Joseph Campbell's monomyth the Heros' Journey applied in the care of returning veterans suffering of substance use and/or PTSD.
Viewing the downloaded file in Slideshow is recommended for listening the embedded music. Relevant steps for veterans are highlighted in different color and traumatic events on the path are in italics.
The Hero’s Journey (Joseph Campbell's Monomyth)LitNotes
Notes covering Joseph Campbell's "Monomyth" (i.e. The Hero's Journey), including the seven archetypal characters commonly found within Mythology and heroic epics.
A summary of the Hero's Journey, Joseph Campbell's formulation of the "monomyth" in mythology and literature. Originally presented to the Fredericksburg Writing as a Business Meetup, 24 January 2015.
The Hero’s Journey (Joseph Campbell's Monomyth)LitNotes
Notes covering Joseph Campbell's "Monomyth" (i.e. The Hero's Journey), including the seven archetypal characters commonly found within Mythology and heroic epics.
A summary of the Hero's Journey, Joseph Campbell's formulation of the "monomyth" in mythology and literature. Originally presented to the Fredericksburg Writing as a Business Meetup, 24 January 2015.
We all are pursuing our individual hero's journey through life. Some are oblivious to it, others are consciously seeking answers to big questions, slaying dragons, crossing rivers of fire and fighting off zombies and other mythical creatures to get to the path of enlightenment and find freedom and happiness.
The soul's journey. There comes a time in our lives when we begin to question everything. Some are catapulted in the dark night of the soul. Some leave their homes to wander in the desert, living amongst strange people, denying themselves any luxury and enter a period of asceticism, to fin the answers they seek. It is like a search for the meaning of life and for what is real.
This presentation explains the structure of a hero's journey explained in Joseph Campbell's Hero with a Thousand Faces, using examples from popular films.
We all are pursuing our individual hero's journey through life. Some are oblivious to it, others are consciously seeking answers to big questions, slaying dragons, crossing rivers of fire and fighting off zombies and other mythical creatures to get to the path of enlightenment and find freedom and happiness.
The soul's journey. There comes a time in our lives when we begin to question everything. Some are catapulted in the dark night of the soul. Some leave their homes to wander in the desert, living amongst strange people, denying themselves any luxury and enter a period of asceticism, to fin the answers they seek. It is like a search for the meaning of life and for what is real.
This presentation explains the structure of a hero's journey explained in Joseph Campbell's Hero with a Thousand Faces, using examples from popular films.
THE HERO’S JOURNEY Joseph Campbell, an American mythol.docxarnoldmeredith47041
THE HERO’S JOURNEY
Joseph Campbell, an American mythological researcher, wrote a famous book entitled The
Hero with a Thousand Faces. In his lifelong research Campbell discovered many common patterns
running through hero myths and stories from around the world. Years of research lead
Campbell to discover several basic stages that almost every hero-quest goes through (no matter
what culture the myth is a part of). He calls this common structure “the monomyth.”
George Lucas, the creator of Star Wars, claims that Campbell’s monomyth was the inspiration
for his groundbreaking films. Lucas also believes that Star Wars is such a popular saga because it
taps into a timeless story-structure which has existed for thousands of years.
Many followers of Campbell have defined the stages of his monomyth in various ways,
sometimes supplying different names for certain stages. For this reason there are many different
versions of the Hero’s Journey that retain the same basic elements.
THE ORDINARY WORLD
Heroes exist in a world is considered ordinary or uneventful by those who live there. Often
the heroes are considered odd by those in the ordinary world and possess some ability or
characteristic that makes them feel out-of-place.
The Wonderful Wizard of Oz: Dorothy in Kansas
The Hobbit: Bilbo Baggins in Hobbiton
Star Wars: Luke Skywalker on Tatooine
The Lion King: Simba at Pride Rock
THE CALL TO ADVENTURE
For heroes to begin their journeys, they must be called away from the ordinary world.
Fantastic quests don’t happen in everyday life. Heroes must be removed from their typical
environment. Most heroes show a reluctance to leave their home, their friends, and their life to
journey on a quest. But in the end they accept their destiny.
Usually there is a discovery, some event, or some danger that starts them on the heroic path.
