Showing posts with label holy spirit. Show all posts
Showing posts with label holy spirit. Show all posts

2021/11/09

Confucianism as a Religious Tradition

AAR-Still Hazy.pdf

Confucianism as a Religious Tradition

Confucianism as a Religious Tradition: 
Linguistic and Methodological Problems1 
 
Joseph A. Adler 
Kenyon College 
Gambier, Ohio, USA 
 
Presented to the Institute for Advanced Studies in Humanities and Social Sciences (National 
Taiwan University, Taipei) and the Department of Philosophy (Tunghai University, Taichung) 
 
2014 
 
 
This paper is an attempt to sort out some of the semantic difficulties in judging whether or not the Confucian tradition can or should be considered a religion, a religious tradition, or neither. I will focus on three sets of problems: 
(1) the question of defining both "Confucianism" and "religion;" 
(2) the distinction between "institutional" and "diffused" religion; and 
(3) problems introduced by the Sino-Japanese translation of the Anglo-European words for "religion" (宗教 / zongjiao / shūkyō). 


The religious status of Confucianism has been controversial in Western intellectual circles since the Chinese Rites Controversy of the 17th century. When Matteo Ricci argued that ancestor worship by Chinese Christian converts should be accomodated by the Church because it was only mere veneration, not true worship, he was obviously assuming a Western (or Abrahamic) model of religion. He and later missionaries searched for "God" and other signs of revelation in the Chinese scriptures; they argued whether Shangdi 上帝 (High Lord) or Tian 天 (Heaven) fit the bill, and whether Chinese "natural theology" was compatible with Christian revelation. In 1877 James Legge, the great missionary-translator, shocked the Shanghai Missionary Conference by averring that the Confucian (and Daoist) scriptures were alternative ways of reaching ultimate truths. His view, however, was based on the erroneous belief that buried beneath the Chinese tradition was an obscured monotheistic revelation, reflected, for example, in the worship of Shangdi and Tian.2 
                                                 
1 This paper was originally presented in slightly shorter form under the title "Confucianism as 
Religion / Religious Tradition / Neither: Still Hazy After All These Years" at the 2006 Annual 
Meeting of the American Academy of Religion in Washington, D.C.; and again in 2010 at the Institute of Religious Studies, Minzu University of China in Beijing. It has been revised again for this presentation. 
 
2 See Norman J. Girardot, The Victorian Translation of China: James Legge's Oriental Pilgrimage (Berkeley: University of California Press, 2002): 214-228. 
 
Legge and the forerunners of the field of religious studies (e.g. Max Müller) included Confucianism in their understanding of "world religions." But throughout most of the 20th century the predominant view was that Confucianism was not "really" a religion, at least in the same sense as the more familiar (mainly Western) traditions.  The majority of North American scholars in Confucian studies today take it for granted that the religious dimensions of Confucianism are abundantly evident.  Yet, despite the growing sophistication of non-Eurocentric theoretical understandings of religion since the late 20th century, there is still widespread disagreement on the issue in the field of religious studies at large, and even more so in other academic fields. Many historians of East Asia, for example, still uncritically assume a Western model of what constitutes religion and exclude Confucianism from that category. 
 
