Ancient Slavic tales and legends. Slavic myths. Isn’t it easier to download Slavic fairy tales as an e-book?

The fairy tale is a lie, but in it there is a Hint, Whoever knows it has a Lesson.

“Lie” among the Slavs was the name given to incomplete, superficial Truth. For example, you can say: “Here is a whole puddle of gasoline,” or you can say that this is a puddle of dirty water covered with a film of gasoline on top. In the second statement - True, in the first it is not quite True, i.e. Lie. “Lie” and “bed”, “bed” have the same root origin. Those. something that lies on the surface, or on the surface of which one can lie, or - a superficial judgment about an object.
And yet, why is the word “lie” applied to the Tales, in the sense of superficial truth, incomplete truth? The fact is that a Fairy Tale is really a Lie, but only for the Explicit, Manifested World, in which our consciousness now resides. For other Worlds: Navi, Slavi, Rule, the same fairy-tale characters, their interaction, are the true Truth. Thus, we can say that a Fairy Tale is still a True Story, but for a certain World, for a certain Reality. If a Fairy Tale evokes some Images in your imagination, it means that these Images came from somewhere before your imagination gave them to you. There is no fantasy divorced from reality. All fantasy is as real as our real life. Our subconscious, reacting to the signals of the second signaling system (per word), “pulls out” Images from the collective field - one of the billions of realities among which we live. In the imagination, there is only one thing that does not exist, around which so many fairy-tale plots revolve: “Go There, no one knows Where, Bring That, no one knows What.” Can your imagination imagine anything like this? - For the time being, no. Although, our Many-Wise Ancestors had a completely adequate answer to this question.
“Lesson” among the Slavs means something that stands at Rock, i.e. some fatality of Being, Fate, Mission, which any person embodied on Earth has. A lesson is something that must be learned before your evolutionary Path continues further and higher. Thus, a Fairy Tale is a Lie, but it always contains a Hint of the Lesson that each of the people will have to learn during their Life.

KOLOBOK

He asked Ras Deva: “Bake me a Kolobok.” The Virgin swept the barns of Svarog, scraped the bottom of the barrel and baked Kolobok. Kolobok rolled along the Path. He rolls and rolls, and towards him is the Swan: - Kolobok-Kolobok, I will eat you! And he plucked a piece from Kolobok with his beak. Kolobok rolls on. Towards him - Raven: - Kolobok-Kolobok, I will eat you! He pecked Kolobok's barrel and ate another piece. Kolobok rolled further along the Path. Then the Bear meets him: - Kolobok-Kolobok, I will eat you! He grabbed Kolobok across the stomach, crushed his sides, and forcibly took Kolobok’s legs away from the Bear. Kolobok is rolling, rolling along the Svarog Path, and then the Wolf meets him: - Kolobok-Kolobok, I will eat you! He grabbed Kolobok with his teeth and barely rolled away from the Wolf. But his Path is not over yet. He rolls on: a very small piece of Kolobok remains. And then the Fox comes out to meet Kolobok: “Kolobok-Kolobok, I’ll eat you!” “Don’t eat me, Foxy,” was all Kolobok managed to say, and the Fox said “am” and ate him whole.
A fairy tale, familiar to everyone since childhood, takes on a completely different meaning and a much deeper essence when we discover the Wisdom of the Ancestors. Kolobok among the Slavs has never been a pie, a bun, or “almost a cheesecake,” as they sing in modern fairy tales and cartoons of the most varied bakery products that are passed off to us as Kolobok. People's thought is much more figurative and sacred than they try to imagine. Kolobok is a metaphor, like almost all images of heroes of Russian fairy tales. It is not for nothing that the Russian people were famous everywhere for their imaginative thinking.
The Tale of Kolobok is an astronomical observation of the Ancestors over the movement of the Moon across the sky: from the full moon (in the Hall of the Race) to the new moon (the Hall of the Fox). Kolobok’s “kneading” - the full moon, in this tale, takes place in the Hall of Virgo and Ras (roughly corresponds to the modern constellations Virgo and Leo). Further, starting from the Hall of the Boar, the Month begins to decline, i.e. each of the encountered Halls (Swan, Raven, Bear, Wolf) “eats” part of the Month. By the Fox's Hall there is nothing left from Kolobok - Midgard-Earth (in modern terms - planet Earth) completely covers the Moon from the Sun.
We find confirmation of precisely this interpretation of Kolobok in Russian folk riddles (from the collection of V. Dahl): Blue scarf, red Kolobok: rolls on the scarf, grins at people. - This is about Heaven and Yarilo-Sun. I wonder how modern fairy-tale remakes would portray the red Kolobok? Did you mix blush into the dough?
There are a couple more riddles for the kids: A white-headed cow is looking into the gateway. (Month) I was young - I looked like a fine fellow, I got tired in my old age - I began to fade, a new one was born - I became happy again. (Month) The spinner, the golden bobbin, is spinning, no one can get it: neither the king, nor the queen, nor the red maiden. (Sun) Who is the richest in the world? (Earth)
It should be borne in mind that Slavic constellations do not correspond exactly to modern constellations. In the Slavic Circle there are 16 Halls (constellations), and they had different configurations than the modern 12 Signs of the Zodiac. The palace of Ras (the Feline family) can roughly be correlated with the zodiac sign Leo.

TURNIP

Everyone probably remembers the text of the fairy tale from childhood. Let us analyze the esotericism of the fairy tale and those gross distortions of imagery and logic that were imposed on us.
Reading this, like most other supposedly “folk” (i.e. pagan: “language” - “people”) fairy tales, we pay attention to the obsessive absence of parents. That is, children are presented with single-parent families, which instills in them from childhood the idea that a single-parent family is normal, “everyone lives like this.” Only grandparents raise children. Even in intact families, it has become a tradition to “hand over” a child to be raised by old people. Perhaps this tradition was established during serfdom, as a necessity. Many will tell me that times are no better now, because... democracy is the same slave-owning system. “Demos”, in Greek, is not just “the people”, but a wealthy people, the “top” of society, “kratos” - “power”. So it turns out that democracy is the power of the ruling elite, i.e. the same slavery, only having an erased manifestation in the modern political system. In addition, religion is also the power of the elite for the people, and is also actively involved in the education of the flock (that is, the herd), for its own and the state elite. What do we bring up in children by telling them fairy tales to someone else’s tune? Do we continue to “prepare” more and more serfs for the demos? Or the servants of God?
From an esoteric point of view, what picture appears in the modern “Turnip”? - The line of generations is interrupted, joint good work is disrupted, there is a total destruction of the harmony of the Family, the Family, the well-being and joy of family relationships. What kind of people grow up in dysfunctional families?.. And this is what recent fairy tales teach us.
Specifically, according to “TURNIP”. The two most important heroes for the child, father and mother, are missing. Let's consider what Images make up the essence of the fairy tale, and what exactly was removed from the fairy tale on the symbolic plane. So, the characters: 1) The turnip - symbolizes the Roots of the Family. It was planted by the Ancestor, the Most Ancient and Wise. Without him, there would be no Turnip, and no joint, joyful work for the benefit of the Family. 2) Grandfather - symbolizes Ancient Wisdom 3) Grandmother - Tradition, Home 4) Father - protection and support of the Family - removed from the fairy tale along with figurative meaning 5) Mother - Love and Care - removed from the fairy tale 6) Granddaughter (daughter) - Offspring, continuation of the Family 7) Bug - protection of prosperity in the Family 8) Cat - the blissful environment of the House 9) Mouse - symbolizes the well-being of the House. Mice only appear where there is an abundance, where every crumb is not counted. These figurative meanings are interconnected, like a nesting doll - one without the other no longer has meaning and completeness.
So think about it later, whether Russian fairy tales have been changed, whether known or unknown, and who they “work” for now.

