Roumanian Fairy Tales — Inside the Classic

Sources and Compilation

The preface explicitly names the origins of each tale: eight from Ispirescu, one from Arsenie, two by Creangă, one by Pompilin, five by Slavice, and one written specially for this volume. This transparency allows readers to trace the blend of oral tradition and literary adaptation. The compiler Kremnitz, a German-born writer, and the adapter Percival present the tales as translations, though the preface notes that the originals are “scattered throughout Roumanian literature.” The excerpts show no direct reference to the collectors within the stories themselves, but the framing suggests a scholarly interest in preserving regional folklore.

Recurring Patterns in the Excerpts

Two tales in the excerpts share a structural pattern: a young woman leaves home due to family conflict, encounters a series of speaking natural objects (a sick dog, a pear-tree, a fountain, an oven), and performs helpful tasks. Each object promises future reward. In “The Two Step-Sisters,” the heroine also meets the “goddess of Sunday,” who sets domestic chores. The language is plain, with formulaic openings like “Once upon a time, something happened. If it hadn’t happened, it wouldn’t be told.” Dialogue often includes direct commands and promises, as when the dog says, “You beautiful, industrious girl, have pity on me … I will reward you some day.”

Moral Framework and Character Types

The excerpts consistently reward obedience, humility, and hard work. In “Stan Bolovan,” the wife’s grief over “no luck in the house” is met with a husband’s practical reassurances about cows and fruit-trees, but the story’s resolution is not shown. In “The Two Step-Sisters,” the stepmother’s daughter is described as “disobedient” and “spiteful,” while the heroine is “industrious.” The father’s parting advice—to be “obedient, humble, and industrious”—echoes the tales’ didactic tone. Supernatural elements serve as tests: the oven, fountain, and tree each request specific labor, and the heroine’s compliance is framed as virtuous.

Readers approaching this collection should note that the excerpts represent only two of eighteen tales, and the full volume likely contains variations on these motifs. The preface’s detailed sourcing invites comparison between the literary adaptations and the oral traditions they claim to represent. The tales’ moral clarity and repetitive structure make them suitable for reading aloud, but the absence of any single authorial voice means the collection reflects multiple regional and individual influences.