The Warlock

by W. R. S. Ralston · from Russian Folk Tales

fairy tale cautionary tale solemn Ages 8-14 2758 words 12 min read
Cover: The Warlock
Original Story 2758 words · 12 min read

The Warlock

THE WARLOCK.[375]

There was once a Moujik, and he had three married sons.

He lived a long while, and was looked upon by the village as a

Koldun [or wizard]. When he was about to die, he gave orders

that his sons' wives should keep watch over him [after his death]

for three nights, taking one night apiece; that his body should

be placed in the outer chamber,[376] and that his sons' wives

should spin wool to make him a caftan. He ordered, moreover,

that no cross should be placed upon him, and that none should

be worn by his daughters-in-law.

Well, that same night the eldest daughter-in-law took her

seat beside him with some grey wool, and began spinning.

Midnight arrives. Says the father-in-law from his coffin:

"Daughter-in-law, art thou there?"

She was terribly frightened, but answered, "I am." "Art

thou sitting?" "I sit." "Dost thou spin?" "I spin." "Grey

wool?" "Grey." "For a caftan?" "For a caftan."

He made a movement towards her. Then a second time he

asked again--

"Daughter-in-law, art thou there?"

"I am." "Art thou sitting?" "I sit." "Dost thou spin?"

"I spin." "Grey wool?" "Grey." "For a caftan?" "For a

caftan."

She shrank into the corner. He moved again, came a couple

of yards nearer her.

A third time he made a movement. She offered up no

prayer. He strangled her, and then lay down again in his coffin.

His sons removed her body, and next evening, in obedience

to his paternal behest, they sent another of his daughters-in-law

to keep watch. To her just the same thing happened: he

strangled her as he had done the first one.

But the third was sharper than the other two. She declared

she had taken off her cross, but in reality she kept it on. She

took her seat and spun, but said prayers to herself all the while.

Midnight arrives. Says her father-in-law from his coffin--

"Daughter-in-law, art thou there?"

"I am," she replies. "Art thou sitting?" "I sit." "Dost

thou spin?" "I spin." "Grey wool?" "Grey." "For a

caftan?" "For a caftan."

Just the same took place a second time. The third time, just

as he was going to rush at her, she laid the cross upon him. He

fell down and died. She looked into the coffin; there lay ever

so much money. The father-in-law wanted to take it away with

him, or, at all events, that only some one who could outdo him in

cunning should get it.[377]

In one of the least intelligible of the West Highland tales, there is

a scene which somewhat resembles the "lykewake" in this skazka. It is

called "The Girl and the Dead Man," and relates, among other strange

things, how a youngest sister took service in a house where a corpse

lay. "She sat to watch the dead man, and she was sewing; in the middle

of night he rose up, and screwed up a grin. 'If thou dost not lie down

properly, I will give thee the one leathering with a stick.' He lay

down. At the end of a while, he rose on one elbow, and screwed up a

grin; and the third time he rose and screwed up a grin. When he rose

the third time, she struck him a lounder of the stick; the stick stuck

to the dead man, and the hand stuck to the stick, and out they were."

Eventually "she got a peck of gold and a peck of silver, and the

vessel of cordial" and returned home.[378]

The obscurity of the Celtic tale forms a striking contrast to the

lucidity of the Slavonic. The Russian peasant likes a clear statement

of facts; the Highlander seems, like Coleridge's Scotch admirer, to

find a pleasure in seeing "an idea looming out of the mist."

FOOTNOTES:

[296] About which, see Professor Wilson's note on Somadeva's story of

the "Origin of Pátaliputra," "Essays," i. p. 168-9, with Dr. Rost's

reference to L. Deslongchamps, "Essai sur les Fables Indiennes,"

Paris, 1838, p. 35 and Grässe, "Sagenkreise des Mittelalters,"

Leipsig, 1842, p. 191. See also the numerous references given by

Grimm, KM. iii. pp. 168-9.

[297] As well as in all the mythologies. For the magic draught of the

fairy-story appears to be closely connected with the Greek ambrosia,

the Vedic soma or amrita, the Zend haoma.

