Campbell Hero's Journey Quotes

The privilege of a lifetime is being who you are.

The goal of life is to make your heartbeat match the beat of the universe, to match your nature with Nature.

You enter the forest at the darkest point, where there is no path. Where there is a way or path, it is someone else's path. You are not on your own path. If you follow someone else's way, you are not going to realize your potential.

Just as anyone who listens to the muse will hear, you can write out of your own intention or out of inspiration. There is such a thing. It comes up and talks. And those who have heard deeply the rhythms and hymns of the gods, can recite those hymns in such a way that the gods will be attracted.

Now I found it in writing sentences. You can write that sentence in a way that you would have written it last year. Or you can write it in the way of the exquisite nuance that is sriting in your mind now. But that takes a lot of ... waiting for the right word to come.

They thought that it would be a disgrace to go forth as a group. Each entered the forest at a point that he himself had chosen, where it was darkest and there was no path. If there is a path it is someone else's path and you are not on the adventure.

When you find a writer who really is saying something to you, read everything that writer has written and you will get more education and depth of understanding out of that than reading a scrap here and a scrap there and elsewhere. Then go to people who influenced that writer, or those who were related to him, and your world builds together in an organic way that is really marvelous.

The hero’s journey always begins with the call. One way or another, a guide must come to say, 'Look, you’re in Sleepy Land. Wake. Come on a trip. There is a whole aspect of your consciousness, your being, that’s not been touched. So you’re at home here? Well, there’s not enough of you there.' And so it starts.

The ego is as you think of yourself. You in relation to all the commitments of your life, as you understand them. The self is the whole range of possibilities that you've never even thought of. And you're stuck with you're past when you're stuck with the ego. Because if all you know about yourself is what you found out about yourself, well, that already happened. The self is a whole field of potentialities to come through.

It's not an advantage to be without a PhD. But it's an advantage not to have taken a PhD because of the things that they do to you to get you into the slot that they want you in.

The fundamental human experience is that of compassion.

You can get a lot of work done if you stay with it and are excited and its play instead of work.

Passion makes most psychiatrists nervous

Reading what you want, and having one book lead to the next, is the way I found my discipline.

The imitation of Christ is the joyful participation in the sorrows of the world.

What I think is that a good life is one hero journey after another. Over and over again, you are called to the realm of adventure, you are called to new horizons. Each time, there is the same problem: do I dare? And then if you do dare, the dangers are there, and the help also, in the fulfillment or the fiasco.

Don’t think of what’s being said, but of what’s talking. Malice? Ignorance? Pride? Love?   The goal of the hero’s journey is yourself, finding yourself.

The first function of mythology is showing everything as a metaphor to transcendence.

Mythology is to relate found truth to the living of a life.

When you don't have a job (requiring reading) and you are doing your own reading you've got deep psychological questions. As deep as those of a little boy.

A mythological image that has to be explained to the brain is not working.

The myth is not my own; I have it from my mother. Euripides

The image that comes to mind is a boxing ring. There are times when...you just want that bell to ring, but you're the one who's losing. The one who's winning doesn't have that feeling. Do you have the energy and strength to face life? Life can ask more of you than you are willing to give. And then you say, 'Life is not something that should have been. I'm not going to play the game. I'm going to meditate. I'm going to call "out".' There are three positions possible. One is the up-to-it, and facing the game and playing through. The second is saying, Absolutely not. I don't want to stay in this dogfight. That's the absolute out. The third position is the one that says, This is mixed of good and evil. I'm on the side of the good. I accept the world with corrections. And may [the world] be the way I like it. And it's good for me and my friends. There are only the three positions.

The journey of the hero is about the courage to seek the depths; the image of creative rebirth; the eternal cycle of change within us; the uncanny discovery that the seeker is the mystery which the seeker seeks to know. The hero journey is a symbol that binds, in the original sense of the word, two distant ideas, the spiritual quest of the ancients with the modern search for identity, “always the one, shape-shifting yet marvelously constant story that we find.

All of the great mythologies and much of the mythic story-telling of the world are from the male point of view. When I was writing The Hero with a Thousand Faces and wanted to bring female heroes in, I had to go to the fairy tales. These were told by women to children, you know, and you get a different perspective. It was the men who got involved in spinning most of the great myths. The women were too busy; they had too damn much to do to sit around thinking about stories. [...] In the Odyssey, you'll see three journeys. One is that of Telemachus, the son, going in quest of his father. The second is that of the father, Odysseus, becoming reconciled and related to the female principle in the sense of male-female relationship, rather than the male mastery of the female that was at the center of the Iliad. And the third is of Penelope herself, whose journey is [...] endurance. Out in Nantucket, you see all those cottages with the widow's walk up on the roof: when my husband comes back from the sea. Two journeys through space and one through time.