Heroes find a mystic object or discover their world is in danger. In some cases, heroes happen
upon their quest by accident. Campbell puts it like this, “A blunder—the merest chance—reveals
an unsuspected world.”
The new world the hero is forced into is much different than the old one. Campbell describes
this new world as a “fateful region of both treasure and danger…a distant land, a forest, a
kingdom underground, beneath the waves, or above the sky, a secret island, lofty mountaintop,
or profound dream state…a place of strangely fluid and polymorphous beings, unimaginable
torments, superhuman deeds, and impossible delight”. This description may seem pretty vague,
but think of all the various fantasy realms characters have entered throughout the years:
Middle-Earth, Oz, Narnia, Wonderland. It could even be outer space, a
haunted house, or the Matrix. Regardless of the details, the new world is sure to be filled with
adventure.
The Wonderful Wizard of Oz: The tornado
The Hobbit: Gandalf the wizard arrives
Star.
THE HERO’S JOURNEY Joseph Campbell, an American mythol.docxrtodd33
THE HERO’S JOURNEY
Joseph Campbell, an American mythological researcher, wrote a famous book entitled The
Hero with a Thousand Faces. In his lifelong research Campbell discovered many common patterns
running through hero myths and stories from around the world. Years of research lead
Campbell to discover several basic stages that almost every hero-quest goes through (no matter
what culture the myth is a part of). He calls this common structure “the monomyth.”
George Lucas, the creator of Star Wars, claims that Campbell’s monomyth was the inspiration
for his groundbreaking films. Lucas also believes that Star Wars is such a popular saga because it
taps into a timeless story-structure which has existed for thousands of years.
Many followers of Campbell have defined the stages of his monomyth in various ways,
sometimes supplying different names for certain stages. For this reason there are many different
versions of the Hero’s Journey that retain the same basic elements.
THE ORDINARY WORLD
Heroes exist in a world is considered ordinary or uneventful by those who live there. Often
the heroes are considered odd by those in the ordinary world and possess some ability or
characteristic that makes them feel out-of-place.
The Wonderful Wizard of Oz: Dorothy in Kansas
The Hobbit: Bilbo Baggins in Hobbiton
Star Wars: Luke Skywalker on Tatooine
The Lion King: Simba at Pride Rock
THE CALL TO ADVENTURE
For heroes to begin their journeys, they must be called away from the ordinary world.
Fantastic quests don’t happen in everyday life. Heroes must be removed from their typical
environment. Most heroes show a reluctance to leave their home, their friends, and their life to
journey on a quest. But in the end they accept their destiny.
Usually there is a discovery, some event, or some danger that starts them on the heroic path.
Heroes find a mystic object or discover their world is in danger. In some cases, heroes happen
upon their quest by accident. Campbell puts it like this, “A blunder—the merest chance—reveals
an unsuspected world.”
The new world the hero is forced into is much different than the old one. Campbell describes
this new world as a “fateful region of both treasure and danger…a distant land, a forest, a
kingdom underground, beneath the waves, or above the sky, a secret island, lofty mountaintop,
or profound dream state…a place of strangely fluid and polymorphous beings, unimaginable
torments, superhuman deeds, and impossible delight”. This description may seem pretty vague,
but think of all the various fantasy realms characters have entered throughout the years:
Middle-Earth, Oz, Narnia, Wonderland. It could even be outer space, a
haunted house, or the Matrix. Regardless of the details, the new world is sure to be filled with
adventure.
The Wonderful Wizard of Oz: The tornado
The Hobbit: Gandalf the wizard arrives
Star.
What Star Wars, Beowolf, and Breaking Bad have in common. Understanding archetypes and narrative arcs can help us write more interesting prose. Think of your own life story in heroic terms.
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All of us have similar experiences. We share in the life journey of growth, development, and
transformation. We live the same stories, whether they involve the search for a perfect mate, coming
home, the search for fulfillment, going after an ideal, achieving the dream, or hunting for a precious
treasure. Whatever our culture, there are universal stories that form the basis for all our particular
stories. The trappings might be different, the twists and turns that create suspense might change
from culture to culture, the particular characters may take different forms, but underneath it all, it's
the same story, drawn from the same experiences.
