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Russian Fairy Tales.
A CHOICE COLLECTION
—OF—
MUSCOVITE FOLK-LORE.
—BY—
—BY—
W. R. S. RALSTON, M. A.,
OF THE BRITISH MUSEUM,
CORRESPONDING MEMBER OF THE IMPERIAL GEOGRAPHICAL SOCIETY
OF RUSSIA, AUTHOR OF “THE SONGS OF THE RUSSIAN
PEOPLE,” “KRILOF AND HIS FABLES,” ETC.
OF THE BRITISH MUSEUM,
CORRESPONDING MEMBER OF THE IMPERIAL GEOGRAPHICAL SOCIETY
OF RUSSIA, AUTHOR OF “THE SONGS OF THE RUSSIAN
PEOPLE,” “KRILOF AND HIS FABLES,” ETC.

NEW YORK:
HURST & CO., Publishers,
122 Nassau Street.
NEW YORK:
HURST & CO., Publishers,
122 Nassau St..

To the Memory of
ALEXANDER AFANASIEF
I Dedicate this Book,
TO HIM SO DEEPLY INDEBTED.
To the Memory of
ALEXANDER AFANASIEV
I dedicate this book,
to him for whom I am so deeply grateful.
PREFACE.
The stories contained in the following pages are taken from the collections published by Afanasief, Khudyakof, Erlenvein, and Chudinsky. The South-Russian collections of Kulish and Rudchenko I have been able to use but little, there being no complete dictionary available of the dialect, or rather the language, in which they are written. Of these works that of Afanasief is by far the most important, extending to nearly 3,000 pages, and containing 332 distinct stories—of many of which several variants are given, sometimes as many as five. Khudyakof’s collection contains 122 skazkas—as the Russian folk-tales are called—Erlenvein’s 41, and Chudinsky’s 31. Afanasief has also published a separate volume, containing 33 “legends,” and he has inserted a great number of stories of various kinds in his “Poetic views of the Old Slavonians about Nature,” a work to which I have had constant recourse.
The stories in the following pages come from the collections published by Afanasief, Khudyakof, Erlenvein, and Chudinsky. I've been able to use the South-Russian collections of Kulish and Rudchenko only a little, as there's no complete dictionary available for the dialect, or rather the language, they are written in. Among these works, Afanasief’s is by far the most significant, spanning nearly 3,000 pages and featuring 332 distinct stories—many of which have several versions, sometimes up to five. Khudyakof’s collection has 122 skazkas—what Russian folk-tales are called—Erlenvein’s has 41, and Chudinsky’s has 31. Afanasief has also released a separate volume with 33 “legends,” and he has included a lot of stories of different types in his “Poetic Views of the Old Slavonians about Nature,” a work I have relied on frequently.
From the stories contained in what may be called the “chap-book literature” of Russia, I have made but few extracts. It may, however, be as well to say a few words about them. There is a Russian word lub, diminutive lubok, meaning the soft bark of the lime [Pg 6] tree, which at one time was used instead of paper. The popular tales which were current in former days were at first printed on sheets or strips of this substance, whence the term lubochnuiya came to be given to all such productions of the cheap press, even after paper had taken the place of bark.[1]
From the stories found in what could be called the “chap-book literature” of Russia, I've included just a few excerpts. However, it might be useful to say a bit about them. There’s a Russian word lub, with the diminutive lubok, which means the soft bark of the lime tree, that was once used instead of paper. The popular tales that were common in earlier times were initially printed on sheets or strips of this material, which is how the term lubochnuiya came to be applied to all such productions of the cheap press, even after paper replaced bark.[Pg 6][1]
The stories which have thus been preserved have no small interest of their own, but they cannot be considered as fair illustrations of Russian folk-lore, for their compilers in many cases took them from any sources to which they had access, whether eastern or western, merely adapting what they borrowed to Russian forms of thought and speech. Through some such process, for instance, seem to have passed the very popular Russian stories of Eruslan Lazarevich and of Bova Korolevich. They have often been quoted as “creations of the Slavonic mind,” but there seems to be no reason for doubting that they are merely Russian adaptations, the first of the adventures of the Persian Rustem, the second of those of the Italian Buovo di Antona, our Sir Bevis of Hampton. The editors of these “chap-book skazkas” belonged to the pre-scientific period, and had a purely commercial object in view. Their stories were intended simply to sell.
The stories that have been preserved are quite interesting on their own, but they can't be seen as true representations of Russian folklore. The compilers often took them from various sources, both eastern and western, and just adjusted what they borrowed to fit Russian ways of thinking and talking. For example, the well-known Russian tales of Eruslan Lazarevich and Bova Korolevich seem to have followed this approach. They have frequently been referred to as “creations of the Slavonic mind,” but there's no strong evidence to suggest they aren't just Russian adaptations—the first being based on the adventures of the Persian Rustem and the second on the Italian Buovo di Antona, similar to our Sir Bevis of Hampton. The editors of these “chap-book skazkas” came from a pre-scientific era and had a purely commercial goal in mind. Their stories were simply meant to be sold.
Of late years several articles have appeared in some of the German periodicals,[5] giving accounts or translations of some of the Russian Popular Tales. But no thorough investigation of them appeared in print, out of Russia, until the publication last year of the erudite work on “Zoological Mythology” by Professor Angelo de Gubernatis. In it he has given a summary of the greater part of the stories contained in the collections of Afanasief and Erlenvein, and so fully has he described the part played in them by the members of the animal world that I have omitted, in the present volume, the chapter I had prepared on the Russian “Beast-Epos.”
In recent years, several articles have appeared in some German periodicals,[5] providing accounts or translations of some Russian folk tales. However, no comprehensive study of them was published outside of Russia until last year's scholarly work on “Zoological Mythology” by Professor Angelo de Gubernatis. In this work, he summarizes most of the stories found in the collections of Afanasiev and Erlenvein, and he has described in detail the roles played by animals in these tales, which is why I've left out the chapter I had prepared on the Russian “Beast-Epos” in this volume.
Another chapter which I have, at least for a time, suppressed, is that in which I had attempted to say something about the origin and the meaning of the Russian folk-tales. The subject is so extensive that it requires for its proper treatment more space than a single chapter could grant; and therefore, though not without reluctance, I have left the stories I have quoted to speak for themselves, except in those instances in which I have given the chief parallels to be found in the two collections of foreign folk-tales best known to the English reader, together with a few others which happened to fall within the range of my [Pg 8] own reading. Professor de Gubernatis has discussed at length, and with much learning, the esoteric meaning of the skazkas, and their bearing upon the questions to which the “solar theory” of myth-explanation has given rise. To his volumes, and to those of Mr. Cox, I refer all who are interested in those fascinating enquiries. My chief aim has been to familiarize English readers with the Russian folk-tale; the historical and mythological problems involved in it can be discussed at a later period. Before long, in all probability, a copious flood of light will be poured upon the connexion of the Popular Tales of Russia with those of other lands by one of those scholars who are best qualified to deal with the subject.[6]
Another chapter that I've, at least for now, held back is the one where I attempted to discuss the origin and meaning of Russian folk tales. The topic is so broad that it needs more room for proper discussion than a single chapter can provide; and so, although it wasn't easy, I’ve allowed the stories I’ve included to speak for themselves, except in cases where I’ve pointed out the main parallels found in the two collections of foreign folk tales that are most familiar to English readers, along with a few others that happened to fall within my own reading. Professor de Gubernatis has thoroughly discussed the deeper meaning of the skazkas and their connection to the questions raised by the "solar theory" of myth-explanation. I recommend his works, along with those of Mr. Cox, to anyone intrigued by those captivating inquiries. My main goal has been to introduce English readers to Russian folk tales; the historical and mythological issues can be addressed at a later time. Soon enough, probably, someone well-qualified will shed considerable light on the connection between the Popular Tales of Russia and those from other countries.
Besides the stories about animals, I have left unnoticed two other groups of skazkas—those which relate to historical events, and those in which figure the heroes of the Russian “epic poems” or “metrical romances.” My next volume will be devoted to the Builinas, as those poems are called, and in it the skazkas which are connected with them will find their fitting place. In it, also, I hope to find space for the discussion of many questions which in the present volume I have been forced to leave unnoticed.
Besides the stories about animals, I've overlooked two other groups of skazkas—those that relate to historical events and those featuring the heroes of Russian “epic poems” or “metrical romances.” My next volume will focus on the Builinas, as these poems are known, and it will include the skazkas associated with them. I also hope to make room for discussing many questions I've had to leave out of this volume.
The fifty-one stories which I have translated at length I have rendered as literally as possible. In the very rare instances in which I have found it necessary to insert any words by way of explanation, I have [Pg 9] (except in the case of such additions as “he said” or the like) enclosed them between brackets. In giving summaries, also, I have kept closely to the text, and always translated literally the passages marked as quotations. In the imitation of a finished work of art, elaboration and polish are meet and due, but in a transcript from nature what is most required is fidelity. An “untouched” photograph is in certain cases infinitely preferable to one which has been carefully “worked upon.” And it is, as it were, a photograph of the Russian story-teller that I have tried to produce, and not an ideal portrait.
The fifty-one stories that I have translated in detail are as literal as possible. In the very rare cases where I found it necessary to add any words for clarity, I have [Pg 9] (except for additions like “he said” or similar phrases) put them in brackets. When summarizing, I have also closely followed the text and always translated the quoted passages literally. While a polished and refined work of art is appropriate, what’s most important in a natural depiction is accuracy. An “untouched” photograph is sometimes far more valuable than one that has been meticulously edited. What I aimed to create is a photograph of the Russian storyteller, not an idealized version.
The following are the principal Russian books to which reference has been made:—
The main Russian books referred to are as follows:—
Khudyakof (I.A.). Velikorusskiya Skazki [Great-Russian Tales]. Moscow, 1860.
Khudyakof (I.A.). Great Russian Tales. Moscow, 1860.
Chudinsky (E.A.). Russkiya Narodnuiya Skazki, etc. [Russian Popular Tales, etc.]. Moscow, 1864.
Chudinsky (E.A.). Russian Popular Tales, etc. Moscow, 1864.
Erlenvein (A.A.). Narodnuiya Skazki, etc. [Popular Tales, collected by village schoolmasters in the Government of Tula]. Moscow, 1863.
Erlenmeyer flask (A.A.). Narodnuiya Skazki, etc. [Popular Tales, collected by village schoolteachers in the Tula region]. Moscow, 1863.
Most of the other works referred to are too well known to require a full setting out of their title. But it is necessary to explain that references to Grimm are as a general rule to the “Kinder- und Hausmärchen,” 9th ed. Berlin, 1870. Those to Asbjörnsen and Moe are to the “Norske Folke-Eventyr,” 3d ed. Christiania, 1866; those to Asbjörnsen only are to the “New Series” of those tales, Christiania, 1871; those to Dasent are to the “Popular Tales from the Norse,” 2d ed., 1859. The name “Karajich” refers to the “Srpske Narodne Pripovijetke,” published at Vienna in 1853 by Vuk Stefanovich Karajich, and translated by his daughter under the title of “Volksmärchen der Serben,” Berlin, 1854. By “Schott” is meant the “Walachische Mährchen,” Stuttgart und Tubingen, 1845, by “Schleicher” the “Litauische Märchen,” Weimar, 1857, by “Hahn” the “Griechische und albanesische Märchen,” Leipzig, 1864, by “Haltrich” the “Deutsche Volksmärchen aus dem Sachsenlande in Siebenbürgen,” Berlin, 1856, and by “Campbell” the “Popular Tales of the West Highlands,” 4 vols., Edinburgh, 1860-62.
Most of the other works mentioned are so well-known that there’s no need to list their titles in full. However, it’s important to clarify that references to Grimm generally refer to the “Kinder- und Hausmärchen,” 9th ed. Berlin, 1870. References to Asbjörnsen and Moe point to the “Norske Folke-Eventyr,” 3rd ed. Christiania, 1866; references to Asbjörnsen alone refer to the “New Series” of those tales, Christiania, 1871; and references to Dasent refer to the “Popular Tales from the Norse,” 2nd ed., 1859. The name “Karajich” refers to the “Srpske Narodne Pripovijetke,” published in Vienna in 1853 by Vuk Stefanovich Karajich, and translated by his daughter as “Volksmärchen der Serben,” Berlin, 1854. “Schott” refers to the “Walachische Mährchen,” Stuttgart and Tübingen, 1845, “Schleicher” to the “Litauische Märchen,” Weimar, 1857, “Hahn” to the “Griechische und albanesische Märchen,” Leipzig, 1864, “Haltrich” to the “Deutsche Volksmärchen aus dem Sachsenlande in Siebenbürgen,” Berlin, 1856, and “Campbell” to the “Popular Tales of the West Highlands,” 4 vols., Edinburgh, 1860-62.
A few of the ghost stories contained in the following pages appeared in the “Cornhill Magazine” for August 1872, and an account of some of the “legends” was given in the “Fortnightly Review” for April 1, 1868.
A few of the ghost stories in the following pages were published in the “Cornhill Magazine” for August 1872, and a report on some of the “legends” was featured in the “Fortnightly Review” for April 1, 1868.
FOOTNOTES:
[1] So our word “book,” the German Buch, is derived from the Buche or beech tree, of which the old Runic staves were formed. Cf. liber and βίβλος.
[1] So our word “book,” the German Buch, comes from the Buche or beech tree, which is what the old Runic letters were made from. See also liber and βίβλος.
[6] Professor Reinhold Köhler, who is said to be preparing a work on the Skazkas, in co-operation with Professor Jülg, the well-known editor and translator of the “Siddhi Kür” and “Ardshi Bordschi Khan.”
[6] Professor Reinhold Köhler, who is reportedly working on a project about the Skazkas, in collaboration with Professor Jülg, the famous editor and translator of the “Siddhi Kür” and “Ardshi Bordschi Khan.”
[7] In my copy, pt. 1 and 2 are of the 3d, and pt. 3 and 4 are of the 2d edition. By such a note as “Afanasief, i. No. 2,” I mean to refer to the second story of the first part of this work.
[7] In my copy, parts 1 and 2 are from the 3rd edition, and parts 3 and 4 are from the 2nd edition. When I include a note like “Afanasief, i. No. 2,” I’m referring to the second story of the first part of this work.
[10] There is one other recent collection of skazkas—that published last year at Geneva under the title of “Russkiya Zavyetnuiya Skazki.” But upon its contents I have not found it necessary to draw.
[10] There’s one more recent collection of skazkas—published last year in Geneva called “Russkiya Zavyetnuiya Skazki.” However, I haven't found it necessary to comment on its content.
CONTENTS.
CHAPTER I. | |
INTRODUCTION. | |
PAGE. | |
The Folk-tale in general, and the Skazka in particular—Relation of Russian Popular Tales to Russian Life—Stories about Courtship, Death, Burial and Wailings for the Dead—Warnings against Drink, Jokes about Women, Tales of Simpletons—A rhymed Skazka and a Legend | 15 |
CHAPTER II. | |
MYTHIC. | |
Principal Incarnations of Evil. | |
On the “Mythical Skazkas”—Male embodiments of Evil: 1. The Snake as the Stealer of Daylight; 2. Norka the Beast, Lord of the Lower World; 3. Koshchei the Deathless, The Stealer of Fair Princesses—his connexion with Punchkin and “the Giant who had no Heart in his Body”—Excursus on Bluebeard’s Chamber; 4. The Water King or Subaqueous Demon—Female Embodiments of Evil: 1. The Baba Yaga or Hag, and 2. The Witch, feminine counterparts of the Snake | 75 |
CHAPTER III. | |
MYTHIC. | |
Miscellaneous Impersonations. | |
One-eyed Likho, a story of the Polyphemus Cycle—Woe, the Poor Man’s Companion—Friday, Wednesday, and Sunday personified as Female Spirits—The Léshy or Wood-Demon—Legends about Rivers—Frost as a Wooer of Maidens—The Whirlwind personified as a species of Snake or Demon—Morfei and Oh, two supernatural beings | 186 |
CHAPTER IV. | [Pg 12] |
Magic and Witchcraft. | |
The Waters of Life and Death, and of Strength and Weakness—Aid given to Children by Dead Parents—Magic Horses, Fish, &c.—Stories about Brides won by a Leap, &c.—Stories about Wizards and Witches—The Headless Princess—Midnight Watchings over Corpses—The Fire Bird, its connexion with the Golden Bird and the Phœnix | 237 |
CHAPTER V. | |
Ghost stories. | |
Slavonic Ideas about the Dead—On Heaven and Hell—On the Jack and the Beanstalk Story—Harmless Ghosts—The Rip van Winkle Story—the attachment of Ghosts to their Shrouds and Coffin-Lids—Murderous Ghosts—Stories about Vampires—on the name Vampire, and the belief in Vampirism | 295 |
CHAPTER VI. | |
LEGENDS. | |
1. Saints, &c. | |
Legends connected with the Dog, the Izba, the Creation of Man, the Rye, the Snake, Ox, Sole, &c.; with Birds, the Peewit, Sparrow, Swallow, &c.—Legends about SS. Nicholas, Andrew, George, Kasian, &c. | 329 |
2. Demons, &c. | |
Part played by Demons in the Skazkas—On “Hasty Words,” and Parental Curses; their power to subject persons to demoniacal possession—The dulness of Demons; Stories about Tricks played upon them—Their Gratitude to those who treat them with Kindness and their General Behavior—Various Legends about Devils—Moral Tale of the Gossip’s Bedstead | 361 |
STORY-LIST.
PAGE. | ||
I. | The Fiend | 24 |
II. | The Dead Mother | 32 |
III. | The Dead Witch | 34 |
IV. | The Treasure | 36 |
V. | The Cross-Surety | 40 |
VI. | The Awful Drunkard | 46 |
VII. | The Bad Wife | 52 |
VIII. | The Golovikha | 55 |
IX. | The Three Copecks | 56 |
X. | The Miser | 60 |
XI. | The Fool and the Birch-Tree | 62 |
XII. | The Mizgir | 68 |
XIII. | The Smith and the Demon | 70 |
XIV. | Ivan Popyalof | 79 |
XV. | The Norka | 86 |
XVI. | Marya Morevna | 97 |
XVII. | Koshchei the Deathless | 111 |
XVIII. | The Water Snake | 126 |
XIX. | The Water King and Vasilissa the Wise | 130 |
XX. | The Baba Yaga | 148 |
XXI. | Vasilissa the Fair | 158 |
XXII. | The Witch | 171 |
XXIII. | The Witch and the Sun’s Sister | 178 |
[Pg 14]XXIV. | One-Eyed Likho | 186 |
XXV. | Woe | 193 |
XXVI. | Friday | 207 |
XXVII. | Wednesday | 208 |
XXVIII. | The Léshy | 213 |
XXIX. | Vazuza and Volga | 215 |
XXX. | Sozh and Dnieper | 216 |
XXXI. | The Metamorphosis of the Dnieper, the Volga, and the Dvina | 217 |
XXXII. | Frost | 221 |
XXXIII. | The Blind Man and the Cripple | 246 |
XXXIV. | Princess Helena the Fair | 262 |
XXXV. | Emilian the Fool | 269 |
XXXVI. | The Witch Girl | 274 |
XXXVII. | The Headless Princess | 276 |
XXXVIII. | The Soldier’s Midnight Watch | 279 |
XXXIX. | The Warlock | 292 |
XL. | The Fox-Physician | 296 |
XLI. | The Fiddler in Hell | 303 |
XLII. | The Ride on the Gravestone | 308 |
XLIII. | The Two Friends | 309 |
XLIV. | The Shroud | 311 |
XLV. | The Coffin-Lid | 314 |
XLVI. | The Two Corpses | 316 |
XLVII. | The Dog and the Corpse | 317 |
XLVIII. | The Soldier and the Vampire | 318 |
XLIX. | Elijah the Prophet and Nicholas | 344 |
L. | The Priest with the Greedy Eyes | 355 |
LI. | The Hasty Word | 370 |
RUSSIAN FOLK-TALES.
CHAPTER I.
INTRODUCTORY.
There are but few among those inhabitants of Fairy-land of whom “Popular Tales” tell, who are better known to the outer world than Cinderella—the despised and flouted younger sister, who long sits unnoticed beside the hearth, then furtively visits the glittering halls of the great and gay, and at last is transferred from her obscure nook to the place of honor justly due to her tardily acknowledged merits. Somewhat like the fortunes of Cinderella have been those of the popular tale itself. Long did it dwell beside the hearths of the common people, utterly ignored by their superiors in social rank. Then came a period during which the cultured world recognized its existence, but accorded to it no higher rank than that allotted to “nursery stories” and “old wives’ tales”—except, indeed, on those rare occasions when the charity of a condescending scholar had invested it with such a garb as was supposed to enable it to make a respectable appearance in polite society. At length there arrived the season of its final change, when, transferred from the dusk of the peasant’s hut into the full light of the outer day, and freed from the unbecoming garments by which it had been [Pg 16] disfigured, it was recognized as the scion of a family so truly royal that some of its members deduce their origin from the olden gods themselves.
There are only a few among the inhabitants of Fairy-land that "Popular Tales" mention, who are more well-known to the outside world than Cinderella—the overlooked and mistreated younger sister, who sits unnoticed by the fire for a long time, then secretly visits the glamorous halls of the rich and famous, and finally moves from her humble spot to the place of honor that she rightfully deserves. Cinderella's journey somewhat parallels that of the popular tale itself. For a long time, it lingered by the hearths of ordinary people, completely ignored by those of higher social status. Then came a time when the educated world acknowledged its existence but only treated it as if it were nothing more than "nursery stories" and "old wives’ tales"—except during those rare moments when a generous scholar would dress it up in a guise thought suitable for polite society. Eventually, the time came for its final transformation, when it was moved from the shadows of the peasant's hut into the bright light of the outside world, shedding the unflattering outfits that had marred it, and it was recognized as part of a lineage so truly royal that some of its members trace their origins back to the ancient gods themselves.
In our days the folk-tale, instead of being left to the careless guardianship of youth and ignorance, is sedulously tended and held in high honor by the ripest of scholars. Their views with regard to its origin may differ widely. But whether it be considered in one of its phases as a distorted “nature-myth,” or in another as a demoralized apologue or parable—whether it be regarded at one time as a relic of primeval wisdom, or at another as a blurred transcript of a page of mediæval history—its critics agree in declaring it to be no mere creation of the popular fancy, no chance expression of the uncultured thought of the rude tiller of this or that soil. Rather is it believed of most folk-tales that they, in their original forms, were framed centuries upon centuries ago; while of some of them it is supposed that they may be traced back through successive ages to those myths in which, during a prehistoric period, the oldest of philosophers expressed their ideas relative to the material or the spiritual world.
Nowadays, folk tales are not left to the careless guardianship of youth and ignorance; instead, they are carefully studied and highly respected by the most knowledgeable scholars. Their opinions about the origin of these tales might vary significantly. Whether seen as a twisted “nature-myth” or as a flawed moral story or parable—whether viewed at one moment as a relic of ancient wisdom or at another as a distorted reflection of a page from medieval history—critics agree that folk tales are not just a product of popular imagination or a random expression of the uneducated thoughts of a simple farmer. Most folk tales are believed to have been created in their original forms centuries ago, and some are thought to trace back through generations to the myths where, in prehistoric times, the earliest philosophers shared their insights about the material and spiritual worlds.
But it is not every popular tale which can boast of so noble a lineage, and one of the great difficulties which beset the mythologist who attempts to discover the original meaning of folk-tales in general is to decide which of them are really antique, and worthy, therefore, of being submitted to critical analysis. Nor is it less difficult, when dealing with the stories of any one country in particular, to settle which may be looked upon as its own property, and which ought to be considered as borrowed and adapted. Everyone knows that the existence of the greater part of the stories current among the various European peoples is accounted for on two different hypotheses—the one [Pg 17] supposing that most of them “were common in germ at least to the Aryan tribes before their migration,” and that, therefore, “these traditions are as much a portion of the common inheritance of our ancestors as their language unquestionably is:”[11] the other regarding at least a great part of them as foreign importations, Oriental fancies which were originally introduced into Europe, through a series of translations, by the pilgrims and merchants who were always linking the East and the West together, or by the emissaries of some of the heretical sects, or in the train of such warlike transferrers as the Crusaders, or the Arabs who ruled in Spain, or the Tartars who so long held the Russia of old times in their grasp. According to the former supposition, “these very stories, these Mährchen, which nurses still tell, with almost the same words, in the Thuringian forest and in the Norwegian villages, and to which crowds of children listen under the pippal trees of India,”[12] belong “to the common heirloom of the Indo-European race;” according to the latter, the majority of European popular tales are merely naturalized aliens in Europe, being as little the inheritance of its present inhabitants as were the stories and fables which, by a circuitous route, were transmitted from India to Boccaccio or La Fontaine.
But not every popular story can claim such a noble origin, and one of the main challenges for mythologists trying to uncover the original meaning of folk tales in general is figuring out which ones are truly ancient and deserving of critical analysis. It's also challenging, when focusing on the stories from any specific country, to determine which can be considered its own and which should be seen as borrowed and adapted. Everyone knows that the majority of stories found among various European cultures can be explained by two different theories: one suggests that most of them “were common in germ at least to the Aryan tribes before their migration,” which means “these traditions are part of our ancestors' shared heritage just like their language undoubtedly is;” the other sees at least a significant number of them as foreign imports, Eastern ideas that were originally brought into Europe through translations by pilgrims and merchants who continually connected the East and the West, or by the agents of some heretical sects, or alongside the military movements of the Crusaders, the Arabs who ruled in Spain, or the Tartars who held ancient Russia for so long. According to the first theory, “these same stories, these Mährchen, which nurses still tell, with almost the same words, in the Thuringian forest and in the Norwegian villages, and to which crowds of children listen under the pippal trees of India,” belong “to the common heritage of the Indo-European race;” according to the second, most European folk tales are merely naturalized foreigners in Europe, as little a part of its current inhabitants' inheritance as were the stories and fables that were transmitted from India to Boccaccio or La Fontaine through a roundabout path.
On the questions to which these two conflicting hypotheses give rise we will not now dwell. For the present, we will deal with the Russian folk-tale as we find it, attempting to become acquainted with its principal characteristics to see in what respects it chiefly differs from the stories of the same class which are current among ourselves, or in those foreign lands with which we are more familiar than [Pg 18] we are with Russia, rather than to explore its birthplace or to divine its original meaning.
We won't focus now on the questions raised by these two conflicting theories. For now, we will look at the Russian folk-tale as it is, trying to understand its main features and how it differs from similar stories that we know here or in the foreign countries we're more familiar with than we are with Russia, rather than digging into where it came from or trying to figure out its original meaning.
We often hear it said, that from the songs and stories of a country we may learn much about the inner life of its people, inasmuch as popular utterances of this kind always bear the stamp of the national character, offer a reflex of the national mind. So far as folk-songs are concerned, this statement appears to be well founded, but it can be applied to the folk-tales of Europe only within very narrow limits. Each country possesses certain stories which have special reference to its own manners and customs, and by collecting such tales as these, something approximating to a picture of its national life may be laboriously pieced together. But the stories of this class are often nothing more than comparatively modern adaptations of old and foreign themes; nor are they sufficiently numerous, so far as we can judge from existing collections, to render by any means complete the national portrait for which they are expected to supply the materials. In order to fill up the gaps they leave, it is necessary to bring together a number of fragments taken from stories which evidently refer to another clime—fragments which may be looked upon as excrescences or developments due to the novel influences to which the foreign slip, or seedling, or even full-grown plant, has been subjected since its transportation.
We often hear that from a country’s songs and stories, we can learn a lot about the inner lives of its people, as these popular expressions reflect the national character and mindset. This seems to hold true for folk songs, but it only applies to the folk tales of Europe to a limited extent. Each country has specific stories that relate directly to its own customs and traditions, and by gathering these tales, we can piece together a rough picture of its national life. However, many of these stories are just relatively modern adaptations of old, foreign themes; they’re also not numerous enough, based on existing collections, to create a complete national portrait as intended. To fill in the gaps they leave, we need to assemble fragments from stories that clearly belong to another culture—fragments that could be seen as additions or developments influenced by the new environment the foreign narrative, seed, or even fully grown tale has encountered since being introduced.
The great bulk of the Russian folk-tales, and, indeed, of those of all the Indo-European nations, is devoted to the adventures of such fairy princes and princesses, such snakes and giants and demons, as are quite out of keeping with ordinary men and women—at all events with the inhabitants of modern Europe since the termination of those internecine struggles between aboriginals and invaders, which some commentators see typified in the combats [Pg 19] between the heroes of our popular tales and the whole race of giants, trolls, ogres, snakes, dragons, and other monsters. The air we breathe in them is that of Fairy-land; the conditions of existence, the relations between the human race and the spiritual world on the one hand, the material world on the other, are totally inconsistent with those to which we are now restricted. There is boundless freedom of intercourse between mortals and immortals, between mankind and the brute creation, and, although there are certain conventional rules which must always be observed, they are not those which are enforced by any people known to anthropologists. The stories which are common to all Europe differ, no doubt, in different countries, but their variations, so far as their matter is concerned, seem to be due less to the moral character than to the geographical distribution of their reciters. The manner in which these tales are told, however, may often be taken as a test of the intellectual capacity of their tellers. For in style the folk-tale changes greatly as it travels. A story which we find narrated in one country with terseness and precision may be rendered almost unintelligible in another by vagueness or verbiage; by one race it may be elevated into poetic life, by another it may be degraded into the most prosaic dulness.
The majority of Russian folk tales, and those from all Indo-European cultures, focus on the adventures of magical princes and princesses, as well as snakes, giants, and demons, which are not relatable to ordinary people—at least not to the inhabitants of modern Europe since the end of the violent conflicts between indigenous people and invaders. Some scholars see these conflicts reflected in the battles between the heroes of our popular tales and the various giants, trolls, ogres, snakes, dragons, and other monsters. The world of these stories is one of Fairy-land; the way of life, the relationship between humans and the spiritual realm on one side, and the physical world on the other, is completely different from the reality we live in today. There’s an endless interaction between mortals and immortals, between humans and animals, and while there are certain traditional rules that must be followed, they are not the same as those enforced by any culture known to anthropologists. The stories shared across Europe may vary from country to country, but these differences seem to arise more from the geographical location of those telling them than from moral considerations. However, the way these tales are told can often serve as an indicator of the storyteller’s intelligence. The style of the folk tale changes significantly as it spreads. A story that is told concisely and clearly in one country may become nearly incomprehensible in another due to vagueness or excessive wording; one culture might elevate it into something poetic, while another might reduce it to dullness.
Now, so far as style is concerned, the Skazkas or Russian folk-tales, may justly be said to be characteristic of the Russian people. There are numerous points on which the “lower classes” of all the Aryan peoples in Europe closely resemble each other, but the Russian peasant has—in common with all his Slavonic brethren—a genuine talent for narrative which distinguishes him from some of his more distant cousins. And the stories which are current among the Russian peasantry are for the most part exceedingly [Pg 20] well narrated. Their language is simple and pleasantly quaint, their humor is natural and unobtrusive, and their descriptions, whether of persons or of events, are often excellent.[13] A taste for acting is widely spread in Russia, and the Russian folk-tales are full of dramatic positions which offer a wide scope for a display of their reciter’s mimetic talents. Every here and there, indeed, a tag of genuine comedy has evidently been attached by the story-teller to a narrative which in its original form was probably devoid of the comic element.
Now, regarding style, the Skazkas or Russian folk tales are truly representative of the Russian people. There are many aspects where the "lower classes" of all Aryan peoples in Europe are quite similar, but the Russian peasant, along with his Slavonic relatives, possesses a genuine talent for storytelling that sets him apart from more distant relatives. The tales popular among Russian peasants are mostly very well told. Their language is straightforward and uniquely charming, their humor is natural and subtle, and their descriptions of people and events are often excellent.[Pg 20] A love for performance is widespread in Russia, and the Russian folk tales are filled with dramatic moments that allow the storyteller to showcase their mimetic skills. Occasionally, a bit of genuine comedy has clearly been added by the storyteller to a narrative that was likely originally without any comedic elements.
And thus from the Russian tales may be derived some idea of the mental characteristics of the Russian peasantry—one which is very incomplete, but, within its narrow limits, sufficiently accurate. And a similar statement may be made with respect to the pictures of Russian peasant life contained in these tales. So far as they go they are true to nature, and the notion which they convey to a stranger of the manners and customs of Russian villagers is not likely to prove erroneous, but they do not go very far. On some of the questions which are likely to be of the greatest interest to a foreigner they never touch. There is very little information to be gleaned from them, for instance, with regard to the religious views of the people, none with respect to the relations which, during the times of serfdom, existed between the lord and the thrall. But from the casual references to actual scenes and ordinary occupations which every here and there occur in the descriptions of fairy-land and the narratives of heroic adventure—from the realistic vignettes which are sometimes inserted between the idealized portraits of invincible princes and irresistible [Pg 21] princesses—some idea may be obtained of the usual aspect of a Russian village, and of the ordinary behavior of its inhabitants. Turning from one to another of these accidental illustrations, we by degrees create a mental picture which is not without its peculiar charm. We see the wide sweep of the level corn-land, the gloom of the interminable forest, the gleam of the slowly winding river. We pass along the single street of the village, and glance at its wooden barn-like huts,[14] so different from the ideal English cottage with its windows set deep in ivy and its porch smiling with roses. We see the land around a Slough of Despond in the spring, an unbroken sea of green in the early summer, a blaze of gold at harvest-time, in the winter one vast sheet of all but untrodden snow. On Sundays and holidays we accompany the villagers to their white-walled, green-domed church, and afterwards listen to the songs which the girls sing in the summer choral dances, or take part in the merriment of the social gatherings, which enliven the long nights of winter. Sometimes the quaint lyric drama of a peasant wedding is performed before our eyes, sometimes we follow a funeral party to one of those dismal and desolate nooks in which the Russian villagers deposit their dead. On working days we see the peasants driving afield in the early morn with their long lines of carts, to till the soil, or ply the scythe or sickle or axe, till the day is done and their rude carts come creaking back. We hear the songs and laughter of the girls beside the stream or pool which ripples pleasantly against its banks in the summer time, but in the winter shows no sign of life, except at the spot, much frequented by the wives and daughters of the village, where an “ice-hole” has been cut in its [Pg 22] massive pall. And at night we see the homely dwellings of the villagers assume a picturesque aspect to which they are strangers by the tell-tale light of day, their rough lines softened by the mellow splendor of a summer moon, or their unshapely forms looming forth mysteriously against the starlit snow of winter. Above all we become familiar with those cottage interiors to which the stories contain so many references. Sometimes we see the better class of homestead, surrounded by its fence through which we pass between the often-mentioned gates. After a glance at the barns and cattle-sheds, and at the garden which supplies the family with fruits and vegetables (on flowers, alas! but little store is set in the northern provinces), we cross the threshold, a spot hallowed by many traditions, and pass, through what in more pretentious houses may be called the vestibule, into the “living room.” We become well acquainted with its arrangements, with the cellar beneath its wooden floor, with the “corner of honor” in which are placed the “holy pictures,” and with the stove which occupies so large a share of space, within which daily beats, as it were the heart of the house, above which is nightly taken the repose of the family. Sometimes we visit the hut of the poverty-stricken peasant, more like a shed for cattle than a human habitation, with a mud-floor and a tattered roof, through which the smoke makes its devious way. In these poorer dwellings we witness much suffering; but we learn to respect the patience and resignation with which it is generally borne, and in the greater part of the humble homes we visit we become aware of the existence of many domestic virtues, we see numerous tokens of family affection, of filial reverence, of parental love. And when, as we pass along the village street at night, we see gleaming through the utter darkness the faint rays which tell that [Pg 23] even in many a poverty-stricken home a lamp is burning before the “holy pictures,” we feel that these poor tillers of the soil, ignorant and uncouth though they too often are, may be raised at times by lofty thoughts and noble aspirations far above the low level of the dull and hard lives which they are forced to lead.
And so, from the Russian tales, we can get some sense of the mental characteristics of the Russian peasantry—it's a very incomplete picture, but within its narrow limits, it’s fairly accurate. The same can be said for the depictions of Russian peasant life found in these tales. As far as they go, they reflect reality, and the impression they give to a foreigner about the traditions and customs of Russian villagers is unlikely to be wrong, though they don’t go very deep. On some topics that would be of great interest to a foreigner, they never delve. There’s very little information to gather from them, for example, about the people’s religious beliefs, and none regarding the relationships that existed between the landlord and the serfs during the times of serfdom. However, from the casual references to real scenes and everyday activities that occasionally pop up in the descriptions of magical realms and tales of heroic adventures—from the realistic snapshots sometimes inserted between the idealized images of invincible princes and irresistible princesses—one can form an idea of the typical landscape of a Russian village and the usual behaviors of its people. Moving from one of these incidental illustrations to another, we gradually create a mental image that has its own unique charm. We see the vast stretch of flat farmland, the shadowy expanse of an endless forest, the sparkle of the slowly winding river. We walk along the village’s single street and glance at its wooden, barn-like cottages, so different from the ideal English cottage with its ivy-covered windows and porch blooming with roses. We observe the land around a muddy spot in spring, an unbroken sea of green in early summer, a burst of gold at harvest time, and in winter, a vast expanse of almost untouched snow. On Sundays and holidays, we join the villagers at their white-walled, green-domed church, and afterwards listen to the songs sung by the girls during summer choral dances or partake in the festivities of social gatherings that brighten the long winter nights. Sometimes we witness the charming lyric drama of a peasant wedding unfold before us, and other times we follow a funeral procession to one of those bleak and desolate spots where the Russian villagers lay their dead to rest. On workdays, we see the peasants heading to the fields at dawn with long lines of carts, ready to till the soil or wield the scythe, sickle, or axe until the day’s work is done and their creaky carts return. We hear the laughter and songs of the girls by the stream or pond, which gently ripples against the banks in summer but shows no signs of life in winter, except at the spot, often frequented by the local wives and daughters, where an "ice-hole" has been cut into its thick coating. At night, we see the villagers' humble homes take on a picturesque quality that is hidden during the revealing light of day, their rough outlines softened by the glowing splendor of a summer moon, or their shapeless forms mysteriously rising against the starlit snow in winter. Above all, we become familiar with those cottage interiors to which the stories refer so often. Sometimes we see the better-off homesteads, surrounded by their fences, passing through the frequently mentioned gates. After glancing at the barns and animal sheds and the garden that provides the family with fruits and vegetables (sadly, flowers hold little value in the northern provinces), we step over the threshold, a place revered by many traditions, and pass through what in fancier houses might be called the vestibule, into the “living room.” We become well-acquainted with its layout, the cellar beneath its wooden floor, the “corner of honor” where the “holy pictures” are placed, and the stove that takes up a large part of the space, which daily serves as the heart of the home and above which the family finds rest each night. Sometimes we visit the hut of a destitute peasant, more like a cattle shed than a human dwelling, with a mud floor and a tattered roof, where the smoke curls its way through. In these poorer homes, we witness much suffering; but we learn to respect the patience and acceptance with which it is usually endured. In most of the humble homes we visit, we discover many domestic virtues, seeing numerous signs of family affection, filial respect, and parental love. And when, as we stroll down the village street at night, we see faint glimmers piercing the complete darkness, indicating that even in many a poor home a lamp burns before the “holy pictures,” we realize that these humble farmers, though often ignorant and uncouth, can sometimes be uplifted by noble thoughts and high aspirations that elevate them above the harsh, monotonous lives they are compelled to lead.
From among the stories which contain the most graphic descriptions of Russian village life, or which may be regarded as specially illustrative of Russian sentiment and humor those which the present chapter contains have been selected. Any information they may convey will necessarily be of a most fragmentary nature, but for all that it may be capable of producing a correct impression. A painter’s rough notes and jottings are often more true to nature than the most finished picture into which they may be developed.
From the stories that vividly depict life in Russian villages or showcase Russian sentiment and humor, the tales included in this chapter have been chosen. Any insights they provide will be quite limited, but they can still create an accurate impression. A painter's rough sketches and notes are often more authentic than the polished paintings that come from them.
The word skazka, or folk-tale, does not very often occur in the Russian popular tales themselves. Still there are occasions on which it appears. The allusions to it are for the most part indirect, as when a princess is said to be more beautiful than anybody ever was, except in a skazka; but sometimes it obtains direct notice. In a story, for instance, of a boy who had been carried off by a Baba Yaga (a species of witch), we are told that when his sister came to his rescue she found him “sitting in an arm-chair, while the cat Jeremiah told him skazkas and sang him songs.”[15] In another story, a Durak,—a “ninny” or “gowk”—is sent to take care of the children of a village during the absence of their parents. “Go and get all the children together in one of the cottages and tell them skazkas,” are his instructions. He collects the children, but as they are “all ever so dirty” [Pg 24] he puts them into boiling water by way of cleansing them, and so washes them to death.[16]
The word skazka, or folk tale, doesn't show up very often in Russian folk tales themselves. However, there are times when it does appear. Most references to it are indirect, such as when a princess is described as being more beautiful than anyone ever was, except in a skazka; but sometimes it gets mentioned directly. In one story, for example, about a boy who was taken away by a Baba Yaga (a type of witch), we learn that when his sister came to rescue him, she found him "sitting in an armchair, while the cat Jeremiah told him skazkas and sang him songs."[15] In another story, a Durak—a “fool” or “simpleton”—is sent to look after the village children during their parents' absence. “Go and gather all the children in one of the cottages and tell them skazkas,” are his instructions. He gathers the children, but since they are “all so dirty,”[Pg 24] he puts them into boiling water to clean them, and ends up washing them to death.[16]
There is a good deal of social life in the Russian villages during the long winter evenings, and at some of the gatherings which then take place skazkas are told, though at those in which only the young people participate, songs, games, and dances are more popular. The following skazka has been selected on account of the descriptions of a vechernitsa, or village soirée,[17] and of a rustic courtship, which its opening scene contains. The rest of the story is not remarkable for its fidelity to modern life, but it will serve as a good illustration of the class to which it belongs—that of stories about evil spirits, traceable, for the most part, to Eastern sources.
There’s a vibrant social life in Russian villages during the long winter evenings, and at some of the gatherings that happen then, skazkas are shared. However, at the ones that only younger people attend, songs, games, and dances are more popular. The following skazka has been chosen because it describes a vechernitsa, or village soirée,[17] and a rustic courtship, which is featured in its opening scene. The rest of the story isn’t particularly accurate to modern life, but it serves as a good example of its genre—stories about evil spirits, mainly derived from Eastern sources.
The Demon.[18]
In a certain country there lived an old couple who had a daughter called Marusia (Mary). In their village it was customary to celebrate the feast of St. Andrew the First-Called (November 30). The girls used to assemble in some cottage, bake pampushki,[19] and enjoy themselves for a whole week, or even longer. Well, the girls met together once when this festival arrived, and brewed and baked what was wanted. In the evening came the lads with the music, bringing liquor with them, and dancing and revelry commenced. All the girls danced well, but Marusia the best of all. After a while there came into the cottage such a fine fellow! Marry, come up! regular blood and milk, and smartly and richly dressed.
In a certain country, there was an old couple who had a daughter named Marusia (Mary). In their village, it was a tradition to celebrate the feast of St. Andrew the First-Called (November 30). The girls would gather in a cottage, bake pampushki,[19] and have fun for a whole week, or even longer. One year, when the festival came around, the girls got together and prepared everything they needed. In the evening, the guys arrived with music, bringing drinks with them, and the dancing and partying began. All the girls danced well, but Marusia danced the best. After a while, a really handsome guy walked into the cottage! He looked like he was made of both blood and milk, and he was dressed smartly and extravagantly.
“Hail, fair maidens!” says he.
"Hey, beautiful ladies!" says he.
“Hail, good youth!” say they.
“Hey, good dude!” they say.
[Pg 25] “You’re merry-making?”
“Are you partying?”
“Be so good as to join us.”
"Join us, please."
Thereupon he pulled out of his pocket a purse full of gold, ordered liquor, nuts and gingerbread. All was ready in a trice, and he began treating the lads and lasses, giving each a share. Then he took to dancing. Why, it was a treat to look at him! Marusia struck his fancy more than anyone else; so he stuck close to her. The time came for going home.
He then pulled a bag full of gold out of his pocket, ordered drinks, nuts, and gingerbread. Everything was ready in no time, and he started treating the guys and girls, giving each of them a portion. Then he began to dance. It was a sight to see! Marusia caught his eye more than anyone else, so he stayed close to her. Eventually, it was time to head home.
“Marusia,” says he, “come and see me off.”
“Marusia,” he says, “come see me off.”
She went to see him off.
She went to say goodbye to him.
“Marusia, sweetheart!” says he, “would you like me to marry you?”
“Marusia, sweetheart!” he says, “do you want to marry me?”
“If you like to marry me, I will gladly marry you. But where do you come from?”
“If you want to marry me, I would be happy to marry you. But where are you from?”
“From such and such a place. I’m clerk at a merchant’s.”
“From this and that place. I work as a clerk at a merchant’s.”
Then they bade each other farewell and separated. When Marusia got home, her mother asked her:
Then they said goodbye to each other and went their separate ways. When Marusia got home, her mother asked her:
“Well, daughter! have you enjoyed yourself?”
“Well, daughter! Did you have a good time?”
“Yes, mother. But I’ve something pleasant to tell you besides. There was a lad there from the neighborhood, good-looking and with lots of money, and he promised to marry me.”
“Yeah, mom. But I have something nice to tell you, too. There was a guy from the neighborhood, really handsome and wealthy, and he promised to marry me.”
“Harkye Marusia! When you go to where the girls are to-morrow, take a ball of thread with you, make a noose in it, and, when you are going to see him off, throw it over one of his buttons, and quietly unroll the ball; then, by means of the thread, you will be able to find out where he lives.”
“Hear me, Marusia! When you go to where the girls are tomorrow, take a ball of thread with you, make a loop in it, and when you’re about to see him off, throw it over one of his buttons and quietly unwind the ball; then, with the thread, you’ll be able to find out where he lives.”
Next day Marusia went to the gathering, and took a ball of thread with her. The youth came again.
Next day, Marusia went to the gathering and brought a ball of thread with her. The young man showed up again.
“Good evening, Marusia!” said he.
"Good evening, Marusia!" he said.
“Good evening!” said she.
“Good evening!” she said.
Games began and dances. Even more than before did he stick to Marusia, not a step would he budge from her. The time came for going home.
Games started and so did the dancing. He clung to Marusia even more than before; he wouldn’t move an inch away from her. It was time to head home.
“Come and see me off, Marusia!” says the stranger.
“Come and see me off, Marusia!” says the stranger.
She went out into the street, and while she was taking leave of him she quietly dropped the noose over one of his buttons. He went his way, but she remained where she was, unrolling the [Pg 26] ball. When she had unrolled the whole of it, she ran after the thread to find out where her betrothed lived. At first the thread followed the road, then it stretched across hedges and ditches, and led Marusia towards the church and right up to the porch. Marusia tried the door; it was locked. She went round the church, found a ladder, set it against a window, and climbed up it to see what was going on inside. Having got into the church, she looked—and saw her betrothed standing beside a grave and devouring a dead body—for a corpse had been left for that night in the church.
She stepped out onto the street, and as she was saying goodbye to him, she quietly slipped the noose over one of his buttons. He walked away, but she stayed where she was, unrolling the [Pg 26] ball of thread. Once she had unrolled all of it, she followed the thread to find out where her fiancé lived. At first, the thread followed the road, then it stretched over hedges and ditches, leading Marusia toward the church and right up to the porch. Marusia tried the door; it was locked. She walked around the church, found a ladder, propped it against a window, and climbed up to see what was happening inside. Once inside the church, she looked—and saw her fiancé standing by a grave, eating a dead body—because a corpse had been left there for the night.
She wanted to get down the ladder quietly, but her fright prevented her from taking proper heed, and she made a little noise. Then she ran home—almost beside herself, fancying all the time she was being pursued. She was all but dead before she got in. Next morning her mother asked her:
She wanted to climb down the ladder quietly, but her fear kept her from being careful, and she made a bit of noise. Then she ran home—almost losing her mind, thinking all the while that someone was chasing her. She was nearly exhausted by the time she got inside. The next morning, her mom asked her:
“Well, Marusia! did you see the youth?”
“Well, Marusia! Did you see the guy?”
“I saw him, mother,” she replied. But what else she had seen she did not tell.
“I saw him, Mom,” she replied. But what else she had seen, she didn’t share.
In the morning Marusia was sitting, considering whether she would go to the gathering or not.
In the morning, Marusia was sitting, thinking about whether she should go to the gathering or not.
“Go,” said her mother. “Amuse yourself while you’re young!”
“Go,” her mom said. “Have fun while you’re young!”
So she went to the gathering; the Fiend[20] was there already. Games, fun, dancing, began anew; the girls knew nothing of what had happened. When they began to separate and go homewards:
So she went to the gathering; the Fiend[20] was already there. Games, fun, and dancing started up again; the girls had no idea what had happened. When they began to break up and head home:
“Come, Marusia!” says the Evil One, “see me off.”
“Come on, Marusia!” says the Evil One, “send me off.”
She was afraid, and didn’t stir. Then all the other girls opened out upon her.
She was scared and didn’t move. Then all the other girls surrounded her.
“What are you thinking about? Have you grown so bashful, forsooth? Go and see the good lad off.”
“What are you thinking about? Have you become so shy, really? Go and see the good guy off.”
There was no help for it. Out she went, not knowing what would come of it. As soon as they got into the streets he began questioning her:
There was no way around it. She stepped out, unsure of what would happen next. As soon as they hit the streets, he started asking her questions:
“You were in the church last night?”
“You were at the church last night?”
[Pg 27] “No.”
“Nope.”
“And saw what I was doing there?”
“And saw what I was doing there?”
“No.”
“No.”
“Very well! To-morrow your father will die!”
“Alright! Tomorrow your dad will die!”
Having said this, he disappeared.
That said, he vanished.
Marusia returned home grave and sad. When she woke up in the morning, her father lay dead!
Marusia came home feeling serious and unhappy. When she woke up in the morning, her father was dead!
They wept and wailed over him, and laid him in the coffin. In the evening her mother went off to the priest’s, but Marusia remained at home. At last she became afraid of being alone in the house. “Suppose I go to my friends,” she thought. So she went, and found the Evil One there.
They cried and sobbed over him, and put him in the coffin. In the evening, her mother went to the priest's, but Marusia stayed home. Eventually, she got scared of being alone in the house. "What if I go to my friends?" she thought. So she went and found the Devil there.
“Good evening, Marusia! why arn’t you merry?”
“Good evening, Marusia! Why aren't you happy?”
“How can I be merry? My father is dead!”
“How can I be happy? My dad is dead!”
“Oh! poor thing!”
“Oh! poor thing!”
They all grieved for her. Even the Accursed One himself grieved; just as if it hadn’t all been his own doing. By and by they began saying farewell and going home.
They all mourned her. Even the Accursed One himself mourned; as if he hadn’t caused it all. Eventually, they began to say their goodbyes and head home.
“Marusia,” says he, “see me off.”
“Marusia,” he says, “come see me off.”
She didn’t want to.
She wasn't interested.
“What are you thinking of, child?” insist the girls. “What are you afraid of? Go and see him off.”
“What are you thinking about, kid?” the girls insist. “What are you scared of? Go say goodbye to him.”
So she went to see him off. They passed out into the street.
So she went to say goodbye to him. They stepped out into the street.
“Tell me, Marusia,” says he, “were you in the church?”
“Tell me, Marusia,” he says, “were you at the church?”
“No.”
“No.”
“Did you see what I was doing?”
“Did you see what I was doing?”
“No.”
“Nope.”
“Very well! To-morrow your mother will die.”
“Alright! Tomorrow your mom will die.”
He spoke and disappeared. Marusia returned home sadder than ever. The night went by; next morning, when she awoke, her mother lay dead! She cried all day long; but when the sun set, and it grew dark around, Marusia became afraid of being left alone; so she went to her companions.
He spoke and then vanished. Marusia went home feeling sadder than ever. The night passed, and the next morning, when she woke up, her mother was dead! She cried all day; but when the sun set and it got dark outside, Marusia became scared of being alone, so she went to her friends.
“Why, whatever’s the matter with you? you’re clean out of countenance!”[21] say the girls.
“What's wrong with you? You look completely out of sorts!”[21] say the girls.
[Pg 28] “How am I likely to be cheerful? Yesterday my father died, and to-day my mother.”
[Pg 28] “How can I possibly feel happy? My father died yesterday, and now my mother is gone today.”
“Poor thing! Poor unhappy girl!” they all exclaim sympathizingly.
“Poor thing! Poor unhappy girl!” they all exclaim sympathetically.
Well, the time came to say good-bye. “See me off, Marusia,” says the Fiend. So she went out to see him off.
Well, the time came to say goodbye. “See me off, Marusia,” says the Fiend. So she went outside to see him off.
“Tell me; were you in the church?”
"Tell me, were you in the church?"
“No.”
“No.”
“And saw what I was doing?”
“And saw what I was doing?”
“No.”
“Nope.”
“Very well! To-morrow evening you will die yourself!”
“Alright! Tomorrow evening, you will die yourself!”
Marusia spent the night with her friends; in the morning she got up and considered what she should do. She bethought herself that she had a grandmother—an old, very old woman, who had become blind from length of years. “Suppose I go and ask her advice,” she said, and then went off to her grandmother’s.
Marusia spent the night with her friends; in the morning, she got up and thought about what she should do. She remembered that she had a grandmother—an old, very old woman, who had become blind from old age. “Maybe I should go and ask her for advice,” she said, and then headed to her grandmother’s.
“Good-day, granny!” says she.
“Hey, Grandma!” she says.
“Good-day, granddaughter! What news is there with you? How are your father and mother?”
“Good day, granddaughter! What’s new with you? How are your mom and dad?”
“They are dead, granny,” replied the girl, and then told her all that had happened.
“They're dead, grandma,” the girl replied, and then she told her everything that had happened.
The old woman listened, and said:—
The old woman listened and said:—
“Oh dear me! my poor unhappy child! Go quickly to the priest, and ask him this favor—that if you die, your body shall not be taken out of the house through the doorway, but that the ground shall be dug away from under the threshold, and that you shall be dragged out through that opening. And also beg that you may be buried at a crossway, at a spot where four roads meet.”
“Oh dear! My poor, unhappy child! Go quickly to the priest and ask him for this favor—that if you die, your body shouldn't be taken out of the house through the doorway, but instead, the ground should be dug away from under the threshold, and you should be pulled out through that opening. Also, please ask to be buried at a crossroad, where four roads meet.”
Marusia went to the priest, wept bitterly, and made him promise to do everything according to her grandmother’s instructions. Then she returned home, bought a coffin, lay down in it, and straightway expired.
Marusia went to the priest, cried hard, and made him promise to follow her grandmother’s instructions. Then she went home, bought a coffin, lay down in it, and immediately died.
Well, they told the priest, and he buried, first her father and [Pg 29] mother, and then Marusia herself. Her body was passed underneath the threshold and buried at a crossway.
Well, they told the priest, and he buried, first her father and [Pg 29] mother, and then Marusia herself. Her body was taken under the threshold and buried at a crossroads.
Soon afterwards a seigneur’s son happened to drive past Marusia’s grave. On that grave he saw growing a wondrous flower, such a one as he had never seen before. Said the young seigneur to his servant:—
Soon after, a nobleman's son happened to ride by Marusia's grave. On that grave, he saw a beautiful flower growing, unlike anything he had ever seen before. The young noble said to his servant:—
“Go and pluck up that flower by the roots. We’ll take it home and put it in a flower-pot. Perhaps it will blossom there.”
“Go and pull up that flower by the roots. We’ll take it home and plant it in a pot. Maybe it will bloom there.”
Well, they dug up the flower, took it home, put it in a glazed flower-pot, and set it in a window. The flower began to grow larger and more beautiful. One night the servant hadn’t gone to sleep somehow, and he happened to be looking at the window, when he saw a wondrous thing take place. All of a sudden the flower began to tremble, then it fell from its stem to the ground, and turned into a lovely maiden. The flower was beautiful, but the maiden was more beautiful still. She wandered from room to room, got herself various things to eat and drink, ate and drank, then stamped upon the ground and became a flower as before, mounted to the window, and resumed her place upon the stem. Next day the servant told the young seigneur of the wonders which he had seen during the night.
Well, they dug up the flower, took it home, put it in a ceramic pot, and set it in a window. The flower began to grow larger and more beautiful. One night, the servant couldn't sleep and happened to be looking at the window when he saw something amazing happen. Suddenly, the flower started to shake, then it fell from its stem to the ground and transformed into a lovely maiden. The flower was beautiful, but the maiden was even more stunning. She wandered from room to room, found herself some food and drink, ate and drank, then stamped on the ground and turned back into a flower, climbed back to the window, and resumed her place on the stem. The next day, the servant told the young lord about the incredible things he had witnessed during the night.
“Ah, brother!” said the youth, “why didn’t you wake me? To-night we’ll both keep watch together.”
“Hey, bro!” said the young man, “why didn’t you wake me? Tonight we’ll both keep watch together.”
The night came; they slept not, but watched. Exactly at twelve o’clock the blossom began to shake, flew from place to place, and then fell to the ground, and the beautiful maiden appeared, got herself things to eat and drink, and sat down to supper. The young seigneur rushed forward and seized her by her white hands. Impossible was it for him sufficiently to look at her, to gaze on her beauty!
The night fell; they didn’t sleep but kept watch. Exactly at midnight, the flower began to tremble, moved from one spot to another, and then dropped to the ground. The beautiful woman appeared, gathered food and drink, and sat down to eat. The young lord rushed forward and took her by her delicate hands. It was impossible for him to take his eyes off her, to behold her beauty!
Next morning he said to his father and mother, “Please allow me to get married. I’ve found myself a bride.”
Next morning he said to his mom and dad, “Please let me get married. I’ve found a bride.”
His parents gave their consent. As for Marusia, she said:
His parents agreed. As for Marusia, she said:
“Only on this condition will I marry you—that for four years I need not go to church.”
“I'm only agreeing to marry you if I don’t have to go to church for four years.”
[Pg 30] “Very good,” said he.
“Very good,” he said.
Well, they were married, and they lived together one year, two years, and had a son. But one day they had visitors at their house, who enjoyed themselves, and drank, and began bragging about their wives. This one’s wife was handsome; that one’s was handsomer still.
Well, they got married and lived together for a year, then two years, and had a son. But one day, they had some guests over who had a good time, drank, and started boasting about their wives. This guy's wife was good-looking; that guy's was even more attractive.
“You may say what you like,” says the host, “but a handsomer wife than mine does not exist in the whole world!”
“You can say whatever you want,” replies the host, “but there’s no prettier wife than mine anywhere in the world!”
“Handsome, yes!” reply the guests, “but a heathen.”
“Good-looking, sure!” reply the guests, “but uncivilized.”
“How so?”
"How come?"
“Why, she never goes to church.”
“Why, she never goes to church.”
Her husband found these observations distasteful. He waited till Sunday, and then told his wife to get dressed for church.
Her husband found these comments unpleasant. He waited until Sunday and then told his wife to get ready for church.
“I don’t care what you may say,” says he. “Go and get ready directly.”
“I don’t care what you say,” he says. “Go and get ready right now.”
Well, they got ready, and went to church. The husband went in—didn’t see anything particular. But when she looked round—there was the Fiend sitting at a window.
Well, they got ready and went to church. The husband went in—didn’t notice anything unusual. But when she looked around—there was the Fiend sitting at a window.
“Ha! here you are, at last!” he cried. “Remember old times. Were you in the church that night?”
“Ha! There you are, finally!” he exclaimed. “Remember the good old days. Were you at the church that night?”
“No.”
“No.”
“And did you see what I was doing there?”
“And did you see what I was doing there?”
“No.”
“Nope.”
“Very well! To-morrow both your husband and your son will die.”
“Alright! Tomorrow, both your husband and your son will die.”
Marusia rushed straight out of the church and away to her grandmother. The old woman gave her two phials, the one full of holy water, the other of the water of life, and told her what she was to do. Next day both Marusia’s husband and her son died. Then the Fiend came flying to her and asked:—
Marusia hurried out of the church and ran to her grandmother. The old woman gave her two vials, one filled with holy water and the other with the water of life, and explained what she needed to do. The next day, both Marusia’s husband and her son passed away. Then the Fiend came zooming toward her and asked:—
“Tell me; were you in the church?”
“Tell me, were you in the church?”
“I was.”
"I am."
“And did you see what I was doing?”
“And did you see what I was doing?”
“You were eating a corpse.”
“You were eating a body.”
She spoke, and splashed the holy water over him; in a [Pg 31] moment he turned into mere dust and ashes, which blew to the winds. Afterwards she sprinkled her husband and her boy with the water of life: straightway they revived. And from that time forward they knew neither sorrow nor separation, but they all lived together long and happily.[22]
She spoke and splashed holy water on him; in an instant, he turned to dust and ashes, which blew away in the wind. Afterwards, she sprinkled her husband and son with the water of life: immediately, they came back to life. From that point on, they knew neither sorrow nor separation, and they all lived together for a long time, happily.
Another lively sketch of a peasant’s love-making is given in the introduction to the story of “Ivan the widow’s son and Grisha.”[23] The tale is one of magic and enchantment, of living clouds and seven-headed snakes; but the opening is a little piece of still-life very quaintly portrayed. A certain villager, named Trofim, having been unable to find a wife, his Aunt Melania comes to his aid, promising to procure him an interview with a widow who has been left well provided for, and whose personal appearance is attractive—“real blood and milk! When she’s got on her holiday clothes, she’s as fine as a peacock!” Trofim grovels with gratitude at his aunt’s feet. “My own dear auntie, Melania Prokhorovna, get me married for heaven’s sake! I’ll buy you an embroidered kerchief in return, the very best in the whole market.” The widow comes to pay Melania a visit, and is induced to believe, on the evidence of beans (frequently used for the purpose of divination), that her destined husband is close at hand. At this propitious [Pg 32] moment Trofim appears. Melania makes a little speech to the young couple, ending her recommendation to get married with the words:—
Another lively description of a peasant’s courtship is found in the introduction to the story of “Ivan the Widow’s Son and Grisha.”[23] The story is filled with magic and wonder, featuring living clouds and seven-headed snakes; however, the beginning captures a charming slice of life. A villager named Trofim, unable to find a wife, receives help from his Aunt Melania, who promises to set up a meeting with a widow who is well-off and attractive—“an absolute delight! When she wears her best clothes, she looks stunning!” Trofim expresses his gratitude to his aunt, saying, “My dear Aunt Melania Prokhorovna, please help me get married! I’ll buy you the best embroidered handkerchief in the entire market in return.” The widow visits Melania and is convinced, based on some beans (often used for telling fortunes), that her future husband is nearby. At this promising moment, Trofim shows up. Melania gives a little speech to the couple, ending her advice to get married with the words:—
“I can see well enough by the bridegroom’s eyes that the bride is to his taste, only I don’t know what the bride thinks about taking him.”
“I can tell by the bridegroom’s eyes that he’s into the bride, but I’m not sure what the bride thinks about marrying him.”
“I don’t mind!” says the widow. “Well, then, glory be to God! Now, stand up, we’ll say a prayer before the Holy Pictures; then give each other a kiss, and go in Heaven’s name and get married at once!” And so the question is settled.
“I don’t mind!” says the widow. “Well, then, glory be to God! Now, stand up, we’ll say a prayer before the Holy Pictures; then give each other a kiss, and go in Heaven’s name and get married at once!” And so the question is settled.
From a courtship and a marriage in peasant life we may turn to a death and a burial. There are frequent allusions in the Skazkas to these gloomy subjects, with reference to which we will quote two stories, the one pathetic, the other (unintentionally) grotesque. Neither of them bears any title in the original, but we may style the first—
From a dating and marriage in peasant life, we can shift to a death and a burial. There are many mentions in the Skazkas about these somber topics, and to illustrate this, we'll share two stories: one is touching, while the other is (unintentionally) funny. Neither of them has a title in the original, but we might call the first—
The Deceased Mother.[24]
In a certain village there lived a husband and wife—lived happily, lovingly, peaceably. All their neighbors envied them; the sight of them gave pleasure to honest folks. Well, the mistress bore a son, but directly after it was born she died. The poor moujik moaned and wept. Above all he was in despair about the babe. How was he to nourish it now? how to bring it up without its mother? He did what was best, and hired an old woman to look after it. Only here was a wonder! all day long the babe would take no food, and did nothing but cry; there was no soothing it anyhow. But during (a great part of) the night one could fancy it wasn’t there at all, so silently and peacefully did it sleep.
In a certain village, there lived a husband and wife who were happy, loving, and peaceful. All their neighbors envied them; seeing them brought joy to good people. Then, the wife had a baby, but she died shortly after giving birth. The poor man mourned and cried. Above all, he was heartbroken about the baby. How was he supposed to feed it now? How could he raise it without its mother? He did the best he could and hired an old woman to take care of it. But here’s the strange part! All day long, the baby wouldn’t eat and just cried; nothing seemed to calm it down. Yet during most of the night, it was so quiet and peaceful while sleeping that you could hardly tell it was there at all.
[Pg 33] “What’s the meaning of this?” thinks the old woman; “suppose I keep awake to-night; may be I shall find out.”
[Pg 33] “What’s going on here?” thinks the old woman; “maybe if I stay awake tonight, I’ll figure it out.”
Well, just at midnight she heard some one quietly open the door and go up to the cradle. The babe became still, just as if it was being suckled.
Well, just at midnight she heard someone quietly open the door and move to the cradle. The baby grew still, as if it were being nursed.
The next night the same thing took place, and the third night, too. Then she told the moujik about it. He called his kinsfolk together, and held counsel with them. They determined on this; to keep awake on a certain night, and to spy out who it was that came to suckle the babe. So at eventide they all lay down on the floor, and beside them they set a lighted taper hidden in an earthen pot.
The next night, the same thing happened again, and it happened on the third night, too. Then she told the peasant about it. He gathered his family together and discussed it with them. They decided to stay awake on a specific night to find out who was coming to nurse the baby. So, in the evening, they all lay down on the floor, and beside them, they placed a lit candle hidden in a clay pot.
At midnight the cottage door opened. Some one stepped up to the cradle. The babe became still. At that moment one of the kinsfolk suddenly brought out the light. They looked, and saw the dead mother, in the very same clothes in which she had been buried, on her knees besides the cradle, over which she bent as she suckled the babe at her dead breast.
At midnight, the door to the cottage swung open. Someone approached the cradle. The baby fell silent. Just then, a relative suddenly brought in a light. They looked and saw the dead mother, wearing the same clothes she had been buried in, kneeling by the cradle, leaning over it as she nursed the baby at her lifeless breast.
The moment the light shone in the cottage she stood up, gazed sadly on her little one, and then went out of the room without a sound, not saying a word to anyone. All those who saw her stood for a time terror-struck; and then they found the babe was dead.[25]
The moment the light came on in the cottage, she stood up, looked sadly at her baby, and then quietly left the room without saying a word to anyone. Everyone who saw her stood frozen in shock for a moment; then they realized the baby was dead.[25]
The second story will serve as an illustration of one of the Russian customs with respect to the dead, and also of the ideas about witchcraft, still prevalent in Russia. We may create for it the title of—
The second story will act as an example of one of the Russian traditions regarding the deceased, as well as the beliefs about witchcraft that are still common in Russia. We might give it the title of—
The Cursed Witch.[26]
There was once an old woman who was a terrible witch, and she had a daughter and a granddaughter. The time came for the old crone to die, so she summoned her daughter and gave her these instructions:
There was once an old woman who was a terrible witch, and she had a daughter and a granddaughter. The time came for the old crone to die, so she called her daughter and gave her these instructions:
“Mind, daughter! when I’m dead, don’t you wash my body with lukewarm water; but fill a cauldron, make it boil its very hottest, and then with that boiling water regularly scald me all over.”
“Listen, daughter! When I’m gone, don’t wash my body with lukewarm water; instead, fill a cauldron, bring it to a full boil, and then pour that boiling water over me completely.”
After saying this, the witch lay ill two or three days, and then died. The daughter ran round to all her neighbors, begging them to come and help her to wash the old woman, and meantime the little granddaughter was left all alone in the cottage. And this is what she saw there. All of a sudden there crept out from beneath the stove two demons—a big one and a tiny one—and they ran up to the dead witch. The old demon seized her by the feet, and tore away at her so that he stripped off all her skin at one pull. Then he said to the little demon:
After saying this, the witch was sick for a couple of days, and then she passed away. The daughter ran to all her neighbors, asking them to come and help her wash the old woman, while the little granddaughter was left all alone in the cottage. And this is what she saw there. Suddenly, two demons crawled out from beneath the stove—a big one and a tiny one—and they rushed up to the dead witch. The old demon grabbed her by the feet and yanked on her so hard that he pulled off all her skin in one go. Then he said to the little demon:
“Take the flesh for yourself, and lug it under the stove.”
“Take the meat for yourself, and drag it under the stove.”
So the little demon flung his arms round the carcase, and dragged it under the stove. Nothing was left of the old woman but her skin. Into it the old demon inserted himself, and then he lay down just where the witch had been lying.
So the little demon wrapped his arms around the body and pulled it under the stove. All that was left of the old woman was her skin. The old demon slipped into it, and then he lay down exactly where the witch had been lying.
Presently the daughter came back, bringing a dozen other women with her, and they all set to work laying out the corpse.
Currently, the daughter returned with a dozen other women, and they all got to work preparing the body.
“Mammy,” says the child, “they’ve pulled granny’s skin off while you were away.”
“Mammy,” says the child, “they took off granny’s skin while you were gone.”
“What do you mean by telling such lies?”
"What do you mean by saying such lies?"
“It’s quite true, Mammy! There was ever such a blackie came from under the stove, and he pulled the skin off, and got into it himself.”
“It’s totally true, Mom! There was this little black creature that came out from under the stove, and it took off its skin and put it on itself.”
“Hold your tongue, naughty child! you’re talking nonsense!” cried the old crone’s daughter; then she fetched a big cauldron, filled it with cold water, put it on the stove, and heated it till it [Pg 35] boiled furiously. Then the women lifted up the old crone, laid her in a trough, took hold of the cauldron, and poured the whole of the boiling water over her at once. The demon couldn’t stand it. He leaped out of the trough, dashed through the doorway, and disappeared, skin and all. The women stared:
“Be quiet, you naughty child! You’re just talking craziness!” shouted the old woman's daughter. Then she grabbed a large cauldron, filled it with cold water, placed it on the stove, and heated it until it [Pg 35] boiled violently. Then the women lifted the old crone, laid her in a trough, took the cauldron, and poured all the boiling water over her at once. The demon couldn’t take it. He jumped out of the trough, dashed through the doorway, and vanished, skin and all. The women stared:
“What marvel is this?” they cried. “Here was the dead woman, and now she isn’t here. There’s nobody left to lay out or to bury. The demons have carried her off before our very eyes!”[27]
“What a wonder this is?” they shouted. “The dead woman was here, and now she’s gone. There’s no one left to prepare or bury. The demons have taken her away right before our eyes!”[27]
A Russian peasant funeral is preceded or accompanied by a considerable amount of wailing, which answers in some respect to the Irish “keening.” To the zaplachki,[28] or laments, which are uttered on such occasions—frequently by hired wailers, who closely resemble the Corsican “vociferators,” the modern Greek “myrologists”—allusions are sometimes made in the Skazkas. In the “Fox-wailer,”[29] for example—one of the variants of the well-known “Jack and the Beanstalk” story—an old man puts his wife in a bag and attempts to carry her up the beanstalk to heaven. Becoming tired on the way, he drops the bag, and the old woman is killed. After weeping over her dead body he sets out in search of a Wailer. Meeting a bear, he cries, “Wail a bit, Bear, for my old woman! I’ll give you a pair of nice white fowls.” The bear growls [Pg 36] out “Oh, dear granny of mine! how I grieve for thee!” “No, no!” says the old man, “you can’t wail.” Going a little further he tries a wolf, but the wolf succeeds no better than the bear. At last a fox comes by, and on being appealed to, begins to cry aloud “Turu-Turu, grandmother! grandfather has killed thee!”—a wail which pleases the widower so much that he hands over the fowls to the fox at once, and asks, enraptured, for “that strain again!”[30]
A Russian peasant funeral is marked by a lot of wailing, similar to the Irish “keening.” During the zaplachki,[28] or laments, often performed by hired mourners who look a lot like the Corsican “vociferators” or the modern Greek “myrologists,” references are sometimes made in the Skazkas. In the “Fox-wailer,”[29] for example—one of the versions of the well-known “Jack and the Beanstalk” tale—an old man puts his wife in a bag and tries to carry her up the beanstalk to heaven. He gets tired along the way, drops the bag, and ends up killing the old woman. After mourning over her body, he sets off to find a Wailer. He encounters a bear and says, “Wail a bit, Bear, for my old woman! I’ll give you a pair of nice white hens.” The bear growls out “Oh, dear granny of mine! how I grieve for thee!” “No, no!” the old man replies, “you can’t wail.” Moving on a bit, he tries a wolf, but the wolf isn't any better than the bear. Finally, a fox comes along, and when asked, starts to cry out “Turu-Turu, grandmother! grandfather has killed thee!”—a wail that pleases the widower so much that he immediately gives the fox the hens and asks, thrilled, for “that chant again!”[30]
One of the most curious of the stories which relate to a village burial,—one in which also the feeling with which the Russian villagers sometimes regard their clergy finds expression—is that called—
One of the most intriguing stories about a village burial, which also reflects how some Russian villagers feel about their clergy, is called—
The Treasure.[31]
In a certain kingdom there lived an old couple in great poverty. Sooner or later the old woman died. It was in winter, in severe and frosty weather. The old man went round to his friends and neighbors, begging them to help him to dig a grave for the old woman; but his friends and neighbors, knowing his great poverty, all flatly refused. The old man went to the pope,[32] (but in that village they had an awfully grasping pope, one without any conscience), and says he:—
In a certain kingdom, there was an elderly couple living in extreme poverty. Eventually, the old woman passed away during the winter, in harsh and freezing weather. The old man went around to his friends and neighbors, asking for help to dig a grave for her; however, knowing his dire situation, they all outright refused. The old man then went to the pope,[32] (but in that village, they had a very greedy pope, one without any morals), and said:—
“Lend a hand, reverend father, to get my old woman buried.”
“Help me out, father, to get my wife buried.”
“But have you got any money to pay for the funeral? if so, friend, pay up beforehand!”
“But do you have any money to cover the funeral? If you do, my friend, pay up in advance!”
“It’s no use hiding anything from you. Not a single copeck have I at home. But if you’ll wait a little, I’ll earn some, and then I’ll pay you with interest—on my word I’ll pay you!”
“It’s no use hiding anything from you. I don’t have a single penny at home. But if you wait a bit, I’ll earn some, and then I’ll pay you back with interest—I promise I will!”
The pope wouldn’t so much as listen to the old man.
The pope wouldn’t even listen to the old man.
[Pg 37] “If you haven’t any money, don’t you dare to come here,” says he.
[Pg 37] “If you don’t have any money, don’t you even think about coming here,” he says.
“What’s to be done?” thinks the old man. “I’ll go to the graveyard, dig a grave as I best can, and bury the old woman myself.” So he took an axe and a shovel, and went to the graveyard. When he got there he began to prepare a grave. He chopped away the frozen ground on the top with the axe, and then he took to the shovel. He dug and dug, and at last he dug out a metal pot. Looking into it he saw that it was stuffed full of ducats that shone like fire. The old man was immensely delighted, and cried, “Glory be to Thee, O Lord! I shall have wherewithal both to bury my old woman, and to perform the rites of remembrance.”
“What should I do?” thinks the old man. “I’ll head to the graveyard, dig a grave the best I can, and bury the old woman myself.” So he grabbed an axe and a shovel and went to the graveyard. Once he arrived, he started preparing a grave. He chopped away the frozen topsoil with the axe, then took up the shovel. He dug and dug, and finally uncovered a metal pot. Looking inside, he found it filled with ducats that sparkled like fire. The old man was incredibly happy and shouted, “Glory be to You, O Lord! I’ll have enough to both bury my old woman and perform the rites of remembrance.”
He did not go on digging the grave any longer, but took the pot of gold and carried it home. Well, we all know what money will do—everything went as smooth as oil! In a trice there were found good folks to dig the grave and fashion the coffin. The old man sent his daughter-in-law to purchase meat and drink and different kind of relishes—everything there ought to be at memorial feasts—and he himself took a ducat in his hand and hobbled back again to the pope’s. The moment he reached the door, out flew the pope at him.
He stopped digging the grave and took the pot of gold home. Well, we all know what money can do—everything went smoothly! In no time, good people were found to dig the grave and make the coffin. The old man sent his daughter-in-law to buy meat, drinks, and various tasty dishes—everything that should be at memorial feasts—and he took a ducat in his hand and hobbled back to the pope’s. As soon as he reached the door, the pope came rushing out to him.
“You were distinctly told, you old lout, that you were not to come here without money; and now you’ve slunk back again.”
“You were clearly told, you old fool, that you weren’t supposed to come here without money; and now you’ve crept back again.”
“Don’t be angry, batyushka,”[33] said the old man imploringly. “Here’s gold for you. If you’ll only bury my old woman, I’ll never forget your kindness.”
“Don’t be mad, grandpa,”[33] said the old man earnestly. “Here’s some gold for you. If you just help me bury my wife, I’ll always remember your kindness.”
The pope took the money, and didn’t know how best to receive the old man, where to seat him, with what words to smooth him down. “Well now, old friend! Be of good cheer; everything shall be done,” said he.
The pope took the money, unsure of how to welcome the old man, where to put him, or what to say to put him at ease. “Well now, old friend! Don't worry; everything will be taken care of,” he said.
The old man made his bow, and went home, and the pope and his wife began talking about him.
The old man took his bow and went home, while the pope and his wife started discussing him.
“There now, the old hunks!” they say. “So poor, forsooth, [Pg 38] so poor! And yet he’s paid a gold piece. Many a defunct person of quality have I buried in my time, but I never got so from anyone before.”
“There now, the old miser!” they say. “So poor, truly, [Pg 38] so poor! And yet he’s paid a gold coin. I’ve buried many a dead noble in my time, but I’ve never received that much from anyone before.”
The pope got under weigh with all his retinue, and buried the old crone in proper style. After the funeral the old man invited him to his house, to take part in the feast in memory of the dead. Well, they entered the cottage, and sat down to table—and there appeared from somewhere or other meat and drink and all sorts of snacks, everything in profusion. The (reverend) guest sat down, ate for three people, looked greedily at what was not his. The (other) guests finished their meal, and separated to go to their homes; then the pope also rose from the table. The old man went to speed him on his way. As soon as they got into the farmyard, and the pope saw they were alone at last, he began questioning the old man: “Listen, friend! confess to me, don’t leave so much as a single sin on your soul—it’s just the same before me as before God! How have you managed to get on at such a pace? You used to be a poor moujik, and now—marry! where did it come from? Confess, friend, whose breath have you stopped? whom have you pillaged?”
The pope set out with all his entourage and buried the old woman in style. After the funeral, the old man invited him to his home to join the feast in memory of the deceased. They entered the cottage and sat down at the table, where food and drinks appeared out of nowhere, along with all kinds of snacks, everything in abundance. The reverend guest sat down, ate enough for three people, and looked greedily at what wasn't his. Once the other guests finished their meal and left for their homes, the pope got up from the table too. The old man went to see him off. As soon as they stepped into the farmyard and the pope noticed they were alone at last, he started questioning the old man: “Listen, friend! Confess to me, don’t leave even a single sin on your soul—it's the same before me as before God! How have you managed to prosper so quickly? You used to be a poor peasant, and now—goodness! Where did all this come from? Confess, friend, whose breath have you taken? Whom have you robbed?”
“What are you talking about, batyushka? I will tell you the exact truth. I have not robbed, nor plundered, nor killed anyone. A treasure tumbled into my hands of its own accord.”
“What are you talking about, Dad? I’ll be completely honest with you. I haven’t robbed, looted, or killed anyone. A treasure just fell into my hands.”
And he told him how it all happened. When the pope heard these words he actually shook all over with greediness. Going home, he did nothing by night and by day but think, “That such a wretched lout of a moujik should have come in for such a lump of money! Is there any way of tricking him now, and getting this pot of money out of him?” He told his wife about it, and he and she discussed the matter together, and held counsel over it.
And he explained everything that had happened. When the pope heard this, he was trembling with greed. On his way home, he couldn't stop thinking, “How could such a pathetic peasant come into so much money? Is there any way to trick him and get that cash from him?” He shared this with his wife, and together they talked it over and planned what to do.
“Listen, mother,” says he; “we’ve a goat, haven’t we?”
“Listen, Mom,” he says; “we have a goat, right?”
“Yes.”
"Yep."
“All right, then; we’ll wait until it’s night, and then we’ll do the job properly.”
“All right, then; we’ll wait until night, and then we’ll do the job right.”
[Pg 39] Late in the evening the pope dragged the goat indoors, killed it, and took off its skin—horns, beard, and all complete. Then he pulled the goat’s skin over himself and said to his wife:
[Pg 39] Late in the evening, the pope brought the goat inside, killed it, and removed its skin—horns, beard, and everything. Then he pulled the goat’s skin over himself and said to his wife:
“Bring a needle and thread, mother, and fasten up the skin all round, so that it mayn’t slip off.”
“Bring a needle and thread, Mom, and stitch up the skin all around, so it doesn’t come off.”
So she took a strong needle, and some tough thread, and sewed him up in the goatskin. Well, at the dead of night, the pope went straight to the old man’s cottage, got under the window, and began knocking and scratching. The old man hearing the noise, jumped up and asked:
So she grabbed a sturdy needle and some heavy-duty thread, and stitched him up in the goatskin. Well, in the dead of night, the pope went directly to the old man’s cottage, knelt by the window, and started knocking and scratching. The old man, hearing the noise, jumped up and asked:
“Who’s there?”
"Who's there?"
“The Devil!”
"Devil!"
“Ours is a holy spot![34]” shrieked the moujik, and began crossing himself and uttering prayers.
“Ours is a holy place![34]” shouted the peasant, and started crossing himself and saying prayers.
“Listen, old man,” says the pope, “From me thou will not escape, although thou may’st pray, although thou may’st cross thyself; much better give me back my pot of money, otherwise I will make thee pay for it. See now, I pitied thee in thy misfortune, and I showed thee the treasure, thinking thou wouldst take a little of it to pay for the funeral, but thou hast pillaged it utterly.”
“Listen, old man,” says the pope, “You won’t get away from me, even if you pray or cross yourself; it’s much better if you just give me back my pot of money, or else I’ll make you pay for it. Look, I felt sorry for you in your misfortune, and I showed you the treasure, thinking you would take a little of it to pay for the funeral, but you’ve completely plundered it.”
The old man looked out of window—the goat’s horns and beard caught his eye—it was the Devil himself, no doubt of it.
The old man looked out the window—the goat’s horns and beard caught his eye—it was the Devil himself, no question about it.
“Let’s get rid of him, money and all,” thinks the old man; “I’ve lived before now without money, and now I’ll go on living without it.”
“Let’s get rid of him, money and all,” thinks the old man; “I’ve lived without money before, and I’ll keep living without it now.”
So he took the pot of gold, carried it outside, flung it on the ground, and bolted indoors again as quickly as possible.
So he grabbed the pot of gold, took it outside, tossed it on the ground, and rushed back inside as fast as he could.
The pope seized the pot of money, and hastened home. When he got back, “Come,” says he, “the money is in our hands now. Here, mother, put it well out of sight, and take a sharp knife, cut the thread, and pull the goatskin off me before anyone sees it.”
The pope grabbed the pot of money and rushed home. When he arrived, he said, “Come on, the money is ours now. Here, Mom, put it away somewhere safe, and take a sharp knife, cut the thread, and pull the goatskin off me before anyone notices.”
She took a knife, and was beginning to cut the thread at the seam, when forth flowed blood, and the pope began to howl:
She grabbed a knife and started to cut the thread at the seam when blood started to flow, and the pope began to scream.
[Pg 40] “Oh! it hurts, mother, it hurts! don’t cut mother, don’t cut!”
[Pg 40] “Oh! It hurts, mom, it hurts! Don’t cut, mom, don’t cut!”
She began ripping the skin open in another place, but with just the same result. The goatskin had united with his body all round. And all that they tried, and all that they did, even to taking the money back to the old man, was of no avail. The goatskin remained clinging tight to the pope all the same. God evidently did it to punish him for his great greediness.
She started tearing the skin open in another spot, but got the same outcome. The goatskin had fused with his body all around. Everything they tried and did, even returning the money to the old man, was useless. The goatskin stayed tightly attached to the pope regardless. Clearly, God was punishing him for his enormous greed.
A somewhat less heathenish story with regard to money is the following, which may be taken as a specimen of the Skazkas which bear the impress of the genuine reverence which the peasants feel for their religion, whatever may be the feelings they entertain towards its ministers. While alluding to this subject, by the way, it may be as well to remark that no great reliance can be placed upon the evidence contained in the folk-tales of any land, with respect to the relations between its clergy and their flocks. The local parson of folk-lore is, as a general rule, merely the innocent inheritor of the bad reputation acquired by some ecclesiastic of another age and clime.
A somewhat less crude story about money is the following, which can be seen as an example of the Skazkas that reflect the genuine respect the peasants have for their religion, regardless of their feelings towards its leaders. While mentioning this, it’s worth noting that you can’t really trust the evidence found in folk-tales of any place regarding the relationships between clergy and their congregations. The local priest in folk-lore is, in general, just the unfortunate bearer of the negative reputation earned by some clergyman from a different time and place.
The Cross-Surety.[35]
Once upon a time two merchants lived in a certain town just on the verge of a stream. One of them was a Russian, the other a Tartar; both were rich. But the Russian got so utterly ruined by some business or other that he hadn’t a single bit of property left. Everything he had was confiscated or stolen. The Russian merchant had nothing to turn to—he was left as poor as a rat.[36] So he went to his friend the Tartar, and besought him to lend him some money.
Once upon a time, two merchants lived in a town right by a stream. One was Russian, the other was Tartar; both were wealthy. But the Russian merchant fell into such deep trouble with his business that he lost everything he had. All of his possessions were either taken away or stolen. The Russian merchant had nowhere to turn—he was as broke as could be. So he went to his friend the Tartar and asked him to lend him some money.
“Get me a surety,” says the Tartar.
“Get me a guarantee,” says the Tartar.
“But whom can I get for you, seeing that I haven’t a soul [Pg 41] belonging to me? Stay, though! there’s a surety for you, the life-giving cross on the church!”
“But who can I get for you since I don’t have anyone [Pg 41] of my own? Wait! Here’s a guarantee for you, the life-giving cross at the church!”
“Very good, my friend!” says the Tartar. “I’ll trust your cross. Your faith or ours, it’s all one to me.”
“Sounds great, my friend!” says the Tartar. “I’ll trust your cross. Whether it’s your faith or ours, it’s all the same to me.”
And he gave the Russian merchant fifty thousand roubles. The Russian took the money, bade the Tartar farewell, and went back to trade in divers places.
And he gave the Russian merchant fifty thousand roubles. The Russian took the money, said goodbye to the Tartar, and went back to trading in various places.
By the end of two years he had gained a hundred and fifty thousand roubles by the fifty thousand he had borrowed. Now he happened to be sailing one day along the Danube, going with wares from one place to another, when all of a sudden a storm arose, and was on the point of sinking the ship he was in. Then the merchant remembered how he had borrowed money, and given the life-giving cross as a surety, but had not paid his debt. That was doubtless the cause of the storm arising! No sooner had he said this to himself than the storm began to subside. The merchant took a barrel, counted out fifty thousand roubles, wrote the Tartar a note, placed it, together with the money, in the barrel, and then flung the barrel into the water, saying to himself: “As I gave the cross as my surety to the Tartar, the money will be certain to reach him.”
By the end of two years, he had made a hundred and fifty thousand roubles from the fifty thousand he had borrowed. One day, while sailing along the Danube with goods, a sudden storm hit, threatening to sink his ship. The merchant then remembered that he had borrowed money and given the life-giving cross as collateral but had not repaid his debt. Surely, that was what caused the storm! As soon as he thought this, the storm began to calm down. The merchant took a barrel, counted out fifty thousand roubles, wrote a note to the Tartar, placed it with the money in the barrel, and tossed it into the water, telling himself, “Since I gave the cross as collateral to the Tartar, the money will definitely reach him.”
The barrel straightway sank to the bottom; everyone supposed the money was lost. But what happened? In the Tartar’s house there lived a Russian kitchen-maid. One day she happened to go to the river for water, and when she got there she saw a barrel floating along. So she went a little way into the water and began trying to get hold of it. But it wasn’t to be done! When she made at the barrel, it retreated from her: when she turned from the barrel to the shore, it floated after her. She went on trying and trying for some time, then she went home and told her master all that had happened. At first he wouldn’t believe her, but at last he determined to go to the river and see for himself what sort of barrel it was that was floating there. When he got there—sure enough there was the barrel floating, and not far from the shore. The Tartar took off his clothes and went into the water; before he had gone any [Pg 42] distance the barrel came floating up to him of its own accord. He laid hold of it, carried it home, opened it, and looked inside. There he saw a quantity of money, and on top of the money a note. He took out the note and read it, and this is what was said in it:—
The barrel quickly sank to the bottom, and everyone thought the money was lost. But what happened next? In the Tartar's house, there was a Russian kitchen maid. One day, she went to the river for water, and when she got there, she saw a barrel floating by. So, she waded a little into the water and tried to grab it. But it was no use! Whenever she reached for the barrel, it floated away from her; when she turned to go back to the shore, it followed her. She kept trying for a while, then went home and told her master everything that had happened. At first, he didn't believe her, but eventually, he decided to go to the river and see for himself what type of barrel was floating there. When he arrived—sure enough, there was the barrel, not far from the shore. The Tartar took off his clothes and waded into the water; before he had gone very far, the barrel floated right up to him. He grabbed it, took it home, opened it, and looked inside. There, he saw a bunch of money, and on top of the cash, there was a note. He took out the note and read it, and this is what it said:—
“Dear friend! I return to you the fifty thousand roubles for which, when I borrowed them from you, I gave the life-giving cross as a surety.”
“Dear friend! I'm returning the fifty thousand roubles that I borrowed from you, for which I offered the life-giving cross as collateral.”
The Tartar read these words and was astounded at the power of the life-giving cross. He counted the money over to see whether the full sum was really there. It was there exactly.
The Tartar read these words and was amazed by the power of the life-giving cross. He counted the money again to check if the full amount was really there. It was all there exactly.
Meanwhile, the Russian merchant, after trading some five years, made a tolerable fortune. Well, he returned to his old home, and, thinking that his barrel had been lost, he considered it his first duty to settle with the Tartar. So he went to his house and offered him the money he had borrowed. Then the Tartar told him all that had happened and how he had found the barrel in the river, with the money and the note inside it. Then he showed him the note, saying:
Meanwhile, the Russian merchant, after trading for about five years, made a decent fortune. He returned to his hometown, believing his barrel had been lost, and thought it was his duty to settle up with the Tartar. So he went to his house and offered him the money he had borrowed. The Tartar then told him everything that had happened, explaining how he found the barrel in the river, along with the money and the note inside it. He then showed him the note, saying:
“Is that really your hand?”
“Is that actually your hand?”
“It certainly is,” replied the other.
“It definitely is,” replied the other.
Every one was astounded at this wondrous manifestation, and the Tartar said:
Everyone was amazed by this incredible display, and the Tartar said:
“Then I’ve no more money to receive from you, brother; take that back again.”
“Then I have no more money to get from you, brother; just take it back.”
The Russian merchant had a service performed as a thank-offering to God, and next day the Tartar was baptized with all his household. The Russian merchant was his godfather, and the kitchen-maid his godmother. After that they both lived long and happily, survived to a great age, and then died peacefully.[37]
The Russian merchant arranged a service as a thank-you to God, and the next day, the Tartar and his entire household were baptized. The Russian merchant served as the godfather, and the kitchen maid was the godmother. Afterward, they both lived long, happy lives, reached a great age, and then passed away peacefully.[37]
There is one marked feature in the Russian peasant’s character to which the Skazkas frequently refer—his passion for drink. To him strong liquor is a friend, a comforter, [Pg 43] a solace amid the ills of life. Intoxication is not so much an evil to be dreaded or remembered with shame, as a joy to be fondly anticipated, or classed with the happy memories of the past. By him drunkenness is regarded, like sleep, as the friend of woe—and a friend whose services can be even more readily commanded. On certain occasions he almost believes that to get drunk is a duty he owes either to the Church, or to the memory of the Dead; at times without the slightest apparent cause, he is seized by a sudden and irresistible craving for ardent spirits, and he commences a drinking-bout which lasts—with intervals of coma—for days, or even weeks, after which he resumes his everyday life and his usual sobriety as calmly as if no interruption had taken place. All these ideas and habits of his find expression in his popular tales, giving rise to incidents which are often singularly out of keeping with the rest of the narrative in which they occur. In one of the many variants,[38] for instance, of a widespread and well known story—that of the three princesses who are rescued from captivity by a hero from whom they are afterwards carried away, and who refuse to get married until certain clothes or shoes or other things impossible for ordinary workmen to make are supplied to them—an unfortunate shoemaker is told that if he does not next day produce the necessary shoes (of perfect fit, although no measure has been taken, and all set thick with precious stones) he shall be hanged. Away he goes at once to a traktir, or tavern, and sets to work to drown his grief in drink. After awhile he begins to totter. “Now then,” he says, “I’ll take home a bicker of spirits with me, and go to bed. And to-morrow morning, as soon as they come to fetch me to be hanged, [Pg 44] I’ll toss off half the bickerful. They may hang me then without my knowing anything about it.”[39]
There’s a notable trait in the Russian peasant’s character that the Skazkas often highlight—his love for alcohol. For him, strong drinks are friends, sources of comfort, and a relief from life’s troubles. Getting drunk isn’t something to fear or feel ashamed of; it’s more like a joy to look forward to, akin to happy memories of the past. He sees drunkenness as a companion during sorrow—one that’s even easier to summon. On certain occasions, he almost feels it’s his duty to get drunk, either for the Church or in honor of the Dead. Sometimes, without any clear reason, he suddenly craves strong spirits and starts a drinking spree that can go on—with breaks for unconsciousness—for days or even weeks. Afterward, he goes back to his normal life and usual sobriety as if nothing ever happened. All these thoughts and habits show up in his folk tales, giving rise to events that often feel oddly out of place within the overall story. In one of the many versions of a popular tale—the one about three princesses who are rescued from captivity by a hero, only to be taken away again, refusing to marry until specific clothes or shoes that ordinary workers can’t make are provided—an unfortunate shoemaker is told that if he doesn’t produce the required shoes (perfectly fitted without any measurements and adorned with precious stones) by the next day, he’ll be hanged. Off he goes to a tavern to drown his sorrows in drink. After a while, he starts to wobble. “Alright,” he says, “I’ll take home a jug of spirits with me and go to bed. And tomorrow morning, as soon as they come to take me to be hanged, I’ll down half the jug. Then they can hang me without me knowing anything about it.”
In the story of the “Purchased Wife,” the Princess Anastasia, the Beautiful, enables the youth Ivan, who ransoms her, to win a large sum of money in the following manner. Having worked a piece of embroidery, she tells him to take it to market. “But if any one purchases it,” says she, “don’t take any money from him, but ask him to give you liquor enough to make you drunk.” Ivan obeys, and this is the result. He drank till he was intoxicated, and when he left the kabak (or pot-house) he tumbled into a muddy pool. A crowd collected and folks looked at him and said scoffingly, “Oh, the fair youth! now’d be the time for him to go to church to get married!”
In the tale of the "Purchased Wife," Princess Anastasia, the Beautiful, helps the young man Ivan, who rescues her, to win a large amount of money in this way. After creating an embroidery piece, she tells him to take it to the market. “But if anyone buys it,” she says, “don’t take any money from them; instead, ask for enough liquor to get you drunk.” Ivan follows her advice, and here's what happens. He drank until he was wasted, and when he left the tavern, he fell into a muddy puddle. A crowd gathered, and people looked at him and said mockingly, “Oh, the handsome young man! Now would be the perfect time for him to go to church and get married!”
“Fair or foul!” says he, “if I bid her, Anastasia the Beautiful will kiss the crown of my head.”
“Fair or foul!” he says, “if I ask her, Anastasia the Beautiful will kiss the top of my head.”
“Don’t go bragging like that!” says a rich merchant—“why she wouldn’t even so much as look at you,” and offers to stake all that he is worth on the truth of his assertion. Ivan accepts the wager. The Princess appears, takes him by the hand, kisses him on the crown of his head, wipes the dirt off him, and leads him home, still inebriated but no longer impecunious.[40]
“Don’t go boasting like that!” says a wealthy merchant—“she wouldn’t even glance your way,” and offers to bet everything he has on his claim. Ivan accepts the bet. The Princess shows up, takes him by the hand, kisses him on the top of his head, cleans him up, and leads him home, still drunk but no longer broke.[40]
Sometimes even greater people than the peasants get drunk. The story of “Semilétka”[41]—a variant of the well known tale of how a woman’s wit enables her to guess all riddles, to detect all deceits, and to conquer all difficulties—relates how the heroine was chosen by a Voyvode[42] as his [Pg 45] wife, with the stipulation that if she meddled in the affairs of his Voyvodeship she was to be sent back to her father, but allowed to take with her whatever thing belonging to her she prized most. The marriage takes place, but one day the well known case comes before him for decision, of the foal of the borrowed mare—does it belong to the owner of the mare, or to the borrower in whose possession it was at the time of foaling? The Voyvode adjudges it to the borrower, and this is how the story ends:—
Sometimes even greater people than the peasants get drunk. The story of “Semilétka”[41]—a version of the well-known tale about how a woman’s cleverness allows her to solve all riddles, see through all deceptions, and overcome all obstacles—tells how the heroine was chosen by a Voyvode[42] as his wife, with the condition that if she interfered in the matters of his Voyvodeship, she would be sent back to her father but could take with her whatever item she valued most. The marriage happens, but one day a familiar case comes before him for judgment: the foal of the borrowed mare—does it belong to the mare’s owner, or to the borrower who had it at the time of birth? The Voyvode decides in favor of the borrower, and this is how the story concludes:—
“Semilétka heard of this and could not restrain herself, but said that he had decided unfairly. The Voyvode waxed wroth, and demanded a divorce. After dinner Semilétka was obliged to go back to her father’s house. But during the dinner she made the Voyvode drink till he was intoxicated. He drank his fill and went to sleep. While he was sleeping she had him placed in a carriage, and then she drove away with him to her father’s. When they had arrived there the Voyvode awoke and said—
“Semilétka heard about this and couldn’t hold back, saying that his decision was unfair. The Voyvode became furious and demanded a divorce. After dinner, Semilétka had to return to her father’s house. But during dinner, she got the Voyvode to drink until he was drunk. He drank to his heart's content and fell asleep. While he was sleeping, she had him put in a carriage, and then she drove off with him to her father’s. When they arrived there, the Voyvode woke up and said—
“‘Who brought me here?’
"Who brought me here?"
“‘I brought you,’ said Semilétka; ‘there was an agreement between us that I might take away with me whatever I prized most. And so I have taken you!’
“‘I brought you,’ said Semilétka; ‘we agreed that I could take whatever I cherished the most. And so I’ve chosen you!’”
“The Voyvode marvelled at her wisdom, and made peace with her. He and she then returned home and went on living prosperously.”
“The Voyvode was amazed by her wisdom and made peace with her. They both then returned home and continued to live well.”
But although drunkenness is very tenderly treated in the Skazkas, as well as in the folk-songs, it forms the subject of many a moral lesson, couched in terms of the utmost severity, in the stikhi (or poems of a religious character, sung by the blind beggars and other wandering minstrels who sing in front of churches), and also in the “Legends,” which are tales of a semi-religious (or rather demi-semi-religious) [Pg 46] nature. No better specimen of the stories of this class referring to drunkenness can be offered than the history of—
But even though drunkenness is portrayed with a lot of sympathy in the Skazkas and folk songs, it serves as the basis for many moral lessons, delivered with harsh seriousness, in the stikhi (or poems of a religious nature, performed by blind beggars and other wandering minstrels who sing outside churches), as well as in the “Legends,” which are stories of a semi-religious (or more accurately, demi-semi-religious) nature. No better example of these types of stories about drunkenness can be found than the tale of—
The Terrible Drunkard.[43]
Once there was an old man who was such an awful drunkard as passes all description. Well, one day he went to a kabak, intoxicated himself with liquor, and then went staggering home blind drunk. Now his way happened to lie across a river. When he came to the river, he didn’t stop long to consider, but kicked off his boots, hung them round his neck, and walked into the water. Scarcely had he got half-way across when he tripped over a stone, tumbled into the water—and there was an end of him.
Once there was an old man who was such a terrible drunk that it's hard to describe. One day, he went to a bar, got hammered, and started staggering home completely wasted. His path took him across a river. When he reached the river, he didn’t think much about it; he kicked off his boots, hung them around his neck, and walked into the water. Just as he got halfway across, he tripped over a stone, fell into the water—and that was the end of him.
Now, he left a son called Petrusha.[44] When Peter saw that his father had disappeared and left no trace behind, he took the matter greatly to heart for a time, he wept for awhile, he had a service performed for the repose of his father’s soul, and he began to act as head of the family. One Sunday he went to church to pray to God. As he passed along the road a woman was pounding away in front of him. She walked and walked, stumbled over a stone, and began swearing at it, saying, “What devil shoved you under my feet?”
Now, he had a son named Petrusha.[44] When Peter saw that his father had vanished without a trace, he was deeply saddened for a while; he cried for some time, had a service held for the peace of his father’s soul, and started taking charge of the family. One Sunday, he went to church to pray to God. As he was walking down the road, he saw a woman ahead of him, pounding away. She kept walking, tripped over a stone, and started cursing at it, saying, “What the hell pushed you under my feet?”
Hearing these words, Petrusha said:
Hearing this, Petrusha said:
“Good day, aunt! whither away?”
“Good day, aunt! Where to?”
“To church, my dear, to pray to God.”
“To church, my dear, to pray to God.”
“But isn’t this sinful conduct of yours? You’re going to church, to pray to God, and yet you think about the Evil One; your foot stumbles and you throw the fault on the Devil!”
“But isn’t this behavior of yours sinful? You’re going to church to pray to God, yet you think about the Devil; you trip up and blame it on him!”
Well, he went to church and then returned home. He walked and walked, and suddenly, goodness knows whence, there appeared before him a fine-looking man, who saluted him and said:
Well, he went to church and then headed home. He walked and walked, and suddenly, out of nowhere, a good-looking man appeared before him, greeted him, and said:
[Pg 47] “Thanks, Petrusha, for your good word!”
[Pg 47] “Thanks, Petrusha, for saying such nice things!”
“Who are you, and why do you thank me?” asks Petrusha.
“Who are you, and why are you thanking me?” asks Petrusha.
“I am the Devil.[45] I thank you because, when that woman stumbled, and scolded me without a cause, you said a good word for me.” Then he began to entreat him, saying, “Come and pay me a visit, Petrusha. How I will reward you to be sure! With silver and with gold, with everything will I endow you.”
“I am the Devil.[45] I appreciate you because, when that woman tripped and unjustly scolded me, you spoke up for me.” Then he started to plead, saying, “Come and visit me, Petrusha. I’ll reward you, I promise! With silver and gold, I’ll give you everything.”
“Very good,” says Petrusha, “I’ll come.”
“Sounds great,” says Petrusha, “I’ll be there.”
Having told him all about the road he was to take, the Devil straightway disappeared, and Petrusha returned home.
Having explained everything about the road he was supposed to take, the Devil immediately vanished, and Petrusha went back home.
Next day Petrusha set off on his visit to the Devil. He walked and walked, for three whole days did he walk, and then he reached a great forest, dark and dense—impossible even to see the sky from within it! And in that forest there stood a rich palace. Well, he entered the palace, and a fair maiden caught sight of him. She had been stolen from a certain village by the evil spirit. And when she caught sight of him she cried:
Next day, Petrusha set off to visit the Devil. He walked and walked for three whole days, and then he reached a huge, dark forest—so dense that it was impossible to see the sky from inside! In that forest stood an opulent palace. He entered the palace, and a beautiful maiden saw him. She had been taken from a village by an evil spirit. When she saw him, she exclaimed:
“Whatever have you come here for, good youth? here devils abide, they will tear you to pieces.”
“Why have you come here, young man? There are devils here, and they will rip you apart.”
Petrusha told her how and why he had made his appearance in that palace.
Petrusha explained to her how and why he had shown up in that palace.
“Well now, mind this,” says the fair maiden; “the Devil will begin giving you silver and gold. Don’t take any of it, but ask him to give you the very wretched horse which the evil spirits use for fetching wood and water. That horse is your father. When he came out of the kabak drunk, and fell into the water, the devils immediately seized him and made him their hack, and now they use him for fetching wood and water.”
“Well now, listen to this,” says the beautiful maiden; “the Devil will start offering you silver and gold. Don’t take any of it, but ask him to give you the miserable horse that the evil spirits use for hauling wood and water. That horse is your father. When he came out of the tavern drunk and fell into the water, the devils immediately grabbed him and turned him into their workhorse, and now they use him to fetch wood and water.”
Presently there appeared the gallant who had invited Petrusha, and began to regale him with all kinds of meat and drink. And when the time came for Petrusha to be going homewards, “Come,” said the Devil, “I will provide you with money and with a capital horse, so that you will speedily get home.”
Presently, the brave man who had invited Petrusha showed up and started treating him to all sorts of food and drinks. When it was time for Petrusha to head home, the Devil said, “Come, I’ll give you money and a great horse so you can get home quickly.”
[Pg 48] “I don’t want anything,” replied Petrusha. “Only, if you wish to make me a present, give me that sorry jade which you use for carrying wood and water.”
[Pg 48] “I don’t want anything,” replied Petrusha. “But if you want to give me a gift, then give me that old jade you use for carrying wood and water.”
“What good will that be to you? If you ride it home quickly, I expect it will die!”
“What good will that do you? If you take it home quickly, I expect it will die!”
“No matter, let me have it. I won’t take any other.”
“No worries, just give it to me. I won’t accept anything else.”
So the Devil gave him that sorry jade. Petrusha took it by the bridle and led it away. As soon as he reached the gates there appeared the fair maiden, and asked:
So the Devil gave him that sorry horse. Petrusha took it by the bridle and led it away. As soon as he reached the gates, a beautiful maiden appeared and asked:
“Have you got the horse?”
"Do you have the horse?"
“I have.”
“I have.”
“Well then, good youth, when you get nigh to your village, take off your cross, trace a circle three times about this horse, and hang the cross round its neck.”
“Well then, young man, when you get close to your village, take off your cross, draw a circle three times around this horse, and hang the cross around its neck.”
Petrusha took leave of her and went his way. When he came nigh to his village he did everything exactly as the maiden had instructed him. He took off his copper cross, traced a circle three times about the horse, and hung the cross round its neck. And immediately the horse was no longer there, but in its place there stood before Petrusha his own father. The son looked upon the father, burst into tears, and led him to his cottage; and for three days the old man remained without speaking, unable to make use of his tongue. And after that they lived happily and in all prosperity. The old man entirely gave up drinking, and to his very last day never took so much as a single drop of spirits.[46]
Petrusha said goodbye to her and went on his way. As he approached his village, he followed the maiden's instructions exactly. He took off his copper cross, traced a circle around the horse three times, and hung the cross around its neck. Suddenly, the horse was gone, and in its place stood Petrusha’s father. The son looked at his father, burst into tears, and led him to his cottage; for three days, the old man didn’t speak, unable to use his tongue. After that, they lived happily and prosperously. The old man completely stopped drinking, and until his last day, he never touched a single drop of alcohol.[46]
The Russian peasant is by no means deficient in humor, a fact of which the Skazkas offer abundant evidence. But it is not easy to find stories which can be quoted at full length as illustrations of that humor. The jokes which form the themes of the Russian facetious tales are for the most part common to all Europe. And a similar assertion may be made with regard to the stories of most [Pg 49] lands. An unfamiliar joke is but rarely to be discovered in the lower strata of fiction. He who has read the folk-tales of one country only, is apt to attribute to its inhabitants a comic originality to which they can lay no claim. And so a Russian who knows the stories of his own land, but has not studied those of other countries, is very liable to credit the Skazkas with the undivided possession of a number of “merry jests” in which they can claim but a very small share—jests which in reality form the stock-in-trade of rustic wags among the vineyards of France or Germany, or on the hills of Greece, or beside the fiords of Norway, or along the coasts of Brittany or Argyleshire—which for centuries have set beards wagging in Cairo and Ispahan, and in the cool of the evening hour have cheered the heart of the villager weary with his day’s toil under the burning sun of India.
The Russian peasant is definitely not lacking in humor, as the Skazkas clearly show. However, it’s not easy to find stories that can be quoted in full as examples of that humor. The jokes that are central to Russian comedic tales are mostly shared across all of Europe. The same can be said for stories from many other lands. Unfamiliar jokes are rarely found in folk tales. Someone who has only read the folk tales from one country is likely to mistakenly think that its people have a unique comedic style that they actually don’t possess. Therefore, a Russian who knows his own country’s stories but hasn’t explored others may easily assume that the Skazkas have a monopoly on many “funny jokes” when in fact they only share a small part—jokes that are actually well-known among country jokesters in the vineyards of France, Germany, the hills of Greece, along the fjords of Norway, or on the coasts of Brittany and Argyleshire. These jokes have been making people laugh in Cairo and Ispahan for centuries, and in the cool evening air, they have brought joy to the villager tired from his day’s work under India’s scorching sun.
It is only when the joke hinges upon something which is peculiar to a people that it is likely to be found among that people only. But most of the Russian jests turn upon pivots which are familiar to all the world, and have for their themes such common-place topics as the incorrigible folly of man, the inflexible obstinacy of woman. And in their treatments of these subjects they offer very few novel features. It is strange how far a story of this kind may travel, and yet how little alteration it may undergo. Take, for instance, the skits against women which are so universally popular. Far away in outlying districts of Russia we find the same time-honored quips which have so long figured in collections of English facetiæ. There is the good old story, for instance, of the dispute between a husband and wife as to whether a certain rope has been cut with a knife or with scissors, resulting in the murder of the scissors-upholding wife, who is pitched into the river [Pg 50] by her knife-advocating husband; but not before she has, in her very death agony, testified to her belief in the scissors hypothesis by a movement of her fingers above the surface of the stream.[47] In a Russian form of the story, told in the government of Astrakhan, the quarrel is about the husband’s beard. He says he has shaved it, his wife declares he has only cut it off. He flings her into a deep pool, and calls to her to say “shaved.” Utterance is impossible to her, but “she lifts one hand above the water and by means of two fingers makes signs to show that it was cut.”[48] The story has even settled into a proverb. Of a contradictory woman the Russian peasants affirm that, “If you say ‘shaved’ she’ll say ‘cut.’”
It’s only when a joke is based on something unique to a specific culture that it’s likely to be found only among those people. However, many Russian jokes rely on themes that are widely known, often tackling common subjects like the stubborn foolishness of man and the relentless obstinacy of woman. In their take on these topics, they rarely introduce anything new. It’s surprising how far such stories can travel, yet how little they change in the process. For example, the slapstick humor directed at women is universally popular. Even in remote parts of Russia, you can find the same classic jokes that have appeared in English humor collections for ages. Take the old tale about a husband and wife arguing over whether a rope was cut with a knife or scissors, which leads to the wife, who supports the scissors claim, being thrown into the river by her husband, who backs the knife. But even as she's drowning, she manages to affirm her belief in scissors by moving her fingers on the water’s surface. In a Russian version of the story, set in the Astrakhan region, the argument is about the husband’s beard. He insists he shaved it, while his wife claims he just cut it. He throws her into a deep pool and demands that she say “shaved.” Though she can’t speak, “she lifts one hand above the water and uses two fingers to signal that it was cut.” The story has even turned into a proverb. Russian peasants say about a contradictory woman, “If you say ‘shaved,’ she’ll say ‘cut.’”
In the same way another story shows us in Russian garb our old friend the widower who, when looking for his drowned wife—a woman of a very antagonistic disposition—went up the river instead of down, saying to his astonished companions, “She always did everything contrary-wise, so now, no doubt, she’s gone against the stream.”[49] A common story again is that of the husband who, having confided a secret to his wife which he justly fears she will reveal, throws discredit on her evidence about things in general by making her believe various absurd stories which she hastens to repeat.[49] The final paragraph of one of the [Pg 51] variants of this time-honored jest is quaint, concluding as it does, by way of sting, with a highly popular Russian saw. The wife has gone to the seigneur of the village and accused her husband of having found a treasure and kept it for his own use. The charge is true, but the wife is induced to talk such nonsense, and the husband complains so bitterly of her, that “the seigneur pitied the moujik for being so unfortunate, so he set him at liberty; and he had him divorced from his wife and married to another, a young and good-looking one. Then the moujik immediately dug up his treasure and began living in the best manner possible.” Sure enough the proverb doesn’t say without reason: “Women have long hair and short wits.”[50]
In a similar story, we see our old friend the widower in Russian attire who, while searching for his drowned wife—a woman with a very difficult personality—went upstream instead of downstream. He told his stunned companions, “She always did everything the opposite way, so now she’s probably gone against the current.”[49] Another common story features a husband who, having shared a secret with his wife that he genuinely fears she will spill, undermines her credibility by making her believe various ridiculous tales, which she eagerly repeats.[49] The final paragraph of one version of this age-old joke is charming, ending on a popular Russian proverb. The wife goes to the village lord and accuses her husband of finding a treasure and keeping it for himself. The accusation is true, but the wife is manipulated into saying such nonsense, and the husband complains so harshly about her that “the lord felt sorry for the peasant for being so unfortunate, so he set him free; he had him divorced from his wife and married to another, a young and attractive one. Then the peasant immediately dug up his treasure and began living his best life.” Indeed, the saying holds true: “Women have long hair and short wits.”[50]
There is another story of this class which is worthy of being mentioned, as it illustrates a custom in which the Russians differ from some other peoples.
There’s another story from this class that’s worth mentioning because it highlights a custom that sets Russians apart from some other cultures.
A certain man had married a wife who was so capricious that there was no living with her. After trying all sorts of devices her dejected husband at last asked her how she had been brought up, and learnt that she had received an education almost entirely German and French, with scarcely any Russian in it; she had not even been wrapped in swaddling-clothes when a baby, nor swung in a liulka.[51] Thereupon her husband determined to remedy the short-comings of her early education, and “whenever she showed herself capricious, or took to squalling, he immediately had her swaddled and placed in a liulka, and began swinging her to and fro.” By the end of a half year she became “quite silky”—all her caprices had been swung out of her.
A certain man married a wife who was so unpredictable that living with her was unbearable. After trying all kinds of strategies, her frustrated husband finally asked her about her upbringing and discovered that she had been educated almost entirely in German and French, with hardly any Russian influence; she hadn’t even been wrapped in swaddling clothes as a baby, nor had she been rocked in a liulka.[51] So, her husband decided to fix the deficiencies in her early education, and “whenever she acted capriciously or started to cry, he immediately had her swaddled and placed in a liulka, and began rocking her back and forth.” After six months, she became “quite gentle”—all her whims had been rocked out of her.
[Pg 52] But instead of giving mere extracts from any more of the numerous stories to which the fruitful subject of woman’s caprice has given rise, we will quote a couple of such tales at length. The first is the Russian variant of a story which has a long family tree, with ramifications extending over a great part of the world. Dr. Benfey has devoted to it no less than sixteen pages of his introduction to the Panchatantra,[52] tracing it from its original Indian home, and its subsequent abode in Persia, into almost every European land.
[Pg 52] But instead of just giving short snippets from more of the many stories inspired by women’s fickleness, we will share a couple of these tales in full. The first is the Russian version of a story with a long history that branches out across much of the world. Dr. Benfey dedicated no less than sixteen pages in his introduction to the Panchatantra,[52] tracing it from its original Indian origins, through Persia, and into almost every European country.
The Unfaithful Wife.[53]
A bad wife lived on the worst of terms with her husband, and never paid any attention to what he said. If her husband told her to get up early, she would lie in bed three days at a stretch; if he wanted her to go to sleep, she couldn’t think of sleeping. When her husband asked her to make pancakes, she would say: “You thief, you don’t deserve a pancake!”
A terrible wife had a really bad relationship with her husband and completely ignored what he said. If he asked her to get up early, she would stay in bed for three days straight; if he wanted her to go to sleep, she couldn’t even think about it. When he asked her to make pancakes, she would reply, "You jerk, you don’t deserve a pancake!"
If he said:
If he says:
“Don’t make any pancakes, wife, if I don’t deserve them,” she would cook a two-gallon pot full, and say,
“Don’t make any pancakes, wife, if I don’t deserve them,” she would cook a two-gallon pot full, and say,
“Eat away, you thief, till they’re all gone!”
“Go ahead and eat, you thief, until there's nothing left!”
“Now then, wife,” perhaps he would say, “I feel quite sorry for you; don’t go toiling and moiling, and don’t go out to the hay cutting.”
“Now then, my wife,” he might say, “I really feel sorry for you; don’t wear yourself out, and don’t go out to the hay cutting.”
“No, no, you thief!” she would reply, “I shall go, and do you follow after me!”
“No, no, you thief!” she would respond, “I’m going, and you can follow me!”
One day, after having had his trouble and bother with her he went into the forest to look for berries and distract his grief, and he came to where there was a currant bush, and in the middle [Pg 53] of that bush he saw a bottomless pit. He looked at it for some time and considered, “Why should I live in torment with a bad wife? can’t I put her into that pit? can’t I teach her a good lesson?”
One day, after dealing with his problems and frustrations with her, he went into the forest to pick berries and take his mind off his sorrow. He came across a currant bush, and in the middle of that bush, he saw a bottomless pit. He stared at it for a while and thought, “Why should I suffer with a bad wife? Can't I just throw her into that pit? Can't I teach her a lesson?”
So when he came home, he said:
So when he got home, he said:
“Wife, don’t go into the woods for berries.”
“Wife, don’t go into the woods to pick berries.”
“Yes, you bugbear, I shall go!”
“Yes, you pest, I will go!”
“I’ve found a currant bush; don’t pick it.”
“I found a currant bush; don’t pick it.”
“Yes I will; I shall go and pick it clean; but I won’t give you a single currant!”
“Yes, I will; I’m going to go and pick it clean; but I won’t give you a single currant!”
The husband went out, his wife with him. He came to the currant bush, and his wife jumped into it, crying out at the top her voice:
The husband went out, and his wife went with him. He reached the currant bush, and his wife jumped into it, shouting at the top of her lungs:
“Don’t you come into the bush, you thief, or I’ll kill you!”
“Don’t you come into the woods, you thief, or I’ll kill you!”
And so she got into the middle of the bush, and went flop into the bottomless pit.
And so she jumped into the middle of the bushes and fell straight into the bottomless pit.
The husband returned home joyfully, and remained there three days; on the fourth day he went to see how things were going on. Taking a long cord, he let it down into the pit, and out from thence he pulled a little demon. Frightened out of his wits, he was going to throw the imp back again into the pit, but it shrieked aloud, and earnestly entreated him, saying:
The husband came home happily and stayed there for three days. On the fourth day, he went to check on things. He took a long rope and lowered it into the pit, pulling out a little demon. Terrified, he was about to toss the imp back into the pit, but it screamed and begged him, saying:
“Don’t send me back again, O peasant! let me go out into the world! A bad wife has come, and absolutely devoured us all, pinching us, and biting us—we’re utterly worn out with it. I’ll do you a good turn, if you will.”
“Don’t send me back again, O peasant! Let me go out into the world! A terrible wife has come and completely consumed us all, pinching us and biting us—we’re completely exhausted from it. I’ll do you a favor if you let me.”
So the peasant let him go free—at large in Holy Russia. Then the imp said:
So the peasant set him free—out in Holy Russia. Then the imp said:
“Now then, peasant, come along with me to the town of Vologda. I’ll take to tormenting people, and you shall cure them.”
“Alright, peasant, come with me to the town of Vologda. I'll be the one to cause trouble, and you’ll be the one to help them.”
Well, the imp went to where there were merchant’s wives and merchant’s daughters; and when they were possessed by him, they fell ill and went crazy. Then the peasant would go to a house where there was illness of this kind, and, as soon as he [Pg 54] entered, out would go the enemy; then there would be blessing in the house, and everyone would suppose that the peasant was a doctor indeed, and would give him money, and treat him to pies. And so the peasant gained an incalculable sum of money. At last the demon said:
Well, the imp went to where the merchant's wives and daughters were, and when he took hold of them, they became sick and went insane. Then the peasant would go to a house affected by this kind of illness, and as soon as he entered, the enemy would leave. After that, there would be peace in the house, and everyone would think the peasant was really a doctor, giving him money and treating him to pies. And so, the peasant ended up making an unbelievable amount of money. Finally, the demon said:
“You’ve plenty now, peasant; arn’t you content? I’m going now to enter into the Boyar’s daughter. Mind you don’t go curing her. If you do, I shall eat you.”
“You have enough now, peasant; aren't you happy? I'm going to see the Boyar's daughter. Just make sure you don't try to heal her. If you do, I’ll eat you.”
The Boyar’s daughter fell ill, and went so crazy that she wanted to eat people. The Boyar ordered his people to find out the peasant—(that is to say) to look for such and such a physician. The peasant came, entered the house, and told Boyar to make all the townspeople, and the carriages with coachmen, stand in the street outside. Moreover, he gave orders that all the coachmen should crack their whips and cry at the top of their voices: “The Bad Wife has come! the Bad Wife has come!” and then he went into the inner room. As soon as he entered it, the demon rushed at him crying, “What do you mean, Russian? what have you come here for? I’ll eat you!”
The Boyar’s daughter got sick and went so insane that she wanted to eat people. The Boyar ordered his people to find a peasant—meaning to look for a specific doctor. The peasant arrived, entered the house, and told the Boyar to have all the townspeople, along with the carriages and drivers, stand in the street outside. He also instructed that all the drivers should crack their whips and shout at the top of their lungs: “The Bad Wife has come! The Bad Wife has come!” Then he went into the inner room. As soon as he walked in, the demon lunged at him, shouting, “What do you want, Russian? Why are you here? I’ll eat you!”
“What do you mean?” said the peasant, “why I didn’t come here to turn you out. I came, out of pity to you, to say that the Bad Wife has come here.”
“What do you mean?” said the peasant. “I didn’t come here to kick you out. I came, out of pity for you, to say that the Bad Wife has come here.”
The Demon rushed to the window, stared with all his eyes, and heard everyone shouting at the top of his voice the words, “The Bad Wife!”
The Demon rushed to the window, stared with all his eyes, and heard everyone shouting at the top of their lungs, “The Bad Wife!”
“Peasant,” cries the Demon, “wherever can I take refuge?”
“Peasant,” shouts the Demon, “where can I find shelter?”
“Run back into the pit. She won’t go there any more.”
“Run back into the pit. She’s not going there again.”
The Demon went back to the pit—and to the Bad Wife too.
The Demon went back to the pit—and to the Bad Wife as well.
In return for his services, the Boyar conferred a rich guerdon on the peasant, giving him his daughter to wife, and presenting him with half his property.
In exchange for his help, the Boyar rewarded the peasant generously, giving him his daughter in marriage and handing over half of his property.
[Pg 55] Our final illustration of the Skazkas which satirize women is the story of the Golovikha. It is all the more valuable, inasmuch as it is one of the few folk-tales which throw any light on the working of Russian communal institutions. The word Golovikha means, in its strict sense, the wife of a Golova, or elected chief [Golova = head] of a Volost, or association of village communities; but here it is used for a “female Golova,” a species of “mayoress.”
[Pg 55] Our final example of Skazkas that poke fun at women is the story of the Golovikha. This tale is particularly valuable because it's one of the few folk stories that provides insight into the functioning of Russian communal institutions. The term Golovikha literally means the wife of a Golova, or an elected chief [Golova = head] of a Volost, which is a group of village communities; however, in this context, it's referring to a “female Golova,” akin to a “mayoress.”
The Golovikha.[55]
A certain woman was very bumptious. Her husband came from a village council one day, and she asked him:
A certain woman was very arrogant. One day, her husband came back from a village council, and she asked him:
“What have you been deciding over there?”
“What have you been deciding over there?”
“What have we been deciding? why choosing a Golova.”
“What have we been deciding? Why are we choosing a leader?”
“Whom have you chosen?”
“Who have you chosen?”
“No one as yet.”
"Not yet."
“Choose me,” says the woman.
“Pick me,” says the woman.
So as soon as her husband went back to the council (she was a bad sort; he wanted to give her a lesson) he told the elders what she had said. They immediately chose her as Golova.
So as soon as her husband went back to the council (she wasn't a good person; he wanted to teach her a lesson) he told the elders what she had said. They quickly selected her as Golova.
Well the woman got along, settled all questions, took bribes, and drank spirits at the peasant’s expense. But the time came to collect the poll-tax. The Golova couldn’t do it, wasn’t able to collect it in time. There came a Cossack, and asked for the Golova; but the woman had hidden herself. As soon as she learnt that the Cossack had come, off she ran home.
Well, the woman managed everything, resolved all issues, accepted bribes, and drank alcohol at the peasants' expense. But the time arrived to collect the poll tax. The Golova couldn’t handle it, wasn’t able to gather it in time. A Cossack showed up and asked for the Golova; but the woman had hidden herself. As soon as she found out the Cossack was there, she ran home.
“Where, oh where can I hide myself?” she cries to her husband. “Husband dear! tie me up in a bag, and put me out there where the corn-sacks are.”
“Where, oh where can I hide?” she cries to her husband. “Honey, please tie me up in a bag and put me out there with the corn sacks.”
[Pg 56] Now there were five sacks of seed-corn outside, so her husband tied up the Golova, and set her in the midst of them. Up came the Cossack and said:
[Pg 56] Now there were five sacks of seed corn outside, so her husband tied up the Golova and placed her among them. The Cossack approached and said:
“Ho! so the Golova’s in hiding.”
“Hey! So the Golova's in hiding.”
Then he took to slashing at the sacks one after another with his whip, and the woman to howling at the pitch of her voice:
Then he started slashing at the sacks one after another with his whip, and the woman began howling at the top of her lungs:
“Oh, my father! I won’t be a Golova, I won’t be a Golova.”
“Oh, my dad! I won’t be a leader, I won’t be a leader.”
At last the Cossack left off beating the sacks, and rode away. But the woman had had enough of Golova-ing; from that time forward she took to obeying her husband.
At last, the Cossack stopped hitting the sacks and rode away. But the woman had had enough of Golova-ing; from that point on, she started obeying her husband.
Before passing on to another subject, it may be advisable to quote one of the stories in which the value of a good and wise wife is fully acknowledged. I have chosen for that purpose one of the variants of a tale from which, in all probability, our own story of “Whittington and his Cat” has been derived. With respect to its origin, there can be very little doubt, such a feature as that of the incense-burning pointing directly to a Buddhist source. It is called—
Before moving on to another topic, it might be helpful to share one of the stories that highlights the value of a good and wise wife. I've chosen a version of a tale that likely inspired our own story of "Whittington and his Cat." There's little doubt about its origins, as the element of burning incense clearly points to a Buddhist source. It’s called—
The Three Kopecks.[56]
There once was a poor little orphan-lad who had nothing at all to live on; so he went to a rich moujik and hired himself out to him, agreeing to work for one copeck a year. And when he had worked for a whole year, and had received his copeck, he went to a well and threw it into the water, saying, “If it don’t sink, I’ll keep it. It will be plain enough I’ve served my master faithfully.”
There once was a poor little orphan boy who had nothing to live on; so he went to a wealthy farmer and offered to work for him, agreeing to a pay of one copeck a year. After working for an entire year and receiving his copeck, he went to a well and tossed it into the water, saying, “If it doesn’t sink, I’ll keep it. It will be clear that I’ve served my master faithfully.”
But the copeck sank. Well, he remained in service a second year, and received a second copeck. Again he flung it into the well, and again it sank to the bottom. He remained a third year; worked and worked, till the time came for payment. Then his [Pg 57] master gave him a rouble. “No,” says the orphan, “I don’t want your money; give me my copeck.” He got his copeck and flung it into the well. Lo and behold! there were all three copecks floating on the surface of the water. So he took them and went into the town.
But the copeck sank. He stayed in service for a second year and received another copeck. Again, he tossed it into the well, and once more it sank to the bottom. He stayed a third year, working hard until it was time for payment. Then his [Pg 57] master gave him a rouble. “No,” said the orphan, “I don’t want your money; give me my copeck.” He got his copeck and tossed it into the well. To his surprise, all three copecks were floating on the surface of the water. So he picked them up and went into the town.
Now as he went along the street, it happened that some small boys had got hold of a kitten and were tormenting it. And he felt sorry for it, and said:
Now, as he walked down the street, he noticed some little boys had gotten a hold of a kitten and were teasing it. He felt sorry for the kitten and said:
“Let me have that kitten, my boys?”
“Can I have that kitten, guys?”
“Yes, we’ll sell it you.”
“Yeah, we’ll sell it to you.”
“What do you want for it?”
“What do you want for it?”
“Three copecks.”
“Three kopecks.”
Well the orphan bought the kitten, and afterwards hired himself to a merchant, to sit in his shop.
Well, the orphan bought the kitten and then got a job with a merchant, sitting in his shop.
That merchant’s business began to prosper wonderfully. He couldn’t supply goods fast enough; purchasers carried off everything in a twinkling. The merchant got ready to go to sea, freighted a ship, and said to the orphan:
That merchant's business started to thrive like never before. He couldn't keep up with the demand; buyers snatched up everything in no time. The merchant prepared to set sail, loaded a ship, and said to the orphan:
“Give me your cat; maybe it will catch mice on board, and amuse me.”
“Give me your cat; maybe it'll catch mice on the ship and entertain me.”
“Pray take it, master! only if you lose it, I shan’t let you off cheap.”
"Please take it, master! But if you lose it, I won't let you off easily."
The merchant arrived in a far off land, and put up at an inn. The landlord saw that he had a great deal of money, so he gave him a bedroom which was infested by countless swarms of rats and mice, saying to himself, “If they should happen to eat him up, his money will belong to me.” For in that country they knew nothing about cats, and the rats and mice had completely got the upper hand. Well the merchant took the cat with him to his room and went to bed. Next morning the landlord came into the room. There was the merchant alive and well, holding the cat in his arms, and stroking its fur; the cat was purring away, singing its song, and on the floor lay a perfect heap of dead rats and mice!
The merchant arrived in a distant land and checked into an inn. The landlord noticed he had a lot of money, so he assigned him a bedroom that was overrun with rats and mice, thinking to himself, “If they happen to eat him, his money will be mine.” For in that country, cats were unknown, and the rats and mice were completely in control. The merchant brought his cat with him to his room and went to sleep. The next morning, the landlord entered the room. There was the merchant, alive and well, holding the cat in his arms and stroking its fur; the cat was purring contentedly, and on the floor lay a whole pile of dead rats and mice!
“Master merchant, sell me that beastie,” says the landlord.
“Hey, merchant, sell me that creature,” says the landlord.
“Certainly.”
"Sure."
“What do you want for it?”
“What do you want in exchange for it?”
[Pg 58] “A mere trifle. I’ll make the beastie stand on his hind legs while I hold him up by his forelegs, and you shall pile gold pieces around him, so as just to hide him—I shall be content with that!”
[Pg 58] “It’s just a small thing. I’ll make the creature stand on its back legs while I hold it up by its front legs, and you can stack gold coins around it just enough to hide it—I’ll be happy with that!”
The landlord agreed to the bargain. The merchant gave him the cat, received a sackful of gold, and as soon as he had settled his affairs, started on his way back. As he sailed across the seas, he thought:
The landlord accepted the deal. The merchant handed him the cat, received a bag full of gold, and once he had wrapped up his business, set off on his journey back. As he sailed across the seas, he thought:
“Why should I give the gold to that orphan? Such a lot of money in return for a mere cat! that would be too much of a good thing. No, much better keep it myself.”
“Why should I give the gold to that orphan? So much money for just a cat! That would be too much. No, it’s definitely better to keep it for myself.”
The moment he had made up his mind to the sin, all of a sudden there arose a storm—such a tremendous one! the ship was on the point of sinking.
The moment he decided to commit the sin, suddenly a storm erupted—such a massive one! The ship was about to sink.
“Ah, accursed one that I am! I’ve been longing for what doesn’t belong to me; O Lord, forgive me a sinner! I won’t keep back a single copeck.”
“Ah, cursed one that I am! I’ve been longing for what doesn’t belong to me; Oh Lord, forgive me, a sinner! I won’t hold back a single penny.”
The moment the merchant began praying the winds were stilled, the sea became calm, and the ship went sailing on prosperously to the quay.
The moment the merchant started praying, the winds died down, the sea became calm, and the ship sailed smoothly to the harbor.
“Hail, master!” says the orphan. “But where’s my cat?”
“Hail, master!” says the orphan. “But where’s my cat?”
“I’ve sold it,” answers the merchant; “There’s your money, take it in full.”
“I’ve sold it,” says the merchant; “Here’s your money, take it all.”
The orphan received the sack of gold, took leave of the merchant, and went to the strand, where the shipmen were. From them he obtained a shipload of incense in exchange for his gold, and he strewed the incense along the strand, and burnt it in honor of God. The sweet savor spread through all that land, and suddenly an old man appeared, and he said to the orphan:
The orphan got the sack of gold, said goodbye to the merchant, and went to the shore, where the sailors were. He traded his gold for a shipload of incense and spread the incense along the shore, burning it as an offering to God. The sweet smell filled the whole area, and out of nowhere, an old man appeared and said to the orphan:
“Which desirest thou—riches, or a good wife?”
"Which do you want—wealth or a good wife?"
“I know not, old man.”
"I don't know, old man."
“Well then, go afield. Three brothers are ploughing over there. Ask them to tell thee.”
“Well then, go out to the fields. Three brothers are plowing over there. Ask them to tell you.”
The orphan went afield. He looked, and saw peasants tilling the soil.
The orphan went out to the fields. He looked and saw farmers working the land.
“God lend you aid!” says he.
“May God help you!” he says.
[Pg 59] “Thanks, good man!” say they. “What dost thou want?”
[Pg 59] “Thanks, man!” they say. “What do you want?”
“An old man has sent me here, and told me to ask you which of the two I shall wish for—riches or a good wife?”
“An old man sent me here and told me to ask you which one I should wish for—wealth or a good wife?”
“Ask our elder brother; he’s sitting in that cart there.”
“Ask our older brother; he’s sitting in that cart over there.”
The orphan went to the cart and saw a little boy—one that seemed about three years old.
The orphan went to the cart and saw a little boy—one who looked about three years old.
“Can this be their elder brother?” thought he—however he asked him:
“Could this be their older brother?” he thought—but he asked him:
“Which dost thou tell me to choose—riches, or a good wife?”
“Which one should I choose—wealth or a good wife?”
“Choose the good wife.”
“Choose a good wife.”
So the orphan returned to the old man.
So the orphan went back to the old man.
“I’m told to ask for the wife,” says he.
“I’m told to ask for the wife,” he says.
“That’s all right!” said the old man, and disappeared from sight. The orphan looked round; by his side stood a beautiful woman.
“That’s okay!” said the old man, and vanished from view. The orphan looked around; next to him stood a beautiful woman.
One of the sins to which the Popular Tale shows itself most hostile is that of avarice. The folk-tales of all lands delight to gird at misers and skinflints, to place them in unpleasant positions, and to gloat over the sufferings which attend their death and embitter their ghostly existence. As a specimen of the manner in which the humor of the Russian peasant has manipulated the stories of this class, most of which probably reached him from the East, we may take the following tale of—
One of the sins that popular stories are most critical of is greed. Folk tales from all cultures love to mock misers and stingy people, putting them in tough situations and taking pleasure in the hardships they face at death and the bitterness of their afterlife. To illustrate how the humor of the Russian peasant has shaped these stories, most of which likely came from the East, we can look at the following tale of—
The Greedy One.[58]
There once was a rich merchant named Marko—a stingier fellow never lived! One day he went out for a stroll. As he went along the road he saw a beggar—an old man, who sat there asking for alms—“Please to give, O ye Orthodox, for Christ’s sake!”
There was once a wealthy merchant named Marko—a stingy guy like no other! One day he went out for a walk. As he walked down the road, he saw a beggar—an old man sitting there asking for help—“Please give, O you Orthodox, for Christ’s sake!”
Marko the Rich passed by. Just at that time there came up behind him a poor moujik, who felt sorry for the beggar, and gave him a copeck. The rich man seemed to feel ashamed, for he stopped and said to the moujik:
Marko the Rich walked by. At that moment, a poor peasant came up behind him, who felt bad for the beggar and gave him a copeck. The rich man appeared to feel embarrassed, so he stopped and said to the peasant:
“Harkye, neighbor, lend me a copeck. I want to give that poor man something, but I’ve no small change.”
“Hear me out, neighbor, can you lend me a ruble? I want to give that poor man something, but I don’t have any spare change.”
The moujik gave him one, and asked when he should come for his money. “Come to-morrow,” was the reply. Well next day the poor man went to the rich man’s to get his copeck. He entered his spacious courtyard and asked:
The peasant gave him one and asked when he should come for his money. “Come tomorrow,” was the reply. The next day, the poor man went to the rich man’s place to get his kopeck. He entered the large courtyard and asked:
“Is Marko the Rich at home?”
“Is Marko the Rich home?”
“Yes. What do you want?” replied Marko.
“Yes. What do you need?” replied Marko.
“I’ve come for my copeck.”
“I’ve come for my ruble.”
“Ah, brother! come again. Really I’ve no change just now.”
“Hey, brother! Come back later. I really don’t have any change right now.”
The poor man made his bow and went away.
The poor man bowed and walked away.
“I’ll come to-morrow,” said he.
“I’ll come tomorrow,” he said.
On the morrow he came again, but it was just the same story as before.
On the next day, he came again, but it was the same story as before.
“I haven’t a single copper. If you like to change me a note for a hundred—No? well then come again in a fortnight.”
“I don’t have a single penny. If you want to exchange a hundred-dollar bill—No? Well, come back in two weeks.”
At the end of the fortnight the poor man came again, but Marko the Rich saw him from the window, and said to his wife:
At the end of the two weeks, the poor man came again, but Marko the Rich saw him from the window and said to his wife:
“Harkye, wife! I’ll strip myself naked and lie down under the holy pictures. Cover me up with a cloth, and sit down and cry, just as you would over a corpse. When the moujik comes for his money, tell him I died this morning.”
“Hear me, wife! I’ll take off all my clothes and lie down under the holy pictures. Cover me with a cloth and sit down and cry, just like you would for a dead person. When the peasant comes for his money, tell him I died this morning.”
Well the wife did everything exactly as her husband directed [Pg 61] her. While she was sitting there drowned in bitter tears, the moujik came into the room.
Well, the wife did everything just as her husband told her to. [Pg 61] While she was sitting there, overwhelmed with bitter tears, the peasant walked into the room.
“What do you want?” says she.
“What do you want?” she asks.
“The money Marko the Rich owes me,” answers the poor man.
“The money that Marko the Rich owes me,” replies the poor man.
“Ah, moujik, Marko the Rich has wished us farewell;[59] he’s only just dead.”
“Ah, peasant, Marko the Rich has said goodbye to us;[59] he’s only just passed away.”
“The kingdom of heaven be his! If you’ll allow me, mistress, in return for my copeck I’ll do him a last service—just give his mortal remains a wash.”
“May the kingdom of heaven be his! If you’ll let me, ma'am, in exchange for my small fee, I’ll do one last favor for him—just give his body a wash.”
So saying he laid hold of a pot full of boiling water and began pouring its scalding contents over Marko the Rich. Marko, his brows knit, his legs contorted, was scarcely able to hold out.[60]
So saying, he grabbed a pot full of boiling water and started pouring its scalding contents over Marko the Rich. Marko, his brow furrowed and his legs twisted, could barely endure it.[60]
“Writhe away or not as you please,” thought the poor man, “but pay me my copeck!”
“Squirm all you want,” thought the poor man, “but give me my change!”
When he had washed the body, and laid it out properly, he said:
When he finished cleaning the body and had arranged it neatly, he said:
“Now then, mistress, buy a coffin and have it taken into the church; I’ll go and read psalms over it.”
“Alright, ma'am, buy a coffin and have it brought into the church; I’ll go read psalms over it.”
So Marko the Rich was put in a coffin and taken into the church, and the moujik began reading psalms over him. The darkness of night came on. All of a sudden a window opened, and a party of robbers crept through it into the church. The moujik hid himself behind the altar. As soon as the robbers had come in they began dividing their booty, and after everything else was shared there remained over and above a golden sabre—each one laid hold of it for himself, no one would give up his claim to it. Out jumped the poor man, crying:
So Marko the Rich was put in a coffin and taken into the church, and the peasant began reading psalms over him. The night fell. Suddenly, a window opened, and a group of robbers slipped into the church. The peasant hid behind the altar. As soon as the robbers entered, they started dividing their loot, and after everything else was shared, a golden saber was left over—each one grabbed it for himself, and no one would let go of their claim to it. The poor man jumped out, shouting:
“What’s the good of disputing that way? Let the sabre belong to him who will cut this corpse’s head off!”
“What’s the point of arguing like that? Let the sword go to whoever will cut this corpse’s head off!”
Up jumped Marko the Rich like a madman. The robbers [Pg 62] were frightened out of their wits, flung away their spoil and scampered off.
Up jumped Marko the Rich like a lunatic. The robbers [Pg 62] were terrified, dropped their loot, and ran away.
“Here, Moujik,” says Marko, “let’s divide the money.”
“Here, Moujik,” Marko says, “let’s split the money.”
They divided it equally between them: each of the shares was a large one.
They split it equally between them: each share was a big one.
“But how about the copeck?” asks the poor man.
“But what about the copeck?” asks the poor man.
“Ah, brother!” replies Marko, “surely you can see I’ve got no change!”
“Ah, brother!” replies Marko, “surely you can see I don’t have any change!”
And so Marko the Rich never paid the copeck after all.
And so Marko the Rich never ended up paying the copeck after all.
We may take next the large class of stories about simpletons, so dear to the public in all parts of the world. In the Skazkas a simpleton is known as a duràk, a word which admits of a variety of explanations. Sometimes it means an idiot, sometimes a fool in the sense of a jester. In the stories of village life its signification is generally that of a “ninny;” in the “fairy stories” it is frequently applied to the youngest of the well-known “Three Brothers,” the “Boots” of the family as Dr. Dasent has called him. In the latter case, of course, the hero’s durachestvo, or foolishness, is purely subjective. It exists only in the false conceptions of his character which his family or his neighbors have formed.[61] But the duràk of the following tale is represented as being really “daft.” The story begins with one of the conventional openings of the Skazka—“In a certain tsarstvo, in a certain gosudarstvo,”—but the two synonyms for “kingdom” or “state” are used only because they rhyme.
We can now move on to the big group of stories about simpletons, which are loved by people all over the world. In the Skazkas, a simpleton is called a duràk, a term that has several different meanings. Sometimes it refers to an idiot, other times to a fool as a jester. In stories about village life, it typically means a "ninny;" in the "fairy tales," it is often used for the youngest of the famous "Three Brothers," referred to as the "Boots" of the family by Dr. Dasent. In this case, the hero’s durachestvo, or foolishness, is purely a matter of perspective. It only exists in the misunderstandings his family or neighbors have about him.[61] But the duràk in the story that follows is depicted as genuinely "daft." The tale opens with one of the typical beginnings of the Skazka—“In a certain tsarstvo, in a certain gosudarstvo,”—but the two terms for “kingdom” or “state” are used solely for their rhyme.
