The journeys such as The Epic of Gilgamesh and many other ancient epics like Homer’s The Odyssey encompass a lengthy time frame in which the hero encounters a plethora of challenges, test and trials necessary for their transformation and development. Odysseus took ten years to journey home to Ithaca following the ten year war against Troy. Their mythic character has resulted in their continual appropriation of a myriad of contemporary texts such as in Charles Frazier’s novel Cold Mountain and the Coen Brothers film O Brother Where Are Thou?
Cold Mountain follows the formulaic archetypal structure of The Odyssey. It traces the geographical and ideological journey of W.P. Inman, a wounded deserter from the Confederate Army towards the end of the American Civil War (1861-65). However, through its appropriation the decline of the power of the hero, Inman, is made apparent. Opposed to journeys of exploration and self-sacrifice, his quest is a form of desertion and escapism from the slaughter he witnessed in the Civil War pusillanimously stating, “I’m ruined beyond repair, is what I fear” and “four years gone warring, but back now on home ground and I’m no better than a rank stranger here”. Whereas his mythological predecessors such as Gilgamesh and Odysseus would have remained in battle and not have deserted. Inman acts in a cowardly fashion by returning home to North Carolina, rejecting the incomprehensible violence and cruelty of war.
Similarly, the film O Brother Where Are Thou?, another appropriation of Homer’s The Odyssey in a contemporary text explores the journey of its hero Ulysses Everett McGill (George Clooney). He lacks most of the epic heroism of mythic texts. Everett escapes from jail to return to his wife Penny (Holly Hunter) and their seven daughters before she remarries similar to Odysseus’s epic homecoming to his wife Penelope. Even though he is told by the blind seer, “I cannot tell you how long this road shall be, but fear not the obstacles in your path for fate has ...vouchsafed your reward” he lacks the valour of the heroes of old. However, like Gilgamesh, Ulysses Everett makes his journey a shared journey with two escapees Pete (John Turturro) and Delmar (Tim Blake Nelson) as he undertakes the odyssey of return.
The heroic journeys of Inman and Ulysses are clearly for personal gain and fulfilment. Although they encompass a long and demanding journey, they cannot be classified as mythological heroes on an archetypal quest. On the other hand, the quest of mythic heroes such as Gilgamesh and Orpheus is for the benefit not only for the individual, but to reveal a truth to society. Gilgamesh reconciles the responders that immortality cannot be grasped while Orpheus shows that no mortal has the power to return from the dead (Underworld). Thus, it is clear through each subsequent appropriation that the mythological hero is in decline, replaced by lower grade heroes, even anti-heroes, who lack the defining characteristics necessary for an epic quest.
These epic journeys are not reflected in Mulan and Max. They occur within hours or days, further demonstrating the weakening power of the mythological hero. Unlike the original ten year quest described in “The Ballad of Mulan”, the Walt Disney film Mulan reduced the time frame to several months. The film was well received as a children’s animation. The audience empathised with the shero Mulan as she takes her ailing father’s place to perform military duties against the invading White Huns. Although not an epic journey it is a heroic journey because “if the army finds out she’s a girl the penalty is death”. It can be argued that elements of the mythic journey still survive. This is evident through the heroic tendencies she manifests when she uses her wisdom as opposed to physical strength in firing a cannon at the mountain peak during the climactic battle. This creates a devastating avalanche that engulfs the majority of the Hun Army, “the bravest of us all... your king of mountains”. However, her achievement is not long-lived as she is brought back down to earth when they discover her femininity. She is now described as “treacherous snake... ultimate dishonour” in spite of her great accomplishments.
In contrast to this is Max’s quest of lesser significance. Rather than an insightful and difficult quest, his journey is only a psychological progression through his mind and cannot be classified as an archetypal journey. He journeys to the island of the “wild things” where they “roared their terrible roars and gnashed their terrible teeth”. The amalgams of various monsters are only extensions of his mind’s wildness and ego yet he ironically tames them through the grammatical imperative, “Be still!” This demonstrates the waning power of heroes by presenting a hero who lacks physical strength, experience and wisdom yet is able to conquer the threatening creatures. Whereas Max is a child undertaking a psychological journey in combating fear, he represents the beginning of what is each individual’s personal and heroic journey through life. Max is a junior member in the league of heroes.
