The protagonist is then confronted by the choice of helping the wrecked man, or ignoring the man and letting him drown in his remorse. The protagonist chooses the latter of these two options and pursues the journey of separation. This is shown by the following quote from the narrative, “The elevator stopped at the 10th floor and, without looking back, I stepped out.” The protagonist’s hastily decision of rejection tells the readers that the Protagonist has refused the quest of aiding the man and therefore results in the stage of separation. As soon as the protagonist steps out of the elevator he has a series of mixed emotions, this introduces the stage of struggle within the monomyth. In the stage of struggle the protagonist often finds himself confronting the regret of his hastily decision.
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 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.
The first stage is a call to adventure, where it starts when the young man burst into tears. The hero does not go to help the young man which means he has refused his quest. Typically a guide would appear to cause the hero to commit to the adventure but the guide is not another human being but it is himself and his self conscious that guides him throughout his journey. The narrator begins to say to himself. “Should I go up to the 15th floor and make sure he’s okay?
“Jonathon, how are you?” it was that butler George; Jonno didn’t trust him at all. There was something evil in his pale face and his black eyes and how he never seemed to smile. George simply waved his hand towards his father’s office and expected Jonno to follow. He obeyed. The mansion was large although very cold and fairly unfurnished.
Christopher moves away from his father as he cannot stand people who lie to him or anyone as he cannot get his head around what might actually be true. Christopher and his father have made a noticeable progress in restoring their bond; they remain distant from one another when compared with how close they were at the start of the novel. Besides, Christopher no longer lives with his father, and he still distrusts his father to a large degree. Social Intolerance & Crossing Social Boundaries The text examines social relations and the way in which individuals demonstrate or reject/deny
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
41) Nick says when Nick is at the asylum to help Lewis direct. This is also when Nick and Lewis fight verbally. He doesn’t appreciate the meeting that the opera has for the patients, and sees both the patient’s attitudes and opera itself as “right wing crap”. Nick has a low tolerance for the quirks of the patients, and insensitive towards them, making a joke about their situation. Nick and Lucy didn’t even go to watch the play “Cosi”.
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.
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.