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Dune is not a simple book. This is a given to those who have read it; the book is filled with complicated themes and characters. But those aren’t the only aspects that make the book three dimensional. The use of characters, names and places that make us recall our life in a strange world are confusing at first, but Frank Herbert, the author, put them there for a reason. Although Dune often deviates from or expands upon the usual Hero’s Journey criteria, the variations always have the purpose of redefining the Hero’s Journey itself.
While the phrase “Hero’s Journey” may bring to mind Don Quixote charging at windmills, nearly every piece of writing has it. For example, 101 Dalmations exhibits strict use of Campbell’s definition, although it is an infamous “Disney story.” The Hero’s Journey is broken up into such small steps that some may take milliseconds. Even going to the grocery store could qualify as a hero’s journey. It applies to every story, even short and seemingly boring ones.
As the educated reader reads Dune for the first time, it seems the main stages of the hero’s journey not only are existant, but also apparent. Separation, the stage where the hero is told he is the only one who qualifies for the task, can be easily placed after the Gom Jabbar test (7). Initiation, where the hero believes he is worthy, can also be easily placed at the major revelation/vision when Paul is stranded in the desert with Jessica (16). Likewise, Return could be placed at Paul’s reunion with Gurney Halleck (411). As previously mentioned, though, the book is not that simple.
For example, each stage could each be located at many places. While the stages obviously CAN be placed at the mentioned points, those are not the exclusive residences. The separation stage could be placed later in the book when Leto dies, or when they land on Dune. Initiation could be when Paul is adopted by the Fremen or when he kills Jamis. Return could be when Paul kills the Baron, as he is Paul’s uncle. The stages are only one example.
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Not just the main points are abnormal in Dune, either. There are three other main examples “Refusal of Call,” companionship, and “Meeting with Goddess.”
Dune takes the stage “Refusal of Call”, an important and interesting idea, and stretches it throughout the book. Paul is very resistant to his power at first, such as his revelation in the tent when he and Jessica first land on Dune. He senses too great a commitment (16). Jessica bore a son to oblige the Duke, although she went against the Mother Reverend’s wishes in doing so. She regretted the decision, not wanting Paul to be the Kwisatz Haderach. Much later, Jessica is resistant to being Chani’s “mother,” although she knows she ultimately has no choice. “Refusal of Call” is changed, but it benefits no one.
The companions Herbert created for Paul are also unusual. While the stereotypical companion leaves the side of the hero only in death, Gurney leaves for an extensive period of time. It is also untypical to have a mother accompany a hero. Chani isn’t proper- this is actually usual, though not so much as having the goddess be disabled or dying. Stilgar is traditional, but holds to his beliefs so soundly he can’t- or won’t- try more modern and efficient methods of doing the same thing. By having such radical companions, the attention is drawn toward them away from Paul.
“Meeting with Goddess” is also tampered with. Chani is Paul’s true love, yet she is a concubine. Paul has enough power to be equal to a god, but he is very human with love. Though he does end up marrying royalty, Chani is the one he cares for the most.
Some parts of Dune are stereotypical. Chani’s relationship with Jessica is very much patterned after the “Love/Hate” symbol often emulated between mother- and daughter - in- law. Paul can get away with anything (4), and Leto wants a powerful son. Leto also dies for a good cause. There are many other small stereotypical points, too.
Nevertheless, the stereotypical parts are always intermingled with ideas that are not clich�s. Chani and Jessica remain at a comfortable distance, not as far apart nor as close as the stereotype. Paul can get away with a lot, but doesn’t kill unless he has to. This is exhibited in his fight with Jamis. Leto doesn’t live to see Paul’s power, which is not the kind he wanted to begin with. Although the Duke dies for good, he would have died anyway.
The latter stages are also not entirely superficial. The ritual death, easily identified as the death of Paul’s son or father, could overlap and be the same thing Brother Battle (the death of the Baron.) The Dragon Battle, Paul’s melee with the sandworm, was also entirely necessary to be accepted in the Fremen culture. By making the stages minorly different while retaining the original focus, Dune makes us think the stages are entirely different.
