Annotated bibliography #5

Andrew Biersack
10/5/08
Robinson
Annotated bib #5

Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 107-125.

Summary
In this section of the Vogler text, he continues with his in depth analysis if the multiple stages of the Hero’s Journey, focusing here on the Refusal of the Call and Meeting with the Mentor stages. At the heart of the Refusal of the Call stage is fear. Fear in the hero about the dangerous or unknown voyage ahead, or simply to instill fear of the voyage into the audience. This fear and/or uncertainty force the hero to evaluate his/her plan and the voyage itself often outlining the objects, helpful to the audience. Heroes very often reuse or avoid the call to adventure until a greater motivation is issued but prolonged refusal, like dwelling in the past or denying reality, leads to tragedy. Another obstacle for the heroes in accepting the Call, is there is often more than one or even conflicting calls to action in which the hero must choose or compromise and occasionally, wisely refuse. This is an example of a positive refusal like in the story of the Three Little Pigs refusing the wolves demands. As for the “Willing Heroes” the fear and danger brought to light by the hesitation or Refusal of the Call still is shown, but now through other characters warning or cautioning the hero to avoid and stay. This fear is used against the hero or re-issued by the Threshold Guardian who attempts to stop the journey. Threshold Guardian often issues a dramatic question of is the hero good/strong/smart enough to survive? An audience in suspense will surely be more interested. The other section, the Mentor stage focuses on the many functions and forms of the Mentor. Their functions include but are not limited to; protecting, guiding, training, teaching, testing, and providing gifts. They also give the Hero the confidence they need to overcome the fear of The Refusal or the Threshold Guardian. The other crucial dramatic function of the Mentor is to get the story rolling, and “unstuck” the story in times of slump. An important quality in a Mentor, to the purpose of the story, is an enthusiasm for learning, often transmitted to the audience, getting them enthused about the hero’s journey. Another aspect of the Mentor is the flexibility of the archetype and therefore leads to other characters, like villains and antagonists, to wear the mask of the Mentor to mislead or betray the hero.
Reaction
In these sections I’ve noticed a narrowing in the formerly broad scope of genres incorporated in Vogler’s point examples. He still communicates his point clearly but with less effective real life examples. He continues his use of the Wizard of Oz example as it is very clear the different archetypes, their functions, and the stages.

Questions
1. What are some examples of a Mentor, misleading or betraying a hero?
2. How does it change the mood or progress of the story when there is an absence of an external physical Mentor?
3. What is the process, if any, that a character or Hero goes through to determine the appropriate of Conflicting Calls to answer?