The Hero's Journey

Welcome to Celebrate Poe - This is episode 325 - The Hero’s Journey

During the Christmas holidays, you may remember that I went over the the complete The Wonderful Wizard of Oz by L. Frank Baum, written in 1900.  And by the way, when I finished writing the transcript for this episode, I realized that, while it was meant as a temporary transition from Poe’s works to The Wonderful Wizard of Oz, examining the similarities, and especially the differences between the literary works serves as a way to better understand Edgar Allan Poe’s stories, as well as L. Frank Baum’s The Wonderful Wizard of Oz.  Often we tend to try and learn more about the essence of a literary work by comparing it to a similar work - but I believe that you can learn a great deal about a literary work by comparing it to a work that is vastly different - and you can’t get much different than The Wizard of Oz and a story by Poe.

Thank you for experiencing Celebrate Poe.

Transcript

Welcome to Celebrate Poe - This is episode 325 - The Hero’s Journey

During the Christmas holidays, you may remember that I went over the the complete The Wonderful Wizard of Oz by L. Frank Baum, written in 1900.  And by the way, when I finished writing the transcript for this episode, I realized that, while it was meant as a temporary transition from Poe’s works to The Wonderful Wizard of Oz, examining the similarities, and especially the differences between the literary works serves as a way to better understand Edgar Allan Poe’s stories, as well as L. Frank Baum’s The Wonderful Wizard of Oz.  Often we tend to try and learn more about the essence of a literary work by comparing it to a similar work - but I believe that you can learn a great deal about a literary work by comparing it to a work that is vastly different - and you can’t get much different than The Wizard of Oz and a story by Poe.

First, to make a transition connecting L. Frank Baum’s The wonderful Wizard of Oz to Edgar Allan Poe’s works,  it helps to look through the lens of Joseph Campbell's theory of the Hero's Journey

Joseph Campbell's concept of the monomyth, or the Hero's Journey, holds that many stories across cultures - probably more than you might believe at first glance  follow a similar narrative structure. This includes a hero venturing from the ordinary world into a realm of supernatural wonder, facing challenges, achieving a decisive victory, and returning transformed.

To show you what I mean, let’s break down the stages of the Hero's Journey and how they apply to both The Wonderful Wizard of Oz and Poe's 
works.  

First - Separation or Departure: In The Wonderful Wizard of Oz, Dorothy leaves her home in Kansas. In Poe's stories, characters often leave their mundane lives to enter a realm of darkness or the unknown.
Second - Initiation: Dorothy faces various trials in Oz, while Poe's characters navigate through psychological and often terrifying landscapes.
Third - Return: Dorothy returns home transformed, while Poe's characters often undergo a profound, though sometimes tragic, transformation.

In Poe’s works and the Oz stories - both works use archetypal characters and themes:
For example - The Innocent Hero: Dorothy in The Wonderful Wizard of Oz is an innocent who navigates a strange world. In Poe's works, characters like the narrator in "The Tell-Tale Heart" or "The Fall of the House of Usher" are often driven by innocence or naivety into darker realms.

And then there is The Mentor: Glinda the Good Witch guides Dorothy, while in Poe's stories, characters may encounter mysterious or malevolent guides that influence their journey.
Then there is The Shadow: The Wicked Witch of the West represents the shadow in The Wonderful Wizard of Oz, while Poe's characters often confront their own shadows or the darker aspects of human nature.

And there is a Contrast Between Light and Dark Journeys - Dorothy has a generally optimistic and transformative journey in The Wonderful Wizard of Oz, while there is an often dark, transcendental journeys in Poe's works:

Dorothy's journey is marked by hope and eventual return home, whereas Poe's characters often face despair, madness, or even death. Both works involve self-discovery, but while Dorothy finds her way back home with newfound appreciation, Poe's characters may uncover dark truths about themselves or the world. Dorothy grows from her experiences in Oz, while Poe's characters undergo profound psychological changes, often revealing deeper truths about human nature.  And both works touch on universal themes such as the struggle between good and evil, the power of courage, and the importance of self-awareness.

The Wonderful Wizard of Oz has become a cultural icon, while Poe's works have also influenced countless authors, filmmakers, and artists.
While they are generally viewed as quite different, both works tap into archetypes that resonate deeply with audiences, reflecting fundamental human experiences and desires.

