ࡱ; +,  !"#$%&'()*.-/01234567Root Entry FDCompObjbWordDocument`ObjectPool}D}D  FMicrosoft Word 6.0 Document MSWordDocWord.Document.6;  Oh+'0$ H l   D hC:\WINWORD\TEMPLATE\NORMAL.DOT Joseph Campbell's book, The Hero With a Thousand Faces was a large contribution to George Lucas' Star Wars ܥe= eL`I\j\jj\j\j\j\j\D]D]D]D]D]D]T]"D]_1v]v]v]v]v]v]v]v]]]]]]S^^8_T__j\v]')v]v]v]v]_v]j\j\v]v]v]v]v]v]j\v]j\v]]~\J\|j\j\j\j\v]]v]*v] Joseph Campbell's book, The Hero With a Thousand Faces was a large contribution to George Lucas' Star Wars Trilogy. Lucas explained that if it were not for Campbell's book, he may have still been writing the story to this day. It is incredible to see the resemblance between Campbell's book and Lucas' Star Wars Trilogy. This is due to the fact that Lucas used the common story of the hero that has been around for thousands and thousands of years. Part 1 of Campbell's book, The Adventure of the Hero, describes three chapters which explains the sequence to the hero-journey. This is the hero-journey as it applies to the Star Wars Trilogy. The chapters and sequences go as follows: Chapter 1 - Departure In this chapter Campbell described five sequences that a figure must complete to become a hero. All the five sequences that were completed by Luke Skywalker from the first chapter are located in the first movie Star Wars. 1. The Call to Adventure Here the hero was summoned upon to begin his adventure. "A blunder--apparently the merest chance--revealed an unsuspected world, and the individual is drawn into a relationship with forces that are not rightly understood," explained Campbell. Freud had shown that blunders were not the merest chance. They were actually the result of suppressed desires and conflicts. Freud explained them as ripples on the surface of life, produced by unsuspected springs. Luke Skywalker, the soon to be hero, brought two droids with his Uncle Louis. These two driods, R2-D2 and C-3PO, were passengers aboard a Rebel ship. They had escaped from the ship just after it was being taken over by the Empire. R2-D2 and C-3PO were in search of Ob-1 and while in looking for him they were captured by scavengers. This explained how the driods were bought and in turn came in to Luke's life. In other words the driods were a "blunder" that revealed an unsuspected world to Luke. This "blunder" was not of merest chance as Freud explained. Luke did want to go to the Academy and eventually fight for the Rebel Alliance against the Empire. The request by the two driods for help for the fight against the Empire did bring Luke into an "unsuspected world with forces not rightly understood." 2. Refusal of the Call At this point the soon-to-be-hero turned the adventure into its negative. "Walled in boredom, hard work, or 'culture,' the subject lost the power of significant affirmative action and became a victim to be saved. In comparison Luke, once called to the adventure, told Ob-1 that there was no way he could go on the adventure. Luke brought up the "negatives" such as having to work on the farm, and promising his uncle that he would stay at the farm for another season, which further supported his choice. 3. Supernatural aid For those who had not refused the call, the first encounter of the hero-journey was with a protective figure, often an old man who provided the adventurer with amulets against the dragon forces he was about to pass. Luke was finally persuaded to go on the adventure, due to the fact that his entire farm was destroyed (including his uncle and aunt) by the Empire. He was taught several things by the old Ob-1 who is the "old man" figure mentioned by Campbell as giving amulets to the adventurer. These amulets primarily concerned the Force. 4. The crossing of the first threshold With the personifications of his destiny to guide and aid him, the hero went forward in his adventures until he came to the threshold guardian" at the entrance to the zone of magnified power. The hero was now about to enter darkness, the unknown and danger. Luke at this point has learned of his destiny, which was to find and confront Darth Vader, who has killed Luke's father. Luke was in the midst of his adventure traveling in the Malenium Falcon (a space ship) which was sucked into the Death Star (a space station) by its tractor beam. The Death Star, to Luke, was the unknown and was a dark place full of danger for the young Luke. 5. The belly of the whale The hero, instead of conquering or conciliating the power of the