Definitional issues 
Aside from the obvious necessity of defining the terms of our discussion, there are particular circumstances involving the Confucian tradition that require clarification. First is the fact that the name of the tradition in Chinese does not include a reference to the historical Master Kong (Kongzi 孔子), except insofar as the Western term in modern times has been translated into Chinese. (Kang Youwei used the term "Kongjiao" in the early 20th century to suggest the parallel with Christianity.) The followers of Confucius were called ru 儒, althogh the semantic range and intent of that term varied throughout the Warring States period. It originally meant "weak" or "pliable, " perhaps referring to the dispossessed members of either the defeated Shang people or the "collateral members of the Zhou royal family who had been disinherited after the breakdown of the feudal order in 770 BC[E]."  By the end of the period, though, the meaning had more or less settled on something like "scholars" or "literati" or "classicists," and had come to refer specifically to the followers of Confucius. The teaching or Way (dao 道) of the ru focused on Confucius, the earlier "sages" (shengren 聖人) he venerated, and (importantly) the texts associated with them all. Mencius referred to that tradition as the "Way of the Sages" (shengren zhi dao 聖人之道). But since the late Warring States period the primary names for the tradition have been rujia 儒家 (the ru school of thought, or individuals in that category) and rujiao 儒教 
(literally the teaching of the ru, but suggesting Confucianism as a religion because of the parallel with Buddhism as fojiao and Daoism as daojiao).  Ruxue is yet another term, referring not to the tradition per se but to Confucian learning or scholarship.  
The ru came to be known as the experts in and custodians, as it were, of the cultural traditions embodied in the "Five Scriptures " (wujing 五經) and "Six Arts " (liuyi 六藝). An important corollary is that the term ru clearly implies literacy. So from the beginning, the ru tradition was limited to the literati; it could therefore never become a religion of the masses like Buddhism or Christianity. This is not to deny that elements of Confucian thought and values permeated nearly all levels of Chinese society throughout the imperial period (and beyond). But as a comprehensive religious worldview it is, for the most part, limited to literate intellectuals; it is, pre-eminently, a religion for scholars or intellectuals. 
By the Song period, ru were clearly understood to be the literate followers of the 
Confucian-Mencian tradition, as opposed to followers of the Buddha, who were usually called shi 釋 (from Shijiamouni 釋迦牟尼, or Śākyamuni), and Daoist adepts (daoshi 道士). In addition, the term daoxue 道學 (learning of the Way), used at first by the Cheng-Zhu school to refer to themselves, eventually came to be roughly equivalent to what has been called in the West "neo-Confucianism," or the revived and reconstituted Confucian tradition that took shape from the Song through the Ming periods. While there are some problems with this term, we can at least be confident that what we designate by the terms "Confucianism" and "Neo-Confucianism" are pretty much equivalent to what in Chinese have been called rujia / rujiao since the Han and daoxue since the Yuan. So this is not so much a problem as a cautionary indication that problems of translation may be involved.  
Another problematic aspect of the term "Confucianism" is the question "which Confucianism?" The English term "Confucianism" is a tidy umbrella-term, suggesting a single, more-or-less unified tradition. But as just mentioned, in Chinese we have three terms (rujia, rujiao, and ruxue), all with slightly different connotations. There is also the fact that the Confucian tradition looks quite different depending on whether we are looking at theory or practice. From the 2nd century BCE to the end of the imperial period Confucianism was the official ideology of government in China. This was primarily manifested in the state sponsorship of Confucian texts (the so-called "classics," more accurately called "scriptures") during and after the Han, and the use of Zhu Xi's teachings as the authoritative basis of the civil service examinations beginning in the Yuan dynasty. In terms of practice or application, this resulted in a synergy that supported a hard conservative turn, since governments tend to have a strong stake in preserving social order. For this reason, Confucianism in China became to a great extent the ideology of preserving the status quo and reinforcing social hierarchy. There was also a theoretical component to this shift, resulting largely from Dong Zhongshu in the 2nd century BCE, and reflected, for example, in the Bohu tong 白虎通 (Comprehensive Discussions in the White 
Tiger Hall) of 79 CE.  This text reflects the conservative trend that, over centuries, would draw Confucianism consistently toward support of stability, a hierarchical order, and the status quo, especially in its statements about women. This "politicized Confucianism" cannot be ignored, but neither should it obscure the fact that there was also, especially from the Song dynasty onward, a strong "spiritual" tradition within Confucianism, whose followers aimed at perfecting themselves and perfecting society.  So what we count as Confucianism should not be limited to its manifestation as a conservative ideology.  
While the definitional problems surrounding the term Confucianism can be sorted out fairly easily, defining religion seems to be a never-ending process. In fact, the very use of the categories "religion" and "religions" has increasingly been called into question. Recent scholars have taken up Wilfrid Cantwell Smith's seemingly audacious claim, in 1963, that "[n]either religion in general nor any one of the religions ... is in itself an intelligible entity, a valid object of inquiry or of concern either for the scholar or for the man of faith."  Jonathan Z. Smith, in a similar vein, claimed in 1982 that "religion is solely the creation of the scholar's study" and "has no independent existence apart from the academy."  The argument of the two Smiths is that "religion" as a general category is merely a construct arising from the particular social and historical circumstances of the modern West, and were never conceptualized as distinguishable entities. In Buddhist terminology, neither religion in general nor any specific religion has any "own-being" (svabhāva) or "self-nature" (zixing 自性) and so all statements about religion or religions are statements about nothing. To ask whether Confucianism is a religion is therefore wrongly put on both counts, in their view: there's no such thing as Confucianism and there's no such thing as religion. In W.C. Smith's oft-quoted remark, "the question 'Is Confucianism a religion?' is one that the West has never been able to answer, and China never able to ask" (because the modern Chinese word for religion, zongjiao 宗教, was not coined until the late 19th century -- a point to be discussed shortly).  
More recent scholars have stepped back from this brink of disciplinary self-destruction and have successfully refuted W.C. Smith's claim that the pre-modern absence of the modern Chinese word for "religion" prevented the Chinese from thinking about religion.  Robert Campany, in a 2003 article in History of Religions, has shown that there are certainly Chinese terms, dating back to classical times, analogous to our various "isms."  Chief among these have been dao 道, or "way, " in earlier periods and jiao 教, or "teaching, " in later periods (but considerably before western influence). The term sanjiao 三教, or "Three Teachings, " dating from the Tang dynasty, is clearly an indigenous term referring to three distinguishable things (Rujiao, Daojiao, Fojiao) belonging to one distinguishable category. And for our purposes the fact that one of those things corresponds to what we call "Confucianism" and the other two to what we call "Buddhism" and "Daoism" is, of course, significant. Clearly Confucianism was playing in the same league as Buddhism and Daoism, so it must have been playing the same game (as Ninian Smart used to put it). 
Still, there remains the question: what is the game? This brings us back to the hoary problem of defining religion, which I will not discuss at length here. But it is important to note that referring to religion in general does not necessarily imply that such a thing exists apart from specific actors, institutions, or traditions. What we are trying to define is the characteristics or qualities that distinguish some actors, institutions, and traditions as "religious" from others that are not religious. We can ask that question meaningfully without falling into the trap of reification.  
The most important point, especially in regard to Chinese religions, is to have a culture-neutral definition. Yet it is still not unusual to find statements to the effect that "while Confucianism may contain religious dimensions, it is not a religion in the Western (or usual) sense of the word." This, obviously, will not do. With the proviso that we need not think of any single definition as universally appropriate, but rather as a provisional way of shedding light on one or more aspects of the multi-dimensional set of phenomena we call "religious," I will note that many scholars have found Frederick Streng's definition of religion to be especially suitable to 
Chinese religions. Streng said that religion is "a means to ultimate transformation," where "ultimate" can be understood in whatever terms are appropriate to the tradition.  This is, therefore, a formal, culture-neutral definition. In the case of Confucianism, the goal of Sagehood is the endpoint of that transformation, and Heaven symbolizes the ultimacy that makes it religious. "Transformation" not only characterizes the process by which human beings become Sages (or fully humane, ren 仁); it is also a characteristic of the Sage, who "transforms where he passes" (Mencius 7A.13).  The Sage, through his de 德 or "moral power, " transforms others and society itself. So by this definition -- one that focuses on what we might call the "spirituality" of the Confucian tradition -- it is not difficult to justify referring to Confucianism as a religious tradition.   
Institutional and Diffused Religion 
C. K. Yang's distinction between institutional and diffused religion is most helpful in understanding Chinese popular (or local) religion (minjian zongjiao 民間宗教).17 The distinction hinges on the social setting of the practices in question: institutional religion is practiced in a specifically religious social setting, such as a temple or monastery operated by clergy (priests or monks); diffused religion is practiced in a "secular" social setting: one that is not specifically religious, such as the family, community, or state. The case of local community temples is somewhat ambiguous, as Daoist priests usually conduct formal rituals in them, such as the community jiao 醮 ritual, or specific rituals requested and paid for by families or individuals. 
But these temples are operated by the local, non-clerical community, and so would primarily fall into the "diffused" category.  
The question for us then becomes, what is the social setting of Confucian practice? What, indeed, are the varieties of Confucian practice? It is customary to identify Confucian practice on the levels of the individual, the family, the community, and the state (the last primarily in imperial times). On the level of the individual there is the work of self-cultivation (gongfu 工夫), such as study, self-reflection, and (for some, especially after the Song dynasty) meditation in the form of "quiet-sitting" (jingzuo 靜坐). In the family and clan, or lineage, there is filial behavior and ancestor worship; these, of course, are practiced as well by people who do not self-identify as Confucians. Corresponding to practice at the level of the community in popular religion is the private Confucian school or academy -- again, especially after the Song. Since Confucianism is a tradition for literati (or, today, intellectuals), the academy is the natural social setting for it. The Confucian academies that flourished from the Song through the Qing periods in China -- not to mention those in Korea and those few that are beginning to reappear in the PRC, such as Jiang Qing's "Yangming Retreat" (陽明精舍) -- were central to the self-identification of avowed 
Confucians. In addition to being places of learning -- and Confucian learning, of course, is learning to be a Sage, which, as noted above, is a religious goal -- there were also daily ritual observances, including prayers to Confucius and other sages and worthies.  On the state level, before 1911 there were the imperial rituals at the Confucian temple, which fell into the "middle" category of state sacrifices. The "great" sacrifices were those to Heaven and Earth, which are 
                                                                                                                                                               
between spirit or mind and body, because the category of qi 氣 covers the entire spectrum from matter to energy to spirit. See my"Varieties of Spiritual Experience, " loc. cit. 
17  C.K. Yang, Religion in Chinese Society: A Study of Contemporary Social Functions of Religion and Some of Their Historical Factors (Berkeley: University of California Press, 1961), ch. 12. 
often loosely put under the Confucian umbrella, although that usage needs to be defended. 
All four levels of Confucian practice -- the individual, the family, the academy, and the state -- are primarily "secular," so Confucianism can be considered an example of "diffused" religion. This is one of the reasons why it is so difficult to speak of Confucianism as "a religion." To call Confucianism a religion implicitly reifies the phenomenon as a distinct "thing," yet as diffused religion Confucianism does not exist separately and apart from the secular social settings in which it is practiced. The same difficulty applies to popular religion: we do not call popular religion "a religion, " because it is really a large and locally-variable set of religious practices. The inadequacy of such reificationist language is one of the factors that Tu Weiming was referring to when he wrote:  
The problem of whether Neo-Confucianism is a religion should not be confused with the more significant question: what does it mean to be religious in the Neo-Confucian community? The solution to the former often depends on the particular interpretive position we choose to take on what consitutes the paradigmatic example of a religion, which may have little to do with our knowledge about Neo-Confucianism as a spiritual tradition (my emphasis).  The problem of the reification of "religion" and particular "religions" was central to Wilfrid Cantwell Smith's argument that these terms refer to nothing and have no equivalents outside the modern West. As we have seen, there are, in fact, analogous terms in pre-modern Chinese usage for both the general and specific categories religion and religions . Yet an entirely new set of problems was introduced when the Japanese coined a neologism for the general category in the early years of the Meiji Restoration.  
 
