# Russian fairy tale

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Fairy tale from Russia

Ivan Tsarevich and the Grey Wolf (Zvorykin)

A **Russian fairy tale** or **folktale** ([Russian](/source/Russian_language): ска́зка; ***skazka***; plural [Russian](/source/Russian_language): ска́зки, [romanized](/source/Romanization_of_Russian): *skazki*) is a [fairy tale](/source/Fairy_tale) in [Russian culture](/source/Russian_culture).

Various sub-genres of *skazka* exist. A *volshebnaya skazka* [волше́бная ска́зка] (literally "magical tale") is considered a magical tale.[1][*[need quotation to verify](https://en.wikipedia.org/wiki/Wikipedia:Verifiability)*] *Skazki o zhivotnykh* are tales about animals and *bytovye skazki* are tales about household life.

Russian folklore was first collected by scholars and systematically studied in the 19th century. Russian [fairy tales](/source/Fairy_tale) and [folk tales](/source/Oral_tradition) were cataloged (compiled, grouped, numbered and published) by [Alexander Afanasyev](/source/Alexander_Afanasyev) in his 1850s *[Narodnye russkie skazki](/source/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](/source/Vladimir_Propp) (1895-1970).

## History

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](/source/Romanticism) period, poets such as [Alexander Pushkin](/source/Alexander_Pushkin) and [Pyotr Yershov](/source/Pyotr_Pavlovich_Yershov) began to define the Russian folk spirit with their stories. Throughout the 1860s, despite the rise of [Realism](/source/Literary_realism), fairy tales still remained a beloved source of literature which drew inspiration from writers such as [Hans Christian Andersen](/source/Hans_Christian_Andersen).[2]

### Effects of communism

The messages in the fairy tales began to take a different shape once [Joseph Stalin](/source/Joseph_Stalin) rose to power under [the Communist movement](/source/Communist_Party_of_the_Soviet_Union).[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](/source/Socialism) beliefs and values as seen in numerous popular stories.[3] In comparison to stories from past centuries, fairy tales in the [USSR](/source/Soviet_Union) had taken a more modern spin as seen in tales such as in [Anatoliy Mityaev](https://en.wikipedia.org/w/index.php?title=Anatoliy_Mityaev&action=edit&redlink=1)'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](/source/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.

## Influences

Russian kids listening to a new fairy tale

In [Russia](/source/Russia), the [fairy tale](/source/Fairy_tale) is one sub-genre of [folklore](/source/Folklore) and is usually told in the form of a [short story](/source/Short_story). They are used to express different aspects of the [Russian culture](/source/Russian_culture). In Russia, fairy tales were propagated almost exclusively orally, until the 17th century, as written literature was reserved for [religious](/source/Religion) purposes.[5] In their oral form, fairy tales allowed the freedom to explore the different methods of [narration](/source/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](/source/Social_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](/source/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](/source/The_Sleeping_Beauty_(ballet))* 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](/source/Artist-in-residence) for the play, gained inspiration for the play's choreography from its Russian background.[8]

### Formalism

From the 1910s through the 1930s, a wave of literary criticism emerged in Russia, called [Russian formalism](/source/Russian_formalism) by critics of the new school of thought.[9]

## Analysis

Many different approaches of analyzing the [morphology](/source/Morphology_(folkloristics)) of the fairy tale have appeared in scholarly works. Differences in analyses can arise between [synchronic and diachronic](/source/Synchrony_and_diachrony) approaches.[10][11] Other differences can come from the relationship between story elements. After elements are identified, a [structuralist](/source/Structural_linguistics) can propose relationships between those elements. A [paradigmatic](/source/Paradigmatic_analysis) relationship between elements is associative in nature whereas a [syntagmatic](/source/Syntagmatic_analysis) relationship refers to the order and position of the elements relative to the other elements.[11]

### Motif

Before the period of Russian formalism, beginning in 1910, [Alexander Veselovksky](/source/Alexander_Veselovsky) called the [motif](/source/Motif_(folkloristics)) 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](/source/Stith_Thompson) approach to [folkloristics](/source/Folklore_studies).[13] Thompson's research into the motifs of folklore culminated in the publication of the [Motif-Index of Folk Literature](/source/Motif-Index_of_Folk-Literature).[14]

### Structural

In 1919, [Viktor Shklovsky](/source/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](/source/Syntagmatic_analysis), championed by [Vladimir Propp](/source/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](/source/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](/source/Aarne%E2%80%93Thompson_classification_systems) 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](/source/Vladimir_Propp) 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](/source/Dramatis_person%C3%A6), 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](https://en.wikipedia.org/w/index.php?title=Alexander_Nikiforov&action=edit&redlink=1), 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](/source/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]

## Notable writers and collectors

### Alexander Afanasyev

Alexander Afanasyev

[Alexander Afanasyev](/source/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](/source/Slavic_paganism). During the 1850s, Afanasyev began to record part of his collection from tales dating to [Boguchar](/source/Boguchar), his birthplace. More of his collection came from the work of [Vladimir Dhal](/source/Vladimir_Dal) and the [Russian Geographical Society](/source/Russian_Geographical_Society) who collected tales from all around the [Russian Empire](/source/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](/source/Church_Slavonic_language) 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](/source/Russian_Fairy_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](/source/Leo_Tolstoy) and [Fyodor Dostoevsky](/source/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

[Alexander Pushkin](/source/Alexander_Pushkin) is known as one of Russia’s leading writers and poets.[22] He is known for popularizing fairy tales in [Russia](/source/Russia) and changed Russian literature by writing stories no one before him could.[23] Pushkin is considered Russia’s [Shakespeare](/source/William_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](/source/Soviet_Union) declared him a national poet. Pushkin’s work was previously banned during the [Czarist](/source/Russian_Empire) 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](/source/Anti-clericalism) tones.[27]

## Corpus

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]

## Notes

1. **[^](#cite_ref-29)** Propp's *The Russian Folktale* lists types 301, 302, 307, 315, 325, 327, 400, 461, 465, 519, 545B, 555, 560, 567 and 707.[28]

1. **[^](#cite_ref-32)** A preliminary report by [Nikolay Andreyev](/source/Nikolay_Andreyev_(folklorist)) declared that type 301, "The Three Kingdoms and the Stolen Princesses", was among the "most popular types" in Russia, with 45 variants. The type was also the second "most frequently collected in Ukraine", with 31 texts.[30]

1. **[^](#cite_ref-35)** French folklorist [Paul Delarue](/source/Paul_Delarue) noticed that the tale type, despite existing "throughout Europe", is well known in Russia, where it found "its favorite soil".[31] Likewise, Jack Haney stated that type 307 was "most common" among [East Slavs](/source/East_Slavs).[32]

1. **[^](#cite_ref-37)** A preliminary report by Nikolay Andreyev declared that type 313, "The Magic Flight", was among the "most popular types" in Russia, with 41 variants. The type was also the "most frequently collected" in Ukraine, with 37 texts.[33]

1. **[^](#cite_ref-40)** Commenting on a Russian tale collected in the 20th century, [Richard Dorson](/source/Richard_Dorson) stated that the type was "one of the most widespread Russian Märchen".[34] In the [East Slavic populations](/source/East_Slavs), scholarship registers 42 Russian variants, 25 Ukrainian and 10 Belarrussian.[35]

1. **[^](#cite_ref-43)** According to professor Jack V. Haney, this type of a fishing boy and a witch "[is] common among the various East European peoples."[36] Likewise, according to Andreas Johns, the tale type is "the third most popular Russian folktale".[37]

1. **[^](#cite_ref-45)** According to professor Jack V. Haney, the tale type, including previous type AaTh 465A, is "especially common in Russia".[38]

1. **[^](#cite_ref-47)** Swedish scholar [Carl von Sydow](/source/Carl_Wilhelm_von_Sydow), despite its resemblance to an episode in the German story of the *[Nibelungenlied](/source/Nibelungenlied)*, argued for the independent character of the Russian folktales about the "strong bride".[39]

1. **[^](#cite_ref-49)** Russian researcher Dobrovolskaya Varvara Evgenievna stated that tale type ATU 519 (SUS 519) "belongs to the core of" the Russian tale corpus, due to "the presence of numerous variants".[40]

1. **[^](#cite_ref-51)** Following Löwis de Menar's study, [Walter Puchner](/source/Walter_Puchner) concluded on its diffusion especially in the East Slavic area.[41]

1. **[^](#cite_ref-53)** [Stith Thompson](/source/Stith_Thompson) also located this tale type across Russia and the Baltic regions.[42]

1. **[^](#cite_ref-55)** According to Jack Haney, the tale type "is extremely popular in all three branches of [East Slavic](/source/East_Slavic_languages)".[43]

1. **[^](#cite_ref-57)** According to professor Jack V. Haney, this type is "common among the East Slavs".[44]

1. **[^](#cite_ref-59)** The variation on the wish-giving entity is also attested in Estonia, whose variants register a golden fish, crayfish, or a sacred tree.[45]

1. **[^](#cite_ref-61)** According to professor Jack V. Haney, the tale type is "very common in all the East Slavic traditions".[46]

1. **[^](#cite_ref-63)** [Wolfram Eberhard](/source/Wolfram_Eberhard) reported "45 variants in Russia alone".[47]

1. **[^](#cite_ref-65)** According to professor Jack V. Haney, the tale type is "a very common East Slavic type".[48]

1. **[^](#cite_ref-67)** According to professor Jack V. Haney, the tale type is "especially common in Russian and Ukrainian".[49]

## References

1. **[^](#cite_ref-1)** "**Magic tale** **(*volshebnaia skazka*)**, also called fairy tale". [Kononenko, Natalie](/source/Natalie_Kononenko) (2007). *[Slavic Folklore: A Handbook](https://books.google.com/books?id=zrGAAAAAMAAJ)*. Greenwood Press. p. 180. [ISBN](/source/ISBN_(identifier)) [978-0-313-33610-2](https://en.wikipedia.org/wiki/Special:BookSources/978-0-313-33610-2).

1. **[^](#cite_ref-2)** Hellman, Ben. *Fairy Tales and True Stories : the History of Russian Literature for Children and Young People (1574-2010)*. Brill, 2013.

