Heroic myths of different nations. Myth and heroic epos of different nations

Lecture 3. Epos and mythology

Epic installation on reliability is the reason for the transformation of images: with a change of type of thinking, the value of the values \u200b\u200bis also changing the idea of \u200b\u200bthe hero. The history of the epic can be considered as a history of human self-describing.

During the transformation of epic images, four types can be distinguished, in other words, four generations of heroes. This, of course, does not exclude the existence of transition types, as well as combining the features of various generations in the same image.

The epic hero is the heir to the image of a pure line, devoid, however, magical abilities (only in extremely archaic plots, the hero resorts to magic). The main character of the Archaic epic is also ambivalenten, he is related to his enemy, from where the inevitability of a quarrel of the best of the heroes with the epic scene or the Bogatyr tribe.

In the center of the archaic epic is the initiation of the hero, during which it receives objects and qualities from his incomir relatives, making it rich. The cartridge of initiatives - the Lord of another world, as a rule, is a fixed giant (the first generation of heroes, while the archaic hero is the main hero of the epic - the second). Most of the testes about the fights of the archaic hero with monsters also contain initiative motives, but the image of the monsters is closer to the archaic hero than to the giants of the first generation.

The hero of the archaic epic is fighting, prompting with a sense of personal hatred for the enemy, he is alien patriotism - he fights with the enemies of the world of people just because they are his personal opponents. The archaic hero often appears the desire of his comrades (this feature is preserved in the classic epic, right up to literary - for example, Roland).

With the arrival of early statehood, moral claims are made to the epic hero, the inomirity is perceived strongly negatively. The early hero (third generation) is the perfect person, the embodiment of epic standards. Along with him, there is an archaic hero, the image of which is exposed to a significant edition: immorality and abnormality are consistently soften, patriotism, etc. appears. In the early state epic, many archaic motives pass through denials: for example, marriage with the mistress of a different world turns into the rejection of the love of the goddess.

With a sunset of the epic era to the fore, the hero-trickster, a direct heir to the image of a high end, but now his trick is perceived as a sign of physical weakness. Such a hero (fourth generation) is an ordinary person who prefers peaceful life to battles.

Literature

Muletinsky E.M. The origin of the heroic epic. M., 1969.

Muletinsky E.M. Introduction to the historical poetics of the epic and novel. M., 1986.

Seminar
Analysis of Russian fairy tales based on the book by V.Ya.proppa ".

The heroic epic in the artistic development of each people is an ancient shape of verbal art, directly developed from the myths. In the preserved epic of different peoples, different stages of this movement from the myth to the folk response are presented - and quite early and typologically later. In general, the mythological origins are closer to the work of the folk epic, which remained until the time of the first gathers and researchers of the folklore (i.e. until the XIX-XX centuries) in oral song or oral form, rather than the works that have long passed from oral literature in writing -Literature.

In particular, Kyrgyz Epos "Manas", Kalmyk Epos "Dzhangar", Epos, a number of Turkic peoples "Alpamysh" ("Alyp-Manash"), the Old Russian epos, the Armenian Epos "David Sasunun", are partly Karoen-Finnish, Epos "Kalevala" and others.

Unlike the named works, a number of significant epic traditions are not known in folklore, at least late, form, but in the literary presentation, which was usually accompanied by retreats from folklore primary sources. Thus, the Epos of the Ancient Greeks was set out in the poems of Homer "Iliad" and "Odyssey" (IX-VIII centuries. BC); The Epos of the Ancient Indians became poems on Sanskrit "Ramayana" and "Mahabharata" (IV century BC); Anglo-Saxon Epos - Beowulf Poem (VI century); Ancienthelte (Irish) Epos - prosaic sagas (compilation of the 9th - xi centuries); The Old History (Icelandic) - epic songs known as the "older Edda" (the first compilation of the XII century), etc. The literary fixation makes these works by transition not only from the myths to art, but also from folklore to literature. In such an epic, the folklore actually, the more mythological features are largely lost or are located in a complex alloy with book-literary elements.

Myths are talking about the world. The heroes of the myth are the gods and the first-term tribe, often it is demigods, they are "cultural heroes". They create the land on which the tribe lives, with its "present" landscape, recognizable by the listeners of myth. The sun, the moon, the stars are created - the time starts. The first time and cultural heroes will win fantastic monsters and make land suitable for life. They teach the tribe to extract and store fire, hunt, fish, tame animals, make the tools of labor, grow plants. They invent a letter and score, know how to condemn, treat diseases, foresee the future, how to get along with the gods ... Myths ask "due", from now on, the constant order of things: according to the logic of the myth, "T and K" happened for the first time and "T A K" It will always happen. The events that the myth say does not need an explanation - on the contrary, they serve as an explanation of everything that generally happens to humanity (that is, with a tribe that thinks "genus human").

For the primitive consciousness of the myth, it is absolutely reliable: there are no "miracles" in myfe, there are no differences between the "natural" and "supernatural": this opposition is alien to mythological consciousness.

Other coordinates in folklore legends. The heroes of the people's epic are no longer a demigod (although they are often associated with magical strength). Time in Epos is not the mythical epoch of the first award, but historical and, as a rule, quite real, correlated with a certain significant era in the history of the people (in Russian epics - the prince of Vladimir and the resistance of the Tatar-Mongolian invasion; in the Armenian epic "David Sasunsunsky" - national -Eversion uprising; in the French "song about Roland" - war with bacas in the Pyrenees in the time of Karl the Great, etc.). In the real myths there are no toponyms: the place of action is not yet called land of the first period, and in the epic, the geography of events is quite real (solar Kiev-hail, Murom, Rostov, Novgorod, Ilmeny-Lake, the sea Caspitsky, nonsense, nonsense, etc.). "Epic time," writes a researcher of mythology and folklore EM. Meltelli, - is built by the type of mythical, as the time and the time of active actions of the ancestors predetermined the subsequent procedure, but it is no longer about the creation of the world, but about the dawn of national history, about the arrangement of ancient state formations and etc. " (Muletinsky, 1976, 276).