The hero acts as a form of social commentary and the values they show are what distinguishes the mythological hero from the heroic figures in contemporary stories and films. However, the question must again be asked, what do texts tell us about values if they are not widely read? In The Epic of Gilgamesh, to restrict his power the gods construct his equal, Enkidu, his “alter ego”. They are foils and after fighting for supremacy they befriend each other. This is shown through their physical battle against Humbaba; a monstrous giant force who guards the Cedar Forest. They “recall the courage and the force they vowed to bring upon this mission” in defeating him mercilessly by swiftly cutting his throat. They are a medium to explore the value of loyalty as they are transformed from rivals to partners, “hold my hand in yours... let us ascend as one” in Tablet IV. This emphasises the necessity of mythological heroes in all texts as they enforce values such as friendship, trust, courage and strength both physically and psychologically as components for success.
Furthermore, the foundation for Gilgamesh’s archetypal quest is the numerous trials and tests he encounters in their many forms. In Gilgamesh and Odysseus’s journeys, “the heroes’ ultimate triumph is always assured”. This is evident when Gilgamesh is tempted by Ishtar, the Goddess of Fertility. She sexually manipulates Gilgamesh, “come to me and be my groom. Let me taste all parts of you, treat you as husband”. However, through his quasi-celibate characteristics and psychological strength he rejects her advances stating, “These pets and people you destroyed inform my view of how you act so I will not make love with you” as “the hero typically avoids any significant sexual involvement for such a relationship would compromise his dedication to his mission”. This epic clearly shows his inspiring transformation from the misogynistic and dehumanising values he once possessed as he hoarded “the vices of other men for his own purpose” to a respectable and inspirational king.
Following this, the Bull of Heaven is sent down by the Gods to destroy Gilgamesh and Enkidu. However, they overcome this trial, murdering the beast. They take its horns and “enshrine them in a palace of honour”. This shows the epic status of mythological heroes as they are able to successfully confront death, transcending its power on numerous occasions.
This is juxtaposed to Homer’s The Odyssey, where Odysseus compromises values of quasi-celibacy to uphold the values of intelligence. His men are transformed into swine at the hands of the femme fatale goddess, Circe. She then proceeds to seduce Odysseus when she exclaims, “We two shall mingle and make love upon our bed. So mutual trust may come of play and love”. Odysseus uses his intellectual superiority to make love with her on the count that she reverses the evil spell placed on his men. He sacrifices the mythic hero’s typical quasi- celibate state in order to save his men. In doing so, he displays the values of intelligence and trust entrenched in the mythological hero. These values are less evident in the modern texts.
The values of loyalty, friendship, patriotism, determination and commitment evident in Odysseus’ quest are still evident in contemporary texts but they lack the depth or significance to inspire and shape responders. From the onset of her heroic quest, Mulan represents some heroic characteristics such as bravery, filial love and initiative. She transforms these recessive feminine qualities by battling the White Huns, ultimately being victorious. This is evident when the Chinese Emperor states, “I have heard a great deal about you, Fa Mulan. You stole your father’s armour, ran away from home, impersonated a soldier, deceived your commanding officer, dishonoured the Chinese Army, and destroyed my palace! And you have saved us all”. However, feminists may find that she is weakened and diminished as a shero because she returns home, back to domestic life and anonymity. From empowering its female audience by forbidding “the presumption that women are innately selfless, weak, or passive”, the ending provides readers with a form of social education and commentary by portraying women as second class citizens because her freedom is taken away. Being a highly viewed and consumed film, it is clear that it appeals in some ways to society’s need for heroes.
On the other hand, the most recognisable value Sendak conveys to his readers is that of patriarchy. The “wild rumpus” is initiated by Max and he dictates when it stops, when he commands, “Now stop!” This is however, ironic as Sendak uses a boy in his story to assert male dominance and optimism. Responders don’t expect the heroes to be too young as is the case in this picture book. Furthermore, rather than explore a variety of quasi-heroic values, Where The Wild Things Are acts as a reflection of the period it was published. It was written in America in 1963, a period buoyed by the social exploration and cultural rebellion of adolescents leaving home on a journey. This is evident through Max’s rebellious behaviour towards his mother, culminating when he screams, ‘I’ll eat you up”. This demonstrates how modern texts often explore the context of their composition as opposed to the characterisation of their hero, thus accounting for their weakening portrayal.