Translating "religion" 
After the Meiji Restoration of 1868, the Japanese translators of Western texts and treaties explored a variety of options for rendering the word "religion" and its European equivalents. A few of these options, cited by Anthony Yu, were shinkyō / shenjiao 神教 (spiritual teaching), seidō / shengdao 聖道 (holy or sagely way), and simply kyō / jiao 教 (teaching).  The 
Japanese eventually settled on shūkyō / zongjiao 宗教 (ancestral teaching), which they appropriated from Chinese Buddhist usages going back at least to the 6th century. In Buddhist usage zongjiao usually meant simply the teachings of a particular school or sect (zong 宗); it was also used in the sense of "revered teaching, " sometimes in reference to Buddhist doctrine as a whole.   
Yu argues that the choice of a kanji (Chinese) term bespeaks a deliberate suggestion of "cultural otherness,"  consistent with the fact that the prime example of "religion" in question in the texts being translated was Christianity. And Christianity was not only a foreign religion; it was a religion that differed in important respects from Shinto and Buddhism. First, it was a religion that demanded exclusive membership, which was vastly different from the usually comfortable coexistence and syncretism of Shinto and Buddhism in Japan. Second, Christianity placed a great deal more emphasis on belief in doctrines than did either of the Japanese religions, which have always focused more on action than on belief (and this generalization applies equally well to Chinese religion).  Both of these characteristics are reflected in the binome shūkyō: shū (zong 
宗) carries the connotation of separateness, as it is the word that denotes the individual schools or sects of Buddhism (e.g. Zenshū, Tendaishū; kyō (jiao 教) connotes doctrine. According to this line of reasoning, shūkyō was deliberately coined to denote something alien to Japanese culture, and when it was picked up by the Chinese shortly thereafter it carried much the same flavor.  
Peter Beyer suggests that another connotation of the zong in zongjiao is organization, and that it is this characteristic of Daoism and Buddhism -- i.e. the fact that they are institutional religions in C.K. Yang's sense -- that renders them good examples of the general category of religion. Organization, he says, "is the prime factor through which religions express their difference, from each other and from matters non-religious."  He quotes a statement by Wing-tsit Chan, in the context of a discussion of Kang Youwei's attempts to make Confucianism the state religion of the early Republic of China: 
All these arguments, reasonable and factual as they are, can only lead to the conclusion that Confucianism is religious, but they do not prove that Confucianism is a religion, certainly not in the Western sense of an organized church comparable to Buddhism and Taoism. To this day, the Chinese are practically unanimous in denying Confucianism as a religion.  
Chan's willingness to count Buddhist and Daoism as religions is clearly based on their institutional organization. Confucianism, being a diffused religion, does not qualify; but it "is religious." The distinction between a "religious tradition" and a "religion" is therefore not as trivial as it may appear. In the case of Confucianism, calling it "a religion" does not work because it is an example of diffused religion, like popular religion in China -- which also resists being called "a religion." Yet both are clearly religious. Adding to this problem is the fact that 
Confucianism is basically non-theistic. While Heaven (tian) has some characteristics that overlap the category of deity, it is primarily an impersonal absolute, like dao and Brahman. "Deity" (theos, deus), on the other hand connotes something personal (he or she, not it). 
To summarize, much of the "problem" of the religious status of Confucianism centers on the terminology we use in reference to religion and religions. It is not difficult to agree on a "definition" of religion that is capable of illuminating certain aspects of the Confucian tradition in a "religious" light. The problem seems rather to arise when we try to call Confucianism "a religion." The reason for this problem is that "a religion" implies an institutional entity, analogous to a church, and Confucianism is in fact a "diffused religion" whose social base lies in the "secular" realm, in the social institutions of family and the academy. Furthermore, Confucianism is non-theistic. Buddhism is also non-theistic, but it is institutional. So the two most common connotations of "religion" – belief in God or gods and an institutional base – are missing from Confucianism. This, I believe, is why so many people in both the West and East Asia resist calling Confucianism "a religion." So, just as we do not refer to Chinese popular religion as "a religion" because it lacks an organized, institutional base, so too we should recognize that the question "Is Confucianism a religion?" is wrongly put. The better question is, as Tu Weiming suggested, "Is Confucianism a religious tradition?" Although it is important to note that 
Confucianism has not always and everywhere been practiced as a religious tradition, as a general statement the question can be answered affirmatively without raising any serious problems.  
 
The suggestion that we refer to Confucianism as "a religious tradition" (zongjiao xing de chuantong 宗教性的傳統) rather than "a religion" (zongjiao 宗教) may sound trivial, especially since there is already such a trend in English-speaking academia. English-speaking scholars increasingly use terminology like "Christian tradition" instead of "Christianity" precisely to avoid reifying or essentializing the tradition. But to make this shift in usage more self-conscious and deliberate would be consistent with Robert Campany's suggestion to think and speak of religions as "repertoires of resources" that are "used variously by individuals negotiating their lives."  A "tradition" can be conceived as a repertoire (or "tool-kit") in that what the previous generation chooses to hand down is selectively passed on to the following generation. In focusing on the act of "handing down" and the choices involved therein, the notion of a religious tradition shifts the language toward a more process-oriented way of thinking about religion, thereby weakening the tendency to reify religion and religions that W.C. Smith identified.  
To be sure, Smith's own prescription for avoiding the problems of reification also involved the language of "tradition:" he said that we should replace our "religion" language with the language of "personal faith" and "cumulative tradition."  "Faith," however, carries too much Western, especially Christian, baggage, and it privileges belief and doctrine over action. This renders Smith's model unsuitable for both Chinese and Japanese religion, and therefore unsuitable as a general model. Smith may have formulated the question for us, but we are still working on the answer.  
Confucianism indeed challenges us to critically examine our own assumptions and conceptual framework, including both the western concept of religion and the Chinese concept of zongjiao. The first step is to understand the difference between these two terms. Although zongjiao is the direct translation of "religion, " it does not carry precisely the same connotations as the English term, as we have seen. Another step is to reexamine the conceptual dichotomy of "sacred and profane," as developed by Émile Durkheim, Joachim Wach, and Mircea Eliade. The concept of the sacred as that which is "set apart" from the mundane, secular world is generally considered, at least in Western academic circles, to be a common characteristic of all forms of religion. But Confucianism deconstructs the sacred-profane dichotomy; it asserts that sacredness is to be found in, not behind or beyond, the ordinary activities of human life -- and especially in human relationships. Human relationships are sacred in Confucianism because they are the expression of our moral nature (xing 性), which has a transcendent anchorage in Aheaven@ (tian 天).  Herbert Fingarette captured this essential feature of Confucianism in the title of his 1972 book, Confucius: The Secular as Sacred. To assume a dualistic relationship between sacred and profane and to use this as a criterion of religion is to beg the question of whether Confucian can count as a religious tradition.  
I therefore conclude that Confucianism is a non-theistic, diffused religious tradition that regards the secular realm of human relations as sacred. Being non-theistic it is like Buddhism. As diffused religion it is like Chinese popular religion. In regarding certain aspects of the mundane world as sacred it is like Tibetan Bӧn, Japanese Shinto, and other indigenous religious traditions. All of these points are part of the unique character of Confucianism and cannot be used a priori to exclude Confucianism from the general category of religion.  

The Hero With A Thousand Faces Commemorative Edition by Joseph Campbell | PDF | Osiris | Isis

The Hero With A Thousand Faces Commemorative Edition by Joseph Campbell | PDF | Osiris | Isis



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Joseph Campbell
Joseph Campbell (1904–1987) was an American author and teacher best known for his work in the field of comparative mythology. He was born in New York City in 1904, and from early childhood he became interested in mythology. He loved to read books about American Indian cultures, and frequently visited the American Museum of Natural History in New York, where he was fascinated by the museum's collection of totem poles. Campbell was educated at Columbia University, where he specialized in medieval literature, and continued his studies at universities in Paris and Munich. While abroad he was influenced by the art of Pablo Picasso and Henri Matisse, the novels of James Joyce and Thomas Mann, and the psychological studies of Sigmund Freud and Carl Jung. These encounters led to Campbell's theory that all myths and epics are linked in the human psyche, and that they are cultural manifestations of the universal need to explain social, cosmological, and spiritual realities.

