Blog posting: due 6 p.m., Sunday, Nov. 14.
Summarize the theme of your assigned section in about 100 words. What is the relationship to the monomyth? What is the point Campbell is making? Sections were assigned randomly.
Lance Ezell, explain the chart on page 210
Camille Olson, Part I, chapter III, section 1
Kenna Collums, Part I, chapter III, section 2
Katie Portner, Part I, chapter III, section 3
Brad Gordon, Part I, chapter III, section 4
Kristen Laprade, Part I, chapter III, section 5
Kevin Scott, Part I, chapter III, section 6
Archer Hodges, Part II, chapter I, section 1
Tony Stvartak, Part II, chapter I, section 2
Ryan Rigney, Part II, chapter I, section 3
Matt Niemeyer, Part II, chapter III, section 4
Madison Stewart, Part II, chapter I, section 5
Timothy McArthur, Part II, chapter I, section 6
Graham Williams, Part II, chapter II, section 1
Dan Rust, Part II, chapter II, section 2
Will Shirley, Part II, chapter II, section 3
Emory Smith, Part II, chapter II, section 4
My section, "Freedom to Live," is the last step of the hero's journey, and it occurs after the hero has accomplished all of his or her tasks. At this point, the hero has essentially defeated death because this person has realized that the Self is not restrained in a human body. It is transferred from generation to generation across time. Therefore, this hero has the freedom to live without worry or anxiety; he or she can live in the moment without looking toward the future or behind to the past. The main point Campbell makes here is that the "Freedom to Live" is the ultimate goal of the hero's journey. The elixir or princess is a nice boon, but its benefits pale in comparison to the ability to live in the moment. In terms of the Monomyth, many stories across the world write about this as if the hero has achieved greater than human status after reaching this point. This is the goal that all humans should try to reach during their lifetimes.
ReplyDeleteThe section about the "Magic Flight" explains the part of the hero's return where he or she has the ultimate boon and is escaping the opposing forces. He tells of many myths to illustrate this part of the journey including one of Gwion Bach, who was made to stir a cauldron with a boiling potion for inspiration for Caridwen. He put three drops in his mouth one day and saw what was to come of him. In fear he ran, beginning the magic flight of the myth. Caridwen chased him, and they morph into several animals to benefit them in the chase. Eventually, Gwion Bach turns into wheat, and Caridwen, now a hen, eats him and, nine months later, bore him. She could not kill him, so she set him out into the sea. The magic flight of the hero's journey shows his struggle to return home in the monomyth. The point Campbell is trying to make is that the return is either supported by the gods and supernatural aid is abundant or rejected by the gods so he is fighting all the forces to return.
ReplyDeleteIn “Master of the Two Worlds”, Campbell discusses how a hero is able to pass between the two worlds. His first example is when Jesus was transfigured before the disciples. Jesus was fully man and fully God at the same time; he was able to “master” the heavenly world and the earthly world. The true hero is able to be a part of both worlds successfully. The hero knows all the pains and joys of the “normal” world, but he knows how to rise above those. Campbell also says that the hero lets his own desires fade. The hero needs to in essence all things to all people. Accomplishing this task requires the hero to put others needs before his wants. Mastering the two worlds requires the hero to live in the “normal” world yet transcend normalcy.
ReplyDeleteIn The Breaking of the One into the Manifold, Campbell talks about the shift in focus in many myths from creator (the One) to creation (the manifold). This section is, in a way, outside of the Monomyth because it perpetuates a new “cosmogonic round”. For example, in the myth of the sky (Rangi) and the earth (Papa), Rangi lies so close to Papa that her children cannot escape from the womb. Her children get together and must decide between killing their parent, rending them apart, or suffering perpetual darkness. After much discussion, they decide to rend them apart so the earth can remain as their “nursing mother”. After these two are broken up, the story can finally focus on the creation instead of the creator.
ReplyDelete"The Rescue From Without" deals with the return of the hero. It discusses how, in order for the hero to return, "the world may have to come and get him." For example, in the myth of the Raven, the Raven becomes trapped in the belly of the whale. People see this whale and decide to harvest the meat. As soon as the people cut a hole in the whale, Raven is able to escape. Campbell discusses two other myths in this section as well. In relation to the monomyth, Campbell shows that sometimes the hero must be very lucky and rescued by regular people in order to complete the return part of his journey. The main point of this section is that sometimes heroes don't always return by individual means, instead, by grace (and some luck) the world must help the hero in his journey.
