Fractured Russian Folk Tale Quotes

The heady scent of him filled her nostrils, that particular blend of salt and sea and musk that was his alone. Just the smell of him made the blood rush to her core; the feel of his strong arms, the sweet taste of his mouth made her whole body pulse with need and longing.
Marcus made a groaning noise deep in his throat and started to pull away.
"Don't you dare," she breathed in his ear. "If you stop kissing me, I'll... I'll bite you. ~ Deborah Blake

Marcus gave her a slow, wicked smile, feeling the smoldering heat rise to the surface like molten lava, irresistible as a force of nature. "If you insist," he whispered, and bent his head to capture her lips with his own. He put all his yearning, all his gratitude for the gifts she'd given him, all that heat bubbling up within him into the kiss, feeling her lips yield beneath his.
She returned his fire with fire, kissing him back with a wild abandon that left them both trembling and enraptured, wrapped around each other in the midst of a crowd, focused only on each other.
Overhead, fireworks lit the sky, but neither of them noticed. ~ Deborah Blake

Legends had been written about less. ~ Deborah Blake

An old man spoke to his grandson. "My child," he said. "Inside everyone there is a battle between two wolves. One is Evil. It is anger, jealousy, greed, inferiority, lies, and ego. The other is Good. It is joy, peace, love, hope, humility, kindness, empathy, and truth." The boy thought for a moment. Then he asked, "Which wolf wins?" A moment of silence passed before the old man replied. And then he said, "The one you feed." - Native American Folk Tale ~ Christine Woodward

...the prose tradition had died two centuries before and the recreation of a full canon of all-purpose Scots was beyond even Scott's skill, nor did he attempt it, except, perhaps in the magnificent Wandering Willie's Tale. He took the only course open to him, of writing his narrative in English and using Scots only for those who, given their social class, would still be speaking it: daft Davie Gellatley in Waverley, the gypsies and Dandie Dinmont in Guy Mannering, the Headriggs in Old Mortality, Edie Ochiltree and the fisher-folk of Musselcrag in The Antiquary, Andrew Fairservice in Rob Roy, the Deanses in The Heart of Midlothian, Meg Dods in St. Ronan's Well, and so on.

The procedure gave reality to the Scots characters whose ways and ethos it was Scott's main purpose to portray, and the author in his best English, which lumbered along rather badly at times, did little more than lay out the setting for the action and act as impressario for the characters as they played their roles...

...Scott's felicity in conveying character and action through their Scots speech inspired his imitators for the next hundred years - Susan Ferrier, Hogg, Macdonald, Stevenson, Barrie, Crockett, Alexander, George Douglas, and John Buchan. The tradition of narrative in standard English and dialogue in various degrees of dialect has been the usual procedure since. ~ David Murison

Ruling Akaran is a strange task. In many ways, it is like balancing an illusion. You must separate the illusion of what you see and the reality of its consequences," he said. "Tell me, my queen, are you ready to play with fate? ~ Roshani Chokshi

It is often said, rather flatly, that Russian ballet was a mix of French, Scandinavian (through the teacher Johansson), and Italian sources - that Russia, through Petipa, absorbed all of these and made them her own. This is certainly true; but what really changed ballet was the way it became entwined with Imperial Russia herself. Serfdom and autocracy, St. Petersburg and the prestige of foreign culture, hierarchy, order, aristocratic ideals and their ongoing tension with more eastern folk forms: all of these things ran into ballet and made it a quintessentially Russian art. ~ Jennifer Homans

A memory is a fine legacy to leave behind. ~ Roshani Chokshi

That's the thing about a folk tale: It is always addressing incredibly key issues about how you should live and what the right thing to do is, which is really what I'm the most interested in - like the questions that religion takes on. And I think that, for those of us that aren't religious, we need, or I need, art that stimulates the same kind of thinking about what it is to be a mensch, or a good man, things like that. ~ Benh Zeitlin

Some things were only possible in fairy tales. And not the kind of fairy tales that Baba Yagas featured in; those tended not to have happy endings. ~ Deborah Blake

I published my first book in 1982 - a collection of Irish folklore called Irish Folk & Fairy Tales. It is still in print today. My first young adult book was published a couple of years later, and I've been writing in both genres ever since. ~ Michael Scott

An old Russian folk song is like water held back by a dam. It looks as if it were still and were no longer flowing, but in its depths it is ceaselessly rushing through the sluice gates and the stillness of its surface is deceptive. By every possible means, by repetitions and similes, the song slows down the gradual unfolding of its theme. Then at some point it suddenly reveals itself and astounds us. That is how the song's sorrowing spirit comes to expression. The song is an insane attempt to stop time by means of its words. ~ Boris Pasternak

I want to do a stripped-down album. That style is actually where my heart is - storytelling and just letting the voice and the lyrics talk for themselves. I still want to write the perfect song and sing it in the most honest, undressed way. But I feel like I have to gather more experiences and more layers in my voice. I have to live more to be able to tell this tale. So I'm saving my folk record. I have a feeling nobody will understand it. ~ Lykke Li

Often I felt that these men were play-acting: the unreality of their role was their security, even their own destinies were to them saga and folk-tale rather than a private matter; these were men under a spell, men who had been turned into birds or even more likely into some strange beast, and who bore their magic shapes with the same unflurried equanimity, magnanimity, and dignity that we children had marvelled at the beasts of fairy tale. Did they not suspect, moreover, with the wordless apprehension of animals, that if their magic shapes were to be stripped from them the fairy tale would be at an end and their security gone, too, while real life would begin with all it's problems, perhaps in some town where there was neither nature or mirage, no link with the folk-tale and the past, no ancient path to the far side of the mountains and down to the river gullies and out beyond the grass plains, no landmarks from the Sagas? - Only a restless search for sterile, deadening enjoyment. ~ Halldor Laxness

Over the centuries we have transformed the ancient myths and folk tales and made them into the fabric of our lives. Consciously and unconsciously we weave the narratives of myth and folk tale into our daily existence. ~ Jack Zipes

Because the great thing about fairy tales and folk tales is that there is no authentic text. It's not like the text of Paradise Lost or James Joyce's Ulysses, and you have to adhere to that exact text. ~ Philip Pullman

We shouldn't be here at all, if we'd known more about it before we started. But I suppose it's often that way. The brave things in the old tales and songs, Mr. Frodo: adventures, as I used to call them. I used to think that they were things the wonderful folk of the stories went out and looked for, because they wanted them, because they were exciting and life was a bit dull, a kind of a sport, as you might say. But that's not the way of it with the tales that really mattered, or the ones that stay in the mind. Folk seem to have been just landed in them, usually - their paths were laid that way, as you put it. But I expect they had lots of chances, like us, of turning back, only they didn't. And if they had, we shouldn't know, because they'd have been forgotten. We hear about those as just went on - and not all to a good end, mind you; at least not to what folk inside a story and not outside it call a good end. You know, coming home, and finding things all right, though not quite the same - like old Mr Bilbo. But those aren't always the best tales to hear, though they may be the best tales to get landed in! I wonder what sort of a tale we've fallen into? ~ J.R.R. Tolkien

He spoke!" Ivan said, eyes wide. "The dog talked! Oh my god."
"An ancient witch you can believe in, but not a talking dragon that looks like a dog?" Chudo-Yudo said, sounding slightly piqued. "Hmph. Young people today have such limited imaginations. ~ Deborah Blake

Fairy tales are about trouble, about getting into and out of it, and trouble seems to be a necessary stage on the route to becoming. All the magic and glass mountains and pearls the size of houses and princesses beautiful as the day and talking birds and part-time serpents are distractions from the core of most of the stories, the struggle to survive against adversaries, to find your place in the world, and to come into your own.

Fairy tales are almost always the stories of the powerless, of youngest sons, abandoned children, orphans, of humans transformed into birds and beasts or otherwise enchanted away from their own lives and selves. Even princesses are chattels to be disowned by fathers, punished by step-mothers, or claimed by princes, though they often assert themselves in between and are rarely as passive as the cartoon versions. Fairy tales are children's stories not in wh they were made for but in their focus on the early stages of life, when others have power over you and you have power over no one.

