Finist The Bright Falcon
A heroine embarks on a perilous quest to rescue her enchanted husband, the magical falcon named Finist, from the clutches of an evil witch.
Mythological & Historical Roots
The fairy tale «Finist the Bright Falcon» is one of the most striking examples of Russian fairy‑tale epic. Its deep symbolic layer, archaic motifs, and stable narrative patterns allow us to trace connections with the ancient mythological beliefs of the Slavs.
Brief Summary
The fairy tale “Finist the Bright Falcon” revolves around the story of a young girl, typically the youngest daughter in her family, who possesses a magical feather that allows her to summon her wondrous bridegroom, Finist. This extraordinary suitor has the ability to transform into a falcon, bridging the mortal world with the realm of magic.
However, their union is threatened by the envy of the girl’s sisters or stepmother, who engineer Finist’s departure. Undeterred by this separation, the heroine embarks on a long and arduous journey to find him. Along the way, she faces a series of challenging trials that test her courage, resourcefulness, and devotion. Through perseverance and the aid of magical elements, she ultimately locates Finist and succeeds in bringing him back. The tale culminates in their joyful reunion and marriage, affirming the triumph of love and loyalty over envy and adversity.
Mythological Roots
The Cult of Birds and Shapeshifting
The figure of the falcon in «Finist the Bright Falcon» is deeply rooted in Slavic avian mythology, reflecting ancient worldviews where birds were imbued with sacred significance. The falcon was perceived not merely as a creature of the sky but as a mediator between the celestial, earthly, and underworld realms. This role explains Finist’s ability to traverse boundaries between worlds, moving freely between human society and the realm of magic.
Moreover, the falcon embodied solar symbolism — the epithet «Bright» in Finist’s name underscores this connection with light, the sun, and divine energy. In Slavic tradition, birds of prey like the falcon were often associated with solar deities such as Dazhdbog and Khors, reinforcing the hero’s status as a figure of celestial power.
The motif of shapeshifting — Finist’s transformation from human to falcon — echoes archaic beliefs about the metamorphosis of the soul and shamanic practices. Across Indo‑European mythologies, birds frequently symbolised the soul, spirit, or divine essence. The ability to shift forms was seen as a mark of supernatural origin or spiritual mastery. Parallels can be found in Greek myths (Zeus transforming into an eagle), Norse legends (heroes turning into birds), and Slavic folklore (spirits such as bereginyas and rusalkas assuming avian forms). Thus, Finist’s dual nature — human and divine — reflects a widespread mythological pattern where transformation signifies a connection to higher powers.
Marriage Ritual & Initiation
The narrative of seeking and reuniting with the bridegroom mirrors ancient rites of passage, particularly those tied to marriage. The heroine’s journey functions as an initiation rite: to transition from girlhood to wifehood, she must prove her worth through trials that test her steadfastness, wisdom, and loyalty. Her ordeals are not arbitrary but symbolic steps in a ritual process of transformation.
Central to this process is the concept of the magical helper — the feather and other enchanted objects — which parallel the «gifts from ancestors» or sacred tools used in traditional initiation ceremonies. These items serve as intermediaries between the mortal realm and the supernatural, enabling the heroine to overcome obstacles. Similarly, the motif of prohibition and its violation — such as spilled blood or a broken needle — alludes to taboos that governed pre‑marital rites. Breaking such taboos often resulted in delayed union, requiring atonement or further trials, a pattern reflected in the tale’s plot.
Cosmogonic & Solar Motifs
Solar and light symbolism permeates the tale, beginning with Finist’s very name. «Bright» evokes the radiance of the sun, positioning him as a bearer of celestial energy. His association with daylight contrasts sharply with the forces of darkness: separation typically occurs at night, while reunion unfolds at dawn. This opposition reflects the cosmogonic cycle of light triumphing over darkness — a fundamental theme in Slavic mythology.
