When the other passenger begins to burst into tears, the hero did nothing but wait for the doors to open to his floor; he pretended like nothing had happened. This is the step of struggle the hero has with himself. As the hero left the elevator his mind began to race with thoughts such as, “Should I go up to the 15th floor and check if he is okay?” or “should I search him out
An opportunity to show the selfless and caring side of one's self was lost. Separation is the beginning of the monomyth cycle, and is marked by ''a call to adventure''. Paul's separation began when he entered the elevator with a negative outlook on ''elevator etiquette''. He admitted to ''purposely ignoring his fellow passenger''. Suddenly, the mystery man in the elevator collapsed and began weeping, draining his emotions.
“Good point” Richard sniggered. “Well hurry up and go and get him”. Jonno stared blankly at where the paintings once were. He noticed the hooks where they once hung had gone as well. “Jonathon, how are you?” it was that butler George; Jonno didn’t trust him at all.
And the hero refuses the call by stepping out of the elevator without even looking back. The second step in the separation stage is the arrival of the magical being to guide and assist the hero to accept the quest. I think In D’Angelo’s essay his own conscience serves this purpose. After he stepped out of the elevator he starts to feel guilt. I think this sense of guilt and regret came from the benevolent guide, his conscience.
A man is followed into an elevator that Paul has gone through the first stage of the monomyth, separation. Paul’s benevolent guide appears to be the voice of his conscience. This helps him to get through the emotional turmoil he is experiencing because of his decision to step off the elevator leaving upset and weeping man alone on the elevator. As Paul goes through this emotional hardship it signifies that he is in the struggle stage of the monomyth. Paul knows that he did the wrong thing, and he wished that he could go back and be there for the man, even to talk.
Paul's journey begins whilst sharing an elevator on the way in to work... “When it happened. A sudden strained gasp. Turning toward the noise, I was astonished to see the young man drop his brief-case and burst into tears” Rather than engage the young man, he takes the path of least resistance and exits the elevator. He stands in the hallway and questions his inaction This refusal to act brings about a mixed bag of emotions dominated by guilt and uncertainty. It's a this point that the benevolent guide intervenes, in Paul's case , his inner-self, representative of the pondering of the many explanations that could have justified the young man's breakdown.
(pg71) | That if dimmesdale was going to die that it means that the world doesn’t need him anymore. | .., in all the subsequent relations betwixt him and Mr. Dimmesdale, not merely the external presence,… (pg92) | Tells the relationship between Chillingworth and Dimmesdale. | …., Mr. Dimmesdale was overcome with a great horror of mind… (pg100) | It tells about how Dimmesdale was up on the scaffold and he was shocked because he knew why he was up there but didn’t want to say why. | In her late singular interview with Mr. Dimmesdale, Hester Prynne was shocked at the condition to which she found the clergyman reduced. (pg111) | Hester feels that Dimmesdale has changed from the last time she had a one on one conversation.
Many stories throughout literature follow the pattern of a monomyth, depicting the journey of a hero. ‘The Step Not Taken’ by Paul D’Angelo follows the story of a particular hero who’s quest is learning to deal and cope with others suffering. The story follows the three main stages of the monomyth, these stages include separation, struggle or initiation and finally return and reintegration. Within the first paragraph we see the protagonist of the story enter the struggle stage. He describes the process of entering the elevator with such normality as if nothing in his life is about to change; he states ‘Nothing at all to indicate what was about to take place’.
McLaren Divvying A home that echoes five lifetimes is sequentially hollowed. Bulky, anonymous men and their trolleys bare walls and reveal tabs of pristine carpet. Dust takes flight in panic; unprepared and entirely disorientated as its empire is dismantled. On to unfamiliar ledges, lintels and landings it settles in surrender. Lint, litter and lost things rest in intermittent rows along the skirting – the secret stashes of now removed side boards and book cases.
I had 27 from head to toe. We went inside and iced our bodies in silence, both experiencing our own misery. I looked at him, my old hero. I wanted desperately to demand an explanation for his fleeing, but something told me I wouldn’t like the answer. Instead I redressed and prepared for my departure as my grandfather went for his wallet.