In them, power is rarely the right tool for survival anyway. Rather the powerless thrive on alliances, often in the form of reciprocated acts of kindness -- from beehives that were not raided, birds that were not killed but set free or fed, old women who were saluted with respect. Kindness sewn among the meek is harvested in crisis...

In Hans Christian Andersen's retelling of the old Nordic tale that begins with a stepmother, "The Wild Sw ~ Rebecca Solnit

Only in imaginary experience (in the folk tale, for example), which neutralizes the sense of social realities, does the social world take the form of a universe of possibles equally possible for any possible subject. ~ Pierre Bourdieu

To the secular arm, therefore, be delivered any and every book which, catering for the youngsters, throttles the life of the old folktales with coils of explanatory notes, and heaps on their maimed corpses the dead weight of biographical appendices. Nevertheless, that which delighted our childhood may instruct our manhood; and notes, appendices, and all the gear of didactic exposition, have their place elsewhere in helping the student, anxious to reach the seed of fact which is covered by the pulp of fiction. For, to effect this is to make approach to man's thoughts and conceptions of himself and his surroundings, to his way of looking at things and to explanation of his conduct both in work and play. Hence the folk-tale and the game are alike pressed into the service of study of the human mind. Turn where we may, the pastimes of children are seen to mimic the serious pursuits of men. ~ Edward Clodd

So them who can't learn from a tale about critters, just ain't got the ears tuned to listen."
-Uncle Remus in Disney's Song of the South ~ Jim Korkis

I suspect that it refers to that friend of our childhood, the prince of the old folk tale; the young man who travels for seven miles and comes to seven gates guarded by seven dragons, and passes through all sorts of perils, which are marked at once by moral heroism and mathematical symmetry. It is he who is to be exhibited in as a despot and oppressor; as a despot of elfland and an oppressor of seven-headed dragons. As he is rather a remote as well as a romantic figure, it may be a little difficult for historians to discover what were his true colours. His true colours, so far as I am concerned, are silver and gold and crimson, and all the colours of the rainbow. ~ G.K. Chesterton

He remembered an old tale which his father was fond of telling him - the story of Eos Amherawdur (the Emperor Nightingale). Very long ago, the story began, the greatest and the finest court in all the realms of faery was the court of the Emperor Eos, who was above all the kings of the Tylwydd Têg, as the Emperor of Rome is head over all the kings of the earth. So that even Gwyn ap Nudd, whom they now call lord over all the fair folk of the Isle of Britain, was but the man of Eos, and no splendour such as his was ever seen in all the regions of enchantment and faery. Eos had his court in a vast forest, called Wentwood, in the deepest depths of the green-wood between Caerwent and Caermaen, which is also called the City of the Legions; though some men say that we should rather name it the city of the Waterfloods. Here, then, was the Palace of Eos, built of the finest stones after the Roman manner, and within it were the most glorious chambers that eye has ever seen, and there was no end to the number of them, for they could not be counted. For the stones of the palace being immortal, they were at the pleasure of the Emperor. If he had willed, all the hosts of the world could stand in his greatest hall, and, if he had willed, not so much as an ant could enter into it, since it could not be discerned. But on common days they spread the Emperor's banquet in nine great halls, each nine times larger than any that are in the lands of the men of Normandi. And Sir Caw was the seneschal ~ Arthur Machen

The life of the hero of the tale is, at the outset, overshadowed by bitter and hopeless struggles; one doubts that the little swineherd will ever be able to vanquish the awful Dragon with the twelve heads. And yet, ... truth and courage prevail and the youngest and most neglected son of the family, of the nation, of mankind, chops off all twelve heads of the Dragon, to the delight of our anxious hearts. This exultant victory, towards which the hero of the tale always strives, is the hope and trust of the peasantry and of all oppressed peoples. This hope helps them bear the burden of their destiny. ~ Gyula Illyes

While I have the floor, here's a question that's been bothering me for some time. Why do so few writers of heroic or epic fantasy ever deal with the fundamental quandary of their novels . . . that so many of them take place in cultures that are rigid, hierarchical, stratified, and in essence oppressive? What is so appealing about feudalism, that so many free citizens of an educated commonwealth like ours love reading about and picturing life under hereditary lords?

