Myth and heroic epic of different peoples. Epic heroes: images and characteristics Heroes and themes of the folk epic Message
Who are the Narts?
Narts are the heroes of the epics of the peoples of the Caucasus, mighty heroes who perform feats. Narts live in the Caucasus. Real geographical objects appear in the legends of various peoples: the Black and Caspian Seas, the Elbrus and Kazbek mountains, the Terek, Don and Volga rivers, the city of Derbent (Temir-Kapu). The exact location of the country of the Narts is not given in any of the epics.
Most Narts are noble and brave heroes. An exception is the Orstkhoy Narts from Vainakh mythology, who are presented as villains, rapists and defilers of shrines. A Nart's best friend is his horse. Nart horses are endowed with human qualities: they communicate with their owners, save them in moments of danger and give advice. Narts are often friends with celestials, many are even related to gods (in this they are close to Greek and Roman demigod heroes). The gods most often take the side of the Narts in their war against evil. The exception is the Vainakh legends, in which the Narts are most often theomachists, and the heroes defeat them. Narts are tall and broad-shouldered warriors, endowed with incredible strength: with one blow of the sword they split rocks, shoot accurately from a bow, fight on equal terms with giants. The gods help the Narts and endow some of them with superhuman qualities: strength, invulnerability, the ability to heal wounds, and other abilities. Sometimes the gods present gifts to the Narts - indestructible swords and armor, magical musical instruments, dishes.
Narts spend a significant part of their time on campaigns, fighting hostile cyclops, witches, dragons, and each other. All Narts are divided into clans that are in a state of constant war, and unite only in the face of an external threat. In their free time from military campaigns, the sledges feast for months. The Narts of different nations have their favorite drinks: the Adyghe Narts have sano, the Ossetian Narts have Rong and Bagany, the Karachai and Balkar Narts have Ayran.
Mother of all Narts
(Shatana/Satanei-Guasha/Satanei-biche/Satanei-goasha/Sela Sata)
The ancient peoples, who stood at the origins of the Nart epic, expressed the matriarchal structure of society. An important figure of the Nartiada is the mother of all Narts.
Shatana. M. TuganovThis heroine is smart, cunning, thrifty and economic, she is a good mother and wife. Narts always turn to Satanya for advice, and her advice always turns out to be correct. Many Narts escaped death thanks to this heroine. Shatana rightfully enjoys unlimited respect among the Narts and occupies almost the highest status in their society. Other female characters play an active role in the tales less frequently. Girls become the object of disputes, which develop into enmity between Narts from different clans, sometimes from the same clan.
You may get the impression that the Narts are absolutely positive heroes, but this is far from the case. Although the Narts are the defenders of their land, they often act as aggressors in relation to neighboring peoples, do not disdain easy money, often engage in raids, steal girls, steal cattle. Sometimes they do not honor: they lie, steal from each other, commit adultery, kill on the sly, rebel against the celestials. In many legends there are theomachistic motifs. Envy, pride and vanity are traits common to most of the key characters. Narts are often punished for these vices, and this makes them behave more restrainedly. Although the Narts are much stronger than ordinary people, they are still mortal. In legends, many eminent Narts die, as befits heroes who perform feats.
Severe physical labor, even within the framework of the epic of one people, can be both condemned (considered the lot of third-class people) and praised. Shepherds and tillers often became full members of the Nart society, took part in campaigns and went through all their trials with the main characters. Even the main characters of the epic often grazed their flocks and plowed the land. However, in some legends, the heroes laughed at the hard workers. In general, in the Nart epic, everyone treats physical labor with due respect.
All important decisions in society are made at the general Nart meeting. Only full-fledged members of the Nart society are invited there - adult men recognized by others. A hero who receives an invitation to a meeting can call himself a Nart.
Formation of the epic
The Nart epic originated in the mountains of the Caucasus and the territories adjacent to them for thousands of years. Most Caucasian scholars believe that it began to form in the VIII-VII centuries BC. Some researchers claim that the origins of the Nart epic date back to the 3rd millennium BC. The polytheistic belief system characteristic of the Nart epic suggests that it began to emerge long before the advent of Christianity and Islam in the Caucasus.
Separate legends were combined into cycles, the cycles were interconnected by plot and chronology. Over time, an epic arose from a huge number of disparate stories about the Narts. The process of formation of the nartiada ended in the Middle Ages (XII-XIII centuries). At that time, Abrahamic religions (Christianity, Islam and Judaism) were familiar to a significant part of the Caucasus. A number of researchers of the Nart epic discover the difference between early and late tales: in the first, the pagan worldview prevails, in the second, there are symbols and attributes of monotheistic creeds. Nartiada cycles were formed in the Middle Ages, but the epic developed until the 19th century. The storytellers, in order to make the stories about the Narts more interesting, often modernized them. For example, in one of the legends of the Ossetian epic, Batraz nart is loaded into a cannon and shoots himself into an enemy fortress, and firearms appeared in the Caucasus at the end of the 16th - 17th centuries.
The connection of Nart tales with Greek myths, Georgian epic tales and Russian epics has been proved. Some researchers of the Ossetian Nart epic have even found a connection between the Nartiada and Germanic and Scandinavian mythology. This suggests that in ancient times and in the Middle Ages, the peoples of the Caucasus closely interacted with foreigners. Herodotus reports on the contacts of the Scythians with the Greeks in the 5th century. The Scythians coexisted with the Greek colonies in the Crimea. The Meots, the ancestors of the Circassians, also often contacted the ancient Greeks in the Sea of Azov. In the 4th - 7th centuries, during the great migration of peoples, the Alans, the successors of the cultural heritage of the Scythians and Sarmatians, who originally inhabited the steppes of Ciscaucasia, traveled from the modern south of Russia to the Iberian Peninsula and North Africa. Some of them eventually returned to their historical homeland. Contacts with the Goths, Asian nomads and the peoples who inhabited Europe influenced the culture of the Alans, and the Alans themselves left their mark on Europe.
Alans on a hike. A. Dzhanaev
Later, ties were established between the Alans and Russia, diplomatic and trade relations with Byzantium were being established. The most important in the formation of the Nart epic is the interaction of the peoples-progenitors of the epic. The Kasogs, who lived next to the Alans and Kipchaks, were not always at war with them. There were trade relations as well as military and political alliances. The aforementioned peoples had close ties with the Vainakhs, Bulgars, Khazars and the peoples of Dagestan. Georgian and Armenian epic tales had a tangible influence on the formation of the Nart epic. As a result of centuries of formation in the mountains of the Caucasus, heroic epics about mighty Narts were formed.
Nart epics of the peoples of the Caucasus
The Nart epic is the oldest monument of the spiritual culture of a number of peoples of the Caucasus. Ossetians, Abkhazians, Circassians, Abazins, Karachays, Balkars, Vainakhs and some nationalities of Dagestan and Georgia consider Nartiada their cultural heritage. Each of the listed peoples ascribes authorship to itself. All of them are right to a certain extent.
Researchers believe that the Nart epic is based on the Alanian epic cycle and the heroic tales of the autochthonous peoples of the Caucasus. The Nart epic is a product of the cultural exchange between the autochthonous Caucasian peoples and the newcomer Scythian-Sarmatians and their cultural heirs, the Alans. Each of the peoples-heirs of the Narts formed its own unique epic, which has common roots with the rest, but at the same time differs significantly from them.
