Annotated Bibliography Vogler (49-80)

Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. 3rd ed. Boston: Michael Wiese Productions, 2007. 49-80.

 

Summary

 

This reading discussed six archetypes:  Threshold Guardian, Herald, Shapeshifter, Shadow, Ally, and Trickster.

 The Threshold Guardian serves the primary purpose of presenting a challenge to the Hero that must be conquered or overcome in order for the Hero to learn something critical about him/herself.  Vogler describes it as a feat meant “not necessarily to stop you, but to test if you are really determined to accept the challenge of change” (50).  He then goes on to say, “Ideally, Threshold Guardians are not to be defeated but incorporated” (51) into a Hero’s character.

The Herald provides the motivation for conflict, essentially announcing the need for change.  He is the Call to Adventure in the Heroes’ Journey, and may appear in the form of a human or a force. 

The Shapeshifter changes constantly from the Hero’s point of view and often is found in a romantic interest of the opposite sex.  This character can be either helpful or destructive to the protagonist and often serves as a catalyst for change, a symbol for the Hero’s psychological urge to transform.  Vogler calls the Shapeshifter one of the most flexible archetypes.

The Shadow can be portrayed negatively through villains, antagonists, and enemies.  It can also take on the psychological form of an internal force with which the Hero struggles.  Many Shadow figures are also Shapeshifters.  Shadows serve the dramatic function of challenging the Hero, offering him a worthy opponent to create conflict, and bring out the best in the Hero.  Vogler points out that humanizing Shadow figures is very effective because it makes “killing such figures…a true moral choice rather than a thoughtless reflex” (67).

The Ally serves the purpose of humanizing our Heroes.  This character often appears in the form of a best friend in whom the hero may confide or share human feelings.  Some of the common Allies mentioned by Vogler are Multiple Allies, Western Allies (Sidekicks), Non-human Allies, Animal Allies, Allies From Beyond the Grave, Helpful Servants, and Modern Allies.  Allies also may function as a window to “the Special World.”  They may introduce us to the new, unfamiliar world into which we are about to follow our Hero, and even explain its significance.  The Ally could also psychologically function as powerful internal forces that result in a sort of epiphany or spiritual realization.

The Trickster “embodies energies of mischief and desire for change” (77).  This archetype may psychologically present “itself through impish accidents or slips of the tongue that alert us to the need for change” (77).  The Trickster is also functions dramatically as a comic relief.  There are also Trickster Heroes that often affect the lives of others but don’t change much themselves.

 

Reaction

 

            These six archetypes have the common trait that they are incredibly versatile in terms of which characters possess which and when and how they are depicted.  These archetypes deal a lot with change and how Heroes cope with it as a catalyst and impediment to their psychological and sometimes even physical development.  It seems that many of these archetypes can very easily and concretely be related to ancient mythological tales like Homer’s Odyssey.  For example, Odysseus is very much a Trickster Hero.  Furthermore, Athena serves as Herald when she takes on the form of Odysseus’ old friend, Mentor, and tells Telemachus that it is his responsibility to get revenge on the suitors.

 

Questions

1.     Are there any examples of works in which the same character takes on every archetype at one point or another in the story? 

2.     Is this an affective method?

3.     Why might an author choose to bestow upon one character several archetypes?