[298] A water, "Das Wasser des Lebens," in two German stories (Grimm,

Nos. 92 and 97, and iii. p. 178), and in many Greek tales (Hahn, Nos.

32, 37, &c.). An oil or ointment in the Norse tale (Asbjörnsen and

Moe, No. 35, Dasent, No. 3). A balsam in Gaelic tales, in which a

"Vessel of Balsam" often occurs. According to Mr. Campbell ("West

Highland Tales," i. p. 218), "Ballan Iocshlaint, teat, of ichor, of

health, seems to be the meaning of the words." The juice squeezed from

the leaves of a tree in a modern Indian tale ("Old Deccan Days," p.

139).

[299] The mythical bird Garuda, the Indian original of the Roc of the

Arabian Nights, was similarly connected with the Amrita. See the story

of Garuda and the Nágas in Brockhaus's translation of the

"Kathásaritságara," ii. pp. 98-105. On the Vedic falcon which brings

the Soma down to earth, see Kuhn's "Herabkunft des Feuers," pp.

138-142.

[300] In the Russian periodical, "Otechestvennuiya Zapiski," vol. 43

(for 1830) pp. 252-6.

[301] Schiefners's translation, 1852, pp. 80, 81.

[302] In that attributed to Sivadása, tale 2 (Lassen's "Anthologia

Sanscritica," pp. 16-19), and in the "Kathásaritságara," chap. lxxvi.

See Brockhaus's summary in the "Berichte der phil. hist. Classe der

Kön. Sächs. Gesellschaft der Wissenschaften," December 3, 1853, pp.

194-5.

[303] The "Baitál-Pachísí," translated by Ghulam Mohammad Munshi,

Bombay 1868, pp. 23-24.

[304] B. G. Babington's translation of "The Vedàla Cadai," p. 32.

contained in the "Miscellaneous Translations" of the Oriental

Translation Fund, 1831, vol. i. pt. iv pp. 32 and 67.

[305] Afanasief, P.V.S. ii. 551.

[306] Afanasief, viii. p. 205.

[307] Afanasief, vii. No. 5 b.

[308] Afanasief, vii. No. 5 a. For the Zhar-Ptitsa, see infra, p.

[309] Afanasief, vi. p. 249. For a number of interesting legends,

collected from the most distant parts of the world, about grinding

mountains and crashing cliffs, &c., see Tylor's "Primitive Culture,"

pp. 313-16. After quoting three mythic descriptions found among the

Karens, the Algonquins, and the Aztecs, Mr. Tylor remarks, "On the

suggestion of this group of solar conceptions and that of Maui's

death, we may perhaps explain as derived from a broken-down fancy of

solar-myth, that famous episode of Greek legend, where the good ship

Argo passed between the Symplêgades, those two huge cliffs that opened

and closed again with swift and violent collision."

Several of the Modern Greek stories are very like the skazka mentioned

above. In one of these (Hahn, ii. p. 234), a Lamia guards the water of

life (ἀϐάνατο νερὸ) which flows within a rock; in another (ii. p.

  1. a mountain opens at midday, and several springs are disclosed,

each of which cries "Draw from me!" but the only one which is

life-giving is that to which a bee flies.

[310] Wenzig, p. 148.

[311] Afanasief, P.V.S. ii. 353.

[312] See above, p. 233.

[313] Silnaya voda or potent water, and bezsilnaya voda, or

impotent water (sila = strength).

[314] Palitsa = a cudgel, etc. In the variant of the story quoted in

the preceding section the prince seized Vikhor by the right little

finger, mizinets. Palets meant a finger. The similarity of the two

words may have led to a confusion of ideas.

[315] Afanasief, vii. pp. 97-103.

[316] Muir's "Sanskrit Texts," v. p. 258 and p. 94. See, also

Mannhardt's "Germ. Mythen," pp. 96-97.

[317] Being as destructive as the poison which was created during the

churning of the Amrita.

[318] Afanasief, v. No. 35.

