“Propp explains that the important thing is what characters do, not what they feel, think they are doing, intend to do, or say they will do. That is, a character’s function is crucial, the function being, as I pointed out earlier, the character’s actions relative to other main components of the story.” (Berger, 28)Propp strains the ideas that actions are what fuels the story, using the example of Rapunzel, the main points in the story can be retraced through characters actions. I. Rapunzel’s Father steals rapunzel plant and is caught, II. Rapunzel raised by witch, locked in tower, III. Prince hears singing, investigates (uses trickery to meet Rapunzel), IV. Witch learns something from victim (in this case Rapunzel is victim, who reveals pregnancy), V. Witch punishes Rapunzel (casts into the forest after shearing her hair, and deceives Prince (who is dropped from the tower- is also ‘branded’ by becoming blind in accident), VI. After years of searching, Prince hears Rapunzel’s voice, VII. Rapunzel’s tears heal Prince (transfiguration), VIII. Prince is restored to the throne, with Rapunzel as his bride (wedding).
However basic this story structure may seem, it encloses many complex situations. The simplistic outline of this classic folktale gives room for the reader to interpret the text in any which way into a teaching. Children and adults alike can still gain knowledge from such a tale. Children can walk away with ideas as varying as, ‘love conquers all’, or ‘everything has a consequence’. Adults can take this folktale as a reminder that innocence outgrows, and that no parent can cling to their child forever. The beauty of folktales is that with each retelling new ideas and angles to the tale are perceived.
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