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In narratology and comparative mythology, the monomyth, or the hero's journey, is the common template of a broad category of tales that involve a hero who goes on an adventure, and in a decisive crisis wins a victory, and then comes home changed or transformed.[1]

The study of hero myth narratives started in 1871 with anthropologist Edward Taylor's observations of common patterns in plots of hero's journeys.[2] Later on, others introduced various theories on hero myth narratives such as Otto Rank and his Freudian psychoanalytic approach to myth,[3] Lord Raglan's unification of myth and rituals,[2] and eventually hero myth pattern studies were popularized by Joseph Campbell, who was influenced by Carl Jung's view of myth. In his 1949 work The Hero with a Thousand Faces, Campbell described the basic narrative pattern as follows:

A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.[4]

Campbell and other scholars, such as Erich Neumann, describe narratives of Gautama Buddha, Moses, and Christ in terms of the monomyth. 

Campbell describes 17 stages of the monomyth. Not all monomyths necessarily contain all 17 stages explicitly; some myths may focus on only one of the stages, while others may deal with the stages in a somewhat different order.[page needed] In the terminology of Claude Lévi-Strauss, the stages are the individual mythemes which are "bundled" or assembled into the structure of the monomyth.[11]

The 17 stages may be organized in a number of ways, including division into three "acts" or sections:

Departure (also Separation),
Initiation (sometimes subdivided into IIA. Descent and IIB. Initiation) and
Return.
In the departure part of the narrative, the hero or protagonist lives in the ordinary world and receives a call to go on an adventure. The hero is reluctant to follow the call, but is helped by a mentor figure.

The initiation section begins with the hero then traversing the threshold to the unknown or "special world", where he faces tasks or trials, either alone or with the assistance of helpers.

The hero eventually reaches "the innermost cave" or the central crisis of his adventure, where he must undergo "the ordeal" where he overcomes the main obstacle or enemy, undergoing "apotheosis" and gaining his reward (a treasure or "elixir").

The hero must then return to the ordinary world with his reward. He may be pursued by the guardians of the special world, or he may be reluctant to return, and may be rescued or forced to return by intervention from the outside.

In the return section, the hero again traverses the threshold between the worlds, returning to the ordinary world with the treasure or elixir he gained, which he may now use for the benefit of his fellow man. The hero himself is transformed by the adventure and gains wisdom or spiritual power over both worlds.

Campbell's approach has been very widely received in narratology, mythography and psychotherapy, especially since the 1980s, and a number of variant summaries of the basic structure have been published. The general structure of Campbell's exposition has been noted before and described in similar terms in comparative mythology of the 19th and early 20th century, notably by Russian folklorist Vladimir Propp who divided the structure of Russian folk tales into 31 "functions

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