Odysseus and Indiana Jones

Shawn Wittmier has observed that the heroic archetype in modern myth "is one that is a fairly set pattern. In order to have a successful heroic figure, the tale must follow theses lines." Theses lines have the effect of shaping archetypal heroism, whatever culture the heroism springs from. That suggests that they can be applied equally to ancient and modern heroes, that the mythical archetypal hero of the past is essentially the same as today. In the ancient mythical figure of Odysseus, as well as in the modern movie hero Indiana Jones, can be seen a larger-than-life charisma that attracts and nurtures an enduring human desire for attachment to something greater than the ordinary. The attraction to heroes and heroism has not changed much over the millennia, nor have the general lines of action that demonstrate how a hero's persona is operationalized. That is the subject of this essay.

The big picture of identification of the archetypal hero who rises above the mundane and ordinary is one of what Campbell refers to as mythological adventure. The hero, he says, "ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man" (Hero 30). Campbell sees the heroic adventure--which is to be identified with the adventure of human development--expressed by myth in three broad sta

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nabling him to enjoy their song. With Hermes' aid he outwits and seduces Circe. For Indiana Jones, escape from the next peril is embedded into virtually every episode of the narrative. The rescue of Henry from the castle in Germany is the principal marker of that idea. However, the cliffside chamber that houses the Grail, peppered as it is with deadly hazards and obstacles, can also be seen as a stronghold, and certainly villains, whether Elsie or Donovan, attempt to make it their own. That its purpose is at once protective and deadly lends what could be called adventure irony to Last Crusade. . Reintegration into society Wittmeier sees the reintegration of the hero into society as involving new social status, wealth, or marriage to the princess. Odysseus accomplishes all of the above. Because of the suitors, however, reintegration involves cunning and, as usual, delegating much of the dirty work. He does slay the suitors, then conceives the idea to slaughter the serving maids who have slept with the suitors (an insult to Aphrodite and Penelope alike)--but only after making them clean up the bodies and the palace (XXII.400-460). The wicked women are actually dispatched by Telemachos (XXII.435-55). Odysse

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