Feast of the Narts. M. Tuganov
The epic is based on the concept of the universe, characteristic of a particular people. For example, the Indo-Aryan concept of the three worlds underlies the Ossetian Nart epic, and the Turkic Tengrian model of the universe serves as the basis for the Karachai-Balkar Nartiad. The stratification models characteristic of each people are reflected in legends, in the hierarchy and in the social structure of the Nart society. The cultural stratifications of each individual progenitor people noticeably distinguish the epics from each other.
Ossetian, Adyghe, Abkhazian and Karachay-Balkarian Nart epics consist of developed cycles of legends dedicated to an individual hero and his family. There are also individual legends that cannot be attributed to any cycle. Somewhat less developed were the legends about the Narts among the Vainakh peoples. Despite the fact that the Vainakh mythology is very rich, the legends about the Orstkhoy Narts do not occupy a dominant place in it. Yes, and the Narts themselves appear in Vainakh legends not as positive characters, but as alien villains-theomachists, who are defeated in battles by Vainakh heroes. Despite the fact that the Chechen and Ingush legends about the Narts have come down to us in fragments, the Vainakh Nartiada is of great cultural value. Nart legends of other peoples are few and fragmentary.
Connection with the epics of other peoples
In addition to the fact that the Nart epics of different peoples of the Caucasus have the same roots, they have much in common with the epic tales of other peoples. It is still impossible to say with certainty whether these common plots are the product of interchange or borrowing, or whether they go back to ancient times and a common ancestor. Nevertheless, researchers note a clear similarity between certain plots of the myths of various peoples and the Nart epic. We list just a few below:
Achilles heel, Soslan's knees and Sosruko's thighs
The hero of the Iliad, Achilles, was the child of the mortal Argonaut Peleus and the goddess Thetis. Achilles was fed on the marrow of wild animals. He had no equal in strength and agility. As a baby, the Greek hero was hardened in the waters of the River Styx (the furnace of Hephaestus), which made him practically invulnerable. Thetis dipped Achilles into the water, holding him by the foot, and his whole body became invulnerable except for the heel, in which, by the will of evil fate, he was struck by the Trojan prince Paris.
Nart Sosruko (Exiled) was the son of a shepherd. Soslan does not have a mother in the traditional sense, he was born from a stone, Shatana (Satanei-Guasha) becomes his adoptive mother. Like Achilles, Soslan did not know the taste of mother's milk: in infancy he was fed coal, flint, hot stones. Sataney-guasha asked the Adyghe blacksmith god Tlepsh to temper the baby Sosruko in his magic furnace. Tlepsh tempered the hero, holding him by the hips with tongs, so his whole body became damask except for the hips, into which he was struck by the mythical wheel of Jean-Sherkh.
In the Ossetian nartiada, Soslan himself comes to the heavenly blacksmith Kurdalagon, being an adult, and he heats him up on oak coals and throws him into a pack of wolf milk (water), which, due to the fault of the cunning sledge Syrdon, turns out to be too short. Only Soslan's knees protruded from the deck, and they remained unhardened. By force, having learned from Shatana Soslan's weakness, his enemies arranged it so that Balsag's wheel cut Soslan's legs, from which he died.
The journey of Odysseus to the kingdom of Hades and the journey of Exiled to the kingdom of the dead
Odysseus - the hero of the "Iliad" and "Odyssey" by Homer, voluntarily goes to the kingdom of Hades to find out from the soothsayer Tiresias how to get back to Ithaca. After completing his mission, Odysseus safely gets out of the abode of the dead.
Nart Soslan also goes to the realm of the dead at his own request to get the leaves of the Aza tree, as demanded by the waigs guarding Atsyrukhs, whom Soslan wanted to marry. After going through many trials, Soslan gets out of the kingdom of the dead.
Romulus and Rem, Pidge and Pidgash, Akhsar and Akhsartag
The legendary founders of Rome, the twins Romulus and Remus, were suckled by a Capitoline she-wolf. The founder of Rome was only one of the brothers - Romulus, who killed his brother in anger.
In the Ossetian Nart epic, the founders of the Narts, the twins - Akhsar and Akhsartag - were the children of the old Warhag (wolf man). By absurdity (through the fault of Akhsartag), Akhsar dies, and Akhsartag gives rise to a mighty family of warriors of Akhsartagat.
A similar plot appears in the Adyghe Nart legends, the brothers are called Pidgash and Pidzha. Interestingly, the story about the twin founders of Sasun also appears in the Armenian epic about “David of Sasun”, where two brothers are called Baghdasar and Sanasar.
Bogatyr Svyatogor and Nart Batraz
The hero of Russian epics, the bogatyr Svyatogor, goes on a campaign and runs into an old man who carries a bag “with earthly traction” behind his back. A conversation ensues between the old man and the bogatyr, during which the old man tells the bogatyr that he is strong and powerful, but not everything in this world can be measured by strength. To prove his words, the elder offers Svyatogor to pick up his purse. Svyatogor tries to tear the bag off the ground, but he fails. Having applied all his strength, the hero nevertheless lifts the bag with earthly traction, but at the same time he himself bursts into the ground up to his waist. After that, the old man easily picks up his burden and leaves.
A similar plot appears in the Nart epic. God (Teiri) wants to reason with the Nart Batraz (Batyras) and sends him a test that he cannot cope with. The Almighty left a bag on the road in front of Batraz, which weighed as much as the Earth weighs. Batraz hardly tears the bag off the ground, while he himself goes into the ground up to his waist.
Fundamentals of the Nart epics among various peoples
Ossetian epic
The Ossetian Nart epic has come down to us thanks to the work of folk narrators, who, in poetic form or in a singsong voice, to the accompaniment of national stringed instruments, passed on stories about heroes to their descendants. One of these storytellers is Bibo Dzugutov. Prominent collectors of the Ossetian Nart epic were Vasily Abaev and Georges Dumezil. Thanks to the work of Vasily Abaev, the Ossetian Nart epic is the most complete collection of legends, collected almost into a single work.
Researchers have found parallels between real historical events in which the Alans participated, with some legends of the Ossetian Nart epic.
Exiled to the underworld. M. Tuganov
The Nart society in the Ossetian nartiada is divided into castes and is represented by three clans:
Akhsartagata (Akhsartagovs) - a kind of warriors, most of the goodies are representatives of this kind. According to legend, the Akhsartagovs are the strongest warriors among the Narts, they lived in the village of the Upper Narts.
Borata (Boraevs) - a clan of wealthy landowners who is at war with the Akhsartagovs. Bogatyrs from the Borat clan are not as powerful as the Akhsartagovs, but their clan is more numerous. They lived in the village of the Lower Narts.
Alagata (Alagovs) - a priestly Nart family. Alagovs are peace-loving sleds, they practically do not participate in military campaigns. The meeting (nykhas) of the Narts takes place in the house of the Alagovs. This genus is mentioned less often than others in the Ossetian nartiada. The Alagovs symbolize spiritual purity, they make up the priestly caste, all the sacred relics of the Narts are kept by the Alagovs. The Alagovs reconcile the warring Boraevs and Akhsartagovs. They lived in the village of the Middle Narts.
