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Fairy tale from Russia From Wikipedia, the free encyclopedia
A Russian fairy tale or folktale (Russian: ска́зка; skazka; plural Russian: ска́зки, romanized: skazki) is a fairy tale in Russian culture.
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Various sub-genres of skazka exist. A volshebnaya skazka [волше́бная ска́зка] (literally "magical tale") is considered a magical tale.[1][need quotation to verify] Skazki o zhivotnykh are tales about animals and bytovye skazki are tales about household life. These variations of skazki give the term more depth and detail different types of folktales.
Similarly to Western European traditions, especially the German-language collection published by the Brothers Grimm, Russian folklore was first collected by scholars and systematically studied in the 19th century. Russian fairy tales and folk tales were cataloged (compiled, grouped, numbered and published) by Alexander Afanasyev in his 1850s Narodnye russkie skazki. Scholars of folklore still refer to his collected texts when citing the number of a skazka plot. An exhaustive analysis of the stories, describing the stages of their plots and the classification of the characters based on their functions, was developed later, in the first half of the 20th century, by Vladimir Propp (1895-1970).
Appearing in the latter half of the eighteenth century, fairy tales became widely popular as they spread throughout the country. Literature was considered an important factor in the education of Russian children who were meant to grow from the moral lessons in the tales. During the 18th Century Romanticism period, poets such as Alexander Pushkin and Pyotr Yershov began to define the Russian folk spirit with their stories. Throughout the 1860s, despite the rise of Realism, fairy tales still remained a beloved source of literature which drew inspiration from writers such as Hans Christian Andersen.[2]
The messages in the fairy tales began to take a different shape once Joseph Stalin rose to power under the Communist movement.[3] Fairy tales were thought to have a strong influence over children which is why Joseph Stalin decided to place restrictions upon the literature distributed under his rule. The tales created in the mid 1900s were used to impose Socialist beliefs and values as seen in numerous popular stories.[3] In comparison to stories from past centuries, fairy tales in the USSR had taken a more modern spin as seen in tales such as in Anatoliy Mityaev's Grishka and the Astronaut. Grishka and the Astronaut, examines modern Russian's passion to travel through space as seen in reality with the Space Race between Russia and the United States.[4] The new tales included a focus on innovations and inventions that could help characters in place of magic which was often used as a device in past stories.
In Russia, the fairy tale is one sub-genre of folklore and is usually told in the form of a short story. They are used to express different aspects of the Russian culture. In Russia, fairy tales were propagated almost exclusively orally, until the 17th century, as written literature was reserved for religious purposes.[5] In their oral form, fairy tales allowed the freedom to explore the different methods of narration. The separation from written forms led Russians to develop techniques that were effective at creating dramatic and interesting stories. Such techniques have developed into consistent elements now found in popular literary works; They distinguish the genre of Russian fairy tales. Fairy tales were not confined to a particular socio-economic class and appealed to mass audiences, which resulted in them becoming a trademark of Russian culture.[6]
Cultural influences on Russian fairy tales have been unique and based on imagination. Isaac Bashevis Singer, a Polish-American author and Nobel Prize winner, claims that, “You don't ask questions about a tale, and this is true for the folktales of all nations. They were not told as fact or history but as a means to entertain the listener, whether he was a child or an adult. Some contain a moral, others seem amoral or even antimoral, Some constitute fables on man's follies and mistakes, others appear pointless." They were created to entertain the reader.[7]
Russian fairy tales are extremely popular and are still used to inspire artistic works today. The Sleeping Beauty is still played in New York at the American Ballet Theatre and has roots to original Russian fairy tales from 1890. Mr. Ratmansky’s, the artist-in-residence for the play, gained inspiration for the play's choreography from its Russian background.[8]
From the 1910s through the 1930s, a wave of literary criticism emerged in Russia, called Russian formalism by critics of the new school of thought.[9]
Many different approaches of analyzing the morphology of the fairy tale have appeared in scholarly works. Differences in analyses can arise between synchronic and diachronic approaches.[10][11] Other differences can come from the relationship between story elements. After elements are identified, a structuralist can propose relationships between those elements. A paradigmatic relationship between elements is associative in nature whereas a syntagmatic relationship refers to the order and position of the elements relative to the other elements.[11]
Before the period of Russian formalism, beginning in 1910, Alexander Veselovksky called the motif the "simplest narrative unit."[12] Veselovsky proposed that the different plots of a folktale arise from the unique combinations of motifs.