Elements of fire and iron further enrich the mythological texture. In some versions, the heroine pricks her finger with a needle or suffers a burn, acts that may echo sacrificial or purification rituals. Fire, as a transformative force, and iron, as a material linked to both craft and magic, underscore the liminal nature of her journey — a passage through pain and trial toward renewal. These details suggest the tale encodes memories of ancient rites where physical ordeal symbolized spiritual rebirth.
Historical and Ethnographic Parallels
Slavic Wedding Rites
The narrative structure of «Finist the Bright Falcon» closely mirrors traditional Slavic wedding customs, revealing how folktales encode real‑life rituals. A central parallel lies in the concept of the bride price or bridal quest: rather than paying a material sum, the heroine «redeems» her bridegroom through a series of trials. Her journey to the thirteenth kingdom, service under Baba Yaga, and other challenges function symbolically as a spiritual bride price — a testament to her devotion and worthiness.
Another striking correspondence is the ritual lamentation performed by brides before marriage. In folklore, young women would sing plaintive songs, grieving the loss of their girlish freedom and family home. The heroine’s tears upon Finist’s departure echo this custom, transforming personal sorrow into a rite of passage. Her weeping is not merely emotional but ceremonial, marking the threshold between her old identity and her future role as wife.
Material culture also finds reflection in the tale. Magical objects — the needle, spinning wheel, and ring — parallel actual bridal gifts exchanged in Slavic weddings. Towels embroidered with protective symbols, woven belts, and decorated shirts served as tokens of skill, fertility, and familial blessing. In the fairy tale, these items become enchanted tools that guide and protect the heroine, bridging the practical and the magical dimensions of the wedding ritual.
Archaic Beliefs about the «Spirit Bridegroom»
Underlying the story is an ancient stratum of beliefs concerning supernatural suitors — spirits or deities who enter marital unions with mortals. The figure of Finist resonates with the concept of the «invisible bridegroom», a motif found across Indo‑European traditions. In Greek myths, Zeus assumes animal forms to approach mortal women; in Slavic folk belief, certain spirits or ancestral guardians were thought to seek human partners, often appearing in animal or avian guise.
This connects to remnants of totemism in Slavic culture. The falcon, as Finist’s animal form, may originally have represented a clan totem — a sacred ancestor or protector spirit. Marriage to such a being would have signified not only personal union but also the integration of the bride into a broader spiritual lineage. The heroine’s quest thus becomes more than a romantic pursuit; it is a ritual re‑enactment of ancestral covenant, where the bride must prove her fitness to join a divine or semi‑divine family.
The motif of a hidden or transformed bridegroom also reflects pre‑Christian ideas about the Otherworld. In Slavic cosmology, the realm of spirits and ancestors lay just beyond the veil of everyday reality. Finist’s periodic disappearances and reappearances mirror the cyclical nature of this boundary — he is present yet absent, near yet inaccessible, much like the ancestral spirits themselves. The heroine’s ability to summon him with a feather suggests an inherited knowledge of the liminal rites needed to cross that threshold.
Influence of Indo‑European Epic Traditions
The plot of a wondrous bridegroom concealed within an animal form is not unique to Slavic tradition but forms part of a broader Indo‑European narrative heritage. Comparative mythology reveals striking parallels:
In Greek myth, Zeus transforms into a swan to approach Leda, producing the divine twins Castor and Pollux. This motif of divine metamorphosis for the sake of union echoes Finist’s falcon shape — both represent the penetration of the divine into the human sphere through animal disguise.
Celtic traditions preserve similar tales of heroes and gods shifting into birds. Irish sagas describe warriors taking raven or eagle forms, while Welsh mythology features shape‑shifting deities. These stories share with Finist the idea that true nobility or divinity reveals itself through transformation — the outer form masks an inner greatness that only love and perseverance can unveil.
Indian epics offer further resonance. The myth of Garuda, the king of birds, includes narratives where avian beings interact with humans in complex marital or allied relationships. The recurring bird‑bridegroom figure suggests a pan‑Indo‑European memory of sky gods and celestial messengers who intermarry with earthly beings.
