The separation stage starts when the hero gets a call to an adventure and ends with the hero fully accepting the quest. In D’Angelo’s essay the separation stage starts when the man who stepped in to an elevator with the hero begins to cry. I think this is the point where the hero gets a call to an adventure. It’s a choice between going out of the society’s norm and trying to comfort the man, or to just ignore him as thought proper by the society. And the hero refuses the call by stepping out of the elevator without even looking back.
Reintegration is symbolized as the knowledge that the protagonist identifies, shown by the protagonist ultimately realizing his mistakes. Initially, the narrative begins as the protagonist enters into an office - building elevator. The protagonist is followed into the elevator by a man who looks to be in his mid – 20’s and is dressed “sharp”. The separation stage begins as soon as the man completely breaks down into tears. The protagonist is then confronted by the choice of helping the wrecked man, or ignoring the man and letting him drown in his remorse.
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.
The journey of struggle and initiation then begins when he explores his thoughts, the possible explanations as to what happened, and his own emotions; these are apart the series of physical, emotional, and spiritual hardship tests he has to go through. “I see his face crumbling before he turns to the wall. I see his shoulders heave as he sobs in a combination of sorrow and shame” this image won’t leave his thoughts leaving
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
He would not tell anyone of the reason behind his sorrow, and this secrecy and guilt would manifest itself through illness. Every time someone dies, Victor feels more sorrowful and guiltier, yet he never reveals why he feels this way and quickly falls ill. He becomes a burden to those who care, as they have to take care of him. This time, it’s different, (which can be interpreted as an indicator that the climax is near), and by the end of the passage, Victor doesn’t feel that he’s helpless in this situation, in fact, he is determined to do something for his loved ones instead, and this time, Victor is not afraid of the monster, he will face the monster. This is indicated at the end of the passage, as Victor realizes that postponing the wedding will not bind the monster, and it may get revenge in some other, more horrifying way.
He does not want to accept that he must one day cease to exist; for this reason, he turns to Tartuffe who can assure him that there is a life after death. As Ivan Ilyich lies dying in his bed, he is inspired by a young boy named Gerasim. Unlike the other people who come to see Ivan, Gerasim is not afraid to confront the fact that he (Ivan) is about to pass away. This is in stark contrast to Orgon's family who try with all their might to get the head of the household to see the truth. Finally, Ilyich has a moment of realization.
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.
Both Charlie and Alan found it easier to not express their feelings than to try to overcome them. Charlie did all he could to avoid the life he once knew. He would run from his in-laws to keep himself from being reminded of his past. The only reason Charlie felt comfort in Alan's friendship was because Alan knew nothing about Charlie's family or that time in his life. But as Alan keeps trying to get Charlie to open up about his life and his family Charlie continually becomes very angry and hostile, and storms off to avoid thoughts of the life he once knew.