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| Jane Eyre (2011) |
In storytelling, the Heroine’s Journey is structured the same way as the Hero’s Journey but the feminine experience of the story tends to differ from the standard masculine interpretation. It's the same basic myth but with a feminine twist.
The Hero’s Journey monomyth was identified by Joseph
Campbell in his book on comparative mythology, The Hero With A Thousand Faces. However, the feminine experience in
these myths tends to be limited to a passive role; the women are there just to serve
the male gods. In an interview with Maureen Murdock, Campbell said that women
did not need to make the hero’s journey:
“In the whole mythological tradition the woman is there. All she has to do is to realise that she’s the place that people are trying to get to.”*
I think most women, and many men, would agree that statement
is, well, bollocks. I’m not about to launch into a deconstruction of the blind
spots of the patriarchy. Suffice to say, Campbell’s position is out of date, to
say the least.
What the myths mean
The myths are about facing unconsciousness, growing up and
discovering your true identity. Obviously men and women tend to do this in
slightly different ways, and even within genders there is a lot of variation.
Arguably, we all have a hero and a
heroine inside us. But when it comes to storytelling there are times, with a
female protagonist, that you don’t want to be making her do things a woman just
wouldn’t do.
Generally speaking, men are more likely to get physical, get
into a fight and do a lot of running around and shouting. Women, on the other
hand, are more likely to use their wits and intelligence, to outsmart the bad
guys instead of punching them in the face. There are obvious exceptions, and
sometimes a good old left hook is exactly what you need.
Ultimately, both the hero and heroine myths are about
becoming whole. The story brings the hero or heroine face to face with their
unconsciousness, forcing them to grow and change. They're challenged to
complete the Sacred Marriage, the union of opposites, to be reborn as a whole
person. In story, this is usually depicted as a relationship with the opposite
sex, but in reality this is about internal wholeness – the marriage of
opposites within.
The Heroine’s Journey: Structure
Act One introduces the heroine in her Ordinary World and
shows what is missing in her life, where she is unconscious, not fully formed,
or in need of healing.
Act Two launchers her into the Special World of the story
where she will confront her problems, form allies and make enemies, and either
rise to the challenge issued in act one, or not.
Act Three is the return to the Ordinary World where we see
our heroine putting her new found wisdom/skills/whatever she’s learnt into
practice.
Here’s the whole journey:
In Act 1 we meet the Heroine in her ORDINARY WORLD
The Heroine receives a CALL TO ADVENTURE
Reluctant to change, she REFUSES THE CALL
But after MEETING THE MENTOR, changes her mind
The Heroine rises to the challenge and CROSSES THE FIRST THRESHOLD
In Act 2 the Heroine encounters TESTS in this Special
World, making ALLIES AND ENEMIES
The Heroine APPROACHES THE INMOST CAVE where
She experiences the SUPREME ORDEAL
Leading to a REWARD where she Seizes the Sword
In Act 3 the Heroine is pursued on THE ROAD BACK to the
Ordinary World
The Heroine crosses the threshold and experiences
another death followed by a RESURRECTION
Transformed, the Heroine RETURNS WITH THE ELIXIR to
share her Boon/Treasure with the Ordinary World.
This series looks at the Heroine’s Journey
in detail using examples from the 2011 film adaptation of Jane Eyre. Follow the links above or just start with part 1 and take it from there...
*Quoted in The
Heroine’s Journey by Maureen Murdock.
