Approach to the Inmost Cave and The Ordeal

In Vogler's explanation of the stages, Approach to the Inmost Cave and the Ordeal, he illustrates the centeral ideas through using The Wizard of Oz as a reference. Beginning with the approach to the inmost cave, it is clear that this stage is packed with many different elements. All previous steps play an influential role in this stage and the impacts on the characters are clearly seen. The focus throughout this stage seems to be on strengthen the team and redefining their common goal. Through this, the characters become more prepard to face the ordeal that awaits them. In this stage, the ordeal, Vogler emphasizes death and rebirth, physically and emotionally. In addition, he explains the audiences appeal for a taste of death. Ultimately, during this stage the hero conquors or accomplishes their goal by defeating the villian; what frightens them the most.
The Wizard of Oz is a perfect text to show the many stages involved in putting connecting the stages together. I believe that these two stages are the most important and crucial to the story, and involve the most thought. Much of what Vogler described has become second nature to texts, such as "getting into the skin" of the threshold guardians they are trying to escape from or being faced with heavy defenses. The many ways that rebnirth and death can be depicted is also crucial to allowing for variety in a text, which Vogler demonstrates through many different examples of this statement.
Although I believe that theses stages are the most crucial in captivating the audiences attention and promting a good ending, the way that Vogler explains the basic outline is too text specific. It is possible that he was trying to incorporate every possible aspect that could be in the specific stage, but it did not serve to help my understanding. The overall focuses of each stage were well defined, though, and allowed me to understand the essence of each stage.

Questions:
1. Where there parts within the stages that seemed forgein to you?
2. What do you think the most influential scene within each stage is?
3. Can you think of an example of Scared Marriage in a text? What does this scene represent to you, if anything at all?

Crossing the First Threshold and Test, Allies, and Enemies

In these chapters, Vogler leads us through stages five and six, the crossing of the first threshold and tests, allies, and enemies. Crossing the first threshold is a transition stage in which the hero is placed in between the ordinary world and the special world. This stage is often marked by a noticeable shift in energy, the interference of threshold guardians, or the action of making "the leap of faith." Vogler points out that once the hero makes this leap, there is no turning back, and they may not adjust easily to this new special world. Upon entry into the special world, the hero now faces tests, allies, and enemies, and their presence marks this stage of passage. The primary purpose of this stage is to challenge the hero with tests; tests in the form of distinguishing between allies and enemies or creating a team with people of special skills and qualities or the pace of adjustment to the new rules of the special world. A good place to gather the necessary information to overcome the challenges is what Vogler refers to as the "watering hole," which is often a bar or local hangout. This stage lets the audience learn more about the hero and other characters in the text, while allowing the hero to gain a stable footing in the special world.

Vogler's concise explanation of both these stages is very helpful in understanding the process a hero takes in his exploration of the special world. I believe these stages closely resemble the universal steps that would be taken if someone found themselves in a similar experience, which happens to people all the time. Vogler mentions that the role of the threshold guardian in the crossing the first threshold stage is to stand in the hero's way, but their threat is often just an illusion and can be simply conquered. I could not help connecting this archetype to Gregor in relation to his interaction with his sister, who acts like the hero in this case. Gregor's sister is extremely frightened and disgusted by the appearance of Gregor, but what if his appearance is more or less an illusion that she must learn to accept in order to overcome whatever is in store for her and Gregor.

I think that now, my favorite stage is tests, allies, and enemies, because of its necessity in any text. The hero often cannot conquer his tests and challenges alone and therefore needs companions that will help her make it through the special world. This situation appears in everyday life and needs, which is that all people need to have friendship in order to thrive in life. Whether it is a co-worker friendship or teacher-student relationship or parent-child relationship, all are necessary for the development of one's greatest potential in life. Therefore, in applying this idea to the hero, if she had to travel her journey alone, I do not think she would be able to overcome what is asked of her.

Questions:
1. Can you think of a movie in which the crossing of the first threshpld is extremely clear?
2. If the hero does not cross the first threshold, can the text still go on? What other stages or circumstance could take its place? Could it still be a good tex?
3. Do you belive that allies are absolutely necessary in a text?

Refusal of the Call and Meeting with the Mentor

Continuing on the path of the hero's journey, Vogler directs our attention towards two prominent stages, the hero's refusal of the call and the meeting with the mentor. He emphasizes the importance of these stages through describing the impact they have on the audience's connection and understanding of the story. The refusal of the call serves as a dramatic function that indicates the risks of the adventure that they hero will be faced with, regardless of the hero's willingness or rejection. Without this stage, the nature of the adventure would not be defined, therefore leading the audience to believe the hero has very little to overcome or conquer. Within this stage, threshold guardians can serve an important function of alerting the audience and hero of the horrific outcomes that could ensue if the call is accepted due to personal weaknesses they see in the hero. They offer an element of suspense, which is dependent on whether or not the hero will take their advice. Often in the end, Vogler points out that the refusal of the call becomes pointless and the hero must accept it, often with guidance from a mentor. The meeting with the mentor lets the audience and hero know what is to be expected of the hero during her journey through the mental and physical preparation the hero must undergo in order to overcome the adventure placed before her. It is in this stage where most people can connect with the sharing or learning of information in order to deal with a crisis. The mentor also serves to get the story unstuck; when the hero has used all of her own resources to deal with a situation the mentor comes to her aid and provides her with useful tips and tools to help her continue on. The emphasis placed on the mentor archetype dates back to ancient Greek mythology and is extremely important figure that everyone can relate to. In fact, Vogler concludes by tying the role of the mentor to the role of the writer, as providing the reader or audience with metaphors through their work, which people guide their lives by.

Thus far, in the stories we have read in class, the two stages have been incorporated into the hero's journey. Together the stages serve the function of creating a familiar connection between the character/adventure and the audience. Separately, they also serve a useful purpose that allows the writer to define the character and continue the flow of the story. Vogler poses a question concerning the necessity of these stages at the end of his commentary, to which I would answer that they are crucial to the development of an intriguing plot.

What I found very interesting while reading the facets within the two stages, was the hero's refusal of the call often ended as a pointless gesture. Its place in the story is not necessarily to humanize the hero through showing his fear and apprehension, but rather to build up the adventure and draw in the attention of the audience. Vogler mentions how some hero's are very willing and do not refuse the call, but people still stand in their way in order to foreshadow the obstacles that will be present in their adventure. Another one of Vogler's points that I found very interesting, as well as enlightening was that the write, herself, acts like the archetype of the mentor. It is very true that the world utilizes stories as a source of information in order to understand their own personal situations and create a stronger connection with particular interpretations of their life. When I find myself in a problematic situation, I often refer to other similar situations that I have read about in books, seen, or dealt with in the past, which serve as a starting point to guide me through my dilemma and onto the next step of recovery. What Vogler says about these two stages makes a lot of sense in terms of the creation of a good story and their connection to real life.
Questions:
1. What is the purpose of the "Secret Door" in Vogler's explanation of the refusal of the call?
2. Do you believe all hero's come to the point where refusal is pointless?
3. Would you say that the mentor is one of the most important archetypes? Why?