Vogler: The Approach & the Ordeal

In "The approach to the inmost cave," Vogler discusses the functions of the approach and the emotions that can be expressed through certain courtship rituals, often seen in this stage.  Emotions are also expressed through pity and sorrow sometimes to threshold guardians that may "cave" and help the hero although their initial efforts permit the hero from advancing in their journey.  Vogler also describes the Bold approach which describes the a particular type of Hero that exudes confidence and confronts all problems head on.  Obstacles and illusions are discussed in this chapter and their importance is established when Vogler makes the comment that "Past experience on the journey may be the hero's pasport to new lands."  What he means by this is that the past experiences can, and most often do, lead up to a event that strengthens and leads the hero to his/her next journey. 

Vogler discusses the "death and rebirth" stage of the Hero's journey as one of the most crowd pleasing because it not only symbolizes a major turning point in the hero's life but it most often grinds the journey to a halt and puts you on the edge of your seat, waiting to see how the hero will rise to the challenge.  Vogler states that the ordeal is most often encountered around the middle of the story, around Act II a to be exact.  Simultaneously the Central crisis reveals itself and the climax of the story, following up with the delayed crisis which often provides the most appealing outcomes to the hero.  The "ordeal" seems to be a dark area for the Hero as in most cases, the hero must face serious consequences, often death or a personal loss of some sort.

Throughout the Approach to the inmost cave, Vogler discusses forms of threshold guardians that may be encountered and often times the process that the Hero goes through building up to the climactic events seem just before "the ordeal."  The darker side of the story is often seen here where the Hero faces many trials and tribulations within themselves and their surroundings.  Consisting of death and persona changes throughout, the ordeal can be a rough patch for the hero.  I think this part is, as Vogler would agree, the most interesting part of the journey because this is the point where you really see the Hero's true colors.  This is the moment when you can finally classify the Hero into whatever persona you had pictured for them before joining their "journey."  For me this is the most interesting part because 90% of the time, all confusion had with a journey is eliminated as the approach and the ordeal make sense of the struggles the Hero faced until this point.

Vogler 127-141 anno

In stage 5 of Vogler's reading, he discusses "crossing the threshold."  According to Vogler, "Crossing the threshold is an act of will in which the hero commits wholeheartedly to the adventure."  Vogler then goes on to describe how heroes engage their journey and approach the threshold.  There are three ways to approach the threshold.  You can approach the threshold externally in which some other event happens that heightens the stakes and forces the hero to become more involved than before.  The second way is through internal events in which a hero faces a change of the soul or of some great personal matter.  The third and final way to approach the threshold would be through a combination of both internal and externally imposed events.  Threshold guardians are also discusses and I feel that they are one of the more influential and memorable archetypes.  Such as the guards outside parliament, the guardians themselves can become more of an icon that that which is guarded.  A major concept Vogler mentions is the "leap of faith."  As we all know, the leap of faith is symbolic for an action that can not be reversed.  The rough landing, as discussed later, is the bad result of the leap of faith, in which the Hero's choice was not the wisest and brought the Hero more grief.  Vogler then goes on to talk about Tests, Allies, and Enemies.  Three huge components to any story, the tests the hero's face, the allies that accompany them and the enemies they face along the way, are all paramount to a good story.  Although self-explanatory, there are deeper meanings to the three.  For instance, an ally can also be a side-kick, or a character often representative of his mentor, the Hero.  

Q1. Can a threshold guardian be something inanimate? 

Q2. What are some instances of threshold guardians who are more significant in the story than tat which is guarded?

Q3.  Can a side-kick be a threshold guardian as well?

Refusal of the call

Summary: Stage three of the reading, Vogler talks about the Refusal of the call by the hero.  What this means is when a Hero is presented with a challenge and denies it, there is usually something that needs to motivate the hero to "spring into action," so to speak.  There are many types of refusals including avoidance, which is, as it sounds, avoiding the problem, and excuses which is once again self-explanatory.  Vogler also suggests that persistent refusal leads to tragedy.   Threshold guardians can be a force that stops the hero on his/her journey as well. 

Vogler also talks about the "meeting with the mentor," which is the act of the hero meeting his superior.  Mentor's are most commonly recognized as the helpful sources of wisdom that help the Hero along his journey.  The term mentor itself comes from the book we read earlier in the year, the odyssey.  Occasionally however, the mentor may lead the hero in the wrong direction.   

Reaction:  I feel as though the refusal of the call by the hero, initially makes the hero appear weak.  Maybe that is the whole idea behind the refusal aspect, but I cant seem to hold onto those "heroic" notions after superman decides that he doesn't feel like putting his costume on.  I also feel that if a hero should ever succumb to persistent refusal, that he will persistently be a wimp. I think that when a mentor doesn't guide the hero in a positive direction, that the mentor should be considered something else.  How is a mentor, one who guides you, someone who gives you incorrect information?  I wouldn't consider a teacher a mentor if they were telling me that the second World war was won by sea monkeys.

Reflection: I would have to say that Gregor's refusal of the call was not necessarily by choice but rather by necessity itself.  Now that I think about it that way, I am sort of second guessing my initial thoughts of a hero who refuses the call.  I suppose that at all times, a hero cannot be ready for whatever, whenever.  Just as I am not always prepared, neither are the heroes. 

Questions:  Could an example of a threshold guardian be Gregor's physical mutation?

Is his "refusal to the call" when he won't open the door or when he wants to go back to sleep?

Could Gregors refusal to open the door be an example of positive refusal?