Journey Motif in Children and Juvenile Literature - Dissertation Example

Journey Motif in Children and Juvenile Literature Table of Contents Introduction 2 Who Reads Children’s Literature? 6 1 What Makes Up Children’s Literature? 7 1.2 A Child’s Story: Looking Back at Children’s Literature 8 2 How are Motifs in Folk Literature Classified? 12 2.1 Thompson’s Motif-Index of Folk Literature 13 3 The People’s Generation of Stories 19 4 JOURNEY: A Literary motif to a Child’s Self-discovery 21 4.1 The First Step Toward a Journey: How Journey Motif in Literature Began 22 4.2 A Journey Again and Again: The Most Common Patterns of Journey According to Purpose 25 4.3 Going To and There-and-Back Again: Two of the Main Forms of Journey Motif 27 4.3.1 Linear Journey Motif 28 4.4.2 Circular Journey Motif 28 4.4.2.1 The Thousand Faces of a Hero in a Circular Journey 29 4.4.2.1.1The Stages of A Hero’s Journey 30 2 Analysis of the Journey Motif In Select Children’s Literature 37 5.1 The Hobbit or There and Back Again 38 5.2 The Wizard of Oz 41 5.3 James and the Giant Peach 45 5.4 The Little Engine That Could 48 Works Cited 51 INTRODUCTION The Road goes ever on and on Down from the door where it began. Now far ahead the Road has gone, And I must follow, if I can, Pursuing it with weary feet, Until it joins some larger way, Where many paths and errands meet. And wither then? I cannot say (Tolkien, 2012). Perhaps Ralph Waldo Emerson’s quote “Life is a journey, not a destination (Emerson, n.d.)” may be considered the most appropriate for this research as I try to discover the significance of the journey motif in children’s and juvenile literature, which has been observed since this classification was first identified. I believe that as children and juvenile literature has gone through the course of rich historical background and tough criticisms, particularly in establishing its concrete definition, children and juvenile literature has been able to provide entertainment to its readers including adults. Modern technology has affected enormously the children of this generation. From hard bound books to paperbacks; from personal compute to laptop computers; and from tablets to mobile phones, it is a relief to know that children and young adults continue to have access to the different forms of literature that are vital for their development, socially and intellectually. Although such changes have occurred in the course of history, I thought it rather important to find out the significance of the various aspects of literature that were made for children and young adults as well as the roles they play as they develop into adults who have to deal with a vast diversity of people with different attitudes and characteristics, which they may or may not have encountered in the fictional characters in the literatures they have read. As such, the first part of my research will deal with the discussion of the brief history of children and juvenile literature from the 1800’s as well as the characters who were involved in creating the terminology to refer to written materials that are made for children’s entertainment. I find it amusing to learn how these types of literature were identified as well as the standards or the criteria that is set in order for one to be identified along with these literature. Children and juvenile literature’s critical process in building its own reputation in literature has paid off as it earned its honor and integrity by delivering its purpose to entertain its young and young-at-heart reads at the same time. Journey is the most common motif found in children’s literature. Short stories, novels, folktales, and the like illustrate either journey into a world of fantasy or a personal journey where the plots of the stories evolve. What then leads these characters to go through such journey in this type of literature? How do their experiences differ from each other? Is it therefore necessary to go through a distinct stage in these characters’ lives in order to go through such journey? How do these characters’ journeys affect them? In the second chapter, journey motif will be defined. This motif is further subdivided into different types where the pattern of the main character or characters’ journey plays a significant role. As the characters in the stories journey according to any of these patterns, it is necessary to look at the differences of the outcome of these two forms of journey based on these literary works. It is necessary to identify the differences on the outcome of the story as well in relation to the kind of journey motif that the characters have gone through. I would like to look into the differences between the linear and circular journey motifs that any of the literature being studied may feature. Furthermore, while it is important to find the outcome of the stories in these literatures, I think that it is equally essential for this research to identify which of these two types of journey the characters of the story have gone through and the vital elements that are imbedded within the journey that makes them worthy of being a part of children and juvenile literature. Although this research focuses on one of the significant motifs found in children and juvenile literature, the journey motif, I intend to analyze the theoretical and the practical features of this type of literature on the second chapter of my research. In order to attain the objectives of my research, I would like to look into the children’s literature as a whole, its general features, the most common classifications, and finally narrow it down to two of the most common types – fantasy and folk tales. Popular classical novels such as J. R. R. Tolkien’s The Hobbit and Frank L. Baum’s The Wizard of Oz are found to be the most appropriate for this research as they are found to obtain the characteristics of children and juvenile literature. They have been reproduced decades after decades, these literary pieces have been used, not only as an entertainment for any reader, but they have been used in the classrooms as well. They have been a part of young adult education as well as the children, who have always enjoyed the world of fantasy and adventure. Aside from the fact that these literatures have been distributed worldwide and read by countless readers of all ages, The Hobbit and The Wizard of Oz have been recognized to have contributed as much in the classrooms of young and adult learners, including English as Second Language (ESL) learners. Folktales, such as the illustrated children’s book The Little Engine That Could by Watty Piper and what used to be an infamous books for the young and soft-hearted readers James and the Giant Peach by Roald Dahl, will at the same time be studied and analyzed as they both contain the journey motif as well for which this study wishes to focus more. The characters in children’s literature, regardless of the events and the motif they take in the stories, play a huge role in honing the characters of its readers as well. The main characters, protagonists and antagonists alike, create such an impact to the young readers that they will keep until they reach the prime of their lives. Thomson-Motif index, a very helpful tool in identifying the specific motifs of folktales, describes the relevance of every character in this type of children’s literature. With the help of these descriptors, it would be easier to identify the appropriateness of the literature being studied to its readers, particularly those of children and juvenile literature (ST Motif Help, n.d.). Using this tool would enhance my research in terms of analyzing the characters in the four literatures that I will be studying for this paper. Analyzing patterns among characters and settings, especially motif, according to Thomson-Motif index will allow accuracy in their descriptions. Regardless of the type of journey that main characters go through in any of the children’s literature, the experiences that they acquire affect each of them in various ways. Some of these characters obtain emotional and intellectual maturity, while others obtain freedom or independence. As such, their characters grow where they become stronger and their personalities become better (Hellgardt, 2004). Possessing the ability to influence young learners, I would like the research to look more into the journey that the characters in this type of literature go through. Looking into this element of children and juvenile literature would allow me to observe patterns where they may be more or less influential on its young readers. It is deemed appropriate to find whether these patterns in the characters’ journeys are significant in studying them in the classrooms and be a part of the education curriculum. The fourth chapter of this study will be discussion of the use of children and juvenile literature according to its role in the learning a second language. Using the linguistic evaluation as a method for this chapter, I will attempt to look into the different aspects of the chosen literatures that are helpful for second language learners. 