On the way from the myth to the National Epos, not only the content of communication, but also its structural features varies. Myth is a sacred knowledge, and Epos is a story (song) about heroic, important and reliable, but not about the sacred.

In that late and residual Siberian shaman, which was able to observe ethnographers in the XX century, the texts were noted that were used as epic songs, and as sacred works. It is significant that sacralism was created here not to the plot, but some features of communication: these texts were performed by dedicated - shamans, in a strictly surgical hour, in the obligatory connection with the ritual. It was special singing, often in Shaman Ecstasy. Such execution was recognized by the participants of the ritual as "a noble song on behalf of special songs" and "as a kind of monologues of spirits, i.e. certain sacred figures "(Novik, 1984, 272-273).

During the fulfillment of the myth, a non-conventional attitude to the sign (Word) could manifest itself in a specific magical result of the text of the text of the text, and this result is n and r about in a l with me, i.e. For mythological consciousness, he was predictable. A.A. Popov, who studied in the first half of the XX century. Shamanism in Yakuts, Dolgans and other Siberian peoples, tells how the Dolgan Shaman, who could not be able to detect an evil spirit who climbed into the patient, called for the help of another Shaman, who began to tell the myth about the struggle of the hero with an evil spirit. When the narrator reached the place where the hero in the battle with an evil spirit begins to overcome, at that moment the evil spirit, seated in the patient, got out to help his fellow from the performed myth. Here he became visible for the shaman of the healer, and it facilitated the exile of the Spirit, i.e. Healing of the patient (Novik, 1984, 277).

Researchers note the existence of special verbal clichés that give the plot text the status of a message sent by ancestral ancestors or deities to their descendants, for example, the final refrains, built according to the model, said such something (it means God, the first-term, authoritative shaman, etc.), or the ending of etiological phones built by the formula that's why since then it became so (cf. which is why water in the seas since then salty; since the bear has a short tail; that's why the Crow Crow, even when it is having fun and rejoices, sounds So ominous, etc.).

The sacralism of such texts is due to the fact that it is narrated by the sources of everything that is, the very reproduction of myth includes someone who reproduces the myth, and the one who hesitates him, in a wider temporary context: "The narrator shows his Listeners, where there are stones in which the ancestor turned, i.e. explains the characteristics of the landscape by erecting them to the events of the past; Reports which elementary chain link is occupied by listeners in relation to a particular character of the story, i.e. There is now the living generation for mythological past "(Novik, 1984, 271-272).

In comparison with the myth, the communicative installations of the national epic is much more modest: this story is not about the sacred and eternal, but "just" about the heroic and last. However, the truthfulness of epic tales and epic, as well as the accuracy of myths, did not doubt. Essentially, however, that this is not observable reality: the events that Epos tells, folklore consciousness attributed to the past. We have been loved by Starin, - leads national judgment about the epics of V.I. Dal (Dal, I, 148).

End of work -

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Bibliographic Description: Malysheva J. A., Andreeva S. R. Analogy of images of mythological characters and plot segments of the poem A.S. Pushkin "Ruslan and Lyudmila" and the Yakut heroic epic Olonkho "Nuregun Bootur's rapid", recreated on the basis of folk tales P.A. Ohunsky // Young scientist. - 2017. - №3.2. - P. 77-82..02.2019).



My favorite work is the poem A.S. Pushkin "Ruslan and Lyudmila", because I like the heroes of the poem and the exciting plot of works. When I studied in the 5th grade, I had a question: why the mermaid in the poem's prologue sits on the branches? And we decided to conduct research work "The image of the mermaid from the prolobe poem A.S. Pushkin "Ruslan and Lyudmila" or why the mermaid on the branches is sitting? "

This year, we continued to study on Pushkin's poem, which we decided to compare with the Yakut Olonkho. The topic of our project - analogy of images of mythological characters and plot segments of the poem A.S. Pushkin "Ruslan and Lyudmila" and the Yakut heroic epic of Olonho "Nuregun Bootour rapid" recreated on the basis of folk responses P.A. Ohunsky.

Why did we decide to compare with the poem of Pushkin by Olonkho? Because the heroic epos Olono is recognized as UNESCO masterpiece of all mankind (2005) and we thought that it could be compared with the work of the Great Russian writer.

Before starting work, we put forward a hypothesis that, perhaps, there is some analogy between mythological characters and the plot lines of the poem A.S. Pushkin "Ruslan and Lyudmila" and Olonho "Nuregun Bootur's rapid", and also conducted survey among students in grades 5-7 and found out that 45% of respondents agree with our hypothesis.

The purpose of the study is to identify the analogy of the plot segments and images of the mythological characters of the poem A.S. Pushkin "Ruslan and Lyudmila" and Heroic Olonho "Nuregun Botar rapid".

The topic is relevant due to the fact that the study of classical literature and folklore is necessary to modern society and is due to the fact that it helps the ability to analyze and compare the works of fiction in different genres and can be used to write essays and integrated text analysis, as well as to expand the overall horizon .

Tasks: Conduct a survey among students on the subject of research; Examine and compare the texts of the poem A.S. Pushkin "Ruslan and Lyudmila" and Olonkho "Nuregun Botar rapid"; identify the similarities of the characters and parts of the plot of works (note the analogies in the course of reading works in notepad); To summarize and systematize the data obtained.

Methods: Questioning; analysis of works on scene segments and the image system; Synthesis of material for display in a tabular version.