Motif analysis was also part of Stith Thompson's approach to folkloristics.[13] Thompson's research into the motifs of folklore culminated in the publication of the Motif-Index of Folk Literature.[14]
In 1919, Viktor Shklovsky published his essay titled "The Relationship Between Devices of Plot Construction and General Devices of Style".[12] As a major proponent during Russian formalism,[15] Shklovsky was one of the first scholars to criticize the failing methods of literary analysis and report on a syntagmatic approach to folktales. In his essay he claims, "It is my purpose to stress not so much the similarity of motifs, which I consider of little significance, as the similarity in the plot schemata."[12]
Syntagmatic analysis, championed by Vladimir Propp, is the approach in which the elements of the fairy tale are analyzed in the order that they appear in the story. Wanting to overcome what he thought was arbitrary and subjective analysis of folklore by motif,[16] Propp published his book Morphology of the Folktale in 1928.[15] The book specifically states that Propp finds a dilemma in Veselovsky's definition of a motif; it fails because it can be broken down into smaller units, contradicting its definition.[6] In response, Propp pioneered a specific breakdown that can be applied to most Aarne-Thompson type tales classified with numbers 300-749.[6][17] This methodology gives rise to Propp's 31 functions, or actions, of the fairy tale.[17] Propp proposes that the functions are the fundamental units the story and that there are exactly 31 distinct functions. He observed in his analysis of 100 Russian fairy tales that tales almost always adhere to the order of the functions. The traits of the characters, or dramatis personae, involved in the actions are second to the action actually being carried out. This also follows his finding that while some functions may be missing between different stories, the order is kept the same for all the Russian fairy tales he analyzed.[6]
Alexander Nikiforov, like Shklovsky and Propp, was a folklorist in 1920s Soviet Russia. His early work also identified the benefits of a syntagmatic analysis of fairy tale elements. In his 1926 paper titled "The Morphological Study of Folklore", Nikiforov states that "Only the functions of the character, which constitute his dramatic role in the folk tale, are invariable."[12] Since Nikiforov's essay was written almost 2 years before Propp's publication of Morphology of the Folktale,[18] scholars have speculated that the idea of the function, widely attributed to Propp, could have first been recognized by Nikiforov.[19] One source claims that Nikiforov's work was "not developed into a systematic analysis of syntagmatics" and failed to "keep apart structural principles and atomistic concepts".[16] Nikiforov's work on folklore morphology was never pursued beyond his paper.[18]
Alexander Afanasyev began collecting fairy tales at a time when folklore was viewed as simple entertainment. His interest in folklore stemmed from his interest in ancient Slavic mythology. During the 1850s, Afanasyev began to record part of his collection from tales dating to Boguchar, his birthplace. More of his collection came from the work of Vladimir Dhal and the Russian Geographical Society who collected tales from all around the Russian Empire.[20] Afanasyev was a part of the few who attempted to create a written collection of Russian folklore. This lack in collections of folklore was due to the control that the Church Slavonic had on printed literature in Russia, which allowed for only religious texts to be spread. To this, Afanasyev replied, “There is a million times more morality, truth and human love in my folk legends than in the sanctimonious sermons delivered by Your Holiness!”[21]