ReplyDeleteIn the "Matrix of Destiny" Campbell explains in more depth the dynamic of the Virgin Birth in mythology. Campbell describes the female as a fluctuating star. He also uses the South Rhodesian myth of creation. Maori creates Muwetsi and gives him a wife, Massassi. Together they create the trees, grasses and bushes. Maori warned Muwetsi that Massassi could only remain with him for two years. Muwetsi was granted another wife, Morongo, but after several times Maori warned Muwetsi to sleep with her no more. Muwetsi disobeyed and Morongo gave birth to lions, scorpions, snakes, and leopard. Muwetsi was eventually killed by his children, and Morongo was buried with him. However she had only been with Muwetsi for two years just as Maori promised. Campbell is trying to show that despite best efforts destiny could not be avoided.
ReplyDelete"The Hero as a Warrior" describes part of the hero's journey where he must overcome a formidable evil in his homeland after returning from the shadowy unknown. Earlier in his quest the hero has discovered the secret to defeat his enemy, so he alone holds the key to destroying the monster. Campbell illustrates this portion of the hero's journey with a story about Blood-Clot Boy, who travels the countryside eliminating menaces that threaten the people. He destroys a giant man-eating fish from the inside out, freeing its captives. He then kills two devious women who trick passerbys into their own deaths, making safe the roads for his people. An example familiar to many is Tolkien's the Hobbit, where Bilbo embarks on a quest to battle a ferocious dragon.
ReplyDeleteThe chart on page 210 is giving a visual diagram of "The Hero's Journey." It begins with the Call to Adventure, which gives way to the Helper. After meeting the "Helper," the hero must cross the "Threshold of Adventure," which could be represented in a multitude of fashions from simple "Threshold Crossing" to "Crucifixion" and beyond to the "Whale's Belly." After crossing the threshold, the hero must pass "Tests," which, obviously, test whether his intentions are pure or whether he has taken the correct route. Then, the hero gains more helpers and takes on his main task in the other world, which could range anywhere from a "Sacred Marriage" to stealing the "Elixir." Upon completion of his task, he undergoes the "Flight," the leaving of the other world, and crosses the "Threshold of Adventure" once more, in the form of resurrection, rescue or some other form, then shares the "Elixir" with the rest of humanity, whether small or large scale. Campbell also draws an arrow from sharing the elixir back to the call of adventure, which implies that this series of occurrences is cyclical.
ReplyDeleteThe section titled "From Psychology to Metaphysics" deals with the comparison of myths to dreams. the opening lists a group of well know names and theologists that claim that the "patterns and logic of fairy tale and myth correspond to those of dream" (219). However as the section continues to develop, the claim that "myths are not exactly comparable to dream" and that there are differences between the two (220). One of the differences in the two, deal with one's conscience. dreams are images or stories that develop spontaneously and with no conscience while myth may start with some random occurrence but the logic behind a story actually exists. another reason why the two are different, results from the involvement with the "spiritual principals, which have remained as constant throughout the course of human history" (221). Therefore the purpose of this section was to present the differences between myth and dream.
ReplyDeleteIn ‘Folk Stories of Creation’ the author examines the mythology of creation of underdeveloped societies. While these stories may seem preposterous to more advanced societies, one must not mistake them for simple. They share similar themes in the creation of the world, man, and the subsequent corruption or imperfection of man. A good example of this is the creation myth of the Blackfeet of Montana tribe. In the myth, an old man wanders the countryside from south to north creating plants, animals, rivers, mountains, forests, and eventually other people. He made the woman and the child. As they were standing by a river the woman asked if humans would live forever or eventually have to die. The old man had not thought of that and decided to determine it by throwing a buffalo chip into the river, if it floated people would only die for four days before returning to life, if it sank, they would remain dead forever. It floated, but the woman decided that instead they would throw a stone into the river, if it floated, humans would always live, but if it sank, they would die. It sank, and so humans are mortal. This is an example of a myth describing the origins of death.
ReplyDeleteIn the section “Mother Universe”, Campbell just explains how “Mother Earth” or “Mother Universe” is vitally important in the aspect of myth. The child in most myths is passed down from the father or great manly power through the mother, and Campbell simply shows how without this mother figure, there would be no progression or forwardness of mankind. Some myths even show how the Mother Universe is the creator and founder of the life and the universe itself, instead of just a tool of the man creator. Some Sumero-Babylonian and African myths started the idea of Mother Nature being the creator and designer of day to day life.
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