best book pets.com presents the hero with a thousand faces by Joseph Campbell. Since its release in 1949, the hero with a thousand faces has influenced millions of readers by combining the insights of modern psychology with Joseph Campbell's revolutionary understanding of comparative mythology. In these pages, Campbell outlines a hero's journey, a universal motif of adventure and transformation that runs through virtually all the world's mythic traditions. As relevant today as when it was first published, the hero with a thousand faces continues to find new audiences in fields ranging from religion and anthropology to literature and film studies. The book has also profoundly influenced creative artists, including authors, songwriters, game designers, and filmmakers, and continues to inspire all those interested in the inherent human need to tell stories. The written and audio summary can be found on our website bestbookbits.com. So, without further ado, I bring in the book summary of the hero with a thousand faces, the monomyth. Campbell jumps right in discussing recent anthropological studies that have benefited from a

mythic approach so I ecology - he says is down with those mythic vibes in part because they help people even modern people understand what drives them. He tells a story of a young American man who dreamed that he accidentally killed his father by dropping a hammer off the roof. His mother comforts him in the dream and Campbell points out how Freudian this always. He explains how the father represents danger, the mother safety, and her killing the father to enjoy the attention of the mother was pretty much what Freud was all about. You can find Asante in ancient stories such as Oedipus, whose famous complex was based on killing his father and marrying his mother. Campbell talks about another dream, this one was from a woman afraid of a big white horse following her. The horse is sent to a barber shop and comes out as a man. Campbell talks about how the dream represents the way we face our fears, leaping into the unknown where there's great danger but there's also rewards and treasures - he discusses psychoanalysis - science of reading.

dreams and say that ancient cultures had their own rituals for reading dreams. Dreams and the stories had come from them speak to the painful transitions we experience in life: growing up, finding a spouse, working hard for the things we want, saying goodbye to family members who died, and so on. Mythology provides symbols to help us understand these transitions in life and how our triumphs and heartbreaks can be reflected in their symbols. In short, if we want to know how to be brave in the face of trouble, to enjoy the good things life sends our way, and to understand why life works the way it does, we look to our myths. In the modern world, we try to hold the progress of life; we want to stay young, stay strong, never grow old, and never die. In Campbell's opinion, this isn't a healthy way to live. Men dream of childhood heroes while being doctors and lawyers and such; women look for love while men are away. According to Freud, the first half of why I focus on rising the Sun, the goal in the dreams he wants.

to achieve when we head out into the world. The second half of life involves an inversion of that, dealing with the eventual return to the grave. He tells the Greek myth of King Minos, who was busy with being king and ignored his wife. His wife fell in love with a bull and gave birth to a monster, the Minotaur, which was caged in an elaborate maze beneath King Minos' palace. Campbell explains that Minos, not the Queen, is to blame for this because he was seduced by the material things of the world, which creates monsters. Heroes are created to deal with monsters, and the rewards heroes reap are just for them, like Minos and his selfish pursuit of gain, but for everyone. When monsters are created, they're a sign of spiritual death. When heroes crush those monsters, they're a sign of spiritual rebirth. That's the essence of the hero's journey. The hero or heroine can survive adversity, brave dark paths, and fall through all their weaknesses and self-doubts in the process. They can save the people of

their community who choose a less adventurous life. Campbell finishes a story of the men at all with the arrival of Theseus. Minister's daughter Adriana falls in love with Theseus and turned to him for help in solving the labyrinth just as we normal people turn to the hero for help in unravelling at the labyrinth of our fears and problems. Campbell breaks these chapters into individual sections and because those sections contain certain specific steps in the hero's journey we're not about to leave them out here. Comedy and tragedy modern literature. Campbell claims is focused on failures. Wars and the shortcomings of human existence in short it's often tragic. Comedy serves as satire but it's not as any logical expression of happiness or joy. Fairy tales and myths fill in the gap providing triumphs success and fulfillment in dramatic context and redeeming us the hero in the God. The arc of a mythic tale can be summed up in three words separation iteration return. The hero leaves the mundane world faces challenges gained skills and becomes an

