--- title: Opening, part 39 — Russian Folk-Tales · full text with trees · page 2 description: Opening, part 39, «Russian Folk-Tales» by A. N. Afanas'ev: the whole chapter, every sentence with its dependency tree and pragmatics. It begins: Bába Yagá had forbidden her to tell them anything about it; she was therefore much too frightened for a long time to tell them what was her trouble. --- [Mova](https://md.mova.elamur.ai/free/en/) · [this page in HTML](https://mova.elamur.ai/free/en/corpora/tales/pg62509/39/page/2/) [home](https://md.mova.elamur.ai/free/en/) / [corpora](https://md.mova.elamur.ai/free/en/corpora/) / [tales](https://md.mova.elamur.ai/free/en/corpora/tales/) / [Russian Folk-Tales](https://md.mova.elamur.ai/free/en/corpora/tales/pg62509/) / Opening, part 39 # Opening, part 39 · page 2 [1](https://md.mova.elamur.ai/free/en/corpora/tales/pg62509/39/) **2** “There was an owl flying across a garden, and it sat over a well and sipped the water.[87](../../87/ "tree and pragmatics") “There was an owl flying across a garden, and it sat over a well and sipped the water.”[88](../../88/ "tree and pragmatics") And he went on telling the same thing over and over again—[89](../../89/ "tree and pragmatics") “There was an owl flying across a garden, and it sat over a well and sipped the water.”[90](../../90/ "tree and pragmatics") So the mistress went on listening, and at last interrupted: “What sort of a tale is this?[91](../../91/ "tree and pragmatics") Why, it is a mere repetition.”[92](../../92/ "tree and pragmatics") “Why do you interrupt me?[93](../../93/ "tree and pragmatics") I told you you must not make any exclamations: this is the preface of the tale, and there comes another after it.”[94](../../94/ "tree and pragmatics") Then the man, after hearing this, could not help leaping up from the bench and whipping his wife.[95](../../95/ "tree and pragmatics") “You were told not to make any interruptions, and you will not let him end his story.”[96](../../96/ "tree and pragmatics") So he set on beating, beating, whipping, slippering, basting her, until the wife at the end hated stories, and was in despair ever afterwards at the sound of them.[97](../../97/ "tree and pragmatics") NOTES[98](../../98/ "tree and pragmatics") \_Alyósha Popóvich.[99](../../99/ "tree and pragmatics") \_ One of the great knights at the court of Prince Vladímir.[100](../../100/ "tree and pragmatics") He was an effeminate kind of person and perhaps one who rather incited others to effort by his jibes than by his prowess.[101](../../101/ "tree and pragmatics") He is always given the uncomplimentary \_soubriquet\_ of the ‘Mocker of Women.’[102](../../102/ "tree and pragmatics") His principal heroic episode is told in the prose ballad in this book entitled ‘Alyósha Popóvich.’[103](../../103/ "tree and pragmatics") \_Angey\_, Tsar.[104](../../104/ "tree and pragmatics") Filuyán is a fabulous city found in the cantations and mystical rites of the Russian peasants.[105](../../105/ "tree and pragmatics") It is, however, probably derived from the Greek Θύλη.[106](../../106/ "tree and pragmatics") \_Bába Yagá.[107](../../107/ "tree and pragmatics") \_ In Professor Sypherd’s studies on Chaucer’s \_House of Fame\_, Chaucer Society, 1904, a most valuable note will be found on revolving houses.[108](../../108/ "tree and pragmatics") It will be seen that the legend is cognate with magic wheels that revolve at great speed, or turn on wheels emitting flame and poison.[109](../../109/ "tree and pragmatics") The nearest analogy quoted is the whirling rampart in the \_Mael Duinn\_, but the Russian legend is evidently related and not derived.[110](../../110/ "tree and pragmatics") \_Bogatýr.[111](../../111/ "tree and pragmatics") \_ The \_bogatýr\_ is the Russian Knight, but is absolutely unlike any Western romantic notion.