These parallels indicate that Finist the Bright Falcon participates in a deep, ancient narrative current. While the Slavic version developed its own distinctive features — the emphasis on the needle, the role of Baba Yaga, the specific trials — its core structure aligns with a transcultural mythic pattern. The tale thus serves as a local expression of a universal theme: the union of human and divine through trial, transformation, and enduring love.
Symbolism of Key Images
Finist — not merely a bridegroom, but also the embodiment of celestial force, solar energy, and a spirit guardian. His shapeshifting underscores his dual nature: human and deity simultaneously.
The Feather — a symbol of connection with the otherworld, a magical key to the wondrous. In rites, feathers were used as amulets or attributes of shamanic practices.
Needle/Blood — the motif of taboo violation. Blood may signify transition from one state to another (girl → woman), while the needle is an instrument of fate (sewing as the creation of new reality).
Baba Yaga — in several versions of the tale, she acts as the guardian of the boundary between worlds. Her tasks for the heroine are ritual trials necessary for initiation.
Evolution of the Plot in Folklore
Variants & Regional Diversity
The tale of «Finist the Bright Falcon» has survived in numerous versions recorded across different regions and time periods, primarily during the 19th and 20th centuries. Collectors such as A. N. Afanasyev and I. A. Khudyakov documented multiple renditions, revealing both remarkable consistency in core motifs and notable variations in detail. These regional differences do not undermine the tale’s unity but rather demonstrate its adaptability within the oral tradition.
Narrative Flexibility
While the fundamental structure remains stable, specific elements shift across versions. The nature and sequence of the heroine’s trials vary: in some retellings, she journeys to distant realms or underworlds; in others, her challenges center on domestic tasks or encounters with supernatural guardians. The identity and role of helpers also fluctuate — Baba Yaga may appear as an adversary, a tester, or even a reluctant ally, depending on the variant.
Names and epithets offer another layer of variation. Though «Finist» is the most common designation, alternative appellations such as «Bright Falcon» or «Light Falcon» surface in certain versions, reflecting dialectal and regional nuances in phrasing and emphasis. Such shifts suggest a living tradition where narrators adapted the story to local linguistic preferences and cultural contexts.
Ending Variations
The conclusion of the tale similarly shows flexibility. Most versions culminate in a joyful wedding, affirming the triumph of love and perseverance. However, some variants diverge: in certain retellings, the couple remains in a magical realm rather than returning to the mortal world, hinting at a more ambivalent resolution where the heroine fully transcends her earthly origins. These differing endings reveal subtle shifts in emphasis — whether on social integration (marriage within the community) or spiritual transformation (union in the Otherworld).
Despite these variations, the tale’s core remains recognizable:
The wondrous bridegroom responds to a magical call.
External forces cause separation.
The heroine undertakes a transformative journey.
Reunion and restoration follow trial and sacrifice.
This balance of stability and flexibility ensures the tale’s endurance, allowing it to resonate across generations while retaining its mythic essence.
Cultural Significance
Mythological Code & Worldview
«Finist the Bright Falcon» functions as a repository of ancient beliefs, encoding cosmological and spiritual ideas that predate written history. The falcon’s role as mediator between worlds reflects a pre‑Christian Slavic worldview where boundaries between the celestial, earthly, and underworld were permeable. Finist’s shapeshifting embodies the notion that divine power reveals itself through transformation, while the heroine’s quest mirrors initiation rites that marked transitions in human life.
The tale also preserves echoes of solar worship. The epithet «Bright» links Finist to the sun, a source of life and order, and his periodic disappearances and returns parallel the daily and seasonal cycles of light and darkness. Thus, the narrative becomes a mythic calendar, enacting the eternal struggle and reconciliation of opposing forces.
Ethnographic Document
Beyond myth, the tale serves as an ethnographic record of Slavic customs. Wedding rituals — from lamentation and bride price to the exchange of symbolic objects — find direct parallels in the heroine’s actions and trials. The needle, spinning wheel, and ring are not merely magical props but reflections of real artifacts central to feminine craft and domestic life. Their enchantment in the tale elevates everyday skills to sacramental status, suggesting that traditional women’s work was once imbued with ritual meaning.