adult only to return to his place of origin and share the bounty of what he has earned. Examples follow. Oh man, Campbell loves his examples. Jason and the Golden Fleece, Prometheus, the story of Buddha, Moses, and others. Campbell then lays out the basic pattern of this story and then the steps it encompasses. We're not gonna list it because each step has its own chapter. He stresses the importance of the hero returning from his or her adventure to share the rewards with the whole community. That's what separates a hero from a selfish person like Minos. The power the hero brings are powers that have been in him or her all the time and only need to be brought out with the trials of his or her adventure. The hero and the god are thus one and the same, mirror images of each other. That the hero's journey has brought out this theme recurs in stories told throughout the world. The world navel. The purpose of the hero's journey is to release the power of the divine into the world, to reconnect us with the

primal forces of the universe. The divine energy is surrounded by the universe, the world navel. The world navel brings both good and evil linked together, just like everything else in the universe. The call to adventure. The chapter opens with the retelling of the famous fairy tale The Princess and the Frog. A princess drops her golden ball in the water where it sinks deep onto the bottom. A frog asks if he can help, and the princess promises him anything if he can get the ball back. The Frog returns the ball and asks to be her companion in exchange. She's grossed out by him, but what's a girl gonna do? Don't worry, as you may expect, he turns into a handsome prince when she finally decides to kiss him. The Frog returning the princess's golden ball to her is an example of the call to adventure. The call is a crisis, something that spurs the hero or heroine into action. The call involves danger, peril, and dark places like a forest or the bottom of a pond to follow the Princess and the Frog.

a Herald is involved, announcing the danger of all the tasks to be undertaken. More examples follow, including King Arthur in the story of an Indian woman from North America. The hero belongs to an ordinary community when the call arrives, and his or her energy is realigned from inside the community to outside of it. Refusal of the call. Sometimes the hero doesn't answer the call or want to take up the task. The story makes it very clear: refusing the call is a bad idea. Why? Because it leads to stagnation and a refusal to advance forward in life. The divine being linked to the hero harasses him or her constantly, trapping him or her in a symbolic labyrinth. Example: we got one halibut, the story of Daphne, who flees from the loving arms of the God of Apollo and is turned into a laurel tree as a result. Campbell notes that the philosopher Jung believes that psychoanalysis finds Pattinson fixations very similar to the story of Daphne. Campbell relates the stories of the Sleeping

Beauty and karma al zaman from Arabian Nights to demonstrate what happens when the hero refuses the call supernatural aid for heroes who don't refuse the call. Their first encounter with the outside world and the challenges I need to face is with a mentor. This is a wizard, dwarf, or some similar figure, protection for the hero on the first stage of the journey. This could be the Blessed Virgin in Christian stories, despite a woman in the African stories, a wizard, a god like her mez, or others. The mentor represents destiny and serves as a comfort and a reassurance for the hero on his or her adventures. In some cases, the mentor is also the Herald who starts the whole thing, rowing with the call to adventure, the crossing of the first threshold with destiny, having taken a friendly and usually bearded form. The hero moves forward until meeting a threshold guardian. Beyond the guardian lies the unknown darkness, danger, the general he be dragons thing. The guardian is usually tricky and deceitful, but what he or she first appears, but she holds wisdom about the darkness to two key

aspects in the figure. Another avalanche of examples from all over the world follows: Pan in Greek mythology, the Russian water grandfather, and others. The guardian camp: a protective warning, the hero from venturing past the known world. Yet only by passing the Guardian can a hero gain the knowledge and the power that he or she needs. By passing or defeating the Guardian, the hero enters a new stage of existence, leaving his or her old life behind. The belly of the whale: having passed the first threshold, the hero enters a room-like state called the belly of the whale. We know what you're picturing, which always makes us think of Pinocchio. He or she is swallowed up by the power of the threshold, symbolized by a sea monster or something similar, and seems to have died. Crossing the threshold can be seen as a kind of self-annihilation, always gruesomely a transformation into another state of being. And as usual, Campbell wraps up some more examples, so many examples, iteration. The road of trials: once the first thresholds past the