Folklore and mythological characters in the poem A.S. Pushkin "Ruslan and Lyudmila"

Studying the creative heritage of A. S. Pushkin, it is easy to see that the great Russian poet in his works often turned to the motives, topics and images borrowed from the myths, legends and legends of European peoples. Of course, the folk tradition of the Russian people imposed the most strong imprint on the work of Pushkin and manifested most brightly in the fairy tales and the poem "Ruslan and Lyudmila".

However, in the works of Pushkin, you can find motifs borrowed from folklore of other peoples. As an example, you can call the poetic cycle "Songs of Western Slavs". In addition, the works of Greek, Roman, Scandinavian and Arab citizens and myths, as well as medieval legends of Europe, meet in the works of Pushkin.

It is not difficult to guess that interest in Russian fairy tales and legends was associated with the influence of the nanny of the poet, the simple Russian peasant of Arina Rodionovna, whom Pushkin devoted heartfelt poems, full of warmth and tenderness. As for the motives and images borrowed from mythology and folklore of other peoples, then they, of course, appeared in the works of Pushkin not by chance. First, the great Russian poet was an experimenter who is always interested in the search for a variety of forms of incarnation of his talent - genres, themes. Secondly, images and motifs of myths, fairy tales, folk songs, often repeated from many nations of the world, carry a deep meaning. In addition, they are universal, and therefore at a certain level are clear to everyone. The sample of such universal images can be called Finn's wizard and the sorcerer of Naine from the poem Ruslan and Lyudmila, in which the ideas about the good and evil worship were embodied. Also, the concepts of good and evil are embodied in the images of Prince Ruslan and the Wizard of the Black Sea, the opposition of which also has another hyposta: the young in love is a considerable old man.

The poem "Ruslan and Lyudmila" is, in fact, the alloy of folklore and mythological motives, painted not only from Russian traditional tradition, although it is certainly dominant. The initial stanzas of the first, anticipation of the narrative, enclose the listing of some of the characteristic images and plots of folk poetry. It is interesting to note that at the beginning of the work of Pushkin used a part of the traditional session, which often end folk tales: "And I was there, and I drank honey."

The spirit of the Russian epics is clearly felt in the poem: here and the legendary Vladimir-Sun, which has long become mythological way, almost completely lost the real features of the historic Vladimir, Krestny Russia, and no less legendary singer Bayan, the mention of which can be found, for example, in " The word about the regiment of Igor. " The motive of the journey in which four Vityaz is being sent to find the missing princely daughter, is widespread in the legends and fairy tales of the peoples of the world. Also typical and award, which promises a luckless father:

So I will give her to the spouses,

With the half of the kingdom of my great-grandfather ...

Like the epic bogatyr Ilya Muromets attracts the nightingale-robber to strive in order to deliver to Kiev, and Ruslan is lucky by the Black Sea to Prince Vladimir, putting a defeated enemy "in the cat for the saddle." Like Ilya Muromtsu, Ruslan valiantly fights with the arms of enemies, besieged Kiev.

The image of a wonderful assistant Hero can be found in many fairy tales, epics, legends. There is such an assistant and Ruslan. This is a wizard Finn, a sage, living in a cave. From him, the prince learns who kidnapped his bride. He also resurrect Ruslana, treacherously killed by a cowardly Farlaff. The old man gives the prince the magic ring, which awakens Lyudmila from the enchanted sleep. Another wonderful assistant is the Giant Head, from which Ruslan receives a magic sword.

The images of the evil sorcerer of the Chernomora and his brother-giggle, their quarrel and the pate of the Blackwood, perhaps are a kind of interpretation of the Scandinavian legend. The legends describe that Sigurd's Hero had a teacher of the Dwarf Regina, who was well-known in many arts, including magic and forging business. Regina had a frantir brother. The brothers quarreled in the deseparation of treasures, and the case ended the fact that Fafnir did not give anything to his brother, and he himself turned into a dragon and began to spin gold. Regina decided to take revenge on his brother and rushed a miracle sword, who handed his pupil Sigurd. He killed the dragon of Fafnir and seized his treasures. Before death, the dragon warned Sigurd that Regina will betray him. The same birds were told, and the Sigurd looked around with a cunning regina. Chernomor, like Regin, also dwarf and sorcerer. The Sword, who is destined to destroy both brothers, in Pushkin's poem at the same time is also a treasure, because of which a quarrel of the brothers occurs. Like the Dragon Fafnire, the head begins this treasure. The hero captives them after the battle with his keeper.

The image of a chopped head in which life is miraculously retained, it was quite possible, was taken by a writer from Celtic legends, in which the hero of the giant growth, who, being mortally wounded in battle, ordered his warriors to separate his head from the body and deliver to Motherland. The head of Brana remained alive for many years, could say, eat and drink. And the beard of the Black Sea, in which its strength is preserved? Recall the fairy tales about the blasphemy of the Immortal, the soul of which is in a thoroughly related needle. The idea that the soul or force is in one or another part of the body or even in the items that exist independently from the body were taking many nations. A special attitude to the beard is also traced in many cultures. In Russia, it was held for a very long time. Recall how Russians opposed the demand of Peter I shave beard.

The image of a sleeping girl, common in fairy tales, is found not only in the Pushkin poem "Ruslan and Lyudmila", but also in another work - "in a fairy tale about the dead princess and about seven heroes." Perhaps this image is one of the oldest in world culture. How did he arouse? It can be assumed that the sleeping girl is an earth stood with winter cold. A to awaken the girl can only the one who is intended to her husbands and the earth will wake up and will come true only under the rays of the hot sun.

