Russian Fairy Tales: A Choice Collection of Muscovite Folk-lore. Anonymous

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 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.

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 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 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 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.

      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.

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” he puts them into boiling water by way of cleansing them, and so washes 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.

The Fiend.[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,