Woman, in the picture language of mythology, represents the totality of what can be known. The hero is the one who comes to know...And if he can match her import, the two, the knower and the known, will be released from every limitation... The hero who can take her as she is, without undue commotion but with the kindness and assurance she requires, is potentially the king, the incarnate god, of her created world.

Woman, in the picture language of mythology, represents the totality of what can be known. The hero is the one who comes to know. As he progresses in the slow initiation which is life, the form of the goddess undergoes for him a series of transfigurations: she can never be greater than himself, though she can always promise more than he is yet capable of comprehending. She lures, she guides, she bids him burst his fetters. If he can match her import, the two, the knower and the known, will be released from every limitation. Woman is the guide to the sublime acme of sensuous adventure. By deficient eyes she is reduced to inferior states; by evil eyes of ignorance, she is reduced to banality and ugliness. But she is redeemed by the eyes of understanding. The hero who can taker her as she is, without undue commotion but with the kindness and assurance she requires, is potentially the king, the incarnate god, of her created world.

The hero is a device which the historian has taken over from the layman. He uses it because he has no scientific vocabulary or technique for dealing with the real facts of history — the opinions, emotions, attitudes; the wishes, plans, schemes; the habits of men. He can't talk about them so he talks about heroes.

The part of the tradition that I knew best was mostly written (or rewritten for children) in England and northern Europe. The principal characters were men. If the story was heroic, the hero was a white man; most dark-skinned people were inferior or evil. If there was a woman in the story, she was a passive object of desire and rescue (a beautiful blond princess); active women (dark, witches) usually caused destruction or tragedy. Anyway, the stories weren’t about the women. They were about men, what men did, and what was important to men.

The traditional male hero is about self-sacrifice, not self-actualization.

Could it be ... that the hero is one who is willing to set out, take the first step, shoulder something? Perhaps the hero is one who puts his foot upon a path not knowing what he may expect from life but in some way feeling in his bones that life expects something of him.

What intrigues me in human nature is precisely the thing that defies gender and sexual difference, heredity and upbringing. If my character is male, then I must try to immerse myself in his masculinity in order to inhabit him completely. The same is true if my character is female...I believe that in a successful literary work the writer rises above her inner censor and transcends the confines of gender; that in such a work it makes little difference if the female characters are depicted by a male or a female writer. In such a work the writer, whatever his or her actual gender, is a feminist. In such a work the female writer is faithful to her own essence and the male writer sees his female characters as autonomous beings, similar to himself and yet different. Such a work would make us realize that we all have an equal share in our common humanity. That, at least, would be my ideal.

A man can be a hero if he is a scientist, or a soldier, or a drug addict, or a disc jockey, or a crummy mediocre politician. A man can be a hero because he suffers and despairs; or because he thinks logically and analytically; or because he is "sensitive"; or because he is cruel. Wealth establishes a man as a hero, and so does poverty. Virtually any circumstance in a man's life will make him a hero to some group of people and has a mythic rendering in the culture—in literature, art, theater, or the daily newspapers.

Ultimately a hero is a man who would argue with the gods, and so awakens devils to contest his vision. The more a man can achieve, the more he may be certain that the devil will inhabit a part of his creation.

A "hero" is any man who does his job. You a lot of times see headlines that are like, "hero tutor teaches after school", and you're like, yeah.

Chapter III: Transformation of the Hero
1. Primordial hero and the human
We have come two stages: 1) from the immediate emanations of the Uncreated Creating to the fluid yet timeless personages of the mythological age; 2) from these Created CReating Ones to the sphere of human history. The emanations have condensed, consciousness is constricted. Where formerly causal bodies were visible, now only their secondary effects come to focus in the little hard-fact pupil of the human eye. The cosmogonic cycle is now to be carried forward, therefore, not by the gods, who became invisible now, but through heros, more or less human in character, through whom the world destiny is realized. This is the line where creation myths begin to give place to legend-as in the book of Genesis, following expulsion from Eden. Metaphysics yields to prehistory, which s dim and vague at first, but becomes precise in detail slowly. The heros become less fabulous, legend opens into the common dayliight of recorded time.

All of the great mythologies and much of the mythic story-telling of the world are from the male point of view. When I was writing The Hero with a Thousand Faces and wanted to bring female heroes in, I had to go to the fairy tales. These were told by women to children, you know, and you get a different perspective. It was the men who got involved in spinning most of the great myths. The women were too busy; they had too damn much to do to sit around thinking about stories. [...]
In the Odyssey, you'll see three journeys. One is that of Telemachus, the son, going in quest of his father. The second is that of the father, Odysseus, becoming reconciled and related to the female principle in the sense of male-female relationship, rather than the male mastery of the female that was at the center of the Iliad. And the third is of Penelope herself, whose journey is [...] endurance. Out in Nantucket, you see all those cottages with the widow's walk up on the roof: when my husband comes back from the sea. Two journeys through space and one through time.

A hero can capture the secret imagination of a people, and so be good for the vitality of his nation; a hero embodies the fantasy and so allows each private mind the liberty to consider its fantasy and find a way to grow. Each mind can become more conscious of its desire and waste less strength in hiding from itself.

From this point of view the hero is symbolical of that divine creative and redemptive image which is hidden within us all, only waiting to be known and rendered into life.