More on Archetypes

Summary
In this section of the text, Vogler continues to define several specific examples of archetypes. These include the threshold guardian, the herald, the shapeshifter, the shadow, the ally, and the trickster. The threshold guardian utilized in the story to test the hero. Generally, the threshold guardian is not the main villain. The herald is a character that often motivates the hero to make a change and is therefore often associated with the “call to adventure” portion of the journey. A good example of a herald in Greek mythology is Hermes. The shapeshifter is an unstable character in the story. Like the herald, they represent change. The characters that are shapeshifters are never quite what they seem to be on the outside and may have hidden qualities. The shadow is equivalent to the dark side and is the greatest challenge that the hero must overcome in their journey. The character that portrays the shadow could be a monster or even an inner struggle of the hero. Allies are a companion of the hero and often offer comic relief to the intense journey. Lastly, Vogler describes the trickster. The trickster is mischievous and is used to bring down the ego of the hero.
Reaction
These last few sections of the archetypes chapter wrap up the characters in a hero’s journey effectively. After reading this passage, it is easier to piece together Joseph Campbell’s concept through the ideas presented by Vogler. The section of this reading that I found most interesting was about the shapeshifters. Although I have read many stories and watched films that contain shapeshifters, I never identified them as an important part of the protagonist’s journey. I think that often times shapeshifters might be difficult to identify considering that they may not be changing physically. I think that some of the most dangerous characters could potential be shapeshifters, because they are difficult to read and never convey their true emotions.
Reflection
In the story we discussed last class, Indian Camp by Hemingway there were some odd speculations about Uncle George. One of theories was that he was actually the father of the young Native American women’s child. If this was truly Hemingway’s intention, which archetype is Uncle George in the story? He would certainly be trying to fool Nick and his father, but this does not make him the trickster. Perhaps, he could be defined as the shapeshifter. He is certainly not the protagonist, and he remains mysterious throughout the story. It seems that Hemingway is careful not to describe Uncle George’s character too in depth. His hidden qualities make the reader curious about Uncle George’s motives in the story which is probably why critics try to understand the complexity of his character.

Questions
1. Why is it that tricksters are often catalysts but can remain unchanged themselves?
2. What do you think is a more difficult struggle for the protagonist, an internal shadow or and monster? Why?
3. Why is a threshold guardian a necessary archetype?