Excellent! I especially liked your analysis of the Star Wars films. Lydia Fish October 16, 2008, at 09:30 AM
Joseph Campbell has a very thorough view on the Hero, and the mythological patterns surrounding him. It’s not surprising that he has ventured as deep as he has in this subject considering his extensive education in mythology. He started down this path by taking an interest in Native American culture and myth. From there, one might say his career spiraled out of control; but he always studied the mythological aspect of cultures. The greatest of Campbell’s ideas is the Monomyth. This is made up of three very universal stages, which then are divided into further parts. The three main stages are the Departure (or the call to adventure), the Initiation (or the spiritual fulfillment), and the Return. There are many different ways a hero can travel through these stages, so they are split up into different “sub-classes” in order to accommodate the varying routes.
Many of Joseph Campbell’s ideas on myth, and the Hero can be found in Tolkien’s The Lord of the Rings trilogy. By Campbell’s standards, there are many heroes in the story. The most obvious ones to me is Samwise Gamgee.
Sam didn’t really want to go on the fellowship’s quest; in fact, he even pressured Frodo to come home after they had reached Rivendell. This is part of Campbell’s “departure” stage, where the Hero initially may reject the call to adventure. But Frodo decided to take the ring to Mordor, so Sam was forced to come with him out of love for his master. This, too, is part of the “departure” stage of the monomyth: A hero being thrown into adventure against his own will. But on the Journey, he meets many people, and overcomes many obstacles – not the least of which is his journey through the land of Mordor and into the fires of Oroduin. This journey and the trials (like Gollum’s treachery) he faces are classified in the monomyth as the “Initiation” stage, where the hero is enlightened by life-changing experiences. Right at the climax, as Frodo collapses on the side of the mountain, Sam performs his great hero’s deed: he carry’s Frodo to the doorway so he can cast the ring into the fire. His previous journeys gave him the courage and strength to do this. And then Sam returns home; aptly referred to as the “Return” stage in Campbell’s monomyth. Here, he now appreciates the world he came from much more, because of his experiences in the world he went to on his journeys. This is shown by how quickly he went after Rosie Cotton, without delay – he was a changed hobbit; the hero’s journey he embarked upon made him much more confident in himself.
George Lucas’ Star Wars displays Campbell’s monomyth idea very well, too. Interestingly, George Lucas was friends with Joseph Campbell, and there is very little doubt that his films were influenced by Campbell’s work. The most notable character that display’s his ideas is Luke Skywalker.
If you consider all 6 movies in chronological order, we are technically introduced to Luke as an infant in the 3rd film, Revenge of the Sith; but for all intents and purposes, the first time we meet Luke on-screen is in the 4th movie, A New Hope. Here we are introduced to a farm boy with dreams of adventure and grandeur once the harvesting season is over. He wants to leave and experience the galaxy and the Empire (as much as he hates it). This is a good exhibition of the first part of the monomyth, the “departure”. Where in Sam’s case, he was thrown into adventure; Luke –perhaps not realizing the extent to which he’d become involved – actually seeks it out. Over the course of his travels he meets Obi-Wan Kenobi, and old Jedi in exile. Further along in the story he eventually meets master Yoda, the only other surviving Jedi in the galaxy. These two characters represent what Campbell refers to as the “Supernatural Aid”, often elderly guides who offer advice, and tools/weapons to the character in question. This is true; between Yoda, and Obi-Wan, Luke is taught the ways of the force and obtains a lightsaber – the two most valuable parts of Luke’s life. Then he confronts the dark lord Vader for the first time – and is told that Vader is, in fact, Luke’s father. This is probably the biggest trial that Luke has to endure throughout the entire story – and it changes him. I think Campbell would consider this Luke’s “Initiation”, or enlightenment. He continues to travel with the rebellion, aiding its exploits for a time, but finally – in the 6th and final movie, The Return of the Jedi – Luke again confronts Vader. Again, following the monomyth pattern; this would be the “Return” stage. This time, thanks to his previous encounter and time to reflect and learn (his “initiation”), he is ready for the battle. This is also the climax of the film, and marks the biggest blow to the Galactic Empire – the death of both its leaders. The hero, Luke, performed what he set out to do; bring freedom and peace back to the galaxy.
These are two very different stories in terms of plot and even timeline. One is space-age, and the other medieval. But Joseph Campbell’s monomyth idea has showed up in both, and there are many other examples not mentioned here in each story. It is widely accepted that Lucas was influenced by Campbell’s ideas in the making of Star Wars, and though it’s not confirmed that Tolkien was influenced as well when he wrote The Lord of the Rings, this idea is universal enough that it was expressed in his story, too.
Joseph Bella? October 01, 2008, at 09:40 PM
