Try running Odysseus or Aeneas around this track, or the aforementioned son of Mary and Joseph, or for that matter Lewis Carroll’s Alice or D. H. Lawrence’s Paul Morel in Sons and Lovers, and you’ll appreciate how ubiquitous the pattern is. Much more might be said in the way of detailing and illustrating it; but I commend you to the more learned hands of Raglan, Rank, Jung, Campbell, and company if you’re interested (the basic diagram itself comes from Campbell’s book The Hero With a Thousand Faces; New York: Bollingen Series XVII, 1949).
Two distinctions ought to be made at this point. The first is between whatever meanings one might attribute to the pattern itself and the significance of its uses, conscious or unconscious, by particular artists in particular works of literature. The myth of Aeneas’s descent into Hades may be said to have allegorical correspondences — a number of them — but its rendering in Book VI of Virgil’s poem is largely religious and political propaganda. The author of “Bre’r Rabbit and the Tarbaby” probably wasn’t much interested in mysticism, and while a Zen Buddhist’s interest in him would be entirely legitimate, we needn’t make an adept out of Joel Chandler Harris. Substantial elements of the Master Plan appear in Dante,