Vogler - Archetypes Cont.

Summary

The remaining archetypes: the threshold guardian, herald, shapeshifter, shadow, ally, and trickster were discussed in this section of the reading. Threshold guardians function to test and challenge the hero in a story. They can come in many forms such as a bodyguard, watchmen, or doormen, and they represent the obstacles that we face in the world. Heralds are characters that announce a danger or challenge to the hero, recognizing the need for change. The herald will usually enter the story towards the beginning to engage the hero in "the call to adventure", therfore providing motivation to the hero and bringing the story to action. The shapeshifter archetype can be male/female and is characterized by a changing appearance, mood, or the ability to keep the hero guessing. A common shapeshifter is the femme fatale which portrays the women as a temptress or destroyer, this can also be expressed as a homme fatale. The shapeshifter is one of the most flexibile archetypes because any character can become one for a temporarily when given the appropriate situation. The shadow represents the dark side and is most commonly depicted as the villian or enemy in the story. The shadow functions to challenge the hero and give him/her some resistance. The Ally is the character that the hero can talk to, be consoled, or questioned by and is typically the "sidekick" in a story. A hero can acquire many allies, and the hero-ally relationship plays a critical role to the story because of its diverse qualities. The trickster character provides comic relief in a story as well as pointing out the flaws a hero / situation may have. Tricksters are often catalyst characters which means that they remain unchanged in a story while changing other characters lives.



Reaction

I like Vogler's statement, "The archetypes are an infinitely flexible language of character [...] The archetypes can be used to make characters who are both unique individuals and universal symbols of the qualities that form a complete human being" (79). I think archetypes are essential components to any story because of the combination of relatability and uniqueness. One thing that I started to notice in this section of the archetypes was that Vogler repeatedly said any character can become the shadow, trickster, etc. It seems that there is definitely a lot of overlap between some of these archetypes. But, this can also lead to the complexity and lure of a story; if a character keeps switching "masks" throughout, I find myself more on my toes, unless it becomes confusing.



Reflection

I really enjoyed the Trickster section and I thought Vogler's connection with native folktales was really interesting. I never thought of Bugs Bunny as the modern day version of the hare, but after reading this section it totally makes sense. Bugs Bunny is an archetype echoing the past, but his character showcases his witty ability to weasel out of any situation. His character has ancient roots and a purpose, as well as providing entertainment as a cartoon. Being a fan of Disney, I think that Vogler was right on about some of my favorite villians: Cruelle D'Eville, the queen from Snow White, and Captain Hook. He states, "They are even more deliciously sinister because of their dashing, beautiful, or elegant qualities" (67). I could not agree more with that statement; the vision of Cruelle D'Eville in her long fur coat smoking a cigarette will always be engrained in my mind as the ultimate villan.

Questions
1. After this week's reading do you think that there is an archetype that should be added to Vogler's list? Why?
2. Or do you think that one of the archetypes has become fazed out of our contemporary movies & stories?
3. Do you agree with Volger's statements about these archetypes coming from ancient wisdom, such as the trickster character being seen as early as the hare and the tortoise?