Another motive spread in fairy tales is the motive of a lie, assigning the fame of the feat unworthy (often destroyed the real hero, as in Pushkin's poem), as well as the subsequent exposure of the liar, Farlaff, having sneaking Ruslan sleepy, assigns himself a merit of Salvation Lyudmila. However, he cannot wake it up, it is only a resurrect Ruslan: so triumph justice and faithful, devoted love, and meanness and lies are exposed. Finally, the story of Ruslana and Lyudmila traditional for most fairy tales is a funny pyr.

Olonkho is the ancient heroic epic of Yakuts, a kind of epic, the tale of the heroes defending peaceful and affordable life. Olonho oblonho obolonhosuts without musical accompaniment, but with a diverse workshop of the declamation, which gave the basis of the modern researcher to name Olonkho "theater of one actor".

The collective forms of execution are known when the monologues of the characters and the narrative part of Olono are distributed among several olonhosuts. Olonkho describes the original life of a person since the first appearance of it on Earth.

Man, appearing on Earth, begins to organize life on it, overcoming various obstacles standing on his way. Obstacles These creators of Olono are presented in the form of monsters who flooded the wonderful country. They destroy it and destroy all living things on it. A person should clear the country from these monsters and create an abundant, peaceful and happy life on it, so he must be an extraordinary, wonderful hero with a predetermined more than fate, specially sent, "So that the uluses are solar to protect, so that people from death protect themselves."

In all Olonkho, the first person is a hero. He and his tribe of divine origin. Accordingly, the hero is depicted not only to the strongest, in and beautiful, majestic, statist. The appearance of the hero reflects its internally content. In Olonho, the role of a fantastic moment as a means of expressing heroic.

The holistic arch of Olonkho, named according to the central hero of Nuregun Bogur Swift, was created at the beginning of the 30s. XX century The founder of Soviet Yakut literature by Plato Ohunsky. In this peculiar poetic symphony, nine songs, more than 36 thousand poetic lines.

Olonkho is a peculiar encyclopedia of the life of Yakuts for the long ages, where their ideas about the device of the world, the origin and history of human society are reflected. Stories that make up the basis of the plot of Yakut Olonkho, occur against the background of a fantastic world, which is divided into three tiers: the upper (sky), the average (land) and the lower (underworld).

Epos Olonho Cheerically and Humanistic, although talking about a serious time when he constantly had to expect the attacks of the enemies when the young woman was considered dangerous to leave at home alone. Opoetized in Olonkho work of the Kuznetsov and builders, building a house in 90 trenches, airborne weapons, armor of warriors.

The main storyline of Olonho is. In one distant country in ancient times, wide and multi-water rivers flowed. There were valley with lush vegetation, hills and mountains decorated it. 39 Abaasy tribes from the Upper World and the 27 tribes of Adjares from the lower world looked at this country. The 33 tribes of the Middle Health believed that this country would find a worthy host of the Bogatyr only to indicate the supreme institutions. Residents of the Middle World Somehow complained to the deities that they offend the tribes of the Lord of the Lower World Ardizhan Duokai. The ruler of the fate of Jelga Toyon, hovering them to Moluba, decided to settle at the middle of the world of the old man Ayya Sieres Toyon and the old women of Aya Sieres Hotun - Nuregun Botatura and Ayti Kuo. Parents collected children on the road. They gave Nürgun a boysk horse, full military weapons. Old Blacksmith, arming Nuregun Bottur, says:

So live, so that for long age

Do not earn hope

So that from equal to you

Hula do not get down,

So that people are offended

So that everyone praised you,

So as not to bear you.

Nuregun Bootur and Ayti Kuo said goodbye to their relatives and descended into the middle world. Children lived carefree. The boy went hunting and looked at his cattle. When Nuregun reached 17 years, he felt herself with a heaway and hurt the fellowship. He began to call the battledrey fight from the Upper and Lower World.

Olonkho shows how the Nuregun Bootour is being tuned, as its strength, refined by the desire for justice. Particularly exciting Olonkho, chanting the feats of Nuregun Bottur in the fight against the monsters of the underworld. They are set out with exceptional skill and enjoyed very popular in the past century.

Table 1

Comparison of mythological characters and plot segments

Poem A.S. Pushkin "Ruslan and Lyudmila"
Old man Finn	Satherkeen SESEN.
In the cave an elder; clear view Calm eyes, brother's gray; The lamp is lit in front of it; For an ancient book he sits, Her carefully reading.	In the cave in deep more often forest, He lived Sayerkeen Sasan Stamet-Venun. The gadel was good The predictor of the fate of fate was, there was a phony.
	Tuyaaryma Kuo and Ayotalya Kuo
Lyudmila Beauty, all the girls are more beautiful (so described the singer).	Beautiful with the glittering clear face. With nine-covered oblique, Captive and prompt was Thuyaarya Kuo. Aytalya Kuo Beauty. With a wavy black oblique. In eight fly sizes. White, like ermine. Pepping about such beauties in the old days, singers.
	Nuregun Bootour
Prince brave, strong well done.	Born to become a great hentrah, not visited Bogatyr-Giant.
Chernomor	Muus-Kudulu, Esech Harbõr, Bohsogollah Bootore, Kay-Uuruk.
Wizard Chernomor Dwarf Villain, Kidnapper Beautiful Girls and Lyudmila	They are abahah kidnappers Tuyaarymakou and Aytalynakou.
Bayan (Saucer, singer)	Olonhosut (Saucer)
All smilkley, listen to accordion: And famous sweet singer Lyudmila-Charm and Ruslan And the llabe of a piggy crown.	Like old olonhosut Foot leg putting I started sewing Olono. Continued the story to dawn About distant times The teacher was that was As an emissal famous Tuyppiy On the Nickness of Cheebius.
At Lukomorye Oak Green ...	Aal Luha Mas.
"Green oak" is an image from the myth of the world tree that connects the lower world, the land and nine heaven. According to the thoughts of the ancient Slavs, the world tree is more like a huge sprawling oak, whose vertex over the seventh heaven, where there is an island, and the progenitor lives the greatness of all animals and birds.	In the middle of the Universe, Aal Luc Mas is - a world tree, whose roots go to the lower world, Crohn grows in the middle world, and the branches are directed high to the sky, where the deities of the upper