There is always a catalyst for which these different heroes embark on their quests, and this too, can be a differential factor showing the decline of the mythological hero as they “come back from this mysterious adventure with the power to bestow boons on his fellow man”. For Odysseus, it was to uphold the sacredness of his family by returning to them after twenty years, barely recognisable. Similarly, Gilgamesh returns to Uruk with no tangible reward but with the knowledge and moral implication that the only means humanity can achieve immortality is through the lasting works of his civilisation and culture found in the walls of the city he rules. This is significant as readers are actively involved in his mythic journey. He confirms their mortality, making the Epic a celebratory poem of what makes us human. This significant elixir is not mirrored in texts such as Mulan. She receives the tangible reward of a necklace with the crest of the Emperor, the highest honour and is told, “The world will know what you have done for China”. However, this heroic boon loses its significance as previously mentioned, she returns home to her family. Instead of continuing on her quest for gender equality in Ancient China by “transgressing the gender divide”, she conforms to her societal role. This is an explicit example of how modern stories lack the mythological heroic qualities and substance found in texts such as The Epic of Gilgamesh.
In Where the Wild Things Are, Max’s journey commences when he is told by his mother to go “to bed without eating anything” as a result of his mischievous behaviour. He is emotionally blind, believing his mother’s love has disappeared. Moreover, he returns from his quest knowing that the imbalance which sent him on his journey is corrected. This is portrayed in the final scene of the book where his mother left “his supper... and it was still hot”. Order is restored as mirrored in the various lunar stages. It is originally crescent shape but as his balance is restored, it progressively becomes full and perfect. Here, the child’s journey is concerned with his egocentric stage of development as it is an inner journey of discovery and identity more so than a quest. In comparison to the ancient epics, this text demonstrates a hero of another kind. Max takes a journey that each individual must take through apparent dangers to a safe homecoming, not unlike Odysseus.
The waning power of the mythological hero in modern texts is evident through the lack of certain qualities such as sacrifice and even self-sacrifice. The adversities and trials that must be conquered can often result in death or near - death experiences. The notion of self-sacrifice is a predominant theme in Western culture based on the Bible. In The Epic of Gilgamesh, his journey is clearly one of self-sacrifice as before he can return to Uruk, he must “descend and disappear, at last, into the night womb of the grave”. For Gilgamesh, his sacrifice was the archetypal quest he embarked on to discover the elixir of immortality. He travelled across “arduous, horrid treks... to extremes of hot and cold”. Although ultimately failing, he demonstrates the moral and thematic concerns of persistence and resilience through his actions. This is elucidated by Margery Hourihan’s description, “no victory is sufficient, for the next challenge lies ahead”.
Many parallels of self-sacrifice can be drawn with other epic texts such as The Odyssey. On his complex journey home, Odysseus asks Circe to foresee what he would face on his journey home. She replies that he will battle Scylla, a horrific sea monster whose “legs-and there are twelve-are like great tentacles, unjointed, and upon her serpent necks are borne six heads like nightmares of ferocity... no seaman ever, in any vessel can claim to have passed her without loss or grief”. He is, however, unfazed, continuing on his quest, only asking, “Can I fight off Scylla when she raids my crew?” This shows his intelligence and personal sacrifice in arming himself for the inevitable encounter. Through his courage, they manage to defeat Scylla, losing only six men before continuing their journey.
This paradigm of self-sacrifice, the true epitome of the mythological hero is apparent in Where the Wild Things Are but in an attenuated form. As Max embarks on his heroic quest, overcoming minor adversities and thresholds, the book’s frames progressively get bigger until they expand onto the double-page spread depicting the “wild rumpus”. Throughout this rumpus, Max is portrayed as the monsters, superior in so far as he is positioned physically above them. He is wearing a crown and holding a sceptre. Max asserts his dominance as he becomes “king of all wild things”. However, he is willing to give up being “king of where the wild things are” in order to return to the safety and sanctity of his home “to be where someone loved him best of all”. This is a different homecoming to that of Mulan.
The concept of sacrifice is reflected on an even weakened form in Mulan. Her loyalty to her family and to China sparked her decision to replace her father in the army. Her sacrifice is portrayed through symbolism of her hair comb, representative of her femininity and her past life. She leaves her hair comb on her bed, before secretly departing for the Chinese Imperial Army, revealing her self-sacrifice as she is initiated into a foreign world. While ancient and epic mythic heroes such as Gilgamesh and Odysseus were willing to sacrifice their lives for a better society, most modern heroes tend to be more selfish and egocentric.
In conclusion, it is clear that the power of the mythological hero has weakened and changed in contemporary texts. They have been transformed from heroic warriors such as Gilgamesh and Odysseus into figures with which today’s society can more readily identify. Modern heroes such as Mulan and Max, lack the epic proportions, values and challenges their predecessors encountered. Even though the mythological heroes are not widely read today outside academic circles, their values and ideas are still appropriated and reflected in recent films such as Star Wars: The Clone Wars and Batman: The Dark Knight. These texts provide a form of revival of the hero figure. Modern day technology such as animation is a new vehicle for popularising a new hero in a different context. The hero is not dead, but has merely taken on a different form to suit the changing world.
“We dream our heroes.
In exchange, our heroes alter us.”
Reference List
Books:
Booker, Christopher. (2004). The Seven Basic Plots- Why We Tell Stories. New York: Continuum Books.
Campbell, Joseph. (1949). The Hero with a Thousand Faces. London: Fontana Press.
Castro, Tony. (2002). Mickey Mantle: America’s Prodigal Son. U.S.A: Brassey’s.
Cole, Cathy. (2004). Private Dicks and Feisty Chicks. Freemantle: Freemantle Arts Centre.
Dalley, Stephanie. (1989). Myths from Mesopotamia. New York: Oxford University Press Inc.
Davies, M.W. (2005). Introducing Anthropology. Sydney: Allen and Unwin Pty Ltd.
Edwards, Lee R. (1984). Psyche as Hero: Female Heroism and Fictional Form (Joan Didion: the White Album). Connecticut: Wesleyan University Press.
Hourihan, Margery. (1997). Deconstructing the Hero. New York: Routledge.
Hunt, Peter. (2006). Children’s Literature: Critical Concepts in Literary and Cultural Studies v 1-4. London: Routledge.
Leeming, David Adams. (1981). Mythology- The Voyage of the Hero. New York: Harper and Row Publishers.
Leeming, David. (1990). The World of Myth. New York: Oxford University Press.
Lukens, Rebecca. (1999). A Critical Handbook of Children’s Literature. U.S.A: Addison Wesley Longman inc.
Moyers, Bill., Campbell, Joseph. (1988). The Power of Myth with Bill Moyers. New York: Anchor Books Doubleday.
Norman, Dorothy. (1969). The Hero: Myth, Image, Symbol. U.S.A: The World Publishing Company.
Pearson, Carol. (1981). The Female Hero in American and British Literature. London: R.R. Bowker Company.
Salla, Michael E. (2002). The Hero’s Journey Toward a Second American Century. U.S.A: Greenwood Publishing Group.
Segal, Robert A. (1987). Joseph Campbell: An Introduction. New York: Garland Publishing inc.
Spitz, Ellen H. (1999). Inside Picture Books. New Haven: Yale University Press.
Van Nortwick, Thomas. (1992). Somewhere I Have Never Travelled- the Second Self and the Hero’s Journey in Ancient Epic. New York: Oxford University Press, Inc.
Vogler, Christopher. (1996). The Writer’s Journey: Mythic Structure for Storytellers and Screenwriters. Great Britain: Boxtree Limited.
Zipes, Jack. (1994). Fairy Tale as Myth, Myth as Fairy Tale. U.S.A: The University Press of Kentucky.
Frazier, Charles. (1997). Cold Mountain. U.S.A: Atlantic Monthly Press.
Fagles, Robert. (1996). The Odyssey by Homer. Britain: Penguin Classics.
Picture Book:
Sendak, Maurice. (1963). Where the Wild Things Are. New York: Harper and Row.
Internet:
Brown, Arthur. Storytelling, the Meaning of Life, and the Epic of Gilgamesh. Internet www, page at url: (last dated 1996).
Geocities. Mulan at the Box Office. Internet www, page at url: (last dated April 12, 2001).
Harris, Reg. The Hero’s Journey: Life’s Great Adventure. Internet www, page at url: http://yourheroicjourney.com/Journey.html (last dated 16 December 2006).
Howard, R.M. The Critical Response. Internet www, page at url: (no date).
Loy, J.M. Heroes and Role Models. Internet www, page at url: http://www.uscg.mil/leadership/essays/essay1.html (last dated February 1995).
Spooky Bug. Star Wars origins- Joseph Campbell and the Hero’s Journey. Internet www, page at url: (last dated 16 December 2006).