The last days of the Narts. M. Tuganov
Significant attention in the Ossetian Nart epic is given to the Akhsartagov family, because it is from this family that the most famous heroes come. The founder of the clan was the Nart Akhsartag, the father of the twin brothers Uryzmag and Khamyts. Akhsartag's twin brother was Akhsar, who died by mistake, his wife was Dzerassa, the daughter of the sea lord Donbettyr, the father of Akhsartag and Akhsar was Warhag (forefather). Representatives of the genus are Akhsartag, Uryzmag, Khamyts, Soslan, Batraz and Shatana.
The Boraev clan fights with the Akhsartagovs for supremacy in the Nart lands, but, despite their small numbers, the Boraevs rarely manage to gain the upper hand. However, the Ossetian narrators brought to us a story about how two clans destroyed each other until one man remained in each clan. But then the clans grew, and the confrontation began again. The bloodlines reconciled only when the Nart Shauuay from the Boraevs married the daughter of Uryzmag and Shatana. Representatives of the genus are Burafarnyg, Sainag-Aldar, Kandz and Shauuay.
The Alagov clan preserves the sacred values of the Nart clans. Their ancestor was a certain Alag, about whom practically nothing is known. Few prominent warriors came out of their family, but the famous Nart Totraz, being a young man, managed to defeat Soslan himself, for which he paid with his life: Soslan vilely killed the enemy by stabbing him in the back. Sometimes the famous Nart Atsamaz is also referred to the Alagovs.
The universe in the Ossetian epic is represented by three worlds: the heavenly kingdom, where mortals are rarely allowed, only Batraz is allowed to live in heaven, in the forge of his mentor Kurdalagon; the kingdom of the living, that is, the world in which Narts and all living beings live, and the kingdom of Barastyr, that is, the kingdom of the dead, where it is easy to enter, but almost impossible to get out. Only a few heroes succeed in this, such as Syrdon and Soslan. The concept of three worlds is revered in Ossetia in our time. On the festive table, Ossetians put three pies, symbolizing the three kingdoms.
Batradz on the arrow. M. Tuganov
Contrary to popular belief, the Ossetian Nart epic can be called monotheistic, although the pagan trace in it is obvious. There is only one god in the Ossetian nartiada - Khutsau, all other celestials - his assistants, patrons, each in his own element, lower spirits (dauagi) and angels (zedy) - make up the heavenly host. The last Ossetian legend describes the death of the Narts: they stopped bowing their heads before God, on the advice of Shirdon, for which God was angry with them and offered them a choice - a bad offspring or a glorious death, the Narts chose the latter. God sent a heavenly army against the heroes, which destroyed the Narts for their pride, and their race was cut short.
Adyghe epic
Kazi Atazhukin is considered the largest collector of Adyghe legends about Narts, who for many years collected scattered stories from old storytellers in cycles. The problem of the Adyghe Nart epic was that the legends of various Adyghe ethnic groups often contradicted each other (however, this problem is common to most of the peoples-heirs of the Nartiada.) Nevertheless, thanks to the work of Atazhukin, the Adyghe Nart epic has survived to this day quite holistic, but at the same time diverse work. Researchers of the Adyghe Nartiad claim that the history of the Abaza and the Adyghes is reflected in the Nart epic in a romanticized and mythic form.
Nart society is represented by a large number of clans. Unlike the Ossetian Nart epic, in the Adyghe epic, if there is a division of society according to functions into castes, then it is implicit.
One of the most important heroes of the Adyghe Nartiada is the lone hero Badynoko. Badynoko is a stronghold of morality in the Adyghe epic, like the old Uryzmag - in the Ossetian nartiada and Karashauuai - in the Karachay-Balkarian. The hero is wise and restrained, honors the elders. Badynoko performs feats alone, rarely - in a pair with one of the Narts (with Sosruko). The hero was born in the house of the Nart Badyn, but grew up away from the Nart society, because they tried to kill Badynoko when he was still a baby. The bogatyr became famous for defeating the eternal enemies of the Nart clans - chints and defeating the evil inyzh. Badynoko does not like noisy feasts and gatherings, he is an ascetic hero. Unlike the God-fighting Narts, Badynoko turns to the celestials for help and tries to instill God-fear in his fellow tribesmen. Thanks to Badynoko, the cruel Nart law, which says that old Narts who are not able to go hiking, must be thrown off a cliff, was repealed, and his father Badyn was saved. Badynoko is considered the most archaic hero of the Adyghe Nartiada.
Sausyryko with fire. A. Hapisht
The plot of twin brothers appears not only in Ossetian mythology. In the Adyghe Nartiada there is a legend about the sons of Dada from the Guazo clan - Pidge and Pidgash. Pidge and Pidgash pursue the wounded Mizagesh, the daughter of the lord of the seas, who took the form of a dove and reached the very underwater kingdom. Pidgash married Migazesh, and Pidge died. Migazesh had two twin sons - Uazirmes and Imys. Uazirmes became a great hero and head of the Nart army, he married Satanya-Guasha, the daughter of the sun and the moon. Uazirmes was a God-fighter, he killed the evil god Paco and performed many other feats.
Exiled and Balsag wheel. A. Dzhanaev
Sosruko - an analogue of the Ossetian Soslan - the most important hero of the Adyghe epic. Sosruko was born from a stone, his father is a shepherd Sos, and he has no mother. Sosruko is brought up by Satanya-gouache in the house of Uazirmes. The hero is initially an outcast, an illegitimate bastard, he is not invited to hasa and is not taken on campaigns. But with his courage and courage, Sosruko earned a place on the khas and the respect of the Narts. Among his exploits are the theft of fire for the freezing Narts from the Inyzhi, the victory over Totresh, who was a villain in the Adyghe version, going to the kingdom of the dead, and much more.
Other heroes of the Adyghe nartiada are Ashamez, Bataraz, the shepherd Kuitsuk, Shauuei, the beautiful Dakhanago.
The universe in the Adyghe Nartiada, as in the Ossetian epic, is divided into three kingdoms: heavenly, middle (living) and lower (dead). The Narts have good relations with the celestials. Their mentor and assistant is the blacksmith god Tlepsh. The elder deity in Adyghe mythology is Tkha, and Dabech is the god of fertility.
Karachay-Balkar epic
Balkar and Karachai storytellers were called khalkzher-chi. They passed stories about the Narts from mouth to mouth. The formation of the Karachay-Balkar Nart epic is the result of the work of folk storytellers who memorized hundreds of stories by ear.
The Turkic trace is clearly read in the Karachai Nart epic. The Supreme Deity in the Karachay-Balkarian Nartiada is Teyri (Tengri), he is also the god of the sky and the sun among many ancient Turkic peoples. The son of Teyri, the blacksmith god Debet, is the helper and father of the Narts. It was from Debet that 19 sons were born, who became the first Narts from the Alikov family. The eldest son of Debet Alaugan became the progenitor of the Narts. Seventeen of his brothers died at the hands of Yoryuzmek, a Nart from the Shurtukov family, and the youngest brother Sodzuk became a shepherd. Alaugan is a positive character, he lives by justice and helps his father in the heavenly forge. The cycle of legends about Alaugan was probably more voluminous, but some of the stories about the hero were lost. The son of Alaugan - Karashauay - is the central character of the Karachay-Balkarian Nart epic. The hero is devoid of vices, he is the embodiment of morality and morality. Karashauay, among other things, is the most modest of the Narts: he does not boast of his strength, he dresses like a poor man, so that no one can recognize him as a hero. Karashauay's best friend is his anthropomorphic horse Gemuda. Gemuda was the horse of Alaugan and passed to Karashauay by inheritance. Gemuda is able to reach the top of Mingi-tau (Elbrus) with one jump. Balkarian Karashauay is endowed with the properties of the Adyghe Badynoko and some features of the Ossetian sage Uryzmag.
