The Heroic Journey
CONTEXT FOR J.R.R. TOLKIEN’S THE HOBBIT
THE BIG IDEA
Humans need heroes to show pathways to
success
1.
2.
Brainstorm a list of heroes (either real or
fictional).
In what ways have these heroes helped
people find success?
JOSEPH CAMPBELL (1904 – 1987):

1.
2.
Title of major study on hero’s journey: The
Hero with a Thousand Faces
Speculate on the meaning of the title.
Why must a title have multiple faces?
THE HERO WITH A THOUSAND FACES
Traces the story of the hero’s journey through
virtually all the mythologies in the world,
revealing one archetypal hero in them all = the
monomyth
 Think about the following: Jesus, Moses,
Siddhartha Gautama, Odysseus, Beowulf,
Theseus, Luke Skywalker, – What do these
heroes have in common?

CAMPBELL’S CONCLUSION:

Human beings all want and need the same
things, and our heroic stories reflect this need.

Do you agree or disagree with Campbell’s
conclusion?
UNIT FOCUS:

Analyze Bilbo Baggins from The Hobbit, using
Joseph Campbell’s model of the hero’s journey
THE HERO’S JOURNEY: THREE STAGES
Departure (Chapters 1 – 9)
 Initiation (Chapters 10 – 16)
 Return (Chapters 17 – 19)

DEPARTURE – 5 PARTS:
1.
2.
3.
4.
5.
The call to adventure (Chapters 1 - 2)
The refusal of the call (Chapters 1 - 2)
Supernatural Aid (Chapters 3 – 7)
The Crossing of the first threshold (Chapter 8)
The belly of the whale (Chapter 9)
INITIATION – 4 PARTS
1.
2.
3.
4.
The road of trials (Chapters 10 – 16)
The ultimate boon (Chapter 17)
Atonement with the father (Chapter 18)
Apotheosis (Chapter 19)
RETURN (MAY INCLUDE ONE OR MORE)
1.
2.
3.
4.
5.
The magic flight
Rescue from without
The crossing of the return threshold (Chapter
19)
Master of the two worlds
Freedom to live
DEPARTURE: THE CALL TO ADVENTURE

An unexpected world is revealed, drawing the hero in.





The world may be revealed accidentally, through mistake, or
even through something eye-catching.
A messenger appears, calling the hero to adventure
Adventurous destination of both treasure and danger is
always a place of changing beings, unimaginable
torments, superhuman deeds, and impossible delight -it’s exciting
The force to attend becomes so strong that the
summons cannot be denied.
The hero seems to outgrow the old life; the time for
moving on is at hand
DEPARTURE: THE REFUSAL OF THE CALL
The hero tries to ignore the call and pursues other
interests.
 By refusing the call, the hero makes the adventure
seem negative.
 Life begins to feel meaningless.
 The hero digs deep to find secret reserves of
courage, often in response to a predicament
following the initial refusal.
 Ultimately, the hero goes forth willingly on the
adventure.

APPLICATION TO THE HOBBIT
Read Chapters 1 – 2.
 Using either your blue Post-its or a blue
highlighter, identify places in the chapters that
are clear examples of “The Call to Adventure”.
 Using either your yellow Post-its or a yellow
highlighter, identify places in the chapters that
are clear examples of “The Refusal of the Call”.

DEPARTURE: SUPERNATURAL AID

The hero encounters a figure who provides the
adventurer with protective amulets against evil
fairy lore = a little fellow of the wood, an old crone,
some wizard, hermit, shepherd, or smith who appears
to supply the amulets and advice the hero will require
 higher mythologies = great figure, a teacher, a
ferryman, a conductor of souls to the underworld


Each supernatural event represents the protecting
power of destiny – reassurance that all will be OK
in the end.
APPLICATION TO THE HOBBIT
Read Chapters 3 - 7.
 Using either your green Post-its or a green
highlighter, identify places in the chapters that
are clear examples of “Supernatural Aid”.