CHICKEN RHOBA

It seems - well, what stupidity: they beat and beat, and then a mouse, bang - and the end of the fairy tale. What is this all for? Indeed, only tell foolish children...
This tale is about Wisdom, about the Image of Universal Wisdom contained in the Golden Egg. Not everyone and not at all times is given the opportunity to cognize this Wisdom. Not everyone can handle it. Sometimes you have to settle for the simple wisdom contained in the Simple Egg.
When you tell this or that fairy tale to your child, knowing its hidden meaning, the Ancient WISDOM contained in this fairy tale is absorbed “with mother’s milk”, on a subtle level, on a subconscious level. Such a child will understand many things and relationships without unnecessary explanations and logical confirmations, figuratively, with the right hemisphere, as modern psychologists say.

ABOUT KASHCHEY and BABA YAGA

In the book, written based on the lectures of P.P. Globa, we find interesting information about the classical heroes of Russian fairy tales: “The name “Koshchey” comes from the name of the sacred books of the ancient Slavs “koschun”. These were wooden tied tablets with unique knowledge written on them. The guardian of this immortal inheritance was called “koschey.” His books were passed down from generation to generation, but it is unlikely that he was truly immortal, as in the fairy tale. (...) And into a terrible villain, a sorcerer, heartless, cruel, but powerful... Koschey turned relatively recently - during the introduction of Orthodoxy, when all the positive characters of the Slavic pantheon were turned into negative ones. At the same time, the word “blasphemy” arose, that is, following ancient, non-Christian customs. (...) And Baba Yaga is a popular person among us... But they could not completely denigrate her in fairy tales. Not just anywhere, but precisely to her, all the Tsarevich Ivans and Fool Ivans came to her in difficult times. And she fed and watered them, heated the bathhouse for them and put them to sleep on the stove in order to show them the right path in the morning, helped to unravel their most complex problems, gave them a magic ball that itself leads to the desired goal. The role of the “Russian Ariadne” makes our granny surprisingly similar to one Avestan deity,... Chistu. This woman-cleaner, sweeping the road with her hair, driving away dirt and all evil spirits from it, clearing the road of fate from stones and debris, was depicted with a broom in one hand and a ball in the other. ... It is clear that with such a position she cannot be ragged and dirty. Moreover, we have our own bathhouse.” (Man - the Tree of Life. Avestan tradition. Mn.: Arctida, 1996)
This knowledge partly confirms the Slavic idea of ​​​​Kashchei and Baba Yaga. But let us draw the reader’s attention to the significant difference in the spelling of the names “Koshchey” and “Kashchey”. These are two fundamentally different heroes. That negative character that is used in fairy tales, with whom all the characters, led by Baba Yaga, fight, and whose Death is “in the egg”, is KASHCHEY. The first rune in the writing of this ancient Slavic word-image is “Ka”, meaning “gathering within oneself, union, unification.” For example, the runic word-image “KARA” does not mean punishment as such, but means something that does not radiate, has ceased to shine, has turned black because it has collected all the radiance (“RA”) inside itself. Hence the word KARAKUM - “KUM” - a relative or a set of something related (grains of sand, for example), and “KARA” - those who have collected radiance: “a collection of shining particles.” This has a slightly different meaning than the previous word “punishment”.
Slavic runic images are unusually deep and capacious, ambiguous and difficult for the average reader. Only the Priests owned these images in their entirety, because... writing and reading a runic image is a serious and very responsible matter, requiring great accuracy and absolute purity of thought and heart.
Baba Yoga (Yogini-Mother) - Eternally beautiful, Loving, Kind-hearted Goddess-Patroness of orphans and children in general. She wandered around Midgard-Earth, either on the Fiery Heavenly Chariot, or on horseback through the lands where the Clans of the Great Race and the descendants of the Heavenly Clans lived, collecting homeless orphans in towns and villages. In every Slavic-Aryan Vesi, even in every populous city or settlement, the Patron Goddess was recognized by her radiating kindness, tenderness, meekness, love and her elegant boots, decorated with gold patterns, and they showed Her where orphans lived. Ordinary people called the Goddess differently, but always with tenderness. Some - Grandma Yoga Golden Leg, and some, quite simply - Yogini-Mother.
The Yogini delivered the orphans to her foothill monastery, which was located in the thicket of the forest, at the foot of the Irian Mountains (Altai). She did this in order to save the last representatives of the most ancient Slavic and Aryan Clans from imminent death. In the foothill Skete, where the Yogini-Mother conducted the children through the Fiery Rite of Initiation to the Ancient High Gods, there was a Temple of the God of the Family, carved inside the mountain. Near the mountain Temple of Rod, there was a special depression in the rock, which the Priests called the Cave of Ra. From it extended a stone platform, divided by a ledge into two equal recesses, called Lapata. In one recess, which was closer to the Cave of Ra, Yogini-Mother laid sleeping children in white clothes. Dry brushwood was placed in the second cavity, after which LapatA moved back into the Cave of Ra, and the Yogini set fire to the brushwood. For all those present at the Fire Rite, this meant that the orphans were dedicated to the Ancient High Gods and no one would see them again in the worldly life of the Clans. Foreigners who sometimes attended the Fire Rites very colorfully told in their lands that they witnessed with their own eyes how small children were sacrificed to the Ancient Gods, thrown alive into the Fiery Furnace, and Baba Yoga did this. The strangers did not know that when the lapata platform moved into the Cave of Ra, a special mechanism lowered the stone slab onto the ledge of the lapata and separated the recess with the children from the Fire. When the Fire lit up in the Cave of Ra, the Priests of the Family transferred the children from the lapata to the premises of the Temple of the Family. Subsequently, Priests and Priestesses were raised from orphans, and when they became adults, the boys and girls created families and continued their lineage. The foreigners knew none of this and continued to spread tales that the wild Priests of the Slavic and Aryan peoples, and especially the bloodthirsty Baba Yoga, sacrifice orphans to the Gods. These foreign tales influenced the Image of the Yogini-Mother, especially after the Christianization of Rus', when the Image of the beautiful young Goddess was replaced by the Image of an old, angry and hunchbacked old woman with matted hair who steals children. roasts them in an oven in a forest hut, and then eats them. Even the Name of Yogini-Mother was distorted and they began to scare all children with the Goddess.
Very interesting, from an esoteric point of view, is the fabulous Instruction-Lesson that accompanies more than one Russian folk tale:
Go There, we don’t know Where, Bring That, we don’t know What.
It turns out that not only fairy tales were taught such a Lesson. This instruction was received by every descendant from the Clans of the Holy Race, who ascended the Golden Path of Spiritual Development (in particular, mastering the Stages of Faith - the “science of imagery”). A person begins the Second Lesson of the First Stage of Faith by looking inside himself to see all the diversity of colors and sounds within himself, as well as to experience the Ancient Ancestral Wisdom that he received at his birth on Midgard-Earth. The key to this great storehouse of Wisdom is known to every person from the Clans of the Great Race; it is contained in the ancient instruction: Go There, not knowing Where, Know That, you do not know What.
This Slavic Lesson is echoed by more than one folk wisdom of the world: To seek wisdom outside oneself is the height of stupidity. (Chan saying) Look inside yourself and you will discover the whole world. (Indian wisdom)
Russian fairy tales have undergone many distortions, but, nevertheless, in many of them the Essence of the Lesson embedded in the fable has remained. It is a fable in our reality, but it is a reality in another reality, no less real than the one in which we live. For a child, the concept of reality is expanded. Children see and feel much more energy fields and flows than adults. It is necessary to respect each other's realities. What is Fable for us is Fact for the baby. That is why it is so important to initiate a child into “correct” fairy tales, with truthful, original Images, without layers of politics and history.
The most truthful, relatively free from distortion, in my opinion, are some of Bazhov’s fairy tales, the fairy tales of Pushkin’s nanny - Arina Rodionovna, recorded by the poet almost verbatim, the tales of Ershov, Aristov, Ivanov, Lomonosov, Afanasyev... The purest, in their pristine completeness of Images, to me Tales seem to be from book 4 of the Slavic-Aryan Vedas: “The Tale of Ratibor”, “The Tale of the Clear Falcon”, given with comments and explanations on words that have fallen out of Russian everyday use, but have remained unchanged in fairy tales.