threshold, is swallowed into the unknown, and would appear to have died. Luke, once in the Death Star, was chased by Storm Troopers and, while in the state of confusion, jumped into a trash shoot. The trash compactor in which Luke landed was indeed the belly of the whale. While trying to find a way out, Luke was nearly drowned by a slimy monster living beneath the water in the trash compactor. When he was pulled under the water, his friends believed that he was dead. Chapter II - Initiation In chapter II of Campbell's book named Initiation, six sequences are described as key ingredents to the hero-journey. The second movie of the Star Wars Trilogy, The Empire Strikes Back, conveniently matches the second chapter of Campbell's book. 1. The Road of Trials Once having traversed the threshold, the hero moved in a dream landscape of curiously fluid and ambiguous forms where he must survive a succession of trials. "It may be here that he discovers for the first time that there is a benign power everywhere supporting him in his superhuman passage," explained Campbell. Luke crash landed onto a planet in the Degaba system. The area at which he crashed was a swamp. That "curious fluid" that he landed in was full of "ambiguous" creatures. For instance, there was a shark-like creature swimming in the fluid and two bird-like creatures flying through the air. It was at this place where Luke learnrd the way of the Force from Yoda, a Jedi Master. He discovered that "there is a benign power everywhere supporting him and his superhuman passage." Luke learned from Yoda what he could not have been better taught from Obi-Wan. Part of Luke's training to be a Jedi Knight was a succession of trials, physical and mental, while with Master Yoda. 2. The Meeting with the Goddess Campbell explained that "The ultimate adventure, when all the barriers and ogres have been overcome, is commonly represented as a mystical marriage of the triumphant hero-soul with the Queen Goddess of the World. This was the crisis at the nadir, the zenith, or at the uttermost edge of the earth, at the central point of the cosmos, in the tabernacle of the temple, of within the darkness of the deepest chamber of the heart." I do believe that the "Queen-Goddess" was in fact represented by the Force. The "barriers" were overcome once Luke had realized the power of the Force and began to use it. At that point there was a "mystical marriage of the triumphant hero-soul with the Queen Goddess of the World." The "crisis" at which this happens was in the deepest chamber of the heart of Luke. He had gone into a cave, just after finishing part of his training with Yoda, where he felt the presence of darkness. In that cave and in his heart he discovered his greatest fear: the dark side of the Force and his desire for it. 3. Woman as the Temptress Campbell explained that the mystical marriage with the queen goddess of the world represents the hero's total mastery of life: the woman is life, and the hero its knower and master. He also stated that: the testings of the hero, which were preliminary to his ultimate experience and deed, were symbolic of those crises of real- ization by means of which his consciousness came to be amp- lified and made capable of enduring the full possession of the mother-destroyer, his inevitable bride. With that he knows that he and the father are one: he is in the father's place. Again, comparing the Force to the woman goddess in Campbell's writings it is easy to see the Force as the temptress. Luke, the Jedi Knight in training, was learning at Yoda's side to be knower and master of the Force. However while doing this he received the amplified message in his consciousness of a crisis via the Emperor (the mother- destroyer). Luke was tempted by the Emperor to leave the Jedi training and save Han Solo and Leah. Luke also had the idea at this point in the movie that Darth Vader may be his father; and if it was true, then he was in fact doing exactly what his father did. Darth Vader in fact received the same training that Luke receivied and from the same teachers: Yoda and Obi-Wan. 4. Atonement with the Father Atonement (at-one-ment) consists in no more than the abandonment of the self-generated double-monster--the dragon of the superego and the dragon of the repressed id. But this requires an abandonment of the ego itself, and that is what is difficult. Luke ecountered the conflict throughout the Star Wars Trilogy between the Dark Side (id) of the Force and the good side of the Force (superego). But it was not until Luke reached the City of the Clouds that he made the decision to abandon the ego entirely. Luke, in fact, did this when he realized that he could not join his father on the Dark Side of the Force. He abandoned his ego, which was himself, by abondoning the entire conflict; he dropped himself into an abyss of darkness. Although his wishes were to die he did not. Luke shared atonement with his father (Darth Vader) at the end of the third movie, Return of the Jedi. This happened when his father went back to the good side of the Force. 