Art brings out the grand lines of nature. Antione Bourdelle

To translate knowledge and information into experience: that seems to be the function of literature and art.

The hero is the champion of things becoming, not of things become, because he is.

To evolve out of this position of psychological immaturity to the courage of self-responsibility and assurance requires a death and a resurrection. That’s the basic motif of the universal hero’s journey—leaving one condition and finding the source of life to bring you forth into a richer or mature condition.

Joseph Campbell reflects in The Power of Myth that in mythic terms, the first part of any journey of initiation must deal with the death of the old self and the resurrection of the new. Campbell says that the hero, or heroic figure, 'moves not into outer space but into inward space, to the place from which all being comes, into the consciousness that is the source of all things, the kingdom of heaven within. The images are outward, but their reflection is inward.

empowerment marketing—stories told to help encourage audiences on their path to maturation and citizenship. The practice of empowerment marketing is based on two of the most influential theories in the field of human growth and maturation—Abraham Maslow’s hierarchy of needs and Joseph Campbell’s hero’s journey.

Mythologies are in fact the public dreams that move and shape societies, and conversely one’s own dreams are the little myths of the private gods, antigods, and guardian powers that are moving and shaping oneself: revelations of the actual fears, desires, aims, and values by which one’s life is subliminally ordered.

Mythology opens the world so that it becomes transparent to something that is beyond speech, beyond words—in short, what we call transcendence. Without that you don’t have a mythology. Any system of thinking, ideologies of one kind or another, that does not open to transcendence cannot be classified or understood mythologically.

The mythology of Doctor Who has built into it the continuation, evolution, and longevity of the character’s mythical qualities through his regenerative process. I have to agree with Lou Anders, when he states: “Doctor Who is the truest expression of Joseph Campbell’s Hero with a Thousand Faces ever conceived. The idea of an alien, come down to earth, repeatedly dying and resurrecting for the salvation of others is as close to the perpetual reenactment of the eternal Hero’s Journey as you can hope to find.”(6)

A hero ventures forth from the world of common day into a region of supernatural wonder. Fabulous forces are there encountered and a decisive victory is won.

The Christ idea and the Buddha idea are perfectly equivalent mythological symbols. Two ways of saying the same thing: that a transcendent energy consciousness informs the whole world and informs you.

The journey of a hero I learned from writer Joseph Campbell, that a hero is someone born into a world where they don’t fit in, they are then summoned on a call to an adventure that they are reluctant to take. What is the adventure? A revolutionary transformation of self the final goal is to find the elixir, the magic potion – that is the answer to unlocking her. Then she comes home to this ordinary life transformed and shares her story of survival with others.

In Western culture, virtually everything is understood through the process of storytelling, often to the detriment of reality. When we recount history, we tend to use the life experience of one person — the “journey” of a particular “hero,” in the lingo of the mythologist Joseph Campbell — as a prism for understanding everything else.

Just as anyone who listens to the muse will hear, you can write out of your own intention or out of inspiration. There is such a thing. It comes up and talks. And those who have heard deeply the rhythms and hymns of the gods, the words of the gods, can recite those hymns in such a way that the gods will be attracted. JOSEPH CAMPBELL, Esalen, 1983

What I think is that a good life is one hero journey after another. Over and over again, you are called to the realm of adventure, you are called to new horizons. Each time, there is the same problem: do I dare? And then if you do dare, the dangers are there, and the help also, in the fulfillment or the fiasco. There’s always the possibility of a fiasco. But there’s also the possibility of bliss.

The encounter with Campbell was, for me and many other people, a life-changing experience. A few days of exploring the labyrinth of his book The Hero with a Thousand Faces produced an electrifying reorganization of my life and thinking. Here, fully explored, was the pattern I had been sensing. Campbell had broken the secret code of story. His work was like a flare suddenly illuminating a deeply shadowed landscape

So during the years of the Depression I had arranged a schedule for myself. When you don’t have a job or anyone to tell you what to do, you’ve got to fix one for yourself. I divided the day into 4 four-hour periods, of which I would be reading in three of the four-hour periods, and free one of them. By getting up a 8 o’clock in the morning, by 9 I could sit down to read. That meant that I used the first hour to prepare my own breakfast and take care of the house and put things together in whatever shack I happened to be living in at the time. Then three hours of that first four-hour period went to reading. Then came an hour break for lunch and another three-hour unit. And then comes the optional next section. It should normally be three hours of reading and then an hour out for dinner and then three hours free and an hour getting to bed so I’m in bed by 12. On the other hand, if I were invited out for cocktails or something like that, then I would put the work hour in the evening and the play hour in the afternoon. It worked very well. I would get nine hours of sheer reading done in a day. And this went on for five years straight. You get a lot done in that time.