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Hello, my dear relatives!

I make my deepest bow to you, bowing to my native land! If you have visited this page, listen, listen, and don’t rush anywhere. My speech will flow like a river, turning into a kind tale, which will connect heaven and earth with solar threads-rays.
And I’ll tell you about our distant ancestors and great-grandfathers. They once lived on our native land, which was called Rus-Swan or the country of bright Russia. They lived well and in love: they respected their elders, did not offend the little ones, helped the weak, took over the strength of the strong and transformed it into good deeds.

And they learned to live like this from Father Sky and Mother Earth, from the clear Sun and from the light-streaming river, from trees and flowers, from good-natured elders and from little children with clear, radiant eyes and ringing laughter.

But those days are gone when the snow melts in the spring. Our modern time has come. But the ancient great-grandfathers sowed good seeds into the soul of each of those living today. Each such seed contains all the knowledge, or knowledge, that helped ancient relatives: great-great-grandmothers and great-great-grandfathers live in harmony with nature and themselves.

The seeds of that solar Veda lie in our souls, but they cannot germinate. Do you want to help them become good shoots so that they can learn to create harmony and love on Earth? If you, my dear friends, answered “yes,” then get ready, get equipped, and set off on the journey. No, no...you won't have to go far. The Veda of our great-grandfathers was once woven into fairy tales and good fairy tales like a solar thread. Read these sunny tales...feel them! May you transform your souls, making them purer and brighter. And then you will certainly see the sprouted sprouts of the ancient glorious Veda in your souls.

And I, the storyteller Ladoleya, flowing in harmony, take these tales and fairy tales from the source, which flows like a pure river from ancient times, and weave them from meadow flowers and honey herbs, from the sun’s rays and pure spring water. And I do not forget to thank our bright race for this gift, which once created on Earth the space of Light, Goodness and Love.

With good wishes,

Ladoleya

Vice-Chairman of the Foundation for the Development of Slavic Thinking, St. Petersburg.

The Russian fairy tale contains the wisdom of the people and the knowledge of the ancient Priests - its creators. Each fairy tale has several deep meanings. Each of them is a separate large topic, but they are all interconnected. The first, well-known meaning - moral . Good is stronger than evil. For our ancient Ancestors, this was the main law of life. This is the spiritual content of the fairy tale.

The second meaning of the tale lies in reflection of the annual cycle of natural phenomena . We are indebted to the works of Academician B. A. Rybakov for clarifying the similarities of the Russian fairy tale with the ancient Greek myths about Demeter and Persephone. Let us also compare: Ivan the Tsarevich and the Frog Princess on the one hand and Orpheus and Eurydice on the other; Koschey and Hades, Vasilisa and Persephone. Just as the heroine of a Russian fairy tale ends up in the kingdom of Koshchei, Eurydice ends up in the underground kingdom of Hades. And just as Ivan Tsarevich goes to help out his bride, so Orpheus goes in search of Eurydice. In Russian fairy tales, just like in the Greek myth of Orpheus, a very important place is given to the main character’s ability to play musical instruments. For example, when he forces the kidnapper of his bride (often the Sea King, which is close in meaning to the underground and underwater world) to dance until he drops, after which he returns the kidnapped girl to the hero. But the Greeks, unlike the Slavs, treat Hades with respect and fear. Moreover, they do not think about defeating Hades. Orpheus, as we know, returns home with nothing, and Eurydice remains in the kingdom of death.

The Slavs have a completely different ending to such a tale. They believe without a doubt that Good and Love conquer death itself. Therefore, Ivan Tsarevich saves his Frog Princess, Ruslan saves Lyudmila, and Prince Elisha resurrects the dead princess. This is how the fairy tales of other Slavic peoples end, as well as the fairy tales of the Baltic peoples, which are similar in content and meaning.

We find many similarities in Russian fairy tales with the Greek myth about the abduction of Persephone (Goddess of Nature, daughter of Demeter - Goddess of the Earth) by Hades. Persephone lives for six months in the gloomy underground kingdom of Hades, the other six months - on the beautiful Earth, under the Sun. And when she returns to Earth, then spring comes, flowers and vineyards bloom, crops rise. Persephone is brought back to Earth from the dark kingdom of Hades, according to some myths, by her mother (she puts on beggar's rags and walks around, wandering, refusing to grow bread and grapes so that people begin to starve, then Zeus gives in to Demeter's requests and every spring orders Hades to let her go land Persephone). According to other myths, Persephone is saved from the kingdom of death by the God of the winter (dying and rising during the winter solstice) Sun - Dionysus.

The same theme is wonderfully reflected in the fairy tale “About the Dead Princess,” retold in verse by A. S. Pushkin. Here the princess is Nature, the seven heroes are the seven cold months, when Nature is forced to live in separation from her groom, the prince Elisha - the Sun. The evil stepmother who kills the princess is winter. And the crystal coffin is the ice and snow cover that covers the Earth and rivers in winter. In the spring the sun hits the ice cover with its ray, the crystal coffin is destroyed, and Nature is resurrected. So Elisha revives his bride and leads her out of the underground grotto. We find the same motif in the epic about Svyatogor (the epic “Svyatogor and the earthly craving”).

The next meaning found in the fairy tale is dedicatory . In ancient times, every young man went through a school to learn the art of war. Experienced relatives taught him archery, javelin throwing, and wrestling techniques. The old men passed on to him the knowledge of military science, the tricks of the enemy, the ability to camouflage, and survive in Nature. Before undergoing the rite of passage into a man, the young man underwent various tests. This is reflected, as V. Ya. Propp showed, in most Russian fairy tales.

The oldest woman of the Family (who entered the fairy tale in the image of first the kind and then the terrifying Baba Yaga) revealed ancient wisdom to the young man. He was initiated into Spiritual Knowledge, including about posthumous existence. For belief in the afterlife was widespread and understanding of what happens to a person after death (after all, Warriors always had to be prepared for this) was necessary and of paramount importance. According to the ideas of the Slavs, after death the soul enters the world of the Ancestors, the kingdom of the Foremother Moose, Bear or Turitsa (depending on which animal was the totem patron of a given Clan). As a result, the moral side of initiation was very important, for our Ancestors revered Mother Nature. They considered animals to be her children and their distant Ancestors. They believed that the souls of animals also went to Heaven. If there was a failure in the hunt, they believed that the Great Mother Bear had sacrificed too many of her children to them, and it was time for them to bring gifts to her, and they imposed a fast on themselves.

There was also a female dedication, just as ancient as the male one (“Finist-Clear Falcon”, “Vasilisa the Beautiful”). Fairy tales often contain animals, which the hero saves life and who subsequently help him (“magic helpers” according to V. Ya. Propp). These are helper animals: Bear, Bull, Wolf Dog, Eagle, Raven, Drake, Pike. Animals whose son in a particular fairy tale is the main character: Ivan Bykovich, Ivan Medvedkin, Ivan Suchich, Ivan the Cow's Son (B. A. Rybakov “Paganism of the Ancient Slavs.” M., 1994).