Similarly, the figure of Baba Yaga, often interpreted as a liminal guardian, mirrors the role of elder women in rites of passage. Her tasks for the heroine resemble initiation challenges once administered by matrons of the community, ensuring the bride’s readiness for marriage and motherhood.
Psychological Archetype & Moral Framework
On a psychological level, the tale articulates universal themes of love, loss, and self‑discovery. The heroine’s journey is a metaphor for inner growth: her trials test not only physical endurance but also emotional maturity, teaching her to navigate betrayal, fear, and doubt. Her unwavering loyalty to Finist, even in his absence, models a form of devotion that transcends mere romance — it is a commitment to a higher principle, a divine spark within the beloved.
The motif of violation and atonement — spilled blood, broken taboos — introduces a moral dimension. The heroine must acknowledge her errors and work to repair them, reflecting a folk understanding of sin and redemption rooted in action rather than abstract doctrine. Her success is not granted but earned, reinforcing the value of responsibility and perseverance.
Contemporary Relevance
In modern culture, «Finist the Bright Falcon» continues to inspire retellings and adaptations. Literary versions by authors such as A. N. Tolstoy reinterpret the tale for new audiences, while film and animation — notably the 1975 cinematic adaptation — bring its imagery to life through visual media. In popular culture, the falcon and the wondrous bridegroom have become archetypal figures in fantasy literature, symbolising the hidden divine within the ordinary.
Moreover, the tale’s themes resonate in contemporary discussions of gender, agency, and spirituality. The heroine’s active role — seeking, suffering, and saving — challenges passive stereotypes of female characters in folklore. Her journey from vulnerability to mastery offers a model of resilience, while the tale’s emphasis on mutual transformation (both Finist and the heroine change through their trials) suggests a vision of love as a co‑creative process.
Thus, «Finist the Bright Falcon» remains not only a relic of the past but a living narrative, continually reinterpreted to address the questions and longings of each new generation.
Finist The Bright Falcon
Retold by:
A.N. Afanasyev
Translated by:
R. Chandler
Once upon a time there was an old man who had three daughters. The eldest
daughter and the middle daughter never thought about anything except clothes and how beautiful they’d look if they could only buy a new this or new that. Mary, the youngest daughter, did all the housework and felt happy just as she was. Not that she wasn’t beautiful. She had sable brows, the eyes of a falcon, and brown hair that flowed right down to her waist.
One day the father had to go to the fair. He asked his daughters what presents they’d like.
“I'd like some crimson silk to make myself a new sarafan,” said the eldest.
“I'd want a new sarafan too,” said the middle daughter. “I’d like some turquoise silk.”
“And you, little one, what do you want?” the father asked Mary.
“I want a feather of Finist the Bright Falcon,” she answered.
The father was very surprised, but he didn’t say anything. He got into his cart and set off. He bought two rolls of silk for his eldest daughters, but he couldn’t find a feather of Finist the Bright Falcon anywhere.
When he got back, he gave his eldest daughters their presents. They were both very happy.
“There you are, my girls. I’ve brought what you asked for. But I couldn’t find a feather of Finist the Bright Falcon anywhere,” he added turning to his youngest, favorite daughter.
“Never mind,” said Mary. “Maybe it will turn up some other time.”
The elder sisters worked away, cutting out their patterns, sewing their hems, stopping once in a while to make fun of their little sister. She just pretended she didn’t hear.
One day their father had to go to the fair a second time.
“Well, daughters, what would you like me to buy you?”
The eldest daughters each asked for a silk shawl. Mary asked for a feather of Finist the Bright Falcon.
The father got into his cart and set off. He bought two beautiful shawls but he couldn’t find a feather of Finist the Bright Falcon anywhere.
“I'm sorry, little one,” he said when he got back. “I looked everywhere, but no one had any falcon feathers.”
A few months later he had to go to the fair a third time.
“What would you like, daughters?”
“Golden earrings,” his two eldest daughters answered together.
“I'd like a feather of Finist the Bright Falcon,” said Mary.
