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LJUBLJANA 19 9 8
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Studia mythologica Slavica I. © 1998, ZRC SAZU, Ljubljana
Uredniški odbor/ Comitato di redazione:
Pietro U. Dini (Universita degli Studi della Basilicata), Stefano Garzonio (Universita degli Studi di Pisa), Elena Levskievskaja (Institut slavjanovedenija Rossijskoj Akademii Nauk, Moskva), Vlado Nartnik (ZRC SAZU, Inšitut za slovenski jezik Frana Ramovša, Ljubljana), Andrej Pleterski ZRC SAZU, Inštitut za arheologijo, Ljubljana)
Urednika / Curatori Monika Kropej,
ZRC SAZU, Inštitut za slovensko narodopisje, Gosposka 13, 1000 Ljubljana, Slovenija E-mail: monika@alpha.zrc-sazu.si
Nikolai Mikhailov,
Universita degli Studi di Pisa, Dipartimento di Linguistica,
gia Instituto di Lingua e Letteratura russa,
via della Faggiola 2,
56100 Pisa, Italia
E-mail: mikhailov@ling.unipi.it
Izdajata / Publicata da
Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti, Inštitut za slovensko narodopisje, Ljubljana, Slovenija in / e
Universita degli Studi di Pisa, Dipartimento di Linguistica, gia Instituto di Lingua e Letteratura, Pisa, Italia
Oblikovanje in oprema / Impostazione grafica Milojka Žalik Huzjan
Tisk / Stampato da Tiskarna Planprint d. o. o.
Tiskano s podporo Ministrstva za znanost in tehnologijo Republike Slovenije / Stampato con il sostegno finanziario del Ministero della Scienza e Tecnologia della Repubblica di Slovenia
ISSN 1408-6271
Po mnenju Ministrstva za kulturo Republike Slovenije sodi publikacija med proizvode za katere se plačuje 5-odstotni davek od prometa s proizvodi.
Vsebina Indice
Uvodna beseda/Introduzione..............................................................................................7
HnKHTa H.To.ctoh: «Be3 nerapex yr.OB raöa He ctpohtca»
(3äMeTKM no c^aB^HCKOMy fl3bmecTBy).................................................................9
Niko Kuret: Zum Ursprung der Herbergsuche................................................................23
SLOVANSKA MITOLOGIJA - VIRI IN REKONSTRUKCIJE MITOLOGIA SLAVA - FONTI E RICOSTRUZIONE
B^aflHMHp H. TonopoB: HeKOTopHe BonpocH rayneHHA c.aBAHCKOÖ MH^o.orHH.. 29
Leszek Moszynski: Dlaczego naukowe opisy praslowianskich wierzen
s^ tak rožnorodne...................................................................................................35
Aleksandar Loma: Interpretationes Slavicae: Some Early Mythological Glosses........45
Nikolai Mikhailov: Einige Anmerkungen zur slowenischen mythopoetischen
Tradition im Rahmen der slawischen Mythologie............................................... 55
Vlado Nartnik: Pogansko bogovje slovanskega vzhoda in zahoda v luči slovenskih
ljudskih pesmi.........................................................................................................61
Hhkoc HaycHflHc: C.OBeHCKHTe naHTeoHH bo .hkobhhot Me^nyM: CBapor.............75
Zmago Šmitek: Kresnik: An Attempt at a Mythological Reconstruction.....................93
AHHa n.OTHHKOBa: roxHOC.aBAHCKaa Hapo^Haa fleMOHO.oraa B 6anKaHCKOM
KOHTeKCTe ............................................................................................................. 119
^roflMH.a H.BHHorpa^OBa: ,D,yxH, Bce.aro^nera B ne.OBeKa.................................... 131
CBeT.aHa M.To.CTaa: MaranecKHe cnocoÖH pacno3HaBaHHa BeflbMH ....................141
Monika Kropej: The Horse as a Cosmological Creature in the Slovene
Mythopoetic Heritage.......................................................................................... 153
Marjeta Šašel Kos: From the Tauriscan Gold Mine to the Goldenhorn
and the Unusual Alpine Animal.........................................................................169
TaTMHa AranKHHa: Mn^o.orna ^epeBbeB b Tpa^HUHOHHOH Kynbrype
c.aB^H: .e^HHa (Corylus avellana)...................................................................183
Nikolai Kolev: Zu einigen Legenden und Überlieferungen von
Wasserquellen in Bulgarien.................................................................................195
Mirjam Mencej: Vorstellung vom Wasser als Grenze zum Jenseits
in der slowenischen..............................................................................................205
Helena Ložar-Podlogar: Kres, Die Sonnwendbräuche der Slowenen..........................225
Äynno C. PHCTecKH: MHTCKHTe npeTCTaBH 3a CBeTOT Ha MpTBHTe bo
Tpa^HnHOHanHaTa Kyrnypa Ha MaKeflOHUHTe..................................................243
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Pietro U. Dini: Nota su sl. *ubog- "demone domestico" e it. povero "defunto".........259
PSIHOLOŠKA INTERPRETACIJA LJUDSKEGA IZROČILA INTERPRETAZIONE PSICOLOGICA DELLA TRADIZIONE POPOLARE
Damjan J. Ovsec: Fair Vida. The Everlasting Importance of the
Psychological Aspect of the Slovene Ballad......................................................265
NEINDOEVROPSKE VZPOREDNICE
PARALLELI NON-INDOEUROPEI
Maja Milčinski: Yin-yang v kitajski mitologiji in vprašanje
primerjave s slovanskima Belbogom in Črnbogom...........................................281
MITOLOGIJA IN KNJIŽEVNOST MITOLOGIA E LETTERATUR
Stefano Garzonio: Alcune considerazioni sul pantheon slavo nell'opera
di Aleksandr Radiščev.........................................................................................291
Dejan Ajdačic: Govor demona u slovenskim književnostima 19. veka........................299
E^eHa E.^eBKHeBCKaa: K Bonpocy 06 oahoh MHCTH^HKanHH oth roro^eBCKHH
bhh npH CBeTe yKpanHCKoft MH^o^oran.........................................................307
Uvodna beseda Introduzione
Uvodna beseda	Introduzione
Pred nami je prva številka zbornika Studia mythologica Slavica, ki ga pripravljata Inštitut za slovensko narodopisje Znanstvenoraziskovalnega centra Slovenske akademije znanosti in umetnosti v Ljubljani in Oddelek za jezikoslovje Univerze v Pisi. Namen zbornika je predstaviti mitopoetično izročilo in duhovno kulturo slovanskih narodov, prav tako pa tudi osvetliti slovansko bajeslovje iz različnih vidikov, ter na ta način prispevati k njegovi čim bolj natančni rekonstrukciji. Znano je včasih skeptično stališče nekaterih strokovnjakov do slovanskega bajeslovja. Za tak odnos je poleg terminološke nedoločenosti samega pojma "(slovanska) mitologija" krivo tudi pomanjkanje prvotnih virov, nezanesljivost nekaterih bajeslovnih sporočil ipd. Vendar nihče ne dvomi, da so poganski kulti med Slovani do pokristjanjevanja in tudi po njem obstajali. Če pa je slovansko poganstvo obstajalo, je prav, da si postavimo vrsto logičnih vprašanj, kot npr., kako se je izražalo, iz kakšnih elementov je bilo sestavljeno, kakšne so bile njegove značilnosti? Na ta vprašanja moramo skušati najti odgovore, ker bodo drugače določena področja duhovne kulture in zgodovine slovanskih narodov ostala brez razlage. Skrajno neodgovorno bi se bilo odreči mitološkim raziskavam samo zato, ker se zdi del virov malo zanesljiv. Nezanesljivost virov še ne pomeni, da je tudi predmet, o katerem ti viri poročajo,
Presentiamo il primo numero della miscellanea "Studia mythologica Slavica" ideata e realizzata dallo Znastvenorazisko-valni center Slovenske akademije znanosti in umetnosti e dal Dipartimento di Lingüistica dell'Universita degli Studi di Pisa. Lo scopo di questa pubblicazione e quello di presentare la tradizione religiosa e mitopoetica dei popoli slavi, di affrontare la mitologia slava dai vari punti di vista, e di contribuire cosi ad una sua piu articolata ricostruzione. E' noto che l'atteggiamento di alcuni studiosi - soprattutto linguisti - verso la mitologia slava e a volte assai scettico. La causa di un tale atteggiamento, a prescin-dere della "vaghezza" terminologica del concetto stesso di "mitologia (slava)", sta anche nella mancanza delle fonti primarie e/o nella grande "inaffidabilita" di alcune di esse. Tuttavia nessuno dubita del fatto che culti pagani tra gli Slavi siano veramente esistiti prima e anche dopo la loro cristianizzazione. Se il paganesimo slavo e esistito, sembra piu che logico dover porre alcune domande molto concrete: come si manifestava questo paganesimo, quali erano le sue componen-ti, che particolarita aveva? Dobbiamo cercare di rispondere a queste domande, altri-menti molti aspetti della cultura, vita spiri-tuale e storia dei popoli slavi rimarranno non illuminati e non spiegati. Sarebbe un'ingenuita fatale rinunciare alle ricerche solo perche una parte delle fonti sembra poco affidabi-le. L'inaffidabilita delle fonti non deve significare che anche il loro oggetto e a priori
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sam po sebi nezanesljiv. Glede na sedanje stanje raziskav bi moralo biti v ospredju "iskanje novih" (to je še neodkritih) virov in ponovna interpretacija že znanih podatkov.
V čast nam je, da prinaša zbornik posmrtna članka tako pomembnih znanstvenikov, kot sta bila Niko Kuret in Nikita Tolstoj. Zahvalo smo dolžni vsem, ki so izid zbornika podprli, še posebej pa založniku, ki je natis zbornika gmotno omogočil.
inaffidabile. Per lo stato attuale degli studi mitologici sarebbero importanti sia la ricer-ca di qualche fonte "nuova" (ancora non scoperta) sia la rielaborazione dei dati or-mai acquisiti.
Siamo onorati dal fatto di poter ospi-tare sulle nostre pagine i contributi di due grandissimi studiosi Niko Kuret e Nikita Tolstoj recentemente scomparsi. Ringrazia-mo tutti coloro che hanno sostenuto la pub-blicazione della miscellanea ed innanzitutto l'Editore che ha reso materialmente possi-bile la stampa degli "Studia mythologica Slavica".
Monika Kropej & Nikolai Mikhailov
Ljubljana - Pisa, 19. 1. 1998
8
«Be3 HeTbipex yr^OB H3Öa He ctpohtca» (3aMeTKH no c^aBAHCKOMy A3MHecTBy)
HuKuma KToncmoü 1923 - 1996
XOpOmO BCeM H3BeCTHHH (O^bKHOpHO-ÖHTOBOH TeKCT
"Eoz Tpouuy (hah mpouuy) Aw6um.
Be3 HeTHpex yraoB H30a He CTpOHTca", ynOTpeö^aeMHH oöhhho npH flpyxecKOM pacnHTHH KpenKHx HanHTKOB, flna TOrO HTOÖH cocefl HnH KOMnaHHa "npHHana" cneflyromyro, OHepeflHyro proMKy, HaBOflHn MeHa B MHOCTH Ha HeKOTOpHe pa3MHmneHHa. R He^OyMeBan, noHeMy nocne oöpa^eHHa k BOry oneflyeT flOBonbHO öaHanbHoe Ha nepBHH B3rnafl yTBepxfleHHe, hto y h3Öh HeTHpe yrna, hto OHa TaK h CTpOHTca. noHeMy b TeKCTe npoHcxoflHT TaKOH pe3KHH nepexofl ot Hero-To öoxecTBeHHoro h BO3BHmeHHoro k HeMy-TO 3eMHOMy, oÖHfleHHOMy, OHeBHflHOMy? H noHeMy npH 3tom ynoMHHaeTca H30a, a He KOHb h KOHCKHe KonHTa, HanpHMep? ("KoHb o HeTHpex KonHTax, fla h to cnoTHKaeTca"). MHe He npHxoflHno b ronoBy Torfla, hto HeTHpe yrna b pyccKOH H3Öe, b cnaBaHCKOM flOMe - caKpanbHH, b CBoeM pofle CBa^eHHH, hto OHH CBa3aHH c flyxoM-xpaHHTeneM flOMa, flOMamHero OHara, ceMbH h CKOTa, T.e. c flOMOBHM h eMy noflOÖHHMH flyxaMH. BepoaTHO, a npocTO He 3Han 3Toro KaK cneflyeT.
B KocTpoMCKOM Kpae e^e b nepBOH nonoBHHe Hamero BeKa cy^ecTBOBan pafl noBepHH h oöpaflOB, CBa3aHHHx c HeTHpbMa yrnaMH KpecTbaHCKOH H3ÖH.1 TaK, b HepexTCKOM ye3fle "Korfla Ha hobom MecToxHTenbCTBe bo flBope He BefleTca CKOTHHa, to xoflHT Ha noMene xeH^HHa, C npHBa3aHHHM k noacy nanTeM Ha CTapoe MecTO, rfle xHnH paHbme, h roBopHT: «HoBoro xo3aHHa boh co flBopa, a «CTaporo» npocHM mhtocth», h 3aTeM, Korfla npHxoflHT oöpaTHO, to HfleT b hobhh flBop, CTeraeT KHyTOM no BCeM HeTbipeM yraaM, e3fla Ha noMene, roBopa,: «Boh, hobhh xo3aHH, a CTapHH npocHM mhaocth»" (c. YjiemnaHb, Xyp. ^CnM, 187). B TanHHCKOM ye3fle, htoöh yMHnocTHBHTb flOMOBoro, "öepyT MypaBbHHOH KyHH h 3aceBaroT no CTeHaM flBopa b yrmi, Ha flBope KnaflyT CTonoBHe noxKH, nocpeflH flBopa BHpHBaroT aMy h KnaflyT 3epeH Bcex KynbTyp h TpaBH, h KpecT. npH 3aceBaHHH MypaBbHHOH KyHeH HHTaroT tph pa3a: «^BopoBoH flOMOBOH, nroÖH Moero CKOTa He no mepcTe, He no KOCTe, a no flyxy»" (fl. MaKapoBO, Xyp. ^CnM, 175).
i
Co3flaHHaa b HaHane 20-x roflOB Hamero BeKa KocTpoMCKHM HayHHHM o6^ecTBOM no H3yHeHHro MecTHoro Kpaa aHKeTa «KynbT h HapoflHoe oenbOKoe xo3aH0TBo» 6bma pacnpocTpaHeHa no BceH KocTpoMCKOH ry6epHHH h Ha Hee 6bmo nonyHeHo MHoxecTBo oTBeTOB. CoÖHTHa KOHua 20-x h HaHana 30-x roflOB npenaTCTBOBanH nyônHKauHH oHeHb ueHHoro h oÔHnbHoro MaTepHana, nonyHeHHoro b BHfle oTBeTOB Ha BonpocH aHKeTbi.9TH oTBeTH xpaHHnHCb b pyKonHCH b KocTpoMCKOM My3ee h, KaK MHe H3BecTHo, b Hame BpeMa ohh 6onbmeË HaoTbro yTpaHeHH. K oHaoTbro, HacTb MarepHana, oTHooa^eroca k MarHH npHnnofla, KynnH-npoflaxH h oxpaHH CKOTa, 6bma tohho oKonHpoBaHa A.O.XypaBneBHM h ony6nHKOBaHa b ero (yHflaMemanbHOM HooneflOBaHHH o noBepbax h MarHHeoKHx fleHOTBHax, oBasaHHHx o flOMamHHM okotom (Xyp. ^CnM). flaHHbie no KocTpoMCKOH ry6epHHH noHepnHyTH H3 MOHorpa(HH A.O.XypaBneBa.
9
«Ee3 neitipex yrjjoB H3Öa He cipoHTca» (ßaMeiKH no ejaBSHeKOMy s3tnecTBy)
K0CTp0MCKHe KpeCTbÄHe BepHnH, HTO BO flBOp H B flOM MOxeT npHHTH HyxOH flOMOBOH, HTO H CBOH «CyCeflymKO» (flOMOBOH) MOxeT 3ama^HTb, HanaTb ÖeCHHHCTBOBaTb co ckotom. B 3thx cnynaax BemanH «Ha nepeknafle» jianOTb (b jianTe nepeB03HnH fl0M0B0r0 H3 CTaporo flOMa b hobhh flOM), h noMe^anH K03na b xneB, h, hto HaM 0C06eHH0 HHTepecHO, CTeranH mTaHaMH h KanbCOHaMH no yrnaM h CTeHaM h36h. B HepexTCKOM ye3fle "B flBeHaflnarb HacoB hohh x03aHH flOMy bhxoaht Ha flBop 6e3 KanbCOH (cp. y pyccKHx o6braH ceaTb 6e3 nopTOK - H.T.) h öbeT KanbCOHaMH no CTeHaM, pyraa npH 3tom fl0M0B0r0 MaTepHHMH cnoBaMH. nocne Hero aomoboh öyfleT nroÖHTb CKOTHHy" (fl. nonafleökHHO -Xyp. ,D,CnM, 196). TaM xe BbixoflaT Ha flBop pobho b flBeHaflnaTb HacoB hohh h CTeraroT no BceM yr^aM mTaHaMH CHHero HBeTa (fl. ,D,aBbiflK0B0, -Xyp. ^CnM, 199) HnH CHHTaroT, hto HaflO "b cy660Ty ro^OMy öeraTb no ÄBopy c KanbCOHaMH - roHaTb fl0M0B0r0" (fl. MaTBeÖKOBO, Xyp. ^CnM, 184). Bce 3to - epefleTBa ot "npoflenok" fl0M0B0r0 co ckotom, epefleTBa, He n03B0naro^He flOMOBOMy nopTHTb CKOTHHy HnH H3r0Haro^He Hyxoro fl0M0B0r0. ^ro6onHTHH npHroBopbi, conpoBoxnaro^He MaraneckHe fleHCTBHa: "... ecnH flOMOBOH nOpTHT CKOTHHy, TO e3flaT nO flBOpy Ha CKOBOpOflHHKe H My^CKHMH Ka.lbCoHaMIl CTeraroT no 3aöopaM, npHroBapHBaa: «^eflymKO flB0pH0H, KopMHnen flOMOBOH, kopmh mom CKOTHHKy, a Hyxoro co flBopa roHH flOMOH!» h CTeraroT b 3to BpeMa KanbCOHaMH no CTeHaM»" (HepexTCK. ye3fl, fl. Aptmkobo, Xyp. ^CnM, 184). none3HbiM anoTponeHnecKHM epefleTBOM MoryT ÖHTb He Tonbko KanbCOHbi, ho h Haxofla^HÖca b hhx ramHHK. n03T0My "ecnH nyxoö aomoboh nopTHT CKOTHHy, to h3 KanbCOH BHTacKHBaroT zacHUK (sic!) h KnaflyT Ha noflBoporaro. Torfla He 6yfleT xoflHTb". (ByHCK. Ye3fl, fl. M. BapamKOBO, Xyp. ^CnM, 164). OflHaKO, no HapoflHbiM npeflCTaBneHHaM, flOMOBbx cneflyeT He Tonbko KpbiTb MaTOM, OTnyrHBaTb nanTeM h T.n., ho h yönaxaTb h yro^aTb. HMeHHO TaK, no o6braaro, nocTynaroT, "Korfla npHBOflaT Ha flBop KynneHHyro Ha nneMa CKOTHHy, flOMOBOMy KnaflyT b yrnbi KycKH xne6a, hto6h oh nro6Hn CKOTHHy" (ConHranHHCK. ye3fl, fl. ffiHxaHOBO Xyp. ^CnM, 207).
B Koctpomckom Kpae n0MHM0 nerapex yrnoB h36h HTyTca h nerape yrna flBopa, hto BHflHO H3 TaKHx fleHCTBHH, KaK coxpaHeHHe peneHHHka bo Bcex nerapex yrnax flBopa neTOM nocne BbiB03a HaB03a, "hto6h Benacb CKOTHHa" (ranHHCK. y. c. CenH^OHTOBO, -Xyp. ^CnM, 173), a TaKxe o6braaö BTHKaTb konronyro TpaBy "nepToroH" Ha flBope nofl
BOpOTaMH H BO BCe yrnbi, "HT06bI flOMOBOH He nOpTHn CKOTHHy" (ByHCKHH ye3fl, fl. BonKOBO,
Xyp. ^CnM, 161).
Bonee KpynHbiM HeTbipexyronbHbiM np0CTpaHCTB0M 0Ka3HBaeTca naxoTHoe none -HHBa, 6narononyHHe kotopoh b ManopoccHH (YkpaHHe) b KynaHCKOM ye3fle XapbKOBCKOH ryöepHHH o6ecnenHBanocb TeM, hto 3apHBanH önaroBe^eHCkyro npoc^opy no nerapeM yrnaM h nocepeflHHe namHH, hto6h He 6bino 3acyxH. HHorfla npoc^opy 3acymHBanH, CTHpanH b nopomok h CMemHBanH c 3eMneH, h, no MHeHHro KynaHCkHx cenaH, "3acyxa He kacanacb 3toh hhbh" (cno6. BopoBaa, Hb. XnKX, 85).
Ha BHTe6^HHe xe, hto6h BHBecTH ocot h copHHe TpaBH b oropofle h Ha none, 3apHBanH b nerapex KOHnax oropofla HnH hhbh "cBaHuoHbiH koctkh" ot nacxanbHoro Maca (Hhk. nnn, 123). A b Phöhhckom ye3fle ^pocnaBCKoft ryöepHHH coBepmanacb noflo6Haa MarHa Ha ManoM, BecbMa orpaHHneHHOM np0CTpaHCTBe. B cyHflykH HeBecTbi, b kotophx OHa npHB03Hna CBoe npHflaHoe, MaTb HeBecTH knana no yrnaM He6onbmHe pxaHHe cyxapHKH ot nenoro KapaBaa. 9th cyxapHKH 3acymHBanHCb b ne^H yTpoM b fleHb croBopa h KaxflHH H3 hhx flonxeH 6^in 06a3aTenbH0 ÖHTb c kopohkoh. B Te xe yrnbi c cyxapHkaMH OTen knan CTapHHHbie MeflHHe MOHeTH HnH cepeöpaHHe nonTHHHHKH.
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HuKuma H.Toncmoü
HeBecTa, craB cynpyroö, coxpaHana cyxapH h MoHeTH Bcro cbom xH3Hb no caMoö cMepTH. Ot TaKHx cyxapHKoB, xpaHHBmHxca b öonbmoö HHcTOTe, moxho ÔHno oTKycHTb HeMHoro npH 6one3HH h npH öonbmoö TocKe. Oöbraaö Ha3HBanca "ponHTenbcKHe cyxapHKH" (Koct. PC, 137).
^pkoh napannenbro k ceBepHopyccKHM npencTaBneHHaM o aomobom aBnaroTca ôonrapcKHe BepoBaHHa h oôpanH, cBa3aHHHe c noMamHHM nyxoM - cmonaHuHoM, T.e. "xo3aHHoM", aomobhm. no cBHneTenbcTBy fl.MapHHoBa, yro^eHHe noMoBoro (cmonameama zos6a) conepxHT pan oôpanoBHx neöcTBHö. HeneTca nHpor (mauh), nenemKa h 3axapHBaeTca KypHna. flna 3Toro Mnanmaa h3 xeH^HH b noMe paHo yTpoM npHHocHT b nonHoM MonnaHHH cBexyro Bony (MmnaHa eoda). Ha 3toö Bone TpeMa noxHJHMH xeH^HHaMH (nonpeMumm meHu) 3aMemHBaeTca TecTo. Ohh xe pexyT h xapaT nepHyro KypHny h neKyT nHpor h nenemKy. CTapmaa h3 xeH^HH cTaBHT caKpanbHyro eny Ha hh3khö KpyraHË cronHK y onara, oKypHBaeT ero h BHnenaeT ot Kaxnoro ônrona nacTb nna "cTonaHHHa". 3aTeM oHa ôepeT THKBeHHbiñ KoBm (ByranonHyro THKBy), B^inHBaeT nonoBHHy BHHa b oroHb, npoH3HocHT: "Padyeaü ce cmonaHe, eecem ce Kbw,o!" ("Panyöca, aomoboö, BecenHcb, aom!") h paanaMHBaeTnenemKy Han cBoeö ronoBoö. NenemKa pa3naMHBaeTca Kpecroo6pa3Ho, Ha nerape KycKa. Oahh KycoK nenemKH c npyroö enoö oTHocmxa nByMa npyrHMH xeH^HHaMH BMecTe c TpeMa proMo^KaMH BHHa Ha nepnaK, rne Bce 3to cTaBHTca b neTbipe tcmh^ix yraa: b nepBbrä yron nacTb nenemKH h proMKa BHHa, bo BTopoö yron - KycoK nHpora h BTopaa proMKa BHHa, b TpeTHö - KypHHaa Hoxxa, a b neTBepTHH - TpeTba proMKa BHHa. H cHoBa npoH3HocHTca: "PanyBaö ce cTonaHe, BecenH ce Kb^o!" 3aTeM xeH^HHH cnycKaroTca bhh3 k onary h pmyan npononxaeTca, ho nanbHeömee onHcaHHe panH 3kohomhh MecTa HaMH onycKaeTca (Map. HB, 563).
Yro^eHHe xo3aHHa-noMoBoro (cmonarnea zosôa) ycTpaHBaeTca nna Toro, htoöh oTBpaTHTb ôenH h HanacTH, o kotophx HHorna ÔHBaroT npenynpexneHHa, a TaKxe noônaronapHTb 3a ynany, xopomHö ypoxaö h npHnnon cKoTa. HccnenoBaTenb 3Toro oôpana ^.MapHHoB cBa3HBaeT 3to c KynbToM noKoÖHHx npenKoB, Ha hto, BepoaTHo, ecTb Bce ocHoBaHHa. Oh oTMenaeT oKKa3HoHanbHHÖ xapaKTep onHcaHHoro oôpana, ôe3ycnoBHo, caMoro ôoraToro pHTyanbHHMH neöcTBHaMH h KoMnoHeHTaMH h3 Bcex H3BecTHHx HaM aHanorHHHHx oôpanoB. BbimeranoxeHHaa 3anHcb ÔHna cnenaHa b Hanane BeKa ^.MapHHoBHM b cene BenHna XapMaHnHËcKoô oKpyrH b Pononax y HeKoeö 6a6H OanH. Ho ero cBeneHHaM, 3tot oôpan ÔHn H3BecreH TaKxe b npyrax noManKHx (MycynbMaHcKHx) cenax b Pononax, b Hhphhckom Kpae b oKpyre roponoB MenHHK, HeBpoKon h roxHee, b 9reöcKoö MaKenoHHH, b paöoHe roponoB Cep, flene-Aran h np.
MaTepHan, coöpaHHHö b Tex xe Pononax b koh^ Hamero BeKa, nonTBepxnaeT h nononHaeT HaônroneHHa fl.MapHHoBa. CmonaH HnH kt>mhuk (ot Kbw,a "aom"), HnH caü6m, ömuh - xo3aHH h oxpaHHTenb noMa. Ho h npyrae MecTa h cTpoeHHa BHe noMa h naxe nBopa MoryT HMeTb cBoero cmonaHuHa. TaKHMH noKycaMH MoryT ÔHTb: moct, nepKoBb, oônoxeHHHÔ KaMHeM hctohhhk, Kononen, nroôoe cTpoeHHe. CmonaHuHoM cTaHoBaTca noKoÖHHKH-ponHHe h npenKH, MepTBenH, nepe3 kotop^ix nepenpHrHyno KaKoe-HHÔynb xHBoTHoe, nymH 3ape3aHHHx (yÔHTHx) b none nroneö HnH xepTBeHHHe xHBoTHHe, 3ape3aHHHe npH 3aKnanKe noMa.
CmonaH xHBeT b noMe, h ero hhkto He bhaht. Oh oôeperaeT aom h ero oÔHTaTeneô ot BcaKoro 3na, npHHocHT b ceMbro 3nopoBbe h ônaroneHcTBHe. Oh caM HHorna HMeeT cBoro ceMbro. Ho cmonaH MoxeT xHTb oahhoko h b 3aôpomeHHx noMax, b MecTax, rne 3apHT Knan. Oh MoxeT ÔHTb h yMepmHM rpemHHKoM, ocTaBmHMca Mexny HeôoM h
«Be3 HeTtipex yrjjoB H3Ôa He CTpoHTCs» (ßaMeTKH no cjaBSHCKOMy s3tnecTBy)
3eMneH, KoToporo He nycKaroT hh Ha Heöo, hh b ero npexHHH noM. TaKHM oöpa3oM, cmonaHUH aMÖHBaneHTeH: oh cnocoöeH, nonoÖHo pyccKHM aomobhm, ÖHTb h noöpHM, h
3AHM, H no^oXHTe^bHHM, H oTpHnaTenbHbIM flyxoM B 3aBHcHMocTH ot oÖCToaTenbCTB.
noaTOMy öonrapbi b Pononax 3oByT cmonaHa HHorna ömuh-om, dpaKyc-oM, epae-oM, dneon-om. CTonaH, 3a^H^aro^HË Bce ceno, Ha3biBaeTca cencKomo. B pononcKoM cene Henenape BepH^H, hto caörn xHBeT Ha nepnaKe, hto TaM oh nacro öbeT b öyöeH h nnameT h hto ot Hero moxho H3ÖaBHTbca, ecnH Hcnenb nHpor, npHHTH h cKa3aTb nacKoBo "HnH-Ka no noöpy, no 3nopoBy!" ("Anne na ch xonHm no xhbo, no 3npaBo!"), a 3aTeM npoBonHB no Kpaa cena, ocTaBHTb ero onHoro c nHporoM (Pon., 46).
HecoMHeHHoe cxoncTBo c oöpanoM h3 PononcKoro cena BenHna oÖHapyxHBaroT HeKoTopbie pyccKHe oöpanH BbinonHaeMbie npH BceneHHH b hobhh noM. TaK, Ha PyccKoM CeBepe, Ha nHHere, b cene KeBpona KoTa nepBoro 3anycKaroT b hobhh noM co cnoBaMH: "S y nenymKH nonpocHnacb, noK^OHH^acb $ hhtmph yraa: «flenymKa na MaTymKa, nroÖH KaTaHymKa! CaM hh roHaä h ahtäm BonH hh naBaH!»" (Apx. nHH. 1.9. KeBpona). Crapooöpannbi b 3aöafcanbe b HoByro H3Öy "3aKoHeBbiBanH" oöa3aTenbHo Ha nonHbrä Mecan, Korna oh npHÖHBaeT, paccwrbiBaa npH stom, hto "Bce öyneT b noMe nonHo". npH 3tom crapanHcb 3anoöpHTb noMoBoro. ,D,na Hero npH "3aKaneBKe" roTOBHnH yro^eHHe: cTpananH öyno^Ky, Ha neTbipe nacTH ee pa3pe3anH h KnanH bo Bce neTbipe yraa, npHroBapHBaa:
9to Teöe, cocena, 9to Teöe, öecena, 9to Teöe, aomoboh. 3anycTH MeHa aomoh. He Honb HoneBaTb, A BeK BeKoBaTb.
npH 3tom o^HH KycoK xneöa (nycmouKy) oTpe3anH ceöe (c. BonbmoH KyHaneH, Bon. KC3, 123).
B Koctpomckom Kpae mox h3 nerapex yrnoB noMa cwranca nenHTenbHbiM. noaTOMy TaM, Korna nocne oTena öaöaM HyxHo öbino oKypHBaTb KopoBy h TeneHKa (nepe3 12 nHeH nocne nepBoro oTena h nepe3 6 nHeH nocne BToporo), Torna ÖpanH mox h3 nerapex H36aHbix yrnoB, ropmoK c nanaHoM h yrnaMH, xonHnH BoKpyr kopobh h TeneHKa, KanHnH h npoH3HocHnH pHTyanbHHH nHanor: "Hto, öaöa, KypHmb?" - "ypoKH, ypoKH! noönHTe b HHcTbie nona, b 3eneHHe nyra! - Co nBopa-To c ahmüm, a c nona-To c BeTpoM!" (c. ynemnaHb, HepexTcK. y., Xyp. ^CnM, 187). B cocenHeö BnanHMHpcKoH ryöepHHH Taxxe nepe3 12 flHeö nocne oTena nonKypHBanH KopoBy. npH stom HeKoTopbe BMecTo nanaHa öpanH H3 neTbipex yrnoB noMa no ^enoTKe Moxy h cMemHBanH c cyxoH TpaBoH, Ha3biBaeMoö "öoroponcKoH TpaBKoH"; npyrHe h3 nerapex yrnoB h3Öh nayTHHy (mennmu) h cMemHBanH co mxom, B3aTHM H3 nerapex yrnoB h3Öh (3aB. BOBr, 124). AHanorHHHbrä oöpan 3a^HKcHpoBaH b ,D,mhtpobckom Kpae, hto k ceBepy ot Mockbh. TaM xo3afca, npexne neM HaHHHaTb oKypHBaTb KopoBy, öpana mox h3 nerapex yrnoB h3Öh, nocKyTKH ot onexnbi Bcex noMamHHx, a Taxxe ot nonoTeHna c yMHBanbHHKa, 3aTeM oTpe3ana no HecKonbKo BonocKoB c ronoB Bcero ceMeöcTBa h noöaBnana ko BceMy 3ToMy tph yronbKa h nanaHy (3ep. MM^y, 44). B stom cnynae noKa3aTeneH pan, b kotophh BxonHT mox h3 nerapex yrnoB, onexna h BonocH Bcex noMonanneB, cHMBonH3Hpyro^He b nenoM doM b npaMoM h nepeHocHoM cMbicne cnoBa. HaKoHen, b e^e onHoM ceBepHoBenHKopyccKoM Kpae, b cenax h nepeBHax oKono HepenoBna, nocne Bbrnoca noKoÖHHKa h3 h3Öh xo3aHKa b Ka^noM
12
HuKuma H.Toncmou
yray flOMa h b Hexnj^ix noMe^eHHax roBoprna: "Bbm fla h HeTy. HeTy fla h He HaflO. AMHHb". (Bpar. ,D,P, 69). y ryiy.noB Ha KapnaTCKOH PycH b npomTOM BeKe cy^ecTBOBm o6bmaH, coraacHO KOTopoMy TOTnac norae CMepTH b flOMe Koro-^H6o h3 6^h3khx ero KpoBHHH po^cTBeHHHK BbixoflM bo flBop h y Ka^floro h3 neTbipex yraoB XaTH Tpy6m B TpeM0HTy nenajbHyro MeMflHro, 3HaKOMyro BceM ^HTe^aM ce^a (Kol. DW, t. 54, 325). TaKHM o6pa3OM, Bepoarao, onoBe^amcb xHTe^H ce^a o cMepTH h npoHcxoflrno hto-to Bpofle nepBoro omaKHBaHHa noKoftHHKa.
B BecbMa y^a^eHHOM ot PyccKoro CeBepa h KapnaT perHOHe, b .hm, b 3OHe, npmeraro^eft k ceBepHOH ,fl,MMaiHH, jiHHaHe-KaTO^HKH npH 3aBepmeHHH norpe6a^bHoro pmyana OTpe3MH y MepTBeiKoro caBaHa (pokrova) nerape yraa, "hto6h cnacTbe He ym^o BMecTe c noKOHHHKOM" (Hec.-Ses. TŽIK, 135). 9to fleftcTBHe 6bmo 6h coBceM HenoH^THHM BHe o6^ec^aB^HcKoro pmyMbHoro KOHTeKcTa.
B coce^Hen xopBaTCKoft ararnecKOH cpefle, b CHHbcKoft KpaHHe, b ,n,mMaiHH Ha CpeTeHHe (2.02. na Svijecnicu) b iepKBH 6^aroraaB^aroT h ocBe^aroT cBe^H, KOTOpbie flOHHH ropeTb b flOMe TO^bKO b raynae cMepTH Koro-^H6o H3 flOMamHHx. Korfla 3th cBe^H npHHocaTca b flOM, xo3afca hx 3axnraeT h KanaeT ropa^HM bockom HecKO^bKO Kane^b b Ka^flOM yray KOMHara h KyxHH (Mil. NOSK, 478-479). B stom raynae yrabi flOMa cHOBa cB^3aHH c Ky^bTOM noKOHHHKOB, Ky^bTOM ymeflmHx npeflKOB-«poflHTe^eft». He HcKnroneHa BO3MOXHocTb, hto h b cBafle6HOM o6pafle yrabi TaKxe cHMBOOT3HpyroT MecTO, rfle MoryT 6HTb h^h fla^e o6HTaTb flymn npeflKOB. 06 stom moxho cyflHTb no o6bmaro, 6biTOBaBmeMy b Othphh, comacHO KOTopoMy HeBecTa, npHmeflmaa b flOM norae BeHnaHHH, noflxoflHT k cro^y, pa3pe3aeT 6ynKy x^e6a Ha nerape nacra h K^afleT b Ka^flHH yro^ no neTBepTymKe x^e6a (Paj. ČDŽ, 105).
Pmyan 6pocaHHa b Cone^bHHK b nerape yraa flOMa rpeiKHx opexoB H3BecTeH b flOBO^bHO o6mHpHOH 3OHe B Cep6HH. C HHM cBA3aH qejHH pafl pa3^HHHHx MH^o^orHnecKHx npeflcTaB^eHHH, npeflcKa3aHHH, o6eperoB, ie^HTe^bHbix h npoflyqHpyro^Hx aKTOB. TaK, b 3OHe .ecKOBaiKOH MopaBH b Cone^bHHK b Hana^e yxHHa, Korfla flOMOHaflibi e^e He Hana^H nHTb bhho h ^e^KaTb rpeiKHe opexH, xo3afca 6epeT b npaByro pyKy ropcTb opexoB h 6pocaeT hx cHana^a b yro^ Ha roro-BocTOK, 3aTeM b yro^ Ha ceBepo-3anafl, a 3aTeM nepeKpecTHO b yrabi Ha ceBepo-BocTOK h roro-3anafl. npH stom b ce^e Op^aH, Korfla xo3afca 6pocaeT opexH Ha boctok, OHa npoH3HocHT 3aK^HHaHHe, hto6h 6bm ypoxaft x^e6Hbix 3^aKOB, Ha 3anafl — hto6h 6bmo 6o^bme BHHa, Ha ror — hto6h 6bmH xhbh h 3flopoBbi flOMOHaflibi (nernad), Ha ceBep — hto6h 6bm 3flopoB ckot. BpomeHHbie b yrabi opexH co6HparoT fleTH h He eflaT hx flo Kpe^eHHa, a to h coxpaHaroT KaK jieKapcTBO. HHorfla xe hx pa36HBaroT h no hhm raflaroT: ec^H opex OKa^eTca nycrHM, cnacTba b rpafly^eM rofly He 6yfleT. B HeKOTOpbix ce^ax pa36HBaeT opexH TO^bKO xo3aftKa flOMa. 9to fle^aeTca fl^a Toro, "hto6h i^Hn^aTa 6bicTpo BHBOflH^Hcb". B HeKOTopnx ce^ax c^HTaroT, hto opexH He^b3a ecTb Ha Po^flecTBO, h noTOMy hx coxpaHaroT h hmh ^enaT HHpbH, npHKraflbiBaa k HHpbaM opexH h Bbi6pacbiBaa hx noTOM Ha nepeKpecTKH. Koe-rfle opexH coxpaHaroTca b yr^ax, hx He TporaroT, h jiHmb npH noTepe KaKOH-HH6yflb ckothhkh h^h nero-^H6o flpyroro hx pa36HBaroT b flOMe (Icpft. X0.M, 345). B flpyroft 3OHe, b Cep6cKOH KpaHHe, hto rpaHHHHT c 3anaflHOH BocHHeft h XopBaraen, b Cone^bHHK xo3aHH npHHocHT nepefl yxHHOM co^OMy b flOM, paccbnaeT ee, cTapaacb 6o^bme Bcero HacbnaTb nofl cto^ h Ha cto^ nofl cKaTepTb, h pa36pacbiBaeT opexH HaKpecT no yr^aM. Oh HanHHaeT c BocTOHHoro yr^a h npoH3HocHT: "Bo HMja Oia", noTOM 6pocaeT b 3anaflHbft yro^ co ctobamh "h CHHa", 3aTeM b roxHbiH co c^OBaMH "h cBjaTaro flyxa", HaKOHei, b noc^eflHHH
13
«Be3 HeTtipex yrjjoB H3Ôa He CTpoHTCs» (ßaMeTKH no cjaBSHCKOMy s3tnecTBy)
ceBepHHH c aaBepmaro^HM cnoBOM: "Amhh" (Ber. XCT, 110, 112). B flpyroH sTHHHecKOH aoHe, b fflyMa^HH, b ee roxHHx npeflenax (.eBan h TeMHHH), opexH TaKxe öpocaroT b nerape yrna b ConenbHHK, ho npH stom KTO-HHöyflb Ha flOMonaflneB BHöHpaeT OflHH öpomeHHHH b yron opex, He paaöHBaeT ero, a öepexeT flo BecHH, flo aha CopoKa MyneHHKOB (9. III - MßadeHUu). B stot fleHb cmotpat, KaKOB opex BHyTpH — nenbrä HnH rHHnoH. EcnH rHHnoH, HenoBeK, BHÖpaBmHH stot opex, He flOxHBeT flo cneflyro^ero rofla, t. e. yMpeT, a ecnH He rHHnoH — öyfleT xHTb. E^e OflHH opex, öpomeHHbrä b yron b Cone^bHHK, cneflyeT öepenb Ha cnynaö, ecnH b flOM BOHfleT HenoBeK, öonero^HH aapaaHOH öoneaHbro. Torfla stot opex cneflyeT nonoxHTb nofl MHmKy, h aapaaa He npHcTaHeT (Mhj'. HMCC.T, 412). B toh xe fflyMaflHH, ho yxe b ee neHTpanbHOH nacra, b rpyxe, b Cone^bHHK Ha cTon bhhochtca BcAKaA cHeflb, b tom HHcne h rpenxne opexH. CornacHO pmyany, xoaAHKa öpocaeT HecKonbKO opexoB no yrnaM, OflHaKO hx hhkto He ecT h He paaÖHBaeT, "htoöh b rpAfly^eM rofly He öHnacb nocyfla". HosTOMy sth opexH, BMecTe c poxflecTBeHcKOH conoMoH, othocat Ha TpeTHH fleHb PoxflecTBa b cafl h KnaflyT nofl nnoflOBbie flepeBba (neT. XOr, 227). B Boctohhoh CepÖHH b paHoHe BoneBna opexH MOXHO ecTb TonbKO b ConenbHHK, a b nocneflyro^He tph poxflecTBeHcKHx aha Ha hhx HaKnaflHBaeTca Taöy. B ConenbHHK nocne MonHTBH, flnA^eöcA He MeHee nonynaca, flOMOHaflnH roTOBATcA k yxHHy, KOTopHH flonxeH ÖHTb Ha aeMnAHOM nony. Korfla xoaAHH pacnopAflHTcA, htoöh Bce cenH Ha cboh MecTa, xoaAHKa npHHocHT b cHTe opexH h BHcHnaeT hx Ha aeMnro, a xoaAHH öepeT b pyKH nerape opexa h öpocaeT hx KpecT00ÖpaaH0 b nerape yrna. K sthm opexaM aaTeM hhkto He npHTparHBaeTcA, a ocranbHbie, paccHnaHHHe xoaAHKOH Ha poxflecTBeHcKOH Tpaneae, öhctpo pacxBaTHBaroTcA, h noTOM cwraroT, kto öonbme cyMen aaxBaTHTb. OflHaKO b cneflyro^He aaTeM tph poxflecTBeHcKHx aha hx He eflAT h flaxe b pyKH He öepyT, "htoöh He HMeTb HHpbeB" (rpö. COCB, 90)2. CepÖH, xHBy^He Ha rore BaHaTa h HaBecTHHe nofl HMeHeM "öaHaTcKHe repH", TaKxe coBepmaroT b ConenbHHK pmyan öpocaHHA rpenKHx opexoB b yrnH flOMa. Oh cneflyeT oöhhho aa "KopMneHHeM h noeHHeM öaflHAKa", Korfla cpaay xe nocne nonHBaHHA poxflecTBeHcKoro noneHa-öaflHAKa bhhom öpocaroT opexH b yrnH, HaHHHaA c boctohhoto yrna. HpH stom roBopAT "obo HcTOKy!", t. e. "sto B0cT0Ky", h t. fl. HeTHpe paaa, ho nATHH opex öpocaroT BBepx Hafl ropA^HM onaroM, roBopA "obo öaflaaKy!", h öpocaroT TaK, htoöh opex ynan Ha öaflHAK. Hotom cKopnyny ot opexoB KnaflyT b MemoK c KpomKaMH, phöhhmh koctamh h ronoBemKOH ot öaflHAKa, h BbicbinaroT Bce sto Ha MemKa b cafly nofl nnoflOBHMH flepeBbAMH (BX, 299). CBAab rpenKHx opexoB c öaflHAKOM BHcTynaeT h b oöpAfle, HaBecTHOM b AneKcHHanKOM HoMopaBbe, rfle b HeK0T0pHx cenax b ConenbHHK cTaparoTcA, cpyöaA öaflHAK, nonyHHTb nerape ^enKH, KOTopHe BenepoM bo BpeMA yxHHa cneflyeT öpocHTb b HeTHpe yrna flOMa. B flpyrHx cenax ^enKy ot öaflHAKa HecyT HnH k nnenaM, HnH k öaflbAM c MonoKOM, "htoöh oho nynme aaKBamHBanocb" (Aht. AH, 168). B tom xe HoMopaBbe, ho b aoHe önHxe k ropofly .ecKOBny, b ConenbHHK HepeflKO BHTacKHBaroT conoMy Ha conoMeHHHx MaTpacoB, HecyT ee b nerape yrna flBopa h TaM noflxnraroT (Bop^. XO.K, 57). 3flecb cHOBa HaönroflaeTcA yxe HaBecTHoe HaM pacmHpeHHe nno^aflH flo flBopa.
B Hhphhckoh MaKeflOHHH, b cene KonaH, npH BceneHHH ceMbH b hobhh flOM cHanana ero noce^aeT xeH^HHa-coceflKa, öHBmaA TonbKO OflHH paa aaMyxeM. OHa bxoaht
2 B aanaflHOH CepöHH, b paHOHe yxH^, opexH öpocaroT b qeTbipe yrna oflHOBpeMeHHO c paccranaHHeM conoMH Ha nony (Mhïï. XCC, 163).
14
HuKuma H.Toncmou
no 6e^OMy no^oray b aom, He ocTaHaB^HBaacb Ha nopore, ^beT Boay bo Bce yrabi ^OMa h 3axnraeT oroHb onara (Hhp. K. 474). TaKHM o6pa3oM, ^HTbe boah b yrabi joMa oKa3HBaeTca b Hhphhckom Kpae ochobhhm pmyMoM b cepHH o6pafloBbix fleftcTBHH npH HoBoce^be.
TaKHM xe ochobhhm caKpa^bHHM aKToM oKa3bBaeTca 6pocaHHe opexoB no yraaM b c^oBanKon po^^ecTBeHcKoft oGpa^HocTH. B 3anaflHoft C^oBaKHH, b oKpecTHociax Tono^bnaH h BaHoBHn, b MecTHocTH, rae npoTeKaeT peKa HHTpa, b Cone^bHHK (24.XII. hob. ct.) ao He^aBHero BpeMeHH xo3anKa b nynaHe K^a^a b chto npHroTOB^eHHbie nHpo^KH, opexH, ji6^okh, "o6^aTKH" (npocBHpKH), Mea h necroK, 3aBepTbiBMa Bce 3to b no^oTeHne, m^a k ^BepaM KoMHaTb (joMa) h npoH3Hocrna y flBepeft: "Otvorte!" ("OTKponTe"). Te, kto 6bmH b KoMHaTe, cnpamHBMH ee: "Čo nesiete?" ("Hto HeceTe?"). Xo3anKa cHoBa npH3bBa^a: "Otvorte!" H jiHmb norae Toro, KaK H3 KoMHaTb b TpeTHn pa3 cnpamHBMH, hto oHa HeceT, xo3anKa oTBena^a: "Hojne božske požehnanie!" ("Bo^be 6^aroraoBeHHe, Hecy^ee H3o6mHe!"). hotom oHa Bxo^H^a b KoMHaTy, Kmra y3e^oK Ha cto^, pa3B^3bBa^a no^oieHne, noKpbiBMa hm cim h chto, KoTopoe ociaBMocb b cepe^HHe cTo^a, 6pa^a HecKo^bKo opexoB h KH^a^a hx bo Bce yrabi KoMHaTb, npoH3Hoca: "Kuty, kuty, štedre kuty, nem&m v&s s čim obdariti, len z tymto štyrmi orieškami" ("yrabi, yrabi, ^e^pbie yrabi, HeneM MHe Bac oaapHTb, To^bKo 3thmh HerapbMa opemKaMH"). noflo6Hbift o6pa^ coBepma^ b cpe^HeM HoBa^be (3ana^Haa C^oBaKHa) xo3aHH. B 3tom Kpae, rae npoTeKaeT p. Bara, KpecTbaHcKaa ceMba, 3ac^bmaB BenepHHH 3boh, Mo^rnacb, a 3aieM b AoMe racH^H cBeT h xo3aHH bhxo^h^ bo ABop. Hepe3 MHHyTy oh Bo3Bpa^Mca, aepxa b o^hok pyKe 3£xxeHHyro cBeny, a b flpyron chto c pa3HHMH n^o^aMH. B ^Bepax oh nporaHocrn po^^ecTBeHcKoe no^e^aHHe: "Vinšujem v&m tieto slavne sviatky Krista P&na narodzenie, aby v&m dal Ptoboh zdravie, štastie, božske požehnanie" ("no3flpaB^aro Bac co raaBHbiM npa3flHHKoM Po^^ecTBa XpHcioBa, nycTb aacT BaM Tocno^b Bor 3#opoBbe, cnacTbe, 6oxbe 6^aroraoBeHHe, a norae cMepTH napcTBHe He6ecHoe, hto6h bh motoh ^o6HTbca Bcero, hto y Tocno^a Bora nonpocHTe"). Hotom oh 6pM ropcTb opexoB h co raoBaMH "Aj hentym aby P^nbiček požehnal" ("An^a Tyaa, nycTb 6oxeHbKa 6^aroraoBHT") pa36pacbiBM hx no yraaM. 3aieM oh ciaBH^ chto Ha cto^ h Bce ca^Hmcb BoKpyr Hero. B ce^ax b BepxoBbax p. TpoHa paccKa3biBMH, hto b Te aoMa, b kotophx 6bm 3a6br h He Hcno^Ha^ca 3tot oGbmaft, xo^h^h aymH tokohhhkob h maKMHcb, hto ohh ro^o^Hb (Hor. RZE, 68-69).
Ha 3tom ocHoBaHHH H3BecTHaa c^oBanKaa Hcc^e^oBaie^bHHna HapoflHon Ky^bTypb 9mh^h^ XopBaioBa c^e^a^a bhboa, hto 6bToBaBmHft e^e HecKo^bKo aecaTHneTHH ToMy Ha3aa b 3ana^Hbx h nempMbHbrc o6^aciax C^oBaKHH o6pa^ nepBoHana^bHo 6bm cBoero po^a xepTBonpHHomeHHeM ^ymaM yMepmHx npe^KoB, no^o6Ho o6pa^y 6pocaHHa b Hana^e yxHHa ropoxa no yraaM "flja flym". B HeKoiopbx raoBanKHx 3oHax 6pomeHHbft no yr^aM "ara flym" ropox noioM ^aBa^H KypaM. B ceBepHon OpaBe ^ymH yxe He ynoMHHa^Hcb, ohh 3a6biTbi, a b OpaBcKon Ho^rope no^ara^H, hto ropox c^e^yeT 6pocaTb ot 6eflb, Koiopyro oh ycnoKoHT, h Ta He noipe6yeT 6o^bmen xepTBbi. B TpymTHHe 6pocaHHe ropoxa npeBpaTH^ocb b pHTya^, cBa3aHHbn c aoMamHen nTHnen. Xo3anKa, KH^aa b yrabi ropox, npH3bBa^a: "Cip, cip, na kuričy, aby ste všetky ost^vali doma!" ("^Hn-Ubn, KyponKH, ociaBanTecb Bce aoMa!") (Hor. RZj, 69). HoraeflHHH npHMep yKa3bBaeT Ha Bo3MoxHocTb nepeMeHb nepBoHanajbHon ne^eBon HanpaB^eHHocTH h BHyrpeHHero cMbc^a o6pa^a noa B^HHHHeM Mecia h BpeMeHH ero Hcno^HeHHa. y Bcex c^aBaH mHpoKo H3BecTHb pHTya^bHbe aeftcTBHa, Hcno^HaeMbe b Cone^bHHK a^a Toro, hto6h Kypb
15
«Ee3 neitipex yrjjoB H3Öa He cipoHTca» (ßaMeiKH no ejaBSHeKOMy s3tnecTBy)
BMHCb h Hec^HCb b flOMe. C 3toh ue^bro o6hhho kopmh^h Kyp b 3äMKHyT0M Kpyry.
CBÄ3yro^HM CMbimOBbiM 3BeH0M Mexfly 3THMH HCKOHHO pa3^HHHbIMH 06paflaMH 6bM,
Bepoarao, OflHH h3 ^HHa^bHHx MOMeHTOB pmyma — CKapMmBaHHe 6pomeHHoro b yrabi ropoxa KypaM, hto aB^aeTca ^OKa^bHOÖ c^OBauKOH 0C06eHH0CTbro.
B Boctohhoh no^bme, b paHOHe XemoBa b Bep6H0e BOCKpeCeHbe noC^e ocBa^eHHa "na^bM" (ny^KOB Bep6bi) KpecTbaHe TpHxflbi o6xoflmH flOM, yflapaa tph pa3a no KaxflOMy yray, "hto6h He 6bmo Myx, 6^ox h hhoto rayca" (c. -Sce^bCKoe, Karcz. OZD, 54). ÄHanorHHHHH o6pafl H3BecTeH b HeproropHH, b Tp6^e, rfle cwraroT, hto 6^ox moxho BHBeCTH, eraH TpHxflbi yflapHTb nMKOH bo BCe nerape yraa flOMa h npH 3tom np0H3HecTH: "CBe y ropy h y BOfly!" ("BCe b jieC h b BOfly!") (Br, 10). T. A. AranKHHa b 06cT0aTe^bH0H CTaTbe "Yro^" b ctobape "&aBaHCKaa MH^o^oraa" OTMenaeT, hto pyCCKHe KpecTbaHe, "hto6h jieTOM raflbi He npoHHK^H b H36y, b CrpacTHOH neTBepr o6otbmh xo^oahoh BOflOH HapyxHbie yrabi; ara: H36aB^eHHa ot Mbimeö — pa36pacbiBMH no yraaM flOMa CKop^yny OCBa^eHHHx nacxMbHbix aHu; hto6h b flOMe He 6bmo 6^ox, nocbinMH yrabi CHeroM h t. fl. noflo6HbM xe 06pa30M 3a^H^MH h no^a — ot Mbimeö, rpbi3yH0B, rpafla, HenHCTOH Cmbi h flp.: 3aKanbBa^H no yraaM kocth nacxa^bHoro nopoCeHKa, afiua, bthkmh BeTKH OCBa^eHHOH Bep6b h t. n." (CM, 380). B 3toh xe CTaTbe T. A. AranKHHOH npHBOflaTca TaKxe CBHfleTe^bCTBa, hto pyCCKHe Ha E^aroBe^eHHe OKypHBMH yrabi ot HenHCTOH ch^h h 6o^e3Heö, a 6e^opycbi, "cTpeMacb H36aBHTbca ot fl0M0B0r0, nopTHBmero ckot, OKypHBa^H yrabi flOMa ocBa^eHHbiM MaKOM h toboph^h: «^omoboh, HflH flOMOH, 3Ta xaTa Moa»" (CM, 380).
Ko BceM npHBefleHHHM pHTya^aM h HapoflHHM npeflCTaB^eHHaM moxho flo6aBHTb e^e flBa npHMepa H3 roxHOBe^HKopyccKoft h 6e^0pyccK0ö TpaflHUHH.
B pa3aHCK0H CBaflb6e npHcyTCTByeT TaKOH 3nH30fl: "OTeu HeBecTH 3anHpaeT ot noe3fla BopoTa h OTKpHBaeT hx to^ko no no^yneHHH BHKyna 3a HeBecTy — ot flByx flO naTHafluaTH py6^eö cepe6p0M. noe3xaHe 6e3 xeHHxa BxoflaT b flOM c KHyTbaMH h 3flecb npexfle Bcero oxmcTbiBaroT Bce neTbipe yraa h36h, BbiKynaroT cto^ h BeflyT xeHHxa" (c. KHflyc0B0 CnaccK. ye3fla Pa3aHCK. ry6. 3e^. OPArO III, 1175-1176). TaKHM 06pa30M, x^HCTaHHe yraoB npHcyTCTByeT h b ceMeHHOM CBafle6H0M o6pafle, hto noKa He 3a^HKCHp0BaH0 b flpyrHx c^aBaHCKHx TpaflHUHax h 30Hax. .ro6onbrreH h btopoh npHMep, 3anHcaHHHH b npom^OM BeKe b noBeTe rop. EopHCOBa. TaM roBopam, hto "exe^H ahm 3axxeHHoro nepa H3 noflymKH pacxoflHTca no yraaM, 6o^bHoft 6yfleT xHTb, exe^H 3a nopor, to yMpeT" (OeÖH MHE^ III, 490).
KoMMeHTHpya nepBHH npHMep, 6bmo 6h HenpaBH^bHO no^araTb, hto 6HTbe yraoB KHyTOM b pa3aHCK0H flepeBHe KHflyc0B0 HanpaB^eHO npoTHB HenHCTOH chhh h^h H0B0r0 fl0M0B0r0, KaK 3to npoHcxoflH^o b koctpomckom ce^e YjiemnaHb, hto b HepexTCKOM ye3fle. 3flecb c^eflyeT npeflno^oxHTb THnHHHyro fl^a CBafle6H0H 06paflH0CTH MarHro, np0B0UHpyromyro n^OflopoflHe, coBepmeHHe aKTa, noflo6Horo 6HneBaHHro nepefl nepBOH 6panH0H HOHbro noKpHTHx Oflea^OM MO^OflHx, 6biT0BaBmeMy b Ee^03epbe, h MHorHM flpyrHM fleHcTBHaM pHTya^bHoro 6HTba (cm. "EHTb" b c^OBape C^, 177-180). Hto xe KacaeTca BToporo npHMepa, to oh flOCTaTOHHO apKO fleMOHCTpHpyeT npoTHBonocTaB-^eHHe yr^OB h nopora flOMa. 9Ta Koppe^auHa MoxeT 6bTb ycTaHOB^eHa no pafly npH3HaK0B, ho b npHBefleHHOM TeKCTe OHa ocy^ecTBH^acb no npH3HaKy "ähboh — MepTB^ift", hto BecbMa n0Ka3aTe^bH0 h HHTepecHO. O CBa3H nopora flOMa c Ky^bTOM MepTBHxxopomo H3BecTH0 (cm. Eaö6. XOBC, 136-138; HajK. Cfl I, 414-422). B CBoe BpeMa e^e B. ^a^b b cbohx "n0M0BHuax" npHBOflH^ Be^HKopyccKoe BepoBaHHe,
16
HuKuma H.Toncmou
coraacHo KoTopoMy "eciH npH coöopoBaHHH cBeHH ynaflyT KoMieM k nopory, to öoibHoö yMpeT" (flaib HPH, 926).
OflHaKo BocnpH^THe yrioB h3Öh b KaHecrae cHMBoiHHecKH-MarHHecKoro npH3HaKa xh3hh BcTpenaeTca b ciaBaHcKoH HapoflHoH TpaflHUHH peflKo. BnpoHeM, eciH oöpaTHTbca k cHMBo^HKe h flyxoBHoH ^yHKUHH boctohhoto, nepBoro no cHeTy yria, MHoroe b paccMaTpHBaeMoö KoppeianHH npoacHHTca. y Bcex pyccKHx h Bcex boctohhhx ciaBaH Booö^e nepBHM yraoM b H3Öe (xaTe) cHHTaeTca, KaK npaBHio, boctohhhh — nepedHuü, KpacHuü, cmapmuü, cenmoü, 6owuü, eepxHuü yroi hih noKymbe, Kym, noKyu,b. y boctohhhx ciaBaH b 3tom yriy HaxoflHTca öoxHHna c HKoHaMH, uaMnafloö h flpyrHMH caKpaibHHMH npe^MeTaMH. Ho oraomeHHro k KpacHoMy yriy cTaBHTca ctoi, laBKH, coBepmaroTca pHTyaibHbie fleHcTBHa. Ho cBHfleTeibcTBy H. O. CyMnoBa, "npH nepexofle b hobhh floM b cTapoM BHMeTaroT cop, ot KoToporo öepyT ropcTb h öpocaroT ee b nepeflHHH yroi HoBoro floMa" (CyM. Kn, 97). Boiee cioxhhh pHTyai 3a^HKcHpoBai r. K. 3aBoHKo. Oh 3aMerai, hto BiaflHMHpcKHe KpecTbaHe 3aKanbiBaroT b H3Öe ropmKH, h3 kotophx oömhb&ih tokohhhkob, b pa3HHx MecTax b 3aBHcHMocTH ot hx HepapxHHecKoro MecTa b ceMbe. TopmKH MeHee bh^hhx htohob ceMbH 3apHBaiH noflaibme, ho eciH yMHpai riaBa ceMbH — xo3«HH, ero ropmoK KiaiH nofl "BepxHHH" yroi, "htoöh He nepeBoflHica aomoboh" (3aB. BOBr, 191). HoflpoÖHee c apryMeHTHpoBaHHbiM aHairaoM ^ktob o KpacHoM yrie nHcai A. K. BaööypHH (Baö6. XOBC, 149-153).
B nocieflHeM npHMepe oToöpaxeHa cBa3b KpacHoro yraa c noKoHHHKoM-xo3aHHoM h aomobhm. HofloÖHaa cBa3b, xoTa h He b cToib apKoH ^opMe, oÖHapyxHBaeTca b cepöcKoM oöpafle öpocaTb b CoHeibHHK b Herape yraa floMa rpenxne opexH. ^eio b tom, hto b cepöcKoö, öoirapcKoö h MaKefloHcKoH HapoflHoH TpaflHnHH rpenKHH opex cwraica flepeBoM yconmHx, flepeBoM, cBa3aHHbiM c xtohhtockhm mhpom, c npeHcnoflHeö. HoaTOMy b cepöcKHx ceiax CpeTeHKoH Xynbi (roro-3anafl oöiacTH Kocobo h MeToxHa), "KaK BcnoMHHaroT cTapHKH, opex He pemaiHcb pyÖHTb h xeHb, TaK KaK ero chhtmh ocoöhm flepeBoM, flepeBoM - caMHM no ceöe (caMo)". 9to eflHHcTBeHHoe h3 niofloHoca^Hx flepeBbeB, KoTopoe, no npeflcTaBieHHaM xHTeieH CpeTeHKoH Xynbi h flpyrHx cepöcKHx 3THHHecKHx perHoHoB, MoxeT oKa3HBaTb oTpHnaTeibHoe Bo3fleHcTBHe Ha HeioBeHecKyro xH3Hb yxe ToibKo TeM, hto öyfleT npofloixHTeibHoe BpeMa HaxoflHTbca böih3h HeioBeKa. B 3thx ceiax paHbme He pemaiHcb caxaTb opexH b6ah3h floMa, noToMy hto chht&ih, hto TeHb opexa He floixHa naflaTb Ha aom. Hpo Toro, kto nocaflHT opex, tobophah, hto oh yMpeT Torfla, Korfla Toi^HHa cTBoia opexa flocraraeT toi^hhh ero meH. H nomme e^e BepaT, hto tot, kto 3acHeT nofl opexoM, noTepaeT co3HaHHe. Oö oflHoM HeioBeKe h3 ceia MymHHKoBo paccKa3HBaiH, hto oh oflHaxflbi 3acHyi nofl opexoM b cpefly, a npocHyica b cyööoTy (Hhk. HBOCX, 115-116). B 3oHe ^ecKoBanKoö MopaBH cepön flo TpoHnn (npeceeme) He pBaiH opexoBHH ihct h flaxe ero He HroxaiH. Ho Ha TpoHny xeH^HHH miH Ha KiaflÖH^e, oÖMeTaiH MorHiH opexoBHMH BeTKaMH h yKpamaiH hmh HaflrpoÖHHe KpecTH h naMaTHHKH. B ceiax Ckotokoh kotaobhhh b MaKefloHHH b fleHb TpoHnn nepKBH MeiHcb h yKpamaiHcb opexoBHMH BeTKaMH, MaKefloHKH xe tph npa3flHHHHHx flHa noflpafl xoflHiH Ha KiaflÖH^e h pa3flaBaiH flpyr flpyry noMHHaibHyro efly. A b ceie fflHmeBe b Tex xe Kpaax Ha TpoHuy Toxe oÖMeTaiH MorHiH h oÖKiaflHBaiH hx opexoBHMH iHcTbaMH. Ho flopore floMoH h3 nepKBH HeciH opexoBHe BeTKH, pa3flaBaa no BeToHKe KaxfloMy
3 OTMeTHM, hto ot KopHa *kçt- yroi' oôpasyeTca y mxhhx ciaBaH h Ha3BaHHe floMa: cep6cK.-xopB. Kyha (h3
*kçt-ja), MaKefl. Kyka, 6oir. Kbrn,a.
17
«Be3 HeTtipex yrjjoB H3Ôa He CTpoHTCs» (ßaMeTKH no cjaBSHCKOMy s3tnecTBy)
BCTpenHOMy, "htoöh y noKOHHHKOB öbina TeHb" (Omn. OBCK, 401). TaM xe b MaKeflOHHH HecKO^bKO roxHee, b paHoHe fflrana, Ha Tpomny npmHocmnm b nepKOBb BeTBH opexa h flpyroH 3eneHH h pa3öpacHBanm hx no nony flna Toro, "htoöh oö^aTbca c yMepmHMH pOflcTBeHHHKaMH". npH 3T0M MOna^Heca npHHHKa^H nHUOM K nHcTbaM opexa H cTapanmcb ycnHmaTb, nTO roBopaT yMepmHe (Har. TQfl, 121). TonHO TaK xe b ceBepo-3anaflH0H Bonrapmm b MmxaHnoBrpaflcKOM OKpyre Mona^meca Ha Tpomny noxmnmcb b nepKBH nocne cnyxöH Ha ycxnaHHbrä opexoBHMH nmcTbaMH h BeTKaMH non h "cnymanm noKOHHHKOB" (ycTHoe cooö^eHHe H. H. BmHorpaflOBoH).
TaKOB HMero^HËca b HameM pacnopaxeHHH MaTepman. BepoaTHO, oh He mcnepnHBaeT Bcex npHMepoB, 3a^HKcmp0BaHHbix b pa3nmnHHx 3TH0rpa^mnecKmx onHcaHHax h apxHBHHx MaTepmanax, OflHaKO ero öe3ycn0BH0 moxho cnmraTb flocTaTOHHHM flna Toro, hto6h cflenaTb ocHOBHbie oöoö^eHma h bhboah.
B nepByro onepeflb cneflyeT OTMeTHTb oö^ecnaBaHcKHH xapaKTep OTHomeHHa k neTHpeM yrnaM flOMa KaK k caKpanbHOMy MecTy, na^e Bcero KaK k MecTy npeöHBaHma flOMamHero flyxa — flOMOBoro, nmöo flym npeflKOB. npH stom KynbT flOMOBoro apKO BHpaxeH y ceBepHO-BenmKopoccoB, y nacra öenopycoB h y pofloncKHx öonrap, a KynbT flym, noKOÖHbix flOMamHHx poflcTBeHHHKOB — y cnoBaKOB. y cepöoB, MaKeflOHneB h nacra öonrap oh BHpaxeH KocBeHHO nepe3 pmryan öpocaHHa opexoB b ConenbHHK.
B to xe BpeMa nonmraHmro yrnoB flOMa npmcy^a b cnaBaHcKOH HapoflHOH Tpaflmnmm npH eflHHOM HfleöHO-cMHc^OBOM coflepxaHHH neTKO BHpaxeHHaa flmaneKTHaa (TeppHTopmanbHaa) BapHaHTHocTb, oöocoönaro^aaca no pafly npH3HaK0B (npeflMeTHHx, aKqHOHa^bHHx, TeMnopanbHHx).
B 0Ö^ec^aBaHcK0M MacmTaöe BHaBnaeTca TaKxe npaMaa cBa3b nonmraHma flOMOBoro h flOMamHHx noKOHHHKOB ("flym", "flymeK"), cBa3b, önm3Kaa k hx 0T0xflecTB^eHHro h B3aHM03aMeHaeM0cra.
Pmryan nonHTaHHa neTHpex yrnoB coBepmaeTca no öonbmeH nacTH b poxflecraeH-ckhh Cone^bHHK, bo BpeMa, Korfla Ha caKpanbHOH ceMeHHOH Tpane3e He3pHM0 npHcyTcTByroT mnm npmrnamaroTca noKOHHHKH-npeflKH h Korfla hx ynacrae 0Ö03HanaeTca MHOrHMH HHHMH pHTyanbHbIMH fleÖCTBHaMH H cHMBOnaMH. ÜOnHTaHHe HnH cB0e0Öpa3H0e "KopMneHme" npeflKOB BHpaxaeTca b öpocaHHH nnoflOB opexoBoro flepeBa no yrnaM b Cone^bHHK, b to BpeMa KaK nmcTba stoto flepeBa y roxHHx cnaBaH BHnonHaroT cBoro pmryanbHyro ^yHKqmro, HanpaBneHHyro Ha ycTaHOBneHme cBa3H c n0K0HHHKaMH-"p0flH-TenaMm", b flpyroH noMHHanbHbrä npa3flHHK — Ha Tpomny. PaccMaTpHBaeMHH oöpafl, TaKHM 0Öpa30M, Ka^eHflapHO npmyponeH. y xopBaTOB b CmHbcKOH KpaHHe oh mcnonHaeTca b naMaTb noKOHHHKOB Ha CpeTeHHe.
CpeflH ceMeHHHx oöpaflOB pmryan, Kacaro^mäca yrnoB flOMa, ^HKcmpyeTca peflKo: b norpeöanbHOM oöpafle — Ha BonoroflnmHe, Ha KapnaTax y rynynoB h b cmnbHO H3MeHeHH0M BHfle y nmnaH-KaTonmKOB b ^anManmm, b cBafleÖHOM oöpafle y mrapHËcKmx CTOBeHneB h pa3aHcKHx BenmKopoccoB.
B 0KKa3H0Ha^bHHx oöpaflax paccMaTpmBaeMHH pmryan npmMeHaeTca, KaK h cneflOBano oxmflaTb, npm BceneHHH b flOM, Korfla 3anycKanm KOTa h KnaHanmcb neTHpeM yrnaM (nmHexbe), Knanm pa3pe3aHHyro Ha neTHpe nacTH öynonKy b neTHpe yrna (3a6aÖKMbe) nmöo nonmBanm yrnH BOflOH (nmpmHcKaa MaKeflOHma). Ho e^e na^e b ceBepH0pyccK0H 30He k HeMy oöpa^anmcb npm OTene KopoBH Ha 12-h mnm 6-h fleHb. KopoBa h TeneHOK bo BnaflHMmpcKOH ryöepHHH OKypmBaroTca mxom mnm nayTHHOH, floöHTHMH b neTHpex yrnax h3öh. B HeK0T0pHx sTHOKynbTypH^ix 30Hax pmTyan, cBa3aHHHH c neTHpbMa
18
HuKuma H.Toncmou
yraaMH flOMa, HMeeT He TonbKO oxpaHHTenbHbrä hbh oxpaHHTenbHO-nenHTenbHbrä, ho h hhcto ^eneÖHHH xapaKTep. TaK, b boctohhom nonecbe b paöoHe BparHHa CTpaflaro^ero h KpHHa^ero ot hohhoh 6ecc0HHHnbi MnafleHna HOflHOCHnH k nerapeM yrnaM eo enoBaMH: "KyTyHKH-öpaTynKH, BO3bMHTe ot MnafleHna hohhhhkh fla HomnHTe Ha Hero cohhhhkh". OöpaTHBmaa BHHMaHHe Ha 3tot HpHMep H. H. BHHorpaflOBa CHpaBeflnHBO bh^ht b HeM HeKHH yroBop 06 oÖMeHe, HeKoe oöpa^eHHe k yrnaM KaK k OflyxoTBopeHHbiM ey^ecTBaM (bhh.	158).
Oöpa^eHHe k nerapeM yrnaM H3BecTH0 h b OHHCTHTenbHOö MarHH, HaHpaBneHHOö Ha H3rHaHHe h3 flOMa Myx, 6nox h TapaKaHOB, Mbimeö. B paöoHe XemoBa b boctohhoh no^bme h y pyecKHx 3tot pmyan 6bin KaneHflapHbiM (BepÖHoe BOCKpeeeHbe, CrpacTHOÖ HeTBepr), a y HepHoropneB, bh^hmo, 0KKa3H0HanbHbiM. Ero e^epa fleöcTBHA 6bina b 3HaHHTe^bH0H CTeHeHH HepH^epHHHOH HO OTHOmeHHM K OCHOBHOH, My6HHH0H ceMaHTHKe h ^yHKnHOHanbHOÖ Harpy3Ke paecMaTpHBaeMoro o6pAfla, a noKanbHoe paCHpOCTpaHeHHe flOCTaTOHHO OrpaHHHeHHbIM, H3-3a TOrO, HTO H3rHaHHe HaeeKOMHx H3 flOMa y cnaBAH eoBepmanocb ho 6onbmeö HacTH flpyrHMH MarHHecKHMH epeflCTBaMH (cm. Tep. OHnH, 139-152).
HaH6onee apxaHHecKHM ho BHyTpeHHeMy CMbieny h ho neneBOö HaHpaBneHHOCTH, eyfla ho BceMy, 0Ka3HBaeTCA ceBepHOBenHKopyecKHH 0KKa3H0HanbHbrä pmyan, CBA3aHHbm
C HOKyHKOH H HpHBOflOM CKOTHHH B HOBOe MeCTO XHTenbCTBa, C OTHOmeHHeM flOMOBOrO k CKOTHHe. TpoHCTBeHHaa CBA3b y cnaBAH: doMoeoû — hokoühuk — CKomuHa (¿oenda) Tpe6yeT OTfle^bHoro OHHcaHHA h H0flpo6Horo paecMOTpeHHA. OflHaKO, o ee ey^ecTBOBaHHH CBHfleTe^bCTByroT xota 6h TaKHe o6braaH, KaK HoxopoHH HOKOÖHHKa bo Bee BpeMeHa rofla Ha Bonax h eaHAx, hbh 6yxeHHe ckothhh b enynae CMepTH x03AHHa flOMa, eoxpaHHBmHecA b eep6cK0Ö TpaflHnHH hohth flO HamHx flHeö.
PHTyan "neTHpex yrnoB" OTnHHaeTCA HeTKHM eflHHCTBOM MecTa, BpeMeHH h fleÖCTBHH, H flaxe He TOnbKO H He CTOnbKO Hx eflHHCTBOM, CKOnbKO OHpefle^eHHOCTbro H 3aMKHyT0CTbro MecTa (oho — ocHOBa pHTyana), KpaTKOCTbro BpeMeHH fleöcTBHA h ManbiM pa3H006pa3HeM fleöcTBHA. TaK, MecTOM MoryT 6HTb TonbKO nerape yrna flOMa (pa3^HHaroTca BHyTpeHHAA h BHemHAA CTopoHa), peflKO yrnH flBopa hbh hoba; BpeMeHeM — pa3Hbie 0KKa3H0Ha^bHHe o6pAflbi hbh x03AHCTBeHH0-T0pr0Bbie co6htha; fleöcTBHeM — 6poeaHHe, HOMe^eHHe pa3HHx HpeflMeTOB b yrnH (xne6a, opexoB, CKopnyHbi ot HaexanbHbix AHn) hbh 6HHeBaHHe, 6HTbe yrnoB, HonHBaHHe hx boaoh. Hhcto fleöcTByro^Hx nHn TaKxe orpaHHHeHo: hph 6poeaHHH hbh HOMe^eHHH b yron fleöcTByeT x03Afca hbh x03AHH, HpH 6HTbe HanKaMH hbh 6HHeBaHHH yrnoB fleöcTByeT x03AHH, flOMOHaflnH hbh H0e3xaHe-MyxHHHH. BpoearoT hbh KnaflyT b yrnH: KycKH xne6a, neHemKH, opexH, ropox, CKopnyny ot 0CBA^eHHbix AHn.
B 6onbmHHCTBe enynaeB pmyan "nerapex yrnoB" eoBepmancA Monna. OflHaKO y cnoBaKOB b CoHenbHHK oh Mor eoHpoBOXflaTbCA pHTyanbHHM flHanoroM, o6pa^eHHeM k yrnaM ("Kuty, kuty..."), k KypHnaM; y KpaHHCKHx eep60B Torfla xe — KpaTKOÖ mobhtboh ("Bo HMja Ona..."); y pyecKHx Ha BnaroBe^eHHe — HaHyTCTBHeM flOMOBOMy ("^omoboh, HflH flOMOö!"); y poflOHCKHx 6onrap — HpHBeTCTBHeM fl0M0B0My-x03AHHy ("PaflyBaö ee CTOHaHe..!"); y pyecKHx Hoene HOBOcenbA, H3r0HAA HOBoro HpHmenbna flOMOBOrO ("HoBoro x03AHHa, eoH eo flBopa..!") h t. h. Bep6anbHbrä KOMHOHeHT eoxpaHAMT MHorHe OTroHHHe, oxpaHHTenbHHe h nene6Hbie pHTyanb "neTbpex yrnoB".
19
«Be3 HeTtipex yrjjoB H3Ôa He CTpoHTCs» (ßaMeTKH no cjaBSHCKOMy s3tnecTBy)
CoKpa^eHHfl
AHT.An - ff. AHmoHujeeuh. AaeKCHHanKo noMopaB^e. Beorpaa, 1971 (CE36. Ka. 83).
Apx. nHH. - KapT0TeKa caoBapa pyCCKHx HapoaHbix roBopoB ApxaHreaoropoacK. ry6. nHHexCK. y. neTepöypr.
Baö6. XOBC - A.K.EaüßypuH. Xi^e b oöpaaax h npeacTaBaeHiax boctohhhx caaBaH. .eHHHrpaa, 1983.
Ber. XCF - H.Eezoeuh. Xhbot h oöinaji Cp6a FpaHinapa. 3arpe6, 1887.
Boa. HKC3 - 0.0.Eo^oHee. HapoaHbrä KaaeHaapb ceMeöcKix 3a6aÖKaaba (BTopaa noaoBHHa XIX - Hanaao XX b.). Hoboch6hpck, 1978.
Bpar. ^P - HA.Epazma. fliaaeKTHaa aeKCHKa oöpaaoB ceMeÖHoro mKaa (poaiHHoro h noxopoHHoro) HepenoBenKoro h ffleKCHHHCKoro paö0H0B BoaoroacKoö oöaacTH. ^innoMHaa paöoTa. Mry. MocKBa, 1980.
BX - BaHaTCKe Xepe. Hobh Caa, 1958.
Br - ByK0Ba rpafja Il CE36. Ka.50. Beorpaa, 1934.
Bhh. 30,D,B - fi.H.Bumzpadoea. 3aroBopHHe ^opMyabi ot aeTCKoö öeccoHHmbi KaK TeKCTbi K0MMyHHKaTHBH0r0 Tina II HccaeaoBaHia b oöaacTH 6aaT0-caaBaHCK0ö ayx0BH0H KynbTypH. 3aroBop. MocKBa, 1993.
Fpö. COCB - CTpöuh. CpncKH HapoaHH oöinaji h3 cpe3a Bo^eBanKor. Beorpaa, 1909 (CE3ö. Ka.14).
^aab nHP - Bffanb. nocaoBmbi pyccKoro Hapoaa. MocKBa, 1957.
Bop^. XO.K - ff.M. fiopfyeeuh. Xhbot h oöinaji HapoaHH y .ecK0Ba^K0M Kpajy. .ecK0Ban, 1983.
Bop^. XO.M - ff.fiopfyeeuh. xhbot h oöinaji HapoaHH y .ecK0BanK0j MopaBH. Beorpaa, 1958. (CE36. Ka.70).
Xyp. flCTM - A.0.Mypaeßee. ^oMamHHÖ ckot b noBepbax h MariH boctohhhx caaBaH. 9THorpa^HHecKHe h 3THoaHHrBHCTHnecKHe onepKH. MocKBa, 1994.
3aB. BOBF - LK.3aeoÜKo. BepoBaHia, oöpaabi h oöbraai BeaiKopoccoB BaaaHMipcKoö ryö. II 9THorpa^HHecKoe oöo3peHie. MocKBa, 1914. Bbin. 3-4.
3ea. OPAFO - ff.K.3e^eHuH. OnicaHie pyKoniceö y^eHoro apxiBa HMnepaTopcKoro PyccKoro reorpa^inecKoro oö^ecTBa. neTporpaa, 1914-1916. Bbm. 1-3.
3epH. MM^y - A.B.3epHoea. MaTepiaabi no ceabCK0x03aäcTBeHH0H MariH b ^MHTp0BCK0M ye3ae II CoBeTCKaa 3THorpa^ia. MocKBa, 1932. N°3. C.15-52.
Hb. XnKX - n.Heame. Xi3Hb h noBepba KpecTbaH KynaHCKoro ye3aa XapbK0BCK0H ryöepHHH. XapbK0B, 1907.
KocT. PC - He. KocmonoecKuü. PoaiTeabCKie cyxapiKH II 9THorpa^HnecKoe oöo3peHie. 1901. M4 (roa 14, kh.51). MocKBa, 1902.
Map. HB - ff.MapuHoe. HapoaHa Bapa h peairH03HH HapoaHH oöinai. Co^ia, 1914 (CöHy. Kh.28).
Mij. HMCC.T - C.M.Mujamoeuh. HapoaHa MeaimHa Cpöa ce^aKa y .eBny h TeMHihy II CE3ö. Ka.13. Beorpaa, 1909.
Mia. XCC - M.BMrnuheeuh. Xhbot Cpöa ce^aKa. Beorpaa, 1894 (CE36. Ka.1).
Hhk. nBOCX - B.HuKoßuh. npipoaa y BepoBaaiMa h oöinajiMa y CpeTenKoj Xyni I I FaacHHK ETHorpa^CKor HHCTHTyTa. Ka.9-10. Beorpaa, 1961. C.113-137.
Hhk. nnn - H.M.HuKu$opoecKuü. np0CT0Hap0aHHe npiMera h noBepba. BiTeöcK, 1897.
20
HuKuma H.Toncmou
neTp. XOr - n.^.nempoeuh. Xhbot h o6majH Hapo«HH y TpyxH. Beorpa«, 1948 (CE36. K&.58).
nnp.K. - nnpHHCKH Kpaft. Eraorpa^CKH, ^OJKJOPHH H e3HK0BH npoy^BaHHA. CO^HA, 1980.
Po«. - Po«onH. Tpa^HnHOHHa Hapo«Ha «yx0BHa h COUHanHOHopMarHBHa Ky.nTypa. Co^ha, 1994.
C^ - C^aBAHCKHe «peBHOCTH. 9TH0^HHrBHCTHnecKHH C^OBapb. no« pe«aKnHeft
H.H.To^CToro. TOM 1. MoCKBa, 1995. CM - C^aBAHCKaa mh^ojotoa. 3HnHKnone«HneCKHH CJOBapb. MoCKBa, 1995. CyM. Kn - H.Q.CyMU,oe. Ky.nbrypHbie nepe^HBaHHA. KneB, 1890. Tep. OHnH - OA.TepHoecKan. K onHCaHHro Hapo«Hbix CjaBAHCKHx npe«CTaB^eHHH, CBA3aHHbiX C HaCeKOMHMH. O«Ha CHCTeMa pHTya^0B H3Be«eHHA «0MamHHX HaCeK0MHx // GnaBAHCKHH h 6a^KaHCKHH ^o^bK^op. O6pA«. TeKCT. MoCKBa, 1981. C.139-159.
Ohj. OBCK - M.C.^UMunoeuh. O6majH h BepoBaaa y CKonCKoj Kothhhh. Beorpa«, 1939 (CE36. Kft.54).
Har. Tftfl - n.A.¥azapoe. TmKyBaHHA Ha npHpo«HH ab^hha. Ot // CGophhk 3a
Hapo«HH yM0TB0peHHA h Hapo«onHC. Kh.10. Co^ha, 1894. HajK. Cfl - B.HajKaHoeuh. Ca6paHa «e^a. K&.1. Beorpa«, 1994.
ffleftH MHB^ - n.B.^euH. MaTepHanbi «ja H3yneHHA 6HTa h A3biKa pyCCKoro HaCe^eHHA
CeBepo-3ana«Horo KpaA. Cn6., 1887-1902. T.1-3. Hec. TŽIK - M.Hecimovic-Seselja. Tradicijski život i kultura ličkoga sela Ivčevic Kosa. Zagreb, 1985.
Hor. RZL - E. Horvathova. Rok vo zvykoch našho l'udu. [Bratislava], 1986. Kar. OZD - A.Karczmarzewski. Obrz§dy i zwyczaje doroczne wsi rzeszowskiej. Rzeszow, 1972.
Kolb. DW - O.Kolberg. Dziela wszystkie. T.54. Rus Karpacka. Wroclaw-Poznan, 1970. Mil. NOSK - JMilicevic. Narodni običaji i verovanja u Sinjskoj Krami // Narodna umjetnost.
Zagreb, 1967/1968. Knj.5/6. S.433-511. Paj. ČDŽ - J.Pajek. Črtice iz duševnega žitka štajerskih Slovencev. Ljubljana, 1884.
21
Zum Ursprung der Herbergsuche
Niko Kuret 1906 -1995
Die Herbergsuche oder das Frautragen, wie P. Sartori seinen Artikel im Handwörterbuch des deutschen Aberglaubens II1 betitelt hat, ist ein Kind der Barockzeit. Der Ursprung des Brauches ist m.W. noch nicht erörtert worden.
Die Angaben zeigen nach Spanien.
In einem Vortrag in der Sociedad folklorica de México im J. 1942 vertrat jedoch Germán Andrada Labastida2 die Meinung, der auch in Mexico verbreitete Brauch sei mexikanischen Ursprungs, entstanden in der Nähe der Pyramiden von Teotihuacan, im kleinen Dorf San Agustin Acolman. Die Azteken feierten tatsächlich den Geburtstag des Kriegsgottes Huizilopachtli in den Tagen des christlichen Weihnachtsfestes. Dies bewog die augustinischen Ordensbrüder, ähnliche Festlichkeiten zu Weihnachten einzuführen, darunter die neuntägige Reise Marias und des hl. Josef nach Bethlehem. Der Augustinerprior Diego de Soria aus dem Kloster von San Agustin Acolman erreichte bei Papst Sixtus V., daß eine neuntägige Andacht mit besonderen Ablässen bedacht wurde. Die Novene hätte den Brauch der Herbergsuche hervorgebracht. Er wurde das "pedir posada" genannt.
Spätere Autoren sind jedoch anderer Meinung. Die Herbergsuche soll in Spanien, in Andalusien, im l6. Jh. entstanden sein.
Im schicksalsschweren Jahr 1492 wurden die Mauren (Moriscos) aus Spanien verdrängt. Befreit wurden Granada, Malaga, Almeria, und ein großes Gebiet wartete auf die Missionierung. Die Missionstätigkeit übernahmen hauptsächlich die Franziskaner. Bei der Missionsarbeit bedienten sie sich aller Mittel, die von der Barockzeit hervorgebracht worden waren. Gefördert wurde besonders alles Theatralische. Man entdeckte das dramatische Motiv in der Herbergsuche, wo der Hauswirt das heilige Paar nicht aufnehmen wollte. Deshalb war die Entstehung eines eigenartigen Umgangs-"Spiels" möglich. Im selben Jahr aber entdeckte Kolumbus das Neue Spanien, welches nun auch der Missionierung erschlossen wurde; es waren hauptsächlich wieder Franziskaner, die die Missionsarbeit übernahmen. Sie brachten die Mittel mit, die sie im Süden Spaniens erfolgreich erprobt hatten. Das Spielerische wurde von den Einheimischen Neu Spaniens (Mexikos) mit Gefallen aufgenommen.3 Als Entstehungsort der mexikanischen Herbergsuche (las posadas) wird Ciudad México angeführt. Der in den Kirchen und in Klöstern begonnene Brauch zog bald in den
1	HDA II, Berlin und Leipzig 1929/1930, 1777-1778.
2	So Rafael Solano, Las posadas, in: Artes de México II, ed. Nacimiento, villancicoso, pastorales. México 1960, 10.
3	S. Torquato Luca de Tena, Posada y pastorales, in: Ztg. ABC, Madrid 26. dec. 1989 (und seine brieflichen Auskünfte vom 28. 8. 1989), sowie schon don Mariano de Carrer, Posibles origenes de las tipicas posadas mexicanas, in: Anuario de la Sociedad Folklorica de México II. México 1945.
23
Zum Ursprung der Herbergsuche
häuslichen Umkreis über.4 Hier wurde er nach Aztekenart von einer fröhlichen Unterhaltung (das Zerschlagen der pinata) umrahmt und von einem üppigen Schmaus begleitet.
Bei der mexikanischen Herbergsuche trägt ein Knabe die Statue des hl. Josef, ein Mädchen eine Marienstatue im Umzug. Es wird gesungen, ein Wechselgesang zwischen dem "Hauswirt" (hinter der geschlossenen Tür) und den Umgängern (vor der Tür). Die letzte, im Haus gesungene Strophe lautet:
Eres tu José, tu esposa es Maria,
entren peregrinos, no les conocía.5
Der Brauch ist (war) in ganz Mexiko (auch in New Mexico in den USA) verbreitet, kam auch nach Venezuela,6 ist jedoch im Absterben begriffen. Der religiöse Teil, der Wechselgesang, wird fortgelassen, es bleibt bloß die Unterhaltung. Wohl aber wird der Brauch auch als kirchliche Andacht abgehalten, wie ich sie im J. 1968 in Guadalajára (Jal.) erlebt habe.
Auch im heutigen Spanien ist der Brauch stark abgekommen. Man findet ihn bloß noch bei den Gebirglern der Sierra und der Estremadura.
Die Wege, auf denen der Brauch nach Mitteleuropa gewandert ist, sind im einzelnen noch unbekannt. Es geschah allerdings im Rahmen des einstigen großen Habsburgerreiches, in dem "die Sonne nie unterging". Der Brauch wurde auffallenderweise von den katholischen Ländern deutscher Zunge und ihrer Nachbarschaft aufgenommen und lebt da fort. Sartori o.c. führt als Verbreitungsländer den Pinzgau, Baden und die Obersteiermark an. Über den Ursprung berichtet er nichts, seine Meinung, der Brauch erinnere an die germanische Nerthusfeier (Tac. Germ. 40), ist unhaltbar. Er soll als "notandus abusus" von der Geistlichkeit verboten worden sein. Daß ihm die Ära Josephs II nicht freundlich war, ist klar.
Den Brauch erwähnt vorübergehend Rudolf Berliner in seinem großen Werk:7 Die Münchner Jesuiten bezahlten 1736 den Maler, der das Bild "für die Reiss unser lieben Frauen und St. Joseph" gemalt (oder restauriert) hatte. Daraus ginge hervor, dass der Brauch in der ersten Hälfte des l8. Jahrh. in Bayern bekannt und von den Jesuiten (in München) gepflegt wurde. Man berichtet auch von einem handschriftlichen Büchlein aus dem Kloster der Franziskaner in Mindelheim und den Anweisungen und Gebeten für die Andacht "anno 1758". Der Brauch soll von Anna Katharina, der Tochter Ferdinands, des Herzogs von Tirol, um 1600 in Hall eingeführt worden sein.8 Er ist in deutschen Landen, in Bayern, Schwaben, Württemberg, Tirol und Salzburg anzutreffen.
Er ist auch zu den Slowenen gelangt - zu den Friauler Slowenen im heutigen Italien und zu den Slowenen in Steiermark und Krain. Der mündlichen Überlieferung nach soll er in Friaul schon Ende des 18. Jahrhunderts heimisch gewesen sein.
Der zum Brauch gehörige (spanische) Wechselgesang konnte allerdings in Mitteleuropa nicht übernommen werden. Bei den Friauler Slowenen und auch anderswo in Slowenien verläuft er auch ohne Wechselgesang. Es ist jedoch anzunehmen, daß schon bald ein dem spanischen entsprechender Wechselgesang (in deutscher Sprache) entstanden ist. Diese
4	S. Luis Rublúo, La navidad méxicana en el siglo XVI, in: Artes de México 19, no. 157, México 1973, 6 ff.
5	Du dürftest Josef sein, deine Gemahlin ist Maria, tretet ein, Pilgerpaar, wir haben euch erkannt.
6	Nives de Hoyos Sancho, Nacimineto en Hispano-America, in: Revista espanola de indigenismo. Madrid 7, diciembre 1965/6, und briefliche Mitteilung vom 27. 8. 1985.
7	Rudolf Berliner, Die Weihnachtskrippe. München 1955, 23, Anm. 275.
8	Annie Hertinger, "Wer klopfet an?" Regensburg 1948.
24
Niko Kuret
Fassung bleibt unbekannt, im 19. Jh. aber entstand das bekannte Dialoglied "Wer klopfet an?". Hartmann hat es in seine Sammlung mit Abels Melodieaufzeichnung eingereiht.9 Er bezeichnet es als Volkslied "in Kiefersfelden, Salzburg, Wildschönau, auch in Oberbayern verbreitet". Wann das Lied entstanden ist, ist nicht festzustellen. Allein die Slowenen hatten sich eine slowenische Fassung davon besorgt und sie in einem Jahrbuch ("Drobtinice") im J. 1861 veröffentlicht. Das deutsche Original muß also vor 1861 entstanden und gedruckt worden sein. Interessanterweise führt die slowenische Übersetzung am Ende den Namen des Autors an. Es soll ein (in slowenischer Graphie) J. Sehel (Schechel ?) gewesen sein. Man dürfte es also nicht als "Volkslied" bezeichnen!
Der Brauch war bei den Slowenen schon abgekommen, wurde aber Ende des 19. Jahrh. wiederbelebt und ist auch heute in allen slowenischen Gebieten - ohne Ausnahmen - verbreitet.
Eine ähnliche Wiederbelebung des schon abgekommenen Brauches ist auch in Tirol zu verzeichnen.
Das Lied "Wer klopfet an?" öffnet allerdings neue Fragen. Es umfasst bloß sechs, in einigen Fassungen sogar nur vier Strophen: "beim ersten Haus", "beim zweiten Haus" etc. ..." beim sechsten (vierten) Haus". Wenn das Lied einer Novene diente, wo bleiben die restlichen "Häuser" bis zum neunten? Oder singt man bei jedem Haus alle vorhandenen Strophen?
Befremdend ist weiters, daß die letzte Strophe keinen Übergang zum Empfang im Hause enthält, sondern bloß den Hinweis auf einen Stall in der Nähe, worauf die Umgänger ins Haus eintreten dürfen. Der Übergang ist im mexikanischen Liede unvergleichlich freundlicher: man bereut es, daß man das Heilige Paar nicht früher erkannt hat und läßt es mit Freuden ins Haus eintreten!
Die deutsche Fassung des Liedes "Wer klopfet an?" liegt in zahlreichen Drucken vor, so z.B. im Liederbuch Anton Dawidowicz "Komm, sing mit" Österr. Liederbuch (Innsbruck 1962, 192). Bei den Slowenen wird der slowenische Text auch handschriftlich überliefert.
Der eigenartige Brauch der Herbergsuche oder des Frautragens ist noch immer mangelhaft erforscht, weil Berichte davon nur spärlich sind oder überhaupt nicht vorliegen. Dieser kleine Beitrag dürfte weiteren Untersuchungen den Weg weisen.
9 August Hartmann, Volkslieder. In Bayern, Tirol und Land Salzburg gesammelt von -. Mit vielen Melodien aus dem Volksmunde aufgezeichnet von Hyazinth Abel. I. Volkstümliche Weihnachtslieder. Leipzig 1884, 121-124 (78. Melodie "Wer klopfet an?).
25
SLOVANSKA MITOLOGIJA VIRI IN REKONSTRUKCIJE
MITOLOGIA SLAVA FONTI E RICOSTRUZIONE
HekOTOpbie Bonpocu n3> MeHMH c.iaBHHCkoii
MH(|)O.1OniH
BnaduMup H. Tonopoe
The article deals with the history and the contemporary situation of Slavic mythology studies. It also discusses the relationship between the pagan tradition and Christianity.
K KOHuy BToporo flecflrmeTHH Hamero BeKa MHoroe H3 Toro, hto 6bmo flocrarayTo b o6^acTH c^aB^HCKoft, a oTnacTH 6mthhckoh MH^o^orHH, noflBepraocb coMHeHHro h^h flaxe oTpnnaHHro cTopoHHHKaMH "ranepKpHTHHecKoro" B3raafla He to^ko Ha pe3y.nbraTbi npeflHfly^Hx Hcc^eaoBaHHH, ho h Ha caMH bo3moxhocth flocTaTorao HasexHoa peKoHcTpyKnHH MH^o^orHnecKHx flaHHocTeft Ha ocHoBaHHH HMero^Hxca b pacno-paxeHHH Hcc^efloBaTe^eft hctohhhkob. noc^efloBaTe^bHee h pe3ne flpyrHx cpeflH "rnnepKpHTHKoB" 6bm AneKcaHflp BproKHep. Ero no3HnHH b pHfle oTHomeHHH HMe^a pa3yMHHe (ho Bce-TaKH cKopee nacTHbie) ocHoBaHHH h Moraa 6h 6HTb fleftcTBHTe^bHo no^e3Hoft, bhoch b fla^bHeftmne MH^o^oranecKHe HcraefloBaHHH oTpe3BjHro^HH 3^eMem\ OflHaKo "oTpe3B^eHHe", 3a kotophm HepeflKo nyBCTByeTcn HeBepne 3Toro Bbiflaro^erocn yneHoro b flMbHeftmHft nporpecc b 3toh o6^acTH, 6bmo cTo^b crnbHbiM, hto 3aHHTHe c^aBHHcKoft h smthhckoh MH^o^oraeft, ec^H He cnm-aTb oTfle^bHbix HcK^roHeHHft, 6h^h b 3HanHTe^bHoft cTeneHH cBepHyTH (pa3yMeeTcn, am 3Toro cy^ecTBoBmH h flpyrHe npHHHHH), HHTepec k H3yneHHro c^aBHHcKoft h SaOTHftcKoft MH^o^orHH 3aMeTHo yMeHbmH^ca, h neccHMHcranecKHe B3ranflbi Ha Bo3MoxHocTb flocTHxeHHH hobhx HaflexHHx pe3y^bTaToB Bo3o6^aflMH cpeflH HcraefloBaTe^eft.
Py6ex 50-60-hx rofloB flBaflnaroro BeKa o3HaMeHoBMca oTHeraHBbiMH npH3HaKaMH Bo3poxfleHHH HHTepeca k MH^o^orHnecKHM TeMaM h cTaHoB^eHHeM, cHana^a floBo^bHo po6khm, 6o^ee onTHMHcTHnecKoro oTHomeHHH k bo3moxhocth Hcc^efloBaHHH h no^yneHHH hobhx pe3y.nbraTOB b o6^acTH c^aBHHcKoft h 6mthhckoh MH^o^orHH. KoHeHHo, 3TO 6bTO cBH3aHo c H3MeHeHHeM KoHKpeTHHX yc^oBHH, Bo3HHKHoBeHHeM Ho-boh cmyauHH b 3toh oTpac^H HayKH, noHB^eHHeM hobhx Hfleft, MeTofloB h hctohhhkob, KoTopbe, oKa3bBaeTcH, moxho HaxoflHTb BHyTpH cTaporo h xopomo H3BecTHoro MaTepHa^a. B cBeTe 3thx nepeMeH mopok "rHnepKpHTHCH3Ma" ctM Ka3aTbcH He cro^b cTpamHbM h o6HapyxH^ TeHfleHnHro k 3Bo^ronHH b cTopoHy pa3yMHoro KpHTHUH3Ma KaK HeoTteM^eMoft nacra bchkoto HaynHoro Hcc^efloBaHHH.
Hto xe KoHKpeTHo 6bTO TeM HoBHM H^H no-HoBoMy ocMbc^eHHHM cTapbM, hto cTo^b cy^ecTBeHHo H3MeHmo cmyauHro? npexfle Bcero nporpecc b rayneHHH oTfle.nbHbix poflcTBeHHHX HHfloeBponeftcKHX TpaflHnHH H THno^orHH MH^o^orHHecKHX o6pa3oB, mh^ob h caMHx MH^o^orHnecKHx TeKcTOB. K 3ToMy HyxHo flo6aBHTb Bce 6o^ee ycmHBaro-^yrocn po^b h3hkobhx flaHHbx b MH^o^orrnecKHx Hcc^efloBaHHHx. K ^eKcHKe h
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HeKOTopbie Bonpocbi HayqeHHa caaBSHCKOH MH^oaorHH
3THM0^0rHH, KoTopHe paHbme He 6bmH b npeHeôpexeHHH, Tenepb npHcoeflHHmacb h ^pa3eo^oraa h ceMaHTHKa b toH Mepe, b kotopoH nepBaa pacmHpaeT KoHTeKCT flaHHoro MH^o^ornnecKoro nepcoHaxa, a BTopaa BbiaB^aeT mothbhpobky Toro mh HHoro HMeHH h^h o6o3HaneHHa. Cy^ecTBeHHa Booô^e, a fl^a MH^o^orHH b ocoôeHHocra, npoô^eMa onpefleœHHa noftmHHoro CTaTyca "o6o3Hanaro^ero" (signifiant) - hmh coôcraeHHoe h^h ane^aTHB, rpaHHnbi Mexfly hhmh h B3aHMonepexofla oflHoro b flpyroe -TpaHC^opManHH. Po^b a3biKa b MH^o^orHH, KoTopaa b HHfloeBponeHCKoô Tpa^HnHH 6bma acHa yxe nepBHM KoMnapaTHBHCTaM h MH^o^oraM, HepeflKo coBMe^aBmHMca b ^Hne oflHoro HCC^e^oBaTe^a (mh$ KaK "6o^e3Hb" a3biKa), oôtacHaeT Befly^yro, noxa^yH, po^b ^HHrBHCToB b nocœflHHe flecaTrneTHa b npHB^eneHHH BHHMaHHa k c^aBaHCKoô MH^o^orHH h b ee HcraefloBaHHH. Moxho HanoMHHTb, hto caMa Hflea peKoHCTpyKqHH MH^a h nepcoHaxeH, b MH^e ynacrayro^Hx, eflBa jih Moraa 6h peMH3oBaTbca BHe caMoro fleôcTBeHHoro cBoero opyflHa h MeTofla - a3biKoBoH peKoHcrpyKqHH, pe3y.nbraTbi kotopoh na^e Bcero b toh h^h hhoH Mepe noflflepxHBaroTca flaHHbiMH flpyrHx poflcTBeHHbix
a3bIKoB H MH^o^orHHecKHX TpaflHnHH.
HaKoHen, HyxHo oTMeTHTb h Te npeHMy^ecTBa b noflxofle k Hcc^efloBaHHro MH^o^orHH, KoTopne cBa3aHbi c BBefleHHeM b rayneHHe 3toh oTpac^H 3HaHHa MeTofloB, pa3pa6oTaHHbix b cTpyKTypa^H3Me, ceMHoTHKe, cTpyKTypHoH aHTpono^orHH, b Hcc^efloBaHHax no cTpyKType TeKcTa, pe^HrHoBefleHHH h pafle flpyrHx HayK h HaynHbix HanpaB^eHHH. BBefleHHe noHaTHH chhxpohhh, flHaxpoHHH h naHxpoHHH ("yHHBepcMHË"), cTpyKTypH, cHcTeMH H cBa3H 3^eMeHToB BHyTpH Hee H cBa3H ypoBHeH BHyTpH cHcTeMH, chtohoh h c^aôoH no3HUHH, a^^oa^eMeHTa, "aTHnecKoro" h "aMHHecKoro" h t. n. no cyTH fle^a BecbMa 3HanHTe^bHo pacmHpaeT h HHcTpyMeHTapHH MH^o^orHnecKoro Hcc^efloBaHHa h npocTpaHcTBo HH^opMauHH, He6e3pa3^HHHoH h He-ôecnoraeflCTBeHHoH fl^a coôcraeHHo MH^o^orHnecKHx Hcc^efloBaHHH.
KaxeTca, HeT ocHoBaHHH coMHeBaTbca b tom, hto h b flMbHeHmeM Kpyr Tex HfleH, MeTofloB, MaTepHa^oB, KoTopbie cnocoôcrayroT nporpeccy Hcc^efloBaHHH b oô^acTH MH^o^orHH, ôyfleT pacmHpaTbca h coBepmeHcraoBaTbca. H 3to noflflepxHBaeT tot onTHMHcTHHecKHH ^oh, kotophH cTo^b HeoôxoflHM fl^a KoHcTpyKTHBHoro pa3BHTHa flaHHoH KoHKpeTHoH oô^acra 3HaHHa. OflHaKo flo^r Hcc^efloBaTe^a - noMHHTb o Tex c^oxHocTax h npenaTcTBHax, Tex ^aKyHax h HeacHocTax, 6e3 npeoflo^eHHa kotophx He^b3a Bocco3flaTb Toro ne^oro, KoTopoe xapaKTepHo fl^a flaHHoH MH^o^oranecKoH TpaflHnHH, h onpefle^HTb tot TaHHbiH HepB, kotophh oôtacHaeT ^yHKqHoHHpoBaHHe 3Toro ne^oro h npHflaeT eMy HenoBTopHMyro HHflHBHflya^bHyro ^h3hohomhm. TaKoe noHHMaHHe flo^ra npeflno^araeT ^opMy^HpoBKy Ha KaxfloM nepexoflHoM oTpe3Ke 3Bo^ronHH HayHHoro 3HaHHa Texpiae desideriae, 6e3 o6o3HaneHHa kotophx yTpa^HBaeTca nepcneKTHBa h flMbHeHmHH nyTb MoxeT oôepHyTbca ô^yxflaHHeM b rycToM TyMaHe.
EcTecTBeHHo, hto 3flecb HeT bo3moxhocth roBopHTb b aoothom oôteMe o6 sthx noxe^aHHax, ho Bce-TaKH, xoTa 6h b caMoM KpaTKoM BHfle, ctóht o6o3HanHTb flBe ôo^bmHe ^aKyHb, Hyxflaro^Heca b Bocno^HeHHH.
nepBaa ^aKyHa b rayneHHH c^aBaHcKoH (a oTnacTH h ômthhckoh) MH^o^orHH coctoht b tom, hto caMa MH^o^orHa fl^a HocHTe^eH flaHHoH TpaflHnHH aB^aeTca jHmb oTHocHTe^bHbM o6pa3oM, acneKToM h^h nacTbro Toro nofl^HHHoro ne^oro, KoTopoe To^bKo h aB^aeTca afleKBaTHbM nopTpeToM 3toh TpaflHnHH, HaflexHo BBofla^HM Hcc^efloBaTe^a b ee BHyTpeHHHH MexaHH3M, h b MeHTa^bHo-ncHxo^orHnecKyro opraHH3a-CHro Ko^^eKTHBa, aB^aro^eroca HocHTe^eM HMeHHo stoh KoHKpeTHoH TpaflHnHH. TaKHM
30
BßaduMup H. Tonopoe
noa^HHHHM uenHM aB^aeTca pe^nraa KaK eaHHcTBo mHpoKoro n^aHa, cKpennaeMoe Han-öo^ee HanpaxeHHoö h noHHMaeMon KaK raaBHaa K^roneBon naeen. B 3tom eaHHcTBe cxoaaTca h cocy^ecTByroT KoHnemya^bHoe h aMnnpnnecKoe, aomaTHnecKoe h HeaorMaTHHecKoe, oTnacra cnoHTaHHo Bo3HHKaro^ee oKpyxeHHe ero, KoTopoe oTpaxaeT öo^ee mnpoKHn Kpyr npeacTaB^eHHH, xe^aHHË, Haaexa, caMooneHKH ceöa h oneHKH apyrnx h t. n., b 3HanHTe^bHoö cTeneHH c^opMHpoBaBmnxca paHbme (h nacro HaMHoro) toh anoxn, Koraa cKnaaHBaeTca aaHHaa pe^Hrno3Haa aorMaTHKa; yMo3pHTe^bHoe, HyBcTBeHHoe h oraoca^eeca k c^epe aeaTe^bHocTH npamaTHnecKoe; noBeaeHnecKHe HaBHKH h pe^eKcna; pmyan h mh$ h t. n. H3 Bcex 3HaKoBHx cncTeM (bo bcäkom c^ynae ana nparaaBaHcKon h paHHeraaBaHcKoö anox) HMeHHo peanraa aB^aeTca caMon mo^hoh, c HaHÖo^bmen pa3pemaro^eö chtoh h öoaee Bcero HMero^eö npaBo Ha to, htoöh öHTb ochoboh ana peKoHcTpyKqHH Moaean MHpa. Ecan Hame 3HaHHe caaBaHcKoö MH^oaornn, a oTHacTH h pmyana moxho cnm-aTb (oraocHTeabHo KoamecTBa HMero^eroca Marepnaaa) b H3BecTHon Mepe yaoBaeTBopHTeabHHM, to aToro Heab3a cKa3aTb o HameM 3HaHHH npac^aBaHcKoö h Booö^e aoxpncTHaHcKon peanran. nporpecc b ee peKoHcTpyKqnn cn^bHo h BecbMa kohctpykthbho noMor öh pacmnpHTb KoHTeKcT, b kotopom MH^oaoraa 3aHHMaeT cBoe MecTo, h aaa öh Bo3MoxHocTb oötacHHTb 3aBHcHMocTb Tex h^h hhhx MH^o^oraqecKHx ^aKToB h aB^eHHH ot cTpyKTypH pe^Hrno3HHx npeacTaB^eHHÖ h onpe-ae^HTb öoaee tohho valeur arnx ^ktob h aBaeHHË, hx mothbhpobky, a HepeaKo h hx nponcxoxaeHHe.
^pyraa jiaKyHa coBceM HHoro poaa. OHa caeacTBHe HeBHHMaHHa, npeHeöpexeHHa, HHoraa npocTo HeBeaeHHa e^e oaHoro BaxHoro Kpyra hctohhhkob, HMero^nx oTHomeHHe h k MH^oaornnecKHM peKoHcTpyKqnaM, ho hmh He HcnepnHBaro^Hxca. Penb HaeT o cooTHomeHHH a3HHecKoö TpaannHH h "öoabmoö" peanran, b aaHHoM caynae xpncTHaHcTBa (ycBoeHHoro Ha mnpoKoM pyöexe I-ro h II-ro TbicaneaeTHa Hamen apH CTaBaHaMH h öajraMH), c tohkh 3peHHa coxpaHeHHa npeeMcTBeHHocTH npn Bcrpene aByx aHTaroHHcTHnecKHx (bo BcaKoM caynae Ha ypoBHe caMoco3HaHHa Kaxaon h3 arnx TpaannHÖ) peanrañ - a3braecKoö h xpncTHaHcKon, KoTopaa Beaa HenpHMHpHMyro öopböy c nepBon, KoHHHBmyroca - no KpanHen Mepe o^nnnaabHo - no^Hoö noöeaon Haa a3braecr bom.
Ho peanrna, HoBoe pe^Hrao3Hoe yneHHe HHKoraa He npnxoaHT Ha nycToe, He 3ano^HeHHoe HHneM MecTo: npnaa, oHa yxe HaxoanT TaM, Ha aToM MecTe, HHoe neaoe pe^HrHo3Hoö npnpoaH, b kotopom, oaHaKo, npncyTcTByeT h to, hto, eran He rayöxe, to mnpe peanrHH, - Tpaannna, npeacTaBaeHHa o ceöe h o MHpe, Becb xH3HeHHbm yKnaa, cboh THn pe^aeKcnn, cboh npaBHaa, cBoe "moxho", "HyxHo", "Heab3a". E^e ao BBeaeHHa h ycBoeHHa "hoboh" peanrnn Tpaannna oöecnenrnaeT HeKoe eaHHcTBo KoraeKTHBa - b ayxe, b oöpaaoBon npaKTHKe, b xH3HeHHoM yKnaae, b caMoM cTpoe MHponyBcTBoBaHHa. Koraa "HoBaa" peanrna (yneHHe) h Tpaannna BcTpenaroTca, a BcTpena hx HeH3öexHa, KaK oö 3tom cBHaeTeabcTByeT xpHcTHaHH3anna a3braecKHx HapoaoB, roBopa b oö^eM, HMeroT MecTo Tpn pa3HHe cHTyannn - h^h "HoBaa" pe^nrna BcTpenaeT pemHTe^bHoe conpoTHB^eHHe Tpaannnn (h Toraa h^h HoBoe oKa3HBaeTca cn^bHee h ae^aeT Bce, htoöh ncKopeHHTb, b nacraocTH, h Hacn^bcTBeHHo, Tpaannnro h TeM caMHM, HapymHB ne^oKynHocTb h no^HoTy Tpaannnn, oaepxaTb Haa Hen noöe-ay, HepeaKo h b HecKo^bKo hhom n^aHe oöopa^HBaro^yroca nopaxeHneM, h^h xe Tpaannna oKa3HBaeTca cn^bHee h oTcTaHBaeT ceöa), h^h Tpaannna jierKo h opraHHHHo npHHHMaeT "hobyto" pe^nrnro, ycnemHo aKKoMoanpyacb k Hen, HHoraa aaxe nHTaacb
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HeKOTopbie Bonpocbi HayqeHHa caaBSHCKOH MH^oaorHH
b Heñ pacTBopHTbca, hto noaHocTbro, oaHaKo, HHKoraa He yaaeTca, HaH xe "nyxoe" yneHHe, "HOBaa" peaHrHa h "cBoa" TpaaHnHa - He3aBHcHMo ot Toro, KaK ohh oneHHBaroT cmyaEHro, BoabHo HaH HeBoabHo BbmyxaeHbi h^th Ha KoMnpoMHCC, aaaeKHñ ot napHTeTa, ho Bce-TaKH npeanoaararo^Hñ pa3aea c^ep BaHaHHa h/mh ypoBHeñ, KoHTpo^HpyeMHx toh HaH hhoh h3 aByx HHCTaHUHH - "HoBoñ" pe^HrHeñ HaH "CTapoñ" TpaflHnHeñ.
3aecb HeT bo3moxhocth o6cyxaaTb ycaoBHa KoHKpeTHoro KoMnpoMHCca (KCTaTH, TaKHM oh BHraaflHT B oCHoBHoM IHmb B MaKpoHCTopHHeCKoM n^aHe, B npoCTo xe HCTopHnecKoM penb CKopee aoaxHa h^th o 6opb6e - aBHoñ HaH TañHoñ) Mexay BocTonHoc^aBaHCKoñ a3HnecKoñ TpaflHnHeñ h xpHCTHaHCKoñ, HanaBmeñca, no MeHbmeñ Mepe c X BeKa h He npeKpaTHBmeñca no cy^ecTBy ao Hamix aHeñ. XpHCTHaHCTBo yTBepaHaocb Ha BepxHeM 3Taxe, a3binecKHe nepexHTKH, aoBoabHo xopomo coxpaHaro^Heca b HeKoTopbix c^epax HapoaHoñ xh3hh, HamaH ce6e Himy Ha HHXHeM 3Taxe. ^BoeBepHe - oaHH h3 cnoco6oB aocraxeHHa KoMnpoMHcca, Koraa KaxflHñ Bepyro^Hñ h Becb KoaaeKTHB BxoaaT b o6e peaHrHH, xHByT Ha o6ohx 3Taxax, ho xopomo 3HaroT, htó Bory, a htó Kecapro, rae KomaeTca oaHo h rae HanHHaeTca apyroe. Ho sto aBoeBepHe, aKTyaabHoe b snoxy, Koraa a3braecTBo e^e co3HaTeabHo 6opoaocb c xpHcTHaHcTBoM 3a cBoe BHXHBaHHe h Haaeaaocb o6oñTHcb 6e3 KoMnpoMHcca, no3xe craao, ecaH yroaHo, eaHHoñ Bepoñ HaH, TOHHee, HeKHHM neabHbiM h cHcTeMaTHnecKHM MHpoBo33peHHeM h xH3HeHHbiM yKaaaoM, 3a kotophmh ctoht oaHa h Ta xe eaHHaa Hepa3aeabHaa ayma. H to xpHcraaHcTBo, KoTopoe yTBepaHaocb Ha PycH h npoaoaxaeT cy^ecTBoBaTb KaK "HapoaHoe" BepoHcnoBeaaHHe, HecoMHeHHo, npeacTaBaaeT co6oro opHrHHaabHbiñ cHHTeTHnecKHñ onHT. KaKHM Ko^yHcTBeHHbiM 3to 6h hh Ka3aaocb h npH Bcex aeñcTBHTeabHo KapaHHaabHbix pa3aHHHax Mexay a3braecTBoM h xpHcTHaHcTBoM, BbicTynaro^Hx b caMbix HanpaxeHHHx TonKax KaK noaHaa npoTHBonoaoxHocTb BnaoTb ao pemHTeabHoro HenpHaTHa h oTBepxeHHa npoTHBonoaoxHoro ce6e, Bce-TaKH h y a3braecTBa h y xpHcraaHcTBa ecTb HeKaa o6^aa 3aaana, HeKHñ o6^hh HHTepec, h 6e3 hhx HHKaKaa ^opMa KoMnpoMHcca He 6biaa 6h Bo3MoXHa.
B a3HnecTBe (b nacTHocra, h b BocronHocaaBaHcKoM h - yxe h noaHee - b pyccKoM) Bceraa HaxoaHTca He ToabKo to, hto npeoaoaeBaeTca h/hjih npocTo BHTecHaeTca, yaa-aaeTca xpHcTHaHcTBoM KaK "6oabmoñ" h "hoboh" peaHraeñ, ho h to aapo, tot HeaeaHMbiñ ^oHa, kotophh Hea3HnecKaa h eñ npoTHBonoaoxHaa "6oabmaa" peaHrHa He MoxeT h, 6oaee Toro, He aoaxHa cTpeMHTbca oT6pocHTb, ho BbrnyxaeHa (HHoraa HeBoabHo h aaxe npoTHBoBoabHo) BKaroHHTb b cBoe neaoe, TaK HaH HHane y^Ta to, hto aaa Bepyro^ero aroaa yxe aaBHo cTaao HeorbeMaeMbiM aocToaHHeM "HapoaHoñ" ncHxeH, KoTopaa - h 3to npe3BbraañHo BaxHo - npeaonpeaeaaeT h MaTpHnHpyeT onpeaeaeHHHñ peaHrao3Ho-ncHxoaorHnecKHñ THn h Becb ero xH3HeHHHñ KoHTeKcT, oTKa3aTbca ot KoToporo noaHocTbro HeBo3MoxHo h Hacro aaxe He HyxHo.
XpHcTHaHcTBo KaK MHpoBaa peaHrHa, npeTeHayro^aa Ha yHHBepcaabHocTb, He MoxeT o6aernaTb cBoro 3aaany h pacc^HTbiBaTb Ha yHH^HUHpoBaHHbiñ HaH onycTomeHHbñ cy6cTpaT. Oho aoaxHo HañTH Karon, oTMHKaro^Hñ aro6yro peaHrHro, c KoTopoñ eMy npHxoaHTca BcrpenaTbca. Bonpocn, cToa^He nepea xpHcTHaHcTBoM, oco6eHHo KopeHHHe, Te xe, hto Bo3HHKaroT h b a3HnecTBe, ho ToabKo MHoroo6pa3Hee, caoxHee, HanpaxeHHee. H a3biHHHK, KoTopoMy npeacToaao cTaTb xpHcTHaHHHoM (h HMeHHo "xopomHM"), b KoHne koh^b noHHMaa eaHHcTBo cHTyanHH, i^eaeñ h pacxoaHTbca
32
BnaduMup H. Tonopoe
Mor CKopee b tom, KaKHMH cpencTBaMH hx flocrnrayTb1. A xpHCTHaHHH, e^e Bnepa öbiBmnö aaHHHHKOM, a ceronHa coaHaro^nö ce6a HOCHTeneM xpHCTHaHCKOö Tpannnnn - KaK Bep0Hcn0BeflH0H, TaK h öhtoboh, bhocht b 3Ty Tpannnnro aabmecKne sneMeHTbi nnn naxe nenne nnacTbi, cooTHOca hx (HacKonbKO aneKBaTHO, npyroö Bonpoc) c TeM, hto, KaK npencTaBnaeTca eMy, He npoTHBopennT (h sto no MeHbmeö Mepe) xpHCTHaHCTBy. OTcrona n0HaTH0, hto h y xpHCTHaHCTBa h y aabraecKOö Tpannnnn, na^e Bcero yxe He coaHaro^eö ce6a TaKOBOö, ecTb cboh oco6bie npaBa h aanann. nepBoe KomponnpyeT BTopyro, orpaHHHHBaeT, HanpaBnaeT, npennncbiBaeT cboh npaBHna. BTopaa xe yMynpaeTca (h Toxe He OTnaBaa ce6e b stom OTneTa) yraeannTbca b cepnneBHHe Toro o6brroBneHHoro, HHTHMHoro xpHCTHaHCTBa, KOTopoe eö no cepnny h KOTopoe 0Ha ncnoBenyeT KaK cbom Bepy. TeM caMbiM h TaKoe xpHCTHaHCTBO, 6onee noanHee, neM BoenpnHaBmaa ero hcxo^ho aaHHecKaa Tpannnna OKaaHBaeTca hctohhhkom, xoTa h btophhhhm nna peKOHCTpyKnnn Tex o6paaoB h nneö, KOTopbie npncyTCTBOBann b aabmecKOö Tpannnnn. PaayMeeTca, sth naHHbie Bbipaxanncb cy^ecTBeHHO hhhm "aabiKOM" h Ha npyroM ypoBHe, ho h 3Toro sapienti sat. Ha aToro KOHKpeTHoro cnynaa, npnKpenneHHoro k 0npeneneHH0My MecTy, BpeMeHH h 3TH0KynbTypH0H h aaHKOBOH Tpannnnn, cnenyeT BoaMOXHOCTb h 6onee o6^ero BHBona: MHorHe 6orocnoBCKne, ^nnoco^CKne pe^neKcnn h MHorHe onHTH xynoxecTBeHHoro cnoBecHoro TBopnecTBa, naxe He Haxona^neca b nepene npeeMCTBeHHbix ncTopnHecKnx CBaaeö, MoryT OKaaaTbca noneaHbiMH nna npoacHeHHa BaxHbix, HepenKO EnroneBbix b cmhchobom 0TH0meHHH BonpocoB aabraecKOö Tpannnnn, nocKonbKy h ohh h 0Ha ycrpeMneHH k rnyönHHbiM CMbicnaM2.
1	Oxen CnnyaH ABepHGKnn, HGneMnanpya gg gbghm GnnGHeHXGM, nnmex: «.flabineGXBG Ha PyGH HnKGrna He ncneaanG n He ncneaHex /.../ Bbi nnmexe: "Hgxg^hhk pennrnoaHGH HexepnHMGGXH - aabineGXBG, nHKGpnopn-pGBaHHGe b npaBGGnaBHe n GnnBmeeca g hhm, HexpnGXGneHxpnnHGGXb HamerG MumneHHS, Hama GXGpBaHHGGXb Gx EBaHrenna n Hncyca".»
cflabineGXBG, HHKopnopHpoBaHHoe b npaBGGnaBHe» - xaBXGnorna: npaBGGnaBHe b Pggghh yxe, hg onpeneneHHro, He KaK Bam o6paa ero h Bama nGKxpnHa g HeM, a KaK peanbHGe nGXGpnneGKGe aBneHne - 3XG h xpHGXHaHGXBG, h 3neMeHXbi ÄGxpHGXHaHGKHx KynbXGB nneMeH, HacenaBmHx npeBHroro PyGb, h ggg6mh 3TH0HCHxonorHnecKHH GKnan, - GGBGKynHGGXb He ÄGKxpnHanbHaa, hg XKaHb xnBaa, Äbima^aa, Bnna^aa. Tpannnna n yneHne - He panononaraeMbie n He npGxnBGHGnaraeMbie HGHaxna: ghh paGHGnoxeHbi b paaHbix nnGGKGGxax, nrparox Ha paaHHx GxpyHax nymn. Hg bgx GHa-XG, nyma - onHa». Cm. nucbMo Cu^yaHa AeepHcKozo omuy Teopzum HucmuKoey. 14.10.96, "PyccKaa MbiGnb", 27.03.1997.
2	HaGXGa^nn xeKGX npenGxaBnaex gg6gh BBeneHne G6^ero xapaKxepa k 6onee o6mnpHGMy nGGneflGBaHnro K peKoHcmpyKU,uu ßwmo-cmemcKozo MutfyoAozmecKozo oßpa3a 3eMm-Mamepu - *Zemia & Mate.
33
HeKOTopbie Bonpocbi HayqeHHa caaBSHCKOH MH^oaorHH
Einige Fragen zur Erforschung der slawischen Mythologie
Vladimir N. Toporov
Im Artikel werden einige Überlegungen zur Geschichte der slawischen Mythologie als philologischer Disziplin (vom Hyperkritizismus Brückners bis heute), zu den Lakunen, die es in diesem Bereich noch gibt, und zu den Beziehungen zwischen dem ostslawischen Heidentum und der christlichen Orthodoxie präsentiert.