[319] In the original he is generally designated as _Katòma--dyàd'ka,

dubovaya shàpka_, "Katòma-governor, oaken-hat." Not being able to

preserve the assonance, I have dropped the greater part of his title.

[320] Bogodanny (bog = God; dat', davat' = to give). One of

the Russian equivalents for our hideous "father-in-law" is "god-given

father" (bogodanny otets), and for "mother-in-law," bogodanny mat'

or "God-given mother." (Dahl.)

[321] Four lines are omitted here. See A. de Gubernatis, "Zool.

Mythology," i. 181, where a solar explanation of the whole story will

be found.

[322] These ejaculations belong to the story-teller.

[323] Literally, "Seemed to her as small as a lamb."

[324] Kolòdez, a word connected with kolòda a log, trough, &c.

[325] Afanasief, viii. No. 23 a.

[326] To this episode a striking parallel is offered by that of

Gunther's wedding night in the "Nibelungenlied," in which Brynhild

flings her husband Gunther across the room, kneels on his chest, and

finally binds him hand and foot, and suspends him from a nail till

daybreak. The next night Siegfried takes his place, and wrestles with

the mighty maiden. After a long struggle he flings her on the floor

and forces her to submit. Then he leaves the room and Gunther returns.

A summary of the story will be found in the "Tales of the Teutonic

Lands," by G. W. Cox and E. H. Jones, pp. 94-5.

[327] Khudyakof, i. No. 19. pp. 73-7.

[328] Erlenvein, No. 19, pp. 95-7. For a Little-Russian version see

Kulish, ii. pp. 59-82.

[329] Afanasief, vi. No. 26. From the Kursk Government.

[330] Prashchurui.

[331] The sentence in italics is a good specimen of the priskazka,

or preface.

[332] Gramota = γράμματα whence comes gràmotey, able to read and

write = γραμματικός.

[333] Vanya and Vanyusha are diminutives of Ivan (John), answering to

our Johnny; Vanka is another, more like our Jack.

[334] Literally "with a Solovei-like whistle." The word solovei

generally means a nightingale, but it was also the name of a mythical

hero, a robber whose voice or whistle had the power of killing those

who heard it.

[335] Chmoknuel, smacked.

[336] See Barsof's rich collection of North-Russian funeral poetry,

entitled "Prichitaniya Syevernago Kraya," Moscow, 1872. Also the

"Songs of the Russian People," pp. 334-345.

[337] Miss Frere's "Old Deccan Days," pp. 3, 4.

[338] Grimm, KM. No. 21.

[339] Afanasief, vi. No. 54.

[340] Ona krava shto yoy ye bila mati, Vuk Karajich, p. 158. In the

German translation (p. 188) _Wie dies nun die Kuh sah, die einst seine

Mutter gewesen war_.

[341] Afanasief, ii. p. 254.

[342] Cherez dvyenadtsat' stekol. Steklo means a glass, or a pane

of glass.

[343] Afanasief, ii. p. 269.

[344] Khudyakof, No. 50.

[345] Afanasief, iii. p. 25.

[346] Dasent's "Norse Tales," No. 40. Asbjörnsen and Moe, No. 37.

"Grimsborken."

[347] Dasent, No. 13. Asbjörnsen and Moe, No. 51. "Jomfruen paa

Glasberget."

[348] Campbell's "West-Highland Tales," iii. pp. 265, 266.

[349] Miss Frere's "Old Deccan Days," pp. 31, 73, 95, 135.

[350] "Völsunga Saga," translated by E. Magnússon and W. Morris, pp.

95-6.

[351] Afanasief, vi. No. 32. From the Novgorod Government. A

"chap-book" version of this story will be found in Dietrich's

collection (pp. 152-68 of the English translation); also in

Keightley's "Tales and Popular Fictions."

[352] Nijnie, lower. Thus Nijny Novgorod is the lower (down the

Volga) Novgorod. (Dahl.)

[353] Kukova, a stick or cudgel, one end of which is bent and

rounded like a ball.

[354] Tak de ego ne vzat'.

