Jon Snow and the Hero's journey - Why he's probably not DEAD dead

[Sol_Virtus]

I'm sure it's been delved into here before, and almost certainly elsewhere on the internet, but I think it is a worthy endeavor to specifically analyze Jon Snow's character arc in regards to the "monomyth;" the idea of the archetypal Hero's Journey first made popular by Prof. Joseph Campbell and others. The following is my personal interpretation of the story events involving Jon, and how they seem to correspond to the generally accepted stages of the monomyth.

The idea of the monomyth is that many (or most) heroic stories and myths follow a strikingly similar pattern due to the underlying universal human psychology that transcends mere culture or society. From Beowulf and Odysseus to Christ and the Buddha, the same pattern and themes are encountered. This is no less true in contemporary fiction, most famously in the journey of Luke Skywalker in Star Wars, but also ranging from The Lion King to World War Z to Forrest Gump and many, many others.

(Here is an interesting video outlining Forrest Gump through a monomythic lens...maybe worth a watch because, like Forrest Gump, Jon Snow's personal journey does not start out in the classical State of Perfection, but rather in a state of imperfection- he's discontented and ostracized as a bastard wunderin' where his mommy is.)

Here is a simplified graphical representation of the standard stages in the monomyth (follow this image counterclockwise): http://i.imgur.com/jCeDqIF.png

Pull up the image in a separate window, and follow along!

Note, most stories and myths that can justifiably be said to be monomythic don't necessarily have to touch upon each and every stage as shown here, or in perfect chronological order, but I think Jon's journey mirrors it close enough to definitely be relevant in the discussion....and an important clue as to whether or not he is likely to be dead dead, as in really permenently dead at the end of ADWD.

Let's take a look at how Jon Snow's story might correspond the monomyth stages:

1) Call to Adventure:

The general "Call to Adventure" for almost everyone in AGOT is the arrival of King Robert in Winterfell and Ned's summons to King's Landing, and it also serves as Jon's call. It allows Ned to finally have an excuse to allow Jon to leave for the Night's Watch, and of course Benjen conveniently arrives to escort him there. Pretty self-evident.

2) Refusal of the Call

While at first eager to join the Night's Watch, Jon very specifically refuses the call to adventure by abandoning his training when he learns that his family is in danger. The "refusal of the call" is a very common theme in the Hero's Journey, and if you encounter a character doing this, it's often a clear indication that you're in for a typical monomythic ride.

For example, Luke Skywalker famously refuses the call in Star Wars twice- once when he is unwilling to abandon obligation to Uncle Owen's harvest, but more importantly (and similarly to Jon) in Empire when he abandons his Jedi training to help his friends. Luke has to learn his lesson for this act of immaturity by having his hand cut off, but luckily Jon has comrades who manage to pull him back on the right path. Besides, Jon has already at that point received the (very common) symbolic self-sacrificial hand-maiming...(see: Tyr)

3) Supernatural Aid

Usually in the monomyth the hero encounters a supernatural being who grants him a boon of some sort, be it a snippet of wisdom, a magical talisman or weapon, or simply trains the hero, or even accompanies him in his journey as a guide. Ghost manages to do just about all of these things.

Ghost not only serves as a mythic battle companion, like Gilgamesh's Enkidu, sent by the gods, but also as an actual avatar of the (old) gods, like Theseus's owl Bubo in Clash of the Titans, who is really more or less just Athena in disguise. Ghost guides Jon's way throughout the story, leading him on the right path when he goes astray, and pointing the way to the magical relics and whatnot. Note how Ghost is (subtly) instrumental in helping Jon back from his mistake when Jon flees the wall ("Traitor!" Jon says when Ghost reveals his hiding place), and how Ghost plays a role in the finding of the buried dragonglass, scratches on his door when Othor wakes up (ultimately allowing Jon to obtain his magic sword), etc. He's your typical fairy tale donor, in many respects.

4) Crossing the Threshold

Act One of any self-respecting monomyth will conclude with the "Crossing of the Threshold," symbolizing the conclusion of hero's separation from the ordinary world and his crossing into the supernatural world, or the world of true adventure and the unknown- essentially it is version of the river Styx, figuratively or literally.

You will notice that all of our primary young heroes in ASOIAF cross this threshold simultaneously at the end of AGOT. Arya witnesses his father's death and is taken by Yoren to assume a new identity and begin her true journey, Robb is declared King in the North, crossing the threshold from boy to ruler of men, etc.