The Idiot and the Birch Tree.[62]
In a certain country there once lived an old man who had three sons. Two of them had their wits about them, but the third was [Pg 63] a fool. The old man died and his sons divided his property among themselves by lot. The sharp-witted ones got plenty of all sorts of good things, but nothing fell to the share of the Simpleton but one ox—and that such a skinny one!
In a certain country, there once lived an old man who had three sons. Two of them were clever, but the third was a fool. The old man passed away, and his sons divided his property by drawing lots. The smart ones ended up with a lot of great things, but all the Simpleton got was one thin, scrawny ox.
Well, fair-time came round, and the clever brothers got ready to go and transact business. The Simpleton saw this, and said:
Well, fair time came around, and the smart brothers got ready to go and handle some business. The Simpleton saw this and said:
“I’ll go, too, brothers, and take my ox for sale.”
“I’ll go too, brothers, and take my ox to sell.”
So he fastened a cord to the horn of the ox and drove it to the town. On his way he happened to pass through a forest, and in the forest there stood an old withered Birch-tree. Whenever the wind blew the Birch-tree creaked.
So he tied a rope to the horn of the ox and took it to town. On his way, he happened to pass through a forest, where there was an old, dry Birch tree. Every time the wind blew, the Birch tree creaked.
“What is the Birch creaking about?” thinks the Simpleton. “Surely it must be bargaining for my ox? Well,” says he, “if you want to buy it, why buy it. I’m not against selling it. The price of the ox is twenty roubles. I can’t take less. Out with the money!”
“What is the Birch creaking about?” thinks the Simpleton. “It must be trying to bargain for my ox. Well,” he says, “if you want to buy it, then go ahead. I’m open to selling it. The price for the ox is twenty roubles. I can’t accept anything less. Show me the money!”
The Birch made no reply, only went on creaking. But the Simpleton fancied that it was asking for the ox on credit. “Very good,” says he, “I’ll wait till to-morrow!” He tied the ox to the Birch, took leave of the tree, and went home. Presently in came the clever brothers, and began questioning him:
The Birch didn't respond, just kept creaking. But the Simpleton thought it was asking for the ox on credit. “Alright,” he said, “I’ll wait until tomorrow!” He tied the ox to the Birch, said goodbye to the tree, and went home. Soon, the clever brothers came in and started questioning him:
“Well, Simpleton! sold your ox?”
“Well, Simpleton! sold your cow?”
“I’ve sold it.”
"I sold it."
“For how much?”
“What's the price?”
“For twenty roubles.”
"For twenty rubles."
“Where’s the money?”
“Where's the cash?”
“I haven’t received the money yet. It was settled I should go for it to-morrow.”
“I haven’t received the money yet. It was agreed that I should go get it tomorrow.”
“There’s simplicity for you!” say they.
“There’s simplicity for you!” they say.
Early next morning the Simpleton got up, dressed himself, and went to the Birch-tree for his money. He reached the wood; there stood the Birch, waving in the wind, but the ox was not to be seen. During the night the wolves had eaten it.
Early the next morning, the Simpleton got up, got dressed, and headed to the Birch tree for his money. He arrived at the woods; there stood the Birch, swaying in the wind, but the ox was nowhere to be found. During the night, the wolves had eaten it.
“Now, then, neighbor!” he exclaimed, “pay me my money. You promised you’d pay me to-day.”
“Alright, neighbor!” he shouted, “give me my money. You said you’d pay me today.”
[Pg 64] The wind blew, the Birch creaked, and the Simpleton cried:
[Pg 64] The wind blew, the birch tree creaked, and the Simpleton cried:
“What a liar you are! Yesterday you kept saying, ‘I’ll pay you to-morrow,’ and now you make just the same promise. Well, so be it, I’ll wait one day more, but not a bit longer. I want the money myself.”
“What a liar you are! Yesterday you kept saying, ‘I’ll pay you tomorrow,’ and now you’re making the same promise again. Fine, I’ll wait one more day, but not a minute longer. I want the money myself.”
When he returned home, his brothers again questioned him closely:
When he got home, his brothers started asking him a lot of questions again:
“Have you got your money?”
"Do you have your money?"
“No, brothers; I’ve got to wait for my money again.”
“No, guys; I have to wait for my money again.”
“Whom have you sold it to?”
“Who have you sold it to?”
“To the withered Birch-tree in the forest.”
“To the dried-up Birch-tree in the forest.”
“Oh, what an idiot!”
“Oh, what a moron!”
On the third day the Simpleton took his hatchet and went to the forest. Arriving there, he demanded his money; but the Birch-tree only creaked and creaked. “No, no, neighbor!” says he. “If you’re always going to treat me to promises,[63] there’ll be no getting anything out of you. I don’t like such joking; I’ll pay you out well for it!”
On the third day, the Simpleton grabbed his hatchet and headed to the forest. Once he got there, he called out for his money; but the Birch-tree just groaned and groaned. “No, no, neighbor!” he said. “If you’re just going to keep giving me promises, there’s no way I’ll get anything from you. I don’t like this kind of joke; I’ll make you pay for it!”
With that he pitched into it with his hatchet, so that its chips flew about in all directions. Now, in that Birch-tree there was a hollow, and in that hollow some robbers had hidden a pot full of gold. The tree split asunder, and the Simpleton caught sight of the gold. He took as much of it as the skirts of his caftan would hold, and toiled home with it. There he showed his brothers what he had brought.
With that, he got to work with his hatchet, sending chips flying in every direction. Inside that birch tree, there was a hollow where some thieves had hidden a pot of gold. The tree split open, and the Simpleton saw the gold. He took as much as he could fit in the skirts of his caftan and trudged home with it. There, he showed his brothers what he had found.
“Where did you get such a lot, Simpleton?” said they.
“Where did you get all of that, Simpleton?” they asked.
“A neighbor gave it me for my ox. But this isn’t anything like the whole of it; a good half of it I didn’t bring home with me! Come along, brothers, let’s get the rest!”
“A neighbor gave it to me for my ox. But this isn’t even close to the whole thing; I didn’t bring half of it home with me! Come on, brothers, let’s go get the rest!”
Well, they went into the forest, secured the money, and carried it home.
Well, they went into the woods, got the money, and brought it home.
“Now mind, Simpleton,” say the sensible brothers, “don’t tell anyone that we’ve such a lot of gold.”
“Now listen, Simpleton,” say the sensible brothers, “don’t tell anyone that we have so much gold.”
All of a sudden they run up against a Diachok,[64] and says he:—
All of a sudden, they run into a Diachok, [64] and he says:—
“What’s that, brothers, you’re bringing from the forest?”
“What’s that, guys, you’re bringing from the forest?”
The sharp ones replied, “Mushrooms.” But the Simpleton contradicted them, saying:
The clever ones answered, “Mushrooms.” But the Simpleton disagreed with them, saying:
“They’re telling lies! we’re carrying money; here, just take a look at it.”
“They’re lying! We have money; here, just take a look at it.”
The Diachok uttered such an “Oh!”—then he flung himself on the gold, and began seizing handfuls of it and stuffing them into his pocket. The Simpleton grew angry, dealt him a blow with his hatchet, and struck him dead.
The Diachok let out an "Oh!"—then he threw himself onto the gold and started grabbing handfuls of it, stuffing them into his pocket. The Simpleton got angry, hit him with his hatchet, and killed him.
“Heigh, Simpleton! what have you been and done!” cried his brothers. “You’re a lost man, and you’ll be the cause of our destruction, too! Wherever shall we put the dead body?”
“Hey, Simpleton! What have you done?” yelled his brothers. “You’re in deep trouble, and you’re going to bring us down with you! Where are we supposed to put the dead body?”
They thought and thought, and at last they dragged it to an empty cellar and flung it in there. But later on in the evening the eldest brother said to the second one:—
They thought and thought, and finally they dragged it to an empty cellar and tossed it in there. But later that evening, the oldest brother said to the second one:—
“This piece of work is sure to turn out badly. When they begin looking for the Diachok, you’ll see that Simpleton will tell them everything. Let’s kill a goat and bury it in the cellar, and hide the body of the dead man in some other place.”
“This project is definitely going to end poorly. Once they start searching for the Diachok, you’ll see that Simpleton will spill all the details. Let’s kill a goat and bury it in the cellar, and stash the dead man's body somewhere else.”
Well, they waited till the dead of night; then they killed a goat and flung it into the cellar, but they carried the Diachok to another place and there hid him in the ground. Several days passed, and then people began looking everywhere for the Diachok, asking everyone about him.
Well, they waited until it was the middle of the night; then they killed a goat and threw it into the cellar, but they took the Diachok to another location and buried him there. Several days went by, and then people started searching everywhere for the Diachok, asking everyone about him.
“What do you want him for?” said the Simpleton, when he was asked. “I killed him some time ago with my hatchet, and my brothers carried him into the cellar.”
“What do you need him for?” said the Simpleton when he was asked. “I killed him a while ago with my hatchet, and my brothers took him down to the cellar.”
Straightway they laid hands on the Simpleton, crying, “Take us there and show him to us.”
Straight away, they grabbed the Simpleton, shouting, “Take us there and show him to us.”
[Pg 66] The Simpleton went down into the cellar, got hold of the goat’s head, and asked:—
[Pg 66] The Simpleton went down into the cellar, grabbed the goat’s head, and asked:—
“Was your Diachok dark-haired?”
“Was your Diachok a brunette?”
“He was.”
"He was."
“And had he a beard?”
"Does he have a beard?"
“Yes, he’d a beard.”
“Yes, he had a beard.”
“And horns?”
"And horns?"
“What horns are you talking about, Simpleton?”
“What horns are you talking about, Simpleton?”
“Well, see for yourselves,” said he, tossing up the head to them. They looked, saw it was a goat’s, spat in the Simpleton’s face, and went their ways home.
“Well, see for yourselves,” he said, throwing the head to them. They looked, realized it was a goat's, spat in the Simpleton's face, and walked home.
One of the most popular simpleton-tales in the world is that of the fond parents who harrow their feelings by conjuring up the misfortunes which may possibly await their as yet unborn grandchildren. In Scotland it is told, in a slightly different form, of two old maids who were once found bathed in tears, and who were obliged to confess that they had been day-dreaming and supposing—if they had been married, and one had had a boy and the other a girl; and if the children, when they grew up, had married, and had had a little child; and if it had tumbled out of the window and been killed—what a dreadful thing it would have been. At which terrible idea they both gave way to not unnatural tears. In one of its Russian forms, it is told of the old parents of a boy named Lutonya, who weep over the hypothetical death of an imaginary grandchild, thinking how sad it would have been if a log which the old woman has dropped had killed that as yet merely potential infant. The parent’s grief appears to Lutonya so uncalled for that he leaves home, declaring that he will not return until he has found people more foolish than they. He travels long and far, and witnesses several foolish doings, [Pg 67] most of which are familiar to us. In one place, a cow is being hoisted on to a roof in order that it may eat the grass growing thereon; in another a horse is being inserted into its collar by sheer force; in a third, a woman is fetching milk from the cellar, a spoonful at a time. But the story comes to an end before its hero has discovered the surpassing stupidity of which he is in quest. In another Russian story of a similar nature Lutonya goes from home in search of some one more foolish than his mother, who has been tricked by a cunning sharper. First he finds carpenters attempting to stretch a beam which is not long enough, and earns their gratitude by showing them how to add a piece to it. Then he comes to a place where sickles are unknown, and harvesters are in the habit of biting off the ears of corn, so he makes a sickle for them, thrusts it into a sheaf and leaves it there. They take it for a monstrous worm, tie a cord to it, and drag it away to the bank of the river. There they fasten one of their number to a log and set him afloat, giving him the end of the cord, in order that he may drag the “worm” after him into the water. The log turns over, and the moujik with it, so that his head is under water while his legs appear above it. “Why, brother!” they call to him from the bank, “why are you so particular about your leggings? If they do get wet, you can dry them at the fire.” But he makes no reply, only drowns. Finally Lutonya meets the counterpart of the well-known Irishman who, when counting the party to which he belongs, always forgets to count himself, and so gets into numerical difficulties. After which he returns home.[65]
One of the most popular simple-minded stories in the world is about the caring parents who distress themselves worrying about the misfortunes that might await their yet-to-be-born grandchildren. In Scotland, there's a slightly different version involving two old maids who were once found crying and had to admit they had been daydreaming about what could have happened if they had gotten married, one having a boy and the other a girl; and if, when the children grew up, they married and had a little child who accidentally fell out of the window and got killed—what a terrible thing that would have been. At this dreadful thought, both women broke down in tears. In one Russian version, it tells of the elderly parents of a boy named Lutonya, who weep over the imaginary death of a grandchild, thinking how tragic it would be if a log that the old woman dropped had killed that yet-to-exist infant. Lutonya finds their grief so unreasonable that he leaves home, declaring he won’t come back until he finds someone more foolish than they are. He travels far and wide, witnessing several silly actions, most of which we’re familiar with. In one place, a cow is being lifted onto a roof to eat the grass growing there; in another, a horse is being forced into its harness; and in a third, a woman is fetching milk from the cellar one spoonful at a time. But the story ends before the hero discovers the extreme stupidity he’s searching for. In another similar Russian tale, Lutonya leaves home looking for someone more foolish than his mother, who has been fooled by a clever scammer. First, he encounters carpenters trying to stretch a beam that’s too short, and he earns their thanks by showing them how to add a piece to it. Then he finds a place where sickles aren’t known, and the harvesters are used to biting off the ears of corn, so he creates a sickle, sticks it into a sheaf, and leaves it there. They mistake it for a giant worm, tie a rope to it, and drag it along to the riverbank. There, they tie one of their crew to a log and set him afloat, giving him the rope to pull the “worm” into the water. The log flips over, and the peasant with it, so his head is underwater while his legs stick up. “Why, brother!” they call from the bank, “why are you so concerned about your pants? If they get wet, you can dry them by the fire.” But he doesn't reply, he just drowns. Finally, Lutonya comes across the equivalent of the well-known Irishman who always forgets to count himself when tallying his group, leading to numerical confusion. After that, he goes back home.[Pg 67]
[Pg 68] It would be easy to multiply examples of this style of humor—to find in the folk-tales current all over Russia the equivalents of our own facetious narratives about the wise men of Gotham, the old woman whose petticoats were cut short by the pedlar whose name was Stout, and a number of other inhabitants of Fool-land, to whom the heart of childhood is still closely attached, and also of the exaggeration-stories, the German Lügenmährchen, on which was founded the narrative of Baron Munchausen’s surprising adventures. But instead of doing this, before passing on to the more important groups of the Skazkas, I will quote, as this chapter’s final illustrations of the Russian story-teller’s art, an “animal story” and a “legend.” Here is the former:—
[Pg 68] It would be easy to come up with more examples of this type of humor—finding in the folktales popular all over Russia the equivalents of our own funny stories about the wise men of Gotham, the old woman whose skirts were shortened by the peddler named Stout, and several other residents of Fool-land, to whom the essence of childhood is still closely linked, as well as the exaggerated tales, the German Lügenmährchen, from which the story of Baron Munchausen’s amazing adventures was derived. However, instead of doing this, before moving on to the more important categories of the Skazkas, I will share, as the final illustrations of this chapter showcasing the Russian storyteller’s craft, an “animal story” and a “legend.” Here is the former:—
The Mizgir.[66]
In the olden years, long long ago, with the spring-tide fair and the summer’s heat there came on the world distress and shame. For gnats and flies began to swarm, biting folks and letting their warm blood flow.
In ancient times, a long time ago, with the spring fair and the summer heat, trouble and disgrace entered the world. Swarms of gnats and flies began to bite people, making their warm blood flow.
Then the Spider[67] appeared, the hero bold, who, with waving arms, weaved webs around the highways and byways in which the gnats and flies were most to be found.
Then the Spider[67] showed up, the brave hero, who, with his arms waving, spun webs around the roads and paths where the gnats and flies were most often found.
A ghastly Gadfly, coming that way, stumbled straight into the Spider’s snare. The Spider, tightly squeezing her throat, prepared to put her out of the world. From the Spider the Gadfly mercy sought.
A dreadful Gadfly, coming that way, stumbled right into the Spider’s web. The Spider, tightly squeezing her throat, got ready to end her life. The Gadfly sought mercy from the Spider.
“Good father Spider! please not to kill me. I’ve ever so many little ones. Without me they’ll be orphans left, and from door to door have to beg their bread and squabble with dogs.”
“Good father Spider! Please don’t kill me. I have so many little ones. Without me, they’ll be orphans, left to beg for food from door to door and fight with dogs.”
[Pg 69] Well, the Spider released her. Away she flew, and everywhere humming and buzzing about, told the flies and gnats of what had occurred.
[Pg 69] Well, the Spider let her go. She flew off, buzzing and humming everywhere, telling the flies and gnats about what happened.
“Ho, ye gnats and flies! Meet here beneath this ash-tree’s roots. A spider has come, and, with waving of arms and weaving of nets, has set his snares in all the ways to which the flies and gnats resort. He’ll catch them, every single one!”
“Hey, you gnats and flies! Gather here under this ash tree’s roots. A spider has arrived, and with his waving arms and weaving webs, he’s laid out his traps in every path the flies and gnats take. He’ll catch every last one!”
They flew to the spot; beneath the ash-tree’s roots they hid, and lay there as though they were dead. The Spider came, and there he found a cricket, a beetle, and a bug.
They flew to the place; under the roots of the ash tree, they hid, and lay there as if they were dead. The Spider came, and there he found a cricket, a beetle, and a bug.
“O Cricket!” he cried, “upon this mound sit and take snuff! Beetle, do thou beat a drum. And do thou crawl, O Bug, the bun-like, beneath the ash, and spread abroad this news of me, the Spider, the wrestler, the hero bold—that the Spider, the wrestler, the hero bold, no longer in the world exists; that they have sent him to Kazan; that in Kazan, upon a block, they’ve chopped his head off, and the block destroyed.”
“O Cricket!” he shouted, “sit on this mound and take a break! Beetle, you beat the drum. And you, Bug, the little one, crawl under the ash and spread the word about me, the Spider, the wrestler, the brave hero—that the Spider, the wrestler, the brave hero is no longer in this world; that they have sent him to Kazan; that in Kazan, on a block, they’ve chopped off his head, and the block has been destroyed.”
On the mound sat the Cricket and took snuff. The Beetle smote upon the drum. The Bug crawled in among the ash-tree’s roots, and cried:—
On the mound sat the Cricket and took a pinch of snuff. The Beetle banged on the drum. The Bug crawled in among the roots of the ash tree and shouted:—
“Why have ye fallen? Wherefore as in death do ye lie here? Truly no longer lives the Spider, the wrestler, the hero bold. They’ve sent him to Kazan and in Kazan they’ve chopped his head off on a block, and afterwards destroyed the block.”
“Why have you fallen? Why do you lie here as if dead? Truly, the Spider, the wrestler, the brave hero no longer lives. They’ve sent him to Kazan, and in Kazan, they chopped off his head on a block, and then destroyed the block.”
The gnats and flies grew blithe and merry. Thrice they crossed themselves, then out they flew—and straight into the Spider’s snares. Said he:—
The gnats and flies became cheerful and lively. They crossed themselves three times, then flew out—and right into the Spider’s traps. He said:—
[Pg 70] This story is specially interesting in the original, inasmuch as it is rhymed throughout, although printed as prose. A kind of lilt is perceptible in many of the Skazkas, and traces of rhyme are often to be detected in them, but “The Mizgir’s” mould is different from theirs. Many stories also exist in an artificially versified form, but their movement differs entirely from that of the naturally cadenced periods of the ordinary Skazka, or of such rhymed prose as that of “The Mizgir.”
[Pg 70] This story is especially interesting in its original form since it's rhymed throughout, even though it's printed as prose. You can feel a kind of rhythm in many of the Skazkas, and hints of rhyme often show up in them, but “The Mizgir” has a different style. There are also many stories in a purposely rhymed format, but their flow is completely different from the naturally rhythmic sentences of the usual Skazka or the rhymed prose found in “The Mizgir.”
The following legend is not altogether new in “motive,” but a certain freshness is lent to it by its simple style, its unstrained humor, and its genial tone.
The following legend isn't completely new in "motive," but its straightforward style, relaxed humor, and friendly tone give it a refreshing quality.
The Smith and the Demon.[69]
Once upon a time there was a Smith, and he had one son, a sharp, smart, six-year-old boy. One day the old man went to church, and as he stood before a picture of the Last Judgment he saw a Demon painted there—such a terrible one!—black, with horns and a tail.
Once upon a time, there was a blacksmith, and he had a clever, quick-witted six-year-old son. One day, the old man went to church, and as he stood in front of a painting of the Last Judgment, he saw a Demon depicted there—such a frightening one!—black, with horns and a tail.
“O my!” says he to himself. “Suppose I get just such another painted for the smithy.” So he hired an artist, and ordered him to paint on the door of the smithy exactly such another demon as he had seen in the church. The artist painted it. Thenceforward the old man, every time he entered the smithy, always looked at the Demon and said, “Good morning, fellow-countryman!” And then he would lay the fire in the furnace and begin his work.
“Oh my!” he says to himself. “What if I get another one like that painted for the smithy?” So, he hired an artist and asked him to paint exactly the same demon he had seen in the church on the door of the smithy. The artist did it. From then on, every time the old man entered the smithy, he would always look at the demon and say, “Good morning, fellow-countryman!” Then he would start the fire in the furnace and begin his work.
Well, the Smith lived in good accord with the Demon for some ten years. Then he fell ill and died. His son succeeded [Pg 71] to his place as head of the household, and took the smithy into his own hands. But he was not disposed to show attention to the Demon as the old man had done. When he went into the smithy in the morning, he never said “Good morrow” to him; instead of offering him a kindly word, he took the biggest hammer he had handy, and thumped the Demon with it three times right on the forehead, and then he would go to his work. And when one of God’s holy days came round, he would go to church and offer each saint a taper; but he would go up to the Demon and spit in his face. Thus three years went by, he all the while favoring the Evil One every morning either with a spitting or with a hammering. The Demon endured it and endured it, and at last found it past all endurance. It was too much for him.
Well, the Smith lived peacefully with the Demon for about ten years. Then he got sick and died. His son took over as head of the household and ran the smithy himself. But he didn’t treat the Demon with the same kindness that his father had. When he went into the smithy in the morning, he never said “Good morning” to him; instead of offering a friendly word, he grabbed the biggest hammer he had nearby and banged the Demon on the forehead three times, then got to work. And when one of God’s holy days came around, he would go to church and light a candle for each saint; but when he saw the Demon, he would spit in his face. This went on for three years, with him regularly spitting or hitting the Evil One every morning. The Demon put up with it for a long time but eventually found it too much to bear.
“I’ve had quite enough of this insolence from him!” thinks he. “Suppose I make use of a little diplomacy, and play him some sort of a trick!”
“I’ve had enough of his disrespect!” he thinks. “Maybe I should use some diplomacy and pull a little trick on him!”
So the Demon took the form of a youth, and went to the smithy.
So the Demon took on the appearance of a young man and went to the forge.
“Good day, uncle!” says he.
“Hello, uncle!” he says.
“Good day!”
“Hello!”
“What should you say, uncle, to taking me as an apprentice? At all events, I could carry fuel for you, and blow the bellows.”
"What do you say, uncle, to me becoming your apprentice? Anyway, I could carry fuel for you and work the bellows."
The Smith liked the idea. “Why shouldn’t I?” he replied. “Two are better than one.”
The Smith liked the idea. “Why not?” he replied. “Two heads are better than one.”
The Demon began to learn his trade; at the end of a month he knew more about smith’s work than his master did himself, was able to do everything that his master couldn’t do. It was a real pleasure to look at him! There’s no describing how satisfied his master was with him, how fond he got of him. Sometimes the master didn’t go into the smithy at all himself, but trusted entirely to his journeyman, who had complete charge of everything.
The Demon started to pick up his craft; by the end of the month, he understood the smith's work better than his master, able to do everything his master couldn't. It was a joy to watch him! It's hard to put into words how pleased his master was with him and how much he grew to care for him. There were times when the master didn’t even go into the smithy, completely trusting his journeyman, who was in charge of everything.
“Heigh, sirs! Be so good as to step in here! We’ve opened a new business here; we turn old folks into young ones.”
“Hey there, gentlemen! Please come in! We’ve started a new business; we transform old people into young ones.”
Out of her carriage jumped the lady in a trice, and ran into the smithy.
Out of her carriage jumped the lady in an instant and ran into the blacksmith's shop.
“What’s that you’re bragging about? Do you mean to say it’s true? Can you really do it?” she asked the youth.
“What are you bragging about? Are you saying it’s true? Can you actually do it?” she asked the young man.
“We haven’t got to learn our business!” answered the Demon. “If I hadn’t been able to do it, I wouldn’t have invited people to try.”
“We don’t have to learn our trade!” replied the Demon. “If I couldn’t do it, I wouldn’t have invited anyone to give it a shot.”
“And how much does it cost?” asked the lady.
“And how much is it?” asked the lady.
“Five hundred roubles altogether.”
"Five hundred rubles total."
“Well, then, there’s your money; make a young woman of me.”
“Well, there’s your money; turn me into a young woman.”
The Demon took the money; then he sent the lady’s coachman into the village.
The Demon took the money and then sent the lady's coachman into the village.
“Go,” says he, “and bring me here two buckets full of milk.”
“Go,” he says, “and bring me two buckets of milk.”
After that he took a pair of tongs, caught hold of the lady by the feet, flung her into the furnace, and burnt her up; nothing was left of her but her bare bones.
After that, he grabbed a pair of tongs, lifted the woman by her feet, threw her into the furnace, and burnt her up; all that remained of her were just her bare bones.
When the buckets of milk were brought, he emptied them into a large tub, then he collected all the bones and flung them into the milk. Just fancy! at the end of about three minutes the lady emerged from the milk—alive, and young, and beautiful!
When the buckets of milk were brought in, he poured them into a big tub, then gathered all the bones and tossed them into the milk. Can you believe it? After about three minutes, the lady came out of the milk—alive, young, and beautiful!
Well, she got into her carriage and drove home. There she went straight to her husband, and he stared hard at her, but didn’t know she was his wife.
Well, she got into her carriage and drove home. There she went straight to her husband, and he stared intently at her, but didn’t realize she was his wife.
“What are you staring at?” says the lady. “I’m young and elegant, you see, and I don’t want to have an old husband! Be off at once to the smithy, and get them to make you young; if you don’t, I won’t so much as acknowledge you!”
“What are you looking at?” says the lady. “I’m young and stylish, you know, and I don’t want to marry an old guy! Go to the blacksmith right away and have them make you young; if you don’t, I won’t even recognize you!”
[Pg 73] There was no help for it; off set the seigneur. But by that time the Smith had returned home, and had gone into the smithy. He looked about; the journeyman wasn’t to be seen. He searched and searched, he enquired and enquired, never a thing came of it; not even a trace of the youth could be found. He took to his work by himself, and was hammering away, when at that moment up drove the seigneur, and walked straight into the smithy.
[Pg 73] There was no avoiding it; off went the lord. But by then the blacksmith had returned home and entered the workshop. He looked around; the apprentice was nowhere to be found. He searched and asked around, but nothing came of it; not even a sign of the young man could be discovered. He started his work alone and was hammering away when, at that moment, the lord drove up and walked straight into the workshop.
“Make a young man of me,” says he.
“Make me a young man,” he says.
“Are you in your right mind, Barin? How can one make a young man of you?”
“Are you thinking clearly, Barin? How could anyone turn you into a young man?”
“Come, now! you know all about that.”
“Come on! You know all about that.”
“I know nothing of the kind.”
“I don’t know anything like that.”
“You lie, you scoundrel! Since you made my old woman young, make me young too; otherwise, there will be no living with her for me.”
"You’re lying, you jerk! Since you made my old lady young, make me young too; otherwise, I won't be able to stand her."
“Why I haven’t so much as seen your good lady.”
“Why I haven’t even seen your lovely wife.”
“Your journeyman saw her, and that’s just the same thing. If he knew how to do the job, surely you, an old hand, must have learnt how to do it long ago. Come, now, set to work at once. If you don’t, it will be the worse for you. I’ll have you rubbed down with a birch-tree towel.”
“Your coworker saw her, and that's basically the same. If he knew how to do the job, you, being experienced, must have learned how to do it ages ago. Come on, get to work right away. If you don’t, it’ll be bad for you. I’ll have you scrubbed down with a birch towel.”
The Smith was compelled to try his hand at transforming the seigneur. He held a private conversation with the coachman as to how his journeyman had set to work with the lady, and what he had done to her, and then he thought:—
The Smith felt the need to try changing the seigneur. He had a private chat with the coachman about how his apprentice had approached the lady, and what he had done to her, and then he thought:—
“So be it! I’ll do the same. If I fall on my feet, good; if I don’t, well, I must suffer all the same!”
“Alright then! I’ll do the same. If I land on my feet, great; if I don’t, well, I’ll have to deal with it anyway!”
So he set to work at once, stripped the seigneur naked, laid hold of him by the legs with the tongs, popped him into the furnace, and began blowing the bellows. After he had burnt him to a cinder, he collected his remains, flung them into the milk, and then waited to see how soon a youthful seigneur would jump out of it. He waited one hour, two hours. But nothing came of it. He made a search in the tub. There was nothing in it but bones, and those charred ones.
So he got to work right away, stripped the lord naked, grabbed him by the legs with the tongs, popped him into the furnace, and started blowing the bellows. After he burned him to ashes, he collected the remains, tossed them into the milk, and then waited to see how soon a young lord would pop out of it. He waited for one hour, then two hours. But nothing happened. He searched the tub. There was nothing in it but bones, and they were charred.
[Pg 74] Just then the lady sent messengers to the smithy, to ask whether the seigneur would soon be ready. The poor Smith had to reply that the seigneur was no more.
[Pg 74] At that moment, the lady sent messengers to the blacksmith to find out if the lord would be ready soon. The poor blacksmith had to answer that the lord was no longer alive.
When the lady heard that the Smith had only turned her husband into a cinder, instead of making him young, she was tremendously angry, and she called together her trusty servants, and ordered them to drag him to the gallows. No sooner said than done. Her servants ran to the Smith’s house, laid hold of him, tied his hands together, and dragged him off to the gallows. All of a sudden there came up with them the youngster who used to live with the Smith as his journeyman, who asked him:—
When the lady found out that the Smith had only turned her husband into a pile of ashes instead of making him young again, she was extremely furious. She gathered her loyal servants and ordered them to take him to the gallows. As soon as she said it, they did it. Her servants rushed to the Smith’s house, grabbed him, tied his hands together, and dragged him off to the gallows. Suddenly, they were joined by the young man who used to work as the Smith's apprentice, who asked him:—
“Where are they taking you, master?”
“Where are they taking you, sir?”
“They’re going to hang me,” replied the Smith, and straightway related all that had happened to him.
“They're going to hang me,” replied the Smith, and immediately shared everything that had happened to him.
“Well, uncle!” said the Demon, “swear that you will never strike me with your hammer, but that you will pay me the same respect your father always paid, and the seigneur shall be alive, and young, too, in a trice.”
“Well, uncle!” said the Demon, “promise me you won’t ever hit me with your hammer, and that you’ll show me the same respect your father always did, and the lord will be alive and young again, just like that.”
The Smith began promising and swearing that he would never again lift his hammer against the Demon, but would always pay him every attention. Thereupon the journeyman hastened to the smithy, and shortly afterwards came back again, bringing the seigneur with him, and crying to the servants:
The Smith started off by promising and swearing that he would never again raise his hammer against the Demon, but would always give him his full attention. Then the journeyman rushed to the smithy, and shortly after returned, bringing the seigneur with him, and shouting to the servants:
“Hold! hold! Don’t hang him! Here’s your master!”
“Wait! Wait! Don’t hang him! Here’s your master!”
Then they immediately untied the cords, and let the Smith go free.
Then they quickly untied the ropes and set the Smith free.
From that time forward the Smith gave up spitting at the Demon and striking him with his hammer. The journeyman disappeared, and was never seen again. But the seigneur and his lady entered upon a prosperous course of life, and if they haven’t died, they’re living still.[71]
From that point on, the Smith stopped spitting at the Demon and hitting him with his hammer. The journeyman vanished and was never seen again. However, the lord and his lady began a successful life, and if they haven’t passed away, they’re still living now.[71]
FOOTNOTES:
[13] Take as an illustration of these remarks the close of the story of “Helena the Fair” (No. 34, Chap. IV.). See how light and bright it is (or at least was, before it was translated).
[13] Consider the ending of the story of “Helena the Fair” (No. 34, Chap. IV.). Notice how light and bright it is (or at least was, before it got translated).
[15] Khudyakof, vol. ii. p. 65.
[16] Khudyakof, vol. ii. p. 115.
[18] Afanasief, vi. No. 66.
[22] I do not propose to comment at any length upon the stories quoted in the present chapter. Some of them will be referred to farther on. Marusia’s demon lover will be recognized as akin to Arabian Ghouls, or the Rákshasas of Indian mythology. (See the story of Sidi Norman in the “Thousand and One Nights,” also Lane’s translation, vol. i., p. 32; and the story of Asokadatta and Vijayadatta in the fifth book of the “Kathásaritságara,” Brockhaus’s translation, 1843, vol. ii. pp. 142-159.) For transformations of a maiden into a flower or tree, see Grimm, No. 76, “Die Nelke,” and the notes to that story in vol. iii., p. 125—Hahn, No. 21, “Das Lorbeerkind,” etc. “The Water of Life,” will meet with due consideration in the fourth chapter. The Holy Water which destroys the Fiend is merely a Christian form of the “Water of Death,” viewed in its negative aspect.
[22] I'm not going to spend much time commenting on the stories mentioned in this chapter. Some of them will be discussed later. Marusia’s demon lover can be recognized as similar to Arabian Ghouls or the Rákshasas from Indian mythology. (See the story of Sidi Norman in the “Thousand and One Nights,” also Lane’s translation, vol. i., p. 32; and the story of Asokadatta and Vijayadatta in the fifth book of the “Kathásaritságara,” Brockhaus’s translation, 1843, vol. ii. pp. 142-159.) For stories about a maiden turning into a flower or tree, see Grimm, No. 76, “Die Nelke,” and the notes on that story in vol. iii., p. 125—Hahn, No. 21, “Das Lorbeerkind,” etc. “The Water of Life” will receive proper attention in the fourth chapter. The Holy Water that destroys the Fiend is simply a Christian version of the “Water of Death,” viewed from its negative side.
[23] Chudinsky, No. 3.
__A_TAG_PLACEHOLDER_0__ Chudinsky, No. 3.
[25] A number of ghost stories, and some remarks about the ideas of the Russian peasants with respect to the dead, will be found in Chap. V. Scott mentions a story in “The Minstrelsy of the Scottish Border,” vol. ii. p. 223, of a widower who believed he was haunted by his dead wife. On one occasion the ghost, to prove her identity, gave suck to her surviving infant.
[25] You can find several ghost stories, along with some insights into the beliefs of Russian peasants about the dead, in Chap. V. Scott shares a tale in “The Minstrelsy of the Scottish Border,” vol. ii. p. 223, about a widower who thought he was being haunted by his deceased wife. At one point, the ghost, to prove she was really her, nursed their surviving baby.
[26] Afanasief, viii. p. 165.
[27] In West-European stories the devil frequently carries off a witch’s soul after death. Here the fiend enters the corpse, or rather its skin, probably intending to reappear as a vampire. Compare Bleek’s “Reynard the Fox in South Africa,” No. 24, in which a lion squeezes itself into the skin of a girl it has killed. I have generally rendered by “demon,” instead of “devil,” the word chort when it occurs in stories of this class, as the spirits to which they refer are manifestly akin to those of oriental demonology.
[27] In Western European tales, the devil often steals a witch’s soul after she dies. Here, the fiend enters the corpse, or rather its skin, likely planning to come back as a vampire. This is similar to Bleek’s “Reynard the Fox in South Africa,” No. 24, where a lion forces itself into the skin of a girl it has killed. I typically translate the word chort as “demon,” instead of “devil,” when it appears in these types of stories, as the spirits they refer to are clearly related to those in Eastern demonology.
[28] For an account of which, see the “Songs of the Russian People,” pp. 333-334. The best Russian work on the subject is Barsof’s “Prichitaniya Syevernago Kraya,” Moscow, 1872.
[28] For more details, check out the “Songs of the Russian People,” pp. 333-334. The top Russian book on this topic is Barsof’s “Prichitaniya Syevernago Kraya,” Moscow, 1872.
[29] Afanasief, iv. No. 9.
[30] Professor de Gubernatis justly remarks that this “howling” is more in keeping with the nature of the eastern jackal than with that of its western counterpart, the fox. “Zoological Mythology,” ii. 130.
[30] Professor de Gubernatis accurately notes that this “howling” is more in line with the nature of the eastern jackal than that of the western fox. “Zoological Mythology,” ii. 130.
[31] Afanasief, vii. No. 45.
[33] “Father dear,” or “reverend father.”
"Dear Dad" or "Father."
[35] Afanasief, Skazki, vii. No. 49.
__A_TAG_PLACEHOLDER_0__ Afanasief, Tales, vii. No. 49.
[38] Another variant of this story, under the title of “Norka,” will be quoted in full in the next chapter.
[38] Another version of this story, titled “Norka,” will be fully quoted in the next chapter.
[39] Afanasief, vii. p. 107.
[40] Afanasief, vii. p. 146.
[43] Afanasief. “Legendui,” No. 29.
__A_TAG_PLACEHOLDER_0__ Afanasief. “Legendui,” No. 29.
[44] Diminutive of Peter.
__A_TAG_PLACEHOLDER_0__ Short form of Peter.
[47] In the sixty-fourth story of Asbjörnsen’s “Norske Folke-Eventyr,” (Ny Samling, 1871) the dispute between the husband and wife is about a cornfield—as to whether it should be reaped or shorn—and she tumbles into a pool while she is making clipping gestures “under her husband’s nose.” In the old fabliau of “Le Pré Tondu” (Le Grand d’Aussy, Fabliaux, 1829, iii. 185), the husband cuts out the tongue of his wife, to prevent her from repeating that his meadow has been clipped, whereupon she makes a clipping sign with her fingers. In Poggio’s “Facetiæ,” the wife is doubly aggravating. For copious information with respect to the use made of this story by the romance-writers, see Liebrecht’s translations of Basile’s “Pentamerone,” ii. 264, and of Dunlop’s “History of Literature,” p. 516.
[47] In the sixty-fourth story of Asbjörnsen’s “Norske Folke-Eventyr” (Ny Samling, 1871), the argument between the husband and wife is over a cornfield—whether it should be harvested or cut down—and she falls into a pool while making cutting gestures “in front of her husband.” In the old fabliau “Le Pré Tondu” (Le Grand d’Aussy, Fabliaux, 1829, iii. 185), the husband cuts out his wife’s tongue to stop her from saying that his meadow has been cut, but she then mimics cutting with her fingers. In Poggio’s “Facetiæ,” the wife is even more troublesome. For detailed information about how this story was used by romance writers, see Liebrecht’s translations of Basile’s “Pentamerone,” ii. 264, and Dunlop’s “History of Literature,” p. 516.
[48] Afanasief, v. p. 16.
[49] Ibid., iii. p. 87.
__A_TAG_PLACEHOLDER_0__ Ibid., iii. p. 87.
[51] Ibid. No. 23. The liulka, or Russian cradle, is suspended and swung, instead of being placed on the floor and rocked. Russian babies are usually swaddled tightly, like American papooses.
[51] Ibid. No. 23. The liulka, or Russian cradle, hangs and swings, rather than being set on the floor and rocked. Russian babies are typically swaddled tightly, similar to American papooses.
[52] “Panchatantra,” 1859, vol. i. § 212, pp. 519-524. I gladly avail myself of this opportunity of gratefully acknowledging my obligations to Dr. Benfey’s invaluable work.
[52] “Panchatantra,” 1859, vol. i. § 212, pp. 519-524. I happily take this chance to express my gratitude for Dr. Benfey’s invaluable work.
[54] This story is known to the Finns, but with them the Russian Demon, (chortenok = a little chort or devil), has become the Plague. In the original Indian story the demon is one which had formerly lived in a Brahman’s house, but had been frightened away by his cantankerous wife. In the Servian version (Karajich, No. 37), the opening consists of the “Scissors-story,” to which allusion has already been made. The vixen falls into a hole which she does not see, so bent is she on controverting her husband.
[54] This story is familiar to the Finns, but for them, the Russian Demon, (chortenok = a little chort or devil), has become the Plague. In the original Indian tale, the demon used to live in a Brahman's house but was scared off by his difficult wife. In the Servian version (Karajich, No. 37), the beginning includes the “Scissors-story,” which has already been referenced. The vixen falls into a hole she doesn’t see, so focused is she on arguing with her husband.
[57] The story is continued very little further by Afanasief, its conclusion being the same as that of “The Wise Wife,” in Book vii. No. 22, a tale of magic. For a Servian version of the tale see Vuk Karajich, No. 7.
[57] The story is only slightly developed further by Afanasief, with its ending being the same as that of “The Wise Wife,” in Book vii. No. 22, a story about magic. For a Servian version of the tale, see Vuk Karajich, No. 7.
[61] Professor de Gubernatis remarks that he may sometimes be called “the first Brutus of popular tradition.” “Zoological Mythology,” vol. i. p. 199.
[61] Professor de Gubernatis notes that he might occasionally be referred to as “the first Brutus of popular tradition.” “Zoological Mythology,” vol. i. p. 199.
[62] Afanasief, v. No. 53.
__A_TAG_PLACEHOLDER_0__ Afanasief, case No. 53.
[64] One of the inferior members of the Russian clerical body, though not of the clergy. But in one of the variants of the story it is a “pope” or priest, who appears, and he immediately claims a share in the spoil. Whereupon the Simpleton makes use of his hatchet. Priests are often nicknamed goats by the Russian peasantry, perhaps on account of their long beards.
[64] One of the lower-ranking members of the Russian clergy, although not actually a priest. However, in one version of the story, it is a “pope” or priest who shows up and immediately demands a share of the loot. Then the Simpleton uses his hatchet. Russian peasants often call priests goats, perhaps because of their long beards.
[65] Afanasief, ii. No. 8, v. No. 5. See also Khudyakof, No. 76. Cf. Grimm, No. 34, “Die kluge Else.” Haltrich, No. 66. Asbjörnsen and Moe, No. 10. (Dasent No. 24, “Not a Pin to choose between them.”)
[65] Afanasief, ii. No. 8, v. No. 5. Also see Khudyakof, No. 76. Compare Grimm, No. 34, “The Clever Else.” Haltrich, No. 66. Asbjörnsen and Moe, No. 10. (Dasent No. 24, “Not a Pin to Choose Between Them.”)
[68] In another story bearing the same title (v. 39) the spider lies on its back awaiting its prey. Up comes “the honorable widow,” the wasp, and falls straight into the trap. The spider beheads her. Then the gnats and flies assemble, perform a funeral service over her remains, and carry them off on their shoulders to the village of Komarovo (komar = gnat). For specimens of the Russian “Beast-Epos” the reader is referred (as I have stated in the preface) to Professor de Gubernatis’s “Zoological Mythology.”
[68] In another story with the same title (v. 39), the spider lies on its back, waiting for its prey. Up comes "the honorable widow," the wasp, and falls right into the trap. The spider decapitates her. Then the gnats and flies gather, hold a funeral service for her remains, and carry them off on their shoulders to the village of Komarovo (komar = gnat). For examples of the Russian “Beast-Epos,” the reader can refer (as mentioned in the preface) to Professor de Gubernatis’s “Zoological Mythology.”
[71] The chort of this legend is evidently akin to the devil himself, whom traditions frequently connect with blacksmiths; but his prototype, in the original form of this story, was doubtless a demigod or demon. His part is played by St. Nicholas in the legend of “The Priest with the Greedy Eyes,” for which, and for further comment on the story, see Chap. VI.
[71] The chort of this legend is clearly similar to the devil himself, who traditions often link with blacksmiths; however, his original form in this story was probably a demigod or demon. In the tale of “The Priest with the Greedy Eyes,” his role is taken on by St. Nicholas, and for more insights on the story, see Chap. VI.
CHAPTER II.
MYTHOLOGICAL.
Principal Incarnations of Evil.
The present chapter is devoted to specimens of those skazkas which most Russian critics assert to be distinctly mythical. The stories of this class are so numerous, that the task of selection has been by no means easy. But I have done my best to choose such examples as are most characteristic of that species of the “mythical” folk-tale which prevails in Russia, and to avoid, as far as possible, the repetition of narratives which have already been made familiar to the English reader by translations of German and Scandinavian stories.
The current chapter focuses on examples of skazkas that many Russian critics believe are clearly mythical. There are so many stories in this category that choosing just a few has been quite a challenge. However, I've worked hard to select the most representative examples of the "mythical" folk tales found in Russia, and I've tried to avoid repeating narratives that have already been well-known to English readers through translations of German and Scandinavian tales.
There is a more marked individuality in the Russian tales of this kind, as compared with those of Western Europe, than is to be traced in the stories (especially those of a humorous cast) which relate to the events that chequer an ordinary existence. The actors in the comediettas of European peasant-life vary but little, either in title or in character, wherever the scene may be laid; just as in the European beast-epos the Fox, the Wolf, and the Bear play parts which change but slightly with the regions they inhabit. But the supernatural beings which people the fairy-land peculiar to each race, though closely resembling each other in many respects, differ conspicuously in others. [Pg 76] They may, it is true, be nothing more than various developments of the same original type; they may be traceable to germs common to the prehistoric ancestors of the now widely separated Aryan peoples; their peculiarities may simply be due to the accidents to which travellers from distant lands are liable. But at all events each family now has features of its own, typical characteristics by which it may be readily distinguished from its neighbors. My chief aim at present is to give an idea of those characteristics which lend individuality to the “mythical beings” in the Skazkas; in order to effect this, I shall attempt a delineation of those supernatural figures, to some extent peculiar to Slavonic fairy-land, which make their appearance in the Russian folk-tales. I have given a brief sketch of them elsewhere.[72] I now propose to deal with them more fully, quoting at length, instead of merely mentioning, some of the evidence on which the proof of their existence depends.
There is a stronger sense of individuality in the Russian tales of this type compared to those from Western Europe, especially in the humorous stories that reflect everyday life. The characters in the comediettas of European peasant life don’t change much, whether in title or in personality, no matter where the story is set; just like in European animal tales, the Fox, the Wolf, and the Bear have roles that only slightly vary by region. However, the supernatural beings that inhabit the unique fairy world of each culture, while similar in many ways, also have distinct differences. [Pg 76] They might be nothing more than different versions of the same original type; they could be linked to common roots of the prehistoric ancestors of what are now separate Aryan groups; their unique traits might simply arise from the experiences of travelers from far-off lands. Still, each culture now has its own signature features, typical characteristics that easily set it apart from its neighbors. My main goal right now is to highlight those traits that give individuality to the “mythical beings” in the Skazkas; to achieve this, I’ll outline some of the supernatural figures that are somewhat unique to Slavonic fairy tales, which appear in Russian folk tales. I’ve provided a brief overview of them elsewhere.[72] I now intend to explore them more thoroughly, quoting significant evidence instead of just referencing them.
For the sake of convenience, we may select from the great mass of the mythical skazkas those which are supposed most manifestly to typify the conflict of opposing elements—whether of Good and Evil, or of Light and Darkness, or of Heat and Cold, or of any other pair of antagonistic forces or phenomena. The typical hero of this class of stories, who represents the cause of right, and who is resolved by mythologists into so many different essences, presents almost identically the same appearance in most of the countries wherein he has become naturalized. He is endowed with supernatural powers, but he remains a man, for all that. Whether as prince or peasant, he alters but very little in his wanderings among the Aryan races of Europe.
For convenience, we can choose from the vast collection of mythical skazkas those that most clearly illustrate the struggle between opposing forces—whether it's Good and Evil, Light and Darkness, Heat and Cold, or any other pair of conflicting elements. The typical hero in these stories, who stands for what is right and is broken down by mythologists into various characteristics, looks almost exactly the same in most countries where he has become established. He possesses supernatural abilities, yet he remains fundamentally human. Whether he's a prince or a peasant, he changes very little during his journeys through the Aryan races of Europe.
[Pg 77] And a somewhat similar statement may be made about his feminine counterpart—for all the types of Fairy-land life are of an epicene nature, admitting of a feminine as well as a masculine development—the heroine who in the Skazkas, as well as in other folk-tales, braves the wrath of female demons in quest of means whereby to lighten the darkness of her home, or rescues her bewitched brothers from the thraldom of an enchantress, or liberates her captive husband from a dungeon’s gloom.
[Pg 77] A similar point can be made about her feminine counterpart—since all the beings in Fairy-land have both male and female aspects, allowing for both feminine and masculine development. The heroine in the Skazkas and other folk tales faces the fury of female demons in her quest to bring light to her home, rescue her enchanted brothers from the control of a witch, or free her imprisoned husband from the darkness of a dungeon.
But their antagonists—the dark or evil beings whom the hero attacks and eventually destroys, or whom the heroine overcomes by her virtues, her subtlety, or her skill—vary to a considerable extent with the region they occupy, or rather with the people in whose memories they dwell. The Giants by killing whom our own Jack gained his renown, the Norse Trolls, the Ogres of southern romance, the Drakos and Lamia of modern Greece, the Lithuanian Laume—these and all the other groups of monstrous forms under which the imagination of each race has embodied its ideas about (according to one hypothesis) the Powers of Darkness it feared, or (according to another) the Aborigines it detested, differ from each other to a considerable and easily recognizable extent. An excellent illustration of this statement is offered by the contrast between the Slavonic group of supernatural beings of this class and their equivalents in lands tenanted by non-Slavonic members of the Indo-European family. A family likeness will, of course, be traced between all these conceptions of popular fancy, but the gloomy figures with which the folk-tales of the Slavonians render us familiar may be distinguished at a glance among their kindred monsters of Latin, Hellenic, Teutonic, or Celtic extraction. [Pg 78] Of those among the number to which the Russian skazkas relate I will now proceed to give a sketch, allowing the stories, so far as is possible, to speak for themselves.
But their opponents—the dark or evil beings that the hero fights and eventually defeats, or that the heroine conquers through her virtues, cleverness, or skill—vary significantly depending on the region they come from, or more accurately, the people who remember them. The Giants that our own Jack defeated for his fame, the Norse Trolls, the Ogres in southern tales, the Drakos and Lamia of modern Greece, the Lithuanian Laume—these and all the other groups of monstrous beings reflect the fears or loathing of the Powers of Darkness or the Indigenous peoples that different cultures have imagined. A great example of this is the difference between the Slavic supernatural beings and their counterparts in regions inhabited by non-Slavic members of the Indo-European family. There will certainly be similarities among these popular myths, but the dark figures that Slavic folk tales introduce us to can be easily recognized among their related monsters from Latin, Greek, Germanic, or Celtic traditions. [Pg 78] Now, I will provide a summary of those tales from Russian skazkas, allowing the stories to speak for themselves as much as possible.
If the powers of darkness in the “mythical” skazkas are divided into two groups—the one male, the other female—there stand out as the most prominent figures in the former set, the Snake (or some other illustration of “Zoological Mythology”), Koshchei the Deathless, and the Morskoi Tsar or King of the Waters. In the latter group the principal characters are the Baba Yaga, or Hag, her close connection the Witch, and the Female Snake. On the forms and natures of the less conspicuous characters to be found in either class we will not at present dwell. An opportunity for commenting on some of them will be afforded in another chapter.
If the forces of darkness in the "mythical" folktales are split into two groups—one male and the other female—the most notable figures in the male group include the Snake (or some other example of "Zoological Mythology"), Koshchei the Deathless, and the Morskoi Tsar or King of the Waters. In the female group, the key characters are Baba Yaga, or the Hag, her close counterpart the Witch, and the Female Snake. We won't focus on the less prominent characters in either category right now. We'll have the chance to discuss some of them in another chapter.
To begin with the Snake. His outline, like that of the cloud with which he is so frequently associated, and which he is often supposed to typify, is seldom well-defined. Now in one form and now in another, he glides a shifting shape, of which it is difficult to obtain a satisfactory view. Sometimes he retains throughout the story an exclusively reptilian character; sometimes he is of a mixed nature, partly serpent and partly man. In one story we see him riding on horseback, with hawk on wrist (or raven on shoulder) and hound at heel; in another he figures as a composite being with a human body and a serpent’s head; in a third he flies as a fiery snake into his mistress’s bower, stamps with his foot on the ground, and becomes a youthful gallant. But in most cases he is a serpent which in outward appearance seems to differ from other ophidians only in being winged and [Pg 79] polycephalous—the number of his heads generally varying from three to twelve.[73]
To start with the Snake. His shape, like that of the cloud he's often linked with and is thought to represent, is rarely clearly defined. At times, he appears in different forms, gliding through as a shifting figure that's hard to clearly see. Sometimes he maintains an entirely reptilian nature throughout the story; other times, he has a mixed identity, partly serpent and partly human. In one tale, we see him riding a horse, with a hawk on his wrist (or a raven on his shoulder) and a dog at his side; in another, he appears as a creature with a human body and a serpent's head; in a third, he transforms into a fiery snake, enters his lover's chamber, stomps on the ground, and turns into a youthful gentleman. However, in most instances, he is a serpent that, in appearance, seems to differ from other snakes only by being winged and having multiple heads—usually ranging from three to twelve. [Pg 79] [73]
He is often known by the name of Zméï [snake] Goruinuich [son of the gora or mountain], and sometimes he is supposed to dwell in the mountain caverns. To his abode, whether in the bowels of the earth, or in the open light of day—whether it be a sumptuous palace or “an izba on fowl’s legs,” a hut upheld by slender supports on which it turns as on a pivot—he carries off his prey. In one story he appears to have stolen, or in some way concealed, the day-light; in another the bright moon and the many stars come forth from within him after his death. But as a general rule it is some queen or princess whom he tears away from her home, as Pluto carried off Proserpina, and who remains with him reluctantly, and hails as her rescuer the hero who comes to give him battle. Sometimes, however, the snake is represented as having a wife of his own species, and daughters who share their parent’s tastes and powers. Such is the case in the (South-Russian) story of
He is often known as Zméï [snake] Goruinuich [son of the gora or mountain], and sometimes it’s said that he lives in the mountain caves. To his home, whether deep within the earth or out in the open, whether it’s a lavish palace or “an izba on fowl’s legs,” a hut supported by slender legs that allows it to spin like a top—he carries off his prey. In one tale, he seems to have stolen or hidden away the daylight; in another, the bright moon and the many stars emerge from within him after he dies. But usually, it’s some queen or princess that he takes from her home, just like Pluto took Proserpina, and she stays with him unwillingly, looking to the hero who comes to challenge him as her savior. However, sometimes the snake is shown to have a wife of his own kind and daughters who share their parent's interests and abilities. Such is the case in the (South-Russian) story of
Ivan Popyalov.[74]
Once upon a time there was an old couple, and they had three sons. Two of these had their wits about them, but the third was a simpleton, Ivan by name, surnamed Popyalof.
Once upon a time, there was an old couple who had three sons. Two of them were smart, but the third was simple-minded, named Ivan and known as Popyalof.
For twelve whole years Ivan lay among the ashes from the stove; but then he arose, and shook himself, so that six poods of ashes[75] fell off from him.
For twelve long years, Ivan lay among the ashes from the stove; but then he got up and shook himself, causing six poods of ashes[75] to fall off him.
Now in the land in which Ivan lived there was never any day, but always night. That was a Snake’s doing. Well, Ivan [Pg 80] undertook to kill that Snake, so he said to his father, “Father, make me a mace five poods in weight.” And when he had got the mace, he went out into the fields, and flung it straight up in the air, and then he went home. The next day he went out into the fields to the spot from which he had flung the mace on high, and stood there with his head thrown back. So when the mace fell down again it hit him on the forehead. And the mace broke in two.
Now in the land where Ivan lived, it was always night and never day. This was the work of a Snake. Ivan decided to kill that Snake, so he said to his father, “Dad, make me a mace that weighs five poods.” After he got the mace, he went out into the fields and threw it straight up into the air, then he went home. The next day, he returned to the fields to the spot where he had thrown the mace and stood there with his head tilted back. When the mace came back down, it hit him on the forehead, and the mace broke in two.
Ivan went home and said to his father, “Father, make me another mace, a ten pood one.” And when he had got it he went out into the fields, and flung it aloft. And the mace went flying through the air for three days and three nights. On the fourth day Ivan went out to the same spot, and when the mace came tumbling down, he put his knee in the way, and the mace broke over it into three pieces.
Ivan went home and said to his dad, “Dad, make me another mace, a ten pood one.” Once he got it, he went out into the fields and threw it up into the air. The mace soared through the sky for three days and three nights. On the fourth day, Ivan returned to the same spot, and when the mace fell, he knelt in its path, and the mace shattered over his knee into three pieces.
Ivan went home and told his father to make him a third mace, one of fifteen poods weight. And when he had got it, he went out into the fields and flung it aloft. And the mace was up in the air six days. On the seventh Ivan went to the same spot as before. Down fell the mace, and when it struck Ivan’s forehead, the forehead bowed under it. Thereupon he said, “This mace will do for the Snake!”
Ivan went home and asked his dad to make him a third mace, weighing fifteen poods. Once he got it, he went out into the fields and threw it into the air. The mace stayed up for six days. On the seventh day, Ivan returned to the same spot. The mace fell down, and when it hit Ivan’s forehead, his forehead bent under the impact. Then he said, "This mace will be perfect for the Snake!"
So when he had got everything ready, he went forth with his brothers to fight the Snake. He rode and rode, and presently there stood before him a hut on fowl’s legs,[76] and in that hut lived the Snake. There all the party came to a standstill. Then Ivan hung up his gloves, and said to his brothers, “Should blood drop from my gloves, make haste to help me.” When he had said this he went into the hut and sat down under the boarding.[77]
So once he got everything ready, he went out with his brothers to fight the Snake. He rode and rode, and soon he came across a hut on chicken legs,[76] and in that hut lived the Snake. The whole group came to a stop there. Then Ivan hung up his gloves and said to his brothers, “If blood spills from my gloves, hurry to help me.” After saying this, he went into the hut and sat down under the floorboards.[77]
Presently there rode up a Snake with three heads. His steed stumbled, his hound howled, his falcon clamored.[78] Then cried the Snake:
Presently, a three-headed Snake rode up. His horse stumbled, his dog howled, and his falcon screeched.[78] Then the Snake shouted:
[Pg 81] “Wherefore hast thou stumbled, O Steed! hast thou howled, O Hound! hast thou clamored, O Falcon?”
[Pg 81] “Why have you stumbled, O Steed! Why have you howled, O Hound! Why have you cried out, O Falcon?”
“How can I but stumble,” replied the Steed, “when under the boarding sits Ivan Popyalof?”
“How can I help but stumble,” replied the Steed, “when Ivan Popyalof is sitting under the boarding?”
Then said the Snake, “Come forth, Ivanushka! Let us try our strength together.” Ivan came forth, and they began to fight. And Ivan killed the Snake, and then sat down again beneath the boarding.
Then the Snake said, “Come out, Ivanushka! Let's test our strength together.” Ivan stepped out, and they started to fight. Ivan killed the Snake, and then sat back down beneath the boarding.
Presently there came another Snake, a six-headed one, and him, too, Ivan killed. And then there came a third, which had twelve heads. Well, Ivan began to fight with him, and lopped off nine of his heads. The Snake had no strength left in him. Just then a raven came flying by, and it croaked:
Presently, another Snake appeared, this one with six heads, and Ivan killed him too. Then a third Snake showed up, this one with twelve heads. Ivan started to fight it and chopped off nine of its heads. The Snake was out of strength. Just then, a raven flew by and croaked:
Then the Snake cried to the Raven, “Fly, and tell my wife to come and devour Ivan Popyalof.”
Then the Snake shouted to the Raven, “Fly and tell my wife to come and eat Ivan Popyalof.”
But Ivan cried: “Fly, and tell my brothers to come, and then we will kill this Snake, and give his flesh to thee.”
But Ivan shouted, “Fly, and tell my brothers to come, and then we’ll kill this Snake and give you his flesh.”
And the Raven gave ear to what Ivan said, and flew to his brothers and began to croak above their heads. The brothers awoke, and when they heard the cry of the Raven, they hastened to their brother’s aid. And they killed the Snake, and then, having taken his heads, they went into his hut and destroyed them. And immediately there was bright light throughout the whole land.
And the Raven listened to what Ivan said, then flew to his brothers and started croaking above their heads. The brothers woke up, and when they heard the Raven's cry, they rushed to their brother's side. They killed the Snake, and after taking its heads, they went into its hut and destroyed them. Instantly, there was bright light all over the land.
After killing the Snake, Ivan Popyalof and his brothers set off on their way home. But he had forgotten to take away his gloves, so he went back to fetch them, telling his brothers to wait for him meanwhile. Now when he had reached the hut and was going to take away his gloves, he heard the voices of the Snake’s wife and daughters, who were talking with each other. So he turned himself into a cat, and began to mew outside the door. They let him in, and he listened to everything they said. Then he got his gloves and hastened away.
After killing the Snake, Ivan Popyalof and his brothers set off on their way home. But he had forgotten to take his gloves, so he went back to get them, telling his brothers to wait for him. When he reached the hut and was about to grab his gloves, he heard the voices of the Snake’s wife and daughters talking to each other. So he transformed into a cat and started meowing outside the door. They let him in, and he listened to everything they said. Then he got his gloves and quickly left.
As soon as he came to where his brothers were, he mounted [Pg 82] his horse, and they all started afresh. They rode and rode; presently they saw before them a green meadow, and on that meadow lay silken cushions. Then the elder brothers said, “Let’s turn out our horses to graze here, while we rest ourselves a little.”
As soon as he arrived at his brothers' location, he got on his horse, and they all set off again. They rode for a while until they spotted a green meadow ahead, where silken cushions were spread out. Then the older brothers said, “Let’s let our horses graze here while we take a short break.”
But Ivan said, “Wait a minute, brothers!” and he seized his mace, and struck the cushions with it. And out of those cushions there streamed blood.
But Ivan said, “Hold on a second, brothers!” and he grabbed his mace, striking the cushions with it. And from those cushions, blood poured out.
So they all went on further. They rode and rode; presently there stood before them an apple-tree, and upon it were gold and silver apples. Then the elder brothers said, “Let’s eat an apple apiece.” But Ivan said, “Wait a minute, brothers; I’ll try them first,” and he took his mace, and struck the apple-tree with it. And out of the tree streamed blood.
So they all went on further. They rode and rode; soon they came across an apple tree, and on it were golden and silver apples. Then the older brothers said, “Let’s each eat an apple.” But Ivan said, “Hold on a second, brothers; I’ll test them first,” and he grabbed his mace and struck the apple tree with it. And blood poured out of the tree.
So they went on further. They rode and rode, and by and by they saw a spring in front of them. And the elder brothers cried, “Let’s have a drink of water.” But Ivan Popyalof cried: “Stop, brothers!” and he raised his mace and struck the spring, and its waters became blood.
So they continued on. They rode and rode, and eventually they saw a spring ahead of them. The older brothers shouted, “Let’s drink some water.” But Ivan Popyalof shouted, “Wait, guys!” and he lifted his mace and struck the spring, turning its water into blood.
For the meadow, the silken cushions, the apple-tree, and the spring, were all of them daughters of the Snake.
For the meadow, the soft cushions, the apple tree, and the spring were all daughters of the Snake.
After killing the Snake’s daughters, Ivan and his brothers went on homewards. Presently came the Snake’s Wife flying after them, and she opened her jaws from the sky to the earth, and tried to swallow up Ivan. But Ivan and his brothers threw three poods of salt into her mouth. She swallowed the salt, thinking it was Ivan Popyalof, but afterwards—when she had tasted the salt, and found out it was not Ivan—she flew after him again.
After killing the Snake’s daughters, Ivan and his brothers headed home. Soon, the Snake’s Wife came flying after them, opening her jaws from the sky down to the ground, trying to swallow Ivan. But Ivan and his brothers tossed three poods of salt into her mouth. She swallowed the salt, thinking it was Ivan Popyalof, but later—after tasting the salt and realizing it wasn’t Ivan—she flew after him again.
Then he perceived that danger was at hand, and so he let his horse go free, and hid himself behind twelve doors in the forge of Kuzma and Demian. The Snake’s Wife came flying up, and said to Kuzma and Demian, “Give me up Ivan Popyalof.” But they replied:
Then he realized that danger was approaching, so he set his horse free and hid himself behind twelve doors in the forge of Kuzma and Demian. The Snake’s Wife came rushing in and said to Kuzma and Demian, "Hand over Ivan Popyalof." But they replied:
“Send your tongue through the twelve doors and take him.” So the Snake’s Wife began licking the doors. But meanwhile they all heated iron pincers, and as soon as she had sent her [Pg 83] tongue through into the smithy, they caught tight hold of her by the tongue, and began thumping her with hammers. And when the Snake’s Wife was dead they consumed her with fire, and scattered her ashes to the winds. And then they went home, and there they lived and enjoyed themselves, feasting and revelling, and drinking mead and wine.
“Send your tongue through the twelve doors and take him.” So the Snake’s Wife started licking the doors. But in the meantime, they heated iron pincers, and as soon as she put her tongue through into the smithy, they grabbed her tongue tightly and began hitting her with hammers. Once the Snake’s Wife was dead, they burned her and scattered her ashes to the winds. Then they went home, where they lived it up, feasting and partying, drinking mead and wine.
The skazka of Ivan Buikovich (Bull’s son)[81] contains a variant of part of this story, but the dragon which the Slavonic St. George kills is called, not a snake, but a Chudo-Yudo.[82] Ivan watches one night while his brothers sleep. Presently up rides “a six-headed Chudo-Yudo” which he easily kills. The next night he slays, but with more difficulty, a nine-headed specimen of the same family. On the third night appears “a twelve-headed Chudo-Yudo,” mounted on a horse “with twelve wings, its coat of silver, its mane and tail of gold.” Ivan lops off three of the monster’s heads, but they, like those of the Lernæan Hydra, become re-attached to their necks at the touch of their owner’s “fiery finger.” Ivan, whom his foe has driven into the ground up to his knees, hurls one of his gloves at the hut in which his brothers are sleeping. It smashes the windows, but the sleepers slumber on and take no heed. Presently Ivan smites off six of his antagonist’s heads, but they grow again as before.[83] Half buried in the ground by [Pg 84] the monster’s strength, Ivan hurls his other glove at the hut, piercing its roof this time. But still his brothers slumber on. At last, after fruitlessly shearing off nine of the Chudo-Yudo’s heads, and finding himself embedded in the ground up to his armpits, Ivan flings his cap at the hut. The hut reels under the blow and its beams fall asunder; his brothers awake, and hasten to his aid, and the Chudo-Yudo is destroyed. The “Chudo-Yudo wives” as the widows of the three monsters are called, then proceed to play the parts attributed in “Ivan Popyalof” to the Snake’s daughters.
The skazka of Ivan Buikovich (Bull’s son)[81] includes a version of part of this story, but the dragon that the Slavonic St. George defeats is called a Chudo-Yudo instead of a snake.[82] One night, Ivan watches while his brothers sleep. Soon, a “six-headed Chudo-Yudo” appears, and he easily defeats it. The next night, he kills a nine-headed one of the same kind, but it’s harder. On the third night, a “twelve-headed Chudo-Yudo” shows up, riding a horse “with twelve wings, its coat silver, its mane and tail made of gold.” Ivan manages to chop off three of the monster’s heads, but they reattach themselves at the touch of their owner’s “fiery finger,” just like the heads of the Lernæan Hydra. Ivan, who is stuck in the ground up to his knees because of his opponent's strength, throws one of his gloves at the hut where his brothers are sleeping. It breaks the windows, but they don’t wake up. Soon, Ivan cuts off six more heads, but they grow back again.[83] Half-buried in the ground from the monster’s power, Ivan throws his other glove at the hut, piercing its roof this time. Still, his brothers keep sleeping. Finally, after trying unsuccessfully to chop off nine of the Chudo-Yudo’s heads and getting stuck in the ground up to his armpits, Ivan throws his cap at the hut. The hut shakes from the hit, and its beams splinter; his brothers wake up and rush to help him, leading to the Chudo-Yudo’s defeat. The “Chudo-Yudo wives,” as the widows of the three monsters are known, then take on the roles attributed to the Snake’s daughters in “Ivan Popyalof.”
“I will become an apple-tree with golden and silver apples,” says the first; “whoever plucks an apple will immediately burst.” Says the second, “I will become a spring—on the water will float two cups, the one golden, the other of silver; whoever touches one of the cups, him will I drown.” And the third says, “I will become a golden bed; whoever lies down upon that bed will be consumed with fire.” Ivan, in a sparrow’s form, overhears all this, and acts as in the preceding story. The three widows die, but their mother, “an old witch,” determines on revenge. Under the form of a beggar-woman she asks alms from the retreating brothers. Ivan tenders her a ducat. She seizes, not the ducat, but his outstretched hand, and in a moment whisks him off underground to her husband, an Aged One, whose appearance is that of the mythical being whom the Servians call the Vy. He “lies on an iron couch, and sees nothing; his long eyelashes and thick eyebrows completely hide his eyes,” [Pg 85] but he sends for “twelve mighty heroes,” and orders them to take iron forks and lift up the hair about his eyes, and then he gazes at the destroyer of his family. The glance of the Servian Vy is supposed to be as deadly as that of a basilisk, but the patriarch of the Russian story does not injure his captive. He merely sends him on an errand which leads to a fresh set of adventures, of which we need not now take notice.
“I will turn into an apple tree with golden and silver apples,” says the first; “whoever picks an apple will immediately burst.” The second says, “I will become a spring—floating on the water will be two cups, one gold and the other silver; whoever touches one of the cups, I will drown.” The third says, “I will become a golden bed; whoever lies down on that bed will be consumed by fire.” Ivan, in the form of a sparrow, overhears all this and acts as in the previous story. The three widows die, but their mother, “an old witch,” seeks revenge. Disguised as a beggar woman, she asks for alms from the retreating brothers. Ivan offers her a ducat. She grabs not the ducat but his outstretched hand, and in an instant, whisks him off underground to her husband, an Aged One, who resembles the mythical figure known to the Serbians as the Vy. He “lies on an iron couch and sees nothing; his long eyelashes and thick eyebrows completely cover his eyes,” [Pg 85] but he calls for “twelve mighty heroes” and orders them to use iron forks to lift the hair around his eyes, then he looks at the destroyer of his family. The gaze of the Servian Vy is said to be as lethal as a basilisk's, but the patriarch of the Russian tale does not harm his captive. He simply sends him on a task that leads to a new set of adventures, which we won’t focus on right now.
In a third variant of the story,[84] they are snakes which are killed by the hero, Ivan Koshkin (Cat’s son), and it is a Baba Yaga, or Hag, who undertakes to revenge their deaths and those of their wives, her daughters. Accordingly she pursues the three brothers, and succeeds in swallowing two of them. The third, Ivan Koshkin, takes refuge in a smithy, and, as before, the monster’s tongue is seized, and she is beaten with hammers until she disgorges her prey, none the worse for their temporary imprisonment.
In a third version of the story,[84] they are snakes that are killed by the hero, Ivan Koshkin (Cat’s son). A Baba Yaga, or Hag, seeks revenge for their deaths and those of her daughters, who are the snakes' wives. She chases the three brothers and manages to swallow two of them. The third brother, Ivan Koshkin, hides in a blacksmith shop, and as before, the monster's tongue is caught, and she is hit with hammers until she spits out her prey, none the worse for their temporary confinement.
We have seen, in the story about the Chudo-Yudo, that the place usually occupied by the Snake is at times filled by some other magical being. This frequently occurs in that class of stories which relates how three brothers set out to apprehend a trespasser, or to seek a mother or sister who has been mysteriously spirited away. They usually come either to an opening which leads into the underground world, or to the base of an apparently inaccessible hill. The youngest brother descends or ascends as the case may be, and after a series of adventures which generally lead him through the kingdoms of copper, of silver, and of gold, returns in triumph to where his brothers are awaiting him. And he is almost invariably deserted by them, as soon as they have secured the beautiful princesses who accompany [Pg 86] him—as may be read in the following (South-Russian) history of—
We’ve seen in the story of Chudo-Yudo that the spot usually taken by the Snake can sometimes be occupied by another magical creature. This often happens in tales where three brothers set out to catch an intruder or to find a mother or sister who has mysteriously gone missing. They typically arrive at an opening that leads to an underground world or at the foot of a seemingly unreachable hill. The youngest brother either descends or climbs up, and after a series of adventures that usually take him through the realms of copper, silver, and gold, he returns triumphantly to where his brothers are waiting for him. Almost every time, they abandon him as soon as they have claimed the beautiful princesses who accompany him—as can be read in the following (South-Russian) story of— [Pg 86]
The Norka.[85]
Once upon a time there lived a king and queen. They had three sons, two of them with their wits about them, but the third a simpleton. Now the King had a deer-park in which were quantities of wild animals of different kinds. Into that park there used to come a huge beast—Norka was its name—and do fearful mischief, devouring some of the animals every night. The King did all he could, but he was unable to destroy it. So at last he called his sons together and said: “Whoever will destroy the Norka, to him will I give the half of my kingdom.”
Once upon a time, there was a king and queen. They had three sons—two of them were clever, but the third was a bit slow. The king owned a deer park filled with all kinds of wild animals. In that park, a huge beast named Norka would come and cause terrible trouble, eating some of the animals every night. The king tried everything he could think of, but he couldn't get rid of it. Finally, he gathered his sons and said, “Whoever can kill the Norka will receive half of my kingdom.”
Well, the eldest son undertook the task. As soon as it was night, he took his weapons and set out. But before he reached the park, he went into a traktir (or tavern), and there he spent the whole night in revelry. When he came to his senses it was too late; the day had already dawned. He felt himself disgraced in the eyes of his father, but there was no help for it. The next day the second son went, and did just the same. Their father scolded them both soundly, and there was an end of it.
Well, the oldest son took on the challenge. As soon as night fell, he grabbed his weapons and set out. But before he reached the park, he stopped at a bar and spent the entire night partying. When he finally came to his senses, it was too late; the sun had already come up. He felt ashamed in front of his father, but there was nothing he could do. The next day, the second son went out and did exactly the same thing. Their father scolded them both thoroughly, and that was that.
Well, on the third day the youngest son undertook the task. They all laughed him to scorn, because he was so stupid, feeling sure he wouldn’t do anything. But he took his arms, and went straight into the park, and sat down on the grass in such a position that, the moment he went asleep, his weapons would prick him, and he would awake.
Well, on the third day, the youngest son decided to take on the challenge. They all laughed at him, thinking he was foolish and certain he wouldn’t accomplish anything. But he took his weapons and walked straight into the park, sitting down on the grass in a way that, as soon as he fell asleep, his weapons would jab him and wake him up.
Presently the midnight hour sounded. The earth began to shake, and the Norka came rushing up, and burst right through the fence into the park, so huge was it. The Prince pulled himself together, leapt to his feet, crossed himself, and went straight at the beast. It fled back, and the Prince ran after it. But he soon saw that he couldn’t catch it on foot, so he hastened to the stable, laid his hands on the best horse there, and set off in [Pg 87] pursuit. Presently he came up with the beast, and they began a fight. They fought and fought; the Prince gave the beast three wounds. At last they were both utterly exhausted, so they lay down to take a short rest. But the moment the Prince closed his eyes, up jumped the Beast and took to flight. The Prince’s horse awoke him; up he jumped in a moment, and set off again in pursuit, caught up the Beast, and again began fighting with it. Again the Prince gave the Beast three wounds, and then he and the Beast lay down again to rest. Thereupon away fled the Beast as before. The Prince caught it up, and again gave it three wounds. But all of a sudden, just as the Prince began chasing it for the fourth time, the Beast fled to a great white stone, tilted it up, and escaped into the other world,[86] crying out to the Prince: “Then only will you overcome me, when you enter here.”
At midnight, a loud chime echoed. The ground started to tremble, and the Norka charged through the fence into the park, it was that massive. The Prince gathered himself, jumped to his feet, crossed himself, and confronted the creature. It recoiled, and the Prince chased after it. But he quickly realized he couldn’t catch up on foot, so he rushed to the stable, grabbed the best horse available, and set off in pursuit. Soon, he caught up with the beast, and they began to fight. They battled fiercely; the Prince inflicted three wounds on the creature. Eventually, both of them were completely worn out, so they lay down to rest. But the moment the Prince shut his eyes, the Beast sprang up and escaped. The Prince's horse woke him; he jumped up immediately and took off after it again, caught up with the Beast, and resumed the fight. Once more, the Prince dealt the Beast three wounds, and then they lay down to rest again. But again, the Beast fled as before. The Prince caught up to it yet again and gave it three more wounds. Just as he began to chase it for the fourth time, the Beast dashed toward a large white stone, pushed it aside, and vanished into another world, shouting back to the Prince: “You will only defeat me when you enter here.”
The Prince went home, told his father all that had happened, and asked him to have a leather rope plaited, long enough to reach to the other world. His father ordered this to be done. When the rope was made, the Prince called for his brothers, and he and they, having taken servants with them, and everything that was needed for a whole year, set out for the place where the Beast had disappeared under the stone. When they got there, they built a palace on the spot, and lived in it for some time. But when everything was ready, the youngest brother said to the others: “Now, brothers, who is going to lift this stone?”
The Prince went home, told his father everything that had happened, and asked him to have a leather rope made, long enough to reach the other world. His father had it made. Once the rope was ready, the Prince called his brothers, and together with some servants and all the supplies they would need for a year, they set off to the place where the Beast had vanished under the stone. When they arrived, they built a palace on the spot and lived there for a while. But once everything was prepared, the youngest brother said to the others, “So, brothers, who’s going to lift this stone?”
Neither of them could so much as stir it, but as soon as he touched it, away it flew to a distance, though it was ever so big—big as a hill. And when he had flung the stone aside, he spoke a second time to his brothers, saying:
Neither of them could even move it, but as soon as he touched it, it flew away really far, even though it was huge—like a hill. After he tossed the stone aside, he spoke to his brothers again, saying:
“Who is going into the other world, to overcome the Norka?”
“Who is going into the other world to defeat the Norka?”
Neither of them offered to do so. Then he laughed at them for being such cowards, and said:
Neither of them offered to do it. Then he laughed at them for being such cowards and said:
“Well, brothers, farewell! Lower me into the other world, and don’t go away from here, but as soon as the cord is jerked, pull it up.”
“Well, brothers, goodbye! Lower me into the afterlife, and don’t leave this spot, but as soon as the cord is pulled, bring me back up.”
His brothers lowered him accordingly, and when he had [Pg 88] reached the other world, underneath the earth, he went on his way. He walked and walked. Presently he espied a horse with rich trappings, and it said to him:
His brothers lowered him as planned, and when he had [Pg 88] reached the underworld, he continued on his journey. He walked and walked. Soon, he spotted a horse adorned with lavish decorations, and it spoke to him:
“Hail, Prince Ivan! Long have I awaited thee!”
“Hail, Prince Ivan! I’ve been waiting for you for a long time!”
He mounted the horse and rode on—rode and rode, until he saw standing before him, a palace made of copper. He entered the courtyard, tied up his horse, and went indoors. In one of the rooms a dinner was laid out. He sat down and dined, and then went into a bedroom. There he found a bed, on which he lay down to rest. Presently there came in a lady, more beautiful than can be imagined anywhere but in a skazka, who said:
He got on the horse and kept riding—riding and riding—until he saw a palace made of copper standing in front of him. He entered the courtyard, tied up his horse, and went inside. In one of the rooms, dinner was set up. He sat down and ate, then went into a bedroom. There, he found a bed and lay down to rest. Soon, a lady walked in, more beautiful than anyone could imagine, except in a fairy tale, who said:
“Thou who art in my house, name thyself! If thou art an old man, thou shall be my father; if a middle-aged man, my brother; but if a young man, thou shalt be my husband dear. And if thou art a woman, and an old one, thou shalt be my grandmother; if middle-aged, my mother; and if a girl, thou shalt be my own sister.”[87]
“Whoever is in my house, identify yourself! If you’re an old man, you’ll be my father; if you’re middle-aged, my brother; but if you’re a young man, you’ll be my dear husband. And if you’re a woman, and you’re old, you’ll be my grandmother; if you’re middle-aged, my mother; and if you’re a girl, you’ll be my sister.”[87]
Thereupon he came forth. And when she saw him, she was delighted with him, and said:
Thereupon he stepped out. And when she saw him, she was thrilled and said:
“Wherefore, O Prince Ivan—my husband dear shalt thou be!—wherefore hast thou come hither?”
“Why, O Prince Ivan—my dear husband!—have you come here?”
Then he told her all that had happened, and she said:
Then he told her everything that had happened, and she said:
“That beast which thou wishest to overcome is my brother. He is staying just now with my second sister, who lives not far from here in a silver palace. I bound up three of the wounds which thou didst give him.”
“That beast you want to defeat is my brother. He's currently staying with my second sister, who lives not far from here in a silver palace. I bandaged up three of the wounds you gave him.”
Well, after this they drank, and enjoyed themselves, and held sweet converse together, and then the prince took leave of her, and went on to the second sister, the one who lived in the silver palace, and with her also he stayed awhile. She told him that her brother Norka was then at her youngest sister’s. So he went on to the youngest sister, who lived in a golden palace. She told him that her brother was at that time asleep on the blue sea, and she gave him a sword of steel and a draught of the Water of Strength, and she told him to cut off her brother’s [Pg 89] head at a single stroke. And when he had heard these things, he went his way.
Well, after that they drank, had fun, and enjoyed sweet conversations together. Then the prince said goodbye to her and went on to visit the second sister, who lived in the silver palace. He stayed with her for a while as well. She told him that her brother Norka was at their youngest sister’s place. So, he went to the youngest sister, who lived in a golden palace. She informed him that her brother was currently asleep on the blue sea. She gave him a steel sword and a potion of the Water of Strength, telling him to behead her brother in one stroke. After hearing all this, he went on his way.
And when the Prince came to the blue sea, he looked—there slept Norka on a stone in the middle of the sea; and when it snored, the water was agitated for seven versts around. The Prince crossed himself, went up to it and smote it on the head with his sword. The head jumped off, saying the while, “Well, I’m done for now!” and rolled far away into the sea.
And when the Prince reached the blue sea, he saw Norka sleeping on a stone in the middle of the water; when it snored, the water churned for seven versts around. The Prince crossed himself, approached Norka, and struck it on the head with his sword. The head popped off, exclaiming, “Well, I’m finished now!” and rolled far away into the sea.
After killing the Beast, the Prince went back again, picking up all the three sisters by the way, with the intention of taking them out into the upper world: for they all loved him and would not be separated from him. Each of them turned her palace into an egg—for they were all enchantresses—and they taught him how to turn the eggs into palaces, and back again, and they handed over the eggs to him. And then they all went to the place from which they had to be hoisted into the upper world. And when they came to where the rope was, the Prince took hold of it and made the maidens fast to it.[88] Then he jerked away at the rope, and his brothers began to haul it up. And when they had hauled it up, and had set eyes on the wondrous maidens, they went aside and said: “Let’s lower the rope, pull our brother part of the way up, and then cut the rope. Perhaps he’ll be killed; but then if he isn’t, he’ll never give us these beauties as wives.”
After defeating the Beast, the Prince returned, picking up all three sisters along the way, wanting to take them to the surface world because they all loved him and didn’t want to be apart from him. Each of them transformed her palace into an egg—since they were all enchantresses—and they taught him how to change the eggs back into palaces and vice versa, giving the eggs to him. Then they all went to the spot where they needed to be lifted to the upper world. When they reached the place with the rope, the Prince grabbed it and secured the maidens to it. Then he tugged on the rope, and his brothers began to pull it up. When they had lifted it and saw the beautiful maidens, they stepped aside and said, “Let’s lower the rope, pull our brother up partway, and then cut the rope. He might get killed; but if he doesn’t, he’ll never give us these beauties as wives.”
So when they had agreed on this, they lowered the rope. But their brother was no fool; he guessed what they were at, so he fastened the rope to a stone, and then gave it a pull. His brothers hoisted the stone to a great height, and then cut the rope. Down fell the stone and broke in pieces; the Prince poured forth tears and went away. Well, he walked and walked. Presently a storm arose; the lightning flashed, the thunder roared, the rain fell in torrents. He went up to a tree in order to take shelter under it, and on that tree he saw some young birds which were being thoroughly drenched. So he took off his coat and covered them over with it, and he himself sat down [Pg 90] under the tree. Presently there came flying a bird—such a big one, that the light was blotted out by it. It had been dark there before, but now it became darker still. Now this was the mother of those small birds which the Prince had covered up. And when the bird had come flying up, she perceived that her little ones were covered over, and she said, “Who has wrapped up my nestlings?” and presently, seeing the Prince, she added: “Didst thou do that? Thanks! In return, ask of me any thing thou desirest. I will do anything for thee.”
So once they agreed on this, they lowered the rope. But their brother wasn't naive; he figured out what they were planning, so he tied the rope to a stone and gave it a pull. His brothers lifted the stone high and then cut the rope. The stone fell and broke into pieces; the Prince cried and walked away. He just kept walking. Suddenly, a storm broke out; lightning flashed, thunder roared, and rain poured down. He ran to a tree for shelter, and under that tree, he saw some young birds getting drenched. He took off his coat and covered them with it, then sat down under the tree. Soon, a huge bird flew in, blocking out the light. It had been dark before, but now it was even darker. This was the mother of the little birds that the Prince had covered up. When she arrived, she noticed her chicks were covered and said, “Who wrapped up my nestlings?” Then, seeing the Prince, she added, “Did you do that? Thank you! In return, ask me for anything you desire. I will do anything for you.”
“Then carry me into the other world,” he replied.
“Then take me to the other world,” he said.
“Make me a large zasyek[89] with a partition in the middle,” she said; “catch all sorts of game, and put them into one half of it, and into the other half pour water; so that there may be meat and drink for me.”
“Make me a big zasyek[89] with a divider in the middle,” she said; “catch all kinds of game and put them in one side, and pour water into the other side; that way, I’ll have food and drink.”
All this the Prince did. Then the bird—having taken the zasyek on her back, with the Prince sitting in the middle of it—began to fly. And after flying some distance she brought him to his journey’s end, took leave of him, and flew away back. But he went to the house of a certain tailor, and engaged himself as his servant. So much the worse for wear was he, so thoroughly had he altered in appearance, that nobody would have suspected him of being a Prince.
All this the Prince did. Then the bird—carrying the zasyek on her back, with the Prince sitting in the middle—took off into the sky. After flying for a while, she brought him to his destination, said goodbye, and flew away. He then went to the home of a tailor and offered to work as his servant. He looked so worn out and changed that no one would have guessed he was a Prince.
Having entered into the service of this master, the Prince began to ask what was going on in that country. And his master replied: “Our two princes—for the third one has disappeared—have brought away brides from the other world, and want to marry them, but those brides refuse. For they insist on having all their wedding-clothes made for them first, exactly like those which they used to have in the other world, and that without being measured for them. The King has called all the workmen together, but not one of them will undertake to do it.”
Having started working for this master, the Prince began to inquire about what was happening in that country. His master replied: “Our two princes—since the third one has vanished—have brought brides from the other world and want to marry them, but those brides refuse. They insist that their wedding clothes be made for them first, exactly like those they had in the other world, and without being measured for them. The King has gathered all the craftsmen, but none of them are willing to take it on.”
The Prince, having heard all this, said, “Go to the King, master, and tell him that you will provide everything that’s in your line.”
The Prince, having heard all this, said, “Go to the King, master, and tell him that you’ll supply everything that’s your responsibility.”
“However can I undertake to make clothes of that sort; I work for quite common folks,” says his master.
“However can I take on making clothes like that? I work for pretty average people,” says his master.
[Pg 91] “Go along, master! I will answer for everything,” says the Prince.
[Pg 91] “Go ahead, master! I’ll take care of everything,” says the Prince.
So the tailor went. The King was delighted that at least one good workman had been found, and gave him as much money as ever he wanted. When the tailor had settled everything, he went home. And the Prince said to him:
So the tailor went. The King was thrilled that he had finally found a skilled worker and gave him as much money as he wanted. Once the tailor had sorted everything out, he went home. And the Prince said to him:
“Now then, pray to God, and lie down to sleep; to-morrow all will be ready.” And the tailor followed his lad’s advice, and went to bed.
"Now then, pray to God and lie down to sleep; tomorrow everything will be ready." And the tailor took his apprentice's advice and went to bed.
Midnight sounded. The Prince arose, went out of the city into the fields, took out of his pocket the eggs which the maidens had given him, and, as they had taught him, turned them into three palaces. Into each of these he entered, took the maidens’ robes, went out again, turned the palaces back into eggs, and went home. And when he got there he hung up the robes on the wall, and lay down to sleep.
Midnight struck. The Prince got up, left the city and went into the fields. He took out the eggs the maidens had given him, and, following their instructions, transformed them into three palaces. He entered each one, took the maidens' robes, went back outside, changed the palaces back into eggs, and returned home. Once there, he hung the robes on the wall and lay down to sleep.
Early in the morning his master awoke, and behold! there hung such robes as he had never seen before, all shining with gold and silver and precious stones. He was delighted, and he seized them and carried them off to the King. When the princesses saw that the clothes were those which had been theirs in the other world, they guessed that Prince Ivan was in this world, so they exchanged glances with each other, but they held their peace. And the master, having handed over the clothes, went home, but he no longer found his dear journeyman there. For the Prince had gone to a shoemaker’s, and him too he sent to work for the King; and in the same way he went the round of all the artificers, and they all proffered him thanks, inasmuch as through him they were enriched by the King.
Early in the morning, his master woke up, and guess what! There were amazing robes hanging there that he had never seen before, all sparkling with gold, silver, and precious stones. He was thrilled, and he grabbed them and took them to the King. When the princesses saw that the clothes were the ones they had worn in the other world, they realized that Prince Ivan was in this world, so they exchanged knowing looks, but kept quiet. The master, after handing over the clothes, went home, but he no longer found his dear journeyman there. The Prince had gone to a shoemaker’s, and he sent him to work for the King too; and in the same way, he visited all the craftsmen, and they all expressed their gratitude, as they were all benefited by the King through him.
By the time the princely workman had gone the round of all the artificers, the princesses had received what they had asked for; all their clothes were just like what they had been in the other world. Then they wept bitterly because the Prince had not come, and it was impossible for them to hold out any longer, it was necessary that they should be married. But when they were ready for the wedding, the youngest bride said to the King:
By the time the royal craftsman had visited all the makers, the princesses had gotten exactly what they wanted; their clothes looked just like they did in the other world. Then they cried hard because the Prince hadn’t shown up, and they couldn’t wait any longer; they needed to be married. But when they were ready for the wedding, the youngest bride said to the King:
[Pg 92] “Allow me, my father, to go and give alms to the beggars.”
[Pg 92] “Please, my father, let me go and give money to the beggars.”
He gave her leave, and she went and began bestowing alms upon them, and examining them closely. And when she had come to one of them, and was going to give him some money, she caught sight of the ring which she had given to the Prince in the other world, and her sisters’ rings too—for it really was he. So she seized him by the hand, and brought him into the hall, and said to the King:
He let her go, and she went to start giving money to them and checking them out closely. When she reached one of them and was about to give him some cash, she noticed the ring she had given to the Prince in the other world, along with her sisters’ rings too—because it was really him. So she grabbed him by the hand and brought him into the hall, saying to the King:
“Here is he who brought us out of the other world. His brothers forbade us to say that he was alive, threatening to slay us if we did.”
“Here is the one who brought us out of the other world. His brothers forbade us to say he was alive, threatening to kill us if we did.”
Then the King was wroth with those sons, and punished them as he thought best. And afterwards three weddings were celebrated.
Then the King was angry with those sons and punished them as he saw fit. After that, three weddings were held.
[The conclusion of this story is somewhat obscure. Most of the variants represent the Prince as forgiving his brothers, and allowing them to marry two of the three princesses, but the present version appears to keep closer to its original, in which the prince doubtless married all three. With this story may be compared: Grimm, No. 166, “Der starke Hans,” and No. 91, “Dat Erdmänneken.” See also vol. iii. p. 165, where a reference is given to the Hungarian story in Gaal, No. 5—Dasent, No. 55, “The Big Bird Dan,” and No. 56, “Soria Moria Castle” (Asbjörnsen and Moe, Nos. 3 and 2. A somewhat similar story, only the palaces are in the air, occurs in Asbjörnsen’s “Ny Samling,” No. 72)—Campbell’s “Tales of the West Highlands,” No. 58—Schleicher’s “Litauische Märchen,” No. 38—The Polish story, Wojcicki, Book iii. No. 6, in which Norka is replaced by a witch who breaks the windows of a church, and is wounded, in falcon-shape, by the youngest brother—Hahn, No. 70, in which a Drakos, as a cloud, steals golden apples, a story closely resembling the Russian skazka. See also No. 26, very similar to which is the Servian Story in “Vuk Karajich,” No. 2—and a very interesting Tuscan story printed for the first time by A. de Gubernatis, “Zoological Mythology,” vol. ii. p. 187. See also ibid. p. 391.
[The conclusion of this story is a bit unclear. Most versions show the Prince forgiving his brothers and letting them marry two of the three princesses, but this version seems to stay closer to the original, in which the prince likely married all three. This story can be compared to: Grimm, No. 166, “The Strong Hans,” and No. 91, “The Earthman.” See also vol. iii. p. 165, where there's a reference to the Hungarian story in Gaal, No. 5—Dasent, No. 55, “The Big Bird Dan,” and No. 56, “Soria Moria Castle” (Asbjörnsen and Moe, Nos. 3 and 2. A somewhat similar story, where the palaces are in the air, appears in Asbjörnsen’s “New Collection,” No. 72)—Campbell’s “Tales of the West Highlands,” No. 58—Schleicher’s “Lithuanian Märchen,” No. 38—The Polish story, Wojcicki, Book iii. No. 6, where Norka is replaced by a witch who breaks the windows of a church and is injured, in falcon form, by the youngest brother—Hahn, No. 70, where a Drakos, as a cloud, steals golden apples, a story very similar to the Russian skazka. See also No. 26, which resembles the Servian Story in “Vuk Karajich,” No. 2—and a fascinating Tuscan story printed for the first time by A. de Gubernatis, “Zoological Mythology,” vol. ii. p. 187. See also ibid. p. 391.]
But still more important than these are the parallels offered by Indian fiction. Take, for instance, the story of Sringabhuja, in chap. xxxix. of book vii. of the “Kathásaritságara.” In it the elder sons of a certain king wish to get rid of their younger half-brother. One day a Rákshasa appears in the form of a gigantic crane. The other princes shoot at it in vain, but the youngest wounds it, and then sets off in pursuit of it, and of the valuable arrow which is fixed in it. After long wandering he comes to a castle in a forest. There he finds a maiden who tells him she is the daughter of the Rákshasa whom, in the form of a crane, he has wounded. She at once takes his part against her demon father, and eventually flies with him to his own country. The perils which the fugitives have to encounter will be mentioned in the remarks on Skazka XIX. See Professor Brockhaus’s summary of the story in the “Berichte der phil. hist. Classe der K. Sächs. Gesellschaft der Wissenschaften,” 1861, pp. 223-6. Also Professor Wilson’s version in his “Essays on Sanskrit Literature,” vol. ii. pp. 134-5.
But even more significant than these are the parallels found in Indian fiction. Take, for example, the story of Sringabhuja in chapter xxxix of book vii of the “Kathásaritságara.” In this tale, the elder sons of a king want to eliminate their younger half-brother. One day, a Rákshasa appears as a gigantic crane. The other princes shoot at it without success, but the youngest manages to wound it and then sets out to chase it, as well as the valuable arrow stuck in it. After wandering for a long time, he arrives at a castle deep in a forest. There, he meets a maiden who informs him that she is the daughter of the Rákshasa he has injured in the form of a crane. She immediately takes his side against her demon father and eventually escapes with him back to his homeland. The dangers they face during their flight will be discussed in the notes on Skazka XIX. See Professor Brockhaus’s summary of the story in “Berichte der phil. hist. Classe der K. Sächs. Gesellschaft der Wissenschaften,” 1861, pp. 223-6. Also refer to Professor Wilson’s version in his “Essays on Sanskrit Literature,” vol. ii, pp. 134-5.
In two other stories in the same collection the hero gives chase to a boar of gigantic size. It takes refuge in a cavern into which he follows it. Presently he finds himself in a different world, wherein he meets a beauteous maiden who explains everything to him. In the first of these two stories the lady is the daughter of a Rákshasa, who is invulnerable except in the palm of the left hand, for which reason, our hero, Chandasena has been unable to wound him when in his boar disguise. She instructs Chandasena how to kill her father, who accordingly falls a victim to a well-aimed shaft. (Brockhaus’s “Mährchensammlung des Somadeva Bhatta,” 1843, vol. i. pp. 110-13). In the other story, the lady turns out to be a princess whom “a demon with fiery eyes” had carried off and imprisoned. She tells the hero, Saktideva, that the demon has just died from a wound inflicted upon him, while transformed into a boar, by a bold archer. Saktideva informs her that he is that archer. Whereupon she immediately requests him to marry her (ibid. vol. ii. p. 175). In both stories the boar is described as committing great ravages in the upper world until the hero attacks it.]
In two other stories in the same collection, the hero chases a gigantic boar, which takes refuge in a cave that he follows it into. Suddenly, he finds himself in a different world, where he meets a beautiful maiden who explains everything to him. In the first of these two stories, the lady is the daughter of a Rákshasa, who is invulnerable except in the palm of his left hand, which is why our hero, Chandasena, has been unable to wound him while he's in his boar disguise. She teaches Chandasena how to kill her father, who then falls victim to a well-aimed arrow. (Brockhaus’s “Mährchensammlung des Somadeva Bhatta,” 1843, vol. i. pp. 110-13). In the other story, the lady turns out to be a princess who was kidnapped and imprisoned by “a demon with fiery eyes.” She tells the hero, Saktideva, that the demon has just died from a wound inflicted on him while transformed into a boar by a brave archer. Saktideva informs her that he is that archer. She then immediately asks him to marry her (ibid. vol. ii. p. 175). In both stories, the boar is described as wreaking havoc in the upper world until the hero attacks it.
[Pg 93] The Adventures of a prince, the youngest of three brothers, who has been lowered into the underground world or who has ascended into an enchanted upper realm, form the theme of numerous skazkas, several of which are variants of the story of Norka. The prince’s elder brothers almost always attempt to kill him, when he is about to ascend from the gulf or descend from the steeps which separate him from them. In one instance, the following excuse is offered for their conduct. The hero has killed a Snake in the underground world, and is carrying its head on a lance, when his brothers begin to hoist him up. “His brothers were frightened at the sight of that head and thinking the Snake itself was coming, they let Ivan fall back into the pit.”[90] But this apology for their behavior seems to be due to the story-teller’s imagination. In some instances their unfraternal conduct may be explained in the following manner. In oriental tales the hero is often the son of a king’s youngest wife, and he is not unnaturally hated by his half-brothers, the sons of an older queen, whom the hero’s mother has supplanted in their royal [Pg 94] father’s affections. Accordingly they do their best to get rid of him. Thus, in one of the Indian stories which correspond to that of Norka, the hero’s success at court “excited the envy and jealousy of his brothers [doubtless half-brothers], and they were not satisfied until they had devised a plan to effect his removal, and, as they hoped, accomplish his destruction.”[91] We know also that “Israel loved Joseph more than all his children,” because he was the son “of his old age,” and the result was that “when his brethren [who were only his half-brothers] saw that their father loved him more than all his brethren, they hated him.”[92] When such tales as these came west in Christian times, their references to polygamy were constantly suppressed, and their distinctions between brothers and half-brothers disappeared. In the same way the elder and jealous wife, who had behaved with cruelty in the original stories to the offspring of her rival, often became turned, under Christian influences, into a stepmother who hated her husband’s children by a previous marriage.
[Pg 93] The adventures of a prince, the youngest of three brothers, who either gets pulled into an underground world or rises to an enchanted upper realm, are the basis for many folktales, some of which are variations of the story of Norka. The prince's older brothers usually try to kill him whenever he’s about to either ascend from the depths or descend from the heights that separate him from them. In one case, they offer an excuse for their actions. The hero has killed a Snake in the underground world and is carrying its head on a spear when his brothers start lifting him up. “His brothers were terrified at the sight of that head, thinking the Snake itself was coming, and they let Ivan fall back into the pit.”[90] However, this justification for their behavior seems to come from the storyteller's imagination. In some cases, their unbrotherly actions might be explained like this: in eastern tales, the hero is often the son of the king's youngest wife and is understandably hated by his half-brothers, the sons of the older queen, whom the hero's mother has replaced in their father’s affections. So, they do everything they can to get rid of him. For example, in one of the Indian stories that relate to Norka, the hero’s success at court “aroused the envy and jealousy of his brothers [likely half-brothers], and they were not satisfied until they had come up with a plan to remove him and, as they hoped, ensure his destruction.”[91] We also know that “Israel loved Joseph more than all his children” because he was the son “of his old age,” which caused “when his brothers [who were only his half-brothers] saw that their father loved him more than all his brothers, they hated him.”[92] When such tales made their way west during Christian times, references to polygamy were often removed, and the distinctions between brothers and half-brothers vanished. Similarly, the older and envious wife, who had been cruel to the offspring of her rival in the original stories, often became a stepmother who despised her husband’s children from a previous marriage under Christian influence.
There may, however, be a mythological explanation of the behavior of the two elder brothers. Professor de Gubernatis is of opinion that “in the Vedic hymns, Tritas, the third brother, and the ablest as well as best, is persecuted by his brothers,” who, “in a fit of jealousy, on account of his wife, the aurora, and the riches she brings with her from the realm of darkness, the cistern or well [into which he has been lowered], detain their brother in the well,”[93] and he compares this form of the myth with that which it assumes in the following Hindoo tradition. “Three brothers, Ekata (i.e. the first), Dwita (i.e. the second) and Trita (i.e. the third) were travelling in a desert, and [Pg 95] being distressed with thirst, came to a well, from which the youngest, Trita, drew water and gave it to his brothers; in requital, they drew him into the well, in order to appropriate his property and having covered the top with a cart-wheel, left him in the well. In this extremity he prayed to the gods to extricate him, and by their favor he made his escape.”[94] This myth may, perhaps, be the germ from which have sprung the numerous folk-tales about the desertion of a younger brother in some pit or chasm, into which his brothers have lowered him.[95]
There might be a mythological reason behind the actions of the two older brothers. Professor de Gubernatis believes that “in the Vedic hymns, Tritas, the third brother, who is both the smartest and the kindest, is mistreated by his brothers,” who, “out of jealousy over his wife, the dawn, and the wealth she brings from the realm of darkness, trap their brother in the well,”[93] and he compares this version of the myth to another in the following Hindu tradition. “Three brothers, Ekata (i.e. the first), Dwita (i.e. the second), and Trita (i.e. the third) were wandering through a desert, and since they were suffering from thirst, they came across a well. The youngest, Trita, fetched water from it and shared it with his brothers; in return, they pulled him into the well to take his resources and, covering the opening with a cart-wheel, left him there. In this dire situation, he prayed to the gods for help, and with their assistance, he was able to escape.”[94] This myth might be the origin of many folk tales about the abandonment of a younger brother in some pit or chasm where his brothers have lowered him.[95]
It may seem more difficult to account for the willingness of Norka’s three sisters to aid in his destruction—unless, indeed, the whole story be considered to be mythological, as its Indian equivalents undoubtedly are. But in many versions of the same tale the difficulty does not arise. The princesses of the copper, silver, and golden realms, are usually represented as united by no ties of consanguinity with the snake or other monster whom the hero comes to kill. In the story of “Usuinya,”[96] for instance, there appears to be no relationship between these fair maidens and the “Usuinya-Bird,” which steals the golden apples from a monarch’s garden and is killed by his youngest son Ivan. That monster is not so much a bird as a flying dragon. “This Usuinya-bird is a twelve-headed snake,” says one of the fair maidens. And presently it arrives—its wings stretching afar, while along the ground trail its moustaches [usui, whence its name]. In a variant of the same story in another collection,[97] the part of Norka is played by a white [Pg 96] wolf. In that of Ivan Suchenko[98] it is divided among three snakes who have stolen as many princesses. For the snake is much given to abduction, especially when he appears under the terrible form of “Koshchei, the Deathless.”
It might seem more challenging to explain why Norka’s three sisters are willing to help in his downfall—unless you consider the whole story to be mythological, as its Indian counterparts undoubtedly are. However, in many versions of the same tale, this issue doesn't come up. The princesses from the copper, silver, and golden realms are usually shown as having no blood relation to the snake or other monster that the hero is out to defeat. In the story of “Usuinya,” for instance, there appears to be no connection between these beautiful maidens and the “Usuinya-Bird,” which steals golden apples from a king's garden and is killed by his youngest son, Ivan. That monster is less of a bird and more of a flying dragon. “This Usuinya-bird is a twelve-headed snake,” one of the maidens says. Soon enough, it arrives—its wings spreading wide, while its mustaches trail along the ground [usui, hence its name]. In a different version of the same story found in another collection, Norka is portrayed as a white wolf. In Ivan Suchenko’s version, the part of Norka is played by three snakes that have abducted as many princesses. The snake is notorious for kidnapping, especially when it takes on the frightening form of “Koshchei, the Deathless.”
Koshchei is merely one of the many incarnations of the dark spirit which takes so many monstrous shapes in the folk-tales of the class with which we are now dealing. Sometimes he is described as altogether serpent-like in form; sometimes he seems to be of a mixed nature, partly human and partly ophidian, but in some of the stories he is apparently framed after the fashion of a man. His name is by some mythologists derived from kost’, a bone whence comes a verb signifying to become ossified, petrified, or frozen; either because he is bony of limb, or because he produces an effect akin to freezing or petrifaction.[99]
Koshchei is just one of the many forms of the dark spirit that takes on various monstrous shapes in the folk tales we're discussing. Sometimes he's described as completely serpent-like; other times, he appears to be a mix, partly human and partly snake. In some stories, he seems to be made in the likeness of a man. Some mythologists say his name comes from kost’, which means bone, linked to a verb that suggests becoming stiff, petrified, or frozen—either because he's thin and bony or because he has a chilling, petrifying effect.[99]
He is called “Immortal” or “The Deathless,”[100] because of his superiority to the ordinary laws of existence. Sometimes, like Baldur, he cannot be killed except by one substance; sometimes his “death”—that is, the object with which his life is indissolubly connected—does not exist within his body. Like the vital centre of “the giant who [Pg 97] had no heart in his body” in the well-known Norse tale, it is something extraneous to the being whom it affects, and until it is destroyed he may set all ordinary means of annihilation at defiance. But this is not always the case, as may be learnt from one of the best of the skazkas in which he plays a leading part, the history of—
He’s known as “Immortal” or “The Deathless,”[100] because he surpasses the usual rules of existence. Sometimes, like Baldur, he can only be killed by a specific substance; other times, his “death”—the object that is inseparably linked to his life—doesn’t exist within his body. Similar to the heart of “the giant who had no heart in his body” from the famous Norse tale, this vital element is separate from the individual it affects, and as long as it remains intact, he can withstand all common means of destruction. However, this isn’t always true, as can be seen in one of the best skazkas where he plays a central role, the story of—
Marya Morevna.[101]
In a certain kingdom there lived a Prince Ivan. He had three sisters. The first was the Princess Marya, the second the Princess Olga, the third the Princess Anna. When their father and mother lay at the point of death, they had thus enjoined their son:—“Give your sisters in marriage to the very first suitors who come to woo them. Don’t go keeping them by you!”
In a certain kingdom, there lived a Prince named Ivan. He had three sisters. The first was Princess Marya, the second was Princess Olga, and the third was Princess Anna. When their parents were at the brink of death, they instructed their son: “Marry your sisters off to the first suitors who come to court them. Don’t keep them with you!”
They died and the Prince buried them, and then, to solace his grief, he went with his sisters into the garden green to stroll. Suddenly the sky was covered by a black cloud; a terrible storm arose.
They died, and the Prince buried them. Then, to ease his sorrow, he walked with his sisters in the green garden. Suddenly, the sky darkened with a black cloud, and a terrible storm broke out.
“Let us go home, sisters!” he cried.
“Let’s go home, sisters!” he shouted.
Hardly had they got into the palace, when the thunder pealed, the ceiling split open, and into the room where they were, came flying a falcon bright. The Falcon smote upon the ground, became a brave youth, and said:
Hardly had they entered the palace when thunder roared, the ceiling cracked open, and a bright falcon swooped into the room where they were. The falcon landed on the ground, transformed into a brave young man, and said:
“Hail, Prince Ivan! Before I came as a guest, but now I have come as a wooer! I wish to propose for your sister, the Princess Marya.”
“Hail, Prince Ivan! I used to come here as a guest, but now I’m here with a different intention! I would like to propose to your sister, Princess Marya.”
“If you find favor in the eyes of my sister, I will not interfere with her wishes. Let her marry you in God’s name!”
“If you have my sister’s approval, I won’t get in the way of her desires. Let her marry you in God’s name!”
The Princess Marya gave her consent; the Falcon married her and bore her away into his own realm.
Princess Marya agreed; the Falcon married her and took her away to his own kingdom.
Days follow days, hours chase hours; a whole year goes by. One day Prince Ivan and his two sisters went out to stroll in the garden green. Again there arose a stormcloud with whirlwind and lightning.
Days go by, hours follow hours; a whole year slips away. One day, Prince Ivan and his two sisters decided to take a walk in the green garden. Again, a storm cloud appeared with a whirlwind and lightning.
[Pg 98] “Let us go home, sisters!” cried the Prince. Scarcely had they entered the palace, when the thunder crashed, the roof burst into a blaze, the ceiling split in twain, and in flew an eagle. The Eagle smote upon the ground and became a brave youth.
[Pg 98] “Let’s go home, sisters!” shouted the Prince. Just as they stepped inside the palace, thunder boomed, the roof caught fire, the ceiling split in two, and an eagle swooped in. The eagle landed on the ground and turned into a courageous young man.
“Hail, Prince Ivan! Before I came as a guest, but now I have come as a wooer!”
“Hail, Prince Ivan! I came to visit before, but now I'm here to court you!”
And he asked for the hand of the Princess Olga. Prince Ivan replied:
And he asked for Princess Olga's hand in marriage. Prince Ivan replied:
“If you find favor in the eyes of the Princess Olga, then let her marry you. I will not interfere with her liberty of choice.”
“If you have the Princess Olga’s favor, then let her marry you. I won’t interfere with her freedom to choose.”
The Princess Olga gave her consent and married the Eagle. The Eagle took her and carried her off to his own kingdom.
The Princess Olga agreed and married the Eagle. The Eagle took her and flew her off to his kingdom.
Another year went by. Prince Ivan said to his youngest sister:
Another year passed. Prince Ivan said to his youngest sister:
“Let us go out and stroll in the garden green!”
“Let’s go out and walk in the green garden!”
They strolled about for a time. Again there arose a stormcloud, with whirlwind and lightning.
They walked around for a while. Once again, a storm cloud appeared, accompanied by strong winds and lightning.
“Let us return home, sister!” said he.
“Let’s go home, sister!” he said.
They returned home, but they hadn’t had time to sit down when the thunder[102] crashed, the ceiling split open, and in flew a raven. The Raven smote upon the floor and became a brave youth. The former youths had been handsome, but this one was handsomer still.
They got back home, but before they could even sit down, there was a loud crash of thunder[102], the ceiling burst open, and in flew a raven. The raven landed on the floor and transformed into a striking young man. The previous young men had been good-looking, but this one was even more attractive.
“Well, Prince Ivan! Before I came as a guest, but now I have come as a wooer. Give me the Princess Anna to wife.”
“Well, Prince Ivan! Before I came as a visitor, but now I have come as a suitor. Give me Princess Anna as my wife.”
“I won’t interfere with my sister’s freedom. If you gain her affections, let her marry you.”
“I won’t mess with my sister’s freedom. If you win her heart, then go ahead and marry her.”
So the Princess Anna married the Raven, and he bore her away to his own realm. Prince Ivan was left alone. A whole year he lived without his sisters; then he grew weary, and said:—
So Princess Anna married the Raven, and he took her away to his own land. Prince Ivan was left all alone. He spent a whole year without his sisters; then he got tired of it and said:—
“I will set out in search of my sisters.”
“I’m going to go look for my sisters.”
He got ready for the journey, he rode and rode, and one day he saw a whole army lying dead on the plain. He cried aloud, [Pg 99] “If there be a living man there, let him make answer! who has slain this mighty host?”
He prepared for the journey, he rode and rode, and one day he saw a whole army lying dead on the plain. He shouted, [Pg 99] "If there's a living person here, let them respond! Who has killed this incredible force?"
There replied unto him a living man:
There answered him a living man:
“All this mighty host has been slain by the fair Princess Marya Morevna.”
“All this powerful army has been defeated by the beautiful Princess Marya Morevna.”
Prince Ivan rode further on, and came to a white tent, and forth came to meet him the fair Princess Marya Morevna.
Prince Ivan rode on and arrived at a white tent, where the beautiful Princess Marya Morevna came out to greet him.
“Hail Prince!” says she, “whither does God send you? and is it of your free will or against your will?”
“Hail, Prince!” she says. “Where is God sending you, and is it by your own choice or against your will?”
Prince Ivan replied, “Not against their will do brave youths ride!”
Prince Ivan replied, “Brave young people don’t ride against their will!”
“Well, if your business be not pressing, tarry awhile in my tent.”
"Well, if your business isn't urgent, stay for a bit in my tent."
Thereat was Prince Ivan glad. He spent two nights in the tent, and he found favor in the eyes of Marya Morevna, and she married him. The fair Princess, Marya Morevna, carried him off into her own realm.
Prince Ivan was happy about that. He spent two nights in the tent, and he won the favor of Marya Morevna, and she married him. The beautiful Princess, Marya Morevna, took him to her own kingdom.
They spent some time together, and then the Princess took it into her head to go a warring. So she handed over all the housekeeping affairs to Prince Ivan, and gave him these instructions:
They spent some time together, and then the Princess decided she wanted to go to war. So she handed over all the household responsibilities to Prince Ivan and gave him these instructions:
“Go about everywhere, keep watch over everything, only do not venture to look into that closet there.”
“Go everywhere, keep an eye on everything, just don’t dare to look in that closet over there.”
He couldn’t help doing so. The moment Marya Morevna had gone he rushed to the closet, pulled open the door, and looked in—there hung Koshchei the Deathless, fettered by twelve chains. Then Koshchei entreated Prince Ivan, saying,—
He couldn’t help himself. As soon as Marya Morevna left, he hurried to the closet, opened the door, and looked inside—there hung Koshchei the Deathless, chained by twelve locks. Then Koshchei pleaded with Prince Ivan, saying,—
“Have pity upon me and give me to drink! Ten years long have I been here in torment, neither eating or drinking; my throat is utterly dried up.”
"Please have mercy on me and give me something to drink! I've been suffering here for ten long years, without eating or drinking; my throat is completely dry."
The Prince gave him a bucketful of water; he drank it up and asked for more, saying:
The Prince gave him a bucket of water; he drank it all and asked for more, saying:
“A single bucket of water will not quench my thirst; give me more!”
“A single bucket of water won't satisfy my thirst; give me more!”
The Prince gave him a second bucketful. Koshchei drank it up and asked for a third, and when he had swallowed the [Pg 100] third bucketful, he regained his former strength, gave his chains a shake, and broke all twelve at once.
The Prince poured him a second bucketful. Koshchei drank it all and asked for a third, and when he finished the third bucket, he got his strength back, shook his chains, and broke all twelve of them at once.
“Thanks, Prince Ivan!” cried Koshchei the deathless, “now you will sooner see your own ears than Marya Morevna!” and out of the window he flew in the shape of a terrible whirlwind. And he came up with the fair Princess Marya Morevna as she was going her way, laid hold of her, and carried her off home with him. But Prince Ivan wept full sore, and he arrayed himself and set out a wandering, saying to himself: “Whatever happens, I will go and look for Marya Morevna!”
“Thanks, Prince Ivan!” shouted Koshchei the deathless, “now you’ll see your own ears before you see Marya Morevna!” And with that, he flew out the window like a terrible whirlwind. He caught up with the beautiful Princess Marya Morevna as she was going about her day, grabbed her, and took her home with him. Meanwhile, Prince Ivan cried bitterly, and he got ready and set out on a journey, telling himself, “No matter what happens, I will go find Marya Morevna!”
One day passed, another day passed: at the dawn of the third day he saw a wondrous palace, and by the side of the palace stood an oak, and on the oak sat a falcon bright. Down flew the Falcon from the oak, smote upon the ground, turned into a brave youth and cried aloud:
One day went by, then another day went by: at the break of the third day, he saw an amazing palace, and next to the palace stood an oak tree, with a bright falcon perched on it. The falcon swooped down from the oak, landed on the ground, transformed into a handsome young man, and shouted:
“Ha, dear brother-in-law! how deals the Lord with you?”
“Ha, dear brother-in-law! How is the Lord treating you?”
Out came running the Princess Marya, joyfully greeted her brother Ivan, and began enquiring after his health, and telling him all about herself. The Prince spent three days with them, then he said:
Out came running Princess Marya, happily greeting her brother Ivan, and began asking how he was doing while sharing everything about herself. The Prince stayed with them for three days, then he said:
“I cannot abide with you; I must go in search of my wife the fair Princess Marya Morevna.”
“I can’t stay here with you; I have to go look for my wife, the beautiful Princess Marya Morevna.”
“Hard will it be for you to find her,” answered the Falcon. “At all events leave with us your silver spoon. We will look at it and remember you.” So Prince Ivan left his silver spoon at the Falcon’s, and went on his way again.
“It's going to be tough for you to find her,” said the Falcon. “In any case, please leave your silver spoon with us. We'll look at it and remember you.” So Prince Ivan left his silver spoon with the Falcon and continued on his journey.
On he went one day, on he went another day, and by the dawn of the third day he saw a palace still grander than the former one, and hard by the palace stood an oak, and on the oak sat an eagle. Down flew the eagle from the oak, smote upon the ground, turned into a brave youth, and cried aloud:
On he went one day, on he went another day, and by the dawn of the third day he saw a palace even grander than the last one, and nearby the palace stood an oak tree, and on the oak sat an eagle. The eagle flew down from the oak, landed on the ground, transformed into a courageous young man, and shouted loudly:
“Rise up, Princess Olga! Hither comes our brother dear!”
“Wake up, Princess Olga! Here comes our beloved brother!”
The Princess Olga immediately ran to meet him, and began kissing him and embracing him, asking after his health and telling him all about herself. With them Prince Ivan stopped three days; then he said:
The Princess Olga instantly hurried to greet him, starting to kiss and hug him, inquiring about how he was doing and sharing everything about her life. Prince Ivan stayed with them for three days; then he said:
“I cannot stay here any longer. I am going to look for my wife, the fair Princess Marya Morevna.”
“I can’t stay here any longer. I’m going to search for my wife, the beautiful Princess Marya Morevna.”
[Pg 101] “Hard will it be for you to find her,” replied the Eagle, “Leave with us a silver fork. We will look at it and remember you.”
[Pg 101] “It will be tough for you to find her,” said the Eagle, “Leave us a silver fork. We’ll look at it and think of you.”
He left a silver fork behind, and went his way. He travelled one day, he travelled two days; at daybreak on the third day he saw a palace grander than the first two, and near the palace stood an oak, and on the oak sat a raven. Down flew the Raven from the oak, smote upon the ground, turned into a brave youth, and cried aloud:
He left a silver fork behind and went on his way. He traveled for one day, then two days; at dawn on the third day, he saw a palace that was even grander than the first two, and next to the palace was an oak tree, with a raven perched on it. The raven flew down from the oak, landed on the ground, transformed into a handsome young man, and shouted:
“Princess Anna, come forth quickly! our brother is coming!”
“Princess Anna, come here quickly! Our brother is on his way!”
Out ran the Princess Anna, greeted him joyfully, and began kissing and embracing him, asking after his health and telling him all about herself. Prince Ivan stayed with them three days; then he said:
Out ran Princess Anna, welcomed him happily, and started kissing and hugging him, asking about his health and sharing everything about her life. Prince Ivan stayed with them for three days; then he said:
“Farewell! I am going to look for my wife, the fair Princess Marya Morevna.”
“Goodbye! I'm going to find my wife, the beautiful Princess Marya Morevna.”
“Hard will it be for you to find her,” replied the Raven, “Anyhow, leave your silver snuff-box with us. We will look at it and remember you.”
“It's going to be tough for you to find her,” replied the Raven, “Anyway, leave your silver snuff box with us. We'll check it out and remember you.”
The Prince handed over his silver snuff-box, took his leave and went his way. One day he went, another day he went, and on the third day he came to where Marya Morevna was. She caught sight of her love, flung her arms around his neck, burst into tears, and exclaimed:
The Prince handed over his silver snuff-box, said goodbye, and went on his way. He went one day, another day, and on the third day, he arrived where Marya Morevna was. She saw her love, wrapped her arms around his neck, burst into tears, and exclaimed:
“Oh, Prince Ivan! why did you disobey me, and go looking into the closet and letting out Koshchei the Deathless?”
“Oh, Prince Ivan! Why did you ignore me and go probing in the closet, letting out Koshchei the Deathless?”
“Forgive me, Marya Morevna! Remember not the past; much better fly with me while Koshchei the Deathless is out of sight. Perhaps he won’t catch us.”
“Forgive me, Marya Morevna! Don’t dwell on the past; it’s much better to fly with me while Koshchei the Deathless is out of sight. Maybe he won’t find us.”
So they got ready and fled. Now Koshchei was out hunting. Towards evening he was returning home, when his good steed stumbled beneath him.
So they got ready and ran away. Now Koshchei was out hunting. As evening approached, he was heading home when his trusty horse stumbled under him.
“Why stumblest thou, sorry jade? scentest thou some ill?”
“Why are you stumbling, you poor thing? Do you sense something wrong?”
The steed replied:
The horse replied:
“Prince Ivan has come and carried off Marya Morevna.”
“Prince Ivan has come and taken Marya Morevna away.”
“Is it possible to catch them?”
“Can we get them?”
“It is possible to sow wheat, to wait till it grows up, to reap [Pg 102] it and thresh it, to grind it to flour, to make five pies of it, to eat those pies, and then to start in pursuit—and even then to be in time.”
“It is possible to plant wheat, wait for it to grow, harvest it and thresh it, grind it into flour, make five pies with it, eat those pies, and then start the chase—and still be on time.”
Koshchei galloped off and caught up Prince Ivan.
Koshchei rode off and caught up with Prince Ivan.
“Now,” says he, “this time I will forgive you, in return for your kindness in giving me water to drink. And a second time I will forgive you; but the third time beware! I will cut you to bits.”
“Now,” he says, “this time I will forgive you because you were kind enough to give me water to drink. I’ll forgive you a second time; but the third time, watch out! I will cut you to pieces.”
Then he took Marya Morevna from him, and carried her off. But Prince Ivan sat down on a stone and burst into tears. He wept and wept—and then returned back again to Marya Morevna. Now Koshchei the Deathless happened not to be at home.
Then he took Marya Morevna from him and carried her away. But Prince Ivan sat down on a rock and started to cry. He cried and cried—and then went back to Marya Morevna. At that moment, Koshchei the Deathless was not home.
“Let us fly, Marya Morevna!”
“Let’s fly, Marya Morevna!”
“Ah, Prince Ivan! he will catch us.”
“Ah, Prince Ivan! He’s going to catch us.”
“Suppose he does catch us. At all events we shall have spent an hour or two together.”
“Let’s say he does catch us. Either way, we’ll have spent an hour or two together.”
So they got ready and fled. As Koshchei the Deathless was returning home, his good steed stumbled beneath him.
So they got ready and ran away. As Koshchei the Deathless was heading home, his good horse stumbled under him.
“Why stumblest thou, sorry jade? scentest thou some ill?”
“Why are you stumbling, you unfortunate thing? Do you smell something bad?”
“Prince Ivan has come and carried off Marya Morevna.”
“Prince Ivan has arrived and taken Marya Morevna.”
“Is it possible to catch them?”
"Can we catch them?"
“It is possible to sow barley, to wait till it grows up, to reap it and thresh it, to brew beer, to drink ourselves drunk on it, to sleep our fill, and then to set off in pursuit—and yet to be in time.”
“It’s possible to plant barley, wait for it to grow, harvest it, thresh it, brew beer, get drunk on it, sleep as much as we want, and then head out in search—and still be on time.”
Koshchei galloped off, caught up Prince Ivan:
Koshchei rode off, catching up to Prince Ivan:
“Didn’t I tell you that you should not see Marya Morevna any more than your own ears?”
“Didn’t I tell you that you shouldn’t see Marya Morevna any more than your own ears?”
And he took her away and carried her off home with him.
And he took her away and brought her home with him.
Prince Ivan was left there alone. He wept and wept; then he went back again after Marya Morevna. Koshchei happened to be away from home at that moment.
Prince Ivan was left there all alone. He cried and cried; then he went back for Marya Morevna. Koshchei happened to be away from home at that moment.
“Let us fly, Marya Morevna.”
"Let's fly, Marya Morevna."
“Ah, Prince Ivan! He is sure to catch us and hew you in pieces.”
“Ah, Prince Ivan! He’s definitely going to catch us and cut you into pieces.”
“Let him hew away! I cannot live without you.”
“Let him chop away! I can't live without you.”
[Pg 103] So they got ready and fled.
They planned and made their escape.
Koshchei the Deathless was returning home when his good steed stumbled beneath him.
Koshchei the Deathless was on his way home when his trusty horse tripped under him.
“Why stumblest thou? scentest thou any ill?”
“Why are you stumbling? Do you smell something bad?”
“Prince Ivan has come and has carried off Marya Morevna.”
“Prince Ivan has arrived and has taken Marya Morevna.”
Koshchei galloped off, caught Prince Ivan, chopped him into little pieces, put them in a barrel, smeared it with pitch and bound it with iron hoops, and flung it into the blue sea. But Marya Morevna he carried off home.
Koshchei rode off quickly, captured Prince Ivan, chopped him into small pieces, placed them in a barrel, coated it with pitch, secured it with iron hoops, and tossed it into the blue sea. But he took Marya Morevna back home with him.
At that very time, the silver turned black which Prince Ivan had left with his brothers-in-law.
At that moment, the silver that Prince Ivan had left with his brothers-in-law turned black.
“Ah!” said they, “the evil is accomplished sure enough!”
“Ah!” they said, “the harm is definitely done!”
Then the Eagle hurried to the blue sea, caught hold of the barrel, and dragged it ashore; the Falcon flew away for the Water of Life, and the Raven for the Water of Death.
Then the Eagle rushed to the blue sea, grabbed the barrel, and pulled it ashore; the Falcon flew off for the Water of Life, and the Raven went for the Water of Death.
Afterwards they all three met, broke open the barrel, took out the remains of Prince Ivan, washed them, and put them together in fitting order. The Raven sprinkled them with the Water of Death—the pieces joined together, the body became whole. The Falcon sprinkled it with the Water of Life—Prince Ivan shuddered, stood up, and said:
Afterward, the three of them met up, broke open the barrel, took out what was left of Prince Ivan, cleaned it, and arranged the pieces neatly. The Raven poured the Water of Death over the remains—the pieces came together, and the body became complete. The Falcon then poured the Water of Life on it—Prince Ivan shuddered, stood up, and said:
“Ah! what a time I’ve been sleeping!”
“Wow! I can’t believe how long I’ve been sleeping!”
“You’d have gone on sleeping a good deal longer, if it hadn’t been for us,” replied his brothers-in-law. “Now come and pay us a visit.”
“You would have slept a lot longer if it weren't for us,” replied his brothers-in-law. “Now come and visit us.”
“Not so, brothers; I shall go and look for Marya Morevna.”
“Not like that, brothers; I'm going to find Marya Morevna.”
And when he had found her, he said to her:
And when he found her, he said to her:
“Find out from Koshchei the Deathless whence he got so good a steed.”
“Ask Koshchei the Deathless where he got such a great horse.”
So Marya Morevna chose a favorable moment, and began asking Koshchei about it. Koshchei replied:
So Marya Morevna picked the right time and started asking Koshchei about it. Koshchei answered:
“Beyond thrice nine lands, in the thirtieth kingdom, on the other side of the fiery river, there lives a Baba Yaga. She has so good a mare that she flies right round the world on it every day. And she has many other splendid mares. I watched her herds for three days without losing a single mare, and in return for that the Baba Yaga gave me a foal.”
“Beyond thirty-nine lands, in the thirtieth kingdom, on the other side of the fiery river, there lives a Baba Yaga. She has such a great mare that she flies around the world on it every day. And she has many other amazing mares. I watched her herds for three days without losing a single mare, and in return for that, Baba Yaga gave me a foal.”
[Pg 104] “But how did you get across the fiery river?”
[Pg 104] “But how did you get across the burning river?”
“Why, I’ve a handkerchief of this kind—when I wave it thrice on the right hand, there springs up a very lofty bridge and the fire cannot reach it.”
“Why, I have a handkerchief like this—when I wave it three times to the right, a really tall bridge appears, and the fire can’t touch it.”
Marya Morevna listened to all this, and repeated it to Prince Ivan, and she carried off the handkerchief and gave it to him. So he managed to get across the fiery river, and then went on to the Baba Yaga’s. Long went he on without getting anything either to eat or to drink. At last he came across an outlandish[103] bird and its young ones. Says Prince Ivan:
Marya Morevna heard everything and told it to Prince Ivan. She took the handkerchief and gave it to him. With that, he was able to cross the fiery river and continued on to Baba Yaga's place. He went a long time without food or drink. Finally, he came across a strange bird and its chicks. Prince Ivan said:
“I’ll eat one of these chickens.”
“I’ll eat one of these chickens.”
“Don’t eat it, Prince Ivan!” begs the outlandish bird; “some time or other I’ll do you a good turn.”
“Don’t eat it, Prince Ivan!” pleads the strange bird; “one day I’ll do something good for you.”
He went on farther and saw a hive of bees in the forest.
He walked further and spotted a beehive in the woods.
“I’ll get a bit of honeycomb,” says he.
"I'll grab some honeycomb," he says.
“Don’t disturb my honey, Prince Ivan!” exclaims the queen bee; “some time or other I’ll do you a good turn.”
“Don’t bother my honey, Prince Ivan!” says the queen bee; “someday I’ll do you a favor.”
So he didn’t disturb it, but went on. Presently there met him a lioness with her cub.
So he didn’t disturb it, but kept going. Soon, he came across a lioness with her cub.
“Anyhow I’ll eat this lion cub,” says he; “I’m so hungry, I feel quite unwell!”
“Anyway, I’ll eat this lion cub,” he says; “I’m so hungry, I feel really unwell!”
“Please let us alone, Prince Ivan” begs the lioness; “some time or other I’ll do you a good turn.”
“Please leave us alone, Prince Ivan,” the lioness pleads. “Someday, I’ll do you a favor.”
“Very well; have it your own way,” says he.
“Alright, do it your way,” he says.
Hungry and faint he wandered on, walked farther and farther and at last came to where stood the house of the Baba Yaga. Round the house were set twelve poles in a circle, and on each of eleven of these poles was stuck a human head, the twelfth alone remained unoccupied.
Hungry and weak, he kept walking, going farther and farther until he reached the house of Baba Yaga. Surrounding the house were twelve poles arranged in a circle, with a human head mounted on each of eleven of the poles; the twelfth pole was empty.
“Hail, granny!”
“Hey, grandma!”
“Hail, Prince Ivan! wherefore have you come? Is it of your own accord, or on compulsion?”
“Hey, Prince Ivan! Why are you here? Did you come by your own choice, or were you forced?”
“I have come to earn from you a heroic steed.”
“I have come to earn a heroic horse from you.”
“So be it, Prince, you won’t have to serve a year with me, but just three days. If you take good care of my mares, I’ll give you a heroic steed. But if you don’t—why then you mustn’t be [Pg 105] annoyed at finding your head stuck on top of the last pole up there.”
“So be it, Prince, you won’t have to serve a year with me, but just three days. If you take good care of my mares, I’ll give you a heroic steed. But if you don’t—well, don’t be surprised if you find your head stuck on top of the last pole up there.”
Prince Ivan agreed to these terms. The Baba Yaga gave him food and drink, and bid him set about his business. But the moment he had driven the mares afield, they cocked up their tails, and away they tore across the meadows in all directions. Before the Prince had time to look round, they were all out of sight. Thereupon he began to weep and to disquiet himself, and then he sat down upon a stone and went to sleep. But when the sun was near its setting, the outlandish bird came flying up to him, and awakened him saying:—
Prince Ivan agreed to the terms. Baba Yaga gave him food and drink and told him to get started on his task. But as soon as he let the mares out into the field, they lifted their tails and dashed off in all directions across the meadows. Before the Prince could even turn around, they were out of sight. He then started to cry and worry, and finally sat down on a stone and fell asleep. But when the sun was setting, the strange bird flew up to him and woke him up, saying:—
“Arise, Prince Ivan! the mares are at home now.”
“Get up, Prince Ivan! The mares are back home now.”
The Prince arose and returned home. There the Baba Yaga was storming and raging at her mares, and shrieking:—
The Prince got up and went home. There, Baba Yaga was yelling and furious with her horses, screaming:—
“Whatever did ye come home for?”
“Why did you come back?”
“How could we help coming home?” said they. “There came flying birds from every part of the world, and all but pecked our eyes out.”
“How could we help but come home?” they said. “Birds were flying in from every corner of the globe, and nearly picked our eyes out.”
“Well, well! to-morrow don’t go galloping over the meadows, but disperse amid the thick forests.”
“Well, well! Tomorrow, don’t go racing across the meadows, but spread out among the thick forests.”
Prince Ivan slept all night. In the morning the Baba Yaga says to him:—
Prince Ivan slept all night. In the morning, Baba Yaga says to him:—
“Mind, Prince! if you don’t take good care of the mares, if you lose merely one of them—your bold head will be stuck on that pole!”
“Listen, Prince! If you don’t take good care of the mares, if you lose even one of them—your head will be on that pole!”
He drove the mares afield. Immediately they cocked up their tails and dispersed among the thick forests. Again did the Prince sit down on the stone, weep and weep, and then go to sleep. The sun went down behind the forest. Up came running the lioness.
He drove the mares out to the field. Right away, they raised their tails and scattered among the dense woods. Once again, the Prince sat down on the stone, cried and cried, and then fell asleep. The sun set behind the trees. The lioness came running up.
“Arise, Prince Ivan! The mares are all collected.”
"Get up, Prince Ivan! The mares are all gathered."
Prince Ivan arose and went home. More than ever did the Baba Yaga storm at her mares and shriek:—
Prince Ivan got up and headed home. More than ever, Baba Yaga yelled at her horses and screamed:—
“Whatever did ye come back home for?”
“Why did you come back home?”
“How could we help coming back? Beasts of prey came running at us from all parts of the world, all but tore us utterly to pieces.”
“How could we not come back? Predators came charging at us from every corner of the world, nearly ripping us apart.”
[Pg 106] “Well, to-morrow run off into the blue sea.”
[Pg 106] “Well, tomorrow let's run off to the blue sea.”
Again did Prince Ivan sleep through the night. Next morning the Baba Yaga sent him forth to watch the mares:
Again, Prince Ivan slept through the night. The next morning, Baba Yaga sent him out to watch the mares:
“If you don’t take good care of them,” says she, “your bold head will be stuck on that pole!”
“If you don’t take good care of them,” she says, “your stubborn head will be stuck on that pole!”
He drove the mares afield. Immediately they cocked up their tails, disappeared from sight, and fled into the blue sea. There they stood, up to their necks in water. Prince Ivan sat down on the stone, wept, and fell asleep. But when the sun had set behind the forest, up came flying a bee and said:—
He drove the mares out to the field. Right away, they raised their tails, vanished from view, and ran into the blue sea. There they stood, with the water up to their necks. Prince Ivan sat on a stone, cried, and fell asleep. But when the sun set behind the forest, a bee flew by and said:—
“Arise, Prince! The mares are all collected. But when you get home, don’t let the Baba Yaga set eyes on you, but go into the stable and hide behind the mangers. There you will find a sorry colt rolling in the muck. Do you steal it, and at the dead of night ride away from the house.”
“Get up, Prince! The horses are all gathered. But when you get home, don’t let the Baba Yaga see you; instead, go into the stable and hide behind the feeding troughs. There you’ll find a sad little colt rolling in the dirt. Steal it, and in the dead of night, ride away from the house.”
Prince Ivan arose, slipped into the stable, and lay down behind the mangers, while the Baba Yaga was storming away at her mares and shrieking:—
Prince Ivan got up, went into the stable, and lay down behind the feed bins, while Baba Yaga was angrily yelling at her mares and screaming:—
“Why did ye come back?”
"Why did you come back?"
“How could we help coming back? There came flying bees in countless numbers from all parts of the world, and began stinging us on all sides till the blood came!”
“How could we not come back? Bees came flying in from everywhere, stinging us on all sides until we were bleeding!”
The Baba Yaga went to sleep. In the dead of the night Prince Ivan stole the sorry colt, saddled it, jumped on its back, and galloped away to the fiery river. When he came to that river he waved the handkerchief three times on the right hand, and suddenly, springing goodness knows whence, there hung across the river, high in the air, a splendid bridge. The Prince rode across the bridge and waved the handkerchief twice only on the left hand; there remained across the river a thin—ever so thin a bridge!
The Baba Yaga fell asleep. In the middle of the night, Prince Ivan quietly took the pitiful colt, saddled it, jumped on its back, and rode off to the fiery river. When he reached the river, he waved the handkerchief three times with his right hand, and suddenly, out of nowhere, a magnificent bridge appeared high in the air across the river. The Prince rode across the bridge and waved the handkerchief twice with his left hand; and what was left across the river was a narrow—very, very narrow bridge!
When the Baba Yaga got up in the morning, the sorry colt was not to be seen! Off she set in pursuit. At full speed did she fly in her iron mortar, urging it on with the pestle, sweeping away her traces with the broom. She dashed up to the fiery river, gave a glance, and said, “A capital bridge!” She drove on to the bridge, but had only got half-way when the bridge [Pg 107] broke in two, and the Baba Yaga went flop into the river. There truly did she meet with a cruel death!
When Baba Yaga woke up in the morning, the poor colt was nowhere to be found! She set off in pursuit. She sped along in her iron mortar, pushing it forward with the pestle and sweeping away her tracks with the broom. She rushed up to the fiery river, took a look, and said, “Great bridge!” She drove onto the bridge, but had only gotten halfway when the bridge [Pg 107] snapped in two, and Baba Yaga fell into the river. There, she really met a cruel fate!
Prince Ivan fattened up the colt in the green meadows, and it turned into a wondrous steed. Then he rode to where Marya Morevna was. She came running out, and flung herself on his neck, crying:—
Prince Ivan raised the colt in the lush meadows, and it grew into a magnificent horse. Then he rode to where Marya Morevna was. She ran out to him and threw herself around his neck, crying:—
“By what means has God brought you back to life?”
“By what means has God brought you back to life?”
“Thus and thus,” says he. “Now come along with me.”
“Like this,” he says. “Now come with me.”
“I am afraid, Prince Ivan! If Koshchei catches us, you will be cut in pieces again.”
“I’m worried, Prince Ivan! If Koshchei finds us, you’ll be chopped into bits again.”
“No, he won’t catch us! I have a splendid heroic steed now; it flies just like a bird.” So they got on its back and rode away.
“No way, he won’t catch us! I’ve got an amazing heroic horse now; it flies just like a bird.” So they got on its back and rode away.
Koshchei the Deathless was returning home when his horse stumbled beneath him.
Koshchei the Deathless was on his way home when his horse tripped under him.
“What art thou stumbling for, sorry jade? dost thou scent any ill?”
“What are you stumbling for, unfortunate one? Do you smell something bad?”
“Prince Ivan has come and carried off Marya Morevna.”
“Prince Ivan has arrived and taken Marya Morevna.”
“Can we catch them?”
“Can we catch them now?”
“God knows! Prince Ivan has a horse now which is better than I.”
“Honestly! Prince Ivan has a horse now that’s better than mine.”
“Well, I can’t stand it,” says Koshchei the Deathless. “I will pursue.”
“Well, I can’t take it anymore,” says Koshchei the Deathless. “I’m going to chase after it.”
After a time he came up with Prince Ivan, lighted on the ground, and was going to chop him up with his sharp sword. But at that moment Prince Ivan’s horse smote Koshchei the Deathless full swing with its hoof, and cracked his skull, and the Prince made an end of him with a club. Afterwards the Prince heaped up a pile of wood, set fire to it, burnt Koshchei the Deathless on the pyre, and scattered his ashes to the wind. Then Marya Morevna mounted Koshchei’s horse and Prince Ivan got on his own, and they rode away to visit first the Raven, and then the Eagle, and then the Falcon. Wherever they went they met with a joyful greeting.
After a while, he caught up with Prince Ivan, landed on the ground, and was about to chop him up with his sharp sword. But at that moment, Prince Ivan’s horse kicked Koshchei the Deathless with all its strength, cracking his skull, and the Prince finished him off with a club. Afterwards, the Prince piled up some wood, set it on fire, burned Koshchei the Deathless on the pyre, and scattered his ashes to the wind. Then Marya Morevna got on Koshchei’s horse, and Prince Ivan got on his own, and they rode off to visit the Raven first, then the Eagle, and then the Falcon. Wherever they went, they were greeted joyfully.
“Ah, Prince Ivan! why, we never expected to see you again. Well, it wasn’t for nothing that you gave yourself so much trouble. [Pg 108] Such a beauty as Marya Morevna one might search for all the world over—and never find one like her!”
“Ah, Prince Ivan! We never thought we would see you again. Well, all your efforts weren’t in vain. [Pg 108] A beauty like Marya Morevna is something you could search for everywhere—and never find anyone like her!”
With the Baba Yaga, the feminine counterpart of Koshchei and the Snake, we shall deal presently, and the Waters of Life and Death will find special notice elsewhere.[105] A magic water, which brings back the dead to life, plays a prominent part in the folk-lore of all lands, but the two waters, each performing one part only of the cure, render very noteworthy the Slavonic stories in which they occur. The Princess, Marya Morevna, who slaughters whole armies before she is married, and then becomes mild and gentle, belongs to a class of heroines who frequently occur both in the stories and in the “metrical romances,” and to whom may be applied the remarks made by Kemble with reference to a similar Amazon.[106] In one of the variants of the story the representative of Marya Morevna fights the hero before she marries him.[107] The Bluebeard incident of the forbidden closet is one which often occurs in the Skazkas, as we shall see further on; and the same may be said about the gratitude of the Bird, Bee, and Lioness.
With Baba Yaga, the female equivalent of Koshchei and the Snake, we'll discuss soon, and the Waters of Life and Death will be addressed elsewhere. [105] A magical water that brings the dead back to life plays a significant role in folklore from all over, but the two waters, each responsible for only part of the healing, highlight the Slavonic tales in which they appear. Princess Marya Morevna, who defeats entire armies before her marriage and then becomes gentle and kind, is part of a group of heroines who frequently appear in both the stories and the “metrical romances,” and the observations made by Kemble regarding a similar Amazon apply to her as well. [106] In one version of the story, Marya Morevna's representative fights the hero before marrying him. [107] The Bluebeard tale involving the forbidden closet frequently appears in the Skazkas, as we will explore later; the same can be said for the gratitude shown by the Bird, Bee, and Lioness.