Many of the most successful films are based on these universal stories. They deal with the
basic journey we take in life. We identify with the heroes because we were once heroic (descriptive)
or because we wish we could do what the hero does (prescriptive). When James Bond saves the
world, we identify with the character, and subconsciously recognize the story as having some
connection with our own lives. It’s the same story as the fairy tales about getting the three golden
hairs from the devil, or finding the treasure and winning the princess. And it’s not all that different a
story from the caveman killing the woolly beast or the Roman slave gaining his freedom through skill
and courage. These are our stories – personally and collectively – and the most successful films
contain these universal experiences.
Some of these stories are “search” stories. They address our desire to find some kind of rare
and wonderful treasure. This might include the search for outer values such as job, relationship, or
success; or for inner values such as respect, security, self-expression, love, or home. But it’s all a
similar search.
Some of these stories are “hero” stories. They come from our own experiences of overcoming
adversity, as well as our desire to do great and special acts. We root for the hero and celebrate when
he or she achieves the goal because we know that the hero's journey is in many ways similar to our
own.
We call these stories myths. Myths are the common stories at the root of our universal
existence. They’re found in all cultures and in all literature, ranging from the Greek myths to fairy
tales, legends, and stories drawn from all of the world's religions.
A myth is a story that is “more than true.” Many stories are true because one person,
somewhere, at some time, lived it. It is based on fact. But a myth is more than true because it is lived
by all of us, at some level. It's a story that connects and speaks to us all.
Some myths are true stories that attain myth ...
CHAPTER 1 SEMESTER V - ROLE OF PEADIATRIC NURSE.pdfSachin Sharma
Pediatric nurses play a vital role in the health and well-being of children. Their responsibilities are wide-ranging, and their objectives can be categorized into several key areas:
1. Direct Patient Care:
Objective: Provide comprehensive and compassionate care to infants, children, and adolescents in various healthcare settings (hospitals, clinics, etc.).
This includes tasks like:
Monitoring vital signs and physical condition.
Administering medications and treatments.
Performing procedures as directed by doctors.
Assisting with daily living activities (bathing, feeding).
Providing emotional support and pain management.
2. Health Promotion and Education:
Objective: Promote healthy behaviors and educate children, families, and communities about preventive healthcare.
This includes tasks like:
Administering vaccinations.
Providing education on nutrition, hygiene, and development.
Offering breastfeeding and childbirth support.
Counseling families on safety and injury prevention.
3. Collaboration and Advocacy:
Objective: Collaborate effectively with doctors, social workers, therapists, and other healthcare professionals to ensure coordinated care for children.
Objective: Advocate for the rights and best interests of their patients, especially when children cannot speak for themselves.
This includes tasks like:
Communicating effectively with healthcare teams.
Identifying and addressing potential risks to child welfare.
Educating families about their child's condition and treatment options.
4. Professional Development and Research:
Objective: Stay up-to-date on the latest advancements in pediatric healthcare through continuing education and research.
Objective: Contribute to improving the quality of care for children by participating in research initiatives.
This includes tasks like:
Attending workshops and conferences on pediatric nursing.
Participating in clinical trials related to child health.
Implementing evidence-based practices into their daily routines.
By fulfilling these objectives, pediatric nurses play a crucial role in ensuring the optimal health and well-being of children throughout all stages of their development.
The Importance of Community Nursing Care.pdfAD Healthcare
NDIS and Community 24/7 Nursing Care is a specific type of support that may be provided under the NDIS for individuals with complex medical needs who require ongoing nursing care in a community setting, such as their home or a supported accommodation facility.
Empowering ACOs: Leveraging Quality Management Tools for MIPS and BeyondHealth Catalyst
Join us as we delve into the crucial realm of quality reporting for MSSP (Medicare Shared Savings Program) Accountable Care Organizations (ACOs).
In this session, we will explore how a robust quality management solution can empower your organization to meet regulatory requirements and improve processes for MIPS reporting and internal quality programs. Learn how our MeasureAble application enables compliance and fosters continuous improvement.
Telehealth Psychology Building Trust with Clients.pptxThe Harvest Clinic
Telehealth psychology is a digital approach that offers psychological services and mental health care to clients remotely, using technologies like video conferencing, phone calls, text messaging, and mobile apps for communication.