The father finished his business at the fair, bought his eldest daughters their earrings and began asking everyone if they knew where he could buy a feather of Finist the Bright Falcon. No one had even heard of such a thing. He got sadly into his cart.
Just outside the town he met an old man carrying a little box.
“What have you got there, grandfather?”
“A feather of Finist the Bright Falcon.”
“How much do you want for it?”
“Give me a thousand.”
The father gave him a thousand roubles and rode happily back home.
His daughters met him at the gate. He gave the two eldest their earrings. Then he gave Mary the little box.
“There, little one. Look what I found!”
Mary threw herself into his arms, took the box, hugged it to her breast and kissed it.
After supper they all went to their own rooms. Mary opened the box, dropped the feather onto the ground and said:
“Finist Bright Falcon! Come to me! Come to me, my love!”
She looked up and there stood a handsome young prince. At first she felt quite frightened. Then he started talking to her. Soon she felt happier than she’d ever felt in her life. After a few minutes her sisters heard them and called out:
“What’s going on in there, Mary? Who are you talking to?”
“Myself,” she answered.
“We'll come and join you then.”
The Prince jumped up, stamped against the floor and became a feather. She put the feather away in the box and opened the door. Her sisters searched under the bed, peered into the cupboards and turned the whole room upside down. No one was there. As soon as they left, the feather turned back into a prince.
At dawn Mary opened the window. Finist kissed her and said:
“My love, I’ll fly in at your window every night. Just call me. And if you ever need any new dresses or anything, just step outside and wave the feather over your right shoulder. You'll find everything you want right there. When you've finished with them, wave the feather over your left shoulder and they’ll disappear again.”
He kissed her once more, turned into a bright falcon and flew back to the dark forest. Mary watched until he was out of sight, shut the window and lay down to sleep.
From then on, Finist came to visit her every night.
On Sunday her sisters started getting ready to go to church. They put on their golden earrings, their new sarafans and their silk shawls. Then they began making fun of their little sister again:
“Well, what are you going to put on for church? You never have anything nice to wear! You'll just have to stay at home and talk to that feather of yours.”
“Yes,” said Mary. “I’m quite happy at home.”
The elder sisters set off in their smart clothes. Mary sat at her window and watched everyone go by.
When everyone was gone, she stepped outside, looked round again to make sure no one was there and waved her feather over her right shoulder. She looked up and there was a coach made of crystal, six fine horses, servants dressed in gold braid, a beautiful dress, and all kinds of precious rings and necklaces.
She dressed, took her seat in the carriage and galloped to church. Everyone there gazed at her in wonder.
“It must be some princess from beyond the thrice-ninth land, from the thrice-tenth kingdom,” they said to each other.
When the service was nearly over, she slipped out of the door and galloped off. Everyone rushed out to see where she’d gone. They were too late. Even the dust from her carriage had already settled.
Mary got back and waved the feather over her left shoulder. Her servants undressed her, the carriage vanished, and everything was the same as before.
When her sisters came back, Mary was sitting quietly at the window. She was watching people pass by on their way back from church.
“You don’t know what you’ve missed, Mary!” they said. “We’ve seen the most beautiful lady. She looked like a princess from beyond the thrice-ninth land, from the thrice-tenth kingdom. And there she was, as large as life, sitting in our own church. You never saw so many jewels and pearls! And all you've done is sit at home all morning and twiddle your thumbs!”
“You’ve told me about the princess. That’s just as good as seeing her.”
The same thing happened next Sunday and the Sunday after. Mary fooled all her family and everyone in the village. On the third Sunday, though, she made a mistake. She forgot to take out her diamond hairpin.
Her elder sisters came back and started telling her about the princess. Then they saw the diamond hairpin.
“Mary!” they shouted. ‘‘What’s that pin in your hair? The princess had one just like it. Where on earth did you find it?”
Mary ran upstairs and hid in her room. She couldn’t think what to say. After that her sisters never gave her a moment’s peace. They followed her around all day, watching her out of the corners of their eyes and whispering to each other. Mary just smiled to herself and kept her mouth shut.
One night the elder sisters stood and listened outside Mary’s door. They heard her talking with Finist.
