Campbell's Hero Cycle: Can Scarlett O'Hara Measure Up?

Margaret Mitchell's Gone With The Wind is the quintessential story of the south's plight during The Civil War and Reconstruction. The Pulitzer Prize winning novel set publishing records in 1936, selling over one million copies during the first six months of publication (Garraty).

Originally considered a "popular romance novel, not art," Gone With The Wind has gained respect in the literary field over the last several decades (Eakler). Literary criticism ranges from racial and gender issues to characterization and historical criticism. Gone With The Wind invites criticism because the novel reflects a historical era of racism and female inequality in addition to being "one of the most successful bestsellers ever written"(Garraty). In Gone With The Wind, Mitchell succeeds in portraying Scarlett O'Hara as a heroine who transcends the stereotypical Southern Belle, not in spite of, but rather, largely due to Scarlett's own distinctive and villainous methods of becoming a heroine.

The majority of Scarlett's negative criticism is based on ethical decisions she makes. Citing questionable moral choices, Eaklor maintains the "inability to understand Scarlett's character is at the heart of the dynamics of Gone With The Wind and responses to it" (Eaklor). For example, Belle Rosenbaum's 1937 essay calls Gone With The Wind an"obscenity" and Scarlett O'Hara "a harlot" (373).

Admittedly, Scarlett's choices must have been shocking to the ethical mores which were standard in the late 1930's. During this era, ladies were expected to remain in the home, focusing on families and children. While ethical guidelines vary from generation to generation, literature lives each time a book is opened. Modern readers are no longer hindered by society's rigid rules regarding behavior.

Rather than being deterred by out-of-date sociological expectations, today's readers are free to logically examine Scarlett's character and behavior. Moral judgments prevail over comprehensive literary studies when readers do not make an effort to understand the reasons behind Scarlett's actions. Though "the reader is invited to both admire and to despise Scarlett," her actions as well as her motives must be examined thoroughly in order to understand her character (Bell).

Bishop contends that Scarlett "is too stupid to know that there are larger issues involved than her own survival" (372). Yet, Scarlett comes to realize her world is changing right in front of her. She watches the south fall apart and heroically tries to pick up the pieces: her own and others too. The Civil War is not only a national tragedy, but also, a personal one for the many lives it rips apart. Many instances in life demonstrate how personal attachments to a tragedy often supersede the big picture for the people involved.

Realistically, Scarlett is "gritty and determined and mostly unscrupulous because that was the type of woman who survived and prospered in post-war Atlanta" (Regan 465). Scarlett's actions astonish people, but she must be commended for carrying the burden of Tara's predicament on her own. Whether loved or hated, the always controversial Scarlett O'Hara's "practicality in war-time is admirable, while her amoral narcissism makes her seem at times abominable" (Bell). Scarlett repeatedly abandons her expected southern belle persona, which allows her to achieve the status of a heroine.

Since so much of Scarlett's criticism regards her ethical decisions, it is evident that Scarlett O'Hara is not a saintly southern lady like Melanie Wilkes. Even Rhett Butler, who patiently remains in love with her for much of the novel, tells her honestly, "And, you, Miss, are no lady" (Mitchell 120). However, ethics alone are not the appropriate measuring device for heroism. When considering a hero's true measure, the appropriate evaluation includes collective actions that cover a lifetime.

In order to consider Scarlett O'Hara a heroine, the reader must contemplate the traits of a heroine. According to Oxford English Dictionary, Scarlett qualifies as a heroine: "a woman distinguished by exalted courage and fortitude," despite her many faults (Simpson 173).

Looking deeper into the issue of heroism, Joseph Campbell created a literary theory which he calls "the hero cycle" (Campbell). The hero cycle can be applied to any character in literature. Specifically defining the phases required to obtain heroism, Campbell outlines a literary hero. The hero cycle defines four specific steps that must be met for the character to obtain a hero's status. The cycle includes "(1) the call to adventure, (2) the crossing, with more tests and helpers, (3) the supreme ordeal, and (4) the return, with a possible boon to the hero's people" (Campbell).

The hero cycle is a constant circle which repeats itself throughout the text. Operating much like a camp-fire song that is sung in recurring rounds, the hero cycle incorporates continuously overlapping steps, which collectively measures a character's hero status. This circular motion makes the hero cycle especially useful in measuring the character's deeds. Much like real life, fictional characters are not defined by one or two moments, but instead, they are more accurately measured by cumulative actions that span a lifetime.

