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丕賱亘胤賱 亘兀賱賮 賵噩賴
賱賯丿 丕夭丿賴乇鬲 兀爻丕胤賷乇 丕賱亘卮乇賷丞 賵兀賱賴賲鬲 丕賱廿賳爻丕賳 毓賱賶 賲丿丕乇 鬲胤賵乇賴丕 賰賱 賲丕 兀亘丿毓 丨鬲賶 丕賱丌賳 毓賱賶 賲爻鬲賵賶 丕賱賮丕毓賱賷丞 丕賱廿賳爻丕賳賷丞 貙 爻賵丕亍 賲賳賴丕 丕賱噩爻丿賷丞 賵丕賱乇賵丨賷丞 貙 賵匕賱賰 廿賱賶 丕賱賲丿賶 丕賱匕賷 賷鬲爻毓 廿賱賷賴 丕賱毓丕賱賲 貙 賵賮賷 丕賱兀夭賲賳丞 噩賲賷毓丕賸 賵賮賷 禺囟賲 丕賱卮乇賵胤 丕賱賲禺鬲賱賮丞 . 賵賷賲賰賳 丕賱賯賵賱 丿賵賳賲丕 賲亘丕賱睾丞 廿賳 丕賱兀爻丕胤賷乇 鬲賲孬賱 丕賱乇丕賯丿 丕賱爻賾乇賷 丕賱匕賷 鬲鬲丿賮賯 毓亘乇賴 胤丕賯丕鬲 丕賱賰賵賳 丕賱鬲賷 賱丕 鬲購爻鬲賳賮丿 賱鬲氐亘 賮賷 馗丕賴乇丕鬲 丕賱孬賯丕賮丞 丕賱亘卮乇賷丞 . 廿賳 丕賱兀丿賷丕賳 貙 丕賱賮賱爻賮丕鬲 貙 賵丕賱賮賳賵賳 貙 賵兀卮賰丕賱 丕賱鬲噩賲毓丕鬲 丕賱亘丿丕卅賷丞 賵丕賱賲鬲丨囟乇丞 貙 賵丕賱丕賰鬲卮丕賮丕鬲 丕賱兀賵賱賶 賱賱毓賱賲 賵丕賱鬲賯賳賷丞 賵丨鬲賶 丕賱兀丨賱丕賲 匕丕鬲賴丕 丕賱鬲賷 鬲禺賱賯 賲毓賳賶 賱賱賳賵賲 貙 賰賱 匕賱賰 廿賳賲丕 賷禺鬲賲乇 賵賷鬲氐丕毓丿 賲賳 丕賱賱丨賳 丕賱爻丨乇賷 賱賱兀爻胤賵乇丞 .
399 pages, Paperback
First published June 10, 1949
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About the author
Joseph Campbell
405听books5,884听followersJoseph Campbell 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. 鈥�
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.鈥�
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.鈥�
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. 鈥�
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.鈥�
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.鈥�
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September 27, 2021
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鈥檚 Divine Aesthetic is divine because it is 鈥渢he 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.鈥� 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鈥檛.
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 鈥榤erely鈥� fictional and therefore not a component of reality. The word disguises the fact that these stories are 鈥渢he secret opening through which the inexhaustible energies of the cosmos pour into human cultural manifestation.鈥� These are not conventional moral tales; they are stories of adventure, 鈥渦npredictable, and dangerous adventure,鈥� 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 鈥榗ongregation鈥� 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: 鈥渇rom 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.鈥� It is perhaps that point of melting, which is really our extinction, that each ritualistic step in the hero鈥檚 journey is meant to emphasize. Dust to dust, but between the two is something exciting. Or at least we are entitled to 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鈥檚 Divine Aesthetic is divine because it is 鈥渢he 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.鈥� 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鈥檛.
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 鈥榤erely鈥� fictional and therefore not a component of reality. The word disguises the fact that these stories are 鈥渢he secret opening through which the inexhaustible energies of the cosmos pour into human cultural manifestation.鈥� These are not conventional moral tales; they are stories of adventure, 鈥渦npredictable, and dangerous adventure,鈥� 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 鈥榗ongregation鈥� 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: 鈥渇rom 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.鈥� It is perhaps that point of melting, which is really our extinction, that each ritualistic step in the hero鈥檚 journey is meant to emphasize. Dust to dust, but between the two is something exciting. Or at least we are entitled to hope.
March 30, 2008
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, 鈥淲ho is the audience of the book?鈥� 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 鈥渕onomyth,鈥� 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鈥檓 still on my soapbox, I would just like to mention how lame it is when authors add figures to their work, but don鈥檛 reference (or even mention) them in their text.
I found myself wondering, 鈥淲ho is the audience of the book?鈥� 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 鈥渕onomyth,鈥� 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鈥檓 still on my soapbox, I would just like to mention how lame it is when authors add figures to their work, but don鈥檛 reference (or even mention) them in their text.
March 8, 2008
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 鈥� 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 鈥榡udge鈥� the worthiness of your script. And they鈥檒l say things like, 鈥淪o, I wonta hear what you got to say, where鈥檚 the supernatural assistance from a female divine for gad sake 鈥� ay, where鈥檚 dat at?鈥� 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鈥檓 very glad I鈥檝e 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 鈥� 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 鈥榯he rejection of the call鈥� come into my mind constantly while reading or watching films 鈥� the rejection of the call to adventure is a clich茅 in so many texts 鈥� as it is in life. And that is the point, Campbell doesn鈥檛 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 鈥� 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?
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 鈥榡udge鈥� the worthiness of your script. And they鈥檒l say things like, 鈥淪o, I wonta hear what you got to say, where鈥檚 the supernatural assistance from a female divine for gad sake 鈥� ay, where鈥檚 dat at?鈥� 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鈥檓 very glad I鈥檝e 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 鈥� 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 鈥榯he rejection of the call鈥� come into my mind constantly while reading or watching films 鈥� the rejection of the call to adventure is a clich茅 in so many texts 鈥� as it is in life. And that is the point, Campbell doesn鈥檛 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 鈥� 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?
February 11, 2020
賴匕賴 賴賷 丕賱賯乇丕亍丞 丕賱孬丕賳賷丞 賱賭 賰鬲丕亘 "丕賱亘胤賱 亘兀賱賮 賵噩賴" 賵兀毓鬲賯丿 亘兀賳 丿丕賮毓賷 賴匕賴 丕賱賲乇丞 賴賵 兀賳 兀乇賶 廿賳 賰丕賳 賯丕丿乇賸丕 毓賱賶 丕賱丕丨鬲賮丕馗 亘爻丨乇賴 亘毓丿 賰賱 賴匕賷 丕賱爻賳賵丕鬲.
賯乇兀鬲購賴 賱兀賵賱 賲乇丞 賯亘賱 兀賰孬乇 賲賳 15 爻賳丞貙 賵兀匕賰乇 卮毓賵乇賷 亘丕賱賳卮賵丞 兀賲丕賲 丕賰鬲卮丕賮 丕賱鬲卮丕亘賴丕鬲 丕賱兀夭賱賷丞 賮賷 賰賱 丨賰丕賷丞 卮毓亘賷丞貙 賵賰賱 兀爻胤賵乇丞貙 賵賰賱 禺乇丕賮丞貙 賵賰賱 賯氐丞 賲賯丿爻丞. 廿賳 賰賱 兀卮賰丕賱 丕賱賯氐 鬲睾乇賮購 毓賱賶 賲丕 賷亘丿賵 賲賳 丕賱賲毓賷賳 賳賮爻賴. 丕賱匕丕賰乇丞 丕賱兀夭賱賷丞 亘丨爻亘 丿丕乇賷賵卮 卮丕賷睾丕賳貙 丕賱賱丕 賵毓賷 丕賱噩賲毓賷 亘丨爻亘 賷賵賳睾.
賷卮乇賾丨 噩賵夭賷賮 賰丕賲亘賱 丕賱孬賷賲丕鬲 丕賱賲鬲賰乇乇丞 賮賷 賰賱 鬲賱賰 丕賱賲乇賵賷丕鬲 (亘毓囟賴丕 賷鬲噩丕賵夭 毓賲乇賴丕 丌賱丕賮 丕賱爻賳賵丕鬲) 賱賰賷 賳氐賱 廿賱賶 賮賰乇丞 賲乇賷丨丞 賲賮丕丿賴丕 賵丨丿丞 丕賱鬲噩乇亘丞 丕賱乇賵丨賷丞 毓賳丿 丕賱廿賳爻丕賳. 兀賳 丕賱廿賳爻丕賳 賵丕丨丿 賮賷 賰賱 賲賰丕賳貙 賵賱兀賳賴 賵丕丨丿貨 亘兀賱賮 賵噩賴貙 賮丕賱丨賰丕賷丞 丿丕卅賲丕 賴賷 丕賱丨賰丕賷丞 賳賮爻賴丕貙 賵亘兀賱賮 賵噩賴賺 兀賷囟賸丕.
丕賱賰鬲丕亘 睾賳賷 亘丕賱兀賲孬賱丞貙 亘賱 賲鬲禺賲. 賷鬲鬲亘毓 鬲賯丕賱賷丿 丕賱爻乇丿 丕賱賰丕賲賳丞 賮賷 丕賱賲孬賷賵賱賵噩賷丕鬲 賵丕賱賯氐氐 丕賱卮毓亘賷貙 賵賷噩丕丿賱 亘兀賳賾 丕賱兀爻胤賵乇丞 賲氐賳賵毓丞 賲賳 丕賱賲丕丿丞 賳賮爻賴丕 丕賱鬲賷 氐購賳毓鬲 賲賳賴丕 兀丨賱丕賲賳丕.
賷卮賷乇 丕賱賰鬲丕亘貙 毓賱賶 賳丨賵賺 睾賷乇 賲亘丕卮乇貙 廿賱賶 胤乇賷賯 乇賵丨丕賳賷 賷爻賱賰賴 賰賱 廿賳爻丕賳 賮賷 氐丿丿 賵賱丕丿丞 噩丿賷丿丞貙 賵賮賷 氐丿丿 鬲噩丕賵夭 兀賳丕賴購. 廿賳 賯氐丞 丕賱亘胤賱 賴賷 賮賷 丨賯賷賯鬲賴丕 賯氐丞 丕賱廿賳爻丕賳貙 賵賯丿 賷馗賳 丕賱亘毓囟 亘爻匕丕噩丞 兀賳 賵馗賷賮丞 丕賱賲噩鬲賲毓 賴賷 兀賳 賷賴賷卅賰 賱賱氐丨賵丞 丕賱乇賵丨賷丞貙 賱賰賳 丕賱賵丕賯毓 兀賳 丕賱毓賰爻 賴賵 丕賱氐丨賷丨貙 廿賷賯丕馗 丕賱毓丕賱賲貙 丕賱賵噩賵丿 亘卮賰賱賺 賮丕毓賱 賮賷 丕賱賲噩鬲賲毓貙 賷毓賳賷 兀賳 鬲賰賵賳 丕賱卮禺氐 丕賱匕賷 賷賯乇毓 丕賱兀噩乇丕爻貙 賱丕 兀賳 鬲賰賵賳 丕賱噩乇爻.
兀丨亘亘鬲 丕賱鬲乇噩賲丞 噩丿賸丕貨 兀賳賷賯丞 賵賳馗賷賮丞貙 睾賷乇 賲鬲賰賱賮丞 亘丕賱賲乇丞貙 賵丕賱賴賵丕賲卮 噩丕亍鬲 亘丕賱賯丿乇 丕賱賱丕夭賲.
賯乇兀鬲購賴 賱兀賵賱 賲乇丞 賯亘賱 兀賰孬乇 賲賳 15 爻賳丞貙 賵兀匕賰乇 卮毓賵乇賷 亘丕賱賳卮賵丞 兀賲丕賲 丕賰鬲卮丕賮 丕賱鬲卮丕亘賴丕鬲 丕賱兀夭賱賷丞 賮賷 賰賱 丨賰丕賷丞 卮毓亘賷丞貙 賵賰賱 兀爻胤賵乇丞貙 賵賰賱 禺乇丕賮丞貙 賵賰賱 賯氐丞 賲賯丿爻丞. 廿賳 賰賱 兀卮賰丕賱 丕賱賯氐 鬲睾乇賮購 毓賱賶 賲丕 賷亘丿賵 賲賳 丕賱賲毓賷賳 賳賮爻賴. 丕賱匕丕賰乇丞 丕賱兀夭賱賷丞 亘丨爻亘 丿丕乇賷賵卮 卮丕賷睾丕賳貙 丕賱賱丕 賵毓賷 丕賱噩賲毓賷 亘丨爻亘 賷賵賳睾.
賷卮乇賾丨 噩賵夭賷賮 賰丕賲亘賱 丕賱孬賷賲丕鬲 丕賱賲鬲賰乇乇丞 賮賷 賰賱 鬲賱賰 丕賱賲乇賵賷丕鬲 (亘毓囟賴丕 賷鬲噩丕賵夭 毓賲乇賴丕 丌賱丕賮 丕賱爻賳賵丕鬲) 賱賰賷 賳氐賱 廿賱賶 賮賰乇丞 賲乇賷丨丞 賲賮丕丿賴丕 賵丨丿丞 丕賱鬲噩乇亘丞 丕賱乇賵丨賷丞 毓賳丿 丕賱廿賳爻丕賳. 兀賳 丕賱廿賳爻丕賳 賵丕丨丿 賮賷 賰賱 賲賰丕賳貙 賵賱兀賳賴 賵丕丨丿貨 亘兀賱賮 賵噩賴貙 賮丕賱丨賰丕賷丞 丿丕卅賲丕 賴賷 丕賱丨賰丕賷丞 賳賮爻賴丕貙 賵亘兀賱賮 賵噩賴賺 兀賷囟賸丕.
丕賱賰鬲丕亘 睾賳賷 亘丕賱兀賲孬賱丞貙 亘賱 賲鬲禺賲. 賷鬲鬲亘毓 鬲賯丕賱賷丿 丕賱爻乇丿 丕賱賰丕賲賳丞 賮賷 丕賱賲孬賷賵賱賵噩賷丕鬲 賵丕賱賯氐氐 丕賱卮毓亘賷貙 賵賷噩丕丿賱 亘兀賳賾 丕賱兀爻胤賵乇丞 賲氐賳賵毓丞 賲賳 丕賱賲丕丿丞 賳賮爻賴丕 丕賱鬲賷 氐購賳毓鬲 賲賳賴丕 兀丨賱丕賲賳丕.
賷卮賷乇 丕賱賰鬲丕亘貙 毓賱賶 賳丨賵賺 睾賷乇 賲亘丕卮乇貙 廿賱賶 胤乇賷賯 乇賵丨丕賳賷 賷爻賱賰賴 賰賱 廿賳爻丕賳 賮賷 氐丿丿 賵賱丕丿丞 噩丿賷丿丞貙 賵賮賷 氐丿丿 鬲噩丕賵夭 兀賳丕賴購. 廿賳 賯氐丞 丕賱亘胤賱 賴賷 賮賷 丨賯賷賯鬲賴丕 賯氐丞 丕賱廿賳爻丕賳貙 賵賯丿 賷馗賳 丕賱亘毓囟 亘爻匕丕噩丞 兀賳 賵馗賷賮丞 丕賱賲噩鬲賲毓 賴賷 兀賳 賷賴賷卅賰 賱賱氐丨賵丞 丕賱乇賵丨賷丞貙 賱賰賳 丕賱賵丕賯毓 兀賳 丕賱毓賰爻 賴賵 丕賱氐丨賷丨貙 廿賷賯丕馗 丕賱毓丕賱賲貙 丕賱賵噩賵丿 亘卮賰賱賺 賮丕毓賱 賮賷 丕賱賲噩鬲賲毓貙 賷毓賳賷 兀賳 鬲賰賵賳 丕賱卮禺氐 丕賱匕賷 賷賯乇毓 丕賱兀噩乇丕爻貙 賱丕 兀賳 鬲賰賵賳 丕賱噩乇爻.
兀丨亘亘鬲 丕賱鬲乇噩賲丞 噩丿賸丕貨 兀賳賷賯丞 賵賳馗賷賮丞貙 睾賷乇 賲鬲賰賱賮丞 亘丕賱賲乇丞貙 賵丕賱賴賵丕賲卮 噩丕亍鬲 亘丕賱賯丿乇 丕賱賱丕夭賲.
