Human Myth: A Hero with a thousand faces

I’ve read a number of Sydney Morning Herald articles with have made reference to A Hero With a Thousand Faces by Joseph Campbell, and have been fascinated by it.

The book builds on Jungian Psychology – Jung has argued that humans are programmed to respond to particular symbols or archetypes. The symbols occur in every tribe, and are a frame of reference by which the world is viewed – Jung claims these may be wired into our brain, or taught to us by our parents. Campbell’s book claims that it’s not only symbols that we are wired to respond to, but plot-lines as well. The major argument of the book is the myths of all human society follow the same path. There is a common story or an archetypal human myth.

David Dale writes Jung had spoken of the Magician, the Earth Mother, the Philosopher King, the Trickster, the Demon, the Temptress and the Mentor and Campbell spoke of The Call To Adventure, Crossing The Threshold, The Road of Trials, Atonement With The Father, and the Rescue From Within. (SMH, Jung at Heart, 30 January 1999)

The impact of this book on Cinema is noticeable: a Disney script-writer Christopher Vogler wrote a memo suggesting elements of that classic tale could be discerned in every successful movie, the memo was headed: A Practical Guide to The Hero With a Thousand Faces, and later expanded into a book: The Writer's Journey - Mythic Structure for Storytellers and Screenwriters. Earlier George Lucas' Star Wars was the most notable cinematic example.

First we find our Hero in The Ordinary World (Luke on Tatooine). Then he or she receives a Call to Adventure (the finding of the message in R2D2) to seek someone or something, usually from a surprising messenger. Often he Refuses the Call and has to be pushed into the quest. (Obi Wan reminding Luke there is nothing left for him on Tatioone)

Then a wise old Mentor offers help (Obi Wan) and the hero crosses The First Threshold (Getting off Tatooine; rescuing Leia). On the journey, the Hero encounters Tests, Allies and Enemies and is allowed to have a bit of fun with Tricksters and Shapeshifters. (Han Solo and Chewie perhaps fulfil the role as Trickster)

Then he must make The Approach To The Inmost Cave (The Death Star) via various Threshold Guardians, and in it he must face The Supreme Ordeal (the Death of Obi Wan, the trash compactor). He overcomes his deepest fear (an evil usually labelled The Shadow), and seizes The Reward which may be love, knowledge or a sacred stone. (The Battle plans of the Death Star)

Then he starts on The Road Back (to the Death Star), often chased by minions of The Shadow, and must go through another ordeal which will lead to a form of Resurrection (the destruction of the Death Star) so that he can finally make a triumphant Return With The Elixir (freedom - and peace for the rebels).

Another example, Four Weddings And A Funeral, explained by a Disney scriptwriter Christopher Vogler: (1). Charles (Hugh Grant - a classic Trickster Hero) is in his Ordinary World, sleeping in when he should be at a wedding. (2). The call to adventure is the appearance of Carrie (Andie MacDowell), to whom Charles is attracted. (3). He does not respond quickly enough to her question, "I was just wondering where you're staying tonight", but sets off to find her, encountering various Mentors (4) and outsmarting a Threshold Guardian to reach her room (5). In the morning he fails a Test of his sense of humour (she is a Shapeshifter) and so must continue the quest to win her love, via various Allies and Enemies (6). The Approach to the Cave (7) is the shopping trip to buy Carrie's wedding dress, and The Supreme Ordeal (8) is her wedding. At the funeral of his Mentor, Gareth, Charles finds greater self-awareness (9) and begins a Road Back (10) in the form of his own wedding plans. But at his wedding, he goes through a Resurrection (11) and over the end credits we see his Return with the Elixir in the form of a happy relationship and a baby with Carrie.

But the idea that there is one narrative that we are wired for is an intriguing one. Since there is one narrative for history; beginning with the author of History creating the world, then revealing himself to this world and becoming a character in the story, being killed by His creation, to redeem them for as a people for himself.