“Father,” they shouted out. “Our sister got a young man in her room.”
The father went up to look. Finist turned into a feather and Mary hid him away in her box. Her father didn’t find anyone there.
“What’s the matter with you?” he shouted furiously at the elder sisters. “Why do you have to start telling lies about Mary? Talk about the pot calling the kettle black!”
After that the elder sisters watched Mary more closely than ever. Three times they saw Finist fly in at her window. Then they had an idea. Next evening, just after sunset, they fetched a ladder, climbed up to Mary’s window and lined the inside of the frame with sharp, jagged knives and rusty nails. Then they sat down and waited to see what would happen.
That night Finist couldn’t get in. He struggled and struggled. He tore his wings and cut a great gash in his chest.
“Good-bye Mary! God be with you, my love!” he called out. “If you want me, you must walk to the other end of the earth, beyond the thrice-ninth land to the thrice-tenth kingdom. Before you find me, you'll wear out three iron staffs, tread down three pairs of iron shoes and swallow three stone loaves.”
Mary heard him through her sleep. She tried and tried to wake up but she couldn’t.
When she did wake up, it was morning. The sun was high in the sky and she hadn’t seen a sign of Finist the Bright Falcon. Then she looked at the window. There were rusty nails and sharp, jagged knives all the way round the frame. Drops of blood were dripping onto the ledge. She closed her eyes and threw up her hands in horror.
“My sweetheart! What’s happened? What have they done to you?”
That day and the next day Mary didn’t stop crying. She didn’t sleep at night. She just sat by the window and waited. She went out a few times and waved her feather in the air but nothing happened. There wasn’t a sign of Finist or any of his servants.
In the end she went to her father with tears in her eyes and said:
“Dearest father, let me go on a journey. If I stay alive, I’ll come back to you. If I die, then that’s how it was fated.”
Her father was very sad, but he let her go. She went to the blacksmith’s and had him forge three iron staffs and three pairs of iron shoes. She took three stone loaves. She slipped one pair of iron shoes onto her feet, took one iron staff in her hand and set off. She went the way Finist used to fly in the mornings.
She made her way through dark forests. She walked across deserts and sinking sands. She climbed over high, high mountains. She crossed deep, fast-flowing rivers.
I don’t know how long she walked. Each mountain she climbed was higher than the one before. Each forest she came to was thicker and darker. She wore out one iron staff and trod down one pair of iron shoes. She was just eating the last crumbs of a stone loaf when she came to a clearing. In front of her was a hut. It stood on chickens’ legs and turned round and round in circles.
“Stay still, little hut. Turn your back to the forest and your door towards me. I’m hungry. I want to come in.”
The hut spun round till its door was right in front of her. She went in. There on the floor lay Baba- Yaga. Her bony legs stretched right to the far corner. Her lips rested on a shelf on the wall. Her nose almost touched the ceiling.
“Foo, foo, foo!” snorted Baba- Yaga. “In the old days you never so much as glimpsed a Russian soul in these parts. Now I can see them and hear them and smell them and they even walk into my hut. Where are you going to, my pretty girl? What are you looking for? Or what is it you’re running away from?”
“Grandmother, I once had a friend. His name was Finist the Bright Falcon. He had bright, bright feathers and I was going to marry him. Then my sisters hurt him and he flew away. I’m trying to find him again.”
“Well my girl, you’ve got a lot further to go yet. Finist the Bright Falcon lives at the other end of the earth, beyond the thrice-ninth land in the thrice-tenth kingdom. He’s engaged to be married to a princess. But I’ll help you as much as I can.”
She brought Mary some food and drink and then put her to bed. Next morning she woke her before sunrise, gave her a silver distaff and golden spindle and said:
“Here’s a present for you. It spins pure gold. Now you must go and see my elder sister. She’ll be able to help you too. But listen now. When you come to Finist’s kingdom, just sit by the shore and start spinning. Soon his princess will come out for a walk. She’ll want to buy the distaff and spindle. You must give them to her. Say the only thing you want is to see Finist the Bright Falcon.”