The dedicatory meaning of the tale is inextricably linked with the even more ancient Vedic meaning . A fairy tale is the Slavic Veda. More precisely, that part of the Vedas that remained in the Slavic lands, despite Christianization, during which, as we know, there was a struggle with the Magi and their teachings. Before the adoption of Christianity in Rus' and other Slavic lands, Ancient Vedic Knowledge existed in two complementary directions. Let's call them conventionally: male tradition and female tradition.

The guardians of male knowledge were the Priests, Veduns, Magi, who passed on to the youth the martial arts (in India “Dhanurveda” - “Military Veda”), the tricks of the enemy, as well as the habits of animals, knowledge of the basics of treatment (in India “Ayurveda”), tales and hymns , knowledge about the origin and structure of the Universe (in India “Rigveda”). This Vedic Knowledge was brought to India during the Aryan campaign. We find an echo of this event in the epic “Dobrynya Nikitich’s Campaign to India.” In India, this Knowledge has been quite well preserved to this day. In the Slavic lands, they were subject to destruction by representatives of Christianity (who, basically, had a superficial understanding of the essence of Slavic Knowledge).

The other half of the Ancient Vedic Wisdom of the Slavs was preserved in the female tradition, and it did not come to India, since the movement of the Aryan tribes was carried out with a significant predominance of men. This female branch has been very well preserved in Russia, despite the severe persecution that befell it. It was preserved because, unlike men’s, it had no relation to state politics, being domestic and communal. The guardians of this tradition were not only Priestesses, Witches and Magi, but every woman in her home, in her family, preserved the Ancestral Knowledge of her great-grandmothers. The Slavic woman, like the entire rural world, went to the Christian church on Sundays, but at home neither the priest nor anyone else could forbid her to embroider patterns that reflected the idea of ​​our Ancestors about the Universe, to wear ancient clothes on holidays, depicting a microcosm , sing songs to Lada and Lele and celebrate ancient holidays on the banks of rivers and lakes, in groves and on the mountains, treat yourself and your family with spells and herbs.

Fairy tales, epics, and songs represent a significant part of the Slavic Veda. Of course, fairy tales and epics were passed down not only through the female line; grandfathers also told them to their grandchildren. In many fairy tales, and especially in the epics they inherited, it is the male tradition that can be traced. But still, to a greater extent, the Ancient Vedic Knowledge was preserved by women and old people (unlike the Vedas that came to India), because it was transmitted secretly and more to children than to young men and women.

Let us consider an epic and a ritual song, reflecting in their content the knowledge of the birth of the World. This is an epic about Danube Ivanovich. Let us recall its brief summary. Danube Ivanovich obtains a bride for Prince Vladimir, and he himself marries her heroic sister. At a feast at Prince Vladimir's, being drunk, Danube Ivanovich boasted that he could shoot a bow very accurately. To which his wife, a hero, who was with him at the feast, noticed that she was a much better shooter than him.

Danube Ivanovich began to bet with her: they would go out into an open field, put a silver ring on their head, and whichever one of them would hit the ring would be the better shooter. And so they did. We drove out into an open field, put the Danube “silver ring” on his head, Nastasya the Queen took aim and hit the ring with an arrow. Then Danube puts a silver ring on his wife’s head, moves away and begins to take aim. Then his wife says to him: “Danube Ivanovich, you are drunk now, you will not end up in the ring, but you will end up in my zealous heart, and under my heart your child is beating. Wait until it’s born, then we’ll go to the field and shoot.” Such words from his wife seemed offensive to the husband. How could she doubt his accuracy? The Danube fired a red-hot arrow from a tight bow, and its sweet one hit him right in the heart. Blood poured out in a stream from the white chest. And then Danube Ivanovich thrust his sword into his chest. And two streams merged into one large river, the Danube.

This is how a river is born in the epic, and for the ancient Slav the river was the whole World, the whole Universe - the River of Life. And she is born from a married couple who sacrificed themselves for her, but not ordinary people, but heroes.

A hero in a fairy tale is often an allegorical designation of a hero or deity. We also find the plot of sacrificing oneself for the sake of creating the World in India, where such a God-hero turns out to be Purusha, the “giant from the fog.” This is how our Ancestors imagined the birth of the World, Life, and Space. The world was born from the Divinity, which contains the male and female principles. But the Divine, even when dying, remains immortal - it continues to live, or rather, resurrects in the world born by Him: in plants, rivers, trees, birds, fish, animals, insects, stones, rainbows, clouds, rain, and, finally, in people - His descendants. And people, constantly improving, having gone through many human lives, become Gods, and from them new Worlds, new Universes are born. Well, if they lived unrighteously, they became restless after death or began a new long evolutionary path from a simple grain of sand. Therefore, our Ancestors looked at all of Nature as the body of the Divine. Hence the veneration of groves, forests, mountains, the Sun, Heaven, lakes and many animals. Death was perceived by the ancients not as the end of life and something hopeless, but as a transition from one state to another, as a difficult test associated with pain, fear, uncertainty, contributing to the spiritual growth of a person, as purification and renewal. People are forced to undergo this test. The deity, according to the beliefs of the Slavs and other peoples, voluntarily accepts death and is resurrected. This motif is clearly visible in the Egyptian legends about Osiris, in the Greek myths about Dionysus, in the legends about the Phoenix, which burns itself to rise from the ashes.

The everyday details with which the fairy-tale epic about Danube Ivanovich is richly decorated again show the multi-layered nature of this genre, the multifaceted nature of its understanding. In this sense, the epic resembles a parable, which very well shows what pride and intransigence of a husband and wife towards each other can lead to.

Close in meaning to this epic is the song “The fast river spread out, overflowed.” At the same time, the position remains valid that in ancient songs, just like in ancient fairy tales, we are talking not so much about ordinary people, but about Ancestors - heroes and Deities. Also, the river with its banks, stones, fish is the River of Life, the Universe, the Cosmos, which is born from the body of a drowned (sacrificing) girl - the Virgin Goddess. Her chest becomes the shore, her hair becomes the grass on the shore, her eyes become white pebbles, her blood becomes river water, her tears become spring water, and her white body becomes a white fish.

Ritual Russian songs, as well as the surviving songs of the southern and western Slavs, myths and hymns of other representatives of the Indo-European family, are very closely related to fairy tales and tales, reflecting some features of the primary consciousness of the Proto-Slavs.

In the Russian fairy tale “The Copper, Silver and Golden Kingdoms,” the kingdom arises from an egg. The wind in the fairy tale “About the Dead Princess and the Seven Knights” has the divine property of omniscience. We find a direct connection with the Russian fairy tale “About the Dead Princess” in the Upanishads, where the human soul, going to another world, passes through the Month of the Sun and Wind (Upanishads, Bro. V, 10).

Let us also dwell on the closeness of the Slavic verbal tradition to other related cultures. The myths of Ancient Greece and the Indian Vedas help us better understand our own, largely unsolved culture. A. S. Famitsin and B. A. Rybakov in their works show the similarity of ancient Greek myths with Russian epics and fairy tales. No later works can compare in depth with these wonderful monuments of folk wisdom.