The Narts fight the seven-headed giants. M. Tuganov
In addition to Karashauay, Alaugan had two more children from the evil cannibal emeghen. Alaugan, saving children from a giantess, lost two children who were raised by wolves, from them the genus of almostu (wolf people), revered by the Narts because they have Nart blood, originates. Almost is sometimes helped by the Narts, but often they act as their enemies.
In addition to the Alikovs, there are three more clans in the Karachay-Balkar Nartiada: Shurtukovs, Boraevs and Indievs. The blood enemies of the Alikovs are the Skhurtukovs, a powerful Nart family, whose head is Yoryuzmek. All Nart clans are named after their founders. For the Skhurtukovs, this is Skhurtuk (Uskhurtuk), an analogue of the Ossetian Akhsartag from the Akhsartagov family, for the Boraevs it is Bora-Batyr, the Boraev family rarely appears in the Karachay-Balkar epic, as well as the Indiev family.
The Skhurtukovs are a strong family from which many significant characters of the Nart epic come: the elder Nart Yoryuzmek, his sons Sibilchi, Byurche, adopted son Sosuruk and daughter Agunda.
Nart Yoryuzmek's wife is Satanai-biche, the daughter of the sun and moon, abducted by the dragon and saved by Yoryuzmek. As in the epics of other nations, Satanai-biche embodies wisdom and femininity, she bears the proud name of the mother of all Narts. A woman more than once saves male Narts and even the wise Yoryuzmek. Yoryuzmek himself became famous for defeating the villain Kyzyl Fuk (Red Fuk).
Another prominent representative of the Skhurtukov family is Sosuruk. The hero is not Skhurtukov by birth, he is the son of Sodzuk, one of the sons of Debet, brought up by Satanya-Biyche. Sosuruk is a powerful Nart who performs feats, saving the Narts from cold death, making fire for them and killing emegens. However, he, like other representatives of the Shurtukov family, is not sinless. For example, Sosuruk vilely kills the Nart Achemez.
There is a parallel between the blood opposition of the Alikovs, embodying knightly morality, and the Uskhurtukovs, embodying militancy, in the Karachay-Balkarian epic and the enmity of the Akhsartagovs, the eldest Nart family in the Ossetian Nartiada, with the Boraevs. These two epics have a lot in common. So, the Alikov family is the Alagov family in the Ossetian epic, the Shurtukovs are the Akhsartagovs, the Boraevs are the Ossetian Borats. The Indiev clan has no equivalent in the Ossetian epic.
The Karachay-Balkarian hero of the Nartiad Shirdan (Gilyakhsyrtan) simultaneously combines the features of two non-intersecting Ossetian characters - Shirdon and Chelakhsartag. Shirdan, like Shirdon, is cunning, intrigues the Narts, and, like Shirdon, he loses all his children. Some moments from the biography are connected with the Ossetian Chelakhsartag of Shirdan. Shirdan is rich, as is Chelakhsartag. Like Chelakhsartag, he loses the upper part of the skull, and Debet (in Ossetian Kurdalagon) forges a copper helmet for him, which subsequently destroys Shirdan.
The epilogue of the Nart epic among the Karachays and Balkars is positive. The heroes go to fight evil spirits in heaven and the underworld, where they fight for the well-being of the middle world to this day. In the world of the living, only Karashauay, who lives on the top of Elbrus, remained.
Abkhaz epic
One of the most prominent scientists who studied the Abkhaz nartiada was the Iranianist Vasily Abaev. Like the epics of other Caucasian peoples, the Abkhaz Nartiada was passed down from generation to generation in oral form. If the epic of the Adyghe peoples, the Ossetian and Karachay-Balkarian epic have much in common, then the Abkhazian epic differs significantly from those listed. The Nart epics of the Ubykhs, Abazins and Abkhazians are very similar to each other.
Nart society is a big family. All the Narts are brothers to each other, who are 90, 99 or 100 in different versions. The Narts have a sister, the beautiful Gunda. The strongest heroes of the Nart world claim the hand of Gunda. The mother of the Narts, the wisest and ageless Sataney-guasha, helps the heroes with instructions and wise advice.
The main protagonist of the Abkhazian epic is Sasrykva, born from stone and raised by Satanya-gouache. The "Sasrykvav cycle" serves as the central core of the epic. Other storylines unwind around this core. Sasrykva saves his brothers from a cold death in the darkness - he shoots down a star with an arrow that illuminates the way for the Narts, steals fire from the evil Adaus and passes them on to his brothers. Sasrykva, unlike the heroes of other epics, is practically devoid of shortcomings. In this he is close to the Adyghe Badynoko and the Karachay-Balkarian Karashauay. Sasrykva is the strongest of the Narts. He performs many feats, protects the disadvantaged and the weak, and restores justice. Alone, Sasrykva saves 99 brothers from the womb of an evil cannibal giantess, kills the dragon agul-shapa. Kaidukh, the daughter of the god Airg, becomes his wife, capable of illuminating everything around with her hand. Through her fault, Sasrykva dies, drowning at night in a stormy river.
There are no many heroes of the Adyghe Nart epic in the Abkhaz Nartiada, but there are heroes similar in properties and functions to the missing ones. The Abkhaz Tsvitsv is in many ways similar to the Ossetian Batraz. The father of Nart Tsvitsva was Kun, his mother came from the clan of atsans (dwarfs). Tsvitsv comes to the aid of the Narts in the most difficult times for them, Sasrykva himself owes his life to him. Zvitsv is the strongest of the Narts, his body is stronger than damask steel, which is why they load him into a cannon and shoot at the fortress of Batalakla, which he successfully storms. By the way, even Soslan failed to do this.
An interesting story is about the newcomer hero Narjhhow, who kidnapped the only sister of the Narts, Gunda. Narjhow is not a Nart, but in strength it is not inferior to the strongest of them. Narjhaw has iron teeth with which he can cut through chains and a steel mustache. Nardzhkhou is the equivalent of the Karachay-Balkarian Nart Beden, a newcomer fisherman who earned the trust and respect of the Nart family.
The Narts of the Abkhaz epic are friends with the gods, sometimes even have family relations with them, but theomachistic motives are also present in the epic.
Vainakh epic
A prominent researcher of the Chechen-Ingush legends about Narts was Akhmed Malsagov. The Vainakh epic can hardly be called Nart in the full sense. Narts appear in the epic of the Vainakh peoples, but here they often act as enemies of real heroes, rapists, robbers and theomachists.
For each mountain people of the North Caucasus, the Nart epic, along with common features, has its own national characteristics. If the Abkhazians, Circassians and Ossetians idealize narts to such an extent that even the highest praise for a person is considered to be a comparison with a nart, then in the Vainakh epic, especially the Chechen one, narts, as a rule, are negative characters, the image of the enemy is associated with them.