Baba-Yaga threw a ball down the path and told Mary to follow it wherever it went.
Mary thanked the old woman and set off after the ball. She walked on through the dark forest. The trees grew taller and taller and closer and closer together. Their tops seemed to touch the sky. Mary wore out another iron staff and trod down another pair of iron shoes. She’d just finished her second stone loaf when she found the ball had stopped in a clearing. In front of her was a hut. It stood on chickens’ legs and turned round and round in circles.
“Stay still, little hut. Turn your back to the forest and your door towards me. I’m hungry. I want to come in.”
The hut spun round till its door was right in front of her. She went in. There on the floor lay Baba-Yaga. Her bony legs stretched right to the far corner. Her lips rested on a shelf on the wall. Her nose almost touched the ceiling.
“Foo, foo, foo!” snorted Baba-Yaga. “In the old days you never so much as glimpsed a Russian soul in these parts. Now I can see them and hear them and smell them and they even walk into my hut. Where are you going to, my pretty girl? What are you looking for? Or what is it you’re running away from?”
“Grandmother, I once had a friend. His name was Finist the Bright Falcon. He had bright, bright feathers and I was going to marry him. Then my sisters hurt him and he flew away. I’m trying to find him again.”
“Dear, oh dear!” said Baba-Yaga. “I’ve never heard such a story. And your Finist’s about to get married. Today’s the party for the bride and her friends. Still, I can help you a little.”
She brought Mary some food and drink and then put her to bed. Next morning she woke her before sunrise, gave her a golden egg on a silver saucer and said:
“Here’s a present for you. Spin the egg once round the saucer and another golden egg drops into your hand. Now you must go and see my other sister. She’ll be able to help you too. But listen now. When you come to Finist’s kingdom, just sit by the shore and start playing with your egg and saucer. Soon his bride will come out for a walk. She’ll want to buy the egg and saucer. You must give them to her. Say the only thing you want is to see Finist the Bright Falcon.”
Mary said goodbye and set off after her little ball. She walked on further through the dark forest. It grew denser and denser, darker and darker. Soon she wore out her last iron staff, trod down her last pair of iron shoes and finished her last stone loaf. Then her ball stopped by a little hut in a clearing. It stood on chickens’ legs and turned round and round in circles.
“Stay still, little hut. Turn your back to the forest and your door towards me. I’m hungry. I want to come in.”
The hut spun round till its door was right in front of her. She went in. There on the floor lay Baba-Yaga. Her bony legs stretched right to the far corner. Her lips rested on a shelf on the wall. Her nose almost touched the ceiling.
“Foo, foo, foo!” snorted Baba-Yaga. “In the old days you never so much as glimpsed a Russian soul in these parts. Now I can see them and hear them and smell them and they even walk into my hut.
Where are you going to, my pretty girl? What are you looking for? Or what is it you’re running away from?”
“Grandmother, I once had a friend, Finist the Bright Falcon. He had bright, bright feathers and I was going to marry him. Then my sisters hurt him and he flew away over the mountains and over the seas. I’m trying to find him again.”
“You poor darling.” said Baba-Yaga. “Finist the Bright Falcon’s already married. He’s married a princess. But never mind. I'll help you as much as I can.”
She brought Mary some food and drink and then put her to bed. Next morning she woke her before sunrise, gave her a golden embroidery frame and needle and said:
“Here’s a present for you. You just hold the frame and the needle sews away by itself. When you come to Finist’s kingdom, just sit by the shore and start spinning. Soon his wife will come out for a walk. She’ll want to buy the embroidery frame and needle. You must give them to her. Say the only thing you want is to see Finist the Bright Falcon.”
Mary burst out crying, thanked the old woman and set off after her ball.
The forest grew thinner and thinner. After awhile she came to the sea. In the distance there were white towers and golden domes that blazed like fire.
“This must be Finist’s kingdom,” she thought. She sat down on the sand, got out her silver distaff and golden spindle and began spinning. A crowd of people gathered to watch. They’d never seen anyone spin pure gold.
Then the princess came along with a whole train of maids and servants. She went straight up to Mary and said:
“How much do you want for your distaff and spindle?”
