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The Formal Representation of the Fox and the Crow Appendix 1: The Formal Representation of The Fox and the Crow In chapter 10 of her book, Possible Worlds, Artificial Intelligence and Narrative Theory, Marie- Laure Ryan offers three formal representa- tions of the Aesop fable, The Fox and the Crow. Ryan expresses a certain amount of dissatisfaction with each of the models that she explores, the narrative grammar model, the plot-unit model and the recursive graph model, particularly over the issue of adequately representing the Fox’s deceit. As I have argued in this book, this kind of outcome can be formally represented using Proppian genotype analysis, by means of the concept of the Reciprocal−Retrospective function, a function that is observed in both The Robber Bridegroom and The Frog Prince. Here is my representation of the structure of the Aesopian fable, The Fox and the Crow. What the analysis aims to make clear is that a very short fable like this one still utilizes the basic story structure first uncovered by Vladimir Propp. In this version of the fable, the second and third functions of Requesting and Violation are omitted. In The Fox and the Crow, the Initial Situation is not a function. But the reader is asked to imagine that the Fox has a den somewhere close by the tree on which the Crow is sitting. First function: Arrival The Fox leaves his den in search of food and arrives beneath the tree on which the Crow is sitting. In this sense, the Arrival of the Fox indicates his status as the Villain. Second and third functions: Request/Violation In this fable, there is neither a second nor a third function. It would be possible to add them, in a longer telling of the tale. The absence of function pairs in the fable is not particularly unusual. For example, 177 178 Appendix 1 there are versions of “The Boy Who Cried Wolf” that contain the fourth and fifth function of Warning/Ignoring of the Boy by a Villager and other versions that exclude it. Fourth and Fifth Functions: Spying/Delivery The Fox sees a piece of cheese in the mouth of the Crow, with the Crow giving evidence of definite signs of vanity. Sixth and Seventh Functions: Trickery/Complicity From the point of view of the Crow, the next two functions are Bargain and Agreement; from the point of view of the Villain, the Fox, the next two functions are Trickery and Complicity. The pivotal eight function: Entrapment The cheese falls from the mouth of the Crow into the Fox’s open jaws. This represents a form of Entrapment, by means of which the Villain takes possession of the Heroine’s goods. The ninth function: Mediation The Fox tells the Crow: “Beware of flatterers!” This represents not so much a speaking out of the Fox’s desires, as the moral of the entire fable. A brief response to Ryan Marie-Laure Ryan suggests three questions that may be used to signal the usefulness or otherwise of the formal plot representation. These questions are: (a) Why does the fox ask the crow to sing? (b) Are the fox and the crow successful in the pursuit of their respec- tive goals? (c) Is the fox acting sincerely or deceitfully? The plot genotype model provides accurate responses to each of the three questions. Since the fox is positioned in the cast of char- acters as the Villain, he carries out function 4, Spying, in which Appendix 1 179 “the Villain attempts to find out important information by spying on the Heroine”. The second question receives a double answer. If the Fox and the Crow were involved in a true Bargain/Agreement, the Crow would have been successful if she had managed to sing adequately. At worse, the Fox would have returned the dropped cheese to the Crow after she had finished. As always, what is cru- cial here is Propp’s injunction: the meaning of an action can only be properly understood in the context of the finished story. In this case, the reader can only ascertain the true intention of the Fox when the fable is finished. The answer to the third question is thus revealed in the Entrapment and Mediation. In the light of this information, the reader can safely conclude that the Fox was acting deceitfully. Box A.1 The nine- function plot genotype of The Fox and the Crow Initial Situation The Initial Situation is not a function First Function: Departure The Fox leaves his den in search of food The Second and Third Functions are absent Fourth and Fifth Functions: Spying/Delivery The Fox sees a piece of cheese in the mouth of the Crow, with the Crow giving evidence of definite signs of vanity The Sixth and Seventh Functions in The Fox and the Crow 6. Bargain: the Fox asks the 6. Trickery: the Fox secretly knows the Crow to sing cheese will fall from the Crow’s mouth when she starts to sing 7. Agreement: the Crow 7. Deception: the Crow is unaware that agrees to sing the cheese will fall and starts to sing 180 Appendix 1 The Pivotal Eighth Function: Entrapment The cheese falls from the mouth of the Crow into the Fox’s open jaws The Ninth Function: Mediation The Fox tells the Crow: “Beware of flatterers!” Box A.2 The cast of characters in The Fox and the Crow 1. The Father 1. 