For my speaking gigs, the title of my presentation is always the same: 'The journey of a hero'. I learned from writer Joseph Campbell, that a hero is someone born into a world where they don’t fit in. They are then summoned on a call to an adventure that they are reluctant to take. What is the adventure? A revolutionary transformation of self. The final goal is to find the elixir. The magic potion that is the answer to unlocking HER. Then she comes "home" to this ordinary life transformed and shares her story of survival with others... My journey was like a war movie, where at the end, the hero has been bruised and bloodied, traumatized from witnessing untold amounts of death and destruction, and so damaged that she cannot go back to being the same woman who went to war. She may have even seen her death but was somehow resurrected. But to go on THAT journey, I had to be armed with the courage of a lioness... Individuals on the journey eventually find themselves experiencing a baptism by fire. It's that moment when they are just about to lose their lives, and they, miraculously, courageously find the answer that gives their life meaning. And that meaning saves them. In the words of Joseph Campbell, in "The Hero with a Thousand Faces", "The call to adventure signifies that destiny has summoned the hero. The hero, whether god or goddess, man or woman, the figure in a myth, or the dreamer in a dream, discovers and assimilates his opposites, his own unsuccessful self, either by swallowing it or being swallowed. I still see my younger self so clearly from that fateful day in my therapist's office. She stands up, in tears, on a mound of snow. Pissed off, she shouts, "Bitch!!! I'm not going to be swallowed!

A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow men. That is the pattern of the myth, and that is the pattern of these fantasies of the psyche. Now it was Dr Perry's thesis in his paper that in certain cases the best thing is to let the schizophrenic process run its course, not to abort the psychosis by administering shock treatments and the like, but, on the contrary, to help the process of disintegration and reintegration along. However, if a doctor is to be helpful in this way, he has to understand the image language of mythology. He has himself to understand what the fragmentary signs and signals signify that his patient, totally out of touch with rationally oriented manners of thought and communication, is trying to bring forth in order to establish some kind of contact. Interpreted from this point of view, a schizophrenic breakdown is an inward and backward journey to recover something missed or lost, and to restore, thereby, a vital balance. So let the voyager go. He has tipped over and is sinking, perhaps drowning; yet, as in the old legend of Gilgamesh and his long, deep dive to the bottom of the cosmic sea to pluck the watercress of immortality, there is the one green value of his life down there. Don't cut him off from it: help him through.

The mythological hero setting forth from his common-day 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, crucifiction). Beyond this threshold, then, the hero journeys through a world of unfamilir yet strangely intimate forces, some of which severely threaten him (tests), some of which give him 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 divination (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 return. If the powers have blessed the hero, he now sets forth under their protection (emissary); if not, he flees and is pursued (transformational flight). At the return threshold, the transcendental powers must remain behind;; the hero re-emerges from the kingdom of dread (resurrection, return). The boon that he brings restores the world (elixir, eternal life).

They typically start out leading ordinary lives in an ordinary world and are drawn by a “call to adventure.” This leads them down a “road of trials” filled with battles, temptations, successes, and failures. Along the way, they are helped by others, often by those who are further along the journey and serve as mentors, though those who are less far along also help in various ways. They also gain allies and enemies and learn how to fight, often against convention. Along the way, they encounter temptations and have clashes and reconciliations with their fathers and their sons. They overcome their fear of fighting because of their great determination to achieve what they want, and they gain their “special powers” (i.e., skills) from both “battles” that test and teach them, and from gifts (such as advice) that they receive from others. Over time, they both succeed and fail, but they increasingly succeed more than they fail as they grow stronger and keep striving for more, which leads to ever-bigger and more challenging battles. Heroes inevitably experience at least one very big failure (which Campbell calls an “abyss” or the “belly of the whale” experience) that tests whether they have the resilience to come back and fight smarter and with more determination. If they do, they undergo a change (have a “metamorphosis”) in which they experience the fear that protects them, without losing the aggressiveness that propels them forward. With triumphs come rewards. Though they don’t realize it when they are in their battles, the hero’s biggest reward is what Campbell calls the “boon,” which is the special knowledge about how to succeed that the hero has earned through his journey. Joseph Campbell’s Hero’s Journey schema from The Hero with a Thousand Faces (New World Library), copyright © 2008 by the Joseph Campbell Foundation (jcf.org), used with permission. Late in life, winning more battles and acquiring more rewards typically becomes less exciting to heroes than passing along that knowledge to others—“returning the boon” as Campbell called it.

