Campbell's Hero Essay

Joseph Campbell’s ten archetypal heroic traits appear in many literary protagonists. Physical strength, eloquence, leadership, and ties to supernatural forces are characteristics that are pervasive among heroes. King Gilgamesh, in the Epic of Gilgamesh, possesses the Campbellian traits of unmatched physical strength, confident leadership, and ties to gods. Whereas in the case of Telemachus in Homer’s Telemecheia, the young prince has not matured to Gilgamesh’s prominence, but several of Campbell’s attributes become apparent in the story. As Telemachus undergoes his journey, he

The knowledge that Gilgamesh acquires from his journey and Utanapishtim change his life since Gilgamesh learns that humans are fated to die by the gods will. This knowledge causes Gilgamesh to give up on his quest to get immortality because he learns that humans can’t get immortality without giving up their humanity first from Utanapishtim’s story of how he survived the great flood. Also that the fates won’t let him have even eternal youth, since the flower that would grant him that power was stolen by a snake even after he tried to protect the flower very carefully. Gilgamesh plans to gain immortality for giving the people of Uruk wisdom of the great flood and by carving his name into the walls of the city. This way he will go down in history

Watching a film, one can easily recognize plot, theme, characterization, etc., but not many realize what basic principle lies behind nearly every story conceived: the hero’s journey. This concept allows for a comprehensive, logical flow throughout a movie. Once the hero’s journey is thoroughly understood, anyone can pick out the elements in nearly every piece. The hero’s journey follows a simple outline. First the hero in question must have a disadvantaged childhood. Next the hero will find a mentor who wisely lays out his/her prophecy. Third the hero will go on a journey, either literal or figurative, to find him/herself. On this journey the hero will be discouraged and nearly quit his/her quest. Finally, the

The archetype of the Hero’s Journey holds a prevalent pattern in the works of “Initiation” by Sylvia Plath, “A & P” by John Updike, and “Everyday Use” by Alice Walker. These works all follow the 17 stages of Joseph Campbell’s Monomyth which are separated in three stages; separation, initiation, and return. The main characters have different characterizations; however, they all follow the basic structure of the Hero’s journey archetype. There are many similarities and differences between the stages that are shown through many context clues and literary devices in each work. The Hero’s Journey archetype expressed in these literary works follow a similar and direct narrative pattern.

Gilgamesh, written by David Ferry, illustrates a story about a man who knows everything, but continues to try and learn more. Although Gilgamesh may be arrogant, he still remains a great ruler and commander of Uruk. Throughout the book, the adventures of Gilgamesh fit Joseph Campbell’s idea of the hero’s journey. After analyzing the pieces to the hero’s journey, Gilgamesh is proven to be a true hero because his journey parallels that of the hero’s journey described by Campbell. The latter part of this paper will prove Gilgamesh is a hero using Campbell’s model, by analyzing the pieces of the hero’s journey: separation or departure, the initiation, and the return.

During the course of this World Literature class, several stories have been covered that accurately describe Joseph Campbell's mono-myth, or basic pattern found in narratives from every corner of the world. The Hero's Journey in it's entirety has seventeen stages or steps, but if boiled down can be described in three; the departure, the initiation, and the return (Monomyth Cycle). Each stage has several steps, but the cycle describes the hero starting in his initial state, encountering something to change him, and this his return as a changed person. To further explain this concept, there are a few stories covered in this class that can be used.

Gilgamesh encounters Utnapishtim, a man who survives the great flood and receives immortality. Utnapishtim gives Gilgamesh eclectic tasks to achieve eternal life. The first task is to stay awake for seven days, which Gilgamesh is unable to accomplish. Feeling sorry, Utnapishtim tells Gilgamesh a secret that if he finds the “plant that grows under the water… [it] restores his lost youth” (31). Gilgamesh lights up and ties rocks to his feet to sink down to search for the marvelous plant. Gilgamesh finds the ultimate boon. He is overjoyed and eager to bring the plant back to his homeland to restore the youth of all the men there. The refusal of the return occurs when, he was returning home and becomes careless and bathes in a nearby well of cool water, leaving the plant unattended. A snake suddenly appears and eats the plant, restoring the snake’s youth. Gilgamesh begins to weep upon seeing that he failed in his quest for immortality. Gilgamesh returns back to his homeland, Uruk, and engraves his story on a stone for everyone to see and