In Chechen legends, human heroes such as Kinda Shoa, Pkharmat (sometimes represented by Kuryuko's Nart), Gorzhai and Kolya Kant are opposed to the Narts. Narts are proud and arrogant, they are strangers, meanly stealing herds from people. The human heroes of the Vainakhs are often stronger than the Narts, despite the numerical superiority of the latter. Narts are able to defeat the heroes only by applying vile tricks. Kinda Shoa is an idealized hero, engaged in peaceful labor and performs feats only when a threat looms over his people. Kinda Shoa herds herds and plows the land, he is a stronghold of virtue and compassion, punishing injustice. Kinda Shoa is the equivalent of the Karachay-Balkar Karashauay.
Sled. M. Dyshek
The Vainakh hero Pkharmat repeats the feat of the Adyghe Sosruko and produces fire for people. And the Vainakh cultural hero Kuryuko repeats the feat of the Georgian Amirani and the Greek Prometheus: he steals sheep, water and materials for the construction of dwellings from the deity Sela, for which Sela chains Kuryuko to the top of Mount Beshlam-Kort (Kazbek). Every year, a vulture flies to the top of the mountain and pecks out Kuryuko's heart. Sela chained his sons, who helped Kuryuko, to the sky, where they turned into the constellation Ursa Major.
The epics of the Chechens and Ingush are different in many respects. If in Chechen mythology the Narts-Orstkhois are almost always negative characters, then in the Ingush Nartiada the heroes often protect the Vainakhs and protect them from evil spirits and enemies.
The Orstkhoy Narts include Achamaz, Patarz, Sesk Sols - the main Nart (analogous to Sosruko and Soslan), Botky Shirtka, Khamchi and Uruzman, Novr and Gozhak. Consonance with the Adyghe, Karachai and Ossetian counterparts is obvious. The Narts live next to the Vainakhs, but almost never enter into family relations with them. This indicates a strict distinction between the societies of the Vainakhs and the Orstkhois. In general, it can be said that the Narts are carriers of a high culture. They build fortresses and huge underground dwellings, but they avoid close contact with the Vainakhs.
An analogue of the mother of all Narts, Shatana, in the Vainakh epic is the goddess Sela-Satoi, the patroness of heroes. The gods are on good terms with the heroes, but theomachy motives are an integral part of the nartiad. The Narts are at war with the gods, desecrating the shrines. The main deity of Dela (Dyala) patronizes the heroes, but he himself is never shown to them. Elda patronizes in the realm of the dead, where Patarz goes and returns safely. Sela, the lord of men and gods, lives on Mount Beshlam-Kort.
The Narts are ruined by their pride. As in Ossetian mythology, the Vainakh Narts perish because of their god-fighting sentiments. Narts die after drinking molten copper: they did not want to submit to the gods and preferred death to subjugation. According to another version, the gods doomed them to starvation as retribution for their atrocities. Due to the fault of the Orstkhoy Narts, dune berkat (grace) disappears from the land of the Vainakhs.
Narts among different peoples
| Ossetian epic | Adyghe | Karachay-Balkar | Abkhazian | Vainakh | Description |
| Agunda | Ahumida/Akuanda | Agunda | Gunda | - | Proud beauty, for whose heart all the sledges beat |
| Akhsar | Pidge | - | - | - | Twin brother of the progenitor of the Narts |
| Akhsartag | Pidgash | Skhurtuk | - | - | Progenitor of a large Nart family |
| Atsamaz | Ashamez / Achemez / Ashhamez | Achey ulu Achemez | Shamaz/Ashamaz | Achamaz/Achamza | The mighty Nart, the owner of the magic pipe, in many epics the husband of Agunda |
| Atsyruhs | Adyuh | Ak-bilek | Kaiduh | - | The wife of the Nart Soslan (Sosruko, Sosuruk, Sasrykva), who emits a bright light with her palm |
| Batradz | Bataraz/Baterez | Batyras | Zwitzw/Patraz | Byatar/Patarz | Nart-hero with an iron body, performs many feats |
| Bedzenag-aldar | Badynoko | Bedone | - | - | An alien nart, an ascetic, is of the greatest importance in the Adyghe epic |
| bedukha | Badach | - | - | - | The first wife of Soslan (Sosruko) |
| Dzerassa | Migazesh | Aseney | - | - | Wife of Akhsartag (Pidgash, Skhurtuk). The mother of the elder of the Narts |
| Kurdalagon | Tlepsh | Debit | Ainar-izhi | - | Blacksmith god, patron and helper of the Narts |
| Nasran Aldar | Nasren-jache/Nasren | Nasren | Abrskal | - | One of the Nart elders |
| exiled | Sosruko | Sosuruko/Sosuruk | Sasrykva | Seska Solsa/Pkharmat | The main character of the Abkhaz, Adyghe and Ossetian epics, Nart hero |
| Totraz | Totresh | - | Tatrash | - | Soslan's rival (Sosruko, Sasrykvy) |
| Warhag | Yes Yes | - | - | - | Forefather of one of the Nart clans |
| Uryzmag | Uazirmes | Yoryuzmek | Khvazharpysh | Uruzman | The elder of the Narts, the oldest and wisest hero, the husband of the mother of all Narts |
| Khamyts | Imys | Hymych | Khmyshch/Kun | Hamichi/Hamchi | Twin brother of the elder of all Narts, arrogant Nart, father of Batraz (Batyras, Bataras, Tsviv) |
| Chelakhsartag | - | Gilyakhsyrtan (Shirdan) | - | - | A wealthy Nart who was made by a blacksmith god to replace a lost part of his skull with a copper helmet. |
| Shatana | Sataney-guasha | Satanai biche | Sataney-guasha | Sata village | The mother of all Narts, the wisest of women, married to a Nart elder, one of the central characters of all epics |
| Shawwai | Karashaway | Karashauwai | Shaway | Kinda Shoa | A bright hero eschews noisy feasts, performs many feats. The central hero of the Karachai epic |
| Shirdon | Tlebits-shorty | Gilyakhsyrtan (Shirdan) | Shaurdyn/Batakua | Botky Shirtka/Sely Pira | The cunning Nart, who is harassed by his brethren. He is famous for his mind, he often plots the heroes himself. |
| waigi | inyzhi | emegens | adauy | wampal | Evil one-eyed giants, antagonists in the Nart epic (exception - Chechen mythology) |
| bicenes | experience | zheki | atsany | almasty | A kind of small people-spirits living under the ground and water, often come into relationship with the Narts, sometimes intrigue them, sometimes help |
| Arfan | similar | Gemuda | Bzou | - | Anthropomorphic horse of the protagonist, the best friend, savior and adviser of the Nart |
| balsago wheel | jean-sherch | iron wheel | - | - | The mythical creature that killed the Nart Soslan (Sosruko, Sosuruka) |
| Nykhas | Hasa | tore | reizara | - | Meeting of Narts, where important issues are decided |
Modernity
The Nart epic is the property of the entire Caucasus. It greatly influenced the culture of the native peoples. The customs described in the Nart epic are reflected in the daily culture of the Ossetians, in a slightly modified form - among the Adygs, Abkhazians, Karachays and Balkars. The names of the heroes of the Nart epic are still called children. Many settlements got their name thanks to the Nart epic: for example, the Kabardian village of Nartkala or the Ossetian village of Nart. In Abkhazia, the grave of Sasrykva is still revered. Football clubs and KVN teams are named after the Narts. Monuments are erected to heroes and paintings are written about them.