DEPARTURE:
THE CROSSING OF THE FIRST THRESHOLD




The hero crosses a threshold (figurative doorway) into
the unknown, darkness, and danger.
The hero becomes like an infant beyond parental watch,
crossing the boundary beyond the protection of society.
The regions of the unknown (woods, desert, jungle,
deep sea, alien land, etc.) are filled with deceitful and
dangerous presences not experienced in the normal
world.
The crossing of the threshold is the first step toward
self-understanding, yet the action is tremendously risky
– often life or death.
APPLICATION TO THE HOBBIT
Read Chapter 8.
 Using either your pink Post-its or a pink
highlighter, identify places in the chapters that
are clear examples of “The Crossing of the First
Threshold”.

DEPARTURE: THE BELLY OF THE WHALE
Some time after crossing the threshold, the hero,
instead of conquering of giving in, is swallowed,
unknown, and would appear to have died.
 The passing of the threshold is a possible life
sacrifice, making the hero a new person.
 After shedding fear of sacrifice, the hero is free to
pass back and forth across the horizons of the
world, traveling in and out of space and/or time.

APPLICATION TO THE HOBBIT
Read Chapter 9.
 Using either your orange Post-its or an orange
highlighter, identify places in the chapters that
are clear examples of “The Belly of the Whale”.

STAGE 2: INITIATION, THE ROAD OF TRIALS
The hero moves through a landscape in which
places and life forms are strange and unknown.
 The hero must survive a series of increasingly
difficult tasks.
 The hero is assisted by the advice, amulets (good
luck tokens), and secret agents of the
supernatural helper.
 A chance is provided for the hero to purify the self
and think about salvation. The hero must be
willing to put aside pride, virtue, beauty, and/or
life.

APPLICATION TO THE HOBBIT
Read Chapter 10 - 16.
 Using either your blue Post-its or a blue
highlighter, identify places in the chapters that
are clear examples of “The Road of Trials”.

INITIATION: THE ULTIMATE BOON
The final heroic task is usually accomplished
with great ease, signifying the hero as a
superior man – a born king.
 The ultimate boon is the ultimate treasure won
by the hero.
 The boon can only be received by the hero after
all personal limitations are gone.

APPLICATION TO THE HOBBIT
Read Chapter 17.
 Using either your yellow Post-its or a yellow
highlighter, identify places in the chapters that
are clear examples of “The Ultimate Boon”.

INITIATION: ATONEMENT WITH THE FATHER
The hero must reconcile with a “father” figure
who has been an opposing figure.
 The father can be a figure whom the hero has
loved or even hated.
 This coming together after complete selfsacrifice is called atonement = “at onement”.

APPLICATION TO THE HOBBIT
Read Chapter 17.
 Using either your yellow Post-its or a yellow
highlighter, identify places in the chapters that
are clear examples of “Atonement with the
Father”.

INITIATION: APOTHEOSIS
The hero transcends to a place of bliss.
 In a more ordinary sense, it is a period of rest
and fulfillment before the hero begins the
return.

STAGE THREE:
THE RETURN (MAY INCLUDE ONE OR MORE)







The Return: The adventurer must return with the life-changing trophy
(boon).
Refusal of the Return: The hero might not want to share the boon.
The Magic Flight: Sometimes the hero must escape with the boon, if
it is something that the gods have been jealously guarding.
Rescue from Without: The hero is aided on the journey home by
supernatural forces.
The Crossing of the Return Threshold: The hero brings the prize and
stories of wisdom from the journey back home.
Master of Two Worlds: The hero is able to live in the material and
spiritual worlds.
Freedom to Live: The hero does not fear death, but lives in the
moment.
APPLICATION TO THE HOBBIT
Read Chapter 19.
 Using either your pink Post-its or a pink
highlighter, identify places in the chapters that
are clear examples of “Apotheosis” and/or “The
Return”.

IDEAS FOR ASSESSMENT



Students can be regularly quizzed on elements of the
Heroic Journey. Let them use their books, writing wordfor-word examples of each stage. Students who have
not done the note-taking work may not take the quiz.
Students can construct a board game for The Hobbit,
using each stage in the heroic journey as part of their
games. Require quotes and explanation from the book
as part of the game construction.
Students can analyze Bilbo’s heroic journey in an
expository essay, explaining how he fits, or does not
quite fit, all elements of the journey.