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

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.”

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.

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

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.

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.

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 (­).

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.

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.

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.

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.

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.

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

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.

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.

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.

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

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

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