One of the most developed cities of India, the city of Chennai is the capital of Tamilnadu and many people from different parts of India come here to earn their bread and butter. Being a metropolitan, the city is filled with towering building and beaches but the sad part as with almost every Indian city
Navigating Challenges: Mental Health, Legislation, and the Prison System in B...Guillermo Rivera
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Alongside the 77th World Health Assembly in Geneva on 28 May 2024, we launched the second version of our Index, allowing us to track progress and give new insights into what needs to be done to keep populations healthier for longer.
The speakers included:
Professor Orazio Schillaci, Minister of Health, Italy
Dr Hans Groth, Chairman of the Board, World Demographic & Ageing Forum
Professor Ilona Kickbusch, Founder and Chair, Global Health Centre, Geneva Graduate Institute and co-chair, World Health Summit Council
Dr Natasha Azzopardi Muscat, Director, Country Health Policies and Systems Division, World Health Organisation EURO
Dr Marta Lomazzi, Executive Manager, World Federation of Public Health Associations
Dr Shyam Bishen, Head, Centre for Health and Healthcare and Member of the Executive Committee, World Economic Forum
Dr Karin Tegmark Wisell, Director General, Public Health Agency of Sweden
Explore our infographic on 'Essential Metrics for Palliative Care Management' which highlights key performance indicators crucial for enhancing the quality and efficiency of palliative care services.
This visual guide breaks down important metrics across four categories: Patient-Centered Metrics, Care Efficiency Metrics, Quality of Life Metrics, and Staff Metrics. Each section is designed to help healthcare professionals monitor and improve care delivery for patients facing serious illnesses. Understand how to implement these metrics in your palliative care practices for better outcomes and higher satisfaction levels.
1. Presentation of the Hero’s Journey in thePresentation of the Hero’s Journey in the
Care of Veterans with PTSD andCare of Veterans with PTSD and
Substance Use DisorderSubstance Use Disorder
after Joseph Campbellafter Joseph Campbell
by Ede Frecska, M.D.* andby Ede Frecska, M.D.* and
with the help of veteranswith the help of veterans
at the Northport VAMC, NYat the Northport VAMC, NY
*former Medical Director of the*former Medical Director of the
Substance Abuse Services, Northport VAMCSubstance Abuse Services, Northport VAMC
PTSD Treatment Program, Gainesville VAMCPTSD Treatment Program, Gainesville VAMC
2. Joseph CampbellJoseph Campbell
•1904 – 1988
•Mythologist (Jungian
influence)
•He created the composite
portrait of the Hero and defined
the concept from ordinary
humans to mythical deities
•The Hero’s Journey is the
Monomyth, the eternally
returning arche-story with
specific stages
•It is a path what the Hero has
to follow and complete
•If not, s/he falls
3. Campbell claims that myth hasCampbell claims that myth has
four functionsfour functions
•Cosmological
− shows us the shape of the universe with us within
•Social
− supports and validates (codifies) the social order
•Pedagogical
− provides life model, sets example for human deeds
•Mystical
− helps to realize what a wonder the universe is,
what a wonder we are
Do we have it? Do we need it?
4. Monomyth, the arche-storyMonomyth, the arche-story
•Archetypical, for this very reason it applies to
all of us (not only to those demigods)
•It is the core of every story (from the Epic of
Gilgamesh through Odyssey to the Lord of the Rings
and Star Wars)
•Its elements can be discovered in movies or stories
about ordinary people (e.g., The Old Man and the
Sea; Rain Man; O Brother, Where Art Thou?)
•Basic pattern:
1. Departure
2. Initiation (Rite of Passage)
3. Return
5. Who can be a Hero?Who can be a Hero?
The central character of the Monomyth
can be not only The Warrior, but:
•The Healer, The Prophet, The King
(Queen), The Bard, The Wanderer
(Drifter), The Sage, The Jester, The
Martyr, or The Youngest Son
•Anyone, who sets on the path, leaves
comfort and conformity, gets skills and
knowledge what will be used for the
benefit of the community
In general: anyone, who is able to
transcend his/her personal and
provincial limits for good.