table 2

Scene segments and objects	Poem A.S. Pushkin	Olonho Nuregun Bootur rapid
Abduction of beautiful-reviews.	Tremble He promotes the darkness of a mute ... About Mount: No girlfriend is cute! There is enough air it is empty; Lyudmila is not in dark thymus, Abducted by missile strength.	Three-headed snakes flew The left side of the house was submought, Blow of monstrous tail The eastern side ruined; Beautiful thuyaarya kuo, Unhappy daughter Ayya For eight-nosed Spit grapple Tedged in height three-headed snakes With screaming prisoner 2. Heard a desperate cry, Sisters of their ayotalyny kuo She asked all thirty days Sisters did not find anywhere.
Salvation of heroine	But, remember the secret gift of the rings, Ruslan flies to Lyudmila Sleeping, Her calm face Concerns hand trembling ... And Miracle: Young Princess, Sighing, opened bright eyes!	Grabbed from under his legs, From under the clawing paw it Aytalyna Kuo - his sister Dragged her in his palms, Skill saying, Turned into a lounge hair, And stood in the ear's ear.
Battle of heroes	Already sorcerer under the clouds; On the beard hero is hanging; Fly over gloomy forests Fly over wild mountains Fly over the vigorous marine; Ruslan for the beard of the villain Persistent keeps his hand. Took the sword of the struck head I. Beard grabbing another, Coupling her, like a handful of grass.	He killed Wat Usutaka with her long knife. He was in the stomach Adriarai Naedle.
Magic subjects Magic Water, Live and Dead	With the help of which Finn resurrect the deceased Ruslan. And the corpse wonderful beauty promised. And cheerful, full of new forces, Ruslan rises, on a clear day.	Nuregun Bootur his brother sprayed a mighty body with water. Two-three drops in his mouth poured and he was risen and again his life rebelled.
Secret places of negative characters	Moreover, know, to my misfortune, In his wonderful beard Lighted rocky And, everything is despised in the world, Beard Covered The traitor is not afraid of evil.	He unzipped the belt Iron his own, nine-layer open Wrought-made armor His defense Fierce soul.

Comparison of items, plot segments of works

At the beginning of the study, we have conducted a little survey, 20 students of 5-7 grades took part in it.

The questionnaires found the following questions:

1. Is there any similarity between the plots of the poem A.S. Pushkin "Ruslan and Lyudmila" and Olonho "Nuregun Botar rapid"?
2. If there is similarity in plots, then what examples can you lead?
3. What are the heroes of the poem and Olonho can compare?

Fig.1. The understanding of the similarity between the plots of the poem A.S. Pushkin "Ruslan and Lyudmila" and Olonho "Nuregun Botar rapid"?

Fig.2. Opinion on similarity in plots and examples of similarity

Fig.3. Answers to the question: "What are the heroes of the poem and Olonho can compare?"

Result Result: We compared and conducted an analogy between mythological characters and plot segments of the poem A.S. Pushkin "Ruslan and Lyudmila" and Olonho "Nuregunbotur rapid", and we managed to discover some similarities that were reflected in the table.

As a result, we found out and concluded that there was a poem of the AU. Pushkin and Yakutsk Olonkho is possible, because the poem "Ruslan and Lyudmila" is, in fact, the alloy of folklore and mythological motives, which the poet used when writing this work. And in the mythology of different nations, in turn, a variety of parallels are found in the scene schemes and the character system.

Practical significance. Materials of this study can be used in the study of mythology.

Literature:

1. Large explanatory dictionary of the Russian language / Ed. D.N. Ushakov. - M.: LLC "Publishing Astrel", 2004.
2. Maimmin E.A. Pushkin. Life and art. - M. "Science", 1982.
3. Ozhegov S.I. Dictionary of the Russian language. M.: LLC Publishing House Onyx, 2007.
4. Olonkhodojduta - Land Olonkho. - Yakutsk: Bichik, 2006.
5. Pushkin A.S. Works in three volumes. State publication of fiction. Moscow, 1954.
6. Outian heroic epic Olonkho. Recreated on the basis of folk tales P.A. Ohunsky. Yakut Book Publishing House, 1975.

The collective memory of the people was the heroic epic, in which his spiritual life, ideals and values \u200b\u200breflected. The origins of the Western European heroic epic lie in the depths of the barbaric era. Only by VIII - IX centuries. The first records of epic works were compiled. The early stage of epic poetry associated with the formation of the early refortel military poetry - Celtic, Anglo-Saxon, Germanic, Hist Party - reached us only fragmentary.

The early epos of Western European peoples arose as a result of the interaction of the Bogatyr Tales-song and the primitive mythological epic on the first-term "cultural heroes", which were considered by the tribe-fallats.

The heroic epic reached us in the form of ambitious epic, songs, in a mixed, poem-song form, and less often - prose.

The oldest Icelandic literature on the time of occurrence includes the poetry of scalds, Eddic songs and Icelandic sagas (prosaic legends). The most ancient scald songs have been preserved only in the form of a quotation from Icelandic Saga XIII century. According to the Icelandic tradition, Scalda possessed public and religious influence, were humane and strong people. The poetry of Scaldov is devoted to the praise of any feat and the gift gained for him. Scalidic poetry unknown Lorism, this is a heroic poetry in the literal sense of the word. So far reached verses of about 250 scalds. About one of them - the famous Warrior poet - Egil Skallagarimsone (X century) narrates the first of the Icelandic Saga - "Saga about Egil".

Along with the author's poetry of Scaldov in Iceland, in the same period, songs about the gods and heroes, which were works of impersonal tradition were widely known. Their main content is the main mythological stories - the feats of gods and heroes, legends on the origin of the world, its end and revival, etc. These songs were recorded approximately in the middle of the XIII century. And conventionally combined with the name "Elder Edda". The date of origin of one or another of the Eddic songs is not established, part of them goes back to the era of the Viking (IX - XI centuries).

Icelandic sagas are dedicated to events that occurred a century after the settlement of Iceland by Norwegians ("Age Sag" - 930 - 1030). Compiled in prosaic form, they tell about the most famous representatives of individual clans, about generic hostility, military campaigns, fights, etc. The number of heroes of Saga is very much as significant and their volume. A huge Saga set is like an extensive epic, whose heroes are thousands of Icelanders acting at about the same time. Unnamed authors of Icelandic Saga describe not only events, but also morals, psychology, faith of their time, expressing the collective opinion of the people.

Celtic epic is ancient European literature. Irish sagas arose in I. AD And folded for several centuries. In writing, they exist with the VII century. - (reached us in the records of the XII century). Early Irish saga - mythological and heroic. The content of them is the pagan beliefs of the ancient Celts, the mythical history of the settlement of Ireland. In the heroic sagas in the main hero of the kitchen found a reflection of the national ideal of the people - a fearless warrior, honest, strong, generous. In heroic sagas, a lot of space is assigned to the description of the Kukhulin fights.

The Phoenian cycle refers to the XII century. Hero His Finn Mak-Kul, his son Singer Ossin and their military. This cycle existed in many editors, in a number of them talks about Oissin's wanderings in wonderful countries and about his return to Ireland after its Christianization. In the dialogues of Ossin and St. Patrick is compared the life of the people before and after Christianization.

Although the ancient Irish sagas and were recorded already in the XII century, right up to the XVII century. They continued to exist in the form of an oral tradition, over time, adopting the form of folk Irish fairy tales and ballads.

The Anglo-Saxon Epos "Beowulf", relating to the end of the VII - the beginning of the VIII century, was formed on the basis of earlier oral heroic songs. The hero of the epic - brave knight from the South Kandavanian tribe of Gautov, saving the king of the Korol Hergoard who fell into the trouble. The hero makes three wonderful feathers. He wins the monster of Grendal, destroyed the king's warriors. Deadly wounding Grendal and defeating his mother, Mustile for his son, Beowulf becomes the king of Gautov. Being already old, he makes his last feat - destroys a terrible dragon, blowing gauts for the golden cup stolen. In a duel with a dragon, the hero dies.

Beowulf is a bizarre interlacing mythology, folklore and historical events. Stem, three wonderful fights - elements of the folk fairy tale. At the same time, the hero himself fighting for the interests of his tribe, his tragic death is the characteristic features of the heroic epic, historical at its base (some names and events described in Epos are found in the history of the ancient Germans). Since the formation of the epic refers to the end of the VII - the beginning of the VIII centuries, i.e. More than a century after the adoption of Christianity, Anglo-Saxons, Christian elements are found in Beowulfe.

In the XII century The first written monuments of the medieval heroic epic in handlers appear. Being copyright, they are based on their folk heroic epic. The images of the medieval epic are largely similar to the images of traditional epic heroes - these are fearless warriors, tightly protecting their country, brave, faithful to their debt.

The heroic medieval epos in an idealized form reflects the folk norms of heroic behavior, in it, in synthesized form, they found a reflection of the presentation of the people about the royal power, a squad, about heroes, he was permeated by the spirit of people's patriotism.

At the same time, since the medieval heroic EPOS was created in the period of a fairly developed culture of his time, it is obvious traces of the influence of knightly and religious ideas of the era of its creation. The heroes of the medieval epic - the faithful defenders of the Christian faith (LED, Roland), devoted to their seeds of Vassala.

In medieval literature, three extensive epic cycles were developed - about Alexander Macedonian, about King Arthur and about Carlo Great. The latter were the most popular, because Alexander Macedonsky lived in the Doharistian era.

In the center of Caroling Epos, there is a war in Spain. Unlike King Arthur, the hero of Caroling Epos - a real historical face - Karl Great. In the center of the epic on the Spanish War - the chanting of the nape of the nephew of Charles Great Roland, who served as the basis of one of the early monuments of the medieval heroic epic - the French "Song about Roland." The poem was written in the era of crusades. (In the middle of the XI century. She was widely known - it was hung in the troops of Wilhelm the conqueror before the battle of Hastings in 1066) the earliest manuscript refers to the XII century. The historical basis of "songs" is the campaign of Charles Great to Spain in 778. In order to force Christianity to plant Christianity among the Moors. (The People's Delat was associated with the events of 778. With the struggle of francs against the invasion of Europe. The event was the plot of the heroic song, and later it was literary processed and formed the basis of the "Song about Roland" (although the poem is based on historical events and personalities, there is a lot of fictional in it). The main character of the "Songs" - the face is historical, he is mentioned in the chronicle of Charles Great as a noble feudal.

The hero of the poem is Roland, the nephew of Charles the Great, advises the king to send for negotiations with the Saratiqing king Martily His stepfather of Hanelon. However, the latter betrays francs, concluding a secret agreement with Martilyl. In an effort to take revenge on your steppe for a risky mission, Ganeleon advises Karl to leave Ronsevalsky Gorge, leaving only Roland's warriors there. Mauri destroy the Hero's squad, Roland himself dies last, remembering his fallen warriors. Hero Hero Hanelon was sentenced to shameful death.