In The Power of Myth, Campbell takes the reader through the process of dissecting individual characters; thus, determining each hero's status (130). For example, Campbell discusses George Lucas' Star Wars character, Han Solo. Comparable to Scarlett O'Hara, Han Solo is "a very practical guy...and a materialist" (Campbell 129). Han Solo is a mercenary as well as "a compassionate human being...the adventure evoked a quality of his character that he hadn't known he possessed," and he heroically helps Luke Skywalker achieve victory (Campbell 129).

Like Han Solo, Scarlett O'Hara passes through the hero cycle, proving she is a heroine according to Campbell's guidelines. With respect for the hero cycle's continuous circle, the research will show Scarlett achieving each phase with two separate examples in attempts to illustrate how the cycle works on multiple rotations.

The hero cycle's first phase is "the call to adventure" (Campbell). Thoroughly explaining the first step, Campbell distinguishes the two types of adventures. "In one kind of adventure, the hero sets out responsibly and intentionally to perform the deed...and there are adventures into which you are thrown--for example, being drafted into the army. You didn't intend it, but you're in now" (129). Scarlett endures both types of adventures in the novel.

One of Scarlett's calls to adventure is adjusting to her new life as Charles Hamilton's "wife, and within two months more she was a widow" (Mitchell 128). She fails to consider the risks and responsibilities of a war bride, as she does not intentionally aim to be a widow at seventeen. The reality of life during war-time simply throws her this curve. As a result of Charles' death, Scarlett finds herself confined to a minimum of three years in "hideous black dresses without even a touch of braid to enliven them" (Mitchell 133). She frequently shocks the reader, as mourning "irritated her for, try as she could, she could recall nothing about Charles except the calf dying look on his face" (Mitchell 133). While this call to adventure reveals the shocking degree of Scarlett's spoiled and uncaring nature, the experience also leads her to her first act of heroism.

Depressed by society's expectations of widowhood, Scarlett is sent to visit Melly and Aunt Pitty in Atlanta. She does not want to go to Atlanta because "the very idea of living under the same roof with Ashley's wife was abhorrent" (137). However, life in Atlanta dramatically lifts Scarlett's spirits. She is energized by the life of the growing city. She participates in fundraisers for The Cause, and nurses alongside Melly in the hospital. After spending time with Melly, Scarlett claims to despise Ashley's wife; however, she refuses to leave Melly as her labor begins. Scarlett bravely tries to reassure Melanie in the midst of acting as her midwife, all the while dealing with her own fear of being discovered by the Yankees that are invading Atlanta (369).

Following her call to adventure, Scarlett encounters "the crossing" (Campbell). According to Campbell's theory, the crossing phase includes the adventure threshold as well as the appearance of helpers. In the first cycle example, when Ashley and Melly's son is born, Scarlett sends for Rhett Butler, her helper throughout much of the novel.

Crying and screaming, Scarlett insists, "I'll kill you if you try to stop me! I want to go home...I will! If I have to walk every step of the way!" (Mitchell 380). Rhett suggests leaving Melly and the baby with Mrs. Meade, but Scarlett insists, "I can't leave her" (380). By refusing to abandon Melly and the baby, Scarlett shows heroic traits of strength, compassion and bravery. After they escape Atlanta safely, Rhett leaves Scarlett to join the Confederate Ranks. Rhett tells Scarlett that her selfishness and determination are strengths which do not render her helpless (389). Drawing on her own power and determination, Scarlett heroically succeeds in her journey to Tara, with all of her wards alive.

Campbell's third step in the hero cycle is the "supreme ordeal" (Campbell). In the first example, Scarlett arrives at Tara. Expecting to return to her safe childhood home, Scarlett "finds her mother dead, her father demented, the slaves freed, and the plantation in ruins. The novel now focuses on Scarlett's determination to restore Tara" (Gone).

Scarlett is surrounded by the realities of war. She is now head of the household without a confidant, with "no security or haven to which she could turn" (Mitchell 418). In her drunken and exhausted state, Scarlett lies in bed and allows herself to be taken care of for the last time (420). She wakes the following morning with authority in her voice, insisting Pork and Prissy "catch the sow or get out...anyone at Tara who won't work can go hunt up the Yankees" (423-24). While Scarlett is brisk in her sudden authority, this new-found power is inherently heroine. The Yankees as well as the Confederate Commissaries are a constant threat to Tara. A brave leader is necessary to ensure Tara's survival.

Five star General Omar Bradley calls bravery "the capacity to perform properly even when scared to death" (McLellan). When a Yankee soldier threatens Tara's new family, Scarlett bravely faces the man alone, and ends up murdering him. With this deed, Scarlett wins Melly's admiration all over again, as Melly suggests they "go through his knapsack" in hopes of finding something valuable (Mitchell 442). Once again acting as Scarlett's biggest supporter, Melly validates and approves of Scarlett's actions. Frequently in literature, as well as in life, respect and admiration are scales by which a hero's worth is weighed.