1. ^ [***a***](#cite_ref-:0_3-0) [***b***](#cite_ref-:0_3-1) Oinas, Felix J. (1973). ["Folklore and Politics in the Soviet Union"](https://doi.org/10.2307%2F2494072). *Slavic Review*. **32** (1): 45–58. [doi](/source/Doi_(identifier)):[10.2307/2494072](https://doi.org/10.2307%2F2494072). [JSTOR](/source/JSTOR_(identifier)) [2494072](https://www.jstor.org/stable/2494072). [S2CID](/source/S2CID_(identifier)) [155258933](https://api.semanticscholar.org/CorpusID:155258933).

1. **[^](#cite_ref-4)** Mityayev, Anatoli. *Grishka and the Astronaut*. Translated by Ronald Vroon, Progress, 1981.

1. **[^](#cite_ref-5)** Nikolajeva, Maria (2002). "Fairy Tales in Society's Service". *Marvels & Tales*. **16** (2): 171–187. [doi](/source/Doi_(identifier)):[10.1353/mat.2002.0024](https://doi.org/10.1353%2Fmat.2002.0024). [JSTOR](/source/JSTOR_(identifier)) [41388626](https://www.jstor.org/stable/41388626). [S2CID](/source/S2CID_(identifier)) [163086804](https://api.semanticscholar.org/CorpusID:163086804).

1. ^ [***a***](#cite_ref-:04_6-0) [***b***](#cite_ref-:04_6-1) [***c***](#cite_ref-:04_6-2) [***d***](#cite_ref-:04_6-3) Propp, Vladimir I͡Akovlevich (1968). [*Morphology of the Folktale: Second Edition*](https://archive.org/details/morphologyoffolk00prop). University of Texas Press. [ISBN](/source/ISBN_(identifier)) [978-0-292-78376-8](https://en.wikipedia.org/wiki/Special:BookSources/978-0-292-78376-8). [OCLC](/source/OCLC_(identifier)) [1020077613](https://search.worldcat.org/oclc/1020077613).[*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]

1. **[^](#cite_ref-7)** Singer, Isaac Bashevis (16 November 1975). ["Russian Fairy Tales"](https://www.nytimes.com/1975/11/16/archives/russian-fairy-tales.html). *The New York Times*.

1. **[^](#cite_ref-8)** Greskovic, Robert (2 June 2015). ["'The Sleeping Beauty' Review: Back to Its Russian Roots"](https://www.wsj.com/articles/the-sleeping-beauty-review-back-to-its-russian-roots-1433279187). *Wall Street Journal*.

1. **[^](#cite_ref-9)** Erlich, Victor (October 1973). "Russian Formalism". *Journal of the History of Ideas*. **34** (4): 627–638. [doi](/source/Doi_(identifier)):[10.2307/2708893](https://doi.org/10.2307%2F2708893). [JSTOR](/source/JSTOR_(identifier)) [2708893](https://www.jstor.org/stable/2708893).

1. **[^](#cite_ref-10)** de Saussure, Ferdinand (2011). *Course in General Linguistics*. Columbia University Press. [ISBN](/source/ISBN_(identifier)) [978-0-231-52795-8](https://en.wikipedia.org/wiki/Special:BookSources/978-0-231-52795-8). [OCLC](/source/OCLC_(identifier)) [826479070](https://search.worldcat.org/oclc/826479070).[*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]

1. ^ [***a***](#cite_ref-:4_11-0) [***b***](#cite_ref-:4_11-1) Berger, Arthur Asa (2018). *Media Analysis Techniques*. SAGE Publications. [ISBN](/source/ISBN_(identifier)) [978-1-5063-6621-0](https://en.wikipedia.org/wiki/Special:BookSources/978-1-5063-6621-0). [OCLC](/source/OCLC_(identifier)) [1000297853](https://search.worldcat.org/oclc/1000297853).[*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]

1. ^ [***a***](#cite_ref-:1_12-0) [***b***](#cite_ref-:1_12-1) [***c***](#cite_ref-:1_12-2) [***d***](#cite_ref-:1_12-3) Murphy, Terence Patrick (2015). *The Fairytale and Plot Structure*. Springer. [ISBN](/source/ISBN_(identifier)) [978-1-137-54708-8](https://en.wikipedia.org/wiki/Special:BookSources/978-1-137-54708-8). [OCLC](/source/OCLC_(identifier)) [944065310](https://search.worldcat.org/oclc/944065310).

1. **[^](#cite_ref-13)** Dundes, Alan (1997). "The Motif-Index and the Tale Type Index: A Critique". *Journal of Folklore Research*. **34** (3): 195–202. [JSTOR](/source/JSTOR_(identifier)) [3814885](https://www.jstor.org/stable/3814885).

1. **[^](#cite_ref-14)** Kuehnel, Richard; Lencek, Rado. ["What is a Folklore Motif?"](https://www.aktuellum.com/mobile/slavic/folklore-motif/). *www.aktuellum.com*. Retrieved 2019-04-08.