34
Dlaczego naukowe opisy praslowianskich wierzen
s^ tak rožnorodne
Leszek Moszynski
The author endeavours to explain why the views of the scholars dealing with the proto-Slavonic beliefs are so diversified. He claims that there are two basic reasons for this: divergent views as to the time and place of the proto-Slavonic habitat (the variation of the views may be directly connected with the discipline, e. g. history, archaeology, ethnology, linguistics, represented by a given scholar) and the relative scarcity and equivocality of the sources on the basis of which the conclusions are reached.
Pomimo že istnieje juž bogata literatura naukowa a takže populamonaukowa dotyczgca prasiowianskich wierzen, brak cingle jednolitego pogledu nie tylko w sprawach szczegolowych, ale i zasadniczych. Cingle brak jednoznacznej odpowiedzi na pytanie, jaki charakter miala religia przedchrzescijanskich Slowian, ktore z poznanych juž elementow žycia duchowego Praslowian naležg do religii, a ktore do innych warstw duchowej kultury.
Zložylo siç na to wiele przyczyn, ktore chcialbym tu pokrotce ukazac. Silg rzeczy bçdç siç musial ograniczyc do przykladow typowych1, a možliwe (czego nie wukluczam), že jakis czynnik ujdzie mojej uwadze. Ale juž to, co chcç tu zasygnalizowac, wystarczajgco jasno przyczyny te ukazuje.
I. Przyczyny obiektywne
Podstawowg obiektywng przyczynç stanowi brak zrodel, ktore by mogly byc przyjçte za fundament dalszych dociekan. Brak jest praslowianskich tzw. mitow przekazanych juž nie tylko w formie pisanej ("prežde ubo Slovène ne imêa%ç kvnigr>" - napisal w X wieku Mnich Chrabr), ale i ustnej. Legendy, jakie przetrwaly do naszych czasow, zawierajg niekiedy jakis element nadprzyrodzony, ale jego rola jest tak niesprecyzowana, že nie daje podstaw do rekonstrukcji praslowianskich wierzen. Možna tu przykladowo wymienic z tradycji polskiej tajemniczych gosci Piasta, dziçki ktorym poszerzyla siç spižarnia Rzepichy, cudowne przejrzenie podczas postrzyžyn 7-letniego Mieszka, pierwszego historycznego wladcy Polski, tragiczng smierc skrytobojcy Popiela; nie ma tež religijnego podloža legenda o Lechu, Czechu i Rusie a takže staroruska opowiesc o przepowiedzianej przez wrožbitow smierci ksiçcia Wieszczego Olega itp. Wszystkie wnioski wysuwane wiçc
1 Ograniczam siç tu do podania podstawowych pozycji bibliograficznych, rezygnujç przy omawianiu szczegölöw z podawania stron. Ježeli powolujç siç na autora bez dokumentacji bibliograficznej, to znaczy to, že chodzi o pozycjç juž cytowan%
35
Dlaczego naukowe opisy praslowiañskich wierzeñ s^ tak rčžnorodne
s^ na podstawie wyrywkowych danych historycznych, w wi^kszosci autorstwa chrzescijan zwalczaj^cych dawne wierzenia, a wi§c z natury rzeczy ukierunkowanych, a jesli autorów nie zainteresowanych chrystianizaj (np. Prokopiusza z Cezarei; podr0žnik0w arabskich) to rowniež s^ tak skromne, že i one daj^ bardzo slabe podstawy do szerszych wniosków. Niejednoznaczne s^ tež dane archeologiczne. Na t§ szczuplosc zródel naklada si§ wiele czynników subiektywnych.
II. Przyczyny subiektywne
1. Specjalnosc naukowa badacza
Brak wyraznych zródel powoduje, že žadna z dyscyplin badawczych nie ma wystarczaj^co przejrzystych podstaw do tego, by przedstawic jednolity obraz praslowiañskich wierzeñ. Ani historyk, ani archeolog, ani folklorysta, ani j^zykoznawca sam jednoznacznej odpowiedzi dac nie može. Korzysta wi§c z osi^gni^c innych dyscyplin, a že wsz^dzie brak wystarczaj^co przejrzystych zródel prowadzi do rožnych hipotetycznych uogólnieñ, korzysta z tych, które lepiej tiumacz^ jego wlasne obserwacje. St^d možliwosc powstania wielu, cz^sto przeciwstawnych obrazów calosci.
2. Rózne rozumienie przedmiotu badan
Juž nawet pobiežny przegl^d dotychczasowych uj§c syntetycznych ukazuje rožnic^ pogl^dów na to, co jest przedmiotem badañ. Jedni badacze klad^ glówny nacisk na tzw. mitologij Slowian (np. Brückner2, Urbañczyk3, Gieysztor4), inni widz^ religij jako jeden ze skladników szeroko rozumianej kultury (np. Trubaczow5), a niektórzy, jak np. Lowmiañski6, rozgraniczaj^ sfery žycia duchowego, i chociaž niew^tpliwie istniej^ mi^dzy nimi obszary przejsciowe, patrz^ na religij jak na w dužym stopniu autonomiczny obszar žycia duchowego spolecznosci ludzkiej. T^ drog^ poszedlem i ja, czemu dalem wyraz w ksi^žce opublikowanej w roku 19927.
3. Problem czasu
Przedchrzescijañska epoka Praslowian jest wjtkowo dluga. Jej pocz^tki gin^ w mrokach dziejów. Jedynym jak dotychczas kryterium oceny jest rozwój j^zyka. Indoeuropeisci i slawisci datuj^ pocz^tek praslowiañszczyzny rožnie, si^gaj^ nawet do polowy III tysi^clecia przed Chrystusem. Tak wi§c na czas przedchrzescijañski przypada okolo 3000-3500 lat. J^zykoznawcy si^gaj^cy poprzez etymologi? w tak odlegl^ przeszlosc inaczej widz^ przedmiot badañ, niž ci, którzy operuj^ faktami filologicznymi. St^d tež na
2	A. Brückner, Mitología slowianska, Kraków 1918; Mitologíapolska, Warszawa 1924; Mitología slowianska i polska, opr. S. Urbañczyk, Warszawa 1980; 21985.
3	S .Urbañczyk, Religia poganskich Slowian, Kraków 1947; Dawni Slowianie wiara i kult, Wroclaw-Warszawa-Kraków 1991.
4	A. Gieysztor, Mitologia Slowian, Warszawa 1982.
5	O. H. Tpy6aqeB, Smnozenes u Kyjbmypa dpemeÜMUx crnern. flumeucmunecKueyccAedoeaHUH, MocKBa 1991.
6	H. Lowmiañski, Religia Slowian i jej upadek (w. VI-XII), Warszawa 1979.
7	L.Moszyñski, Die vorchristliche Religion der Slaven im Lichte der slavischen Sprachwissenschaft, Köln-WeimarWien 1992.
36
Leszek Mo.szyn.ski
przyklad uzewn^trznila si§ istotna w wielu szczegölach rožnica mi^dzy moimi pogl^dami, opartymi przede wszystkim na danych filologicznych, a Trubaczowa, przede wszystkim etymologa. O tym, že problemu tego nie možna lekcewažyc, swiadczy fakt, že sw^ polemiczn^ opinis o mojej ksi^žce opublikowal Trubaczow až trzykrotnie: w Rosji, Niemczech i Stanach Zjednoczonych Ameryki Pölnocnej8. Moja replika znajduje si§ obecnie w druku9 i to nie tylko w Warszawie, lecz takže (a to na žyczenie Trubaczowa i w jego rosyjskim przekladzie) w Moskwie, a wraz z ni^ jeszcze jedna wypowiedz Trubaczowa10.
Niew^tpliwie blisko cztery tysi^clecia duchowego žycia jakiegokolwiek etnosu (w naszym wypadku Praslowian) nie moglo byc wolne od zjawiska ewolucji, musialo doprowadzic do pewnych zmian daj^cych si§ metod^ j^zykoznawcz^ uchwycic. Natomiast uogölnienia pisane z pozycji archeologa, historyka lub historyka kultury operuj^ce pojedynczymi, czasem nawet daj^cymi si§ stosunkowo dokladnie schronologizowac faktami, maj^ na ogöl ponadczasowy charakter, möwi^ o przedchrzescijanskich wierzeniach Slowian w sposöb ogölny, tak jak gdyby one byly w swej istocie czyms niezmiennym.
4. Lokalizacja praojczyzny Slowian
Istnieje kilka pogl^döw na pocz^tki Praslowian i ich pierwotne siedziby. Ma to istotne znaczenie dla rozwi^zania niektörych istotnych problemöw zwi^zanych z ich wierzeniami. Wi^že si§ to bowiem z problemem wplywöw s^siaduj^cych z Praslowianami innych ludöw.
Na ogöl przyjmuje si§ teorij o wspölnocie j^zykowej balto-slowianskiej. Takie stanowisko umožliwia np. l^czenie litewskiego Perkuna ze slowianskim Perunem, a takže przyj^cie budz^cej wiele emocji badaczy litewskiej genezy Welesa/Wolosa11. Z kolei przyj^cie teorii o terytorialnej bliskosci Praslowian i Prairanöw sprzyja teorii o przyj^ciu przez Praslowian zoroastryzmu, co w zakresie praslowianskiej teologii mialoby doprowadzic do poj^ciowego dualizmu maj^cego odbicie w slownictwie: *bogb 'bög dobry' i *divh 'bög zly', mimo že w žadnym j^zyku slowianskim nie znajduje potwierdzenia takie znaczenie slowa *dm. Inaczej problem wplywöw iranskich przedstawia si§ w uj^ciu J. Reczka12, ktöry nie kwestionuj^c možliwosci iranskich požyczek leksykalnych (np. *rajb) a nawet kalk semantycznych (*bogb), nie widzi možliwosci wplywu zoroastryzmu, ktörego zasi^g, jego zdaniem, nie docieral do obszaru kontaktöw iransko-slowianskich.
Lokalizuj^cy Praslowian nad srodkowym Dunajem O. N. Trubaczow neguje zaröwno wspöln^ genezy wierzen Baltöw i Slowian, jak i možliwosc religijnych wplywöw iranskich. Szuka wi§c rodzimej etymologii slowa *rajb, ktöry oznacza wedlug niego 'swiat zmarlych položony za rzek^'. A že lokalizacja Praslowian w pobližu Italiköw ulatwia mu zarzucenie dotychczasowej etymologii praslowianskiego slowa *navb 'duchy zmarlych' z pie. *n?u-'smierc; zmarly', l^czy ten wyraz z lacinskim navis i sugeruje pierwotne znaczenie 'kopa6^b
8	Bonpocbi fl3biK03HaHHA, MocKBa 1994, Ns 6 Hoa6pb-^eKa6pb, s. 3-15; Zeitschrift für slavische Philologie, Heidelberg 1994, s.1-20; Palaeoslavica III, Cambridge-Massachusetts 1994 (1995), s. 211-229.
9	L. Moszynski, Wspölczesne jQzykoznawcze metody (etymologiczna ifilologiczna) rekonstrukcjipraslowianskich wierzen (w druku).
10	H. MomHHCKHH (L.Moszynski), CoepemeHHue AumeucmunecKue Memodbt peKoHmcpyKU,uu npacßasHHCKUx eepoeaHuü; O. H. Tpyöanee, npodoßxeHue duwoza (oba teksty w druku w 9THMoaorHa).
11	Problemowi Welesa poswi^cilem artykul: Detronizacja Welesa, Studia nad polszczyzn^ kresow^ VII, Warszawa 1994, s. 225-233.
12	J. Reczek, Najstarsze slowiansko-iranskie stosunki jQzykowe, Krakow 1985.
37
Dlaczego naukowe opisy praslowiañskich wierzeñ s^ tak rčžnorodne
MepTB^ix'. Nawigzuje w ten sposob do greckiej mitologicznej tradycji Styksu i Charona. Nie nawigzuje natomiast Trubaczow do zwyczaju nordyckich Rusow przybylych na teren Slowian polnocno-wschodnich (rejon dzisiejszego Kazania), ktorych sposob palenia zwlok owczesnej arystokracji Rusow w plywajgcej lodzi opisywali obok innych pogrzebowych zwyczajow rzeczywiscie slowianskich podroznicy arabscy13. Nie byl to niewgtpliwie obyczaj slowianski. Opisywani w zrodlach arabskich Rusowie (po arabsku ar-Rus) uwazani sg dzis przez badaczy zrodel arabskich za germanskich Normanow. I tak jak bledem byloby przypisywanie pogrzebowych obyczajow normanskich Rusow Slowianom, tak i bardzo ryzykowng rzeczg jest wprowadzanie greckiego mitu Charona w wierzenia Praslowian.
Nast?pstwem przyj?tej przez Trubaczowa teorii o sgsiedztwie Praslowian i Praitalikow jest jego hipoteza o podobienstwie ich wierzen, czego dowodzic ma bliskosc znaczeniowa lacinskiego czasownika favere i praslowianskiego *goveti. Oba slowa kontynuujg pie. rdzen *ghou-e- i wskazujg, wedlug Trubaczowa, na kontemplacyjny charakter obu tych pierwotnych systemow religijnych.
Ale i nowsze kontakty Slowian z innymi ludami i wierzeniami nasuwajg problemy interpretacyjne. Pomimo ze balkanskie kontakty Protobulgarow ze Slowianami sg stosunkowo dobrze znane, a A. S. Lwow udowodnil14, ze wyraz kapb 'posgg bostwa' jest staro-cerkiewno-slowianskim protobulgaryzmem, dajgcym podstaw? derywatowi kapište 'miejsce przechowywania posggow; swigtynia', A. Gieysztor wigze ten wyraz z czasownikiem kopcic i rysuje obraz okopconej od ofiarnych dymow poganskiej swigtyni Praslowian.
Mozliwosciom wplywow celtyckich z czasow, gdy Slowianie polabscy przesun?li si? daleko na zachod, poswi?cilem osobny artykul15.
Rozbieznosci poglgdow na temat wplywow wierzen ludow sgsiadujgcych z Praslowianami na ich wierzenia b?dg trwaly tak dlugo, jak dlugo nie da si? jednoznacznie ustalic pierwotnych siedzib Slowian i ich pozniejszych w?drowek i roznego typu kontaktow mi?dzyetnicznych.
5. Swiadome i podswiadome zatoženia aprioryczne
Najcz?sciej sg to jedynie podswiadome sugestie, ze wierzenia Praslowian musialy byc podobne do wierzen innych Indoeuropejczykow. Takim podswiadomym, a niekiedy przebijajgcym si? na powierzchni? punktem odniesienia jest mitologia grecka i rzymska. Utarlo si? juz ich okreslenie jako interpretatio Graeca i interpretatio Romana. Rzadziej takim podswiadomym punktem odniesienia jest mitologia baltycka lub iranska, nie spotyka si? natomiast w literaturze przedmiotu takich odniesien do wierzen pragermanskich.
Osobnym problemem jest kierowanie si? z gory konkretna teorij, dla ktorej szuka si? potwierdzajgcych jg faktow w sferze duchowego zycia Praslowian. Moze to byc teoria Dumezila16, ktora zach?ca do przerzucania faktow wspolczesnego folkloru w odleglg praslowianskg przeszlosc, a moze to byc teoria "podstawowego mitu" w uj?ciu W. W. Iwanowa
13	T. Lewicki, Obrzçdy pogrzebowe poganskich Slowian w opisach podrôinikôw i pisarzy arabskich giownie z IX-X w., Archeologia V (1952-1953), Warszawa-Wroclaw 1955, s. 122-154.
14	A. C. HbBOB, HH0H3btmbte 8AUHHUH 8 A6KCUK6 naMHmHUK08 CmapOCAaSHHCKOU nUCbMeHHOCmU (mmpKU3Mbl),
CnaBAHCKoe A3biKO3HaHHe, VII MexflyHapo^Hbifl ctea^ caaBHCTOB, MocKBa 1973, s. 211-228.
15	L.Moszynski, Zagadnienie wpiywow celtyckich na starosiowianskq teonimiç, Z polskich studiow slawistycznych, seria 8, Jçzykoznawstwo, Warszawa 1992, s. 171-176.
16	G. Dumézil, Les dieux des Indoeuropéens, Paris 1952.
38
Leszek Mo.szyn.ski
i W. N. Toporowa17, czyli niew^tpliwie ogolnoludzki motyw walki dobra ze zlem. Przyj^wszy jednak, že bogiem dobrym byl u Praslowian wyl^cznie Perun, a zlym Weles, podporz^dkowali oni swej teorii, až do granic absurdu, wszystko, co formalnie przypomina imiona boga nieba (tj. dobra) - Peruna i boga podzienia (tj. zla) - Welesa. Rozumuj^c w ten sposob doszli do wniosku, že legendarny polski založyciel miasta Krakowa, ksi^ž§ Krak, jest uosobieniem Peruna (uprawiaj^ przy tym cos w rodzaju fonetycznej ekwilibrystyki), zas nadwislanski smok i jego siedziba Wawel (w nazwie wzgorza wawelskiego jest sylaba vel-) jest w ich uj^ciu uosobieniem boga Welesa.
Nie možna tu tež pomin^c milczeniem prac Rybakowa18, przedstawiaj^cego rozwoj praslowianskich wierzen na tle ekonomicznego rozwoju spoleczenstw klasowych, a posluguj^cego si§ z gory przyj^t^ metod^ marksistowskiego materializmu historycznego. Tego typu rozwažania musialy zaprowadzic go na manowce, co podkreslil juž w swym studium o mitologii Slowian A. Gieysztor.
6. Wieloznacznosc zrodel archeologicznych
Odkrywanym faktom kultury materialnej przypisuje si§ cz^sto znaczenie kultowe. Moglo tak byc, ale odnajdywane figurki mogly pelnic i inne funkcje kulturowe. Mogly, na przyklad, pelni^c funkj artystyczn^ lub ludyczn^ služyc do ozdoby lub zabawy. E^czenie ich wyl^cznie z kultem religijnym, jak to pokazuj^ studia S. Urbanczyka, jest dosyc ryzykowne. Tež tylko pomocniczy charakter mog^ miec odkrywane tu i owdzie tzw. kr^gi kultowe czy resztki swi^tyn.
7 Styk pierwotnych wierzen Slowian z chrzescijanstwem
Szeroko dyskutowany byl problem zwi^zku staroruskiego boga Welesa, jak glosi tzw. Powiesc doroczna 'boga bydla', z chrzecijanskim swi^tym Blažejem (po slowiansku Vlash, co kojarzyc si§ musialo na styku pismiennictwa cerkiewnoslowianskiego z lokaln^ fonetyk^ j^zyka wschodnioslowianskiego, tj. z pelnoglosn^ postaci^ Volosh), patronem zwierz^t domowych. Zas na drugim krancu Slowianszczyzny, na Polabiu, pojawil si§ (zreszt^ sygnalizowany juž w XII w. przez Helmolda) problem stosunku slowianskiego Svqtovita do chrzescijanskiego swiqtego Wita. Ale nie tylko. Badacze zastanawiaj^ si§, czy i Triglow nie jest jak^s adaptaj Swi^tej Trojcy. Analizuj^c te zagadnienia wysun^lem przypuszczenie, odrzucone przez Trubaczowa, že može i tajemniczy rugijski bog zwyci^stwa, zapisany w zredagowanej w j^zyku staronordyckim Knytlingasadze jako Tjarnaglofi (zapis oddaje fonetyczn^ zachodniopomorsk^ postac farnoglovy, b^d^c^ odpowiednikiem polskiej postaci tarnoglowy) byl politycznym kamuflažem, jak gdyby bostwem cierniem ukoronowanym, kamuflažem, ktory, jak pisal H. Lowmianski, mial chronic Slowian polabskich može nie tyle przed chrystianizaj co przed nast^puj^c^ w slad za ni^ germanizacjV9. Znane jest
17	B. B. HBaHOB, B. H. TonopoB, Mccnedoeanua e oößacmu cmshhckux dpemocmeü. .HeKcunecKue u tppa3eoAozunecKue eonpocbt peKoHcmpyKU,uu meKcmoe, MocKBa 1974; tychie: SmumoAozunecKoe uccAedoeaHue cemaHmunecKu ozpaHumeHHbtx zpynn AeKcuKu e ce.H3u c npoößemoü peKoHcmpyKU,uu npacAaexHcKux meKcmoe, CaaBSHCKoe A3biKO3HaHHe, VII Mex^yHapo^Hbrn cte3^ caaBHCToB, MocKBa 1973, s. 211-228.
18	E. A. PbiöaKoB, fobmecKoe mupoeo33peHuepyccKozo cpedHeeeKoeba, Bonpocbt ucmopuu, MocKBa 1974, N 1, s. 330; fabtmecmeo dpeeHux crnem, MocKBa 1981.
19	L. Moszynski, Staropolabski teonim Tjarnaglofi. Proba nowej etymologii, »Tgoli chole Meströ«. Gedenkschrift fur Reinhold Olesch, Köln-Wien 1990, s. 33-39.
39
Dlaczego naukowe opisy praslowiañskich wierzeñ s^ tak rčžnorodne
jednak i stanowisko przeciwne, negujoče wplyw chrzescijanstwa na wierzenia Slowian polabskich.
8. Rožna interpretacja zrodetpisanych
a.	Tlumaczenia tekstow obcych
Tu na czolo wysuwa si§ Kronika Malali, w ktorej pojawia si§ zestawienie "H^aioio^ - $eo<; w przekladzie slowianskim Oeocrt - bort, innym razem Oeocrt - CBaport, a takže - Cmh^, z glos^ ^axtbort, przez wielu badaczy przyj'mowan^ jako rzeczywisty mitologiczny ekwiwalent greckiego Heliosa, a przeciež nie možna wykluczyc niemotywowanej substytucji, co staralem si§ udowodnic w osobnym artykule20. Možna tu wspomniec i o relacji znanej z przekladu wersu 65,11 Proroka Izajasza: hebrajskiemu Gad odpowiada w Septuagincie grecka Ti%n, w Wulgacie latinska Fortuna, zas staro-cerkiewno-slowianska Po^^aHHna. O ile w pierwszym wypadku wielu badaczy sklonnych jest relaj Hefajstos - Swarog i Helios - Dažbbogb uznac za rzeczywist% o tyle w drugim utožsamienie Tyche - Roždanica jest lekcewažone, bo panuje przekonanie, že roždanica to przede wszystkim demon, a može i mieszkanka piekiel. Niektorzy badacze bez zastrzežen przyjmuj4 wyst^puj4c4 w tzw. Kodeksie Supraskim odpowiedniosc tekstow^ TEevva - rodi, chociaž juž Miklosich zawrocil uwag§ na to, že zapewne tlumacz slowianski odczytal pomylkowo wyraz grecki jako yevea.
b.	Slowianskie kroniki
O ile rzekomy polski panteon wymieniony w Kronice Jana Dlugosza nie budzi juž emocji i panuje powszechna zgoda, že przydane bostwom latinskim odpowiedniki polskie: Jupiter - Jessa, Mars - Lada, Venus - Dzidzilela, Pluto - Nija, Diana - Dziewanna, Ceres -Marzanna s^ wymyslem samego kronikarza, o tyle staroruski panteon Wlodzimierza Wielkiego wymieniony w tzw. Kronice Nestora stanowi ci^gle przedmiot naukowej dyskusji. Jedni badacze uwažaj^ Chorsa, Siemargta i Striboga za bostwa rodzime wschodnioslowianskie i doszukuj^ si§ ich slowianskiej etymologii, inni s^dz^, že autor Powiesci dorocznej, igumen Nikon, zgromadzil w swym dziele te wszystkie teonimy, z ktorymi zetkn^l si§ podczas pobytu w Tmutarakanie21 i w zwi^zku z tym niektore bostwa z panteonu ksi^cia Wlodzimierza nie maj^ nic wspolnego z rzeczywistymi wierzeniami Praslowian.
c.	Relacje dotyczqce chrystianizacji Slowian zaodrzanskich
Maj^ one inny charakter i nastr^czaj^ inne problemy badawcze. S^ to pisane po lacinie lub staroislandzku relacje z przebiegu chrystianizacji a zarazem germanizacji Slowian zamieszkuj^cych tereny mi§dzy Odr^ i Eab^. Pochodz^ z X-XIII wieku i zawieraj^ informacje
20	L. Moszynski, Daž(d)ubogu - rzekomy praslowianski teonim, Slavia Orientalis XXXVIII, 3-4, Warszawa 1989, s. 285-291.
21	H. Lowmianski, Religia Slowian i jej upadek, s. 119-124. O roli Nikona por. H. Lowmianski, Poczqtki Polski, t. V, Warszawa 1973, s. 106-125; A. Poppe, Nikon Pieczerski, Slownik starožytnosci slowianskich III, Wroclaw-Warszawa-Krakow 1967, s. 398-399.
40
Leszek Mo.szyn.ski
czasem bardzo szczegölowe, chociaž nie zawsze obiektywne. Autorzy ich s^ znani, s^ nimi mianowicie Bruno z Kwerfurtu, Thietmar biskup Merseburga, Adam z Bremy, Wolfger mnich z Prüfening, Ebbo, Herbord, Helmold i pisz^cy po nordycku Olaf Thordarson autor tzw. Knytlingasagi i dunski kronikarz Saxo Grammaticus. Szczegölowa analiza tych relacji wykazala, že przedstawiaj^ stan wierzen stosunkowo mlody, nosz^cy, jak juž wspomnialem wyžej, pi^tno samoobrony nie tyle može nawet dotycz^cej religii, ile obrony etnicznego bytu zagrožonego calkowit^ germanizaj St^d pewne nowe formy kultu, powolywanie do istnienia nowych böstw-opiekunöw, przenoszonych w miar§ utraty terenu do nowych osrodköw, co, jak zauwaža Lowmianski, stwarza wraženie rozwini^tego politeizmu. Wažn^ rzecz^ jest tež oddzielenie elementöw pierwotnie praslowianskich od zjawisk nowych, zwi^zanych np. z wplywami celtyckimi22. Tu niektörzy zaliczaj^ np. wieloglowe lub wielotwarzowe böstwa, utrwalone w teonimii (Triglow) i pos^gach, wieszcze konie a može i pojawienie si§ böstwa ženskiego (Zywa wspomniana przez Helmolda i bezimienna bogini Lucicöw z relacji Thietmara), istoty w pierwotnych wierzeniach praslowianskich raczej nieznanej, a takže przenikanie pewnych zewn^trznych cech kultu chrzescijansakiego, b^d^cego, jak sugeruje Lowmianski, kamuflažem maj^cym wprowadzic w bl^d obcych chrzescijanskich misjonarzy. Nie wszyscy jednak si§ z tym godz^. Ten stan rzeczy sprawia, že wspölczesni badacze praslowianskich wierzen maj^ niemale trudnosci interpretacyjne, dane te wykorzystuj^ w röžnym zakresie i rožnie przedstawiaj^ obraz calosci.
d.	Staroruskie teksty duszpasterskie
Niektörzy traktuj^ je doslownie. S^ to jednak wypowiedzi wyraznie nacechowane. Duchowni zwalczaj^cy pozostalosci dawnych wierzen pi^tnuj^ wszystko, co wedlug nich jest cech^ poganstwa, utožsamiaj^ religij z demonologi^ i magi^, wl^czaj^ do zjawisk slowianskich elementy obce, jak np. Zeusa -Dija, byle tylko wyrazniej ukazac obrzydliwosc tego wszystkiego, co nie jest zgodne z wiar^ chrzescijansk^. Dlatego tež podaja jako obiekty kultu i ciala niebieskie (slonce, ksi§žyc) i zjawiska atmosferyczne (blyskawice, gromy). Pomimo že wypowiedzi te maj^ wyrazny cel duszpastersko-dydaktyczny realizowany poprzez niew^tpliwie przesadne ukazywanie bl^döw poganstwa, niektörzy badacze traktuj^ je jako pelnowartosciowe zrödlo pozwalaj^ce na budowanie naukowej syntezy praslowianskich wierzen. Nie zawsze jednak latwo jest oddzielic odbicie rzeczywistosci od nie do konca dobrze poinformowanej gorliwosci duszpasterza.
e.	Trudnosci zwiqzane z interpretacij tesktowpisanych
Maj^ one rožny charakter i rožnie mog^ byc rozwi^zywane. Klasycznym juž przykladem jest dwojaki w r^kopisach greckich zapis informacji podanej przez Prokopiusza z Cezarei w jego Historii wojen gockich. Chodzi tu o wyraženie zapisane w jednym z r^kopisöw jako eva $eov tj. 'jednego boga', w innym jako eva -deöv tj. 'jednego z bogöw' wywoluj^ce dyskusj^ na temat mono- heno- czy politeizmu Praslowian. Tak na przyklad Lowmianski, zwolennik teorii monoteizmu, tlumaczy zdanie zawieraj^ce to wyraženie nast^puj^co: "boga bowiem jednego twörc§ blyskawicy uwažaj^ za jedynego pana wszechrzeczy" (s. 82),
22 Por. L. Moszynski, Zagadnienie wplywöw celtyckich na staroslowianskq teonimiQ (zob. przypis 15).
41
Dlaczego naukowe opisy praslowiañskich wierzeñ s^ tak rčžnorodne
natomiast rosyjscy wydawcy tego tekstu przyj^li možliwosč drug^: "H6o ohh CHHTaroT, hto oflHH H3 6oroB - co3naTenb mo^hhh - hmchho oh ecTb ejiHHH Bna^biKa Bcero "23.
Trudnosci sprawiaj^ tež zapisy wielu teonimow polabskich. Np. A. Brückner i S. Urbanczyk odczyj zapisane przez Helmolda imi§ glownego boga Stargardu Wagryjskiego (Oldenburga) jako Prawo, chociaž zapis Zrodlowy Prove do tego nie upowažnia (polabskie przejscie a > o jest dužo požniejsze) i widz^ tu zwi^zek z funkj sprawowania s^dow, a to jest rownoznaczne z przyj^ciem hipotezy o bostwach resortowych. Ja natomiast widz§ tu slowiansk^ adaptaj celtyckiego imienia bostwa slonca Borvo > Brovo zapisan^ przez Helmolda z bezdzwi^cznymp jako Prove a w swej funkcji b^d^c^ kryptonimem chroni^cym wlasciwe imi§ slowianskiego boga-slonca - Swaroga.
Wspomniane juž wyžej imi§ rugijskiego boga zwyci^stwa zapisane po nordycku jako Tjarnaglofi czytaj^ niektorzy wbrew staronordyckiej grafii i glosowni jako Czarnogtowy i w ten sposob przeksztalcaj^ boga zwyci^stwa w bostwo swiata zmarlych a nawet zlego ducha.
Przyklady rožnego sposobu odczytywania polabskich teonimow možna množyč.
Takže slowotworstwo može byč przedmiotem dyskusji, a rožne jego rozumienie rzutowač može na ogöln^ teorij praslowianskiego systemu wierzen. Takim znamiennym przykladem jest formacja Swarozyc. Rozumiana može byč dwojako. Jako hipokoristikum i jako patronimikum. Inaczej przedstawia si§ fragment domniemanej mitologii Slowian dotycz^cy Swarožyca we wczesniejszej pracy towmianskiego24, w ktorej przyj^l hipokorystyczn^ teorij Brücknera, a inaczej w kilkakrotnie tu wspominanej syntezie, w ktorej za sluszniejsz^ uznal patronimiczn^ interpretaj Urbanczyka.
Istotne znaczenie dla poznania koncowego okresu przedchrzescijanskich wierzen Slowian ma sposob wykorzystania slownictwa praslowianskiego przez duchownych chrzescijanskich. Ježeli praslowianska treba jest pocz^tkowo przez duchownych zachodnich pot^piana, jako objaw balwochwalstwa, o czym swiadczy na przyklad dokument zwany das Sendrecht der Main- und Rednitzwenden wydany w X wieku w Eichstädt przez tamtejsz^ kuri§ biskupi^25, a wkrotce potem, np. juž w tzw. Kodeksie Supraskim može odnosič si§ do ofiary mszy sw., to znaczy, že ta ofiara, ktor^ praslowianski kaplan "vel obtulerit aut manducaverit", jak glosi ow dokument, byla ofiary bezkrwaw^. A z faktu, že praslowianski zly duch *besh nigdy w pismiennictwie cyrylo-metodejskim nie oznacza szatana, dla ktorego užywane s^ b^dz to wyrazy zapožyczone, b^dž tež lokalne neologizmy, wnosič možna, že w religii Praslowian nie bylo zlego ducha stoj^cego mi^dzy czlowiekiem i Bogiem i kusz^cego do zlego. Krytycznie do tej metody odniosl si§ etymolog O. N. Trubaczow, o czym byla juž mowa wyžej.
•k -k -k
Przedstawione tu skrotowo trudnosci, z jakimi borykač si§ musz^ badacze wierzen religijnych Praslowian, daj^ wystarczaj^co jasn^ odpowiedž na postawione w tytule pytanie. Jest tak wiele niewiadomych, tak wiele možliwosci interpretacyjnych, že jest rzecz^
23	Ceod dpemeÜMUx nucbMeHHbx meecmuü o cmemax (Corpus testimoniorum vetustissimorum adhistoriam slavicam pertinentium), t. I, MocKBa 1991, s. 182-183.
24	H. towmianski, Podstawy gospodarcze formowania siQ panstw stowianskich, Warszawa 1953.
25	J. Nalepa, Bawaria - Stowianie w Bawarii, Slownik starožytnosci slowianskich I, Wroclaw-Warszawa-Krakow 1961, s. 95-97.
42
Leszek Mo.szyn.ski
zrozumial^, že w zaležnosci od uprawianej dyscypliny naukowej, przyj^tych metod badawczych, uznania stopnia wiarygodnosci žrodel dojsc možna do rožnych, czasami nawet przeciwstawnych wnioskow. Naležy wi§c pami^tac, že ci^gle jeszcze každa kolejna synteza, a nawet každe kolejne studium szczegolowe ma charakter przystanku etapowego w d^ženiu do znalezienia ostatecznej odpowiedzi, ktora nie wydaje si§ byc bliska, a gdyby poslužyc si§ tu bardziej sceptycznym sformulowaniem, prawie nieosi^galna. Nie zwalnia to jednak badaczy od dalszych intensywnych poszukiwan w d^ženiu do poznania prawdy.
43
Dlaczego naukowe opisy praslowiañskich wierzeñ s^ tak rčžnorodne
Warum sind die wissenschaftlichen Beschreibungen des urslavischen Glaubens so verschiedenartig
Leszek Moszynski
Der Verfasser unterscheidet die objektiven und die subjektiven Ursachen. Die objektiven sind vom Mangel der Materialquellen abhängig, die subjektiven hängen von der Einstellung der Forscher zu den einzelnen Problemen ab. Mannigfaltig wird das Problem der slavischen Urheimat, also auch das Problem der fremden Einflüsse gelöst. Andere Forschungsmethoden wenden die Historiker an, andere Archäologen, Ethnologen und Linguisten. Verschiedenartig wird das Hauptproblem aufgegriffen. Es handelt sich hier um das Verhältnis der Religion zu den anderen Zweigen der Geisteskultur. Ziemlich große Schwierigkeiten bewirken die Forscher folgende Probleme, die verschiedenartig gelöst werden können und zwar: die Substitution in den Übersetzungen der slavischen Theonymen für die fremden Theonymen, die Interpretation der mittelalterlichen Chroniken und der Berichte über die Christianisierung der Westslaven, die Etymologie der slavischen Götternamen, die Urbedeutung der mit dem Geistesleben verbundenen slavischen Wörter, die ersten Kontakte der Slaven mit dem Christentum und die Möglichkeiten, die neuen Begriffe mit dem slavischen Wortschatz zu benennen.
Nach dem kurzen Überblick über die bisherige Fachliteratur kommt der Verfasser zur Überzeugung, daß für die wirkliche Lösung dieser Frage noch die ausherrende Forschungsmühe und die fruchtbringende Mitwirkung aller humanistischen Fachrichtungen erforderlich sind.
44
Interpretations Slavicae: Some Early Mythological Glosses
Aleksandar Loma
The paper deals with three cases of a Slavic theonym standing as substitute for an ancient mythological name: Dajbog in NE Serbia for the Roman Aesculapius, originally perhaps for an autochthonous deity akin to Zalmoxis; Dazbbogb (Old Russian form of the same name) in the Slavic translation of Malala's chronicle for the Greek Helios and Veles in West-Serbian toponymy for Apollo.
In sources for Slavic religion and mythology a Greek or Latin theonym can be substituted for an indigenous name (interpretatio graeca/latina),1 and in the popular tradition a Christian hagionym often takes the place of a Pre-Christian nomen sacrum (interpretatio christiana).2 But the opposite is possible, too, what we call interpretatio slavica, namely, that in Slavic literature, folklore or topography a Slavic theonym stands as substitute for a foreign mythological name. We are not interested here in the late and purely literary substitutions of that kind, but merely in the cases in which such an interpretation seems to be early and authentic enough to represent a kind of gloss elucidating the very nature of a Slavic god. Although minimal, any information of this kind can be precious for a branch of knowledge lacking in the first-hand sources, such as the history of the old Slavic religion. A part of the pagan nomenclature was mediated to the Slavs through Christian texts, but they did not fail - shortly after having migrated to South-Europe and before being evangelized - to get a direct knowledge of some autochthonous pagan cults still not extinguished by the Church and to relate these mythological figures to their own deities. Let us examine here three examples of such mythological glosses.
1. Aesculapius : Dajbog
The Serbian phonetic form Dajbog corresponding to the Old Russian theonym Dazbbogh seems to have originally designated the legendary "Silver King" (Srebrni car), who was believed to live inside a hill in Kucajna-mine (NE Serbia); Dajbog survives into these days as the name of this hill.3 The Silver King shows some kobold-like traits, which could be German in origin, the silver-mine of Kucajna having been exploited by Saxon
1	For instance, Cosmas from Prague (1045—1125) in his Chronica Boemorum I 10 lets the prince Vlastislav swear by Mars and Bellona, without citing Slavic names of these deities (Fontes 19).
2	The most notorious example is Saint Elias as folklore substitute for the thunder-god Perun.
3	Cf. Cajkanovic 1941, cap. VIII—IX. The traditions about the Silver King recorded in Kucajna between 1829 and 1910 are collected by Dordevic 1932.
45
Interpretations Slavicae: Some Early Mythological Glosses
miners in the Middle Ages.4 However, the Silver King must have been more than a simple underground spirit. In his legends, as many as three successive layers are to be distinguished, the German one being the most recent one. The name Dajbog proves that the Saxons met on this place some older Serbian beliefs dating back to the first centuries after the migration of the Slavs into the Balkans. This pagan Slavic stratum was preceded by an ancient one: Dajbog "Giver of the riches" seems to have succeeded here to a divine n^ouxoSoxn^ akin to the Greek-Roman Pluto. A legend from Kucajna5 recalls the descent of Persephone to Hades: once upon a time, there was in Kucajna a pretty girl who used to gather wild flowers, especially immortelle (serb. smilje) and for that reason people gave her the name Smiljana. As she was once gathering flowers in the mountain, Smiljana found a silver shrub sprouting from the ground; while trying to pick it, the girl discovered under its root silver stairs leading into the underworld.6 Guided by an old dwarf named Kuc (thus eponymous of Kucajna), having passed through many corridors with silver walls and having crossed many silver bridges over underground rivers, Smiljana came to a sea surrounded by silver trees. In the middle of that forest stood the castle of the Silver King. Kuc introduced the girl to the lord of the castle. The Silver King appeared to her as a young man of unequalled beauty. He invited Smiljana to dinner: never before had she seen such a sumptuous table. She spent the night there with the king; in the morning he asked her to stay with him as his queen. At first the young girl turned him down; she said she could not be happy in that luxury, as long as her people on earth suffered from poverty. Then the Silver King promised to her that he would make men happy by giving them his silver to dig, and she accepted his proposal on the condition that he let her go to say good-bye to her parents. Kuc led the girl back to the sunlight; before leaving the underworld she received from him instructions for the future miners. Smiljana set off for her home through the forest, breaking off branches to mark the way back. However, in the valley under the mountain where till a day ago her village lay there was not a house left, not even a single trace of it, but only a deserted field grazed by sheep. Astounded, she asked the shepherds about the village, but they did not even know its name. The most they could help her was to send her to an old woman lighting candles at an empty grave on the neighbouring hill. Yes, she answered Smiljana, her grandmother told her, that long ago there used to be a village of that name in this place, and a beauty named Smiljana in it; one day she disappeared in the mountain and after a futile quest her parents dug this grave to her and lighted candles on it till they died. In the course of time the village was devastated by wars, but the custom remained, that the oldest woman from the neighbourhood lights candles on Smiljana's grave on the eve of the day she vanished. Smiljana revealed her identity to the old woman and announced her the
4	The same already Dordevič op.cit.; generally about the mine demons in Serbian folklore see M. S. Filipovič in Glasnik Etnografskog muzeja 8/1933, p. 93. Though there is no direct evidence of Saxon presence in Kučajna, the historical topography seems to preserve some memories of it: an Old-Serbian charter mentions together with "Mount Kučajna" (gora Kučajna) a "Saxon Way" (saški put), another one a village Sase "Saxons" in the neighbourhood. Thus it seems probable that here, like in other mines of the medieval Serbia, the exploitation was started by Saxon immigrants, roundly about 1250. Cf. Simič 1951, 244.
5	Recorded by M. Vladimirovič from Požarevac, edited by Milojkovič 1974, 42 f. This legend sounds quite authentically, a variant of it being known to Dordevič (1932); only its tongue is affected, which is due to an intervention of the editor.
6	Similarly, according the Homeric hymn to Demeter, while gathering flowers on the plain of Nysa Persephone perceived a wonderful narcissus, made to grow by Earth to catch her; when she reached out for the miraculous flower, the earth opened, Hades sprang forth and carried her away on his chariot.
46
Aleksandar Loma
message of the Silver King to the mankind. Then the old woman took a better look at her and noticed that the young girl was all made of silver.
This story is a kind of iepoq ^070 q, which ends by giving the araov of a rite. Although no direct evidence of Smiljana's cult is available, her legend has some mythological and ritual connections. In an old St. George's day song, also known in that part of Serbia, figures a young girl Smiljana who gathers immortelle and weaves wreaths of it.7 In the same region, there is a legendary personage named "Silver Queen" (Srebrna kraljica): she fought against her rival, the "Golden Queen", till they and their female armies exterminated each other.8 On the one hand, this legend alludes to the Pentecostal processions of women named kraljice (i.e. Queens), that were once customary in all of the northern Serbia; on the other, it aims to explain the origin of women's ritual trance taking place on Pentecost in Wallach village Duboka: during it an ecstasized woman is believed to visit the other world and meat with the dead, which recalls Smiljana's underworld journey. All legends and beliefs mentioned above seem to belong to the same religious complex. It contains several elements - the date, the flowers, the cult of the dead - connecting it with the Roman grave-festival of Rosalia, which the Christianity associated with Pentecost. Yet Smiljana is related to immortelles, not to roses, but both species are complementary and/or interchangeable in the rites and beliefs concerning the life after death.9 On the Adriatic coast the immortelle finds a ritual use at the so-called Rusalje, which is the Slavicized form of Rosalia.10 On the Ascension Day — a festival which falls ten days before Pentecost — the people of Budva, on the Montenegrine coast, used to go to the so-called "Fairy threshing floor" (Vilino gumno), where young boys and girls, wreathed with flowers, danced a kolo and sang a song about the girl who was once on the Ascension Day raped by a dragon: he held her in his cave until the next Ascension Day; then she convinced him to let her gather roses and weave wreaths, as the other girls did on that day; finally, the dragon allowed her to visit her mother, but she never came back to him.11 It should be noted that the Adriatic cities as well as East-Serbia are areas of a longer survival of Roman population in Slavic surrounding. Moreover, the silver-mine of Kucajna was exploited as early as the
7	The classic record is Vuk I 330° Sofric 1912, 203 is inclined to see in Smiljana of Serbian folk-songs the "soul of immortelle", or a fairy.
8	Milojkovic 1974, p. 86 f., from the contributor of the legend of Smiljana and Silver King, which is cited above.
9	The name of this plant immortelle expresses the idea of immortality; it is borrowed into English from French, from which also stem, as calques, German Ewigkeitsblume and Russian bessmertnik. In a tale from Bosnia, Smiljana is the name of the highest mountain in the world, where the saints confer (SEZb 32/1925, 280), cf. also Neven "marigold", literally: "fadeless" as the Serbian name of the mythical mountain where the sun sets every evening (e.g. Vuk I 304°). This mountain should represent the place in the extreme west where the souls come after death, according to Jankovic 1951: 36, who cites the epic song Vuk VI 1°. Legends from Macedonia know a deserted, inaccessible mountain, where some birds — magpies or cranes — fly every summer and gather immortelle for the fairies (Cajkanovic 1985, 219); the fairies certainly need immortelle because it procures them the eternal youth and beauty (cf. above the Sofric's assumption of a fairy nature of Smiljana; for Diana surviving in Balkan folklore as fairy, see below). By the Serbs immortelle plays an important role in love charms (Sofric, Cajkanovic l.cc.), because of the etymological magic, its name recalling the verb smiliti se "to become dear" (Slave mife "pleasant"), in fact, it seems to be related to lett. smeils "sharp" (M. Furlan in Bezlaj 1995, 271); on the other hand, as the name of a mythic mountain Smiljana could be compared with Old Indian (Su)meru, both names being reducible to I.-E. *(Su)meil-, perhaps "a (very) pleasant place", an euphemistic designation for the abode of the dead.
10	Cajkanovic 1985, 219.
11	Vuk I 270°; a variant from Podgora near Makarska in Dalmatia in the collection of Matica Hrvatska V (1) 1°.
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Interpretations Slavicae: Some Early Mythological Glosses
Roman time;12 among other archaeological finds bearing witness to this two monuments of cult are to be noticed, which represent Diana respectively Aesculapius.13 Diana was worshipped in the late antiquity as the Moon-goddess and the silver was related to her; therefore, she was considered to be protectress of silver-mines.14 The silver girl Smiljana, with her predilection for wild flowers and forests, could preserve some memories of the Roman goddess. As for Aesculapius, in a legend from Kucajna mineral springs in the vicinity of the underground residence of the Silver king are mentioned.15 Moreover, the Greek and Roman god was not only a divine healer, but also a giver of immortality, which recalls Zalmoxis worshipped by the Gethae,16 and the Thracian name of Asclepios, Zufyju-Spnvo<; (and similar), resembles in its first element closely the Getic theonym.17 Thus the association of Diana and Aesculapius may reflect here a more ancient divine couple. If *Dad'bbogh is in this place substituted for such a Palaeobalkanic prototype, we have here a trace of an early interpretatio slavica suggesting that the Slavic god had, too, a chthonic character or the psychopompic function.18
2. Helios : Dazbog
In Slavon translation of Malala's chronicle Greek god-name "H^ioq is glossed through Dazbbogh (an East-Slavic form), which led to conviction that the homonymous Old-Russian god was a solar deity. Our conclusions about Serbian Silver King-Dajbog make it possible to re-examine this interpretation by analysing a related cycle of legends from NW Serbia, where the name Dabog occurs too. As guardian of underground treasures the Silver King has his counterpart in the "Snake King" (zmijski car) of South-Slavic legends and beliefs; sometimes he is being imagined with three heads.19 In a tale from the region of Srem - not far from Kucajna - occurs a similar personage connected with the time-spell. It tells about a three-headed and three-tailed dragon who lived in a cave near Suljam and used to abduct a girl from the village every day; after spending night with him, in the morning she was transformed into an old woman.20 In Srem and in the adjacent regions of Macva and Pocerina a legendary cycle is concentrated around the demonic, three-headed, man-eating, dragon-shaped king Trajan (car Trojan).11 An Old-Russian god bore the same name,22 and
12	Kanitz 1904, 244; Simic 1951, 243.
13	Kanitz l.c. Diana is represented on the silver coins from Kucajna, too (Dusanic 1980, p. 12, n. 21).
14	Cf. Dusanic op.cit. p. 11 f. and 34.
15	Milicevic 1876, 1083.
16	The classical account of Zalmoxis given by Herodot IV 94—96 contains such elements as underground refuge and rich entertainment for his guests, that recall the story of Silver King from Kucajna. Plato Charm. 156 d. speaks on the "doctors of Zalmoxis"	iatpoi), who pretend to be able not only to heal the people with their spells (ercsSai), but even to immortalise them (arcaSavaTiZsiv) — which closely resembles the Greek Asclepios.
17	The various forms of both names are cited by Detschew 1957, pp. 173 ff. and 195 f.
18	More about it Loma 1995.
19	ZNZOJS X 225 (Poljica in Dalmatien). The snake was an attribute of Asklepios, too. It could be interesting, that the variant of the legend recorded by Dordevic 1910 makes the girl (Smiljana) find the entrance into the underworld under a hazel bush, and it is precisely under a hazel tree that the Snake King is believed to reside guarding his treasures (see Vuk 1818 s.v. mela).
20	Radovanovic-Eric 1981, 15.
21	In the following my report is summarising — and in several points developing — the conclusions made by Cajkanovic in the chapters VIII-IX and XII-XIV of his study of the Serbian supreme god (Cajkanovic 1941).
22	Cf. towmianski 1979, 126 ff.
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Aleksandar Loma
on the other hand, a three-headed deity was not unknown to the pagan Slavs: there are Latin sources from the eleventh century testifying the worship of a god named Triglav among the Baltic Slavs: in Stetin, he had a sanctuary, where stood his statue with three silver heads.23 The "Silver King" from Kucajna is silver-headed, too, and an epic song deals with the worship of a "silver god" (srebrni bog) in the city Trojan. In the same region of Macva, where the memory of Trajan is still living, figures Dajbog in a dualistic legend (published in Vila II/1886, p. 642) as rival of Christian God,24 while in the tradition from other regions of Serbia this role belongs simply to the "Devil King" or, in Dalmatia and Montenegro, to another Roman emperor, Diocletian (carDukljan). It was already Cajkanovic who established the chain of identification Trojan = Triglav = Silver God = Silver King = Dabog = Daba = Devil king = Dukljan and questioned the interpretation of Old-Russian Dazabogb as a solar deity, Serbian Da(j)bog/Daba having no closer connection with the Sun-worship, except that in an epic song25 his homologue Dukljan - and in a tale26 the "Devil King" (davolji car, elsewhere designated with a hypocoristic of Dabog's name Daba) — occur as temporary owners of the sun (which is to be conceived either as astral body in the context of a storm- or eclipse-myth, or as a symbol of the universal sovereignty). Like the legends from Kucajna, Serbian cycle of Trojan may be connected, too, with the ancient mining, which seems to have been developed in Pocerina in the Roman time.27 It is hard to fix the place and the date of Roman emperor Trajan being substituted for a Slavic god. Old-Russian Trojan suggests that it could have happened already in Slavic proto-home beyond the Carpathians, soon after Trajan's conquest of Dacia in 106 AD.28 However, there is no trace either of Trojan or of Dazbog in the — extremely rich! — East-Slavic folklore, so that these Old-Russian deities may be purely literary figures originating in the South, and more precisely in Pannonia, where the Slave mission of St. Cyrill and Methodus in the second half of the ninth century provoked the first flourishing of Slavic literature, and it would not be due to an accident, that on the south border of Pannonia, in the present-day North Serbia, an authentic folklore tradition survived, where both of them, Trojan as well as Da(j)bog, occur as mythological personages. In Old-Russian translation of Malala's chronicle Dazbbogh = Helios refers not to a pagan god, but to an ancient ruler of Egypt. It was in a similar pseudo-historical perspective and perhaps thanks to their imperial cults that Roman emperors Trajan and Diocletian entered Slavic mythology; later both of them were demonized under the influence of Christian church. The emperor Trajan became in the memory of the peoples of north-east Europe a personification of Roman sovereignty, and Diocletian was an enemy of the Christianity par excellence, so that in Christian epoch both of them could be turned into symbols of paganism ("The age of Trajan" in "Slovo" can be understood simply as "the Pre-Christian era"),29 which led to the possibility of designating any pagan god by their names. A more concrete association was provoked through the assonance of Slavicized name-form Trojam to the Slavic word for "three" (troj-), a three-headed god having been
23	The sources are collected by Meyer 1931, pp. 26, 33— 36, 42, 62; cf. towmianski 1979, 175 ff.
24	Cf. Jagic 1881.
25	Vuk II 17° .
26	Id. p. 84 f..
27	Cf. SEZb LXXXVIII/1975, 188.
28	The fact that Rumanian form of this name is borrowed from Slavic would not contradict the mediatorial role of the Dacians in transferring this name to the Slavs, but rather the autochthonity of Rumanians in Dacia.
29	The same already Lichacev, cf. towmianski 1979, 127.
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Interpretations Slavicae: Some Early Mythological Glosses
already familiar to the Slavs in their northern homeland (cf. the Triglav in Stetin; of course, some indigenous, Pre-Slavic deity in Pannonia or in the Balkans may have possessed a similar attribute, too). On the other hand, if Dadbbogs became in Serbian legends and beliefs a kind of archidemon, while the Slavic glossator of Malala's chronicle transformed him into an ancient ruler of Egypt, identified with the Greek Helios, both of these transformations were perhaps due to an pagan myth making him an usurper of the cosmic sovereignty and a temporary owner of the sun.
3. Apollo : Veles
There are examples in Serbian toponymy of two adjacent geographical objects both of them bearing names of some mythological relevance. In an article published 1987 I discussed, among other "connected mythological designations" (as I proposed to call these cases), the names of two neighbouring hills near the city of Valjevo (NW Serbia), Veles and Vilinac, the former — mentioned for the first time in 1725 as an old fortress: Schloß Vellesch — recalling Slavic theonym Veles, the latter deriving from serb. vila "fairy".30 Recently an archaeological find was made in the vicinity, which seems to confirm the pagan provenance of both oronyms: an ara dedicated to Apollo, probably to a local hypostasis of him.31 Dedications to this deity being unusual in the NW part of the Balkans, and the region of Valjevo generally lacking in Roman epigraphic monuments, it can hardly be by chance that the classical god of the poetry meets here a divine patron of poets, as Veles seems to have been among the pagan Slavs, according to Old-Russian epic "Slovo o polku Igorevu", where a poet is called his grandson (verses 78—79: vescejBojane, Velesovs vnuce). The couple Veles - Vila may have, too, Pre-Slavic roots and reflect Apollo's association in the local worship with his sister Diana, whose name in the Balkans developed its significance into "fairy" (alb. zane, rum. zinä). This "topographical" identification of Veles with Apollo incites a reconsideration of the former views on the Slavic god. It proves that the mention made of him in "Slovo" points to an essential trait of his nature; consequently, the supposed identity of Veles with the "cattle-god" Volos becomes very doubtful, still more so since the linguistic equation of both names, on which this identity is based, clashes with the phonetic laws, Veles going back to Common Slavic * Veless (cf. OTch. veles "devil") and Volos to *Volss.n
Additional note
Soon after having sent this paper, I received the manuscript of an article by Slavoljub Gacovic, entitled "Petrecätura in the funeral customs of the Wallachs in northeastern Serbia", to appear in Razvitak (Zajecar). Petrecätura (Rum. "accompanying", i.e. farewell to the deceased) is a kind of funeral song describing the journey of a dead person's soul to the Paradise. Several motifs are to be noted, which recall the legend of the Silver King examined above as well as its classical connections: the well of oblivion (cf. Greek Lethe); a
30	Loma 1987, 42 f.
31	Published and commented by Svetlana Loma in Starinar XLV-XLVI, Belgrade 1994-95 pp. 173-179. Apollo bears the epithet Gangarensis, which is probably a local epiclesis of the Greco-Roman god, derived from a place-name.
32	Cf. Loma 1987, 41 f.
50
Aleksandar Loma
castle made of gold and silver in the middle of a forest, a (narrow) bridge leading to it, a willow-shoot and a snake which helps the soul to cross this bridge (cf. the staff and the snake often coiled about it, as the most constant attributes of Asclepius), and especially the mythological figure named Zin, the ruler of the underworld and the master of the underground waters. Gacovic supposes this name to be a Thracian equivalent of Greek Zeic/ Z0v (also identifiable as the final element in the epiclesis of Zalmoxis cited by Herodotus IV 94 rePe^eiZiC, cf. "Juznoslovenski filolog" XLIX/1993, p. 202); but it is more likely that Zin is simply a secondary masculine form derived from zina "fairy" < Diana, the couple Srebrni Car/ Smiljana going back to Aesculapius and Diana, and Zin himself appearing in the "petrecatura" accompanied by a fairy (Samodiva).
References
Bezlaj 1995: Fr. Bezlaj, Etimološki slovar slovenskega jezika, III, Ljubljana 1995.
Čajkanovic 1941: V. Čajkanovic, O srpskom vrhovnom bogu (Posebna izdanja SKA CXXXII, Filosofski i filološki spisi 34), Beograd.
Čajkanovic 1985: V. Čajkanovic, Rečnik srpskih narodnih verovanja o biljkama, ed. by V. J. Duric, Beograd.
Detschew 1957: D. Detschew, Die thrakischen Sprachreste, Wien.
Dušanic 1980: S. Dušanic, Organizacija rimskog rudarstva u Noriku, Panoniji, Dalmaciji i GornjojMeziji, Istorijski glasnik 1980 1-2, pp. 7-55.
Dordevic 1932: T. R. Dordevic in Glasnik Etnografskog Muzeja u Beogradu 7/1932, 106 ff. = id., Naš narodni život X, Beograd 1934, 120 ff.
Jagic 1881: V. Jagic, Mythologische Skizzen. II Daždbbogh/Dažbog/Dabog, Archiv für slavische Philologie 5/1881, p. 1-14.
Jankovic 1951: N. D. Jankovic, Astronomija u predanjima, običajima i umotvorinama Srba, Beograd (SEZb 43).
Kanitz 1904: F. Kanitz, Das Königreich Serbien und das Serbenvolk von der Römerzeit bis zur Gegenwart I, Leipzig (citations are made here according to Serbian translation, Belgrade 1985).
Loma 1979: A. Loma, Imena slovenskih božanstava kao antroponimi u Srba, Treca jugoslavenska onomastička konferencija, Dubrovnik, 10-13. listopada 1979: Zbornik referata, Onomastica Jugoslavica 10/1982, pp. 121-124.
Loma 1987: A. Loma, Vezana mitološka nazvanja u toponimiji (Verbundene mythologische Benennungen in der Toponymie), Onomatološki prilozi VIII, pp. 37—50.
Loma 1993: A. Loma, Podunavska prapostojbina Slovena: legenda ili istorijska realnost?, Južnoslovenski filolog XLIX, pp. 187—220.
Loma 1995: A. Loma, Neke srpskeparalele istočnoslovenskom Viju (Some Serbian Parallels to East-Slavic Vij), Zbornik skupa o nižoj slovenskoj mitologiji održanog u Beogradu, Sokobanji i Zaječaru oktobra 1995 (in print).
Loma 1997: A. Loma, Drevnie slavjanskie božestva u Serbov, Živaja starina, Moskva (in print).
Eowmianski 1979: H. Eowmianski, Religia Slowian i jej upadek (w. VI-XII), Warszawa.
Fontes: Fontes historiae religionis slavicae, coll. K. H. Meyer, Berlin 1931.
Milicevic 1876: M.D.Milicevic, Kneževina Srbija, Beograd.
51
Interpretations Slavicae: Some Early Mythological Glosses
Milojkovic 1974: M.Milojkovic, U tami blago. Legende iz naših krajeva, Beograd. Radovanovic-Eric 1981: B. Radovanovic-Eric, Dabina vodenica. Legende iz okolineBeograda, Beograd.
SEZb: Srpski etnografski zbornik, Beograd.
Simic 1951: V. Simic, Istoriski razvoj našeg rudarstva, Beograd.
Sofric 1912: P. Sofric, Glavnije bilje u narodnom verovanju ipevanju kod nas Srba, Niš.
Vuk 1818: Vuk Stefanovic Karadžic, Srpski Rječnik, Wien.
Vuk I: Vuk Stefanovic Karadžic, Srpske narodnepjesme I, Leipzig 1841.
Vuk II: Vuk Stefanovic Karadžic, Srpske narodne pjesme II, Leipzig 1845.
ZNŽOJS: Zbornik za narodni život i običaje južnih Slavena, Zagreb.
52
Aleksandar Loma
Interpretationes Slavicae. HeKoTopbie paHHHe MH^o.oraqecKHe r.occbi
Aleksandar Loma
B cTaTbe paccMaTpHBaroTca tph cnynaa 3aMeHbi aocnaBaHcKoro TeoHHMa cnaBaHcKHM. nepBHe aBa KacaroTca npacnaBaHcKoro *Dad'bbog'a. B ceBepoBocTOHHoö CepÖHH y py^HHKa Kynaräa ecTb ropa ffaboz, hmh kotopoh nepBoHananbHo oTHocHnocb k npeÖHBaro^eMy b Heö MH^onorHnecKoMy nepcoHaxy CepeôpnHOMy uapw. ConocTaB^eHHe cKa3aHHË o CepeöpaHoM nape c apxeonoranecKHMH aaHHHMH no3BonaeT npeanonoxHTb, hto cnaBaHcKHe a3binecKHe npeacTaBneHHa 3aecb HacnoHnHcb Ha aHTHHHHH KynbT AcKnenHa-9cKynana, Bocxoaa^ero Ha 3tom MecTe k ^paKHËcKoMy hah AaKo-reTcKoMy öoxecTBy THna 3anMoKcHca. Tot xe caMbrä cnaBaHcKHË TeoHHM b ^opMe MAEOr obo3HanaeT b npeaaHHax h3 ceBepo3anaaHoö CepÖHH aeMoHrnecKoe cy^ecTBo, conepHHHaro^ee c xpHcmaHcKHM BoroM. Tot ^aKT, hto b aHanora^Hbix ponax BHcTynaroT TaKHe nereHaapHHe nepcoHaxH, KaK napH TpoaH (= TpaaH) h ,D,yKnaH (= ^HoKneraaH), 3acTaB^aeT nepecMoTpeTb HHTepnpeTanHro rpenecKoro Tenna KaK ,D,axböora b cnaBaHcKoM nepeBoae xpohhkh HoaHHa MananH. Penb HaeT TaM He o öore, a o apeBHeM npaBHTene ErHnTa, kotophh oToxaecTBneH c ConHneM, noaoÖHo ToMy KaK b cnaBaHcKoM ^onbKnope pHMcKHe napH HaaenaroTca MH^onoranecKHMH nepTaMH. TaKHM cnocoöoM ,D,axböora-TenHa Henb3a cnm-aTb conapHHM öoxecTBoM b nonHoM cMHcne cnoBa (b paMKax apeBHe-pyccKoro naHTeoHa TaKHM ÖHn BepoaTHo Xopc); oh aBnaeTca, b (nceBao)HcTopHHecKoö nepcneKTHBe, BpeMeHHHM BnaaenbneM ConHna, conocTaBHMHM c ^HoKneTHaHoM -^yKnaHoM h abaBonbcKHM napeM (ffaôa / ffaôoz) cepöcKoö TpaaHnHH, KoTopHe b BapHaHTax KocMonormecKoro MH^a ^HrypHpyroT b KanecTBe noxHTHTeneö ConHna h y3ypnaTopoB Boxbeö BnacTH. H b TpeTbeM HaMH paccMaTpHBaeMoM cnynae yaanocb, Hcxoaa H3 aaHHHx cepöcKoö TonoHHMHH, öpocHTb aononHHTenbHbrä cBeT Ha npHpoay oaHoro apeBHepyccKoro öoxecTBa, Ha 3tot pa3 Beneca. K ero HMeHH moxho Bo3BecTH opoHHM Beiern b ceBepo3anaaHoö CepÖHH, MH^onoranecKaa MoTHBHpoBKa KoToporo noaTBepxaaeTca Ha3BaHHeM coceaHero xonMa Brnmau (h3 BHna "pycanKa"). BönH3H oÖHapyxeH xepTBeHHHK AnonnoHa, rpeKopHMcKoro öora noKpoBHTenbcTByro^ero neBnaM h My3HKaHTaM; Ta xe ^yHKqHa npHnHcHBaeTca h Benecy, TaK KaK BoaH b "CnoBe o nonKy HropeBe" Ha3HBaeT ero BHyKoM. nosToMy KaxeTca, hto aocnaBaHcKaa MH^onorHHecKaa napa AnonoH - ^HaHa HHTepnpeTHpoBaHa 3aecb cnaBaHcKHMH HMeHaMH Benec h Buna (cp. 3HaneHHe pyM. zînâ, anö. zanë "pycanKa" I naT. Diana).
53
Einige Anmerkungen zur slowenischen mythopoetischen Tradition im Rahmen der slawischen Mythologie
Nikolai Mikhailov
The treatise deals with certain questions concerning the use of some Slovene data for the reconstruction of Slavic mythology.
Unsere Meinung hinsichtlich der terminologisch-theoretischen Seite des Problems (d. h. hinsichtlich der Stichhaltigkeit der Verwendung des Begriffes "Mythologie" als terminus technicus, der Verhältnisse zwischen den sogenannten primären und sekundären Quellen, der Möglichkeit über die "slowenische Mythologie" zu reden, sowie hinsichtlich eines Versuches der "Teilrehabilitierung" einiger nicht ganz "vertrauenswerter" Mythologen usw.) ist von uns schon früher geäußert worden; die "Apologie" der Mythologie als wissenschaftlicher Disziplin fand auch in unseren vorigen Beiträgen statt (Mikhailov 1996a; 1996b). Wir haben außerdem eine Rekonstruktion eines mit der Figur von Kresnik verbundenen Fragmentes der slowenischen mythopoetischen Tradition durchgeführt (Mikhailov 1996c), die verschiedene (skeptische und zustimmende) Reaktionen hervorgerufen hat. Im vorliegenden Beitrag möchten wir aber weniger theoretisieren, sondern einige kleinere konkrete Anmerkungen zu den Daten der slowenischen volkstümlichen ("mythologischen") Tradition anführen, die vielleicht helfen könnten, uns das ursprüngliche slowenische mytho-poetische "Weltmodell" etwas deutlicher vorzustellen.
Bevor wir konkrete Beispiele anbieten, wäre es sinnvoll, an die Tatsache zu erinnern, daß die slowenische ethnographisch-folkloristische Schule sehr vorsichtig und auch ziemlich ungerne über die Existenz der "slowenischen Mythologie" spricht. Man kennt eigentlich nur wenige Arbeiten, die direkt dem Problem der slowenischen Mythologie gewidmet sind und ihren Überblick darstellen. Die erste davon ist das Vorwort Keleminas zu seiner Sagensammlung (Kelemina 1930, 5-32), die auch jetzt überraschenderweise noch immer einige interessante Interpretationen enthält, obwohl mehrere Behauptungen des Autors nicht mehr aktuell sind. Zu loben ist die Absicht Keleminas, einen Systematisierungsversuch zu unternehmen. Ein interessanter, aber auch fehlerreicher Bericht von J. Mal (Mal 1940), welcher nach dem Werk Keleminas erschien, kann nicht mehr ganz ernst genommen werden und ist schon in dem nächsten slowenischen "mythologischen" Artikel scharf kritisiert worden (Bezlaj 1951). Auch die thematisch ihm folgende, fast vierzig Jahre später veröffentlichte Arbeit über die slowenischen mythischen Wesen (Maticetov 1989) strebt eher dazu, den Wert der "mythologischen" Berichte zu vermindern, die verdächtigen "Mythensammler" zu entlarven, und sie meidet selbst das Wort "Mythologie". Eine solche Vorsicht ist ohne Zweifel ein Zeugnis des richtigen wissenschaftlichen Verantwortlichkeitsgefühls, man muß aber auch anerkennen, daß es äußerst schwierig ist, mit so einer Einstellung
55
Einige Anmerkungen zur slowenischen mythopoetischen Tradition im Rahmen der slawischen Mythologie
die wirklich existierenden, nicht nur "mythologischen", aber auch kulturgeschichtlichen Probleme zu lösen. Die Hauptfrage ist, was für eine Religion oder mindestens was für eine Art Glauben und Geisteskultur die (Ur)slowenen vor ihrer Christianisierung hatten (irgendwelche heidnische Religionsvorstellungen hatten sie ganz bestimmt!). Wenn man diese Hauptfrage nicht beachten will, ist die Gefahr sehr groß, daß man die ganze slowenische Mythologie und sogar die Volkskunde der Feder der "Mythologomanen" und "Mythenerfindern" zuschreibt, was selbstverständlich nicht richtig wäre. Uns ist die Meinung gut bekannt, daß nicht nur Trstenjak und Trdina, aber auch "ernstere" Systematisierer des mythologischen Materials wie Pajek und Kelemina nicht immer völlig vertrauenswert sind. Man muß mit dieser Meinung rechnen, obwohl uns unmöglich scheint, nicht zu merken, daß mehrere Informationen, die in den Märchen-, Sagen- oder Volkskundesammlungen von Pajek, Gabrscek und insbesondere von Kelemina und in den Volksliedersammlungen von Strekelj oder von Scheinigg enthalten sind und die sich oft (aber nicht immer!) auf die Berichte Trstenjaks stützen, ihre Begründung auch in den Büchern und Beiträgen qualifizierter Volkskundesammler unserer Zeit finden (V. Möderndorfer, F. Kotnik, N. Kuret, M. Maticetov, M. Boskovic-Stulli u. a.). Die Authentizität dieser letzteren Materialien wird bestimmt von niemandem bezweifelt. Ein wertvoller Versuch, die slowenische Mythologie als ein organisiertes System der mythologischen Vorstellungen mit einer bestimmten Hierarchie der mythischen Wesen darzustellen, ist im Buch D. Ovsecs unternommen worden (Ovsec 1991), und dieses könnte einen neuen Weg in der Forschung aufzeigen, obwohl einige Schlußfolgerungen des Autors noch zu kommentieren, zu besprechen und vielleicht zu vervollständigen wären.
Dazu kann man auch hinzufügen, daß auf praktischer Ebene (d. h. Sammlung des ethnographischen, ethnologischen, folkloristischen Materials) in Slowenien sehr viel gemacht worden ist. Mehrere Archivmaterialien warten auf ihre Veröffentlichung, vieles ist aber schon herausgegeben worden. Diese praktischen Daten bieten dem Forscher gute Möglichkeiten, auch einige theoretische Hypothesen aufzubauen, die das Ganze irgendwie systematisieren müßten. Wir erlauben uns zu behaupten, daß die reine "Beschreibung" ohne die verallgemeinernden Interpretationen, die schließlich zu der vollkommenen Abwesenheit der Formulierung jeder Art Konzeption führt, für die Wissenschaft meistens unproduktiv ist.
Wenn man sehr kurz aufzählen würde, welche Elemente der slowenischen Volkstradition konkrete Verbindungen mit der hypothetisch rekonstruierbaren panslawischen heidnischen Religion manifestieren, könnte man folgende Punkte anführen1:
1) die angebliche Anwesenheit des Namens Perun im slowenischsprachigen Raum, sowohl in der Sprache als auch in der Toponymie (Mal 1940; Maticetov 1989; Filipovic 1948 über Istrien). Die Erscheinung von Perun in späteren folkloristischen Varianten ist im Gegenteil wenig überzeugend (Kelemina 1930, Nr. 202). Besonders interessant ist die Existenz der taranbalta, die eine Art Pfeil Peruns sein könnte und in mehreren Volkskundemotiven aufscheint (Kelemina 1930, Nr. 202, I, II; Pajek 1884, 7-8; insb. Kretzenbacher 1941, 4142). Das Lexem taranbalta ist auch im Vergleich zu der von L. Moszynski vorgeschlagenen keltisch-slawischen Erklärung des Namens der Donnergottheit bedeutsam (slaw. Perunb = kelt. Taranis bzw. der kryptonymische Name *Taranb aus kelt. Taranis 'Donnergott', vgl. auch *Taran-vitb; s. Moszynski 1995, 71-72);
1 Man muß sofort anmerken, daß einige dieser Analogien sehr zweifelhaft sind. Keine von ihnen ist aber endgültig dementiert worden.
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Nikolai Mikhailov
2)	eine große Zahl der Toponyme mit dem sakralen Stamm Vel- / Vol-, die ziemlich sicher mit dem Namen der ostslawischen chthonischen Gottheit Veles / Volos verglichen werden können (s. SKI 1985, 309);
3)	die Existenz des weiblichen mythischen Mokoška (dokumentiert in Kelemina 1930, Nr. 201 nach Trstenjak). Der Name ist nicht nur mit der einzigen weiblichen Gottheit aus dem Pantheon Vladimirs zu verbinden, sondern auch mit mehreren dämonologischen Figuren der ostslawischen Tradition, was eine gewisse mythologische Kontinuität vermuten läßt. Der einzige Grund, diese Daten zu bezweifeln, ist die unsichere Quelle Keleminas;
4)	die Anwesenheit des Oronyms Triglav, der vollkommen dem Namen der polabischen Gottheit Triglaus bzw. Trigelawus, Triglous, Tryglav entspricht. Diese Analogie wurde mehrmals betont (vgl. schon Linhart 17912), aber fast jedes Mal begründeterweise bezweifelt. Der Name ist epithetisch bzw. deskriptiv, deswegen kann Triglav einfach einen Berg mit drei Spitzen bezeichnen und mit dem nordslawischen Heidentum nichts zu tun haben;
5)	eine gewisse "Popularität" von Sveti Vid / Šentvid und die Verbreitung dieses Namens in der Toponymie (SKI 1985, 288). Die Wahrscheinlichkeit einer direkten Verbindung mit dem polabischen Sventovit ist ziemlich gering, darf aber nicht völlig ausgeschlossen werden (vgl. Nahtigal 1956);
6)	die vermutliche Existenz einer Gottheit bzw. mythischen Figur namens Belin / Belič
(Kelemina 1930, Nr. 12), vgl. auch Laber (Pajek 1884, 84). Dieses Wesen bietet indirekte Analogien mit dem rekonstruierten polabischen *Bel(o)bog, über dessen Authentizität mehrere Vermutungen ausgesprochen worden sind (vgl. in letzter Zeit Mikhailov 1994). Die Verbreitung des Adjektivs bel 'weiß' in mehreren Bereichen von der Toponymie an (BelaKrajina, Beljak, Bela, Bele Vode, Belica, Belo u. a., vgl. SKI 1985, 16-17; Kattnig, Zerzer 1982, 9-10) bis zu solchen mythischen Wesen wie Bele žene kann zum Zeugnis der sekundären Realisierung eines ursprünglich sakralen Epithetons werden (vgl. Kelemina 1930, Nr. 22, 202/I, 245/II; Pajek 1884, 205; Möderndorfer 1934, 6);
7)	die Existenz des mythischen Kresnik und seine speziellen Funktionen und die Rolle, die ihn als die slowenische Version der panslawischen Donnergottheit darstellen, erlauben zu vermuten, daß der ganze Kresnik-Mythos als eine slowenische Variante des rekonsruierten "Hauptmythos interpretiert werden darf (vgl. Mikhailov 1996c). Dazu gehört auch der zweifellos sehr archaische Charakter des slowenischen kres-Rituals, das nicht nur aus panslawischen, sondern sogar aus den baltoslawischen Zeiten stammen könnte;
8)	das Problem der Existenz eines slawischen heidnischen Tempels in Ptuj (Svetišče na Ptujskem gradu), das schließlich auf der Ebene der archäologischen Quellen nicht endgültig gelöst bleibt (vgl. vor allem Korošec 1948, wieder erwähnt von Rusanova, Timoščuk 1993).
Zu den slawischen ([ur]slowenischen) heidnischen Kultstätten können wahrscheinlich auch der ehemalige heidnische Tempel in Millstatt (Österreich) und kleinere, vermutlich sakrale Naturobjekt und Plätze in Slowenien (bei Slovenj Gradec, Paški Kozjak, auf der Insel von Bled usw. u. a.) gezählt werden (viel und perspektivenreich in letzter Zeit Pleterski 1994; Pleterski 1996).
2 Vgl. Linhart 1791, 256-257: «I. Triglav, ein dreiköpfiger Gott, wie es der Name anzeigt, weil sie ihm die Herrschaft über Luft, Erde, und Wasser zuschreiben.
Ihn verehrten vorzüglich die im nördlichen Deutschland wohnenden Slaven, wo sie ihm ansehnliche Tempel erbauet haben. Der Berg Terglav in Bohein, welcher der höchste in Krain ist, voll prächtiger Scenen der wilden Natur, scheint von dieser Gottheit seinen Namen zu führen».
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Einige Anmerkungen zur slowenischen mythopoetischen Tradition im Rahmen der slawischen Mythologie
Wenn man diese Elemente der slowenischen Volksüberlieferung, die irgendwie zu der vorigen slawischen Urstufe der heidnischen Vorstellungen zurückfuhren, aufzählt, müßte man dabei korrekterweise betonen, daß es um sekundäre indirekte Materialien geht, die für die Rekonstruktion eines gewissen archetypischen, mythopoetischen Schemas nützen sollen und nicht für den Aufbau eines wahrscheinlich nie existiert habenden slowenischen Pantheons. Dazu ist hinzuzufügen, daß mehrere ethnogenetische Probleme, die sowohl die Slowenen als auch im allgemeinen die Slawen betreffen, noch nicht gelöst sind. Auch die Chronologie bleibt bei solchen Studien eher ein vages Thema. Besonders interessant und als Untersuchungsgebiet vielversprechend erscheint für die Kultur- und Religionsgeschichte jedes einzelnen slawischen Volkes die Periode unmittelbar vor der Christianisierung, die für die Slowenen mehr als hundert Jahre im Vergleich z. B. zu den Ostslawen zurückliegt. Diese Tatsache kann in zwei verschiedene Richtungen interpretiert werden: Die frühe Christianisierung reduziert einerseits die Wahrscheinlichkeit, etwas ursprünglich heidnisches zu finden, andererseits ist aber daß, was man doch entdecken kann, archaischer als das Material der Traditionen der später christianisierten Völker. Normalerweise wird die erste Seite dieses Phänomens hervorgehoben, während die zweite fast immer ausgelassen wird.
Sehr kurz und schematisch könnten wir unseren Gesichtspunkt hinsichtlich des Problems der Existenz der heidnischen Religion bei den Slowenen (oder wenn man will "Urslowenen") auf folgende Art präsentieren:
Man darf vermuten, daß es in der Phase der sogenannten baltisch-slawischen Einheit wenn nicht eine entwickelte heidnische Religion, dann ein System der archetypischen sakralen Vorstellungen gab, welches sowohl auf praktischer Ebene (Rituale usw.) als auch in der Sprache vorhanden war ("Stämme mit sakraler Bedeutung"). In dem Moment, in dem sich die Spaltung der baltisch-slawischen Einheit ereignete, die zur allmählichen Bildung einzelner baltischer und slawischer Völker führte, haben sich die religiösen Vorstellungen weiter entwickelt, und jedes Volk hat seine eigene lokale Version des ehemaligen gemeinsamen Systems der sakralen Vorstellungen ausgearbeitet. Der Höhepunkt der Entwicklung der lokalen Religionen ist für jedes dieser Völker gerade die Zeit vor der Christianisierung. Besonders deutlich sieht man das bei den am spätesten christianisierten Polaben und der sogenannten "Baltischen Slawen", die, wie man aus mehreren "primären" Schriftquellen und aus den archäologischen Ausgrabungen erführt, auch eigene Götzen und sogar Tempel hatten.
All dies bedeutet, daß, wenn man von der panslawischen Religion bzw. Mythologie spricht, es sich natürlich um einen konventionellen Begriff handelt, der ein gewisses Schema oder eine Sammlung mehrerer archetypischer Daten bezeichnet, aber in Wirklichkeit wahrscheinlich nie existiert hat. Dagegen haben die lokalen religiösen Traditionen und Kulte ganz bestimmt existiert und sich teilweise auch gut entwickelt. Über manche Völker (Ostslawen, Polaben) haben wir mehr Informationen, über manche (südslawische und besonders westslawische Völker) viel weniger, was aber nicht bedeutet, daß die letzteren ohne religiöse bzw. mythopoetische Vorstellungen gelebt haben. Schließlich ist auch die Christianisierung vor allem die Ersetzung einer Religionsform durch eine andere. Die Aufgabe der Wissenschaftler ist nun zu versuchen, möglichst mehr über die vorchristliche Kultur der sich zu jener Zeit schon gebildeten Völker zu entdecken.
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Literatur
Bezlaj 1951: F. Bezlaj, Nekaj besedi o slovenski mitologiji v zadnjih desetih letih, "Slovenski etnograf", III-IV, 1951, 342-353.
Filipovic 1948: M. S. Filipovic, Tragovi Perunova kulta kod Južnih Slovena, "Glasnik Zemaljskog muzeja v Sarajevu", Nova serija, III, 1948, 63-80.
Kattnig, Zerzer 1982: F. Kattnig, J. Zerzer, Dvojezična Koroška. Seznam dvojezičnih krajevnih imen južne Koroške. Zweispraciges Kärnten. Zweisprachiges Ortsverzeichnis von Südkärnten, Celovec / Klagenfurt 1982.
Kelemina 1930: J. Kelemina, Bajke in pripovedke slovenskega ljudstva, Celje 1930.
Korošec 1948: J. Korošec, Slovansko svetišče na Ptujskem gradu, Ljubljana 1948.
Kretzenbacher 1941: L. Kretzenbacher, Germanische Mythen in der epischen Volksdichtung der Slowenen. Ein Beitrag zu einer Kulturgestaltung im deutschen Grenzraum, Graz 1941.
Linhart 1791: A.T. Linhart, Versuch einer Geschichte von Krain und den übrigen Ländern der südlichen Slaven Österreichs, Zweiter Band, Laibach 1791.
Mal 1940: J. Mal, Slovenske mitološke starine. Donesek o sledovih poganstva med Slovenci, "Glasnik Muzejskega društva Slovenije", 21, 1940, 1-37.
Matičetov 1989: M. Matičetov, O bajnih bitjih Slovencev spristavkom o Kurentu, "Traditiones", 14, 1985, 23-32.
Mikhailov 1994: N. Mikhailov, Appuntisu *Beloboge *Černobog, "Ricerche slavistiche", 41, 40-51.
Mikhailov 1996a: N. Mikhailov, Baltico-slovenica. Alcuniparalleli mitologici, "Res Balticae", 2, 1996, 151-178.
Mikhailov 1996b: N. Mikhailov, Slovanska mitologija in slovensko bajeslovje, "Koledar Mohorjeve družbe v Celovcu 1997, Celovec 1997", 11-114.
Mikhailov 1996c: N. Mikhailov, Fragment slovenskoj mifopoetičeskoj tradicii, "Koncept dviženija. Struktura slovesnych i neslovesnych tekstov slavjanskoj tradicii", Moskva 1996, 127-141.
Möderndorfer 1934: V. Möderndorfer, Narodno blago koroških Slovencev, Maribor 1934.
Moszynski 1995: L. Moszynski, Die vorchristliche Religion der Slaven im Lichte der slavischen Sprachwissenschaft, Köln - Weimar - Wien 1992.
Nahtigal 1956: R. Nahtigal, Sv&ovitü, "Slavistična revija", IX. Letnik, 1-4, 1956, 1-9.
Ovsec 1991: D.I. Ovsec, Slovanska mitologija in verovanje, Ljubljana 1991.
Pajek 1884: J. Pajek, Črtice duševnega žitka štajerskih Slovencev, v Ljubljani 1884.
Pleterski 1994: A. Pleterski, Ecclesia demonibus addicta. Povedka o poganskem svetišču v Millstattu, "Zgodovinski časopis", 48, 1994, 297-306.
Pleterski 1996: A. Pleterski, Strukture tridelne ideologije v prostoru pri Slovanih, "Zgodovinski časopis", 50, 1996, 163-185.
Rusanova, Timoščuk 1993: I.P. Rusanova, B.A. Timoščuk, Jazyčeskie svjatilišča drevnih slavjan, Moskva 1993.
SKI 1985: F. Jakopin, T. Korošec, T. Logar, J. Rigler, R. Savnik, S. Suhadolnik, Slovenska krajevna imena, Ljubljana 1985.
59
Einige Anmerkungen zur slowenischen mythopoetischen Tradition im Rahmen der slawischen Mythologie
Alcune osservazioni sulla tradizione mitopoietica slovena nella cornice della
mitologia slava
Nikolai Mikhailov
Nell'articolo vengono elencate le seguenti particolarità della tradizione mitopoetica slovena che permettono di usare il materiale sloveno per la ricostruzione del quadro generale della mitologia e/o del paganesimo slavo: 1) La presenza del nome Perun nella tradizione folclorica; 2) l'esistenza di un certo numero di toponimi con la radice sacrale *Vel-/*Vol-; 3) la presenza nella tradizione popolare del personaggio femminile Mokoška; 4) l'esistenza dell'oronimo Triglav paragonabile al teonimo Triglaus registrato presso i polabi; 5) la popolarità di S. Vito forse riconducibile alla figura della divinità polaba Sventovit; 6) l'esistenza del folclorico Belin paragonabile al ricostruito *Belobog; 7) l'esistenza del mitico Kresnik, la cui figura risale probabilmente a quella della divinità panslava della tempesta; 8) la presenza di alcuni templi presumibilmente pagani nell'area linguistica e culturale slovena (Ptuj ed al.).
60
Pogansko bogovje slovanskega vzhoda in zahoda v luči slovenskih ljudskih pesmi
Vlado Nartnik
Pagan gods of the Slavic East and West were outwardly extremely diverse. As a contrast to the double number of gods tied to different localities of the Slavic West, the six pagan gods of Slavic East mentioned in the treatise formed a rather harmonized system. Since Slovenes had been Christianized before any mention of either group of Slavic gods was recorded, the presence of their former pagan gods is reflected only in Slovene folk songs. The Slovene song heritage thus functions as a connecting link between the Slavic East and West.
Za pogansko bogovje slovanskega vzhoda in zahoda je bilo značilno, da se je na zunaj skoraj v celoti razhajalo. Bogovje slovanskega vzhoda je znano z začetka vladanja kijevske-ga kneza Vladimira Svjatoslavljiča. Ta je leta 980 na hribu pred svojo palačo v Kijevu postavil kipe šesterice bogov: najprej leseni kip gromovnika Peruna s srebrno glavo in z zlatimi brki, nato kipe Horsa, Dažboga, Striboga, Semargla in Mokoši - preden jih je ob pokristja-njenju leta 988 vse uničil.1 V kijevsko šesterico pa ni bil vključen Perunov nasprotnik Veles ali Volos, čeprav je Vladimirov oče Svjatoslav Igorjevič še leta 971 pri sklepanju miru z Grki prisegel na Peruna in na boga živine Volosa.2
Nasproti sorazmerno skladnemu sistemu bogov slovanskega vzhoda, osredinjenega v Kijevu, se je dvanajst bogov slovanskega zahoda posamično vezalo na različne kraje ob Baltiku, pri čemer je bil prvi in glavni bog Sventovit v Arkoni. Imel je štiri glave in konja belca ter je predhajal Triglavu s tremi glavami in s konjem vrancem v Ščetinu. Sledila sta Svarožič ali Radgost z divjim merjascem v Retri in Jarovit z zlatim ščitom v Ologošču, nadaljnji nižji bogovi pa so bili Rujevit, Porevit, Porenut, Černobog, Prove, Pripegala, Poda-ga in Živa.3 Med naštetimi bogovi slovanskega zahoda je bil edino Svarožič že po imenu primerljiv s Svarogovim sinom Dažbogom slovanskega vzhoda.4
Ker so bili Slovenci pokristjanjeni še pred omembami poganskega bogovja slovanskega vzhoda in zahoda, se njihovo nekdanje verovanje nakazuje kvečjemu posredno skoz ljudske pesmi. Primer posrednega nakazovanja je že pesem Začetek zemlje,5 ki razlaga začetni svet takole:6
1	N. Mikhailov: Slovanska mitologija in slovensko bajeslovje, v: Koledar Mohorjeve družbe v Celovcu za leto 1997, 111.
2	V. M. Mokienko: Obrazy russkoj reči. Istoriko-etimologičeskie i etnolingvističeskie očerki frazeologii, Leningrad 1986, 159.
3	A. E. Suprun: Vvedenie v slavjanskuju filologiju, Minsk 1989, 254 in 255.
4	D. J. Ovsec: Slovanska mitologija in verovanje, Ljubljana 1991, 123 in 142.
5	I. Grafenauer: Bog-daritelj, praslovansko najvišje bitje, v slovenskih kosmoloških bajkah, Bogoslovni vestnik XXIV (1944), 76 in 77.
6	I. Grafenauer: Prakulturne bajke pri Slovencih, Etnolog XIV (1942), 25 in 29.
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Pogansko bogovje slovanskega vzhoda in zahoda v luči slovenskih ljudskih pesmi
Ko ni bilo na začetku sveta Nič razen sonca, Boga in morja, Sonce prevroče prežene Boga, Da potopi se v globino morja.
Ko nad gladino glavo pomoli, Zernce peska mu noht očerni; Zernce peska Bogu izleti: Černa žemljica na morju leži.
Pesem razlaga začetni svet tako, da protistavlja sonce Bogu in morje zemlji, medtem ko se luna in nebo ne omenjata posebej. Lahko pa je luna istovetna kar z Božjim nohtom, čeprav ustreza temu glede na majhnost zemlje tudi sedmerobarvna mavrica. Gledano v časoprostoru je Božji noht najprej bližnja popoldanska mavrica nad vzhodnim obzorjem, nato pa daljna mlada luna ob zrnih planetov v nebesnem morju nad zahodnim obzorjem.7 Tako mavrica kakor luna sta ravno nasprotni soncu in se pred njim umikata ali potapljata že v medobratnem vročem pasu. V obobratnem zmernem pasu pa se vrh tega podreja nizko sonce božičnemu ščipu in nizki ščip kresnemu soncu. Nedolžne otročiče braneči božični ščip in grešnemu človeštvu grozeče kresno sonce je slutiti v naslednji protistavi8 pesmi Jezus prosi za porodnice (SLP 20) ter pesmi Marija prosi za porodnice (SLP 114):
Jezus po morji plava,	Leži, leži ravno polje,
Po morja globočin,	Leži prek polja cestica,
Riba za njim perplava,	Po cesti gre en majhen fant,
Riba Faronika.	Marija ga je srečala.
"O čakaj, čakaj, riba,	"Hole, hole, ti mali fant,
Riba Faronika:	Le kam mipojdeš ti?"
Te bomo kajprašali,	"Jaz pa grem na Donavo,
Kak se po svet godi."	Koderkoli hodil bom,
"Če bom jaz rep vzvila,	Za mano vse gorelo bo."
Ves svet bo pogubljen;	"Le nej, le nej, ti mali fant,
Če se bom obernila,	Ti mali fant sveti Florjan:
Ves svet bo potopljen."	Če se ne šonaš drugih mi,
"Nikar, nikari, riba,	Šonaj se porodnih žen
Riba Faronika:	Ino drobnih otrok,
Zavolj teh otročičov,	Ki v zibelkipočivljejo!"
Zavoljporodnih žen.	"Jaz se ne morem šonat več:
Pekel se je napolnil,	Dete ni staro sedem let,
Svet raj pa prazen je!"	Grehov že ma za tisoč let."
Medtem ko se Jezus zavzame za porodnice pri ribi Faroniki, ki nosi svet na hrbtu in grozi grešnemu človeštvu bodisi s potresno pogubo bodisi z vesoljnim potopom, se Marija zavzame za porodnice pri malem fantu svetem Florjanu, ki grozi grešnemu človeštvu z vesoljnim požarom. Z vesoljnim potopom ter požarom grozeči bitji nasprotnih spolov druži še glasovna podobnost Faronikinega in Florjanovega imena, in ta daje misliti na delno pokristjanjenje nekdanjih imen Perunike in Peruna podobno, kakor daje protistava z Jezusovim ter Marijinim imenom misliti na pokristjanjenje nekdanjih imen Velesa ter Mokoši.9
7	V. Nartnik: Zvezdne poti. Poskusi novega branja slovenskih ljudskih pesmi, Kranj 1991, 7.
8	Glej op. 7: 11.
9	V. Nartnik: K razmejevanju legend od nelegend pri slovenskih ljudskih pesmih, v: Razvoj slovenske etnologije od Štreklja in Murka do sodobnih etnoloških prizadevanj, Ljubljana 1995, 92.
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Vlado Nartnik
Za malega fanta svetega Florjana kot nekdanjega čeha Peruna v podobi pomladnega prvega krajca govori nato sveti Češko med svetim Velkom kot nekdanjim Velesom v podobi božičnega ščipa ter svetim Jurijem kot nekdanjim Svarogom v podobi kresnega sonca v pesmi Pastirska molitev (SNP 5003), ki se moli takole:10
Sveti Velko, brani mojo belko, Sveti Češko, daj ji vime težko, Sveti Jurij, ti nam pa zakuri, Da bo sonce peklo Ino maslo teklo!
Na nekdanjega Velesa in Peruna se pri tem navezujeta še sveti Valentin in Peregrin v pesmi Kaznovana birtinja (SLP 160):
Stoji tam gora Limbarska, Leži pod goro tratica, Na tratici je hišica,
V	hiši mlada birtinja. Birtinja hčerko ma lepo In toči vinčece drago. Po cesti gresta brata dva, Prot hiši se oberneta,
Ta pervi je svet Valentin, Ta drugi je svet Peregrin. Na pragu birtinja stoji, Šop ključov v rokah derži. Svet Valentin ji govori: "Bi naju prenočili vi? Naj se zgodi zavolj Boga, Da vam še večji srečo da." Se jezna žena oglasi, Z ošabnostjo odgovori: "Sreče že dosti jaz imam, Saj boljši hiše krog ne znam: Je v hlevu dost živinice,
V	kleti sladko vinčece, Denarjov v skrinji je lepo,
V	hiši pivcov vse polno. Kdor bo za sladko vince dal, Ta bo pod mojo streho spal." Svet Valentin odgovori
In ženi z perstam zapreti: "Jaz nisem dal in ne bom dal, Ne bom pod tvojo streho spal. Pa vedi, ti prevzetnica,
Nocoj me boš še klicala! Še polnoči ne bode preč, Vse tvoje sreče ne bo več." Stori se kmalu temna noč, Se čudna skaže Božja moč: Še preden ura je devet, Popada v hlevu vsa goved. Je žena vsa prestrašena Glasno prot gori klicala: "Pomagaj Bog, svet Valentin In njega brat svet Peregrin!" Še preden ura je deset, Začne iz sodov vino vret. In žena bolj prestrašena Je še glasneje klicala: "Pomagaj Bog, svet Valentin In njega brat svet Peregrin!" Enajsta ura ne mini, Že hčerka mertva tam leži. In žena vsa omamljena Rjoveče je zaklicala: "Pomagaj Bog, svet Valentin In njega brat svet Peregrin!" Dvanajsta ura ne mini, Zplamenam hiša vsa gori. Zdaj žena vsa ponižana Je milo k nebu klicala: "Pomagaj Bog, svet Valentin In njega brat svet Peregrin!" Tak polnoči je kmalu preč, Vse sreče birtinje ni več.
10 Slovenske narodne pesmi 3. Iz tiskanih in pisanih virov zbral in vredil K. Štrekelj, Ljubljana 1904-1907, 142.
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Pogansko bogovje slovanskega vzhoda in zahoda v luči slovenskih ljudskih pesmi
Sveti Valentin in Peregrin spominjata na zimskega Velesa in pomladnega Peruna tako glasovno kakor časovno.11 Časovno se umetelno prepletata tudi Valentinovi oziroma Vele-sovi lihi uri, ko je ošabna in lakomna birtinja ob goved in hčerko, ter Peregrinovi oziroma Perunovi sodi uri, ko je prevzetnica ob vino in hišo. Samo pomladno podlago pa ima pesem Jezus razpostavi jogre (SLP 118), ki se niza takole:12)
Jezus jogre je postavil Na vse štiri te strani: Svetga Petra je postavil Na lepo ravno polje, Svetga Janža je postavil Na vinograde lepe, Svetga Andraža je postavil Gor na visoke gore, Svetga Miklavža je postavil Dol na globoko morje, Svetga Tomaža je postavil Pa v deželo Indijo.
Svet Tomaž tako se veri Proti svojmu Jezusu: "Kaj si mene let postavil, Kjer ni videt romarja?" "Tiho, tiho, joger ljubi, Joger ljubi, svet Tomaž! Na svet lepši ni dežele Ko dežela Indija:
V	Indiji toča ne bije, Pšenico dvakrat žanjejo.
V	Indiji ga ni človeka, Da b bil hudobnega serca.
Pesem je značilno dvodelna. V prvem delu razpostavi Jezus vsega pet jogrov tako, da se srednji sveti Peter protistavlja srednjemu svetemu Janžu in visoki sveti Andraž nizkemu svetemu Miklavžu, čezmorski sveti Tomaž pa tokrat samemu Jezusu glede na širši dvogovor v drugem delu. Pomenljivo je tudi, kako sveti Miklavž, ki niti ni bil joger, po imenu spominja na nekdanjo boginjo Mokoš, ki se je v Kijevu protistavljala bogu Perunu.13 V tej luči pa se protistava med Jezusom (Kristusom) in svetim Tomažem razkriva za protistavo med nekdanjim Hrsom v podobi pomladnega sonca14 in nekdanjim Semarglom v podobi pomladnega ščipa. Ustrezno se v protistavi med Petrovim srpom in Janževo kupo razkriva protistava med nekdanjim Stribogom v podobi stoječe stare lune in nekdanjim Dajbogom v podobi ležeče mlade lune, medtem ko se v protistavi med Andraževo goro in Miklavževim morjem razkriva protistava med nekdanjim Perunom v podobi visokega prvega krajca ter nekdanjo Mokošjo v podobi nizkega zadnjega krajca takole:15
11	N. Kuret: Praznično leto Slovencev 2, Ljubljana 1989, 545 in 546.
12	Slovenske ljudske pesmi 2. Uredili Z. Kumer, M. Matičetov in V. Vodušek, Ljubljana 1981, 389 in 390.
13	Slavjanskie drevnosti. Etnolingvističeskij slovar' pod redakciej N. I. Tolstogo. Tom 1, Moskva 1995, 209.
14	L. S. Hrenov: Narodnye primety i kalendar', Moskva 1991, 52.
15	I. Šprajc: Arheoastronomija, Ljubljana 1991, 27.
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Vlado Nartnik
Pol leta nato se slika obrne, ko se nekdanji Semargel v podobi jesenskega sonca med ležečo staro in stoječo mlado luno spoprime z nekdanjo Mokošjo v podobi nizkega prvega krajca. Takemu Semarglu in taki Mokoši namreč ustrezata sveti Tomaž in Božja dekla v pesmi Zaperta smert (SLP 47):
Tomaž nabija sodec nov V ti deželi Indiji. Peršla je k njemu bela smert: "Tomaž, al daš kaj vinca pit?" "Kdor hoče sladko vince pit, Morapetice bele štet." "Belih petic ne znam jaz štet, Pa vendar hočem vince pit."
Tomaž nato se razjezi Pa Božjo deklo v sod zmaši. Bila je notri leta tri, Oj leta tri in mesce tri. Bog je Tomažu pošto dal: "Kam si pa mojo deklo djal? Po celem svetu ne zvoni, Obene duše v svet raj ni!"
Božično-pomladno-kresno-jesensko četverostavo slovenskih ljudskih pesmi nadalje druži srbska ljudska pesem z naslovom Sveci blago dijele:16
Mili Bože, čuda velikoga! Ili grmi, il se zemlja trese? Il udara more o bregove? Niti grmi, nit se zemlja trese, Nit udara more o bregove, Vec dijele blago svetitelji: Sveti Petar i sveti Nikola, Sveti Jovan i sveti Ilija Isa njima sveti Pantelija. Njim dolazi Blažena Marija, Roni suze niz bijelo lice.
Nju mi pita Gromovnik Ilija:
-	Sestro naša, Blažena Marija! Kakva ti je golema nevolja
Te ti roniš suze od obraza?
Al govori Blažena Marija:
-	A moj brate, Gromovnik Ilija! Kako necu suze prolijevati, Kad ja idem iz zemlje Indije, Iz Indije, iz zemlje proklete!
U Indiji teško bezakonje: Ne poštuju mladi starijega, Ne slušaju djeca roditelja. Roditelji porod pogazili,
Crn im bio obraz na divanu Pred samijem Bogom istinijem! Kum svog kuma na sudove cera I dovede lažljive svjedoke, I bez vjere i bez čiste duše, I oglobi kuma vjenčanoga, Vjenčanoga ili krštenoga. A brat brata na mejdan zaziva, Djever snasi o sramoti radi, A brat sestru sestrom ne doziva.
Njoj govori Gromovnik Ilija: - Sejo naša, Blažena Marija! Utri suze od bijela lica, Dok mi ovdje blago podjelimo, Otic cemo Bogu na divane Molit cemo Boga istinoga Nek nam dade ključe od nebesa Da zatvorim sedmera nebesa, Da udarim pečat na oblake, Da ne padne dažda iz oblaka, Plaha dažda, niti rosa tiha, Niti nocu sjajna mjesečina, Da ne padne za tri godinice! Da ne rodi vino ni pšenica, Ni za crkvu časna leturdija.
16 T. Čubelic: Povijest i historija usmene narodne književnosti, Zagreb 1990, 171.
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Pogansko bogovje slovanskega vzhoda in zahoda v luči slovenskih ljudskih pesmi
Kad to čula Blažena Marija, Utre suze od bijela lica.
Kada sveci blago podjeliše: Petar uze vince ipšenicu I ključeve od nebeskog carstva; A Ilija munje i gromove, Pantelija velike vručine, Sveti Jovan kumstvo i bratimstvo I krstove od časnoga dreva; A Nikola vode i brodove. Pa odoše Bogu na divane, Moliše se tri bijela dana I tri tamne noči bezprestanka.
Moliše se i umoliše se: Bog im dade od nebesa ključe, Zatvoriše sedmera nebesa, Udariše pečat na oblake, Te ne padne dažda iz oblaka,
Plaha dažda, niti rosa tiha, Nit obasja sjajna mjesečina; I ne rodi vino i pšenica, Ni za crkvu časna leturdija, Puno vrijeme za tri godinice. Crna zemlja ispuca od suše, U nju živi propadoše ljudi; A Bog pusti tešku bolezanju, Bolezanju strašno srdobolju Te pomori i staro i mlado I rastavi i milo i drago. Što ostalo, to se pokajalo, Gospodina Boga vjerovalo. I ostaše božji blagoslovi, Da ne padne leda ni snijega, Do jedanput u godini dana.
Kako onda, tako i danaske. Bože mili, na svemu ti hvala! Što je bilo, više da ne bude.
V srbski pesmi je tako združena motivika štirih slovenskih pesmi. Zasnova spominja na božično pesem Jezus prosi za porodnice, zaplet na pomladno pesem Jezus razpostavi jogre, razplet na kresno pesem Marija prosi za porodnice in razsnova na jesensko pesem Zaperta smert. Sprepletena motivika kaže na precej drugačno Indijo. Po srbski pesmi Indija ni le narobe svet, ampak tudi dežela smrti, ki jo je v slovenski pesmi Mlada Breda (SNP 103) zamenjala nekoliko bližja Turčija.17 Tudi to pesem namreč uvaja pogajalno-nikalno-trdilna slovanska primera18 sloneča na manjšalni igri samostalnikov vodica - gorica - meglica, ki ni tako daleč od zadevnega rimanja svetniških imen Andraža - Miklavža - Tomaža in s tem od delnega spomina na nekdanjega Peruna - Mokoš - Semargla:
Breda vstane, ko se dan zazori, Se sprehaja sem ter tja po dvori -Si odpirat ide gornje line, Ide gledat doli na ravnine. Ko po ravnem polji se ozira, Vidi, kak se tam meglica zbira: "Ljuba mati, urno mi vstanite, Ljuba mati, ročno razložite, Al meglica ta je od vodice, Al meglica ta je od gorice, Al oblak je toče hudourne, Izpod neba zgnan od sile burne?"
Skerbna mati urno perspešila, Tak je svoji hčerki govorila: "Ta meglica ni ne od vodice, Ta meglica ni ne od gorice, Tud oblak ni toče hudourne, Izpod neba zgnan od sile burne; To je sapa turških konj meglena, Ki jih polna je steza zelena. Turki pote jezdijo - aj, Breda, Neperhajaj mi tak silno bleda!"
17	Slovenske narodne pesmi 1. Iz tiskanih in pisanih virov zbral in vredil K. Štrekelj, Ljubljana 1895-1898, 164.
18	V. Nartnik: Slovniško-slovarska delitev samostalnikov, Slava IX (1995/96)/1, 27.
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Podobno bi bila motivika kruha in vina lahko odsev svetnikov Petra in Janža in s tem delni spomin na nekdanjega Striboga in Dajboga:
Od strahu je Breda obledela, Od bridkosti skoraj omedlela: "Kaj vas prosim, mila moja mati! O, nikarte mene Turku dati! Kaj počet mi bo nevesti tuji; Turk je hud in njega mat še huji -Kar po zemlji leze ino grede, Od hudobe nje kaj pravit vede: Osem žen je sinu že vmorila, Tudi mene bi vmorit vtegnila! Strupa mi bo v vinu napivala, Strupa mi bo v kruhu ponujala."
"Dobro me poslušaj, hčerka moja! Kaj ti pravim, skerbna mati tvoja: Ko ti huda tašča bo napila, Bodeš vino ti na trato zlila, Al ga zlila boš na skalo sivo, Ki z nje kuha apnar apno živo. Ko ti bode kruha ponujala, Ga ščenetu mlademu boš dala."
Mlada Breda se zajoka huje, Materi tako še beseduje: "Ko mi bojo balo nakladali, Nakladali, v skrinjo jo spravljali, Šlarasto mipečo zgor denite, Jo verh vsega blaga položite -
Peče bodem najprej potrebvala, Z njo si serčne rane zavezvala."
Mlada Breda dalje govorila: "Kaj še pravim vam, vi mati mila! Kadar bojo Turki perjahali In raz konja na tla poskakali, Jih vi gor za mizo posadite, Jih gostite, dobro napojite! Ko si bojo jeli napivati In po mladi Bredi vprašovati -Takrat, mati, pome vi pošljite, Takrat hudmu Turku me peljite!"
Ko je mati balo nakladala, Nakladala, v skrinjo jo spravljala, So že turški svatje perjahali In raz konja na tla poskakali. Mat jih je za mizo posadila, Jih gostila, dobro napojila. Svatje so si jeli napivati, Jeli so po Bredi vprašovati.
Urno mati ponjo je poslala, Hudmu Turku jo je perpeljala. Gor za mizo so jo posadili, Z njo za mizo drago vince pili.
Stribogu, Hrsu in Dajbogu sicer ustrezajo podrejeni moški liki19 Bredinega ženina, urnega konja in mladega hlapca, medtem ko je zaporedje Peruna, Mokoši in Semargla primerljivo z Bredino razpetostjo med ljubo materjo in hudo svekrvjo kot prehodno stopnjo med prvotnim Semarglom in drugotno taščo:
Mladega še perpeljajo konja, Urnega ko verh gora postojna. Nanj mi mlado Bredo posadijo In po ravnem polji proč zderčijo, Da se dela gosta mi meglica, Oj meglica, turških konj sapica. V diru se mi Bredin konj spotakne,
Se spotakne, se mu sedlo zmakne. V sedlu je bodalo skrito bilo, Bredi se je v serce zasadilo!
Mladi ženin berzga konja vstavi, Konja vstavi, svojim svatam pravi: "To je huda mati naredila,
' Z. Šmitek: Antična tradicija o Indiji v slovenskem ljudskem izročilu, Traditiones 20, Ljubljana 1991, 101.
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Pogansko bogovje slovanskega vzhoda in zahoda v luči slovenskih ljudskih pesmi
Osem žen mi je že pomorila! Še deveto mi vmoriti hoče, Brez katere ni živet mogoče!"
Mladi ženin dalje beseduje, Svojmu malmu hlapcu ukazuje: "Kaj ti pravim, urni hlapec mali: Sedelce popravi Bredi zali!"
Hlapec začne se izgovarjati, Ženinu se začne ustavljati: "Kdor kušval bo Bredo drev in davi, Naj ji tudi sedelce popravi!"
Mlada Breda kliče ženna k sebi: "Kaj jaz pravim, mili ženin, tebi: Hiti skrinjo pisano odpreti, Hiti pečo šlarasto z nje vzeti! Z njo si bodem rano zavezala." Beseduje še mi Breda zala: "Povej meni, ženin serca mojga, Je li daleč še do grada tvojga?"
"Molči, molči, moja draga Breda! Saj že nama grad naproti gleda, Saj se vidi strešica že zlata, Saj se vidjo že sreberne vrata." Še čez ravno polje v dir derčijo, Kakor v zraku ptičice letijo, Da se dela gosta mi meglica, Oj meglica, turških konj sapica.
Ko so v beli grad mi perjahali In raz konja na tla poskakali, Jih je tašča v dvoru perčakvala, Mlado Bredo je ogovarjala: Kar po zemlji leze ino grede, Od lepote tvoje pravit vede; Vendar nisi tak cvetečga lica, Kakor gre od tebe govorica."
Zdaj je Bredi jela napivati, Ji pogače jela ponujati: "Če boš pila vinčece erdeče, Boš imela lice bolj cveteče; Če pogačo bodeš pokušala, Boš pa polta belega postala."
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Mlada Breda vinčeca ni pila, Na zeleno trato ga je zlila In ga zlila je na skalo sivo, Ki z nje kuha apnar apno živo. Trata se je migljaju vsušila,
V	migljaju se skala razvalila -In pogače da ščenetu jesti,
Al razpoči ščene se na mesti!
Breda je pa tašči govorila: "Kaj vam pravim, tašča vi nemila! Kar po zemlji leze ino grede, Kaj hudobe od vas pravit vede; Pa le vendar tolko ne, oj tašča, Kolikoršna je hudoba vaša. Osem žen ste sinu že vmorila, Tudi meni strupa ste napila, Ste v pogači mi ga ponujala."
Tak je Breda svojmu možu djala: "Kaj ti pravim zdaj, moj ženin mladi! Kje je moja izba v tvojem gradi? Kje je meni spalnica odbrana? Kje je meni postelja postlana?"
Huda tašča pravi ino reče: "To pa meni v glavo iti neče, Da b imeli per nas to navado, Ko nevesto perpeljajo mlado, Da b po spalni izbi poprašvali, Posteljo da bi ogledovali -Ampak taka je navada naša, Da nevesta za ognjišče praša!"
V	spalnico jo mladi ženin pelje, Ji pokaže postelje dve bele.
V	posteljo se mlada Breda vleže, Urno serčne rane si odveže.
V	zadnjič še spregovori in pravi: "Teci, teci, serca vir kervavi! Materi te ljubi bom poslala, Materi te dragi v spomin dala -Nič več vidla me ne bo na sveti, Slišala da b vsaj od mene peti!"
Še se mladi ženin mi zajoka, Se zajoka milo in zastoka:
Vlado Nartnik
"Kaj vam pravim, huda mati moja, Bog vam daj življenje brez pokoja! Žen devet ste že izbrala meni, Ali spal še nisem per nobeni! Tu per Bredi hočem pa zaspati, Nikdar več od Brede nočem vstati!"
Huda tašča gor in doli hodi, Od hudobe se ji glava blodi: Kaj vam pravim, vi sosedje, bratje, In vam drugim, ki ste moji svatje! Ženitvanje ste vi perčakvali, Bodete pa zdaj ju - pokopali!"
Ker je mlada Breda deveta nevesta, je pesmi Pogubljena mati (SLP 48), ki se glasi
Po morji se vozijo barke tri:
V	eni se vozi Jezus Gospod,
V	drugi se vozi Gospod Bog,
V	tretji se vozi deveti mož, Deveti mož, žalostni mož. Tako je rekel Jezus Gospod: "Kaj je tebi, deveti mož, Da si tak močno žalosten?" Tako je rekel deveti mož: "Kaj bi ne bil jaz žalosten! Imel sem kar žlahtne stariše, Povsod sem že bil, nikjer jih ni,
V	svetih nebesih jih tudi ni." Tako je rekel Gospod Bog: "Kaj ti pravim, deveti mož! Pojdi si kupit v en lep semenj Rumene gosli in čern lok,
Pa pojdi pred vrata peklenske gost; Pred peklam godi en letni dan, En letni dan in noč in dan. Ob leti pride satan ven, Poreče: 'Kaj damo teb za en lon, Ker godeš nam že en letni dan, Oj letni dan in noč in dan? Denarjov ti damo, kolkor jih hoč, Oj duš ti pa ne damo nič.' Od Kriščovih ran še jo zagod, Še drugič pride satan ven, Poreče: 'Vzem duš, kolkor jih hoč, Mi tebe ne mormo poslušat več!'"
ženin spet istoveten z devetim možem v
e:20
Šel je mož kupit v en lep semenj Rumene gosli in čern lok, Šel je pred vrata peklenske gost. Predpeklam je godel en letni dan, En letni dan in noč in dan. Ob leti je peršel satan ven: "Kaj naj damo teb za en lon, Ker godeš nam že en letni dan, Oj letni dan in noč in dan? Denarjov ti damo, kolkor jih hoč, Oj duš ti pa ne damo nič." Od Kriščovih ran zagodel jo je, Še drugič je peršel satan ven: "Le pojdi si vzet duš, kolkor jih hoč, Mi tebe ne mormo poslušat več!" Deveti mož je šel v černi pekel, Za njim se je vlekel dolg plašč: "Perjemajte, duše, se plašča mojga!" Perjele so se ga duše vse. Kadar jih k verhu pernesel je, Se vtergala je njegova mat In z njo še druge duše tri. "Odpiraj, Peter, vrata gor! Pekel sem izpraznil, napolnim nebo, Pozabil sem pa na mater svojo. Mati moja so goljufna bli, Goljufna bli, jezična bli: Kjer so vidli pijane ljudi, So vodo med vino pertakali, Prav dobro drago so jim rajtali."
0 V. Nartnik: Božanska komedija v luči slovenske ljudske legende, Slava VIII (1994/95)/1-2, 51.
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Pogansko bogovje slovanskega vzhoda in zahoda v luči slovenskih ljudskih pesmi
Pesem se godi najprej v medobratnem vročem pasu. Zaporedje treh bark kaže na zaporedje nekdanjega Dajboga in Striboga v podobi ležečega prvega ter zadnjega krajca ob iščočem Svarožiču v podobi soncu nasprotnega božičnega ter kresnega ščipa takole:21
Medobratni Svarožič postane nato obtečajni Radgost, ki v podobi nevzhajajočega božičnega mlaja med stoječim zadnjim ter prvim krajcem zagode pred peklenskimi vrati, dokler kot Svetovit v podobi nezahajajočega ščipa ne obide vseh štirih strani neba v obtečajni dolgi noči. Ko pa v podobi nezahajajočega kresnega sonca v obtečajnem dolgem dnevu zakroži še mati Jarovita, jo potegne nazaj Triglav v podobi nevzhajajočega kresnega ščipa med stoječim zadnjim ter prvim protikrajcem:22
Slovenska medobratno-obtečajna pesem je pri tem še v zanimivem motivnem razmerju s starogrško bajko Orfej in Evridika ter novomehiško pravljico Deklica in muren. Zaporedje starogrško-novomehiških motivemov je naslednje:23
21	Glej op. 15: 18.
22	Glej op. 7: 24.
23	A. Dandis: Strukturnaja tipologija indejskih skazok Severnoj Ameriki, v: Zarubežnye issledovanija po semiotike fol'klora. Zbornik statej, Moskva 1985, 188.
D
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Motivemi	Orfej in Evridika	Deklica in muren
Želja	Orfej si želi Evridiko iz hada	Deklica si želi murna s polja
Izpolnitev želje	Orfej pelje Evridiko domov	Deklica nese murna domov
Prepoved	Orfej se ne sme ozirati za Evridiko	Deklica ne sme gladiti murna
Prekršitev prepovedi	Orfej se ozre za Evridiko	Deklica gladi murna
Nasledek	Evridika umre	Muren umre
Ob enakem zaporedju motivemov ter poklicni primerljivosti med Orfejem in murnom je položaj enega in drugega ravno nasproten. Medtem ko je v starogrški bajki predmet Orfejeve želje Evridika, je v novomehiški pravljici predmet dekličine želje muren. V tem smislu je slovenska pesem Pogubljena mati bližja starogrški bajki.24 Novomehiški pravljici je že nekoliko bližja slovenska pesem Pogubljeni sin (SLP 41), ki se hkrati protistavlja slovenski pesmi Zveličani svetnik (SLP 119) takole:25
Vstani, vstani, jager mlad, Dans je nedelja kvaterna, Ljudje vsi k maši mi gredo, Pojdi še ti mi, jager mlad!" Jager pa le še terdo spi" Na svoji beli postljici. Šla klicat ga je drugič mat: "Vstani, vstani, jager mlad, Dans je nedelja kvaterna, Ljudje vsi k maši mi gredo, Pojdi še ti mi, jager mlad!" Jager pa le še terdo spi Na svoji beli postljici. Šla klicat ga je tretjič mat: "Vstani, vstani, jager mlad!" Hitro se bil napravil je V obleko svojo zeleno, Pojde na goro visoko,
Bo streljal divje jelene. Še se mi vzdigne ino gre, Kamor predaleč peršel je, Srečal ga je jelen strašan: Na herbtu mel je mašniplašč, Na čelu mel je kelih zlat. Hitro se je nazaj vernil, Hitro mi je domov peršel, Rekel je materi svoji: "Po spovednika pojte mi, Pojte mi beržpo mašnika, Po mašnika žegnanega!" Po mašnika je hitro šla, Al kadar je nazaj peršla, Dobila je že mertvega: Na njem sta bla dva černa psa, Po sred sta ga pretergala, Zavlekla sta ga dno pekla.
24	J. Strajnar: Mitološke prvine v slovenski ljudski pesmi, Traditiones 19, Ljubljana 1990, 196.
25	V. Nartnik: Še nekaj o zvezdnih imenih med Slovenci, v: Zbornik razprav iz slovanskega jezikoslovja. Tinetu Logarju ob sedemdesetletnici, Ljubljana 1989, 194.
71
Pogansko bogovje slovanskega vzhoda in zahoda v luči slovenskih ljudskih pesmi
Sveti Tomaž v logu leži, V logu leži, milo ječi. K njemu peršla volka sta dva, k njemu peršla volka siva. Hola, hola, volka siva, Kaj bi rada va od mene?" "Mi bi rada tvoje meso, Tvoje meso, tvoje kosti." "Čajta, čajta, volka siva, Da bode son zahajala. Te dobita moje meso, Moje meso, moje kosti."
Da bode son zahajala. Te dobita moje meso, Moje meso, moje oči."
Sveti Tomaž v logu leži, V logu leži, milo ječi. K njemu peršla golobca sta. "Hola, hola, golobca dva, Kaj bi rada va od mene?" "Mi bi rada tvoje telo, Tvoje telo, tvojo dušo." "Čajta, čajta, golobca dva, Da bode son zahajala." Son pa je že zahajala, Dobila sta njega telo, Nesla dušo v sveto nebo.
"Mi bi rada tvoje meso, Tvoje meso, tvoje oči."
"Čajta, čajta, vrana černa,
Sveti Tomaž v logu leži, V logu leži, milo ječi. K njemu peršla vrana sta dva, K njemu peršla vrana černa. "Hola, hola, vrana černa, Kaj bi rada va od mene?"
Prva pesem se namreč godi proti jutru, ko se lunin zadnji krajec prazni v mlaj, sklepno pogubljenje pa je ravno skladno z njegovo črno barvo, medtem ko se druga pesem godi proti večeru, ko se lunin prvi krajec polni v ščip, sklepno zveličanje pa je spet skladno z njegovo belo barvo. Tako sta nekdanji jari sin in sveti mož postala jager mlad in sveti Tomaž,26 nekdanjega pasje-ptičjega Semargla27 pa sta dopolnila po dva psa ali volkova ter vrana in goloba. Na poti od vzhodnega Semargla do zahodnega Triglava se za vezni člen potemtakem pomembno razkriva slovensko izročilo ljudskih pesmi.
26	V. Nartnik: Sveti Jurij in začetki glagolice, Riječ 1 (1995)/ 1-2, 28.
27	A. M. Kempinski: Slownik mitologii ludow indoeuropejskich, Poznan 1993, 380 in 381.
72
Vlado Nartnik
Pagan Deities of the Slavic East and West in Slovene Folk Songs
Vlado Nartnik
Pagan deitities of the Slavic East and West were outwardly extremely diverse. As a contrast to the double number of gods tied to different localities of the Slavic West, the six pagan gods of the Slavic East mentioned in the treatise formed a rather harmonized system. Since Slovenes had been christianized before any mention of either group of Slavic gods was recorded, the presence of their former pagan gods is reflected only in Slovene folk songs. Boy Florian for instance, in opposition to Faronika the fish, is linked with former boy Perun against Saint Velko or Valentine. While it is possible to confront Hrs and Semar-gel, who appear in Slovene songs as Saint George and Thomas, also with Jarovit and Sveto-vit of the West, the eastern opposites of Perun and Mokos again correspond to the song opposites of Saint Andrew against Saint Nicholas. The Slovene song heritage thus functions as a connecting link between the Slavic East and West.
73
C^OBeHCKHTe naHTeoHH bo ^hkobhhot Me^HyM:
Cfiapor
Hukoc Haycuduc
The article represents a segment of global research emanating from the visual images of the Slavic deities, mostly manifested on archaeological finds, in this particular case, early Slavic artefacts (the plates of a cult character, and the so-called radiate-headed fibulae) found in the Balkans. By analysis of the iconography and symbolical features of these finds, the author attempts to define a type of mythical picture of an "anthropomorphic firmament with the phases of a solar cycle". By its Slavic analogies, he follows this mythical picture through to the 19th century. Then, by use of iconographic analogy, and by comparison of visual images, attributes, and functions (the comparison is foremost made to the Iranian-Avesta god Zrvan), the author suggests that this image should be identified as a mythical picture of the Slavic god Svarog who is manifested as the anthropomorphic sky. Finally, the author connects his proposed hypothesis with the known written sources, toponyms and etymological definitions related to the theonym Svarog.
Bo aoceramHHTe HCTpaxyBaaa Ha cnoBeHcKHTe MHTonomro -penHracKH chctcmh HnH KOHKpeTHO Ha naHTeoHHTe, ^HKOBHHTe npeTCTaBH Ha CTOBeHcKHTe 6oxecTBa 6rne bo Mana Mepa KopHcTeHH KaKO 6a3HneH, noneTeH h aBTOHOMeH MaTepHjan, TyKy MHOry nonecro, caMo KaKO noTBpaa HnH HnycTpa^ja Ha pe3ynTaTHTe, ocTBapeHH Bp3 ocHOBa Ha HcTopHcKHTe, nHHrBHcTHHKHTe h eTHonomKHTe HcTpaxyBaaa.1
OBaa cTaTHja e KOHKpeTeH cerMeHT oa eaHO rno6aaHo HCTpaxyBaae Koe TprHyBa TOKMy oa nHKOBHHTe npeTcTaBH Ha cnoBeHcKHTe 6oroBH, H3o6pa3eHH Ha pa3HH npeaMeTH (npea ce apxeonomKH HaoaH) koh MoxaT aa ro HocaT enHTeTOT "cnoBeHcKH". ^o KapaKTepoT h 3HaneaeTO (onmTOTO, a no moxhoct h KOHKpeTHo) Ha npHKaxaHHTe nHKOBH, ce aoara HajnpBO npeKy MeToaHTe Ha cHM6onHHKaTa (cnopea apyra TepMHHonorHja ceMHOTHHKa) aHanraa Ha npHKaxaHHTe ^HrypH, a aypH noToa ce npaBH o6Ha, ao6HeHHTe pe3ynTaTH aa ce noBp3aT, npomHpaT, KOHKpeTH3HpaaT h npoBepaT no naT Ha hhbho conocraByBaae co cooaBeTHHTe hctophckh H3BopH, nHHrBHcTHHKHTe h eTHonomKH ^aKTH, KaKO h npeKy KOMnapHpaae co aHanorHHTe ^eHOMeHH oa apyrH KynTypH.2
Bo HamHTe aoceramHH HCTpaxyBaaa, bo HeKonKy HaBpaTH o6paTHBMe BHHMaHHe Ha eaHa cnenH^HHHa MHTcKa cnHKa, 3acTaneHa bo noBeKe apxeonomKH KOMnneKcH koh
1	Bo OBaa cMHcna aoHeKaae 6h rH H3aBOHne HCTpaxyBaK.aTa Ha PudaKOB (1981, 1987).
2	OBa npoyqyBaae ce HaaoBpsyBa Ha pesynTaTHTe oa HamHTe npeTxoaHH HcTpaxyBaK.a oa BaKOB KapaKTep (BHaH: HaycHanc 1994; TyKa BHaH h 3a MeToaHTe Ha cHMdonH^KaTa aHanH3a: cTp. 38-67.
75
CaoBeHCKHTe naHTeoHH bo shkobheot Me^HyM: CBapor
T. I
l.BeaeCTHHo, TecaaHja; 2, 3.HypHCTaH, HpaH.
HoCaT C^oBeHCKH oöeaexja. CTaHyBa 3Öop 3a cHMÖoaHHKa npeTCTaBa Ha HeöecHHoT cboa, noHCToBeTeH co noBe^Ko Top3o, co npHKaxaHH ^a3H o^ coaapHHoT uHKayc, Koja mTo, bo KoHTeKCT Ha HamaTa cHMÖoaHHKo-HKoHorpa^CKa aHaaraa ja H^eHTH^HKyBaBMe KaKo npeTCTaBa Ha caoBeHCKoTo HeöecKo öoxsctbo.3 Bo oBaa CTaTHja Ke Ce oÖH^eMe, oBaa npeTCTaBa ja noBp3eMe KoHKpeTHo co caoBeHcxnoT 6or CBapor.
3 fleTaaHo 3a oBa, BKay^HTenHo h 3a apryMeHTHTe bo npHaor Ha oBa TonKyBaK.e: HaycH^Hc 1994, 105-122.
