The story, is a complete object. Kind to that we would say that the story would have to begin and to finish in itself. It would have because to work like a small perfect machine. Aristotle in S. III a.C., described in the his Poetic essential elements of all literary work: S Unit: All work must have a central subject or axis, on which to be based. S Beauty: This in the proportion sense and balance, which at the moment we would call cohesion and coherence. S Multiplicity: Several situations that turn about central. S Magnitude: a determined extension, that it will vary according to the necessities, that allows to the transformations or the development of situations. S Plots: The plot is the way in which the actions within a work are distributed and this will have to be organized in three parts that will not be able to lack: a) Principle, b) Average and c) Final. However we take this last point that I would not call most important, since all as a whole do to the literary work, but would say that in those three fundamental steps the structure of the story is transformed. In addition, throughout the time it was yes perhaps the point that has been modified more. For its better analysis, we will take to the story in its different stages: Traditional, Modern and Contemporary. Traditional Story: The Traditional story includes works like 1,001 and one Nights, the Decamerón, the fables and legend of Esopo, the stories of Chaucer, etc. For Traditional Cuento that it is organized in the anecdotal plane and is based on the simple linking of facts, the poetic structure so and as conceived Aristotle is ideal. Practical Work Nº 1: To mark to the Principle Average and Aim of Cuento "the Wolf" Modern Story: More close ours in the time, the authors of the Modern story, between whose pioneers is Edgard Allan Poe, they begin to worry more about "how one tells" that by "what is counted". Thus, the anecdote that outside vedette of Traditional Cuento cede territory before the ambiguity and the psychological exploration. Almost all the Traditional stories began with one long description anticipatoria of the subject and from Cuento Modern this has been replaced by a "phrase hook" that will slide slowly towards a end which closely will be bound with that initial phrase. Everything what happens in the story will have to do with that end. There is on the other hand a total economy of resources and everything what it does not have to do with the main subject will be discarded.
Horacio Quiroga in the point 5º of its decalogue of the good cuentista summarized it of the following way: "you do not begin to write without knowing from the first word where you go. In an obtained affluent story, three forward edge has the importance of the three last ones ". Practical Work Nº 2: To mark the Principle, Means and Aim of Cuento de Thomas Contemporary Carlyle Cuento: In Contemporary Cuento, minimum or the apparently intrascendente thing it acquires force and it is transformed into the knot of the story. The narrator moves that rigid structure of Principle, Means and Aim. The story can, for example, begin by the outcome and count backwards soon to retake that outcome. Still it continues using the rules of Aristotle only who these change of place. Thus, Cuento is not ordered on the basis of a linking of facts but around situations that create uncertainty. Most important no longer it is chronological to respect the order of the three ordered parts. They are used but of another way. The Principle not always is the exhibition of the problem, the Means a knot and the Aim an outcome. We could say that in most important Contemporary Cuento the organization of the argument is the plot more that is than the argument in himself. "the night mouth arrives" of Cortázar, and "the south" of Borges, is two stories where somebody dreams to another one and at the same time does not know if that other is dreaming it, this this way, the argument would seem not to be too interesting,nevertheless the form in which is organized the different situations transform them into true masterpieces. Within this argument it is the well-known Chinese ministory of twenty-three centuries ago: "many night ago I was a butterfly that revoloteaba contents of its luck. Later I awoke, and was Chuang-Tzu. But I am in truth Chuang-Tzu philosopher who remembers to have dreamed that was a butterfly or I am a butterfly that dreams now that he is Chuang-Tzu philosopher ".