5. Apotheosis This is the point at which the hero is at the center of control, which includes his emotions and objects around him. This stage in the hero-journey happened when Luke was in the middle of a lightsaber fight with Darth Vader. Luke was backed into a pit by Darth Vader and was thought to be captured; however, just at that point all of Luke's teaching of the Force was finally completely applied and he became the center of control. This was most evident when he rose himself out of the pit and made his lightsaber fly through the air to his fingertips. 6. The Ultimate Boon At this stage the hero is given an answer to a timely request. It is that simple: the hero dicovers "the ultimate boon". As obvious as it was in the move Luke's timely request was to find out who his father was. This stage was the last in the Initiation sequence and, of course, one of the ending scenes in The Empire Strikes Back. Luke was in a lightsaber fight with Darth Vader at the City of the Clouds; however, this time the fight took place on a platform suspended above an abyss of darkness. It was there that Darth Vader said, "Luke I am your father." Chapter III - Return Chapter III of Campbell's book titled Return contains six more sequences that the hero must complete to end the cycle of the hero-journey. It is no coincidence that the third movie of the Star Wars Trilogy is named The Return of the Jedi. 1. Refusal of the Return When the hero-journey has been accomplished the adventurer must still must return with his "life-transmuting trophy". As Campbell explained, "the full round, the norm of the monomyth, requires that the hero shall now begin the labor of bringing the runes of wisdom...back to the kingdom of humanity." But the responsibility has been frequently refused. The "life-transmuting trophy" of course was Luke's ability to become Jedi Knight. One can only be a Jedi Knight genetically, thus it is passed down generation after generation. Luke, in fact, brought back with him power to manipulate the Force. He, however, he did nothing with his newly gained power in the beginning of the movie. He only commanded his two droids to deliver a message for him to Jabba explaining in part that he was a Jedi Knight. Luke in fact refused to give his teachings back to the kingdom of humanity. 2. The Magic Flight Concerning the magic fight Campbell said: If the hero in his triumph wins the blessing of the god- ess or the god and is then explicitly commissioned to return to the world with some elixir for the restoration of society, the final stage of his adventure is supported by all the powers of his supernatural patron. On the other hand, if the trophy has been attained against the opposition of its guardian, or if the hero's wish to re- turn to the world has been resented by the gods or demons, then the last stage of the mythological round becames [sic] a lively, often comical, pursuit. This flight may be complicated by marvels of magical obstruction and evasion. Luke happened to fall on "the other hand"--Campbell's not so positive side of the magic flight. In fact Luke wished to talk to Jabba (the demon in this case) but Jabba strictly told his guards not to allow Luke inside his fortress. A popular variety to the magic flight are the objects left behind to permit time for the hero when in a pursuit. Luke, in the same scene as described above, pleaded with Jabba for Han's body but Lukewas sent into a pit with a hungry monster several times his size. It was there that Luke was pursued and used a bone and a door which delayed the monster from consuming him. Those items eventually led to his escape. 