Dany and Jon are actually the main characters of the entire series, so their thresholds are almost as literal as they are figurative. Dany literally walks through a wall of fire to cross into the supernatural world of Dragons and magic, to assume her new identity as Mother of Dragons, and Jon literally walks through a wall of ice that separates the world of Men from the unknown north, to assume his role as a true man of the Night's Watch (Guardian of Man).

The bulk of the Hero's Journey and his/her test of trials takes place in this new realm of the unknown. (While technically Jon makes his way back to the original "worldly" side of The Wall rather early in the story, this isn't actually a return crossing of the "threshold"- When Jon returns south, he actually brings with him the otherworld, complete with wargs and giants and wildlings and whatnot.)

5) Belly of the Whale

The "Belly of the Whale" is an important step for our hero...really his final and irrevocable separation from the normal, safe world- here he is "swallowed up" by some aspect of the new magical world and consumed (deconstructed) in some way, allowing him to shed aspects of his self that may have been holding him back from his destiny or true being.

Joseph Campbell puts it this way:

"The idea that the passage of the magical threshold is a transit into a sphere of rebirth is symbolized in the worldwide womb image of the belly of the whale. The hero, instead of conquering or conciliating the power of the threshold, is swallowed into the unknown and would appear to have died. This popular motif gives emphasis to the lesson that the passage of the threshold is a form of self-annihilation. Instead of passing outward, beyond the confines of the visible world, the hero goes inward, to be born again..."

This all sounds very amorphous and wishy-washy, but really, Jon's falling into the Whale's Belly is magnificently demonstrated by his infiltration of/capture by the Wildlings.

Usually in the Belly of the Whale stage, the hero is at his lowest point in the journey- things seem hopeless, he's unsure of who he really is, he questions his own worthiness and the worthiness of his quest, etc. He's undergoing a self-annihilation in the world womb. Christians call it baptism, and of course they must be symbolically swallowed by the water and drowned before being born again. Jon must be swallowed by the Wildlings and truly immersed in the Unknown, the Old World, and he even has to fight and kill one of his own brothers (symbolic self-annihilation) in the process. (it's interesting that his symbolic self, Qhorin, also has a messed up hand...)

6) Road of Trials

While in the Belly of the Whale, our hero has been stripped of his prejudices, fears, and preconceived notions and the rubber is ready to meet the road.

The Road of Trials is really the meat of any Hero's Journey, where the true adventure lies. Through a series of trials and tribulations, our hero's worthiness is not only tested, but he is reformed- he learns lessons along the way and slowly but surely becomes the person he was meant to be. This road of trials can and does usually involve and overlap future stages of the monomyth.

We are all familiar with Jon's adventures, so I won't bother to repeat them, but it is worth noting that after emerging from the Belly of the Whale, the hero often encounters these trials in groups of three. In Jon's case, it could be argued that he does in fact have a triumvirate of primary dilemmas he must face and overcome, around which all else revolves: 1. He must deal with the Wildlings, 2. He must deal with the Night's Watch, 3. He must deal with Stannis.

7 & 8) Meeting with the Goddess/Temptation

I think many people making the argument for Jon's being on a typical Hero's journey might identify Melisandre as representing the "Goddess," and Ygritte as representing temptation- but I interpret it the other way around. Nevertheless these two are fundamentally intertwined, and it's probably no accident that both Ygritte and Melisandre are "touched by fire."

The "Meeting with the Goddess" stage is really all about the hero discovering pure bliss and unconditional love. The unconditional part is important, because at this point in the journey, the hero has just been deconstructed and stripped down to his fundamental self (Belly of the Whale), and finding love in this state will allow him to eventually re-enter the known world with the realization that his is a worthy soul in and of itself. And also that existence, the universe itself, is worthy. The bliss reminds the hero that the world is worth fighting for.

Ygritte loves Jon simply for being Jon, and as they lay together "in the tabernacle of the temple... within the darkness of the deepest chamber of the heart" (Campbell) Jon is fleetingly at one with the world and content in life, oaths and family and duty and all other worldly considerations momentarily forgotten.

Here is a really good blog post describing the "Meeting with the Goddess" much more eloquently than I could: http://www.legendofalm.com/2/post/2013/04/deconstructing-the-monomyth-meeting-with-the-goddess.html

Temptation, on the other hand, is when the world rears it's ugly head again, and threatens to dissuade our hero from his (ultimately spiritual) quest with the promise of material or carnal satisfaction. But Sir Galahad, of course, must resist the sexy damsels if he has any hope of succeeding in his quest for the Holy Grail.