1 Who Reads Children’s Literature? Setting a concrete definition for Children’s Literature has been a very critical issue since then. Literally, children’s literature is defined as any form of fiction, non-fiction, drama, and poetry that are made specifically to entertain children who are sixteen years old and below. Although most people still get confused of Children’s Literature and those literatures written by children, there is but a huge difference between these two types (Bobulova et at., 2012). Stevenson’s (2011) research in The Handbook of Research on Children’s and Adult Literature, she quoted F.J. Harvey Darton in his working definition of Children’s Literature as: “the scene of a battle between instruction and amusement, between restraint and freedom, between hesitant morality and spontaneous happiness (Darton,1932/1982) ” This definition then served as the criteria of identifying what children and juvenile literature is from any other forms of literature up to the present. On the other hand, “artistic” children’s literature is different from expository texts for children according to Bobulova, I., et al. (2012). In their research, they have identified three basic subcategories of children’s literature in order to distinguish them from other written literature for young readers. These basic subcategories include children's folklore; non-intentional literature for children and young adults (literary texts that passed from adults' literature to children's literature); and intentional literature for children and young adults (literary texts written primarily for young readers) (Bobulova et at., 2012). 1.1 What Makes Up Children’s Literature? It would deem fit to identify the distinct characteristics of children’s literature against other types of literature. Therefore, Bobulova, I., et al. (2012) enumerated the characteristics of children’s literature, which according to them affects adult literature in different aspects, including concept and poetics. These characteristics include the following. 1. Children’s literature is written according to children’s perspective, wherein the topic, language and concept are interesting and satisfactory to the children’s pure and simple understanding. 2. It avoids lengthy and confusing language structures, such that the arrangement of events shift directly from one scene to the next without so much trouble that may lead to misunderstanding the concept of the literature. 3. Its characters – the protagonists and antagonists – are specifically identified, as well as a clear representation of good and evil, and nice and awful. 4. Its characters are children who are at the same age range as the young readers. What children and young adult readers need are partners in the literature they read instead of guidance. Animals and toys as characters are most common as well. 5. Its words are those the excite the senses of the young readers as they allow them to see, touch, taste, smell and hear every single scene in the book they are reading. Children find books with colorful and artistic texts and pictures appealing. 6. It uses simple languages that children use. On the other hand, simplicity does not mean less creativity. In fact, it means that the words are more specific while it employs diversity to make the progress of the story and every page more and more exciting for them. 7. It provides children room for imagination as it is a regular activity they like doing, which is a vital part in their play time (Bobulova et at., 2012). On the other hand, how did children’s literature come into existence? What has initiated this so-called children and juvenile literature that has made such difference in the literary world that eventually become a significant study, particularly in its role in helping learners of second language? Looking back at how this concept in literature has progressed into what it is today would be just as important as learning its future contributions of the world of literature. 1.2 A Child’s Story: Looking Back at Children’s Literature CHILDREN born of fairy stock Never need for shirt or frock, Never want for food or fire, Always get their heart’s desire: Jingle pockets full of gold, Marry when they’re seven years old. Every fairy child may keep Two strong ponies and ten sheep; All have houses, each his own, Built of brick or granite stone; They live on cherries, they run wild— I’d love to be a Fairy’s child (Graves, n.d.). Culture played a significant factor that has affected the course of literature, particularly for children’s literature. Stories then involved personal and social issues that are told in the literature their writers wrote. Little did everyone know that the characters in their stories, especially the children, demonstrate the roles of each of the members of the society as well, including but not limited to their social roles and their behavior towards each other. The way that the society perceives the roles that children play in the community is apparent in the stories they have created as well (Hellgardt, 2004). True enough, it was obvious that the role of children before the 18th century was not as important in the society as it is nowadays. In addition, the society finds it proper to be less likely to be emotionally attached to children during the 12th century as their survival rate had been relatively small. It was but in the 16th century when a child’s existence became important, particularly their need for education (Bobulova et at., 2012). The first literary pieces that were written for children for the purpose of teaching them were created by teachers in the monastery, so most of them were written in Latin. Although rhymes were already used in these early literatures for children, most of them were simply those that facilitate comprehensive reading where children are asked questions and find the answers from the compositions. Albeit this question and answer format constitutes in the theory of didacticism in studying literature, which is basically the most common and the oldest approach in studying literature up until this modern era. Furthermore, one of the most significant stories and characters that were developed in the past was Ulysses or King Arthur that was intended for the adult readers, however used to a great extent by children for educational purposes. This series of stories were published by William Caxton in England, and are still used even to the present (Hellgardt, 2004). Perhaps one of the significant events in children’s literature was the proliferation of chapbooks that were sold by chapmen or peddlers 17th and 18th century. Although the stories in these booklets were shortened or condensed version of the lengthy ones, children were found to enjoy the elements of adventure and their quickly varying order of events. However, parents were the least fascinated of these chapbooks because they found the language and illustrations inappropriate for the children. Nonetheless, one thing was certain. These inexpensive condensed collections of tales in the past