Let's consider the myths about the three sons of Zeus: Apollo, Ares and Dionysus. Three Gods, so different, even opposite in many respects to each other, and, nevertheless, representing a certain unity. Apollo is the beautiful God of the Sun, Light, patron of muses, travelers and sailors, patron of bees, herds and wild animals (even wolves were considered animals of Apollo, and the Greeks did not dare to kill them). Apollo is a healer, a healer. At the same time, he punishes the disobedient and sends his arrows at them. Apollo was born from Zeus and the Goddess Latona (Leto) and already in childhood he defeated the serpent Python, and thereby saved his mother, as well as his sister Artemis. A similar plot is present in Russian fairy tales, Orthodox apocrypha and ancient Indian myths about Krishna and Varuna.

Another son of Zeus from Hera is Ares (Mars among the Romans). A formidable and proud young man - this is how the Greeks portrayed him. His name is consonant with the Slavic Yaril. But at the same time, Ares is a fierce God of battle. "Ares!" - the Amazons shouted before the battle, terrifying their opponents. This is the God of fierce and cruel battle, in contrast to Athena, the Goddess of military science.

The third son of Zeus, born twice, born in fire, Dionysus, is completely unlike him. A beautiful, slender and gentle young man holding a bunch of grapes in his hands - this is how he is depicted in Greek sculpture. Dionysus is the God of cereals, green shoots, life-giving sap of trees, wine, vines, God the healer, comforter of the suffering. A drink made from grape juice - a light dry wine - that gives a person health and joy was called the blood of Dionysus, because when a person drinks this sparkling drink and it begins to play in his veins, a person experiences that joyful and peaceful state characteristic of the Gods, as if the blood of the Gods flows in his veins.

Another meaning of the fairy tale is its connection with yoga . In this regard, the fairy tale “Ivan the Talentless” is interesting. In it, in the final part, it directly talks about the purpose of magical things: mirrors, books and dresses. “There was charm in the treasured dress, wisdom in the book, and all the appearance of the world in the mirror.” And then it talks about the main gift for the daughter, the meaning of which is not revealed, but becomes clear from the fairy tale itself. The fairy tale “Finist - Clear Falcon” is also close in meaning, although in terms of plot it is at first glance directly opposite to the first. In search of the departed Finist, the girl goes through a difficult and long journey: she broke three cast iron staffs, trampled three pairs of iron boots, ate three stone loaves, until she came to Baba Yaga, who gave her magical things: a golden saucer and a silver apple, a silver hoop with a golden needle, crystal hammer and diamond studs. And the girl gave all these magical things to return Finist Yasna Falcon.

What were these magical things? A golden saucer with a silver apple is a gift, the ability to understand, see the world, comprehend the essence of things and the causes of phenomena and events. This corresponds to the yogic ability of clairvoyance. The crystal hammer and diamond studs are a musical instrument. Owning a musical instrument means power over people (remember that in many fairy tales the main character, with the help of musical instruments, makes the king and his entire retinue dance) and even over the elements of Nature (in other fairy tales and the epic “Sadko”, the main character makes himself dance by playing the harp Sea King). We find a similar plot in the myth of Orpheus. The weaving and embroidering of carpets and towels by the main character in fairy tales and myths (Athena, the Frog Princess), as well as the spinning of the thread of fate by Moira among the Greeks and Makosh among the Slavs, usually reflects the creation by the Goddess of the pattern of the Universe (remember that everything is usually depicted on the carpet forests, seas, all animals, birds, fish, cities and countries, people and the royal palace). We can say that the hoop and the needle are associated with the ability of creativity and transformation, both the obvious world, the human body, and his subtle bodies, his destiny. Embroidered shirts, according to ancient beliefs, help preserve human health and life, and the belt is associated with his fate. All these gifts are given to the heroine Baba Yaga, since she passed on Spiritual Knowledge to the ancient Proto-Slavs as the oldest woman of the Family.

Yoga is the improvement of a person spiritually, mentally and physically. Man reveals enormous psychophysical capabilities. But the main goal of higher yoga is communion with the Almighty, merging with Him.

It is very likely that the stages of initiation were carried out in accordance with the zodiac calendar. This is supported by the fact that some Russian fairy tales are dedicated to annual folk holidays, the connection of which with the starry sky and the position of the Sun on it is unconditional.

Regarding the topic of initiations, it should be noted that fairy tales have preserved the memory of ancient female initiation. Such, for example, is the fairy tale “Vasilisa the Beautiful.” When the fire in the house goes out, the stepmother's daughters send Vasilisa to Baba Yaga for fire. To go to Baba Yaga means to go to the Other World, to come into contact with the world of death (“yaga” - “sacrifice”, Sanskrit). The girl is helped in both earthly affairs and on this difficult journey, from which few have returned, by the doll that her mother gave her before her death. This doll, a maternal blessing (an obligatory part of the dowry in the old days), was not a toy, but a special spiritualized thing among the ancient Slavs and personified the patronage of the Ancestors on the maternal side.

Wooden dolls - “punks” are still preserved in the Arkhangelsk region. In ancient times, such dolls stood in the red corner, in the same place where embroidered towels with images of Rozhanitsa hung, and on special days of holidays and commemorations, sacrifices were made to them in the form of kutya, porridge, bread, eggs, and ritual food. This fairy tale reflects the belief that a girl’s happiness and women’s happiness depend, first of all, on the patronage of her mother and on the desire to live in harmony with the world around her: she feeds Baba Yaga’s cat and dog, asks the little devil to save her from the fiery furnace, and she agrees, ties the birch tree with a ribbon, and the birch tree releases it (a version of the fairy tale as presented by I. V. Karnaukhova). Tying a birch tree with a ribbon reflects the ritual of the Green Christmastide - decorating birch trees with ribbons and curling the birch trees. These are Semik and Trinity, now celebrated by Christians, one of the biggest holidays of the year, associated with the veneration of Ancestors and the spring-summer revival of life. “Whoever does not make wreaths, his womb will die,” is sung in one of the songs of this holiday. The wreath gives longevity to the mother. A wreath thrown into the water symbolizes the connection of the young people with each other and with Heaven.

The second part of this tale is dedicated to those events when a girl, having returned from Baba Yaga, that is, as if from the other world, spins, weaves and embroiders a beautiful shirt for the groom, after which she marries the prince. This part reflects the idea of ​​the ancients that one of the most important foundations of the strength of family life is the bride’s dowry, which includes: clothes for her, clothes (shirt and belts) for the future husband, gifts to the groom’s relatives in the form of shirts, towels, belts. This dowry had to be made by the hands of the girl herself. Girls did it from childhood until marriage, that is, throughout their youth and youth. But a person has only one youth, and therefore she cherished the union with the one to whom the girl gave the work of her whole life. It goes without saying that the dowry was of great importance for the well-being of the family, since in marriage a woman had many new worries, and she did not have time to make clothes in such quantities.

The creation of a dowry by the future bride meant the creation of a microcosm, and patterned towels and shirts carried cosmogonic imagery.

Male and female initiations, despite all their differences, contributed to the preservation of the Tribal Foundation of the family and community, as the main units of society.

The endless world of fairy tales gives us a reflection of many of the most important events of the past. The fairy tale “Dmitry the Tsarevich and the Udal the Good Fellow” reflects the Proto-Slavs’ ideas about the Divine. And again in this fairy tale we are faced with manifestations of yoga. The brave, kind fellow saves Ivan Tsarevich from the six-headed snake. The magical assistant Dal, a good fellow, is an image of the victory of the spiritual principle in a person over his base instincts.