In the first example, Scarlett's "return" reveals her determination to save Tara (Campbell). As Scarlett begins to rebuild life at Tara, she learns the carpetbaggers have raised the property taxes. Discouraged, Scarlett looks to Ashley for a rescue, "Oh, Ashley, let's go away! I could make you so happy."(Mitchell 532). Ashley announces he must leave Tara because he is tempted by her determined strength (535). She "squares her small thin shoulders" and resumes her heroic role when she promises "You need not go...I won't have you all starve, simply because I've thrown myself at your head. It will never happen again" (535). Although Scarlett is "tempestuous," she walks away from Ashley "armed with new self knowledge" that strengthens her resolve (Salzman). The stolen moment between them makes Scarlett realize her love for Ashley is another lost cause. Upholding her vow, Scarlett never actively attempts to win Ashley's heart again. Instead, Scarlett focuses on keeping Ashley and Melly safe from the south's trials during Reconstruction.

Because the hero cycle is a continuous loop, the cycle will begin again, in order to show the effective nature of collectively viewing the hero's actions. In the second example of Campbell's hero cycle, Scarlett's "call to adventure" is to save her family and Tara, and she "sets out responsibly and intentionally to perform the deed" (Campbell 129). Scarlett vows, "As God as my witness, the Yankees aren't going to lick me. I'm going to live through this, and when it's over, I'm never going to be hungry again. No, nor any of my folks. If I have to steal or kill..." (Mitchell 428). Purposely vowing to God, Scarlett asserts her determination, and heroically, she does not stop with her own needs. She includes her family in this oath. She stands tall, thinking of everyone who looks to her for leadership and answers to extremely difficult problems.

In the second phase, "the crossing," Scarlett marries Frank Kennedy (Campbell).Introducing Frank as a helper, Mitchell allows Scarlett to succeed in saving Tara by another shocking development in Scarlett's character. Scarlett astonishes readers when she lies to Frank: "Oh, to have such a mean sister...She's going to marry Tony Fontaine next month" (Mitchell 597). By tricking her sister's fiancé into marrying her, Scarlett obtains the means to pay the taxes on Tara. Although cold-hearted, Scarlett has Mammy's support in this trickery as Mammy declares, "Ah is gwine ter he'p you pleasure Mist' Frank in eve'y way Ah knows how" (599). Mammy's help is rewarded as Scarlett dutifully sends money to Tara immediately after the marriage. Scarlett's deed, although horrible to Sue Ellen, is essential to Tara's survival. In essence, Scarlett sacrifices her entire being to save Tara-- which is following up on her preceding oath before God.

In phase three's "supreme ordeal," Scarlett faces scandal after scandal in society. She is ostracized by society for purchasing and running the lumber mill as well as driving her own carriage and appearing in public while she is pregnant with Ella. When Scarlett asks Rhett why everyone talks about her, Rhett reveals:

All you've done is been different from other women and you've made a little success at it. As I've told you before, that is the one unforgivable sin in any society. Be different and be damned? Scarlett, the mere fact that you've made a success of your mill is an insult to every man who hasn't succeeded. Remember, a well-bred female's place is in the home, and she should know nothing about this busy, brutal world. (Mitchell 678)

Tracing Scarlett's maturation "from spoiled teenager to hard-working widow to wealthy opportunist," the reader realizes that "determination drives Scarlett" (Phillips). Scarlett understands she must work hard to ensure everyone's survival as Reconstruction's brutality redefines southern culture. Unlike many people, Scarlett recognizes the association between success and survival in the new south.

Scarlett faces more personal scandal after Ella is born. At the lumber mill, Scarlett and Ashley reminisce about the bygone days of the old south. Sharing a painful memory, Ashley holds her close, and Scarlett realizes "it was good to be in his arms, without passion...to be there as a loved friend" (926). When India, Archie and Mrs. Elsing walk in, the gossip flies through Atlanta, reaching Rhett and Melanie. Although terrified when she enters Melanie's house, Scarlett "didn't care what they thought. Only Melanie--only Melanie" (931). While Scarlett does not want to go to the party, her attendance is a small heroic act in itself. She realizes the entire town has been talking about her, yet she bravely arrives to face Melanie and the consequences of her actions (931).