6. • Person able to battle
past his personal and
local limitations
• Goes on journey to
become “reborn” or
transcendent and then
returns to share
knowledge with others
Who is a Hero?Who is a Hero?
7. Conventional beginning:Conventional beginning:
the Hero at homethe Hero at home
•Mundane background: „Dorothy this is (yet) Kansas!”
•Frequently the Hero is a commoner (King Arthur),
s/he is the third one, has an arduous life (Cinderella) or –
on the contrary – lives Happily Ever Before
•Nevertheless, the Hero may exhibit the signs of
“The Chosen One” (miraculous birth, astrological
constellations, extra bones)
•Occasionally the Hero’s early life is
hyperconventional, bound to more taboos (like in the
case of an Inuit shaman’s apprentice)
11. Call to adventure 1Call to adventure 1
•A herald or announcer appears
•Often (but not always) someone dark, loathly,
terrifying, and/or unordinary
•The Call promises both treasure/reward and
danger/difficulty
•The Call requires travel. The hero must
journey to a distant land, forest, or kingdom
somewhere underground, beneath the waves,
above the sky, on a secret island, atop a lofty
mountain – even into a profound dream state.
•The hero must leave his/her comfort zone
12. Call to adventure 2Call to adventure 2
•The Hero is challenged by the Unknown
•The chosenness manifests itself
•The spirit world divulges its choice
(on the shaman’s path)
•It may occur in form of tragedy, with
trauma (Hercules, Luke Skywalker) or not
(King Arthur legend)
•Crisis situation (initiation sickness), the
Hero’s life will be difficult either way
Many veterans with Native American
ancestry have heard about the Call
13. •The choice (limited though) is a central issue
in the Hero’s Journey
•Commonly heard in movies with a weak
plot: “I (we) ha(d)ve no choice!”
•The Hero’s Journey is not predetermined,
the supernatural control is just part of the test.
•The Call can be refused (but not without
consequences)
Choice and the HeroChoice and the Hero
14. • Many heroes at first refuse the adventureMany heroes at first refuse the adventure
• Eventually the Hero accepts the Call, but itEventually the Hero accepts the Call, but it
can take some timecan take some time
• The benefits of eventually accepting the Call:The benefits of eventually accepting the Call:
– The person gains self-awareness and controlThe person gains self-awareness and control
– The person gets answers to and competency overThe person gets answers to and competency over
the most profound problems faced in lifethe most profound problems faced in life
• The consequences of always refusing the Call:The consequences of always refusing the Call:
– The person loses the power of affirmative actionThe person loses the power of affirmative action
and becomes aand becomes a victimvictim to be savedto be saved
– According to Campbell, the person’s “floweringAccording to Campbell, the person’s “flowering
world becomes a wasteland of dry stones and hisworld becomes a wasteland of dry stones and his
life feels meaningless.”life feels meaningless.”
Refusal of the CallRefusal of the Call
15. The dilemmaThe dilemma
Accepting the Call may lead hereAccepting the Call may lead here
The outcome of refusing the CallThe outcome of refusing the Call
16. The crisisThe crisis
•The Hero hesitates due to false commitments, lack of
self-esteem, or simply to the unease of leaving comfort
•S/he tries to ignore the Call or gives wrong response
•Hollywood likes the character of the Reluctant Hero
•Some story ends here (Daphne, King Minos) with the
concluding lesson:
One cannot say ney to transcendental forces (to the
Spirit World – in the shamanic lore)
In other words: One cannot rebuff his/her inner
potentials (e.g., spiritual, social, or other intelligence)
17. Supernatural aidSupernatural aid
•The first entity showing up after the
Hero steps on the path
•Usually (but not always) masculine
•Sometimes his presence is not obvious
•Typically a wizard, hermit, or
shepherd – someone peripheral to the
community
•Supplies the boons, amulets, and
advice that the hero will require to begin
In essence: the Hero is never alone!
(We neither, regardless how it seems.)