76
Hukoc Haycuduc
AHa^H3a Ha ^hkobhhtc npeTCTara
KnyHHa npeTCTaBa 3a onpeaeayBaae Ha 3HanefteTO Ha oboj' HK0H0rpa^CKH -ran e MeTaaHaTa nao^Ka (BHCHHa 9 e;m) Koja ihto npHnaKa Ha eaHo aeno C0CTaBeH0 oa ymTe 20 c^hhhh nao^KH, npoHajaeHH bo TecaaHja (ceao BeaecTHHo) h aarapaHH bo VII b. (T.I-1; T.II-2; T.III-1).4 06aHKyBaHa e bo BHa Ha MamKa ^Hrypa co noayKpyxHo Top3o, HaMeTHaTo co nnamT - TyHHKa, Ha HBHUHTe aonoaHeTa co 4 po3eTH; Ha rpaaHTe ce HaoKa KpyxeH, a noa Hero aHčTecT cerMeHT. OHrypaTa e 6e3 pane, co y6aBo o6aHKyBaHa raaBa, co 6yjHa Koča, 6paaa h MycTaKH; aoay, oa o6aeKaTa ce cnymTaaT noTKoaeHHEHTe.
0a npeTCTaBeHaTa nao^Ka Moxar aa če H3BaenaT caeaHHTe THnoaomKH oaaHKH h 3Haneaa Ha npHKaxaHoTo 6oxecTBo:
-6or - noHCToBeTeH co He6oTo T.e. He6ecHHoT CBoa (HaH o6paTHo, aHTponoMop^H3HpaHo T.e. aeH^HnHpaHo He6o);
-bo pačKomHa o6aeKa Koja ito ja CHM6oaH3Hpa aHeBHaTa CBeTaHHa ito ro HcnoaHyBa He6oTo;
-co po3eTH Ha pa6oT oa o6aeKaTa ito rH npeTCTaByBaaT oaaeaHHTe $a3H oa ^HeBHoTo aBH^eaeTo Ha coHneTo no He6ecHHoT CBoa.
0a oBHe oaaHKH caeaaT h ocHoBHHTe ^yHKUHH Ha oBa 6oxecTBo: -noKpoBHTeacTBo Haa He6oTo KaKo npocTop T.e. KocMHHKa 3oHa, Ha coaapHHoT nHKayc h BepojaTHo Ha HeKoH apyrH nponecH ito Ha Hero če oaBHBaaT.5
Ha npeTCTaBaTa oa BeaecTHHo, cnopea CHTe oaaeaHH eaeMeHTH h če npH6aHxyBaaT neTHpH, pa3HH no xpoHoaorHja h KapaKTep aHKoBHH MaHH^ecTauHH Ha oboj' HKoHorpa^CKH THn:
a)	MoTHBHTe oa H3aoaxeHHoT aea Ha 5 caoBeHCKH (cnopea HeKoH aBTopH h KoHKpeTHo aHTCKH) aBonaonecra ^H6yaH oa hcthot nepHoa (T.II-3-6 /nocaeaHHoT, bo nap oa aBe eaHaKBH $H6yaH/; T.III-4,7). 3aeaHHHKH npra -nponopnHH Ha top3oto h Ha 6paaečTaTa raaBa; BHaTpemH pacnaeHyBaaa; -o6aHKoT, 6pojoT h pacnopeaoT Ha neraprne po3eTH. Pa3aHKH: -cxeMaTH3anHja h "pacTBopaae" Ha $HrypaTa, KaKo naoa Ha
CnenH^HHHHoT KapaKTep H ^yHKUHH Ha HaKHToT.6
6) Peaje^H oa aonHocpearoBeKoBHHTe Haarpo6HH cnoMeHHnH ("creKuH") oa noapanjeTo Ha HeKoramHa nempaaHa COP JyrocaaBHja (T.III-2,5,8,9). 3a pa3aHKa oa npeaxoaHHTe aHaaorHH, oBHe če 6aHCKH Ha nao^KaTa oa BeaecTHHo caMo Ha hhbo Ha ocHoBHHTe eaeMeHTH: nempaaHa (^poHTaaHa ^Hrypa, cxeMaTH3HpaHa Ha noHHaKoB HanHH, oboj naT co pane, 6e3 eaeMeHTH Ha aHneTo, oKpyxeHa co nerapH HaH aBa Kpyra HaH po3eTH. Ha eaHHoT npHMep (2), aoay noa Ho3eTe Ha $HrypaTa ctoh MeceneB cpn -aoKa3 3a aHeBHo-HoKHoTo 3Haneae Ha oBaa MHTCKa npeTCTaBa. Pa3aHKHTe bo KoMno3HnHjaTa, CTHaoT h aeTaaHTe če aoaxaT Ha xpoHoaomKaTa oaaaaeneHocT, h cneuH^HKHTe Ha TexHHKaTa (peaje^ bo KaMeH, HajBepojaTHo cnopea apBeHH npoToTHnoBH).
b)	Mothbh oa TeKCTHaHaTa opHaMeHTHKa (T.III-3,6,12,13), 3acera caMo oa noapanjeTo Ha HčTOHHHTe CaoBeHH (XIX noneTOK Ha XX BeK), co CHTe HaBeaeHH
4	Werner 1952, 3-8; TonKyBaK.e Ha oBHe HaoaH bo KoHTeKCT Ha caoBeHCKara naraHCKa peararaja h MHToaorHja: HayoHflHC 1992/93, (I) 141-166; (II) 159-178; HayoHflHC 1994, 120 h HaTaMy.
5	fleTaaHo 3a oboj HKoHorpa^CKH THn: HayoHaHC 1992/93, 141-166; 159-178; HayoHaHC 1994, 120 h HaraMy; bo KoHTeKCT Ha xtohckhot 6or: HayoHaHC 1997, 58-61.
6	3a MHTCKo-peaHrHCKHoT xopH3oHT bo oBHe $H6yaH h Hay^HHoT npHCTan koh hhb: HayoHaHC 1996/97; 3a npeTCTaBHTe Ha caoBeHCKHTe 6oroBH - onoHeHTH Ha hhb: HayoHaHC 1997, 62-64.
77
CaoBeHCKHTe naHTeoHH bo shkobheot Me^HyM: CBapor
T. II
1.nypncTaH, HpaH; 2.BenecTHH0, Tecannja; 3.^y60Ban, BojBonnHa; 4.Bena CpKBa, Bpman, BojBonnHa; .Mana Aanja; ó.^ex (Lezhe), AnöaHnja.
HKOHorpa^CKH eneMeHTH, ho caMO Ha hhbo Ha conpxHHaTa (He h ^opMaTa h cranoT) mTO ce nonxn Ha cnenn^n^HaTa crannaannja mT0 ja nnKTnpa TexHonornjaTa Ha TKaeae h Beaeae n, KaKO bo npeTxonHHOT cnynaj, BpeMeHCKnoT n KyrnypHO-reorpa^CKn pacnoH bo 0nH0C Ha BenecTHHCKaTa napannma.7
floTyKa HpeTCTaBeHnoT MaTepnjan hh 0B0aM0xn onmTa nnernn^nKannja Ha aHaneaeTO Ha OBaa MnTCKa cnnKa, noTBpnyBaae Ha n0mnp0KH0T cnoBeHCKH KapaKTep n
7 3a nocnenHHTe nBe KaTeropnn npenMeTn: Haycnnnc 1994, 120-122. Mothbot ce cnenn n Ha cpenH0BeK0BHH0T HaKHT n rpa^HTHTe (Bnnn: T. 111-10,11).
78
Hukoc Haycuduc
Hej3HH0 Hane^HO noBp3yBaae co cooapeTHHTe caoBeHcKH TeoHHMH (mTO hm npHnaKaae Ha He6ecHH h bpxobhh Boxecraa, KaKo mTo e BHa, CBapor h Poa), ho 6e3 apryMeHTH 3a 6Hao KaKBa KoHKpeTHa peaanHj'a.
EflHa TaKBa moxhoct, HeoneKyBaHo ce nojaBH Kora HamHoT THn, h oco6eHo BeaecTHHcKaTa nao^Ka, ra cnopeaHBMe co, He oco6eHo 6aHcKara no xpoHoaoraja h KyarypHa npHna^HocT aHaaoraja: nempaaHaTa ^Hrypa oa eaHa cpe6peHa nao^Ka oa no3HaTHoT KoMnaeKc Ha aypHcTaHcKHTe MeTaaHH npeaMeTH, aarapaHa bo VIII b. n.H.e. (T.I-2,3).8
Co oraea Ha xpoHoaomKaTa pa3aHKa oa oKoay 1400 roaHHH, SaHcKocra Ha oBHe npeTcTaBH ce noKaxyBa KaKo H3HeHaaypanKa (cnopeaH: T.I-1 co 2): - HaeHTHHHa KoMno3HnHj'a T.e. ra6apHT; -HaeHTHHHo o6pa6oTeHa raaBa, co roaeM KpyxeH nepen, xopH3oHTaaHa HBHua Ha ^praypaTa h naTen Ha cpea^eao; -cTporo aHne co npaBHaHH npTH, co caHHHH MycTaKH h BepTHKaaHH aoKHH Ha 6paaaTa; -sBoHoBHaHo Top3o T.e. o6aeKa - naamT, opHaMeHTHpaHH h co nempaaeH KpyxeH mothb Ha rpaaHTe.
Ce nojaByBaaT h oapeaeH pa3aHKH: -Ha aypHcTaHcKaTa nao^Ka, bo Meaa^oHoT e npHKaxaHo MamKo aHne Koe Ha BeaecTHHcKaTa HaH ro HeMa HaH He e KoHcTarapaHo;9 -Ha Hea, bo KoHTeKcT Ha aypHcTaHcKaTa aHaaoraja MoxaT aa ce npeno3HaaT h BeKe coceM opHaMeHTHpaHHTe KpHaa; - 3a pa3aHKa oa TecaaHcKaTa ^Hrypa, aypHcTaHcKaTa ro HeMa aHcTecTHoT cerMeHT h Ho3eTe (coceM noKpHeHH oa aoarara TyHHKa); BeaecTHHcKaTa naK, rH HeMa aBeTe cHMexpHHHH noBe^KH 6hcth koh H3BHpaaT oa paMeaara Ha npBara (T.I-3). CMeTaMe aeKa oBHe ape 6hcth (raeaaHo oa aHKoBeHo -KoMno3HUHcKH acneKT) He ce opraHcKH noBp3aHH co ocHoBHaTa ^Hrypa, mTo ynaryBa Ha Toa aeKa He er3Hcrapaae (T.e. He ce pa3BHBaae) co oBoj HKoHorpa^cKH THn, TyKy ce npoH3Boa Ha ceKyHaapHa HHTepnoaa^ja.10
PeaanHHTe co BeaecTHHcKaTa nao^Ka h BoonmTo co HKoHorpa^cKHoT THn mTo ro ae^HHHpaBMe, ce ymTe noHHTepecHH Ha hhbo Ha npeaao3HTe 3a HaeHTH^HKauHja Ha aypHcTaHcKaTa ^Hrypa, oaHocHo Hej3HHoTo noBp3yBaae co HpaHcKaTa T.e. aBecTHHcKaTa MHToaorHja. KaKo HajcooapeTHa ce noKaxyBa Hej3HHaTa HaeHTH^HKauHja co 3'pBaH (3epBaH, 3ypBaH) - 6oroT Ha BpeMeTo, HaH ^kthhkh, caMHoT HHKapHanHja nepcoHH^HKanHj'a Ha "BenHoro BpeMe" T.e. Ha "6ecKoHeHHoTo" HaH Ha "noneTHoTo BpeMe" (BpeMe Ha eM6pHoHaaHaTa er3HcreHnHja Ha cBeToT).11 Oa pa3HHTe enHTeTH h ^yhkuhh Ha oBoj 6or, aHjaxpoHo pacnopeaeHH bo TeKoT Ha HeroBaTa pe^HcH apeHajaaHa er3HcTeHnHja, ocBeH cnoMHaTaTa, ce H3aBojyBaaT h caeaHHTe: -Toj e aHaporHHo Boxectbo; -ro npeaoapeaypa ceTo mTo ce oaBHBa Ha oBoj cBeT, BKaynHTeaHo h noBeKoBHoT xhbot; -rH co3aaBa (nopaKa) 6oroBHTe - HHKapHanHja e Ha aBeTe eTHHKH Haneaa (ao6poTo h 3aoTo); -caMHoT ^HrypHpa Haa oBHe eranKH KaTeropHH; -cTaHyBa BpxoBeH 6or Ha peaHrHo3HoTo aBHxeae (no Hero HapeneHo 3'pBaHH3aM) Koe My 6Hao cnpoTHBcTaBeHo Ha Ma3aaH3MoT.12
YmTe eaHo H3HeHaayBaae npeaH3BHKyBa ^aKTOT mTo oBHe aBecTHHcKH enHTeTH Ha 3'pBaH, MHory noao6po KopecnoHaHpaaT ToKMy co HeKoH aeTaaH oa BeaecTHHcKHoT
8	npeflMeTOT ce qyBa bo MyaejoT bo CHHCHHaTH - CAfl ( flaH^aMaeB, HyKOHHH 1980, 68); $0T0rpa$Hja: He^ Larousse 1968, 323.
9	Co orae^ Ha HecoBpmeHaTa $0T0rpa$Hja cnope^ Koja pa6oTeBMe, TaKBaTa moxhoct He e HCK^yqeHa. fla noTceTHMe Ha neTTOTO nH^ Ha nopeHyT, n0CTaBeH0 Ha rpa^HTe (bh^h: HBaHOB, TonopoB 1965, 40,45,48).
10	Co OBa He th HerHpaMe, TyKy KaKO eneMeHTH Ha flpyra BapHjaHTa o^ hcthob HK0H0rpa$cKH THn, th ocTaBaMe 3a e^HO 3ace6H0 HcTpaxyBaae.
11	H^eHTH^HKa^ja Ha R. Ghirshman (L'Iran des origines à l' Islam, Paris, 1976, 100-101, t. III, IV /2/ ) - UHTHpaHO cnope^: flaH^aMaeB, HyKOHHH 1980, 68.
12	flaH^aMaeB HyKOHHH 1980, 66-68, 310; IpaHTOBcKHH 1980; EpaH^T 1989, 3a onmraTa cTapoHpaHcKa penHracKa KOHcTena^ja: 410-471, 3a 3'pBaHH3M0T: 414, 467.
79
C^OBeHCKHTe naHTeGHH bg ïïhkgbhhox MeflHyM: CBapor
npHMepoK KOH Ofl CBoja CTpaHa, OTcycTByBaaT Ha ^ypHCTaHCKHOT. Cktohh CMe OBa fla ro npoTO^KyBaMe KaKO noBHCOK CTeneH Ha h3bophoct Ha npBaTa, bo OflHOC Ha npeflnoxeHaTa HHflOHpaHCKa h^h HHfloeBponcKa napaflHrMa, npojaBeHa npeKy ABecTaTa. CTaHyBa 360p 3a c^eflHHTe e^eMeHTH (cnopeflyBaj co T. H - 1):
-po3eTHTe Ha (HrypaTa Ofl Be^ecTHHO, BeKe nopaHO (He3aBHCH0 Ofl OBoj (axr) HfleHTH(HKyBaHH KaKO (a3H Ofl co^apHHOT nHK^yc,13 coBpmeHO cooTBeTCTByBaaT Ha enHTeTOT Ha 3'pBaH, KaKO "He6ecK0 60xecTB0 h nepcoHH^HKanHja Ha BeHHOTO 6ecK0HeHH0 BpeMe";
-^HCTecTHOT MOTHB bo npefle^OT Ha reHHTMHHTe h HeroBaTa pe^anHja co o6^hkot Ha OTBopeHa Byma (Ha mTO hcto TaKa yKaxaBMe nopaHo)14, co oraefl Ha H3pa3HT0 MamKHOT jiHK Ha 60xecTB0T0, ce jaByBa KaKO HecoMHeH aTpH6yT Ha HeroBaTa flBono^OBOCT
-aHflpOrHHOCT.
^OKO^Ky HflHHTe oncepBaqHH Ke noKaxar fleKa h Ha MeflMHOHOT Ha TecmHCKHOT npHMepoK e npeTCTaBeH HOBeHKH jihk, Toj mothb 6h M0xe.n fla ce n0Bp3e co ymxe eflHa (yHKqHja Ha OBa 60xecTB0 - paKaaexo Ha eflHHOT Ofl 3'pBaHOBHxe chhobh (AxpHMaH h^h OpMy3fl) Ofl yTpo6aTa Ha 60xecTB0T0, npeKy otbop Ha HeroBOTO Te^o (Ha rpaflHTe h^h CTOMaKOT).
Pe^auHH Ha hhbo Ha TeoHHMHTe
He caMO cnHKaTa TyKy h HMeTO Ha OBoj aBecTHjcKO - HpaHCKH 6or Moxe fla ce nocTaBH bo pe^anHja co HeKoj Ofl raobehckhte 6oroBH. HeKO^Ky (aKTH oflaT bo nprnor Ha BpcKaTa mTO HH ce HaMeTHa ymTe npH HK0H0rpa(cKaTa aHMH3a: 3'pBaH CBapor.15
Ako ce 3eMe npeflBHfl fleKa c^0r006pa30BHH0T KapaKTep Ha "p" bo HMeTO Ha 3'pBaH, coHHHyBa KOHCOHaTCKaTa rpyna Koja, nopaflH TemKHOT H3r0B0p npeflH3BHKyBa MeTaTe3H, moxho e xHn0TeTHHH0T0 *3b'p - aH; *3Bap - aH, mTO e Ha HeKop Ofl CBap - or Koj, MeKy flpyroTO, bo H3B0pHTe ce cpeTHyBa h KaKO CoBapor h 3Bapor. Pa3^HKHTe bo cy(HKC0T flOHeKafle rH pe^aTHBH3Hpa 6mtckhot TeoHHM MeopyHa,16 h roTCKOTO snjaran,17 koh 6h Moxeœ fla HHflHnHpaaT Ha xHnoTeTHHHHTe *3BapyH, *3BapeH, *3BapaH, (T.e. *CBapyH, *CBapeH, *CBapaH), mTO 6h npeTCTaByBMe Kope^aT Ha CBapor h 3'pBaH.
npeTCTaBeHHTe HK0H0rpa(cKH h (oHeTCKH pe^anHH flo6HBaaT noTBpfla h Ha ceMaHTHHKO - eTHMO^orHCKO hhbo. KopeHOT Ha TeoHHMOT CBapor ce CBeflyBa Ha "svar" h^h "svarg" h bo pe^anHja co HHflo-HpaHCKH napa^e^H ce TO^KyBa KaKO He6o, CBexno T.e. cjajHO He6o, He6ecKa CBexnHHa, coHne.18 Bo npmor Ha OBa OflH raocata svor (bo fle^OTO "Mater verborum"), bo 3Haneae Ha zodiacus, mTO bo OBoj C^ynaj 6h Moxe^o fla 3HaHH: -He6o bo flBHxeae h^h, bo noTecHaTa CMHC^a Ha 36opoT, "compeH Kpyr" ("cyHnonac"), "coHHeBa naTeKa", naT no Koj ce flBHXH coHneTO,19 mTO e bo coraacHOCT co flo6HeHHTe HK0H0rpa(cKH TO^KyBaaa ("6or-He6o" no Koj ce flBHXH coHneTo).
13	Mayenne 1994, 120.
14	HaycHflHC 1997, 64 - (yc HGxa 24.
15	3a npBHxe npexnocxaBKH GKGay BpGKaxa Ha npHKaxaHHxe caGBeHGKH mhtckh npeTGxaBH gg CBapor: MayGHflHG 1992/93, (H), 144.
16	3a XBopyHa: HBaHOB, TonopGB 1980, 155. HHflHKaxHBHG e mxG HMexG Ha OBaa, HHaKy HejacHa no KapaKxep 6ox^a, Ge nojaByBa bg KGHxeKGx Ha KGBaK.exG Ha GGHuexG - (yHKanja GGGflBexHa Ha CBapor (bhäh: Mansikka 1922, 69-70).
17	Co noHHaKBO 3HaqeK.e (Skok 1974).
18	OacMep 1967; Ježic 1987, 35; Maurhofer 1974, bhäh: svargah, svarnarah.
19	OBa 3HaqeK.e ro aKxya^H3Hpaa ymxe A(aHacbeB (1865, 129, 130).
80
Hukoc Haycuduc
T. III
l.BenecTHHo, Tecaraja; 2.CTyna, HeyM, BocaHcKo npHMOpje; 3.Pycnja; 4.^y6oBa^ BojBO^HHa; 5.rop&H CTy^eH^, ^yöymKH, Xep^roBHHa; 6.Pycnja;	(Lezhe), AnöaHHja; 8.KnamHHK, Bnmerpa^, BocHa;
9.Ce^HHe, Hmotckh, ^mMa^ja; IO.Kocobo MeTOxnja; llXopHH Ko3jaK, fflran, MaKe^OHHja; 12, 13. Pycnja.
81
CaoBeHCKHTe naHTeoHH bo shkobheot Me^HyM: CBapor
HCTOPHCKH H30OPH
Bo npHaor Ha oBaa peaaiHja roBopaT h ^yHKiHHTe Ha CBapor, coapxaHH bo HCTopHCKHTe H3BopH. Ho HHBHaTa caoxeHocT h aypH npo6aeMaTHHHocT, HaaaraaT, ao oBHe ^yHKUHH aa ce aojae npeKy caoxeHa aHaaraa Ha HHBHaTa coapxHHa, npocaeaeHa co nocTojaHH cnopeayBaaa co apyra cooaBeTHH ^aKTH, mTo Ke 6nae HanpaBeHo bo 3aBpmHHTe nacycH Ha oBoj Tpya.
HajnpBo Ke ra HaBeaeMe KaynHHTe ^paraeHTH:
CaoBeHcKH npeBoa Ha xpoHHKaTa Ha JoBaH Maaaaa (XII BeK); HnaTjeBcKa aeronnc (1114 roa.):
"nona ufcapbcTBoBaTH (...) no HeMb OeocTa, nxe h CBapora (bo opHrHHaa: CoBapora, 3Bapora) HapeKoma ErynbTaHe. (...) Bt BpeMa ufcapbcTBa ero, ctnaaoma Kaf3f ct He6ece, h Hana KoBaTH opyxHe, npexe 6o Toro naaHiaMH h KaMeHHeMb 6HBaxyca. Ttxe Oeocra 3aKoHt ycTaBH xeHaMt 3a eaHHt Myxb nocaraTH h xoaHTH roBfró^H (Bo3apxaHo) (...) h ycTaBH eaHHoMy Myxró eaHHy xeHy HMfTH h xeHf 3a eaHHt Myxb nocaraTH; a^e aH KtTo nepecTynHTb, aa BtBbpryTb h Bt ne^b orHbHy. Cero paaH npo3tBama h CBaportMb, h 6aaxHma h ErynbTaHe. H no ceMb ifcapbcTBoBa cHHt ero, HMeHbMb CtaHbie, eroxe HapmróTb ,D,axb6orb ... CtaHbie ifcapb, cHHb CBaporoBt, exe ecTb ,D,axb6orb, 6f Myxb cHabHt; (...) He xoTa oTbia cBoero 3aKoHa pacnnaTH, CBapoxa. ... "20
HeKoaKy apyrH H3BopH roBopaT 3a CBapor nocpeaHo, npeKy HeroBaTa peaaiHja co CBapoxHH (naTpoHHM oa CBapor). Cnopea hhb naraHHTe "orHeBH MoaaTb xe ca 3oByie ero cBapoxHneM".21
EaeH aoiHexeH H3Bop Koj oneBHaro ce noBHKyBa Ha nocTapH H3BecryBaaa, eKcnaHiHTHo ro anocTpo^Hpa oHa Ha mTo HMnaHiHTHo yKaxyBaaT npeTxoaHHTe TeKcTOBH. TaMy, MeKy apyroTo, ce roBopH KaKo npocBeTeHHoT xpHcTHjaHHH KHHaMoH (bo IX BeK) ro y6eay®aa 6yrapcKHoT naraHcKH KHe3 BojaH aeKa "oroHb TaKxe TBopeHHe Boxne, a He Borb cBaporb".22
TyKa Tpe6a aa ce cnoMHe h HaTnHcoT "CBAPOK" BpexaH Ha aHoTo oa cpeaHoBeKoBeH KepaMHHKH caa oa XIII-XIV b., oTKpHeH Ha aoKaaHTeToT "D,apeBei", BeaHKo Tphobo bo ByrapHja. Toj ro aoKaxyBa npHcycTBoTo Ha oBoj TeoHHM Ha BaaKaHoT, aypH h aKo bo KoHKpeTHHoT caynaj Moxea aa ro o3HanyBa caMo aHHHoTo HMe Ha concTBeHHKoT Ha caaoT.23
TonOHHMH
TonoHHMHTe mTo ro coapxaT bo ce6e HMeTo Ha CBapor, 6apeM bo ceramHHoT cTeneH Ha HcTpaxeHocT (bo KoHTeKcT Ha KapaKTepoT Ha MecTaTa Ha koh ce oaHecyBaaT), aaBaaT
20	^HTaTH h TonKyBaK.a: Mansikka 1922, 66,68; HBaHoB, TonopoB 1995, 348, 349; Pbi6aKoB 1981, 9, 10.
21	"CaoBo HeKoero xpHcTonró6ia"; "CaoBo o tom KaK noraHH cy^ea aabi^H KaaHaaaHca HaoaoMt"(cnopea: HBaHoB, TonopoB 1965, 17; apyrH BapHjaHTH: HHeaepae 1916, 106. CBapoxm (Zuarsis, bh^h: Niederle 1916, 106-107) e npHcyTeH h bo H3BopHTe mTo ce oaHecyBaaT Ha 6aaTHcKHTe caoBeHH bo PeTpa, ho bo hhb, KocMoaomKHTe (ce ^hhh raaBHo coaapHH) ^yHKiHH Ha 6oroT ce bo ceHKa Ha BoeHo onmTecTBeHHTe.
22	OHaapeT 1894, 70 (Moxe6H H3BopHo: " Bora cBapora" ?).
23	reoprHeBa 1974, 11, 12, 53: o6p. 41/2, 56; o6p. 41; TeoprHeBa 1986.
82
Hukoc Haycuduc
caMO eneH 3aKnynoK, 3a HeKoramHaTa pacnp0CTpaHeT0CT Ha oboj' tcohhm, a OTTyKa h Ha caMOTO 6oxecTBo h HeroBHoT Kynr hh3 cnoBeHcKaTa eKyMeHa. th HaBenyBaMe cnenHHTe: ceno CaBapKa Ha peKaTa Pocb (no npenaHHja CaBapa); rpanHmTe CaBapKa (neHec ceno CBapoMbe) 6nH3y KHeB;24 CBapyxeBo, CBapbix (ncKoBcKa ry6epHHja); Snjaruczen Snjarzevo, Snjarunie, Snjarocin, Snjarzadz, Svarov (noncKa); Svarozeno (Kamy6cKa 3eMja); Znjartonj, Znjartovek, Snjarzenjo, Snjariseno;25 Tnjarog, Tnjarozna gora, Snjarozuno siodlo (noBTopHo Ha Kamy6cKo nonpanje).26
TonoHHMH Ha CBapor ce eBHneHTHpaHH h Ha EanKaHoT (CBapor - Ha3HB Ha Bo3BHmeHo MecTo Kpaj cencKaTa peKa no c. PaKHTa, Epe3HHmKo;27"CBaporoBo MecTo" / co na6/ 6nH3y Co^Hja,28mTo roBopH 3a npHcycTBoTo Ha oboj TeoHHM h bo jyxHocnoBeHcKHTe TpanHnHH. Co ornen Ha Toa mTo noBeKeTo on o6pa6oTeHHTe mhtckh cnHKH noTeKHyBaaT on EanKaHoT, HeonxonHo e, bo npHnor Ha oBa, na ce HaBenaT h npyrH ^aKTH. OcBeH BeKe cnoMHaTHoT HaTnHc Ha canoT on "CapeBen" h (^parMemOT on xHTHeTo Ha EojaH, TyKa ycnoBHo 6h ce onHecyBan h nacycoT 3a CBapor on cnoBeHcKHoT npeBon Ha XopHHaKaTa Ha JoBaH Manana. HMeHo, nocTojaT npeTnocTaBKH neKa cnoBeHcKHTe TeoHHMH h onpeneHH í^kth noBp3aHH co hhb, He nocneane bo oboj' TeKcT npeKy HeroBaTa pycKa pena^Hja (on XII-XIII BeK), TyKy nocToene ymTe bo npBHoT npeBon, co3naneH bo X. BeK bo jyxHocnoBeHcKHoT apean.29
PeKOHCTpyKHHja Ha KapaKTepoT h ^yHKHHHTe Ha CBapor
(Bp3 ocHoBa Ha KoMnapanHH Ha ^aKTHTe on HKoHorpa^cKaTa aHanH3a, 3HaneaeTo Ha
TeoHHMoT h aHanH3aTa Ha HcTopHcKHTe h3boph)
Bo Hajo6eMHHoT, norope HaBeneH nHcMeH H3Bop 3a CBapor, oboj' 6or (KaKo hh ^ax6or) He e ocHoBHa nen Ha HcKa3oT, TyKy cpeTcTBo npeKy Koe, enHo ereoTHHHo no KynTypa h BpeMe aHTHHKo cHxe, (enHam BeKe peHHTepnpeTHpaHo bo xpHcTHjaHcKH KoHTeKcT), Tpe6ano na 6Hne no6nHxeHo no HHTaTenoT koj' npHnaran Ha enHa cpenHoBeKoBHa cnoBeHcKa KynTypa. OTTyKa, bo onHoc Ha HaynHaTa ynoTpe6nHBocT Ha oboj' H3Bop ce nocTaByBa aKo KnynHo npamaaeTo, no koj' cTeneH h bo koh KoHKpeTHH eneMeHTH, cnoBeHcKHTe 6otobh on npeBonoT ce coBnarane co aHTHHKHTe napanHrMH on opHrHHanoT, a bo koh He. CMeTaMe neKa nocera npHMeHyBaHHoT npHHnHn Ha "npH^aKaae caMo Ha pa3nHHHoTo" e onBeKe pecTpHKTHBeH, 6HnejKH ro HcKnynyBa cnoBeHcKHoT KapaKTep Ha cHTe ^aKTH on npeBonoT mTo ce npHcyTHH h bo opHrHHanoT. Co Toa ce nerpanHpaaT oHHe oco6eHocTH mTo eBeHTyanHo 6h 6Hne 3aenHHHKH 3a Oeocr T.e. Xe^ecr on xpoHHKaTa h 3a CBapor, a koh BcymHocT h ro HaBene cnoBeHcKHoT npeBenyBan na ro 3eMe btophot KaKo aHanoroH Ha npBHoT. EHnejKH TaKBoTo neTanHo oneHyBaae Ha (^aKTHTe He ro oBo3MoxyBa caMHoT TeKcT, HHTy 6Hno koh npyrH H3BopH, ce pemHBMe na ro H3BeneMe
24	EopoBCKHÉ 1982, 13 (Ha nocne^HOTO MecTo ce npeTnocTaByBa cBeraramTe Ha CBapor). Moxho e HeKOH oä OBHe h Hape^HHTpe toüohhmh Äa He ÖHne ÄHpeKTHo noBpaaHH co CBapor, TyKy co BeKe HaBe^eHHTe cpo^HH ara coceM ÄpyrH 3Haqen.a Ha KopeHoT "cBap" (3a oBHe 3HaqeK.a: Skok 1974.
25	Cnope^ Niederle 1916, 106 (yc HoTa 3.
26	HBaHoB, TonopoB 1965, 141. TyKa Tpe6a Äa ce cnoMHe h qemcKaTa nepcoHaraja Svar (XII BeK) Koja bo aHaioraa (opMa, bo XIII BeK ce jaByBa h bo ÄoKyMeHTHTe oä üoMepaHHja (Niederle 1916, 108, 109, (yc HoTa 4).
27	TepacHMoB 1960, 557 (yc HoTa 3.
28	BtxapoBa 1986.
29	Niederle 1916, 105-107.
83
CnoBeHcKHTe naHTeoHH bo nHKOBHHOT MeflHyM: CBapor
Ha HHTepflHcnmnnHHapHO hhbo, cnopeflyBajKH rm eneMeHTHTe Ofl coflpxHHaTa Ha TeKcTOT co aHanorHH (aKTH Ofl flpyrm c(epm Ha TpaflmnmoHanHaTa KynTypa Ha CnoBeHHTe. OBa ro npmMeHyBaMe cBecHH fleKa BaKBHOT npmcTan He oöe3öeflyBa anconyTHa noTBpfla Ha (aKTHTe Ofl TeKcTOT, TyKy npeTcTaByBa npmnor bo flonrmoT nponec Ha floönmxyBaae flO BHcTHHcKHTe pemeHHja.
Xe0nx0flH0 öeme, Ha noneTOKOT, Ofl OBoj h ocTaHaTHTe H3B0pm fla ce H3flB0jaT h rpynmpaaT cmTe noTeHnmjanHH OflHocm, KapaKTepm h (yHKnHH, cTaBeHH nofl HMeTO Ha OeocT T.e. CBapor, nmj öpoj ce noKaxa He TaKa Man:30
1.	Cap - Bnaflee Hafl HeKaKBa TepmTopmja co rnoöaneH KapaKTep (cBeTOT - BceneHaTa - noBemTOBOTo) bo OflpefleH (no paH) nepmofl
2.	Penpe3eHT Ha flaMHemHH BpeMmaa (no nHHmja HapeTxoflHaTa (yHKamja)31
3.	noKopoBHTencTBO Hafl peflOT - nopeflOKOT, npeKy:
a)	BocTaHOByBaae Ha 3aK0H0T 3a MOHoraMmja
ö)Ka3HyBaae Ha npeKpmmTenmTe Ha Toj 3aK0H
b)	ypeflyBaae, fleneae, opraHH3Hpaae Ha cBeTOT (cyflejKm cnopefl nmKOBHHTe npeTcTaBH)32
4.0yHKamja Ha poflHTen (TaTKo)
a)	eKcnnmnHTHO Ha öoroT no HMe "CoHne" HapeKyBaH ^axöor
ö) Ha orHOT T.e. öoroT CBapoxmn (HMnnmnmrao npeKy hcthot KopeH Ha oöeTe HMHfta, KaKO h KOHKpeTHaTa naTpoHHMcKa (opMa Ha CBapor (bo 3Haneae Ha "noTeKHaT Ofl CBapor", "chh Ha CBapor", "npmnaflHocT Ha CBapor")
b)	Ofl OBHe e MoxHa h reHepanraanmja: -(yHKqmjaTa TaTKO Ha ymTe HeKOH mnm Ha cmTe flpyrm öoroBH33
5. BpcKa co (noKpoBHTencTBO Hafl) ceMejcTBOTO (Moxeöm nocpeflHO h co nnoflHocTa Ha nyreTo),34 npeKy:
30	Ce pemHBMe fla He rn aHynnpaMe hh OHHe 3a koh bo HayKaTa nocTOH HaneneH (ho HeapryMeHTHpaH) cTaB fleKa He Moxene fla My npnnaraaT Ha CBapor.
31	Bo nemcKHOT h cnoBanKHOT ja3HK nocTOH rnoca praboh, prabuh (npaöor) Koja Moxe fla öHfle Oflpaa Ha OBaa (yHKCHja (BHflH Hexe 1984, 55; A(aHacbeB 1865, 133).
32	Cnopefl MnponroöoB (1981, 213), bo MpbeBKa, Hafl HKOHHTe ce oöecyBano KpcTne co noBeKe KpacH, HapeKyBaHO "3B0pxHM " HnH "3BopoxHM" (cnopeflH co CBapor, 3Bapor). Koe HMano oönHK Ha KpcT flypn h aKO ce rneflano OTcTpaHa. Ce BepyBano fleKa Toa ja flenn 3eMjaTa Ha nerapn flena (3a KpcTOT h bpxobhhot öor: Haycnflnc 1994, 471-473).
33	Bo npnnor Ha nocToeaeTO TaKOB oflHoc Mery bpxobhhot h OcTaHaTHTe öoroBH Ofl cnoBeHcKHTe naHTeoHH, roBopaT h flpyrH H3B0pH: -cnopefl XenMonfl (can. 84 c. 160), OöoflpHTHTe BepyBaaT fleKa nocTOH Ha Heö0T0 efleH BpxoBeH öor "... a flpyrmre öoroBH ... noTeKHyBaaT Ofl HeroBaTa KpB ..."; roBopejKm 3a PycHTe h ByrapHTe Ha Bonra, HöH-OaflnaH (99/210 ö) ro cnoMHyBa rnaBHOTO öoxecTBO ("HamHOT rocnofl") nnj Hflon, bo cBeTHnHmTeTO ce H3flnran Hafl noManHTe (nrypn mTO ro OKpyxyBane h rH npHKaxyBane "... xeHHTe Ha HamHOT rocnofl, KepKHTe HeroBH h cHHOBHTe HeroBH" (KoBaneBcKHH 1956, 142, 143). A(aHacbeB (1865, 133) bo BpcKa co bpxobhhot öor ro aKTyanH3Hpa TepMHHOT "npmöorm", bo 3Haneae Ha öoroBH, noMnaflH HnH npoH3ne3eHH Ofl Hero.
34	OBaa (yHKamja Moxena fla ömfle OBonnoTeHa npeKy 3aceöHa xmnocrarn Ha bpxobhhot öor, MaHn(ecrapaHa npeKy noceöeH TeoHHM (Pofl) h MHTcKa cnHKa (aHTponoMop(H3HpaH (anyc). 3a OBa BHflm: PHöaKOB 1981, 438-470; Haycmflmc 1994, 341-365, 446-453.
84
Hukoc Haycuduc
a)	BOCTaHOByBafte Ha 3aK0H0T 3a MoHoraMHja
6) Ka3HyBaHe Ha HpeKpmHTeAHTe
b)	^yHKnnjaTa poAHTeA - TaTKO (eKcn^nnHTHO Ha ,D,ax6or h hmhahuhtho Ha CBapo^H^)
6.	BpcKa co 0rH0T, HpeKy:
a)	Ka3HyBaaeT0 Ha HpoMHCKyHTeTHHTe bo "oraeHH He^KH"
6) flo6HBaae Ha HMeTo CBapor bo KoHTeKCT Ha CHoMHaTaTa Ka3Ha (oraH - HenKa -ropeae)35
b)	HocpeflHo, HpeKy BpcKHTe co MeTmyprajaTa36
r) HpeKy orHoT Koj AyfeT0 ro HapeKyBaaT CBapo^HH - $opMa Koja HHAHUHpa Ha BpcKaTa TaTKo CBapor - chh CBapoxnn37
a) HocpeflHo HpeKy (^HKaHjara TaTKo Ha coh^to - ,D,ax:6or (hmhahuhtho: coHneTo KaKo aHa^oroH Ha orHoT)
7.	BpcKa co MeTa^yprHjaTa:
а)	bo BpeMe Ha B^aaeeaeTo Ha 6oroT, oa He6o HafaaT (HMHAHUHpa: Toj rH ^p^a) KnemTH co H0M0m Ha koh AyfeT0 K0BaaT opyxje (Koe HopaHo 6hao ApBeHo h KaMeHo)
б)	co3AaBaae (HMHAHUHpa K0Baae ?) Ha coHneTo38
B) H0cpeAH0, B0 pe^anHja co ^yHKUHHTe H0Bp3aHH co 0rH0T
8.	BpcKa co coHneTo HpeKy:
a)	^yHKqHj'aTa TaTKo Ha CoHneTo HapeneHo ^ax6or, eKcHAHUHTHo HaBeAeH KaKo HeroB chh39
6) $yHK^jaTa TBopen Ha coHneTo40
b)	HpHcycTB0T0 Ha c0HEPT0 (MyATHHAHUHpaH0) bo HaBeAeHHTe mhtckh cahkh
35	Bo HpHaor Ha 0Ba 0AaT: -caoBeHcKaTa H03ajMH^ sfarog bo pyMyHcKH0T, co KapaKTep Ha HpHAaBKa, bo 3HaieK.e Ha "cyB", "H3ropeH" (Skok 1974); Rarog - orHeH Ayx oa lemcKHTe, caoBa^KHTe h yKpaHHcKHTe 6aeK.a, cHopeA HBaHoB, ToHopoB (1965, 141) BepojaTHo bo BpcKa co CBapor, (bhah ja ^opMaTa Svarovšek: cTp. 61).
36	Bo HeKoH caoBeHcKH ja3HCH"cBap", e BK^yqeH bo hohmh H0Bp3aHH co MeTaayprHjaTa (Ha HpHMep:"cBapKa" = K0BaK.e, cHojyBaK.e), ho H3raeAa bo HomHpoK KoHTeKcT Ha "TepMH^Ka o6pa6oTKa" Koja BK^yqyBa h roTBeK.e (Baperae).
37	Bo jyxHocnoBeHcKHTe HecHH (bo KoHTeKcT Ha o6peAHTe 0K0ay HaaeK.eT0 Ha cBeTHoT oraH), eKcmH^THo ce HojaByBa oahocot "EaAK.aK = cTap 6or / Eoxhk = MaaA 6or", Koj A03BoayBa peaacHja "EaAK.aK = CBapor = cTap 6or / Eojkhk = CBapoxHq (h flax6or ?) = MaaA 6or (HBaHoB, ToHopoB 1965, 133, 134). CBojcTBoTo "CBapor - cTap 6or" oah h bo HpHaor Ha $yHKCHjaTa 1 h 2 oa HamaTa aHcTa.
38	3a KoBaaeTo Ha coh^to bhah $yc H0Ta 16.
39	CHopeA eAHa HpHKa3Ha oa MaiBa (3aHaAHa Cp6Hja) "Eho fla6or cap Ha 3eMO.H a Iochoa Eor Ha He6ecHMa" (Kulišic 19796, 203) oa mTo M0xe Aa caeAH: Iochoa Eor = He6eceH 6or - CBapor (TaTKo Ha fla6or T.e. flax6or). Ako e flax6or = Coh^, Toram oBaa $yHKaHja ja 0Apa3yBa h H03HaTaTa HecHa "Sar nebesni kad ženjaše sunce" (Hoahto 1981, 148).
40	EHAejKH AeHoT HacTaHyBaa HpeA HojaBaTa Ha coh^to, apxaH^HH0T tobek He ro Tperapaa coh^to KaKo HpH^HHa 3a HojaBaTa Ha AHeBHaTa cBeTiHHa, TyKy 06paTH0, KaKo Hej3HH o6jeKT, T.e. HocneAHca; bo H3BopHTe Toa e "AHeBHoe oko" (oko Ha AeHoT) "Be^ 6o ecTb cnHue cBeTy ..." (Pbi6aK0B 1987, 440, 441); bhah hcto TaKa: Nodilo 1981, 148.
85
CaoBeHCKHTe naHTeoHH bo shkobheot Me^HyM: CBapor
9.	BpcKa co He6oTo:
a)	OnrypaTa Ha npeTnocTaBeHHoT CBapor, Ha o6pa6oTyBaHHTe mhtckh caHKH e noncTOBeTeHa co He6ecHHoT cboa41
6) oa He6oTo naraaT KaemTH (HMnaHUHTHo Toj oa TaMy rH ^paa, oa mTo caeaH aeKa TaMy h npecTojyBa)
b)	^yH^HjaTa "TBopeae Ha coh^to", co oraea Ha npeTxoaHHoT ^aKT h BpcKaTa coHne - He6o, HMnaHnHpa aeKa h hhhot Ha TBopeaeTo ce oaBHBa Ha He6oTo, o^hocho aeKa h CBapor e Ha He6o
r) nocpeaHo, npeKy ^yHKqHjaTa TaTKo Ha CoHneTo - ^ax6or h Toa bo KoHTeKcT "CBapor - coHne; coHne - He6o; CBapor - He6o", HaH bo ono3Hnnja: "flax6or - ^a6or - nap Ha 3eMjaTa, HeroBHoT TaTKo (CBapor?) - nap Ha He6oTo"42
10.	npB bo noBemTBoTo - "HcTopnjaTa", raaBeH - BpxoBeH - eaHHcTBeH 6or (Moxe aa npoH3ae3e npeKy ^aKTHTe cnopea koh, bo enoxHTe npea BaaaeeaeTo Ha CBapor nocroH naypaaraaM oa 6oroBH)43
11.	TBopen - co3aaTea Ha:
a)	coh^to - eKcnaHnHTHo KaKo TaTKo, 6e3 HaH co ae^HHHpaH hhh Ha Kpeannja ("TBopeHHe" h "KoBaae")
6) orHoT (HMnannHTHo KaKo TaTKo, npeKy peaanm'a co mtpohhmckhot o6aHK CBapoxHH)
b)	HMnannHTHo Ha KoBanKHTe KaemTH h npeKy hhb Ha caMaTa MeTaayprHja
r) HMnannHTHo Ha 3aKoHoT (Moxe aa caeaH h onmTo 3aKoHHTe h reHepaaHo peaoT - nopeaoKoT) npeKy ocHoBaae Ha KoHKpeTeH 3aKoH h Ka3HyBaae Ha oHHe mTo He ro nonHTyBaaT
a) HMnannHTHo Ha ceMejcTBoTo (MoHoraMHo), npeKy npeTxoaHHTe ^yHKUHH
CMeTaMe aeKa oBaa aHaaraa ro noKaxyBa coraacHeTo Mery noBeKeTo cnopHH KapaKTepH Ha CBapor oa caoBeHcKHoT npeBoa Ha MaaaaHHaTa xpoHHKa h H3BopHHTe caoBeHcKH MHToaomKo-peaHrncKH TpaannHH, mTo roBopH bo npHaor Ha Toa aeKa noBeKeTo oa ^yHKUHHTe Ha Xe^ecT oa xpoHHKaTa, 6apeM bo onmTa cMHcaa, cooTBeTcTByBaae Ha KapaKTepoT h (^yHKqHHTe Ha HeroBHoT caoBeHcKH aHaaoroH CBapor.44
3aBpmHH corae^yBaaa
nocae oBa ncTpaxyBaae, npeTcTaBHTe 3a caoBeHcKHoT 6or CBapor 3HanHTeaHo ce npomnpyBaaT, aKo He noBeKe, Toram 6apeM bo cMHcaa Ha HeKaKBH hobh noTeHnnjaaHH
41	Cnopea Vasiljev (1986, 40), bo HnameBcKaia aeTonHc HapmHTo ce BeaH aeKa CaoBeHHTe, He6oTo ro HapeKyBaa CBapor (nopaaH HenpoBepeHocTa, ^aKToT He ro HaBeaoBMe bo nacycoT co ocTaHaTHTe H3BopH). Bo npHaor Ha oBa oaH h raocaTa ceop (bo "Mater verborum"), bo 3HaieK.e Ha zodiacus = He6o bo aBHxeae (BHaH $yc HoTa 19).
42	BHaH $yc HoTa 39.
43	Bo KoHTeKcT Ha oBoj KapaKTep Moxe aa ce 3eMaT qemcKHTe Svebuh (nepcoHaaHja) h svebohu (TonoHHM) bo koh ce KpHe enHTeToT h Ha npBo6HTHHoT h BpxoBeH 6or (6h aoaaae ceon^aTeH, ancoayTeH 6or Koj ro on^aKa ceTo, Mery apyroTo h cHTe 6oroBH): Leze 1984, 55.
44	MHory noTeMeaHa TaKBa aHaaH3a 6h Moxeaa aa ce ocTBapH co npomHpyBaae Ha KoHTeKcToT Ha noonmTo hhbo, noBp3aHo h co ocTaHaTHTe caoBeHcKH BpxoBHH He6ecHH 6oroBH.
86
Hukoc Haycuduc
HaCOKH bo hhh paMKH, bo HflHHHa, 6h MO^ene fla Ce öapaaT flono^HHTeœH apryMeHTH h fl0Ka3H.
Ocoöero e Ba^HO mTO CHTe KaTeropHH Ha ^aKTH, flojfleHH Ofl pa3HH HaynHH flHCUHnaHHH, Ce CaoxyBaaT 0K0ay Heö0T0 h CBexnHHaTa noTOHHO "cBeraoTO Heöo" hot "HeöeCKaTa CBexnHHa" KaKO CymTeCTBeH chmöo^ h eaeMem* Ha CBapor. Bo oflHOc Ha yTOHHyBaaeTO h npaBH^HOTO pa3ÖHpaae Ha, Ce hhhh, npmHHHO e30TepHHHaTa CymTHHa Ha OBa öoxeCTBO, Ofl OCOöeHO 3Haneae Ce flBeTe HeroBH eMaHauHH - coHueTO h orHOT -(nepC0Ha^H3HpaHH bo 3aceöHH öotobh), 0K0ay koh, Mefy flpyr0T0, Ce OflBHBaae h OCHOBHHTe Heflopa3ÔHpafta Ha noBeKeTO Ofl floceramHHTe HCTpaxyBanH.45 HaKO BpCKaTa Ha CBapor CO coHueTO h OrHOT He MOxe fla Ce OCnopH, Toj CenaK ro 3aCTanyBa BCymHOCT CaMO OHa mTO e 3aeflHHHK0 3a OBHe flBa eaeMeHTH h mTO, bo npeTCTaBHTe Ha flpeBHHOT HOBeK Ce jaByBa KaKO HHBHa npHHHHa, reHepaTop, a Toa e eaeMeHTapHaTa T.e. CynCTaHUHjMHaTa CBeraHHa, h3bopho HMaHeHTHa Ha atobhoto Heöo, CaMaTa Heflo^araa, HeCno3HaT^HBa, flypH h HefleaoTBopHa, ho coflpxaHa bo OBHe flBa (KaKO h bo ymTe HeKOH) eaeMeHTH. TaKBH CBojCTBa Taa My BaeBa h Ha öoroT mTO ja OBon^OTyBa h nepc0HMH3Hpa. 3aToa h CBapor, cyflejKH Cnopefl HaBefleHHTe ^aKTH e CaMHOT HeMaTepHjaaeH HeonnnmB, Heflo^aT^HB, HeKOHKpeTeH, HefleaoTBopeH flypH h "HecerameH" h He flOKpaj aHTponoMop^eH, Ce flOfleKa He Ce obomoth, reHepHpa bo CBOHTe KOHKpeTHH h fleaoTBopHH eMaHauHH: coHueTO ^axöor h OrHOT (flOMamHHOT oraH) CBapoxnn.
OBHe oflHHKH ro CBpCTyBaaT bo floöpo no3HaTaTa h TeMe^HO HCTpaxeHa KaTeropHja Ha öoroBH Ofl THnoT "deus otiosus" (npeflOflpefleHa 3a BpxoBHHTe HeöecHH öotobh), 3a koh Ce CBOjCTBeHH ^yHKUHHTe: -B^afleeae co CBeTOT bo flaMHemHH, mhtckh, HfleMHH BpeMH^a; - noflOUHa noB^eKyBaae Ofl KOHKpeTHHTe ^yhkuhh h Boonmro Ofl c^eprne flO^aTHH Ha HOBeKOT; -npecToj bo kocmhhkh (npefl ce HeöecKH) 3ohh, HeflocTanHH 3a jiyfeTo; - ocraBaae Ha HaMecHHK (HaraeflHHK, chh) Ha 3eMjaTa Koj ro npoflo^yBa B^afleeaern46
OaKTOT mTO CBapor h HeroBHTe HflO^H He ce cnoMHyBaaT bo cpeflHOBeKOBHHTe c^OBa npoTHB naraHCTBOTO, mTO ro HeMa hh bo n03HaTHTe c^OBeHCKH naHTeoHH, bo KOHTeKCT Ha npeTxoflHHTe HH^opMauHH yKaxyBa Ha Toa fleKa HaBHCTHHa ce paöoTH h^h 3a BpxOBeH öOr "BO CeHKa" KOj flejCTByBa npeKy CBOH HaMeCHHuH, a HenOCpeflHO CaMO BO OCOöeHO HeonxoflHH c^ynaH, h^h naK, fleKa e HaBHCTHHa "cTap" T.e. "flpeBeH" öor Koj Ha HHBO Ha Ky^TOT e 3aMeHeT Ofl HaraeflHHUH, na OTTyKa, bo cpeflHHOT BeK e npHcyTeH caMO bo MHTO^orHjaTa, Ofl Kafle Ke HaB^e3e h bo fle^aTa co khh^sbho-hctophckh KapaKTep. BaKBaTa HeroBa, Ofl acneKT Ha KynTOT HeaKTye^Ha cocTojöa, raraefla He öma flOBoma fla rH HHHUHpa xpHCTHjaHHTe 3a HeroBO KpHTHKyBaae (mTO He ce OflHecyBa h Ha HeroBHOT HMeaaK CBapoxHn).
BpaKajKH ce, norae BaKBaTa aHMH3a Ha CBaporoBHOT ^hk, koh floöpo no3HaTHTe bo HayKaTa hctophckh h3boph, He MOxeMe a fla He rH coraeflaMe KaKO fla^eKyBHflH h aKTya^HH Te3HTe rapeneHH ymTe Ofl A^aHacbeB, fleKa 3afl öe3HMeHH0T BpxoBeH öor Kaj npoKonHj h Xe^MO^fl ce KpHe bpxobho öoxecTBO Ofl cnoMHaTHOT THn, a MOxeöH h KOHKpeTHO CBapor.47
45	Bhäh: Kulišic 1979a, 170-173. HfleHTH^HKauHjara Ha CBapor co OrHOT ce npoBaeKyBa h bo HajHOBHTe TpyflOBH (Ha npHMep: HBaHOB, TonopoB 1995, 348, 349) h noKpaj Toa mTO, cnopefl Hac bhcthhckoto pemeHHe e BeKe oflaMHa anocTpo^HpaHO (A^aHacbeB 1865, 129-132).
46	EaHjafle 1986, 118-120; Eanjafle 1992, 104-109.
47	A^aHacbeB 1865, 131-133.
87
CnoBeHcKHxe naHxeoHH bo ïïhkobhhox MenHyM: CBapor
Bo 3aBpmHHoT nena Ha oBaa cTaTHja nonxHMe HeKaKBo, ôapeM HanenHo KynrypHo-hctophcko onpaBnyBaae Ha KnyHHara bo oBa HcxpaxyBa&e penauj Mery cnoBeHcKHoT CBapor h aBecxHHcKHoT 3'pBaH. CBecHH 3a cnoxeHocTa Ha oBa npama&e h KoMneTeHUHHre mxo rH ôapa on HcTpaxyBanoT, ce pemHBMe caMo na rH HaBeneMe TpHTe ochobhh MonenH bo hhh paMKH cMeTaMe neKa Mopa na ce Haora pemeHHeTo. Cnopen hhb, penauHHHTe Mery cnHKHTe on BenecTHHcKaTa h nypHcTaHcKaTa nno^Ka h HMH^aTa Ha CBapor h 3'pBaH ôh ce ôa3Hpane: -Bp3 HeKoja 3aenHHHKa napanHma on BpeMeTo Ha HHnoeBponcKaTa npa3aenHHna
-Ha HHnoHpaHcKaTa KoMnoHeHTa Koja npeKy ceBepo3ananHaTa rpaHKa Ha HpaHcKHTe HaponH (Ckhth, CaBpoMaTH, KHMepHjnH ...), no naT Ha KynTypHH h neMorpa^cKH BnHjaHHja ce BrpanHna bo KynTypaTa Ha HeKoH hahh cnoBeHcKH nonynanHH.48
-Ha HeKaKBH ymre nononHexHH BnHjaHHja Ha onpeneHH HpaHcKH HnH HpaHoja3HHKH nonynanHH Bp3 CnoBeHHTe, HnH Ha hhbhoto ynecrao bo eTHoreHe3aTa h KynTypHoTo KoHcTHTyHpaae Ha cnoBeHcKHoT eTHoc (HenocpenHo npen HnH bo TeKoT Ha caMaTa roneMa npecenôa Ha HaponHTe).49
HpennoxeHHTe oôenexja h ^yhkuhh, ocBeH co BeKe cnoMHaTHoT 3'pBaH, ro Bp3yBaaT CBapor co HeKonKy mhtckh nHKoBH koh, KaKo h Toj, HocaT nenaT Ha "npacTapH ôoxecTBa" mTo ro H3ryÔHne cboj'ot KynTeH KapaKTep, npexHByBajKH enHHcTBeHo bo MenHyMoT Ha mhtot (KpoHoc - XpoHoc, CaTypH, Hmhp, Hypyma ...). KaKo h npeTnocTaBeHHoT CBapor on npHKaxaHHTe mhtckh cnHKH, h oBHe HeroBH aHanoroHH ro HocaT KapaKTepoT Ha npacymTecTBa co rHraHTcKH MaKpoKocMHHKH pa3MepH, necTo ôecnonoBH HnH xepMa^ponHTHH, cTaBeHH bo ^yHK^ja Ha rpanHTenH, opraHH3aTopH HnH nonnpxyBa^H Ha HeôoTo HnH nomHpoKo Ha kocmocot.
PenanHjaTa Mery Xe^ecx h CBapor bo cnoBeHcKHoT npeBon Ha XpoHHKaTa Ha JoBaH Manana, Mery npyroTo, ro noKaxyBa h HameTo Heno3HaBaae Ha bhcthhckhot KapaKTep Ha apxaHHHHoT, npenonHMncKH Xe^ecT. KnynHaTa ^yHK^ja, 3aenHHHKa 3a oôaTa ôora e ceKaKo rocnonapeaeTO co orHoT. Bo KoHTeKcT Ha HamaBa penauj co KapaKTepoT Ha CBapor h HeroBHTe mhtckh cnHKH, 3acnyxyBa BHHMaHHe h xHnoTeTHHHaTa eTHMonorHja (MoxeÔH H3BopHa npaeTHMonorHja) Ha HMeTo Ha Xe^ecT, Koja cnopen TpeBc h3bopho rnacena "hemero-phaistos" bo 3Haneae Ha "oHoj Koj cjae neae". Hcthot aBTop npennara, nBaeceTTe Xe^ecroBH TpoHoxHHnH na ce TonKyBaaT KaKo 3naTHH coHneBH ahckobh co TpH Ho3e, mTo oôpaMyBane HeKoja HeroBa paHa HKoHa (cnopenH co conapHHTe po3eTH oKony TenoTo Ha cnoBeHcKHoT ôor: T. I-1).50
CornenaH bo nHjaxpoHHcKH h KoMnapaTHBHo-MHTonomKH KoHTeKcT, CBapor e cpenHa $a3a Ha eneH penHrHcKH nponec Ha Koj Moxeno na My npeTxonH xeHcKo ôoxecTBo co MaKpoKocMHHKH KapaKTep, MaHH^ecTHpaHo npeKy THnoT Ha TaKaHapeneHa "^anyœa MajKa", (Ha npHMep: ToproHa-Meny3a, flypra - KanH, BenoHa ...), a My cnenH HeKoj TecHo cnenHjanH3HpaH BpxoBeH ôor, (Kaj CnoBeHHTe, noKpaj cnoMHaTHTe, ocoôeHo rpoMoBHHKoT h KoHKpeTHo HepyH), Koj Ke HacnenH MHory on HeroBHTe ^yHKUHH h cBojcTBa.
48	TaKBaxa HpaHcKa (cKHTcKo-capMaycKo-anaHcKa) reHeaa Ha CBapor ja nonymxa h Niederle (1916, 109). Boonmxo, bo nocne^Ho BpeMe, bo HayKaxa noBxopHo ce aKxyannaHpa 3HaqeK.exo Ha HpaHcKaxa KoMnoHeHTa bo o^opMyBaaexo Ha cnoBeHcKHxe exHocH h HHBHaxa Kynxypa (h penHrHja), Ha npHMep, bo nenaxa Ha B.B.CenoB, B.A.PHÔaKoB, Z. Binski, A HoMa (bhäh: Haycn^nc 1996, 256,257).
49	Moxe6n co nocpexcxBo Ha AHxnxe, CpÔHxe h XpBaxHxe (bo koh e npncyxHa aHa^HxenHa HpaHcKa KoMnoHeHTa), HnH npeKy xypKojaanqHHxe Hapo^H (ByrapH, ABapH ...).
50	Graves 1974, rnaBa 23/1,2. Bo oBaa cMHcna ce ^hhh 6ïïh3ok h HKoHorpa^cKHox xhh Ha xnHÄyHcxH^KHox fflHBa-Haxapaya, Koj ro Hrpa xaH^x Ha KocMH^KHxe UHKnycH non cboä (hïïh bo Kpyr) on MynxHnnnuHpaHH nnaMeHH.
88
Hukoc Haycuduc
.HTepaTypa:
A^aHacbeB A. 1865, noaranecKne Bo33peHia MaBaH Ha npipofly, T. I , MocKBa.
EopoBCKHH ^.E. 1982, Mn^o^orHHecKHH Mip flpeBHix KieB^aH, KieB.
Brandt M. 1989, Izbori zla, Zagreb.
Hayciflic H. 1992/93, naraHo-raoBeHcKH KynTHH npeflMeTH ofl TecMija (I), (II), EoflimeH 36opHHK Ha oh^o3o^ckhot ^aKynTeT, 19(45), 20 (46), CKonje, 1992, 1993.
Hayciflic H. 1994, MiTcKHTe mhkh Ha JyxHHTe C^oBeHH, CKonje.
Hayciflic H. 1996, flijaxpoHicKoTo KoMnapipaae Ha pe^iricKHTe h erao-KynTypHiTe nponeci Ha no^BaTa Ha MaKefloHija, bo: Pe^iricKHTe acneKTH Ha MaTepijamaTa h ayxHBHaTa KynTypa Ha no^BaTa Ha Penyö^HKa MaKefloHija, CKonje.
Hayciflic H. 1996/97, KaK H3ynaTb maBaHcKHe flByxn^acTHHnaTbie	b
fla^bHeftmeM? b: TpyflH VI MexflyHapoflHoro KoHrpecca maBaHcKoö apxeo^orn, MocKBa, (bo nenaT).
Hayciflic H. 1997, npeTCTaBHTe Ha raobehckhte 6oroBH-onoHeHTH bo jihkobhhot MefliyM, KynTypeH xhbot, 1997/1, CKonje.
flaH^aMaeB M.A. .yKoHHH B..E. 1980, KynbTypa h 3KoHoMHKa flpeBHero HpaHa, MocKBa.
E^njafle M. 1986, CBeTo h npo^aHo (Le Sacre et le Profane), Hobh Cafl, 1986.
E^ijafle M. 1992, AcneKTH Ha mhtot (Acpects du Mythe), CKonje.
OacMep M. 1967, 3THMo^oriHecKHH raoBapb pyccKoro a3HKa, MocKBa.
OmapeT 1894, CBarae roxHbix c^aBaHt, C.-neTep6yprb.
EeoprHeBa C. 1974, KepaMHKaTa ofl flBopena Ha D,apeBen, bo: D,apeBrpafl Tphob, Co^ia.
EeoprHeBa C. 1986, Be^ecTBeHHbie ocTaTKH c^aBaHcKoro naraHH3Ma bo BpeMa pa3BHToro ^eofla^H3Ma (XII-XIV bb.) b Eo^rapn (pe3HMe Ha pe^epaTOT ofl cHMno3HyMoT "C^oBeHcKa naraHcKa pe^irija - MaTepijmHH ocTaToni h nHcMeHH H3BopH, npH^en).
EepacHMoB T. 1960, CBefleHHe 3a eflHH MpaMopeH mo.n y öb^rapcKHTe cnaBaHH b co^hcko, bo: E3HKoBeflcKo eTHorpa^cKH H3c^eflBaHHa b naMeT Ha aKafl. C. PoMaHcKH, Co^ia.
EpaHToBcKHft 9. A. 1980, 3epBaH, bo: mi^h HapofloB MHpa, MocKBa
Graves R. 1974, Grški mitovi (The Greek Myths), Beograd
HBaHoB B.B., TonopoB B.H., 1965, C^aBaHcKie a3HKoBHe Mofle^ipyro^ie ceMioranecKie cicTeMH, MocKBa.
HBaHoB B.B., B. H. TonopoB 1980, EajraficKaa MH^o^oraa, bo: mi^h HapofloB Mipa, MocKBa.
HBaHoB B.B., TonopoB, B.H. 1995, CBapor, bo: C^aBaHcKaa MH^o^oria (9HniKnoneflHHecKHH raoBapb), MocKBa.
Ježic M. 1987, R'gvedski himni - izvori indijske kulture i indoeuropsko nasljede, Zagreb.
KoBmeBcKHH A.n. 1956, KHira AxMefla HÖH-Oafl^aHa o ero nyTemecTBHH Ha Bo^ry b 921-922 roflax, XapbKoB, 1956.
Kulišic Š. 1979a, Stara slovenska religija u svjetlu novijih istraživanja, posebno balkanoloških, Sarajevo.
Kulišic Š. 1979b, Dabog i nebesni bog u svjetlu novijih istraživanja, Traditiones, 5-6 (197677), Ljubljana.
Leže L. 1984, Slovenska mitologija (L. Leger. La mythologie slave), Beograd.
Mansikka V.J. 1922, Die Religion der Ostslaven, Helsinki.
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CaoBeHCKHTe naHTeoHH bo shkobheot Me^HyM: CBapor
Mayrhofer 1974, A concise etymological sanskrit dictionnary, Heidelberg.
Mnpo^roGoB M. 1981, Par-Be^a h A3braecTBo, MroHxeH.
New Larousse 1968, New Larousse encyclopaedia of mythology.
Niederle L. 1916, Slovanske starožitnosti, Praha.
Nodilo N. 1981, Stara vjera Srba i Hrvata, Split.
PbiöaKoB E.A. 1981, ^3bmecTBo apeBHnx c^bah, MocKBa.
PHÖaKöB E.A. 1987, ^3braecTBo apeBHeö Pycn, MocKBa.
Skok P. 1974, Etimologijski rječnik hrvatskoga ili srpskoga jezika, Zagreb.
Vasiljev S. 1986, Slovenska mitologija, Beograd,
Werner J, 1953, Slawische Bronzefiguren aus Nordgriechenland, Abhandlungen der
Deutchen Akademie der Wissenschaften zu Berlin, 1952/2, Berlin. BtxapoBa X. 1986, ^3braecTBo y KXHHX raaB^H - öo^rap, (pe3HMe Ha pe^epaTOT oa cHMno3HyMoT "C^oBeHcKa naraHcKa pe^nrnja MaTepnjMHH ocTaronn H nncMeHH H3BOPH", npn^en).
90
Hukoc Haycuduc
The Slavic Pantheons in visual medium - Svarog
Nikos Causidis
In the research on Slavic mythological-religious systems - or, in this particular case the pantheon - that have been conducted so far, visual images of Slavic deities have been mostly used as "illustrative material", only in a few cases were they considered as basic autonomous research material. The article represents a segment of a global research emanating precisely from the visual images of the Slavic deities. In this particular case, the primary research starts from the early Slavic artefacts dated from the 7th century A.D. - the plates of a cult character found in Velestino in Thessaly, and a particular type of the so-called radiate-headed fibulae, found in Pannonia, Albania and Asia Minor. On the basis of his earlier research and by analysis of iconography and symbolical features of these finds, the author attempts to define a type of a mythical picture that could be described as "anthropomorphic firmament with the phases of a solar cycle". By its Slavic analogies he diachronically follows this mythical picture on the standing tombstones ("stecci") found in the Balkans and dated from the late Middle Ages, as well as jewellery, and folk embroideries dated from the 19th and the beginning of the 20th centuries.
Subsequently, by comparative analysis, this iconographic type (especially the Thessaly finds) is compared to the almost 1400-year-old analogue image on a silver plate belonging to the group of the so-called Luristan bronzes. Furthermore, the author applies the principles of comparative analysis to the deities who are associated with these mythical pictures (the Iranian-Avesta god Z'rvan, and the Slavic god Svarog). The close relations of their theonyms (Z'rvan - Zvarun - Zvarog - Svarog) as well as the etymological components of their names (svar, svarg = the sky, the bright sky, celestial light) point to the close relations between Z'rvan and Svarog. The author cites written sources, toponyms, and other language traces associated with the Slavic Svarog. On the basis of iconographic, etymological and semiotic analysis, as well as the analysis of the ancient written sources (especially the Slavic translation of the Malala's Chronicle), the author suggests a list of potential functions and attributes of Svarog, as well as his sphere of existence and activities.
In conclusion, the author sums up the results of his earlier analysis, which reveal the profoundly esoteric essence of Svarog. Although Svarog is related to the fire and sun (and the deities Svarozic and Dazbog who represent those two elements), in its very essence Svarog incarnates only the most elementary, i.e. substantial light (which is unreachable, non-material, and unfathomable) originally immanent to daylight but also included in the above-mentioned elements. These characteristics justify the key functions ascribed to Svarog: his supreme character on the one hand, and non-activity (deus otiosus) on the other hand; he is assigned the roles of a procreator, the father and the supreme ruler of the gods, the universe and order, as well as the role of being a link to former times.
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CaoBeHCKHTe naHTeoHH bo shkobheot Me^HyM: CBapor
Finally, the author introduces some Indo-European parallels towards such an understanding of a macrocosmic, semi-anthropomorphic Svarog (Cronus, Saturnus, Purusa, Ymir), and suggests three alternatives for the cultural-historic justifications for the Iranian-Avesta-Slavic relations, which are the underlying basis of the research.
92
Kresnik: An Attempt at a Mythological Reconstruction
Zmago Šmitek
The Slovene Kresnik tradition has numerous parallels in Indo-European mythologies. Research has established connections between the myth about a hero's fight with a snake (dragon) and the vegetational cult ofJarilo/Zeleni Jurij. The Author establishes a hypothesis about Iranian influences (resemblance to figures of Yima/Yama and Mithra) and outlines a later transformation of Kresnik in the period of Christianization.
If it is possible to find a mythological figure in Slovene folk tradition which is reminiscent of a "higher" deity, this would undoubtedly be Kresnik. It is therefore not strange that different researchers were of the opinion that Kresnik represented the key to old Slovene mythology and religion.1 Their explanations, however, are mostly outdated, insufficiently explained or contrasting in the context of contemporary findings of comparative mythology and religiology. Equally doubtful is also the authenticity of older records about Kresnik since the still living traditions seem not to verify them.2 Kresnik thus remains a controversial and mysterious image as far as the origin of his name is concerned, but also concerning the role and the function it was supposed to have in old Slovene, Slavic and Indo-European mythological structures.
The first extensive and thorough comparative study about Kr(e)snik was written by Maja Boskovic-Stulli.3 She justly ascertained that there were differences between the majority of Slovene records on Kresnik and the data on a being with the same name collected in Croatia and east of it. On the other hand, however, certain fragments of Slovene tradition did correspond to the image of Krsnik which she had documented during the course of her
Kresnik was linked to Božič or Svarožič (Jakob Kelemina, Bajke in pripovedke slovenskega ljudstva, Znanstvena knjižnica, Tome 4, Celje 1930, p. 8), with Svetovit (Niko Kuret, Praznično leto Slovencev I, 2nd ed., Ljubljana 1989, p. 385), he was thought to be the "Sun personified", (Ivan Grafenauer, Bogastvo in uboštvo v slovenski narodni pesmi in v irski legendi, Razprave IV., Slovenska akademija znanosti in umetnosti, Razred za filološke in literarne vede, Ljubljana 1958, p. 61), a lunar deity (Damjan J. Ovsec, Slovanska mitologija in verovanje, Ljubljana 1991, p. 470), and Davorin Trstenjak compared him with the Indian god Krishna (Raziskavanja na polji staroslovanske mythologie, Letopis Slovenske matice 1870, p. 25).
According to Milko Matičetov the data by Davorin Trstenjak could be deemed the most questionable of all (Milko Matičetov, O bajnih bitjih s pristavkom o Kurentu, Traditiones 1985, p. 25).
Maja Boškovič-Stulli, Kresnik-Krsnik, ein Wesen aus der kroatischen und slovenischen Volksuberlieferung, Fabula 1960, No. 3, pp. 275-298; idem, Hrvatske i slovenske usmene predaje o Krsniku - Kresniku; in: Usmena književnost kao umjetnost riječi, Zagreb 1975, pp. 205-227; idem, Testimonianze orali croate e slovene sul Krsnik - Kresnik, Metodi e richerche, n.s., VII (1988), No. 1, pp. 32-50. The Author published part of the material on Krsnik in Dalmatia under the title Usmene pripovijetke i predaje s otoka Brača, Narodna umjetnost 1975, No. 11-12, pp. 5-159.
2
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Kresnik: An Attempt at a Mythological Reconstruction
field work in Istria, the image about which there are also records from the Quarnero islands and Dalmatia. Since this geographic area did not have close historic or linguistic connections with the territory of present Slovenia, she assumed that the extention of Krsnik is the result of old Slavic colonization and/or a potential influence of pre-Slavic cultures in this area.4 Based on this supposition she derived a logical, yet questionable conclusion: if this is an identical or kindred ethnic substratum, then the figure of Kresnik should be uniform everywhere, typologically as well as functionally. Anything disruptive of this supposed uniformity was thus disturbing and suspicious. Hence she was ready to believe Slovene data on Kresnik only if it matched the information she or other expertly trained researchers collected mostly outside Slovene ethnic territory. Consequently she did not find objectionable Kelemina's reports that Kresnik watches over the well-being of his territory, that he turns into different animals, or that those who fight him have to be born on the same day, because all of these particulars have been verified on the territory of her "own" fieldwork.5 She also accepted Kelemina's note that the Kresniks fought one another despite the fact that in Istria the opponents of the Krsniks were only the "štrige/štrigoni") because this is parallel to the South Slavic legends about "Moguti" and "Zduhači".6 She labelled most of the other notes from Kelemina's collection as utterly unreliable and an alleged product of the fantasy of romantically-inclined note-takers of the 19th century.7 Since it is not possible to estimate the authenticity of cultural elements in individual Slovene areas (i.e. in Štajerska and Koroška) only by making analogies with Istria and Dalmatia, this was a methodological mistake. The fact that Kresnik, despite the same name, proved to originate from two entirely different traditions, was thus interpreted in the wrong way.
In view of obvious difficulties with the inductive method of Kresnik's mythological explanation, deduction is becoming more valuable again. A more recent attempt at a mythological explanation of Kresnik by Nikolai Mikhailov follows this orientation.8 Unlike Maja Boškovic-Stulli, he not only has no doubts regarding the value of Slovene legends about Kresnik, but sees Kresnik' s role in the very center of Proto-Slavic or Balto-Slavic mythology, in the "basic myth" as has been reconstructed and quite persuasively argued by V.V.Ivanov and V.N.Toporov.9 This is the myth about the duel between Perun, the god of heavens (the thundermaker), and his evil opponent Veles, a chtonic deity. A female figure was supposed to be connected with the two, but it was impossible to establish its original name. This reconstruction is based primarily on East Slavic (especially Belarus) data, but was also confirmed for the area of South Slavs by R. Katičic and other authors.10 While the scheme of the "basic myth" was thought to be identical throughout the Balto-Slavic area, the names of the partakers and their attributes change in different versions.
4	Boškovic-Stulli 1960, p. 296
5	Kelemina, p. 39 (2.III), pp. 88-90 (35.I-III); Boškovic-Stulli 1960, p. 291.
6	Kelemina, p. 90 (36.I-II), p. 92 (37), p. 93 (38); Boškovic-Stulli 1960, p. 289.
7	Boškovic-Stulli 1960, p. 275, 278; idem, Istarske narodne priče, Zagreb 1959, p. 224, 234.
8	N.A. Mihajlov, Fragment slovenskoj mifologičeskoj tradicii, in: Koncept dviženija v jazyke i kul'ture, Rossijskaja akademija nauk, Institut slavjanovedenija i balkanistiki, Moscow 1996, pp. 127-141.
9	V.V. Ivanov, V.N. Toporov, Issledovanija v oblasti slavjanskih drevnostej, Moscow 1974.
10	Radoslav Katičic, Hoditi-roditi, Spuren der Texte eines urslawischen Fruchtbarkeitsritus, Wiener Slavistisches Jahrbuch (= WSlJ) 33 (1987), pp. 23-43; idem, Nachlese zum urslawischen Mythos vom Zweikampf des Donnergottes mit dem Drachen, WSlJ 34 (1988), pp. 57-75; idem, Weiteres zur Rekonstruktion der Texte eines
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In Slovene notes about Kresnik, Mikhailov recognized some of the key motifs of the "basic myth": Kresnik fights a negative hero who appears in the form of either a snake, a snake king or queen, a dragon, a giant, etc., or another, hostile Kresnik. During the fight, or afterwards, Kresnik's victory is followed by a storm, by black fog or clouds, lightning and thunder, rain or hail, all of which bring about a bountiful harvest.11 According to Mikhailov, the fight among the Kresniks and the figure of "the evil Kresnik" (Vidovin) already belong to a degenerative phase of the myth under the influence of Christianity. Moreover, it was presumed that three chronological sequences of Kresnik were evident in folk tradition: a deity, a good demon, and a benevolent hero.12 Kresnik's dwelling on a mountain or in the sky, his attributes which link him with fire, lightning and the color of gold, his connection with certain animals and athmospheric phenomena - all of these place him in the role of the thundermaking god. Mikhailov was also in favour of analyzing some other folk sources about Kresnik (i.e. song tradition) and of researching the St. John's Eve ceremony. In connection with the term kres and the process of the St. John's Eve celebration he indicated connections with the Baltic area and with an Old Prussian ceremony (kresze, krysze, keyse) which is described in sources from the 15th century, but about which no details are known. He also stressed the analogy between Kresnik and his Lithuanian, Latvian and Old Prussian double (Perkunas, Perkons, *Perkuns).13 According to Mikhailov the etymology of the word kres is almost certainly connected with the notion of fire, but also with striking a fire (hitting, setting ablaze, sparkling, glittering). The third variant is: "kresen = lively, strong." This last interpretation originates mainly from the Balto-Slavic linguistic fund.14 Mikhailov finds meaningful especially the association kres - kresanje (sparkling) which is thought to denote the thundermaker, a deity of lightning and thunder.
Speaking of etymologies, let me remind the reader that older researchers (G. Krek, J. Šuman, J. Kelemina) derived Kresnik from the name of East Slavic sun god Hors (Khors). Khors was thought to be borrowed from Iranian Khursid (personified Sun). Kresnik, however, was thought to be only a nickname of the god whose real name was Svarožič (Božič), thus the son of Svarog, the god of light.15 This explanation has already been rejected by F. Bezlaj, and is thought to be problematic by N. Mikhailov as well.16
urslawischen Fruchtbarkeitsritus 1-2, WSlJ 35 (1989), pp. 57-98, 36(1990), pp. 61-93; idem, Nachtrage zur Rekonstruktion der Texte eines slawischen Fruchtbarkeitsritus 1-2, WSlJ 36 (1990), pp. 187-190, 37 (1991), pp. 37-39; idem, Baltische Ausblicke zur Rekonstruktion der Texte eines urslawischen Fruchtbarkeitsritus, WSlJ 38 (1992), pp.53-73; idem, Weitere baltische Ausblicke zur Rekonstruktion der Texte eines urslawische Fruchtbarkeitsritus 1-2, WSlJ 39 (1993), pp. 35-56; 40 (1994), pp. 7-35; Vitomir Belaj, Randbemerkungen zu Katičic' "Nachlese", WSlJ 34 (1988), pp. 159-161; idem, Hoditi - goniti. Drugi aspekt jednoga praslavenskog obreda za plodnost, Studia ethnologica 2 (1990), pp. 49-75; idem, Mladenkin vijenac na suhoj grani. Mitska pozadina jednoga svadbenog običaja u sjevernoj Hrvatskoj, Studia Ethnologica Croatica 4 (1992), pp. 81-91; idem, Der mythologische Hintergrund eines kroatischen Hohzeitsbrauches, WSlJ 41 (1995), pp. 43-50.
11	Mihajlov, p. 130.
12	idem, p. 135.
13	Nikolai Mikhailov, Baltico-Slovenica. Alcuni paralleli mitologici, Res Balticae 1996, pp. 164-166, 168-169; idem, Eine slowenisch-prussische lexikalisch-mythologische Parallele: kres/ kresze, Slovenski jezik - Slovene Linguistic Studies 1 (1997), pp. 151-159. The first to mention the Old Prussian St. John's Day bonfire-making, in comparison with the one celebrated in Slovenia, was Gregor Krek in his etymological treatise Kres (Kres 1881, p. 54, 55).
14	Mikhailov, pp. 165-166.
15	Gregor Krek, Einleitung in die slavische Literaturgeschichte, 2. Aufgabe, Graz 1887, pp. 393-394; Josef Šuman, Die Slovenen, Die Volker Oesterreich-Ungarns, Bd. 10, Wien und Teschen 1881, p. 22; Kelemina 1930, p. 8.
16	France Bezlaj, Nekaj besedi o slovenski mitologiji v zadnjih desetih letih, Slovenski etnograf 3-4 (1951), p. 346; Mikhailov 1997, p. 5.
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Maja Boškovic-Stulli was also of the opinion that Kresnik has no connection with personified Fire and Sun. She suggested a derivation from the word krst (meaning cross and baptizing). In support of her hypothesis that this expression is Old Slavic and thus pre-Christian she also cited some other authors, among them F. Miklošič.17 Old Serbians knew the krstovi as guardians of territories, settlements and borders.18 These primitive idols were made in the shape of a cross which represented protection of property and harvest in more traditional parts of the Balkans as well.19 Of interest is her presumption that even before they had settled on the present territory, Slavs encountered Christianity and its symbols, which might have affected the image of Kresnik.
Franc Jeza explained the origin of the word kres in a totally different way. He tied it to the Old Norse expression hress, meaning "fresh, fiery, alive, lively, merry." Hressa denotes "to refresh, to invigorate, to encourage." Hress-foerr, for instance, would thus denote "burning lively," the same as "Freundfeuer, ogin tiga veselja, krejs" (the fire of joy, bonfire) as defined by Hippolytus in his Dictionarium trilingue (II, 63) at the beginning of the 18th century.20 The fire of merry celebration should also present the center of each solstice celebration.
Finally, let us also mention the explanation of Alemko Gluhak that aside from fire and the position of the sun, the Old Slavic word kres denoted mainly the revival and awakening of nature and man. This is where the rituals of Jarylo and Zeleni Jurij come from. On St. George's Day, the pre-Christian Božith, son of God, appears in order to revive vegetation and make the wheat harvest plentiful. Gluhak's opinion that the Indo-European root *ker-, ker-, kre-, "to grow, to feed" appears in, for instance, in ion. KOUpoZ, dor. Kfflpo^, "young man" (lat. Ceres, -eris, Italic and Roman goddess of fertility) is by no means meaningless for our research of the Indo- European context of Kresnik.21
Marija Gimbutas stressed the fact that parallels should be found for Slavic mythological figures in a wider Indo-European territory. Along with this, she also drew attention to the etymological relationship of Slavic terms from the sphere of religion and ethics with the corresponding Iranian vocabulary. We can also agree with her notion that a reconstruction of Slavic religion must be based mainly on a hypothesis about the existence of a god similar to the already-known gods from the Indo-European or Indo-Iranian pantheon; evidence and modifications in written sources and in the still-living folklore must be found afterwards.22 Within such a comparative frame we can find numerous interesting parallels to the Slovene Kresnik, and more: "romantic fantasies" about Kresnik prove to be a rather consistent system. This is a confirmation and supplementation of some findings already arrived at by Mikhailov in his comparative study. But before we embark on a detailed analysis, it is im-
17	Franz Miklosich, Die christlische Terminologie der slavischen Sprachen. Eine Sprachgeschichliche Untersuchung, Denkschriften der keiser lichen Akademie der Wissenschaften, Philosophisch-historische Classe, Bd. 24 (1876), pp. 1-57.
18	Veselin Čajkanovic, Študije iz religije i folklora, Srpski etnografski zbornik XXXI, Beograd 1924, p. 106; Boškovic-Stulli 1960, p. 296.
19	Boškovic-Stulli 1960, p. 297.
20	Franc Jeza, O ključnih vprašanjih rane karantansko-slovenske zgodovine, Buenos Aires 1977, pp. 107-108; Jože Stabej, Iz zgodovine slovenskega besedja, Jezik in slovstvo 1969, No. 4, p. 122.
21	Alemko Gluhak, *Vtztm i*Vtskrs, Filologija 20-21, Zagreb 1992-93, p. 119, 122-123; also compare Julius Pokorny, Indogermanisches etymologisches Worterbuch, Bd. 1, Bern-München 1959, p. 577.
22	Marija Gimbutas, Ancient Slavic Religion: A Synopsis, in : To Honor Roman Jakobson, Essays on the Occasion of his Seventieth Birthday, Janua Linguarum, Series Maior XXXI, Vol.1, The Hague-Paris 1967, p. 739.
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perative to separate the mythological elements of Kresnik from other (possibly just as archaic) additions.
We have already noted that Slovene legends about Kresnik are mostly different from the ones in Istria and in other parts of Croatia. Since it is difficult to defend the hypothesis that all these differences spring solely from the rich fantasy of unscrupulous researchers (more about this later) it seems that we are dealing with two separate traditions, both present in our territory, yet with centers in different regions. If they really do originate from the same common basis, they can be defined as an "older" (motivically more accomplished) and a "younger" tradition. These labels were also used by Mikhailov, who had written that, as a "local spirit", Kresnik is the result of a later degradation of the original myth.23 The "younger" cycle lacks all of Kresnik's mythological biography, and his figure is set in a wholly different, everyday enviroment on earth. The common traits - which (although only in certain variants) unite both cycles - are Kresnik's uncommon birth, his unusual capabilities, fighting this or that opponent, changing into different animal figures, the element of air in which fights take place, and Kresnik's influence on atmospheric phenomena. Kresnik as the protector of territory, genius loci, is thus only loosely connected with the "older" Kresnik who was the supreme ruler of the earth.
The findings of Carlo Ginzburg, who discovered parallels with the "younger" Kresnik among our Friulian and Hungarian neighbours and also in numerous other European cultures where Kresnik, of course, assumes other names, also testify that close relations between the two types of Kresnik are rather unconvincing.24 Kresnik in his "younger" edition is thus not limited solely to the South Slavic cultural area and cannot be linked solely to Slavs and the time of their settlement.
Ecstatic cults, according to Ginzburg, are in some way connected with old Eurasian shamanism.25 In view of our data this explanation seems convincing: let us remember, for instance, a typical shamanistic motif, the fight of the Kresniks under a (world) tree, the dismemberment of one of them, and his subsequent revival. In view of all this we cannot, of course, speak about the "older" and the "more recent" Kresnik. For practical reasons we shall name both alleged cycles of Kresnik the "mythological" and the "ecstatic" Kresnik. This is the structure of their contents (asterisk* denotes partial or complete analogy) :
"Mythological Kresnik" :	"Ecstatic Kresnik" :
1.	There is only one Kresnik.	1.	There are several Kresniks who gather
			in groups.
2.	Kresnik is the son of god.	2.	Kresnik is a human (man or woman)
			with special powers.
3.	He is a "positive" hero.	3.	He is an ambivalent creature.
4.	He appears as a prince.	4.	Outwardly he does not differ from other
			people.
5.	*His mother gives birth to him after a	5.	*Unusual birth (placenta).
	nine-year pregnancy; he has a birthmark.		
23	Mihajlov, p. 140.
24	Carlo Ginzburg, Storia notturna. Una decifrazione del sabba, Torino 1989, pp.130-160.
25	Idem, pp. 149-151.
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6.	He is connected to sun and fire.
7.	He travels across the sky in a golden chariot pulled by horses.
8.	His weapons are lightning, a mace, an axe, a hammer, a sword...
9.	He lives in "the ninth country."
10.	His palace is on the top of a mountain.
11.	A tree grows by a well on top of the mountain.
12.	On the mountain Kresnik grazes his herd or hunts.
13.	His assistant is a dog.
14.	Kresnik has a (twin?) brother or a sister.
15.	He has an incestuous relationship with his sister (marries her).
16.	His opponent steals his herd, or wife/ sister.
17.	*Kresnik fights his opponent (a snake).
18.	*During the fight fighters turn into different animals.
19.	*The fight takes place on a mountain, in the air, or underground.
20.	He saves his wife, or his property, from the underground or from water.
21.	*The cause for fighting can also be of local character - - the "happiness of his country."
22.	When Kresnik defeats his rival, there begins to rain down water or golden wheat.
6. Kresniks are mainly creatures of the night.
9. They live nearby.
17.	*Kresniks fight one another or wizards/ withches.
18.	^Opponents can also assume different animal shapes during their fights.
19.	*The battleground is in the air, in the middle of the crossroads, or below the trees.
21.	*Kresnik is the protector of his own territory.
22.	Kresnik can stop the hail (prevent crop destruction).
In view of all this we cannot, of course, defend all of what is ungenuine in notes dating from the second half of the 19 th century. It is true that some notes are doubtful, some details biased, and that the comparative school of mythology intensively researched the motif of the fight between a mythological hero and a snake demon in the very years after 1850 when these notes originated. Yet even this trend might be understood as an incentive to look for similar motifs on our territory, and not only as a possible pattern for uncritical copying. Finally: could researchers from the second half of the 19th century (whose educational backgrounds and local origins were very diverse, and with no coordination between them) really have "invented" a homogenous entirety which would correspond to the Indo-European mythological structure even in details? A tendency towards "inventing" Slovene mythology, in combination with a certain degree of professional knowledge, could be ascribed only to Davorin Trstenjak.26 His texts (e.g. the one about the Vurberk Kresnik) do manifest traces of literary revision. But
; Kelemina, p. 342-343 (245.III).
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since the story about the Vurberk Kresnik "was recorded by the late Vurberk priest A. Donau who gave it to the late Professor Dr. Puff'27, it is clear that the oldest known note of this tradition originated as early as 1831-1834, long before Trstenjak started his career.28 Consequently Trstenjak did not "invent" the Vurberk Kresnik, but learned about this tradition from Maribor Professor Rudolf Gustav Puff with whom he often associated.29 Even if he altered the language and style of the story, the core of its contents must have remained. The essential element of the story is Kresnik's rescue of the princess who was captured in her castle by a demon in the shape of a snake or a dragon. During the fight in the air, which was supposed to have taken place on St. George's Day, the dragon revealed that the princess was Kresnik's sister. Despite this, Kresnik married her after his victory and chained the dragon to the castle well.30 Trstenjak himself wrote down a variant which he had "heard from the mouth of the folk and the truth and certainty of which can be verified by anybody": in the story, a large white snake crawled across the Drava river and wrapped itself around the Vurberk castle. Kresnik defeated it, took the golden crown from its head and chained it inside the castle well. As a reward he married the daughter of the Vurberk squire.31
The thesis about the age of the Vurberk Kresnik is confirmed by the coat-of-arms of the Vurberk castle. Already in 1204 it had a dragon in it.32 Otokar's Austrian rhymed chronicle from the beginning of the 14th century describes it as the figure of a black snake with a yellow background.33 In the middle of the 13th century the estate and the coat-of-arms were taken over by the feudal family of Ptuj. The headstone of Friderik V. of Ptuj from 1438, which is walled into the Ptuj castle, features a shield with a fire-spitting snake in three coils and with an upturned tail. The Vurberk castle was an institution of the Salzburg archbishops from the second half of the 12th century. It was built in a populated countryside, on a hill where a smaller Roman settlement with a Mithraic temple presumably stood.34 It was first indirectly mentioned in 1238, directly in 1244. There is a legend about its origin, according to which it was built at the end of the 11th century by a Styrian knight on the spot where he had killed with a burning log a dragon living in the Metava swamp on Ptujsko polje.35
It has already been mentioned that an argument in favour of Kresnik's authenticity might be the "completeness" of its "mythological" Slovene tradition. Even more decisive is the fact that numerous elements from Kresnik's mythological cycle can be recognized in other segments of the Slovene oral tradition, although not bearing the name of Kresnik. Connections of the hero with fire, light and warmth, the figure of a young prince, his
27	Trstenjak, p. 22.
28	Johann Georg Donau (and not A. Donau as cited by Trstenjak!), born in October 1793, completed his studies of theology in Graz and afterwards worked as a chaplain in Ptuj's military hospital. On April 23, 1831 he was appointed vicar in Vurberk, where he died on February 2, 1835. In addition to German, Latin and some Italian, he spoke Slovene as well (Personalstand der Sekular- und Regular- Geistlichkeit des Bisthums Seckau in Steyermark im Jahre 1835, p. 77; Škofijski arhiv Maribor, D 22 (Ptuj); Matične knjige, Vurberk, MMK 2, 1833-1861).
29	Trstenjak, p. 24.
30	Kelemina, pp. 342-343 (245.III).
31	Davorin Trstenjak, Višnutova Kršna-Avatara, Novice 1853, No. 41, p. 163.
32	Ivan Stopar, Grajske stavbe v vzhodni Sloveniji, I. Območje Maribora in Ptuja, Ljubljana 1990, p. 141.
33	Josef Seemüller, Ottokars österreischische Reimchronik, Monumenta Germaniae historica, Deutsche Chroniken 5/1, Berlin 1890.
34	Balduin Saria, Nova raziskavanja po stari Poetoviji, Časopis za zgodovino in narodopisje 28 (1933), pp. 127-128.
35	Matthäus Slekovec, Wurmberg. Topographisch- historische Skizze, Separatabdruck aus der Zeitschrift "Südsteirische Post", Marburg 1895, p. 22, 38-39; Jože Koropec, Srednjeveški Vurberk, Časopis za zgodovino in narodopisje, n.v. 4 (1968), pp. 117-136; Kelemina, p. 245 (178.II).
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Kresnik: An Attempt at a Mythological Reconstruction
celestial character ("shooter"), his dwelling on the world mountain, his marriage to his sister, abduction of his wife, his fight with a demon in the form of a snake, and the rescue of his wife and property can actually be discovered in prose and song tradition. These key elements are consequently present in our folklore, even if we do not consider the available records about Kresnik. We shall now deal with them in detail, analyzing each point from the list above :
1.
In any case Kresnik would not have left such visible traces in Slovene tradition had he had but a marginal position in mythological hierarchy, especially if he was only one of the numerous local "guardians of the territory." It is hardly believable that the Slovene ancestors did not know higher deities, but only tribal "protectors", in the period before Chris-tianization. We can thus presume with considerable certainty that Kresnik is one of the central figures of the pre-Christian pantheon, appearing in more or less clear outlines in the folklore of Western and Eastern Slavs as well. Still more concrete, N. Mikhailov defends the link between Kresnik and Perun or Svetovit.36 This time we shall center our attention mainly on the older phase, on the Indo-European prototype of Kresnik as illustrated by Yima of Old Iran and by Yama, his double from Old India, and later - to a certain degree -also Mithra, an Iranian deity.37 Our main available sources are the Pahlavi writings from the 9th century (especially Bundahišn and Denkart), Avesta (notably the Yašt and Vendidad or Videvdat sections) from the period between the 3rd and the 7th century, and Rig Veda from the second half of the second millenium B.C.38
Yima (Jamshed in New Persian) is undoubtedly one of the most colourful figures in Iranian mythology and possesses a clearly recognizable identity. Like Indian Yama, he was the first mortal on Earth. Both have been elevated by gods to the status of their almost (Yima) or completely (Yama) equal. On god's initiative, Yima also became the first earthly king. But because he defied God39 - much the same as Slovenian god-defying King Matjaž -or because he indulged in the pleasures of the world40, he lost God's benevolence after a millenium (or after 616 years) of ruling the earth. He had to leave his place to his demonic opponent.
2.
In our "mythological" tradition Kresnik was denoted as the "son of the heavenly ruler."41 Even if this relation had not been so (suspiciously?) clearly defined, we could anticipate it if we compared it to the Iranian Yima or Indian Yama. According to the Avesta, Yima was the son of sun god Vivasvant (Vivahvant). Yama was also an offspring of father Vivasvat, that is the Sun, and godess Saranyu (Rig Veda 10. 17. 1-2). His grandfather was
36	Mihajlov, p. 140.
37	In connection with our mythological tradition, Davorin Trstenjak stressed the role of Yima/Yama as the first king, teacher and judge of the dead in his treatise Ueber den Gott Latovius, Mittheilungen des historischen Vereines für Krain 1858, pp. 2-3.
38	Denkart, A Pahlavi Text, ed. M.J. Dresden, Wiesbaden 1966; Avesta, ed. K.F. Geldner, Stuttgart 1896; The Hymns of Rgveda 1-2, ed. Ralph T.H. Griffith, The Chowkhamba Sanskrit Studies 35, Varanasi 1963.
39	Yast 19.33-34 mentions Yima's "wrong, false words" in this connection.
40	Arthur Christensen, Les types du premier homme et du premier roi dans l'histoire legendaire des iraniens, 2e partie, Archives d'études orientales, Vol. 14 : 2, Leide 1934, p. 50.
41	Kelemina, p. 35 (1.I), 341 (245.I).
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Kasyapa, one of the seven Indian wise men who were the predecessors of mankind. So Yama was of divine origin from birth. By contrast, Atharva Veda (18.3.13) names Yama as the first mortal, which is similar to the Iranian tradition. Yama was supposed to acquire godly status only after he showed the way to the land of the dead and became its ruler. Unlike his Iranian namesake he left the role of the first human to his half-brother Manu, while the warrior function (fighting demons, defeating a dragon or a snake) fell to the god Indra. Yama was at first the ruler of souls in the radiant sky, under the rule of the Sun (Rig Veda 10.14.9), but later he ruled in the subterranean land of the dead somewhere on the southern rim of the world. As the god of death, he acquired attributes which do not have much in common with his original figure.42
In contrast to him, the Iranian Yima never ascended into the realm of the gods. He was the first man, the first earthly king and a mighty warrior, or (according to an explanation by priests and ordinary people) the master of the homeland of the blessed in the afterworld. Despite his earthly origin, his cult was widespread and persistent, much the same as the cult of Heracles among the Ancient Greeks. It is very possible that the Indian Indra was originally a human hero, not even a god.43
3.
Yima's reign remained in the collective memory as the happiest period, the "golden age" of mankind. According to the Iranian tradition, death did not exist then, since Yima closed the door of hell and kept death from coming into the world.44 We can find a similar motif in Slovene songs about the death which was shut in a barrel by St. Thomas in the "land of India".45 Yima himself always represented the forces of good and was an active protagonist in the cosmic battle with the creatures of darkness and evil.46 He taught people different trades, and established a three- or four-part social structure. Each Iranian ruler was the symbolic successor of Yima and a personification of his good properties.
Likewise in the Slovene "mythological" tradition Kresnik has an entirely positive and benevolent character, while the "ecstatic" type of the Kresniks is ambivalent: beneficent to people from their region, but dangerous and harmful to strangers. This double nature is also illustrated by different Kresniks fighting each other.47
4.
The royal position on Earth was offered to Yima by Ahura Mazda and Yima accepted it together with his ruler's insignia. In the Slovene prose tradition Kresnik is also mentioned as a young man of the ruling lineage.48 In certain Slovene songs, sung on St. John's Day,
42	Christensen, p. 33, 45.
43	Mislav Ježic, Rgvedski himni. Izvori indijske kulture i indoeuropsko nasljedje, Zagreb 1987, p. 82.
44	Christensen, p. 68ss. (cites a translation from Rivayat).
45	Slovenske ljudske pesmi 1-3, Ljubljana 1970-1992, (further SLP), No. 47/1-6; Fran Ilešič, Sitni prilozi. Zatvorena smrt (Vječni Žid), Zbornik za narodni život i običaje južnih Slavena X (U Zagrebu 1905), pp. 7-8; M. Valjavec heard from his mother, either in prose or sung, a tale about an imprisoned death, and summarized it in Novice 1854, p. 208. See also L. Podgoriški, Pripovedka o smerti, Slovenski glasnik 1862, p. 110, and Radonski, Smrt v ječi, Besednik 1871, pp.70-71. International motif AaTh 330.
46	Marijan Mole, Culte, mythe et cosmologie dans l'Iran ancien, Annales du musée Guimet, Bibliotheque d'études, Tome LXIX, PUF 1963, p. 223.
47	Kelemina, p. 39 (2.I-III), 349 (245.X).
48	Idem, p. 35 (1.I), 36 (1.III-IV), 37 (1.V), 339-340 (245. I), etc.
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Kresnik: An Attempt at a Mythological Reconstruction
there is a prince from the ninth land whose name we do not know, but may presume that he was Kresnik (more about the connection of Kresnik with the celebration of St. John's Day in item 22). The most significant one is from Podgorje in Rosenthal in Austria, recorded by Matija Majar before 1851:
In the song a prince who comes riding on his horse chooses one of the girls and takes her with him to the Ninth Land. "A young prince" appears also in a St. John's Day song from Tolmin; he joins the circle around the bonfire celebrating the occasion.50 Even before the end of the 19th century the figure of the St. John's Day prince started to fade. This is evident from three variants of the above-mentioned song which instead of a prince know only a "noble gentleman." We can also notice the process of contamination with other motifs and the changing of mythological contents into a Christian legend.51 According to Ivan Grafenauer, the core of this song was "the marriage of the sun hero Kresnik, the personified Sun, to a human girl celebrating St. John's Day who personified Earth"52, but this explanation would correspond more to a cosmogonic myth than to our context.
It is important to underline the social dimension of celebrating St. John's Day as described in the song above. The three girls singing around St. John's Day fire very clearly belong to three different social (economic) categories. The message of the song is consequently that the ceremony unites them, thus maintaining social stability. Kresnik as a young prince (a representative of all social classes) transcended antagonisms and represented the social microcosmos. This role of social connection was especially stressed in the Iranian Mithra. Some kind of "equality of all before the king" is evident also in this song in which the young prince takes with him the girl who is the poorest of all, but has the prettiest voice.
Kresnik was supposed to be born after "nine years beneath his mother's heart; " he had to be baptized nine times, and he had a birthmark in the shape of horse hooves. He was also the twelfth brother.53 These characteristics are obviously linked to the myth about Zeleni Jurij/Jarylo who is the ninth brother in a Russian ballad, whereas in Croatian songs sung on St. John's Day he has nine brothers, which makes him the tenth child in the family.54 The figure of the tenth brother/sister is one of the most characteristic in Slovene folk tradition. It seems that this is the personification of the year divided into ten months as in the old Roman calendar. The legend of the tenth brother is reminiscent of George's vegetational cycle because of the following elements: departure from home, returning after
49	Karel Štrekelj, Slovenske narodne pesmi 1-4, Ljubljana 1895-1923 (further SNP), No. 297; SLP, No. 57/2; compare also SNP, No. 5151.
50	SNP, No. 300.
51	Grafenauer, p. 60 (24).
52	Idem, p. 61 (25).
53	Kelemina, p.35 (1.I), 40 (2.IV), 341 (245.I); Jožef Pajek, Pravljica o Vurbergu in tamošnjem Krsniku, Popotnik 5 (1884), No. 1, pp. 11-13.
54	Katičic 1989, p. 64.
Device tri kresujejo, na sred vesi kres nitijo: "Bog daj ti dro, oj kralič mwad!
Taku lepu sprepivlajo, da se je daleč šlišawo, daleč v deveto dežawo.49
5.
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Zmago Šmitek
a long sojourn abroad, spending the night in his childhood home, taking part in a wedding (although not his own as is the case with Jurij), and again departure into the world. In the case of the tenth sister the scene of the event is a green field and wheat reaped by twelve sisters (the twelve months of the year?).55 The image of the horse or his symbols (hooves) is characteristic of Zeleni Jurij. Due to all these similarities some authors are of the opinion that the "ninth man" and the "ninth king" are simply a "synonym for Jurij - the ninth brother," a Slavic mythical figure.56 Yet this conclusion would be rather too simplified. If we accept the conclusions about the solar symbolism of St. John's Day (such as rolling fire wheels downhill, shooting burning arrows in the air, running with torches)57 it is extraordinary that Zeleni Jurij and not Kresnik would appear in such a context. Even though they do have numerous similar features, they cannot be viewed as one. More on this in item 22.
6.
The figure of a solar deity was very widespread on Eurasian territory. Indo-European mythology also knew a number of gods who radiated light and were thus tied to the Sun and fire in one way or another. Because of his genealogical relation to the sun (see item 2) Yima acquired the nickname khsaeta (Xsaeta; New Persian -shed), meaning "radiant." In yet other words: his characteristic feature was khvarrnah (xvarrnah; Avest. hvar, Ved. svar) which represented the blessing of the highest god in the form of light. This is probably also the origin of the name of East Slavic Svarog and Svarozic. According to Marija Gimbutas the suffix -og denoted the Scythian origin of this name. The same author assumed that Western Slavs also knew Svarog, justifying this by toponyms in Poland (Swarocin, Swariszew), Bohemia (Tvarozna gora) and in Styria (Twaroch, Twarog in the 14th century).58
The rays of light were represented by the color of gold. Yast (15.15), the youngest of the Yima texts, describes him on the mountain of Hara Berezaiti "all glittering with gold, sitting on a golden throne, on a pillow and a carpet embroidered with gold", offering a sacrifice on the Hukairja mountain, i.e. on the highest peak of the mountain of gods...59 When Yima defied God, khvarrnah came into the possession of Mithra who did not have this characteristic in the early Avesta tradition (comp. Videvdat 19.28-29). Since we will discuss the connection of the Yima cult with the worship of Mithra elsewhere, let us only mention the Greek text of Mithra's mysteries from Egypt (around 300) which praises a handsome, radiant young man in white robes, with flaming locks and a blazing crown on his head.60
55	SNP, No. 310-313, 315. See also: Dušan Ludvik, Izvor desetništva, Slovenski etnograf 1960, pp. 79-90.
56	Compare the figure of the "ninth man" and the "ninth king" in the song Godec pred peklom, SLP I, pp. 258-259 (No. 3-4); Mirjana Mencej, Pomen vode v predstavah starih Slovanov o posmrtnem življenju in šegah ob smrti, M.A. thesis, Univerza v Ljubljani, Filozofska fakulteta, Oddelek za etnologijo in kulturno antropologijo, Ljubljana 1996, p. 56.
57	Kuret 1967, Vol. 2, pp. 84-86, 92-97.
58	Marija Gimbutas, op. cit., p. 748. On place names derived from Tvarog and Trot see Kelemina's review of. J. Peisker, Tvarog, Jungfernsprung, etc. in Etnolog 1926/27, pp. 166-169. One of such toponyms is also the name of the Svarošek farmstead in the Paka area, (Pavle Blaznik, Slovenska Štajerska in jugoslovanski del Koroške do leta 1500, Historična topografija Slovenije II (N-Ž), Slovenska akademija znanosti in umetnosti, Znanstvenoraziskovalni center SAZU, Zgodovinski inštitut Milka Kosa, Maribor 1988, p. 358).
59	Christensen, p. 46.
60	Manfred Clauss, Mithras, Kult und Mysterien, Munchen 1990, p. 15 (this text is part of a collection of what are known as the Paris magic papyruses and was published entirely in: Albrecht Dieterich, Eine Mithrasliturgie, Leipzig 1903, p. 11, 67-68).
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Kresnik: An Attempt at a Mythological Reconstruction
As the first human, Yima was also the first sacrifices and fire was the mediator between earth and sky at each sacrifice. "Earthly fire," on the other hand, was only an ambassador of the "world fire," Yima's father Vivasvant. This points to the close connection of Yima's image with fire and Sun and may also explain relations of this kind concerning Kresnik. By analogy with Yima, we could thus also maintain that Kresnik was never a sun or a moon god, but nevertheless closely connected with the Sun, fire and light.
To honor Yima, ancient Iranians lit fires on mountain peaks (Bundahisn 17.5), while Rig Veda (2.35.11) mentions that during some sacrificial ceremonies fire was lit by young girls (compare with the song, sung on St. John's Day in item 4). Rig Veda notes (3.14.2; 7.11.1-2; 10.98.9) prove that Vedic god of fire Agni was invited to attend sacrifices. Agni also came from the afterworld in the form of a young man with golden hair. According to H. Guntert, Agni could assume the roles of other gods due to his mediator function and his radiant essence.61
7.
Astral mythologization of the ruling gods influenced court ceremonies of their earthly representatives from the era of the Sassanids to the period of the Late Roman Empire.62 One of such elements was also the elevation of the enthroned emperor towards the symbolic "sky." The moving throne and the sky chariot or ship63 were thus placed in such mutual relation. Let us therefore mention a note, written down by Firdausi that lesser gods (devs) carried Yima into the sky on a throne. The two shapes of divine vehicles can also be explained by the supposition that a chariot is used for travelling across the sky while a boat or a ship sails on the watery "lower world."64
According to Iranian mythology, Yima was the owner of a glass chariot built by demons with which he flew from his home to Babylon. The spring equinox New Year's celebration (Nau Ruz) was reminiscent of this event.65 The glass of Yima's chariot represents the afterworld, the same as the "glass mountain" in our fairytales. The god Mithra was also supposed to travel across the sky in a sun chariot pulled by four white horses.66 The image of the riding Mitra became widespread only later. In general it stands that myths about chariot-riding gods are older than those in which gods are portrayed as riders; in the oldest phase the gods themselves assume the image of the horse.67
White was the color of sacred and sacrificial horses for Iranians, Greeks, Romans and Germans. According to our legends Kresnik rides in a golden chariot pulled by four white horses and accompanied by his brother.68 His horses are sometimes named"four lively green horses" which is identical with the "green horse" of Zeleni Jurij.69 A combination of colors - white-grey-green - which can also alternate - is repeated in the cycle of Zeleni Jurij.
61	Güntert, p. 281.
62	H.P.L'Orange, Studies on the iconography of cosmic Kingship in the Ancient World, Institutet for Sammenlignende kulturforskning, Serie A, XXIII, Oslo, etc. 1953, p. 28.
63	Idem, pp. 110-111.
64	Bal Gangadhar Tilak, Arktička pradomovina Veda, Biblioteka Istok-zapad 6, Beograd 1987, p. 259.
65	Comp. reports of Tabari and Biruni in: Christensen, op. cit., p. 86, 99.
66	H.S. Nyberg, Die Religionen des alten Iran, Mitteilungen der vorderasiatisch-aegyptischen Gesellschaft, Bd. 43, Leipzig 1938, p. 60.
67	Joseph Wiesner, Fahrende und reitende Götter, Archiv für Religionswissenschaft 37 (1941/42), p. 36-46.
68	Kelemina, p. 38 (1.VII.), 273 (202.II).
69	Idem, p. 38 (1.VII); SNP, No. 4987. See Monika Kropej's treatise on the connection between the hero and the horse in this volume.
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Zmago Šmitek
This is why the Belarus Jarylo, double of our Zeleni Jurij, is clad in white, riding a white horse. Exchanges of the same colours are also documented in Croatian and Serbian traditions.70 According to Christian explanations the radiant chariot belonged to St.Eliah, while St. George rode on a white horse.71 The latter also kept the properties of the rain master, the promoter of fertility and the protector of farmers.72
8.
Kresnik is armed with a sword, a mace, an iron hammer or an axe, all of which are typical for the image of the thundermaker.73 His brother was also supposed to fight with a golden axe.74 The burning log with which the builder of Vurberk supposedly killed the dragon (see above) is reminiscent of a blazing mace or lightning. The Kresniks were supposed to cause lightning which was not accompanied by thunder, also in the "ecstatic" tradition.75 The farmers of Štajerska believed that stone and copper axes, found while plowing their fields, were the remains of sky lightning and kept them in their homes to protect them from fires.76 According to Trstenjak, thunderbolt is supposed to represent the thundermaker's golden axe thrust into the ground; the one who plows it from the soil and brings it into his house will enjoy happiness and prosperity. Such an axe protected cattle from animal plague and also helped to summon rain.77 People believed that lightning penetrates so deeply into the ground that it would take seven years to reach it, but after seven years it surfaces by itself.78 As a "shooter", Kresnik (originally the thrower of lightning) has gained the status of a magic hunter with a gun (Jurij with a gun, Lampret, etc.) According to people's beliefs, even St. Eliah used a gun.79
9.
Ancient Iranians believed that Yama's home was in paradise in the center of the world, in the land of Airjanam vaejah (Pahl. Eran vej). This was also the country of important religious events and a mythological homeland of the Iranians. Souls of deserving ancestors lived here in blessed abundance. After the example of Mesopotomia, Iranian and Indian cosmologies located paradise north of their own countries. The Bible also stated that paradise was close to the sources of the Euphrates and the Tigris, therefore north or northeast of Mesopotamia. From the point of view of the area of Slovene settlement, it was entirely in accordance with this belief that Kresnik's "home" was in the Land of the Rising Sun, in the East.80 This land was also called the Ninth Land because it lay "beyond nine black mountains."81 In Russian folklore, the "black mountain" was replaced by the "dark
70	Katičic 1990, p. 64.
71	Kelemina, p. 275 (203).
72	Franz Cumont, St. George and Mithra "The Cattle-Thief," The Journal of Roman Studies 27 (1937), pp. 63-71.
73	Kelemina, p. 35 (1.I), 38 (1.VII), 342 (245.II-III).
74	Idem, p. 273 (202.II).
75	Idem, p. 39 (2.II-III), 40-41 (3.I-III).
76	Stanko Pahič, Arheološki spomeniki v Slovenskih goricah, Ptujski zbornik II, Ptuj 1962, p. 188, 199 (note 8); Kelemina, p. 396 (note 202).
77	Davorin Trstenjak, O gromski sekiri, imenovani "Taran -balta-sekira," Novice 1859, No. 1, p. 2; Kelemina, p. 273 (202.I).
78	Henrik Rešek, Nekaj o besedi "Paukon, Paukonje," Novice 1860, p. 27.
79	Kelemina, p. 72 (21), 75-78 (24), 275 (203).
80	Idem, p. 36 (1.IV).
81	SNP, No. 1095.
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Kresnik: An Attempt at a Mythological Reconstruction
forest", which is not very different, especially if the original meaning denoted the "wooded mountains."82 Since people's notion of creation was the same as this one it is not surprising that Zeleni Jurij encountered a sea, a mountain, a forest and a field during his journey from the afterworld.
10.
According to some data, Kresnik's castle was supposed to be "far away in the Land of the Rising Sun" on a Golden or a Glass Mountain.83 This is not the only time this mountain is mentioned in Slovene oral tradition. It is described in a number of older and more recent records (on the Golden Bird, on Living Water, on the Golden-Haired Devil, etc.), most of which could be ranked within the AaTh 460 A, 460 B, and 461 motif groups. This is the archetypal "world mountain" which is present in myths and fairy-tales of numerous ethnic groups in the form of a glimmering, crystal, diamond, golden, silver, marble mountain, etc. It usually consists of three parts. Its peak is the home of the chosen, while other deceased go to the underground world. In some Slovene songs sung on St. George's Day, the mythological scene is set in a fenced area or garden with the world tree which, like the mountain, is the symbol of the cosmic axis.84
The paradise of the Iranian god Yima also stood in the center of the world, on the "world mountain." Originally it was a fenced-in garden (Avest. pairidaeza, Gr. paradeisos, Lat. paradisus), later a cave beneath the very top of the mountain. It was believed that Yima built an underground shelter (var) after the instructions of the god Ahura Mazda in order to keep - like biblical Noah - people, animals and plants from freezing cold and from sun storms. Paradise on top of the "world mountain" or in a cave inside it are but two forms of the same idea, and it is no coincidence that the cave (like the mountain) was divided into three floors (Vendidad 2.30). Later on, the owner of the palace on top of the highest mountain was supposed to be Mithra as well. It was built for him by the supreme gods Ahura Mazda and Amaša Spanta. Like Yima before him, Mithra was also known as the "Lord of All Lands."85 There are also obvious parallels between the paradise of Yima and Greek Olympus and Elysium. The master of the latter was the fair-haired (goldenhaired ?) youth Rhadamantys.
11.
The record of Kresnik's dwelling on the Golden Mountain mentions golden apples which grow on the mountain and which bring immortality.86 One of the Slovene folk songs describes such a golden apple-tree, but already in the Christian heavenly realm :
V našem polji zlata jablan, pod jablanko zlata miza, okol mize zlati stoli, na njih sedi Bog, Marija.87
82	Comp. Katičic 1989, pp. 59-60.
83	Josip Pajek, Črtice iz duševnega žitka Štajerskih Slovencev, V Ljubljani 1884, p. 177; Kelemina, p. 36 (1.IV).
84	Katičic 1987, pp. 23-43.
85	Mircea Eliade, Zgodovina religioznih verovanj in idej I, Ljubljana 1996, p. 210.
86	Kelemina, pp. 36-37 (1.IV).
87	SNP, No. 5183.
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The three golden apples of the song (and in the SNP, No. 5189 variant) bring fertility to the village, to fields and vineyards, which is also consistent with Kresnik's main function.88 According to paradise iconography, there should be a source of water ("the well of life") in direct proximity to the tree. In some of the Kresnik stories, this role has been assumed by the "castle spring" or a well. Identical notions of trees and wells in the dwelling of the deceased were also present in Slovene tradition concerning Attila's grave.89 Such stereotypic images prevailed also in other archaic cultures, from India and the Near East to Europe. In front of old German Wallhalla (the palace of the dead), for instance, there grew trees with golden leaves.
12.
If the records are to be believed, Kresnik was a hunter and a stockbreeder.90 This is another trait that links him with Yima, whose nickname was hvatva, "owner of good herds." Yima represented a "good shepherd" (Vendidad 11.21) and was portrayed on Indian Parsi ivory sculptures sitting, with his legs crossed, on top of the world mountain. With one arm supporting his head, as if dreaming or sleeping, he holds a lamb in his lap while another lamb leans on his shoulder.91 It is interesting that a cross-legged position represented the pondering posture of a judge even in European Medieval symbolism, and appears in the ceremony of the throning of the Carinthian dukes.92 South Slavs knew Jurij as a (sleeping) shepherd grazing a herd of sheep.93
Like Yima's other numerous features, Mithra later assumed the reputation of the "good shepherd." He was believed to be a landlord and protector of pastures, a creature with a thousand ears and a thousand eyes who gazes from above far into all corners of the world, never sleeping, always watchful (Yašt 10.4.12-13). Some details in this text denote that it originated among settled cattle breeders of Eastern Iran.94 Some of the late antique Roman reliefs portray Mithra also as a hunter with a dog.95
The "lord of pastures" was linked (on Slovene territory as well) to the notion of the afterworld as a pasture and the deceased as sheep.96 The figure of the "good shepherd" surrounded with his herd or carrying a lamb on his shoulders was taken over from Mithraism by early Christian art.
13.
A record preserved in Bundahišn (19.33) states that in ancient Iran the dog (besides the rooster) had the function of the protector from evil deeds of demons and enemies.97 It
88	Katičic analyzed Slavic parallels (Katičic 1989, pp. 77-82, 92) and linked them also with the symbolism of lightning and thunder.
89	Zmago Šmitek, Primerjalni vidiki slovenskega ljudskega izročila o Atili, Traditiones 1994, pp. 196-197.
90	Kelemina, p. 35 (1.I), 38 (1.VII), 341 (245.II).
91	Josef Strzygowski, Das indogermanische Ahnenerbe des deutschen Volkes und die Kunstgeschichte der Zukunft, Wien 1941, pp. 67-69 (ill. 40, 41).
92	Bogo Grafenauer, Ustoličevanje koroških vojvod in država karantanskih Slovencev, Slovenska akademija znanosti in umetnosti, Razred za zgodovinske in družbene vede, Dela 7, Ljubljana 1952, pp. 288-289; Andrej Pleterski, Mitska stvarnost koroških knežjih kamnov, Zgodovinski časopis 1996, No. 4, p. 513.
93	Katičic 1987, 23-43.
94	Nyberg, op. cit., p. 53, 55.
95	Fritz Saxl, Mithras. Typengeschichtliche Untersuchungen, Berlin 1931, p. 13, ill. 37.
96	Mirjam Mencej, Duša umrlega kot žival pri starih Slovanih, Anthropos 1995, No. 5-6, p. 207.
97	Christensen, p. 94-95.
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Kresnik: An Attempt at a Mythological Reconstruction
is true that the dog is not specifically mentioned in Iranian holy books as Yima's partner, but in Indian Vedic mythology two four-eyed dogs guard the path to the palace of god Yama, judge of the dead (Rig Veda 10.14.10). It was believed that Kresnik also had a four-eyed dog who was his helper and who appeared in several episodes of his "mythological" cycle.98 In Slovenia this was linked to the belief that a farming dog with white or brown spots above his eyes (thus with "four eyes") is capable of sensing death and can announce its arrival.99 According to east and south Slavic folklore, hunting dogs or wolves accompany St. George who resembles Kresnik, or some other mythical/saintly figure.100
14.
It was believed that Kresnik had a brother Trot, but records do not reveal much about him beyond the fact that he accompanied Kresnik in a golden chariot and helped him in his fights.101 According to Fran Ramovš the name Trot originates from trotiti - "to strike, to hit". Trot - "tinder, amadou", and Latv. truts - "grindstone" from the pre-Balt. *trantas, were believed to belong to the same etymological group.102 The name Trot thus carries a meaning similar to Kresnik's name. The existence of this name in Slovenia is confirmed by toponyms such as Trot, Trotkova, Trotkovski vrh, Trotovnik, Trotovškov dol.103
The Slovene "Čarostrelec", a figure similar or equal to Kresnik, also had a brother.104 Yet it is unclear whether Kresnik and his brother had the same father, or if their characters were similar or different, for all these possibilities are present in the mythologies of Indo-European peoples.105 A note that Kresnik was simultaneously a hunter and a shepherd (see item 12) is somewhat reminiscent of the two different functions of the twins and of two different activities, the first of which is linked with arms and aggressivness, the second with quiet and patient work. Contrasts can cause a fight between the twins and a violent death of one of them. In the case of Slovene folklore, Kresnik fights with "George with a gun", or a magic shooter, and hunter Lampret fights his agricultural brother Perko.106
There are numerous foreign instances of such dioscurism. Let us mention as parallels only the "combative" relationship between the Iranian Ohrmazd and Ahriman, and the peaceful coexistence of Yima with his half-brother Manus, or Yama with Manu. Similarly, the brother of the Greek Lord of Paradise, Rhadamantys, was known as Minos (compare with item 10). It was believed that Manus as well as Minos looked after laws and regulations; the latter also became judge of the dead. In India, Yama was often equalled to, or mistaken
98	Kelemina, p. 38 (1.VII), 342 (245.II), 345 (245.IV), 346 (245.V).
99	Pajek, p. 137.
100Katičic 1990, pp. 79-86.
'"'Kelemina, p. 38 (1. VIII), 273 (202.II).
102Fran Ramovš, Sprachliche Miszellen aus dem Slovenischen. Der steinerne Himmel bei den Slaven, Archiv fur slavische Philologie 36 (1916), pp. 457-460; idem, Jezikovni drobci iz slovenščine (Kamnito nebo pri Slovanih), in: Fran Ramovš, Zbrano delo,Vol. 1, Slovenska akademija znanosti in umetnosti, Razred za filološke in literarne vede, Dela 23/I, Inštitut za slovenski jezik 11/I, Ljubljana 1971, pp. 275-277.
103Atlas Slovenije, Ljubljana 1996, p. 421; Krajevni leksikon Dravske banovine, Ljubljana 1937, p. 437.
104Kelemina, pp. 76-78 (24).
105Donald Ward, The Divine Twins. An Indo-European Myth in Germanic Tradition, Folklore Studies 19, Univ. of California Press, Berkeley - Los Angeles 1968, pp. 12-14; Leo Sternberg, Der antike Zwillingskult im Lichte der Ethnologie, Zeitschrift für Ethnologie 61 (1929), pp. 156-157.
106Kelemina, p. 72 (21), 78 (24). In a variant on p. 77 (24), Lampret's victim is "the Ljubljana count."
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Zmago Šmitek
for, his half-brother Manu.107 It was consequently possible to equate one with another, and these pairs gradually blended into a single person.
The Slovene tradition about the "mythological" Kresnik also mentions his sister Deva or Vesina.108 There is only one instance (from Bela krajina) of an indirect indication that she is also his twin.109. Writings from Central Iran (the Bundahisn, etc., but not the Avesta) mention Yima's twin sister Yimak. According to Indian Rig Veda (10.10) there was an analoguous pair named Yama/Yami. Both female figures were rather colourless and, according to H. Guntert, reflect the belief that the first man was an offspring of a hermaphrodite cosmic pre-being.110 In relation to this, Herodot's mention of the female side of Mithra (I., 131) might be rather vague. The Baltic pair Jumis/Jumala has more pronounced vegetational characteristics (connection to the underground, mud, forest, a horse image...), assuming Perun's features only on occasion.111
15.
The Indian Yami tried to persuade Yama to commit incest, but her brother declined (Rig Veda 10.10). Yet this episode has no connection with any actual custom of marrying a relative among ancient Indo-Europeans and can be explained only as a memory of the mythological hermaphrodite Pre-being from whom the world originated. Besides Yima and Yama, other "twins" were also Iranian Gayomart, Zurvan, Ohrmazd and their European parallels Tuisto, Ymir, Tveggi. Yima and Yama thus appear in a pair with their mythological female companions when the aspect of fertility connected to the cosmic Pre-being is concerned. This role was taken over from Yima by his close relative Manus whose body "gave birth" to his daughter Ida with whom he engendered mankind. There is also a tradition maintaining that Ida was neither male nor female.112
It is a fact that in some Indian mythological variants Yama's sister has the status of his spouse. It is therefore important that a mention of Kresnik's wife (Deva, Alencica, Vesina, Zora, Marjetica) is also present in his "mythological" tradition.113 One case clearly states that the maiden he had saved became his sweetheart.114 Such notions about the original couple were also present in a part of the territory along Slovene-Croatian border. Partly they are linked to the St. John's Day celebration, but much more recognizable are elements of the Zeleni Jurij ceremonies. Songs sung in Adlesici and Tribuce in Bela krajina describe a bride awaiting the arrival of a mythological hero from the afterworld; sometimes she sets out on a difficult journey to meet him on her own.115 Some Zeleni Jurij songs mention the bride as sister Mara whom Jurij marries on his journey from the land of the dead into the
107Pandurang Vaman Kane, History of Dharmasastra, Vol. 1, Part 1, Poona 1968, pp. 522-528.
108Kelemina, p. 36 (1.111), 342 (245.III).
109SNP, No. 5014; Belaj 1990, p. 72.
110Guntert, pp. 318-332.
111Belaj 1990, pp. 67-68.