Poe is known for creating dismal, terrifying, and atmospheric settings that are integral to the narrative. Works such as "The House of Usher," "The Pit and the Pendulum," and "The Cask of Amontillado" use setting to build dread and terror. In contrast, Baum's settings, such as the Land of Oz, are often fantastical, colorful, and optimistic. The environment is designed to be enchanting and adventurous rather than terrifying.

Poe's stories are characterized by a dark, often gruesome, and psychologically intense tone. His works frequently explore themes of death, madness, and the darker aspects of human nature.  On the other hand,
Baum's narratives, particularly in The Wonderful Wizard of Oz, maintain a more optimistic and hopeful tone. The story is marked by a sense of wonder and adventure, with a focus on personal growth and the triumph of good over evil.

As for characters - well - Poe's characters are often deeply flawed, mentally unstable, or driven by dark motivations. His protagonists frequently suffer from inner disconnects that lead to their downfall. Examples include the narrators in "The Tell-Tale Heart" and "The Masque of the Red Death".
Baum's characters, such as Dorothy in The Wonderful Wizard of Oz, are generally more innocent and virtuous. They undergo transformative journeys but are not typically plagued by the same level of psychological complexity or darkness as Poe's characters.

The narrative structure is also interesting in both works. Poe's stories often begin with background scene-setting and insight into the narrator's mind. They are frequently told in the first person, which allows for a deep dive into the protagonist's psyche. The stories tend to end abruptly, enhancing the impact and terror.

Baum's narratives, such as The Wonderful Wizard of Oz, follow a more traditional and linear structure. The story is told in the third person and features a clear beginning, middle, and end, with a focus on the protagonist's journey and growth.

As for use of language, Poe is known for his elaborate and detailed descriptions, often using elliptical clauses, similes, and adjectival phrases to create vivid and suspenseful imagery. This style helps to build tension and maintain the reader's engagement.

Let me show you an example from Edgar Allan Poe's use of elliptical clauses, similes, and adjectival phrases, from his short story "The Facts in the Case of M. Valdemar," which is often cited for its vivid and suspenseful descriptions.

Here is an example from the story:
"The eyes rolled themselves slowly open, the pupils disappearing upwardly; the skin generally assumed a cadaverous hue, resembling not so much parchment as white paper"
Elliptical clause: "the pupils disappearing upwardly" is an example where a part of the clause is left out but is understood.
Simile: "resembling not so much parchment as white paper" compares the skin to parchment and white paper using "resembling."
Adjectival phrases: "cadaverous hue," "slowly open," and "white paper" are all descriptive phrases that add vivid detail to the description.
This passage demonstrates Poe's mastery of using these literary devices to create a vivid and haunting image in the reader's mind - and he uses such literary devices quite frequently.

On the other hand, L. Frank Baum’s writing style is more straightforward and accessible. He uses simpler language and focuses on telling a compelling story rather than creating complex, suspenseful descriptions. The narrative is designed to be engaging and easy to follow for a broader audience.

When it comes to themes, Poe's works often explore themes of death, guilt, injustice, and the inner workings of the human mind. Baum's themes are more centered around personal growth, friendship, and the triumph of good over evil. The Wonderful Wizard of Oz emphasizes the importance of home, courage, and the power of believing in oneself.
These differences highlight the distinct narrative styles of Poe and Baum, reflecting their unique approaches to storytelling, character development, and thematic exploration.

Not surprisingly, the pacing and tension-building techniques differ between Poe and Baum.

Sound plays a crucial role in Poe's stories, such as the repetitive beating of the heart in "The Tell-Tale Heart," which creates an atmosphere of terror
and guilt. These sensory details heighten the tension and contribute to the overall sense of unease.

Poe often uses first-person narration, as seen in "The Tell-Tale Heart," which allows readers to experience the story through the eyes of an unstable and often unreliable narrator. This creates a sense of immediacy and intimacy, making the reader feel the narrator's anxiety and uncertainty, thereby building suspense.  In fact, The Tell Tale Heart begins with TRUE! -- nervous -- very, very dreadfully nervous I had been and am; but why will you say that I am mad? The disease had sharpened my senses -- not destroyed -- not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily -- how calmly I can tell you the whole story.

It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this! He had the eye of a vulture --a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees -- very gradually --I made up my mind to take the life of the old man, and thus rid myself of the eye forever.

Poe's stories often involve a slow build-up of tension through the narrator's actions and thoughts, culminating in a dramatic climax. This slow build-up, such as the seven nights of watching the old man, keeps the reader in a state of anticipation and suspense.

