THEHERO'S ADVENTURE

Fwtlwrmore,we hauenot evento risk theadcJenture alone, f- tln heroesof all time hnvegone before us. The labyrinth is tharoughlyknown. We have only to follow thethread of the lwro path,and, wllere we had thoughtto find an abomination, we slwllfirrd a god, And wherewe had thoughtto slay another, we shall slay owselvel Where we had thoughtto trauel outwmd,we will cometo thecenter of our own existence.And wlvre we had thoughtrc be alone,we will be withall the twrW. -JosrrH CRNapsrLL

MoYERS:\DUhy are there so many storiesof the hero in mythologyl cAMPBELL,Because that's what'sworth writing about. Evenin popular rcls, the main character is a hero or heroine rho h"r found or iorr" beyondthe normal rangeof achievementand experience.A hero who hasgiven his or her life to somethingbigger than oneself. YERS:soin all of thesecultures, whatever the localcostumethe hero be wearing,what is the deed? MPBELL:well, there are rwo typesof deed.one is the physicaldeed, ich the hero performsa courageousact in battle or saves'alife. The kind is the spiritual deed, in which the hero leams to experiencethe prmal range of human spiritual life and rhen comes 6ack with a FACING PAGE: usualhero adventurebegins with someone from whom something Martin L. King, Jr., r taken, or who feels there's something lacking in the .ro*"'i 1963. availableor permittedto the membersof his soCiety.This person off on a seriesof adventuresbeyond the ordinary, Alwo is sonvonewlwhas either to giwn hisarlwkfe what hasbeen lost or n to discoversome life-giving elixir. It's usually somethingbigger tlwn a goingand a retuming. orcself. THE POWEROF MYTH MOYERS,It's a journey-you have to move out of the known, conven- tional safetyof your life to underrakethis. CAMPBELL,You have to be transformedfrom a maiden to a mother. That's a big change,involving many dangers. 126 MoYERS'And when you come back from your journey,with the child, you'vebrought somethingfor the wclrld. CAMPBELL,Not only that, you'vegot a life job aheadof you.Otto Rank makesthe point that rhere is a world of peoplewho think that their heroic act in being born qualifiesthem for the respectand support of their whole community. MoYERS,But there'sstill a journeyto be takenafter that. CAMPBELL,There's a largejourney to be taken,of manytrials. MoYERS,!7hat's the significanceof the trials, and tests,and ordealsof the hero? CAMPBELL,If you want to pur ir in termsof intentions,the trialsare designedto seeto it that the intending hero should be really a hero. Is he really a match for this taskl Can he overcomethe dangers?Does he have the courage,the knowledge,the capacity,to enablehim to serve? MoYERS,ln this cultureof easyreligion, cheaply achieved, it seemsto me we'veforgotten that all three of the great religionsteach that the trials of the hero journey are a significant part of life, that there's no reward without renunciation, without paying the price. The Koran says,"Do you think that you shall enter the Gardenof Blisswithout such trials ascame to those who passedbefore you?" And Jesussaid in the gospelof Matthew, "Great is the gateand narrow is the way which leadethto life, and few there be who find it. " And the heroesof the Jewishtradition undergogreat tests beforethey arrive at their redemption. CAMPBELL,If you realizewhat the real problem is-losing yourself, giving yourselfto somehigher end, or ro another-you realizethat this iaelf is the ultimate trial. When we quit thinking primarily about ourselvesand our own self-preservation,we undergo a truly heroic transformationof consciousness. And what all the myths haveto deal with is ftansformationsof conscious. nessof one kind or another. Youhave been thinking one way, you now to rhink a different way. MOYERS,How is consciousnesstransformed? CAMPBELL,Either by the trialsthemselves or by illuminatingrevel Tiials and revelationsare what it's all abour. MoYERS,lsn'tthere a momentof redemptionin all of thesestories? woman is savedfrom the dragon, the city is sparedfrom obliteration, hero is snatchedfrom dangerin the nick of time. CAMPBELL'!7ell, yes.There would be no hero deedunless there an achievement.\7e can havethe hero who fails, but he'susuallv as a kind of clown, someonepretending to more than he can achieve. MoYERS,How is a hero differentfrom a leader? cA MP B E L L, That is a problem Tolstoydealt with in War and Peace.Here THE HERO'S you have Napoleon ravaging Europe and now about to invade Russia, and ADVENTURE Tolstoyraises this question: Is the leaderreally a leader,or is he simply the one out in front on a wave?In psychologicalterms, the leader might be analyzedas the one who perceived what could be achievedand did it. r27 MoYERS:It has been said that a leader is someonewho discemed the inevitableand got in front of it. Napoleonwas a leader,but he wasn'ta hero in the sensethat what he accomplishedwas grand for humanity's sake. It wasfor France, the glory of France. CAMPBELL'Then he is a Frenchhero, is he not? This is the problemfor . Is the hero of a given state or peoplewhar we need today, when the planet should be our field of concem? Napoleon is the nineteenth- counterpart of Hitler in the twentieth. Napoleon's ravaging of washorrific MoYERS:So you could be a local god and fail the test on a largercosmic I CAMPBELL,Yes. Or you could be a local god, but for the peoplewhom rt local god conquered, you could be the enemy. Whether you call a hero or a monster is all relative to where the focus of vour may be. OYERS:So we have to be careful not to call a deed heroic when. in a , mythologicalsense, it simply doesn'twork that way. MPBELL:\Uell, I don't know. The deed could be absolutelya heroic persongiving his life for his own people, for example. YERS:Ah, yes.The German soldierwho dies- MPBELL:-is as much a hero as the American who was senr over to kill him. ERS:So doesheroism have a moral objective? MPBELL:The moral objective is that of savinga people, or savinga or supporting an idea. The hero sacrificeshimself for something- the morality of it. Now, from another position, of course,you might the idea for which he sacrificedhimself was somerhing that should been respected.That's a judgment from , but it destroythe intrinsic heroism of the deed performed. r That's a different angle on heroes from what I got as a young I read the story of Prometheusgoing after fire and bringing it ting humanity and sufferingfor it. PBELL:Yes, Prometheusbrings fire to mankind and consequently The fire theft, by the way, is a universal mythic theme. Often, animal or bird that stealsthe fire and then passesit along to a of birds or animalswho run with it. Sometimesthe animals are the flamesas they passthe fire along, and this is said to account colorings. The fire theft is a very popular, worldwide story. , The people in each culture are trying to explain where fire Hiercglyphica. . ., PROME,THEVS, JohannesValeriano,

Lyons' 1586. AltltS lT INCgNI!Y' VII ASrlt!r lNvt.li r('n!s. The fire-tlwft is a unicrersal my thic tlvme. Prometlvus Lato in Protagorafub perftrnrSocreris, huruC bringsfire to mankinl and nrodinarre! dc Artium urigrncfabulam:Erar,rn- consequentlyciqtilization. quit, aliquandotctnpus, quo dil quidcmcrrnt, monalium autcm gcncra non craxrt,Poftguam Echrs t€pus fetis conltitut6 vcnit, vt crcarcnt6r,for- rnr ip6 di; irrtraterri cx tcrra & ignc pcrmirtis,&cx iis ignc-acrcrra pcrmifcitur.Qufi vctb in luc6iam illa pro- ;uii c(Gnt, itl6rum ornandoium fecultatum{; fi n girlis, vr dcccrct,diftribu€dar( curi Promcrhco& Epirnctheo miderfit. At Epimcthcusfibi diftribu6dimunus dcpofcit, Promcthco,dum cgodift ribuo,dicit, Afpicc & confidcre. :{uc illo pcrfuafo,diftributioncm frcit. Hic vcrbaliis ro. H::H'":*:tn::fr'lH:,"iililll',",l:: :u$::nH €1 }$

CAM PBELL The story isn't reallytrying to explainit, it hasto do with the valueof fire. The fire theft setsman apart from the animals. you're in the woodsat night, you light a fire, and that keepsthe away.You can seetheir eyesshining, but they'reoutside the firerange. MoYERS,So they'renot telling the storyjust to inspireothers or a moralpoint. CAMPBELL'No, it's to evaluatethe fire, its importanceto us, andto something about what has set man apart from the beasts. MoYERS,Does your study of mythology lead you to conclude single human quest, a standard pattern of human aspiration and constitutesfor all mankind somethingrhat we havein common,whether liveda million yearsago or will live a thousandyears from now? cAMPBELL,There's a certaintype of myrh which one mightcall visionquest, going in questof a boon, a vision, which has the sameform in THEHERO'S e\rerymythology. That is the thing that I tried to presentin the first book I ADVENTURE wrote, Tlw Hero with a Tlnusand Fares.All these different mythologies give usthe sameessential quest. You leavethe world that you're in and go into a depth or into a distanceor up to a height. There you come to what was missingin your consciousnessin the world you formerly inhabited. Then 129 comesthe problem either of stayingwith that, and letting the world drop off, or retuming with that boon and trying to hold on to it as you move backinto your socialworld again. That's not an easything to do. MoYERS:So the hero goes/or something,he doesn'tjust go along for the ride,he's not simply an adventurer? CAMPBELL,There are both kinds of heroes. some that choose ro undertakethe joumey and some that don't. In one kind of adventure,the herosets out responsiblyand int6ntionally to performthe deed.For instance, Odysseus'son Glemachus wastold by Athena, "Go find your father." That father quest is a major hero adventure for young people. That is the adventureof finding what your career is, what your nature is, what your sourceis. You undertake that intentionally. Or there is the legend of the Sumeriansky goddess, Inanna, who descendedinto the underworld and undenuentdeath to bring her beloved back to life. Then there are adventuresinto which you are thrown-for example, hing draftedinto the army. Youdidn't intend it, but you're in now. You've qtdergonea death and resurrection,you've put on a uniform, and you're anothercreature. One kind of hero that often appearsin Celtic myths is the princely hunter, who has followed the lure of a deer into a range of forest that he has neverbeen in before.The animal there undergoesa transformation,becom- ;ing the Queen of the FaerieHills, or somethingof that kind. This is a type 'of adventurein which the hero has no idea what he is doing but suddenly himself in a transformedrealm. MoYERS'Is the adventurerwho takes that kind of trip a hero in the

CAMPBELL,Yes, becausehe is always ready for it. In these stories, the that the hero is ready for is the one he gets. The adventureis ically a manifestationof his character. Even the landscapeand the of the environment match his readiness. MoYERS:In George Lucas' Star Wars, Solo begins as a mercenaryand up a hero, coming in at the last to saveLuke Skywalker. CAMPBELL'Yes. There Solo hasdone the hero act of sacrificinghimself another. MoYERS:Do you think that a hero is createdout of guilt? Was Solo becausehe had abandonedSkywalkerl CAMPBELL,It dependson what systemof ideasyou want to apply.Solo a verypractical guy, at leastas he thought of himself, a materialist.But wasa compassionatehuman being at the sametime and didn't know it. adventureevoked a quality of his characterthat he hadn't known he THE POWEROF MYTH like to bel" Jwo thirds of the students responded,"A celebrity." They had no notion of having to give of rhemselvesin order to achievesomething.

MOYERS:Just to be known. CAMPBELL, Just to be known, to have fsmg-narne and fame. It's too r34 bad. MOYERS,But doesa societyneed hemesl CAMPBELL'Yes, I rhink so. MOYERS,Why? CAMPBELL,Because it has to have constellatingimages to pull together all these tendenciesto separation,to pull them together into some intention.

MOYERS,Jb follow somepath. CAMPBELL,I think so. The nation has to havean intention somehowto operate as a single power.

MoYERS, \Uhat did you rhink of the ourpouring over John Lennon's deathl lUas he a hero? CAMPBELL,Oh, he definitelywas a hero. MoYERS,Explain that in the mythologica[sense. CAMPBELL,In the mythologicalsense, he wasan innovator.The Beatles brought forth an art form for which there was a readiness. Somehow, they were in perfect tune with their time. Had they rurned up thirty yearsbefore, their music would have fizzled out. The public hero is sensitive to the needs of his time. The Beatles brought a new spiritual depth into popular music which started the fad, let's call it, for meditation and Oriental music. Oriental music had been over here for years, as a curiosity, but now, after the Beatles, our young people seem to know what it's about. \7e are hearing more and more of it, and it's being used in terms of its original intention as a support for meditations. That's what the Beatlesstarted.

MoYERS:Sometimes it seemsto me that we ought to feel pity for the hero insteadof admiration. So many of them havesacrificed their own needs for others. CAMPBELL,They all have. MoYERS, And very often what they accomplish is shattered by inability of the followers to see. CAMPBELL' Yes,you come out of the foresr with gold and it tums ashes.That's a well-known fairv-tale motif. MoYERS'There's that haunting incident in the storyof Odysseus, the ship tearsapart and the membersof the crew are thrown overboard, the wavestoss Odysseus over. He clings to a mastand finally landson and the text says,"Alone at last.Alone at last." cAMPBELL,!7e11, that adventureof Odysseusis a little complicated try to talk about very briefly. But that particularadvenrure where the ship wreckedis at the Islandof the Sun-that's the islandof highestilluminari -r- had If the ship had nor becn wrccked, OdysscLrsn'righr have remaincd on the THE HERO'S island and become, yoll might say, thc sort of l,oili who, on achievinc flll ADVENTURE enlightenment,remnins therc in blissancl nevcr rerurns.But the Greek idea of making rhe v:rluesknown and enacted in lifc hrings hini back. Now, rhere too wasa taboo on the Islandof tl-reSr.rn, name ly, that one should not kill and eat any of the oxen of tl-reSun. C)tly'55g11.'mcn, horvever,werc hungry, sr-l r35 they slaughteredthe c:rttle of tl-reSun, whicl-r is what brousht about their shipwreck. The lower consciousness\\'irs still firncrioning while they were up there in the spherc of thc highesr spiritual light. WI'ren y.u're in rhl presenceof such an illumination, 1'tluArc n()t to think, "Gee, I'm hungry. Get me a roast bcef sandwich." Odysseus'rrlenu,ere nor ready or eligible frrr :ther the experiencewhich had becn givcn ro them. tion. That's a model story of the carrhly her.'s :'rttainingto the hiehest illumination but then con'rinshack.

MOYERS,What art:we to mitke of what you u,rotcof the bittersweetstrtry f,lrri tO of Odysseuswhen you said, "Tl-re trtrgic senseof thut r.r,orklies precise[yin its deep joy in life's beatrty :rnd excellence-tl-re noble loveliness of fair non's woman, the real worth of manly men. Yet tl-reend of the rale is ashes."

CAMPBELL,Yru can't szrylif'c is uselessbec:ruse it ends in rhe grave. There'san inspiring line in one of Pindar's poems where he is celebruii.rg u young man who has just won rr u'rcstling chtrmpionship at the Pythian games.Pindar writes, "Creirturcsof a.lay, whirt is anv oncl What is he notl reatles Man is but a dream of :r shadow. Yet whcn thcrc con'resars a gift of heaven a they , gleamof sunshine, thcre rcsts Llpon men a radiant light anJ, aye, a gentle ,efore, life."That dismalsaying, "Vanity, vaniry, all is vanityi"-i1 is not all vanity. needs This momenr itself is no vaniry, it is ir rriumph, a delight. This accent on music the culmination of perf-ectionin our momcnts of tritrmph is very Greek. music. , after MoYERS,Don't many of rhe henrcsin mythokrgydie to rhe world/ They .earing suffer,they're crucificd. :ion as cAMPBELL:Many of thcm givc rl-reirlives. But then the mvrh also savs that out of the given life comes a ncw life. It may nor be the hero's life, but br the it'sa new life, a new way of being or becomrng. r needs MOYERS,These storiesof the hero vnry from culture to culture. Is the herofrom the East different from rhe henr in our culrurel