3. Rescue from Without The hero may have to be brought back from his supernatural journey by assistance from without. That is to say, the world may have to come and get him. This is a much easier concept to grasp then some of the others. It is as basic as Campbell explained it. Luke was indeed given help from without. That is to say his comrades had come to get him. It had happened when Luke was captured by Jabba and sentenced to death. Luke was immedently placed on a plank as it was to be dropped into a mouth of a worm-like creature. However, while all that was going on, Luke's comrades were ready in the surrounding area to take part in rescuing him. It was because of this outside help Luke was rescued. 4. The Crossing of the Return Threshold The hero adventures out of the land we know into darkness; there he accomplishes his adventures; and his return is a coming back from that zone. Once Luke had completed his adventures, he commented to R2-D2 that he had "a promise to keep with an old friend". This point marked the crossing of the return threshold. For it was there that Luke made the decision to return from the zone of adventure and darkness. 5. Master of the Two Worlds Campbell said it best when he stated that: freedom to pass back and forth across the world division, from the perspective of the apparitions of time to that of the causal deep and back--not contaminating the principles of the one with those of the other, yet permitting the mind to know the one by virtue of the other--is the talent of the master. The Cosmic Dancer, declares Nietzsche, does not rest heavily in a single spot, but gaily, lightly, turns and leaps from one position to another. It is possible to speak from only one point at a time, but that does not invalidate the insights of the rest. The Jedi Knight was the master who was able to pass between the world of the Force and the world of his or her own. In fact the Jedi Knight was able to do this with hardly any effort. He or she could leap from one position to another. When Luke returned to Yoda to complete his training he discovered, through Yoda, that his training was complete. He realized that he indeed was a Jedi Knight. At that point he became the master of the two worlds. 6. Freedom to Live This is the result of the miraculous passage and return. "The goal of the myth," remarked Campbell, "is to dispel the need for such life ignorance by effecting a reconciliation of the individual consciousness with the universal will." What was the result of Luke's heroic-journey? It was just that-- his freedom to live. The all powerful Emperor had been killed by Darth Vader and just after that had happened Luke faced and conquered his fear of the Dark Side and Darth Vader. He also talked to his father and brought him back to the good side of the Force. Luke indeed regained his freedom to live. From the Departure to the Return the hero's-journey is a complex, but a necessary journey. Just as complex is the hero-journey that Luke Skywalker took in the Star Wars Trilogy. If the ancient trail for the hero did not exist for him or her to follow, then the classic journey of Luke in the Star Wars Trilogy would not have been nearly as spectacular as it was yesterday, is today, and will be tomorrow. Bibliography Boulet, Susan Siddon. The Goddess Paintings. San Francisco: Pomegranate Artbooks, 1994. Bulfinch, Thomas. The Age of Fable. New York: Dutto, 1973. Campbell, Joseph. The Inner Reaches of Outer Space. New York: Perennial Library, 1980. ---. The Hero With a Thousand Faces. Princeton: Princeton University Press, 1973. ---. The Power of Myth. New York: Anchor Books, 1988. Cousineau, Phil, ed. The Hero's Journey. San Francisco: Harper and Row, 1990. Empire Strike Back, The. Dir. Irvin Kershner. Twentieth Century Fox, 1980. Johnson, Buffie. Lady of the Beasts. San Francisco: Inner Traditions International, 1994. Leeming, David Adams. Mythology: The voyage of the hero. Philadelphia: Lippincott Company, 1973. Raglan, Lord. The Hero. Westport: Greenwwood press, 1975. Rank, Otto, et al. In Quest of the Hero. Princeton: Princeton University Press, 1990. Return of the Jedi. Dir. Richard Maquand. Twentieth Century Fox, 1983. Sagen, Carl. Cosmos. Toronto: Carl Sagen Productions, 1980. Slavicsek, Bill. A Guide to the Star Wars Universe. New York: Lucas Film, Ltd, 1994. Star Wars. Dir. George Lucas. Twentieth Century Fox, 1977. Williams, John. Star Wars. Compact Disc. Polydor, 800 096-2, 1977. Williams, John. Star Wars. Record. Twentieth Century Records, 21-541(8098), 1977. 8ࡱ; SummaryInformation(Trilogy. Lucas explained that if it were not for Campbell's book, he may have still been writing the story to this day. 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