After a period in California, where he encountered John Steinbeck and the biologist Ed Ricketts, he taught at the Canterbury School, and then, in 1934, joined the literature department at Sarah Lawrence College, a post he retained for many years. During the 40s and '50s, he helped Swami Nikhilananda to translate the Upanishads and The Gospel of Sri Ramakrishna. He also edited works by the German scholar Heinrich Zimmer on Indian art, myths, and philosophy. In 1944, with Henry Morton Robinson, Campbell published A Skeleton Key to Finnegans Wake. His first original work, The Hero with a Thousand Faces, came out in 1949 and was immediately well received; in time, it became acclaimed as a classic. In this study of the "myth of the hero," Campbell asserted that there is a single pattern of heroic journey and that all cultures share this essential pattern in their various heroic myths. In his book he also outlined the basic conditions, stages, and results of the archetypal hero's journey.

Throughout his life, he traveled extensively and wrote prolifically, authoring many books, including the four-volume series The Masks of God, Myths to Live By, The Inner Reaches of Outer Space and The Historical Atlas of World Mythology. Joseph Campbell died in 1987. In 1988, a series of television interviews with Bill Moyers, The Power of Myth, introduced Campbell's views to millions of people.

For more on Joseph Campbell and his work, visit the web site of Joseph Campbell Foundation at JCF.org.



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Campbell's words carry extraordinary weight, not only among scholars but among a wide range of other people who find his search down mythological pathways relevant to their lives today... The book for which he is most famous, The Hero with a Thousand Faces, [is] a brilliant examination, through ancient hero myths, of man's eternal struggle for identity. Time Magazine The Hero With a Thousand Faces was first published 55 years ago, but continues to speak to us with a timeless eloquence and spiritual urgency that quicken the soul. -- Gabor Mate Toronto Globe and Mail
About the Author
Joseph Campbell (1904-1987) was an inspiring teacher, popular lecturer and author, and the editor and translator of many books on mythology, including "The Mythic Image" (Princeton/Bollingen Paperbacks). Clarissa Pinkola Estes is the author of the national bestseller "Women Who Run with the Wolves".
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Publisher ‏ : ‎ Princeton University Press; 1st edition (15 April 2004)
Language ‏ : ‎ English
Hardcover ‏ : ‎ 496 pages
ISBN-10 ‏ : ‎ 0691119244





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The Hero with a Thousand Faces: Commemorative Edition Hardcover – 15 April 2004
by Joseph Campbell (Author)
4.7 out of 5 stars 3,863 ratings

Joseph Campbell's classic cross-cultural study of the hero's journey has inspired millions and opened up new areas of research and exploration. Originally published in 1949 the book hit the New York Times Best-Seller List in 1988 when it became the subject of The Power of Myth, a PBS television special. Now, this legendary volume, re-released in honor of the 100th anniversary of the author's birth, promises to capture the imagination of a new generation of readers. The first popular work to combine the spiritual and psychological insights of modern psychoanalysis with the archetypes of world mythology, Campbell's book creates a road map for navigating the frustrating path of contemporary life. xamining heroic myths in the light of modern psychology, it considers not only the patterns and stages of mythology but also its relevance to our lives today - and to the life of any person seeking a fully realized existence. Myth, according to Campbell, is the projection of a culture's dreams onto a large screen; Campbell's book, like Star Wars, the film it helped inspire, is an exploration of the big-picture moments from the stage that is our world.
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Everything from Star Wars to The Matrix relies on this excellent narrative.and it’s highly readable.
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Campbell’s writing style is almost artistic in its own right. He presents his finds in a logical order that carries you along with the hero’s journey. Great read.
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Good book to read
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I found this very difficult to read. A book shoukd be written in such a way that people can actually enjoy reading it.
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4.0 out of 5 stars a bit of a slogReviewed in the United Kingdom on 29 May 2020
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I picked this up off the back of a podcast I watched recently on the art of storytelling. For a long time, I've had a fascination with Joseph Campbell. Probably his known quote is “Follow your bliss” which has remained as the background on my phone ever since I heard it.

The Hero with a Thousand Faces is probably one of his most well-known works. In it he draws from myth and legend, the stories of the ancients, the Vedas, and verses from the bible and unpacks them in his unique way, showing us the underlying similarities each contains and uses them to describe the Hero’s Journey. A process in which an adventure is called to action, and goes through a series of challenges, and eventually returns home with his or her “treasure”. I can expand on this but its probably easier to watch a video on Youtube.

If I’m completely honest I really struggled to get through this. I do not doubt that this isn't a brilliant book and Joseph’s concept has influenced all matter of individuals from songwriters, to movie producers to fellow authors. His work was truly groundbreaking for its time. But boy did I struggle, however I think that's more on me, I’ve always struggled with maintaining interest in myth and legend, ironic considering I’m fascinated by ancient Egypt. It also probably doesn't help that it was written 70+ years ago and how we speak has changed a lot since then. Then is no denying the importance of this book, and I'm glad I read it, but I for those interested it might be best to watch his Netflix series which was produced in the late 80s just before he passed away.

I mean no disrespect to Joseph Campbell, I'm most likely just not intellectual enough to understand where he is coming from. And infact I am going to read Joesph Campbell on his Life and Work, a spin off of the documentary on Nelflix, as it was written much later and I still wish to learn more about his ideas. Funnily enough I actually found that on the side of the road while reading The Hero with a Thousand Faces, and its an old library book from Austin, TX, complete with classroom purchase orders for pizza, airline tickets, and old car hire receipts which are almost 20 years old.
for more reviews please see my website everythingandnothing.co
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Gian Andrea
5.0 out of 5 stars Priceless readReviewed in the United Kingdom on 14 February 2020
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I've learnt how to read thanks to Mythology, a fascination for storytelling that only grew into a deep love for History, Literature and - last but not least - Philosophy. As the all Campbell work is centered around the importance of the monomyth, we see how the same pattern is applicable to any culture and any society, for all of them have ingrained at their core a common truth: universality.
The most immediate takeaway from this book is in fact the similarity in the original message behind any religion or ritual or ancient myth, a path shared by any story we've ever told, in books, movies and beliefs. A primordial, seemingly innate, connection between the outer world and the human mind.
Priceless read.

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David Martin
3.0 out of 5 stars Great ideas, but a difficult readReviewed in the United Kingdom on 27 February 2021
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I'd heard a lot about this book, and I'd previously read The Power of Myth which I really enjoyed. The idea of The Hero's Journey is very interesting, and clearly Campbell has a vast knowledge of mythology. However, I have to say this book was a bit of a let down.

I found the book poorly written, and badly structured. I just couldn't get used to Campbell's writing style, his sentences are long and meandering, with asides within asides. Some paragraphs are composed of one single, unbroken sentence. He also jumps rapidly from story to story, then refers back haphazardly to stories he's previously mentioned. He never seems to fully articulate a point, he makes some vague allusions then jumps to another point. It almost seems like Campbell had so much knowledge that he just couldn't get it all on the page.

I'd say overall that it's still worth reading, although it is a bit of a slog.

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Mark Hill
5.0 out of 5 stars ExcellentReviewed in the United Kingdom on 5 August 2021
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We have done a marvellous job at alienating ourselves from everything real; including ourselves.

The consequences are becoming more obvious every day, yet, still we divert ourselves with trivia.

One way to begin to reconnect ourselves with our essential selves, our own hero, may be through a thorough study and understanding of Campbell's work.

As he mentions, because of our neglect and belittlement of mythology we have become half-creatures, 'the lines of communication between the conscious and the unconscious zones of the human psyche have all been cut, and we have been split in two.'

This book helps us to begin to rebuild ourselves from the piteous state in which contemporary 'education' and upbringing (or lowbringing) has left us.

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Faris
1.0 out of 5 stars not enjoyableReviewed in the United Kingdom on 13 June 2020
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did not enjoy, I was looking for a process detailing the hero's journey so I can learn from it. This was not written for that purpose it seems, but was describing elements of it represented in old civilisations.