Manifestations of the basic laws of yoga can also be seen in the legend about the Prophetic Oleg, in its content reminiscent of epics and fairy tales. The horse here conventionally denotes those principles in man that helped to survive on Earth for the time being (a horse in battle is the personification of rage in battle). But at a certain level of his development, a person must be able to win, curb base instincts (this corresponds to riding a wild horse in many fairy tales) or completely abandon some of them (as in the legend about Oleg the Prophet). And if a person returns to the predominance of lower bodily desires over higher ones, then this will be the snake that will destroy him.

The above example clearly shows the interpenetration of different semantic levels inherent in an epic, fairy tale, and ritual song. Oleg reigned in Novgorod, then in Kyiv, conquered Constantinople, and died in Staraya Ladoga, where his burial mound is now shown. In the same way, the arrival of the ancient ancestors of the Slavs in India is reflected in the epic about Dobrynya’s campaign in India. We find even more ancient events related to Palestine and Asia Minor (evidence of the presence of the Proto-Slavs there) in the tales of Tarkh Tarakhovich on Siyan Mountain, about the Sunflower Kingdom and others.

It is difficult for a modern person, brought up and educated in the concepts and ideas of modern science, to imagine that until recently our Ancestors had a completely different picture of the world and a different worldview, and, what is even more significant, they had a universal connection with Nature and the Universe. Fairy tales, epics, ritual songs help to understand this connection. The key here is the image of the Bogatyr (Good Well done). The image of the Bogatyr in fairy tales and epics very often represents the Sun. Such is the prince Elisha, breaking the crystal coffin of his bride, Svyatogor the hero, cutting with his sword the bark that covers his future bride. All these are images of the spring Sun, cutting with its rays the icy crust covering the Earth.

It is possible that the twelve labors of Hercules reflect the movement of the Sun along the zodiacal circle. Moreover, the victory over the Hydra can be considered as the victory of the Sun over cold, darkness, dampness, and the cleansing of the Augean stables - as the cleansing power of the Sun. The name Hercules itself contains the obvious root "Yar". The images of Yegor the Brave defeating the serpent, the hero Eruslan Lazorevich, the Greek hero Perseus, and the God Apollo are solar. This desire for the Luminary is not accidental. It itself is a mystery even to modern science.

To make the presentation more complete, let’s look at some more Cossack songs. It was the male tradition of singing that was preserved among the Cossacks, as well as certain rituals that apparently existed in the princely squads of ancient Rus'. This, for example, is bringing a strand of hair to one’s native river before going to battle. This is also an appeal to the river upon returning from the battlefield: “Hello Don, you are our Donets, hello, our dear father,” is sung in a Cossack marching song. One Belarusian song talks about a young guy going into the army and turning to his bride with a request to take his hair to the Danube, which she does: “I wrapped my yellow curls and took them to the Danube River.” Here is a clear trace of the presence of the Slavs on the Danube, perhaps during the time of Svyatoslav the Khoroby, or even in more ancient times, when the Slavs lived in large numbers along the Danube. How ancient these customs are, as well as how inherent they are to related Slavic peoples, can be judged by the texts of the famous “Iliad”, where the hero Achilles, before leaving for war, brings a lock of hair to his native river.

The ritual nature of many songs, conventionally now called recruitment songs, is also undeniable. Let’s take the song “Like in our pole.” Literally, it sings about what often happened to people who stood up to defend their Fatherland. But it also has a ritual meaning. A soldier, and in the ancient images of these songs - a good fellow, a hero - is the Sun, which goes in winter to a foreign, distant country, and goes out there, dies (this is how people who lived in the north, especially beyond the Arctic Circle, perceived the winter solstice really no longer rose above the horizon). But people believed that the Sun would definitely rise, they had to wait for it, just as they wait for a warrior from the war, and this expectation helps him return alive. The same expectation helps the Sun pass the point of dying, the winter solstice.

However, this is far from exhausting the meaning of the fairy tale.

“Lie” among the Slavs was the name given to incomplete, superficial Truth. For example, you can say: “Here is a whole puddle of gasoline,” or you can say that this is a puddle of dirty water covered with a film of gasoline on top. In the second statement - True, in the first, what is said is not entirely True, i.e. Lie. “Lie” and “bed”, “bed” have the same root origin. Those. something that lies on the surface, or on the surface of which one can lie, or - a superficial judgment about an object.

And yet, why is the word “lie” applied to the Tales, in the sense of superficial truth, incomplete truth? The fact is that a Fairy Tale is really a Lie, but only for the Explicit, Manifested World, in which our consciousness now resides. For other Worlds: Navi, Slavi, Rule, the same fairy-tale characters, their interaction, are the true Truth. Thus, we can say that a Fairy Tale is still a True Story, but for a certain World, for a certain Reality. If a Fairy Tale evokes some Images in your imagination, it means that these Images came from somewhere before your imagination gave them to you. There is no fantasy divorced from reality. All fantasy is as real as our real life. Our subconscious, reacting to the signals of the second signaling system (per word), “pulls out” Images from the collective field - one of the billions of realities among which we live. In the imagination, there is only one thing that does not exist, around which so many fairy-tale plots revolve: “Go There, no one knows Where, Bring That, no one knows What.” Can your imagination imagine anything like this? - For the time being, no. Although, our Many-Wise Ancestors had a completely adequate answer to this question.

“Lesson” among the Slavs means something that stands at Rock, i.e. some fatality of Being, Fate, Mission, which any person embodied on Earth has. A lesson is something that must be learned before your evolutionary Path continues further and higher. Thus, a Fairy Tale is a Lie, but it always contains a Hint of the Lesson that each of the people will have to learn during their Life.

KOLOBOK

He asked Ras Deva: “Bake me a Kolobok.” The Virgin swept the barns of Svarog, scraped the bottom of the barrel and baked Kolobok. Kolobok rolled along the Path. It rolls and rolls, and the Swan meets him: “Kolobok-Kolobok, I’ll eat you!” And he plucked a piece from Kolobok with his beak. Kolobok rolls on. Towards him - Raven: - Kolobok-Kolobok, I will eat you! He pecked Kolobok's barrel and ate another piece. Kolobok rolled further along the Path. Then the Bear meets him: “Kolobok-Kolobok, I’ll eat you!” He grabbed Kolobok across the stomach, crushed his sides, and forcibly took Kolobok’s legs away from the Bear. Kolobok is rolling, rolling along the Svarog Path, and then the Wolf meets him: - Kolobok-Kolobok, I will eat you! He grabbed Kolobok with his teeth and barely rolled away from the Wolf. But his Path is not over yet. He rolls on: a very small piece of Kolobok remains. And then the Fox comes out to meet Kolobok: “Kolobok-Kolobok, I’ll eat you!” “Don’t eat me, Foxy,” was all Kolobok managed to say, and the Fox said “am” and ate him whole.

A fairy tale, familiar to everyone since childhood, takes on a completely different meaning and a much deeper essence when we discover the Wisdom of the Ancestors. Kolobok among the Slavs has never been a pie, a bun, or “almost a cheesecake,” as they sing in modern fairy tales and cartoons of the most varied bakery products that are passed off to us as Kolobok. People's thought is much more figurative and sacred than they try to imagine. Kolobok is a metaphor, like almost all images of heroes of Russian fairy tales. It is not for nothing that the Russian people were famous everywhere for their imaginative thinking.

The Tale of Kolobok is an astronomical observation of the Ancestors over the movement of the Moon across the sky: from the full moon (in the Hall of the Race) to the new moon (the Hall of the Fox). Kolobok’s “Kneading” - the full moon, in this tale, takes place in the Hall of Virgo and Ras (roughly corresponds to the modern constellations Virgo and Leo). Further, starting from the Hall of the Boar, the Month begins to decline, i.e. each of the encountered Halls (Swan, Raven, Bear, Wolf) “eats” part of the Month. By the Fox's Hall there is nothing left of Kolobok - Midgard-Earth (in modern terms - planet Earth) completely covers the Moon from the Sun.