The Digital Library. Gilgamesh. Internet www, page at url: (last dated 2000).
White, Monica. Why Do We Need Heroes? Internet www, page at url: (last dated 18 June 2004).
Yudhoyono, S.M. The Making of a Hero. Internet www, page at url: (last dated 3 October 2005).
Articles:
Abbot, M. (2002). “The Cambridge Introduction to Narrative”. Cambridge Uni Press: England.
Byrnes, Paul. (2008). “A New Hero for Modern America”. Sydney Morning Herald, Spectrum, 5-6 July, p15.
Dale, David. (2002). “Once Upon a Time... How Many Core Stories Are There?” The Sydney Morning Herald, Spectrum, 7-8 September, pg 3-5.
Film:
Batman: The Dark Knight. (2008). Director: Christopher Nolan. Warner Bros Pictures.
Mulan (1998), Director: Tony Bancroft and Barry Cook. Walt Disney Pictures.
O Brother Where Are Thou? (2000). Directors: The Coen Brothers. Universal Pictures.
Star Wars: The Clone Wars. (2008). Director: Dave Filoni. Warner Bros Pictures. Lucasfilm Animation.
Cover Picture:
Myth Encyclopaedia. Gilgamesh. Internet www, page at url: (last dated 2007).
Weakened But Not Dead
The Waning Power of the
Mythological Hero
Reflection Statement
Student Number: 18565188
Centre Number: 103
English Extension Two Major Work:
Critical Response 2008
Word Count: 1470
Bertolt Brecht once stated “Unhappy the land that has no heroes”. It was these words that inspired me to write a critical response on the changing nature of the hero found in myths and modern texts. My essay, entitled “Weakened But Not Dead: The Waning Power of the Mythological Hero”, was written to compare the established mythic heroes of the past and their modern equivalents found in the stories we tell ourselves. Heroes have always existed across texts, times and cultures for the role they play in disseminating values and morals. Heroes in the stories and myths we read are essential to society because they help us to ultimately connect, critically and creatively with our individual selves. No one can dispute their purpose and continued fascination. However, the underlying purpose of my essay will be to argue that the mythological hero has weakened and changed into contemporary texts into figures with which today’s society can more readily identify.
My essay will analyse the heroes in the following four texts, The Epic of Gilgamesh, The Odyssey, Mulan and Where the Wild Things Are. These texts were chosen as they differ significantly in context, culture and form. This investigation reveals that modern heroes lack the internal fortitude, valour and sheer sophistication and inspiration that their predecessors possessed. I have also briefly analysed Cold Mountain and O Brother Where Are Thou, two appropriations of The Odyssey, to support my argument that the heroes of today have become attenuated yet still manifesting heroic tendencies. This is often a consequence of the profit driven production of these texts. Their weakened power and position was explored in terms of the hero’s representation, the values they encompass, the morals and boons they learn and the qualities they possess such as courage, physical strength and self-sacrifice. My critical response could initiate further discussion about the representation of today’s heroes and how their function has changed from their predecessors.
My critical response was influenced most notably in writing style and structure by literary theorist Margery Hourihan. She contemporised many archetypal myth and hero theorists such as Otto Rank, Joseph Campbell and Christopher Vogler into her book Deconstructing the Hero. However, the use of external quotations in her book is minimal, giving greater voice to Hourihan as well as producing an analytical text that is readily accessible to its audience. This heavily influenced the writing style of my critical response. Although an analytical and interpretive essay, I have excluded a sizeable amount of external quotations and theories originally used to increase my personal engagement in my work. This adopted writing style, similar to that of Hourihan, enabled me to voice my personal opinion to a greater extent without appearing too subjective and indoctrinating. Furthermore, in works by Hourihan and other researched anthropologists and theorists such as Lee Edwards and Thomas Van Nortwick, the focus was on comparisons amongst texts, particularly those that differed significantly in context and the representation of the hero. This impacted on my writing structure. Instead of just exploring the representation of the hero, I made continual comparisons to my base texts, The Epic of Gilgamesh and The Odyssey, and my contemporary texts through statements such as “the heroic journeys of Inman and Ulysses are clearly for personal gain and fulfilment” and “Cold Mountain follows the formulaic archetypal structure of The Odyssey”.