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The Hero With a Thousand Faces

 4.12  ·   Rating details ·  38,166 ratings  ·  2,404 reviews

The first popular work to combine the spiritual and psychological insights of modern psychoanalysis with the archetypes of world mythology, the book creates a roadmap for navigating the frustrating path of contemporary life. Examining heroic myths in the light of modern psychology, it considers not only the patterns and stages of mythology but also its relevance to our lives today--and to the life of any person seeking a fully realized existence.

Myth, according to Campbell, is the projection of a culture's dreams onto a large screen; Campbell's book, like Star Wars, the film it helped inspire, is an exploration of the big-picture moments from the stage that is our world. It is a must-have resource for both experienced students of mythology and the explorer just beginning to approach myth as a source of knowledge.

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Paperback2nd edition Bollingen Series XVII416 pages
Published March 1st 1972 by Princeton University Press (first published June 10th 1949)
Original Title
The Hero with a Thousand Faces
ISBN
0691017840 (ISBN13: 9780691017846)
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BlackOxford
The Divine Aesthetic of Hope

Written in 1948, Hero With A Thousand Faces is only slightly younger than I am. I was introduced to it in my mid-twenties, almost half a century ago. But upon re-reading it I find it as revelatory as it was then. By avoiding the idea of faith entirely, Campbell keeps alive a religion of hope. Hero With A Thousand Faces is a theology of the God of hope. It is a description of this God as a way of perceiving both the world and oneself. It presents, therefore, not an aesthetic idea of God, but God as an aesthetic, the Divine Aesthetic.

Campbell’s Divine Aesthetic is divine because it is “the one, shape-shifting yet marvelously constant story that we find, together with a challengingly persistent suggestion of more remaining to be experienced than will ever be known or told.” It is both universal and infinite. It applies in every culture and in every age. It is constantly the same and yet manifests itself in uncountably many ways, in art, music, dance, science, technology, literature, and of course religion. Its scripture includes fairy tales and learned treatises. Its followers are everyone who can speak, and even infants and the infirm who can’t.

We live in a world of symbols and complex arrangements of symbols we call stories. Some we create for ourselves, some that others create we are born into, and some are essentially eternal. These latter appear to arrive with our genes; they are quite literally bred into us. Befitting their status, these symbols are beyond our control. Hence they appear omnipotent in the specific sense that the Divine Aesthetic includes all aesthetics (including itself, in defiance of pedestrian, finite, human logic). And, who knows, perhaps they are as powerful as they appear. We have no way of assessing their scope or the full character of their existence. They are part of us yet entirely separate. They unite us but allow us to think we are entirely independent of one other. They themselves are not divine, as Plato thought; but they are manifestations of the incomprehensibly divine made suitable for human consumption.

These symbols are gifts; we did nothing to earn them. And their ostensible purpose is to help us through life, and ultimately into death. They are there to comfort and challenge, to explain and confuse, to point out the way forward and to appreciate the road not taken. But above all else, these are symbols of hope, that whoever or whatever is their source knows us better than we know ourselves, and knows us to be bigger, larger, more comprehensive, more inclusive than we can imagine. We are the heroes of our own stories, if we are willing to take these stories seriously.

To call these stories myths is accurate but, in the way of language, vaguely pejorative since the implication is that they are ‘merely’ fictional and therefore not a component of reality. The word disguises the fact that these stories are “the secret opening through which the inexhaustible energies of the cosmos pour into human cultural manifestation.” These are not conventional moral tales; they are stories of adventure, “unpredictable, and dangerous adventure,” from which we will not survive.

We embark on our unique adventure but we are never alone. Our contemporaries are always there to compare notes, to provide encouragement, to share confusion and pain as necessary. And the records of the past adventures of the dead are readily available. So our ‘congregation’ is as large as we care to make it. And aside from access to a reasonable library (ah, the internet!) we have no need for additional resources. The Divine Aesthetic is Green as well as companionable.

Of course there are essential rituals within the Divine Aesthetic, points at which one comes more closely to the source of the symbols and their stories. As Campbell puts it: “from the tomb of the womb to the womb of the tomb, we come: an ambiguous, enigmatical incursion into a world of solid matter that is soon to melt from us, like the substance of a dream.” It is perhaps that point of melting, which is really our extinction, that each ritualistic step in the hero’s journey is meant to emphasize. Dust to dust, but between the two is something exciting. Or at least we are entitled to hope.
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Trevor (I sometimes get notified of comments)
We studied the Myth Cycle at Uni and I was interested enough to come back to this book years later and read the whole thing. It is well worth a read – an endlessly fascinating book by a fascinating man.

The idea is that there is basically only one story, the grand story of our lives, the monomyth. This story is told in millions of different ways, but ultimately every story ever told is either just a retelling of this grand story, or it is a re-telling of certain aspects of this more complete story.

I read, probably about a decade ago now, that if you submit a screenplay to Disney for consideration they basically use the myth cycle to ‘judge’ the worthiness of your script. And they’ll say things like, “So, I wonta hear what you got to say, where’s the supernatural assistance from a female divine for gad sake – ay, where’s dat at?” Or however it is that Disney executives speak.

I fall somewhere further from that particular tree. I think the Myth Cycle is a fascinating idea, fascinating in the real sense that in fixates the mind once you begin contemplating it, and it is something I’m very glad I’ve heard about. But would I use it to structure every story I ever write? Well, no. Is it the touchstone I return to when appraising a work of fiction? Again, no. Like feminist criticism, Marxist criticism, Freudian criticism, Structuralist criticism, deconstructionalist criticism – this particular variety of Jungian criticism is good to know about, but any schema that seeks to encompass the whole of literature is only ever going to end up being a girdle. After a short while the constraints and pinching imposed on literature by the theory are sure to become too much to suffer and the restrictive garment needs to be taken off, if not cast aside. We may not be nearly as pretty or shapely with these garments off, but at least we can breath.

Ideas in the cycle like ‘the rejection of the call’ come into my mind constantly while reading or watching films – the rejection of the call to adventure is a cliché in so many texts – as it is in life. And that is the point, Campbell doesn’t see his ideas as being about interpreting literature, but that the interpreting of literature is a way to come to an understanding of our own lives – and that is something I wholeheartedly agree with. So, rather than take this work as the last word on the structure of stories and the monomyth and the possibilities of self-transcendence, this is a book that is better read as an introduction to thinking about literature as a way of coming to understand our own lives.

And what better task is there? And what surer guide than literature?
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Bracken
Jan 05, 2008rated it did not like it
Recommends it for: intellectual masochists
Shelves: book-club-books
I was very excited to read this work because of its potential to teach me a great deal about mythology, but found that it was a total piece of tripe. I felt like Campbell was trying too hard to prove his knowledge, which was apparent in the great diversity of myths referenced in the work, but he failed to logically plan the layout of the text. I can understand the overall layout of the text, but it didn't work on the chapter/section scale. It was so disorganized that I often felt like a member of a disaster cleanup team assigned to salvage and rebuild a town. Horribly hacked and detached bits of myth were scattered all over the place seemingly stochastically. If he would have picked a few myths and analyzed each using his methods and arguments, the book would have flowed much better and I would have enjoyed it much more.

I found myself wondering, “Who is the audience of the book?” At times, it was written for colleges and students of mythology and philosophy, but in other passages it was written for those with a rudimentary knowledge of mythology.

Another complaint I had was that Campbell often cited dreams in his arguments about the “monomyth,” but did little to tie those dreams to the myths or topics he was discussing in the section. It seemed like he felt obliged to include psychoanalytical elements to stay cool with his contemporaries.

Overall, like a very painful endurance race, I feel like a better man having read it. I did glean out some mythology tidbits and was able to follow where Campbell was trying to lead me. Unfortunately, the experience hurt needlessly.