Mikhail Aboev
Ilya Muromets, or Ilya Murovets (full epic name Ilya Muromets son of Ivan) is one of the main characters of the ancient Russian epic epic, a hero who embodies the folk ideal of a hero-warrior, people's protector .. According to Ukrainian historians and the first studies that were conducted in the CPL, in the 17th century, his small homeland was the ancient village of Moroviysk (modern village of Morovsk, Kozeletsky district, Chernihiv region of Ukraine) in Chernihiv region, not far from the ancient "spirit road" that leads from Chernigov to Kiev.
The prototype of the epic character is considered by some researchers to be a historical strong man, nicknamed "Chobotok", originally from Murom, who took monastic vows in the Kiev-Pechersk Lavra under the name of Ilya, canonized in the Orthodox Church as "Rev. Elijah of Muromets" (canonized in 1643) Elijah of the Caves. According to this theory, Ilya Muromets lived in the 12th century and died in the Kiev-Pechersk Lavra around 1188. Memory according to the church calendar on December 19 (January 1. Modern anthropologists and orthopedic doctors, when examining the relics of Elijah, confirm that the lower limbs of this person for some reason did not work for a long time, due to either congenital paralysis or birth trauma.
He is the main character not only of our epics, but also of German epic poems of the 13th century, based on earlier legends. In them, he is represented by a mighty knight, a princely family, Ilya the Russian. The relics of the monk no less clearly testify to a bright military biography. After a completely successful military career and, apparently, due to a serious injury, Ilya decides to end his days as a monk and is tonsured at the Theodosius Monastery, now the Kiev-Pechersk Lavra. It should be noted that this is a completely traditional step for an Orthodox warrior - to change an iron sword for a spiritual sword and spend days in battle not for earthly blessings, but for heavenly ones.
Geographical features Located on the Bear Peninsula, one of the highest waterfalls in Russia bears the name of Ilya Muromets. In the Kyiv region on the Dnieper, there is Ostrov Muromets, a landscape park and a favorite vacation spot for citizens. Organizations Ilya Muromets Film Studio for Children and Youth Films Troika Dialog Ilya Muromets Open Mutual Investment Fund Technique Ilya Muromets frigate of the Russian Imperial Navy In 1913, a bomber aircraft designed by aircraft designer Igor Sikorsky was named after the bogatyr.
Painting Ilya Muromets character of Victor Vasnetsov's painting "Heroes", under the impression of the epic "Ilya Muromets and the Robbers", he also painted the painting "The Knight at the Crossroads" "Ilya Muromets at a feast at Prince Vladimir" painting by V.P. Vereshchagin, Ilya Muromets painting by Nicholas Roerich , “Ilya Muromets liberates the prisoners”, Ilya Muromets and Gol tavern, “Ilya Muromets in a quarrel with Prince Vladimir”, “Gift of Svyatogor” paintings by Konstantin Vasiliev.
A myth is an ancient folk tale about legendary gods, heroes and incredible natural phenomena. Myth means tradition and tale, hence the current purpose of myth as a separate literary genre.
Myth and its place in literature
Such tales arose in primitive society, and therefore all sorts of early elements of philosophy, religion, and art are intertwined in myths. A distinctive feature of the myth is that it has recurring themes and similar motifs that can be found in the myths of different peoples and times.
It is believed that myths were the main way of knowing the world in primitive society, since they displayed acceptable explanations for many natural phenomena.
This is due to the fact that in myths nature appeared in the form of symbols, which sometimes were in the form of a person. Mythology is close to fiction in the form of figurative narration, therefore it is said that mythology had a huge impact on the development of literature as such.
In fiction, mythological motifs are very often found, and many plots are based on myths. An example of this can serve as such literary works as "The Magic Mountain" by T. Mann and "Nana" by E. Zola.
Heroic epic of different peoples and heroes of the epic
Each nation is characterized by a certain heroic epic, which reveals the life and customs of certain nations, their values and view of the world around them. This genre of medieval literature, in which folk heroes and their exploits were sung. Often the epic was formed in the form of songs.
The heroic epic of the Eastern Slavs is represented by the epic "Ilya Muromets and the Nightingale the Robber". The hero Ilya Muromets is the central figure of the entire Russian epic, he is presented as a defender of the people and his native land. This is the reason why such a character has become the people's favorite - after all, he reflects the main values of the Russian people.
The famous poem "Davil of Sasun" refers to the Armenian heroic epos. This work depicts the struggle of the Armenian people against the invaders, and its central figure is the personification of the national spirit, seeking to free itself from foreign invaders.
A reminder of the German heroic epic is the "Song of the Nibelungs" - the legend of the knights. The main character of the work is the brave and mighty Siegfried. This is a just knight who becomes a victim of betrayal and betrayal, but despite this he remains noble and generous.
"The Song of Roland" is an example of the French heroic epic. the main theme of the poem is the struggle of the people against enemies and conquerors. Knight Roland acts as the protagonist, noble and courageous. This poem is close to historical reality.
The English heroic epic is represented by numerous ballads about the legendary Robin Hood, robber and protector of the poor and unfortunate. This courageous and noble hero has a cheerful disposition and therefore he has become a real folk favorite. It is believed that Robin Hood is a historical character who was an earl, but gave up a rich life in order to help the poor and disadvantaged people.
Kirillina Avgustina Dmitrievna, primary school teacher, secondary school No. 1 with gymnasium and lyceum classes
Extracurricular reading lesson in grade 4 under the program "School 2100 ..."
Subject: Heroes of the epic(Russian epic "Dobrynya and the Serpent",
Yakut olonkho "Nyurgun Bootur "Swift" (3rd song),
the ancient Greek poem "Odyssey" (song 8 "Odysseus at the Cyclopes),
Karelian-Finnish poem "Kalevala" (43 runes).
Lesson Objectives: didactic - based on a comparative analysis of heroes
epic to reveal the moral image of the ideal of a personny peoples in antiquity.
developing – in the course of research work
conclusion about the unity of the content and form of the heroic genre
epic; enrich the emotional sphere of students with different
the image of feelings - moral, intellectual,
aesthetic.
educational - show universal significance
ancient creations, the modern sound of the heroic
epic that poses the problems of humanism that are relevant in our
days.
lesson type - generalization of knowledge.
Main method- research
Lesson equipment:
primary sources, critical literature, Modern Explanatory Dictionary of the Russian Language, illustrations
to works, cards for a pivot table,
route lists of groups, students' compositions "Favorite
epic hero", elements of national costumes for each group
students.
This lesson is a farewell to the beloved works of the heroic epic of different peoples, which students met in previous lessons of extracurricular reading. The idea of conducting this lesson arose from the fact that the interconnected study of the work allows you to see the continuity of the humanistic traditions of the literatures of different peoples. The lesson was the result of a lot of preliminary work: the students compiled a “Historical Dictionary” for each work, memorized excerpts from the works, made illustrations for them, and prepared the defense of the “Historical Experience of the People” project in groups.