In the second example of "the return" Melly dies due to pregnancy complications. Scarlett struggles as she recalls many errors. Scarlett recognizes that she has loved Melly and counted on her quiet strength as she prays, "Please, let her live! I'll make it up to her. I'll be so good to her. I'll never even speak to Ashley again as long as I live, if You'll only let her get well!" (1010). Scarlett finally comprehends that her desire for Ashley was an attempt to hold on to the past, the old south. She appreciates Melly's strength as she recalls, "Melanie had been there that day with a sword in her small hand, ready to do battle for her...Melanie had always been there beside her...loving her...fighting for her" (1012). With a new understanding of her feelings, Scarlett realizes she has loved Melanie all along.

After Melly's death, Scarlett runs out of the house and down the street. Scarlett realizes she has "lost everything...Ellen, Gerald, Bonnie, Mammy, Melanie and Ashley. She had to lose them...to realize that she loved Rhett--loved him because he was strong and unscrupulous, passionate and earthy, like herself" (1022). Running home, Scarlett finds comfort in knowing Rhett will be there. As one of her initial helpers, Rhett has always been there to guide Scarlett through the difficult times in her life. Much like Melly, Rhett is a source of Scarlett's strength.

When Scarlett arrives home, she finds Rhett packing. Scarlett begs and pleads with Rhett, trying to convince him to stay. Rhett tells her, "You are such a child. You think that by saying, 'I'm sorry,' all the errors and hurts of years past can be remedied..." (Mitchell 1032). Although she loses Rhett, Scarlett gains "maturity and a growth in spirit" which would have been impossible if the marriage survived (Drake 377). Faust claims Mitchell "ends up punishing Scarlett for her acts of independence at the end when she takes Rhett away" (Faust 1).

However, punishing Scarlett is not the reason Rhett leaves. Scarlett can not completely mature while still married to Rhett. Scarlett "gains progressively in insight...she learns what it is that she wants, only to lose it at the moment of this realization" (Drake 377). It is through this complete loss-- losing Melly, her biggest supporter; losing Ashley, her childhood fantasy; and losing Rhett, her patient husband-- that Scarlett returns to Tara, remembering "she had gone back to Tara once in fear and defeat and she had emerged from its sheltering walls strong and armed for victory...she could do it again!" (Mitchell 1036).

Rhett's dramatic exit is the tragic story's final heartbreak, but it is essential for Scarlett's continued maturation and growth. Scarlett must learn that she is capable of standing on her own. Scarlett completes Campbell's hero cycle with a flourish as "she is now deliberately choosing to return to Tara" (Drake 377). With the return to Tara, Scarlett emerges a heroine. She decides to retreat to her own home, to care for her own land, and to draw from her own strength.

Heroines are regarded for their strength and determination. Like most heroines, Scarlett "endures physical struggles, suffering, and painful losses that test her ability to survive" (Salzman 585). Scarlett also reveals a desire for everyone's survival. She is practical and rational to a fault. Logically, Scarlett "decides what constitutes success, finds the most effective means to succeed, and does not consider concepts like honor and kindness" (Phillips). While honor and kindness are not her top priority, Scarlett remains "the most pragmatic of all the characters...consistently faced with crises that she can only surmount by redefining herself and her values" (Waller).

Using distinctive and villainous methods to survive, Scarlett's behavior often contradicts her traditional, southern belle upbringing. Scarlett throws herself at Ashley throughout much of the novel. Scarlett marries men that she does not love. Scarlett tricks her sister's beau into marrying her. Scarlett murders and robs a man. Scarlett purchases and runs a business. Scarlett drives her own carriage, even when she is pregnant with Ella. All the while, it is through these acts that she survives.

Her behavior is scandalous to Atlanta society, but Scarlett courageously chooses to answer to her own conscience. The popular success of the novel suggests "it was exhilarating to watch Scarlett fight and win; even if she did not always employ the most genteel means, at least she did not lie down and die" (Wagenknect 375).

Admittedly, Scarlett seems to put herself first, but many instances reveal that Scarlett is capable loving and caring for others. Scarlett vows that "the Yankees aren't going to lick me," and she heroically leaps at obstacles, turning them into opportunities, regardless of who it offends (Mitchell). Constantly redefining her values, Scarlett makes adjustments which will ensure her survival.

Scarlett stands out as a heroine because she has the courage to change, adapting to the new world in which she lives. "A woman distinguished by exalted courage and fortitude," Scarlett is the epitome of a heroine as she adjusts her own unique and villainous methods to survive every circumstance life creates for her (Simpson 173).

Works Cited

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Rosenbaum, Belle. "Why Do They Read It?" Poupard 373.

Salzman, Jack and Pamela Wilkinson, eds. Major Characters in American Fiction. New York: Henry Holt. 1994.

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