18. Allies, sidekicks,Allies, sidekicks,
fallen onesfallen ones
•Not to be confused with the supernatural aid
•Allies can be Heroes (fallen exHeroes) of other stories
(for example, Gollum)
19. Crossing of the first threshold 1Crossing of the first threshold 1
•This is the point where the Hero
actually leaves the known limits of
his/her world and ventures into an
unknown and dangerous realm
where the rules are not known
•The Threshold often manifests
itself as a physical place, but it
does not have to be. Sometimes it
is manifested as an actual barrier
or boundary, such as a river,
bridge, doorway, etc.
•The Hero is no longer in the
world of common day and is
actually on the adventure itself
“We’re not in Kansas anymore.”
20. Crossing of the first threshold 2Crossing of the first threshold 2
•The Threshold is a boundary between
the ordinary and extraordinary realm
•The real show now begins…
•…with being tested by the Threshold
Guardian(s)
21. Threshold guardiansThreshold guardians
• At the Threshold, the Hero will not be
permitted to pass without effort. S/he must
earn the passage across. Threshold Guardians
help the worthy to do that, and turn less
worthy individuals away from the path
• The Threshold Guardian is not necessarily
evil, but its agenda initially adversarial to that
of the Hero. The job of the Threshold
Guardian is to get the Hero to rethink
whether or not s/he wishes to proceed on this
adventure
• Double role:
– protection (if the Hero is not ready)
– orientation (if the Hero is ready)
These archetypal figures are familiar to many
Native American veterans.
22. The belly of the whale 1The belly of the whale 1
• Crossing the threshold is a form of
self-annihilation. The Hero is
swallowed into the unknown, and
would appear to have died
• The belly of the whale represents
the final separation from the
Hero's known world and self.
It is actually the point when the
Hero is in between worlds and
selves. The separation between the
old world/self and the potential for
a new world/self has been made, or
is being fully recognized.
23. The belly of the whale 2The belly of the whale 2
The dark night of the soulThe dark night of the soul
•This stage is often symbolized by something dark,
unknown and frightening. Here the rules are different.
Entering this abyss the Hero indicates willingness to
undergo a metamorphosis, to shred his/her old
character for a new one
•Shredding the “secular self” comes with calvary,
perturbation, and it is not the only abysmal depth
(trauma again) on the path. More will follow!
The lesson: There is no transformation without
perturbation (perturbatio: Jesus’ suffering on the cross).
Or: No real change comes from the comfort zone!
25. The road of trials 1The road of trials 1
•Through a series of tests
and tribulations the Hero
gets to the breaking point of
his physical tolerance. He
must bow and submit to the
absolutely intolerable (but
not to human authorities*)
•At the end the Hero will
be changed forever:
s/he becomes initiated
* A common mistake of the old-
fashioned boot camps
26. The road of trials 2The road of trials 2
•The trials fall into two categories of hero deeds:
–The Physical Deed (the Hero performs a courageous act
in battle or save lives)
–The Spiritual Deed (the Hero learns to experience the
supernormal range of human spiritual life and then comes
back with a message)
27. Initiation ceremonyInitiation ceremony
•“White people are fools sending men into battle
without initiation!” (anonymous Native American)
•The more warrior-like a tribe is, the harder is their
initiation trial
•According to this author the essence of initiation
(Lakota Sun Dance, for example) is to expose the
novice to all possible physical and mental stresses
within a ritualistic context and with certain social
support (acceptance, “tough love”) in the background
•The result is “inoculation” against physical-mental
stress, endurance in hunt and combat
28. In lack of proper initiationIn lack of proper initiation
•“What doesn't kill you makes you stronger”
is not true if it comes with social rejection,
humiliation, and destroys human dignity*
Lack of social support reverses the
process and sensitizes to PTSD!
* A common mistake of the old-fashioned boot camps
29. Further on the road of trialsFurther on the road of trials
1. Meeting with the Goddess
2. The Temptation (frequently with
woman as Temptress)
3. Atonement with the Father
4. Journey to (harrowing of) Hell
5. Apotheosis
6. The Ultimate Boon
1. 2. 3. 4. 5.
30. The unhealable woundThe unhealable wound
•The hero may suffer a wound that will never heal
This may occur in his main fight, but could happen
anywhere in the story
•The wound may be emotional or psychological
•This is a basic motif during the Healer’s journey
31. Apotheosis, the Ultimate BoonApotheosis, the Ultimate Boon
•The Hero overcomes Death
•S/he has gained knowledge, skills, spiritual power
during the process
•This is what s/he brings back on the way of Return.
