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instances the storyteller is obliged to give additional motivation for the actions of
his heroes. Here is another model of an illogical connection which is clearly
motivated: Iván fights with an old man. During the struggle the old man
inadvertently permits Iván to drink some strength-giving water. This  inadvertence
becomes understandable when one compares this incident with those tales in which
a beverage is given by a grateful or a generally friendly donor. In this manner we see
that the lack of logic in the connection is not a stumbling block to the storyteller.
If one were to follow a purely empirical approach, one would have to confirm the
interchangeability of all the various forms of elements D and F in relation to each
other.
Below are several concrete examples of connection:
Type II: D1E1F1. A witch Forces the hero to take a herd of mares to pasture.
A second task follows, the hero accomplishes it, and receives a horse (160).
D2E2F2. An old man interrogates the hero. He answers rudely and receives nothing.
Later, he returns and responds politely, whereupon he receives a horse (155).
D3E3F1. A dying father requests his sons to spend three nights beside his grave. The
youngest son fulfills the request and receives a horse (180).23
D8E8FVi. A young bull asks the tsar s children to kill him, burn him, and plant his
ashes in three beds. The hero does these things. From one bed an apple tree sprouts
forth; from the second a dog; and from the third a horse (201).24
D1E1F5. Brothers find a large stone.  Can t it be moved? (trial without a tester). The
elder brothers cannot move it. The youngest moves the stone, revealing below it a
vault, and in the vault Iván finds three horses (137).
This list could be continued ad libitum. It is important only to note that in similar
situations other magical gifts besides horses are presented. The examples given here
with steeds were selected for the purpose of more sharply outlining a
morphological kinship.
23 The original textual referens (p. 57) is tale 195; this is incorrect. The connection described may be found in
tale 105b (= new no. 180). [Louis A. Wagner]
24  Bycok prosit carskix detej ego zarezat , szec , i pepel posejat na trex grjadkax. Geroj èto vypolnjaet. Iz odnoj
grjadki vyrostaet jablonja, iz drugoj sobaka, iz tret ej kon (118) (p. 57). This happens in tale 117 (= new
no. 201), not in 118. In tale 118 the bull says,  Kill me and eat me, but gather up my bones and strike them;
from them a little old man will come forth . . . [Louis A. Wagner]
Type I: D6EviF8. Three disputants request the apportionment of magical objects.
The hero instructs them to chase after one another, and in the meanwhile, he seizes
the objects (a cap, a rug, boots).
D8E8F8. Heroes fall into the hands of a witch. At night she plans to behead them.
They put her daughters in their place and run away, the youngest brother making
off with a magic kerchief (105).25
D10E10F8. Smat-Rázum, an invisible spirit, serves the hero. Three merchants offer a
little chest (a garden), an axe (a boat), and a horn (an army) in exchange for the
spirit. The hero agrees to the barter but later calls his helper back to him.
We observe that the substitution of certain aspects by others, within the confines of
each type, is practiced on a large scale. Another question is whether or not certain
objects of transmission are connected to certain forms of transmission (i.e., is not a
horse always given, whereas a flying carpet is always seized, etc.)? Although our
examination pertains solely to functions per se, we can indicate (without proofs)
that no such norm exists. A horse, which is usually given, is seized in tale No. 159.26
On the other hand, a magic kerchief, which affords rescue from pursuit, and which
is usually seized, is instead given as a gift to the hero in tale No. 159 and others.27 A
flying ship may be prepared, or pointed out, or given as a gift, etc.
Let us return to the enumeration of the functions of dramatis personae. The
employment of a magical agent follows its receipt by the hero; or, if the agent
received is a living creature, its help is directly put to use on the command of the
hero. With this the hero outwardly loses all significance; he himself does nothing,
while his helper accomplishes everything. The morphological significance of the
hero is nevertheless very great, since his intentions create the axis of the narrative.
These intentions appear in the form of various commands which the hero gives to
his helpers. At this point a more exact definition of the hero can be given than was
done before. The hero of a fairy tale is that character who either directly suffers
from the action of the villain in the complication (the one who senses some kind of [ Pobierz całość w formacie PDF ]