My investigation into literary, anthropological and psychoanalytical theories has allowed me to strengthen my textual analysis and to justify my thesis. My thesis and writing perspective was heavily influenced by Joseph Campbell and his book, The Hero With a Thousand Faces. It describes the value of such ancient epics like The Epic of Gilgamesh as it is “the greatest tale of the elixir quest”. My critical response is an extension of his beliefs of the importance of such heroes as “heroes...there must be- if we are to experience long survival”. Taking this a step further, I critiqued contemporary texts such as Mulan, stating “she does possess heroic tendencies as she is brave, daring and goes against the patriarchal conventions, but she lacks the internal determination and fortitude evident in the heroes of the ancient epics”.
My critical response will appeal to a diverse audience interested in archetypal myths and heroes found in a variety of texts. Despite the fact that not many people are familiar with The Epic of Gilgamesh and The Odyssey, the same cannot be said about Mulan and Where the Wild Things Are as they have been widely consumed by both adults and children. Hence, the intended audience of my critical response would be best suited to fellow HSC students and adults interested in literature, particularly archetypal mythology and heroes, evident through the choice of popular texts.
The title of my critical response “Weakened But Not Dead”, acts as a thought-provoking and ambiguous statement foreshadowing the decline of the heroic archetype in contemporary texts. Moreover, the by-line ‘The Waning Power of the Mythological Hero” exemplifies my thesis in a concise matter. It draws on the term waning, to suggest a gradual decline and I have implemented the term in the context of heroes. This is seen through heroes such as Mulan and Max, who have been fragmented into lower grade figures who possess heroic tendencies and qualities.
My essay was influenced by the HSC English Advanced Course “Texts and Contexts” (Module A). This module demonstrated how humanity’s relationship with the natural world has weakened, to the verge of its extinction. It juxtaposed the sterile and productive World State in Brave New World to the utopia disguised as a dystopia in Blade Runner: The Director’s Cut, composed fifty years later. This draws many parallels to the archetype of the hero and their function. From being idealised and established mythic constructions, they too, throughout time have become attenuated into individuals who possess some heroic qualities. John the Savage and Deckard, the protagonists in these texts cannot be called archetypal heroes yet they do demonstrate risk-taking, initiative and non-conformity. They are further evidence of how these archetypal heroes are no longer found in modern texts, often replaced with anti-heroes.
It was also undeniably influenced by the HSC English Extension One Course “Genre: Crime Fiction”. The knowledge I obtained from the course concerning the fluidity of the crime fiction genre in being able to adapt to differing contexts and time frame was applied to the hero. The module explored the changing representation of the crime fiction detective and the values they uphold. Similar to this is the function of heroes, as they are continually adapted to specific contexts and for specific societal purposes, resulting in their weakened heroic capabilities.
After reviewing the 2001-2007 Board of Studies Showcase of Extension Two Major Works, I chose not to conform to the structure of the majority of exemplar critical responses. I did not use any subheadings to allow for a free flowing thesis, not limited in sections. This would also allow me to successfully contrast many of the texts such as “The reasons behind the construction of Mulan and the ancient epics such as Gilgamesh also differ”. The final significant structural feature fashioned into my critical response was the use of The Epic of Gilgamesh as my base text. Throughout each argument it is the first text discussed to allow for comparison to modern texts such as “The Epic of Gilgamesh was originally an oral text... On the other hand, Mulan appropriated many elements of these ancient epics to captivate its responders in the aim of generating a sizeable profit for Walt Disney”. This allowed me to interact with responders through texts familiar to them, in which I could clearly display the weakened power and status of heroes in these contemporary texts.
The refinement of my work was aided with sessions with mentors and academics such as Doctor Virginia McGill who was able to challenge and reframe my arguments. Through the continual drafting and refinement of my essay stylistically, structurally and conceptually, this has resulted in my final piece satisfying my initial intent. Throughout the process, I have developed invaluable researching, reading, computer and analytical skills, necessary for tertiary education. Through the analysis of atypical texts, my critical response developed into an organic, engaging and creative essay, clearly exploring the waning power of the mythological hero. It has shown me how to be a critical thinker by challenging texts and their subsequent values.
Student Number: 18565188 Page
Castro, Tony. (2002). Mickey Mantle: America’s Prodigal Son. U.S.A: Brassey’s. p ix.
Gilgamesh is the central mythological hero in The Epic of Gilgamesh.
Odysseus is the central mythological hero in Homer’s Odyssey.
This translation from: The Digital Library. Gilgamesh. Internet www, page at url: (last dated 2000).