While certainly Jon's eventual abandonment of Ygritte is, in a way, an overcoming of worldly temptation, the real triumph over temptation is Jon's refusal to take up Stannis's (and by extension, Melisandre's) offer to renounce his duty and become the new Lord of Winterfell. This temptation is really the culmination of all of Jon's worldly (childhood) desires, and strikes at the heart of his primary insecurity and self-perceived weakness (bastard, lesser son, traitor). By resisting this temptation Jon, has not only shown his willingness to accept his new (adult, metamorphosed) self, and the worthiness of his quest, but he also comes to terms with what is really his biggest demon...

9) Atonement with the Father

Another important step in the monomyth is "Atonement with the Father," which is really just a Freudian way of saying that the hero must confront and make peace with their ultimate terror, and that which has been the ultimate power in their life. Oeodipus must kill his father....not in a literal sense (usually!), but rather he must kill that which is subconsciously represented by the idea of father in order to come into his own.

The symbolic and subconscious relationship with fathers and terror/power is deeply ingrained in the human psyche. This is why all the best cowboys have daddy issues. King Arthur, Hamlet, Hercules, Jesus, Luke Skywalker...they must all somehow acknowledge, confront, atone for, and ultimately make peace with their father's mistakes or sins, which is just the same as making peace with fate itself.

Jon's story takes this to an extreme degree, giving him three distinct father figures, each clearly representing the three major issues and ultimate powers in his life that he must acknowledge and overcome. He atones with all three almost simultaneously in the story. He does so with Ned (and his secret childhood insecurities and desires) by resigning to the fact that he will never be lord of Winterfell, and resisting the offer. He atones with Mormont (and his deep seeded self-loathing of his "traitorous" thoughts) by resigning himself to his duty as Lord Commander. He atones with Mance (and his guilt for being a turncloak/killing Ygritte) by allowing the Wildlings to settle peacefully and intermingle with the Night's Watch.

The "Ultimate Powers" that were oppressing Jon and pulling him in opposing directions have been recognized, accepted, and put to rest. Bereft of "daddy issues," Jon is now ready for the next step...

10) Apotheosis

This is what has happened at the end of ADWD!

Apotheosis is a critical step in the Hero's Journey. In order to reach ultimate spiritual enlightenment, and to truly become worthy recipient of, and receptacle for, the "Ultimate Boon," the hero must die, experience a state of peace/nirvana/understanding, and somehow be reborn or resurrected back into the physical realm blessed with a heightened sense of purpose or divine knowledge. Sometimes apotheosis is metaphorical or symbolic....but often it is literal, as in Jon's case.

We can see Dany, his monomythic twin, undergoing apotheosis as well at the end of ADWD. She is spirited away on the black wings of death- all of the other characters logically assume that she is dead and gone forever, but really we know that she is simply far removed from the realm of men and is in a state of relaxation, in a kind of dream world, allowing her to self-realize and contemplate, free of immediate fear and the worldly stresses that have been bothering her.

While Jon's death is more literal, I have no doubt that this is where we will find him at the beginning of the next book: in a state of otherworldy existence/nirvana. Perhaps he'll spend a few weeks as Ghost, or chill out in the world navel with Bran's spirit. But ultimately, like Dany, he'll swoop back on to the world stage armed with a greater sense of purpose, and prepared to eventually become the master of two worlds, spiritual and material, and ultimately achieve a state of perfection, thus completing the Hero's circle (and the quest). Dany will return on the back of a dragon, and some other great power will return Jon, too; be it the Old Gods, or Melisandre, or the BranTree, or whatever.

All in all, given Jon's rather play-by-play monomythic journey so far, I believe it's even possible to reasonably predict how his character arc will proceed from that point on, all the way until the end of the series.

Thanks for reading, and I'd love to hear any thoughts or counterarguments or different interpretations. Please note that I do not mean to imply or even think that GRRM was necessarily using the monomyth as a playbook intentionally, like George Lucas did, for example. The monomyth "works" not because it is a cheap recipe for success, but because it so often resonates with and reflects everyone's psychology and personal journey in real life, and will naturally crop up organically in many stories.

[Fire Eater]

I like the job you did.

In Apotheosis, the ultimate boon may be knowledge of his heritage.

And then I find myself in front of the door to the crypts. It’s black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don’t want to. I’m afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it’s not them I’m afraid of. I scream that I’m not a Stark, that this isn’t my place, but it’s no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream." He stopped, frowning, embarrassed. "That’s when I always wake.

