Page 424 - Актуальные проблемы обучения русскому языку XIII

corpse or deceased), or like the Russian adjective naviy which is an old and dialectical word
as well (see, for example, the title of the trilogy «Spells of Death» [Nav’i chary] by
F.K. Sologub).
In the case of the fairy tales written by the Brothers Grimm or Zhukovsky, the
Princess isn’t an active character before the sleeping and her wedding in the finale is only a
fantastic adventure. In the case of the tale by Charles Perrault, the high society Princess
rebukes the Prince for «so long waiting», though he can’t come earlier because of the
sorcery. And Snow White is enjoying the care of the dwarfs in the Brothers Grimm’s fairy
tale.
A.S. Pushkin reimagines the plotline connected with the seven dwarfs and so gains
another artistic level (Зуева 1989, 97). In the case of his fairy tale, the Princess lives in the
house of the seven knights as «lady», she herself moves about «dusting, polishing and
cooking», she is «never bored», and waiting for Yelisey isn’t mentioned by the author. There
is, however, certain trial for her and for her love, when the brother knights propose marriage
(«be a wife to one at least») (Зуева 1989, 98). The Princess manages not to offend them with
refusal as well as to her keep love. She explains that the refusal is due to her feelings («…my
heart is to another / Pledged for evermore. One day / I shall wed Prince Yelisey!»), and
conjugal duty («I’ve no choice – my hand is promised!»). Note that she utters the name of
Yelisey here for the first and only time. Having displayed fidelity and love, the Princess
travels her part of the way towards «resurrection» and matrimonial bliss. The reference to
the knights in the fairy tale’s title («The Tale of the Dead Princess and the Seven Knights»)
points out at this fact as well.
Let’s note one more detail: the Princess is designated here as «dead» and not as
«sleeping» or «asleep». Of course, this feature isn’t accidental. The adjective «dead»
contributes significantly to the artistic conception of love rendered in the fairy tale. Thus, the
ballad entourage of «the beyond» becomes functional and symbolical. The Princess is dead
for her stepmother and Smudge, since the looking-glass is silent about her (though she
«resurrects» two times for the Tsaritsa). Furthermore, she is dead for the knights, who
deliver a romantic oration over her coffin («spite took its toll»), and, finally, for Prince
Yelisey, because the Wind tells him that his bride is «in… tomb». She is roused from the
eternal sleep (i.e. all the same «resurrected») by the fidelity of Yelisey and by his love. Both
these two features of the young couple’s relationship are emphasized in the rendering of the
Yelisey image as well: «And the Prince in tears dissolving / Threw himself upon the coffin… »
(or, literally, «Threw himself upon the coffin of his dear bride»). «Dear bride», the
appellation of the Princess, presupposes exactly fidelity and love being merged into one
feeling. A.S. Pushkin, however, was thinking about other versions. Among them the following
ones could be mentioned: «…upon the coffin of his beauty» and «…upon the coffin of his
bride». As you can see, the first version implies only love, while the second one presupposes
merely duty, which is emphasized through the word «his». The resurrection of the Princess is
a wonder of fidelity and love and, accordingly, is created by the two, i.e. by the Princess
herself and Prince Yelisey. In this regard, the picture of the resurrection becomes extremely
important: «And it (the coffin. – S.V.) broke! The maiden straight / Came to life, sat up, in
great /Wonder looked about and yawning / As she set her bed see-sawing / Said with pretty
arms outstretched: / “Gracious me! How long I’ve slept!” / Down she stepped from out the
coffin… / O the sighing and the sobbing!».
This picture may be understood as the one bearing features of artistically reimagined
Gospel. The princess, soon after waking up, starts to speak and her first words are uttered in
the coffin, just as it is the case with the evangelical young man: «And He came and touched
the bier: and they that bare him stood still. And He said, Young man, I say unto thee, Arise.

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