Why should the deposed prince or princess in every clichéd tale be chosen to lead the quest against the Dark Lord? Why not elect a new leader by merit, instead of clinging to the inbred scions of a failed royal line? Why not ask the pompous, patronizing, "good" wizard for something useful, such as flush toilets, movable type, or electricity for every home in the kingdom? Given half a chance, the sons and daughters of peasants would rather not grow up to be servants. It seems bizarre for modern folk to pine for a way of life our ancestors rightfully fought desperately to escape. ~ David Brin

In one Native American folk tale, a grandfather explains to his grandson that he has two wolves inside him. One wolf fills him with hope and reminds him how wonderful his life is, and the other fills him with doubt and convinces him that nothing is worth the effort. The grandson asks, concerned for his grandfather, "Which wolf will win?" The grandfather replies, "Whichever one I feed. ~ Anonymous

As I thought about endings and – being a lover of fairy tales – I knew immediately that the deeply rooted last line in folk stories, 'And they lived happily ever after', is the core of what we think we know about endings. We hear it always in our hindbrain because it's the last line most of us in the West have grown up with. That line stops the story at the point of greatest happiness. The wedding, the homecoming, the mystery unraveled, the villain disposed of, families reunited, babies born. If we went on in the story Cinderella, she might be whispered about in court: after all, her manners are not impeccable, she always has smudges of ash on her nose, and no one can trace her bloodline back enough generations. Perhaps she has grown fat eating all that rich food in the castle, and the prince's eye has strayed.

If we went on in The Three Little Pigs, the brother who builds with bricks will have kicked the other two lay-abouts out of his house, or hired them to run his successful company and they – angry at their lower status – plot to kill him. But, having little imagination, do it the only way they know how, by trying to boil him in the pot that still holds the memory of the wolf's demise, so of course the brick building pig finds them out.

But modern books pose a different problem. They present harder choices. It's no longer fairy tale endings we are talking about, but the other stuff, more realistic, stronger, difficult, and maybe not happy-ever-after ~ Jane Yolen

In Pliny I read about the invention of clay modeling. A Sicyonian potter came to Corinth. There his daughter fell in love with a young man who had to make frequent long journeys away from the city. When he sat with her at home, she used to trace the outline of his shadow that a candle's light cast on the wall. Then, in his absence she worked over the profile, deepening, so that she might enjoy his face, and remember. One day the father slapped some potter's clay over the gouged plaster; when the clay hardened he removed it, baked it, and "showed it abroad" (63). ~ Annie Dillard

Children delight in folk-tale and fairy lore, but the very little child loves best the story which mirrors the familiar. And it is for him, and for the mother who is striving in this age of profusion to guard the innate simplicity of her child's nature, that I have written my little stories. ~ Maud Lindsay

In college, I became interested in folk tales and fairy tales. Gradually I became more and more interested in the underlying meaning of it all and the possibility of the reality of real fairies. ~ Brian Froud

За Отрока - за Голубя - за Сына,
За царевича младого Алексия
Помолись, церковная Россия!

Очи ангельские вытри,
Вспомяни, как пал на плиты
Голубь углицкий - Димитрий.

Ласковая ты, Россия, матерь!
Ах, ужели у тебя не хватит
На него - любовной благодати?

Грех отцовский не карай на сыне.
Сохрани, крестьянская Россия,
Царскосельского ягнёнка - Алексия!

4 апреля 1917,
третий день Пасхи


Pray for the Son - the Dove - the Adolescent,
For the young Tsarevich, for the young Alexis -
Russia, pray, who the true faith confessest!

Wipe those angel eyes now, ponder deeply
Him that fell upon the stones - think meetly
On the dove of Uglich, on Dimitri.

Gentle mother, Russia, kind, caressing!
Is thy heart so hard as not to grace him
With thy loving-kindness, with thy blessing?

Visit not upon the son the father's trespass.
Russia of the country folk - be his protectress:
Spare the lamb of Tsarskoye Selo, Alexis!