[355] There are numerous variants of this story among the Skazkas. In

one of these (Afanasief, vii. No. 31) the man on whom the pike has

bestowed supernatural power uses it to turn a Maiden princess into a

mother. This renders the story wholly in accordance with (1) the

Modern Greek tale of "The Half Man," (Hahn, No. 8) in which the magic

formula runs, "according to the first word of God and the second of

the fish shall such and such a thing be done!" (2) The Neapolitan

story of "Pervonto" (Basile's "Pentamerone," No. 3) who obtains his

magic power from three youths whom he screens from the sun as they lie

asleep one hot day, and who turn out to be sons of a fairy. Afanasief

compares the story also with the German tale of "The Little Grey

Mannikin," in the "Zeitschrift für Deutsche Mythologie," &c., i. pp.

38-40. The incident of wishes being fulfilled by a fish occurs in many

stories, as in that of "The Fisherman," in the "Arabian Nights," "The

Fisherman and his Wife," in Grimm (KM., No. 19). A number of stories

about the Pike are referred to by A. de Gubernatis ("Zoolog.

Mythology," ii. 337-9).

[356] Quoted by Afanasief from Siemienski's "Podania," Posen, 1845, p.

[357] "Songs of the Russian People," pp. 387-427.

[358] Afanasief, vii. No. 36 a. This story has no special title in

the original.

[359] The rural police. Sotnick = centurion, from sto = 100.

Desyatnik is a word of the same kind from desyat = 10.

[360] A Ponomar is a kind of sacristan.

[361] "Der Werwolf, Beitrag zur Sagengeschichte," Stuttgart, 1862. For

Russian ideas on the subject see "Songs of the Russian people," pp.

403-9.

[362] "Polnische Volkssagen" (translated by Lewestam), p. 61.

[363] Brockhaus's "Mährchensammlung des Somadeva Bhatta," ii. p. 24.

[364] Afanasief, vii. No. 36 b. This story, also, is without special

title.

[365] In Mr. Hain Friswell's collection of "Ghost Stories," 1858.

[366] Afanasief, vii. No. 36 c. Also without special title.

[367] The Russian skovoroda is a sort of stew-pan, of great size,

without a handle.

[368] From Professor Brockhaus's summary in the "Berichte der phil.

hist. Classe der Königl. Sächs. Gesellschaft der Wissenschaften,"

1861, pp. 215, 16.

[369] For an account of this mythological bird, see the note on next

page. Ornithologically, the Zhar-ptitsa is the Cassowary.

[370] Khudyakof, No. 110. From the Nijegorod Government.

[371] Zhar = glowing heat, as of a furnace; zhar-ptitsa = the

glow-bird. Its name among the Czekhs and Slovaks is Ptak Ohnivák.

The heathens Slavonians are said to have worshipped Ogon or Agon,

Fire, the counterpart of the Vedic Agni. Agon is still the ordinary

Russian word for fire, the equivalent of the Latin ignis.

[372] Afanasief, vii. No. 11. See also the notes in viii. p. 620, etc.

[373] Grimm's KM., No. 57. See the notes in Bd. iii. p. 98.

[374] Afanasief, vii. No. 12.

[375] Khudyakof, No. 104. From the Orel Government.

[376] The kholodnaya izba--the "cold izba," as opposed to the "warm

izba" or living room.

[377] The etymology of the word koldun is still, I believe, a moot

point. The discovery of the money in the warlock's coffin seems an

improbable incident. In the original version of the story the wizard

may, perhaps, have turned into a heap of gold (see above, p. 231, on

"Gold-men").

[378] Campbell, No. 13, vol. i. p. 215.

CHAPTER V.

GHOST STORIES.