On the other hand, Baum’s stories, like The Wonderful Wizard of Oz, typically follow a linear narrative structure and are told in the third person. This perspective provides a more objective view of the characters and events, which contrasts with Poe's subjective and often distorted first-person narratives.

Baum’s pacing is generally more even and less tense than Poe's. The story unfolds at a steady pace, with moments of excitement and danger balanced by periods of rest and reflection. The overall tone is optimistic, focusing on the protagonist's journey and growth rather than building relentless tension.

And while Baum uses descriptive language to create vivid images of the Land of Oz, it is not as intricately woven with tension and suspense as Poe's descriptions. Baum's descriptions are more straightforward and aimed at creating a sense of wonder rather than dread.

Baum's characters, such as Dorothy, are generally more straightforward and less psychologically complex than Poe's characters. The plot developments are driven by external events rather than internal psychological struggles, which reduces the level of tension and suspense compared to Poe's works.

Poe uses first-person narration to create a sense of immediacy and intimacy, while Baum uses third-person narration for a more objective view.
Pacing: Poe's stories are characterized by slow, deliberate pacing that builds tension, whereas Baum's stories have a more even and less tense pace.

Poe's works are marked by a dark, suspenseful tone, while Baum's works are generally more optimistic and adventurous.

Poe's characters are often deeply flawed and psychologically complex, while Baum's characters are more straightforward and virtuous.

Poe relies heavily on sensory details, especially sound, to create tension, whereas Baum uses descriptive language more for setting and atmosphere rather than building suspense.

In The Wonderful Wizard of Oz, dialogue is crucial for developing characters and advancing the plot. The conversations between such characters as Dorothy, the Scarecrow, the Tin Man, and the Cowardly Lion help to reveal their personalities, motivations, and relationships. Baum's dialogue is characterized by direct and simple language, which is part of his overall approach to keep the narrative accessible and easy to follow. This simplicity helps in maintaining a clear and uncomplicated storyline.
Baum occasionally addresses the reader directly through his narrative, creating a personal connection and making the story feel more like a tale told face-to-face. This technique is evident in passages where he speaks directly to the reader, such as in Chapter 14 of The Wonderful Wizard of Oz.

For example, Chapter 14 begins - 
You will remember there was no road—not even a pathway—between the
castle of the Wicked Witch and the Emerald City. When the four
travelers went in search of the Witch she had seen them coming, and so
sent the Winged Monkeys to bring them to her. It was much harder to
find their way back through the big fields of buttercups and yellow
daisies than it was being carried. They knew, of course, they must go
straight east, toward the rising sun; and they started off in the right
way. But at noon, when the sun was over their heads, they did not know
which was east and which was west, and that was the reason they were
lost in the great fields.

On the other hand, many of Poe's stories feature little to no dialogue. For example, "The Pit and the Pendulum" is almost entirely devoid of dialogue, focusing instead on the narrator's internal monologue and descriptions of the surroundings. This approach allows for a deep dive into the narrator's psyche but limits the use of dialogue as a separate narrative device.  Also, Poe's stories are more focused on the psychological and emotional states of the characters rather than on dialogue-driven interactions. The narrative is often more introspective, with the narrator's thoughts and feelings taking center stage.

Dialogue is a central element in Baum's narrative, used to develop characters and advance the plot, whereas in Poe's works, dialogue is sparse and often secondary to the narrator's internal monologue and descriptive passages.

Baum's dialogue is straightforward and simple, designed for a young audience, while Poe's narrative style is more complex and psychologically intense, with a focus on the narrator's inner world.

Baum uses a third-person omniscient perspective, which allows for multiple characters' thoughts and feelings to be explored through dialogue. In contrast, Poe's first-person narration limits the use of dialogue and focuses more on the narrator's personal experiences and thoughts.

One fascinating way that Baum approaches dialogue and narrative style is through the use of binary opposites - let me explain what I mean.

In L. Frank Baum's "The Wonderful Wizard of Oz," binary opposites are a significant narrative device used to create a clear and understandable storyline, particularly for a young audience. Here are some examples of these binary opposites:

Red-Yellow, Blue-Green: The lands in Oz are divided by distinct colors, such as the red poppy fields, the yellow brick road, the blue country of the Munchkins, and the green Emerald City. This color coding helps to differentiate the various regions and their inhabitants.