Spanish epic - "Song about my Side" - was composed in the period "Reconquisters" (XII century), the time of the struggle of the Spaniards for the return of the lands captured by Maurmi. The prototype of the poem's hero was the historical face - Rodrigo Diaz de Vivar (Maurov called him "Sid", i.e. Mr.).

In the "song" tells about how LED, expelled by King Alphonse Castile, leads a brave struggle with the Moors. As a reward for Victory, Alphonse watches the daughters of Side for noble infants from the Carrine. The second part of the "song" tells about the cunning of the sainties of Side and his vendor for the delegated honor of the daughters.

Lack of fiction, realistic transfer of life and morals of the Spaniards of that time, the language of "songs", close to the people, make a "song about my Side" the most realistic epic in medieval literature.

The outstanding monument of the German epic - "Song of Nibelungakh" - was recorded about 1225. At the basis of the plot of "songs" - the ancient Germantic legends of the great resettlement of peoples - the death of one of the German kingdoms - Burgundy - as a result of the invasion of the Huns (437). However, find out this historic episode of the era of the invasion of nomads in the "song" is extremely difficult. Only a distant szvuk of those distant events are heard.

Netherlands Korolevich Siegfried watched to the Burgundy Queen of Crimgilde and helps her brother Gunter deceived to take into his wife the Queen of Iceland Brungilda. Years of Brungilda, detects deception and orders to kill Siegfried (in conspiracy against Siegfried, the brother of his wife Crimgilde). Kings lure the golden treasure of fabulous Nibelung from Crimgilda, and Siegfried's killer hides him in the Rhine. Crimgilda swars revenge for the treacherous death of her husband (killed in his back). She marries the king Hunov Attila and after some time invites all his relatives to the Gunnskaya Earth with their warriors (in the "Songs" of Burgundy appear under the name of Nibelung). During Pir, Crimgilda deliberates a quarrel, during which the entire burgundy race dies. From the hands of the only remaining dweller dies and Klimgilde herself ...

