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Richly represented in the Russian folktale tradition, the legends are religious tales (types 750-849 in the Aame-Thompson index) in a peasant village setting. Among the standard themes is the return of Christ, who wanders through rural Russia with his disciples. Satan appears here too, as do a cast of spirits and lesser devils. Pre-Christian gods may be recognized in tales of saints Ilya and Nikolai (Elijah and Saint Nicholas). The hapless peasant in these tales - cheated, betrayed, impoverished, foolish, orphaned, crippled - take the reader deep into the traditional village culture of Russia and into the imperfect human quest for moral choice and justice on this earth.
"Legends, folk tales and fairy tales all had a profound impact on Russian painting of the nineteenth and early twentieth century. The Russian artists who dealt with these subjects chose sometimes to paint large canvases in which the greatness and grandeur of the Russian countryside fuses with the magical world of the imagination. The paintings of Viktor Vasnetsov, Nikolai Roerikh, and Mikhail Vrubel, the illustrations of Ivan Bilibin and Elena Polenova, and the works of Vasily Kandinsky register most impressively the worlds of fantasy and the imagination." "This book presents more than 90 illustrations of these fascinating works, while the essays shed interesting light on how these stories contributed to and influenced the visual arts. The book also contains summaries of the fairy tales depicted in these paintings, whereby the reader is given an overview of the major Russian folk tales."--BOOK JACKET.
This introduction to the Russian folktale considers the origin, structure and language of folktales; tale-tellers and their audiences; the relationship of folktales to Russian ritual life; and the folktale types which are translated in subsequent volumes of "The Complete Russian Folktale".
488. The Greedy Priest
This is the concluding installment of a splendid multi-volume work that makes available to English readers a rich folktale tradition that has not been easily accessible or well-known in the West. Compared to other European traditions, the East Slavs have an extremely large number of tale types. Using the Aarne-Thompson index to folktale types, and drawing on both archival and written sources dating back to the early sixteenth century, J.V. Haney has assembled and translated examples of the full range of tales. Nearly all of these tales appear here in translation for the first time. The tales in this volume center on the so-called fool, the village simpleton. However, Ivan, the Russian everyman, turns out to have far more sense than his would-be oppressors. The greedy priests and landlords and dim-witted demons who try to take advantage of him are easily outsmarted. In the end it is they who are shown to be the fools as Ivan outwits or outlasts them. In these unequal contests lies the pleasure of the tales.
"The Complete Russian Folktale" makes available to English readers a rich folk tradition that has not been easily accessible or well known in the West. Compared to other European traditions, the East Slavs have an extremely large number of tale types. Using the Russian version of the Aarne-Thompson index to folktale types, and drawing on both archival and written sources dating back to the early sixteenth century, J.V. Haney has assembled and translated examples of the full range of tales. Nearly all of these tales will appear here in translation for the first time. Volume 6 presents tales classified 850-999, which describe the travails of young people who are seeking happiness and love. They portray acts of fate, prophecy, and even divine justice, in a village context of social misery, folk tradition, the aggravations of family life, and the heartaches of the lovelorn. J.V. Haney's extensive introduction and annotations explain the structure of the tales, their place in the A-T system and in folklore studies, and the specifics of their Russian provenance.
This anthology gathers a broad selection of Russian folktales, legends, and anecdotes, and includes helpful features that make them more accessible and engaging for English-language readers. Editor Jack V. Haney has selected some of the best tales from his seven-volume "Complete Russian Folktale" collection and added examples of anecdotes and the long 'serial tales' told in the far north.The 114 tales included here represent every genre found in the Russian tradition. They date from the eighteenth through the twentieth centuries and come from all geographic regions of the Russian-speaking world. The collection is enhanced by a detailed introduction to the folktale and its types, brief introductions to each grouping of tales, head notes with interesting background for individual tales, and a glossary explaining Russian terms.
These stories of magic and heroism, and of terrifying encounters with Baba Yaga, Zmei the serpent, and Koshchei the Immortal, are surely the best-known and best-loved folktales of Russia. A wondertale tells of a young person's first venture into a perilous world, where he or she must solve a riddle, pass a test of character, or perform a heroic feat. In the course of the tale, villainy is foiled, disaster is averted, and the young person is transformed by this successful struggle into an adult. The two hundred and fifty wondertales collected and translated here represent at least one example of every tale type known in Russia. Each tale is accompanied by commentary and the volume includes a substantial introduction by the editor.
Scholars have long been fascinated by the creative struggles with genre manifested throughout Dostoevsky’s career. In The Novel in the Age of Disintegration, Kate Holland brings historical context to bear, showing that Dostoevsky wanted to use the form of the novel as a means of depicting disintegration brought on by various crises in Russian society in the 1860s. This required him to reinvent the genre. At the same time he sought to infuse his novels with the capacity to inspire belief in social and spiritual reintegration, so he returned to some older conventions of a society that was already becoming outmoded. In thoughtful readings of Demons, The Adolescent, A Writer’s Diary, and The Brothers Karamazov, Holland delineates Dostoevsky’s struggle to adapt a genre to the reality of the present, with all its upheavals, while maintaining a utopian vision of Russia’s future mission.