We find confirmation of precisely this interpretation of Kolobok in Russian folk riddles (from the collection of V. Dahl): Blue scarf, red Kolobok: rolls on the scarf, grins at people. - This is about Heaven and Yarilo-Sun. I wonder how modern fairy-tale remakes would portray the red Kolobok? Did you mix blush into the dough?

There are a couple more riddles for the kids: A white-headed cow is looking into the gateway. (Month) He was young - he looked like a fine fellow, in his old age he became tired - he began to fade, a new one was born - he became cheerful again. (Month) The spinner, the golden bobbin, is spinning, no one can get it: neither the king, nor the queen, nor the red maiden. (Sun) Who is the richest in the world? (Earth)

It should be borne in mind that Slavic constellations do not correspond exactly to modern constellations. In the Slavic Circle there are 16 Halls (constellations), and they had different configurations than the modern 12 Signs of the Zodiac. The palace of Ras (the cat family) can roughly be correlated with
zodiac sign Leo.

TURNIP

Everyone probably remembers the text of the fairy tale from childhood. Let us analyze the esotericism of the fairy tale and those gross distortions of imagery and logic that were imposed on us.

Reading this, like most other supposedly “folk” (i.e. pagan: “language” - “people”) fairy tales, we pay attention to the obsessive absence of parents. That is, children are presented with single-parent families, which instills in them from childhood the idea that an incomplete family is normal, “everyone lives like this.” Only grandparents raise children. Even in intact families, it has become a tradition to “hand over” a child to be raised by old people. Perhaps this tradition was established during serfdom, as a necessity. Many will tell me that times are no better now, because... democracy is the same slave-owning system. “Demos”, in Greek, is not just “the people”, but a wealthy people, the “top” of society, “kratos” - “power”. So it turns out that democracy is the power of the ruling elite, i.e. the same slavery, only having an erased manifestation in the modern political system. In addition, religion is also the power of the elite for the people, and is also actively involved in the education of the flock (that is, the herd), for its own and the state elite. What do we bring up in children by telling them fairy tales to someone else’s tune? Do we continue to “prepare” more and more serfs for the demos? Or the servants of God?

From an esoteric point of view, what picture appears in the modern “Turnip”? — The line of generations has been interrupted, joint good work has been disrupted, there is a total destruction of the harmony of the Family, the Family,
prosperity and joy of family relationships. What kind of people grow up in dysfunctional families?.. And this is what recent fairy tales teach us.

Specifically, according to “TURNIP”. The two most important heroes for the child, father and mother, are missing. Let's consider what Images make up the essence of the fairy tale, and what exactly was removed from the fairy tale on the symbolic plane. So, the characters: 1) The turnip - symbolizes the Roots of the Family. She's planted
Ancestor, the most ancient and wise. Without him, there would be no Turnip, and no joint, joyful work for the benefit of the Family. 2) Grandfather - symbolizes Ancient Wisdom 3) Grandmother - Tradition, Home 4) Father - protection and support of the Family - removed from the fairy tale along with figurative meaning 5) Mother - Love and Care - removed from the fairy tale 6) Granddaughter (daughter) - Offspring, continuation of the Family 7) Bug - protection of prosperity in the Family 8) Cat - good environment of the House 9) Mouse - symbolizes the well-being of the House. Mice only appear where there is an abundance, where every crumb is not counted. These figurative meanings are interconnected, like a nesting doll - one without the other no longer has meaning and completeness.

So think about it later, whether Russian fairy tales have been changed, whether known or unknown, and who they “work” for now.

CHICKEN RHOBA

It seems - well, what stupidity: they beat and beat, and then a mouse, bang - and the end of the fairy tale. What is this all for? Indeed, only tell foolish children...

This tale is about Wisdom, about the Image of Universal Wisdom contained in the Golden Egg. Not everyone and not at all times is given the opportunity to cognize this Wisdom. Not everyone can handle it. Sometimes you have to settle for the simple wisdom contained in the Simple Egg.

When you tell this or that fairy tale to your child, knowing its hidden meaning, the Ancient WISDOM contained in this fairy tale is absorbed “with mother’s milk”, on a subtle level, on a subconscious level. Such a child will understand many things and relationships without unnecessary explanations and logical confirmations, figuratively, with the right hemisphere, as modern psychologists say.

ABOUT KASHCHEY and BABA YAGA

In the book, written based on the lectures of P.P. Globa, we find interesting information about the classical heroes of Russian fairy tales: “The name “Koshchey” comes from the name of the sacred books of the ancient Slavs “koschun”. These were wooden tied tablets with unique knowledge written on them. The guardian of this immortal inheritance was called “koschey.” His books were passed down from generation to generation, but it is unlikely that he was truly immortal, as in the fairy tale. (...) And into a terrible villain, a sorcerer, heartless, cruel, but powerful... Koschey turned relatively recently - during the introduction of Orthodoxy, when all the positive characters of the Slavic pantheon were turned into negative ones. At the same time, the word “blasphemy” arose, that is, following ancient, non-Christian customs. (...) And Baba Yaga is a popular person among us... But they could not completely denigrate her in fairy tales. Not just anywhere, but precisely to her, all the Tsarevich Ivans and Fool Ivans came to her in difficult times. And she fed and watered them, heated the bathhouse for them and put them to sleep on the stove in order to show them the right path in the morning, helped to unravel their most complex problems, gave them a magic ball that itself leads to the desired goal. The role of the “Russian Ariadne” makes our granny surprisingly similar to one Avestan deity,... Chistu. This woman-cleaner, sweeping the road with her hair, driving away dirt and all evil spirits from it, clearing the road of fate from stones and debris, was depicted with a broom in one hand and a ball in the other. ... It is clear that with such a position she cannot be ragged and dirty. Moreover, we have our own bathhouse.” (Man is the Tree of Life. Avestan tradition. Mn.: Arctida, 1996)

This knowledge partly confirms the Slavic idea of ​​​​Kashchei and Baba Yaga. But let us draw the reader’s attention to the significant difference in the spelling of the names “Koshchey” and “Kashchey”. These are two fundamentally different heroes. That negative character that is used in fairy tales, with whom all the characters, led by Baba Yaga, struggle, and whose Death is “in the egg” is KASHCHEY. The first rune in the writing of this ancient Slavic word-image is “Ka,” meaning “gathering within oneself, union, unification.” For example, the runic word-image “KARA” does not mean punishment as such, but means something that does not radiate, has ceased to shine, has turned black because it has collected all the radiance (“RA”) inside itself. Hence the word KARAKUM - “KUM” - a relative or a set of something related (grains of sand, for example), and “KARA” - those who have collected radiance: “a collection of shining particles.” This has a slightly different meaning than the previous word “punishment”.

Slavic runic images are unusually deep and capacious, ambiguous and difficult for the average reader. Only the Priests owned these images in their entirety, because... writing and reading a runic image is a serious and very responsible matter, requiring great accuracy and absolute purity of thought and heart.

Baba Yoga (Yogin-Mother) is the Eternally Beautiful, Loving, Kind-hearted Goddess-Patroness of orphans and children in general. She wandered around Midgard-Earth, either on the Fiery Heavenly Chariot, or on horseback through the lands where the Clans of the Great Race and the descendants of the Heavenly Clans lived, collecting homeless orphans in towns and villages. In every Slavic-Aryan Vesi, even in every populous city or settlement, the Patron Goddess was recognized by her radiating kindness, tenderness, meekness, love and her elegant boots, decorated with gold patterns, and they showed Her where orphans lived. Ordinary people called the Goddess differently, but always with tenderness. Some - Grandma Yoga Golden Leg, and some, quite simply - Yogini-Mother.