Between 1855 and 1863, Afanasyev edited Popular Russian Tales [Narodnye russkie skazki], which had been modeled after the Grimm's Tales. This publication had a vast cultural impact over Russian scholars by establishing a desire for folklore studies in Russia. The rediscovery of Russian folklore through written text led to a generation of great Russian authors to come forth. Some of these authors include Leo Tolstoy and Fyodor Dostoevsky. Folktales were quickly produced in written text and adapted. Since the production of this collection, Russian tales remain understood and recognized all over Russia.[20]
Alexander Pushkin is known as one of Russia’s leading writers and poets.[22] He is known for popularizing fairy tales in Russia and changed Russian literature by writing stories no one before him could.[23] Pushkin is considered Russia’s Shakespeare as, during a time when most of the Russian population was illiterate, he gave Russian’s the ability to desire in a less-strict Christian and a more pagan way through his fairy tales.[24]
Pushkin gained his love for Russian fairy tales from his childhood nurse, Ariana Rodionovna, who told him stories from her village when he was young.[25] His stories served importance to Russians past his death in 1837, especially during times political turmoil during the start of the 20th century, in which, “Pushkin’s verses gave children the Russian language in its most perfect magnificence, a language which they may never hear or speak again, but which will remain with them as an eternal treasure.”[26]
The value of his fairy tales was established a hundred years after Pushkin’s death when the Soviet Union declared him a national poet. Pushkin’s work was previously banned during the Czarist rule. During the Soviet Union, his tales were seen acceptable for education, since Pushkin’s fairy tales spoke of the poor class and had anti-clerical tones.[27]
According to scholarship, some of "most popular or most significant" types of Russian Magic Tales (or Wonder Tales) are the following:[a][29]
| Tale number | Russian classification | Aarne-Thompson-Uther Index Grouping | Examples | Notes |
|---|---|---|---|---|
| 300 | The Winner of the Snake | The Dragon-Slayer | Green-Vanka (second part) | |
| 301 | The Three Kingdoms | The Three Stolen Princesses | The Norka; Dawn, Midnight and Twilight | [b] |
| 302 | Kashchei’s Death in an Egg | Ogre's (Devil's) Heart in the Egg | The Death of Koschei the Deathless | |
| 307 | The Girl Who Rose from the Grave | The Princess in the Coffin | [c] | |
| 313 | Magic Escape | The Magic Flight | The Sea Tsar and Vasilisa the Wise | [d] |
| 315 | The Feigned Illness (beast’s milk) | The Faithless Sister | ||
| 325 | Crafty Knowledge | The Magician and his Pupil | [e] | |
| 327 | Children at Baba Yaga’s Hut | Children and the Ogre | ||
| 327C | Ivanushka and the Witch | The Devil (Witch) Carries the Hero Home in a Sack | [f] | |
| 400 | The husband looks for his wife, who has disappeared or been stolen (or a wife searches for her husband) | The Man on a Quest for The Lost Wife | The Maiden Tsar | |
| 465 | The Beautiful Wife | The Man persecuted because of his beautiful wife | Go I Know Not Whither and Fetch I Know Not What | [g] |
| 480 | Stepmother and Stepdaughter | The Kind and Unkind Girls | Vasilissa the Beautiful | |
| 519 | The Blind Man and the Legless Man | The Strong Woman as Bride (Brunhilde) | [h][i][j][k] | |
| 531 | The Little Hunchback Horse | The Clever Horse | The Humpbacked Horse; The Firebird and Princess Vasilisa | [l] |
| 555 | Kitten-Gold Forehead (a gold fish, a magical tree) | The Fisherman and His Wife | The Tale of the Fisherman and the Fish | [m][n] |
| 560 | The Magic Ring | The Magic Ring | [o][p] | |
| 707 | The Tale of Tsar Saltan [Marvelous Children] | The Three Golden Children | Tale of Tsar Saltan, The Wicked Sisters | [q] |
| 709 | The Dead Tsarina or The Dead Tsarevna | Snow White | The Tale of the Dead Princess and the Seven Knights | [r] |
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