The Russian Garland, Being Russian Folk Tales — Story, Setting & Ideas

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In Category - Fairy Tales
Steele, Robert Reynolds [Editor], Rosciszewski, J. R. de [Illustrator] Project Gutenberg 2009 Not confirmed
Tales -- Russia; Fairy tales -- Russia Readers of public-domain and historical texts
Project Gutenberg digital edition en

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Words 59,608
Reading time 260 min
Text sections 5

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This editorial note examines the structure and recurring motifs in a 1916 translation of Russian folk tales from Moscow chap-books, focusing on how the stories move between domestic and fantastical settings.
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Tsarevich said to her: "I have no good horse and no armour, yet I must travel far and wide in search of my brothers." Then the old woman said: "What think you? There is a horse and a suit of armour in your father's forbidden meadow,[A] behind twelve gates, and this horse is fastened by twelve chains. On that meadow is also a broadsword and a fine suit of armour."

[A] The "royal forbidden meadows" were those belonging to the Sovereign, the use of which was strictly forbidden to his subjects. When an enemy came into the country they first pitched their camp in these fields, as a declaration of hostilities.

When Lyubim Tsarevich had heard this, and thanked the old woman, he went straightway, overjoyed, to the forbidden meadow. On reaching the place where the horse was, he stopped, and bethought him, "How shall I break through the twelve gates?" At last he made the attempt, and presently broke down one gate; then the steed perceived by his scent the presence of the brave youth, and with a great effort burst his chains; and then Lyubim Tsarevich broke through three more gates, and the steed trampled down the rest. Then Lyubim Tsarevich surveyed the steed and the armour; and put on the armour, but left the steed in the meadow; after which he went to his home, found his parents, and with great joy told them all that had befallen him, and how an old woman had helped him, and begged their blessing on his travels. So his parents gave him their blessing, and, mounting his good steed, he set forth on his journey. And he went his way, and travelled until he came at length to a place where three roads met; in the centre stood a column, with three inscriptions, which ran as follows: "He who turns to the right will have plenty to eat, but his steed will starve; he who goes straight forward will hunger himself, but his steed will have food enough; and whoever takes the left road will be slain by the Winged Wolf."

When Lyubim Tsarevich read this, he pondered over it, and resolved to go no other road but to choose the left, and either be slain himself, or destroy the Winged Wolf, and free all those who might be travelling that way. So he journeyed on until he came to the open plains, where he pitched his tent to rest, when on a sudden he perceived in the west the Winged Wolf come flying toward him. Instantly upstarted Lyubim Tsarevich, put on his armour, and leaped upon his steed. And Lyubim rode at the Wolf, which beat him so hard with his wings that he nearly fell from his horse; nevertheless, Lyubim kept his seat, flew into a violent rage, and with his battle-sword struck the Winged Wolf a blow that felled him to the ground, and injured his right wing so that he could no longer fly.

When the Wolf came to himself he said to Lyubim Tsarevich, in a human voice: "Do not kill me! I will be useful to you and serve you as your trusty servant." Then Lyubim Tsarevich replied: "Know you where my brothers are?" And the Wolf answered: "They have long ago been slain; but we will bring them to life again when we have won the beautiful Princess." "How shall we do that?" said Lyubim Tsarevich. "Hark ye," replied the Wolf; "leave your steed here, and----."

"How! What shall I do without my horse?" cried Lyubim.

"Only hear me out," said the Wolf; "I will change myself into a horse, and carry you; but this steed of yours is not fit for the task we have to do; in the city where the Princess lives, there are strings from the walls to all the bells in the city; and we must leap over all these without touching the smallest, otherwise we shall be taken." Lyubim Tsarevich saw at once that the Wolf spoke wisely, so he consented, and exclaimed, "On then!"

Away they went, until they came to the white stone wall of the city; and when Lyubim Tsarevich looked on it he grew frightened. "How is it possible to leap over this high white stone wall?" said he to the Wolf. But the Wolf replied: "It is not hard for me to jump over this; but afterwards fresh obstacles will arise, from your falling in love; then you must bathe in the water of life, and take some for your brothers, and also some of the water of death."

The Russian Garland presents seventeen folk tales translated from a collection of Moscow chap-books printed around 1830. The editor, Robert Steele, notes in his foreword that these chap-books were produced before censorship curtailed popular literature, preserving a direct, simple style. The tales often begin in a domestic setting—a peasant hut, a merchant’s house, a royal court—before the protagonist is cast out or chooses to travel, entering a world of magical helpers, winged wolves, and self-playing harps. This movement between the familiar and the fantastic is a structural hallmark, with the journey itself serving as the engine of the plot.

Recurring Patterns of Expulsion and Return

Several tales share a common opening: a young hero is driven from home by a parent’s anger or a misunderstanding. In the Story of the Duck with Golden Eggs, Ivanushka is beaten and exiled after confessing to eating a roast duck, only to become a tsar by chance. Similarly, in the Story of Bulat the Brave Companion, Ivan Tsarevich leaves with his father’s blessing but must prove himself abroad. The return is often a reversal of power: the outcast son becomes a ruler and invites his parents to live with him, as Ivanushka does. This pattern of expulsion, wandering, and reinstatement gives the collection a cohesive emotional arc, even as individual plots vary widely.

The Horse as a Threshold Figure

Horses appear repeatedly as agents of transition. In the frontispiece, a horse “reared higher than the waving forest,” signaling a moment of supernatural elevation. Ivan Tsarevich, seeking a steed, tests horses by laying a hand on their backs; only one that does not sink to its knees will serve. This test separates ordinary mounts from the magical companion that will carry him into adventure. The horse is not merely transport but a measure of worth—a creature that responds to the hero’s innate quality. The image recurs across tales, linking physical prowess to the ability to cross into other realms.

Sudden Shifts in Scale and Status

The tales often pivot on abrupt changes in fortune. Ivanushka, a peasant boy, becomes tsar simply by being the first through a city gate. The people “cried with one voice: ‘Here comes our Tsar!’” and he is instantly robed and seated on the throne. No gradual rise—the transformation is instantaneous and accepted without question. This compression of time and logic is characteristic of the chap-book style, where cause and effect are streamlined for narrative speed. The same abruptness appears in punishments: Abrosim beats his wife “till she was half-dead” without trial or appeal. The world of these tales operates on swift, decisive action.

Voice and the Role of the Narrator

The narrator maintains a consistent, matter-of-fact tone, even when describing marvels. A duck vanishes, a winged wolf speaks, a self-playing harp appears—all are reported with the same plainness as a merchant’s quarrel. This flatness is not a lack of imagination but a deliberate stylistic choice, as Steele notes: the language must be “simple and easily understood.” The narrator rarely comments on events, letting actions speak. Dialogue is often functional, advancing the plot or revealing character through direct commands and confessions. The effect is a storytelling voice that feels impersonal yet urgent, pushing the listener from one incident to the next without pause.

Readers approaching The Russian Garland should attend to the way each tale constructs its world through repetition and variation. The same motifs—exile, the magical helper, the sudden elevation—recur in different combinations, creating a sense of familiarity even as the details shift. The stories reward attention to their structural patterns rather than to psychological depth. For those interested in folk narrative, this collection offers a rare glimpse into the chap-book tradition, where speed and clarity take precedence over ornament.

That rainy afternoon, The Russian Garland kept pulling me between cramped kitchens and birch-wood clearings, the stove’s warmth and the wolf’s cold breath. Later, drying the pages, I remembered how those household thresholds—a loaf, a needle, a spoken wish—felt somehow familiar. I found myself reaching for Four and Twenty Fairy Tales Selected from Those of Perrault, and Other Popular Writers — Context and Discussion, just to sit with that same quiet strangeness again.

Madison White
1 month ago

Grace Hernandez
1 month ago

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  • ...
    Neil Jerome Davis - 1 month ago
    {'review_type': 'Neutral', 'content': "This anthology offers a charming glimpse into Russian folklore, with a good variety of tales. The translation is generally readable, though some stories feel a bit dated in language. It's a valuable resource for cultural study, but casual readers might find the collection uneven. Still, the best tales are truly captivating."}

  • ...
    Jennifer Johnson - 1 month ago
    {'review_type': 'Positive', 'content': 'A delightful collection of Russian folk tales that transports readers to a world of magic, cunning, and wonder. The stories are vividly told, preserving the authentic flavor of Russian oral tradition. From brave heroes to mischievous spirits, each tale is a gem. The translation is fluid and engaging, making it a perfect introduction to Slavic mythology. Highly recommended for folklore enthusiasts and anyone who loves a good story.'}

  • ...
    Monica Jensen - 2 weeks ago
    {'review_type': 'Critical', 'content': 'While the source material is rich, this edition feels dated and lacks scholarly context. The translations are inconsistent, and some stories come across as dull or repetitive. The absence of notes or explanations about cultural references is a missed opportunity. For a modern reader, there are better collections of Russian folk tales available that are more engaging and informative.'}


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