hero faces a series of challenges that he or she must overcome. Campbell tells a story of Cupid and the psychic as an example of the challenges faced on the road of trolls, surviving the wrath of the with the help from an army events. He follows with a report from the ancient laps about a shaman who needs to handle a number of different obstacles during are supposed visit from the land of the dead. Any figure who undertakes the hero's journey comes across a spiritual labyrinth populated by the symbolic figures that test him or her. This is part of a ritualistic cleansing, focusing the hero on spiritual rather than worldly matters. In dreams, we still face these obstacles off with no idea how to vanish them. The hero's obstacles are symbolic of those fears and anxieties in our dreams. Example time, the goddess in Anna's descent into the unknown world from ancient Sumerian mythology, the meeting with goddess. Once the obstacles are overcome, the hero joins with the queen of goddess of the world, which is not in fact Oprah Winfrey's new title.

but rather the representation of the whole universe. The encounter with her usually takes place at the edge of the world or the bottom or somewhere else where you which we can't go any further. Examples to jaw the Prince of the lonesomes oil from island who meets with the Queen Taba Tintin. The queen represents the feminine in all its forms: mother, lover, sister, friend. She's all the gifts and the bounties of the earthly world, the promise of perfection. She can also be a bad mother or mother, selfish, forbidding, or in some cases absent entirely. The examples of the second part of the goddess is Diana, who turned the hunter Acton into a state when he spotted her bathing in the nude. The first part of the Queen goddess, on the other hand, is an all-nurturing mother, with accompanying examples from the tantric books from India. Cue the silky music. But she's also the embodiment of death and the end of the world, womb and tomb in one. His examples concern the 19th-century Hindu mystic Rama Krishna.

who oversaw a temple dedicated to both sides of the goddess. She's the embodiment of the whole world, everything within it, good and bad alike. She gone to the hero into a new state, one freed of limitations where everything is possible. We are then treated to the story of the farm sons of the Irish King, eh ed. The hero wins over the goddess, not with cleverness or strength, but with a gentle heart. Eve, it's a hearing instead of hero. She proves herself fit to be the consort or companion of a God. If she searched for him, she joins him. If she doesn't want him, she sees that her own power doesn't require him. Women as The Tempest hang on tight because we're getting into a little fraud Ian. Since the hero, having taken the mother goddess as his own, formally assumes his father's place. Because of this, and because of our understanding of the voice of the world is incomplete, we sometimes respond with revulsion when the mother goddess takes us in. In other words, as the hero transcends the earthly.

boundaries. The mother goddess, as a symbol of the world he's leaving behind, becomes disgusting. We know, we know, sexist much in this formula. The mother goddess becomes death, a siren luring the hero to a grimly demise. Example: St. Peter and his daughter, patron Elia, followed by the writings of Sheraton thinker Cotton Martha. Atonement with the father, Sheraton examples Jonathan Edwards' sermon about the wrath of God. The father figure punishes the hero for presuming to take his place. The hero is often protected by the mother goddess in this ordeal, who gives him another center to focus on now that his connection to the father is severed. The never-joy story of the twin warriors serves as an example for this point, followed by the Greek story of the Parthenon. The point of it all is that the father serves as the person who initiates the hero into the world, and if the initiation is imperfect, trouble ensures. The father has two aspects - just like the mother, but with a third side added. The father is

now a rival. The father passes on the power of the world, but only if the son or daughter is worthy. And then we go really Freudian. Another extreme example, followed by a description of the rights that the father figure puts the hero through. The fellows replace the breast as the end-all-be-all, and the rights to release the hero's penis power from the confines of the father. Examples from aboriginals' coming-of-age myths, followed by the one about Zeus, the ultimate punishing father figure, and a number of additional myths. The father figure represents the paradox of creation. He holds all the power, yet denies it in order to claim that the hero has to pierce himself through the core of his being, annihilating himself. Why he has to acknowledge that all the horrible things in the universe are part of the universe - and need to be accepted instead of rejected. Example: the story of Job, punished by God. The punishment serves to further test the hero, who emerges with the acceptance of the father figure, and he's shown the bliss of the world.