[Pg 109] The story of Immortal Koshchei is one of very frequent occurrence, the different versions maintaining a unity of idea, but varying considerably in detail. In one of them,[108] in which Koshchei’s part is played by a Snake, the hero’s sisters are carried off by their feathered admirers without his leave being asked—an omission for which a full apology is afterwards made; in another, the history of “Fedor Tugarin and Anastasia the Fair,”[109] the hero’s three sisters are wooed and won, not by the Falcon, the Eagle, and the Raven, but by the Wind, the Hail, and the Thunder. He himself marries the terrible heroine Anastasia the Fair, in the forbidden chamber of whose palace he finds a snake “hung up by one of its ribs.” He gives it a lift and it gets free from its hook and flies away, carrying off Anastasia the Fair. Fedor eventually finds her, escapes with her on a magic foal which he obtains, thanks to the aid of grateful wolves, bees, and crayfish, and destroys the snake by striking it “on the forehead” with the stone which was destined to be its death. In a third version of the story,[110] the hero finds in the forbidden chamber “Koshchei the Deathless, in a cauldron amid flames, boiling in pitch.” There he has been, he declares, for fifteen years, having been lured there by the beauty of Anastasia the Fair. In a fourth,[111] in which the hero’s three sisters marry three beggars, who turn out to be snakes with twenty, thirty, and forty heads apiece, Koshchei is found in the forbidden chamber, seated on a horse which is chained to a cauldron. He begs the hero to unloose the horse, promising, in return, to save him from three deaths.
[Pg 109] The tale of Immortal Koshchei is one that pops up often, with different versions sharing a core idea but differing quite a bit in details. In one version,[108] where Koshchei is represented by a Snake, the hero’s sisters are taken by their bird suitors without asking for his permission—an oversight for which they later apologize. In another version, the story of “Fedor Tugarin and Anastasia the Fair,”[109] the hero’s three sisters are pursued not by the Falcon, the Eagle, and the Raven, but by the Wind, the Hail, and the Thunder. He ends up marrying the fierce heroine Anastasia the Fair, in the forbidden chamber of whose palace he discovers a snake “hung up by one of its ribs.” He gives it a boost, and it gets free from its hook and flies away with Anastasia the Fair. Fedor eventually finds her, escapes with her on a magical foal he gets with the help of thankful wolves, bees, and crayfish, and defeats the snake by hitting it “on the forehead” with the stone destined to be its doom. In a third version of the story,[110] the hero discovers “Koshchei the Deathless, in a cauldron amid flames, boiling in pitch.” He claims to have been there for fifteen years, having been drawn in by Anastasia the Fair's beauty. In a fourth version,[111] where the hero’s three sisters marry three beggars, who turn out to be snakes with twenty, thirty, and forty heads each, Koshchei is found in the forbidden chamber, sitting on a horse that is chained to a cauldron. He asks the hero to release the horse, promising to save him from three deaths in return.
[Into the mystery of the forbidden chamber I will not enter fully at present. Suffice to say that there can be little doubt as to its being the same as that in which Bluebeard kept the corpses of his dead wives. In the Russian, as well as in the [Pg 110] Oriental stories, it is generally the curiosity of a man, not of a woman, which leads to the opening of the prohibited room. In the West of Europe the fatal inquisitiveness is more frequently ascribed to a woman. For parallels see the German stories of “Marienkind,” and “Fitchers Vogel.” (Grimm, KM., Nos. 3 and 46, also the notes in Bd. iii. pp. 8, 76, 324.) Less familiar than these is, probably, the story of “Die eisernen Stiefel” (Wolf’s “Deutsche Hausmärchen,” 1851, No. 19), in which the hero opens a forbidden door—that of a summer-house—and sees “deep down below him the earth, and on the earth his father’s palace,” and is seized by a sudden longing after his former home. The Wallachian story of “The Immured Mother” (Schott, No. 2) resembles Grimm’s “Marienkind” in many points. But its forbidden chamber differs from that of the German tale. In the latter the rash intruder sees “die Dreieinigkeit im Feuer und Glanz sitzen;” in the former, “the Holy Mother of God healing the wounds of her Son, the Lord Christ.” In the Neapolitan story of “Le tre Corune” (Pentamerone, No. 36), the forbidden chamber contains “three maidens, clothed all in gold, sitting and seeming to slumber upon as many thrones” (Liebrecht’s translation, ii. 76). The Esthonian tale of the “Wife-murderer” (Löwe’s “Ehstnische Märchen,” No. 20) is remarkably—not to say suspiciously—like that French story of Blue Beard which has so often made our young blood run cold. Sister Anne is represented, and so are the rescuing brothers, the latter in the person of the heroine’s old friend and playmate, Tönnis the goose-herd. Several very curious Gaelic versions of the story are given by Mr. Campbell (“Tales of the West Highlands,” No. 41, ii. 265-275). Two of the three daughters of a poor widow look into a forbidden chamber, find it “full of dead gentlewomen,” get stained knee-deep in blood, and refuse to give a drop of milk to a cat which offers its services. So their heads are chopped off. The third daughter makes friends with the cat, which licks off the tell-tale blood, so she escapes detection. In a Greek story (Hahn, ii. p. 197) the hero discovers in the one-and-fortieth room of a castle belonging to a Drakos, who had given him leave to enter forty only, a magic horse, and before the door of the room he finds a pool of gold in which he becomes gilded. In another (Hahn, No. 15) a prince finds in the forbidden fortieth a lake in which fairies of the swan-maiden species are bathing. In a third (No. 45) the fortieth room contains a golden horse and a golden dog which assist their bold releaser. In a fourth (No. 68) it imprisons “a fair maiden, shining like the sun,” whom the demon proprietor of the castle has hung up within it by her hair.
[I'm not going to fully dive into the mystery of the forbidden chamber right now. It's enough to say there's little doubt it's the same place where Bluebeard kept the bodies of his dead wives. In both Russian and Oriental stories, it's usually a man's curiosity that leads to opening the forbidden room. However, in Western Europe, this dangerous curiosity is more often attributed to a woman. For examples, see the German tales of “Marienkind” and “Fitchers Vogel.” (Grimm, KM., Nos. 3 and 46, also see the notes in Bd. iii. pp. 8, 76, 324.) Less well-known is probably the story of “Die eisernen Stiefel” (Wolf’s “Deutsche Hausmärchen,” 1851, No. 19), where the hero opens a forbidden door of a summer house and sees “deep down below him the earth, and on the earth his father’s palace,” sparking a sudden longing for his old home. The Wallachian tale of “The Immured Mother” (Schott, No. 2) shares many similarities with Grimm’s “Marienkind,” although its forbidden chamber is different. In the German version, the careless intruder sees “die Dreieinigkeit im Feuer und Glanz sitzen,” while in the Wallachian story, “the Holy Mother of God healing the wounds of her Son, the Lord Christ.” In the Neapolitan tale “Le tre Corune” (Pentamerone, No. 36), the forbidden chamber contains “three maidens, clothed all in gold, sitting and seeming to slumber upon as many thrones” (Liebrecht’s translation, ii. 76). The Estonian story of the “Wife-murderer” (Löwe’s “Ehstnische Märchen,” No. 20) is notably—if not suspiciously—similar to the French tale of Bluebeard, which has so often sent chills down our spines. Sister Anne is featured, as well as the rescuing brothers, represented here by the heroine’s old friend and playmate, Tönnis the goose-herd. A few intriguing Gaelic versions of the story are provided by Mr. Campbell (“Tales of the West Highlands,” No. 41, ii. 265-275). In one, two of the three daughters of a poor widow peek into a forbidden chamber, find it “full of dead gentlewomen,” get knee-deep in blood, and refuse to give a drop of milk to a cat that offers to help. As a result, their heads are chopped off. The third daughter befriends the cat, which licks off the incriminating blood, allowing her to escape unnoticed. In a Greek story (Hahn, ii. p. 197), the hero discovers in the forty-first room of a castle owned by a Drakos—who only allowed him to enter forty rooms—a magic horse, and before the door of that room, he finds a pool of gold that gilds him. In another (Hahn, No. 15), a prince finds in the forbidden fortieth room a lake where swan-maiden fairies are bathing. In a third (No. 45), the fortieth room contains a golden horse and a golden dog that help their brave rescuer. In a fourth (No. 68), it holds “a fair maiden, shining like the sun,” whom the demon owner of the castle has hung up by her hair.]
As usual, all these stories are hard to understand. But one of the most important of their Oriental equivalents is perfectly intelligible. When Saktideva, in the fifth book of the “Kathásaritságara,” comes after long travel to the Golden City, and is welcomed as her destined husband by its princess, she warns him not to ascend the central terrace of her palace. Of course he does so, and finds three chambers, in each of which lies the lifeless form of a fair maiden. After gazing at these seeming corpses, in one of which he recognizes his first love, he approaches a horse which is grazing beside a lake. The horse kicks him into the water; he sinks deep—and comes up again in his native land. The whole of the story is, towards its termination, fully explained by one of its principal characters—one of the four maidens whom Saktideva simultaneously marries. With the version of this romance in the “Arabian Nights” (“History of the Third Royal Mendicant,” Lane, i. 160-173), everyone is doubtless acquainted. A less familiar story is that of Kandarpaketu, in the second book of the “Hitopadesa,” who lives happily for a time as the husband of the beautiful [Pg 111] semi-divine queen of the Golden City. At last, contrary to her express commands, he ventures to touch a picture of a Vidyádharí. In an instant the pictured demigoddess gives him a kick which sends him flying back into his own country.
As usual, all these stories are hard to understand. But one of the most important of their Eastern counterparts is perfectly clear. When Saktideva, in the fifth book of the “Kathásaritságara,” arrives at the Golden City after a long journey, he is welcomed as her destined husband by the princess. She warns him not to go up to the central terrace of her palace. Of course, he does, and finds three rooms, each containing the lifeless body of a beautiful maiden. After looking at these seemingly dead women, one of whom he recognizes as his first love, he approaches a horse that is grazing by a lake. The horse kicks him into the water; he sinks deep—and comes back up in his hometown. The entire story is explained, towards the end, by one of its main characters—one of the four maidens whom Saktideva marries at the same time. Everyone is probably familiar with the version of this tale in the “Arabian Nights” (“History of the Third Royal Mendicant,” Lane, i. 160-173). A less well-known story is about Kandarpaketu, in the second book of the “Hitopadesa,” who lives happily for a while as the husband of the beautiful semi-divine queen of the Golden City. Finally, against her explicit orders, he dares to touch a picture of a Vidyádharí. In an instant, the depicted demigoddess kicks him, sending him flying back to his own country.
For an explanation of the myth which lies at the root of all these stories, see Cox’s “Mythology of the Aryan Nations,” ii. 36, 330. See also Professor de Gubernatis’s “Zoological Mythology,” i. 168.]
For an explanation of the myth that underlies all these stories, see Cox’s “Mythology of the Aryan Nations,” ii. 36, 330. Also check out Professor de Gubernatis’s “Zoological Mythology,” i. 168.
We will now take one of those versions of the story which describe how Koshchei’s death is brought about by the destruction of that extraneous object on which his existence depends. The incident is one which occupies a prominent place in the stories of this class current in all parts of Europe and Asia, and its result is almost always the same. But the means by which that result is brought about differ considerably in different lands. In the Russian tales the “death” of the Evil Being with whom the hero contends—the substance, namely, the destruction of which involves his death—is usually the last of a sequence of objects either identical with, or closely resembling, those mentioned in the following story of—
We will now explore one of the versions of the story that explains how Koshchei’s death is brought about by the destruction of the object on which his life depends. This event plays a significant role in similar tales found throughout Europe and Asia, and the outcome is almost always the same. However, the ways in which this outcome is achieved vary significantly across different cultures. In the Russian tales, the "death" of the Evil Being that the hero faces—the specific object whose destruction leads to his demise—is typically the last in a series of objects that are either identical to, or closely resemble, those described in the following story of—
Koshchei the Deathless.[112]
In a certain country there once lived a king, and he had three sons, all of them grown up. All of a sudden Koshchei the Deathless carried off their mother. Then the eldest son craved his father’s blessing, that he might go and look for his mother. His father gave him his blessing, and he went off and disappeared, leaving no trace behind. The second son waited and waited, then he too obtained his father’s blessing—and he also disappeared. Then the youngest son, Prince Ivan, said to his father, “Father, give me your blessing, and let me go and look for my mother.”
In a certain country, there once lived a king who had three grown sons. Suddenly, Koshchei the Deathless kidnapped their mother. The eldest son asked for his father’s blessing to go find her. His father gave him his blessing, and he set off, vanishing without a trace. The second son waited and waited, and then he too received his father’s blessing—and he also disappeared. Then the youngest son, Prince Ivan, said to his father, “Father, please give me your blessing so I can go look for my mother.”
But his father would not let him go, saying, “Your brothers are no more; if you likewise go away, I shall die of grief.”
But his father wouldn’t let him go, saying, “Your brothers are gone; if you leave too, I’ll die of grief.”
“Not so, father. But if you bless me I shall go; and if you do not bless me I shall go.”
“Not at all, Dad. But if you give me your blessing, I’ll go; and if you don’t bless me, I’ll still go.”
Prince Ivan went to choose a steed, but every one that he laid his hand upon gave way under it. He could not find a steed to suit him, so he wandered with drooping brow along the road and about the town. Suddenly there appeared an old woman, who asked:
Prince Ivan went to pick a horse, but every one he touched collapsed under him. He couldn't find a horse that was right for him, so he walked with a heavy heart along the road and around the town. Suddenly, an old woman appeared and asked:
“Why hangs your brow so low, Prince Ivan?”
“Why is your brow hanging so low, Prince Ivan?”
“Be off, old crone,” he replied. “If I put you on one of my hands, and give it a slap with the other, there’ll be a little wet left, that’s all.”[113]
“Get lost, old hag,” he replied. “If I put you in one hand and give you a smack with the other, there’ll be just a little wet left, that’s all.”[113]
The old woman ran down a by-street, came to meet him a second time, and said:
The old woman hurried down a side street, approached him again, and said:
“Good day, Prince Ivan! why hangs your brow so low?”
“Good day, Prince Ivan! Why do you look so down?”
Then he thought:
Then he thought:
“Why does this old woman ask me? Mightn’t she be of use to me?”—and he replied:
“Why is this old woman asking me? Could she be useful to me?”—and he replied:
“Well, mother! because I cannot get myself a good steed.”
“Well, mom! because I can’t get myself a good horse.”
“Silly fellow!” she cried, “to suffer, and not to ask the old woman’s help! Come along with me.”
“ silly guy!” she said, “to suffer and not ask the old lady for help! Come with me.”
She took him to a hill, showed him a certain spot, and said:
She took him to a hill, showed him a specific spot, and said:
“Dig up that piece of ground.”
“Dig up that piece of land.”
Prince Ivan dug it up and saw an iron plate with twelve padlocks on it. He immediately broke off the padlocks, tore open a door, and followed a path leading underground. There, fastened with twelve chains, stood a heroic steed which evidently heard the approaching steps of a rider worthy to mount it, and so began to neigh and to struggle, until it broke all twelve of its chains. Then Prince Ivan put on armor fit for a hero, and bridled the horse, and saddled it with a Circassian saddle. And he gave the old woman money, and said to her:
Prince Ivan dug it up and found an iron plate with twelve padlocks on it. He immediately broke off the padlocks, opened a door, and followed a path leading underground. There, secured with twelve chains, stood a magnificent horse that clearly sensed the presence of a worthy rider, so it began to neigh and thrash around until it broke all twelve of its chains. Then Prince Ivan put on heroic armor, bridled the horse, and saddled it with a Circassian saddle. He gave the old woman some money and said to her:
“Forgive me, mother, and bless me!” then he mounted his steed and rode away.
“Forgive me, Mom, and bless me!” then he got on his horse and rode away.
Long time did he ride; at last he came to a mountain—a tremendously high mountain, and so steep that it was utterly impossible to get up it. Presently his brothers came that way. They all greeted each other, and rode on together, till they came [Pg 113] to an iron rock[114] a hundred and fifty poods in weight, and on it was this inscription, “Whosoever will fling this rock against the mountain, to him will a way be opened.” The two elder brothers were unable to lift the rock, but Prince Ivan at the first try flung it against the mountain—and immediately there appeared a ladder leading up the mountain side.
He rode for a long time; finally, he arrived at a mountain—a ridiculously tall mountain, so steep that it was completely impossible to climb. Soon, his brothers came along. They exchanged greetings and rode on together until they reached an iron rock[Pg 113] that weighed a hundred and fifty poods. On it was an inscription that read, “Whoever throws this rock against the mountain will find a path opened for them.” The two older brothers couldn’t lift the rock, but Prince Ivan managed to throw it against the mountain on his first attempt—and instantly, a ladder appeared leading up the mountainside.
Prince Ivan dismounted, let some drops of blood run from his little finger into a glass, gave it to his brothers, and said:
Prince Ivan got off his horse, let a few drops of blood from his little finger fall into a glass, handed it to his brothers, and said:
“If the blood in this glass turns black, tarry here no longer: that will mean that I am about to die.” Then he took leave of them and went his way.
“If the blood in this glass turns black, don’t stick around here any longer: that will mean I’m about to die.” Then he said goodbye to them and went on his way.
He mounted the hill. What did not he see there? All sorts of trees were there, all sorts of fruits, all sorts of birds! Long did Prince Ivan walk on; at last he came to a house, a huge house! In it lived a king’s daughter who had been carried off by Koshchei the Deathless. Prince Ivan walked round the enclosure, but could not see any doors. The king’s daughter saw there was some one there, came on to the balcony, and called out to him, “See, there is a chink in the enclosure; touch it with your little finger, and it will become a door.”
He climbed the hill. What didn't he see there? All kinds of trees, all kinds of fruits, all kinds of birds! Prince Ivan walked on for a long time; finally, he arrived at a huge house! Inside lived a king’s daughter who had been captured by Koshchei the Deathless. Prince Ivan walked around the enclosure but couldn’t find any doors. The king’s daughter noticed someone was there, came out to the balcony, and called to him, “Look, there's a crack in the enclosure; touch it with your little finger, and it will turn into a door.”
What she said turned out to be true. Prince Ivan went into the house, and the maiden received him kindly, gave him to eat and to drink, and then began to question him. He told her how he had come to rescue his mother from Koshchei the Deathless. Then the maiden said:
What she said turned out to be true. Prince Ivan went into the house, and the maiden welcomed him warmly, offered him food and drink, and then started to ask him questions. He explained how he had come to save his mother from Koshchei the Deathless. Then the maiden said:
“It will be difficult for you to get at your mother, Prince Ivan. You see, Koshchei is not mortal: he will kill you. He often comes here to see me. There is his sword, fifty poods in weight. Can you lift it? If so, you may venture to go.”
“It’s going to be tough for you to reach your mother, Prince Ivan. You see, Koshchei isn't human: he will kill you. He frequently visits me here. That’s his sword, weighing fifty poods. Can you lift it? If you can, then you can go ahead.”
Not only did Prince Ivan lift the sword, but he tossed it high in the air. So he went on his way again.
Not only did Prince Ivan lift the sword, but he threw it high into the air. Then he continued on his way.
By-and-by he came to a second house. He knew now where to look for the door, and he entered in. There was his mother. With tears did they embrace each other.
Eventually, he reached a second house. He now knew where to find the door, and he went inside. There was his mother. They hugged each other with tears in their eyes.
Here also did he try his strength, heaving aloft a ball which weighed some fifteen hundred poods. The time came for [Pg 114] Koshchei the Deathless to arrive. The mother hid away her son. Suddenly Koshchei the Deathless entered the house and cried out, “Phou, Phou! A Russian bone[115] one usen’t to hear with one’s ears, or see with one’s eyes, but now a Russian bone has come to the house! Who has been with you? Wasn’t it your son?”
Here he also tested his strength, lifting a ball that weighed about fifteen hundred poods. Then the time came for Koshchei the Deathless to arrive. The mother hid her son away. Suddenly, Koshchei the Deathless entered the house and shouted, “Ew, ew! A Russian bone—something you wouldn’t hear with your ears or see with your eyes, but now a Russian bone has come to the house! Who has been with you? Wasn’t it your son?”
“What are you talking about, God bless you! You’ve been flying through Russia, and got the air up your nostrils, that’s why you fancy it’s here,” answered Prince Ivan’s mother, and then she drew nigh to Koshchei, addressed him in terms of affection, asked him about one thing and another, and at last said:
“What are you talking about? God bless you! You’ve been traveling through Russia, and with all that air you’ve taken in, that’s why you think it’s great here,” replied Prince Ivan’s mother. Then she approached Koshchei, spoke to him warmly, asked him about various things, and finally said:
“Whereabouts is your death, O Koshchei?”
“Where is your demise, Koshchei?”
“My death,” he replied, “is in such a place. There stands an oak, and under the oak is a casket, and in the casket is a hare, and in the hare is a duck, and in the duck is an egg, and in the egg is my death.”
“My death,” he replied, “is in a specific location. There’s an oak tree, and under the oak is a casket, and in the casket is a hare, and in the hare is a duck, and in the duck is an egg, and in the egg is my death.”
Having thus spoken, Koshchei the Deathless tarried there a little longer, and then flew away.
Having said that, Koshchei the Deathless stayed there a bit longer and then flew away.
The time came—Prince Ivan received his mother’s blessing, and went to look for Koshchei’s death. He went on his way a long time without eating or drinking; at last he felt mortally hungry, and thought, “If only something would come my way!” Suddenly there appeared a young wolf; he determined to kill it. But out from a hole sprang the she wolf, and said, “Don’t hurt my little one; I’ll do you a good turn.” Very good! Prince Ivan let the young wolf go. On he went and saw a crow. “Stop a bit,” he thought, “here I shall get a mouthful.” He loaded his gun and was going to shoot, but the crow exclaimed, “Don’t hurt me; I’ll do you a good turn.”
The moment arrived—Prince Ivan got his mother’s blessing and set off to find Koshchei’s death. He traveled for a long time without food or water; eventually, he became extremely hungry and thought, “If only something would come my way!” Suddenly, a young wolf appeared; he decided to catch it. But a she-wolf sprang out from a hole and said, “Don’t hurt my little one; I’ll help you.” Very well! Prince Ivan let the young wolf go. He continued on and spotted a crow. “Wait a minute,” he thought, “I can get a snack here.” He loaded his gun and was about to shoot, but the crow shouted, “Don’t hurt me; I’ll do you a good turn.”
Prince Ivan thought the matter over and spared the crow. Then he went farther, and came to a sea and stood still on the shore. At that moment a young pike suddenly jumped out of the water and fell on the strand. He caught hold of it, and thought—for he was half dead with hunger—“Now I shall have [Pg 115] something to eat.” All of a sudden appeared a pike and said, “Don’t hurt my little one, Prince Ivan; I’ll do you a good turn.” And so he spared the little pike also.
Prince Ivan considered the situation and decided to spare the crow. He continued on his journey until he reached a beach and stopped at the edge of the sea. Just then, a young pike jumped out of the water and landed on the sand. He grabbed it, thinking—since he was almost dead from hunger—“Now I’ll have [Pg 115] something to eat.” Suddenly, another pike appeared and said, “Please don’t harm my little one, Prince Ivan; I’ll do you a favor.” So he decided to spare the young pike as well.
But how was he to cross the sea? He sat down on the shore and meditated. But the pike knew quite well what he was thinking about, and laid herself right across the sea. Prince Ivan walked along her back, as if he were going over a bridge, and came to the oak where Koshchei’s death was. There he found the casket and opened it—out jumped the hare and ran away. How was the hare to be stopped?
But how was he supposed to cross the sea? He sat down on the shore and thought it over. The pike knew exactly what he was thinking and laid herself right across the sea. Prince Ivan walked along her back, like he was crossing a bridge, and reached the oak where Koshchei’s death was hidden. There, he found the casket and opened it—out jumped the hare and ran off. How was he supposed to stop the hare?
Prince Ivan was terribly frightened at having let the hare escape, and gave himself up to gloomy thoughts; but a wolf, the one he had refrained from killing, rushed after the hare, caught it, and brought it to Prince Ivan. With great delight he seized the hare, cut it open—and had such a fright! Out popped the duck and flew away. He fired after it, but shot all on one side, so again he gave himself up to his thoughts. Suddenly there appeared the crow with her little crows, and set off after the duck, and caught it, and brought it to Prince Ivan. The Prince was greatly pleased and got hold of the egg. Then he went on his way. But when he came to the sea, he began washing the egg, and let it drop into the water. However was he to get it out of the water? an immeasurable depth! Again the Prince gave himself up to dejection.
Prince Ivan was really scared for letting the hare escape and fell into dark thoughts. But a wolf, the one he hadn't killed, chased after the hare, caught it, and brought it to Prince Ivan. He joyfully grabbed the hare, cut it open—and was so shocked! Out popped a duck and flew away. He took a shot at it, but missed completely, so he went back to his gloomy thoughts. Suddenly, a crow appeared with her little crows, took off after the duck, caught it, and brought it to Prince Ivan. The Prince was very happy and took the egg. Then he continued on his way. But when he reached the sea, he started washing the egg and accidentally dropped it into the water. How was he supposed to get it out? It was an endless depth! Once again, the Prince fell into despair.
Suddenly the sea became violently agitated, and the pike brought him the egg. Moreover it stretched itself across the sea. Prince Ivan walked along it to the other side, and then he set out again for his mother’s. When he got there, they greeted each other lovingly, and then she hid him again as before. Presently in flew Koshchei the Deathless and said:
Suddenly, the sea became wildly turbulent, and the pike brought him the egg. It even stretched itself across the water. Prince Ivan walked along it to the other side, and then he set off again to his mother’s place. When he arrived, they greeted each other warmly, and then she hid him again like before. Soon, Koshchei the Deathless flew in and said:
“Phoo, Phoo! No Russian bone can the ear hear nor the eye see, but there’s a smell of Russia here!”
“Phoo, Phoo! No Russian bone can be heard by the ear or seen by the eye, but there’s a scent of Russia here!”
“What are you talking about, Koshchei? There’s no one with me,” replied Prince Ivan’s mother.
“What are you talking about, Koshchei? I’m all alone,” replied Prince Ivan’s mother.
A second time spake Koshchei and said, “I feel rather unwell.”
A second time, Koshchei spoke and said, “I feel a bit unwell.”
Then Prince Ivan began squeezing the egg, and thereupon Koshchei the Deathless bent double. At last Prince Ivan came [Pg 116] out from his hiding-place, held up the egg and said, “There is your death, O Koshchei the Deathless!”
Then Prince Ivan started to squeeze the egg, and at that moment, Koshchei the Deathless doubled over. Finally, Prince Ivan emerged from his hiding place, lifted the egg, and said, “Here is your death, O Koshchei the Deathless!”
Then Koshchei fell on his knees before him, saying, “Don’t kill me, Prince Ivan! Let’s be friends! All the world will lie at our feet.”
Then Koshchei dropped to his knees in front of him, saying, “Please don’t kill me, Prince Ivan! Let’s be friends! The whole world will be at our feet.”
But these words had no weight with Prince Ivan. He smashed the egg, and Koshchei the Deathless died.
But these words meant nothing to Prince Ivan. He crushed the egg, and Koshchei the Deathless was defeated.
Ivan and his mother took all they wanted and started homewards. On their way they came to where the King’s daughter was whom Ivan had seen on his way, and they took her with them too. They went further, and came to the hill where Ivan’s brothers were still waiting for him. Then the maiden said, “Prince Ivan! do go back to my house. I have forgotten a marriage robe, a diamond ring, and a pair of seamless shoes.”
Ivan and his mom took everything they wanted and started heading home. On the way, they passed the King’s daughter, whom Ivan had seen earlier, and they brought her along too. They continued on and reached the hill where Ivan’s brothers were still waiting for him. Then the girl said, “Prince Ivan! Please go back to my house. I forgot my wedding dress, a diamond ring, and a pair of seamless shoes.”
He consented to do so, but in the mean time he let his mother go down the ladder, as well as the Princess—whom it had been settled he was to marry when they got home. They were received by his brothers, who then set to work and cut away the ladder, so that he himself would not be able to get down. And they used such threats to his mother and the Princess, that they made them promise not to tell about Prince Ivan when they got home. And after a time they reached their native country. Their father was delighted at seeing his wife and his two sons, but still he was grieved about the other one, Prince Ivan.
He agreed to do it, but in the meantime, he let his mother and the Princess—who it was decided he would marry when they returned home—climb down the ladder first. His brothers welcomed them and then immediately chopped the ladder away, making it impossible for him to get down. They threatened his mother and the Princess so fiercely that they forced them to promise not to mention Prince Ivan when they got back. Eventually, they arrived in their home country. Their father was happy to see his wife and two sons, but he was still sad about the other one, Prince Ivan.
But Prince Ivan returned to the home of his betrothed, and got the wedding dress, and the ring, and the seamless shoes. Then he came back to the mountain and tossed the ring from one hand to the other. Immediately there appeared twelve strong youths, who said:
But Prince Ivan went back to his fiancée's home and got the wedding dress, the ring, and the seamless shoes. Then he returned to the mountain and tossed the ring from one hand to the other. Right away, twelve strong young men appeared and said:
“What are your commands?”
"What are your orders?"
“Carry me down from this hill.”
“Take me down from this hill.”
The youths immediately carried him down. Prince Ivan put the ring on his finger—they disappeared.
The young people quickly brought him down. Prince Ivan put the ring on his finger—they vanished.
Then he went on to his own country, and arrived at the city in which his father and brothers lived.
Then he traveled back to his hometown and reached the city where his father and brothers lived.
There he took up his quarters in the house of an old woman, and asked her:
There, he settled into the home of an elderly woman and asked her:
[Pg 117] “What news is there, mother, in your country?”
[Pg 117] “What’s the news from your country, mom?”
“What news, lad? You see our queen was kept in prison by Koshchei the Deathless. Her three sons went to look for her, and two of them found her and came back, but the third, Prince Ivan, has disappeared, and no one knows where he is. The King is very unhappy about him. And those two Princes and their mother brought a certain Princess back with them; and the eldest son wants to marry her, but she declares he must fetch her her betrothal ring first, or get one made just as she wants it. But although they have made a public proclamation about it, no one has been found to do it yet.”
“What’s up, kid? You heard our queen was locked up by Koshchei the Deathless? Her three sons went to find her, and two of them found her and came back, but the third, Prince Ivan, has vanished, and no one knows where he is. The King is really worried about him. Those two princes and their mom brought a certain princess back with them; the oldest son wants to marry her, but she insists he must get her betrothal ring first, or have one made exactly as she wants it. They’ve announced it publicly, but so far, no one has stepped up to do it.”
“Well, mother, go and tell the King that you will make one. I’ll manage it for you,” said Prince Ivan.
“Well, Mom, go tell the King that you’ll make one. I’ll handle it for you,” said Prince Ivan.
So the old woman immediately dressed herself, and hastened to the King, and said:
So the elderly woman quickly got dressed and rushed to the King, and said:
“Please, your Majesty, I will make the wedding ring.”
"Please, Your Majesty, I'll make the wedding ring."
“Make it, then, make it, mother! Such people as you are welcome,” said the king. “But if you don’t make it, off goes your head!”
“Do it then, do it, mother! People like you are welcome,” said the king. “But if you don’t do it, off goes your head!”
The old woman was dreadfully frightened; she ran home, and told Prince Ivan to set to work at the ring. But Ivan lay down to sleep, troubling himself very little about it. The ring was there all the time. So he only laughed at the old woman, but she was trembling all over, and crying, and scolding him.
The old woman was extremely scared; she ran home and told Prince Ivan to start working on the ring. But Ivan just laid down to sleep, not worrying about it much. The ring was there the whole time. So, he just laughed at the old woman, while she was shaking all over, crying, and scolding him.
“As for you,” she said, “you’re out of the scrape; but you’ve done for me, fool that I was!”
“As for you,” she said, “you’re off the hook; but you’ve messed things up for me, what a fool I was!”
The old woman cried and cried until she fell asleep. Early in the morning Prince Ivan got up and awakened her, saying:
The old woman cried and cried until she fell asleep. Early in the morning, Prince Ivan got up and gently woke her, saying:
“Get up, mother, and go out! take them the ring, and mind, don’t accept more than one ducat for it. If anyone asks who made the ring, say you made it yourself; don’t say a word about me.”
“Get up, Mom, and go out! Take them the ring, and make sure not to accept more than one ducat for it. If anyone asks who made the ring, tell them you made it yourself; don’t say a word about me.”
The old woman was overjoyed and carried off the ring. The bride was delighted with it.
The old woman was thrilled and took the ring. The bride was very happy with it.
“Just what I wanted,” she said. So they gave the old woman a dish full of gold, but she took only one ducat.
“Just what I wanted,” she said. So they gave the old woman a plate full of gold, but she took only one ducat.
“Why do you take so little?” said the king.
“Why do you take so little?” asked the king.
[Pg 118] “What good would a lot do me, your Majesty? if I want some more afterwards, you’ll give it me.”
[Pg 118] “What good would a lot do for me, Your Majesty? If I want more later, you’ll give it to me.”
Having said this the old woman went away.
Having said this, the old woman left.
Time passed, and the news spread abroad that the bride had told her lover to fetch her her wedding-dress or else to get one made, just such a one as she wanted. Well, the old woman, thanks to Prince Ivan’s aid, succeeded in this matter too, and took her the wedding-dress. And afterwards she took her the seamless shoes also, and would only accept one ducat each time and always said that she had made the things herself.
Time went by, and the word got out that the bride had told her lover to either bring her the wedding dress or have one made just the way she wanted. Well, thanks to Prince Ivan's help, the old woman managed to pull this off too, and she delivered the wedding dress. Later, she also brought her the seamless shoes and only asked for one ducat each time, always claiming that she had made the items herself.
Well, the people heard that there would be a wedding at the palace on such-and-such a day. And the day they all anxiously awaited came at last. Then Prince Ivan said to the old woman:
Well, the people heard that there would be a wedding at the palace on such-and-such a day. And the day they all anxiously awaited finally arrived. Then Prince Ivan said to the old woman:
“Look here, mother! when the bride is just going to be married, let me know.”
“Hey, mom! When the bride is about to get married, let me know.”
The old woman didn’t let the time go by unheeded.
The old woman didn't let the time slip away.
Then Ivan immediately put on his princely raiment, and went out of the house.
Then Ivan quickly put on his royal clothes and left the house.
“See, mother, this is what I’m really like!” says he.
“Look, Mom, this is who I really am!” he says.
The old woman fell at his feet.
The elderly woman collapsed at his feet.
“Pray forgive me for scolding you,” said she.
“Please forgive me for scolding you,” she said.
So he went into the church and, finding his brothers had not yet arrived, he stood up alongside of the bride and got married to her. Then he and she were escorted back to the palace, and as they went along, the proper bridegroom, his eldest brother, met them. But when he saw that his bride and Prince Ivan were being escorted home together, he turned back again ignominiously.
So he went into the church and, finding that his brothers hadn’t arrived yet, he stood next to the bride and got married to her. Then they were taken back to the palace, and on their way, the real groom, his oldest brother, ran into them. But when he saw that his bride and Prince Ivan were being escorted home together, he turned around in shame.
As to the king, he was delighted to see Prince Ivan again, and when he had learnt all about the treachery of his brothers, after the wedding feast had been solemnized, he banished the two elder princes, but he made Ivan heir to the throne.
As for the king, he was thrilled to see Prince Ivan again, and when he found out about the betrayal of his brothers, after the wedding celebration had taken place, he exiled the two older princes and named Ivan the heir to the throne.
[Pg 119] In the story of “Prince Arikad,”[117] the Queen-Mother is carried off by the Whirlwind,[118] instead of by Koshchei. Her youngest son climbs the hill by the aid of iron hooks, kills Vikhor, and lowers his mother and three other ladies whom he has rescued, by means of a rope made of strips of hide. This his brothers cut to prevent him from descending.[119] They then oblige the ladies to swear not to betray them, the taking of the oath being accompanied by the eating of earth.[120] The same formality is observed in another story in which an oath of a like kind is exacted.[121]
[Pg 119] In the story of “Prince Arikad,”[117] the Queen-Mother is taken away by the Whirlwind,[118] instead of by Koshchei. Her youngest son climbs the hill using iron hooks, defeats Vikhor, and lowers his mother and three other rescued ladies with a rope made from strips of hide. His brothers cut the rope to stop him from coming down.[119] They then force the ladies to promise not to betray them, with the oath being sealed by eating dirt.[120] The same ritual happens in another story where a similar oath is required.[121]
The sacred nature of such an obligation may account for the singular reticence so often maintained, under similar circumstances, in stories of this class.
The important nature of such a duty might explain the unique hesitation that is often kept, in similar situations, in stories like these.
In one of the descriptions of Koshchei’s death, he is said to be killed by a blow on the forehead inflicted by the mysterious egg—that last link in the magic chain by which his life is darkly bound.[122] In another version of the same story, but told of a Snake, the fatal blow is struck by a small stone found in the yolk of an egg, which is inside a duck, which is inside a hare, which is inside a stone, which is on an island [i.e., the fabulous island Buyan].[123] In another variant[124] Koshchei attempts to deceive his fair captive, pretending that his “death” resides in a besom, or [Pg 120] in a fence, both of which she adorns with gold in token of her love. Then he confesses that his “death” really lies in an egg, inside a duck, inside a log which is floating on the sea. Prince Ivan gets hold of the egg and shifts it from one hand to the other. Koshchei rushes wildly from side to side of the room. At last the prince breaks the egg. Koshchei falls on the floor and dies.
In one version of Koshchei’s death, he is killed by a blow to the forehead delivered by a mysterious egg—which is the last link in the magic chain that binds his life. [122] In another telling of the same story, but featuring a Snake, the fatal blow comes from a small stone found in the yolk of an egg, which is inside a duck, which is inside a hare, which is inside a stone, located on an island [i.e., the legendary island Buyan]. [123] In yet another version [124] Koshchei tries to trick his beautiful captive by claiming that his “death” is hidden in a broom or a fence, both of which she decorates with gold as a symbol of her love. Then he reveals that his “death” is actually in an egg, inside a duck, inside a log floating on the sea. Prince Ivan takes the egg and shifts it from one hand to the other. Koshchei frantically moves from one side of the room to the other. Finally, the prince breaks the egg. Koshchei collapses on the floor and dies.
This heart-breaking episode occurs in the folk-tales of many lands.[125] It may not be amiss to trace it through some of its forms. In a Norse story[126] a Giant’s heart lies in an egg, inside a duck, which swims in a well, in a church, on an island. With this may be compared another Norse tale,[127] in which a Haugebasse, or Troll, who has carried off a princess, informs her that he and all his companions will burst asunder when above them passes “the grain of sand that lies under the ninth tongue in the ninth head” of a certain dead dragon. The grain of sand is found and brought, and the result is that the whole of the monstrous brood of Trolls or Haugebasser is instantaneously destroyed. In a Transylvanian-Saxon story[128] a Witch’s “life” is a light which burns in an egg, inside a duck, which swims on a pond, inside a mountain, and she dies when it is put out. In the Bohemian story of “The Sun-horse”[129] a Warlock’s “strength” lies in an egg, which is within a duck, which is within a stag, which is under a tree. A Seer finds the egg and sucks it. Then the Warlock becomes as weak as a child, “for all his strength had passed into the Seer.” In [Pg 121] the Gaelic story of “The Sea-Maiden,”[130] the “great beast with three heads” which haunts the loch cannot be killed until an egg is broken, which is in the mouth of a trout, which springs out of a crow, which flies out of a hind, which lives on an island in the middle of the loch. In a Modern Greek tale the life of a dragon or other baleful being comes to an end simultaneously with the lives of three pigeons which are shut up in an all but inaccessible chamber,[131] or inclosed within a wild boar.[132] Closely connected with the Greek tale is the Servian story of the dragon[133] whose “strength” (snaga) lies in a sparrow, which is inside a dove, inside a hare, inside a boar, inside a dragon (ajdaya) which is in a lake, near a royal city. The hero of the story fights the dragon of the lake, and after a long struggle, being invigorated at the critical moment by a kiss which the heroine imprints on his forehead—he flings it high in the air. When it falls to the ground it breaks in pieces, and out comes the boar. Eventually the hero seizes the sparrow and wrings its neck, but not before he has obtained from it the charm necessary for the recovery of his missing brothers and a number of other victims of the dragon’s cruelty.
This heartbreaking episode appears in the folk tales of many countries.[125] It might be worthwhile to trace its various forms. In a Norse story[126] a Giant’s heart is hidden in an egg, inside a duck, which swims in a well, within a church, on an island. This can be compared to another Norse tale,[127] in which a Haugebasse, or Troll, who has captured a princess, tells her that he and his companions will burst apart when “the grain of sand that lies under the ninth tongue in the ninth head” of a certain dead dragon passes over them. The grain of sand is found and brought, resulting in the instant destruction of the entire monstrous brood of Trolls or Haugebasser. In a Transylvanian-Saxon story[128] a Witch’s “life” is a light that burns in an egg, inside a duck, which swims on a pond, within a mountain, and she dies when it is extinguished. In the Bohemian story of “The Sun-horse”[129] a Warlock’s “strength” is contained in an egg, which is inside a duck, within a stag, under a tree. A Seer discovers the egg and sucks it. Then the Warlock becomes as weak as a child, “for all his strength had passed into the Seer.” In the Gaelic story of “The Sea-Maiden,”[130] the “great beast with three heads” that haunts the loch cannot be killed until an egg is broken, which is in the mouth of a trout, that leaps from a crow, which flies out of a hind, living on an island in the middle of the loch. In a Modern Greek tale, the life of a dragon or other malevolent being comes to an end at the same time as the lives of three pigeons confined in a nearly inaccessible chamber,[131] or trapped within a wild boar.[132] Closely related to the Greek tale is the Servian story of the dragon[133] whose “strength” (snaga) is contained in a sparrow, which is inside a dove, within a hare, inside a boar, within a dragon (ajdaya) that resides in a lake, near a royal city. The hero of the story battles the dragon of the lake, and after a long struggle, is rejuvenated at a critical moment by a kiss the heroine places on his forehead—he throws the dragon high into the air. When it lands, it breaks apart, releasing the boar. Eventually, the hero captures the sparrow and wrings its neck, but only after obtaining from it the charm necessary to rescue his missing brothers and several other victims of the dragon’s cruelty.
To these European tales a very interesting parallel is afforded by the Indian story of “Punchkin,”[134] whose life depends on that of a parrot, which is in a cage placed beneath the lowest of six jars of water, piled one on the [Pg 122] other, and standing in the midst of a desolate country covered with thick jungle. When the parrot’s legs and wings are pulled off, Punchkin loses his legs and arms; and when its neck is wrung, his head twists round and he dies.
To these European tales, there's a very interesting parallel found in the Indian story of “Punchkin,”[134] whose life depends on that of a parrot, which is kept in a cage under the lowest of six jars of water stacked on top of each other, sitting in the middle of a barren landscape filled with thick jungle. When the parrot's legs and wings are pulled off, Punchkin loses his own legs and arms; and when its neck is twisted, Punchkin's head turns around and he dies.
One of the strangest of the stories which turn on this idea of an external heart is the Samoyed tale,[135] in which seven brothers are in the habit, every night, of taking out their hearts and sleeping without them. A captive damsel whose mother they have killed, receives the extracted hearts and hangs them on the tent-pole, where they remain till the following morning. One night her brother contrives to get the hearts into his possession. Next morning he takes them into the tent, where he finds the brothers at the point of death. In vain do they beg for their hearts, which he flings on the floor. “And as he flings down the hearts the brothers die.”
One of the weirdest stories about this idea of an external heart is the Samoyed tale,[135] in which seven brothers have a routine of taking out their hearts every night and sleeping without them. A captured woman, whose mother they murdered, receives the hearts and hangs them on the tent pole, where they stay until morning. One night, her brother manages to get the hearts for himself. The next morning, he brings them into the tent, only to find the brothers on the verge of death. They desperately plead for their hearts, which he tosses onto the floor. “And as he tosses down the hearts, the brothers die.”
The legend to which I am now about to refer will serve as a proof of the venerable antiquity of the myth from which the folk-tales, which have just been quoted, appear to have sprung. A papyrus, which is supposed to be “of the age of the nineteenth dynasty, about B.C. 1300,” has preserved an Egyptian tale about two brothers. The younger of these, Satou, leaves the elder, Anepou (Anubis) and retires to the Valley of the Acacia. But, before setting off, Satou states that he shall take his heart and place it “in the flowers of the acacia-tree,” so that, if the tree is cut down, his heart will fall to the ground and he will die. Having given Anepou instructions what to do in such a case, he seeks the valley. There he hunts wild animals by day, and at night he sleeps under the acacia-tree on which his heart rests. But at length Noum, the Creator, forms a [Pg 123] wife for him, and all the other gods endow her with gifts. To this Egyptian Pandora Satou confides the secret of his heart. One day a tress of her perfumed hair floats down the river, and is taken to the King of Egypt. He determines to make its owner his queen, and she, like Rhodope or Cinderella, is sought for far and wide. When she has been found and brought to the king, she recommends him to have the acacia cut down, so as to get rid of her lawful husband. Accordingly the tree is cut down, the heart falls, and Satou dies.
The story I'm about to mention will show how ancient the myth is from which the folk-tales we've just discussed seem to have originated. A papyrus, thought to be “from the time of the nineteenth dynasty, around BCE 1300,” contains an Egyptian tale about two brothers. The younger brother, Satou, leaves his older brother, Anepou (Anubis), and heads to the Valley of the Acacia. Before he leaves, Satou says he will take his heart and place it “in the flowers of the acacia tree,” so if the tree is cut down, his heart will fall to the ground, and he will die. After giving Anepou instructions on what to do in that case, he goes to the valley. There, he hunts wild animals during the day and sleeps under the acacia tree where his heart rests at night. Eventually, Noum, the Creator, makes a wife for him, and all the other gods give her gifts. Satou shares the secret of his heart with this Egyptian Pandora. One day, a lock of her perfumed hair floats down the river and is taken to the King of Egypt. He decides to make its owner his queen, and, like Rhodope or Cinderella, she is searched for far and wide. When she is found and brought to the king, she suggests that he have the acacia tree cut down to eliminate her rightful husband. As a result, the tree is cut down, the heart falls, and Satou dies.
About this time Anepou sets out to pay his long-lost brother a visit. Finding him dead, he searches for his heart, but searches in vain for three years. In the fourth year, however, it suddenly becomes desirous of returning to Egypt, and says, “I will leave this celestial sphere.” Next day Anepou finds it under the acacia, and places it in a vase which contains some mystic fluid. When the heart has become saturated with the moisture, the corpse shudders and opens its eyes. Anepou pours the rest of the fluid down its throat, the heart returns to its proper place, and Satou is restored to life.[136]
About this time, Anepou sets out to visit his long-lost brother. When he finds him dead, he searches for his heart, but looks in vain for three years. In the fourth year, however, it suddenly desires to return to Egypt and says, “I will leave this celestial realm.” The next day, Anepou finds it under the acacia tree and places it in a vase containing some mystic liquid. Once the heart has absorbed the moisture, the corpse shudders and opens its eyes. Anepou pours the rest of the fluid down its throat, the heart returns to its rightful place, and Satou is brought back to life.[136]
In one of the Skazkas, a volshebnitsa or enchantress is introduced, whose “death,” like that of Koshchei, is spoken of as something definite and localized. A prince has loved and lost a princess, who is so beautiful that no man can [Pg 124] look at her without fainting. Going in search of her, he comes to the home of an enchantress, who invites him to tea and gives him leave to inspect her house. As he wanders about he comes to a cellar in which “he sees that beautiful one whom he loves, in fire.” She tells him her love for him has brought her there; and he learns that there is no hope of freeing her unless he can find out “where lies the death of the enchantress.” So that evening he asks his hostess about it, and she replies:
In one of the Skazkas, an enchantress is introduced, whose “death,” like that of Koshchei, is described as something definite and specific. A prince has loved and lost a princess, who is so beautiful that no man can look at her without fainting. Searching for her, he arrives at the home of an enchantress, who invites him for tea and allows him to explore her house. As he wanders around, he discovers a cellar where he sees the beautiful woman he loves, engulfed in flames. She tells him that her love for him has brought her to this place; and he learns that there is no hope of freeing her unless he can find out “where lies the death of the enchantress.” So that evening, he asks his hostess about it, and she replies:
“In a certain lake stands a blue rose-tree. It is in a deep place, and no man can reach unto it. My death is there.”
“In a certain lake, there’s a blue rose tree. It’s in a deep spot, and no one can get to it. That’s where my death is.”
He sets out in search of it, and, aided by a magic ring, reaches the lake, “and sees there the blue rose-tree, and around it a blue forest.” After several failures, he succeeds in plucking up the rose-tree by the roots, whereupon the enchantress straightway sickens. He returns to her house, finds her at the point of death, and throws the rose-bush into the cellar where his love is crying, “Behold her death!” and immediately the whole building shakes to its foundations—“and becomes an island, on which are people who had been sitting in Hell, and who offer up thanks to Prince Ivan.”[137]
He sets out to find it, and with the help of a magic ring, he reaches the lake, “and sees the blue rose bush and the blue forest all around it.” After several tries, he finally manages to pull the rose bush up by its roots, causing the enchantress to fall ill right away. He goes back to her house, finds her near death, and throws the rose bush into the cellar where his love is crying, “Look at her dying!” Instantly, the entire building shakes to its core—“and turns into an island, where people who had been in Hell are now giving thanks to Prince Ivan.”[137]
In another Russian story,[138] a prince is grievously tormented by a witch who has got hold of his heart, and keeps it perpetually seething in a magic cauldron. In a third,[139] a “Queen-Maiden” falls in love with the young Ivan, and, after being betrothed to him, would fain take him away to her own land and marry him. But his stepmother [Pg 125] throws him into a magic slumber, and the Queen-Maiden has to return home without him. When he awakes, and learns that she has gone, he sorrows greatly, and sets out in search of her. At last he learns from a friendly witch that his betrothed no longer cares for him, “her love is hidden far away.” It seems “that on the other side of the ocean stands an oak, and on the oak a coffer, and in the coffer a hare, and in the hare a duck, and in the duck an egg, and in the egg the love of the Queen-Maiden.” Ivan gets possession of the egg, and the friendly witch contrives to have it placed before the Queen-Maiden at dinner. She eats it, and immediately her love for Ivan returns in all its pristine force. He appears, and she, overjoyed, carries him off to her own land and there marries him.
In another Russian story,[138] a prince is deeply tormented by a witch who has taken his heart and keeps it constantly boiling in a magic cauldron. In a third tale,[139] a “Queen-Maiden” falls in love with the young Ivan and, after getting engaged to him, wants to take him away to her homeland to marry him. But his stepmother [Pg 125] puts him into a magical slumber, and the Queen-Maiden has to go home without him. When he wakes up and finds out she’s gone, he is heartbroken and sets off to find her. Eventually, he learns from a kind witch that his fiancée no longer loves him, “her love is hidden far away.” It turns out “that on the other side of the ocean stands an oak, and on the oak a chest, and in the chest a hare, and in the hare a duck, and in the duck an egg, and in the egg the love of the Queen-Maiden.” Ivan gets the egg, and the kind witch arranges for it to be served to the Queen-Maiden at dinner. She eats it, and immediately her love for Ivan returns with full force. He appears, and she, overjoyed, takes him to her homeland, where they get married.
After this digression we will now return to our Snakes. All the monstrous forms which figure in the stories we have just been considering appear to be merely different species of the great serpent family. Such names as Koshchei, Chudo Yudo, Usuinya, and the like, seem to admit of exchange at the will of the story-teller with that of Zméï Goruinuich, the many-headed Snake, who in Russian storyland is represented as the type of all that is evil. But in the actual Russia of to-day, snakes bear by no means so bad a character. Their presence in a cottage is considered a good omen by the peasants, who leave out milk for them to drink, and who think that to kill such visitors would be a terrible sin.[140] This is probably a result of some remembrance of a religious cultus paid to the household gods under the form of snakes, such as existed of old, according to Kromer, in Poland and Lithuania. The following story is more in keeping with such ideas as these, than with [Pg 126] those which are expressed in the tales about Koshchei and his kin.
After this digression, let’s return to our Snakes. All the monstrous figures mentioned in the stories we’ve just discussed seem to be different species of the large serpent family. Names like Koshchei, Chudo Yudo, Usuinya, and others seem interchangeable at the storyteller's discretion with that of Zméï Goruinuich, the many-headed Snake, who in Russian folklore represents all that is evil. However, in actual modern-day Russia, snakes aren’t seen so negatively. Their presence in a home is considered a good sign by peasants, who leave milk out for them to drink, believing that killing such visitors would be a terrible sin.[140] This likely stems from some memory of a religious practice honoring household gods in the form of snakes, which, according to Kromer, existed in the past in Poland and Lithuania. The following story aligns more with these ideas than with those expressed in tales about Koshchei and his relatives.
The Water Snake.[141]
There was once an old woman who had a daughter; and her daughter went down to the pond one day to bathe with the other girls. They all stripped off their shifts, and went into the water. Then there came a snake out of the water, and glided on to the daughter’s shift. After a time the girls all came out, and began to put on their shifts, and the old woman’s daughter wanted to put on hers, but there was the snake lying on it. She tried to drive him away, but there he stuck and would not move. Then the snake said:
There was once an old woman who had a daughter. One day, her daughter went to the pond to swim with the other girls. They all took off their clothes and jumped into the water. Suddenly, a snake emerged from the water and slithered onto the daughter’s clothes. After a while, the girls came out and started to put their clothes back on, but the old woman’s daughter couldn’t find hers because the snake was lying on it. She tried to shoo it away, but the snake wouldn’t budge. Then the snake said:
“If you’ll marry me, I’ll give you back your shift.”
“If you marry me, I’ll give you back your shift.”
Now she wasn’t at all inclined to marry him, but the other girls said:
Now she definitely wasn't interested in marrying him, but the other girls said:
“As if it were possible for you to be married to him! Say you will!” So she said, “Very well, I will.” Then the snake glided off from the shift, and went straight into the water. The girl dressed and went home. And as soon as she got there, she said to her mother,
“As if you could actually marry him! Just say you will!” So she replied, “Okay, I will.” Then the snake slid off from the shift and went straight into the water. The girl got dressed and went home. As soon as she arrived, she said to her mother,
“Mammie, mammie, thus and thus, a snake got upon my shift, and says he, ‘Marry me or I won’t let you have your shift;’ and I said, ‘I will.’”
“Mamma, Mama, guess what happened, a snake got on my dress, and it said, ‘Marry me or I won’t let you have your dress;’ and I said, ‘I will.’”
“What nonsense are you talking, you little fool! as if one could marry a snake!”
“What nonsense are you talking, you little fool! As if anyone could marry a snake!”
And so they remained just as they were, and forgot all about the matter.
And so they stayed exactly as they were and completely forgot about the whole thing.
A week passed by, and one day they saw ever so many snakes, a huge troop of them, wriggling up to their cottage. “Ah, mammie, save me, save me!” cried the girl, and her mother slammed the door and barred the entrance as quickly as possible. The snakes would have rushed in at the door, but the door was shut; they would have rushed into the passage, but the passage was closed. Then in a moment they rolled themselves into a [Pg 127] ball, flung themselves at the window, smashed it to pieces, and glided in a body into the room. The girl got upon the stove, but they followed her, pulled her down, and bore her out of the room and out of doors. Her mother accompanied her, crying like anything.
A week went by, and one day they saw a ton of snakes, a huge swarm of them, slithering up to their cottage. “Oh, mom, save me, save me!” yelled the girl, and her mother quickly slammed the door and barred the entrance. The snakes would have rushed in through the door, but it was shut; they would have rushed into the hallway, but that was closed too. Then, in an instant, they coiled themselves into a ball, threw themselves at the window, shattered it, and slithered into the room all at once. The girl climbed onto the stove, but they chased her, pulled her down, and dragged her out of the room and outside. Her mother followed her, crying her eyes out.
They took the girl down to the pond, and dived right into the water with her. And there they all turned into men and women. The mother remained for some time on the dike, wailed a little, and then went home.
They took the girl down to the pond and jumped right into the water with her. There, they all transformed into men and women. The mother stayed on the dike for a while, cried a little, and then went home.
Three years went by. The girl lived down there, and had two children, a son and a daughter. Now she often entreated her husband to let her go to see her mother. So at last one day he took her up to the surface of the water, and brought her ashore. But she asked him before leaving him,
Three years passed. The girl lived down there and had two kids, a son and a daughter. She often begged her husband to let her visit her mother. Finally, one day, he took her to the surface of the water and brought her ashore. But before leaving him, she asked him,
“What am I to call out when I want you?”
“What should I call out when I need you?”
“Call out to me, ‘Osip, [Joseph] Osip, come here!’ and I will come,” he replied.
“Call out to me, ‘Osip, [Joseph] Osip, come here!’ and I will come,” he answered.
Then he dived under water again, and she went to her mother’s, carrying her little girl on one arm, and leading her boy by the hand. Out came her mother to meet her—was so delighted to see her!
Then he dove underwater again, and she walked over to her mom's house, carrying her little girl on one arm and holding her boy's hand. Her mom came out to greet her—so happy to see her!
“Good day, mother!” said the daughter.
“Hey, mom!” the daughter said.
“Have you been doing well while you were living down there?” asked her mother.
“Have you been doing okay while you were living down there?” asked her mother.
“Very well indeed, mother. My life there is better than yours here.”
“Sure thing, Mom. My life there is way better than yours here.”
They sat down for a bit and chatted. Her mother got dinner ready for her, and she dined.
They sat down for a little while and talked. Her mom prepared dinner for her, and she ate.
“What’s your husband’s name?” asked her mother.
“What’s your husband’s name?” her mother asked.
“Osip,” she replied.
“Osip,” she said.
“And how are you to get home?”
“And how are you getting home?”
“I shall go to the dike, and call out, ‘Osip, Osip, come here!’ and he’ll come.”
"I'll go to the dike and shout, 'Osip, Osip, come here!' and he’ll come."
“Lie down, daughter, and rest a bit,” said the mother.
“Lie down, sweetheart, and take a little break,” said the mother.
So the daughter lay down and went to sleep. The mother immediately took an axe and sharpened it, and went down to the [Pg 128] dike with it. And when she came to the dike, she began calling out,
So the daughter lay down and went to sleep. The mother immediately grabbed an axe, sharpened it, and went down to the [Pg 128] dike with it. When she got to the dike, she started calling out,
“Osip, Osip, come here!”
“Osip, Osip, get over here!”
No sooner had Osip shown his head than the old woman lifted her axe and chopped it off. And the water in the pond became dark with blood.
No sooner had Osip poked his head out than the old woman raised her axe and chopped it off. The water in the pond turned dark with blood.
The old woman went home. And when she got home her daughter awoke.
The old woman went home. And when she got there, her daughter woke up.
“Ah! mother,” says she, “I’m getting tired of being here; I’ll go home.”
“Ah! Mom,” she says, “I’m getting tired of being here; I’ll go home.”
“Do sleep here to-night, daughter; perhaps you won’t have another chance of being with me.”
“Please stay here tonight, daughter; you might not get another chance to be with me.”
So the daughter stayed and spent the night there. In the morning she got up and her mother got breakfast ready for her; she breakfasted, and then she said good-bye to her mother and went away, carrying her little girl in her arms, while her boy followed behind her. She came to the dike, and called out:
So the daughter stayed and spent the night there. In the morning, she got up and her mother prepared breakfast for her; she had breakfast, and then she said goodbye to her mother and left, holding her little girl in her arms, while her boy walked behind her. She reached the dike and called out:
“Osip, Osip, come here!”
“Osip, Osip, come here!”
She called and called, but he did not come.
She called and called, but he didn’t show up.
Then she looked into the water, and there she saw a head floating about. Then she guessed what had happened.
Then she looked into the water, and there she saw a head floating around. Then she realized what had happened.
“Alas! my mother has killed him!” she cried.
“Wow! my mom has killed him!” she exclaimed.
There on the bank she wept and wailed. And then to her girl she cried:
There on the riverbank, she cried and sobbed. And then, to her daughter, she yelled:
“Fly about as a wren, henceforth and evermore!”
“Fly around like a wren, now and forever!”
And to her boy she cried:
And to her son she shouted:
“Fly about as a nightingale, my boy, henceforth and evermore!”
“Fly around like a nightingale, my boy, from now on and forever!”
“But I,” she said, “will fly about as a cuckoo, crying ‘Cuckoo!’ henceforth and evermore!”
“But I,” she said, “will fly around like a cuckoo, calling ‘Cuckoo!’ from now on and forever!”
[Stories about serpent-spouses are by no means uncommon, but I can find no parallel to the above so far as the termination is concerned. Benfey quotes or refers to a great number of the transformation tales in which a husband or a wife appears at times in the form of a snake (Panchatantra, i. pp. 254-7 266-7). Sometimes, when a husband of this kind has doffed his serpent’s skin, his wife seizes it, and throws it into the fire. Her act generally proves to be to her advantage, as well as to his, but not always. On a story of this kind was doubtless founded the legend handed down [Pg 129] to us by Appuleius of Cupid and Psyche. Among its wildest versions are the Albanian “Schlangenkind” (Hahn, No. 100), a very similar Roumanian tale (Ausland 1857, No. 43, quoted by Benfey), the Wallachian Trandafíru (Schott, No. 23, in which the husband is a pumpkin (Kürbiss) by day), and the second of the Servian tales of the Snake-Husband (Vuk Karajich, No. 10).]
[Stories about snake spouses are quite common, but I can't find any similar endings to the one mentioned above. Benfey references many transformation tales where a husband or wife sometimes takes the form of a snake (Panchatantra, i. pp. 254-7 266-7). In some cases, when this kind of husband sheds his snake skin, his wife grabs it and throws it into the fire. This act usually benefits both of them, though not always. The legend of Cupid and Psyche that we have from Appuleius was likely based on a story like this. Among the most dramatic versions are the Albanian “Schlangenkind” (Hahn, No. 100), a very similar Romanian tale (Ausland 1857, No. 43, quoted by Benfey), the Wallachian Trandafíru (Schott, No. 23, where the husband is a pumpkin (Kürbiss) by day), and the second of the Serbian tales of the Snake-Husband (Vuk Karajich, No. 10).]
The snakes which figure in this weird story, the termination of which is so unusually tragic, bear a strong resemblance to the Indian Nágas, the inhabitants of Patala or the underground world, serpents which take at will the human shape and often mix with mortals. They may, also, be related to the mermen and mermaids of the sea-coasts, and to the similar beings with which, under various names, tradition peoples the lakes, and streams, and fountains of Europe. The South-Russian peasantry have from immemorial times maintained a firm belief in the existence of water-nymphs, called Rusalkas, closely resembling the Nereids of Modern Greece, the female Nixies of the North of Europe, and throughout the whole of Russia, at least in outlying districts, there still lingers a sort of cultus of certain male water-sprites who bear the name of Vodyanies, and who are almost identical with the beings who haunt the waters of various countries—such as the German Nix, the Swedish Nek, the Finnish Näkke, etc.[142]
The snakes in this strange story, which has an unusually tragic ending, are very much like the Indian Nágas, the residents of Patala or the underworld, serpents that can take on human form and often interact with humans. They might also be linked to the mermen and mermaids found along the coasts and similar beings that, under various names, populate the lakes, streams, and fountains of Europe. South Russian peasants have long held a strong belief in the existence of water nymphs called Rusalkas, closely resembling the Nereids of modern Greece and the female Nixies from Northern Europe. Across Russia, especially in rural areas, there persists a form of worship for certain male water sprites known as Vodyanies, who are nearly identical to creatures that inhabit the waters of various countries—such as the German Nix, the Swedish Nek, the Finnish Näkke, etc.[142]
In the Skazkas we find frequent mention of beauteous maidens who usually live beneath the wave, but who can transform themselves into birds and fly wherever they please. We may perhaps be allowed to designate them by the well-known name of Swan-Maidens, though they do not always assume, together with their plumage-robes, the form of swans, but sometimes appear as geese, ducks, spoonbills, or aquatic birds of some other species. They [Pg 130] are, for the most part, the daughters of the Morskoi Tsar, or Water King—a being who plays an important part in Slavonic popular fiction. He is of a somewhat shadowy form, and his functions are not very clearly defined, for the part he usually fills is sometimes allotted to Koshchei or to the Snake, but the stories generally represent him as a patriarchal monarch, living in subaqueous halls of light and splendor, whence he emerges at times to seize a human victim. It is generally a boy whom he gets into his power, and who eventually obtains the hand of one of his daughters, and escapes with her to the upper world, though not without considerable difficulty. Such are, for instance, the leading incidents in the following skazka, many features of which closely resemble those of various well-known West-European folk-tales.
In the Skazkas, we often hear about beautiful maidens who usually live under the water but can turn into birds and fly wherever they want. We might call them Swan-Maidens, even though they don’t always take on the form of swans with their feathered robes; sometimes they appear as geese, ducks, spoonbills, or other types of waterbirds. They are mostly the daughters of the Morskoi Tsar, or Water King—a figure who plays a significant role in Slavic folklore. He has a somewhat elusive form, and his role isn’t very clearly defined, as he sometimes takes on characteristics of Koshchei or the Snake. However, stories generally portray him as a patriarchal king living in underwater halls of light and splendor, from where he occasionally emerges to capture a human victim. It’s usually a boy he takes, who eventually wins the hand of one of his daughters and manages to escape with her to the surface world, albeit with quite a bit of difficulty. Such are the main events in the following skazka, many elements of which closely resemble well-known Western European folktales.
The Water King and Vasilissa the Wise.[143]
Once upon a time there lived a King and Queen, and the King was very fond of hunting and shooting. Well one day he went out hunting, and he saw an Eaglet sitting on an oak. But just as he was going to shoot at it the Eaglet began to entreat him, crying:—
Once upon a time, there was a King and Queen, and the King loved hunting and shooting. One day, he went out hunting and spotted an Eaglet sitting on an oak tree. Just as he was about to shoot it, the Eaglet started pleading with him, crying:—
“Don’t shoot me, my lord King! better take me home with you; some time or other I shall be of service to you.”
“Don’t shoot me, my lord King! It’s better to take me home with you; someday I’ll be of use to you.”
The King reflected awhile and said, “How can you be of use to me?” and again he was going to shoot.
The King thought for a moment and said, “How can you help me?” Then he was about to shoot again.
Then the Eaglet said to him a second time:—
Then the Eaglet said to him again:—
“Don’t shoot me, my lord King! better take me home with you; some time or other I shall be of use to you.”
“Don’t shoot me, my lord King! You should take me home with you; someday I’ll be useful to you.”
The King thought and thought, but couldn’t imagine a bit the more what use the Eaglet could be to him, and so he determined to shoot it. Then a third time the Eaglet exclaimed:—
The King thought and thought, but couldn’t figure out what the Eaglet could do for him, so he decided to shoot it. Then a third time the Eaglet shouted:—
[Pg 131] “Don’t shoot me, my lord King! better take me home with you and feed me for three years. Some time or other I shall be of service to you!”
[Pg 131] “Please don’t kill me, my lord King! It would be better to take me home with you and feed me for three years. Eventually, I promise I’ll be useful to you!”
The King relented, took the Eaglet home with him, and fed it for a year, for two years. But it ate so much that it devoured all his cattle. The King had neither a cow nor a sheep left. At length the Eagle said:—
The King gave in, took the Eaglet home with him, and fed it for a year, then two years. But it ate so much that it consumed all his cattle. The King was left with neither a cow nor a sheep. Finally, the Eagle said:—
“Now let me go free!”
“Now let me go!”
The King set it at liberty; the Eagle began trying its wings. But no, it could not fly yet! So it said:—
The King set it free; the Eagle started to test its wings. But no, it still couldn’t fly! So it said:—
“Well, my lord King! you have fed me two years; now, whether you like it or no, feed me for one year more. Even if you have to borrow, at all events feed me; you won’t lose by it!”
“Well, my lord King! You've supported me for two years; now, whether you want to or not, support me for one more year. Even if you have to borrow, just make sure to support me; you won’t regret it!”
Well, this is what the King did. He borrowed cattle from everywhere round about, and he fed the Eagle for the space of a whole year, and afterwards he set it at liberty. The Eagle rose ever so high, flew and flew, then dropt down again to the earth and said:—
Well, this is what the King did. He borrowed cattle from everywhere around and fed the Eagle for an entire year, and afterwards, he set it free. The Eagle soared high, flew and flew, then came back down to the earth and said:—
“Now then, my lord King! Take a seat on my back! we’ll have a fly together?”
“Alright, my lord King! Hop on my back! Shall we take a ride together?”
The King got on the Eagle’s back. Away they went flying. Before very long they reached the blue sea. Then the Eagle shook off the King, who fell into the sea, and sank up to his knees. But the Eagle didn’t let him drown! it jerked him on to its wing, and asked:—
The King climbed onto the Eagle's back. Off they flew. Before long, they reached the blue sea. Then the Eagle shook off the King, who fell into the water and sank up to his knees. But the Eagle didn’t let him drown! It lifted him onto its wing and asked:—
“How now, my lord King! were you frightened, perchance?”
“How are you, my lord King? Were you scared, maybe?”
“I was,” said the King; “I thought I was going to be drowned outright!”
"I was," said the King; "I thought I was going to drown for sure!"
Again they flew and flew till they reached another sea. The Eagle shook off the King right in the middle of the sea; the King sank up to his girdle. The Eagle jerked him on to its wing again, and asked:—
Again they flew and flew until they reached another sea. The Eagle shook off the King right in the middle of the sea; the King sank up to his waist. The Eagle pulled him back onto its wing and asked:—
“Well, my lord King, were you frightened, perchance?”
“Well, my lord King, were you scared, perhaps?”
“I was,” he replied, “but all the time I thought, ‘Perhaps, please God, the creature will pull me out.’”
“I was,” he replied, “but all the time I thought, ‘Maybe, please God, the creature will pull me out.’”
Away they flew again, flew, and arrived at a third sea. The Eagle dropped the King into a great gulf, so that he sank right [Pg 132] up to his neck. And the third time the Eagle jerked him on to its wing, and asked:—
Away they flew again and arrived at a third sea. The Eagle dropped the King into a deep chasm, so that he sank all the way up to his neck. And the third time, the Eagle lifted him onto its wing and asked:—
“Well, my lord King! Were you frightened, perchance?”
“Well, my lord King! Were you scared, perhaps?”
“I was,” says the King, “but still I said to myself, ‘Perhaps it will pull me out.’”
“I was,” says the King, “but still I thought to myself, ‘Maybe it will pull me out.’”
“Well, my lord King! now you have felt what the fear of death is like! What I have done was in payment of an old score. Do you remember my sitting on an oak, and your wanting to shoot me? Three times you were going to let fly, but I kept on entreating you not to shoot, saying to myself all the time, ‘Perhaps he won’t kill me; perhaps he’ll relent and take me home with him!’”
“Well, my lord King! Now you've experienced what the fear of death feels like! What I did was to settle an old score. Do you remember me sitting on an oak while you wanted to shoot me? Three times you were about to pull the trigger, but I kept pleading with you not to shoot, telling myself all the while, ‘Maybe he won’t kill me; maybe he’ll change his mind and take me home with him!’”
Afterwards they flew beyond thrice nine lands: long, long did they fly. Says the Eagle, “Look, my lord King! what is above us and what below us?”
After that, they flew over three times nine lands: they flew for a long time. The Eagle says, “Look, my lord King! What’s above us and what’s below us?”
The King looked.
The King glanced.
“Above us,” he says, “is the sky, below us the earth.”
“Above us,” he says, “is the sky, and below us is the earth.”
“Look again; what is on the right hand and on the left?”
“Look again; what’s on the right and on the left?”
“On the right hand is an open plain, on the left stands a house.”
“On the right side is an open field, and on the left is a house.”
“We will fly thither,” said the Eagle; “my youngest sister lives there.”
“We will fly there,” said the Eagle; “my youngest sister lives there.”
They went straight into the courtyard. The sister came out to meet them, received her brother cordially, and seated him at the oaken table. But on the King she would not so much as look, but left him outside, loosed greyhounds, and set them at him. The Eagle was exceedingly wroth, jumped up from table, seized the King, and flew away with him again.
They went right into the courtyard. The sister came out to greet them, welcomed her brother warmly, and sat him at the oak table. But she wouldn’t even look at the King; she left him outside, unleashed her greyhounds, and set them on him. The Eagle was extremely angry, jumped up from the table, grabbed the King, and flew away with him again.
Well, they flew and flew. Presently the Eagle said to the King, “Look round; what is behind us?”
Well, they kept flying and flying. Eventually, the Eagle said to the King, “Look around; what’s behind us?”
The King turned his head, looked, and said, “Behind us is a red house.”
The King turned his head, looked, and said, “There’s a red house behind us.”
“That is the house of my youngest sister—on fire, because she did not receive you, but set greyhounds at you.”
"That’s my youngest sister's house—on fire, because she didn't welcome you and sent her greyhounds after you."
They flew and flew. Again the Eagle asked:
They flew and flew. Once more, the Eagle asked:
“Look again, my lord King; what is above us, and what below us?”
“Take another look, my lord King; what’s above us, and what’s below us?”
[Pg 133] “Above us is the sky, below us the earth.”
[Pg 133] “Above us is the sky, below us is the ground.”
“Look and see what is on the right hand and on the left.”
“Look and see what's on the right and what's on the left.”
“On the right is the open plain, on the left there stands a house.”
“On the right is the open field, and on the left is a house.”
“There lives my second sister; we’ll go and pay her a visit.”
“There lives my second sister; let’s go visit her.”
They stopped in a wide courtyard. The second sister received her brother cordially, and seated him at the oaken table; but the King was left outside, and she loosed greyhounds, and set them at him. The Eagle flew into a rage, jumped up from table, caught up the King, and flew away farther with him. They flew and flew. Says the Eagle:
They stopped in a spacious courtyard. The second sister warmly welcomed her brother and sat him down at the oak table; however, the King was left outside, and she released her greyhounds and set them on him. The Eagle became furious, jumped up from the table, grabbed the King, and flew further away with him. They soared high into the sky. The Eagle said:
“My lord King! look round! what is behind us?”
“My King! Look around! What’s behind us?”
The King looked back.
The King turned around.
“There stands behind us a red house.”
“There is a red house behind us.”
“That’s my second sister’s house burning!” said the Eagle. “Now we’ll fly to where my mother and my eldest sister live.”
“That’s my second sister’s house on fire!” said the Eagle. “Now we’ll fly to where my mom and my oldest sister live.”
Well, they flew there. The Eagle’s mother and eldest sister were delighted to see them, and received the King with cordiality and respect.
Well, they flew there. The Eagle’s mother and older sister were thrilled to see them and welcomed the King warmly and with respect.
“Now, my lord King,” said the Eagle, “tarry awhile with us, and afterwards I will give you a ship, and will repay you for all I ate in your house, and then—God speed you home again!”
“Now, my lord King,” said the Eagle, “stay with us for a while, and afterwards I will give you a ship, and will repay you for everything I ate in your house, and then—safe travels back home!”
So the Eagle gave the King a ship and two coffers—the one red, the other green—and said:
So the Eagle gave the King a ship and two chests—the one red, the other green—and said:
“Mind now! don’t open the coffers until you get home. Then open the red coffer in the back court, and the green coffer in the front court.”
“Listen up! Don’t open the chests until you get home. Then open the red chest in the back yard, and the green chest in the front yard.”
The King took the coffers, parted with the Eagle, and sailed along the blue sea. Presently he came to a certain island, and there his ship stopped. He landed on the shore, and began thinking about the coffers, and wondering whatever there could be in them, and why the Eagle had told him not to open them. He thought and thought, and at last couldn’t hold out any more—he longed so awfully to know all about it. So he took the red coffer, set it on the ground, and opened it—and out of it came such a quantity of different kinds of cattle that there was no counting them: the island had barely room enough for them.
The King took the treasure chests, parted from the Eagle, and sailed across the blue sea. Soon, he arrived at an island where his ship anchored. He landed on the shore and started thinking about the chests, wondering what could possibly be inside them and why the Eagle had told him not to open them. He thought and thought, and eventually, he couldn't resist any longer—he was so eager to find out. So, he took the red chest, set it on the ground, and opened it—out came such a huge number of different kinds of cattle that they couldn't be counted: the island barely had enough space for them.
[Pg 134] When the King saw that, he became exceedingly sorrowful, and began to weep and therewithal to say:
[Pg 134] When the King saw that, he became extremely sad and started to cry, saying:
“What is there now left for me to do? how shall I get all this cattle back into so little a coffer?”
“What’s left for me to do now? How am I supposed to get all this cattle back into such a small chest?”
Lo! there came out of the water a man—came up to him, and asked:
Lo! a man emerged from the water—approached him, and asked:
“Wherefore are you weeping so bitterly, O lord King?”
"Why are you crying so hard, O lord King?"
“How can I help weeping!” answers the King. “How shall I be able to get all this great herd into so small a coffer?”
“How can I stop crying!” replies the King. “How am I supposed to fit this huge herd into such a tiny chest?”
“If you like, I will set your mind at rest. I will pack up all your cattle for you. But on one condition only. You must give me whatever you have at home that you don’t know of.”
“If you want, I can put your mind at ease. I’ll pack up all your cattle for you. But there’s just one condition. You have to give me anything you have at home that you’re unaware of.”
The King reflected.
The King thought.
“Whatever is there at home that I don’t know of?” says he. “I fancy I know about everything that’s there.”
“Is there something at home that I don’t know about?” he says. “I think I know everything that’s there.”
He reflected, and consented. “Pack them up,” says he. “I will give you whatever I have at home that I know nothing about.”
He thought about it and agreed. “Wrap them up,” he said. “I’ll give you everything I have at home that I don’t know anything about.”
So that man packed away all his cattle for him in the coffer. The King went on board ship and sailed away homewards.
So that guy packed all his cattle into the chest. The King boarded the ship and sailed back home.
When he reached home, then only did he learn that a son had been born to him. And he began kissing the child, caressing it, and at the same time bursting into such floods of tears!
When he got home, that’s when he found out he had a son. He started kissing the baby, holding it close, and at the same time, he was overwhelmed with tears!
“My lord King!” says the Queen, “tell me wherefore thou droppest bitter tears?”
“My lord King!” says the Queen, “please tell me why you are shedding such bitter tears?”
“For joy!” he replies.
“Awesome!” he replies.
He was afraid to tell her the truth, that the Prince would have to be given up. Afterwards he went into the back court, opened the red coffer, and thence issued oxen and cows, sheep and rams; there were multitudes of all sorts of cattle, so that all the sheds and pastures were crammed full. He went into the front court, opened the green coffer, and there appeared a great and glorious garden. What trees there were in it to be sure! The King was so delighted that he forgot all about giving up his son.
He was scared to tell her the truth: that they would have to give up the Prince. Afterward, he went into the back courtyard, opened the red chest, and out came oxen and cows, sheep and rams; there were tons of all kinds of livestock, filling every shed and pasture to the brim. He then went into the front courtyard, opened the green chest, and revealed a magnificent garden. The trees in it were stunning! The King was so thrilled that he completely forgot about giving up his son.
Many years went by. One day the King took it into his head to go for a stroll, and he came to a river. At that moment [Pg 135] the same man he had seen before came out of the water, and said:
Many years passed. One day, the King decided to go for a walk, and he ended up at a river. At that moment, the same man he had seen before emerged from the water and said:
“You’ve pretty soon become forgetful, lord King! Think a little! surely you’re in my debt!”
"You've become pretty forgetful, my lord! Just think for a moment! Surely you owe me!"
The King returned home full of grief, and told all the truth to the Queen and the Prince. They all mourned and wept together, but they decided that there was no help for it, the Prince must be given up. So they took him to the mouth of the river and there they left him alone.
The King returned home, weighed down by grief, and shared everything that had happened with the Queen and the Prince. They all mourned and cried together, but they agreed that there was nothing they could do; the Prince had to be given up. So they brought him to the riverbank and left him there alone.
The Prince looked around, saw a footpath, and followed trusting God would lead him somewhere. He walked and walked, and came to a dense forest: in the forest stood a hut, in the hut lived a Baba Yaga.
The Prince looked around, saw a footpath, and followed it, trusting that God would lead him somewhere. He walked and walked until he reached a thick forest: in the forest stood a hut, and in that hut lived a Baba Yaga.
“Suppose I go in,” thought the Prince, and went in.
“Maybe I’ll go in,” thought the Prince, and then he went in.
“Good day, Prince!” said the Baba Yaga. “Are you seeking work or shunning work?”
“Good day, Prince!” said Baba Yaga. “Are you looking for work or avoiding it?”
“Eh, granny! First give me to eat and to drink, and then ask me questions.”
“Hey, grandma! First feed me and give me something to drink, and then you can ask me questions.”
So she gave him food and drink, and the Prince told her everything as to whither he was going and with what purpose.
So she offered him food and drink, and the Prince shared with her everything about where he was headed and why.
Then the Baba Yaga said: “Go, my child, to the sea-shore; there will fly thither twelve spoonbills, which will turn into fair maidens, and begin bathing; do you steal quietly up and lay your hands on the eldest maiden’s shift. When you have come to terms with her, go to the Water King, and there will meet you on the way Obédalo and Opivalo, and also Moroz Treskum[144]—take all of them with you; they will do you good service.”
Then Baba Yaga said, “Go, my child, to the seashore; there will be twelve spoonbills flying there, and they will turn into beautiful maidens and start bathing. You should quietly sneak up and grab the oldest maiden’s shift. Once you make a deal with her, head to the Water King, and on your way, you’ll meet Obédalo and Opivalo, as well as Moroz Treskum[144]—take them all with you; they will help you out.”
The Prince bid the Yaga farewell, went to the appointed spot on the sea-shore, and hid behind the bushes. Presently twelve spoonbills came flying thither, struck the moist earth, turned into fair maidens, and began to bathe. The Prince stole the eldest one’s shift, and sat down behind a bush—didn’t budge an inch. The girls finished bathing and came out on the shore: eleven of them put on their shifts, turned into birds, and [Pg 136] flew away home. There remained only the eldest, Vasilissa the Wise. She began praying and begging the good youth:
The Prince said goodbye to the Yaga, went to the designated spot by the sea, and hid behind some bushes. Soon, twelve spoonbills flew in, landed on the wet ground, transformed into beautiful maidens, and started to bathe. The Prince sneakily took the eldest one's dress and sat quietly behind a bush, not moving at all. The girls finished bathing and came out onto the shore: eleven of them got dressed, turned back into birds, and flew away home. The only one left was the eldest, Vasilissa the Wise. She started praying and pleading with the kind young man:
“Do give me my shift!” she says. “You are on your way to the house of my father, the Water King. When you come I will do you good service.”
“Please give me my shift!” she says. “You’re on your way to my father’s house, the Water King. When you arrive, I will help you.”
So the Prince gave her back her shift, and she immediately turned into a spoonbill and flew away after her companions. The Prince went further on; there met him by the way three heroes—Obédalo, Opivalo, and Moroz Treskum; he took them with him and went on to the Water King’s.
So the Prince gave her back her dress, and she instantly transformed into a spoonbill and flew off to join her friends. The Prince continued on his journey; along the way, he encountered three heroes—Obédalo, Opivalo, and Moroz Treskum—who he brought along with him to the Water King’s.
The Water King saw him, and said:
The Water King noticed him and said:
“Hail, friend! why have you been so long in coming to me? I have grown weary of waiting for you. Now set to work. Here is your first task. Build me in one night a great crystal bridge, so that it shall be ready for use to-morrow. If you don’t build it—off goes your head!”
“Hey, friend! Why have you taken so long to get here? I’m tired of waiting for you. Now, get to work. Here’s your first task. Build me a huge crystal bridge in one night, so it’s ready for tomorrow. If you don’t build it—off goes your head!”
The Prince went away from the Water King, and burst into a flood of tears. Vasilissa the Wise opened the window of her upper chamber, and asked:
The Prince left the Water King and broke down in tears. Vasilissa the Wise opened the window of her upper room and asked:
“What are you crying about, Prince?”
“What are you crying about, Prince?”
“Ah! Vasilissa the Wise! how can I help crying? Your father has ordered me to build a crystal bridge in a single night, and I don’t even know how to handle an axe.”
“Ah! Vasilissa the Wise! How can I help but cry? Your father has commanded me to build a crystal bridge in just one night, and I don’t even know how to use an axe.”
“No matter! lie down and sleep; the morning is wiser than the evening.”
"No worries! Just lie down and sleep; the morning has a clearer perspective than the evening."
She ordered him to sleep, but she herself went out on the steps, and called aloud with a mighty whistling cry. Then from all sides there ran together carpenters and workmen; one levelled the ground, another carried bricks. Soon had they built a crystal bridge, and traced cunning devices on it; and then they dispersed to their homes.
She told him to sleep, but she went outside onto the steps and called out with a loud whistle. Soon, carpenters and workers came running from all directions; one evened out the ground, while another carried bricks. Before long, they had built a crystal bridge and created intricate designs on it; then they went home.
Early next morning Vasilissa the Wise awoke the Prince:
Early the next morning, Vasilissa the Wise woke up the Prince:
“Get up, Prince! the bridge is ready: my father will be coming to inspect it directly.”
"Get up, Prince! The bridge is ready; my dad will be coming to check it out soon."
Up jumped the Prince, seized a broom, took his place on the bridge, and began sweeping here, clearing up there.
Up jumped the Prince, grabbed a broom, took his spot on the bridge, and started sweeping here, clearing up there.
The Water King bestowed praise upon him:
The Water King lauded him:
[Pg 137] “Thanks!” says he. “You’ve done me one service: now do another. Here is your task. Plant me by to-morrow a garden green—a big and shady one; and there must be birds singing in the garden, and flowers blossoming on the trees, and ripe apples and pears hanging from the boughs.”
[Pg 137] “Thanks!” he says. “You’ve helped me once: now help me again. Here’s your task. By tomorrow, plant me a lush garden—something big and shady; there should be birds singing in the garden, flowers blooming on the trees, and ripe apples and pears hanging from the branches.”
Away went the Prince from the Water King, all dissolved in tears. Vasilissa the Wise opened her window and asked:
Away went the Prince from the Water King, all dissolved in tears. Vasilissa the Wise opened her window and asked:
“What are you crying for, Prince?”
“What are you crying about, Prince?”
“How can I help crying? Your father has ordered me to plant a garden in one night!”
“How can I stop crying? Your dad has told me to plant a garden in one night!”
“That’s nothing! lie down and sleep: the morning is wiser than the evening.”
"That's nothing! Just lie down and sleep; the morning has more clarity than the night."
She made him go to sleep, but she herself went out on the steps, called and whistled with a mighty whistle. From every side there ran together gardeners of all sorts, and they planted a garden green, and in the garden birds sang, on the trees flowers blossomed, from the boughs hung ripe apples and pears.
She got him to sleep, but she stepped outside, calling and whistling with a loud whistle. From all around, all kinds of gardeners rushed in, and they planted a lush garden. In the garden, birds sang, flowers bloomed on the trees, and ripe apples and pears hung from the branches.
Early in the morning Vasilissa the Wise awoke the Prince:
Early in the morning, Vasilissa the Wise woke the Prince:
“Get up, Prince! the garden is ready: Papa is coming to see it.”
“Get up, Prince! The garden is ready: Dad is coming to check it out.”
The Prince immediately snatched up a broom, and was off to the garden. Here he swept a path, there he trained a twig. The Water King praised him and said:
The Prince quickly grabbed a broom and headed to the garden. He swept a path in one spot and trimmed a twig in another. The Water King praised him and said:
“Thanks, Prince! You’ve done me right trusty service. So choose yourself a bride from among my twelve daughters. They are all exactly alike in face, in hair, and in dress. If you can pick out the same one three times running, she shall be your wife; if you fail to do so, I shall have you put to death.”
“Thanks, Prince! You’ve really done me a great service. So pick a bride from my twelve daughters. They all look exactly the same in face, hair, and clothing. If you can choose the same one three times in a row, she’ll become your wife; if you can’t, I will have you killed.”
Vasilissa the Wise knew all about that, so she found time to say to the Prince:
Vasilissa the Wise knew all about that, so she took a moment to tell the Prince:
“The first time I will wave my handkerchief, the second I will be arranging my dress, the third time you will see a fly above my head.”
“The first time I wave my handkerchief, the second time I’ll be fixing my dress, and the third time you’ll notice a fly over my head.”
And so the Prince guessed which was Vasilissa the Wise three times running. And he and she were married, and a wedding feast was got ready.
And so the Prince correctly identified Vasilissa the Wise three times in a row. He and she got married, and preparations were made for a wedding feast.
Now the Water King had prepared much food of all sorts [Pg 138] more than a hundred men could get through. And he ordered his son-in-law to see that everything was eaten. “If anything remains over, the worse for you!” says he.
Now the Water King had prepared a lot of food, more than a hundred men could eat. He told his son-in-law to make sure everything was finished. “If there's anything left, it’ll be your problem!” he said.
“My Father,” begs the Prince, “there’s an old fellow of mine here; please let him take a snack with us.”
“Dad,” the Prince pleads, “there's an old friend of mine here; please let him join us for a snack.”
“Let him come!”
"Let him come!"
Immediately appeared Obédalo—ate up everything, and wasn’t content then! The Water King next set out two score tubs of all kinds of strong drinks, and ordered his son-in-law to see that they were all drained dry.
Obédalo showed up right away—ate everything and still wanted more! The Water King then set out forty tubs filled with various strong drinks and told his son-in-law to make sure they were all finished off.
“My Father!” begs the Prince again, “there’s another old man of mine here, let him, too, drink your health.”
“My Father!” the Prince pleads again, “there’s another old man of mine here; let him drink to your health, too.”
“Let him come!”
"Let him come!"
Opivalo appeared, emptied all the forty tubs in a twinkling, and then asked for a drop more by way of stirrup-cup.[145]
Opivalo showed up, quickly emptied all forty tubs, and then asked for just a little more as a final drink. [145]
The Water King saw that there was nothing to be gained that way, so he gave orders to prepare a bath-room for the young couple—an iron bath-room—and to heat it as hot as possible. So the iron bath-room was made hot. Twelve loads of firewood were set alight, and the stove and the walls were made red-hot—impossible to come within five versts of it.
The Water King realized that there was no benefit in that approach, so he instructed to set up a bath for the young couple—an iron bath—and to heat it as much as possible. So, the iron bath was made extremely hot. Twelve loads of firewood were burned, and the stove and the walls were heated to a bright red—making it impossible to get within five versts of it.
“My Father!” says the Prince; “let an old fellow of ours have a scrub first, just to try the bath-room.”
“My Father!” says the Prince; “let one of our old friends have a scrub first, just to try out the bathroom.”
“Let him do so!”
"Let him do that!"
Moroz Treskum went into the bath room, blew into one corner, blew in another—in a moment icicles were hanging there. After him the young couple also went into the bath-room, were lathered and scrubbed,[146] and then went home.
Moroz Treskum walked into the bathroom, blew in one corner, then blew in another—in a moment, icicles were hanging there. After him, the young couple also went into the bathroom, got lathered and scrubbed,[146] and then headed home.
After a time Vasilissa said to the Prince, “Let us get out of my father’s power. He’s tremendously angry with you; perhaps he’ll be doing you some hurt.”
After a while, Vasilissa said to the Prince, “Let’s escape from my father’s control. He’s really angry with you; he might try to hurt you.”
“Let us go,” says the Prince.
“Let’s go,” says the Prince.
[Pg 139] Straightway they saddled their horses and galloped off into the open plain. They rode and rode; many an hour went by.
[Pg 139] Immediately, they saddled their horses and rode off into the open plain. They kept riding for hours.
“Jump down from your horse, Prince, and lay your ear close to the earth,” said Vasilissa. “Cannot you hear a sound as of pursuers?”
“Get down from your horse, Prince, and put your ear close to the ground,” said Vasilissa. “Can’t you hear a sound like that of pursuers?”
The prince bent his ear to the ground, but he could hear nothing. Then Vasilissa herself lighted down from her good steed, laid herself flat on the earth, and said: “Ah Prince! I hear a great noise as of chasing after us.” Then she turned the horses into a well, and herself into a bowl, and the Prince into an old, very old man. Up came the pursuers.
The prince bent down to listen to the ground, but he heard nothing. Then Vasilissa herself got off her noble horse, lay flat on the ground, and said, “Oh Prince! I hear a loud noise as if someone is chasing us.” Then she transformed the horses into a well, herself into a bowl, and the Prince into an old, very old man. The pursuers came up.
“Heigh, old man!” say they, “haven’t you seen a youth and a maiden pass by?”
“Hey, old man!” they say, “haven’t you seen a young man and a woman walk by?”
“I saw them, my friends! only it was a long while ago. I was a youngster at the time when they rode by.”
“I saw them, my friends! But it was a long time ago. I was a kid back then when they rode by.”
The pursuers returned to the Water King.
The pursuers went back to the Water King.
“There is no trace of them,” they said, “no news: all we saw was an old man beside a well, and a bowl floating on the water.”
“There’s no sign of them,” they said, “no news: all we saw was an old man by a well and a bowl floating in the water.”
“Why did not ye seize them?” cried the Water King, who thereupon put the pursuers to a cruel death, and sent another troop after the Prince and Vasilissa the Wise.
“Why didn’t you catch them?” shouted the Water King, who then meted out a cruel death to the pursuers and sent another group after the Prince and Vasilissa the Wise.
The fugitives in the mean time had ridden far, far away. Vasilissa the Wise heard the noise made by the fresh set of pursuers, so she turned the Prince into an old priest, and she herself became an ancient church. Scarcely did its walls hold together, covered all over with moss. Presently up came the pursuers.
The fugitives had ridden far, far away. Vasilissa the Wise heard the noise from the new group of pursuers, so she turned the Prince into an old priest, and she transformed herself into an ancient church. Its walls could barely hold together, completely covered in moss. Soon, the pursuers arrived.
“Heigh, old man! haven’t you seen a youth and a maiden pass by?”
“Hey, old man! Haven’t you seen a young guy and a girl walk by?”
“I saw them, my own! only it was long, ever so long ago. I was a young man when they rode by. It was just while I was building this church.”
“I saw them, my own! but it was a long time ago. I was a young man when they rode by. It was around the time I was building this church.”
So the second set of pursuers returned to the Water King, saying:
So the second group of pursuers went back to the Water King, saying:
“There is neither trace nor news of them, your Royal Majesty. All that we saw was an old priest and an ancient church.”
“There’s no sign or word about them, Your Royal Majesty. All we saw was an old priest and an ancient church.”
[Pg 140] “Why did not ye seize them?” cried the Water King louder than before, and having put the pursuers to a cruel death, he galloped off himself in pursuit of the Prince and Vasilissa the Wise. This time Vasilissa turned the horses into a river of honey with kissel[147] banks, and changed the Prince into a Drake and herself into a grey duck. The Water King flung himself on the kissel and honey-water, and ate and ate, and drank and drank until he burst! And so he gave up the ghost.
[Pg 140] "Why didn't you capture them?" shouted the Water King louder than before, and after putting the pursuers to a cruel death, he took off himself in pursuit of the Prince and Vasilissa the Wise. This time, Vasilissa transformed the horses into a river of honey with kissel[147] banks, turning the Prince into a Drake and herself into a gray duck. The Water King threw himself onto the kissel and honey-water, eating and drinking until he burst! And so he passed away.
The Prince and Vasilissa rode on, and at length they drew nigh to the home of the Prince’s parents. Then said Vasilissa,
The Prince and Vasilissa kept riding until they finally reached the Prince's parents' home. Then Vasilissa said,
“Go on in front, Prince, and report your arrival to your father and mother. But I will wait for you here by the wayside. Only remember these words of mine: kiss everyone else, only don’t kiss your sister; if you do, you will forget me.”
“Go ahead, Prince, and let your parents know you've arrived. But I’ll stay here by the side of the road. Just remember what I told you: kiss everyone else, but don’t kiss your sister; if you do, you’ll forget me.”
The Prince reached home, began saluting every one, kissed his sister too—and no sooner had he kissed her than from that very moment he forgot all about his wife, just as if she had never entered into his mind.
The Prince got home, greeted everyone, kissed his sister as well—and the moment he kissed her, he completely forgot about his wife, as if she had never crossed his mind.
Three days did Vasilissa the Wise await him. On the fourth day she clad herself like a beggar, went into the capital, and took up her quarters in an old woman’s house. But the Prince was preparing to marry a rich Princess, and orders were given to proclaim throughout the kingdom, that all Christian people were to come to congratulate the bride and bridegroom, each one bringing a wheaten pie as a present. Well, the old woman with whom Vasilissa lodged, prepared, like everyone else, to sift flour and make a pie.
Three days Vasilissa the Wise waited for him. On the fourth day, she dressed like a beggar, entered the capital, and stayed at an old woman's house. But the Prince was getting ready to marry a wealthy Princess, and it was announced throughout the kingdom that all Christians were to come and congratulate the bride and groom, each bringing a wheat pie as a gift. So, the old woman where Vasilissa was staying prepared, like everyone else, to sift flour and make a pie.
“Why are you making a pie, granny?” asked Vasilissa.
“Why are you making a pie, Grandma?” asked Vasilissa.
“Is it why? you evidently don’t know then. Our King is giving his son in marriage to a rich princess: one must go to the palace to serve up the dinner to the young couple.”
“Is that why? You clearly don’t know. Our King is marrying off his son to a wealthy princess: someone has to go to the palace to serve dinner to the newlyweds.”
“Come now! I, too, will bake a pie and take it to the palace; may be the King will make me some present.”
“Come on! I’ll bake a pie and take it to the palace; maybe the King will give me a gift.”
“Bake away in God’s name!” said the old woman.
“Bake away in God's name!” said the old woman.
[Pg 141] Vasilissa took flour, kneaded dough, and made a pie. And inside it she put some curds and a pair of live doves.
[Pg 141] Vasilissa took some flour, kneaded the dough, and made a pie. Inside it, she placed some curds and a couple of live doves.
Well, the old woman and Vasilissa the Wise reached the palace just at dinner-time. There a feast was in progress, one fit for all the world to see. Vasilissa’s pie was set on the table, but no sooner was it cut in two than out of it flew the two doves. The hen bird seized a piece of curd, and her mate said to her:
Well, the old woman and Vasilissa the Wise arrived at the palace right at dinner time. A grand feast was happening, one that everyone would admire. Vasilissa’s pie was placed on the table, but as soon as it was cut in half, two doves flew out of it. The female dove grabbed a piece of curd, and her mate said to her:
“Give me some curds, too, Dovey!”
“Give me some cheese, too, Dovey!”
“No I won’t,” replied the other dove: “else you’d forget me, as the Prince has forgotten his Vasilissa the Wise.”
“No I won’t,” replied the other dove. “Otherwise, you’d forget me, just like the Prince has forgotten his Vasilissa the Wise.”
Then the Prince remembered about his wife. He jumped up from table, caught her by her white hands, and seated her close by his side. From that time forward they lived together in all happiness and prosperity.
Then the Prince remembered his wife. He leaped up from the table, took her by her white hands, and sat her next to him. From that moment on, they lived together in happiness and prosperity.
[With this story may be compared a multitude of tales in very many languages. In German for instance, “Der König vom goldenen Berg,” (Grimm, KM. No. 92. See also Nos. 51, 56, 113, 181, and the opening of No. 31), “Der Königssohn und die Teufelstochter,” (Haltrich, No. 26), and “Grünus Kravalle” (Wolf’s “Deutsche Hausmärchen,” No. 29)—the Norse “Mastermaid,” (Asbjörnsen and Moe, No. 46, Dasent, No. 11) and “The Three Princesses of Whiteland,” (A. and M. No. 9, Dasent, No. 26)—the Lithuanian story (Schleicher, No. 26, p. 75) in which a “field-devil” exacts from a farmer the promise of a child—the Wallachian stories (Schott, Nos. 2 and 15) in which a devil obtains a like promise from a woodcutter and a fisherman—the Modern Greek (Hahn, Nos. 4, 5, 54, and 68) in which a child is promised to a Dervish, a Drakos, the Devil, and a Demon—and the Gaelic tales of “The Battle of the Birds” and “The Sea-maiden,” (Campbell, Nos. 2 and 4) in the former of which the child is promised to a Giant, in the latter to a Mermaid. The likeness between the Russian story and the “Battle of the Birds” is very striking. References to a great many other similar tales will be found in Grimm (KM. iii. pp. 96-7, and 168-9). The group to which all these stories belong is linked with a set of tales about a father who apprentices his son to a wizard, sometimes to the Devil, from whom the youth escapes with great difficulty. The principal Russian representative of the second set is called “Eerie Art,” “Khitraya Nauka,” (Afanasief, v. No. 22, vi. No. 45, viii. p. 339).
[This story can be compared to many tales in various languages. In German, for instance, “Der König vom goldenen Berg,” (Grimm, KM. No. 92. See also Nos. 51, 56, 113, 181, and the opening of No. 31), “Der Königssohn und die Teufelstochter,” (Haltrich, No. 26), and “Grünus Kravalle” (Wolf’s “Deutsche Hausmärchen,” No. 29)—the Norse “Mastermaid,” (Asbjörnsen and Moe, No. 46, Dasent, No. 11) and “The Three Princesses of Whiteland,” (A. and M. No. 9, Dasent, No. 26)—the Lithuanian story (Schleicher, No. 26, p. 75) where a “field-devil” forces a farmer to promise a child—the Wallachian stories (Schott, Nos. 2 and 15) where a devil obtains a similar promise from a woodcutter and a fisherman—the Modern Greek tales (Hahn, Nos. 4, 5, 54, and 68) where a child is promised to a Dervish, a Drakos, the Devil, and a Demon—and the Gaelic tales of “The Battle of the Birds” and “The Sea-maiden,” (Campbell, Nos. 2 and 4), in the former of which the child is promised to a Giant, and in the latter to a Mermaid. The similarity between the Russian story and “The Battle of the Birds” is very noticeable. References to many other similar tales can be found in Grimm (KM. iii. pp. 96-7, and 168-9). The group that includes all these stories is connected to a collection of tales about a father who apprentices his son to a wizard, sometimes to the Devil, from whom the young man escapes with great difficulty. The main Russian representative of this second set is called “Eerie Art,” “Khitraya Nauka,” (Afanasief, v. No. 22, vi. No. 45, viii. p. 339).]
To the hero’s adventures while with the Water King, and while escaping from him, an important parallel is offered by the end of the already mentioned (at p. 92) Indian story of Sringabhuja. That prince asks Agnisikha, the Rákshasa whom, in his crane-form, he has wounded, to bestow upon him the hand of his daughter—the maiden who had met him on his arrival at the Rákshasa’s palace. The demon pretends to consent, but only on condition that the prince is able to pick out his love from among her numerous sisters. This Sringabhuja is able to do in spite of all the [Pg 142] demon’s daughters being exactly alike, as she has told him beforehand she will wear her pearls on her brow instead of round her neck. Her father will not remark the change, she says, for being of the demon race, he is not very sharp witted. The Rákshasa next sets the prince two of the usual tasks. He is to plough a great field, and sow a hundred bushels of corn. When this, by the daughter’s help, is done, he is told to gather up the seed again. This also the demon’s daughter does for him, sending to his aid a countless swarm of ants. Lastly he is commanded to visit the demon’s brother and invite him to the wedding. He does so, and is pursued by the invited guest, from whom he escapes only by throwing behind him earth, water, thorns, and lastly fire, with all of which he has been provided by his love. They produce corresponding obstacles which enable him to get away from the uncle of his bride. The demon now believes that his proposed son-in-law must be a god in disguise, so he gives his consent to the marriage. All goes well for a time, but at last the prince wants to go home, so he and his wife fly from her father’s palace. Agnisikha pursues them. She makes her husband invisible, while she assumes the form of a woodman. Up comes her angry sire, and asks for news of the fugitives. She replies she has seen none, her eyes being full of tears caused by the death of the Rákshasa prince Agnisikha. The slow-witted demon immediately flies home to find out whether he is really dead. Discovering that he is not, he renews the pursuit. Again his daughter renders her husband invisible, and assumes the form of a messenger carrying a letter. When her father arrives and repeats his question, she says she has seen no one: she is going with a letter to his brother from Agnisikha, who has just been mortally wounded. Back again home flies the demon in great distress, anxious to find out whether he has really been wounded to death or not. After settling this question, he leaves his daughter and her husband in peace. See Professor Brockhaus in the “Berichte der phil. hist. Classe der K. Sächs. Gesellschaft der Wissenschaften,” 1861, pp. 226-9, and Professor Wilson, “Essays, &c.,” ii. p. 136-8. Cf. R. Köhler in “Orient und Occident,” ii. pp. 107-14.]
To the hero’s adventures with the Water King and his escape from him, an important parallel is provided by the conclusion of the previously mentioned (at p. 92) Indian story of Sringabhuja. That prince asks Agnisikha, the Rákshasa whom he has wounded in crane-form, to give him the hand of his daughter—the maiden he met upon arriving at the Rákshasa’s palace. The demon pretends to agree, but only if the prince can identify his beloved among her many sisters. This Sringabhuja manages to do, despite all the demon’s daughters looking exactly alike, because she told him beforehand that she would wear her pearls on her forehead instead of around her neck. Her father, she explains, won’t notice the difference because, being of the demon race, he isn’t very sharp-witted. The Rákshasa then gives the prince two of the usual tasks. He must plow a large field and sow a hundred bushels of corn. After accomplishing this with his love’s help, he is told to gather up the seed again. The demon’s daughter also assists with this, sending a countless swarm of ants to aid him. Finally, he is ordered to visit the demon’s brother and invite him to the wedding. He does so and is chased by the invited guest, from whom he escapes only by throwing earth, water, thorns, and finally fire behind him, with all of which his love has provided him. These create corresponding obstacles that allow him to get away from his bride’s uncle. The demon now believes that his proposed son-in-law must be a god in disguise, and he consents to the marriage. Everything goes well for a time, but eventually the prince wants to return home, so he and his wife flee from her father’s palace. Agnisikha pursues them. She makes her husband invisible while she takes on the form of a woodman. Her angry father arrives and asks for news of the fugitives. She responds that she has seen none, her eyes filled with tears from the death of the Rákshasa prince Agnisikha. The slow-witted demon immediately rushes home to find out if he is truly dead. Finding that he is not, he resumes the pursuit. Again, his daughter makes her husband invisible and takes on the form of a messenger carrying a letter. When her father arrives and repeats his question, she says she has seen no one: she is delivering a letter to his brother from Agnisikha, who has just been mortally wounded. The demon returns home in great distress, anxious to discover if he has genuinely been mortally wounded or not. After resolving that question, he leaves his daughter and her husband in peace. See Professor Brockhaus in the “Berichte der phil. hist. Classe der K. Sächs. Gesellschaft der Wissenschaften,” 1861, pp. 226-9, and Professor Wilson, “Essays, &c.,” ii. p. 136-8. Cf. R. Köhler in “Orient und Occident,” ii. pp. 107-14.
In another story a king is out hunting and becomes thirsty. Seeing a spring near at hand, he bends down and is just going to lap up its water, when the Tsar-Medvéd, a King-Bear, seizes him by the beard. The king is unable to free himself from his grasp, and is obliged to promise as his ransom “that which he knows not of at home,” which turns out to be a couple of children—a boy and a girl—who have been born during his absence. In vain does he attempt to save the twins from their impending fate, by concealing them in a secret abode constructed for that purpose underground. In the course of time the King-Bear arrives to claim them, finds out their hiding-place, digs them up, and carries them off on his back to a distant region where no [Pg 143] man lives. During his absence they attempt to escape being carried through the air on the back of a friendly falcon, but the King-Bear sees them, “strikes his head against the earth, and burns the falcon’s wings.” The twins fall to the ground, and are carried by the King-Bear to his home amid inaccessible mountains. There they make a second attempt at escape, trusting this time to an eagle’s aid; but it meets with exactly the same fate as their first trial. At last they are rescued by a bull-calf, which succeeds in baffling all the King-Bear’s efforts to recover them. At the end of their perilous journey the bull-calf tells the young prince to cut its throat, and burn its carcase. He unwillingly consents, and from its ashes spring a horse, a dog, and an apple-tree, all of which play important parts in the next act of the drama.[148]
In another story, a king goes hunting and gets thirsty. When he spots a spring nearby, he bends down to drink its water, but the Tsar-Medvéd, a King-Bear, grabs him by the beard. The king can't escape and has to promise as his ransom “what he knows not of at home,” which turns out to be a boy and a girl—twins who were born while he was away. He tries to save them from their fate by hiding them in a secret underground spot he created. Eventually, the King-Bear comes to collect them, discovers their hiding place, digs them up, and takes them away on his back to a remote area where no one lives. While he’s gone, the twins try to escape with the help of a friendly falcon, but the King-Bear catches sight of them, “strikes his head against the ground, and burns the falcon’s wings.” The twins fall to the earth and are taken by the King-Bear to his lair in the mountains. They give escaping another shot, this time with the help of an eagle, but it meets the same fate as their previous attempt. Finally, they’re saved by a bull-calf, which manages to outsmart all the King-Bear's attempts to get them back. At the end of their dangerous journey, the bull-calf tells the young prince to cut its throat and burn its body. He reluctantly agrees, and from its ashes emerge a horse, a dog, and an apple tree, all of which play crucial roles in the next part of the story.[148]
In one of the variants of the Water King story,[149] the seizer of the drinking kings’ beard is not called the Morskoi Tsar but Chudo Morskoe, a Water Chudo, whose name recalls to mind the Chudo Yudo we have already met with.[150] The Prince who is obliged, in consequence of his father’s promise, to surrender himself to the Water Giant, falls in love with a maiden whom he finds in that potentate’s palace, and who is an enchantress whom the Chudo has [Pg 144] stolen. She turns herself into a ring, which he carries about with him, and eventually, after his escape from the Chudo, she becomes his bride.
In one version of the Water King story,[149] the captor of the drinking king’s beard is not called the Morskoi Tsar but Chudo Morskoe, a Water Chudo, whose name reminds us of the Chudo Yudo we’ve already encountered.[150] The Prince, who has to surrender himself to the Water Giant because of his father's promise, falls in love with a girl he meets in the giant's palace. She is an enchantress that the Chudo has [Pg 144] stolen. She transforms into a ring that he keeps with him, and eventually, after he escapes from the Chudo, she becomes his bride.
In another story,[151] the being who obtains a child from one of the incautious fathers of the Jephthah type who abound in popular fiction, is of a very singular nature. A merchant is flying across a river on the back of an eagle, when he drops a magic “snuff-box,” which had been entrusted to his charge by that bird, and it disappears beneath the waters. At the eagle’s command, the crayfish search for it, and bring back word that it is lying “on the knees of an Idol.” The eagle summons the Idol, and demands the snuff box. Thereupon the Idol says to the merchant—“Give me what you do not know of at home?” The merchant agrees and the Idol gives him back his snuff-box.
In another story,[151] the character who gets a child from one of those reckless fathers typical of Jephthah from popular stories is quite unusual. A merchant is flying across a river on the back of an eagle when he drops a magic “snuff-box” that the bird had entrusted to him, and it sinks beneath the water. At the eagle’s command, the crayfish search for it and report back that it’s lying “on the knees of an Idol.” The eagle calls on the Idol and asks for the snuff box. The Idol then says to the merchant, “Give me what you don’t know you have at home.” The merchant agrees, and the Idol returns the snuff-box to him.
In some of the variants of the story, the influence of ideas connected with Christianity makes itself apparent in the names given to the actors. Thus in the “Moujik and Anastasia Adovna,”[152] it is no longer a king of the waters, but a devil’s imp,[153] who bargains with the thirsting father for his child, and the swan-maiden whose shift the devoted youth steals bears the name of Adovna, the daughter of Ad or Hades. In “The Youth,”[154] a moujik, who has lost his way in a forest makes the rash promise to a man who enables him to cross a great river; “and that man (says the story) was a devil.”[155] We shall meet with other instances further on of parents whose “hasty words” condemn their [Pg 145] children to captivity among evil spirits. In one of the stories of this class,[156] the father is a hunter who is perishing with cold one night, and who makes the usual promise as the condition of his being allowed to warm himself at a fire guarded by a devil. Being in consequence of this deprived of a son, he becomes very sad, and drinks himself to death. “The priest will not bury his sinful body, so it is thrust into a hole at a crossway,” and he falls into the power of “that very same devil,” who turns him into a horse, and uses him as a beast of burden. At last he is released by his son, who has forced the devil to free him after several adventures—one of them being a fight with the evil spirit in the shape of a three-headed snake.
In some versions of the story, the impact of Christian ideas is evident in the names given to the characters. For example, in “Moujik and Anastasia Adovna,”[152] it’s not a water king anymore, but a devil’s imp,[153] who negotiates with the desperate father for his child, and the swan-maiden whose shift the devoted young man steals is named Adovna, the daughter of Ad or Hades. In “The Youth,”[154] a moujik who gets lost in a forest rashly promises a man who helps him cross a large river; “and that man (says the story) was a devil.”[155] We’ll see more examples later of parents whose “hasty words” curse their children to be held captive by evil spirits. In one story from this category,[156] the father is a hunter who is freezing one night and makes the usual promise in order to be allowed to warm himself at a fire guarded by a devil. As a result of this, he loses his son and becomes very sad, drinking himself to death. “The priest won’t bury his sinful body, so it’s dumped into a hole at a crossroads,” and he falls under the power of “that very same devil,” who transforms him into a horse and makes him a pack animal. Eventually, he is freed by his son, who forces the devil to let him go after a series of adventures—one of which is a battle with the evil spirit in the form of a three-headed snake.
In the Hindoo story of “Brave Seventee Bai,”[157] that heroine kills “a very large Cobra” which comes out of a lake. Touching the waters with a magic diamond taken from the snake, she sees them roll back “in a wall on either hand,” between which she passes into a splendid garden. In it she finds a lovely girl who proves to be the Cobra’s daughter and who is delighted to hear of her serpent-father’s death.
In the Hindu tale of “Brave Seventee Bai,”[157] the heroine defeats “a very large Cobra” that emerges from a lake. Using a magical diamond she took from the snake, she touches the water and sees it part “in a wall on either side,” allowing her to walk into a magnificent garden. There, she discovers a beautiful girl who turns out to be the Cobra’s daughter and is thrilled to hear about her father’s demise.
Demon haunted waters, which prove fatal to mortals who bathe in or drink of them, often occur in oriental fiction. In one of the Indian stories, for instance,[158] a king is induced to order his escort to bathe in a lake which is the abode of a Rákshasa or demon. They leap into the water simultaneously, and are all devoured by the terrible man-eater. From the assaults of such a Rákshasa as this it was that Buddha, who was at the time a monkey, preserved [Pg 146] himself and 80,000 of his brother monkeys, by suggesting that they should drink from the tank in which the demon lay in wait for them, “through reeds previously made completely hollow by their breath.”[159]
Demon-haunted waters, which are deadly to anyone who bathes in or drinks from them, frequently appear in Eastern fiction. In one Indian tale, for example,[158] a king is convinced to have his escort bathe in a lake that is the home of a Rákshasa or demon. They all jump into the water at the same time and are immediately devoured by the fearsome man-eater. It was from attacks by such a Rákshasa that Buddha, who was a monkey at the time, saved himself and 80,000 of his fellow monkeys by suggesting they drink from the tank where the demon was lying in wait, “through reeds that had been completely hollowed out by their breath.”[159]
From these male personifications of evil—from the Snake, Koshchei, and the Water King—we will now turn to their corresponding female forms. By far the most important beings of the latter class are those malevolent enchantresses who form two closely related branches of the same family. Like their sisters all over the world, they are, as a general rule, old, hideous, and hateful. They possess all kinds of supernatural powers, but their wits are often dull. They wage constant war with mankind, but the heroes of storyland find them as easily overcome as the males of their family. In their general character they bear a strong resemblance to the Giantesses, Lamias, female Trolls, Ogresses, Dragonesses, &c., of Europe, but in some of their traits they differ from those well-known beings, and therefore they are worthy of a detailed notice.
From these male representations of evil—like the Snake, Koshchei, and the Water King—we'll now look at their female counterparts. By far the most significant figures in this category are the wicked enchantresses who belong to two closely related branches of the same family. Like their sisters across the globe, they are generally old, ugly, and detestable. They have all sorts of supernatural abilities, but their intelligence is often lacking. They are in an ongoing battle against humanity, yet the heroes of these tales find them as easily defeated as the males of their kind. In general, they closely resemble the Giantesses, Lamias, female Trolls, Ogresses, Dragonesses, etc., of Europe, but in some of their characteristics, they differ from those well-known figures, which is why they deserve a more detailed examination.
In several of the stories which have already been quoted, a prominent part is played by the Baba Yaga, a female fiend whose name has given rise to much philological discussion of a somewhat unsatisfactory nature.[160] [Pg 147] Her appearance is that of a tall, gaunt hag, with dishevelled hair. Sometimes she is seen lying stretched out from one corner to the other of a miserable hut, through the ceiling of which passes her long iron nose; the hut is supported “by fowl’s legs,” and stands at the edge of a forest towards which its entrance looks. When the proper words are addressed to it, the hut revolves upon its slender supports, so as to turn its back instead of its front to the forest. Sometimes, as in the next story, the Baba Yaga appears as the mistress of a mansion, which stands in a courtyard enclosed by a fence made of dead men’s bones. When she goes abroad she rides in a mortar, which she urges on with a pestle, while she sweeps away the traces of her flight with a broom. She is closely connected with the Snake in different forms; in many stories, indeed, the leading part has been ascribed by one narrator to a Snake and by another to a Baba Yaga. She possesses the usual magic apparatus by which enchantresses work their wonders; the Day and the Night (according to the following story) are among her servants, the entire animal world lies at her disposal. On the whole she is the most prominent among the strange figures with which the Skazkas make us acquainted. Of the stories which especially relate to her the following may be taken as a fair specimen.
In several of the stories we've mentioned, Baba Yaga plays a major role. She's a wicked woman whose name has sparked a lot of unsatisfying discussions among linguists.[160] [Pg 147] She looks like a tall, thin old woman with messy hair. Sometimes she's found stretched out from one corner to the other of a shabby little hut, with her long iron nose poking through the ceiling; the hut stands “on chicken legs” and faces the edge of a forest. When the right words are spoken to it, the hut spins on its delicate legs to face away from the forest. In another story, Baba Yaga appears as the owner of a mansion that is surrounded by a fence made from dead men’s bones. When she goes out, she rides in a mortar, pushing it along with a pestle while she sweeps away her tracks with a broom. She is closely associated with the Snake in various forms; in many tales, one storyteller attributes the main role to a Snake and another to Baba Yaga. She has the usual magical tools that witches use for their spells; the Day and the Night (according to the next story) are among her servants, and she has complete control over the animal kingdom. Overall, she is the most prominent among the unusual characters we encounter in the Skazkas. Of the stories that specifically relate to her, the following serves as a good example.
Baba Yaga.[161]
Once upon a time there was an old couple. The husband lost his wife and married again. But he had a daughter by the first marriage, a young girl, and she found no favor in the eyes of her evil stepmother, who used to beat her, and consider how she could get her killed outright. One day the father went away somewhere or other, so the stepmother said to the girl, “Go to your aunt, my sister, and ask her for a needle and thread to make you a shift.”
Once upon a time, there was an old couple. The husband lost his wife and remarried. However, he had a daughter from his first marriage, a young girl who was not liked by her wicked stepmother, who would beat her and think of ways to have her killed. One day, when the father was out, the stepmother said to the girl, “Go to your aunt, my sister, and ask her for a needle and thread to make you a dress.”
Now that aunt was a Baba Yaga. Well, the girl was no fool, so she went to a real aunt of hers first, and says she:
Now that aunt was a Baba Yaga. Well, the girl wasn't stupid, so she went to her actual aunt first and said:
“Good morning, auntie!”
“Good morning, Auntie!”
“Good morning, my dear! what have you come for?”
“Good morning, my dear! What brings you here?”
“Mother has sent me to her sister, to ask for a needle and thread to make me a shift.”
“Mom has sent me to her sister to ask for a needle and some thread to make me a shift.”
Then her aunt instructed her what to do. “There is a birch-tree there, niece, which would hit you in the eye—you must tie a ribbon round it; there are doors which would creak and bang—you must pour oil on their hinges; there are dogs which would tear you in pieces—you must throw them these rolls; there is a cat which would scratch your eyes out—you must give it a piece of bacon.”
Then her aunt told her what to do. “There’s a birch tree over there that could hit you in the eye—you need to tie a ribbon around it; there are doors that will creak and slam—you should pour oil on their hinges; there are dogs that could tear you apart—you must throw them these rolls; there’s a cat that might scratch your eyes out—you have to give it a piece of bacon.”
So the girl went away, and walked and walked, till she came to the place. There stood a hut, and in it sat weaving the Baba Yaga, the Bony-shanks.
So the girl went off, walking and walking, until she reached the spot. There was a hut, and inside it sat Baba Yaga, the Bony-shanks, weaving.
“Good morning, auntie,” says the girl.
“Good morning, Auntie,” says the girl.
“Good morning, my dear,” replies the Baba Yaga.
“Good morning, my dear,” replies Baba Yaga.
“Mother has sent me to ask you for a needle and thread to make me a shift.”
“Mom asked me to see if you have a needle and thread so I can make a shift.”
“Very well; sit down and weave a little in the meantime.”
“Alright; sit down and do a bit of weaving for now.”
So the girl sat down behind the loom, and the Baba Yaga went outside, and said to her servant-maid:
So the girl sat down behind the loom, and Baba Yaga went outside and said to her maid:
“Go and heat the bath, and get my niece washed; and mind you look sharp after her. I want to breakfast off her.”
“Go warm up the bath and get my niece cleaned up; and make sure you keep a close eye on her. I want to have breakfast with her.”
[Pg 149] Well, the girl sat there in such a fright that she was as much dead as alive. Presently she spoke imploringly to the servant-maid, saying:
[Pg 149] Well, the girl sat there so scared that she looked as good as dead. After a moment, she spoke desperately to the maid, saying:
“Kinswoman dear, do please wet the firewood instead of making it burn; and fetch the water for the bath in a sieve.” And she made her a present of a handkerchief.
“Kinswoman, please soak the firewood instead of letting it burn; and bring the water for the bath in a sieve.” And she gifted her a handkerchief.
The Baba Yaga waited awhile; then she came to the window and asked:
The Baba Yaga waited for a bit; then she went to the window and asked:
“Are you weaving, niece? are you weaving, my dear?”
“Are you weaving, niece? Are you weaving, my dear?”
“Oh yes, dear aunt, I’m weaving.” So the Baba Yaga went away again, and the girl gave the Cat a piece of bacon, and asked:
“Oh yes, dear aunt, I’m weaving.” So Baba Yaga left again, and the girl gave the Cat a piece of bacon and asked:
“Is there no way of escaping from here?”
“Is there no way to get out of here?”
“Here’s a comb for you and a towel,” said the Cat; “take them, and be off. The Baba Yaga will pursue you, but you must lay your ear on the ground, and when you hear that she is close at hand, first of all throw down the towel. It will become a wide, wide river. And if the Baba Yaga gets across the river, and tries to catch you, then you must lay your ear on the ground again, and when you hear that she is close at hand, throw down the comb. It will become a dense, dense forest; through that she won’t be able to force her way anyhow.”
“Here’s a comb for you and a towel,” said the Cat. “Take them and go. The Baba Yaga will chase you, but you need to put your ear to the ground. When you hear she's close, first throw down the towel. It will turn into a wide river. If the Baba Yaga crosses the river and tries to catch you, then put your ear to the ground again. When you hear she's near, throw down the comb. It will turn into a thick forest; she won’t be able to get through it.”
The girl took the towel and the comb and fled. The dogs would have rent her, but she threw them the rolls, and they let her go by; the doors would have begun to bang, but she poured oil on their hinges, and they let her pass through; the birch-tree would have poked her eyes out, but she tied the ribbon around it, and it let her pass on. And the Cat sat down to the loom, and worked away; muddled everything about, if it didn’t do much weaving. Up came the Baba Yaga to the window, and asked:
The girl grabbed the towel and the comb and ran away. The dogs would have attacked her, but she tossed them the rolls, and they let her go; the doors would have started to slam, but she oiled their hinges, and they let her through; the birch tree would have scratched her eyes out, but she tied a ribbon around it, and it let her move on. Meanwhile, the Cat sat down at the loom and worked away, making a mess of everything, even if it didn’t do much weaving. Baba Yaga approached the window and asked:
“Are you weaving, niece? are you weaving, my dear?”
“Are you weaving, niece? Are you weaving, my dear?”
“I’m weaving, dear aunt, I’m weaving,” gruffly replied the Cat.
“I’m weaving, dear aunt, I’m weaving,” the Cat replied gruffly.
The Baba Yaga rushed into the hut, saw that the girl was gone, and took to beating the Cat, and abusing it for not having [Pg 150] scratched the girl’s eyes out. “Long as I’ve served you,” said the Cat, “you’ve never given me so much as a bone; but she gave me bacon.” Then the Baba Yaga pounced upon the dogs, on the doors, on the birch-tree, and on the servant-maid, and set to work to abuse them all, and to knock them about. Then the dogs said to her, “Long as we’ve served you, you’ve never so much as pitched us a burnt crust; but she gave us rolls to eat.” And the doors said, “Long as we’ve served you, you’ve never poured even a drop of water on our hinges; but she poured oil on us.” The birch-tree said, “Long as I’ve served you, you’ve never tied a single thread round me; but she fastened a ribbon around me.” And the servant-maid said, “Long as I’ve served you, you’ve never given me so much as a rag; but she gave me a handkerchief.”
The Baba Yaga rushed into the hut, saw that the girl was gone, and started beating the Cat, blaming it for not having scratched the girl’s eyes out. “As long as I’ve worked for you,” said the Cat, “you’ve never given me so much as a bone; but she gave me bacon.” Then the Baba Yaga went after the dogs, the doors, the birch tree, and the servant-maid, and began to abuse them all and knock them around. The dogs said to her, “As long as we’ve served you, you’ve never even tossed us a burnt crust; but she gave us rolls to eat.” The doors said, “As long as we’ve served you, you’ve never even poured a drop of water on our hinges; but she poured oil on us.” The birch tree said, “As long as I’ve served you, you’ve never tied a single thread around me; but she put a ribbon on me.” And the servant-maid said, “As long as I’ve served you, you’ve never given me so much as a rag; but she gave me a handkerchief.”
The Baba Yaga, bony of limb, quickly jumped into her mortar, sent it flying along with the pestle, sweeping away the while all traces of its flight with a broom, and set off in pursuit of the girl. Then the girl put her ear to the ground, and when she heard that the Baba Yaga was chasing her, and was now close at hand, she flung down the towel. And it became a wide, such a wide river! Up came the Baba Yaga to the river, and gnashed her teeth with spite; then she went home for her oxen, and drove them to the river. The oxen drank up every drop of the river, and then the Baba Yaga began the pursuit anew. But the girl put her ear to the ground again, and when she heard that the Baba Yaga was near, she flung down the comb, and instantly a forest sprang up, such an awfully thick one! The Baba Yaga began gnawing away at it, but however hard she worked, she couldn’t gnaw her way through it, so she had to go back again.
The Baba Yaga, skinny and bony, quickly jumped into her mortar, sent it flying with the pestle, sweeping away all traces of her flight with a broom, and took off after the girl. Then the girl pressed her ear to the ground, and when she heard that the Baba Yaga was chasing her and was now very close, she threw down the towel. It instantly transformed into a wide river! The Baba Yaga arrived at the river and ground her teeth in frustration; then she went home for her oxen and brought them to the river. The oxen drank up every drop of the river, and then the Baba Yaga started the chase all over again. But the girl listened closely to the ground once more, and when she heard that the Baba Yaga was near, she threw down a comb, and immediately a thick forest sprang up! The Baba Yaga began gnawing at it, but no matter how hard she tried, she couldn’t get through, so she had to turn back again.
But by this time the girl’s father had returned home, and he asked:
But by this time, the girl's dad had come back home, and he asked:
“Where’s my daughter?”
“Where's my kid?”
“She’s gone to her aunt’s,” replied her stepmother.
"She’s gone to her aunt's," her stepmother replied.
Soon afterwards the girl herself came running home.
Soon after, the girl herself came running home.
“Where have you been?” asked her father.
“Where have you been?” her father asked.
“Ah, father!” she said, “mother sent me to aunt’s to ask [Pg 151] for a needle and thread to make me a shift. But aunt’s a Baba Yaga, and she wanted to eat me!”
“Ah, Dad!” she said, “Mom sent me to Aunt’s to ask for a needle and thread to make me a dress. But Aunt is a Baba Yaga, and she wanted to eat me!”
“And how did you get away, daughter?”
“And how did you escape, daughter?”
“Why like this,” said the girl, and explained the whole matter. As soon as her father had heard all about it, he became wroth with his wife, and shot her. But he and his daughter lived on and flourished, and everything went well with them.
“Why is it like this?” said the girl, and explained everything. As soon as her father heard all about it, he got angry with his wife and shot her. But he and his daughter continued to live and prosper, and everything went well for them.
In one of the numerous variants of this story[162] the heroine is sent by her husband’s mother to the Baba Yaga’s, and the advice which saves her comes from her husband. The Baba Yaga goes into another room “in order to sharpen her teeth,” and while she is engaged in that operation the girl escapes, having previously—by the advice of the Cat, to which she had given a lump of butter—spat under the threshold. The spittle answers for her in her absence, behaving as do, in other folk-tales, drops of blood, or rags dipped in blood, or apples, or eggs, or beans, or stone images, or wooden puppets.[163]
In one of the many versions of this story[162], the heroine is sent by her husband’s mother to Baba Yaga’s place, and the advice that saves her comes from her husband. Baba Yaga goes into another room “to sharpen her teeth,” and while she’s busy with that, the girl escapes, having earlier—following the advice of the Cat, to which she had given a lump of butter—spat under the threshold. The spittle takes her place while she’s gone, acting like drops of blood, rags dipped in blood, apples, eggs, beans, stone figures, or wooden dolls do in other folk tales.[163]
The magic comb and towel, by the aid of which the girl effects her escape, constantly figure in Skazkas of this class, and always produce the required effect. A brush, also, is frequently introduced, from each bristle of which springs up a wood. In one story, however, the brush gives rise to mountains, and a golik, or bath-room whisk, turns into a forest. The towel is used, also, for the purpose of constructing or annihilating a bridge. Similar instruments are found in the folk-tales of every land, whether they appear as the brush, comb, and mirror of the German water-sprite;[164] or the rod, stone, and pitcher of water of the Norse Troll;[165] or the knife, comb, and handful of salt [Pg 152] which, in the Modern Greek story, save Asterinos and Pulja from their fiendish mother;[166] or the twig, the stone, and the bladder of water, found in the ear of the filly, which saves her master from the Gaelic giant;[167] or the brush, comb, and egg, the last of which produces a frozen lake with “mirror-smooth” surface, whereon the pursuing Old Prussian witch slips and breaks her neck;[168] or the wand which causes a river to flow and a mountain to rise between the youth who waves it and the “wicked old Rákshasa” who chases him in the Deccan story;[169] or the handful of earth, cup of water, and dry sticks and match, which impede and finally destroy the Rákshasa in the almost identical episode of Somadeva’s tale of “The Prince of Varddhamána.”[170]
The magic comb and towel that help the girl escape frequently appear in this type of Skazka and always have the desired effect. A brush, too, is often mentioned, with each bristle sprouting a forest. In one story, however, the brush creates mountains, and a golik, or bath whisk, turns into a forest. The towel is also used to build or destroy a bridge. Similar tools can be found in folktales from every country, whether they take the form of the brush, comb, and mirror of the German water-sprite;[164] or the rod, stone, and pitcher from the Norse Troll;[165] or the knife, comb, and pinch of salt [Pg 152] that save Asterinos and Pulja from their evil mother in the Modern Greek story;[166] or the twig, stone, and bladder of water found in the filly's ear that saves her master from the Gaelic giant;[167] or the brush, comb, and egg, the last of which creates a frozen lake with a “mirror-smooth” surface, causing the pursuing Old Prussian witch to slip and break her neck;[168] or the wand that makes a river flow and a mountain rise between the youth who wields it and the “wicked old Rákshasa” who chases him in the Deccan story;[169] or the handful of earth, cup of water, and dry sticks and match that hinder and ultimately destroy the Rákshasa in the nearly identical episode of Somadeva’s tale “The Prince of Varddhamána.”[170]
In each instance they appear to typify the influence which the supernatural beings to whom they belonged were supposed to exercise over the elements. It has been thought strange that such stress should be laid on the employment of certain toilet-articles, to the use of which the heroes of folk-tales do not appear to have been greatly addicted. But it is evident that like produces like in the transformation in question. In the oldest form of the story, the Sanskrit, a handful of earth turns into a mountain, a cup of water into a river. Now, metaphorically speaking, a brush may be taken as a miniature wood; the common use of the term brushwood is a proof of the general acceptance of the metaphor. A comb does not at first sight appear to resemble a mountain, but its indented [Pg 153] outline may have struck the fancy of many primitive peoples as being a likeness to a serrated mountain range. Thence comes it that in German Kamm means not only a comb but also (like the Spanish Sierra) a mountain ridge or crest.[171]
In every case, they seem to represent the influence that the supernatural beings they belonged to were believed to have over the elements. It's been seen as odd that so much emphasis should be placed on the use of certain grooming items, which the heroes of folk tales don't seem to have cared much about. But it's clear that similar things create similar results in this transformation. In the earliest version of the story, the Sanskrit version, a handful of dirt turns into a mountain and a cup of water turns into a river. Metaphorically speaking, a brush can be seen as a tiny forest; the common use of the term brushwood shows that this metaphor is widely accepted. At first glance, a comb doesn't seem to resemble a mountain, but its notched outline may have appealed to many primitive cultures as being similar to a jagged mountain range. That's why in German, Kamm means not only a comb but also, like the Spanish Sierra, a mountain ridge or peak.[Pg 153]
In one of the numerous stories[172] about the Baba Yaga, four heroes are wandering about the world together; when they come to a dense forest in which a small izba, or hut, is twirling round on “a fowl’s leg.” Ivan, the youngest of the party, utters the magical formula “Izbushka, Izbushka! stand with back to the forest and front towards us,” and “the hut faces towards them, its doors and windows open of their own accord.” The heroes enter and find it empty. One of the party then remains indoors, while the rest go out to the chase. The hero who is left alone prepares a meal, and then, “after washing his head, sits down by the window to comb his hair.” Suddenly a stone is lifted, and from under it appears a Baba Yaga, driving in her mortar, with a dog yelping at her heels. She enters the hut and, after some short parley, seizes her pestle, and begins beating the hero with it until he falls prostrate. Then she cuts a strip out of his back, eats up the whole of the viands he has prepared for his companions, and disappears. After a time the beaten hero recovers his senses, “ties up his head with a handkerchief,” and sits groaning until his comrades return. Then he makes some excuse for not having got any supper ready for them, but says nothing about what has really happened to him.
In one of the many stories[172] about Baba Yaga, four heroes are traveling together when they arrive at a thick forest. In the forest, they spot a small hut spinning around on “a fowl’s leg.” Ivan, the youngest of the group, says the magic words, “Izbushka, Izbushka! stand with your back to the forest and your front towards us,” and “the hut turns to face them, and its doors and windows open on their own.” The heroes go inside and find it empty. One of them stays inside while the others go hunting. The hero who stays behind makes a meal, and then, “after washing his head, sits by the window to comb his hair.” Suddenly, a stone lifts, and Baba Yaga emerges, riding in her mortar with a dog barking at her heels. She steps into the hut and, after a brief conversation, grabs her pestle and starts hitting the hero until he collapses. Then she cuts a strip from his back, eats all the food he prepared for his friends, and disappears. After a while, the beaten hero regains his composure, “wraps a handkerchief around his head,” and sits there groaning until his friends come back. He then makes up an excuse for not having dinner ready for them but doesn’t mention what really happened.
On the next day the second hero is treated in the same manner by the Baba Yaga, and on the day after that the third undergoes a similar humiliation. But on the fourth [Pg 154] day it falls to the lot of the young Ivan to stay in the hut alone. The Baba Yaga appears as usual, and begins thumping him with her pestle; but he snatches it from her, beats her almost to death with it, cuts three strips out of her back, and then locks her up in a closet. When his comrades return, they are surprised to find him unhurt, and a meal prepared for them, but they ask no questions. After supper they all take a bath, and then Ivan remarks that each of his companions has had a strip cut out of his back. This leads to a full confession, on hearing which Ivan “runs to the closet, takes those strips out of the Baba Yaga, and applies them to their backs,” which immediately become cured. He then hangs up the Baba Yaga by a cord tied to one foot, at which cord all the party shoot. At length it is severed, and she drops. As soon as she touches the ground, she runs to the stone from under which she had appeared, lifts it, and disappears.[173]
The next day, the second hero is treated the same way by Baba Yaga, and the day after that, the third hero faces a similar humiliation. But on the fourth day, it's young Ivan's turn to stay in the hut alone. Baba Yaga shows up as usual and starts hitting him with her pestle; however, he grabs it from her, nearly beats her to death with it, cuts three strips from her back, and locks her in a closet. When his friends come back, they’re surprised to see him unharmed and a meal waiting for them, but they don’t ask any questions. After dinner, they all take a bath, and Ivan points out that each of his companions has a strip cut from their back. This leads to a full confession, and when Ivan hears this, he "runs to the closet, takes those strips from Baba Yaga, and puts them on their backs," which instantly heals them. He then hangs Baba Yaga up by a cord tied to one foot, and everyone shoots at the cord. Eventually, it gets cut, and she falls. As soon as she hits the ground, she rushes to the stone from which she came, lifts it, and disappears.[173]
The rest of the story is very similar to that of “Norka,” which has already been given, only instead of the beast of that name we have the Baba Yaga, whom Ivan finds asleep, with a magic sword at her head. Following the advice of her daughters, three fair maidens whom he meets in her palace, Ivan does not attempt to touch the magic sword while she sleeps. But he awakes her gently, and offers her two golden apples on a silver dish. She lifts her head and opens her mouth, whereupon he seizes the sword and cuts her head off. As is usual in the stories of this class, his comrades, after hoisting the maidens aloft, cut the cord and let him fall back into the abyss. But he escapes, and eventually “he slays all the three heroes, and flings their bodies on the plain for wild beasts to devour.” This Skazka is one of the many versions of a widespread tale, [Pg 155] which tells how the youngest of a party, usually consisting of three persons, overcomes some supernatural foe, generally a dwarf, who had been more than a match for his companions. The most important of these versions is the Lithuanian story of the carpenter who overcomes a Laume—a being in many respects akin to the Baba Yaga—who has proved too strong for his comrades, Perkun and the Devil.[174]
The rest of the story is quite similar to that of “Norka,” which has already been mentioned, but instead of the beast of that name, we have Baba Yaga, whom Ivan finds asleep with a magic sword resting on her head. Following the advice of her daughters, three beautiful maidens he meets in her palace, Ivan doesn’t try to take the magic sword while she’s sleeping. Instead, he gently wakes her and offers her two golden apples on a silver dish. She lifts her head and opens her mouth, at which point he grabs the sword and beheads her. As is common in stories like this, his comrades, after lifting the maidens high, cut the cord and let him fall back into the abyss. But he escapes and eventually “he defeats all three heroes and leaves their bodies on the plain for wild animals to consume.” This Skazka is one of the many versions of a widely known tale, [Pg 155] which tells how the youngest in a group, usually consisting of three people, overcomes some supernatural enemy, typically a dwarf, who had proven too powerful for his companions. The most notable of these versions is the Lithuanian story of the carpenter who defeats a Laume—a being similar to Baba Yaga—who has been too strong for his friends, Perkun and the Devil.[174]
The practice of cutting strips from an enemy’s back is frequently referred to in the Skazkas—much more frequently than in the German and Norse stories. It is not often that such strips are turned to good account, but in the Skazka with which we have just been dealing, Ivan finding the rope by which he is being lowered into the abyss too short, ties to the end of it the three strips he has cut from the Baba Yaga’s back, and so makes it sufficiently long. They are often exacted as the penalty of losing a wager, as well in the Skazkas as elsewhere.[175] In a West-Slavonian story about a wager of this kind, the winner cuts off the loser’s nose.[176] In the Gaelic stories it is not an uncommon incident for a man to have “a strip of skin cut off him from his crown to his sole.”[177]
The practice of cutting strips from an enemy’s back comes up often in the Skazkas—much more often than in the German and Norse tales. It’s rare that these strips are used for a good purpose, but in the Skazka we just discussed, Ivan finds the rope lowering him into the abyss too short, so he ties the three strips he cut from Baba Yaga’s back to the end of it, making it long enough. These strips are often taken as punishment for losing a bet, both in the Skazkas and in other stories. In a West-Slavonian tale about such a wager, the winner cuts off the loser’s nose. In the Gaelic stories, it’s not uncommon for a man to have “a strip of skin cut off him from his crown to his sole.”
The Baba Yaga generally kills people in order to eat them. Her house is fenced about with the bones of the men whose flesh she has devoured; in one story she offers [Pg 156] a human arm, by way of a meal, to a girl who visits her. But she is also represented in one of the stories[178] as petrifying her victims. This trait connects her with Medusa, and the three sister Baba Yagas with the three Gorgones. The Russian Gorgo’s method of petrifaction is singular. In the story referred to, Ivan Dévich (Ivan the servant-maid’s son) meets a Baba Yaga, who plucks one of her hairs, gives it to him, and says, “Tie three knots and then blow.” He does so, and both he and his horse turn into stone. The Baba Yaga places them in her mortar, pounds them to bits, and buries their remains under a stone. A little later comes Ivan Dévich’s comrade, Prince Ivan. Him also the Yaga attempts to destroy, but he feigns ignorance, and persuades her to show him how to tie knots and to blow. The result is that she becomes petrified herself. Prince Ivan puts her in her own mortar, and proceeds to pound her therein, until she tells him where the fragments of his comrade are, and what he must do to restore them to life.
The Baba Yaga usually kills people to eat them. Her house is surrounded by the bones of the men she has devoured; in one story, she offers a human arm as a meal to a girl who visits her. But she is also shown in one of the stories as turning her victims to stone. This connects her with Medusa, and the three sister Baba Yagas with the three Gorgons. The Russian Gorgo’s method of turning people to stone is unique. In the story mentioned, Ivan Dévich (the son of the servant-maid) encounters a Baba Yaga, who pulls out one of her hairs, gives it to him, and says, “Tie three knots and then blow.” He does so, and both he and his horse turn to stone. The Baba Yaga puts them in her mortar, pounds them to pieces, and buries their remains under a stone. Soon after, Ivan Dévich’s friend, Prince Ivan, arrives. She also tries to destroy him, but he pretends not to know anything, and convinces her to show him how to tie knots and blow. As a result, she turns to stone herself. Prince Ivan puts her in her own mortar and starts to pound her, until she reveals where the fragments of his comrade are and what he must do to bring them back to life.
The Baba Yaga usually lives by herself, but sometimes she appears in the character of the house-mother. One of the Skazkas[179] relates how a certain old couple, who had no children, were advised to get a number of eggs from the village—one from each house—and to place them under a sitting hen. From the forty-one eggs thus obtained and treated are born as many boys, all but one of whom develop into strong men, but the forty-first long remains a poor weak creature, a kind of “Hop-o’-my-thumb.” They all set forth to seek brides, and eventually marry the forty-one daughters of a Baba Yaga. On the wedding night she intends to kill her sons-in-law; but they, acting on the advice of him who had been the weakling of their [Pg 157] party, but who has become a mighty hero, exchange clothes with their brides before “lying down to sleep.” Accordingly the Baba Yaga’s “trusty servants” cut off the heads of her daughters instead of those of her sons-in-law. Those youths arise, stick the heads of their brides on iron spikes all round the house, and gallop away. When the Baba Yaga awakes in the morning, looks out of the window, and sees her daughters’ heads on their spikes, she flies into a passion, calls for “her burning shield,” sets off in pursuit of her sons-in-law, and “begins burning up everything on all four sides with her shield.” A magic, bridge-creating kerchief, however, enables the fugitives to escape from their irritated mother-in-law.