4 April 1917
Third day of Easter ~ Marina Tsvetaeva

There is a folk-tale about a shoemaker and his wife who were so poor that they had to send their many children out into the world to make a living. The lads went through many a perilous adventure but came home in the end, unscathed, to help their mother. They had always remembered their mother's advice and wise words; they often quoted them when they were in trouble, and in fact they recognized one another by them in foreign lands.
The countless peoples of the world may be looked upon as so many children sent out into the world. They have gone through many adventures and hardships. They have drifted apart and fallen out with one another, on many occasions. They have failed to realize soon enough that they are brothers.
But now it seems that they are beginning to realize this
at least to the extent that they are able to get acquainted with each other's fundamental natures
through their stories and songs. ~ Gyula Illyes

Last year in a library in Alaska I read a folk tale in a random book on a random shelf & have been thinking about it since & today I wrote the librarian w/ no book title or author & in 2 hrs I had a scan of the story & cover in my inbox -- Librarians should be running everything. [Twitter] ~ Jon Klassen

Making no attempt to conceal his hope that he, a son of the Russian people, might also be cured by this simple Russian folk remedy. He spoke with no trace of hostility - he didn't want to irritate Bone-chewer - yet there was a reminder in his voice. "But is this method officially recognized?" he asked. "Has it been approved by a government department? ~ Aleksandr Solzhenitsyn

I was satisfied with haiku until I met you, but now I want a Russian novel,
a 50-page description of you sleeping. ~ Dean Young

Coming from the South and growing up in L.A. where it was so segregated - worse than the South in many ways - all the people in my neighborhood were from the South. So you had that Southern cultured environment. The church was very important. And there were these folk ways that were there. I was always fascinated by these Southern stories, people would share these mystified experiences of the South. I wanted to talk about folklore. ~ Charles Burnett

Think you can last eight seconds?"
Joss was one hundred percent, absolutely, positively certain that she would not. She was even more certain that she'd break something.
Unfortunately, nerves made her mouthy.
"Eight seconds, huh? I heard you rodeo guys had a short fuse. We have pills for that now you know?"
He laughed and his lips were suddenly close to her ear again. "I can go longer than eight seconds as you well know. But even if that were true, I promise you, doc, it'd be the best eight seconds of your life."
Great. Now all she was going to think about while a piece of machinery spun and bucked beneath her was riding Troy in exactly the same way. Was it possible to have a mechanical-bull-induced orgasm?
That would be seriously embarrassing.
Certainly more than the good folk of Plainview would have expected from an innocent night out at the Bull Bar. There were children watching for the love of Mike. ~ Amy Andrews

Adam Antonovich went out of the annex which as a child he had called the 'world.' Through the glass he shouted jokingly to his servant 'You are still in the "world" but I'm not in the world, I'm in Russia.'

The hunchbacked plains spread out on every side, Russian plains, eaten away by ravines, ancient, native, all - all just the same. 'With the mind, Russia cannot be embraced; she is a special case, one can only believe in Russia,' he thought...

("Adam") ~ Andrei Bely

The repeated announcements that the Russian resistance was definitely broken have been proved to be untrue. ~ Hjalmar Schacht

Speaking of people I had to exclude: Hank Williams. which is to say, songs are part of lyric poetry in my book, my thinking. In fact they are the urgent element of poetry in our time, they carry the most emotion for the most people in our culture. everyone LOVES poetry, because we all love (one form or another) of rock and roll (be it folk to emo to rap). It's all rock and roll and all lyric poetry. ~ Gregory Orr

Souls spread over the planet and leave no mountain unclimbed, no valley undiscovered, no sea unsailed, ventured even into outer space.
Souls mingle and leave no relationship unattempted, no emotion unfelt, no pleasure and pain unexplored.
Souls plunge into their minds and leave no tale untold, no image unpainted, no melody unheard.
Souls transcend their fantasies and leave no idea unthought, no natural law undescribed, no wisdom undefined.
Souls even pass over the thinkeable and witness ineffable realms of other worlds and their inhabitants.
Curiosity, the drive to experience, the urge of urges, the world's innermost desire. We, souls, are its foremost scouts. We are the embodiment of the purpose of existence. ~ Stefan Emunds