apotheosis. Once the human hero gets past his fears and connections to the world, he is released, and the world becomes enlightenment held in the hero's hands. The figure of enlightenment is both male and female as a representation of everything in the universe. The best aspects of both mother and father are kept; all the bad aspects are removed and cast aside. More examples follow Paul from the Australian mists and biblical imagery. Enlightenment means we break free of all the earthly prejudice and become one with God and, by extension, the universe. Bet you'll never guess what Campbell follows with this example. This time it's Bodhisattva myth from Asia. Bodhisattva links the myths with the psychological origins and the way this enlightenment can be reflected in our own minds. Psychoanalysis serves as a similar purpose to the myth, resolving conflicts in the patient's own mind to bring them peace and anointment. The secret is that we don't just find enlightenment; we are enlightenment. Numerous examples from the Eastern

culture follows the ultimate boon. We return to the Prince of the lonesome island, and there easily he achieves his goal. This signifies the delivery of the ultimate boon, the reward for the hero of transcendence and wisdom. The hero is destroyed and reborn as an indestructible being, possessing all the power in the universe. The ultimate boon involves infinite abilities, infinite bliss, and a party that just never ends. Examples we know include Olympus and the Christian notions of heaven. It's a fairly immature fantasy, but Campbell also reminds us that these kinds of fantasies are very primal, tied into our earliest emotions, and are powerful for their immaturity. He starts the Hindu story of the gods and Titans battling the immortality. Shima plays a role in transcending these fantasies without humor that become focused on basic issues like acquiring power and controlling people, promising them similar amounts of power by interacting with the gods and goddesses that grant him such power. The hero isn't looking to steal their power from them.

but rather to take on their grace. The gods don't always understand that, which means the hero must sometimes trick them into surrendering that grace. The example, the jaw, is a story of Maui in the Polynesian culture tricking the guardian of fire to surrender his power. It's followed by the story of Gilgamesh, who sought a source of immortality. Immortality, Campbell stresses, is spiritual, not physical. Aspiring vampires take note: attempting to gain physical immortality or boons of a physical nature is bound to disappoint, as exemplified by King Midas, who wants everything he touches to turn to gold and ends up starving to death because he can't eat. Dante takes a similar realization at the end of the Divine Comedy as he gazes upon God and Buddha's victory beneath the Bodhi tree. Returned refusal of the return with the hero attaining everything he desires. You might think it's time to roll the credits, but you'd be wrong. The hero must return to the normal world and share his or her gifts with everyone. Unfortunately, most heroes

to say no to returning home. Buddha, for instance, questioned whether his wisdom could be understood while the Hindu leader Mukhin under slept in a hidden cavern rather than returning to the world. In some cases, the hero is justified in his belief and is left in his bliss without having to return to the world. The Magic Flight, assuming the hero chooses to return to the world, he still has to get there. If he's stolen his boon or treasure, he's gonna be chased by all those cranky demons and gods he stole it from, resulting in a comic chase. As an example, Campbell cites the wealth story Gwenn batch who flees from the angry giant by turning into various animals like rabbits and fish. More examples follow the first shaman Morgan Cara from Siberia and a merry folk tale about a fisherman who had a literally monstrous wart who had to flee from. In some cases, obstacles are tossed into the hero's way as he flees back, and the danger levels may still be high. Campbell's example in this case is the