112Bruce Lincoln, Myth, cosmos and society. Indo-european themes of creation and destruction, Cambridge Mass.-
London, Harvard Univ. Press 1968, p. 132; Guntert, op. cit., pp. 336-340, 347.
113Kelemina, p. 36 (1.111), 38 (1.IX-XI), 342 (245.111), 346 (245.VI), 347 (245.VIII), 349 (245.X).
114Idem, p. 36 (1.III).
115SNP, No. 1095, 5080; Ivan Šašelj, Bisernice iz belokranjskega narodnega zaklada II., Ljubljana 1909, p. 11 (No. 1), 16 (No. 6); Mirjam Mencej, Gora v slovenskih ljudskih pesmih, Glasnik Slovenskega etnološkega društva 1996, No. 1, p. 13.
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Kresnik: An Attempt at a Mythological Reconstruction
world of humans.116 It is possible to discover allusions to incest in some Croatian songs of this type in the "kaj" dialect.117
16.
According to some explanations, the name of the demon Vrtra with whom the god Indra fought in the Vedic tradition, denotes "the one who holds on to something, or who covers or veils something."118 The characteristic of demons to appropriate something at all times is evident also when our "mythological" Kresnik is concerned. A demon steals his herd or something else that belongs to Kresnik, and locks it in a deep cave.119 The Snake Queen or Trdoglav (also Krutoglav or Potoglav) abduct his sister or his wife and lock her in their dwellings underground or under water.120 Trdoglav and the abducted wife appear in Slovene folk songs (Trdoglav and Marjetica) describing the demon's castle which is golden inside and covered with moss on the outside. This dwelling, which is similar to a snake den underground, has no windows or doors save a single crevice. The same motif is also recognizable in songs about Alenčica of Ribnica and about the Shooter and the Bewitched Young Lady, even though their mythological core has already been depleted. The demonic abductor in them has been changed into a Turkish man, while the rescuer is "a young count" or the Shooter; but the latter still possesses the recognizable traits of the thundermaker - the thrower of lightnings.121
The German settlers in the slovene Kočevje area sung ballads about a young girl named "die schöne Meererin" who is saved from captivity by her brother and her husband. France Marolt tried to reject the explanation of some German experts that this is a popular version of the story from the Middle High German epic Kudrun. Marolt wanted to prove that the ballad's content is linked to the Slovene folk tradition. It was presumed that ballads about the Primorka/Meererin originated from the beginning of the 14th century and contained much older elements as well. The two men who take the girl home by ship could be identified as divine twins from Indo-European mythology.122
17.
On the basis of different Indo-European variants, Bruce Lincoln reconstructed the structure of a myth in which Kresnik can be incorporated as well: it concerns the fight of the hero with a three-headed snake which at first takes away his cattle (or those belonging to someone close to the hero). The hero, fortified by an intoxicating potion, and helped by the god of war, defeats the monster in the second encounter and takes back its prey.123 Lincoln tried to link this myth to genuine social circumstances within cattle-breeding
116Katičic 1989, pp. 58-70.
117SNP, No. 5014-5018.
118Güntert, p. 21.
119Kelemina. p. 35 (1.I); 341-342 (245.II).
120Idem, p. 36 (1.III), 51-53 (8.I), 71 (18), 245-246 (179), 346-347 (245.VI).
121SLP, No. 21/1-6; SNP, No. 86-88; Mihajlov, p. 141, note 27.
122Adolf Hauffen, Die deutsche Sprachinsel Gottschee, Quellen und Forschungen zur Geschichte, Literatur und Sprache Österreichs und seiner Kronländer 3, Graz 1895, pp. 404-405; France Marolt, Slovenske prvine v kočevski ljudski pesmi, Kočevski zbornik, Ljubljana 1939, p. 311; Ward, p. 86-87.
123Bruce Lincoln, Priests, warriors and cattle. A study in the ecology of religions, Berkeley - Los Angeles - London: Univ. of California Press 1981, pp. 103-124.
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Zmago Šmitek
communities in which the wish to own cattle became synonymous with conflict or fighting (compare Rig Veda 3.16, 3.31, 3.53, 4.22, 6.17, 8.75).124
Yima's greatest opponent in Ancient Iranian mythology was Azhi Dahaka (Dahak, later Zohak). According to sources from Pahlavi literature, Dahak was a demon and a sorcerer, and in the Bundahisn his snake nature was indicated by the two snakes he carried on his shoulders.125 Dahak was at first linked to a location in Eastern Iran and later with Babylon.126 The "Babylonian Snake Queen" and the snake "King Babylon" might have been preserved in our Kresnik tradition under the influence of medieval literature (to cite an example, the Ancient Russian text Skazanie o Vavilone), but their older foundations should also not be overlooked.127
When the "Snake queen" is mentioned in our fairy-tales, the question arises as to whether the principal Old Slavic chthonic being was female. This is namely indicated by the syntagm : female ruler of the underground - water - fertility - death. The Scythian underground goddess (Herodot IV., 8 ff.) was likewise half woman, half snake.128
18.
Opponents trained in magical skills, who turn into different animals during their fights, appeared especially frequently in the traditions of shamanistic cultures, but were also known in the Old Indo-European territory. The duel of Kresnik in the form of an animal is described in Kresnik's "mythological" as well as "ecstatic" tradition.129 In his "mythological" tradition the two rivals appear as two boars or two bulls.130 The fight of two animals (i.e. rams) is a characteristic of the afterworld in Slovene fairy-tales.131 This is yet another instance of an accordance with Indian and Iranian mythology : the souls of the righteous deceased (pitris, fravashi) are involved in fights with demons and take part in cosmic and meteorological phenomena such as the circulation of the sun, the moon and stars, the appearance of dawn and the flowing of waters. (Yast 13.57; Rig Veda 7.76.4, 10.68.11, 10.107.1). This is why these deceased appear in the same symbolic roles as the two main protagonists of the cosmic fight. The fight of two oxen on St. John's Day is also incorporated into a Slovene folk-tale about Peter Klepec, which indirectly links it to Kresnik.132 And since we insist on comparing Kresnik to Yima/Yama let us also mention that the Indian Yama rode a black bull or assumed a buffalo image himself.
124Idem, p. 131.
125Ehsan Yarshater (ed.), The Cambridge History of Iran, Vol. 3(1), Cambridge Univ. Press 1983, p. 427.
126Idem, p. 426.
127M.V. Naboko, Skazanie o Vavilone i novaja zapis' epičeskoj pesni o Zmee Tugarine, Živaja starina 1994, No. 4, pp. 9-10; Kelemina, p. 35 (1.I), 346 (245.V).
128Wilhelm Brandenstein, Die Ursprungssagen der Skythen, Wiener Zeitschrift für die Kunde des Morgenlandes 1953, For European and Slovene parallels between underground and fertility see treatise by the same author, Die Göttin von Dupljaja, Carinthia I, 1956, Heft 3-4, pp. 422-423.
12'Boškovič-Stulli 1960, p. 280.
130Kelemina, p. 346 (245.V), 347 (245.VII). Such an example from the other part of Europe is a fight of two bulls ot two "twin" magicians in Irish epic Tain Bo Cüalnge (4854-4920) and in one of the prologues to this epic, De Chophur in da Muccida (Lincoln, 1981, pp. 87-93).
131Vinko Möderndorfer, Narodne pripovedke iz Mežiške doline, Ljubljana 1924, pp. 113-115 (Zaklete duše).
132Kelemina, p. 373 (259.I).
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Kresnik: An Attempt at a Mythological Reconstruction
19.
Kresnik fought in three spheres of the world : in the sky (in the air, in clouds), on earth (on a mountain, etc.), and in underground (in a cave, under the sea). This points to his sovereignity over the whole world and to his cosmological character. The sky, the earth and water are also three elements of the macrocosmos; the fourth element, fire, is represented by Kresnik himself. Likewise, in Rig Veda (1.95.3) fire (Agni) permeates the ocean, the sky and heavens.
20.
Apart from the above-mentioned Vrtra demon, Vala was Indra's opponent as well. Indra saved a herd of cows of the Morning Dawn from Vala's underground cave by bursting a rocky door.133 There is an analogous story in Kresnik's cycle, too; in it F. Ramovs saw a modification of the Indoeuropean myth about a hero who shatters the sky arch with a rocky hammer, enabling light and rain to reach the earth.134 Indian mythology contains episodes in which Indra saves an abducted woman from the demon's captivity, or opens the path to water current (rain) held back by the demon. According to some explanations, the herd which was set free by Indra, is a metaphor for rain clouds, just as the roaring waters in Rig Veda (1.32.2; 4.26.2) have been compared to the trampling and mooing of a herd of cattle. Followers of the Old Indian exegetical school of Nairukta had already explained the Vedic myths as a triumph of light over darkness, or a liberation of sun rays and water from dark clouds. Bal Gangadhar Tilak added to these Indian and later European interpretations maintaining that in Vedic literature "water" often denotes a river from heaven which circles from gathering-places in the "lower world" to the sky and stimulates the movement of celestial bodies. Vrtra stopped this circular current, which could be fatal for the activity of the universe. According to this explanation, mountains which had been shattered by heavenly God lay on the border between the upper and the lower world. After the demon's defeat the sun, the dawn and cows returned along with the water current.135
The sun god of the Eastern Slavs was linked with water as well as with cattle. A herd of cattle denoted general wealth. This is the origin of the fairy-tale motif of the snake guarding water = herd = treasure. In the Slovene folk tradition snakes also guard the magic golden apple which assures wealth for its owner (compare with item 11).136
21.
Based on Vedic texts (Rig Veda), Alfred Hillebrandt reconstructed the myth about a hero who defeats a demon resembling a dragon and opens the inside of mountains from which captive rivers and lakes pour out. The hero was supposed to be the spring god, the sun god, and the dragon a "winter giant."137 Hillebrandt's conclusions were partly revised by H. Guntert whose opinion was that the chthonic demon in a way restrains waters (rain,
133Güntert, p. 21.
134Kelemina, p. 35 (1.I); Ramovš 1971, pp. 275-277.
135Tilak, p. 253.
136Kelemina, p. 136 (86.I).
137Alfred Hillebrandt, Vedische Mythologie III., Breslau 1902, p. 173 f. D.Trstenjak also explained the story of the Vurberk Kresnik as a "fight od the son god with a winter or thunder dragon who was the master of the godess of earth." (Trstenjak 1870, p. 22).
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Zmago Šmitek
etc.) which are released after his defeat.138 Such a water-restraining demon in Old Iranian tradition was Apaosha. After he was defeated by the star hero Tishtrya, winds, rain clouds and "cloud-forming fog" appeared (Yast 8.29 f .).139 The Snake demon Dahak was probably also linked with the idea of destructive drought (Yasna 9.8; Yast 14.10). 140 Traces of these myths are still recognizable in Mithraism: one of late Antique Roman reliefs depicts Mithra shooting an arrow into a cloud, releasing a stream of water which will water the earth.141
A snake lying on a water spring is a very frequent fairy-tale motif in Europe as well.142 Valvasor's resume of the tale about a large cave on a mountain above Kranj (Slovenia), from which rain, snow, thunder and hail erupt if anyone throws a stone into it, probably has the same background.143 It is significant that also in the story about the Vurberk Kresnik, a snake restrains the Drava river stream with its body.144 Because of this connection with water, Kresnik "throws the defeated snake into the castle spring (where it had come from) and chains it with a huge chain to a cliff where it remains even nowadays."145 Let us stress yet another detail: chaining a demon (snake) to a wall is an old mythological motif known in Iran as well. Demon Dahak was likewise chained and imprisoned in the Demavend mountain.146
22.
The connection between field fertility and water was especially stressed in St. John's Day customs. Tiragan, a holiday in Old Iran (around June 18, therefore close to our St. John's Day) on which participants poured water on each other was also called "the day of water."147 The same act was performed around the fire on St. John's Eve in some places in Slovenia.148 Christianity preserved the connection of this holiday with water in the person of John the Baptist. Like rain, golden wheat falling from the sky after Kresnik's victory is a sign of fertility as well. "Golden wheat" is also present in Croatian folk poetry in relation to fertility rites.149 According to Belarus folk tradition it is St. George who is linked to the wheat harvest.150
It is evident from the above-mentioned comparisons that elements of the original Indo-European myth about a hero's fight with a snake demon and a myth about the yearly return and marriage of the god of vegetation and fertility are intertwined in Kresnik's "mythological" cycle (Jarilo/Zeleni Jurij). Along with all that has been said, allusions to Kresnik's (incestuous) marriage, his wedding, his infidelity and violent death all recall the
138Güntert, pp. 20-21.
"'Idem, p. 22.
140Yarshater, p. 426.
141Saxl, p. 76, ill. 167.
142Stith Thompson, Motif-Index of Folk Literature, Vol. 1, FF Communications 106, Helsinki 1932, No. H 1292,
1. s. (Why Is the Well not Working?).
143Johann Weichard Valvasor, Die Ehre dess Hertzogtums Crain, Laybach 1689, Vol. 2, p. 164.
144Kelemina, p. 342 (245.111), 350 (245X).
145Idem, p. 343 (245.111).
146Yarshater, p. 426.
147Waldemar Liungman, Traditionswanderungen Euphrat-Rhein, Teil II, FF Communications 119, Helsinki 1938, p. 505.
148Niko Kuret, Praznično leto Slovencev, Vol. 2, Celje 1967, pp. 108-109.
149Vinko Žganec, Hrvatske narodne popijevke iz Koprivnice i okoline, Zagreb 1962, p. 44, (63); Katičič 1989, p. 66.
150Katičič 1989, pp. 57-58.
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Kresnik: An Attempt at a Mythological Reconstruction
image of Zeleni Jurij.151 Jurij, on the other hand, differs from Kresnik in that he can be represented in processions by a young woman152, that he is periodically born and dies, that he comes from the underground (the home of the water demon), and therefore has a bodily contact with water. Ivanov and Toporov tie Jurij/Jarilo to Balto-Slavic Jarovit, god of fertility, at first worshipped on April 15.153 Jarilo was connected with seasonal agricultural activities and was therefore not part of the "original" cult. Furthermore, his personality was not as clearly defined as the personalities of some other Slavic deities.154 St. George's Day, which was moved to April 23 or 24 after calendar corrections, occurs two whole months before St. John's Day (June 24), but this is the period from sowing time to harvest and a time of rapid growth of vegetation. This is probably why celebrations of St. George's Day and St. John's Eve, carol-singing and oral traditions connected to them, gradually became uniform. Yet it is interesting that in northwest Croatia, the area where Zeleni Jurij was celebrated, does not correspond to the area where St. George's fires were lit. The only exception is the borderline area between both.155 Does this signify that originally the two customs were separated?
Why was the mythological figure of Kresnik so well preserved in the Slovene collective memory ? There are probably at least two answers : according to Marijan Mole, Kresnik's "model", Yima played the central role in Iranian theological speculations.156 He left his traces in the vast territory of Eurasia from Scandinavia to the cattle-breeding Turkic tribes of southern Siberia and the Kafirs in Hindukush. A rich religious and folklore tradition was created around him. Even after Zoroaster's religious reform, when Yima lost his privileged position in Iranian religion, his memory was still alive in the form or under protection of gods such as Mithra. The idea of Yima as a "divine man" acquired its expression in Hellenistic speculations and in Christian gnosis.
The second reason for the persistence of the memory of Yima/ Kresnik was the interpretative and cosmological character of his mythology. It answered questions about the origin of mankind and the last dwelling of the deceased, about the yearly cycle, the origin of rain and fertility, and linked it all to the function of Fire and Sun. Yima protected mankind from the forces of evil, was a cultural hero and the first king. It was believed that the cosmological aspect of the Iranian Yima as well as the Indian Yama and Scandinavian Ymir lay in the myth about the origin of the world from his dismembered body.157 There is no (more) trace of this original meaning in our Kresnik's cycle, but it is still contained in two Slovene stories about the creation, in which earth, sun, moon and stars originate from god's gaze, man from a drop of god's perspiration, and fertile soil from god's body.158 A remark about Kresnik's twin brother might indicate that he used to be the hero of such a
151 Kelemina, p. 36 (1.III), 37 (1.V), 38 (1.XI), 72(21), 78 (24), 347-348 (245.VIII), 349 (245.X).
152France Marolt, Slovenske narodoslovne študije, Drugi zvezek : Tri obredja iz Bele krajine, Ljubljana 1936, p. 8.
153Ivanov, Toporov, p. 184.
154Idem, p. 215.
155Višnja Huzjak, Zeleni Juraj, Publikacije etnološkog seminara Filozofskog fakulteta sveučilišta u Zagrebu 2, Zagreb 1957, p. 36.
156H. Willman - Grabowska, M. Mole, Legenda o Yamie w 2. fargardzie Vendidad i poczatki dualizmu iranskiego, Odbicie ze Sprawozdan Polskiej Akademii Umiej, Tom XLIX (1948), No.7, pp. 355-359. B.Lincoln, who writes that people and not gods played key roles in Indo-European and Indo-Iranian myths, agrees with this conclusion as well (Lincoln 1981, p. 60).
157Lincoln 1981, p. 80.
158Kelemina, p. 281 (206.I-II).
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Zmago Šmitek
cosmogonic myth as well. If there were more data available on the subject it would be possible to ascertain if this links him to mythological pairs such as the Roman Romulus and Remus, or the Germanic Tuisto and Mannus.
Parallels between Yima and Kresnik undoubtedly open the question of Slovene ethnogenesis. In principle Kresnik could also be the result of an independent derivation from Proto-Indo-European heritage, but words for important religious notions in Slovene, which were borrowed from Iranian, indicate direct cultural influences from that area. There are hypotheses about a close connection between Scytho-Iranian tribes along the Volga river and Eastern Iran, the homeland of the Avesta.'59 Max Vasmer established that the etymology of numerous place names in southern Russia was Iranian. According to him the predominantly Iranian population settled the southern Russian steppes at least between the 8th century B.C. and the 4th century A.D. Aside from some Slavic tribes there were also other mediators and transmitters of Iranian cultural elements, i.e. Scythians, Sarmathians, Alans, and Eastern Goths.'60 According to Herodotus (IV., 5-7), the Scythians were familiar with the myth about the first man, son of supreme God and the first king, all of which clearly indicates Yima. Furthermore, we should not neglect the role of the Avars, a mongol people, which crossed eastern Iran, and with whom a larger group of Slavs migrated to our part of Europe.
The relationship of Kresnik with the Old Slavic pantheon, and the degree to which he can be identified with the thundermaker - as is assumed by N. Mikhailov - is a question which would need an analysis of its own. We can only stress that in the earlier stage of the myth about the fight with the snake demon, the hero and the god of war appear as two separate entities. In later phases, however, their individual characteristics merge : during the expansion of his cult, the god Mithra, for instance, took over numerous functions and honorary titles of the "earthly" Yima, and at the same time acquired the character of war god and thundermaker.'6' His power spread to earth and to the sky, yet his home was the sky. It seems that he became equal to, or even superior to, the sun god, although this relationship remains somewhat unclear.'62 It is but a step from here to the Old Slavic Perun or Svetovit. In view of the Midsummer Eve fire ceremonies, the main function of the Slovene Kresnik was tied to the aspect of fertility, although he did have other functions as well. From analogies with Yima, but also with Slavic Zeleni Jurij/ Jarilo, Kresnik was believed to be the son of the supreme god - the thundermaker, his sister and wife the thundermaker's daughter.'63 Thundermaker's and Kresnik's properties, of course, are very similar because of this very relationship. If Kresnik (similar as Yima) was the first king, his role was then tri-functional, as is usual in Indo-European mythology. In the case of Ireland a mythological king looked after: '. the maintenance of religion and justice; 2. a victorious military leadership in fights with neighbours and for maintaining peace at home; 3. fertility of the people, cattle and fields.'64 It was in this multilayered role of the ruler (not only a fertility
'59Hermann Jacobsohn, Arier und Ugrofinnen, Göttingen 1922, pp. 242-244.
'60Max Vasmer, Untersuchungen über die ältesten Wohnsitze der Slaven I. Die Iranier in Südrussland,
Veröffentlichungen des baltischen und slavischen Instituts an der Universität Leipzig, Leipzig '923, pp. 58-59. '6'Lincoln '98', p. 55. '62Eliade, Book 2, p. '94. '63Katicic '987, pp. 36-38.
'64William Sayers, Tripartition in Early Ireland: Cosmic or Social Structure?, in: Edgar C. Polomé (ed.), Indo-
European Religion after Dumézil, Journal of Indo-European Studies Monograph Series, No. '6, Washington
D.C. '996, p.'57.
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Kresnik: An Attempt at a Mythological Reconstruction
symbol) that Kresnik's myth could have played a role when the Carinthian dukes were enthroned.165
The figure of the "mythological" Kresnik is undoubtedly closely connected to Zeleni Jurij and to processions celebrating him as are (were) known in northwestern (mostly the kaj dialect) part of Croatia, in Bela krajina, Dolenjska, Štajerska and Koroška. Despite some important common traits, the St. George's Day songs of Štajerska and Koroška differ considerably from those in Croatia and Bela krajina.166 France Marolt compared Zeleni Jurij with the Thracian/Greek Dionysus, while Vitomir Belaj found parallels in the early agrarian cultures of the Near East.167 The Swedish researcher of European yearly customs, Waldemar Liungman, tied this ceremony to Mithra's cult, which would also correspond to the "Iranian" origin of Kresnik.168 Yet there are still a number of unclear points concerning these Oriental influences. There are many open questions pertaining to the contents and significance of Mithra's cult in the Roman Empire. At the turn of the 2nd, and at the beginning of the 3rd century at the latest, Mithraism - which had been widespread mostly in cities - started to be practiced also by country people. This is proved by the concentration of Mithra's temples in the Rhineland and also in some places in the area of ex-Yugoslavia.169 Since the cult of Mithra preserved an important part of the Old Iranian pantheon, Yima was still denoted as the first man for members of such Mithraistic communities.170 Yet it is doubtful that institutionalized western Mithraism should leave such visible traces in Slovene folk beliefs. The very practice of celebrating St. John's Eve, was contrary to the ceremonies, worshipping Mithra, which were forbidden to women, It is more believable that celebrating St. John's Eve and believing in Kresnik denoted a form of "folk" religion introduced from the East.
Through the mediation of the Kresnik tradition, the pagan ancestors of the Slovenes were familiar with ideas about the "good shepherd," the paradise, first human parents, the devil in the form of a dragon or a snake, etc. All of this undoubtedly made the process of Christianization considerably easier. The question whether these similarities were the result of the syncretism of solar mythologies derived from Hellenistic/Oriental cultures or a product of the direct influences of Iranian tradition on neighbouring peoples, on Judaism and early Christianity, is the subject of many learned discussions. These were by all means extremely complex processes.171 Under the influence of Christianity, the ritual of lighting a bonfire in honour of Kresnik was changed into a holiday of the similarly named John the Baptist, solar myths acquired a new explanation, and pagan deities were often equalled to the devil. After the example of Kresnik and Zeleni Jurij, the devil appeared in Slovenia in a green (hunting) dress, rode a white horse at night, or drove a chariot pulled by horses spewing fire.172 It was also believed that Kresnik took part in card duels, the protector of which was the devil (cards were also called "devil's pictures").173
165Pleterski, p. 516.
166Zmaga Kumer, Jurjevske kolednice v Beli krajini, Etnološka tribina 1986, p. 119; Huzjak, p. 39.
167Marolt, pp. 29-30; Vitomir Belaj, "Zeleni Juraj" u Svetoj zemlji, Studia ethnologica 1 (1989), pp. 73-75.
168Liungman, p. 531.
169Clauss, p. 46.
170Nyberg, p. 84, 100.
171 On the presence of a mythological hero similar to Zeleni Jurij in ethnically mixed area of Palestine see Belaj 1989, pp. 65-78.
172Wilhelm Urbas, Aberglaube der Slowenen, Zeitschrift für österreichische Volkskunde 1898, p. 150.
173Idem, p. 150; Kelemina, p. 345 (245.IV).
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Paul Ricoeur acknowledged that early Christianity possessed the ability to shatter (old) myths and readopt symbols in a new theological orientation.174 In connection with this, Erwin Panofsky wrote that the "religious experience of late antiquity was so closely connected to astral mysticism and so utterly impregnated with the belief in the almightiness of the sun god that no new religious idea could have been embraced if it had not had solar connotations from the very start (as was the case with the cult of Mithra) or if it had not acquired such solar connotations ex posto facto (as was the case with Christianity). Jesus Christ defeated Mithra, but even he was able to do so only after (or better because) his cult resumed some critical characteristics of sun worship... The church itself allowed for this connection between Christ and the sun from the very beginning, but it contrasted the cosmological sun god with a moral one, finally replacing the former with the latter; 'Sol invictus' became 'Sol Iustitiae' : 'Undefeated Sun' became the 'Sun of Justice.'175
174Paul Ricoeur, Život, pravda, symbol, Edice Oikumene, Praha 1993, p. 16.
175Erwin Panofsky, Pomen v likovni umetnosti, Studia humanitatis, Ljubljana 1994, pp. 261-262.
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Kresnik: An Attempt at a Mythological Reconstruction
Kresnik: poskus mitološke rekonstrukcije
Zmago Šmitek
Na vprašanje izvora in pomena Kresnikovega izročila so dosedanji razlagalci odgovarjali zelo različno. V skrajnih primerih so Kresnikov lik sprejemali kot vrhovno božanstvo solarnega ali lunarnega značaja, ali pa ga skoraj v celoti zavračali kot potvorbo zapisovalcev iz druge polovice 19. stoletja. V zadnjih desetletjih so k razjasnjevanju teh dilem posredno ali neposredno prispevala zlasti dela M. Boškovic-Stulli, V. V. Ivanova in V. N. Toporova, R. Katičica, N. Mikhailova in C. Ginzburga, z obilico primerjalnega gradiva.
Avtor pričujoče razprave je sledil deduktivni metodi, t.j. strukturi indoevropskih mitov, in z njeno pomočjo skušal rekonstruirati Kresnikovo mitološko vlogo. Pri tem se je pokazalo, da je treba razlikovati tradicijo Kresnika, znanega na mejnih območjih Slovenije s Hrvaško in vzhodno od tod, od tradicije o Kresniku, razširjene ponekod na Štajerskem in Koroškem. Primerjalna tabela kaže, da med obema ciklusoma ustnega izročila (imenovanima "ekstatični" in "mitološki" Kresnik) pri dvaindvajsetih karakterističnih vsebinskih sklopih obstajajo večje ali manjše podobnosti le v petih primerih, medtem ko gre pri ostalih posameznostih za neskladja ali za diametralne razlike.
Raziskava se je usmerila zlasti na analizo "mitološkega" Kresnikovega izročila in pokazala, da tudi ta ciklus ni vsebinsko in genetično enovit. V njem se prepletata dva mitološka horizonta, ki ju predstavljata: 1. človeški ali pobožanstveni heroj, kakršnega je npr. v starem Iranu poosebljal Yima (kasneje Mitra, pri Indijcih pa predvsem Yama in Indra) in 2. predstavnik vegetativnega kulta, sorodnega Jarilu/Zelenemu Juriju. Drugače povedano: gre za sestavine indoevropskega mita o boju junaka s kačjim demonom in mita o vsakoletnem vračanju in svatbi božanstva vegetacije in plodnosti. Razlog za povezovanje obeh karakteristik v Kresnikovi osebi je bila verjetno koledarska bližina nekdaj ločenih (?) obredij in njuna sorodna simbolika (ivanjski in jurjevski kresovi, koledniški obhodi itd.).
Kresnik ima značilnosti prvega kralja in kulturnega heroja. Kot vladarju mu po indoevropskih analogijah poleg vloge vojaškega voditelja pripadata tudi funkciji svečenika/ sodnika in prinašalca blaginje in rodovitnosti. Slednje ga spet zbližuje s predstavo o Zelenem Juriju. Pomembna je tudi Kresnikova povezanost z likom konja in bika ter njegova dioskurična narava (nastopa skupaj z bratom ali sestro, ki v nekaterih variantah postane tudi njegova nevesta). V spopadu s kačjim demonom reši iz ujetništva sestro (ženo) ali čredo krav in povzroči deževni naliv ali padanje "zlate pšenice" iz oblakov na zemljo.
Hipotezo, da imata Kresnik in Zeleni Jurij pomembne paralele v bližnjevzhodnih mitologijah, je avtor skušal dokazati z navedbami iz staroiranskih in staroindijskih "svetih knjig" (Rig veda, Avesta...) in s pomočjo izbrane primerjalne literature (B. Lincoln, B. G. Tilak, H. Guntert. H. S. Nyberg, A. Christensen, W. Liungman idr.). V nekaterih primerih je opozorjeno tudi na poznejše krščanske interpretacije Kresnikovega in Jurijevega lika.
118
fO^HOC.iaBHHCkaa HapojHan jeMOHO^ornn b 6aikaHCkOM kOHTekCTe1
Ama nnomnuKoea
The author describes a complex of specific characteristics of South Slavic demonology which also appears in other Balkan notions about demons.
H3yneHHe cnaBaHcKoft HapoflHoft fleMoHonorHH, h MH^onorHH b nenoM, b nocneflHHe roflbi 3HawrenbHo npoflBHHynocb, 6naroflapa, npexfle Bcero, nocnefloBaTenbHo pa3pa6oTaHHHM noflxoflaM k BbifleneHHro cHcreMbi npH3HaKoB onncaHna cnaBaHcKoro fleMoHonoranecKoro nepcoHaxa (cm., pa6oTH C.M. Toncroft, .H.H. BHHorpafloBoft h flp. [1, 2]). BbinonHeHHbie b pycne 3THonHHrBHcTHHecKoro HanpaBneHHa pa6oTH no cncTeMaTHnecKoMy onncaHHro cnaBaHcKoft fleMoHonorHH, KaK h cnennanbHHe MoHorpa^HnecKHe HccnefloBaHHa (cm., HanpHMep, hx cnHcoK b pa6oTe [2, c. 19]), no3BonaroT onpeflenHTb cy^ecTBeHHbie xapaKTepHcTHKH o6^ecnaB^HcKHx MH^onorHnecKHx HBneHHft b cnaB^HcKHx 3THoKynbrypHbix Tpa^HnHax. Ha stom ^oHe CTaHoBHTcfl bo3moxhhm BbiaBneHHe KoMnneKca cnenH^HnecKHx nepT roxHocnaBaHcKoft fleMoHonorHH, KoTopHe moxho oTHecrn k TaK Ha3HBaeMHM "6anKaHH3MaM". 9tot TepMHH npHMeHHM k HBneHHHM HapoflHoft flyxoBHoft KynbTypH, Bo-nepBHx, o6^hm flna MHorHx 6anKaHcKHx TpaflHnHft, bo-btophx, oco6eHHbiM no cpaBHeHHro c hhhmh (He6anKaHcKHMH) TpaflHnH^MH. BMecTe c TeM, Henb3a He npHHHMaTb bo BHHMaHHe h Ty cnenH^HKy 6anKaHcKoft THnonorHH, KoTopyro oTMenaeT T.B. D,HBb^H: "OflHo H3 cBoftcTB "6aakahckocmu" b acneKTe 6anKaHcKoft MoflenH MHpa MoxeT cocroaTb b tom, hto h e -y h h k a n b h h e aBneHHa cKnaflbiBaroTca b y h h k a n b h y ro Mo3aHKy. 9to cBoftcTBo 6bino 3aMeneHo npH aHanrae 6anKaHcKHx a3hkob b acneKTe 6anKaHcKoro a3HKoBoro coro3a: no KaxfloMy H3 6anKaHH3MoB moxho o6pa3oBaTb a3HKoBHe coo6^ecTBa, BHxofla^He 3a npeflenH EanKaH, ho BHe EanKaH HeT a3HKa, KoTopHft o6naflan 6h HeoSxoflHMHM MHHHMyMoM 6anKaHH3MoB..." [3, c. 67].
^na 6onee KoMnaKTHoro npeflcTaBneHHa ochobhhx oco6eHHocTeft roxHocnaB^HcKoft "Hrameft" MH^onorHH c nenbro ee conocTaBneHHa c fleMoHonorHeft flpyrHx 6anKaHcKHx HapofloB BHflenHM HecKonbKo rpynn fleMoHoB b cooTBeTcTBHH c HaH6onee 3HanHMoft flna Kaxfloro H3 hhx nepToft, T.e. npeo6naflaro^eft b ero xapaKTepHcTHKe. npH TaKoft cMemaHHoft KnaccH^HKanHH y^HTHBaroTca pa3nHHHbie npH3HaKH: HnH ochobma ^yHKnHa fleMoHa, HnH MecTo o6HTaHHa, HnH (pexe) npoHcxoxfleHHe. B caMbix o6^hx nepTax flna 6anKaHocnaBAHcKHx TpaflHnHft moxho
1 This article was financially supported by RGNF (grant N 96-40-06034 "Mifologiceskie osnovy slavjanskoj narodnoj kul'tury").
119
ro^HociaBaHCKaa Hapo^Haa ^eMOHoiorna b 6aiKaHCKOM KOHTeKCTe
o6o3HaHHTb "Kiacc" b o a a h h x (no npH3HaKy MecTa oÖHTaHHa), "a e m h x" (TaKxe - no MecTy oÖHTaHHa), b o 3 a y m h h x AeMOHOB, rAe ocoöoe MecTO 3aHHMaroT 3MeenoAOÖHHe AeMOHOiornnecKne nepcoHaxn (KOTopHe HepeAKO BOcnpnHHMaroTca h KaK npeACTaBHTeiH boahoh MH^oiornnecKOH "^ayHbi"); x p a h h t e a e h AOMa, ceia, MecTa (hto moxho BHAeiHTb KaK xapaKTepHyro ^yHKunro MHorHx öaiKaHOCiaBaHCKHx
AeMOHOB, TaKXe BHe 3aBHCHMOCTH OT Hx OÖlHKa, KOTOpHH, OTMeTHM, HaCTO OnHCHBaeTCa
KaK 3MeenoAOÖHHH); "p y c a a o k" (croAa nonaAaroT öaiKaHOCiaBaHCKHe euae, caMoeuae, caMoôueu); AeMOHOB c y a b Ö h (oöhhho xeHCKne MH^oiornnecKne nepcoHaxn, onpeAeiaro^He cyAböy MiaAeHua); b e a b m (iroAH-AeMOHbi, b ochobhom xeHCKoro noia, oöiaAaro^He CBepxtecTecrBeHHHMH CBOHCTBaMH h HaHoca^ne BpeA atoaam); b a m-n h p o b (AeMOHbi-MepTBeubi, BbicacHBaro^ne KpoBb); AeMOHOB, nponcxoAa^nx ot a y m HeKpe^eHbix MiaAeHueB, yMepmHx poxeHnu h öepeMeHHbix xeH^HH, caMoyönöu. KpoMe Toro2, b öaiKaHOCiaBaHCKOH AeMOHOiornnecKOH CHCTeMe onpeAeiaeTca AOCTaTOHHO yHHBepCaibHHH COÖHpaTeibHHH "Kiacc" HeHHCTOH CHAH - H e H H C T H, a TaKXe CTpamHiH^a hah n y r a a a, h HaKOHeu, - AeMOHH Ö o a e 3 h h (nepcoHH^HKauna pa3AHHHHx öoie3Heö). B OTAeibHyro rpynny (hah rpynnH, b cooTBeTCTBHH c pa3HHMH npa3AHHKaMH) cieAyeT BHAeiHTb MH^oiornnecKne nepcoHaxn, BpeMa noaBieHna KOTopbix CBa3aHO c onpeieHHHMH nepHOAaMH HapoAHoro KaieHAapa (HanpHMep, THn KapaKonômo - Ha CBaTKH, THn moôopu,u - Ha nepBOH HeAeie BeiHKoro nocTa h t.a.). npeAioxeHHaa KAaccn^HKauna b npnHunne npHMeHHMa k pa3HHM ciaBaHCKHM 3THOKyibTypHHM TpaAnunaM, nosTOMy cieAyeT onpeAeiHTb, KaKHe rpynnH nepcoHaxeö H no KaKHM KOHKpeTHHM npH3HaKaM MOXHO CHHTaTb "cneUH^HHeCKH ÖaAKaHCKHMH", T.e. xapaKTepHHMH aah HapoAHon AeMOHoiorHH kixhhx ciaBaH h hx öaiKaHCKnx coceAeö.
CpeAH nepeHHCieHHHx rpynn lecHbie Ayxn - Hanöoiee peAKO BCTpenaeMbie Ha BaiKaHax AeMOHH, hto Ha ciaBaHCKOM ^OHe npeACTaBiaeTca BecbMa BaxHOH OTAHHHTeibHOH OCOÖeHHOCTbro MXHOCAaBaHCKOH AeMOHOAOrHH B UeAOM. KaK npaBHAO, HCCieAOBaTeiaMH OTMenaroTca nepcoHaxn THna oepö. rnyMcm MajKa, rnyMuuKa [4, c. 1820] (rocnoACTByro^ee b iecy cy^ecTBO - KpacHBaa hah, HaoöopoT, 0e3O0pa3Haa xeH^HHa, cnocoÖHaa npeBpa^aTbca b xhbothhx, KonHy ceHa, pa3HHe npeAMera) h ÖAH3KHe k Heö AeMOHH, CBa3aHHbie c lecoM, noKpbiBaro^HM ropncTyro MecTHOCTb: oepö. zopcm MajKa, naanuncm MajKa [4, c. 19], öoir. poAon. ôuea wem [5, c. 304]. B HeciaBaHOKnx öaiKaHCKHx TpaAHUHax aHaiornn npocAexnBaroTca Ha ceBepe apeaia - b pyMHHCKHx BepoBaHHax, rAe noAOÖHHH nepcoHax Ha3HBaeTca Mama-Pädurii "MaTb ječa", Fata-Pädurii "AeBa Aeca", vîlva-codrului "Ayx ječa" [6, c.134].
Boiee xapaKTepHH Aia roxHOCAaBaHCKnx BepoBaHnö MH^oiornHecKne nepcoHaxn,
CBa3aHHHe C BOAHHMH HCTOHHHKaMH KaK MeCTOM OÖHTaHHa. AHaiOrHHHH
BOCTOHHOCiaBaHCKOMy eoômoMy (cm. [7]) B.-cepö. eoôeuu ôyx (^xepAan), ro.-cepö. eoôewaK (ByHHTpH).3 HHorAa xo3aHHOM peKH hah KOAOAua CHHTaeTca AeMOH, nponcxoAa^HH ot yTonieHHHKa: öoir. momK, monuK. Hanöoiee cneun^nneH Aia öaiKaHOCAaBaHCKoro apeaia (ocoöeHHO b roxHbix ero perHOHax - MaKeAOHHH, PoAonax, CrpaHAxe) xray^nö Ha AHe O3epa (hah Mopa) 3Meö-ApaKOH c oahoh hah HecKOAbKHMH roiOBaMH. BoirapH Ha3HBaroT AeMOHa mmh (nHpHH, ^eMHpxncapcKO, .Amöoa), HepHoropuH - awôaja (KyHH,
2	nepeHHoiaeMHe ^aiee rpynnH no^poÔHo b CTaTbe He paooMaTpHBaroTca.
3	3fleob h flaiee roxHooiaBaHCKHe HasBaHna MH^oiornqeoKHx nepooHaxen ^arorca H3 hctohhhkob, yKasaHHHx b pa6oTe "MaTepnaiH äah 3THoinHrBnoTnqeoKoro n3yqeHna 6aAKaHooiaBaHCKoro apeaia" [8].
120
Anna nnomnuKoea
CKaaap). no HapoaHbiM npeacTaBneHHaM sto nyaoBH^e nocroaHHO Tpe6yeT xepTB, rpo3a 3aKpHTb ot nroaeft hctohhhkh Boabi. CxoaHbie noBepba ^HKcHpyroTca b ceBepHOH rpenHH, rae BoaaHoro apaKOHa b xeHcKOH HnocTacH Ha3HBaroT ^d|iia, a b MyxcKOH -SpdKoq [9, p. 261, 266], y pyMbiH Boctohhoh TpaHcHnbBaHHH (balaur) [10, p.185]; y an6aHneB cnoco6HocTb BbinHBaTb Boay H3 hctohhhkob, 3aBanHBaTb hx 3eMneft npHnHcuBaeTca aHanorHHHOMy 3MeeBHaHOMy nepcoHaxy, o6HTaro^eMy b Boae h Ha3biBaeMOMy kulgedra (kulshedra) [11, s. 162; 12, c. 312].
THnHHHbiMH, h b to xe BpeMa cnenH^HnecKHMH, ana 6anKaHocnaBaHcKoro apeana aBnaroTca BO3aymHbie aeMOHbi, pa3HOo6pa3He THnoB kotophx cy^ecTBeHHO BnHaeT Ha o6myro KapTHHy pacnpeaeneHHa b npocTpaHcTBe npHpoaHux ayxoB y roxHbix cnaBaH. H3BecTHHe b pa3Hbix cnaBaHcKHx 3OHax noBepba o 3Mee-nro6oBHHKe, neTaro^eM b BHae BHxpa h BcTynaro^eM b nonoBHe oraomeHHa c aepeBeHcKHMH xeH^HHaMH, mHpoKO pacnpocTpaHeHH h Ha BaaKaHax: 6onr. 3Meu, MaK. 3Mee, cep6. 3Maj, ro.-pyM. zmeu, pyM. zburator [10, p. 183, 192]. noaodHaa cKnoHHocTb k o6^eHHro c aepeBeHcKHMH aeBymKaMH xapaKTepHa h ana rpenecKoro aeMOHHnecKoro nepcoHaxa SpdKO^ [ 13, c. 277]. noceneHHe 3Mea y BO3nro6neHHOH xHTenH ceBepHo6onrapcKHx cen cBa3HBaroT c HacTynneHHeM 3acyxH, noaTOMy ana BH3HBaHHa aoxaa coBepmaroT o6paa H3raaHHa H3 cena 3Mea. HHHe HenoroaHHe aBneHHa b 6anKaHocnaBaHcKHx perHOHax TaKxe npHnHcHBaroTca 3Mero, apaKOHy (HnH HeBHaHMOMy cy^ecTBy, npeanonoxHTenbHO, b ero o6nHKe), yHHHTOxaro^eMy, "noxnparo^eMy" noceBbi, ypoxaft b none. B KynbTypHO-a3biKOBbix TpaaHnHax 6anKaHcKHx cnaBaH stot 3Meenoao6Hbift aeMOH Henoroabi HMeeT pa3HHe Ha3BaHHa: B.-cep6. ana, amdaja, ro.-B.-cep6. anaMywa, ro.-cep6. ana, naMwa, MaK. MMja, 3.-6onr. xana. PyMbiHbi noaodHoe cBepxtecrecTBeHHoe cy^ecTBO Ha3biBaroT balaur, an6aHnbi - kulgedra (kulshedra), rpeKH onawraKH - ^d|ia (3aMeTHM, hto neKceMa lamia b 3HaneHHax "aeMOH-apaKOH", "npoxopnHBbift nenoBeK", nocneaHee, BepoaTHO, cBa3aHO c oco6eHHocTaMH apeBHerpenecKoro npoo6pa3a "naMHH", pacnpocrpaHeHa b roxHbx perHOHax 6anKaHocnaBaHcKoro apeana). 9TOMy BpeaoHocHOMy aeMOHy, no noBepbaM, KaK npaBHno, npoTHBocTOHT ao6pbift 3a^HTHHK: 3Meft, TaKxe neTaro^HH no BO3ayxy h oxpaHaro^HH cBoe ceno ot Henoroabi. EMy npHnHcbiBaeTca cnocodHocTb npHHocHTb aonroxaaHHbH aoxab B cnynae 3acyxH. 3Mea-noKpoBHTena, KaK h 3Mea-nro6oBHHKa (HepeaKO sto Boo6^e oaHH h tot xe nepcoHax, HMeroqHH HecKonbKo ^yHKnHft), Ha3bBaroT 3Maj (B.-cep6.), 3Mau (6onr.), 3Mee (MaK.) HnH b cooTBeTcTBHH c ero oxpaHHTenbHbMH ^yHKUHaMH: 6onr. cuhophuk HnH cunypnuK, cftmpdmm (cp. cunop "rpaHHna xo3aftcTBeHHbix yroaHH"), MemnuK (ot Memda "Mexa"). AHanorHHHbiMH ^yHKUHaMH (6opb6a co 3MeeBHaHbM npoTHBHHKOM, aeMOHOM Henoroabi) B roxHocnaBaHcKHx perHOHax, pacnonoxeHHbix 3anaaHee o6nacTeft, TpaaHUHOHHO OTHoca^Hxca k 6anKaHocnaBaHcKOMy apeany, a HMeHHO b HepHoropHH, 3anaaHOH Cep6HH, boctohhoh repneroBHHe, o6naaaroT, no noBepbaM, nroaH, HaaeneHHbie cBepxtecTecTBeHHbMH cnocodHocTaMH: (e)jedozowe, 3dyxanu, cmyeanu, cmyee (cmyxe) h T.n. ^yx TaKoro nenoBeKa (HnH aaxe xhbothoto) bo BpeMa cHa noKHaaeT Teno h BcTynaeT b 6opb6y c BO3aymHbiMH aeMOHaMH, 3a^H^aa ceno h ypoxaft ot Henoroabi. B boctohhoh h roxHOH Cep6HH ^yHKqHH 6opb6bi co 3Meenoao6HbiM noxHTHTeneM ypoxaa, aeMOHOM 6ypH h HeHacTba npHnHcbiBaroTca TaKxe nenoBeKy-3Mero, poxaeHHOMy ot 3Mea-3a^HTHHKa h oGbKHOBeHHOH xeH^HHbi: B.-cep6. 3Mejaeu noeeK, (flxepaan) 3Majeeum noeeK, ro.-cep6. anoeum noeeK. B ceBepHOH An6aHHH H3BecTHbi noBepba o poxaeHHH aeTeft c nepbmKaMH HnH mepcTbro y nneneft, sth MnaaeHnbi - drangosi - o6naaaroT
121
roxHocaaBSHCKaa Hapo^Haa ^eMOHoaorHa b 6a^KaHCKOM KOHTeKCTe
CBepxtecTecTBeHHHMH BO3MOXHOCT3MH npH nepeMe^eHHH no Bo3nyxy. Bo BpeMa hohhhx 6ypb ohh nonHHMaroTca H3 cbohx KpoBaToK h ycTpeMnaroTca b cpaxeHHe co 3MeeM-npaKoHoM ("KynbmenpoH"): 6opb6a 6biBaeT HacTonbKo xapKoñ, hto Ha cnenyro^ee yTpo nronH HaxonaT BoKpyr pa36pocaHHbie nepeBba, KoTopne c KopHeM 6binH BHpBaHH apaKoHoM b KanecTBe opyxna 6htbh [10, s. 163]. nonoÓHbie croxera oneHb 6nH3KH TeM, hto H3BecTHH b HepHoropHH h boctohhoh TepneroBHHe no paccKa3aM o 6HTBe "cTyxoB" h hm nonoÓHbix nepcoHaxeñ co 3MeeM-npoTHBHHKoM. B HoBorpenecKHx noBepbax cooTBeTCTByro^ne MH^onorHnecKHe nepcoHaxH Ha3biBaroTca oxoi%eío, Z®ti%ó "3a^HTHHK MecTa" [14, c. 265]. BMecTe c TeM, rpen. Exoi%eía - 3to h nyxH nepBosneMeHTOB (oraa, bo^h, Bo3nyxa, 3eMnH) [9, p. 249-250]. non 3thm TepMHHoM no cyTH oótenHHaroTca caMbie pa3nHHHbie nyxH-xpaHHTenH hctohhhkob, pacTHTenbHocTH (necoB). nosTOMy nneHeHHe no MecTy oÓHTaHHa b HoBorpenecKoñ neMoHonorHH, KaK h b roxHocnaBaHCKoñ, HecKonbKo 3aTpy^HeHo, a nopoñ - HeBo3MoxHo. CBa3b 3Mea-npaKoHa c Bo3nymHoñ cpenoñ nna 6anKaHCKoro apeana oneBHnHa; oHa nocnenoBaTenbHo npocnexHBaeTca b npencTaBneHHax o caMHx pa3Hbix neMoHax 3MeeBHnHoro, "npaKoHoBoro" o6nHKa. BMecTe c TeM, cnopaflHnecKH Bo3HHKaeT Bona (o3epo, hctohhhk, Mope) KaK MecTo o6HTaHHa aeMoHoB, Ha3HBaeMHx TaK xe, KaK h Bo3nymHbie (HanpHMep, MaK. cmuxuume - xHBy^He b rny6oKHx MecTax peK cy^ecTBa xeHCKoro nona, CTpeMa^Heca yTonHTb nenoBeKa, noflBoflHHe 3MeH-npaKoHbi THna cep6. awdaja, 6onr. awdpan, MaK., 6onr. aümh, h np.), hto no3BonaeT npennonoxHTb Bo3MoxHocTb oTpaxeHHa b 3thx noBepbax npHMHTHBHbix npencTaBneHHH o KpyroBopoTe bo^h b npHpone. Bo3nymHbie 3MeH, npHHoca^He joxflb, oÓHTaroT b Bone, nbroT Bony h3 hctohhhkob. TaK, y 6aHaTCKHx 6onrap 3Meñ jaMH cocTaBnaeT nacTb o6naKa (ero "6proxo"). nepen noxneM jaMH cnycKaeTca bhh3 h BbiTarHBaeT h3 Mopa Bony, hto6h HanonHHTb ero o6naKa [15, c. 202]. no pyMbiHCKHM noBepbaM, balaur nbeT Bony H3 Mopa, a 3aTeM, nonHaBmHCb HaBepx BMecTe c o6naKaMH, BbinHBaeT ee b BHne noxna [10, p. 187] hah o6naKa "HanHBaroTca" Bonb BcacHBaa BMecTe c Heñ 3MeeB [10, p. 182].
B noBepbax o 6opb6e 3a^HTHHKoB cenbCKHx yronHñ co 3MeeBHnHHMH Bo3nymHHMH neMoHaMH npeo6nanaeT xapaKTepHbiñ nna 6anKaHocnaBaHCKHx HaponHHx npencTaBneHHñ mothb 3a^HTH onpeneneHHoro MecTa, Hanena 3eMnH, cTpoeHHa, noMa, Kononna, HCTonHHKa, nepeBa co ctopohh MH^onorHnecKoro cy^ecTBa. 9th neMoHH npencTaBnaroTca b pa3nHHHbix o6nHKax: 3MeH, npaKoHa, npoH3omenmero ot TeHH nenoBeKa h HMero^ero ero o6nHK "xo3aHHa", nxHHa h T.n. Oco6oe MecTo b BepoBaHHax 6anKaHCKHx cnaBaH 3aHHMaroT npencTaBneHHa o nyxe KaKoro-nH6o CTpoeHHa, ero xpaHHTene, npoHcxona^ero ot 3aMypoBaHHoro b CTeHy nenoBeKa hah 3aMypoBaHHoñ bo BpeMa CTpoHTenbCTBa TeHH. Ha3BaHHa neMoHa, KaK npaBHno, CBa3aHbi c KopHeM * talasm (BepoaTHo, ot cooTBeTCTByro^ero TypenKoro KopHa b 3HaneHHH ' TeHb [10, p. 229]): b.-cep6. (flxepnan), MaK., 6onr. maiacon, 6onr. mama>M, mamchMm, 3.-MaK. maiac^M, ro.-MaK. (OxpHn) maiacoM, moiocoM; cp. pyMHHCKoe Ha3BaHHe neMoHa 3Toro THna - tálásín. HHbie Ha3BaHHa o6pa3oBaHH ot cnaBaHCKoro KopHa co 3HaneHHeM 'TeHb' (6onr. cmKa, ceHKa, cenuw^e, cemuw,e) HnH othoc^tc^ k ponoBoMy o6o3HaneHHro neMoHoB naHHoro THna - "xo3ahh" (6onr. cmonan, caü6m, naMecmnuK). B 3thx noBepbax na^e Bcero nepenneTaroTca npencTaBneHHa o neMoHax, oÓHTaro^Hx b KaKoM-nH6o MecTe, h neMoHax, CTepery^Hx MecTo, oxpaHaro^Hx ero KaK ot nroneñ, TaK h ot MH^HnecKHx cy^ecTB. nosToMy b Ha3BaHHax MH^onorHnecKHx nepcoHaxeñ npeBanHpyeT 3HaneHHe "xo3aHH", "TeHb xo3aHHa (3aMypoBaHHoro nenoBeKa, xHBoTHoro)", a He ceMaHTHKa, CBa3aHHaa c
122
AHHa nnomHUKoea
KOHKpeTHbiM MecTOM oönTaHna, THHa BOCTOHHOcnaB^HCKHx h aananHOcnaBaHCKnx HaaBaHHH "boahhoh", "nemnö", "n0M0B0H".
^pyroH 6onbmoö 6n0K roxHOcnaBaHCKHx BepoBaHHH b neMOHHHecKHx aa^HTHHKOB noMamHero OHara HMeeT ropaano öonbme cooTBeTCTBHH c aHanornHHbiMn npencTaBneHH^MH boctohhhx h aananHHx cnaBaH. 9to noBepba o aMeax-noKpoBHTenbHnnax noMa, xHBy^nx nnn non noporoM, nnn non OHaroM, nnn b OTBepcmax KaMeHHbix CTeH n npnHOca^nx HenoBexy CHacTbe: cepö. sMuja-nyeapKyha ('aMea, CTepery^aa noM'), sMuja Kyhapuua ('noMamHaa aMea'), MaK. (Benec) cajôuja, 6onr. nyeapKa, nyeaHKä, 6T>pmuKbw,a, doMowapKa, (nnoBnnBCKo) nasumeaKa, cmonaum, doMarnuH n t.h. HanMeHOBaHna, CBaaaHHbie c ceMaHTHKOH oxpaHH, aa^nra noMa, a Taxxe ^yHKnnaMn xoaanHa. KpoMe Toro, b KaHecTBe HaaBaHna stoto Heo6biHHoro cy^ecTBa, CTepery^ero noM (a Taxxe n nroöoe npyroe CTpoeHne, cp. ^yHKnnn "TanacoMa"), y 6onrap n MaKenoHneB bo3moxho ynoTpeöneHne nexceMbi o6^ero aHaHeHna - cmuxa, cmueo. y anöaHneB nonoÖHHe aMen-xpaHHTenbHnnH noMa naBecTHbi non HaaBaHneM vitore, BHyTpeHHaa ^opMa KOToporo - 'cTapbiH, npeBHHH' [11, s. 162, 201]): sto ManeHbKHe n Tönerne aMeHKH c necTpHM pncyHKOM Ha Koxe, xHByT b KaMeHHbix CTeHax noMa n penxo noKHnaroT CBoe yöexH^e; ecnn xe kto-to na noMOHanneB cnynaÖHO yBnnnT vitore, to npnBeTCTByeT ee c rnyöoKHM noHTeHneM. BceM panocTHbiM n nenanbHHM coöbrrnaM b anöaHCKOM noMe, no noBepbaM, npenmecTByeT cnaöbiH cbhct aMeHKH-xpaHHrenbHnnbi. Ecnn b ceMbe BbrnnparoT nronn n pon npexpa^aeT CBoe cy^ecTBOBaHne, roBopaT, hto vitore HaBcerna noKHHyna 3tot noM [11, s. 162]. y cnaBaH aa npenenaMH paccMaTpnBaeMoro apeana OTMeneHH MHoroHHcneHHbie aanpeTH BHroHaTb, yÖHBaTb xHBy^nx nnn aanonamnx b noM yxeH, aMeH (ho cnoBanxnM noBepbaM, nyma xoaanHa nepecenaeTca b n0M0B0r0 yxa), npennncaHna ocTaBnaTb nna hhx M0n0K0 b 6nroneHKe, KopMHTb BMecTe c ManeHbKHM peöeHKOM n T.n. TeM He MeHee b KOMnnexce neM0H0n0rnHecKnx npencTaBneHHH öanKaHCKnx cnaBaH nonoÖHbie noBepba HMeroT ropaano öonbmee pacnpocTpaHeHne; noHHTaHne "aMen non noporoM" HMeeT anecb ocoöhh CTaTyc. HaoöpaxeHne aMen panoM c noMOM - TpannnnoHHHH mothb öanKaHOcnaBaHCKnx yxpameHHH oöpanoBoro xneöa, BHnexaeMoro Ha npaanHHKH, CBaaaHHHe c HecTBOBaHneM noxpoBHTena noMa, n Ha Tpannnn0HH0 noMamHHH y roxHbix cnaBaH npaanHHK PoxnecTBa.
^roöonHTHHM aBneHneM b CBaan c HaaBaHHHMH Mn^onornnecKHx nepcoHaxeH ÖanKaHCKnx 3TH0^0nbEn0pHbix TpannnnH oxaaHBaeTca nx HHoe nepepacnpeneneHne no 0TH0meHnro k hphhhtoh nna onncaHna cnaBHHCKOH n öanKaHCKOH Monenn Mnpa onnoannnn "BHyTpeHHHH - BHemHHH". ^eKcnnecKne oöpaaoBaHHa, CBaaaHHbie c rpeH. GTOi^eía, pacnpocTpaHaroTca He TonbKO Ha oöoaHaneHne BHemHnx no 0TH0meHnro k noMy npnponHbx neMOHOB, ho h nyxoB-xpaHHTeneH noMa n noMamHero OHara. Tax, b cnoBapax öonrapcKoro aabixa OTMeHaeTca HecKonbKO aHaHeHHH nexceMbi cmuxun, 0npenenaeM0H xax cnnbHoe npoaBneHne npnponHbix aBneHHH - cthxhh: HanpnMep, H. repoB yxaabBaeT aHaHeHna 1) MoryHero aMea-npaxoHa, poncTBeHHoro "xane"; 2) BeTpa, Bnxpa, "caMOBnnb": "caM0Bnna"n "cthxhh" - cecTpbi-"BnxpymKH"; 3) peHHoro cy^ecraa b oönnxe xeH^HHbi-pbiöbi, KOTopoe tohht HenoBexa b Bone, aanyTbiBaa ero b cbohx pacny^eHHbx Bonocax, a KpoMe Toro, - (4) Mn^HHecKoro cy^ecTBa, noaBnaro^eroca b oönnxe aMen b noMe, rne xpaHHTca xnan, t. e. chhohhm HaaBaHHH doMornap, cmonauuu, maaacrn [16, t. 5, c. 259]. Cp. Taxxe rpeH. Gioi%eiœvouv "noMamHee npnBnneHne" [9, p. 258]. no cyTH, TaKoe paaMbrroe aHaHeHne cnoB, oöoaHaHaro^nx BHemHne neMOHHHecKne cnnbi, CMemeHne ceMaHTHKH BHemHero npnponHoro npocTpaHCTBa n BHyTpeHHero,
123
roxHöcnaBaHOKaa Hapo^Haa neMoHonorHa b 6anKaHCK0M KoHxeKcxe
npHHannexa^ero noMy, oTpaxaeT mHpoKoe BocnpHaTHe ônH3Koro noMy, "cBoero" npocTpaHCTBa, K0Topoe MoxeT oxpaHaTbca HecKonbKHMH CTyneHaMH 3a^HTbi (3a^Hxa noMa, cena, cena BMecTe c npHHannexa^HMH eMy naxoTHHMH yronbaMH). npH 3tom nna CTpyKTypH ôanKaHCKHx MH^onoranecKHx npencTaBneHHH xapaKTepHo to, hto BHemHHe neM0HHHecKHe, npHponHHe CHnbi cnocoÔHbi npoaBnaTbca b nroöoö T0HKe 3Toro npocTpaHCTBa, nocKonbKy nonHocTbM "cbohmh", ocBoeHHbiMH (naxe b cnynae npennonaraeMoö ^yhkuhh 3a^HTbi) CHHTaTbca He MoryT.
K aMÔHBaneHTHHM no ^yHKUHH npenocTaBneHHa n0M0^H / HaHeceHHa Bpena 0TH0CHTca onHH H3 HaHÔonee xapaKTepHHx nepcoHaxeH 6anKaH0cnaBaHCK0H MH^onorHH - noaBnaro^eeca c BeTpoM HnH BHxpeM cy^ecTBo b oônHKe, KaK npaBHno, MononoH xeH^HHH npHBneKaTenbHoö BHemHocTH: ôonr. caModuea, caMoeum, rnda, MaK. caMoeuaa, mda, cepô. eum. npH BceH cnenH^HHHocTH 3Toro ôanKaHCKoro nepcoHaxa yneHbiMH 0TMeneH0 HeMano HneHTHHHbix nepT h o6^hx npH3HaK0B c B0CT0HH0cnaBaHCKHMH "pycanKaMH" h hm nonoÔHbiMH MH^onorHnecKHMH cy^ecTBaMH [17, 18]. ,D,na B0CT0HH0cnaBaHCKHx, b HacTH0CTH, noneccKHx BepoBaHHH b pycanoK ôonee THnHHHa CBa3b c onpeneneHHbM ce30H0M HnH KaneHnapHbiM nepHonoM (bo BpeMa nBeTeHHa xHTa, Ha Tp0HnK0H Henene). HanrnHe y ôanKaHCKHx cnaBaH ce30HHHx (TpoHnKHx) neM0H0B nonoÔHoro THna c cooTBeTCTByro^HM Ha3BaHHeM (B.-cepô. pyca^Ke, ôonr. pycarnüKu, pycarnu) MoxeT ôbiTb oahhm h3 ochobhhx apryMeHT0B b nonb3y hx oô^ecnaBaHCKHx KopHeö. BnponeM, b Hapone CTporo pa3nenaroTca npencTaBneHHa o "pycanHHKax" h "caMonHBax": nepBHe noaBnaMTca T0nbK0 "Ha PycancKoH Henene" (TpoHna) b nepHon nBeTeHHa pacreHHa pycarne, pocen. [5, c. 304] B nenax 3a^HTbi ot hhx coônronaeTca h pan 3anpeT0B, b tom HHcne - 6biT0Bbix: ôenHTb CTeHH, npacTb, TKaTb, mHTb, Ba3aTb, CTHpaTb [19, c. 303-304]. CnenH^HKa ôanKaHCKHx npencTaBneHHH o "caMonHBax", "BHnax" (n0MHM0 xaHpoBHx ocoöeHHocTeö ^onbKnopHHx TeKCT0B c hx ynoMHHaHHeM, a 3to, rnaBHHM 0Ôpa30M, annnecKHe necHH o BCTpene repoeB c "BHnaMH" h "caM0BHnaMH") CBa3aHa, TaKHM 0Ôpa30M, c npocTpaHCTBeHHo-BpeMeHHHMH paMKaMH hx oÖHTaHHa HnH noaBneHHa - HCKnronHTenbHo npHponHoH cpenoH, b kotopoh ohh rocnoncTByMT He3aBHCHM0 ot BpeMeHH rona h KaKHx-nHÔo neöcTBHH nenoBeKa.
KoMnneKC BepoBaHHH, CBa3aHHbix c nepcoHaxaMH THna "BHnbi", moxho cwraTb o6^hm nna Bcex 3TH0KynbTypHHx ôanKaHCKHx TpanHnHH. PyMbiHCKHe "pycanHH" - iele ("ohh"; B03M0xHbi h npyrHe, caMHe pa3nHHHbie TaôyHCTHHecKHe Ha3BaHHa: "Te", "npeKpacHHe", "MHnocTHBHe", "noôpbie", "HexHHe", "HCKycHHe", "nynecHbie", "ynHBHTenbHHe", KaK h "3nbie", "onepxHMbie", "HeMHnocTHBHe", "cyMacôponHbie" h T.n. [6, c. 134]) oÔHTaroT Ha Heôe, b BeTpe, b ropax, rnyxHx necax, Ha HeoÔHraeMbix ocTpoBax, BÔnH3H HCT0HHHK0B. Ohh "ôponaT", neTaMT no B03nyxy, npHneBaa h npHnnacbiBaa, na^e xe TaHHyroT Ha nepeBbax, ho HHorna hx moxho yBHneTb BÔnH3H noMa (non CTpexoH, Ha 3aôope) [6, c. 142]. AnôaHCKHe "3aHbi" (zanët), K0T0pbix TaKxe nacTo Ha3biBaroT onHcaTenbHo jashtësmeja 'Haxona^aaca CHapyxH', nus^e mallet 'MononHna, HeBecTa rop', npencTaBnaMTca KaK KpacHBbie iohhc xeH^HHbi; ohh nerKH h B03nymHbi, noMoraMT nronaM HnH xe HaKa3biBaroT Tex, Koro CHHTaroT npoBHHHBmHMHca [20, c. 263]. HoBorpenecKHe Nepâïôeç, no mtohhm, HanpHMep, xHTeneö roxHoro HenonoHHeca, -xeHCKHe cy^ecTBa Heo6biKH0BeHH0H KpacoTH, oneTH b 3onoTHe HnH ôenbie onexw, b kotophx ohh nerKo nepenBHraMTca no B03nyxy. Hx KpacoTa HHKorna He yBanaeT, ohh MoryT ôbTb onacHb nna nacTyxoB, Hrparo^Hx Ha ^neÖTe, HnH MHomeH, rynaro^Hx BÔnH3H HCT0HHHK0B HnH 0AHH0K0 pacTy^Hx nepeBbeB [21, p. 168-169]. Ho noBepbaM ôanKaHCKHx
124
Anua nnomnuKoea
Hap0fl0B ohh (KaK h flpyrae, H3BecTHHe Ha BanKaHax, MH^onoranecKHe nepcoHaxn) BCTynaroT b 6paK c npocTbiMH cMepTHbiMH, OTnero poxflaroTca He06biKH0BeHH0H KpacoTH (HnH cHnb) fleTH; c^HTaeTca TaKxe, hto nroflH, 6biBmHe b KOHTaKTe c "BHnaMH", npno6peTaroT cBepxtecTecTBeHHbie cBoñcraa: ohh HenoflBnacTHbi crna3y, cnoco6Hbi BbinenHBaTb 3a6o^eBmHx ot nap h MarHH h T.n., KaK, HanpHMep, cep6. eunewaK. B cenax TpenHH HHorfla 0 nenbix ceMeñcTBax xoaht nereHflbi 0 tom, hto ohh "poxfleHb ot HepeHfl", a n0T0My, aK06b, o6naflaroT yflHBHTenbHbiMH, cBepxnenoBenecKHMH cBoñcTBaMH, b tom HHCTe - HeOÓblKHOBeHHOH KpacOTOH [21, p. 169].
XapaKTepHOH OTnHHHTenbHOH nepTOH flna KOMnneKca 6anKaHcKHx BepoBaHHH, cBH3aHHbx c "BHnaMH", aBnaroTca noBepba 06 06pa30BaHHH HeKoro onacHoro MecTa b BHfle Kpyra TaM, rfle 3th ^aHTacTHnecKHe cy^ecTBa TaHneBanH HnH coBepmanH Tpane3y. y roxHbix cnaBaH 3to MecTO (Ha KOTopoe He cMeeT cTynHTb nenoBeK, HHane 3a6oneeT, yMpeT, 6yfleT nocroaHHO T0cK0BaTb no "BHnaM") HMeeT cBoe Ha3BaHHe: cep6. euAuno kom, ro.-cep6. emuncKo kom, B.-cep6. epsuno kom, MaK. caMoeuacKo opo, 6onr. epsymeo xopo, caModuecKo xopo, caModuecKo uzpaM (uzpaeuw^e), caModuecKa mmem, caModuecKa co$pa, caModuecKa mpanesa. Cp. aHanorHHHbie pyMbrncKHe BbipaxeHHa: hora, rotocol, rotogolul ielelor, o6o3Hanaro^He MecTO, rfle TaHneBanH c00TBeTcTBeHH0 "ene" ("Te"): TaM BbicbixaeT HnH xenTeeT, nepHeeT TpaBa, Kpyrnaa nonaHKa 0Ka3bBaeTca BbixxeHHOH, KaK ot oraa [10, p. 212-213]. noBepba 0 3a6oneBaHHH nenoBeKa, cTynHBmero Ha MecTO, rfle ycTpoHnH nHp noflo6Hbe xeHcKHe flyxH npHpoflb, H3BecTHb an6aHnaM: o6hhho Tpane3a ycTpaHBaeTca sthmh HeBHflHMbiMH cy^ecTBaMH b yeflHHeHHbix TeHHcTbix MecTax, ho HHorfla KOBapHbe flyxH nonynaroT yfl0B0nbcTBHe b tom, hto6h pacnonoxHTbca nocpeflH floporH, h tot, kto cnynañHO nepeBepHeT hx nocyfly HnH 3afleHeT nyflecroe cy^ecTBO, nonynaeT yflap h 3a6oneBaeT [11, s. 161].
ConocTaBHTe^bHbñ aHanH3 cep6cK0H "bh^h" h 6onrapcKoñ "caMOflHBbi", npoflenaHHbiñ C.M. ToncToñ h .H.H. BHH0rpafl0B0ñ Ha 0cH0Be npeflnoxeHHoñ ceTKH npH3HaK0B, n0Ka3an 3HanHTenbH0e cx0flcTB0 3thx nepcoHaxeñ Ha ^OHe 06pa30B 3anaflH0CTaBAHcK0H "6orHHKH" h BocTOHHocnaBaHcKoñ "pycanKH". 06^hmh flna "bh^h" h "caMOflHBb" npH3HaKaMH (no pa3HHM napaMeTpaM) 6bnH npH3HaHbi: npeo6naflaro^HH npHBneKaTenbHbñ BHemHHH o6nHK, cnoco6HocTb neTaTb no B03flyxy, nerKaa Oflexfla, yKpameHHaa nepbaMH, Kpbinba, BpeManpenpoBOXfleHHe rpynnaMH (x0p0B0flb, Tpane3b), HeH3BecTH0e npoHcxoxfleHHe (T.e. OTcyTcTBHe yKa3aHHH Ha hx npoHcxoxfleHHe b TeKcTax), nro60Bb k My3bKe, neHHro, TaHnaM, npeflpacnonoxeHHocTb k nroflaM, Hrparo^HM Ha My3bKanbHbx HHcTpyMeHTax, xapaKTepHbie cneflb npe6bBaHHa b BHfle KpyroB Ha TpaBe, cbohctbo KanenHTb nrofleñ (nHmaTb 3peHHa, yMa, pe^H), nonenHTenbHbie ^yHKUHH (cnoco6HocTb HcnenaTb, BpaneBaTb), coxHTenbcTBO c nroflbMH, nro60Bb k roHomaM, repoaM, nacTyxaM, noxn^eHHe h noflMeHa fleTeñ (peflKO, ho cp. aHanorHHHbie HOBorpenecKHe croxeTb: "HepeHflb" noxn^aroT KpacHBbx ^eTeñ [21, p. 170]), BnacTb Hafl cthxhhmh (BeTpoM, 6ypeñ, HcTOHHHKaMH), cnoco6HocTb 3aKpbBaTb ot nro^eñ hctohhhkh bo^h [2], KpoMe Toro, b OTnHHHe ot "6orHHKH" h "pycanKH", "BHna" h "caMOflHBa" "npeflcTaroT b necHax KaK 6onee ^0nbKn0pH30BaHHbe o6pa3b B0nme6HHn, MH^HnecKHx repoHHb" [2, c.38]. Mex^y TeM, ecnH paccMaTpHBaTb cep6cKyro "BHny" h 6onrapcKyro "caMOflHBy" He KaK o6pa3b poflcTBeHHbx cnaBaHcKHx HnH flaxe roxHocnaBaHcKHx Tpa^HUHH, a KaK o6pa3b THnonorHnecKH 6nH3KHx 6anKaHcKHx 3TH0^0nbKn0pHbix (h KynbTypH0-a3bK0Bbx) TpaflHnHH, hto b npHHnHne He aBnaeTca HeB03M0XHbM b KanecTBe np0MexyT0HH0r0 MeTOfla aHanH3a, to aHanorH 06pa30B "BHnb" h "caMOflHBb" npaKTHnecKH c TeM xe Ha6opoM o6^hx
125
roxHocaaBSHCKaa HapoflHaa ^eMOHoaorHa b 6a^KaHCKOM KOHTeKCTe
h^h He3HanHTe^bHO BapbHpyro^Hxca npn3HaKOB oÓHapyxHBaroTca b BepoBaHHax h
^O^bKflOpHHX TeKCTaX flpyTHX ÓMKaHCKHx TpaflHUHH.
B^H3OCTb k "BH^aM", no 6a^KaHOC^aBaHCKHM noBepb^M, oÓHapyxHBaroT h xeHCKHe fleMOHH CyflbÓH. B pa3HHx 6o^rapCKHx h rpenecKHx peraoHax oTMenaeTca CMemeHHe npe^CTaB^eHHH o fleMoHax cyflb6bi h "caMoflHBax", "HepeHflax", neMy cnoco6cTByeT hx onHCaHHe KaK KpaCHBbix mo^o^hx xsh^hh, noaB^aro^Hxca "H3BHe". BepoBaHHa b apmohob, onpe^eaaro^Hx cyflb6y HoBopox^eHHoro, flo chx nop flocTaTOHHo ycToñHHBo coxpaHaroTca b mh^o^othh 6a^KaHCKHx MaBaH, b oraHHHe ot hhhx MaBaHCKHx Ky^bTypHHx Tpa^HnHH. y 6o^rap, Cep6oB h MaKe^oHneB, KaK h y pyMbiH, rpeKoB h a^6aHneB, cy^ecTByroT pa3^HHHbie noBepba o Tpex (pexe flByx h^h o^hoh) xeH^HHax (KaK npaBmo, mo^o^hx KpacaBHnax), KoTopbie noce^aroT pe6eHKa norae ero pox^eHHa (HanpHMep, Ha TpeTHñ fleHb) h cnopaT, BbiCKa3biBaa cboh cyxfleHHa o 6yfly^eM M^a^eHna; 3a caMoñ raabhoñ H3 hhx ocTaeTca pemaro^ee ctobo (no^poÓHee cm. [22, c. 42-63]). Cep6cKHe h 3ana^Ho6o^rapcKHe Ha3BaHHa nyflecHbix npe^CKa3aTe^bHHn cyflb6bi M^a^eHna b ochobhom CBa3aHbi c raararoM cydumu: cep6. cyhenuu^e, B.-cep6. (3aenap) npucydwme, 6oot. (KrocTeHflm) cydenuuu. B oKpecTHocTax nHpoTa oTMeneHa CBa3b c ^eKceMoñpod:ypodymhe, ypydymhe [23, c. 368]. B roxHbix peraoHax 6MKaHoraaBaHCKoro apeaba pacnpocTpaHeHbi o6pa3oBaHHa ot pen-: MaK. mpemuuu, ro.-6o^r. (h^ob^hbcko, Poflonn) HapmHuuu, HapenHuuu, 3.-poflon. HapenHu, penHuuu [22, c. 63]. HaH6o^ee pacnpocTpaHeHHHMH 6o^rapcKHMH (KaK h pyMHHCKHMH) TepMHHaMH aB^aroTca o6pa3oBaHHa THna ypucHuuu (pyM. ursiotare [10, p. 427]), ot rpen. ópí^ra "onpe^e^aTb, orpaHHHHBaTb" [13, c. 227]. HHor^a npe^CTaB^eHHa o xeHCKHx fleMoHax cyflbÓH c^HBaroTca c noBepbaMH o fleMoHax 6om3hh, npHHHHaro^Hx Bpefl poxeHHne h HoBopox^eHHoMy: cep6. 6a6uue, c.-b.-6oot. noycu [22, c. 46]. y M6aHneB xeHCKHe flyxH, onpe^e^aro^He cyflb6y M^a^eHna, Ha3HBaroTca miri, fati, c.-an6. ore [12, 304] (c.-an6. ore Hepe^Ko CBa3HBaroT h c o6o3HaneHHeM ^eTaro^Hx BoKpyr xshckhx flyxoB, HeMe^neHHo Hcno^Haro^Hx ^ro6oe xe^aHHe ne^oBeKa, npo3BynaBmee KaK MenTa h^h npoKrarae [11, s. 162]). Ha TpeTbro Honb norae poxfleHHa pe6eHKa b oxHflaHHH hx noaB^eHHa ocraB^aroT TpH 6ynoHKH, TpH namH c bo^oh h^h Me^oM, TpH mhh^mhhkh; pacK^a^MBaroT ^oMamHHe aparoneHHocTH, y^MaroT co flBopa co6aK h oTKpHBaroT flBepH Hacrexb [11, s.162]. HoBorpenecKHx pmyanoB, CBa3aHHbix c xbhckhmh fleMoHaMH cyflbÓH (3flecb coxpaHaeTca hx cTapoe Ha3BaHHe - Mojpai), xapaKTepHH Te xe fleñcTBHa 3a^a6pHBaHHa: Ha TpeTbro Honb oTKpHBaroT flBepH, caxaroT Ha nenb co6aK h ocTaB^aroT cBeT b KoMHaTe, r^e ^na HeoÓHKHoBeHHHx noceTHTe^bHHn HaKpbT hh3khh cto^hk c TpeMa CTynbaMH BoKpyr: Ha HeM - nHpoxHbie, MHH^a^b, x^e6 c Me^oM h cTaKaH bo^h. MaTepH M^a^eHneB yBepeHbi, hto BHflaT Tpex CTapyx (roxHbiñ ne^onoHHec), menoToM o6cyx^aro^Hx CBoe pemeHHe, KoTopoe ohh 3aTeM 3anHCHBaroT HecrapaeMbiMH nepHH^aMH Ha Ji6y pe6eHKa [21, p. 183]. nofloÓHbie noBepba h pHTya^bHHe fleñcTBHa, o^opM^aro^He npHxofl b aom xeHCKHx flyxoB cyflbÓH, pacnpocTpaHeHH b pa3^HHHHx perHoHax roxHoc^aBaHCKoro apeaba.
CpeflH xbhckhx nepcoHaxeñ 6a^KaHoc^aBaHCKoñ MH^o^orHH BH^e^aeTca cep6. eernmuua, MaK. eemmepm, 6o^r. eewuua, MazbocHuua h T.n., coBMe^aro^aa nepTH o6^ihhoh xeH^HHH h cBepxtecTecTBeHHoro cy^ecTBa, xeH^HHa-^eMoH, npHHHHaro^aa Bpefl oKpyxaromHM. K o6^hm co cnaBaHCKoñ "BeflbMoñ" ^yHKUHaM oTHocHTca oTÓHpaHHe Mo^oKa y nyxHx KopoB, ypoxaa y coce^eñ, HacH^aHHe Ha oKpyxaro^Hx 6oto3hh, nop^H. CnenH^HnecKH 6amaHCKoñ nepToñ moxho CHHTaTb npoaB^eHHe BaMnHpHnecKHx cbohctb "BemrHDHi": no roxHoc^aBaHCKHM noBepbaM, oHa no HonaM flymHT ^rofleñ, nbeT hx KpoBb,
126
AHHa nnomHUKoea
noe^aeT MnafleHneB, BHHHMaeT nnoA h3 yrpo6bi MaTepH, nHTaeTca MepTBeHHHOH h t.a. (cm. [24]). CooTBeTCTByro^He BaMnHpHHecKHe HepTbi oÖHapyxHBaroTca y xeHCKHx AeMOHonorHHecKHx nepcoHaxeö, H3BecxHbix b pyMbiHCKHx, rpenecKHx h an6aHCKHx noBepbax, npmeM, Ana o6o3HaneHHa BeflbMbi (TOHHee: BeflbMbi-BaMnHpa) b HecnaBaHCKHx 6anKaHCKHx a3HKax, KaK npaBHno, Hcnonb3yroTca neKceMH, CBa3aHHbie c KopHeM strig-: pyM. strigä, an6. shtrigë, striga, rpeH. OTpíy/Áa (cm. 06 3tom Taxxe b paöoTe r.H. KnenHKOBOH [25], r^e AaroTca cooTBeTCTByro^He 3HaHeHHa Ana KapnaTCKoro perHOHa, HanpHMep, cnoBan., ro.-non. striga 'BaMnHp' [25, c. 116]). no BceH bhahmocth, BaMnHpHHecKHe CBOHCTBa "crpHra" HMeroT 6onee mHpoKoe pacnpocxpaHeHHe 3a npe^enaMH BanKaH, Ha hto yKa3HBaeT h 3HaHeHHe nepBOHCTOHHHKa 3aHMCTBOBaHHa: naT. striga HOHHaa nrnna, ^HnHH' h 'KonflyHba, BeflbMa; BaMnHp' [25, c. 115]. TeM He MeHee, HMeHHO y pa3nHHHbix 6anKaHCKHx xeHCKHx AeMOHonorHHecKHx nepcoHaxeö 0C06eHH0 pa3BHTH yKa3aHHHe ^yHKUHH. TaK, y an6aHneB H3BecTHH flBa BH^a Be^bM: b ceBepHOH HacxH TeppHTopHH - 3to striga, KOTopaa y6HBaeT nrofleö, BHcacHBaa hx KpoBb HnH noeflaa neneHb [12, c. 312] (KpoMe Toro, "cTpHra" - 3to CTapyxa, nepemeflmaa coTyro roflOB^HHy xh3hh h npHo6peTaro^aa cbohctbo y6HBaTb nrofleö cbohm AbixaHHeM, pacnpocTpaHHTb HyMy h Apyrae anH^eMHH, 3aHHMaTbca KonAOBCTBOM [11, s.163]); H3BecTHa an6aHnaM TaKxe h Lubia HnH mëmë lubia ("MaTb .Hro6Ha"), KOTopaa, no noBepbaM, npeflnoHHTaeT Maco HOBopo:xseHHbix [12, c. 312; 11, s. 162]. KpoMe Toro, k xeHCKHM AeMOHaM-nrofloe^aM OTHOcaTca H3BecTHHe y an6aHneB kulshedra h sukënnesa (AOcnoBHO "co6aHHH rna3"); fleMOH c flByMa rna3aMH Ha n6y h AByMa Ha 3aTbinKe [11, s. 162]), y rpeKOB - Áá|ia, oxoTa^aaca 3a Mna^eHnaMH [9, p. 266; 21, p. 185]. O6HnHe xbhckhx AeMOHonorHHecKHx nepcoHaxeö, HafleneHHbix npH3HaKaMH nrofloeflOB h BaMnHpoB, He Morno He OTpa3HXbca Ha cnenH^HKe roxHOcnaBaHCKoro o6pa3a BeflbMbi.
C06CTBeHH0 "BaMnHp" (fleMOH-nOKOHHHK, KpOBOnHHna), H3BeCTHHH pa3HHM eBponeöcKHM HapoflaM, b 6anKaHCKHx 3TH0KynbTypHbix TpaflHnHax o6naflaeT onpefleneHHbiMH 0C06eHH0CTaMH. Y Bcex cnaBaH BaMnHp - 3to "noKOHHHK, BCTaro^HH no HOHaM h3 Moranbi; oh Bpe^HT nroflaM h CKOTy, nbeT hx KpoBb, HaHOCHT y^ep6 xo3aHCTBy" [26, c. 283]. B BepoBaHHax 6anKaHCKHx cnaBaH BaMnHp HepeflKO omxsecxBnaeTca c xoflaHHM MepTBenoM b o6nHKe HenoBeKa, noKpHToro mepcxbro, HnH BonKa, nca; b 3tom cnyHae Ha3BaHHa AeMOHa OTpaxaroT KOHTaMHHanHro co cnaBaHCKHM "BonKonaKOM" (HenoBeKOM-BonKOM): cep6., HepHor. (KyHH) eyKodmK, 6onr. ernKodmK, ebnKOMK, 6j>pkomk, noA aHanorHHHHMH Ha3BaHHaMH 3tot nepcoHax H3BecTeH an6aHnaM h rpeKaM (an6. vurkollák, vurvollák, rpeH. ßoupK0^aKo;), hto TpaKTyeTca KaK 3aHMCTBOBaHHe h3 cnaBaHCKHx a3HKOB [12, c. 311; 13, c. 277], cp. TaKxe c.-an6. lugát, luvgát (bo3moxho - b ocHOBe poMaHCKoe loup "BonK" h garou "KonAyH" [11, s. 201]) - MepTBenbi-MycynbMaHe c orpoMHHMH HorxaMH, 3aMOTaHHbie b HCTneBmHe TpanKH, norno^aro^He Bce, hto Haxo^aT, h ßyma^He nro^eö [11, s. 163]. B ceBepHOH An6aHHH BaMnHpaM npHnHCHBaeTca BH3HBaHHe nyHHoro 3aTMeHHa: no noBepbaM, ohh Hana^aroT Ha Mecan h noe^aroT ero [12, c. 311]. flpyroH, THnHHHHH Ana roxHOcnaBaHCKHx npeACTaBneHHH nyTb pa3BHTHa o6pa3a - "oKOCTeHeHHe" BaMnHpa, kotophh Hepe3 40 AHeH nocne CMepTH npHo6peTaeT nnoTb h KpoBb, nocne Hero xHBeT o6hhhoh xH3Hbro cpeAH nrofleH: 3.-6onr. OKOcmHUK, c.-6onr. navmenuK h fleTH, pox^eHHHe ot BaMnHpa (cep6. eaMnupoeuhu, eaMnupnema, 6onr. eaMnupdwuu), KaK h Bce 6anKaHOcnaBaHCKHe AeMOHonorHHecKHe nepcoHaxH, npoH3ome^mHe ot ^eMOHa h o6biHHoro HenoBeKa, npHo6peTaroT cn0C06H0CTb 6opoTbca c AeMOHaMH, b ^aHHOM cnynae - BaMnHpaMH.
HoBepba o AeMOHax, npoHcxo^a^Hx ot Aym HeKpe^eHHx Mna^eHneB, mHpoKO pacnpocTpaHeHH b eBponeHcKHx KynbTypHHx TpaflHnHax, BepoBaHHe b hx npe6HBaHHe
127
roxHocnaBaHcKaa Hapo^Haa aeMGHGnoraa b 6anKaHcKGM KGHxeKcxe
BOKpyr nroaen (ocoöeHHO b nepBHe 40 aHen nocne cMepTH) H3BecTHbi boctohhhm cnaBaHaM, 0c06eHH0 pacnpocTpaHeHH ohh y yKpanHneB. B roxH0cnaBaHcK0M apeane aymH-aeMOHH yMepmHx ao Kpe^eHna aeren noa caMHMH pa3HHMH Ha3BaHHaMH (na^e 3T0 06pa30BaHHa ot cnaB. KopHa Hae-, HanpHMep, B.-cep6. Haeuje, MaK. Haeou, 6onr. Haeu, nnn ot rnaronoB co 3HaneHneM "nnaKaTb, KpnnaTb, cBncTeTb", HanpHMep, repneroB. naameau, jayd, B.-cep6. ceupau, a TaKxe h MHorHe apyrHe) H3BecTHH Ha Bcen TeppHTopHH, BKnronaa XopBaTnro h CnoBeHnro. no pa3HHM noBepbaM, ohh neTaroT BOKpyr nroaen, H3aaBaa np0H3HTenbHHe 3ByKH, nacro HMeroT o6jhk HeoÖHHHHx nrnn, h, KaK npaBnno, npHHHHaroT Bpea 6epeMeHHHM h poxeHnnaM, a TaKxe TeM, kto cnHmnr hx ronoc nnn HacMexaeTca Haa pa3aaro^HMnca 3ByKaMH. OTaenbHHe cBeaeHHa o aymax-aeMOHax HeKpe^eHHx aeTen OTMeneHH y pyMHH, HanpHMep, noBepba 06 hx HanaaeHnax Ha Mecan, KOTopHH ohh noeaaroT, neM BH3HBaroT 3aTMeHHe [12, c. 311], 0 noce^eHnn "npHKonHHaMH" cbohx MaTepen b HaKa3aHHe 3a to, hto 3anann hx b aHH npa3aHHK0B [6, c. 140] h apyrHe, rae, npexae Bcero, omy^aeTca hx craTyc "BaMnnpoB" nnn "npnBHaeHHn".
OnacHHMH ana HOBopoxaeHHoro h ero MaTepH y 6anKaHcKHx cnaBaH cnnraroTca TaKxe MH^nnecKHe cy^ecraa, np0H30meamHe ot yMepmHx poxeHHn h 6epeMeHHHx xeH^HH. HpeacTaBneHHa 0 xeHcKHx aeMOHax, Ha3HBaeMHx nexycu, mycm, Aoycu (h3 HOBorpen. Ae%oioa "poxeHnna" [27, c. 379]), apMeHKu, epMewiuÛKu, pacnpocTpaHeHH b 60nrapcK0-MaKeaoHcKOM apeane (y cep60B ana o6o3HaneHHH onacHbix ana poxeHHnH h HOBopoxaeHHoro aeMOHOB 6one3HH ynoxpe6naroTca HaHMeHOBaHHa cnaBaHcKoro nponcxoxaeHna - ôaôuue, ôanKe, ôaôuae [28, c. 35-36]). B ceBepHon rpennn cwraeTca, hto ao copoKa aHen poxeHHne yrpoxaeT "Ap|j£VOÇ, n03T0My poacTBeHHHKH h 6nHxanmne apy3ba craparoTca He ocraBnaTb ee oaHy, a ana 6onbmen HaaexHocTH cpa3y nocne poxaeHHa pe6eHKa xeHmnHe Ha aBepb cnanbHH BemaroT motok npaxH, cnnTaa, hto TaKHM 06pa30M "cBa3ann" onacHoe MH^onorH^ecKoe cy^ecrao [9, p. 124]. Pa3nnHHbie MeToaH 3a^HTbi poxeHHnH ot aeMOHOB b nepBHe HeaenH nocne poaoB mHpoKO H3BecTHH h b 6anKaH0cnaBaHcKHx perHOHax.
HpeacTaBneHHHn o6^nn 0630p ochobhhx oco6eHHocTen aeMOHonorHH 6anKaHcKHx cnaBaH caenaH c nenbro o6o3HanHTb ee KOHTypH b 06^e6anKaHcK0M KOHTeKcTe, OTMeTHB HeKOTopHe, no HameMy MHeHnro, y3n0BHe tohkh TnnonorHHecKnx KaTeropnanbHbix h a3HK0BHx (KaK Ha ^opManbHOM, TaK h Ha ceMaHTnnecKOM ypoBHe) cooTBeTcTBHn roxHocnaBaHcKon h 6anKaHcK0n MH^onornHecKnx cHcTeM.
.HTepaTypa
1.	CxeMa onacaHHa MH^onornqecKnx nepcoHaxen Il MaTepnanti k VI MexayHapoaHOMy KOHrpeccy
no H3y^eHHro cTpaH roro-BocTO^Hon EBponH. Co^na, 30.VIII.89 - 6.IX.89. C. 78-85.
2.	BHHorpaaoBa ..H., ToncTaa C.M. K npo6neMe HaaeHxn^nKannH n cpaBHeHHa nepcoHaxen
cnaBaHcKon Mn^onornn Il CnaBaHcKnn n 6anKaHcKnn ^ontKnop. BepoBaHHa, TeKcT, pHxyan. M., 1994. C. 16-44.
3.	U,HBtaH T.B. .HHTBHcTHHecKHe ochobh 6anKaHcKon Morena MHpa. M., 1990.
4.	3e^eBHh C. MnrcKa 6riha cpncKHx npeaaaa. Eeorpaa, 1981.
5.	HnoBflHBcKn Kpan. ETHorpa^cKH n e3HK0BH npoy^BaHHa. Co^na, 1986.
6.	Ka6aK0Ba T.H. MaTepnanti no pyMtmcKOH aeMOHonornn Il MaTepnanH k VI MexaayHapoaHOMy
KOHrpeccy no roy^eHnro cTpaH roro-BocTO^HOH EBponH. Co^na, 30.VIII.89 - 6.IX.89. C. 133-150.
7.	.eBKneBcKaa E.E., yca^eBa B.B. HoneccKnn BoaaHon Ha 06m;ecnaBaHcK0M $0He Il CnaBaHcKHn n
6anxaHcKHH ^ontKnop. 9TH0nHHTBncTnHecK0e roy^eHHe Honecta. M., 1995. C. 153-172.
128
AHHa nnomHUKoea
8.	n^oTHHKOBa A.A. MaTepnaati flaa 3THoanHTBncTHHecKoro royneHna SaaKaHocaaBaHcKoro
apeaba. M., 1996.
9.	Abbot G.F. Macedonian Folklore. Chicago, 1969.
10.	Mu^lea I., Birlea O. Tipología folclorului din raspunsurile la chestionarele lui B.P. Hasdeu. Bucure^ti,
1970.
11.	Hahn J. Albanische Studien. Jena, 1854. T. 1.
12.	HaSej E. Xhbot n oSmajn ApSaHaca // Kanra o EaaKaHy. E. 1. Eeorpafl, 1936. C. 303-319.
13.	fflHeBajc E. OnmTn noraefl Ha SaaKaHcKn ^oaKaop // Kanra o EaaKaHy. E. 1. Eeorpafl, 1936.
C. 276-279.
14.	HajKaHoBrih B. CTapa cpncKa peanrnja n MHToaornja. E. 5. Eeorpafl, 1994.
15.	EeaSn3oB K., BeKoBa-EeaSn3oBa M. EpaflnnaoHeH Sht n KyaTypa Ha SaHaTcKHTe Starapn //
CSopHHK 3a HapoflHH yMoTBopeHna, Hayxa n KHnxHnHa. 1963. Kh. 51.
16.	TepoB H. PeHHnK Ha StarapcKna e3HK. E. 1-5. Co^na, 1975-1978.
17.	BHHorpafloBa .H.H. "Pycaann" Ha EaaKaHax n y boctohhlix caaBaH: ecTt an aaeMearti cxoflcTBa?
// EaaKaHcKne HTeHna - 2. CnMno3nyM no cTpyKType TeKcTa. M., 1992. C. 59-64.
18.	EeHoBcKa-CtSKoBa M. 3a pycaaKKTe b StarapcKna ^oaKaop // EtarapcKn ^oaKaop. Kh. 1.
1991. C. 3-14.
19.	EtarapcKa Mffroaoma. EHDHKaoneflnneH peHHHK. Co^na, 1994.
20.	HBaHoBa M.B. AaSaHnti // KaaeHflapHtie oStman n oSpaflti b cTpaHax 3apySexHon EBponti
XIX - HaHaao XX BeKa. HeTHe-oceHHHe npa3flHnxn. M., 1978. C. 258-267.
21.	Fermor P. Maní. New York, 1958.
22.	CeflaKoBa H.A. EaaKaHocaaBaHcKne npeflcTaBaeHna o fleMoHax cyfltSti: TpaHc^opManrn bo
BpeMeHH n b npocTpaHcTBe // BpeMa b npocTpaHcTBe EaaKaH. CBHfleTeatcTBa a3tiKa. M., 1994. C. 42-63.
23.	3aaTKoBnh Opa3eoaornja cTpaxa n Hafle y ühpotckom roBopy. Eeorpafl, 1989.
24.	BHHorpafloBa H.H., EoacTaa C.M. BemTnna // CaaBaHcKne flpeBHocTn. 9THoaHHTBncTHHecKHH
caoBapt. E. 1. M., 1995. C. 367-368.
25.	KaennKoBa Eü. CeMaHTnKa KapnaTo-SaaxaHcKoro Strig- b cBeTe xapaKTepncTHKn HeKoToptix
MH^oaoranecKnx nepcoHaxen ("KoMnoHeHT fl b n x e h n e") // KoHnenT flBnxeHna b a3tiKe n KyatType. M., 1996. C. 114-126.
26.	HeBKneBcKaa E.E. BaMnnp // CaaBaHcKne flpeBHocTn. 9THoaHHTBncTHHecKnH caoBapt. E. 1.
M., 1995. C. 283-286.
27.	EtarapcKn eTHMoaoraroH peHHHK. E. 3. Co^na, 1986.
28.	PafleHxoBHh MHToaomxa Snha Be3aHa 3a po^eae fleTeTa // ETHo-KyaTypoaomxn 3Sophhk.
Ka. 1. CBp^nr, 1995. C. 35-40.
npnHaTHe coKpa^eHna
aaS. - aaSaHcKnn
Soar. - SoarapcKnn
b.- boctohho-
rpeH. - rpenecKHH
3.- 3anaflHo-
MaK. - MaKefloHcKnn naoBfl. - naoBflnBcKnn poflon. - pofloncKnn pyM. - pyMMHcKHH c.- ceBepo-
c.-B.- ceBepo-BocToHHo-cepS. - cepScKnn ro.- roxHo-ro.-B.- roro-BocToHHo-
129
roxHocaaBSHCKaa Hapo^Haa ^eMOHonoraa b 6amaHCKOM KOHTeKCTe
Südslawische Volksdämonologie im balkanischen Aspekt
Anna Plotnikova
Der Artikel ist der Typologie der balkanischen volkstümlichen Weltdarstellungen gewidmet. Die Hauptgruppen der Figuren der niedrigeren Schicht der Dämonologie werden im Kontext anderer balkanischer Traditionen betrachtet. Es werden einige Knotenpunkte der wichtigsten typologischen Parallelen der südslavischen und balkanischen mythologischen Systeme identifiziert.
'30
^yxH, BceiaMwueca b neiOBeKa1
ïïndMuna H. Bunoepadoea
The article deals with a folk tradition about an evil ghost, usually in the form of an insect, possessing a human. It is believed that these notions are linked with phrases like: "flies in one's head", "flies in one's nose", etc.
OflHOH H3 npHHHH aeM0H0a0rH3anHH OÔblHHbix aroaeH, nO HapOflHHM npeacTaBaeHnaM, aBaaeTca BceaeHne b HeaoBeKa 3aoro ayxa, HepTa, 6eca. 9to Morao npOHCXO^HTb an6o c coraacna HeaoBeKa, an6o npoTHB ero boot. HanpnMep, HeaoBeK 3aKaroHaa caeaKy c HeHncTOH cnaoH b neaax npnoôpeTeHna ôoraTCTBa nan oco6oh MarnnecKOH cnabi. TaKHe nepemeamne noa n0Kp0BHTeabcTB0 3abix ayxoB aroan (KoaayHbi, BeflBMH h apyrne snan^ue), cTaHOBnancb, KaK cHHTaaocb, noayaeMOHHHecKHMH cy^ecTBaMH. Hx aBOHcTBeHHaa npnpoaa (noayHeaoBeK - noayaeMOH) onpeaeaaaacb HMHHHeM b HeaoBeKe flByx aym: oôhhhoh Hea0BeHecK0H h BceanBmeHca aeMOHHHecKOH aymn, cnocoÔHon no HOHaM noKHaaTb Teao aBoeaymHHKa, htoôh b Bnae oôoporaa (HaceK0M0r0, xhbothoto) BpeanTb oaHoceabHaHaM.
^pyryro KaTeropnro aB0eaymHHK0B o6pa3yroT aroan (ôecHOBarae, oaepxHMbie, KanKymn, hkothhuh, ropoanBbie), K0T0pbie 0Ka3bBaroTca xepTBaMH B03aeHcTBna HeHncTOH cnabi, nocKoabKy b hhx 6e3 hx BeaoMa h coraacna BceaaeTca BpeaoHocHbiH ayx, BH3HBaa TeM caMHM 6oae3HeHHbie cocToaHHa, yMcTBeHHHe paccTpoHcTBa, ho BMecTe c TeM h npopoHecKne, h HeK0T0pbie apyrne cBepxtecTecTBeHHbie cnocoÔHocrn. no ôeaopyccKHM BepoBaHHaM, ecan HepTH noceaaroTca b HeaoBeKe npoTHB ero Boan, to noab3H aHHHO eMy ot TaKoro KOHTaKTa HHKaKOH HeT ("Kapbicnn aa HopTa xaaHae He Mae"), - HaoôopoT, HepT MyHaeT ero ôoaaMH, OTÔnpaeT pa3yM, ToaKaeT Ha ccopbi (MB, c.88). HeoôbHHoe noBeaeHne SecHOBarax, hx 3araa0HHaa, KaK 6h He hm npnHaaaexa^aa peHb, HenoHaTHbie bhkphkh pacneHHBaancb OKpyxaro^HMH KaK ocoôbie 3HaHHMHe npopnnaHHa, cBnaeTeabcTByro^ne 0 npncyTCTBHH b HeaoBeKe "He cBoero ayxa", 6eca, KOToporo Haaaexaao H3rHaTb H3 nocTpaaaBmero.
Haea oaepxHMocTH 6ecaMH KaK npnHHHa MHornx 3a6oaeBaHHH, noMemaTeabcTB, ncTepHHecKHx cocToaHHH aroaeH, no cBnaeTeabcTBaM 3TH0rpa^0B, hocht noHTH yHHBepcaabHHH xapaKTep b BepoBaHHax ôoabmnHcTBa HapoaoB Mnpa (TaHaop, 1939, c.352-364; KpanHcKHH, 1900, c.8-9).
1 This article was financially supported by RGNF (grant N 96-04-06034 "Mifologiceskie osnovy slavjanskoj narodnoj kul'tury").
131
flyxH, Bceiaro^Heca b qeaoBeKa
y ciaBAH noao6HHe BepoBaHna n3BecTHbi KaK b cpe^HeBeKOBHx peinrno3Hbix HCTOHHHKax, TaK n b HapoAHoft KyibType. Oaho n3 cTapeftmnx ynoMHHaHnft o6 stom Haxo^HM b noibcKoft pyKonncn "Xhthh cb. .SieKa" (XIV b.), b kotopoh noBecTByeTca o tom, hto HeKnft npaBoBepHbift Myx n3rHai n3 Teia 6ecHoBaToft xeH^HHH AByx Bpe^oHocHHx aeMoHoB (Baranowski, 1981, s.242). B eBponeftcKoft xnTnftHoft inTepaType XVI-XVII bb. TaKne snn3oAbi o6 raraaHnn 6ecoB H3 Teia neioBeKa CTain o6^hm MecToM. BnioTb ao X1X BeKa noibcKHe Teoiorn nbrraincb AoKa3aTb, hto, coriacHo o^ninaibHbiM AorMaTaM KaToinnecKoro KocTeia, HaAiexnT BepnTb ToMy, 6yATo b neioBeKa MoxeT BceiHTbca 3ioft Ayx. H3AaHHaa b cepeAHHe XVIII BeKa "HaynHaa" sHinKioneAHa KceHA3a BeHeflHKTa XMeieBcKoro BKironaia cneinaibHbift pa3Aei noA Ha3BaHneM "KaK y3HaTb hcthhho o^epxHMoro 6ecaMn", cocToa^nft n3 24 nyHKToB: "neioBeK b TeneHne 30-th AHeft He MoxeT ecTb Ko3iaTnHbi", "oTKa3biBaeTca npon3HocnTb HeKoropbie moahtbh", "Ha cbath peinKBnn cmotpht c HeHaBncTbro n He AaeT BHecTn ce6a b xpaM 6oxHft", "cKpnnnT 3y6aMn", "noApaxaeT roiocaM xhbothhx", "oTKa3biBaeTca roBopnTb nin pa3roBapnBaeT Ha HHocTpaHHbix A3biKax, 6yAy^n 6e3rpaMoTHHM npocTaKoM", "ot Hero hcxoaht xoio^Hoe AyHoBeHne", "oh yTBepxAaeT, hto b xeiyAKe y Hero cKaneT yx, a^epnia nin xa6a" n T.n. (Chmielowski, 1754, s.217-218). 3HannTeibHo no3xe n3AaHHaa KHnra KceHA3a .eoHa neiioBcKoro "Mnp aHreioB n AeMoHoB" (1930 r.) Bcepbe3 paccMaTpnBaia cnTyainn, Koraa neioBeKoM ako6h 3aBiaAeBai 6ec, npoHHKmnft b ero Teio. B noibcKoft npecce yxe HHHemHero cToieTHa Hamei oTpaxeHne cieAyro^nft ^aKT: b aHBape 1926 roaa Ha lempaibHoM BoK3aie BapmaBbi 6ha 3aAepxaH HeKnft cia6oyMHbift 6poAara, y KoToporo o6HapyxHin cnpaBKy, BbiAaHHyro eMy KceHA3oM HoBniKoro noBeTa, cBHfleTeibcTByro^yro o tom, hto stot neioBeK "hocht b ce6e AbABoia" (Baranowski, 1981, s. 242-243).
noBepba o BceieHnn 3ioro Ayxa b neioBeKa npeAcTaBiaroT co6oft oco6bift nHTepec Aia n3yneHna TaKoft KaTeropnn Mn^nnecKnx cy^ecTB, kotoph He MoryT 6HTb oxapaKTepn3oBaHH KaK Tnn nepcoHaxeft, nMero^nx neTKo 3aKpenieHHbift 3a hhmh Kpyr HHflnBnflyaibHHx npn3HaKoB, - sto cKopee HeKoe MHoxecTBo cia6o nepcoHn-^ninpoBaHHHx MeiKnx AyxoB HeacHoro o6inKa n nponcxoxAeHna c e^HHCTBeHHoft AocraTOHHo BHpa3nTeibHoft (^yHKineft npoHHKaTb bo BHyTpeHHocTH neioBeKa, BH3HBaa TeM caMbiM pa3Horo poAa HeAyrn. H xoTa no npn3HaKy HoMHHainn ohh coothocatca c nepToM, 6ecoM, Bce xe ABcraeHHo o6HapyxnBaeTca paA oco6eHHocTeft, no3Boiaro^nx paccMaTpnBaTb rpynny "Bceiaro^nxca" AyxoB KaK oco6yro KaTeropnro HenncToft cnibi.
Kto xe, no HapoAHbiM noBepbAM, n KaKHMH cnoco6aMn npoHHKaeT b neioBeKa n KaKne nocieAcTBna aia nocTpaAaBmero sto nMeeT? Ojhhm n3 Han6oiee pacnpocTpaHeHHHx cnoco6oB Bxox^eHna 6eca b yTpo6y neioBeKa cnnTaiocb nporiaTHBaHne ero c e^oft n nnTbeM. CoriacHo mnpoKo n3BecTHHM npeacTaBieHnaM, 6ecn npoHHKaroT b HenoKpHTHe n He6iarocioBeHHHe HannTKH n KymaHba, b cba3h c neM noBceMecTHbM y boctohhhx ciaBAH 6^ho Tpe6oBaHne KpecTHTb poT n nn^y nepe^ e^oft, a TaKxe npnKpbBaTb cocy^b c nnTbeBoft Bo^oft KpbmKaMn, TpanKaMn nin xota 6h AByMa iynnHKaMn, noioxeHHbMH Ha Be^po "KpecT-Ha-KpecT, hto6h nepT He Bie3". Onacaacb nporioTHTb He3pnMyro HenncTyro cniy, imah n36erain nnTb BoAy H3 pynba npaMo ptom, KpecTnin poT bo BpeMA 3eBoTb, hto6h 6ec He 3acKonni. 3anpe^aiocb ecTb Ha xoAy nin nepecTynaa nopor AoMa, a b noiHonb Boo6^e ocTeperaincb ecTb, TaK KaK sto "6ecoBcKoe BpeMA, n HeT bo3moxhocth orpaAHTb nnmy ot 6eca" (PflC, c.48-49). no sthm xe coo6paxeHHAM cieAoBaio HenpeMeHHo KpecTHTbca bo BpeMA pacKaToB rpoMa,
132
flmdrnma H. Bunozpadoea
hôo bo BpeMa rpo3H HeôecHbie chih CTaparoTca nopa3HTb moihhhmh nepTeô, K0T0pHe nmyT yôexn^a, cKpbiBaacb b neiOBeKe.
OTHomeHne k TaKHM xepTBaM B03fleôcTBHa 3ihx flyxoB ôbio conyBCTBeHHHM h TepneiHBHM. no cBH^eTeibcTBy C.B.MaKcHMOBa, Kor^a b nepKBH npoHcxo^aT myMHHe npnnaflKH KiHKymecTBa, Ha iHnax npHxoxaH noaBiaeTca BbipaxeHHe cep^e^Horo ynacraa h cocrpaflaHHa: "3to MarKoe h cep^e^Hoe 0TH0meHHe k KiHKymaM n0K0HTca Ha tom npe^noioxeHHH, hto He caM neiOBeK, npHme^mHH b xpaM n0M0iHTbca, HapymaeT nepK0BH0e ôiaroHHHHe h bboaht b coôia3H, ho tot 3ioô ^yx, kotophh BceiHica b Hero h OBia^ei BceM ero cy^ecTBOM" (MaKcHM0B,1989, c.91). CaMH xeH^HHbi, cTpa^aro^He npHna^KaMH HcTepHH, TBep^o h HenoKOiHÔHMO yôexaeHbi, hto sto 6ecH BceiHiHcb b hx HyTpo, hto ohh npoHHKiH nepe3 HenepeKpe^eHHbift pot bo BpeMa 3eB0TH hih b nHTbe h e^e: ",D,aia MHe KOiflyHba BHHa, - cooô^aeT nopneHHaa, - neô, roBopHT, 3eieH0 bhho, 3fl0p0Bee ôy^emb, a TOibKO a BbinHia, - h cran y MeHa b xHBOTe kto-to cnepBa ayKaTb, a h3 xHBOTa b pot nepemei h cran BbipaxaTb nioxHe ciOBa, HenoTpeÔHO pyraTbca" (MaKcHMOB, 1989, c.93).
Ecih b BOfle, no Hapo^HbiM noBepbaM, nacro MOxeT 0Ka3aTbca HenHcTbift ^yx, to b nHBe h BHHe (b imôom côpoxeHHOM HanHTKe) oh ecTb Bcer^a h 0Ôa3aTeibH0, n03T0My nepefl nHTbeM HafliexHT nepeKpecTHTb napKy hih no^yTb Ha Hee, htoôh OTOraaTb HenHcTyro cHiy (BiacoBa, 1995, c.288). no-BH^HMOMy, c sthm cBa3aHb mHp0K0 H3BecTHbie npe^cTaB^eHHa, hto b neiOBeKa, cTpa^aro^ero 3anoeM, BceHenpeMeHHO BceiaeTca nepT.
Hto6h He npornoTHTb Bpefl0H0cHbix AyxoB, jimah 3aKpe^HBaiH hih ôiarociaBiaiH e^y h nHTbe, cieflHiH, hto6h b cocya He nonaiH HaceKOMbie, c^yBaiH c noBepxHocTH niqH h BOflbi He3pHMbx ôecoB. OÔMbBaHHe pyK nepea e^oft Toxe c^HTaiocb npe^oxpaHHTeibHHM cpe^cTBOM npoTHB np0HHKH0BeHHa b yTpoôy neiOBeKa HenHcTOô chih. Ecih nepeKycbBaTb npHxo^Hiocb 3a npe^eiaMH AOMa, a boah noôiH3ocTH He ôhio, to BepHiH, hto fl0cTaT0HH0 nepe^ e^oô tphx^h no^yTb Ha cboh pyKH, "hto6h corHaTb HenHcTbx c pyK" (boiotoack. - BiacoBa, 1995, c.256).
Bec Mor boôth b neiOBeKa He TOibKO bo BpeMa e^bi, nHTba, npH 3eBaHHH, ho h npH He0cT0p0XH0M ynoMHHaHHH HMeHH nepTa hih ôeca. KaK paccKa3HBaeTca b oahoô h3 HOBropo^cKHx ô^iiHneK, b pe3yibTaTe npoH3HeceHHoro pa3rHeBaHHHM MyxeM npoKiaTba b a^pec xeHH ("hto6h Teôa nepra B3aiH"), - xeH^HHa TyT xe c^eiaiacb He b ceôe, ee ria3a HaiHiHcb KpoBbro, OHa cTaia y^HBiaTb Bcex HeoÔHHHon chioô, TeM, hto He y3HaBaia cbohx fleTeô, nieBaia Ha hkohh h Beia ceôa KaK ôecHOBaTaa (BiacoBa, 1995, c.348). B Hapo^e BepHiH, hto ôecy uerne Bcero npoHHKHyTb b Toro, kto He MOiHTca, He KpecTHTca, pyraeTca hih noMHHaeT HenHCTyro cHiy; b Toro, kto TocKyeT, "oxBaneH flyMOô", yrHeTeH Taxeioô Mbicibro, kto HMeeT npHBHHKy ecTb Ha xo^y (PflC, c.48).
np0HHKH0BeHHe 3ioro flyxa b HyTpo neiOBeKa Morio ocy^ecTBiaTbca b pe3yibTaTe Bpefl0H0cH0ô MarHH, cnenHaibHO Hac^iiaeMOô nop^H KOiflyHaMH h "ihxhmh urojbMH". MHoroHHcieHHHe ciynaH oÔBHHeHHÔ b a^pec o^Hoceib^aH, aKOÔH "noca^HBmHx nepTa" b yTpoôy nocTpa^aBmero, ynoMHHaroTca b cy^eÔHHx aKTax Be^OBcKHx nponeccoB. CnocoÔHHMH npHHHHHTb Bpefl c^HTaiHcb TaKHe fleôcTBHa co ctopohh Heflo6poxeiaTeieH, KaK npoKiaTHe, npHK0cH0BeHHe, noneiyô, BHnycKaHHe TaôanHoro AHMa b cTopoHy cBoeô xepTBbi, nonHTKa AyHyTb Ha neiOBeKa h T.n. B oahom h3 cyaeÔHbix aKTOB 1826 rofla (Tomckoh ryô.) 3anHcaHH n0Ka3aHHa o tom, hto HeKHÔ KpecTbaHHH noneiOBai HacHibHO AeBKy Map^y h AyHyi Ha Hee npH stom; c Toro BpeMeHH nonyBcTBOBaia OHa BeiHKyro rpycTb, a 3aTeM npHmia b ôe3yMHe h cTaia roBopHTb, hto
133
flyxh, bceiaro^heca b qeaobeka
BHyTpH y Hee "Moaoaen 3anaceH h 3aKpenaeH", a 3acaaHa ero Tyaa aToT KpecTbaHHH (KpaHHcKHH, 1900, c.52).
CpeaH HaHÖoaee thhhhhhx npH3HaKoB öecHoBaTocTH b pyccKHx noBepbax cHHTaaHcb HenpoH3BoabHHe KpHKH nocTpaaaBmero, kotophh noa Bo3aeHcTBHeM 3aoro ayxa HaHHHaa K/UKamb, oT3HBaaca roaocaMH xhbothhx, öpaHHaca "HepHbiMH caoBaMH". KpoMe Toro, cocToaHHe HeBMeHaeMocTH, oaepxHMocTH HacTo conpoBoxaaaocb cHabHoH hkotoh, 3eBoToö, o3ho6om, HcTepHHecKHMH npHnaaKaMH. B ceBepHopyccKHx oöaacTax oahoh h3 pa3HoBHaHocTeö KaHKymecTBa npH3HaBMH uKomy. 9Ta no npeHMy^ecTBy xeHcKaa 6oae3Hb npoaBaaaacb no-pa3HoMy, ho noHTH Bceraa, no HapoaHHM noBepbaM, 6biaa cB^3aHa c ocoöeHHocTaMH peHeBoro noBeaeHHa HeaoBeKa, kotophh aHÖo aHmaaca aapa peHH h HaHHHaa "yxaTb", KpHHaTb no-3BepHHoMy, aHÖo b HeM HaHHHaa Be^aTb "He cboh" roaoc.
no cBHaeTeabcTBy pyccKHx crapooöpaaneB, npoxHBaro^Hx b BeTKoBcKoM p-He ToMeabcKoö oöa., HKoTa noaBaaeTca BcaeacTBHe Toro, hto b HeaoBeKa BceaaeTca HeKoe aeMoHHHecKoe cy^ecTBo h xHBeT b HeM cBoeH xH3Hbro. HKoTa, KaK noaaraaH, He MoxeT cy^ecTBoBaTb caMa no ceöe BHe HeaoBeKa HaH bo bcakom cayHae oHa HcnHTHBaeT noTpeÖHocTb b HeM noceaHTbca. 9Toro He3pHMoro ayxa moxho caHmaTb h aaxe roBopHTb c hhm: oh roBopHT roaocoM, oTaHHHbiM ot roaoca HeaoBeKa, b kotopom cHaHT. HepeaKo cTpaaaro^aa aToH 6oae3Hbro xeH^HHa npH nonHTKe 3aroBopHTb HaHHHaaa BHTb no-BoanbH, KyKoBaTb, KpHHaTb neTyxoM, aaaTb no-coöaHbH (Xhb. Ct., 1996, N 1, c.13). flyxa hkoth noHTH tobo3moxho H3rHaTb H3 Teaa HeaoBeKa, oaHaKo nocae ero cMepTH oh noKHaaeT noKoHHHKa h BceaaeTca b oHepeaHyro xepTBy h3 Kpyra poacTBeHHHKoB HaH 3HaKoMHx yMepmero. B HeKoTopHx MecTax cHHTaaH, hto He Hameamaa cBoero hoboto BMecTHaH^a HKoTa MoxeT npocy^ecTBoBaTb caMocToaTeabHo He Öoaee copoKa aHeH (HHKHTHHa, 1993, c.15).
Bo MHorHx cayHaax caMo caoBo UKoma ocMbicaaeTca KaK hmh HeHHcToro ayxa, Bomeamero b HeaoBeKa. BapHaHToM aToH 6oae3HH BbicTynaeT b noBepbax ApxaHreabcKoH ryö. TaK Ha3HBaeMaa ¿oeopyxa - TepMHH, c noMo^bro KoToporo b aToH MecraocTH onpeaeaaeTca h KaHKymecTBo, h aHxopaaKa. .HroaH cHHTaaH, hto HKoTa noa Ha3BaHHeM zoeopyxa MeHee cHabHaa 6oae3Hb, npH kotopoh 6oabHbie "He BbiKpHKHBaroT", ho Ha BonpocH oKpyxaro^Hx He oTBenaroT (BaacoBa, 1995. c.119). XeH^HH, cTpaaaro^Hx hkotoh, HacTo BocnpHHHMaaH KaK npeacKa3aTeabHHn Öyay^ero: "Koraa y MeHa b BoHHy ot MyxHKa nHceM He 6biao, xoaHaa k HKoTKe. OHa MHHe cKa3aaa, hto oh xhboh, - h BepHo Beab..." (nepMcK.- BaacoBa, 1995, c.168).
Hapaay c npeacTaBaeHHaMH o öecnaoTHocTH h HeBHaHMocTH npoHHKaro^ero b HeaoBeKa 3aoro ayxa, ihpoko H3BecTHH TaKxe noBepba o tom, hto ero 3phmoh HnocTacbro BHcTynaroT Ha^e Bcero HaceKoMHe HaH xToHHHecKHe xHBoTHbie. TaK, pyccKHe xeH^HHbi-ceBepaHKH, crpaaaro^He hkotoh, yraepxaaaH, hto Öec npoHHKaeT b hhx, 3aaeTaa b pot MyxoH. ,D,axe ecaH noaoÖHHH ^aKT He 6bia 3aMeHeH, nocTpaaaBmHe yBepaaH, hto nepea TeM, KaK ayx BceaHaca, HeaoBeK aKoÖH cabimaa xyxxaHHe MyxH (P^C, c.209). CaMHM xe oöhhhhm cnocoöoM npoHHKHoBeHHa HeHHcToH cHab b HeaoBeKa 6biao HeocTopoxHoe nHTbe: 3aöoaeBmaa xeH^HHa BepHaa, hto oHa "nporaoTHaa Öeca b BHae BoaaHoro xyHKa H3 KyBmHHa c BoaoH, cTaKaHa c bhhom, KBacoM h T.a." (PflC, c.240).
B noabcKHx aeMoHoaorHHecKHx BepoBaHHax H3BecTHH HeKHe MeaKHe BpeaoHocHHe ayxH, kotophx KoaayHbH nepeaaroT aroaaM BMecTe c nHTbeM HaH nH^eH co 3aoHaMepeHHHMH neaaMH. B HaHMeHoBaHHH aTHx ayxoB Ha^e Bcero Hcnoab3yroTca aHÖo
134
flmdrnma H. Bunozpadoea
aHHHbie HMeHa (Jurek, Kuba, Michalk), aHÖo Ha3BaHHa HaceKOMHx h 3eMH0B0aHbix xhbothhx (Metel, Gadzina), aHÖo Ha3BaHHa 6oae3Heö (Gosciec, Macica). no KamyöcKHM noBepbAM, "ropeK" - 3to 3aoö ayx b BHae HepBaHKa HaH Boaoca, KOToporo BeabMa nepeaaeT HeaoBeKy c eaoö; o öecHOBaTOM roBopaT "oh HMeeT ropKa" ["On ma Jurka"] (Sychta, t.2, s.112). Ocrpbie xeayaoHHbie KoaHKH h cna3MH onpeaeaaroTca b noabcroö HapoaHOö TepMHHoaorHH ca0B0M macica. CHHTaaocb, hto 3to 3aoö ayx b BHae HepBa c octphmh KorTaMH, noceaHBmHÖca bo BHyTpeHHocTax HeaoBeKa (Wisla, t.6, s.175). HeKoe ^eMOHHHecKoe cy^ecTBO b o6pa3e 3MeH, Ha3biBaeMoe y noaaKOB "raaHHa", HMeao oöbiKHOBeHHe BceaaTbca b pe6eHKa, b pe3yabTaTe Hero tot craHOBHaca BaabiM h coh^hbhm. Koraa oh 3acbinaa rae-HHÖyab BO3ae O3epa HaH peKH, BceaHBmHÖca b Hero ayx Bbinoa3aa b BHae 3MeH, Kynaaca b O3epe h BHOBb BO3Bpa^aaca b yrpo6y pe6eHKa. CHHTaaocb, hto ecaH b 3tot MHr MaTb ycneeT yHecTH cna^ero aoMOö, to BpeaoHocHbiö ayx BbrnyxaeH 6yaeT HcKaTb ce6e apyryro xepTBy aaa BceaeHHa (Sychta, t.1, s.294-295).
Coraacro MHoroHHcaeHHbiM caaBaHcKHM noBepbaM, Hepe3 eay h HanHTKH b HeaoBeKa MoryT npoHHKHyTb He3pHMbie ayxH (srnx Heuonb, dyxu-rnxopadm), KOTopbie jHmL b yTpo6e HeaoBeKa npHHHMaroT BHa "pa3Hbix raaoB" - 3Meö, xa6, aarymeK, Mbimeö; ohh cocyT ero KpoBb, Tep3aroT BHyTpeHHocTH, aeaaroT öoabHbiM HaH öecHOBaTHM (A^aHacbeB, 1994, t.3, c.520).
KaK pe3yabTaT aeöcTBeHHoro aeHeHHa HaH H3rHaHHa 6eca HacTO onHcHBaeTca crnyanna, npH kotopoö H3 öoabHoro BbiaeTaeT HaceKOMoe HaH BHcKaKHBaroT MeaKHe xHBOTHbie. HanpHMep, npH H3rHaHHH HeHHcTOö cHabi h3 KaHKyxH y Hee cHaHaaa 3aapoxaaa pyKa, 3aTeM 3aaoMHao öoabmoö naaen, h h3 Hero Bbimea HeHHcTbiö b BHae öecxBocTOö kphch, KOTopaa TyT xe yöexaaa b noaneHbe (PflC, c.241). O xeH^HHe, cTpaaaro^eö hkotoö, Ha PyccKOM CeBepe paccKa3HBaaH, hto b pe3yabTaTe ycnemHoro aeHeHHa OHa ako6h poxaeT KaKyro-HHÖyab MeaKyro TBapb THna aarymKH HaH kphch
(HHKHTHHa, 1993, c.15).
OaHH H3 HH^opMaHTOB noabcKoro 3THorpa^a B.BapaHOBcKoro noBeaaa o tom, KaK ero aeaa aymHa h MyHHa no HOHaM noceaHBmHÖca b ero ropae abaBoa. no coBeTy 3Haxapa, aea cyMea H3rHaTb HeHHcToro, Hcnoab3ya cBaTyro Boay: H3 ropaa cTaa BHxoaHTb rHOö h BMecTe c hhm BHcKOHHa HepHbö nayK, kotophö ycnea 3a6exaTb 3a yroa. ^ea nonHTaa pa3aaBHTb HaceKOMoe, ho nayK BHe3anHO npeBpaTHaca b Myxy h BbiaeTea H3 aoMa. C 3Toro MOMeHTa aea BH3aopoBea, oaHaKO 3aHeMor ero 6aHxaömHH cocea, cayHaÖHO nporaoTHBmHÖ b 3to xe BpeMa KaKyro-TO BaeTeBmyro b aoM Myxy (Baranowski, 1981, s.247).