This translation from: Fagles, Robert. (1996). The Odyssey by Homer. Britain: Penguin Classics.
Mulan. (1998). Director: Tony Bancroft and Barry Cook. Walt Disney Pictures.
Sendak, Maurice. (1963). Where the Wild Things Are. New York: Harper and Row.
Campbell, Joseph. (1949). The Hero with a Thousand Faces. London: Fontana Press. p 185.
Uruk was an ancient city situated in Babylonia, east of the Euphrates River and west of the Tigris River.
The Epic of Gilgamesh, op., cit. p 1 (Tablet I).
The Odyssey, op., cit. Book One.
Ibid. “Anthropos polytropos” is the original Greek phrase used to described Odysseus as “the man of many ways or tricks”.
I have used the word “shero” to specifically describe female heroes as the word “hero” although perceived as a gender neutral term, epitomises the male gender.
Geocities. Mulan at the Box Office. Internet www, page at url: (last dated April 12, 2001).
Hourihan, Margery. (1997). Deconstructing the Hero. New York: Routledge. p 107.
Hourihan, op., cit. p 96.
The Bull of Heaven is sent down by the god Anu, following Gilgamesh’s rejection of Ishtar’s sexual advances.
Humbaba was a monstrous giant who guards the Cedar Forest, where the Gods live.
Utnapishtim survived the Great Flood and as such, was granted immortality by the gods. Hence, Gilgamesh visits him in the hope that he too may attain immortality.
The Epic of Gilgamesh, op., cit. p 11 (Tablet IX).
Orpheus was an ancient Greek mythological hero. His legendary heroic status is due to him being a successful poet and musician.
Van Nortwick, Thomas. (1992). Somewhere I Have Never Travelled- the Second Self and the Hero’s Journey in Ancient Epic. New York: Oxford University Press, Inc. p 12.
It is the seventh stage in Vogler’s hero’s journey where the hero is approaching his/her death. Vogler, Christopher. (1996). The Writer’s Journey: Mythic Structure for Storytellers and Screenwriters. Great Britain: Boxtree Limited.
Frazier, Charles. (1997). Cold Mountain. U.S.A: Atlantic Monthly Press.
O Brother Where Are Thou? (2000). Directors: The Coen Brothers. Universal Pictures.
Frazier, op., cit. p 406.
The White Huns were a nomadic clan from Central Asia from third century BC. They were considered so violent that the Qin Dynasty constructed the Great Wall of China as a result.
The Epic of Gilgamesh, op., cit. p 4 (Tablet IV).
The Epic of Gilgamesh, op., cit. p 6 (Tablet V).
Hourihan, op., cit. p 68.
The Epic of Gilgamesh, op., cit. p 1 (Tablet I).
The Odyssey, op., cit. Book Ten.
Edwards, Lee R. (1984). Psyche as Hero: Female Heroism and Fictional Form. Connecticut: Wesleyan University Press. p 5.
Campbell, op., cit. p 30.
Cole, Cathy. (2004). Private Dicks and Feisty Chicks. Freemantle: Freemantle Arts Centre. p 150.
Campbell, op., cit. p 12.
The Epic of Gilgamesh, op., cit. p 12 (Tablet X).
Hourihan, op., cit. p 69.
The Odyssey, op., cit. Book Twelve.
Star Wars: The Clone Wars. (2008). Director: Dave Filoni. Warner Bros Pictures. Lucasfilm Animation.
Batman: The Dark Knight. (2008). Director: Christopher Nolan. Warner Bros.
Brecht, Bertolt. (1939). Life of Galileo, sc 13.
This translation from: The Digital Library. Gilgamesh. Internet www, page at url: (last dated 2000).
This translation from: Fagles, Robert. (1996). The Odyssey by Homer. Britain: Penguin Classics.
Mulan. (1998). Director: Tony Bancroft and Barry Cook. Walt Disney Pictures.
Sendak, Maurice. (1963). Where the Wild Things Are. New York: Harper and Row.
Frazier, Charles. (1997). Cold Mountain. U.S.A: Atlantic Monthly Press.
O Brother Where Are Thou? (2000). Directors: The Coen Brothers. Universal Pictures.
Hourihan, Margery. (1997). Deconstructing the Hero. New York: Routledge.
Campbell, Joseph. (1949). The Hero with a Thousand Faces. London: Fontana Press.
Ibid, p 185. (From my Major Work, p 3).