story of Jason, who must overcome a number of tasks once he sees as the Golden Fleece, is followed by tales of the Japanese god hero Oz Nagi and the Greek hero Orpheus, both of whom had to flee the underworld. Orpheus is particularly important since he walks back when he is told not to and woos his love, who he'd been chewed into the underworld to find. Human failure, not divine failure, is what causes troubles at this stage in the hero's journey, and yet the hero's journey isn't about the failure but fulfillment. Better get some rescuing in their rescue from without. Sometimes the hero can't return to the world on his own; he needs some help from someone else to do it. The examples used include Raven, the helpful trickster of the Native American legends, and the Amaterasu, Japanese goddess of the Sun. The fact that we've realized that all things are a part of the divine so that outside help is actually just another manifestation of the hero's own immortality and power. All that

eventually leads to the hero back to his or her former home, armed with the gifts in wisdom, one by all of his or her adventures. The crossing of the return threshold, there's a division between the normal world and with the hero left in a supernatural world where he or she had his or her adventures. Yet we're actually all part of the same universe, and by exploring the unknown side, the hero unifies them in his or her own. The hero now has to express what he or she has learned to the normal world, a world that may not be ready to hear it. This is a tough task, but it is necessary because it advances the world and moves everyone forward spiritually, not just the hero. Our example de jour is Rip Van Winkle, who lies in the enchanted sleep and then he's mocked and persecuted when he returns home. The Irish hero Orson suffers a similar fate when he returns to the world. Campbell points out that time is often diluted when the hero goes on his or her adventure, that one year in

a supernatural world may equal 100 in the normal world. What the gods see as eternal, unchanging world mortals experience as swirling chaos. The problem for the hero involves conveying that sense of eternal bliss to a world that cannot, will not see it. In some stories, that can be achieved by the insulating horse, which allows the hero to speak to the world without actually touching it. Before that can happen, however, the hero has survived the stress of returning to the world. Examples include Arabian tales of chasing Jin's, Dinesh, and mana. Though the transition is difficult, it's also inevitable. Destiny will make sure it happens. Master of the two worlds, the hero's ultimate journey is to bridge the mortal and the divine. Since he can move back and forth between them, he's the one who can bring them together. Campbell cites maybe the most obvious example in the entire book, Jesus Christ, who represents both the human and the divine in a single beam. The facts of a mythic story aren't relevant. It doesn't matter if it actually happened or not.

the truth these stories hold is the important thing. The way they can show us how to respond to conflicts and trials in our own lives. Therefore, it's not a single event but something that resonates throughout all of time. Campus science, the Hindu song of award as an example, symbols such as the kind found in a hero's journey as simply the means by which the message is communicated, not the message itself. Symbols therefore can be fluid and change to fit new times and new cultures rather than staying bound in one place. Individuals who surrender their fierce limitations and failings, their individual needs, become vessels for spiritual and religious fulfillment. Freedom to live the purpose of the hero's journey as a story is to reconcile our individual needs with the universal will. In other words, to help us as individuals function more harmoniously with the universe. We're back to the gueugnon batch for an example. The hero represents the universe in a constant process of becoming, internal yet ever-changing. The keys Campbell starts with a chapter with a

diagram of the hero's journey summing up the previous 240 odd pages of text cheatsheet fans take note. He stresses that every tale is different and that some emphasize specific steps in the hero's journey more than others. He returns to the Eskimo story of the raven as an example in cultural myths later in a given culture's life. The important images can be more obscure and harder to find. This is because older, simpler images no longer feel pertinent, and in many cases, the mists become swallowed up with less important details. When this happens, life goes out of the mythology, and it becomes a relic. When this happens, we can rejuvenate the myths pond scene, the potency of stories in the past, and applying that potency toward modern context. Campbell science the Rite of baptism, which is a Christian Catholic tradition but has roots in much older mythology. Part two is called the cosmic conic cycle. Don't worry, guys, we'll explain from psychology to metaphysics. So, I colleges Campbell argues understand that the myths and fairy tales hold