•The reward may be tangible as well (Indiana Jones)
33. Final steps in the return
Rescue from Without
Just as the HERO may need guides and assistants to set out on the quest,
often times he or she must have powerful guides and rescuers to bring them
back to everyday life, especially if the HERO has been wounded or weakened
by the experience. Or perhaps the HERO doesn't realize that it is time to
return, that he can return, or that others need his boon.
The Crossing of the Return Threshold
The trick in returning is to retain the wisdom gained on the quest, to integrate
that wisdom into a human life, and then maybe figure out how to share the
wisdom with the rest of the world. This is usually extremely difficult.
Master of the Two Worlds
In myth, this step is usually represented by a transcendental HERO like Jesus
or Buddha. For a human hero, it may mean achieving a balance between the
material and spiritual. The person has become comfortable and competent in
both the inner and outer worlds.
34. Common motives of the ReturnCommon motives of the Return
•Can be refused (like in the case of the Call)
•Can be as adventurous (magic flight) and arduous like the
Road of Trials (for example, Shawshank Redemption)
•Like before, the Hero may need the help of the Supernatural
Aid or must offer sacrifice (a slice from the Hero’s thigh to feed
the Griffith like in the tale of the Son of the White Horse)
•On Return the Hero gets confronted with the rejection of the
conventional world (e.g., the older brothers try to whack him)
•S/he must “re-enter … where men who are fractions imagine
themselves to be complete” (Campbell)
•S/he is master of two worlds (the mythical and the ordinary):
“powerful in insight, calm and free in action” (Campbell)
•Fruiting of the (transformed) soul – in Christian mysticism
•Freedom from the fear of death means freedom to live
35. Breaking points 1Breaking points 1
Points where the veteran has left the path
resulting in substance use and PTSD:
•Not noticing, ignoring, wrongly answering the
Call (this is not his/her fault, an err of culture)
•Drug use as response to the initiation crisis
•Assuming lack of choice
•Wrong choice at crossroads
•Inadequate initiation (again a cultural error)
•Assumption of loneliness, ignoring helping
hands
•Unresolved issues with father
36. Breaking points 2Breaking points 2
•Failed or painful Return due to rejection by the
society (e.g., after the Vietnam War)
•Too fast reintegration “as if nothing has happened”
(the Return took 20 years for Odysseus and 2 months
for WWII veterans, not a couple of days as later)
•Stratification of returning service members (WWII,
Korean war, Vietnam era, OEF/OIF)*
•Feeling victimized by the Trauma, which is inherent
in the Hero’s Journey, very important for his/her
development; most of all, it can take ANY form
*This was not in practice on the Great Plains (i.e., neither Pawnee war
veterans nor Comanche war veterans, etc.)
37. Therapeutic conclusions 1Therapeutic conclusions 1
•Putting the victim role behind eliminates a huge
roadblock in the way of healing and may promote post-
traumatic growth
•A spiritual approach (like one presented here) can
significantly help in reframing the trauma: regardless how
unbelievable it may sound, but it had to happen, it was
designed and ordered above in service of the Hero
•Abstinence is just an intermediate goal, the real goal is
the Return (supporting family, sponsoring mates, etc.)
•The Return is a complex and long process (the main
lesson of the Odyssey, which is the saga of the returning
warrior)
•The therapy in essence is helping the fallen Hero in
38. Therapeutic conclusions 2Therapeutic conclusions 2
•The patient has to face the Dark Father (Darth Vader), which
means that we have to accept our roots and make peace with our
past (if not, only we lose)
•A returning veteran cannot be reintegrated “as if nothing has
happened”, and it is not “entitlement” if s/he is protesting
against the short cuts
•Veterans of different wars and eras should have to be helped
in fathering the younger ones
•We have to find and cultivate the mythology of our culture
•There is a strong need for proper initiation
•The fallacy of Western psychotherapies: most of them is
reluctant to leave the comfort zone
•The power of tribal (shamanic) medicine: the knowledge of
using suffering in service of healing