CAMPBELL,It'sthe degreeof the illtrminationor action that makesthem by the different.There is a typical early culrure hero who goes aroLrnd slaying monsters.Nttw, that is a form of advcnture from the period of prehistory wtrenman was shaping his world out of rms to a dirngerous,unshaped wilderness. Hegoes about killing monsrers. MOYERS,So the hero when evolvesover tinie likc most other conceptsand , ideas? rd, and r shore, cAMPBELL,He evolvesas the culture evolves.Moses is a hero figure,for example.He ascendsthe mountain, he mects with Yahweh on the summit of the mountain, and he comes back with nrles frrr the formarion of a whole to ,ated newsociety. That's a typical hg11)sg1-departure, fulfillmenr, return. : ship is nation. MoYERS,Is Buddhaa hero fisure/ THE PO\uEROF MYTH MOYERS,Why are thesestories so importantto the humanrace? CAMPBELL,Itdepends on what kind of storyit is. If the storyrepresents what might be called an archerypaladventure-the storyof a child becoming a youth, or the awakeningto the new world that opensat adolescence-it 138 wouldhelp to providea modelfor handlingthis development. MoYERS'You talk abouthow srorieshelp us throughcrises. When I read them as a child, they all had happyendings. Ir wasa time beforeI learned that life is fraughtwith plodding,indulgent, and cruel realities.Sometimes I think we buy a ticket to Gilbert and Sullivan,and when we go into the theater, we find the play is by Harold Pinter. Maybe fairy tales make us misfitsto reality. cAMPBELL,Fairytales are told for entertainment.You've got to distin- guish betweenthe myths that have to do with the seriousmatter of living life in termsof the order of societyand of nature,and storieswith someof thosesame motifs that are told for entertainment. But eventhough there'sa h"ppy ending for most fairy tales, on the way to the happy ending, typical mythological motifs occur-frrr example,the motif of being in deeptrouble and then hearinga voiceor havingsomebody come to help you out. Fairy tales are for children. Very often they're about a little girl who doesn't want to grow up to be a woman. At the crisis of that threshold crossingshe's balking. So she goesto sleepuntil the prince comesthrough all the barriersand givesher a reasonto think it might be nice on the other sideafter all. Many of the talesrepresent the little girl who is stuck. All of thesedragon killings and thresholdcrossings have to do with getting pastbeing stuck. The rituals of primitive initiation ceremoniesare all mythologically groundedand haveto do with killing the infantile ego and bringingforth adult, whether it's the girl or the boy. It's harderfor the boy than for girl, becauselife overtakesthe girl. She becomesa woman whether intendsit or not, but the little boy has to intend to be a man. At the menstruation, the girl is a woman. The next thing she knows, pregnant, she'sa mother. The boy first has to disengagehimself from hi mother, get his energyinto himself,and then start forth. That'swhat myth of "Young man, go find your father" is all about. In the Glemachus lives with his mother. When he's twentv vearsold. comesand says,"Go find your father." That is the theme all through stories.Sometimes it's a mysticalfather, but sometimes,as here in Odyssel,it's the physicalfather. A fairy tale is the child'smyth. There areproper myths for proper of life. As you grow older, you need a sturdiermythology. Of course, wholestory of the crucifixion,which is a fundamentalimage in theChri tradition, speaksof the coming of eternity inro the lield of time and where there is dismemberment.But it alsospeaks of the passagefrom field of time and spaceinto the field of eternal life. So we crucifr temporaland earthlybodies, let them be torn, and thrclughthat ment enter the spiritual spherewhich transcendsall the painsof There'sa form of the crucilix known as "Christ Tiiumphant,"where not with headbowed and blood pouringfnrm him, but with headerect eyes open, as though having come voluntarily tcl rhe crucifixion. THE POWEROF MYTH myths?Do you think, for example, that a movie like Star \X/arsfills someol that need for a model of the herol cAMPBELL,I'veheard youngsters use some of GeorgeLucas'1s1ps-"1[6 Force" and "the dark side." So it must be hitting somewhere.It's a good 144 soundteaching, I would say. MoyERS,l think that explainsin part the successof StarWars. lt wasn't just the production value that made that such an exciting film to watch, it wasthat it came along at a time when peopleneeded to seein recognizable imagesthe clash of good and evi[. They neededto be remindedof idealism, to seea romancebased upon selflessnessrather than selfishness.

cAMPBELL,The fact that the evil power is not identifiedwith any specific nation on this earth means you've got an abstractpower, whic\ representsa principle, not a specifichistorical situation. The storyhas to dd with an operationof principles,not of this nation againstthat. The masksthat are put on peoplein Star\X/ars represent the real monsterforce i the modem world. When the mask of Darth Vader is removed,you see unformed man, one who has not developedas a human individual. you seeis a strangeand pitiful sort of undifferentiatedface.

MoYERS,What's the significanceof that? cAMPBELL,Darth Vaderhas not developedhis own humanity. He's robot. He's a bureaucrat,living not in terms of himself but in termsof imposedsystem. This is the threat to our lives that we all face today.Is systemgoing to flatten you out and deny you your humanity, or are going to be able to make use of the systemto the attainment of hu purposeslHow do you relate to the systemso that you are not compulsi serving it? It doesn't help to try to changeit to accordwith your system thought. The momentumof history behind it is too greatfor anything significant to evolvefrom that kind of action. The thing to do is leam live in your periodof historyas a human being.That's somethingelse, it can be done. MoYERS,By doingwhat? cAMPBELL,By holding to your own idealsfor yourselfand, like Skywalker,rejecting the system'simpersonal claims upon you.