Gravitz and Bowden (1985) describe recovery in their ACoA patients as occurring in six stages: (1) Survival; (2) Emergent Awareness; (3) Core Issues; (4) Transformations; (5) Integration; and (6) Genesis (or spirituality). These stages parallel the four stages of life growth and transformation described by Ferguson (1980) and the three stages of the classical mythological hero or heroine’s journey as described by Campbell (1946) and by myself and others. We can clarify and summarize the similarities of each approach as follows.

Ironically, to Campbell the end of the hero’s journey is not the aggrandizement of the hero. “It is,” he said in one of his lectures, “not to identify oneself with any of the figures or powers experienced. The Indian yogi, striving for release, identifies himself with the Light and never returns. But no one with a will to the service of others would permit himself such an escape. The ultimate aim of the quest must be neither release nor ecstasy for oneself, but the wisdom and the power to serve others.” One of the many distinctions between the celebrity and the hero, he said, is that one lives only for self while the other acts to redeem society.

Think of the hero's journey as perceived by Joseph Campbell. The mythical hero, usually an unlikely male, undertakes a physical journey to an unknown land. One the way, he is faced with a series of challenges that he can meet only through his superior physical strength and cunning. If he succeeds in getting through all the barriers, he wins the prize, which he can then take home for the benefit of his people. Although this model has some application to the experience of women, it is not adequate to describe what a woman must do in order to live beyond the stultifying expectations of the culture in which she's raised. If she has small children, she can't take a trip or move to a new place, and very rarely is she called upon to beat down her opponent with force. Instead, her journey is an inner one where the demons are her demons of the self. Her task as the heroine is to return from her inner journey and share her knowledge, wisdom, and energy with the people around her.

The mythologist Joseph Campbell, while not writing about reality TV directly, provides an explanation for this genre’s success when he says: “A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.” Isn’t this what happens on reality TV? Right before our eyes we see people who are hoping to be called to adventure, to be chosen for a hero’s journey, and to obtain the boon. As we watch and vote for our favorites, we find pieces of ourselves mirrored in the contestants, feeling as if we, too, are on the hero’s journey. While it’s true that all of the finalists can sing or dance, sew or cook, the contestants often move us simply because they don’t seem to know how talented they are. As we watch contestants with self-doubt and raw talent acknowledged by the judges and the voters, we muse to ourselves, “Maybe I don’t know how magnificent I am, either.” If that contestant has been discovered—or chosen—perhaps we can be, too. Even though, in the end, there is only one winner, we are inspired by seeing so many heroes move to the center of their lives, conquering fear and insecurity.

We see further because we stand on the shoulders of giants.

Activating unconscious content is important because the unconscious contains unrealized potentials, which if discovered and integrated into one’s consciousness, can result in a personal transformation. To discover and nourish these potentials within Campbell called the “pathway to bliss”. Myths of individuals undergoing heroic adventures as they attempt to actualize their higher potentials and find their own unique pathway to bliss are abundant in many cultures throughout history. While these myths vary in detail depending on their time and place of origin, they share a common pattern which Joseph Campbell coined the “myth of the hero’s journey”.

Each carries within himself the all,” wrote Joseph Campbell, “therefore it may be sought and discovered within.” According to this seminal American writer and lecturer, all heroic myths are prototypes of what is the greatest journey of all, the quest for spiritual truth inside the soul. There is only one story, Campbell showed, only one quest, one adventure, what he called “the monomyth.” And there is only one hero, though he or she may appear at different times in different cultures in a thousand guises. The hero is the human being who dares descend into the darkest depths of the unconscious—to the very source of our creative power—and there confronts the monsters thrown up by the fright-stricken infant psyche. As the hero pursues the journey, the phantoms and dragons all vanish or lose power or even become allies.

For my speaking gigs, the title of my presentation is always the same: 'The journey of a hero'. I learned from writer Joseph Campbell, that a hero is someone born into a world where they don’t fit in. They are then summoned on a call to an adventure that they are reluctant to take. What is the adventure? A revolutionary transformation of self. The final goal is to find the elixir. The magic potion that is the answer to unlocking HER. Then she comes "home" to this ordinary life transformed and shares her story of survival with others... My journey was like a war movie, where at the end, the hero has been bruised and bloodied, traumatized from witnessing untold amounts of death and destruction, and so damaged that she cannot go back to being the same woman who went to war. She may have even seen her death but was somehow resurrected. But to go on THAT journey, I had to be armed with the courage of a lioness.

