1. The Hero Journey
Novel Units
B C
3A—return stage of Harry

2. archetype
An idea presented by Carl Jung that stated that there exist universal patterns in all stories and mythologies regardless of culture or historical period and hypothesized that part of the human mind contained a collective unconscious shared by all members of the human species, a sort of universal, primal memory.
Archetypes, according to Carl Jung, are almost “hardwired” into our brains.

3. archetype
An idea presented by Carl Jung, among others, an archetype is a “form without content” that has been “engraved” into our subconscious. We project these archetypes into our lives to help make meaning.
Archetypes are different from stereotypes because we build upon an archetype whereas a stereotype is used to break down.

4. Monomyth
Joseph Campbell took the idea of archetypes and applied it to mythology. The monomyth is a “composite adventure” or one myth that is the archetype of all myths. Monomyth is a like a skeleton story that forms the basis for many, many stories.
His most well-known archetypal myth is that of The Hero Journey (or Hero’s Journey) written about in his work The Hero with a Thousand Faces.

5. The Hero
The hero does not begin as the archetypal hero. The purpose of the Hero Journey is to make him, or her, become a hero.
The hero will begin as some other archetype (Luke is the innocent farm boy, Harry Potter is the abused orphan, Leia is the damsel in distress).

6. A. Departure Stage 0. Home Culture 1. The Call to Adventure
2. The refusal of the call
3. Supernatural Aid
4. The crossing of the first threshold
5. The belly of the whale

7. Home Culture
The hero has a "home," a place that he thinks is normal, familiar, and common to others in his culture.

8. 1. The Call to Adventure
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.
A normal occurrence causes the hero to recognize an unknown aspect of his world, feel restlessness with the limitations of his life, or find a new world that he was not aware existed.

9. 2. Refusal of the Call
Often when the call is given, the future hero refuses to heed it.
The hero chooses not to move forward 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 back.
The refusal is often based on his fear of the unknown and comfort in the familiar.
Usually secondary characters support the hero’s refusal.

10. 3. Supernatural Aid
Once the hero has committed to the quest, consciously or unconsciously, the inexperienced hero is provided a supernatural, guiding, and/or guarding character, or an instrumental item (sword, encouragement, etc.) to assist his step forward into the unknown.

11. 4. The Crossing of the First Threshold
This is the point where the hero actually crosses into the field of adventure, leaving the known world and venturing into the unknown and dangerous realm where the rules and limits are not known.
He is confronted with an obstacle (threshold guardian) that must be overcome before he can fully enter the dangers of the unknown journey.

12. 5. 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 is transitioning between worlds and selves.
The experiences of the new world and new self will begin shortly, or may be beginning with this experience.
Often symbolized by something dark, unknown, and frightening. (The hero may appear to be swallowed up by the opposition forces and to the outside world the hero may appear to have died.)
By entering this stage, the person shows their willingness to undergo a metamorphosis, to die to him or herself.

13. B. Initiation Stage 1. The road of trials
2. The meeting with the goddess
3. The woman as temptress
4. The atonement with the father
5. Apotheosis
6. The ultimate boon

14. 1. The Road of Trials
A series of tests, tasks, or ordeals that the hero must undergo to begin the transformation.
The assistance given the hero under the "Supernatural Aid" section of "Departure" begins to come into play in the story, and he is not expected to face the trials alone.
Often the hero fails one or more of these tests which often occur in threes.

15. 2. The Meeting with the Goddess
There are three transformative events: the meeting with the goddess, the atonement with the father, and the apotheosis.
The hero experiences a love that has the power and significance of the all-powerful, all encompassing, unconditional love that an infant may experience with his mother.
This is the sacred marriage, or union of opposites. The hero begins to see him or herself in a non-dualistic way.
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. It may take place entirely within the person.

16. 3. Woman as Temptress
On 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.
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.

17. 4. Atonement with the Father
In this step the hero 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. He may be a vengeful, jealous father or a kindly one.
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 of 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. Sometimes this killing is literal, and the earthly journey for that character is either over or moves into a different realm.

18. 5. Apotheosis
To apotheosize is to deify—to become “godly;” this is the transformation moment.
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 ordinary way of looking at this step is that it is a period of rest, peace and fulfillment before the hero begins the return.

19. 6. 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.

20. C. Return Stage 1. The refusal of the return 2. The magic flight
3. Rescue from without
4. Crossing the return threshold
5. Master of two worlds
6. Freedom to live

21. 1. 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 worries?
Although seldom a true refusal, the hero, who should return "home" with his powers, ability, or wisdom, remains isolated and often faces a death of sorts.
Sometimes he prefers to live in the enlightenment than return to a "home" that might not accept the ultimate gift.

22. 2. 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.

23. 3. Rescue from Without
Just as the hero may need guides and assistants to set out on the quest, often times he 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.

24. 4. The Crossing of the Return Threshold
The hero must face the evil or its leader and the realization that home is no longer a place but a state of being.
Those in his past may not accept his new ability, power, or wisdom and may test it as a final trial to the hero.
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.

25. 5. Master of Two Worlds
The hero has the ability, power, or wisdom without limitations to relax in whatever world (physical, mental, emotional, or spiritual) he finds himself.
He can adjust to who he was in the past and who he might be in the future.

26. 6. 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.

27. The Tragic Hero
A tragic hero has the ability for greatness but is doomed to fail (and die). The hero is trapped in a situation where his/her tragic flaw will prevent him/her from succeeding. The hero’s tragic flaw is what causes him to fail. Even though the tragic hero falls from greatness, he/she is still redeemed in the end.

28. Common tragic flaws are:
Tragic Heroes will:
Fall from greatness
Realize they’ve made an irreversible mistake
Accept death with honor
Meet a tragic death that will redeem them 
Common tragic flaws are:
Hubris (extreme pride)
Fear
Anger
Malice