patterns that match our dreams and, by extension, our internal thoughts and emotions, express our unconscious fears, desires, and tensions using symbolism to give these vague emotions a form we can latch on to. The difference between myths and dreams is that myths can be given formal shape by our conscious thoughts, while dreams are vague and don't always follow article patterns. They also represent specific spiritual principles, whether it be energy in a purely rational context, karma, or simply the power of God. They help us awake in our minds and put us in a more spiritual state of being, the universal round, the cycle of the universe, and of myths matches that of night and day. Existence is an endless cycle of awakening, living, sleeping, dying, as the light fades and rises again each dawn to do it all over again. He saw its examples from the Aztecs and the myths of the Jains from India, who pictured time as a 12-spoke wheel, which incidentally happens to be on the Indian flag. The wheel is just another symbol, a way of showing us

what Campbell calls the mechanic cycle. In this cycle, our consciousness travels through the three states: awakened experience, dream experience, and the dreamless presumably with full sleep. In the first stage, we encounter life lessons. In the second stage, we absorb these lessons as we dream. In the final stage, we enjoy all and know everything. We cycle through them all every day and throughout our entire lives. The Hindu culture expresses this through the chant AUM. A is for waking life, U is for dreaming life, M is deep sleep. The song and surrounding the chant is the unknown God, the cosmos, or some suitable standing myth is a way of giving it all concrete shape, especially the silence out of the void. Space mythology, especially that involving creation, is also laced with destruction, miscarry a sense of doom but optimally about fulfillment and life. The meaning isn't carried in the symbols but rather in the person himself or herself. Dramas present us with the strange images that shock us out of our complacency, forcing us to look at the world differently.

Campbell then breaks down the stages of the cosmogenic cycle versus the creation of form from formlessness. He starts a creation myth from New Zealand as an example, as well as more examples from here, brooo Indian, and the Chinese cultures. Within space life, the creation of the world provides space from the second stage of the cycle, the production of life. For this task, the world is separated into male and female, and the process resembles physical birth. Campbell goes back to the New Zealand creation myth to illustrate this, the breaking of the one into the manifold as life expands into the world. A crisis is created; the world splits into two planes of existence, the sky and the underworld. The first part of the cycle focuses on the creator or God, the second part focuses on humans or the life within the creation. That involves a sudden transformation from perfect to Ford. This prevents the cosmic cycle from continuing as the children (humans) seized and divided the power of the parent God. Examples are bound from the New Zealand story to the Greek myth of creation to the story of Marduk from Babylon, but

destroying the god creator doesn't really destroy it, just defines it up into little pieces. Campbell observes that this is a paradox, like many in mythology. A beautiful act of creation made up of pain, destruction, and division must serve to acknowledge the agony of that process while reminding us of the peace and harmony that surrounds it. Again, the crucifixion of Jesus makes a great example. Beauty and harmony are achieved through unbelievable suffering. Folk stories of creation, simple folk stories, are much more straightforward than the cosmogenic cycle. They don't stick to understand the meaning of it; they just observe. Creation myths are usually the same. A shadow creator gives the world a form slowly, then deals with the creation of man and the finality of death. Campbell notes that many of these myths are playful, and their simplicity suggests that people didn't actually believe them as literal truth. He points out the presence of clam figures in creation myths who create troubles and difficulties in the newly formed world. Again, with the examples, this time from

the New Britain and Siberia. We might also point out that the Christian serpent in the Garden of Eden is an example. Nevertheless, folk stories contain the same spiritual truths as the more elaborate or texted myths: the virgin birth, mother universe, the father spirit creates the world by passing his energy through a transforming figure, the mother of the universe. The mother is represented in the Christian text as the waters that God moves over in Genesis, while Hindu myths also speak of the mother figure who constitutes all space and time. Some cultures do away with the father figure completely and leave the mother universe as the creator. Campbell cites the finished tale of the KO Vela as an example. Matrix of destiny, the mother of creation will often appear to human beings in various disguises in these stories, comprising birth and death depending upon the specific form. Campbell returns to the New Zealand creation myth, the three stages of the cosmic cycle on full display: waking life, dream life, and the dreamless bliss. The parental figure who creates the universe vanished into the void, leaving humanity alone on the earth to move the cycle.