North-South, East-West: The Land of Oz is clearly divided into quadrants, each with its own distinct characteristics and rulers, emphasizing the binary nature of the world. The most prominent binary opposition is between good and evil, represented by characters like Glinda the Good Witch and the Wicked Witch of the West. This binary opposite - oh, I really like that word binary - is reinforced through their actions, appearances, and the colors associated with them - such as white for good and green for evil.

The Cowardly Lion's journey is another prime example of binary opposites, as he seeks to find  courage, contrasting with his initial state of fear and cowardice.

Some scholars - and yes, there are Wizard of Oz scholars - believe that another example of binary opposites is Female Witches/Male Wizard Despite the witches ruling their respective countries, the most powerful figure in Oz is the male Wizard. This dynamic reflects the patriarchal society of the time when the novel was written.  What did you expect in the 19th century.
The contrast between the beautiful Glinda and the ugly Wicked Witch of the West is another example of binary opposition, highlighting the difference between good and evil through physical appearance.

These binary opposites help to simplify the narrative, making it easier for readers to understand the story's themes and characters, and they also add depth by reflecting broader societal and moral concepts.

Some would say that The Cowardly Lion is the most obvious example of this binary opposition. Despite his large and intimidating appearance, he is portrayed as cowardly and fearful. His journey is centered around finding courage, which he believes he lacks. This character embodies the contrast between his physical strength and his emotional weakness, highlighting the internal struggle between courage and cowardice.

While not explicitly cowardly, the Wicked Witch of the West can be seen as a foil to the Cowardly Lion. Her bravado and aggressive behavior mask a deeper vulnerability, particularly her fear of water and her ultimate demise. This contrast shows that even characters who appear brave can have underlying fears, blurring the lines between courage and cowardice.

This binary opposition serves to illustrate the complex nature of courage and cowardice, showing that these traits are not mutually exclusive and can coexist within the same character. The narrative uses these contrasts to explore personal growth, self-discovery, and the overcoming of fears, making the story more relatable and engaging.  And you thought it was just a children’s story.

I’d like to try and wrap this up by commenting on archetypes in literature.  Joseph Campbell, a brilliant professor of literature and comparative mythology identified several character archetypes that are central to the narrative structure he termed the "Hero's Journey." Here are some of the key archetypes:

The Hero
The Hero is the primary character who embarks on a transformative journey. This archetype is characterized by the hero's responsibility for completing the quest, undergoing significant psychological transformation, and being willing to sacrifice for a cause - Dorothy Gale is an excellent example.

The Mentor
The Mentor guides and supports the Hero, offering wisdom and advice along the way. Examples include Gandalf in "The Lord of the Rings,” Obi-Wan Kenobi in "Star Wars,” and Glenda the Good in the Wizard of Ox.

The Shadow
The Shadow represents the opposing force to the Hero, often exploiting the Hero's flaws and standing in the way of their progress. This character is not necessarily evil but serves as a counterpoint to the Hero's journey.
The Companion (or Ally)

The Companion dedicates themselves to the Hero and aids them in their quest. This character can provide emotional support, skills, or other forms of assistance, such as Dorothy’s companions in the Wizard of Oz.

The Guardian
The Guardian acts as a protector or gatekeeper, sometimes blocking the Hero's path but also serving to test their resolve and worthiness.

The Herald
The Herald announces the call to adventure, setting the Hero on their journey. This can be a person, an event, or even a dream.

These archetypes are not fixed roles but rather functions that characters can fulfill at different points in the story. Characters may evolve and shift between archetypes as the narrative unfolds, adding depth and complexity to the story.
 
Campbell's archetypes are universal because they reflect fundamental human experiences and desires. These characters and their roles are found in myths, legends, and stories from diverse cultures, highlighting the shared human psyche and the timeless nature of storytelling.

Join Celebrate Poe for Episode 325 - The Hero’s Journey - where this podcast delves into Joseph Campbell’s thoughts about literary heroes - a lot more interesting than it might sound.

Sources for this episode include Edgar Allan Poe: A Critical Biography and by Arthur Hobson Quinn, The Poe Log: A Documentary Life of Edgar Allan Poe by Dwight R. Thomas and David K. Jackson,  Edgar Allan Poe: The Man by Mary E. Phillips, and Edgar Allan Poe by George E. Woodberry from the American Men of Letters series.

Thank you for listening to Celebrate Poe.