The Baba Yaga usually lives alone, but sometimes she shows up as a mother figure. One of the Skazkas[179] tells the story of an old couple who had no children and were told to gather a number of eggs from the village—one from each house—and place them under a hen. From the forty-one eggs they collected and cared for, they had as many boys, all but one of whom grew into strong men, while the forty-first remained a weakling, kind of like “Hop-o’-my-thumb.” They all set out to find brides and eventually married the forty-one daughters of a Baba Yaga. On the wedding night, she plans to kill her sons-in-law; however, acting on the advice of the weakling who had become a powerful hero, they switch clothes with their brides before going to sleep. As a result, the Baba Yaga’s “trusty servants” cut off the heads of her daughters instead of her sons-in-law. The young men then get up, impale their brides' heads on iron spikes around the house, and ride off. When the Baba Yaga wakes up in the morning, looks out the window, and sees her daughters’ heads on the spikes, she flies into a rage, calls for “her burning shield,” and sets off to chase her sons-in-law, “burning everything in sight with her shield.” However, a magical kerchief that creates bridges helps the fleeing men escape from their furious mother-in-law.
In one story[180] the heroine is ordered to swing the cradle in which reposes a Baba Yaga’s infant son, whom she is ordered to address in terms of respect when she sings him lullabies; in others she is told to wash a Baba Yaga’s many children, whose appearance is usually unprepossessing. One girl, for instance, is ordered by a Baba Yaga to heat the bath, but the fuel given her for the purpose turns out to be dead men’s bones. Having got over this difficulty, thanks to the advice of a sparrow which tells her where to look for wood, she is sent to fetch water in a sieve. Again the sparrow comes to her rescue telling her to line the sieve with clay. Then she is told to wait upon the Baba Yaga’s children in the bath-room. She enters it, and presently in come “worms, frogs, rats, and all sorts of insects.” These, which are the Baba Yaga’s children, she soaps over and otherwise treats in the approved Russian-bath style, and afterwards she does as much for their mother. The Baba Yaga is highly pleased, calls for a “samovar” (or urn), and invites her [Pg 158] young bath-woman to drink tea with her. And finally she sends her home with a blue coffer, which turns out to be full of money. This present excites the cupidity of her stepmother, who sends her own daughter to the Baba Yaga’s, hoping that she will bring back a similar treasure. The Baba Yaga gives the same orders as before to the new-comer, but that conceited young person fails to carry them out. She cannot make the bones burn, nor the sieve hold water, but when the sparrow offers its advice she only boxes its ears. And when the “rats, frogs, and all manner of vermin,” enter the bath-room, “she crushed half of them to death,” says the story; “the rest ran home, and complained about her to their mother.” And so the Baba Yaga, when she dismisses her, gives her a red coffer instead of a blue one. Out of it, when it is opened, issues fire, which consumes both her and her mother.[181]
In one story[180], the heroine is told to rock the cradle where a Baba Yaga’s baby son lies, and she must show him respect when singing lullabies. In other tales, she is instructed to wash Baba Yaga’s many children, who often appear quite unattractive. For example, a girl is commanded by a Baba Yaga to heat the bath, but the fuel she’s given is made of dead men’s bones. After overcoming this problem with advice from a sparrow that tells her where to find wood, she is sent to fetch water with a sieve. The sparrow helps her again by suggesting she line the sieve with clay. Then, she is told to help Baba Yaga’s children in the bath. When she enters, “worms, frogs, rats, and all sorts of insects” come in. These creatures, Baba Yaga’s children, she washes and treats in the traditional Russian bathing style, after which she does the same for their mother. Baba Yaga is very pleased, calls for a “samovar” (or urn), and invites the young bath-woman to have tea with her. Finally, she sends her home with a blue chest, which turns out to be filled with money. This gift stirs her stepmother's greed, prompting her to send her own daughter to Baba Yaga, hoping for a similar treasure. Baba Yaga gives the same instructions to the new girl, but she fails to follow them. She can't get the bones to burn or make the sieve hold water, and when the sparrow offers advice, she just slaps it. When “rats, frogs, and all manner of vermin” enter the bath, “she crushed half of them to death,” the story says; “the rest ran home and complained to their mother.” So, when Baba Yaga sends her away, she gives her a red chest instead of a blue one. When it’s opened, fire bursts out, consuming both her and her mother.[181]
Similar to this story in many of its features as well as in its catastrophe is one of the most spirited and dramatic of all the Skazkas, that of—
Similar to this story in many of its features as well as in its catastrophe is one of the most spirited and dramatic of all the Skazkas, that of—
Vasilissa the Beautiful.[182]
In a certain kingdom there lived a merchant. Twelve years did he live as a married man, but he had only one child, Vasilissa the Fair. When her mother died, the girl was eight years old. And on her deathbed the merchant’s wife called her little daughter to her, took out from under the bed-clothes a doll, gave it to her, and said, “Listen, Vasilissa, dear; remember and obey these last words of mine. I am going to die. And now, together with my parental blessing, I bequeath to you this doll. Keep it always by you, and never show it to anybody; and whenever any misfortune comes upon you, give the doll food, and ask its advice. When it has fed, it will tell you a cure for your troubles.” Then the mother kissed her child and died.
In a certain kingdom, there was a merchant. He had been married for twelve years, but he only had one child, Vasilissa the Fair. When her mother passed away, the girl was eight years old. On her deathbed, the merchant’s wife called her little daughter over, pulled a doll out from under the blankets, handed it to her, and said, “Listen, Vasilissa, dear; remember and follow my last words. I’m going to die now. Along with my blessing, I’m giving you this doll. Keep it with you at all times, and don’t let anyone see it; whenever you face a problem, give the doll some food and ask for its advice. Once it’s fed, it will tell you how to solve your troubles.” Then the mother kissed her child and died.
[Pg 159] After his wife’s death, the merchant mourned for her a befitting time, and then began to consider about marrying again. He was a man of means. It wasn’t a question with him of girls (with dowries); more than all others, a certain widow took his fancy. She was middle-aged, and had a couple of daughters of her own just about the same age as Vasilissa. She must needs be both a good housekeeper and an experienced mother.
[Pg 159] After his wife passed away, the merchant grieved for an appropriate amount of time and then started to think about marrying again. He was well-off. It wasn't just about finding girls with dowries; he was particularly attracted to a certain widow. She was middle-aged and had a couple of daughters around the same age as Vasilissa. She had to be both a good housekeeper and an experienced mother.
Well, the merchant married the widow, but he had deceived himself, for he did not find in her a kind mother for his Vasilissa. Vasilissa was the prettiest girl[183] in all the village; but her stepmother and stepsisters were jealous of her beauty, and tormented her with every possible sort of toil, in order that she might grow thin from over-work, and be tanned by the sun and the wind. Her life was made a burden to her! Vasilissa bore everything with resignation, and every day grew plumper and prettier, while the stepmother and her daughters lost flesh and fell off in appearance from the effects of their own spite, notwithstanding that they always sat with folded hands like fine ladies.
Well, the merchant married the widow, but he had fooled himself, because he didn’t find a caring mother for his Vasilissa. Vasilissa was the prettiest girl in the whole village; however, her stepmother and stepsisters were envious of her beauty and tortured her with all kinds of hard work, trying to make her thin from overwork and tanned by the sun and wind. Her life was a struggle! Vasilissa endured it all with patience, and every day she grew plumper and prettier, while the stepmother and her daughters lost weight and looked worse because of their own bitterness, even though they always sat with their hands folded like elegant ladies.
But how did that come about? Why, it was her doll that helped Vasilissa. If it hadn’t been for it, however could the girl have got through all her work? And therefore it was that Vasilissa would never eat all her share of a meal, but always kept the most delicate morsel for her doll; and at night, when all were at rest, she would shut herself up in the narrow chamber[184] in which she slept, and feast her doll, saying[185] the while:
But how did that happen? It was her doll that helped Vasilissa. If it hadn't been for the doll, how could the girl have managed all her tasks? That's why Vasilissa would never eat all of her food; she always saved the best bite for her doll. At night, when everyone else was asleep, she would lock herself in her small room[184] and treat her doll to a feast, saying[185] as she did:
“There, dolly, feed; help me in my need! I live in my father’s house, but never know what pleasure is; my evil stepmother tries to drive me out of the white world; teach me how to keep alive, and what I ought to do.”
“There, dolly, feed; help me in my need! I live in my father’s house, but never know what pleasure is; my evil stepmother tries to drive me out of the white world; teach me how to keep alive, and what I ought to do.”
Then the doll would eat, and afterwards give her advice, and comfort her in her sorrow, and next day it would do all Vasilissa’s [Pg 160] work for her. She had only to take her ease in a shady place and pluck flowers, and yet all her work was done in good time; the beds were weeded, and the pails were filled, and the cabbages were watered, and the stove was heated. Moreover, the doll showed Vasilissa herbs which prevented her from getting sunburnt. Happily did she and her doll live together.
Then the doll would eat, and afterward give her advice and comfort her in her sadness. The next day, it would do all of Vasilissa’s [Pg 160] work for her. She just had to relax in a shady spot and pick flowers, while all her tasks were completed on time; the gardens were weeded, the buckets were filled, the cabbages were watered, and the stove was heated. Additionally, the doll showed Vasilissa herbs that kept her from getting sunburned. Vasilissa and her doll lived happily together.
Several years went by. Vasilissa grew up and became old enough to be married.[186] All the marriageable young men in the town sent to make an offer to Vasilissa; at her stepmother’s daughters not a soul would so much as look. Her stepmother grew even more savage than before, and replied to every suitor—
Several years passed. Vasilissa grew up and became old enough to marry.[186] All the eligible young men in town came to propose to Vasilissa; no one even glanced at her stepmother’s daughters. Her stepmother became even more cruel than before and responded to every suitor—
“We won’t let the younger marry before her elders.”
“We won’t let the younger ones marry before their elders.”
And after the suitors had been packed off, she used to beat Vasilissa by way of wreaking her spite.
And after the suitors had been sent away, she would take her frustration out on Vasilissa by hitting her.
Well, it happened one day that the merchant had to go away from home on business for a long time. Thereupon the stepmother went to live in another house; and near that house was a dense forest, and in a clearing in that forest there stood a hut,[187] and in the hut there lived a Baba Yaga. She never let any one come near her dwelling, and she ate up people like so many chickens.
Well, one day the merchant had to leave home for a long business trip. After that, the stepmother moved to another house; nearby, there was a dense forest, and in a clearing in that forest stood a hut,[187] where a Baba Yaga lived. She never allowed anyone to come close to her home and ate people like they were just chickens.
Having moved into the new abode, the merchant’s wife kept sending her hated Vasilissa into the forest on one pretence or another. But the girl always got home safe and sound; the doll used to show her the way, and never let her go near the Baba Yaga’s dwelling.
Having moved into the new house, the merchant’s wife kept sending her disliked Vasilissa into the forest for one excuse or another. But the girl always made it home safe and sound; the doll would show her the way and never let her get close to Baba Yaga’s house.
The autumn season arrived. One evening the stepmother gave out their work to the three girls; one she set to lace-making, another to knitting socks, and the third, Vasilissa, to weaving; and each of them had her allotted amount to do. By-and-by she put out the lights in the house, leaving only one candle alight where the girls were working, and then she went to bed. The girls worked and worked. Presently the candle wanted [Pg 161] snuffing; one of the stepdaughters took the snuffers, as if she were going to clear the wick, but instead of doing so, in obedience to her mother’s orders, she snuffed the candle out, pretending to do so by accident.
The autumn season arrived. One evening, the stepmother assigned tasks to the three girls; she had one making lace, another knitting socks, and the third, Vasilissa, weaving. Each of them had her own amount of work to do. Eventually she turned off the lights in the house, leaving only one candle lit where the girls were working, and then she went to bed. The girls kept working. Soon, the candle needed to be snuffed; one of the stepdaughters grabbed the snuffers as if she were going to trim the wick, but instead, following her mother's orders, she snuffed the candle out, pretending it was by accident.
“What shall we do now?” said the girls. “There isn’t a spark of fire in the house, and our tasks are not yet done. We must go to the Baba Yaga’s for a light!”
“What should we do now?” said the girls. “There isn’t a spark of fire in the house, and our tasks aren’t finished yet. We need to go to Baba Yaga’s for some light!”
“My pins give me light enough,” said the one who was making lace. “I shan’t go.”
“My pins give me enough light,” said the one who was making lace. “I’m not going.”
“And I shan’t go, either,” said the one who was knitting socks. “My knitting-needles give me light enough.”
"And I'm not going either," said the one who was knitting socks. "My knitting needles give me plenty of light."
“Vasilissa, you must go for the light,” they both cried out together; “be off to the Baba Yaga’s!”
“Vasilissa, you need to go for the light,” they both shouted together; “get going to Baba Yaga’s!”
And they pushed Vasilissa out of the room.
And they shoved Vasilissa out of the room.
Vasilissa went into her little closet, set before the doll a supper which she had provided beforehand, and said:
Vasilissa went into her small closet, put a dinner she had prepared earlier in front of the doll, and said:
“Now, dolly, feed, and listen to my need! I’m sent to the Baba Yaga’s for a light. The Baba Yaga will eat me!”
“Now, sweetie, hurry up and help me out! I need to get to Baba Yaga's for some light. Baba Yaga is going to eat me!”
The doll fed, and its eyes began to glow just like a couple of candles.
The doll was fed, and its eyes started to glow like a couple of candles.
“Never fear, Vasilissa dear!” it said. “Go where you’re sent. Only take care to keep me always by you. As long as I’m with you, no harm will come to you at the Baba Yaga’s.”
“Don't worry, Vasilissa dear!” it said. “Go where you're told. Just make sure to always keep me with you. As long as I'm by your side, you won't be in danger at Baba Yaga's.”
So Vasilissa got ready, put her doll in her pocket, crossed herself, and went out into the thick forest.
So Vasilissa got ready, put her doll in her pocket, crossed herself, and went out into the dense forest.
As she walks she trembles. Suddenly a horseman gallops by. He is white, and he is dressed in white, under him is a white horse, and the trappings of the horse are white—and the day begins to break.
As she walks, she shakes. Suddenly, a horseman races past. He’s wearing all white, on a white horse, and the horse’s gear is also white—and dawn starts to break.
She goes a little further, and a second rider gallops by. He is red, dressed in red, and sitting on a red horse—and the sun rises.
She goes a bit further, and another rider rides past quickly. He's all in red, dressed in red, and riding a red horse—and the sun is coming up.
Vasilissa went on walking all night and all next day. It was only towards the evening that she reached the clearing on which stood the dwelling of the Baba Yaga. The fence around it was made of dead men’s bones; on the top of the fence were stuck human skulls with eyes in them; instead of uprights at the gates [Pg 162] were men’s legs; instead of bolts were arms; instead of a lock was a mouth with sharp teeth.
Vasilissa walked all night and the whole next day. It was only in the evening that she finally arrived at the clearing where Baba Yaga's house stood. The fence surrounding it was made of the bones of dead men; human skulls with eyes were stuck on top of the fence; where the gateposts should have been were men’s legs; instead of bolts, there were arms; and instead of a lock, there was a mouth filled with sharp teeth.
Vasilissa was frightened out of her wits, and stood still as if rooted to the ground.
Vasilissa was terrified and stood there as if she were glued to the spot.
Suddenly there rode past another horseman. He was black, dressed all in black, and on a black horse. He galloped up to the Baba Yaga’s gate and disappeared, just as if he had sunk through the ground—and night fell. But the darkness did not last long. The eyes of all the skulls on the fence began to shine and the whole clearing became as bright as if it had been midday. Vasilissa shuddered with fear, but stopped where she was, not knowing which way to run.
Suddenly, another rider sped by. He was black, dressed entirely in black, and riding a black horse. He galloped up to Baba Yaga's gate and vanished as if he had sunk into the ground—and night fell. But the darkness didn't last long. The eyes of all the skulls on the fence started to glow, and the entire clearing became as bright as if it were midday. Vasilissa shuddered with fear but stood frozen, not knowing which way to go.
Soon there was heard in the forest a terrible roar. The trees cracked, the dry leaves rustled; out of the forest came the Baba Yaga, riding in a mortar, urging it on with a pestle, sweeping away her traces with a broom. Up she drove to the gate, stopped short, and, snuffing the air around her, cried:—
Soon, a terrible roar echoed through the forest. The trees cracked, the dry leaves rustled; out of the forest came Baba Yaga, riding in a mortar, pushing it along with a pestle, and sweeping away her tracks with a broom. She arrived at the gate, came to a sudden stop, and, sniffing the air around her, shouted:—
“Faugh! Faugh! I smell Russian flesh![188] Who’s there?”
“Ugh! Ugh! I smell Russian flesh![188] Who's there?”
Vasilissa went up to the hag in a terrible fright, bowed low before her, and said:—
Vasilissa approached the hag in a state of panic, bowed deeply before her, and said:—
“It’s me, granny. My stepsisters have sent me to you for a light.”
“It’s me, Grandma. My stepsisters sent me to you for a light.”
“Very good,” said the Baba Yaga; “I know them. If you’ll stop awhile with me first, and do some work for me, I’ll give you a light. But if you won’t, I’ll eat you!”
“Very good,” said the Baba Yaga. “I know them. If you’ll stay with me for a bit and help me out, I’ll give you a light. But if you don’t, I’ll eat you!”
Then she turned to the gates, and cried:—
Then she turned to the gates and shouted:—
“Ho, thou firm fence of mine, be thou divided! And ye, wide gates of mine, do ye fly open!”
“Hey, my solid fence, be split apart! And you, my wide gates, swing open!”
The gates opened, and the Baba Yaga drove in, whistling as she went, and after her followed Vasilissa; and then everything shut to again. When they entered the sitting-room, the Baba Yaga stretched herself out at full length, and said to Vasilissa:
The gates opened, and Baba Yaga drove in, whistling as she went, with Vasilissa following behind her; then everything shut again. When they entered the sitting room, Baba Yaga stretched out on the sofa and said to Vasilissa:
“Fetch out what there is in the oven; I’m hungry.”
“Get what's in the oven; I'm hungry.”
Vasilissa lighted a splinter[189] at one of the skulls which were [Pg 163] on the fence, and began fetching meat from the oven and setting it before the Baba Yaga; and meat enough had been provided for a dozen people. Then she fetched from the cellar kvass, mead, beer, and wine. The hag ate up everything, drank up everything. All she left for Vasilissa was a few scraps—a crust of bread and a morsel of sucking-pig. Then the Baba Yaga lay down to sleep, saying:—
Vasilissa lit a splinter[189] from one of the skulls on the fence and started taking meat from the oven, setting it in front of Baba Yaga. There was enough food for a dozen people. Then she brought out kvass, mead, beer, and wine from the cellar. The old witch ate everything and drank everything. All she left for Vasilissa was a few scraps—a crust of bread and a tiny piece of pig. After that, Baba Yaga lay down to sleep, saying:—
“When I go out to-morrow morning, mind you cleanse the courtyard, sweep the room, cook the dinner, and get the linen ready. Then go to the corn-bin, take out four quarters of wheat, and clear it of other seed.[190] And mind you have it all done—if you don’t, I shall eat you!”
“When I go out tomorrow morning, make sure to clean the courtyard, sweep the room, cook dinner, and prepare the linen. Then go to the corn bin, take out four quarters of wheat, and sort it from any other seeds.[190] And be sure to have it all done—if you don’t, I will eat you!”
After giving these orders the Baba Yaga began to snore. But Vasilissa set the remnants of the hag’s supper before her doll, burst into tears, and said:—
After giving these orders, Baba Yaga started to snore. But Vasilissa placed the leftovers of the witch’s dinner in front of her doll, burst into tears, and said:—
“Now, dolly, feed, listen to my need! The Baba Yaga has set me a heavy task, and threatens to eat me if I don’t do it all. Do help me!”
“Now, darling, help me out – I really need it! Baba Yaga has given me a tough job, and she says she’ll eat me if I don’t get it done. Please help me!”
The doll replied:
The doll responded:
“Never fear, Vasilissa the Fair! Sup, say your prayers, and go to bed. The morning is wiser than the evening!”
“Don’t worry, Vasilissa the Fair! Have dinner, say your prayers, and get some sleep. The morning knows better than the night!”
Vasilissa awoke very early, but the Baba Yaga was already up. She looked out of the window. The light in the skull’s eyes was going out. All of a sudden there appeared the white horseman, and all was light. The Baba Yaga went out into the courtyard and whistled—before her appeared a mortar with a pestle and a broom. The red horseman appeared—the sun rose. The Baba Yaga seated herself in the mortar, and drove out of the courtyard, shooting herself along with the pestle, sweeping away her traces with the broom.
Vasilissa woke up very early, but Baba Yaga was already awake. She looked out the window. The light in the skull’s eyes was fading. Suddenly, the white horseman appeared, and everything lit up. Baba Yaga stepped into the courtyard and whistled—then a mortar with a pestle and a broom appeared in front of her. The red horseman showed up—the sun rose. Baba Yaga got into the mortar and took off from the courtyard, launching herself with the pestle and sweeping away her tracks with the broom.
Vasilissa was left alone, so she examined the Baba Yaga’s house, wondered at the abundance there was in everything, and remained lost in thought as to which work she ought to take to first. She looked up; all her work was done already. The doll had cleared the wheat to the very last grain.
Vasilissa was left alone, so she looked around Baba Yaga’s house, amazed by how much there was everywhere, and she pondered which task she should tackle first. She glanced up; all her work was already finished. The doll had sorted the wheat down to the very last grain.
“Ah, my preserver!” cried Vasilissa, “you’ve saved me from danger!”
“Ah, my savior!” cried Vasilissa, “you’ve rescued me from danger!”
[Pg 164] “All you’ve got to do now is to cook the dinner,” answered the doll, slipping into Vasilissa’s pocket. “Cook away, in God’s name, and then take some rest for your health’s sake!”
[Pg 164] “All you need to do now is cook dinner,” replied the doll, sliding into Vasilissa’s pocket. “Go ahead, in God’s name, and then take a break for your health!”
Towards evening Vasilissa got the table ready, and awaited the Baba Yaga. It began to grow dusky; the black rider appeared for a moment at the gate, and all grew dark. Only the eyes of the skulls sent forth their light. The trees began to crack, the leaves began to rustle, up drove the Baba Yaga. Vasilissa went out to meet her.
Towards evening, Vasilissa set the table and waited for Baba Yaga. It started to get dark; the black rider showed up for a moment at the gate, and everything went black. Only the eyes of the skulls glowed. The trees began to crack, and the leaves started to rustle as Baba Yaga arrived. Vasilissa went outside to greet her.
“Is everything done?” asks the Yaga.
“Is everything done?” asks the Yaga.
“Please to look for yourself, granny!” says Vasilissa.
“Please look for yourself, grandma!” says Vasilissa.
The Baba Yaga examined everything, was vexed that there was nothing to be angry about, and said:
The Baba Yaga looked over everything, was frustrated that there was nothing to be mad about, and said:
“Well, well! very good!”
"Wow, that's great!"
Afterwards she cried:
Afterward, she cried:
“My trusty servants, zealous friends, grind this my wheat!”
“My loyal servants, eager friends, grind my wheat!”
There appeared three pairs of hands, which gathered up the wheat, and carried it out of sight. The Baba Yaga supped, went to bed, and again gave her orders to Vasilissa:
There were three pairs of hands that collected the wheat and took it away. Baba Yaga ate, went to bed, and once more gave her instructions to Vasilissa:
“Do just the same to-morrow as to-day; only besides that take out of the bin the poppy seed that is there, and clean the earth off it grain by grain. Some one or other, you see, has mixed a lot of earth with it out of spite.” Having said this, the hag turned to the wall and began to snore, and Vasilissa took to feeding her doll. The doll fed, and then said to her what it had said the day before:
“Do exactly the same tomorrow as you did today; just make sure to take the poppy seeds out of the bin and clean off the dirt from them grain by grain. Someone has mixed in a lot of dirt out of spite.” After saying this, the old woman turned to the wall and started to snore, while Vasilissa began feeding her doll. Once the doll was fed, it told her the same thing it had said the day before:
“Pray to God, and go to sleep. The morning is wiser than the evening. All shall be done, Vasilissa dear!”
“Pray to God, and get some sleep. The morning is smarter than the evening. Everything will be fine, Vasilissa dear!”
The next morning the Baba Yaga again drove out of the courtyard in her mortar, and Vasilissa and her doll immediately did all the work. The hag returned, looked at everything, and cried, “My trusty servants, zealous friends, press forth oil from the poppy seed!”
The next morning, Baba Yaga once again rode out of the courtyard in her mortar, and Vasilissa and her doll immediately handled all the work. The witch came back, looked at everything, and shouted, “My loyal servants, eager friends, extract oil from the poppy seeds!”
Three pairs of hands appeared, gathered up the poppy seed, and bore it out of sight. The Baba Yaga sat down to dinner. She ate, but Vasilissa stood silently by.
Three pairs of hands appeared, picked up the poppy seed, and took it away. Baba Yaga sat down for dinner. She ate, while Vasilissa stood quietly nearby.
“Why don’t you speak to me?” said the Baba Yaga; “there you stand like a dumb creature!”
“Why aren’t you talking to me?” said the Baba Yaga; “you’re just standing there like a mute animal!”
[Pg 165] “I didn’t dare,” answered Vasilissa; “but if you give me leave, I should like to ask you about something.”
[Pg 165] “I didn’t want to,” Vasilissa replied, “but if you don’t mind, I’d like to ask you something.”
“Ask away; only it isn’t every question that brings good. ‘Get much to know, and old soon you’ll grow.’”
“Go ahead and ask; just remember, not every question leads to something good. ‘The more you know, the sooner you’ll grow old.’”
“I only want to ask you, granny, about something I saw. As I was coming here, I was passed by one riding on a white horse; he was white himself, and dressed in white. Who was he?”
“I just want to ask you, grandma, about something I saw. While I was on my way here, someone rode past me on a white horse; he was white himself and wearing all white. Who was he?”
“That was my bright Day!” answered the Baba Yaga.
"That was my bright day!" replied Baba Yaga.
“Afterwards there passed me another rider, on a red horse; red himself, and all in red clothes. Who was he?”
“Then another rider passed me on a red horse; he was red himself, dressed entirely in red. Who was he?”
“And who may be the black rider, granny, who passed by me just at your gate?”
“And who might the black rider be, grandma, who just passed by me at your gate?”
“That was my dark Night; they are all trusty servants of mine.”
“That was my dark night; they are all loyal servants of mine.”
Vasilissa thought of the three pairs of hands, but held her peace.
Vasilissa thought about the three pairs of hands but kept quiet.
“Why don’t you go on asking?” said the Baba Yaga.
“Why don’t you keep asking?” said Baba Yaga.
“That’s enough for me, granny. You said yourself, ‘Get too much to know, old you’ll grow!’”
"That's enough for me, grandma. You said it yourself, 'The more you know, the older you'll get!'"
“It’s just as well,” said the Baba Yaga, “that you’ve only asked about what you saw out of doors, not indoors! In my house I hate having dirt carried out of doors;[192] and as to over-inquisitive people—well, I eat them. Now I’ll ask you something. How is it you manage to do the work I set you to do?”
“It’s just as well,” said Baba Yaga, “that you’ve only asked about what you saw outside, not inside! In my house, I can’t stand having dirt taken outside; [192] and as for nosy people—well, I eat them. Now I have a question for you. How do you manage to do the work I give you?”
“My mother’s blessing assists me,” replied Vasilissa.
“My mother’s blessing helps me,” replied Vasilissa.
“Eh! eh! what’s that? Get along out of my house, you bless’d daughter. I don’t want bless’d people.”
“Hey! Hey! What's that? Get out of my house, you blessed daughter. I don’t want blessed people.”
She dragged Vasilissa out of the room, pushed her outside the gates, took one of the skulls with blazing eyes from the fence, stuck it on a stick, gave it to her and said:
She pulled Vasilissa out of the room, shoved her outside the gates, grabbed one of the skulls with glowing eyes from the fence, stuck it on a stick, handed it to her, and said:
“Lay hold of that. It’s a light you can take to your stepsisters. That’s what they sent you here for, I believe.”
“Take that. It’s a light you can give to your stepsisters. That’s what they sent you here for, I think.”
Home went Vasilissa at a run, lit by the skull, which went out [Pg 166] only at the approach of the dawn; and at last, on the evening of the second day, she reached home. When she came to the gate, she was going to throw away the skull.
Home Vasilissa ran, guided by the skull, which went dim only as dawn approached; and finally, on the evening of the second day, she arrived home. When she got to the gate, she was about to toss the skull aside.
“Surely,” thinks she, “they can’t be still in want of a light at home.” But suddenly a hollow voice issued from the skull, saying:
“Surely,” she thinks, “they can’t still need a light at home.” But suddenly a hollow voice came from the skull, saying:
“Throw me not away. Carry me to your stepmother!”
“Don’t throw me away. Take me to your stepmother!”
She looked at her stepmother’s house, and not seeing a light in a single window, she determined to take the skull in there with her. For the first time in her life she was cordially received by her stepmother and stepsisters, who told her that from the moment she went away they hadn’t had a spark of fire in the house. They couldn’t strike a light themselves anyhow, and whenever they brought one in from a neighbor’s, it went out as soon as it came into the room.
She looked at her stepmother's house, and seeing no lights in any windows, she decided to bring the skull inside with her. For the first time in her life, she was warmly welcomed by her stepmother and stepsisters, who informed her that from the moment she left, they hadn't had a single spark of fire in the house. They couldn't light it themselves, and whenever they brought a flame in from a neighbor's, it would go out as soon as it entered the room.
“Perhaps your light will keep in!” said the stepmother. So they carried the skull into the sitting-room. But the eyes of the skull so glared at the stepmother and her daughters—shot forth such flames! They would fain have hidden themselves, but run where they would, everywhere did the eyes follow after them. By the morning they were utterly burnt to cinders. Only Vasilissa was none the worse.[193]
“Maybe your light will stay on!” said the stepmother. So they brought the skull into the living room. But the eyes of the skull glared at the stepmother and her daughters—shooting out flames! They wanted to hide, but no matter where they ran, the eyes followed them everywhere. By morning, they were completely burnt to ashes. Only Vasilissa was unharmed.[193]
[Next morning Vasilissa “buried the skull,” locked up the house and took up her quarters in a neighboring town. After a time she began to work. Her doll made her a glorious loom, and by the end of the winter she had weaved a quantity of linen so fine that it might be passed like thread through the eye of a needle. In the spring, after it had been bleached, Vasilissa made a present of it to the old woman with whom she lodged. The crone presented it to the king, who ordered it to be made into shirts. But no seamstress could be found to make them up, until the linen was entrusted to Vasilissa. When a dozen shirts were ready, Vasilissa sent them to the king, and as soon as her carrier had started, “she washed herself, and combed her hair, and dressed herself, and sat down at the window.” Before long there arrived a messenger demanding her instant appearance at court. And “when she appeared before the royal eyes,” the king fell desperately in love with her.
The next morning, Vasilissa “buried the skull,” locked up the house, and took up residence in a nearby town. After a while, she started to work. Her doll created an amazing loom for her, and by the end of winter, she had woven a quantity of linen so fine that it could pass through the eye of a needle like thread. In the spring, after it had been bleached, Vasilissa gifted it to the old woman she was living with. The crone gave it to the king, who ordered it to be made into shirts. But no seamstress could be found to sew them until the linen was given to Vasilissa. Once a dozen shirts were finished, Vasilissa sent them to the king, and as soon as her messenger left, “she washed herself, and combed her hair, and dressed herself, and sat down at the window.” Before long, a messenger arrived demanding her immediate presence at court. And “when she appeared before the royal eyes,” the king fell desperately in love with her.
“No; my beauty!” said he, “never will I part with thee; thou shalt be my [Pg 167] wife.” So he married her; and by-and-by her father returned, and took up his abode with her. “And Vasilissa took the old woman into her service, and as for the doll—to the end of her life she always carried it in her pocket.”]
“No; my beauty!” he said, “I will never let you go; you will be my [Pg 167] wife.” So he married her, and eventually her father came back and lived with them. “And Vasilissa took the old woman into her service, and as for the doll—she carried it in her pocket for the rest of her life.”
The puppet which plays so important a part in this story is worthy of a special examination. It is called in the original a Kùkla (dim. Kùkolka), a word designating any sort of puppet or other figure representing either man or beast. In a Little-Russian variant[194] of one of those numerous stories, current in all lands, which commence with the escape of the heroine from an incestuous union, a priest insists on marrying his daughter. She goes to her mother’s grave and weeps there. Her dead mother “comes out from her grave,” and tells her what to do. The girl obtains from her father a rough dress of pig’s skin, and two sets of gorgeous apparel; the former she herself assumes, in the latter she dresses up three Kuklui, which in this instance were probably mere blocks of wood. Then she takes her place in the midst of the dressed-up forms, which cry, one after the other, “Open, O moist earth, that the fair maiden may enter within thee!” The earth opens, and all four sink into it.
The puppet that plays such an important role in this story deserves special attention. It's referred to in the original as a Kùkla (diminutive Kùkolka), a term that means any kind of puppet or figure representing either a person or an animal. In a Little-Russian version[194] of one of those countless stories found in many cultures, which start with the heroine escaping from an incestuous relationship, a priest insists on marrying his daughter. She goes to her mother’s grave and cries there. Her deceased mother "rises from her grave" and tells her what to do. The girl gets a rough dress made from pigskin from her father and two beautiful outfits; she wears the former and dresses three Kuklui—which in this case were likely just wooden blocks—in the latter. Then she takes her place among the dressed-up figures, which cry out, one after the other, “Open, O moist earth, so the fair maiden may enter you!” The earth opens, and all four of them sink into it.
This introduction is almost identical with that prefixed to the German story of “Allerleirauh,”[195] except in so far as the puppets are concerned.
This introduction is almost identical to the one added to the German story of “Allerleirauh,”[195] except regarding the puppets.
Sometimes it is a brother, instead of a father, from whom the heroine is forced to flee. Thus in the story of [Pg 168] Kniaz Danila Govorila,[196] Prince Daniel the Talker is bent upon marrying his sister, pleading the excuse so often given in stories on this theme, namely, that she is the only maiden whose finger will fit the magic ring which is to indicate to him his destined wife. While she is weeping “like a river,” some old women of the mendicant-pilgrim class come to her rescue, telling her to make four Kukolki, or small puppets, and to place one of them in each corner of her room. She does as they tell her. The wedding day arrives, the marriage service is performed in the church, and then the bride hastens back to the room. When she is called for—says the story—the puppets in the four corners begin to coo.[197]
Sometimes it’s a brother, instead of a father, that the heroine has to run away from. In the story of [Pg 168] Kniaz Danila Govorila,[196] Prince Daniel the Talker is determined to marry his sister, using the common excuse found in these stories: she’s the only girl whose finger will fit the magic ring meant to show him his destined wife. While she is crying “like a river,” some elderly women from the traveling-pilgrim group come to help her, advising her to make four Kukolki, or small puppets, and place one in each corner of her room. She follows their instructions. The wedding day comes, the marriage ceremony takes place in the church, and then the bride rushes back to her room. When she’s called for—so the story goes—the puppets in the four corners start to coo.[197]
“Kuku! Prince Danila!
“Hey! Prince Danila!
“Kuku! Govorila.
"Kuku! She said."
“Kuku! He wants to marry,
"Kuku! He wants to marry,"
“Kuku! His own sister.
"Kuku! His own sister."
“Kuku! Split open, O Earth!
"Kuku! Open up, O Earth!"
“Kuku! Sister, disappear!”
"Kuku! Sis, vanish!"
The earth opens, and the girl slowly sinks into it. Twice again the puppets sing their song, and at the end of its third performance, the earth closes over the head of the rescued bride. Presently in rushes the irritated bridegroom. “No bride is to be seen; only in the corners sit the puppets singing away to themselves.” He flies into a passion, seizes a hatchet, chops off their heads, and flings them into the fire.[198]
The ground opens up, and the girl slowly sinks into it. The puppets sing their song again, and by the time they finish their third performance, the ground covers the head of the rescued bride. Soon, the angry groom bursts in. “There’s no bride in sight; only the puppets sitting in the corners, singing to themselves.” He becomes furious, grabs an axe, chops off their heads, and throws them into the fire.[198]
“O Kukolki, (cry) Kuku!”
“O Kukolki, (cry) Kuku!”
The first asks, “Why?”
The first asks, “Why?”
The second replies, “Because the brother his sister takes.”
The second replies, “Because the brother takes his sister.”
The third says, “Split open, O Earth! disappear, O sister!”
The third says, “Open up, O Earth! vanish, O sister!”
All this is said three times, and then the earth opens, and the girl sinks “into that world.”
All of this is said three times, and then the ground opens up, and the girl sinks "into that world."
In two other Russian versions of the same story, the sister escapes by natural means. In the first[200] she runs away and hides in the hollow of an oak. In the second[201] she persuades a fisherman to convey her across a sea or lake. In a Polish version[202] the sister obtains a magic car, which sinks underground with her, while the spot on which she has spat replies to every summons which is addressed to her.[203]
In two other Russian versions of the same story, the sister escapes naturally. In the first[200] she runs away and hides in the hollow of an oak tree. In the second[201] she convinces a fisherman to take her across a sea or lake. In a Polish version[202] the sister gets a magic car that sinks underground with her, while the spot where she spat answers every call directed at her.[203]
Before taking leave of the Baba Yaga, we may glance at a malevolent monster, who seems to be her male counterpart. He appears, however, to be known in South Russia [Pg 170] only. Here is an outline of the contents of the solitary story in which he is mentioned. There were two old folks with whom lived two orphan grandchildren, charming little girls. One day the youngest child was sent to drive the sparrows away from her grandfather’s pease. While she was thus engaged the forest began to roar, and out from it came Verlioka, “of vast stature, one-eyed, crook-nosed, bristly-headed, with tangled beard and moustaches half an ell long, and with a wooden boot on his one foot, supporting himself on a crutch, and giving vent to a terrible laughter.” And Verlioka caught sight of the little girl and immediately killed her with his crutch. And afterwards he killed her sister also, and then the old grandmother. The grandfather, however, managed to escape with his life, and afterwards, with the help of a drake and other aiders, he wreaked his vengeance on the murderous Verlioka.[204]
Before saying goodbye to Baba Yaga, let’s take a look at a wicked creature who seems to be her male counterpart. He appears to be known only in South Russia. Here is a summary of the story in which he is mentioned. There were two elderly people living with two orphaned grandchildren, lovely little girls. One day, the youngest girl was sent out to scare the sparrows away from her grandfather’s peas. While she was doing this, the forest started to rumble, and out came Verlioka, “a massive one-eyed creature with a crooked nose, a hairy head, a tangled beard and mustache that were almost a foot long, wearing a wooden shoe on one foot, leaning on a crutch, and laughing menacingly.” Verlioka saw the little girl and immediately killed her with his crutch. Then he killed her sister and their grandmother as well. The grandfather, however, managed to escape, and later, with the help of a drake and others, he got his revenge on the murderous Verlioka.[Pg 170]
We will now turn to another female embodiment of evil, frequently mentioned in the Skazkas—the Witch.[205] She so closely resembles the Baba Yaga both in disposition and in behavior, that most of the remarks which have been made about that wild being apply to her also. In many cases, indeed, we find that one version of a story will allot to a Baba Yaga the part which in another version is played by a Witch. The name which she bears—that of Vyed’ma—is a misnomer; it properly belongs either to the “wise woman,” or prophetess, of old times, or to her modern representative, the woman to whom Russian superstition attributes the faculties and functions ascribed in olden days by [Pg 171] most of our jurisprudents, in more recent times by a few of our rustics, to our own witch. The supernatural being who, in folk-tales, sways the elements and preys upon mankind, is most inadequately designated by such names as Vyed’ma, Hexe, or Witch, suggestive as those now homely terms are of merely human, though diabolically intensified malevolence. Far more in keeping with the vastness of her powers, and the vagueness of her outline, are the titles of Baba Yaga, Lamia, Striga, Troll-Wife, Ogress, or Dragoness, under which she figures in various lands. And therefore it is in her capacity of Baba Yaga, rather than in that of Vyed’ma, that we desire to study the behavior of the Russian equivalent for the terrible female form which figures in the Anglo-Saxon poem as the Mother of Grendel.
We will now look at another female embodiment of evil, often mentioned in the Skazkas—the Witch.[205] She closely resembles Baba Yaga in both attitude and actions, so most remarks made about that wild character apply to her as well. In many situations, we find that one version of a story assigns the role of Baba Yaga to a Witch in another version. The name she carries—Vyed’ma—is misleading; it actually belongs either to the "wise woman" or prophetess of ancient times, or to her modern counterpart, the woman to whom Russian superstition grants the abilities and roles attributed in earlier times by most of our legal experts, and in more recent times by a few rural folks, to our own witch. The supernatural being who, in folk tales, controls the elements and preys on humans is poorly named by terms like Vyed’ma, Hexe, or Witch, which suggest merely human, albeit intensified evil. Titles like Baba Yaga, Lamia, Striga, Troll-Wife, Ogress, or Dragoness, better suit her immense powers and the ambiguity of her image. Therefore, we want to study the behavior of the Russian equivalent of the terrifying female figure that appears in the Anglo-Saxon poem as the Mother of Grendel, focusing on her as Baba Yaga rather than as Vyed’ma.
From among the numerous stories relating to the Vyed’ma we may select the following, which bears her name.
From the many stories about the Vyed’ma, we can choose the following one that carries her name.
The Witch.[206]
There once lived an old couple who had one son called Ivashko;[207] no one can tell how fond they were of him!
There was an old couple who had a son named Ivashko; [207] no one can say how much they loved him!
Well, one day, Ivashko said to his father and mother:
Well, one day, Ivashko said to his mom and dad:
“I’ll go out fishing if you’ll let me.”
“I’ll go fishing if you let me.”
“What are you thinking about! you’re still very small; suppose you get drowned, what good will there be in that?”
“What are you thinking! You’re still so small; if you drown, what good will that do?”
“No, no, I shan’t get drowned. I’ll catch you some fish; do let me go!”
“No, no, I won’t drown. I’ll catch you some fish; please let me go!”
So his mother put a white shirt on him, tied a red girdle round him, and let him go. Out in a boat he sat and said:
So his mother put a white shirt on him, tied a red belt around his waist, and let him go. Out in a boat, he sat and said:
Canoe, canoe, float a bit further!
Then the canoe floated on farther and farther, and Ivashko [Pg 172] began to fish. When some little time had passed by, the old woman hobbled down to the river side and called to her son:
Then the canoe drifted farther and farther away, and Ivashko [Pg 172] started to fish. After a while, the old woman hobbled down to the riverbank and called out to her son:
And Ivashko said:
And Ivashko stated:
The boat floated to the shore: the woman took the fish, gave her boy food and drink, changed his shirt for him and his girdle, and sent him back to his fishing. Again he sat in his boat and said:
The boat drifted to the shore: the woman took the fish, gave her son food and drink, changed his shirt and belt for him, and sent him back to his fishing. He sat in his boat again and said:
Canoe, canoe, float a bit further.
Then the canoe floated on farther and farther, and Ivashko began to fish. After a little time had passed by, the old man also hobbled down to the bank and called to his son:
Then the canoe drifted further and further, and Ivashko started to fish. After a while, the old man also limped down to the bank and called to his son:
Float up, float up, to the waterside; I bring you food and drink.
And Ivashko replied:
And Ivashko responded:
The canoe floated to the shore. The old man took the fish, gave his boy food and drink, changed his shirt for him and his girdle, and sent him back to his fishing.
The canoe drifted to the shore. The old man grabbed the fish, provided his son with food and drink, changed his shirt and belt for him, and sent him back to fishing.
Now a certain witch[208] had heard what Ivashko’s parents had cried aloud to him, and she longed to get hold of the boy. So she went down to the bank and cried with a hoarse voice:
Now a certain witch[208] had heard what Ivashko’s parents had shouted at him, and she wanted to capture the boy. So she went down to the riverbank and called out with a raspy voice:
Float up, float up, to the waterside;
I'm bringing you food and drinks.
Ivashko perceived that the voice was not his mother’s, but was that of a witch, and he sang:
Ivashko realized that the voice wasn't his mother's; it belonged to a witch, and he started to sing:
Canoe, canoe, float a bit further; That isn’t my mom; it’s a witch calling me.
[Pg 173] The witch saw that she must call Ivashko with just such a voice as his mother had.
[Pg 173] The witch realized that she needed to call Ivashko using a voice just like his mother's.
So she hastened to a smith and said to him:
So she hurried to a blacksmith and said to him:
“Smith, smith! make me just such a thin little voice as Ivashko’s mother has: if you don’t, I’ll eat you.” So the smith forged her a little voice just like Ivashko’s mother’s. Then the witch went down by night to the shore and sang:
“Smith, smith! Make me a little voice just like Ivashko’s mom has: if you don’t, I’ll eat you.” So the smith created a little voice just like Ivashko’s mom’s. Then the witch went down to the shore at night and sang:
Float up, float up, to the waterside; I bring you food and drink.
Ivashko came, and she took the fish, and seized the boy and carried him home with her. When she arrived she said to her daughter Alenka,[209] “Heat the stove as hot as you can, and bake Ivashko well, while I go and collect my friends for the feast.” So Alenka heated the stove hot, ever so hot, and said to Ivashko,
Ivashko arrived, and she grabbed the fish, then took the boy and brought him home with her. Once she got there, she said to her daughter Alenka,[209] “Preheat the stove as much as you can, and make sure to cook Ivashko properly while I go gather my friends for the feast.” So, Alenka heated the stove really hot and said to Ivashko,
“Come here and sit on this shovel!”
“Come over here and sit on this shovel!”
“I’m still very young and foolish,” answered Ivashko: “I haven’t yet quite got my wits about me. Please teach me how one ought to sit on a shovel.”
“I’m still really young and naive,” Ivashko replied. “I haven’t figured everything out yet. Please show me how to properly sit on a shovel.”
“Very good,” said Alenka; “it won’t take long to teach you.”
“Sounds great,” said Alenka; “it won’t take long to teach you.”
But the moment she sat down on the shovel, Ivashko instantly pitched her into the oven, slammed to the iron plate in front of it, ran out of the hut, shut the door, and hurriedly climbed up ever so high an oak-tree [which stood close by].
But the moment she sat down on the shovel, Ivashko immediately tossed her into the oven, slammed down the iron plate in front of it, ran out of the hut, shut the door, and quickly climbed up a nearby oak tree.
Presently the witch arrived with her guests and knocked at the door of the hut. But nobody opened it for her.
Presently, the witch arrived with her guests and knocked on the door of the hut. But no one opened it for her.
“Ah! that cursed Alenka!” she cried. “No doubt she’s gone off somewhere to amuse herself.” Then she slipped in through the window, opened the door, and let in her guests. They all sat down to table, and the witch opened the oven, took out Alenka’s baked body, and served it up. They all ate their fill and drank their fill, and then they went out into the courtyard and began rolling about on the grass.
“Ah! that cursed Alenka!” she exclaimed. “There's no doubt she’s off somewhere having fun.” Then she climbed through the window, opened the door, and let in her guests. They all sat down at the table, and the witch opened the oven, took out Alenka’s baked body, and served it. They all ate and drank until they were full, then went out into the courtyard and started rolling around on the grass.
“I turn about, I roll about, having fed on Ivashko’s flesh,” [Pg 174] cried the witch. “I turn about, I roll about, having fed on Ivashko’s flesh.”
“I turn around, I roll around, having eaten Ivashko’s flesh,” [Pg 174] cried the witch. “I turn around, I roll around, having eaten Ivashko’s flesh.”
But Ivashko called out to her from the top of the oak:
But Ivashko shouted to her from the top of the oak:
“Turn about, roll about, having fed on Alenka’s flesh!”
“Turn around, roll around, having feasted on Alenka’s flesh!”
“Did I hear something?” said the witch. “No it was only the noise of the leaves.” Again the witch began:
“Did I hear something?” said the witch. “No, it was just the sound of the leaves.” Once more, the witch started:
“I turn about, I roll about, having fed on Ivashko’s flesh!”
"I spin around, I toss and turn, having feasted on Ivashko's flesh!"
And Ivashko repeated:
And Ivashko said again:
“Turn about, roll about, having fed on Alenka’s flesh!”
“Turn around, roll around, having feasted on Alenka’s flesh!”
Then the witch looked up and saw Ivashko, and immediately rushed at the oak on which Ivashko was seated, and began to gnaw away at it. And she gnawed, and gnawed, and gnawed, until at last she smashed two front teeth. Then she ran to a forge, and when she reached it she cried, “Smith, smith! make me some iron teeth; if you don’t I’ll eat you!”
Then the witch looked up and saw Ivashko, and immediately rushed at the oak where Ivashko was sitting, and started to gnaw at it. She gnawed and gnawed and gnawed until she finally broke two of her front teeth. Then she ran to a blacksmith, and when she got there, she shouted, “Blacksmith, blacksmith! Make me some iron teeth; if you don’t, I’ll eat you!”
So the smith forged her two iron teeth.
So the blacksmith made her two iron teeth.
The witch returned and began gnawing the oak again.
The witch came back and started chewing on the oak again.
She gnawed, and gnawed, and was just on the point of gnawing it through, when Ivashko jumped out of it into another tree which stood beside it. The oak that the witch had gnawed through fell down to the ground; but then she saw that Ivashko was sitting up in another tree, so she gnashed her teeth with spite and set to work afresh, to gnaw that tree also. She gnawed, and gnawed, and gnawed—broke two lower teeth, and ran off to the forge.
She chewed and chewed, and was just about to bite through, when Ivashko jumped out into another tree next to it. The oak that the witch had chewed through fell to the ground; but then she saw that Ivashko was sitting in another tree, so she gritted her teeth in frustration and started again, determined to gnaw that tree too. She chewed and chewed and chewed—broke two of her lower teeth, and ran off to the forge.
“Smith, smith!” she cried when she got there, “make me some iron teeth; if you don’t I’ll eat you!”
“Smith, smith!” she shouted when she arrived, “make me some iron teeth; if you don’t, I’ll eat you!”
The smith forged two more iron teeth for her. She went back again, and once more began to gnaw the oak.
The blacksmith made two more iron teeth for her. She went back again and started to gnaw on the oak once more.
Ivashko didn’t know what he was to do now. He looked out, and saw that swans and geese[210] were flying by, so he called to them imploringly:
Ivashko didn’t know what to do now. He looked out and saw swans and geese[210] flying by, so he called to them desperately:
To my parents' cottage,
There to eat, drink, and live comfortably.
“Let those in the centre carry you,” said the birds.
“Let those in the center lift you,” said the birds.
Ivashko waited; a second flock flew past, and he again cried imploringly:
Ivashko waited; a second group flew by, and he shouted desperately again:
Take me on your wings,
Take me to my father and my mother,
To my parents' cottage,
There to eat, drink, and live comfortably.
“Let those in the rear carry you!” said the birds.
“Let those behind you take care of you!” said the birds.
Again Ivashko waited. A third flock came flying up, and he cried:
Again Ivashko waited. A third flock came flying up, and he shouted:
Take me on your wings,
Take me to my father and mother,
To my parents' cottage,
There to eat, drink, and live comfortably.
And those swans and geese took hold of him and carried him back, flew up to the cottage, and dropped him in the upper room.
And those swans and geese grabbed him and flew him back, soaring up to the cottage, and dropped him in the upstairs room.
Early the next morning his mother set to work to bake pancakes, baked them, and all of a sudden fell to thinking about her boy. “Where is my Ivashko?” she cried; “would that I could see him, were it only in a dream!”
Early the next morning, his mom started baking pancakes. She baked them and suddenly found herself thinking about her boy. “Where is my Ivashko?” she exclaimed; “I wish I could see him, even if it were just in a dream!”
Then his father said, “I dreamed that swans and geese had brought our Ivashko home on their wings.”
Then his father said, “I had a dream that swans and geese brought our Ivashko home on their wings.”
And when she had finished baking the pancakes, she said, “Now, then, old man, let’s divide the cakes: there’s for you, father! there’s for me! There’s for you, father! there’s for me.”
And when she finished making the pancakes, she said, “Alright, old man, let’s split the cakes: here’s one for you, dad! Here’s one for me! Here’s one for you, dad! Here’s one for me.”
“And none for me?” called out Ivashko.
“And none for me?” Ivashko shouted.
“There’s for you, father!” went on the old woman, “there’s for me.”
“There’s for you, Dad!” continued the old woman, “there’s for me.”
“And none for me!” [repeated the boy.]
“And none for me!” the boy repeated.
“Why, old man,” said the wife, “go and see whatever that is up there.”
“Why, old man,” said the wife, “go check out whatever that is up there.”
The father climbed into the upper room and there he found [Pg 176] Ivashko. The old people were delighted, and asked their boy about everything that had happened. And after that he and they lived on happily together.
The father went up to the attic and found [Pg 176] Ivashko there. The elders were thrilled and asked their son about everything that had happened. After that, they all lived happily together.
[That part of this story which relates to the baking and eating of the witch’s daughter is well known in many lands. It is found in the German “Hänsel und Grethel” (Grimm. KM. No. 15, and iii. p. 25, where a number of parallels are mentioned); in the Norse “Askelad” (Asbjörnsen and Moe, No. 1. Dasent, “Boots and the Troll,” No. 32), where a Troll’s daughter is baked; and “Smörbuk” (Asb. and Moe, No. 52. Dasent, “Buttercup,” No. 18), in which the victim is daughter of a “Haugkjœrring,” another name for a Troll-wife; in the Servian story of “The Stepmother,” &c. (Vuk Karajich, No. 35, pp. 174-5) in which two Chivuti, or Jews, are tricked into eating their baked mother; in the Modern Greek stories (Hahn, No. 3 and ii. p. 181), in which the hero bakes (1) a Drakäna, while her husband, the Drakos, is at church, (2) a Lamiopula, during the absence of the Lamia, her mother; and in the Albanian story of “Augenhündin” (Hahn, No. 95), in which the heroine gets rid in a similar manner of Maro, the daughter of that four eyed συκιένεζα. (See note, ii, 309.) Afanasief also refers (i. p. 121) to Haltrich, No. 37, and Haupt and Schmaler, ii. pp. 172-4. He also mentions a similar tale about a giantess existing among the Baltic Kashoubes. See also the end of the song of Tardanak, showing how he killed “the Seven Headed Jelbegen,” Radloff, i. p. 31.]
[That part of this story that talks about the baking and eating of the witch’s daughter is well known in many places. It appears in the German “Hansel and Gretel” (Grimm. KM. No. 15, and iii. p. 25, where a number of parallels are mentioned); in the Norse “Askelad” (Asbjörnsen and Moe, No. 1. Dasent, “Boots and the Troll,” No. 32), where a Troll’s daughter is baked; and “Smörbuk” (Asb. and Moe, No. 52. Dasent, “Buttercup,” No. 18), in which the victim is the daughter of a “Haugkjœrring,” another name for a Troll-wife; in the Servian story of “The Stepmother,” etc. (Vuk Karajich, No. 35, pp. 174-5) in which two Chivuti, or Jews, are tricked into eating their baked mother; in the Modern Greek stories (Hahn, No. 3 and ii. p. 181), in which the hero bakes (1) a Drakäna, while her husband, the Drakos, is at church, (2) a Lamiopula, during the absence of the Lamia, her mother; and in the Albanian story of “Augenhündin” (Hahn, No. 95), in which the heroine gets rid of Maro, the daughter of that four-eyed συκιένεζα, in a similar way. (See note, ii, 309.) Afanasief also refers (i. p. 121) to Haltrich, No. 37, and Haupt and Schmaler, ii. pp. 172-4. He also mentions a similar tale about a giantess found among the Baltic Kashoubes. See also the end of the song of Tardanak, showing how he killed “the Seven Headed Jelbegen,” Radloff, i. p. 31.]
A variant of this story (from the Chernigof Government)[211] begins by telling how two old people were childless for a long time. At last the husband went into the forest, felled wood, and made a cradle. Into this his wife laid one of the logs he had cut, and began swinging it, crooning the while a rune beginning
A version of this story (from the Chernigof Government)[211] starts by describing how a couple couldn't have kids for a long time. Finally, the husband went into the forest, chopped some wood, and made a cradle. His wife placed one of the logs he had cut into it and began to swing it gently, singing a verse that started with
After a little time “behold! the block already had legs. The old woman rejoiced greatly and began singing anew, and went on singing until the block became a babe.” In this variant the boy rows a silver boat with a golden oar; in another South Russian variant[212] the boat is golden, the oar of silver. In a White-Russian variant quoted by Afanasief (i. p. 118), the place of the witch’s daughter is filled by her son, who had been in the habit of alluring to her den by gifts of toys, and there devouring, the children [Pg 177] from the adjacent villages. Buslaef’s “Historical Essays,” (i. pp. 313-321) contain a valuable investigation of Kulish’s version of this story, which he compares with the romance of “The Knight of the Swan.”
After a little while, “look! the block already had legs. The old woman was really happy and started singing again, and she kept singing until the block turned into a baby.” In this version, the boy rows a silver boat with a golden oar; in another South Russian version[212] the boat is golden and the oar is silver. In a White-Russian version mentioned by Afanasief (i. p. 118), the place of the witch’s daughter is taken by her son, who used to lure children to her den with gifts of toys and then devour the children from nearby villages. Buslaef’s “Historical Essays” (i. pp. 313-321) contain a valuable investigation of Kulish’s version of this story, which he compares to the tale of “The Knight of the Swan.”
In another of the variants of this story[213] Ivanushka is the son of a Baruinya or Lady, and he is carried off in a whirlwind by a Baba Yaga. His three sisters go to look for him, and each of them in turn finds out where he is and attempts to carry him off, after sending the Baba Yaga to sleep and smearing her eyelids with pitch. But the two elder sisters are caught on their way home by the Baba Yaga, and terribly scratched and torn. The youngest sister, however, succeeds in rescuing her brother, having taken the precaution of propitiating with butter the cat Jeremiah, “who was telling the boy stories and singing him songs.” When the Baba Yaga awakes, she tells Jeremiah to scratch her eyes open, but he refuses, reminding her that, long as he has lived under her roof, she has never in any way regaled him, whereas the “fair maiden” had no sooner arrived than she treated him to butter. In another variant[214] the bereaved mother sends three servant-maids in search of her boy. Two of them get torn to pieces; the third succeeds in saving Ivanushka from the Baba Yaga, who is so vexed that she pinches her butter-bribed cat to death for not having awakened her when the rescue took place. A comparison of these three stories is sufficient to show how closely connected are the Witch and the Baba Yaga, how readily the name of either of the two may be transferred to the other.
In another version of this story[213] Ivanushka is the son of a noblewoman, and he is taken away in a whirlwind by Baba Yaga. His three sisters set out to find him, and each one discovers his location and tries to rescue him by putting Baba Yaga to sleep and smearing her eyelids with pitch. However, the two older sisters are caught on their way home by Baba Yaga and are badly scratched and hurt. The youngest sister, on the other hand, successfully rescues her brother after winning over the cat Jeremiah with butter, “who was telling the boy stories and singing him songs.” When Baba Yaga wakes up, she tells Jeremiah to scratch her eyes open, but he refuses, reminding her that, during all the time he has lived under her roof, she has never treated him well, while the “fair maiden” didn’t waste any time giving him butter. In another version[214] the grieving mother sends three servant-maids to search for her son. Two of them are torn to pieces; the third manages to save Ivanushka from Baba Yaga, who is so angry that she kills her butter-bribed cat for not waking her during the rescue. A comparison of these three stories shows how closely connected the Witch and Baba Yaga are, and how easily the name of one can be applied to the other.
But there is one class of stories in which the Vyed’ma is represented as differing from the Baba Yaga, in so far [Pg 178] as she is the offspring of parents who are not in any way supernatural or inhuman. Without any apparent cause for her abnormal conduct, the daughter of an ordinary royal house will suddenly begin to destroy and devour all living things which fall in her way—her strength developing as rapidly as her appetite. Of such a nature—to be accounted for only on the supposition that an evil spirit has taken up its abode in a human body[215]—is the witch who appears in the somewhat incomprehensible story that follows.
But there is one type of story where the Vyed’ma is shown to be different from Baba Yaga, in that she is the child of parents who are completely ordinary and human. For no clear reason, the daughter of a regular royal family suddenly starts to destroy and consume everything living in her path—her strength grows just as quickly as her appetite. The nature of her behavior can only be explained by suggesting that an evil spirit has taken residence in a human body[215]—this is the witch who appears in the rather confusing story that follows.
The Witch and the Sun’s Sister.[216]
In a certain far-off country there once lived a king and queen. And they had an only son, Prince Ivan, who was dumb from his birth. One day, when he was twelve years old, he went into the stable to see a groom who was a great friend of his.
In a distant land, there was once a king and queen. They had an only son, Prince Ivan, who had been mute since birth. One day, when he turned twelve, he went to the stable to visit a groom who was a good friend of his.
That groom always used to tell him tales [skazki], and on this occasion Prince Ivan went to him expecting to hear some stories [skazochki], but that wasn’t what he heard.
That groom always used to tell him stories [skazki], and this time Prince Ivan went to him expecting to hear some more stories [skazochki], but that wasn’t what he got.
“Prince Ivan!” said the groom, “your mother will soon have a daughter, and you a sister. She will be a terrible witch, and she will eat up her father, and her mother, and all their subjects. So go and ask your father for the best horse he has—as if you wanted a gallop—and then, if you want to be out of harm’s way, ride away whithersoever your eyes guide you.”
“Prince Ivan!” said the groom, “your mom will soon have a daughter, and you’ll have a sister. She’s going to be a terrible witch, and she’ll consume her father, her mother, and all their subjects. So go and ask your dad for the best horse he has—as if you want to take a ride—and then, if you want to stay safe, ride off wherever your eyes lead you.”
Prince Ivan ran off to his father and, for the first time in his life, began speaking to him.
Prince Ivan ran off to his dad and, for the first time in his life, started talking to him.
At that the king was so delighted that he never thought of asking what he wanted a good steed for, but immediately ordered [Pg 179] the very best horse he had in his stud to be saddled for the prince.
At that, the king was so pleased that he didn’t even think to ask what the prince wanted a good horse for, but immediately ordered [Pg 179] the best horse he had in his stable to be saddled for the prince.
Prince Ivan mounted, and rode off without caring where he went.[217] Long, long did he ride.
Prince Ivan got on his horse and rode off without worrying about where he was going.[217] He rode for a long, long time.
At length he came to where two old women were sewing and he begged them to let him live with them. But they said:
At last, he arrived at a place where two elderly women were sewing, and he asked them if he could stay with them. But they replied:
“Gladly would we do so, Prince Ivan, only we have now but a short time to live. As soon as we have broken that trunkful of needles, and used up that trunkful of thread, that instant will death arrive!”
“Sure, we’d love to help you, Prince Ivan, but we have very little time left. The moment we finish using up that trunk full of needles and thread, that’s when death will come!”
Prince Ivan burst into tears and rode on. Long, long did he ride. At length he came to where the giant Vertodub was,[218] and he besought him, saying:
Prince Ivan burst into tears and kept riding. He rode for a long time. Finally, he reached the giant Vertodub,[218] and he pleaded with him, saying:
“Take me to live with you.”
“Take me to live with you.”
“Gladly would I have taken you, Prince Ivan!” replied the giant, “but now I have very little longer to live. As soon as I have pulled up all these trees by the roots, instantly will come my death!”
“Gladly would I have taken you, Prince Ivan!” replied the giant, “but now I have very little time left to live. As soon as I pull up all these trees by the roots, my death will come immediately!”
More bitterly still did the prince weep as he rode farther and farther on. By-and-by he came to where the giant Vertogor was, and made the same request to him, but he replied:
More bitterly did the prince cry as he rode on and on. Eventually, he reached where the giant Vertogor was and made the same request to him, but he replied:
“Gladly would I have taken you, Prince Ivan! but I myself have very little longer to live. I am set here, you know, to level mountains. The moment I have settled matters with these you see remaining, then will my death come!”
“Honestly, I would have taken you, Prince Ivan! but I don't have much longer to live myself. I’m here, as you know, to take down mountains. As soon as I deal with these remaining ones, then I will meet my end!”
Prince Ivan burst into a flood of bitter tears, and rode on still farther. Long, long did he ride. At last he came to the dwelling of the Sun’s Sister. She received him into her house, gave him food and drink, and treated him just as if he had been her own son.
Prince Ivan broke down in tears and continued riding on. He rode for a long time. Finally, he arrived at the home of the Sun's Sister. She welcomed him into her house, offered him food and drink, and treated him just like he was her own son.
The prince now led an easy life. But it was all no use; he [Pg 180] couldn’t help being miserable. He longed so to know what was going on at home.
The prince was now living a comfortable life. But it didn’t matter; he couldn’t shake off his misery. He desperately wanted to know what was happening back home.
He often went to the top of a high mountain, and thence gazed at the palace in which he used to live, and he could see that it was all eaten away; nothing but the bare walls remained! Then he would sigh and weep. Once when he returned after he had been thus looking and crying, the Sun’s Sister asked him:
He often went to the top of a high mountain and looked down at the palace where he used to live, and he could see that it was all falling apart; only the bare walls remained! Then he would sigh and cry. Once, when he came back after looking and crying, the Sun’s Sister asked him:
“What makes your eyes so red to-day, Prince Ivan?”[219]
“What’s got your eyes so red today, Prince Ivan?”[219]
“The wind has been blowing in them,” said he.
“The wind has been blowing in them,” he said.
The same thing happened a second time. Then the Sun’s Sister ordered the wind to stop blowing. Again a third time did Prince Ivan come back with a blubbered face. This time there was no help for it; he had to confess everything, and then he took to entreating the Sun’s Sister to let him go, that he might satisfy himself about his old home. She would not let him go, but he went on urgently entreating.
The same thing happened again. Then the Sun’s Sister told the wind to stop blowing. For the third time, Prince Ivan came back with a tear-streaked face. This time, there was no way around it; he had to confess everything, and then he begged the Sun’s Sister to let him go so he could see his old home. She refused to let him go, but he kept pleading with her.
So at last he persuaded her, and she let him go away to find out about his home. But first she provided him for the journey with a brush, a comb, and two youth-giving apples. However old any one might be, let him eat one of these apples, he would grow young again in an instant.
So finally he convinced her, and she allowed him to leave to find out about his home. But first, she equipped him for the journey with a brush, a comb, and two youth-restoring apples. No matter how old someone was, if they ate one of these apples, they would instantly become young again.
Well, Prince Ivan came to where Vertogor was. There was only just one mountain left! He took his brush and cast it down on the open plain. Immediately there rose out of the earth, goodness knows whence,[220] high, ever so high mountains, their peaks touching the sky. And the number of them was such that there were more than the eye could see![221] Vertogor rejoiced greatly and blithely recommenced his work.
Well, Prince Ivan arrived at the place where Vertogor was. There was only one mountain left! He took his brush and threw it down on the open plain. Immediately, high up from the ground, goodness knows where, rose tall mountains, their peaks reaching the sky. There were so many of them that there were more than the eye could see! Vertogor was very happy and cheerfully got back to work.
After a time Prince Ivan came to where Vertodub was, and found that there were only three trees remaining there. So he took the comb and flung it on the open plain. Immediately from [Pg 181] somewhere or other there came a sound of trees,[222] and forth from the ground arose dense oak forests! each stem more huge than the other! Vertodub was delighted, thanked the Prince, and set to work uprooting the ancient oaks.
After a while, Prince Ivan arrived at where Vertodub was and discovered that only three trees were left. So he took the comb and threw it onto the open plain. Suddenly, from somewhere, he heard the sound of trees, and dense oak forests sprang up from the ground! Each trunk was bigger than the last! Vertodub was thrilled, thanked the Prince, and started pulling out the ancient oaks.
By-and-by Prince Ivan reached the old women, and gave each of them an apple. They ate them, and straightway became young again. So they gave him a handkerchief; you only had to wave it, and behind you lay a whole lake! At last Prince Ivan arrived at home. Out came running his sister to meet him, caressed him fondly.
Eventually, Prince Ivan reached the old women and gave each of them an apple. They ate them and instantly became young again. In return, they gave him a handkerchief; all he had to do was wave it, and there was a whole lake behind him! Finally, Prince Ivan got home. His sister ran out to greet him, embracing him warmly.
“Sit thee down, my brother!” she said, “play a tune on the lute while I go and get dinner ready.”
“Sit down, my brother!” she said, “play a tune on the lute while I go get dinner ready.”
The Prince sat down and strummed away on the lute [gusli].
The Prince sat down and played the lute [gusli].
Then there crept a mouse out of a hole, and said to him in a human voice:
Then a mouse came out of a hole and said to him in a human voice:
“Save yourself, Prince. Run away quick! your sister has gone to sharpen her teeth.”
“Save yourself, Prince. Get away fast! Your sister has gone to sharpen her teeth.”
Prince Ivan fled from the room, jumped on his horse, and galloped away back. Meantime the mouse kept running over the strings of the lute. They twanged, and the sister never guessed that her brother was off. When she had sharpened her teeth she burst into the room. Lo and behold! not a soul was there, nothing but the mouse bolting into its hole! The witch waxed wroth, ground her teeth like anything, and set off in pursuit.
Prince Ivan ran out of the room, jumped on his horse, and rode off quickly. Meanwhile, the mouse kept scampering over the lute strings. They twanged, and the sister had no idea her brother had left. After sharpening her teeth, she barged into the room. To her surprise, there was no one there, just the mouse darting into its hole! The witch got furious, gritted her teeth, and took off after him.
Prince Ivan heard a loud noise and looked back. There was his sister chasing him. So he waved his handkerchief, and a deep lake lay behind him. While the witch was swimming across the water, Prince Ivan got a long way ahead. But on she came faster than ever; and now she was close at hand! Vertodub guessed that the Prince was trying to escape from his sister. So he began tearing up oaks and strewing them across the road. A regular mountain did he pile up! there was no passing by for the witch! So she set to work to clear the way. She gnawed, [Pg 182] and gnawed, and at length contrived by hard work to bore her way through; but by this time Prince Ivan was far ahead.
Prince Ivan heard a loud noise and looked back. There was his sister chasing him. So he waved his handkerchief, and a deep lake lay behind him. While the witch was swimming across the water, Prince Ivan got a long way ahead. But she came on faster than ever; now she was close behind him! Vertodub figured out that the Prince was trying to escape from his sister. So he started tearing up oaks and piling them across the road. He created a massive obstacle! There was no way for the witch to get through! So she got to work clearing the path. She gnawed, and gnawed, and eventually managed to chew her way through; but by that time, Prince Ivan was far ahead.
On she dashed in pursuit, chased and chased. Just a little more, and it would be impossible for him to escape! But Vertogor spied the witch, laid hold of the very highest of all the mountains, pitched it down all of a heap on the road, and flung another mountain right on top of it. While the witch was climbing and clambering, Prince Ivan rode and rode, and found himself a long way ahead. At last the witch got across the mountain, and once more set off in pursuit of her brother. By-and-by she caught sight of him, and exclaimed:
On she ran after him, chasing and chasing. Just a little further, and he wouldn't be able to get away! But Vertogor saw the witch, grabbed the tallest mountain, tossed it down right in the path, and hurled another mountain right on top of it. While the witch was struggling to climb over, Prince Ivan rode and rode, getting far ahead. Finally, the witch made it over the mountain and took off after her brother again. Eventually, she spotted him and shouted:
“You sha’n’t get away from me this time!” And now she is close, now she is just going to catch him!
“You're not getting away from me this time!” And now she is close, now she is just about to catch him!
At that very moment Prince Ivan dashed up to the abode of the Sun’s Sister and cried:
At that moment, Prince Ivan ran up to the home of the Sun’s Sister and shouted:
“Sun, Sun! open the window!”
“Sun, Sun! open the window!”
The Sun’s Sister opened the window, and the Prince bounded through it, horse and all.
The Sun’s Sister opened the window, and the Prince jumped through it, horse and all.
Then the witch began to ask that her brother might be given up to her for punishment. The Sun’s Sister would not listen to her, nor would she give him up. Then the witch said:
Then the witch started asking for her brother to be handed over to her for punishment. The Sun’s Sister wouldn’t listen to her and refused to give him up. Then the witch said:
“Let Prince Ivan be weighed against me, to see which is the heavier. If I am, then I will eat him; but if he is, then let him kill me!”
“Let Prince Ivan be compared to me to see who is heavier. If I am, then I will eat him; but if he is, then let him kill me!”
This was done. Prince Ivan was the first to get into one of the scales; then the witch began to get into the other. But no sooner had she set foot in it than up shot Prince Ivan in the air, and that with such force that he flew right up into the sky, and into the chamber of the Sun’s Sister.
This was done. Prince Ivan was the first to step onto one of the scales; then the witch started to step onto the other. But as soon as she put her foot in it, Prince Ivan shot up into the air with such force that he flew straight up into the sky and into the chamber of the Sun’s Sister.
But as for the Witch-Snake, she remained down below on earth.
But the Witch-Snake stayed down below on earth.
[The word terem (plural terema) which occurs twice in this story (rendered the second time by “chamber”) deserves a special notice. It is defined by Dahl, in its antique sense, as “a raised, lofty habitation, or part of one—a Boyar’s castle—a Seigneur’s house—the dwelling-place of a ruler within a fortress,” &c. The “terem of the women,” sometimes styled “of the girls,” used to comprise the part of a Seigneur’s house, on the upper floor, set aside for the female members of his family. [Pg 183] Dahl compares it with the Russian tyurma, a prison, and the German Thurm. But it seems really to be derived from the Greek τέρεμνον, “anything closely shut fast or closely covered, a room, chamber,” &c.
The word terem (plural terema), which appears twice in this story (the second time translated as “chamber”), deserves special attention. Dahl defines it in its old sense as “a raised, lofty dwelling, or part of one—a Boyar’s castle—a Seigneur’s house—the home of a ruler within a fortress,” etc. The “terem of the women,” sometimes referred to as “of the girls,” was the section of a Seigneur’s house, on the upper floor, designated for the female members of his family. [Pg 183] Dahl compares it to the Russian tyurma, meaning prison, and the German Thurm. However, it seems to be derived from the Greek τέρεμνον, meaning “anything closely shut or covered, a room, chamber,” etc.
That part of the story which refers to the Cannibal Princess is familiar to the Modern Greeks. In the Syriote tale of “The Strigla” (Hahn, No. 65) a princess devours her father and all his subjects. Her brother, who had escaped while she was still a babe, visits her and is kindly received. But while she is sharpening her teeth with a view towards eating him, a mouse gives him a warning which saves his life. As in the Russian story the mouse jumps about on the strings of a lute in order to deceive the witch, so in the Greek it plays a fiddle. But the Greek hero does not leave his sister’s abode. After remaining concealed one night, he again accosts her. She attempts to eat him, but he kills her.
That part of the story about the Cannibal Princess is well-known to modern Greeks. In the Syriote tale of “The Strigla” (Hahn, No. 65), a princess eats her father and all his subjects. Her brother, who escaped while she was still a baby, visits her and is greeted warmly. However, while she sharpens her teeth in preparation to eat him, a mouse warns him, saving his life. Just like in the Russian story where the mouse hops on the strings of a lute to trick the witch, in the Greek version, it plays a fiddle. But the Greek hero doesn't leave his sister’s place. After hiding for a night, he confronts her again. She tries to eat him, but he ends up killing her.
In a variant from Epirus (Hahn, ii. p. 283-4) the cannibal princess is called a Chursusissa. Her brother climbs a tree, the stem of which she gnaws almost asunder. But before it falls, a Lamia comes to his aid and kills his sister.
In a version from Epirus (Hahn, ii. p. 283-4), the cannibal princess is named Chursusissa. Her brother climbs a tree that she is almost gnawing through. But before it falls, a Lamia comes to his rescue and kills his sister.
Afanasief (viii. p. 527) identifies the Sun’s Sister with the Dawn. The following explanation of the skazka (with the exception of the words within brackets) is given by A. de Gubernatis (“Zool. Myth.” i. 183). “Ivan is the Sun, the aurora [or dawn] is his [true] sister; at morning, near the abode of the aurora, that is, in the east, the shades of night [his witch, or false sister] go underground, and the Sun arises to the heavens; this is the mythical pair of scales. Thus in the Christian belief, St. Michael weighs human souls; those who weigh much sink down into hell, and those who are light arise to the heavenly paradise.”]
Afanasief (viii. p. 527) connects the Sun’s Sister with the Dawn. The following explanation of the skazka (except for the words in brackets) is provided by A. de Gubernatis (“Zool. Myth.” i. 183). “Ivan represents the Sun, and the aurora [or dawn] is his [true] sister; in the morning, close to the aurora’s home, which is in the east, the shadows of the night [his witch, or false sister] go underground, and the Sun rises into the sky; this symbolizes a mythical pair of scales. Similarly, in Christian belief, St. Michael weighs human souls; those that are heavy fall into hell, while those that are light ascend to heavenly paradise.”
As an illustration of this story, Afanasief (P.V.S. iii. 272) quotes a Little-Russian Skazka in which a man, who is seeking “the Isle in which there is no death,” meets with various personages like those with whom the Prince at first wished to stay on his journey, and at last takes up his abode with the moon. Death comes in search of him, after a hundred years or so have elapsed, and engages in a struggle with the Moon, the result of which is that the man is caught up into the sky, and there shines thenceforth “as a star near the moon.”
As an example of this story, Afanasief (P.V.S. iii. 272) references a Little-Russian Skazka where a man, who is searching for “the Isle where there’s no death,” encounters various characters similar to those the Prince initially wanted to stay with on his journey, and eventually settles down with the moon. After about a hundred years, Death comes looking for him and gets into a battle with the Moon, resulting in the man being lifted into the sky, where he shines “as a star near the moon” from that point on.
The Sun’s Sister is a mythical being who is often mentioned in the popular poetry of the South-Slavonians. A Servian song represents a beautiful maiden, with “arms of silver up to the elbows,” sitting on a silver throne which floats on water. A suitor comes to woo her. She waxes wroth and cries,
The Sun’s Sister is a mythical figure frequently referenced in the popular poetry of the South Slavs. A Serbian song portrays a stunning maiden, with “silver arms up to the elbows,” sitting on a silver throne that floats on water. A suitor arrives to court her. She becomes angry and shouts,
Then she flings down three golden apples, which the “marriage-proposers” attempt to catch, but “three lightnings flash from the sky” and kill the suitor and his friends.
Then she throws down three golden apples, which the “marriage-proposers” try to catch, but “three bolts of lightning flash from the sky” and strike down the suitor and his friends.
In another Servian song a girl cries to the Sun—
In another Servian song, a girl calls out to the Sun—
Than your brother, the bright Moon,
Than your sister, the moving star [Venus?].
In South-Slavonian poetry the sun often figures as a radiant youth. But among the Northern Slavonians, as well as the Lithuanians, the sun was regarded as a female being, the bride of the moon. “Thou askest me of what race, of what family I am,” says the fair maiden of a song preserved in the Tambof Government—
In South-Slavonian poetry, the sun is often portrayed as a shining young man. However, among the Northern Slavonians and the Lithuanians, the sun is seen as a female entity, the bride of the moon. “You ask me what race, what family I belong to,” says the beautiful maiden in a song preserved in the Tambof Government—
My brothers are the many stars, And my sisters—the white Dawns.[223]
A far more detailed account might be given of the Witch and her near relation the Baba Yaga, as well as of those masculine embodiments of that spirit of evil which is personified in them, the Snake, Koshchei, and other similar beings. But the stories which have been quoted will suffice to give at least a general idea of their moral and physical attributes. We will now turn from their forms, so constantly introduced into the skazka-drama, to [Pg 185] some of the supernatural figures which are not so often brought upon the stage—to those mythical beings of whom (numerous as may be the traditions about them) the regular “story” does not so often speak, to such personifications of abstract ideas as are less frequently employed to set its conventional machinery in motion.
A much more detailed account could be provided about the Witch and her close relative, Baba Yaga, as well as the male representations of that evil spirit depicted in them, like the Snake, Koshchei, and other similar figures. However, the stories we've mentioned are enough to give at least a general idea of their moral and physical traits. Now, let’s shift from their forms, which frequently appear in the skazka-drama, to [Pg 185] some of the supernatural beings that don’t often take the stage—those mythical figures that, despite the numerous traditions about them, are not commonly featured in the regular "story," and the representations of abstract ideas that are less frequently used to set its conventional machinery in motion.
FOOTNOTES:
[76] On slender supports.
On slim supports.
[78] Zatvelyef, apparently a provincial word.
__A_TAG_PLACEHOLDER_0__ Zatvelyef, apparently a regional term.
[79] The Russian word krof also signifies blood.
__A_TAG_PLACEHOLDER_0__ The Russian word krof also means blood.
[80] The last sentence of the story forms one of the conventional and meaningless “tags” frequently attached to the skazkas. In future I shall omit them. Kuzma and Demian (SS. Cosmas and Damian) figure in Russian folk-lore as saintly and supernatural smiths, frequently at war with snakes, which they maltreat in various ways. See A. de Gubernatis, “Zoological Mythology,” vol. ii. p. 397.
[80] The final sentence of the story is one of those standard and pointless “tags” often added to the fairy tales. From now on, I’ll leave them out. Kuzma and Demian (St. Cosmas and Damian) are known in Russian folklore as holy and supernatural blacksmiths, often battling snakes, which they treat poorly in different ways. See A. de Gubernatis, “Zoological Mythology,” vol. ii. p. 397.
[83] In an Indian story (“Kathásaritságara,” book vii. chap. 42), Indrasena comes to a place in which sits a Rákshasa on a throne between two fair ladies. He attacks the demon with a magic sword, and soon cuts off his head. But the head always grows again, until at last the younger of the ladies gives him a sign to split in half the head he has just chopped off. Thereupon the demon dies, and the two ladies greet the conqueror rapturously. The younger is the demon’s sister, the elder is a king’s daughter whom the demon has carried off from her home, after eating her father and all his followers. See Professor Brockhaus’s summary in the “Berichte der phil. hist. Classe der K. Sächs. Gesellschaft der Wissenschaften,” 1861. pp. 241-2.
[83] In an Indian story (“Kathásaritságara,” book vii. chap. 42), Indrasena arrives at a place where a Rákshasa sits on a throne flanked by two beautiful ladies. He fights the demon with a magical sword and quickly decapitates him. However, the head keeps regenerating until finally, the younger lady signals him to split the head he just severed in two. With that, the demon is defeated, and the two ladies joyfully welcome the victor. The younger lady is the demon's sister, while the elder is a princess whom the demon had abducted after killing her father and all his followers. See Professor Brockhaus’s summary in the “Berichte der phil. hist. Classe der K. Sächs. Gesellschaft der Wissenschaften,” 1861. pp. 241-2.
[84] Khudyakof, No. 46.
[85] Afanasief, vol. i. No. 6. From the Chernigof Government. The Norka-Zvyer’ (Norka-Beast) of this story is a fabulous creature, but zoologically the name of Norka (from nora = a hole) belongs to the Otter.
[85] Afanasief, vol. i. No. 6. From the Chernigof Government. The Norka-Zvyer’ (Norka-Beast) in this story is a mythical creature, but in zoology, the name Norka (from nora = a hole) refers to the otter.
[90] Khudyakof, ii. p. 17.
[92] Genesis, xxxvii. 3, 4.
[93] “Zoological Mythology,” i. 25.
[96] Khudyakof, No. 42.
__A_TAG_PLACEHOLDER_0__ Khudyakof, No. 42.
[97] Erlenvein, No. 41. A king’s horses disappear. His youngest son keeps watch and discovers that the thief is a white wolf. It escapes into a hole. He kills his horse at its own request and makes from its hide a rope by which he is lowered into the hole, etc.
[97] Erlenvein, No. 41. A king's horses go missing. His youngest son keeps watch and finds out that the thief is a white wolf. It escapes into a hole. The son kills his horse at its request and makes a rope from its hide, which he uses to lower himself into the hole, etc.
[98] Afanasief, v. 54.
[99] The word koshchei, says Afanasief, may fairly be derived from kost’, a bone, for changes between st and shch are not uncommon—as in the cases of pustoi, waste, pushcha, a wild wood, or of gustoi, thick, gushcha, sediment, etc. The verb okostenyet’, to grow numb, describes the state into which a skazka represents the realm of the “Sleeping Beauty,” as being thrown by Koshchei. Buslaef remarks in his “Influence of Christianity on Slavonic Language,” p. 103, that one of the Gothic words used by Ulfilas to express the Greek δαιμόνιον is skôhsl, which “is purely Slavonic, being preserved in the Czekh kauzlo, sorcery; in the Lower-Lusatian-Wendish, kostlar means a sorcerer. (But see Grimm’s “Deutsche Mythologie,” pp. 454-5, where skôhsl is supposed to mean a forest-sprite, also p. 954.) Kost’ changes into koshch whence our Koshchei.” There is also a provincial word, kostit’, meaning to revile or scold.
[99] The word koshchei, says Afanasief, may reasonably come from kost’, meaning a bone, since changes between st and shch are not unusual—like in the cases of pustoi, waste, pushcha, a wild forest, or gustoi, thick, gushcha, sediment, etc. The verb okostenyet’, to grow numb, illustrates the state that a skazka shows the realm of “Sleeping Beauty” as being thrown into by Koshchei. Buslaef notes in his “Influence of Christianity on Slavonic Language,” p. 103, that one of the Gothic words used by Ulfilas to express the Greek δαιμόνιον is skôhsl, which “is purely Slavonic, being preserved in the Czech kauzlo, sorcery; in the Lower-Lusatian-Wendish, kostlar means a sorcerer. (But see Grimm’s “Deutsche Mythologie,” pp. 454-5, where skôhsl is thought to mean a forest sprite, also p. 954.) Kost’ transforms into koshch from which we get Koshchei.” There's also a regional word, kostit’, meaning to insult or scold.
[100] Bezsmertny (bez = without, smert’ = death).
[102] Grom. It is the thunder, rather than the lightning, which the Russian peasants look upon as the destructive agent in a storm. They let the flash pass unheeded, but they take the precaution of crossing themselves when the roar follows.
[102] Grom. It's the thunder, not the lightning, that Russian peasants see as the real threat during a storm. They ignore the flash but make sure to cross themselves when they hear the booming sound that comes after.
[104] In Afanasief, iv. No. 39, a father marries his three daughters to the Sun, the Moon, and the Raven. In Hahn, No. 25, a younger brother gives his sisters in marriage to a Lion, a Tiger, and an Eagle, after his elder brothers have refused to do so. By their aid he recovers his lost bride. In Schott, No. 1 and Vuk Karajich, No. 5, the three sisters are carried off by Dragons, which their subsequently-born brother kills. (See also Basile, No. 33, referred to by Hahn, and Valjavec, p. 1, Stier, No. 13, and Bozena Nêmcova, pp. 414-432, and a German story in Musæus, all referred to by Afanasief, viii. p. 662.)
[104] In Afanasief, iv. No. 39, a father marries off his three daughters to the Sun, the Moon, and the Raven. In Hahn, No. 25, a younger brother gives his sisters in marriage to a Lion, a Tiger, and an Eagle after his older brothers have refused. With their help, he retrieves his lost bride. In Schott, No. 1 and Vuk Karajich, No. 5, the three sisters are taken by Dragons, which their later-born brother defeats. (See also Basile, No. 33, mentioned by Hahn, and Valjavec, p. 1, Stier, No. 13, and Bozena Nêmcova, pp. 414-432, as well as a German story in Musæus, all cited by Afanasief, viii. p. 662.)
[106] “Being by the advice of her father Hæreð given in marriage to Offa, she left off her violent practices; and accordingly she appears in Hygelác’s court, exercising the peaceful duties of a princess. Now this whole representation can hardly be other than the modern, altered, and Christian one of a Wælcyrie or Swan-Maiden; and almost in the same words the Nibelungen Lied relates of Brynhild, the flashing shield-may of the Edda, that with her virginity she lost her mighty strength and warlike habits.”—Kemble’s Beowulf, p. xxxv.
[106] “After her father Hæreð arranged her marriage to Offa, she stopped her aggressive behavior; as a result, she shows up in Hygelác’s court, fulfilling the peaceful responsibilities of a princess. This depiction is likely a modern, altered, and Christian interpretation of a Wælcyrie or Swan-Maiden; similarly, the Nibelungen Lied describes Brynhild, the radiant shield-maiden of the Edda, stating that with her virginity, she lost her immense strength and warrior ways.”—Kemble’s Beowulf, p. xxxv.
[107] Khudyakof, ii, p. 90.
[108] Khudyakof, No. 20.
[109] Afanasief, i. No. 14.
[110] Khudyakof, No. 62.
[111] Erlenvein, No. 31.
__A_TAG_PLACEHOLDER_0__ Erlenvein, #31.
[114] Do chugunnova kamnya, to an iron stone.
[116] Bog prostit = God will forgive. This sounds to the English ear like an ungracious reply, but it is the phrase ordinarily used by a superior when an inferior asks his pardon. Before taking the sacrament at Easter, the servants in a Russian household ask their employers to forgive them for any faults of which they may have been guilty. “God will forgive,” is the proper reply.
[116] Bog prostit = God will forgive. To English speakers, this might seem like a rude response, but it's the common phrase used by someone in a higher position when someone of lower status asks for forgiveness. Before taking communion at Easter, the servants in a Russian household ask their employers to forgive any wrongs they might have committed. The correct response is, “God will forgive.”
[117] Khudyakof, No. 43.
[118] Vikhor’ (vit’ = to whirl), an agent often introduced for the purpose of abduction. The sorcerers of the present day are supposed to be able to direct whirlwinds, and a not uncommon form of imprecation in some parts of Russia is “May the whirlwind carry thee off!” See Afanasief, P.V.S. i. 317, and “Songs of the Russian People,” p. 382.
[118] Vikhor’ (vit’ = to whirl), an entity often used for the purpose of kidnapping. Today’s sorcerers are believed to have the ability to control whirlwinds, and a common curse in some areas of Russia is “May the whirlwind take you away!” See Afanasief, P.V.S. i. 317, and “Songs of the Russian People,” p. 382.
[121] Khudyakof, No. 44.
[122] Erlenvein, No. 12, p. 67. A popular tradition asserts that the Devil may be killed if shot with an egg laid on Christmas Eve. See Afanasief, P.V.S. ii. 603.
[122] Erlenvein, No. 12, p. 67. A common belief suggests that the Devil can be killed if shot with an egg laid on Christmas Eve. See Afanasief, P.V.S. ii. 603.
[125] Some of these have been compared by Mr. Cox, in his “Mythology of the Aryan Nations,” i. 135-142. Also by Professor A. de Gubernatis, who sees in the duck the dawn, in the hare “the moon sacrificed in the morning,” and in the egg the sun. “Zoological Mythology,” i. 269.
[125] Some of these have been compared by Mr. Cox in his “Mythology of the Aryan Nations,” i. 135-142. They have also been discussed by Professor A. de Gubernatis, who interprets the duck as representing the dawn, the hare as “the moon sacrificed in the morning,” and the egg as symbolizing the sun. “Zoological Mythology,” i. 269.
[131] Hahn, No. 26, i. 187.
[133] Vuk Karajich, No. 8. The monster is called in the Servian text an Ajdaya, a word meaning a dragon or snake. It is rendered by Drache in the German translation of his collection of tales made by his daughter, but the word is evidently akin to the Sanskrit ahi, the Greek ἐχιρ ἐχιδνα, the Latin anguis, the Russian ujak, the Luthanian angis, etc. The Servian word snaga answers to the Russian sila, strength.
[133] Vuk Karajich, No. 8. The monster is referred to in the Serbian text as an Ajdaya, which means a dragon or snake. In the German translation of his tale collection by his daughter, it's translated as Drache, but the term clearly relates to the Sanskrit ahi, the Greek ἐχιρ ἐχιδνα, the Latin anguis, the Russian ujak, the Lithuanian angis, and others. The Serbian word snaga corresponds to the Russian sila, meaning strength.
[136] The story has been translated by M. de Rougé in the “Revue Archéologique,” 1852-3, p. 391 (referred to by Professor Benfey, “Panchatantra,” i. 426) and summarized by Mr. Goodwin in the “Cambridge Essays” for 1858, pp. 232-7, and by Dr. Mannhardt in the “Zeitschrift für deutsche Mythologie,” &c., vol. iv. pp. 232-59. For other versions of the story of the Giant’s heart, or Koshchei’s death, see Professor R. Köhler’s remarks on the subject in “Orient und Occident,” ii. pp. 99-103. A singular parallel to part of the Egyptian myth is offered by the Hottentot story in which the heart of a girl whom a lion has killed and eaten, is extracted from the lion, and placed in a calabash filled with milk. “The calabash increased in size, and in proportion to this, the girl grew again inside it.” Bleek’s “Reynard the Fox in South Africa,” p. 55. Cf. Radloff, i. 75; ii. 237-8, 532-3.
[136] The story was translated by M. de Rougé in the “Revue Archéologique,” 1852-3, p. 391 (cited by Professor Benfey, “Panchatantra,” i. 426) and summarized by Mr. Goodwin in the “Cambridge Essays” for 1858, pp. 232-7, and by Dr. Mannhardt in the “Zeitschrift für deutsche Mythologie,” &c., vol. iv. pp. 232-59. For other versions of the story of the Giant’s heart, or Koshchei’s death, see Professor R. Köhler’s comments on the topic in “Orient und Occident,” ii. pp. 99-103. An interesting parallel to part of the Egyptian myth is found in the Hottentot story where the heart of a girl, who was killed and eaten by a lion, is removed from the lion and placed in a calabash filled with milk. “The calabash grew larger, and as it did, the girl inside it grew again.” Bleek’s “Reynard the Fox in South Africa,” p. 55. Cf. Radloff, i. 75; ii. 237-8, 532-3.
[137] Khudyakof, No. 109.
__A_TAG_PLACEHOLDER_0__ Khudyakof, No. 109.
[138] Khudyakof, No. 110.
[139] Afanasief, v. No. 42. See also the Zagovor, or spell, “to give a good youth a longing for a fair maiden,” (“Songs of the Russian People,” p. 369,) in which “the Longing” is described as lying under a plank in a hut, weeping and sobbing, and “waiting to get at the white light,” and is desired to gnaw its way into the youth’s heart.
[139] Afanasief, v. No. 42. See also the Zagovor, or spell, “to make a good young man long for a beautiful maiden,” (“Songs of the Russian People,” p. 369,) where “the Longing” is depicted as lying under a plank in a hut, crying and sobbing, and “waiting to reach the white light,” and is wished to gnaw its way into the young man’s heart.
[144] Three of the well-known servants of Fortunatus. The eater-up (ob’egedat’ = to devour), the drinker-up (pit’ = to drink, opivat’sya, to drink oneself to death), and “Crackling Frost.”
[144] Three of the famous servants of Fortunatus. The glutton (ob’egedat’ = to devour), the heavy drinker (pit’ = to drink, opivat’sya = to drink oneself to death), and “Crackling Frost.”
[146] The Russian bath somewhat resembles the Turkish. The word here translated “to scrub,” properly means to rub and flog with the soft twig used in the baths for that purpose. At the end of the ceremonies attended on a Russian peasant wedding, the young couple always go to the bath.
[146] The Russian bath is similar to the Turkish one. The word here translated "to scrub" actually means to rub and whip with the soft twig used in the baths for that purpose. After the ceremonies at a Russian peasant wedding, the young couple always goes to the bath.
[148] Afanasief, v. No. 28. In the preceding story, No. 27, the king makes no promise. He hides his children in (or upon) a pillar, hoping to conceal them from a devouring bear, whose fur is of iron. The bear finds them and carries them off. A horse and some geese vainly attempt their rescue; a bull-calf succeeds, as in the former case. In another variant the enemy is an iron wolf. A king had promised his children a wolf. Unable to find a live one, he had one made of iron and gave it to his children. After a time it came to life and began destroying all it found, etc. An interesting explanation of the stories of this class in which they are treated as nature-myths, is given by A. de Gubernatis in his “Zoological Mythology,” chap. i. sect. 4.
[148] Afanasief, v. No. 28. In the previous story, No. 27, the king makes no promises. He hides his children on a pillar, hoping to keep them safe from a ravenous bear with iron fur. The bear finds them and takes them away. A horse and some geese unsuccessfully try to rescue them; a bull-calf eventually succeeds, just like in the previous case. In another version, the enemy is an iron wolf. A king promised his children a wolf. When he couldn't find a live one, he had one made of iron and gave it to them. Eventually, it came to life and started destroying everything it encountered, etc. A. de Gubernatis provides an interesting explanation of these kinds of stories, treating them as nature-myths, in his “Zoological Mythology,” chap. i. sect. 4.
[149] Khudyakof, No. 17.
[152] Khudyakof, No. 18.
[154] Khudyakof, No. 118.
[156] Afanasief, viii. p. 343.
[157] “Old Deccan Days,” pp. 34-5. Compare with the conduct of the Cobra’s daughter that of Angaraka, the daughter of the Daitya who, under the form of a wild boar, is chased underground by Chandasena. Brockhaus’s “Mährchensammlung des Somadeva Bhatta,” 1843, vol. i. pp. 110-13.
[157] “Old Deccan Days,” pp. 34-5. Compare the actions of the Cobra’s daughter with those of Angaraka, the daughter of the Daitya who, in the form of a wild boar, is pursued underground by Chandasena. Brockhaus’s “Mährchensammlung des Somadeva Bhatta,” 1843, vol. i. pp. 110-13.
[158] “Panchatantra,” v. 10.
__A_TAG_PLACEHOLDER_0__ "Panchatantra," vol. 10.
[160] Afanasief says (P.V.S. iii. 588), “As regards the word yaga (yega, Polish jedza, jadza, jedzi-baba, Slovak, jenzi, jenzi, jezi-baba, Bohemian, jezinka, Galician yazya) it answers to the Sanskrit ahi = snake.”
[160] Afanasief says (P.V.S. iii. 588), “Regarding the word yaga (yega, Polish jedza, jadza, jedzi-baba, Slovak, jenzi, jenzi, jezi-baba, Bohemian, jezinka, Galician yazya), it corresponds to the Sanskrit ahi = snake.”
Shchepkin (in his work on “Russian Fable-lore,” p. 109) says: “Yaga, instead of yagaya, means properly noisy, scolding, and must be connected with the root yagat’ = to brawl, to scold, still preserved in Siberia. The accuracy of this etymology is confirmed by the use, in the speech of the common people, of the designation Yaga Baba for a quarrelsome, scolding old woman.”
Shchepkin (in his work on “Russian Fable-lore,” p. 109) says: “Yaga, instead of yagaya, properly means noisy, scolding, and is connected to the root yagat’ = to brawl, to scold, which is still used in Siberia. The accuracy of this origin is confirmed by how common people use the term Yaga Baba to refer to a quarrelsome, scolding old woman.”
Kastorsky, in his “Slavonic Mythology,” p. 138, starts a theory of his own. “The name Yaga Baba, I take to be yakaya baba, nycyakaya baba, and I render it by anus quædam.” Bulgarin (Rossiya, ii. 322) refers the name to a Finnish root. According to him, “Jagga-lema, in Esthonian, means to quarrel or brawl, jagga-lemine means quarrelling or brawling.” There is some similarity between the Russian form of the word, and the Singalese name for a (male) demon, yaka, which is derived from the Pali yakkho, as is the synonymous term yakseya from the Sanskrit yaksha (see the valuable paper on Demonology in Ceylon by Dandris de Silva Gooneratne Modliar in the “Journal of the Ceylon Branch of the Royal Asiatic Society,” 1865-6). Some Slavonic philologists derive yaga from a root meaning to eat (in Russian yest’). This corresponds with the derivation of the word yaksha contained in the following legend: “The Vishnu Purāna, i. 5, narrates that they (the Yakshas) were produced by Brahmā as beings emaciate with hunger, of hideous aspect, and with long beards, and that, crying out ‘Let us eat,’ they were denominated Yakshas (fr. jaksh, to eat).” Monier Williams’s “Sanskrit Dictionary,” p. 801. In character the Yaga often resembles a Rákshasí.
Kastorsky, in his “Slavonic Mythology,” p. 138, presents his own theory. “The name Yaga Baba seems to come from yakaya baba and nycyakaya baba, which I interpret as anus quædam.” Bulgarin (Rossiya, ii. 322) traces the name back to a Finnish root. He states, “Jagga-lema in Estonian means to quarrel or fight, while jagga-lemine means quarrelling or fighting.” There’s a resemblance between the Russian version of the word and the Singalese term for a (male) demon, yaka, which comes from the Pali yakkho, just like the synonymous term yakseya comes from the Sanskrit yaksha (see the insightful paper on Demonology in Ceylon by Dandris de Silva Gooneratne Modliar in the “Journal of the Ceylon Branch of the Royal Asiatic Society,” 1865-6). Some Slavonic linguists derive yaga from a root meaning to eat (in Russian yest’). This aligns with the origin of the word yaksha mentioned in the following legend: “The Vishnu Purāna, i. 5, states that they (the Yakshas) were created by Brahmā as beings weakened from hunger, with ugly appearances and long beards, and that, shouting ‘Let us eat,’ they were called Yakshas (from jaksh, to eat).” Monier Williams’s “Sanskrit Dictionary,” p. 801. Character-wise, the Yaga often resembles a Rákshasí.
[162] Khudyakof, No. 60.
[166] Hahn, No. 1.
__A_TAG_PLACEHOLDER_0__ Hahn, No. 1.
[170] “Kathásaritságara,” vii. ch. xxxix. Translated by Wilson, “Essays,” ii. 137. Cf. Brockhaus in the previously quoted “Berichte,” 1861, p. 225-9. For other forms, see R. Köhler in “Orient and Occident,” vol. ii. p. 112.
[170] “Kathásaritságara,” vii. ch. xxxix. Translated by Wilson, “Essays,” ii. 137. See Brockhaus in the previously quoted “Berichte,” 1861, p. 225-9. For other forms, refer to R. Köhler in “Orient and Occident,” vol. ii. p. 112.
[172] Afanasief, viii. No. 6.
[174] Schleicher’s “Litauische Märchen,” No. 39. (I have given an analysis of the story in the “Songs of the Russian People,” p. 101.) In the variant of the story in No. 38, the comrades are the hero Martin, a smith, and a tailor. Their supernatural foe is a small gnome with a very long beard. He closely resembles the German “Erdmänneken” (Grimm, No. 91), and the “Männchen,” in “Der starke Hans” (Grimm, No. 166.)
[174] Schleicher’s “Litauische Märchen,” No. 39. (I have provided an analysis of the story in the “Songs of the Russian People,” p. 101.) In the version of the story in No. 38, the characters are the hero Martin, who is a blacksmith, and a tailor. Their supernatural enemy is a small gnome with a very long beard. He closely resembles the German “Erdmänneken” (Grimm, No. 91), and the “Männchen,” in “Der starke Hans” (Grimm, No. 166.)
[176] Wenzig, No. 2.
__A_TAG_PLACEHOLDER_0__ Wenzig, No. 2.
[177] “Tales of the West Highlands,” ii. p. 15. Mr. Campbell says “I believe such a mode of torture can be traced amongst the Scandinavians, who once owned the Western Islands.” But the Gaelic “Binding of the Three Smalls,” is unknown to the Skazkas.
[177] “Tales of the West Highlands,” ii. p. 15. Mr. Campbell mentions, “I think this kind of torture can be traced back to the Scandinavians, who once inhabited the Western Islands.” However, the Gaelic story “Binding of the Three Smalls” is unknown to the Skazkas.
[178] Erlenvein, No. 3.
__A_TAG_PLACEHOLDER_0__ Erlenvein, No. 3.
[179] Afanasief, vii. No. 30.
[180] Khudyakof, No. 97.
__A_TAG_PLACEHOLDER_0__ Khudyakof, No. 97.
[182] Afanasief, iv. No. 44.
[183] The first krasavitsa or beauty.
__A_TAG_PLACEHOLDER_0__ The first beauty.
[187] Ishbushka, a little izba or cottage.
__A_TAG_PLACEHOLDER_0__ Ishbushka, a small izba or cottage.
[193] I break off the narrative at this point, because what follows is inferior in dramatic interest, and I am afraid of diminishing the reader’s admiration for one of the best folk-tales I know. But I give an epitome of the remainder within brackets and in small type.
[193] I'm pausing the story here because what comes next isn’t as compelling, and I don’t want to lessen your appreciation for one of the best folk tales I know. However, I’ll provide a summary of the rest in brackets and in smaller text.
[195] Grimm, No. 65. The Wallachian and Lithuanian forms resemble the German (Schott, No. 3. Schleicher, No. 7). In all of them, the heroine is a princess, who runs away from an unnatural father. In one of the Modern Greek versions (Hahn, No. 27), she sinks into the earth. For references to seven other forms of the story, see Grimm, KM., iii. p. 116. In one Russian variant (Khudyakof, No. 54), she hides in a secret drawer, constructed for the purpose in a bedstead; in another (Afanasief, vi. No. 28 a), her father, not recognising her in the pig-skin dress, spits at her, and turns her out of the house. In a third, which is of a very repulsive character (ibid. vii. No. 29), the father kills his daughter.
[195] Grimm, No. 65. The Wallachian and Lithuanian versions are similar to the German ones (Schott, No. 3. Schleicher, No. 7). In all of these, the heroine is a princess who escapes from a cruel father. In one version from Modern Greece (Hahn, No. 27), she disappears into the ground. For references to seven other versions of the story, see Grimm, KM., iii. p. 116. In one Russian variant (Khudyakof, No. 54), she hides in a secret compartment designed in a bed; in another (Afanasief, vi. No. 28 a), her father, not recognizing her in the pigskin dress, spits on her and kicks her out of the house. In a third version, which is quite disturbing (ibid. vii. No. 29), the father kills his daughter.
[196] Afanasief, vi. No. 18.
[197] The Russian word is zakukovali, i.e., “They began to cuckoo.” The resemblance between the word kukla, a puppet, and the name and cry of the cuckoo (Kukushka) may be merely accidental, but that bird has a marked mythological character. See the account of the rite called “the Christening of the Cuckoos,” in “Songs of the Russian people,” p. 215.
[197] The Russian word is zakukovali, i.e., “They started to cuckoo.” The similarity between the word kukla, meaning puppet, and the name and call of the cuckoo (Kukushka) might just be a coincidence, but that bird has a significant mythological presence. Check out the description of the ritual called “the Christening of the Cuckoos” in “Songs of the Russian people,” p. 215.
[198] Very like these puppets are the images which reply for the sleeping prince in the opening scene of “De beiden Künigeskinner” (Grimm, No. 113). A doll plays an important part in one of Straparola’s stories (Night v. Fable 2). Professor de Gubernatis identifies the Russian puppet with “the moon, the Vedic Râkâ, very small, but very intelligent, enclosed in the wooden dress, in the forest of night,” “Zoological Mythology,” i. 207-8.
[198] These puppets are very similar to the images that respond for the sleeping prince in the opening scene of “De beiden Künigeskinner” (Grimm, No. 113). A doll plays a key role in one of Straparola’s stories (Night v. Fable 2). Professor de Gubernatis compares the Russian puppet to “the moon, the Vedic Râkâ, very small, but very intelligent, enclosed in the wooden dress, in the forest of night,” “Zoological Mythology,” i. 207-8.
[199] Afanasief, ii. No. 31.
[200] Khudyakof, No. 55.
__A_TAG_PLACEHOLDER_0__ Khudyakof, No. 55.
[201] Ibid., No. 83.
__A_TAG_PLACEHOLDER_0__ Ibid., No. 83.
[203] The germ of all these repulsive stories about incestuous unions, proposed but not carried out, was probably a nature myth akin to that alluded to in the passage of the Rigveda containing the dialogue between Yama and Yami—“where she (the night) implores her brother (the day) to make her his wife, and where he declines her offer because, as he says, ‘they have called it sin that a brother should marry his sister.’” Max Müller, “Lectures,” sixth edition, ii. 557.
[203] The root of all these disturbing stories about incestuous relationships, suggested but not acted upon, likely originated from a nature myth similar to the one mentioned in the part of the Rigveda where Yama speaks with Yami—“where she (the night) begs her brother (the day) to marry her, and he rejects her proposal because, as he states, ‘it has been called a sin for a brother to marry his sister.’” Max Müller, “Lectures,” sixth edition, ii. 557.
[204] Afanasief, vii. No. 18.
[205] Her name Vyed’ma comes from a Slavonic root véd, answering to the Sanskrit vid—from which springs an immense family of words having reference to knowledge. Vyed’ma and witch are in fact cousins who, though very distantly related, closely resemble each other both in appearance and in character.
[205] Her name Vyed’ma comes from a Slavic root véd, which corresponds to the Sanskrit vid—from which a vast family of words related to knowledge originates. Vyed’ma and witch are essentially cousins who, although they are only distantly related, closely resemble each other in both appearance and character.
[209] Diminutive of Elena.
__A_TAG_PLACEHOLDER_0__ Short form of Elena.
[210] Gusi—lebedi, geese—swans.
__A_TAG_PLACEHOLDER_0__ Gusi—lebedi, geese—swans.
[211] Afanasief, i. No. 4.
[212] Kulish, ii. 17.
[213] Khudyakof, No. 53.
__A_TAG_PLACEHOLDER_0__ Khudyakof, No. 53.
[214] Ibid. No. 52.
__A_TAG_PLACEHOLDER_0__ Ibid. No. 52.
[215] The demonism of Ceylon “represents demons as having human fathers and mothers, and as being born in the ordinary course of nature. Though born of human parents, all their qualities are different from those of men. They leave their parents sometime after their birth, but before doing so, they generally take care to try their demoniac powers on them.” “Demonology and Witchcraft in Ceylon,” by Dandris de Silva Gooneratne Modliar. “Journal of Ceylon Branch of Royal Asiatic Society,” 1865-6, p. 17.
[215] The demonism of Ceylon “depicts demons as having human fathers and mothers, and as being born in the usual way. Even though they are born from human parents, all their traits are different from those of humans. They leave their parents shortly after they are born, but before they do, they typically test their demonic powers on them.” “Demonology and Witchcraft in Ceylon,” by Dandris de Silva Gooneratne Modliar. “Journal of Ceylon Branch of Royal Asiatic Society,” 1865-6, p. 17.
[217] “Whither [his] eyes look.”
“Where [his] eyes look.”
[218] Vertodub, the Tree-extractor (vertyet’ = to twirl, dub = tree or oak) is the German Baumdreher or Holzkrummacher; Vertogor the Mountain leveller (gora = mountain) answers to the Steinzerreiber or Felsenkripperer.
[218] Vertodub, the Tree-extractor (vertyet’ = to twirl, dub = tree or oak) is the German Baumdreher or Holzkrummacher; Vertogor the Mountain leveller (gora = mountain) corresponds to the Steinzerreiber or Felsenkripperer.
[220] Otkuda ni vzyalis.
[221] Vidimo—nevidimo, visibly—invisibly.
__A_TAG_PLACEHOLDER_0__ See—unsee, visibly—invisibly.
[223] Afanasief, P.V.S., i. 80-84. In the Albanian story of “The Serpent Child,” (Hahn, No. 100), the heroine, the wife of the man whom forty snake-sloughs encase, is assisted in her troubles by two subterranean beings whom she finds employed in baking. They use their hands instead of shovels, and clean out the oven with their breasts. They are called “Sisters of the Sun.”
[223] Afanasief, P.V.S., i. 80-84. In the Albanian story “The Serpent Child,” (Hahn, No. 100), the heroine, who is the wife of the man wrapped in forty snake skins, gets help with her problems from two underground beings she finds baking. They use their hands instead of shovels and clean the oven with their chests. They are referred to as the “Sisters of the Sun.”
CHAPTER III.
MYTHOLOGICAL.
Miscellaneous Impersonifications.
Somewhat resembling the picture usually drawn of the supernatural Witch in the Skazkas, is that which some of them offer of a personification of evil called Likho.[224] The following story, belonging to the familiar Polyphemus-cycle, will serve to convey an idea of this baleful being, who in it takes a female form.
Somewhat resembling the typical depiction of the supernatural witch in fairy tales, is what some of them present as a personification of evil called Likho.[224] The following story, part of the well-known Polyphemus cycle, will help illustrate this ominous being, who in this tale takes on a female form.
One-Eyed Likho.[224]
Once upon a time there was a smith. “Well now,” says he, “I’ve never set eyes on any harm. They say there’s evil (likho)[225] in the world. I’ll go and seek me out evil.” So he went and had a goodish drink, and then started in search of evil. On the way he met a tailor.
Once upon a time, there was a blacksmith. “Well now,” he said, “I’ve never seen any harm. They say there’s evil (likho)[225] in the world. I’m going to go find this evil.” So he had a good drink and then set off in search of evil. On the way, he met a tailor.
“Good day,” says the Tailor.
"Good day," says the Tailor.
[Pg 187] “Good day.”
"Hello."
“Where are you going?” asks the Tailor.
“Where are you headed?” asks the Tailor.
“Well, brother, everybody says there is evil on earth. But I’ve never seen any, so I’m going to look for it.”
“Well, brother, everyone says there’s evil in the world. But I’ve never seen any, so I’m going to search for it.”
“Let’s go together. I’m a thriving man, too, and have seen no evil; let’s go and have a hunt for some.”
“Let’s go together. I’m doing well, too, and haven’t seen any trouble; let’s go out and look for some.”
Well, they walked and walked till they reached a dark, dense forest. In it they found a small path, and along it they went—along the narrow path. They walked and walked along the path, and at last they saw a large cottage standing before them. It was night; there was nowhere else to go to. “Look here,” they say, “let’s go into that cottage.” In they went. There was nobody there. All looked bare and squalid. They sat down, and remained sitting there some time. Presently in came a tall woman, lank, crooked, with only one eye.
Well, they walked for quite a while until they reached a dark, dense forest. Inside, they found a small path and started walking along it—just a narrow path. They kept walking, and finally, they saw a large cottage in front of them. It was nighttime, and there was nowhere else to go. "Hey," they said, "let's go into that cottage." So, they entered. There was no one inside. Everything looked bare and dirty. They sat down and stayed there for a while. Eventually, a tall woman came in, thin and crooked, with only one eye.
“Ah!” says she, “I’ve visitors. Good day to you.”
“Ah!” she says, “I have visitors. Good day to you.”
“Good day, grandmother. We’ve come to pass the night under your roof.”
“Hi, Grandma. We’ve come to spend the night at your place.”
“Very good: I shall have something to sup on.”
“Great: I’ll have something to eat for dinner.”
Thereupon they were greatly terrified. As for her, she went and fetched a great heap of firewood. She brought in the heap of firewood, flung it into the stove, and set it alight. Then she went up to the two men, took one of them—the Tailor—cut his throat, trussed him, and put him in the oven.
They were then incredibly scared. She went and got a big pile of firewood. She brought in the pile, tossed it into the stove, and lit it. Then she approached the two men, grabbed one of them—the Tailor—slit his throat, tied him up, and put him in the oven.
Meantime the Smith sat there, thinking, “What’s to be done? how’s one to save one’s life?” When she had finished her supper, the Smith looked at the oven and said:
Meantime, the Smith sat there, thinking, “What should I do? How can I save my life?” When she finished her dinner, the Smith looked at the oven and said:
“Granny, I’m a smith.”
"Grandma, I'm a blacksmith."
“What can you forge?”
“What can you create?”
“Anything.”
"Anything."
“Make me an eye.”
"Make me an eye."
“Good,” says he; “but have you got any cord? I must tie you up, or you won’t keep still. I shall have to hammer your eye in.”
“Good,” he says; “but do you have any rope? I need to tie you up, or you won’t stay still. I’m going to have to hit your eye in.”
She went and fetched two cords, one rather thin, the other thicker. Well, he bound her with the one which was thinnest.
She went and got two ropes, one pretty thin and the other thicker. Well, he tied her with the thinnest one.
[Pg 188] “Now then, granny,” says he, “just turn over.” She turned over, and broke the cord.
[Pg 188] “Alright, grandma,” he says, “just flip over.” She flipped over and broke the cord.
“That won’t do, granny,” says he; “that cord doesn’t suit.”
"That won't work, Grandma," he says; "that cord doesn't fit."
He took the thick cord, and tied her up with it famously.
He grabbed the thick rope and expertly tied her up with it.
“Now then, turn away, granny!” says he. She turned and twisted, but didn’t break the cord. Then he took an awl, heated it red-hot, and applied it to her eye—her sound one. At the same moment he caught up a hatchet, and hammered away vigorously with the back of it at the awl. She struggled like anything, and broke the cord; then she went and sat down at the threshold.
“Alright, turn away, grandma!” he says. She turned and twisted, but she didn’t break the cord. Then he took an awl, heated it until it was red-hot, and pressed it against her eye—her good one. At the same time, he grabbed a hatchet and pounded on the back of the awl with it. She struggled like crazy and finally broke the cord; then she went and sat down at the door.
“Ah, villain!” she cried. “You sha’n’t get away from me now!”
“Ah, you villain!” she shouted. “You’re not escaping from me now!”
He saw that he was in an evil plight again. There he sat, thinking, “What’s to be done?”
He realized that he was in a terrible situation once more. There he sat, thinking, “What should I do?”
By-and-by the sheep came home from afield, and she drove them into her cottage for the night. Well, the Smith spent the night there, too. In the morning she got up to let the sheep out. He took his sheep-skin pelisse and turned it inside out so that the wool was outside, passed his arms through its sleeves, and pulled it well over him, and crept up to her as he had been a sheep. She let the flock go out one at a time, catching hold of each by the wool on its back, and shoving it out. Well, he came creeping up like the rest. She caught hold of the wool on his back and shoved him out. But as soon as she had shoved him out, he stood up and cried:
Soon enough, the sheep came back from the field, and she guided them into her cottage for the night. Well, the Smith stayed there that night too. In the morning, she got up to let the sheep out. He took his sheepskin coat and turned it inside out so that the wool was on the outside, slipped his arms through the sleeves, pulled it over himself, and crept up to her like he was just another sheep. She let the flock out one at a time, grabbing hold of the wool on each one's back and nudging them out. He crept up like the others. She grabbed the wool on his back and pushed him out. But as soon as she shoved him out, he stood up and shouted:
“Farewell, Likho! I have suffered much evil (likha) at your hands. Now you can do nothing to me.”
“Goodbye, Likho! I've suffered a lot of harm from you. Now you can't do anything to me.”
“Wait a bit!” she replied; “you shall endure still more. You haven’t escaped yet!”
“Hold on a minute!” she replied; “you’re going to have to deal with even more. You’re not out of the woods yet!”
The Smith went back through the forest along the narrow path. Presently he saw a golden-handled hatchet sticking in a tree, and he felt a strong desire to seize it. Well, he did seize that hatchet, and his hand stuck fast to it. What was to be done? There was no freeing it anyhow. He gave a look behind him. There was Likho coming after him, and crying:
The Smith walked back through the forest on the narrow path. Soon, he spotted a hatchet with a golden handle stuck in a tree, and he felt a strong urge to grab it. So, he grabbed that hatchet, and his hand got stuck to it. What was he supposed to do? There was no way to free it. He looked back. Likho was coming after him, shouting:
[Pg 189] “There you are, villain! you’ve not got off yet!”
[Pg 189] “There you are, you villain! You haven't escaped yet!”
The Smith pulled out a small knife which he had in his pocket, and began hacking away at his hand—cut it clean off and ran away. When he reached his village, he immediately began to show his arm as a proof that he had seen Likho at last.
The Smith took out a small knife he had in his pocket and started cutting at his hand—he chopped it right off and ran away. When he got to his village, he quickly began to show his arm as proof that he had finally seen Likho.
“Look,” says he, “that’s the state of things. Here am I,” says he, “without my hand. And as for my comrade, she’s eaten him up entirely.”
“Look,” he says, “that’s how things are. Here I am,” he continues, “without my hand. And as for my friend, she’s completely devoured him.”
In a Little-Russian variant of this story, quoted by Afanasief,[226] (III. p. 137) a man, who often hears evil or misfortune (likho) spoken of, sets out in search of it. One day he sees an iron castle beside a wood, surrounded by a palisade of human bones tipped with skulls. He knocks at the door, and a voice cries “What do you want?” “I want evil,” he replies. “That’s what I’m looking for.” “Evil is here,” cries the voice. So in he goes, and finds a huge, blind giant lying within, stretched on a couch of human bones. “This was Likho (Evil),” says the story, “and around him were seated Zluidni (Woes) and Zhurba (Care).” Finding that Likho intends to eat him, the misfortune-seeker takes to flight. Likho hears the iron doors creak, and cries to them to stop the fugitive. “But he had already passed out of doors. Only he lost his right hand, on which the door slammed: whereupon he exclaimed ‘Here’s misfortune, sure enough!’”
In a Little-Russian version of this story, quoted by Afanasief,[226] (III. p. 137), a man who often hears about evil or misfortune sets out to find it. One day, he comes across an iron castle next to a forest, surrounded by a fence made of human bones topped with skulls. He knocks on the door, and a voice calls out, “What do you want?” “I want evil,” he replies. “That’s what I’m looking for.” “Evil is here,” the voice responds. So he goes inside and discovers a huge, blind giant lying on a couch made of human bones. “This was Likho (Evil),” the tale states, “and around him were seated Zluidni (Woes) and Zhurba (Care).” When he realizes that Likho plans to eat him, the seeker of misfortune runs away. Likho hears the iron doors creaking and shouts at them to stop the runaway. “But he had already gotten through the doors. He only lost his right hand, which got caught in the slamming door: at that, he exclaimed, ‘Now that’s misfortune, for sure!’”
The opening of the story of Likho is somewhat similar to that of one of the tales of Indian origin translated by Stanislas Julien from the Chinese. Once upon a time, we are told, a king grew weary of good fortune, so he sent messengers in search of misfortune. It a certain god sold to them, in the shape of a sow which devoured a peck of needles a day. The king’s agents took to worrying his [Pg 190] subjects for needles, and brought such trouble upon the whole kingdom, that his ministers entreated him to have the beast put to death. He consented, and it was led forth to die. But neither knife nor axe could penetrate its hide, so they tried to consume it with fire. After a time it became red-hot, and then it leaped out from amid the flames, and dashed about setting fire to all manner of things. The conflagration spread and was followed by famine, so that the whole land was involved in ruin.[227]
The beginning of the story of Likho is somewhat similar to one of the tales of Indian origin translated by Stanislas Julien from the Chinese. Once upon a time, it's said that a king became tired of good fortune, so he sent messengers to find misfortune. A certain god sold them misfortune in the form of a pig that consumed a peck of needles every day. The king’s agents started pestering his subjects for needles, which created so much trouble across the entire kingdom that his ministers begged him to have the creature killed. He agreed, and it was brought out to be executed. However, neither knife nor axe could cut through its skin, so they attempted to burn it. Eventually, it became red-hot, leaped out of the flames, and ran around setting various things on fire. The fire spread and led to famine, resulting in ruin for the whole land.[Pg 190][227]
The Polyphemus story has been so thoroughly investigated by Wilhelm Grimm,[228] that there is no occasion to dwell upon it here. But the following statement is worthy of notice. The inhabitants of the Ukraine are said still to retain some recollection of the one-eyed nation of Arimaspians of whom Herodotus speaks (Bk. IV. c. 27). According to them the One-Eyes[229] dwell somewhere far off, beyond the seas. The Tartars, during their inroads, used to burn towns and villages, kill old folks and infants, and carry off young people. The plumpest of these they used to sell to cannibals who had but one eye apiece, situated in the forehead. And the cannibals would drive away their purchases, like sheep, to their own land, and there fatten them up, kill them, and eat them. A similar tradition, says Afanasief (VIII. 260) exists also among the Ural Cossacks.
The Polyphemus story has been thoroughly explored by Wilhelm Grimm,[228] so there's no need to go into detail about it here. However, the following statement is worth mentioning. The people of Ukraine are said to still have some memory of the one-eyed race of Arimaspians that Herodotus talks about (Bk. IV. c. 27). According to them, the One-Eyes[229] live somewhere far away, across the seas. The Tartars, during their raids, used to burn towns and villages, kill the elderly and infants, and take off young people. They would sell the plumpest ones to cannibals who each had one eye placed in the middle of their forehead. The cannibals would herd their purchases like sheep to their own land, where they would fatten them up, kill them, and eat them. A similar tradition, says Afanasief (VIII. 260), also exists among the Ural Cossacks.
While on the subject of eyes, it may be remarked that the story of “One-Eye, Two-Eyes, and Three-Eyes,” rendered so familiar to juvenile English readers by translations [Pg 191] from the German,[230] appears among the Russian tales in a very archaic and heathenish form. Here is the outline of a version of it found in the Archangel Government.[231] There once was a Princess Marya, whose stepmother had two daughters, one of whom was three-eyed. Now her stepmother hated Marya, and used to send her out, with nothing to eat but a dry crust, to tend a cow all day. But “the princess went into the open field, bowed down before the cow’s right foot, and got plenty to eat and to drink, and fine clothes to put on; all day long she followed the cow about dressed like a great lady—when the day came to a close, she again bowed down to the cow’s right foot, took off her fine clothes, went home and laid on the table the crust of bread she had brought back with her.” Wondering at this, her stepmother sent her two-eyed stepsister to watch her. But Marya uttered the words “Sleep, sleep, one-eye! sleep, sleep, other eye!” till the watcher fell asleep. Then the three-eyed sister was sent, and Marya by the same spell sent two of her eyes to sleep, but forgot the third. So all was found out, and the stepmother had the cow killed. But Marya persuaded her father, who acted as the butcher, to give her a part of the cow’s entrails, which she buried near the threshold; and from it there sprang a bush covered with berries, and haunted by birds which sang “songs royal and rustic.” After a time a Prince Ivan heard of Marya, so he came riding up, and offered to marry whichever of the three princesses could fill with berries from the bush a bowl which he brought with him. The stepmother’s daughters tried to do so, but the birds almost pecked their eyes out, and would not let them gather the berries. Then Marya’s turn came, and when she approached the bush the birds picked the berries for her, [Pg 192] and filled the bowl in a trice. So she married the prince, and lived happily with him for a time.
While we're talking about eyes, it's worth noting that the story of “One-Eye, Two-Eyes, and Three-Eyes,” which has become well-known to young English readers through translations from German, appears among Russian tales in a very ancient and pagan form. Here’s the outline of a version found in the Archangel Government. There once was a Princess Marya, whose stepmother had two daughters, one of whom had three eyes. The stepmother hated Marya and would send her out with only a crust of bread to tend a cow all day. But “the princess would go into the open field, kneel down before the cow’s right foot, and receive plenty to eat and drink, along with beautiful clothes to wear; all day long she followed the cow around dressed like a noble lady. When evening came, she would again kneel down to the cow’s right foot, take off her fine clothes, go home, and lay the crust of bread she brought back on the table.” Her stepmother, curious about this, sent her two-eyed stepsister to spy on her. However, Marya whispered, “Sleep, sleep, one-eye! sleep, sleep, other eye!” until the watcher fell asleep. Then the three-eyed sister was sent, and Marya used the same spell to put two of her eyes to sleep, but forgot about the third. So everything was discovered, and the stepmother had the cow killed. But Marya convinced her father, who was the butcher, to give her a part of the cow’s entrails, which she buried near the threshold. From it grew a bush covered in berries, inhabited by birds that sang “royal and rustic songs.” After a while, a Prince Ivan heard about Marya, so he rode up and offered to marry whichever of the three princesses could fill a bowl he brought with berries from the bush. The stepmother’s daughters tried to do it, but the birds nearly pecked their eyes out and wouldn’t let them gather any berries. Then it was Marya’s turn, and when she approached the bush, the birds picked the berries for her, and filled the bowl in no time. So she married the prince and lived happily with him for a while.
But after she had borne him a son, she went to pay a visit to her father, and her stepmother availed herself of the opportunity to turn her into a goose, and to set her own two-eyed daughter in her place. So Prince Ivan returned home with a false bride. But a certain old man took out the infant prince afield, and there his mother appeared, flung aside her feather-covering, and suckled the babe, exclaiming the while with tears—
But after she had given birth to a son, she went to visit her father, and her stepmother took advantage of the moment to turn her into a goose and put her own daughter in her place. So Prince Ivan came home with a fake bride. But an old man took the infant prince out into the field, where his mother appeared, shed her feather covering, and nursed the baby, crying as she did so—
“To-day I suckle thee, to-morrow I shall suckle thee, but on the third day I shall fly away beyond the dark forests, beyond the high mountains!”
“Today I nurse you, tomorrow I will nurse you, but on the third day I will fly away beyond the dark forests, beyond the high mountains!”
This occurred on two successive days, but on the second occasion Prince Ivan was a witness of what took place, and he seized her feather-dress and burnt it, and then laid hold of her. She first turned into a frog, then assumed various reptile forms, and finally became a spindle. This he broke in two, and flung one half in front and the other behind him, and the spell was broken along with it. So he regained his wife and went home with her. But as for the false wife, he took a gun and shot her.
This happened over two days in a row, but on the second day, Prince Ivan saw what was happening. He grabbed her feather dress and burned it, then caught her. She first transformed into a frog, then changed into different reptile shapes, and finally became a spindle. He broke the spindle in half, throwing one piece in front of him and the other behind him, and that broke the spell. This way, he got his wife back and returned home with her. As for the false wife, he took a gun and shot her.
We will now return to the stories in which Harm or Misery figures as a living agent. To Likho is always attributed a character of unmitigated malevolence, and a similar disposition is ascribed by the songs of the people to another being in whom the idea of misfortune is personified. This is Goré, or Woe, who is frequently represented in popular poetry—sometimes under the name of Béda or Misery—as chasing and ultimately destroying the unhappy victims of destiny. In vain do the fugitives attempt to escape. If they enter the dark forest, Woe follows them there; if they rush to the pot-house, there they find Woe sitting; when [Pg 193] they seek refuge in the grave, Woe stands over it with a shovel and rejoices.[232] In the following story, however, the gloomy figure of Woe has been painted in a less than usually sombre tone.
We will now return to the stories where Harm or Misery is portrayed as a living force. Likho is always seen as utterly malevolent, and a similar nature is attributed by folk songs to another entity that embodies the concept of misfortune. This is Goré, or Woe, often depicted in popular poetry—sometimes referred to as Béda or Misery—as someone who relentlessly pursues and ultimately destroys the unfortunate victims of fate. The fleeing individuals try desperately to escape. If they enter the dark forest, Woe follows them there; if they rush to the tavern, they find Woe waiting for them; and when they seek refuge in the grave, Woe stands over it with a shovel, relishing their despair.[Pg 193] In the following story, however, the typically dark figure of Woe has been portrayed in a slightly less grim manner.
Sorrow.[233]
In a certain village there lived two peasants, two brothers: one of them poor, the other rich. The rich one went away to live in a town, built himself a large house, and enrolled himself among the traders. Meanwhile the poor man sometimes had not so much as a morsel of bread, and his children—each one smaller than the other—were crying and begging for food. From morning till night the peasant would struggle, like a fish trying to break through ice, but nothing came of it all. At last one day he said to his wife:
In a certain village, there were two brothers who were both peasants: one was poor and the other was rich. The rich brother moved to town, built himself a big house, and became a trader. Meanwhile, the poor brother often had barely a crumb of bread to eat, and his children—each smaller than the last—were crying and begging for food. From morning to night, the peasant struggled like a fish trying to break through the ice, but nothing worked out for him. Finally, one day he said to his wife:
“Suppose I go to town, and ask my brother whether he won’t do something to help us.”
"Let’s say I go into town and ask my brother if he can help us out."
So he went to the rich man and said:
So he went to the wealthy man and said:
“Ah, brother mine! do help me a bit in my trouble. My wife and children are without bread. They have to go whole days without eating.”
“Hey, brother! Please help me out a little with my problems. My wife and kids have no food. They’re going whole days without eating.”
“Work for me this week, then I’ll help you,” said his brother.
“Work for me this week, and then I’ll help you,” said his brother.
What was there to be done! The poor man betook himself to work, swept out the yard, cleaned the horses, fetched water, chopped firewood.
What was there to do? The poor man got to work, swept the yard, cleaned the horses, fetched water, and chopped firewood.
At the end of the week the rich man gave him a loaf of bread, and says:
At the end of the week, the rich man gave him a loaf of bread and said:
“There’s for your work!”
"Here's for your work!"
“Thank you all the same,” dolefully said the poor man, making his bow and preparing to go home.
“Thank you anyway,” said the poor man sadly, bowing and getting ready to head home.
“Stop a bit! come and dine with me to-morrow, and bring your wife, too: to-morrow is my name-day, you know.”
“Wait a moment! Come and have dinner with me tomorrow, and bring your wife along too: tomorrow is my name day, you know.”
“Ah, brother! how can I? you know very well you’ll [Pg 194] be having merchants coming to you in boots and pelisses, but I have to go about in bast shoes and a miserable old grey caftan.”
“Ah, brother! How can I? You know very well you’ll [Pg 194] be having merchants coming to you in boots and fancy coats, but I have to walk around in old shoes and a shabby grey robe.”
“No matter, come! there will be room even for you.”
“No worries, come on! There will be space for you too.”
“Very well, brother! I’ll come.”
"Okay, bro! I'll come."
The poor man returned home, gave his wife the loaf, and said:
The poor man went home, handed his wife the loaf, and said:
“Listen, wife! we’re invited to a party to-morrow.”
“Hey, honey! We’re invited to a party tomorrow.”
“What do you mean by a party? who’s invited us?”
“What do you mean by a party? Who's invited us?”
“My brother! he keeps his name-day to-morrow.”
“My brother! He’s celebrating his name-day tomorrow.”
“Well, well! let’s go.”
“Well, well! Let’s go.”
Next day they got up and went to the town, came to the rich man’s house, offered him their congratulations, and sat down on a bench. A number of the name-day guests were already seated at table. All of these the host feasted gloriously, but he forgot even so much as to think of his poor brother and his wife; not a thing did he offer them; they had to sit and merely look on at the others eating and drinking.
The next day, they got up and went to town, arrived at the rich man's house, congratulated him, and sat down on a bench. Several guests celebrating their name days were already seated at the table. The host treated all of them to an extravagant feast, but he didn't even think about his poor brother and his wife; he didn't offer them anything at all; they just had to sit there and watch everyone else eat and drink.
The dinner came to an end; the guests rose from table, and expressed their thanks to their host and hostess; and the poor man did likewise, got up from his bench, and bowed down to his girdle before his brother. The guests drove off homewards, full of drink and merriment, shouting, singing songs. But the poor man had to walk back empty.
The dinner wrapped up; the guests stood up from the table and thanked their host and hostess. The poor man did the same, got up from his bench, and bowed deeply to his brother. The guests drove off home, buzzing from drinks and laughter, shouting and singing. But the poor man had to walk back alone.
“Suppose we sing a song, too,” he says to his wife.
“Let’s sing a song, too,” he says to his wife.
“What a fool you are!” says she, “people sing because they’ve made a good meal and had lots to drink; but why ever should you dream of singing?”
“What a fool you are!” she says. “People sing because they’ve had a great meal and plenty to drink; but why on earth would you think of singing?”
“Well, at all events, I’ve been at my brother’s name-day party. I’m ashamed of trudging along without singing. If I sing, everybody will think I’ve been feasted like the rest.”
“Well, anyway, I went to my brother's name-day party. I'm embarrassed to walk around without singing. If I sing, everyone will assume I've been partying like the others.”
“Sing away, then, if you like; but I won’t!”
“Go ahead and sing if you want; but I’m not going to!”
The peasant began a song. Presently he heard a voice joining in it. So he stopped, and asked his wife:
The peasant started singing. Soon, he heard someone else's voice joining in. So he paused and asked his wife:
“Is it you that’s helping me to sing with that thin little voice?”
“Is it you who’s helping me sing with that weak little voice?”
[Pg 195] “What are you thinking about! I never even dreamt of such a thing.”
[Pg 195] “What are you thinking? I never even imagined something like this.”
“Who is it, then?”
"Who is it?"
“I don’t know,” said the woman. “But now, sing away, and I’ll listen.”
“I don’t know,” said the woman. “But go ahead and sing, and I’ll listen.”
He began his song again. There was only one person singing, yet two voices could be heard. So he stopped, and asked:
He started his song again. There was just one person singing, but two voices could be heard. So he paused and asked:
“Woe, is that you that’s helping me to sing?”
"Woe, is that you helping me to sing?"
“Yes, master,” answered Woe: “it’s I that’s helping you.”
“Yes, master,” Woe replied, “it’s me who’s helping you.”
“Well then, Woe! let’s all go on together.”
“Well then, Woe! Let’s all go together.”
“Very good, master! I’ll never depart from you now.”
“Sounds great, master! I’m never leaving your side now.”
When the peasant got home, Woe bid him to the kabak or pot-house.
When the peasant got home, Woe invited him to the kabak or pot-house.
“I’ve no money,” says the man.
“I don’t have any money,” says the man.
“Out upon you, moujik! What do you want money for? why you’ve got on a sheep-skin jacket. What’s the good of that? It will soon be summer; anyhow you won’t be wanting to wear it. Off with the jacket, and to the pot-house we’ll go.”
“Get out of here, peasant! What do you need money for? You’re wearing a sheepskin jacket. What’s the point of that? Summer will be here soon; you won’t even want to wear it. Take off the jacket, and let’s head to the tavern.”
So the peasant went with Woe into the pot-house, and they drank the sheep-skin away.
So the peasant went with Woe into the pub, and they drank the sheep-skin away.
The next day Woe began groaning—its head ached from yesterday’s drinking—and again bade the master of the house have a drink.
The next day, Woe started groaning—its head throbbed from yesterday’s drinking—and once more asked the master of the house to have a drink.
“I’ve no money,” said the peasant.
“I don’t have any money,” said the peasant.
“What do we want money for? Take the cart and the sledge; we’ve plenty without them.”
“What do we need money for? Just take the cart and the sled; we have plenty without them.”
There was nothing to be done; the peasant could not shake himself free from Woe. So he took the cart and the sledge, dragged them to the pot-house, and there he and Woe drank them away. Next morning Woe began groaning more than ever, and invited the master of the house to go and drink off the effects of the debauch. This time the peasant drank away his plough and his harrow.
There was nothing he could do; the peasant couldn't escape Woe. So he took the cart and the sledge, dragged them to the tavern, and there he and Woe drank them away. The next morning, Woe started groaning more than ever and encouraged the tavern owner to drink away the hangover. This time, the peasant ended up drinking away his plow and his harrow.
A month hadn’t passed before he had got rid of everything he possessed. Even his very cottage he pledged to a neighbor, and the money he got that way he took to the pot-house.
A month didn't go by before he got rid of everything he owned. He even pawned his little cottage to a neighbor, and the money he got from that, he took to the bar.
[Pg 196] Yet another time did Woe come close beside him and say:
[Pg 196] Once again, Woe came up to him and said:
“Let us go, let us go to the pot-house!”
“Let’s go, let’s go to the bar!”
“No, no, Woe! it’s all very well, but there’s nothing more to be squeezed out.”
“No, no, Woe! that’s fine, but there’s nothing else to be gotten out.”
“How can you say that? Your wife has got two petticoats: leave her one, but the other we must turn into drink.”
“How can you say that? Your wife has two petticoats: let her keep one, but we need to turn the other into money for drinks.”
The peasant took the petticoat, drank it away, and said to himself:
The peasant took the petticoat, drank it down, and said to himself:
“We’re cleaned out at last, my wife as well as myself. Not a stick nor a stone is left!”
“We're completely cleaned out at last, my wife and I. There's not a single stick or stone left!”
Next morning Woe saw, on waking, that there was nothing more to be got out of the peasant, so it said:
Next morning, Woe woke up and realized there was nothing more to be gained from the peasant, so it said:
“Master!”
"Boss!"
“Well, Woe?”
"Well, what a shame?"
“Why, look here. Go to your neighbor, and ask him to lend you a cart and a pair of oxen.”
“Hey, look. Go to your neighbor and ask him to borrow a cart and a pair of oxen.”
The peasant went to the neighbor’s.
The peasant went to the neighbor's house.
“Be so good as to lend me a cart and a pair of oxen for a short time,” says he. “I’ll do a week’s work for you in return.”
“Could you lend me a cart and a pair of oxen for a little while?” he asks. “I’ll work for you for a week in exchange.”
“But what do you want them for?”
“But what do you need them for?”
“To go to the forest for firewood.”
“To go to the woods for firewood.”
“Well then, take them; only don’t overburthen them.”
“Well then, take them; just don’t overload them.”
“How could you think of such a thing, kind friend!”
“How could you think of something like that, dear friend!”
So he brought the pair of oxen, and Woe got into the cart with him, and away he drove into the open plain.
So he brought the two oxen, and Woe climbed into the cart with him, and off they went into the open field.
“Master!” asks Woe, “do you know the big stone on this plain?”
“Master!” asks Woe, “do you know the large stone on this plain?”
“Of course I do.”
"Of course, I do."
“Well then if you know it, drive straight up to it.”
"Okay, if you know it, just drive straight to it."
They came to the place where it was, stopped, and got out of the cart. Woe told the peasant to lift the stone; the peasant lifted it, Woe helping him. Well, when they had lifted it there was a pit underneath chock full of gold.
They arrived at the spot, stopped, and got out of the cart. Woe told the peasant to lift the stone; the peasant lifted it with Woe's help. Once they had removed it, they found a pit underneath filled with gold.
“Now then, what are you staring at!” said Woe to the peasant, “be quick and pitch it into the cart.”
“Now, what are you looking at!” said Woe to the peasant, “hurry up and throw it into the cart.”
The peasant set to work and filled the cart with gold; [Pg 197] cleared the pit to the very last ducat. When he saw there was nothing more left:
The farmer got to work and filled the cart with gold; [Pg 197] cleared the pit down to the last ducat. When he saw there was nothing more left:
“Just give a look, Woe,” he said; “isn’t there some money left in there?”
“Just take a look, Woe,” he said; “isn’t there any money left in there?”
“Where?” said Woe, bending down; “I can’t see a thing.”
“Where?” asked Woe, leaning down; “I can’t see anything.”
“Why there; something is shining in yon corner!”
“Look over there; something is shining in that corner!”
“No, I can’t see anything,” said Woe.
“No, I can’t see anything,” Woe said.
“Get into the pit; you’ll see it then.”
“Get into the pit; you'll understand once you're in there.”
Woe jumped in: no sooner had it got there than the peasant closed the mouth of the pit with the stone.
Woe jumped in: no sooner had it arrived than the peasant covered the mouth of the pit with the stone.
“Things will be much better like that,” said the peasant: “if I were to take you home with me, O Woeful Woe, sooner or later you’d be sure to drink away all this money, too!”
“Things will be much better that way,” said the peasant. “If I took you home with me, O Woeful Woe, sooner or later you'd be sure to spend all this money, too!”
The peasant got home, shovelled the money into his cellar, took the oxen back to his neighbor, and set about considering how he should manage. It ended in his buying a wood, building a large homestead, and becoming twice as rich as his brother.
The farmer got home, stuffed the money into his cellar, returned the oxen to his neighbor, and started thinking about how to manage things. In the end, he bought some land, built a big house, and became twice as wealthy as his brother.
After a time he went into the town to invite his brother and sister-in-law to spend his name-day with him.
After a while, he went into town to invite his brother and sister-in-law to celebrate his name day with him.
“What an idea!” said his rich brother: “you haven’t a thing to eat, and yet you ask people to spend your name-day with you!”
“What an idea!” said his wealthy brother. “You don’t have anything to eat, and yet you invite people to celebrate your name day with you!”