While I’m still on my soapbox, I would just like to mention how lame it is when authors add figures to their work, but don’t reference (or even mention) them in their text.
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Lucas
Mar 04, 2012rated it it was amazing
I first read this book when I was 19. It saved both my step-father's ass and my soul.

I have always been a fan of mythology and folklore, and Joseph Campbell pulls tales from many cultures to show how mankind has virtually the same heroic journey tucked away in its subconscious regardless of culture or even time. He also explains the importance of myths, which is something lots of people can't grasp because they can't get over the fact the stories aren't real. Myths were never meant to be facts and would lose their significance if they were. They are meant to be sources of inspiration that a person of flesh can turn to in order to face a harsh reality with courage.

Here's how this book saved a soul and an ass. There's a chapter that at first made no sense to me called "The Hero as Emperor and as Tyrant." My problem with the chapter was that heroes aren't tyrants; they slay tyrants! Shortly after reading this my drunken violent step-father got out of line with me.

I had pushed back against my step-father for years, but suddenly this fight went very different. There was a point where we both realized that if I kept fighting it would be a massacre. He retreated, and I wanted to give chase. I wanted to make him pay for the tiny child he terrorized for years (and that kid's sister too). Then the chapter suddenly made sense. So I beat him to a pulp, then what? Is violence now my new answer to everything? Perhaps I could figure out an appropriate line to draw where I would turn away from reason and towards force....maybe. The more I thought about it, the more It seemed like I would only end up supplanting one monster with a bigger stronger one.

I then realized that if I was going to prove my true strength, I would have to abandon the easy (and probably satisfying) task of crushing my step-father and instead take on the more daunting task or conquering my own rage. So I let him get away, though I did spend the next six months shooting him looks that made him clear out of my vicinity.

I seem to have a weird kind of luck in that I often end up reading the book I need at the time I need it, and this is a perfect example. But personal anecdotes aside, I found the entire book enjoyable
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Algernon (Darth Anyan)
Jul 23, 2013rated it it was amazing
Shelves: 2014

Full circle, from the tomb of the womb to the womb of the tomb, we come: an ambiguous, enigmatical incursion into a world of solid matter that is soon to melt from us, like the substance of a dream. And, looking back at what had promised to be our own unique, unpredictable, and dangerous adventure, all we find in the end is such a series of standard metamorphoses as men and women have undergone in every quarter of the world, in all recorded centuries, and under every odd disguise of civilization.

Joseph Campbell engages here in a comprehensive comparative study of these 'standard metamorphoses', looking at the primary sources coming from all corners of the world and throughout the ages of mankind. From the earliest Assirian records to the dream trances of Siberian shamans, through the labyrinth of the Indian pantheon and into the lofty halls of the Greek Olympos, equally fascinated by the African tribal oral traditions as by the Native American legends or the cosmologies of the Pacific Islands. He sees the common threads linking Buddha to Jesus, Tezeus to Viracocha or to Cuchulain : the personalities (heroes, prophets, gods, role models) that stand out of the crowd and define what it means to be human, to be alive, to transcend the limits of the flesh.

Campbell calls his conclusion of the study The Monomyth : the fundamental structure that appears in different disguises in all the stories, mythologies, fables and folktales he comes across:

My hope is that a comparative elucidation may contribute to the perhaps not-quite-desperate cause of those forces that are working in the present world for unification, not in the name of some ecclesiastical or political empire, but in the sense of human mutual understanding. As we are told in the Vedas: "Truth is one, the sages speak of it by many names."

An extremely ambitious project that is hampered in the eyes of the modern reader by too heavy a reliance on the Freudian psychanalysis instruments so popular at the time the book was written. But I can find no fault in the humanist impulse that started the project of mapping the elements that unite us instead of those that divide us and leads us to wars or alienation or simply despair at trying to make sense of the modern world. Plus, the encyclopaedic richness of Campbell's bibliographic sources - folklore, historical, literary, philosophical, psychological - leaves the reader in awe of the monumental scope and the thoroughness in compiling all the disparate elements into a coherent theory. The beauty of his approach to the study of mythology is that the same modern reader doesn't feel obliged to accept Campbell's conclusions as dogma: they can and should be challenged in the parts that are forced or poorly argumented (again that Freudian bias). The body of evidence Campbell collected remains the main argument for calling this a seminal work that influenced a plethora of scientists and artists in the aftermath of the first publication. (see the wikipedia article for an impressive list of emulators)

The wonder is that the characteristic efficacy to touch and inspire deep creative centers dwells in the smallest nursery fairy tale - as the flavor of the ocean is contained in a droplet or the whole mystery of life within the egg of a flea.

What is the monomyth? According to Campbell it is like a mathematical equation using mythical symbols to describe the hero's journey: the cyclical , universal quest of the human soul for understanding the meaning of life, for transcendence, for renewal of the forces of life in face of the abbyss. Not everybody is capable of making the journey, and this is where the hero comes in: he is the chosen one, the special person who hears the call for adventure, sets out on the perilous road to knowledge, wins the ultimate prize (slays the dragon, marries the fair maid, steals the fire from the gods, reaches Nirvana) and comes back with the boon to offer it back to his fellow men.

It has always been the prime function of mythology and rite to supply the symbols that carry the human spirit forward, in counteraction to those constant human fantasies that tend to tie it back. In fact, it may well be that the very high incidence of neuroticism among ourselves follows from the decline of such effective spiritual aid.

While the main initial appeal for me was in the examples Campbell uses to illustrate the different stages of the hero journey, looking through the numerous bookmarks I made while reading it turns out that what I am left with at the end of the lecture is the connection the author makes to the world of today, arguing that myths and symbols are as important now as they were in antiquity. He quotes Arnold J Toynbee in support of the thesis, before engaging in some speculations of his own:

Schism in the soul, schism in the body social, will not be resolved by any scheme of return to the good old days (archaism), or by programs guaranteed to render an ideal projected future (futurism), or even by the most realistic, hardheaded work to weld together again the deteriorating elements. Only birth can conquer death - the birth, not of the old thing again, but of something new. Within the soul, within the body social, there must be - if we are to experience long survival - a continuous "recurrence of birth" (palingenesis) to nullify the unremitting recurrences of death. (from Arnold J Toynbee - A study of History, 1934)

Campbell's is not the first study of camparative religion and myth that I've read (Mircea Eliade still stand at the top of my list) and this book failed to convince me from time to time in the soundness of his arguments, but what I really appreciated in him is the clarity of the exposition, erudite without turning populist, the passion and often the lyrical turn of phrase that evidence his deep rooted humanism:

The multitude of men and women choose the less adventurous way of comparatively unconscious civic and tribal routines. But these seekers, too, are saved - by virtue of the inherited symbolic aids of society, the rites of passage, the grace-yielding sacraments, given to mankind of old by the redeemers and handed down through millenniums. It is only those who know neither an inner call nor an outer doctrine whose plight truly is desperate; that is to say, most of us today, in this labyrinth without and within the heart. Alas, where is the guide, that fond virgin, Ariadne, to supply the simple clue that will give us the courage to face the Minotaur, and the means then to find our way to freedom when the monster has been met and slain?

Witnessing the degradation of the popular religions (Gott ist Tot spracht Zarathustra) and philosophies after two devastating world wars, the rise in psychological problems for the stressed out modern man, Campbell tries to reinvent, to breath new life into the old symbols, to push back against the terror, the unknown, the void. This is the role reserved for the hero, in his guise as the redeemer and custodian of rites of passage:

Beyond them is darkness, the unknown, and danger; just as beyond the parental watch is danger to the infant and beyond the protection of his society danger to the member of the tribe. The usual person is more than content, he is even proud, to remain within the indicated bounds, and popular belief gives him every reason to fear so much as the first step into the unexplored. Thus the sailors of the bold vessels of Columbus, breaking the horizon of the medieval mind - sailing, as they thought, into the boundless ocean of immortal being that surrounds the cosmos, like an endless mythological serpent biting its tail - had to be cozened and urged on like children, because of their fear of the fabled leviathans, mermaids, dragon kings, and other monsters of the deep.

