Campbell and Mwindo

Am I the only one who keeps wanting to call Joseph Campbell "Jason Campbell?"

I am?  Okay then.


Call to Adventure/Crossing the Threshold:  Mwindo floats down the river in the drum, singing "fairwell to Shemwindo."

Refusal of the Call:  Mwindo seems uniquely born to the station of mythic hero, even when compared to other "chosen from birth" heroes.  He never denies the status, but immediately embraces it.  He does refuse death when he is buried in a shallow grave, and death is one part of the hero's journey, so that's probably as close as he gets.

Supernatural Aid:  Mwindo's scepter.  Mwindo is born with this supernatural aid, further supporting my theory that Mwindo is "chosen from birth" to an unusual degree even in a genre overflowing with "chosen ones".

Belly of the Whale:  Mwindo's acceptance of the journey and his unsual status is almost immediate.  He officially accepts his identity as a hero in the song he sings at the beginning of his journey, when he gives himself the name "Little One Just Born He Walked".

Road of Trials:  Most of the story could be described as a "road of trials".  However, Muisa's tests of Mwindo in the Underworld more specifically fit this archetype.  Mwindo passes three tests:  the riddles upon entrance, the cultivation of bananas, and the gathering of honey.  Mwindo almost-kinda fails in gathering the honey, and has to be bailed out by his scepter.

Meeting with the Goddess:  This step occurs out of order.  Mwindo's bond with his aunt is immediate, fulfilling, unbreakable, and a guiding principal in Mwindo's journey, qualifying it as the Meeting with the Goddess.

Woman as the Temptress:  Mwindo is instantly attracted to Kahindo, and is later offered her hand in marriage.  Mwindo declines, hardly seeming to be tempted at all, as he is needed on earth as a chief.  This archetype is barely present in the story.

Atonement with the Father:  This step is out of order, coming near the end of the epic.  It also comes very literally:  Mwindo and his father cease hostilities.

Apothesis:  Mwindo is resurrected from death by his scepter.

The Ultimate Boon:  in this story is difficult to place.  On the one hand, the object Mwindo has been seeking on his quest is his father.  On the other hand, the father doesn't seem like much of a boon:  he doesn't do a lot in the story besides tick Mwindo off and then make up with him.  The scepter is definitely a boon, in that it enriches and brings life to Mwindo's people, but Mwindo has had that from birth.  Maybe the boon is the wisdom to use the scepter properly.

The Refusal of Return:  does not happen in this story.  Muisa asks him to stay in the underworld and marry his hot daughter, but Mwindo isn't having it.  Mwindo is a little too perfect to be an interesting protagonist, IMO.

Magic Flight:  Mwindo uses magical objects, like the scepter and the plates, to travel.  However, his return from his journey is easy.

Rescue from Without:  Mwindo is aided by his aunt, but more on the journey out than on the return.  Mwindo thinks of his aunt on his way back home, thus tagging this archetype on the way to the next.

Crossing of the Return Threshold/Master of Two Worlds/Freedom to Live:  These archetypes are all rolled into one by Mwindo's orgy of resurrection on his return journey.