“Well, there was a time when I had nothing to eat, but now, thank God! I’ve as much as you. If you come, you’ll see for yourself.”
"Well, there was a time when I had nothing to eat, but now, thank God! I have as much as you. If you come, you'll see for yourself."
“So be it! I’ll come,” said his brother.
“Alright! I’ll come,” said his brother.
Next day the rich brother and his wife got ready, and went to the name-day party. They could see that the former beggar had got a new house, a lofty one, such as few merchants had! And the moujik treated them hospitably, regaled them with all sorts of dishes, gave them all sorts of meads and spirits to drink. At length the rich man asked his brother:
Next day, the wealthy brother and his wife got ready and went to the name-day party. They noticed that the former beggar now had a new house, a tall one, like few merchants had! The peasant welcomed them warmly, served them various dishes, and offered them all kinds of meads and drinks. Finally, the rich man asked his brother:
“Do tell me by what good luck have you grown rich?”
“Please tell me how you got so lucky and became wealthy?”
The peasant made a clean breast of everything—how Woe the Woeful had attached itself to him, how he and Woe had [Pg 198] drunk away all that he had, to the very last thread, so that the only thing that was left him was the soul in his body. How Woe showed him a treasure in the open field, how he took that treasure, and freed himself from Woe into the bargain. The rich man became envious.
The farmer confessed everything—how Woe the Woeful had latched onto him, how he and Woe had drunk away everything he owned, down to the last thread, leaving him with nothing but the soul in his body. He explained how Woe had shown him a treasure in the open field, how he took that treasure, and how he freed himself from Woe in the process. The rich man became jealous.
“Suppose I go to the open field,” thinks he, “and lift up the stone and let Woe out. Of a surety it will utterly destroy my brother, and then he will no longer brag of his riches before me!”
“Let’s say I go to the open field,” he thinks, “and lift the stone to release Woe. It will definitely ruin my brother, and then he won’t be able to brag about his wealth in front of me anymore!”
So he sent his wife home, but he himself hastened into the plain. When he came to the big stone, he pushed it aside, and knelt down to see what was under it. Before he had managed to get his head down low enough, Woe had already leapt out and seated itself on his shoulders.
So he sent his wife home, but he rushed into the field. When he got to the big stone, he pushed it aside and knelt down to see what was underneath. Before he could get his head low enough, Woe had already jumped out and perched itself on his shoulders.
“Ha!” it cried, “you wanted to starve me to death in here! No, no! Now will I never on any account depart from you.”
“Ha!” it shouted, “you wanted to starve me to death in here! No, no! Now I’ll never leave you for any reason.”
“Only hear me, Woe!” said the merchant: “it wasn’t I at all who put you under the stone.”
“Just listen to me, Woe!” said the merchant. “It wasn’t me at all who put you under the stone.”
“Who was it then, if it wasn’t you?”
“Who was it then, if it wasn’t you?”
“It was my brother put you there, but I came on purpose to let you out.”
“It was my brother who put you there, but I came on purpose to let you out.”
“No, no! that’s a lie. You tricked me once; you shan’t trick me a second time!”
“No, no! That’s a lie. You fooled me once; you won’t fool me again!”
Woe gripped the rich merchant tight by the neck; the man had to carry it home, and there everything began to go wrong with him. From the very first day Woe began again to play its usual part, every day it called on the merchant to renew his drinking.[234] Many were the valuables which went in the pot-house.
Woe had a firm hold on the wealthy merchant; he had to bring it home, and that’s when everything started to go downhill for him. From the very first day, Woe resumed its usual routine, calling on the merchant every day to drink more.[234] He lost many valuable items in the tavern.
“Impossible to go on living like this!” says the merchant to himself. “Surely I’ve made sport enough for Woe! It’s time to get rid of it—but how?”
“There's no way I can keep living like this!” the merchant says to himself. “I've surely entertained Misery enough! It’s time to get rid of it—but how?”
He thought and thought, and hit on an idea. Going into the large yard, he cut two oaken wedges, took a new wheel, and drove a wedge firmly into one end of its axle-box. Then he went to where Woe was:
He thought and thought and came up with an idea. Going into the big yard, he cut two oak wedges, grabbed a new wheel, and drove a wedge firmly into one end of its axle box. Then he went to where Woe was:
[Pg 199] “Hallo, Woe! why are you always idly sprawling there?”
[Pg 199] “Hey, Woe! Why are you always just lounging around there?”
“Why, what is there left for me to do?”
“Why, what else is there for me to do?”
“What is there to do! let’s go into the yard and play at hide-and-seek.”
“What should we do? Let’s go outside and play hide-and-seek.”
Woe liked the idea. Out they went into the yard. First the merchant hid himself; Woe found him immediately. Then it was Woe’s turn to hide.
Woe liked the idea. Out they went into the yard. First, the merchant hid himself; Woe found him right away. Then it was Woe’s turn to hide.
“Now then,” says Woe, “you won’t find me in a hurry! There isn’t a chink I can’t get into!”
“Alright then,” says Woe, “you won’t catch me rushing! There isn’t a crack I can’t slip into!”
“Get along with you!” answered the merchant. “Why you couldn’t creep into that wheel there, and yet you talk about chinks!”
“Get out of here!” replied the merchant. “You couldn’t even fit into that wheel over there, and yet you’re talking about gaps!”
“I can’t creep into that wheel? See if I don’t go clean out of sight in it!”
“I can’t sneak into that wheel? Just watch me disappear completely in it!”
Woe slipped into the wheel; the merchant caught up the oaken wedge, and drove it into the axle-box from the other side. Then he seized the wheel and flung it, with Woe in it, into the river. Woe was drowned, and the merchant began to live again as he had been wont to do of old.
Woe got stuck in the wheel; the merchant picked up the wooden wedge and pushed it into the axle from the other side. Then he grabbed the wheel and tossed it, with Woe still inside, into the river. Woe drowned, and the merchant started living again just like he used to.
In a variant of this story found in the Tula Government we have, in the place of woe, Nuzhda, or Need. The poor brother and his wife are returning home disconsolately from a party given by the rich brother in honor of his son’s marriage. But a draught of water which they take by the way gets into their heads, and they set up a song.
In a version of this story from the Tula Government, instead of sorrow, we have Nuzhda, or Need. The poor brother and his wife are heading home feeling sad after a party thrown by the rich brother to celebrate his son's wedding. But a sip of water they have along the way inspires them, and they start singing.
“There are two of them singing (says the story), but three voices prolong the strain.
“There are two of them singing (says the story), but three voices extend the melody.
“‘Whoever is that?’ say they.
"Who is that?" they say.
“‘Thy Need,’ answers some one or other.
“‘Your Need,’ someone responds.”
“‘What, my good mother Need!’
“‘What, my dear mother Need!’”
“So saying the man laid hold of her, and took her down from his shoulders—for she was sitting on them. And he found a horse’s head and put her inside it, and flung it into [Pg 200] a swamp. And afterwards he began to lead a new life—impossible to live more prosperously.”
“So saying, the man grabbed her and took her down from his shoulders—since she was sitting up there. He found a horse’s head, put her inside it, and tossed it into a swamp. After that, he started a new life—one that was impossible to live any better.”
Of course the rich brother becomes envious and takes Need out of the swamp, whereupon she clings to him so tightly that he cannot get rid of her, and he becomes utterly ruined.[235]
Of course, the wealthy brother becomes jealous and takes Need out of the swamp, after which she clings to him so tightly that he can't shake her off, and he ends up completely ruined.[235]
In another story, from the Viatka Government, the poor man is invited to a house-warming at his rich brother’s, but he has no present to take with him.
In another story, from the Viatka Government, the poor man is invited to a housewarming at his rich brother’s, but he has no gift to bring with him.
“We might borrow, but who would trust us?” says he.
"We might borrow, but who would trust us?" he says.
“Why there’s Need!” replies his wife with a bitter laugh. “Perhaps she’ll make us a present. Surely we’ve lived on friendly terms with her for an age!”
“Why there’s Need!” replies his wife with a bitter laugh. “Maybe she’ll give us a gift. We’ve definitely been on good terms with her for ages!”
“Take the feast-day sarafan,”[236] cries Need from behind the stove; “and with the money you get for it buy a ham and take it to your brother’s.”
“Take the feast-day sarafan,”[236] calls Need from behind the stove; “and with the money you get for it, buy a ham and take it to your brother’s.”
“Have you been living here long, Need?” asks the moujik.
“Have you been living here long, Need?” asks the peasant.
“Yes, ever since you and your brother separated.”
“Yes, ever since you and your brother went your separate ways.”
“And have you been comfortable here?”
"And have you been feeling comfortable here?"
“Thanks be to God, I get on tolerably!”
“Thanks to God, I’m doing pretty well!”
The moujik follows the advice of Need, but meets with a cold reception at his brother’s. On returning sadly home he finds a horse standing by the road side, with a couple of bags slung across its back. He strikes it with his glove, and it disappears, leaving behind it the bags, which turn out to be full of gold. This he gathers up, and then goes indoors. After finding out from his wife where she has taken up her quarters for the night, he says:
The peasant takes Need's advice but gets a frosty welcome from his brother. When he sadly heads home, he spots a horse by the side of the road with a couple of bags on its back. He taps it with his glove, and it vanishes, leaving the bags behind, which are filled with gold. He picks up the gold and then goes inside. After asking his wife where she’s staying for the night, he says:
“And where are you, Need?”
"And where are you, Need?"
“In the pitcher which stands on the stove.”
“In the pitcher that’s on the stove.”
[Pg 201] After a time the moujik asks his wife if she is asleep. “Not yet,” she replies. Then he puts the same question to Need, who gives no answer, having gone to sleep. So he takes his wife’s last sarafan, wraps up the pitcher in it, and flings the bundle into an ice-hole.[237]
[Pg 201] After a while, the peasant asks his wife if she’s asleep. “Not yet,” she replies. Then he asks Need the same question, but gets no response because he has already fallen asleep. So, he takes his wife's last sarafan, wraps the pitcher in it, and tosses the bundle into a hole in the ice.[237]
In one of the “chap-book” stories (a lubochnaya skazka), a poor man “obtained a crust of bread and took it home to provide his wife and boy with a meal, but just as he was beginning to cut it, suddenly out from behind the stove jumped Kruchìna,[238] snatched the crust from his hands, and fled back again behind the stove. Then the old man began to bow down before Kruchìna and to beseech him[239] to give back the bread, seeing that he and his had nothing to eat. Thereupon Kruchìna replied, “I will not give you back your crust, but in return for it I will make you a present of a duck which will lay a golden egg every day,” and kept his word.[240]
In one of the "chap-book" stories (a lubochnaya skazka), a poor man "got a piece of bread and took it home to give his wife and son a meal, but just as he was starting to cut it, suddenly Kruchìna jumped out from behind the stove,[238] snatched the bread from his hands, and darted back behind the stove. Then the old man began to bow before Kruchìna and begged him[239] to return the bread, explaining that he and his family had nothing to eat. Kruchìna then replied, "I won't give you back your bread, but in exchange, I will give you a duck that will lay a golden egg every day," and he kept his promise.[240]
In Little-Russia the peasantry believe in the existence of small beings, of vaguely defined form, called Zluidni who bring zlo or evil to every habitation in which they take up their quarters. “May the Zluidni strike him!” is a Little-Russian curse, and “The Zluidni have got leave for three days; not in three years will you get rid of them!” is a White-Russian proverb. In a Little-Russian skazka a poor man catches a fish and takes it as a present to his rich brother, who says, “A splendid fish! thank you, brother, thank you!” but evinces no other sign of gratitude. On his way home the poor man meets an old stranger and tells [Pg 202] him his story—how he had taken his brother a fish and had got nothing in return but a “thank ye.”
In Little Russia, the peasants believe in small beings of vague shape called Zluidni who bring zlo or evil to any home where they settle. “May the Zluidni strike him!” is a common curse in Little Russia, and “The Zluidni have been given leave for three days; it will take three years to get rid of them!” is a proverb in White Russia. In a Little Russian folktale, a poor man catches a fish and brings it as a gift to his wealthy brother, who responds, “What a great fish! Thank you, brother, thank you!” but shows no other signs of appreciation. On his way home, the poor man encounters an old stranger and shares his story—how he brought his brother a fish and received nothing in return except a “thank you.”
“How!” cries the old man. “A spasibo[241] is no small thing. Sell it to me!”
“How!” cries the old man. “A spasibo[241] is no small thing. Sell it to me!”
“How can one sell it?” replies the moujik. “Take it pray, as a present!”
“How can you sell it?” replies the peasant. “Just give it as a gift!”
“So the spasibo is mine!” says the old man, and disappears, leaving in the peasant’s hands a purse full of gold.
“So the spasibo is mine!” says the old man, and vanishes, leaving the peasant holding a purse full of gold.
The peasant grows rich, and moves into another house. After a time his wife says to him—
The farmer gets wealthy and moves into a different house. After a while, his wife says to him—
“We’ve been wrong, Ivan, in leaving our mill-stones in the old house. They nourished us, you see, when we were poor; but now, when they’re no longer necessary to us, we’ve quite forgotten them!”
“We’ve been wrong, Ivan, to leave our millstones in the old house. They used to sustain us when we were poor; but now that we don’t need them anymore, we’ve completely forgotten about them!”
“Right you are,” replies Ivan, and sets off to fetch them. When he reaches his old dwelling, he hears a voice saying—
“Right you are,” Ivan replies, and heads off to get them. When he arrives at his old place, he hears a voice saying—
“A bad fellow, that Ivan! now he’s rich, he’s abandoned us!”
“A bad guy, that Ivan! Now that he’s wealthy, he’s left us!”
“Who are you?” asks Ivan. “I don’t know you a bit.”
“Who are you?” asks Ivan. “I don’t know you at all.”
“Not know us! you’ve forgotten our faithful service, it seems! Why, we’re your Zluidni!”
“Don’t know us? It seems you’ve forgotten our loyal service! We’re your Zluidni!”
“God be with you!” says he. “I don’t want you!”
“God be with you!” he says. “I don’t want you!”
“No, no! we will never part from you now!”
“No, no! We will never leave you now!”
“Wait a bit!” thinks Ivan, and then continues aloud, “Very good, I’ll take you; but only on condition that you bring home my mill-stones for me.”
“Just a moment!” thinks Ivan, and then says out loud, “Alright, I’ll take you; but only if you bring home my millstones for me.”
There is a very curious Servian story of two brothers, one of whom is industrious and unlucky, and the other idle and prosperous. The poor brother one day sees a flock of sheep, and near them a fair maiden spinning a golden thread.
There’s a fascinating Serbian tale about two brothers, one who works hard but struggles, and the other who is lazy yet successful. One day, the poor brother spots a flock of sheep and a beautiful maiden nearby spinning a golden thread.
“Whose sheep are these?” he asks.
“Whose sheep are these?” he asks.
“The sheep are his whose I myself am,” she replies.
“The sheep belong to him, and so do I,” she replies.
“And whose art thou?” he asks.
“And whose are you?” he asks.
“I am thy brother’s Luck,” she answers.
“I am your brother’s Luck,” she replies.
“But where is my Luck?” he continues
“But where is my luck?” he continues
“Far away from thee is thy Luck,” she replies.
“Your luck is far away from you,” she replies.
“But can I find her?” he asks.
“But can I find her?” he asks.
“Thou canst; go and seek her,” she replies.
"You can; go and find her," she replies.
So the poor man wanders away in search of her. One day he sees a grey-haired old woman asleep under an oak in a great forest, who proves to be his Luck. He asks who it is that has given him such a poor Luck, and is told that it is Fate. So he goes in search of Fate. When he finds her, she is living at ease in a large house, but day by day her riches wane and her house contracts. She explains to her visitor that her condition at any given hour affects the whole lives of all children born at that time, and that he had come into the world at a most unpropitious moment; and she advises him to take his niece Militsa (who had been born at a lucky time) to live in his house, and to call all he might acquire her property. This advice he follows, and all goes well with him. One day, as he is gazing at a splendid field of corn, a stranger asks him to whom it belongs. In a forgetful moment he replies, “It [Pg 204] is mine,” and immediately the whole crop begins to burn. He runs after the stranger and cries, “Stop, brother! that field isn’t mine, but my niece Militsa’s,” whereupon the fire goes out and the crop is saved.[243]
So the poor man walks away looking for her. One day, he sees a gray-haired old woman sleeping under an oak tree in a large forest, who turns out to be his Luck. He asks who has given him such bad Luck, and is told it’s Fate. So he sets out to find Fate. When he finds her, she’s living comfortably in a big house, but day by day her wealth diminishes and her house shrinks. She explains to him that her state at any given moment affects the entire lives of all children born at that time, and that he was born at a very unlucky moment. She advises him to bring his niece Militsa (who was born at a lucky time) to live with him and claim anything he might gain as her property. He follows her advice, and everything goes well for him. One day, while he’s admiring a beautiful field of corn, a stranger asks who it belongs to. In a moment of forgetfulness, he replies, “It’s mine,” and instantly the whole crop starts to burn. He runs after the stranger and shouts, “Wait, brother! That field isn’t mine, it’s my niece Militsa’s,” and just like that, the fire goes out and the crop is saved.[243]
On this idea of a personal Fortune is founded the quaint opening of one of the Russian stories. A certain peasant, known as Ivan the Unlucky, in despair at his constant want of success, goes to the king for advice. The king lays the matter before “his nobles and generals,” but they can make nothing of it. At last the king’s daughter enters the council chamber and says, “This is my opinion, my father. If he were to be married, the Lord might allot him another sort of Fortune.” The king flies into a passion and exclaims:
On this idea of personal luck is based the quirky opening of one of the Russian stories. A peasant named Ivan the Unlucky, frustrated by his endless failures, goes to the king for advice. The king presents the issue to “his nobles and generals,” but they can't figure it out. Finally, the king’s daughter steps into the council chamber and says, “This is my opinion, Father. If he were to get married, God might give him a different kind of luck.” The king loses his temper and exclaims:
“Since you’ve settled the question better than all of us, go and marry him yourself!”
“Since you’ve answered the question better than any of us, go marry him yourself!”
The marriage takes place, and brings Ivan good luck along with it.[244]
The wedding happens, and it brings Ivan good fortune along with it.[244]
Similar references to a man’s good or bad luck frequently occur in the skazkas. Thus in one of them (from the Grodno Government) a poor man meets “two ladies (pannui), and those ladies are—the one Fortune and the other Misfortune.”[245] He tells them how poor he is, and they agree that it will be well to bestow something on him. “Since he is one of yours,” says Luck, “do you make him a present.” At length they take out ten roubles and give them to him. He hides the money in a pot, and his wife gives it away to a neighbor. Again they assist him, giving him twenty roubles, and again his wife gives them away unwittingly. Then the ladies bestow on him two [Pg 205] farthings (groshi), telling him to give them to fishermen, and bid them make a cast “for his luck.” He obeys, and the result is the capture of a fish which brings him in wealth.[246]
Similar references to a man's good or bad luck often appear in the skazkas. In one of them (from the Grodno Government), a poor man encounters “two ladies (pannui), one being Fortune and the other Misfortune.”[245] He shares how poor he is, and they agree it's a good idea to help him out. “Since he’s one of yours,” says Luck, “you should give him a gift.” Eventually, they pull out ten roubles and give them to him. He hides the money in a pot, but his wife unknowingly gives it away to a neighbor. They help him again, giving him twenty roubles, and once more his wife gives it away without realizing. Then the ladies give him two [Pg 205] farthings (groshi) and tell him to give them to fishermen, instructing them to cast “for his luck.” He follows their advice, and as a result, he catches a fish that brings him wealth.[246]
In another story[247] a young man, the son of a wealthy merchant, is so unlucky that nothing will prosper with him. Having lost all that his father has left him, he hires himself out, first as a laborer, then as a herdsman. But as, in each capacity, he involves his masters in heavy losses, he soon finds himself without employment. Then he tries another country, in which the king gives him a post as a sort of stoker in the royal distillery, which he soon all but burns down. The king is at first bent upon punishing him, but pardons him after hearing his sad tale. “He bestowed on him the name of Luckless,[248] and gave orders that a stamp should be set on his forehead, that no tolls or taxes should be demanded from him, and that wherever he appeared he should be given free board and lodging, but that he should never be allowed to stop more than twenty-four hours in any one place.” These orders are obeyed, and wherever Luckless goes, “nobody ever asks him for his billet or his passport, but they give him food to eat, and liquor to drink, and a place to spend the night in; and next morning they take him by the scruff of the neck and turn him out of doors.”[249]
In another story[247] a young man, the son of a wealthy merchant, is so unlucky that nothing seems to work out for him. After losing everything his father left him, he takes jobs as a laborer and later as a herdsman. However, in both roles, he causes his employers significant losses and soon finds himself out of work. He decides to try his luck in another country, where the king gives him a job as a kind of stoker in the royal distillery, but he almost ends up burning it down. The king initially wants to punish him but decides to forgive him after hearing his sad story. “He gave him the name Luckless,[248] and ordered that a mark be placed on his forehead so that no tolls or taxes would be collected from him, and that wherever he went, he would receive free food and lodging, but he should never stay in one place for more than twenty-four hours.” These instructions are followed, and wherever Luckless travels, “no one ever asks him for his ticket or his passport, but they provide him with meals, drinks, and a place to sleep; and the next morning, they literally throw him out.”[249]
[Pg 206] We will now turn from the forms under which popular fiction has embodied some of the ideas connected with Fortune and Misfortune, to another strange group of figures—the personifications of certain days of the week. Of these, by far the most important is that of Friday.
[Pg 206] We will now shift from the ways popular fiction has expressed some ideas related to Fortune and Misfortune to another unusual set of characters—the personifications of specific days of the week. Among these, the most significant is definitely Friday.
The Russian name for that day, Pyatnitsa,[250] has no such mythological significance as have our own Friday and the French Vendredi. But the day was undoubtedly consecrated by the old Slavonians to some goddess akin to Venus or Freyja, and her worship in ancient times accounts for the superstitions now connected with the name of Friday. According to Afanasief,[251] the Carinthian name for the day, Sibne dan, is a clear proof that it was once holy to Siva, the Lithuanian Seewa, the Slavonic goddess answering to Ceres. In Christian times the personality of the goddess (by whatever name she may have been known) to whom Friday was consecrated became merged in that of St. Prascovia, and she is now frequently addressed by the compound name of “Mother Pyatnitsa-Prascovia.” As she is supposed to wander about the houses of the peasants on her holy day, and to be offended if she finds certain kinds of work going on, they are (or at least they used to be) frequently suspended on Fridays. It is a sin, says a time-honored tradition, for a woman to sew, or spin, or weave, or buck linen on a Friday, and similarly for a man to plait bast shoes, twine cord, and the like. Spinning and weaving are especially obnoxious to “Mother Friday,” for the dust and refuse thus produced injure her eyes. When this takes place, she revenges herself by plagues of sore-eyes, whitlows and agnails. In some [Pg 207] places the villagers go to bed early on Friday evening, believing that “St. Pyatinka” will punish all whom she finds awake when she roams through the cottage. In others they sweep their floors every Thursday evening, that she may not be annoyed by dust or the like when she comes next day. Sometimes, however, she has been seen, says the popular voice, “all pricked with the needles and pierced by the spindles” of the careless woman who sewed and spun on the day they ought to have kept holy in her honor. As for any work begun on a Friday, it is sure to go wrong.[252]
The Russian name for that day, Pyatnitsa,[250] doesn’t have the same mythological significance as our own Friday or the French Vendredi. However, the day was definitely dedicated by the old Slavs to a goddess similar to Venus or Freyja, and her worship in ancient times explains the superstitions now associated with the name Friday. According to Afanasief,[251] the Carinthian name for the day, Sibne dan, clearly shows that it was once sacred to Siva, the Lithuanian Seewa, the Slavic goddess corresponding to Ceres. In Christian times, the identity of the goddess (regardless of what name she was known by) to whom Friday was dedicated became merged with that of St. Prascovia, and she is now often referred to by the combined name “Mother Pyatnitsa-Prascovia.” She is believed to wander around the homes of peasants on her holy day and to get upset if she finds certain kinds of work happening, so those activities are (or at least used to be) often paused on Fridays. It's considered a sin, according to long-standing tradition, for a woman to sew, spin, weave, or beat linen on a Friday, just as it is for a man to braid bast shoes, twist cord, and similar tasks. Spinning and weaving are particularly irritating to “Mother Friday,” as the dust and debris created can hurt her eyes. When this occurs, she punishes by causing plagues of sore eyes, whitlows, and hangnails. In some places, villagers go to bed early on Friday night, believing that “St. Pyatinka” will punish anyone she finds awake as she passes through the cottage. In other places, they clean their floors every Thursday evening so she won’t be bothered by dust when she arrives the next day. However, it’s said that she has sometimes been spotted, “all pricked with the needles and pierced by the spindles” of the careless woman who sewed and spun on a day that should have been sacred in her honor. Any work started on a Friday is bound to go wrong.[252]
These remarks will be sufficient to render intelligible the following story of—
These remarks will be enough to make the following story of—
Friday.[253]
There was once a certain woman who did not pay due reverence to Mother Friday, but set to work on a distaff-ful of flax, combing and whirling it. She span away till dinner-time, then suddenly sleep fell upon her—such a deep sleep! And when she had gone to sleep, suddenly the door opened and in came Mother Friday, before the eyes of all who were there, clad in a white dress, and in such a rage! And she went straight up to the woman who had been spinning, scooped up from the floor a handful of the dust that had fallen out of the flax, and began stuffing and stuffing that woman’s eyes full of it! And when she had stuffed them full, she went off in a rage—disappeared without saying a word.
There was once a woman who didn't show any respect to Mother Friday and instead started working on a distaff full of flax, combing and spinning it. She kept at it until dinner time, then suddenly fell into a deep sleep! While she was asleep, the door flew open and in walked Mother Friday, right in front of everyone there, dressed in a white gown, and she was furious! She went straight to the woman who had been spinning, scooped up a handful of dust that had fallen from the flax, and began stuffing her eyes with it! After she had filled her eyes, she stormed off—vanished without a word.
When the woman awoke, she began squalling at the top of her voice about her eyes, but couldn’t tell what was the matter with them. The other women, who had been terribly frightened, began to cry out:
When the woman woke up, she started yelling at the top of her lungs about her eyes, but she couldn’t explain what was wrong with them. The other women, who had been really scared, began to shout:
[Pg 208] “Oh, you wretch, you! you’ve brought a terrible punishment on yourself from Mother Friday.”
[Pg 208] “Oh, you miserable person! You’ve brought a terrible consequence upon yourself from Mother Friday.”
Then they told her all that had taken place. She listened to it all, and then began imploringly:
Then they told her everything that had happened. She listened to it all, and then began pleading:
“Mother Friday, forgive me! pardon me, the guilty one! I’ll offer thee a taper, and I’ll never let friend or foe dishonor thee, Mother!”
“Mother Friday, please forgive me! Pardon me, the guilty one! I’ll offer you a candle, and I’ll never let anyone, friend or foe, dishonor you, Mother!”
Well, what do you think? During the night, back came Mother Friday and took the dust out of that woman’s eyes, so that she was able to get about again. It’s a great sin to dishonor Mother Friday—combing and spinning flax, forsooth!
Well, what do you think? During the night, Mother Friday returned and cleared the dust from that woman's eyes, allowing her to get around again. It's a huge mistake to disrespect Mother Friday—combing and spinning flax, really!
Very similar to this story is that about Wednesday which follows. Wednesday, the day consecrated to Odin, the eve of the day sacred to the Thundergod,[254] may also have been held holy by the heathen Slavonians, but to some commentators it appears more likely that the traditions now attached to it in Russia became transferred to it from Friday in Christian times—Wednesday and Friday having been associated by the Church as days sacred to the memory of Our Lord’s passion and death. The Russian name for the day, Sereda or Sreda, means “the middle,” Wednesday being the middle of the working week.
Very similar to this story is the one about Wednesday that follows. Wednesday, the day dedicated to Odin, the eve of the day honored as sacred to the Thunder God,[254] may also have been considered holy by the pagan Slavs, but some commentators think it's more likely that the traditions now linked to it in Russia were transferred from Friday during Christian times—Wednesday and Friday having been recognized by the Church as days dedicated to the remembrance of Our Lord’s passion and death. The Russian name for the day, Sereda or Sreda, means “the middle,” since Wednesday is the middle of the working week.
Wednesday.[255]
A young housewife was spinning late one evening. It was during the night between a Tuesday and a Wednesday. She had been left alone for a long time, and after midnight, when the first cock crew, she began to think about going to bed, only she would have liked to finish spinning what she had in hand. “Well,” thinks she, “I’ll get up a bit earlier in the morning, but just now I want to go to sleep.” So she laid down her hatchel—but without crossing herself—and said:
A young housewife was spinning late one evening. It was the night between Tuesday and Wednesday. She had been alone for a long time, and after midnight, when the first rooster crowed, she started to think about going to bed, but she wanted to finish spinning what she had in her hands. “Well,” she thought, “I’ll wake up a bit earlier in the morning, but for now, I just want to sleep.” So she set down her hatchel—but without crossing herself—and said:
[Pg 209] “Now then, Mother Wednesday, lend me thy aid, that I may get up early in the morning and finish my spinning.” And then she went to sleep.
[Pg 209] “Okay, Mother Wednesday, please help me so I can wake up early in the morning and finish my spinning.” And then she went to sleep.
Well, very early in the morning, long before it was light, she heard someone moving, bustling about the room. She opened her eyes and looked. The room was lighted up. A splinter of fir was burning in the cresset, and the fire was lighted in the stove. A woman, no longer young, wearing a white towel by way of head-dress, was moving about the cottage, going to and fro, supplying the stove with firewood, getting everything ready. Presently she came up to the young woman, and roused her, saying, “Get up!” The young woman got up, full of wonder, saying:
Well, very early in the morning, long before it was light, she heard someone moving around the room. She opened her eyes and looked. The room was bright. A piece of fir wood was burning in the lantern, and the stove was lit. A woman, no longer young, wearing a white towel on her head, was busy in the cottage, going back and forth, adding firewood to the stove and getting everything ready. Eventually, she approached the young woman and woke her up, saying, “Get up!” The young woman got up, filled with curiosity, saying:
“But who art thou? What hast thou come here for?”
“But who are you? What have you come here for?”
“I am she on whom thou didst call. I have come to thy aid.”
“I am the one you called for. I’ve come to help you.”
“But who art thou? On whom did I call?”
“But who are you? Who did I call for?”
“I am Wednesday. On Wednesday surely thou didst call. See, I have spun thy linen and woven thy web: now let us bleach it and set it in the oven. The oven is heated and the irons are ready; do thou go down to the brook and draw water.”
“I am Wednesday. On Wednesday you definitely called. Look, I have spun your linen and woven your web: now let's bleach it and put it in the oven. The oven is hot and the irons are ready; you should go down to the brook and get some water.”
The woman was frightened, and thought: “What manner of thing is this?” (or, “How can that be?”) but Wednesday glared at her angrily; her eyes just did sparkle!
The woman was scared and thought, “What is this?” (or, “How can this be?”) but Wednesday glared at her angrily; her eyes were definitely sparkling!
So the woman took a couple of pails and went for water. As soon as she was outside the door she thought: “Mayn’t something terrible happen to me? I’d better go to my neighbor’s instead of fetching the water.” So she set off. The night was dark. In the village all were still asleep. She reached a neighbor’s house, and rapped away at the window until at last she made herself heard. An aged woman let her in.
So the woman grabbed a couple of buckets and went to get water. As soon as she stepped outside, she thought, "What if something bad happens to me? I should go to my neighbor's instead of getting the water." So she headed there. The night was dark, and everyone in the village was still asleep. She arrived at a neighbor's house and knocked on the window until, finally, she got noticed. An older woman let her in.
“Why, child!” says the old crone; “whatever hast thou got up so early for? What’s the matter?”
“Why, kid!” says the old woman; “why are you up so early? What’s going on?”
“Oh, granny, this is how it was. Wednesday has come to me, and has sent me for water to buck my linen with.”
“Oh, grandma, this is how it went. Wednesday has come to me and asked me to get water to wash my laundry.”
“That doesn’t look well,” says the old crone. “On that linen she will either strangle thee or scald[256] thee.”
“That doesn’t look good,” says the old woman. “On that linen, it will either choke you or burn you.”
[Pg 210] The old woman was evidently well acquainted with Wednesday’s ways.
[Pg 210] The old woman clearly knew how things went on Wednesdays.
“What am I to do?” says the young woman. “How can I escape from this danger?”
“What am I supposed to do?” says the young woman. “How can I get away from this danger?”
“Well, this is what thou must do. Go and beat thy pails together in front of the house, and cry, ‘Wednesday’s children have been burnt at sea!’[257] She will run out of the house, and do thou be sure to seize the opportunity to get into it before she comes back, and immediately slam the door to, and make the sign of the cross over it. Then don’t let her in, however much she may threaten you or implore you, but sign a cross with your hands, and draw one with a piece of chalk, and utter a prayer. The Unclean Spirit will have to disappear.”
“Well, here’s what you need to do. Go out and bang your pails together in front of the house, and shout, ‘Wednesday’s children have been burnt at sea!’[257] She will rush out of the house, and make sure to take the chance to get inside before she returns, immediately slamming the door shut and making the sign of the cross on it. Then don’t let her in, no matter how much she threatens or begs you, but sign a cross with your hands, draw one with a piece of chalk, and say a prayer. The Unclean Spirit will have to go away.”
Well, the young woman ran home, beat the pails together, and cried out beneath the window:
Well, the young woman ran home, clashed the buckets together, and shouted out beneath the window:
“Wednesday’s children have been burnt at sea!”
“Wednesday’s children have been burned at sea!”
Wednesday rushed out of the house and ran to look, and the woman sprang inside, shut the door, and set a cross upon it. Wednesday came running back, and began crying: “Let me in, my dear! I have spun thy linen; now will I bleach it.” But the woman would not listen to her, so Wednesday went on knocking at the door until cock-crow. As soon as the cocks crew, she uttered a shrill cry and disappeared. But the linen remained where it was.[258]
Wednesday rushed out of the house and ran to look, and the woman jumped inside, shut the door, and marked a cross on it. Wednesday came running back and started crying: “Let me in, my dear! I’ve spun your linen; now I’ll bleach it.” But the woman wouldn’t listen to her, so Wednesday kept knocking on the door until dawn. As soon as the roosters crowed, she let out a sharp cry and vanished. But the linen stayed right where it was.[258]
[Pg 211] In one of the numerous legends which the Russian peasants hold in reverence, St. Petka or Friday appears among the other saints, and together with her is mentioned another canonized day, St. Nedélya or Sunday,[259] answering to the Greek St. Anastasia, to Der heilige Sonntag of German peasant-hagiology. In some respects she resembles both Friday and Wednesday, sharing their views about spinning and weaving at unfitting seasons. Thus in Little-Russia she assures untimely spinners that it is not flax they are spinning, but her hair, and in proof of this she shows them her dishevelled kosa, or long back plait.
[Pg 211] In one of the many legends that Russian peasants hold in high regard, St. Petka, or Friday, appears alongside other saints, and she's mentioned together with another holy day, St. Nedélya, or Sunday,[259] which corresponds to the Greek St. Anastasia and the German peasant-hagiology figure, St. Sunday. In some ways, she is similar to both Friday and Wednesday, sharing their concerns about spinning and weaving at inappropriate times. For example, in Little-Russia, she tells those who spin at the wrong time that they aren't spinning flax but her hair, and to prove it, she shows them her disheveled kosa, or long braid.
In one of the Wallachian tales[260] the hero is assisted in his search after the dragon-stolen heroine by three supernatural females—the holy Mothers Friday, Wednesday, and Sunday. They replace the three benignant Baba Yagas of Russian stories. In another,[261] the same three beings assist the Wallachian Psyche when she is wandering in quest of her lost husband. Mother Sunday rules the animal world, and can collect her subjects by playing on a magic flute. She is represented as exercising authority over both birds and beasts, and in a Slovak story she bestows on the hero a magic horse. He has been sent by an unnatural mother in search of various things hard to be obtained, but he is assisted in the quest by St. Nedĕlka, who provides him with various magical implements, and lends him her own steed Tatoschik, and so enables him four times to escape from the perils to which he has been exposed by his mother, whose mind has been entirely corrupted by an insidious dragon. But after he has returned home in safety, his [Pg 212] mother binds him as if in sport, and the dragon chops off his head and cuts his body to pieces. His mother retains his heart, but ties up the rest of him in a bundle, and sets it on Tatoschik’s back. The steed carries its ghastly burden to St. Nedĕlka, who soon reanimates it, and the youth becomes as sound and vigorous as a young man without a heart can be. Then the saint sends him, under the disguise of a begging piper, to the castle in which his mother dwells, and instructs him how to get his heart back again. He succeeds, and carries it in his hand to St. Nedĕlka. She gives it to “the bird Pelekan (no mere Pelican, but a magic fowl with a very long and slim neck), which puts its head down the youth’s throat, and restores his heart to its right place.”[262]
In one of the Wallachian tales[260], the hero is helped in his search for the dragon-stolen heroine by three supernatural women—the holy Mothers Friday, Wednesday, and Sunday. They take the place of the three kind Baba Yagas from Russian stories. In another tale,[261] the same three figures help the Wallachian Psyche when she is wandering to find her lost husband. Mother Sunday rules over the animal kingdom and can gather her subjects by playing a magical flute. She is shown to have power over both birds and beasts, and in a Slovak story, she gives the hero a magical horse. He has been sent by a cruel mother to find various difficult things, but he is supported in his quest by St. Nedĕlka, who provides him with magical tools and lends him her own horse Tatoschik, allowing him to escape from the dangers posed by his mother, whose mind has been completely corrupted by a deceptive dragon. However, after he returns home safely, his mother ties him up as if for fun, and the dragon chops off his head and tears his body apart. His mother keeps his heart but bundles up the rest of him and places it on Tatoschik’s back. The horse carries this grim load to St. Nedĕlka, who quickly brings him back to life, and the young man becomes as healthy and strong as someone without a heart can be. Then the saint sends him, disguised as a begging piper, to the castle where his mother lives, and teaches him how to get his heart back. He succeeds and brings it in his hand to St. Nedĕlka. She gives it to “the bird Pelekan (not just any Pelican, but a magical bird with a very long and thin neck), which puts its head down the youth’s throat and returns his heart to its rightful place.”[262]
St. Friday and St. Wednesday appear to belong to that class of spiritual beings, sometimes of a demoniacal disposition, with which the imagination of the old Slavonians peopled the elements. Of several of these—such as the Domovoy or House-Spirit, the Rusalka or Naiad, and the Vodyany or Water-Sprite—I have written at some length elsewhere,[263] and therefore I will not at present quote any of the stories in which they figure. But, as a specimen of the class to which such tales as these belong, here is a skazka about one of the wood-sprites or Slavonic Satyrs, who are still believed by the peasants to haunt the forests of Russia. In it we see reduced to a vulgar form, and brought into accordance with everyday peasant-life, the myth which appears to have given rise to the endless [Pg 213] stories about the theft and recovery of queens and princesses. The leading idea of the story is the same, but the Snake or Koshchei has become a paltry wood-demon, the hero is a mere hunter, and the princely heroine has sunk to the low estate of a priest’s daughter.
St. Friday and St. Wednesday seem to belong to a group of spiritual beings, occasionally with a demonic nature, that the old Slavonians imagined populated the elements. I've written extensively about several of these—like the Domovoy or House-Spirit, the Rusalka or Naiad, and the Vodyany or Water-Sprite—elsewhere,[263] so I won’t quote any of the stories featuring them right now. However, as an example of the type of tales that these belong to, here’s a skazka about one of the wood-sprites or Slavonic Satyrs, who are still thought by peasants to haunt the forests of Russia. In this story, we see a simplified version brought down to the level of everyday peasant life, based on the myth that seems to have inspired the countless stories about the kidnapping and rescue of queens and princesses. The core idea is the same, but the Snake or Koshchei has turned into a minor wood-demon, the hero is just a regular hunter, and the noble heroine has been downgraded to a priest's daughter.
The Léshy.[264]
A certain priest’s daughter went strolling in the forest one day, without having obtained leave from her father or her mother—and she disappeared utterly. Three years went by. Now in the village in which her parents dwelt there lived a bold hunter, who went daily roaming through the thick woods with his dog and his gun. One day he was going through the forest; all of a sudden his dog began to bark, and the hair of its back bristled up. The sportsman looked, and saw lying in the woodland path before him a log, and on the log there sat a moujik plaiting a bast shoe. And as he plaited the shoe, he kept looking up at the moon, and saying with a menacing gesture:—
A priest’s daughter went out for a walk in the forest one day, without permission from her dad or mom—and she completely vanished. Three years passed. In the village where her parents lived, there was a daring hunter who roamed the dense woods every day with his dog and his gun. One day while he was walking through the forest, suddenly his dog started barking and its fur stood on end. The hunter looked and saw a log in the path in front of him, and on the log sat a peasant weaving a bast shoe. As he wove the shoe, he kept glancing up at the moon and saying with an ominous gesture:—
“Shine, shine, O bright moon!”
“Shine, shine, O bright moon!”
The sportsman was astounded. “How comes it,” thinks he, “that the moujik looks like that?—he is still young; but his hair is grey as a badger’s.”[265]
The athlete was shocked. "How is it," he thinks, "that the peasant looks like that?—he's still young; but his hair is as grey as a badger's."[265]
He only thought these words, but the other replied, as if guessing what he meant:—
He only thought these words, but the other replied, as if guessing what he meant:—
Then the sportsman guessed that he had before him no mere moujik, but a Léshy. He levelled his gun and—bang! he let him have it right in the paunch. The Léshy groaned, and seemed to be going to fall across the log; but directly afterwards he got up and dragged himself into the thickets. After him ran the dog in pursuit, and after the dog followed the sportsman. He walked and walked, and came to a hill: in that hill was a fissure, and in the fissure stood a hut. He entered the [Pg 214] hut—there on a bench lay the Léshy stone dead, and by his side a damsel, exclaiming, amid bitter tears:—
Then the sportsman realized that he wasn't dealing with just any peasant, but a Léshy. He aimed his gun and—bang!—hit him right in the gut. The Léshy groaned and seemed like he was about to collapse onto the log; but right after that, he got up and pulled himself into the bushes. After him ran the dog, and the sportsman followed the dog. He walked and walked until he reached a hill: in that hill was a crack, and in the crack stood a hut. He entered the [Pg 214] hut—there on a bench lay the Léshy stone dead, and beside him was a girl, crying and saying through bitter tears:—
“Who now will give me to eat and to drink?”
“Who will give me something to eat and drink now?”
“Hail, fair maiden!” says the hunter. “Tell me whence thou comest, and whose daughter thou art?”
“Hello, beautiful lady!” says the hunter. “Please tell me where you’re from and who your father is?”
“Ah, good youth! I know not that myself, any more than if I had never seen the free light—never known a father and mother.”
“Ah, good young man! I don’t know that myself, any more than if I had never seen the open light—never known a father and mother.”
“Well, get ready as soon as you can. I will take you back to Holy Russia.”
"Okay, get ready as soon as you can. I’ll take you back to Holy Russia."
So he took her away with him, and brought her out of the forest. And all the way he went along, he cut marks on the trees. Now this damsel had been carried off by the Léshy, and had lived in his hut for three years—her clothes were all worn out, or had got torn off her back, so that she was stark naked but she wasn’t a bit ashamed of that. When they reached the village, the sportsman began asking whether there was any one there who had lost a girl. Up came the priest, and cried, “Why, that’s my daughter.” Up came running the priest’s wife, and cried:—
So he took her with him and led her out of the forest. All along the way, he made cuts on the trees. This girl had been taken by the Léshy and had lived in his hut for three years—her clothes were all worn out or had been torn off, so she was completely naked, but she didn’t feel ashamed at all. When they reached the village, the hunter started asking if anyone there had lost a girl. The priest came over and exclaimed, “That’s my daughter!” Then the priest’s wife came running and shouted:—
“O thou dear child! where hast thou been so long? I had no hope of ever seeing thee again.”
“O you dear child! Where have you been for so long? I didn't think I would ever see you again.”
But the girl gazed and just blinked with her eyes, understanding nothing. After a time, however, she began slowly to come back to her senses. Then the priest and his wife gave her in marriage to the hunter, and rewarded him with all sorts of good things. And they went in search of the hut in which she had lived while she was with the Léshy. Long did they wander about the forest; but that hut they never found.
But the girl stared and just blinked, understanding nothing. After a while, though, she slowly started to come back to her senses. Then the priest and his wife arranged for her to marry the hunter and gave him all sorts of great gifts. They set out to find the hut where she had lived with the Léshy. They wandered around the forest for a long time, but they never found that hut.
To another group of personifications belong those of the Rivers. About them many stories are current, generally having reference to their alleged jealousies and disputes. Thus it is said that when God was allotting their shares to the rivers, the Desna did not come in time, and so failed to obtain precedence over the Dnieper.
To another group of personifications belong those of the Rivers. Many stories exist about them, usually involving their supposed jealousies and conflicts. For instance, it is said that when God was allotting their shares to the rivers, the Desna didn't arrive on time and therefore missed the chance to take precedence over the Dnieper.
[Pg 215] “Try and get before him yourself,” said the Lord.
[Pg 215] “Try to get in front of him yourself,” said the Lord.
The Desna set off at full speed, but in spite of all her attempts, the Dnieper always kept ahead of her until he fell into the sea, where the Desna was obliged to join him.[267]
The Desna took off at full speed, but no matter how hard she tried, the Dnieper always stayed ahead of her until he flowed into the sea, where the Desna had no choice but to follow him.[267]
About the Volga and its affluent, the Vazuza, the following story is told:—
About the Volga and its tributary, the Vazuza, the following story is told:—
Vazuza and Volga.[268]
Volga and Vazuza had a long dispute as to which was the wiser, the stronger, and the more worthy of high respect. They wrangled and wrangled, but neither could gain the mastery in the dispute, so they decided upon the following course:—
Volga and Vazuza had a lengthy argument over who was wiser, stronger, and more deserving of respect. They argued and argued, but neither could win the debate, so they agreed on the following plan:—
“Let us lie down together to sleep,” they said, “and whichever of us is the first to rise, and the quickest to reach the Caspian Sea, she shall be held to be the wiser of us two, and the stronger and the worthier of respect.”
“Let’s lie down together to sleep,” they said, “and whoever wakes up first and reaches the Caspian Sea the quickest, she will be considered the wiser, stronger, and more deserving of respect.”
So Volga lay down to sleep; down lay Vazuza also. But during the night Vazuza rose silently, fled away from Volga, chose the nearest and the straightest line, and flowed away. When Volga awoke, she set off neither slowly nor hurriedly, but with just befitting speed. At Zubtsof she came up with Vazuza. So threatening was her mien, that Vazuza was frightened, declared herself to be Volga’s younger sister, and besought Volga to take her in her arms and bear her to the Caspian Sea. And so to this day Vazuza is the first to awake in the Spring, and then she arouses Volga from her wintry sleep.
So Volga lay down to sleep; Vazuza lay down as well. But during the night, Vazuza quietly got up, escaped from Volga, chose the shortest and straightest path, and flowed away. When Volga woke up, she set off neither slowly nor quickly, but at just the right pace. At Zubtsof, she caught up with Vazuza. So intimidating was her appearance that Vazuza got scared, claimed to be Volga’s younger sister, and pleaded with Volga to take her in her arms and carry her to the Caspian Sea. And so to this day, Vazuza is the first to wake up in Spring, and then she wakes Volga from her wintery sleep.
In the Government of Tula a similar tradition is current about the Don and the Shat, both of which flow out of Lake Ivan.
In the Government of Tula, there's a similar tradition about the Don and the Shat, both of which come from Lake Ivan.
Lake Ivan had two sons, Shat and Don. Shat, contrary to his father’s wishes, wanted to roam abroad, so he set out on his travels, but go whither he would, he could get [Pg 216] received nowhere. So, after fruitless wanderings, he returned home.
Lake Ivan had two sons, Shat and Don. Shat, against his father's wishes, wanted to travel the world, so he set out on his journey, but no matter where he went, he was unwelcome. After aimless wandering, he returned home.
But Don, in return for his constant quietness (the river is known as “the quiet Don”), obtained his father’s blessing, and he boldly set out on a long journey. On the way, he met a raven, and asked it where it was flying.
But Don, in exchange for his constant silence (the river is called “the quiet Don”), received his father’s blessing, and he confidently began a long journey. Along the way, he encountered a raven and asked it where it was headed.
“To the blue sea,” answered the raven.
“To the blue sea,” replied the raven.
“Let’s go together!”
“Let’s go together!”
Well, they reached the sea. Don thought to himself, “If I dive right through the sea, I shall carry it away with me.”
Well, they reached the sea. Don thought to himself, "If I dive right into the sea, I’ll take it away with me."
“Raven!” he said, “do me a service. I am going to plunge into the sea, but do you fly over to the other side and as soon as you reach the opposite shore, give a croak.”
“Raven!” he said, “please do me a favor. I’m about to jump into the ocean, but can you fly over to the other side and as soon as you get to the opposite shore, give a caw.”
Don plunged into the sea. The raven flew and croaked—but too soon. Don remained just as he appears at the present day.[269]
Don jumped into the sea. The raven flew and cawed—but it was too early. Don stayed just like he looks today.[269]
In White-Russia there is a legend about two rivers, the beginning of which has evidently been taken from the story of Jacob and Esau:—
In White-Russia, there's a legend about two rivers, which seems to be inspired by the story of Jacob and Esau:—
Sozh and Dnieper Rivers.
There was once a blind old man called Dvina. He had two sons—the elder called Sozh, and the younger Dnieper. Sozh was of a boisterous turn, and went roving about the forests, the hills, and the plains; but Dnieper was remarkably sweet-tempered, and he spent all his time at home, and was his mother’s favorite. Once, when Sozh was away from home, the old father was deceived by his wife into giving the elder son’s blessing to the younger son. Thus spake Dvina while blessing him:—
There was once a blind old man named Dvina. He had two sons—the older one was named Sozh, and the younger one was Dnieper. Sozh was loud and carefree, wandering through the forests, hills, and plains; while Dnieper was known for his gentle nature and stayed at home, being his mother’s favorite. One day, when Sozh was away, the old father was tricked by his wife into giving the older son’s blessing to the younger son. So Dvina said while blessing him:—
“Dissolve, my son, into a wide and deep river. Flow past [Pg 217] towns, and bathe villages without number as far as the blue sea. Thy brother shall be thy servant. Be rich and prosperous to the end of time!”
“Merge, my son, into a vast and deep river. Flow past [Pg 217] towns, and wash over countless villages all the way to the blue sea. Your brother will serve you. Be wealthy and successful forever!”
Dnieper turned into a river, and flowed through fertile meadows and dreamy woods. But after three days, Sozh returned home and began to complain.
Dnieper became a river, flowing through lush meadows and enchanting woods. But after three days, Sozh came back home and started to complain.
“If thou dost desire to become superior to thy brother,” said his father, “speed swiftly by hidden ways, through dark untrodden forests, and if thou canst outstrip thy brother, he will have to be thy servant!”
“If you want to be better than your brother,” said his father, “take hidden paths quickly, through dark untraveled forests, and if you can outpace your brother, he will have to serve you!”
Away sped Sozh on the chase, through untrodden places, washing away swamps, cutting out gullies, tearing up oaks by the roots. The Vulture[270] told Dnieper of this, and he put on extra speed, tearing his way through high hills rather than turn on one side. Meanwhile Sozh persuaded the Raven to fly straight to Dnieper, and, as soon as it had come up with him to croak three times; he himself was to burrow under the earth, intending to leap to the surface at the cry of the Raven, and by that means to get before his brother. But the Vulture fell on the Raven; the Raven began to croak before it had caught up the river Dnieper. Up burst Sozh from underground, and fell straight into the waves of the Dnieper.[271]
Away sped Sozh on the chase, through untrodden places, washing away swamps, cutting out gullies, and ripping up oaks by the roots. The Vulture[270] informed Dnieper about this, and he picked up speed, forcing his way through high hills instead of veering to the side. Meanwhile, Sozh convinced the Raven to fly directly to Dnieper, and as soon as it reached him, to croak three times; he himself would burrow underground, planning to leap to the surface at the Raven's call, thereby getting ahead of his brother. But the Vulture attacked the Raven; the Raven started croaking before it had even reached the Dnieper river. Up sprang Sozh from the ground, landing straight into the waves of the Dnieper.[271]
Here is an account of—
Here’s an account of—
The Transformation of the Dnieper, the Volga, and the Dvina.[272]
The Dnieper, Volga, and Dvina used once to be living people. The Dnieper was a boy, and the Volga and Dvina his sisters. While they were still in childhood they were left complete orphans, and, as they hadn’t a crust to eat, they were obliged to get their living by daily labor beyond their strength. “When was that?” Very long ago, say the old folks; beyond the memory even of our great-grandfathers.
The Dnieper, Volga, and Dvina used to be real people. The Dnieper was a boy, and the Volga and Dvina were his sisters. When they were still kids, they became total orphans, and since they didn't have a crumb to eat, they had to work harder than anyone should just to survive. “When did this happen?” a long time ago, say the elderly; so far back that even our great-grandfathers can't remember it.
[Pg 218] Well, the children grew up, but they never had even the slightest bit of good luck. Every day, from morn till eve, it was always toil and toil, and all merely for the day’s subsistence. As for their clothing, it was just what God sent them! They sometimes found rags on the dust-heaps, and with these they managed to cover their bodies. The poor things had to endure cold and hunger. Life became a burden to them.[273]
[Pg 218] Well, the children grew up, but they never had even the slightest bit of good luck. Every day, from morning till night, it was always hard work, just to make ends meet. As for their clothing, it was whatever they could find! Sometimes they stumbled upon rags in the trash heaps, and with those, they managed to cover their bodies. The poor things had to endure the cold and hunger. Life became a burden for them.[273]
One day, after toiling hard afield, they sat down under a bush to eat their last morsel of bread. And when they had eaten it, they cried and sorrowed for a while, and considered and held counsel together as to how they might manage to live, and to have food and clothing, and, without toiling, to supply others with meat and drink. Well, this is what they resolved: to set out wandering about the wide world in search of good luck and a kindly welcome, and to look for and find out the best places in which they could turn into great rivers—for that was a possible thing then.
One day, after working hard in the fields, they sat down under a bush to eat their last piece of bread. After they finished it, they cried and mourned for a while, discussing how they could survive, get food and clothing, and provide others with meat and drink without working. So, they decided to wander the wide world in search of good fortune and a warm welcome, looking for the best places where they could transform into great rivers—because that was a possibility back then.
Well, they walked and walked; not one year only, nor two years, but all but three; and they chose the places they wanted, and came to an agreement as to where the flowing of each one should begin. And all three of them stopped to spend the night in a swamp. But the sisters were more cunning than their brother. No sooner was Dnieper asleep than they rose up quietly, chose the best and most sloping places, and began to flow away.
Well, they walked and walked; not just one year, not two years, but almost three; and they picked the spots they wanted, agreeing on where each river should start flowing. They all three decided to spend the night in a swamp. But the sisters were sneakier than their brother. As soon as Dnieper fell asleep, they quietly got up, chose the best and most sloped locations, and started to flow away.
When the brother awoke in the morning, not a trace of his sisters was to be seen. Then he became wroth, and made haste to pursue them. But on the way he bethought himself, and decided that no man can run faster than a river. So he smote the ground, and flowed in pursuit as a stream. Through gullies and ravines he rushed, and the further he went the fiercer did he become. But when he came within a few versts of the sea-shore, his anger calmed down and he disappeared in the sea. And his two sisters, who had continued running from him during his pursuit, separated in different directions and fled [Pg 219] to the bottom of the sea. But while the Dnieper was rushing along in anger, he drove his way between steep banks. Therefore is it that his flow is swifter than that of the Volga and the Dvina; therefore also is it that he has many rapids and many mouths.
When the brother woke up in the morning, there was no sign of his sisters anywhere. He got really angry and hurried to chase after them. But on the way, he realized that no one can run faster than a river. So he hit the ground and flowed after them like a stream. He rushed through gullies and ravines, and the further he went, the angrier he became. But when he got a few versts from the shore, his anger subsided, and he disappeared into the sea. His two sisters, who had kept running from him during his chase, went their separate ways and fled to the bottom of the sea. Meanwhile, as the Dnieper surged along in anger, it pushed between steep banks. That's why its flow is faster than the Volga and the Dvina; that's also why it has many rapids and mouths.
There is a small stream which falls into Lake Ilmen on its western side, and which is called Chorny Ruchei, the Black Brook. On the banks of this brook, a long time ago, a certain man set up a mill, and the fish came and implored the stream to grant them its aid, saying, “We used to have room enough and be at our ease, but now an evil man is taking away the water from us.” And the result was this. One of the inhabitants of Novgorod was angling in the brook Chorny. Up came a stranger to him, dressed all in black, who greeted him, and said:—
There’s a small stream that flows into Lake Ilmen on its western side, called Chorny Ruchei, or the Black Brook. Long ago, a man built a mill on the banks of this brook, and the fish came to the stream, pleading for help, saying, “We used to have plenty of space and felt comfortable, but now a wicked man is taking our water away.” As a result, one of the residents of Novgorod was fishing in the Chorny brook. A stranger dressed all in black approached him, greeted him, and said:—
“Do me a service, and I will show thee a place where the fish swarm.”
“Do me a favor, and I’ll show you a spot where the fish are everywhere.”
“What is the service?”
"What’s the service?"
“When thou art in Novgorod, thou wilt meet a tall, big moujik in a plaited blue caftan, wide blue trowsers, and a high blue hat. Say to him, ‘Uncle Ilmen! the Chorny has sent thee a petition, and has told me to say that a mill has been set in his way. As thou may’st think fit to order, so shall it be!’”
“When you are in Novgorod, you will meet a tall, big peasant in a braided blue coat, loose blue trousers, and a tall blue hat. Say to him, ‘Uncle Ilmen! the Chorny has sent you a request, and told me to say that a mill is in his way. Whatever you decide, so shall it be!’”
The Novgorod man promised to fulfil this request, and the black stranger showed him a place where the fish swarmed by thousands. With rich booty did the fisherman return to Novgorod, where he met the moujik with the blue caftan, and gave him the petition. The Ilmen answered:—
The Novgorod man promised to fulfill this request, and the black stranger showed him a spot where the fish gathered by the thousands. The fisherman returned to Novgorod with a great catch, where he encountered the moujik in the blue caftan and handed him the petition. The Ilmen replied:—
“Give my compliments to the brook Chorny, and say to him about the mill: there used not to be one, and so there shall not be one!”
“Give my regards to the Chorny brook and tell it about the mill: there used to be one, and there won't be one anymore!”
In old times sacrifices were regularly paid to lakes and streams in Russia, just as they were in Germany[275] and in other lands. And even at the present day the common people are in the habit of expressing, by some kind of offering, their thanks to a river on which they have made a prosperous voyage. It is said that Stenka Razin, the insurgent chief of the Don Cossacks in the seventeenth century, once offered a human sacrifice to the Volga. Among his captives was a Persian princess, to whom he was warmly attached. But one day “when he was fevered with wine, as he sat at the ship’s side and musingly regarded the waves, he said: ‘Oh, Mother Volga, thou great river! much hast thou given me of gold and of silver, and of all good things; thou hast nursed me, and nourished me, and covered me with glory and honor. But I have in no way shown thee my gratitude. Here is somewhat for thee; take it!’ And with these words he caught up the princess and flung her into the water.”[276]
In ancient times, sacrifices were often made to lakes and rivers in Russia, just like in Germany[275] and other places. Even today, common people often express their gratitude to a river after having a successful journey by making some kind of offering. It’s said that Stenka Razin, the rebellious leader of the Don Cossacks in the seventeenth century, once made a human sacrifice to the Volga. Among his captives was a Persian princess, to whom he had a strong attachment. But one day, “when he was feverishly drinking, as he sat by the side of the ship and contemplatively watched the waves, he said: ‘Oh, Mother Volga, you great river! You have blessed me with gold and silver, and all good things; you have nurtured and supported me and brought me glory and honor. But I have never shown you my gratitude. Here is something for you; take it!’ And with these words, he grabbed the princess and threw her into the water.”[276]
Just as rivers might be conciliated by honor and sacrifice, so they could be irritated by disrespect. One of the old songs tells how a youth comes riding to the Smorodina, and beseeches that stream to show him a ford. His prayer is granted, and he crosses to the other side. Then he takes to boasting, and says, “People talk about the Smorodina, saying that no one can cross it whether on foot or on horseback—but it is no better than a pool of rain-water!” [Pg 221] But when the time comes for him to cross back again, the river takes its revenge, and drowns him in its depths, saying the while: “It is not I, but thy own boasting that drowns thee.”
Just as rivers can be calmed by honor and sacrifice, they can also be stirred up by disrespect. One of the old songs tells how a young man rides up to the Smorodina and asks the stream to show him a shallow crossing. His request is granted, and he makes it to the other side. Then he starts bragging and says, “People say that no one can cross the Smorodina, either on foot or on horseback—but it’s no better than a puddle!” [Pg 221] But when it’s time for him to cross back, the river has its revenge and drowns him in its depths, saying in the process: “It’s not me, but your own bragging that drowns you.”
From these vocal rivers we will now turn to that elementary force by which in winter they are often rendered mute. In the story which is now about to be quoted will be found a striking personification of Frost. As a general rule, Winter plays by no means so important a part as might have been expected in Northern tales. As in other European countries, so in Russia, the romantic stories of the people are full of pictures bathed in warm sunlight, but they do not often represent the aspect of the land when the sky is grey, and the earth is a sheet of white, and outdoor life is sombre and still. Here and there, it is true, glimpses of snowy landscapes are offered by the skazkas. But it is seldom that a wintry effect is so deliberately produced in them as is the case in the following remarkable version of a well-known tale.
From these vocal rivers, we will now shift to the basic force that often silences them in winter. In the story that is about to be quoted, you will find a striking personification of Frost. Generally speaking, Winter does not play as significant a role in Northern tales as one might expect. Like in other European countries, in Russia, the romantic stories of the people are filled with images drenched in warm sunlight, but they rarely depict the landscape when the sky is gray, the ground is covered in white, and outdoor life feels somber and still. Here and there, it’s true, glimpses of snowy landscapes are presented in the skazkas. However, it’s rare that a wintry effect is so intentionally created in them as it is in the following remarkable version of a well-known tale.
Frost.[277]
There was once an old man who had a wife and three daughters. The wife had no love for the eldest of the three, who was her stepdaughter, but was always scolding her. Moreover, she used to make her get up ever so early in the morning, and gave her all the work of the house to do. Before daybreak the girl would feed the cattle and give them to drink, fetch wood and water indoors, light the fire in the stove, give the room a wash, mend the dresses, and set everything in order. Even then her stepmother was never satisfied, but would grumble away at Marfa, exclaiming:—
There was once an old man who had a wife and three daughters. The wife had no love for the oldest of the three, who was her stepdaughter, and she constantly scolded her. On top of that, she made her wake up really early every morning and assigned her all the housework. Before dawn, the girl would feed the cattle and give them water, bring in wood and water, light the stove, clean the room, mend the dresses, and tidy everything up. Even then, her stepmother was never satisfied and would complain about Marfa, exclaiming:—
“What a lazybones! what a slut! Why here’s a brush not in its place, and there’s something put wrong, and she’s left the muck inside the house!”
“What a lazy person! What a mess! Look, there’s a brush out of place, and things are put away incorrectly, and she’s left the dirt inside the house!”
[Pg 222] The girl held her peace, and wept; she tried in every way to accommodate herself to her stepmother, and to be of service to her stepsisters. But they, taking pattern by their mother, were always insulting Marfa, quarrelling with her, and making her cry: that was even a pleasure to them! As for them, they lay in bed late, washed themselves in water got ready for them, dried themselves with a clean towel, and didn’t sit down to work till after dinner.
[Pg 222] The girl stayed silent and cried; she did her best to get along with her stepmother and help her stepsisters. But they, following their mother's example, constantly insulted Marfa, argued with her, and made her cry: it was even enjoyable for them! Meanwhile, they slept in late, bathed in water prepared for them, dried off with a clean towel, and didn’t start working until after lunch.
Well, our girls grew and grew, until they grew up and were old enough to be married. The old man felt sorry for his eldest daughter, whom he loved because she was industrious and obedient, never was obstinate, always did as she was bid, and never uttered a word of contradiction. But he didn’t know how he was to help her in her trouble. He was feeble, his wife was a scold, and her daughters were as obstinate as they were indolent.
Well, our girls grew and grew until they became old enough to get married. The old man felt sorry for his eldest daughter, whom he loved because she was hardworking and obedient, never stubborn, always followed instructions, and never spoke out of turn. But he didn’t know how to help her with her problems. He was weak, his wife was difficult, and their daughters were just as stubborn as they were lazy.
Well, the old folks set to work to consider—the husband how he could get his daughters settled, the wife how she could get rid of the eldest one. One day she says to him:—
Well, the old folks got to work thinking—the husband about how to get his daughters settled, the wife about how to get rid of the oldest one. One day she says to him:—
“I say, old man! let’s get Marfa married.”
“I say, dude! Let’s get Marfa married.”
“Gladly,” says he, slinking off (to the sleeping-place) above the stove. But his wife called after him:—
“Sure,” he says, sneaking off to the sleeping area above the stove. But his wife called after him:—
“Get up early to-morrow, old man, harness the mare to the sledge, and drive away with Marfa. And, Marfa, get your things together in a basket, and put on a clean shift; you’re going away to-morrow on a visit.”
“Get up early tomorrow, old man, hook the mare up to the sled, and leave with Marfa. And, Marfa, pack your things in a basket and wear a clean dress; you’re going away tomorrow for a visit.”
Poor Marfa was delighted to hear of such a piece of good luck as being invited on a visit, and she slept comfortably all night. Early next morning she got up, washed herself, prayed to God, got all her things together, packed them away in proper order, dressed herself (in her best things), and looked something like a lass!—a bride fit for any place whatsoever!
Poor Marfa was thrilled to hear about the good luck of being invited for a visit, and she slept well all night. Early the next morning, she got up, washed herself, prayed to God, organized all her things, packed them neatly, dressed up (in her best clothes), and looked like a young woman—like a bride ready for any occasion!
Now it was winter time, and out of doors was a rattling frost. Early in the morning, between daybreak and sunrise, the old man harnessed the mare to the sledge, and led it up to the steps. Then he went indoors, sat down on the window-sill, and said:—
Now it was winter, and outside there was a biting frost. Early in the morning, between dawn and sunrise, the old man hitched the mare to the sled and brought it up to the steps. Then he went inside, sat down on the window sill, and said:—
[Pg 223] “Now then! I’ve got everything ready.”
“Okay! I’ve got everything ready.”
“Sit down to table and swallow your victuals!” replied the old woman.
“Sit down at the table and eat your food!” replied the old woman.
The old man sat down to table, and made his daughter sit by his side. On the table stood a pannier; he took out a loaf,[278] and cut bread for himself and his daughter. Meantime his wife served up a dish of old cabbage soup, and said:—
The old man sat at the table and had his daughter sit next to him. On the table was a basket; he took out a loaf,[278] and cut bread for himself and his daughter. Meanwhile, his wife served a dish of old cabbage soup and said:—
“There, my pigeon, eat and be off; I’ve looked at you quite enough! Drive Marfa to her bridegroom, old man. And look here, old greybeard! drive straight along the road at first, and then turn off from the road to the right, you know, into the forest—right up to the big pine that stands on the hill, and there hand Marfa over to Morozko (Frost).”
“Alright, my dear, eat up and then leave; I’ve seen enough of you! Take Marfa to her groom, old man. And listen here, old timer! Start by driving straight along the road, and then veer off to the right into the forest—right up to the big pine tree on the hill, and there hand Marfa over to Morozko (Frost).”
The old man opened his eyes wide, also his mouth, and stopped eating, and the girl began lamenting.
The old man opened his eyes wide, as well as his mouth, and stopped eating, and the girl started crying.
“Now then, what are you hanging your chaps and squealing about?” said her stepmother. “Surely your bridegroom is a beauty, and he’s that rich! Why, just see what a lot of things belong to him, the firs, the pine-tops, and the birches, all in their robes of down—ways and means that any one might envy; and he himself a bogatir!”[279]
“Now, what are you whining about?” her stepmother said. “Your fiancé is a catch, and he’s loaded! Just look at all the stuff that belongs to him: the firs, the pine trees, and the birches, all dressed in their soft coats—things anyone would envy; and he himself is a bogatir!”[279]
The old man silently placed the things on the sledge, made his daughter put on a warm pelisse, and set off on the journey. After a time, he reached the forest, turned off from the road; and drove across the frozen snow.[280] When he got into the depths of the forest, he stopped, made his daughter get out, laid her basket under the tall pine, and said:—
The old man quietly loaded the stuff onto the sled, had his daughter put on a warm coat, and started their journey. After a while, he reached the forest, veered off the road, and drove over the frozen snow.[280] When he got deeper into the forest, he stopped, helped his daughter get out, placed her basket under the tall pine, and said:—
“Sit here, and await the bridegroom. And mind you receive him as pleasantly as you can.”
“Sit here and wait for the groom. And make sure to welcome him as warmly as you can.”
Then he turned his horse round and drove off homewards.
Then he turned his horse around and headed home.
The girl sat and shivered. The cold had pierced her through. She would fain have cried aloud, but she had not strength [Pg 224] enough; only her teeth chattered. Suddenly she heard a sound. Not far off, Frost was cracking away on a fir. From fir to fir was he leaping, and snapping his fingers. Presently he appeared on that very pine under which the maiden was sitting and from above her head he cried:—
The girl sat shivering. The cold had cut right through her. She would have liked to scream, but she didn't have the strength; only her teeth chattered. Suddenly, she heard a sound. Not far away, Frost was cracking away at a fir tree. He was leaping from tree to tree, snapping his fingers. Soon he appeared on the very pine tree under which the girl was sitting and called down from above her head:—
“Art thou warm, maiden?”
"Are you warm, lady?"
“Warm, warm am I, dear Father Frost,” she replied.
“Warm, warm I am, dear Father Frost,” she replied.
Frost began to descend lower, all the more cracking and snapping his fingers. To the maiden said Frost:—
Frost started to come down more, cracking and snapping his fingers even more. He said to the maiden:—
“Art thou warm, maiden? Art thou warm, fair one?”
“Are you warm, girl? Are you warm, beautiful one?”
The girl could scarcely draw her breath, but still she replied:
The girl could hardly catch her breath, but she still answered:
“Warm am I, Frost dear: warm am I, father dear!”
“I'm warm, Frost dear: I'm warm, dad dear!”
Frost began cracking more than ever, and more loudly did he snap his fingers, and to the maiden he said:—
Frost started cracking more than ever, and he snapped his fingers louder than before, and he said to the girl:—
“Art thou warm, maiden? Art thou warm, pretty one? Art thou warm, my darling?”
“Are you warm, girl? Are you warm, beautiful? Are you warm, my dear?”
The girl was by this time numb with cold, and she could scarcely make herself heard as she replied:—
The girl was now so cold that she could barely make herself heard as she responded:—
“Oh! quite warm, Frost dearest!”
“Oh! It's quite warm, Frost dear!”
Then Frost took pity on the girl, wrapped her up in furs, and warmed her with blankets.
Then Frost felt sorry for the girl, wrapped her up in furs, and warmed her with blankets.
Next morning the old woman said to her husband:—
Next morning, the old woman said to her husband:—
“Drive out, old greybeard, and wake the young couple!”
“Get out of here, old man, and wake up the young couple!”
The old man harnessed his horse and drove off. When he came to where his daughter was, he found she was alive and had got a good pelisse, a costly bridal veil, and a pannier with rich gifts. He stowed everything away on the sledge without saying a word, took his seat on it with his daughter, and drove back. They reached home, and the daughter fell at her stepmother’s feet. The old woman was thunderstruck when she saw the girl alive, and the new pelisse and the basket of linen.
The old man hitched up his horse and set off. When he arrived where his daughter was, he found she was alive and had a nice fur coat, an expensive bridal veil, and a cart full of valuable gifts. He packed everything onto the sled without saying a word, took a seat on it with his daughter, and headed back. They got home, and the daughter fell at her stepmother’s feet. The old woman was stunned when she saw the girl alive, along with the new coat and the basket of linen.
“Ah, you wretch!” she cries. “But you shan’t trick me!”
“Ah, you miserable person!” she exclaims. “But you won’t fool me!”
Well, a little later the old woman says to her husband:—
Well, a little later, the old woman says to her husband:—
“Take my daughters, too, to their bridegroom. The presents he’s made are nothing to what he’ll give them.”
“Take my daughters, too, to their groom. The gifts he’s given are nothing compared to what he’ll give them.”
Well, early next morning the old woman gave her girls their [Pg 225] breakfast, dressed them as befitted brides, and sent them off on their journey. In the same way as before the old man left the girls under the pine.
Well, early the next morning, the old woman gave her daughters their [Pg 225] breakfast, dressed them like brides, and sent them off on their journey. Just like before, the old man left the girls under the pine tree.
There the girls sat, and kept laughing and saying:
There the girls sat, laughing and chatting:
“Whatever is mother thinking of! All of a sudden to marry both of us off! As if there were no lads in our village, forsooth! Some rubbishy fellow may come, and goodness knows who he may be!”
“What's Mom thinking? Suddenly trying to marry both of us off! As if there aren't any guys in our village, seriously! Some random guy might show up, and who knows who he could be!”
The girls were wrapped up in pelisses, but for all that they felt the cold.
The girls were bundled up in coats, but even so, they still felt the cold.
“I say, Prascovia! the frost’s skinning me alive. Well, if our bridegroom[281] doesn’t come quick, we shall be frozen to death here!”
“I say, Prascovia! The cold is freezing me alive. Well, if our bridegroom[281] doesn’t arrive soon, we’re going to freeze to death here!”
“Don’t go talking nonsense, Mashka; as if suitors[282] generally turned up in the forenoon. Why it’s hardly dinner-time yet!”
“Don’t talk nonsense, Mashka; as if suitors[282] usually showed up in the morning. It’s barely time for dinner yet!”
“But I say, Prascovia! if only one comes, which of us will he take?”
“But I say, Prascovia! If only one of us comes, which one of us will he choose?”
“Not you, you stupid goose!”
“Not you, you silly goose!”
“Then it will be you, I suppose!”
“Then I guess it'll be you!”
“Of course it will be me!”
“Of course it will be me!”
“You, indeed! there now, have done talking stuff and treating people like fools!”
"You, really! There you go, stopping the nonsense and treating people like they're idiots!"
Meanwhile, Frost had numbed the girl’s hands, so our damsels folded them under their dress, and then went on quarrelling as before.
Meanwhile, the cold had numbed the girl's hands, so our ladies tucked them under their dress and continued arguing just like before.
“What, you fright! you sleepy-face! you abominable shrew! why, you don’t know so much as how to begin weaving: and as to going on with it, you haven’t an idea!”
“What, you scare! you sleepyhead! you terrible nag! you don’t even know how to start weaving: and as for continuing, you don’t have a clue!”
“Aha, boaster! and what is it you know? Why, nothing at all except to go out to merry-makings and lick your lips there. We’ll soon see which he’ll take first!”
“Aha, you braggart! What is it that you actually know? Nothing at all except how to go out to parties and enjoy yourself there. We’ll soon see which one he chooses first!”
While the girls went on scolding like that, they began to freeze in downright earnest. Suddenly they both cried out at once:
While the girls kept on scolding like that, they started to seriously freeze. Suddenly, they both shouted at the same time:
[Pg 226] “Whyever is he so long coming. Do you know, you’ve turned quite blue!”
[Pg 226] "Why is he taking so long to arrive? You know, you've turned a bit blue!"
Now, a good way off, Frost had begun cracking, snapping his fingers, and leaping from fir to fir. To the girls it sounded as if some one was coming.
Now, a little way off, Frost had started cracking, snapping his fingers, and jumping from fir to fir. To the girls, it sounded like someone was approaching.
“Listen, Prascovia! He’s coming at last, and with bells, too!”
“Hey, Prascovia! He’s finally here, and with bells, too!”
“Get along with you! I won’t listen; my skin is peeling with cold.”
“Leave me alone! I won’t listen; I’m freezing.”
“And yet you’re still expecting to get married!”
“And yet you still expect to get married!”
Then they began blowing on their fingers.
Then they started blowing on their fingers.
Nearer and nearer came Frost. At length he appeared on the pine, above the heads of the girls, and said to them:
Nearer and nearer came Frost. Finally, he showed up on the pine tree, above the girls' heads, and said to them:
“Are ye warm, maidens? Are ye warm, pretty ones? Are ye warm, my darlings?”
“Are you warm, girls? Are you warm, pretty ones? Are you warm, my darlings?”
“Oh, Frost, it’s awfully cold! we’re utterly perished! We’re expecting a bridegroom, but the confounded fellow has disappeared.”
“Oh, Frost, it’s so cold! We’re completely freezing! We’re waiting for a bridegroom, but the annoying guy has disappeared.”
Frost slid lower down the tree, cracked away more, snapped his fingers oftener than before.
Frost moved lower down the tree, broke off more branches, and snapped his fingers more often than before.
“Are ye warm, maidens? Are ye warm, pretty ones?”
“Are you warm, ladies? Are you warm, beautiful ones?”
“Get along with you! Are you blind that you can’t see our hands and feet are quite dead?”
“Get out of here! Are you blind that you can’t see our hands and feet are totally lifeless?”
Still lower descended Frost, still more put forth his might,[283] and said:
Still lower descended Frost, still more put forth his might,[283] and said:
“Are ye warm, maidens?”
"Are you warm, ladies?"
“Into the bottomless pit with you! Out of sight, accursed one!” cried the girls—and became lifeless forms.[284]
“Into the bottomless pit with you! Out of sight, cursed one!” shouted the girls—and became lifeless forms.[284]
Next morning the old woman said to her husband:
Next morning, the elderly woman said to her husband:
“Old man, go and get the sledge harnessed; put an armful of hay in it, and take some sheep-skin wraps. I daresay the girls are half-dead with cold. There’s a terrible frost outside! And, mind you, old greybeard, do it quickly!”
“Old man, go and get the sled ready; throw some hay in it, and grab some sheep-skin blankets. I bet the girls are freezing! It’s freezing cold outside! And, just so you know, old greybeard, do it fast!”
Before the old man could manage to get a bite he was out of doors and on his way. When he came to where his daughters [Pg 227] were, he found them dead. So he lifted the girls on to the sledge, wrapped a blanket round them, and covered them up with a bark mat. The old woman saw him from afar, ran out to meet him, and called out ever so loud:
Before the old man could eat, he was outside and on his way. When he reached where his daughters [Pg 227] were, he found them dead. So he lifted the girls onto the sled, wrapped a blanket around them, and covered them with a bark mat. The old woman saw him from a distance, ran out to greet him, and called out very loudly:
“Where are the girls?”
“Where are the girls at?”
“In the sledge.”
“In the sled.”
The old woman lifted the mat, undid the blanket, and found the girls both dead.
The old woman lifted the mat, removed the blanket, and discovered the girls were both dead.
Then, like a thunderstorm, she broke out against her husband, abusing him saying:
Then, like a thunderstorm, she erupted at her husband, berating him, saying:
“What have you done, you old wretch? You have destroyed my daughters, the children of my own flesh and blood, my never-enough-to-be-gazed-on seedlings, my beautiful berries! I will thrash you with the tongs; I will give it you with the stove-rake.”
“What have you done, you old miser? You have ruined my daughters, the kids of my own flesh and blood, my endlessly admired seedlings, my beautiful berries! I will beat you with the tongs; I will hit you with the stove-rake.”
“That’s enough, you old goose! You flattered yourself you were going to get riches, but your daughters were too stiff-necked. How was I to blame? it was you yourself would have it.”
"That's enough, you silly old thing! You thought you were going to get rich, but your daughters were too stubborn. How is this my fault? It was your own doing."
The old woman was in a rage at first, and used bad language; but afterwards she made it up with her stepdaughter, and they all lived together peaceably, and thrived, and bore no malice. A neighbor made an offer of marriage, the wedding was celebrated, and Marfa is now living happily. The old man frightens his grandchildren with (stories about) Frost, and doesn’t let them have their own way.
The old woman was really angry at first and used foul language; but later, she reconciled with her stepdaughter, and they all lived together peacefully, thrived, and held no grudges. A neighbor proposed, the wedding took place, and Marfa is now living happily. The old man scares his grandchildren with stories about Frost and doesn't let them do whatever they want.
In a variant from the Kursk Government (Afanasief IV. No. 42. b), the stepdaughter is left by her father “in the open plain.” There she sits, “trembling and silently offering up a prayer.” Frost draws near, intending “to smite her and to freeze her to death.” But when he says to her, “Maiden, maiden, I am Frost the Red-Nosed,” she replies “Welcome, Frost; doubtless God has sent you for my sinful soul.” Pleased by her “wise words,” Frost throws a warm cloak over her, and afterwards presents her with “robes [Pg 228] embroidered with silver and gold, and a chest containing rich dowry.” The girl puts on the robes, and appears “such a beauty!” Then she sits on the chest and sings songs. Meantime her stepmother is baking cakes and preparing for her funeral. After a time her father sets out in search of her dead body. But the dog beneath the table barks—“Taff! Taff! The master’s daughter in silver and gold by the wedding party is borne along, but the mistress’s daughter is wooed by none!” In vain does its mistress throw it a cake, and order it to modify its remarks. It eats the cake, but it repeats its offensive observations, until the stepdaughter appears in all her glory. Then the old woman’s own daughter is sent afield. Frost comes to have a look at his new guest, expecting “wise words” from her too. But as none are forthcoming, he waxes wroth, and kills her. When the old man goes to fetch her, the dog barks—“Taff! Taff! The master’s daughter will be borne along by the bridal train, but the bones of the mistress’s daughter are being carried in a bag,” and continues to bark in the same strain until the yard-gates open. The old woman runs out to greet her daughter, and “instead of her embraces a cold corpse.”
In a version from the Kursk Government (Afanasief IV. No. 42. b), the stepdaughter is abandoned by her father “in the open plain.” There she sits, “trembling and silently offering up a prayer.” Frost approaches, intending “to strike her and freeze her to death.” But when he says to her, “Maiden, maiden, I am Frost the Red-Nosed,” she replies, “Welcome, Frost; surely God has sent you for my sinful soul.” Pleased by her “wise words,” Frost drapes a warm cloak over her, and later presents her with “robes embroidered with silver and gold, and a chest filled with a rich dowry.” The girl puts on the robes, and looks “such a beauty!” Then she sits on the chest and sings songs. Meanwhile, her stepmother is baking cakes and preparing for her funeral. Eventually, her father sets out in search of her lifeless body. But the dog under the table barks—“Taff! Taff! The master’s daughter in silver and gold is being carried along by the wedding party, but the mistress’s daughter is pursued by no one!” In vain does its mistress throw it a cake and tell it to change its tune. It eats the cake, but keeps repeating its rude comments until the stepdaughter appears in all her splendor. Then the old woman’s own daughter is sent out. Frost comes to check on his new guest, hoping for “wise words” from her as well. But when none are offered, he gets angry and kills her. When the old man goes to fetch her, the dog barks—“Taff! Taff! The master’s daughter will be taken away by the bridal party, but the bones of the mistress’s daughter are being carried in a bag,” and it continues to bark the same thing until the yard gates open. The old woman rushes out to greet her daughter, and “instead of her, she embraces a cold corpse.”
To the Russian peasants, it should be observed, Moroz, our own Jack Frost, is a living personage. On Christmas Eve it is customary for the oldest man in each family to take a spoonful of kissel, a sort of pudding, and then, having put his head through the window, to cry:
To the Russian peasants, it's important to note that Moroz, our own Jack Frost, is seen as a real person. On Christmas Eve, it's tradition for the oldest man in each family to take a spoonful of kissel, which is a type of pudding, and then, after sticking his head out the window, to shout:
“Frost, Frost, come and eat kissel! Frost, Frost, do not kill our oats! drive our flax and hemp deep into the ground.”
“Frost, Frost, come and eat the jelly! Frost, Frost, don’t kill our oats! Push our flax and hemp deep into the ground.”
The Tcheremisses have similar ideas, and are afraid of knocking the icicles off their houses, thinking that, if they do so, Frost will wax wroth and freeze them to death. In [Pg 229] one of the Skazkas, a peasant goes out one day to a field of buckwheat, and finds it all broken down. He goes home, and tells the bad news to his wife, who says, “It is Frost who has done this. Go and find him, and make him pay for the damage!” So the peasant goes into the forest and, after wandering about for some time, lights upon a path which leads him to a cottage made of ice, covered with snow, and hung with icicles. He knocks at the door, and out comes an old man—“all white.” This is Frost, who presents him with the magic cudgel and table-cloth which work wonders in so many of the tales.[285] In another story, a peasant meets the Sun, the Wind, and the Frost. He bows to all three, but adds an extra salutation to the Wind. This enrages the two others, and the Sun cries out that he will burn up the peasant. But the Wind says, “I will blow cold, and temper the heat.” Then the Frost threatens to freeze the peasant to death, but the Wind comforts him, saying, “I will blow warm, and will not let you be hurt.”[286]
The Tcheremisses share similar beliefs and are scared of knocking the icicles off their houses, thinking that if they do, Frost will get angry and freeze them to death. In [Pg 229] one of the Skazkas, a peasant goes out one day to a buckwheat field and finds it all broken down. He goes home and tells his wife the bad news, and she says, “It’s Frost who did this. Go and find him, and make him pay for the damage!” So the peasant ventures into the forest and, after wandering around for a while, comes across a path that leads him to a cottage made of ice, covered in snow and decorated with icicles. He knocks on the door, and out comes an old man—“all white.” This is Frost, who gives him the magic cudgel and tablecloth that work wonders in many of the stories.[285] In another tale, a peasant meets the Sun, the Wind, and Frost. He bows to all three but gives an extra greeting to the Wind. This angers the other two, and the Sun exclaims that he will burn up the peasant. But the Wind replies, “I will blow cold and soften the heat.” Then Frost threatens to freeze the peasant to death, but the Wind reassures him, saying, “I will blow warm and will not let you be hurt.”[286]
Sometimes the Frost is described by the people as a mighty smith who forges strong chains with which to bind the earth and the waters—as in the saying “The Old One has built a bridge without axe and without knife,” i.e., the river is frozen over. Sometimes Moroz-Treskun, the Crackling Frost, is spoken of without disguise as the preserver of the hero who is ordered to enter a bath which has been heated red-hot. Frost goes into the bath, and breathes with so icy a breath that the heat of the building turns at once to cold.[287]
Sometimes people describe Frost as a powerful blacksmith who forges strong chains to bind the earth and the waters—like the saying “The Old One has built a bridge without axe and without knife,” i.e., the river is frozen over. Other times, Moroz-Treskun, the Crackling Frost, is referred to plainly as the protector of the hero who is told to enter a bath that has been heated to a glaring red. Frost enters the bath and breathes with such icy breath that the heat of the building instantly turns to cold.[287]
[Pg 230] The story in which Frost so singularly figures is one which is known in many lands, and of which many variants are current in Russia. The jealous hatred of a stepmother, who exposes her stepdaughter to some great peril, has been made the theme of countless tales. What gives its special importance, as well as its poetical charm, to the skazka which has been quoted, is the introduction of Frost as the power to which the stepmother has recourse for the furtherance of her murderous plans, and by which she, in the persons of her own daughters, is ultimately punished. We have already dealt with one specimen of the skazkas of this class, the story of Vasilissa, who is sent to the Baba Yaga’s for a light. Another, still more closely connected with that of “Frost,” occurs in Khudyakof’s collection.[288]
[Pg 230] The story featuring Frost is one that's known across many countries, with numerous versions present in Russia. The intense jealousy of a stepmother who puts her stepdaughter in serious danger has been the focus of countless tales. What makes this particular skazka significant, as well as poetically enchanting, is the introduction of Frost as the force the stepmother turns to for help in her deadly schemes, and by which she ultimately faces punishment through her own daughters. We've already looked at one example of this type of skazka, the tale of Vasilissa, who is sent to Baba Yaga for a light. Another tale, even more closely related to "Frost," can be found in Khudyakof’s collection.[288]
A certain woman ordered her husband (says the story) to make away with his daughter by a previous marriage. So he took the girl into the forest, and left her in a kind of hut, telling her to prepare some soup while he was cutting wood. “At that time there was a gale blowing. The old man tied a log to a tree; when the wind blew, the log rattled. She thought the old man was going on cutting wood, but in reality he had gone away home.”
A woman instructed her husband (as the story goes) to get rid of his daughter from a previous marriage. So, he took the girl into the woods and left her in a sort of hut, telling her to make some soup while he cut wood. "At that time, there was a strong wind. The old man tied a log to a tree; when the wind blew, the log rattled. She thought he was still chopping wood, but in reality, he had gone back home."
When the soup was ready, she called out to her father to come to dinner. No reply came from him, “but there was a human head in the forest, and it replied, ‘I’m coming immediately!’ And when the Head arrived, it cried, ‘Maiden, open the door!’ She opened it. ‘Maiden, Maiden! lift me over the threshold!’ She lifted it over. ‘Maiden, Maiden! put the dinner on the table!’ She did so, and she and the Head sat down to dinner. When [Pg 231] they had dined, ‘Maiden, Maiden!’ said the Head, ‘take me off the bench!’ She took it off the bench, and cleared the table. It lay down to sleep on the bare floor; she lay on the bench. She fell asleep, but it went into the forest after its servants. The house became bigger; servants, horses, everything one could think of suddenly appeared. The servants came to the maiden, and said, ‘Get up! it’s time to go for a drive!’ So she got into a carriage with the Head, but she took a cock along with her. She told the cock to crow; it crowed. Again she told it to crow; it crowed again. And a third time she told it to crow. When it had crowed for the third time, the Head fell to pieces, and became a heap of golden coins.”[289]
When the soup was ready, she called out to her father to come to dinner. No response came from him, “but there was a human head in the forest, and it replied, ‘I’m coming right away!’ And when the Head arrived, it shouted, ‘Hey, open the door!’ She opened it. ‘Hey, lift me over the threshold!’ She lifted it over. ‘Hey, set the dinner on the table!’ She did that, and she and the Head sat down to eat. When they had finished, ‘Hey!’ said the Head, ‘take me off the bench!’ She took it off the bench and cleared the table. It lay down to sleep on the bare floor while she lay on the bench. She fell asleep, but it went into the forest after its servants. The house got bigger; servants, horses, everything one could think of suddenly appeared. The servants came to the maiden and said, ‘Get up! It’s time to go for a drive!’ So she got into a carriage with the Head, but she brought a rooster with her. She told the rooster to crow; it crowed. She told it to crow again; it did. And a third time she told it to crow. When it crowed for the third time, the Head broke apart and turned into a pile of golden coins.”[289]
Then the stepmother sent her own daughter into the forest. Everything occurred as before, until the Head arrived. Then she was so frightened that she tried to hide herself, and she would do nothing for the Head, which had to dish up its own dinner, and eat it by itself. And so “when she lay down to sleep, it ate her up.”
Then the stepmother sent her own daughter into the forest. Everything happened the same way as before, until the Head showed up. She was so scared that she tried to hide, and she wouldn’t do anything for the Head, which had to prepare its own dinner and eat by itself. So, “when she lay down to sleep, it ate her up.”
In a story in Chudinsky’s collection, the stepdaughter is sent by night to watch the rye in an ovin,[290] or corn-kiln. Presently a stranger appears and asks her to marry him. She replies that she has no wedding-clothes, upon which he brings her everything she asks for. But she is very careful not to ask for more than one thing at a time, and so the cock crows before her list of indispensable [Pg 232] necessaries is exhausted. The stranger immediately disappears, and she carries off her presents in triumph.
In a story from Chudinsky’s collection, the stepdaughter is sent out at night to watch over the rye in an ovin,[290] or corn-kiln. Soon, a stranger shows up and proposes to her. She tells him that she doesn’t have any wedding clothes, so he brings her everything she asks for. However, she is very careful to only ask for one thing at a time, which means the rooster crows before her list of must-haves is complete. The stranger instantly vanishes, and she proudly takes her gifts home.
The next night her stepsister is sent to the ovin, and the stranger appears as before, and asks her to marry him. She, also, replies that she has no wedding-clothes, and he offers to supply her with what she wants. Whereupon, instead of asking for a number of things one after the other, she demands them all at once—“Stockings, garters, a petticoat, a dress, a comb, earrings, a mirror, soap, white paint and rouge, and everything which her stepsister had got.” Then follows the catastrophe.
The next night, her stepsister is sent to the ovin, and the stranger shows up again, asking her to marry him. She responds that she doesn't have any wedding clothes, and he offers to get her whatever she needs. Instead of asking for things one at a time, she demands everything all at once—“Stockings, garters, a petticoat, a dress, a comb, earrings, a mirror, soap, white makeup, and blush, plus everything her stepsister got.” Then the disaster happens.
The stranger brought her everything, all at once.
The stranger brought her everything, all at once.
“Now then,” says he, “will you marry me now?”
“Okay then,” he says, “will you marry me now?”
“Wait a bit,” said the stepmother’s daughter, “I’ll wash and dress, and whiten myself and rouge myself, and then I’ll marry you.” And straightway she set to work washing and dressing—and she hastened and hurried to get all that done—she wanted so awfully to see herself decked out as a bride. By-and-by she was quite dressed—but the cock had not yet crowed.
“Hold on a minute,” said the stepmother’s daughter, “I’ll wash up, get dressed, and put on some makeup, and then I’ll marry you.” And right away she started washing and getting ready—she rushed and hurried to finish everything—she really wanted to see herself looking like a bride. Eventually, she was fully dressed—but the rooster hadn’t crowed yet.
“Well, maiden!” says he, “will you marry me now?”
“Well, girl!” he says, “will you marry me now?”
“I’m quite ready,” says she.
“I’m all set,” she says.
There is one other of those personifications of natural forces which play an active part in the Russian tales, about which a few words may be said. It often happens that the heroine-stealer whom the hero of the story has to overcome is called, not Koshchei nor the Snake, but Vikhor,[292] the whirlwind. Here is a brief analysis of part of [Pg 233] one of the tales in which this elementary abducer figures. There was a certain king, whose wife went out one day to walk in the garden. “Suddenly a gale (vyeter) sprang up. In the gale was the Vikhor-bird. Vikhor seized the Queen, and carried her off.” She left three sons, and they, when they came to man’s estate, said to their father—“Where is our mother? If she be dead, show us her grave; if she be living, tell us where to find her.”
There’s another one of those personifications of natural forces that plays an active role in Russian tales, which deserves a mention. Often, the villain the hero has to defeat is called not Koshchei or the Snake, but Vikhor,[292] the whirlwind. Here’s a quick look at part of[Pg 233] one of the stories featuring this primary abductor. There was a king whose wife went out for a walk in the garden one day. Suddenly, a strong wind (vyeter) picked up. In that wind was the Vikhor-bird. Vikhor snatched the Queen and flew away with her. She left behind three sons, and when they grew up, they asked their father, “Where is our mother? If she’s dead, show us her grave; if she’s alive, tell us where to find her.”
“I myself know not where your mother is,” replied the King. “Vikhor carried her off.”
“I don’t know where your mother is,” replied the King. “Vikhor took her away.”
“Well then,” they said, “since Vikhor carried her off, and she is alive, give us your blessing. We will go in search of our mother.”
“Well then,” they said, “since Vikhor took her away, and she is alive, give us your blessing. We will go look for our mother.”
All three set out, but only the youngest, Prince Vasily, succeeded in climbing the steep hill, whereon stood the palace in which his mother and Vikhor lived. Entering it during Vikhor’s absence, the Prince made himself known to his mother, “who straightway gave him to eat, and concealed him in a distant apartment, hiding him behind a number of cushions, so that Vikhor might not easily discover him.” And she gave him these instructions. “If Vikhor comes, and begins quarrelling, don’t come forth, but if he takes to chatting, come forth and say, ‘Hail father!’ and seize hold of the little finger of his right hand, and wherever he flies do you go with him.”
All three set out, but only the youngest, Prince Vasily, managed to climb the steep hill where the palace was located, where his mother and Vikhor lived. Once inside during Vikhor’s absence, the Prince introduced himself to his mother, “who immediately gave him something to eat and hidden him in a distant room, tucking him behind a number of cushions, so Vikhor wouldn’t easily find him.” She then gave him these instructions: “If Vikhor comes and starts arguing, don’t come out, but if he starts chatting, come out and say, ‘Hail, father!’ and grab hold of the little finger of his right hand, and wherever he goes, you go with him.”
Presently Vikhor came flying in, and addressed the Queen angrily. Prince Vasily remained concealed until his mother gave him a hint to come forth. This he did, and then greeted Vikhor, and caught hold of his right little finger. Vikhor tried to shake him off, flying first about the house and then out of it, but all in vain. At last Vikhor, after soaring on high, struck the ground, and fell to pieces, becoming a fine yellow sand. “But the little finger [Pg 234] remained in the possession of Prince Vasily, who scraped together the sand and burnt it in the stove.”[293]
Currently, Vikhor came rushing in and confronted the Queen angrily. Prince Vasily stayed hidden until his mother signaled for him to come forward. He did so, greeted Vikhor, and grabbed his right pinky finger. Vikhor tried to shake him off, flying around the house and then outside, but it was all in vain. Finally, Vikhor, after soaring high, hit the ground and fell apart, turning into fine yellow sand. “But the pinky finger [Pg 234] remained with Prince Vasily, who gathered the sand and burned it in the stove.”[293]
With a mention of two other singular beings who occur in the Skazkas, the present chapter may be brought to a close. The first is a certain Morfei (Morpheus?) who figures in the following variant of a well-known tale.
With a mention of two other unique characters found in the Skazkas, we can wrap up this chapter. The first is a character named Morfei (Morpheus?) who appears in the next version of a familiar story.
There was a king, and he had a daughter with whom a general who lived over the way fell in love. But the king would not let him marry her unless he went where none had been, and brought back thence what none had seen. After much consideration the general set out and travelled “over swamps, hill, and rivers.” At last he reached a wood in which was a hut, and inside the hut was an old crone. To her he told his story, after hearing which, she cried out, “Ho, there! Morfei, dish up the meal!” and immediately a dinner appeared of which the old crone made the general partake. And next day “she presented that cook to the general, ordering him to serve the general honorably, as he had served her. The general took the cook and departed.” By-and-by he came to a river and was appealed to for food by a shipwrecked crew. “Morfei, give them to eat!” he cried, and immediately excellent viands appeared, with which the mariners were so pleased that they gave the general a magic volume in exchange for his cook—who, however, did not stay with them but secretly followed his master. A little later the general found another shipwrecked crew, who gave him, in exchange for his cook, a sabre and a towel, each of magic power. Then the general returned to his own city, and his magic properties enabled him to convince the king [Pg 235] that he was an eligible suitor for the hand of the Princess.[294]
There was a king who had a daughter that a general living nearby fell in love with. However, the king would only allow him to marry her if he ventured to a place where no one had been and brought back something that no one had seen. After thinking it over, the general set off and traveled “over swamps, hills, and rivers.” Eventually, he arrived at a forest where he found a hut, and inside lived an old woman. He shared his story with her, and she exclaimed, “Hey there! Morfei, serve up the meal!” Instantly, dinner appeared, which the old woman insisted the general eat. The next day, “she gifted that cook to the general, instructing him to serve the general well, just as he had served her. The general took the cook and left.” Soon after, he came across a shipwrecked crew who asked him for food. “Morfei, feed them!” he shouted, and right away, delicious dishes appeared. The sailors were so grateful that they gave the general a magical book in exchange for his cook—who didn’t stay with them but secretly followed his master instead. Later, the general encountered another group of shipwrecked sailors, who traded him a magical sword and towel for his cook. The general then returned to his city, and with his magical gifts, he was able to prove to the king that he was a worthy candidate for the princess's hand. [Pg 235] [294]
The other is a mysterious personage whose name is “Oh!” The story in which he appears is one with which many countries are familiar, and of which numerous versions are to be found in Russia. A father sets out with his boy for “the bazaar,” hoping to find a teacher there who will instruct the child in such science as enables people “to work little, and feed delicately, and dress well.” After walking a long way the man becomes weary and exclaims, “Oh! I’m so tired!” Immediately there appears “an old magician,” who says—
The other is a mysterious figure named “Oh!” The story he’s part of is familiar to many countries, with various versions found in Russia. A father and his son head to “the bazaar,” hoping to find a teacher who can teach the boy the kind of knowledge that allows people to “work less, eat well, and dress nicely.” After walking for a long time, the man gets tired and exclaims, “Oh! I’m so tired!” Suddenly, “an old magician” appears and says—
“Why do you call me?”
“Why are you calling me?”
“I didn’t call you,” replies the old man. “I don’t even know who you are.”
“I didn’t call you,” the old man replies. “I don’t even know who you are.”
“My name is Oh,” says the magician, “and you cried ‘Oh!’ Where are you taking that boy?”
“My name is Oh,” says the magician, “and you cried ‘Oh!’ Where are you taking that boy?”
The father explains what it is he wants, and the magician undertakes to give the boy the requisite education, charging “one assignat rouble” for a year’s tuition.[295]
The father explains what he wants, and the magician agrees to provide the boy with the necessary education, charging “one assignat rouble” for a year’s tuition.[295]
The teacher, in this story, is merely called a magician; but as in other Russian versions of it his counterpart is always described as being demoniacal, and is often openly styled a devil, it may be assumed that Oh belongs to the supernatural order of beings. It is often very difficult, however, to distinguish magicians from fiends in storyland, the same powers being generally wielded, and that for the [Pg 236] same purposes, by the one set of beings as by the other. Of those powers, and of the end to which the stories represent them as being turned, some mention will be made in the next chapter.
The teacher in this story is simply called a magician; however, in other Russian versions, his equivalent is usually described as demonic and is often directly referred to as a devil, suggesting that he belongs to a supernatural realm. It can be quite challenging, though, to tell magicians apart from demons in these tales since both typically possess similar powers and use them for the same ends. Some discussion of those powers and the purposes the stories ascribe to them will be included in the next chapter.
FOOTNOTES:
[224] The adjective likhoi has two opposite meanings, sometimes signifying what is evil, hurtful, malicious, &c., sometimes what is bold, vigorous, and therefore to be admired. As a substantive, likho conveys the idea of something malevolent or unfortunate. The Polish licho properly signifies uneven. But odd numbers are sometimes considered unlucky. Polish housewives, for instance, think it imprudent to allow their hens to sit on an uneven number of eggs. But the peasantry also describe by Licho an evil spirit, a sort of devil. (Wojcicki in the “Encyklopedyja Powszechna,” xvii. p. 17.) “When Likho sleeps, awake it not,” says a proverb common to Poland and South Russia.
[224] The adjective likhoi has two opposite meanings, sometimes referring to what is evil, harmful, malicious, etc., and other times to what is bold, vigorous, and therefore admirable. As a noun, likho suggests something malevolent or unlucky. The Polish term licho means uneven. However, odd numbers are sometimes thought to be unlucky. For example, Polish housewives consider it unwise to let their hens sit on an uneven number of eggs. Additionally, rural folk use the term Licho to describe an evil spirit, a kind of devil. (Wojcicki in the “Encyklopedyja Powszechna,” xvii. p. 17.) “When Likho sleeps, do not wake it,” is a saying common in Poland and South Russia.
[228] In the “Philogische und historische Abhandlungen,” of the Berlin Academy of Sciences for 1857, pp. 1-30. See also Buslaef, “Ist. Och.,” i. 327-331.; Campbell’s “West Highland Tales,” i. p. 132, &c.
[228] In the “Philological and Historical Essays” of the Berlin Academy of Sciences for 1857, pp. 1-30. See also Buslaef, “Ist. Och.,” i. 327-331.; Campbell’s “West Highland Tales,” i. p. 132, &c.
[229] Ednookie (edno or odno = one; oko = eye). A Slavonic equivalent of the name “Arimaspians,” from the Scythic arima = one and spû = eye. Mr. Rawlinson associates arima, through farima, with Goth. fruma, Lat. primus, &c., and spû with Lat. root spic or spec—in specio, specto, &c., and with our “spy,” &c.
[229] Ednookie (edno or odno = one; oko = eye). A Slavic equivalent of the name “Arimaspians,” derived from the Scythian arima = one and spû = eye. Mr. Rawlinson connects arima, through farima, to Gothic fruma, Latin primus, etc., and spû with the Latin roots spic or spec—as in specio, specto, etc., and related to our “spy,” etc.
[230] Grimm, No. 130, &c.
[231] Afanasief, vi. No. 55.
[235] Erlenvein, No. 21.
__A_TAG_PLACEHOLDER_0__ Erlenvein, No. 21.
[236] Our “Sunday gown.”
Our "Sunday dress."
[237] Afanasief, viii. p. 408.
[240] Afanasief, v. p. 237.
[241] Spasibo is the word in popular use as an expression of thanks, and it now means nothing more than “thank you!” But it is really a contraction of spasi Bog! “God save (you)!” as our “Good-bye!” is of “God be with you!”
[241] Spasibo is commonly used to say thank you, and it simply means “thank you!” But it actually comes from spasi Bog! which means “God save (you)!” just like our “Good-bye!” comes from “God be with you!”
[243] Vuk Karajich, No. 13.
[244] Afanasief, viii. No. 21.
[246] Afanasief, iii. No. 9.
[247] Afanasief viii. pp. 32-4.
[248] Bezdolny (bez = without; dolya = lot, share, etc.).
__A_TAG_PLACEHOLDER_0__ Bezdolny (bez = without; dolya = share).
[249] Everyone knows how frequent are the allusions to good and bad fortune in Oriental fiction, so that there is no occasion to do more than allude to the stories in which they occur—one of the most interesting of which is that of Víra-vara in the “Hitopadesa” (chap. iii. Fable 9), who finds one night a young and beautiful woman, richly decked with jewels, weeping outside the city in which dwells his royal master Sudraka, and asks her who she is, and why she weeps. To which (in Mr. Johnson’s translation) she replies “I am the Fortune of this King Sudraka, beneath the shadow of whose arm I have long reposed very happily. Through the fault of the queen the king will die on the third day. I shall be without a protector, and shall stay no longer; therefore do I weep.” On the variants of this story, see Benfey’s “Panchatantra,” i. pp. 415-16.
[249] Everyone recognizes how often good and bad fortune are referenced in Eastern stories, so there's no need to elaborate on the tales in which they appear—one of the most captivating is that of Víra-vara in the “Hitopadesa” (chap. iii. Fable 9), who one night encounters a young and beautiful woman, adorned with jewels, weeping outside the city where his royal master Sudraka lives. He asks her who she is and why she is crying. In Mr. Johnson’s translation, she responds, “I am the Fortune of this King Sudraka, under the protection of whose arm I have long lived very happily. Because of the queen’s wrongdoing, the king will die on the third day. I will be without a protector and will remain no longer; that is why I weep.” For variants of this story, see Benfey’s “Panchatantra,” i. pp. 415-16.
[250] From pyat = five, Friday being the fifth working day. Similarly Tuesday is called Vtornik, from vtoroi = second; Wednesday is Sereda, “the middle;” Thursday Chetverg, from chetverty = fourth. But Saturday is Subbòta.
[250] From pyat = five, since Friday is the fifth working day. Likewise, Tuesday is called Vtornik, from vtoroi = second; Wednesday is Sereda, “the middle;” Thursday is Chetverg, from chetverty = fourth. However, Saturday is Subbòta.
[252] A tradition of our own relates that the Lords of the Admiralty, wishing to prove the absurdity of the English sailor’s horror of Friday, commenced a ship on a Friday, launched her on a Friday, named her “The Friday,” procured a Captain Friday to command her, and sent her to sea on a Friday, and—she was never heard of again.
[252] There's a story that the Lords of the Admiralty, wanting to show how ridiculous the English sailor's fear of Friday was, started a ship on a Friday, launched it on a Friday, named it “The Friday,” hired a Captain Friday to lead it, and sent it off to sea on a Friday—and it was never seen again.
[254] For an account of various similar superstitions connected with Wednesday and Thursday, see Mannhardt’s “Germanische Mythen,” p. 15, 16, and W. Schmidt’s “Das Jahr und seine Tage,” p. 19.
[254] For a discussion of various similar superstitions related to Wednesday and Thursday, refer to Mannhardt’s “Germanic Myths,” pp. 15-16, and W. Schmidt’s “The Year and Its Days,” p. 19.
[257] Compare the English nursery rhyme addressed to the lady-bird:
[257] Check out the English nursery rhyme about the ladybug:
"Your house is on fire, and your kids are inside."
[258] Wednesday in this, and Friday in the preceding story, are the exact counterparts of Lithuanian Laumes. According to Schleicher (“Lituanica,” p. 109), Thursday evening is called in Lithuania Laumiú vákars, the Laume’s Eve. No work ought to be done on a Thursday evening, and it is especially imprudent to spin then. For at night, when the Laumes come, as they are accustomed to do between Thursday evening and Friday morning, they seize any spinning which has been begun, work away at it till cock-crow, and then carry it off. In modern Greece the women attribute all nightly meddling with their spinning to the Neraïdes (the representatives of the Hellenic Nereids. See Bernhard Schmidt’s “Volksleben der Neugriechen,” p. 111). In some respects the Neraïda closely resemble the Lamia, and both of them have many features in common with the Laume. The latter name (which in Lettish is written Lauma) has never been satisfactorily explained. Can it be connected with the Greek Lamia which is now written also as Λάμνια, Λάμνα and Λάμνισσα?
[258] Wednesday here, and Friday in the previous story, are exactly like the Lithuanian Laumes. According to Schleicher (“Lituanica,” p. 109), Thursday evening in Lithuania is called Laumiú vákars, or Laume’s Eve. No work should be done on a Thursday evening, and it's especially unwise to spin then. At night, when the Laumes come, as they typically do between Thursday evening and Friday morning, they take any spinning that has started, work on it until dawn, and then carry it away. In modern Greece, women attribute all nighttime interference with their spinning to the Neraïdes (the representatives of the Hellenic Nereids. See Bernhard Schmidt’s “Volksleben der Neugriechen,” p. 111). In some ways, the Neraïda closely resembles the Lamia, and they both share many traits with the Laume. The name Laume (which is spelled Lauma in Lettish) has never been clearly explained. Could it be linked to the Greek Lamia, which is also written as Λάμνια, Λάμνα, and Λάμνισσα?
[259] The word Nedyelya now means “a week.” But it originally meant Sunday, the non-working day (ne = not, dyelat’ = to do or work.) After a time, the name for the first day of the week became transferred to the week itself.
[259] The word Nedyelya now means “a week.” But it originally meant Sunday, the day off (ne = not, dyelat’ = to do or work.) Over time, the name for the first day of the week shifted to refer to the entire week.
[262] J. Wenzig’s “Westslawischer Märchenschatz,” pp. 144-155. According to Wenzig Nedĕlka is “the personified first Sunday after the new moon.” The part here attributed to St. Nedĕlka is played by a Vila in one of the Songs of Montenegro. According to an ancient Indian tradition, the Aswattha-tree “is to be touched only on a Sunday, for on every other day Poverty or Misfortune abides in it: on Sunday it is the residence of Lakshmí” (Good Fortune). H. H. Wilson “Works,” iii. 70.
[262] J. Wenzig’s “Westslawischer Märchenschatz,” pp. 144-155. According to Wenzig, Nedĕlka represents “the personified first Sunday after the new moon.” The role attributed to St. Nedĕlka is played by a Vila in one of the Songs of Monteblack. An ancient Indian tradition states that the Aswattha tree “can only be touched on a Sunday, because on all other days it holds Poverty or Misfortune: on Sunday, it is the home of Lakshmí” (Good Fortune). H. H. Wilson “Works,” iii. 70.
[267] Afanasief, P.V.S., ii. 226.
[269] Translated literally from Afanasief, P.V.S. ii. 227.
[270] Yastreb = vulture or goshawk
Yastreb = vulture or hawk
[271] Quoted from Borichefsky (pp. 183-5) by Afanasief.
[272] Tereshchenko, v. 43, 44.
__A_TAG_PLACEHOLDER_0__ Tereshchenko, pp. 43, 44.
[274] Translated literally from Afanasief, P.V.S. ii. 230.
[275] “Deutsche Mythologie,” 462.
[276] Afanasief, loc. cit. p. 231.
[281] Suzhenoi-ryazhenoi.
__A_TAG_PLACEHOLDER_0__ Suzhenoi-ryazhenoi.
[282] Zhenikhi.
[283] Sil’no priudaril, mightily smote harder.
__A_TAG_PLACEHOLDER_0__ Sil’no priudaril, hit even harder.
[284] Okostenyeli, were petrified.
__A_TAG_PLACEHOLDER_0__ Okostenyeli, were in shock.
[285] Afanasief, P.V.S. i. 318-19.
__A_TAG_PLACEHOLDER_0__ Afanasief, P.V.S. i. 318-19.
[286] Ibid. i. 312.
__A_TAG_PLACEHOLDER_0__ Same source, p. 312.
[287] As with Der Frostige in the German story of “Die sechs Diener,” KM., No. 134, p. 519, and “The Man with the White Hat,” in that of “Sechse kommen durch die ganze Welt,” No. 71, p. 295, and their variants in different lands. See Grimm, iii. p. 122.
[287] Just like Der Frostige in the German tale "Die sechs Diener," KM., No. 134, p. 519, and "The Man with the White Hat," in "Sechse kommen durch die ganze Welt," No. 71, p. 295, as well as their versions in different countries. See Grimm, iii. p. 122.
[289] This is a thoroughly Buddhistic idea. According to Buddhist belief, the treasure which has belonged to anyone in a former existence may come to him in the shape of a man who, when killed, turns to gold. The first story of the fifth book of the “Panchatantra,” is based upon an idea of this kind. A man is told in a vision to kill a monk. He does so, and the monk becomes a heap of gold. A barber, seeing this, kills several monks, but to no purpose. See Benfey’s Introduction, pp. 477-8.
[289] This is a truly Buddhist concept. According to Buddhist belief, a treasure that belonged to someone in a past life can reappear as a man who, when killed, turns into gold. The first tale of the fifth book of the “Panchatantra” is based on this idea. A man is told in a vision to kill a monk. He does this, and the monk turns into a pile of gold. A barber, witnessing this, kills several monks, but it leads to nothing. See Benfey’s Introduction, pp. 477-8.
[292] Vikhr’ or Vikhor’ from vit’, to whirl or twist.
[294] Khudyakof, No. 86. Morfei the Cook is merely a development of the magic cudgel which in so many stories (e.g. the sixth of the Calmuck tales) is often exchanged for other treasures by its master, to whom it soon returns—it being itself a degraded form of the hammer of Thor, the lance of Indra, which always came back to the divine hand that had hurled it.
[294] Khudyakof, No. 86. Morfei the Cook is just an evolution of the magic cudgel that appears in many stories (e.g. the sixth of the Calmuck tales), often traded for other treasures by its owner, only to return to him—it being a degraded version of Thor's hammer and Indra's lance, which always came back to the divine hand that threw it.
[295] Khudyakof, No. 19. The rest of the story is that of “Der Gaudief un sin Meester,” Grimm’s KM. No. 68. (See also vol. iii. p. 118 of that work, where a long list is given of similar stories in various languages.)
[295] Khudyakof, No. 19. The rest of the story is about “Der Gaudief un sin Meester,” Grimm’s KM. No. 68. (See also vol. iii. p. 118 of that work, where a long list is provided of similar stories in various languages.)
CHAPTER IV.
MAGIC AND WITCHCRAFT.
Most of the magical “properties” of the “skazka-drama,” closely resemble those which have already been rendered familiar to us by well-known folk-tales. Of such as these—of “caps of darkness,” of “seven-leagued boots,” of “magic cudgels,” of “Fortunatus’s purses,” and the like[296]—it is unnecessary, for the present, to say more than that they are of as common occurrence in Slavonic as in other stories. But there are some among them which materially differ from their counterparts in more western lands, and are therefore worthy of special notice. To the latter class belong the Dolls of which mention has already been made, and the Waters of Life and Death of which I am now about to speak.
Most of the magical “properties” of the “skazka-drama” closely resemble those we're already familiar with from well-known folk tales. Examples include “caps of darkness,” “seven-league boots,” “magic cudgels,” “Fortunatus’s purses,” and similar items[296]—for now, it’s enough to say that these are just as common in Slavic stories as in others. However, some of these elements differ significantly from their counterparts in more western cultures and are therefore worth special attention. Among these are the Dolls previously mentioned, as well as the Waters of Life and Death, which I am about to discuss now.
A Water of Life plays an important part in the folk-tales of every land.[297] When the hero of a “fairy story” [Pg 238] has been done to death by evil hands, his resuscitation by means of a healing and vivifying lotion or ointment[298] follows almost as a matter of course. And by common consent the Raven (or some sort of crow) is supposed to know where this invaluable specific is to be found,[299] a knowledge which it shares with various supernatural beings as well as with some human adepts in magic, and sometimes with the Snake. In all these matters the Russian and the Western tales agree, but the Skazka differs from most stories of its kind in this respect, that it almost invariably speaks of two kinds of magic waters as being employed for the restoration of life. We have already seen in the story of “Marya Morevna,” that one of these, sometimes called the mertvaya voda—the “dead water,” or “Water of Death”—when sprinkled over a mutilated corpse, heals all its wounds; while the other, which bears the name of the zhivaya voda,—the “living water,” or “Water of Life”—endows it once more with vitality.
A Water of Life plays an important role in the folk tales of every culture.[297] When the hero of a “fairy tale” [Pg 238] has been killed by evil forces, their revival through a healing and revitalizing potion or ointment[298] happens almost automatically. Everyone agrees that the Raven (or some type of crow) knows where to find this precious remedy,[299] a knowledge it shares with various supernatural beings and some human magic practitioners, and sometimes with the Snake. In all these cases, the Russian and Western stories are similar, but the Skazka stands out from most stories of its kind because it almost always mentions two types of magical waters used for bringing life back. We have already seen in the tale of “Marya Morevna” that one of these, known as mertvaya voda—the “dead water” or “Water of Death”—when sprinkled over a mutilated body, heals all its injuries; while the other, called zhivaya voda—the “living water” or “Water of Life”—revives it with vitality.
[In a Norse tale in Asbjörnsen’s new series, No. 72, mention is made of a Water of Death, as opposed to a Water of Life. The Death Water (Doasens Vana) throws all whom it touches into a magic sleep, from which only Life Water (Livsens Vand) can rouse them (p. 57). In the Rámáyana, Hanuman fetches four different kinds of herbs in order to resuscitate his dead monkeys: “the first restore the dead to life, the second drive away all pain, the third join broken parts, the fourth cure all wounds, &c.” Talboys Wheeler, “History of India,” ii. 368. In the Egyptian story already [Pg 239] mentioned (at p. 113), Satou’s corpse quivers and opens its eyes when his heart has become saturated with a healing liquid. But he does not actually come to life till the remainder of the liquid has been poured down his throat.
[In a Norse tale from Asbjörnsen’s new series, No. 72, there’s a mention of Water of Death, in contrast to Water of Life. The Death Water (Doasens Vana) puts everyone it touches into a magical sleep, from which only the Life Water (Livsens Vand) can wake them (p. 57). In the Rámáyana, Hanuman retrieves four different kinds of herbs to revive his dead monkeys: “the first brings the dead back to life, the second alleviates all pain, the third mends broken parts, the fourth heals all wounds, etc.” Talboys Wheeler, “History of India,” ii. 368. In the Egyptian story already mentioned (at p. 113), Satou’s corpse trembles and opens its eyes when his heart has soaked up a healing liquid. However, he doesn’t actually come back to life until the rest of the liquid is poured down his throat.]
In a Kirghiz story, quoted by Bronevsky,[300] a golden-haired hero finds, after long search, the maiden to whom he had in very early life been betrothed. Her father has him murdered. She persuades the murderer to show her the body of her dead love, and weeps over it bitterly. A spirit appears and tells her to sprinkle it with water from a neighboring well. The well is very deep, but she induces the murderer to allow her to lower him into it by means of her remarkably long hair. He descends and hands up to her a cup of water. Having received it, she cuts off her hair, and lets the murderer drop and be drowned. Then she sprinkles her lover’s corpse with the water, and he revives. But he lives only three days. She refuses to survive him, and is buried by his side. From the graves of the lovers spring two willows, which mingle their boughs as if in an embrace. And the neighbors set up near the spot three statues, his and hers and her nurse’s.
In a Kirghiz story, quoted by Bronevsky,[300] a golden-haired hero eventually finds the maiden he was betrothed to in early childhood after a long search. Her father has him killed. She convinces the murderer to show her the body of her dead love, and she cries over it in anguish. A spirit appears and tells her to sprinkle the body with water from a nearby well. The well is very deep, but she persuades the murderer to let her lower him into it using her exceptionally long hair. He goes down and hands her a cup of water. After she receives it, she cuts off her hair and lets the murderer fall and drown. Then she sprinkles her lover’s corpse with the water, and he comes back to life. However, he only lives for three days. She refuses to live without him and is buried next to him. From their graves, two willows grow, intertwining their branches as if in an embrace. The neighbors then set up three statues near the spot, representing him, her, and her nurse.
Such is the story, says Bronevsky, which the Kirghiz tell with respect to some statues of unknown origin which stand (or used to stand) near the Ayaguza, a river falling into Lake Balkhash. A somewhat similar Armenian story is quoted by Haxthausen in his Transcaucasia (p. 350 of the English translation).
Such is the story, says Bronevsky, that the Kirghiz tell about some statues of unknown origin that stand (or used to stand) near the Ayaguza, a river that flows into Lake Balkhash. A similar Armenian story is mentioned by Haxthausen in his Transcaucasia (p. 350 of the English translation).
In the Kalevala, when Lemmenkäinen has been torn to pieces, his mother collects his scattered remains, and by a dexterous synthetical operation restores him to physical unity. But the silence of death still possesses him. Then she entreats the Bee to bring vivifying honey. After two fruitless journeys, the Bee succeeds in bringing back honey “from the cellar of the Creator.” When this has been applied, the dead man returns to life, sits up, and says in the words of the Russian heroes—“How long I have slept!”[301]
In the Kalevala, when Lemmenkäinen is torn apart, his mother gathers his scattered remains and skillfully puts him back together. But the silence of death still surrounds him. Then she asks the Bee to bring life-giving honey. After two unsuccessful trips, the Bee finally returns with honey “from the cellar of the Creator.” Once this has been applied, the dead man comes back to life, sits up, and says in the words of Russian heroes—“How long have I been asleep?”[301]
Here is another instance of a life-giving operation of a double nature. There is a well-known Indian story about four suitors for the hand of one girl. She dies, but is restored to life by one of her lovers, who happens one day to see a dead child resuscitated, and learns how to perform similar miracles. In two Sanskrit versions of the “Vetálapanchavinsati,”[302] as well as in the Hindi version,[303] the life-giving charm consists in a spell taken from a book of magic. But in the Tamil version, the process is described as being of a different and double nature. According to it, the mother of the murdered child “by the charm called sisupàbam re-created the body, and, by the incantation called sanjìvi, restored it to life.” The suitor, having learnt the charm and the incantation, “took the bones and the ashes (of the dead girl), and having created out of them the body, by virtue of the charm sisupàbam gave life to that [Pg 240] body by the sanjìvi incantation.” According to Mr. Babington, “Sanjìvi is defined by the Tamuls to be a medicine which restores to life by dissipating a mortal swoon.... In the text the word is used for the art of using this medicine.”[304]]
Here is another example of a life-giving act that has a double nature. There’s a well-known Indian story about four suitors who want to marry one girl. She dies, but one of her lovers brings her back to life after witnessing a dead child being revived, and he learns how to perform similar miracles. In two Sanskrit versions of the “Vetálapanchavinsati,”[302] as well as in the Hindi version,[303] the life-giving magic involves a spell taken from a magic book. However, in the Tamil version, the method is described as having a different and dual nature. According to it, the mother of the murdered child “used the charm called sisupàbam to recreate the body, and, through the incantation called sanjìvi, brought it back to life.” The suitor, having learned the charm and the incantation, “took the bones and ashes (of the dead girl) and created a body from them; by using the charm sisupàbam, he gave life to that body with the sanjìvi incantation.” According to Mr. Babington, “Sanjìvi is described by the Tamuls as a medicine that restores life by dispelling a deadly faint.... In the text, the word refers to the technique of using this medicine.”[304]
As a general rule, the two waters of which mention is made in the Skazkas possess the virtues, and are employed in the manner, mentioned above; but there are cases in which their powers are of a different nature. Sometimes we meet with two magic fluids, one of which heals all wounds, and restores sight to the blind and vigor to the cripple, while the other destroys all that it touches. Sometimes, also, recourse is had to magic draughts of two kinds, the one of which strengthens him who quaffs it, while the other produces the opposite effect. Such liquors as these are known as the “Waters of Strength and Weakness,” and are usually described as being stowed away in the cellar of some many-headed Snake. For the Snake is often mentioned as the possessor, or at least the guardian, of magic fluids. Thus one of the Skazkas[305] speaks of a wondrous garden, in which are two springs of healing and vivifying water, and around that garden is coiled like a ring a mighty serpent. Another tells how a flying Snake brought two heroes to a lake, into which they flung a green bough, and immediately the bough broke into flame and was consumed. Then it took them to another lake, into which they cast a mouldy log. And the log straightway began to put forth buds and blossoms.[306]
As a general rule, the two waters mentioned in the Skazkas have the properties and are used as described above; however, there are exceptions where their powers differ. Sometimes, we come across two magical liquids: one that heals all wounds, restores sight to the blind, and revitalizes the disabled, while the other destroys everything it touches. Additionally, there are magical potions of two kinds, one that strengthens whoever drinks it, and the other that has the opposite effect. These liquids are referred to as the “Waters of Strength and Weakness,” and they are often said to be hidden away in the cellar of a many-headed Snake. The Snake is frequently cited as the owner, or at least the guardian, of magical liquids. For instance, one of the Skazkas[305] describes a wondrous garden with two springs of healing and rejuvenating water, surrounded by a mighty serpent coiled like a ring. Another tale recounts how a flying Snake took two heroes to a lake where they tossed in a green branch, which immediately burst into flames and was consumed. Then, it led them to another lake where they threw in a rotting log, which instantly began to sprout buds and blossoms.[306]
In some cases the magic waters are the property, not of a Snake, but of one of the mighty heroines who so often occur in these stories, and who bear so great a resemblance [Pg 241] to Brynhild, as well in other respects as in that of her enchanted sleep. Thus in one of the Skazkas[307] an aged king dreams that “beyond thrice nine lands, in the thirtieth country, there is a fair maiden from whose hands and feet water is flowing, of which water he who drinks will become thirty years younger.” His sons go forth in search of this youth-giving liquid, and, after many adventures, the youngest is directed to the golden castle in which lives the “fair maiden,” whom his father has seen in his vision. He has been told that when she is awake her custom is to divert herself in the green fields with her Amazon host—“for nine days she rambles about, and then for nine days she sleeps a heroic slumber.” The Prince hides himself among the bushes near the castle, and sees a fair maiden come out of it surrounded by an armed band, “and all the band consists of maidens, each one more beautiful than the other. And the most beautiful, the most never-enough-to-be-gazed-upon, is the Queen herself.” For nine days he watches the fair band of Amazons as they ramble about. On the tenth day all is still, and he enters the castle. In the midst of her slumbering guards sleeps the Queen on a couch of down, the healing water flowing from her hands and feet. With it he fills two flasks, and then he retires. When the Queen awakes, she becomes conscious of the theft and pursues the Prince. Coming up with him, she slays him with a single blow, but then takes compassion on him, and restores him to life.
In some cases, the magical waters belong not to a Snake, but to one of the powerful heroines who frequently appear in these stories, resembling Brynhild in various ways, including her enchanted slumber. In one of the Skazkas[307], an old king dreams that “beyond thirty-nine lands, in the thirtieth country, there is a beautiful maiden whose hands and feet are flowing with water; whoever drinks from it will become thirty years younger.” His sons venture out to find this youth-restoring liquid, and after many adventures, the youngest is guided to the golden castle where the “beautiful maiden” from his father's vision lives. He learns that when she is awake, she enjoys wandering in the green fields with her Amazon companions—"for nine days she roams around, and then for nine days she sleeps a heroic sleep." The Prince hides in the bushes near the castle and sees a beautiful maiden emerge surrounded by an armed group, “and the entire group consists of maidens, each one more stunning than the last. And the most beautiful, the one you can’t help but stare at, is the Queen herself.” He watches the lovely band of Amazons for nine days as they wander about. On the tenth day, everything is quiet, so he enters the castle. In the midst of her sleeping guards lies the Queen on a soft couch, with the healing water flowing from her hands and feet. He fills two flasks with it and then leaves. When the Queen wakes up, she realizes the theft and chases the Prince. Upon catching up with him, she kills him with a single strike, but then feels compassion for him and brings him back to life.
In another version of the story, the precious fluid is contained in a flask which is hidden under the pillow of the slumbering “Tsar Maiden.” The Prince steals it and flees, but he bears on him the weight of sin, and so, [Pg 242] when he tries to clear the fence which girds the enchanted castle, his horse strikes one of the cords attached to it, and the spell is broken which maintains the magic sleep in which the realm is locked. The Tsar Maiden pursues the thief, but does not succeed in catching him. He is killed, however, by his elder brothers, who “cut him into small pieces,” and then take the flask of magic water to their father. The murdered prince is resuscitated by the mythical bird known by the name of the Zhar-Ptitsa, which collects his scattered fragments, puts them together, and sprinkles them first with “dead water” and then with “live-water,”—conveyed for that purpose in its beak—after which the prince gets up, thanks his reviver, and goes his way.[308]
In another version of the story, the valuable liquid is kept in a flask hidden under the pillow of the sleeping "Tsar Maiden." The Prince steals it and escapes, but he carries the burden of guilt, and so, [Pg 242] when he attempts to jump over the fence surrounding the enchanted castle, his horse hits one of the strings tied to it, breaking the spell that keeps the kingdom in a magical slumber. The Tsar Maiden chases the thief but fails to catch him. However, he is killed by his older brothers, who "chop him into small pieces," and then take the flask of magical water to their father. The slain prince is brought back to life by the mythical bird called the Zhar-Ptitsa, which gathers his scattered parts, reassembles them, and sprinkles them first with "dead water" and then with "live water," delivered for this purpose in its beak—after which the prince rises, thanks his rescuer, and continues on his way.[308]
In one of the numerous variants of the story in which a prince is exposed to various dangers by his sister—who is induced to plot against his life by her demon lover, the Snake—the hero is sent in search of “a healing and a vivifying water,” preserved between two lofty mountains which cleave closely together, except during “two or three minutes” of each day. He follows his instructions, rides to a certain spot, and there awaits the hour at which the mountains fly apart. “Suddenly a terrible hurricane arose, a mighty thunder smote, and the two mountains were torn asunder. Prince Ivan spurred his heroic steed, flew like a dart between the mountains, dipped two flasks in the waters, and instantly turned back.” He himself escapes safe and sound, but the hind legs of his horse are caught between the closing cliffs, and smashed to pieces. The magic waters, of course, soon remedy this temporary inconvenience.[309]
In one of the many versions of the story where a prince faces various dangers due to his sister—who is manipulated by her demon lover, the Snake—to conspire against him, the hero is sent to find “healing and revitalizing water,” located between two tall mountains that come very close together, except for “two or three minutes” each day. He follows the directions, travels to a specific location, and waits for the moment when the mountains part. “Suddenly, a terrible storm began, a loud thunder crashed, and the two mountains split apart. Prince Ivan urged his noble steed, sped like an arrow between the mountains, filled two flasks with the water, and quickly turned back.” He escapes unharmed, but his horse's back legs get caught between the closing cliffs and are crushed. Luckily, the magical waters soon fix this temporary issue.[309]
[Pg 243] In a Slovak version of this story, a murderous mother sends her son to two mountains, each of which is cleft open once in every twenty-four hours—the one opening at midday and the other at midnight; the former disclosing the Water of Life, the latter the Water of Death.[310] In a similar story from the Ukraine, mention is made of two springs of healing and life-giving water, which are guarded by iron-beaked ravens, and the way to which lies between grinding hills. The Fox and the Hare are sent in quest of the magic fluid. The Fox goes and returns in safety, but the Hare, on her way back, is not in time quite to clear the meeting cliffs, and her tail is jammed in between them. Since that time, hares have had no tails.[311]
[Pg 243] In a Slovak version of this story, a murderous mother sends her son to two mountains, each of which opens once every twenty-four hours—one at noon and the other at midnight; the first revealing the Water of Life, and the second the Water of Death.[310] In a similar story from Ukraine, there are two springs of healing and life-giving water, which are guarded by iron-beaked ravens, and the path to them lies between grinding hills. The Fox and the Hare are sent to find this magical water. The Fox goes and safely returns, but the Hare, on her way back, doesn't quite make it past the meeting cliffs in time, and her tail gets stuck between them. Ever since, hares have had no tails.[311]
On the Waters of Strength and Weakness much stress is laid in many of the tales about the many-headed Snakes which carry off men’s wives and daughters to their metallic castles. In one of these, for instance, the golden-haired Queen Anastasia has been torn away by a whirlwind from her husband “Tsar Byel Byelyanin” [the White King]. As in the variant of the story already quoted,[312] her sons go in search of her, and the youngest of them, after finding three palaces—the first of copper, the second of silver, the third of gold, each containing a princess held captive by [Pg 244] Vikhor, the whirlwind—comes to a fourth palace gleaming with diamonds and other precious stones. In it he discovers his long-lost mother, who gladly greets him, and at once takes him into Vikhor’s cellar. Here is the account of what ensued.
On the Waters of Strength and Weakness, many of the stories focus on the multi-headed Snakes that abduct men’s wives and daughters to their metal castles. In one of these tales, for example, the golden-haired Queen Anastasia is swept away by a whirlwind from her husband “Tsar Byel Byelyanin” [the White King]. As mentioned in the previous version of the story,[312] her sons set out to find her, and the youngest of them, after discovering three palaces—the first made of copper, the second of silver, and the third of gold, each holding a princess captive by [Pg 244] Vikhor, the whirlwind—eventually comes across a fourth palace that sparkles with diamonds and other precious stones. Inside, he finds his long-lost mother, who welcomes him joyfully and immediately takes him into Vikhor’s cellar. Here is what happened next.
Well, they entered the cellar; there stood two tubs of water, the one on the right hand, the other on the left. Says the Queen—
Well, they went into the cellar; there were two tubs of water, one on the right and the other on the left. The Queen said—
“Take a draught of the water that stands on the right hand.” Prince Ivan drank of it.
“Take a sip of the water that's on the right side.” Prince Ivan drank from it.
“Now then, how strong do you feel?” said she.
“Now then, how strong do you feel?” she asked.
“So strong that I could upset the whole palace with one hand,” he replied.
“I'm so strong that I could shake the whole palace with one hand,” he replied.
“Come now, drink again.”
“Come on, drink again.”
The Prince drank once more.
The Prince drank again.
“How strong do you feel now?” she asked.
“How strong do you feel right now?” she asked.
“Why now, if I wanted, I could give the whole world a jolt.”
“Why now, if I wanted to, I could give the whole world a shock.”
“Oh that’s plenty then! Now make these tubs change places—that which stands on the right, set on the left: and that which is on the left, change to the right.”
“Oh that’s enough! Now switch these tubs around—the one on the right goes to the left, and the one on the left moves to the right.”
Prince Ivan took the tubs and made them change places. Says the Queen—
Prince Ivan took the tubs and swapped their places. The Queen says—
“See now, my dear son; in one of these tubs is the ‘Water of Strength,’ in the other is the ‘Water of Weakness.’[313] He who drinks of the former becomes a mighty hero, but he who drinks of the second loses all his vigor. Vikhor always quaffs the Strong Water, and places it on the right-hand side; therefore you must deceive him, or you will never be able to hold out against him.”
“Look now, my dear son; in one of these tubs is the ‘Water of Strength,’ and in the other is the ‘Water of Weakness.’[313] Whoever drinks from the first becomes a powerful hero, but whoever drinks from the second loses all their strength. Vikhor always drinks the Strong Water and keeps it on the right side; so you must trick him, or you’ll never be able to stand up to him.”
The Queen proceeds to tell her son that, when Vikhor comes home, he must hide beneath her purple cloak, and [Pg 245] watch for an opportunity of seizing her gaoler’s magic mace.[314] Vikhor will fly about till he is tired, and will then have recourse to what he supposes is the “Strong Water;” this will render him so feeble that the Prince will be able to kill him. Having received these instructions, and having been warned not to strike Vikhor after he is dead, the Prince conceals himself. Suddenly the day becomes darkened, the palace quivers, and Vikhor arrives; stamping on the ground, he becomes a noble gallant, who enters the palace, “holding in his hands a battle mace.” This Prince Ivan seizes, and a long struggle takes place between him and Vikhor, who flies away with him over seas and into the clouds. At last, Vikhor becomes exhausted and seeks the place where he expects to find the invigorating draught on which he is accustomed to rely. The result is as follows:
The Queen tells her son that when Vikhor comes home, he needs to hide under her purple cloak and wait for a chance to grab her gaoler's magic mace. Vikhor will fly around until he's tired, and then he will use what he thinks is the "Strong Water;" this will make him so weak that the Prince will be able to kill him. After receiving these instructions and being warned not to hit Vikhor after he's dead, the Prince hides. Suddenly, the day darkens, the palace shakes, and Vikhor arrives; stomping on the ground, he transforms into a noble warrior who enters the palace "holding a battle mace." Prince Ivan grabs it, and a long struggle ensues between him and Vikhor, who flies away with him over the seas and into the clouds. Eventually, Vikhor gets exhausted and looks for the place where he expects to find the strengthening drink he usually relies on. The result is as follows:
Dropping right into his cellar, Vikhor ran to the tub which stood on the right, and began drinking the Water of Weakness. But Prince Ivan rushed to the left, quaffed a deep draught of the Water of Strength, and became the mightiest hero in the whole world. Then seeing that Vikhor was perfectly enfeebled, he snatched from him his keen faulchion, and with a single blow struck off his head. Behind him voices began to cry:
Dropping straight into his cellar, Vikhor ran to the tub on the right and started drinking the Water of Weakness. But Prince Ivan dashed to the left, took a big gulp of the Water of Strength, and became the strongest hero in the entire world. Then, noticing that Vikhor was completely weakened, he snatched his sharp sword and, with one swift blow, chopped off his head. Behind him, voices began to shout:
“Strike again! strike again! or he will come to life!”
“Hit again! Hit again! or he'll come back to life!”
“No,” replied the Prince, “a hero’s hand does not strike twice, but finishes its work with a single blow.” And straightway he lighted a fire, burnt the head and the trunk, and scattered the ashes to the winds.[315]
“No,” replied the Prince, “a hero’s hand doesn’t strike twice but gets the job done with a single blow.” And right away, he lit a fire, burned the head and the trunk, and scattered the ashes to the winds.[315]
The part played by the Water of Strength in this story may be compared with “the important share which the [Pg 246] exhilarating juice of the Soma-plant assumes in bracing Indra for his conflict with the hostile powers in the atmosphere,” and Vikhor’s sudden debility with that of Indra when the Asura Namuchi “drank up Indra’s strength along with a draught of wine and soma.”[316]
The role of the Water of Strength in this story can be compared to “the significant contribution that the invigorating juice of the Soma plant makes in energizing Indra for his battle against the hostile forces in the atmosphere,” and Vikhor's sudden weakness is similar to Indra’s when the Asura Namuchi “drank up Indra’s strength along with a sip of wine and soma.”[316]
Sometimes, as has already been remarked, one of the two magic waters is even more injurious than the Water of Weakness.[317] The following may be taken as a specimen of the stories in which there is introduced a true Water of Death—one of those deadly springs which bear the same relation to the healing and vivifying founts that the enfeebling bears to the strengthening water. The Baba Yaga who figures in it is, as is so often the case, replaced by a Snake in the variant to which allusion has already been made.
Sometimes, as noted before, one of the two magical waters can be even more harmful than the Water of Weakness.[317] The following can be seen as an example of tales that feature a genuine Water of Death—one of those lethal springs that relate to the healing and revitalizing sources like the weak water does to the strong one. The Baba Yaga mentioned in it is, as often happens, substituted by a Snake in the variant previously referenced.
The Blind Man and the Disabled Person.[318]
In a certain kingdom there lived a king and queen; they had a son, Prince Ivan, and to look after that son was appointed a tutor named Katoma.[319] The king and queen lived to a great age, but then they fell ill, and despaired of ever recovering. So they sent for Prince Ivan and strictly enjoined him:
In a certain kingdom, there was a king and queen who had a son, Prince Ivan. They appointed a tutor named Katoma to care for him.[319] The king and queen lived a long life, but eventually, they fell ill and lost hope of recovering. So, they called for Prince Ivan and gave him a serious warning:
“When we are dead, do you in everything respect and obey Katoma. If you obey him, you will prosper; but if you choose to be disobedient, you will perish like a fly.”
“When we’re gone, make sure you respect and obey Katoma in everything. If you follow him, you’ll succeed; but if you decide to be disobedient, you’ll end up like a fly.”
The next day the king and queen died. Prince Ivan buried his parents, and took to living according to their instructions. Whatever he had to do, he always consulted his tutor about it.
The next day, the king and queen passed away. Prince Ivan buried his parents and started living by their instructions. No matter what he had to do, he always checked with his tutor first.
[Pg 247] Some time passed by. The Prince attained to man’s estate, and began to think about getting married. So one day he went to his tutor and said:
[Pg 247] Some time went by. The Prince grew into adulthood and started thinking about getting married. One day, he went to his tutor and said:
“Katoma, I’m tired of living alone, I want to marry.”
“Katoma, I’m tired of being single; I want to get married.”
“Well, Prince! what’s to prevent you? you’re of an age at which it’s time to think about a bride. Go into the great hall. There’s a collection there of the portraits of all the princesses in the world; look at them and choose for yourself; whichever pleases you, to her send a proposal of marriage.”
“Well, Prince! What’s stopping you? You’re at that age where it’s time to think about a bride. Go into the great hall. There’s a collection of portraits of all the princesses in the world; take a look at them and choose for yourself; whichever one you like, send her a marriage proposal.”
Prince Ivan went into the great hall, and began examining the portraits. And the one that pleased him best was that of the Princess Anna the Fair—such a beauty! the like of her wasn’t to be found in the whole world! Underneath her portrait were written these words:
Prince Ivan walked into the great hall and started looking at the portraits. The one he liked best was that of Princess Anna the Fair—what a beauty! There was no one like her anywhere in the world! Under her portrait were the following words:
“If any one asks her a riddle, and she does not guess it, him shall she marry; but he whose riddle she guesses shall have his head chopped off.”
“If anyone asks her a riddle and she can't guess it, she has to marry him; but the guy whose riddle she guesses will get his head chopped off.”
Prince Ivan read this inscription, became greatly afflicted, and went off to his tutor.
Prince Ivan read this inscription, was deeply troubled, and went to see his tutor.
“I’ve been in the great hall,” says he, “and I picked out for my bride Anna the Fair; only I don’t know whether it’s possible to win her.”
“I’ve been in the great hall,” he says, “and I chose Anna the Fair to be my bride; I just don’t know if I can actually win her.”
“Yes, Prince; she’s hard to get. If you go alone, you won’t win her anyhow. But if you will take me with you, and if you will do what I tell you, perhaps the affair can be managed.”
“Yes, Prince; she's a challenge to win over. If you go alone, you won’t succeed at all. But if you take me with you, and if you follow my advice, maybe we can make this work.”
Prince Ivan begged Katoma to go with him, and gave his word of honor to obey him whether in joy or grief.