People have been fascinated by tales of heroism for centuries. In ancient Mesopotamia, heroes give people hope and comfort, and fill them with strength. Ancient Mesopotamia is filled with tales of heroes- mighty warriors battling monsters, men ready to risk life and limb to save their true love or to fight for their nation. Still, there is a great difficulty that lies in defining what a hero truly is. Strength alone does not make a hero; nor does intelligence. Moreover, the Epic of Gilgamesh truly defines the definition of a hero. Gilgamesh is portrayed as a true hero through his skill, intelligence, willingness to die, reverence, and his respect for death.

In 1949, Joseph Campbell published his book “The Hero with a Thousand Faces.” It details his theory of the “monomyth,” a theory that illustrates how many heroic mythological stories have similar outlines and archetypes. During his discussion of the second chapter of the monomyth, Campbell says that the monomyth can “serve as a general pattern for men and women” in their everyday lives (121). In many circumstances, comparisons can be made between normal situations throughout life and the monomyth. When a challenge of task is encountered in life, it can be analyzed under the three main stages of the monomyth: the departure, the initiation, and the return.

Many would agree that although there are many stories about heroes, they all seem similar in some way. Joseph Campbell wrote many books about this theory of a "hero cycle" that every hero story follows. In Sir Gawain and the Green Knight, this pattern is clearly exemplified and it shows the numerous steps in Joseph Campbell's idea of the hero cycle.

Gilgamesh is distraught after than death of his friend Enkidu, the realities of death fall heavy on his mind and body. Gilgamesh journeys to find a solution to become immortal. After he fails, the journey teaches him to accept who he is, and by living a fulfilling life leading others he will become immortal by people remembering his name and carry it on through

On his journey home however, a snake retrieves the plant. Gilgamesh fails in his journey to defeat his fate, yet comes upon him a sense of humility and acceptance of his true destiny. He returns home to serve Uruk and its citizens.

He then sent out to find Untapishtim which is where he thought eternal life would be. The first place his journey takes him is the twin peaked mountains called Musha. After rushing through the tunnel to beat the sun he emerges into a beautiful garden by the sea that’s where he meets Siduri. Siduri warns him that immortality is futile and he should be satisfied with his life and what he has. He doesn’t listen to Siduri and insists on moving forward being optimistic about finding eternal life. When Gilgamesh arrives to Untapishtim, he demands that he should be granted with eternal life. Utnapishtim gives him a test, “Prevail against sleep, and perhaps you will prevail against death.” (Mitchell, 191) Gilgamesh accepts this challenge, but fails immediately. Untapishtim orders him to return to Uruk, but he tells Gilgamesh of a spiny plant that grows in the water of the Great Deep. A miraculous plant that would restore youth. Gilgamesh goes and retrieves the plant. He plans to share it with the elders of Uruk, but before he could reach the city a snake steals the plant away. Gilgamesh did not return emptyhanded. He instead came back with the acceptance of mortality and a name for himself.

Utnapishtim then gives advice to Gilgamesh saying “yes the gods took Enkidu’s life but man’s life is too short at any moment it can be snapped like a reed in a canebrake.” (178). By the snake stealing the plant it is confirmed that Gilgamesh has lost all of his chances of ever becoming immortal like the gods. This moment just reiterates the fact that only gods will ever have eternal life and that no one like Gilgamesh should as he is not worthy and this event brings the quest to an end. Gilgamesh realizes that the key to life is to live it, no matter if death is bound to come.

Unable to deal with his friend’s death and the fear of his own mortality, he journeys in search of eternal life. While on this journey Utnaptishtim test him by saying if he can stay alive for eternity or alive for a week. Gilgamesh fails the test. Then he hears of this plant that restores life, he finds it and takes it with him. A snake takes the plant for itself and becomes young again. He then returns to Uruk empty – handed but finally comfortable with his immortality. Gilgamesh learns that it’s his destiny to be a great king and not to gain immortality.