During the classes:
I. Introductory speech of the teacher, message of the topic and purpose of the lesson:
Good fellows and red girls (appeal to group 1)
Human tribe of the Middle World! (appeal to group 2)
Glorious people of Hellas! (appeal to group 3)
Residents of Kaleva1 (appeal to group 4).
Let's have a collaborative conversation about the heroes of the "traditions of ancient times."
D: They belong to the genre of the heroic epic, because these are heroic songs about the exploits of heroes. They were performed by a storyteller, olonkhosut, aed, a song singer.
W:- The performers of heroic songs sang folk heroes with great love.
1st student Narrator:
Dobrynushka has black, sable eyebrows,
The eyes are sharp, hawkish.
From the face is white and blush,
And his strength has no equal!
2nd student Olonkhosut:
Nurgun Bootur Swift
He was the most beautiful among people
The strongest among people
There were no heroes equal to him!
3rd student of Aed:
Muse, tell me about that experienced husband,
Who, wandering for a long time, cared
About the life of dear companions.Tell me about Odysseus, benevolent Muse!
4th student Singer:
Old, faithful Väinämöinen,
eternal soothsayer,
He sang his songs
Songs of great wisdom.
W:- The people loved their heroes, endowed not only with a beautiful appearance, they were beautiful
their actions.The lesson is to solve artistic research task:
"What is the ideal of a hero of different peoples in antiquity?"
Find an explanation of the meaning in the "Modern Explanatory Dictionary of the Russian Language"
the word "ideal".
D: - “(from the Greek. Idea - aspiration, idea.) The highest degree of perfection, the limit of striving
W: Algorithm of work on solving the artistic and research task of the lesson:
Istage- "Dive into the Age of Antiquity" will be held in the form of a defense of the groups of their study "The Historical Experience of the People".
IIstage - "The image of the hero of the epic"(comparative comparison).
IIIstage– output-response to a problematic issue.
So, as the ancient Greeks said: “Let the fair winds carry us to the intended goal!”
II. Protection of the design and research activities of creative groups on the topic "Historical experience of the people."
W: The epic of each nation is unique. The appearance of the hero of the epic is connected with the history of the people.
Each group conducted research, using the historical method, on primary sources and critical literature in the following areas:
Beliefs
customs
Life
I group:
The epic contains evidence of the adoption of Christianity in Rus' (“He grabbed the cap of the Greek land”, that is, the headdress of Christians in Byzantium). God instills faith in the people, inspires Dobrynya Nikitich to win.
Prince Vladimir ruled Russia, whom the people called "Red Sun". It was his niece that the hero saved from the Serpent. Nomadic tribes raided the Russian land and took Russian people in full.
II group:
The ancient Yakuts had their own idea of the world order. They divided the world into the Upper, where the celestials ruled; they called their land the Middle World, and the Lower World was considered the refuge of the abaasy.
The abduction of women was considered a great insult, because the woman personified warmth.
family hearth (“Nyurgun Bootur screamed in horror: “Woe to me!”)
Cattle breeding was more developed. A strong and strong horse is held in high esteem, like that of Nurgun Bootur
(“The horse raced like a shooting star.”) But there is no mention of hunting and fishing in the olonkho.
The life of the human tribe was very difficult due to harsh natural conditions and skirmishes with
Tungus tribes.
III group:
The ancient Greeks believed that the world was ruled by the gods living on Mount Olympus ("... so it was,
of course, pleases the Mighty Zeus). The text mentions:
Poseidon is the god of the sea;
Eos - the goddess of the dawn;
Pallas Athena is the goddess of wisdom (she patronizes Odysseus).
("Bright fire spread, we made a sacrifice").
The law of hospitality was sacred in Ancient Greece (“Forward defenseless guests you
do not destroy and do not eat.")
The Hellenes were engaged in cattle breeding (“... he grazed sheep and goats”), winemaking (“a cup of wine
offering him gold ... "), were sailors ("To the shore close soon the bailiff with the ship ...").
The poem tells of the return of Odysseus from the Trojan War.
IV group:
The descendants of Kaleva were very fond of their homeland, northern nature:
“... a pine tree grew in a forest,
The tree was on the hill there,
Silver - in pine branches,
Gold is in the branches by the Christmas tree.
They contrasted it with Pohjela - the cold realm of ice, snow and darkness.
“The frosty air froze there,
Snow hares jump there,
Ice bears there
They roam on the snowy peaks.
Ukko was considered their supreme god. They believed that every object has its own spirit.The bear served as a tatem. People call it affectionately: "Otso, the apple of the forest."
The forest for the people is not just a forest: it contains their future. After all, the forest is the land for sowing
The poem describes the processes of labor in great detail. A special place is given to the story of how
received iron.
The ancient Karelians were engaged in cattle breeding, farming, hunting game.
W: The historical experience of the people is national specifics heroic epic.
This means that each nation had its own gods, customs, enemies.
Conclusion:
Ancient man needed protection from natural phenomena and enemies. He dreamed about
happy life and embodied his dream in the image of the hero of the epic.
III. Research work to compare the images of heroes.
W: We will compare the images of the heroes according to horizontal, i.e. based on the content of the works,
in such cross-cutting directions: Motherland - Hero --- People
Enemies --- Hero --- Feat
and by vertical, i.e. according to the form of works (form is an expression of content).
Direction "Motherland - Hero - People"
D: The struggle of the hero and the forces of Evil is the content of these works.
W: What do the enemies represent?
D(1 group): The serpent represents external enemies. The epithets used are "Cursed Snake",
"Snake - Gorynishche".
D(Group 2): "Abaasy - everything hostile to a person, everything contrary to his interests"(according to Pekarsky's "Yakut Dictionary"). In olonkho he is called: "bloodthirsty thief",
"The Robber of Three Shadows". He was a monster
"Where his head should be
Rusty flattened helmet
Similar to an eagle's nest.
Yes, a black mouth flashed three times.
Yes flashed green blue
His crooked fangs."
D(group 3): Cyclops represents brute physical strength. This is a huge one-eyed giant, "seemed like a wooded, wild peak of the mountain." The Cyclops is compared to a "mad beast"D(Group 4) : The old woman Loukhi, Pokhyela hostess, insidious, deceitful. She took over by deceit
the treasure of the people - the wonderful self-silent Sampo, dooming people to a hungry life:"I will bring your people to death
And I will destroy your whole family."
Louhi - a symbol of darkness, poverty, misfortune.
Conclusion: People have overcome obstacles in their lives. They were presented in the form
strong monsters that only a stronger hero could defeat.
Direction "Hero - Enemies - Feat"
1. 2. 3. 4.
| |
Legend:
Hero, representative of the people.
W:"Decipher" this block diagram.
D: 1 scheme: Both the epic, and the olonkho, and the poem, and the rune begin with a story about a treacherous
actions of enemies.
2 scheme: The hero rises to the defense of his people. Opponents converge in a duel.
3 scheme: The hero defeats the enemy.
4 scheme: Good triumphs.
W:- What is the climax?
D: The duel of the hero with the enemy is the culmination of the works.
W: Read the episode "Duel" aloud.
How is the strength of opponents shown?