1. ^ [***a***](#cite_ref-:2_15-0) [***b***](#cite_ref-:2_15-1) Propp, Vladimir Yakovlevich (2012). *The Russian Folktale by Vladimir Yakovlevich Propp*. Wayne State University Press. [ISBN](/source/ISBN_(identifier)) [978-0-8143-3721-9](https://en.wikipedia.org/wiki/Special:BookSources/978-0-8143-3721-9). [OCLC](/source/OCLC_(identifier)) [843208720](https://search.worldcat.org/oclc/843208720).[*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]

1. ^ [***a***](#cite_ref-:5_16-0) [***b***](#cite_ref-:5_16-1) Maranda, Pierre (1974). *Soviet Structural Folkloristics*. Mouton. [ISBN](/source/ISBN_(identifier)) [978-90-279-2683-8](https://en.wikipedia.org/wiki/Special:BookSources/978-90-279-2683-8). [OCLC](/source/OCLC_(identifier)) [1009096](https://search.worldcat.org/oclc/1009096).[*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]

1. ^ [***a***](#cite_ref-:3_17-0) [***b***](#cite_ref-:3_17-1) Aguirre, Manuel (October 2011). ["AN OUTLINE OF PROPP'S MODEL FOR THE STUDY OF FAIRYTALES"](https://www.northangerlibrary.com/documentos/AN%20OUTLINE%20OF%20PROPP'S%20MODEL%20FOR%20THE%20STUDY%20OF%20FAIRYTALES.pdf) (PDF). *Tools and Frames* – via The Northanger Library Project.

1. ^ [***a***](#cite_ref-:6_18-0) [***b***](#cite_ref-:6_18-1) Oinas, Felix J.; Soudakoff, Stephen (2019). *The Study of Russian Folklore*. Walter de Gruyter GmbH & Co KG. [ISBN](/source/ISBN_(identifier)) [978-3-11-081391-3](https://en.wikipedia.org/wiki/Special:BookSources/978-3-11-081391-3). [OCLC](/source/OCLC_(identifier)) [1089596763](https://search.worldcat.org/oclc/1089596763).[*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]

1. **[^](#cite_ref-19)** Oinas, Felix J. (March 1973). ["Folklore and Politics in the Soviet Union"](https://doi.org/10.2307%2F2494072). *Slavic Review*. **32** (1): 45–58. [doi](/source/Doi_(identifier)):[10.2307/2494072](https://doi.org/10.2307%2F2494072). [JSTOR](/source/JSTOR_(identifier)) [2494072](https://www.jstor.org/stable/2494072).

1. ^ [***a***](#cite_ref-:02_20-0) [***b***](#cite_ref-:02_20-1) Levchin, Sergey (2014-04-28). ["Russian Folktales from the Collection of A. Afanasyev : A Dual-Language Book"](https://public.ebookcentral.proquest.com/choice/publicfullrecord.aspx?p=1920087). *[ProQuest](/source/ProQuest)*.

1. **[^](#cite_ref-21)** Davidson, Hilda Roderick Ellis; Chaudhri, Anna (2006). *A Companion to the Fairy Tale*. D.S. Brewer. [ISBN](/source/ISBN_(identifier)) [978-1-78204-551-9](https://en.wikipedia.org/wiki/Special:BookSources/978-1-78204-551-9). [OCLC](/source/OCLC_(identifier)) [960947251](https://search.worldcat.org/oclc/960947251).[*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]

1. **[^](#cite_ref-22)** Briggs, A. D. P. (1991). *Alexander Pushkin : a critical study*. The Bristol Press. [ISBN](/source/ISBN_(identifier)) [978-1853991721](https://en.wikipedia.org/wiki/Special:BookSources/978-1853991721). [OCLC](/source/OCLC_(identifier)) [611246966](https://search.worldcat.org/oclc/611246966).

1. **[^](#cite_ref-23)** Alexander S. Pushkin, *Zimniaia Doroga,* ed. by Irina Tokmakova (Moscow: Detskaia Literatura, 1972).

1. **[^](#cite_ref-24)** Bethea, David M. (2010). [*Realizing Metaphors : Alexander Pushkin and the Life of the Poet*](https://archive.org/details/realizingmetapho0000beth). University of Wisconsin Press. [ISBN](/source/ISBN_(identifier)) [9780299159733](https://en.wikipedia.org/wiki/Special:BookSources/9780299159733). [OCLC](/source/OCLC_(identifier)) [929159387](https://search.worldcat.org/oclc/929159387).

1. **[^](#cite_ref-25)** Davidson, Hilda Roderick Ellis; Chaudhri, Anna (2006). *A Companion to the Fairy Tale*. D.S. Brewer. [ISBN](/source/ISBN_(identifier)) [978-1-78204-551-9](https://en.wikipedia.org/wiki/Special:BookSources/978-1-78204-551-9). [OCLC](/source/OCLC_(identifier)) [960947251](https://search.worldcat.org/oclc/960947251).[*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]

1. **[^](#cite_ref-26)** Akhmatova, “*Pushkin i deti,*” radio broadcast script prepared in 1963, published in *Literaturnaya Gazeta,* May 1, 1974.

1. **[^](#cite_ref-27)** Nikolajeva, Maria. "Fairy Tales in Society's Service." *Marvels & Tales* (2002): 171-187.

1. **[^](#cite_ref-28)** *The Russian Folktale by Vladimir Yakovlevich Propp*. Edited and Translated by Sibelan Forrester. Foreword by [Jack Zipes](/source/Jack_Zipes). Wayne State University Press, 2012. p. 215. [ISBN](/source/ISBN_(identifier)) [9780814334669](https://en.wikipedia.org/wiki/Special:BookSources/9780814334669).

1. **[^](#cite_ref-30)** Anglickienė, Laima. *Slavic Folklore: DIDACTICAL GUIDELINES*. Kaunas: Vytautas Magnus University, Faculty of Humanities, Department of Cultural Studies and Ethnology. 2013. p. 125. [ISBN](/source/ISBN_(identifier)) [978-9955-21-352-9](https://en.wikipedia.org/wiki/Special:BookSources/978-9955-21-352-9).

1. **[^](#cite_ref-31)** Andrejev, Nikolai P. (January 1958). "A Characterization of the Ukrainian Tale Corpus". *Fabula*. **1** (2): 228–238. [doi](/source/Doi_(identifier)):[10.1515/fabl.1958.1.2.228](https://doi.org/10.1515%2Ffabl.1958.1.2.228). [S2CID](/source/S2CID_(identifier)) [163283485](https://api.semanticscholar.org/CorpusID:163283485).

1. **[^](#cite_ref-33)** Delarue, Paul. *The Borzoi Book of French Folk-Tales*. New York: Alfred A. Knopf, Inc., 1956. p. 386.

1. **[^](#cite_ref-34)** Haney, Jack V.; with Sibelan Forrester. *The Complete Folktales of A. N. Afanas'ev*. Volume III. Jackson: University Press of Mississippi. 2021. p. 536.

1. **[^](#cite_ref-36)** Andrejev, Nikolai P. (January 1958). "A Characterization of the Ukrainian Tale Corpus". *Fabula*. **1** (2): 228–238. [doi](/source/Doi_(identifier)):[10.1515/fabl.1958.1.2.228](https://doi.org/10.1515%2Ffabl.1958.1.2.228). [S2CID](/source/S2CID_(identifier)) [163283485](https://api.semanticscholar.org/CorpusID:163283485).

1. **[^](#cite_ref-38)** Dorson, Richard M. *Folktales told around the world*. Chicago; London: University of Chicago Press. 1978. p. 68. [ISBN](/source/ISBN_(identifier)) [0-226-15874-8](https://en.wikipedia.org/wiki/Special:BookSources/0-226-15874-8).

1. **[^](#cite_ref-39)** Горяева, Б. Б. (2011). "Сюжет «Волшебник и его ученик» (at 325) в калмыцкой сказочной традиции". In: *Oriental Studies* (2): 153. URL: [https://cyberleninka.ru/article/n/syuzhet-volshebnik-i-ego-uchenik-at-325-v-kalmytskoy-skazochnoy-traditsii](https://cyberleninka.ru/article/n/syuzhet-volshebnik-i-ego-uchenik-at-325-v-kalmytskoy-skazochnoy-traditsii) (дата обращения: 24.09.2021).

1. **[^](#cite_ref-41)** Haney, Jack V., ed. (2014). "COMMENTARIES". *The Complete Folktales of A. N. Afanas'ev: Volume I*. University Press of Mississippi. pp. 491–510. [ISBN](/source/ISBN_(identifier)) [978-1-62846-093-3](https://en.wikipedia.org/wiki/Special:BookSources/978-1-62846-093-3). [JSTOR](/source/JSTOR_(identifier)) [j.ctt9qhm7n.115](https://www.jstor.org/stable/j.ctt9qhm7n.115).

1. **[^](#cite_ref-42)** Johns, Andreas. *Baba Yaga: The Ambiguous Mother and Witch of the Russian Folktale*. New York: Peter Lang. 2010 [2004]. p. 85. [ISBN](/source/ISBN_(identifier)) [978-0-8204-6769-6](https://en.wikipedia.org/wiki/Special:BookSources/978-0-8204-6769-6).

1. **[^](#cite_ref-44)** Haney, Jack V. (2015). *The Complete Folktales of A. N. Afanas'ev, Volume II: Black Art and the Neo-Ancestral Impulse*. University Press of Mississippi. p. 538. [ISBN](/source/ISBN_(identifier)) [978-1-4968-0278-1](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4968-0278-1). [Project MUSE](/source/Project_Muse) [book 42506](https://muse.jhu.edu/book/42506).

1. **[^](#cite_ref-46)** von Sydow, C. W. (1934). "Geography and Folk-Tale Ecotypes". *Béaloideas*. **4** (3): 344–355 [351]. [doi](/source/Doi_(identifier)):[10.2307/20521833](https://doi.org/10.2307%2F20521833). In the German Niebelungenlied the episode where Sigfrid wins Brynhild for his brother-in-law Gunter is an equally obvious Russian folk-tale. German scholars, especially Andreas Heusler, have tried to explain the Russian tale as derived from the German Brynhild episode, for patriotic reasons. But in Teutonic folk tradition there is not a single trace of that kind of motive, and the whole poem seems most unfamiliar to anyone who knows the way of thinking of the Teutonic folk. On the other hand, the Russian folk-tale is popular in Russia, where it has been taken down in quite a number of variants in different parts of that enormous country. It is also in complete correspondence with Russian folk-tale composition, for the "superhumanly strong woman" is a popular motive in several different folk-tale types there, and in the whole of Eastern Europe and Near Asia.

1. **[^](#cite_ref-48)** Добровольская Варвара Евгеньевна (2018). "Сказка "слепой и безногий" (сус 519) в репертуаре русских сказочников: фольклорная реализация литературного сюжета". Вопросы русской литературы, (4 (46/103)): 93-113 (111). URL: [https://cyberleninka.ru/article/n/skazka-slepoy-i-beznogiy-sus-519-v-repertuare-russkih-skazochnikov-folklornaya-realizatsiya-literaturnogo-syuzheta](https://cyberleninka.ru/article/n/skazka-slepoy-i-beznogiy-sus-519-v-repertuare-russkih-skazochnikov-folklornaya-realizatsiya-literaturnogo-syuzheta) (дата обращения: 01.09.2021).

1. **[^](#cite_ref-50)** Krauss, Friedrich Salomo; *Volkserzählungen der Südslaven: Märchen und Sagen, Schwänke, Schnurren und erbauliche Geschichten*. Burt, Raymond I. and Puchner, Walter (eds). Böhlau Verlag Wien. 2002. p. 615. [ISBN](/source/ISBN_(identifier)) [9783205994572](https://en.wikipedia.org/wiki/Special:BookSources/9783205994572).

1. **[^](#cite_ref-52)** Thompson, Stith (1977). *The Folktale*. University of California Press. p. 185. [ISBN](/source/ISBN_(identifier)) [0-520-03537-2](https://en.wikipedia.org/wiki/Special:BookSources/0-520-03537-2).

1. **[^](#cite_ref-54)** Haney, Jack V. (2019). Haney, Jack V. (ed.). *Russian Wondertales*. p. 434. [doi](/source/Doi_(identifier)):[10.4324/9781315700076](https://doi.org/10.4324%2F9781315700076). [ISBN](/source/ISBN_(identifier)) [978-1-315-70007-6](https://en.wikipedia.org/wiki/Special:BookSources/978-1-315-70007-6).

1. **[^](#cite_ref-56)** Haney, Jack V., ed. (2014). "COMMENTARIES". *The Complete Folktales of A. N. Afanas'ev: Volume I*. University Press of Mississippi. pp. 491–510. [ISBN](/source/ISBN_(identifier)) [978-1-62846-093-3](https://en.wikipedia.org/wiki/Special:BookSources/978-1-62846-093-3). [JSTOR](/source/JSTOR_(identifier)) [j.ctt9qhm7n.115](https://www.jstor.org/stable/j.ctt9qhm7n.115).

1. **[^](#cite_ref-58)** *Monumenta Estoniae antiquae V. Eesti muinasjutud. I: 2*. Koostanud Risto Järv, Mairi Kaasik, Kärri Toomeos-Orglaan. Toimetanud Inge Annom, Risto Järv, Mairi Kaasik, Kärri Toomeos-Orglaan. Tartu: Eesti Kirjandusmuuseumi Teaduskirjastus, 2014. p. 718. [ISBN](/source/ISBN_(identifier)) [978-9949-544-19-6](https://en.wikipedia.org/wiki/Special:BookSources/978-9949-544-19-6).

1. **[^](#cite_ref-60)** Haney, Jack V. (2015). *The Complete Folktales of A. N. Afanas'ev, Volume II: Black Art and the Neo-Ancestral Impulse*. University Press of Mississippi. p. 538. [ISBN](/source/ISBN_(identifier)) [978-1-4968-0278-1](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4968-0278-1). [Project MUSE](/source/Project_Muse) [book 42506](https://muse.jhu.edu/book/42506).

1. **[^](#cite_ref-62)** Eberhard, Wolfram. *Folktales of China*. Chicago: The University of Chicago Press, 1956. p. 143.

1. **[^](#cite_ref-64)** Haney, Jack V. (2015). *The Complete Folktales of A. N. Afanas'ev, Volume II: Black Art and the Neo-Ancestral Impulse*. University Press of Mississippi. pp. 536–556. [ISBN](/source/ISBN_(identifier)) [978-1-4968-0278-1](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4968-0278-1). [Project MUSE](/source/Project_Muse) [book 42506](https://muse.jhu.edu/book/42506).

1. **[^](#cite_ref-66)** Haney, Jack V. (2015). *The Complete Folktales of A. N. Afanas'ev, Volume II: Black Art and the Neo-Ancestral Impulse*. University Press of Mississippi. pp. 536–556. [ISBN](/source/ISBN_(identifier)) [978-1-4968-0278-1](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4968-0278-1). [Project MUSE](/source/Project_Muse) [book 42506](https://muse.jhu.edu/book/42506).