commenced the didactic method of reading, and learning in general (Hellgardt, 2004). John Locke’s educational theory that involves play in children’s learning process Jean-Jacques Rousseau shared the same concept about the need to preserve children’s innocence by literature so children became familiar with fairy tales and had fun reading them when Perrault published Tales of Mother Goose (Contes de ma Mere I’Oye) in the late 1600s in France (Hellgardt, 2004). John Newberry published A Little Pocket Book in London in 1744 and initiated a trend in children’s literature that original illustrations (Graves, n.d.). The middle and late nineteenth century was considered the golden age of children’s literature. Lewis Carroll’s Alice in Wonderland initiated the trend in the new era of children’s literature as it was written and published solely for entertaining its readers. It paved the way to a richer creativity in literature writing. From animals that talk to fairies and the journeys to an enchanted world, children’s literature has never been as entertaining as during this period. The most popular works that are still as popular to children until the present are George MacDonald’s The Princess and the Curdie, L. Frank Baum’s The Wizard of Oz, and Kenneth Grahame’s The Wind in the Willows. Stories about different kinds of adventure has become yet another trend during the mid and the late nineteenth century. It is during this period where the characters of Tom Sawyer and Huckleberry Finn became the talk of every kid’s household, either boy or girl. Towards the end of the nineteenth century, another breakthrough has been marked as books have started to be published in full color, which led to inspiring artists to get involved into the production of children’s literature. It was, on the other hand, only in 1930 when picture books of high quality began to proliferate. It was also at this time when the American Library Association recognized the best quality picture books that were awarded the Caldecott Medal (Russell, 1991). Modern fantasy books became very popular in the twentieth century as well. Pretty much a good example of modern fantasy children’s literature is A. A. Milne’s Winnie the Pooh, which has become very famous to the young readers, proves to possess the same properties as the older versions of its kind. Other example children’s literature that gained the same popularity are P. L. Travers’ Mary Poppins, C. S. Lewis’ The Chronicles of Narnia series, E. B. White’s Charlotte’s Web and so on. These modern children’s literatures are already recognized as the new classics in literature as they have proven their worth in delivering the elements that its genre is supposed to possess (Russell, 1991). Science fiction and modern realism are also introduced in the twentieth century. Young readers were also introduced the nonfictional narratives that were written in interesting ways that children enjoyed in the twentieth century. Learning about other real individuals’ lives through biographies became interesting, as well as history, technology, art and the like. As a result, children’s enthusiasm for learning intellectual information further was intensified at the turn of the century (Russell, 1991). 2 How are Motifs in Folk Literature Classified? Just as any living and non-living organism is classified according to various characteristics present in each of them, Stith Thomson find the classification of the elements of folk literature to be equally important in order to successfully study the significance of each in the study of literature. As such, Thomson designed a method in classifying these different elements found in folk literature. Since he thought Antti Aarne’s1 classification of these narrative elements does not generalize all types of folklores all over the world, and is more geared towards European literature, he arranged and modified them where there would be an appropriate system that will be used for all traditional narratives. On the other hand, Thomson did not provide an accurate definition of motif, however, Jane Garry and Hasan El-Shamy (2005) simplified it as a small narrative unit recurrent in folk literature which is of significant interest in the entire composition. Thomson identified twenty-three general divisions in his motif-index of folk literature. He further divided these general classifications into sub-categories, which are further broken down into various specific indices in order to address other significant elements of folk narratives. Using the letters of the alphabet, Thomson assigned the general subjects of the motif-index. The numbers are arranged in decimal points under the broad, general classifications that expand further into more decimal numbers according to other elements found under such category. 2.1 Thompson’s Motif-Index of Folk Literature A. Mythological motifs The motifs that are assigned in this category are those that deal with the different kinds of supernatural beings, the universe and its origin, along with the creation of the inhabitants of nature, which involves man, animals, and plants (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). B. Animals Except for the account of their beginnings, this motif is identified particularly for animals. On the other hand, this motif is specifically assigned to the actions that the animals do in the narrative, instead of being simply a character in the story. This motif includes extraordinary acts of animals such as those that possess magical powers and thinks and acts like human beings (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). C. Tabu Ideas and actions, as well as things which are prohibited or not allowed in the story or the society are covered in this motif. Consequently, the root of the characters being compelled to these forbidden things is included here as well (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). D. Magic Things that possess magical powers are included in this category. This includes disenchantment, transformations, use, and other manifestation of magic (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). E. The Dead Anything that involves ghosts, reincarnation, and resuscitation pertaining to the dead is what this motif is all about. The tremendous coverage of such idea reflects a certain culture of the world that is rich in narratives that involve the dead and the nature of the soul (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). F. Marvels A world that is non-existent to ordinary human beings is what this motif basically focuses on. When characters journey to these worlds, they marvel into an extraordinary journey where creatures such as fairies, spirits, and demons reside. The world in which these creatures live in such as castles in the sea and the like belong to this category (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). G. Ogres Characters that incite fear such as monsters, witches, evil spirits, as well as those that involve cannibalism belong to this category. Things involving features and various actions that these evil characters do in the story belong to this category. Physical appearances, wicked spells luring other characters in the story and the like are characterized under Ogres (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). H. Tests One of the most complex of the motifs in folk literature is Tests, where it contains a long list of categories divided into three sub-categories such as recognition, riddles, and tasks and quests (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). J. The wise and the foolish This motif centers mainly on the on the mental quality of the character. As a great number of folktales involve characters going through an adventure, it is but either their shrewdness or foolishness that is often found interesting in the story. Originally, this motif is also divided by Thomson into three chapters – Wisdom, Cleverness, and Foolishness, where mental attribution is extremely apparent (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). K. Deceptions In contrast to the previous motif, this section is concentrates more on the characters’ actions. Deception is a very common deed that is resent in any type of literature, thus it is treated with importance as well. Examples of this motif include but are not limited to adultery, lying, theft, seduction, disguises, illusions and hypocrisies (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). L. Reversal of fortune Narratives also contain stories that involve a poor character that eventually became rich, as well as the opposite of such fortune. The most appropriate example of this category may be the Cinderella tale where her character has gone from riches to poverty, then back to riches again (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). M. Ordaining the future The most common examples of this motif include irrevocable judgments, bargains, promises, and oaths. As characters in the narrative go through extreme experiences, they are exposed to such thoughts and actions that entrenches their actions in the future (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). N. Chance and fate Fortune plays an important part in one’s life, so as to the characters of folk literature. Some characters are favored by luck, while some are not. The peculiarity of fate and fortune is found in this category where fate favors the fortunate ones and disaster strikes the unlucky. Stories about treasure and gambling are also included here (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). P. Society Social system is exhibited in any narrative where social customs, government, trade and professions, family and friendship, and nature of leaders or the royalty are featured. Stories that comprise kings, his men and his people, presidents and the various ranks in the government, managers and staff, parents and children, and so on are categorized under this category (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). Q. Rewards and Punishments Actions and behaviors are always neither complimented nor criticized alone, but rewarded and punished as well. The nature of the rewards and punishments that the characters in literature obtain as based on their actions is found in this category (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). R. Captives and Fugitives Thomson categorized captives and fugitives in this category. Accounts of their captivity and escape, as well as the pursuit to their constraint are found in this motif. A few examples of which are narratives involving princesses captured by monsters, rescue of prisoners, and the recapture of a girl that eloped (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). S. Unnatural Cruelty Cruelty is another common component in folk literature. Various forms of cruelty involving a wicked stepmother to horrible murders are a part of this category. Regardless of the reasons for their lack of compassion towards the other character in the story, most often, villains are found to belong under this motif (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). T. Sex Anything that concerns relationships involving sex is covered in this motif. However, it is not limited to such where giving birth to children as well as raising them belong to this category as well. Love, courtship, marriage, chastity, and celibacy are among others classified by the T-motif index (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). U. The Nature of Life The philosophies of life that are observed in the turn out of the stories found in folk literature are indexed in this motif. Life’s morals and aphorisms are collected to create this motif. Some of the most familiar examples are violations being punished, the rights if the strong ones, appearances being deceiving, fear to something that is non-familiar, and the list goes on (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). V. Religion Diverse religious beliefs cause various incidents depending on how the characters in the literature accept and act upon them. Angels, saints, sanctuaries, rituals and objects pertaining to any religious ideology belong to this motif. One distinguishing characteristic of this motif from Motif D or Magic, especially one that involves miracles, is that they happen due to a religious ritual such as prayers (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). W. Traits of Character Illustration of traits of characters is classified in this motif, which are basically divided into favorable and unfavorable traits (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). X. Humor Any incident where the purpose is to provide humor is included in this category. A few examples of this motif are humor about sex, social standing, races or nations, appearance or disability, lies, exaggeration, and drunkenness (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). Z. Miscellaneous Groups of Motifs As some elements in folk literature do not fall in any of the categories mentioned above, Thomson included them in this final category. Because they do not fall under any specific organizational scheme, such as having frequent numbers of episodes in tales and the symbolism of colors or words, their motifs are considered to have an underdeveloped motif-index (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d). 3 THE PEOPLE’S GENERATION OF STORIES Studying literature requires an understanding of its characteristics. Furthermore, in order for one to understand how literature works, it is necessary to look back to its origin which is necessary for formulating a concrete analysis of the materials being studied. There are in fact a number of different definitions of the word folktale, which this research would like to focus on. Therefore, it is important for this research to set its accepted definition of this type of literary genre. In an attempt to set things clear to those who are interested in studying literature, Ashliman (2004) initially sets the records straight by identifying folklore are the main source of the various tales and narratives that literary readers at present get themselves indulged into. As information are passed through by individuals from one generation to the next through oral communication and personal demonstrations in an informal manner, it becomes a folklore. This, however, does not include those that were reproduced and transmitted through the mass media. Thus, prayers, rhymes, bedtime stories, and proverbs are considered as folklore (Ashliman, 2004). Stith Thomson (1946) defines folktale as the traditional prose tale, which according to him has been referred to in various ways through the years. Folk literature has a long history that began since human beings learned how to tell stories to their children and the rest of the communities. Just as tales from the past has evolved from generation to generation, new forms of story-telling emerged. Eventually, these stories were written and published in the Middle Ages. The traditional oral form of narrative and the modern written literature may be a broad representation of folktales though a tough one to try to separate them from each other. As Thomson (1946) puts it, they differ somewhat in their behavior, but they are alike in their disregard of originality of plot and of pride of authorship. The narratives in folk literature are divided further into three main genres – myths, legends and folktales. They were divided according to categories that include style, form, content, function, author’s intent, and more. Myths are folk narratives that often use symbolisms where the characters are human representations of the universe possessing supernatural powers. Origins and purposes, good and evil, and life and death are often the themes derived from mythology. Legends, on the other hand, do not exhibit much farther from mythology. While myths’ talk about gods and deities of the cosmos, legends take into account the stories of the same creatures in a localized setting. They are told in a more specific and individualized manner though may be mundane and trivial and supernatural and dramatic. Legends are recognized more to be as real as possible compared to mythology though their interpretations vary from one place to another and from one generation to the next. Folktales are written narratives about characters that are believed to be fictions in the first place (Ashliman, 2004). 