2. The Reluctant Hero 2. The Crow 3. The Villain 3. The Fox Notes Prelims 1. See Richard Dawkins, The Selfish Gene. 30th Anniversary Edition. London and New York: Oxford University Press, 2006. Richard Dawkins, The Extended Phenotype: The Long Reach of the Gene. Revised Edition. London and New York: Oxford University Press, 2008. The chapter in The Selfish Gene on “Memes: The New Replicators” is especially relevant. 2. As Jack Zipes suggests, “… the fairy tale is similar to a mysterious biologi- cal species that appeared at one point in history, began to evolve almost naturally, and has continued to transform itself vigorously to the present day” (p. xi). See Zipes’s “Introduction.” In The Great Fairy Tale Tradition: From Straparola amd Basile to the Brothers Grimm. Ed. Jack Zipes. New York and London: W. W. Norton, 2001, pp. xi−xiv. A more extended discussion of these ideas is offered in Jack Zipes, Why Fairy Tales Stick: The Evolution and Relevance of a Genre. New York and London: Routledge Taylor & Francis, 2006. Vladimir Propp himself was aware of the connection. In “Transformations of the Wondertale”, Propp states: “The study of the wondertale may be compared to the study of organic formations in nature. Both the naturalist and the folklorist deal with species and genera of essentially the same phenomena. The Darwinian problem of ‘the origin of species’ arises in folklore as well.” See Vladimir Propp, “Transformations of the Wondertale.” Theory and History of Folklore. Ed. Anatoly Liberman. Trans. Ariadna Y. Martin and Richard P. Martin. Minneapolis: University of Minnesota Press, p. 82. 3. Aristotle, “Poetics”; Longinus, “On the Sublime”; Demetrius, “On Style.” Trans. Stephen Halliwell. Loeb Classical Library, No.199. Cambridge, MA: Harvard University Press, 1995, p. 57. 4. Aristotle, “Poetics”, p. 65. “Recognition, as the very name indicates, is a change from ignorance to knowledge, leading to friendship or enmity, and involving matters which bear on prosperity or adversity.” 5. Vladimir Propp, Morphology of the Folktale. Trans. Laurence Scott. 2nd Edition. Austin and London: University of Texas Press, 1968, p. 21. 6. Joseph Campbell, The Hero with a Thousand Faces. 3rd Edition. Bollingen Series XVII. Novato, CA: New World Library 2008; Christopher Vogler, The Writer’s Journey: Mythic Structures for Writers, 3rd Edition. Studio City, CA: Michael Wiese, 2007. 181 182 Notes 1 The Origins of Plot Analysis 1. Aristotle, “Poetics”; Longinus, “On the Sublime”; Demetrius, “On Style.” Trans. Stephen Halliwell. Loeb Classical Library, 199. Cambridge, MA: Harvard University Press, 1995. A fuller version of the quotation: “… plots require length, but length that can be coherently remembered. […] But the limit that conforms to the actual nature of the matter is that greater size, pro- vided clear coherence remains, means finer beauty of magnitude. To state the definition plainly: the size which permits a transformation to occur, in a probable or necessary sequence of events, from adversity to prosperity, or prosperity to adversity, is a sufficient limit of magnitude” (p. 57). 2. The most prominent spokesperson for this point of view is undoubtedly Joseph Campbell, The Hero with a Thousand Faces; his legacy is contin- ued by the contemporary critic Christopher Vogler, The Writer’s Journey: Mythic Structures for Writers 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007. 3. Wilhelm Grimm is quoted in Stith Thompson, The Folktale. Berkeley, Los Angeles and London: University of California Press, 1946, p. 370. 4. Richard M. Dorson, The British Folklorists: A History. Chicago: Chicago University Press, 1968, p. 164. 5. Max Müller, India: What Can It Teach Us? New York: Funk & Wagnalls, 1883, p. 216. Google Books. 6. “For Müller it was the sun, for [Adalbert] Kuhn the storm clouds, for [Friedrich] Schwartz the wind, for [Ludwig] Preller the sky.” Dorson, The British Folklorists, p. 164. 7. See Max Müller, Chips from a German Workshop, Vol. 2 (New York: Charles Scribner, 1871): “There is also one other point on which of late years a gen- eral agreement has been arrived at among most students of mythology, and this is that all mythological explanations must rest on a sound etymologi- cal basis. Comparative philology, after working a complete reform in the grammar and etymology of the classical languages, has supplied this new foundation for the proper study of classical mythology, and no explanation of any myth can henceforth be taken into account which is not based on an accurate analysis of the names of the principal actors” (p.
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