KpecTbaHe KaayxcKOö ryö. BepHaH, hto ecaH KaHKyxa He cMOxeT ocBo6oaHTbca ot cHaa^ero b Heö öeca ao caMOö cMepTH, to tot BHxoaHT H3 yMHparo^eö BMecTe c ee nocaeaHHM B3aoxoM. no cBHaeTeabcTBy OHeBHaneB, y oaHOö öecHOBaTOö nepea cMepTbro HaHaaacb pBOTa h BMecTe c Hero bhckohot HepHbiö HepBaHOK c naaen Toa^HHoft, b HeTHpe BepmKa aaHHOö, kotophö nocnemHa cKpHTbca noa neHbro; b tot xe MHr öoabHaa cKOHHaaacb (PflC, c.242).
no-pa3HOMy npeacTaBaaaH ce6e HocHTeaH TpaaHUHOHHbix BepoBaHHÖ KOHKpeTHHe MecTa b Teae HeaoBeKa, rae Mor pa3Me^aTbca BceaHBmHÖca 3aoö ayx. Boabme Bcero cBHaeTeabcTB, hto TaKHM MecTOM öbiaa roaoBa, pexe Ha3HBaaocb - cepane, rpyab, xeayaoK. HHoraa roBopHaH, hto ayx 6ayxaaeT no BceMy opraHH3My HaH nocToaHHO Bpa^aeTca TaM c tokom kpobh (Baranowski, 1981, s.246). H3roHaBmHÖ öecoB 3Haxapb HaH cBa^eHHHK cnenHaabHHMH 3aroBopaMH h MoaHTBaMH cTapaaca npHHyaHTb
135
flyxh, bceiaro^heca b qeaobeka
HenHcToro flyxa BHftTH H3 Tena 6onbHoro. no HapoflHHM noBepbaM, noKHHyTb HenoBeKa 6ec flonxeH 6bin TeM xe nyTeM, KaKHM npoHHK b Hero (HanpHMep, Hepe3 oTKpHTyro paHKy HnH nope3 Ha Koxe, Hepe3 poT, hoc, yxo). B oflHoM H3 pyccKHx cBHfleTenbcTB BcenHBmHftca HepT, H3roHaeMbift H3 nocTpaflaBmero, cnpamHBaeT y cBa^eHHHKa, HHTaBmero MonHTBH Hafl oflepxHMHM: 'Tfle MHe BHftTH?" Tot oTBeHan:"OTKyfla 3amen, TaM h BHxoflH". noKa TaKHM o6pa3oM othhthbmh 6onbHoro, onyxonb cTana cnaflaTb c ero nnna, Tena, c Hor h , HaKoHen, c 6onbmoro nanbna HorH - 3flecb «ko6h h BHmen HeHHcTHft H3 oflepxHMoro (PflC, c.51).
fflnpoKaa nonynapHocTb noflo6HHx npeflcTaBneHHft BH3HBana y 3THorpa^oB h hctophkob HapoflHoft KynbTypH yflHBneHHe h HefloyMeHHe. no flaHHHM, 3a^HKcnpo-BaHHHM H.M.TanbKoBcKHM, b pyccKHx nene6HHKax XVII-XVIII bb. nocToaHHo ynoMHHaroTca MarnHecKne npHeMH, c noMo^bro kotophx moxho aKo6bi H3rHaTb narymeK h 3Meft H3 HyTpa 3a6oneBmero HenoBeKa: "HecMoTpa Ha Bcro cTpaHHocTb 3Toro aBneHHa, - nHmeT H.M.ranbKoBcKHft, - Bepa b TaKHe cnyHan BecbMa pacnpocTpaHeHa b Hapofle". ^anee oh oTMenaeT pafl cBHfleTenbcTB o tom, hto - no paccKa3aM oneBHflneB - b oflHoft H3 6onbHHn y 3a6oneBmero BHmno H3 HyTpa BMecTe co pBoToft TpnflnaTb naTb narymeK, a H3 flpyroro - 3Mea; b xenyflKe y 6onbHoro conflaTa o6HTanH aKo6bi nbaBKH. "OTHocHTenbHo sthx cnynaeB, - c HefloyMeHHeM oTMenaeT HccnefloBaTenb, - mh co6cTBeHHoro cyxfleHHa He HMeeM" (ranbKoBcKnft, 1913, t.1, c.283).
Moxho npeflnonoxHTb, hto Bce sth 3arafloHHbie flaHHHe aBnaroTca cBHfleTenbcTBoM nopa3HTenbHoft xHByHecTH apxanHecKHx npeflcTaBneHHft o 6one3HeHHbix cocroaHnax KaK cneflcTBHH BceneHHa b HenoBeKa BpefloHocHHx flyxoB. noflTBepxfleHHeM ToMy, no-BHflHMoMy, cnyxHT MHoroo6pa3Ho npeflcTaBneHHHft bo Bcex cnaBaHcKHx a3HKax nnacT ^pa3eonorHHecKHx BHpaxeHHft, nocTpoeHHHx no cTepeoTHnHoft MoflenH: "y Hero MyxH b ronoBe", coxpaHHBmHx oTronocKH noflo6Hbix MH^onorHHecKnx noBepHft. npHMeHa-TenbHaa KonneKnHa TaKHx ycToftHHBHx o6opotob npoaHanH3HpoBaHa b cTaTbe O.A.TepHoBcKoft "BefloBcTBo y cnaBaH. 2. "E3hk" (MyxH b ronoBe)". HaH6onee HacTo BcTpeHaro^Heca ^pa3eonorn3Mbi 3Toro THna cTporoTca Ha ocHoBe TaKHx THnoBbix ^opMyn, KaK: nenoeeK c MyxaMu, Myxu e zonoee h Myxu e Hocy. TnaBHoe hx 3HaHeHHe -'HenoBeK co crpaHHocraMH, c npnnyflaMH, HeHopManbHbift, cyMacmeflmHft, flypaK'. Hapafly c 3thm b pafle flHaneKToB oTMeHaroTca h fleMoHonorHHecKHe HHTepnpeTanHn: c Myxou e Hocy - 'KonflyH', "6a6a 3 MyxaMH - ro BeflbMa", "y Hero flbaBon (HepT, 6ec) b Hocy". no Ha6nrofleHHaM aBTopa cTaTbH, b cocTaBe sthx Bep6anbHbix cTepeoTHnoB ceMaHTHHecKne Kone6aHHa npoHcxoflaT b paMKax onno3Hnnn: flypaK (hahot) - Myflpen (3Haxapb, KyflecHHK); cp. BHpaxeHHa: yKp. "y Hboro MyxH b ronoBi" - 'y Hero He Bce floMa', 6enop. "Oh Tpoxi 3 MyxaMi" - 'HeHopManbHbift' HnH "3 MyxaMi y ranaBe - flypHaBaTH, 6ecTanKoBbi"; h Hapafly c sthm - HemcK. "Ten musky v nose"- 'yMHbift, xnrpbift, KoBapHHft, xmpo-yMHbift', noneccK. "Ea6a 3 MyxaMH, mo MHoro 3Hae" (TepHoBcKaa, 1984-a, c.120-124).
Opa3eonorna noflo6Horo pofla bo Bcex cnaBaHcKHx a3HKax onHpaeTca npeHMy^ecTBeHHo Ha anroMonoraHecKyro neKcHKy: noMHMo Myx, ynoMHHaroTca b cxoflHbix cmyannax MoTbinbKH, MypaBbH, nayKH, TapaKaHH, xpy^H, xyKH, cBepHKH h T.n. Pexe Hcnonb3yeTca neKcHKa 3ooMop^Horo h opHHTonornnecKoro pafla ("Mbimb b ronoBe", "3aan b ronoBe"; "Bopo6bH, coftKH, cobh - b ronoBe"). MecTaMH noKanraannn HaceKoMHx nnn xhbothhx b HenoBeKe, cornacHo 3Toft ^pa3eonornn, aBnaroTca: ronoBa, hoc, rpyflb, yxo, neHeHb (cp. cneflyro^ne oGopora: noneccK. "MaTbinn y neHejHKy 3ana3aTb" - 'o flypaKe'; Hem. "Mit mouchu v uchu" - '6biTb yMHHM, xhtphm'; "Hudci mu v prsiach hudu" - '3a6oneTb').
136
flmdrnma H. Bunozpadoea
BnH3KHe K 3THM 3HaHeHHa OTMenaMTCa H flna BbipaxeHHH, nOCTpOeHHHX no MOflenH "MyxH b Hocy": c Myxoü e nocy - Kondyn, y nee Myxu e nocy (o BeflbMe), amom c MyxaMu e nocy (o HenoBeKe co crpaHHocraMH), ten ma diabta w nosie, ma ccerta v nose h nofloöHbie,- rfle b cxoflHbix ^opMynax ^HrypnpyroT to "MyxH", to "HepT, flbaBon".
npHBeneHHbie npHMepbi no3BonaroT cooTHecTH Becb Kpyr MeTa^opHnecKHx o6pa3OB ycTOHHHBHx BbipaxeHHH THna "MyxH b ronoBe" c noBepbaMH o BceneHHH BpeflOHocHoro flyxa b HenoBeKa, b pe3ynbTaTe Hero oh cTaHOBHnca nHöo "3HaroqHM" (T.e. nonyneMOHHHecKHM cy^ecTBOM - KonflyHOM, BeflbMon), nHöo npHoöpeTan npH3HaKH HenoBeKa c ncHxHHecKHMH paccTponcTBaMH (oöHapyxHBan npHMera cnaöoyMHa, öecHOBaTocTH, onbaHeHHa, öe3paccyflcraa h T.n.). CooTBeTcTBeHHO, oö H3neHHBmeMca roBopHnH "raraanH y Hero MymeK H3 ronoBbi", "3aftHHKH nepecTanH öerarb y Hero b ronoBe" (TepHOBcKaa, 1984a, c.124-125). B nonbcKon $pa3eonorHH noflo6Horo THna, Hacro BHcTynaroT "cBepHKH": Ma wierszcze wgtowie (NKPP, t.1 s.650).
npeflcTaBneHHa o tom, öyflTO b ronoBe HenoBeKa MoryT 3aBecTHcb ceepnKu, H.M.ranbKOBcKHH cHHTan BecbMa flpeBHHMH, HanpaMyro cBœaHHbiMH c flpeBHepyccKHMH BepoBaHHaMH, coxpaHHBmHMHca b cpeflHeBeKOBbix HcTOHHHKax. Oh nepecKa3an OflHy H3 cTapnx khhxhhx npHTH o tom, hto OflHH HenoBeK öyflTO 6bi BHflen, KaK flBa aHrena, nbrraacb H3neHHTb OflepxHMoro öecoM rnyxoHeMoro, - pa3pe3anH a3By Ha ero ronoBe, BHHynH OTTyfla HaceKOMoe "aKO cKOHKa TpaBHaro" (T.e. Ky3HeHHKa), h pacTonranH ero HoraMH (ranbKOBcKHH, 1913, c.283).
Ha ocHOBe ranoxeHHbix flaHHbix moxho 3aKnroHHTb, hto xoTa flyxH, o KOTopbix HfleT peHb, TepMHHonorHHecKH cooTHocaTca c KaTeropHen nepmeü, dbneonoe h ôecoe, -OHH oönaflaroT cbohmh OTnHHHTenbHbiMH ocoöeHHocraMH. "Bcenaro^Heca" flyxH - sto He3pHMHe h öecTenecHbie MH^HHecKHe cy^ecTBa, cnocoöHbie npH onpefleneHHbix oöcToaTenbcTBax npHHHMaTb BHfl HaceKOMoro (na^e Bcero MyxH, - hto He THnHHHO flna ^opM oöopoTHHHecTBa nepma) HnH xTOHHHecKoro xhbothoto; ohh MoryT BnonHe He3aBHcHMO cy^ecTBOBaTb b Tene HenoBeKa, noKHflaTb ero nofl BO3flencTBHeM pmyanoB "H3rHaHHa" h nepecenaTbca b HOByro xepTBy; BHyTpH HenoBeKa pa3Me^aroTca b ronoBe, ropne, rpyflH, cepflne, xenyflKe, HHorfla b kpobh; MOMeHTbi BceneHHa HnH BHxofla H3 öonbHoro HepeflKO conpoBOXflaroTca flyHOBeHHeM BeTpa (cp.: "HepT BeTpoM BHmen H3 nopHeHon" - KpaHHcKHÖ, 1900, c.72), a htoôh HacnaTb 3noro flyxa (nocadumb ero b HenoBeKa), KonflyH flonxeH öbin nodymb Ha cBoro xepTBy; pe3ynbTaTOM BceneHHa öbino He TonbKO cTpaHHoe noBefleHHe, ncHxHHecKHe paccrponcTBa, ho nocrpaflaBmHH aKoöbi npHOÖpeTan npopoHecKHÖ flap h HyflecHoe cBepx3HaHHe. Bce sto yKa3biBaeT Ha cBa3b "Bcenaro^Hxca" flyxoB c cHMBonHKon flymH, ocTaBmenca öe3 TenecHoro BMecTHnH^a. no-BHflHMOMy, peHb HfleT o 3aflepxaBmHxca b 3eMHOM npocTpaHcTBe "HenpHKaaHHbix", "öecnpHMTHHx" flymax nroflen, yMepmHx ne ceoeü cMepTbro. HHTepecHO b stom cMHcne ceBepHopyccKoe noBepbe o tom, hto uKoma "flOxHBaeT" npeflHa3HaHeHHbiö en BeK, BcenHBmHcb b HenoBeKa, h noKHflaeT ero, nepexofla b ocHHy, Torfla, Korfla "cocTapHTca" (HHKHTHHa, 1993, c.15).
no noBefleHHro, 3araflOHHbiM pennHKaM h cooö^eHHaM BcenHBmeroca flyxa moxho b pafle cnyHaeB onpeflenHTb, KeM H3 KOHKpeTHbix yMepmHx b HeflaBHee BpeMa nroflen oh ceöa oco3HaeT, - ero nHHHocTHHe npH3HaKH npoaBnaroTca, HanpHMep, b tom, hto flyx cooö^aeT cBoe HMa (Ha^e Bcero MyxcKoe). CornacHO noBepbaM, 3anHcaHHbiM b EKaTepHHocnaBcKon ryö., npoHHKmHn b KpecTbaHHHa "HeHHcTHÖ" flyx Ha3HBan ceöa yTonneHHHKOM, oötaBnaa: Ca3OH-yTonneHHHK h xoHy norynaTb b Teöe, a kto MeHa
137
flyxH, Bceiaro^Heca b qeaoBeKa
BcaaHi b Te6a, - He cKaxy!" (KpaHHcKHn, 1900, c.66). C apyron CTopoHbi, caMH nocTpaaaBmne nacTO Ha3biBaiH CBoero ayxa omuoM, 6amwMKOü. no cBHaeTeibcTBy C.B.MaKCHMOBa, hto6h y3HaTb, kto "HcnopTHi" 6ecHoBaTyro, cieaoBaio cnpocHTb y Hee "Kto tboh oTen?", npH stom cnpamHBaromHe cTaparoTca y6eaHTb, "hto oTKpbrmeM TanHbi oHa He oÖHflHT cHaamero b Heö "6aTromKH" (MaKcHMoB, 1989, c.92). noao6Haa cmyauHa onncHBaeTca b o^hom h3 cyae6Hbix aKToB, nocBameHHbix aeiy no oÖBHHeHnro MeibHHKa KonaiHHa b tom, hto oh "nopTHT iroaen": cBHaeTeiH yTBepxaaiH, hto HcnopneHHaa hm 6a6a Kaxabin pa3 npH BCTpene c MeibHHKoM öpocaiacb eMy b HorH, oÖHHMaia KoieHH h BonHia: "He TpoHbTe Moero 6aTromKy!" (KpaHHcKHn, 1900. c.51). 9tot xe MeibHHK oÖBHHaica b tom, hto caeiai öecHoBaTHM coöcTBeHHoro nieMaHHHKa EBaoKHMa: Koraa c HHM cßynrnocb, oh KHHyica npH iroaax Ha cBoero aaaro-MeibHHKa, Ha3biBaa ero "ote;om", h BHHHi 3a to, hto tot BnycTHi eMy b yTpoöy "Bopo6ba c 3oiothmh nepbimKaMH" (TaM xe).
Hcnoib3oBaHHe TepMHHoB poacTBa npH KoHTaKTax c BceiHBmHMca ayxoM MoxeT öbiTb, c oaHon ctopohh, pe3yibTaToM Ta6yHpoBaHHa peaibHoro HMeHH HeHHcron chih h nonbiTKon 3aMeHHTb ero "3aaa6pHBaromHMH", noHTHTeibHbiMH Ha3BaHHaMH, a c apyron - pacKpbiBaeT onpeaeieHHbie cBa3H c poaHTeibcKHMH aymaMH (npeaKaMH).
CTpeMieHHe 6ecnpHroTHon aymn HanTH ceöe TeiecHoe BoniomeHHe noaBoaHT k mhcih o tom, hto 6oiee apxamecKon ^opMon BepoBaHHn o cBa3ax neioBeKa h 3ioro ayxa 6biiH npeacTaBieHHa o tom, hto nocieaHHn npecieayeT neioBeKa, htoöh BceiHTbca b ero Teio, a He oxoTHTca 3a ero aymon, - KaK sto H3o6paxaeTca b xpHcTHaHH3oBaHHbix HHTepnpeTanHax MoTHBa o B3aHMooTHomeHHax nepTa c neioBeKoM. 9to noaTBepxaaeTca, b nacTHocTH, noBepbaMH o BceieHHH HenHCTon chih b xhbothhx h aaxe b HexHBbie npe^MeTH. Ohpoko H3BecTHbi, HanpHMep, cBHaeTeibcTBa o tom, hto bo BpeMa rpo3H iroaH cnemHiH nporHaTb H3 aoMa KomeK h co6aK nepHon MacTH, h6o noiaraiH, hto b hhx HMeeT oöbiKHoBeHHe BceiaTbca nepT, htoöh cnpaTaTbca ot yaapoB rpoMa (PoMaHoB, 1912, c.287). OnHTHHe phöoiobh, no 6eiopyccKHM BepoBaHHaM, hh 3a hto He ocraBaT ce6e nonMaHHyro bo BpeMa rpo3bi pHÖHHy, y KoTopon cihokom KpacHbie ria3a, - sto HecoMHeHHo nepT, cnpaTaBmHnca b pbi6y (MB, c.92). noibcKHe 3THorpa^bi oTMenaiH ciynaH, Koraa c noMombro cBa^eHHociyxHTeien ycTpaHBaiHcb aKTbi "H3rHaHHa abaBoia" H3 kopobh hih iomaaH (Baranowski, 1981, s.251).
Hcxoaa H3 3Toro, moxho 3aKironHTb, hto öyay^H HeBHaHMHM, öecTeaecHHM, 3ion ayx omymaeT ceöa 6oaee 3amHmeHHbiM, eciH HaxoaHT cooTBeTcTByromyro TeiecHyro oöoaonKy, T.e. oh HyxaaeTca bo BMecTHiHme KaK b öoaee yaoÖHon aia Hero ^opMe cymecTBoBaHHa. CBa3b c stoö oöoiohkoö oKa3HBaeTca HHoraa TaKon npo^Hon, hto ayx He noKHaaeT Teio aaxe yMepmero neaoBeKa, ocTaBaacb b noKonHHKe, b pe3yibTaTe nero tot cTaHoBHTca "ynnpeM" hih "xoaa^HM" MepTBenoM. 9to npoHcxoaHT, no noBepbaM, c TeMH iroabMH-aBoeaymHHKaMH, KoTopne npH xh3hh "3HaiHcb" c nepTaMH. no paccKa3aM KpecTbaH KynaHcKoro y. XapbKoBcKon ry6., "y npocToro noioBHKa, KpoMe aymH, hhm& HHaKoro ayxa, a y BHabM, ynnpaKHB h BoBKyiaKHB e ayx, TaK mo bohh h nHcia cMepTH MoxyTb xoaHTH cKpH3b" (YKpaÏHni, c.487). B KapnaTcKon aeMoHoiorHH "ynnpaMH" h "cTpHroHaMH" Ha3HBaiH iroaen, HMeBmHx npH xh3hh aBe aymH: cBoro, KpemeHyro, h BTopyro - HeHHCTyro. 9Ta aeMoHnnecKaa ayma, KaK c^HTaiocb, noKHaaeT Teio cnamero h ieTaeT b BHae hohhoö öaöo^KH aymHTb iroaen h nHTb hx KpoBb, a nocie cMepTH neioBeKa-aBoeaymHHKa oHa ocTaeTca b ero Teie h noaHHMaeT MepTBena H3 MorHibi (Eth. 36., 1898, t.5, c.216).
138
flwdrnma H. Bunozpadoea
no-BHflHMOMy, He cnynaHHo Becb ochobhoh Kpyr 3HaneHHH, cBa3aHHbix c npeflCTaB^eHHHMH o cMepTH, flyme, npeflKax, flyxax 6one3HeH, fleMOHHnecKHx nepcoHaxax, - Haxo^HT oTpaxeHHe b cnaBaHcKoH TepMHHonorHH Ha3BaHHH 6a6oneK, KoTopaa BKnronaeT neKcHKy, HMero^yro oraomeHHe k npeflKaM (6a6onm, 6a6m, 6a6ywKa), k flyme (cp. pyccKne flHaneKTHHe Ha3BaHHa 6a6oneK - dywa, dywenm), k nepcoHaxaM HenncTon chah (eidbMa, Mopa, cmpuza, 6ocopKa, napoenuua h flp.). KpoMe Toro, 6a6onKa HepeflKo BocnpnHHMa^acb h KaK o6pa3 flyxa 6one3HH (necoTKH, ropanKH, paccrpoftcTBa paccyflKa). H3yHHBmaa 3tot Kpyr neKcHKH h noBepHH o 6a6onKax O.A.TepHoBcKaa oTMenaeT, hto cnenneHHe ceMaHTrnecKHx aneMeHTOB 'cMepTb', 'flyma', 'npefloK', '3noH flyx' (a b 6onee apxaHHecKon ^opMe BepoBaHHH — 'yMepmHH flo cpoKa, 3ano^nuu noKoHHHK'), cBH3HBarom;ee MoTbinbKa c mhpom flyxoB, - aBnaeTca ocHoBaHHeM flna BoBneneHHa crofla neno^KH fleMoHonormecKHx nepcoHaxeH, KaKHMH oKa3HBaroTca h nepm, 6ec, dbHsoa (TepHoBcKaa, 1989, c.155).
TaKHM o6pa3oM, flna KaTeropHH "Bcenaro^Hxca" flyxoB xapaxrepHH cneflyro^He HaH6onee THnrnHbie xapaKTepHcTHKH: 6ecTenecHocTb HnH HnocTacb HaceKoMoro h xToHHHecKoro XHBoTHoro; cooTHeceHHocTb c npeflKaMH HnH c 3aMWMblMU noKoHHHKaMH, flymH kotophx "floxHBaroT" cboh BeK b Tene xHBoro nenoBeKa; noTpeÔHocTb o6pecra TenecHoe BMecTHnH^e flna cBoero nocMepTHoro cy^ecraoBaHHa; cBa3b co craxHeft BeTpa, flHxaHHa, flyHoBeHHa; ^yHKqHa BH3HBaHHa b nenoBeKe 6one3HeHHbix cocroaHHH h, oflHoBpeMeHHo, fleMoHHnecKHx cbohctb. 9tot Ha6op npH3HaKoB, KaK HaM KaxeTca, MoxeT HMeTb oTHomeHHe k rpynne MH^mecKHx cy^ecTB, Bbicrynaro^Hx b flpeBHecnaBaHcKHx HcTonHHKax nofl Ha3BaHHeM naebu, T.e. TaKHx BpefloHocHbix flyxoB, KoTopbie no pa3HHM npHHHHaM He MoryT nony^HTb bo3moxhocth nepeHTH b 3arpo6HbiH MHp h BbrnyxfleHbi oTÔHBaTb cboh nocMepTHHH cpoK, cKHTaacb Mexfly sthm h "TeM" cBeToM.
CnHcoK coKpa^eHHH
A^aHacbeB 1994 - A. Afanas'ev, nosranecKHe Bo33peHHa cnaBaH Ha npHpofly, 1-3, MocKBa 1994
BnacoBa 1995 - M. BnacoBa. HoBaa A6eBera pyccKHx cyeBepHH: RnnrocTpaTHBHbm cnoBapb. Cn6., 1995.
TanbKoBcKHH 1913 - H.M.EanbKoBcKHH. Eopb6a xpHcTHaHcTBa c ocTaTKaMH a3braecTBa.
T. 1. M., 1913. Eth. 36. - ETHorpa^iHHHH 36ipHHK. ^bBÎB. 1887-1916.
Xhb. Ct. - ^HBaa CrapHHa: XypHan o pyccKoM ^onbKnope h TpaflHnHoHHon KynbType. 1994 - 1997.
KpaHHcKHH, 1900 - H.B.KpaHHcKHH. nopna, KnHKymH h 6ecHoBaTHe KaK aBneHHe pyccKoH
HapoflHoH XH3HH. HoBropofl, 1900. MaKcHMoB, 1989 - C.B.MaKcHMoB. HenHCTaa, HeBefloMaa h KpecTHaa cHna. M., 1989. ME - Mh^h EanbKaymwHbi / Yknafl. Y.A.BacineB«. MiHcK, 1994. HHKHTHHa, 1993 - C.E.HHKHTHHa. YcTHaa HapoflHaa KynbTypa h a3HKoBoe co3HaHHe. M., 1993.
P,D,C - PyccKHH fleMoHonorHnecKHH cnoBapb / Abtop cocTaBHTenb T.A.HoBHHKoBa. Cn6., 1995.
PoMaHoB, 1912 - E.P.PoMaHoB. EenopyccKHH c6ophhk. Bbin.8. Eht 6enopyca. BHnbHa, 1912.
TepHoBcKaa, 1984 - O.A.TepHoBcKaa. BefloBcTBo y cnaBaH. 2. "E3hk" (MyxH b ronoBe) //
139
flyxH, Bceiaro^Heca b qeaoBeKa
C^aBaHCKoe h öa^KaHCKoe a3HK03HaHHe: ^3hk b 3TH0Ky.nbrypH0M acneKTe. M., 1984.
TepHOBCKaa, 1989 - O.A.TepHOBCKaa. Ba6oHKa b HapoflHoft fleM0H0^0rHH raabah: flyma npe^OK h ^eM0H // MaTepnam k VI MexflyHapoflHoMy KoHrpeccy no rayneHnro CTpaH roro-BocT0HH0ö EBponH: npo6^eMH KyrnrypH. M., 1989. Taräop, 1939 - 9. Taräop. nepBo6brraafl Kyrnrypa. M., 1939. YKpaiHni - YKpaiHni: HapoflHi BipyBaHHa, noBip'a, aeM0H0^0rw. Khib, 1991. Baranowski, 1981 - B. Baranowski. W krKgu upioryw i wilkoiakyw. Jydy, 1981. Chmielowski, 1754 - B. Chmielowski. Nowe Ateny albo Akademia wszelkiej scyencyi peina. Lwyw, 1754.
NKPP - Nowa ksiKga przysiyw i wyraiec przysiowiowych polskich. T. 1. Warszawa, 1969. Sychta - B. Sychta. Siownik gwar Kaszubskich na tle kultury ludowej. WrociawWarszawa:Krakyw:Gdacsk. T. 1-7. 1967- 1976.
Die Geister, die in Menschen eindringen
Ljudmila N. Vinogradova
Der Glaube, daß schädliche Geister sich in Menschen eindringen können, ist für die Erforschung jener mythischen Wesen interessant, die als eine gewisse Anzahl kleinerer Geister unklarer Form und Herkunft charakterisiert werden und nur eine bestimmte Funktion haben: sich in Menschen einzudringen, um verschiedene Krankheiten und Störungen zu verursachen. Obwohl diese Geister oft mit "cert" oder "bes" assoziiert werden, könnte man sie auch als eine spezielle Kategorie der bösen Geister betrachten.
140
> IaniMeckne cnocoow pacno3HaeaHnH eejbMw1
Ceemnana M. Toncman
The article analyses some magical techniques used by Slavs in order to establish if a woman is a witch or not.
CpeflH nepcoHaxeft c^aBaHCKOH "HH3meft" MH^o^ornn BeflbMa 3aHHMaeT oco6oe no^oxeHne, npHHaffrexa oflHoBpeMeHHo k Mnpy jirofleft h k Mnpy ^mohob [BnHorpafloBa, To^cTaa 1995]. B HapoflHoft Tpaflnnnn b paMKax o6^eft crpaTeran 3a^HTbi ot HenncToft ch^h raoxmacb ne^aa cncTeMa npneMoB, noMoraBmnx b o6HKHoBeHHoft, pea^bHoft xeH^HHe pacno3HaTb BeflbMy, npeflcTaBHTe^a HHoro Mnpa. .HroGonbrrabie caMH no ce6e KaK o6pa3EH MaranecKoro noBefleHna, 3th npneMH no3Bo^aroT 6o^ee KoHKpeTHo cyflHTb o tom, KaK apxannecKoe co3HaHne npeflcTaMaro ce6e cooraomeHne flByx mhpob, KaK oho oTHocmocb K KoHTaKTaM Mex^y HHMH, K Bo3MoXHocTH npoHHKHoBeHHa 3a rpaHHny ne^oBenecKoro npocTpaHcTBa.
B pa6oTax no HapoflHoft fleMoHo^ornn pa3HHx raaBaHcKHx Tpaflnnnft npHBoflHTca o6n^bHHft MaTepna^ Ha HHTepecyro^yro Hac TeMy; oh oxnHnaeTca BecbMa 3HanHTe^bHbiM e^HHcTBoM, noBTopaeMocTbro mothbob h MaranecKHx npneMoB, cxo^ctbom o6pafloBbix h croxeTHHx KoHTeKcToB, a noflnac h npaMHMH Bep6MbHbiMH napa^e^aMH. H3BecTHyro o6oco6^eHHocTb b 3tom oTHomeHHH o6HapyxHBaeT Be^HKopyccKnft apea^, rfle o6^ec^aBaHcKHe mothbh npeflcTaB^eHbi cnopaflHnecKH h npenMy^ecTBeHHo b 3anaflHbix h roxHHx pernoHax, h 6o^rapcKaa Tpaflnnna, fl^a KoTopoft 6o^bmnHcTBo TaKHx mothbob He xapaKTepHo.
Heo6xoflHMocTb pa3o6^aneHna BeflbM flHKTOBMacb npexfle Bcero xe^aHneM o6e3onacnTb ce6a ot hx Ko3Heft h BHpa6oTaTb npaBH^a ocropoxHoro noBefleHna, ho TaKxe h crpeMreHHeM npoTHBo^eftcTBoBaTb onacHocTH, o6e3BpeflHTb ee Hocrne^eft, oToMcTHTb hm h^h flaxe yHHHToxHTb hx. CaMo no ce6e pa3o6^aneHne HHorfla cnnTMocb AocTaToHHHM flna o6e3BpexHBaHHa BeflbMbi; cep6H HepHoropnn h CaHflxaKa Beprnn, hto "xeH^HHa, npn3HaBmaaca KoMy-Hn6yflb, hto oHa BemTnna, nepecTaeT ero 6HTb" [On^HnoBHh 1967: 270]; b o6^acra B&tobo, no BepoBaHHaM KpecTbaH, ne^oBeK, y3HaBmnft c noMo^bro MarnnecKHx npneMoB BemTnuy, Mor jinmnTb ee ch^h, BHKpnKHyB eft TpnxflH, hto oHa BemTnna [Bop^eBHh 1953: 14]; cBa^eHHHK, KoTopoMy, no cep6cKHM BepoBaHHaM, flaHo pacno3HaBaTb Bemran, He pa3o6^anM hx nepefl flpyrnMH b Haflexfle, hto ohh ncnoBeflyroTca h TeM caMHM nepecTaHyT 6HTb onacHHMH fl^a ^rofleft; c 3Toft xe ne^bro
1 This article was financially supported by RGNF (grant N 96-04-06034 "Mifologiceskie osnovy slavjanskoj narodnoj kul'tury").
141
MarHHecKHe cnoco6bi pacnoaHaBaHH« Be.bMH
npH pOx.eHHH .eBOHKH B "KpOBaBOH cOpOHKe" o6 3TOM rpOMKO coo6^a.ocb, HTOÖH OHa
He cTa.a BemTHneö [3eneBHh 1981: 144]. BMecre c TeM, b HeKOTopHx MecTHHx Tpa.HnH«x cepöoB paaoö.aneHHe Be.bM npHaHaBa.ocb KpaHHe onacHHM .e.OM, B.eKy^HM aa coöoh T«xKoe HaKaaaHHe, nocKO.bKy "BemTHuy ö.aroc.OBH. Xphctoc" b ö.aro.apHocTb aa to, hto OHa yKpbma ero nepe. npec.e.OBaBmHMH ero Hy.e«MH [Bop^eBHh 1953: 10]. O.HaKO na^e Bcero Boa.epxHBa.Hcb ot paaoö.aHeHH« Be.bMH Ha cTpaxa nepe. ee MecTbro. HecMOTpa Ha sto, MarHHecKHe npHeMH no pacnoaHaBaHHro Be.bM mHpoKO npHMeH«.Hcb b KpecTbaHcKOM 6biTy.
Ho HapO.HHM npe.cTaB.eHHHM, Be.bMH OÖHHHO He HMeroT «BHbix OT.HHHTe.bHbix npHaHaKOB. CpaBHHTe.bHo pe.Ko BcTpeHaroTc« cBH.eTe.bcTBa, cor.acHo kotophm Be.bMy moxho pacnoaHaTb no KaKHM-TO OT.HHHTe.bHHM HepTaM BHemHocTH H.H noBe.eHHa.
Ha^e Bcero Be.bMy yaHaroT no rycTHM cpocmHMc« öpoB«M h ocoöoMy - xMypoMy - Bar.«.y, oöpa^eHHOMy b cTopoHy h.h k aeM.e. Cor.acHO HepHoropcKHM BepoBaHH«M, cb«^hhhk MoxeT onoaHaTb cpe.H bxo.«^hx b xpaM xeH^HH Be.bMy no KpacHHM ayöaM [OH.HnoBHh 1967: 370], a Kamyöb cHHTaroT, hto y Be.bMH (napoBHHnbi) KpacHHe, .HKHe r.aaa, a b r.aaax BMecTo apaHKOB — Koae. c poraMH; hto OHa HacaMH MoxeT cMOTpeTb Ha co.Hne; hto OHa oHeHb .roÖHT KpacHHH nBeT h noTOMy o.eTa bo Bce KpacHoe: KpacHHe pyKaBHnH, KpacHHe mTaHH, KpacHyro roÖKy, KpacHHH n.aTOK Ha ro.OBe, no. kotophm OHa cKpHBaeT Heöo.bmoH öohohok ot cmo.h; OHa cnHT He Ha KpoBaTH, a Ha TaHKe h T.n. [Sychta I: 154]. y cepöoB h HepHoropneB r.aBHHM npHaHaKOM Be.bMH cHHTaroTc« ycH ("kpct Hcno. Hoca"), a TaKxe "KpoBaBbie" r.aaa, KocHe r.aaa, Bna.bie r.aaa, rycTHe cpocmHec« öpoBH [Bop^eBHh 1953: 19-20]. Booö^e Ha^e Bcero oöpa^aeTc« BHHMaHHe Ha r.aaa h Bar.«. Be.bMH: B.a.HMHpcKHe KpecTb«He no.ara.H, hto b r.aaax KO..yHa He ÖHBaeT OTpaxeHHa, h noTOMy oh HHKor.a He cmotpht b r.aaa coöece.HHKy; "6a6H HaaHBaroT r.aaa KO..yHa nycTHMH, 6es MaMHUKoe" [BBK3: 129]; a Ty.bcKHe — hto y Ko..yHOB oTpaxeHHe b apaHKax MoxeT ÖHTb nepeBepHyTo BBepx HoraMH [B.acoBa 1995: 181]; Ha roro-BocTOKe Ho.bmH cHHTa.H, hto HapoBHHna, KaK h ynbipb, KpacHoro i^BeTa, y Hee .HKHH Bar.«. h öeraro^He r.aaa h.h öo.bHHe h HacTo c.ea«^Hec« r.aaa [Kolberg 51: 41].
Hepe.KO BepH.H, hto Be.bMH HMeroT xboct; HHor.a yTBepx.a.H, hto no. MHmKaMH h Ha .oÖKe y hhx He pacTyT bo.och [Eop^eBHh 1953: 18; Kolberg 51: 44] h.h, HaoöopoT, hto Bce Te.o hx aapoc.o rycTHMH BO.ocaMH [3eHeBHh 1981: 142], hto B.o.b cnHHH y hhx H.eT HepHa« no.ocKa bo.oc [HBaHOB 1991: 438], hto pot h Te.o hx noKpHTO TeMHHMH n«THaMH [MapHHOB, 1914: 214].
y boctohhhx c.aB«H BcTpeHaeTc« npe.craB.eHHe, hto Be.bMa He ocTaB.aeT c.e.OB Ha cHery [C.a^eB 1992: 193]; hto aHaro^Hec« c HeHHcTOH ch.oh oTÖpacHBaroT .Be TeHH [HoBHHKOBa 1995: 71]. Ho MHeHHro no.«KOB, Be.bMa BH.aeT ceö« TeM, hto npH nHTbe BO.KH OHa onycTomaeT proMKy "e.HHHM .yxoM", a He TpoeKpaTHHM npHryö.eHHeM, KaK oÖHHHHe xeH^HHH [Biegeleisen 1929: 235]; hto OHa He MoxeT oTopBaTb Bar.«.a ot nacxa.bHOH nHcaHKH [Niewiadomski 1989: 69], hto bo BpeM« nacxa.bHoro KpecTHoro xo.a OHa oöxo.HT KocTe. He tphx.h, a .Hmb o.hh h.h .Ba paaa [Kotula 1989: 86].
PyccKHe Toxe yaHaBa.H Be.bMy no ee noBe.eHHro bo BpeM« KpecTHoro xo.a: OHa m.a He c Hapo.OM, a HaBcTpeHy eMy, TaK KaK ee He nycKa.a HeHHcTaa cH.a [Cmhphob 1927: 57]. Ha PoBeH^HHe no.emyKH OT.HHa.H Be.bMy no TOMy, hto OHa ynopHO He xoHeT BHxo.HTb Ha nepKBH aa KpecTHHM xo.om, nen.«eTc« aa cto.6 h.h aa cB«^eHHHKa [HA, BepecTbe ^yöpoBHnKoro p-Ha PoBeHCKOH oö..]. TaM xe cHHTa.H Ko..yHaMH .ro.eH,
142
CeemAaHa M. Ttrncmast
0TKp0BeHH0 HapymaBmnx CTporae 3anpeTH Ha paöoTy b npa3flHHKn: "kotophh mbie hoöoth y CBaTO, Ton 3Haxop; kotophh Ms.ne y M3^bHH y CBaTO, Ton caTaHy nycKae".
PyccKne no^arMn, hto BeabMy moxho y3HaTb no ToMy, hto "flHeM, Koraa xHyT apyrne, y Hen oTBopeHa flBepb b aMÖap, TaM Ha cyceKe y Hen BncaT Tpn nepexnHHbix Ko^oca, htoöh 3epHo ot coceaen nepexo^n^o k Hen b cyceK. Ko^ayHbro-nepexnH^nny moxho y3HaTb no stoh npnMeTe, a TaKxe n no ToMy, He Kyna^acb ^n oHa b H^bnH aeHb Mex^y 3ayTpeHen n oöe^Hen (htoöh onncTHTbca ot rpexa, en sto HeoöxoanMo c^e^aTb); HaKoHen, 3epHo y Hen, eran Braa^eTbca, He jiexnr b cyceKe n^n MemKe, a ctoht tophkom, hto onbiTHbin ne^oBeK cpa3y 3aMeTHT" [Cmhphob 1927: 53]. ^eMoHnnecKaa npnpoaa Be^bM n Ko^ayHoB npoaB^aeTca n b tom, hto ahm Haa nx aomom naeT n3 Tpyöbi npoTnB BeTpa [noTaHnH 1899: 190] n^n K^yönTca [3e^eHnH 1916: 1249]. Be^bMy n^n Ko^ayHa moxho öbmo ono3HaTb n noc^e cMepTn: B^aanMnpcKne KpecTbaHe 6bmn yBepeHH, hto npn norpeöeHnn Ko^yHa bhphtoh 3eM^n He xBaTaeT, htoöh 3acbinaTb Morn^y [BBK3: 132].
Topa3flo na^e cnnraeTca, hto yBnaeTb b oöhhhoh xeH^nHe Be^bMy npocTHM, "HeBoopyxeHHHM" raa3oM HeBo3MoxHo. ^a sToro HeoöxoanMbi cnenna^bHbie yc^oBna n npneMH, aaro^ne ne^oBeKy "cBepx3peHne", cnocoÖHocTb BnaeHna coKpHToro, BHyTpeHHero, "cy^HocTHoro". Oahhm n3 BaxHenmnx yc^oBnn oKa3HBaeTca ocoöoe, caKpa^bHoe BpeMa - ahh n hohh KpynHHx npa3flHHKoB (PoxaecTBo, nacxa, HBaH Kyna^a, ropbeB aeHb, Tponna n ap.), BpeMa hobo^hha, no^Ho^yHna n HeKoTopbie apyrne MoMeHTH, Koraa rpaHnna Mexay 3ümhhm n noTycTopoHHnM MnpoM cTaHoBnTca npoHnnaeMon. 9tot KMeH^apb BKnrona^ b ceöa, c oahoh ctopohh, npa3flHHKn, 3aHnMaro^ne BHcmee no^oxeHne Ha mKMe caKpa^bHocrn (PoxaecTBo n nacxa), c apyron ctopohh, — npa3flHHKn, c kotophmh Hapo^Hbie BepoBaHna cBa3biBa^n "BHyTpeHHroro" xn3Hb aeMoHnnecKoro Mnpa, aKTHBraannro HenncTon cnm, raera n maöamn Be^bM n T.n.
no^aKn b oKpecTHocTax XemoBa Haö^roaa^n 3a Be^bMaMn b aeHb cb. .Hronnn, Koraa ohh raeTMncb BepxoM Ha xtoöhhx ^onaTax Ha cboh cöopn^a Ha rpaHnne ce^a, rae ycTpanBa^n Mexay coöon noöon^a, opyaya jionaTaMn; Ha paccBeTe SToro aHa MaTepn 3bmh cbohx aeTen nocMoTpeTb Hepe3 okho, KaK BeabMH coönparoTca Ha cboh raeT [Karczmarzewski 1972: 13]. B apyrnx panoHax no^bmn chhtmh, hto jierne Bcero yBnaeTb Be^bMy b HoBo^yHne Hepe3 oTBepcTne ot cyHKa b rpoöoBon aocKe n^n Hepe3 cpe^Hee okho aoMa c TpeMa oKHaMn [Biegeleisen 1929: 234]. CMoTpeTb Hepe3 oTBepcTne rpoöoBon aockh coBeToBa^n n MopaBaHe, To^bKo b apyroe BpeMa — HoHbro HaKaHyHe aHa On^nnna n ^Ky6a [Bartoš 1892: 143,149]. A raoBaKn Bepn^n, hto cTpnr moxho yBnaeTb b no^Honb HaKaHyHe aHa cb. ^ronnn, ec^n cMoTpeTb Hepe3 rpoöoByro aocKy n^n Hepe3 3aMoHHyro cKBaxnHy nepKoBHon aBepn, Toraa yBnanmb cTpnr co Bcen oKpyrn, coöpaBmnxca b nepKBn [Horvâthovâ 1986: 39]. OTBepcTne b rpoöoBon aocKe cnnrMocb MarnnecKnM n y pyccKnx - cKBo3b Hero Haao ö^i^o cMoTpeTb Ha npnxoxaH, coöpaBmnxca k nacxa^bHon 3ayTpeHe, n Toraa yBnanmb Be^bM c KyBmnHaMn Mo^oKa Ha ro^oBe [B^acoBa 1995: 77].
flpyroe yc^oBne - caKpa^bHoe MecTo: xpaM, nepeKpecToK n^n pa3Bn^Ka aopor n ap. C^oBaKn b ToHTe BHc^exnBa^n cTpnr b no^Honb HaKaHyHe cb. .Hronnn Ha nepeKpecTKe 3a ce^oM; a^a öe3onacHocTn c^e^oBa^o onepTnTb BoKpyr ceöa Kpyr Me^oM, ocTaBmnMca ot npa3flHnKa "Tpn Kopoma", nHane cTpnrn Moran 3aönTb HacMepTb [Horvâthovâ 1986: 39]. KaK sto hh cTpaHHo, nMeHHo c xpaMoM, c nacxa^bHon n^n poxflecTBeHcKon c^yxöon cBa3aHH Hanöo^ee pacnpocrpaHeHHbie y boctohhhx n 3ana^HHx raaBaH MarnnecKne
143
MarHHecKHe cnoco6bi pacnoaHaBaHH« Be.bMH
npHeMH pacno3HaBaHHa BeflbMH, oflHaKo hx ycnex 3aBHCHT e^e ot flpyrHx, flono^HHTe^bHHx yc^oBHñ — ot "nyflecHbix" npe^metob, KoTopbie HyxHo 6bmo HMeTb npH ce6e b xpaMe bo BpeMa cnyxÓH, h cnenHMbHbix pHTyMbHbix ,mhctbhh, KoTopHe coo6^aroT ne^oBeKy "cBepx3HaHHe".
B 3aKapnaTbe (c.Typba BbiCTpaa) xeH^HHH, orapaB^aacb Ha Myx6y b poxflecTBeHCKHH cone^bHHK h xe^aa y3HaTb, cko^ko y hhx b ce^e BeflbM (napoBHHn), 6pa^H c co6oh flepeBaHHyro ^oxxy, kotopoh ohh MemajiH poxflecTBeHCKHe 6^rofla, h BepH^H, hto c noMo^bro stoh joxkh ohh CMoryT oraHHHTb b nepKBH BeflbM. B flpyroM ce^e (c. Ka^bHHK) co6^roflMocb HeM&ro aono^HHTe^bHbix yraoBHñ paflH Toro, hto6h MarHro cfle^aTb 6o^ee a^^eKTHBHoñ: stoh ^oxkoh (Bapexoñ) raefloBMo MemaTb Bce 9 6^rofl poxflecTBeHCKoro yxHHa; xo3añKa floaxHa 6bma ne^biñ fleHb hh c KeM He 3flopoBaTbca, He Mo^HTbca, b nepKBH TaKxe He Haflo 6hto KpecTHTbca, 3flopoBaTbca, Mo^HTbca, oraaflbiBarbca, h to^ko Torfla xeH^HHa Moma yBHfleTb Tex, Koro TaM Ha3HBaroT 6ocopKaHaMH; npH stom oHa hh b KoeM raynae He CMe^a BbiflaTb sthx BeflbM, HHane ohh y6H^H 6h ee [noflKapnaTCKaa Pycb VII 1-2 1930: 21, 23].
no coo6^eHHro A.rmb^epflHHra, y mobhh^b b no^bCKoM noMopbe MarHnecKaa cnocoÓHocTb b pacno3HaBaHHH BeflbM npHnHCbiBMacb HañfleHHoñ noflKoBe: ec^H kto-HH6yflb HañfleT neTBepTyro H3 kohckhx noflKoB, to flo^xeH 3aBepHyTb ee b y3e^oK H3 n^aTKa, noBecHTb ce6e Ha mero h TaK noñTH b KocTe^, Torfla oh yBHflHT cpeflH co6paBmHxca napoBHHKoB h HapoBHHn; CHHTaeTca, hto hx MoxeT pacno3HaTb h CBa^eHHHK: Heca CBa^eHHHe flapbi, oh bh^ht Ha ro^oBax y hhx manKH, ho noc^e rayx6bi oh yxe He MoxeT hx y3HaTb [Kolberg 39: 381].
Bo MHorHx c^ynaax MarHnecKyro cray moxho 6h^o coo6^HTb nofloÓHbiM npeflMeTaM to^ko c noMo^bro cnenHmbHoro, HepeflKo flocTaro^Ho ctoxhoto pmyana, nacTo k ToMy xe pacTaHyToro bo BpeMeHH, hto Toxe HMe^o CBoe caKpa^rayro^ee fleñcTBHe. no^aKH Crne3HH y3HaBMH BeflbMy c noMo^bro BeTKH a6^oHH, BHmHH h^h cthbh, KoTopyro cpe3a^H b nepBoe BocKpeceHbe aflBeHTa, a 3aTeM b3oth c co6oh Ha poxflecTBeHCKyro c^yx6y b KocTe^ [Pospiech 1987: 13]. B MopaBHH MarmecKHM npeflMeToM cjyxnja BeTKa nepemHH, cpe3aHHaa Ha .HronHro h pacnycTHBmaaca k Cone^bHHKy; ee 6p&m b KocTe^, hto6h no okoh^hhh rayx6bi pa3raafleTb BeflbM, BHxo^a^Hx nepBHMH H3 KocTe^a [Bartos 1892: 143]. y KapnaTCKHx yKpaHHneB MarHHecKHñ o6pafl HanHHMca b poxflecTBeHCKHñ cone^bHHK h 3aBepma^ca Ha nacxy. B cone^bHHK norae yxHHa Haflo 6bmo co6parb c nerapex yraoB cro^a pa3^oxeHHbiñ necHoK, ot Kaxfloñ to^obkh oTfle^HTb no 3y6nHKy, no^oxHTb b ropmoK, b kotopom BapHTca Kynem, nocTaBHTb ropmoK Ha okho h pacTHTb necHoK flo nacxH. OmpaB^aacb Ha nacxa^bHyro BceHo^Hyro, Haflo B3aTb b pot 3e^eHbie nepba npopocmero necHoKa h flepxaTb hx bo pTy b TeneHHe Bceñ c^yx6b b nepKBH, noKa He nocBaTaT KynHHH. B stot MoMeHT CTaHoBHTca BHflHo, hto y HeKoTopHx xeH^HH Ha ro^oBe nofloñHHK c mo^okom — sto h ecTb BeflbMH [ETHorpa^iHHHñ 36íphhk 5 1898: 211]. Mothb nofloñHHKa c mo^okom Ha ro^oBe BeflbMH oTHocHTca k HHC^y caMbix pacnpocTpaHeHH^ix b nofloÓH^ix BepoBaHHax, oh oneBHflHbiM o6pa3oM CBa3aH C THnHHHblM BpefloHoCHHM fleñCTBHeM BeflbMH — oTÓHpaHHeM Mo^oKa y KopoB.
BecbMa mHpoKo npHMeHa^ca b nofloÓHHx MarHnecKHx fleñcTBHax CHp. no CBHfleTe^bCTBy B.rpHHneHKo, Ha HepHHroB^HHe CHHTa^ocb Heo6xoflHMHM b "npo^eHbiñ fleHb", T.e. b 3aroBeHbe Ha Be^HKHñ nocT, B3aTb b pot cbip h c hhm bo pTy nepeHoneBaTb, a b noHefle^bHHK cnpaTaTb CHp xopomeHbKo b noac h T^aTe^bHo ero 6epenb. B CBaTyro
144
Ceemnana M. Toncmas
aayTpeHro aBHTbca c CHpoM b nepKOBb h, Korfla öaTromKa CKaxeT: "XpHCTOC BOCKpec!", CKaaaTb: "y MeHa chp ecTb!" "BeflbMbi e^e b nepKBH CTaHyT OTHMaTb chp, a no Bbxofle Ha nepKBH KHHyTca b noroHro aa oöiaflaTeieM, KpHHa «OTflaft Cbip!». ,D,ia oöopoHbi Haflo HMeTb noöoibme MaKy-TeKyHa h hm öpocaTb b BeflbM, Te CTaHyT coÖHpaTb MaK, a npecieflyeMHH TeM BpeMeHeM ycneeT yöexaTb" [TpHHHeHKO 1895: 57]. B KynaHCKOM paftoHe XapbKOBCKOH ry6. fleiaiH to xe caMoe, ho npH stom cHHTaiH, hto peayibTaTa moxho flOCTHHb iHmb npH yciOBHH, hto b TeHeHHe BeiHKoro nocTa HOca^Hft Ha ce6e chp flBeHaflnaTb paa noöbiBaeT b nepKBH; Torfla Ha nacxaibHoft aayTpeHH bo BpeMa KpecTHoro xofla BeflbMa nofloftfleT k HeMy h öyfleT npocHTb CHpy [HBaHOB 1991: 439440]. B paftoHe .HbBOBa ÖpaiH nepBbift cienieHHbift h npHroTOBieHHbift b nocieflHHft fleHb MacieHHnH BapeHHK, KiaiH ero b MemoHeK h hochih b TeHeHHe Bcero BeiHKoro nocTa cieBa nofl MbimKoft, a aaTeM b CBaTyro HOHb, HMea npH ce6e stot BapeHHK, moxho öhio yBHfleTb, KaK BeflbMH bo BpeMa nacxaibHoft ciyxöb MeHyTca, ciobho cienbie, He Haxofla BHxofla Ha nepKBH [Kolberg 57: 1259]. Ha Boihhh noflOÖHbie fleftcTBHa coBepmaiH c MaieHbKHM KycoHKOM cbpa, KOTopbft hochih aa naayxoft pyöaxH Becb BeiHKHft nocT h Ha BceHO^Hoft MoriH BHfleTb BeflbMy c KyBmHHOM MOiOKa Ha roiOBe [3eieHHH 1914: 276]. Tot xe cnocoö npaKTHKOBaiH KpecTbaHe 3anaflHoft BeiopyccHH, HOCHBmHe Becb nocT noflBemeHHbft Ha cypoBoft HHTKe KycoHeK cbpa cnpaBa nofl MbimKoft h npoHaHOCHBmHe BCiyx hih npo ceöa npH Kaxfloft BCTpeHe, flaxe co cbohmh poflHbMH, "Maro Cbp aanycTHb" [Federowski 1897: 266, N 1347]. PyccKHe CapaTOBCKoro Kpaa BbCMaTpHBaiH BeflbM Ha Hacxy, flepxa aa ^eKoft KycoHeK cbpa, cöepexeHHbift c Hhctoto HeTBepra, h Bepa, hto nocie ciob CBa^eHHHKa «XpHCTOC BOCKpec!» BeflbMbi c floftHHnaMH Ha roiOBe noBepHyTca cnHHoft k HKOHaM [BiacoBa 1995: 77]. HoiaKH MaaoBma c Toft xe neibro b BeiHKyro cyööoTy öpaiH KycoHeK ocBa^eHHoro Cbpa h hochih ero npH ce6e flo caMbix 3eieHbix Cb^tok, T.e. flo TpoHnb npH stom ohh CTporo cieflHiH aa TeM, htoöh He CHHMaTb ero c ceöa, h Torfla Ha TpoHny b KOCTeie moxho yBHfleTb BeflbM c noflOftHHKaMH Ha roiOBe; HecMOTpa Ha CTpax, HyxHO ocTaBaTbca b KOCTeie, TaK KaK öoibme HHrfle, KpoMe KOCTeia, hx He yBHflHmb [Kolberg 42: 400].
Ho Bceft CepÖHH pacnpocTpaHeHO BepoBaHHe b MarHHecKyro CHiy HecHOKa, ropoxa hih flp. pacTeHHH, npopocmero Hepea roiOBy yÖHToft aMeH (oöhhho nepBoft yBHfleHHoft BecHoft) [Bop^eBHh 1953: 13]. B Bochhh aMero Haflo öbio noftMaTb nepefl flHeM CopoKa MyHeHHKOB, y xHBoft aMeH OTceHb roiOBy, BioxHTb b 3Ty roiOBy HecHOK h aaKonaTb ee b oropofle, a Ha Hacxy hih b HeTpoB fleHb copBaTb nepba npopocmero Hepea roiOBy aMeH HecHOKa, npHKpenHTb hx k manKe h TaK noftTH b nepKOBb Ha ciyxöy; BemTHnb paaoöiaHaT ceöa TeM, hto öyflyT noflxoflHTb h npocHTb CHaTb HecHOK. B fflyMaflHH peKOMeHflOBaiocb yÖHTb aMero flo BiaroBe^eHHa; b flpyrHx MecTax sto Moria öbTb iroöaa yÖHTaa BecHoft aMea hih Booö^e iroöaa aMea; HepeflKO npopocmeft Hepea roiOBy hih HeirocTH aMeH aeieHH npHnHCbBaiacb MarHHecKaa cnocoÖHOCTb cooö^aTb HeiOBeKy CBepxapeHHe He TOibKO B OTHOmeHHH BeflbM, HO H B OTHOmeHHH BCerO COKpbTOrO H HeBHflHMOrO. To xe caMoe fleiaiH yKpaHHnb Ha KapnaTax: aMero Haflo öbiio yÖHTb Ha BiaroBe^eHHe, aaTeM Ha Hacxy BaaTb ee roiOBy, noioxHTb b Hee ayöen HecHOKa h aaKonaTb b oropofle, Ha HBaHa Kynaiy yTpoM roibM copBaTb OflHO nepbmKO npopocmero HecHOKa h HOCHTb ero Ha roiOBe, nofl manKoft, Torfla HeiOBeK CTaHOBHica HeBHflHMbM [MyE 1912: 33].
Ha npHBefleHHbx npHMepoB BHflHO, hto BpeMa OKaabBaeTca He npocTO HeoöxoflHMbM yciOBHeM MarHHecKoro pmyaia, ho b onpefleieHHOM cMbcie caMO CTaHOBHTca HHCTpyMeHTOM MarHH, cyTbro KOTopoft aBiaeTca "npoxHBaHHe", HanoiHeHHe
145
MarHHecKHe cnoco6bi pacnoaHaBaHH« Be.bMH
pHTyaabHHM coaepxaHneM nan "npocwrbiBaHne" BpeMeHHoro OTpe3Ka Mexay aByMa caKpaabHHMH TOHKaMn KaaeHaapa — MacaeHnien n nacxon, nacxon n Tponien, oaHon n3 aaT a^BeHTa n PoxaecTBoM n ap. Poab BpeMeHn KaK MarmecKon cnabi ocoôeHHo apKo npoaBaaeTca b aencTBnax, "pacTaHyTbix" Ha Becb oTpe3oK BpeMeHn n Haaeaaro^nx ôaaroaapa 3ToMy nx ncnoaHnTeaen cnocoôHocTbro pacno3HaBaTb HenncTyro cnay nan 3acTaBaaTb ee pa3oôaanaTb caMoe ceôa.
no caoBaiKnM BepoBaHnaM, Haao 6biao ot .roinn ao PoxaecTBa raroTOBnTb cTyabnnK n3 leaoro KycKa aepeBa 6e3 eanHoro rBo3aa nan KanHa, npmeM Kaxabin aeHb moxho 6biao yaapnTb TonopoM anmb oanH pa3. Tot, kto TaKon cryabHnK raroTOBna (aynme Bcero n3 ean, b KpanHeM caynae n3 6yKa), b KocTeae Ha poxaecTBeHcKon cayxôe cTaHoBnaca Ha Hero KoaeHaMn, n Toraa oh Bnaea Bcex cTpnr 3a aaTapeM nan xe oôpa^eHHbix k aaTapro cnnHon. CTpnrn nMean npn ce6e 3HaK cBoen "aeaTeabHocTn" — noaoÔHnK, MacaeHKy, BepeTeHo, xaeôHyro aonaTy n T.n. YBnaeBmnn cTpnr aoaxeH ôbia KaK moxho cKopee Bo3Bpa^aTbca aoMon, nHane cTpnrn Moran aoraaTb ero n cypoBo n3ÔnTb; htoôh nx oTorHaTb, Haao ôbiao cbinaTb MaK, nepe3 kotophh cTpnrn He Moran nepenTn [Horváthová 1986: 39]. B MopaBnn Toxe aeaaan cryabnnK ot .roinn ao PoxaecTBa n BHcMaTpnBaan BeabM, cToa Ha HeM Ha KoaeHax bo BpeMa poxaecTBeHcKon cayxôbi, nepe3 oTBepcTne ot cy^Ka b rpoôoBon aocKe [Bartoš 1892: 143]. noaoôHbin cnocoô pacno3HaBaHna BeabM xapaKTepeH aaa caoBaiKoro, KapnaToyKpanHcKoro n roxHonoabcKoro apeaaa. .oKaabHbie pa3annna HaôaroaaroTca anmb b caMoM n3roTaBanBaeMoM MarnnecKoM npeaMeTe nan b cpoKax ero raroTOBaeHna n npnMeHeHna. TaK, yKpanHibi Ha KapnaTax peKoMeHaoBaan Hanarb aeaaTb cKaMeenxy b poxaecTBeHcKHH coneabHnK n, yaapaa an^b oanH pa3 TonopoM Kaxabin aeHb, paôoTaTb leabin roa n 3aKoHHnTb ee b caeayro^nn coneabHnK; 3aTeM B3aTb cKaMee^Ky c coôon Ha BceHonHyro, B3aTb e^e 3epHo KyKypy3H, BHnaBmee Hepa3MoaoTHM n3-noa MeabHnnHoro KaMHa n 3aneneHHoe b xae6, n Toraa moxho yBnaeTb ôocopoK [noaKapnaTcKaa Pycb VII 1-2 1930: 23]. D,eabiñ roa caeaoBaao aeaaTb n ôopoHy n3 6y3nHbi, HannHaa c MpbeBa aHa, exeaHeBHo, He nponycKaa Hn npa3aHnKoB, Hn BocKpeceHnn, ao caeayro^ero MpbeBa aHa. 3aTeM Ha MpbeB aeHb ao paccBeTa HyxHo naTn 3toh ôopohoh ôopoHnTb, Toraa k aoMy ncnoaHnTeaa pnTyaaa aoaxHa npnnTn Kaxaaa BeabMa, KaKaa ecTb b ceae; HepeaKo oHa n caMa He 3HaeT, 3aneM npnmaa, ho He npnnTn He MoxeT [ETHorpa^iHHnn 3ôipHnK 5 1898: 211]. B MarnnecKyro cnay ôopoHbi Bepnan n roxHopyccKne KpecTbaHe; no nx npeacTaBaeHnro, BeabM moxho 6biao yBnaeTb n b aoMe, n bo aBope, ecan no neTBepraM BeanKoro nocTa aeaaTb ôopoHy n3 ocnHH, a b Crpacrayro cyôôoTy cnpaTaTbca c 3axxeHHon cBenen 3a 3toh ôopohoh n xaaTb noaBaeHna BeabM [BaacoBa 1995: 77]. B noaecbe n boctohhhx panoHax noabmn nepe3 oôbiHHyro ôopoHy BHcMaTpnBaan BeabMy, npnmeamyro b xaeB b KynaabcKyro Honb BbiaonTb KopoBy [nA; Kolberg 51: 43].
B panoHe noabcKoro Cnnma, KaK n b CaoBaKnn, n3roToBaaan iieanaKy n cTyabnnK, paôoTaa exeaHeBHo ot aHa cb. .roinn ao PoxaecTBa; 3aTeM c 3TnMn npeaMeTaMn man b KocTea n Moran, cTaB KoaeHaMn Ha cTyabnnK n raaaa nepe3 ieanaKy, yBnaeTb BeabM, croa^nx cnnHon k aaTapro. nocae 3Toro HyxHo ôbiao nocnemnTb aoMon, htoôh He nonacTb b pyKn BeabMaM, kotoph ôyayT rHaTbca 3a pa3oôaannBmnM nx neaoBeKoM; caMon HaaexHon 3a^nTon ot npeacaeayro^nx BeabM aBaaeTca MaK, kotophh aynme Bcero ôpocnTb b Boay [Janicka-Krzywda 1983: 222]. y caoBaKoB, KpoMe cTyabnnKa, MarnnecKnM npeaMeToM, pa3oôaanaro^nM cTpnr, Mor ôbiTb nacTymecKnn ônn, cnaeTeHHHH ot .roinn ao PoxaecTBa, aenemKa, ncneneHHaa b aeHb cb. .roinn n
146
CeemAaHa M. Ttrncmast
npHHeceHHaa c coöoH Ha poxaecTBeHCKyro cayxöy b KocTea, h ap. yBHaeTb CTpHry b KocTeae Mor TaKxe tot, kto KaxabH aeHb ot .ronHH ao PoxaecTBa aeaaa no oaHoH HaceHKe Ha pyHKe aBepH; b aT0M cayHae oh y3HaBaa CTpHry no HcnapanaHH0My H0cy. EcaH KaxabH BeHep ot .ronHH ao PoxaecTBa cM0TpeTb b 3epKaao, to b PoxaecTBeHCKHH coHeabHHK moxho yBHaeTb b HeM CTpHry [Horváthová 1986: 40]. B MopaBHH Ha .ronHro HaHHHaaH CTporaTb noBapemKy h K0HHaaH ee H3r0T0BaeHHe b CoHeabHHK, 3aTeM npocBepaHBaaH b HeH abpKy h CKB03b aTy abpKy b KocTeae BbiCMaTpHBaaH BeabM, y3HaBaa hx no noaoHHHKaM Ha roaoBe [Bartoš 1892: 143].
y roxHbix caaBaH Toxe H3BecTHa MarHa c "aronHHCKHM" CTyabHHK0M, ho 0Ha pacnpocTpaHeHa He noBceMecTHo, a orpaHHHeHa HeK0T0pbMH paHoHaMH CaoBeHHH (npeHMy^ecTBeHHo Ha ror0-B0CT0Ke) h XopBaTHH (CaaB0HHa). CaoBeHnb npHaaBaaH ocoöoe 3HaHeHHe aepeBy, h3 K0Toporo H3roTaBaHBaaca CTyabHHK: TpeöoBaaocb Hcn0ab30BaTb tph, aeBaTb HaH aBeHaanaTb nopoa aepeBa HaH apeBecHHy HCKaroHHTeabHo "MyxcKHx" HaH, HaoöopoT, T0abK0 "xeHCKHx" aepeBbeB ("noa" aepeBa onpeaeaaaca rpaMMaTHHecKHM poaoM ero Ha3BaHHa); KaxabH aeHb öpaTb aepeBo hoboH nopoab h T.n.; npH paöoTe Heab3a öbao roBopHTb, paöoTaTb moxho öbao T0abK0 ao 3axoaa coaHna h T.n.; aHmb CTporoe coöaroaeHHe Bcex npeanHcaHHH no3Boaaao pa3raaaeTb Ha p0xaecTBeHCK0H cayxöe BeabM, oöpa^eHHbix aHnoM k aBepaM, c öaroanaMH Ha roaoBe, "c roaoH 3aaHHneH" h T.n. [Kuret 1970: 52-55]. B HeK0T0pbx paHoHax CaoBeHHH BoameÖHHH CTyabHHK nocae cayxöb HeoöxoaHMo öbao yHHHToxHTb — öpocHTb b Boay HaH cxeHb, htoöh H3ÖexaTb MecTH BeabM [TaM xe]. B CaaB0HHH Toxe CTyabHHK HaHHHaaH aeaaTb Ha cb. .ronHro h K0HHaaH Ha BaaHaK; c aTHM CTyabHHK0M maH Ha cayxöy, h p0BH0 b noaH0Hb, CTaB Ha CTyabHHK, noayHaaH B03M0xH0CTb yBHaeTb Bcex BemTHn h K0aayH0B, T0abK0 HeoöxoaHMo öbiao nopaHbme yHTH h3 nepKBH, htoöh He CTaTb xepTBoH BemTHn [Eop^eBHh 1953: 16]. BMecTo CTyabHHKa b noaoÖHoH MarHH Mor Hcn0ab30BaTbca Koxyx, kotophh HaHaaH mHTb b aeHb cb. .ronHH, a 3aBepmHaH b CoHeabHHK; HaaeB ero b poxaecTBeHCKyro H0Hb, HeaoBeK npHoöpeTaa cnocoÖHocTb yBHaeTb bo BpeMa cayxöb Bcex BeabM h KoaayHHH [TaM xe].
OHpe pacnpocTpaHeHo npeacTaBaeHHe o tom, hto BeabMy moxho npHBaeHb, 3acTaBHTb ee npHHTH, ecaH b BeaHKHH npa3aHHK, Ha PoxaecTBo HaH Ha Hacxy, pa3xeHb noaeHba, luenKH, npyTba h T.n., 0TKaaabBaBmHeca no oaHoH mxyKe Ha npoTaxeHHH onpeaeaeHHoro nepHoaa BpeMeHH. Ho BepoBaHHaM ca0BaK0B, Ha PoxaecTBo CTpHrH npHxoaHaH b aoM, rae ropeaH noaeHba, 0TKaaa^iBaBmHeca KaxabH aeHb ao coaHna ot .HronHH ao PoxaecTBa. B ToperpoHe, no CBHaeTeabCTBy, 0TH0ca^eMyca k npomaoMy BeKy, napaaaeabHo c H3r0T0BaeHHeM CTyabHHKa 0TKaaabBaaH noaeHba ot .ronHH ao PoxaecTBa; yxpoM Ha PoxaecTBo Haao ö^iao 0TnpaBHTb Bcex H3 aoMa h, ocTaBmHCb 0aH0My, pa3aeTbca aoroaa, B3aTb K0cy, K0TopoH pexyT ceHKy, pa3BecTH oroHb noa neHHoH TpyöoH, cecTb Ha cboh cxyabHHK h noaKaaabBaTb b oroHb no 0aH0My noaeHy; B0Kpyr Tpyöb öyayx npbraTb koikh, h KaxaoH Haao oxpe3aTb roaoBy, HHaHe 0HH Teöa pa3opByT, h b KaxaoH KomKe moxho öyaeT y3HaTb cxpHry [Horváthová 1986: 40]. B ror0-B0CT0HH0H Hoabme b aeHb cb. .ronHH aeBymKH maH c TonopoM b aec, cpyöaaH (HenpeMeHHo oaHHM yaapoM Tonopa) Moaoayro ocHHKy, pa3pyöaaH ee Ha MeaKHe HypKH h exeaHeBHo BHocHaH no oaHoH b aoM h noaKaaabBaaH b oroHb, npHHeM HypoK aoaxHo ö^iao xBaTHTb ao PoxaecxBa. B coHeabHHK ohh noaxHraaH ocTaBmHeca HypKH h Ha aT0M orHe KHnaTHaH 3aBepHyTbe b n0a0TH0 HroaKH, mnHabKH h T.n., KynaeHHbie 3a rpomH; bo BpeMa KHnaHeHHa aepxaaH apepb npH0TKpbT0H, Bepa, hto aoaxHa npHHTH BeabMa h TeM caMHM pa3oöaaHHTb ceöa [Karczmarzewski 1972: 13].
147
MarHHecKHe cnoco6bi pacnoaHaBaHH« Be.bMH
B Bo^hhckoh ry6. chhtmh Heo6xoflHMbiM no BceM naTHHuaM Be^HKoro nocTa BHÖnpaTb H3 Mycopa no oflHoft ^eno^Ke h Ha nacxy nepefl paccBeT0M Bce BoceMb ^enoneK 3axenb; Torfla HenpeMeHHo npnfleT BeflbMa npocHTb orHa [3e^eHHH 1914: 276]. B KynaHcKoM ye3fle, Ha XapbKoB^HHe fleftcraoBMo raeflyro^ee npeflnncaHHe: "B TeneHHe Be^HKoro nocTa 6pocaft Kaxfloe BocKpeceHbe, HanHHaa c CbiponycTa, no oflHoft na^o^Ke Ha nenb 3a komhh, a Ha CBexnbift npa3flHHK, npnmeflmn H3 uepKBH, co6epn Bce ceMb na^oneK, öpomeHHHx Ha nenb, h 3axrn hx Ha npnne^Ke, — BeflbMa aBHTca npocHTb orHa" [HBaH0B 1991: 439]. B no^ecbe, Ha ^HTOMHp^HHe 6bm o6braft b Kaxfloe BocKpeceHbe Be^HKoro nocTa BHHHMaTb H3 ne^KH no 0flH0My no^eHy H3 Tex, hto TaM cymaTca, h oTK^aflHBaTb hx flo nacxH, a n0T0M, bo BpeMa nacxa^bHoft BceHo^Hoft hx noflxnraTb, Torfla BeflbMa npnöeraeT HTo-HHÖyflb oflo^xHTb hah nofl KaKHM-HHÖyflb flpyrHM npeflnoroM [nA, BbmeBHHH xhtomhpckoh o6a.].
Be^opycb noflo6Hbie peK0MeHflaunn othochah k noHefle.nbHHKaM, coBeTya Kaxflbift noHefle^bHHK Be^HKoro nocTa, npHHoca flpoBa b fl0M, nacTb ot Kaxfloft oxanKH oTK^aflHBaTb Ha ropn^e, a b nepBbift fleHb nacxH, flo paccBeTa B3aTb Bce sth cKonHBmneca flpoBa h noflxenb hx b xre6Hoft nenn, Torfla Bce BeflbMH co Bcero ce.na c6eryrca h cTaHyT xmo6ho npocHTb flaTb hm orHa. Ho flaBaTb orHa HHKaK He.nb3a, a Haflo cpa3HTbca c Kaxfloft BeflbMoft no oTfle^bHocTH h nocTapaTbca noKMenHTb ee TaK, hto6h y Hee noTeKna KpoBb, Torfla th Ha Bcro xH3Hb 6yflemb H36aB^eH ot ko^obckhx nap [Federowski 1897: 267, N 1354]. TaK xe cobstobmh nocTynaTb Ha HepHHroB^HHe: "b npoflo^xeHHe Bcero Be^HKoro nocTa Kaxflbift noHefle^bHHK oTKflaflbiBarb no 0flH0My no^eHy H3 oxanKH flpoB, Hfly^nx b nenb; sthmh ceMbro no^eHaMH BHTonHTb nepefl nacxa^bHoft yrpeHeft ne^Ky; BeflbMa b TaK0M cnynae HenpeMeHHo npnfleT npocHTb xapy, ho flaBaTb eft hh b KaK0M raynae He^b3a -6yfleT 6efla" [rpHHneHKo 1895: 58]. H3BecTHH TaKHe npneMbi h pyccKHM. B^aflHMHpcKHe KpecTbaHe BbiacHOTH, aB^aeTca ah ne.noBeK K0^flyH0M, TaKHM 06pa30M: b npoflo^xeHHe crpacraoft Hefle^H Tonnen H36y, HanHHaa c oflHoro no^eHa h npn6aB^aa Kaxflbift noc^eflyro^HH fleHb no no^eHy; b K0Hue Hefle^H, b CBaToft fleHb, flo^xeH 6brn aBHTbca b 3Ty H36y Ko^flyH h yMepeTb [BBK3: 13]. B CypryrcKoM Kpae Becb nocT ocTaB^a^H no 0flH0My no^eHy ot yrpeHHeft TonKH, a bo BpeMa nacxa^bHoft 3ayTpeHH pacTan^HBMH sthmh no^eHbaMH nenb; BeflbMH raeTMHcb npocHTb orHa; eran xe BHHyTb Mexfly hhmh h flBepbro no^oBHuy, BeflbMH aKo6bi He cMoryT HaftTH Bbixofla H3 h36h [B^acoBa 1995: 77].
Mothb "3aMHKaHHa" BeflbMH b npocTpaHcTBe fl0Ma hah uepKBH, nperpaxfleHHa eft nyTH Ha3afl, BHxofla H3 noMe^eHHa npHcyrcrayeT bo MHornx Tpaflnunax. B flamauHH npoBepa^H, He aB^aeTca ah xeH^HHa BemTHueft, nepeBopa^HBaa noc^e ee Bxofla b fl0M Mexny y flBepeft BBepx HoraMH hah nepeBopa^HBaa onaxHyro uenb; npn stom chhtmh, hto ec^H 3to BemTHua, to 0Ha He cMoxeT BHftTH H3 floMa [3eneBHh 1981: 143]. TaM xe npaKTHKoBMHcb pa3Hoo6pa3HHe MarnnecKHe fleftcTBHa, "3annparo^He" BeflbM b nepKBH bo BpeMa rayx6bi. HanpnMep, b no^nne bo BpeMa poxflecTBeHcKoft c^yx6b HyxHo B3aTb oflHy MoHeTKy (co^flHH), paccenb ee Ha neTHpe nacra h pa3^oxHTb sth neTBepTHHKH no yraaM nepKBH, Torfla no okoh^hhh c^yx6b Bce HanHyT pacxoflHTbca, a BeflbMH He yftflyT h 6yflyT nen^aTbca 3a cBa^eHHHKa. Toro xe s^^eKTa moxho flocTHHb, ec^H b Cone^bHHK nepe6pocHTb nepe3 xpaM no^eHo cmokobhhuh (HHxnpa), 6^ar0c^0B^eHH0e b Be^yro cy66oTy. Ha ocTpoBe KpK bo BpeMa poxflecTBeHcKoft c^yx6b onoacHBa^H xpaM npaxeft TaK, hto6h hhkto He 3aMeratf, Torfla BemTHUH h Ko^flyHbH He cMoryT BHftTH H3 xpaMa. B oKpecTHocTax Bapa c Toft xe ue^bro BTHKa^H nr^y b nopor npn Bxofle b uepK0Bb [Bop^eBHh 1953: 15]. B HepHoropnn c^HTa^H, hto ^erne Bcero pacno3HaTb BemTHu Ha
148
CeemAaHa M. Ttrncmast
Hacxy, nna nero HyxHo bo BpeMa nacxanbHoH cnyxÔH Ha KpHme uepKBH nepeBepHyTb onHy nepenHuy, h Torna BemTHUH He CMoryT cnBHHyTbca c MecTa no Tex nop, noKa HepenHuy He nepeBepHyTb Ha3an [Bop^eBHh 1953: 16].
^na pacno3HaBaHHa BenbMH npHMeHanocb TaKxe "nperpaxneHHe nyTH". B Honecbe b H0Hb Ha HBaHa Kynany pa3ÔpacbiBanH K0H0nnro no nopore, rne ckot HneT Ha nacTÔH^e, HnH xe npoTarHBanH nonepeK noporH HHTKy, Bepa, hto KopoBa BenbMH, oTHHMaro^eö M0n0K0, He CMoxeT nepeHTH nepe3 K0H0nnro HnH nepe3 HHTKy, 0Ha ÔyneT peBeTb h noBopaHHBaTb Ha3an. BonrapcKHe xeH^HHbi h3 co^hhckoto oKpyra, BCTpeTHB BecHoH Ha nyry y boah nepenaxy, CHHManH c ceôa noaca, paccTHnanH hx Ha TpaBe, nperpaxnaa nepenaxe nyTb, h onpenenanH, kto h3 hhx BenbMa, no T0My, nepeHneT nH nepenaxa nepe3 noac, Bepa, hto npe3 noac BenbMH nepenaxa nepeHTH He MoxeT [C6HY III: 138].
OnHHM H3 caMbix nonynapHHx cnocoôoB pacno3HaBaHHa BenbMH ôbinH neHcTBHa, aKoÔH npHHHHaBmHe BenbMe HecrepnHMyro ôonb h n0T0My 3acTaBnaBmHe ee npHxonHTb k HcnonHHTenaM 3thx neHcTBHH, npocHTb hx npeKpaTHTb h oôe^arb He 3aHHMaTbca ôonbme 3n0K03HeHHHMH nenaMH. Ha^e Bcero TaKHe neHcTBHa ôbinH cBa3aHH c orHeM, ÔHTbeM, KpyneHHeM h T.n. B Honecbe Ha KynanbCK0M KocTpe KHnaTHnH neBaTb HronoK c 0Tn0MaHHHMH ymKaMH, h Torna BenbMa caMa npHxonHna k KocTpy npocHTb no^anbi. HonaKH BenMHCKoro noBeTa KHnaTHnH b nonHonb M0n0K0 b nn0TH0 3aKpHT0M ropmKe, h Korna oho 3aKHnano TaK, hto ropmoK r0T0B 6bin pa3opBaTbca, BenbMy crpamHo "neKno", h 0Ha npHxonHna non npennoroM npocbÔH o neM-HHÔynb [Drozdowska 1964: 128]. CxonHbie BepoBaHHa H3BecTHH Ha YKpaHHe. B KynaHCK0M ye3ne XapbK0BCK0H ryô. nna pa3o6naneHHa BenbMH peK0MeHnoBanH HanHTb Ha CK0Bopony MonoKa toh kopobh, K0T0pyro BHnaHBaeT HnH HcnopTHna BenbMa, nocTaBHTb cK0Bopony Ha oroHb, Torna BenbMa HeMenneHHo npHneT non KaKHM-HHÔynb npennoroM, n0T0My hto no Mepe HarpeBaHHa MonoKa ôyneT ycHnHBaTbca b HeH BHyTpeHHHH xap, h 0Ha CTaHeT yMonaTb CHaTb CK0Bopony c orHa [HBaH0B 1991: 439]. Htoöh nocTaBHTb BenbMe ^H3HnecKHe MyKH, cnoBaKH B^inHBanH M0n0K0 Ha HaB03Hyro Kyny h ÔHnH no HeH npyTbaMH mHnoBHHKa HnH xe nHnH M0n0K0 Ha pacKaneHHoe xene30, h Torna CTpHra npHxonHna h yMonana npeKpaTHTb ee CTpanaHHa [Horváthová 1986: 39]. B ror0-B0CT0HH0H Honbme ÔpocanH b oroHb "cnenbi" BenbMH HnH HaHneHHyro b none K0HCKyro nonK0By, oTnero BenbMy HanHHano xenb ancKHM orHeM, h 0Ha npHÔerana npocHTb BHHyTb hx h3 orHa [Kolberg 48: 274], a 3ananHHe ôenopycH ÔpocanH pacKaneHHyro noKpacHa nonK0By b nonoHHHK c M0n0K0M "HcnopneHHoH" kopobh, Torna BenbMa HeMenneHHo npHxonHna, n0T0My hto cepnue ee TaK "mHnHx", KaK nonK0Ba b MonoKe [Federowski 1897: 267, N 1352]. PyccKHe KpecTbaHe HepecnaBnb-3aneccKoro ye3na, xenaa H3ÔaBHTbca ot "nepexHH0B" b nonax, HaxanH KaxnHH Ha CBoeH nonoce no tph ropcTH KonocbeB, nponycTHnH hx nepe3 KonecHyro CTynHuy, CHecnH b "Tpex3eMenbHyro" aMy (rne cxonHTca 3eMna Tpex o6^hh) h coxrnH, nocne nero KonnyHba ôonena uenbiH ron [Cmhphob 1927: 54]. TaKyro xe uenb npecnenoBano cxHraHHe Ha PoxnecTBo HnH Ha Hacxy noneHbeB, nypoK h ^enoK, o K0T0p0M roBopHnocb BHme.
HonaKH BapMHH nna 0TBaxHBaHHa BenbMH CHHTanH HyxHHM pa3neTbca norona, 3aBepHyTbca b npocTbrnro, 3anepeTb nBepH h 0KHa h ÔHTb MeTnoH no nopory noMa, Bepa, HT0 3T0 nocTaBnaeT HecTepnHMyro ôonb BenbMe h 3acTaBnaeT ee npHHTH, hto6h noTpoHyTbca no yrna noMa [Szyfer 1975: 161].
ohpoko H3BecTH0 TaKxe KaneneHHe xhbothhx, b kotophx aKoÔH oôpa^aeTca BenbMa. B Honecbe b KynanbCKyro H0Hb KapaynHnH b xneBy BenbMy, K0T0paa Morna BbinoHTb
149
MarHHecKHe cnoco6bi pacnoaHaBaHH« Be.bMH
KopoBy; 3aMeTHB narymKy hah KomKy, oTpyöanH en nany, a HayTpo y3HaBanH, hto oaHa H3 coceaoK "KyAbrae" (xpoMaeT) — oHa h ecTb BeabMa. 3tot cnoco6 pa3o6AaneHHa BeabMbi npHMeHaeTca h kxhhmh cnaBaHaMH. XopBaTH Hctphh b cnynae, ecAH Honbro cTpHra HanaaeT Ha cna^ero nenoBeKa h HanHeT "aaBHTb" ero, coBeToBanH KaK moxho cKopee BcKonHTb h öpocHTb Ha non hox, neM oh paHHT cTpHry b Hory; Ha cneayro^HH aeHb moxho yBH^eTb, KaK oaHa H3 xeH^HH xpoMaeT [Istarska skrinjica 1977: 253]. HepHoropnbi nneMeHH KynH, noao3peBaa b neTyneft MbimH BemTHuy, cTapanHcb noHMaTb ee h cnerKa noananHTb eft KpbiAba Ha cBene hah Haa orHeM, a 3aTeM oTnycTHTb co cnoBaMH: "npHxoaH 3aBTpa, a aaM Te6e coah!" Ecah 6h Ha apyroö aeHb b aom npHmAa coceaKa 3a conbro, aa e^e co cAeaaMH oxora, ee HenpeMeHHo npH3HaAH 6h BemTHneö [Eop^eBHh 1953: 10]. B Bochhh h TepneroBHHe, b ^anMauHH h apyrHx cep6cKHx h xopBaTcKHx o6nacTax BepHAH, hto ecAH noKaAeHHTb hah yÖHTb xHBoTHoe (KypHny, "nepHyro nTHny", narymKy h T.n.), b KoTopoe o6epHyAacb BemTHna, to h xeH^HHa 6yaeT paHeHa hah yÖHTa [Bop^eBHh 1953: 10-11].
K apeBHeömHM cnoco6aM pacno3HaBaHHa BeabM oTHocHTca H3Becraoe BceM cAaBaHcKHM TpaaHnHaM (ot KamyöoB ao cep6oB) "HcnbrraHHe boaoh", o neM HMeeTca HeMaAo nHcbMeHHbx cBHaeTeAbcTB h MHoxecTBo sTHorpa^rnecKHx 3anHceH npomAoro h HbHemHero BeKa. Yxe b XIII b. b "noyneHHH npenoaoÖHoro CepanHoHa" ocyxaaAca stot a3^inecKHH cnoco6 aoKa3aTeAbcTBa bhhh noao3peBaeMbix b KoAaoBcTBe: "Bh xe Boay nocAyxoMb nocTaBHcTe h rAaroAeTe: a^e yTonaTH HanHeTb, HenoBHHHa ecTb; a^e ah nonAoBeTb — BoAxoBb ecTb" [n^^P 1981: 450]. TeM He MeHee e^e b caMoM KoHne XXIX b. oh npHMeHaAca, HanpHMep, Ha YKpaHHe: bo BpeMa 3acyxH, KoTopyro npHnHcbBaAH 3AoKo3HeHHbM aeöcTBHaM BeabMb, Bcex xeH^HH 3arHaAH b peKy, hto6h onpeaeAHTb, kto h3 hhx BeabMa [^MHTpyK 1927]. y BAaaHMHpcKHx KpecTbaH npHMeHaAocb TaKxe "HcnbTaHHe orHeM": hto6h y3HaTb BeabMy, Bcex xeH^HH "nponycKaAH" nepe3 "xhboh" oroHb; oTKa3aBmaaca npoHTH nepe3 stot oroHb cwranacb BeabMoH [BBK3: 131].
npHBeaeHHbe MaTepHanb, aaAeKo He HcnepnbiBaro^He Bcero MHoroo6pa3Ha MarHnecKHx npHeMoB, npHMeHaBmHxca y cAaBaH ana ono3HaHHa h pa3o6AaneHHa BeabM, B^iHBAaroT HeKoTopbie ycTOHHHBbie mothbh b cnaBaHcKHx aeMoHonorHnecKHx BepoBaHHax, nponHBaroT cBeT Ha yHHBepcanbHbie MexaHH3Mb HapoaHoö MarHH, b tom HHcne MarHnecKHe onepanHH co BpeMeHeM (cp. [ToncTaa 1997]), xapaKTepHbie cnoco6bi caKpaAH3anHH npeaMeToB h T.n. , a TaKxe no3BonaroT caenaTb HeKoTopbie HaGnroaeHHa Haa reorpa^Heö oTaenbHbix BepoBaHHH h pHTyanbHbix ^opM, KoTopbie, oaHaKo, HyxaaroTca b aononHHTenbHoM raynehhh h o6tacHeHHH.
^HTepaTypa
BBK3 - Bht BenHKopyccKHx KpecTbaH-3eMnenamneB. OnHcaHHe MaTepHanoB 3THorpa^HnecKoro 6ropo khh3h B.H.TeHHmeBa (Ha npHMepe BnaaHMHpcKoH ryöepHHH). ÄBTopbi-cocTaBHTeAH: B.M.Ohpcob, H.r.KnceneBa. CnB., 1993.
BHHorpaaoBa, ToncTaa 1995 - Ä.H.Bunozpadoea, C.M.ToAcman. BeabMa // CnaBaHcKHe apeBHocTH. 9THoAHHrBHcTHHecKHH cnoBapb / noa pea. H.H.Toactoto. M., 1995. T.1. C. 297-301.
BnacoBa 1995 - M.Bnacoea. HoBaa a6eBera pyccKHx cyeBepHH. HAArocTpHpoBaHHbifi cnoBapb. Cn6., 1995.
150
CeemAaHa M. Ttrncmast
TpHHHeHKO 1895 - E.flTpuHneHKo. 9THorpa^HHecKHe MaTepnanbi, co6paHHHe b HepHHroBCKoft h coceflHHx c Heft ryöepHHax. HepHnroB, 1895. Bbin. 1.
^MHTpyK 1927 - H.ffMumpyK. Ionon Ha YKpaiHi, p. 1921 // ETHorpa^WHHft bIchhk. Kh. 4. KHIB, 1927.
lop^eBHh 1953 - T.P.fiopfyeeuh. Bemrana h BHna y HameM HaponHoM BepoBaay h npenaay. Beorpan, 1953 [CE36. K&.67].
ETHorpa^iHHHH 36ipHHK. .bBiB.
3eneHHH 1914 - ff.K.3eneHUH. OnncaHne pyKonnceft Yneroro apxnBa HMnepaTopcKoro PyccKoro reorpa^nnecKoro o6^ecTBa. nr., 1914. Bbin. 1.
3eneHHH 1916 - ff.K.3eneHUH. OnncaHne pyKonnceft Yneroro apxnBa HMnepaTopcKoro PyccKoro reorpa^nnecKoro o6^ecTBa. nr., 1916. Bbin. 3.
3eneBnh 1981 - C.3eneeuh. MmxKa 6nha cpncKHx npenaaa. Beorpan, 1981.
HBaHoB 1991 - n.B.Heame. HaponHbie paccKa3bi o BenbMax h ynbipax // YKpaiHni: HaponHi BipyBaHHa, noBip'a, neMoHonoria. Khib, 1991. C.430-497.
MapnHoB 1914 - ff.MapuHoe. HaponHa Bapa h pennrno3HH HaponHH o6nnaH. Co^na, 1914 [C6HY Kh.28].
MYE 1912 - MaTepiann no yKpaiHcbKoi eTHonborii. T.5. .bBiB, 1912.
HoBHHKoBa 1995 - TA.HoeunKoea. PyccKHft neMoHonoranecKHH cnoBapb. Cn6., 1995.
nA - noneccKHft apxHB HHcTHTyTa cnaBaHoBeneHHa h öanKaHHcTHKH PAH. MocKBa. 1981 - naMaTHHKH nnreparypn flpeBHeft Pycn. XIII BeK. M., 1981.
nonKapnaTcKaa Pycb. Yxropon.
noTaHHH 1899 - r.nomaHuH. 9THorpa^HnecKHe 3aMeTKH no nyTH ot r. HnKonbcKa no r. ToTbMb // ^HBaa cTapnHa. 1899. Bbin. 2. C. 167-235.
C6HY - CöopHHK 3a HaponHH yMoTBopeHHa, HayKa h KHHXHHHa.Co^Ha.
Cna^eB 1992 - B.B.Cnaw,ee. Cep6cKoxopBaTCKaa MH^onornnecKaa neKcnKa b conocTaBneHHH c yKpaHHcKoft. ^nnnoMHaa pa6oTa. MrY. Hay^Hbift pyKoBonnTenb H.H.ToncToft. M., 1992.
Cmhphob 1927 - M.H.CMupHoe. KynbT h KpecTbaHcKoe xo3aftcTBo b nepecnaBnb-3aneccKoM ye3ne // Tpynbi nepecnaBnb-3aneccKoro HcTopHKo-aTHorpa^nnecKoro h KpaeBen^ecKoro My3ea. nepecnaBnb-3aneccKHft, 1927. Bbin. 1.
ToncTaa 1997 - C.M.Toncman. BpeMa KaK HHcTpyMeHT Marnn: KoMnpeccna h pacTarHBaHne BpeMeHH b cnaBaHcKoft HaponHoft TpannHHH // .ornnecKHÖ aHanH3 a3HKa. .33hk h BpeMa. M., 1997 (b nenara).
OnnnnoBHh 1967 - M.@uaunoeuh. Pa3nHHHTa eTHonomKa rpa^a // CE36. 1967. K&.80.
Bartoš 1892 - F.Bartoš. Moravsky lid. Tele, 1892.
Biegeleisen 1929 - H.Biegeleisen. U kolebki. Przed oltarzem. Nad mogil^. Lwöw, 1929.
Drozdowska 1964 - W.Drozdowska. Istoty demoniczne w Zal^czu Wielkim, pow. Wielun / / Lödzkie studia etnograficzne. Lodz, 1964. Z. 6.
Federowski 1897 - M.Federowski. Lud bialoruski na Rusi Litewskiej. T.I. Krakow, 1897.
Horväthovä 1986 - E.Horvathova. Rok vo zvykov našho l'udu. [Bratislava], 1986.
Istarska škrinjica. Zagreb, 1977.
Janicka-Krzywda 1983 - UJanicka-Krzywda. Tradycje uprawiania magii na Polskim Spiszu na przelomie XIX i XX wieku // Wierchy. Rocz. 50 (1981). Warszawa, Krakow, 1983.
Karczmarzewski 1972 - A.Karczmarzewski. Obrz^dy i zwyczaje doroczne wsi rzeszowskiej. Rzeszöw, 1972.
151
MarHHecKHe cnoco6bi pacnoaHaBaHH« Be.bMH
Kolberg 39 - O.Kolberg. Dziela wszystkie. T. 39. Pomorze. Wroclaw, Poznan, 1965. Kolberg 42 - O.Kolberg. Dziela wszystkie. T. 42. Mazowsze. Cz. 7. Wroclaw, Poznan, 1970. Kolberg 48 - O.Kolberg. Dziela wszystkie. T. 48. Tarnowskie-Rzeszowskie. Wroclaw, Poznan, 1967.
Kolberg 51 - O.Kolberg. Dziela wszystkie. T. 51. Sanockie-Krosnienskie. Cz. 3. Wroclaw, Poznan, 1973.
Kolberg 57 - O.Kolberg. Dziela wszystkie. T. 57. Rus Czerwona. Cz. 2. Z. 1. Wroclaw, Poznan, 1965.
Kotula 1989 - F.Kotula. Przeciw urokom. Warszawa, 1989.
Kuret 1970 - N.Kuret. Praznično leto Slovencev. D. 4. Zima. Celje, 1970.
Niewiadomski 1989 - D.Niewiadomski. Semantyka jajka w rytach orki i siewu //
Etnolingwistyka. Lublin, 1989. T. 2. Pospiech 1987 - J.Pospiech. Zwyczaje i obrz^dy doroczne na Sl^sku. Opole, 1987. Sychta I - B. Sychta. Slownik gwar kaszubskich na tle kultury ludowej. Wroclaw etc., 1967. T. 1.
Szyfer 1975 - A.Szyfer. Zwyczaje, obrz^dy i wierzenia Mazurow i Warmiakow. Olsztyn. 1975. Wyd. 2.
Magische Arten, um eine Hexe zu erkennen
Svetlana M. Tolstaja
Nach den volkstümlichen dämonologischen Vorstellungen kann man eine Hexe in bestimmten sakralen Zeitpunkten (insbesondere während der bedeutendsten Feste: Weihnachten, Ostern, Tag von Ivan Kupala, Tag des heiligen Jurij, Tag der heiligen Dreieinigkeit), an sakralen Stellen (Tempel, Kreuzung), mit Hilfe spezieller Gegenstände, die dem Menschen die Allwissenheit gaben (ein holzerner Löffel, mit dem man das Weihnachtsabendessen rührte, ein gefundenes Hufeisen u.a.), erkennen.
152
The Horse as a Cosmological Creature in the Slovene Mythopoetic Heritage
Monika Kropej
The author states that Slovene rituals and the song and narrative heritage which include the horse are frequent in the time of transition, at midwinter and midsummer solstices and at spring and autumnal equinoxes. All these turning points are marked by Perun, the god of thunder, the ruler of the cosmic driving forces.
In every civilization in which it was of decisive economic value, thus also bringing respect to its owner, the horse played a significant role in the religious as well as the ideological notions of people. These were based on an archetypal image of the horse. The archetypal horse is the son of night and mystery, bringing life and death at the same time. When it lifts into the sky, into perfect light, it becomes uranic and of the sun.1 These notions represent the basis of the mythopoetic heritage of different peoples.
The oldest Indo-European sources already mention horse in connection with myths. According to these sources, numerous deities with the teriomorphic image of a horse were closely connected with water. It was thus believed, for instance, that people were given the horse by Poseidon, master of waters; the Norse horse Nennir (Nikur) appeared on the water surface as a handsome grey horse with his hooves turned backwards. He would take a rider underwater, but would also be willing to be tamed.2 In Scotland there is a legend of the Celtic Waterkelpje - a water ghost appearing as a horse, dragging people into waters and sinking ships. Kelpje appeared in the form of a horse and would shake off any rider into the water and drown him. But if one covered it with a young bride's veil, Kelpje had to serve him as a benevolent ghost.3 In Schleswig the demonic Waterman was named "Utoplec" or "Topilec", appearing as a horse or as a human with horse's legs. He guarded the souls of his victims locked in vessels in his underwater dwelling.4 The Slovene tradition of half-horses has similar roots to the antique legends about the Centaurs whose names, according to Kretschmer, denote "to whip water" (Glotha 10, 50 f.p.). It was believed that Centaurs personified whipped, foamy water, namely the untamed powers of nature, especially water. Their original home was in the land of Nephele, meaning cloud. In Slovenia, legends of half-horses are mainly preserved in Štajersko (Styria) and Gorenjsko and in Venezia Friulia
1	J. Chevalier and Gheerbrant, Slovar simbolov (Translated by Stane Ivanc), Ljubljana 1993, p. 241. For more on the horse in Indoeuropean languages and culture see: T. V. Gamkrelidze and V. V. Ivanov, Indoevropejskij jazyk i Indoevropejcy I, Tbilisi 1984, pp.544-593.
2	Handwörterbuch des deutschen Aberglaubens (from now HDA), Bd. 6, Berlin & Leipzig 1934/35, p.1635.
3	L. Petzoldt, Kleines Lexikon der Dämonen und Elementargeister, München 1995, p.108.
4	Ibidem, p. 174.
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The Horse as a Cosmological Creature in the Slovene Mythopoetic Heritage
which is now in Italy (M. Ravnikar-Pozencan, J. Pajek, V. Ostermann). A round clasp from the 8th century with the image of a Centaur was found in the former village Grad near Bled.5
Though the origin of the horse was supposed to be in the depths of the Earth and in its waters, the horse was also linked to wind. In antiquity and in the Middle Ages people believed that mares were impregnated by the wind6 - Achilles' horses were born to Zephyrus by harpye Podarge which was grazing in the moors by the ocean.7 This is also the origin of the belief that horses originally had wings, the same as the antique mythopoetic horse Pegasus which supposedly opened the stream of the Muses - Hippocrene (horse's stream) - with his hooves. The windy horse supposedly flew around and grazed among the branches of the world tree, for instance Odin's horse in Norse legends which was thought to be swifter than the thunder wind and which flew with no wings. He was tied to the world tree called Iggdrasill in Edda8. The Russian wild ghost was believed to snort from branch to branch. A white horse is also the constant attribute of the Serbian Dazbog, Polabian Sventovit, Germanic Wodan, Scandinavian Odin. A swift horse, fast as lightening, is ridden by swift gods in Indian, Greek, German, and Slavic mythologies. Horses' hooves cause sparkles -lightning, which is then followed by rain - the source of water.
The horse was an important attribute of the majority of archaic deities who performed cosmogonic and heroic deeds.9 The old archetypal images of horses and horse gods were handed down in the form of oral tradition, customs and beliefs from generation to generation up to the present.
The Horse in the Yearly Cycle
All of the four yearly turning points - the midwinter and midsummer solstices, the beginning of spring and fall - are marked with the image of the horse in Slovenian heritage. Christmas, namely the birth of the young god, the foal, is announced by St. Stephen who assumed the role of the protector of horses in folk heritage. The Carnival, during which horse masks are frequently seen, forecasts the coming of spring when at last St. George, a hero on a white mare, defeats a terrifying dragon and casts winter from the country. Midsummer Day is announced by Kresnik who was born with horse hooves and who often assumes the image of the horse. Finally, when summer turns to fall, Jarnik, St. George with a gun, shoots a white horse, a goat or a chamois named Goldenhorn, symbol of the sun, but only to be reborn at Christmas as the young sun, or the foal.
Winter Solstice, Christmas - Birth
Rituals which tie horses to the renewal of nature are typical of the period of midwinter solstice when days are shortest and nights are longest. This is the time when the young sun
5	J. Kastelic, Blejska fibula s kentavrom - lokostrelcem. Arheološki vestnik 13-14, Ljubljana 1962-63, pp.545-563.
6	HDA, p. 1605.
7	Homer, The Iliada 16, v. 150 f.
8	Gamkrelidze and Ivanov, 1984, p. 549.
9	Comp. V. V. Ivanov, Konj, in: Mify narodov mira 1, Moscow 1987, p. 666; Robert Turcan, The Cults of the Roman Empire, Oxford 1996, pp. 248-254.
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Monika Kropej
is supposed to be born. According to some legends, even St. Nicholas rides up to houses on a white horse during Advent. Jože Vršnik thus described in Planinski vestnik 1971 the custom on St. Nicholas Day in Logarska dolina: Chains rattled outside on the shed/.../ the door to the house slowly opened and in rode St. Nicholas on a horse covered with blankets. He was followed by the angel and the devil. N. Kuret, citing this extract in his book10, mentions that the blanket-covered horse was probably an equine mask. This piece of information is also interesting in view of the role of the horse during the time of waiting for the Christmas foal to be born. He is born on a winter night when, according to an Iranian variant, a fight between Indra and Vritra took place; we could find a parallel in Perun and Veles fighting each other. Indra kills Vritra and sets the sun free. A similar case takes place during Christmas when the Christmas horse is set free and is born.11
Old Bela krajina Christmas carols, which were published by Štrekelj in Slovenske narodne pesmi12 under the numbers 4743-4747, tell about a black stallion on which a boy with a cap or a silver belt sits, either in the saddle or in a crib on the saddle. In some variants the horse is standing above six oxen, in others it is tied to a green fir, etc. Inhabitants of Žumberak in Bela krajina went around during Christmas practising magic, that is singing this Christmas carol which was recorded by Janko Barle13:
Dobar dan, gospodar, Bog vam dobre gostje daj! Na dvori vam zelen bor, Zanj'privezan konjič vran. Na konjički sedlice, Na sedlici sinek vaš, Sinek ima srebern pas. Več vam velja dober glas, Kakor tisti srebrn pas. Rodila vam šenica In ta vinska mladica! Stari čako, donesite vina, Stara majko, komad kruha, Mlado snaše, povesance, I djivojka, jabučicu!
Good day, master, May god grant you a good feast! A green fir on your land, A black stallion tied to it. A saddle on the stallion, Your son is in the saddle, Your son has a silver belt. A good reputation is better Than the silver belt. May your wheat grow, May your vineyards be full! Old man, bring us wine, Old woman, a piece of bread, young daughter-in-law, a skein, And the girl, an apple!
Similarly, since a black horse does not foretell death in Russian folk songs, but is the symbol of joy and the life force, the black horse in this song has by analogy no connection with death either.14
Some customs have preserved the memory of the Christmas horse as well. Most evident remains of these beliefs are in the Savrin tradition about the Christmas "foal" which is supposed to come in the evening to eat hay under the table. In Gazon and its surroundings, for instance, children had to fast all day on the Christmas vigil, for it was believed that
10	N. Kuret, Praznično leto Slovencev (2nd Edition), Ljubljana 1989 (from now PLS), p. 229.
11	Comp. A. Pleterski, Božič naših prednikov. Naši razgledi 38, No. 23 (910), Dec. 15., 1989.
12	Slovenske narodne pesmi I-IV, Ljubljana 1895-1923 (from now Š.).
13	Š 4746.
14	J. Keber, Živali v prispodobah, Celje 1996, p. 167.
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whoever can endure without food all day can behold "the foal" in the evening. On Christmas Eve people in Divaca watched a reflection of the shadow cast by a blazing Christmas log in the fireplace, saying that "Christmas" jumps about the fireplace. In Brkini a basketfull of hay was ready for the Christmas "foal" on Christmas Eve15. Similar to the "jullbock" of Scandinavia, these customs are based on ancient beliefs in the foal as the personification of a deity which is closely connected to the yearly cycle and the renewal of spring. These beliefs must have been rooted in Indo-European traditions - the twelve-spoke wheel of the god Rita who never grows old is supposed to roll across the sky. In the Atharvaveda, time is personified by Kala who runs like a horse with numerous bridles16.
According to a legend the Christmas birth is announced by St. Stephen whose name day is on December 26 and who is the patron saint of horses. The saint took the place of a pre-Christian deity of Indoeuropean origin closely connected to the divine horse and to numerous myths and rituals associated with it. A pre-Christian deity functioning as the horse patron which is closest to us is the Celtic Epona. The cult of Epona was widespread also in Carinthia and Styria, and December 18 was dedicated to her. Strabon (5, 1, 9c, 215) reports that Venetians worshipped Diomedes, usually sacrificing a white horse to him17.
St. Stephen assumed the role of a deity connected with horses who was the patron of horses in Northern and Central Europe. It is significant that according to a legend horses pulled a casket with the dead St. Stephen as portrayed also in Utik near Ljubljana18.
In folk songs and tales depicting the stoning of St. Stephen (S I, No. 632, f.p.; S II, No. 120) a biblical story about Stephen - a deacon in Jerusalem who was stoned by Jews because he was successfully spreading the teachings of Jesus (Apd. 6,5-7,60) - intermingles with pre-Christian elements. Slovenian legends and legendary songs relate how St. Stephen announces the birth of the king, Jesus the Saviour. He is heard by Herod's wife Herodiada and Herod orders that St. Stephen be captured and tied to a beech tree in the middle of a green forest where a wild white horse is to tear him apart. But when the horse beholds St. Stephen it quietens down and follows him to a castle19:
Perdirjal je že divji konj, Štefan je storil sveti križ, konjič je pa postal krotak, da še ni bil nikoli tak. Odvezal je pintico, naredil mu je ujzdico, perjezdil je pod beli grad, še je dalej lepši pel...
A wild horse came galloping, St. Stephen crossed himself, The horse quieted down, As never before. He untied the ribbon, Fashioned a bridle, Came riding to a white castle, Singing an even prettier song..
Herod then orders St. Stephen to be thrown into a pit, then locked into a tower where snakes and lizzards will eat him, but when St. Stephen crosses himself the creatures do not harm him. Finally Herod orders that St. Stephen be taken to a field and stoned there.
15	After PLS II, pp. 333-334.
16	E. Cassirer, The Philosophy of Symbolic Forms. Vol. 2: Mythical Thought. New Haven, London (Yale Univ. Press) 1965 (First Edition 1955), p. 115.
17	M. Šašel Kos, Boginja Ekorna v Emoni. Zgodovinski časopis 46, No. 1, Ljubljana 1992, p. 11.
18	PLS 2, p. 383. after Emilijan Cevc.
19	Š, No. 633; SLP II, Ljubljana 1981, p. 398.
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Stephen asks Jesus to take him to his side and to grant heavenly paradise to all souls. The morning after the stoning a chapel stands there, the stones all turned to salt. This is the origin of the custom on St. Stephen's Day when water is blessed together with salt.
This legend is known in England and in Scandinavia as well. Researchers could not agree on its origin and spreading. H. Calendar presumed that the legend originated in Sweden and came to Slovenia via Germany20. S. Baldi, however, felt that it travelled in the opposite direction, from south to north21. I. Grafenauer agreed with Baldi's opinion in his treatise22, maintaining that the legend of St. Stephen's stoning originated in the Roman language area, and from there spread to Slovenia and to Western and Northern Germans. Regardless of the way the legend evolved - which in view of the differences in its contents could also have been preserved by different peoples independently - the connection between St. Stephen and horses is evident in all of its variants. What is of interest is also the fact that among the Germans Herod or Herodiada both appear as leaders of the Wild Hunt. In most variants St. Stephen is connected with horses in one way or another, be it as a hired hand in a horse stable, a rider on a white horse, and especially as the one who tames the wild horse.
Folk customs practiced on St. Stephen's Day testify to the fact that the saint took over the role of the horse patron. On St. Stephen's Day horse breeders started their pilgrimages connected with horses. Especially famous were Stara vas by Šentjernej in Dolenjsko, Kupljenik by Bohinjska Bela, Blejska dobrava, Št. Vid by Lukovica, Mengeš, Utik by Vodice, Suha by Kranj, and Sora by Medvode. On this day horses were blessed in many places in Slovenia and people brought offerings - horse statuettes or money - to churches. The custom surwived also in Štepanja vas by Ljubljana - in the past also in Gorenja vas by Sorica, in Stara loka, etc. - where believers sacrificed little horses made of white wax23.
The horse denoted a sacrificial animal par excellence. It was necessary to sacrifice a horse to ensure the renewal and the existence of cosmic order24. In view of this and also of the fact that the ballad was sung and danced to on the day of St. John the Evangelist, December 27 which is the day after St. Stephen's Day - and thus events depicted in it were supposed to happen the day before, or the night before to be exact - we may presume that there is a certain connection between the horse and the victim in a song "Tri žene iztrgajo mladeniču srce" (Three Women Pull out a Young Man's Heart, SLP I, No. 23). The song depicts a sacrifice connected to a certain ritual25, but does not mention the hero's name - or if it does, his names may be different: Sinek Martinek, Sinek Dominek, Ivan moj sin, also Štefica in some Croatian variants. His actual name is of minor importance here, more important is the fact that the victim in all variants is the son, a shepherd. He grazed sheep,
20	H. Celander, Till Steffanslegendens och Steffansvisornas utvecklings-historia. (To the History of the Development of Stephen's Legend and the Song about Stephen), ARV, Tidskrift frr nordisk folksminnesforskning 1945, pp. 134-164.
21	S. Baldi, Ballate Popolari d'Inghilterra e di Scozia - Testo, traduzione, introduzione e note a cura di Sergio Baldi, Firenze 1946.
22	Legendarna pesem o sv. Štefanu in Herodu, in: I. Grafenauer, Bogastvo in uboštvo v slovenski narodni pesmi in v irski legendi. SAZU, razr. 2, Razprave 4, Ljubljana 1958, pp. 37-100, 65-75.
23	After PLS 2, 389 f.p.
24	More about cosmogonic sacrifice see: B. Lincoln, Myth, Cosmos and Society. Indo-European Themes of Creation and Destruction. Cambridge, Massachusetts, London (Harvard University Press) 1986, pp. 1-40.
25	A similar motif can be found in Euripides' tragedy The Bacchae which describes Pentheus' death during the ritual dedicated to Dionysus in which the leader of the horrible murder is his mother Agave.
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mares, or young oxen. According to the song two women, one his own mother, the other his aunt or his sister, tore out his heart while the third, his lover (or wife or sister) defended him, or cried over him. In some variants all three pulled out his heart. The song ends when the shepherd judges the three white women. The first two deserved to be burnt at the stake or suffer some other similar punishment, while the third - if not equally punished - received three white castles, paradise, love, or something similar It is interesting that in one of the variants the mother also asks her son what awaits his brother - who otherwise plays no role in the song - whereupon the son replies that his brother is to receive a horse and a wagon26. The second part of the song - which is sometimes the only one - is sung in the form of a dialogue. The mother tries to wake up her son in the morning as if unaware of the horrors of the previous night. But the dead cannot talk and the mother, the leader of the ritual, should have known what had happened. The song really is a mystery. Following his death, the son is revived in the afterworld. The mystery, which has been preserved up to Christian times, is tied to the idea of renewal and fertility.
Renewal and fertility cults in their degenerated form remained parallel with Christianity in the Middle Ages and were persecuted as magic. Researchers believed that the song reflected the notions of witches and their orgies27, or dreams with all their nightmares28. Both notions are right to a certain degree, but the real basis of the song has to be looked for in ancient religious mysteries and their archetypes in human subconsciousness and beliefs. The notion that this used to be a religious ritual is also supported by the fact that in Predgrad (in Poljanska dolina in Bela krajina) this song was sung as a dance song. Thus it is the only example of a ballad which has been preserved in its original form in Slovenia. As already mentioned, it was sung only once a year, on December 27 which follows St. Stephen's Day, on which people celebrated midwinter solstice by dancing outside. A similar habit of dancing outside around Christmas time has also been preserved among the Uskoki from the sto dialect of Bosnia29.
In all of the three above-mentioned song types about St. Stephen there is a victim who is in some way connected with the sacrifice of a horse. The horse thus presents a teriomorphic image of a deity who plays a decisive role in the process of renewal. It is therefore not strange that the oldest preserved Carnival mask in Slovenia is Rusa, a mare. In Scavnica and its surroundings Rusa was taken around the village while people were singing30:
Belo Ruso vodimo, Konjem srečo prosimo, Zobi ji ne dajamo, Z meglo jo napajamo.
We are leading the white Rusa, Asking for good luck for horses. We do not feed her with oats, But water her with fog.
26	This could be linked to a folk tale about a mythical hero on horseback who has a brother. Together they form a complementary pair.
27	E. Seemann, Die drei Hexen. Deutsche Volkslieder mit ihren Melodien IV, no. 80, Berlin 1959, pp. 216-227.
28	M. Boskovic-Stulli, Balada o pastiru i tri vjestice, in: Narodno stvaralastvo folklor 7, Vol. 25, Beograd 1968, pp. 20-36
29	SLP I, p. 142
30	S, No. 5157.
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When they came to a brook the two young men who represented the horse threw an old pot and a broom into the water, and all of them started to sing:
Smo Ruso v vodo stirali,	We chased Rusa to a brook,
Konjem srečo sprosili,	And got good luck for horses,
Zdaj bomo pa pobirali,	Now we will gather presents
Da bomo težko nosili.	Until we can carry no more.
Horse masks are known elsewhere in Europe as well. Young men masked themselves as horses on Christmas or during Carnival in Germany, France, Austria, Hungary, Italy31, etc. It is obvious that the original old rituals which were once part of this custom have gradually lost their original meaning. The custom slowly acquired ironic and theatrical elements, but inadvertently preserved some of its original elements. The song thus speaks about a white mare which is sacrificed for the benefit of horses. The mare is thrown into water, which is a distinctive mediator between the world of the living and the world of the dead. The sacrificial horse should thus obtain mercy from God in the afterworld. This is also the role of St. Stephen, for the endings of certain song variants about the "Kamenjanje Sv. Stefana" (The Stoning of St. Stephen) are tailored to the spirit of Christianity, yet with a marked note of deliverance such as the following one32:
Ko je ravno Štefan videl to, da on smrt storil bo, iz ljubezni šče je prosil to, da bi Jezus dal grešnikom nebo: "Oh Jezus, prosim te, h sebi vzemi me, po smrti ti vsem dušam daj aj, nebeški sveti raj!"
When St. Stephen saw
That he was about to die,
Still he asked Jesus with love
For absolution for all sinners:
"Oh, Jesus, please take me with you,
And after death all souls
May join you up in heaven!"
The Beginning of Spring - St. George's Day - Transition
St. George took the place of a mythical killer of dragon. By killing the dragon he saves his land from disaster, defeats winter and brings spring and sun. There are numerous customs, folk songs, legends, tales and fairytales connected with St. George's Day.
St. George replaced a prominent spring deity, perhaps Vesnik, Jaril (the name has the same basis as Jarnik, but here it denotes spring, the young, and does not mean irritable or irascible, which is how the name of Jarnik, his brother, is explained). On this day a young boy wrapped in vine tendrils so tightly that he was not discernible under the green was led from door to door in Bela krajina. His escorts sang a carol which started with the following verses33:
31	HDA, p. 1629.
32	SLP II, 397 (Š 635).
33	After PLS I, pp. 258-259.
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Prošel je, prošel pisani vrnem, došel je, došel zeleni Jure na zelenom konji, po zelenom polji. Dajte mu, dajte, Jurja darovajte...
Over is, over the colorful Easter, Here comes, here comes George all in green, On a green horse, over the green fields, Give him, oh give him an offering...
Some of the St. George customs have preserved the connection of St. George with the horse, and in these we can recognize St. George the rider. St. George from Adlešiči, for instance, rides a white horse and is not allowed to descend until he has ridden through the whole parish. It is also significant that St. George's Day is also the holiday of horse breeders.
A long journey by St. George on horseback seems to be announced in a song entitled "Aj zelena je vsa gora" (Oh, How Green Is the Mountain), sung by young women while dancing the Črnomaljsko kolo (round dance from Črnomelj) on Easter Monday. Easter is usually celebrated before St. George's day, but according to folk beliefs the year in which this sequence is reversed is supposed to be an unlucky one. The song announces a long journey awaiting the rider34:
Aj, zelena je vsa gora, zelena, aj, zelena je. Aj, notri raste trava, diteljina, aj, notri raste. Aj, žela jo je spremlada devojka, aj, žela jo je, aj, zlatim srpom, belimi rokami, aj, zlatim srpom. Aj, nesla jo je svojga bratca konjem, aj, nesla jo je. Aj, jejte, pite mojga bratca kojnci, aj, jejte, pite, ker jutri bote daleč potovali, aj, jutri bote, aj čez te gore, gore so visoke, aj, čez te gore, aj, čez te vode, vode so široke, aj, čez te vode.
Oh, how green is the mountain, how green it is, how green. Oh, and on the mountain clover grows, it grows. Oh, a young girl the clover reaped, she reaped it. Oh, with a golden sickle, hands of white, the golden sickle. Oh, she took it to her brother's horses, took it there. Oh, eat and drink, my brother's horses, eat and drink. For you shall travel far on the morrow, on the morrow. Oh, over these mountains, the mountains high, high over. Oh, over these waters, the deep wide waters, wide over.
While the songs have preserved only a fragment of ritual texts, a fairy tale of the AaTh 300 type entitled "Dragon Slayer" preserved the basic archetype in the form of narrative. This is a story about the hero who kills a monster, saves a princess, resumes his travels and returns, usually precisely at the moment when the princess is to marry someone else. The design of the story reminds one of a cosmological myth about the creation of the world, which represents the central deed of the hero's life and has therefore been joined to the initiative ritual of the chosen35. Principally the same myth can also be traced
34	M. Ramovš, Polka je ukazana. Plesno izročilo na Slovenskem. Bela krajina in Kostel, Ljubljana 1995, pp. 58-59.
35	J. de Vries, Heldenlied und Heldensage, Bern, München 1961, p. 297.
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in old Canaan and Hittite messages, antique myths, Old testament as well as Christian legends - especially in the already-mentioned legend of St. George who saves St. Margareta. In all of these George is always portrayed as a rider on a white horse. St. George has taken the place of Gromovnik (Thundermaker), god of thunder, who according to the central pre-Slavic myth, fights a dragon36. Radoslav Katicic made a detailed analysis of Slavic folk song traditions from the viewpoint of the pre-Slavic myth about the cosmological duel, or the fertility ritual respectively.37. Among other things, his research has revealed the connection between George and the horse. Based on the preserved song material Katicic established that George, who rode his horse across a sea, across fields and forests, over mountains and through valleys, payed to the dragon - as a ransome for the girl - a horse38. He further stated that certain elements of Eastern Slavic wedding customs give rise to the conjecture that the groom (George) was identified with the horse39. The difference between St. George's Day as a tradition with markedly cosmogonic elements and Midsummer Day with its fertility functions is still preserved in Slovene folk songs and customs. With the exception of Croatian mythic tradition the line between these two myths among other Slavs is much more blurred, with both figures blending into a single one.
Midsummer Solstice - Kresnik - The Sacred Wedding
Summer solstice is announced by Kresnik40. As is evident from the name, in people's notions Kresnik was connected with fire, with striking fire, with the sun which attains its zenith on midsummer solstice. N. Kuret allowed for a comparison between the "goldenhaired and goldenarmed son of the heavenly ruler" - Kresnik - and the sun-god, the Old Slavic Sventovit41. Stories about Kresnik say that he was born with horse's hooves (Popotnik 5/1, Jan. 10., 1884; Slovenski gospodar 29/1895) and could change his appearance. According to a tradition based on older religious notions his father was the ruler of heavens, meaning
36	For more about the cosmogonic myth among Slavs compare: V.V. Ivanov, V.N. Toporov, Slavjanskie modelirujuščie semiotičeskie sistemy. Moscow 1965; idem: Issledovanija v oblasti slavjanskich drevnostej. Leksičeskie i frazeologičeskie voprosy rekonstrukcii tekstov. Moscow 1974; R. Katičič: Hoditi - roditi, Spuren der Texte eines urslawischen Fruchtbarkeitsritus, in: Wiener slavistisches Jahrbuch 33, Wien 1987; idem, Nachlese zum urslawischen Mythos vom Zweikampf des Donnergottes mit dem Drachen, in: Wiener Slavistisches Jahrbuch 34, Wien 1988; idem, Weiteres zur Rekonstruktion der Texte eines urslawischen Fruchtbarkeitsritus 1-2, in: Wiener Slavistisches Jahrbuch 35, 36, Wien 1989, 1990; idem, Nachtrage zur Rekonstruktion des Textes eines urslawischen Fruchtbarkeitsritus, in: Wiener Slavistisches Jahrbuch 36, Wien 1990.
37	See above.
38	R. Katičič, Hoditi - roditi, Wien 1987, p. 39.
39	Ibid., pp. 39-40.
40	For more about this mythical creature see: J. Pajek, Črtice iz duševnega žitka štajerskih Slovencev, Ljubljana 1884; J. Kelemina, bajke in pripovedke slovenskega ljudstva, Celje 1930; M. Boškovic-Stulli, Kresnik - Krsnik, ein Wesen aus der kroatischen und slovenischen Volksüberlieferung, in: Fabula 3/3, Berlin 1960; C. Ginzburg, Storia notturna, Una decifrazione del sabba, Torino 1989; N. Mikhailov, Fragment slovenskoj mifopoetičeskoj tradicii, in: Koncept dviženija, Moskva 1996, pp. 128-141; idem: Kr(e)snik; eine Figur der slowenischen Version des urschlawischen Hauptmythos, in: Književna istorija, XIX, 101, Beograd 1997, 23-37; J. Simpson, Witches and Witchbusters, in: Folklore 107, London 1996.
41	PLS I, p. 385. J. Kelemina has compared Kresnik and Svarožič (or Božič) in: Bajke in pripovedke slovenskega ljudstva, Celje 1930, p. 8. Comp. Sventovit in: Mify narodov mira 2, Moscow 1988.
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Perun, the fire lightning42. His mother carried Kresnik for nine years before he was born. He was born as the tenth (Slovan IX/1911, pp. 300-301) or twelfth (Navratil, LMS 1887, pp. 106-107) son, thus symbolizing the future of mankind and eternal development of the universe. He was said to have lived in the Ninth Land, in Eastern Lands, on a Golden or a Glass Mountain43. According to some stories, especially the ones which mention a specific Kresnik - the Kresnik of Vurberg - he lived on the Vurberg castle44 which was also called Wurben (etym. worm, also snake or dragon) or Kačjak, the name of which symbolizes the underground world of his opponent, his double, named Veles or Zmaj (Dragon), Kačji kralj Babilon (Babylon the Snake King), Lintvern, Krut, Vož, Sas, Ses, Triglav, Trdoglav, Krutoglav, Potoglav, Črt, Trot, Trod, Bes, Velikan Vouvel, Volvel, Baron Balon, Tolovaj iz Velenja, etc. While it was believed that Kresnik lived in the heavens, his opponent lived in the underworld, in a rocky cave on a river bank, thrice wrapped around a stone table, in a rocky castle, in the Skala castle, in Beli grad, in Pusti grad with no windows or doors, in a mountain cave, in a castle on the highest mountain, in Trotkovo, in Medvedgrad (Bear Castle), etc. Together with his double - brother or with his father (Kelemina, p. 7, No. 202/II) - he travelled around in a carriage. When the two were once on the way to a feast, the Babylonian Snake Queen dispatched a snake to intercept them. The story says that when Trot beheaded the snake with a golden axe the snake's tail hit the clouds, and a terrible storm started. The brothers were saved only because of their swift horses. In Slovene folk tales Kresnik's sister (Marjetica, Vesina, Alenčica, Deva, Zora) - or his cattle - was abducted by his opponent Zmaj (Dragon) and held captive in a rocky cave. Kresnik's four-eyed dog Vedež helped him find her. Following the advice of a White Lady, Kresnik opened the rock with the help of the "vouvelica" or "kounertnica" - grass which grows on top of Pohorje on Midsummer Day - and saved his cattle. Other stories say that he struck the rock with a cudgel, whereupon thunder and lightning started, and ghosts and the Snake king came running from the rock. Kresnik struck down all the ghosts, killed the Snake king with lightning or beheaded him with a golden ax, and set free his herd, or a goat with a golden beard which he then harnessed to his carriage. Wherever the carriage went, cool rain wet the earth and golden wheat started to grow. According to another story (Trstenjak, LMS 1870, p. 21) Count Kresnik saved princess Vesina from the Vurberg (Wurben) castle where she was imprisoned by a huge dragon which crawled across the Drava river. The river flooded Ptujsko polje. Kresnik, who had actually grown wings, killed the dragon in a sword fight in the air. He then chained the dragon to a cliff in the castle brook, and golden wheat started to fall. Folk songs (Trdoglav in Marjetica, SLP I, No. 21; Kelemina, No. 8) tell about a young prince who saved his sister who had been abducted by a dragon and taken to his castle. The prince finds his sister after walking across twelve lands. The kidnapped sister advises him to strike on the castle with three year-old hazelwood switches, or to bring holy water, salt and a candle, or three olive crosses with him, etc. The prince saves the maiden and a wedding ensues (hierogamy between
42	The folk narrative material this study is based on is taken from the Institute of Slovene Ethnology (Scientific Research Centre of the Slovenian Academy of Sciences and Arts) archives and from the anthology: J. Kelemina, Bajke in pripovedke slovenskega ljudstva, Celje 1930.
43	He is believed to live here occasionally in the form of a golden-horned stag. Plants (apples) which bring immortality grow on the mountain (Kelemina, pp. 26-27; No. 1/IV). This tradition links Kresnik to Goldenhorn.
44	Vurberg was the birthplace of Krstnik who had horse hooves and had to be christened nine times (Popotnik 5/ 1, 10.1. 1884, pp. 11-13). A snake was believed to be coiled around Vurberg. It followed Kresnik when he abducted Snake Queen's crown (or daughter, according to some narratives) from Snake Land. Kresnik saved himself with the help of his swift horses.
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the Earth and the Sky). In some folk songs sung on Midsummer Day, for instance "Brat in Sestra" (Brother and Sister) from the village of Drasice45, the hazily preserved memory of the sacred marriage is still evident:
One of the most beautiful Slovene Midsummer Day songs entitled "Device tri kresujejo" (Three Maidens Celebrate Midsummer Day) recorded by Matija Majar Ziljski in Podgorje in Rosenthal in Austria is also about the marriage of a mythological sun hero who appears as a "young prince" and comes riding to get his sweetheart46. The maiden he has chosen is lost and does not know who her parents were. An incestuous connection could thus be implied here as well.
