Conventionally it [the skazka] is divided into three types. “Tales about animals” address human behavior but with animal or vegetable actors – all greedy, sneaky, selfserving, duplicitous, for whom the prime value is survival at any cost. More edifying are the “wondertales” that test and transform a hero, usually by dispatching him on a quest and always by relying on supernatural help. Finally there are “tales of everyday life,” focused around the home or hut (center of the peasant cosmos) and featuring a sexual or financial plot – in which a devil might be outwitted, but without any transfiguration of the heroes. As a rule, sexual themes are not treated erotically or chivalrously. Russian folk tales are not incipient love stories, as they frequently were inWestern cultures. The Russian fairy-tale princess is often mute, unwilling or passive in the beginning. Once moved to act, however, she is matter-of-fact, inventive, alert to what it takes to survive trial and temptation, and far less sentimental than her Tsarevich Ivan. The skazka is a dual-faith narrative, mixing pagan and Christian motifs. The villain controls major celestial and geophysical forces (frost, wind, thunder, water), but the hero or heroine can always win the services of small animals by acts of kindness. Many Russian folk tales are linked to incantations, spells, and nature worship.

‘Fairy tales from Hans Christian Andersen’ illustrated by Dugald Stewart Walker. Published 1914 by Doubleday & Co. 

See he complete book here

The Stolen Child

Where dips the rocky highland
Of Sleuth Wood in the lake,
There lies a leafy island
Where flapping herons wake
The drowsy water rats;
There we’ve hid our faery vats,
Full of berries
And of reddest stolen cherries.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than you can understand.

Where the wave of moonlight glosses
The dim gray sands with light,
Far off by furthest Rosses
We foot it all the night,
Weaving olden dances
Mingling hands and mingling glances
Till the moon has taken flight;
To and fro we leap
And chase the frothy bubbles,
While the world is full of troubles
And anxious in its sleep.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than you can understand.

Where the wandering water gushes
From the hills above Glen-Car,
In pools among the rushes
That scarce could bathe a star,
We seek for slumbering trout
And whispering in their ears
Give them unquiet dreams;
Leaning softly out
From ferns that drop their tears
Over the young streams.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than you can understand.

Away with us he’s going,
The solemn-eyed:
He’ll hear no more the lowing
Of the calves on the warm hillside
Or the kettle on the hob
Sing peace into his breast,
Or see the brown mice bob
Round and round the oatmeal chest.
For he comes, the human child,
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than he can understand.


Falls of Bruar in Perthshire, Scotland
pic: Where the Sidhe Hide by aka-breadbin

Falls of Bruar in Perthshire, Scotland

pic: Where the Sidhe Hide by aka-breadbin


from Grimm’s Fairy Tales illustrated by Gustaf Tenggren 

from Grimm’s Fairy Tales illustrated by Gustaf Tenggren 

(Source: sisterwolf)

I was promised on a time To have reason for my rhyme; From that time unto this season, I received nor rhyme nor reason.

Edmund Spenser
(Queen of the Bad Faeries by Brian Froud)

I was promised on a time
To have reason for my rhyme;
From that time unto this season,
I received nor rhyme nor reason.


Edmund Spenser

(Queen of the Bad Faeries by Brian Froud)

My mother killed her little son,
My father smiled when I was gone,
My sister loved me best of all;
She buried the family one and all.

My mother killed her little son,

My father smiled when I was gone,

My sister loved me best of all;

She buried the family one and all.