Prince Ivan pleaded with Katoma to accompany him and promised to honor him, no matter the circumstances, whether in happiness or sorrow.
Well, they got ready for the journey and set off to sue for the hand of the Princess Anna the Fair. They travelled for one year, two years, three years, and traversed many countries. Says Prince Ivan—
Well, they got ready for the journey and set off to seek the hand of Princess Anna the Fair. They traveled for one year, two years, three years, and crossed many countries. Prince Ivan says—
“We’ve been travelling all this time, uncle, and now we’re approaching the country of Princess Anna the Fair; and yet we don’t know what riddle to propound.”
“We’ve been traveling this whole time, uncle, and now we’re getting close to the land of Princess Anna the Fair; and still, we don’t know what riddle to ask.”
“We shall manage to think of one in good time,” replied [Pg 248] Katoma. They went a little farther. Katoma was looking down on the road, and on it lay a purse full of money. He lifted it up directly, poured all the money out of it into his own purse, and said—
“We'll figure out something in due time,” replied [Pg 248] Katoma. They walked a bit further. Katoma was looking down at the road, and he spotted a purse full of money lying there. He picked it up right away, dumped all the money into his own purse, and said—
“Here’s a riddle for you, Prince Ivan! When you come into the presence of the Princess, propound a riddle to her in these words: ‘As we were coming along, we saw Good lying on the road, and we took up the Good with Good, and placed it in our own Good!’ That riddle she won’t guess in a lifetime; but any other one she would find out directly. She would only have to look into her magic-book, and as soon as she had guessed it, she’d order your head to be cut off.”
“Here’s a riddle for you, Prince Ivan! When you meet the Princess, ask her this riddle: ‘As we were walking, we saw Good lying on the road, and we picked up the Good with Good, and kept it in our own Good!’ She’ll never figure out that riddle, but any other one she would solve right away. She’d just need to check her magic book, and as soon as she figured it out, she’d have your head chopped off.”
Well, at last Prince Ivan and his tutor arrived at the lofty palace in which lived the fair Princess. At that moment she happened to be out on the balcony, and when she saw the newcomers, she sent out to know whence they came and what they wanted. Prince Ivan replied—
Well, finally Prince Ivan and his tutor arrived at the grand palace where the beautiful Princess lived. At that moment, she was on the balcony, and when she saw the newcomers, she sent someone to ask where they came from and what they wanted. Prince Ivan replied—
“I have come from such-and-such a kingdom, and I wish to sue for the hand of the Princess Anna the Fair.”
“I’ve come from a certain kingdom, and I want to ask for the hand of Princess Anna the Fair.”
When she was informed of this, the Princess gave orders that the Prince should enter the palace, and there in the presence of all the princes and boyars of her council should propound his riddle.
When she heard this, the Princess ordered that the Prince should enter the palace, and there, in front of all the princes and boyars of her council, he should present his riddle.
“I’ve made this compact,” she said. “Anyone whose riddle I cannot guess, him I must marry. But anyone whose riddle I can guess, him I may put to death.”
“I’ve made this compact,” she said. “I have to marry anyone whose riddle I can’t figure out. But for anyone whose riddle I can guess, I can have him put to death.”
“Listen to my riddle, fair princess!” said Prince Ivan. “As we came along, we saw Good lying on the road, and we took up the Good with Good, and placed it in our own Good.”
“Listen to my riddle, beautiful princess!” said Prince Ivan. “As we were walking, we saw Good lying on the road, and we picked up the Good with Good, and put it into our own Good.”
Princess Anna the Fair took her magic-book, and began turning over its leaves and examining the answers of riddles. She went right through the book, but she didn’t get at the meaning she wanted. Thereupon the princes and boyars of her council decided that the Princess must marry Prince Ivan. She wasn’t at all pleased, but there was no help for it, and so she began to get ready for the wedding. Meanwhile she considered [Pg 249] within herself how she could spin out the time and do away with the bridegroom, and she thought the best way would be to overwhelm him with tremendous tasks.
Princess Anna the Fair took her magic book and started flipping through its pages, checking the answers to the riddles. She went through the whole book, but she didn’t find the meaning she wanted. As a result, the princes and boyars in her council decided that the Princess must marry Prince Ivan. She wasn’t at all happy about it, but there was nothing she could do, so she started preparing for the wedding. Meanwhile, she thought about how she could stretch out the time and get rid of the groom, and she figured the best way would be to overwhelm him with huge tasks.
So she called Prince Ivan and said to him—
So she called Prince Ivan and said to him—
“My dear Prince Ivan, my destined husband! It is meet that we should prepare for the wedding; pray do me this small service. On such and such a spot of my kingdom there stands a lofty iron pillar. Carry it into the palace kitchen, and chop it into small chunks by way of fuel for the cook.”
“My dear Prince Ivan, my destined husband! It’s time for us to prepare for the wedding; please do me this small favor. In a certain part of my kingdom, there’s a tall iron pillar. Bring it to the palace kitchen and chop it into small pieces to use as firewood for the cook.”
“Excuse me, Princess,” replied the prince. “Was it to chop fuel that I came here? Is that the proper sort of employment for me? I have a servant for that kind of thing, Katoma dyadka, of the oaken shapka.”
“Excuse me, Princess,” replied the prince. “Did I come here to chop wood? Is that the right kind of job for me? I have a servant for that, Katoma dyadka, with the oak shapka.”
The Prince straightway called for his tutor, and ordered him to drag the iron pillar into the kitchen, and to chop it into small chunks by way of fuel for the cook. Katoma went to the spot indicated by the Princess, seized the pillar in his arms, brought it into the palace kitchen, and broke it into little pieces; but four of the iron chips he put into his pocket, saying—
The Prince immediately summoned his tutor and instructed him to bring the iron pillar into the kitchen and cut it into small pieces to use as fuel for the cook. Katoma went to the location pointed out by the Princess, carried the pillar in his arms, brought it into the palace kitchen, and broke it into small bits; but he pocketed four of the iron chips, saying—
“They’ll prove useful by-and-by!”
“They’ll be useful later!”
Next day the princess says to Prince Ivan—
Next day the princess says to Prince Ivan—
“My dear Prince, my destined husband! to-morrow we have to go to the wedding. I will drive in a carriage, but you should ride on a heroic steed, and it is necessary that you should break him in beforehand.”
“My dear Prince, my destined husband! Tomorrow we have to go to the wedding. I will ride in a carriage, but you should ride a noble horse, and it's important for you to train him beforehand.”
“I break a horse in myself! I keep a servant for that.”
"I train horses myself! I have a servant for that."
Prince Ivan called Katoma, and said—
Prince Ivan called Katoma and said—
“Go into the stable and tell the grooms to bring forth the heroic steed; sit upon him and break him in; to-morrow I’ve got to ride him to the wedding.”
“Go into the stable and tell the grooms to bring out the heroic horse; get on him and train him; tomorrow I need to ride him to the wedding.”
Katoma fathomed the subtle device of the Princess, but, without stopping long to talk, he went into the stable and told the grooms to bring forth the heroic steed. Twelve grooms were mustered, they unlocked twelve locks, opened twelve doors, and brought forth a magic horse bound in twelve chains of iron. Katoma went up to him. No sooner had he managed to seat [Pg 250] himself than the magic horse leaped up from the ground and soared higher than the forest—higher than the standing forest, lower than the flitting cloud. Firm sat Katoma, with one hand grasping the mane; with the other he took from his pocket an iron chunk, and began taming the horse with it between the ears. When he had used up one chunk, he betook himself to another; when two were used up, he took to a third; when three were used up, the fourth came into play. And so grievously did he punish the heroic steed that it could not hold out any longer, but cried aloud with a human voice—
Katoma understood the Princess's clever trick, but without pausing for much conversation, he went to the stable and instructed the grooms to bring out the heroic horse. Twelve grooms gathered, unlocked twelve locks, opened twelve doors, and brought out a magical horse bound in twelve iron chains. Katoma approached it. As soon as he managed to sit down, the magic horse leaped off the ground and soared higher than the trees—higher than the standing trees, lower than the drifting clouds. Katoma held on tightly, with one hand gripping the mane; with the other hand, he took an iron chunk from his pocket and began to train the horse by striking it between the ears. After using one chunk, he moved on to another; after two were used, he grabbed a third; after three were used, the fourth came into play. He punished the heroic horse so severely that it could no longer endure it and cried out in a human voice—
“Batyushka Katoma! don’t utterly deprive me of life in the white world! Whatever you wish, that do you order: all shall be done according to your will!”
“Batyushka Katoma! don’t completely take away my life in the white world! Whatever you want, just give the order: everything will be done as you wish!”
“Listen, O meat for dogs!” answered Katoma; “to-morrow Prince Ivan will ride you to the wedding. Now mind! when the grooms bring you out into the wide courtyard, and the Prince goes up to you and lays his hand on you, do you stand quietly, not moving so much as an ear. And when he is seated on your back, do you sink into the earth right up to your fetlocks, and then move under him with a heavy step, just as if an immeasurable weight had been laid upon your back.”
“Listen up, dog food!” Katoma replied. “Tomorrow, Prince Ivan will ride you to the wedding. Now pay attention! When the grooms bring you out into the big courtyard, and the Prince comes up to you and places his hand on you, stay calm and don’t move a muscle. And when he’s on your back, sink into the ground up to your ankles, and then walk under him with a heavy step, as if an enormous weight is on you.”
The heroic steed listened to the order and sank to earth scarcely alive. Katoma seized him by the tail, and flung him close to the stable, crying—
The brave horse heard the command and fell to the ground, barely alive. Katoma grabbed him by the tail and tossed him near the stable, shouting—
“Ho there! coachmen and grooms; carry off this dog’s-meat to its stall!”
“Hey there! Drivers and stablehands; take this worthless dog food to its stall!”
The next day arrived; the time drew near for going to the wedding. The carriage was brought round for the Princess, and the heroic steed for Prince Ivan. The people were gathered together from all sides—a countless number. The bride and bridegroom came out from the white stone halls. The Princess got into the carriage and waited to see what would become of Prince Ivan; whether the magic horse would fling his curls to the wind, and scatter his bones across the open plain. Prince Ivan approached the horse, laid his hand upon its back, placed his foot in the stirrup—the horse stood just as if petrified, didn’t [Pg 251] so much as wag an ear! The Prince got on its back, the magic horse sank into the earth up to its fetlocks. The twelve chains were taken off the horse, it began to move with an even heavy pace, while the sweat poured off it just like hail.
The next day came, and it was almost time for the wedding. The carriage was brought around for the Princess, and the heroic horse for Prince Ivan. People gathered from all directions—a huge crowd. The bride and groom stepped out from the white stone halls. The Princess got into the carriage and waited to see what would happen with Prince Ivan; whether the magical horse would toss his hair in the wind and scatter him across the open field. Prince Ivan walked up to the horse, placed his hand on its back, and set his foot in the stirrup—the horse stood there as if it were made of stone, not even flicking an ear! The Prince climbed onto its back, and the magical horse sank into the ground up to its ankles. The twelve chains were taken off the horse, and it began to move at a slow, heavy pace, while sweat poured off it like hail.
“What a hero! What immeasurable strength!” cried the people as they gazed upon the Prince.
“What a hero! What incredible strength!” cried the people as they looked at the Prince.
So the bride and bridegroom were married, and then they began to move out of the church, holding each other by the hand. The Princess took it into her head to make one more trial of Prince Ivan, so she squeezed his hand so hard that he could not bear the pain. His face became suffused with blood, his eyes disappeared beneath his brows.
So the bride and groom got married, and then they started to walk out of the church, holding hands. The Princess decided to test Prince Ivan one more time, so she squeezed his hand so tightly that he couldn't stand the pain. His face turned red, and his eyes vanished beneath his brows.
“A fine sort of hero you are!” thought the Princess. “Your tutor has tricked me splendidly; but you sha’n’t get off for nothing!”
“A great hero you are!” thought the Princess. “Your tutor has really played me for a fool; but you won’t get away with it!”
Princess Anna the Fair lived for some time with Prince Ivan as a wife ought to live with a god-given[320] husband, flattered him in every way in words, but in reality never thought of anything except by what means she might get rid of Katoma. With the Prince, without the tutor, there’d be no difficulty in settling matters! she said to herself. But whatever slanders she might invent, Prince Ivan never would allow himself to be influenced by what she said, but always felt sorry for his tutor. At the end of a year he said to his wife one day—
Princess Anna the Fair lived for a while with Prince Ivan just like a wife should with a husband blessed by the gods. She praised him in every possible way with her words, but in truth, she was only focused on how to get rid of Katoma. She thought to herself, Without the tutor, settling things with the Prince would be easy! But no matter what lies she tried to come up with, Prince Ivan never let her words sway him; he always felt pity for his tutor. After a year, he said to his wife one day—
“Beauteous Princess, my beloved spouse! I should like to go with you to my own kingdom.”
“Beautiful Princess, my beloved wife! I would like to go with you to my own kingdom.”
“By all means,” replied she, “let us go. I myself have long been wishing to see your kingdom.”
“Of course,” she replied, “let’s go. I’ve been wanting to see your kingdom for a long time.”
Well they got ready and went off; Katoma was allotted the post of coachman. They drove and drove, and as they drove along Prince Ivan went to sleep. Suddenly the Princess Anna the Fair awoke him, uttering loud complaints—
Well, they got ready and headed out; Katoma was assigned the role of driver. They drove on and on, and while they were on the road, Prince Ivan fell asleep. Suddenly, Princess Anna the Fair woke him up, voicing loud complaints—
“Listen, Prince, you’re always sleeping, you hear nothing! [Pg 252] But your tutor doesn’t obey me a bit, drives the horses on purpose over hill and dale, just as if he wanted to put an end to us both. I tried speaking him fair, but he jeered at me. I won’t go on living any longer if you don’t punish him!”
“Listen, Prince, you're always asleep; you don't hear anything! [Pg 252] But your tutor completely ignores me, intentionally pushes the horses over hills and valleys, as if he wants to get rid of us both. I tried talking to him nicely, but he mocked me. I can't keep living like this if you don't do something about him!”
Prince Ivan, ’twixt sleeping and waking, waxed very wroth with his tutor, and handed him over entirely to the Princess, saying—
Prince Ivan, half asleep and half awake, got really angry with his tutor and completely handed him over to the Princess, saying—
“Deal with him as you please!”
"Do whatever you want with him!"
The Princess ordered his feet to be cut off. Katoma submitted patiently to the outrage.
The Princess commanded that his feet be cut off. Katoma endured the humiliation with patience.
“Very good,” he thinks; “I shall suffer, it’s true; but the Prince also will know what to lead a wretched life is like!”
“Very good,” he thinks; “I will suffer, it’s true; but the Prince will also understand what it’s like to live a miserable life!”
When both of Katoma’s feet had been cut off, the Princess glanced around, and saw that a tall tree-stump stood on one side; so she called her servants and ordered them to set him on that stump. But as for Prince Ivan, she tied him to the carriage by a cord, turned the horses round, and drove back to her own kingdom. Katoma was left sitting on the stump, weeping bitter tears.
When both of Katoma's feet had been cut off, the Princess looked around and saw a tall tree stump nearby; so she called her servants and told them to put him on that stump. As for Prince Ivan, she tied him to the carriage with a rope, turned the horses around, and drove back to her own kingdom. Katoma was left sitting on the stump, crying bitter tears.
“Farewell, Prince Ivan!” he cries; “you won’t forget me!”
“Goodbye, Prince Ivan!” he shouts; “you’ll remember me!”
Meanwhile Prince Ivan was running and bounding behind the carriage. He knew well enough by this time what a blunder he had made, but there was no turning back for him. When the Princess Anna the Fair arrived in her kingdom, she set Prince Ivan to take care of the cows. Every day he went afield with the herd at early morn, and in the evening he drove them back to the royal yard. At that hour the Princess was always sitting on the balcony, and looking out to see that the number of the cows were all right.[321]
Meanwhile, Prince Ivan was running and jumping behind the carriage. By now, he fully understood what a mistake he had made, but there was no turning back for him. When Princess Anna the Fair arrived in her kingdom, she assigned Prince Ivan to take care of the cows. Every day, he took the herd out to the fields early in the morning, and in the evening, he brought them back to the royal yard. At that time, the Princess was always sitting on the balcony, watching to make sure the number of cows was correct.[321]
Katoma remained sitting on the stump one day, two days, three days, without anything to eat or drink. To get down was utterly impossible, it seemed as if he must die of starvation. But not far away from that place there was a dense forest. In that forest was living a mighty hero who was quite blind. The [Pg 253] only way by which he could get himself food was this: whenever he perceived by the sense of smell that any animal was running past him, whether a hare, or a fox, or a bear, he immediately started in chase of it, caught it—and dinner was ready for him. The hero was exceedingly swift-footed, and there was not a single wild beast which could run away from him. Well, one day it fell out thus. A fox slunk past; the hero heard it, and was after it directly. It ran up to the tall stump, and turned sharp off on one-side; but the blind hero hurried on, took a spring, and thumped his forehead against the stump so hard that he knocked the stump out by the roots. Katoma fell to the ground, and asked:
Katoma sat on the stump for one day, two days, three days, without anything to eat or drink. Getting down seemed completely impossible; it felt like he was going to die of starvation. But not far from there, there was a thick forest. In that forest lived a powerful hero who was completely blind. The [Pg 253] only way he could get food was like this: whenever he sensed an animal running past him by smell, whether it was a hare, a fox, or a bear, he would immediately chase after it, catch it—and dinner would be ready. The hero was incredibly fast, and there wasn’t a single wild animal that could escape him. One day, this happened: a fox crept by; the hero heard it and chased it right away. The fox ran up to the tall stump and veered sharply to the side; but the blind hero charged ahead, jumped, and slammed his forehead against the stump so hard that he uprooted it. Katoma fell to the ground and asked:
“Who are you?”
“Who's that?”
“I’m a blind hero. I’ve been living in the forest for thirty years. The only way I can get my food is this: to catch some game or other, and cook it at a wood fire. If it had not been for that, I should have been starved to death long ago!”
“I’m a blind hero. I’ve been living in the forest for thirty years. The only way I can get my food is by catching some game and cooking it over a wood fire. If it weren’t for that, I would have starved to death a long time ago!”
“You haven’t been blind all your life?”
“You haven't been blind your whole life?”
“No, not all my life; but Princess Anna the Fair put my eyes out!”
“No, not my entire life; but Princess Anna the Fair blinded me!”
“There now, brother!” says Katoma; “and it’s thanks to her, too, that I’m left here without any feet. She cut them both off, the accursed one!”
“There now, brother!” says Katoma; “and it’s because of her that I’m left here without any feet. She cut them both off, the cursed one!”
The two heroes had a talk, and agreed to live together, and join in getting their food. The blind man says to the lame:
The two heroes had a conversation and decided to live together and share their meals. The blind man says to the lame:
“Sit on my back and show me the way; I will serve you with my feet, and you me with your eyes.”
“Climb on my back and lead the way; I’ll carry you with my feet, and you’ll guide me with your eyes.”
So he took the cripple and carried him home, and Katoma sat on his back, kept a look out all round, and cried out from time to time: “Right! Left! Straight on!” and so forth.
So he picked up the disabled person and carried him home, while Katoma sat on his back, keeping watch all around and shouting every now and then: “Right! Left! Straight ahead!” and so on.
Well, they lived some time in the forest in that way, and caught hares, foxes, and bears for their dinner. One day the cripple says—
Well, they lived in the forest like that for a while, catching hares, foxes, and bears for dinner. One day, the cripple says—
“Surely we can never go on living all our lives without a soul [to speak to]. I have heard that in such and such a town lives a rich merchant who has a daughter; and that merchant’s [Pg 254] daughter is exceedingly kind to the poor and crippled. She gives alms to everyone. Suppose we carry her off, brother, and let her live here and keep house for us.”
“Surely we can't go on living our entire lives without someone to talk to. I've heard that in this town, there’s a rich merchant who has a daughter; and that merchant’s [Pg 254] daughter is really kind to the poor and disabled. She helps everyone in need. What if we took her away, brother, and let her live here and take care of us?”
The blind man took a cart, seated the cripple in it, and rattled it into the town, straight into the rich merchant’s courtyard. The merchant’s daughter saw them out of window, and immediately ran out, and came to give them alms. Approaching the cripple, she said:
The blind man took a cart, seated the cripple in it, and rattled it into the town, straight into the rich merchant’s courtyard. The merchant’s daughter saw them from the window, immediately ran out, and came to give them some money. Approaching the cripple, she said:
“Take this, in Christ’s name, poor fellow!”
“Here, take this, in Christ’s name, poor guy!”
He [seemed to be going] to take the gift, but he seized her by the hand, pulled her into the cart, and called to the blind man, who ran off with it at such a pace that no one could catch him, even on horseback. The merchant sent people in pursuit—but no, they could not come up with him.
He looked like he was about to take the gift, but instead, he grabbed her by the hand, yanked her into the cart, and shouted to the blind man, who took off with it so fast that no one could catch him, even on horseback. The merchant sent people after him—but they just couldn't catch up.
The heroes brought the merchant’s daughter into their forest hut, and said to her:
The heroes took the merchant’s daughter to their cabin in the woods and said to her:
“Be in the place of a sister to us, live here and keep house for us; otherwise we poor sufferers will have no one to cook our meals or wash our shirts. God won’t desert you if you do that!”
“Be like a sister to us, live here and take care of the house for us; otherwise, we poor souls will have no one to cook our meals or wash our clothes. God won’t abandon you if you do that!”
The merchant’s daughter remained with them. The heroes respected her, loved her, acknowledged her as a sister. They used to be out hunting all day, but their adopted sister was always at home. She looked after all the housekeeping, prepared the meals, washed the linen.
The merchant’s daughter stayed with them. The heroes respected her, loved her, and saw her as a sister. While they spent all day hunting, their adopted sister was always at home. She took care of all the housework, cooked the meals, and did the laundry.
But after a time a Baba Yaga took to haunting their hut and sucking the breasts of the merchant’s daughter. No sooner have the heroes gone off to the chase, than the Baba Yaga is there in a moment. Before long the fair maiden’s face began to fall away, and she grew weak and thin. The blind man could see nothing, but Katoma remarked that things weren’t going well. He spoke about it to the blind man, and they went together to their adopted sister, and began questioning her. But the Baba Yaga had strictly forbidden her to tell the truth. For a long time she was afraid to acquaint them with her trouble, for a [Pg 255] long time she held out, but at last her brothers talked her over and she told them everything without reserve.
But after a while, a Baba Yaga started haunting their hut and sucking the life out of the merchant’s daughter. As soon as the heroes went off hunting, the Baba Yaga appeared in no time. Soon, the beautiful maiden's face began to lose its glow, and she became weak and thin. The blind man couldn’t see anything, but Katoma noticed that things weren’t going well. He brought it up with the blind man, and they both went to their adopted sister to ask her what was wrong. But the Baba Yaga had strictly forbidden her from telling the truth. For a long time, she was afraid to share her troubles, and for a long time, she held back, but eventually, her brothers convinced her, and she revealed everything without holding back.
“Every time you go away to the chase,” says she, “there immediately appears in the cottage a very old woman with a most evil face, and long grey hair. And she sets me to dress her head, and meanwhile she sucks my breasts.”
“Every time you head out for the hunt,” she says, “an old woman with a really sinister face and long grey hair shows up in the cottage. She makes me style her hair, and in the meantime, she’s sucking on my breasts.”
“Ah!” says the blind man, “that’s a Baba Yaga. Wait a bit; we must treat her after her own fashion. To-morrow we won’t go to the chase, but we’ll try to entice her and lay hands upon her!”
“Ah!” says the blind man, “that’s a Baba Yaga. Just wait; we need to handle this her way. Tomorrow, we won’t go hunting, but we’ll try to lure her in and catch her!”
So next morning the heroes didn’t go out hunting.
So the next morning, the heroes didn’t go out hunting.
“Now then, Uncle Footless!” says the blind man, “you get under the bench, and lie there ever so still, and I’ll go into the yard and stand under the window. And as for you, sister, when the Baba Yaga comes, sit down just here, close by the window; and as you dress her hair, quietly separate the locks and throw them outside through the window. Just let me lay hold of her by those grey hairs of hers!”
“Alright, Uncle Footless!” says the blind man. “You get under the bench and lie there really still, and I’ll head into the yard and stand under the window. And as for you, sister, when Baba Yaga arrives, sit down right here, close to the window; and as you do her hair, carefully separate the strands and toss them out the window. Just wait until I can grab her by those gray hairs!”
What was said was done. The blind man laid hold of the Baba Yaga by her grey hair, and cried—
What was said was done. The blind man grabbed Baba Yaga by her gray hair and shouted—
“Ho there, Uncle Katoma! Come out from under the bench, and lay hold of this viper of a woman, while I go into the hut!”
“Hey there, Uncle Katoma! Come out from under the bench and grab this snake of a woman while I head into the hut!”
The Baba Yaga hears the bad news and tries to jump up to get her head free. (Where are you off to? That’s no go, sure enough![322]) She tugs and tugs, but cannot do herself any good!
The Baba Yaga hears the bad news and tries to jump up to get her head free. (Where are you going? That’s not going to work, for sure![322]) She pulls and pulls, but she can’t help herself!
Just then from under the bench crawled Uncle Katoma, fell upon her like a mountain of stone, took to strangling her until the heaven seemed to her to disappear.[323] Then into the cottage bounded the blind man, crying to the cripple—
Just then, Uncle Katoma crawled out from under the bench, fell on her like a heavy rock, and started choking her until she felt like she was disappearing. [323] Then the blind man burst into the cottage, shouting to the cripple—
“Now we must heap up a great pile of wood, and consume this accursed one with fire, and fling her ashes to the wind!”
“Now we need to gather a huge pile of wood, burn this cursed one with fire, and scatter her ashes to the wind!”
The Baba Yaga began imploring them:
The Baba Yaga started pleading with them:
“My fathers! my darlings! forgive me. I will do all that is right.”
“My fathers! my loves! forgive me. I will do everything that is right.”
[Pg 256] “Very good, old witch! Then show us the fountain of healing and life-giving water!” said the heroes.
[Pg 256] “Great, old witch! Now show us the fountain with healing and life-giving water!” said the heroes.
“Only don’t kill me, and I’ll show it you directly!”
“Just don’t kill me, and I’ll show it to you right away!”
Well, Katoma sat on the blind man’s back. The blind man took the Baba Yaga by her back hair, and she led them into the depths of the forest, brought them to a well,[324] and said—
Well, Katoma sat on the blind man’s back. The blind man grabbed Baba Yaga by her hair and led them deep into the forest, bringing them to a well,[324] and said—
“That is the water that cures and gives life.”
“That is the water that heals and brings life.”
“Look out, Uncle Katoma!” cried the blind man; “don’t make a blunder. If she tricks us now we shan’t get right all our lives!”
“Watch out, Uncle Katoma!” shouted the blind man; “don’t mess up. If she deceives us now, we’ll never be okay for the rest of our lives!”
Katoma cut a green branch off a tree, and flung it into the well. The bough hadn’t so much as reached the water before it all burst into a flame!
Katoma cut a green branch off a tree and tossed it into the well. The branch hadn’t even touched the water before it burst into flames!
“Ha! so you’re still up to your tricks,” said the heroes, and began to strangle the Baba Yaga, with the intention of flinging her, the accursed one, into the fiery fount. More than ever did the Baba Yaga implore for mercy, swearing a great oath that she would not deceive them this time.
“Ha! So you’re still up to your tricks,” said the heroes, and started to strangle Baba Yaga, aiming to throw her, the cursed one, into the fiery pit. More than ever, Baba Yaga begged for mercy, swearing a serious oath that she wouldn’t trick them this time.
“On my troth I will bring you to good water,” says she.
“Honestly, I will take you to fresh water,” she says.
The heroes consented to give her one more trial, and she took them to another fount.
The heroes agreed to give her one more chance, and she led them to another spring.
Uncle Katoma cut a dry spray from a tree, and flung it into the fount. The spray had not yet reached the water when it already turned green, budded, and put forth blossoms.
Uncle Katoma broke off a dry branch from a tree and tossed it into the fountain. The branch hadn't even hit the water when it suddenly turned green, sprouted buds, and bloomed.
“Come now, that’s good water!” said Katoma.
“Come on, that’s some great water!” said Katoma.
The blind man wetted his eyes with it, and saw directly. He lowered the,cripple into the water, and the lame man’s feet grew again. Then they both rejoiced greatly, and said to one another, “Now the time has come for us to get all right! We’ll get everything back again we used to have! Only first we must make an end of the Baba Yaga. If we were to pardon her now, we should always be unlucky; she’d be scheming mischief all her life.”
The blind man wet his eyes with it and saw clearly. He lowered the cripple into the water, and the lame man’s feet grew back. Then they both rejoiced greatly and said to each other, “Now it’s time for us to be okay! We’ll get everything back that we used to have! But first, we need to deal with Baba Yaga. If we were to forgive her now, we’d always have bad luck; she’d be causing trouble for us all her life.”
Accordingly they went back to the fiery fount, and flung the Baba Yaga into it; didn’t it soon make an end of her!
Accordingly, they returned to the fiery spring and tossed Baba Yaga into it; didn’t it quickly put an end to her!
[Pg 257] After this Katoma married the merchant’s daughter, and the three companions went to the kingdom of Anna the Fair in order to rescue Prince Ivan. When they drew near to the capital, what should they see but Prince Ivan driving a herd of cows!
[Pg 257] After this, Katoma married the merchant’s daughter, and the three friends went to the kingdom of Anna the Fair to rescue Prince Ivan. As they approached the capital, what did they see but Prince Ivan herding a flock of cows!
“Stop, herdsman!” says Katoma; “where are you driving these cows?”
“Hey, herdsman!” says Katoma; “where are you taking these cows?”
“I’m driving them to the Princess’s courtyard,” replied the Prince. “The Princess always sees for herself whether all the cows are there.”
“I’m taking them to the Princess’s courtyard,” replied the Prince. “The Princess always makes sure for herself that all the cows are there.”
“Here, herdsman; take my clothes and put them on, and I will put on yours and drive the cows.”
“Here, herdsman; take my clothes and wear them, and I’ll wear yours and take care of the cows.”
“No, brother! that cannot be done. If the Princess found it out, I should suffer harm!”
“No, brother! That can’t happen. If the Princess finds out, I’ll be in trouble!”
“Never fear, nothing will happen! Katoma will guarantee you that.”
“Don’t worry, nothing will happen! Katoma will make sure of that.”
Prince Ivan sighed, and said—
Prince Ivan sighed and said—
“Ah, good man! If Katoma had been alive, I should not have been feeding these cows afield!”
“Ah, good man! If Katoma were alive, I wouldn’t be out here feeding these cows!”
Then Katoma disclosed to him who he was. Prince Ivan warmly embraced him and burst into tears.
Then Katoma revealed who he was. Prince Ivan hugged him tightly and began to cry.
“I never hoped even to see you again,” said he.
“I never thought I’d see you again,” he said.
So they exchanged clothes. The tutor drove the cows to the Princess’s courtyard. Anna the Fair went into the balcony, looked to see if all the cows were there, and ordered them to be driven into the sheds. All the cows went into the sheds except the last one, which remained at the gate. Katoma sprang at it, exclaiming—
So they switched clothes. The tutor brought the cows to the princess's courtyard. Anna the Fair went out onto the balcony, checked to see if all the cows were there, and instructed them to be led into the sheds. All the cows went into the sheds except for the last one, which stayed at the gate. Katoma jumped at it, shouting—
“What are you waiting for, dog’s-meat?”
“What are you waiting for, dog food?”
Then he seized it by the tail, and pulled it so hard that he pulled the cow’s hide right off! The Princess saw this, and cried with a loud voice:
Then he grabbed it by the tail and yanked it so hard that he pulled the cow's skin right off! The Princess saw this and shouted loudly:
“What is that brute of a cowherd doing? Seize him and bring him to me!”
“What is that ridiculous cowherd doing? Grab him and bring him to me!”
Then the servants seized Katoma and dragged him to the palace. He went with them, making no excuses, relying on [Pg 258] himself. They brought him to the Princess. She looked at him and asked—
Then the servants grabbed Katoma and pulled him to the palace. He went with them without making any excuses, relying on [Pg 258] himself. They brought him to the Princess. She looked at him and asked—
“Who are you? Where do you come from?”
“Who are you? Where are you from?”
“I am he whose feet you cut off and whom you set on a stump. My name is Katoma dyadka, oaken shapka.”
“I am the one whose feet you cut off and whom you placed on a stump. My name is Katoma dyadka, oaken shapka.”
“Well,” thinks the Princess, “now that he’s got his feet back again, I must act straight-forwardly with him for the future.”
“Well,” thinks the Princess, “now that he’s back on his feet, I need to be honest with him from now on.”
And she began to beseech him and the Prince to pardon her. She confessed all her sins, and swore an oath always to love Prince Ivan, and to obey him in all things. Prince Ivan forgave her, and began to live with her in peace and concord. The hero who had been blind remained with them, but Katoma and his wife went to the house of [her father] the rich merchant, and took up their abode under his roof.
And she started to plead with him and the Prince for forgiveness. She admitted all her mistakes and promised to always love Prince Ivan and to obey him in everything. Prince Ivan forgave her, and they began to live together in peace and harmony. The hero who had been blind stayed with them, but Katoma and his wife went to the home of her father, the wealthy merchant, and settled under his roof.
[There is a story in the “Panchatantra” (v. 12) which, in default of other parallels, may be worth comparing with that part of this Skazka which refers to the blind man and the cripple in the forest. Here is an outline of it:—
[There is a story in the “Panchatantra” (v. 12) which, in the absence of other parallels, may be worth comparing with that part of this Skazka that mentions the blind man and the cripple in the forest. Here is an outline of it:—
To a certain king a daughter is born who has three breasts. Deeming her presence unfortunate, he offers a hundred thousand purses of gold to anyone who will marry her and take her away. For a long time no man takes advantage of the offer, but at last a blind man, who goes about led by a hunchback named Mantharaka or Cripple, marries her, receives the gold, and is sent far away with his wife and his friend. All three live together in the same house. After a time the wife falls in love with the hunchback and conspires with him to kill her husband. For this purpose she boils a snake, intending to poison her husband with it. But he stirs the snake-broth as it is cooking, and the steam which rises from it cures his blindness. Seeing the snake in the pot, he guesses what has occurred, so he pretends to be still blind, and watches his wife and his friend. They, not knowing he can see, embrace in his presence, whereupon he catches up the “cripple” by the legs, and dashes him against his wife. So violent is the blow that her third breast is driven out of sight and the hunchback is beaten straight. Benfey (whose version of the story differs at the end from that given by Wilson, “Essays,” ii. 74) in his remarks on this story (i. p. 510-15), which he connects with Buddhist legends, observes that it occurs also in the “Tuti-Nameh” (Rosen, ii. 228), but there the hunchback is replaced by a comely youth, and the similarity with the Russian story disappears. For a solar explanation of the Indian story see A. de Gubernatis, “Zool. Mythology,” i. 85.]
To a certain king, a daughter is born with three breasts. Thinking her condition is unfortunate, he offers a hundred thousand bags of gold to anyone who will marry her and take her away. For a long time, no man accepts the offer, but eventually, a blind man who is guided by a hunchback named Mantharaka or Cripple marries her, receives the gold, and is sent far away with his wife and his friend. The three live together in the same house. Over time, the wife falls in love with the hunchback and plots with him to kill her husband. To do this, she boils a snake, planning to poison her husband with it. However, as the snake broth cooks, he stirs it, and the steam that rises cures his blindness. Seeing the snake in the pot, he figures out what has happened, so he pretends to still be blind and observes his wife and friend. Unaware that he can see, they embrace in his presence. He then grabs the “cripple” by the legs and slams him against his wife. The impact is so strong that her third breast is pushed out of sight, and the hunchback is beaten straight. Benfey (whose version of the story differs at the end from Wilson’s, “Essays,” ii. 74) notes in his comments on this tale (i. p. 510-15), which he links to Buddhist legends, that it also appears in the “Tuti-Nameh” (Rosen, ii. 228), but there the hunchback is replaced by an attractive youth, and the resemblance to the Russian story disappears. For a solar explanation of the Indian story, see A. de Gubernatis, “Zool. Mythology,” i. 85.
Of this story there are many variants. In one of them[325] a [Pg 259] king promises to reward with vast wealth anyone who will find him “a bride fairer than the sun, brighter than the moon, and whiter than snow.” A certain moujik, named Nikita Koltoma, offers to show him where a princess lives who answers to this description, and goes forth with him in search of her. On the way, Nikita enters several forges, desiring to have a war mace cast for him, and in one of them he finds fifty smiths tormenting an old man. Ten of them are holding him by the beard with pincers, the others are thundering away at his ribs with their hammers. Finding that the cause of this punishment is an unpaid debt of fifty roubles, Nikita ransoms the greybeard, who straightway disappears. Nikita obtains the mace he wants, which weighs fifty poods, or nearly a ton, and leaves the forge. Presently the old man whom he has ransomed comes running up to him, thanks him for having rescued him from a punishment which had already lasted thirty years, and bestows on him, as a token of gratitude, a Cap of Invisibility.
Of this story, there are many versions. In one of them[325] a [Pg 259] king promises to reward anyone who can find him “a bride fairer than the sun, brighter than the moon, and whiter than snow” with immense wealth. A peasant named Nikita Koltoma offers to show him where a princess that fits this description lives and sets out with him to find her. Along the way, Nikita stops at several forges, wanting to have a war mace made for himself, and in one of them, he sees fifty blacksmiths torturing an old man. Ten of them are grabbing him by the beard with tongs, while the others are beating his ribs with hammers. Discovering that the reason for this punishment is an unpaid debt of fifty roubles, Nikita pays to free the old man, who immediately vanishes. Nikita gets the mace he wanted, which weighs fifty poods, or nearly a ton, and leaves the forge. Soon after, the old man he rescued comes running up to him, thanks him for saving him from a punishment that lasted thirty years, and gives him, as a token of appreciation, a Cap of Invisibility.
Soon after this Nikita, attended by the king and his followers, reaches the palace of the royal heroine, Helena the Fair. She at first sends her warriors to capture or slay the unwelcome visitors, but Nikita attacks them with his mace, and leaves scarce one alive. Then she invites the king and his suite to the palace, having prepared in the mean time a gigantic bow fitted with a fiery arrow, wherewith to annihilate her guests. Guessing this, Nikita puts on his Cap of Invisibility, bends the bow, and shoots the arrow into the queen’s terema [the women’s chambers], and in a moment the whole upper story is in a blaze. After that the queen submits, and is married to the king.
Soon after this, Nikita, accompanied by the king and his followers, arrives at the palace of the beautiful royal heroine, Helena. At first, she sends her warriors to capture or kill the unwelcome visitors, but Nikita fights them off with his mace, leaving hardly anyone alive. Then she invites the king and his entourage into the palace, having prepared a huge bow fitted with a fiery arrow to destroy her guests. Realizing her intentions, Nikita puts on his Cap of Invisibility, draws the bow, and shoots the arrow into the queen’s terema [the women’s chambers], igniting the entire upper floor in flames. Eventually, the queen surrenders and marries the king.
But Nikita warns him that for three nights running his [Pg 260] bride will make trial of his strength by laying her hand on his breast and pressing it hard—so hard that he will not be able to bear the pressure. When that happens, he must slip out of the room, and let Nikita take his place. All this comes to pass; the bride lays her hand on the bridegroom’s breast, and says—
But Nikita warns him that for three nights in a row, his [Pg 260] bride will test his strength by placing her hand on his chest and pressing down hard—so hard that he won’t be able to withstand it. When that happens, he has to quietly leave the room and let Nikita take his spot. Everything unfolds just as he was told; the bride puts her hand on the bridegroom’s chest and says—
“Is my hand heavy?”
“Is my hand too heavy?”
“As a feather on water!” replies the king, who can scarcely draw his breath beneath the crushing weight of the hand he has won. Then he leaves the room, under the pretext of giving an order, and Nikita takes his place. The queen renews the experiment, presses with one hand, presses with both, and with all her might. Nikita catches her up, and then flings her down on the floor. The room shakes beneath the blow, the bride “arises, lies down quietly, and goes to sleep,” and Nikita is replaced by the king. By the end of the third night the queen gives up all hope of squeezing her husband to death, and makes up her mind to conjugal submission.[326]
“As light as a feather on water!” replies the king, barely able to breathe under the overwhelming pressure of the hand he has won. Then he excuses himself, saying he needs to give an order, and Nikita takes his place. The queen tries again, pushing with one hand, then both, and with all her strength. Nikita captures her and then throws her down on the floor. The room shakes from the impact, the bride “gets up, lies down calmly, and goes to sleep,” and Nikita is replaced by the king. By the end of the third night, the queen loses all hope of squeezing her husband to death and decides to accept her role in the marriage.[326]
But before long, she, like Brynhild, finds out that she has been tricked, and resolves on revenge. Throwing Nikita into a slumber which lasts for twenty-four hours, she has his feet cut off, and sets him adrift in a boat; then she degrades her husband, turning him into a swineherd, and she puts out the eyes of Nikita’s brother Timofei. In the course of time the brothers obtain from a Baba Yaga [Pg 261] the healing and vivifying waters, and so recover the eyes and feet they had lost. The Witch-Queen is put to death, and Nikita lives happily as the King’s Prime Minister. The specific actions of the two waters are described with great precision in this story. When the lame man sprinkles his legs with the Healing Water, they become whole at once; “his legs are quite sound, only they don’t move.” Then he applies the Vivifying Water, and the use of his legs returns to him. Similarly when the blind man applies the Healing Water to his empty orbits, he obtains new eyes—“perfectly faultless eyes, only he cannot see with them;” he applies the Vivifying Water, “and begins to see even better than before.”
But before long, she, like Brynhild, discovers that she's been deceived and decides to take revenge. She puts Nikita into a sleep that lasts for twenty-four hours, has his feet cut off, and sets him adrift in a boat. Then, she humiliates her husband by turning him into a swineherd and blinds Nikita’s brother, Timofei. Eventually, the brothers get healing and life-giving waters from a Baba Yaga [Pg 261], which restores their eyes and feet. The Witch-Queen is executed, and Nikita happily lives as the King’s Prime Minister. The specific effects of the two waters are described in detail in this story. When the lame man sprinkles his legs with the Healing Water, they become whole immediately; “his legs are completely sound, but they don’t move.” Then he uses the Vivifying Water, and he regains the use of his legs. Similarly, when the blind man applies the Healing Water to his empty eye sockets, he gets new eyes—“perfectly flawless eyes, but he can’t see with them;” he uses the Vivifying Water, “and starts to see even better than before.”
In a Ryazan variant of the story,[327] Ivan Dearly-Bought, after his legs have been cut off at the knees, and he has been left in a forest, is found by a giant who has no arms, but who is so fleet that “no post could catch him up.” The two maimed heroes form an alliance. After a time, they carry off a princess who is suffering from some mysterious disease, and take her to their forest home. She tells them that her illness is due to a Snake, which comes to her every night, entering by the chimney, and sucks away her strength. The heroes seizes the Snake, which takes them to the healing lake, and they are cured. Then they restore the princess, also cured, to her father. Ivan returns to the palace of the Enchantress Queen who had maimed him, and beats her with red-hot iron bars until he has driven out of her all her magic strength, “leaving her only one woman’s strength, and that a very poor one.”
In a Ryazan version of the story, [327] Ivan the Dearly-Bought, after having his legs cut off at the knees and being left in a forest, is discovered by a giant who has no arms but can run so fast that “no post could catch him.” The two injured heroes form a partnership. Eventually, they rescue a princess who is suffering from a mysterious illness and take her to their home in the forest. She explains that her sickness is caused by a Snake that comes to her every night through the chimney and drains her strength. The heroes capture the Snake, which leads them to a healing lake, and they are cured. They then return the now-cured princess to her father. Ivan goes back to the palace of the Enchantress Queen who had harmed him and strikes her with red-hot iron bars until he has stripped her of all her magical power, “leaving her with just a woman’s strength, and that a very weak one.”
The supernatural steed which Katoma tamed belongs to an equine race which often figures in the Skazkas. A good account of one of these horses is given in the following story of—
The supernatural horse that Katoma tamed is part of a breed that often appears in the Skazkas. A great description of one of these horses is provided in the following story of—
Princess Helena the Fair.[329]
There lived in a certain land an old man of this kind who instructed his three sons in reading and writing[332] and all book learning. Then said he to them:
There was an old man in a certain land who taught his three sons to read, write, and all sorts of book knowledge[332] and then he said to them:
“Now, my children! When I die, mind you come and read prayers over my grave.”
“Now, my kids! When I die, make sure to come and say prayers over my grave.”
“Very good, father, very good,” they replied.
“Sounds great, dad, sounds great,” they replied.
The two elder brothers were such fine strapping fellows! so tall and stout! But as for the youngest one, Ivan, he was like a half-grown lad or a half-fledged duckling, terribly inferior to the others. Well, their old father died. At that very time there came tidings from the King, that his daughter, the Princess Helena the Fair, had ordered a shrine to be built for her with twelve columns, with twelve rows of beams. In that shrine she was sitting upon a high throne, and awaiting her bridegroom, the bold youth who, with a single bound of his swift steed, should reach high enough to kiss her on the lips. A stir ran through the whole youth of the nation. They took to licking their lips, and scratching their heads, and wondering to whose share so great an honor would fall.
The two older brothers were such strong, impressive guys! So tall and sturdy! But the youngest, Ivan, looked like a teenager or a half-grown duckling, really lacking compared to the others. Well, their old father passed away. At that very moment, news came from the King that his daughter, Princess Helena the Fair, had ordered a shrine to be built for her with twelve columns and twelve rows of beams. In that shrine, she sat on a high throne, waiting for her bridegroom, the daring young man who could leap high enough on his swift horse to kiss her on the lips. This stirred excitement among all the young men in the nation. They started licking their lips, scratching their heads, and wondering who would get such a great honor.
“Whoever feels inclined, let him go!” answered the brothers.
“Whoever wants to go, go ahead!” replied the brothers.
So Vanya went. But as for his elder brothers they did nothing but exercise their horses, and curl their hair, and dye their mustaches.
So Vanya left. As for his older brothers, they just rode their horses, styled their hair, and dyed their mustaches.
The second night came.
The second night arrived.
“Brothers!” said Vanya, “I’ve done my share of reading. It’s your turn now; which of you will go?”
“Guys!” said Vanya, “I’ve done my part of the reading. It’s your turn now; who’s going to go?”
“Whoever likes can go and read. We’ve business to look after; don’t you meddle.”
“Anyone who wants to can go read. We have business to take care of; don’t get involved.”
And they cocked their caps, and shouted, and whooped, and flew this way, and shot that way, and roved about the open country.
And they tilted their caps, shouted, cheered, zoomed this way, darted that way, and wandered around the open countryside.
So Vanyusha read prayers this time also—and on the third night, too.
So Vanyusha said his prayers this time as well—and on the third night, too.
Well, his brothers got ready their horses, combed out their mustaches, and prepared to go next morning to test their mettle before the eyes of Helena the Fair.
Well, his brothers got their horses ready, styled their mustaches, and planned to set out the next morning to prove their bravery in front of Helena the Fair.
“Shall we take the youngster?” they thought. “No, no. What would be the good of him? He’d make folks laugh and put us to confusion; let’s go by ourselves.”
“Should we take the kid?” they thought. “No, no. What good would that do? He’d make people laugh and embarrass us; let’s go alone.”
So away they went. But Vanyusha wanted very much to have a look at the Princess Helena the Fair. He cried, cried bitterly; and went out to his father’s grave. And his father heard him in his coffin, and came out to him, shook the damp earth off his body, and said:
So off they went. But Vanyusha really wanted to see Princess Helena the Fair. He cried, sobbed hard, and headed to his father's grave. His father heard him in his coffin, came out to him, shook the damp earth off his body, and said:
“Don’t grieve, Vanya. I’ll help you in your trouble.”
“Don’t be sad, Vanya. I’ll support you in your tough times.”
And immediately the old man drew himself up and straightened himself, and called aloud and whistled with a ringing voice, with a shrill[334] whistle.
And right away the old man stood tall and straightened up, then called out loudly and whistled with a clear, high-pitched whistle.
[Pg 264] From goodness knows whence appeared a horse, the earth quaking beneath it, a flame rushing from its ears and nostrils. To and fro it flew, and then stood still before the old man, as if rooted in the ground, and cried,
[Pg 264] Out of nowhere, a horse appeared, the ground shaking beneath it, flames shooting from its ears and nostrils. It galloped back and forth, then came to a stop in front of the old man, as if it were anchored to the ground, and cried,
“What are thy commands?”
“What are your commands?”
Vanya crept into one of the horse’s ears and out of the other, and turned into such a hero as no skazka can tell of, no pen describe! He mounted the horse, set his arms akimbo, and flew, just like a falcon, straight to the home of the Princess Helena. With a wave of his hand, with a bound aloft, he only failed by the breadth of two rows of beams. Back again he turned, galloped up, leapt aloft, and got within one beam-row’s breadth. Once more he turned, once more he wheeled, then shot past the eye like a streak of fire, took an accurate aim, and kissed[335] the fair Helena right on the lips!
Vanya sneaked into one ear of the horse and out of the other, transforming into a hero like no fairy tale could describe or any pen could capture! He hopped onto the horse, put his hands on his hips, and soared like a falcon straight to Princess Helena's home. With a wave of his hand and a leap into the air, he just missed by the width of two rows of beams. He turned back, galloped up, leaped again, and got within the width of one row of beams. Once more, he turned, yet again wheeled around, then shot past like a streak of fire, took careful aim, and kissed[335] the beautiful Helena right on the lips!
“Who is he? Who is he? Stop him! Stop him!” was the cry. Not a trace of him was to be found!
“Who is he? Who is he? Stop him! Stop him!” was the shout. There was no sign of him anywhere!
Away he galloped to his father’s grave, let the horse go free, prostrated himself on the earth, and besought his father’s counsel. And the old man held counsel with him.
Away he galloped to his father’s grave, let the horse go free, prostrated himself on the ground, and asked for his father’s advice. And the old man gave him counsel.
When he got home he behaved as if he hadn’t been anywhere. His brothers talked away, describing where they had been, what they had seen, and he listened to them as of old.
When he got home, he acted like he hadn’t gone anywhere. His brothers chatted on, sharing where they had been and what they had seen, and he listened to them just like before.
The next day there was a gathering again. In the princely halls there were more boyars and nobles than a single glance could take in. The elder brothers rode there. Their younger brother went there too, but on foot, meekly and modestly, just as if he hadn’t kissed the Princess, and seated himself in a distant corner. The Princess Helena asked for her bridegroom, wanted to show him to the world at large, wanted to give him half her kingdom; but the bridegroom did not put in an appearance! Search was made for him among the boyars, among the generals; everyone was examined in his turn—but with no result! Meanwhile, Vanya looked on, smiling and chuckling, and waiting till the bride should come to him herself.
The next day, there was another gathering. In the grand halls, there were more boyars and nobles than one could count. The older brothers arrived on horseback, while their younger brother came on foot, humbly and modestly, as if he hadn’t kissed the Princess. He took a seat in a remote corner. Princess Helena asked for her fiancé, eager to show him off to everyone and to give him half of her kingdom; but the groom didn't show up! They searched for him among the boyars and generals; everyone was questioned in turn—but with no luck! Meanwhile, Vanya watched, smiling and chuckling, waiting for the bride to come to him herself.
[Pg 265] “I pleased her then,” says he, “when I appeared as a gay gallant; now let her fall in love with me in my plain caftan.”
[Pg 265] "I impressed her back then," he says, "when I showed up as a charming dandy; now let her fall for me in my simple robe."
Then up she rose, looked around with bright eyes that shed a radiance on all who stood there, and saw and knew her bridegroom, and made him take his seat by her side, and speedily was wedded to him. And he—good heavens! how clever he turned out, and how brave, and what a handsome fellow! Only see him mount his flying steed, give his cap a cock, and stick his elbows akimbo! why, you’d say he was a king, a born king! you’d never suspect he once was only Vanyusha.
Then she got up, looked around with bright eyes that lit up everyone there, and recognized her bridegroom. She made him sit next to her, and they quickly got married. And he—wow! How clever he turned out to be, and how brave, and what a handsome guy! Just look at him mount his flying horse, tip his hat, and put his hands on his hips! You’d think he was a king, a natural-born king! You’d never guess he was once just Vanyusha.
The incident of the midnight watch by a father’s grave, kept by a son to whom the dead man appears and gives a magic horse, often occurs in the Skazkas. It is thoroughly in accordance with Slavonic ideas about the residence of the dead in their tombs, and their ability to assist their descendants in time of trouble. Appeals for aid to a dead parent are of frequent occurrence in the songs still sung by the Russian peasantry at funerals or over graves; especially in those in which orphans express their grief, calling upon the grave to open, and the dead to appear and listen and help.[336] So in the Indian story of Punchkin, the seven hungry stepmother-persecuted princesses go out every day and sit by their dead mother’s tomb, and cry, and say, “Oh, mother, mother, cannot you see your poor children, how unhappy we are,” etc., until a tree grows up out of the grave laden with fruits for their relief.[337] So in the German tale,[338] Cinderella is aided by the white bird, which dwells in the hazel tree growing out of her mother’s grave.
The story of a son keeping a midnight vigil by his father's grave, during which the dead father appears and gifts him a magical horse, is a common theme in traditional fairy tales. This aligns with Slavic beliefs about the dead residing in their tombs and their ability to help their descendants in times of need. Requests for assistance from deceased parents frequently appear in the songs sung by Russian peasants at funerals or gravesides, particularly in songs where orphans express their sorrow, pleading for the grave to open so the dead can come forth, listen, and provide help.[336] In the Indian tale of Punchkin, the seven starving princesses, persecuted by their stepmother, visit their deceased mother's tomb every day, crying out, "Oh, mother, mother, can't you see your poor children, how sad we are?" Eventually, a tree grows from the grave, heavy with fruit to help them.[337] Similarly, in the German story,[338] Cinderella receives help from a white bird that lives in the hazel tree growing from her mother's grave.
[Pg 266] In one of the Skazkas[339] a stepdaughter is assisted by her cow. The girl, following its instructions, gets in at one ear and out of the other, and finds all her tasks performed, all her difficulties removed. When it is killed, there springs from its bones a tree which befriends the girl, and gains her a lordly husband. In a Servian variant of the story, it is distinctly stated that the protecting cow had been the girl’s mother—manifestly in a previous state of existence, a purely Buddhistic idea.[340]
[Pg 266] In one of the Skazkas[339] a stepdaughter is helped by her cow. The girl, following its guidance, gets in through one ear and out the other, and finds all her tasks done and her problems solved. When the cow is killed, a tree grows from its bones, befriending the girl and leading her to a noble husband. In a Servian version of the story, it’s clearly stated that the protective cow was actually the girl’s mother—evidently in a past life, a distinctly Buddhistic concept.[340]
In several of the Skazkas we find an account of a princess who is won in a similar manner to that described in the story of Helena the Fair. In one case,[341] a king promises to give his daughter to anyone “who can pluck her portrait from the house, from the other side of ever so many beams.” The youngest brother, Ivan the Simpleton, carries away the portrait and its cover at the third trial. In another, a king offers his daughter and half his kingdom to him “who can kiss the princess through twelve sheets of glass.”[342] The usual youngest brother is carried towards her so forcibly by his magic steed that, at the first trial, he breaks through six of the sheets of glass; at the second, says the story, “he smashed all twelve of the sheets of glass, and he kissed the Princess Priceless-Beauty, and she immediately stamped a mark upon his forehead.” By this mark, after he has disappeared for some time, he is eventually recognized, and the princess is obliged to marry him.[343] In a third story,[344] the conditions of winning the princely bride are easier, for “he who takes a leap on [Pg 267] horseback, and kisses the king’s daughter on the balcony, to him will they give her to wife.” In a fourth, the princess is to marry the man “who, on horseback, bounds up to her on the third floor.” At the first trial, the Durak, or Fool, reaches the first floor, at the next, the second; and the third time, “he bounds right up to the princess, and carries off from her a ring.”[345]
In several of the Skazkas, there’s a story about a princess who is won in a way similar to what’s described in the tale of Helena the Fair. In one case, a king promises to give his daughter to whoever “can take her portrait from the house, from the other side of as many beams as there are.” The youngest brother, Ivan the Simpleton, retrieves the portrait and its cover in the third attempt. In another story, a king offers his daughter and half his kingdom to anyone “who can kiss the princess through twelve sheets of glass.” The usual youngest brother is propelled towards her so forcefully by his magic horse that, on the first try, he breaks through six of the glass sheets; on the second try, the story says, “he shattered all twelve sheets of glass, kissed Princess Priceless-Beauty, and she immediately stamped a mark on his forehead.” Because of this mark, after he’s been gone for a while, he’s eventually recognized, and the princess is forced to marry him. In a third story, the conditions for winning the royal bride are simpler, as “whoever can leap on horseback and kiss the king’s daughter on the balcony will get her as a wife.” In a fourth tale, the princess is to marry the man “who, on horseback, leaps up to her on the third floor.” On the first attempt, the Durak, or Fool, reaches the first floor; on the next, he gets to the second; and the third time, “he bounds right up to the princess and takes a ring from her.”
In the Norse story of “Dapplegrim,”[346] a younger brother saves a princess who had been stolen by a Troll, and hidden in a cave above a steep wall of rock as smooth as glass. Twice his magic horse tries in vain to surmount it, but the third time it succeeds, and the youth carries off the princess, who ultimately becomes his wife. Another Norse story still more closely resembles the Russian tales. In “The Princess on the Glass Hill”[347] the hero gains a Princess as his wife by riding up a hill of glass, on the top of which she sits, with three golden apples in her lap, and by carrying off these precious fruits. He is enabled to perform this feat by a magic horse, which he obtains by watching his father’s crops on three successive St. John’s Nights.
In the Norse story of “Dapplegrim,”[346] a younger brother saves a princess who has been kidnapped by a Troll and hidden in a cave above a steep, smooth rock wall. Twice his magic horse tries unsuccessfully to climb it, but on the third attempt, it succeeds, and the young man carries off the princess, who eventually becomes his wife. Another Norse tale closely resembles the Russian stories. In “The Princess on the Glass Hill”[347], the hero wins a princess as his wife by riding up a glass hill, where she sits with three golden apples in her lap, and by taking these precious fruits. He is able to achieve this thanks to a magic horse, which he gets by watching over his father’s crops on three consecutive St. John’s Nights.
In a Celtic story,[348] a king promises his daughter, and two-thirds of his kingdom, to anyone who can get her out of a turret which “was aloft, on the top of four carraghan towers.” The hero Conall kicks “one of the posts that was keeping the turret aloft,” the post breaks, and the turret falls, but Conall catches it in his hands before it reaches the ground, a door opens, and out comes the [Pg 268] Princess Sunbeam, and throws her arms about Conall’s neck.
In a Celtic story,[348] a king promises his daughter and two-thirds of his kingdom to anyone who can rescue her from a turret that “was high up on the top of four carraghan towers.” The hero Conall kicks “one of the posts that was holding the turret up,” the post breaks, and the turret starts to fall, but Conall catches it in his hands before it hits the ground. A door opens, and out comes the [Pg 268] Princess Sunbeam, who throws her arms around Conall’s neck.
In most of these stories the wife-gaining leap is so vaguely described that it is allowable to suppose that the original idea has been greatly obscured in the course of travel. In some Eastern stories it is set in a much plainer light; in one modern collection for instance,[349] it occurs four times. A princess is so fond of her marble bath, which is “like a little sea,” with high spiked walls all around it, that she vows she will marry no one who cannot jump across it on horseback. Another princess determines to marry him only who can leap into the glass palace in which she dwells, surrounded by a wide river; and many kings and princes perish miserably in attempting to perform the feat. A third king’s daughter lives in a garden “hedged round with seven hedges made of bayonets,” by which her suitors are generally transfixed. A fourth “has vowed to marry no man who cannot jump on foot over the seven hedges made of spears, and across the seven great ditches that surround her house;” and “hundreds of thousands of Rajahs have tried to do it, and died in the attempt.”
In most of these stories, the leap to win the wife is described so vaguely that we can assume the original idea has become quite unclear over time. In some Eastern tales, it is presented in a much clearer way; for example, in one modern collection, [349], it occurs four times. One princess loves her marble bath, which is “like a little sea,” surrounded by high spiked walls, so much that she vows to marry only someone who can jump across it on horseback. Another princess decides she will marry only the man who can leap into the glass palace where she lives, which is surrounded by a wide river, and many kings and princes suffer terrible fates trying to achieve this. A third king’s daughter resides in a garden “enclosed by seven hedges made of bayonets,” by which her suitors often meet their end. A fourth princess “has vowed to marry no man who cannot leap on foot over the seven hedges made of spears and across the seven deep ditches surrounding her home;” and “hundreds of thousands of Rajahs have attempted it and died in the process.”
The secluded princess of these stories may have been primarily akin to the heroine of the “Sleeping Beauty” tales, but no special significance appears now to be attributable to her isolation. The original idea seems to have been best preserved in the two legends of the wooing of Brynhild by Sigurd, in the first of which he awakens her from her magic sleep, while in the second he gains her hand (for Gunnar) by a daring and difficult ride—for “him only would she have who should ride through the flaming [Pg 269] fire that was drawn about her hall.” Gunnar fails to do so, but Sigurd succeeds; his horse leaps into the fire, “and a mighty roar arose as the fire burned ever madder, and the earth trembled, and the flames went up even unto the heavens, nor had any dared to ride as he rode, even as it were through the deep murk.”[350]
The isolated princess in these stories might be most like the heroine from the “Sleeping Beauty” tales, but her loneliness doesn’t seem to hold any special meaning now. The original concept appears to be best represented in the two legends of Sigurd winning Brynhild’s love. In the first, he wakes her from her magical slumber, while in the second, he earns her hand (for Gunnar) by taking on a daring and challenging ride—“only he who rides through the flaming fire surrounding her hall could have her.” Gunnar fails to succeed, but Sigurd does; his horse jumps into the fire, “and a huge roar erupted as the flames raged even more fiercely, the ground shook, and the fire shot up to the sky, for none had dared to ride as he did, almost as if through the thick darkness.”[Pg 269]
We will take next a story which is a great favorite in Russia, and which will serve as another illustration of the use made of magical “properties” in the Skazkas.
We will next share a story that is very popular in Russia, which will serve as another example of how magical "properties" are used in the Skazkas.
Emilian the Clown.[351]
There were once three brothers, of whom two were sharp-witted, but the third was a fool. The elder brothers set off to sell their goods in the towns down the river,[352] and said to the fool:
There were once three brothers, two of whom were clever, but the third was a fool. The older brothers decided to go sell their goods in the towns down the river,[352] and said to the fool:
“Now mind, fool! obey our wives, and pay them respect as if they were your own mothers. We’ll buy you red boots, and a red caftan, and a red shirt.”
“Now listen up, you fool! Respect our wives and treat them like they’re your own mothers. We’ll get you red boots, a red robe, and a red shirt.”
The fool said to them:
The fool told them:
“Very good; I will pay them respect.”
“Sounds good; I’ll show them respect.”
They gave the fool their orders and went away to the downstream towns; but the fool stretched himself on top of the stove and remained lying there. His brothers’ wives say to him—
They gave the fool their instructions and headed off to the towns downstream; but the fool lay down on top of the stove and stayed there. His brothers’ wives say to him—
“What are you about, fool! your brothers ordered you to pay us respect, and in return for that each of them was going to bring you a present, but there you lie on the stove and don’t do a bit of work. Go and fetch some water, at all events.”
“What’s wrong with you, fool! Your brothers told you to show us some respect, and in return, each of them was going to give you a gift, but here you are lying on the couch and not doing any work. At least go get some water.”
The fool took a couple of pails and went to fetch the water. As he scooped it up, a pike happened to get into his pail. Says the fool:
The fool grabbed a couple of buckets and went to get some water. While he was scooping it up, a pike ended up in his bucket. The fool said:
[Pg 270] “Glory to God! now I will cook this pike, and will eat it all myself; I won’t give a bit of it to my sisters-in-law. I’m savage with them!”
[Pg 270] “Praise God! Now I’m going to cook this pike and eat it all myself; I won’t share a single bite with my sisters-in-law. I’m furious with them!”
The pike says to him with a human voice:
The pike speaks to him in a human voice:
“Don’t eat me, fool! if you’ll put me back again into the water you shall have good luck!”
“Don’t eat me, you idiot! If you put me back in the water, you’ll have good luck!”
Says the fool, “What sort of good luck shall I get from you?”
Says the fool, “What kind of good luck will I get from you?”
“Why, this sort of good luck: whatever you say, that shall be done. Say, for instance, ‘By the Pike’s command, at my request, go home, ye pails, and be set in your places.’”
“Why, with this kind of good luck: whatever you say will happen. For example, ‘By the Pike’s command, at my request, go home, you pails, and be put in your places.’”
As soon as the fool had said this, the pails immediately went home of their own accord and became set in their places. The sisters-in-law looked and wondered.
As soon as the fool said this, the pails immediately returned home on their own and settled into their spots. The sisters-in-law looked on in amazement.
“What sort of a fool is this!” they say. “Why, he’s so knowing, you see, that his pails have come home and gone to their places of their own accord!”
“What kind of fool is this!” they say. “Look, he thinks he’s so smart that his pails have come back home and put themselves away on their own!”
The fool came back and lay down on the stove. Again did his brothers’ wives begin saying to him—
The fool returned and lay down on the stove. Once more, his brothers’ wives started saying to him—
“What are you lying on the stove for, fool? there’s no wood for the fire; go and fetch some.”
“What are you lying on the stove for, idiot? There’s no wood for the fire; go get some.”
The fool took two axes and got into a sledge, but without harnessing a horse to it.
The fool grabbed two axes and jumped into a sled, but he didn’t bother to harness a horse to pull it.
“By the Pike’s command,” he says, “at my request, drive, into the forest, O sledge!”
“By the Pike’s command,” he says, “at my request, go into the forest, O sled!”
Away went the sledge at a rattling pace, as if urged on by some one. The fool had to pass by a town, and the people he met were jammed into corners by his horseless sledge in a way that was perfectly awful. They all began crying out:
Away sped the sled at a crazy pace, as if someone was pushing it on. The guy had to go through a town, and the people he encountered were squeezed into corners by his horseless sled in a completely horrible way. They all started yelling:
“Stop him! Catch him!”
“Stop him! Get him!”
But they couldn’t lay hands on him. The fool drove into the forest, got out of the sledge, sat down on a log, and said—
But they couldn't catch him. The fool drove into the woods, got out of the sleigh, sat down on a log, and said—
“One of you axes fell the trees, while the other cuts them up into billets.”
“One of you chops down the trees, while the other cuts them into logs.”
Well, the firewood was cut up and piled on the sledge. Then says the fool:
Well, the firewood was chopped and stacked on the sled. Then the fool says:
[Pg 271] “Alright, one of you guys! Go and get me a thick stick, as heavy as I can lift.”
The axe went and cut him a cudgel, and the cudgel came and lay on top of the load.
The axe went and made a club, and the club came and rested on top of the load.
The fool took his seat and drove off. He drove by the town, but the townspeople had met together and had been looking out for him for ever so long. So they stopped the fool, laid hands upon him, and began pulling him about. Says the fool—
The fool took his seat and drove off. He drove by the town, but the townspeople had gathered and had been watching for him for a long time. So they stopped the fool, grabbed him, and started pulling him around. The fool says—
“By the Pike’s command, at my request, go, O cudgel, and bestir thyself.”
“By the Pike’s command, at my request, go, O club, and get moving.”
Out jumped the cudgel, and took to thumping and smashing, and knocked over ever such a lot of people. There they lay on the ground, strewed about like so many sheaves of corn. The fool got clear of them and drove home, heaped up the wood, and then lay down on the stove.
Out leaped the club, started hitting and breaking things, and knocked over a whole bunch of people. They were sprawled on the ground like piles of corn. The fool escaped and headed home, stacked the wood, and then lay down on the stove.
Meanwhile, the townspeople got up a petition against him, and denounced him to the King, saying:
Meanwhile, the townspeople started a petition against him and reported him to the King, saying:
“Folks say there’s no getting hold of him the way we tried;[354] we must entice him by cunning, and the best way of all will be to promise him a red shirt, and a red caftan, and red boots.”
“People say there’s no reaching him the way we did;[354] we have to lure him with cleverness, and the best way to do that is to promise him a red shirt, a red caftan, and red boots.”
So the King’s runners came for the fool.
So the King's messengers came for the fool.
“Go to the King,” they say, “he will give you red boots, a red caftan, and a red shirt.”
“Go to the King,” they say, “he will give you red boots, a red coat, and a red shirt.”
Well, the fool said:
Well, the idiot said:
“By the Pike’s command, at my request, do thou, O stove, go to the King!”
“By the Pike’s command, at my request, please, O stove, go to the King!”
He was seated on the stove at the time. The stove went; the fool arrived at the King’s.
He was sitting on the stove at that moment. The stove heated up; the fool showed up at the King's.
The King was going to put him to death, but he had a daughter, and she took a tremendous liking to the fool. So she began begging her father to give her in marriage to the fool. Her father flew into a passion. He had them married, and then ordered them both to be placed in a tub, and the tub to be tarred over and thrown into the water; all which was done.
The King was set to execute him, but he had a daughter who really liked the fool. So she started pleading with her father to let her marry him. Her father got angry. He had them married, and then ordered that they both be put in a tub, the tub covered in tar, and thrown into the water; and that’s exactly what happened.
[Pg 272] Long did the tub float about on the sea. His wife began to beseech the fool:
[Pg 272] The tub drifted on the sea for a long time. His wife started to urge the fool:
“Do something to get us cast on shore!”
“Do something to get us landed on shore!”
“By the Pike’s command, at my request,” said the fool, “cast this tub ashore and tear it open!”
“By the Pike’s command, at my request,” said the fool, “throw this tub ashore and break it open!”
He and his wife stepped out of the tub. Then she again began imploring him to build some sort of a house. The fool said:
He and his wife got out of the tub. Then she started begging him again to build some kind of house. The fool said:
“By the Pike’s command, at my request, let a marble palace be built, and let it stand immediately opposite the King’s palace!”
“By the Pike’s command, at my request, let a marble palace be built, and let it stand directly across from the King’s palace!”
This was all done in an instant. In the morning the King saw the new palace, and sent to enquire who it was that lived in it. As soon as he learnt that his daughter lived there, that very minute he summoned her and her husband. They came. The King pardoned them, and they all began living together and flourishing.[355]
This all happened in a flash. In the morning, the King saw the new palace and wanted to know who lived there. When he found out it was his daughter, he immediately called for her and her husband. They arrived. The King forgave them, and they all started living together and thriving.[355]
“The Pike,” observes Afanasief, “is a fish of great repute in northern mythology.” One of the old Russian songs still sung at Christmas, tells how a Pike comes from Novgorod, its scales of silver and gold, its back woven with pearls, a costly diamond gleaming in its head instead of eyes. And this song is one which promises wealth, a [Pg 273] fact connecting the Russian fish with that Scandinavian pike which was a shape assumed by Andvari—the dwarf-guardian of the famous treasure, from which sprang the woes recounted in the Völsunga Saga and the Nibelungenlied. According to a Lithuanian tradition,[356] there is a certain lake which is ruled by the monstrous pike Strukis. It sleeps only once a year, and then only for a single hour. It used always to sleep on St. John’s Night, but a fisherman once took advantage of its slumber to catch a quantity of its scaly subjects. Strukis awoke in time to upset the fisherman’s boat; but fearing a repetition of the attempt, it now changes each year the hour of its annual sleep. A gigantic pike figures also in the Kalevala.
“The Pike,” notes Afanasief, “is a fish of great importance in northern mythology.” One of the old Russian songs that is still sung at Christmas describes how a Pike comes from Novgorod, with scales of silver and gold, its back adorned with pearls, and a priceless diamond shining in its head instead of eyes. This song promises wealth, linking the Russian fish with the Scandinavian pike that Andvari, the dwarf guardian of the famous treasure, transformed into—an event that led to the troubles told in the Völsunga Saga and the Nibelungenlied. According to a Lithuanian tradition,[356] there is a specific lake ruled by the monstrous pike Strukis. It only sleeps once a year, and only for one hour. It used to sleep on St. John’s Night, but a fisherman once took the opportunity during its slumber to catch many of its scaly subjects. Strukis woke up in time to capsize the fisherman’s boat; however, fearing another attempt, it now changes the hour of its annual sleep each year. A gigantic pike also appears in the Kalevala.
It would be easy to fill with similar stories, not only a section of a chapter, but a whole volume; but instead of quoting any more of them, I will take a few specimens from a different, though a somewhat kindred group of tales—those which relate to the magic powers supposed to be wielded in modern times by dealers in the Black Art. Such narratives as these are to be found in every land, but Russia is specially rich in them, the faith of the peasantry in the existence of Witches and Wizards, Turnskins and Vampires, not having been as yet seriously shaken. Some of the stories relating to the supernatural Witch, who evidently belongs to the demon world, have already been given. In those which I am about to quote, the wizard or witch who is mentioned is a human being, but one who has made a compact with evil spirits, and has thereby become endowed with strange powers. Such monsters as these are, throughout their lives, a terror to the district they inhabit; nor does their evil influence die with them, for [Pg 274] after they have been laid in the earth, they assume their direst aspect, and as Vampires bent on blood, night after night, they go forth from their graves to destroy. As I have elsewhere given some account of Slavonic beliefs in witchcraft,[357] I will do little more at present than allow the stories to speak for themselves. They will be recognized as being akin to the tales about sorcery current farther west, but they are of a more savage nature. The rustic warlocks and witches of whom we are accustomed to hear have little, if any, of that thirst for blood which so unfavorably characterizes their Slavonic counterparts. Here is a story, by way of example, of a most gloomy nature.
It would be easy to fill not just a section of a chapter but an entire book with similar stories. However, instead of quoting more of them, I’ll share a few examples from a different, but somewhat related group of tales—those about the magical powers believed to be held by practitioners of the Black Art in modern times. You can find stories like these in every country, but Russia is particularly rich in them. The rural population's belief in Witches, Wizards, Werewolves, and Vampires hasn't yet been seriously shaken. Some of the stories about the supernatural Witch, who clearly belongs to the demon realm, have already been shared. In the narratives I'm about to quote, the wizard or witch mentioned is a human being who has made a pact with evil spirits, gaining strange powers as a result. These creatures are a constant terror to the area they live in throughout their lives; their evil influence doesn’t end when they die. After being buried, they take on their most terrifying form and, as Vampires thirsting for blood, rise from their graves night after night to wreak havoc. Since I’ve previously discussed Slavonic beliefs in witchcraft, I’ll let the stories speak for themselves. You'll find they are similar to the tales of sorcery that circulate further west, but they're more brutal in nature. The rural witches and warlocks we're familiar with often lack the bloodlust that defines their Slavonic counterparts. Here’s a story, for example, of a particularly dark nature.
The Witch Girl.[358]
Late one evening, a Cossack rode into a village, pulled up at its last cottage, and cried—
Late one evening, a Cossack rode into a village, stopped at the last cottage, and shouted—
“Heigh, master! will you let me spend the night here?”
“Hey, master! Can I spend the night here?”
“Come in, if you don’t fear death!”
“Come in, if you’re not afraid of death!”
“What sort of a reply is that?” thought the Cossack, as he put his horse up in the stable. After he had given it its food he went into the cottage. There he saw its inmates, men and women and little children, all sobbing and crying and praying to God; and when they had done praying, they began putting on clean shirts.
“What kind of response is that?” thought the Cossack, as he stabled his horse. After feeding it, he went into the cottage. There he found the inhabitants—men, women, and young children—all sobbing, crying, and praying to God; and once they finished praying, they started putting on clean shirts.
“What are you crying about?” asked the Cossack.
“What are you crying about?” asked the Cossack.
“Why you see,” replied the master of the house, “in our village Death goes about at night. Into whatsoever cottage she looks, there, next morning, one has to put all the people who lived in it into coffins, and carry them off to the graveyard. To-night it’s our turn.”
“Here’s the thing,” replied the owner of the house, “in our village, Death comes around at night. Wherever she peeks, the next morning, we have to put everyone who lived there into coffins and take them to the graveyard. Tonight, it’s our turn.”
“Never fear, master! ‘Without God’s will, no pig gets its fill!’”
“Don’t worry, master! ‘Without God’s will, no pig gets its fill!’”
[Pg 275] The people of the house lay down to sleep; but the Cossack was on the look-out and never closed an eye. Exactly at midnight the window opened. At the window appeared a witch all in white. She took a sprinkler, passed her arm into the cottage, and was just on the point of sprinkling—when the Cossack suddenly gave his sabre a sweep, and cut her arm off close to the shoulder. The witch howled, squealed, yelped like a dog, and fled away. But the Cossack picked up the severed arm, hid it under his cloak, washed away the stains of blood, and lay down to sleep.
[Pg 275] The people in the house went to sleep; but the Cossack stayed alert and didn’t close his eyes. Exactly at midnight, the window opened. A witch dressed in white appeared at the window. She took a sprinkler, reached into the cottage, and was about to sprinkle—when the Cossack suddenly swung his sabre and chopped her arm off near the shoulder. The witch howled, squealed, and barked like a dog as she ran away. The Cossack picked up the severed arm, tucked it under his cloak, washed away the blood, and lay down to sleep.
Next morning the master and mistress awoke, and saw that everyone, without a single exception, was alive and well, and they were delighted beyond expression.
The next morning, the master and mistress woke up and saw that everyone, without a single exception, was alive and well, and they were absolutely overjoyed.
“If you like,” says the Cossack, “I’ll show you Death! Call together all the Sotniks and Desyatniks[359] as quickly as possible, and let’s go through the village and look for her.”
“If you want,” says the Cossack, “I’ll show you Death! Gather all the Sotniks and Desyatniks[359] as fast as you can, and let’s go through the village and find her.”
Straightway all the Sotniks and Desyatniks came together and went from house to house. In this one there’s nothing, in that one there’s nothing, until at last they come to the Ponomar’s[360] cottage.
Straight away, all the Sotniks and Desyatniks gathered together and went from house to house. In this one there's nothing, in that one there's nothing, until they finally arrive at the Ponomar’s[360] cottage.
“Is all your family present?” asks the Cossack.
“Is your whole family here?” asks the Cossack.
“No, my own! one of my daughters is ill. She’s lying on the stove there.”
"No, my own! One of my daughters is sick. She's lying on the stove there."
The Cossack looked towards the stove—one of the girl’s arms had evidently been cut off. Thereupon he told the whole story of what had taken place, and he brought out and showed the arm which had been cut off. The commune rewarded the Cossack with a sum of money, and ordered that witch to be drowned.
The Cossack looked at the stove—one of the girl’s arms had clearly been cut off. Then he explained everything that had happened, and he produced and showed the severed arm. The community rewarded the Cossack with some money and decided that the witch should be drowned.
Stories of this kind are common in all lands, but the witches about whom they are told generally assume the forms of beasts of prey, especially of wolves, or of cats. A long [Pg 276] string of similar tales will be found in Dr. Wilhelm Hertz’s excellent and exhaustive monograph on werwolves.[361] Very important also is the Polish story told by Wojcicki[362] of the village which is attacked by the Plague, embodied in the form of a woman, who roams from house to house in search of victims. One night, as she goes her rounds, all doors and windows have been barred against her except one casement. This has been left open by a nobleman who is ready to sacrifice himself for the sake of others. The Pest Maiden arrives, and thrusts her arm in at his window. The nobleman cuts it off, and so rids the village of its fatal visitor. In an Indian story,[363] a hero undertakes to watch beside the couch of a haunted princess. When all is still a Rákshasa appears on the threshold, opens the door, and thrusts into the room an arm—which the hero cuts off. The fiend disappears howling, and leaves his arm behind.
Stories like this are found everywhere, but the witches featured in them usually take on the forms of predatory animals, especially wolves or cats. A long series of similar tales can be found in Dr. Wilhelm Hertz’s excellent and thorough study on werewolves.[361] A very significant Polish story told by Wojcicki[362] involves a village afflicted by the Plague, personified as a woman who moves from house to house looking for victims. One night, as she makes her rounds, all doors and windows have been locked against her except for one window. This was left open by a nobleman who is willing to sacrifice himself for the greater good. The Pest Maiden arrives and reaches her arm in at his window. The nobleman cuts it off, thus freeing the village from its deadly visitor. In an Indian tale,[363] a hero decides to keep watch beside the bed of a haunted princess. When everything is quiet, a Rákshasa appears at the door, opens it, and thrusts an arm into the room—which the hero then cuts off. The fiend howls and runs away, leaving his arm behind.
The horror of the next story is somewhat mitigated by a slight infusion of the grotesque—but this may arise from a mere accident, and be due to the exceptional cheerfulness of some link in the chain of its narrators.
The horror of the next story is somewhat softened by a touch of the grotesque—but this could just be a coincidence, stemming from the unusual cheerfulness of one part of the chain of narrators.
The Headless Princess.[364]
In a certain country there lived a King; and this King had a daughter who was an enchantress. Near the royal palace there dwelt a priest, and the priest had a boy of ten years old, who went every day to an old woman to learn reading and writing. Now it happened one day that he came away from his lessons late in the evening, and as he passed by the palace he looked [Pg 277] in at one of the windows. At that window the Princess happened to be sitting and dressing herself. She took off her head, lathered it with soap, washed it with clean water, combed its hair, plaited its long back braid, and then put it back again in its proper place. The boy was lost in wonder.
In a certain country, there was a King, and he had a daughter who was an enchantress. Close to the royal palace lived a priest, and the priest had a ten-year-old son who went to an old woman every day to learn reading and writing. One evening, he finished his lessons late and, while passing by the palace, looked in through one of the windows. The Princess happened to be sitting there, getting ready. She removed her head, lathered it with soap, rinsed it with clean water, combed her hair, braided it into a long back braid, and then put it back in its place. The boy was filled with wonder.
“What a clever creature!” thinks he. “A downright witch!”
"What a clever creature!" he thinks. "A total witch!"
And when he got home he began telling every one how he had seen the Princess without her head.
And when he got home, he started telling everyone how he had seen the Princess without her head.
All of a sudden the King’s daughter fell grievously ill, and she sent for her father, and strictly enjoined him, saying—
All of a sudden, the King’s daughter became seriously ill, and she called for her father, firmly telling him, saying—
“If I die, make the priest’s son read the psalter over me three nights running.”
“If I die, have the priest’s son read the psalter over me for three nights in a row.”
The Princess died; they placed her in a coffin, and carried it to church. Then the king summoned the priest, and said—
The Princess died; they put her in a coffin and took it to church. Then the king called for the priest and said—
“Have you got a son?”
“Do you have a son?”
“I have, your majesty.”
"I have, Your Majesty."
“Well then,” said the King, “let him read the psalter over my daughter three nights running.”
“Well then,” said the King, “let him read the psalm book over my daughter for three nights straight.”
The priest returned home, and told his son to get ready. In the morning the priest’s son went to his lessons, and sat over his book looking ever so gloomy.
The priest came home and told his son to get ready. In the morning, the priest’s son went to his lessons and sat over his book looking very gloomy.
“What are you unhappy about?” asked the old woman.
“What’s bothering you?” asked the old woman.
“How can I help being unhappy, when I’m utterly done for?”
“How can I not be unhappy when I'm completely finished?”
“Why what’s the matter? Speak out plainly.”
“What's wrong? Just say it clearly.”
“Well then, granny, I’ve got to read psalms over the princess, and, do you know, she’s a witch!”
“Well then, grandma, I have to read psalms over the princess, and, you know what? She’s a witch!”
“I knew that before you did! But don’t be frightened, there’s a knife for you. When you go into the church, trace a circle round you; then read away from your psalter and don’t look behind you. Whatever happens there, whatever horrors may appear, mind your own business and go on reading, reading. But if you look behind you, it will be all over with you!”
“I knew that before you did! But don’t be scared, there’s a knife for you. When you go into the church, draw a circle around yourself; then read away from your psalter and don’t look behind you. Whatever happens, whatever horrors may show up, focus on your own thing and keep reading, reading. But if you look behind you, it will be the end for you!”
In the evening the boy went to the church, traced a circle round him with the knife, and betook himself to the psalter. [Pg 278] Twelve o’clock struck. The lid of the coffin flew up; the Princess arose, leapt out, and cried—
In the evening, the boy went to the church, drew a circle around himself with a knife, and began to read the psalter. [Pg 278] The clock struck twelve. The coffin lid flew open, the Princess got up, jumped out, and shouted—
“Now I’ll teach you to go peeping through my windows, and telling people what you saw!”
“Now I’ll teach you to sneak a look through my windows and tell people what you saw!”
She began rushing at the priest’s son, but she couldn’t anyhow break into the circle. Then she began to conjure up all sorts of horrors. But in spite of all that she did, he went on reading and reading, and never gave a look round. And at daybreak the Princess rushed at her coffin, and tumbled into it at full length, all of a heap.
She started running at the priest’s son, but she couldn’t break through the group. Then she began to imagine all kinds of terrible things. But no matter what she did, he kept reading and never looked around. At dawn, the Princess ran at her coffin and fell into it, sprawling out completely.
The next night everything went on just the same. The priest’s son wasn’t a bit afraid, went on reading without a stop right up to daybreak, and in the morning went to the old woman. She asked him—
The next night, everything continued as usual. The priest's son wasn't afraid at all; he kept reading nonstop until dawn, and in the morning, he went to see the old woman. She asked him—
“Well! have you seen horrors?”
"Well! Have you seen horrors?"
“Yes, granny!”
"Sure, grandma!"
“It will be still more horrible this time. Here’s a hammer for you and four nails. Knock them into the four corners of the coffin, and when you begin reading the psalter, stick up the hammer in front of you.”
“It’s going to be even worse this time. Here’s a hammer for you and four nails. Hammer them into the four corners of the coffin, and when you start reading the psalter, place the hammer in front of you.”
In the evening the priest’s son went to the church, and did everything just as the old woman had told him. Twelve o’clock struck, the coffin lid fell to the ground, the Princess jumped up and began tearing from side to side, and threatening the youth. Then she conjured up horrors, this time worse than before. It seemed to him as if a fire had broken out in the church; all the walls were wrapped in flames! But he held his ground and went on reading, never once looking behind him. Just before daybreak the Princess rushed to her coffin—then the fire seemed to go out immediately, and all the deviltry vanished!
In the evening, the priest's son went to the church and followed everything the old woman had told him. At midnight, the coffin lid crashed to the floor, the Princess jumped up, started thrashing around, and threatening the young man. Then she summoned nightmares, even worse than before. It felt like a fire had broken out in the church; the walls were engulfed in flames! But he stood his ground and kept reading, never looking back. Just before dawn, the Princess rushed back to her coffin—then the fire seemed to go out instantly, and all the chaos disappeared!
In the morning the King came to the church, and saw that the coffin was open, and in the coffin lay the princess, face downwards.
In the morning, the King arrived at the church and saw that the coffin was open, with the princess lying inside, face down.
“What’s the meaning of all this?” says he.
"What does all this mean?" he asks.
The lad told him everything that had taken place. Then the king gave orders that an aspen stake should be driven into his [Pg 279] daughter’s breast, and that her body should be thrust into a hole in the ground. But he rewarded the priest’s son with a heap of money and various lands.
The guy told him everything that happened. Then the king ordered that an aspen stake be driven through his [Pg 279] daughter's chest, and that her body should be buried in a hole in the ground. But he rewarded the priest’s son with a pile of money and several pieces of land.
Perhaps the most remarkable among the stories of this class is the following, which comes from Little Russia. Those readers who are acquainted with the works of Gogol, the great Russian novelist, who was a native of that part of the country, will observe how closely he has kept to popular traditions in his thrilling story of the Vy, which has been translated into English, from the French, under the title of “The King of the Gnomes.”[365]
Perhaps the most remarkable among the stories in this collection is the following, which comes from Little Russia. Readers familiar with the works of Gogol, the great Russian novelist from that region, will notice how closely he stuck to popular traditions in his captivating story of the Vy, which has been translated into English from French under the title “The King of the Gnomes.”[365]
The Soldier's Night Watch.[366]
Once upon a time there was a Soldier who served God and the great Gosudar for fifteen years, without ever setting eyes on his parents. At the end of that time there came an order from the Tsar to grant leave to the soldiers—to twenty-five of each company at a time—to go and see their families. Together with the rest our Soldier, too, got leave to go, and set off to pay a visit to his home in the government of Kief. After a time he reached Kief, visited the Lavra, prayed to God, bowed down before the holy relics, and then started again for his birthplace, a provincial town not far off. Well, he walked and walked. Suddenly there happens to meet him a fair maiden who was the daughter of a merchant in that same town; a most remarkable beauty. Now everyone knows that if a soldier catches sight of a pretty girl, nothing will make him pass her by quietly, but he hooks on to her somehow or other. And so this Soldier gets alongside of the merchant’s daughter, and says to her jokingly—
Once upon a time, there was a Soldier who served God and the great Tsar for fifteen years without ever seeing his parents. After that time, an order came from the Tsar allowing soldiers—twenty-five from each company at a time—to go and visit their families. Along with the others, our Soldier also got leave and set off to visit his home in the Kief region. After a while, he reached Kief, visited the Lavra, prayed to God, bowed down before the holy relics, and then set off for his birthplace, a small town nearby. He walked and walked. Suddenly, he encountered a beautiful young woman who was the daughter of a merchant from that same town; she was truly stunning. Now everyone knows that if a soldier sees a pretty girl, he won't just pass by without saying something, so the Soldier approached the merchant’s daughter and jokingly said to her—
“How now, fair damsel! not broken in to harness yet?”
“How's it going, fair lady? Not accustomed to the routine yet?”
“God knows, soldier, who breaks in whom,” replies the girl. “I may do it to you, or you to me.”
“God knows, soldier, who breaks whom,” replies the girl. “I might do it to you, or you to me.”
So saying she laughed and went her way. Well, the Soldier [Pg 280] arrived at home, greeted his family, and rejoiced greatly at finding they were all in good health.
So saying, she laughed and went on her way. The Soldier [Pg 280] got home, greeted his family, and felt really happy to see that they were all in good health.
Now he had an old grandfather, as white as a lun, who had lived a hundred years and a bit. The Soldier was gossiping with him, and said:
Now he had an old grandfather, as white as a lun, who had lived a little over a hundred years. The Soldier was chatting with him and said:
“As I was coming home, grandfather, I happened to meet an uncommonly fine girl, and, sinner that I am, I chaffed her, and she said to me:
“As I was coming home, Grandfather, I ran into a really amazing girl, and, as sinful as I am, I teased her, and she said to me:
“‘God knows, soldier, whether you’ll break me in to harness, or I’ll break you.’”
“‘God knows, soldier, if you’ll get me used to this, or if I’ll take you down.’”
“Eh, sirs! whatever have you done? Why that’s the daughter of our merchant here, an awful witch! She’s sent more than one fine young fellow out of the white world.”
“Hey, gentlemen! What have you done? That's the daughter of our merchant here, a terrible witch! She’s sent more than one good young man out of the real world.”
“Well, well! I’m not one of the timid ones, either! You won’t frighten me in a hurry. We’ll wait and see what God will send.”
“Well, well! I’m not one of the scaredy-cats, either! You won’t scare me off easily. We’ll wait and see what God has in store.”
“No, no, grandson!” says the grandfather. “If you don’t listen to me, you won’t be alive to-morrow!”
“No, no, grandson!” the grandfather says. “If you don’t listen to me, you won’t be alive tomorrow!”
“Here’s a nice fix!” says the Soldier.
“Here’s a great solution!” says the Soldier.
“Yes, such a fix that you’ve never known anything half so awful, even when soldiering.”
“Yes, it’s such a mess that you’ve never experienced anything as terrible, even when serving in the military.”
“What must I do then, grandfather?”
“What should I do then, Grandpa?”
“Why this. Provide yourself with a bridle, and take a thick aspen cudgel, and sit quietly in the izba—don’t stir a step anywhere. During the night she will come running in, and if she manages to say before you can ‘Stand still, my steed!’ you will straightway turn into a horse. Then she will jump upon your back, and will make you gallop about until she has ridden you to death. But if you manage to say before she speaks, ‘Tprru! stand still, jade!’ she will be turned into a mare. Then you must bridle her and jump on her back. She will run away with you over hill and dale, but do you hold your own; hit her over the head with the aspen cudgel, and go on hitting her until you beat her to death.”
“Here’s what you need to do. Get yourself a bridle and a thick aspen stick, then just sit quietly in the cabin—don’t move from your spot. During the night, she’ll come rushing in, and if she manages to say before you do, ‘Stay still, my steed!’ you’ll immediately turn into a horse. Then she’ll hop on your back and make you run around until you drop. But if you can say before she speaks, ‘Tprru! stay still, you nag!’ she’ll turn into a mare. Then you need to bridle her and get on her back. She’ll take off with you over hills and valleys, but stay strong; hit her on the head with the aspen stick and keep hitting her until you beat her to death.”
The Soldier hadn’t expected such a job as this, but there was no help for it. So he followed his grandfather’s advice, [Pg 281] provided himself with a bridle and an aspen cudgel, took his seat in a corner, and waited to see what would happen. At the midnight hour the passage door creaked and the sound of steps was heard; the witch was coming! The moment the door of the room opened, the Soldier immediately cried out—
The Soldier hadn’t anticipated a job like this, but he had no choice. So he followed his grandfather’s advice, [Pg 281] got a bridle and an aspen club, settled into a corner, and waited to see what would unfold. At midnight, the door to the passage creaked open, and footsteps could be heard; the witch was arriving! As soon as the door to the room opened, the Soldier called out—
“Tprru! stand still, jade!”
“Tprru! stay still, jade!”
The witch turned into a mare, and he bridled her, led her into the yard, and jumped on her back. The mare carried him off over hills and dales and ravines, and did all she could to try and throw her rider. But no! the Soldier stuck on tight, and thumped her over the head like anything with the aspen cudgel, and went on treating her with a taste of the cudgel until he knocked her off her feet, and then pitched into her as she lay on the ground, gave her another half-dozen blows or so, and at last beat her to death.
The witch transformed into a mare, and he put a bridle on her, led her into the yard, and climbed onto her back. The mare galloped across hills, valleys, and ravines, doing everything she could to throw him off. But no! the Soldier held on tight and hit her over the head hard with the aspen cudgel, continuing to strike her with it until she fell over. Then, as she lay on the ground, he swung at her another half-dozen times or so and eventually beat her to death.
By daybreak he got home.
By dawn he got home.
“Well, my friend! how have you got on?” asks his grandfather.
“Well, my friend! How have you been?” asks his grandfather.
“Glory be to God, grandfather! I’ve beaten her to death!”
“Praise God, Grandpa! I’ve killed her!”
“All right! now lie down and go to sleep.”
“All right! Now lie down and go to sleep.”
The Soldier lay down and fell into a deep slumber. Towards evening the old man awoke him—
The soldier lay down and fell into a deep sleep. In the evening, the old man woke him—
“Get up, grandson.”
“Get up, grandkid.”
He got up.
He stood up.
“What’s to be done now? As the merchant’s daughter is dead, you see, her father will come after you, and will bid you to his house to read psalms over the dead body.”
“What should we do now? Since the merchant’s daughter is dead, her father will come after you and will invite you to his house to read psalms over her body.”
“Well, grandfather, am I to go, or not?”
“Well, Grandpa, am I going or not?”
“If you go, there’ll be an end of you; and if you don’t go, there’ll be an end of you! Still, it’s best to go.”
“If you leave, it’ll be the end of you; and if you stay, it’ll still be the end of you! Still, it’s better to leave.”
“But if anything happens, how shall I get out of it?”
“But if something happens, how will I get out of it?”
“Listen, grandson! When you go to the merchant’s he will offer you brandy; don’t you drink much—drink only a moderate allowance. Afterwards the merchant will take you into the room in which his daughter is lying in her coffin, and will lock you in there. You will read out from the psalter all the evening, and [Pg 282] up to midnight. Exactly at midnight a strong wind will suddenly begin to blow, the coffin will begin to shake, its lid will fall off. Well, as soon as these horrors begin, jump on to the stove as quick as you can, squeeze yourself into a corner, and silently offer up prayers. She won’t find you there.”
“Listen, grandson! When you go to the merchant’s, he’ll offer you brandy; don’t drink too much—just have a little. After that, the merchant will take you into the room where his daughter is lying in her coffin and lock you in there. You’ll read from the psalter all evening, and [Pg 282] until midnight. Exactly at midnight, a strong wind will suddenly start blowing, the coffin will begin to shake, and the lid will fall off. As soon as these horrors start, jump onto the stove as fast as you can, squeeze into a corner, and silently pray. She won’t find you there.”
Half an hour later came the merchant, and besought the Soldier, crying:
Half an hour later, the merchant arrived and begged the Soldier, saying:
“Ah, Soldier! there’s a daughter of mine dead; come and read the psalter over her.”
“Hey, Soldier! My daughter has passed away; come and read the psalm for her.”
The Soldier took a psalter and went off to the merchant’s house. The merchant was greatly pleased, seated him at his table, and began offering him brandy to drink. The Soldier drank, but only moderately, and declined to drink any more. The merchant took him by the hand and led him to the room in which the corpse lay.
The Soldier picked up a psalter and headed to the merchant’s house. The merchant was really happy to see him, sat him at his table, and started offering him brandy. The Soldier drank, but only a little, and said no to any more. The merchant took his hand and led him to the room where the corpse was.
“Now then,” he says, “read away at your psalter.”
“Alright then,” he says, “go ahead and read your psalter.”
Then he went out and locked the door. There was no help for it, so the Soldier took to his psalter and read and read. Exactly at midnight there was a great blast of wind, the coffin began to rock, its lid flew off. The Soldier jumped quickly on to the stove, hid himself in a corner, guarded himself by a sign of the cross, and began whispering prayers. Meanwhile the witch had leapt out of the coffin, and was rushing about from side to side—now here, now there. Then there came running up to her countless swarms of evil spirits; the room was full of them!
Then he went outside and locked the door. There was no avoiding it, so the Soldier picked up his psalter and read and read. Exactly at midnight, a strong gust of wind blew in, the coffin started to rock, and its lid flew off. The Soldier quickly jumped onto the stove, hid in a corner, made the sign of the cross, and began whispering prayers. Meanwhile, the witch jumped out of the coffin and started running around—first here, then there. Then countless swarms of evil spirits came rushing to her; the room was filled with them!
“What are you looking for?” say they.
“What are you looking for?” they say.
“A soldier. He was reading here a moment ago, and now he’s vanished!”
“A soldier. He was reading here a moment ago, and now he's gone!”
The devils eagerly set to work to hunt him up. They searched and searched, they rummaged in all the corners. At last they cast their eyes on the stove; at that moment, luckily for the Soldier, the cocks began to crow. In the twinkling of an eye all the devils had vanished, and the witch lay all of a heap on the floor. The Soldier got down from the stove, laid her body in the coffin, covered it up all right with the lid, and [Pg 283] betook himself again to his psalter. At daybreak came the master of the house, opened the door, and said—
The devils quickly started searching for him. They looked everywhere and rummaged through all the nooks and crannies. Finally, they spotted the stove; just then, luck was on the Soldier’s side as the roosters began to crow. In an instant, all the devils disappeared, leaving the witch crumpled on the floor. The Soldier got off the stove, placed her body in the coffin, secured the lid properly, and [Pg 283] returned to his psalter. At dawn, the homeowner arrived, opened the door, and said—
“Hail, Soldier!”
"Hey, Soldier!"
“I wish you good health, master merchant.”
“I wish you good health, master merchant.”
“Have you spent the night comfortably?”
“Did you sleep well last night?”
“Glory be to God! yes.”
“Praise be to God! Yes.”
“There are fifty roubles for you, but come again, friend, and read another night.”
“There are fifty roubles for you, but come back again, my friend, and read another night.”
“Very good, I’ll come.”
"Sounds good, I'll be there."
The Soldier returned home, lay down on the bench, and slept till evening. Then he awoke and said—
The soldier came back home, lay down on the bench, and slept until evening. Then he woke up and said—
“Grandfather, the merchant bid me go and read the psalter another night. Should I go or not?”
“Grandpa, the merchant asked me to go and read the psalms again tonight. Should I go or not?”
“If you go, you won’t remain alive, and if you don’t go, just the same! But you’d better go. Don’t drink much brandy, drink just what is right; and when the wind blows, and the coffin begins to rock, slip straight into the stove. There no one will find you.”
“If you go, you won’t survive, and if you don’t go, it’ll be the same! But you should definitely go. Don’t drink too much brandy, just have what’s enough; and when the wind picks up, and the coffin starts to sway, slip right into the stove. No one will find you there.”
The Soldier got ready and went to the merchant’s, who seated him at table, and began plying him with brandy. Afterwards he took him to where the corpse was, and locked him into the room.
The soldier got ready and went to the merchant's, who seated him at the table and started pouring him brandy. Afterwards, he took him to the room where the corpse was and locked him inside.
The Soldier went on reading, reading. Midnight came, the wind blew, the coffin began to rock, the coffin lid fell afar off on the ground. He was into the stove in a moment. Out jumped the witch and began rushing about; round her swarmed devils, the room was full of them!
The soldier kept reading and reading. Midnight came, the wind blew, and the coffin started to sway; the lid flew off and landed far away on the ground. He jumped into the stove right away. Out jumped the witch and began running around; devils swarmed around her, and the room was filled with them!
“What are you looking for?” they cry.
“What are you looking for?” they shout.
“Why, there he was reading a moment ago, and now he’s vanished out of sight. I can’t find him.”
“Why, he was just reading a minute ago, and now he’s disappeared. I can’t find him.”
The devils flung themselves on the stove.
The demons threw themselves onto the stove.
“Here’s the place,” they cried, “where he was last night!”
“Here’s the spot,” they shouted, “where he was last night!”
There was the place, but he wasn’t there! This way and that they rushed. Suddenly the cocks began to crow, the devils vanished, the witch lay stretched on the floor.
There was the spot, but he wasn't there! They rushed this way and that. Suddenly, the roosters began to crow, the demons disappeared, and the witch lay flat on the floor.
The Soldier stayed awhile to recover his breath, crept out [Pg 284] of the stove, put the merchant’s daughter back in her coffin, and took to reading the psalter again. Presently he looks round, the day has already dawned. His host arrives:
The Soldier stayed for a bit to catch his breath, crawled out of the stove, put the merchant’s daughter back in her coffin, and started reading the psalter again. Soon, he looked around; the day had already broken. His host arrived:
“Hail, Soldier!” says he.
“Hey, Soldier!” he says.
“I wish you good health, master merchant.”
“I wish you good health, master merchant.”
“Has the night passed comfortably?”
“Did you sleep well?”
“Glory be to God! yes.”
“Praise be to God! yes.”
“Come along here, then.”
"Come over here, then."
The merchant led him out of the room, gave him a hundred roubles, and said—
The merchant took him out of the room, gave him a hundred rubles, and said—
“Come, please, and read here a third night; I sha’n’t treat you badly.”
"Come on, please, and read here for a third night; I won’t treat you badly."
“Good, I’ll come.”
“Okay, I’ll be there.”
The Soldier returned home.
The soldier came home.
“Well, grandson, what has God sent you?” says his grandfather.
“Well, grandson, what has God sent your way?” says his grandfather.
“Nothing much, grandfather! The merchant told me to come again. Should I go or not?”
“Not much, Grandpa! The merchant told me to come back. Should I go or not?”
“If you go, you won’t remain alive, and if you don’t go, you won’t remain alive! But you’d better go.”
“If you go, you won’t survive, and if you don’t go, you won’t survive! But you should definitely go.”
“But if anything happens where must I hide?”
“But if something happens, where should I go to hide?”
“I’ll tell you, grandson. Buy yourself a frying-pan, and hide it so that the merchant sha’n’t see it. When you go to his house he’ll try to force a lot of brandy on you. You look out, don’t drink much, drink just what you can stand. At midnight, as soon as the wind begins to roar, and the coffin to rock, do you that very moment climb on to the stove-pipe, and cover yourself over with the frying-pan. There no one will find you out.”
“I’ll tell you, grandson. Buy yourself a frying pan and keep it hidden so the merchant won’t see it. When you go to his place, he’ll try to shove a lot of brandy on you. Be careful—don’t drink too much; just drink what you can handle. At midnight, as soon as the wind starts howling and the coffin begins to sway, right at that moment, climb up onto the stovepipe and cover yourself with the frying pan. No one will be able to find you there.”
The Soldier had a good sleep, bought himself a frying-pan,[367] hid it under his cloak, and towards evening went to the merchant’s house. The merchant seated him at table and took to plying him with liquor—tried every possible kind of invitation and cajolery on him.
The soldier got a good night's sleep, bought himself a frying pan,[367] hid it under his cloak, and in the evening headed to the merchant’s house. The merchant sat him at the table and started pouring him drinks—using every kind of invitation and flattery he could think of.
“No,” says the Soldier, “that will do. I’ve had my whack. I won’t have any more.”
“No,” says the Soldier, “that’s enough. I’ve had my share. I don’t want any more.”
[Pg 285] “Well, then, if you won’t drink, come along and read your psalter.”
[Pg 285] “Well, if you’re not going to drink, let’s go read your psalter.”
The merchant took him to his dead daughter, left him alone with her, and locked the door.
The merchant brought him to his deceased daughter, left him alone with her, and locked the door.
The Soldier read and read. Midnight came, the wind blew, the coffin began to rock, the cover flew afar off. The Soldier jumped up on the stove-pipe, covered himself with the frying-pan, protected himself with a sign of the cross, and awaited what was going to happen. Out jumped the witch and began rushing about. Round her came swarming countless devils, the izba was full of them! They rushed about in search of the Soldier; they looked into the stove—
The Soldier kept reading and reading. Midnight arrived, the wind howled, the coffin started to sway, and the lid flew off. The Soldier jumped up onto the stovepipe, covered himself with the frying pan, made the sign of the cross for protection, and braced himself for what was coming. Suddenly, the witch leaped out and began to dash around. Countless devils swarmed around her, filling the room! They scurried about looking for the Soldier; they peeked into the stove—
“Here’s the place,” they cried, “where he was last night.”
“Here’s the spot,” they shouted, “where he was last night.”
“There’s the place, but he’s not there.”
“There’s the place, but he isn’t there.”
This way and that they rush,—cannot see him anywhere. Presently there stepped across the threshold a very old devil.
They rush back and forth, unable to spot him anywhere. Suddenly, an ancient devil stepped across the threshold.
“What are you looking for?”
“What are you searching for?”
“The Soldier. He was reading here a moment ago, and now he’s disappeared.”
“The Soldier. He was just here reading a moment ago, and now he’s gone.”
“Ah! no eyes! And who’s that sitting on the stove-pipe there?”
“Ah! no eyes! And who’s that sitting on the stovepipe there?”
The Soldier’s heart thumped like anything; he all but tumbled down on the ground!
The soldier's heart raced like crazy; he nearly collapsed onto the ground!
“There he is, sure enough!” cried the devils, “but how are we to settle him. Surely it’s impossible to reach him there?”
“There he is, for sure!” shouted the devils, “but how are we supposed to deal with him? Surely it’s impossible to get to him there?”
“Impossible, forsooth! Run and lay your hands on a candle-end which has been lighted without a blessing having been uttered over it.”
“Impossible, really! Go ahead and grab a candle stub that has been lit without anyone saying a blessing over it.”
In an instant the devils brought the candle-end, piled up a lot of wood right under the stove-pipe, and set it alight. The flame leapt high into the air, the Soldier began to roast: first one foot, then the other, he drew up under him.
In a flash, the devils grabbed the candle stub, stacked a bunch of wood directly under the stove pipe, and lit it up. The flames shot up into the sky, and the Soldier started to feel the heat: first one foot, then the other, he pulled up underneath him.
“Now,” thinks he, “my death has come!”
“Now,” he thinks, “my time has come!”
All of a sudden, luckily for him, the cocks began to crow, the devils vanished, the witch fell flat on the floor. The soldier jumped down from the stove-pipe, and began putting out the [Pg 286] fire. When he had put it out he set every thing to rights, placed the merchant’s daughter in her coffin, covered it up with the lid, and betook himself to reading the psalter. At daybreak came the merchant, and listened at the door to find out whether the Soldier was alive or not. When he heard his voice he opened the door and said—
All of a sudden, fortunately for him, the roosters started crowing, the demons disappeared, and the witch collapsed on the floor. The soldier jumped down from the chimney and began putting out the [Pg 286] fire. Once he had extinguished it, he tidied everything up, placed the merchant’s daughter in her coffin, closed the lid, and started reading the psalms. At dawn, the merchant arrived and listened at the door to see if the soldier was alive. When he heard his voice, he opened the door and said—
“Hail, Soldier!”
"Hey, Soldier!"
“I wish you good health, master merchant.”
“I wish you good health, master merchant.”
“Have you passed the night comfortably?”
“Did you sleep well last night?”
“Glory be to God, I’ve seen nothing bad.”
“Thank God, I haven’t seen anything bad.”
The merchant gave him a hundred and fifty roubles, and said—
The merchant gave him one hundred and fifty roubles and said—
“You’ve done a deal of work, Soldier! do a little more. Come here to-night and carry my daughter to the graveyard.”
“You’ve put in a lot of work, Soldier! Just do a bit more. Come here tonight and take my daughter to the graveyard.”
“Good, I’ll come.”
"Sounds good, I'll be there."
“Well, friend, what has God given?”
“Well, buddy, what has God given?”
“Glory be to God, grandfather, I’ve got off safe! The merchant has asked me to be at his house to-night, to carry his daughter to the graveyard. Should I go or not?”
“Thank God, grandfather, I made it back safely! The merchant wants me to be at his house tonight to take his daughter to the cemetery. Should I go or not?”
“If you go, you won’t be alive, and if you don’t go, you won’t be alive. But you must go; it will be better so.”
“If you go, you won't survive, and if you don't go, you won't survive. But you have to go; it'll be better that way.”
“But what must I do? tell me.”
“But what should I do? Tell me.”
“Well this. When you get to the merchant’s, everything will be ready there. At ten o’clock the relations of the deceased will begin taking leave of her; and afterwards they will fasten three iron hoops round the coffin, and place it on the funeral car; and at eleven o’clock they will tell you to take it to the graveyard. Do you drive off with the coffin, but keep a sharp look-out. One of the hoops will snap. Never fear, keep your seat bravely; a second will snap, keep your seat all the same; but when the third hoop snaps, instantly jump on to the horse’s back and through the duga (the wooden arch above its neck), and run away backwards. Do that, and no harm will come to you.”
“Well, here’s the thing. When you get to the merchant’s, everything will be set up there. At ten o’clock, the family of the deceased will start saying their goodbyes; then they’ll attach three iron hoops around the coffin and put it on the funeral car. At eleven o’clock, they’ll tell you to take it to the cemetery. Drive off with the coffin, but stay alert. One of the hoops will break. Don’t worry, stay steady; if the second one breaks, keep your seat just the same; but when the third hoop breaks, jump onto the horse’s back and through the wooden arch over its neck, then run away backward. Do that, and you’ll be safe.”
The Soldier lay down to sleep, slept till the evening, and then went to the merchant’s. At ten o’clock the relations began taking leave of the deceased; then they set to work to fasten [Pg 287] iron hoops round the coffin. They fastened the hoops, set the coffin on the funeral car, and cried—
The Soldier lay down to sleep, slept until the evening, and then went to the merchant’s. At ten o’clock, the family members began saying their goodbyes to the deceased; then they got to work fastening iron hoops around the coffin. They secured the hoops, placed the coffin on the funeral car, and cried—
“Now then, Soldier! drive off, and God speed you!”
“Alright, Soldier! Go ahead, and good luck!”
The Soldier got into the car and set off: at first he drove slowly, but as soon as he was out of sight he let the horse go full split. Away he galloped, but all the while he kept an eye on the coffin. Snap went one hoop—and then another. The witch began gnashing her teeth.
The soldier got into the car and started driving: at first he went slow, but as soon as he was out of sight, he let the horse go all out. He galloped away, but all the while, he kept an eye on the coffin. One hoop snapped—and then another. The witch started gnashing her teeth.
“Stop!” she cried, “you sha’n’t escape! I shall eat you up in another moment.”
“Stop!” she yelled, “you won’t get away! I’ll have you eaten in a minute.”
“No, dovey! Soldiers are crown property; no one is allowed to eat them.”
“No, sweetheart! Soldiers are property of the crown; no one is allowed to eat them.”
Here the last hoop snapped: on to the horse jumped the Soldier, and through the duga, and then set off running backwards. The witch leapt out of the coffin and tore away in pursuit. Lighting on the Soldier’s footsteps she followed them back to the horse, ran right round it, saw the soldier wasn’t there, and set off again in pursuit of him. She ran and ran, lighted again on his footsteps, and again came back to the horse. Utterly at her wit’s end, she did the same thing some ten times over. Suddenly the cocks began crowing. There lay the witch stretched out flat on the road! The Soldier picked her up, put her in the coffin, slammed the lid down, and drove her to the graveyard. When he got there he lowered the coffin into the grave, shovelled the earth on top of it, and returned to the merchant’s house.
Here the last hoop snapped: the Soldier jumped onto the horse and took off running backward through the duga. The witch jumped out of the coffin and raced after him. Following the Soldier’s footprints, she ran back to the horse, circled around it, saw the soldier wasn’t there, and took off again in search of him. She ran and ran, found his footprints again, and came back to the horse. Totally frustrated, she repeated this about ten times. Suddenly, the roosters began to crow. There lay the witch flat on the road! The Soldier picked her up, put her in the coffin, slammed the lid down, and drove her to the graveyard. When he arrived, he lowered the coffin into the grave, shoveled dirt on top of it, and returned to the merchant’s house.
“I’ve done it all,” says he; “catch hold of your horse.”
“I’ve done everything,” he says; “grab your horse.”
When the merchant saw the Soldier he stared at him with wide-open eyes.
When the merchant saw the Soldier, he stared at him with wide eyes.
“Well, Soldier!” said he, “I know a good deal! and as to my daughter, we needn’t speak of her. She was awfully sharp, she was! But, really, you know more than we do!”
“Well, Soldier!” he said, “I know quite a bit! As for my daughter, we shouldn’t even discuss her. She was incredibly sharp, she was! But honestly, you know more than we do!”
“Come now, master merchant! pay me for my work.”
“Come on, master merchant! Pay me for my work.”
So the merchant handed him over two hundred roubles. The soldier took them, thanked him, and then went home, and gave his family a feast.
So the merchant gave him two hundred roubles. The soldier accepted them, thanked him, and then went home and treated his family to a feast.
[The next chapter will contain a number of vampire stories which, in some respects, [Pg 288] resemble these tales of homicidal corpses. But most of them belong, I think, to a separate group, due to a different myth or superstition from that which has given rise to such tales as those quoted above. The vampire is actuated by a thirst which can be quenched only by blood, and which impels it to go forth from the grave and destroy. But the enchanted corpses which rise at midnight, and attempt to rend their watchers, appear to owe their ferocity to demoniacal possession. After the death of a witch her body is liable, says popular tradition, to be tenanted by a devil (as may be seen from No. iii.), and to corpses thus possessed have been attributed by the storytellers the terrible deeds which Indian tales relate of Rákshasas and other evil spirits. Thus in the story of Nischayadatta, in the seventh book of the “Kathásaritságara,” the hero and the four pilgrims, his companions, have to pass a night in a deserted temple of Siva. It is haunted by a Yakshini, a female demon, who turns men by spells into brutes, and then eats them; so they sit watching and praying beside a fire round which they have traced a circle of ashes. At midnight the demon-enchantress arrives, dancing and “blowing on a flute made of a dead man’s bone.” Fixing her eyes on one of the pilgrims, she mutters a spell, accompanied by a wild dance. Out of the head of the doomed man grows a horn; he loses all command over himself, leaps up, and dances into the flames. The Yakshini seizes his half-burnt corpse and devours it. Then she treats the second and the third pilgrim in the same way. But just as she is turning to the fourth, she lays her flute on the ground. In an instant the hero seizes it, and begins to blow it and to dance wildly around the Yakshini, fixing his eyes upon her and applying to her the words of her own spell. Deprived by it of all power, she submits, and from that time forward renders the hero good service.[368]]
[The next chapter will contain several vampire stories which, in some ways, [Pg 288] are similar to these tales of murderous corpses. However, most of them belong, in my opinion, to a different category, stemming from another myth or superstition than those that inspired the stories mentioned above. The vampire is driven by a thirst that can only be satisfied by blood, compelling it to rise from the grave and wreak havoc. In contrast, the enchanted corpses that rise at midnight and try to tear apart their guards seem to derive their savagery from demonic possession. After a witch dies, her body is believed, according to popular belief, to be inhabited by a devil (as demonstrated in No. iii), and to these possessed corpses storytellers attribute the horrific acts that Indian folklore recounts about Rákshasas and other evil spirits. For instance, in the story of Nischayadatta, found in the seventh book of the “Kathásaritságara,” the hero and his four fellow pilgrims spend a night in an abandoned temple of Siva. This temple is haunted by a Yakshini, a female demon that transforms men into beasts with spells and then consumes them; so they sit by a fire, watching and praying, encircled by a ring of ashes. At midnight, the demon arrives, dancing and “playing a flute made from a dead man’s bone.” Locking her gaze on one of the pilgrims, she casts a spell while performing a frenzied dance. A horn sprouts from the head of the doomed man; he loses control and jumps into the flames. The Yakshini grabs his half-burnt body and devours it. She then treats the second and third pilgrims the same way. But just as she is about to attack the fourth, she places her flute on the ground. In that moment, the hero snatches it up and starts blowing it, dancing wildly around the Yakshini, locking his eyes on her and reciting the words from her own spell. Stripped of all her power by it, she submits and from then on provides the hero with valuable assistance.[368]]
In one of the skazkas a malignant witch is destroyed by a benignant female power. It had been predicted that a certain baby princess would begin flying about the world as soon as she was fifteen. So her parents shut her up in a building in which she never saw the light of day, nor the face of a man. For it was illuminated by artificial means, and none but women had access to it. But one day, when her nurses and Mamzeli had gone to a feast at the palace, she found a door unlocked, and made her way into the sunlight. After this her attendants were obliged to allow her to go where she wished, when her parents were away. As she went roaming about the palace she came to a cage “in which a Zhar-Ptitsa,[369] lay [as if] dead.” This bird, her [Pg 289] guardians told her, slept soundly all day, but at night her papa flew about on it. Farther on she came to a veiled portrait. When the veil was lifted, she cried in astonishment “Can such beauty be?” and determined to fly on the Zhar-Ptitsa to the original of the picture. So at night she sought the Zhar-Ptitsa, which was sitting up and flapping its wings, and asked whether she might fly abroad on its back. The bird consented and bore her far away. Three times it carried her to the room of the prince whose portrait she had so much admired. On the first and second occasion he remained asleep during her visit, having been plunged into a magic slumber by the Zhar-Ptitsa. But during her third visit he awoke, “and he and she wept and wept, and exchanged betrothal rings.” So long did they remain talking that, before the Zhar-Ptitsa and his rider could get back, “the day began to dawn—the bird sank lower and lower and fell to the ground.” Then the princess, thinking it was really dead, buried it in the earth—having first cut off its wings, and “attached them to herself so as to walk more lightly.”
In one of the fairy tales, a wicked witch is defeated by a kind female force. It was foretold that a certain baby princess would start flying around the world when she turned fifteen. So, her parents confined her in a building where she never saw daylight or a man’s face. It was lit by artificial light, and only women were allowed inside. But one day, when her nurses and caretakers had gone to a feast at the palace, she found an unlocked door and stepped out into the sunlight. After this, her attendants had to let her go wherever she wanted whenever her parents were away. As she wandered around the palace, she came across a cage “in which a Firebird lay [as if] dead.” This bird, her guardians told her, slept soundly all day, but at night her father flew around on it. Further on, she discovered a veiled portrait. When the veil was lifted, she gasped in amazement, “Can such beauty be?” and decided to fly on the Firebird to meet the person in the picture. That night, she sought the Firebird, which was awake and flapping its wings, and asked if she could fly on its back. The bird agreed and took her far away. Three times it carried her to the room of the prince whose portrait she had admired. On the first two visits, he slept through her time there, enchanted in a magic slumber by the Firebird. But during her third visit, he woke up, “and they both cried and cried, exchanging engagement rings.” They talked for so long that before the Firebird and its rider could return, “the day began to break—the bird sank lower and lower and fell to the ground.” Then the princess, thinking it was truly dead, buried it in the earth—after first cutting off its wings and “attaching them to herself to walk more lightly.”
After various adventures she comes to a land of mourning. “Why are you so mournful?” she asks. “Because our king’s son has gone out of his mind,” is the reply. “He eats a man every night.” Thereupon she goes to the king and obtains leave to watch the prince by night. As the clock strikes twelve the prince, who is laden with chains, makes a rush at her; but the wings of the Zhar-Ptitsa rustle around her, and he sits down again. This takes place three times, after which the light goes out. She leaves the room in search of the means of rekindling it, sees a glimmer in the distance, and sets off with a lantern in search of it. Presently she finds an old witch who is [Pg 290] sitting before a fire, above which seethes a cauldron. “What have you got there?” she asks. “When this cauldron seethes,” replies the witch, “within it does the heart of Prince Ivan rage madly.”
After various adventures, she arrives in a land filled with sorrow. “Why is everyone so sad?” she asks. “Because our king’s son has lost his mind,” comes the reply. “He eats a man every night.” She then goes to the king and gets permission to watch the prince at night. As the clock strikes twelve, the prince, weighed down by chains, lunges at her; but the wings of the Zhar-Ptitsa flutter around her, and he sits back down. This happens three times, after which the light goes out. She leaves the room to find a way to relight it, sees a faint glow in the distance, and heads off with a lantern to investigate. Soon, she discovers an old witch who is sitting in front of a fire, over which a cauldron is boiling. “What are you cooking?” she asks. “When this cauldron boils,” replies the witch, “the heart of Prince Ivan rages inside it.”
Pretending to be merely getting a light, the Princess contrives to splash the seething liquid over the witch, who immediately falls dead. Then she looks into the cauldron, and there, in truth, she sees the Prince’s heart. When she returns to his room he has recovered his senses. “Thank you for bringing a light,” he says. “Why am I in chains?” “Thus and thus,” says she. “You went out of your mind and ate people.” Whereat he wonders greatly.[370]
Pretending to just get a light, the Princess manages to splash the boiling liquid onto the witch, who immediately drops dead. Then she looks into the cauldron, and there, indeed, she spots the Prince’s heart. When she goes back to his room, he has regained his senses. “Thanks for bringing a light,” he says. “Why am I chained up?” “Here’s the deal,” she replies. “You went crazy and ate people.” He is left in deep shock.[370]
The Zhar-Ptitsa, or Fire-Bird, which plays so important a part in this story, is worthy of special notice. Its name is sufficient to show its close connection with flame or light,[371] and its appearance corresponds with its designation. Its feathers blaze with silvery or golden sheen, its eyes shine like crystal, it dwells in a golden cage. In the depth of the night it flies into a garden, and lights it up as brightly as could a thousand burning fires. A single feather from its tail illuminates a dark room. It feeds upon golden apples which have the power of bestowing youth and beauty, or according to a Croatian version, on magic-grasses. Its song, according to Bohemian legends, heals the sick and restores sight to the blind. We have already seen that, as the Phœnix, of which it seems to be a Slavonic counterpart, dies in the flame from which it springs again into life, so the Zhar-Ptitsa sinks into a death-like slumber when the day dawns, to awake to fresh life after the sunset.
The Zhar-Ptitsa, or Fire-Bird, which is very important to this story, deserves special attention. Its name clearly indicates its strong link to fire or light,[371] and its appearance matches this description. Its feathers shine with a silvery or golden glow, its eyes sparkle like crystal, and it lives in a golden cage. In the dead of night, it flies into a garden and brightens it up like a thousand blazing fires could. Just one feather from its tail can light up a dark room. It eats golden apples that have the power to grant youth and beauty, or according to a Croatian version, magical grasses. Its song, as per Bohemian legends, can heal the sick and restore sight to the blind. We've already seen that, like the Phoenix, which appears to be its Slavonic equivalent, the Fire-Bird dies in flames only to rise again in life; similarly, the Zhar-Ptitsa falls into a death-like sleep when the day arrives, only to awaken to new life after sunset.
[Pg 291] One of the skazkas[372] about the Zhar-Ptitsa closely resembles the well-known German tale of the Golden Bird.[373] But it is a “Chap-book” story, and therefore of doubtful origin. King Vuislaf has an apple-tree which bears golden fruits. These are stolen by a Zhar-Ptitsa which flies every night into the garden, so he orders his sons to keep watch there by turns. The elder brothers cannot keep awake, and see nothing; but the youngest of the three, Prince Ivan, though he fails to capture the bird, secures one of its tail-feathers. After a time he leaves his home and goes forth in search of the bird. Aided by a wolf, he reaches the garden in which the Zhar-Ptitsa lives, and succeeds in taking it out of its golden cage. But trying, in spite of the wolf’s warning, to carry off the cage itself, an alarm is sounded, and he is taken prisoner. After various other adventures he is killed by his envious brothers, but of course all comes right in the end. In a version of the story which comes from the Bukovina, one of the incidents is detailed at greater length than in either the German or the Russian tale. When the hero has been killed by his brothers, and they have carried off the Zhar-Ptitsa, and their victim’s golden steed, and his betrothed princess—as long as he lies dead, the princess remains mute and mournful, the horse refuses to eat, the bird is silent, and its cage is lustreless. But as soon as he comes back to life, the princess regains her spirits, and the horse its appetite. The Zhar-Ptitsa recommences its magic song, and its cage flashes anew like fire.
[Pg 291] One of the skazkas[372] about the Zhar-Ptitsa closely resembles the well-known German tale of the Golden Bird.[373] But it's a “Chap-book” story, so its origins are uncertain. King Vuislaf has an apple tree that produces golden fruit. A Zhar-Ptitsa steals these fruits by flying into the garden every night, so he tells his sons to take turns keeping watch. The older brothers can’t stay awake and see nothing; however, the youngest, Prince Ivan, might not catch the bird, but he manages to get one of its tail feathers. After some time, he leaves home to find the bird. With the help of a wolf, he gets to the garden where the Zhar-Ptitsa lives and successfully frees it from its golden cage. But ignoring the wolf's warning and attempting to take the cage as well, he raises an alarm and is captured. After several other adventures, he’s killed by his jealous brothers, but of course, everything ends well. In a version of the story from Bukovina, one incident is described in more detail than in either the German or Russian versions. When the hero is killed by his brothers, who then take the Zhar-Ptitsa, his golden horse, and his fiancée, as long as he lies lifeless, the princess stays silent and sorrowful, the horse won’t eat, the bird is quiet, and its cage lacks luster. But as soon as he comes back to life, the princess brightens up, and the horse starts eating again. The Zhar-Ptitsa begins its magical song again, and its cage shines brightly like fire.
In another skazka[374] a sportsman finds in a forest “a golden feather of the Zhar-Ptitsa; like fire does the feather shine!” Against the advice of his “heroic steed,” he [Pg 292] picks up the feather and takes it to the king, who sends him in search of the bird itself. Then he has wheat scattered on the ground, and at dawn he hides behind a tree near it. “Presently the forest begins to roar, the sea rises in waves, and the Zhar-Ptitsa flies up, lights upon the ground and begins to peck the wheat.” Then the “heroic steed” gallops up, sets its hoof upon the bird’s wing, and presses it to the ground, so that the shooter is able to bind it with cords, and take it to the king. In a variant of the story the bird is captured by means of a trap—a cage in which “pearls large and small” have been strewed.
In another tale[374] a sportsman discovers a “golden feather from the Zhar-Ptitsa” in a forest; the feather shines like fire! Ignoring the advice of his “heroic steed,” he [Pg 292] picks up the feather and brings it to the king, who then sends him on a quest for the bird itself. He scatters wheat on the ground and hides behind a tree at dawn. “Soon the forest starts to roar, the sea rises in waves, and the Zhar-Ptitsa appears, lands on the ground, and begins to peck at the wheat.” At that moment, the “heroic steed” rushes in, places its hoof on the bird’s wing, and pins it down, allowing the hunter to tie it up and take it to the king. In another version of the story, the bird is caught using a trap— a cage filled with “pearls large and small.”
I had intended to say something about the various golden haired or golden-horned animals which figure in the Skazkas, but it will be sufficient for the present to refer to the notices of them which occur in Prof. de Gubernatis’s “Zoological Mythology.” And now I will bring this chapter to a close with the following weird story of
I wanted to mention the different golden-haired or golden-horned animals that appear in the Skazkas, but for now, it’s enough to point to the references in Prof. de Gubernatis’s “Zoological Mythology.” Now, I’ll wrap up this chapter with the following strange story of
The Sorcerer.[375]
There was once a Moujik, and he had three married sons. He lived a long while, and was looked upon by the village as a Koldun [or wizard]. When he was about to die, he gave orders that his sons’ wives should keep watch over him [after his death] for three nights, taking one night apiece; that his body should be placed in the outer chamber,[376] and that his sons’ wives should spin wool to make him a caftan. He ordered, moreover, that no cross should be placed upon him, and that none should be worn by his daughters-in-law.
There once was a peasant who had three married sons. He lived a long time and was seen by the village as a wizard. When he was about to die, he instructed that his sons' wives should watch over him for three nights, taking turns. He wanted his body to be placed in the outer chamber,[376] and for his sons' wives to spin wool to make him a robe. He also requested that no cross should be placed on him, and that none should be worn by his daughters-in-law.
Well, that same night the eldest daughter-in-law took her seat beside him with some grey wool, and began spinning. Midnight arrives. Says the father-in-law from his coffin:
Well, that same night, the eldest daughter-in-law sat down next to him with some gray wool and started spinning. Midnight comes. The father-in-law says from his coffin:
[Pg 293] “Daughter-in-law, art thou there?”
“Daughter-in-law, are you there?”
She was terribly frightened, but answered, “I am.” “Art thou sitting?” “I sit.” “Dost thou spin?” “I spin.” “Grey wool?” “Grey.” “For a caftan?” “For a caftan.”
She was really scared, but replied, “I am.” “Are you sitting?” “I sit.” “Are you spinning?” “I spin.” “Grey wool?” “Grey.” “For a caftan?” “For a caftan.”
He made a movement towards her. Then a second time he asked again—
He moved toward her. Then he asked again a second time—
“Daughter-in-law, art thou there?”
“Daughter-in-law, are you there?”
“I am.” “Art thou sitting?” “I sit.” “Dost thou spin?” “I spin.” “Grey wool?” “Grey.” “For a caftan?” “For a caftan.”
“I am.” “Are you sitting?” “I sit.” “Are you spinning?” “I spin.” “Grey wool?” “Grey.” “For a caftan?” “For a caftan.”
She shrank into the corner. He moved again, came a couple of yards nearer her.
She backed into the corner. He moved again, coming a few yards closer to her.
A third time he made a movement. She offered up no prayer. He strangled her, and then lay down again in his coffin.
A third time he moved. She didn’t say a word. He choked her, and then lay back down in his coffin.
His sons removed her body, and next evening, in obedience to his paternal behest, they sent another of his daughters-in-law to keep watch. To her just the same thing happened: he strangled her as he had done the first one.
His sons took her body away, and the next evening, following his fatherly command, they sent another daughter-in-law to keep watch. Just like before, the same thing happened to her: he strangled her like he had the first one.
But the third was sharper than the other two. She declared she had taken off her cross, but in reality she kept it on. She took her seat and spun, but said prayers to herself all the while.
But the third was sharper than the other two. She said she had taken off her cross, but in reality, she kept it on. She sat down and spun around, but prayed to herself the entire time.
Midnight arrives. Says her father-in-law from his coffin—
Midnight comes. Her father-in-law speaks from his coffin—
“Daughter-in-law, art thou there?”
“Daughter-in-law, are you there?”
“I am,” she replies. “Art thou sitting?” “I sit.” “Dost thou spin?” “I spin.” “Grey wool?” “Grey.” “For a caftan?” “For a caftan.”
“I am,” she replies. “Are you sitting?” “I sit.” “Do you spin?” “I spin.” “Grey wool?” “Grey.” “For a caftan?” “For a caftan.”
Just the same took place a second time. The third time, just as he was going to rush at her, she laid the cross upon him. He fell down and died. She looked into the coffin; there lay ever so much money. The father-in-law wanted to take it away with him, or, at all events, that only some one who could outdo him in cunning should get it.[377]
Just like before, it happened a second time. The third time, just as he was about to charge at her, she put the cross on him. He collapsed and died. She looked into the coffin; there was a lot of money inside. The father-in-law wanted to take it with him, or at least make sure that only someone who could outsmart him would get it.[377]
[Pg 294] In one of the least intelligible of the West Highland tales, there is a scene which somewhat resembles the “lykewake” in this skazka. It is called “The Girl and the Dead Man,” and relates, among other strange things, how a youngest sister took service in a house where a corpse lay. “She sat to watch the dead man, and she was sewing; in the middle of night he rose up, and screwed up a grin. ‘If thou dost not lie down properly, I will give thee the one leathering with a stick.’ He lay down. At the end of a while, he rose on one elbow, and screwed up a grin; and the third time he rose and screwed up a grin. When he rose the third time, she struck him a lounder of the stick; the stick stuck to the dead man, and the hand stuck to the stick, and out they were.” Eventually “she got a peck of gold and a peck of silver, and the vessel of cordial” and returned home.[378]
[Pg 294] In one of the more confusing West Highland stories, there’s a scene that somewhat resembles the “lykewake” in this skazka. It’s called “The Girl and the Dead Man,” and it tells, among other strange things, how the youngest sister took a job in a house where a corpse was lying. “She sat there watching the dead man while she sewed; in the middle of the night, he suddenly sat up and grinned. ‘If you don’t lie down properly, I’ll give you a good whack with a stick.’ He lay back down. After a while, he propped himself up on one elbow and grinned again; and the third time he sat up and grinned. When he did it for the third time, she hit him hard with the stick; the stick stuck to the dead man, and his hand stuck to the stick, and they were both pulled out.” In the end, “she ended up with a pile of gold and a pile of silver, and a vessel of cordial” and went home.[378]
The obscurity of the Celtic tale forms a striking contrast to the lucidity of the Slavonic. The Russian peasant likes a clear statement of facts; the Highlander seems, like Coleridge’s Scotch admirer, to find a pleasure in seeing “an idea looming out of the mist.”
The ambiguity of the Celtic story stands in sharp contrast to the clarity of the Slavonic one. The Russian peasant prefers straightforward facts, while the Highlander appears, much like Coleridge’s Scottish fan, to enjoy watching “an idea emerge from the fog.”
FOOTNOTES:
[296] About which, see Professor Wilson’s note on Somadeva’s story of the “Origin of Pátaliputra,” “Essays,” i. p. 168-9, with Dr. Rost’s reference to L. Deslongchamps, “Essai sur les Fables Indiennes,” Paris, 1838, p. 35 and Grässe, “Sagenkreise des Mittelalters,” Leipsig, 1842, p. 191. See also the numerous references given by Grimm, KM. iii. pp. 168-9.
[296] For more information, refer to Professor Wilson’s note on Somadeva’s tale about the “Origin of Pátaliputra,” in “Essays,” i. pp. 168-9, along with Dr. Rost’s mention of L. Deslongchamps, “Essai sur les Fables Indiennes,” Paris, 1838, p. 35 and Grässe, “Sagenkreise des Mittelalters,” Leipzig, 1842, p. 191. Also, check the many references provided by Grimm, KM. iii. pp. 168-9.
[297] As well as in all the mythologies. For the magic draught of the fairy-story appears to be closely connected with the Greek ambrosia, the Vedic soma or amrita, the Zend haoma.
[297] This is true in all mythologies. The magical potion from the fairy tale seems to be closely related to the Greek ambrosia, the Vedic soma or amrita, and the Zend haoma.
[298] A water, “Das Wasser des Lebens,” in two German stories (Grimm, Nos. 92 and 97, and iii. p. 178), and in many Greek tales (Hahn, Nos. 32, 37, &c.). An oil or ointment in the Norse tale (Asbjörnsen and Moe, No. 35, Dasent, No. 3). A balsam in Gaelic tales, in which a “Vessel of Balsam” often occurs. According to Mr. Campbell (“West Highland Tales,” i. p. 218), “Ballan Iocshlaint, teat, of ichor, of health, seems to be the meaning of the words.” The juice squeezed from the leaves of a tree in a modern Indian tale (“Old Deccan Days,” p. 139).
[298] A water, “The Water of Life,” appears in two German stories (Grimm, Nos. 92 and 97, and iii. p. 178), and in many Greek tales (Hahn, Nos. 32, 37, & etc.). An oil or ointment is found in the Norse tale (Asbjörnsen and Moe, No. 35, Dasent, No. 3). A balm is present in Gaelic tales, where a “Vessel of Balm” often appears. According to Mr. Campbell (“West Highland Tales,” i. p. 218), “Ballan Iocshlaint, teat, of ichor, of health, seems to be the meaning of the words.” The juice from the leaves of a tree is mentioned in a modern Indian tale (“Old Deccan Days,” p. 139).
[299] The mythical bird Garuda, the Indian original of the Roc of the Arabian Nights, was similarly connected with the Amrita. See the story of Garuda and the Nágas in Brockhaus’s translation of the “Kathásaritságara,” ii. pp. 98-105. On the Vedic falcon which brings the Soma down to earth, see Kuhn’s “Herabkunft des Feuers,” pp. 138-142.
[299] The legendary bird Garuda, the Indian version of the Roc from Arabian Nights, was also linked to the Amrita. Check out the tale of Garuda and the Nágas in Brockhaus’s translation of the “Kathásaritságara,” ii. pp. 98-105. For information on the Vedic falcon that brings Soma to Earth, see Kuhn’s “Herabkunft des Feuers,” pp. 138-142.
[302] In that attributed to Sivadása, tale 2 (Lassen’s “Anthologia Sanscritica,” pp. 16-19), and in the “Kathásaritságara,” chap. lxxvi. See Brockhaus’s summary in the “Berichte der phil. hist. Classe der Kön. Sächs. Gesellschaft der Wissenschaften,” December 3, 1853, pp. 194-5.
[302] In the story attributed to Sivadása, tale 2 (Lassen’s “Anthologia Sanscritica,” pp. 16-19), and in the “Kathásaritságara,” chapter 76. See Brockhaus’s summary in the “Berichte der phil. hist. Classe der Kön. Sächs. Gesellschaft der Wissenschaften,” December 3, 1853, pp. 194-5.
[304] B. G. Babington’s translation of “The Vedàla Cadai,” p. 32. contained in the “Miscellaneous Translations” of the Oriental Translation Fund, 1831, vol. i. pt. iv pp. 32 and 67.
[304] B. G. Babington’s translation of “The Vedàla Cadai,” p. 32, is included in the “Miscellaneous Translations” of the Oriental Translation Fund, 1831, vol. i, pt. iv, pp. 32 and 67.
[305] Afanasief, P.V.S. ii. 551.
[306] Afanasief, viii. p. 205.
[307] Afanasief, vii. No. 5 b.
__A_TAG_PLACEHOLDER_0__ Afanasief, vii. No. 5 b.
[309] Afanasief, vi. p. 249. For a number of interesting legends, collected from the most distant parts of the world, about grinding mountains and crashing cliffs, &c., see Tylor’s “Primitive Culture,” pp. 313-16. After quoting three mythic descriptions found among the Karens, the Algonquins, and the Aztecs, Mr. Tylor remarks, “On the suggestion of this group of solar conceptions and that of Maui’s death, we may perhaps explain as derived from a broken-down fancy of solar-myth, that famous episode of Greek legend, where the good ship Argo passed between the Symplêgades, those two huge cliffs that opened and closed again with swift and violent collision.”
[309] Afanasief, vi. p. 249. For several intriguing legends gathered from far-off places, concerning grinding mountains and crashing cliffs, etc., check out Tylor’s “Primitive Culture,” pp. 313-16. After quoting three mythical accounts from the Karens, the Algonquins, and the Aztecs, Mr. Tylor notes, “Based on this collection of solar ideas and the story of Maui’s death, we might understand as stemming from a faded imagination of solar myth that well-known episode in Greek legend where the good ship Argo sailed between the Symplêgades, those two massive cliffs that would open and close with swift and violent force.”
Several of the Modern Greek stories are very like the skazka mentioned above. In one of these (Hahn, ii. p. 234), a Lamia guards the water of life (ἀϐάνατο νερὸ) which flows within a rock; in another (ii. p. 280) a mountain opens at midday, and several springs are disclosed, each of which cries “Draw from me!” but the only one which is life-giving is that to which a bee flies.
Several of the Modern Greek stories are very similar to the skazka mentioned above. In one of these (Hahn, ii. p. 234), a Lamia guards the water of life (ἀϐάνατο νερὸ) that flows within a rock; in another (ii. p. 280), a mountain opens at midday, revealing several springs, each of which calls out, “Draw from me!” but the only one that gives life is the one to which a bee flies.
[310] Wenzig, p. 148.
__A_TAG_PLACEHOLDER_0__ Wenzig, p. 148.
[311] Afanasief, P.V.S. ii. 353.
[314] Palitsa = a cudgel, etc. In the variant of the story quoted in the preceding section the prince seized Vikhor by the right little finger, mizinets. Palets meant a finger. The similarity of the two words may have led to a confusion of ideas.
[314] Palitsa = a club, etc. In the version of the story mentioned in the previous section, the prince grabbed Vikhor by the right little finger, mizinets. Palets referred to a finger. The similarity between the two words might have caused some confusion in understanding.
[315] Afanasief, vii. pp. 97-103.
__A_TAG_PLACEHOLDER_0__ Afanasief, vii. pp. 97-103.
[318] Afanasief, v. No. 35.
[319] In the original he is generally designated as Katòma—dyàd’ka, dubovaya shàpka, “Katòma-governor, oaken-hat.” Not being able to preserve the assonance, I have dropped the greater part of his title.
[319] In the original text, he is typically referred to as Katòma—dyàd’ka, dubovaya shàpka, “Katòma-governor, oaken-hat.” Since I couldn't keep the rhyme, I've removed most of his title.
[320] Bogodanny (bog = God; dat’, davat’ = to give). One of the Russian equivalents for our hideous “father-in-law” is “god-given father” (bogodanny otets), and for “mother-in-law,” bogodanny mat’ or “God-given mother.” (Dahl.)
[320] Bogodanny (bog = God; dat’, davat’ = to give). One of the Russian equivalents for our unpleasant “father-in-law” is “God-given father” (bogodanny otets), and for “mother-in-law,” bogodanny mat’ or “God-given mother.” (Dahl.)
[325] Afanasief, viii. No. 23 a.
[326] To this episode a striking parallel is offered by that of Gunther’s wedding night in the “Nibelungenlied,” in which Brynhild flings her husband Gunther across the room, kneels on his chest, and finally binds him hand and foot, and suspends him from a nail till daybreak. The next night Siegfried takes his place, and wrestles with the mighty maiden. After a long struggle he flings her on the floor and forces her to submit. Then he leaves the room and Gunther returns. A summary of the story will be found in the “Tales of the Teutonic Lands,” by G. W. Cox and E. H. Jones, pp. 94-5.
[326] This episode has a striking parallel in Gunther’s wedding night from the “Nibelungenlied,” where Brynhild throws her husband Gunther across the room, kneels on his chest, and then ties him up before hanging him from a nail until dawn. The next night, Siegfried takes his place and wrestles with the powerful woman. After a lengthy struggle, he throws her to the floor and compels her to give in. He then leaves the room, and Gunther comes back. A summary of the story can be found in “Tales of the Teutonic Lands” by G. W. Cox and E. H. Jones, pp. 94-5.