I think his apotheosis could also be atonement with the father, as faces his fears as he goes down the steps into the crypts in his dream.

The mention of dreams reminded him. “I dreamed about the crow again last night. The one with three eyes. He flew into my bedchamber and told me to come with him, so I did. We went down to the crypts. Father was there, and we talked. He was sad.”
“And why was that?” Luwin peered through his tube.
“It was something to do about Jon, I think.” The dream had been deeply disturbing, more so than any of the other crow dreams.

When the time comes, I [Ned] will tell him myself.

Ned, Jon's foster father, is waiting in the crypts to tell Jon the truth of his heritage. Jon will have to make peace with the terror of his true parentage and origins.

[Tony Stark of Winterfell]

His consciousness will be transferred to his wolf. And BR will give him the necessary enlightenment, probably give him a glimpse of his true enemies beyond the wall, and tell him of his heritage, which in turn would give him a heightened sense of responsibility. He will defend the kingdom because it is his duty by virtue of being born a king.

In Apotheosis, the ultimate boon may be knowledge of his heritage.

And then I find myself in front of the door to the crypts. It’s black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don’t want to. I’m afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it’s not them I’m afraid of. I scream that I’m not a Stark, that this isn’t my place, but it’s no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream." He stopped, frowning, embarrassed. "That’s when I always wake.

Him dreaming of going down into the crypts, into darkness foreshadows his 'death', and he has to go in there to find out who he really is and his true purpose.

[Lyse Stark]

And then I find myself in front of the door to the crypts. Its black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I dont want to. Im afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but its not them Im afraid of. I scream that Im not a Stark, that this isnt my place, but its no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream." He stopped, frowning, embarrassed. "Thats when I always wake.

I doubt that Jon Snow will take the truth of his parentage very well. His identity is basically defined by his bastardy, and when he find out the truth, he may cling to his old identity, even as others try to help him accept his new identity. This results in him refusing the throne, but it get forced on him eventually. And I think Jon HATES being the centre of attention anyway.

[Sol_Virtus]

In Apotheosis, the ultimate boon may be knowledge of his heritage.....I think his apotheosis could also be atonement with the father, as faces his fears as he goes down the steps into the crypts in his dream.

Nice theory. While I'm sure his apotheosis will involve learning the truth of his parentage, it didn't occur to me that the atonement might take place in that state. Very interesting.

[Addam of Hull]

Nice post, OP. I've never been all that familiar with the monomyth, but this did a great job of illustrating how Jon's journey fits in to each stage of the archetype. You also mentioned that it would be possible to predict the rest of arc based on this. Mind sharing your thoughts on where you see his story headed?

[Julian Lannister]

Sol_Virtus I LOVED your analysis. It's great you not only emphasized the hero's journey, but that you tied both heroes' journeys together. Dany and Jon, although they have never met to date, have actually gone through many similar trials and experiences in their short lives. That they are the embodiment of fire and ice and the fact Jon or Dany could the be TPTWP makes your analysis even cooler. Great post!

[Scrambled Aegon]

Wow. Really solid and in-depth application of the monomyth. I'm more interested now to see how the rest of Jon's story plays out to see whether it also fits into this model or whether GRRM, being GRRM, totally deviates from what is expected.

[Queen Alienor]

Wow. I really love this.

[Darryk]

Great analysis.

[Lord Ravenstark]

It all happened to many characters of ASOIAF... I found a little vague since then.

[Fire Eater]

There are few other stages that Campbell mentions I would like to add.

Refusal of the Return

Jon after learning the truth may wonder if he wants to go on living. Jon now has the boon, the knowledge of his heritage, that will restore and bring peace to the realm, but he is hesitant on bestowing that knowledge upon his fellow man, for likely obvious reasons I might add.

Rescue from Without

Jon will be rescued from without by BranRaven.

Did a bit of a search, couldn't see that anything has been posted and don't know if Martin has ever made reference to it, forgive me if it's old news.

Follow the link to the Russian Garlan... d, a collection of Russian chap-book folk stories. I've read about half of them, honestly they're a bit of a struggle. A few passing mentions raise an eyebrow like Bulat the Brave Companion, Emelyan the fool and a comically brief appearance by a three headed dragon, but the headliner is the most interesting, brave, noble and creepy sleep watcher Lyubim is betrayed and murdered by his brothers only to be resurrected by the winged wolf and justice had by all.

http://www.akirarabe...an/garland.html

Jon, a prince, is "killed" by his black brothers, and Bran, the winged wolf, and BR will move to save him. Jon will receive a vision like Bran did during his coma.