This dialectic is present in many of the most ancient accounts of the early world. Both the Epic of Gilgamesh and the Genesis account, as well as almost every story that followed, deal with the same themes: the fight for wisdom, godliness, or perfection through the restoration of balance between extreme dualities. Whether it is good vs. evil, light vs. dark, wild vs. civilized, Heaven vs. Earth, the list goes on. It echoed throughout the ages and usually reaches its acme through what Joseph Campbell referred to as the “Hero's Journey” or monomyth. The ability of these two myths, or any myth for that matter, to resonate with people for so many thousands of years shows that the themes presented are a natural and ongoing part of the human experience. Myths carry a universal truth that is lost when only examining a literal translation.

As Campbell pointed out, in all spiritual traditions the hero must undergo initiation and testing. These rites of passage awaken and develop latent human capacities as they mark and safely ritualize the process of maturity, empowerment, and agency among members of a group. Initiation is a way adolescent naivete and dependency ends as we develop a sense of mastery, meaning, and purpose and are reborn as adults and active, contributing members of the tribe. Vision quests, shamanic journeys, sun dances, ordinations, Bar and Bat Mitzvahs, and confirmations offer access to a time-tested method steeped in a collective body of wisdom and community that mitigates risk and gives reproducible outcome. (p. 18) Regardless of time, place, or culture, the motifs and stages of every initiation are the same. Whether symbolic or actual they include leaving home or separating from the community, facing a symbolic or literal hardship that serves as a psychological catalyst for an altered state of consciousness, and awakening as the nascent hero. The process continues with integrating and embodying wisdom, sometimes with the help of elders, priests, or shamans, and returning to the community as a mature member, active contributor, or leader. Initiation hastens development so the latent hero nature can be realized. (p. 18)

I often refer to the great mythologist and American author Joseph Campbell (1904-1987) in this book. He used the designation of „hero“ to describe individuals who embark on the monumental psychological task of expanding and evolving consciousness and famously charted this journey. This hero‘s journey begins in our inherent state of blindness, separation, and suffering and progresses on a circular (as opposed to linear) route made up of stages shared by myths and legends spanning all cultures and epochs. From Buddha to Christ, Arjuna to Alice in Wonderland, the hero‘s journey is one of passing through a set of trials and phases: seeking adventure, encountering mentors, slaying demons, finding treasure, and returning home to heal others. Tibetan Buddhism‘s and Campbell‘s descriptions of the hero both offer a travel-tested road map of a meaningful life, a path of becoming fully human – we don‘t have to wander blindly, like college kids misguidedly hazed by a fraternity, or spiritual seekers abused in the thrall of a cult leader. The hero archetype is relevant to each of us, irrespective of our background, gender, temperament, or challenges, because we each have a hero gene within us capable of following the path, facing trials, and awakening for the benefit of others. Becoming a hero is what the Lam Rim describes as taking full advantage of our precious human embodiment. It‘s what Campbell saw as answering the call to adventure and following our bliss – not the hedonic bliss of chasing a high or acquiring more stuff, but the bliss of the individual soul, which, like a mountain stream, reaches and merges with the ocean of universal reality. (p. 15)

EACH INCREMENT OF THE ARTIST'S JOURNEY IS A HERO'S JOURNEY We experience our life as dull and ordinary. But beneath the surface, something powerful and transformative is brewing. Suddenly the light bulb goes off. We've got a new idea! An idea for a novel, a movie, a startup . . . Except immediately we perceive the downside. We become daunted. Our idea is too risky, we fear. We're afraid we can't pull it off. We hesitate, until . . . We're having coffee with a friend. We tell her our idea. "I love it," she says. "You've gotta do it." Fortified, we rally. We commit. We begin. This is the pattern for the genesis of any creative work. It's also, in Joseph Campbell terms, "the Ordinary World," "The Call," "Refusal of the Call," "Meeting with the Mentor," and "Crossing the Threshold." In other words, the first five stages of the hero's journey. Keep going. As you progress on your project, you'll hit every other Campbellian beat, right down to the finish and release/publication, i.e., "The Return," bearing a "Gift for the People." This pattern will hold true for the rest of your life, through every novel, movie, dance, drama, work of architecture, etc. you produce. Every work is its own hero's journey.