D (1 group): The battle of Dobrynya Nikitich with the Serpent in the epic is briefly described:
“They fought with the Serpent here for three days,
He fought the Serpent for another three hours,
He beat the Serpent and the damned one, -
That Snake, she bled."
Hyperbole is used to show the strength of opponents.
D (group 2): In the olonkho, the battle between Nurgun Botur and Abaasy is shown in detail:
"Thirty days and nights in a row
they beat each other."
In addition to hyperbole, there are elements of fantasy:
"Beautiful Nurgun's face,
It twisted with anger.
Left eye tilted up
The right eye squinted down.
Sparks crackled in your hair
A blue fire flared up…”
All this constitutes the national content of olonkho.
D (group 3): Odysseus defeated the Cyclops with the power of his mind. Do not leave the hero and the gods, admiring
his courage, endurance and cunning. Odysseus made a fool of the monster three times."
D (Group 4): In the rune, the battle is short, hyperbole is also used:
"Old, faithful Väinämöinen
Dragging the rudder from the depths of the sea
The monster hit them
Chopped off the eagle's claws.
A hundred fell from their wings, a thousand fell from their bodies.
Conclusion: Fantasy and hyperbole are means of expressing the heroic .W: What is issues works?
D (1 group): The Russian hero fought for Zabava Putyatichna, for the Russian people.
He punished the Serpent for treachery and deceit. Dobrynya Nikitich staged
above all his military duty. In this he looks like a Tin Soldier
from Andersen's fairy tale.
D (group 2): Nurgun Bootyr joined the fight, saving his kidnapped beautiful sister
Aitalyn-Kuo, for your tribe. It could not be otherwise, because the hero was
lowered from the Upper World to protect people.
D (group 3): Odysseus punished the Cyclops for sacrilege, for violating the law of hospitality.
He entered into a skirmish with the enemy for his comrades, and therefore for his people.
D (Group 4): Väinämöinen made it his goal to return the miracle mill Sampo,
he was loyal to his people.
Conclusion: In the actions of the heroes, their inner beauty is revealed. Feats are done in the name
people, at the behest of the soul.
The artistic idea is the commonality of the heroic epic of different peoples.
Read by heart the final words of the characters.
D (1 group): “Do not fly to you but to holy Rus',
Do not save up full of Russians!
D (group 2): “I want to score, I want to fill up
Road to the underworld.So as not to escape from there to us
Doom, death and misfortune!"
D (group 3):"If. Cyclops, who among the earthly people will ask you,
How your only eye is destroyed, you answer this:
King Odysseus, destroyer of cities, hero Laertes
Son, the famous ruler of Ithaca, gouged out my eye.”
D (Group 4): “Oh you, Ukko, the supreme god,
Be a help to your children.
Build a stone fortress
On both sides of the native land,
So that the villain could not touch,
The enemy of the fruits could not steal
Never until in heaven
The golden moon shines!
Conclusion: The ideological content of the works of the heroic epic lies in the victory of the forces of Good over Evil. Every nation dreamed of happiness. The hero was the bearer of the idea of happiness.
This shows the commonality of the heroic epic of different peoples.
The unity of the content and form of the heroic epic genre.
"The unity of the content and form of the works of the heroic epic":
| Genre heroic epic. | Bylina "Dobrynya and the Serpent" | Olonkho "Nyurgun Bootur Swift" (3 song) | Ancient Greek poem "Odyssey" (song 8 "Odysseus at Cyclopes") | Karelian-Finnish poem Kalevala " (43 runes). |
| Carriers of Good | Nikitich | Nurgun Bootur Swift | Odysseus | Väinämöinen |
| Forces of Evil | Serpent | Abaasy | Cyclops | Old woman Loukhi |
| Content | Fight with the enemy |
|||
| Issues | For Fun Putyatichnu, free Rus'. | Beyond Aitalyyn-Kuo, human tribe. | For comrades own people. | For Sampo happy life |
| Artistic idea. | W o n c e |
|||
Conclusion: In the genre of the heroic epic, the content and form help to reveal the image of the hero.
IV. Group work. Filling out itineraries.
V. Conclusion - the solution of an artistic - research problem.
1. Report of group leaders.
Leader of the 1st group: The Russian people considered their ideal warrior-defender:
brave, ready to defend his people, to give his life for the Motherland. The meaning of his life is the defense of the Fatherland.
Team leader 2: The ancient Yakuts chose as their ideal a warrior of remarkable strength, merciless towards enemies, respectful of a woman.
Head of the 3rd group: The ancient Greeks sang the mind of a Man who can fight even with the descendants of the gods. (Cyclops was the son of Poseidon, the god of the seas).
Group 4 leader: The Kalevala shows the ideal of a Man who is hardworking and wise. He is, first of all, a Teacher, ready to lead the people behind him.
W: You have singled out the main features of the ideal of a Man of different peoples. This is the national specificity of the works of the heroic epic.
2. Answer to a problematic question.
W: And what is the commonality in the understanding of the ideal of Man by different peoples?
D: All peoples value such traits as courage, fortitude, love for their people.
Conclusion:The result was a generalized image of the ideal of Man of different peoples in antiquity.
This is the bearer of Good. He has a high mission - to cleanse his native
earth from evil, and then a happy life will come.
VI. Summary of the lesson.
W: Centuries have passed, but still humanity admires the exploits
heroes, ancient creations.
And why do we, modern people, need to know these works?
D: We need to take an example from the heroes, learn from them to love the Motherland. Nowadays, people also have enemies. The worst of them is terrorism. Terrorists are monsters in human form. We need to protect the world from them.
W: The works of the heroic epic are the treasury of mankind, a storehouse of folk wisdom, a life-giving source, falling to which we draw everything pure and holy. For many centuries, people have been reading these traditions with interest, and so they carefully preserve only what is very dear to the whole people.Error: Reference source not foundError: Reference source not found
MODEL OF THE WORLD. 1. Yggdrasil, the world tree. 2. Firmament. 3. Earthly firmament. 4. Hel, the underworld. 5. Wise eagle on top of Yggdrasil. 6. Deer on the branches of Yggdrasil, nibbling its foliage. 7. Wolves Skoll and Hati chasing the Sun and the Moon. 8. Asgard, home of the gods. 9. Celestial root of Yggdarsil. 10. The heavenly spring of Urd under the heavenly root of Yggdrasil. 11. Tsvergi holding the vault of heaven. 12. Midgard, dwelling of people. 13. The earthly root of Yggdrasil. 14. Rainbow bridge Bivrest, connecting Asgard with Midgard. 15. The ocean washing Midgard. 16. Serpent Yermungandr, living in the ocean and gnawing its tail. 17. Muspellsheim, land of fire. 18. Niflheim, the land of cold and darkness. 19. Underground root of Yggdrasil. 20. Dragon Nidhogg, gnawing the underground root of Yggdrasil. 21. Hvergelmir, a spring under the underground root of Yggdrasil. 22. Twelve underground rivers (Elivagar), flowing from Hvergelmir and emerging on the surface of the Earth in Niflheim. 23. Evil Loki, tied with the intestines of his son Nari to three stones. 24. A poisonous snake whose venom drips onto Loki's face, causing him to shudder, causing an earthquake. 25. Wolf Fenrir, son of Loki chained Gleipnir; a sword is inserted into his open mouth