[Ibbison from Ibben]

Very nice work here! I would love to see Cambell's monomyth hypothysis applied to other characters as well. Does it/can it be made to fit Dany and Tyrion as well? Are there some failed heroes that don't complete the cycle, like Ned and Robb?

[Fire Eater]

One thing I would like to add for the hero's journey for Jon

Master of the Two Worlds

Jon has already has mastered a direwolf, and I think that he will also master a dragon. Just as Jon's song being "the song of ice and fire" suggests, Jon will be the master of the two worlds of ice and fire.

Samwell Tarly's Hero's Journey

Call to Adventure

He is told by Craster's wives to leave with Gilly

Refusal of the Call

Sam is hesitant to leave with Gilly initially, and he is also reluctant to go to Oldtown

Supernatural Aid

Sam is aided by Coldhands and BR

Crossing the Threshold

Sam leaves the Wall for Oldtown

The Belly of the Whale

Sam is stuck in Braavos without a ship, and the innkeep wants them out

Road of Trials

Sam faces an Other and kills him, takes Gilly with him through the wight-infested Haunted Forest protecting her from wighted Small Paul, and kicks Dareon's ass

Meeting with the Goddess or Mother/Temptation

Gilly is a mother, and Sam breaks his vows with her

Atonement with the Father

Sam will eventually have to face his father again, and proven that he has become a man, worthy of the huntsman of his house having killed an Other with a dagger and Euron with a bow and arrow

[IceFire125]

From the recent EW article. GRRM's heroes...

And if you look at the books, my heroes and viewpoint characters are all misfits. They’re outliers. They don’t fit the roles society has for them. They’re ‘cripples, bastards, and broken things‘—a dwarf, a fat guy who can’t fight, a bastard, and women who don’t fit comfortably into the roles society has for them (though there are also those who do—like Sansa and Catelyn).

http://www.ew.com/article/2015/06/03/george-rr-martin-thrones-violence-women?hootPostID=b1bb5e0fcef035ef71676f737ffd0f5e

a dwarf: Tyrion

a fat guy who can't fight: Samwell

a bastard: Jon

women who don't fit comfortably in society: Dany/Arya?

[Mithras]

From the recent EW article. GRRM's heroes...

And if you look at the books, my heroes and viewpoint characters are all misfits. They’re outliers. They don’t fit the roles society has for them. They’re ‘cripples, bastards, and broken things‘—a dwarf, a fat guy who can’t fight, a bastard, and women who don’t fit comfortably into the roles society has for them (though there are also those who do—like Sansa and Catelyn).

http://www.ew.com/article/2015/06/03/george-rr-martin-thrones-violence-women?hootPostID=b1bb5e0fcef035ef71676f737ffd0f5e

a dwarf: Tyrion

a fat guy who can't fight: Samwell

a bastard: Jon

women who don't fit comfortably in society: Dany/Arya?

women who don't fit comfortably in society: Arya/Brienne

a cripple: Bran

a broken thing: Theon

[IceFire125]

women who don't fit comfortably in society: Arya/Brienne

a cripple: Bran

a broken thing: Theon

I agree, but I think Theon's days are numbered, considering the sample chapter in TWOW and...

His father took off the man’s head with a single sure stroke. Blood sprayed out across the snow, as red as summerwine. One of the horses reared and had to be restrained to keep from bolting. Bran could not take his eyes off the blood. The snows around the stump drank it eagerly, reddening as he watched.

The head bounced off a thick root and rolled. It came up near Greyjoy’s feet. Theon was a lean, dark youth of nineteen who found everything amusing. He laughed, put his boot on the head, and kicked it away.

“Ass,” Jon muttered, low enough so Greyjoy did not hear. He put a hand on Bran’s shoulder, and Bran looked over at his bastard brother. “You did well,” Jon told him solemnly. Jon was fourteen, an old hand at justice.

[Westerosi Coast Gangster]

I was unaware people really.believed he was dead. People still think Ned is alive and that was book 1.

[TeethGrinder]

He said heroes and viewpoint characters. It doesn't mean they're the heroes.

[IceFire125]

He said heroes and viewpoint characters. It doesn't mean they're the heroes.

On which "Game of Thrones" character he would play: "If I could magically clap my hands and become a different person, it would be cool to play Jon Snow, who is much more the classic hero. Everybody wants to be the classic hero, right?," though he adds later that his favorite character from the series is Tyrion Lannister.