MoYERS,When I took our two sonsto seeStar Wars. thev did the thing the audiencedid at that moment when the voice of Ben Kenobi to Skywalker in the climactic moment of the last fight, "Tirrn off computer, turn off your machine and do it yourself,follow your fee trust your feelings." And when he did, he achievedsuccess, and the brokeout into applause. CAMPBELL,\Uell, you see,that movie communicates.It is in a that talks to young people, and that's what counts. It asks, Are you be a personof heart and humanity-because that's where the life is, the heart

The morcter maslcstlwt are put on peoplein Star \07ars rcpresenttlw real monstez- force in tlu mod,emwarV. \(flvn tlv moskof Darth VaAeris removed,lou see anunfarmedman, one who lras not dcvebpedas a human individual. He's a brneatrcrat, living not in termsof himself, but in termsof an imposeds)stem.

MOYERS'I was intrigued by the definitionof the Force.Ben Kenobisays, "TheForce is an energyfield createdby all living things. It surroundsus, it penetratesus, it binds the galaxytogether." And I've read inTheHero with aTtwwandFaces similar descriptionsof the world navel, of the sacredplace, of thepower that is at the moment of creation. CAMPBELL,Yes, of course,the Forcemoves from within. But the force of the Empireis basedon an intention to overcomeand master.Srar \X/ars is not a simplemorality play, it has ro do with the powersof life as they are fulfllledor broken and suppressedthrough the action of man. MOYERS,The first time I sawStar Wars,I thought, "This is a very old in a very new costume." The story of the young man called to re, the herogoing out facingthe trialsand ordeals,and comingback his victory with a boon for the community-

CAMPBELL,Certainly Lucas was using standard mythological figures. old man asthe advisermade me think of a Japanesesword master. I've someof thosepeople, and Ben Kenobihas a bit of their character.

MOYERS:What does the sword master do? CAMPBELL,He is a total expert in swordsmanship.The Oriental culti- of the martial arts goes beyond anything I've ever encountered in icangymnasiums. There is a psychologicalas well as a physiological ique that go together there. This character in Star Wars has that MoYERS:But doesn'tthis leaveall the rest of us ordinarvmortals back THE HERO'S shore? ADVENTURE cAMPBELL'I don't think there is any suchthing asan ordinarymortal. erybodyhas his own possibilityof rapturein the experienceof life. All he to do is_recognizeit and then cultivate it and get going with it. I always 163 uncomfortablewhen people speakabout ordinary moitals becauseI've met an ordinary man, woman, or child. MoYERS:But is art the only wayone can achievethis illumination? MPBELL:Art and religion are the two recommendedwavs. I don't you get it through sheeracademic philosophy, which getsall tangled n concepts.But just living with one'sheart open to othersin compassion waywide open to all.

YERS:So the experienceof illumination is availableto anyone, not saintsor artists. But if it is potentially in everyone of us, deep in that nkedmemory box, how do you unlock it?

MPBELL:You unlock it by getting somebodyto help you unlock it. ru havea dear friend or good teacher?It may .orn. f.o- an actual being, or from an experiencelike an automobileaccident, or from luminatingbook. In my own life, mostly it comesfrom books, though I hada long seriesof magnificentteachers.

)YERS:When I read your work, I think, "Moyers,what mythologyhas foryou is-to place you on a branch of a very ancient tr... You'r.'p"rt ietyof the living and dead rhar came long beforeyou werehere and here long after you are gone. It nourishedyou and protectedyou, haveto nourish it and protect it in return."

PBELL:\Uell. it's been a wonderful support for life, I can tell you. tremendouswhat this kind of resourcepouring into my life has

ERS:But peopleask, isn't a myth a lie? PBELL:No, mythology is not a lie, mythology is poetry, ir is rrical. It has been well said that mythology is the penultimate Itimate becausethe ultimare cannot be put into words. It is words,beyond images,beyond that bounding rim of the Buddhist of Becoming.Mythology pitchesthe mind beyondrhar rim, to what knownbut not told. So this is the penultimatetruth. importantto live life with the experience,and thereforethe knowl- f its mysteryand of your own mystery.This giveslife a new radiance, .harmony,a new splendor.Thinking in mythological terms helps to in accordwith the inevitablesof this vale of rears. You learn to zethe positivevalues in what appearto be the negativemoments and of your life. The big questionis whether you are going to be able to yesto your adventure. S,The adventureof the hero? PBELL:Yes, the adventure of the hero-the adventure of being