4 JOURNEY: A Literary Motif to a Child’s Self-discovery “Books. They are lined up on shelves or stacked on a table. There they are wrapped up in their jackets, lines of neat print on nicely bound pages. They look like such orderly, static things. Then you, the reader come along. You open the book jacket, and it can be like opening the gates to an unknown city, or opening the lid of a treasure chest. You read the first word and you're off on a journey of exploration and discovery.”(David Almond, n.d.) As enumerated in the previous chapter, Antti Aarne and Stith Thomson exhausted all the different motifs in folk literature several decades ago. Their aim of classifying the various literary motifs has apparently helped scholars through the years in understanding further the diverse literary elements found in the wide array of literature. Aside from the distinct qualities and features of the various characters that take part in the children and juvenile literature, the plot in this type of literature stands out among the rest of the rest of its elements. It has been observed by literary scholars that journey is the most common motif found in young children as well as young adult literature. In Thomson’s Motif-index, there is no single category set aside for journey alone. He has identified one major category Marvel; however, this in fact does not cover solely the entire journey motif that is found in countless children and juvenile literature. As he had defined Marvel, it provides a specific characteristic where the characters in the literature journey to a world that is “non-existent to ordinary human beings; they marvel into an extraordinary journey where creatures such as fairies, spirits, and demons reside (Garry & El-Shamy, 2005; Thomson, 1955; and ST Motif Help, n.d).” Clearly, this limits the journey motif observed in children’s literature as characters in such literature go through real-life, as well as fantastic journeys. As a make-believe world for children’s and juvenile literature is found pleasing, real-life journeys are just as fun for the young readers find it easy to associate their own experiences to the characters in the story. 4.1 The First Step toward a Journey: How Journey Motif in Literature Began Journey motif in literature dates backs in ancient history. In order to add more fun and excitement in the story, the heroes or protagonists in the stories are brought into varied journeys that allow them to discover, challenge and learn for themselves. As heroes of fiction, it is apparent that literary authors take them away from the usual or the regular activities that normal people do in their daily lives. The scope of the journey in children and young adult’s literature is considered insignificant by literary critics, whereas the outcome of the journey is rather more important for its readers (Birketveit, n.d.). By putting the main characters into a state of imbalance, they learn how to cope in a situation that is new to them. As these characters are brought back the balance to the life they had previously, they emerge as a different character with a different and strong perspective. Through such experience, these heroes not only gain their normal life back, but find the reason to do something out of a given imperfect situation and become better and wiser than what they were before (Walden, 2008). The journey motif in children’s literature is in fact a result of the young ones’ fascination to adult literature where the characters in the narratives they read involve in a journey. Homer’s Odyssey may be regarded as the beginning of the journey motif in literature, which sets the trend in the succeeding literary narratives’ genre. One significant advantage of using journey as a motif in literature is that it provides the writers or authors no boundaries in exploring the real an unreal world that the characters themselves, most likely the writers as well, have never had a chance to set foot on. The possibilities to put the characters in the story in different situations are limitless that every child is swept away by being brought in a world they though would never have existed. The world unreal to the readers become a fantasy, though found to be the most fascinating by the young readers. As they are taken from the real world to the unreal, children are drawn into it for most of the characters with such motif are people of their age. The things they thought were impossible were made possible in the stories they read. Some of the most common literatures that date back from history are Lewis Carroll’s Alice in Wonderland, Frank Baum’s The Wizard of Oz, Charles Kingsley’s Water Babies, and James Barrie’s Peter Pan (Russell, 1991). As the study of literature at present, particularly for the children and adult literature, becomes more concerned of the moral and ethical lessons that they learn from reading them, it was in fact not what the young readers in the seventeenth and eighteenth century were after. The experiences and adventures of the characters in the stories were what they were more interested in. Young readers were thrilled to find how the main characters were able to win over the fight against the terrifying monsters and get through unusual encounters during their journeys (Russell, 1991). It is the children and the young adults’ interest in these types of plots that made the journey motif a hit that made it eventually a trend in the literature, most especially for the young readers. The excitement that it provides the young audience could not be at par with. Every main character’s journey to a different and unreal world usually begins in a somehow odd and unique manner as exhibited by many of the children’s literature. On the other hand, Russell (1991) emphasizes that there must always be a reason for the characters in the narrative to go on a journey. The journey motif is not utilized simply because the writer wanted to enchant the readers and take advantage of the possibility of creating additional new characters and plots in the story. As amazing as these stories cold become, it is usual that the purpose of the journey is often ignored and left unnoticed by the readers for they are mesmerized by the things happening in the Secondary World, which they knew had never happened and would never happen in the Primary World where they live in. Literatures using the journey as a motif are those that also possess plots that are quite loose and sometimes episodic. Oftentimes, the events do not necessarily have to be connected from one thing to another. As the main character journeys from one world to another, there is no need to provide a sound reason as to why some events lead to the next. However, the main character, who is a human being, is the point of reference at all times. He or she is someone the readers relate to due to their close association to each of us. The characters see things the way the readers see them (Russell, 1991). As the books exhibiting the journey to the Enchanted presents both the world in reality and the world in fantasy, Russell (1991) characterizes these literatures with journey motif as those that provides no clear distinction between reality and fantasy as the elements are combined accordingly. The main character’s journey away from home, where he or she returns as a wiser and happier person is the most typical in children and juvenile literature. The challenges that the characters have to deal with all throughout their journey allow them to learn something. It is as well the reason why journey, either a real-life journey or those that are found in literature, are didactic learning instruments that are effective for everyone. Such patterns are found in books such as Harry Potter and the like (Birketveit, n.d.). 