A Quote by Joseph Campbell

The last act in the biography of the hero is that of the death or departure. — © Joseph Campbell
The last act in the biography of the hero is that of the death or departure.
Biography always has fulfiled this role. Robinson Crusoe is a biography, as is Tom Jones. You can go through the whole range of the novel, and you will find it is biography. The only difference between one example and the other is that sometimes it's a partial biography and sometimes it's a total biography. Clarissa, for example, is a partial biography of Clarissa and a partial biography of Lovelace. In other words, it doesn't follow Lovelace from when he is in the cradle, though it takes him to the grave.
Death is just the last scene of the last act.
A new biography of Madonna came out last week, and apparently the biography lists all the men she's slept with. The book is apparently called the Manhattan Telephone Directory.
When you see the violence of Hollywood movies, there is a tendency that the hero is combating and confronting many people, without much harm to himself. But in my films, the hero takes a lot of hits so the very act of the hero being the one on the receiving end, makes the audience cheer and connect with him.
Death is the fate no one can escape. The question, then, is, How does one die? A person can die like a hero or like a coward. The difference is that the hero can face death without fear, whereas the coward can't.
No hero to me is the man who, by easy shedding of his blood, purchases fame: my hero is he who, without death, can win praise.
There isn't such a thing as death. It's just a departure.
Professor Challenger, Conan Doyle's science hero, was a sort of irascible man constantly bellowing at people, so he was a little bit of a departure from both of those stereotypes.
A painting that is an act is inseparable from the biography of the artist.
There is no single best kind of death. A good death is one that is "appropriate" for that person. It is a death in which the hand of the way of dying slips easily into the glove of the act itself. It is in character, ego-syntonic. It, the death, fits the person. It is a death that one might choose if it were realistically possible for one to choose one's own death.
Biography is one of the new terrors of death.
Departure beyond the borders of my country is for me equivalent to death.
Arrival in the world is really a departure and that, which we call departure, is only a return.
Water, earth, air, fire, and the other parts of this structure of mine are no more instruments of your life than instruments of your death. Why do you fear your last day? It contributes no more to your death than each of the others. The last step does not cause the fatigue, but reveals it. All days travel toward death, the last one reaches it.
Biography lends to death a new terror.
Conventional people are roused to fury by departure from convention, largely because they regard such departure as a criticism of themselves.
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