Joseph Campbell's term ______________, also referred to as the hero's journey, is a basic pattern that its proponents argue is found in many _______________ from around the world. This widely distributed pattern was described by Campbell in The Hero with a Thousand Faces (1949). An enthusiast of novelist James Joyce, Campbell borrowed the term monomyth from Joyce's Finnegans Wake.
Campbell held that numerous myths from disparate times and regions share fundamental ___________ and ___________, which he summarized in The Hero with a Thousand Faces:
A hero 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.
Campbell and other scholars, such as Erich Neumann, describe narratives of Buddha, Moses, and Christ in terms of the _____________ and Campbell argues that classic myths from many cultures follow this basic pattern.
In a monomyth, the hero begins in the ordinary world, and receives a call to enter an unknown world of strange powers and events. The hero who accepts the call to enter this strange world must face tasks and ______________, either alone or with assistance. In the most intense versions of the narrative, the hero must survive a severe challenge, often with help. If the hero survives, the hero may achieve a great gift or "__________." The hero must then decide whether to return to the ordinary world with this boon. If the hero does decide to return, he or she often faces challenges on the return journey. If the hero returns successfully, the boon or gift may be used to __________ the world. The stories of Osiris, Prometheus, Moses, Buddha, for example, follow this structure closely.
Campbell describes some 17 stages or steps along this journey. Very few myths contain all 17 stages—some myths contain many of the stages, while others contain only a few; some myths may focus on only one of the stages, while other myths may deal with the stages in a somewhat different order. These 17 stages may be organized in a number of ways, including division into three sections: ___________(sometimes called Separation), ____________, and _____________. "Departure" deals with the hero's adventure prior to the quest; "Initiation" deals with the hero's many adventures along the way; and "Return" deals with the hero's return home with knowledge and powers acquired on the journey.
The Call to Adventure
The hero starts off in a mundane situation of normality from which some information is received that acts as a ________ to head off into the unknown.
Campbell: "This first stage of the mythological journey—which we have designated the 'call to ___________'—signifies that destiny has summoned the hero and transferred his spiritual center of gravity from within the pale of his society to a zone unknown. This fateful region of both treasure and danger may be variously represented: as a distant land, a forest, a kingdom underground, beneath the waves, or above the sky, a secret island, lofty mountaintop, or profound dream state; but it is always a place of strangely fluid and polymorphous beings, unimaginable torments, superhuman deeds, and impossible delight. The hero can go forth of his own volition to accomplish the adventure, as did Theseus when he arrived in his father's city, Athens, and heard the horrible history of the Minotaur; or he may be carried or sent abroad by some benign or malignant agent as was Odysseus, driven about the Mediterranean by the winds of the angered god, Poseidon. The adventure may begin as a mere blunder ... or still again, one may be only casually strolling when some passing phenomenon catches the wandering eye and lures one away from the frequented paths of man. Examples might be multiplied, ad infinitum, from every corner of the world." [http://en.wikipedia.org/wiki/Monomyth#endnote_
Classic examples: Sometimes the call to adventure happens of the character's own ____________. In Herman Hesse's Siddhartha, the titular character becomes weary of his way of life and decides he must venture away from his accustomed life in order to attain spiritual enlightenment. In narratives describing the Buddha's journey, he leaves his ordinary life in pursuit of spiritual awakening after observing three men: an old man, a sick man, and a dead man, and raising the question as to why misery exists in the human world. Other times, the hero is plunged into adventure by u____________ events. In Homer's Odyssey, Odysseus is caught in the terrible winds of the angered god Poseidon and sent off to distant lands.
Refusal of the Call
Often when the call is given, the future hero refuses to heed it. This may be from a sense of duty or obligation, fear, insecurity, a sense of inadequacy, or any of a range of reasons that work to hold the person in his or her current circumstances.
Campbell: "Refusal of the summons converts the adventure into its negative. Walled in boredom, hard work, or 'culture,' the subject loses the power of significant affirmative action and becomes a victim to be saved. His flowering world becomes a wasteland of dry stones and his life feels ____________—even though, like King Minos, he may through titanic effort succeed in building an empire or renown. Whatever house he builds, it will be a house of death: a labyrinth of cyclopean walls to hide from him his minotaur. All he can do is create new __________ for himself and await the gradual approach of his disintegration." 
Classic examples: Mythology is rife with examples of what h__________ to those who refuse the call too long or do not take it seriously. In Judeo-Christian belief, Lot's wife is turned into a pillar of salt for looking back with longing to her old life when she had been summoned forth from her city by Yahweh and is thus ____________ from being the "hero". One of the clearest references to the refusal and its consequences comes in the voice of the personified Wisdom in Proverbs 1:24-27 and 32:
Because I have called, and ye refused ... I also will laugh at your calamity; I will mock when your fear cometh; when your fear cometh as desolation, and your destruction cometh as a whirlwind; when distress and anguish cometh upon you. ... For the turning away of the simple shall slay them, and the prosperity of fools shall destroy them.
Once the hero has committed to the quest, consciously or unconsciously, his or her guide and magical ___________ appears, or becomes known. More often than not, this supernatural mentor will present the hero with one or more talismans or artifacts that will aid them later in their quest.
Campbell: "For those who have not refused the call, the first encounter of the herojourney is with a protective figure (often a little old crone or old man) who provides the adventurer with amulets against the dragon forces he is about to pass. What such a figure represents is the benign, protecting power of ____________. The fantasy is a reassurance—promise that the peace of Paradise, which was known first within the mother womb, is not to be lost; that it supports the present and stands in the future as well as in the past (is omega as well as alpha); that though omnipotence may seem to be endangered by the threshold passages and life awakenings, protective power is always and ever present within or just behind the unfamiliar features of the world. One has only to know and trust, and the ageless guardians will appear. Having responded to his own call, and continuing to follow courageously as the consequences unfold, the hero finds all the forces of the unconscious at his side. Mother Nature herself supports the mighty task. And in so far as the hero's act coincides with that for which his society is ready, he seems to ride on the grea ___________ of the historical process." 
Classic example: In Greek mythology, Ariadne gives Theseus a ball of string and a sword before he enters the labyrinth to confront the Minotaur.