[330] Prashchurui.
__A_TAG_PLACEHOLDER_0__ Prashchurui.
[334] Literally “with a Solovei-like whistle.” The word solovei generally means a nightingale, but it was also the name of a mythical hero, a robber whose voice or whistle had the power of killing those who heard it.
[334] Literally “with a nightingale-like whistle.” The word solovei typically refers to a nightingale, but it was also the name of a mythical hero, a bandit whose voice or whistle had the ability to kill those who listened to it.
[335] Chmoknuel, smacked.
__A_TAG_PLACEHOLDER_0__ Chmoknuel, hit.
[336] See Barsof’s rich collection of North-Russian funeral poetry, entitled “Prichitaniya Syevernago Kraya,” Moscow, 1872. Also the “Songs of the Russian People,” pp. 334-345.
[336] Check out Barsof’s extensive collection of North Russian funeral poetry called “Prichitaniya Syevernago Kraya,” published in Moscow in 1872. Also, see the “Songs of the Russian People,” pages 334-345.
[338] Grimm, KM. No. 21.
__A_TAG_PLACEHOLDER_0__ Grimm, KM. No. 21.
[339] Afanasief, vi. No. 54.
[340] Ona krava shto yoy ye bila mati, Vuk Karajich, p. 158. In the German translation (p. 188) Wie dies nun die Kuh sah, die einst seine Mutter gewesen war.
[340] The cow that had once been her mother, Vuk Karajich, p. 158. In the German translation (p. 188) When the cow saw this, who had once been his mother.
[341] Afanasief, ii. p. 254.
[343] Afanasief, ii. p. 269.
[344] Khudyakof, No. 50.
__A_TAG_PLACEHOLDER_0__ Khudyakof, No. 50.
[345] Afanasief, iii. p. 25.
[351] Afanasief, vi. No. 32. From the Novgorod Government. A “chap-book” version of this story will be found in Dietrich’s collection (pp. 152-68 of the English translation); also in Keightley’s “Tales and Popular Fictions.”
[351] Afanasief, vi. No. 32. From the Novgorod Government. A “chap-book” version of this story can be found in Dietrich’s collection (pp. 152-68 of the English translation); also in Keightley’s “Tales and Popular Fictions.”
[354] Tak de ego ne vzat’.
[355] There are numerous variants of this story among the Skazkas. In one of these (Afanasief, vii. No. 31) the man on whom the pike has bestowed supernatural power uses it to turn a Maiden princess into a mother. This renders the story wholly in accordance with (1) the Modern Greek tale of “The Half Man,” (Hahn, No. 8) in which the magic formula runs, “according to the first word of God and the second of the fish shall such and such a thing be done!” (2) The Neapolitan story of “Pervonto” (Basile’s “Pentamerone,” No. 3) who obtains his magic power from three youths whom he screens from the sun as they lie asleep one hot day, and who turn out to be sons of a fairy. Afanasief compares the story also with the German tale of “The Little Grey Mannikin,” in the “Zeitschrift für Deutsche Mythologie,” &c., i. pp. 38-40. The incident of wishes being fulfilled by a fish occurs in many stories, as in that of “The Fisherman,” in the “Arabian Nights,” “The Fisherman and his Wife,” in Grimm (KM., No. 19). A number of stories about the Pike are referred to by A. de Gubernatis (“Zoolog. Mythology,” ii. 337-9).
[355] There are many variations of this story among the Skazkas. In one of these (Afanasief, vii. No. 31), the man who receives supernatural power from the pike uses it to turn a Maiden princess into a mother. This aligns the story with (1) the Modern Greek tale of “The Half Man,” (Hahn, No. 8), which features the magic phrase, “according to the first word of God and the second of the fish shall such and such a thing be done!” (2) The Neapolitan tale of “Pervonto” (Basile’s “Pentamerone,” No. 3), where the hero gains his magical ability from three youths whom he shields from the sun while they sleep on a hot day, and who turn out to be the sons of a fairy. Afanasief also compares this story to the German tale of “The Little Grey Mannikin,” in the “Zeitschrift für Deutsche Mythologie,” &c., i. pp. 38-40. The theme of wishes being granted by a fish appears in many tales, including “The Fisherman” from the “Arabian Nights” and “The Fisherman and his Wife” in Grimm (KM., No. 19). Several stories about the Pike are mentioned by A. de Gubernatis (“Zoolog. Mythology,” ii. 337-9).
[368] From Professor Brockhaus’s summary in the “Berichte der phil. hist. Classe der Königl. Sächs. Gesellschaft der Wissenschaften,” 1861, pp. 215, 16.
[368] From Professor Brockhaus’s summary in the “Reports of the Philosophical Historical Class of the Royal Saxon Society of Sciences,” 1861, pp. 215, 16.
[371] Zhar = glowing heat, as of a furnace; zhar-ptitsa = the glow-bird. Its name among the Czekhs and Slovaks is Ptak Ohnivák. The heathens Slavonians are said to have worshipped Ogon or Agon, Fire, the counterpart of the Vedic Agni. Agon is still the ordinary Russian word for fire, the equivalent of the Latin ignis.
[371] Zhar = glowing heat, like that from a furnace; zhar-ptitsa = the glow-bird. Its name among the Czechs and Slovaks is Ptak Ohnivák. The pagan Slavs are said to have worshipped Ogon or Agon, Fire, which corresponds to the Vedic Agni. Agon is still the common Russian word for fire, similar to the Latin ignis.
[374] Afanasief, vii. No. 12.
CHAPTER V.
GHOST STORIES.
The Russian peasants have very confused ideas about the local habitation of the disembodied spirit, after its former tenement has been laid in the grave. They seem, from the language of their funeral songs, sometimes to regard the departed spirit as residing in the coffin which holds the body from which it has been severed, sometimes to imagine that it hovers around the building which used to be its home, or flies abroad on the wings of the winds. In the food and money and other necessaries of existence still placed in the coffin with the corpse, may be seen traces of an old belief in a journey which the soul was forced to undertake after the death of the body; in the pomniki or feasts in memory of the dead, celebrated at certain short intervals after a death, and also on its anniversary, may be clearly recognized the remains of a faith in the continued residence of the dead in the spot where they had been buried, and in their subjection to some physical sufferings, their capacity for certain animal enjoyments. The two beliefs run side by side with each other, sometimes clashing and producing strange results—all the more strange when they show signs of an attempt having been made to reconcile them with Christian ideas.[379]
Russian peasants have very confused ideas about where the spirit goes after the body has been buried. From their funeral songs, it seems they sometimes think the spirit stays in the coffin that holds the body, other times they imagine it hovers around its former home or flies away on the wind. The food, money, and other essentials left in the coffin with the corpse show traces of an old belief in a journey the soul has to take after the body dies. In the pomniki or feasts held in memory of the dead at certain intervals after death and on anniversaries, we can see remnants of a belief in the dead’s ongoing presence at their burial site and their experience of some physical suffering and ability to enjoy certain pleasures. These two beliefs coexist, sometimes clashing and leading to strange outcomes, especially when attempts are made to fit them into Christian ideas.[379]
[Pg 296] Of a heavenly or upper-world home of departed spirits, neither the songs nor the stories of the people, so far as I am aware, make mention. But that there is a country beyond the sky, inhabited by supernatural beings of magic power and unbounded wealth, is stated in a number of tales of the well-known “Jack and the Beanstalk” type. Of these the following may be taken as a specimen.
[Pg 296] Neither the songs nor the stories of the people, as far as I know, mention a heavenly or upper-world home for spirits who have passed on. However, many tales, especially those like “Jack and the Beanstalk,” describe a land beyond the sky, populated by supernatural beings with magical abilities and endless riches. The following can serve as an example of these stories.
The Fox Doctor.[380]
There once was an old couple. The old man planted a cabbage-head in the cellar under the floor of his cottage; the old woman planted one in the ash-hole. The old woman’s cabbage, in the ash-hole, withered away entirely; but the old man’s grew and grew, grew up to the floor. The old man took his hatchet and cut a hole in the floor above the cabbage. The cabbage went on growing again; grew, grew right up to the ceiling. Again the old man took his hatchet and cut a hole in the ceiling above the cabbage. The cabbage grew and grew, grew right up to the sky. How was the old man to get a look at the head of the cabbage? He began climbing up the cabbage-stalk, climbed and climbed, climbed and climbed, climbed right up to the sky, cut a hole in the sky, and crept through. There he sees a mill[381] standing. The mill gives a turn—out come a pie and a cake with a pot of stewed grain on top.
There once was an old couple. The old man planted a cabbage in the cellar under the floor of his cottage; the old woman planted one in the ash-hole. The old woman’s cabbage in the ash-hole completely withered away; but the old man’s grew and grew, reaching up to the floor. The old man took his hatchet and cut a hole in the floor above the cabbage. The cabbage kept growing, reaching right up to the ceiling. Again the old man took his hatchet and cut a hole in the ceiling above the cabbage. The cabbage grew and grew, reaching right up to the sky. How was the old man going to see the head of the cabbage? He started climbing up the cabbage-stalk, climbed and climbed, climbed and climbed, all the way up to the sky, cut a hole in the sky, and crawled through. There he saw a mill[381] standing. The mill turned, and out came a pie and a cake with a pot of stewed grain on top.
The old man ate his fill, drank his fill, and then lay down to sleep. When he had slept enough he slid down to earth again, and cried:
The old man ate until he was satisfied, drank until he was full, and then lay down to sleep. After he had slept enough, he slid back down to the ground and shouted:
“Old woman! why, old woman! how one does live up in heaven! There’s a mill there—every time it turns, out come a pie and a cake, with a pot of kasha on top!”
“Old woman! Hey, old woman! Life must be great up in heaven! There’s a mill there—every time it turns, a pie and a cake come out, topped with a pot of kasha!”
“How can I get there, old man?”
“How do I get there, old man?”
“Slip into this sack, old woman. I’ll carry you up.”
“Put this bag on, old woman. I'll take you up.”
The old woman thought a bit, and then got into the sack. The old man took the sack in his teeth, and began climbing up [Pg 297] to heaven. He climbed and climbed, long did he climb. The old woman got tired of waiting and asked:
The old woman thought for a moment and then climbed into the sack. The old man grabbed the sack with his teeth and started climbing up [Pg 297] toward heaven. He kept climbing for a long time. The old woman grew tired of waiting and asked:
“Is it much farther, old man?”
“Is it much further, old man?”
“We’ve half the way to go still.”
"We still have half the way to go."
Again he climbed and climbed, climbed and climbed. A second time the old woman asked:
Again he climbed and climbed, climbed and climbed. A second time the old woman asked:
“Is it much farther, old man?”
“Is it much farther, old man?”
The old man was just beginning to say: “Not much farther—” when the sack slipped from between his teeth, and the old woman fell to the ground and was smashed all to pieces. The old man slid down the cabbage-stalk and picked up the sack. But it had nothing in it but bones, and those broken very small. The old man went out of his house and wept bitterly.
The old man had just started to say, “Not much farther—” when the sack slipped from his teeth, and the old woman fell to the ground, shattering into pieces. The old man slid down the cabbage-stalk and grabbed the sack. But it only contained bones, all smashed into tiny fragments. The old man stepped outside his house and cried uncontrollably.
Presently a fox met him.
Right now, a fox met him.
“What are you crying about, old man?”
“What are you crying about, old man?”
“How can I help crying? My old woman is smashed to pieces.”
“How can I stop crying? My partner is totally crushed.”
“Hold your noise! I’ll cure her.”
“Be quiet! I’ll take care of her.”
The old man fell at the fox’s feet.
The old man fell at the fox's feet.
“Only cure her! I’ll pay whatever is wanted.”
“Just heal her! I’ll pay whatever it takes.”
“Well, then, heat the bath-room, carry the old woman there along with a bag of oatmeal and a pot of butter, and then stand outside the door; but don’t look inside.”
“Well, then, warm up the bathroom, bring the old woman in there with a bag of oatmeal and a pot of butter, and then wait outside the door; but don’t peek inside.”
The old man heated the bath-room, carried in what was wanted, and stood outside at the door. But the fox went into the bath-room, shut the door, and began washing the old woman’s remains; washed and washed, and kept looking about her all the time.
The old man warmed up the bathroom, brought in what was needed, and stood outside the door. But the fox went into the bathroom, closed the door, and started washing the old woman's remains; she kept washing and glanced around the whole time.
“How’s my old woman getting on?” asked the old man.
“How’s my wife doing?” asked the old man.
“Beginning to stir!” replied the fox, who then ate up the old woman, collected her bones and piled them up in a corner, and set to work to knead a hasty pudding.
“Starting to wake up!” replied the fox, who then devoured the old woman, gathered her bones, and stacked them up in a corner, and began to make a quick pudding.
The old man waited and waited. Presently he asked;
The old man waited and waited. Finally, he asked;
“How’s my old woman getting on?”
"How’s my wife?"
“Resting a bit!” cried the fox, as she gobbled up the hasty pudding.
“Taking a break!” shouted the fox, as she devoured the quick pudding.
“Old man! open the door wide.”
“Hey old man! Open the door wide.”
He opened it, and the fox sprang out of the bath-room and ran off home. The old man went into the bath-room and looked about him. Nothing was to be seen but the old woman’s bones under the bench—and those picked so clean! As for the oatmeal and the butter, they had all been eaten up. So the old man was left alone and in poverty.
He opened it, and the fox jumped out of the bathroom and ran home. The old man went into the bathroom and looked around. All he saw were the old woman’s bones under the bench—and they were picked so clean! As for the oatmeal and the butter, they had all been eaten. So the old man was left alone and in poverty.
This story is evidently a combination of two widely differing tales. The catastrophe we may for the present pass over, but about the opening some few words may be said. The Beanstalk myth is one which is found among so many peoples in such widely distant regions, and it deals with ideas of such importance, that no contribution to its history can be considered valueless. Most remarkable among its numerous forms are those American and Malayo-Polynesian versions of the “heaven-tree” story which Mr. Tylor has brought together in his “Early History of mankind.”[382] In Europe it is usually found in a very crude and fragmentary form, having been preserved, for the most part, as the introduction to some other story which has proved more attractive to the popular fancy. The Russian versions are all, as far as I am aware, of this nature. I have already[383] mentioned one of them, in which, also, the Fox plays a prominent part. Its opening words are, “There once lived an old man and an old woman, and they had a little daughter. One day she was eating beans, and she let one fall on the ground. The bean grew and grew, and grew right up to heaven. The old man climbed up to heaven, slipped in there, walked and walked, admired [Pg 299] and admired, and said to himself, ‘I’ll go and fetch the old woman; won’t she just be delighted!’” So he tries to carry his wife up the bean stalk, but grows faint and lets her fall; she is killed, and he calls in the Fox as Wailer.[384]
This story clearly combines two very different tales. We can skip over the disaster for now, but some words can be said about the beginning. The Beanstalk myth is found among many cultures in widely separated areas, and it addresses ideas of great importance, so no contribution to its history can be considered without value. Most notable among its various forms are the American and Malayo-Polynesian versions of the "heaven-tree" story that Mr. Tylor has compiled in his "Early History of Mankind." In Europe, it usually appears in a very rough and fragmented form, having mostly been preserved as the introduction to some other story that has captured people's interest more. As far as I know, all the Russian versions are of this kind. I’ve already mentioned one of them, where the Fox plays a significant role. Its opening lines are, "There once lived an old man and an old woman, and they had a little daughter. One day she was eating beans, and she dropped one on the ground. The bean grew and grew, all the way up to heaven. The old man climbed up to heaven, slipped inside, walked around, admired everything, and said to himself, 'I’ll go and get the old woman; she’ll be so delighted!'" So he tries to carry his wife up the beanstalk, but he gets weak and lets her fall; she is killed, and he calls in the Fox to mourn.
In a variant of the “Fox Physician” from the Vologda Government, it is a pea which gives birth to the wondrous tree. “There lived an old man and an old woman; the old man was rolling a pea about, and it fell on the ground. They searched and searched a whole week, but they couldn’t find it. The week passed by, and the old people saw that the pea had begun to sprout. They watered it regularly, and the pea set to work and grew higher than the izba. When the peas ripened, the old man climbed up to where they were, plucked a great bundle of them, and began sliding down the stalk again. But the bundle fell out of the old man’s hands and killed the old woman.”[385]
In a version of the “Fox Physician” from the Vologda region, a pea gives birth to a magical tree. “An old man and an old woman lived together; the old man was rolling a pea around, and it fell to the ground. They looked everywhere for it for a whole week, but they couldn’t find it. After a week, the old couple noticed that the pea had started to sprout. They watered it consistently, and the pea grew taller than the house. When the peas were ripe, the old man climbed up to pick a big bundle of them and started to slide down the stalk. But the bundle slipped from his hands and fell on the old woman, killing her.”[385]
According to another variant, “There once lived a grandfather and a grandmother, and they had a hut. The grandfather sowed a bean under the table, and the grandmother a pea. A hen gobbled up the pea, but the bean grew up as high as the table. They moved the table, and the bean grew still higher. They cut away the ceiling and the roof; it went on growing until it grew right up to the heavens (nebo). The grandfather climbed up to heaven, climbed and climbed—there stood a hut (khatka), its walls of pancakes, its benches of white bread, the stove of buttered curds. He began to eat, ate his fill, and lay down above the stove to sleep. In came twelve sister-goats. The first had one eye, the second two eyes, the third three, and so on with the rest, the last having twelve eyes. They saw that some one had been meddling with their hut, so [Pg 300] they put it to rights, and when they went out they left the one-eyed to keep watch. Next day the grandfather again climbed up there, saw One-Eye and began to mutter[386] ‘Sleep, eye, sleep!’ The goat went to sleep. The man ate his fill and went away. Next day the two-eyed kept watch, and after it the three-eyed and so on. The grandfather always muttered his charm ‘Sleep, eye! Sleep, second eye! Sleep, third eye!’ and so on. But with the twelfth goat he failed, for he charmed only eleven of her eyes. The goat saw him with the twelfth and caught him,”—and there the story ends.[387]
According to another version, “There once lived a grandfather and a grandmother, and they had a hut. The grandfather planted a bean under the table, and the grandmother planted a pea. A hen ate the pea, but the bean grew as tall as the table. They moved the table, and the bean grew even taller. They removed the ceiling and the roof; it continued to grow until it reached the heavens (nebo). The grandfather climbed up to heaven, kept climbing—there stood a hut (khatka), with walls made of pancakes, benches of white bread, and a stove of buttered curds. He started eating, feasted until he was full, and lay down above the stove to sleep. In came twelve sister-goats. The first had one eye, the second two eyes, the third three, and so on, with the last having twelve eyes. They noticed that someone had been inside their hut, so they tidied things up and left the one-eyed goat to keep watch. The next day the grandfather climbed up again, saw One-Eye, and began to mutter ‘Sleep, eye, sleep!’ The goat fell asleep. The man ate his fill and left. The next day the two-eyed goat kept watch, and after that the three-eyed, and so forth. The grandfather always muttered his charm ‘Sleep, eye! Sleep, second eye! Sleep, third eye!’ and so on. But with the twelfth goat, he messed up, as he only charmed eleven of her eyes. The goat caught him with the twelfth eye,”—and there the story ends.[387]
In another instance the myth has been turned into one of those tales of the Munchausen class, the title of which is the “saw” Ne lyubo, ne slushai, i.e., “If you don’t like, don’t listen”—the final words being understood; “but let me tell you a story.” A cock finds a pea in the part of a cottage under the floor, and begins calling to the hens; the cottager hears the call, drives away the cock, and pours water over the pea. It grows up to the floor, up to the ceiling, up to the roof; each time way is made for it, and finally it grows right up to heaven (do nebushka). Says the moujik to his wife:
In another case, the myth has been turned into one of those stories from the Munchausen category, titled “saw” Ne lyubo, ne slushai, i.e., “If you don’t like it, don’t listen”—with the last part understood as, “but let me tell you a story.” A rooster finds a pea under the floor in a cottage and starts calling to the hens. The farmer hears the call, chases the rooster away, and pours water on the pea. It grows up to the floor, to the ceiling, and to the roof; each time a path is made for it, and eventually, it grows all the way up to heaven (do nebushka). The peasant says to his wife:
“Wife! wife, I say! shall I climb up into heaven and see what’s going on there? May be there’s sugar there, and mead—lots of everything!”
"Wife! Wife, I’m asking you! Should I climb up to heaven and see what’s happening up there? Maybe there’s sugar and mead—plenty of everything!"
“Climb away, if you’ve a mind to,” replies his wife.
“Go ahead and climb, if that's what you want,” his wife responds.
So he climbs up, and there he finds a large wooden house. He enters in and sees a stove, garnished with sucking pigs and geese and pies “and everything which the soul could desire.” But the stove is guarded by a seven-eyed [Pg 301] goat; the moujik charms six of the eyes to sleep, but overlooks the seventh. With it the goat sees him eat and drink and then go to sleep. The house-master comes in, is informed by the goat of all that has occurred, flies into a passion, calls his servants, and has the intruder turned out of the house. When the moujik comes to the place where the pea-stalk had been, “he looks around—no pea-stalk is there.” He collects the cobwebs “which float on the summer air,” and of them he makes a cord; this he fastens “to the edge of heaven” and begins to descend. Long before he reaches the earth he comes to the end of his cord, so he crosses himself, and lets go. Falling into a swamp, he remains there some time. At last a duck builds her nest on his head, and lays an egg in it. He catches hold of the duck’s tail, and the bird pulls him out of the swamp; whereupon he goes home rejoicing, taking with him the duck and her egg, and tells his wife all that has happened.[388]
So he climbs up and finds a big wooden house. He goes inside and sees a stove loaded with roast pigs, geese, and pies "and everything that anyone could want." But the stove is guarded by a seven-eyed goat; the peasant puts six of the eyes to sleep, but misses the seventh. With that eye, the goat sees him eat and drink, then go to sleep. The house owner comes in, the goat tells him everything that happened, and he gets really angry, calls his servants, and throws the intruder out of the house. When the peasant gets to where the pea-stalk was, "he looks around—there's no pea-stalk." He gathers the cobwebs "that float in the summer air" and makes a rope out of them; he ties it "to the edge of heaven" and starts to climb down. Long before he reaches the ground, he runs out of rope, so he crosses himself and lets go. He falls into a swamp and stays there for a while. Finally, a duck builds her nest on his head and lays an egg in it. He grabs the duck's tail, and the bird pulls him out of the swamp; then he goes home happy, bringing the duck and her egg with him, and tells his wife everything that happened.[388]
In another variant it is an acorn which is sown under the floor. From it springs an oak which grows to the skies. The old man of the story climbs up it in search of acorns, and reaches heaven. There he finds a hand-mill and a cock with a golden comb, both of which he carries off. The mill grinds pies and pancakes, and the old man and his wife live in plenty. But after a time a Barin or Seigneur steals the mill. The old people are in despair, but the golden-combed cock flies after the mill, perches on the Barin’s gates, and cries—
In another version, an acorn is planted beneath the floor. From it, an oak tree grows tall into the sky. The old man in the story climbs it in search of acorns and reaches heaven. There, he finds a hand mill and a rooster with a golden comb, both of which he takes with him. The mill grinds out pies and pancakes, allowing the old man and his wife to live comfortably. However, after a while, a nobleman steals the mill. The elderly couple is heartbroken, but the golden-combed rooster flies after the mill, lands on the nobleman's gates, and crows—
“Kukureku! Boyarin, Boyarin! Give us back our golden, sky-blue mill!”
“Kukureku! Boyarin, Boyarin! Give us back our golden, sky-blue mill!”
The cock is flung into the well, but it drinks all the [Pg 302] water, flies up to the Barin’s house, and there reiterates its demand. Then it is thrown into the fire, but it extinguishes the flames, flies right into the Barin’s guest-chamber, and crows as before. The guests disperse, the Barin runs after them, and the golden-combed cock seizes the mill and flies away with it.[389]
The rooster is thrown into the well, but it drinks all the water, flies up to the Barin’s house, and repeats its demand. Then it is thrown into the fire, but it puts out the flames, flies straight into the Barin’s guest room, and crows like before. The guests scatter, the Barin chases after them, and the golden-combed rooster grabs the mill and flies off with it.[389]
In a variant from the Smolensk Government, it is the wife who climbs up the pea-stalk, while the husband remains down below. When she reaches the top, she finds an izbushka or cottage there, its walls made of pies, its tables of cheese, its stove of pancakes, and so forth. After she has feasted and gone to sleep in a corner, in come three goats, of which the first has two eyes and two ears, the second has three of each of these organs, and the third has four. The old woman sends to sleep the ears and the eyes of the first and the second goat; but when the third watches it retains the use of its fourth eye and fourth ear, in spite of the incantations uttered by the intruder, and so finds her out. On being questioned, she explains that she has come “from the earthly realm into the heavenly,” and promises not to repeat her visit if she is dismissed in peace. So the goats let her go, and give her a bag of nuts, apples, and other good things to take with her. She slides down the pea-stalk and tells her husband all that has happened. He persuades her to undertake a second ascent together with him, so off they set in company, their young granddaughter climbing after them. Suddenly the pea-stalk breaks, they fall headlong and are never heard of again. “Since that time,” says the story, “no one has ever set foot in that heavenly izbushka—so no one knows anything more about it.”[390]
In a twist from the Smolensk region, it's the wife who climbs the pea-stalk while the husband stays below. When she reaches the top, she discovers a cottage, its walls made of pies, tables of cheese, a stove of pancakes, and so on. After enjoying a feast, she takes a nap in a corner, and in come three goats. The first has two eyes and two ears, the second has three of each, and the third has four. The old woman puts the first two goats to sleep, but the third, which keeps its fourth eye and fourth ear awake despite her spells, catches her. When asked, she explains that she has come “from the earthly realm into the heavenly” and promises not to return if she’s sent away peacefully. The goats let her go and give her a bag of nuts, apples, and other treats to take back. She slides down the pea-stalk and shares everything with her husband. He convinces her to climb up again, this time with him, and their young granddaughter follows. Suddenly, the pea-stalk breaks, they fall, and are never heard from again. “Since that time,” the story goes, “no one has ever set foot in that heavenly cottage—so no one knows anything more about it.”[390]
[Pg 303] Clearer and fuller than these vague and fragmentary sketches of a “heavenly realm,” are the pictures contained in the Russian folk-tales of the underground world. But it is very doubtful how far the stories in which they figure represent ancient Slavonic ideas. In the name, if not in the nature, of the Ad, or subterranean abode of evil spirits and sinful souls, we recognize the influence of the Byzantine Hades; but most of the tales in which it occurs are supposed to draw their original inspiration from Indian sources, while they owe to Christian, Brahmanic, Buddhistic, and Mohammedan influences the form in which they now appear. To these “legends,” as the folk-tales are styled in which the saints or their ghostly enemies occur, belongs the following narrative of—
[Pg 303] Clearer and more complete than these vague and fragmented sketches of a “heavenly realm” are the images found in the Russian folk tales about the underground world. However, it's uncertain how much these stories reflect ancient Slavic beliefs. In the name, if not in the essence, of the Ad, or the underground home of evil spirits and sinful souls, we can see the influence of Byzantine Hades; yet most of the tales that feature it are thought to be inspired by Indian sources, while they have been shaped by Christian, Brahmanic, Buddhist, and Muslim influences in the form we see today. The following narrative, which is part of these “legends” where saints or their ghostly adversaries appear, is—
The Violinist in Hell.[391]
There was a certain moujik who had three sons. His life was a prosperous one, and he laid by money enough to fill two pots. The one he buried in his corn-kiln, the other under the gate of his farmyard. Well, the moujik died, and never said a word about the money to any one. One day there was a festival in the village. A fiddler was on his way to the revel when, all of a sudden, he sank into the earth—sank right through and tumbled into hell, lighting exactly there where the rich moujik was being tormented.
There was a certain peasant who had three sons. He lived a comfortable life and saved enough money to fill two pots. He buried one in his corn-kiln and the other under the gate of his farmyard. Well, the peasant died and never mentioned the money to anyone. One day, there was a festival in the village. A fiddler was on his way to the celebration when, all of a sudden, he sank into the ground—went right through and fell into hell, landing exactly where the wealthy peasant was being tormented.
“Hail, friend!” says the Fiddler.
"Hey, friend!" says the Fiddler.
“It’s an ill wind that’s brought you hither!”[392] answers the moujik; “this is hell, and in hell here I sit.”
“It’s a bad situation that’s brought you here!”[392] replies the peasant; “this is hell, and here I am stuck in it.”
“What was it brought you here, uncle?”
“What brought you here, Uncle?”
“It was money! I had much money: I gave none to the poor, two pots of it did I bury underground. See now, they [Pg 304] are going to torment me, to beat me with sticks, to tear me with nails.”
“It was money! I had a lot of money: I didn't give any to the poor, I buried two pots of it underground. Now, look, they are going to torment me, beat me with sticks, and tear me with nails.”
“Whatever shall I do?” cried the Fiddler. “Perhaps they’ll take to torturing me too!”
“Whatever am I going to do?” cried the Fiddler. “Maybe they'll start torturing me too!”
“If you go and sit on the stove behind the chimney-pipe, and don’t eat anything for three years—then you will remain safe.”
“If you go and sit on the stove behind the chimney pipe, and don’t eat anything for three years—then you will stay safe.”
The Fiddler hid behind the stove-pipe. Then came fiends,[393] and they began to beat the rich moujik, reviling him the while, and saying:
The Fiddler hid behind the stove pipe. Then came the fiends,[393] and they started to beat the wealthy peasant, insulting him the whole time and saying:
“There’s for thee, O rich man. Pots of money didst thou bury but thou couldst not hide them. There didst thou bury them that we might not be able to keep watch over them. At the gate people are always riding about, the horses crush our heads with their hoofs, and in the corn-kiln we get beaten with flails.”
“There’s for you, O rich man. You buried pots of money but couldn’t hide them. You buried them so we couldn’t keep an eye on them. At the gate, people are always riding around, the horses stomp our heads with their hooves, and in the grain mill, we get beaten with flails.”
As soon as the fiends had gone away the moujik said to the Fiddler:
As soon as the demons had left, the peasant said to the Fiddler:
“If you get out of here, tell my children to dig up the money—one pot is buried at the gate, and the other in the corn-kiln—and to distribute it among the poor.”
“If you get out of here, tell my kids to dig up the money—one pot is buried at the gate, and the other in the corn-kiln—and to share it with the poor.”
Afterwards there came a whole roomful of evil ones, and they asked the rich moujik:
Afterward, a whole room full of bad people showed up, and they asked the wealthy peasant:
“What have you got here that smells so Russian?”
“What do you have here that smells so Russian?”
“You have been in Russia and brought away a Russian smell with you,” replied the moujik.
“You've been in Russia and taken a bit of the Russian scent with you,” replied the peasant.
“How could that be?” they said. Then they began looking, they found the Fiddler, and they shouted:
“How could that be?” they asked. Then they started looking, they found the Fiddler, and they shouted:
“Ha, ha, ha! Here’s a Fiddler.”
“Ha, ha, ha! Here’s a fiddler.”
They pulled him off the stove, and set him to work fiddling. He played three years, though it seemed to him only three days. Then he got tired and said:
They pulled him away from the stove and had him start fiddling. He played for three years, although it felt to him like only three days. Then he got tired and said:
No sooner had he uttered these words than every one of the strings snapped.
No sooner had he said this than all the strings broke.
“There now, brothers!” says the Fiddler, “you can see for yourselves. The strings are snapped; I’ve nothing to play on!”
“There now, brothers!” says the Fiddler, “you can see for yourselves. The strings are broken; I’ve got nothing to play on!”
“Wait a bit!” said one of the fiends. “I’ve got two hanks of catgut; I’ll fetch them for you.”
“Hold on a second!” said one of the demons. “I’ve got two lengths of catgut; I’ll go get them for you.”
He ran off and fetched them. The Fiddler took the strings, screwed them up, and again uttered the words:
He ran off and got them. The Fiddler took the strings, tightened them, and said the words again:
“May the Lord grant us his blessing!”
“God bless us!”
In a moment snap went both hanks.
In a moment, both hanks snapped.
“No, brothers!” said the Fiddler, “your strings don’t suit me. I’ve got some of my own at home; by your leave I’ll go for them.”
“No, brothers!” said the Fiddler, “your strings don’t work for me. I have some of my own at home; if you don’t mind, I’ll go get them.”
The fiends wouldn’t let him go. “You wouldn’t come back,” they say.
The villains wouldn’t let him leave. “You wouldn’t return,” they say.
“Well, if you won’t trust me, send some one with me as an escort.”
“Well, if you won’t trust me, send someone with me as an escort.”
The fiends chose one of their number, and sent him with the Fiddler. The Fiddler got back to the village. There he could hear that, in the farthest cottage, a wedding was being celebrated.
The demons picked one of their group and sent him with the Fiddler. The Fiddler returned to the village. There he could hear that, in the distant cottage, a wedding was being celebrated.
“Let’s go to the wedding!” he cried.
“Let’s go to the wedding!” he shouted.
“Come along!” said the fiend.
“Come on!” said the fiend.
They entered the cottage. Everyone there recognized the Fiddler and cried:
They entered the cottage. Everyone there recognized the Fiddler and shouted:
“Where have you been hiding these three years?”
“Where have you been hiding for the last three years?”
“I have been in the other world!” he replied.
“I've been to the other world!” he answered.
They sat there and enjoyed themselves for some time. Then the fiend beckoned to the Fiddler, saying, “It’s time to be off!” But the Fiddler replied: “Wait a little longer! Let [Pg 306] me fiddle away a bit and cheer up the young people.” And so they remained sitting there till the cocks began to crow. Then the fiend disappeared.
They sat there and had a good time for a while. Then the fiend signaled to the Fiddler, saying, “It’s time to go!” But the Fiddler replied, “Hold on a little longer! Let me play my fiddle for a bit and lift the spirits of the young people.” So they stayed there until the roosters started to crow. Then the fiend vanished.
After that, the Fiddler began to talk to the sons of the rich moujik, and said:
After that, the Fiddler started talking to the sons of the wealthy peasant and said:
“Your father bids you dig up the money—one potful is buried at the gate and the other in the corn-kiln—and distribute the whole of it among the poor.”
“Your father asks you to dig up the money—one pot is buried at the gate and the other in the corn-kiln—and share all of it with the poor.”
Well, they dug up both the pots, and began to distribute the money among the poor. But the more they gave away the money, the more did it increase. Then they carried out the pots to a crossway. Every one who passed by took out of them as much money as his hand could grasp, and yet the money wouldn’t come to an end. Then they presented a petition to the Emperor, and he ordained as follows. There was a certain town, the road to which was a very roundabout one. It was some fifty versts long, whereas if it had been made in a straight line it would not have been more than five. And so the Emperor ordained that a bridge should be made the whole way. Well, they built a bridge five versts long, and this piece of work cleared out both the pots.
They dug up both pots and started sharing the money with the poor. But the more they gave away, the more the money seemed to multiply. They then took the pots to a busy intersection. Everyone who passed by grabbed as much money as they could hold, yet the money never ran out. Then they submitted a petition to the Emperor, and he ordered the following: there was a town that was very difficult to reach. The road to it was about fifty versts long, while a straight path would have been only five. So, the Emperor decided that a bridge should be built to cover the entire distance. They constructed a bridge five versts long, and this project emptied both pots.
About that time a certain maid bore a son and deserted him in his infancy. The child neither ate nor drank for three years and an angel of God always went about with him. Well, this child came to the bridge, and cried:
About that time, a maid had a son and abandoned him when he was a baby. The child didn’t eat or drink for three years, and an angel of God was always with him. Eventually, this child reached the bridge and shouted:
“Ah! what a glorious bridge! God grant the kingdom of heaven to him at whose cost it was built!”
“Ah! What a beautiful bridge! May God grant the kingdom of heaven to the person who funded its construction!”
With the bridge-building episode in this “legend” may be compared the opening of another Russian story. In it a merchant is described as having much money but no [Pg 307] children. So he and his wife “began to pray to God, entreating him to give them a child—for solace in their youth, for support in their old age, for soul-remembrance[396] after death. And they took to feeding the poor and distributing alms. Besides all this, they resolved to build, for the use of all the faithful, a long bridge across swamps and where no man could find a footing. Much wealth did the merchant expend, but he built the bridge, and when the work was completed he sent his manager Fedor, saying—
With the bridge-building episode in this “legend” can be compared to the beginning of another Russian story. In it, a merchant is portrayed as being wealthy but childless. So he and his wife “started praying to God, asking Him to grant them a child—for comfort in their youth, for support in their old age, for soul-remembrance after death. They began feeding the poor and giving to charity. On top of all this, they decided to build a long bridge across the swamps and areas where no one could find solid ground, for the benefit of all the faithful. The merchant spent a lot of money, but he built the bridge, and when the work was finished, he sent his manager Fedor, saying—
“‘Go and sit under the bridge, and listen to what folks say about me—whether they bless me or revile me.’
“‘Go sit under the bridge and listen to what people say about me—whether they praise me or criticize me.’”
“Fedor set off, sat under the bridge, and listened. Presently three Holy Elders went over the bridge, and said one to another—
“Fedor set off, sat under the bridge, and listened. Soon three Holy Elders crossed the bridge and spoke to one another—
“‘How ought the man who built this bridge to be rewarded?’ ‘Let there be born to him a fortunate son. Whatsoever that son says—it shall be done: whatsoever he desires—that will the Lord bestow!’”[397]
“‘How should the man who built this bridge be rewarded?’ ‘May a lucky son be born to him. Whatever that son says—it will be done: whatever he wants—that the Lord will grant!’”[397]
But I will not dwell any longer on the story of the Fiddler, as I propose to give some account in the next chapter of several other tales of the same class, in most of which such descriptions of evil spirits are introduced as have manifestly been altered into what their narrators considered to be in accordance with Christian teaching. And so I will revert to those ideas about the dead, and about [Pg 308] their abiding-place, which the modern Slavonians seem to have inherited from their heathen ancestors, and I will attempt to illustrate them by a few Russian ghost-stories. Those stories are, as a general rule, of a most ghastly nature, but there are a few into the composition of which the savage element does not enter. The “Dead Mother,” which has already been quoted,[400] belongs to the latter class; and so does the following tale—which, as it bears no title in the original, we may name,
But I won’t spend any more time on the story of the Fiddler, as I plan to share some details in the next chapter about several other tales of a similar nature, most of which include descriptions of evil spirits that have clearly been changed to align with what their tellers believed to be Christian teachings. So, I will return to those ideas about the dead and their resting place, which modern Slavonians seem to have inherited from their pagan ancestors, and I will try to illustrate them with a few Russian ghost stories. Generally speaking, these stories are quite horrifying, but there are a few that don’t include the savage element. The “Dead Mother,” which has already been mentioned,[400] falls into the latter category; and so does the following tale—which, as it has no title in the original, we can call,
The Ride on the Headstone.[401]
Late one evening a certain artisan happened to be returning home from a jovial feast in a distant village. There met him on the way an old friend, one who had been dead some ten years.
Late one evening, an artisan was on his way home from a cheerful feast in a faraway village. On the way, he ran into an old friend who had been dead for about ten years.
“Good health to you!” said the dead man.
“Good health to you!” said the deceased man.
“I wish you good health!” replied the reveller, and straight way forgot that his acquaintance had ever so long ago bidden the world farewell.
“I wish you good health!” replied the partygoer, and immediately forgot that his friend had long ago said goodbye to the world.
“Let’s go to my house. We’ll quaff a cup or two once more.”
“Let’s go to my place. We’ll drink a cup or two one more time.”
“Come along. On such a happy occasion as this meeting of ours, we may as well have a drink.”
"Come on. On a happy occasion like our meeting, we might as well have a drink."
They arrived at a dwelling and there they drank and revelled.
They arrived at a house, and there they drank and celebrated.
“Now then, good-bye! It’s time for me to go home,” said the artisan.
“Alright, goodbye! It’s time for me to head home,” said the artisan.
“Stay a bit. Where do you want to go now? Spend the night here with me.”
“Stay a little longer. Where do you want to go now? Spend the night here with me.”
“No, brother! don’t ask me; it cannot be. I’ve business to do to-morrow, so I must get home as early as possible.”
“No, brother! Don’t ask me; it’s not possible. I have things to take care of tomorrow, so I need to get home as early as I can.”
“Well, good-bye! but why should you walk? Better get on my horse; it will carry you home quickly.”
“Well, goodbye! But why walk? Just hop on my horse; it'll get you home fast.”
“Thanks! let’s have it.”
"Thanks! Let's do it."
He got on its back, and was carried off—just as a whirlwind [Pg 309] flies! All of a sudden a cock crew. It was awful! All around were graves, and the rider found he had a gravestone under him!
He climbed onto its back and was swept away—just like a whirlwind [Pg 309] takes off! Suddenly, a rooster crowed. It was terrifying! Everywhere he looked, there were graves, and he realized he was sitting on a gravestone!
Of a somewhat similar nature is the story of—
Of a somewhat similar nature is the story of—
The Two Friends.[402]
In the days of old there lived in a certain village two young men. They were great friends, went to besyedas[403] together, in fact, regarded each other as brothers. And they made this mutual agreement. Whichever of the two should marry first was to invite his comrade to his wedding. And it was not to make any difference whether he was alive or dead.
In the old days, there were two young men living in a village. They were best friends, went to besyedas[403] together, and considered each other like brothers. They made a pact: whoever got married first would invite the other to the wedding, regardless of whether he was alive or dead.
About a year after this one of the young men fell ill and died. A few months later his comrade took it into his head to get married. So he collected all his kinsmen, and set off to fetch his bride. Now it happened that they drove past the graveyard, and the bridegroom recalled his friend to mind, and remembered his old agreement. So he had the horses stopped, saying:
About a year later, one of the young men got sick and died. A few months after that, his friend decided he wanted to get married. He gathered all his relatives and set off to pick up his bride. As they drove past the graveyard, the groom thought of his friend and remembered their old agreement. So he had the horses stop, saying:
“I’m going to my comrade’s grave. I shall ask him to come and enjoy himself at my wedding. A right trusty friend was he to me.”
“I’m going to my friend’s grave. I’m going to ask him to come and celebrate my wedding with me. He was a really loyal friend to me.”
So he went to the grave and began to call aloud:
So he went to the grave and started calling out loudly:
“Comrade dear! I invite thee to my wedding.”
“Dear friend! I invite you to my wedding.”
Suddenly the grave yawned, the dead man arose, and said:
Suddenly, the grave opened up, the dead man stood up, and said:
“Thanks be to thee, brother, that thou hast fulfilled thy promise. And now, that we may profit by this happy chance, enter my abode. Let us quaff a glass apiece of grateful drink.”
“Thanks for keeping your promise, brother. Now, let's make the most of this lucky moment and come inside my place. Let's each have a glass of something to drink in gratitude.”
“I’d have gone, only the marriage procession is stopping outside; all the folks are waiting for me.”
“I would have gone, but the wedding parade is stopping outside; everyone is waiting for me.”
“Eh, brother!” replied the dead man, “surely it won’t take long to toss off a glass!”
“Hey, brother!” replied the dead man, “it won't take long to down a drink!”
The bridegroom jumped into the grave. The dead man poured him out a cup of liquor. He drank it off—and a hundred years passed away.
The groom leaped into the grave. The deceased poured him a glass of liquor. He drank it down—and a hundred years went by.
[Pg 310] “Quaff another cup, dear friend!” said the dead man.
[Pg 310] “Drink another cup, my friend!” said the dead man.
He drank a second cup—two hundred years passed away.
He drank a second cup—two hundred years went by.
“Now, comrade dear, quaff a third cup!” said the dead man, “and then go, in God’s name, and celebrate thy marriage!”
“Now, dear friend, drink a third cup!” said the dead man, “and then go, for God's sake, and celebrate your marriage!”
He drank the third cup—three hundred years passed away.
He drank the third cup—three hundred years went by.
The dead man took leave of his comrade. The coffin lid fell; the grave closed.
The dead man said goodbye to his friend. The coffin lid shut; the grave was sealed.
The bridegroom looked around. Where the graveyard had been, was now a piece of waste ground. No road was to be seen, no kinsmen, no horses. All around grew nettles and tall grass.
The groom looked around. Where the graveyard used to be, there was now a patch of wasteland. No road was visible, no relatives, no horses. All around grew nettles and tall grass.
He ran to the village—but the village was not what it used to be. The houses were different; the people were all strangers to him. He went to the priest’s—but the priest was not the one who used to be there—and told him about everything that had happened. The priest searched through the church-books, and found that, three hundred years before, this occurrence had taken place: a bridegroom had gone to the graveyard on his wedding-day, and had disappeared. And his bride, after some time had passed by, had married another man.
He ran to the village—but the village wasn’t the same as it used to be. The houses were different; the people were all strangers to him. He went to the priest’s place—but the priest wasn’t the same one who used to be there—and told him everything that had happened. The priest searched through the church records and found that, three hundred years ago, a similar event had happened: a groom had gone to the graveyard on his wedding day and had disappeared. And his bride, after some time had passed, had married another man.
[The “Rip van Winkle” story is too well known to require more than a passing allusion. It was doubtless founded on one of the numerous folk-tales which correspond to the Christian legend of “The Seven Sleepers of Ephesus”—itself an echo of an older tale (see Baring Gould, “Curious Myths,” 1872, pp. 93-112, and Cox, “Mythology of the Aryan Nations,” i. 413)—and to that of the monk who listens to a bird singing in the convent garden, and remains entranced for the space of many years: of which latter legend a Russian version occurs in Chudinsky’s collection (No. 17, pp. 92-4). Very close indeed is the resemblance between the Russian story of “The Two Friends,” and the Norse “Friends in Life and Death” (Asbjörnsen’s New Series, No. 62, pp. 5-7). In the latter the bridegroom knocks hard and long on his dead friend’s grave. At length its occupant appears, and accounts for his delay by saying he had been far away when the first knocks came, and so had not heard them. Then he follows the bridegroom to church and from church, and afterwards the bridegroom sees him back to his tomb. On the way the living man expresses a desire to see something of the world beyond the grave, and the corpse fulfils his wish, having first placed on his head a sod cut in the graveyard. After witnessing many strange sights, the bridegroom is told to sit down and wait till his guide returns. When he rises to his feet, he is all overgrown with mosses and shrub (var han [Pg 311] overvoxen med Mose og Busker), and when he reaches the outer world he finds all things changed.]
[The “Rip van Winkle” story is so well-known that it hardly needs more than a brief mention. It was likely based on one of the many folk tales that relate to the Christian legend of “The Seven Sleepers of Ephesus”—which itself echoes an even older story (see Baring Gould, “Curious Myths,” 1872, pp. 93-112, and Cox, “Mythology of the Aryan Nations,” i. 413)—as well as that of the monk who listens to a bird singing in the convent garden and becomes entranced for many years. A Russian version of this latter tale can be found in Chudinsky’s collection (No. 17, pp. 92-4). There is indeed a striking resemblance between the Russian story of “The Two Friends” and the Norse tale “Friends in Life and Death” (Asbjörnsen’s New Series, No. 62, pp. 5-7). In the latter, the bridegroom knocks hard and long on his dead friend’s grave. Eventually, the dead friend appears and explains his delay by saying he was far away when the first knocks came, so he didn’t hear them. He then follows the bridegroom to church and back, and afterwards, the bridegroom sees him back to his tomb. On the way, the living man expresses a desire to see something of the world beyond the grave, and the corpse grants his wish, first placing a sod cut from the graveyard on his head. After witnessing many strange sights, the bridegroom is told to sit and wait until his guide returns. When he stands up, he is covered in moss and shrubs (var han [Pg 311] overvoxen med Mose og Busker), and when he emerges back into the world, he finds everything has changed.]
But from these dim sketches of a life beyond, or rather within the grave, in which memories of old days and old friendships are preserved by ghosts of an almost genial and entirely harmless disposition, we will now turn to those more elaborate pictures in which the dead are represented under an altogether terrific aspect. It is not as an incorporeal being that the visitor from the other world is represented in the Skazkas. He comes not as a mere phantom, intangible, impalpable, incapable of physical exertion, haunting the dwelling which once was his home, or the spot to which he is drawn by the memory of some unexpiated crime. It is as a vitalized corpse that he comes to trouble mankind, often subject to human appetites, constantly endowed with more than human strength and malignity. His apparel is generally that of the grave, and he cannot endure to part with it, as may be seen from the following story—
But from these vague portrayals of a life beyond, or rather within the grave, where memories of old days and friendships are kept alive by ghosts that are almost friendly and completely harmless, we will now shift to those more detailed images in which the dead are depicted in a truly terrifying way. In the Skazkas, the visitor from the other world isn't portrayed as a disembodied spirit. He doesn’t appear as a mere ghost, intangible, insubstantial, unable to exert physical force, haunting the home he once lived in, or the place he is drawn to by the memory of some unresolved sin. Instead, he arrives as a living corpse that troubles humanity, often driven by human desires, and constantly armed with more than human strength and malice. His clothing is typically that of the grave, and he cannot bear to part with it, as will be illustrated by the following story—
The Shroud of Turin.[404]
In a certain village there was a girl who was lazy and slothful, hated working but would gossip and chatter away like anything. Well, she took it into her head to invite the other girls to a spinning party. For in the villages, as every one knows, it is the lazybones who gives the spinning-feast, and the sweet-toothed are those who go to it.
In a certain village, there was a girl who was lazy and unmotivated, disliked working but would gossip and chat endlessly. One day, she decided to invite the other girls to a spinning party. As everyone knows, in villages, it’s the lazy ones who throw the spinning feast, and the ones who enjoy sweets are the ones who attend.
Well, on the appointed night she got her spinners together. They span for her, and she fed them and feasted them. Among other things they chatted about was this—which of them all was the boldest?
Well, on the designated night, she gathered her spinners. They spun for her, and she fed and entertained them. Among other things, they talked about this—who among them was the bravest?
Says the lazybones (lezhaka):
Says the slacker:
“I’m not afraid of anything!”
"I'm not scared of anything!"
[Pg 312] “Well then,” say the spinners, “if you’re not afraid, go past the graveyard to the church, take down the holy picture from the door, and bring it here.”
[Pg 312] “Well then,” say the spinners, “if you’re not scared, go past the graveyard to the church, take down the holy picture from the door, and bring it back here.”
“Good, I’ll bring it; only each of you must spin me a distaff-ful.”
“Great, I'll bring it; but each of you has to give me a bundle of flax.”
That was just her sort of notion: to do nothing herself, but to get others to do it for her. Well, she went, took down the picture, and brought it home with her. Her friends all saw that sure enough it was the picture from the church. But the picture had to be taken back again, and it was now the midnight hour. Who was to take it? At length the lazybones said:
That was just her kind of idea: to avoid doing anything herself but to have others do it for her. So, she went, took down the picture, and brought it home. Her friends all recognized that it was indeed the picture from the church. But the picture had to be returned, and it was now midnight. Who was going to take it back? Eventually, the lazy one said:
“You girls go on spinning. I’ll take it back myself. I’m not afraid of anything!”
“You girls keep spinning. I’ll handle it myself. I’m not scared of anything!”
So she went and put the picture back in its place. As she was passing the graveyard on her return, she saw a corpse in a white shroud, seated on a tomb. It was a moonlight night; everything was visible. She went up to the corpse, and drew away its shroud from it. The corpse held its peace, not uttering a word; no doubt the time for it to speak had not come yet. Well, she took the shroud and went home.
So she went and put the picture back in its place. As she was passing the graveyard on her way home, she saw a corpse in a white shroud, sitting on a tomb. It was a moonlit night; everything was clear. She walked up to the corpse and pulled back its shroud. The corpse remained silent, not saying a word; clearly, the time for it to speak hadn’t come yet. So, she took the shroud and headed home.
“There!” says she, “I’ve taken back the picture and put it in its place; and, what’s more, here’s a shroud I took away from a corpse.”
“Here!” she says, “I’ve taken back the picture and put it where it belongs; and, on top of that, here’s a shroud I took from a dead body.”
Some of the girls were horrified; others didn’t believe what she said, and laughed at her.
Some of the girls were horrified; others didn’t believe her and laughed at what she said.
But after they had supped and lain down to sleep, all of a sudden the corpse tapped at the window and said:
But after they had eaten dinner and gone to bed, suddenly the corpse knocked at the window and said:
“Give me my shroud! Give me my shroud!”
“Give me my burial cloth! Give me my burial cloth!”
The girls were so frightened they didn’t know whether they were alive or dead. But the lazybones took the shroud, went to the window, opened it, and said:
The girls were so scared they didn’t know if they were alive or dead. But the slacker took the shroud, went to the window, opened it, and said:
“There, take it.”
"Here, take it."
“No,” replied the corpse, “restore it to the place you took it from.”
“No,” replied the corpse, “put it back where you found it.”
Just then the cocks suddenly began to crow. The corpse disappeared.
Just then, the roosters suddenly started crowing. The body vanished.
[Pg 313] Next night, when the spinners had all gone home to their own houses, at the very same hour as before, the corpse came, tapped at the window, and cried:
[Pg 313] The next night, when all the spinners had gone home to their own houses, right at the same hour as before, the corpse showed up, knocked on the window, and shouted:
“Give me my shroud!”
“Hand over my shroud!”
Well, the girl’s father and mother opened the window and offered him his shroud.
Well, the girl's dad and mom opened the window and offered him his shroud.
“No,” says he, “let her take it back to the place she took it from.”
“No,” he says, “let her return it to where she got it from.”
“Really now, how could one go to a graveyard with a corpse? What a horrible idea!” she replied.
“Seriously, how could someone go to a graveyard with a body? What a terrible idea!” she said.
Just then the cocks crew. The corpse disappeared.
Just then the roosters crowed. The body vanished.
Next day the girl’s father and mother sent for the priest, told him the whole story, and entreated him to help them in their trouble.
The next day, the girl's parents called for the priest, shared the whole story with him, and begged him to help them with their trouble.
The priest reflected awhile; then he replied:
The priest thought for a moment; then he responded:
“Please to tell her to come to church to-morrow.”
“Please tell her to come to church tomorrow.”
Next day the lazybones went to church. The service began, numbers of people came to it. But just as they were going to sing the cherubim song,[406] there suddenly arose, goodness knows whence, so terrible a whirlwind that all the congregation fell flat on their faces. And it caught up that girl, and then flung her down on the ground. The girl disappeared from sight; nothing was left of her but her back hair.[407]
Next day, the slacker went to church. The service started, and a lot of people showed up. But just as they were about to sing the cherubim song,[406] a sudden, fierce whirlwind swept through out of nowhere, making the whole congregation drop to the ground. It picked up that girl and then threw her down harshly. She vanished from view; all that was left of her was her long hair.[407]
They are generally the corpses of wizards, or of other sinners who have led specially unholy lives, which leave their graves by night and wander abroad. Into such bodies, it is held, demons enter, and the combination of fiend and corpse goes forth as the terrible Vampire thirsting for blood. Of the proceedings of such a being the next story [Pg 314] gives a detailed account, from which, among other things, may be learnt the fact that Slavonic corpses attach great importance to their coffin-lids as well as to their shrouds.
They are usually the bodies of wizards or other wrongdoers who lived especially sinful lives, which rise from their graves at night and wander the earth. It is believed that demons enter these bodies, and the mix of demon and corpse goes out as the terrifying Vampire, craving blood. The next story [Pg 314] provides a detailed account of the actions of such a being, from which we can learn, among other things, that Slavic corpses place great importance on their coffin lids as well as their shrouds.
The Coffin Lid.[408]
A moujik was driving along one night with a load of pots. His horse grew tired, and all of a sudden it came to a standstill alongside of a graveyard. The moujik unharnessed his horse and set it free to graze; meanwhile he laid himself down on one of the graves. But somehow he didn’t go to sleep.
A peasant was driving along one night with a load of pots. His horse got tired, and suddenly it stopped next to a graveyard. The peasant unharnessed his horse and let it graze; meanwhile, he lay down on one of the graves. But for some reason, he couldn't fall asleep.
He remained lying there some time. Suddenly the grave began to open beneath him: he felt the movement and sprang to his feet. The grave opened, and out of it came a corpse—wrapped in a white shroud, and holding a coffin lid—came out and ran to the church, laid the coffin-lid at the door, and then set off for the village.
He lay there for a while. Suddenly, he felt the ground beneath him start to open: he sensed the movement and jumped to his feet. The grave opened, and a corpse—wrapped in a white shroud and holding a coffin lid—emerged, ran to the church, dropped the coffin lid at the door, and then headed toward the village.
The moujik was a daring fellow. He picked up the coffin-lid and remained standing beside his cart, waiting to see what would happen. After a short delay the dead man came back, and was going to snatch up his coffin-lid—but it was not to be seen. Then the corpse began to track it out, traced it up to the moujik, and said:
The peasant was a bold guy. He lifted the coffin lid and stood next to his cart, curious to see what would happen next. After a brief moment, the dead man returned and was about to grab his coffin lid—but it was nowhere to be found. Then the corpse started to search for it, followed the trail to the peasant, and said:
“Give me my lid: if you don’t, I’ll tear you to bits!”
“Give me my hat: if you don’t, I’ll tear you apart!”
“And my hatchet, how about that?” answers the moujik. “Why, it’s I who’ll be chopping you into small pieces!”
“And my hatchet, what do you think?” replies the peasant. “Well, I’ll be the one chopping you into small pieces!”
“Do give it back to me, good man!” begs the corpse.
“Please give it back to me, kind sir!” pleads the corpse.
“I’ll give it when you tell me where you’ve been and what you’ve done.”
“I’ll give it to you when you tell me where you’ve been and what you’ve done.”
“Well, I’ve been in the village, and there I’ve killed a couple of youngsters.”
“Well, I’ve been in the village, and there I’ve killed a couple of kids.”
“Well then, now tell me how they can be brought back to life.”
“Well then, now tell me how they can come back to life.”
The corpse reluctantly made answer:
The corpse hesitantly replied:
“Cut off the left skirt of my shroud, and take it with you. [Pg 315] When you come into the house where the youngsters were killed, pour some live coals into a pot and put the piece of the shroud in with them, and then lock the door. The lads will be revived by the smoke immediately.”
“Cut off the left side of my shroud and take it with you. [Pg 315] When you get to the house where the kids were killed, pour some live coals into a pot and put the piece of the shroud in with them, then lock the door. The boys will be revived by the smoke right away.”
The moujik cut off the left skirt of the shroud, and gave up the coffin-lid. The corpse went to its grave—the grave opened. But just as the dead man was descending into it, all of a sudden the cocks began to crow, and he hadn’t time to get properly covered over. One end of the coffin-lid remained sticking out of the ground.
The peasant cut off the left side of the shroud and removed the coffin lid. The corpse was lowered into the grave—the grave opened up. But just as the dead man was being placed in it, suddenly the roosters started to crow, and there wasn’t enough time to cover him completely. One end of the coffin lid was left sticking out of the ground.
The moujik saw all this and made a note of it. The day began to dawn; he harnessed his horse and drove into the village. In one of the houses he heard cries and wailing. In he went—there lay two dead lads.
The peasant saw all of this and took note. As day began to break, he hitched up his horse and drove into the village. Inside one of the houses, he heard cries and wailing. He went in—there were two dead boys lying there.
“Don’t cry,” says he, “I can bring them to life!”
“Don’t cry,” he says, “I can bring them back to life!”
“Do bring them to life, kinsman,” say their relatives. “We’ll give you half of all we possess.”
“Please bring them to life, family,” say their relatives. “We’ll give you half of everything we have.”
The moujik did everything as the corpse had instructed him, and the lads came back to life. Their relatives were delighted, but they immediately seized the moujik and bound him with cords, saying:
The peasant did everything the corpse had told him to do, and the guys came back to life. Their families were thrilled, but they quickly grabbed the peasant and tied him up with ropes, saying:
“No, no, trickster! We’ll hand you over to the authorities. Since you knew how to bring them back to life, maybe it was you who killed them!”
“No, no, trickster! We’ll turn you in to the authorities. Since you were the one who knew how to bring them back to life, maybe you’re the one who killed them!”
“What are you thinking about, true believers! Have the fear of God before your eyes!” cried the moujik.
“What are you thinking about, true believers? Keep the fear of God in mind!” shouted the peasant.
Then he told them everything that had happened to him during the night. Well, they spread the news through the village; the whole population assembled and swarmed into the graveyard. They found out the grave from which the dead man had come out, they tore it open, and they drove an aspen stake right into the heart of the corpse, so that it might no more rise up and slay. But they rewarded the moujik richly, and sent him away home with great honor.
Then he told them everything that happened to him during the night. They spread the news throughout the village; the entire population gathered and flooded into the graveyard. They identified the grave from which the dead man had emerged, opened it up, and drove an aspen stake right into the heart of the corpse, making sure it couldn't rise again to kill. However, they rewarded the peasant handsomely and sent him home with great honor.
It is not only during sleep that the Vampire is to be [Pg 316] dreaded. At cross-roads, or in the neighborhood of cemeteries, an animated corpse of this description often lurks, watching for some unwary wayfarer whom it may be able to slay and eat. Past such dangerous spots as these the belated villager will speed with timorous steps, remembering, perhaps, some such uncanny tale as that which comes next.
It’s not just during sleep that you need to fear the Vampire. At crossroads or near cemeteries, this kind of animated corpse often hides, looking for an unsuspecting traveler to attack and consume. The late villager will hurry past these dangerous places with anxious steps, perhaps recalling some eerie story like the one that follows.
The Two Bodies.[409]
A soldier had obtained leave to go home on furlough—to pray to the holy images, and to bow down before his parents. And as he was going his way, at a time when the sun had long set, and all was dark around, it chanced that he had to pass by a graveyard. Just then he heard that some one was running after him, and crying:
A soldier had gotten time off to go home on leave—to pray to the holy images and to kneel before his parents. As he was on his way, when the sun had already set and everything was dark around him, he happened to walk by a graveyard. At that moment, he heard someone running after him and shouting:
“Stop! you can’t escape!”
“Stop! You can’t get away!”
He looked back and there was a corpse running and gnashing its teeth. The Soldier sprang on one side with all his might to get away from it, caught sight of a little chapel,[410] and bolted straight into it.
He looked back and saw a corpse running and grinding its teeth. The Soldier jumped to the side with all his strength to escape it, spotted a small chapel,[410] and rushed straight into it.
There wasn’t a soul in the chapel, but stretched out on a table there lay another corpse, with tapers burning in front of it. The Soldier hid himself in a corner, and remained there, hardly knowing whether he was alive or dead, but waiting to see what would happen. Presently up ran the first corpse—the one that had chased the Soldier—and dashed into the chapel. Thereupon the one that was lying on the table jumped up, and cried to it:
There wasn’t a single person in the chapel, but there was another corpse stretched out on a table, with candles burning in front of it. The Soldier hid in a corner, barely aware of whether he was alive or dead, just waiting to see what would happen. Suddenly, the first corpse—the one that had chased the Soldier—ran in and rushed into the chapel. Then, the corpse lying on the table jumped up and shouted at it:
“What hast thou come here for?”
"What have you come here for?"
“I’ve chased a soldier in here, so I’m going to eat him.”
“I’ve chased a soldier in here, so I’m going to eat him.”
“Come now, brother! he’s run into my house. I shall eat him myself.”
“Come on, brother! He’s run into my house. I’m going to eat him myself.”
“No, I shall!”
“No, I will!”
“No, I shall!”
“No, I will!”
[Pg 317] And they set to work fighting; the dust flew like anything. They’d have gone on fighting ever so much longer, only the cocks began to crow. Then both the corpses fell lifeless to the ground, and the Soldier went on his way homeward in peace, saying:
[Pg 317] And they started fighting; the dust flew everywhere. They would have kept fighting for much longer, but the roosters began to crow. Then both bodies fell lifeless to the ground, and the Soldier continued on his way home in peace, saying:
“Glory be to Thee, O Lord! I am saved from the wizards!”
“Thank you, Lord! I’m saved from the wizards!”
Even the possession of arms and the presence of a dog will not always, it seems, render a man secure from this terrible species of cut-throat.
Even having weapons and a dog doesn’t always seem to keep a person safe from this terrible kind of killer.
The Dog and the Body.[411]
A moujik went out in pursuit of game one day, and took a favorite dog with him. He walked and walked through woods and bogs, but got nothing for his pains. At last the darkness of night surprised him. At an uncanny hour he passed by a graveyard, and there, at a place where two roads met, he saw standing a corpse in a white shroud. The moujik was horrified, and knew not which way to go—whether to keep on or to turn back.
A peasant went out hunting one day and brought along his favorite dog. He wandered through forests and swamps but didn’t catch anything for his efforts. Finally, night fell on him unexpectedly. At a strange hour, he passed by a cemetery, and there, at a crossroads, he saw a corpse in a white shroud. The peasant was terrified and didn’t know which way to go—whether to continue on or turn back.
“Well, whatever happens, I’ll go on,” he thought; and on he went, his dog running at his heels. When the corpse perceived him, it came to meet him; not touching the earth with its feet, but keeping about a foot above it—the shroud fluttering after it. When it had come up with the sportsman, it made a rush at him; but the dog seized hold of it by its bare calves, and began a tussle with it. When the moujik saw his dog and the corpse grappling with each other, he was delighted that things had turned out so well for himself, and he set off running home with all his might. The dog kept up the struggle until cock-crow, when the corpse fell motionless to the ground. Then the dog ran off in pursuit of its master, caught him up just as he reached home, and rushed at him, furiously trying to bite and to rend him. So savage was it, and so persistent, that it was as much as the people of the house could do to beat it off.
“Well, no matter what happens, I’ll keep going,” he thought; and on he went, his dog running close behind. When the corpse noticed him, it started moving towards him, hovering about a foot above the ground—the shroud billowing behind it. As it approached the hunter, it lunged at him; but the dog grabbed onto its bare calves and started wrestling with it. When the peasant saw his dog and the corpse struggling, he felt a surge of relief that things were going so well for him, and he took off sprinting home as fast as he could. The dog continued the fight until dawn when the corpse fell still on the ground. Then the dog ran back to its owner, catching up just as he got home, and lunged at him, trying frantically to bite and claw at him. It was so aggressive and relentless that the household members had a hard time fending it off.
“Whatever has come over the dog?” asked the moujik’s old mother. “Why should it hate its master so?”
“What's wrong with the dog?” asked the peasant's old mother. “Why does it hate its owner so much?”
[Pg 318] The moujik told her all that had happened.
[Pg 318] The peasant told her everything that had happened.
“A bad piece of work, my son!” said the old woman. “The dog was disgusted at your not helping it. There it was fighting with the corpse—and you deserted it, and thought only of saving yourself! Now it will owe you a grudge for ever so long.”
“A bad piece of work, my son!” said the old woman. “The dog was disgusted that you didn’t help it. It was there fighting with the corpse—and you abandoned it, thinking only of saving yourself! Now it will hold a grudge against you for a long time.”
Next morning, while the family were going about the farmyard, the dog was perfectly quiet. But the moment its master made his appearance, it began to growl like anything.
Next morning, while the family was moving around the farmyard, the dog was completely quiet. But as soon as its owner showed up, it started growling like crazy.
They fastened it to a chain; for a whole year they kept it chained up. But in spite of that, it never forgot how its master had offended it. One day it got loose, flew straight at him, and began trying to throttle him.
They attached it to a chain; for an entire year they kept it locked up. But despite that, it never forgot how its owner had wronged it. One day it broke free, flew right at him, and started trying to choke him.
So they had to kill it.
So they had to take it out.
In the next story a most detailed account is given of the manner in which a Vampire sets to work, and also of the best means of ridding the world of it.
In the next story, a very detailed account is provided of how a Vampire operates and the best ways to eliminate it from the world.
The Soldier and the Vampire.[412]
A certain soldier was allowed to go home on furlough. Well, he walked and walked, and after a time he began to draw near to his native village. Not far off from that village lived a miller in his mill. In old times the Soldier had been very intimate with him: why shouldn’t he go and see his friend? He went. The Miller received him cordially, and at once brought out liquor; and the two began drinking, and chattering about their ways and doings. All this took place towards nightfall, and the Soldier stopped so long at the Miller’s that it grew quite dark.
A soldier was given permission to go home on leave. He walked and walked, and after a while, he got closer to his hometown. Not far from there, a miller lived in his mill. In the past, the Soldier had been very close with him, so why not visit his friend? He went over. The Miller welcomed him warmly and immediately offered him some drinks, and the two started chatting and catching up on their lives. This all happened as night was falling, and the Soldier stayed at the Miller’s for so long that it became quite dark.
When he proposed to start for his village, his host exclaimed:
When he suggested leaving for his village, his host exclaimed:
“Spend the night here, trooper! It’s very late now, and perhaps you might run into mischief.”
“Stay the night here, soldier! It’s really late now, and you might get into trouble.”
“How so?”
"How come?"
“God is punishing us! A terrible warlock has died among [Pg 319] us, and by night he rises from his grave, wanders through the village, and does such things as bring fear upon the very boldest! How could even you help being afraid of him?”
“God is punishing us! A terrible sorcerer has died among [Pg 319] us, and at night he rises from his grave, roams the village, and does things that strike fear into the hearts of even the bravest! How could anyone not be scared of him?”
“Not a bit of it! A soldier is a man who belongs to the crown, and ‘crown property cannot be drowned in water nor burnt in fire.’ I’ll be off: I’m tremendously anxious to see my people as soon as possible.”
“Not at all! A soldier is a person who belongs to the crown, and ‘crown property cannot be drowned in water or burned in fire.’ I’m heading out: I’m really eager to see my family as soon as I can.”
Off he set. His road lay in front of a graveyard. On one of the graves he saw a great fire blazing. “What’s that?” thinks he. “Let’s have a look.” When he drew near, he saw that the Warlock was sitting by the fire, sewing boots.
Off he went. His path led him in front of a graveyard. On one of the graves, he saw a huge fire burning. “What’s that?” he thought. “Let’s check it out.” As he got closer, he saw that the Warlock was sitting by the fire, sewing boots.
“Hail, brother!” calls out the Soldier.
“Hail, brother!” the Soldier calls out.
The Warlock looked up and said:
The Warlock looked up and said:
“What have you come here for?”
"What did you come here for?"
“Why, I wanted to see what you’re doing.”
“Why, I wanted to see what you're up to.”
The Warlock threw his work aside and invited the Soldier to a wedding.
The Warlock set his work down and invited the Soldier to a wedding.
“Come along, brother,” says he, “let’s enjoy ourselves. There’s a wedding going on in the village.”
“Come on, brother,” he says, “let’s have some fun. There’s a wedding in the village.”
“Come along!” says the Soldier.
"Let's go!" says the Soldier.
They came to where the wedding was; there they were given drink, and treated with the utmost hospitality. The Warlock drank and drank, revelled and revelled, and then grew angry. He chased all the guests and relatives out of the house, threw the wedded pair into a slumber, took out two phials and an awl, pierced the hands of the bride and bridegroom with the awl, and began drawing off their blood. Having done this, he said to the Soldier:
They arrived at the wedding venue, where they were offered drinks and treated with the highest hospitality. The Warlock drank and celebrated wildly, then suddenly became furious. He chased all the guests and family out of the house, put the newlyweds into a deep sleep, took out two vials and a sharp tool, pierced the hands of the bride and groom, and started collecting their blood. After that, he said to the Soldier:
“Now let’s be off.”
"Let's get going."
Well, they went off. On the way the Soldier said:
Well, they left. On the way, the Soldier said:
“Tell me; why did you draw off their blood in those phials?”
“Tell me, why did you collect their blood in those vials?”
“Why, in order that the bride and bridegroom might die. To-morrow morning no one will be able to wake them. I alone know how to bring them back to life.”
“Why, so that the bride and groom might die. Tomorrow morning, no one will be able to wake them. I alone know how to bring them back to life.”
“How’s that managed?”
“How’s that going?”
“The bride and bridegroom must have cuts made in their [Pg 320] heels, and some of their own blood must then be poured back into those wounds. I’ve got the bridegroom’s blood stowed away in my right-hand pocket, and the bride’s in my left.”
“The bride and groom need to have cuts on their heels, and some of their own blood must then be poured back into those wounds. I’ve got the groom’s blood saved in my right pocket, and the bride’s in my left.”
The Soldier listened to this without letting a single word escape him. Then the Warlock began boasting again.
The Soldier listened to this without letting a single word slip. Then the Warlock started bragging again.
“Whatever I wish,” says he, “that I can do!”
“Whatever I want,” he says, “that I can do!”
“I suppose it’s quite impossible to get the better of you?” says the Soldier.
“I guess it’s pretty much impossible to outsmart you?” says the Soldier.
“Why impossible? If any one were to make a pyre of aspen boughs, a hundred loads of them, and were to burn me on that pyre, then he’d be able to get the better of me. Only he’d have to look out sharp in burning me; for snakes and worms and different kinds of reptiles would creep out of my inside, and crows and magpies and jackdaws would come flying up. All these must be caught and flung on the pyre. If so much as a single maggot were to escape, then there’d be no help for it; in that maggot I should slip away!”
“Why is it impossible? If someone were to make a huge pile of aspen branches, a hundred loads of them, and burn me on that pile, then they might actually get rid of me. But they’d have to be careful burning me; because snakes, worms, and various kinds of reptiles would crawl out of my insides, and crows, magpies, and jackdaws would come flying up. All of these must be caught and thrown on the fire. If even a single maggot were to escape, then it would be hopeless; I would slip away in that maggot!”
The Soldier listened to all this and did not forget it. He and the Warlock talked and talked, and at last they arrived at the grave.
The Soldier listened to all of this and didn’t forget it. He and the Warlock talked and talked, and finally, they arrived at the grave.
“Well, brother,” said the Warlock, “now I’ll tear you to pieces. Otherwise you’d be telling all this.”
“Well, brother,” said the Warlock, “now I’m going to tear you apart. Otherwise, you’d be spilling all this.”
“What are you talking about? Don’t you deceive yourself; I serve God and the Emperor.”
“What are you saying? Don't fool yourself; I serve God and the Emperor.”
The Warlock gnashed his teeth, howled aloud, and sprang at the Soldier—who drew his sword and began laying about him with sweeping blows. They struggled and struggled; the Soldier was all but at the end of his strength. “Ah!” thinks he, “I’m a lost man—and all for nothing!” Suddenly the cocks began to crow. The Warlock fell lifeless to the ground.
The Warlock clenched his teeth, yelled loudly, and lunged at the Soldier—who pulled out his sword and started swinging wildly. They wrestled and wrestled; the Soldier was nearly out of strength. “Ah!” he thinks, “I’m a goner—and all for nothing!” Suddenly, the roosters began to crow. The Warlock collapsed lifeless to the ground.
The Soldier took the phials of blood out of the Warlock’s pockets, and went on to the house of his own people. When he had got there, and had exchanged greetings with his relatives, they said:
The Soldier took the vials of blood out of the Warlock’s pockets and headed to the house of his family. Once he arrived and exchanged greetings with his relatives, they said:
“Did you see any disturbance, Soldier?”
“Did you see anything unusual, Soldier?”
“No, I saw none.”
“No, I didn’t see any.”
[Pg 321] “There now! Why we’ve a terrible piece of work going on in the village. A Warlock has taken to haunting it!”
[Pg 321] “Listen! There’s a huge problem in the village. A Warlock is haunting it!”
After talking awhile, they lay down to sleep. Next morning the Soldier awoke, and began asking:
After chatting for a bit, they lay down to sleep. The next morning, the Soldier woke up and started asking:
“I’m told you’ve got a wedding going on somewhere here?”
“I heard there’s a wedding happening somewhere around here?”
“There was a wedding in the house of a rich moujik,” replied his relatives, “but the bride and bridegroom have died this very night—what from, nobody knows.”
“There was a wedding at the house of a wealthy peasant,” replied his relatives, “but the bride and groom died just tonight—nobody knows why.”
“Where does this moujik live?”
“Where does this peasant live?”
They showed him the house. Thither he went without speaking a word. When he got there, he found the whole family in tears.
They took him to the house. He went there without saying a word. When he arrived, he found the whole family in tears.
“What are you mourning about?” says he.
"What are you upset about?" he asks.
“Such and such is the state of things, Soldier,” say they.
“Here's what’s going on, Soldier,” they say.
“I can bring your young people to life again. What will you give me if I do?”
“I can bring your young people back to life. What will you give me in return?”
“Take what you like, even were it half of what we’ve got!”
“Take whatever you want, even if it’s half of what we have!”
The Soldier did as the Warlock had instructed him, and brought the young people back to life. Instead of weeping there began to be happiness and rejoicing; the Soldier was hospitably treated and well rewarded. Then—left about, face! off he marched to the Starosta, and told him to call the peasants together and to get ready a hundred loads of aspen wood. Well, they took the wood into the graveyard, dragged the Warlock out of his grave, placed him on the pyre, and set it alight—the people all standing round in a circle with brooms, shovels, and fire-irons. The pyre became wrapped in flames, the Warlock began to burn. His corpse burst, and out of it crept snakes, worms, and all sorts of reptiles, and up came flying crows, magpies, and jackdaws. The peasants knocked them down and flung them into the fire, not allowing so much as a single maggot to creep away! And so the Warlock was thoroughly consumed, and the Soldier collected his ashes and strewed them to the winds. From that time forth there was peace in the village.
The Soldier did what the Warlock told him and brought the young people back to life. Instead of crying, there was joy and celebration; the Soldier was treated warmly and received generous rewards. Then—about-face! He marched off to the Starosta and told him to gather the peasants and prepare a hundred loads of aspen wood. They took the wood to the graveyard, pulled the Warlock out of his grave, placed him on the pyre, and set it on fire—while the people stood around in a circle with brooms, shovels, and fire tools. The pyre was engulfed in flames, and the Warlock started to burn. His corpse exploded, and snakes, worms, and all kinds of reptiles crawled out, while crows, magpies, and jackdaws took flight. The peasants swatted them down and threw them into the fire, making sure not a single maggot got away! And so the Warlock was completely burned, and the Soldier collected his ashes and scattered them to the winds. From that day on, there was peace in the village.
The Soldier received the thanks of the whole community. [Pg 322] He stayed at home some time, enjoying himself thoroughly. Then he went back to the Tsar’s service with money in his pocket. When he had served his time, he retired from the army, and began to live at his ease.
The Soldier was thanked by the entire community. [Pg 322] He relaxed at home for a while, having a great time. Then he returned to the Tsar’s service with cash in hand. After completing his service, he left the army and started living comfortably.
The stories of this class are very numerous, all of them based on the same belief—that in certain cases the dead, in a material shape, leave their graves in order to destroy and prey upon the living. This belief is not peculiar to the Slavonians but it is one of the characteristic features of their spiritual creed. Among races which burn their dead, remarks Hertz in his exhaustive treatise on the Werwolf (p. 126), little is known of regular “corpse-spectres.” Only vague apparitions, dream-like phantoms, are supposed, as a general rule, to issue from graves in which nothing more substantial than ashes has been laid.[413] But where it is customary to lay the dead body in the ground, “a peculiar half-life” becomes attributed to it by popular fancy, and by some races it is supposed to be actuated at intervals by murderous impulses. In the East these are generally attributed to the fact of its being possessed by an evil spirit, but in some parts of Europe no such explanation of its conduct is given, though it may often be implied. “The belief in vampires is the specific Slavonian form of the universal belief in spectres (Gespenster),” says Hertz, and certainly vampirism has always made those lands peculiarly its own which are or have been tenanted or greatly influenced by Slavonians.
The stories in this category are numerous, all based on the same belief—that in certain cases, the dead, in a physical form, rise from their graves to harm and feed on the living. This belief isn’t unique to the Slavs but is a key aspect of their spiritual beliefs. According to Hertz in his detailed study on the Werwolf (p. 126), little is known about “corpse-spectres” among cultures that cremate their dead. Typically, only vague apparitions or dream-like phantoms are thought to emerge from graves where only ashes remain.[413] However, in cultures where the body is buried in the ground, popular imagination assigns it a “peculiar half-life,” and some groups believe it is occasionally driven by murderous impulses. In the East, this is usually attributed to being possessed by an evil spirit, but in some parts of Europe, no such explanation is provided, even if it is often implied. “The belief in vampires is the specific Slavic version of the universal belief in spectres (Gespenster),” says Hertz, and certainly, vampirism has had a unique hold on those regions inhabited or heavily influenced by Slavs.
But animated corpses often play an important part in [Pg 323] the traditions of other countries. Among the Scandinavians and especially in Iceland, were they the cause of many fears, though they were not supposed to be impelled by a thirst for blood so much as by other carnal appetites,[414] or by a kind of local malignity.[415] In Germany tales of horror similar to the Icelandic are by no means unknown, but the majority of them are to be found in districts which were once wholly Lettic or Slavonic, though they are now reckoned as Teutonic, such as East Prussia, or Pomerania, or Lusatia. But it is among the races which are Slavonic by tongue as well as by descent, that the genuine vampire tales flourish most luxuriantly: in Russia, in Poland, and in Servia—among the Czekhs of Bohemia, and the Slovaks of Hungary, and the numerous other subdivisions of the Slavonic family which are included within the heterogeneous empire of Austria. Among the Albanians and Modern Greeks they have taken firm root, but on those peoples a strong Slavonic influence has been brought to bear. Even Prof. Bernhard Schmidt, although an uncompromising opponent of Fallmerayer’s doctrines with regard to the Slavonic origin of the present inhabitants of Greece, allows that the Greeks, as they borrowed from the Slavonians a name for the Vampire, may have received from them also certain views and customs with respect to it.[416] Beyond [Pg 324] this he will not go, and he quotes a number of passages from Hellenic writers to prove that in ancient Greece spectres were frequently represented as delighting in blood, and sometimes as exercising a power to destroy. Nor will he admit that any very great stress ought to be laid upon the fact that the Vampire is generally called in Greece by a name of Slavonic extraction; for in the islands, which were, he says, little if at all affected by Slavonic influences, the Vampire bears a thoroughly Hellenic designation.[417] But the thirst for blood attributed by Homer to his shadowy ghosts seems to have been of a different nature from that evinced by the material Vampire of modern days, nor does that ghastly revenant seem by any means fully to correspond to such ghostly destroyers as the spirit of Gello, or the spectres of Medea’s slaughtered children. It is not only in the Vampire, however, that we find a point of close contact between the popular beliefs of the New-Greeks and the Slavonians. Prof. Bernhard Schmidt’s excellent work is full of examples which prove how intimately they are connected.
But animated corpses often play an important role in [Pg 323] the traditions of various countries. Among the Scandinavians, especially in Iceland, they caused a lot of fear, though they weren't believed to be driven by a thirst for blood so much as by other primal desires,[414] or by a kind of local malice.[415] In Germany, horror stories similar to those from Iceland are not completely unknown, but most of them come from areas that were once entirely Lettic or Slavonic, which are now considered Teutonic, like East Prussia, Pomerania, or Lusatia. However, it is among the races that are Slavonic by language as well as descent where the real vampire stories thrive the most: in Russia, Poland, and Serbia—among the Czechs of Bohemia, the Slovaks of Hungary, and the many other branches of the Slavonic family found within the diverse empire of Austria. Among the Albanians and Modern Greeks, these tales have taken strong root, but those people have been significantly influenced by the Slavs. Even Professor Bernhard Schmidt, despite being a staunch opponent of Fallmerayer’s theories regarding the Slavonic origins of the current Greek population, agrees that the Greeks, by adopting a Slavonic term for the Vampire, may have also gained some perspectives and customs related to it.[416] Beyond [Pg 324] this, he won’t go, and he quotes several excerpts from Hellenic writers to show that in ancient Greece, spirits were often depicted as enjoying blood and sometimes as having the power to destroy. He also doesn’t believe that too much emphasis should be placed on the fact that the Vampire is generally referred to by a name of Slavonic origin in Greece; for in the islands, which he claims were hardly affected by Slavonic influences, the Vampire has a distinctly Hellenic name.[417] However, the bloodlust attributed to the shadowy ghosts by Homer seems to have been different from what is seen in the material Vampire of today, and that ghastly revenant doesn’t seem to fully match the ghostly destroyers like the spirit of Gello or the apparitions of Medea’s slain children. Yet, it’s not just in the Vampire that we see a close connection between the beliefs of the New Greeks and the Slavs. Professor Bernhard Schmidt’s excellent work is filled with examples showing how closely they are intertwined.
The districts of the Russian Empire in which a belief in vampires mostly prevails are White Russia and the Ukraine. But the ghastly blood-sucker, the Upir,[418] whose name has become naturalized in so many alien lands under forms resembling our “Vampire,” disturbs the peasant-mind [Pg 325] in many other parts of Russia, though not perhaps with the same intense fear which it spreads among the inhabitants of the above-named districts, or of some other Slavonic lands. The numerous traditions which have gathered around the original idea vary to some extent according to their locality, but they are never radically inconsistent.
The regions of the Russian Empire where belief in vampires is most common are White Russia and Ukraine. However, the terrifying bloodsucker, the Upir,[418] whose name has been adopted in various foreign lands in forms similar to our “Vampire,” unsettles the minds of peasants in many other areas of Russia, although not necessarily with the same level of fear experienced by people in the previously mentioned regions or other Slavic countries. The many legends that have developed around the original concept vary somewhat depending on the area, but they are never fundamentally contradictory.
Some of the details are curious. The Little-Russians hold that if a vampire’s hands have grown numb from remaining long crossed in the grave, he makes use of his teeth, which are like steel. When he has gnawed his way with these through all obstacles, he first destroys the babes he finds in a house, and then the older inmates. If fine salt be scattered on the floor of a room, the vampire’s footsteps may be traced to his grave, in which he will be found resting with rosy cheek and gory mouth.
Some of the details are intriguing. The Little-Russians believe that if a vampire’s hands have gone numb from being crossed in the grave for too long, he uses his teeth, which are as hard as steel. Once he gnaws his way through all obstacles, he first kills any infants he finds in a house, and then the older residents. If fine salt is spread on the floor of a room, the vampire’s footsteps can be followed back to his grave, where he will be found resting with rosy cheeks and a bloody mouth.
The Kashoubes say that when a Vieszcy, as they call the Vampire, wakes from his sleep within the grave, he begins to gnaw his hands and feet; and as he gnaws, one after another, first his relations, then his other neighbors, sicken and die. When he has finished his own store of flesh, he rises at midnight and destroys cattle, or climbs a belfry and sounds the bell. All who hear the ill-omened tones will soon die. But generally he sucks the blood of sleepers. Those on whom he has operated will be found next morning dead, with a very small wound on the left side of the breast, exactly over the heart. The Lusatian Wends hold that when a corpse chews its shroud or sucks its own breast, all its kin will soon follow it to the grave. The Wallachians say that a murony—a sort of cross between a werwolf and a vampire, connected by name with our nightmare—can take the form of a dog, a cat, or a [Pg 326] toad, and also of any blood-sucking insect. When he is exhumed, he is found to have long nails of recent growth on his hands and feet, and blood is streaming from his eyes, ears, nose and mouth.
The Kashoubes say that when a Vieszcy, as they refer to the Vampire, wakes up from his grave, he starts to gnaw on his hands and feet. As he gnaws, one by one, first his family members and then his other neighbors become sick and die. After he finishes his own flesh, he rises at midnight to harm cattle or climbs a belfry to ring the bell. Anyone who hears the ominous sounds will soon die. Generally, he sucks the blood of those who are asleep. Those he targets will be found dead the next morning, with a tiny wound on the left side of their chest, right over the heart. The Lusatian Wends believe that if a corpse chews its shroud or sucks its own breast, all its relatives will soon follow it to the grave. The Wallachians say that a murony—a kind of creature that’s a mix between a werewolf and a vampire, linked by name to our nightmare—can take the shape of a dog, a cat, or a [Pg 326] toad, as well as any blood-sucking insect. When he is exhumed, his hands and feet have recently grown long nails, and blood is streaming from his eyes, ears, nose, and mouth.
The Russian stories give a very clear account of the operation performed by the vampire on his victims. Thus, one night, a peasant is conducted by a stranger into a house where lie two sleepers, an old man and a youth. “The stranger takes a pail, places it near the youth, and strikes him on the back; immediately the back opens, and forth flows rosy blood. The stranger fills the pail full, and drinks it dry. Then he fills another pail with blood from the old man, slakes his brutal thirst, and says to the peasant, ‘It begins to grow light! let us go back to my dwelling.’”[419]
The Russian tales provide a clear description of what the vampire does to his victims. One night, a peasant is led by a stranger into a house where an old man and a young man are sleeping. “The stranger grabs a bucket, puts it next to the young man, and strikes him on the back; instantly, the back opens up, and bright red blood starts to flow. The stranger fills the bucket to the brim and drinks it all. Then, he fills another bucket with blood from the old man, quenches his brutal thirst, and tells the peasant, ‘It's starting to get light! Let’s head back to my place.’”[419]
Many skazkas also contain, as we have already seen, very clear directions how to deprive a vampire of his baleful power. According to them, as well as to their parallels elsewhere, a stake must be driven through the murderous corpse. In Russia an aspen stake is selected for that purpose, but in some places one made of thorn is preferred. But a Bohemian vampire, when staked in this manner in the year 1337, says Mannhardt,[420] merely exclaimed that the stick would be very useful for keeping off dogs; and a strigon (or Istrian vampire) who was transfixed with a sharp thorn cudgel near Laibach, in 1672, pulled it out of his body and flung it back contemptuously. The only certain methods of destroying a vampire appear to be either to consume him by fire, or to chop off his head with a [Pg 327] grave-digger’s shovel. The Wends say that if a vampire is hit over the back of the head with an implement of that kind, he will squeal like a pig.
Many folktales also provide clear instructions on how to strip a vampire of his sinister powers. According to them, and similar stories from other places, a stake needs to be driven through the deadly corpse. In Russia, an aspen stake is used for this, but in some areas, they prefer one made from thorn. However, a Bohemian vampire, when staked like this in 1337, simply remarked that the stick would be handy for chasing off dogs; and a strigon (or Istrian vampire) who was pierced with a sharp thorn club near Laibach in 1672 pulled it out of his body and contemptuously tossed it aside. The only reliable ways to destroy a vampire seem to be either by burning him or chopping off his head with a grave digger’s shovel. The Wends claim that if a vampire is hit on the back of the head with such a tool, he will squeal like a pig.
The origin of the Vampire is hidden in obscurity. In modern times it has generally been a wizard, or a witch, or a suicide,[421] or a person who has come to a violent end, or who has been cursed by the Church or by his parents, who takes such an unpleasant means of recalling himself to the memory of his surviving relatives and acquaintances. But even the most honorable dead may become vampires by accident. He whom a vampire has slain is supposed, in some countries, himself to become a vampire. The leaping of a cat or some other animal across a corpse, even the flight of a bird above it, may turn the innocent defunct into a ravenous demon.[422] Sometimes, moreover, a man is destined from his birth to be a vampire, being the offspring of some unholy union. In some instances the Evil One himself is the father of such a doomed victim, in others a temporarily animated corpse. But whatever may be the cause of a corpse’s “vampirism,” it is generally agreed that it will give its neighbors no rest until they have at least transfixed it. What is very remarkable about the [Pg 328] operation is, that the stake must be driven through the vampire’s body by a single blow. A second would restore it to life. This idea accounts for the otherwise unexplained fact that the heroes of folk-tales are frequently warned that they must on no account be tempted into striking their magic foes more than one stroke. Whatever voices may cry aloud “Strike again!” they must remain contented with a single blow.[423]
The origin of the vampire is shrouded in mystery. Nowadays, it's typically thought to be a wizard, a witch, someone who committed suicide,[421] or a person who met a violent end, or someone who was cursed by the Church or their parents, taking such a grim path to remind their surviving family and friends of their existence. However, even the most honorable deceased can unintentionally become vampires. In some cultures, if someone is killed by a vampire, they are believed to turn into a vampire themselves. A cat or another animal jumping over a corpse, or even a bird flying above it, might turn the innocent dead into a ravenous demon.[422] Moreover, sometimes a person is fated from birth to be a vampire, being the child of a cursed union. In some cases, the Evil One himself is the father of such an unfortunate soul, or it could be the result of a temporarily animated corpse. But regardless of what causes a corpse to become a "vampire," it's widely accepted that it won’t let its neighbors rest until they've at least pierced it. What's particularly striking about this process is that the stake must be driven through the vampire’s body in one single blow; a second blow would bring it back to life. This belief explains why the heroes of folk tales are often warned not to be tempted into hitting their magical enemies more than once. No matter how many voices urge them, “Strike again!” they must stick to just one blow.[423]
FOOTNOTES:
[379] Some account of Russian funeral rites and beliefs, and of the dirges which are sung at buryings and memorials of the dead, will be found in the “Songs of the Russian People,” pp. 309-344.
[379] You can find some information about Russian funeral customs and beliefs, along with the songs sung at burials and memorials, in “Songs of the Russian People,” pages 309-344.
[381] Zhornovtsui, i.e. mill-stones, or a hand-mill.
__A_TAG_PLACEHOLDER_0__ Zhornovtsui, meaning mill-stones or a hand-mill.
[382] Pp. 341-349 of the first edition. See, also, for some other versions of the story, as well as for an attempt to explain it, A. de Gubernatis, “Zoological Mythology,” i. 243, 244.
[382] Pages 341-349 of the first edition. Also, for other versions of the story and an explanation, see A. de Gubernatis, “Zoological Mythology,” vol. i, pages 243, 244.
[384] Afanasief, iv. No. 9.
[387] Afanasief, iv. p. 35.
[388] Afanasief, vi. No. 2.
[389] Afanasief, “Legendui,” No. 33.
[390] Chudinsky, No. 9.
__A_TAG_PLACEHOLDER_0__ Chudinsky, #9.
[393] Nenashi = not ours.
__A_TAG_PLACEHOLDER_0__ Nenashi = not ours.
[395] Iz adu kromyeshnago = from the last hell. Kromyeshnaya t’ma = utter darkness. Kromyeshny, or kromyeshnaya, is sometimes used by itself to signify hell.
[395] Iz adu kromyeshnago = from the last hell. Kromyeshnaya t’ma = complete darkness. Kromyeshny, or kromyeshnaya, is sometimes used alone to mean hell.
[399] Wenzig, No. 17, pp. 82-6.
[401] Afanasief, v. p. 144.
[402] Afanasief, vi, p. 322, 323.
[403] Evening gatherings of young people.
Evening hangouts for kids.
[406] At the end of the obyednya.
__A_TAG_PLACEHOLDER_0__ At the end of the meal.
[407] The kosa or single braid in which Russian girls wear their hair. See “Songs of the Russian People,” pp. 272-5. On a story of this kind Goethe founded his weird ballad of “Der Todtentanz.” Cf. Bertram’s “Sagen,” No. 18.
[407] The kosa, or single braid, is how Russian girls style their hair. Check “Songs of the Russian People,” pp. 272-5. Goethe based his eerie ballad “Der Todtentanz” on a story like this. See Bertram’s “Sagen,” No. 18.
[409] Afanasief, vi. pp. 324, 325.
[411] Afanasief, vi. pp 321, 322.
[413] On this account Hanush believes that the Old Slavonians, as burners of their dead, must have borrowed the vampire belief from some other race. See the “Zeitschrift für deutsche Mythologie,” &c., vol. iv. p. 199. But it is not certain that burial by cremation was universally practised by the heathen Slavonians. Kotlyarevsky, in his excellent work on their funeral customs, arrives at the conclusion that there never was any general rule on the subject, but that some Slavonians buried without burning, while others first burned their dead, and then inhumed their ashes. See “Songs of the Russian People,” p. 325.
[413] For this reason, Hanush thinks that the Old Slavonians, who cremated their dead, must have gotten the idea of vampires from another culture. See the “Zeitschrift für deutsche Mythologie,” &c., vol. iv. p. 199. However, it's not clear that cremation was practiced universally among the pagan Slavonians. Kotlyarevsky, in his outstanding work on their burial customs, concludes that there was never a general rule on this matter; some Slavonians buried their dead without cremation, while others cremated their dead first and then buried the ashes. See “Songs of the Russian People,” p. 325.
[415] As in the case of Glam, the terrible spectre which Grettir had so much difficulty in overcoming. To all who appreciate a shudder may be recommended chap. xxxv. of “The Story of Grettir the Strong,” translated from the Icelandic by E. Magnússon and W. Morris, 1869.
[415] Just like with Glam, the horrifying ghost that Grettir struggled to defeat. For anyone who enjoys a good scare, chapter xxxv of “The Story of Grettir the Strong,” translated from the Icelandic by E. Magnússon and W. Morris, 1869, is highly recommended.
[416] The ordinary Modern-Greek word for a vampire, βουρκόλακας, he says, “is undoubtedly of Slavonic origin, being identical with the Slavonic name of the werwolf, which is called in Bohemian vlkodlak, in Bulgarian and Slovak, vrkolak, &c.,” the vampire and the werwolf having many points in common. Moreover, the Regular name for a vampire in Servian, he remarks, is vukodlak. This proves the Slavonian nature (die Slavicität) of the name beyond all doubt.—“Volksleben der Neugriechen,” 1871, p. 159.
[416] The common Modern Greek word for a vampire, βουρκόλακας, he notes, “definitely comes from a Slavic origin, being the same as the Slavic word for a werewolf, which is called vlkodlak in Bohemian, vrkolak in Bulgarian and Slovak, etc.,” as vampires and werewolves share many similarities. Furthermore, he points out that the standard name for a vampire in Serbian is vukodlak. This confirms the Slavic nature (die Slavicität) of the name without a doubt.—“Volksleben der Neugriechen,” 1871, p. 159.
[417] In Crete and Rhodes, καταχανᾶς; in Cyprus, σαρκωμένος; in Tenos, ἀναικαθούμενος. The Turks, according to Mr. Tozer, give the name of vurkolak, and some of the Albanians, says Hahn, give that of βουρβολάκ-ου to the restless dead. Ibid, p. 160.
[417] In Crete and Rhodes, καταχανᾶς; in Cyprus, σαρκωμένος; in Tenos, ἀναικαθούμενος. The Turks, according to Mr. Tozer, refer to the restless dead as vurkolak, and some Albanians, as noted by Hahn, call them βουρβολάκ-ου. Ibid, p. 160.
[418] Russian vampir, South-Russian upuir, anciently upir; Polish upior, Polish and Bohemian upir. Supposed by some philologists to be from pit’ = drink, whence the Croatian name for a vampire pijawica. See “Songs of the Russian People,” p. 410.
[418] Russian vampir, South-Russian upuir, anciently upir; Polish upior, Polish and Bohemian upir. Some language experts think it comes from pit’ = drink, which is where the Croatian term for a vampire, pijawica, comes from. See “Songs of the Russian People,” p. 410.
[421] How superior our intelligence is to that of Slavonian peasants is proved by the fact that they still drive stakes through supposed vampires, whereas our law no longer demands that a suicide shall have a stake driven through his corpse. That rite was abolished by 4 Geo. iv. c. 52.
[421] How much smarter we are than Slavonian peasants is shown by the fact that they still stake supposed vampires, while our laws no longer require a stake to be driven through the body of a suicide. That practice was abolished by 4 Geo. iv. c. 52.
[422] Compare with this belief the Scotch superstition mentioned by Pennant, that if a dog or cat pass over a corpse the animal must be killed at once. As illustrative of this idea, Mr. Henderson states, on the authority of “an old Northumbrian hind,” that “in one case, just as a funeral was about to leave the house, the cat jumped over the coffin, and no one would move till the cat was destroyed.” In another, a colly dog jumped over a coffin which a funeral party had set on the ground while they rested. “It was felt by all that the dog must be killed, without hesitation, before they proceeded farther, and killed it was.” With us the custom survives; its explanation has been forgotten. See Henderson’s “Notes on the Folk Lore of the Northern Counties of England,” 1866, p. 43.
[422] Compare this belief to the Scottish superstition mentioned by Pennant, that if a dog or cat crosses over a corpse, the animal must be killed immediately. To illustrate this idea, Mr. Henderson notes, based on “an old Northumbrian hind,” that “in one case, just as a funeral was about to leave the house, the cat jumped over the coffin, and no one would move until the cat was killed.” In another instance, a collie jumped over a coffin that a funeral party had set down while they took a break. “Everyone felt that the dog had to be killed, without question, before they could proceed, and so it was killed.” This custom still exists among us; its reasoning has been forgotten. See Henderson’s “Notes on the Folk Lore of the Northern Counties of England,” 1866, p. 43.
[423] A great deal of information about vampires, and also about turnskins, wizards and witches, will be found in Afanasief, P.V.S. iii. chap. xxvi., on which I have freely drawn. The subject has been treated with his usual judgment and learning by Mr. Tylor in his “Primitive Culture,” ii. 175, 176. For several ghastly stories about the longing of Rákshasas and Vetálas for human flesh, some of which bear a strong resemblance to Slavonic vampire tales, see Brockhaus’s translation of the first five books of the “Kathásaritságara,” vol. i. p. 94; vol. ii. pp. 13, 142, 147.
[423] You'll find a lot of information about vampires, as well as about shapeshifters, wizards, and witches, in Afanasief, P.V.S. iii. chap. xxvi., from which I've taken quite a bit. Mr. Tylor covers the topic with his usual insight and expertise in his “Primitive Culture,” ii. 175, 176. For several chilling stories about the cravings of Rákshasas and Vetálas for human flesh, some of which closely resemble Slavonic vampire tales, check out Brockhaus’s translation of the first five books of the “Kathásaritságara,” vol. i. p. 94; vol. ii. pp. 13, 142, 147.
CHAPTER VI.
LEGENDS.
I
About Saints.
As besides the songs or pyesni there are current among the people a number of stikhi or poems on sacred subjects, so together with the skazki there have been retained in the popular memory a multitude of legendui, or legends relating to persons or incidents mentioned in the Bible or in ecclesiastical history. Many of them have been extracted from the various apocryphal books which in olden times had so wide a circulation, and many also from the lives of the Saints; some of them may be traced to such adaptations of Indian legends as the “Varlaam and Josaphat” attributed to St. John of Damascus; and others appear to be ancient heathen traditions, which, with altered names and slightly modified incidents, have been made to do service as Christian narratives. But whatever may be their origin, they all bear witness to the fact of their having been exposed to various influences, and many of them may fairly be considered as relics of hoar antiquity, memorials of that misty period when the pious Slavonian chronicler [Pg 330] struck by the confusion of Christian with heathen ideas and ceremonies then prevalent, styled his countrymen a two-faithed people.[424]
As alongside the songs or pyesni that people sing, there are also many stikhi or poems on sacred topics. Additionally, along with the skazki, a variety of legendui or legends have been preserved in popular memory that relate to individuals or events mentioned in the Bible or church history. Many of these have been drawn from various apocryphal books, which used to be widely circulated, and others from the lives of the Saints. Some can be traced to adaptations of Indian legends, like “Varlaam and Josaphat,” attributed to St. John of Damascus, while others seem to originate from ancient pagan traditions that have been repurposed as Christian stories with changed names and slightly altered events. Regardless of their origin, all of them reflect the influence of various sources, and many can be viewed as relics of ancient times, reminders of that unclear period when the devout Slavonian chronicler observed the blending of Christian and pagan ideas and rituals that were common at the time, referring to his fellow countrymen as a two-faith people.[Pg 330]
On the popular tales of a religious character current among the Russian peasantry, the duality of their creed, or of that of their ancestors, has produced a twofold effect. On the one hand, into narratives drawn from purely Christian sources there has entered a pagan element, most clearly perceptible in stories which deal with demons and departed spirits; on the other hand, an attempt has been made to give a Christian nature to what are manifestly heathen legends, by lending saintly names to their characters and clothing their ideas in an imitation of biblical language. Of such stories as these, it will be as well to give a few specimens.
On the popular religious tales among the Russian peasantry, the dual nature of their beliefs, or those of their ancestors, has created a twofold effect. On one hand, narratives that come from purely Christian sources have incorporated a pagan element, especially noticeable in stories that involve demons and spirits of the dead; on the other hand, there's been an effort to make clearly pagan legends seem Christian by assigning saintly names to their characters and dressing their ideas in a style that mimics biblical language. It’s best to provide a few examples of these kinds of stories.
Among the legends borrowed from the apocryphal books and similar writings, many of which are said to be still carefully preserved among the “Schismatics,” concealed in hiding-places of which the secret is handed down from father to son—as was once the case with the Hussite books among the Bohemians—there are many which relate to the creation of the world and the early history of man. One of these states that when the Lord had created Adam and Eve, he stationed at the gates of Paradise the dog, then a clean beast, giving it strict orders not to give admittance to the Evil One. But “the Evil One came to the gates of Paradise, and threw the dog a piece of bread, and the dog went and let the Evil One into Paradise. Then the Evil One set to work and spat over Adam and Eve—covered them all over with spittle, from the head to the little toe of the left foot.” Thence is it that spittle is [Pg 331] impure (pogana). So Adam and Eve were turned out of Paradise, and the Lord said to the dog:
Among the legends taken from the apocryphal books and similar writings, many of which are said to be carefully preserved among the “Schismatics,” kept in hideouts whose secrets are passed down from father to son—just like the Hussite books among the Bohemians—there are several that discuss the creation of the world and the early history of humanity. One of these legends says that when the Lord created Adam and Eve, He placed a dog at the gates of Paradise, which was then a clean animal, and gave it strict orders not to let the Evil One in. But “the Evil One came to the gates of Paradise and threw the dog a piece of bread, and the dog went and let the Evil One into Paradise. Then the Evil One began to work and spat on Adam and Eve—covering them completely with spit, from head to toe on their left foot.” That’s why spit is considered impure (pogana). As a result, Adam and Eve were expelled from Paradise, and the Lord said to the dog:
“Listen, O Dog! thou wert a Dog (Sobaka), a clean beast; through all Paradise the most holy didst thou roam. Henceforward shalt thou be a Hound (Pes, or Pyos), an unclean beast. Into a dwelling it shall be a sin to admit thee; into a church if thou dost run, the church must be consecrated anew.”
“Listen, Dog! You were a Dog (Sobaka), a clean animal; you roamed through all of Paradise. From now on, you will be a Hound (Pes, or Pyos), an unclean animal. It will be a sin to let you into a home; if you run into a church, that church has to be consecrated again.”
And so—the story concludes—“ever since that time it has been called not a dog but a hound—skin-deep it is unclean (pogana), but clean within.”
And so—the story wraps up—“ever since that time it has been called not a dog but a hound—outwardly it's unclean (pogana), but clean on the inside.”
According to another story, when men first inhabited the earth, they did not know how to build houses, so as to keep themselves warm in winter. But instead of asking aid from the Lord, they applied to the Devil, who taught them how to make an izba or ordinary Russian cottage. Following his instructions, they made wooden houses, each of which had a door but no window. Inside these huts it was warm; but there was no living in them, on account of the darkness. “So the people went back to the Evil One. The Evil one strove and strove, but nothing came of it, the izba still remained pitch dark. Then the people prayed unto the Lord. And the Lord said: ‘Hew out a window!’ So they hewed out windows, and it became light.”[425]
According to another story, when people first lived on Earth, they didn’t know how to build houses to stay warm in winter. Instead of asking God for help, they turned to the Devil, who taught them how to make an izba, or a typical Russian cottage. Following his instructions, they built wooden houses, each with a door but no windows. Inside these huts, it was warm, but there was no way to live in them because of the darkness. “So the people went back to the Evil One. The Evil One tried and tried, but nothing worked; the izba remained pitch dark. Then the people prayed to the Lord. And the Lord said: ‘Cut out a window!’ So they cut out windows, and it became bright.”[425]
Some of the Russian traditions about the creation of man are closely connected with Teutonic myths. The Schismatics called Dukhobortsui, or Spirit-Wrestlers, for instance, hold that man was composed of earthly materials, [Pg 332] but that God breathed into his body the breath of life. “His flesh was made of earth, his bones of stone, his veins of roots, his blood of water, his hair of grass, his thought of the wind, his spirit of the cloud.”[426] Many of the Russian stories about the early ages of the world, also, are current in Western Europe, such as that about the rye—which in olden days was a mass of ears from top to bottom. But some lazy harvest-women having cursed “God’s corn,” the Lord waxed wroth and began to strip the ears from the stem. But when the last ear was about to fall, the Lord had pity upon the penitent culprits, and allowed the single ear to remain as we now see it.[427]
Some Russian traditions about the creation of man are closely linked to Teutonic myths. The Schismatics called Dukhobortsui, or Spirit-Wrestlers, for example, believe that man was made from earthly materials, [Pg 332] but that God breathed the breath of life into his body. “His flesh was made of earth, his bones of stone, his veins of roots, his blood of water, his hair of grass, his thought of the wind, his spirit of the cloud.”[426] Many Russian stories about the early ages of the world are also found in Western Europe, such as the one about rye—which in ancient times was a full head of ears from top to bottom. But some lazy harvest-women cursed “God’s corn,” and the Lord became angry and started to strip the ears from the stem. However, just as the last ear was about to fall, the Lord took pity on the repentant women and allowed the single ear to remain as we see it now.[427]
A Little-Russian variant of this story says that Ilya (Elijah), was so angry at seeing the base uses to which a woman turned “God’s corn,” that he began to destroy all the corn in the world. But a dog begged for, and received a few ears. From these, after Ilya’s wrath was spent, mankind obtained seed, and corn began to grow again on the face of the earth, but not in its pristine bulk and beauty. It is on account of the good service thus rendered to our race that we ought to cherish and feed the dog.[428]
A Little-Russian version of this story says that Ilya (Elijah) was so angry at how a woman misused “God’s corn” that he started to destroy all the corn in the world. But a dog begged for, and got, a few ears. After Ilya’s anger faded, humanity got seeds from these ears, and corn began to grow again on the earth, although not in its original abundance and beauty. Because of the good deed done for our kind, we should appreciate and take care of the dog.[428]
Another story, from the Archangel Government, tells how a certain King, as he roamed afield with his princes and boyars, found a grain of corn as large as a sparrow’s egg. Marvelling greatly at its size, he tried in vain to obtain from his followers some explanation thereof. Then they bethought them of “a certain man from among the old people, who might be able to tell them something about it.” But when the old man came, “scarcely able to [Pg 333] crawl along on a pair of crutches,” he said he knew nothing about it, but perhaps his father might remember something. So they sent for his father, who came limping along with the help of one crutch, and who said:
Another story from the Archangel Government describes how a king, while wandering in the fields with his princes and boyars, discovered a grain of corn as big as a sparrow’s egg. Amazed by its size, he tried unsuccessfully to get an explanation from his attendants. Then they remembered “an old man from the village who might know something about it.” When the old man arrived, “barely able to walk with a pair of crutches,” he admitted he didn’t know anything about it but suggested his father might remember. So they called for his father, who came limping with the aid of one crutch, and said:
“I have a father living, in whose granary I have seen just such a seed.”
“I have a father who is alive, and I’ve seen just that kind of seed in his granary.”
So they sent for his father, a man a hundred and seventy years old. And the patriarch came, walking nimbly needing neither guide nor crutch. Then the King began to question him, saying:
So they called for his father, a man who was a hundred and seventy years old. The patriarch arrived, walking swiftly without needing a guide or a crutch. Then the King started to question him, saying:
“Who sowed this sort of corn?”
“Who planted this kind of corn?”
“I sowed it, and reaped it,” answered the old man, “and now I have some of it in my granary. I keep it as a memorial. When I was young, the grain was large and plentiful, but after a time it began to grow smaller and smaller.”
“I planted it, and I harvested it,” replied the old man, “and now I have some of it in my storehouse. I keep it as a memento. When I was younger, the grain was big and abundant, but over time it started to get smaller and smaller.”
“Now tell me,” asked the King, “how comes it, old man, that thou goest more nimbly than thy son and thy grandson?”
“Now tell me,” asked the King, “how is it that you, old man, move more nimbly than your son and your grandson?”
“Because I lived according to the law of the Lord,” answered the old man. “I held mine own, I grasped not at what was another’s.”[429]
“Because I lived by the law of the Lord,” replied the old man. “I stood my ground; I didn’t reach for what belonged to others.”[429]
The existence of hills is accounted for by legendary lore in this wise. When the Lord was about to fashion the face of the earth, he ordered the Devil to dive into the watery depths and bring thence a handful of the soil he found at the bottom. The Devil obeyed, but when he filled his hand, he filled his mouth also. The Lord took the soil, sprinkled it around, and the Earth appeared, all perfectly flat. The Devil, whose mouth was quite full, looked on for some time in silence. At last he tried to [Pg 334] speak, but choked, and fled in terror. After him followed the thunder and the lightning, and so he rushed over the whole face of the earth, hills springing up where he coughed, and sky-cleaving mountains where he leaped.[430]
The story of hills comes from old legends like this. When the Lord was about to create the earth, he told the Devil to dive into the deep waters and bring back a handful of soil from the bottom. The Devil did as he was told, but he also filled his mouth. The Lord took the soil, scattered it around, and the Earth appeared, completely flat. The Devil, with his mouth stuffed, watched in silence for a while. Finally, he tried to speak but choked and ran away in fear. After him came thunder and lightning, and as he dashed across the earth, hills popped up where he coughed and towering mountains formed where he jumped.[Pg 334][430]
As in other countries, a number of legends are current respecting various animals. Thus the Old Ritualists will not eat the crayfish (rak), holding that it was created by the Devil. On the other hand the snake (uzh, the harmless or common snake) is highly esteemed, for tradition says that when the Devil, in the form of a mouse, had gnawed a hole in the Ark, and thereby endangered the safety of Noah and his family, the snake stopped up the leak with its head.[431] The flesh of the horse is considered unclean, because when the infant Saviour was hidden in the manger the horse kept eating the hay under which the babe was concealed, whereas the ox not only would not touch it, but brought back hay on its horns to replace what the horse had eaten. According to an old Lithuanian tradition, the shape of the sole is due to the fact that the Queen of the Baltic Sea once ate one half of it and threw the other half into the sea again. A legend from the Kherson Government accounts for it as follows. At the time of the Angelical Salutation, the Blessed Virgin told the Archangel Gabriel that she would give credit to his words “if a fish, one side of which had already been eaten, were to come to life again. That very moment the fish came to life, and was put back in the water.”
Like in other countries, there are many legends about different animals. For example, the Old Ritualists won’t eat crayfish (rak) because they believe it was created by the Devil. In contrast, the snake (uzh, the harmless or common snake) is held in high regard, as tradition says that when the Devil, disguised as a mouse, chewed a hole in the Ark and put Noah and his family in danger, the snake blocked the leak with its head.[431] People consider horse meat unclean because when the infant Savior was hidden in the manger, the horse kept eating the hay that covered him, whereas the ox not only didn’t touch it but even brought hay back on its horns to replace what the horse had eaten. According to an old Lithuanian tradition, the shape of the sole comes from the Queen of the Baltic Sea once eating half of it and throwing the other half back into the sea. A legend from the Kherson Government explains it this way: at the time of the Angelical Salutation, the Blessed Virgin told the Archangel Gabriel that she would believe his words “if a fish, one side of which had already been eaten, were to come back to life.” Just then, the fish came back to life and was put back in the water.
With the birds many graceful legends are connected. [Pg 335] There is a bird, probably the peewit, which during dry weather may be seen always on the wing, and piteously crying Peet, Peet,[432] as if begging for water. Of it the following tale is told. When God created the earth, and determined to supply it with seas, lakes and rivers, he ordered the birds to convey the waters to their appointed places. They all obeyed except this bird, which refused to fulfil its duty, saying that it had no need of seas, lakes or rivers, to slake its thirst. Then the Lord waxed wroth and forbade it and its posterity ever to approach a sea or stream, allowing it to quench its thirst with that water only which remains in hollows and among stones after rain. From that time it has never ceased its wailing cry of “Drink, Drink,” Peet, Peet.[433]
Many graceful legends are connected with birds. [Pg 335] One bird, likely the peewit, can often be seen flying during dry weather, crying out pitifully, Peet, Peet,[432] as if it's begging for water. There's a tale about it. When God created the earth and decided to fill it with seas, lakes, and rivers, He instructed the birds to take the waters to their designated places. They all complied except this bird, which refused to do its part, claiming it didn't need seas, lakes, or rivers to quench its thirst. The Lord grew angry and forbade it and its descendants from ever approaching a sea or stream, allowing them only to drink from the water that gathers in hollows and among stones after rain. Since then, it has never stopped its mournful cry of “Drink, Drink,” Peet, Peet.[433]
When the Jews were seeking for Christ in the garden, says a Kharkof legend, all the birds, except the sparrow, tried to draw them away from his hiding-place. Only the sparrow attracted them thither by its shrill chirruping. Then the Lord cursed the sparrow, and forbade that men should eat of its flesh. In other parts of Russia, tradition tells that before the crucifixion the swallows carried off the nails provided for the use of the executioners, but the sparrows brought them back. And while our Lord was hanging on the cross the sparrows were maliciously exclaiming Jif! Jif! or “He is living! He is living!” in order to urge on the tormentors to fresh cruelties. But the swallows cried, with opposite intent, Umer! Umer! “He is dead! He is dead.” Therefore it is that to kill a swallow is a sin, and that its nest brings good luck to a house. But the sparrow is an unwelcome guest, whose entry into a cottage is a presage of woe. As a punishment [Pg 336] for its sins, its legs have been fastened together by invisible bonds, and therefore it always hops, not being able to run.[434]
When the Jews were looking for Christ in the garden, a legend from Kharkov says that all the birds, except the sparrow, tried to lead them away from his hiding place. Only the sparrow lured them in with its loud chirping. Then the Lord cursed the sparrow and forbade people from eating its flesh. In other parts of Russia, tradition says that before the crucifixion, the swallows took the nails meant for the executioners, but the sparrows brought them back. While our Lord was hanging on the cross, the sparrows maliciously chirped Jif! Jif! or “He is living! He is living!” to encourage the tormentors to inflict more pain. But the swallows cried, intending the opposite, Umer! Umer! “He is dead! He is dead.” That’s why killing a swallow is considered a sin and its nest is thought to bring good luck to a home. The sparrow, on the other hand, is seen as an unwelcome visitor, and its presence in a cottage is a sign of misfortune. As punishment for its sins, its legs have been tied together by invisible bonds, so it can only hop instead of run. [Pg 336]
A great number of the Russian legends refer to the visits which Christ and his Apostles are supposed to pay to men’s houses at various times, but especially during the period between Easter Sunday and Ascension Day. In the guise of indigent wayfarers, the sacred visitors enter into farm-houses and cottages and ask for food and lodging; therefore to this day the Russian peasant is ever unwilling to refuse hospitality to any man, fearing lest he might repulse angels unawares. Tales of this kind are common in all Christian lands, especially in those in which their folk-lore has preserved some traces of the old faith in the heathen gods who once walked the earth, and in patriarchal fashion dispensed justice among men. Many of the Russian stories closely resemble those of a similar nature which occur in German and Scandinavian collections; all of them, for instance, agreeing in the unfavorable light in which they place St. Peter. The following abridgment of the legend of “The Poor Widow,”[435] may be taken as a specimen of the Russian tales of this class.
A lot of Russian legends talk about the visits that Christ and his Apostles are believed to make to people's homes at different times, especially between Easter Sunday and Ascension Day. Disguised as needy travelers, these holy visitors enter farms and cottages, asking for food and a place to stay; because of this, the Russian peasant is always reluctant to turn away anyone seeking hospitality, fearing they might unknowingly turn away angels. Stories like this are common in all Christian countries, particularly where folklore has kept some traces of the old beliefs in pagan gods who once roamed the earth and dispensed justice like patriarchs. Many Russian tales closely resemble similar stories found in German and Scandinavian collections, all of them portraying St. Peter in a negative light. The following summary of the legend of “The Poor Widow,”[435] can be seen as an example of these Russian tales.
Long, long ago, Christ and his twelve Apostles were wandering about the world, and they entered into a village one evening, and asked a rich moujik to allow them to spend the night in his house. But he would not admit them, crying:
Long ago, Christ and his twelve Apostles were traveling around, and one evening they came to a village and asked a wealthy peasant if they could stay the night in his home. But he refused to let them in, shouting:
“Yonder lives a widow who takes in beggars; go to her.”
“Over there lives a widow who takes in homeless people; go to her.”
So they went to the widow, and asked her. Now she [Pg 337] was so poor that she had nothing in the house but a crust of bread and a handful of flour. She had a cow, but it had not calved yet, and gave no milk. But she did all she could for the wayfarers, setting before them all the food she had, and letting them sleep beneath her roof. And her store of bread and flour was wonderfully increased, so that her guests fed and were satisfied. And the next morning they set out anew on their journey.
So they went to the widow and asked her. Now she [Pg 337] was so poor that she had nothing in the house except a crust of bread and a handful of flour. She had a cow, but it hadn’t calved yet and wasn’t giving any milk. Still, she did everything she could for the travelers, offering them all the food she had and letting them sleep in her home. Miraculously, her supply of bread and flour increased so that her guests were fed and satisfied. The next morning, they set off again on their journey.
As they went along the road there met them a wolf. And it fell down before the Lord, and begged for food. Then said the Lord, “Go to the poor widow’s; slay her cow, and eat.”
As they walked along the road, they encountered a wolf. It fell down before the Lord and begged for food. Then the Lord said, “Go to the poor widow’s place; kill her cow and eat.”
The Apostles remonstrated in vain. The wolf set off, entered the widow’s cow-house, and killed her cow. And when she heard what had taken place, she only said:
The Apostles protested for nothing. The wolf went in, broke into the widow’s cow shed, and killed her cow. When she found out what happened, she simply said:
“The Lord gave, the Lord has taken away. Holy is His will!”
“The Lord gave, the Lord took away. Blessed is His will!”
As the sacred wayfarers pursued their journey, there came rolling towards them a barrel full of money. Then the Lord addressed it, saying:
As the holy travelers continued on their journey, a barrel full of money rolled toward them. Then the Lord spoke to it, saying:
“Roll, O barrel, into the farmyard of the rich moujik!”
“Roll, oh barrel, into the rich peasant's yard!”
Again the Apostles vainly remonstrated. The barrel went its way, and the rich moujik found it, and stowed it away, grumbling the while:
Again, the Apostles argued in vain. The barrel continued on its path, and the wealthy peasant found it and stored it away, complaining the whole time:
“The Lord might as well have sent twice as much!”
“The Lord could have just as easily sent twice as much!”
The sun rose higher, and the Apostles began to thirst. Then said the Lord:
The sun climbed higher, and the Apostles started to feel thirsty. Then the Lord said:
“Follow that road, and ye will find a well; there drink your fill.”
"Follow that road, and you will find a well; there, drink your fill."
They went along that road and found the well. But they could not drink thereat, for its water was foul and impure, and swarming with snakes and frogs and toads. [Pg 338] So they returned to where the Lord awaited them, described what they had seen, and resumed their journey. After a time they were sent in search of another well. And this time they found a place wherein was water pure and cool, and around grew wondrous trees, whereon heavenly birds sat singing. And when they had slaked their thirst, they returned unto the Lord, who said:
They traveled down that road and discovered the well. But they couldn’t drink from it because the water was dirty and contaminated, filled with snakes, frogs, and toads. [Pg 338] So they returned to where the Lord was waiting for them, explained what they had found, and continued their journey. After a while, they were sent to look for another well. This time, they found a spot with fresh, cool water, surrounded by amazing trees where beautiful birds were singing. After they quenched their thirst, they went back to the Lord, who said:
“Wherefore did ye tarry so long?”
“Why did you take so long?”
“We only stayed while we were drinking,” replied the Apostles. “We did not spend above three minutes there in all.”
“We only stayed while we were drinking,” replied the Apostles. “We didn’t spend more than three minutes there in total.”
“Not three minutes did ye spend there, but three whole years,” replied the Lord. “As it was in the first well, so will it be in the other world with the rich moujik! But as it was in the second well, so will it be in that world with the poor widow!”
“Not three minutes did you spend there, but three whole years,” replied the Lord. “Just like it was in the first well, so it will be in the other world with the rich peasant! But just like it was in the second well, so it will be in that world with the poor widow!”
Sometimes our Lord is supposed to wander by himself, under the guise of a beggar. In the story of “Christ’s Brother”[436] a young man—whose father, on his deathbed, had charged him not to forget the poor—goes to church on Easter Day, having provided himself with red eggs to give to the beggars with whom he should exchange the Pascal greeting. After exhausting his stock of presents, he finds that there remains one beggar of miserable appearance to whom he has nothing to offer, so he takes him home to dinner. After the meal the beggar exchanges crosses with his host,[437] giving him “a cross which blazes like fire,” and invites him to pay him a visit on the following Tuesday. To an enquiry about the way, he replies, “You have only to go along yonder path and say, ‘Grant [Pg 339] thy blessing, O Lord!’ and you will come to where I am.”
Sometimes our Lord is said to wander alone, disguised as a beggar. In the story of “Christ’s Brother”[436], a young man—whose father, on his deathbed, urged him not to forget the poor—goes to church on Easter Day, having brought red eggs to give to the beggars in exchange for the Easter greeting. After he runs out of gifts, he notices one beggar who looks particularly miserable and has nothing left to offer, so he invites him home for dinner. After the meal, the beggar exchanges crosses with his host,[437] giving him “a cross that glows like fire,” and invites him to visit on the following Tuesday. When asked about the way, he replies, “Just follow that path and say, ‘Grant your blessing, O Lord!’ and you will arrive where I am.”
The young man does as he is told, and commences his journey on the Tuesday. On his way he hears voices, as though of children, crying, “O Christ’s brother, ask Christ for us—have we to suffer long?” A little later he sees a group of girls who are ladling water from one well into another, who make the same request. At last he arrives at the end of his journey, finds the aged mendicant who had adopted him as his brother, and recognizes him as “the Lord Jesus Christ Himself.” The youth relates what he has seen, and asks:
The young man does what he's told and starts his journey on Tuesday. Along the way, he hears voices, like those of children, crying, “O Christ’s brother, ask Christ for us—do we have to suffer long?” A little later, he sees a group of girls who are pouring water from one well into another, and they make the same request. Finally, he reaches the end of his journey, finds the old beggar who took him in as his brother, and recognizes him as “the Lord Jesus Christ Himself.” The young man shares what he has seen and asks:
“Wherefore, O Lord, are the children suffering?”
“Why, Lord, are the kids suffering?”
“Their mothers cursed them while still unborn,” is the reply. “Therefore is it impossible for them to enter into Paradise.”
“Their mothers cursed them while they were still unborn,” is the reply. “That’s why it’s impossible for them to enter Paradise.”
“And the girls?”
“And the girls?”
“They used to sell milk, and they put water into the milk. Now they are doomed to pour water from well to well eternally.”
“They used to sell milk and mixed water into it. Now they are stuck pouring water from well to well forever.”
After this the youth is taken into Paradise, and brought to the place there provided for him.[438]
After this, the young man is taken into Paradise and brought to the place prepared for him.[438]
Sometimes the sacred visitor rewards with temporal goods the kindly host who has hospitably received him. Thus the story of “Beer and Corn”[439] tells how a certain man was so poor that when the rest of the peasants were brewing beer, and making other preparations to celebrate an approaching feast of the Church, he found his cupboard [Pg 340] perfectly bare. In vain did he apply to a rich neighbor, who was in the habit of lending goods and money at usurious rates; having no security to offer, he could borrow nothing. But on the eve of the festival, when he was sitting at home in sadness, he suddenly rose and drew near to the sacred painting which hung in the corner, and sighed heavily, and said,
Sometimes, the divine guest rewards the generous host who has welcomed him warmly with material blessings. The tale of “Beer and Corn”[439] recounts how a certain man was so impoverished that while the other villagers were brewing beer and preparing for an upcoming Church feast, his pantry was completely empty. He attempted to borrow from a wealthy neighbor known for lending items and money at high interest rates, but since he had no collateral to offer, he couldn't get anything. However, on the night before the festival, as he sat at home feeling despondent, he suddenly stood up and approached the sacred painting hanging in the corner, sighed deeply, and said,
“O Lord! forgive me, sinner that I am! I have not even wherewith to buy oil, so as to light the lamp before the image[440] for the festival!”
“O Lord! forgive me, a sinner! I don’t even have enough money to buy oil to light the lamp before the image[440] for the festival!”
Soon afterwards an old man entered the cottage, and obtained leave to spend the night there. After a time the guest enquired why his host was so sad, and on learning the reason, told him to go again to his rich neighbor and borrow a quarter of malt. The moujik obeyed, and soon returned with the malt, which the old man ordered him to throw into his well. When this was done the villager and his guest went to bed.
Soon after, an old man entered the cottage and asked to spend the night there. After a while, the guest asked why his host looked so sad, and when he found out the reason, he told him to go to his wealthy neighbor and borrow a quarter of malt. The villager complied and soon came back with the malt, which the old man instructed him to throw into his well. Once that was done, the villager and his guest went to bed.
Next morning the old man told his guest to borrow a number of tubs, and fill them with liquor drawn from the well, and then to make his neighbors assemble and drink it. He did so, and the buckets were filled with “such beer as neither fancy nor imagination can conceive, but only a skazka can describe.” The villagers, excited by the news, collected in crowds, and drank the beer and rejoiced. Last of all came the rich neighbor, begging to know how such wonderful beer was brewed. The moujik told him the whole story, whereupon he straightway commanded his servants to pour all his best malt into his well. And next day he hastened to the well to taste the liquor it contained; but he found nothing but malt and water; not a drop of beer was there.
The next morning, the old man told his guest to borrow a few tubs and fill them with liquor taken from the well, then to gather the neighbors and have them drink it. He did just that, and the buckets were filled with “beer that neither imagination nor fantasy can conceive, only a fairytale can describe.” The villagers, thrilled by the news, gathered in droves, drank the beer, and celebrated. Finally, the wealthy neighbor showed up, eager to learn how such amazing beer was made. The peasant explained the whole story, prompting the neighbor to immediately order his servants to dump all his best malt into his well. The next day, he rushed to the well to taste what it held; but he found nothing but malt and water—no beer at all.
[Pg 341] We may take next the legends current among the peasantry about various saints. Of these, the story of “The Prophet Elijah and St. Nicholas,” will serve as a good specimen. But, in order to render it intelligible, a few words about “Ilya the Prophet,” as Elijah is styled in Russia, may as well be prefixed.
[Pg 341] Let’s now look at the legends that are popular among the peasants about different saints. The tale of “The Prophet Elijah and St. Nicholas” will be a good example. However, to make it clear, it’s useful to say a little about “Ilya the Prophet,” which is how Elijah is referred to in Russia.
It is well known that in the days of heathenism the Slavonians worshipped a thunder-god, Perun,[441] who occupied in their mythological system the place which in the Teutonic was assigned to a Donar or a Thor. He was believed, if traditions may be relied upon, to sway the elements, often driving across the sky in a flaming car, and launching the shafts of the lightning at his demon foes. His name is still preserved by the western and southern Slavonians in many local phrases, especially in imprecations; but, with the introduction of Christianity into Slavonic lands, all this worship of his divinity came to an end. Then took place, as had occurred before in other countries, the merging of numerous portions of the old faith in the new, the transferring of many of the attributes of the old gods to the sacred personages of the new religion.[442] During this period of transition the ideas which were formerly associated with the person of Perun, the thunder-god, became attached to that of the Prophet Ilya or Elijah.
It is well known that back in the days of paganism, the Slavs worshipped a thunder god, Perun,[441] who held a similar role in their mythology as Donar or Thor did in Germanic beliefs. According to traditions, he was thought to control the elements, often racing across the sky in a fiery chariot and hurling lightning bolts at his demonic enemies. His name is still remembered by western and southern Slavs in many local sayings, especially in curses; however, with the arrival of Christianity in Slavic territories, this worship of him came to an end. As had happened in other regions before, various aspects of the old faith blended into the new one, with many characteristics of the ancient gods being transferred to the revered figures of the new religion.[442] During this transition period, the ideas once linked to Perun, the thunder god, became associated with the Prophet Ilya or Elijah.
One of the causes which conduced to this result may [Pg 342] have been—if Perun really was considered in old times, as he is said to have been, the Lord of the Harvest—that the day consecrated by the Church to Elijah, July 20, occurs in the beginning of the harvest season, and therefore the peasants naturally connected their new saint with their old deity. But with more certainty may it be accepted that, the leading cause was the similarity which appeared to the recent converts to prevail between their dethroned thunder-god and the prophet who was connected with drought and with rain, whose enemies were consumed by fire from on high, and on whom waited “a chariot of fire and horses of fire,” when he was caught up by a whirlwind into heaven. And so at the present day, according to Russian tradition, the Prophet Ilya thunders across the sky in a flaming car, and smites the clouds with the darts of the lightning. In the Vladimir Government he is said “to destroy devils with stone arrows,”—weapons corresponding to the hammer of Thor and the lance of Indra. On his day the peasants everywhere expect thunder and rain, and in some places they set out rye and oats on their gates, and ask their clergy to laud the name of Ilya, that he may bless their cornfields with plenteousness. There are districts, also, in which the people go to church in a body on Ilya’s day, and after the service is over they kill and roast a beast which has been purchased at the expense of the community. Its flesh is cut up into small pieces and sold, the money paid for it going to the church. To stay away from this ceremony, or not to purchase a piece of the meat, would be considered a great sin; to mow or make hay on that day would be to incur a terrible risk, for Ilya might smite the field with the thunder, or burn up the crop with the lightning. In the old Novgorod there used [Pg 343] to be two churches, the one dedicated to “Ilya the Wet,” the other to “Ilya the Dry.” To these a cross-bearing procession was made when a change in the weather was desired: to the former in times of drought, to the latter when injury was being done to the crops by rain. Diseases being considered to be evil spirits, invalids used to pray to the thunder-god for relief. And so, at the present day, a zagovor or spell against the Siberian cattle-plague entreats the “Holy Prophet of God Ilya,” to send “thirty angels in golden array, with bows and with arrows” to destroy it. The Servians say that at the division of the world Ilya received the thunder and lightning as his share, and that the crash and blaze of the storm are signs of his contest with the devil. Wherefore the faithful ought not to cross themselves when the thunder peals, lest the evil one should take refuge from the heavenly weapons behind the protecting cross. The Bulgarians say that forked lightning is the lance of Ilya who is chasing the Lamia fiend: summer lightning is due to the sheen of that lance, or to the fire issuing from the nostrils of his celestial steeds. The white clouds of summer are named by them his heavenly sheep, and they say that he compels the spirits of dead Gypsies to form pellets of snow—by men styled hail—with which he scourges in summer the fields of sinners.[443]
One of the reasons for this outcome may have been—if Perun really was regarded in ancient times, as it's said, as the Lord of the Harvest—that the day the Church dedicated to Elijah, July 20, falls at the start of the harvest season. This led the peasants to naturally associate their new saint with their old deity. However, it's more certain that the primary cause was the similarity that the recent converts saw between their deposed thunder-god and the prophet who was linked to both drought and rain, whose enemies were consumed by fire from above, and who was taken up to heaven in “a chariot of fire and horses of fire” when caught up by a whirlwind. Today, according to Russian tradition, the Prophet Ilya thunders across the sky in a fiery chariot, striking the clouds with lightning. In the Vladimir region, he is said to “destroy devils with stone arrows,” which are comparable to Thor's hammer and Indra's lance. On his day, peasants everywhere expect thunder and rain; in some areas, they place rye and oats at their gates and ask their clergy to praise the name of Ilya, so that he may bless their fields with abundance. There are also places where people collectively go to church on Ilya's day, and after the service, they buy and roast an animal funded by the community. The meat is cut into small pieces and sold, with the proceeds going to the church. Skipping this ceremony or not buying a piece of the meat would be seen as a major sin; mowing or making hay that day poses a serious risk, as Ilya might strike the field with thunder or incinerate the crop with lightning. In old Novgorod, there used to be two churches, one dedicated to “Ilya the Wet” and the other to “Ilya the Dry.” A cross-bearing procession was made to one of them when weather changes were needed: to the former during drought and to the latter when rain was harming the crops. Since diseases were thought to be evil spirits, sick individuals prayed to the thunder-god for relief. Nowadays, a zagovor or spell against the Siberian cattle-plague calls on the “Holy Prophet of God Ilya” to send “thirty angels in golden clothing, with bows and arrows” to destroy it. The Servians believe that during the division of the world, Ilya received thunder and lightning as his share, and that the roar and flash of the storm signify his battle with the devil. Therefore, the faithful should not cross themselves when thunder rumbles, to prevent the evil one from seeking refuge from heavenly weapons behind the protective cross. The Bulgarians claim that forked lightning is Ilya’s lance as he chases the Lamia fiend; summer lightning results from the shine of that lance or the fire coming from the nostrils of his celestial horses. They refer to the white summer clouds as his heavenly sheep and claim that he forces the spirits of dead Gypsies to form snow pellets—what people call hail—with which he punishes the fields of sinners in summer.
Such are a few of the ideas connected by Slavonian tradition with the person of the Prophet Elijah or Ilya. To St. Nicholas, who has succeeded to the place occupied by an ancient ruler of the waters, a milder character is attributed than to Ilya, the thunder-god’s successor. As Ilya is the counterpart of Thor, so does Nicholas in some [Pg 344] respects resemble Odin. The special characteristics of the Saint and the Prophet are fairly contrasted in the following story.
Here are a few of the ideas associated with the Slavonian tradition regarding the Prophet Elijah or Ilya. St. Nicholas, who has taken the place of an ancient water ruler, is seen as a gentler figure compared to Ilya, the successor of the thunder god. Just as Ilya is similar to Thor, Nicholas shares some similarities with Odin. The distinct traits of the Saint and the Prophet are effectively highlighted in the following story.
Elijah the Prophet and Nick.[444]
A long while ago there lived a Moujik. Nicholas’s day he always kept holy, but Elijah’s not a bit; he would even work upon it. In honor of St. Nicholas he would have a taper lighted and a service performed, but about Elijah the Prophet he forgot so much as to think.
A long time ago, there was a peasant. He always kept St. Nicholas’s day sacred, but he didn’t care about Elijah’s at all; he would even work on that day. To honor St. Nicholas, he would have a candle lit and a service held, but he didn’t even think about the Prophet Elijah.
Well, it happened one day that Elijah and Nicholas were walking over the land belonging to this Moujik; and as they walked they looked—in the cornfields the green blades were growing up so splendidly that it did one’s heart good to look at them.
Well, one day, Elijah and Nicholas were walking across the land owned by this peasant. As they walked, they noticed the cornfields—the green blades were growing so beautifully that it was uplifting to see them.
“Here’ll be a good harvest, a right good harvest!” says Nicholas, “and the Moujik, too, is a good fellow sure enough, both honest and pious: one who remembers God and thinks about the Saints! It will fall into good hands—”
“Here’s going to be a great harvest, a really great harvest!” says Nicholas, “and the peasant, too, is a good guy for sure, both honest and religious: someone who remembers God and thinks about the Saints! It’s going to end up in good hands—”
“We’ll see by-and-by whether much will fall to his share!” answered Elijah; “when I’ve burnt up all his land with lightning, and beaten it all flat with hail, then this Moujik of yours will know what’s right, and will learn to keep Elijah’s day holy.”
“We’ll see later what he’ll get!” answered Elijah; “when I’ve singed all his land with lightning and flattened it with hail, then your Moujik will know what’s right and will learn to keep Elijah’s day sacred.”
Well, they wrangled and wrangled; then they parted asunder. St. Nicholas went off straight to the Moujik and said:
Well, they argued and argued; then they went their separate ways. St. Nicholas went straight to the Moujik and said:
“Sell all your corn at once, just as it stands, to the Priest of Elijah.[445] If you don’t, nothing will be left of it: it will all be beaten flat by hail.”
“Sell all your corn at once, just as it is, to the Priest of Elijah.[445] If you don’t, there won’t be anything left: it will all be flattened by hail.”
Off rushed the Moujik to the Priest.
Off rushed the peasant to the Priest.
“Won’t your Reverence buy some standing corn? I’ll sell my whole crop. I’m in such pressing need of money just now. It’s a case of pay up with me! Buy it, Father! I’ll sell it cheap.”
“Won’t you please buy some standing corn? I’ll sell my entire crop. I really need money right now. It’s urgent for me! Buy it, Father! I’ll sell it at a low price.”
[Pg 345] They bargained and bargained, and came to an agreement. The Moujik got his money and went home.
[Pg 345] They negotiated and negotiated, and finally came to an agreement. The peasant got his money and went home.
Some little time passed by. There gathered together, there came rolling up, a stormcloud; with a terrible raining and hailing did it empty itself over the Moujik’s cornfields, cutting down all the crop as if with a knife—not even a single blade did it leave standing.
Some time went by. A storm cloud formed and rolled in; it poured down rain and hail, devastating the peasant's cornfields, cutting down all the crops as if with a knife—leaving not a single blade standing.
Next day Elijah and Nicholas walked past. Says Elijah:
Next day, Elijah and Nicholas walked by. Elijah says:
“Only see how I’ve devastated the Moujik’s cornfield!”
“Just look at how I’ve ruined the peasant's cornfield!”
“The Moujik’s! No, brother! Devastated it you have splendidly, only that field belongs to the Elijah Priest, not to the Moujik.”
“The Moujik’s! No, brother! You’ve ruined it beautifully, but that field belongs to the Elijah Priest, not to the Moujik.”
“To the Priest! How’s that?”
"To the Priest! What's up?"
“Why, this way. The Moujik sold it last week to the Elijah Priest, and got all the money for it. And so, methinks, the Priest may whistle for his money!”
“Why, this way. The peasant sold it last week to the Elijah Priest and got all the money for it. And so, I think the Priest can whistle for his money!”
“Stop a bit!” said Elijah. “I’ll set the field all right again. It shall be twice as good as it was before.”
“Hold on a second!” said Elijah. “I’ll fix the field up right. It’ll be twice as good as it was before.”
They finished talking, and went each his own way. St. Nicholas returned to the Moujik, and said:
They finished their conversation and went their separate ways. St. Nicholas went back to the Moujik and said:
“Go to the Priest and buy back your crop—you won’t lose anything by it.”
“Go to the Priest and buy back your crop—you won’t lose anything by doing it.”
The Moujik went to the Priest, made his bow, and said:
The peasant went to the Priest, bowed, and said:
“I see, your Reverence, God has sent you a misfortune—the hail has beaten the whole field so flat you might roll a ball over it. Since things are so, let’s go halves in the loss. I’ll take my field back, and here’s half of your money for you to relieve your distress.”
“I see, your Grace, God has brought you bad luck—the hail has flattened the entire field so much you could roll a ball over it. Since that’s the case, let’s split the loss. I’ll take my field back, and here’s half of your money to help ease your troubles.”
The Priest was rejoiced, and they immediately struck hands on the bargain.
The Priest was happy, and they quickly shook hands on the deal.
Meanwhile—goodness knows how—the Moujik’s ground began to get all right. From the old roots shot forth new tender stems. Rain-clouds came sailing exactly over the cornfield and gave the soil to drink. There sprang up a marvellous crop—tall and thick. As to weeds, there positively was not one to be [Pg 346] seen. And the ears grew fuller and fuller, till they were fairly bent right down to the ground.
Meanwhile—who knows how—the peasant's land started to improve. New, tender shoots sprang up from the old roots. Rain clouds drifted right over the cornfield and soaked the soil. A remarkable crop blossomed—tall and thick. There wasn't a single weed in sight. The ears of corn grew fuller and fuller, bending all the way down to the ground.
Then the dear sun glowed, and the rye grew ripe—like so much gold did it stand in the fields. Many a sheaf did the Moujik gather, many a heap of sheaves did he set up; and now he was beginning to carry the crop, and to gather it together into ricks.
Then the warm sun shone, and the rye turned golden—standing in the fields like a sea of gold. The farmer collected many bundles, stacking up heaps of sheaves; now he was starting to haul in the harvest, gathering it into stacks.
At that very time Elijah and Nicholas came walking by again. Joyfully did the Prophet gaze on all the land, and say:
At that moment, Elijah and Nicholas walked by again. The Prophet looked out joyfully over the land and said:
“Only look, Nicholas! what a blessing! Why, I have rewarded the Priest in such wise, that he will never forget it all his life.”
“Just look, Nicholas! What a gift! I’ve given the Priest a reward so memorable that he’ll never forget it for the rest of his life.”
“The Priest? No, brother! the blessing indeed is great, but this land, you see, belongs to the Moujik. The Priest hasn’t got anything whatsoever to do with it.”
“The Priest? No, man! The blessing is definitely great, but this land, you see, belongs to the common people. The Priest has nothing to do with it at all.”
“What are you talking about?”
“What are you saying?”
“It’s perfectly true. When the hail beat all the cornfield flat, the Moujik went to the Priest and bought it back again at half price.”
“It’s absolutely true. When the hail flattened the entire cornfield, the peasant went to the Priest and bought it back for half price.”
“Stop a bit!” says Elijah. “I’ll take the profit out of the corn. However many sheaves the Moujik may lay on the threshing-floor, he shall never thresh out of them more than a peck[446] at a time.”
“Hold on a second!” says Elijah. “I’ll take the profit from the corn. No matter how many sheaves the farmer puts on the threshing floor, he will never be able to thresh more than a peck[446] at a time.”
“A bad piece of work!” thinks St. Nicholas. Off he went at once to the Moujik.
“A terrible piece of work!” thinks St. Nicholas. He immediately went to the Moujik.
“Mind,” says he, “when you begin threshing your corn, never put more than one sheaf at a time on the threshing-floor.”
“Listen,” he says, “when you start threshing your corn, never put more than one sheaf at a time on the threshing floor.”
The Moujik began to thresh: from every sheaf he got a peck of grain. All his bins, all his storehouses, he crammed with rye; but still much remained over. So he built himself new barns, and filled them as full as they could hold.
The peasant started to thresh: from each sheaf, he collected a peck of grain. He packed all his bins and storehouses with rye, yet there was still a lot left. So he constructed new barns and filled them to the max.
Well, one day Elijah and Nicholas came walking past his homestead, and the Prophet began looking here and there, and said:
Well, one day Elijah and Nicholas were walking by his farm, and the Prophet started looking around and said:
[Pg 347] “Do you see what barns he’s built? has he got anything to put into them?”
[Pg 347] “Do you see what barns he’s built? Does he have anything to put in them?”
“They’re quite full already,” answers Nicholas.
“They're already quite full,” Nicholas replies.
“Why, wherever did the Moujik get such a lot of grain?”
“Where on earth did the peasant get so much grain?”
“Bless me! Why, every one of his sheaves gave him a peck of grain. When he began to thresh he never put more than one sheaf at a time on the threshing-floor.”
“Wow! Every single one of his sheaves yielded a peck of grain. When he started threshing, he never placed more than one sheaf on the threshing floor at a time.”
“Ah, brother Nicholas!” said Elijah, guessing the truth, “it’s you who go and tell the Moujik everything!”
“Ah, brother Nicholas!” said Elijah, realizing the truth, “you're the one who goes and tells the Moujik everything!”
“What an idea! that I should go and tell—”
“What an idea! That I should go and tell—”
“As you please; that’s your doing! But that Moujik sha’n’t forget me in a hurry!”
“As you wish; that’s up to you! But that peasant won't forget me anytime soon!”
“Why, what are you going to do to him?”
“Why, what are you going to do to him?”
“What I shall do, that I won’t tell you,” replies Elijah.
“What I’m going to do, I won’t tell you,” replies Elijah.
“There’s a great danger coming,” thinks St. Nicholas, and he goes to the Moujik again, and says:
“There’s a big danger coming,” thinks St. Nicholas, and he goes to the Moujik again and says:
“Buy two tapers, a big one and a little one, and do thus and thus with them.”
“Buy two candles, a large one and a small one, and do this and that with them.”
Well, next day the Prophet Elijah and St. Nicholas were walking along together in the guise of wayfarers, and they met the Moujik, who was carrying two wax tapers—one, a big rouble one, and the other, a tiny copeck one.
Well, the next day, the Prophet Elijah and St. Nicholas were strolling together as travelers when they ran into the Moujik, who was carrying two wax candles—one large rouble candle and the other a small copeck candle.
“Where are you going, Moujik?” asked St. Nicholas.
“Where are you headed, Moujik?” asked St. Nicholas.
“Well, I’m going to offer a rouble taper to Prophet Elijah; he’s been ever so good to me! When my crops were ruined by the hail, he bestirred himself like anything, and gave me a plentiful harvest, twice as good as the other would have been.”
“Well, I’m going to offer a rouble taper to Prophet Elijah; he’s been really good to me! When my crops were ruined by the hail, he worked hard and gave me a plentiful harvest, twice as good as what I would have had.”
“And the copeck taper, what’s that for?”
“And the copeck taper, what’s that for?”
“Why, that’s for Nicholas!” said the peasant and passed on.
“Why, that’s for Nicholas!” said the peasant and walked on.
“There now, Elijah!” says Nicholas, “you say I go and tell everything to the Moujik—surely you can see for yourself how much truth there is in that!”
“There now, Elijah!” Nicholas says, “you claim I go and tell everything to the peasant—can’t you see for yourself how little truth there is in that!”
Thereupon the matter ended. Elijah was appeased and didn’t threaten to hurt the Moujik any more. And the Moujik [Pg 348] led a prosperous life, and from that time forward he held in equal honor Elijah’s Day and Nicholas’s Day.
Thereafter, the situation was resolved. Elijah calmed down and no longer threatened to harm the Moujik. The Moujik [Pg 348] lived a successful life, and from then on, he celebrated both Elijah’s Day and Nicholas’s Day with equal respect.
It is not always to the Prophet Ilya that the power once attributed to Perun is now ascribed. The pagan wielder of the thunderbolt is represented in modern traditions by more than one Christian saint. Sometimes, as St. George, he transfixes monsters with his lance; sometimes, as St. Andrew, he smites with his mace a spot given over to witchcraft. There was a village (says one of the legends of the Chernigof Government) in which lived more than a thousand witches, and they used to steal the holy stars, until at last “there was not one left to light our sinful world.” Then God sent the holy Andrew, who struck with his mace—and all that village was swallowed up by the earth, and the place thereof became a swamp.[447]
It isn't always to the Prophet Ilya that the power once attributed to Perun is now given. The pagan thunderbolt wielder is represented in modern traditions by more than one Christian saint. Sometimes, as St. George, he pierces monsters with his lance; other times, as St. Andrew, he strikes a spot dedicated to witchcraft with his mace. There was a village (according to one of the legends from the Chernigof Government) where more than a thousand witches lived, and they would steal the holy stars, until finally, "there was not one left to light our sinful world." Then God sent the holy Andrew, who struck with his mace—and the entire village was swallowed up by the earth, and the area became a swamp.[447]
About St. George many stories are told, and still more ballads (if we may be allowed to call them so) are sung. Under the names of Georgy, Yury, and Yegory the Brave, he is celebrated as a patron as well of wolves as of flocks and herds, as a Christian Confessor struggling and suffering for the faith amid pagan foes, and as a chivalrous destroyer of snakes and dragons. The discrepancies which exist between the various representations given of his character and his functions are very glaring, but they may be explained by the fact that a number of legendary ideas sprung from separate sources have become associated with his name; so that in one story his actions are in keeping with the character of an old Slavonian deity, in another, with that of a Christian or a Buddhist saint.
Many stories are told about St. George, and even more ballads (if we can call them that) are sung. Known by names like Georgy, Yury, and Yegory the Brave, he is celebrated as a protector of both wolves and herds, as a Christian Confessor who struggles and suffers for his faith against pagan enemies, and as a heroic slayer of snakes and dragons. The differences in the various portrayals of his character and role are quite noticeable, but they can be explained by the fact that several legendary ideas from different origins have become linked to his name; so in one story his actions align with those of an ancient Slavic deity, while in another, they reflect those of a Christian or a Buddhist saint.
In some parts of Russia, when the cattle go out for the [Pg 349] first time to the spring pastures, a pie, made in the form of a sheep, is cut up by the chief herdsman, and the fragments are preserved as a remedy against the diseases to which sheep are liable. On St. George’s Day in spring, April 23, the fields are sanctified by a church service, at the end of which they are sprinkled with holy water. In the Tula Government a similar service is held over the wells. On the same day, in some parts of Russia, a youth (who is called by the Slovenes the Green Yegory) is dressed like our own “Jack in the Green,” with foliage and flowers. Holding a lighted torch in one hand and a pie in the other, he goes out to the cornfields, followed by girls singing appropriate songs. A circle of brushwood is then lighted, in the centre of which is set the pie. All who take part in the ceremony then sit down around the fire, and eventually the pie is divided among them.
In some areas of Russia, when the cattle first head out to the spring pastures, the chief herdsman cuts up a pie shaped like a sheep, and the pieces are kept as a remedy for the diseases that can affect sheep. On St. George’s Day in spring, April 23, the fields are blessed with a church service, and at the end, they are sprinkled with holy water. In the Tula region, a similar service is held over the wells. On the same day, in some parts of Russia, a young man (known by the Slovenes as the Green Yegory) dresses up like our own “Jack in the Green,” adorned with foliage and flowers. Holding a lit torch in one hand and a pie in the other, he heads out to the cornfields, followed by girls singing traditional songs. Then, a circle of brushwood is lit, with the pie set in the center. Everyone involved in the ceremony sits around the fire, and eventually, the pie is shared among them.
Numerous legends speak of the strange connection which exists between St. George and the Wolf. In Little Russia that animal is called “St. George’s Dog,” and the carcases of sheep which wolves have killed are not used for human food, it being held that they have been assigned by divine command to the beasts of the field. The human victim whom St. George has doomed to be thus destroyed nothing can save. A man, to whom such a fate had been allotted, tried to escape from his assailants by hiding behind a stove; but a wolf transformed itself into a cat, and at midnight, when all was still, it stole into the house and seized the appointed prey. A hunter, who had been similarly doomed, went on killing wolves for some time, and hanging up their skins; but when the fatal hour arrived, one of the skins became a wolf, and slew him by whom it had before been slain. In Little Russia the [Pg 350] wolves have their own herdsman[448]—a being like unto a man, who is often seen in company with St. George. There were two brothers (says a popular tale), the one rich, the other poor. The poor brother had climbed up a tree one night, and suddenly he saw beneath him what seemed to be two men—the one driving a pack of wolves, the other attending to the conveyance of a quantity of bread. These two beings were St. George and the Lisun. And St. George distributed the bread among the wolves, and one loaf which remained over he gave to the poor brother; who afterwards found that it was of a miraculous nature, always renewing itself and so supplying its owner with an inexhaustible store of bread. The rich brother, hearing the story, climbed up the tree one night in hopes of obtaining a similar present. But that night St. George found that he had no bread to give to one of his wolves, so he gave it the rich brother instead.[449]
Numerous legends talk about the strange connection between St. George and the Wolf. In Little Russia, that animal is known as “St. George’s Dog,” and the carcasses of sheep killed by wolves are not used for human food, as it is believed that they have been designated by divine command for the beasts of the field. No one can save the human victim whom St. George has marked for destruction. A man who was destined for such a fate tried to escape from his attackers by hiding behind a stove; however, a wolf transformed into a cat and, at midnight when everything was quiet, sneaked into the house and seized the chosen victim. A hunter who had been similarly marked went on killing wolves for a while, hanging up their skins; but when the crucial moment came, one of the skins turned into a wolf and killed the hunter who had previously slain it. In Little Russia, the wolves have their own herdsman—a being much like a man, often seen alongside St. George. There were two brothers (according to a popular story), one rich and the other poor. One night, the poor brother climbed a tree, and suddenly he saw beneath him what looked like two men—one driving a pack of wolves, and the other carrying a bunch of bread. These two figures were St. George and the Lisun. St. George distributed the bread among the wolves, and the one loaf that was left over he gave to the poor brother, who later discovered it was miraculous, always renewing itself and providing him with an endless supply of bread. The rich brother, hearing the tale, climbed the tree one night hoping to receive a similar gift. But that night St. George found he had no bread to give to one of his wolves, so he gave it to the rich brother instead.[449]
One of the legends attributes strange forgetfulness on one occasion to St. George. A certain Gypsy who had a wife and seven children, and nothing to feed them with, was standing by a roadside lost in reflection, when Yegory the Brave came riding by. Hearing that the saint was on his way to heaven, the Gypsy besought him to ask of God how he was to support his family. St. George promised to do so, but forgot. Again the Gypsy saw him riding past, and again the saint promised and forgot. In a third interview the Gypsy asked him to leave behind his golden stirrup as a pledge.
One of the legends tells of St. George having a strange moment of forgetfulness. A certain Gypsy, who had a wife and seven kids and nothing to feed them, was standing by the roadside deep in thought when Yegory the Brave rode by. Hearing that the saint was on his way to heaven, the Gypsy pleaded with him to ask God how he could provide for his family. St. George promised to do it, but then forgot. The Gypsy saw him ride by again, and once more, the saint promised and forgot. During their third encounter, the Gypsy asked him to leave his golden stirrup as a token.
A third time St. George leaves the presence of the Lord without remembering the commission with which he [Pg 351] has been entrusted. But when he is about to mount his charger the sight of the solitary stirrup recalls it to his mind. So he returns and states the Gypsy’s request, and obtains the reply that “the Gypsy’s business is to cheat and to swear falsely.” As soon as the Gypsy is told this, he thanks the Saint and goes off home.
A third time, St. George leaves the Lord's presence without remembering the mission he’s been given. But just as he’s about to get on his horse, the sight of the empty stirrup jogs his memory. So, he goes back and shares the Gypsy’s request, getting the response that “the Gypsy’s job is to deceive and lie.” Once the Gypsy hears this, he thanks the Saint and heads home.
“Where are you going?” cries Yegory. “Give me back my golden stirrup.”
“Where are you going?” Yegory shouts. “Give me back my golden stirrup.”
“What stirrup?” asks the Gypsy.
“What stirrup?” asks the traveler.
“Why, the one you took from me.”
“Why, the one you took from me.”
“When did I take one from you? I see you now for the first time in my life, and never a stirrup did I ever take, so help me Heaven!”
"When did I take one from you? I'm seeing you for the first time in my life, and I swear I never took a stirrup."
So Yegory had to go away without getting his stirrup back.[450]
So Yegory had to leave without getting his stirrup back.[450]
There is an interesting Bulgarian legend in which St. George appears in his Christian capacity of dragon-slayer, but surrounded by personages belonging to heathen mythology. The inhabitants of the pagan city of Troyan, it states, “did not believe in Christ, but in gold and silver.” Now there were seventy conduits in that city which supplied it with spring-water; and the Lord made these conduits run with liquid gold and silver instead of water, so that all the people had as much as they pleased of the metals they worshipped, but they had nothing to drink.
There’s an intriguing Bulgarian legend where St. George shows up as a dragon-slaying Christian hero, but he’s surrounded by figures from pagan mythology. According to the story, the people of the pagan city of Troyan “did not believe in Christ, but in gold and silver.” The city had seventy conduits bringing spring water, but God changed them so they flowed with liquid gold and silver instead of water. This way, everyone got as much of the metals they worshipped as they wanted, but they had nothing to drink.
After a time the Lord took pity upon them, and there appeared at a little distance from the city a deep lake. To this they used to go for water. Only the lake was guarded by a terrible monster, which daily devoured a maiden, whom the inhabitants of Troyan were obliged to give to it in return for leave to make use of the lake. [Pg 352] This went on for three years, at the end of which time it fell to the lot of the king’s daughter to be sacrificed by the monster. But when the Troyan Andromeda was exposed on the shore of the lake, a Perseus arrived to save her in the form of St. George. While waiting for the monster to appear, the saint laid his head on her knees, and she dressed his locks. Then he fell into so deep a slumber that the monster drew nigh without awaking him. But the Princess began to weep bitterly, and her scalding tears fell on the face of St. George and awoke him, and he slew the monster, and afterwards converted all the inhabitants of Troyan to Christianity.[451]
After a while, the Lord felt compassion for them, and a deep lake appeared not far from the city. They used to go there for water. However, the lake was guarded by a terrifying monster that devoured a maiden every day, which the people of Troyan had to provide in exchange for access to the lake. [Pg 352] This continued for three years, and eventually, it was the king’s daughter who was chosen to be sacrificed to the monster. When the Troyan Andromeda was left on the shore of the lake, a Perseus came to save her in the form of St. George. While waiting for the monster to show up, the saint rested his head on her lap, and she combed his hair. He fell into a deep sleep, and the monster approached without waking him. But the princess began to cry bitterly, and her hot tears fell on St. George's face, waking him up. He then killed the monster and later converted all the people of Troyan to Christianity.[451]
St. Nicholas generally maintains in the legends the kindly character attributed to him in the story in which he and the Prophet Ilya are introduced together. It is to him that at the present day the anxious peasant turns most readily for help, and it is he whom the legends represent as being the most prompt of all the heavenly host to assist the unfortunate among mankind. Thus in one of the stories a peasant is driving along a heavy road one autumn day, when his cart sticks fast in the mire. Just then St. Kasian comes by.
St. Nicholas usually keeps the kind nature associated with him in the tale where he and the Prophet Ilya appear together. Nowadays, it's to him that the worried farmer quickly looks for help, and the legends depict him as the most eager of all the heavenly beings to aid those in need. In one of the stories, a farmer is driving down a rough road one autumn day when his cart gets stuck in the mud. Just then, St. Kasian passes by.
“Help me, brother, to get my cart out of the mud!” says the peasant.
“Help me, brother, to get my cart out of the mud!” says the farmer.
“Get along with you!” replies St. Kasian. “Do you suppose I’ve got leisure to be dawdling here with you!”
"Get out of here!" replies St. Kasian. "Do you think I have the time to waste here with you?"
Presently St. Nicholas comes that way. The peasant addresses the same request to him, and he stops and gives the required assistance.
Currently, St. Nicholas comes that way. The peasant makes the same request to him, and he stops to provide the needed help.
[Pg 353] When the two saints arrive in heaven, the Lord asks them where they have been.
[Pg 353] When the two saints get to heaven, the Lord asks them where they have been.
“I have been on the earth,” replies St. Kasian. “And I happened to pass by a moujik whose cart had stuck in the mud. He cried out to me, saying, ‘Help me to get my cart out!’ But I was not going to spoil my heavenly apparel.”
“I have been on earth,” replies St. Kasian. “I came across a peasant whose cart was stuck in the mud. He shouted to me, saying, ‘Help me get my cart out!’ But I wasn’t about to ruin my heavenly clothes.”
“I have been on the earth,” says St. Nicholas, whose clothes were all covered with mud. “I went along that same road, and I helped the moujik to get his cart free.”
“I’ve been on this earth,” says St. Nicholas, whose clothes were all dirty. “I traveled down that same road and helped the peasant get his cart unstuck.”
Then the Lord says, “Listen, Kasian! Because thou didst not assist the moujik, therefore shall men honor thee by thanksgiving once only every four years. But to thee, Nicholas, because thou didst assist the moujik to set free his cart, shall men twice every year offer up thanksgiving.”
Then the Lord says, “Listen, Kasian! Because you didn’t help the peasant, people will only honor you with thanks once every four years. But to you, Nicholas, because you did help the peasant free his cart, people will offer thanks to you twice a year.”
“Ever since that time,” says the story, “it has been customary to offer prayers and thanksgiving (molebnui) to Nicholas twice a year, but to Kasian only once every leap-year.”[452]
“Ever since that time,” the story goes, “it has been customary to offer prayers and thanks (molebnui) to Nicholas twice a year, but to Kasian only once every leap year.”[452]
In another story St. Nicholas comes to the aid of an adventurer who watches beside the coffin of a bewitched princess. There were two moujiks in a certain village, we are told, one of whom was very rich and the other very poor. One day the poor man, who was in great distress, went to the house of the rich man and begged for a loan.
In another story, St. Nicholas helps an adventurer who is keeping watch by the coffin of a bewitched princess. There were two peasants in a certain village, we are told; one was very rich, and the other was very poor. One day, the poor man, in great distress, went to the rich man's house and asked for a loan.
“I will repay it, on my word. Here is Nicholas as a surety,” he cried, pointing to a picture of St. Nicholas.
“I'll pay it back, I promise. Here’s Nicholas as a guarantee,” he exclaimed, pointing to a picture of St. Nicholas.
Thereupon the rich man lent him twenty roubles. The day for repayment came, but the poor man had not a single [Pg 354] copeck. Furious at his loss, the rich man rushed to the picture of St. Nicholas, crying—
Thereupon the wealthy man lent him twenty rubles. The repayment day arrived, but the poor man didn’t have a single penny. Furious at his loss, the wealthy man rushed to the picture of St. Nicholas, shouting—
“Why don’t you pay up for that pauper? You stood surety for him, didn’t you?”
“Why don’t you pay for that poor guy? You assured him, right?”
And as the picture made no reply, he tore it down from the wall, set it on a cart and drove it away, flogging it as he went, and crying—
And since the picture didn’t respond, he ripped it off the wall, put it on a cart, and took it away, whipping it as he went and shouting—
“Pay me my money! Pay me my money!”
“Pay me what you owe! Pay me what you owe!”
As he drove past the inn a young merchant saw him, and cried—
As he drove past the inn, a young merchant saw him and shouted—
“What are you doing, you infidel!”
“What are you doing, you unbeliever!”
The moujik explained that as he could not get his money back from a man who was in his debt, he was proceeding against a surety; whereupon the merchant paid the debt, and thereby ransomed the picture, which he hung up in a place of honor, and kept a lamp burning before it. Soon afterwards an old man offered his services to the merchant, who appointed him his manager; and from that time all things went well with the merchant.
The peasant explained that since he couldn’t get his money back from a guy who owed him, he was going after a guarantor. The merchant then paid the debt, which saved the painting, and he hung it up in a prominent spot, keeping a lamp lit in front of it. Not long after, an older man offered to work for the merchant, who hired him as his manager; from then on, everything went smoothly for the merchant.
But after a while a misfortune befell the land in which he lived, for “an evil witch enchanted the king’s daughter, who lay dead all day long, but at night got up and ate people.” So she was shut up in a coffin and placed in a church, and her hand, with half the kingdom as her dowry, was offered to any one who could disenchant her. The merchant, in accordance with his old manager’s instructions, undertook the task, and after a series of adventures succeeded in accomplishing it. The last words of one of the narrators of the story are, “Now this old one was no mere man. He was Nicholas himself, the saint of God.”[453]
But after a while, a disaster struck the land where he lived, because “an evil witch cursed the king’s daughter, who lay lifeless all day but came alive at night to eat people.” So she was locked in a coffin and placed in a church, and her hand, along with half the kingdom as her dowry, was offered to anyone who could break the curse. The merchant, following the instructions of his former manager, took on the challenge and, after a series of adventures, managed to succeed. The last words of one of the narrators of the story are, “Now this old one was no ordinary man. He was Nicholas himself, the saint of God.”[453]
[Pg 355] With one more legend about this favorite saint, I will conclude this section of the present chapter. In some of its incidents it closely resembles the story of “The Smith and the Demon,” which was quoted in the first chapter.
[Pg 355] I’ll wrap up this part of the chapter with one more tale about this beloved saint. Some of its events are quite similar to the story of “The Smith and the Demon,” which was referenced in the first chapter.
The Priest with the Greedy Eyes.[454]
In the parish of St. Nicholas there lived a Pope. This Pope’s eyes were thoroughly pope-like.[455] He served Nicholas several years, and went on serving until such time as there remained to him nothing either for board or lodging. Then our Pope collected all the church keys, looked at the picture of Nicholas, thumped him, out of spite, over the shoulders with the keys, and went forth from his parish as his eyes led him. And as he walked along the road he suddenly lighted upon an unknown man.
In the parish of St. Nicholas, there lived a Pope. This Pope had very pope-like eyes.[455] He served Nicholas for several years and kept serving until he had nothing left for food or a place to stay. Then our Pope gathered all the church keys, looked at the picture of Nicholas, and, out of spite, hit him on the shoulders with the keys before leaving his parish as his eyes guided him. As he walked down the road, he unexpectedly encountered an unknown man.
“Hail, good man!” said the stranger to the Pope. “Whence do you come and whither are you going? Take me with you as a companion.”
“Hail, good man!” said the stranger to the Pope. “Where are you from and where are you headed? Take me with you as a companion.”
Well, they went on together. They walked and walked for several versts, then they grew tired. It was time to seek repose. Now the Pope had a few biscuits in his cassock, and the companion he had picked up had a couple of small loaves.[456]
Well, they continued on together. They walked for several versts, but then they got tired. It was time to take a break. The Pope had a few biscuits in his cassock, and the companion he had picked up had a couple of small loaves.[456]
“Let’s eat your loaves first,” says the Pope, “and afterwards we’ll take to the biscuits, too.”
“Let’s eat your bread first,” says the Pope, “and then we’ll have the cookies, too.”
“Agreed!” replies the stranger. “We’ll eat my loaves, and keep your biscuits for afterwards.”
“Sounds good!” replies the stranger. “We’ll eat my loaves, and save your biscuits for later.”
Well, they ate away at the loaves; each of them ate his fill, but the loaves got no smaller. The Pope grew envious: “Come,” thinks he, “I’ll steal them from him!” After the meal the old man lay down to take a nap, but the Pope kept scheming how to steal the loaves from him. The old man went [Pg 356] to sleep. The Pope drew the loaves out of his pocket and began quietly nibbling them at his seat. The old man awoke and felt for his loaves; they were gone!
Well, they munched on the loaves; each of them ate until satisfied, but the loaves didn’t get any smaller. The Pope became jealous: “I’ll take them from him!” he thought. After the meal, the old man lay down to take a nap, but the Pope kept plotting to steal the loaves. The old man went to sleep. The Pope pulled the loaves out of his pocket and started quietly nibbling on them in his spot. The old man woke up and reached for his loaves; they were gone!
“Where are my loaves?” he exclaimed; “who has eaten them? was it you, Pope?”
“Where are my loaves?” he shouted. “Who ate them? Was it you, Pope?”
“No, not I, on my word!” replied the Pope.
“No, not me, I swear!” replied the Pope.
“Well, so be it,” said the old man.
“Well, so be it,” said the old man.
They gave themselves a shake, and set out again on their journey. They walked and walked; suddenly the road branched off in two different directions. Well, they both went the same way, and soon reached a certain country. In that country the King’s daughter lay at the point of death, and the King had given notice that to him who should cure his daughter he would give half of his kingdom, and half of his goods and possessions; but if any one undertook to cure her and failed, he should have his head chopped off and hung up on a stake. Well, they arrived, elbowed their way among the people in front of the King’s palace, and gave out that they were doctors. The servant came out from the King’s palace, and began questioning them:
They shook themselves off and continued on their journey. They walked for a while, and then the road split into two directions. Both paths seemed to lead the same way, and before long, they reached a certain country. In that country, the King’s daughter was gravely ill, and the King had announced that he would give half of his kingdom and half of his wealth to whoever could heal her. But, if anyone tried and failed, they would have their head chopped off and displayed on a stake. When they arrived, they forced their way through the crowd in front of the King’s palace and claimed to be doctors. A servant came out from the King’s palace and began questioning them:
“Who are you? from what cities, of what families? what do you want?”
“Who are you? Which cities are you from, and what families do you belong to? What do you want?”
“We are doctors,” they replied; “we can cure the Princess!”
“We’re doctors,” they replied; “we can treat the Princess!”
“Oh! if you are doctors, come into the palace.”
“Oh! If you’re doctors, come into the palace.”
So they went into the palace, saw the Princess, and asked the King to supply them with a private apartment, a tub of water, a sharp sword, and a big table. The King supplied them with all these things. Then they shut themselves up in the private apartment, laid the Princess on the big table, cut her into small pieces with the sharp sword, flung them into the tub of water, washed them, and rinsed them. Afterwards they began putting the pieces together; when the old man breathed on them the different pieces stuck together. When he had put all the pieces together properly, he gave them a final puff of breath: the Princess began to quiver, and then arose alive and well! The King came in person to the door of their room, and cried:
So they went into the palace, saw the Princess, and asked the King for a private room, a tub of water, a sharp sword, and a big table. The King provided them with everything they requested. Then they locked themselves in the private room, placed the Princess on the big table, cut her into small pieces with the sharp sword, tossed them into the tub of water, washed them, and rinsed them. Afterward, they started putting the pieces back together; when the old man breathed on them, the different pieces stuck together. Once he had reassembled all the pieces correctly, he gave them one last puff of breath: the Princess started to quiver, and then stood up, alive and well! The King himself came to the door of their room and shouted:
[Pg 357] “In the name of the Father, and the Son, and the Holy Ghost!”
[Pg 357] “In the name of the Father, the Son, and the Holy Spirit!”
“Amen!” they replied.
“Amen!” they said.
“Have you cured the Princess?” asked the King.
“Have you healed the Princess?” asked the King.
“We’ve cured her,” say the doctors. “Here she is!”
“We’ve cured her,” say the doctors. “Here she is!”
Out went the Princess to the King, alive and well.
Out went the Princess to the King, alive and well.
Says the King to the doctors: “What sort of valuables will you have? would you like gold or silver? Take whatever you please.”
Says the King to the doctors: “What kind of valuables do you want? Do you prefer gold or silver? Take whatever you want.”
Well, they began taking gold and silver. The old man used only a thumb and two fingers, but the Pope seized whole handfuls, and kept on stowing them away in his wallet—shovelling them into it, and then lifting it a bit to see if he was strong enough to carry it.
Well, they started collecting gold and silver. The old man used just his thumb and two fingers, but the Pope grabbed whole handfuls and kept stuffing them into his wallet—shoveling them in and then lifting it slightly to see if he was strong enough to carry it.
At last they took their leave of the King and went their way. The old man said to the Pope, “We’ll bury this money in the ground, and go and make another cure.” Well, they walked and walked, and at length they reached another country. In that country, also, the King had a daughter at the point of death, and he had given notice that whoever cured his daughter should have half of his kingdom and of his goods and possessions; but if he failed to cure her he should have his head chopped off and hung up on a stake.[457] Then the Evil One afflicted the envious Pope, suggesting to him “Why shouldn’t he go and perform the cure by himself, without saying a word to the old man, and so lay hold of all the gold and silver for himself?” So the Pope walked about in front of the royal gates, forced himself on the notice of the people there, and gave out that he was a doctor. In the same way as before he asked the King for a private room, a tub of water, a large table, and a sharp sword. Shutting himself up in the private room, he laid the Princess on the table, and began chopping her up with the sharp sword; and however much the Princess might scream or squeal, the Pope, without [Pg 358] paying any attention to either screaming or squealing, went on chopping and chopping just as if she had been so much beef. And when he had chopped her up into little pieces, he threw them into the tub, washed them, rinsed them, and then put them together bit by bit, exactly as the old man had done, expecting to see all the pieces unite with each other. He breathes on them—but nothing happens! He gives another puff—worse than ever! See, the Pope flings the pieces back again into the water, washes and washes, rinses and rinses, and again puts them together bit by bit. Again he breathes on them—but still nothing comes of it.
At last, they said goodbye to the King and went on their way. The old man said to the Pope, “Let’s bury this money in the ground and go make another cure.” So, they walked for a long time until they reached another country. In this country, the King had a daughter who was near death, and he had announced that whoever could cure her would receive half of his kingdom and all his possessions; but if they failed, they would lose their head and be displayed on a stake.[457] Then the Evil One tempted the envious Pope, suggesting, “Why not perform the cure himself without telling the old man and keep all the gold and silver for himself?” So, the Pope lingered in front of the royal gates, drew attention to himself, and declared that he was a doctor. Just like before, he asked the King for a private room, a tub of water, a large table, and a sharp sword. Once alone in the room, he placed the Princess on the table and began to chop her up with the sword; regardless of how much the Princess screamed or cried, the Pope ignored her completely and kept chopping her up as if she were just a piece of meat. When he had chopped her into little pieces, he tossed them into the tub, washed them, rinsed them, and then started to put them back together piece by piece, expecting the parts to unite like the old man had done. He breathed on them—but nothing happened! He puffed again—worse than before! So, the Pope threw the pieces back into the water, washed and washed, rinsed and rinsed, and again began to reassemble them piece by piece. He breathed on them again—but still, nothing came of it.
“Woe is me,” thinks the Pope; “here’s a mess!”
“Wow, this is a disaster!” thinks the Pope.
Next morning the King arrives and looks—the doctor has had no success at all—he’s only messed the dead body all over with muck!
Next morning, the King shows up and sees—the doctor hasn’t succeeded at all—he’s just made a mess of the dead body with filth!
The King ordered the doctor off to the gallows. Then our Pope besought him, crying—
The King ordered the doctor to the gallows. Then our Pope pleaded with him, crying—
“O King! O free to do thy will! Spare me for a little time! I will run for the old man, he will cure the Princess.”
“O King! O free to do your will! Please give me a little time! I’ll go for the old man; he will heal the Princess.”
The Pope ran off in search of the old man. He found the old man, and cried:
The Pope ran off to find the old man. He located the old man and shouted:
“Old man! I am guilty, wretch that I am! The Devil got hold of me. I wanted to cure the King’s daughter all by myself, but I couldn’t. Now they’re going to hang me. Do help me!”
"Old man! I'm guilty, what a mess I've gotten into! The Devil took over. I wanted to save the King's daughter all on my own, but I couldn't do it. Now they're going to hang me. Please help me!"
The old man returned with the Pope.
The old man came back with the Pope.
The Pope was taken to the gallows. Says the old man to the Pope:
The Pope was brought to the gallows. The old man said to the Pope:
“Pope! who ate my loaves?”
“Pope! Who took my bread?”
“Not I, on my word! So help me Heaven, not I!”
"Not me, I swear! As God is my witness, not me!"
The Pope was hoisted on to the second step. Says the old man to the Pope:
The Pope was lifted onto the second step. The old man says to the Pope:
“Pope! who ate my loaves?”
"Pope! Who took my bread?"
“Not I, on my word! So help me Heaven, not I!”
“Not me, I swear! So help me God, not me!”
He mounted the third step—and again it was “Not I!” And now his head was actually in the noose—but it’s “Not I!” [Pg 359] all the same. Well, there was nothing to be done! Says the old man to the King:
He stepped up onto the third step—and once more it was “Not me!” And now his head was really in the noose—but it’s still “Not me!” [Pg 359] But there was nothing that could be done! The old man said to the King:
“O King! O free to do thy will! Permit me to cure the Princess. And if I do not cure her, order another noose to be got ready. A noose for me, and a noose for the Pope!”
“O King! O free to act as you choose! Let me heal the Princess. And if I fail, have another noose prepared. One for me, and one for the Pope!”
Well, the old man put the pieces of the Princess’s body together, bit by bit, and breathed on them—and the Princess stood up alive and well. The King recompensed them both with silver and gold.
Well, the old man carefully put the pieces of the Princess’s body together, bit by bit, and breathed on them—and the Princess stood up, alive and well. The King rewarded them both with silver and gold.
“Let’s go and divide the money, Pope,” said the old man.
“Let’s go split the money, Pope,” said the old man.
So they went. They divided the money into three heaps. The Pope looked at them, and said:
So they went. They split the money into three piles. The Pope looked at them and said:
“How’s this? There’s only two of us. For whom is this third share?”
“How's this? There are only two of us. Who is this third share for?”
“That,” says the old man, “is for him who ate my loaves.”
“That,” says the old man, “is for the one who ate my bread.”
“I ate them, old man,” cries the Pope; “I did really, so help me Heaven!”
“I ate them, old man,” the Pope cries; “I really did, so help me God!”
“Then the money is yours,” says the old man. “Take my share too. And now go and serve in your parish faithfully; don’t be greedy, and don’t go hitting Nicholas over the shoulders with the keys.”
“Then the money is yours,” says the old man. “Take my share too. And now go and serve in your parish faithfully; don’t be greedy, and don’t go hitting Nicholas on the shoulders with the keys.”
Thus spake the old man, and straightway disappeared.
Thus said the old man, and immediately vanished.
[The principal motive of this story is, of course, the same as that of “The Smith and the Demon,” in No. 13 (see above, p. 70). A miraculous cure is effected by a supernatural being. A man attempts to do likewise, but fails. When about to undergo the penalty of his failure, he is saved by that being, who reads him a moral lesson. In the original form of the tale the supernatural agent was probably a demigod, whom a vague Christian influence has in one instance degraded into the Devil, in another, canonized as St. Nicholas.
[The main point of this story is, of course, the same as that of “The Smith and the Demon,” in No. 13 (see above, p. 70). A miraculous cure is performed by a supernatural being. A man tries to do the same but fails. Just as he’s about to face the consequences of his failure, he is saved by that being, who gives him a moral lesson. In the original version of the tale, the supernatural agent was likely a demigod, which a vague Christian influence has, in one case, turned into the Devil, and in another, canonized as St. Nicholas.]
The Medea’s cauldron episode occurs in very many folk-tales, such as the German “Bruder Lustig” (Grimm, No. 81) and “Das junge geglühte Männlein” (Grimm, No. 147), in the latter of which our Lord, accompanied by St. Peter, spends a night in a Smith’s house, and makes an old beggar-man young by first placing him in the fire, and then plunging him into water. After the departure of his visitors, the Smith tries a similar experiment on his mother-in-law, but quite unsuccessfully. In the corresponding Norse tale of “The Master-Smith,” (Asbjörnsen and Moe, No. 21, Dasent, No. 16) an old beggar-woman is the victim of the Smith’s unsuccessful experiment. In another Norse tale, that of “Peik” (Asbjörnsen’s New Series, No. 101, p. 219) a king is induced to kill his wife and his daughter in the mistaken belief [Pg 360] that he will be able to restore them to life. In one of the stories of the “Dasakumáracharita,” a king is persuaded to jump into a certain lake in the hope of obtaining a new and improved body. He is then killed by his insidious adviser, who usurps his throne, pretending to be the renovated monarch. In another story in the same collection a king believes that his wife will be able to confer on him by her magic skill “a most celestial figure,” and under that impression confides to her all his secrets, after which she brings about his death. See Wilson’s “Essays,” ii. 217, &c., and 262, &c. Jacob’s “Hindoo Tales,” pp. 180, 315.]
The Medea’s cauldron episode appears in many folktales, such as the German “Bruder Lustig” (Grimm, No. 81) and “Das junge geglühte Männlein” (Grimm, No. 147). In the latter, our Lord, along with St. Peter, spends a night at a blacksmith's house and makes an old beggar man young by putting him in the fire first and then plunging him into water. After the visitors leave, the blacksmith tries a similar experiment on his mother-in-law, but it fails completely. In the related Norse tale, “The Master-Smith” (Asbjörnsen and Moe, No. 21, Dasent, No. 16), an old beggar woman becomes the victim of the blacksmith’s failed attempt. In another Norse story, “Peik” (Asbjörnsen’s New Series, No. 101, p. 219), a king is tricked into killing his wife and daughter, mistakenly believing he can bring them back to life. In one of the tales from the “Dasakumáracharita,” a king is convinced to jump into a specific lake hoping to gain a new and improved body. He is then killed by his deceitful advisor, who takes over his throne, pretending to be the rejuvenated king. In another tale from the same collection, a king thinks his wife can give him an “incredibly divine appearance” with her magical skills and, under this belief, shares all his secrets with her, after which she orchestrates his death. See Wilson’s “Essays,” ii. 217, &c., and 262, &c. Jacob’s “Hindoo Tales,” pp. 180, 315.
II.
About Demons.
From the stories which have already been quoted some idea may be gained of the part which evil spirits play in Russian popular fiction. In one of them (No. 1) figures the ghoul which feeds on the dead, in several (Nos. 37, 38, 45-48) we see the fiend-haunted corpse hungering after human flesh and blood; the history of The Bad Wife (No. 7) proves how a demon may suffer at a woman’s hands, that of The Dead Witch (No. 3) shows to what indignities the remains of a wicked woman may be subjected by the fiends with whom she has chosen to associate. In the Awful Drunkard (No. 6), and the Fiddler in Hell (No. 41), the abode of evil spirits is portrayed, and some light is thrown on their manners and customs; and in the Smith and the Demon (No. 13), the portrait of one of their number is drawn in no unkindly spirit. The difference which exists between the sketches of fiends contained in these stories is clearly marked, so much so that it would of itself be sufficient to prove that there is no slight confusion of ideas in the minds of the Russian peasants with regard to the demoniacal beings whom they generally call chorti or devils. Still more clearly is the contrast between those ideas brought out by the other stories, many in number, into which those powers of darkness enter. It [Pg 362] is evident that the traditions from which the popular conception of the ghostly enemy has been evolved must have been of a complex and even conflicting character.
From the stories already mentioned, we can get a sense of the role evil spirits play in Russian folk tales. In one story (No. 1), there's a ghoul that feeds on the dead, while in several others (Nos. 37, 38, 45-48), we see a corpse haunted by demons that craves human flesh and blood. The tale of The Bad Wife (No. 7) shows how a demon can be tormented by a woman, and The Dead Witch (No. 3) demonstrates the humiliations that the remains of a wicked woman can endure from the demons she chose to associate with. In Awful Drunkard (No. 6) and Fiddler in Hell (No. 41), we get a glimpse into the realm of evil spirits and some insight into their behaviors and customs. In Smith and the Demon (No. 13), we see one of these beings depicted in a relatively sympathetic light. The differences in how these demons are portrayed in the stories are quite distinct, indicating that there is a considerable amount of confusion among Russian peasants regarding the demonic entities they commonly refer to as chorti or devils. The contrast in these ideas is even more apparent in other numerous stories featuring these dark powers. It’s clear that the traditions that shaped the popular view of these ghostly enemies must have been complex and even contradictory.
Of very heterogeneous elements must have been composed the form under which the popular fancy, in Russia as well as in other lands, has embodied the abstract idea of evil. The diabolical characters in the Russian tales and legends are constantly changing the proportions of their figures, the nature of their attributes. In one story they seem to belong to the great and widely subdivided family of Indian demons; in another they appear to be akin to certain fiends of Turanian extraction; in a third they display features which may have been inherited from the forgotten deities of old Slavonic mythology; in all the stories which belong to the “legendary class” they bear manifest signs of having been subjected to Christian influences, the effect of which has been insufficient to do more than slightly to disguise their heathenism.
The form that the popular imagination in Russia and other countries has taken to express the abstract idea of evil must have been made up of very different elements. The wicked characters in Russian tales and legends constantly change their shapes and traits. In one story, they seem to belong to the broad and varied family of Indian demons; in another, they appear to be related to certain fiends of Turanian origin; in a third, they show features that might have come from the forgotten gods of ancient Slavic mythology. In all the stories categorized as “legendary,” they clearly show signs of having been influenced by Christianity, though this influence has only slightly masked their pagan roots.
The old gods of the Slavonians have passed away and left behind but scanty traces of their existence; but still, in the traditions and proverbial expressions of the peasants in various Slavonic lands, there may be recognized some relics of the older faith. Among these are a few referring to a White and to a Black God. Thus, among the peasants of White Russia some vague memory still exists of a white or bright being, now called Byelun,[458] who leads belated travellers out of forests, and bestows gold on men who do him good service. “Dark is it in the forest without Byelun” is one phrase; and another, spoken of a man on whom fortune has smiled, is, “He must have made friends [Pg 363] with Byelun.” On the other hand the memory of the black or evil god is preserved in such imprecations as the Ukraine “May the black god smite thee!”[459] To ancient pagan traditions, also, into which a Christian element has entered, may be assigned the popular belief that infants which have been cursed by their mothers before their birth, or which are suffocated during their sleep, or which die from any causes unchristened or christened by a drunken priest, become the prey of demons. This idea has given rise in Russia, as well as elsewhere, to a large group of stories. The Russian peasants believe, it is said, that in order to rescue from the fiends the soul of a babe which has been suffocated in its sleep, its mother must spend three nights in a church, standing within a circle traced by the hand of a priest. When the cocks crow on the third morning, the demons will give her back her dead child.[460]
The old gods of the Slavic people have faded away, leaving behind only faint traces of their existence. However, in the customs and sayings of peasants in various Slavic regions, remnants of the older belief system can still be found. Among these are references to a White God and a Black God. For example, in the villages of White Russia, there is still a vague memory of a white or bright figure, now known as Byelun, who guides lost travelers out of the woods and rewards those who do good deeds with gold. One saying goes, “It’s dark in the forest without Byelun,” while another, referring to someone who’s had good fortune, states, “He must have made friends with Byelun.” Conversely, the memory of the black or evil god lives on in curses like, “May the black god smite you!” in Ukraine. Additionally, a popular belief that has blended with Christian elements maintains that infants cursed by their mothers before birth, those smothered in their sleep, or those who die unbaptized or baptized by a drunken priest become targets of demons. This notion has inspired many stories in Russia and elsewhere. Russian peasants believe that to save the soul of a baby who has been suffocated in its sleep, the mother must spend three nights in a church, standing inside a circle drawn by a priest. When the roosters crow on the third morning, the demons will return her dead child.
Great stress is laid in the skazkas and legends upon the terrible power of a parent’s curse. The “hasty word” of a father or a mother will condemn even an innocent child to slavery among devils, and when it has once been uttered, it is irrevocable. It might have been supposed that the fearful efficacy of such an imprecation would have silenced bad language, as that of the Vril rendered war impossible among the Vril-ya of “The Coming Race;” but that such was not the case is proved by the number of narratives which turn on uncalled-for parental cursing. Here is an abridgment of one of these stories.
Great emphasis is placed in the folktales and legends on the devastating power of a parent's curse. The "hasty word" of a father or mother can condemn even an innocent child to a life of hardship among evil beings, and once it's said, it can't be taken back. One might think that the terrifying impact of such a curse would put an end to foul language, just like the power of the Vril made war impossible among the Vril-ya in “The Coming Race;” but the fact that this isn’t true is shown by the many stories that revolve around unsolicited parental cursing. Here’s a summary of one of these tales.
There was an old man who lived near Lake Onega, and who supported himself and his wife by hunting. One [Pg 364] day when he was engaged in the pursuit of game, a well-dressed man met him and said,
There was an old man who lived by Lake Onega and supported himself and his wife by hunting. One [Pg 364] day while he was out hunting, a well-dressed man approached him and said,
“Sell me that dog of yours, and come for your money to the Mian mountain to-morrow evening.”
“Sell me that dog of yours, and come for your money to Mian Mountain tomorrow evening.”
The old man sold him the dog, and went next day to the top of the mountain, where he found a great city inhabited by devils.[461] There he soon found the house of his debtor, who provided him with a banquet and a bath. And in the bath-room he was served by a young man who, when the bath was over, fell at his feet, saying,
The old man sold him the dog, and the next day he went to the top of the mountain, where he found a huge city full of devils.[461] There, he quickly located his debtor's house, who prepared a feast and a bath for him. In the bathroom, a young man attended to him, and when the bath was finished, he fell at his feet, saying,
“Don’t accept money for your dog, grandfather, but ask for me!”
“Don’t take money for your dog, Grandpa, just ask for me!”
The old man consented. “Give me that good youth,” said he. “He shall serve instead of a son to me.”
The old man agreed. “Give me that good young man,” he said. “He will serve as a son to me.”
There was no help for it; they had to give him the youth. And when the old man had returned home, the youth told him to go to Novgorod, there to enquire for a merchant, and ask him whether he had any children.
There was no way around it; they had to give him the youth. And when the old man got back home, the youth told him to go to Novgorod, there to ask a merchant if he had any children.
He did so, and the merchant replied,
He did that, and the merchant answered,
“I had an only son, but his mother cursed him in a passion, crying, ‘The devil take thee!’[462] And so the devil carried him off.”
“I had one son, but his mother cursed him in anger, saying, ‘Devil take you!’[462] And so the devil took him away.”
It turned out that the youth whom the old man had saved from the devils was that merchant’s son. Thereupon the merchant rejoiced greatly, and took the old man and his wife to live with him in his house.[463]
It turned out that the young man the old man had saved from the devils was the merchant’s son. The merchant was extremely happy and invited the old man and his wife to live with him in his home.[463]
And here is another tale of the same kind, from the Vladimir Government.
And here’s another story like that, from the Vladimir Government.
Once upon a time there was an old couple, and they had an only son. His mother had cursed him before he was born, but he grew up and married. Soon afterwards [Pg 365] he suddenly disappeared. His parents did all they could to trace him, but their attempts were in vain.
Once upon a time, there was an elderly couple who had a single son. His mother had placed a curse on him before he was born, but he grew up and got married. Shortly after that, [Pg 365] he mysteriously vanished. His parents tried everything they could to find him, but their efforts were pointless.
Now there was a hut in the forest not far off, and thither it chanced that an old beggar came one night, and lay down to rest on the stove. Before he had been there long, some one rode up to the door of the hut, got off his horse, entered the hut, and remained there all night, muttering incessantly:
Now there was a hut in the forest not far away, and one night, an old beggar happened to come there and lay down to rest on the stove. He hadn’t been there long when someone rode up to the door of the hut, got off his horse, entered the hut, and stayed there all night, mumbling nonstop:
“May the Lord judge my mother, in that she cursed me while a babe unborn!”
“May the Lord judge my mother for cursing me while I was still an unborn baby!”
Next morning the beggar went to the house of the old couple, and told them all that had occurred. So towards evening the old man went to the hut in the forest, and hid himself behind the stove. Presently the horseman arrived, entered the hut, and began to repeat the words which the beggar had overheard. The old man recognized his son, and came forth to greet him, crying:
Next morning, the beggar went to the home of the elderly couple and shared everything that had happened. Later that evening, the old man went to the hut in the forest and hid behind the stove. Soon, the horseman arrived, entered the hut, and started saying the words the beggar had heard. The old man recognized his son and came out to greet him, saying:
“O my dear son! at last I have found thee! never again will I let thee go!”
“O my dear son! At last, I’ve found you! I will never let you go again!”
“Follow me!” replied his son, who mounted his horse and rode away, his father following him on foot. Presently they came to a river which was frozen over, and in the ice was a hole.[464] And the youth rode straight into that hole, and in it both he and his horse disappeared. The old man lingered long beside the ice-hole, then he returned home and said to his wife:
“Follow me!” replied his son, who got on his horse and rode off, while his father followed him on foot. Soon they reached a river that was frozen over, and there was a hole in the ice.[464] The young man rode straight into that hole, and both he and his horse vanished. The old man stayed by the ice hole for a long time, then he went home and said to his wife:
“I have found our son, but it will be hard to get him back. Why, he lives in the water!”
“I’ve found our son, but getting him back won’t be easy. You see, he lives in the water!”
Next night the youth’s mother went to the hut, but she succeeded no better than her husband had done.
Next night, the young man's mother went to the hut, but she had no more luck than her husband did.
[Pg 366] So on the third night his young wife went to the hut and hid behind the stove. And when she heard the horseman enter she sprang forth, exclaiming:
[Pg 366] So on the third night, his young wife went to the hut and hid behind the stove. When she heard the horseman enter, she jumped out, shouting:
“My darling dear, my life-long spouse! now will I never part from thee!”
“My dear darling, my lifelong partner! I will never be apart from you!”
“Follow me!” replied her husband.
“Follow me!” said her husband.
And when they came to the edge of the ice-hole—
And when they reached the edge of the ice hole—
“If thou goest into the water, then will I follow after thee!” cried she.
“If you go into the water, then I will follow you!” she shouted.
“If so, take off thy cross,” he replied.
“If that's the case, take off your cross,” he replied.
She took off her cross, leaped into the ice-hole—and found herself in a vast hall. In it Satan[465] was seated. And when he saw her arrive, he asked her husband whom he had brought with him.
She removed her cross, jumped into the ice-hole—and found herself in a huge hall. There sat Satan[465]. When he saw her enter, he asked her husband who he had brought with him.
“This is my wife,” replied the youth.
“This is my wife,” the young man replied.
“Well then, if she is thy wife, get thee gone hence with her! married folks must not be sundered.”[466]
“Well then, if she is your wife, take her and leave! Married couples shouldn't be separated.”[466]
So the wife rescued her husband, and brought him back from the devils into the free light.[467]
So the wife saved her husband and brought him back from the darkness into the light. [467]
Sometimes it is a victim’s own imprudence, and not a parent’s “hasty word,” which has placed him in the power of the Evil One. There is a well-known story, which has spread far and wide over Europe, of a soldier who abstains for a term of years from washing, shaving, and hair-combing, and who serves, or at least obeys, the devil during that time, at the end of which he is rewarded by the fiend with great wealth. His appearance being against him, he has some difficulty in finding a wife, rich as he is. But [Pg 367] after the elder sisters of a family have refused him, the youngest accepts him; whereupon he allows himself to be cleansed, combed, and dressed in bright apparel, and leads a cleanly and a happy life ever afterwards.[468]
Sometimes it's the victim's own recklessness, not a parent's "hasty word," that puts them in the grip of evil. There's a well-known story that's traveled all across Europe about a soldier who goes for years without washing, shaving, or combing his hair, during which time he serves, or at least obeys, the devil. At the end of this period, the devil rewards him with great wealth. However, his appearance works against him, making it hard for him to find a wife, no matter how rich he is. After the older sisters in a family reject him, the youngest sister agrees to marry him; he then allows himself to be cleaned up, styled, and dressed in nice clothes, and goes on to live a tidy and happy life from then on.[Pg 367]
In one of the German versions of this story, a king’s elder daughter, when asked to marry her rich but slovenly suitor, replies, “I would sooner go into the deepest water than do that.” In a Russian version,[469] the unwashed soldier lends a large sum of money to an impoverished monarch, who cannot pay his troops, and asks his royal creditor to give him one of his daughters in marriage by way of recompense. The king reflects. He is sorry for his daughters, but at the same time he cannot do without the money. At last, he tells the soldier to get his portrait painted, and promises to show it to the princesses, and see if one of them will accept him. The soldier has his likeness taken, “touch for touch, just exactly as he is,” and the king shows it to his daughters. The eldest princess sees that “the picture is that of a monster, with dishevelled hair, and uncut nails, and unwiped nose,” and cries:
In one of the German versions of this story, a king’s eldest daughter, when asked to marry her wealthy but messy suitor, replies, “I would rather jump into the deepest water than do that.” In a Russian version,[469] the unkempt soldier lends a large sum of money to a broke king, who can’t pay his troops, and asks his royal creditor to give him one of his daughters in marriage as repayment. The king thinks it over. He feels bad for his daughters, but at the same time, he can’t afford to lose the money. Finally, he tells the soldier to get his portrait painted and promises to show it to the princesses to see if one of them will accept him. The soldier gets his likeness done, “exact in every detail, just as he is,” and the king shows it to his daughters. The eldest princess sees that “the picture is of a monster, with messy hair, untrimmed nails, and a dirty nose,” and exclaims:
“I won’t have him! I’d sooner have the devil!”
“I won't have him! I'd rather have the devil!”
Now the devil “was standing behind her, pen and paper in hand. He heard what she said, and booked her soul.”
Now the devil “was standing behind her, pen and paper in hand. He heard what she said and marked down her soul.”
When the second princess is asked whether she will marry the soldier, she exclaims:
When the second princess is asked if she'll marry the soldier, she exclaims:
“No indeed! I’d rather die an old maid, I’d sooner be linked with the devil, than marry that man!”
“No way! I’d rather stay single forever; I’d rather be with the devil than marry that guy!”
When the devil heard that, “he booked her soul too.”
When the devil heard that, “he claimed her soul too.”
[Pg 368] But the youngest princess, the Cordelia of the family, when she is asked whether she will marry the man who has helped her father in his need, replies:
[Pg 368] But the youngest princess, the Cordelia of the family, when asked if she will marry the man who helped her father in his time of need, replies:
“It’s fated I must, it seems! I’ll marry him, and then—God’s will be done!”
“It looks like I have no choice! I’ll marry him, and then—let’s see what happens!”
While the preparations are being made for the marriage, the soldier arrives at the end of his term of service to “the little devil” who had hired him, and from whom he had received his wealth in return for his abstinence and cleanliness. So he calls the “little devil,” and says, “Now turn me into a nice young man.”
While the preparations are underway for the wedding, the soldier returns at the end of his service to the “little devil” who hired him, and from whom he gained his wealth in exchange for his self-discipline and cleanliness. He calls out to the “little devil,” saying, “Now make me a handsome young man.”
Accordingly “the little devil cut him up into small pieces, threw them into a cauldron and set them on to boil. When they were done enough, he took them out and put them together again properly—bone to bone, joint to joint, vein to vein. Then he sprinkled them with the Waters of Life and Death—and up jumped the soldier, a finer lad than stories can describe, or pens portray!”
Accordingly, “the little devil chopped him into small pieces, tossed them into a cauldron, and set it to boil. When they were cooked enough, he took them out and put them back together properly—bone to bone, joint to joint, vein to vein. Then he sprinkled them with the Waters of Life and Death—and up jumped the soldier, a finer guy than stories can describe or pens can portray!”
The story does not end here. When the “little devil” returns to the lake from which he came, “the grandfather” of the demons asks him—
The story doesn’t end here. When the “little devil” returns to the lake he came from, “the grandfather” of the demons asks him—
“How about the soldier?”
“What about the soldier?”
“He has served his time honestly and honorably,” is the reply. “Never once did he shave, have his hair cut, wipe his nose, or change his clothes.” The “grandfather” flies into a passion.
“He has served his time honestly and honorably,” is the reply. “Never once did he shave, get a haircut, wipe his nose, or change his clothes.” The “grandfather” flies into a rage.
“What! in fifteen whole years you couldn’t entrap a soldier! What, all that money wasted for nothing! What sort of a devil do you call yourself after that?”—and ordered him to be flung “into boiling pitch.”
“What! In fifteen years you couldn't catch a soldier! What, all that money wasted for nothing! What kind of a devil do you think you are after that?”—and ordered him to be thrown “into boiling pitch.”
“Stop, grandfather!” replies his grandchild. “I’ve booked two souls instead of the soldier’s one.”
“Stop, Grandpa!” his grandchild replies. “I’ve booked two souls instead of just the soldier’s one.”
[Pg 369] “How’s that?”
"How's that?"
“Why, this way. The soldier wanted to marry one of three princesses, but the elder one and the second one told their father that they’d sooner marry the devil than the soldier. So you see both of them are ours.”
“Why, this way. The soldier wanted to marry one of three princesses, but the oldest and the second one told their father that they’d rather marry the devil than the soldier. So you see, both of them are ours.”
After he had heard this explanation, “the grandfather acknowledged that the little devil was in the right, and ordered him to be set free. The imp, you see, understood his business.”
After he heard this explanation, “the grandfather acknowledged that the little devil was right, and ordered him to be set free. The imp, you see, knew what he was doing.”
[For two German versions of this story, see the tales of “Des Teufels russiger Bruder,” and “Der Bärenhäuter” (Grimm, Nos. 100, 101, and Bd. iii. pp. 181, 182). More than twelve centuries ago, Hiouen-Thsang transferred the following story from India to China. A certain Rishi passed many times ten thousand years in a religious ecstasy. His body became like a withered tree. At last he emerged from his ecstasy, and felt inclined to marry, so he went to a neighboring palace, and asked the king to bestow upon him one of his daughters. The king, exceedingly embarrassed, called the princesses together, and asked which of them would consent to accept the dreaded suitor (who, of course, had not paid the slightest attention to his toilette for hundreds of centuries). Ninety-nine of those ladies flatly refused to have anything to do with him, but the hundredth, the last and youngest of the party, agreed to sacrifice herself for her father’s sake. But when the Rishi saw his bride he was discontented, and when he heard that her elder and fairer sisters had all refused him, he pronounced a curse which made all ninety-nine of them humpbacks, and so destroyed their chance of marrying at all. Stanislas Julien’s “Mémoires sur les contrées occidentales,” 1857, i. pp. 244-7.]
[For two German versions of this story, see the tales of “Des Teufels russiger Bruder,” and “Der Bärenhäuter” (Grimm, Nos. 100, 101, and Bd. iii. pp. 181, 182). More than twelve centuries ago, Hiouen-Thsang brought this story from India to China. A certain Rishi spent many thousands of years in a state of religious ecstasy. His body became like a withered tree. Eventually, he came out of his trance and felt inclined to marry, so he went to a nearby palace and asked the king for one of his daughters. The king, very embarrassed, gathered the princesses and asked which of them would agree to accept the feared suitor (who, of course, hadn’t bothered with his appearance for hundreds of centuries). Ninety-nine of the ladies flatly refused to have anything to do with him, but the hundredth, the youngest of the group, agreed to sacrifice herself for her father’s sake. However, when the Rishi saw his bride, he was unhappy, and upon learning that her older and more beautiful sisters had all turned him down, he cast a curse that turned all ninety-nine of them into hunchbacks, ruining their chances of ever marrying. Stanislas Julien’s “Mémoires sur les contrées occidentales,” 1857, i. pp. 244-7.]
As the idea that “a hasty word” can place its utterer or its victim in the power of the Evil One (not only after death, but also during this life) has given rise to numerous Russian legends, and as it still exists, to some extent, as a living faith in the minds of the Russian peasantry, it may be as well to quote at length one of the stories in which it is embodied. It will be recognized as a variant of the stories about the youth who visits the “Water King” and elopes with one of that monarch’s daughters. The main difference between the “legend” we are about to quote, and the skazkas which have already been quoted, is that a devil of the Satanic type is substituted in it for the mythical [Pg 370] personage—whether Slavonic Neptune or Indian Rákshasa—who played a similar part in them.
As the idea that “a hasty word” can put its speaker or its target under the control of the Evil One (not just after death, but also in this life) has inspired many Russian legends, and as it still somewhat persists as a belief among the Russian peasantry, it might be worthwhile to share one of the stories that illustrates this. It will be recognized as a version of the tales about the young man who visits the “Water King” and runs away with one of the king’s daughters. The main difference between the “legend” we are about to share and the stories we have already mentioned is that a devil of a Satanic nature takes the place of the mythical [Pg 370] figure—be it Slavonic Neptune or Indian Rákshasa—who played a similar role in those tales.
The Quick Word.[470]
In a certain village there lived an old couple in great poverty, and they had one son. The son grew up,[471] and the old woman began to say to the old man:
In a small village, there was an elderly couple living in extreme poverty, and they had one son. The son grew up,[471] and the old woman started saying to the old man:
“It’s time for us to get our son married.”
“It’s time for us to get our son married.”
“Well then, go and ask for a wife for him,” said he.
"Well then, go ask for a wife for him," he said.
So she went to a neighbor to ask for his daughter for her son: the neighbor refused. She went to a second peasant’s, but the second refused too—to a third, but he showed her the door. She went round the whole village; not a soul would grant her request. So she returned home and cried—
So she went to a neighbor to ask for his daughter for her son: the neighbor refused. She went to a second farmer's place, but he refused too—then to a third, but he showed her the door. She went around the whole village; not one person would agree to her request. So she went back home and cried—
“Well, old man! our lad’s an unlucky fellow!”
“Well, old man! Our guy’s an unlucky dude!”
“How so?”
"How so?"
“I’ve trudged round to every house, but no one will give him his daughter.”
“I’ve walked around to every house, but no one will give him his daughter.”
“That’s a bad business!” says the old man; “the summer will soon be coming, but we have no one to work for us here. Go to another village, old woman, perhaps you will get a bride for him there.”
“That’s a bad deal!” says the old man; “summer will be here soon, but we have no one to work for us. Go to another village, old woman, maybe you'll find a bride for him there.”
The old woman went to another village, visited every house from one end to the other, but there wasn’t an atom of good to be got out of it. Wherever she thrusts herself, they always refuse. With what she left home, with that she returned home.
The old woman went to another village and visited every house from one end to the other, but there wasn’t anything good to be found. No matter where she went, they always turned her away. She came home with what she had left with.
“No,” she says, “no one wants to become related to us poor beggars.”
“No,” she says, “no one wants to be connected to us, the poor beggars.”
“If that’s the case,” answers the old man, “there’s no use in wearing out your legs. Jump up on to the polati.”[472]
“If that’s the case,” the old man replies, “there’s no point in wearing out your legs. Just jump up onto the polati.”[472]
The son was sorely afflicted, and began to entreat his parents, saying:
The son was deeply troubled and started to plead with his parents, saying:
[Pg 371] “My born father and my born mother! give me your blessing. I will go and seek my fate myself.”
[Pg 371] "My real dad and my real mom! Please give me your blessing. I'm going to go out and find my own destiny."
“But where will you go?”
“But where are you headed?”
“Where my eyes lead me.”
“Where my eyes go.”
So they gave him their blessing, and let him go whithersoever it pleased him.[473]
So they gave him their blessing and allowed him to go wherever he pleased.[473]
Well, the youth went out upon the highway, began to weep very bitterly, and said to himself as he walked:
Well, the young man went out onto the highway, started to cry very hard, and said to himself as he walked:
“Was I born into the world worse than all other men, that not a single girl is willing to marry me? Methinks if the devil himself would give me a bride, I’d take even her!”
“Was I born into this world worse than all other men, that not a single girl is willing to marry me? I think if the devil himself offered me a bride, I’d accept her!”
Suddenly, as if rising from the earth, there appeared before him a very old man.
Suddenly, as if coming up from the ground, a very old man appeared before him.
“Good-day, good youth!”
“Good day, young one!”
“Good-day, old man!”
"Hello, old man!"
“What was that you were saying just now?”
"What did you just say?"
The youth was frightened and did not know what reply to make.
The young person was scared and didn't know how to respond.
“Don’t be afraid of me! I sha’n’t do you any harm, and moreover, perhaps I may get you out of your trouble. Speak boldly!”
“Don’t be scared of me! I won’t hurt you, and besides, I might be able to help you out of your trouble. Speak confidently!”
The youth told him everything precisely.
The young person told him everything exactly.
“Poor creature that I am! There isn’t a single girl who will marry me. Well, as I went along I became exceedingly wretched, and in my misery I said: ‘If the devil offered me a bride, I’d take even her!’”
“Poor me! There isn’t a single girl who will marry me. As I went along, I became really miserable, and in my sadness, I said: ‘If the devil offered me a bride, I’d take her!’”
The old man laughed and said:
The old man laughed and said:
“Follow me, I’ll let you choose a lovely bride for yourself.”
“Come with me, and I'll help you pick out a beautiful bride for yourself.”
By-and-by they reached a lake.
Eventually, they reached a lake.
“Turn your back to the lake and walk backwards,” said the old man. Scarcely had the youth had time to turn round and take a couple of steps, when he found himself under the water and in a white-stone palace—all its rooms splendidly furnished, cunningly decorated. The old man gave him to eat and to [Pg 372] drink. Afterwards he introduced twelve maidens, each one more beautiful than the other.
“Turn your back to the lake and walk backwards,” said the old man. As soon as the young man had time to turn around and take a couple of steps, he found himself underwater and in a white-stone palace—all its rooms beautifully furnished and cleverly decorated. The old man provided him with food and drink. Afterwards, he introduced twelve maidens, each more beautiful than the last.
“Choose whichever you like! whichever you choose, her will I bestow upon you.”
“Choose whichever you like! Whatever you choose, I will give it to you.”
“That’s a puzzling job!” said the youth; “give me till to-morrow morning to think about it, grandfather!”
"That’s a confusing task!" said the young man; "give me until tomorrow morning to think it over, grandpa!"
“Well, think away!” said the old man, and led his guest to a private chamber. The youth lay down to sleep and thought:
“Well, go ahead and think!” said the old man, and he took his guest to a private room. The young man lay down to sleep and reflected:
“Which one shall I choose?”
"Which one should I choose?"
Suddenly the door opened; a beautiful maiden entered.
Suddenly, the door swung open, and a stunning young woman walked in.
“Are you asleep, or not, good youth?” says she.
“Are you asleep or not, young man?” she asks.
“No, fair maiden! I can’t get to sleep, for I’m always thinking which bride to choose.”
“No, lovely lady! I can’t fall asleep because I’m always thinking about which bride to choose.”
“That’s the very reason I have come to give you counsel. You see, good youth, you’ve managed to become the devil’s guest. Now listen. If you want to go on living in the white world, then do what I tell you. But if you don’t follow my instructions, you’ll never get out of here alive!”
“That’s exactly why I’m here to advise you. You see, young man, you’ve ended up being the devil’s guest. Now listen up. If you want to keep living in the real world, then do what I say. But if you ignore my advice, you’ll never make it out of here alive!”
“Tell me what to do, fair maiden. I won’t forget it all my life.”
“Tell me what to do, beautiful lady. I’ll remember it for the rest of my life.”
“To-morrow the fiend will bring you twelve maidens, each one exactly like the others. But you take a good look and choose me. A fly will be sitting above my right eye—that will be a certain guide for you.” And then the fair maiden proceeded to tell him about herself, who she was.
"Tomorrow, the monster will bring you twelve maidens, each one looking exactly the same. But take a good look and choose me. There will be a fly sitting above my right eye—that will be your sure guide." Then the beautiful maiden went on to tell him about herself, who she was.
“Do you know the priest of such and such a village?” she says. “I’m his daughter, the one who disappeared from home when nine years old. One day my father was angry with me, and in his wrath he said, ‘May devils fly away with you!’ I went out on the steps and began to cry. All of a sudden the fiends seized me and brought me here; and here I am living with them!”
“Do you know the priest from that village?” she asks. “I’m his daughter, the one who vanished from home when I was nine. One day my father was mad at me, and in his anger, he said, ‘May devils take you away!’ I went out onto the steps and started to cry. Suddenly, the demons grabbed me and brought me here; and here I am living with them!”
Next morning the old man brought in the twelve fair maidens—one just like another—and ordered the youth to choose his bride. He looked at them and took her above whose right eye sat a fly. The old man was loth to give her up, so he [Pg 373] shifted the maidens about, and told him to make a fresh choice. The youth pointed out the same one as before. The fiend obliged him to choose yet a third time. He again guessed his bride aright.
The next morning, the old man brought in twelve beautiful maidens—each one just like the others—and told the young man to pick his bride. He looked them over and chose the one with a fly sitting above her right eye. The old man was reluctant to let her go, so he shifted the maidens around and told him to make a new choice. The young man pointed out the same one as before. The old man forced him to choose yet again. He once more correctly identified his bride.
“Well, you’re in luck! take her home with you,” said the fiend.
"Well, you're in luck! Take her home with you," said the villain.
Immediately the youth and the fair maiden found themselves on the shore of the lake, and until they reached the high road they kept on walking backwards. Presently the devils came rushing after them in hot pursuit:
Immediately, the young man and the beautiful girl found themselves on the shore of the lake, and until they reached the main road, they kept walking backward. Soon, the demons came rushing after them in a fierce chase:
“Let us recover our maiden!” they cry.
“Let’s get our girl back!” they shout.
They look: there are no footsteps going away from the lake; all the footsteps lead into the water! They ran to and fro, they searched everywhere, but they had to go back empty handed.
They look: there are no footprints leading away from the lake; all the footprints go into the water! They ran back and forth, searching everywhere, but they had to return empty-handed.
Well, the good youth brought his bride to her village, and stopped opposite the priest’s house. The priest saw him and sent out his laborer, saying:
Well, the good young man brought his bride to her village and stopped in front of the priest’s house. The priest saw him and sent his worker out, saying:
“Go and ask who those people are.”
“Go ask who those people are.”
“We? we’re travellers; please let us spend the night in your house,” they replied.
“We? We’re travelers; please let us stay the night in your house,” they replied.
“I have merchants paying me a visit,” says the priest, “and even without them there’s but little room in the house.”
“I have merchants visiting me,” says the priest, “and even without them, there’s hardly any room in the house.”
“What are you thinking of, father?” says one of the merchants. “It’s always one’s duty to accommodate a traveller, they won’t interfere with us.”
“What are you thinking, Dad?” says one of the merchants. “It’s always our duty to help a traveler; they won’t mess with us.”
“Very well, let them come in.”
“Okay, let them in.”
So they came in, exchanged greetings, and sat down on a bench in the back corner.
So they walked in, said hello, and took a seat on a bench in the back corner.
“Don’t you know me, father?” presently asks the fair maiden. “Of a surety I am your own daughter.”
“Don’t you recognize me, Dad?” the beautiful young woman asks. “I’m definitely your daughter.”
Then she told him everything that had happened. They began to kiss and embrace each other, to pour forth tears of joy.
Then she shared everything that had happened. They started to kiss and hold each other, shedding tears of joy.
“And who is this man?” says the priest.
“And who is this guy?” says the priest.
“That is my betrothed. He brought me back into the white [Pg 374] world; if it hadn’t been for him I should have remained down there for ever!”
“That is my fiancé. He brought me back into the normal [Pg 374] world; if it hadn't been for him, I would have stayed down there forever!”
After this the fair maiden untied her bundle, and in it were gold and silver dishes: she had carried them off from the devils. The merchant looked at them and said:
After this, the beautiful young woman opened her bundle, which contained gold and silver dishes. She had taken them from the devils. The merchant examined them and said:
“Ah! those are my dishes. One day I was feasting with my guests, and when I got drunk I became angry with my wife. ‘To the devil with you!’ I exclaimed, and began flinging from the table, and beyond the threshold, whatever I could lay my hands upon. At that moment my dishes disappeared!”
“Ah! those are my dishes. One day I was enjoying a feast with my guests, and when I got drunk, I got pissed off at my wife. ‘Screw you!’ I shouted, and started throwing anything I could grab from the table, out beyond the door. That’s when my dishes vanished!”
And in reality so had it happened. When the merchant mentioned the devil’s name, the fiend immediately appeared at the threshold, began seizing the gold and silver wares, and flinging in their place bits of pottery.
And that's exactly how it went down. When the merchant called out the devil's name, the demon instantly showed up at the door, started grabbing the gold and silver goods, and tossed in pieces of pottery instead.
Well, by this accident the youth got himself a capital bride. And after he had married her he went back to his parents. They had long ago counted him as lost to them for ever. And indeed it was no subject for jesting; he had been away from home three whole years, and yet it seemed to him that he had not in all spent more than twenty-four hours with the devils.
Well, because of this accident, the young man ended up with a great bride. After he married her, he returned to his parents. They had long since given up hope of seeing him again. And it really wasn’t a joke; he had been away from home for three entire years, and yet it felt to him like he had only spent about twenty-four hours with the devils.
[A quaint version of the legend on which this story is founded is given by Gervase of Tilbury in his “Otia Imperialia,” whence the story passed into the “Gesta Romanorum” (chap. clxii.) and spread widely over mediæval Europe. A certain Catalonian was so much annoyed one day “by the continued and inappeasable crying of his little daughter, that he commended her to the demons.” Whereupon she was immediately carried off. Seven years after this, he learnt (from a man placed by a similar imprecation in the power of the demons, who used him as a vehicle) that his daughter was in the interior of a neighboring mountain, and might be recovered if he would demand her. So he ascended to the summit of the mountain, and there claimed his child. She straightway appeared in miserable plight, “arida, tetra, oculis vagis, ossibus et nervis et pellibus vix hærentibus,” etc. By the judicious care, however, of her now cautious parent she was restored to physical and moral respectability. For some valuable observations on this story see Liebrecht’s edition of the “Otia Imperialia,” pp. 137-9. In the German story of “Die sieben Raben” (Grimm, No. 25) a father’s “hasty word” turns his six sons into ravens.]
[A quaint version of the legend on which this story is based is found in Gervase of Tilbury's “Otia Imperialia,” from which the tale made its way into the “Gesta Romanorum” (chap. clxii.) and spread widely across medieval Europe. One day, a Catalonian man was so frustrated by his little daughter's relentless crying that he cursed her to the demons. As a result, she was immediately taken away. Seven years later, he learned (from a man who was similarly cursed and used as a messenger by the demons) that his daughter was trapped inside a nearby mountain and could be rescued if he asked for her. So he climbed to the top of the mountain and called for his child. She immediately appeared in terrible condition, “dry, grim, with wandering eyes, and her bones and skin barely holding together,” etc. Through the careful attention of her now more cautious father, she was restored to good health and moral integrity. For some insightful remarks on this story, see Liebrecht’s edition of the “Otia Imperialia,” pp. 137-9. In the German tale “Die sieben Raben” (Grimm, No. 25), a father's “hasty word” turns his six sons into ravens.]
When devils are introduced into a story of this class, it always assumes a grotesque, if not an absolutely comic [Pg 375] air. The evil spirits are almost always duped and defeated, and that result is generally due to their remarkable want of intelligence. For they display in their dealings with their human antagonists a deficiency of intellectual power which almost amounts to imbecility. The explanation of this appears to be that the devils of European folk-lore have nothing in common with the rebellious angels of Miltonic theology beyond their vague denomination; nor can any but a nominal resemblance be traced between their chiefs or “grandfathers” and the thunder-smitten but still majestic “Lucifer, Son of the Morning.” The demon rabble of “Popular Tales” are merely the lubber fiends of heathen mythology, beings endowed with supernatural might, but scantily provided with mental power; all of terrific manual clutch, but of weak intellectual grasp. And so the hardy mortal who measures his powers against theirs, even in those cases in which his strength has not been intensified by miraculous agencies, easily overcomes or deludes the slow-witted monsters with whom he strives—whether his antagonist be a Celtic or Teutonic Giant, or a French Ogre, or a Norse Troll, or a Greek Drakos or Lamia, or a Lithuanian Laume, or a Russian Snake or Koshchei or Baba Yaga, or an Indian Rákshasa or Pisácha, or any other member of the many species of fiends for which, in Christian parlance, the generic name is that of “devils.”
When devils are included in a story like this, it always takes on a bizarre, if not completely funny, vibe. The evil spirits are almost always tricked and defeated, usually because they lack common sense. They show a level of ignorance in their interactions with human opponents that’s almost ridiculous. The reason for this seems to be that the devils in European folklore have nothing in common with the rebellious angels of Milton's theology, apart from their vague name; and you can hardly find any real similarity between their leaders or “grandfathers” and the thunder-struck but still grand “Lucifer, Son of the Morning.” The demon horde in “Popular Tales” are just the clumsy fiends from pagan myths, beings with supernatural strength but very little intelligence; they can grip with terrifying power but have a weak grasp on smarts. So, the brave person who stands up to them, even when his strength isn’t boosted by miracles, usually outsmarts or defeats the dull-witted monsters he faces—whether his opponent is a Celtic or Teutonic Giant, a French Ogre, a Norse Troll, a Greek Drakos or Lamia, a Lithuanian Laume, a Russian Snake or Koshchei or Baba Yaga, an Indian Rákshasa or Pisácha, or any other kind of fiend that in Christian terms is called “devils.”
There is no great richness of invention manifested in the stories which deal with the outwitting of evil spirits. The same devices are in almost all cases resorted to, and their effect is invariable. The leading characters undergo certain transmutations as the scene of the story is shifted, but their mutual relations remain constant. Thus, in a [Pg 376] German story[474] we find a schoolmaster deceiving the devil; in one of its Slavonic counterparts[475] a gypsy deludes a snake; in another, current among the Baltic Kashoubes, in place of the snake figures a giant so huge that the thumb of his glove serves as a shelter for the hero of the tale—one which is closely connected with that which tells of Thor and the giant Skrymir.
There isn’t much originality in the stories that focus on outsmarting evil spirits. They almost all use the same tricks, and the outcomes are always the same. The main characters go through certain changes as the story shifts locations, but their relationships stay the same. For example, in a [Pg 376] German story[474], we have a schoolteacher tricking the devil; in one of its Slavonic versions[475], a gypsy tricks a snake; and in another story from the Baltic Kashoubes, instead of a snake, there’s a giant so big that the thumb of his glove serves as a shelter for the hero of the tale—this story is closely related to the one about Thor and the giant Skrymir.
The Russian stories in which devils are tricked by mortals closely resemble, for the most part, those which are current in so many parts of Europe. The hero of the tale squeezes whey out of a piece of cheese or curd which he passes off as a stone; he induces the fleet demon to compete with his “Hop o’ my Thumb” the hare; he sets the strong demon to wrestle with his “greybeard” the bear; he frightens the “grandfather” of the fiends by proposing to fling that potentate’s magic staff so high in the air that it will never come down; and he persuades his diabolical opponents to keep pouring gold into a perforated hat or sack. Sometimes, however, a less familiar incident occurs. Thus in a story from the Tambof Government, Zachary the Unlucky is sent by the tailor, his master, to fetch a fiddle from a wolf-fiend. The demon agrees to let him have it on condition that he spends three years in continually weaving nets without ever going to sleep. Zachary sets to work, but at the end of a month he grows drowsy. The wolf asks if he is asleep. “No, I’m not asleep,” he replies; “but I’m thinking which fish there are most of in the river—big ones or little ones.” The wolf offers to go and enquire, and spends three or four months in solving the problem. Meanwhile Zachary sleeps, taking care, however, to be up and at work when [Pg 377] the wolf returns to say that the big fishes are in the majority.
The Russian stories where devils are outsmarted by humans are quite similar to those found in various parts of Europe. In these tales, the hero extracts whey from a piece of cheese or curd, pretending it’s a stone; he tricks the fast demon into racing against his “Hop o’ my Thumb,” who is a hare; he challenges the strong demon to wrestle his “greybeard,” the bear; he scares the “grandfather” of the devils by claiming he will throw the potentate’s magic staff so high that it will never come down; and he convinces his demonic foes to keep pouring gold into a hat or sack with holes in it. However, sometimes a less common twist happens. In one story from the Tambof region, Zachary the Unlucky is sent by his master, the tailor, to get a fiddle from a wolf-demon. The demon agrees to give it to him if he spends three years weaving nets without ever sleeping. Zachary gets to work, but after a month, he starts to feel sleepy. The wolf asks if he's asleep. “No, I’m not asleep,” he replies; “I’m just wondering whether there are more big fish or little fish in the river.” The wolf offers to check and spends three or four months figuring it out. Meanwhile, Zachary takes naps but makes sure to wake up and work when the wolf comes back to say that the big fish are more numerous.
Time passes, and again Zachary begins to nod. The wolf enquires if he has gone to sleep, but is told that he is awake, but engrossed by the question as to “which folks are there most of in the world—the living or the dead.” The wolf goes out to count them, and Zachary sleeps in comfort, till just before it comes back to say that the living are more numerous than the dead. By the time the wolf-fiend has made a third journey in order to settle a doubt which Zachary describes as weighing on his mind—as to the numerical relation of the large beasts to the small—the three years have passed away. So the wolf-fiend is obliged to part with his fiddle, and Zachary carries it back to the tailor in triumph.[476]
Time goes by, and once again Zachary starts to drift off. The wolf asks if he’s asleep, but is told that he’s awake, just deep in thought about “which group is bigger in the world—the living or the dead.” The wolf heads out to count them, and Zachary comfortably falls asleep until just before the wolf returns to tell him that there are more living than dead. By the time the wolf has made a third trip to figure out a question that Zachary says is on his mind—about the numbers of large animals compared to small ones—three years have gone by. So the wolf has to give up his fiddle, and Zachary proudly takes it back to the tailor.[476]
The demons not unfrequently show themselves capable of being actuated by gratitude. Thus, as we have already seen, the story of the Awful Drunkard[477] represents the devil himself as being grateful to a man who has rebuked an irascible old woman for unjustly blaming the Prince of Darkness. In a skazka from the Orenburg Government, a lad named Vanka [Jack] is set to watch his father’s turnip-field by night. Presently comes a boy who fills two huge sacks with turnips, and vainly tries to carry them off. While he is tugging away at them he catches sight of Vanka, and immediately asks him to help him home with his load. Vanka consents, and carries the turnips to a cottage, wherein is seated “an old greybeard with horns on his head,” who receives him kindly and offers him a quantity of gold as a recompense for his trouble. But, acting on the instructions he has received from the boy, [Pg 378] Vanka will take nothing but the greybeard’s lute, the sounds of which exercise a magic power over all living creatures.[478]
The demons often show that they can be influenced by gratitude. For example, as we've already seen, the story of the Awful Drunkard[477] portrays the devil himself as being thankful to a man who scolded an angry old woman for wrongly accusing the Prince of Darkness. In a folktale from the Orenburg region, a boy named Vanka is sent to watch over his father’s turnip field at night. Soon, a boy appears and fills two large sacks with turnips, struggling to carry them away. While he is panting and pulling at them, he spots Vanka and immediately asks him to help carry his load home. Vanka agrees and takes the turnips to a cottage, where he meets “an old greybeard with horns on his head,” who welcomes him warmly and offers him a lot of gold as a reward for his effort. However, following the advice he received from the boy, [Pg 378] Vanka takes only the greybeard’s lute, the sounds of which have magical power over all living creatures.[478]
One of the most interesting of the stories of this class is that of the man who unwittingly blesses the devil. As a specimen of its numerous variants we may take the opening of a skazka respecting the origin of brandy.
One of the most interesting stories in this category is about the man who unknowingly blesses the devil. As an example of the many versions of this tale, we can look at the beginning of a folktale about the origins of brandy.
“There was a moujik who had a wife and seven children, and one day he got ready to go afield, to plough. When his horse was harnessed, and everything ready, he ran indoors to get some bread; but when he got there, and looked in the cupboard, there was nothing there but a single crust. This he carried off bodily and drove away.
“There was a peasant who had a wife and seven kids, and one day he got ready to go out to the field to plow. When his horse was harnessed and everything was set, he ran inside to grab some bread; but when he got there and looked in the cupboard, there was nothing there except for a single crust. He took that and left.”
“He reached his field and began ploughing. When he had ploughed up half of it, he unharnessed his horse and turned it out to graze. After that he was just going to eat the bread, when he said to himself,
“He reached his field and started plowing. After he had plowed half of it, he unharnessed his horse and let it graze. Just as he was about to eat his bread, he said to himself,
“‘Why didn’t I leave this crust for my children?’
“‘Why didn’t I save this crust for my kids?’”
“So after thinking about it for awhile, he set it aside.
“So after thinking about it for a while, he set it aside.
“Presently a little demon came sidling up and carried off the bread. The moujik returned and looked about everywhere, but no bread was to be seen. However, all he said was, ‘God be with him who took it!’
“Right now, a small demon crept up and snatched the bread. The peasant came back and searched everywhere, but there was no bread in sight. All he said was, ‘God be with the one who took it!’”
“‘Grandfather! I’ve stolen Uncle Sidor’s[481] bread!’
“‘Grandpa! I took Uncle Sidor’s __A_TAG_PLACEHOLDER_0__ bread!’”
“‘Well, what did he say?’
"‘So, what did he say?’"
“‘He said, “God be with him!”’
“‘He said, “May God be with him!”’
“‘Be off with you!’ says the devil. ‘Hire yourself to him for three years.’
“‘Get lost!’ says the devil. ‘Work for him for three years.’”
“So the little demon ran back to the moujik.”
“So the little demon ran back to the peasant.”
[Pg 379] The rest of the story tells how the imp taught Isidore to make corn-brandy, and worked for him a long time faithfully. But at last one day Isidore drank so much brandy that he fell into a drunken sleep. From this he was roused by the imp, whereupon he exclaimed in a rage, “Go to the Devil!” and straightway the “little demon” disappeared.[482]
[Pg 379] The rest of the story describes how the imp taught Isidore how to make corn-brandy and worked for him diligently for a long time. But one day, Isidore drank so much brandy that he passed out drunk. The imp woke him up, and in a fit of rage, Isidore shouted, “Go to hell!” and immediately, the “little demon” vanished.[482]
In another version of the story,[483] when the peasant finds that his crust has disappeared, he exclaims—
In another version of the story,[483] when the peasant realizes his crust is gone, he shouts—
“Here’s a wonder! I’ve seen nobody, and yet somebody has carried off my crust! Well, here’s good luck to him![484] I daresay I shall starve to death.”
“Here’s something amazing! I haven’t seen anyone, and yet someone has taken my crust! Well, cheers to him![484] I guess I’m going to starve to death.”
When Satan heard what had taken place, he ordered that the peasant’s crust should be restored. So the demon who had stolen it “turned himself into a good youth,” and became the peasant’s hireling. When a drought was impending, he scattered the peasant’s seed-corn over a swamp; when a wet season was at hand, he sowed the slopes of the hills. In each instance his forethought enabled his master to fill his barns while the other peasants lost their crops.
When Satan heard what happened, he commanded that the peasant's crust be returned. So the demon who had taken it “transformed into a good young man” and became the peasant’s worker. When a drought was approaching, he spread the peasant’s seeds over a swamp; when a rainy season was coming, he planted on the hillsides. In each case, his cleverness allowed his master to fill his barns while the other peasants lost their harvests.
[A Moravian version of this tale will be found in “Der schwarze Knirps” (Wenzig, No. 15, p. 67). In another Moravian story in the same collection (No. 8) entitled “Der böse Geist im Dienste,” an evil spirit steals the food which a man had left outside his house for poor passers by. When the demon returns to hell he finds its gates closed, and he is informed by “the oldest of the devils,” that he must expiate his crime by a three years’ service on earth.
[A Moravian version of this tale can be found in “Der schwarze Knirps” (Wenzig, No. 15, p. 67). In another Moravian story in the same collection (No. 8) titled “Der böse Geist im Dienste,” an evil spirit steals the food that a man had left outside his house for needy passersby. When the demon returns to hell, he discovers that its gates are closed, and he is told by “the oldest of the devils” that he must atone for his crime by serving three years on earth.]
A striking parallel to the Russian and the former of the Moravian stories is offered by “a legend of serpent worship,” from Bhaunagar in Káthiáwád. A certain king had seven wives, one of whom was badly treated. Feeling hungry one day, she scraped out of the pots which had been given her to wash some remains of rice boiled in milk, set the food on one side, and then went to bathe. During her absence a [Pg 380] female Nága (or supernatural snake-being) ate up the rice, and then “entering her hole, sat there, resolved to bite the woman if she should curse her, but not otherwise.” When the woman returned, and found her meal had been stolen, she did not lose her temper, but only said, “May the stomach of the eater be cooled!” When the Nága heard this, she emerged from her hole and said, “Well done! I now regard you as my daughter,” etc. (From the “Indian Antiquary,” Bombay, No. 1, 1872, pp. 6, 7.)]
A striking parallel to the Russian and the earlier Moravian stories is found in “a legend of serpent worship” from Bhaunagar in Káthiáwád. A certain king had seven wives, one of whom was treated poorly. One day, feeling hungry, she scraped some remnants of rice boiled in milk from the pots she had been given to wash, set the food aside, and then went to bathe. While she was gone, a female Nága (or supernatural snake-being) ate the rice and then “entered her hole, deciding to bite the woman if she cursed her, but not otherwise.” When the woman returned and discovered her meal had been taken, she didn’t lose her cool but simply said, “May the stomach of the eater be cooled!” When the Nága heard this, she emerged from her hole and said, “Well done! I now consider you my daughter,” etc. (From the “Indian Antiquary,” Bombay, No. 1, 1872, pp. 6, 7.)
Sometimes the demon of the legenda bears a close resemblance to the snake of the skazka. Thus, an evil spirit is described as coming every night at twelve o’clock to the chamber of a certain princess, and giving her no rest till the dawn of day. A soldier—the fairy prince in a lower form—comes to her rescue, and awaits the arrival of the fiend in her room, which he has had brilliantly lighted. Exactly at midnight up flies the evil spirit, assumes the form of a man, and tries to enter the room. But he is stopped by the soldier, who persuades him to play cards with him for fillips, tricks him in various ways, and fillips him to such effect with a species of “three-man beetle,” that the demon beats a hasty retreat.
Sometimes the demon of the legenda looks a lot like the snake of the skazka. In this story, a malevolent spirit shows up every night at midnight in the chamber of a certain princess, keeping her awake until dawn. A soldier—who is essentially a fairy prince in a different form—comes to help her and waits for the demon in her brightly lit room. Right at midnight, the evil spirit bursts in, takes on a human form, and tries to enter. But the soldier stops him, convinces him to play cards for fun, tricks him in several ways, and uses a type of “three-man beetle” to such effect that the demon quickly retreats.
The next night Satan sends another devil to the palace. The result is the same as before, and the process is repeated every night for a whole month. At the end of that time “Grandfather Satan” himself confronts the soldier, but he receives so tremendous a beating that he flies back howling “to his swamp.” After a time, the soldier induces the whole of the fiendish party to enter his knapsack, prevents them from getting out again by signing it with a cross, and then has it thumped on an anvil to his heart’s content. Afterwards he carries it about on his back, the fiends remaining under it all the while. But at last some women open it, during his absence from a cottage in which he has left it, and out rush the fiends with a crash and a roar. Meeting the soldier on his way back to the cottage, they are so frightened that they fling themselves into the [Pg 381] pool below a mill-wheel; and there, the story declares, they still remain.[485]
The next night, Satan sends another demon to the palace. The outcome is just as it was before, and this goes on every night for an entire month. By the end of that time, “Grandfather Satan” himself confronts the soldier, but he gets such a massive beating that he flees back howling “to his swamp.” Eventually, the soldier tricks the whole group of fiends into his knapsack, seals it with a cross to keep them inside, and then pounds it on an anvil to his heart’s content. Afterwards, he carries it on his back, with the fiends trapped underneath. But eventually, some women open it while he's away from a cottage where he left it, and the fiends burst out with a crash and a roar. When they encounter the soldier on his way back, they’re so terrified that they jump into the pool beneath a mill-wheel; and according to the story, they still remain there. [Pg 381]
This “legend” is evidently nothing more than an adaptation of one of the tales about the dull demons of olden times, whom the Christian story-teller has transformed into Satan and his subject fiends.
This “legend” is clearly just a version of one of the stories about the boring demons of ancient times, which the Christian storyteller has changed into Satan and his subordinate demons.
By way of a conclusion to this chapter—which might be expanded indefinitely, so numerous are the stories of the class of which it treats—we will take the moral tale of “The Gossip’s Bedstead.”[486] A certain peasant, it relates, was so poor that, in order to save himself from starvation, he took to sorcery. After a time he became an adept in the black art, and contracted an intimate acquaintance with the fiendish races. When his son had reached man’s estate, the peasant saw it was necessary to find him a bride, so he set out to seek one among “his friends the devils.” On arriving in their realm he soon found what he wanted, in the person of a girl who had drunk herself to death, and who, in common with other women who had died of drink, was employed by the devils as a water carrier. Her employers at once agreed to give her in marriage to the son of their friend, and a wedding feast was instantly prepared. While the consequent revelry was in progress, Satan offered to present to the bridegroom a receipt which a father had given to the devils when he sold them his son. But when the receipt was sought for—the production of which would have enabled the bridegroom to claim the youth in question as his slave—it could not be found; a certain devil had carried it off, and [Pg 382] refused to say where he had hidden it. In vain did his master cause him to be beaten with iron clubs, he remained obstinately mute. At length Satan exclaimed—
To wrap up this chapter—which could go on forever, given the countless stories about this topic—we'll share the moral tale of "The Gossip’s Bedstead." A poor peasant, it says, was so destitute that to avoid starving, he turned to magic. Eventually, he became skilled in the dark arts and formed a close bond with the devilish beings. Once his son became an adult, the peasant realized he needed to find him a wife, so he decided to look among "his devil friends." When he arrived in their realm, he quickly found what he was looking for: a girl who had drunk herself to death, who along with other women who had died from alcohol, was employed by the devils as a water carrier. Her employers immediately agreed to marry her off to their friend’s son, and a wedding feast was quickly arranged. During the celebration, Satan offered to give the groom a receipt that a father had given the devils when he sold them his son. But when they searched for the receipt— which would allow the groom to claim that young man as his slave—it couldn’t be found; one particular devil had taken it and refused to reveal its location. Despite his master’s attempts to force the devil to talk by beating him with iron clubs, he stubbornly kept silent. Finally, Satan exclaimed—
“Stretch him on the Gossip’s Bedstead!”
“Lay him on the Gossip’s Bed!”
As soon as the refractory devil heard these words, he was so frightened that he surrendered the receipt, which was handed over to the visitor. Astonished at the result, the peasant enquired what sort of bedstead that was which had been mentioned with so much effect.
As soon as the stubborn devil heard these words, he was so scared that he gave up the receipt, which was then handed to the visitor. Surprised by the outcome, the peasant asked what kind of bedstead had been mentioned with such impact.
“Well, I’ll tell you, but don’t you tell anyone else,” replied Satan, after hesitating for a time. “That bedstead is made for us devils, and for our relations, connexions, and gossips. It is all on fire, and it runs on wheels, and turns round and round.”
“Well, I’ll tell you, but don’t tell anyone else,” replied Satan after a moment of hesitation. “That bed frame is made for us devils, and for our relatives, connections, and gossip. It’s completely on fire, it moves on wheels, and spins round and round.”
When the peasant heard this, fear came upon him, and he jumped up from his seat and fled away as fast as he could.
When the peasant heard this, he was overwhelmed with fear, and he jumped up from his seat and ran away as quickly as he could.
At this point, though much still remains to be said, I will for the present bring my remarks to a close. Incomplete as is the account I have given of the Skazkas, it may yet, I trust, be of use to students who wish to compare as many types as possible of the Popular Tale. I shall be glad if it proves of service to them. I shall be still more glad if I succeed in interesting the general reader in the tales of the Russian People, and through them, in the lives of those Russian men and women of low degree who are wont to tell them, those Russian children who love to hear them.
At this point, while there's still a lot more to discuss, I'm going to wrap up my comments for now. Even though my overview of the Skazkas isn't complete, I hope it can still help students who want to explore various types of Popular Tales. I'd be happy if it's useful to them. I'd be even happier if I can spark the interest of general readers in the stories of the Russian people, and through these stories, in the lives of those everyday Russian men and women who share them, and the Russian children who love to hear them.
FOOTNOTES:
[424] Afanasief, Legendui, p. 6.
[425] These two stories are quoted by Buslaef, in a valuable essay on “The Russian Popular Epos.” “Ist. Och.” i. 438. Another tradition states that the dog was originally “naked,” i.e., without hair; but the devil, in order to seduce it from its loyalty, gave it a shuba, or pelisse, i.e., a coat of hair.
[425] These two stories are mentioned by Buslaef in a valuable essay on “The Russian Popular Epos.” “Ist. Och.” i. 438. Another tradition suggests that the dog was originally “naked,” i.e., without fur; but the devil, to tempt it away from its loyalty, gave it a shuba, or fur coat, i.e., a coat of fur.
[428] Afanasief, P.V.S. i. 482.
[429] Afanasief, Legendui, p. 19.
[432] Pit’, = to drink.
[433] Tereshchenko, v. 47.
__A_TAG_PLACEHOLDER_0__ Tereshchenko, p. 47.
[434] Afanasief, Legendui, p. 13.
[436] Afanasief, Legendui, No. 8.
[438] Afanasief, in his notes to this story, gives several of its variants. The rewards and punishments awarded in a future life form the theme of a great number of moral parables, apparently of Oriental extraction. For an interesting parallel from the Neilgherry Hills, see Gover’s “Folk-Songs of Southern India,” pp. 81-7.
[438] Afanasief, in his notes on this story, presents several of its versions. The rewards and punishments given in the afterlife are the central theme of many moral tales, likely originating from the East. For an interesting comparison from the Neilgherry Hills, check out Gover’s “Folk-Songs of Southern India,” pp. 81-7.
[439] Afanasief, Legendui, No. 7.
__A_TAG_PLACEHOLDER_0__ Afanasief, Legendui, No. 7.
[440] The icona, ἐικών or holy picture.
The icon, ἐκών or holy picture.
[441] For some account of Perun—the Lithuanian Perkunas—whose name and attributes appear to be closely connected with those of the Indian Parjanya, see the “Songs of the Russian Nation,” pp. 86-102.
[441] For more information about Perun—the Lithuanian Perkunas—whose name and traits seem to be closely linked to those of the Indian Parjanya, check out the “Songs of the Russian Nation,” pp. 86-102.
[442] A Servian song, for instance, quoted by Buslaef (“Ist. Och.” i. 361) states that “The Thunder” (i.e., the Thunder-God or Perun) “began to divide gifts. To God (Bogu) it gave the heavenly heights; to St. Peter the summer” (Petrovskie so called after the Saint) “heats; to St. John, the ice and snow; to Nicholas, power over the waters, and to Ilya the lightning and the thunderbolt.”
[442] A Serbian song, for example, quoted by Buslaef (“Ist. Och.” i. 361) says that “The Thunder” (i.e., the Thunder-God or Perun) “started to distribute gifts. To God (Bogu) it gave the heavenly heights; to St. Peter the summer” (Petrovskie named after the Saint) “heat; to St. John, the ice and snow; to Nicholas, control over the waters, and to Ilya the lightning and the thunderbolt.”
[445] Il’inskomu bat’kye—to the Elijah father.
__A_TAG_PLACEHOLDER_0__ Il’inskomu father—to the Elijah father.
[446] Strictly speaking, a chetverìk = 5.775 gallons.
Strictly speaking, a chetverìk is 5.775 gallons.
[447] Afanasief, P.V.S., iii. 455.
[449] Afanasief, P.V.S. i. 711.
[450] Afanasief, Legendui, No. 12.
__A_TAG_PLACEHOLDER_0__ Afanasief, Legendui, Issue 12.
[456] The prosvirka, or prosfora, is a small loaf, made of fine wheat flour. It is used for the communion service, but before consecration it is freely sold and purchased.
[456] The prosvirka, or prosfora, is a small loaf made from fine wheat flour. It's used in the communion service, but before it’s consecrated, it can be freely bought and sold.
[457] A few lines are here omitted as being superfluous. In the original the second princess is cured exactly as the first had been. The doctors then proceed to a third country, where they find precisely the same position of affairs.
[457] A few lines are omitted because they are unnecessary. In the original, the second princess is healed exactly as the first one was. The doctors then move on to a third country, where they encounter exactly the same situation.
[460] Afanasief, P.V.S. iii. 314, 315.
[461] Lemboï, perhaps a Samoyed word.
__A_TAG_PLACEHOLDER_0__ Lemboï, maybe a Samoyed term.
[462] Lemboi te (tebya) voz’mi!
__A_TAG_PLACEHOLDER_0__ Take this (here) now!
[463] Afanasief, P.V.S. iii. pp. 314, 315.
[465] Satana.
__A_TAG_PLACEHOLDER_0__ Satana.
[466] The word by which the husband here designates his wife is zakon, which properly signifies (1) law, (2) marriage. Here it stands for “spouse.” Satan replies, “If this be thy zakon, go hence therewith! to sever a zakon is impossible.”
[466] The term the husband uses for his wife is zakon, which originally means (1) law, (2) marriage. In this context, it refers to “spouse.” Satan responds, “If this is your zakon, take it away! It’s impossible to break a zakon.”
[467] Abridged from Afanasief, P.V.S. iii. 315, 316.
[469] Afanasief, v. No. 26.
__A_TAG_PLACEHOLDER_0__ Afanasief, v. No. 26.
[470] Afanasief, v. No. 48.
[472] The sleeping-place.
__A_TAG_PLACEHOLDER_0__ The bed.
[473] Literally, “to all the four sides.”
__A_TAG_PLACEHOLDER_0__ Literally, "to all sides."
[474] Haltrich, No. 27.
__A_TAG_PLACEHOLDER_0__ Haltrich, No. 27.
[475] Afanasief, v. No. 25.
[476] Khudyakof, No. 114.
__A_TAG_PLACEHOLDER_0__ Khudyakof, No. 114.
[478] Afanasief, vii., No. 14.
__A_TAG_PLACEHOLDER_0__ Afanasief, vii., No. 14.
[479] Byesenok, diminutive of Byes.
[480] Chort.
[481] Isidore.
Isidore.
[484] Emy na zdorovie! “Good health to him!”
__A_TAG_PLACEHOLDER_0__ Cheers to his health!
[485] Afanasief, v. No. 43.
__A_TAG_PLACEHOLDER_0__ Afanasief, v. No. 43.
[486] Afanasief, Legendui, No. 27. From the Saratof Government. This story is merely one of the numerous Slavonic variants of a tale familiar to many lands.
[486] Afanasief, Legendui, No. 27. From the Saratof Government. This story is just one of the many Slavic versions of a tale familiar to numerous cultures.
INDEX.
Baba Yaga, her name and nature, 146;
stories about, 103-107, 148-166, 254-256
Back, cutting strips from, 155
Bad Wife, story of the, 52
Beanstalk stories, 35, 296
Beer and Corn, legend of, 339
Birds, legends about, 335
Blind Man and Cripple, story of the, 246
Bluebeard’s Chamber, 109
Brandy, legend about origin of, 378
Bridge-building incident, 306
Brothers, enmity between, 93
Brushes, magic, 151
Baba Yaga, her name and nature, 146;
stories about, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__
Back, cutting strips from, 155
Bad Wife, story of the, 52
Beanstalk stories, 35, 296
Beer and Corn, legend of, 339
Birds, legends about, 335
Blind Man and Cripple, story of the, 246
Bluebeard’s Chamber, 109
Brandy, legend about origin of, 378
Bridge-building incident, 306
Brothers, enmity between, 93
Brushes, magic, 151
Cat, Whittington’s, 56
Chort, or devil, 35
Christ’s Brother, legend of, 338
Chudo Morskoe, or water monster, 143
Chudo Yudo, a many-headed monster, 83
Clergy: their bad reputation in folk-tales, 40
Coffin Lid, story of the, 314
Combs, magic, 151
Creation of Man, legends about, 330
Cross Surety, story of the, 40
Curses, legends about, 363
Cat, Whittington’s, 56
Chort, or devil, 35
Christ’s Brother, legend of, 338
Chudo Morskoe, or water monster, 143
Chudo Yudo, a many-headed monster, 83
Clergy: their bad reputation in folk-tales, 40
Coffin Lid, story of the, 314
Combs, magic, 151
Creation of Man, legends about, 330
Cross Surety, story of the, 40
Curses, legends about, 363
Days of the Week, legends about, 206-212
Dead Mother, story of the, 32
Demons: part played in the Skazkas by, 361;
souls of babes stolen by, 363;
legends about children devoted to, 364;
about persons who give themselves to, 367;
dulness of, 375;
tricks played upon, 375;
gratitude of, 377;
resemblance of to snakes, 380
Devil, legends about, 330, 331, 333
Dnieper, Volga, and Dvina, story of the, 217
Dog, legends about, 330-332
Dog and Corpse, story of the, 317
Dolls, or puppets, magic, 167-169
Don and Shat, story of the rivers, 215
Drink, Russian peasant’s love of, 42;
stories about, 48
Durak, or Ninny, stories about, 23, 62
Days of the Week, legends about, 206-212
Dead Mother, story of the, 32
Demons: role in the Skazkas played by, 361;
souls of kidnapped babies by, __A_TAG_PLACEHOLDER_0__;
legends about devoted children, __A_TAG_PLACEHOLDER_0__;
about people who dedicate themselves to __A_TAG_PLACEHOLDER_0__;
boredom of, __A_TAG_PLACEHOLDER_0__;
tricks played on, __A_TAG_PLACEHOLDER_0__;
gratitude from __A_TAG_PLACEHOLDER_0__;
similar to snakes, __A_TAG_PLACEHOLDER_0__
Devil, legends about, 330, 331, 333
Dnieper, Volga, and Dvina, story of the, 217
Dog, legends about, 330-332
Dog and Corpse, story of the, 317
Dolls, or puppets, magic, 167-169
Don and Shat, story of the rivers, 215
Drink, Russian peasant’s love of, 42;
stories about, __A_TAG_PLACEHOLDER_0__
Durak, or Ninny, stories about, 23, 62
George, St., legends about, 348;
the Wolves and, 349;
the Gypsy and, 350;
the people of Troyan and, 351
Ghost stories, 295-328
Gold-Men, 231
Golden Bird, the Zhar-Ptitsa or, 291
Golovikha, or Mayoress, story of the, 55
Goré, or Woe, story of, 192
Gossip’s Bedstead, story of the, 381
Gravestone, story of the Ride on the, 308
Greece, Vampires in, 323
Gypsy, story of St. George and the, 350
George, St., legends about, 348;
the Wolves and, __A_TAG_PLACEHOLDER_0__;
the Romani and, __A_TAG_PLACEHOLDER_0__;
the people of Troyan and, __A_TAG_PLACEHOLDER_0__
Ghost stories, 295-328
Gold-Men, 231
Golden Bird, the Zhar-Ptitsa or, 291
Golovikha, or Mayoress, story of the, 55
Goré, or Woe, story of, 192
Gossip’s Bedstead, story of the, 381
Gravestone, story of the Ride on the, 308
Greece, Vampires in, 323
Gypsy, story of St. George and the, 350
Ivan Popyalof, story of, 79
Ivan Popyalof, story of, __A_TAG_PLACEHOLDER_0__
Marya Morevna, story of, 97
Medea’s Cauldron incident, 359, 368
Miser, story of the, 60
Mizgir, or Spider, story of the, 68
Morfei the Cook, story of, 234
Mouse, legends about the, 334
Mythology, &c. Personifications of Good and Evil, 77;
the Snake, 78;
Daylight eclipsed by a Snake, 81;
the Chudo-Yudo, 83;
the Norka-Beast, 86;
the Usuinya-Bird, 95;
Koshchei the Deathless, 96-116;
the Bluebeard’s Chamber myth, 109;
stories about external hearts and fatal eggs, &c., 119-124;
the Water Snake, 129;
the Tsar Morskoi or Water King, 130-141;
the King Bear, 142;
the Water-Chudo, 143;
the Idol, 144;
Female embodiments of Evil, 146;
the Baba Yaga, 146-166;
magic dolls or puppets, 167;
the story of Verlioka, 170;
the Supernatural Witch, 170-183;
The Sun’s Sister and the Dawn, 178-185;
Likho or Evil, 186-187;
Polyphemus and the Arimaspians, 190;
Goré or Woe, 192;
Nuzhda or Need, 199;
Kruchìna or Grief, 201;
Zluidni, 201;
stories about Luck, 203-206;
Friday, 206;
Wednesday, 208;
Sunday, 211;
the Léshy or Woodsprite, 213;
[Pg 385]
stories about Rivers, 215-221;
about Frost, 221;
about the Whirlwind, 232;
Morfei, 234;
Oh! the, 235;
Waters of Life and Death, 237-242;
Symplêgades, 242;
Waters of Strength and Weakness, 243-245;
Magic Horses, 249, 264;
a Magic Pike, 269-273;
Witchcraft stories, 273-295;
the Zhar-Ptitsa or Glow-Bird, 289-292;
upper-world ideas, 296;
the heaven-tree myth, 296-302;
lower-world ideas, 303;
Ghost-stories, 308;
stories about Vampires, 313-322;
home and origin of Vampirism, 323-328;
legends about Saints, the Devil, &c., 329;
Perun, the thunder-god, 341;
superstitions about lightning, 343;
legends about St. George and the Wolves, 349;
old Slavonian gods changed into demons, 362;
power attributed to curses, 364;
dulness of demons, 375;
their resemblance to snakes, 380
Marya Morevna, story of, 97
Medea’s Cauldron incident, 359, 368
Miser, story of the, 60
Mizgir, or Spider, story of the, 68
Morfei the Cook, story of, 234
Mouse, legends about the, 334
Mythology, &c. Personifications of Good and Evil, 77;
the Snake, __A_TAG_PLACEHOLDER_0__;
Daylight blocked by a Snake, __A_TAG_PLACEHOLDER_0__;
the Chudo-Yudo, __A_TAG_PLACEHOLDER_0__;
the Norka-Beast, __A_TAG_PLACEHOLDER_0__;
the Usuinya-Bird, __A_TAG_PLACEHOLDER_0__;
Koshchei the Deathless, __A_TAG_PLACEHOLDER_0__;
the Bluebeard's Chamber legend, __A_TAG_PLACEHOLDER_0__;
stories about external hearts and deadly eggs, etc., __A_TAG_PLACEHOLDER_0__;
the Water Snake, __A_TAG_PLACEHOLDER_0__;
the Tsar Morskoi or Water King, __A_TAG_PLACEHOLDER_0__;
the King Bear, __A_TAG_PLACEHOLDER_0__;
the Water-Chudo, __A_TAG_PLACEHOLDER_0__;
the Idol, __A_TAG_PLACEHOLDER_0__;
Female embodiments of Evil, __A_TAG_PLACEHOLDER_0__;
the Baba Yaga, __A_TAG_PLACEHOLDER_0__;
magic dolls or puppets, __A_TAG_PLACEHOLDER_0__;
the story of Verlioka, __A_TAG_PLACEHOLDER_0__;
the Supernatural Witch, __A_TAG_PLACEHOLDER_0__;
The Sun’s Sister and the Dawn, __A_TAG_PLACEHOLDER_0__;
Write or Evil, __A_TAG_PLACEHOLDER_0__;
Polyphemus and the Arimaspians, __A_TAG_PLACEHOLDER_0__;
Goré or Woe, __A_TAG_PLACEHOLDER_0__;
Need, __A_TAG_PLACEHOLDER_0__;
Kruchìna or Grief, __A_TAG_PLACEHOLDER_0__;
Zluidni, __A_TAG_PLACEHOLDER_0__;
stories about luck, __A_TAG_PLACEHOLDER_0__;
Friday, __A_TAG_PLACEHOLDER_0__;
Wednesday, __A_TAG_PLACEHOLDER_0__;
Sunday, __A_TAG_PLACEHOLDER_0__;
the Léshy or Woodsprite, __A_TAG_PLACEHOLDER_0__;
[Pg 385]
stories about Rivers, __A_TAG_PLACEHOLDER_0__;
about Frost, __A_TAG_PLACEHOLDER_0__;
about the Whirlwind, __A_TAG_PLACEHOLDER_0__;
Morfei, __A_TAG_PLACEHOLDER_0__;
Oh! the, __A_TAG_PLACEHOLDER_0__;
Waters of Life and Death, __A_TAG_PLACEHOLDER_0__;
Symplégades, __A_TAG_PLACEHOLDER_0__;
Waters of Strength and Weakness, __A_TAG_PLACEHOLDER_0__;
Magic Horses, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__;
a Magic Pike, __A_TAG_PLACEHOLDER_0__;
Witchcraft tales, __A_TAG_PLACEHOLDER_0__;
the Zhar-Ptitsa or Glow-Bird, __A_TAG_PLACEHOLDER_0__;
high-level concepts, __A_TAG_PLACEHOLDER_0__;
the heaven-tree myth, __A_TAG_PLACEHOLDER_0__;
underworld concepts, __A_TAG_PLACEHOLDER_0__;
Ghost stories, __A_TAG_PLACEHOLDER_0__;
vampire tales, __A_TAG_PLACEHOLDER_0__;
home and origin of Vampirism, __A_TAG_PLACEHOLDER_0__;
legends about Saints, the Devil, etc., __A_TAG_PLACEHOLDER_0__;
Perun, the thunder god, __A_TAG_PLACEHOLDER_0__;
lightning superstitions, __A_TAG_PLACEHOLDER_0__;
legends about St. George and the Wolves, __A_TAG_PLACEHOLDER_0__;
old Slavonian gods transformed into demons, __A_TAG_PLACEHOLDER_0__;
power from curses, __A_TAG_PLACEHOLDER_0__;
dulness of demons, __A_TAG_PLACEHOLDER_0__;
their snake-like appearance, __A_TAG_PLACEHOLDER_0__
Peewit, legend about the 335
Perun, the thunder-god, 341
Pike, story of a magic, 269
Polyphemus, 190
Poor Widow, story of the, 336
Popes, Russian Priests called, 36
Popular Tales, their meaning &c., 16-18;
human and supernatural agents in, 75-78
Popyalof, story of Ivan, 79
Priest with the Greedy Eyes, story of the, 355
Princess Helena the Fair, story of the, 262
Purchased Wife, story of the, 44
Peewit, legend about the 335
Perun, the thunder-god, 341
Pike, story of a magic, 269
Polyphemus, 190
Poor Widow, story of the, 336
Popes, Russian Priests called, 36
Popular Tales, their meaning &c., 16-18;
human and supernatural agents in, __A_TAG_PLACEHOLDER_0__
Popyalof, story of Ivan, 79
Priest with the Greedy Eyes, story of the, 355
Princess Helena the Fair, story of the, 262
Purchased Wife, story of the, 44
Ride on the Gravestone, story of the, 308
Rip van Winkle story, 310
Rivers, legends about, 215-221
Russian children, appearance of, 157
Russian Peasants;
their dramatic talent, 19;
pictures of their life contained in folk-tales, 21;
a village soirée, 24;
a courtship, 31;
a death, 32;
preparations for a funeral, 33;
wailing over the dead, 35;
a burial, 36;
religious feeling of, 40;
passion for drink, 42;
humor, 48;
their jokes against women, 49;
their dislike of avarice, 59;
their jokes about simpletons, 62
Rye, legends about, 332
Ride on the Gravestone, story of the, 308
Rip van Winkle story, 310
Rivers, legends about, 215-221
Russian children, appearance of, 157
Russian Peasants;
their acting skills, __A_TAG_PLACEHOLDER_0__;
pictures of their lives featured in folk-tales, __A_TAG_PLACEHOLDER_0__;
a village party, __A_TAG_PLACEHOLDER_0__;
a dating period, __A_TAG_PLACEHOLDER_0__;
a death, __A_TAG_PLACEHOLDER_0__;
funeral preparations, __A_TAG_PLACEHOLDER_0__;
grieving for the dead, __A_TAG_PLACEHOLDER_0__;
a burial, __A_TAG_PLACEHOLDER_0__;
spiritual vibe of, __A_TAG_PLACEHOLDER_0__;
love for drinks, __A_TAG_PLACEHOLDER_0__;
humor, __A_TAG_PLACEHOLDER_0__;
their jokes about women, __A_TAG_PLACEHOLDER_0__;
their dislike of greed, __A_TAG_PLACEHOLDER_0__;
their jokes about fools, __A_TAG_PLACEHOLDER_0__
Rye, legends about, 332
Saints, legends about, 341;
Ilya or Elijah, 341-343;
story of Elijah and Nicholas, 344;
St. Andrew, 348;
St. George, 348-352;
St. Nicholas, 352-354;
St. Kasian, 352
Scissors story, 49
Semilétka, story of, 44
Shroud, story of the, 311
Skazkas or Russian folk-tales,
their value as pictures of Russian life, 19-23;
occurrence of word skazka in, 23;
their openings, 62;
their endings, 83
Smith and the Demon, story of the, 70
Snake, the mythical, his appearance, 78;
story of Ivan Popyalof, 79;
[Pg 386]
story of the Water Snake, 126;
Snake Husbands, 129;
legend about the Common Snake, 334;
likeness between Snakes and Demons, 380
Soldier and Demon, story of, 380
Soldier and the Devil, legend about, 366
Soldier and the Vampire, story of the, 318
Soldier’s Midnight Watch, story of the, 279
Sozh and Dnieper, story of, 216
Sparrow, legends about the, 335
Spasibo or Thank You, 202
Spider, story of the, 68
Stakes driven through Vampires, 326-328
Stepmothers, character of, 94
Strength and Weakness, Waters of, 243
Suicides and Vampires, 327
Sunday, tales about, 211
Sun’s Sister, 178-182
Swallow, legends about the, 335
Swan Maidens, 129
Symplêgades, 242
Saints, stories about, 341;
Ilya or Elijah, __A_TAG_PLACEHOLDER_0__;
the story of Elijah and Nicholas, __A_TAG_PLACEHOLDER_0__;
St. Andrew, __A_TAG_PLACEHOLDER_0__;
St. George, __A_TAG_PLACEHOLDER_0__;
St. Nick, __A_TAG_PLACEHOLDER_0__;
St. Cassian, __A_TAG_PLACEHOLDER_0__
The story of the Scissors, 49
The story of Semilétka, 44
The story of the Shroud, 311
Skazkas or Russian folk tales,
their value as representations of Russian life, __A_TAG_PLACEHOLDER_0__;
the use of the word skazka in, __A_TAG_PLACEHOLDER_0__;
their origins, __A_TAG_PLACEHOLDER_0__;
their endings, __A_TAG_PLACEHOLDER_0__
The story of the Smith and the Demon, 70
The mythical Snake, its appearance, 78;
the story of Ivan Popyalof, __A_TAG_PLACEHOLDER_0__;
[Pg 386]
the story of the Water Snake, __A_TAG_PLACEHOLDER_0__;
Snake Husbands, __A_TAG_PLACEHOLDER_0__;
a legend about the Common Snake, __A_TAG_PLACEHOLDER_0__;
similarities between snakes and demons, __A_TAG_PLACEHOLDER_0__
The story of the Soldier and the Demon, 380
A legend about the Soldier and the Devil, 366
The story of the Soldier and the Vampire, 318
The story of the Soldier’s Midnight Watch, 279
The story of Sozh and Dnieper, 216
Legends about the Sparrow, 335
Spasibo or Thank You, 202
The story of the Spider, 68
Stakes driven through Vampires, 326-328
The character of Stepmothers, 94
The Waters of Strength and Weakness, 243
Suicides and Vampires, 327
Tales about Sunday, 211
Sun’s Sister, 178-182
Legends about the Swallow, 335
Swan Maidens, 129
Symplêgades, 242
Vampires, stories about, 313-322;
account of the belief in, 322-328
Vasilissa the Fair, story of, 158
Vazuza and Volga, story of, 215
Vechernitsa or Village Soirée, 24
Verlioka, story of, 170
Vieszcy, the Kashoube Vampire, 325
Vikhor or the Whirlwind, story of, 232-244
Volga, story of Vazuza and, 215;
of Dnieper and Dvina and, 217
Vy, the Servian, 84
Vampires, stories about, 313-322;
account of the belief in, __A_TAG_PLACEHOLDER_0__
Vasilissa the Fair, story of, 158
Vazuza and Volga, story of, 215
Vechernitsa or Village Soirée, 24
Verlioka, story of, 170
Vieszcy, the Kashoube Vampire, 325
Vikhor or the Whirlwind, story of, 232-244
Volga, story of Vazuza and, 215;
of Dnieper and Dvina and, __A_TAG_PLACEHOLDER_0__
Vy, the Servian, 84
Warlock, story of the, 292
Water King and Vasilissa the Wise, story of the, 130
Water Snake, story of the, 126
Waters of Life and Death, 237-242
Waters of Strength and Weakness, 243
Wednesday, legend of, 208
Week, Days of the, 206-21
Whirlwind, story of the, 232
Whittington’s Cat, 56-58
Wife, story of the Bad, 49;
about a Good, 56
Wife-Gaining Leap, stories of a, 266-269
Witch, story of the, 171
Witch, story of the Dead, 34
Witch and Sun’s Sister, story of the, 178
Witch Girl, story of the, 274
Witchcraft, 170-183, 273-295
Woe, story of, 193
Wolf-fiend, story of a, 376
Wolves, traditions about, 349
Women, jokes about, 49-56
Warlock, the story of the, 292
Water King and Vasilissa the Wise, the story of the, 130
Water Snake, the story of the, 126
Waters of Life and Death, 237-242
Waters of Strength and Weakness, 243
Wednesday, the legend of, 208
Week, the Days of the, 206-21
Whirlwind, the story of the, 232
Whittington’s Cat, 56-58
Wife, the story of the Bad, 49;
about a Good, __A_TAG_PLACEHOLDER_0__
Wife-Gaining Leap, the stories of a, 266-269
Witch, the story of the, 171
Witch, the story of the Dead, 34
Witch and Sun’s Sister, the story of the, 178
Witch Girl, the story of the, 274
Witchcraft, 170-183, 273-295
Woe, the story of, 193
Wolf-fiend, the story of a, 376
Wolves, traditions about, 349
Women, jokes about, 49-56
Yaga Baba. See __A_TAG_PLACEHOLDER_0__
Youth, Fountain of, __A_TAG_PLACEHOLDER_1__
Transcriber's Note:
Transcriber's Note:
The frontispiece illustration has been moved to follow the title page. Alphabetic links have been added to the Index for ease of navigation.
The frontispiece illustration has been moved to come right after the title page. Alphabetic links have been added to the Index for easier navigation.
There are a few Greek words in this text, which may require adjustment of your browser settings to display correctly. A transliteration of each word is included. Hover your mouse over words underlined with a faint red dashed underline to see them.
There are some Greek words in this text that might need you to change your browser settings to show up correctly. A transliteration of each word is provided. Hover your mouse over the words that are underlined with a faint red dashed underline to see them.
The footnotes relating to vampires (pp. 323-4) reference modern Greek. In these cases only, β has been transliterated as a v rather than a b.
The footnotes about vampires (pp. 323-4) reference modern Greek. In these cases only, β has been transliterated as a v instead of a b.
There were a very large number of typographic errors in the source edition of this text. Minor punctuation errors (omitted or incorrect punctuation, mismatched quote marks etc.) have been amended without note. Regularly used abbreviations (for example, "Grimm, KM." or "P.V.S.") have been made consistent throughout, without note. Use of accents have been made consistent throughout without note. Hyphenation has been made consistent throughout, without note.
There were a lot of typos in the original version of this text. Minor punctuation mistakes (like missing or incorrect punctuation, mismatched quotation marks, etc.) have been fixed without any mention. Commonly used abbreviations (for example, "Grimm, KM." or "P.V.S.") have been standardized throughout, without any note. The use of accents has been made consistent throughout without mention. Hyphenation has also been made consistent throughout, without any notes.
The author uses some alternative spellings—for example, "arn't" rather than "aren't", "dulness" rather than "dullness", both "shan't" and "sha'n't"—which have been left unchanged. There are also some unusual grammatical structures in places, which probably result from the author's intention to render the translations as literally as possible. These have also been left unchanged.
The author uses some alternative spellings—like "arn't" instead of "aren't," "dulness" instead of "dullness," and both "shan't" and "sha'n't"—which have been left as is. There are also some unusual grammatical structures in places, likely due to the author's desire to keep the translations as literal as possible. These have also been left unchanged.
The remaining amendments are listed below. All were checked against a later edition of the book that had been retypeset, and references to other works were additionally checked against online library catalogues. In the case of proper names, the amendments were based on other available occurrences of the name in the text. These amendments are also shown in the text with a faint grey dotted underline. Hover your mouse over these words to see the original text or a note about the amendment.
The remaining amendments are listed below. All were compared with a later edition of the book that had been retypeset, and references to other works were also checked against online library catalogs. For proper names, the amendments were based on other instances of the name found in the text. These amendments are also indicated in the text with a faint grey dotted underline. Hover your mouse over these words to see the original text or a note about the amendment.
Page 9—Khudyayof amended to Khudyakof—"Khudyakof (I.A.). ..."
Page 9, footnote [7]—1 amended to i—"... Afanasief," i. No. 2, ..."
Page 10—Karadjich amended to Karajich—"The name "Karajich" refers to the ..."
Page 10—Tale amended to Tales—"... the "Popular Tales of the West
Highlands," 4 vols. ..."
Page 14—page reference for The Shroud amended from
351 to 311.
Page 14—page reference for The Dog and the Corpse
amended from 316 to 317.
Page 16—medieval amended to mediæval—"... a blurred transcript of a page of mediæval
history ..."
Page 20, footnote [13]—Helen amended to Helena—"... the close of the story of Helena the
Fair ..."
Page 32—bare amended to bore—"Well, the mistress bore a son ..."
Page 37—garveyard amended to graveyard—"I’ll go to the graveyard, ..."
Page 37—pack amended to back—"... and hobbled back again ..."
Page 41—rubles amended to roubles—"... he had gained a hundred and fifty thousand
roubles ..."
Page 42, footnote [37]—Nicola's amended to Nicholas's—"In another story St. Nicolas’s
picture is the surety."
Page 44, footnote [41]—Dei amended to Die—"Die kluge Bauerntochter"
Page 45—crouched amended to couched—"... couched in terms of
the utmost severity ..."
Page 49—alternation amended to alteration—"... how little alteration
it may undergo."
Page 54, footnote [54]—chortevnok amended to chortenok—"... (chortenok = a little
chort or devil) ..."
Page 55—Golovh amended to Golova—"Golova = head"
Page 59—the author uses the statement, "The folk-tales of all lands delight to gird at
misers and skinflints ...". While gird does not seem to be the right word in this
context, it's unclear what the author really intended—possibly gibe?—so it
is left as printed.
Page 80, footnote [77]—Afansief amended to Afanasief—"... i.e., says Afanasief ..."
Page 83, footnote [83]—Wissenchaften amended to Wissenschaften—"... Gesellschaft
der Wissenschaften ..."
Page 92—Mährchen amended to Märchen—"...Schleicher’s "Litauische Märchen" ..."
Page 97, footnote [101]—Afansief amended to Afanasief—"Afanasief, viii. No. 8. ..."
Page 98—gronnd amended to ground—"The Eagle smote upon the ground ..."
Page 101—Is it amended to It is—"It is possible to sow wheat, ..."
Page 104—me amended to met—"Presently there met him a lioness ..."
Page 104—omitted 'I' added—"... so hungry, I feel quite unwell!"
Page 109, footnote [108]—No. 20o amended to No. 20—"Khudyakof, No. 20."
Page 110—faries amended to fairies—"... a lake in which fairies of the swan-maiden
..."
Page 113, footnote [114]—chigunnova amended to chugunnova—"Do chugunnova
kamnya, to an iron stone."
Page 120, footnote [128]—Siebenbügen amended to Siebenbürgen—"... Deutsche
Volksmärchen aus dem Sachsenlande in Siebenbürgen ..."
Page 123, footnote [136]—Professer amended to Professor—"... referred to by Professor
Benfey ..."
Page 123, footnote [136]—Egyptain amended to Egyptian—"... parallel to part of the Egyptian
myth ..."
Page 126—nto amended to into—"Then in a moment they rolled themselves into ..."
Page 129, footnote [142]—Rusalk amended to Rusalka—"For a description of the Rusalka ..."
Page 138, footnote [146]—traslated amended to translated—"The word here translated
..."
Page 143, footnote [148]—Afansief amended to Afanasief—"Afanasief, v. No. 28. In the
preceding story ..."
Page 146, footnote [160]—the word "jenzi" is repeated. Probably one of the
occurrences had a diacritical mark which was not reproduced in this edition; it
has been left as printed.
Page 153—foul's amended to fowl's—"... twirling round on "a fowl’s leg.""
Page 160—By-and-bye amended to By-and-by—"By-and-by she put out the lights ..."
Page 167, footnote [194]—government amended to Government—"From the Poltava Government."
Page 170, footnote [204]—Afansief amended to Afanasief—"Afanasief, vii. No. 18."
Page 170, footnote [205]—Sanscrit amended to Sanskrit—"... answering to the Sanskrit
..."
Page 171, footnote [206]—Voronej amended to Voroneje—"From the Voroneje Government."
Page 172, footnote [208]—Shazka amended to Skazka—"... the Skazka for that of witch ..."
Page 172—Ivaschechko amended to Ivashechko (verse following "... called to her son")—"Ivashechko,
Ivashechko, my boy ..."
Page 177—servants-maids amended to servant-maids—"... the bereaved mother sends three
servant-maids ..."
Page 177, footnote [214]—Id. amended to Ibid.—"Ibid. No. 52."
Page 179—woman amended to women—"... where two old women were sewing ..."
Page 190—in amended to it—"... there is no occasion to dwell upon it here."
Page 208, footnote [255]—Rhudyakof amended to Khudyakof—"Khudyakof, No. 166."
Page 213—plating amended to plaiting—"... sat a moujik plaiting a bast shoe."
Page 214—alloting amended to allotting—"... when God was allotting their shares ..."
Page 215, footnote [267]—i.i. amended to ii.—"Afanasief, P.V.S., ii.
226."
Page 217, footnote [271]—Borichesky amended to Borichefsky—"Quoted from Borichefsky
..."
Page 218—withen amended to within—"... when he came within a few versts of the sea-
shore ..."
Page 225—superfluous 'to' removed before "out to merry-makings"
Page 228—put amended to puts—"... the girl puts on the robes, and
appears ..."
Page 233—n amended to in—"... went out one day to walk in the garden."
Page 233—omitted 'a' added—"... hiding him behind a number of cushions, ..."
Page 241—Brynhildr amended to Brynhild—"... who bear so great a resemblance to
Brynhild ..."
Page 252, footnote [321]—omitted roman i. reference added—"See A. de Gubernatis, "Zool.
Mythology," i. 181."
Page 255—euough amended to enough—"That’s no go, sure enough!"
Page 257—t amended to it—"If the Princess found it out, ..."
Page 260, footnote [326]—omitted word 'Cox' added—"... by G. W. Cox ..."
Page 261, footnote [328]—Kullish amended to Kulish—"For a little-Russian version see
Kulish ..."
Page 262—shaskas amended to skazkas—"But skazkas tell that ..."
Page 276—the amended to The—"The fiend disappears howling, ..."
Page 276, footnote [363]—Märchensammlung amended to Mährchensammlung—"Brockhaus’s
"Mährchensammlung des Somadeva Bhatta" ..."
Page 277—dont amended to don't—"... from your psalter and don’t look behind ..."
Page 286—of amended to off—"Do you drive off with the coffin, ..."
Page 288, footnote [368]—Gessellschaft amended to Gesellschaft—"... Königl. Sächs.
Gesellschaft der Wissenschaften ..."
Page 291—sportman amended to sportsman—"... a sportsman finds in a
forest ..."
Page 313, footnote [407]—Geöthe amended to Goethe—"... Goethe founded his weird
ballad ..."
Page 321—omitted word 'in' added—"The pyre became wrapped in flames ..."
Page 334, footnote [430]—Tereschenko amended to Tereshchenko—"Tereshchenko, v. p.
45."
Page 335, footnote [433]—Tereschenko amended to Tereshchenko—"Tereshchenko, v. 47."
Page 344, footnote [445]—Il'inskomy amended to Il'inskomu—"Il’inskomu bat’kye—to
the Elijah father."
Page 350, footnote [448]—page reference 206 amended to 212—"...
mentioned above, p. 212."
Page 354, footnote [453]—page reference 27 amended to 40—"... See above, p. 40."
Page 365, footnote [464]—omitted apostrophe added after Prolub—"Prolub’"
Page 369—merged amended to emerged—"At last he emerged from his ecstasy"
Page 374—cap amended to chap—"... into the “Gesta Romanorum” (chap.
clxii.) ..."
Page 378—youself amended to yourself—"Hire yourself to him ..."
Page 379, footnote [482]—Governmen amended to Government—"From the Tula Government."
Page 381, footnote [486]—familar amended to familiar—"... a tale familiar to many
lands."
Page 383—page reference 316 amended to 317 in index entry for "Dog and
Corpse, story of the".
Page 384—page reference 194 amended to 201 in index entry for "Mythology, &c.
Personifications of Good and Evil,—Zluidni".
Page 385 and Page 386—page reference 243 amended to 242 in index entries
for "Symplêgades".
Page 385—lighting amended to lightning—"superstitions about lightning, 343;"
Page 385—page reference 255 amended to 355 in index entry for "Priest with the
Greedy Eyes, story of the".
Page 385—page reference 383 amended to 157 in index entry for "Russian children,
appearance of".
Page 385—page reference 36 amended to 49 in index entry for "Russian peasants—their
jokes against women".
Page 386—page reference 83 amended to 84 in index entry for "Vy, the
Servian".
Page 386—page reference 113 amended to 130 in index entry for "Water King
and Vasilissa the Wise, story of the".
Page 386—30-237 amended to 237-242, in line with other index entry for
"Waters of Life and Death".
Page 9—Khudyayof changed to Khudyakof—"Khudyakof (I.A.). ..."
Page 9, footnote [7]—1 changed to i—"... Afanasief," i. No. 2, ..."
Page 10—Karadjich changed to Karajich—"The name "Karajich" refers to the ..."
Page 10—Tale changed to Tales—"... the "Popular Tales of the West Highlands," 4 vols. ..."
Page 14—page reference for The Shroud of Turin changed from 351 to 311.
Page 14—page reference for The Dog and the Body changed from 316 to 317.
Page 16—medieval changed to mediæval—"... a blurred transcript of a page of mediæval history ..."
Page 20, footnote [13]—Helen changed to Helena—"... the close of the story of Helena the Fair ..."
Page 32—bare changed to bore—"Well, the mistress bore a son ..."
Page 37—garveyard changed to graveyard—"I’ll go to the graveyard, ..."
Page 37—pack changed to back—"... and hobbled back again ..."
Page 41—rubles changed to roubles—"... he had gained a hundred and fifty thousand roubles ..."
Page 42, footnote [37]—Nicola's changed to Nicholas's—"In another story St. Nicolas’s picture is the surety."
Page 44, footnote [41]—Dei changed to Die—"Die kluge Bauerntochter"
Page 45—crouched changed to couched—"... couched in terms of the utmost severity ..."
Page 49—alternation changed to alteration—"... how little alteration it may undergo."
Page 54, footnote [54]—chortevnok changed to chortenok—"... (chortenok = a little chort or devil) ..."
Page 55—Golovh changed to Golova—"Golova = head"
Page 59—the author uses the statement, "The folk-tales of all lands delight to gird at misers and skinflints ...". While gird doesn't seem to be the right word in this context, it's unclear what the author really intended—possibly gibe?—so it is left as printed.
Page 80, footnote [77]—Afansief changed to Afanasief—"... i.e., says Afanasief ..."
Page 83, footnote [83]—Wissenchaften changed to Wissenschaften—"... Gesellschaft der Wissenschaften ..."
Page 92—Mährchen changed to Märchen—"...Schleicher’s "Litauische Märchen" ..."
Page 97, footnote [101]—Afansief changed to Afanasief—"Afanasief, viii. No. 8. ..."
Page 98—gronnd changed to ground—"The Eagle smote upon the ground ..."
Page 101—Is it changed to It is—"It is possible to sow wheat, ..."
Page 104—me changed to met—"Presently there met him a lioness ..."
Page 104—omitted 'I' added—"... so hungry, I feel quite unwell!"
Page 109, footnote [108]—No. 20o changed to No. 20—"Khudyakof, No. 20."
Page 110—faries changed to fairies—"... a lake in which fairies of the swan-maiden ..."
Page 113, footnote [114]—chigunnova changed to chugunnova—"Do chugunnova kamnya, to an iron stone."
Page 120, footnote [128]—Siebenbügen changed to Siebenbürgen—"... Deutsche Volksmärchen aus dem Sachsenlande in Siebenbürgen ..."
Page 123, footnote [136]—Professer changed to Professor—"... referred to by Professor Benfey ..."
Page 123, footnote [136]—Egyptain changed to Egyptian—"... parallel to part of the Egyptian myth ..."
Page 126—nto changed to into—"Then in a moment they rolled themselves into ..."
Page 129, footnote [142]—Rusalk changed to Rusalka—"For a description of the Rusalka ..."
Page 138, footnote [146]—traslated changed to translated—"The word here translated ..."
Page 143, footnote [148]—Afansief changed to Afanasief—"Afanasief, v. No. 28. In the preceding story ..."
Page 146, footnote [160]—the word "jenja" is repeated. Probably one of the occurrences had a diacritical mark which was not reproduced in this edition; it has been left as printed.
Page 153—foul's changed to fowl's—"... twirling round on "a fowl’s leg.""
Page 160—By-and-bye changed to By-and-by—"By-and-by she put out the lights ..."
Page 167, footnote [194]—government changed to Government—"From the Poltava Government."
Page 170, footnote [204]—Afansief changed to Afanasief—"Afanasief, vii. No. 18."
Page 170, footnote [205]—Sanscrit changed to Sanskrit—"... answering to the Sanskrit ..."
Page 171, footnote [206]—Voronej changed to Voroneje—"From the Voroneje Government."
Page 172, footnote [208]—Shazka changed to Skazka—"... the Skazka for that of witch ..."
Page 172—Ivaschechko changed to Ivashechko (verse following "... called to her son")—"Ivashechko, Ivashechko, my boy ..."
Page 177—servants-maids changed to servant-maids—"... the bereaved mother sends three servant-maids ..."
Page 177, footnote [214]—Id. changed to Ibid.—"Ibid. No. 52."
Page 179—woman changed to women—"... where two old women were sewing ..."
Page 190—in changed to it—"... there is no occasion to dwell upon it here."
Page 208, footnote [255]—Rhudyakof changed to Khudyakof—"Khudyakof, No. 166."
Page 213—plating changed to plaiting—"... sat a moujik plaiting a bast shoe."
Page 214—alloting changed to allotting—"... when God was allotting their shares ..."
Page 215, footnote [267]—i.i. changed to ii.—"Afanasief, P.V.S., ii. 226."
Page 217, footnote [271]—Borichesky changed to Borichefsky—"Quoted from Borichefsky ..."
Page 218—withen changed to within—"... when he came within a few versts of the sea-shore ..."
Page 225—superfluous 'to' removed before "out to merry-makings"
Page 228—put changed to puts—"... the girl puts on the robes, and appears ..."
Page 233—n changed to in—"... went out one day to walk in the garden."
Page 233—omitted 'a' added—"... hiding him behind a number of cushions, ..."
Page 241—Brynhildr changed to Brynhild—"... who bear so great a resemblance to Brynhild ..."
Page 252, footnote [321]—omitted roman i. reference added—"See A. de Gubernatis, "Zool. Mythology," i. 181."
Page 255—euough changed to enough—"That’s no go, sure enough!"
Page 257—t changed to it—"If the Princess found it out, ..."
Page 260, footnote [326]—omitted word 'Cox' added—"... by G. W. Cox ..."
Page 261, footnote [328]—Kullish changed to Kulish—"For a little-Russian version see Kulish ..."
Page 262—shaskas changed to skazkas—"But skazkas tell that ..."
Page 276—the changed to The—"The fiend disappears howling, ..."
Page 276, footnote [363]—Märchensammlung changed to Mährchensammlung—"Brockhaus’s "Mährchensammlung des Somadeva Bhatta" ..."
Page 277—dont changed to don't—"... from your psalter and don’t look behind ..."
Page 286—of changed to off—"Do you drive off with the coffin, ..."
Page 288, footnote [368]—Gessellschaft changed to Gesellschaft—"... Königl. Sächs. Gesellschaft der Wissenschaften ..."
Page 291—sportman changed to sportsman—"... a sportsman finds in a forest ..."
Page 313, footnote [407]—Geöthe changed to Goethe—"... Goethe founded his weird ballad ..."
Page 321—omitted word 'in' added—"The pyre became wrapped in flames ..."
Page 334, footnote [430]—Tereschenko changed to Tereshchenko—"Tereshchenko, v. p. 45."
Page 335, footnote [433]—Tereschenko changed to Tereshchenko—"Tereshchenko, v. 47."
Page 344, footnote [445]—Il'inskomy changed to Il'inskomu—"Il’inskomu bat’kye—to the Elijah father."
Page 350, footnote [448]—page reference 206 changed to 212—"...
mentioned above, p. 212."
Page 354, footnote [453]—page reference 27 changed to 40—"... See above, p. 40."
Page 365, footnote [464]—omitted apostrophe added after Prolub—"Prolub’"
Page 369—merged changed to emerged—"At last he emerged from his ecstasy"
Page 374—cap changed to chap—"... into the “Gesta Romanorum” (chap. clxii.) ..."
Page 378—youself changed to yourself—"Hire yourself to him ..."
Page 379, footnote [482]—Governmen changed to Government—"From the Tula Government."
Page 381, footnote [486]—familar changed to familiar—"... a tale familiar to many lands."
Page 383—page reference 316 changed to 317 in index entry for "Dog and Corpse, story of the".
Page 384—page reference 194 changed to 201 in index entry for "Mythology, &c. Personifications of Good and Evil,—Zluidni".
Page 385 and Page 386—page reference 243 changed to 242 in index entries for "Symplêgades".
Page 385—lighting changed to lightning—"superstitions about lightning, 343;"
Page 385—page reference 255 changed to 355 in index entry for "Priest with the Greedy Eyes, story of the".
Page 385—page reference 383 changed to 157 in index entry for "Russian children, appearance of".
Page 385—page reference 36 changed to 49 in index entry for "Russian peasants—their jokes against women".
Page 386—page reference 83 changed to 84 in index entry for "Vy, the Servian".
Page 386—page reference 113 changed to 130 in index entry for "Water King and Vasilissa the Wise, story of the".
Page 386—30-237 changed to 237-242, in line with other index entry for "Waters of Life and Death".
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