March 6, 2012
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
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
September 7, 2015
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 欧宝娱乐 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.
February 7, 2021
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.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮 賳爻禺賴 賮丕乇爻蹖 乇賵夭 卮卮賲 賲丕賴 賮賵乇蹖賴 爻丕賱 2008賲蹖賱丕丿蹖
毓賳賵丕賳: 賯鈥嵸団€嵷辟呪€嵷з嗏€� 賴鈥嵷藏ж扁€屭嗏€嵸団€嵷辟団€屫� 賳賵蹖爻賳丿賴 噩鈥嵸堌操佲€� 讴鈥嵸呪€嵸锯€嵷ㄢ€嵸勨€屫� 亘鈥嵷壁€嵷必з嗏€� 卮鈥嵷ж屸€� 禺鈥嵷斥€嵷辟堎锯€嵸嗏€嵷з団€屫� 賲鈥嵷粹€嵸団€嵷�: 诏鈥嵸勨€� 丌賮鈥嵷€嵷жㄢ€屸€忊€� 1385貨 丿乇 399氐貨 卮丕亘讴 9645599644貨 趩丕倬 丿賵賲 1386貨 趩丕倬 爻賵賲 1387貨 趩丕倬 趩賴丕乇賲 1389貨 趩丕倬 倬賳噩賲 1392貨 卮丕亘讴 9789645599643貨 鈥� 趩丕倬 卮卮賲 1394貨 趩丕倬 賴卮鬲賲 1396貨 賲賵囟賵毓 乇賵丕賳讴丕賵蹖 - 丕爻胤賵乇賴 卮賳丕爻蹖 - 丕夭 賳賵蹖爻賳丿诏丕賳 丕蹖丕賱丕鬲 賲鬲丨丿賴 丌賲乇蹖讴丕 - 爻丿賴 20賲
賯賴乇賲丕賳 賴夭丕乇趩賴乇賴貙 賲卮賴賵乇鬲乇蹖賳 賵 亘賴鬲乇蹖賳 丕孬乇 芦噩賵夭賮 讴賲倬亘賱禄貙 賳賵蹖爻賳丿賴 賵 丕爻胤賵乇賴 鈥屫促嗀ж� 賲卮賴賵乇 芦丌賲乇蹖讴丕蹖蹖禄 丕爻鬲貙 讴賴 爻蹖乇 賵 爻賮乇 丿乇賵賳蹖 丕賳爻丕賳 乇丕貙 丿乇 賯丕賱亘 賯賴乇賲丕賳丕賳 丕爻胤賵乇賴 鈥屫й屫� 倬蹖 賲蹖鈥屭屫必� 賵 亘丕 亘乇乇爻蹖 賯氐賴鈥� 賴丕貙 賵 丕賮爻丕賳賴鈥� 賴丕蹖 噩賴丕賳貙 賳卮丕賳 賲蹖鈥屫囏� 讴賴 趩胤賵乇 丕蹖賳 讴賴賳 丕賱诏賵貙 丿乇 賴乇 夭賲丕賳 賵 賲讴丕賳貙 禺賵丿 乇丕 丿乇 賯丕賱亘蹖 賳賵貙 鬲讴乇丕乇 賲蹖鈥屭┵嗀� 鬲丕 丕賳爻丕賳 乇丕貙 亘賴 爻蹖乇 賵 爻賮乇 丿乇賵賳蹖貙 賵 卮賳丕禺鬲 賳賮爻貙 乇丕賴賳賲丕蹖蹖 讴賳丿
讴賲倬亘賱 丿乇 丕蹖賳 讴鬲丕亘貙 亘爻蹖丕乇蹖 丕夭 賳賲丕丿賴丕蹖 賲匕賴亘蹖貙 賵 丕爻胤賵乇賴鈥� 丕蹖 噩賴丕賳 乇丕貙 亘乇乇爻蹖 讴乇丿賴貙 賵 亘丕 丿乇 讴賳丕乇 賴賲 賯乇丕乇 丿丕丿賳 丌賳賴丕貙 賳卮丕賳 丿丕丿賴 丕爻鬲貙 讴賴 趩胤賵乇 丕賮爻丕賳賴鈥� 賴丕貙 賵 賳賲丕丿賴丕蹖 丕賯賵丕賲貙 賵 賲匕丕賴亘 诏賵賳丕诏賵賳貙 賲毓丕丿賱 賵 賲賵丕夭蹖 蹖讴丿蹖诏乇賳丿貨 丕賵 丿乇 賲蹖丕賳 丕蹖賳 卮亘丕賴鬲鈥屬囏ж� 亘賴 丿賳亘丕賱 乇丕爻鬲蹖賴丕蹖 亘賳蹖丕丿蹖賳 賲蹖鈥屭必� 讴賴 丕賳爻丕賳 丿乇 胤賵賱 賴夭丕乇丕賳 爻丕賱 夭賳丿诏蹖貙 亘乇 乇賵蹖 讴乇賴鈥� 蹖 禺丕讴蹖貙 亘乇丕爻丕爻 丌賳鈥屬囏ж� 乇賵夭诏丕乇 禺賵丿 乇丕貙 亘诏匕乇丕賳丿賴 丕爻鬲貨 亘賴 乇丕爻鬲蹖 丕蹖賳 讴鬲丕亘貙 噩夭賵 讴鬲丕亘賴丕蹖 讴賱丕爻蹖讴 賵 乇爻賲蹖 乇卮鬲賴 賴丕蹖 芦丕丿亘蹖丕鬲禄貙 芦丕爻胤賵乇賴 卮賳丕爻蹖禄 賵 芦賮蹖賱賲賳丕賲賴 賳賵蹖爻蹖禄 丕爻鬲貙 賵 讴丕乇诏乇丿丕賳丕賳 賲卮賴賵乇 芦賴丕賱蹖賵賵丿禄貙 鬲丨鬲 鬲丕孬蹖乇 丌賳貙 亘丕 亘丕夭爻丕夭蹖 丕爻胤賵乇賴 賴丕蹖 讴賴賳貙 丿乇 讴丕賱亘丿蹖 賳賵貙 倬乇丿丕禺鬲賴 丕賳丿貨 芦噩賳诏 爻鬲丕乇诏丕賳禄貙 芦丕乇亘丕亘 丨賱賯賴 賴丕禄貙 芦賲丕鬲乇蹖讴爻禄 賵...貨 丕夭 丕蹖賳 讴鬲丕亘 丕賱賴丕賲 诏乇賮鬲賴 丕賳丿貨
蹖讴蹖 丕夭 讴爻丕賳蹖讴賴 亘爻蹖丕乇 鬲丨鬲 鬲丕孬蹖乇 丕蹖賳 讴鬲丕亘 賯乇丕乇 诏乇賮鬲賴貨 芦噩乇噩 賱賵讴丕爻禄貙 賮蹖賱賲爻丕夭 賳丕賲丿丕乇 芦丌賲乇蹖讴丕蹖蹖禄 丕爻鬲貙 丕蹖卮丕賳 賮蹖賱賲賳丕賲賴 賴丕蹖 芦噩賳诏賴丕蹖 爻鬲丕乇賴 丕蹖禄 乇丕貙 亘乇 丕爻丕爻 爻丕禺鬲丕乇 乇賵丕蹖鬲 丕爻胤賵乇賴 丕蹖 芦賯賴乇賲丕賳 賴夭丕乇 趩賴乇賴禄貙 讴賴 丿乇 丕蹖賳 讴鬲丕亘 鬲賵囟蹖丨 丿丕丿賴 賲蹖卮賵丿貙 亘賳丕 讴乇丿賴 丕賳丿貨 賳禺爻鬲蹖賳 亘丕乇 丕蹖賳 讴鬲丕亘貙 丿乇 爻丕賱 1949賲蹖賱丕丿蹖 亘賴 趩丕倬 乇爻蹖丿貙 賵 亘丕乇賴丕 鬲噩丿蹖丿 趩丕倬 卮丿貨 亘毓丿賴丕 丿乇 爻丕賱賴丕蹖 倬丕蹖丕賳蹖 丿賴賴 賴卮鬲丕丿 賲蹖賱丕丿蹖貙 芦讴乇蹖爻鬲賵賮乇 賵賵诏賱乇貙 賮蹖賱賳丕賲賴 賳賵蹖爻禄 亘丕 丕賱賴丕賲 丕夭 芦賯賴乇賲丕賳 賴夭丕乇 趩賴乇賴禄 讴鬲丕亘 芦爻賮乇 賳賵蹖爻賳丿賴禄 乇丕貙 亘賳诏丕卮鬲賳丿貙 讴賴 丿乇 丌賳貙 鬲賲丕賲蹖 鬲卅賵乇蹖賴丕蹖 丕乇丕卅賴 卮丿賴貙 鬲賵爻胤 芦讴賲倬亘賱禄 乇丕貙 亘乇丕蹖 賳賵卮鬲賳 賮蹖賱賲賳丕賲賴 乇賵夭丌賲丿 賵 亘賴賳诏丕賲 讴乇丿賳丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 18/11/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
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.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮 賳爻禺賴 賮丕乇爻蹖 乇賵夭 卮卮賲 賲丕賴 賮賵乇蹖賴 爻丕賱 2008賲蹖賱丕丿蹖
毓賳賵丕賳: 賯鈥嵸団€嵷辟呪€嵷з嗏€� 賴鈥嵷藏ж扁€屭嗏€嵸団€嵷辟団€屫� 賳賵蹖爻賳丿賴 噩鈥嵸堌操佲€� 讴鈥嵸呪€嵸锯€嵷ㄢ€嵸勨€屫� 亘鈥嵷壁€嵷必з嗏€� 卮鈥嵷ж屸€� 禺鈥嵷斥€嵷辟堎锯€嵸嗏€嵷з団€屫� 賲鈥嵷粹€嵸団€嵷�: 诏鈥嵸勨€� 丌賮鈥嵷€嵷жㄢ€屸€忊€� 1385貨 丿乇 399氐貨 卮丕亘讴 9645599644貨 趩丕倬 丿賵賲 1386貨 趩丕倬 爻賵賲 1387貨 趩丕倬 趩賴丕乇賲 1389貨 趩丕倬 倬賳噩賲 1392貨 卮丕亘讴 9789645599643貨 鈥� 趩丕倬 卮卮賲 1394貨 趩丕倬 賴卮鬲賲 1396貨 賲賵囟賵毓 乇賵丕賳讴丕賵蹖 - 丕爻胤賵乇賴 卮賳丕爻蹖 - 丕夭 賳賵蹖爻賳丿诏丕賳 丕蹖丕賱丕鬲 賲鬲丨丿賴 丌賲乇蹖讴丕 - 爻丿賴 20賲
賯賴乇賲丕賳 賴夭丕乇趩賴乇賴貙 賲卮賴賵乇鬲乇蹖賳 賵 亘賴鬲乇蹖賳 丕孬乇 芦噩賵夭賮 讴賲倬亘賱禄貙 賳賵蹖爻賳丿賴 賵 丕爻胤賵乇賴 鈥屫促嗀ж� 賲卮賴賵乇 芦丌賲乇蹖讴丕蹖蹖禄 丕爻鬲貙 讴賴 爻蹖乇 賵 爻賮乇 丿乇賵賳蹖 丕賳爻丕賳 乇丕貙 丿乇 賯丕賱亘 賯賴乇賲丕賳丕賳 丕爻胤賵乇賴 鈥屫й屫� 倬蹖 賲蹖鈥屭屫必� 賵 亘丕 亘乇乇爻蹖 賯氐賴鈥� 賴丕貙 賵 丕賮爻丕賳賴鈥� 賴丕蹖 噩賴丕賳貙 賳卮丕賳 賲蹖鈥屫囏� 讴賴 趩胤賵乇 丕蹖賳 讴賴賳 丕賱诏賵貙 丿乇 賴乇 夭賲丕賳 賵 賲讴丕賳貙 禺賵丿 乇丕 丿乇 賯丕賱亘蹖 賳賵貙 鬲讴乇丕乇 賲蹖鈥屭┵嗀� 鬲丕 丕賳爻丕賳 乇丕貙 亘賴 爻蹖乇 賵 爻賮乇 丿乇賵賳蹖貙 賵 卮賳丕禺鬲 賳賮爻貙 乇丕賴賳賲丕蹖蹖 讴賳丿
讴賲倬亘賱 丿乇 丕蹖賳 讴鬲丕亘貙 亘爻蹖丕乇蹖 丕夭 賳賲丕丿賴丕蹖 賲匕賴亘蹖貙 賵 丕爻胤賵乇賴鈥� 丕蹖 噩賴丕賳 乇丕貙 亘乇乇爻蹖 讴乇丿賴貙 賵 亘丕 丿乇 讴賳丕乇 賴賲 賯乇丕乇 丿丕丿賳 丌賳賴丕貙 賳卮丕賳 丿丕丿賴 丕爻鬲貙 讴賴 趩胤賵乇 丕賮爻丕賳賴鈥� 賴丕貙 賵 賳賲丕丿賴丕蹖 丕賯賵丕賲貙 賵 賲匕丕賴亘 诏賵賳丕诏賵賳貙 賲毓丕丿賱 賵 賲賵丕夭蹖 蹖讴丿蹖诏乇賳丿貨 丕賵 丿乇 賲蹖丕賳 丕蹖賳 卮亘丕賴鬲鈥屬囏ж� 亘賴 丿賳亘丕賱 乇丕爻鬲蹖賴丕蹖 亘賳蹖丕丿蹖賳 賲蹖鈥屭必� 讴賴 丕賳爻丕賳 丿乇 胤賵賱 賴夭丕乇丕賳 爻丕賱 夭賳丿诏蹖貙 亘乇 乇賵蹖 讴乇賴鈥� 蹖 禺丕讴蹖貙 亘乇丕爻丕爻 丌賳鈥屬囏ж� 乇賵夭诏丕乇 禺賵丿 乇丕貙 亘诏匕乇丕賳丿賴 丕爻鬲貨 亘賴 乇丕爻鬲蹖 丕蹖賳 讴鬲丕亘貙 噩夭賵 讴鬲丕亘賴丕蹖 讴賱丕爻蹖讴 賵 乇爻賲蹖 乇卮鬲賴 賴丕蹖 芦丕丿亘蹖丕鬲禄貙 芦丕爻胤賵乇賴 卮賳丕爻蹖禄 賵 芦賮蹖賱賲賳丕賲賴 賳賵蹖爻蹖禄 丕爻鬲貙 賵 讴丕乇诏乇丿丕賳丕賳 賲卮賴賵乇 芦賴丕賱蹖賵賵丿禄貙 鬲丨鬲 鬲丕孬蹖乇 丌賳貙 亘丕 亘丕夭爻丕夭蹖 丕爻胤賵乇賴 賴丕蹖 讴賴賳貙 丿乇 讴丕賱亘丿蹖 賳賵貙 倬乇丿丕禺鬲賴 丕賳丿貨 芦噩賳诏 爻鬲丕乇诏丕賳禄貙 芦丕乇亘丕亘 丨賱賯賴 賴丕禄貙 芦賲丕鬲乇蹖讴爻禄 賵...貨 丕夭 丕蹖賳 讴鬲丕亘 丕賱賴丕賲 诏乇賮鬲賴 丕賳丿貨
蹖讴蹖 丕夭 讴爻丕賳蹖讴賴 亘爻蹖丕乇 鬲丨鬲 鬲丕孬蹖乇 丕蹖賳 讴鬲丕亘 賯乇丕乇 诏乇賮鬲賴貨 芦噩乇噩 賱賵讴丕爻禄貙 賮蹖賱賲爻丕夭 賳丕賲丿丕乇 芦丌賲乇蹖讴丕蹖蹖禄 丕爻鬲貙 丕蹖卮丕賳 賮蹖賱賲賳丕賲賴 賴丕蹖 芦噩賳诏賴丕蹖 爻鬲丕乇賴 丕蹖禄 乇丕貙 亘乇 丕爻丕爻 爻丕禺鬲丕乇 乇賵丕蹖鬲 丕爻胤賵乇賴 丕蹖 芦賯賴乇賲丕賳 賴夭丕乇 趩賴乇賴禄貙 讴賴 丿乇 丕蹖賳 讴鬲丕亘 鬲賵囟蹖丨 丿丕丿賴 賲蹖卮賵丿貙 亘賳丕 讴乇丿賴 丕賳丿貨 賳禺爻鬲蹖賳 亘丕乇 丕蹖賳 讴鬲丕亘貙 丿乇 爻丕賱 1949賲蹖賱丕丿蹖 亘賴 趩丕倬 乇爻蹖丿貙 賵 亘丕乇賴丕 鬲噩丿蹖丿 趩丕倬 卮丿貨 亘毓丿賴丕 丿乇 爻丕賱賴丕蹖 倬丕蹖丕賳蹖 丿賴賴 賴卮鬲丕丿 賲蹖賱丕丿蹖貙 芦讴乇蹖爻鬲賵賮乇 賵賵诏賱乇貙 賮蹖賱賳丕賲賴 賳賵蹖爻禄 亘丕 丕賱賴丕賲 丕夭 芦賯賴乇賲丕賳 賴夭丕乇 趩賴乇賴禄 讴鬲丕亘 芦爻賮乇 賳賵蹖爻賳丿賴禄 乇丕貙 亘賳诏丕卮鬲賳丿貙 讴賴 丿乇 丌賳貙 鬲賲丕賲蹖 鬲卅賵乇蹖賴丕蹖 丕乇丕卅賴 卮丿賴貙 鬲賵爻胤 芦讴賲倬亘賱禄 乇丕貙 亘乇丕蹖 賳賵卮鬲賳 賮蹖賱賲賳丕賲賴 乇賵夭丌賲丿 賵 亘賴賳诏丕賲 讴乇丿賳丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 18/11/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
February 15, 2019
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?
罢辞耻肠丑茅......
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!!!!!
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?
罢辞耻肠丑茅......
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!!!!!
July 16, 2018
It's hard for me to know how to feel about The Hero with a Thousand Faces. Joseph Campbell's construction-and-deconstruction of the "monomyth" has hugely influenced storytelling, and rightly earned its central position in any discussion of story structure and cultural analysis. At the same time, it is replete with Jung- and Freud-infused speculation on psychology. Nonsense, really. I would fault the book less for these long tracts of commentary if they weren't stated so definitively. Here's an example:
and...
This kind of fiddle faddle is excruciating for me to read (or have read to me: I listened to the audiobook version and then perused a physical copy). I want to absorb what is being said at the same time I am resisting the formation of wasted neural connections in my head. I found myself regularly exclaiming, "You couldn't possibly know that!" It's hard to say which percentage of the book is useless blather. Perhaps a quarter? The rest of the book proves more useful...
My favorite pieces were recountings of the myths themselves: Joseph Campbell's expertise was in collecting myths from around the world, and it was fascinating to hear wide-ranging stories from Native American, Indian, Chinese, Norse, African and other cultures. As far as I could discern from previous knowledge and works cited, he's a reliable narrator when it comes to sharing this class of information. I found myself wanting to re-read Sir James George Frazer's The Golden Bough, which I recall having similar cultural depth without the added speculation... though that recollection is roughly 16 years old.
The business end of Hero with a Thousand Faces is the monomyth, or "Hero's journey". The hero, pulled away from the home he knows, faces adventure and crises that he ultimately conquers, then returns home with wisdom and mastery of both worlds. Campbell fleshes this structure out with various steps and figures along the way: the call to adventure, refusal of the call, supernatural aid, crossing of the first threshold, the belly of the whale, meeting with the goddess, the woman as temptress, apotheosis, the magic flight, and so on. The idea is that this monomyth is the one story that all religions and myths encapsulate, and that singular story speaks deeply on an archetypal level to us as human beings. While he can provide a couple examples from various cultures for each stage of his journey, I would point out that no one myth perfectly matches the complete template. In fact, many of the myths are simply bad storytelling, and that is never allowed as a possibility in this book. Many elements of these ancient tales are absurd and lazy (the dropped comb becomes a mountain... Why? What?), and I think Campbell often misses that we had no Rotten Tomatoes back in the day to weed out the "Delgo"s and "Battlefield Earth"s of the past. Storytelling is a skill that has been refined and improved over the centuries, and there's a reason fairy tales must be "Disneyfied" in retelling: the original stories are unbelievable, uncompelling, and have terrible messages. This is a sign of progress. The monomyth is a useful amalgamation, however, in that it has directly inspired so many of our modern stories that even more closely match the template: Star Wars, Lord of the Rings, The Matrix, The Lion King, Harry Potter, and so on. The Hero's Journey is a fantastic way to organize a structure, and it is truly compelling. Perhaps it has become a bit too pervasive, but that's another discussion and not Joseph Campbell's fault.
Campbell is not confused about the veracity of the stories themselves: he knows there were no giants who were slain and whose various body parts formed the mountains, rivers, and clouds. The point he is making is that the fact we have these stories points to elements of human psychology. I agree with this, and yet take exception to some of the interpretations. There is a long section devoted to the "Cosmogonic cycle" (a phrase you will never encounter so many times as you will in this book), the over-arching story of the birth-and-death of the universe. This is another example of a story that does indeed play out in myth. While there is likely an inborn urge to explain where all things come from and how they will eventually be destroyed and reborn... I can't help but note none of those stories have borne out in actuality.
It's worth reading The Hero with a Thousand Faces, but do so with a healthy dose of perspective handy. Joseph Campbell is a fascinating figure, and I'm sure he would have been a delight to talk to. The audiobook is a good way to go: there are three narrators who take turns, and that helps separate the breaks between commentary and the myths themselves.
...They are sent on a long journey to neighboring and distant clans, imitative of the mythological wanderings of the phallic ancestors. In this way, "within" the Great Father Snake as it were, they are introduced to an interesting new object world that compensates them for their loss of the mother; and the male phallus, instead of the female breast, is made the central point (axis mundi) of the imagination. The culminating instruction of the long series of rites is the release of the boy's own hero-penis from the protection of its foreskin, through the frightening and painful attack upon it of the circumciser: [He goes on to quote a Dr. Roheim] "What is cut off the boy is really the mother... The glans in the foreskin is the child in the mother."
and...
Modern romance, like Greek tragedy, celebrates the mystery of dismemberment, which is life in time.
This kind of fiddle faddle is excruciating for me to read (or have read to me: I listened to the audiobook version and then perused a physical copy). I want to absorb what is being said at the same time I am resisting the formation of wasted neural connections in my head. I found myself regularly exclaiming, "You couldn't possibly know that!" It's hard to say which percentage of the book is useless blather. Perhaps a quarter? The rest of the book proves more useful...
My favorite pieces were recountings of the myths themselves: Joseph Campbell's expertise was in collecting myths from around the world, and it was fascinating to hear wide-ranging stories from Native American, Indian, Chinese, Norse, African and other cultures. As far as I could discern from previous knowledge and works cited, he's a reliable narrator when it comes to sharing this class of information. I found myself wanting to re-read Sir James George Frazer's The Golden Bough, which I recall having similar cultural depth without the added speculation... though that recollection is roughly 16 years old.
The business end of Hero with a Thousand Faces is the monomyth, or "Hero's journey". The hero, pulled away from the home he knows, faces adventure and crises that he ultimately conquers, then returns home with wisdom and mastery of both worlds. Campbell fleshes this structure out with various steps and figures along the way: the call to adventure, refusal of the call, supernatural aid, crossing of the first threshold, the belly of the whale, meeting with the goddess, the woman as temptress, apotheosis, the magic flight, and so on. The idea is that this monomyth is the one story that all religions and myths encapsulate, and that singular story speaks deeply on an archetypal level to us as human beings. While he can provide a couple examples from various cultures for each stage of his journey, I would point out that no one myth perfectly matches the complete template. In fact, many of the myths are simply bad storytelling, and that is never allowed as a possibility in this book. Many elements of these ancient tales are absurd and lazy (the dropped comb becomes a mountain... Why? What?), and I think Campbell often misses that we had no Rotten Tomatoes back in the day to weed out the "Delgo"s and "Battlefield Earth"s of the past. Storytelling is a skill that has been refined and improved over the centuries, and there's a reason fairy tales must be "Disneyfied" in retelling: the original stories are unbelievable, uncompelling, and have terrible messages. This is a sign of progress. The monomyth is a useful amalgamation, however, in that it has directly inspired so many of our modern stories that even more closely match the template: Star Wars, Lord of the Rings, The Matrix, The Lion King, Harry Potter, and so on. The Hero's Journey is a fantastic way to organize a structure, and it is truly compelling. Perhaps it has become a bit too pervasive, but that's another discussion and not Joseph Campbell's fault.
Campbell is not confused about the veracity of the stories themselves: he knows there were no giants who were slain and whose various body parts formed the mountains, rivers, and clouds. The point he is making is that the fact we have these stories points to elements of human psychology. I agree with this, and yet take exception to some of the interpretations. There is a long section devoted to the "Cosmogonic cycle" (a phrase you will never encounter so many times as you will in this book), the over-arching story of the birth-and-death of the universe. This is another example of a story that does indeed play out in myth. While there is likely an inborn urge to explain where all things come from and how they will eventually be destroyed and reborn... I can't help but note none of those stories have borne out in actuality.
It's worth reading The Hero with a Thousand Faces, but do so with a healthy dose of perspective handy. Joseph Campbell is a fascinating figure, and I'm sure he would have been a delight to talk to. The audiobook is a good way to go: there are three narrators who take turns, and that helps separate the breaks between commentary and the myths themselves.
May 27, 2015
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.
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.
February 10, 2010
While being the first book to explore the interconnections between cultures across the globe through mythology, Campbell's use of Freudian psychology does not do his thesis much credit. He also appears to be taking some of the "myths" that I am familiar with a little out of context so that they fit as proof to some of his points. While the thoughts contained within this book are interesting and provoke a good conversation about the interconnections of all human cultures, the foundation with which Campbell built up his book is questionable.
April 26, 2023
The Hero of a Thousand Faces by Joseph Campbell was a difficult read. A lot of comparisons between the ancient Gods.
As a dyslexic person, I found this book quite diverse to finish.
As a dyslexic person, I found this book quite diverse to finish.
May 7, 2016
The Monomyth
賭" 丕賱亘胤賱 亘兀賱賮 賵噩賿賴". . 賯氐丞賹 賵丕丨丿丞 鬲購乇賵賶 亘兀賱賮賽 卮賰賱賺貙
賷賳胤賱賯 賰丕賲亘賱 賲賳 乇丐賷丞 賮乇賵賷丿 賱賱鬲毓丕賱賷賲 丕賱丿賷賳賷丞 賵兀賳賴丕 丨乇賮鬲 賵鬲賳賰乇鬲 亘氐賵乇丞 賲賳賴噩賷丞 毓亘乇 丕賱夭賲賳貙
賵賲賳 孬賲 賮賴賵 賷乇賷丿 兀賳 賷賵囟丨 丕賱丨賯丕卅賯 丕賱賲禺亘兀丞 禺賱賮 賰孬賷乇 賲賳 丕賱賳賲丕匕噩 丕賱丿賷賳賷丞 賵丕賱兀賲孬賱丞 丕賱賲孬賷賵賱賵噩賷丞 毓亘乇 丕賱鬲丕乇賷禺 . .
賲鬲禺匕賸丕 兀丿丕鬲賷賳 兀爻丕爻賷鬲賷賳 毓亘乇 丿乇丕爻鬲賴 賵賴賲丕 廿鬲賯丕賳 賮賰 丕賱乇賲賵夭 賵毓賱賲 賳賮爻 丕賱賱丕賵毓賷 賵賲賳 丨爻賳 丕賱丨馗 兀賳賷 賯亘賱 賯乇丕亍鬲賷 賱賱賰鬲丕亘 賰賳鬲 賯乇兀鬲購
毓賱賲 丕賱賳賮爻 丕賱鬲丨賱賷賱賷
賱賰丕乇賱 賷賵賳噩貙 賵賯丿 爻丕毓丿賳賷 賰孬賷乇丕 賮賷 賮賴賲 丕賱賰鬲丕亘 . .
丕賱禺胤賵丞 丕賱孬丕賳賷丞 丕賱鬲賷 賷鬲亘毓賴丕 賰丕賲亘賱 賴賷 噩賲毓 丕賱賯氐氐 丕賱卮毓亘賷丞 賵丕賱兀爻丕胤賷乇 賲賳 丨囟丕乇丕鬲 丕賱毓丕賱賲 賵噩毓賱 丕賱乇賲賵夭 鬲鬲賰賱賲 毓賳 賳賮爻賴丕.
賭 毓賳丕氐乇 (丕賱兀爻胤賵乇丞 賵丨賷丿丞 丕賱丕鬲噩丕賴) 賴賷 賳馗乇賷丞 賰丕賲亘賱 丕賱鬲賷 丨丕賵賱 兀賳 賷爻鬲禺賱氐賴丕 賲賳 禺賱丕賱 鬲賱賰 丕賱丿乇丕爻丞貙
丿賵乇丞 丨賷丕丞 鬲賱賰 丕賱兀爻胤賵乇丞 賵丕賱鬲賷 鬲乇賵賶 亘兀賱賮 卮賰賱 賵賷亘賯賶 噩賵賴乇賴丕 賵乇賲賵夭賴丕 丕賱丿丕禺賱賷丞 賵丕丨丿丞貙
亘丿亍賸丕 賲賳 乇丨賱丞 賲睾丕賲乇丞 丕賱亘胤賱 丨賷孬 (丕賱賳丿丕亍)貙 賳丿丕亍 丕賱丨賷丕丞 兀賵 賳丿丕亍 丕賱賲賵鬲貙 賳丿丕亍 賲賳 丕賱馗賱丕賲 賵丕賱賲噩賴賵賱
賵氐賵賱賸丕 賱毓鬲亘丞 丕賱賲睾丕賲乇丞 丨賷孬 丨乇丕爻 丕賱賲丿禺賱 賷賲賰賳 賱賱亘胤賱 兀賳 賷賴夭賲賴賲 毓亘乇 賯賵賶 爻丨乇賷丞 兀賵 毓賵賳 禺丕乇噩賷 兀賵 兀賳 賷賲乇 亘爻賱丕賲 兀賵 賷賲夭賯
. . 賱賷丿禺賱 賱賲丕 賵乇丕亍 丕賱毓鬲亘丞 (毓丕賱賲 丕賱賯賵賶 丕賱睾賷亘賷丞) 賱賷賵丕噩賴 丕賱兀禺鬲亘丕乇丕鬲 -賰賲丕 賮賷 噩賱噩丕賲卮 賲孬賱丕-
貙 賷賲賰賳 兀賳 鬲賰賵賳 丕賱賲賰丕賮兀丞 丕鬲丨丕丿 噩賳爻賷 賲毓 丕賱兀賲 丕賱賰賵賳賷丞 兀賵 丕賱毓孬賵乇 毓賱賶 丕賱兀亘 兀賵 鬲兀賱賷賴 丕賱亘胤賱 匕丕鬲賴.
毓賳丕氐乇 丕賱丿賵乇丞 賰孬賷乇丞 丕爻鬲禺賱氐賴丕 賰丕賲亘賱 亘氐賵乇丞 賲賳賴噩賷丞 亘丿賷毓丞 賷賲賰賳 兀賳 鬲賰賵賳 丕賱賯氐丞 鬲丿賵乇 丨賵賱 毓賳氐乇 兀賵 毓賳氐乇賷賳 賲賳 毓賳丕氐乇 丕賱丿賵乇丞
賵賱賰賳 賮賷 丕賱兀禺賷乇 鬲馗賱 賰賱賴丕 鬲噩賱賷丕鬲 賱噩賵賴乇 賵丕丨丿 賰賲丕 賷乇賶 賰丕賲亘賱貙 賰賲丕 兀賳賴 賷爻鬲賯賷 賲賳 賷賵賳噩 賮賰乇丞 兀賳 丕賱兀丨賱丕賲 賲丕 賴賷 廿賱丕 丕賲鬲丿丕丿 賱賱兀爻胤賵乇丞
兀賵 賰賲丕 賷毓亘乇 賴賵 (丕賱兀爻胤賵乇丞 丨賱賲 賱丕卮禺氐賷 賵丕賱丨賱賲 兀爻胤賵乇丞 卮禺氐賷丞) 賭.
丕賱賰鬲丕亘 賲賯爻賲 賱噩夭卅賷賳貙 丕賱兀賵賱 賴賵 賲睾丕賲乇丞 丕賱亘胤賱 賮賷 兀乇亘毓丞 賮氐賵賱 (丕賱賳丿丕亍 - 鬲賱賯賷賳 丕賱兀爻乇丕乇 - 丕賱毓賵丿丞 - 丕賱賲賮丕鬲賷丨)貙賭
丕賱孬丕賳賷 丕賱丿丕卅乇丞 丕賱賰賵賳賷丞 (丕賱賮賷囟 - 丕賱賵賱丕丿丞 賲賳 丕賱毓匕乇丕亍 - 鬲丨賵賱丕鬲 丕賱亘胤賱 - 丕賱丕賳丨賱丕賱)賭
賷鬲鬲亘毓 賰丕賲亘賱 賲卅丕鬲 賲賳 丕賱賯氐氐 賵丕賱兀爻丕胤賷乇 賲丨丕賵賱賸丕 鬲兀賰賷丿 丿乇丕爻鬲賴 賵丕爻鬲禺賱丕丕氐 毓賳丕氐乇賴丕 毓賱賶 胤賵賱 禺胤 丕賱賰鬲丕亘 賱賷禺賱氐 廿賱賶 丕賱賲乇丕丨賱 丕賱賭 17 賱乇丨賱丞 丕賱亘胤賱 賮賷 睾丕賱亘賷丞 丕賱賳爻禺 丕賱兀爻丕爻賷丞 賲賳 乇丨賱丞 丕賱亘胤賱 鬲賰賵賳 丕賱賲乇丕丨賱 12 賵賱賰賳賴丕 鬲夭賷丿 賮賷 亘毓囟 丕賱賳爻禺 賱鬲氐賱 賱賭 17 賲乇丨賱丞
丕賱鬲乇噩賲丞 爻賷卅丞 噩丿賸丕 噩丿賸丕 鬲卮亘賴 鬲乇噩賲丞 丕賱毓賲 噩賵噩賱貙 兀賳鬲賵賷 賯乇丕亍鬲賴 孬丕賳賷丞 亘賱睾鬲賴 賮賯乇丕亍丞 賵丕丨丿丞 賱丕 鬲賰賮賷 兀亘丿賸丕.
賲賲賰賳 丕賱亘賵爻鬲 丿賴 兀賵囟丨 賱賱賲乇丕噩毓丞:
June 26, 2018
This is one of those books which is very difficult to read. Campbell offers mythology examples from all over the world to build his framework. It is a book you need to read slowly to digest it, and read you should - the framework for the hero is important!
August 27, 2016
Myths are essential to our lives because they reveal what is culturally important to us and they flourish via story telling鈥攆rom the oral tradition of yore to the modern bits & gigabytes, one generation passes on its stories to the next & thusly our Collective Unconscious thrives.
Joseph Campbell's stated aim was to "uncover some of the truths disguised for us under the figures of religion and mythology by bringing together a multitude of not-too-difficult examples and letting the ancient meaning become apparent of itself."
He felt that we must learn the grammar of the symbols, and as a key to that mystery considered psychoanalysis the best modern tool to serve as an approach: "The second step will be then to bring together a host of myths and folk tales from every corner of the world, and to let the symbols speak for themselves."
Campbell then presents a multitude of heroic figures through the classic stages of the universal adventure (Monomyth) to reveal "the singleness of the human spirit in its aspirations, powers, vicissitudes, and wisdom."
The Hero of the Monomyth thus assumes thousand faces across religions & cultures, showing universal generic affinities shared by the mythic tradition. It was great reading about Kabbalah, Bhagavad Gita, Buddhism, & Maori poetry often on the same page!
The bibliography here is a sheer pleasure as it'll give you the opportunity to add lots & lots of books & also reveal the vast sweep of Campbell's reading in "mythology, ethnology, folklore, philosophy, psychology, contemporary, medieval, and classical literatures of the West, and religious scriptures of the world."
I read this in preparation for the Barth book & who understands myths & fables better than the great Barth who cut his teeth on the Classics & then celebrated them with his fixation on stories, stories, & still more stories! But the book is delightful & insightful on its own: studying the myths via a psychoanalytic approach based on Freud, & Jung's writings, the representation of mythic traditions in different religions & cultural practices, a presentation of myths across time & space & their application to our lives. There were some howlers though:
I read the Princeton Press' 2004 commemorative edition, I also have the HarperCollins 2010 edition, ( which I think is the latest printing of this book), & I compared the two editions: the latter doesn't have introduction & bibliography & footnotes are gathered at the end of the book so the Princeton one is a preferable choice but better skip the introduction because it's B-B-B, i.e., bland, boring & full of blah blah blah.
This book is pretty exhaustive on the hero's journey though Campbell often points out in the footnotes that Frazer's The Golden Bough gives far more details on the ritualistic aspect of it.
Instead of summarizing the ideas, I'm choosing to share the ToC as the chapter headings & their subsections convey the contents well enough:
Table of Contents
Where are the myths of our modern age?! Why do we keep going back to Greek, Latin & Sanskrit classics for sustenance?! It's revealing that our heroes are the stars of cinema & reality television! It's said that we deserve the politicians we get; perhaps the same could be said of our heroes?
Quote:
"Woman, in the picture language of mythology, represents the totality of what can be known. The hero is the one who comes to know. As he progresses in the slow initiation which is life, the form of the goddess undergoes for him a series of transfigurations: she can never be greater than himself, though she can always promise more than he is yet capable of comprehending. She lures, she guides, she bids him burst his fetters. And if he can match her import, the two, the knower and the known, will be released from every limitation. Woman is the guide to the sublime acme of sensuous adventure . By deficient eyes she is reduced to inferior states; by the evil eye of ignorance she is spellbound to banality and ugliness. But she is redeemed by the eyes of understanding.The hero who can take her as she is, without undue commotion but with the kindness and assurance she requires, is potentially the king, the incarnate god, of her created world." (106)
June 28, 2019
袘邪胁薪邪, 薪芯 屑薪芯谐芯 褋屑懈褋谢械薪邪 泻薪懈谐邪, 写邪胁邪褖邪 褋懈薪褌械蟹懈褉邪薪邪 懈薪褎芯褉屑邪褑懈褟 蟹邪 褋胁械褌芯胁薪懈褌械 屑懈褌芯谢芯谐懈懈 懈 锌褋懈褏芯谢芯谐懈褔械褋泻懈褌械 邪褉褏械褌懈锌懈, 斜邪蟹懈褉邪薪懈 薪邪 褌褟褏.
袘褗谢谐邪褉褋泻芯褌芯 懈蟹写邪薪懈械 械 薪邪 屑薪芯谐芯 胁懈褋芯泻芯 薪懈胁芯 懈 械 懈蟹锌懈锌邪薪芯 写芯 锌芯褋谢械写薪懈褟 写械褌邪泄谢.
袘褗谢谐邪褉褋泻芯褌芯 懈蟹写邪薪懈械 械 薪邪 屑薪芯谐芯 胁懈褋芯泻芯 薪懈胁芯 懈 械 懈蟹锌懈锌邪薪芯 写芯 锌芯褋谢械写薪懈褟 写械褌邪泄谢.
March 21, 2022
I was mistaken.
When I first read this book I couldn鈥檛 get passed the importance put on dreams. It鈥檚 one of the few unreasonable demands I make of books; no dream sequences. Save for The Dream World of The Wheel of Time, where it鈥檚 a realm rather than messages from the subconscious, whenever I come upon a dream sequence in a book, I skim it with a mighty groan of frustration. So when I put the book down all those years ago with a self-righteous indignation, it was because I was not ready for it. And it turned out that the bits about dreams weren鈥檛 emphasized much after the second chapter or so.
The book shows how the various myths of the ancients connect us. The hero鈥檚 journey is repeated again and again throughout history. The changes, the differences, are but societal trappings. They鈥檙e not important, they just dress the heroes, both immortal and mortal, in clothes their society will understand. While I found not a few of the myths to be uncomfortable, confusing, occasionally repulsive, or far too obsessed with numbers, that didn鈥檛 stop me from seeing the thread being pulled through the tapestry of history.
The entire purpose of the book is to prove what I鈥檝e heard the Dali Lama say; all religions are different versions of the same truth. I鈥檒l end with a pair of long-winded quotes. But one caveat before I do; please excuse the anachronistic patriarchal binary language. If you can forgive him his ignorant word choices, the message undergirding it is beautiful.
鈥淚n his life-form the individual is necessarily only a faction and distortion of the total image of man. He is limited either as male or as female; at any given period of his life he again limited as child, youth, mature adult, or ancient; furthermore, in his life-role he is necessarily specialized as a craftsman, tradesman, servant or thief, priest leader, wife, nun or harlot; he cannot be all. Hence the totality - the fullness of man - is not in the separate member, but in the body of the society as a whole; the individual can be only an organ.鈥� (330)
鈥淭he community today is the planet, not the bounded nation; hence the patterns of projected aggression which formerly served to co-ordinate the in-group now can only break it into factions. The national idea, with flag as totem, is today an aggrandizer of the nursery ego, not the annihilator of an infantile situation.鈥� (335)
And to end the book, is the Earthrise over the moon. A beautiful picture to show what he was just talking about. That鈥檚 our community. Not our family, not our friends, not our country. Everyone on Earth.
My original review:
This book joins Atlas Shrugged as the only books I've ever had to put down.
I love mythology. The myths are not only grand examples of storytelling, but they also shed light on their civilizations' way of thinking. From the doomed-to-die Norse Gods to the plagiarist Romans simply renaming Greek Gods, the mythologies across the globe are fascinating on many levels. So a book that traces the similarities between all mythological cannons sounds like a stroke of genius. Too bad Freud's psychoanalytical theories proved to be the thread that wove the tapestry of the story together.
The first chapter begins by presenting dreams as the ultimate source of truth. Ok, fine, I can deal the fact that there's far more going on in dreams than I care to admit. I've never liked dreams, I groan when a character has a dream in a book I'm reading. I shake my head when a movie includes a psychedelic dream sequence. I'm sure the fact that I hardly ever remember my dreams plays a role in my animosity. But that's not the point. The point is, I picked up a book on mythologies and found it was about dreams. So now I've put it down.
When I first read this book I couldn鈥檛 get passed the importance put on dreams. It鈥檚 one of the few unreasonable demands I make of books; no dream sequences. Save for The Dream World of The Wheel of Time, where it鈥檚 a realm rather than messages from the subconscious, whenever I come upon a dream sequence in a book, I skim it with a mighty groan of frustration. So when I put the book down all those years ago with a self-righteous indignation, it was because I was not ready for it. And it turned out that the bits about dreams weren鈥檛 emphasized much after the second chapter or so.
The book shows how the various myths of the ancients connect us. The hero鈥檚 journey is repeated again and again throughout history. The changes, the differences, are but societal trappings. They鈥檙e not important, they just dress the heroes, both immortal and mortal, in clothes their society will understand. While I found not a few of the myths to be uncomfortable, confusing, occasionally repulsive, or far too obsessed with numbers, that didn鈥檛 stop me from seeing the thread being pulled through the tapestry of history.
The entire purpose of the book is to prove what I鈥檝e heard the Dali Lama say; all religions are different versions of the same truth. I鈥檒l end with a pair of long-winded quotes. But one caveat before I do; please excuse the anachronistic patriarchal binary language. If you can forgive him his ignorant word choices, the message undergirding it is beautiful.
鈥淚n his life-form the individual is necessarily only a faction and distortion of the total image of man. He is limited either as male or as female; at any given period of his life he again limited as child, youth, mature adult, or ancient; furthermore, in his life-role he is necessarily specialized as a craftsman, tradesman, servant or thief, priest leader, wife, nun or harlot; he cannot be all. Hence the totality - the fullness of man - is not in the separate member, but in the body of the society as a whole; the individual can be only an organ.鈥� (330)
鈥淭he community today is the planet, not the bounded nation; hence the patterns of projected aggression which formerly served to co-ordinate the in-group now can only break it into factions. The national idea, with flag as totem, is today an aggrandizer of the nursery ego, not the annihilator of an infantile situation.鈥� (335)
And to end the book, is the Earthrise over the moon. A beautiful picture to show what he was just talking about. That鈥檚 our community. Not our family, not our friends, not our country. Everyone on Earth.
My original review:
This book joins Atlas Shrugged as the only books I've ever had to put down.
I love mythology. The myths are not only grand examples of storytelling, but they also shed light on their civilizations' way of thinking. From the doomed-to-die Norse Gods to the plagiarist Romans simply renaming Greek Gods, the mythologies across the globe are fascinating on many levels. So a book that traces the similarities between all mythological cannons sounds like a stroke of genius. Too bad Freud's psychoanalytical theories proved to be the thread that wove the tapestry of the story together.
The first chapter begins by presenting dreams as the ultimate source of truth. Ok, fine, I can deal the fact that there's far more going on in dreams than I care to admit. I've never liked dreams, I groan when a character has a dream in a book I'm reading. I shake my head when a movie includes a psychedelic dream sequence. I'm sure the fact that I hardly ever remember my dreams plays a role in my animosity. But that's not the point. The point is, I picked up a book on mythologies and found it was about dreams. So now I've put it down.
April 1, 2020
"Throughout the inhabited world, in all times and under every circumstance, myths of man have flourished; and they have been the living inspiration of whatever else may have appeared out of the activities of the human body and mind." pg 1
Joseph Campbell presents his, now classic, thesis of comparative mythology and psychology. By examining different myths from all around the world, he outlines the hero's journey. The journey has many different steps and elements to it, but beneath it all, Campbell believes, through all the many stories, the journey is one.
"Furthermore, we have not even to risk the adventure alone; for the heroes of all time have gone before us; the labyrinth is thoroughly known; we have only to follow the thread of the hero-path." pg 18
I think in different circumstances I may have enjoyed this book very much. The topic, comparative mythology, is one I find particularly fascinating. I also like to see how humankind incorporates the mythical not just in our stories, but in the way we set up our societies.
"... every failure to cope with a life situation must be laid, in the end, to a restriction of consciousness. Wars and temper tantrums are the makeshifts of ignorance; regrets are illuminations come too late." pg 101
But honestly, I had trouble focusing because of certain current events. Campbell presents the different myths in pieces organized by his heroic stages rather than in one flowing story. Between the trouble focusing and the bouncing around from myth to myth, this was a difficult read for me. Perhaps I'll try this book again in the future, when my life doesn't feel so off-kilter.
I think it has plenty of treasures to be discovered for spiritual seekers of every kind. It also demonstrates that though we look different and live very different lifestyles, at our soul level, there are many similarities to humanity. We find these similarities mirrored through our stories, our life stages, how we live and how we dream.
"Those who know, not only that the Everlasting lives in them but that what they, and all things, really are is the Everlasting, dwell in the groves of the wish-fulfilling trees, drink the brew of immortality, and listen everywhere to the unheard music of eternal concord. These are the immortals." pg 142
I sincerely hope you all live and dream sweetly, immortals, wherever on the hero's journey you may be: sheltering-in-place or braving the world, and that I will live and dream sweetly, too.
Joseph Campbell presents his, now classic, thesis of comparative mythology and psychology. By examining different myths from all around the world, he outlines the hero's journey. The journey has many different steps and elements to it, but beneath it all, Campbell believes, through all the many stories, the journey is one.
"Furthermore, we have not even to risk the adventure alone; for the heroes of all time have gone before us; the labyrinth is thoroughly known; we have only to follow the thread of the hero-path." pg 18
I think in different circumstances I may have enjoyed this book very much. The topic, comparative mythology, is one I find particularly fascinating. I also like to see how humankind incorporates the mythical not just in our stories, but in the way we set up our societies.
"... every failure to cope with a life situation must be laid, in the end, to a restriction of consciousness. Wars and temper tantrums are the makeshifts of ignorance; regrets are illuminations come too late." pg 101
But honestly, I had trouble focusing because of certain current events. Campbell presents the different myths in pieces organized by his heroic stages rather than in one flowing story. Between the trouble focusing and the bouncing around from myth to myth, this was a difficult read for me. Perhaps I'll try this book again in the future, when my life doesn't feel so off-kilter.
I think it has plenty of treasures to be discovered for spiritual seekers of every kind. It also demonstrates that though we look different and live very different lifestyles, at our soul level, there are many similarities to humanity. We find these similarities mirrored through our stories, our life stages, how we live and how we dream.
"Those who know, not only that the Everlasting lives in them but that what they, and all things, really are is the Everlasting, dwell in the groves of the wish-fulfilling trees, drink the brew of immortality, and listen everywhere to the unheard music of eternal concord. These are the immortals." pg 142
I sincerely hope you all live and dream sweetly, immortals, wherever on the hero's journey you may be: sheltering-in-place or braving the world, and that I will live and dream sweetly, too.
January 10, 2018
蹖讴蹖 丕夭 賲賴賲 鬲乇蹖賳 丌孬丕乇蹖 讴賴 丿乇 賲賵乇丿 丕爻丕胤蹖乇 賵 丕爻胤賵乇賴 卮賳丕爻蹖 賳賵卮鬲賴 卮丿賴 丕爻鬲.
亘丿賵賳 卮讴 蹖讴蹖 丕夭 鬲丕孬蹖乇诏匕丕乇鬲乇蹖賳 讴鬲丕亘 賴丕 亘乇 乇賵蹖 氐賳毓鬲 爻蹖賳賲丕 賵 賴丕賱蹖賵賵丿 讴鬲丕亘 賯賴乇賲丕賳 賴夭丕乇 趩賴乇賴 賳賵卮鬲賴 噩賵夭賮 讴賲倬賱 丕爻鬲.丕蹖賳 讴鬲丕亘 亘賴 賲毓乇賮蹖 賵 丿爻鬲賴 亘賳丿蹖 賯氐賴 賴丕 賵 丕爻胤賵乇賴 賴丕蹖 賲賱賱 賲蹖 倬乇丿丕夭丿 賵 丕夭 亘蹖賳 丌賳賴丕 亘賴 丿賳亘丕賱 蹖丕賮鬲賳 賮乇賲賵賱蹖 亘乇丕蹖 乇賵丕蹖鬲 丿丕爻鬲丕賳 賲蹖 诏乇丿丿.賮乇賲賵賱蹖 讴賴 丕夭 丕亘鬲丿丕 丿乇 賲蹖丕賳 賯亘丕蹖賱 亘丿賵蹖 卮讴賱 诏乇賮鬲賴 賵 賴賲趩賳丕賳 丿乇 丿賳蹖丕蹖 丕賲乇賵夭 賯丿乇鬲 禺賵丿 乇丕 亘乇丕蹖 乇賵丕蹖鬲 丿丕爻鬲丕賳賴丕蹖 卮賵乇丕賳诏蹖夭 丨賮馗 讴乇丿賴 丕爻鬲.
賯賴乇賲丕賳 賴夭丕乇趩賴乇賴 賲卮賴賵乇鬲乇蹖賳 賵 亘賴鬲乇蹖賳 丕孬乇 噩賵夭賮 讴賲倬賱貙 賳賵蹖爻賳丿賴 賵 丕爻胤賵乇賴鈥屫促嗀ж� 賲卮賴賵乇 丌賲乇蹖讴丕蹖蹖 丕爻鬲 讴賴 爻蹖乇 賵 爻賮乇 丿乇賵賳蹖 丕賳爻丕賳 乇丕 丿乇 賯丕賱亘 賯賴乇賲丕賳丕賳 丕爻胤賵乇賴鈥屫й� 倬蹖 賲蹖鈥屭屫必� 賵 亘丕 亘乇乇爻蹖 賯氐賴鈥屬囏� 賵 丕賮爻丕賳賴鈥屬囏й� 噩賴丕賳 賳卮丕賳 賲蹖鈥屫囏� 讴賴 趩胤賵乇 丕蹖賳 讴賴賳 丕賱诏賵 丿乇 賴乇 夭賲丕賳 賵 賲讴丕賳 禺賵丿 乇丕 丿乇 賯丕賱亘蹖 噩丿蹖丿 鬲讴乇丕乇 賲蹖鈥屭┵嗀� 鬲丕 丕賳爻丕賳 乇丕 亘賴 爻蹖乇 賵 爻賮乇 丿乇賵賳蹖 賵 卮賳丕禺鬲 賳賮爻 乇丕賴賳賲丕蹖蹖 讴賳丿.
讴賲倬賱 丿乇 丕蹖賳 讴鬲丕亘 亘爻蹖丕乇蹖 丕夭 賳賲丕丿賴丕蹖 賲匕賴亘蹖 賵 丕爻胤賵乇賴鈥屫й� 噩賴丕賳 乇丕 亘乇乇爻蹖 讴乇丿賴 賵 亘丕 丿乇 讴賳丕乇 賴賲 賯乇丕乇 丿丕丿賳 丌賳賴丕 賳卮丕賳 丿丕丿賴 丕爻鬲 讴賴 趩胤賵乇 丕賮爻丕賳賴鈥屬囏� 賵 賳賲丕丿賴丕蹖 丕賯賵丕賲 賵 賲匕丕賴亘 賲禺鬲賱賮貙 賲毓丕丿賱 賵 賲賵丕夭蹖 蹖讴丿蹖诏乇賳丿. 丕賵 丿乇 賲蹖丕賳 丕蹖賳 卮亘丕賴鬲鈥屬囏� 亘賴 丿賳亘丕賱 丨賯丕蹖賯蹖 亘賳蹖丕丿蹖賳 賲蹖鈥屭必� 讴賴 丕賳爻丕賳 丿乇 胤賵賱 賴夭丕乇丕賳 爻丕賱 夭賳丿诏蹖 亘乇 乇賵蹖 讴乇賴鈥� 禺丕讴蹖 亘乇丕爻丕爻 丌賳鈥屬囏� 乇賵夭诏丕乇 禺賵丿 乇丕 诏匕乇丕賳丿賴 丕爻鬲. 丿乇 丨賯蹖賯鬲 丕蹖賳 讴鬲丕亘 噩夭賵 讴鬲丕亘 賴丕蹖 讴賱丕爻蹖讴 賵 乇爻賲蹖 乇卮鬲賴 賴丕蹖 丕丿亘蹖丕鬲貙 丕爻胤賵乇賴 卮賳丕爻蹖 賵 賮蹖賱賲賳丕賲賴 賳賵蹖爻蹖 丕爻鬲 賵 讴丕乇诏乇丿丕賳丕賳 賲卮賴賵乇 賴丕賱蹖賵賵丿 鬲丨鬲 鬲丕孬蹖乇 丌賳 亘丕 亘丕夭爻丕夭蹖 丕爻胤賵乇賴 賴丕蹖 讴賴賳 丿乇 賯丕賱亘 賳賵 倬乇丿丕禺鬲賴 丕賳丿. 噩賳诏 爻鬲丕乇诏丕賳貙 丕乇亘丕亘 丨賱賯賴 賴丕貙 賲丕鬲乇蹖讴爻 賵... 丕夭 丕蹖賳 讴鬲丕亘 丕賱賴丕賲 诏乇賮鬲賴 丕賳丿.
蹖讴蹖 丕夭 讴爻丕賳蹖 讴賴 亘爻蹖丕乇 鬲丨鬲 鬲丕孬蹖乇 丕蹖賳 讴鬲丕亘 賯乇丕乇 诏乇賮鬲賴 噩乇噩 賱賵讴丕爻 賮蹖賱賲爻丕夭 賲卮賴賵乇 丌賲乇蹖讴丕蹖蹖 丕爻鬲 .丕賵 賮蹖賱賲賳丕賲賴 噩賳诏 賴丕蹖 爻鬲丕乇賴 丕蹖 乇丕 亘乇 丕爻丕爻 爻丕禺鬲丕乇 乇賵丕蹖鬲 丕爻胤賵乇賴 丕蹖 爻賮乇 賯賴乇賲丕賳 讴賴 丿乇 丕蹖賳 讴鬲丕亘 鬲賵囟蹖丨 丿丕丿賴 賲蹖 卮賵丿 亘賳丕 讴乇丿賴 丕爻鬲.
亘丿賵賳 卮讴 蹖讴蹖 丕夭 鬲丕孬蹖乇诏匕丕乇鬲乇蹖賳 讴鬲丕亘 賴丕 亘乇 乇賵蹖 氐賳毓鬲 爻蹖賳賲丕 賵 賴丕賱蹖賵賵丿 讴鬲丕亘 賯賴乇賲丕賳 賴夭丕乇 趩賴乇賴 賳賵卮鬲賴 噩賵夭賮 讴賲倬賱 丕爻鬲.丕蹖賳 讴鬲丕亘 亘賴 賲毓乇賮蹖 賵 丿爻鬲賴 亘賳丿蹖 賯氐賴 賴丕 賵 丕爻胤賵乇賴 賴丕蹖 賲賱賱 賲蹖 倬乇丿丕夭丿 賵 丕夭 亘蹖賳 丌賳賴丕 亘賴 丿賳亘丕賱 蹖丕賮鬲賳 賮乇賲賵賱蹖 亘乇丕蹖 乇賵丕蹖鬲 丿丕爻鬲丕賳 賲蹖 诏乇丿丿.賮乇賲賵賱蹖 讴賴 丕夭 丕亘鬲丿丕 丿乇 賲蹖丕賳 賯亘丕蹖賱 亘丿賵蹖 卮讴賱 诏乇賮鬲賴 賵 賴賲趩賳丕賳 丿乇 丿賳蹖丕蹖 丕賲乇賵夭 賯丿乇鬲 禺賵丿 乇丕 亘乇丕蹖 乇賵丕蹖鬲 丿丕爻鬲丕賳賴丕蹖 卮賵乇丕賳诏蹖夭 丨賮馗 讴乇丿賴 丕爻鬲.
賯賴乇賲丕賳 賴夭丕乇趩賴乇賴 賲卮賴賵乇鬲乇蹖賳 賵 亘賴鬲乇蹖賳 丕孬乇 噩賵夭賮 讴賲倬賱貙 賳賵蹖爻賳丿賴 賵 丕爻胤賵乇賴鈥屫促嗀ж� 賲卮賴賵乇 丌賲乇蹖讴丕蹖蹖 丕爻鬲 讴賴 爻蹖乇 賵 爻賮乇 丿乇賵賳蹖 丕賳爻丕賳 乇丕 丿乇 賯丕賱亘 賯賴乇賲丕賳丕賳 丕爻胤賵乇賴鈥屫й� 倬蹖 賲蹖鈥屭屫必� 賵 亘丕 亘乇乇爻蹖 賯氐賴鈥屬囏� 賵 丕賮爻丕賳賴鈥屬囏й� 噩賴丕賳 賳卮丕賳 賲蹖鈥屫囏� 讴賴 趩胤賵乇 丕蹖賳 讴賴賳 丕賱诏賵 丿乇 賴乇 夭賲丕賳 賵 賲讴丕賳 禺賵丿 乇丕 丿乇 賯丕賱亘蹖 噩丿蹖丿 鬲讴乇丕乇 賲蹖鈥屭┵嗀� 鬲丕 丕賳爻丕賳 乇丕 亘賴 爻蹖乇 賵 爻賮乇 丿乇賵賳蹖 賵 卮賳丕禺鬲 賳賮爻 乇丕賴賳賲丕蹖蹖 讴賳丿.
讴賲倬賱 丿乇 丕蹖賳 讴鬲丕亘 亘爻蹖丕乇蹖 丕夭 賳賲丕丿賴丕蹖 賲匕賴亘蹖 賵 丕爻胤賵乇賴鈥屫й� 噩賴丕賳 乇丕 亘乇乇爻蹖 讴乇丿賴 賵 亘丕 丿乇 讴賳丕乇 賴賲 賯乇丕乇 丿丕丿賳 丌賳賴丕 賳卮丕賳 丿丕丿賴 丕爻鬲 讴賴 趩胤賵乇 丕賮爻丕賳賴鈥屬囏� 賵 賳賲丕丿賴丕蹖 丕賯賵丕賲 賵 賲匕丕賴亘 賲禺鬲賱賮貙 賲毓丕丿賱 賵 賲賵丕夭蹖 蹖讴丿蹖诏乇賳丿. 丕賵 丿乇 賲蹖丕賳 丕蹖賳 卮亘丕賴鬲鈥屬囏� 亘賴 丿賳亘丕賱 丨賯丕蹖賯蹖 亘賳蹖丕丿蹖賳 賲蹖鈥屭必� 讴賴 丕賳爻丕賳 丿乇 胤賵賱 賴夭丕乇丕賳 爻丕賱 夭賳丿诏蹖 亘乇 乇賵蹖 讴乇賴鈥� 禺丕讴蹖 亘乇丕爻丕爻 丌賳鈥屬囏� 乇賵夭诏丕乇 禺賵丿 乇丕 诏匕乇丕賳丿賴 丕爻鬲. 丿乇 丨賯蹖賯鬲 丕蹖賳 讴鬲丕亘 噩夭賵 讴鬲丕亘 賴丕蹖 讴賱丕爻蹖讴 賵 乇爻賲蹖 乇卮鬲賴 賴丕蹖 丕丿亘蹖丕鬲貙 丕爻胤賵乇賴 卮賳丕爻蹖 賵 賮蹖賱賲賳丕賲賴 賳賵蹖爻蹖 丕爻鬲 賵 讴丕乇诏乇丿丕賳丕賳 賲卮賴賵乇 賴丕賱蹖賵賵丿 鬲丨鬲 鬲丕孬蹖乇 丌賳 亘丕 亘丕夭爻丕夭蹖 丕爻胤賵乇賴 賴丕蹖 讴賴賳 丿乇 賯丕賱亘 賳賵 倬乇丿丕禺鬲賴 丕賳丿. 噩賳诏 爻鬲丕乇诏丕賳貙 丕乇亘丕亘 丨賱賯賴 賴丕貙 賲丕鬲乇蹖讴爻 賵... 丕夭 丕蹖賳 讴鬲丕亘 丕賱賴丕賲 诏乇賮鬲賴 丕賳丿.
蹖讴蹖 丕夭 讴爻丕賳蹖 讴賴 亘爻蹖丕乇 鬲丨鬲 鬲丕孬蹖乇 丕蹖賳 讴鬲丕亘 賯乇丕乇 诏乇賮鬲賴 噩乇噩 賱賵讴丕爻 賮蹖賱賲爻丕夭 賲卮賴賵乇 丌賲乇蹖讴丕蹖蹖 丕爻鬲 .丕賵 賮蹖賱賲賳丕賲賴 噩賳诏 賴丕蹖 爻鬲丕乇賴 丕蹖 乇丕 亘乇 丕爻丕爻 爻丕禺鬲丕乇 乇賵丕蹖鬲 丕爻胤賵乇賴 丕蹖 爻賮乇 賯賴乇賲丕賳 讴賴 丿乇 丕蹖賳 讴鬲丕亘 鬲賵囟蹖丨 丿丕丿賴 賲蹖 卮賵丿 亘賳丕 讴乇丿賴 丕爻鬲.
January 14, 2013
Joseph Campbell has done a lot of good work in this book and others. Unfortunately the good of the work was research. His theories themselves (not so much the pattern-spotting as his rather shallow interpretation of the material, which is basically glorified self-help) are very easy to ignore. Read him to steal his stories and then regale your friends with them, much embellished, if need be; the beauty of these stories is that they speak directly. Also get as many of the books he references as you can, or if you are precious with your time, just make notes of them. I have yet to track down enough of these.
Here is one African creation myth (which may be from The Power of Myth):
Originally everyone dwelt within the earth and knew no other way until, one day, a rope dropped down. Everyone gaily clambered up it. The last to do so was an incredibly fat person. As this mass began to climb the rope snapped, and so people were forever cut off from the earth.
One day a Rakshasa approached Shiva and demanded his wife, Parvati. Shiva politely informed the lout that Parvati was his wife and that he was,obviously, Shiva. The Rakshasa did not seem much affected by this news and simply demanded anew. Shiva now lost patience and created a monstrous creature, designed to eat the intruder. At the sight of this fearsome beast the Rakshasa fell to his knees and begged for mercy, which Shiva duly, and graciously, granted. The Rakshasa fled. Now, though, the newly-made beast spoke-up, complaining, understandably that it was ravenous since, after all, it had been created hungry in order to better facilitate its inevitable task. On hearing this reasonable complaint Shiva instructed the creature to eat itself, which it duly did.
I may, in time, add more that I have told from time, to time.
Here is one African creation myth (which may be from The Power of Myth):
Originally everyone dwelt within the earth and knew no other way until, one day, a rope dropped down. Everyone gaily clambered up it. The last to do so was an incredibly fat person. As this mass began to climb the rope snapped, and so people were forever cut off from the earth.
One day a Rakshasa approached Shiva and demanded his wife, Parvati. Shiva politely informed the lout that Parvati was his wife and that he was,obviously, Shiva. The Rakshasa did not seem much affected by this news and simply demanded anew. Shiva now lost patience and created a monstrous creature, designed to eat the intruder. At the sight of this fearsome beast the Rakshasa fell to his knees and begged for mercy, which Shiva duly, and graciously, granted. The Rakshasa fled. Now, though, the newly-made beast spoke-up, complaining, understandably that it was ravenous since, after all, it had been created hungry in order to better facilitate its inevitable task. On hearing this reasonable complaint Shiva instructed the creature to eat itself, which it duly did.
I may, in time, add more that I have told from time, to time.
February 3, 2020
Terra Nostra'ya bu kitab谋 e艧 zamanl谋 olarak okumam konusunda beni zorlad谋臒谋 i莽in sadece te艧ekk眉r ediyorum . Hepsi bu..M眉thi艧 bir okumayd谋.
April 21, 2008
Wow. This book blows my mind every time I pick it up. It has taken me years to heed the advice of friends and family and read the thing (don鈥檛 wait as long as I did), but I鈥檝e finished with a renewed sense of what it means to be an artist/writer/human and a perceived momentum I鈥檝e found nowhere else. There is energy, wisdom and strength in the connections Campbell draws.
I鈥檝e also placed myself firmly in the Campbell camp of dissecting story structure (suck it Robert Mckee, or better yet eat all the unread pages of your highfalutin book that no one I鈥檝e spoken to has bothered to finish!). Campbell鈥檚 book is useful to those who want to tell engaging stories, those who want to make more conscious life decisions, and even those who just want to see better the similarities in tales we鈥檝e propagated over the ages.
I鈥檓 going to read it again very soon. Let the boon-bringing commence!
I鈥檝e also placed myself firmly in the Campbell camp of dissecting story structure (suck it Robert Mckee, or better yet eat all the unread pages of your highfalutin book that no one I鈥檝e spoken to has bothered to finish!). Campbell鈥檚 book is useful to those who want to tell engaging stories, those who want to make more conscious life decisions, and even those who just want to see better the similarities in tales we鈥檝e propagated over the ages.
I鈥檓 going to read it again very soon. Let the boon-bringing commence!
Want to read
October 27, 2019賷氐丿乇 賯乇賷亘賸丕 毓賳 賲賳卮賵乇丕鬲 鬲賰賵賷賳貙 鬲乇噩賲丞 噩丿賷丿丞 噩賲賷賱丞 賱賰鬲丕亘 賲丐爻爻 卮丿賷丿 丕賱兀賴賲賷丞 賷賯丿賲賴丕 賲丨賲丿 噩賲丕賱.
January 25, 2024
袗泻芯 锌械褉懈褎褉邪蟹懈褉邪屑械 袣谢邪褍蟹械胁懈褑, 屑懈褌芯谢芯谐懈褟褌邪 械 锌褉芯写褗谢卸械薪懈械 薪邪 锌褋懈褏芯谢芯谐懈褟褌邪 褋 写褉褍谐懈 褋褉械写褋褌胁邪. 袣邪泻褌芯 懈 芯斜褉邪褌薪芯褌芯.
袛褗谢褗谐 锌褗褌 械 懈蟹胁褗褉胁褟谢芯 褔芯胁械褔械褋褌胁芯褌芯, 薪芯 胁褋械 芯褖械 锌芯褔褌懈 屑邪谐懈褔械褋泻邪 褋懈谢邪 懈屑邪褌 写褍屑懈褌械 袠屑邪谢芯 械写薪芯 胁褉械屑械.... 袠 胁褉械屑械褌芯 褋锌懈褉邪 褋胁芯褟 褏芯写 蟹邪 锌芯褉械写薪邪褌邪 胁褗谢褕械斜薪邪 懈褋褌芯褉懈褟, 褉邪蟹泻邪蟹邪薪邪 芯褌 屑邪泄泻邪 胁 薪芯褖褌邪, 芯褌 褕邪屑邪薪 胁 薪邪胁械褔械褉懈械褌芯 薪邪 薪邪褋褌褗锌胁邪褖邪褌邪 蟹懈屑邪, 芯褌 写褉械胁薪懈 懈薪写褍懈褋褌泻懈 锌懈褋邪薪懈褟, 芯褌 鈥溞炐葱秆佇笛徰傂扳€�, 芯褌 谢械谐械薪写懈褌械 蟹邪 袣褉邪谢 袗褉褌褍褉 懈谢懈 芯褌 袘懈斜谢懈褟褌邪...
袣械屑斜褗谢 薪懈 锌芯泻邪蟹胁邪 泻邪泻 胁褋懈褔泻懈 褌械蟹懈 懈褋褌芯褉懈懈, 褉邪蟹写械谢械薪懈 锌褉械蟹 械锌芯褏懈, 芯泻械邪薪懈 懈 屑芯褉邪谢薪懈 薪芯褉屑懈, 写芯 械写薪邪 褋懈 锌褉懈谢懈褔邪褌 懈 谐械褉芯懈褌械 懈屑 褋邪 胁褋褗褖薪芯褋褌 械写懈薪 袚械褉芯泄, 泻芯泄褌芯:
1. 校褋械褖邪 袟芯胁 蟹邪 芯褌锌褗褌褍胁邪薪械 懈 屑懈褋懈褟 - 懈 写芯斜褉芯胁芯谢薪芯 懈谢懈 锌褗泻 锌芯 锌褉懈薪褍写邪, 锌芯褌械谐谢褟 泻褗屑 褋胁芯械褌芯 锌褉懈泻谢褞褔械薪懈械, 薪邪锌褍褋泻邪泄泻懈 谐褉邪薪懈褑懈褌械 薪邪 胁褋懈褔泻芯 锌芯蟹薪邪褌芯 懈 斜谢懈蟹泻芯, 泻芯屑褎芯褉褌邪 薪邪 芯斜褖薪芯褋褌褌邪.
2. 袙锌褍褋泻邪 褋械 胁 袘懈褌泻懈 懈 袠蟹锌懈褌邪薪懈褟, 泻褗写械褌芯 褌褉褟斜胁邪 写邪 懈蟹褋褌褉邪写邪 胁褋褟泻邪 泻邪锌泻邪 袦褗写褉芯褋褌 懈 袩芯斜械写邪. 袩芯斜械卸写邪胁邪 写褉邪泻芯薪懈 懈 斜芯谐芯胁械, 胁谢懈蟹邪 胁 泻芯褉械屑邪 薪邪 泻懈褌邪, 褋锌邪褋褟胁邪 锌褉懈薪褑械褋懈, 锌芯褋褌懈谐邪 斜械蟹褋屑褗褉褌懈械 懈 屑褗写褉芯褋褌, 芯褌泻褉邪写胁邪 芯谐褗薪褟 薪邪 斜芯谐芯胁械褌械. 校屑懈褉邪, 蟹邪 写邪 胁褗蟹泻褉褗褋薪械 褋 薪芯胁芯褌芯 锌芯蟹薪邪薪懈械, 蟹邪褖芯褌芯 写邪 褍屑褉械 褋褌邪褉芯褌芯 械 锌褉械写锌芯褋褌邪胁泻邪 写邪 褋械 褉芯写懈 薪芯胁芯褌芯.
3. 袟邪胁褉褗褖邪 褋械, 蟹邪 写邪 褋锌芯写械谢懈 褌褉褍写薪芯 懈蟹胁芯褞胁邪薪芯褌芯 褋懈 小褗泻褉芯胁懈褖械 褋 写褉褍谐懈褌械 - 泻邪泻 写邪 褋械 褋锌邪褋懈屑 芯褌 褋褌褉邪写邪薪懈械褌芯, 蟹谢邪褌芯褌芯 芯褌 锌械褖械褉邪褌邪 薪邪 写褉邪泻芯薪邪, 褋锌邪褋械薪懈褌械 芯褌 袦懈薪芯褌邪胁褗锟斤拷邪 屑谢邪写械卸懈 懈 写械胁芯泄泻懈, 蟹薪邪薪懈械褌芯 泻邪泻 写邪 蟹邪锌邪谢懈屑 芯褌泻褉邪写薪邪褌懈褟 芯褌 斜芯谐芯胁械褌械 芯谐褗薪...
袠蟹屑懈薪邪胁邪泄泻懈 褑械谢懈褟 薪械褉邪胁械薪 锌褗褌, 谐械褉芯褟褌 褋械 褋锌褍褋泻邪 胁 薪械懈蟹屑械褉懈屑懈褌械 写褗谢斜懈薪懈 薪邪 褔芯胁械褕泻邪褌邪 写褍褕邪, 写芯 薪邪泄-褋泻褉懈褌懈褌械 懈 薪械褋褗蟹薪邪胁邪薪懈 泻芯锌薪械卸懈 懈 褋褌褉邪褏芯胁械, 蟹邪 写邪 谐懈 懈蟹胁邪写懈 锌芯斜械写芯薪芯褋薪芯 薪邪 斜褟谢 褋胁褟褌 懈 写邪 谐懈 褋胁褗褉卸械 胁 械写薪邪 褏邪褉屑芯薪懈褔薪邪 褑褟谢芯褋褌 褋 芯褋褗蟹薪邪褌懈褌械 薪芯褉屑懈 懈 褍褋械褖邪薪懈褟, 蟹邪 写邪 谐懈 谢懈褕懈 蟹邪胁懈薪邪谐懈 芯褌 锌芯褌邪泄薪邪褌邪 懈屑 褉邪蟹褉褍褕懈褌械谢薪邪 褋懈谢邪.
袙褋懈褔泻懈 屑懈褌芯谢芯谐懈懈 褋懈 锌褉懈谢懈褔邪褌. 袙褋懈褔泻懈 褋邪 懈蟹胁芯褉 薪邪 锌芯蟹薪邪薪懈械. 袠 胁褋懈褔泻懈 褋邪 泻邪锌邪薪. 袟邪褖芯褌芯 胁褋褟泻邪 械写薪邪 屑懈褌芯谢芯谐懈褟 械 懈 褋褗蟹薪邪褌械谢薪芯 懈 褑械谢械薪邪褋芯褔械薪芯 懈蟹锌芯谢蟹胁邪薪 懈薪褋褌褉褍屑械薪褌 蟹邪 胁谢懈褟薪懈械 懈 屑邪薪懈锌褍谢邪褑懈褟. 孝芯蟹懈 懈薪褋褌褉褍屑械薪褌 薪邪谢邪谐邪 胁谢邪褋褌 懈 写芯褋谢芯胁薪芯, 斜褍泻胁邪谢薪芯 懈 褋谢褟锌芯 褋谢械写胁邪薪械 薪邪 褍褌胁褗褉写械薪懈褌械 褋懈屑胁芯谢懈 胁 褋褌械褋薪械薪邪 褌褉邪泻褌芯胁泻邪, 褔械褋褌芯 谢懈褕邪胁邪泄泻懈 谐懈 芯褌 写褗谢斜芯泻懈褟 懈屑 褋锌邪褋懈褌械谢械薪 褋屑懈褋褗谢. 袙褋褟泻芯 懈蟹泻谢褞褔械薪懈械 懈 芯褌泻谢芯薪械薪懈械 胁芯写懈 写芯 泻谢邪写邪, 褍斜懈泄褋褌胁芯 褋 泻邪屑褗薪懈, 锌褉芯谐芯薪胁邪薪械 芯褌 芯斜褖薪芯褋褌褌邪, 褔芯胁械褕泻芯 卸械褉褌胁芯锌褉懈薪芯褕械薪懈械 蟹邪 褍屑懈谢芯褋褌懈胁褟胁邪薪械 薪邪 斜芯谐芯胁械褌械, 芯褌褏胁褗褉谢褟薪械 薪邪 胁褋懈褔泻芯 褔褍卸写芯 懈 薪芯胁芯. 孝芯蟹懈 懈薪褋褌褉褍屑械薪褌 械 懈蟹泻谢褞褔懈褌械谢薪芯 械褎懈泻邪褋薪芯 懈蟹锌芯谢蟹胁邪薪 锌褉械蟹 褑褟谢邪褌邪 薪懈 懈褋褌芯褉懈褟. 袚械褉芯懈褌械 薪邪 褋褌邪褉懈褌械 屑懈褌芯胁械 褋邪 褋械 锌褉械胁褉褗褖邪谢懈 胁 褌懈褉邪薪懈, 邪 薪芯胁懈褌械 谐械褉芯懈, 懈蟹锌褉邪胁褟谢懈 褋械 褋褉械褖褍 褌褟褏, 薪械 胁懈薪邪谐懈 褋邪 懈屑邪谢懈 褖邪褋褌谢懈胁邪 褋褗写斜邪.
袣械屑斜褗谢 懈蟹锌懈褌胁邪 薪芯褋褌邪谢谐懈褟 锌芯 斜芯谐邪褌懈褟 褋胁褟褌 薪邪 褋懈屑胁芯谢懈褌械, 泻芯懈褌芯 - 锌褉邪胁懈谢薪芯 褉邪蟹斜褉邪薪懈 - 锌褉邪胁褟褌 褔芯胁械泻邪 褑褟谢芯褋褌械薪 懈 胁褗蟹胁懈褋褟胁邪褌 写褍褏邪. 袨锌懈褌胁邪 褋械 写邪 斜褗写械 芯斜械泻褌懈胁械薪, 懈 写邪 锌芯褋芯褔懈, 褔械 锌褉懈谢芯卸械薪懈 褋谢褟锌芯, 胁芯写褟褌 写芯 屑褉邪泻芯斜械褋懈械 懈 褍卸邪褋. 袧芯 屑邪谐懈褟褌邪 懈屑 谐芯 写褗褉卸懈 褌胁褗褉写械 蟹写褉邪胁芯. 袧邪 屑芯屑械薪褌懈 锌芯胁械褋褌胁芯胁邪薪懈械褌芯 褋械 懈蟹谐褍斜胁邪 胁 锌褗谢薪邪 泻邪泻芯褎芯薪懈褟 芯褌 褉邪蟹薪芯锌芯褋芯褔薪懈 懈 薪邪泻褗褋邪薪懈 谐谢邪褋芯胁械, 褋褌邪胁邪 薪械褟褋薪芯, 懈褋褌械褉懈褔薪芯 懈 芯褌胁谢械褔械薪芯. 袙 写褉褍谐懈 屑芯屑械薪褌懈 谐褉邪斜胁邪 褋 褌芯褔薪懈褌械 褋懈 锌褉芯蟹褉械薪懈褟. 袧芯 屑芯械褌芯 胁锌械褔邪褌谢械薪懈械 械, 褔械 袣械屑斜褗谢 薪械 褋褗褍屑褟胁邪 薪邪锌褗谢薪芯 写邪 锌褉械锌谢褍胁邪 屑芯褉械褌芯 芯褌 褋懈屑胁芯谢懈 懈 褔械褋褌芯 褋邪屑 褋械 蟹邪谢褍褌胁邪 懈蟹 薪械谐芯. 袣邪褉褌芯谐褉邪褎懈褉邪 锌褉械褑懈蟹薪芯 懈 褟褋薪芯 斜褉械谐芯胁械褌械 懈 褔邪褋褌 芯褌 写褗谢斜芯褔懈薪懈褌械 屑褍, 薪芯 谐芯谢褟屑邪 褔邪褋褌 芯褌 谐械芯谐褉邪褎懈褟褌邪 屑褍 芯褋褌邪胁邪 褋 锌褍薪泻褌懈褉 懈 锌芯写谢械卸邪褖邪 薪邪 褍褌芯褔薪褟胁邪薪械. 孝胁褗褉写械 屑薪芯谐芯 肖褉芯泄写 褋械 谢械械 懈蟹 褋褌褉邪薪懈褑懈褌械, 泻芯械褌芯 械 锌褉邪胁芯 胁 写械褋褟褌泻邪褌邪 胁 薪褟泻芯懈 褋谢褍褔邪懈, 薪芯 芯谐褉邪薪懈褔邪胁邪 懈谢懈 蟹薪邪褔懈褌械谢薪芯 懈蟹泻褉懈胁褟胁邪 泻褉褗谐芯蟹芯褉邪 胁 写褉褍谐懈. 孝胁褗褉写械 屑薪芯谐芯 懈写械邪谢懈蟹褗屑 懈 屑芯屑械薪褌薪邪 锌褉懈褋褌褉邪褋褌薪芯褋褌 胁泻邪褉胁邪 袣械屑斜褗谢, 褋褗褔械褌邪薪懈 褋 懈蟹斜芯褉邪 薪邪 谢褞斜懈屑芯褌芯 械写薪芯褋褌褉邪薪褔懈胁芯 褌褗谢泻褍胁邪薪械 懈 锌褉械薪械斜褉械谐胁邪薪械褌芯 薪邪 写褉褍谐懈 (褋芯褑懈邪谢薪懈, 邪薪褌褉芯锌芯谢芯谐懈褔械褋泻懈, 懈褋褌芯褉懈褔械褋泻懈, 褎懈谢芯褋芯褎褋泻懈) 邪褋锌械泻褌懈.
袣薪懈谐邪褌邪 械 锌褉械谐谢械写薪芯 褋褌褉褍泻褌褍褉懈褉邪薪邪 懈 写邪胁邪 懈薪褌械褉械褋械薪 锌芯谐谢械写 泻褗屑 胁褋械泻懈 械写懈薪 芯褌 薪邪褋, 蟹邪褖芯褌芯 谐械褉芯褟褌 械 胁褋械泻懈 械写懈薪 褔芯胁械泻. 袩褉械胁芯写褗褌 械 锌褉械泻褉邪褋械薪, 芯褎芯褉屑谢械薪懈械褌芯 - 薪邪 薪懈胁芯, 邪 褌械泻褋褌褗褌 懈蟹芯斜懈谢褋褌胁邪 芯褌 懈褋褌芯褉懈懈 懈 懈薪褌械褉锌褉械褌邪褑懈懈, 泻芯懈褌芯 褖械 褏胁褗褉谢褟褌 胁褗胁 胁褗蟹褌芯褉谐 胁褋械泻懈 谢褞斜懈褌械谢 薪邪 褋褌邪褉懈褌械 懈 薪芯胁懈褌械 锌褉懈泻邪蟹泻懈.
3,5 猸愶笍
袛褗谢褗谐 锌褗褌 械 懈蟹胁褗褉胁褟谢芯 褔芯胁械褔械褋褌胁芯褌芯, 薪芯 胁褋械 芯褖械 锌芯褔褌懈 屑邪谐懈褔械褋泻邪 褋懈谢邪 懈屑邪褌 写褍屑懈褌械 袠屑邪谢芯 械写薪芯 胁褉械屑械.... 袠 胁褉械屑械褌芯 褋锌懈褉邪 褋胁芯褟 褏芯写 蟹邪 锌芯褉械写薪邪褌邪 胁褗谢褕械斜薪邪 懈褋褌芯褉懈褟, 褉邪蟹泻邪蟹邪薪邪 芯褌 屑邪泄泻邪 胁 薪芯褖褌邪, 芯褌 褕邪屑邪薪 胁 薪邪胁械褔械褉懈械褌芯 薪邪 薪邪褋褌褗锌胁邪褖邪褌邪 蟹懈屑邪, 芯褌 写褉械胁薪懈 懈薪写褍懈褋褌泻懈 锌懈褋邪薪懈褟, 芯褌 鈥溞炐葱秆佇笛徰傂扳€�, 芯褌 谢械谐械薪写懈褌械 蟹邪 袣褉邪谢 袗褉褌褍褉 懈谢懈 芯褌 袘懈斜谢懈褟褌邪...
袣械屑斜褗谢 薪懈 锌芯泻邪蟹胁邪 泻邪泻 胁褋懈褔泻懈 褌械蟹懈 懈褋褌芯褉懈懈, 褉邪蟹写械谢械薪懈 锌褉械蟹 械锌芯褏懈, 芯泻械邪薪懈 懈 屑芯褉邪谢薪懈 薪芯褉屑懈, 写芯 械写薪邪 褋懈 锌褉懈谢懈褔邪褌 懈 谐械褉芯懈褌械 懈屑 褋邪 胁褋褗褖薪芯褋褌 械写懈薪 袚械褉芯泄, 泻芯泄褌芯:
1. 校褋械褖邪 袟芯胁 蟹邪 芯褌锌褗褌褍胁邪薪械 懈 屑懈褋懈褟 - 懈 写芯斜褉芯胁芯谢薪芯 懈谢懈 锌褗泻 锌芯 锌褉懈薪褍写邪, 锌芯褌械谐谢褟 泻褗屑 褋胁芯械褌芯 锌褉懈泻谢褞褔械薪懈械, 薪邪锌褍褋泻邪泄泻懈 谐褉邪薪懈褑懈褌械 薪邪 胁褋懈褔泻芯 锌芯蟹薪邪褌芯 懈 斜谢懈蟹泻芯, 泻芯屑褎芯褉褌邪 薪邪 芯斜褖薪芯褋褌褌邪.
2. 袙锌褍褋泻邪 褋械 胁 袘懈褌泻懈 懈 袠蟹锌懈褌邪薪懈褟, 泻褗写械褌芯 褌褉褟斜胁邪 写邪 懈蟹褋褌褉邪写邪 胁褋褟泻邪 泻邪锌泻邪 袦褗写褉芯褋褌 懈 袩芯斜械写邪. 袩芯斜械卸写邪胁邪 写褉邪泻芯薪懈 懈 斜芯谐芯胁械, 胁谢懈蟹邪 胁 泻芯褉械屑邪 薪邪 泻懈褌邪, 褋锌邪褋褟胁邪 锌褉懈薪褑械褋懈, 锌芯褋褌懈谐邪 斜械蟹褋屑褗褉褌懈械 懈 屑褗写褉芯褋褌, 芯褌泻褉邪写胁邪 芯谐褗薪褟 薪邪 斜芯谐芯胁械褌械. 校屑懈褉邪, 蟹邪 写邪 胁褗蟹泻褉褗褋薪械 褋 薪芯胁芯褌芯 锌芯蟹薪邪薪懈械, 蟹邪褖芯褌芯 写邪 褍屑褉械 褋褌邪褉芯褌芯 械 锌褉械写锌芯褋褌邪胁泻邪 写邪 褋械 褉芯写懈 薪芯胁芯褌芯.
3. 袟邪胁褉褗褖邪 褋械, 蟹邪 写邪 褋锌芯写械谢懈 褌褉褍写薪芯 懈蟹胁芯褞胁邪薪芯褌芯 褋懈 小褗泻褉芯胁懈褖械 褋 写褉褍谐懈褌械 - 泻邪泻 写邪 褋械 褋锌邪褋懈屑 芯褌 褋褌褉邪写邪薪懈械褌芯, 蟹谢邪褌芯褌芯 芯褌 锌械褖械褉邪褌邪 薪邪 写褉邪泻芯薪邪, 褋锌邪褋械薪懈褌械 芯褌 袦懈薪芯褌邪胁褗锟斤拷邪 屑谢邪写械卸懈 懈 写械胁芯泄泻懈, 蟹薪邪薪懈械褌芯 泻邪泻 写邪 蟹邪锌邪谢懈屑 芯褌泻褉邪写薪邪褌懈褟 芯褌 斜芯谐芯胁械褌械 芯谐褗薪...
袠蟹屑懈薪邪胁邪泄泻懈 褑械谢懈褟 薪械褉邪胁械薪 锌褗褌, 谐械褉芯褟褌 褋械 褋锌褍褋泻邪 胁 薪械懈蟹屑械褉懈屑懈褌械 写褗谢斜懈薪懈 薪邪 褔芯胁械褕泻邪褌邪 写褍褕邪, 写芯 薪邪泄-褋泻褉懈褌懈褌械 懈 薪械褋褗蟹薪邪胁邪薪懈 泻芯锌薪械卸懈 懈 褋褌褉邪褏芯胁械, 蟹邪 写邪 谐懈 懈蟹胁邪写懈 锌芯斜械写芯薪芯褋薪芯 薪邪 斜褟谢 褋胁褟褌 懈 写邪 谐懈 褋胁褗褉卸械 胁 械写薪邪 褏邪褉屑芯薪懈褔薪邪 褑褟谢芯褋褌 褋 芯褋褗蟹薪邪褌懈褌械 薪芯褉屑懈 懈 褍褋械褖邪薪懈褟, 蟹邪 写邪 谐懈 谢懈褕懈 蟹邪胁懈薪邪谐懈 芯褌 锌芯褌邪泄薪邪褌邪 懈屑 褉邪蟹褉褍褕懈褌械谢薪邪 褋懈谢邪.
袙褋懈褔泻懈 屑懈褌芯谢芯谐懈懈 褋懈 锌褉懈谢懈褔邪褌. 袙褋懈褔泻懈 褋邪 懈蟹胁芯褉 薪邪 锌芯蟹薪邪薪懈械. 袠 胁褋懈褔泻懈 褋邪 泻邪锌邪薪. 袟邪褖芯褌芯 胁褋褟泻邪 械写薪邪 屑懈褌芯谢芯谐懈褟 械 懈 褋褗蟹薪邪褌械谢薪芯 懈 褑械谢械薪邪褋芯褔械薪芯 懈蟹锌芯谢蟹胁邪薪 懈薪褋褌褉褍屑械薪褌 蟹邪 胁谢懈褟薪懈械 懈 屑邪薪懈锌褍谢邪褑懈褟. 孝芯蟹懈 懈薪褋褌褉褍屑械薪褌 薪邪谢邪谐邪 胁谢邪褋褌 懈 写芯褋谢芯胁薪芯, 斜褍泻胁邪谢薪芯 懈 褋谢褟锌芯 褋谢械写胁邪薪械 薪邪 褍褌胁褗褉写械薪懈褌械 褋懈屑胁芯谢懈 胁 褋褌械褋薪械薪邪 褌褉邪泻褌芯胁泻邪, 褔械褋褌芯 谢懈褕邪胁邪泄泻懈 谐懈 芯褌 写褗谢斜芯泻懈褟 懈屑 褋锌邪褋懈褌械谢械薪 褋屑懈褋褗谢. 袙褋褟泻芯 懈蟹泻谢褞褔械薪懈械 懈 芯褌泻谢芯薪械薪懈械 胁芯写懈 写芯 泻谢邪写邪, 褍斜懈泄褋褌胁芯 褋 泻邪屑褗薪懈, 锌褉芯谐芯薪胁邪薪械 芯褌 芯斜褖薪芯褋褌褌邪, 褔芯胁械褕泻芯 卸械褉褌胁芯锌褉懈薪芯褕械薪懈械 蟹邪 褍屑懈谢芯褋褌懈胁褟胁邪薪械 薪邪 斜芯谐芯胁械褌械, 芯褌褏胁褗褉谢褟薪械 薪邪 胁褋懈褔泻芯 褔褍卸写芯 懈 薪芯胁芯. 孝芯蟹懈 懈薪褋褌褉褍屑械薪褌 械 懈蟹泻谢褞褔懈褌械谢薪芯 械褎懈泻邪褋薪芯 懈蟹锌芯谢蟹胁邪薪 锌褉械蟹 褑褟谢邪褌邪 薪懈 懈褋褌芯褉懈褟. 袚械褉芯懈褌械 薪邪 褋褌邪褉懈褌械 屑懈褌芯胁械 褋邪 褋械 锌褉械胁褉褗褖邪谢懈 胁 褌懈褉邪薪懈, 邪 薪芯胁懈褌械 谐械褉芯懈, 懈蟹锌褉邪胁褟谢懈 褋械 褋褉械褖褍 褌褟褏, 薪械 胁懈薪邪谐懈 褋邪 懈屑邪谢懈 褖邪褋褌谢懈胁邪 褋褗写斜邪.
袣械屑斜褗谢 懈蟹锌懈褌胁邪 薪芯褋褌邪谢谐懈褟 锌芯 斜芯谐邪褌懈褟 褋胁褟褌 薪邪 褋懈屑胁芯谢懈褌械, 泻芯懈褌芯 - 锌褉邪胁懈谢薪芯 褉邪蟹斜褉邪薪懈 - 锌褉邪胁褟褌 褔芯胁械泻邪 褑褟谢芯褋褌械薪 懈 胁褗蟹胁懈褋褟胁邪褌 写褍褏邪. 袨锌懈褌胁邪 褋械 写邪 斜褗写械 芯斜械泻褌懈胁械薪, 懈 写邪 锌芯褋芯褔懈, 褔械 锌褉懈谢芯卸械薪懈 褋谢褟锌芯, 胁芯写褟褌 写芯 屑褉邪泻芯斜械褋懈械 懈 褍卸邪褋. 袧芯 屑邪谐懈褟褌邪 懈屑 谐芯 写褗褉卸懈 褌胁褗褉写械 蟹写褉邪胁芯. 袧邪 屑芯屑械薪褌懈 锌芯胁械褋褌胁芯胁邪薪懈械褌芯 褋械 懈蟹谐褍斜胁邪 胁 锌褗谢薪邪 泻邪泻芯褎芯薪懈褟 芯褌 褉邪蟹薪芯锌芯褋芯褔薪懈 懈 薪邪泻褗褋邪薪懈 谐谢邪褋芯胁械, 褋褌邪胁邪 薪械褟褋薪芯, 懈褋褌械褉懈褔薪芯 懈 芯褌胁谢械褔械薪芯. 袙 写褉褍谐懈 屑芯屑械薪褌懈 谐褉邪斜胁邪 褋 褌芯褔薪懈褌械 褋懈 锌褉芯蟹褉械薪懈褟. 袧芯 屑芯械褌芯 胁锌械褔邪褌谢械薪懈械 械, 褔械 袣械屑斜褗谢 薪械 褋褗褍屑褟胁邪 薪邪锌褗谢薪芯 写邪 锌褉械锌谢褍胁邪 屑芯褉械褌芯 芯褌 褋懈屑胁芯谢懈 懈 褔械褋褌芯 褋邪屑 褋械 蟹邪谢褍褌胁邪 懈蟹 薪械谐芯. 袣邪褉褌芯谐褉邪褎懈褉邪 锌褉械褑懈蟹薪芯 懈 褟褋薪芯 斜褉械谐芯胁械褌械 懈 褔邪褋褌 芯褌 写褗谢斜芯褔懈薪懈褌械 屑褍, 薪芯 谐芯谢褟屑邪 褔邪褋褌 芯褌 谐械芯谐褉邪褎懈褟褌邪 屑褍 芯褋褌邪胁邪 褋 锌褍薪泻褌懈褉 懈 锌芯写谢械卸邪褖邪 薪邪 褍褌芯褔薪褟胁邪薪械. 孝胁褗褉写械 屑薪芯谐芯 肖褉芯泄写 褋械 谢械械 懈蟹 褋褌褉邪薪懈褑懈褌械, 泻芯械褌芯 械 锌褉邪胁芯 胁 写械褋褟褌泻邪褌邪 胁 薪褟泻芯懈 褋谢褍褔邪懈, 薪芯 芯谐褉邪薪懈褔邪胁邪 懈谢懈 蟹薪邪褔懈褌械谢薪芯 懈蟹泻褉懈胁褟胁邪 泻褉褗谐芯蟹芯褉邪 胁 写褉褍谐懈. 孝胁褗褉写械 屑薪芯谐芯 懈写械邪谢懈蟹褗屑 懈 屑芯屑械薪褌薪邪 锌褉懈褋褌褉邪褋褌薪芯褋褌 胁泻邪褉胁邪 袣械屑斜褗谢, 褋褗褔械褌邪薪懈 褋 懈蟹斜芯褉邪 薪邪 谢褞斜懈屑芯褌芯 械写薪芯褋褌褉邪薪褔懈胁芯 褌褗谢泻褍胁邪薪械 懈 锌褉械薪械斜褉械谐胁邪薪械褌芯 薪邪 写褉褍谐懈 (褋芯褑懈邪谢薪懈, 邪薪褌褉芯锌芯谢芯谐懈褔械褋泻懈, 懈褋褌芯褉懈褔械褋泻懈, 褎懈谢芯褋芯褎褋泻懈) 邪褋锌械泻褌懈.
袣薪懈谐邪褌邪 械 锌褉械谐谢械写薪芯 褋褌褉褍泻褌褍褉懈褉邪薪邪 懈 写邪胁邪 懈薪褌械褉械褋械薪 锌芯谐谢械写 泻褗屑 胁褋械泻懈 械写懈薪 芯褌 薪邪褋, 蟹邪褖芯褌芯 谐械褉芯褟褌 械 胁褋械泻懈 械写懈薪 褔芯胁械泻. 袩褉械胁芯写褗褌 械 锌褉械泻褉邪褋械薪, 芯褎芯褉屑谢械薪懈械褌芯 - 薪邪 薪懈胁芯, 邪 褌械泻褋褌褗褌 懈蟹芯斜懈谢褋褌胁邪 芯褌 懈褋褌芯褉懈懈 懈 懈薪褌械褉锌褉械褌邪褑懈懈, 泻芯懈褌芯 褖械 褏胁褗褉谢褟褌 胁褗胁 胁褗蟹褌芯褉谐 胁褋械泻懈 谢褞斜懈褌械谢 薪邪 褋褌邪褉懈褌械 懈 薪芯胁懈褌械 锌褉懈泻邪蟹泻懈.
3,5 猸愶笍
January 5, 2012
I have to say that I was rather disappointed by this classic work on mythology. On the plus side, it is indeed fascinating to put myths from very different points in time and space beside each other to note the similarities; Campbell is consistent and clinical in subjecting the Bible to the same scrutiny as any other culture; and for myself, I learned a thing or two about Cuchulain, not just a local hero and contributor to Ulster geography but in fact an exemplar of several different widely found characters in folklore.
But I found the structure rather confusing, both at macro and at micro level. I couldn't quite be sure what Campbell's basic thesis is, whether he thinks that there is a single archetypal hero myth in which all hero stories (maybe even all stories) are rooted (which is what he seems to say in the introduction) or whether he thinks it's impossible to be so concrete (which is what he seems to say in the epilogue). While each individual chapter and section is supposed to illustrate a certain element of the "monomyth", in fact the examples given often have little bearing on the point that is being made; Campbell tells us what he is going to say, then actually says something a bit different, and then fails to tell us what he has said. (The chapter on Transformations of the Hero, where Cuchulain comes up, seemed rather better structured than the rest.) Of course, it is the nature of folklore to be rambling and discursive, but one can analyse a thing without taking on too many of that thing's characteristics.
Anyway, I can see why this was an influential book of its time, but I felt that the approach was old-fashioned even for 1948, and hope that there are better introductions to world folklore out there.
September 1, 2020
Sonsuz kahramanlarla sonsuz bir yolculu臒a 莽谋kt谋m.
Vizyon a莽an bu teorik 莽al谋艧may谋 bitirirken san谋r谋m "Bir kitap okudum ve hayat谋m de臒i艧ti." diyebilmeye art谋k haz谋r谋m.
*
Y谋llar 枚nce (daha CNBC-e kapanmam谋艧) TV kar艧谋s谋nda How I Met Your Mother izliyorum ve Ted k谋z arkada艧lar谋ndan birine (galiba ismi Stella'yd谋) Star Wars sevdirmeye 莽al谋艧谋rken yap谋m谋nda bir profes枚r眉n bir kitab谋ndan yararland谋klar谋n谋 anlat谋yor ismini s枚yleyerek, not alamadan unutuyorum. Sonras谋nda bu bilgiyi ara艧t谋rmay谋 unutacak kadar unutuyorum.
Bundan y谋llar sonra Deniz Hocam yap谋salc谋 sinema hakk谋nda konu艧urken ayn谋 konuyu a莽谋yor, kitap "Kahraman谋n Sonsuz Yolculu臒u"
*
陌tiraf etmeliyim ki okumaya ba艧larken b枚ylesi bir metinle kar艧谋la艧aca臒谋m谋 hi莽 anlamam谋艧t谋m; kitab谋n mitolojiye b枚ylesine teknik yakla艧mas谋, dipnotlar谋n arkada toplanmas谋 -ki bu 莽ift ayra莽 durumundan nefret ederim-, kendi do臒as谋nda kurgu metinleri konu al谋p inan谋lmaz bir ciddiyetle ders olarak anlatmas谋 眉st 眉ste kar艧谋la艧t谋rmal谋 mit okuyaca臒谋m谋 zannederken beni 莽ok yormu艧 olsa da Campbell'谋n monomit terimini nereden getirdi臒ini kavramak Deniz Hocan谋n Hollywood'un nas谋l beslendi臒ini anlamak k谋sm谋nda a艧a臒谋 yukar谋 neden bahsetti臒ini kavramam谋 sa臒lad谋.
*
Bir kitap okudum hayat谋m de臒i艧ti diyorum 莽眉nk眉 say谋salc谋 beynim evrenin homojen oldu臒undan eminken homo sapiensin kahramanlar谋n谋n yolunun homojen oldu臒unu hi莽 d眉艧眉nmemi艧ti. Me臒er t眉m kahramanlar谋n evreleri her co臒rafyada ve her y眉zy谋lda ayn谋ym谋艧; sadece y眉zleri(isimleri) de臒i艧mi艧 ve Campbell bunu b眉y眉k resim haline 莽ok g眉zel getirmi艧.
Vizyon a莽an bu teorik 莽al谋艧may谋 bitirirken san谋r谋m "Bir kitap okudum ve hayat谋m de臒i艧ti." diyebilmeye art谋k haz谋r谋m.
*
Y谋llar 枚nce (daha CNBC-e kapanmam谋艧) TV kar艧谋s谋nda How I Met Your Mother izliyorum ve Ted k谋z arkada艧lar谋ndan birine (galiba ismi Stella'yd谋) Star Wars sevdirmeye 莽al谋艧谋rken yap谋m谋nda bir profes枚r眉n bir kitab谋ndan yararland谋klar谋n谋 anlat谋yor ismini s枚yleyerek, not alamadan unutuyorum. Sonras谋nda bu bilgiyi ara艧t谋rmay谋 unutacak kadar unutuyorum.
Bundan y谋llar sonra Deniz Hocam yap谋salc谋 sinema hakk谋nda konu艧urken ayn谋 konuyu a莽谋yor, kitap "Kahraman谋n Sonsuz Yolculu臒u"
*
陌tiraf etmeliyim ki okumaya ba艧larken b枚ylesi bir metinle kar艧谋la艧aca臒谋m谋 hi莽 anlamam谋艧t谋m; kitab谋n mitolojiye b枚ylesine teknik yakla艧mas谋, dipnotlar谋n arkada toplanmas谋 -ki bu 莽ift ayra莽 durumundan nefret ederim-, kendi do臒as谋nda kurgu metinleri konu al谋p inan谋lmaz bir ciddiyetle ders olarak anlatmas谋 眉st 眉ste kar艧谋la艧t谋rmal谋 mit okuyaca臒谋m谋 zannederken beni 莽ok yormu艧 olsa da Campbell'谋n monomit terimini nereden getirdi臒ini kavramak Deniz Hocan谋n Hollywood'un nas谋l beslendi臒ini anlamak k谋sm谋nda a艧a臒谋 yukar谋 neden bahsetti臒ini kavramam谋 sa臒lad谋.
*
Bir kitap okudum hayat谋m de臒i艧ti diyorum 莽眉nk眉 say谋salc谋 beynim evrenin homojen oldu臒undan eminken homo sapiensin kahramanlar谋n谋n yolunun homojen oldu臒unu hi莽 d眉艧眉nmemi艧ti. Me臒er t眉m kahramanlar谋n evreleri her co臒rafyada ve her y眉zy谋lda ayn谋ym谋艧; sadece y眉zleri(isimleri) de臒i艧mi艧 ve Campbell bunu b眉y眉k resim haline 莽ok g眉zel getirmi艧.
July 25, 2022
This is Campbell's first big book, with an initial big idea. He was trying to name the one great mega-myth at the core of all religions and mythologies, and I think he got carried away trying to explain everything with one insight.
Later, in his great 4-volume "Masks of God" series he explored the vast diversity of myths across the world, showing different paths to different goals, and the value that diverse traditions have in their own terms. Somehow that was never as popular as is initial focus on "the hero."
In hindsight, a lot of observers have noted that in "Hero with a Thousand Faces," Campbell focused on the most individualistic, most ego-centered, most masculine, most typically American theme for interpreting world religion. I think it's only in his later work that he achieved really great contributions to understanding the whole of humanity.
Later, in his great 4-volume "Masks of God" series he explored the vast diversity of myths across the world, showing different paths to different goals, and the value that diverse traditions have in their own terms. Somehow that was never as popular as is initial focus on "the hero."
In hindsight, a lot of observers have noted that in "Hero with a Thousand Faces," Campbell focused on the most individualistic, most ego-centered, most masculine, most typically American theme for interpreting world religion. I think it's only in his later work that he achieved really great contributions to understanding the whole of humanity.
January 5, 2025
I love stories and all this started with my maternal grandfather. He was a lover of stories too. He used to tell me stories, and I used to provoke him to tell me his stories, all kinds of stories and tales and legends. And I listened so attentively, and would wait the whole day just to listen. Each word uttered was absorbed by me as if it were of immense value. And it became valuable just because I took it in with so much love and respect.
The Hero with a Thousand Faces reminds me of a simple truth saying that the magic, or Force, is within you! Yes, simple like that. I had to make a huge effort to finish the book because of the dense concentration of tales, names, cultures, geographies, and so on and so forth that are displayed within its pages. I don't think I am able to contain in my memory more than 5 maximum 10 of those names of various Heroes that enriched the myths and legends within the humans circle. I am wondering how he was able to build this book considering the immensity of its subject. Definitely I could never be a scholar, that's not for me.
What I loved the most is that Campbell explained in some easy to follow tales how the heroes of various cultures, and within immense distance in time and geography, were following a common path to discover their own destiny. So I recall the scheme of departing from the regular world --- passage and initiation through some specific adventures into a supranatural world --- and then return/or reject to return to the so-called visible world.
There could be one thousand and one tales, anecdotes, metaphors, myths, allegories, fables, legends and parables, selected from the many sources on Buddha and Buddhist masters, Indian mystics, Jesus and Christian mystics, Jewish mystics, Sufism, Tantra, Tao, Upanishads, Western mystics, Yoga and Zen and Zen masters. Moreover, in these tales I find more wisdom about our human condition than I have found in the whole curriculum of my schooling years. Most of these stories have their roots in the cultures of India, China and Japan and in the ancient cultures of the Middle and the Near East, which today's civilizations are better known to us for their present鈥檚 poverty and barbarism than for their yesterday鈥檚 richness, love and wisdom.
My feeling at the end of the book was that those stories made me feel oddly at home in existence...
"The modern hero, the modern individual who has the courage to heed the call and seek the kingdom of that presence with which we are destined to reunite, cannot -- and must not -- wait for the society to which he/she belongs to free itself from the crusts of pride, fear, rationalized avarice, and sanctified hypocrisy. "Live," Nietzsche says, "as if the day had come." It is not society that must guide and save the creative hero, but quite the opposite. And so each of us takes part in the supreme test -- that is, bear the cross of the savior -- not in the shining moments of the great victories won by his tribe, but in the silences of his own despair."
The Hero with a Thousand Faces reminds me of a simple truth saying that the magic, or Force, is within you! Yes, simple like that. I had to make a huge effort to finish the book because of the dense concentration of tales, names, cultures, geographies, and so on and so forth that are displayed within its pages. I don't think I am able to contain in my memory more than 5 maximum 10 of those names of various Heroes that enriched the myths and legends within the humans circle. I am wondering how he was able to build this book considering the immensity of its subject. Definitely I could never be a scholar, that's not for me.
What I loved the most is that Campbell explained in some easy to follow tales how the heroes of various cultures, and within immense distance in time and geography, were following a common path to discover their own destiny. So I recall the scheme of departing from the regular world --- passage and initiation through some specific adventures into a supranatural world --- and then return/or reject to return to the so-called visible world.
There could be one thousand and one tales, anecdotes, metaphors, myths, allegories, fables, legends and parables, selected from the many sources on Buddha and Buddhist masters, Indian mystics, Jesus and Christian mystics, Jewish mystics, Sufism, Tantra, Tao, Upanishads, Western mystics, Yoga and Zen and Zen masters. Moreover, in these tales I find more wisdom about our human condition than I have found in the whole curriculum of my schooling years. Most of these stories have their roots in the cultures of India, China and Japan and in the ancient cultures of the Middle and the Near East, which today's civilizations are better known to us for their present鈥檚 poverty and barbarism than for their yesterday鈥檚 richness, love and wisdom.
My feeling at the end of the book was that those stories made me feel oddly at home in existence...
"The modern hero, the modern individual who has the courage to heed the call and seek the kingdom of that presence with which we are destined to reunite, cannot -- and must not -- wait for the society to which he/she belongs to free itself from the crusts of pride, fear, rationalized avarice, and sanctified hypocrisy. "Live," Nietzsche says, "as if the day had come." It is not society that must guide and save the creative hero, but quite the opposite. And so each of us takes part in the supreme test -- that is, bear the cross of the savior -- not in the shining moments of the great victories won by his tribe, but in the silences of his own despair."
January 10, 2025
"La" historia es infinita, universal, divina. Porque resulta que la historia es la misma y, sin embargo, se manifiesta de formas cambiantes e inagotables. Vemos la misma historia en las pinturas, en la m煤sica y las danzas, la descubrimos asombrados en la ciencia y la tecnolog铆a, arraigada en la literatura y en la religi贸n. La descubrimos en los cuentos que escuch谩bamos, tensos y expectantes, de boca de nuestros padres y abuelos, en los libros que est谩n aqu铆 rese帽ados, en tratados de grandes eruditos, en la peli que vimos la semana pasada. La historia tal vez est茅 escrita en nuestros genes y sea una impronta en nuestra especie.
Campbell nos describe el monomito, el arquet铆pico "viaje del h茅roe", la b煤squeda, los s铆mbolos y los ritos de una forma expl铆cita y detallada. Nos encontraremos con muchos conceptos del psicoan谩lisis (reitero, muchos, de hecho la primera parte es una aproximaci贸n desde el psicoan谩lisis al viaje del h茅roe) y un prolongado paseo por la mitolog铆a universal. El autor enumera una incontable cantidad de mitos, cuentos y leyendas para apoyar su punto de vista. Esto puede ser algo denso. Si lo que se busca es comprender la idea del "viaje del h茅roe" ("La aventura del h茅roe" o "El periplo del h茅roe") hay miles de sitios Internet donde es explicado m谩s conceptualmente.
Recomendable para lectores interesados en la escritura, la antropolog铆a y la psicolog铆a y que no teman embarcarse en el viaje, casi heroico, de la lectura de este libro.
Campbell nos describe el monomito, el arquet铆pico "viaje del h茅roe", la b煤squeda, los s铆mbolos y los ritos de una forma expl铆cita y detallada. Nos encontraremos con muchos conceptos del psicoan谩lisis (reitero, muchos, de hecho la primera parte es una aproximaci贸n desde el psicoan谩lisis al viaje del h茅roe) y un prolongado paseo por la mitolog铆a universal. El autor enumera una incontable cantidad de mitos, cuentos y leyendas para apoyar su punto de vista. Esto puede ser algo denso. Si lo que se busca es comprender la idea del "viaje del h茅roe" ("La aventura del h茅roe" o "El periplo del h茅roe") hay miles de sitios Internet donde es explicado m谩s conceptualmente.
Recomendable para lectores interesados en la escritura, la antropolog铆a y la psicolog铆a y que no teman embarcarse en el viaje, casi heroico, de la lectura de este libro.
December 6, 2011
Every one who believes in destiny, in dreams, and in the universality of human experience and their particular stories should, at least once in their lifetime, read this book.
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