4.2 A Journey Again and Again: The Most Common Patterns of Journey According to Purpose Probably one of the most significant studies of literature is Janis P. Stout’s research on American literature. Taking the challenge of studying its vastness, Stout faced prose and poetry of the American Literature with courage. The results of her study are significant particularly in studying the journey motif. She took the risk in going through American Literature in identifying the patters of journey that are existent among them. As for Stout, American Literature is in fact “a literature of movement, of motion, its great icons the tracks through the forest and the highway (Stout, 1983 as cited by Maini, n.d.).” In her study, she found five of the most common patterns that she has observed in the said literature. However, to be able to identify these patterns, significant elements of literature has to be considered. This includes direction, motivation, as well as the journey’s attributions to an event in the past such that history plays an important role in providing an inspiration to writer at certain points in time. As such, Stout found it more interesting to consider the most complex of the journey motif in both prose and poetry. She identified the first and the second pattern as Venturing Out. However, she divided them into two separate categories, the first being those that exhibits Exploration and Escape. The characters who ventured out for a specific purpose such as finding something or running away from something are associated in this first pattern. On the other hand, the second pattern, which is Venturing Out: The Home-Founding Journey, is represented by characters in a narrative whose purpose of going through a journey is to establish themselves a home in a new place. These characters are those who have the tenacity to be able to win all the adversities of their undertaking for the sake of leaving the place they used to live in and a vow never to return to where they came from. This sets them apart from the first pattern’s exploration in such a way the characters in the first pattern returns to their home whether or not they have accomplished their goals. It also sets apart from the escape pattern as well as its characters stand by its purpose of finding peace and quiet in a new place, while the characters in the first pattern’s purpose is the ability to escape itself where they are unable to find peace as they continue with their flight. The Return: Innocence Abroad is Stout’s third pattern observed in American Literature. In this pattern, Stout included characters who return to the United States after they have gone through a journey from Europe where they have found nothing but failure. Such feelings of disappointment, frustration and the like are seen from the characters of this pattern, although they are not Stout did not set a distinction whether it is their fault that they have failed or the country, Europe, had failed them. The fourth pattern, Search and Encounter: The Quest is the fourth pattern most common to narratives with the journey motif. As Stout describes the characters in this pattern, their goal is more on the self-aspiration that sets it apart from the other patterns, whereas most often these aspirations are somehow unattainable. As a result, the goal for this quest is the means and the end of the entire journey. The last pattern identified by Stout is Lost and Wandering, where characters go through a journey without a specific purpose. Their being lost is in itself the reason why they wander and therefore the characters do not have a home nor a place to go to (Stout, 1983). 4.3 Going To and There-and-Back Again: Two of the Main Forms of Journey Motif Some of the most commonly observed forms that supplement the journey motif in the children’s literature where journey is the motif are running away, pursuit, escape, survival, as well as friendship. Robinson Crusoe, Tom Sawyer, Slake’s Limbo, and others are identified to have possessed these different additional motifs to complete the journey of the character in the story (Nikolaveja, 2008). In children’s literature, critics have observed two distinct forms that are present in stories with journey motif. The journey that the heroes in the stories usually go through may either be circular or linear. Although these narrative styles do not differ as much against each other, they are found significant in children’s literature. As journey does not mean literally a quest or an adventure that the main characters in the story has to go through, journey may also be in the form of physical or mental, deliberate or accidental, voluntary or forced, a quest or a flight (Rahman, 2002). 4.3.1 Linear Journey Motif Literary characters go through a journey either voluntarily or involuntarily. Leaving one’s comfort zone and taking a plunge into the unknown is a popular quest in young adult literature (Moss & Stott, 1986). The linear pattern of the journey motif is illustrated by a plot in the story where the hero or the main character goes on an adventure or a quest and eventually settles at a new place where he or she finds more satisfying and comfortable (Moss and Stott, 1986 as cited by Bach, Bickmore, & Hundley, 1991). On the other hand, this does not mean that the main character in the literature is unhappy in his or her home environment; rather, the character decides to do so due to varying conditions and reasons. As the word suggests, linear journey motif follows a straight line pattern where a movement from one place to another is observed. The point of origin is usually the place where the character has dwelled his whole life, which he or she is used to. It is at this starting position where the character’s personality displays immaturity and lack of substance. Finally, the end point of the journey is different from where the story started. As Nikolaveja (2002) would simplify this type of journey, it is the “there” journey as the character displaces himself or herself from his original dwelling place to another and not return back. 4.4.2 Circular Journey Motif In contract to linear journey motif, circular journey, or otherwise known as cyclical journey motif in other literary critic books, displays a journey where the main protagonist in the story returns to where the story began. Whereas the main character in the linear journey motif stays to where he or she had been to away from home, circular journey motif returns back to the where he came from. The character departs for various reasons just as the characters in the linear journey motif do. However, as Moss and Stott (1986) simply puts it, circular motif’s point of departure is also the destination. Moreover, his or her return is far better than what he or she was used to as initiated by the adventure the character has taken in the story. A better and a more mature personality is what the main character possesses after going through this cyclical pattern of journey. It was their ability to overcome the difficulties and complications of the journey that shaped a stronger and more competent personality (Moss and Stott, 1986). This cyclical journey in literature is also known in other words as the “there and back again” as illustrated by the characters departing from a point of origin, and then goes back to where they have started after either a long or a short adventure. Of the two journey motifs, circular journey is more likely found in children’s literature. Similarly, a character going away from home to explore the limitlessness of the world he or she belongs to and then back again to the comfort of the home is the most common. While everyone knows that it is a natural phenomenon that people come of age, from childhood to adulthood, and that they have to experience the world that surrounds them, the characters who go through this kind of journey undeniably mirrors the development of us, human beings to become better individuals as we overcome the challenges and obstacle of the real world. Returning back home from the journey leaves the characters in the story, in this case us, renewed and revamped. 4.4.2.1 The Thousand Faces of a Hero in a Circular Journey Protagonists in the circular journey motif have distinct general characteristics that made him or her as the perfect being to go through an adventure – those who have done extraordinary things in their lives. In mythology, Campbell specifically identified the heroes of a circular adventure as males since women heroes in mythology already represent wisdom and creation where no further learning is necessary. The only time women heroes in mythology go on a journey is for the purpose of finding love or their other half. Heroes are also characterized by those who were born in the low social class in the society, oblivious of the fact that he or she possesses a special power or either his or her parents belongs to the higher social class. In addition, the heroes’ fathers are dead if they have not abandoned them or abuse them. This characteristic is important for the hero in the narrative for when a father figure is still present in the hero’s life then there will not be a need for him or her to go on a quest to achieve social and psychological maturity. Finally, the last characteristic of a hero according to Campbell is someone who has a noble character who does the things he does for a purpose. He is one who does not mind going through an unknown journey to prove something for himself and for others (Campbell as cited in Ubelhor, n.d.). There are at the same time various ways in which a hero receives his “call” for adventure. The Call may be through selection by the community leader, a dream or vision, a forced circumstance, a sensation that something is lacking in the hero’s life, or a need to take back something that the society has been denied or stripped of (Campbell as cited in Ubelhor, n.d.). 4.4.2.1.1 The Stages of a Hero’s Journey According to Joseph Campbell, these literary heroes 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. Therefore, his or her journey is made up of three distinct stages – the departure, initiation, and return (Campbell as cited in Ubelhor, n.d.). A. Departure The protagonist’s departure is divided into five more sub-stages before initiation begins. Before the hero departs for a journey, the Call to Adventure takes place where the hero’s destiny takes charge. The Call may be represented in various ways and represented by anything from a distant land, a forest, a kingdom underground, beneath the waves, or above the sky, a secret island, lofty mountaintop, or profound dream state. They do not always come in a rather common way where the main character is familiar with. It is always one that is not a part of his or her regular routine where he or she feels comfortable with (Campbell as cited in Ubelhor, n.d.). Should the hero refuses the Call, departure then leads to this second stage. Here, the protagonist chooses to be confined in the same state as he or she was. His or her life becomes meaningless as well as the things he or she do. The hero is confronted with the same problems and find it difficult to get through them as he is deprived himself of getting to know his inner self and discovering his own abilities he never knew he possesses all along (Campbell as cited in Ubelhor, n.d.). On the other hand, when the main character in the narrative accepts the Call, he or she is provided with what Campbell call as he Supernatural Aid. This being,, that may be represented by a human being or even an animal, gives the hero a special thing that will serve as his protection during the course of his quest. This thing is basically a symbol of reassurance that the hero will be able to overcome all the odds that may come against him as this is what he is destined to do. It is a promise that the hero could hold on to, so long as he or she must learn how to trust himself and his fate. The moment the hero accepts the Call, he is already guaranteed of protection and guidance, as well as victory in his journey (Campbell as cited in Ubelhor, n.d.). The fourth sub-stage, The Crossing of the First Threshold, is the transformation of the hero as the “threshold guardian” the moment he or she accepts the challenge of adventure. At this stage, the hero is in the state where he does not have an idea of what lies ahead. He is in a state of danger as he or she crosses the boundary between safe and danger. Moreover, as he passes through this stage comes the final stage of departure, The Belly of the Whale. The moment the hero crosses the threshold between safety and the unknown, his character shifts from someone who is no longer a common being. This is the reason why Campbell called this stage as the self-annihilation stage for the person before the acceptance of the Call has died. However, a better and more powerful being emerges into the story. Like the snake that sheds its old scales to reveal its beauty, and the caterpillar the turns into a beautiful butterfly, the hero becomes a different person – one who is far better than what he was in his past (Campbell as cited in Ubelhor, n.d.). B. Initiation The second stage of the hero’s journey with a circular motif is further divided into six sub-stages – The Road of Trials, The Meeting With the Goddess, Woman as the Temptress, Atonement With the Father, Apotheosis, and The Ultimate Boon. Right after crossing the threshold and embracing the new self of the hero, he or she is met with a succession of trials. Over and over, he or she will have to fight against monsters and creatures in a place where he is not familiar of. Furthermore, the most significant thing of going through this stage is that he or she will then realize that he is somehow protected by the things that he was given right after he accepted the Call. May these things be in the form of an advice, an amulet, or other agents, he soon realizes how helpful these things could be in triumphantly battling against the challenges he faces throughout his quest. On the other hand, these are but preliminary victories for the hero (Campbell as cited in Ubelhor, n.d.). After overcoming all the challenges that he was faced with at the beginning of the journey, then comes the stage where the hero meets a woman in the story that represents love. The Meeting With the Goddess is, on the other hand, not a state where the hero falls in love and gets married with a woman in the story. Winning love means finding peace with the woman he meets in the story to be at peace with himself and the world. It becomes as the ultimate challenge for him for if he is not able to be in unity with her, he may not be able to achieve peace in his journey, whereas her representation will haunt him with every battle he fights (Campbell as cited in Ubelhor, n.d.). The third sub-stage under Initiation is named by Campbell as Woman as the Temptress due to the fact that in most narrative literature, temptation is usually represented by women. In one way or another, even though women are not initially seen as a temptress in the story, they somehow create a certain point in the story when they become a source of temptation where the hero has to make decisions that may affect the success of the journey (Campbell as cited in Ubelhor, n.d.). Atonement With the Father is the stage where the hero has to overcome who possesses the most power among the other creatures throughout his journey. Campbell characterizes this character as the Father since he believes that a father-figure is one with the most strength and power. However, as Campbell says, “But this requires an abandonment of the attachment to ego itself, and that is what is difficult. One must have a faith that the father is merciful, and then a reliance on that mercy.” Once he overcomes this stage, he will be able to be to rise above and be one with the father or any creature that represents it. It is in this ordeal that the hero may derive hope and assurance from the helpful female figure, by whose magic (pollen charms or power of intercession) he is protected through all the frightening experiences of the father's ego-shattering initiation (Campbell as cited in Ubelhor, n.d.). The next stage, which is The Ultimate Boon, is the most exciting part of the narrative literature. This is the part when the hero is able to attain what he was expected for in the journey. The purpose of his adventure is attained at this point, therefore, according to Campbell, it is the miraculous energy of the thunderbolts of Zeus, Yahweh, and the Supreme Buddha, the fertility of the rain of Viracocha, the virtue announced by the bell rung in the Mass at the consecration, and the light of the ultimate illumination of the saint and sage. Its guardians dare release it only to the duly proven (Campbell as cited in Ubelhor, n.d.). At this point, the hero in the story is able to prove that he is worth the trust that the universe and his fate had bestowed upon him. Fulfilling his ultimate responsibility is the essence of his journey. C. Return Upon the fulfillment of his task, the hero then must return. For his return home, there are also various stages that he has to go through. The first stage is the Refusal of the Return where the hero may simply not want to go back to where he used to belong. As the hero found the journey challenging, he or she eventually finds himself enjoying the adventure. The new creatures and the new experiences, as well as the new things he or she has discovered about himself seem unreal that going back home is absurd. Living the life he or she used to have may appear dull at this point and opt not to go back home (Campbell as cited in Ubelhor, n.d.). Winning the battle and succeeding in obtaining what the hero was tasked to do does not mean there are no longer odds and obstacles that are to be met should he or she chooses to return home. The Magic Flight, which is the stage that comes next where the hero must use the elixir that his or her guardian had given in order to help them return home. On the other hand, this aid that he or she must use to return home must be given freely by the one that protects him all throughout his journey. Otherwise, if the trophy has been attained against the opposition of its guardian, or if the hero's wish to return to the world has been resented by the gods or demons, then the last stage of the mythological round becomes a lively, often comical, pursuit. This flight may be complicated by marvels of magical obstruction and evasion (Campbell as cited in Ubelhor, n.d.). The third sub-stage of the hero’s return is the Rescue from Without. Oftentimes, in order to return home, heroes need to be rescued by an unknown source. Since he or she does not originally come from that world, his own world may help him get through any other obstacles that he may face in order to go back to where he originally resides. There may, on the other hand, instances when the hero refuses the rescue, but then again, more often than not, it is only delayed. Eventually, the hero then returns home alive, although in some instances badly hurt after the adventure he or she has been through (Campbell as cited in Ubelhor, n.d.). The Crossing of the Return Threshold comes after the rescue stage and is one of the most difficult stages that heroes of narrative literature has to go through. The transition from the unknown world back to the known requires a huge effort as he or she has to re-learn the things in the past, though on a different view. As the journey has made the hero a full-grown human being, he or she sees things differently, thus making him or her adopt to the old world difficult. The newly acquired strength and wisdom that the hero has obtained in his adventure must be used appropriately in order to fit back in to the world he used to live comfortably in. This is the stage when the hero feels how different and uncomfortable his former world had become after the adventure. At this point, the real world becomes unreal and the unreal becomes the real one. Therefore, according to Campbell, The returning hero, to complete his adventure, must survive the impact of the world (Campbell as cited in Ubelhor, n.d.). When heroes are able to cope and survive the Crossing of the Return threshold, they become the Master of Two Worlds, the second from the last stage that they have to go through. The moment they are able to adapt to the former world they came from initially in the story, it is therefore easy for them to go to and from the second world they have taken an adventure to. As they have grown into a mature being, they find it rather easy to leave the real world and step into the second world and back again. The individual, through prolonged psychological disciplines, gives up completely all attachment to his personal limitations, idiosyncrasies, hopes and fears, no longer resists the self-annihilation that is prerequisite to rebirth in the realization of truth, and so becomes ripe, at last, for the great at-one-ment. His personal ambitions being totally dissolved, he no longer tries to live but willingly relaxes to whatever may come to pass in him; he becomes, that is to say, an anonymity (Campbell as cited in Ubelhor, n.d.). After the hero has gone through all these stages, he or she attains a spiritual strength that allows him to live his or her life without fear. This then is the final stage called by Campbell as The Freedom to Live. Since the hero no longer fears the unknown, and feels confident of the things he could do, he fears nothing even death then. The hero is the champion of things becoming, not of things become, because he is… He does not mistake apparent changelessness in time for the permanence of Being, nor is he fearful of the next moment (or of the 'other thing'), as destroying the permanent with its change. 'Nothing retains its own form; but Nature, the greater renewer, ever makes up forms from forms. Be sure there's nothing perishes in the whole universe; it does but vary and renew its form.' Thus the next moment is permitted to come to pass (Campbell as cited in Ubelhor, n.d.). 5 ANALYSIS OF THE JOURNEY MOTIF IN SELECT CHILDREN’S LITERATURE Fantasy is a highly imaginative story about characters, places, and events, yet it is believable. These stories narrate of impossible situations though they are told in a way that the readers find them to be possible. More often, fantasy stories include magic and the supernatural that are not present in the real world (Chen, n.d.). Some of the most common characteristics of folktales are short, highly stylized stories with stock characters, events, and settings, keeping the same basic form and content, but being modified by different cultures. In addition, details such as stepmothers who are cruel enough that they mistreat the protagonist in the stories where they eventually have to go on a quest in order to escape such cruelty are added so as to make the endings of the stories more appealing, especially for children (Bach, Bickmore, & Hundley, 1991). Unlike fantasy, however, the setting of the story in folktales is narrated in a more realistic and more familiar place to the readers. The situations that the characters have to solve are more realistic and less complicated as those in fantasy stories (Chen, n.d.). 5.1 The Hobbit or There and Back Again Although Tolkien’s The Hobbit was accepted quite well when it was first published, it did not become as popular until the its sequel, The Lord of the Rings trilogy, cam e into publication. Specifically written for the young readers, The Hobbit has always been one of the most highly regarded literary pieces for children, both for entertainment and educational purposes (“J.R.R. Tolkien,” n.d.). Not only did it provide entertainment to its young readers, but it also became an instrument in learning other things, as well as language. This research, on the other hand, will discuss the latter and its credibility in learning a new language, particularly English, for its readers. Possessing the elements of being classified as a folktale, this book is relevant in studying the journey motif particularly in children and juvenile literature. The original title of the novel speaks for itse Read More