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The stories are taken from the collections published by Afanasief, Khudyakof, Erlenvein, and Chudinsky. "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."
Ralston collected and translated this collection of stories in a concerted attempt to introduce European and North American audiences to the myriad folk stories which had developed in Russia over many centuries. The tales found in this collection are imbued by vivid descriptions, fast moving and culturally rich narratives, and a keen sense of leaving readers with moral lessons. The book categorizes Russian folklore into six principle parts: We begin with myths and legends selected for their good introductory qualities and moral conclusions, as in The Bad Wife and The Three Kopecks. The second part of the book contains stories about manifestations of evil, such as the infamous Baba Yaga. The third contains tales concerning other manifest beings and entities, for instance Sozh, Dnieper and One-Eyed Likho. In the fourth part, we hear tales of magic, witchcraft and warlocks, such as The Headless Princess. The fifth part contains stories concerning ghosts and vampires, for example the Fox Physician and The Two Corpses. Last of all, Ralston narrates traditional legends of Russian folklore, with particular focus upon the saints of the Russian Orthodox church, and the various demons said to have appeared long ago. An accomplished researcher with a strong affinity for the Russian nation, Ralston was sure to select only the best quality Russian folk stories. This collection is unique for maintaining a sound balance the popularly known with obscure yet high quality examples. Whether you are already an expert in Eastern folklore, or desire a superb introduction to the Russian folk stories, this book is sure to satisfy. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.
Russian Fairy Tales: A Choice Collection of Muscovite Folk-lore by Ralston
William Ralston Shedden Ralston's translation of "Russian Fairy Tales" is a compelling collection of folktales. The beautiful world of Russian folklore is introduced to English-speaker's viewers in this piece of literature. Through these stories, Ralston, an outstanding historian and linguist, brilliantly brings viewers into contact with the rich fabric of Russian culture. The work of literature includes an extensive selection of stories, from humorous adventures to moral fables, all rooted in Russian heritage. Ralston's love of Russian language and culture shines through in his translations, which capture the heart of these stories while remaining authentic. The work of literature serves as a portal into the core of Russia's storytelling tradition, emphasizing the country's distinct narrative style and ideals. With an eye-catching new cover, and professionally typeset manuscript, this edition of "Russian Fairy Tales" is both modern and readable.
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.
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 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 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 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.