Disney Princesses and Their Hero Journeys: Blog 1

When my mom would leave me with the babysitter, we had a routine. This routine consisted of 4-year-old me receiving sympathy in the form of animal crackers and princess stories until the memory of my mom walking out the door was far gone.

I had the biggest book ever, filled with numerous fairy tales that could keep any child entertained for hours. However, I always fixated on two specific tales: Cinderella and The Little Mermaid. Two very common princess stories that most people know like the back of their hand. Why are they so memorable? What makes these Disney stories some of the most classic tales we continue to pass down from generation to generation?

I would argue that like any successful story, these fairy tales follow Joseph Cambell’s “Hero’s Journey” Monomyth model, specifically the departure/separation aspect. For starters, like most stories, especially Disney ones, there is some “Call to Adventure.” In Cinderella, her “call” happened to be attending an extravagant ball. In The Little Mermaid, Ariel’s “call” was to explore the land that rested above the sea. These “calls” are what sparked the stories in the first place and made a foundation for a successful plot that kept readers, especially 4-year-old me, entertained. 

Now, what proceeds this “Call to Adventure?” Usually, an issue. Or what Campbell refers to as a “Refusal of the Call.” Before a character in any story begins their mission, there is always some sort of roadblock that enhances the plot. In Cinderella, it is her overbearing step-mother, and in The Little Mermaid, it happens to be her father, King Triton. However, in both circumstances, the princesses were able to overcome these obstacles and further their mission, which Campbell refers to as “Acceptance of the Call.” 

In any good story, there is some “Supernatural aid.” This means any assistance given to the protagonist to make their mission smoother. The fairy godmother in Cinderella is a perfect example of a supernatural force that appears in order to help the hero achieve her mission.

The last element of Campbell’s separation/departure monomyth is referred to as “Entering the Belly of the Whale.” This basically means entering a dangerous situation which can lead to a plot twist. Cinderella finally deciding to go to the forbidden ball and lose her shoe, or Ariel finally gathering the confidence to explore land without a voice. These are two strong familiar examples that support Campbell’s monomyth.

Now, do all stories follow Campbell’s format? Not necessarily, but some of the most memorable stories do. This format is a guide to follow when writing a story that will be told for generations to come.