he meaning of the Russian folk-tales. The subject is so extensive
that it requires for its proper treatment more space than a single
chapter could grant; and therefore, though not without reluctance, I
have left the stories I have quoted to speak for themselves, except in
those instances in which I have given the chief parallels to be found
in the two collections of foreign folk-tales best known to the English
reader, together with a few others which happened to fall within the
range of my own reading. Professor de Gubernatis has discussed at
length, and with much learning, the esoteric meaning of the skazkas,
and their bearing upon the questions to which the "solar theory" of
myth-explanation has given rise. To his volumes, and to those of Mr.
Cox, I refer all who are interested in those fascinating enquiries. My
chief aim has been to familiarize English readers with the Russian
folk-tale; the historical and mythological problems involved in it can
be discussed at a later period. Before long, in all probability, a
copious flood of light will be poured upon the connexion of the
Popular Tales of Russia with those of other lands by one of those
scholars who are best qualified to deal with the subject.[6]

Besides the stories about animals, I have left unnoticed two other
groups of skazkas--those which relate to historical events, and those
in which figure the heroes of the Russian "epic poems" or "metrical
romances." My next volume will be devoted to the Builinas, as those
poems are called, and in it the skazkas which are connected with them
will find their fitting place. In it, also, I hope to find space for
the discussion of many questions which in the present volume I have
been forced to leave unnoticed.

The fifty-one stories which I have translated at length I have
rendered as literally as possible. In the very rare instances in which
I have found it necessary to insert any words by way of explanation, I
have (except in the case of such additions as "he said" or the like)
enclosed them between brackets. In giving summaries, also, I have kept
closely to the text, and always translated literally the passages
marked as quotations. In the imitation of a finished work of art,
elaboration and polish are meet and due, but in a transcript from
nature what is most required is fidelity. An "untouched" photograph is
in certain cases infinitely preferable to one which has been carefully
"worked upon." And it is, as it were, a p