## Further reading

- Лутовинова, Е.И. (2018). Тематические группы сюжетов русских народных волшебных сказок. Педагогическое искусство, (2): 62-68. URL: [https://cyberleninka.ru/article/n/tematicheskie-gruppy-syuzhetov-russkih-narodnyh-volshebnyh-skazok](https://cyberleninka.ru/article/n/tematicheskie-gruppy-syuzhetov-russkih-narodnyh-volshebnyh-skazok) (дата обращения: 27.08.2021). (in Russian)

**The Three Kingdoms (ATU 301)**

- Лызлова Анастасия Сергеевна (2019). Cказки о трех царствах (медном, серебряном и золотом) в лубочной литературе и фольклорной традиции [FAIRY TALES ABOUT THREE KINGDOMS (THE COPPER, SILVER AND GOLD ONES) IN POPULAR LITERATURE AND RUSSIAN FOLK TRADITION]. Проблемы исторической поэтики, 17 (1): 26-44. URL: [https://cyberleninka.ru/article/n/ckazki-o-treh-tsarstvah-mednom-serebryanom-i-zolotom-v-lubochnoy-literature-i-folklornoy-traditsii](https://cyberleninka.ru/article/n/ckazki-o-treh-tsarstvah-mednom-serebryanom-i-zolotom-v-lubochnoy-literature-i-folklornoy-traditsii) (дата обращения: 24.09.2021). (In Russian)

- Матвеева, Р. П. (2013). Русские сказки на сюжет «Три подземных царства» в сибирском репертуаре [RUSSIAN FAIRY TALES ON THE PLOT « THREE UNDERGROUND KINGDOMS» IN THE SIBERIAN REPERTOIRE]. Вестник Бурятского государственного университета. Философия, (10): 170-175. URL: [https://cyberleninka.ru/article/n/russkie-skazki-na-syuzhet-tri-podzemnyh-tsarstva-v-sibirskom-repertuare](https://cyberleninka.ru/article/n/russkie-skazki-na-syuzhet-tri-podzemnyh-tsarstva-v-sibirskom-repertuare) (дата обращения: 24.09.2021). (In Russian)

- Терещенко Анна Васильевна (2017). Фольклорный сюжет «Три царства» в сопоставительном аспекте: на материале русских и селькупских сказок [COMPARATIVE ANALYSIS OF THE FOLKLORE PLOT “THREE STOLEN PRINCESSES”: RUSSIAN AND SELKUP FAIRY TALES DATA]. Вестник Томского государственного педагогического университета, (6 (183)): 128-134. URL: [https://cyberleninka.ru/article/n/folklornyy-syuzhet-tri-tsarstva-v-sopostavitelnom-aspekte-na-materiale-russkih-i-selkupskih-skazok](https://cyberleninka.ru/article/n/folklornyy-syuzhet-tri-tsarstva-v-sopostavitelnom-aspekte-na-materiale-russkih-i-selkupskih-skazok) (дата обращения: 24.09.2021). (In Russian)

**Crafty Knowledge (ATU 325)**

- Трошкова Анна Олеговна (2019). "Сюжет "Хитрая наука" (сус 325) в русской волшебной сказке" [THE PLOT “THE MAGICIAN AND HIS PUPIL” (NO. 325 OF THE COMPARATIVE INDEX OF PLOTS) IN THE RUSSIAN FAIRY TALE]. Вестник Марийского государственного университета, 13 (1 (33)): 98-107. URL: [https://cyberleninka.ru/article/n/syuzhet-hitraya-nauka-sus-325-v-russkoy-volshebnoy-skazke](https://cyberleninka.ru/article/n/syuzhet-hitraya-nauka-sus-325-v-russkoy-volshebnoy-skazke) (дата обращения: 24.09.2021). (In Russian)

- Troshkova, A.O. "[Plot CIP 325 Crafty Lore / ATU 325 «The Magician and His Pupil» in Catalogues of Tale Types by A. Aarne (1910), Aarne — Thompson (1928, 1961), G. Uther (2004), N. P. Andreev (1929) and L. G. Barag (1979)](http://www.trad-culture.ru/en/article/plot-cip-325-crafty-lore-atu-325-magician-and-his-pupil-catalogues-tale-types-aarne-1910)". In: *Traditional culture*. 2019. Vol. 20. No. 5. pp. 85—88. DOI: 10.26158/TK.2019.20.5.007 (In Russian).

- Troshkova, A (2019). ["The tale type 'The Magician and His Pupil' in East Slavic and West Slavic traditions (based on Russian and Lusatian ATU 325 fairy tales)"](https://doi.org/10.30842%2Fielcp230690152376). *Indo-European Linguistics and Classical Philology*. **XXIII**: 1022–1037. [doi](/source/Doi_(identifier)):[10.30842/ielcp230690152376](https://doi.org/10.30842%2Fielcp230690152376). (In Russian)

**Mark the Rich or Marko Bogaty (ATU 461)**

Works related to [Mark the Rich](https://en.wikisource.org/wiki/Russian_Folk-Tales/Mark_the_Rich) at Wikisource

- Кузнецова Вера Станиславовна (2017). Легенда о Христе в составе сказки о Марко Богатом: устные и книжные источники славянских повествований [LEGEND OF CHRIST WITHIN THE FOLKTALE ABOUT MARKO THE RICH: ORAL AND BOOK SOURCES OF SLAVIC NARRATIVES]. Вестник славянских культур, 46 (4): 122-134. URL: [https://cyberleninka.ru/article/n/legenda-o-hriste-v-sostave-skazki-o-marko-bogatom-ustnye-i-knizhnye-istochniki-slavyanskih-povestvovaniy](https://cyberleninka.ru/article/n/legenda-o-hriste-v-sostave-skazki-o-marko-bogatom-ustnye-i-knizhnye-istochniki-slavyanskih-povestvovaniy) (дата обращения: 24.09.2021). (In Russian)