“Let me see Finist the Bright Falcon tonight,” answered Mary, “and I'll give them to you free.”
The princess nearly got very angry indeed. Then she thought what fun it would be to have such a wonderful toy.
“All right then. Give me your distaff and spindle, and tonight you can have a look at Finist the Bright Falcon.”
The princess took the distaff and spindle back home with her. That evening she mixed a sleeping potion into Finist’s wine. After he’d gone to bed, she sent one of her servants to take Mary into his room. .
Mary stood by his bed and cried:
“Finist, Finist Bright Falcon! It’s me! It’s Mary! I’ve worn out three iron staffs. I’ve trodden down three pairs of iron shoes. I’ve eaten three stone loaves. Now I’ve found you at last. Wake up!”
Finist the Bright Falcon hardly stirred.
Next morning the princess came in and shooed Mary away. Finist woke up and said:
“I feel like I’ve been sleeping for days. There was some woman here in the room. She was talking to me and crying. I kept trying to wake up but I couldn’t. It was horrible.”
“You must have been dreaming,” answered the princess. “No one can get in here at night.”
That afternoon Mary sat down on the shore and began playing with her golden egg and saucer.
Soon the princess came along:
“Ooh! Mary! How much will you sell that for?”
“It’s too precious to sell. I can only give it to you. All I want is to see Finist the Bright Falcon once more.”
The princess agreed at once. She was afraid Mary might change her mind. In the evening she gave Finist another sleeping potion.
Mary stayed all night in his room. She wept and wept.
“Wake up, Finist! It’s Mary! Wake up! I’ve worn out three iron staffs. I’ve trodden down three pairs of iron shoes. I’ve eaten three stone loaves. Now I’ve found you at last. Finist! Wake up!”
Finist the Bright Falcon hardly stirred.
Next morning the Princess came in and shooed Mary away. Finist woke up and said:
“I fell like I’ve been sleeping for days. There was a woman in the room again. She was talking to me and crying. I tried and tried to wake up but I couldn’t. It was horrible.”
“Nonsense!” said the princess. “You must have been dreaming again. How can anyone get in here at night?”
That afternoon Mary sat down by the sea feeling sadder than ever. She was holding the golden embroidery frame in one hand. The needle sewed away by itself. A crowd of people were watching.
Along came the princess.
“Ooh! Mary! How much will you sell that for?”
“I only want one thing,” answered Mary. “I want to see Finist the Bright Falcon tonight.”
The princess went back to her palace with the golden embroidery frame and needle. In the evening she gave Finist his sleeping potion. She waited till he was fast asleep and let Mary into his room.
Mary stood by his bed again and wept.
“Wake up, Finist! It’s Mary! Wake up! I’ve worn out three iron staffs. I’ve trodden down three pairs of iron shoes. I’ve eaten three stone loaves. Now I’ve found you at last. Finist! Wake up!”
She threw her arms round him. One of her tears fell on his cheek and burnt him, and he woke up. He opened his eyes and saw who she was. At once he felt happier than he’d ever felt in his life.
Mary told him her whole story from beginning to end. She told him about her sisters. She told him about her journey, about the wonderful presents she’d been given and the iron staffs and shoes she’d worn out. She told him how she’d had to bargain with his wife.
After that Finist loved her even more. He kissed her sweet lips and went straight out to call a conference of all his nobles, all his councillors, and everyone else in the kingdom. He told them all that had happened.
“Now what do you think? Which should I stay with, the one who bought me, or the one who sold me? The one who walked through forests, climbed mountains, forded rivers and crossed deserts to see me again, or the one who sold me for a few toys?”
All the nobles, all the councillors and everyone else in the kingdom thought for a moment. Then they answered in one voice:
“The one who walked through forests and crossed deserts and sinking sands. The one who climbed steep mountains and forded deep rivers.”
Finist the Bright Falcon did as they said.
Trumpets trumpeted, cannons boomed, a huge feast was prepared, and they were married. And as far as I know they lived very happily forever after.
Illustrations by: