The monomyth of the hero’s journey in The Hero with a Thousand Faces, puts more emphasis on the masculine journey, although not entirely as exhibited in the princess of the Grimm’s, ‘ The Frog Prince’ and Inanna’s Descent into the Underworld (Campbell 23). Second is the initiation phase which entails the hero’s adventures in the alien world, and lastly the return, which entails the hero’s return to his home, having earned vital knowledge or powers in the course of the journey. These stages can be reduced to three major phases being: departure, which is the separation from the ordinary world to adventure. He again comes across challenges on the return journey and in case he achieves this successfully the gift is utilized to improve his world. Survival of the hero at this stage may earn him a gift-‘boon’, after which he decides to return home with his gain.
If the hero accepts to join the adventure, he faces challenges and probably gains help along the way. The twelve stages involve the hero starting in an ordinary world, followed by a call to adventure, which is the unusual world. While following the steps, one has to do it prudently to avoid attracting attention to the structure itself, thus avoiding excessive predictability (Spiritual Emergency par 3). The book has influenced the professional lives of artists such as musicians, poets, and filmmakers in the contemporary world, forming a basis for their storylines. The stories may not encompass all stages outlined by Campbell, but most fall in one or more of those stages.
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