The hero’s journey and its parallel in Indian dramaturgy.

The ordinary world is where the story begins

Refusal to the call the hero usually refuses to face the challenge

Meeting the mentor the hero meets a mentor or gains advice to face the challenge

Crossing the first threshold from the ordinary the protagonist moves to the extraordinary breaking the comfort zone.

Tests and allies like all journeys’ there are trials and troubles, friends, foes and distraction.

Approach there is a failure in the plan of action or an obstacle the protagonist now needs to relook into the alternates dig into his or her own reserves and capabilities.

Ordeal would be a challenge almost fatal crisis.

Reward overcoming the challenge or even facing death earns the hero a reward.

The return the hero must return to the ordinary world, acknowledging his mentors, and aides through the journey.

Resurrection   rreturn to the mundane from the exotic is also necessary; he has to use all that he has learnt.

The elixir or the achievement the hero returns with the elixir and uses it to help everyone in the ordinary world.

These are the steps travelled by hero in any journey this is also seen in the concept of classical Indian theatre where we talk of the bindu or the reason for the quest, the trouble, which requires a Yatna or an effort that traverses the adventure of the hero, and then comes the phlaprapti or fulfilment of the goal. In the course of the quest he is either helped or distracted by the demigod’s that is the pantheon of deva-gandharva, – yaksha-yakshini-rakshasa-kinnara so on so fort. There are the vidhushaka and sutradhara who are wise men who aid the hero; there are also the mantrik’s and tantric who are potential dangers.

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