The Monomyth, or Pattern of the Hero
[This is sometimes summarized as "separation - initiation - return"]
The mythological hero, setting forth from his commonday hut or castle, is lured, carried away, or else voluntarily proceeds to the threshold of adventure.
There he encounters a shadow presence that guards the passage. The hero may defeat or conciliate this power and go alive into the kingdom of the dark (brother-battle, dragon-battle; offering, charm), or be slain by the opponent and descend in death (dismemberment, crucifixion).
Beyond the threshold, then, the hero journeys through a world of unfamiliar yet strangely intimate forces, some of which severely threaten him (tests), some of which give magical aid (helpers).
When he arrives at the nadir of the mythological round, he undergoes a supreme ordeal and gains his reward. The triumph may be represented as the hero's sexual union with the goddess-mother of the world (sacred marriage), his recognition by the father-creator (father atonement), his own divinization (apotheosis), or again -- if the powers have remained unfriendly to him -- his theft of the boon he came to gain (bride-theft, fire-theft); intrinsically it is an expansion of consciousness and therewith of being (illumination, transfiguration, freedom).
The final work is that of the return. If the powers have blessed the hero, he now sets forth under their protection (emissary); if not, he flees and is pursued (transformation flight, obstacle flight).
At the return threshold the transcendental powers must remain behind; the hero re-emerges from the kingdom of dread (return, resurrection). The boon that he brings restores the world (elixir).
--Joseph Campbell, The Hero with a Thousand Faces
LORD RAGLAN'S PATTERN
(Raglan "examined stories of a number of . . . traditional [mythic] heroes of Greece . . . and found that when these stories were split up into separate incidents, there were certain types of incident which ran through all the stories." He then "tabulate[d] and number[ed] them . . . [and] arrived at what appears to be a pattern . . . as follows:")
(1) The hero's mother is a royal virgin;
(2) His father is a king, and
(3) Often a near relative of the mother, but
(4) The circumstances of his conception are unusual, and
(5) He is also reputed to be the son of a god.
(6) At birth an attempt is made, usually by his father or his maternal grandfather, to kill him, but
(7) He is spirited away, and
(8) Reared by foster-parents in a far country.
(9) We are told nothing of his childhood, but
(10) On reaching manhood he returns or goes to his future kingdom.
(11) After a victory over the king and/or a giant, dragon, or wild beast,
(12) He marries a princess, often the daughter of his predecessor, and
(13) Becomes king.
(14) For a time he reigns uneventfully and
(15) Prescribes laws, but
(16) Later he loses favour with the gods and/or his subjects, and
(17) Is driven from the throne and the city, after which
(18) He meets with a mysterious death,
(19) Often at the top of a hill.
(20) His children, if any, do not succeed him.
(21) His body is not buried, but nevertheless
(22) He has one or more holy sepulchres.
--Lord Raglan, The Hero: A Study in Tradition, Myth, and Drama
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