into another phase, womb of redemption. With humanity left on its own, life becomes a struggle. Mistakes are made; ego and arrogance cause difficulties, and creation suffers. The people need someone to redeem them and end that suffering; someone who takes on the form and function of the divine, having to reach the bottom of the cycle. It's time to move up. Enter the hero. The example again comes from Christianity: the virgin birth that will save us all. Other examples stem from the South American stories and the Hindu tale of Shiva, folk stories of virgin motherhood, stories of virgin births aren't limited to Christianity, as invented by a folk story from Tonga. Transformation of the hero, the primordial hero of any human. We now see two stages of creation: the creation of the world by the divine and the passage of history by humanity. The second half of that, the one we're all used to, is where the hero arises, claiming the divine power of the gods in the form of a mortal. That marks a slow movement away from the myth and towards fact. The divine recedes; details move from myth.

to legend and then to history until finally we're left with the mundane details of recorded time. Example: Maurice T, the moon man, and the story of Chinese emperors' childhood of the human hero. Many myths show that the entire life of the hero is extraordinary, not just his journey to solve a specific ill. This suggests that the hero is either a normal man who attains wisdom or a figure of Destiny chosen by the gods to serve as a hero. The first part of the book, The Adventure of the Hero, tells the first notion: a normal man who attains heroic stature on his own. The second notion, that of the hero as an extension of Divine Will, is now explored as a figure of Destiny. The hero must experience the three stages of the cosmogenic cycle, consciously understanding them all, then bring that wisdom back for the world to share. This extends to real-life figures who are the subject of legend; tales will be made about their deeds that have a fantastic quality to them. Think of George Washington and the cherry tree, Campbell, Science, King Sargon of Agade.

Pope Gregory and the chameleon as examples of real-life people who get this treatment. The people watch core figures of Abraham is discussed at length, as is a Native American figure named coot o yeast. The child hero will live in obscurity for many years, which means he faces danger or at least been held back from his potential for a while. He may gain benefits during his time - from a helpful companion or God. You need to have something special to survive such an experience. The myths show this with stories of amazing strength, intelligence, and insight at an early age. The big example of this is Hercules strangling the serpent sent to kill him in his crib. But Campbell goes on to cite the Hindu god Krishna - the childhood cycle from the hero. And when the hero ends this

hero's birthplace or the place where he grew up is the navel of the world. Campbell talks about a hero myth from Siberia to prove his point. The hero eventually leaves his spot to fulfill his destiny. Victory comes not over a threat or a danger so much as the status quo. The monster he or she slays represents the way things are. The monster holds on to his

With the monsters dead and rigidity destroyed, the hero can then take a wife. She is his mirror, his other half, who can often see his destiny. He must usually overcome a specific obstacle or set of obstacles together. Our example for this one is Qu: a hero from Island. The hero as Emperor or tyrant. The hero is an agent of the cycle and works to continue on cycle. In some cases, a hero exists to reestablish the world's connection to God. You usually see that in religious context. Campbell returns to the story of people o hero water-jar boy. If the hero is blessed by the father, he takes the father's place as a ruler. He reflects the balance and the axis of the world as a king. Sometimes, however, the hero falls back into the purely human state, which turns him from wise king to despotic tyrant. The Persian legend of adjustment illustrates this point. He no longer carries the balanced wisdom of the normal and supernatural worlds, is now a tyrant, and it's up to another hero to usurp him. The hero as world Redeemer.