The Russian peasants have very confused ideas about the local

habitation of the disembodied spirit, after its former tenement has

been laid in the grave. They seem, from the language of their funeral

songs, sometimes to regard the departed spirit as residing in the

coffin which holds the body from which it has been severed, sometimes

to imagine that it hovers around the building which used to be its

home, or flies abroad on the wings of the winds. In the food and money

and other necessaries of existence still placed in the coffin with the

corpse, may be seen traces of an old belief in a journey which the

soul was forced to undertake after the death of the body; in the

pomniki or feasts in memory of the dead, celebrated at certain short

intervals after a death, and also on its anniversary, may be clearly

recognized the remains of a faith in the continued residence of the

dead in the spot where they had been buried, and in their subjection

to some physical sufferings, their capacity for certain animal

enjoyments. The two beliefs run side by side with each other,

sometimes clashing and producing strange results--all the more strange

when they show signs of an attempt having been made to reconcile them

with Christian ideas.[379]

Of a heavenly or upper-world home of departed spirits, neither the

songs nor the stories of the people, so far as I am aware, make

mention. But that there is a country beyond the sky, inhabited by

supernatural beings of magic power and unbounded wealth, is stated in

a number of tales of the well-known "Jack and the Beanstalk" type. Of

these the following may be taken as a specimen.


Story DNA fairy tale · solemn

Moral

Cunning and faith can overcome malevolent power, and sometimes, a hidden reward awaits those who are brave and wise.

Plot Summary

A dying Moujik, known as a wizard, instructs his three daughters-in-law to watch over his body for three nights, forbidding them from wearing crosses. The first two daughters-in-law are questioned by the deceased, who moves towards them and strangles them when they fail to pray or use a cross. The third daughter-in-law, being cunning, secretly keeps her cross and prays silently. When the warlock confronts her, she places the cross upon him, causing his final demise. She then discovers a large sum of money hidden in his coffin, revealing his true intention to guard his wealth from all but the most astute.

Themes

cunning vs. brute forcesuperstition and beliefthe power of faithinheritance and legacy

Emotional Arc

fear to triumph

Writing Style

Voice: third person omniscient
Pacing: brisk
Descriptive: sparse
Techniques: repetition (rule of three), direct address of character by name/relation

Narrative Elements

Conflict: person vs supernatural
Ending: moral justice
Magic: a deceased person speaking and moving from their coffin, a warlock's malevolent power extending beyond death, the protective power of a Christian cross against supernatural evil
the cross (symbol of protection and faith)grey wool (mundane task concealing a deadly test)the warlock's money (the true object of his post-mortem vigilance)

Cultural Context

Origin: Russian
Era: timeless fairy tale

The story reflects traditional Russian folk beliefs about death, the supernatural, and the power of Christian symbols against pagan or malevolent forces. The term 'Koldun' suggests a figure with ambiguous magical power, not necessarily benevolent. The discovery of money in the coffin hints at a common folk belief about hidden treasures or the deceased's attachment to earthly possessions.

Plot Beats (14)

  1. An old Moujik, known as a wizard, is dying and gives specific, unusual instructions for his post-death vigil.
  2. He instructs his three daughters-in-law to watch over his body for three nights, one per night, spinning grey wool for a caftan.
  3. Crucially, he forbids them from wearing or placing any crosses.
  4. The eldest daughter-in-law takes the first watch, spinning grey wool as instructed.
  5. At midnight, the deceased father-in-law speaks from his coffin, asking a series of repetitive questions about her presence, activity, and the wool.
  6. He moves towards her after each set of questions, and she becomes increasingly frightened, but offers no prayer.
  7. After the third movement, he strangles her and returns to his coffin.
  8. The second daughter-in-law takes the second watch, and the exact same sequence of events occurs, leading to her strangulation.
  9. The third daughter-in-law, aware of her sisters' fates, pretends to remove her cross but secretly keeps it on and prays silently.
  10. During her watch, the father-in-law repeats the same questions and movements as before.
  11. As he makes his third move to attack her, she quickly places her cross upon him.
  12. The warlock falls down, dies (again), and remains still.
  13. The third daughter-in-law looks into the coffin and discovers a large amount of money, revealing the warlock's true intention to protect his wealth from all but the most cunning.
  14. The story implies she claims the money as her reward for outwitting him.

Characters 5 characters

The Warlock ⚔ antagonist

human (reanimated corpse) elderly male

A deceased man, reanimated and capable of movement and speech, lying in a coffin.

Attire: Implied to be dressed in burial clothes, with a caftan being spun for him.