The Yogini delivered the orphans to her foothill monastery, which was located in the thicket of the forest, at the foot of the Irian Mountains (Altai). She did this in order to save the last representatives of the most ancient Slavic and Aryan Clans from imminent death. In the foothill Skete, where the Yogini-Mother conducted the children through the Fiery Rite of Initiation to the Ancient High Gods, there was a Temple of the God of the Family, carved inside the mountain. Near the mountain Temple of Rod, there was a special depression in the rock, which the Priests called the Cave of Ra. From it extended a stone platform, divided by a ledge into two equal recesses, called Lapata. In one recess, which was closer to the Cave of Ra, Yogini-Mother laid sleeping children in white clothes. Dry brushwood was placed in the second cavity, after which LapatA moved back into the Cave of Ra, and the Yogini set fire to the brushwood. For all those present at the Fire Rite, this meant that the orphans were dedicated to the Ancient High Gods and no one would see them again in the worldly life of the Clans. Foreigners who sometimes attended the Fire Rites very colorfully told in their lands that they witnessed with their own eyes how small children were sacrificed to the Ancient Gods, thrown alive into the Fiery Furnace, and Baba Yoga did this. The strangers did not know that when the lapata platform moved into the Cave of Ra, a special mechanism lowered the stone slab onto the ledge of the lapata and separated the recess with the children from the Fire. When the Fire lit up in the Cave of Ra, the Priests of the Family transferred the children from the lapata to the premises of the Temple of the Family. Subsequently, Priests and Priestesses were raised from orphans, and when they became adults, the boys and girls created families and continued their lineage. The foreigners knew none of this and continued to spread tales that the wild Priests of the Slavic and Aryan peoples, and especially the bloodthirsty Baba Yoga, sacrifice orphans to the Gods. These foreign tales influenced the Image of the Yogini-Mother, especially after the Christianization of Rus', when the Image of the beautiful young Goddess was replaced by the Image of an old, angry and hunchbacked old woman with matted hair who steals children. roasts them in an oven in a forest hut, and then eats them. Even the Name of Yogini-Mother was distorted and they began to scare all children with the Goddess.

Very interesting, from an esoteric point of view, is the fabulous Instruction-Lesson that accompanies more than one Russian folk tale:

Go There, we don’t know Where, Bring That, we don’t know What.

It turns out that not only fairy tales were taught such a Lesson. This instruction was received by every descendant from the Clans of the Holy Race, who ascended the Golden Path of Spiritual Development (in particular, mastering the Steps of Faith - the “science of imagery”). A person begins the Second Lesson of the First Stage of Faith by looking inside himself to see all the diversity of colors and sounds within himself, as well as to experience the Ancient Ancestral Wisdom that he received at his birth on Midgard-Earth. The key to this great storehouse of Wisdom is known to every person from the Clans of the Great Race; it is contained in the ancient instruction: Go There, not knowing Where, Know That, you do not know What.

This Slavic Lesson is echoed by more than one folk wisdom in the world: To seek wisdom outside oneself is the height of stupidity. (Chan saying) Look inside yourself and you will discover the whole world. (Indian wisdom)

Russian fairy tales have undergone many distortions, but, nevertheless, in many of them the Essence of the Lesson embedded in the fable has remained. It is a fable in our reality, but it is a reality in another reality, no less real than the one in which we live. For a child, the concept of reality is expanded. Children see and feel much more energy fields and flows than adults. It is necessary to respect each other's realities. What is Fable for us is Fact for the baby. That is why it is so important to initiate a child into “correct” fairy tales, with truthful, original Images, without layers of politics and history.

The most truthful, relatively free from distortion, in my opinion, are some of Bazhov’s fairy tales, the fairy tales of Pushkin’s nanny - Arina Rodionovna, recorded by the poet almost verbatim, the tales of Ershov, Aristov, Ivanov, Lomonosov, Afanasyev... The purest, in their pristine completeness of Images, to me Tales seem to be from book 4 of the Slavic-Aryan Vedas: “The Tale of Ratibor”, “The Tale of the Clear Falcon”, given with comments and explanations on words that have fallen out of Russian everyday use, but have remained unchanged in fairy tales.

There are now a huge number of books and articles on raising children. Teachers and psychologists offer a variety of methods, sometimes contradicting each other. But everyone agrees that spiritual and moral education is very important. Why don't we turn to the old method, proven by our great-grandmothers - folk tales? Old people used to tell them to kids. These tales were not only distinguished by exciting plots, but were also told in a melodious, rich language, with many vivid images, and were remembered forever - already grown-up children told legends to their children, passing on wisdom through generations...

Are all Slavic fairy tales real?

Finding collections of fairy tales is not difficult these days - in every bookstore you will see a sea of ​​colorful books on glossy paper, with beautiful fonts. Including, you can find many collections of Russian folk tales. But from all this abundance it is not at all easy to choose a worthy publication. Not always those fairy tales that book compilers call “folk” are truly genuine Slavic legends. Over the centuries, many of the original fairy tales have been subjected to merciless censorship, taking into account Christian ideas: thus, all the knowledgeable, “knowledgeable” people have become negative heroes. In other fairy tales, the emphasis is placed incorrectly - the child is asked to admire those heroes or heroines for whom everything is given without difficulty. It is difficult to use such fairy tales to teach a child eternal values: devotion, nobility, love for one’s neighbor and the Motherland, the willingness to overcome one’s shortcomings and develop, to learn something new.

Where to look for Slavic fairy tales?

In search of true, authentic fairy tales, we often turn to scientific sources, solid philological and ethnographic works, but they are often difficult to understand even for adults, not to mention children. Other fairy tales are written in a deliberately dry language, or, on the contrary, in an overly ornate language, so that reading them becomes uninteresting. The design of the book also plays a role. It is no secret that now book illustrations are often done haphazardly, tastelessly, and primitively. And for children in books, not only the text itself is important, but also the “pictures”. Bright, talented illustrations from books of fairy tales that we read in deep childhood are etched in our memory, and are still remembered when we hear this or that fairy tale.

Where are they, beautiful books of children's Slavic fairy tales, where you want to imitate the heroes, you follow the plot without taking your eyes off, and the illustrations are so good that your soul rejoices? The publishing house "Northern Fairy Tale" has already published many such wonderful books. Look at ourFairy tale books

Their main characters are the Gods of Slavic mythology and people. They tell stories of Gods and ordinary people, extraordinary adventures in which there is a place for magic and amazing journeys, exploits and brave deeds. Such heroes set an excellent example for children - and they teach kindness without any boring teachings. The customs of Primordial Rus' and the way of life of our distant ancestors are richly and figuratively presented in our northern fairy tales. The language is simple and understandable for both adults and children, but at the same time rich, in the best traditions of northern grandmothers-storytellers. Even adults will enjoy reading them! And the illustrations are beautiful and bright, in the Slavic ancient style.

Isn’t it easier to download Slavic fairy tales in the form of an e-book?

Nowadays, many people find it more convenient to download books rather than read paper ones. But our books about Yarilo, God Veles are good in paper form! Beautiful illustrations, unusual font, covers reminiscent of the covers of ancient chronicles and manuscripts... Agree - such a book begs to be picked up, you want to leaf through it, listen to the mysterious rustle of the pages. And tactile sensations are also important for children - so with the help of paper, rather than electronic books, you can instill in them the habit of reading, help them discover the wonderful world of Slavic fairy tales!