[112](../../112/ "tree and pragmatics") He is a person of magical power and gigantic stature and prowess.[113](../../113/ "tree and pragmatics") Some of the \_bogatyrí\_ are decidedly demi-gods; others more decisively human; but they all have some superhuman, it may be said inhuman, touch.[114](../../114/ "tree and pragmatics") The derivation of the word has been very much in dispute.[115](../../115/ "tree and pragmatics") The characteristic thing to note is that the word is only found in Russian, and in no other Slavonic language, and is almost certainly of Tatar origin, the original form being something like \_Bagadur\_.[116](../../116/ "tree and pragmatics") The Sanskrit derivation which is attempted of \_Baghadhara\_ seems scarcely probable.[117](../../117/ "tree and pragmatics") Goryáyev’s dictionary states that the original meaning was a company-commander of the Tatars.[118](../../118/ "tree and pragmatics") If so, \_bogatýr\_ is probably a corruption (through \_bog\_ God and \_bogat\_ rich) of the form \_buĭtur\_, found in the Slóvo, which is certainly cognate with the Turanian root \_buĭ\_, to command.[119](../../119/ "tree and pragmatics") \_v.\_ notes in my edition of Igor.[120](../../120/ "tree and pragmatics") \_Bryánsk.[121](../../121/ "tree and pragmatics") \_ Bryánsk in the Province of Orél contains wonderful woods which were in ancient times impenetrable, and became the legendary home of magic, and of weird happenings.[122](../../122/ "tree and pragmatics") The Aspen tree is always associated in Russian folk-lore with magic and wizardry; it is also said that Judas hanged himself on this tree.[123](../../123/ "tree and pragmatics") \_Chernígov.[124](../../124/ "tree and pragmatics") \_ An ancient city of Russia on the Dniepr, a little higher up than Kíev.[125](../../125/ "tree and pragmatics") \_Christ.[126](../../126/ "tree and pragmatics") \_ As, in German folk-lore, the legends of Christ walking the earth with His disciples are very frequent and characteristic.[127](../../127/ "tree and pragmatics") There is a touch of friendly familiarity in this presentation which does not involve the least irreverence, but adds a touch of sarcastic humour which the Germans lack.[128](../../128/ "tree and pragmatics") \_The Brother of Christ.[129](../../129/ "tree and pragmatics") \_ For the punishment of the old man who grumbled at the good things of earth there is a surprisingly close analogy in Dante’s \_Inferno\_, canto vii.[130](../../130/ "tree and pragmatics") “Fitti nel limo dicon; Tristi fummo Nell’ aer dolce che dal sol s’allegra, Portando dentro accidioso fummo: Or c’ attristiam nella belletta negra.”[131](../../131/ "tree and pragmatics") “Sunk in the slime they utter: ‘Loth were we, In sweet air sullen, which the sun makes glad, Our souls besmirched with dull reluctancy: Now in this black morass, our hearts are sad.’”[132](../../132/ "tree and pragmatics") \_Chufil-Filyushka.[133](../../133/ "tree and pragmatics") \_ Both these names are adaptations of the Greek Θεόφιλος.[134](../../134/ "tree and pragmatics") THE CRYSTAL APPLE AND THE SILVER SAUCER[135](../../135/ "tree and pragmatics") There is a strong Celtic flavour about this episode.[136](../../136/ "tree and pragmatics") Cf.[137](../../137/ "tree and pragmatics") The Twa Sisters o’ Binnorie.[138](../../138/ "tree and pragmatics") Ho’s ta’en three locks o’ her yellow hair (Binnorie, oh Binnorie), And wi’ them strung his harp sae rare By the bonny mill-dams of Binnorie.[139](../../139/ "tree and pragmatics") And sune the harp sang loud and clear (Binnorie, oh Binnorie), Fareweel my father, and mother dear\![140](../../140/ "tree and pragmatics") By the bonny mill-dams of Binnorie.[141](../../141/ "tree and pragmatics") And then, as plain as plain could be, (Binnorie, oh Binnorie), There sits my sister wha drowned me\![142](../../142/ "tree and pragmatics") By the bonny mill-dams o’ Binnorie.