A reanimated corpse rising from a coffin, demanding a caftan.

Cunning, malevolent, persistent, magical.

Image Prompt & Upload
An ancient, gaunt figure with a long, twisted gray beard and deep-set eyes glowing with faint red light. He wears layered, tattered black robes embroidered with faded silver arcane symbols, a heavy hood casting a shadow over his upper face. His posture is hunched yet powerful, one bony hand gripping a gnarled wooden staff topped with a pulsating dark crystal, the other hand raised with fingers curled as if channeling energy. His expression is one of cold, calculating malice. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.

The Eldest Daughter-in-law ○ minor

human adult female

Unknown, but a typical village woman.

Attire: Period-appropriate Russian peasant dress, spinning grey wool.

A woman shrinking in fear in a corner, holding grey wool.

Frightened, obedient.

Image Prompt & Upload
A young woman in her late teens or early twenties, with a kind and patient expression. She has dark hair neatly pulled back into a simple bun. She is wearing a modest, long-sleeved dress in a muted color like faded blue or grey, with a simple white apron tied at the waist. Her posture is slightly weary but upright, standing with her hands gently clasped in front of her. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.

The Second Daughter-in-law ○ minor

human adult female

Unknown, but a typical village woman.

Attire: Period-appropriate Russian peasant dress, spinning grey wool.

A woman spinning grey wool, meeting the same fate as her sister-in-law.

Obedient, easily frightened.

Image Prompt & Upload
A young woman in her late teens with a gentle, unassuming expression. She has light brown hair neatly braided and pinned up. She wears a simple, long-sleeved dress of undyed cotton, a faded blue apron tied at the waist, and practical leather shoes. Her posture is modest, standing quietly with her hands clasped before her. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.

The Third Daughter-in-law ★ protagonist

human adult female

Unknown, but a typical village woman.

Attire: Period-appropriate Russian peasant dress, secretly wearing a cross, spinning grey wool.

A woman holding a cross over a reanimated corpse, revealing a hidden hoard of money.

Sharp-witted, cunning, pious, brave.

Image Prompt & Upload
A young woman in her early twenties stands with quiet determination. She has warm brown skin, dark hair neatly braided back, and intelligent, observant eyes. She wears a simple but well-made dress of undyed linen, with a sturdy leather apron tied at the waist. Her sleeves are rolled up, revealing capable hands. She holds a worn leather satchel close to her side. Her posture is straight, her expression a mix of resolve and gentle kindness. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.

The Moujik ○ minor

human elderly male

An old man, father to three sons.

Attire: Implied to be simple peasant clothing.

An old man on his deathbed, giving specific instructions for his wake.

Traditional, patriarchal, giving deathbed instructions.

Image Prompt & Upload
A young peasant boy around ten years old with a thin, sun-tanned face and bright curious eyes, wearing a faded linen rubakha shirt belted with a simple rope, loose trousers tucked into worn leather boots, and a small round fur hat perched on his tousled brown hair. He stands with a slight slouch, one hand holding a wooden stick over his shoulder, the other resting on his hip, looking slightly wary but determined. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Locations 1 locations
No image yet

Outer Chamber

indoor night implied cold, as it's a 'cold izba'

A room in the Moujik's house, designated as the 'cold izba', where the Warlock's body is placed in a coffin.

Mood: eerie, tense, fearful

The Warlock's body is laid out, and his daughters-in-law take turns keeping watch, leading to the deaths of the first two.

coffin grey wool spinning wheel corner of the room
Image Prompt & Upload
A dimly lit, rustic wooden izba room at midnight, with rough-hewn log walls and a low ceiling. A single shaft of cold, blue moonlight pierces through a small, frost-rimmed window, illuminating dust motes in the air. In the center of the packed earth floor rests a simple, unadorned wooden coffin. The room is sparse, containing only a bare wooden bench and pegs on the walls. The air feels still and frigid, with visible breath-like mist clinging to the shadows. The dominant colors are deep browns, grays, and the stark, pale blue of the moonlight. Outside the window, a silent, snow-covered Russian forest is visible under a starless, cloudy sky. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration