Chapter 34

1. Chapter 34 The Morphology of the Folktale—Vladimir Propp

2. What Does Morphology Mean to Propp? • “Morph-” comes from the Greek word for “form” and is used widely in biology and anatomy. • In these sciences, measurements are used to determine the structure of an organism by studying how it is composed of constituent parts. • Propp relies on the presence of particular characters and actions in a sequence to determine the form or structure of a story. • Every fairy tale is made up of a series of plot elements, which he calls “functions.”

3. Overview • The system of classification developed by Propp is based, with some modification, on the sequence of letters in the alphabet. • The main part of a tale will start with one or more lacks or harms (A or a), which then direct the action toward solving them. • The basic structure of a story will go from “A” to “W” (wedding), with omissions. • The plot elements in Propp’s method of analysis often come in clusters or groups like D-E-F for interaction with a donor.

4. Dramatis Personae • This phrase is Latin for “roles.” • The functions of the dramatis personae are the basic components of the tale. • Each role has specific functions or actions associated with it. For example, the Donor is associated with the functions D-E-F. • The main roles are: • Donor • Hero • Villain • Victim • False Hero • Princess and her Father

5. Dramatis Personae, 2 • One character can have several roles and so several spheres of action. • A single sphere of action can be distributed among several characters.

6. The Preparatory Part • This section is designated by Greek letters and leads up to the lack or harm: • β absentation – One of the members of a family absents himself from home. • γ interdiction – An interdiction – a command or forbidding – is addressed to the hero. • δ violation – The interdiction is violated. • ε reconnaissance – The villain makes an attempt at reconnaissance (spying). • ζ delivery – The villain receives information about his victim. • η trickery – The villain attempts to deceive his victim in order to take possession of him or of his belongings. • θ complicity – The victim submits to the deception and thereby unwittingly helps his enemy. • A villainy – The villain causes harm or injury to a member of a family. • A lack – One member of a family either lacks something or desires to have something.

7. The Harm or Lack • Villainy examples: kidnapping, theft, bodily harm, sudden disappearance, acquiring rights to a person through a deceitful agreement, expulsion, casting a spell, substitution, murder or attempted murder, imprisonment, threats, torment at night, declaration of war. • Lack examples: Cinderella’s mother has died. The miller in “Rumplestiltskin” has no money. • The harm or lack is followed by mediation (B) and beginning counteraction (C), minor functions, and then the departure of the hero (­).

8. The Donor Cycle • Functions involved: • D – The hero is tested, interrogated, attacked, and so forth, which prepares the way for his receiving either a magical agent or a helper. • E – The hero reacts to the actions of the future donor. • F – The hero acquires the use of a magical agent. • The way to distinguish testing by a donor (D) from a difficult task (M) is by what happens after the task is completed: • If the hero receives a magical agent that later helps him perform a task, then the first task constitutes testing by a donor. • If receipt of a bride and marriage follow the testing, then it was a difficult task.

9. Transference • G spatial transference between two kingdoms, guidance – The hero is transferred, delivered, or led to the whereabouts of an object of search. • There should be some sense of travel. If the hero simply walks to the location of the quest, this function is omitted. • Modes of transference of the hero: flying through the air, traveling on the ground or on water, being led, being shown the route, using a stationary means of connection, following bloody tracks.

10. Struggle with a Villain • Functions involved: • H struggle – The hero and the villain join in direct combat. • J branding, marking – The hero is branded. • I victory – The villain is defeated.

11. Liquidation • K – The initial misfortune or lack is liquidated. • This function constitutes a pair with villainy (A). • Like a “function sequence,” a pair links two functions in the accomplishment of a single action. But with a pair, the functions are not as closely related. • This function can be followed by ¯return – the hero returns.

12. Pursuit and Rescue • Functions involved: • Pr pursuit, chase – The hero is pursued. • Rs rescue – The hero is rescued from pursuit. • A great many tales end on the note of rescue from pursuit. • Or a tale may have another misfortune in store for the hero. With this a new story commences.

13. The Task • Functions involved: • M difficult task – A difficult task is proposed to the hero. • N solution – The task is resolved. • This is one of the tale’s favorite elements. • Examples: • Ordeal by food and drink • Riddle guessing and similar ordeals • Ordeal of choice • To kiss the princess in a window • Test of strength, adroitness, or fortitude • Test of endurance • Tasks of supply and manufacture

14. Recognition • Functions involved: • o unrecognized – The hero, unrecognized, arrives home or in another country. • Q recognition – The hero is recognized. • Ex exposure – The false hero or villain is exposed. • T transfiguration – The hero is given a new appearance. • U punishment – The villain (or the false hero) is punished. • Recognition can be by a mark, a brand, or by a thing given to the hero, or by accomplishment of a difficult task.

15. The False Hero • Functions involved: • L unfounded claims – A false hero presents unfounded claims. • Ex exposure – The false hero or villain is exposed. • U punishment – The villain (or the false hero) is punished.

16. The Wedding • W wedding – The hero is married and ascends the throne. • Sometimes only accession to the throne is mentioned. • At this point the tale draws to a close, or marriage is deferred and a new move starts.

17. The Structure of the Tale Sequential moves: I. A W* II. A W2

18. The Structure of the Tale, 2 Embedded moves: I. A G . . . . . . . . . . . K W* II. a K

19. The Structure of the Tale, 3 Complex structure of moves: I. . . . . . . . . . . . . . . . . . . . . II. . . . . . . . . . . _________ III. ________