previous steps serve to prepare and purify the person for this step, since in many myths the boon is something transcendent like the elixir of life itself, or a plant that supplies immortality, or the holy grail. The ultimate boon is the achievement of the goal of the quest. It is what the person went on the journey to get. All the previous steps serve to prepare and purify the person for this step, since in many myths the boon is something transcendent like the elixir of life itself, or a plant that supplies immortality, or the holy grail.

62. The Hero's Journey Stage III: Return Stage III: Return

63. The Hero's Journey Stage III: Return Stage III: Return 1.Refusal of the Return

64. Refusal of the Return So why, when all has been achieved, the ambrosia has been drunk, and we have conversed with the gods, why come back to normal life with all its cares and woes? So why, when all has been achieved, the ambrosia has been drunk, and we have conversed with the gods, why come back to normal life with all its cares and woes?

65. The Hero's Journey Stage III: Return Stage III: Return 1.Refusal of the Return 2.Magic Flight

66. The Magic Flight Sometimes the hero must escape with the boon, if it is something that the gods have been jealously guarding. It can be just as adventurous and dangerous returning from the journey as it was to go on it. Sometimes the hero must escape with the boon, if it is something that the gods have been jealously guarding. It can be just as adventurous and dangerous returning from the journey as it was to go on it.

67. The Hero's Journey Stage III: Return Stage III: Return 1.Refusal of the Return 2.Magic Flight 3.Rescue from Without (outside)

68. Rescue from Without Just as the hero may need guides and assistants to set out on the quest, often times he or she must have powerful guides and rescuers to bring them back to everyday life, especially if the person has been wounded or weakened by the experience. Or perhaps the person doesn't realize that it is time to return, that they can return, or that others need their boon. Just as the hero may need guides and assistants to set out on the quest, often times he or she must have powerful guides and rescuers to bring them back to everyday life, especially if the person has been wounded or weakened by the experience. Or perhaps the person doesn't realize that it is time to return, that they can return, or that others need their boon.

69. The Hero's Journey Stage III: Return Stage III: Return 1.Refusal of the Return 2.Magic Flight 3.Rescue from Without (outside) 4.Crossing the Return Threshold

70. The Crossing of the Return Threshold The trick in returning is to retain the wisdom gained on the quest, to integrate that wisdom into a human life, and then maybe figure out how to share the wisdom with the rest of the world. This is usually extremely difficult. The trick in returning is to retain the wisdom gained on the quest, to integrate that wisdom into a human life, and then maybe figure out how to share the wisdom with the rest of the world. This is usually extremely difficult.

71. The Hero's Journey Stage III: Return Stage III: Return 1.Refusal of the Return 2.Magic Flight 3.Rescue from Without (outside) 4.Crossing the Return Threshold 5.Master of the Two Worlds

72. Master of the Two Worlds In myth, this step is usually represented by a transcendental hero like Jesus or Buddha. For a human hero, it may mean achieving a balance between the material and spiritual. The person has become comfortable and competent in both the inner and outer worlds. In myth, this step is usually represented by a transcendental hero like Jesus or Buddha. For a human hero, it may mean achieving a balance between the material and spiritual. The person has become comfortable and competent in both the inner and outer worlds.

73. The Hero's Journey Stage III: Return Stage III: Return 1.Refusal of the Return 2.Magic Flight 3.Rescue from Without (outside) 4.Crossing the Return Threshold 5.Master of the Two Worlds 6.Freedom to Live

74. Freedom to Live Mastery leads to freedom from the fear of death, which in turn is the freedom to live. This is sometimes referred to as living in the moment, neither anticipating the future nor regretting the past. Mastery leads to freedom from the fear of death, which in turn is the freedom to live. This is sometimes referred to as living in the moment, neither anticipating the future nor regretting the past.

75. The Epic Long story told in elevated language (usually poetry), which relates the great deeds of a larger-than-life hero who embodies the values of a particular society. Long story told in elevated language (usually poetry), which relates the great deeds of a larger-than-life hero who embodies the values of a particular society. –Most epics include elements of myth, legend, folk tale, and history. –Tone is serious and language is grand