Campbell's symbols allow for integration of all road openers, creators/gods and spiritual fathers into the structure of the monomyth. They are the force that oppose stagnation / death with renewal / life. The heroes are the ones who answer yes to the call of adventure:

Whether small or great, and no matter what stage or grade of life, the call rings up the curtain, always, on a mystery of transfiguration - a rite, or moment, of spiritual passage, which, when complete, amounts to a dying and a birth. The familiar life horizon has been outgrown; the old concepts, ideals, and emotional patterns no longer fit; the time for the passing of a treshold is at hand.

And again, the author reflects on how these myths and legends are still relevant to us:

The psychological dangers through which earlier generations were guided by the symbols and spiritual exercises of their mythological and religious inheritance, we today (in so far as we are unbelievers, or, if believers, in so far as our inherited beliefs fail to represent the real problems of contemporary life) must face alone, or, at best, with only tentative, impromptu, and not often effective guidance. This is our problem as modern, "enlightened" individuals, for whom all gods and devils have been rationalized out of existence.

I feel I am rambling in my notes, so before I continue I must point out that Campbell is organized to the point of fussiness, where every item of his equation has its proper place and order that must be followed like the above mentioned Ariadne's thread to the logical conclusion he wants to make. This is an aspect of the book that raised some questions to me about cherry-picking the evidence and choosing only those examples that best describe the monomyth while ignoring the counter-arguments. Sticking to the path also fragments the myths and legends used in the text, leaving me with bts and pieces of the stories where I wished I could read the whole shebang. So let's see once again what are the stages of the journey:

I - Departure : the chosen one is called on the quest. He is reluctant to leave his old life behind but supernatural forces push him on, usually in the form of a wise on who offers aid or advice. The road to the magical realm is barred and the gate is usually guarded by a monster. After crossin the gate to the new realm, the hero is beset by adversity (Campbell calls this chapter The Belly of the Whale )

II - Initiation : The hero must pass a series of dangerous tests in order to prove his worth. ( "Or do ye think that ye shall enter the Garden of Bliss without such trials as came to those who passed away before you?" - Quoran - 2:214 ) He meets with the rulers of the supernatural world (Earth Mother, Temptress, Father figure) and then he receives knowledge and powers of his own. This chapter was particularly drowned in Freudian imagery and rants about the power of the subconscious.

III - Return : a hero who keeps all these boons to himself (wisdom, immortality, treasure, etc) is not much use to the rest of the world, so he must return to the lower plane of existence. Not all of them do though, choosingto remain detached in their bliss, gazing at their navels or whatnot. Others get chased by the Gods of the magical world who would like to keep the secrets of life the universe and everything to themselves. The road back is a riddled with perils as the one leading in. But the succesful hero is now master of both worlds (what Mircea Eliade calls The Sacred and The Profane) and gifts his hard won knowledge to the people left behind.

IV - The Keys : the author tries to identify the nature of the treasure the hero has brough back from his journey. the individual has only to discover his own position with reference to this general human formula (the monomyth?), and let it then assist him past his restricting walls. Who and where are his ogres? Those are the reflections of the unsolved enigmas of his own humanity. What are his ideals? Those are the symptoms of his grasp of life.

This is only the first part of the book. The second one takes a more metaphysical approach and instead of focusing on the details of the hero journey, chooses a cosmological perspective and looks at the dualities of existence - at something creating out of nothing, at the cycle of the universe reflected in the rhythm of the solar cycle, of the day/night sequence, at birth / growth / death in all that lives. One could say the first part is descriptive / informative and the second speculative / meditative. The sources are the same, with more emphasis on genesis stories and folk tales and less on literary, historical one; the faces of the heroes familiar ones, whether he or she is a warrior, a lover, a wise Emperor or an abusive tyrant, a saint or mystic redeemer. I'm afraid I'm running out of space for a regular Goodreads review, and I have so many quotes saved that I don't want to lose, so I finish with them and maybe return for more comments at a later date:

In most mythologies, the images of mercy and grace are rendered as vividly as those of justice and wrath, so that a balance is maintained, and the heart is buoyed rather than scourged along its way.
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Humor is the touchstone of the truly mythological as distinct from the more literal-minded and sentimental theological mood.
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About Viracocha and the creation of the world: The essence of time is flux, dissolution of the momentarily existent; and the essence of life is time. In his mercy, in his love for the forms of time, this demiurgic man of men yields countenance to the sea of pangs; but in his full awareness of what he is doing, the seminal waters of life that he gives are the tears of his eyes.
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Stars, darkness, a lamp, a phantom, dew, a bubble
A dream, a flash of lightning, and a cloud:
Thus we should look upon all that was made.

Vajracchedika, 32 (Sacred Books of the East, transl. Max Muller)
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a message against intolerance, an appeal to consider the bigger picture instead of the little slice inherited by your group: Instead of clearing his own heart the zealot tries to clear the world. The laws of the City of God are applied only to his in-group (tribe, church, nation, class, or what not) while the fire of a perpetual holy war is hurled (with good conscience, and indeed a sense of pious service) against whatever uncircumsiced, barbarian, heathen, "native" or alien people happens to occupy the position of neighbor.
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why all religions are worthy of study: Symbols are only the 'vehicles' of communication; they must not be mistaken for the final term, the 'tenor', of their reference. No matter how attractive or impressive they may seem, they remain but convenient means, accomodated to the understanding. Hence the personality of personalities of God - whether represented in trinitarian, dualistic or unitarian terms, in polytheistic, monotheistic or henotheistic terms, pictorially or verbally, as documented fact or apocalyptic vision - no one should attempt to interpret as the final thing. The problem of the theologian is to keep his symbol translucent, so that it may not block out the very light it is supposed to convey.
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an argument against stagnation: A god outgrown becomes immediately a life-destroying demon. The form has to be broken and the energies released.
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about the need to belong: The problem of mankind today is precisely the opposite to that of men in the comparatively stable periods of those great coordinating mythologies which now are known as lies. Then all meaning was in the group, in the great anonymous forms, none in the self-expressive individual; today no meaning is in the group - none in the world: all is in the individual.
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the joy of diversity: It is necessary for men to understand, and be able to see, that through various symbols the same redemption is revealed. "Truth is one," we read in the Vedas; "the sages call it by many names." A single song is being inflected through all the colorations of the human choir. General propaganda for one or another of the local solutions, therefore, is superfluous - or much rather, a menace. The way to become human is to learn to recognize the lineaments of God in all of the wonderful modulations of the face of man.
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and finally, the true need for the hero: It is not society that is to guide and save the creative hero, but precisely the reverse. And so every one of us shares the supreme ordeal - carries the cross of the redeemer - not in the bright moments of his tribe's great victories, but in the silences of his personal despair.
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Ahmad Sharabiani
The Hero With a Thousand Faces, Joseph Campbell

Campbell explores the theory that mythological narratives frequently share a fundamental structure. The similarities of these myths brought Campbell to write his book in which he details the structure of the monomyth.

He calls the motif of the archetypal narrative, "the hero's adventure". In a well-known quote from the introduction to The Hero with a Thousand Faces, Campbell summarizes the monomyth: 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.