Paul, as a hero, is also different. He has many characteristics that separate him from other heroes. For one, he shares the glory in Dune as a whole, if not as an individual character. Jessica becomes the Mother Reverend, which is a position of not just knowledge but actual wisdom. Leto gives his life to try to kill the Baron. Although the attempt fails, it was still noble to try. Alia, Paul’s younger sister and stereotypically his rival, gained some of her mother’s wisdom and is now a child genius of emotions. The other character’s successes draw attention away from Paul, providing a more subtle contrast on which to base his heroism.
Paul is far from perfect, although he is perceived as a hero. He gives up Chani for a royal marriage. He treats Jessica roughly, mostly emotionally though sometimes physically. Paul cannot grieve for either his father nor his son immediately, which isolates him from us. If someone’s father or son dies, we at least feel something like shock or denial, if not immediate grief. Paul’s initial incapibility to do so sets him in a negative light. Paul’s foibles are obvious, yet his actions are based on them.
Because of these accepted differences, the Hero’s Journey is changed. It’s in small nuances, but the most constant question I have heard while the book was being discussed is “Is Paul a hero?” We don’t know, or can’t decide, because the very basis of the plot, the Hero’s Journey, is so twisted that we wonder who, if anyone, it is favoring. Because the Hero’s Journey has been changed, it makes the book unique.
Dune’s plot differs from the Hero’s Journey in many ways, but each contribute to the end product. Paul, as a character, seems to take the toll of these differences, but he also stays a consistant person. While he does grow in many ways, he never does anything out of character. This is why Dune is considered a good book. To torque the basis of the plot, while at the same time keeping consistant characters, is a sign of a very good author. At the end, Dune may not resolve the definition of the hero, but it does resolve the definition of the true Hero’s Journey.
Another device used to make the amaryllis seem admirable is the use of words associated with strength and perfection. From simple single words such as “sturdy” (15), “steadily” (8), or “robust” (14), to longer metaphors later such as “triumphantly at the summit” (5), it is made clear that Levertov justifiably admires the amaryllis before she states it in the last lines “...If we could blossom/ Out of ourselves, giving/ nothing imperfect, withholding nothing!” The lines say that the flower gives everything, and everything it gives is perfect. Levertov says that the amaryllis is perfect, an universal goal and certainly one to be admired.
Another common ground between humans and the amaryllis Levertov creates is that of color. Color is familiar where everything else is complicated. It also helps create the image that no, the amaryllis is not perfect, is not clear and defined white and green, but it is layered, as humans are. This imperfection is most simply noted in “traces of reddish purple at the base” (1). By using this simple seven word phrase, Levertov says that the amaryllis is perfect yet complicated- the way she later says humans aspire to be. This common ground is also quite descriptive- description being an important tool in helping the audience visualize the flower. Color is an important element throughout the entire 1st stanza, but most vividly in the above phrase.
Combining these elements in the first stanza is necessary to make the second stanza powerful. Some statements in the second stanza, such as the long description of its tenative growth, would be confusing if you did not have the background of Levertov’s admiration of the blossoming of the amaryllis. Given the background, the metaphors concerning the flower’s bold growth, such as “like a foal” () or “a Juno” (5), add to the description in the first stanza immensely. Because the reader wants to know why she bothers describing the plant’s growth, describing before analyzing serves to draw the reader in to the poem.
Another key element in the second stanza that draws the reader in is the use of oxymorons. The first used is “maiden giantess,” an oxymoron in the sense that the stereotypical maiden is frail, beautiful, and vain whereas the giantess is sturdy, ugly, and bloodthirsty. Yet in this case Levertov says that the flower is a maiden giantess, and that implies that although the amaryllis is big, it is just a larger “copy” of a maiden, and is still fragile and beautiful. Based on earlier definitions of how strong it is, though, she is saying that at the same time it is fragile and strong, beautiful and ugly- something that humans can never be. So, wouldn’t this be contradictory to the last part, that humans should (implying can) be more like the amaryllis?
No. This is what the last six lines are about. To be whole, to have purpose, according to Levertov, is have the “best of both worlds,” like the amaryllis. It is both beautiful and strong, both modest and perfect, both undistracted and unhurried. Levertov aspires, as we all aspire, to have these qualities. By using incredible rhetoric made by the combination of many techniques, Levertov creates a resounding poem about a common, if unreachable, goal. Herbert, Frank. Dune. Sorry, date not available.
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