If the hero rules in the place of a symbolic father, then two rites of initiation must take place. The first is the son serving as a mercy to the father. The second leads to his understanding that he and the father are one. Heroes of the second type of the highest sort, the world Redeemers, the ones whose authority becomes divine. The examples of this is the Apache hero Jacala. The hero can still perform heroic deeds, but they're done with the understanding that they could be accomplished instantly by the power of the divine, which he contains. The example involves Krishna and his cruel uncle in Hindu mythology. There is often a period of dissolution here caused by the hero's remain in human faults. The redeeming god hero thus becomes a destroying god hero/potat in the cycle and confirming that the gods' power is to both create and to destroy the world. In this sense, the hero as tyrant is still a representation of the symbolic father, just as the hero as just ruler is. After all, evil is as much a part of the universe as good. Campbell

stresses that these are just two different ways of telling the same story. The son assuming the place of his father. The hero will become the tyrant unless he crucified himself, dying only to be reborn as the son takes the father's place. The many become one again, and the cycle continues. The hero as Saint. The saint, as you may expect, is a hero devoid of any real force. The Saint Hiro eliminates any and all shred of self-interest and embraces the wholeness of the universe. The example is, as you may have suspected, an actual Saint Thomas Aquinas. They essentially don't return from the journey, moving beyond the mortal realm and existing only in secondhand form like legends. The departure of the hero. Every hero story has an either with death or departure of some sort. Examples include death that coming from Abraham and another anonymous dream. In many cases, the hero doesn't actually die but actually just sleeps and will arise again when he or she is needed. Campbell's examples chameleons and the Aztecs serpent quit so koala. Some heroes

can postpone death and attempt to remain in the mortal realm as the Irish hero, Kakyoin, and Pablo's water boy to dissolutions, the end of the microcosm. Each and every one of us is the hero. There, Campbell said it. We all have a king or queen within us, the greatest that we can be spiritually, not just physically. In death, the individual is taken into the universe and becomes one with it. The journey of the soul through all stages of life is the same as the hero's journey. The final journey is the one that will take us to the end of our lives. Copious examples from China, Egypt, and the Aztecs follow the end of the macrocosm. The universe follows the same cycle as the individual: being born, living, thriving to quantum, and perishing into the world. Stories from the Mayan culture illustrate this trend, as through the Viking story of Wreak Knock and the Christian notion of Armageddon. Myth and society, the shapeshifter, there's no end-all, be-all way to interpret.

mythology so camper wants us to know that our mileage may vary. He talks about the myth of Proteus. We're grasping the thing you want to understand is impossible. Modern society interpret Smith in a huge number of size applying it to religion, metaphysics, psychology, natural studies, and others. The function of myth, culture, and meditation. Individuals are limited by who they are. They're only one small part of humanity. The totality of man exists only rituals of birth, death, weddings, and similar events help us connect us to this larger hole, making us part of a larger community. Being cut off from the sense of community can be painful. Rites and rituals for death, the change in the seasons, and so forth, an acknowledgment of the new phasing life and should be celebrated as they were in ancient cultures. There's another option to separate yourself from the world like a monk and contemplate the universal human being within. The goal is not to see but to understand. The goal is not to see but to understand that eliminates any sense of self as all.

becomes one the hero today. That's all far cry from our democratic culture which values the power of the individual. We focus on secular and have no more time for God. Two legends in the past people found meaning with their group. Now we focus on the individual stories of heroes need to come from the contemporary age and reflect a unique perspective and sensibilities. We can't do this with simple consciousness which we use to solve our problems. We need to reconnect with the dream state. The mysteries of the ancient world no longer exist. There's no more to explore as individuals in modern society. We must become the hero to save society instead of the reverse and we must do so in the utter despair of loneliness. And that's a wrap on the hero with a thousand faces by Joseph Campbell. Check out a YouTube channel with over 400 video book summaries uploaded previously and check out a website best book bits com where you can download the written book summary in PDF version in categories from biography business and marketing habits health leadership money personal.

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The Hero with a Thousand Faces | Joseph Campbell | Book Summary

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