Vogler Annotation (p.107-125)

Analytical and Persuasive Writing
Annotated Bibliography
Vogler (p.107 – 125)
Rajeev Rupani

Vogler, Christopher. The Writer's Journey (Mythic Structure for Writers). 3rd ed. Studio City, CA: Michael Wiese Productions, 2007. 107-125.

Summary:

This reading discusses the third and the fourth stages of the Hero’s journey: the Refusal of the Call and the Meeting with the Mentor. Vogler describes the predicament of most Heroes, when they are chosen to respond to the Call to Adventure, by stating that they stand at a ‘threshold of fear’ that commonly leads to an initial refusal to the adventure. The quest can then be carefully ‘examined’ by the Hero, who can weigh the objectives against the risk of their own lives. Vogler then goes on to give the main reason why a Hero would initially avoid the Call to Adventure: past experiences with adventures that have made him or her ‘sadder but wiser’ by losing something important. However, constant refusal of the call can lead to a disastrous ending for the Hero (important identification for the tragic Hero archetype). Vogler then discusses how a refusal can be positive when the Call involves a ‘temptation to evil’ by the Shadow/Villain archetype or when the Hero is seen as an Artist, who usually ‘withdraws from the world’ in order to study its artistic nature. The Threshold Guardian archetype is re-introduced here to test the Hero once they have surpassed their fear, by ‘questioning the Hero’s very worthiness’ of pursuing the adventure. Vogler describes this testing process as being appealing to the audience who are curious to see if the Hero will rise to the given challenge or not. The chapter ends with a discussion of how Heroes normally ‘violate limits’ put in place by Threshold Guardians or Mentors, representing the all-curious aspect of human beings.

Vogler states lack of preparedness as another reason for the Refusal, which then leads to discussing the fourth stage of the Hero’s journey: Meeting with the Mentor. The Mentor serves as a protective figure to the Hero at this point and provides many services to prepare the Hero for the ‘unknown’, such as ‘protecting, guiding, teaching, testing, training and providing magical gifts’. Vogler describes this ‘contact with wisdom’ as an essential aspect of any story, which can lead to enriching relationship between the Hero and the Mentor that is often enjoyed by the audience. Vogler then discusses the story of the ‘prototype mentor’, Chiron, to show how Mentors can be connected to the ‘world of the spirit’ and usually receive great regard and distinction from any society (like the Greeks in this case). The origins of the term ‘Mentor’ are re-discussed in detail by describing the character in the Odyssey who had this particular name. The importance of the Mentor archetype and its main goal of getting the ‘story rolling’ are described in the Odyssey and in general, by Vogler. However, Vogler directs writers to avoid the archetype of the Mentor (or clichés) by misdirecting the audience or creating some conflict between the Hero and the Mentor, where the former is betrayed or disappointed by the latter. The concept of a Mentor-driven story and the origin of the Mentor as the ‘evolved hero’ are then discussed, followed by the importance of Mentors in getting ‘the story past the blockades of doubt and fear’. Vogler finishes the chapter by creating an analogy where the writer can ‘seek the help’ of the Mentor, as the Hero, to move the story forward by bringing ‘new’ energy to the adventure.

Reaction:

I was able to connect with both these aspects of the hero’s journey easily, as in the previous reading, because of the inclusion of several common archetypes discussed before. Many of the concepts in both these chapters were previously described or discussed in other chapters, which made it easier to understand their ‘actual’ meaning within the context of the Hero’s journey. The Refusal of the Call is a common predicament that most people face, in different regions of their life. For example: in college students, the risk of exposing vulnerability to another person through dating (especially after a bad relationship) is usually avoided at first glance given the past experience. The constant Refusal of the Call can also lead to a different sort of tragedy occurring in real life: self-disappointment and rue for not changing for the ‘better’ when a chance was presented. The college analogy (discussed in class) is also observed in the first chapter where the ‘clinging’ of the Ordinary World can be observed in our parents, when we try to leave our home (Ordinary World). I agreed with most of Vogler’s ideas and could especially understand the idea behind the Threshold Guardian tests, which gives the audience an ideal environment to understand the hero’s character: their strengths and weaknesses, which can often relate to their universal human side.

The advice and preparation, provided by the Mentor archetype, can be easily related to the ‘real-world advice’, provided by our parents before we set sail for college. If the advice is not given directly then it is observed and learnt through the actions of our parents, within their social community. This in turn can be related to the ‘evolved hero’ concept that Vogler discusses within this particular chapter. Even though the times might be different, our parents have usually experienced the various stages of growing up and can provide helpful advice when needed. The same analogy can also be applied to our professors, who were students at one point and then gained enough experience ‘to teach others’. Most of the other ideas expressed in this chapter can be applied to the above analogy, or to any person/being that we view as a mentor in our lives. On a lighter note, the idea of God communicating through ‘the filter of other people’ reminded me of Alan Rickman’s character (voice of God) in Dogma. The two stages discussed provide an opportunity for the audience to learn more about the actual character of the Hero and to experience the rich relationship between the Hero and the Mentor.

Questions:

1. Does the persistent Refusal of the Call always end in a tragedy for the hero? Is there any basis for Positive Refusal in real life?

2. Why do you think the audience enjoys the Hero-Mentor relationship that Vogler discusses in the second chapter (apart from the obvious self-analogy with their mentors in real life)?

3. What other aspects or experiences do you think are necessary for a Hero to become a Mentor (a teacher), other than the ones discussed in the reading? When do you see yourself taking up the role of a Mentor in someone’s life or have you already?