تاریخ نخستین خوانش نسخه فارسی روز ششم ماه فوریه سال 2008میلادی

عنوان: ق‍ه‍رم‍ان‌ ه‍زار‌چ‍ه‍ره‌؛ نویسنده ج‍وزف‌ ک‍م‍پ‍ب‍ل‌؛ ب‍رگ‍ردان‌ ش‍ادی‌ خ‍س‍روپ‍ن‍اه‌؛ م‍ش‍ه‍د: گ‍ل‌ آف‍ت‍اب‌‏‫، 1385؛ در 399ص؛ شابک 9645599644؛ چاپ دوم 1386؛ چاپ سوم 1387؛ چاپ چهارم 1389؛ چاپ پنجم 1392؛ شابک 9789645599643؛ ‬ چاپ ششم 1394؛ چاپ هشتم 1396؛ موضوع روانکاوی - اسطوره شناسی - از نویسندگان ایالات متحده آمریکا - سده 20م

قهرمان هزارچهره، مشهورترین و بهترین اثر «جوزف کمپبل»، نویسنده و اسطوره ‌شناس مشهور «آمریکایی» است، که سیر و سفر درونی انسان را، در قالب قهرمانان اسطوره ‌ای، پی می‌گیرد، و با بررسی قصه‌ ها، و افسانه‌ های جهان، نشان می‌دهد، که چطور این کهن الگو، در هر زمان و مکان، خود را در قالبی نو، تکرار می‌کند، تا انسان را، به سیر و سفر درونی، و شناخت نفس، راهنمایی کند

کمپبل در این کتاب، بسیاری از نمادهای مذهبی، و اسطوره‌ ای جهان را، بررسی کرده، و با در کنار هم قرار دادن آنها، نشان داده است، که چطور افسانه‌ ها، و نمادهای اقوام، و مذاهب گوناگون، معادل و موازی یکدیگرند؛ او در میان این شباهت‌ها، به دنبال راستیهای بنیادین می‌گردد، که انسان در طول هزاران سال زندگی، بر روی کره‌ ی خاکی، براساس آن‌ها، روزگار خود را، بگذرانده است؛ به راستی این کتاب، جزو کتابهای کلاسیک و رسمی رشته های «ادبیات»، «اسطوره شناسی» و «فیلمنامه نویسی» است، و کارگردانان مشهور «هالیوود»، تحت تاثیر آن، با بازسازی اسطوره های کهن، در کالبدی نو، پرداخته اند؛ «جنگ ستارگان»، «ارباب حلقه ها»، «ماتریکس» و...؛ از این کتاب الهام گرفته اند؛

یکی از کسانیکه بسیار تحت تاثیر این کتاب قرار گرفته؛ «جرج لوکاس»، فیلمساز نامدار «آمریکایی» است، ایشان فیلمنامه های «جنگهای ستاره ای» را، بر اساس ساختار روایت اسطوره ای «قهرمان هزار چهره»، که در این کتاب توضیح داده میشود، بنا کرده اند؛ نخستین بار این کتاب، در سال 1949میلادی به چاپ رسید، و بارها تجدید چاپ شد؛ بعدها در سالهای پایانی دهه هشتاد میلادی، «کریستوفر ووگلر، فیلنامه نویس» با الهام از «قهرمان هزار چهره» کتاب «سفر نویسنده» را، بنگاشتند، که در آن، تمامی تئوریهای ارائه شده، توسط «کمپبل» را، برای نوشتن فیلمنامه روزآمد و بهنگام کردند

تاریخ بهنگام رسانی 18/11/1399هجری خورشیدی؛ ا. شربیانی
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Morgan Blackledge
Aug 09, 2017rated it it was amazing
Mythology helps us experience the rapture of being alive. I think this is the central takeaway from Campbell's work.

Modern academics have (absolutely correctly) criticized Campbell's work, e.g. his broad sweeping assertions and shaky (at best) methodologies. But on this basic point Campbell was (and maybe still is) nonpareil.

You can dismiss Campbell on many levels. But on this one point. I don't think you can easily dismiss him or this impactful text - which is pretty much his master work.

I know people get overly reverent about the man and his work, and overlook a lot of flaws that make serious scholars scream. So yeah. I get it. It's a 70 year old text. It's got some flaws and the field has progressed.

But I think you can throw the baby out with the bath water if you don't get that one key insight - mythology helps people experience the rapture of being alive.

If you fail to get that one -really important- takeaway, you have wasted your time reading this text. Start over from page one. Watch the Bill Moyers PBS thing. Do what ever you have to do. But get that nugget.

Beyond that, I actually don't have anything more to contribute to the volumes of rightful praise this book has already received.

But I can feel an overwrought, really pretentious, crabby, and potentially even dickish rant bubbling up from the depths of my soul.

So consider yourself warned.

I'm ranting because another GR user gave this brilliant text a 1 star review, which is not so special, but 43 other GR users liked that POS review, and it is now ranked at #3 based on said likes.

1 star?

Really?

1 star......like 1 star.

For real......

You (and 43 other geniuses) think Joseph Campbell's utterly original, ground breaking, world changing, comprehensive comparative survey of world mythology, and subsequent discovery of a meta-framework (i.e. the mono-myth) that underlies just about all of the worlds mythological systems, and the additional absolutely astounding achievement of integrating this insight with Jungian psychoanalytic theory, written in the 1940's, on a manual typewriter, and researched in books, before google, and adopted by popular culture and highbrow literature alike in the form of the 'heroes journey', which provided the basis for films like Star Wars, and well, just about every other piece of modern story telling......that's a 1 star achievement.

Hmmmm....

That same GR user refered to Campbell's staggeringly important text as 'a total piece of tripe'.

Wow......

Total tripe?

Meaning, nonsense, or rubbish.

That seems a little ungenerous.

So what are the reviewer's (let's call him Lone Star) complaints?

I'm assuming it's is a dude because....we'll....1 star.

Anyway....

Lone Star quips that [Joseph Campbell] 'failed to logically plan the layout of the text' and didn't 'work on the the chapter section/scale.'

That same user gave an (admittedly cool af looking) graphic novel 5 stars.

Ok.

So would Lone Star have given Campbells masterwork an additional star or two if it were limited to 30 pages, and illustrated with Manga style pictures and word bubbles?

Would Lone Star also complain that Henry Ford's (first ever) 1913 assembly line was crappy because it only produced 1 car every 12 hours?

Would Lone Star assert that Mozart's music has too many notes, or that Lincoln's Gettysburg address is too long, and should have been a TED talk, or that Shakespeare says old sounding words and should talk normal, or that the Sistine Chapel would be better if it was animated, or that the film adaptation of Streetcar Named Desire should have been in color, or that the sermon on the mount should have been shortened to 140 characters and dropped on Twitter?

Get it?

I just provided an ironic list of examples of important works of culture, and then gave intentionally banal critiques of them, based on a comical (fictional) misunderstanding of the historical context of the work, that would have to be considered in order to to properly understand it.

Get it?

LOL right?

Anyway.......

Lone Star continues: [Campbell's peerless work of scholarship contained] 'horribly hacked and detached bits of myth, scattered all over the place seemingly stochastically.'

Stochastically?

Touché......

Did Lone Star select that little zinger of a word from the thesaurus feature on the smart phone he was working on?

Maybe he originally put random, but looked it up and picked 'stochastically' because it sounded smarter.

Damn!

To bad Campbell didn't just do that kind of thing when he wrote his visionary text that changed everything.

Anyway......

Here's a couple of quotes from another DWM that express my feelings far better than I myself am able:

"Talent hits a target no one else can hit. Genius hits a target no one else can see."
-Arthur Schopenhauer

"or appreciate."
-Me

"Every man takes the limits of his own vision for the limits of the world."
-Arthur Schopenhauer

"particularly college undergrads."
-Me

So how lame is it for a 50 year old man (me) to troll a random 20 year old on GR.

Exceedingly lame.

Admittedly.

But 1 star, and 43 likes?

Dude!!!!!
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Nandakishore Mridula
Ever since I was a child, I have been fascinated by the similarities between Hindu myths and Greek myths. Then during my early twenties, I discovered Campbell and said to myself: "Voila! Somebody has noticed it before me!" Ever since then, I've been a Campbell fan.

The structure of the monomyth is so prevalent in many hero cycles, fairy tales, children's stories and popular films so it's a wonder how anybody can miss it. Campbell does an exhaustive job of digging through various mythologies of the world and bringing the similarities to light.

Whether you are a serious student of myth or just an ordinary person who loves stories, this book will hold you spellbound.
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