- Кузнецова Вера Станиславовна (2019). Разновидности сюжета о Марко Богатом (AaTh 930) в восточно- и южнославянских записях [VERSIONS OF THE PLOT ABOUT MARKO THE RICH (AATH 930) IN THE EAST- AND SOUTH SLAVIC TEXTS]. Вестник славянских культур, 52 (2): 104-116. URL: [https://cyberleninka.ru/article/n/raznovidnosti-syuzheta-o-marko-bogatom-aath-930-v-vostochno-i-yuzhnoslavyanskih-zapisyah](https://cyberleninka.ru/article/n/raznovidnosti-syuzheta-o-marko-bogatom-aath-930-v-vostochno-i-yuzhnoslavyanskih-zapisyah) (дата обращения: 24.09.2021).

**The Blind Man and the Legless Man (ATU 519)**

- Добровольская, Варвара Евгеньевна. "Сказка "слепой и безногий" (сус 519) в репертуаре русских сказочников: фольклорная реализация литературного сюжета" [THE TALE "BLIND AND LEGLESS" (SUS 519 / ATU 519) IN THE REPERTOIRE OF RUSSIAN STORYTELLERS: A FOLKLORE REALIZATION OF THE LITERARY STORY]. Вопросы русской литературы. 2018. №4 (46/103). pp. 93-113. URL: [https://cyberleninka.ru/article/n/skazka-slepoy-i-beznogiy-sus-519-v-repertuare-russkih-skazochnikov-folklornaya-realizatsiya-literaturnogo-syuzheta](https://cyberleninka.ru/article/n/skazka-slepoy-i-beznogiy-sus-519-v-repertuare-russkih-skazochnikov-folklornaya-realizatsiya-literaturnogo-syuzheta) (дата обращения: 19.09.2024).

**The Dead Tsarina (ATU 709)**

- Добровольская, В.Е. (2020). ["РУССКИЕ СКАЗКИ КАРЕЛИИ В КОНТЕКСТЕ РУССКОЙ СКАЗОЧНОЙ ТРАДИЦИИ НА ПРИМЕРЕ СЮЖЕТНОГО ТИПА 709 "ВОЛШЕБНОЕ ЗЕРКАЛЬЦЕ" ("МЕРТВАЯ ЦАРЕВНА")"](https://cyberleninka.ru/article/n/russkie-skazki-karelii-v-kontekste-russkoy-skazochnoy-traditsii-na-primere-syuzhetnogo-tipa-709-volshebnoe-zerkaltse-mertvaya) [RUSSIAN FAIRY TALES FROM KARELIA IN THE CONTEXT OF THE RUSSIAN FAIRY-TALE TRADITION: THE CASE OF THE PLOT TYPE 709, THE MAGIC MIRROR (DEAD PRINCESS)]. *Словесность и история* (in Russian) (2): 27–47.

## External links

- [Collection of Russian folk tales in Russian.](https://publicadomain.ru/russkie_narodnye_skazki).

v t e Russian fairy tales Key articles Skazka Bylina Folklore of Russia Alexander Afanasyev Alexander Pushkin Tales in Narodnye russkie skazki collected by Afanasyev "Koschei the Immortal" "Vasilisa the Beautiful" "Vasilisa the Priest's Daughter" "Father Frost" "Sister Alenushka and Brother Ivanushka" "The Frog Princess" "Vasilii the Unlucky" "The White Duck" "The Princess Who Never Smiled" "The Wicked Sisters" "The Twelve Dancing Princesses" "The Magic Swan Geese" "The Feather of Finist the Falcon" "Tsarevitch Ivan, the Firebird and the Gray Wolf" "The Bold Knight, the Apples of Youth, and the Water of Life" "Go I Know Not Whither and Fetch I Know Not What" "The Golden Slipper" "The Firebird and Princess Vasilisa" "The Wise Little Girl" "The Armless Maiden" "The Gigantic Turnip" "Storm-Bogatyr, Ivan the Cow's Son" "Emelya the Simpleton/At the Pike's Behest" "The Fiend" "The Lute Player" "The Language of the Birds" "The Maiden Tsar" "The Sea Tsar and Vasilisa the Wise" "The Norka" "Dawn, Midnight and Twilight" "Verlioka" "Sivko-Burko" "Donotknow" Tales by Pushkin "Ruslan and Ludmila" "The Tale of Tsar Saltan" "The Tale of the Fisherman and the Fish" "The Tale of the Golden Cockerel" Other "The Little Humpbacked Horse" "The Scarlet Flower" "The Snow Maiden" "The Hairy Man" "King Kojata" "The Tale About Baba-Yaga" "The Wonderful Birch" "The Girl as Soldier" "Green-Vanka"

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Adapted from the Wikipedia article [Russian fairy tale](https://en.wikipedia.org/wiki/Russian_fairy_tale) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Russian_fairy_tale?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.