[143](../../143/ "tree and pragmatics") In this story the Russian of the words sung by the piper is also in Russian ballad metre.[144](../../144/ "tree and pragmatics") \_Danílo the Unfortunate.[145](../../145/ "tree and pragmatics") \_ This is a prose version of a ballad and contains a very full account of this legend.[146](../../146/ "tree and pragmatics") The old hag whom Danílo meets on the way is elsewhere called the Wise Woman of Kíev, an old witch with the ugly qualities generally assigned.[147](../../147/ "tree and pragmatics") \_Death.[148](../../148/ "tree and pragmatics") \_ Death is feminine in Russian and occurs all through the folk-lore as the visible figure of a skeleton whom they met by the way on the roadsides, and who may be cheated of her prey or dealt with like any other demon.[149](../../149/ "tree and pragmatics") \_Dobrýnya Nikítich.[150](../../150/ "tree and pragmatics") \_ One of the great figures at the legendary court of Prince Vladímir.[151](../../151/ "tree and pragmatics") He was a dragon-slayer, but his principal employment was as ambassador.[152](../../152/ "tree and pragmatics") THE DREAM.[153](../../153/ "tree and pragmatics") NOTES[154](../../154/ "tree and pragmatics") The \_izbá\_, or hut, always has a \_dvor\_ or courtyard, access to which is gained through double gates as well as through a postern.[155](../../155/ "tree and pragmatics") Often the hut is raised by a flight of steps from the level of the courtyard.[156](../../156/ "tree and pragmatics") The \_izbá\_ may have a cooling room in which to rest, so as to avoid the sudden change of air from the heated inner room; it is also a living room in the summer.[157](../../157/ "tree and pragmatics") Outside the \_dvor\_ against the fence there is a bench (\_lávka\_), on which the family sits in the summer.[158](../../158/ "tree and pragmatics") The hut is made of logs, the fence of boards.[159](../../159/ "tree and pragmatics") Between the rafters and the sloped roof is the loft (\_cherdák\_), into which a ladder leads.[160](../../160/ "tree and pragmatics") Inside the hut is that essential and central feature of Russian peasant life, the stove, which occupies one side of a wall.[161](../../161/ "tree and pragmatics") In front against it three long implements stand, the poker, broom and shovel.[162](../../162/ "tree and pragmatics") The oven rests on a brick or tile foundation, about eighteen inches high, with a semicircular hollow space below.[163](../../163/ "tree and pragmatics") The top of the stove is used for a sleeping bench (\_poláty\_) for the old folk or the honoured guest.[164](../../164/ "tree and pragmatics") In larger houses there may be a \_lezhán’ka\_ or heating stove, used as a sleeping sofa.[165](../../165/ "tree and pragmatics") The bath-house is separate from the hut, and contains a flight of steps for different degrees of heat, obtained from white-hot stones on which water is flung.[166](../../166/ "tree and pragmatics") This is only found in better-class houses.[167](../../167/ "tree and pragmatics") In villages there is a general bath-house to which the peasants go once a week.[168](../../168/ "tree and pragmatics") Every corner in the \_izbá\_ has its particular name.[169](../../169/ "tree and pragmatics") There is the \_great corner\_, where the Ikon stands, the \_upper corner\_ near the door, and the \_stove corner\_ opposite to the doors of the stove.[170](../../170/ "tree and pragmatics") [1](https://md.mova.elamur.ai/free/en/corpora/tales/pg62509/39/) **2** - ← previous: [page 1](https://md.mova.elamur.ai/free/en/corpora/tales/pg62509/39/) - next →: [Opening, part 40](https://md.mova.elamur.ai/free/en/corpora/tales/pg62509/40/) - ↑ back to [Russian Folk-Tales](https://md.mova.elamur.ai/free/en/corpora/tales/pg62509/)