The most important source of the formation of the heroic epic - myths, especially mythological legends on the first-enders - cultural heroes. In an early epipraction, the expansion of the family-breeding building, the heroic appears in the mythological shell; The language and concept of primitive myths are used. Historical legends (see History and Myths) are a secondary source of development of the archaic epic, to a certain extent coexist with him, almost without mixing. And only later, the classic forms of the epic, developed in the context of the state consolidation of peoples, rely on historical traditions, there is a tendency to demiatologization. The relations of tribes and archaic states actually existed. In the archaic epic, the past tribe is drawn as the story of "real people", the human race, since the boundaries of humanity and the tribe or group of related tribes are subjectively coincide; They are told about the origin of man, mining cultural elements and protect them from monsters. The epic time in these monuments is the mythical era of the first hand.
In an archaic epic, a certain, largely mythological, dual system of constantly hostile tribes - his, human, and someone else's demonstration (at the same time, other mythical worlds and tribes may appear in the epic). This interpretable struggle is a specific expression of space protection against chaos. "Enemies" mostly chtonic, i.e. are associated with the underground world, death, diseases, etc., and the "his" tribe is localized on the "middle ground" and enjoys the patronage of heavenly gods. Such, for example, contrasting, purely mythological, ideas, the Yakut demonski Bogatiy Abasi, who are under the auspices of the spirits of diseases, chonic demons abasi, I.human richie Aya, patronized aya. This purely mythological opposition is superimposed in the Yakut hedge poems to oppose the ancestors of Yakuts - a group of cattle-breeding Turkic tribes - the Tungus-Manchurian tribes engaged in forest hunting and fishing.
In the epic of Altai Turils and there is no sharp division into two warring tribes (Buryat such division is preserved in applied to heavenly spirits and gods), but the hedgehogs are fighting with various mangyadhi monsters in Buryat Uzigrekh (see Art. Mangus) or with monsters , subordinate to Erlik, the owner of the underworld, in the epic of the Altaians. Sumero-Akkada Gilgamesh and Enkidu, Georgian hero enter the fight against monsters Amorani, Famous ancient Greek heroes Perseus. Testa, Hercules, German-Scandinavian and Anglo-Saxon heroes Sigmund, Sigurd, Beowulf. For the Archaic epic, a typical purely mythological figure of the "Mother" or "Mistress" of the Demon's Bogatyers: Old Shaman Abasus in Yakut poems, the old woman-partridge - the mother of the Altai monsters, the ugly mangyadheyaka at Buryat, "Swan's old women" at Khakasov, the owner of the country of the North Louchi in Finns and so on. With these characters, you can compare, on the one hand, the mythical - Eskimo Sedna, Ketsk Husedem, Babylonian Tiamat, and, on the other hand, the characters of more developed epic - the Queen of Medb in Irish Sagah, the mother of Grendel in Beowulfe, Staruha Surheil in the Turkic "Alpamyshe" and so on.
"His" tribe in archaic epic has no historical name. NARTS or SONS KALEVA (the complete identification of Finnish heroes with sons of Calais shafts takes place only in the text "Kalevala", published by E. Lenrotom, Wed. Estonian Kalevipoeha And Russian Kolyvanovichi) is just a tribe of heroes, heroes, opposing not only in chtonic demons, but in part and their crushed descendants. In the developed epos - German, Greek, Indian - Goths and Burgundy, Ahetis and Trojans, Pandavas and Kauras, who have already disappeared as independent tribes and only as one of the components included in the "ethnos" of the Epos carriers, protruding primarily as the heroic tribes of long-standing heroic century, presented as a certain heroic, in essence is a mythical, sample for subsequent generations.
Something in some narts and them like the heroic tribes are comparable to once acting on the ancient myths from ancient myths (especially since they are perceived as the ancestors of the people - the carrier of the epic tradition), and the time of their life and glorious campaigns - with the mythical time of the "dream time" . It is not by chance that in the images of the heroes of the most archaic epic poems and the telves, the relic features of the first-term or cultural hero are clearly discovered. So, the oldest and most popular Hero of the Yakut Olonkho Er-Sogotokh ("Lonely Husband") - Bogatyr, who lives alone, who does not know other people and has no parents (hence his nickname), as he is a pent of the human tribe.
In the Yakut epic, another type of hero, sent by the Heavenly Gods on Earth with a special mission - to clear the land from the monsters of Abasi. This is also a typical act of mythological cultural hero. The epic of the Turkic-Mongolian peoples of Siberia knows the mythological couple of the first people - the hedgeons, the organizers of life on the "middle ground". In the Buryat Uligrah, the sister woves the heavenly goddess brother in order to continue the human race. Images of the Rhodonarch Complex-Predelnikov occupy an important place in the Ossetian tale of NARTS. These are Satan and Urapism - Sister and Brother, who became spouses, as well as the twin brothers Akhsar and Akhsartag (Wed with Gemini Sanasar and Bagdasar - The founders of Sasun in the ancient branch of the Armenian epic). The oldest Nart Bogatyr scraps brightly discovers the features of the cultural hero.
More brighter the features of the cultural hero demyurge are in the image of Karelian Finnish Vynynyameinen And partly his "twin" - Blacksmith-Demiurge Ilmarin. In many ways, Vynynyameinen is comparable to the image of the Scandinavian God of Odin (a cultural hero - shaman, his negative option is a plow of Loki). The connection of the images of Odin, Torah, Loki with traditions of cultural heroes facilitated the transformation of these gods into the heroes of the Archaic era.
The mythological layer is easily detected in the classic forms of the epic. For example, in Indian Ramayan, the frame retains the features of the cultural hero, designed to destroy the demons, and reminds Barida and some other characters of Dravid myths. In the Mongol Epos about Geeres, the hero also performs a mission to combat demons in all four countries of light, which corresponds to the archaic cosmological model; Hese is not alien and the features of the trikester. In the epic creativity generated by ancient agricultural civilizations, calendar myths specific for these agricultural civilizations are widely used as models of building a plot and image.
Many epic heroes, even having historical prototypes, are definitely correlated with those or other gods and their functions; Therefore, some plots or fragments of plots reproduce traditional mythologies (which, however, is not proof of the origin of the epic monument as a whole from myths and ritual texts).
According to the study of J. Dyumezil, an Indo-European trichotomic system of mythological functions (magical and legal power, military force, fertility) and the corresponding hierarchical or conflict relations between the gods are reproduced at the "heroic" level in "Mahabharat", Roman legends and even in the Ossetian version of Narth legends. Pandavas in Mahabharat - in fact, the sons are not a fruitless panda, and the gods (Dharma. Wai, Indra and Ashwinov) and in their behavior they repeat to some extent the functional structure in which these gods enter. The relics of such a structure of Dumezzil sees in "Iliade", where Paris, choosing Aphrodite, restored the Gera and Athen against himself, representing other mythological functions, and the war. In the history of the destructive war, the Pandaves and Kauravov dumezil also sees the transfer to the epic level of the eschatological myth (cf. A similar phenomenon in the Irish tradition). Given the mythological substructure of heroic epic, Dumezil reveals a number of epic parallels in the ancient literature of Indo-European peoples (Scandinavian, Irish, Iranian, Greek, Roman, Indian). However, the classic forms of the epic, although in them there is a connection with myths, unlike archaic epics, based on historical legends, enjoy their language to present the events of the distant past, and not the mythical, but historical, more precisely - quasi-historical. They differ from the archaic epic not so much the degree of reliability of the story, how many geographical names, historical names of tribes and states, kings and leaders, wars and migrations. The epic time is presented by the type of mythical as the initial time and the time of active actions of ancestors predetermined the subsequent procedure, but it is not about the creation of the world, but about the dawn of national history, about the device of ancient state formations, etc.
The mythical struggle for space against chaos is transformed into defense of the relative group of tribes, its states, its faith from the invaders, rapists, pagans. Fully disappears the shamanic halo of the epic hero, giving way to a purely military heroic ethics and aesthetics. Like myth, the heroic epic is not perceived as fiction, and in this sense they can be almost equally opposed to the fairy tale. Only in the nomanic epic (knightly novel) of the heroic epic line and the magic fairy tale seemed to merge. The novelter epic is recognized as artistic fiction.

LIT:

• Meletinsky E. M., the origin of the heroic epic, M., 1963;
• Toporov V.N., On the cosmological sources of early historical descriptions, in the book: Proceedings on the iconic systems, T. B, Tartu, 1973, p. 106-50;
• Grinzer P. A., Old Indian Epos. Genesis and typology, M., 1974;
• Riftin B. L., from myth to the novel. Evolution of the image Character in Chinese Literature, M .. 1979;
• CARPNTER K., Folk Tale, Fiction and Saga in The Homericepiea, Berkeley - Los Angeles, 1946;
• AUTAN CH., HOMERE ET LES ORIGINES SACERDOTALES DE L "EPOPEE GRECQUE, T. 1-3, P., 1938-43; His, L" Epopee Indoue, P., 1946;
• Levy G. R., The Sword from the Rock. An Investigation Into The Origins of Epic Literature and The Development of The Hero, L "1953;
• Vries J. Da, Betrachtungen Zum Marchen Besonders in Seinem Verhaltnis Zu Heldensage und Mythos, Hels., 1954;
• Dumezil G .. Mythe et Epopee, t. 1-3, P., 1968-73.

E. M. Meltellin