In the opinion of N. Kuret (PLS I., p. 433) the song about the incest and the custom of marriage on Midsummer Day - the marriage having a parallel in the Whitsun pair of the Western European tradition - are reminiscent of a tale about the marriage of Sun and Earth, both children of the Highest Being. The duality of the Highest Being's life is evident from stories about his night struggles and journeys to the land of the "Snake Queen," where the snake's daughter was Kresnik's lover. In some variants Kresnik even led her away from there. At night he travelled at the speed of lightning and his wife did not even notice that he was gone; but when she saw him coming from his lover once she called him by his name (taboo), thus causing his death. Some customs have also preserved the memory of the once mythical character of Kresnik, for instance: the rolling of little sun wheels made of wood, of lighting St. John's fires (Johanisfeuer, jarilo, kres, sobotka), of dancing around and leaping across bonfires, of young girls dressed as Kresnice or Ladarice who went around singing
45	Š 5014, recorded by Janko Barle in 1890.
46	Comp.: Š, pp. 297-302; PLS I, p. 385.
Na gorici ogenj gori, Detel ga prerašča. Okol ognja lepoj kolo, Detel ga prerašča. V kolu mi je brat sestrica, Detel ga prerašča. Bratec kolo sponehuje, Detel ga prerašča: Sestrica ga pogleduje, Detel ga prerašča. "Oj sestrica, lepa si mi, Detel ga prerašča: Bila bi si lepa gliha! Detel ga prerašča." "Ne govori, bratec, toga Detel ga prerašča: Od ljudi je presramota, Detel ga prerašča, Od Boga je pregrehota! Detel ga prerašča."
There is a fire lit on the hill,
Clover grows above it.
A dance circle round the fire,
Clover grows above it.
In the circle a brother and a sister,
Clover grows above it.
The brother ceases dancing,
Clover grows above it. The sister looks at him, Clover grows above it.
"Oh, sister, how beautiful you are,
Clover grows above it:
How nice a couple we would make!
Clover grows above it."
"Pray do not say a thing like that,
Clover grows above it:
Others would find it such a shame,
Clover grows above it,
And God would find it such a sin!
Clover grows above it."
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songs for a bountiful harvest, of ringing bells and firing cannons to keep away the ghosts of the dead who could otherwise return not only around Christmas, but also on St. John's Day. As with Christmas time, the period around St. John's Day was believed to be the time of crossing over, of transition. It was both dangerous and sacred at the same time. Water, fire and plants were believed to possess special powers at that time - purifying, fertile and healing powers. Of special importance in folk medicine were fern and litter which were strewn around the floor in honor of Kresnik who was to come at night47. The question arises whether Kresnik's alter-image in the beliefs of those who lived during the time of this mythical legend may have been the horse, or else did Kresnik assume the image of the horse? At all events, he rode one as a prince. He came on a horse to fetch his bride, and their marriage thus assured renewal and fertility.
Gradually Kresnik began to lose his mythical role. At first he still appeared as a tribal god or as Prince Kresnik fighting the neighbouring false Kresniks to ensure a good harvest in his country. Later he acquired the role of a magician, zduhac (a wizard whose soul sometimes wanders outside his body), marked from birth. People believed that he was born with his placenta, with his brows grown together, with more fingers - usually seven - than ordinary people, with teeth, with a small tail, etc. Men and women like himself were believed to associate with Fairies and knew more than others (Vuk, Rjecnik 62, 260). But a newborn child could be spared this fate if he was placed between a forked vine branch which had to wither afterwards; later his comrades who came to fetch him for the first time should be told that he was not there, or he should be struck with a rosary during a night meeting. It was actually believed that such a person met with other Kresniks at night, at crossroads or under walnut trees, fighting his enemies the witches, wizzards and Vedomci in order to ensure a good harvest. People believed that they saw their fights reflected in lightning on clear summer evenings. According to some legends there were fights between Vedavci and Sentjanzevci at Christmas or on St. John's Day. Kresnik was believed to change his appearance, appearing as an ox, "nerest", "per" (Trstenjak; Pajek), a sow with horse's hooves, a horse, a donkey, he fought in a stone garment, etc. As a red ox he fought a black one, meaning the false Kresnik. He fought using horns (lightning), an axe, a thunderbolt ("tranbalta"), sheaves, vine poles. Coincidental bystanders could help him by striking the opposite ox with a year-old hazelwood branch, with a stake, etc (this is how Peter Klepec, for instance, would have acquired his might in return for his help)48.
The connection between Kresniks and their comparable Hungarian Taltos, Italian Benandanti, and especially Kallikantzaros from the Peloponnesian peninsula, and the horse in folk legends is evident. According to some etymological explanations the word kallikantzaros derived from kalos-kentauros (beautiful Centaur)49. The being on whom fertility and prosperity depended would thus be a Centaur, half horse and half human. The connection between Kresnik and the horse as his alter ego is thus obvious.
As the son of the highest deity Perun, the sun god, the god of warfare, Kresnik can identify with Perun50, representing a developmental phase in Perun's life. This is the period
471. Navratil, Slovenske narodne vraže in prazne vere, in: LMS 1887, p. 96.
48	M. Ravnikar-Poženčan, NUK, Ms 483, Vol. 11, No. 19.
49	For further details see: C. Ginzburg, Storia notturna. Una decifrazione del sabba, Torino 1989, pp. 130-160.
50	This hypothesis has been defended already by N. Mikhailov: Fragment slovenskoj mifopoetičeskoj tradicii, in: Koncept dviženija, Moscow 1996, pp. 128-141; idem, Kr(e)snik, eine Figur der slowenischen Version des urslawischen Hauptmythos, in: Književna istorija, XIX, 101, Beograd 1997, 23-37.
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when the development is in its zenith, followed by a gradual decline, by the turn downwards, and the establishment of a new life.
The Coming of Autumn - Jarnik - Death
According to Slovene mythical legends a hero who kills a dragon - in Christian mythology St. George on a white mare - has a brother, a mythical hunter Jarnik, also called Bartolomej (Bartholomew) or even "Jurij s pušo" (George with a Gun)51 by Slavs. It was believed that the poacher led "Divja jaga", also called "Divji lov" (Wild Hunt) for twelve days around Christmas, during the terrible "wolf nights" in which mysterious horses thundered beneath the firmament52.
This teriomorphic image is taken over by a hero on a white mare, St. George, later called Kresnik, a sun hero in the tale of Zlatorog (Goldenhorn). Zlatorog, Beli konj (White Horse), or Beli kozorog (White Goat), who has access to and watches over earthly treasures, is the symbol of fertility53. Kresnik, the hero who was the winner before and who killed a mighty beast, now becomes the victim. He is killed by his own brother Jarnik out of greed and passion. But Zlatorog, the sun horse, is immortal, and from his blood the flower of life, the flower of Triglav grows. Zlatorog swallows it, is revived and gets his revenge by pushing his opponent into an abyss. Here too we have a mythical couple, brothers, one of which personifies sun and light, the other moon and darkness. Both mythical riders are important for mankind and for life on earth. As part of the vegetative, renewable circle of nature Jarnik has an ambivalent character. The fact that he shoots at an animal of the sun in order to attain the goal he pursues establishes him as the lunar, night, winter demon who plays an important part in the renewal of the circle of life, especially as the leader of the dead, thus the demon of thunderstorms, like the Scandinavian Odin, Germanic Wodan or Greek Charon, all of whom were believed to be riding through clouds.
Just as the tale of Zlatorog speaks about the treasures opened by Zlatorog's golden horns, and about a miraculous flower which grows from drops of his blood, so too the legend about "Beli konj" (The White Horse) tells about treasures hidden in the valley between Triglav and Vršac, and about marvellous healing blooms which spring from the horse's blood. These are its abbreviated contents54:
Two men, an old hunter and a shepherd, went up a mountain to look for buried treasure. All of a sudden they heard thunder and beheld a white horse standing on the spot where they wanted to dig. A thick fog enveloped them and wherever they turned they saw the horse in front of them. Finally the fog lifted, leaving them far from their chosen path, frightened but happy that they could get away alive.
Yet one day he who will find the treasure will come along. He will have to kill the white horse with the first bullet when the first ray of light strikes the horse's mane. The man will be able to take the treasure, and the gold will be so bountiful that people will not know what to do with it. From the horse's blood flowers will grow. Cattle which will eat them will be fat and healthy, and whoever will pick such a flower will remain happy for the rest of his life.
51	Comp. Kresnik's opponent Veles, Trdoglav, Trot, etc., later Vedomec.
52	PLS 2, p. 382.
53	The unicorn assumed a similar role in Christian medieval apocryphal symbolism.
54	J. Kelemina, pp. 127-128, No. 76 - after Tonejc-Samostal, Dunajski zvon 1879, 363 f.p.
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It is true that according to folk tradition, Zlatorog, the white horse, the goldenhomed stag, etc. is mortally wounded, but the miraculous flower, the flower of life springings from his blood revives him and returns his life force55.
Notions about the cosmogonic sacrifice of the horse have already been known in Vedic traditions, which undoubtedly influenced old Slavic religious traditions. The classic citation referring to it is the beginning of the Brhadaranyaka Upanishad:
The head of the sacrificial horse is really the dawn, his eye the sun, his breath the wind, his jaws the worldly fire, his body a year! His back is the sky, his abdominal cavity air space, the curve of his stomach the earth, his sides the sides of the sky, his ribs the sides between heavens, his limbs the seasons, his joints months and halfmonths, his legs days and weeks, his bones the stars, his flesh the clouds, the contents of his stomach the sand, his entrails the rivers, his liver and lungs are mountains, his hairs plants and trees, his front the rising and his back the setting sun56. The Slavs have preserved the image of the horse as a sacrificial animal in their mythopoetic heritage. Based on this, we can conclude that Perun, the highest Slavic deity, was closely connected with the horse, with fertility and the processes of renewal. His earthly incarnations, captured in the yearly cycle, were marked by important attributes of horses, his double nature - that of the earth and of the sun - clearly evident in them. Certain elements and actions, for instance his struggle with a menacing enemy force, emphasized components of fertility, the female image - the hero's sister and wife (mother) - a plant with miraculous powers, associations with lightning and rain, can be repeated in Perun's incarnations such as Božič (Christmas), Jurij (George), Kresnik, and Zlatorog (Goldenhorn).
As is evident from the treatise all of the four turning points are in some way connected with the horse and the god of thunder, the mighty deity who commands the cosmological driving forces and combines the male (fire) with the female (water) principle.
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55	K. Deschmann, Die Sage vom Goldkrikel ( Zlatorog), in: Laibacher Zeitung no. 43, Feb. 21., 1868
56	See: R. Katicic, Hoditi - roditi, in: Wiener slavistischer Jahrbuch 33, Wien 1987, p. 41.
Monika Kropej
Konj kot kozmološko bitje v slovenskem mitopoetičnem izročilu
Monika Kropej
Obredja, pri katerih gre za povezavo konj z obnovitvijo narave, so značilna za mejni čas, obdobje zimskega in poletnega kresa ter za pomladni in jesenski preobrat. Tudi pesemsko in pripovedno gradivo, ki te mejnike spremlja, je tako ali drugače zaznamovano z likom konja.
V času zimskega solsticija, ko so dnevi najkrajši in noči najdaljše, lahko zasledimo v slovenskem mitopoetičnem izročilu spomin na rojstvo mladega boga. Po ohranjenih ljudskih šegah in kolednicah, bi lahko sklepali, da se to božanstvo lahko identificira s konjem. Tudi sv. Štefan, ki goduje 26. decembra, je prevzel vlogo zavetnika konj. Njegova povezanost s konji je razvidna iz določenih pesemskih tipov o sv. Štefanu in o žrtvovanem pastirju.
Konj je torej v mitopoetičnem izročilu teriomorfna podoba božanstva, ki ima odločilno vlogo pri obnovitvenem procesu, kar potrjujejo tudi pustne maske. Znano je, da je najstarejša pustna maska na Slovenskem prav Rusa - kobila, ki so jo, npr. v Ščavnici in okolici vodili po vasi in jo nazadnje vrgli v vodo, da bi s tem izprosili milost konjem, kot poje ljudska pesem.
Tudi pesmi in šege vezane na Jurjevo govorijo o Juriju - jezdecu. Poleg tega je Jurjevo tudi konjerejski praznik. Sv. Jurij je, kot je ugotovil že R. Katičic, stopil na mesto boga strele Gromovnika, ki se po osrednjem praslovanskem mitu bojuje z zmajem.
Na poletni Kres se v slovenskih ljudskih pesmih in povedkah navezuje Kresnik -kraljevič na konju, tudi bajno bitje, zaznamovano s konjskimi kopiti, ki naj bi po pesemskem izročilu rešil iz rok ugrabitelja svojo sestro in se poročil z njo. Spomin na sveto poroko ohranjajo tudi nekatere kresne pesmi. Kot sin najvišjega boga Peruna oz. Gromovnika, se Kresnik lahko istoveti z njim, kot ugotavlja tudi N. Mikhailov. Kresnik predstavlja razvojno stopnjo Perunovega bivanja. obdobje, ko je dosežen višek in se začenja nazadovanje. Obrat navzdol in zasnutek novega življenja.
Jesenski mejnik v slovenskem ljudskem izročilu zaznamuje lovec Jarnik, pri Slovanih imenovan tudi Bartolomej, na Slovenskem pa tudi Jurij s pušo, ki naj bi bil brat Jurija -ubijalca zmaja. Lovec Zlatoroga, belega konja ipd. sicer ustreli, po ljudskem izročilu je žival smrtno zadeta, toda čudežna roža, roža življenja, ki zrase iz njegove krvi, jo oživi in ji povrne življenjske sile.
Vsi štirje mejniki so, kot je razvidno iz članka, na nek način povezani s konjem in bogom groma, vsemogočnim božanstvom, ki obvladuje kozmološke sile.
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From the Tauriscan Gold Mine to the Goldenhorn and the Unusual Alpine Animal
Marjeta Sasel Kos
Three themes are analysed in the article, which are related under certain aspects to each other. These are the discovery of a rich gold deposit in the land of the Taurisci, mentioned by the Greek historian, Polybius, and the geographer and historian, Strabo; the folk-tale of the Goldenhorn/Zlatorog, in which the search for gold and treasure is reflected; and the third, the peculiar Alpine animal mentioned by the same Greek writers. It could be interpreted as a mythic animal, although in view of the accurate description, the animal was probably an elk.
Gold Mine
Objects of gold were not unusual in Hallstatt period "princely" graves hidden under huge tumuli around Stična, Magdalenska gora, Novo mesto, Velike Malence, Podzemelj, Vače, and in the vicinity of other once mighty hill forts in Lower Carniola. By the time Aquileia was founded in 181 B.C., and various tribes of the Taurisci had already been settled in most of present-day Slovenia for several generations, the origins of these barrows with an empty grave in the middle, perhaps belonging to a mythical ancestor of a gens or tribe, had already been half-lost in the distant past. Memories, faded by then, of life in peace and war in once prosperous prehistoric "towns", partly depicted on situlas, certainly gave rise to different legends and folk stories. The vital force of the Hallstatt period population had been destroyed, but the reasons for its decline, apart from the Celtic invasion, are not clear; they may range from wars, incursions of hostile tribes from the eastern direction, pestilence (possibly brought by the latter) and other epidemic diseases, to various internal factors.
The Celtic Taurisci brought with them a different culture and a different way of life; they settled in the plains, along the rivers and important roads, they engaged in long-distance trade and founded emporia. The material remains of the former inhabitants (despite the impoverished living conditions of their descendants) must have inspired in the Celtic newcomers images of considerable wealth and riches. The Taurisci were undoubtedly also seeking precious metals, as were the Italics, who had recently settled in northern Italy, both additionally prompted perhaps by stories of hidden treasure, robbed from the rich graves of the former inhabitants of the Alpine and subalpine regions, and occasional discoveries of gold and other rare metals in the same area.
This, roughly sketched, was the background against which Polybius' fragmentary note about the gold mine, discovered in his time in the land of the Taurisci, may better be understood. This fragment of Polybius' narrative has been preserved in Strabo and is
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From the Tauriscan Gold Mine to the Goldenhorn and the Unusual Alpine Animal
unfortunately devoid of any context (Polyb. 34.10.10-14 [= Strabo IV 6.12 C 208]); it has recently been twice interpreted from different aspects.1 This passage has often been quoted, both in Greek and in various translations, so it will be sufficient here to paraphrase it in order to comment briefly on certain data it contains, which are important for our analysis. Strabo reported that in Polybius' time a gold mine was discovered near Aquileia, in the region of the Norican Taurisci, which was extremely convenient to exploit. The diggers only had to remove a relatively thin layer of the earth from the surface, varying from two to fifteen feet. Gold consisted of nuggets as big as a bean or a lupine, loosing only one eighth of its weight in the course of smelting, although a part of it required more smelting. The deposit, which was exploited both by the Italics and the natives, caused the price of gold throughout Italy to drop by one third in two months. The Taurisci then expelled the Italian workers, establishing a monopoly of it. Strabo added that alluvial gold, too, was found in the rivers of that region, in addition to the primary deposits of gold, although in much smaller quantities. He concluded Polybius' report with a statement that, by his time, all the gold mines had come into the possession of the Romans.
Polybius referred to the gold mine in his 34th book, dedicated to geography, which he supposedly wrote between 144 and 129 B.C.;2 however, he may have collected material for it during his travels in Cisalpine Gaul and the Alps before 150 B.C.3 It can thus be postulated that the mine was discovered before this date, or, possibly, but less likely, in the second half of the 2nd century B.C. In any case, its discovery occured before 129 B.C., the year of the expedition of the Roman general C. Sempronius Tuditanus against the Carni, Histri, Taurisci, and Iapodes, since Tuditanus' campaign is not mentioned in this context either by Polybius or Strabo. Whether Tuditanus' punitive expedition could in any way be related to the expulsion of the Italian seekers of ore deposits, gold-diggers and merchants by the Taurisci, is not at all certain; the two events are at any rate not connected in the sources. According to J. Sasel, however, the arrogant behaviour of the Taurisci probably did provoke a reaction from the Roman senate, and he considered Tuditanus' military operation a natural consequence for the recent events.4 The offence of the Taurisci was in my opinion just one of several hostile actions undertaken by the Carni, Histri, Taurisci, and Iapodes against the Roman state. These peoples, except the Histri (defeated in 177 B.C.), were still relatively powerful, and disputed among themselves the transit route between the Balkan and Apennine peninsulas, a part of the important Amber Route. The geopolitical and strategic position of these transit regions was of enormous importance, and the Romans, too, wished to control them. The Carni had one of their strongholds at Tergeste, the Taurisci were powerfully based at their emporium at Nauportus, while the Iapodes, settled in the hinterland of Notranjska, directed their attacks towards the Nanos region (the pass of Ocra at Razdrto) and Tergeste.
As opposed to the Norican kingdom, which had a hospitiumpublicum with the Romans, attested in 113 B.C. when the Cimbri invaded Noricum and threatened Italy, but probably
1	J. Sasel, Miniera aurifera nelle Alpi Orientali, Aquileia Nostra 45/46, 1974/75, 148-152 (= Opera selecta, 538540); C. Eibner, Keltisches Gold aus den Alpen, in: Lebendige Altertumswissenschaft. Festgabe zur Vollendung des 70. Lebensjahres von Hermann Vetters. Wien 1985, 91-94.
2	K. Ziegler, Polybios, in: REXXI,2 (1952), 1488-1489.
3	P. Pédech, La méthode historique dePolybe (Coll. d'études anciennes), Paris 1964, 528-529, 564-565.
4	Sasel (n. 1), 538. Thus also E. Swoboda, Carnuntum. Seine Geschichte und seine Denkmäler, Graz, Köln 19644, 227 f.
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of a much earlier date, the Taurisci were in general openly hostile to the Roman state.5 G. Alfoldy, who rejected any connection between the gold mine affair and Tuditanus' expedition, located the gold mine in the Norican kingdom.6 First of all, the location of the mine must once more be briefly examined.
Fig. 1: Sites, rivers, mountains, and peoples mentioned in the text.
Kraji, reke, gore in plemena, ki so omenjeni v besedilu.
Polybius located the gold mine in the country of the Taurisci, not far from Aquileia. The expression Kax' 'AKU^niav is not particularly precise and may have served only as a point of orientation for the readers of Polybius' History, meaning no more and no less than "in the sphere of influence" of Aquileia, or "in the broad hinterland" of the city. Aquileia was the northeasternmost colony in Cisalpine Gaul around the middle of the 2nd century B.C., and a point of geographical reference for areas outside the limits of Cisalpina. So the regions determined by the (relative) proximity of Aquileia may have comprised even a distant territory, not just the immediate hinterland of the city. In Polybius' time, there was no toponym east and north of Aquileia that could have served contemporary Greek and Roman readers as a point of geographical orientation.
The next problem posed by Polybius' text are the Norican Taurisci. The location of the Taurisci has until recently been controversial, since according to several scholars (who based their opinion mainly on the linguistic aspect), notably also G. Alfoldy,7 they would have been the original inhabitants of the Norican kingdom, getting their name from the Tauern Mts., whereas others, on the basis of ancient sources, have located them south of the Karavanke
5	M. Šašel Kos, The End of the Norican Kingdom and the Formation of the Provinces of Noricum and Pannonia,
Akten des IV. intern. Koll. über Probleme des provinzialröm. Kunstschaffens/Akti IV mednarod. kolokvija o problemih rim. provincialne umetnosti, ed. B. Djuric, I. Lazar (Situla 36), Ljubljana 1997, 21-24, with the relevant earlier bibliography.
6	G. Alföldy, Noricum, London, Boston 1974, 34.
7	G. Alföldy, Taurisci und Norici, Historia 15, 1966, 224-241; cf. idem, Noricum (n. 6), 25-27.
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Alps.8 This controversy has definitely been solved, despite some different opinions,9 in favour of the latter thesis. The Taurisci were settled in the regions south of the Alps, occupying most of present-day Slovenia; on the one hand, their presence there is confirmed by the data in classical literature,10 on the other, by archaeological evidence, reflected in the so-called La Tene period Mokronog culture.11 The only areas connected with their name in the ancient sources are the Aquileia and Nauportus regions; while the name of Aquileia, as mentioned above, obviously served as a geographical reference, Strabo claimed that Nauportus was a settlement of the Taurisci (VII 5.2 C 314), that is to say that they inhabited the Emona Basin and the broader area surrounding it. Their influence had certainly reached as far to the east as Ocra in the region below Nanos, while towards the west they inhabited the Celeia and Poetovio regions, and extended even further to the northwest (fig. 1).12 The Taurisci in the Emona Basin are not related to the Norici in the sources; in league with the Lower Carniolan Celtic tribes, who were later, after the reign of Augustus, known under the name of the Latobici, they possibly resisted the expansionistic tendencies of the Norican kingdom, and certainly those of the Roman state. Regnum Noricum undoubtedly wished to extend its authority as much to the south and southeast as possible, and during certain periods it certainly gained some influence over the Celeia and Poetovio regions — those nearest the kingdom — and those Taurisci would have properly been termed the Norican Taurisci. The Norican conquest of these regions is very well reflected also in coin finds.13 When Pliny the Elder says that those who had once been known as Taurisci, were in his time known as Norici (N. h. III 133: quondam Taurisci appellati, nunc Norici), he obviously referred most of all to Celeia, which was part of the province of Noricum and one of its most important administrative centres, and to the Taurisci, settled in the region of Poetovio.
Where could gold deposits such as that mentioned by Polybius be located? In Slovenia no traces of gold extraction are known to date; the nearest gold mines are situated in the region south of the Hohe Tauern (Visoke Ture) in Austria, the centre of the Norican kingdom. Polybius' gold mine has often been located precisely there.14 Other gold deposits in Noricum (or in the country of the Taurisci?: Tauriscan Noreia is mentioned by Plin., N. h. III 131), 1200 stades (ca. 222 km) distant from Aquileia, are mentioned elsewhere in Strabo (V 1.8 C 214). In this passage he described Aquileia as an emporium for the inhabitants of Illyricum, stating that a navigable river connected Aquileia with Noreia, where Cn. Papirius Carbo was defeated by the Cimbri. He further noted that alluvial gold was being won in large
8	R. Egger, Ricerche di storia sul Friuli preromano e romano, Atti dell'Accademia di Scienze, Lettere e Arti di Udine 13, 1954-1957, 385-388; J. Šašel, Lineamenti dell'espansione romana nelle Alpi Orientali e nei Balcani occidentali, in: Aquileia e l'arco alpino Orientale (Antichita Altoadr. 9), Udine 1976, 78-81 (= Opera selecta, 415-422).
9	P. W. Heider, Zu den "norischen Tauriskern". Eine quellen- und literaturkritische Studie, in: Hochalpine Altstrassen im Raum Badgastein-Mallnitz (Böcksteiner Montana 10), Wien 1993, 219-271; for the argumetns pro and contra see Šašel Kos (n. 5).
10	Šašel Kos (n.5).
11	D. Božič, Keltska kultura u Jugoslaviji. Zapadna grupa [The Celtic Culture in Yugoslavia. The Western Group],
in: Praistorijajugoslavenskih zemalja 5 (Sarajevo 1987), 855-897.
12	Božič (n. 11).
13	P. Kos, Keltski novci Slovenije / Keltische Münzen Sloweniens (Situla 18), Ljubljana 1977, passim; idem, The Monetary Circulation in the Southeastern Alpine Region ca. 300 B.C. - A.D. 1000 (Situla 24), Ljubljana 1986, 20-24.
14	O. Davies, Roman Mines in Europe, Oxford 1935, 175; his opinion has in general been accepted in the subsequent scholarship, thus for example by H. Quiring, Geschichte - Vorgeschichte, Altertum und Mittelalter, in: F. Friedensburg, Gold (Die Metallischen Rohstoffe 3), Stuttgart 19532, 41-42; see aslo Alföldy (n. 6), 34, who cited earlier opinions concerning the location of the mine, also p. 293 n. 41; Eibner (n. 1).
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quantities in the region of Noreia where also an iron industry was developed. The site of Noreia, too, has not been identified to date.15 Returning to the gold mine mentioned by Polybius, however, and the possibility that it was located in Carinthia, it can hardly be imagined that the core of Regnum Noricum would not have been referred to under the name of the Norici, but under that of the Taurisci who are otherwise never located in the kingdom by the ancient sources. Some Austrian scholars have thus already argued for the location of the Taurisci, and consequently also the mine, in the southeastern Alpine region.16
In terms of Slovenia's geological structure, the Pohorje Mts., Kozjak, and Kobansko region (the broad area of Poetovio), consisting of metamorphic rocks, the oldest ore bearing beds in Slovenia, would have been potentially the most suitable area where gold deposits could have theoretically been expected (fig. 1).17 Strabo implied, by adding at the end of Polybius' report that in the country of the Taurisci alluvial gold, too, was being washed out, that the gold mine in question was a primary deposit of gold. Nonetheless, the discovered gold, as described by Polybius, must have been alluvial gold, found in a geological stratum that had once been the river-bed, and where gold could have coagulated in the course of time. Such terraces could lie even several hundred metres above the present riverbed, giving the impression that gold found on them was a primary deposit of gold.18 The only rivers carrying gold in Slovenia are the Drava and Mura (Mur). The Drava and Mura regions were settled by the Taurisci; historically considered, Polybius' mine could well be located in this region. It is situated rather far from Aquileia, but if it is considered that the mine was controlled by the Taurisci from the Nauportus-Emona region or from Celeia, where their important settlements and centres of power were situated, Aquileia as a point of geographical orientation is not too distant.
Gold that was found in the form of rather large grains, as big as beans or lupines, can only be - as already mentioned - alluvial gold. Such a deposit could not have been a primary deposit as understood by Strabo (and probably also by Polybius), so it is vain to look for it in regions nearer Aquileia. From the geological point of view, certain areas, such as the Julian and Kamnik Alps, the Bled and Bohinj regions, can be excluded even as potential areas in which gold could be discovered. Copper has been discovered in the Cerkljansko region in the hinterland of Idrija, and some deposits of lead and zinc (and even copper and mercury) are known in several sections of the Posavje regions, between Polhov Gradec, the Trbovlje region, and Čatež.19 However, no traces of gold have been discovered anywhere in these regions, and no river with its source in Slovenia, carries gold. It appears that gold was found by Italian gold diggers; this information is implied in Polybius' report,
15	Alföldy (n. 6), 35 ff., but the discussion has continued since. The problem will be dealt with elsewhere.
16	R. Egger, Teurnia. Die römischen und frühchristlichen Altertümer Oberkärntens, Klagenfurt 19 6 35, 10; H. Vetters, Zur ältesten Geschichte der Ostalpenländer, Jh. Österr. Arch. Inst. 46, 1961-1963, 209-210, 228, suggesting that the mine should have been located in the land of the Taurisci in the border region of Carnia.
17	For information on geological structures and possibilities of gold deposits in Slovenia, I am most grateful to Ing. Milan Bidovec and Prof. Dr. Matija Drovenik.
18	Thus already U. Täckholm, Studien über den Bergbau der römischen Kaiserzeit, Diss. Uppsala 1937, 26, and Eibner (n. 1), 92. This opinion has definitely been confirmed by Ing. Milan Bidovec and Dr. L. Placer (Geological Institute), for which I would also like to thank them here. The passage in Strabo is erroneously considered as referring to gold from the Tauern and taken at its face value e.g. also by F. Hofmann, Gold, seine Lagerstätten und seine Gewinnung, in: Gold der Helvetier - Keltische Kostbarkeiten aus der Schweiz (Schweizerisches Landesmuseum), Zürich 1991, 37.
19	M. Drovenik, M. Pleničar, F. Drovenik, Nastanek rudišč v SR Sloveniji (The origin of Slovenian ore deposits) (Geologija 23/1), Ljubljana 1980, passim, and the map.
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since otherwise it is hardly understandable why Italics would be collaborating with the Tauriscan workers at the very beginning of its exploitation;20 even later the Romans often left mining to local workers.21
It is not entirely clear from Polybius' description how the actual process of winning pure gold should correctly be explained. He speaks of one eighth being lost during the process of smelting, but it is not certain what exactly he understood by "smelting"; possibly the whole metallurgical procedure from the moment of the discovery of the metal.22 Gold is often mixed with silver; it could have been heated with salt, which would bind the silver, leaving the gold in a pure state; or mercury may have been used to produce gold by way of amalgamation; the technique is mentioned by Pliny (N. h. 33.99: [omnia ei (sc. argentum vivum) innatant praeteraurum; idunum adse trahit]). Mercury is currently used for producing pure gold out of alluvial gold mixed with sand, thus also from the Drava River.23
The Goldenhorn-Zlatorog
In both the Julian and Kamnik Alps elements of folk tales are preserved containing motifs either of a so-called Goldenhorn-Zlatorog, or chamois goats with golden hoofs, connected with gold or treasure seekers, that may reflect occasional local searching for gold and/or iron and other metals, and various other treasures in these regions.24 The tale of Goldenhorn-Zlatorog is particularly interesting, since it is transmitted in a variant containing several significant details; it is located in the Soča (Italian Isonzo) valley in the hinterland of the northeastern Italian border, and Italian merchants and treasure seekers play a part in it (fig. 2). It is known that in the Middle Ages, as well as in modern age, Italian, mainly Venetian, gold-diggers and treasure seekers came to Slovenian and Austrian regions to search for gold and other metals. Their presence is reflected in various Slovenian and German folk tales, and has already been studied from this aspect.25 Mutatis mutandis, it may be claimed that it could in some ways be compared to the presence of the Italics - many of them probably from Aquileia — in the Norican kingdom and the country of the Taurisci.
The Goldenhorn was the leader of a herd of white chamois goats that belonged to the White Ladies, who had made him invulnerable. If he was hurt, a healing Triglav rose grew
20	Thus also G. Dobesch, Die Kelten in Österreich nach den ältesten Berichten der Antike, Wien, Köln, Graz 1980, 237 (on the mine, pp. 236-237), his arguments, however, are different: in his opinion Italics had a better knowledge in mining and metallurgy.
21	Täckholm (n. 18), 16-17.
22	For information concerning the metallurgical aspects of Polybius' description of winning gold, I am most grateful to Prof. Dr. Andrej Paulin, University Department of Metallurgy. For data about early metallurgy in Slovenia, see his forthcoming article: Metalurgija neželeznih kovin na Slovenskem, in: Zbornik za zgodovino naravoslovja in tehnike, Ljubljana 1997. Several ancient metallurgical techniques, concerning gold and silver, are described by R. F. Tylecote, The early history of metallurgy in Europe, London, New York 1987, 44-47, and passim.
23	M. Bidovec, Raziskave zlata v naplavinah Drave in Mure [ Gold Exploration of the Drava and Mura Alluvial Deposits], unpubl. thesis, Ljubljana 1986.
24	T. Cevc, Pripovedno izročilo o gamsih z zlatimi parklji iz Kamniških Alp (Die mündliche Überlieferung über Gemsen mit goldenen Klauen aus den Kamniker Alpen), Traditiones 2, 1973, 79-96; R. Baumbach, A. Funtek, Zlatorog. Eine Sage aus den Julischen Alpen - Planinska pravljica, München 1968 (first printed in 1886, last reprint 1996).
25	O. Moser, Die Venediger im Erzählgut des Ostalpenraumes, in: Alpes orientales. Acta primi conventus de ethnographia Alpium orientalium tractantis, Labaci 1956 (Slovenska akademija znanosti in umetnosti, Dela 12), Ljubljana 1959, 91-98.
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from the drops of his blood, curing all his wounds. Whoever could sieze his golden horns, would gain access to all the hidden treasures guarded by a multi-headed serpent in Bogatin Mt. An Italian gold-digger once succeeded in taking possession of a scrap of Zlatorog's golden horns that Zlatorog had rubbed off on a rock, and with it he could get the hidden gold, which he exploited for the rest of his life.
Fig. 2: A picture of the Goldenhorn-Zlatorog (by Maksim Gaspari). Gasparijeva slika Zlatoroga.
The story was first copied by K. Deschmann who published it at the end of the sixties of the last century in German in Laibacher Zeitung.26 He translated it from Slovenian as it had been narrated to him by a local collector of folk tales, who in his turn heard it from shepherds from the Bovec region. Deschmann had apparently already found it shaped in literary form, since in his version, a love story with an unhappy end between the beautiful innkeeper's daughter and the "Hunter from Trenta" has been added to the essential Goldenhorn story as sketched above. In the story as copied by Deschmann, the daughter of the local innkeeper from Koritnica was in love with a young man from Trenta, a blind widow's son, who was the best hunter in the neighbourhood. After a while, the girl yielded to the wealth and good manners of an Italian visitor, a merchant, and despised the poverty of her former lover. He left
26 K. Deschmann, Beiträge zur Landeskunde Krains II. Der Triglaugletscher und die Spuren einstiger Gletscher in Oberkrain. Die Sage vom Goldkrikel (Zlatorog), Laibacher Zeitung 1868, Nr. 43 (21. Februar), p. 325-327.
From the Tauriscan Gold Mine to the Goldenhorn and the Unusual Alpine Animal
the inn deeply offended, went with the so-called "Green Hunter", an evil man, to search for the Goldenhorn and the treasures of Bogatin, wounded him, but the Goldenhorn recovered and caused the Hunter from Trenta to fall over a precipice into the Soča River, where he met his death. The White Ladies with white chamois goats left the region for ever, turning the once beautiful green valley to rocks and barren land. Traces of Goldenhorn's horns could still be seen on the ground, with which in rage he destroyed the landscape.
There is no doubt that the story, as presented by Deschmann, is to a large extent a 19th century invention. However, it does not seem likely to assume, as has been done by several modern critics, that Deschmann invented any parts of the story and gave it its literary form. It is much more probable that such was the version he found, and that the literary shaping should rather be ascribed to his informant; nonetheless, the story in Deschmann should thus be regarded a product of late romanticism. It inspired a poem by R. Baumbach, which made it known to a wider audience with whom it found great favour. Baumbach's poem was translated into Slovenian by A. Funtek27 and it soon became one of the most popular folk tales in Slovenia. The Zlatorog story provided the basis for several German, Slovenian, and Italian literary creations, from operas to dramas and
poems.28
It is still disputed among scholars how much of the Goldenhorn story may be ascribed directly to the folk tradition, and which components should be considered later additions and embellishments.29 The essential features of the folk tale are nonetheless well discernible. The core of the story is the idea of an animal different from the others in its appearance, like, for example, an albino, or, possibly, a very rare animal which is sacred to a deity or a divine "Lord of the animals". The life of such an animal is sacred, taboo for hunters, and hunting it is strictly prohibited. Immanent in these conceptions, and familiar to predominantly pastoral, hunting, and stock-farming societies, is a kind of protection of nature and wild life which cannot, and should not, be endlessly exploited. It was vitally important for the epichoric population not to compromise the balance in the natural order of the world that surrounded it. Not surprisingly, a "sacred" animal became related to the guarding of certain natural resources, the nature of which was considered especially precarious, such as rare metals. Elements of stories with similar content are known in Indo-European folk tradition in general,30 and reflect ancient mythic and religious conceptions originating from the distant past;31 actually several motifs of animals with golden horns, or some other golden parts of their bodies, related or not with treasure, as well as the healing powers of certain herbs, are well known in Greek and Roman classical literature,32 and it has even been postulated that
27	See n. 24.
28	Cited by M. Matičetov in: A. von Mailly, Leggende del Friuli e delle Alpi Giulie, pubbl. con la collaborazione di J. Bolte. Edizione critica a cura di M. Matičetov, Gorizia 1986, 210-211. See additionally A. Ipavec, Zlatorog. Mito delle Alpi - Alpski mit - Alpenmythos, Gorizia 1989 (reprint).
29	L. Kretzenbacher, Sage und Mythos vom Zlatorog, in: R. Baumbach, A. Funtek, Zlatorog. Eine Sage aus den Julischen Alpen - Planinska pravljica, München 1968, 129-144; Matičetov (n. 28), 210-213.
30	J. A. Glonar, "Monoceros" in "Diptamus". (Postanek in zgodovina pripovedke o Zlatorogu in stare cerkvene pesmi "Jager na lovu šraja...") ["Monoceros" und "Diptamus". Über die Entstehung und Entwicklung der Zlatorogsage und des alten Kirchenliedes "Hoch von dem Thron ein Jeger"], Časopis za zgodovino in narodopisje 7, 1910, 34-106, especially 58 ff.; L. Petzold, Kleines Lexikon der Dämonen und Elementargeister, München 1995, 194-195, s.v. Zlatorog; cf. also 54-57, s.v. Einhorn.
31	Kretzenbacher (n. 29), 144.
32	Glonar (n. 30).
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myths similar to the essential story of the Goldenhorn-Zlatorog may be attributed to the folk tradition of the ancient inhabitants of the Balkans and Thrace.33
The tale of the Goldenhorn-Zlatorog may be Slavic, or Slovenian,34 but in principle, as postulated by R. Wildhaber, I also see no arguments against the assumption that a folk tale, similar to it may have already originated in prehistory. On the other hand, however, there is also no definite evidence to prove it, so it would be useless to pursue this discussion further. Nonetheless, I would like to add a few remarks in order hypothetically to illustrate and interpret a posssible circulation of such a folk tale in the pre-Roman period.
It may have been preserved in the oral tradition of the Celtic, or even pre-Celtic, population, nourished from time to time by the actual discovery of rare metals or other treasures. Brave men, or desperados and outsiders, had always ventured to penetrate the realm of untouched and inaccessible nature, where life seemed to have been nearer the divine powers, governed and protected by spirits, good and evil, as people in the valleys below the mountains liked to believe. This must have been especially true of mountainous and hilly countries such as Slovenia and Austria, where modern alpinism, in a certain way not unlike the search for treasure, even nowadays demands several victims every year. The discovery of a gold mine, such as that mentioned by Polybius and Strabo, no doubt strengthened belief among the local population in legends and tales of strange mythic animals, protectors - or agents of a divine protector - of nature and its treasures. In view of such an explanation, it may be postulated that folk tales of the Goldenhorn-Zlatorog type could to some extent reflect reality - as folk tales often do35 - in so far as they could be considered an indication of the occasional successful search for treasure. Supposed treasure in Bogatin Mt. certainly incited whole crowds of gold-seekers, Italian and local, to invest their money in vain digging at various spots on the mountain just below its peak, some of whom were reduced to poverty because of their blind desire to enrich themselves.36
Animals mythic or real? Some animals which appear in folk tales are doubtless the fruit of popular imagination and can be relegated to mythical conceptions of primitive religious folk beliefs, such as various dragons, multi-headed or multi-limbed monsters, and, for example, also the unicorn who has certain features in common with the Goldenhorn-Zlatorog.37 The Goldenhorn-Zlatorog, on the contrary, should be regarded both as a real and as an imaginary animal, since he may have been a white chamois goat with horns appearing golden against a background of the rising or setting sun, or the sun's rays reflected on his horns.
33	R. Wildhaber, Das Tier mit den goldenen Hörnern, in: Alpes orientales 7. Acta septimi conventus de ethnographia Alpium orientalium tractantis Brixiae anno MCMLXXII (ed. I. Griessmair), Monachii 1975, 93-123.
34	In general, it is regarded as Slavic, see bilbiography cited above; and also V. Nartnik, K izvoru in razvoju povedke Zlatorog [The Origin and Development ofthe Folk Tale Zlatorog], Nova revija 106, 1991, 151-158, who attempted to explain the tale in terms of astronomical considerations.
35	M. Kropej, Pravljica in stvarnost. Odsev stvarnosti v slovenskih ljudskih pravljicah in povedkah ob primerih iz Štrekljeve zapuščine (Zbirka ZRC 5), Ljubljana 1995.
36	J. Abram, Bajeslovni svet Triglava, in: J. Kugy, Pet stoletij Triglava, Maribor 1979, 239-258: reprinted fom: Koledar Goriške Mohorjeve družbe, Gorica 1927. The original title of Kugy's book: Fünf Jahrhunderte Triglav, Graz; for gold digging in the area of the Soča valley cf. also a note in Slovenska bčela 4, 1853, 12-13.
37	L. Kretzenbacher, Mystische Einhornjagd (Bayerische Akademie der Wiss., phil.-hist. Kl., Sitzungsber. 1978/6), München 1978; cf. also J. W. Einhorn, s.v. Einhorn, in: Enzyklopädie des Märchens III (Berlin, New York 1981), 1246-1256.
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Rare animals, too, must have stirred up credulous folk imagination. Chamois goats (Rupicapra rupicapra [Linnaeus, 1758]) may not have been particularly rare animals, since they inhabited both high and low mountains, and also rocky gorges of the lower hilly regions, such as the gorge of the Iška River, the Zagorje region along the Sava River, the valley of the Kolpa, and elsewhere in Slovenia.38 The habitat of his relative, the Alpine ibex (Capra ibex [Linnaeus, 1758]), for example, is much more limited, it is confined to high mountains above the forest line, mainly the Alps, and the ibex must have been a rare animal also in the prehistoric period. It would have been seen only rarely by the inhabitants of the valleys, and even shepherds would not encounter it too often. Its remains are extremely rare among bone finds in excavated prehistoric and Roman settlements, thus for example at Magdalensberg (Slov. Štalenski vrh) in Carinthia, where three individuals have been identified,39 and at Stična, from where two bone fragments are known.40 S. Bokonyi suggested that the inhabitants of Stična may have occasionally gone on hunting expeditions to the Alps, or, possibly, ibex would have lived in prehistoric times, like chamois goats to the present day, also in the high hills regions.41 It may have been even rarer than it seems, since bone remains ascribed to it could well have belonged in reality to a wild goat, the ancestor of the domestic goat (Capra aegagrus [Erxleben, 1777]), and closely related to the ibex.42
Unusual Alpine animal
According to F. Lasserre, several scholars have proposed that the strange animal seen in the Alps in Polybius' times, would have been an ibex.43 Lasserre, however, did not cite any works in which this opinion was expressed, but he must have clearly referred to previous editors of Polybius and Strabo (who had preserved Polybius' fragmentary note about this animal), or local histories of the Alps; I have not found any specific study dedicated exclusively to this subject. This fragmentary passage preserved by Strabo, too, originates from Polybius' 34th book, like that about the gold mine, cited above.
Polyb. 34.10. 8 (= Strabo, IV 6.10 C 207-208): "E%ouai 8'ai "A^neiq KaD innouq aypiouq KaD Poaq.	§e noMpioq KaD iSio^op^ov Ti yevvaaBai ZRov Kv
aOxaiq, e^a^oeiSeq to a%V|a n^Wv aO%evoq KaD Tpi%T|iaTO<;, TaPTa S'eoiKevai Kanps, Qno Se t R yevei$ nupVva i'a%eiv oaov oni8a|iaiov aKpoKo^ov, nra^iKVq KepKou to na%oq.
"The Alps are inhabited by wild horses and cattle. Polybius also speaks of the existence of an animal of unusual form in these mountains; its outward appearance closely resembles that of a stag, except its neck and coat which look like a boar's. Below the chin it has a hard protuberance about a span long, with hairs growing at the end, as thick as the tail of a colt."
That the animal in question cannot be an ibex is quite clear from its description: it resembled a deer and not a goat. Since both deer and goats were very well known in the
38	B. Krystufek, Sesalci Slovenije (Mammals of Slovenia), Ljubljana 1991, 250-252.
39	M. Hornberger, Gesamtbeurteilung der Tierknochenfunde aus der Stadt auf dem Magdalensberg in Kärnten (19481966) (Kärntner Museumsschriften 49), Klagenfurt 1970, 63-64, 139.
40	S. Bökönyi, Analiza živalskih kosti (Die Tierknochenfunde), in: S. Gabrovec, Stična I. Naselbinska izkopavanja/ Siedlungsausgrabungen (Katalogi in monografije 28), Ljubljana 1994, 190-213.
41	Ib., 190.
42	Krystufek (n. 38), 255, and personal communication of the author.
43	Strabon, Géographie, tome II (Livres III et IV), ed. F. Lasserre, Paris 1966, 221.
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Mediterranean world, Polybius could hardly have written that the animal in question looked like a deer if it was actually an ibex, resembling a goat. There seems to be only one possible identification of the Alpine animal, mentioned by Polybius. According to his description, it seems most likely to have been an elk (Alces alces [Linnaeus, 1758], fig. J).44 The characteristics given by Polybius would correspond well to this mammal, which no longer inhabits the Alps. Its ramified antlers and overall appearance make it resemble a deer, its hair is bristly, vaguely resembling that of a boar, and it has a hard growth under its chin. Elks were living in the territory of Slovenia and also in the neighbouring Alpine areas as
Fig. 3: A drawing showing an elk (from: E. R. Hall, K. R. Kelson, The Mammals of North America, vol. II, New York 1959, p. 1014).
Slika, ki prikazuje losa (iz: E. R. Hall, K. R. Kelson, The Mammals of North America, II, New York 1959, str. 1014).
late as Holocene,45 and may have survived in these regions until the Middle Ages.46 Their natural habitat is a lake landscape, more or less marshy countryside with woods of birches and alders. They were totally unknown in the warm climate of the Mediterranean world and even in the Alpine and subalpine regions, they may have been rare during the late La Tene and Roman periods, so it is not surprising that the animal seemed peculiar to Polybius. At Magdalensberg (Stalenski vrh) bone remains of only three animals have been identified,47
44	Kryštufek (n. 38), 247. Dr. Boris Kryštufek kindly read Polybius' description and agreed that identification with an elk is the most likely explanation.
45	See, among others, K. Krivic, Los tudi na Soriški planini (Der Elch auch auf Soriška planina), Loški razgledi 32, 1985, 93-97.
46	I. Rakovec, Razvoj kvartarne sesalske favne v Sloveniji (Über quartäre Säugetierfaunen Sloweniens [NW Jugoslawien]), Arheološki vestnik 24, 1973, 260-261.
47	Hornberger (n. 39), 71, 138.
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From the Tauriscan Gold Mine to the Goldenhorn and the Unusual Alpine Animal
while in middle Europe, elks were at that time not infrequent.48 In addition to those still inhabiting the Alps in Polybius' times, some may also have reached the Alpine regions from elsewhere, since they are known as long-distance travellers.
Although Polybius' fragment, such as Strabo preserved it, is devoid of its former context, it nonetheless gives the impression that Polybius himself saw such animals, or that he heard of them from eyewitnesses. If he had not given such a matter-of-fact and concrete description of it, it could even be suggested that this animal seemed so peculiar because it had only rarely been seen, and by very few people, and could consequently be explained as the fruit of folk imagination, a mythic animal seen only from far and under strange circumstances, as is the case with other such animals in folk tales.
Imagination and the supernatural have always been closely related to actuality and to the reality of everyday life, the more so as we focus our gaze back in time. Earlier, although man's ties with nature were deeper, some of its phenomena may have been less familiar to him. Those details for which he found no rational explanation have always had an aura of mystery: hence his believe in supernatural beings such as White Ladies, the Goldenhorn, and hundreds of others known from folk tales. On the other hand, the former prehistoric inhabitants of Alpine and subalpine regions - as in general the prehistoric population -were very well acquainted with several natural phenomena, since their close dependance on the world of nature made them more alert to changes and various details that would remain obscure to modern man living in a civilized world. Thus individuals among the epichoric population became experts in seeking ore deposits and other natural resources, since some of these were vitally important for the survival of their communities, and others for their better living - one of the foremost human preoccupations of yesterday and today.
I am indebted to Dr. Monika Kropej, Ing. Milan Bidovec, Dr. Tone Cevc, Dr. Boris Krystufek, and Prof. Dr. Andrej Paulin for their valued advice and observations.
48 J. Boessneck, A. von den Driesch, U. Meyer-Lemppenau, E. Wechsler-von Ohlen, Die Tierknochenfunde aus dem Oppidum von Manching (Die Ausgrabungen in Manching 6), Wiesbaden 1971, 98; M. Kokabi, Arae Flaviae II. Viehhaltung und Jagd im römischen Rottweil (Forschungen und Berichte zur Vor- und Frühgeschichte im BadenWürttemberg 13), Stuttgart 1982, 105.
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Marjeta Šašel Kos
Od zlata pri Tavriskih do Zlatoroga in nenavadne alpske živali
Marjeta Šašel Kos
V članku obravnavam tri teme, dve iz antične zgodovinsko-geografske literature, to sta odkritje zlata pri Tavriskih in omemba nenavadne alpske živali, ter eno iz slovenskega ljudskega pripovedništva, to je povedka o Zlatorogu. Med seboj sicer niso tesno povezane, pač pa jih je z določenih zornih kotov mogoče obravnavati skupaj.
Grški zgodovinar Polibij iz 2. stoletja pr. Kr. je poročal o zlatem rudniku pri Tavriskih v 34. knjigi svoje Zgodovine, v kateri je opisal svoja popotovanja po severni Italiji in galskih deželah. Knjiga je ohranjena le v odlomkih, zato je širši kontekst, v katerega je bil ta podatek postavljen, žal zgubljen. Polibijevi številni geografski podatki so bili posebej zanimivi za zgodovinarja in geografa Strabona iz avgustejskega obdobja, ki nam je ta njegov fragment tudi ohranil. Pri Strabonu beremo, da so našli bogato nahajališče zlata pri noriških Tavriskih v območju Akvileje, ki so ga Tavriski začeli izkoriščati skupaj z Italiki. Ležišče je bilo tako bogato, da so cene zlata po vsej Italiji padle za tretjino. Tavriski so italske metalurge in trgovce nato izgnali in si zagotovili monopol nad pridobivanjem in prodajo zlata. Zlato so našli v obliki debelih zrn, velikih kot fižol ali bob; ob pridobivanju čistega zlata s taljenjem (moderni interpreti domnevajo, da je to verjetno potekalo z uporabo soli, ki je nase vezala srebro v obliki žlindre) se je izločila le osmina mase. Strabon dodaja, da so v deželi Tavriskov zlato tudi izpirali iz rek, vendar ne v tako velikih količinah kot v Hispaniji (današnji Španiji). Sodeč po Strabonovi končni pripombi bi mogli sklepati, da je bilo ležišče zlata, ki so ga nepričakovano odkrili pri Tavriskih, primarno ležišče, v nasprotju z naplavinskim zlatom. Vendar glede na opis ležišča in oblike zlata skoraj ni dvoma, da gre za naplavinsko zlato, odloženo na terasi nekdanje rečne struge, bolj ali manj oddaljene od današnjega toka reke (višinska razlika bi lahko znašala celo do 300 m).
Ni popolnoma jasno, kam bi mogli to zlato ležišče pravilno locirati. Lokacijskih poskusov je bilo več, bistveno se ločijo po tem, da ga nekateri postavljajo v območje Tur severno od Alp, v srce Noriškega kraljestva, kjer so ležišča zlata znana, drugi pa južno od Alp, koder bi glede na arheološke in antične literarne vire segal poselitveni prostor Tavriskov. Lokacija je posebej problematična zato, ker Strabon govori o noriških Tavriskih. Z analizo razpoložljivih virov skušam dokazati, da je treba ležišče zlata locirati najverjetneje v slovensko območje toka reke Drave. Poselitev Tavriskov je segala vse od Ljubljanske kotline, dela Gorenjske in cele Dolenjske do območja Celeje in Petovione, ne pa v Avstrijo, ki so jo poseljevala keltska plemena, pod hegemonijo Norikov združena v Noriško kraljestvo. V Sloveniji ne vsebuje zlatih zrnc nobena od rek, zlasti ne tistih, ki pri nas izvirajo; zlatonosni sta le Drava in Mura. Nedavno je M. Bidovec dokumentiral pridobivanje zlata iz Drave v območju Varaždina; vsekakor ni nemogoče, da bi se kdaj vzdolž toka Drave odkrilo ležišče zlata.
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From the Tauriscan Gold Mine to the Goldenhorn and the Unusual Alpine Animal
Tako kot nekoč Tavriski in Italiki so zlato in druge kovine iskali tudi pozneje, saj je metalurgija postajala vse pomembnejši faktor ekonomije in družbenega razvoja. Z iskanjem zakladov in kovin je povezanih več slovenskih ljudskih povedk, med njimi tudi ena najbolj priljubljenih, povedka o Zlatorogu. Zlati rogovi belega kozoroga ali gamsa naj bi bili ključ do zakladov Bogatina nad Soško dolino in le enkrat naj bi se posrečilo nekemu italijanskemu zlatokopu, da si je pridobil del zaklada z odlomkom Zlatorogovega zlatega roga, ki si ga je le-ta odrgnil na skali. Celo življenje je Italijan črpal ta zaklad, Trentarskega lovca pa, ki je Zlatoroga v želji, da bi se polastil njegovih zlatih rogov, ranil, je Zlatorog pahnil v prepad. Povedka vsebuje prvine indoevropskega ljudskega pripovedništva in ni izključeno, da ima korenine v predslovanski alpsko-balkanski mitologiji.
Od nekdaj je človek iskal zlato in druge kovine ter zaklade in le poredkoma je bilo to iskanje uspešno. Manj kot je človek mogel in znal tehnično obvladovati naravo, ki ga je obdajala, bolj je bil odvisen od vere v božanstva/boga, preprost človek pa si je še dodatno predstavljal, da se za njemu težko umljivimi naravnimi pojavi skrivajo nadnaravne sile, ki si jih je zamišljal v podobi različnih bajeslovnih bitij in tudi mitičnih živali. Iz takšnih predstav je zrasla povedka o Zlatorogu.
Ljudje so si često umišljali, da vidijo bitja in živali, ki v resničnosti niso obstajale. Antični zgodovinarji in geografi, tako npr. tudi Polibij in Strabon, ki so raziskovali manj znane dežele tedanjega znanega sveta, so opažali in beležili posebnosti pokrajine, konfiguracije tal, favne in flore ter posebnosti t.im. kulturne krajine, svetišča, naselbine in druge tvarne priče drugačnih navad in načina življenja še neromaniziranega prebivalstva. Plod takšnih potopisov je Polibijeva, pri Strabonu ohranjena omemba nenavadne živali, ki naj bi živela v Alpah. Žival bi lahko bila mitična in plod ljudske domišljije, vendarle pa je po opisu sodeč najverjetneje šlo za losa. Polibij jo namreč opisuje kot podobno jelenu, s čokatim zgornjim delom telesa in dlako podobno merjascu ter izrastkom pod brado, iz katerega je rasel šop dlak, podoben žrebičkovemu repu. Ta opis v celoti ustreza losu, ki je še do zgodnjega srednjega veka živel v jugovzhodnem alpskem prostoru.
182
Mn^o^orafl jepeebee b TpajnunoHHon KyjbType c^aBHH: .lemiiHa (Corylus avellana)1
TambHHa AzanKuna
The author analyses the mythology of the nut tree (Corylus avallana) in the context of other Slavic ethnodendrological systems
CflaBAHCKyro 3TH0AeHAp0A0rHro eABa ah moxho othccth k HHCAy HaH60Aee pa3pa6oTaHHHx e^ep TpaAHnHOHHOH KyAbTypH, h 3to Ha6AroAeHHe, k eoxaAeHHro, KaeaeTCA h caMoro npeAMeTa, h coctoahha ero raynehha. CAaBAHCKaA (h npexae Bcero 3ana^H0- h BOCTOHHOCAaBAHCKaA) MH^OAoranecKaA CHCTeMa ABAAeTCA, ecAH moxho TaK BHpa3HTbCA, CKOpee 300-, HexeAH fleHflpO-(^HTO-) neHTpHHHOH, xOTA AAA roxHOC^aBAHCKoro apeaba AonycTHMa HeK0T0paa nonpaBKa2. H3 CKa3aHHoro, BnponeM, OTHro^b He CAeAyeT, hto C00TBeTCTByro^aa n03Hnna b CAaBAHCKoñ MOAeAH MHpa nycTyeT. Kpyr BepoBaHHH, CBA3aHHHx c AepeBbAMH, Bee xe AOCTaTOHHO o6mHpeH h cy^ecTBeHHO BapbHpyeTCA b pa3HHx o6AacTAx CAaBHH. ^epeBbA, K0T0pHe Ha eeBepe 3aHHMaroT BaxHoe MecTO b 3TH0fleHflp0^0rHHecK0H CHCTeMe, Ha rore MoryT 0Ka3aTbCA Ha ee nepH^epHH (cm. 06 3T0M Ha npHMepe ochhh: AranKHHa 1996), h Hao6opoT.
B HacTOA^eñ CTaTbe mh npeAnoAaraeM paecMOTpeTb BepoBaHHA h MaraqecKyro npaKTHKy, OTHOCA^HecA k jiecHOMy opexy3. H xota b roxH0CAaBAHCK0ñ TpaAHUHH jie^HHa 6oAee 3aMeTHa, HexeAH b boctohho- h 3anaAH0CAaBAHCK0ñ, TeM He MeHee 3Aecb mh CKOpee CTa^KHBaeMCA e pe^KHM CAynaeM eAHHoro b CBoeñ 0CH0Be MH^onosranecKoro o6pa3a.
,D,aa MH^0A0rHH h chmboahkh opemHHKa npHHnHnHaAbHoe 3HaneHHe HMeeT to, hto oh 3aHHMaeT norpaHHHHoe noAoxeHHe b 3TH0AeHAp0A0raqecK0H CHCTeMe. .e^HHa — KycTapHHK flHKopacTy^HH (sTO n0CAefl0BaTeAbH0 OTpaxeHO b ero Ha3BaHHAx THna BOCT.-CAaB. Aew,una, rox.- h 3an.-CAaB. leska), ho, BMecTe e TeM, npHHOCA^Hñ nAOAH, K0T0pHe yn0Tpe6AAroTCA b nH^y, hto onpeAeAAeT npHHaAAexHOCTb AecHoro opexa h k e^epe npHpoAH, h k o6AacTH KyAbTypH (k Heñ othocatca Bee nAOAOBHe AepeBbA)4. 9thm nOCAeAHHM 06CT0ATeAbCTB0M 06'bACHAeTCA mHpOKOe HCn0Ab30BaHHe Ae^HHH (ee BeTOK, ApeBecHHH h nAOAOB) BnpoAynHpyro^Hx neAAx. BeHKH H3 opemHHKa KAaAH Ha eoeyA, b
This article was financially supported by RGNF (grant N 96-04-06034 "Mifologiceskie osnovy slavjanskoj narodnoj kul'tury").
9to 0C06eHH0 3aMeTH0 Ha npHMepe nno^OBbix ^epeBbeB, 06paflH0CTb h CHMBOjjHKa kotopmx b roxHocnaBaHCKofl TpaflHUHH HecpaBHeHHO 6oraie, qeM b flpyrHX o6nacTax CjjaBHH.
B OTflH^He ot 6onbmHHCTBa flpyrHX ^epeBbeB h KycTapHHKOB, opemHHKy nocBa^ern o6mHpHaa jiHTepaTypa, cm.: Kulisic 1939; neTpoB 1974; HajKaHOBHh 1985; EeH0BCKa-Ct6K0Ba 1987; noTe6Ha 1989; nonoB 1994; AranKHHa 1995.
AHajorHHHHH CTaTyc HMeeT h KH3HJ (dpen) — KycTapHHK ^HKopacTy^HH h nnoflOBbm.
2
183
MH^onoraa flepeBbeB b TpaflHUHOHHOH KynbType cnaBaH: ne^HHa (Corylus avellana)
kotophh nepBbift pa3 flonan OBen b ropbeB aeHb (ro.-caaB.), H3 opexoBbx BeTOK naean Kop3HHy, b KoTopyro CHHMaaH BbiaeTeBmnft H3 yaba poft nHea, hto6h 6biao 6oabme Mefla (ro.-caaB.), noflKaaflbiBaan nx nofl HacecT, hto6h Kypnna BbiBeaa 6oabme nbinaaT (ro.-caaB.), BTHKaan KycoHKH opemHHKa b oflexfly HoBo6paHHbix h naean H3 ero BeTOK BeHUbi aaa hhx xe (ro.-caaB.), fleaaan H3 opemHHKa flpeBKo cBafle6Horo 3HaMeHH (ro.-caaB.), 3aMemHBaan BeToHKaMH opemHHKa poxflecTBeHcKyro HecHHny h noflKaaflbiBaan BnocaeflcTBHH 3th BeTKH b xaeB, Hafleacb TeM caMbM 6aaroTBopHo noBanaTb Ha npnnaofl cKoTa (ro.-caaB.), H3roToBaaan H3 flpeBecHHbi opemHHKa nepBoe BepeTeHo flaa HanHHaro^eft npacTb fleBoHKH, hto6h pa6oTa y Hee cnopnaacb (ro.-caaB.), Kaaan opexn h BeTKH opemHHKa b cyHflyKH c fleBHHbHM npnflaHHM, hto6h b hhx npH6biBaao oflexflbi (yKp.), fleaaan H3 opemHHKa nacTymecKHH khh, noaaraa, hto ot 3Toro cKoTa cTaHeT 6oabme (noa.), Kynaan fleTeft b oTBape H3 ancTbeB ae^HHbi, hto6h ohh xopomo pocan (noa.), noflKaaflHBaan opexoBbie BeTKH b aM6ap nofl 3epHo, paccHHTHBaa Ha ero yMHoxeHHe (caoBan.), h T.fl.
y boctohhhx caaBaH Ha6aroflaeTca TecHaa cBa3b Mexay opemHHKoM h 3aaKoBHMH KyabTypaMH. Ha BnTe6^HHe, HanpHMep, cHHTaaocb, hto no ypoxaro aecHHx opexoB moxho cyflHTb o npeflcToa^eM ypoxae pxaHoro xae6a (a caMH opexoBbie naoflH 3flecb Ha3HBaan KonocoeuKaMu) (Hhkh^opobckhh 1897, c. 129). B pyccKHx 3araflKax opex, cpeflH nponero, onncHBaeTca KaK ropmoK c onapoft nan Kameft: «IopmoHeK MaaeHbKHH, onapoHKa caafleHbKa», «MaaeHbKHH ropmoneK, fla KamKa BKycHa» (MHrpo^aHoBa 1968, c. 66). 9to HaxoflHT noflTBepxfleHHe b 6eaoMopcKHx aereHflax o6 o6eToBaHHoft OpexoBoft 3eMae: «CKa3HBaaH cTapbie aroflH — ecTb 6yflTo 3a MopaMH 3eMaa; pacTyT b HeH opexn b neaoBenecKyro roaoBy, pacKoaemb opex, a b HeM MyKa...» (Hhctob 1967, c. 312).
Bo BceM xe ocTaabHoM ae^HHa «BefleT ce6a» KaK flHKopacry^ee flepeBo, h Ha 3tom ocHoBaHHH oHa BKaronaeTca b MH^ono3THHecKHe croxeTH h pHTyaabHbie KoHTeKcTH, THnHHHHe flaa flepeBa KaK TaKoBoro. npHBefleM xapaKTepHHe npHMepbi.
y pa3HHx caaBaHcKHx HapofloB ae^HHa Hapafly c 6oabmHHcTBoM flHKopacTy^nx flepeBbeB cHHTaaacb m e c t o m o 6 h t a h h a fl e m o h o b (no npeHMy^ecTBy xeHc-khx): 6oarapbi noaaraan, hto Ha KycTe aecHoro opemHHKa xHByT caMoflHBH (reoprneBa 1983, c. 111), a r^yabi Bepnan, hto b koh^ TponnKoft (pycaabHoft) Heflean mem, new,ne h HHbie xeHcKHe fleMoHHHecKHe cy^ecraa THna pycaaoK TaHnyroT b KycTax opemHHKa (Schnaider 1899, s. 218).
^e^HHa mnpoKo ncnoab3oBaaacb b m a r h h h b KaHecTBe o 6 e p e r a. MxHbie caaBaHe ynoTpe6aaan ee flaa o6aerHeHHa pofloB, flaa aeHeHHa anxopaflKH, 6opoflaBoK h MHornx flpyrnx 6oae3Heft (Kulišic 1939, s. 51). y 6oarap, noaaKoB, xopBaToB h caoBeHneB b MarHH 6bao BecbMa nonyaapHo pa3xnraHHe orHa H3 BeToK ae^HHbi: 3to npeflmecTBoBaao MarHHecKoMy pHTyaay «rameHHa yraeft», npoBoflHMoro b aeHe6HHx neaax, a TaKxe cayxnao cnoco6oM pacno3HaBaHHa BeflbMH, oT6nparo^eft y kopob MoaoKo: npn pa3xnraHHH TaKoro orHa BeflbMa HaHHHaaa ncnHTHBaTb MyHeHHa (Rožic 1908, s. 105; Cisek 1889, s. 75)5. Eoarapbi H3roHaan fleMoHoB, Hacbiaaro^nx 6eccoHHHny Ha pe6eHKa, o6eraa ero Koabi6eab c 3axxeHHoft opexoBoft BeTKoft; noaemyKH, 3a^H^aacb ot pycaaoK, BHocnan b floMa h npHBa3HBaan k cnHHe BeTKH aecHoro opexa (nA). CaoBeHnbi bo BpeMa poxaecTBeHcKHx raflaHHH, BH3HBaa Ha nepeKpecTKe HeHHcTyro cnay,
5 HanoMHHM, hto TaKoH xe MarHHecKHH oroHb MoraH pasxHrara. H3 BeToK ochhh HaH 6y3HHH.
184
Tambana AzanKuna
onepHHBMH ce6a MarmecKHM KpyroM c n0M0^bro BeTKH ae^HHH (Kuret 1970, s. 187-188)6.
HaKOHen, b e t k h ae^HHH Haman mnpoKoe npHMeHeHHe bo MH0xecTBe KaneHflapHbix o6pafloB: 6onrapbi H3roToBnanH H3 hhx «cypBanKH», cnoBeHnbi h xopBaTbi Hcnoab3oBaan flna pmyanbHoro cTeraHHa nrofleft h cKoTa b fleHb H36HeHHa MnafleHneB, nonaKH, nexH h cnoBaKH ocBa^anH BeTKH opemHHKa b Bep6Hoe BocKpeceHbe, yKpamanH hmh xHnbe Ha TpoHny, c opexoBoft BeTKoft o6xoflHn floMa nona3HHK (cep6.) h T.fl.
Bce nepenHcneHHHe cro^era h pHTyanbi c6nHxaroT ne^HHy c 6onbmHHcTBoM flpyrHx ^epeBbeB h KycTapHHKoB, H3BecTHbix b cnaBaHcKoft 3THofleHflponorHHecKoft cHcTeMe. Hto xe KacaeTca c n e n h ^ h k h MH^onosranecKoro o6pa3a ne^HHbi, to oHa ^opMHpyeTca Ha ocHoBaHHH hhhx 3THoKynbrypHbix napaflHrM h onpeflenaeTca apKo BHpaxeHHoft npHHa^ne^HocTbro ae^HHH k «BepxHeMy» h «HHXHeMy» MHpaM o^HoBpeMeHHo.
npe^fle Bcero, KaK h HeKoTopbie KpynHbie flepeBba h KycTapHHKH, ne^HHa BbicTynaeT y roxHbix cnaBaH b ponH k y n b t o b o r o fl e p e b a, cnyxHBmero o6teKToM noHHTaHHa h MecToM coBepmeHHa HeKoTopbix o6pafloB (b tom HHcne h xpHcTHaHcKHx). B Eochhh H3BecTHH paccKa3H o tom, hto flepeBy necHoro opexa moxho 6bino HcnoBeflaTbca, a nnoflbi HnH no^KH KycTapHHKa ynoTpe6nanHcb BMecTo npoc^opbi Ha Pox^ecTBo h nacxy (HajKaHoBHh 1985, c. 162). B boctohhoh Cep6HH b tom cnynae, ecnH B6nH3H cena Heo^HflaHHo Bbicbixan Ha KopHro «3anHc», Kpcmonoue, o6xofla^He ceno h oKpecTHocTH Ha Bo3HeceHHe, BTbiKanH b 3eMnro BeTKy ne^HHbi h coBepmanH Mone6eH oKono Hee (Kocmh 1984, c. 333). Eonrapbi Bo3flBHranH nofl opexoBHM flepeBoM o6ponHbie KpecTbi (MapHHoB 1984, c. 574), a xHTenH Eochhh b tom cnynae, ecnH b floMe cnynanacb 6efla, o6xoflHnH TpH^flbi BoKpyr ne^HHbi h npocHnH Eora noMonb hm (Kulišic 1939, s. 59)7. Cp. TaKxe BecbMa nonynapHbift y roxHHx cnaBaH 3anpeT «paHHTb» ne^HHy TonopoM8.
.Hro6onbrrao h to, hto ne^HHa o6HapyxHBaeT HeKoTopbie npHMeTH «flpeBa xh3hh» (b HnocTacH flepeBa no3HaHHa). KaK oTMenan B. HaftKaHoBHH, ecnH nonoxHTb b pot Maco 3MeH, xHBmeft nofl ne^HHoft, Haraemb noHHMaTb a3biK xhbothhx; a ecnH ctecTb cepflne TaKoft 3MeH, to noftMemb a3biK TpaB, oco6eHHo neKapcTBeHHHx (HajKaHoBHh 1994, c. 170)9.
Bo Bcex cnaBaHcKHx TpaflHnnax opemHHK oTHocHnca k TeM flepeBbaM, b KoTopbie, KaK nonaranH, h e 6 b e t r p o m. 9to o6cToaTenbcTBo npHBeno k mHpoKoMy Hcnonb3oBaHHro ne^HHbi flna 3a^HTbi nenoBeKa h KynbTypHoro npocTpaHcTBa ot rpoMa, rpafla h Henoroflbi: BeTKH ne^HHbi, Kon, KpecTHKH h 6onbmHe KpecTH, cflenaHHbie H3 Hee, BTHKanH b nona h BHHorpaflHHKH, cTaBHnH b yrnax aomob, xneBoB h aM6apoB, xraH
6	06 HcnonbaoBaHHH ne^HHbi b Ka^ecTBe yHHBepcanbHoro o6epera, b tom ^Hcne, ot noKoftHHKoB, fleMoHoB, 6one3Heft, cm. TaK^e: (Kulišic 1939, s. 48-53).
7	Cp. coo6^eHHe HeMe^oro xpoHHcTa Iep6opfla o cBa^eHHoM opexoBoM flepeBe y 6anTHftcKHx cnaBaH b ^e^He (XII b.). CornacHo ToMy xe coo6m;eHHro, pafloM c opexoBbiM HaxoflHnocb flpyroe cBa^eHHoe flepeBo — orpoMHbift fly6.
8	npaMyro napannenb k 3thm KBKHocnaBaHcKHM cBHfleTenbcTBaM HaxoflHM b pa3aHcKHx BapHaHTax cKa3KH o neTpe h OeBpoHHH (cBoero pofla $onbKnopHbix nepecKa3ax H3BecTHoft flpeBHepyccKoft noBecTH), rfle ynoMHHaeTca o MecTHoft flocronpHMe^aTenbHocTH — KycTe necHoro opexa, nofl kotophm aKo6b MonHnacb OeBpoHHa (cm.: CoKonoBa 1970, c. 252-254).
9	C 3toh oco6eHHocTbro MH^onorHH ne^HHbi cep6cKHe HccnefloBaTenH cBa3bBaroT npaKTHKy HaKa3biBaTb yqeHHKoB yflapaMH opexoBbx npyTbeB b cTapoft cep6cKoft mKone.
185
MH^onoraa flepeBbeB b TpaflHUHOHHOH KynbType cnaBaH: ne^HHa (Corylus avellana)
ne^HHy npH rpo3e, TaK KaK «leszczyna chroni od pioruna» (Karwicka 1979, s. 202); HenoBeK xe Mor HyBcTBOBaTb ceöa b öe3onacHocTH, cnpaTaBmHcb bo BpeMa rpo3H nofl ne^HHy (TaK KaK, «rfle pocTyTb opemKH, Tyfla MonHHa He nonaflae», nA), 3aTKHyB 3a noac BeTKH ne^HHH HnH npHKpenHB hx k manKe («nacryxy nemHHHy y manKy ymbiroTb, koö rpoM He yöHy», nA), nocKonbKy, KaK cHHTanocb, b stom cnyHae flbaBon He cMoxeT cnpaTaTbca nofl mnany ot npecneflyro^ero ero rpoMa (TpojaHOBHh 1911, c. 197). OpexoByro nanKy, c noMO^bro KOTopon HenoBeKy cnyHanocb OTorHaTb 3Mero ot xaöbi, cepöbi Ha3biBanH pacmaeaK: ee flepxanH b flOMe, nocKonbKy OHa OTBOflHna nroöoe 3no, b tom HHcne pa3roHana rpaflOBHe TyHH (Kulisic 1939, s. 51-52)10.
TaKaa ocoöaa OTMeHeHHocTb neqHHH b pafly flpyrHx flepeBbeB, öe3ycnoBHO, TpeöoBana sTHonorHHecKoro oöocHOBaHHa, b KaHecTBe KOToporo b ^onbKnope Hcnonb3OBanHcb snH3OflH HOBO3aBeTHOH xpHcraaHcKon hctophh. cbohctbo ne^HHbi OTBOflHTb ot ceöa rpoMbi h MonHHH oötacHanH TeM, hto ne^HHy aKoöbi öpocanH nofl HorH HHcycy XpHcTy bo BpeMa ero Bte3fla b HepycanHM (non.), hto ne^HHa cnacna BoropoflHuy Ha nyTH b ErHneT (öen., non.), hto flbaBon 3aöbin ynoMaHyTb ne^HHy, Korfla cnopHn c BoroM (yKp.), h mh. flp.
TeM He MeHee TecHaa cBa3b necHoro opexa c rpoMOM eflBa nH oötacHHMa cronb no3flHHMH MOTHBaMH. CKopee ecTb cMbicn npeflnonoxHTb, hto OHa OTpaxaeT rnyöHHHbie MH^onosTHHecKHe 3aKOHOMepHocTH h yKa3HBaeT Ha npHHacTHocTb opemHHKa k MH^y o rpoMOBepxue (nepyHe, Hnbe h flp.) h TeM caMbiM — k BepxHeMy MHpy. KaK HaM KaxeTca, necHon opex, OTBOfla^HÖ ot ceöa HeöecHbin oroHb, KaK öh 3aKnroHaeT b ceöe ero HacTHHKy. noflTBepxfleHHeM sTOMy MOxeT cnyxHTb peflKoe nonbcKoe cBHfleTenbcTBO, rnaca^ee, hto b HenoBeKa, kotophh HeceT c coöon KycoK ne^HHbi, He öbeT rpoM (piorun), TaK KaK ne^HHa aKoöbi ma swoj ogien [HMeeT cboh oroHb] [Kolbuszowski 1896, s. 159]. .roöonbrrao h to, hto b boctohhoh CepöHH b HHcne flepeBbeB, b KOTopbie He öbeT rpoM, ynoMHHaroTca oöhhho — noMHMO necKH — TonbKO flBa: «3anHc» (BepoaTHO, KaK caKpanbHHn oöteKT), a TaKxe flyö (xpacm), HMero^HH cTaTyc «flepeBa rpoMOBepxua» (cp.: 3eHeBHh 1993, c. 263).
EcTb, BnpoHeM, e^e OflHH Kpyr noBepHH, b kotopom moxho ycMOTpeTb öe3ycnoBHyro napannenb Mexfly ne^HHon h rpoMOM. B MH^onorHH boctohhhx h 3anaflHbix cnaBaH flocTaTOHHO mHpoKoe pacnpocTpaHeHHe nonyHHno npeflcTaBneHHe o tom, hto Hapafly c nanopoTHHKOM, uBeTy^HM b KynanbcKyro HOHb, HyflOTBopHHMH cBoncTBaMH oönaflaeT h BeTKa necHoro opexa, uBeTy^aa TaKxe OflHH pa3 b rofly: Ha BnaroBe^eHHe, b CrpacTHon HeTBepr (Hhkh^opobckhh 1897, c. 128) HnH Ha Kynany (Olejnik 1966, s. 204). no öenopyccKHM noBepbaM, ecnH OTopBaTb TaKyro BeTKy h hath Tyfla, Kyfla OHa BefleT, moxho HanTH Knafl (fflnroöcKi 1927, c. 106). noMHMO KnaflOB, cornacHO HemcKHM cBHfleTenbcTBaM, OflHoneTHHH noöer opexoBoro flepeBa, kotophh cpe3anH Ha MonoflOM Mecaue h Ha3BanH HMeHeM OflHoro H3 Tpex BonxBOB-Koponen (Kacnapa, MenbxHopa HnH Banra3apa), MoxeT pacKpHTb BOflHbin hctohhhk (Houska 1854, s. 533)11. Ha3BaHHbie cBoncTBa HyflOTBopHon opexoBon BeTKH noöyxflaroT BHfleTb b Hen aHanor MonHHH, rpoMOBoro yflapa HnH TaK Ha3HBaeMon rpoMOBOH cTpenbi (öeneMHHTa), nocKonbKy Bce ohh oönaflaroT oflHHM h TeM xe «flapoM»: OTKpHBaTb 3eMnro, nofl3eMHbie KnroHH h KnaflH. .e^HHa cnocoöHa OTBecTH rpo3y nocTonbKy, nocKonbKy
10	To xe y pyMHH.
11	To xe y HeMueB.
186
Tambrna AzanKuna
b HeKOTopoM cMbicne h caMa aBnaeTca «rpo3oft», ToHHee — coaepxHT b ce6e cy6cTaHnnro He6ecHoro orHa12.
ConpHnacTHocTbro ae^iHH h rpoMa moxho o6,bacHHTb Bepy b to, hto oHa nporoHaeT 3Meft h hhhx xToHHHecKHx cy^ecra, npoTHBocToa^Hx «BbicmHM cHnaM». Bonrapbi, HanpHMep, nonaranH, hto «ot necKoBa np^HKa 3MHaTa yMHpa h 6ara» (neTpoB 1974, c. 397). Bot noneMy npyTbaMH H3 ae^HHH H3roHanH 3Meft 1 MapTa h Ha BnaroBe^eHHe h H3roTOBnanH h3 apeBecHHbi opexa nocox ana oBHapa hjh nacTyxa (nonoB 1994, c. 202). ^KjHTenH ,D,xepaana cHHTanH, hto opexoBHM npyToM nerHe Bcero y6HTb 3Mero, noaToMy aeTH, pacxaxHBaa 6ochkom no TpaBe, hochjh c co6oft nanKy H3 ne^HHbi, nonaraa, hto oHa 3a^HTHT hx ot yKyca; TaM xe HampanH yKymeHHoe 3Meeft MecTo BeTKaMH hjh jiHcTb«MH necHoro opexa (3eneBHh 1993, c. 266). y HexoB npyToM H3 ne^HHbi xo3aeBa 6hjh no cTeHaM aoMa h xo3aftcTBeHHbix nocTpoeK, H3roHaa orryaa MHmei: «Jdete myši ven z tohoto domu ke myšim, a nechod'te sem vice zase...» (Cesky lid, 1894, r. 3, s. 525).
BMecTe c TeM, KaK mh yxe ynoMHHanH, MH^onoaTHHecKHft o6pa3 ne^HHbi cBa3aH h c hhoh TeMoft: ne^HHa HMeeT oTHomeHHe k o6nacTH c m e p t h h «ToMy cBeTy» Boo6^e, hto BnonHe ecTecTBeHHo, ecnH BcnoMHHTb o cBa3H ne^HHbi (b tom HHcne h aTHMonorHHecKoft) c «necoM» KaK npocTpaHcTBoM ahkhm h noHTH 3anpeaenbHbiM. npHMepoB ToMy HeMano, h ohh aocTaToHHo pa3Hoo6pa3Hbi. nnoabi necHoro (a TaKxe rpenKoro) opexa 6binH cBoero poaa «xroHHHecKoft eaoft»: Ha cBaTKH, T.e. b nepHoa, Koraa cpeaH xhbhx He3pHMo npHcyTcTBoBanH aymH npeaKoB, xo3aeBa o6a3aTenbHo paccbinanH opexH no nony h KHaanH b yrnbi (rae o6HTanH aymH), TeM caMHM npHKapMnHBaa hx (cnoBan., Hem., non., cnoBeH., cep6., 6onr. h ap.). BnocneacTBHH no sthm opexaM aeBym-kh raaanH o 3aMyxecTBe (Bartoš 1892, s. 18), c noMo^bro opexoB pacno3HaBanH Bopa (OKapHh 1939, c. 87), raaanH o cyab6e (,D,o6pyaxa, c. 312), o6 ypoxae h T.n. BMecTe c TeM, MarHHecKHe aeftcTBHa c opexaMH b cBaToHHbift nepHoa cocy^ecTBoBanH c BcTpeHaro^HMca HHoraa 3anpeToM ecTb b sto BpeMa opexH (rEMB 1936, k&. 11, c. 89, MnaBa). KaK moxho npeanonoxHTb, oh o6tacHaeTca TeM, hto Ha cBaTKH opexH oKa3HBaroTca BMecTHnH^eM aymH. B KoHTeKcTe cKa3aHHoro o6paTHM BHHMaHHe Ha HeKoTopbe ^aKTH, KocBeHHo noaTBepxnaro^He Bo3MoxHocTb noao6Horo TonKoBaHHa (necHoft opex KaK BMecranH^e aymH h T.a.). CpeaH pyccKHx 3araaoK, ocBe^aro^Hx caMbie pa3HHe acneKTH MH^onorHH ne^HHbi, b HHcne npoHHx ecTb h TaKHe: «HeT hh okoh, hh aBepeft, nocpeaHHe apxupeu», «ManeHbKHft MywmoK, KocTaHaa my6Ka», «ManbnuK b nyxe — xbocthk Hapyxe» (Mmpo^aHoBa 1968, c. 66). napannenb k noao6HHM 3araaKaM moxho ycMoTpeTb b pyccKoft nereHae o conaaTe h CMepTH: Tocnoab BenHT conaaTy KopMHTb CMepTb opexaMH, hto6h oHa nonpaBHnacb. ConaaT nomen co CMepTbro b nec h nocnopHn c Heft, hto oHa He Bne3eT b nycToft opex. CMepTb caypy Bne3na Tyaa, Toraa conaaT 3aTKHyn abipoHKy b opexe KonbimKoM h cnpaTan opex (A^aHacbeB 1990, c. 99).
^e^HHa mHpoKo Hcnonb3oBanacb b noMHHanbHbix o6paaax, a TaKxe b pmyanax, HMero^Hx oTHomeHHe k noxopoHaM. BaHaTcKHe repbi H3roToBnanH H3 ne^HHbi «pa6om», Ha kotopom oTMeHanH KonHHecTBo ropmKoB Boab pa3HeceHHoft no aoMaM b noMHHanbHoM o6paae «ranHBaae Boae MpTBHMa 3a ayme» (OHnHnoBHh 1958, c. 272). ^KjHTenH BocToHHoft Cep6HH, a TaKxe pyMHHH, xrnH H3 ne^HHbi noMHHanbHbie koctph
12 C apyroft ctopohh, cnoco6Hocra jie^HHH oTKpHBaTb Knaabi acco^npyeTca c npHBeaeHHbiMH BHme aaHHbiMH o Heft KaK o «aepeBe no3HaHHa», a TaKxe c o6mnpHbiM KopnycoM HapoaHbix h khhxhhx croxeToB o pacTeHHax h xhbothhx (HacTo cBaaaHHHX apyr c apyroM), o6naaaro^nx MH^HHecKoft cnoco6Hocra.ro npoHHKara. b HeBeaoMoe, pacKpHBaTb TaftHbi h T.n.
187
MH^onorH« .epeBbeB b Tpa.HUHOHHOH Ky.bType c.aB«H: ne^HHa (Corylus avellana)
Ha B.aroBe^eHHe, b CrpacTHOH HeTBepr h .pyrae .hh (3eHeBHh 1978, c. 465). Kamyöb, onoBe^a« o.Hoce.bHaH o cMepTH, c.yHHBmeöc« b ce.e, o6xo.h.h .oMa c na.KOH, BHpeaaHHOH Ha .e^HHH (Fischer 1921, s. 151). B no.bcKHx TaTpax, KTO-HHÖy.b, aa.yMaB He.oöpoe Ha .pyroro He.OBeKa, .e.a. Ha .e^HHbi na.Ky ..hhoh c rpoö h npH ö.HxaömHx noxopoHax öpoca. ee b Morany, b peay.bTaTe Hero He.OBeK, Ha KOToporo HaBO.H.acb TaKHM oöpaaoM nopHa, .o.xeH 6h. BcKope yMepeTb (AKJ, N 7257). Ha Bpecr^HHe He.OBeK, cTpa.aro^HH ot 3na.encHH, htoöh BbmeHHTbc«, .o.xeH 6h. no.oxHTb Ha HbHx-.HÖo noxopoHax b rpoö opexoByro na.Ky, no ..HHe paBHyro ero pocTy (HA).
HpHHacTHocTb .ecHoro opexa k oö.acTH noTycTopoHHero, k cMepTH, npoc.exHBaeTc« b cneaa^HHecKOM parya.e, aaBecTHOM öo.rapaM h cepöaM. Hpa pox.eHHH b xoa«HcTBe «raeHKa (xepeöeHKa h T.n.) Bce .oMamHae cTpeMH.acb KaK moxho öbcTpee no.H«Tb ero c aeM.H, h nepBHH, B3«BmaH ero Ha pyKH, npoaaHoca.: «HycTH .ecKOBy, yaMH .peHOBy» (MajaTOBHh 1907, c. 162). TeM caMHM TO.bKO hto po.HBmeec« XHBOTHOe ^HaHHecKH OTpHBa.H OT xTOHHHecKOH c^epH H Xe.a.H KaK MOXHO öbcTpee ocTaBHTb ee (nycmu jecKoey) h HaHaTb pacTH h KpenHyTb (ysMU dpemey), cp. npe.craB.eHH« o .peHe (KHaa.e) KaK .epeBe a.opoBb« h KpenocTH. Ta xe ^opMy.a mapoKo Hcno.baoBa.acb b MarHHecKHx npaKTHKax, coBepmaeMHx b c.yHae, ec.H peöeHOK no KaKHM-TO npHHHHaM .o.ro He HaHHHa. xo.HTb: peöeHKa o6hoch.h BOKpyr .OMa Ha x.eÖHOH .onaTe h.h, no.oaBaB ero k ceöe, BpyHa.H eMy kh3h.obhh npyTHK co c.OBaMH: «Baaa .ecKOBO, yaMH .peHOBO» (^eöe^KOBHh 1907, c. 180) h.h «Otpraö .ecKOBHTe, aawaa .peBHOBHTO» (Cto«hob 1970, c. 153). TaKae xe c.OBa («,D,px' .peHOBy, nycTH .ecKOBy») a.pecoBa.H öo.bHOMy, xe.a« eMy nocKopee npeo.o.eTb «onacHHH», 6.h3khh k cMepTH nepao. h BHa.opoBeTb (Bymemh 1911, c. 586).
.roöonHTHOH napa..e.bro k onacaHHOMy KOMn.eKcy npe.cTaB.eHHH MoryT c.yxHTb BepoBaHH«, KOTopHe y roxHbix c.aB«H othoc«tc« k .epeBy TaK Haa. rpeaKoro opexa (Juglans Regia, cepö opax, öo.r. opex), cBoero po.a «Ky.bTypHoro aHa.ora» .e^HHbi. BepoBaHH«, Kacaro^aec« oöoax .epeBbeB, KaK HaM KaxeTc«, b aaBecTHOM cMbic.e po.cTBeHHH .pyr .pyry h, bo3moxho, no.Bepr.acb BaaHMOB.H«HHro. y cepöoB, MaKe.OHaeB h öo.rap rpeaKaa opex cHMBO.aaapyeT xTOHHHecKHe ch.h h Map npe.KOB. HoBceMecTHO aaBecTHO noBepbe o tom, hto He.OBeK, noca.HBmaa rpeaKaa opex, yMpeT Tor.a, Kor.a .epeBO cpaBH«eTc« no TO.^HHe c meeH 3Toro He.OBeKa, ero Ta.aea h.h Kor.a Ha HeM no«B«Tc« nepBHe n.o.H (rpaMaTHKOB 1992, c. 35; OmanoBah 1949, c. 200). OTMeTHM, hto cxo.HHe noBepb« ecTb h y boctohhhx c.aB«H (ec.H .epeBO, nocaxeHHoe He.OBeKOM, nepepacTeT ero, to He.OBeK yMpeT, CepxayToycKi 1930, c. 29 h .p.), ho a.ecb 3TH noBepb« Ha^e othoc«tc« He k opexy, a k .yöy. CB«3b c mhpom npe.KOB aaMeTHa h b nony.«pHHx öo.rapcKHx h MaKe.OHcKHx oÖHHa«x, npaypoHeHHHx k BoaHeceHHro h ^yxoBcKHM npaa.HHKaM, Kor.a, cor.acHO noBepb«M, .yma yMepmax, BpeMeHHO npeÖHBaro^ae Ha aeM.e, BO3Bpa^a.acb oöpaTHo Ha «tot» cBeT. Ho Tpa.aaaa b 3th .hh .ro.H OTnpaB.«.acb b aepKOBb, r.e, paccTe.HB no no.y opexoBbie BeTBH, npeK.OH«.H KO.eHH h npHc.ymHBa.Hcb b aByKaM, «koöh hcxo.h^hm ot BeTOK. CHHTa.ocb, hto TaKHM cnocoöoM moxho yBH.eTb h yc.HmaTb MepTBHx. OpexoBHMH BeTKaMH TaKxe ycTH.a.H Mora.H, coa.aBa« TeHb ..« .ym. BeTKH opexa c.yxH.H cBoeoöpaaHHM «mocthkom» Mex.y «3THM» h «TeM» cBeTOM, nyTeM, no KOTopoMy .yma npaxo.H.H b «3tot» Map h yxo.a.H oöpaTHO (CöHy, 1900, kh. 16-17, h. 2, c. 33). Ec.h 6h hhkto h3 .OMOHa.aeB He npame. b 3TOT .eHb b aepKOBb h He Boa.oxH. 6h Ha no. opexoBHe BeTKH, to .yma He cMor.H 6h BepHyTbc« oöpaTHo h ocTa.acb 6h aanepTHMH Ha «3tom» cBeTe (rpaMaTHKOB 1992, c. 35).
1SS
Tambrna AzanKuna
npncyTCTBHe b MH^o.orHH .ecHoro opexa HeK0T0pHx, Ha nepBbiñ B3r.afl, He coraacyro^Hxca flpyr c flpyroM mothbob (aBHaa cBa3b jie^HHbi h c BepxHHM, h c hexhim mhpom) noflTBepxflaeTca e^e oflHHM He6e3HHTepecHHM ^ktom. HecMoTpa Ha to, hto .e^HHa aB.aeTca yHHBepca.bHbiM o6eperoM ot rpoMa, h b Hee caMy He 6beT rpoM, imoflbi je^HHH ya3BHMH fl.a yflapoB rpoMa. Bo Bcex c.aBaHcKHx TpaflHiHax H3BecTHH noBepba o tom, hto rpo3a (rpoM) b oflHy h3 jieTHHx Honeñ nopTHT opexH. Ohh nepHeroT, nepBHBeroT, a na^e croparoT H3HyTpH. 9to c.ynaeTca o6hhho b Honb HaKaHyHe H.bH, Ha Kyna^y, b Honb HaKaHyHe flHa cb. neTpa h naB.a, a y boctohhhx c.aBaH — o6hhho b TaK Ha3biBaeMyro «paÓHHoByro» Honb (.eTHroro Honb c cH.bHoñ rpo3oñ), Hacro npHxofla^yroca .h6o Ha Kyna.y, .h6o Ha KaHyH YcneHHa BoropoflHibi. Cor.acHo no.eccKHM noBepbaM, rpoM h mo.hhü cxHraroT opexH h.h iBeT Ha hhx13, cp.: «MHraeT, MHraeT Hombro, to, roBopaT, paÓHHoBa Honb. OHa b CnacoBKy [ycneHcKHH nocT] 6biBaeT. Ma.aHKa [mo.hhü] no6H.a opexH. OpexH nona.HT, fle.aroTca nepHbie»; «^k rpoM rpeMHT, Tyna HaxoflHT cTpamHaa TaKaa — pa6HHoBaa Honb. ^k HapBemb opexoB, flaK nycTbix 6oroTo, nepHbie b cepeflHHe, roBopaT: „Ma.aHKa Cbe.a"» (nA, IoMe.bcKaa o6..). Cor.acHo yKpaHHcKHM noBepbaM, .ecHbie opexH xopomo n.ofloHocaT To.bKo b tom rofly, b kotopom flo H.bHHa flHa He 6bmo crnbHbix mo.hhh, HHane ohh 6biBaroT nycTbiMH h nepHbiMH b cepeflHHe (Kopemicki 1887, s. 206). Bochhhih b H.bHH fleHb ocTepera.Hcb flaxe npoH3HocHTb c.obo jyewnuK, 3aMeHaa ero Ha 3B^eMHcranecKoe zy6a, HHane opexH 6h nonepBHBe.H (OmHnoBHh 1949, c. 141).
3aMeTHM, oflHaKo, hto BepoBaHHa, aHMorHHHbie 3thm, b pa3Hbix o6.acTax C.aBHH cBa3HBa^Hcb He To.bKo c jiecHHMH opexaMH, ho TaKxe h c rpeiKHMH, a KpoMe Toro — co MHoxecTBoM flpyrHx pacTeHHH h 3.aKoBbix Ky.bTyp b nepHofl hx iBeTeHHa. B tom xe no.ecbe rpoM h mo.hhh b pa6HHoByro Honb cxHra.H He To.bKo opexH, ho TaKxe h iBeT Ha rpe^Hxe, Kapro^e.e, K.roKBe, .bHe: «TaKa Honb, ko.h 6.HcKaBHia [mo.hhü] e, a floxflro HeMa... 6.HcKaBHia 6oraTo nop^H po6ht. Cafl nopTHTca, aK iBeTe, cna.HBaeT iBeT. ByfleT n.oxoñ ypoxañ. ^k xhto iBeTeT, to cna.HBaeT iBeT, aK .eH iBeTeT, to Ma.o ceMaH 6yfleT» (nA, BpecTcKaa o6..).
TaKHM o6pa3oM, mh y6eflH.Hcb b cy^ecTBoBaHHH y c.aBaH pa3BHToñ cHcTeMH noBepHH o tom, hto b oflHy H3 .eTHHx Honeñ mo.hhü h rpoM HaHocaT ypoH iBeTy^HM pacTeHHaM, cxHraroT hx iBeT h TeM caMHM nopTaT 6yfly^He n.oflH. y boctohhhx c.aBaH 3th noBepba cBa3aHH c pü6hhoboh h Kyna.bcKoñ HonaMH, t. e. BpeMeHeM oco6eHHo cH.bHoro pa3ry.a HenHcroñ ch.h14. HanoMHHM, hto h H.bHH fleHb, b KaHyH KoToporo Mo.HHa cxHraeT opexH, TaKxe cwraeTca flHeM, Korfla HenHCTaa cH.a BHxoflHT Hapyxy, h H.ba-npopoK noBcrofly npec.eflyeT ee (cm.: MaKamHHa 1982). KpoMe Toro, HaM KaxeTca Hecy^aHHHM, hto npec.efloBaHHaM rpoMoBepxia noflBepraroTca pacTeHHa HMeHHo b nepHofl hx iBeTeHHa. ^BeTeHHe pa3Horo pofla flHKHx h Ky.bTypHHx pacTeHHH Bcerfla cnHTa.ocb BpeMeHeM onacHHM (cp. c.ynaH Ta6yHpoBaHHa c.oBa u,eecmu: o iBeTy^Hx orypiax roBopaT, hto ohh ¿opam, o xHTe — hto oho Kpacyemcn), He6.aronpHaTHHM fl.a .ro6oro npeflnpHaTHa, BpeMeHeM, Korfla 3aMeTHo aKTHBH3HpyeTca HenHcTaa cH.a (cp. cep6cKoe noBepbe o tom, hto bo BpeMa iBeTeHHa 6y3HHH nacTo BHflaT flbaBo.a), BpeMeHeM, KoTfla Ha 3eM.e noaB.aroTca flymH yMepmHx (cp. KoMn.eKc noBepHH o pyca.Kax, oÓHTaro^Hx Ha 3eM.e bo BpeMa iBeTeHHa xHTa15). ,nro6onbrrao, hto Ka.eHflapHHH nepHofl,
13	npeflBapHTenbHyro ny6nHKaiHro no TeMe cm.: Bafla.aHoBa 1983.
14	O pa6HHoBoñ ho^h cm. cneiHa.bHo: AranKHHa, TonopKoB 1989.
15	06 3tom cm. noflpo6Hee: BHHorpafloBa 1995.
189
MH^onoraa nepeBbeB b TpanHiHoHHoH KynbType cnaBaH: ne^HHa (Corylus avellana)
Korna b ochobhom h npoHcxonaT Bce onHcbiBaeMbie 3necb coöbrma, nocnenoBaTenbHo cB^3HBaeTca c TpeMa coöhthämh: c iBeTeHHeM pacTeHHH, pa3rynoM HenHcTH h c rpo3aMH. Ha ^HToMHp^HHe, ecnH neTOM cnynanacb cHnbHaa rpo3a, nronH roBopHnH: «nanopoTb HaBepHoe iBeTeT» (HA); Ha PoBeH^HHe cnHTanH, nTo b KynanbcKyro Honb, Korna iBeTeT nanopoTHHK, «BenbMbi nexaT b nanopoTH» (HA), a Ha ceBepo-BocTOKe Pocchh nepHon ot Kynanbi no HeTpoBa nHa Ha3biBanca ueembeM (Batckhh ^onbKnop, c. 113).
Moxho npennonoxHTb, nTo cnaBaHcKHe noBepba o necHbix opexax, coxxeHHbix MonHHeH h rpoMoM b onHy H3 neTHHx HoneH, npencTaBnaroT coöoH oahh h3 BapHaHToB croxeTa o npecnenoBaHHH HenHcToH chih (nepTa, xToHHnecKoro cy^ecTBa h T.n.) HeKoH BbicmeH chioh, Bonno^eHHoH b rpoMe h MonHHax hih opynyro^eH hmh. D,BeTbi hih nnonbi necHoro opexa cTaHoBaTca Ha BpeMa npHÖexH^eM neMoHHnecKoro hih xToHHnecKoro cy^ecraa h, nopaxaa ero, rpoM onHoBpeMeHHo HaHocHT Bpen h caMHM nnonaM (HanoMHHM b stoh cb«3h xapbKoBcKoe noBepbe o tom, nTo pycanKH npeöbrnaroT Ha 3eMne c Hanana iBeTeHHa xHTa h no Toro MoMeHTa, noKa He sazpeMum nepeuû zpoM, 3eneHHH 1995, c. 182). BepoaTHo, HMeHHo to oöcroaTenbcTBo, nTo necHbie opexH, KaK h npyrHe nnonbi, iBeTbi h pacTeHHa, MoryT BMe^aTb b ce6e xToHHnecKoe HnH neMoHHnecKoe cy^ecTBa, oöycnoBHno hx ocBa^eHHe b lepKBH, npHxona^eeca b Pocchh h b HonbmH, nTo cHMnToMaTHnHo, KaK pa3 Ha ycneHHe BoroponHibi ( 15/28.VIII), neHb, Ha3biBaeMbiH b Pocchh Opexoeuû Cnac. B stot neHb npoHcxonHno ocBa^eHHe TpaB, iBeTOB h pacTeHHH (cp. nonbcKoe Ha3BaHHe npa3nHHKa — Dzieñ Matki Boski Zielnej), a b KaHyH ero cnynanHcb «paÖHHoBHe HonH» c cHnbHoH rpo3oH, Korna aKoöbi iBenH nanopoTHHK, ne^HHa HnH paÖHHa. D,epKoBHoe ocBa^eHHe HnH rpoMoBoH ynap H3roHanH neMoHa (xToHHnecKoe cy^ecrao) H3 nnonoB ne^HHbi h nenanH hx npHronHHMH nna ynoTpeöneHHa b nHmy (bo MHorHx MecTax no ycneHHa BoroponHiH ecTb opexH 3anpe^anocb).
Bo3Bpa^aacb k MH^onorHH ne^HHbi, cnenyeT npH3HaTb, nTo ee xToHHnecKHe cBa3H He HcnepnHBaroTca npHnacTHocTbro HcKnronHTenbHo k oönacrn cMepTH h neMoHHnecKoMy Hanany. y öonrap, a TaKxe y pyMHH ceBepo-BocTonHoH CepÖHH öbrroBano noBepbe o tom, nTo necKa — «Kp^craHia Ha 3MHHTe», «KyMa Ha 3MHHTe», «3MHjcKa KyMa» (HeTpoB 1974, c. 383; 3eneBHh 1993, c. 266). HHorna HMeHHo sthm noBepbeM oötacHanH anoTponeHnecKHe cBoHcTBa ne^HHbi h ee cnocoÖHocTb oTBpa^aTb 3MeH; ero xe moxho cBa3aTb c croxeToM o nopaxeHHH nnonoB ne^HHbi rpoMoM. Bonpoc o ceMaHTHnecKHx cBa3ax THna «ne^HHa — MonHHa» h «ne^HHa — 3Mea» b KoHTeKcTe MH^onorHH 3MeH nonpoÖHee paccMoTpeH M. BeHoBcKoH-CtÖKoBoH (1987).
XToHHnecKHe cBa3H ne^HHbi HaxonaT h e^e onHy napannenb b BocTonHocnaBaHcKoM ^onbKnope. 3necb nonynHna mHpoKoe pacnpocTpaHeHHe neTcKaa h MononexHaa Hrpa «S^ep», HMero^aa oTnexnHBo BbipaxeHHyro nroöoBHo-öpanHyro cHMBonHKy, KaK H3BecTHo, npHcymyro b lenoM xtohhtockhm cy^ecraaM (BcnoMHHM neTaro^ero 3Mea — ochobhoto MH^HnecKoro nroöoBHHKa cnaBaHcKoro (^onbKnopa). Hrpa coctoht b cnenyro^eM. B cepenHHe Kpyra cHnHT HrpoK (napeHb hih ManbnHK) — «^rnnyp», «Kanep», «3ma», a BoKpyr Hero neBymKH (hih neBonKH) BonaT xopoBon h npH stom noroT necHro o ^mype, cHna^eM b opexoBoM KycTe, rpbi3y^eM opexH h xenaro^eM nonynHTb ce6e xeHy: «Can3iib, can3iib ^rnnyp, capon Kaparony, ^rnnyp apix Tonbiib, xamiica xonaib...» (HepHaycKaa 1919, c. 12), «Cbinbi, chah, amnype, OpixoBHH BHHKy, MaH co6h nHBKy! ^k He HMem, — 3aBTpa BMpemb, 3aBTpa no paHKy cxoBaeM y aMKy, — TaM nponanemb!» (rpHHneHKo 1899, c. 102). Ho 3aBepmeHHH neHHa «^^ep» BcKaKHBaeT c MecTa, öpocaeTca k oahoh h3 neBoneK, 3aKpbiBaeT ee nnaTKoM h KpyxHTca c HeH, nocne
190
Tambrna AzanKuna
nero neBo^Ka c nonenyeM oTnaeT eMy cboh BeHoK (nnaToK HnH HTo-HH6ynb npyroe) (o6 Hrpe cm. nonpoÓHee: BepHmTaM 1990). 3aMeTHM, hto bo Bcex H3BecTHHx HaM Hrpax MecToM oÓHTaHHa «R^epa» aBnaeTca HMeHHo opexoBbiñ KycT.
9poTHnecKHe KoHHoTauHH necHoro opexa, o6HapyxHBaeMbie b 3toh Hrpe (nro6Beo6HnbHHH 3Meñ b opexoBoM KycTe, TaHUbi c nonenyaMH, Bbi6op xeHbi), oKa3anHCb BecbMa nponyKTHBHHMH Ha cnaBaHCKoñ no^Be16. npHBeneM Haronee Bbipa3HTenbHbie npHMepb. B yxpaHHCKon CBanb6e 6bino H3BecTHo o6panoBoe neneHbe ¿opiwKÍ 'opemKH', KoTopoe HHorna nonHocHnH MononbiM nocne 6paHHoñ hohh (^aHKÍBCKa 1925). nonynapHbiñ b pyccKoM ^onbKnope mothb dapenua opexoe, KaK npaBHno, CBHneTenbCTBoBan o ceKcyanbHo-6paHHbix HaMepeHHax napHTena, cp. b necHe, HcnonHaeMoñ Ha nocHnenKax: «Hto npHCBaTanca... xeHHx, cynHn neBymKe opexoB neTBepHK. MHe opemKoB oneHb xoneTca, 3a Hero HnTH He xoneTca. R opemKH-To npHMy, npHMy, 3a Hero 3aMyx Heñny, Heñny» (Tpynbi KocTpoMCKoro o6^ecTBa, c. 35), cp. TaKxe npaKTHKy yro^aTbca opexaMH Ha MononexHbix nocHnenKax. CBa3b necHoro opexa c nro6oBHoñ TeMoñ HanpaMyro BbipaxeHa y pyccKoM (BnanHMHpcKoM) 3anpeTe py6HTb KycTH opemHHKa noToMy, hto ot 3Toro aKo6bi «napHeñ neBKH He 6ynyT nroÓHTb, a 6a6bi MyxHKoB» (3aBoñKo 1914, c. 163). B yKpaHHCKHx necHax nacTo ^HrypHpyeT «opexoBaa KopnMa» c KpacaBHneH-xo3aHKoñ: TaKaa KopnMa BocnpHHHMaeTca KaK MecTo Becenba, rynaHHñ h BHe6paHHoñ nro6BH (cm.: EonoBanKHH 1878, c. 82). E^e 6onee oTKpoBeHHbiñ cMHcn HMeroT pyccKHe 3aranKH o6 opemHHKe, onHCHBaro^He opexoBbiñ KycT b TepMHHax xeHCKoro Tena, a coÓHpaHHe opexoB — b MeTa^opHKe KoHTyca: «Ehh MeHa, noMH MeHa, none3añ Ha MeHa: Ha MHe ecTb MoxHaTKa, b MoxHaTKe rnanKa, b rnanKoñ cnanKo»; «Ctoht nepeBo MoxHaTo, b MoxHaToM-To rnanKo, a b rnanKoM-To cnanKo, npo 3Ty cnacTb h y Hac ecTb CHacTb» (Mmpo^aHoBa 1968, c. 66)17. HaKoHen, opexH h BeTKH ne^HHbi HamnH mHpoKoe npHMeHeHHe k nro6oBHoñ MarHH. K npHMepy, y roxHbix cnaBaH, ecnH neBymKa xoTena noKopHTb napHa, oHa nonxHa 6bina copBaTb neTopocnb necHoro opexa h TpHxnbi ynapHTb hm napHa no cnHHe, nocne nero oh yxe He Mor 6h CMoTpeTb hh Ha Koro npyroro (HajKaHoBHh 1985, c. 283).
9poTHnecKaa CHMBonHKa opemHHKa oTnacTH o6tacHaeTca ynono6neHHeM opexa 3epHy h ceMeHH (o neM mh ynoMHHanH BHanane), a TaKxe npHHannexHocTbro opemHHKa k nnonoBHM nepeBbaM, cp. mHpoKo H3BecTHbiñ 6anKaHCKHM cnaBaHaM o6braañ ocbinaTb MononoxeHoB opexaMH nonoÓHo ToMy, KaK y boctohhhx cnaBaH hx ocbinaroT 3epHoM.
Mh paccMoTpenH oTnenbHHe, Ha Ham B3rnan, ocHoBHHe acneKTH MH^onorHH necHoro opexa, conocTaBHB hx oTnacTH c THnonorHnecKH 6nH3KHMH eMy MH^ono3THnecKHMH o6pa3aMH (npexne Bcero — rpenKHM opexoM). B HTore mh MoxeM KoHCTaTHpoBaTb HecoMHeHHbñ napannenH3M oTnenbHHx acneKToB MH^onorHH necHoro h rpenKoro opexa. 9tot napannenH3M Hamen BbipaxeHHe b TaKHx ^aKTax, KaK CBa3b o6ohx nepeBbeB c o6nacTbro xTOHHnecKoro, o6^hh nna hhx mothb «npecnenoBaHHa neMoHa HnH xTOHHnecKoro cy^ecTBa, npany^eroca b opexe», Hcnonb3oBaHHe nnonoB Toro h npyroro nepeBa b KanecTBe «nH^H nna nym npenKoB» Ha CBaTKH, a TaKxe b tom, hto o6a nepeBa (ne^HHa h rpenKHñ opex) o6HapyxHBaroT tohkh conpHKocHoBeHHa c o6pa3oM ocHoBHoro, nepBoro, nepeBa cnaBaHCKoro MH^ono3THnecKoro neHnpapHa — c ny6oM (ne^HHa c acneKTe oTHomeHHñ «nepeBo — rpoM», «nepeBo — KynbroBbiH oói.eKT», a rpenKHH opex c no3HnHH «nepeBo — nenoBeK»).
16	BnpoqeM, He TonbKo Ha cnaBaHCKoñ. B nHTepaType h HCKyccTBe cpenHeBeKoBoñ EBponbi opexH BoenpHHHManHCb KaK 3HaK rpexoBHocTH, a caM opexoBbiñ KycT paccMaTpHBanca KaK 3poTHqecKHH cHMBon.
17	O6 3poTHqecKHx KoHHoTauHax ne^HHH B cnaBaHCKHx aaranKax CM. cne^anbHo: CHKHMHh 1996.
191
MH^onoraa aepeBbeB b xpaannHGHHGH Kynbxype cnaBaH: ne^HHa (Corylus avellana)
OTMeneHHaa HaMH npoTHBopeHHBOCTb o6pa3a necHoro opexa, a HMeHHo: ero npnnacTHOCTb h k BepxHeMy, h b HnxHeMy Mnpy oaHOBpeMeHHO — nerKO CHHMaeTca, ecnn paccMaTpnBaTb OTaenbHHe acneKTH MH^onornn neqnHH CKB03b npn3My HHTerpanbHoro o6pa3a MnpoBoro aepeBa, coeanHaro^ero Bce Tpn ypoBHa Mnpa h CBa3aHHoro b paBHon CTeneHH h c xn3Hbro, h co CMepTbro. Cnenn^HKa MH^ono3THnecKoro o6pa3a necHoro opexa KaK pa3 h coctoht, BO-nepBHx, b noHTH nonap-HOM npoTHBonocTaBneHHH OTaenbHHx acneKTOB o6pa3a (cp. 3KcnnnnnrH0e BHpaxeHne 3T0n aM6HBaneHTH0CTH b pyccKon 3araaKe o necHOM opexe: «Bnmy eucoKo, naaaro husko, CHapyxn zopbKo, BHyTpn cmdKo», Mmrpo^aHOBa 1968, c. 66), a, bo-btophx — b Hannnnn pa3BHT0n CHCTeMH ceMaHTHHecKnx h CHMBonHHecKnx CBa3en ne^HHH h rpoMa-MonHHH, MonHHH h 3Men, 3Men h ne^HHH b KOHTeKCTe hx MeanaTHBHHx ^yHKnnn, ^aKTHHecKn CHHMaro^nx BnanMyro «ancKpeTHOCTb» o6pa3a necHoro opexa.
HpnHaTHe coKpa^eHHa
AranKHHa 1995 — T. A. AzanKuHa. OpemHHK, ne^HHa II CnaBaHCKaa MH^onorna.
9HnHKnoneaHHecKHH cnoBapb. M., 1995. AranKHHa 1996 — T. A. AzanKuHa. CnMBonnKa aepeBbeB b TpaannnoHHon KynbType cnaBaH: ocHHa (onHT CHCTeMHoro onncaHHa) II KoaoBH cnoBeHCKnx KynTypa. Beorpaa, 1996, 6p.1.
AranKHHa, TonopKOB 1989 — T. A. AzanKuHa, A. M. TonopKoe. Bopo6bHHaa (pa6nH0Baa) HOHb b a3HKe h noBepbax boctohhhx cnaBaH Il CnaBaHCKnn h 6anKaHCKnn
^onbKnop. M., 1989.
A^aHacbeB 1990 — A. H. A^amcbee. HapoaHHe pyccKne nereHaH. H0B0cn6npcK, 1990. BaaanaHOBa 1983 — 0. Eadarnmea. «OpexoBaa ManaHKa» (K HHTepnpeTannn noBepnn,
CBa3aHHHx c opexoM h MonHHen) Il Honecbe h 3TH0reHe3 cnaBaH. M., 1983. BeH0BCKa-Cb6K0Ba 1987 — M. EeHoecm-ŒÔKoea. 3Mna — necKa — 3Men II BtnrapcKn ^onKnop, 1987, M 4.
BepHmTaM 1990 — T. A. EepHmmaM. CneaH apxannecKnx pmryanoB h KynbTOB b pyccKnx MonoaexHHx nrpax «^^ep» h «OneHb» (onHT peKOHCTpyKnnn) Il OonbKnop h 3TH0rpa^na. .., 1990. Bymerah 1911 — T. M. Eymemuh. HapoaHa MeannnHa Cp6a ce^aKa y .eBHy Il CE36, 1911, Kft. 17.
BnHorpaaoBa 1995 — Ä. H. Brnozpadoea. D,BeT0HH0e HMa pycanKn: cnaBaHCKne noBepba 0 nBeTeHHH pacreHnn Il 9TH0a3HK0Baa h 3TH0KynbTypHaa HCTopna HapoaoB BocTOHHon EBponH. M., 1995. BaTCKHn ^onbKnop — BaTCKnn ^onbKnop. HapoaHHn KaneHaapb. KoTenbHHH, 1995. TeoprneBa 1983 — H. Teopzueea. BtnrapcKa HapoaHa MHTonorna. Co^na, 1983. TonoBanKHn 1878 — M. 0. ronoeauKuû. HapoaHHe necHH TannnKon h yropcKon Pycn. M., 1878, h. 3.
TpaMaTHKOB 1992 — r. rpaMamuKoe. OpextT b TpaannnoHHaTa HapoaHa KynTypa II
BtnrapcKa eTHorpa^na, 1992, M 4. TpnHHeHKO 1899 — E. ff. rpmneHKo. 9TH0rpa^HHecKne MaTepnanH, co6paHHHe b
HepHnroBCKon n coceaHnx c Hen ry6epHnax. HepHnroB, 1899. BHn. 3. ^aHKÍBCbKa 1925 — P. C. ffaHKiecbKa. HapoaHi 06paa0Bi nnHHBa «ropimKi» Il 3anncKn ETHorpa^iHHoro TOBapncTBa ím. ffleBHeHKa, 1925, kh. l.
192
Tambrna AzanKuna
fleöe^KOBih 1907 — fl. fleôemKoeuh. OöiHaii cpncKor Hapofla Ha KocoBy Ho^y // CE3ö, 1907, Ka. 7.
3aBOftKO 1914 — r. K. 3aeoÜKo. BepoBaHHa, oöpaflb h oöbHai BeiHKopoccoB BiaflHMHpcKoft ryöepHHH // 3THorpa^iHecKoe oöoapeHie, 1914, M 3/4.
3eieHHH 1995 — ff.K. 3enenun. OHepKH pyccKoft MH^oiorii. M., 1995.
3eHeBHh 1978 — Cn. 3meeuh. HapoflHa BepoBaaa // TEMB, 1978, Ka. 42.
3eHeBHh 1993 — Cn. 3eneeuh. BepoBaaa h Tpafliniie CTaHOBHHmTBa npioöaiHix Hacera floaer flyHaBa // TEMB, 1993, Ka. 57.
KocTHh 1984 — n. Kocmuh. Tofliman oÖHHa'H y THTOBoyxHHKOM, noxemKOM h KOCj'epHHKOM Kpaj'y // TEMB, 1984, Ka. 48.
MaKamiHa 1982 — T. C. MaKarnuna. HibiH fleHb h Hiba-npopoK b HapoflHbx npeflCTaBieHiax h ^oibKiope boctohhhx ciaBaH // Oöpaflb h oöpaflOBbft ^oibKiop. M., 1982.
MapiHOB 1984 — fl. Mapunoe. HaöpaHi npoiaBefleHia b flBa TOMa. Co^ia, 1984, t. 2.
MHj'aTOBHh 1907 — C. M. Mujamoeuh. OöiHaji cpncKora Hapofla ia HeBHa h TeMHi>a // CE3Ö, 1907, Ka. 7.
MiTpo^aHOBa 1968 — 3araflKH / Hafl. noflroT. B. B. Mmpo^aHOBa. H., 1968.
HiKH^opoBCKHft 1897 — H.M. Hum$opoecmü. HpocTOHapoflHbie npiMeTb h noBepba, cyeBepHbe oöpaflb h oöbHaH, iereHflapHbe CKaaaHia o iinax h MecTax. BHTeöcK, 1897.
HA — HoieccKift apxiB HHCTiTyTa ciaBaHOBefleHia h öaiKaHHCTiKH PAH.
HeTpoB 1974 — n. nempoe. HeHeöHiTe cBoftcTBa Ha iecKaTa b HapoflHiTe noBepia // HaBecTia Ha eTHorpa^CKia HHCTiTyT c Myaeft, 1974, kh. 16.
HonoB 1994 — P. nonoe. HecKa // BtirapcKa MiTOioria. EHniKionefliHeH peHHiK. Co^ia, 1994.
HoTeöHa 1989 — A. A. nomeôna. CiOBO h mh$. M., 1989.
CepxnyToycKi 1930 — A. CepwnymoycKi. HpbMxi i aaöaöoHb öeiapycay-naiamyKoy. MeHcK, 1930.
CiKHMih 1996 — E. CukumuH. EpoTCKe KOHOTanij'e ^iTOHiMa y HapoflHiM aaroHeTKaMa / / KoflOBH ciOBeHCKHx KyiTypa. Beorpafl, 1996, öp. 1.
CoKOiOBa 1970 — B. K. CoKonoea. PaaaHCKie BapiaHTb CKaaKH o HeTpe h OeBpoHii // Bonpocb iiTepaTypb h MeTOfliKH ee npenoflaBaHia. PaaaHb, 1970.
CToaHOB 1970 — Cm. Cmoanoe. MaKoneBO. Co^ia, 1970.
Tpoj'aHOBih 1911 — C. Tpojanoeuh. TiaBHi cpncKi xpTBeHi oöiHaji. Beorpafl, 1911.
Tpyflb KocTpoMCKoro oö^ecTBa — Tpyflb KocTpoMCKoro HayHHoro oö^ecTBa no HayHeHiro MecTHoro Kpaa. KocTpoMa, 1923, Bbn. 29.
OiiinoBih 1949 — M. &ununoeuh. Xhbot h oöiHaii HapoflHi y Bhcohkoj' Haxi'i // CE3ö, 1949, Ka. 61.
OiiinoBih 1958 — BaHaTCKe Xepe / Pefl. M. OiiinoBih. Hobh Cafl, 1958.
Haj'KaHOBih 1985 — B. YajKanoeuh. PeHHiK cpncKix HapoflHix BepoBaaa o öi^KaMa. Beorpafl, 1985.
Haj'KaHOBih 1994 — B. YajKanoeuh. PeiHrij'a h KyiT flpBeTa h öHaaxa // CTapa cpncKa peiHrHj'a h MiTOiorija. Beiorpafl, 1994.
HapHaycKaa 1919 — Ä. Vapnaycma. flaaniHbia ryibHi. BiibHa, 1919.
Hhctob 1967 — K. B. ^ucmoe. PyccKie HapoflHbe coniaibHO-yToniHecKHe iereHflb XVII-XIX BB. M., 1967.
OKapih 1939 — M. ŒKapuh. Xhbot h oöHHaj'H «niaHHHana» nofl OpymKOM TopoM //
193
MH^COTorafl ÄepeBbeB b Tpa^HUHOHHOH KyabType cnaBAH: ae^HHa (Corylus avellana)
CE36, 1939, Kft. 54.
Onro6cKi 1927 — A. ttnmöcKi. MaTap'anbi no BbiBynaHbHa ^anbKnopy i mobh Bme6mwHbi. MeHCK, 1927.
AKJ - Archiwum Katedry Etnografii Slowian Uniwersytetu Jagiellonskiego. Krakow.
Bartoš 1892 - Fr. Bartoš. Moravskyl' lid. Tele 1892.
Cisek 1889 — M. Cisek. Materyjaly etiograficzne z miasteczka Zolyni w pow. Przemyskim / / Zbior wiadomosci do antropologii krajowej. Krakow, 1889, t. 13.
Fischer 1921—A. Fischer. Zwyczaje pogrzebowe ludu polskiego. Lwow, 1921.
Houška 1854 — J. V. Houška. Sbirka närodnich pover v Cechäch // Časopis Musea Krälovstvi Českeho. Praha, 1854, sv. 4.
Karwicka 1979 — J. Karwicka. Kultura ludowa ziemi Dobrzynskiej. Warszawa etc., 1979.
Kolbuszowski 1896 — E. Kolbuszowski. Materyaly do medycyny i wierzen ludowych // Lud, 1896, N 2, z. 2.
Kulišic 1939 — Š. Kulišic. Verovanja o leskovini u Bosanskoj Krajini // Pa3BHTaK, Baaa ^yKa, 1939, k&. 5.
Kuret 1970 — N. Kuret. Praznično leto Slovencev. Celje, 1970, d. 4.
Olejnik 1966 — Olejnik J. Liečivost' a magickä moc niektorych krov a stromov v poverovych predstaväch l'udu v oblasti Vysokich Tatier // Sbornik präc o tatranskom närodnom parku. Bratislava, 1966, N 9.
Rožic1908 — V. Rožic Prigorje. Narodni život i običaji // ZNŽO, 1908, knj. 13, N 1.
Schnaider 1899 — J. Schnaider. Z kraju Huculow // Lud, 1899, t. 5.
Die Mythologie der Bäume in der traditionellen Kultur der Slawen:
Corylus avellana
Tatjana A. Agapkina
In dem Artikel werden die Hauptaspekte der Mythologie der Wahlnuss (Corylus avellana) im Vergleich zu den ihr ähnlichen mythopoetisch wichtigen Pflanzen sowie im allgemeinen Kontext des slawischen ethnodendrologischen Systems analysiert. Zu betonen ist, daß die Grenzposition der Wahlnuss in diesem System und gleichzeitig ihre Zugehörigkeit zu den "wildwachsenden" Pflanzen, ihre bestimmten Kultfunktionen, die Verbindung mit dem Donner und mit der oberen Welt einerseits und mit dem chtonischen Element andererseits für die Symbolik dieses Baumes eine prinzipielle Bedeutung hat.
194
_ • •
Zu einigen Legenden und Uberlieferungen von Wasserquellen in Bulgarien
Nikolai Kolev
In this article the author analyses Bulgarian myths, legends and festive rites to illustrate the traditional beliefs and pagan notions about water, which lie at the core of many myths and legends about water sources, elves, dragons and water bulls as well as in Christian legends about gods and saints: Perun, Jesus, the Virgin Mary, St. George, St. Ivan Rilski, St. Naum, and others.
Das Leben ist ohne Wasser unvorstellbar. Das Wasser ist die lebensspendende Kraft für Menschen, Tiere und Pflanzen, ein Reinigungs- und Säuberungsmittel im alltäglichen und im sakralen Sinne des Wortes. Neben diesen nützlichen Qualitäten weist das Wasser auch andere, negativ geladene Eigenschaften auf. Es ist ebenso als nichtaufzuhaltende Naturgewalt bekannt, die alles auf ihrem Wege fortfegt, wie im Falle des verheerenden Regens oder Hagels und der Überschwemmungen.
Diese Bedeutung und Zweispältigkeit des Wassers bedingt auch die wichtige Stelle, die es in der Praxis der Riten und Bräuche des Menschen, in seinen Liedern, Überlieferungen und Legenden einnimmt, aus diesem Grunde ist es zum Kultus, zum sakralen Gegenstand geworden.
Das Wasser und die damit verbundenen Glaubensvorstellungen waren bereits Untersuchungsgegenstand einiger ethnographischer und folkloristischer Studien von D. Marinov, Chr. Vakarelski, St. Siskov, M. Arnaudov, E. Teodorov, I. Georgieva, Sv. Bogdanova, J. Mankova1.
fl. MapHOHOB, HapoflHa Bapa h penHrHo3HH Hapo^HH oömaH / Volksglaube und religiöse Volksbräuche / In: CEHY XXVIII, 1914, S. 37 - 41.
Chr. Vakarelski, Brunnen und Wasserleitungen in Bulgarien, In: Folklive, Stockholm, 1939, I, S. 5 - 43. Ct. fflHmKOB, KynTtT Ha Bo^ara b PoflonHTe / Der Wasserkult in den Rhodopen / In: H36p. npoH3B. Plovdiv 1965, S. 374 - 379.
M. ApHay^oB,, HeTHH oÖH^aH h MarHH / Sommerbräuche und Magie /, In: CTy^HH Btpxy 6tnrapcKHTe oöpe^y h nereHÄH, Sofia, 1971, Bd. I, S. 115 ff.
M. ApHay^oB, Brpa^eHa HeBacra / Die eingebaute Frau / ebenda, Bd. II, 1972, S. 221 ff.
EBr. Teo^opoB, flpeBHoTpaKHHCKo Hacne^cTBo b 6tnrapcKHa (onKnop / Altthrakisches Erbe in der bulgarischen
Folklore /, Sofia 1972, S. 11 - 20.
Hb. leopraeBa, EtnrapcKa Hapo^Ha MHTonorHa / Bulgarische Volksmythologie /, Sofia 1983, S. 69 ff. Cb. Eor^aHoBa, Kna^eHe^T - KynTypeH (aKT b ÖHTa Ha narpHapxanHoTo ceno / Der Brunnen, eine Kulturtatsache der patriarchalischen Lebensweise auf dem Lande /, In: E<J> 1984, H. 1, S 53 - 63. H. MaHKoBa, OöpeflH cBtp3aHH c Bo^ara h cpeöpoTo / Bräuche im Zusammenhang mit dem Wasser und dem Silber /, In: EO 1987, H. 2, S. 14 - 20.
195
Zu einigen Legenden und Überlieferungen von Wasserquellen in Bulgarien
Der vorliegende Beitrag richtet seine Aufmerksamkeit auf einen Teil der Nishtmärchen-Prosa, nämlich auf die toponymischen Überlieferungen und auf die ätiologischen Legenden, denen Beziehungen zu verschiedenen Wasserquellen in Bulgarien (Wasserleitungen, Brunnen, unterirdischen Flüssen, Seen) nachzuweisen sind. Durch die Analyse ausgewählter Belege wird der Versuch unternommen, Besonderheiten der traditionellen Weltanschauung der Bulgaren während ihrer 13 Jahrhunderte alten Geschichte aufzudecken. Der Interpretation werden sowohl bereits veröffentlichte, als auch vom Autor selbst belegte Überlieferungen und Sagen unterzogen2.
Bevor sich der Mensch des Wasserkreislaufes in der Natur bewußt geworden ist, hat er verschiedene Vorstellungen vom Ursprung des Wassers gehabt. Nach einigen dieser Vorstellungen befände sich alles Wasser im Himmel, woher es durch den Regen auf die Erde komme, um die Erde zu befruchten.
Andere Beobachtungen zeigen dem Menschen, daß das Wasser auch aus unterirdischen Speichern an die Erdoberfläche kommt; er glaubt dann, daß dort verschiedene dämonische Wesen mit zerstörerischen Kräften wohnen, die ihm gegenüber oft feindlich gesinnt sind: Berg- und Waldfeen ('samovili' in Westbulgarien und im Strandsha-Gebirge; 'samodivi' in Ostbulgarien), Hexen ('judi' in den Westrhodopen und im Piringebirge), Nixen ('rusalki'), Ungeheuer ('hali'=, Feuerdrachen ('zmejove') u.a.3. Der Teufel in seiner Eigenschaft als christliche Verkörperung des Chaos lebt manchmal auch im Wasser und kann Tod durch Ertränken herbeiführen.
Weit verbreitet im Volk ist der Glaube, daß die genannten mythischen Wesen die Seen, die Wasserquellen und die Brunnen beschützen, wovon Toponyme wie Samovilski kladenec (Waldfeenbrunnen), Samodivski kladenci und Samodivski ezera (Waldfeenbrunnen und Waldfeenseen), Samovilska cesma (Waldfeenwasserquelle), Rusalsko kladence (Nixenbrunnen), Samovila (ein Dorf bei Kardshali) u.a.m.4 ein Zeugnis ablegen. Südlich des Rusalijski-Passes im Balkan-Gebirge befindet sich Samodivsko kladence (Bergfeenbrunnen), wo die Bergfeen sich zu ihrem Reigen treffen, aus welchem Grunde man dort kleine Kringel hinterläßt5. Eine Wasserquelle desselben Namens gibt es auch bei Zlatitza, in der Region um Sofia, wie auch in der Nähe von Kalofer6. Unweit der Stadt Sopot befindet sich eine andere Wasserquelle, Russalsko kladence (Nixenquelle) genannt7. Die Wald- und Bergfeen rächen aich an jedem, der ihre Besitztümer überschreitet und ihren Frieden stört. So z.B. wird Jova entführt als Strafe dafür, daß sie ihr Gesicht im Bergfeensee des Walachei-Gebirges gewaschen hat, sie muß dann Bogen und Pfeile tragen und die Bergfeenkinder baden8.
2	E. OraaHOBa, flocmrHaao äo Hac /Überliefertes/, Sofia 1984. Bei der Analyse wurden auch unbekannte Überlieferungen und Legenden benutzt, die durch die aktive Mitarbeit von Fernstudenten der Historischen Fakultät der Hl. Hl.-Kyrill-und-Method-Universität aufgenommen wurden, denen ich meinen herzlichen Dank aussprechen will.
3	Hb. TeopraeBa, bereits zit., S. 111.
4	fl. MapHHOB, XHBa cTapHHa / Lebendiges Altertum /, Bd. I, Russe 1891, S. 23.
E. ÄHreaoB, CaMOBH^HTe b EiarapcKaTa Hapo^Ha noe3Ha / Die Berg- und Waldfeen in der bulgarischen Volksdichtung /, In: HCCO, Sofia 1911, S. 14.
K. HpeqeK, niTyBaHHa no EiarapHa / Reisen durch Bulgarien /, Sofia 1974, S. 325, 372, 722.
Hb. TeoprHeBa, zit., S. 112.
Hb. TeoprHeBa,, AEHM, 570-II, S. 7, 43, 576-II, S. 2.
5	Hb. TeoprHeBa, bereitszit., S. 112.
6	ebenda
7	ebenda
8	ebenda, S. 113.
196
Nikolai Kolev
In einem Volkslied ist von einem gewissen Stojan die Rede, der in der Nacht zum Bergfeensee gegangen ist, um Wasser für den Knaben seiner Schwester zu holen. Dort hat er drei Frauen, Bergfeen, angetroffen, die ihre Söhne im Wasser gebadet haben. Sie fragen ihn:
O weh, Stojan, Stojan,
warum bist du hierher gekommen,
noch vor dem ersten Hahnenschrei.
Geh heim, Stojan,
daß dich deine Mutter gesundpflegen kann.
Noch bevor Stojan zu Hause ankommen kann, hört man den ersten Hahnenschrei. Stojan erkrankt und stirbt darauf am Fieber9. Wenn man sich also mit Wasser wäscht, wo Berg- und Waldfeen gebadet haben, dann erkrankt man: man wird blind, taub, gelähmt, man wird zum Krüppel, mit anderen Worten, man holt sich die allerschwersten Krankheiten ('uradisva', wie es im Volksmund heißt).10
Vom Wasser des Samovilski kladenec oder Sveti kladenec (Bergfeen-brunnen, Heiliger Brunnen) glaubt man, daß es heilkräftig, aber auch gefährlich ist. Ihre Heilkraft wird nur freitags wirksam, weil die Bergfeen, die Herrinnen der Quelle, an diesem Tag ins Gebirge gehen, um sich dort auszutoben. Viele, die fiebrig sind, besuchen am Freitag die Quelle, waschen sich dort, manche legen sich paar Stunden daneben hin. Die Kranken reißen je drei Streifen von ihren Taschentüchern ab und binden sie an drei Bäume, die in der Nähe des Brunnens wachsen11.
In der Volksdichtung findet sich auch das Motiv des Quellen-Versiegens durch eine Waldfee, weshalb sie dann in den Kampf mit mannhaften Helden tritt. So heißt es in einem Volkslied über eine Bergfee namens Gjurja oder Vida, daß sie 12 Wasserquellen in einem ausgedorrten Baum gefangen hält, der nur am Wipfel grün ist. Marko befreit das Wasser, wobei er den Baum fällt12.
In den von den Brüdern Miladinovs gesammelten Volksliedern besingt man ein junges Mädchen Neda, die ins Gebirge geht, Wasser aus einer kühlen Quelle trinkt, über gelbe Waldfeenblumen tritt, weshalb die Bergfeen als Strafe ihre Augen verlangen. Neda bittet um eine Verzögerung der Strafe bis zu Christi Himmelfahrt, damit sie an den Tänzen am Lazarustag, zu Ostern und am Georgstag teilnehmen kann13.
Zwischen dem Dorf Mokresch und dem Dorfteil Jumerova mahala bei Michajlovgrad befindet sich Ristov kladenec, der den Namen Risto nach einem Mann trägt, welcher durch die Wald- und Bergfeen seinen Tod gefunden hat. Hier leben und baden der Sage nach die Waldfeen in der Zeit zwischen März und August (zwischen den Feiertagen Blagovec und Seknovenie).14
Informationen über Wasserquellen, die mit diesen dämonischen Wesen verbunden sind, gibt es über das Dorf Stojanovo bei Ardino, Avren bei Kardishali über den Sinijat
9	ebenda, S. 113-114.
10	ebenda, S. 114 - 115.
11	E. OrHAHOBa, bereits zit., S. 113.
12	Hb. reopraeBa, bereits zit., S. 113. EiarapcKH lOHamKH enoc / Bulgarischer Heldenepos / CEHY, Bd. 53, Sofia, 1974, S. 147, S. 149.
13	Epa-ra MHaa^HHOBH, EtarapcKH Hapo^HH necHH / Bulgarische Volkslieder /, Sofia 1961, S. 6, 8.
14	Hb. reopraeBa, bereits zit., S. 112.
197
Zu einigen Legenden und Überlieferungen von Wasserquellen in Bulgarien
pischur (der blaue Brunnen) im Balkan-Gebirge bei Teteven, über den Černoto ezero (den Schwarzen See) bei Samokov, über die Seen und Wasserquellen im Pirin-Gebirge15.
In der Nähe des Dorfes Insovo bei Jambol hört um Mitternacht das Wasser zu quellen auf, damit die Wald- und Bergfeen in den drei Wasserbecken baden können16. Waldfeen sollen auch beim Brunnen nach des Dorfes Radilovo bei Pazardshik erschienen sein, wo man Wasser nur auf der linken Seite schöpfen darf, denn rechts der Quelle speisen die Feen17.
Es wurden auch Berichte aufgeschrieben, in denen die Erzähler von ihren eigenen Kontakten oder von Begegnungen der Familienangehörigen mit Wald- und Bergfeen sprechen. Dazu gehört die Erzählung über den Waldfeenbrunnen, der 1951 von Tzvetan P. Balevski aus Ugarčin bei Loveč nach seiner Begegnung mit einer Waldfee gebaut worden ist18. Das Interessante dieser und anderer ähnlicher Erzählungen besteht darin, daß sie neben phantastischen Elementen auch realistische Einzelheiten, eine detaillierte Schilderung der Erlebnisse der handelnden Personen enthalten, mit einem bestimmten Ort und Zeitpunkt verbunden. Darin zeigt sich das Bestreben des Erzählers, überzeugend und glaubwürdig in seinem Bericht über die Zusammenkunft mit den "bösen Geistern" zu wirken.
Ähnlich verhälts es sich um den Bericht über den Hadshi-Kadir-Brunnen, der beim Dorf Kozitza in der Region von Targovischte von Hadshi Kadir errichtet worden ist, nachdem sein Sohn den Reigentanzplatz der Berg- und Waldfeen betreten haben soll, worauf er erkrankt ist19.
Unweit von Sopot und Kalofer hat es eine Wasserquelle gegeben, Rusalijsko kladenče genannt, wo die Kranken während der Rusalska-Woche20 Genesung gesucht haben. Ein ähnlicher Brunnen befindet sich bei Malo dere, an der Landstraße zwischen Koprivschtica und Plovdiv21.
Oberhalb der Bahnhofsstation Kostenetz, unter dem Ravni-Gipfel des Rila-Gebirges, liegt der schöne Belmeken-See. Früher hat man geglaubt, daß in diesem tränenklaren See ein schreckliches Ungeheuer lebt22. Es soll mehrmals im Jahr aus dem Wasser gekommen sein. Dann habe sich dichter, undurchsichtiger Nebel ausgebreitet, Blitze hätten den Himmel durchzuckt, Donner hätten "Himmel und Erde" erschüttert, es hätte verheerend gehagelt, worauf die Ernte vernichtet gewesen sei.
Nach den Volksvorstellungen bis zum Ausgang des 19. und dem Anfang des 20. Jhs. hatte jedes Haus, jeder Ort, jeder Baum, jede Quelle einen eigenen Beschützer, einen Herrn, der sehr häufig in der Gestalt einer harmlosen Schlange (Natter) oder eines anderen Tieres (Katze, Wasserochse, Schafsbock, Kreuzadler, Hund), nicht selten aber auch als menschliches Lebewesen in den Glaubensvorstellungen existierte. Herrinnen-Funktionen hatten auch Wald- und Bergfeen, Nixen, Hexen und Nachtgespenster23.
Dieser schützende Geist wird häufig Wirt ('stopanin', 'sajbija', 'domakin'), Statthalter ('namestnik') oder Nachtgespenst ('stichja', 'talasam') genannt.24 Während Wirt und
15	E. OraaHOBa, bereits zit., S. 92 - 93. Privatarchiv des Autors.
16	Hb. TeoprHeBa, bereits zit., S. 112.
17	ebenda
18	Privatarchiv des Autors.
19	Privatarchiv des Autors.
20	Hb. TeoprHeBa, bereits zit., S. 112. Privatarchiv des Autors.
21	H. KapaBenoB, 3anHCKH 3a EtnrapHa h ötnrapHTe / Notizen über Bulgarien und die Bulgaren /, Sofia 1933, S. 6.
22	E. OraaHOBa, zit., S. 95 - 96.
23	Privatarchiv des Autors.
24	Hb. TeopHreBa, bereits zit., S. 175.
198
Nikolai Kolev
Statthalter als die Seelen verstorbener Vorfahren aufgefaßt werden, so ist das Nachtgespenst ein erdachter Wirt/Herr, der durch Opfergabe oder durch den Einbau des Schattens eines lebendigen Menschen zu seiner Schutzfunktion kommt. Es ist ein Unterschied zu machen zwischen dem Schutzherrn eines Hauses und dem Schutzherrn von natürlichen Objekten (Wasserquellen, Bäume, überhaupt Objekte und Orte, die nicht vom Menschen bearbeitet werden).
Nach den bis zum Anfang des 20. Jhs. verbreiteten und belegten Vorstellungen widerspiegelt diese Hochachtung dem Schutzherrn gegenüber unterschiedliche Aufschichtungen im Bewußtsein des Volkes. Der Schutzherr ist eine komplexe, vielschichtige mythologische Gestalt, in der unterschiedliche animistische, totemistische und andere Glaubensvorstellungen einander begegnen. Der Glaube an ein Totem (Schlange, Adler, Hund, junge Katze) geht dem Glauben an einen Menschen in der Gestalt des verstorbenen Vorahnen voraus25. Der Herr eines Besitztums, eines Ortes oder einer Wasserquelle, d.h. eines Naturobjektes, nimmt häufiger einen zoomorphen Charakter an.
Aus Nordwestbulgarien, vor allem aus der Gegend um Vratza wie auch aus der Samokover Region stammen einige Legenden, in denen es um einen den Wasserspeicher bewohnenden Wasserochsen geht. Er kommt dort aus dem Wasser hervor und greift den Dorfbullen an oder verfolgt die Kuhherde. Die Bauern besiegen ihn nur mit List, wobei sie Stirn und Brust des Dorfbullen mit Eisenstacheln versehen und das Tier mit eisernen Hörnern schmücken. Der verwundete Wasserochse kehrt in seine Wasserquelle zurück und wird nie wieder gesehen, oder aber er rächt sich an den Menschen, indem er Überschwemmungen oder Dürrezeiten herbeibeschwört26. Es ist klar, daß der Wasserochse als Herr ('stopanin', 'sajbija') aufzufassen ist.
Der in der Erde eingegrabene Schatz hat ebenfalls seinen Herrn in der Gestalt eines Nachtgespenstes ('talasam')27. Ihn darf man nich töten, im Gegenteil, ihm soll man Gaben überbringen: Brot, Salz, eine Silbermünze, Beim Eingraben des Schatzes wird auch ein Seil danebengelegt, und es werden die Worte gesprochen: "Vergiß deinen Namen nicht!" Das so besprochene Seil verwandelt sich in eine Schlange und wacht über den Schatz, bis sein Besitzer zurückkehrt. Dieser hat dann die Worte zu sprechen: "Werd wieder zum Seil!" Darauf verwandelt sich die Schlange in ein Seil und man kann seinen Schatz wieder haben.28
In Nordwestbulgarien glaubt man, daß der Schatz von Feuerdrachen oder von Heiducken in der Erde verborgen wird, welche ein Nachtgespenst als Wache aufstellen: "Das Geld liegt hier eingegraben, es wird sich als Hund /Bär, Gans oder ein anderes Tier/ an der Erdoberfläche zeigen. Wer es ausgraben will, darf es bekommen, nur wenn er bestimmte Handlungen ausführt." Es gibt auch besonders begabte Hellseher, die den Zauberspruch und den Ort genau nennen können. Beim Ausgraben des Schatzes darf nicht geredet, gelacht oder geniest werden, sonst versinkt der Schatz noch tiefer und die Schatzgräber werden noch weiter ausgraben müssen29.
25	ebenda, S. 182.
26	Privatarchiv des Autors. Wasserochsen-Legenden wurden in Karagjol bei Samokov, in Rabischko blato bei Vidin, wie auch in den Wratzaer Däfern Lesura, Krivodol, Galatin aufgeschrieben.
27	Hb. reopraeBa, bereits zit., S. 173.
28	Privatarchiv des Autors.
29	Hb. reopraeBa, bereits zit., S. 173.
199
Zu einigen Legenden und Überlieferungen von Wasserquellen in Bulgarien
Es sind verschiedene Verfahrensweisen und Techniken bekannt, um festzustellen, wer der Herr des Schatzes ist und welches Opfer zu bringen wäre. Am Ort, wo der Schatz verborgen ist, taucht dieser Herr auf und tanzt an ganz bestimmten Tagen (Vassilstag, Blaogovec, Georgstag, Enjovstag), wobei er als Flamme oder als kleines Feuerlicht dreimal aufleuchtet.
Um die Gestalt des Herrn zu entdecken, bestreut man den Schatzort mit Asche oder Mehl und wartet die Nacht über, damit ein Tier darauf tritt. Am Morgen hat man da eine Spur, wonach man das Schutztier entdeckt oder die Entscheidung trifft, welches Tier als Opfergabe zu bringen wäre. Erst nach der Opfergabe darf man mit dem Ausgraben anfangen30.
In der Zeit der bulgarischen Wiedergeburt haben alte Leute aus Targovischte erzählt, daß Han Krum während seiner Flucht durch den Varbischki-Paß irgendwo in der Umgebung seinen Schatz eingegraben hat. Der Sage nach soll der Schatz bei Vollmond getanzt haben, wobei man Feuerflammen und Frauengelächter vernommen hat. Viele Schatzgräber haben ihr Glück ausprobiert, um den Schatz zu entdecken und zu sich zu nehmen, die Mühe ist aber vergebens geblieben. Keinem ist es gelungen den richtigen Ort zu finden. Soll jemand in der Nähe gekommen sein, so ist er gleich auf die Erde gefallen. Auch drei Brüder haben ihr Glück versucht. Aber während des Grabens hat sich anstelle des Schatzes kaltes Wasser eingefunden. Damit die Stadt keinen Schaden nimmt, haben sie beschlossen, einen Brunnen zu bauen. Der Bau sollte halten, deshalb haben sie dort den Schatten eines Mädchens eingebaut, welches zuerst beim Brunnen erschienen ist, um Wasser zu holen. Aus diesem Grunde heißt der Brunnen Momina cesma (Mädchenbrunnen)31.
Das Motiv des eingebauten menschlichen Schattens ist auch bei Radina cesma (Radas Brunnen) bei Pernik anzutreffen, ebenso in der literarischen Bearbeitung des Themas durch P.R. Slavejkov in dem bekannten Gedicht "Die Quelle der Weißbeinigen", wo der Anlaß der Brunnen zwischen den Städten Harmanli und Ljubimec ist, in der Region von Haskovo32.
Dieses Motiv ist weit verbreitet unter den Balkanvölkern, wovon die Untersuchungen von M. Arnaudov zeugen33. Der Autor ist der Meinung, daß dieses Motiv ursprünglich auf griechischem Boden entstanden ist, von wo es sich dann in den anderen Balkanvölkern verbreitet hat.
Das Thema "Einbau eines Menschen" und "menschliches Opfer", wie es in den bulgarischen Volkslegenden des 18. und des 19. Jhs. verbreitet ist, wurde bereits aus den Erinnerungen gelöscht. Eine frühere Etappe der Opferpraxis illustrieren die Volkslieder. Der Einbau darf als magische Schaffung eines Herrn angesehen werden, der den Bau beschützen soll34 .
Eine der vielleicht wichtigsten Funktionen des Feuerdrachens als mythologische Gestalt der Bulgaren ist die Funktion des Herrn, des Beschützers, die ihn mit der Schlange in ihrer Eigenschaft als Herrin verwandt macht. Vielen Sagen nach haben die Feuerdrachen riesige Schätze, die sie scharf bewachen. Vor seinem Tode verbirgt der Drache seinen Schatz
30	ebenda
31	Privatarchiv des Autors.
32	M. ApHay^oB, 1972, bereits zit., S. 221 ff. Privatarchiv des Autors
33	M. ApHay^oB, 1972, bereits zit., S. 415 ff.
34	Hb. reopraeBa, bereits zit., S 177.
200
Nikolai Kolev
in der Erde und stellt ein Nachtgespenst als Wächter ein35. In einer von D. Marinov aufgeschriebenen Legende wirkt die Gestalt des Feuerdrachens fast identisch wie die mythische Gestalt der Schlange.
In einem Volkslied fragt Rada den Feuerdrachen, der sie seit drei Jahren liebt, wo sein Zuhause ist, und er antwortet ihr:
"Liebe Rada, du meine Schöne, geh aus dem Dorf, auf den Berg, sieh dich dann um: dort, wo du einen blauen See siehst, dort, wo du dunkle Wolken siehst, dort, steht mein Haus, mein Haus und mein Gehöft, mein Gehöft und meine Veranda...36
Nach manchen im Volk verbreiteten Glaubensvorstellungen besuchen die Feuerdrachen Wasserquellen, Flüsse und Brunnen oder bewohnen sie. Man erzählt, daß ein Feuerdrache den Brunnen beim Dorf Bojanovo aus der Jamboler Region häufig besucht haben soll, um darin zu baden. Ringsum hätte man Schuppen gefunden, bei denen man Heilkraft vermutet hat37. Zur Erntezeit soll eine Frau aus dem Dorf Zrebino bei Jambol zur nahen Quelle gegangen sein, um Wasser zu trinken. Als sie den Feldrain erreicht hat und sich über das Wasser gebeugt hat, ist das Wasser in Bewegung geraten, dort hat sich ein großes, glänzendes, mit Schuppen bedecktes Wesen gezeigt, welches einer Schlange sehr ähnlich gewesen ist, mit dem einzigen Unterschied, daß es menschliche Augen hatte. Das wäre ein Feuerdrache gewesen38. Im Dorf Reljovo in der Samokover Region hätte der Feuerdrache oft den "Drachenbrunnen" besucht39.
Außerstande, die Heilkraft mancher Quellen zu erklären, hat man dem Wasser magische Kräfte zugeschrieben: Menschen und Tiere wieder gesund zu machen. Leute aus nah und fern haben solche Quellen besucht und sich daraus Linderung und Heilung der Leiden versprochen. In der Nähe dieser Wasserquellen, welche auch "ajazma" genannt wurden, haben jedes Jahr Volksfeste und Jahrmärkte stattgefunden. Manche Kranken, die dort Genesung gefunden haben, haben bei der Quelle Opfer dargebracht.
Von der Heilquelle Petkanova voda (Petkanovs Wasser) handelt die Überlieferung aus dem Dorf Taza bei Stara Zagora40. Nordwestlich des Dorfes, in der Gegend Mecitet, gibt es eine Wasserquelle. Zu alten Zeiten, als die Bojaren des Ortes die Flucht in das Balkan-Gebirge ergriffen haben, um den Türken zu entkommen, soll ein blindes Mädchen aus der Familie der Petkanovs vor der Quelle stehengeblieben sein. Es hat sein Gesicht dort gewaschen und darauf das Licht der Welt erblickt. Seit dieser Zeit trägt die Wasserquelle den Namen des Mädchens, Petkanovs Wasser. Nicht nur in der Vergangenheit, sondern
35	ebenda, S. 83.
36	P. fflonoBa, Hapo^eH MHporaefl b CaMOKOöcKO / Volksanschauungen in der Region von Samokov, nach dem zitierten Werk von I. Georgieva, S. 80 /.
37	Privatarchiv des Autors.
38	Privatarchiv des Autors.
39	P. monoBa, bereits zit., S 129.
40	Privatarchiv des Autors.
201
Zu einigen Legenden und Überlieferungen von Wasserquellen in Bulgarien
auch heute suchen die Leute die Quelle auf, trinken ihr Wasser, waschen sich dort, manche bleiben sogar die Nacht über, andere lassen verschiedene Gaben da: frischgebackenes Brot, Tücher, unterschiedliche Kleidungsstücke.
Eine gleichnamige Wasserquelle, Petkanovs Quelle, gibt es auch auf der Südseite des Rusalijski-Passes41. Auch hier tragen die Kranken ein rundes Bauernbrot mit, dadurch überprüfen sie aber ihr zukünftiges Schicksal. Taucht das Brot unter, verheißt es Unheil; bleibt es auf der Oberfläche, dann bedeutet das Genesung. Außerdem wirft man auch Münzen in das Wasser.
Die Kirche, wie auch später die weltliche Macht, haben einen erbitterten Kampf gegen die heidnischen Verehrung des Wassers geführt. Nicht imstande, den heidnischen Wasser-Kult zu besiegen, hat sich die Kirche gezwungen gesehen, sich anzupassen. Sie hat einige Quellen für "wundertätig" erklärt und in ihrer Nähe kleine Kapellen oder Kirchen gebaut. Als Schutzpatron hat sie Heilige ernannt (anfangs Mutter Gottes, später auch andere christliche Heilige). Es wurden auch Bittgebete und Wallfahrten organisiert. So ist es zu einem Synkretismus zwischen Heidentum und Christentum gekommen.
Es sind circa ein Dutzend Überlieferungen und Legenden über Wasserquellen bekannt, die mit religiösen Persönlichkeiten verbunden sind: der slavische Gott Perun; Gott, Jesus Christus, Mutter Gottes, der Hl. Georg; regionale moslemische Heilige wie Ak buba, Oris buba, Deri buba; Heilige aus dem bulgarischen christlichen Pantheon wie der Hl. Ivan Rilski, der Hl. Naum42. Es sind deutlich die unterschiedlichen religiösen Schichten zu sehen.
Die Heiligen erscheinen oft als Greise in einfacher, sogar zerrissener Kleidung, mit einer Krücke oder einem Gehstock in der Hand. Sie kommen auf die Erde, gehen unter die Menschen, um sie auf die Probe zu stellen und die Bösen zu bestrafen. Dort, wo sie mit der Erde in Berührung kommen, quillt Wasser hervor, welches immer heilkräftig ist. Außerdem vollbringen sie auch andere Wunder: sie können ein Kind in einen Spatzen verwandeln, lassen eine Frau zu Stein werden oder lassen zur Abschreckung der anderen zwei Brüder einander töten, sie verwandeln Schlamm in Brot, füllen Gefäße mit Käse und die Fässer der guten Menschen mit Wein, das gestohlene Fleisch verdirbt. Die Menschen werden auch mit Erdbeben bestraft, die die Ortschaften vernichten u.ä.m. Gott nimmt eine irdische Gestalt an, besucht ein Volksfest, ißt "ceverme" (aufgespießtes gebratenes Lammfleisch), und wenn er Durst bekommt, schaut er auf die Erde, worauf dort kaltes, wohlschmeckendes Wasser hervorquillt. Der Hl. Georg z.B. verwandelt sich in einen Hahn, um mit seinem Hahnenschrei den Teufel verjagen zu können. Eine andere Legende erzählt vom Brunnen "Svetena voda" (Heiliges Wasser) bei Ovcarci und Spareva banja in der Kjustendiler Region, wo sich in der Vergangenheit die Mutter Gottes die Hände gewaschen haben soll. Seitdem ist das Wasser heilkräftig geworden43.
Von der Heilquelle in der Nähe von Cernicevo bei Kardshali glaubt man, daß die Stelle, an der sich das Wasser sammelt, irgendwann Jesus Christus betreten haben soll44. Nach einer anderen Überlieferung ist das Wasser der Quelle südwestlich von Peschtera durch das Blut von zwei Einsiedlern heilkräftig geworden45.
41	Privatarchiv des Autors.
42	E. OraaHOBa, bereits zit., S. 102. Privatarchiv des Autors.
43	Privatarchiv des Autors.
44	Privatarchiv des Autors.
45	Privatarchiv des Autors.
202
Nikolai Kolev
Heilbrunnen hat es auch bei Russe gegeben, in der Nähe des heutigen Restaurants "Lipnik". Auch hier fanden in der Vergangenheit Volksfeste (Jahrmärkte) statt, es gab einen slawischen Tempel, eine kleine Kapelle (es kann sich vielleicht auch um eine kleine Kirche gehandelt haben, denn beim Bau der Gaststätte hat man ein großes Kreuz gefun-den46.
Über Gjumjisch ceschme (Silberbrunnen) im Tal der Pirole bei Kavarna existiert folgende Legende:
In der schweren Zeite der Osmanen-Fremdenherrschaft ist das Gerücht über die Schönheit der Mädchen aus Kavarna bis zu den Ohren des Sultans gekommen. Der Grund für ihre Schönheit wurde dem Zauber des Wassers zugeschrieben, welches den kristallklaren Quellen im Tale am Meer entströmte und aus welchem die Mädchen getrunken und in dem sie gebadet haben.
Das Volk glaubte, daß die Zauberkraft des Wassers den Wald- und Bergfeen zu verdanken sei, die das Tschirakman-Tal bewohnt haben. Einmal im Jahr, in einer vom Mond beschienenen Nacht sollen sie im heiligen Bach gebadet haben. Singend haben sie in die Mutter der Quellen die von ihnen zu geheimer Stunde und an geheimen Orten gepflücktet Heilpflanzen hineingeworfen, die ihre magischen Kräfte dem kristallklaren Wasser der Quelle weitergegeben haben. Die stärkste Heilkraft hatte das Wasser von Gjumjusch ceschme. Das Gerücht hat sich allmählich in einen festen Glauben verwandelt. Jede Frau hat nach Möglichkeiten gesucht, wenn auch nur einmal, die Lippen mit diesem Wasser zu benetzen, vom Brunnen zu trinken oder den Körper mit dem Wasser zu übergießen.
Auch der Sultan hat von dieser Wasserquelle gehört, wie auch von der Schönheit der Warnaer Frauen. Dann hat er seine Hofleute zu sich gerufen und angeordnet, Wasser von Gjumjusch ceschme in Fässern durch ein weißgestrichenes spezielles Segelboot herüberzu-transportieren. Das Quellenwasser sollte streng bewacht werden, und nur auf ausdrücklichen Befehl des Sultans durfte daraus geschöpft werden. Es sollte außerdem ein Brunnen mit weißen Steinen errichtet werden, wo eine Tafel mit ihrer Inschrift Allah lobpreisen und seine Taten verherrlichen sollte. Der Text hatte folgenden Wortlaut: "Soll jemand von dieser gesegneten Wasserquelle trinken, so wird jede Krankheit vor ihm weichen, er wird schön wie die Blumen des Allahs und wird ein langes, glückliches Leben haben."47
Überlieferungen und Legenden über Wasserquellen, in denen sich religiöse Vorstellungen widerspiegeln, sind in verschiedenen Ortschaften der bulgarischen ethnischen Region belegt worden. Am häufigsten tauchen aber solche Motive in Südwestbulgarien auf. Hervorzuheben wäre die Regionen um Targovischte, Burgas, Stara Zagora, Kardshali, Pazardshik, Blagoevgrad, Kjustendil, Sofia. Zu den ältesten Schichten dürften jene Überlieferungen und Legenden gerechnet werden, in denen mythische Wesen vorkommen , welche die Wasserquellen beschützen oder in der Umgang wohnen. In Unkenntnis der Naturgewalten, zu denen das Wasser gehört, haben die Bulgaren einen Kult entwickelt, um sie für sich und für die Familienangehörigen zu gewinnen.
Die christliche Kirche und Religion versuchen, gegen diesen heidnischen Kult einen Kampf zu führen, können aber wenig Erfolg verzeichnen, weshalb sie sich gezwungen sehen, eigene Heilige als Schutzpatronen für diese Quellen zu ernennen. Die heilkraft der Wasserquelle wird mit verschiedenen Heiligen vergangener Epochen in Beziehung gesetzt.
46	Privatarchiv des Autors.
47	Privatarchiv des Autors.
203
Zu einigen Legenden und Überlieferungen von Wasserquellen in Bulgarien
Das systematische Sammeln und das Studium der bulgarischen Überlieferungen und Legenden, welche bis heute im Gedächtnis des Volkes erhalten geblieben sind, werden eine stabile Basis für die Untersuchung der bulgarischen folkloristischen Tradition, für das Aufdecken des schöpferischen Genies der Bulgaren, für die Untersuchung ihrer Weltanschauung im Laufe der vergangenen Jahrhunderte ermöglichen.
Myths and Legends About Water Sources in Bulgaria
Nikolaj I. Kolev
The important place the water has in people's life and in nature accounts for its unequivocal presence in Bulgarian festive rites and folklore, and for its deification.
Myths and legends related to water sources can be divided into several groups: pagan, Christian, historical.
In this article the author touches on the first two groups: legends constructed round pagan notions about elves, dragons and water bulls, which are at the core of many myths and legends about water sources; and Christian notions about gods and saints - Perun, Jesus, Christ, Virgin Mary, St. George, St. Ivan Rilski, St. Naum.
The analysis of the myths and legends collected by the author illustrates the traditional ways in which Bulgarians looked at things and celebrates their original imagination that created wonderful pieces of national folklore.
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Vorstellung vom Wasser als Grenze zum Jenseits in der slowenischen Volksliteratur
Mirjam Mencej
The mythical representation of water, as the dividing-line between this world and the other-world, is widely known throughout the world. Nevertheless, the question remains as to whether or not this concept was familiar to the Slavs before they adopted Christianity, or whether they adopted it later from other peoples, as several researchers have suggested. In this paper, the author follows through the representations of Water in Slovene folk-literature.
Die mythische Vorstellung des Wassers (als Meer, Fluß, See etc.), das die Welt der Lebenden und der Toten voneinander trennt, ist sehr häufig in der Mythologie verschiedener Völker anzutreffen. Schon bei der alten ägyptischen Kultur ist sie vorhanden; aber auch in der griechischen Mythologie zu Homers Zeiten, in der mesopotamischen (sumerischen) Tradition, der skandinavischen Mythologie, in Malaysia, Indonesien, Japan, bei Schamanenriten und auch sonst noch vielerorts. Anscheinend handelt es sich hier um eine der auf der Welt allgemein verbreitetsten mythischen Vorstellungen bzw. Gläubigkeit. So stellt sich die Frage, ob diese Vorstellung vielleicht ebenfalls bei den Slawen anzutreffen ist, oder präziser, ob vielleicht auch beim slowenischen Volk davon ausgegangen werden kann, daß diese Vorstellung vor der Christianisierung bestand.
Darüber, daß die Slawen während einer gewissen Epoche tatsächlich dieser mythischen Vorstellung angehangen haben, besteht eigentlich kaum Zweifel. Die Frage ist nur, ob es sich um eine ursprünglich slawische mythische Vorstellung handelt oder um eine mythische Vorstellung, welche die Slawen von einem andern Volk, mit welchem sie irgendwelche Kontakte hegten, übernommen haben. In diesem Punkt gehen die Meinungen der Forscher im Bereich der slawischen Glaubensvorstellung auseinander. D. Trstenjak erwähnt flüchtig, daß sich, gemäß dem Volksglauben der alten Slawen und arischer Urvölker überhaupt die Hölle im Wasser befindet und daß die Seelen der Toten auf ihrem Weg in die nächste Welt das Wasser1 überqueren müssen. A. Kotljarevskij behauptet in seinem Buch über die Grabriten der alten Slawen von 1868, daß es sich um einen ursprünglich slawischen und indoeuropäischen Mythos2 handelt. L. Niederle, einer der bedeutendsten Forscher betreffend Kultur und Glauben der alten Slawen, kann dieser Behauptung nicht beipflichten. Hinsichtlich der Vorstellung, daß die Seelenwanderung ins Jenseits über Wasser führe, meint L. Niederle, ab dem 10. Jh. habe eine solche zwar wohl tatsächlich bestanden, sei jedoch aus der griechisch-römischen Kultur (dem Mythos von Haron) auf zwei Wegen
1	D. Trstenjak, 1859, 11; 1859, 27-28; 1862, 175-176
2	A. Kotljarevskij, 1868, 72
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Vorstellung vom Wasser als Grenze zum Jenseits in der slowenischen Volksliteratur
zu den Slawen gelangt: einerseits über den Balkan und andererseits über das Schwarze Meer3. C. Clemen schreibt in seinem Buch aus dem Jahre 1920, daß die Vorstellung von der Insel der Seligen sowohl bei den Slawen als auch bei den Germanen bekannt ist. Unter den Südslawen hat darüber S. Trojanovic flüchtig geschrieben, und zwar im Jahre 1901; seiner Meinung nach ist die mythische Vorstellung des Wassers als Scheidelinie zwischen den beiden Welten - die er insbesondere im Brauch, Geld als Beigabe ins Grab zu legen, und dem Verbot, um die Toten zu weinen, wiederfinden will - griechischen Ursprungs4. Im Jahre 1924 suchte V. Cajkanovic Beweise für das Bestehen des Glaubens an eine Welt der Toten unter im Volk noch lebendigen Sprichwörtern, abergläubischen Vorstellungen und Liedern und kam zum Schluß, daß die Serben einst diesem Glauben5 anhingen. 1946 erwähnte V. Möderndorfer, diese Vorstellung habe auch bei den Slowenen bestanden, obwohl er sich dabei nur auf folgenden Satz aus der Volksüberlieferung stützt: "Wer in die andere Welt aufbricht, muß viele Wasser überqueren, weil das Wasser diese Welt von der anderen trennt."6 In der gegenwärtigen Zeit hat sich auch der Sprachwissenschaftler F. Bezlaj mit diesem Problem befaßt, obwohl aus einem völlig anderen Blickwinkel. Auf die Frage nach der urslawischen Vorstellung über das Jenseits ist er beim semantischen Studium des slawischen Wortes *irtjt, vyrbj'b* aufgrund einer etymologischen Analyse und mit Hilfe von Glaubensvorstellungen im Volk zum Schluß gekommen, daß das slawische Wort *irüjü, vyrbjb*, ein Märchenland, wohin laut Volksglauben die Zugvögel zogen und das wahrscheinlich auch die Wohnstätte der Toten darstellte, die selbe Wurzel hat wie die Wörter mit der Bedeutung "Wasserbecken", "Strudelloch", "wogen, wallen, schäumen" etc. "Wir haben es also", schreibt F. Bezlaj, "mit einem den Urgermanen und Urslawen und möglicherweise noch anderen europäischen Völkern gemeinsamen Kult zu tun, demzufolge die Zugvögel in der Wohnstätte der Toten überwintern. Leider hat die slawische Ethnographie die Überlieferungen, die besagen, daß der Weg ins Jenseits durch das Wasser führt, noch nicht sinngemäß miteinander verknüpft."7
Eine Erforschung der Präsenz dieser mythischen Vorstellung unter den Slawen müßte so zu einer Antwort auf die Frage führen, ob diese Vorstellung tatsächlich besteht, und wenn ja, ob es sich tatsächlich um die Übernahme der griechischen mythischen Vorstellung von Harons Boot handelt. Um zu befriedigenden Resultaten zu gelangen, wäre ein Studium auf mehreren Ebenen erforderlich: auf einer ersten Ebene mit älteren Erzählungen, Aufzeichnungen, Bildern etc., einer zweiten Ebene mit Aufzeichnungen jüngeren Datums über die Vorstellungen des Volkes betreffend die nächste Welt, Volkslieder, Erzählungen, Gebete, Sprichwörter und Begräbniskulte, und einer dritten Ebene, dargestellt durch die Sprachwissenschaften, genauer gesagt die Etymologie. In diesem Artikel soll nur ein Teil dieses Materials vorgestellt werden, und zwar jene slowenische Volksliteratur, in der explizit oder implizit der Glaube, daß eben gerade das Wasser jene Grenze darstellt, die das Land der Toten vom Land der Lebenden trennt (oder seltener das Jenseits alleine umgrenzt), zum Ausdruck kommt.
Eine der Erzählungen, in der die Vorstellung über irgendein Gewässer anzutreffen ist, das die beiden Welten voneinander trennt, ist die Erzählung aus der Sammlung von
3	L. Niederle, 1912, 265-266.
4	S. Trojanovic, 1901, 136.
5	V. Cajkanovic, 1924, 74-75.
6	V. Möderndorfer, 1946, 268.
7	F. Bezlaj, 1976, 59.
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Šašel-Ramovš Na hünam sveta8 (Auf der anderen Welt); eine fast identische Erzählung wurde auch in der Sammlung von Kotnik Storije (Geschichten) unter dem Titel Dana obljuba (Das gegebene Versprechen) veröffentlicht. Die Erzählung handelt von zwei Freunden, die abgemacht hatten, zur Hochzeit des jeweils anderen zu kommen. Obwohl nun der eine schon vor der Hochzeit stirbt, nimmt er wegen des gegebenen Versprechens an der Hochzeit des anderen teil - und das als Toter. Nach der Hochzeit lädt der tote Freund den Bräutigam ein, ihm zu folgen. Die beiden treten durch das Grab in die Erde und erblicken auf einer Wiese eine Herde abgemagerter Schafe. Der Tote erklärt, es handle sich um Seelen, die auf der Welt ein großes Vermögen besaßen, davon jedoch nicht den Armen gaben; darauf erblik-ken die beiden eine Herde fetter Schafe - dies seien Seelen, die trotz ihres bescheidenen Besitzes viele Almosen gaben. "Naposled prideta do vode, ob kateri je stala vrba9 Mrtvi je vodo lahko prekoračil, živega pa je izpodnesla in komaj se je ujel še za vrbovo vejevje. Toda na vrbi je bilo vse polno črnih ptic in ko se je drevo streslo, so padle nekatere v vodo, a so od tam takoj veselo žvrgoleč odfrčale. In zopet vpraša mrtvi živega, če bi rad vedel, kaj te ptice pomenijo. In ko mu je ta odgovoril kakor že prej dvakrat, ga mrtvi pouči, da so to tisti otroci, ki so brez krsta umrli in da so zdaj vsi tisti rešeni, ki jih je stresel z vrbe in so odleteli. Nato se je živi pripravljal, da bi drevo popolnoma otresel in tako rešil vse otroke, toda mrtvi mu je ubranil rekoč, da drugi hoteni tresljaj ni več veljaven. Mrtvi je naenkrat izginil, živi je pa tri dni na svet nazaj hodil."10
Es ist interessant zu wissen, daß in diesem Abschnitt das Grab für den Lebenden kein Hindernis oder etwa die Grenzlinie zum Jenseits darstellt (was in Erzählungen ein häufiges Motiv ist); zweifelsohne verkörpert das Wasser jenen Weg, der ins Jenseits führt, und jene Grenzlinie, die nur von den Toten überquert werden kann.
Diese Erzählung war Ansporn für weiteres Suchen. Und tatsächlich findet sich in der Erzählung Zaklete duše (Verdammte Seelen)11 erneut eine Verbindung zwischen dem Wasser und dem Weg in die andere Welt:
Einst murmelte ein Ehrenmann, der alle "Bosheit dieser Welt" erfahren hatte, vor sich hin, daß er am liebsten in den Erdboden versinken würde, um nichts mehr von dieser Welt zu sehen... "Komaj je to spregovoril, je zagledal pred seboj votlino in stopnice vanjo. Na spodnji stopnici je stal človek in se mu prijazno ponudil za vodnika. Poštenjak je odšel ž njim v jamo. Čim dalje sta šla, tem bolj je tema izginjala. Prišla sta v lepo pokrajino. Morala sta preko široke reke, da sta dospela na obširen, z visoko travo obraščen travnik, kjer jima je segala trava do pasu. Na tem travniku se je paslo več tisoč suhih, izstradanih ovac.
Ko sta prekoračila drugo reko, se je razprostiral pred njima manjši travnik kakor prvi, obraščen s komaj prst visoko travo. Na travniku se je pasla maloštevilna čreda ovac, ki so bile izredno rejene.
8	J. Šašel, F. Ramovš, 1936-37, 14-15.
9	Die Weide ist im Volksglauben augenscheinlich irgendwie mit der Unterwelt verbunden; dies stellt schon F. Bezlaj fest: "Ich weiß nicht, auf welchem Weg der phantastische slowenische Ethymologe und Ethnograph Davorin Trstenjak schon 1862 zu seiner Behauptung "die alten Slawen glaubten, die Hölle läge unter dem Wasser" (D. Trstenjak, 1862, 175) gelangte. Möglicherweise hat er dies in alten Literaturquellen aufgespürt, oder aber er schloß dies aus dem Volksaberglauben, daß der Teufel aus einer hohlen Weide am Wasser guckt. Aus meiner Jugend erinnere ich mich, daß es uns streng verboten war, in die Nähe einer alten, hohlen Weide am Flußufer zu gehen oder etwa gar daraus Flöten zu schnitzen; es gäbe ja genug andere Weiden." (F. Bezlaj, 1976, 64); vgl. Auch M. Mencej, 1996.
10	F. Kotnik, 1958, 22-25.
11	V. Möderndorfer, 1924, 113-115.
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Prekoračila sta še večjo reko in dospela na zelo veliko njivo, na kateri je valovalo težko klasje zrele rži. Ob robu njive so stale ženske s srpi in so žele. Ustnice so imele tako zatekle, da niso mogle spregovoriti druga z drugo niti besedice. Požeto in v snopje zvezano klasje se je samo vedno zopet vsajalo v zemljo, tako da so morale žanjice vedno znova žeti na istem mestu.
Sredi četrte reke je bil majhen otok, na katerem sta se trkala dva mršava ovna s takšno silo, da so švigale iskre. Rogove sta imela odbite, kri jima je tekla z glave, sape jima je primanjkovalo, toda kljub temu sta se zaletavala vedno silneje drug v drugega.
Obrežje je bilo strmo, na njem pa je bilo vse črno koscev, ki so imeli trdo delo...
Nato je spremljevalec poštenjaku razložil vse, kar sta videla: Ovce na prvem travniku so bile duše tistih ljudi, ki so živeli v izobilju, a so bili skopi in nevoščljivi. Na drugem travniku so bile duše ljudi, ki so se preživljali s svojim delom in delali tudi za druge. Žanjice so duše žensk, ki so v svojem življenju opravljale in obrekovalepoštene ljudi. Trkajoča se ovna sta dva kmeta, ki sta se vse življenjepravdala za staro lesniko, da sta zapravila svojo zemljo in so ostali njuni otroci brez dote ter so morali služiti pri sosedih za hlapce in dekle. Kosci so duše pijancev..." - po tej razlagi je spremljevalec izginil in poštenjak je ostal sam. Ko se je vrnil v domačo vas, pa je bilo v njej vse drugače, "ker je minulo pet sto let, odkar je odšel poštenjak na potovanje v podzemlje."
In dieser Erzählung treten zwar einige Flüsse auf, welche die beiden überqueren, jedoch stellt schon der erste Fluß jene Grenze dar, hinter der sie auf Seelen verstorbener Menschen treffen, d.h. die Scheidelinie zwischen der Welt der Lebenden und der Welt der Toten.
Mehrere Gewässer, d.h. Quellen, an denen die Seelenwanderung vorbeiführt, tauchen augenscheinlich auch im Klagelied auf, niedergeschrieben in Drašiče in Weißkrain, wo die Tochter um die verstorbene Mutter trauert und erwähnt, daß deren Weg nach dem Tod an drei Brunnen vorbeiführe:
"Jojli mama, mila majčice, kam grete od mene na dalkepote, na dalkepote nespovratljive. Iz črne gori v ravno pole, saj čete tam najt' tri hladne zdence. Kada pridete k prvemu zdenci, ne pite mi vi une vodi, od une vodice glavica boli. Kada pridete k drugemu zdenci, ne pite mi vi une vodi, od une vodice srdašce boli. Kada pridete k tretjemu zdenci, ne pite mi vi une vodi, una vodica je nespovratljiva..."12
Den beiden Erzählungen und dem Trauern ist also gemeinsam, daß der Mensch in eine andere Welt geht, die sich jenseits eines Gewässers befindet. In der ersten Erzählung kommt dies explizit zum Ausdruck, denn der Tote kann das Wasser überqueren, der Lebende jedoch nicht; in der zweiten Erzählung treffen wir hinter dem ersten Fluß auf (sündige) Seelen; aus dem Klagelied geht hervor, daß es sich um die Seelenwanderung der verstorbenen Mutter handelt.
Ist dieses Motiv etwa auch in slowenischen Volksliedern zu finden? Während bei Erzählungen und Märchen das Schwergewicht auf dem Inhalt liegt und sie deswegen mit Leichtigkeit aus einer Sprache in die andere übertragen werden können, sind Lieder schwieriger zu übertragen. Das Lied verliert in der Übersetzung nämlich seinen Charakter; Reim und Rhythmus ändern sich; ein übersetztes Lied ist nicht mehr "ein heiliger Text". Eben deshalb können in Liedern viel ältere Botschaften, Lexiken, Reime etc. erhalten geblieben sein als in Erzählungen und Märchen.
Zu Anfang möchte ich Lieder erforschen, die beim Toten gesungen werden. Es scheint jedoch, daß ausdrücklich für diese Gelegenheit bestimmte Lieder nicht vorhanden sind
12 K. Štrekelj, 1980, 611 - 612, št. 6346.
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(Ausnahmen bilden Abschiedslieder, die keine für uns relevanten Inhalte haben). "Ein jedes Lied ist geeignet, nur nicht gerade ein Liebeslied", antworten die Leute auf die Frage, welche Lieder beim Toten gesungen werden13. So war ich eben gezwungen, ganz einfach blindlings nach Liedern zu suchen, in denen ein Relikt einer vorchristlichen Vorstellung bezüglich dem Wasser als Scheidelinie zwischen den beiden Welten ersichtlich ist, und zwar in allen Liedersammlungen, die mir zugänglich waren.
Das erste Lied, in dem diese Vorstellung angetroffen werden kann, ist das Lied Godec pred peklom (Der Musikant vor der Hölle). Das Lied spricht zwar vom Weg des Musikanten (in anderen Varianten desselben Liedes auch Sintilawdic, Deveti mož (der neunte Mann) ...) in die andere Welt (die Hölle), und die Hauptperson überquert sehr häufig Wasser, aber wir müssen vorsichtig sein. Dieses Lied gilt nämlich unter allen Forschern als "Fortsetzung der antiken Überlieferung über Orpheus, der sich in die Unterwelt aufmachte, um seine verstorbene Frau Euridika zu retten"14. Obwohl das Motiv des Übergangs über das Wasser bis zur Unkenntlichkeit verformt ist, dürfen wir nicht die Möglichkeit übersehen, daß im Lied griechischer Einfluß zum Ausdruck kommt, und nicht etwa ein Überbleibsel irgendeines vorchristlichen slawischen Mythos.
Wenn wir uns den Weg des Musikanten genauer ansehen, können wir sehen, daß er in fünf verschiedenen Versionen über das Wasser führt. Zwei Versionen wurden in Oberkrain geschrieben, drei in der Region Prekmurje. Aus den Versionen, die in Unterkrain bzw. Weißkrain geschrieben wurden, geht nicht klar hervor, durch was für Gebiete der Weg des Musikanten führt, bevor er zur Hölle gelangt. Die übrigen bekannten Niederschriften stammen nur noch aus der Region Resia. In diesen schwimmt die Hauptperson zwar nicht im Wasser, es kann aber doch eine Verbindung mit dem Wasser erahnt werden; Sintilawdic schreitet in vielen Versionen aus Resia auf einer "potyca" (schmaler Weg, Pfad), wobei das Wort pot dieselbe Wurzel hat wie das Wort pons im Sinne von Brücke (Brücken führen normalerweise über Wasser). Es ist jedoch ebenso gut möglich, daß es sich um folgende typische Phrase aus den Volksliedern von Resia handelt: "Genau so (wie "es liegt ein ebenes Feld" in slowenischen Liedern) ist für die Resianer als Einführungsmuster ein Treffen der Hauptpersonen - auf 'nem Pfad (putyca) - typisch."15
Sintilawdic weint auch so "kräftig, daß alle Täler voll sind und sogar Stege weggeschwemmt werden". Da Stege ebenso über Wasser führen, könnten wir möglicherweise daraus folgern, daß Sintilawdic genaugenommen über Wasser geht. Aber auch hier ist Vorsicht angebracht, denn Resia ist voller Flüsse und Bäche, und es wäre nicht ungewöhnlich, wenn das Landschaftsbild ins Volkslied übertragen worden wäre.
Das Motiv des Wassers als Grenze zwischen der Welt der Lebenden und der Welt der Toten ist auch in anderen slowenischen Volksliedern wiederzufinden, in denen nur schwerlich ein griechischer Einfluß zu finden wäre. Ein solches Lied ist zum Beispiel "Der reumütige Sünder".
Das Lied, zu dem I. Grafenauer sogar eine Monographie16 schrieb und dessen Entstehung er mit dem Kampf um Bewilligung der Buße für die drei Hauptsünden bei den Frühchristen begründet, spricht von einem Sünder, der Jesus und Maria darum bittet, für seine
13	Für diese Information möchte ich mich bei Herrn J. Strajnar bedanken.
14	Slovenske ljudske pesmi I, 1970, 282; vgl. auch J. Strajnar, 1990, 169-176.
15	M. Matičetov, 1944, 29.
16	I. Grafenauer, 1965; im folgenden IGSG.
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Sünde Buße tun zu dürfen. Jezus und Maria erhören diese Bitte und weisen den Sünder an, so lange unter einem trockenen Baum zu knien, bis er wieder ergrünt. Als dies tatsächlich eintritt, ist die Schuld des Sünders getilgt und die Himmelspforte steht ihm offen.
Ohne mich auf Grafenauers Interpretation des Liedes einzulassen, möchte ich an dieser Stelle auf Details aufmerksam machen, welche die Vermutung, daß die Vorstellung von Wasser als Grenze oder Weg ins Jenseits besteht, bestätigen.
Das Lied beginnt mit der Darstellung von Jezus bzw. Maria, wie sie über das Meer/ einen Fluß/die Donau fahren. Es ist ungewöhnlich, daß in nicht weniger als 56 von 60 von Grafenauer17 angeführten Erzählungen zwischen Jesus oder Maria eine explizite Verbindung hergestellt wird, z.B. fahren oder schweben die beiden über das Meer, einen Fluß oder einen See. Nur in zwei Versionen sind Jesus und Maria nicht mit Wasser verbunden: In der einen fährt Maria über ein Feld (dieses Feld liegt aber wiederum am Meer!) und in der anderen spaziert sie "über den bunten Marktplatz". Aus den beiden Versionen geht jedoch nicht klar hervor, wo genau sich Jesus und Maria befinden.
Weshalb dieses beharrliche Auftreten des Motivs? Das Motiv zeigt deutlich auf eine tief verankerte Vorstellung, die im Lied nicht verlorengehen durfte, bzw. mit dem Liedinhalt organisch verknüpft war.
Der Sünder hingegen geht in nicht weniger als 35 Fällen auf dem Trockenen (d.h. am Ufer, an der Küste, am Wasser, einen Pfad am Meer entlang, auf dem Trockenen etc.)18; nur in 5 Varianten befindet er sich im Wasser (schwimmt - schwebt, fährt mit dem Boot ...). Aus den 20 Varianten geht nicht klar hervor oder ist nicht erwähnt, wo sich der Sünder befindet. Wir können annehmen, daß der Sünder in der ursprünglichen Form nur am Wasser war und in den Varianten, wo er sich im Wasser befindet, wahrscheinlich unter dem Einfluß von Maria bzw. Jesus dorthin gelangte.
Der Sünder trifft also Jesus oder Maria, die schwimmen/schweben/auf dem Wasser fahren und ruft ihr/ihm, er/sie solle auf ihn warten. Für gewöhnlich fragen Jesus oder Maria nach seinen Sünden und tragen ihm auf, Buße zu tun (manchmal schicken sie ihn vorher noch zu Mönchen, die ihn läutern sollen). Der Sünder sagt, er sei schon dort gewesen, dort habe man ihn jedoch nicht gewollt u.ä., aber dies ist hier nicht wichtig. Die Frage lautet nun: Wohin fahren denn Jesus und Maria? Explizit ist die Antwort aus der hier aufgeführten Liedvariante ersichtlich, implizit aber eigentlich aus allen Liedvarianten:
Jezus se je vozil19 v sveti raj. En velik grešnik za Jezusam upije:
"Jezus, počakaj me, da ti nekaj povem." ""Ti nis'vreden, da b'se z mano vozil v sveti raj'."" (...)
"Grešnik, zdaj pa le gor' ustan', Se pejd' vozit iz mano v sveti raj!" ""Jaz ne morem gor' ustat', Moje kolenca so se prirasle!" Potresel ga je, Usul se je pepel in prah, Duša je šla svetla v nebes kakor zvezda.20
17	Ich berücksichtige alle Varianten, außer jenen, die derart verstümmelt sind, daß der für uns interessante Inhalt nicht mehr daraus hervorgeht.
18	In wenigen Liedern wird zwar nicht klar gesagt, daß der Sünder über das Wasser geht. Werden im Lied jedoch Verben wie gehen, laufen oder kommen verwendet, so wird das als Gang über trockenen Boden betrachtet.
19	Leider ist eben aus dieser Variante nicht ersichtlich, daß sich Jesus im Wasser befindet. Aus den meisten anderen Varianten geht dies jedoch klar hervor.
20	K. Strekelj, 1980, 496-497, st. 487, iz Horjula.
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Mirjam Mencej
Im Lied wird explizit gesagt, daß Jesus ins Paradies fahre, d.h. ins Jenseits. Als ihm der Sünder zuruft, er solle auf ihn warten, er habe ihm etwas mitzuteilen, antwortet ihm Jesus, er sei es nicht wert, mit ihm ins Paradies zu fahren. Auch der Inhalt aller anderen Varianten stimmt mit dieser Feststellung überein. Der Sünder kommt in allen Liedern (außer zwei schon ziemlich verstümmelten) ans Ufer und ruft von dort aus Jesus (manchmal wird nicht klar, wo er sich befindet). Auch in diesem Lied stellt das Wasser eine Art Scheidelinie dar, an die der Sünder vor seinem Tod gelangt und die er überqueren will, um ins Paradies zu gelangen, kann dies jedoch nicht tun. Da er nicht in die Hölle will, muß er Buße tun; erst dann wird ihm die Himmelspforte offen stehen. Wäre er nämlich ohne Sünde, könnte er sofort mit Jesus in die andere Welt fahren; da er das aber nicht ist, bleibt die Himmelspforte für ihn geschlossen, solange er nicht Busse getan hat.
Es ist auch interessant zu wissen, daß das Lied beim Toten gesungen wurde: "Die Sängerin sagt, das Lied sei bei den Toten in Vrhpolje immer in beiden Liedvarianten gesungen worden. In Sv. Trojica sagte man, daß dies ein altes Totenlied sei, das langsamer und gedehnter gesungen wurde. Der Mann der Sängerin, Peter Bostaj, zu Hause in Gorenjevo pri Sv. Ozbaltu, sagte, daß nur der erste Teil als Totenlied gesungen wurde, während der zweite Teil von einem anderen Lied stammt. GNI? Nr. 21.450." 21
Gerade im ersten Liedteil tritt wieder das Wasser als Weg auf, der entweder in den Himmel oder in die Hölle führt (in die andere Welt), während im zweiten Teil von der Buße, die dem Sünder aufgebürdet ist, und seiner Erlösung die Rede ist.
Ungeachtet des weit zurückliegenden Ursprungs des Lieds - vermutlich entstand es im Frühchristentum (in der frühchristlichen Epoche) (laut I. Grafenauer) - können wir festhalten, daß das Lied eine Vorstellung einschließt, die mit dem Christentum nicht direkt in Zusammenhang steht22, jedoch offenkundig in engem Zusammenhang mit dem Liedinhalt steht, der Vorstellung nämlich, daß das Wasser die Grenze zwischen der Welt der Lebenden und der Welt der Toten und damit den Weg ins Jenseits - ins Paradies - darstellt.23
In der Liedersammlung Maria, Du schöne Blume fällt auf, daß Maria nur noch im Lied Maria und der Fährmann vorkommt.
In der ältesten slowenischen Liedvariante werden außer Maria noch ihr Mann Josef und der Sohn Jesus erwähnt; sie gelangen ans Meer und wollen hinüberfahren. Da auch das Lied Die heilige Familie und der Verbrecher, das von der Flucht der heiligen Familie nach Ägypten berichtet, so anfängt, zieht I. Grafenauer den Schluß, daß das Lied ursprünglich die Legende über die Flucht der heiligen Familie nach Ägypten erzählte. Dies würde auch
21	I.Grafenauer, 1965, 84, Bemerkung zum Lied aus Vrhpolje pri Moravčah (Gesang: Francka Boštaj; Aufnahme: Valens Vodušek - 1957).
22	In frühmittelalterlichen Interpretationen der Heiligen Schrift findet man zwar die Vorstellung eines irdischen Paradieses, das von der Erde durch Meer und Wüste getrennt ist (Beda Venerabilis) oder sich auf einer Insel befindet (Navigation), jedoch haben auf diese Vorstellungen auch vorchristliche Glaubensvorstellungen Einfluß ausgeübt (vgl. R. Grimm, 1977, 80, 106, 110).
23	Natürlich muß bei allen Liedern, in welchen sich Jesus, Maria oder andere Heilige im Wasser befinden, untersucht werden, ob dieses Wasser wirklich für den Weg in die nächste Welt steht, oder ob dies vielleicht nur einen häufigen Topos für das Lozieren von Heiligen darstellt. Bisher bin ich bei den slowenischen Volksliedern nur noch beim Hl. Anton auf eine Darstellung im Wasser gestoßen (K. Štrekelj, III., 1980, 312, Nr. 7430), die in einigen kroatischen Volksliedern mit dem Jenseits im Zusammenhang steht (vgl. M. Matičetov, 1944, 33). Im Lied Mikula mit der weißen Hirschkuh (I. Šašelj II., 1909, 89, S. 62) tritt noch Nikolaus im Wasser auf, wobei aus einigen serbischen und kroatischen Volksliedern hervorgeht, daß er im Volksglauben den Führer für die Seelen auf ihrem Weg ins Jenseits darstellte, bzw. in die Sphäre des Veles gehörte (vgl. Največi grijesi, V.S. Karadžič, Srpske narodne pjesme I, 1969, 101-102, S. 209).
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Vorstellung vom Wasser als Grenze zum Jenseits in der slowenischen Volksliteratur
die Tatsache erklären, daß es Maria in allen Liedern eilig hat. Nach dem heutigen Volksglauben führt die Flucht nach Ägypten durch die Wüste. I. Grafenauer betont jedoch, daß dem nicht immer so war24. Im Lied geht Maria auf ihrer "Flucht" (Wenn wir uns an Grafenauers Auslegung halten) nämlich über das Wasser. In den bekannten Liedvarianten gelangt Maria manchmal ans Meer, an einen See oder einfach an ein nicht näher definiertes Gewässer. Dabei kommt es auch zu Inkonsequenzen. So wird eingangs z.B. das Meer erwähnt, später ist dann aber von einem See die Rede etc. Aus einigen Liedvarianten geht nicht hervor, wie weit Maria gelangt, oder aber es wird gar kein Wasser erwähnt.
Der Grund zur Einreihung dieses Liedes unter jene, die eine vorchristliche Vorstellung vom Wasser als Grenze zwischen dem Diesseits und dem Jenseits belegen könnten, ist die Tatsache, daß dieses Lied in Slowenien am häufigsten beim Toten gesungen wird. Die Anmerkung zum Lied, die von Marijana Kovacevic aus Severin na Kolpi festgehalten wurde, bezeugt, daß das Lied auch in Kroatien kod mrtvaca I karmina25 gesungen wurde. Wenn es also ein Lied gibt, das zum "Pflichtrepertoir" des Totengesangs gehört, so trifft dies ganz gewiß auf das Lied Maria und der Fährmann zu. Was aber bewirkt, daß ein Lied für den Totengesang beliebt ist?
I. Grafenauer, der die Varianten dieses Liedes auf einen Grundtyp (wo Maria den Fährmann mit seiner Fürbitte nach Erbarmen erhört) und eine abartige Liedvariante neueren Datums (wo der Fährmann nicht erhört wird) aufteilt, meint dazu folgendes:
"... daß Maria den ersten Hilferuf des Fährmanns abweist war im Grundtyp nur als erzieherische Strafe gedacht, damit der Fährmann zur Vernunft komme; nun aber ward sie zum Todesurteil. Und nicht nur für ihn, sondern für alle, die er mitführte. Mit dieser wesentlichen Veränderung hat sich der ursprüngliche Sinn völlig verkehrt. Das Lied bekam doppeldeutigen Charakter. Manche Sänger und Sängerinnen fanden es nun schrecklich ernst und hart - sie sangen und hörten es bei der Totenwache ..."26
Wäre wirklich wahr, was I. Grafenauer behauptet, so sänge man das Lied nur dort, wo die Varianten "neueren" Typs bekannt wären. Dies trifft jedoch nicht zu, wurde das Lied doch praktisch überall in Slowenien gesungen. Eine andere Vermutung wäre möglich: Vielleicht ist der Gang übers Wasser im Bewußtsein des Volkes als eine eng mit dem Tod bzw. der Seelenwanderung verbundene Vorstellung verankert geblieben, weswegen das Lied am geeignetsten für den Totengesang dünkte. Diese Annahme steht gewiß auf wackligen Füßen, denn es ist schwierig, Beweise zu liefern, außer man betrachtet das Lied im Zusammenhang mit anderen Liedern mit derselben Thematik. Da es sich jedoch um ein älteres Lied handelt (das metrische Schema des Liedes ist ein Siebensilber mit Anakrusis, was typisch für die frühen slowenischen Erzähllieder ist, sowie die doppelzeilige Strophe untermauern das Ergebnis der Textanalyse, daß diese Legende nämlich zum alten Liedgut gehört. Ein weiterer Beweis sind Ausnahmefälle ohne Strophen, Liedvarianten in Moll und einige zwei- oder dreiteilige Volkslieder mit einfacherer Struktur.27), ist gut möglich, daß es in sich noch sehr alte Motive trägt.
24	I. Grafenauer, 1966, 11-12.
25	Marija i ladvari, Hrvatske narodne pjesme kajkavske, 1950, 282, S. 337; s. Bemerkungen zum Lied S 436.
261. Grafenauer, 1966, 52-53.
27 Z. Kumer, 1966, 156.
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Mirjam Mencej
Das Motiv einer heiligen Person, die (im Boot) über das Wasser fährt, finden wir auch im Lied Heilige Barbara, Helferin im Tod - obwohl nur in einer von den Varianten, die von Strekelj angeführt werden:
Stoji, stoji široko polje, Po polji teče bistra voda, Bistra voda, zelena Sava. Po njoj plava mala barka, V barki sedi sveta Barbara. Njo pa srečajo tri stari možje, Lepo se njoj naklonijo, Klobučece perzdignejo: "Pohvalen bodi Jezoš Kristoš, Preljuba sveta Barbara! Kam se pelaš po bistroj vodi,
Po bistroj vodi, zelenoj Savi,
V lepojpisanoj barki -
Kam pa se pelaš po bistroj vodi?"
""Jazpa se pelam v pokrajno,
Gde betežni me želijo!""
"Idi, idi, sveta Barbara,
Pa še tudi k nam pridi,
Dere bomo te želeli:
Obredi nas svetim Rešnim telom
No nahrani naše duše
S pravim živim gosponom Bogom!"28
Doch spielt diese Person wieder eine bestimmte Rolle im Tod, kommt hier nämlich als Beistand im Tod. Die hl. Barbara gilt im Volk oft als Fürbitterin in der letzten Stunde und wird häufig im Wasser dargestellt, obwohl in ihrem Leben nichts auf eine Verbindung mit dem Wasser hindeutet.29
Das folgende Lied, das ebenso eine Art Brücke zwischen dem Wasser und den verstorbenen Seelen schlägt, ist das Lied Drei verlorene Seelen aus dem Städtchen Slovenska Bistrica:
...Zviraj mi, zviraj, studenčina, Vstudenčini mi plavajo duše tri, V studenčini mi plavajo duše tri.
Ta perva je duša le tota, Ktera je na Bogi scagala, Ktera je na Bogi scagala.
Scagati nas vari sam večni Bog
In ta sveta večna luč:
Vžgi nam Marija nebeško luč!
Ta druga je duša le tota, Ker boter z botroj pregreši, Ker boter z botroj pregreši. Grešiti nas vari sam večni Bog In ta sveta večna luč: Vžgi nam Marija nebeško luč!
Ta tretja je duša le tota, Ker druže družje vmori, Ker druže družje vmori...30
Im Lied schwimmen die Seelen der Toten in Quellwasser. Es handelt sich hier um Seelen von Sündigern, die nach christlichem Maßstab die schwersten Sünden begangen haben. Im Lied haben sich möglicherweise die heidnische Vorstellung von "unreinen Toten", Toten, die "nicht ihres Todes"31 gestorben sind, und die christliche Vorstellung von "sündigen Seelen" vereint. In beiden Fällen handelt es sich nämlich
28	K. Strekelj I., 1980, 609 - 610, st. 647, s Stajerske.
29	Leto svetnikov 4, 1973, 444-446.
30	K. Strekelj I., 1980, 429, st. 400.
31	Das sind die Seelen jener Verstorbenen, die eines frühen oder gewaltsamen Todes gestorben sind, z.B. bei der Geburt, vom Blitz getroffen etc.
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Vorstellung vom Wasser als Grenze zum Jenseits in der slowenischen Volksliteratur
um Seelen, die im Volksglauben nach dem Tod keinen Seelenfrieden finden und deswegen ins Diesseits zurückkehren und den Lebenden schaden. Sie leben nicht mehr in dieser Welt, können aber auch nicht ganz in die andere - sie bleiben also immer irgendwo "dazwischen", und dieses Dazwischen, die Grenze zwischen dem Diesseits der Lebenden und dem Jenseits der Toten, kommt im Lied eben durch die Metapher des Wassers zum Ausdruck.
Hier muß auch auf das Lied Die ungehorsame, in einen Fisch verzauberte Tochter, die vom hl. Laurentius spricht, der auf der Suche nach seiner Schwester ist. Diese Schwester hat die Mutter noch vor seiner Geburt verwunschen, weil sie nicht Wasser holen gehen wollte, und das Mädchen verwandelte sich in einen Fisch. Laurentius macht sich auf die Suche nach ihr und findet sie schließlich auch. Die Mutter hatte die Tochter mit den Worten verwunschen:
Prošla v uno črno goro, kadi mi tice ne pojo, niti mi ljudi ne hodo! Da bi se z ribom stvorila i po vodi plavala!
In der folgenden Liedvariante sieht die Verwünschung so aus:
Da po gori hodila, kako druga zverina;32 da po vodi plivala kako druge ribice.
Und wo sucht sie Laurentius, bzw. wohin führt ihn sein Weg?
In der Variante Nr. 1 aus Bedenje pri Adlešičih in Weißkrain heißt es folgendermaßen:
Vesoljen svet je obšel, sestre nikjer ni našel, Došel je do jednega zdenčka...
In der Variante Nr. 2 aus Vidine pri Preloki wie folgt:
Lovrenc (je) došel v črno goro,
kadi tice ne pojo,
niti ljudi ne hodo.
Došel do hladnega studenca...
Und in der Variante Nr. 3 aus Adlešiči:
32 Das Wort zvers bzw. Ijuts zvers ist ein archaisches Synonym für Veles, den einstigen slawischen Gott der Toten, vgl. Ivanov, Toporov, 1974, 58-61.
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Mirjam Mencej
...prehodil (je) celi svet, sestre nikder ni našel. Došel je do vodice...
Werfen wir noch einen Blick auf das Liedende:
Als der Fisch - die Schwester - aus dem Wasser schwimmt, fragt sie Laurentius, ob er von Gott erbitten dürfe, daß sie nach Hause komme. Die Schwester gibt ihm zur Antwort:
Nečeš nečeš, bratec moj, do soda božega, neg reci stari mamici: Kteri sem gvant nosila, naj ubogim razdeli; kaj sem zlata imela, naj maše plača ž njim.
Ne grem doma, Lovrenec, tam do soda božjega i po sodu kako bo.
Nikdar brate Lovrenec tam do suda božjega.33
Die Frage ist, wo sich die verwunschene Schwester von Laurentius eigentlich befindet. Augenscheinlich handelt es sich um einen Ort in/an/auf den Bergen, wo Wasser fließt, irgendwo am Ende der Welt (Laurentius wandert um die ganze Welt, ohne sie zu finden), ein Ort, wo weder Menschen noch Vögel leben. Dies ist jedoch auch ein Ort, aus dem es anscheinend keine Wiederkehr gibt. Denn die Schwester antwortet dem Bruder in allen Liedvarianten, sie könne nicht mehr nach Hause kehren; der Weg führe aus dem Wasser nämlich weiter zum "göttlichen Gericht". Der Liedanalyse nach zu schließen könnte es sich auch hier um eine "unrein Verstorbene" handeln, wahrscheinlich wegen der Verwünschung, die über sie ausgesprochen wurde. Es scheint, daß auch dieses Lied eine Art Bestätigung der Vermutung liefert, daß das Wasser in der einstmaligen Glaubensvorstellung die Scheidelinie zwischen Leben und Tod darstellte, die in die andere Welt, die Welt der Toten, führt.
Der Weg der Seele, die in den Himmel kam, führte ebenso unter anderem über das Wasser, z.B. im Lied Die Seele mit dem goldenen Paternoster:
Tam stoji svet tempelj, v svetem tempeljnu ena zlata mizca. Okol'zvate mizce stoje zvat'stol', Trinajst jogrov.
Marija špencera po svetem tempeljnu.
33 Neubogljiva hči ukleta v ribo, SLP I., 1970, str. 160 - 161, št. 1, 2, 3, Bela krajina.
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Vorstellung vom Wasser als Grenze zum Jenseits in der slowenischen Volksliteratur
Ena uboga duša pršla
Čez visoko goro, čez zeleno trato,
Čez globoko vodo, čezpeklenšče vrata...34
Dieser Weg über das Wasser in die andere Welt wird nicht nur in diesem Volkslied besungen, sondern findet sich auch häufig in slowenischen Volksgebeten wieder35:
...Ena dušica priteče, Marija tako reče:
"Vprašajmo to dušico, od kod je prišla!" "Jest sem prišla čez kamnite gore čez globoke vode!"...36
Auch der Weg zu Maria, die im Paradies (oder vor dem Paradies) steht, führt über das Wasser (im zweiten Beispiel ist das Wasser als Grenze sogar ausdrücklich betont):
...Pojmo gledat Na gorico, Na vodico, Kaj Marija dela. Verne duše napaja, V sveti raj poslaja...37
...Pejmo spat, Bog je zlat, Čez vodice, Čez mejice,
Tam si Marija roke vmiva, Dušice napaja, V svet raj posaja..."38
Auf dieselbe Vorstellung könnte man möglicherweise auch aus den Versen schließen, die sich in den Varianten wie ein rituelles Muster39 in vielen Volksliedern und Gebeten wiederholen; wer dieses Gebet betet, wird nicht verloren gehen, im Wasser ertrinken, im Feuer brennen (sondern eben in den Himmel kommen):
...Tek bo to molituco molu usak petak an usako saboto večer an nadeijo jutro bo viedu kada umrje: tri dni priet al pa tri ure priet. Marija ga bo varvala u uodo tonit, paku zapriet, sveti Raj odpriet, sada an na venčne čase. Amen.40
...Kir bo to molitev modliu,
ne bo nikoli vodo utoniu,
peklenski ogenj mu ne bo škodu,
se bo veseliu pri Bogu na vekomaj, amen41
..."Iše bo ga varvau va gorah se zgibit,
34	K. Štrekelj I., 1980, 422, št. 391.
35	Man müßte zwar nachprüfen, ob dieses Element nicht auch in Volksgebeten anderer Völker vorkommt, vgl. V. Novak, 1983, 6.
36	Pojmo spat..., V. Novak, 1983, 239, št. 181 (Srednja vas).
37	V. Novak, 1983, 125, št. 75 (Gorenjska).
38	V. Novak, 1983, 128, št. 79 (Kranjska).
39	M. Matičetov vermutet, daß dies ursprünglich eine Rechtfertigungsrede war (vgl. M. Matičetov, 1948, 30).
40	U svetem Paradižu, V. Novak, 1983, 522-523, št. 338 (iz Gorenjega Tarbija).
41	Marija je legla, V. Novak, 1983, 541, št. 350 (Št. Andraž nad Polzelo).
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Mirjam Mencej
va ognje zgort, va vode se potopit... Iše be poslau tri angelje po njegovo dušo, da jo be prnesle k mene, na majo desno stran, ke se be spomno majeh sveteh ran."Amen.42
...De b'se znešu en grešnik Al'ena grešnica, Vsak dan to molitevco zmolu, Ne bo n'kol v vod' tonu,
N'kol vpeklenščem vogni goru, Se bopr mn'v nebesh veselu. Amen!43
...Ko to zmoli vsako seboto večer,
Vsako nedeljo jutro,
Ne boj se na goripugubit'
I na vodi potopit',
I se ufa tri dušice iz vic izpeljati:
Perva čočikina,
druga je mamkina,
Tretja je sama svoja:
Raj mi je odpert,
Pekel mi je zapert!44
In allen diesen Gebeten45 scheint, daß die Hauptgefahr für die Seele auf dem Weg in die andere Welt einerseits das Feuer darstellt (was verständlich ist, ist doch die Hölle, wohin die Seele anstatt in den Himmel auch gelangen kann, im Volksglauben eng mit der christlichen Vorstellung vom ewigen Feuer verbunden; des weiteren kann eine Verbindung zur Aufgabe des Veles-Priesters, niemals das dem Gott Veles gewidmete Feuer ausgehen zu lassen, hergestellt werden46), andererseits aber das Wasser und manchmal auch den Berg: Ein ähnliches Motiv ist auch in zwei Gebeten aus Slawonien, zwei Bittgebeten aus Dalmatien sowie zwei Volksgebeten aus Morava zu finden. Dies könnte den slawischen Ursprung dieses Schemas bezeugen, obwohl es sich bei diesen Beispielen möglicherweise nur um ein Aufzählen der schlimmsten Gefahren handelt, die dem Menschen drohen:
"...Tko ovu molitvicu izmoli Triput jutrom, Triput večerom, Taj se ne bi bojao Vatre goruce, Ni vode tekuce, Ni bile vile.
Po sve vike vikom. Amen".47
"...Da lipivaš molitvice? Tko bi mi izmolio jutrom rano I večerom kasno i u podne, Čuvao bih ga vištice iduce,
Vila letečih, ogna vičnoga, Groma strašnoga, vode potoplenika, Gore pomočnika. Amen."48
"...Oslobodit oče Bog I od ognja ognjenoga I utopa vodenoga Uvik vike Bože, amen!"49
"O Jesu, mùj Jesu, tys obrana moje. Až pùjdu ja, pùjdu
42	Zlate očenaš, V. Novak, 1983, 515-517, št. 334 (Zg. Sorica).
43	Marija sanja o Jezusovem trpljenju, V. Novak, 1983, 283, št. 221 (Iz Nakla na Gorenjskem).
44	Marija Boga rodila, v senčico položila, V. Novak, 139, št. 88 (Vrhovska).
45	Vgl. še I. Šašelj II., 1909, 162, št. 121; 163, št. 123.
46	Vgl. V.V. Ivanov, V.N. Toporov, 1974, 65.
47	Reg. von Matasič, M. Kurjakovic, 1903, 119.
48	Reg. von Marica Durič, M. Kurjakovic, 1903, 122.
49	S. Banovič, 1928, 185.
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Vorstellung vom Wasser als Grenze zum Jenseits in der slowenischen Volksliteratur
do sveho pokoje. A když nyni usnu, opatruj me, Pane, at' moja dušička rano zdrava vstane. Ochran všecky lidi od ohne a vody. Od moru a hladu a všelike škody. "50
"Primluvaj se za nas dycky a každy čas, o, svaty Michale, mi k tobe volame a pomoc žadame, naš mili patrone. Ochran nas od škody, od ohne a vody, o, svaty Michale atd... "51
Weswegen gerade das Wasser (und der Berg), ist schwer zu erklären, außer wir gehen von der Vermutung über das Bestehen einer Vorstellung aus, die noch vor dem Auftreten des Christentums im Volk verwurzelt war - der Vorstellung nämlich, daß der Weg der Seele in die andere Welt über das Wasser (und den Berg52) verläuft. Dies ist, wie Katicic53 bewies, auch der Weg des Georg - Jarylo, der im Frühling aus Veles' Welt der Toten in Peruns Welt der Lebenden zurückkehrt. Darauf macht das folgende Gebet aufmerksam, in dem der hl. Georg als jener bezeichnet wird, der den "rechten Weg" zur Jungfrau Maria54 zeigen soll, bzw. als jener, der den Seelen nach dem Tod den Weg zeigt:
...Alleluja, alleluja! pomozi nam ta sueta nedeyla nu sueti iuray oroshnik, kir nam pravy pravi pot po seleni travizi k eni uodi toplizi. ker diua Maria bele roke umiva, zherne ozhy spira, greyshne dushe napaje...55
50	Detska Večerni, F. Sušil, 1951, str. 65, št. 68.
51	Zum Erzengel Michael, F Sušil, 1951, S. 68, Nr. 73. Nicht auszuschließen ist aber auch der Einfluß folgender Bibelverse (sh. Bücher der Propheten, Jesaja, 43, Verse 2 und 3):
"Wenn du durchs Wasser schreitest,
bin ich bei dir,
wenn durch Ströme,
dann reißen sie dich nicht fort.
Wenn du durchs Feuer gehst,
wirst du nicht versengt,
keine Flamme wird dich verbrennen.
Denn ich, der Herr, bin dein Gott,
ich, der Heilige Israels, bin dein Retter."
Vgl. Preroške knjige, 1958, Izaija, 43: 2-3.
52	Mehr über die Bedeutung des Berges bei den Vorstellungen über die Welt der Toten, sh. Z. Šmitek, 1993; 1994.
53	Glej R. Katičič 1987, 1989, 1990, 1991.
54	Daß Marija im Paradies oder davor steht, geht aus anderen Volksmotiven hervor, obwohl sie in diesem Gebet "sündige Seelen" labt.
55	V. Novak, 1983, 136-138, št. 87 (iz Uskokov).
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Im folgenden Gebet wird sogar ein Schiff erwähnt, das in die andere Welt hinübersetzt, obwohl hier ein rein metaphorischer Charakter des Vergleichs nicht ausgeschlossen ist.
Pohvalen bodi Jezus Kristus!
O, sveti križ,
bodi nam en paradiž,
lestvica v nebesa
ino ladja na ovi svet.56
Unsere Vermutung wird möglicherweise durch ein Lied aus Limače bestätigt. Darin wird dem Toten ausdrücklich eine gute Reise und guter Wind auf dem Meer gewünscht. Man könnte fast sagen, daß in diesem Gebet klar die Vorstellung zum Ausdruck kommt, daß die Seele nach dem Tod über das Meer in die andere Welt gelangen muß, wobei der Wind dabei behilflich sein soll, daß sie möglichst schnell ankommt:
Joštinja in Limače - jetzt dreiundneunzig Jahre alt - kennt von ihrer Mutter, die vor dem Krieg auch mit mehr als neunzig Jahren gestorben war, folgenden Segen57:
Jos ležam dov
u imen o križan oga Ježoša,
od Ježošavo gnado,
z Ježošavo močjo,
z Ježošovo krvjo.
Buh Oča mi je rekov dovka leči,
trdno zospato,
se nokogar bat o,
tri nebešče angale k mone posrato, edon me bode špižav, to druji me bode bižav,
treče me njebe nev brz to rošnega tolesa mrjeto.
Sonce zgodej haja,
Jezus z groba vstaja,
Jezus v grob pada:
"Avbe, avbe moje rance,
kako mone zvo bolo,
te bliče on to zgajžvane!
Der bo tak čvovak no sveto biv,
da bo se no moje rance spumnu,
jes bo mu nev dato tri duše rešt,
očonopa matrnopa njega samega."
Sa vlika čast bodo dana Bogu Oču,
56	Pri križu, V. Novak, 1983, 555, št. 360 (Veržej).
57	Daß es sich um ein äußerst altes Gebet handelt, bezeugen auch die Worte V. Novaks: "Ich habe den Eindruck, daß unter ihnen (den slowenischen Volksgebeten - Bem. M.Mencej) die älteste Klasse jene ist, die so anfangt: Gott befahl, sich niederzulegen ... mit der Erwähnung von drei Engeln." (V. Novak, 1983, 16).
219
Vorstellung vom Wasser als Grenze zum Jenseits in der slowenischen Volksliteratur
sa čast bodo dana vsen svetnikan,
pokoj vsem to mrtvam,
srenča no potu,
pihast no morju.
Požegnaj nas dovica
s tvojan sinan Ježošan.
Pojdopred mono, pojdo zo mono,
vsako uro, vsako monuto, vsako čas. Amen.58
Dies sind Lieder und Erzählungen aus der slowenischen (bzw. einige Varianten aus der kroatischen) Volksliteratur, aus denen man auf eine ältere Glaubensvorstellung schließen könnte, die in der slowenischen Volkstradition und im Volksglauben jedoch kaum mehr erkennbar ist; nämlich, daß der Weg ins Jenseits über das Wasser führt. Außer eventuell beim ersten erwähnten Lied Der Musikant vor der Hölle kann keinesfalls von einer Beziehung zur griechischen Mythologie gesprochen werden. Das rituelle Schema, in dem neben dem Feuer als Hauptgefahr für die Seele nach dem Tod auch das Wasser und der Berg angeführt werden, kann ganz einfach nicht eine Weiterfuhrung der antiken Überlieferung sein (und auch nicht der christlichen), ebensowenig wie die Lieder und Gebete, in denen die Seelenwanderung in den Himmel über das Wasser und den Berg geschildert wird. Eben diese ständige Präsenz von Wasser und Berg beweist eine in der slowenischen Volksliteratur fest verankerte Vorstellung, für die höchstens bei der Reise des Georg aus Veles' Welt Parallelen anzutreffen sind, d.h. in einem authentisch slawischen Mythos, keinesfalls jedoch in der Antike oder im Christentum. Auch die anderen Lieder, in denen die Bedeutung des Wassers als Scheidelinie erst nach detaillierter Analyse gefunden werden kann, deuten auf keine Verbindung zur christlichen oder antiken Überlieferung. Man könnte also von einer Vorstellung sprechen, die tief in der slowenischen Volksliteratur verwurzelt ist und bei der es sich nicht lediglich um ein Übernehmen oder Anpassen der griechischen mythischen Vorstellung handelt. Natürlich reicht es nicht aus, nur in der slowenischen Volksliteratur auf Spurensuche zu gehen; erst eine Übersicht über die Bräuche, Überbleibsel der Glaubensvorstellung über das Jenseits und sprachwissenschaftliche Vergleiche werden die Vermutung, daß diese uralte mythische Vorstellung auch unter den Slawen und Slowenen bestand bzw. authentisch verwurzelt ist, wirklich bestätigen (oder verwerfen) können.
Literatura
Banovic Stjepan, Prosjačke molitvice (Drevnik u Dalmaciji), Zbornik za narodni život i običaje južnih Slavena 26, Zagreb 1928, str. 182 - 186.
Bezlaj France, Slovansko *irbjb, *vyrbjb in sorodno, Onomastica Yugoslavica VI., Ljubljana 1976, str. 57-69.
Clemen Carl, Das Leben nach dem Tode im Glauben der Menschheit, Aus Natur- und Geisteswelt 544, Leipzig - Berlin 1920.
Čajkanovic Veselin, Puštanje vode o Velikom četvrtku, Studije iz religije i folklora, Srbski etnografski zbornik 31, Beograd 1924, str. 56-84.
58 Z. Kumer, 1981, 104-105.
220
Mirjam Mencej
Grafenauer Ivan, Spokorjeni grešnik, Študija o izvoru, razvoju in razkroju slovensko - hrvaško - vzhodnoalpske ljudske pesmi, Dela SAZU 19, Razreda za filološke in literarne vede II., Ljubljana 1965.
Grafenauer Ivan, Slovensko - hrvaška ljudska pesem Marija in brodnik, Dela SAZU 21, Razreda za filološke in literarne vede II., Ljubljana 1966.
Grimm Reinhold R., Paradisus coelestus, Paradisus terrestris. Zur Auslegungsgeschichte des Paradieses im Abendland bis zum 1200, Medium aevum, Philologische Studien, Bd. 33, München 1977.
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Ivanov V. V., Toporov V. N., Slavjanskie jazykovye modelirujuščie semiotičeskie sistemy, Moskva 1965.
Ivanov V. V., Toporov V. N., Issledovanija v oblasti slavjanskich drevnostej, Moskva 1974.
Katičic Radoslav, Spuren der Texte eines urslawischen Fruchtbarkeitsritus, Wiener Slavistisches Jahrbuch, Band 33, Wien 1987, 23-43.
Katičic Radoslav, Weiteres zur Rekonstruktion der Texte eines urslawischen Fruchtbarkeitsritus, Wiener Slavistiches Jahrbuch, Band 35, Wien 1989, 57-98 .
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Katičic Radoslav, Nachträge zur Rekonstruktion des Textes eines urslawischen Fruchtbarkeitritus (2), Wiener Slavistisches Jahrbuch, Band 36, Wien 1990.
Katičic Radoslav, Nachträge zur Rekonstruktion des Textes eines urslawischen Fruchtbarkeitritus (2), Wiener Slavistisches Jahrbuch, Band 37, Wien 1991.
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Kotnik France, Storije, Koroške narodne povedke in pravljice I., II., Celovec 1957, 1958.
Kumer Zmaga, Pesem o Mariji in brodniku z glasbenega vidika, Dela SAZU 21, Razreda za filološke in literarne vede II., Ljubljana 1966 .
Kumer Zmaga, Od Dolan do Šmohora, Iz življenja Ziljanov po pripovedovanju domačinov, Celje 1981.
Kurjakovic Mijo, Molitve. U Vrbovi (Slavonija), Zbornik za narodni život i običaje južnih Slavena VIII, Zagreb 1903, 119-123.
Leto svetnikov IV., Ljubljana 1973.
Matičetov Milko, Rezijanska pripovedna pesem, Etnolog XVII, Ljubljana 1944, str. 25 -33.
Matičetov Milko, O etnografiji in folklori zapadnih Slovencev, Slovenski etnograf 1, Ljubljana 1948, 9-56.
Matičetov Milko, Godec pred peklom, Sodobnost XVII, Ljubljana 1969, 204-206.
Mencej Mirjam, Vrba - posrednik izmedu ovog i onog sveta, Kodovi slovenskih kultura 1, Beograd 1996.
Möderndorfer Vinko, Narodne povedke iz Mežiške doline, Ljubljana 1924.
Möderndorfer Vinko, Verovanja, uvere in običaji Slovencev, 5. knjiga, Celje 1946.
Niederle Lubor, Slovanske starožitnosti, Život starych Slovanu, Oddil kulturni, Dilu I., svazek 1, V Praze 1912.
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Novak Vilko, Slovenske ljudske molitve, Ljubljana 1983.
Slovenske ljudske pesmi I, 1970 (uredili Z. Kumer, M. Matičetov, B. Merhar, V. Vodušek).
Strajnar Julijan, Mitološke prvine v slovenski ljudski pesmi, Traditiones 19, Ljubljana 1990, 169 - 176.
221
Vorstellung vom Wasser als Grenze zum Jenseits in der slowenischen Volksliteratur
Sušil František, Moravske narodni pisne, Praha 1951.
Šašel Josip, Ramovš Franc, Narodno blago iz Roža, Maribor 1936 - 1937.
Šašelj Ivan, Bisernice iz belokranjskega narodnega zaklada II., Ljubljana 1909.
Šmitek Zmago, Tibet in Evropa: Stereotipi in arhetipi, Etnolog 3, Ljubljana 1993, str. 67-76.
Šmitek Zmago, Primerjalni vidiki slovenskega ljudskega izročila o Atili, Traditiones 23,
Ljubljana 1994, 187-201. Štrekelj Karel, Slovenske narodne pesmi, 1 - 4, Ljubljana 1980, (1. izdaja: 1895 - 1923). Trojanovic Sima, Stari slovenski pogreb, Srpski književni glasnik, knjiga 3, Beograd 1901. Trstenjak Davorin, O gromski sekiri imenovani Taran-balta sekira, Slovenske novice 1959,
str. 10-11, 27-29, 34-36. Trstenjak Davorin, Mythologične drobtine, O verbi, Slovenski glasnik, Celovec 1862, 175.
222
Mirjam Mencej
Predstava o vodi kot meji z onstranstvom v slovenskem ljudskem slovstvu
Mirjam Mencej
Mitična predstava o vodi, ki ločuje med seboj svet živih in svet mrtvih, je zelo pogosta v mitologijah raznih narodov. O tem, da so jo poznali tudi Slovani, skorajda ni dvoma. Vendar pa se preučevalci slovanske mitologije ne strinjajo glede tega, ali so to mitično predstavo (in odgovarjajoči obred - pokop ali sežig v čolnu, ki ga nekateri avtorji povezujejo s to predstavo) Slovani sprejeli od drugih ljudstev (najpogosteje pripisujejo pokop oz. sežig v ladji skandinavskemu vplivu, mitsko predstavo o vodi - meji pa grškemu vplivu) ali pa gre za prvotno slovansko predstavo. Da bi lahko našli odgovor na to vprašanje, se je bilo potrebno lotiti raziskovanja na več ravneh: prvo plast predstavljajo starejša poročila, zapiski, slike idr., ki pričajo o tej predstavi (in obredu), drugo plast novejši zapisi o ljudskih predstavah o drugem svetu, ljudske pesmi, pripovedi, pregovori ter šege ob smrti, tretjo plast pa jezikoslovje. Članek predstavlja le del teh raziskav, in sicer sledove te predstave v slovenski slovstveni folklori.
Vsaj v dveh slovenskih ljudskih povedkah je mogoče zaslediti predstavo o neki vodi, ki ločuje svet živih in mrtvih med seboj. V prvi mrtvi prijatelj živega povabi s seboj. Dolgo časa hodita, ko naposled prideta do vode, ki jo mrtvi lahko prekorači, živi pa ne. V drugi povedki pa se je neki "poštenjak" odpravil skozi jamo pod zemljo - na spodnji stopnici ga čaka star mož, ki se mu ponudi za vodnika. Pot ju je vodila prek treh rek do četrte reke, sredi katere je majhen otok. Za rekami so bili travniki, na katerih sta videla ovce, žanjice in ovna, ki sta se borila - vse to so bile po vodnikovih besedah duše umrlih.
Tudi dekle, ki je narekalo za umrlo materjo, je v narekanju opozarjalo mater, da jo bo pot po smrti vodila mimo treh vodnjakov, ob katerih pa naj se ne ustavlja.
V slovenskih ljudskih pesmih lahko to predstavo zasledimo v pesmi Godec pred peklom, ki pa velja za nadaljevanje antičnega mita o Orfeju. Naslednja pesem, ki bi lahko pričala o obstoju te predstave, pa je pesem Spokorjeni grešnik. Pesem govori o grešniku, ki sreča Jezusa ali Marijo in ga / jo prosi, da bi šel z njim / njo. Toda zaradi grehov, ki jih je storil, se mora prej pokoriti, šele zatem lahko pride v nebesa. Zanimivo je, da sta Jezus oz. Marija v skoraj vseh različicah te pesmi v vodi, medtem ko je grešnik največkrat na suhem (na obali) in ju od tam prosi, če gre lahko z njima. Vprašanje, ki se pojavi, je, kam se Jezus oz. Marija peljeta. Odgovor, da v "sveti raj" (se pravi na drugi svet), je eksplicitno razviden iz ene različice, implicitno pa iz skoraj vseh. Zanimivo je tudi, da se je po besedah informatorjev pesem pela med "vahtanjem" mrličev, in to zlasti njen prvi del (v katerem se pojavlja ta predstava).
Svete osebe v vodi zasledimo še v dveh pesmih. Prva je pesem Marija in brodnik, v kateri Marija pride do vode in prosi brodnika, naj jo prepelje prek nje. Prav ta pesem se najpogosteje poje ob mrličih. Druga pa je pesem Sv. Barbara, pomočnica ob smrti, v kateri
223
Vorstellung vom Wasser als Grenze zum Jenseits in der slowenischen Volksliteratur
sv. Barbara prihaja na pomoč ob smrti po vodi (v njenem življenju sicer ni najti povezave z vodo).
V pesmi Tri pogubljene duše najdemo duše umrlih grešnikov v studenčnici. V pesmi sta se verjetno združili poganska predstava o nečistih mrtvecih in krščanska o grešnih dušah - v obeh primerih gre namreč za duše, ki po smrti ne najdejo pokoja in se zato vračajo, strašijo ljudi in jim škodijo. Večno ostajajo torej nekje "vmes", in ta vmesni kraj, meja med svetovoma, se v tej pesmi in enako tudi v pesmi o sv. Lovrencu, ki išče svojo ukleto sestro, razkriva prav v obliki vode.
Med tovrstne pesmi uvrščamo tudi Duša z zlatim patrnoštrom, v kateri pot dušo v nebesa eksplicitno vodi med drugim prek vode. Predstava o poti prek vode (in pogosto tudi gore) v nebesa se pogosto ponavlja tudi v slovenskih ljudskih molitvah. Na isto predstavo bi lahko sklepali tudi iz verzov, ki se kot nekakšen ritualni obrazec ponavljajo v mnogih slovenskih ljudskih pesmih in molitvah: Kdor bo to molitev zmolil, se ne bo na gori izgubil, v vodi utonil, v peklu zgorel (pač pa bo prišel v nebesa). Zdi se torej, da so glavne nevarnosti za dušo na poti v raj ogenj (kar je razumljivo, saj je pekel v zavesti ljudi tesno povezan s krščansko predstavo o večnem ognju), voda in gora. Zakaj prav voda in gora, je težko razložiti, razen če sprejmemo domnevo o obstoju predstave, ki bi jo Slovani poznali še pred nastopom krščanstva, da pot na drugi svet vodi prek vode in gore. Prek njiju vodi tudi pot Jurija iz Velesovega sveta mrtvih, kot je dokazoval R. Katičic, zato je posebej zanimiva molitev, v kateri je prav sv. Jurij naprošen, da kaže pot do Marije.
Kot zadnji sta predstavljeni še dve molitvi, ki sta zanimivi zato, ker se v njiju posebej omenja "ladja na ovi svet" oz. se izraža željo, da bi bili mrtvim dana sreča na poti in vetrc na morju".
Iz vseh navedenih primerov lahko torej ugotovimo, da ni nikjer najti zveze z antično in še manj s krščansko tradicijo, pač pa bi lahko našli paralele kvečjemu z Jurijevo potjo iz Velesovega sveta, se pravi z avtentičnim slovanskim mitom.
224
Kres
Die Sonnwendbräuche der Slowenen
Helena Ložar-Podlogar
The paper analyses the traditional way of celebrating Midsummers' Day in Slovenia, which combines the pagan cult of Sun-worship with folk beliefs and customs connected with fire, processions, singing, gift-giving, beliefs in the magical power of plants, and Christian blessing.
Obwohl, astronomisch gesehen, nach dem gregorianischen Kalender die Sonne auf ihrem Weg den Gipfel schon am 21. Juni erreicht, gilt der aus der alten Überlieferung des julianischen Kalenders erhaltene Sonnwendtag am 24. Juni bei dem Volk als der längste Tag im Jahr. Die Erkenntnis, daß die Sonne den Gipfel ihres scheinbaren Himmelsweges erreicht hat und daß der Tag nun immer kürzer sein wird, erfüllt den Menschen immer wieder mit Angstgefühl. In seiner einfachen Gesinnung meinte er der Sonne mit magischen Praktiken ihre Kraft erhalten zu helfen. Ein solches Mittel sollte das Feuer sein. Der Glaube an die magische Rolle des Sonnwendfeuers dürfte in unmittelbarem Zusammenhang mit dem Sonnenkult (der Heliolatrie) stehen. Zwar ist heute in der Volkskunde das Phänomen des Sonnenkultus zur Seite getreten. Das slowenische Material weist jedoch sehr unmittelbar auf Reste des Sonnenkultus hin, die man schwer übersehen kann. Zum Glauben an die magische Bedeutung des Feuers gesellt sich nämlich der Glaube an die Sonnengottheit. Als Erinnerung an diesen Glauben, obwohl schon mit christlicher Beimischung, erscheint ein Gebet aus dem Gailtal (Zbiljska dolina), welches im Jahre 1851, leider nur als Fragment veröffentlicht wurde:
Jes se obrnam pruti svetami sonci,	Ich wende mich zur hl. Sonne,
pruti bozjami zhodi,	zu Gottesaufgang,
pruti Jezisavim grobi...1	zu Jesu Grab...
Der Sonnenglauben dürfte wohl auch in dem in ganz Slowenien bekannten Lied Sijaj, sijaj, soncece (Scheine, scheine Sonnelein...)2 hervortreten. Der erste Teil dieses Liedes ist heutzutage schon fast vergessen. Matija Majar und Urban Jarnik verdanken wir es, daß uns in ihren Aufzeichnungen aus der Mitte des vorigen Jahrhunderts wenigstens ein Teil der Gaitaler Fassung erhalten geblieben und später in der Volksliedersammlung von Karel Strekelj veröffentlicht ist.3
1	Majar Matija, Slovenski običaji, Slovenska Bčela 2/1, Celovec 1851, S. 185.
2	Štrekelj Karel, Slovenske narodne pesmi III., Ljubljana 1904 - 1907, verschiedene Varianten unter Nr. 5131 -5150, S. 197-202.
3	Štrekelj, wie Anm. 2, Nr. 5129 (Aufgezeichnet von M. Majar) und 5130 (Aufgezeichnet von U. Jarnik) S. 196.
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Kres: Die Sonnwendbräuche der Slowenen
Zarja mi gore shaja, Ljepa zarja mi gore gre, Za zarjo mi gre sončice, Oj, rumeno sončice!
Das Morgenrot, es steigt empor, das Morgenrot, es kommt hervor, der Röte folgt die Sonne, der gelbe Sonnenschein.
Le čakej, čakej, sonce, Ti rumeno sončice, Jes ti man vliko povedati, Pa še vliko več prašati.
"O warte, warte, Sonne, du gelber Sonnenschein, vieles ich dir zu erzählen hab, noch mehr hätt ich zu fragen.
"Jes pa ne mo čakati, Man masa vliko obsevati: Vse dolince in hriberce, Tudej vse vboje sirotice.4
Warten kann und darf ich nicht, muß scheinen vielerorts, auf Täler und Berge all, auf jedes arme Weisenkind...
Die Fortsetzung ist die in ganz Slowenien bekannte oben erwähnte heutige Fassung Scheine, scheine Sonne:
Sijaj, sijaj sončece, oj sonce rumeno! "Kako bom pa sijalo, k'sem vedno žalostno!"
Scheine, scheine Sonne, du gelber Sonnenschein! "Wie könnte ich wohl scheinen, muß immer traurig sein!"
Sonce zgodaj gori gre, dekleta jokajo, bi rade še ležale, pa vstati morajo.
Wenn ich zu früh erscheine, die Mädchen weinen sehr, sie möchten gerne schlafen, und dürfen dann nicht mehr.
Sonce zgodaj doli gre, pastirji tarnajo, domov bi radi gnali, pa črede nimajo.
Wenn ich zu spät verschwinde, werd ich vermaledeit, nach Haus möchten die Hirten, die Herde ist zerstreut... "
Sijaj, sijaj sonce, oj sonce rumeno! "Kako bom pa sijalo, k'sem vedno žalostno!"
O, scheine, scheine, Sonne, du gelber Sonnenschein. "Wie könnte ich wohl scheinen, muß immer traurih sein..."
226
4 Die meisten Lieder übersetzte N.Kuret.
Helena Ložar-Podlogar
Die Personifizierung der Sonne
Die göttliche Sonne mußte früher oder später die menschliche Gestalt annehmen. Die Sonnengottheit, altslawisch Svetovit, der "goldhaarige und goldhändige Sohn des Himmelsherrn", wurde bei den Slowenen Kresnik.5 Sein Name wird nach Fran Miklošič6 aus dem altslawischen "kres", temporum mutatio, Sonnwende, abgeleitet. Kresnik ist also der göttliche Held der Sonnwende. Seine Gestalt aus der altslowenischen mythologischen Darstellungswelt ist heute samt den verschiedenen Sagen und Märchen ganz verschwunden. In diesen Sagen und Märchen erfuhr Kresnik eine allmähliche Wandlung von der Gottheit zum Sonnenhelden, am Ende zu einem weltlichen Herrscher mit märchenhaften Eigenschaften, zuguterletzt sogar zum Zauberschüler. Den Kern dieser Märchen bilden die Erzählungen über den Kampf zwischen der Gottheit des Lichtes und der Gottheit des Dunkels. Daraus hat sich die Sage vom Kampf zwischen den Helden Kresnik oder Krsnik und den bösen Drachen entwickelt.7
Das Christentum hat Kresnik schon recht früh durch den hl. Johannes den Täufer zu verdrängen versucht. Kresnik büßte deshalb immer mehr von seinem mythologischen Charakter ein, und es blieb endlich nur noch der Name bestehen.
Aufbau des Alten Sonnwendfestes
Sonnwendfeuer
Obwohl die Sonnwendfeuer in die heidnischen Zeiten reichen, haben wir aus dieser Zeit keine schriftlichen Berichte. Die ersten Quellen finden wir erst vom 13. Jh. an. Der Brauch tritt jedoch schon ganz verchristlicht auf, darum nennt man die Sonnwendfeuer auch bei den Slowenen einfach Johannisfeuer (= ivanjski, bzw. sentjanzevski kresovi).8
Noch lange wurde bei den Slowenen die alte Regel beachtet, das Feuer nur aus dem Stein zu schlagen. Man meinte, das Feuer habe sonst nicht die richtige Kraft. Hie und da brannten die Feuer schon einige Tage vor und noch einige Tage nach dem 23. Juni. Darüber berichtet unser Polyhistor J. W. Valvasor in seiner Ehre des Herzogthums Crain. Zu seiner Zeit brannten die Sonnwendfeuer in Zumberak, an der slowenisch-kroatischen Grenze neun Tage vor dem 23. Juni und noch acht Tage nach diesem Datum.9
Schon der slowenische Volkskundler Janez Navratil konnte Ende des 19. Jh. feststellen, daß alle Slawen ( wie auch Germanen) das Sonnwendfeuer am liebsten auf Hügeln und auf Bergen brennen ließen. Er erklärt es damit, daß man in der Heidenzeit der Sonne näher sein wollte.10 Die alte Sitte ist erhalten geblieben; die Sonnwendfeuer brennen an den seit je üblichen Orten, doch ist die Absicht heute eine andere; man wünscht lediglich, daß das Feuer weit in der Umgebung sichbar sein soll. Der Ort, wo das Johannisfeuer brennt, befindet sich zwar noch immer auf Höhen, doch liegt es im allgemeinen auch in der Nähe von
5	Kuret Niko, Praznično leto Slovencev II, Celje 1967 (1), S. 86.
6	Miklošič Fran, Lexicon palaeoslovenico-graeco-latinum. Vindibonae 1862 - 1865. S. 319.
7	Kelemina Jakob, Bajke in pripovedke slovenskega ljudstva. Celje 1931. S. 35 - 41 und 339 - 351.
8	Kuret, wie Anm. 5, S. 88.
9	Johann Weichard Valvasor, Die Ehre des Herzogthums Crain IV/12, Laibach - Nürnberg 1689, S. 88.
10	Navratil Janez, Slovenske narodne vraže in prazne vere. Letopis Matice Slovenske 1887, S. 101.
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Kres: Die Sonnwendbräuche der Slowenen
Wegkreuzungen, so z.B. im Pöllander Tal (Poljanska dolina), in Krka-Tal, im Reifnitztal (Ribniška dolina), und im Weißkrain (Bela krajina) wird der Holzstoß überhaupt nur bei Wegkreuzungen errichtet.
Ähnlich wie bei vielen anderen Bräuchen überlassen die Burschen die Anregung für die Sonnwendfeier allmählich den schulpflichtigen Jahrgängen. Nur noch im Gailtal, hie und da jedoch auch in Weißkrain, im Drautal und in Unterkrain ist das Sonnwendfeuer noch immer die Verpflichtung und der Obhut der erwachsenen Burschen überlassen.
Schon das Einsammeln von Brennmaterial war früher eine rituelle Handlung. Der Beitrag galt als Pflicht: wer nichts gab, versündigte sich. Oft wurde sogar bestimmt, wieviel Brennmaterial jedes Haus beisteuern mußte.
Der Holzstoß ist gewöhnlich sehr groß, oft um einen hohen verzierten Baum, oder um eine Stange - "kresni mlaj" - aufgebaut, mit vielfärbigen Bändern und mit einer Fahne am Wipfel geschmückt. In einigen Orten Oberkrains (Gorenjsko) pflegte man noch bis zum Ersten Weltkrieg in die Mitte des Holzstoßes eine Tanne zu stecken, die mit bunten Kränzen geschmückt war. Diese Tanne wurde "Blume" (roža) genannt. Die Kränze wurden von den Mädchen aus roten Nelken gewunden. Die Burschen gingen mit der Tanne am Abend, als der Holzstoß schon bereit war, von Haus zu Haus, um die Kränze einzusammeln. Das Mädchen stand beim Fenster im oberen Stock, ließ den Kranz fallen, und die Burschen mußten ihn mit der Tanne auffangen. Die Tanne wurde immer schwerer, denn es gab manchmal sogar bis zu zwanzig solcher Kränze aufzufangen.11
Eine Überlieferung aus dem Pöllander Tal in Oberkrain beweist uns, wie sehr man von der heiligen Macht des Feuers überzeugt war. Einer von den Burschen verfluchtete nämlich das Feuer, das nicht brennen wollte. Im Nu kam ein starker Windzug und das Feuer verbreitete sich über das ganze Dorf. Man mußte mit Weihwasser das Feuer löschen, damit wenigstens ein Teil des Dorfes übrigblieb.12
Andererseits werden mit dem Sonnwendfeuer auch ungemütliche Scherze getrieben. Besonders in Kärnten geschieht es oft, daß das Sonnwendfeuer, wie man sagt, "erblüht", d.h. das Feuer wird einen oder zwei Tage zu früh angezündet. Im Gailtal ist es ein Streich der Burschen aus dem Nachbardorf. Dasselbe kommt auch im Jauntal (Podjuna) vor. Die Ursachen sind entweder Neid wegen eines recht großen Holzstoßes, oder Streitigkeiten eines Mädchens willen.
Neben den Maien, die in der Mitte des Holzstoßes stecken, sollen wir noch die eigentlichen Sonnwendmaien erwähnen, die man heutzutage immer öfters an der höchsten Stelle im Dorf aufzustellen pflegte. Ein bis zu acht Meter hoher Tannenstamm wurde abgerindet, obenauf werden ein schöner Tannengipfel mit der slowenischen Fahne und ein Kranz befestigt. Die Tanne wurde gewöhnlich gestohlen, lautlos ins Dorf gebracht und sofort in die schon vorbereitete Grube gesteckt.
Feuersprünge
Ausgesprochen ritueller Charakter dürfte den Feuersprüngen beigemessen werden. Dem Feuer hatte man schon in der Urzeit eine besondere Reinigungskraft (lustratio) zugeschrieben. Wenn man das Feuer überspringt und dadurch mit ihm in unmittelbare Berüh-
11	Kuret, wie Anm. 5, S. 89.
12	Möderndorfer Vinko, Verovanja, uvere in običaji Slovencev. Narodopisno gradivo II. Prazniki. Celje 1948, S.
290.
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Helena Ložar-Podlogar
rung kommt, wird man nicht nur gereinigt, sondern auch geheimnisvoller Mächte teilhaftig, die uns vor Krankheiten und vor Zauber beschützen. Matija Majar13 berichtete von Feuersprüngen aus dem Karstgebiet zwischen Görz (Gorica) und Triest (Trst), wo nach dem Volksglauben die Sprünge der Gesundheit bekömmlich sein sollten. Auch im Zumberak an der kroatisch-slowenischen Grenze pflegte man im 17. Jh. nach Valvasor das Sonnwendfeuer zu überspringen. Die Mütter trugen sogar ihre Kinder über das Feuer "... damit die gesund bleiben ..."14 Im Übermurgebiet (Prekmurje)15 pflegten die Mädchen das Feuer zu überspringen, vorher banden sie sich jedoch einen Hanfstrick um die Hüften. Dies sollte sie das ganze Jahr vor Schmerzen in den Hüften beschützen. Falls sich jedoch der Strick dabei löste, drohte dem Mädchen ein uneheliches Kind. Die Auffassung über die Bedeutung der Sprünge artete mit der Zeit in Wahrsagerei aus, oder man erfand ganz willkürliche Erklärungen (z.B.: man muß das Feuer überspringen, damit die Flöhe ihre Kraft verlieren usw.). Gewöhnlich üben nur die Mädchen diese Wahrsagerei aus. In ganz Slowenien gilt es, daß das Mädchen, welchem der Feuersprung gelingt, noch in demselben Jahr heiraten wird.
Scheibenschlagen, Feuerräder, Fackellauf
Die magischen Vorstellungen gebrauchen das Feuer noch zu anderen rituellen Bräuchen: die häufigsten sind das Feuerräderrollen, das Scheibenschlagen und der Fackellauf. Den indoeuropäischen Vorstellungen entspricht das Rad als Sonnensymbol. Darum pflegte man vielerorts Feuerräder ins Tal rollen lassen. Man mußte der Sonne mit magischen Mitteln helfen; ein davon war das brennende Rad. Vor gut hundert Jahren zeichnete der slowenische Mythologe und Volkskundler Davorin Trstenjak ein Lied auf, welches die unter-steirischen Burschen vermutlich bei diesem Brauch sangen16:
Kaj raste brez korenja? Kamen raste brez korenja. Kaj cvete brez cveta? Praprot cvete brez cveta.
Was wächst ohne Wurzelwerk? Der Stein wächst ohne Wurzelwerk. Was blüht wohl ohne Blüte? Das Farnkraut blüht ohne Blüte.
Let', kolo, let', cvet', praprot, cvet', škrop', dekle, škrop', hoja, hojsa, hop.
Rolle, Rad, rolle, blühe, Farnkraut, blühe, gieß Wasser, Mädel, gieß, hoja, hojsa, hop.
Besonders interessant ist der Brauch des Scheibenschlagens. Dieser Brauch ist für die Ostalpen charakteristisch und bei den Friulanern, den Deutschen und den Slowenen verbreitet. Als erster beschrieb im Jahr 1851 diesen Brauch bei den Slowenen der Kärntner Volkskundler Matija Majar.17 Er beschrieb die Stimmung beim Sonnwendfeuer und erwähnte das Schlagen von Feuerscheiben. Es waren viereckige Brettchen aus Buchenholz mit einem Loch in der Mitte. Die "Scheibe" wurde auf einen Stock gesteckt und im Sonnwendfeuer
13	Majar, wie Anm. 1, S. 184.
14	Valvasor, wie Anm. 9.
15	Möderndorfer, wie Anm. 12, S. 253.
16	Štrekelj, wie Anm. 2, Nr. 5152, S. 203.
17	Majar, wie Anm. 1.
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Kres: Die Sonnwendbräuche der Slowenen
angezündet. Nicht weit vom Feuer war ein Brett bereit, an einem Ende etwas erhöht befestigt. Mit der brennenden Scheibe schlug der Junge auf dieses Brett. Die brennende Scheibe machte einen hohen, glühenden Bogen durch die Luft. Je höher die Scheibe flog, desto schöner war es. Bevor der Junge die Scheibe schlug, rief er, wem zu Ehren oder auf wessen Gesundheit die Scheibe fliegen solle. Die erste flog immer zu Ehren des Kirchenpatrons oder zu Ehren Johannis des Täufers. Die folgenden Scheiben waren einzelnen Personen zugedacht.
Für das Scheibenschlagen muß man geschickt sein. Wenn die Scheibe schön und im richtigen Bogen fliegt, ist es alles richtig. Wenn sich die Scheibe jedoch nicht vom Stock lösen will, bedeutet es, daß der Junge noch lange auf die Heirat warten wird. Auch die Richtung, welche die Scheibe anschlägt, ist bedeutungsvoll; in dieser Richtung soll der Junge oder das Mädchen, dem die Scheibe bestimmt ist, seinen Partner suchen. Wenn die Scheibe im Schwung zerbricht, bedeutet das - nach altem Glauben - Unglück für jenen, der sie geschlagen hat. Die Scheiben wurden schon einige Tage früher vorbereitet. Manchmal sind sie nicht viereckig, sondern rund, aus Birkenstämmen gesägt: der Durchmesser beträgt 20 cm, die Räder sind 1 bis 2 cm dick und sind in der Mitte durchbohrt, so daß man sie auf einer Schnur anreihen konnte. Einen solchen Kranz hängten sich die Kinder um den Hals und gingen damit zum Ort der Sonnwendfeier. Neben dem großen Sonnwendfeuer brannte noch ein kleines und in dieses warfen die Kinder ihre Scheiben. Die Jungen stecken dann eine brennende Scheibe nach der anderen auf ihre Haselstöcke und schlugen sie in die Luft.
Dieser Brauch war nicht nur bei den Kärntner Slowenen, sondern auch im oberen Savatal, im Kanaltal und im Soca-Tal bekannt. Man trifft ihn auch, zwar vereinzelt, in Unterkrain in der Gottscheer Nachbarschaft.
Im Jahre 1887 berichtete der slowenische Volkskundler Navratil18 vom Brauch der "Sonnwendräderchen" in der Umgebung von Reifnitz, weiter bei Seisenberg und in der Weißkrain. Den Brauch hatten die Deutsch-Gottscheer, die sich im 14.Jh. in Unterkrain angesiedelt haben, mitgebracht. Doch nur wenige slowenische Dörfer am Rand dieses Gebietes übernahmen ihn.
In einigen Orten in Gailtal (Egg bei Hermagor, Brdo pri Smohorju) wurden nicht nur Scheiben, sondern auch Kränze in die Luft geschleudert und zwar die Scheiben von den Burschen, die Kränze jedoch von den Mädchen.19 In Skofja Loka (Oberkrain) zündete man, nach J. Navratil,20 seinerzeit im Sonnwendfeuer Birkenbesen an, die dann brennend in die Luft geschleudert werden. Dieser Brauch ist eigentlich nicht so selten. In Innerkrain (Notranjsko)21 umwickelte man am Sonnwendabend eine Stange mit Stroh und zündete sie an. Mit solchen Fackeln ging man aufs Feld und kreiste eine Zeitlang damit umher. Etwas ähnliches berichtete der steirische Chronist aus dem unteren Petauer Felde (Ptujsko polje), wo die Burschen vor dem Johannistag mit brennenden Strohbüschen zwischen den Feldern zu laufen und zu singen pflegten.22
Alle diese verschiedenen Feuerbräuche dürfen als Reste ehemaliger magischer Zeremonien und als Reminiszenzen an den einstigen Sonnenkultus bewertet werden.
18	Navratil, wie Anm. 10, S. 118.
19	Möderndorfer, wie Anm. 12, S. 286.
20	Navratil, wie Anm. 10, S. 104.
21	Möderndorfer, wie Anm. 12, S. 306.
22	Pajek Josip, Črtice iz duševnega žitka štajerskih Slovencov. Ljubljana 1884, S. 56.
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Die altertümliche Feierstimmung kommt noch heute beim Sonnwendfeuer zum Ausdruck. Die Jugend singt und tanzt, Gesang und Gejauchze ertönen um die Sonnwendfeuer in ganz Slowenien, das ist aber heute auch alles. Speziel rituelle Sonnwendlieder haben sich nur noch in Weißkrain erhalten. Der Tanz hatte jedoch nicht immer rituellen Charakter.
Sonnwendsängerinnen
Als besonders charakteristische Abwehrzeremonien gelten die Umgänge der Sonnwendsängerinnen kresnice oder ladarice. Der Name "ladarice" wurde aus dem Namen einer vermutlich slawischen Göttin Lada abgeleitet. Sie sollte die Beschützerin der Liebe und der Gesundheit gewesen sein; ihre Priesterinnen waren die "ladarice". Neuerdings meint man jedoch, das Wort "lada" sollte nur ein falsch verstandener Freudenruf sein.23
Die ladarice zogen von Pfingsten, ja sogar vom Georgitag an bis zum Johannistag durch die Dörfer. Vielleicht nahmen die Frühlingsfeiern unserer Vorfahren wirklich einen längeren Zeitabschnitt in Anspruch. Der Höhepunkt wurde am Sonnwendfeiertag erreicht. Heute ist der Name ladarice im allgemeinen auf das kroatische Gebiet beschränkt, in Slowenien ist die Benennung kresnice (Sonnwendsängerinnen) üblich. Dabei denkt man jedoch immer nur an Weißkrain, obwohl uns ältere Berichte auch von den kresnice aus anderen Gebieten Sloweniens erzählen. So waren sie seinerzeit in der Untersteiermark24 bekannt. Dort versammelten sich die Mädchen vom Georgitage an bis zum Johannistag jeden Abend bei einem Bildstock, bei der Dorfkapelle oder in einem aus Tannen- oder Kieferzweigen eigens gebauten Zelt, das mit Blumen und Bändern geschmückt wurde, um dort zu singen. Das Zelt wurde majka, d.h. Mutter genannt und darin verbrachten die Mädchen Nacht für Nacht, wenn sie mit ihren Umgängen und ihren Liedern die Felder zu beschützen trachteten. Am Johannisabend sangen sie zum letztenmal, dann steckten sie das Zelt in Brand. Vermutlich beendeten sie ihren Dienst mit einem Festmahl beim Feuer.
Eines unserer schönsten Sonnwendlieder erinnert an die kresnice aus Kärnten (Koroško). Das Lied, in Štrekeljs Sammlung veröffentlicht, hat Matija Majer im vorigen Jahrhundert in Rosental (Rož) aufgezeichnet und so dem Vergessen entrissen.
Device tri kresujejo,
na sred vesi kres nitijo:
"Bog daj ti dro, oj kraljič mlad!"
Drei Mädlein die Sonnwend feiern, inmitten des Dorfes ihr Feuer brennt, "Gott segne dich, o junger Prinz!"
Taku lepü sprepivlajo, da se je daleč slišalo, daleč v deveto deželo.
So sangen sie recht wunderschön, es hallte laut, man hört es weit, es drang bis in das Neunte Land.
Kaj mladi kraljič govori: "Al je to glas žegnanih zvonov? Bil je to glas drobnih tic, bil je to glas čistih devic?
Was spricht der junge Königssohn? "Ist das geweihter Glockenklang? Ist es der Vöglein zwitschernd Lied? Oder gar keuscher Jungfrau Stimm?"
23	Kuret, wie Anm. 5, S. 99.
24	Pajek, wie Anm. 22, S. 57.
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Kres: Die Sonnwendbräuche der Slowenen
Daj mi konjča frišnega, da šitro ta pojezdim ga, da jaz sam še šlišol bom, kaj je to kej za en glas!"2
'25
Bring mir allher ein frisches Pferd, will sprengen rasch dem Schalle nach,
möcht selber nachsehen, was es sei, was diese Stimme wohl sein mag!
Das Lied bestätigt, daß es sich um einen rituellen Dienst handelte, welcher von unbescholtenen Mädchen verrichtet werden mußte. Noch mehr, dieses Lied dürfte das Gedenken an die Sonnengottheit bergen. Wer sonst könnte dieser "junger König" sein, den wir bei den Sonnwende schon angetroffen haben? Das Lied wurde mit der Zeit selbstverständlich stark umgeformt und bekam märchenhafte Züge; der junge König erkor eines von drei Mädchen als seine Braut. Auch dieses erinnert an eine andere mythische Begebenheit, die unsere Vorfahren zur Sonnwendzeit feierten - nämlich an die Sonnenhochzeit.
Obwohl die Berichte spärlich sind, darf man zu Recht schließen, daß der Brauch der Sonnwendsängerinnen seit eh und je in ganz Slowenien verbreitet war. Wir besitzen Nachrichten sogar aus Städten, so aus Ljubljana und aus Tržič (Neumarkt in Oberkrain).26 Im Jahre 1851 berichtet man, daß am Sonnwendabend die Mädchen durch die Stadt zogen, verschiedene Lieder sangen und den Zuhörern Blumensträuße brachten. Sie bekamen dafür ein bescheidenes Geschenk in Form von Geld. In Tržič27 verlief der Brauch ohne Umgänge. Die armen Familien stellten am Sonnwendabend ein weißbedecktes Tischlein vor das Haus. Auf dem Tisch stand ein Tannenbäumchen und unter diesem zwei Teller mit Blumensträußen. Die Mädchen boten den Vorübergehenden die Blumensträuße an und bekamen dafür Geld.
Die großen Feiern wurden schon seit Vorzeiten mit Festmahlen verbunden, wo einige rituelle Speisen besonders verehrt wurden.
Die Berichte darüber aus Slowenien sind sehr sparsam - einige Belege haben wir jedoch aus dem Jauntal in Südkärnten, aus der Steiermark (Štajersko) und aus Innerkrain und nur wenige aus Unterkrain (Dolenjsko). Charakteristisch ist die Johannishochzeit. Daran erinnert das Festmahl der kresnice am Sonntag nach den Sonnwendfeiern. In Weißkrain, im Kostel an der kroatischen Grenze und in der Umgebung von Banja Loka bei Gottscheee (Kočevje) sammelten die Mädchen am Sonnabend Gaben für die Johannishochzeit ein. Bei diesem Festmahl, welches am ersten Sonntag nach den Sonnwendfeiern stattfand, wurden ein Bräutigam und eine Braut gewählt. Dieses symbolische Brautpaar stellten immer ein angesehener Bursche und ein angesehenes Mädchen dar, die anderen Mädchen waren Kranzeljungfrauen und die Burschen Brautführer.
Dieser Brauch erinnert an das Pfingstpaar aus dem europäischen Westen, welches man in Slowenien wahrscheinlich auf die Sonnwende übertragen hat. Auch dieses Brautpaar hat seine magische Bedeutung - symbolisch sollte es die allgemeine Fruchbarkeit fördern.
25	Štrekelj Karel, Slovenske narodne pesmi I, Ljubljana 1895-1898, Nr. 297, S. 339-340.
26	Majar, wie Anm. 1, S. 186.
27	Turnšek Metod, Pod vernim krovom IV. Od kresa do adventa. Ljubljana, Trst 1946, S. 22.
Sonnwendgelage
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Helena Ložar-Podlogar
Magische Praktiken zur Sonnwend
Wasser
In der Sonnenwende besitzt auch das Wasser magische Kraft. Der Glaube daran reicht noch in die Urzeit, und das Christentum hat ihn - obwohl nicht offiziel - geheiligt. Im Mittelalter war man ja überzeugt, daß alle Quellen, Flüsse, Teiche und Brunnen in der Sonnwendzeit geweiht seien und daß das Waschen in der Sonnwendnacht nicht nur gesund sei, sondern auch Glück bringe. Die Kirche kämpfte umsonst dagegen und betonte, daß dieser Aberglaube von den Heiden übernommen worden ist. Ziemlich bekannt war das Begießen mit Wasser. Beim Sonnwendfeuer wurden die Mädchen von den Jungen sehr oft mit Wasser begossen. Die ursprüngliche magische Bedeutung wurde jedoch durch den Aberglauben ersetzt. Das begossene Mädchen sollte nämlich bald heiraten. Der Brauch wird auch bei den Hirten in Oberkrain angetroffen. Der Sonnwendtag war einst der Meßtag. Festgekleidete Mädchen überreichen den Hirten sauber gespülte Melkkübel, die Hirten jedoch begossen sie mit dem Wasserrest aus dem Kübel. Jenes, das tüchtig naß war, wurde in Ehren gehalten, wogegen es als eine Schande galt, wenn ein Mädchen trocken blieb. Dieser rituelle Brauch wurde später auch von den Kindern aufgenommen. Die Kinder machen sich Holunderspritzen und bespritzen einander zu Sonnwend in der früh und bei dem Sonnwendfeuer.
Pflanzen, Bäumchen
Die geheimen Mächte der Pflanzen meinte der Mensch in früheren Zeiten erkannt zu haben. Er entdeckte vorerst ihre Heilkraft, begann ihnen jedoch auch magische Kräfte zuzuschreiben.
Die Sonne erfüllt in der Sonnwendzeit auch die Pflanzen mit ihrem Segen. Dem Sonnengott waren einige Pflanzen besonders lieb, sie waren deshalb dem Menschen heilig. Nur bei wenigen wissen wir warum.
Die wichtigsten rituellen Pflanzen des Sonnwendabends und des Sonnwendtages sind bei den Slowenen der Adler-Saumfarn, die weiße Wucherblume oder Margerite, das heilkräftige gelbe Johanniskraut und die buschige Spierstaude oder der Johanniswedel.
Bei dem Adler-Saumfarn unterscheidet man die Pflanze an sich und den Samen. Der Zauber steckt besonders im Farnsamen. Wer ihn unbewußt bei sich trägt, wird unsichtbar, er hört und versteht, was das Vieh spricht, besonders am Weihnachtsabend. Seine Zauberkraft erhält das Farnkraut gerade zur Sonnwendzeit. Zum Samen gelangt man nur in der Sonnwendnacht, zu Mitternacht oder einen Augenblick nachher.
Am Sonnwendabend pflegte man seinerzeit in ganz Slowenien große Sträuße von Farnkraut zu sammeln und es auf dem Boden im Gang, im Wohnzimmer, unter dem Bett, vor dem Eingang, auf dem Hof und im Stall auszustreuen. Man glaubte, in den Nacht würde der hl. Johannis der Täufer vorsprechen, um auf dem Farnkraut auszuruhen. Am nächsten Tag sammelt man Farnwurzeln und steckt sie unters Dach, um das Haus vor Brand zu schützen oder sie dem Vieh zu verabreichen. Das Farnkraut soll auch die Schlangen vertreiben. Demselben Zweck dienen auch die Wucherblumen oder Margeriten, die
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Kres: Die Sonnwendbräuche der Slowenen
noch heute zum bekannten Orakelspiel verwendet werden, und das gelbe Johanniskraut, das kreuzweise an den Fenstern befestigt wird, damit der Blitz nicht ins Haus einschlägt.28
Die Sonnwendpflanzen werden einzeln verwendet, man bindet sie jedoch auch zu Sträußen und windet sie zu Kränzen, mit welchen Türen und Fenster geschmückt werden. Wenn sie trocken sind, wird mit ihnen bei einem drohenden Gewitter geräuchert. Dieser Brauch erstreckt sich über das ganze slowenische ethnische Gebiet. Eigenartig ist ein anderer Brauch, der auch fast überall in Slowenien bekannt ist. Sträußlein oder Kränzlein aus Johannisblumen werden aufs Dach geschleudert. Man wahrsagt je nachdem, ob der Strauß oder der Kranz beim ersten oder erst bei einem späteren Wurf auf dem Dach bleibt, oder je nachdem, ob der Strauß mit den Stengeln nach oben oder nach unten zu liegen kommt. Es soll Leben oder Tod des Betroffenen bedeuten, noch häufiger jedoch eine hervorstehende Heirat.
Man wollte die Zauberkraft der Sonnwendpflanzen auch auf den Feldern wirken lassen. Man begegnet da einer eigenartigen Symbiose vorchristlicher Zaubervorstellungen und christlicher Sakramentale. Ein Beispiel: in jede Ecke des Ackers steckt man am Sonnwendabend eine Spierstaude, gleichzeitig wird jedoch der Acker mit Weihwasser besprengt. Die Sonnwendpflanzen werden hie und da durch Ruten und Stauden aus dem Palmbuschen ersetzt, der Zauber wich der Weihe des christlichen Sakramentals. Heidnischer Zauber und christliche Weihe vereinigen sich in den sogenannten "mlajcki", kleinen Maien, welche man auf den Äckern aufstellt.
Eine besondere Zauberkraft soll in der Sonnwendnacht der Holunderstrauch entwikeln. In Kärnten und in der angrenzenden Steiermark nahmen die heiratslustigen Mädchen zu ihnen Zuflucht. Im Schlafhemd kletterten sie auf den Strauch, rüttelten ihn und sprachen den Zauberspruch:
Bez bezä,	Holler, Hollerstrauch
daj mozä,	gib einen Mann,
le mladä,	einen jungen wohl,
kar starä.29	einen alten nicht.
Es ist interessant festzustellen, daß zahlreiche wahrsagerische Bräuche der Sonnwendnacht vollkommen denselben Bräuchen der Silvesternacht entsprechen (Bleigießen, das Orakel mit Grashalmen, mit Stimmen, die irgendwo hörbar wurden usw.). Genauso wie am heiligen Abend ist es in der Sonnwendnacht - allerdings nur vermittels des Farnsamens -möglich, die Sprache des Viehes zu verstehen. Dieser Glaube ist allen Slowenen bekannt. Allgemein bekannt ist auch der Glaube an vergrabene Schätze, welche in der Sonnwendnacht mit einer bläulichen Flamme "blühen". Unter Beachtung strenger Vorschriften kann man den Schatz "haben". In der Sonnwendnacht kann man, laut vielen Sagen, im Zauberkreis den Teufel rufen.
28	Kuret, wie Anm. 5, S. 110.
29	Kuret, wie Anm. 5, S. 125.
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Verlauf von Sonnwendfeiern in der näheren Vergangenheit
Die Sonnwendfeuer brennen in Slowenien Jahr für Jahr noch heutzutage, doch nimmt ihre Anzahl ab und ist die einstige Feier gänzlich in Vergessenheit geraten. Es ist ein Glück, daß rechtzeitige Aufzeichnungen aus dem vorigen Jahrhundert uns ermöglichen, das altslowenische Zeremoniell der Sonnwendfeier in großen Zügen zu erkennen, obwohl davon kaum etwas im lebendigen Brauchtum übriggeblieben ist.
Meinen Beitrag möchte ich mit der kurzen Darstellung zweier bezeichnender Sonnwendfeierbeispiele aus Slowenien beschließen. Das erste, aus Weißkrain (Bela krajina), ist eine Rekonstruktion nach alten Beschreibungen und aus erhaltenen Liedertexten; das zweite, aus der Untersteiermark (Spodnje Štajersko), weist auffallende Neuerungen auf und stellt ein hervorragendes Beispiel dar, wie man vorchristliches Brauchtum zu verchristilichen versuchte.
Die Weißkrainer Sonnwendfeier dürfte als Archetypus der altslowenischen Sonnwendfeier angesehen werden. Es war üblich, daß einige Burschen von Haus zu Haus gingen, den Hauswirt und die Hauswirtin bei den Namen zum Feuer einluden und sich danach singend zu dem schon angezündeten Feuerstoß begaben. Die Lieder mit ihren Weisen sind uns in der Sammlung Slowenischer Volkslieder30 erhalten geblieben. Die Reihenfolge der Lieder, die beim Feuer gesungen wurden, war der Überlieferung nach ursprünglich streng bestimmt. Schon das erste Lied überrascht uns: es ist eine alte Weise mit einem unverständlichen Kehrreim und spricht von der Liebe zwischen Bruder und Schwester: der Bruder bietet der Schwester seine Liebe an, doch sie weißt es als Schande und Sünde zurück. Man sang das Lied, wie man es übernommen hatte, der Dialog ist unverblümt dargebracht, doch hat er nie Ärgernis erregt, die Begebenheit wurde nie als Blutschande empfunden. Unser größter und bekanntester Brauchtumsforscher Niko Kuret war der Meinung, der Kern des Liedes sei in den Sagen von der Hochzeit des Sonnenhelden und der Erde zu suchen, die ja beide Kinder des Sonnengottes waren. Es dürfte deshalb tatsächlich der Rest eines kultischen Gesanges vorliegen, der zu Beginn der Feier gesungen wurde. Die Schlußverse, welche Schande und Sünde erwähnen, dürfen nach Kuret wohl erst nachträglich, aus christlichem moralischem Empfinden, hinzugefügt worden sein, weil der Gesang offenbar nicht zu verdrängen war.31
Das zweite Lied war ein Lied von Johannes dem Täufer, auch mit einem unverständlichen Kehrreim und einem dunklen, ungeklärten Ende. Johannes wandert auf einer goldenen Brücke, und eine Stimme befiehlt ihm: Taufe, Johannes, mein Söhnchen! (Wie soll ich es taufen, da ich den Namen nicht kenne?) In der Vorstellungswelt des Volkes wird man als Kind getauft; deshalb wurde - dem Liede nach - Jesus als kleines Kind von Johannes getauft.
Das dritte Lied singt von Jelena, welche inmitten eines ebenen Feldes das Jesuskind in einer goldenen Wiege wiegt. Da kommen die Juden herbeigerannt und wollen von Jelena das Jesuskind haben, doch sie gibt es nicht her.
In allen drei Liedern könnte man eine sinngemäße Reihenfolge erblicken. Das erste und älteste Lied - die Sonnenhochzeit; das zweite Lied - Johannes als Festpatron tauft
30	Štrekelj, wie Anm. 2 , Nr. 5005-5011.
31	Kuret, wie Anm. 5, S. 138.
235
Kres: Die Sonnwendbräuche der Slowenen
das Jesuskind; das dritte Lied - das Jesuskind wird von Feinden bedroht. So ist Jesus an die Stelle des einstigen Sonnengottes getreten, allein die dunklen Mächte wollen ihn wegschaffen; seine Widersacher sind jedoch nach dem Evangelium die Juden, deshalb werden in der Vorstellungswelt des Volkes die alten heidnischen Mächte mit den Juden verwechselt.
Nach diesen obligatorischen Liedern war die weitere Liederreihe frei: man sang veschiedene Lieder, darunter auch Kirchenlieder. Wenn das Feuer allmählich erlöscht, sang man ein Abschiedslied - gewöhnlich das Lied vom Bienlein mit dem Kehrreim "schön ist die Rose Maria!" Das Bienlein fliegt über den Berg, besucht den Vater und fragt ihn, ob er die rote Rose gesehen habe. Er antwortet, sie sei schon lange verwelkt. Ist das die Wehmut wegen der ausklingenden Feier?
Bila je, bila, pa je ni,	Sie war es wohl, doch ist nicht mehr.
Lepa je roža Marija!	Schön ist die Rose Maria.
Zvenila, zvenila, davne dni,	Verwelkt ist sie schon lange her.
Lepa je roža Marija.32	Schön ist die Rose Maria!
Nachdem das Feuer ausgegangen war, folgte der Umzug durch die Weinberge und durch die Felder. Auch jetzt galt in früheren Zeiten eine bestimmte Reihenfolge der Lieder. Zuerst sang man das Lied von einem Mädchen Zorja, welches ihren Ring verloren hatte und ihren Vater, ihre Mutter und Geschwister ersuchte, ihn zu suchen, doch erst ihr Geliebter fand ihn. Der Hintergrund dieses Liedes dürfte eine uns noch unbekannte mythologische Begebenheit sein.
Diesem ersten Lied folgt ein typisches Umgangslied, mit welchem Marias Segen für die Getreidefelder, Weinberge und für das Dorf erfleht wurde:
Marija se rano stajala, rano staja i opravlja, ki se v naše polje spravlja: naše polje obrodilo, z dobrim žitom i šenico, saki snopek po kuplenik, razstavica tri četiri! ... ki se v naše selo spravlja, naše gore obrodile, naše selo se (=vse) veselo!33
Früh ist aus dem Bett Maria, früh verrichtet sie die Arbeit, unsere Felder zu besuchen: nun bringt unser Feld die Fülle, guten Roggen, Weizenernte, jede Garbe ein Maß Körner, jede Mandel drei und viere. ...unser Dorf auch zu besuchen, und Gedeih den Reben bringen, unser Dorf ist überglücklich!
Überall, wo die Slowenen singen, ist das dritte Lied bekannt. Es ist das Lied von drei Vöglein, welche als Gesandte Gottes Segen in die Getreidefelder, in die Weinberge und in das Dorf bringen. Zwei Varianten dieses Liedes veröffentlichte K. Strekelj.34 Hier nur die erste Strofe in der Übersetzung von N. Kuret:
32	Štrekelj, wie Anm. 2, Nr. 5028.
33	Štrekelj, wie Anm. 2, Nr. 5041.
34	Štrekelj, wie Anm. 2, Nr. 5043, 5044.
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Helena Ložar-Podlogar
Tri tičice, tri tičice morje obletele. Prva nosi, prva nosi klasek od šenice.
Da b'ga, Bog daj, da b'ga, Bog daj,
v naše polje dela!
Ona ga je, ona ga je
v naše polje dela:
Naše polje, naše polje
jako obrodilo.
Drei Vögelein, drei Vögelein sind rund ums Meer geflogen. Das erste hat, das erste hat 'ne Weizenähr' im Schnabel -Gott wolle es, es läßt die Ahr' ins Feld wohl fallen lassen: nun wird das Feld, nun wird das Feld gar reiche Früchte tragen ...
Das zweite Vöglein trägt eine Traubenbeer und hat sie den Weinbergen anvertraut,
das dritte jedoch bringt Gesundheit, Freude und Wohl....
Der Umgang durch Feld und Weinberge wurde schon in der ersten Hälfte des 19. Jh. aufgegeben, es blieb nur noch die Erinnerung daran in den Texten der Gesänge erhalten:
Mi smo nocoj malo spale, ki smo polje varovale in ga Bogu izročale.35
Wenig schliefen wir heut nacht, haben Feld und Flur bewacht, sie in Gottes Hut gebracht...
Beim Umgang durch die Weinberge sangen die Umgängen
Jezus, Marija po gori hodijo, zlat križec v rokah nosijo, ki naše gore žegnajo: žegnaj jih, žegnaj Bog, Marija!
Ne hodi, vince, iz gore, čemo ti dati rezače, ne hodi vince iz gore, čemo ti dati stavlače....36
Jezus, Maria im Weinberg wandern, ein goldenes Kreuzlein in der Hand, und segnen unsere Weinberge: segnet sie, segnet sie, Gott, Maria!
Verlaß, oh Wein, den Weinberg nicht, wir wollen dir Schnitter besorge ...
(es werden dann alle Arbeiter aufgezählt, welche im Weinberge in Betracht kommen: Hauer, Binder, Weinleser... )
Bei dem Umgang durch die Felder sangen die "Kresnice"
Stoji, stoji ravno polje, v ravnem polji rožce tri. Ta prva rožca je le ta: oj drobna je šeničica....37
Es liegt, es liegt das breite Feld, im breiten Felde Blümlein drei. Das erste Blümlein ist wohl dies: Es ist das zarte Halmgetreide ...
(das zweite - die allerliebste Traubenbeer, die an jeder Messe teilnimmt... das dritte ■ Liebchen Jungfrau Maria.... )
das
35	Navratil, wie Anm. 10, S. 120.
36	Štrekelj, wie Anm. 2, Nr. 5049.
37	Štrekelj, wie Anm. 2, Nr. 5064.
237
Kres: Die Sonnwendbräuche der Slowenen
Die Kresnice gingen gewöhnlich zu viert. Sie hatten ein einfaches Sonntagskleid an, doch ohne bunten Gürtel und ohne Bänder. Sie ließen sich nicht erkennen und banden sich deshalb das weiße Kopftuch ("peča") derart fest, daß es fast das ganze Gesicht verdeckte. Manchmal gab es mehrere Gruppen von "Kresnice", und jede Gruppe sang vor jedem Haus, ohne je ins Haus zu treten. Oft besuchten sie noch die Dörfer in der Nachbarschaft, so daß der Umgang auch die ganze Nacht dauerte. Die Lieder haben gewöhnlich vier Teile: einen Gruß ("Gib Gott, gib Gott einen guten Abend, gib uns Gott ein gutes Jahr"), ein Loblied (jedem Einwohner des Hauses sein eigenes Lied) und die Bitte um ein Geschenk:
Dajte, dajte darovajte,	Gebt uns, was ihr habt bereit,
Daj nam Bože dobro leto!	denn zum Warten fehlt die Zeit,
Mi nimamo kada stati,	kurz war unser Schlaf heut Nacht,
Mi smo nocoj malo spale,	früh schon sind wir aufgewacht. malo spale, rano vstale...38
Die Sängerinnen bekamen gewöhnlich zwei Eier, etwas Mehl, Fett und Speck, ein Stück Weizenbrot und auch etwas Geld. Dieses Geschenk wird schon vorher vorbereitet, und man muß damit, wenn die Sängerinnen zufälligerweise nicht kommen sollten, bis zum Sonnenaufgang warten, und niemand darf die Gaben berühren, sonst gibt es keinen Segen im Hause. Die "Kresnice" danken singend für die Gaben, und nur selten, im Falle, daß man sie nicht erwartet hat und keine Gabe verabreicht, verfluchten sie das Haus:
Vaša vrata polna blata,	Eure Tür mit Kot beschmiert,
vaši hiši sami miši,	eurer Haus sei voller Mäuse,
na vašem vrti sami krti... !39	in ihrem Garten lauter Maulwürme...!
Die streng rituellen Normen des Sonnwendbrauchtums hatten bis zuletzt den archaischen Charakter der Melodien und der Singart rein erhalten. Neben den alten bestehen mancherorts auch die neueren Melodien. Das Lied ist nicht leicht zu singen: die ersten zwei Mädchen fangen an, die nächsten fallen ein und wiederholen am Ende jeder Strophe den Vers: Gibt uns Gott ein gutes Jahr! Das Gesang darf nicht unterbrochen werden, sonst sollte das einen Toten im Haus, wo sie mit dem Singen stehengeblieben sind, bedeuten. Auch sind als Sonnwendsängerinnen nur ernste Mädchen geeignet, die nicht lachen und miteinander schwätzen.
Die ganz bestimmten Gaben, die die Sonnwendsängerinnen erhielten, wurden am Ende verteilt und verkauft, oder es wurde - nach einem Bericht aus dem Jahr 184240 - am nächsten Sonntag ein Festmahl mit Musik und Tanz veranstaltet.
Die kresnice aus Weißkrain sind das letzte Echo eines Brauches, welche alle Slowenen bis zum Gailtal kannten. Sie sind - nach Boris Orel41 - die Schützerinnen des slowenischen
38	Štrekelj, wie Anm. 2, Nr. 5075.
39	Štrekelj, wie Anm. 2, Nr. 5127.
40	Thomschitsch Bernhard, Der Vorabend des Johannisfestes zu Weinitz in Unterkrain. Carniolia 2 (1839-1840), S. 57-58; auch: Kapelle Johann, Der Johannisabend im Möttlinger Boden. Carniolia 5 (1842-1843), S. 69-71.
41	Orel Boris, Slovenski ljudski običaji. In: Narodopisje Slovencev I, Ljubljana 1944, S. 342.
238
Helena Ložar-Podlogar
Bauern: sie nehmen die Felder und die Weinberge in der Sonnwendzeit, wenn Hexen und böse Dämonen besondere Macht haben, in ihre Obhut. Doch sie sind nur dann erfolgreich, wenn sie selbst höhere übermenschliche Wesen waren. Die Art, wie sie ihr Gesicht vermummen, und die Macht, die in ihren Wünschen und Drohungen steckt, ist, nach Orel, ein Beweis dafür, daß die Kresnice zu ihrer Zeit viel mehr als heute tatsächlich Abwehrgestalten der Sommersonnwende darstellten, mit welchen im Vorfrühling die Faschingsmasken, mitten im Frühling jedoch der Grüne Georg in Zusammenhang gebracht werden können.
In der zweiten Hälfte des vorigen Jahrhunderts versuchte die Kirche, die Umgänge der Kresnice zu verbieten. Der Brauch wurde allerdings nicht ganz ausgerottet, obwohl er unter dem Einfluß der neuen Verhältnisse schon Ende des Jahrhunderts von selbst zu siechen begann. In siebziger Jahren dieses Jahrhunderts hingegen wird er - obwohl nur als touristische Veranstaltung - wieder ins Leben gerufen.
Die ihrem Wesen nach der Weißkrainer Sonnwendfeier fast analoge Sonnwendfeier aus der Umgebung von Ormož (Friedau) in der Untersteiermark ging schon früh einen anderen Weg. Ein Bericht aus dem Jahr 189542 gibt ein anschauliches Bild der Entwicklungsstufe, welche die Feier erreicht hatte - um dann aufgegeben zu werden.
Zum ersten ist es bezeichnend, daß die Rolle der ursprünglichen Sonnwendsängerinnen betont von den Mädchen aus der Marienkongregation übernommen wurde. Vom Urbanstag, dem 25. Mai, angefangen, d.h. einen Monat vor der Sonnwendfeier, versammelten sie sich jeden Abend beim Dorfkapellchen, wo sie den Rosenkranz und die Lauretanische Litanei beteten, sowie Marienlieder und den Englichen Gruß sangen. Die Burschen bemühten sich gleichzeitig um den Holzstoß, für welchen sie verschiedenes Holz zusammen-
42 Trstenjak Alojzij, Ivanjski kres v ormoški okolici. ČZN 6, Maribor 1909, S. 157-163.
Kres: Die Sonnwendbräuche der Slowenen
brachten. Auf dem für die Feier bestimmten Platz rammten sie eine hohe Stange in die Erde und an ihr Ende befestigten sie einen Tannenwipfel, der mit bunten Papierbändern und mit Blumen verziert war. Rund um die Stange wurde der Holzstoß aufgetürmt. Zwei oder drei Tage vor Johannis war der Stoß bereit. Er wurde nun von zwei Burschen bewacht. Am Abend vor Sonnwend war die Jugend voll beschäftigt. Die Burschen schleppten Tannen- und Birkenreisig herbei, die Mädchen flochten Kränze und banden Sträuße aus weißen Margeriten (sogenannten Mädchenblumen) und aus gelben Johannisblumen (Burschenblumen).
Am Sonnwendabend, als die Abendglocken läuteten, versammelten sich die Leute vor der Dorfkapelle. Die Mädchen hatten sich festlich hergerichtet. Alle hatten - nach städtischen Art - weiße Blusen an, wie zu einem Kirchenfest. Den Festzug, der sich entwik-kelte, nannte man bezeichnenderweise Prozession. Er wurde durch einen Burschen eröffnet, welcher ein improvisiertes Kreuz trug. Ihm folgten die Kinder, dann die Hirten und ihnen nach sechs Burschen, von denen jeder einen großen, geschmückten Birkenwipfel trug. Es folgten die Mädchen mit Kränzlein aus weißen Margeriten in den Haaren. Dazwischen gingen die Burschen mit Stangen, auf denen alte Tongefäße befestigt waren, wo getrocknete Kienstrünke brannten. Hinterdrein drängten sich sodann alle älteren Teilnehmer aus dem Dorf und aus der Umgebung. Die "Prozession" bewegte sich dem Sonnwendfeuer zu. Dort angekommen, versammelte man sich im Kreise rund um den Holzstoß.
Ein Bursche hatte die Ehrenpflicht, den Stoß anzuzünden: er war dazu von den Mädchen bestimmt worden. Als die Flammen aufloderten, erscholl der Gesang der Mädchen und damit begann der Umgang um das Feuer:
Sveti Ivan kres nalaga,	Sankt Johannes schürt das Feuer,
ladi nam je, predragi nam je,	zündet es mit der Rechten an ...
s pravoj rokoj ga vizaga, ladi nam je, predragi nam je.
Ein Bursche mit dem Birkenwipfel trat als Anführer hervor, ihm folgten drei Mädchen, die das Lied fortsetzten:
Z levoj rokoj vencke tala,...	Sankt Johannes mit der Linken
Nam se je zastelo mladega junaka,	teilt uns die Kränzlein aus.
ladi nam je, predragi nam je.43	Wir möchten gerne haben
einen jungen Held bei uns.
Drei Mädchen aus der Zuschauerreihe fragten nach seinem Namen. Es wurde ein Namen genannt, und der Junge der genannt worden war, gesellte sich zu dem Umzug um das Feuer, und zwar trat er hinter den Burschen mit dem Birkenwipfel. So wurden von den Mädchen alle Burschen aufgerufen, bis alle am Umzuge teilnehmen mußten. Gleicherart wurden die Mädchen aufgerufen:
Nam se je zastelo mlade devojke,	Wir möchten gerne haben
lada nam je, predraga nam je....	eine junge Maid bei uns.
43 Kuret, wie Anm. 5, S. 132.
240
Helena Ložar-Podlogar
So kamen auch alle Mädchen in den Umzug, der um das Feuer kreiste. Singend bewegte sich nun der Reigen um den Feuerstoß, bis die letzten Flammen emporloderten. Da schwangen die Burschen ihre Birkenwipfel durch die Luft und schleuderten sie in die Glut. Desgleichen warfen alle anderen Burschen ihre Johannisblumensträußlein und alle Mädchen ihre Margeritenkränzlein in das ersterbende Feuer. Einige Teilnehmer holten sich Attichäste und schlugen damit in die Glut; sie meinten damit jegliches Ungeziefer zu vertreiben.
Als das Feuer niedergebrannt war, kehrte man in derselben Ordnung zurück ins Dorf, auch die Fackelträger stellten sich ein. Man kehrte zur Dorfkapelle zurück, unterwegs sang man Marien- und Johannislieder. Die Mädchen beteten sodann bei der Dorfkapelle noch einmal den Rosenkranz und die Lauretanische Litanei. Somit war die Sonnwendfeier zu Ende.
Ähnliche Sonnwendfeiern - wenn sie diese Benennung noch verdienen - waren in den westlichen Ausläufern der Windischen Büchel (Slovenske gorice) anfangs dieses Jahrhunderts noch anzutreffen (wir kennen einen Bericht aus dem Jahr 190944). Sie sind ein klassisches Beispiel, wie kirchliche Einflüsse den ursprünglichen Kern, welcher trotz alledem doch noch hervortritt, vollkommen umranken und bis zur Unkenntlichkeit verdecken.
Letzten Endes war ja die Verkrümmerung des ursprünglichen Brauches nicht abzuwenden. Er wurde in der Folge durchaus säkularisiert und hat heutzutage kaum etwas aus der Überlieferung beibehalten.
44 Trstenjak, wie Anm. 42.
241
Kres: Die Sonnwendbräuche der Slowenen
Slovenske kresne šege
Helena Ložar-Podlogar
Po starem izročilu, da se "o kresi dan obesi", velja 24. junij za najdaljši dan v letu. Poslej bo dan krajši, sonce bo počasi izgubljalo svojo moč vse do zimskega sončnega obrata ali "zimskega kresa". Naše poganske prednike je to navdajalo s strahom; z različnimi magičnimi dejanji, predvsem pa s kurjenjem ognjev (kresov), s proženjem gorečih koles in z nošenjem plamenic, so hoteli soncu "pomagati", da ne bi omagalo, izgubilo svojo moč in povsem ugasnilo. Kult Sonca je v slovenskem ljudskem izročilu, če se vanj poglobimo do korenin, še vedno zaznati. Veri v magični pomen ognja se je namreč pridružila še vera v sončno božanstvo. Spomin na to potrjuje še marsikatera stara slovenska ljudska pesem, od najstarejše, le v fragmentu ohranjene (Jes se obrnam pruti svetami sonci....), ki jo je zapisal Matija Majar Ziljski, tja do nam vsem poznane Sijaj, sijaj sončece ... . V III. delu Štrekljeve zbirke Slovenskih narodnih pesmi najdemo več deset variant takih pesmi, zapisanih širom slovenskega ozemlja. Avtorica jih nekaj navaja tudi v nemškem (Kuretovem ali svojem lastnem) prevodu. Kresna praznovanja, danes še ohranjena ali pa ponovno obujena v življenje predvsem v Beli krajini kot turistična zanimivost in prireditev, so pri Slovencih bila od nekdaj zelo slikovita. Spremljale so jih šege, povezane z ognjem, obhodi in petjem kresnic, obdarovanjem in z vsem tem povezanim ljudskim verovanjem, ki se mu pridružuje še verovanje v magično moč rastlin, predvsem kresnih rož in ne nazadnje s krščanskim blagoslovom, ki naj bi polju prinesel rodovitnost, ljudem pa srečo. O vsem tem obširno govori prispevek, ki ga avtorica končuje z opisom dveh kresnih slavij iz Bele krajine in iz okolice Ormoža na Štajerskem, ki so se pri nas najdlje ohranila.
242
MHTCKHTe npeTCTHBH 3a CBeTOT Ha MpTBHTe BO Tpa^HUHOHa^HaTa Ky^Typa Ha MaKe^OHUHTe
ttymo C. PucmecKU
The author discusses the mythicalpresentations about the existence of two autonomous, different and opposing realities - this world and that world - the first of which is always marked as "ours" and human, and the second one as a strange and a distant world of demoniac creatures.
MHTCKHTe npeTCTaBH 3a nocToeaeTo Ha aBe aBTOHOMHH, pa3aHHHH h enpoTHBeTaBeHH pe&THOCTH - oboj* h ohoj' CBeT, oa koh npBHOT ceKoram e O3HaneH KaKO Ham - HOBenKH, a apyrHOT Tyi - aeMOHCKH, aaaeneH, npeTCTaByBaaT Haj3HaHajHH h onpeaeayBaHKH KaTeropHH 3a BKynHOTO CTpyKTyHpaae h ^yHKnHOHHpaae Ha TpaaHnHOHMHHTe KyaTypH.1
Pa3nHKHTe h paCTojaHHjaTa noMery hhb Ce orpoMHH, TemKO npeMOCTHBH, ho He h HeBO3MoxHH. 3a oCTBapyBaae Ha KOMyHHKauHCKHTe oaHOCH Mery oBHe aBe peaaHOCTH KOHmTO HCTOBpeMeHO noCTojaT, ho Ha aBe pa3aHHHH er3HCTeHnHj'aaHH HHBoa, noCTojaT HH3a o6peaHH npeayCaoBH h yCaoBH mTO npeTxoaHO Tpe6a aa Ce HCnoaHaT.
Bo ^OKyCOT Ha HHTepecHpaaaTa 3a OBaa npHaHKa Ke 6Hae HCTpaxyBaaeTo Ha Taa "apyra" peaaHOCT, Ha Toj CBeT, HaH noTOHHO eaeH HeroB CerMeHT - ceemom na Mpmeume, odnocno 3aednuu,ama na Mpmeume npeduu - Koj Cnopea CBojaTa BaxHOCT 3a TpaaHnHOHaaHHTe KyaTypH CeKoram ro HMa npHMaTOT.
oto noc^e HacTanyBaaeTO Ha CMpTTa?
Bo HapoaHHTe npeTCTaBH Ha MaKeaoHnHTe, oCBeH Toa mTO CMpTTa e npeTCTaBeHa KaKO xeHa CO aeMOHCKH oco6hhh HaH KaKO aeMOHCKO CymTeCTBO, MomHe mHpoKO paCnpoCTpaHeTH Ce HaeHTe 3a CMpTTa KaKO nun, cocmojSa mu nomonno npou,ec na npeMunyeame na Mpmeuom, odnocno neeoeama dywa od ceemom na Mueume eo ceemom na Mpmeume, od edno na dpyeo ez^ucmenuujaAno nueo Meiy dpyeume faucm Mpmeu rnenoeu -npeduu - na 3aednuu,ama.
CMpTTa e COCTOj6a Ha coh, mhpho cnHeae, npecTaHyBaae Ha aKTHBHOCTHTe Ha HOBenKHOT opraHH3aM. Oco6eHo 3Haneae bo H3rpaayBaaeTo Ha HapoaHHTe npeTCTaBH
1 TaHac BpaxHHOBCKH, KmHmTO^ Bpo^aBCKH, Onoj u oeoj ceem eo neKou coepeMenu MaKedoHCKU u noACKU MumcKu npedanuja // MaKeaoHCKH OoaKaop (MO), Toa- XIX, 6p. 37, CKonje, 1986, 29-37. (3apaaH o6eMHoCTa Ha aHTepaTypaTa, bo UHTaTHTe BHeceHH ce caMo CTaTHHTe h ny6aHKa^HTe mTO ce oaHecyBaaT HCKayHHBo Ha MaKeaoHHja, a ce noBpaaHH co CBeTOT Ha MpTBHTe).
243
MHXGKHxe npeTcxaBH 3a GBexox Ha MpxBHxe bg xpa^H^GHanHaxa Kynxypa Ha MaKe^GH^xe
3a cMpTTa KaKO coh, HMaaT npeTcTaBHTe 3a noBp3aHocTa Ha aKTHBHocTa Ha HOBeKOT co nocToeaeTO Ha onpeaenyBaHKaTa xHBOTHa KaTeropHja - dymama - 6e3 HHemTO npHcycTBO HOBeHKOTO Teno ocTaHyBa 6e3XHBOTHO. Toa ce cnyHyBa KaKO bo MOMeHTH Ha cnHeae, ocoöeHO bo MOMeHTHTe Ha coHyBaae Kora aymaTa ro HanymTa TenoTO h cno6oaHO meTa KaKO HH3 HamHOT cBeT, TaKa h hh3 apyraTa peanHocT - mhtckhot cBeT Ha aeMOHcKH cymTecTBa, ocTBapyBajKH npHToa 3HaHajHH KOHTaKTH co hhb.
"TaKa cTapHTe ja npeTcTaByBaja YMHPAHKATA - KAKO COH! Ke nerHHm h Ke 3acnHjem, HHmxo He Moxem. Ce 3apBHn HoeKO. TaKa cTapHTe ja npeTcTaByBája YMHPAHKATA. KaKO coh. Ke nerHHm h Ke 3acnHem, HHmTO He Moxem, ce 3apBHn HoeKO. Toa e TOHEMHOT COH. BEHHHOT..." 2
Ho cMpTTa ro O3HaHyBa MOMeHTOT Kora aymaTa KOHeHHO Ke ro HanymTH TenoTO HnH Kora 3apaaH pea npHHHHH HeMa aa ycnee noBTopHO aa ce BpaTH bo Hero.
Oa apyra cTpaHa, naK, cnopea ynoTpeöaTa Ha ja3HHHHTe ^opmh bo MaKeaoHcKHTe HapoaHH roBopH 3a HHHOT Ha yMHpaaeTO KaKo: cu npeMuna, cu saMuna, noMuná cu, omude HoeeKom - jacHO Moxe aa ce corneaa aeKa cMpTTa e O3HaHeHa KaKO hhh oaHocHO cocTojöa Ha "HcnpaKaae", noTOHHO noHeTOK Ha eaeH noaonroTpaeH nponec Ha "naTyBaae" Ha aymaTa Ha yMpeHHOT HneH Ha 3aeaHHnaTa koh ocTaHaTHTe mptbh htohobh bo HHBHaTa 3aeaHHna.3
Bo TpaaHnHOHanHH ycnoBH nponecoT Ha npeMHHyBaae Ha mptbhot HneH Ha 3aeaHHnaTa oöhhho 3aBpmyBa co KpajoT Ha HHTeH3HBHaTa o6peaHa aKTHBHocT bo TeKOT Ha eaHa roaHHa. Ho h OBaa $a3a, cnopea HHTeH3HTeTOT Ha o6peaHHTe aenyBaaa ce coctoh oa HeKonKy noa^a3H, oa koh Haj3HaHajHa e OHaa ao HeTHpHeceTTHOT aeH - Kora aymaTa KOHeHHO ro HanymTa cBeTOT h 3aeaHHnaTa Ha xHBHTe h ce ynaTyBa koh 3aeaHHnaTa Ha MpTBHTe, MHHyBajKH HH3 aonroTpajHH nyTaaa, npoBepKH hh3 CTpamHHOT Cya 3a aypH Ha KpajoT oa Taa eaHa roaHHa aa ÖHae KOHeHHO HHTerpHpaHa HnH He bo 3aeaHHcaTa Ha MpTBHTe npeanH - 3amTHTHHUH Ha XHBHTe.
3omTO yMpeHHOT Tpeöa Be^Ham ^a ce "Hcnpara" 6o CBeTOT Ha MpTBHTe?
CMpTTa KaKO KaTeropHja h KaKO nojaBa e noTnonHO onacHa 3a xHBHTe HneHOBH Ha 3aeaHHnaTa. Taa rH npaBH nyreTO 6e3XHBOTHH, janoBa e, a HajonacHO oa cé - Taa e npeHocnHBa. (3aToa, bo MOMeHTHTe Ha aHpeKTeH KOHTaKT co MpTOBeuoT, xHBHTe npe3eMaaT HH3a MaracKO - o6peaHH aKTHBHocTH 3a 3amTHTa oa npeHocHOTO HeraTHBHO BnHjaHHe Ha cMpTTa. Kaj MpTOBeuoT oaaT HaMaHKaHH co nyK, KaTpaH, apxaT bo ycTaTa TpHHe, He ro rneaaaT bo nHneTO h OHHTe, He My ro cnoMHyBaaT HMeTO h cn.) 3HaHH önHcKHOT cpoaHHK h HneH Ha 3aeaHHTOTa Ha xHBHTe, BeaHam nocne HacTanyBaaeTO Ha cMpTTa cTaHyBa onaceH, HenoxeneH 3a 3aeaHHnaTa Ha xHBHTe. Toj BeKe KaTeropHjanHO He npHnara Ha cBeTOT Ha xHBHTe. Ako MpTOBeuoT, aoaeKa 6Hn xhb ÖHn aoMaKHH, 6epHKeTnHja, "aapnHja" (HMan oco6eH aap) - Tpeöa oöpeaHO aa ce H3BpmH pa3naHyBaae Ha aBaTa npHHnHnH mTo bo THe MOMeHTH rH noceayBa, h npHToa aa ce H3aBojaT aoöpHOT
2	ApxHB Ha HHGXHxyxGX 3a GxapGGnGBeHGKa Kynxypa - üpHnen, (noHaxaMy AHCK), HHB.6p. K-54I1996. CHHMeHG bg 1996 roaHHa bg üpHnen.
3	HaxanHa Bene^aa, %3bmecKue npedcmaeneHUst o crnepmu y caasHH, MO, Tgä. VII, 6p. 14, CKonje, 1974, 37-55.
244
Mynno C. PucmecKu
ofl jomHoT, no3HTHBHHoT ofl HeraTHBHHoT, XHBoTHHoT ofl CMptohoCHHoT npHHnHn. npBHoT - xHBHTe fla ro 3aflpxaT KaKo ocoöeHo npoflyKTHBeH h 3HanaeH 3a HaTaMomHHoT oncTaHoK Ha 3aeflHHnaTa Ha xHBHTe, a btophot bo HajKyc poK fla ro HcnpaTaT co yMpeHHoT. Toa noflpa3ÖHpa öoraT h cjoxeH oöpefleH KoMnjeKC HcnojHeT co MarHCKH flejyBaaa, koh ce ofl HajrojeMo 3Haneae 3a HaTaMomHoTo npeMHHyBaae Ha flymaTa koh CBeToT Ha MpTBHTe. HenoTnojHocTa Ha oöpeflHoTo flejyBaae, HeafleKBaTHaTa ynoTpeöa Ha oöpeflHHTe peKBH3HTH MoxaT fla floBeflaT flo npoöjeMH bo nponecoT Ha npeMHH.
Ja^H CHTe MpTBH H^eHOBH CTHTHyBaaT BO CBeTOT Ha yMpeHHTe?
nocje HacTanyBaaeTo Ha cmpt Ha HeKoj njeH Ha conHjajHaTa 3aeflHHna, Toj npecTaHyBa fla öHfle paMHonpaBeH njeH Ha 3aeflHHnaTa Ha xHBHTe, ce Haora bo eflHa ocoöeHa cocTojöa, MaprHHajHa cnopefl CBorn-e ocoöeHocTH. npemuom Mpmoeeu ofl Toj MoMeHT CTaHyBa coMHume^eH - h 3apaflH Toa npe3eMaaeTo Ha BKynHHoT nocMpTeH oöpefleH KoMnjeKC h CHTe MarHCKH flejyBaaa oKojy Hero HMaaT eflHHCTBeHa nej -coMHumernuom Mpmoeeu, eo nepuod od edHa oßpedHa zodum ycnemHo da ce cnpoeede eo 3aedHuu,ama HayMpeHume naemeu, eo ceemom Ha Mpmeume - co mmo Mpmoeeuom Ke cmaHe nucm - odHocHo uHmezpupaH npedoK - 3ammumHuK Ha 3aedHuuama Ha Mueume.
Ofl flpyra CTpaHa, naK, HeHcnojHyBaaeTo Ha oöpeflHHTe aKTHBHocTH hjh ynoTpeöaTa Ha HecooflBeTHH oöpeflHo - MarHCKH peKBH3HTH HjH rpemKH Ha oöpeflHHTe aKTepH Moxe fla floBeflaT flo HeHcnojHyBaae, oflHocHo HecnpoBeflyBaae Ha coMHHTejHHoT MproBen bo CBeToT Ha MpTBHTe. TaKBHTe yMpeHH, noToHHo HHBHHTe flymH CTaHyBaaT Henucmu Mpmoeuu, ocTaHyBajKH Ha MaprHHHTe, Mery CBeToT Ha xHBHTe h CBeToT Ha MpTBHTe, "Ha oHoj CBeT", HapymyBajKH rH necTo BooömaeHHTe oflHocH Mery xHBHTe. Henucmume Mpmoeuu npeTBopajKH ce bo HeKoH ofl floöpo no3HaTHTe fleMoHCKH cymTecTBa (Haeu -HacTaHyBaaT ofl flymHTe Ha HeKpcTeHHTe flena, eaMnupu - ofl flymHTe Ha jyrero mTo ce noBaMnHpHje, KapaKoHyorn - ofl flymHTe Ha jyre co npeflHcno3HnHH fla ce noBaMnHpaT, ho caMo flo 40-thot fleH ofl CMpTTa, caMoeu^u - ofl flymHTe Ha MjaflH momh mTo ce caMoyöHje, yflaBHje, jydu - fleMoHCKH cymTecTBa ofl momh mTo ce yflaBHje (3anaflHa MaKefloHHja), dymume Ha caMoyßueHume, ydaeeHume - KaKo fleMoHCKH cymTecTBa co HeH3flH$epeHnHpaHH KapaKTepHCTHKH) - ocTaHyBaaT BenHo HeHHTerpHpaHH, HaflBop ofl 3aeflHHnaTa Ha MpTBHTe, hh BaMy - hh TaMy, KoHTHHynpaHo HapymyBajKH rH oflHocHTe h xapMoHHjaTa bo 3aeflHHnaTa Ha xHBHTe.
"... AMa Koa Bjery (bo CBeToT Ha MpTBHTe -Ha coh. 3aö. Q.P.) jac, eflHo nyne h MamKo npoMeHéTH CToéja Ha BpaTaTa (npefl Bje3oT bo CBeToT Ha MpTBHTe - 3aö. Q.P.). H jac My Beja:
-	Oth BHe TaKa caMH CTojTe?
-	Omu Hue caMu cu HanpajeMe cMpm. He Hé nymnájam da eaesuMe. OBfle ch ceflHMe HHje. Ch CToeMe."4
3aToa Haj3HanajHo ofl cé, npH HcnpaKaaeTo Ha MpToBenoT e npe3eMaaeTo Ha noTnojHa oöpeflHo - MarHCKa aKTHBHocT bo bhcthhcko BpeMe, co bhcthhckh oöpeflHH
4 AHCK, HHB.öp. K-41I1995. CHHMeHo bo 1995 roflHHa bo üpHjen, MaKefloHHja.
245
MHTcKHTe npeTcTaBH 3a cBeTOT Ha MpTBHTe bo Tpa^HUHOHa^HaTa Kymypa Ha MaKe^OH^Te
peKBH3HTH h oa cTpaHa Ha bhcthhckh GÖpe^HH aKTepH. ^GKG^Ky Toa He ce ocTBapH, GcoöeHG 3a MpTGBUHTe 3a KGHmTG 3aeaHHnaTa npeTXG^HG BeKe 3Hae aeKa HMaaT oapeaeHH npe^HcnG3HnHH aa He ja noMHHaT ycnemHG (a3aTa Ha npeMHH, aa GcTaHaT tohhcth, GcGÖeHG ce GÖpHyBa BHHMaHHe H ce H3BpmH nOTnO^HO HHTeH3HBHG GÖpeaHG ae^yBaae. KaKG mTG nepHGaGT Ha aaamanHja h HHTerpanm'a Ha npecHHTe mptgbuh noMHHyBa, TaKa h HHTeH3HTeTGT Ha GÖpeaHHTe aKTHBHocTH onara, GcoöeHG noc^e 3aBpmyBaaeTG Ha npBaTa 40-aHeBHa noT(a3a. CenaK, oöpeaHaTa h coEHjanHa 3aeaHHna cMeTa aeKa cg HcTeKyBaaeTG Ha eaHa oöpeaHa roaHHa bg ocHGBa Tpeöa aa ÖHae 3aBpmeH, h Toa ycnemHG, nponecoT Ha npeMHH Ha MpTOBeuoT bg 3aeaHHnaTa Ha MpTBHTe, npH mTG, GÖpeaHTe HaTaMy aoÖHBaaT nocTojaHO h BGGÖHnaeHG TeMno Ha KOHTHHyHpaHO GÖe3Öeaysaae Ha cHTe nGTpenmTHHH 3a ycnemHG er3HcTHpaae Ha 3aeaHHnaTa Ha MpTBHTe npeanH KGHmTG ja HrpaaT ynoraTa Ha 3amTHTHHUH Ha xHBHTe.
KaKOB e h Ka^e ce Haora CBeTOT Ha MpTBHTe?
Bg MaKeaoHcKaTa eTHG^omKa jiHTepaTypa He e nHmyBaHO aoBG^HG 3a pacBexnyBaae Ha npoÖ^eMHTe cBp3aHH cg TpaaHUHGHanHHTe npeTcTaBH noBp3aHH cg cMpTTa, ocoÖeHG Ha OHHe mTG ce oaHecyBaaT kgh ocHGBHHTe nocraBEH 3a coraeaysaaeTG Ha MumcKuom Ceem bg HHHmTO paMKH ce Haora eaHa apyra peamocr, apyr cBeT, G3HaneH cg 3HaKOT Ha TyrGTG, "GHGj cBeT" - bg HHHmTG paMKH nocTGH h ceemom na Mpmeume.5
BeaHam TpeÖa aa ce HanoMeHe aeKa TpaaHOHUKHre HapoaHH npeTcTaBH Ha MaKeaGHnHTe TpeÖa aa ce coraeaysaaT bg nomHpoKHOT KynTypHG - hctgphckh KGHTeKcT Ha Ba^KaHGT, HMajKH rH npeasHa, KaKG KyrnypHGTG Hac^eacTBG Ha ÖMKaHcKHTe Ky^TypH mTG er3HcrapMe h npeHe^e 3HanajHH KynTypHH BpeaHocTH h bg TpaaHOH-GHa^HHTe npeTcTaBH Ha MaKeaoHnHTe, TaKa h Ha MGBeHcKaTa KyrnypHa TpaaHnm'a. npHTGa He cMee aa ce npeHeÖperHe B^HjaHHeTG Ha xpHcrajaHcKaTa npKBeHa TpaaHnm'a, KGja ymTe oa cBGHTe KopeHH aoÖHBa cbgj' ocoÖeH pa3BGj bg cMHraa Ha HapoaHO xphcth-jaHcTBG - HH3 Koe aG aeHec, noa 3aKpmaTa Ha Taa TpaaHOHja ce BKGMnoHHpa^e, pa3BH-Ba^e h GncTGj'a^e 3HanajHH BpeaHocTH Ha MHHaTHTe KynTypH, apxaHHHH mhtckh npeTcTaBH, Ky^TGBH KGHmTG, He TpeÖa aa 3aÖopaBHMe, (yHKqHGHHpaaT KaKG xpHcTHjaHcKH.
Bg Taa cmhcm, ocoÖero HHTepecHH ce apxaHHHHTe npeTcTaBH 3a cMpTTa, cBeTOT Ha MpTBHTe, 3aeaHHnaTa Ha MpTBHTe npeanH, KGHmTG cé ymTe MGxaT aa ce 3aÖe^exaT npH GÖHaHTe Ha peKGHcTpyHpaae Ha oapeaeHH mhtckh npeTcTaBH h^h KaTeropHH Ha KpajGT Ha XX BeK bg pa3HH KpaHmTa Ha MaKeaoHHja.
ymTe Ha noneTGKGT TpeÖa aa ce HcTaKHe aeKa KaKG pe3ynTaT Ha npeTxoaHG H3He-ceHGTG, He Moxe aa ce npeTnocraBH npe3eHTHpaae Ha eaHa yHH^HnHpaHa h eaHHcraeHa c^HKa h^h MGae^ Ha cBeTOT Ha MpTBHTe. CenaK, MGxaT aa ce H3asGjaT onpeae^yBanKH mhtckh KOaOBH KGH BG paMKHTe Ha "HHTaaeTG"Ha MHTcKHTe TeKcTGBH MGXaT aa rH OTKpH-jaT GcHGBHHTe KapaKTepHcTHKH H (yHKUHGHHpaaeTG Ha nG3HanajHHTe KGHcTHTyeHTH H Ha cBeTOT Ha MpTBHTe, ce pa3ÖHpa, coraacHO Ha (yHKqHGHHpaaeTG Ha BKynHHOT mhtckh CBeT.
5 ^ynqo C. PHcTecKH, nocMpmHu oßpedHu KOMnneKC y mpaduu,ujcKoj Kynmypu Mapuoea, MarHcTepcKa TeMa OÄÖpaHeTa bo 1997 ro^HHa Ha yHHBep3HTeTOT bo Benrpaa 5-312 (paKonHc).
246
Mynno C. PucmecKu
"Omeopéme mernrn nopmu, npeneKajTe Bhtoh HOBeK, Hfle, MH TaTKO, mh MajKa - npHMHeTe ro! Ja He o^e no TeMHH coKáHH, Ja He meTa no TecHH y^úHH, Ja ro npHÔépHTe, Ja My oTBopHTe TemKH BpaTH, H Heeo Kaj eac da eo npußepnme!"6
Ceemom na Mpmeume e u daßenen u ôausok
^aaeneH e cBeTOT Ha MpTBHTe 3amTO Toj hm npHnafa caMO hhm - Ha MpTBHTe, 3amTO MOxe fla ce ÖHfle h^h caMO mptob h^h caMO xhb. "Koj TaMy OTHmoa, HHKoram noTopHO He ce BpaTHfl", "Ofl TaMy HeMa BpaKaae".
EflHa Ofl Haj3HanajHHTe mhtckh KaTeropHH mTO ce nojaByBa hh3 cHTe BapHjaHTH Ha npeTcTaBHTe e oddaœeneHocma. Taa ceKoram e orpoMHa 3amTO cBeTOT Ha MpTBHTe ce Haofa "npeKy cHTe MopHaa", "Ha KpajoT Ha cBeTOT", "npeKy fleBeT nraHHHH, fleBeT MopHfta", "nofl 3eMja", "Ha Heöo". OcoöeHO 3HanajHO 3a fl&reHHHaTa KaKO mhtckh KOfl e Toa mTO Taa e H3pa3eHa He caMO npocTopHO, TyKy ymTe noBeKe chmöo^hhkh.
MefyToa, OHa mTO cenaK rH pa3fle^yBa OBHe flBe pearnocra e zpamußma - ceKoram MomHe jacHO npeTcraBeHa, nocTaBeHa pecKa, TemKO npeMocTHBa ho He h HecoB^a^nHBa. ToKMy 3aToa, KOMyHHKauHjaTa Mefy cBeTOBHTe He caMO mTO e MOXHa, TyKy e h HeonxoflHa h Toa KaKO B3aeMHa. noTpeÖHre h 3aBHcHocTa efleH Ofl flpyr - rH npaBH OBHe flBa cBeTa öäucku. Ho 6^H3HHaTa, npHToa, He noflpa3ÖHpa öpHmeae Ha rpaHHnHTe h MefyceÖHO KOHTaMHHHpaH>e Ha cBeTOBHTe, TyKy caMO hhbho BpeMeHO HapymyBaae, flOö^HxyBaae Ha cHMÖo^HHKHTe npocTopH HH3 cTporo yTBpfleHHOT MeflHjaTop Ha oöpeflHO - MarHcKH fle^yBaaa, 3a koh nofleTMHO Ke craHe 3Öop noflocHa.
npeTcTaBHTe 3a cBeTOT Ha MpTBHTe nofl 3eMjaTa, KaKO n0fl3eMH0 napcTBO h^h Ha He60T0 KaKO napcTBO HeöecKO, MOxaT fla ce Kope^HpaaT co pa3B0j0T Ha mhtckhtc npeTcTaBH n0Bp3aHH co c^aKaaaTa 3a flymaTa h Te^OTO, KOHmTO (npeTcTaBHTe) ocoöeHO MOxaT fla ce oraeflaaT h raeflaT hh3 HcropHjaTa KaKO cnopefl nHmaHHTe, ymTe noBeKe cnopefl apxeo^omKHTe HaoflH 3a HaHHHHre Ha norpeöyBaae. Toa ocoöeHO ce oflHecyBa 3a c^OBeHcKaTa HapoflHa TpaflHnHja hh3 KojamTO MOxe fla ce coraefla nocToeaeTO, raaBHO, Ha flBa HaHHHH Ha norpeöyBaae Ha noKojHHUHTe - co cna^yBaae h HHxyMHpaae. npH Toa, cnopefl HaoflHTe, cna^yBaaeTO npeTxofle^o Ha HHxyManHjaTa, ho bo OflpefleH nepHOfl HcTOBpeMeHO er3HcTHpaaT h flBaTa HaHHHH Ha norpeöyBaae KaKO pe3ynTaT Ha pa3B0j0T Ha npeTcTaBHTe no oflHoc Ha flymaTa h Hej3HH0T0 3aMHHyBaae bo napcTBOTO Ha MpTBHTe. 3aKflyHyBaaaTa Ha PHÖaKOB noKaxyBaaT fleKa HaHHHOT Ha norpeöyBaae pe3ynTHpaj cnopefl pa3B0j0T Ha HfleHTe h npeTcTaBHTe 3a Mecrono^oxöaTa Ha cBeTOT Ha MpTBHTe.7 Bo oöpeflHTe Ha cna^yBaae Ha noKojHHUHre, 3aeflH0 co nocMpTHHOT oraH h Hafl, flymaTa Ha MpTBHOT ce ynaTyBa^a koh napcTBOTO HeöecKO. MefyToa, MOxeÖH ymTe bo Toj nepHOfl, napa^e^HO er3HcrapMa h HflejaTa 3a 3aMHHyBafteT0 Ha noKojHHKOT bo n0fl3eMH0T0
6	AHCK, HHB.6p. K-49/1995. CHHMeHO bo 1995 roflHHa bo MapHOBO, MaKeflOHHja.
7	Pbi6aK0B, A. Ä3bmecmeo dpeenux cßaesm, HayKa, MocKBa, 1981, 118.
247
mhtckhte npetctabh 3a cbetot ha mptbhte bo tpaflhnhohanhara kyatypa ha makenohnhte
napcTBO, cnopen Toa mTO nocMpTHHTe ocTaHKH 6Hne 3aK0nyBaHH bo 3eMjaTa, a rpo6oT ocTaHyBan enHHCTBeHHOT npocTop npeKy Koj 6nHCKHTe MOxene na KOHTaKTHpaaT co MpTBHTe. OBHe nonaTonH rH HCTaKHyBaMe TyKa, 3apanH ^aKTOT mTO no neHemHH nHH bo HapoflHHTe npeTCTaBH Cé ymTe Ce 3a6enexyBa Taa nonenerocT 3a MecTononox6aTa Ha CBeTOT Ha MpTBHTe. Moxe6H nonenHnHH Ce npeTCTaBHTe h nonaTonHTe Ha HH^opMaro-pHTe Kora npH pacKaxyBaaaTa THe rH HMaaT npenBHn HneHTe 3a ocTaHyBaaeTO Ha Ten0T0 bo 3eMjaTa, Ha rpo6HmTaTa h 3aMHHyBaaeT0 Ha cno6onHaTa nyma Ha He60T0. Toa Ce pa36Hpa, neHeC Ce jaByBa bo MomHe pa3BHeHa h xpHCTHjaHH3HpaHa ^opMa.
Cnopen H3HeCeHHTe nonaronH, Moxe na Ce 3aKnynH neKa HaponHHOT cBeTornen Ha MaKenoHnHTe 3a CTpyKTypaTa Ha mhtckhot CBeT, KaKO h Ha MHory npyrH HaponH, HMa mpunapmumrn cmpyKmypa: ropna, ffoam u Cpedna 3eMja. CBeTOT Ha MpTBHTe co ornen Ha ropecnoMeHaTaTa KynTypHa h HCTopHCKa HcnpenneTeHOCT, HajnecTO e nonHpaH Ha ffornama 3eMja} Ho, napcTBOTO Ha MpTBHTe, 0C06eH0 Ha nymHTe ce Haora h Ha ropnama 3eMja, npH Eora. HMajKH rH Ha yM HaponHHTe npeTCTaBH, CHM6onHKaTa, KapaKTepHCTH-KHTe h ^yHKqHHTe Ha flonHaTa h IopHaTa 3eMja - necTonaTH roneM 6poj Ha MHTonoreMH yKaxyBaaT Ha HHBHaTa 6nHCK0CT h n0Bp3aH0CT, mTO on npyra CTpaHa, jacHO rH nH^epeHnHpa h nBeTe on CpenHaTa 3eMja - HOBenKaTa.
nocTOH ymTe enHa 3HanajHa oco6eHa MHTonoreMa 3a CBeTOT Ha MpTBHTe -Heu3du$epenu,upaHocma. HaKO KaKO KaTeropHja e nocTa 6nHCKa no onnanenerocTa, cenaK HeranH^epeHnHpaHOCTa HMa CHnHa CHM6onHHKa 0nT0BapeH0CT, mTO He KOHOTHpa caMO npocTopHa HeonpeneHOCT, TyKy noBeKe Tpe6a na 03HanyBa Hen0CTanH0CT, He0CB0HB0CT, 3roneMyBajKH ja co Toa HH^epH0pH0CTa Ha xHBHTe bo 0nH0C Ha CMpTTa. TaKBHOT 0nH0C Ha nyreTO ce ornena npH KopHCTe&eTO Ha TepMHHH mTO ro onpenenyBaaT CBeTOT Ha MpTBHTe co MomHe HCTaKHaTO ey^eMHCTHHKO 3Haneae - "TaMy", "Ha Toj CBeT", Ha Toj BeK", ho HajnoBeKe npH 06paKa&eT0 Ha TaxanKaTa no mptbhot bo MOMeHTHTe Ha 06penH0 Taxeae, 0C06eH0 npH H3neryBaaeT0 on MaprHHanHaTa C0CT0j6a bo MOMeHTOT Ha o6peneH KOHTaKT co MpTBHTe npH TaxeaeTO.
MHTonoreMaTa SecMpmmcm - e ymTe enHa 0C06eH0CT Ha CBeTOT Ha MpTBHTe. MpTBHTe npennH 0CTaHyBaaT BenHO na xHBeaT 3anpxyBajKH rH nHHHHTe KapaKTepHCTHKH mTO rH nocenyBane bo MOMeHTOT Ha CMpTTa. noroneMHOT 6poj HaponHH npeTCTaBH noHecyBaaT HH3a nonaTonH KOHmTO ro noTBpnyBaaT Toa. Ha flonHaTa 3eMja - HajnecTHOT chhohhm 3a CBeTOT Ha MpTBHTe e neKa nyreTO ce nonroBe^HH, xHBeaT no 200 - 300 ronHHH. TaMy xHBeaT HajcTapHTe opnH Ha CBeTOT, 6ecMpmHume oprn - HHemro Meco HMano oco6eHa o6penHa ynoTpe6a bo MapHOBO, bo o6penHTe CBp3aHH co paraaem HoBoponernH&aTa 6Hne 3apaHyBaHH co Meco on open - 3a na 6HnaT nonroBe^HH. "Boj 3apaHeT on open 6ha". Ha flonHaTa 3eMja ce Haora 6ecMpmHama eoda HnH ymTe n03HaTa KaKO wuea eoda - mTO MHTCKHTe jyHanH ja nHene - a no neHec ce OBemaHH co BenHOCT.
BepyBajKH neKa bo CBeTOT Ha yMpeHHTe Bnanee eeneHMpaK, bo TpanHnHOHanHaTa Kynrypa Ha MaKenoHnHTe, ce npaKTHKyBa 06penH0 H3HecyBaae Ha TemKO 6onHHTe nyre HanBop, co cen na ce "npocraT co 6en0T0 BHneno" KaKO Haj3HaHajHa ono3HnHja Ha OHa mro rH neKa nocne CMprra. Bo cmpthhot nac, 0C06eH0 aKO HOBeKOT He e npH CBecT My ce nanH CBeKa bo paceTe "na one co BHnéno Ha Eora", "nypH yMHpa na My CBeTe", "na My ro ocBeTnaT naTOT".
8 BecenHH HajKaHOBHh, flowu ceem Kod cmapux // Mht h penHraja y Cp6a, CpncKa KaHxeBHa 3anpyra, Eeorpan, 1973, 80-81.
248
Mynno C. PucmecKu
MeryToa CBeraoCTa mTO HOKOjHHKOT ja "hoch" co ce6e He e aoBoaHa h He Moxe aa noTpae aoaro, 3aToa, 6aHCKHTe xhbh naeHOBH oa MOMeHTOT Ha CMpTTa HaaaT CBeKH "aa hm CBeTaT Ha yMpeHHTe". Bo HeKOH KpaHmra Ha MaKeaoHHja co TaKBa iea ce CHpoBeayBaaa MomHe apxaHHHa o6peaHa npaKca Ha "npeKonyBaae" Ha rpo6oBHTe Ha HOKOjHHiHTe h hhbho noBTopHo Horpe6yBaae oTKaKo e cnpoBeaeHo aeTaaHo h o6peaHO aeayBaae, co iea, ymre eaHam hokoj'hhkot aa "BHae 6eao BHaéao". Toa oco6eHO ce HpaKTHKyBaao 3apaaH 'npoBepyBaae h oaeaeae" Ha HpoieooT Ha HHTerpaiHja Ha MpTOBeiOT bo 3aeaHH-iaTa Ha ocTaHaTHTe HpeaiH, oco6eHo aKo o6peaHaTa 3aeaHHia HpeTHoCTaByBa aeKa Toj Hpoiec 3aHpea HaH HeycHemHo ce peaaH3Hpaa.
HeKOH oa HCTpaxyBanHTe Ha caoBeHCKaTa KyaTypHa TpaaHiHja, HpeTCTaBHTe mTO
aeHec HajnecTo ce OHpeaeayBaaT KaKo xpHCTHjaHCKH, bo oaHOC Ha rao6aaHaTa CTpyKTypa Ha CBeTOT Ha MpTBHTe Ha paj u neuoa, rH OHpeaeayBaaT KaKo HpeTxpHCTHjaHCKH.9 3a eTHorpa^CKHTe HoaaToiH mTO ce oaHecyBaaT Ha oBHe HpeTCTaBH 6h peKae aeKa ce MomHe pamHpeHH H XpHCTHjaHH3HpaHH ^OpMH. TprHyBajKH oa HOaaTOiHTe 3a CBeTOT Ha MpTBHTe Ha KHerH^aTa Oara aoaeKa ro Horpe6yBaaT Hej3HHHOT coHpyr, Ha cé ao coBpeMeHHTe eTHorpa^KH HoaaToiH ce opeKaBaMe co rao6aaHaTa Hoaea6a Ha OBOj CBeT Ha paj h HeKoa. no HOMHHyBaaeTo Ha CTpamHHOT Cya h HpoBepKaTa Ha rpeBOBHTe, aymHTe Ha MpTBHTe ce yHaTyBaaT HaH koh pajoT, bo CBeTHa rpaaHHa, 3eaeHHao, BenHa y6aBHHa10 HaH koh HeKoaoT, "Kaj mo bpth xemKOTO", "bo ycTaTa Ha aaMjaTa".
"Ko ja 3aHeae TaMy rope, Kaj mo omaa, MaaaHTe ceTe 6Hae oaaeaeHH, cemo ceemna, yóaeúnu, ce moa noeodéno - deopuwmemo, a CTapHTe - BHKa, Ha CTapo MecTO KaaaéHH. A aKO HeKoj Kpaaea, aKO HeKoj aaxea, Ha ernmo BHKa, Ke HOMHHe h aoay bo neuoaom Haraa. Koj Kpaaea, Koj aaxea, Koj TeHaa, Koaea, bo HeKoaoT - BapH."11
nOCTOH ^H MO^HOCT 3a KOMyHHKaHHja Mefy CBeTOT Ha XHBHTe H CBeTOT Ha MpTBHTe?
Ako CHopea MHTCKHTe HpeTCTaBH Ha ayreTo 3aKaynHBMe aeKa CBeTOT Ha xHBHTe h CBeTOT Ha MpTBHTe ce aBa pa3aHHHH, OHO3HIHOHO HOCTaBeHH, aaaeHHH HO H 6aHCKH CBeTOBH, pa3aeaeHH h oMereHH co jacHa h pecKa rpaHHia - ce HoCTaByBa eceHiHjaaHOTo Hpamaae 3a MOXHOCTHTe 3a BOCHOCTaByBaae Ha KOMyHHKaiHja Mery hhb, mTO HMa oco6eHo B3aeMHo 3Haneae.
TprHyBajKH oa aorHKaTa Ha coBpeMeHHOT HOBeK, ho ce HaaeBaM h CHopea aorHKaTa Ha ayreTo bo MHHaTOTo, CMeTaM aeKa e OHpaBaaHo h noBe^Ho nyBCTBOTo h HOTpe6aTa bo oapeaeHH MOMeHTH aa ce 6Hae bo 6aH3HHa Ha CBOHTe 6aHCKH, HaKo yMpeHH, HaH 6apeM Ha KyCO aa ce BOCHOCTaBH HeKaKOB KOHTaKT CO HHB. CHpeMa Toa, MHTCKHTe HpeTCTaBH, BepyBaaaTa h o6peaHOCTa HOKaxyBaaT aeKa KOMyHHKacHjaTa Mery oBHe aBa CBeTa He caMO mTO e BO3MOXHa, TyKy e h HeoHxoaHa 3apaaH ycHemHO er3HCTHpafte Ha aBeTe 3aeaHHiH, Ha mhtcko hhbo, a oco6eHo 3a ^yHKCHOHHpaaeTo Ha 3aeaHHiaTa Ha xHBHTe KaKo coiHjaaHa, cpoaHHHKa, Ha aypH h KaKo eTHo - Hoam-HHKa 3aeaHHia. 3amTo, eaeH
9	HaTaaHa BeaecKaa, fobmeckue npedcmasnenusi o 3a¿pa6noü XU3HU u pydumenmu ux e cmemcKoñ Hapodnoü mpaduu,uu, // MO, Toa. II, 6p. 3-4, CKOHje, 1969, 317. HoTa, flsbmecKue npedcmaeneHusi o crnepmu y cmrh, // MO, Toa. VII, 6p. 14, CKOHje, 1974, 46.
10	CTeBaH TaHOBHh, Cpncxu HapodHu o6unaju y EeefyeAujcKoj Ka3u // CKA, CpHOKH ETHorpa^OKH 36opHHK, kh.. 40, Xhbot h o6majH HapoaHH, kh.. 16, Heorpaa, 1927, 259.
11	AHCK, HHB.6p. K-54/1996. CHHMeHo bo 1996 roaHHa bo npHaeH, MaKeaoHHja.
249
MHXCKHxe npeTCxaBH 3a CBexox Ha MpxBHxe bo xpa^H^oHaaHaxa Kyaxypa Ha MaKe,aoH^xe
oa Haj3HaHajHHTe eaeMeHTH Ha CTpyKTypaTa Ha HaeHTHTeT0T Ha eHTHTeTHTe, oco6eHo Ha 3ae^HHnHTe, npeTCTaByBa oapxyBaaeTo Ha H3rpaaeH mhtckh, KyaTeH h oöpeaeH CHCTeM C0 CBeT0T Ha MpTBHTe npeanH. CBpTyBajKH ce K0H MHHaT0T0T0 H HCTopHj'aTa Ha CB0HTe npeOTH - 3ae^HHnaTa HacTojyBa aa ja oöe3öeaH CBojaTa HaHHHa.
Oa apyra CTpaHa, naK, $aKT0T aeKa CMprra h Hej3HHaTa MarHCKa npeH0caHB0CT MoxaT ^aTaaHo aa ce oapa3aT Bp3 xHBHTe, npeaH3BHKyBa ocoöeHa npeTna3aHB0CT h HyBCTBo Ha naamaHBocT, mT0 naK, oa CBoja CTpaHa, pe3yaTypa npeKy CTpyKTyHpaHo aeayBaae Ha 3aeaHHnaTa, co H3rpaaeH oöpeaeH cHCTeM, noa CTporo yTBpaeHH oöpeaHH npaBHaa aa ce oöe3öeaH HecMeTaHo ocTBapyBaae Ha hhhot Ha K0MyHHKacHja co MpTBHTe.
Ja ce bhm Ha rpamuaTa Mefy cBeTOT Ha xHBHTe h cBeTOT Ha MpTBHTe
3a aa ce cTanH bo öHao KaK0B oaHoc co cBeT0T Ha MpTBHTe noTpeöHo e aa ce co3aaaaT HH3a oöpeaHH ycaoBH, npHmTo Haj3HaHajH0 e - oßpednuom aKmep aa öHae CTaBeH bo ocoöeHa cocTojöa, cocTojöa mT0 H3aeryBa oa paMKHTe Ha np0^aH0T0, aa ce CTaBH bo cocTojöa Ha MaprHHaaHocT, da ce noža na zpanuußma Mežy wueume u Mpmeume. CaM0 bo TaK0B cayHaj, oöpeaHHTe aKTepH ycneBaaT aa rH aoöaHxaT 0BHe aBa mhtckh, CHMöoaHHHH CBeTa eaeH ao apyr, ho HHKoram He npeMHHyBajKH rH HHBHHTe rpaHHnH, 3amT0 bo cnpo-THBH0 HacTaHyBa cocTojöa Ha cmpt HaH 3a aKTepoT bo oöpeaHHoT hhh HaH ao onacHocT 3a K0HTaMHHacHja Ha CHMöoaHHKHoT npoCTop Ha XHBHTe.
Toa öh 3HaHeao aeKa CHMöoaHHKaTa K0MyHHKauHja e jacHo onpeaeaeHa h ae^HHH-paHa HCKayHHBo bo paMKHTe Ha mhtckhot h oöpeaHo - CHMöoaHHKHoT npocTop Ha Kya-TypaTa. HaK0, 3a aa rH eaaöopHpaMe 0BHe nocTaBKH e noTpeöHo noBeKe BpeMe h npocTop, 3a 0Baa npHaHKa Ke ce oöHaeMe caM0 aa rH npeaoHHMe 0CH0BHHTe HHHHTeaH 3a ycnemHa K0MyHHKacHja Mery CBeT0BHTe.
Oôpednu aKmepu
HaK0, M0XH0CTa aa ce BocnocTaBH K0HTaKT co MpTBHTe ja HMaaT CHTe, ocoöeHo öaHCKHTe Ha MpTBHTe, cenaK bo (^a3aTa mT0 HacTanyBa BeaHam nocae norpeöyBaaeTo Ha MpT0Beu0T co HHTeH3HBHa oöpeaHa aKTHBHocT, Taa yaora ja npe3eMaaT aHna oa n0aaaeHH0T0 conHjaaHo oKpyxyBaae (noaaaeHHH poaHHHH, coceaH) - npeBeHTHpajKH npoTHB npeH0caHB0CTa Ha CMpTTa Ha HajöaHCKHTe HaeH0BH, npHmTo HHBHHTe oöpeaHH yaorH aoöHBaaT ocoöeHa CHMöoaHHKa h MarHCKa K0H0TacHja. Haj3HaHaHH oöpeaHH aKTepH bo n0CMpTHH0T oöpeaeH nHKayc ce Mecapujama HaH MecapKama (xeHa Koja rH H3BpmyBa Haj3HaHajHHTe oöpeaHH aeayBaaa noBp3aHH co Mecedero Ha oöpeaHHTe aeöoBH, oa M0MeHT0T Ha CMpTTa, ao 3aBpmyBaaeTo Ha oöpeaHHoT nHKayc bo nepHoa oa eaHa roaHHa, MarHCK0T0"0nceKyBafte" Ha MpT0Beu0T h ap.), eodapKama, no^eeaprnma fxeHa mT0 ro noaeBa rpoöoT co Boaa HayTpo h HaBeHep bo nepHoa oa 40 aeHa).
Bo TeK0T Ha neaH0T oöpeaeH i^HKayc, ocoöeHo bo M0MeHTHTe Ha oöpeaHo aeayBaae, HaorajKH ce bo ocoöeHa oöpeaHa cocTojöa Ha MeaHjaTopH Mery CBeT0BHTe, 0BHe aKTepH npeTCTaByBaaT noceöHa KaTeropHja cnpeMa koh ocTaHaTHTe HaeH0BH Ha 3aeaHHcaTa HMaaT HCKayHHTeaeH oaHoc.
250
Mynno C. PucmecKu
MeryToa, BeKe oi nepHOiOT nocie norpe6yBafteTO Ha mptobcuot h lOMamHHTe HieHOBH, 6ihckh Ha MpToBenoT, MoxaT ia BocnocTaByBaaT HH3a Ha KOHTaKTH co MpTBHTe. Ce pa36npa, Toa e bo3moxho hh3 eieH cncTeM Ha oiHecyBaaa hih coctoj'6h.
06peiHH coctoj'6h h oiHecyBaaa
BeiHam nocie norpe6yBaaeTO Ha iiokojhhkot, Ha npBOTO yTpo, no3HaTO KaKO "npBO yTpo", "pa36yiOK", "TpeTHHH", "TpeTH ieH", 3anorayBa nHKiycoT Ha o6peiHO noiipxyBaae Ha npeoraaeTO Ha iymaTa Ha mptbhot oi oboj' Ha ohoj' cBeT. npHToa, Haj3HaHajHH ce o6peiHHTe coctoj'6h KOHmTO Tpe6a ia npHiOHecaT 3a mTO noycnem-hh KOHTaKTH co 6iHcKHTe mptbh. EiHa oi Haj3HaHajHHTe o6peiHH nocTanKH npeT-cTaByBa opraHH3HpaaeTo Ha o6peiHHTe Tpne3H, pa3iaBaaeTo Ha xpaHaTa h iapy-BaaeTO - mTO, ce pa36Hpa c^aTeHH, Ha chm6oihhho - KOMyHHKauHcKO hhbo npeT-cTaByBaaT 3HanaeH hhh Ha KOMyHHKauHja h pa3MeHa Ha io6pa h BpeiHocTH Mery cBeTOBHTe.
Pasdaeawe u dapyeawe
YmTe oi MOMeHTHTe Kora co MpTOBeuoT npH norpe6yBaaeTO Tpe6a ia ce HcnpaTaT HeonxoflHHTe noTpenmTHHH bo o6ieKa, xpaHa, npeiMeTH oi noKyKHHHa, HeroBH ihhhh npeiMeTH - BcymHocT 3anoHHyBa nponecoT Ha KOHTHHynpaHa KOMyHHKauHja KOjamTO, reHepaiHO, on^aKa caMO o6peiHO daeane. HMeHO, Ha chm6oihhko hhbo 3eManemo, oco6eno Koea cmanyea 36op 3a KonmaKmu co yMpenume, Konomupa HeeamueHu nocaeduuu no ceemom Ha Mueume. Toa 3HanH ieKa He e io6po HHTy yMpeHHTe ia 3eMaT HemTO oi xHBHTe, HHTy naK xHBHTe ia 3eMaT oi yMpeHHTe. Toa He 3HanH ieKa nponecoT Ha KOMyHHKauHj'a e eiHOHaconeH, oi cBeTOT Ha xHBHTe koh cBeTOT Ha MpTBHTe, TyKy Toa 3HanH ieKa hhhot Ha KOMyHHKauHja npe^epHpa oSpedm daeane, ho He u oSpedm 3eMawe. 3aToa, MomHe io6po h noxeiHO e hh3 hhhot Ha KOMyHHKauHja ceKoram da ce daea, KaKO xHBHTe Ha MpTBHTe - TaKa h MpTBHTe Ha xHBHTe. Toa oco6eHo ce orieia hh3 pa3BHeHHOT cHcTeM Ha ToiKyBaae Ha HH3a mhtckh koiobh KOHmTO ce H3HecyBaaT hh3 BH3HHTe Ha iyreTO, coHHmTaTa, TaxeaeTO h ci.
TopeH3HeceHOTo, HaKyco, Ke ro pa3jacHeMe cnopei eieH Boo6maeH o6peieH hhh Hapa3daeawe u dapyeane Ha xpaHa h o6ieKa Ha rpo6oT Ha yMpeHHOT. Oboj' o6peieH hhh ce BpmH Ha rpo6HmTaTa, npeKy rpo6oT Ha yMpeHHOT, npH mTO, o6peiHHOT aKTep, Haj-6iHcKaTa cTapa xeHa, cToejKH Ha iecHaTa cTpaHa Ha rpo6oT, co cBojaTa iecHa Hora Bp3 Hero, rH iapyBa 6iHcKHTe co xpaHa h iapoBH mTO BcymHocT npHcyTHHTe ja iOHecie "3a iyma Ha yMpeHHOT". XpaHaTa h nHjaiOKOT iapyBaHHTe rH KacHyBaaT Hai rpo6oT, a iapoBHTe rH io6HBaaT Ha iecHOTo paMo.
Ha toj' HanHH, iapoBHTe h xpaHaTa mTO npeTxoiHo rH 6ea iOHecie cHTe HieHOBH Ha ceicKaTa 3aeiHHna 3a yMpeHHOT, MHHyBajKH hh3 paneTe Ha riaBHHOT o6peieH npoTaroHHcT - dapyeam npeKy zpoGom - ce BocnocTaByBa KOMyHHKauHja Mery xHBHTe h MpTBHTe, npHmTO THe cTaHyBaaT dapoeu Mmo doažaam od ceemom Ha Mpmeume, eu daea Mpmoeeu,om, dapoeu ucnoaeHmu co Hoea eceHU,uja u MueomeopHa mok.12
12 H>ynqo C. PHcrecKH, Giftsfor dead - gifts for alive // 36opHHK "flapyBaaeTO - flyxoBeH KOHTHHyHTeT Ha EamaHOT", 1997, (bo ne^ar).
251
MHTCKHTe npeTCTaBH 3a CBeTOT Ha MpTBHTe bo TpaflH^CHanHara KynTypa Ha MaKeflOH^Te
06pednume mpne3u - Ha koh ce npHHecyBa xpaHa bo necT Ha yMpeHHTe, coraeAaHH Ha e^HO chm6oahhho - KOMyHHKauHcKO hhbo npeTCTaByBaaT moxhoct 3a BneryBaae bo CBeTOT Ha caKpanHOTO, npH mTO pa3AaBaHaTa xpana npemcmaeyea najeaMHuom Medujamop u mpaHCMumop Ha uH$opMau,uu u epedmcmu Me¿y ceemoeume.13
taxeaeto - npeTCTaByBa HajcymTecTBeHaTa ^opMa K0jamT0 h ^kthhkh h ^opManro CHTe ynecHHnn bo o6peA0T th CTaBa bo eAHa oco6eHa cmyanHja, noceÓHO xeHHTe TaxanKH, koh bo eAHa cocToj6a Ha HCKnyneHOCT oa HaAB0pemHH0T CBeT BOcnocTaByBaaT KOHTaKTH co CBOHTe 6ahckh mptbh. nponecoT Ha Taxeae Moxe Aa noTpae h noAonro, noBeKe h oa nonoBHHa nac, AOBeAyBajKH ce bo cocToj6a Ha HcnpneHOCT, AOKonKy HeKoj flpyr HOBeK, HaABop oa c^epaTa Ha o6peAHaTa cocToj6a He ra "pacTpece", oahocho He ce o6HAe n0BT0pH0 Aa th BpaTH bo HopManHa cocToj6a. Oco6eHO 3HanajHO npHToa e Aa hm ce AaAe aoboaho BpeMe, TaxanKHTe npH KpajoT Ha cB0eT0 Taxeae, n0BT0pH0 Aa th 03HanaT rpaHHnHTe Mery ce6e h mptbhot, Aa ra pa3AenaT cBeTOBHTe, HcTaKHyBajKH ja cHM6onHHKaTa OAAaneneHocT h HeraAH^epeHnHpaHocT Ha npocTopoT Ha MpTBHTe, Ha hhbhhot cBeT co 36opoBHTe: "nene TaTne, nene od Hurnde", nene CrojaHe, Aene od Hurnde", "MHna cecTpo, MHna od Hurnde".
cohybaae. TprayBajKH oa MomHe pamHpeHHTe HapoAHH npeTcTaBH AeKa
coHyBaaeTO KaKO cocToj6a e MomHe 0nacH0, 3amT0 bo THe MOMeHTH AymaTa to HanymTa Teno Ha HOBeKOT co mTO to npaBH 6e3XHB0TH0, npHToa, ocTBapyBa 6pojHH KOHTaKTH, koh 0c06eH0 bo peanHocTa ce HeocTBapnHBH. nopaAH Toa coHyBaaeTO KOHOTHpa cocToj6a Ha MapTHHanHocT, cBeTocT, ho h moxhoct 3a KOHTaKTHpaae co npHnaAHHnHTe Ha cBeTOBHTe mTO bo mhtckoto MHcneae KaTeT0pHjanH0 ce onpeAeneHH KaKO pa3AHHHH.
"Mhah TaTne KaKO He th ce HaxanH,
6apeM eAHam TaTne Ha coh da mu ce jaeum,
oth TaTne HeMam Apyra KepKa..."14
CnopeA 0cH0BHHTe mhtckh koaobh, koh MOxaT Aa ce eKcnepnHpaaT oa 60TaTH0T eTHOTpa^cKH h ^onKAopeH MaTepHjan Ha MaKeAOHnHTe, HeKonKy ochobhh mhtckh koaobh h KaTeTopHH HMaaT 0npeAenyBaHK0 3Haneae bo TOAKyBaaeTO Ha coHHmTaTa. Ce pa36Hpa, OBHe koaobh ce cTpyKTyHpaHH h ^yHKUHOHHpaaT cnopeA Tno6anHaTa meMa Ha mhtckhot 6HHapeH cHcTeM Ha CBeTOT: zope - doay, óamy - daaevy, decHo - aeeo, nucmo -Henucmo, ceemao - meMHo, cyeo - eMMHo, 6ucmpo - MamHo, ceoe - myéo, daeane - 3eMame, h ymTe MHOTy Apyra.
TyKa Ke HaBeAeMe caMO HeKonKy npHMepH oa Hap0AHH0T cohobhhk KOHmTO yKaxyBaaT Ha HacoKHTe h KBanHTeTHTe npH BocnocTaByBaaeTO Ha HenocpeAHH KOHTaKTHTe Mery xHBHTe h MpTBHTe nneHOBH Ha 3aeAHHcaTa:
"fla ce BHAHm co MpTOBen Ha coh, Aa 36opnBam - Aa, apHO e, aMa Aa th nocam Hewmo, da mu noóapa - He e Ha apHo."15
13	^ynqo C. PncTecKH, 06pednu mpne3u Ha nomenume u 3adyMHUu,ume eo Hapodnama peAuzuja Ha MaKedoHU,ume // Ethcotot, 6p. 7-8, CKonje, 1997, 219-227.
14	AHCK, Hhb. 6p. K-53/1995. CHHMeHC bc 1995 roflHHa bc MapHCBC, MaKeflCHHja.
15	AHCK, Hhb. 6p. K-54/1996. CHHMeHC bc 1996 TCAHHa bc MapHCBC, MaKeflOHHja.
252
Mynno C. PucmecKu
"MojTa MajKa e yMpéHa. BenepTa flojfle Moj'Ta MajKa (Ha coh), yMpéHa e Taa, h mh Befle: ' Ke ch ro 3eMa eoa ¿e3eemo 3a paKúja fla ch BapeMe! - H mu eo 3ede! ffpyeama den, dememo od 3dpaeoc muyMpe".16
"Toa Ha coh, coh raefláfla. Ha coHe, KyrpaTa Kaj yMpeHHTe ja 3aHéCfle. ApHo aMa, nocfle naK Ha3afl ja Bparare...
-	Ko Ke Te no6apaMe, Toraj Ke flojflHm. Ha3afl...
...noxHBeja Taja nenec (neT-mecT) roflÚHH ofl Toraj, h ko ch flojfle BpeMeTo, ce pa36o^e h hh BeflH:
-	Toraj ce bpthb, aMa cera Me no6apája, cera Ke oflaM. Kawyeajme mo da KaMyeaM maMy!.... A moeajMe epamúja - neno3namuayéeMe epamúja na3ad."17
Oópedno epeMe
EfleH ofl 3HanajHHTe ycfloBH 3a BocnocTaByBaae ycnemeH KoHTaKT co CBeToT Ha MpTBHTe npeTCTaByBa epeMemo H36paHo 3a Toa. CTpyKTypaTa Ha mhtckoto oflHecyBaae Ha AyreTo onpefleflHfla CTporo yTBpfleHH npaBHfla 3a Toa Kora MoxaT fla ce ocTBapaT THe KoHTaKTH. HMeHo, flofleKa MproBenoT bpbh hh3 o6peflHHoT i^HKryc ofl eflHa roflHHa, ocBeH MoxHocTHTe 3a necTo noceTyBaae ofl CTpaHa Ha 6flHCKHTe, yTBpfleHo e Toj fla ce noceTyBa h npHToa fla ce BocnocTaByBaaT KoMyHHKauHCKH oflHocH, nonHyBajKH ofl TperaoT, ceflMHoT, fleBeTTHoT, flBaeceT h npBHoT fleH, neTHpHeceTTHoT fleH, nofloBHHa roflHHa h roflHHa. Toa ce o6peflHH MoMeHTH Kora CBeToBHTe Ha MpTBHTe h xHBHTe ce flo6flHxyBaar, npH mro, necro naTH Ha o6peflHHTe Tpne3H bo necT Ha yMpeHHoT ce ocTaBa npa3eH npocTop h 3a Hero, ce H3flBojyBa xpaHa h 3a Hero, BepyBajKH fleKa h Toj e npHcyTeH Meíy xHBHTe. Haj3HanaeH o6pefleH MoMeHT Ha cpefl6a h pa3flefl6a co flymaTa Ha yMpeHHoT e 40-thot fleH, Kora, cnopefl BepyBaaaTa Ha jiyíero, flymaTa KoHenHo ro HanymTa HamHoT CBeT, ynaTyBajKH ce Ha flafle^Ho naTyBaae flo CBeToT Ha MpTBHTe, Koe Tpe6a fla 3aBpmH co 3aBpmyBaaeTo Ha o6peflHHoT i^HKnyc bo TeKoT Ha eflHa roflHHa. MHory6pojHH ce HH^opMauHHTe koh 36opyBaar 3a 3aMHHyBaaeTo Ha flymaTa ofl CBeToT Ha xHBHTe, npH mTo bo HeKoH noapxaHHHH (^opMH Ha o6peflHocTa noBp3aHa co oBoj MoMeHT, bo MapHoBo Ha npHMep, bo namara hah mHmeTo co bhho mTo ctoh Ha rpo6oT bo MoMemOT Ha neeaeTo Ha nonoT, ce oÓHflyBafle fla ro BHflaT mptbhot, noTonHo HeroBaTa flyma KaKo ce ynaTyBa koh CBeToT Ha MpTBHTe.
npa3HUU,U
Bo roflHmHHoT o6pefleH nHKnyc, oco6eHo 3a MpTBHTe 3a koh ce 3Hae fleKa BeKe ce HHTerpHpaHH bo 3aeflHHnara Ha yMpeHHTe, MoxHocrnTe 3a KoHTaKTHpaae co hhb ce flafleHH 3a BpeMe Ha npa3HHnm-e, noceÓHo 3a BpeMe Ha rofleMHTe npa3nuuu noceemenu na Mpmeume. Mpmeenume dnu ce pacnopefleHH bo TeKoT Ha neflaTa KafleHflapcKa roflHHa 3anonHyBajKH ofl noKflaflHHTe - CHponocHHTe, npeKy ^yoBfleHCKHTe h MmpoBfleHCKHTe h npeTCTaByBaaT Haj3HanajHH MoMeHTH 3a o6peflHo KoMyHHnHpaae co MpTBHTe. Ofl CHTe, Haj3HanajHH ce ^yoBfleHCKHTe, npHmro, 3aeflHHnaTa Ha xHBHTe He caMo mTo hm HcnpaKa 6oraTH flapoBH h npexpaH6eHH npoflyKTH 3a hhb hh3 pa3flaBaaeTo, TyKy oneKyBa bo TeKoT Ha HoKTa HajrofleMHoT 6poj Ha MpTBHTe, npefl caMoTo Bo3HecyBaae, fla ce nojaBaT Ha rpo6HmTaTa.
16	AHCK, HHB.6p. K-52/1995. CHHMeHo bo 1995 roflHHa bo MapHoBo, MaKefloHHja.
17	AHCK, HHB.6p. K-52/1995. CHHMeHo bo 1995 roflHHa bo MapHoBo, MaKefloHHja.
253
MHTcKHTe npeTCTaBH aa cBeTOT Ha MpTBHTe bo Tpa_.HaHOHa.HaTa Ky.Typa Ha MaKe.oHaHTe
"Be.aT, .a He th e cTpaB, Ha ^yoB.eH Ha rpoöamTaTa HoKra .a nojm yMpeHHTe H.é.e h npaBe.e:'Byyy, yyyy' - ôyHé.e. Íomhth.
E.Ha xeHa... Be.eme:
- CMeTeTe y6áBO, oth HoKecKa - ra BH.é.a HeKoa xeHa - crapHTe Hama (yMpeHHTe) HaBaTéHH ceTe, cBeKop mh Hanpe. - öaöaTa Be.HKa ra r.e.a.a yMpeHHTe mo öa.e - arpaj, Hrpaj, Hrpaj. CBeKop mh Hanpe. h .pyaHTe ceTe. Hrpaj. TaKa cMe myma.e. Hh KaxyBa.e. Taja u KaKo eo con eu eiedáia."18
E.Ha o. HajaHaHajHHTe nocTanKH Ha flyoB.eH, no BpaKaaeTo o. apKBaTa "MOMeHKyM" .a ce OTH.e npaBo Ha HeKoj öyHap aa .a ce cperaaT co yMpeHHTe, .a ch ra BH.aT ö.HcKHTe.
"KaKO bo BO.a ra r.e.a.e, bo öyHapHTe ra r.e.a.e .yreTO - THe .a nae.e BO.a. Toram My HoceMe öap.aaa - .aBaMe aa .yma. H HeKoj o. cTapaTe Ke OTBope.e öyHap h Ke ra r.e.a.e TaKa Hape.eHH OKO.y BO.aTa. Tue mo eu nomaeaam - Ke cu eu nomáam poduméiume, deKa maKa no eodama doMie, omuympe Ke My ce daea 6apde na moj noeeK, co eoda da 6ude."19
Oöpeden npocmop
HpocTopoT HH3 H.H npeKy KojmTO Tpeöa .a ce o.BHBa KOMyHHKaaajaTa Mery cBeTOT Ha xHBHTe h cBeTOT Ha MpTBHTe e hcto TaKa onpe.e.yBaHKH, acno.HeT co ca.Ha cHMÖo.HKa h 3HaHeaa mTO npoaa.eryBaaT o. Toa. HaKO, bo Tpa.HaHjaTa nocToa yTBp.eH npocTop coo.BeTeH aa BocnocTaByBaae Ha KOHTaKTH co MpTBHTe, co xTOHcKHTe ch.h, cenaK bo oöpe.HHOT aHK.yc, noc.e HacTanyBaaeTo Ha cmpt Ha HeKoj H.eH o. aae.HHaaTa, Toj HecTo ce MeHyBa h Toa bo HacoKa Ha o..a.eHyBaae o. .oMamHHTe paMKH, o. KyKaTa. HMeHO, npBHTe .eHOBH noc.e cMprra r.aBHHTe oöpe.HH .e.yBaaa noBpaaHH co ocTBapyBaae Ha KOHTaKTH co .ymaTa Ha yMpeHHOT noBpaaHH ce cé ymre co KyKaTa h KyKHHOT npocTop. (Tpa hokh Ha MecTOTO Ka.e mTO .exe. MpTOBeaoT ce ocTaBa bhho, BO.a h öpamHO co ae. .a ce bh.h "aa mTO KonHee MpTOBeaoT"- mTO nocaKyBa).
E.eH aHaHaeH .e. o. oöpe.HocTa mTO Ha chm6o.hhho - KOMyHHKaTHBHO hhbo jacHo yKaxyBa BocnocTaByBaae Ha .apeKTHa BpcKa co cBeTOT Ha MpTBHTe npe.aa e oöpe.HocTa cBpaaHa co .OMamHHTe Ky.TOBH, a .oaapaHa OKO.y oenuMmemo u KyKnuom npae. Toa ce or.e.a hh3 oöpe.HocTa noBpaaHa KaKO co xhbothhot CHK.yc Ha .yreTO, TaKa h co Ka.eH.apHaTa oöpe.HocT. (Oöpe.Ho aa.y.yBafte Ha HOBopo.eHHeTo Ha. orHHmTeTO, oöpe.HO noK.OHyBafte Ha HeBecTaTa Ha orHHmTeTO, HyBaae Ha orHOT bo orHHmTeTO bo c.yHaj Ha cmpt, oöpe.Ha npaKca aa BoxaKHHTe npaaHHaa OKO.y OrHHmTeTO; KyKHaTa aMHja h.h cmok - aamTHTHHK h HyBap xHBee bo OrHHmTeTO h.h no. KyKHHOT npar; HpeHecyBaae Ha HOBopo.eHHeTO h HeBecTaTa npeKy nparoT, npeMHHyBaae Ha KyKHHOT npar co .ecHa Hora, ocTaBaae Ha yMpeHHOT Ha KyKHHOT npar npa HaHecyBaaeTO o. KyKaTa h c..)
18	AHCK, Hhb. öp. K-44/1995. CHHMeHo bo 1995 ro.HHa bo HpH.en, MaKe^oHHja.
19	AHCK, HHB.öp. K-46/1995. CHHMeHo bo 1995 ro^HHa bo MapHOBo, MaKe^oHHja.
254
Mynno C. PucmecKu
rpo6 u zpo6uwma
On MOMeHTOT Ha Horpe6yBaaeTo Ha hoko'hhot, HajroneMHoT nen on o6penHocra ce HpeHecyBa bo hpoctopot Ha rpo6HmTaTa onHocHo rpo6oT. Tpo6oT CTaHyBa noM, eenen doM na Mpmoeeu,om. noBp3aHo co HpeTCTaBHTe Ha nyreTo neKa rpo6oT ro o3HanyBa MecToTo Kane mTo HonHBa mptbhot, HpeTcTaBeH KaKo noM, onHocHo KyKa Ha hokoj'hhot. OBHe HpeTcTaBH oco6eHo ce o^HrnenHH KaKo cHopen BHnoBHTe Ha rpo6oBH h Hanrpo6HH cHoMeHHUH mTo HanHKyBaaT Ha KyKH, TaKa h cHopen necTaTa yHoTpe6a Ha TepMHHoT "TBoj'Ta KyKa", "BenHa KyKa", "rpna KyKa", mTo oco6eHo e necTa hph Taxeaem ",D,o6po yTpo / Eor HoMaran, no6po yTpo Ha meojma KyKa, TBojTa KyKa e MHory rpna, TBojTa KyKa Hory e TeMHa, HeMa yaM, HeMa BpaTa..."20
Tpo6oT e MecTo mTo HpeTcTaByBa enHHcTBeH HpocTop Kane mTo Moxe na ce HoceTH MpToBeuoT, na ce pa3roBapa co Hero, na ce 6Hne bo HononroTpaeH KoHTaKT hh3 TaxeaaTa, HpocTop Kane mTo Moxe na ce H3BpmaT 3HanajHHTe TpaHcaKUHH co xpaHa, napoBH h npyrH BpenHa Mery xHBHTe h MpTBHTe h o6paTHo hh3 HpouecoT Ha o6penHHTe pa3naBaaa.
20 AHCK, HHB.6p. K-46/1995. CHHMeHo bo 1995 ronHHa bo MapHoBo, MaKenoHHja.
255
MHTCKHTe npeTCTaBH 3a CBeTOT Ha MpTBHTe bo TpaflH^CHanHara KynTypa Ha MaKeflOH^Te
Mythical Presentations of the World of the Dead in the Traditional Culture in Macedonia
Ljupco S. Risteski
Mythical presentations about the existence of two autonomous, different and opposing realities, this world and that world - the first of which is always marked as "ours" and human, and the second one as a strange and a distant world, a world of demoniac creatures - are the most important and the most defining categories for all structuring and functioning of the traditional cultures.
Although the differences and the distances between them are great, and almost unbridgeable, inter-communication is not impossible. However, a number of ritual prerequisite conditions must be fulfilled in advance in order to realize the communicational relationships between the two different realities that exist continuously. The focus of interest on this occasion will be the investigation of that "other" reality , of that world and one of its segments: the world of the dead - the community of the dead ancestors - which, according to its importance for the traditional cultures, always has priority.
Do all dead members reach the world of the dead?
After the death of a member of the social community, he is no longer an equal member of the community of the living, and he is in a special state which is marginal according to its characteristics. From that moment, the lately deceased person becomes suspicious and all postmortal ceremonies and magic actions around him have only one unique purpose: the suspicious dead person must be led to the community of the dead members, in the world of the dead, for the period of one ceremonial year. This is how the dead person will become a clean, integrated ancestor, a protector of the community of the living persons.
Unfulfillment of the ceremonial activities or use of inappropriate ceremonial - magic equipment and some mistakes by the ceremonial protagonists may lead to a failure of fulfillment or realization of the suspicious dead person in the world of the dead. Such dead persons and their souls, become dirty dead persons being left on the margins between the world of the living persons and the world of the dead persons often ruining the usual relationships among the living persons.
This is why the most important thing, when the dead person is being sent on his way, is to undertake a full ceremonial - magic activity in the real time with real ceremonial equipment and real ceremonial protagonists.
What does it look like and where is the world of the dead?
One of the most important mythical categories about the world of the dead persons which appears in all variants of presentations is the distance. It is always big because the world of the dead persons is "over all seas", "in the end of the world", "over nine mountains and nine seas", "under the ground", "in the sky". Especially important for the distance of the mythical code is the fact that it is presented not only spatially but also symbolically.
256
Mynno C. PucmecKu
But what separates these two realities: the world of the living and the world of the dead, is the limit which is always very clearly represented, almost unbridgeable, but not insurmountable. The communication between the worlds is not only possible but it is also necessary as a mutual link. Necessities and interdependence make these two worlds close. The closeness does not mean intercontamination of the worlds but their temporal destruction and bringing closer of the symbolic spaces through the strictly defined medium of ceremonial - magic actions.
According to the data presented here, we can conclude that the folk point of view of the Macedonians about the structure of the mythical World, like those of many other nations, has a tripartite structure: Upper Land, Under Land and Middle Land. The world of the dead persons is most often located in the Under Land according to the above mentioned cultural and historical interlacing. But, the empire of the dead, especially that of the souls, is in the Upper Land, with God. Having in mind the folk presentations, symbolism, characteristics and functions of the Upper and the Under Land, many mythic codes show their closeness and connection which clearly differentiate both of them from the Middle Land - the human one.
There is another important mythic code about the world of the dead - undifferentiation.
The mythic code of immortality is another characteristic of the world of the dead persons.
Believing that an eternal darkness governs in the world of the dead, in the traditional culture of Macedonians it is a practice to ceremonially take out the seriously sick people in order "to say good bye to the white brightness", as the most important opposition to what is waiting for them after their death.
To establish any kind of relationship with the world of the dead persons, it is necessary to create a number of ceremonial conditions and it is also most important that the ceremonial protagonist be put into a special state. This state gets the person out of what is profane and places him there in the state of marginality, on the limit between the living persons and the dead persons. This means a built system of action in which there must be all the necessary elements for it to function successfully. When I say this, I have in mind:
-	Ceremonial protagonists - "mesarija, mesarka" -the persons who prepare the ritual breads and the food for the people who have come to the funeral, "vodarka, polevarka"- the person who brings water to pour on the grave, close relatives and friends of the dead person;
-	Ceremonial states and behavior - we think of the ceremonial delivering of food and clothes, organization of the ceremonial dining table, mourning as a particular state of communication between the Worlds; dreaming.
-	Ceremonial time - on holidays;
-	Ceremonial space - a grave, a graveyard, the house and the space of the house which has a mythic character - a fire-place, a door-step.
257
Nota su sl. *ubog- "demone domestico" e it. povero
"defunto"
Pietro U. Dini
A parallelism has been observed between the particular meaning of povero "deceased" in some usages and the name of the Slavic ultramundane being *ubog- "domestic daemon" (ubog- "poor").
§0. Alcuni recenti contributi (Torricelli 1986, 1995; Martino 1993) hanno precisato un'accezione particolare dell'aggettivo it. povero usato in funzione attributiva in determinati contesti, piu spesso dello stile familiare e affettivo, in cui esso vale "defunto" (p. es. "il povero babbo", "la sua povera moglie").
Negli interventi citati vengono presi in esame fatti o del solo italiano, ovvero delle lingue romanze e classiche; occasionalmente il tedesco (selig). Puó tuttavia risultare opportuno allargare l'indagine all'ambito slavo1, dove si e osservato un interessante parallelismo col nome di un demone appartenente al pantheon slavo minore che costituisce l'oggetto di questa breve nota.
§1. Brückner (1892: 179, 186-189) riporta una testimonianza di area polacca - raccolta in manoscritti anonimi del secolo XV, conservati a San Pietroburgo - che narra di prediche del periodo pasquale durante le quali v'era l'usanza di lasciare resti di cibo dopo la cena, secondo la credenza che quegli avanzi sarebbero stati consumati da un essere sovrannaturale. Nell'originale esso viene chiamato vbofthye (o vbofche)1, cfr.:
demonibus sacrificia offerrunt, que dicuntur vbofthye, remanentes seu derelinquentes eis residuitates ciborum quinta feria post post cenam
ad pascendum animas uel alias, que dicuntur vbofthe
quasi ad nutriendum animas uel quoddam demonium, quod vocatur vulgariter vbofthe a dicto vbofthe comedi, quod fovent propter fortunium3, ecc. La presenza dello stesso demone viene individuata dal Brückner anche in area russa in forza di un passo di Easicki:
1	Recenti contributi di ámbito slavistico sugli eufemismi per il nome della morte e del moriré sono, per il polacco, D^brovska 1993 e, per il russo, Jachnow 1995.
2	Il passo & ristampato con variazioni in Brückner 1918 [= 1980]: 43 ss., e nella traduzione italiana di Julia Dicksteinowna, cfr. Brückner 1923: 153, 164n.
3	Niederle 1916: 42 riporta l'intero brano nel modo seguente: «Nonnulli sunt qui non lavant scutellas post cenam feria quinta magna et feriali ad pascendam animas vel alias que dicuntur vbosshe stulti credentes... Aliqui remittunt remanencias ex industria in scutellis post cenam quasi ad nutriendum animas vel quoddam demonium quod vocatur vbosshe sed hoc ridiculo plenum est, quia putant sepe stulti et vani hoc ipsum, quod remanserunt, a dicto vbesshe comedi...»
259
Nota su sl. *ubog- "demone domestico" e it. povero "defunto"
Kaukie sunt lemures, quos Russi uboze appellant, barbatuli, altitudine unius palmi extensi, iis qui illos esse credunt, conspicui, aliis minime.4
Attestazioni di un tale essere ricorrono perô anche altrove nell'area slava. Ancora Brückner (op. cit.: 187) richiamava la voce antico-boema uboze "Mamon" e quella antico-slovena ubozije "das arme [Männchen], den Wicht, das Gütchen" (Brückner, ibid.).
Secondo l'interpretazione corrente - fedele al punto di vista del Brückner - con questo nome veniva designata una divinità minore del pantheon slavo, e precisamente un demone domestico (Hausgeist), posto protezione del benessere e del patrimonio familiare (talvolta assimilato o confuso con ziwye "deus vitae", menzionato già nell'opera di Jan DJugosz) e accostato ad altre divinità domestiche degli Slavi (p. es. ai russi domovoj "dio della casa" e simili).
§2. Ora, le differenti attestazioni del nome del demone sono riconducibili a una base sl. *ubog- di non difficile spiegazione.
E' noto che, fra le perdite nella morfologia nominale slava - rispetto a quella indoeuropea - v'è anche quella di composti produttivi con primo termine *n- (ind.-ir. *a-, gr. a-, lat. in-, got. un-, ecc.), che infatti risultano poco rappresentati in slavo (e baltico).
Come ebbe già a dire Meillet (1924: 376): «Seul *n- est continué par une forme évoluée, (cf. gr. vr¡-), qui n'apparait que dans deux ou trois mots mal analysables» salvo precisare subito che «quand on a eu à rendre les composés grecs, on s'est servi de formations nouvelles». Oltre ad antico-slavo xpo^b 'insensé' e xpbflt 'percé', l'ultima delle tre parole citate dal Meillet è oyöorb (< *n-bog-) 'pauvre' meglio definito come 'qui n'a pas de richesse'; la forma è evidentemente connessa con l'antico-slavo 6o¿amr> 'ricco; fortunato' e inoltre con la ben nota famiglia di iran. *baga- 'ricchezza'5, ecc.
Questa formazione è ancora oggi ben viva nelle singole tradizioni linguistiche slave, ma non risulta che essa possieda il valore di 'defunto' in nessuna lingua6. Se si guarda poi alle lingue baltiche lit. ubagas e lett. ubags 'povero' non rivestono alcun valore per la presente indagine, poiché sono prestiti dallo slavo7. Per la sua semantica è invece degno di rilievo il lett. uba [comm., = ubags] registrata col valore "eine Art Hausgeist" (Wid.), voce relegata ormai al linguaggio familiare e infantile, p. es. uba n?k "uba viene"8, dove con uba si indica uno spauracchio nominato per spaventare i bambini, il cui valore è definito come "ein Popanz [ein Schreckwort für Kinder]" (cfr. Mühlenbachs, Endzelïns 1929-1932 IV: 293). Se - come riporta il Mühlenbachs, Endzelïns (ibid.) - occorre interpretare uba = ubags , allora nella voce lettone si potrebbe scorgere il riflesso lessicale di una trasformazione secondaria del demone (del pantheon minore balto-slavo?) *ubog-.
§3. Si osserva che nel caso di sl. *ubog- "demone domestico" si sommano due aspetti degni di rilievo: 1) è un'essere sovrannaturale che ha relazione col mondo dei morti; 2) il suo stesso nome lo designa come 'senza ricchezza', cioè 'povero' (e la stessa immaginazione popolare lo raffigura in uno stato di indigenza).
4	Cfr. Lasickis 1969.
5	Ramat 1963.
6	Vasmer [Trubacev] 1986; Brückner 1985 [= 1927]: 591.
7	Fraenkel 1965 II: 1156; Karulis 1992: 448.
8	Cfr. Aronu Matïsa izdotäs tautas dziesmas, 1888.
260
Pietro U. Dini
A questo punto si ricorda il su citato particolare valore di it. povero "defunto" (cfr. §0); nella discussione in corso su di esso, da una parte si interpreta l'accezione di 'defunto' internamente alla concezione cattolica della morte, dall'altra si propende a scorgervi piuttosto un riflesso lessicale di una concezione della morte pre-cristiana.
Non passera ovviamente inosservato il parallelismo fra i due fatti linguistici posto a confronto. Tuttavia non è possibile trarre ulteriori conclusioni circa il tipo di ideologia che sottostà ad essi, poiché le attestazioni nel mondo slavo del demone *ubog- sono molto tarde. Per quanto sia molto probabile che esso rimonti allo strato pagano, pre-cristiano, occorre tuttavia tenere presente che la sua tradizione è stata certamente influenzata dal cristianesimo. Perciô, non intendendo supplire con congetture alla carenza documentaria, nella presente nota si preferisce limitarsi alla semplice rilevazione dell'inedito paralellismo.
Bibliografia
Brückner Aleksandr, Mythologische Studien III, "Archiv für slavische Philologie", 14, 1892, p. 183.
Brückner Aleksandr, Mitologia Slava, Bologna, Zanichelli, 1923.
Brückner Aleksandr, Mitologia stowianska ipolska, Warszawa, PWN, 1980.
Brückner Aleksandr, Stownik etymologiczny jqzyka polskiego, Warszawa [Przedruk wyd. 1, Krakow, 1927].
D^browska A., Eufemizmy wspotczesnego jqzykapolskiego, Wroclaw, 1993.
Fraenkel Ernst, Litauisches etymologisches Wörterbuch, 2 voll., Heidelberg, Winter, 1962-1965.
Jachnow Helmut, Der Tod und die Sprache. Beobachtungen zu sprachlichen Ersatzstrategien mit Hilfe von Phraseologismen und Stereotypen bei der Kommunikation über Sterben und Tod, in Daniel Weiss (hrsg.) Referate des XX. Konstanzer Slavistischen Arbeitstreffens (Zürich 20.22.9.1994), München, Sagner, 1995, pp. 175-195.
Karulis Konstantins, Latviešu etimologijas värdnica, 2 voll., 1992.
Lasickis Jonas, ApieŽemaičic, kitesarmatc beinetikrc krikščionic dievus, Vilnius, Vaga, 1969.
Martino Paolo, Riflessi lessicali di una concezione pre-cristiana della morte, in Ethnos lingua e cultura. Scritti in memoria di Giorgio Raimondo Cardona, Dipartimento di Studi Glottoantropologici, Roma, 1993, pp. 142-154.
Mühlenbachs Kärlis, Endzelins Jänis, Latviešu valodas värdnica, I-VIII, Riga, Izglitibas min., Kultüras fonds, 1923-1932.
Niederle Lubor, Život starych Slovanu, II, Praga, Bursika & Kohouta, 1916.
Ramat Paolo, "I problemi della radice indoeuropea *bhag-", Annali dell'Istituto Orientale di Napoli, Sezione linguistica, V, 1963, pp. 33-57.
Torricelli Patrizia, "La sua povera moglie": l'interpretazione cattolica della morte nell'accezione 'defunto' di povero, "Studi e Saggi Linguistici" (Pisa), 26, 1986 [1987], pp. 219-266.
Id., I cattivi morti e le buonanime dei defunti nell'aldila dell'immaginario cattolico, "Studi e Saggi Linguistici" (Pisa), 35, 1995, pp. 179-198.
Vasmer Max [Trubačev O.N.], dmuMOMzmecmü cnoeapbpyccKozo msukü, 4 voll., Moskva, Progress, 1986.
261
Nota su sl. *ubog- "demone domestico" e it. povero "defunto"
Ob primerjavi slov. *ubog- "hišni demon" in it. povero "rajni"
Pietro Dini
Predmet te raziskave je demon nižje slovanske mitologije, katerega ime, izpričano v različnih jezikovnih izročilih (slov. *ubog - "hišni demon" *n-bog - "ubogi"), v nekaterih kontekstih izvorno spominja na določen pomen italijanskega prednika povero "rajni" (ubogi rajni).
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PSIHOLOŠKA INTERPRETACIJA LJUDSKEGA IZROČILA
INTERPRETAZIONE PSICOLOGICA DELLA TRADIZIONE POPOLARE
Fair Vida. The Everlasting Importance of the Psychological Aspect of the Slovene Ballad. Interdisciplinarian Ethnological Interpretation
Damjan J. Ovsec
This essay is composed of two parts. In the first part the author is describing the so-called general ideas, which are necessary for an understanding of the ballad of Fair Vida. In the second part, the author deals with the so-called psychological reading which bears a relation to the interpretations that are typical of the psychology of C. G. Jung and his associates, i. e. psychologists of a later date who graduated from the C. G. Jung Institute in Zürich. The interpretation is based on psychological assumptions about the development of the human psyche, and on the psychological and anthropological aspects of the myth research.
General about the ballad of Fair Vida
Fair Vida is certainly one of the best known popular ballads among the Slovenes. The fact that Fair Vida is one of the central female characters of Slovene literature is indicated by its many reverberations in letters (poetry, prose, drama, opera libretti, essays) and broader literary researches on the subject of Fair Vida in general, from Grafenauer's in 1943 to Pogacnik's in 19881. The subject of Fair Vida was first dealt with by poets, who were only much later followed by scientists.
In Slovene literature, the name of Fair Vida is associated with several pieces of traditional poetry of which the common traits are not so much the same motifs arising from the same narrative or poetic ballad pattern as the external signs of the situation in life, personal experiences that, by chance, more or less resemble each other. In these poems, therefore, the name is more characteristic of the female personal type than of the poetic motif form and its origin2. To Slovenes, Fair Vida or Young Vida always represents a young woman - a mother who is inveigled by a Negro into boarding his ship and joining him on a trip to a far-off foreign land, which is most frequently Spain and sometimes also Turkey.
1	A. Lah, Razsežna raziskava o naši gospe Vidi (An Extensive Research of Our Lady Vida), Jezik in slovstvo 34, 1988/89, p.42
J. Pogačnik, Slovenska Lepa Vida ali hoja za rožo čudotvorno. Motiv Lepe Vide v slovenski književnosti (The Slovene Fair Vida or in Pursuit of the Miraculous Flower. The Motive of Fair Vida in Slovene Literature), Ljubljana 1988.
I. Grafenauer, Lepa Vida. Študija o izvoru, razvoju in razkroju narodne balade o Lepi Vidi (Study about the Origin, Development and Dissolution of the Ballad of Fair Vida), Ljubljana 1943.
2	I. Grafenauer, idem I., Pesmi o Lepi Vidi (poems about Fair Vida), p. 9.
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According to Grafenauer3, poems about Fair Vida that are not poems "about a young woman - mother lured (to a ship and) into leaving her ailing husband and her child should be wholly distinguished from our Fair Vida". There are thus "two Vidas" that bear no relation to one another, but this has no relevance to this essay.
There is also a so-called primitive oral ballad entitled The Sea Vida4 which speaks about the young Vida who is lured into a boat by a Negro whom she obviously knows and who promises her a medicine for her sick child. When the young mother realizes that she has been abducted, she chooses to die by jumping into the sea. From the historical point of view, Vida's acquaintance of the Negro may be situated especially at the time of the Arab naval victory over the Venetians at the island of Susak in 842, which followed the burning of the town of Osor on the Croatian island of Cres in the Gulf of Quarnero by the Arabs a year before. The primitive ballad The Young Vida also seems to be the basis for a rather different ballad, The Fair Vida. Tired of the difficulties in her family life at home, with her old husband and sick child, she allows herself to be lured onto the ship and begins to regret this act when it is already too late.
Let us now examine Preseren's famous ballad about Fair Vida, which was written after Rudez's record5.
Lepa Vida je pri morju stala, tam na prodi si plenice prala. Črn zamor'c po sivem morji pride, barko ustavi, praša lepe Vide: "Zakaj, Vida! nisi tak rudeča, tak rudeča nisi, tak cveteča, kakor ti si prve leta bila?"
Vida lepa je odgovorila: "'Kak bi b'la rudeča in cveteča, ker zadela mene je nesreča; oh, doma bolno je moje dete, poslušala sem neumne svete; omožila sem se, starca vzela! Malokdaj sem, s'rotica, vesela; bolno dete cel dan prejokuje, celo dolgo noč mož prekašljuje!"
Črn zamorc ji reče ino pravi: "Če doma jim dobro ni, žerjavi se čez morje vzdignejo; ti z mano pojdi srčno si ozdravit rano.
Kaj ti pravim, pote, Vida zala, je kraljica španska me poslala ji dojiti mladega kraljiča, sinka njenga mladga cesariča. Ga dojila boš ino zibala, pestvala, mu postijo postiljala, da zaspi, mu pesmi lepe pela, huj'ga dela tam ne boš imela."
V barko lepa Vida je stopila; al' ko sta od kraja odtegnila, ko je barka že po morji tekla, se zjokala Vida je in rekla: "Oh sirota uboga, kaj sem st'rila! Oh, komu sem jaz doma pustila dete moje, sinka nebogljen 'ga, moža mojga, z let'mi obložen 'ga!"
Ko pretekle so b 'le tri nedelje, jo h kraljici črn zamorc pripelje. Zgodej lepa Vida je ustala, tam pri okni sonca je čakala.
3	Idem, p. 16.
4	V. Nartnik, Časovna odprtost Lepe Vide; v: Individualni in generacijski ritmi v slovenskem jeziku, književnosti in kulturi (ob 10-letnici smrti Marije Boršnikove) (The Time Dimension of Fair Vida in Individual and Generation Rhythms in the Slovene Language, Literature and Culture [On the 10th Anniversary of the Death of Marija Boršnik), Ljubljana 1994, p. 194.
5	F. Prešeren, Complete Works, Book II, Ljubljana 1966. Od Lepe Vide (On Fair Vida), pp. 131-134.
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Potolažit' žalost neizrečno poprašala sonce je rumeno: "Sonce! žarki sonca! vi povete, kaj moj sinek dela, bolno dete?" "Kaj bi delal zdaj tvoj sinek mali? Včeraj svečo revci so držali, in tvoj stari mož je šel od hiše, se po morji vozi, tebe iše, tebe iše in se grozno joka, od bridkosti njemu srce poka."
Ko na večer pride luna bleda, lepa Vida spet pri oknu gleda, de b' si srčno žalost ohladila, bledo luno je ogovorila: "Luna! žarki lune! vi povete, kaj moj sinek dela, bolno dete?" -"Kaj bi delal zdaj tvoj sinek mali, dan 's so ubogo sroto pokopali, ino oča tvoj je šel od hiše, se po morji vozi, tebe iše, tebe iše, se po tebi joka, od bridkosti njemu srce poka."
Vida lepa se zjokala huje, k nji kraljica pride, jo sprašuje: "Kaj se tebi, Vida! je zgodilo, de tak silno jokaš in tak milo?" Je kraljici rekla Vida zala: "Kak bi srota uboga ne jokala! Ko pri okni zlato sem posodo pomivala, mi je padla v vodo, je iz okna padla mi visocga kupca zlata v dno morja globocga." Jo tolaži, reče ji kraljica: "Jenjajjokat' in močiti lica! Drugo kupco zlato bom kupila, ta pri kralji bom izgovorila; id', kraljiča doji moj'ga sina, de te mine tvoja bolečina."
Res kraljica kupco je kupila, res pri kralji jo je zgovorila; Vida vsak dan je pri okni stala, se po sinku, oču, mož'jokala.
B. Patemu's comments on this ballads are the following6:
In Preseren's reworking of the traditional poem - Avgust Zigon justly called it a "marvel of Slovene poetry" - the transformation of the female character is distinctive in respect of the poet's leading lyrics of that time, albeit not extreme. Fair Vida is a strong female personality who cannot accept the reality of her unfortunate marriage. For this reason, she abandons her decrepit husband and her sick child and lets herself be taken away by a Moorish courier across the sea, to far-away Spain, where she is to take up the almost noble duty of a wet nurse with the queen. However, this is followed by an internal blow from the other side: pangs of conscience due to the misfortune caused to her family by her flight and a yearning in the opposite direction, back towards home and her child. The motive of Vida's story is not only a psychological and sociological one, but also existential and ontological, so that it results in the problem of the unrealizability of man's desire, i.e. in a problem of defeat of desire in its realization. Due to such multiple semantic dimensions, the subject of Fair Vida has become one of the main motives and myths of Slovene literature to date, one of its thematic archetypes.
It is interesting that versological researches of Fair Vida have led to entirely different conclusions, which is due to the fact that they predominantly departed from one or the other end of such duality7. Thus, some researchers discovered in the poem a "Romanesque
6	B. Paternu, France Prešeren 1800-1849, Munich-Ljubljana 1994, p. 10.
7	Idem, p. 104.
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musical architectonic verse" (A. Žigon), others discovered in it archaic forms of Slovene verse (I. Grafenauer, V. Vodušek) and still others a Slovene variant of the Serbian decasyllabic (J. Martinovic, B. Merhar). It should be added that Prešeren's treatment of the theme of Fair Vida represents a reworking, not an imitation.
Our real Fair Vida and Young Vida have been preserved in several records and versions from different areas8. They may be classified into three variants. The point they have in common is that the Negro, consequently a non-Christian, is, according to popular belief, a pagan, an unbeliever, lures the young woman-mother aboard his ship and takes her away; the versions vary from one another mainly in respect of her fate after the abduction. In the first version group, the Young Vida does not resign herself to her fate of becoming the unbeliever's slave and mistress, but jumps into the sea and drowns. In the second version group, the woman-mother is taken by the Negro to Spain, from where there is no return for her. However, fate is kind to her, so that she is a wet nurse to the infant of the queen of Spain, the Spanish prince royal, and thus safe from profanation. In the third version group, the Negro, the "Negro gentleman", takes "Young Vida", "Fair Vida" with him to a pagan land, but he chooses her as his mistress, "lady and mistress of the house"; in these cases, Vida returns home either in a miraculous way travelling by sun or with her "Negro gentleman's permission, who brings her by ship to her homeplace but not to her home, because she is only permitted to take her son, who has in the meantime grown into a shepherd-boy, along with her to her Negro gentleman's "new home".
An older form of the first Slovene version is represented by an Albanian and two Calabrian versions (Zogna Riin: Donna Irene, Donna Candin, Donna Canfura) 9 and the predecessors of another Albanian and three Sicilian versions, which are already contaminated by various other forms.
According to Grafenauer, the types of the song are the following10:
Albanian-Calabrian type with an originally tragic outcome: a young woman-mother jumps into the sea and, originally, really drowns. In later, contaminated, versions she swims ashore and returns home to her husband and her child or she is hauled out of the water by seamen and is then ransomed by her husband. Her abductor does not lure her to his ship by promising her medicine for her sick child, but by offering valuable objects.
The Ihan type11 with a tragic outcome: the young woman jumps into the sea and drowns.
The Dolenjsko type12 with an elegiac (and semi-tragic) end: Fair Vida becomes a slave, wet-nurse of the Spanish prince and never returns home. It is according to this version that F. Preseren wrote his poetic re-creation of the ballad of Fair Vida.
The Kočevje and Croatian transitional types13: the abductor takes away a young woman-mother to become his mistress; however, the young woman does not jump into the sea and the return home is out of the question.
8	I. Grafenauer, idem, p. 19.
9	Idem, p. 20.
10	Idem, pp. 21-24.
11	Ihan is a town near Ljubljana.
12	A region in Slovenia to the south-west from Ljubljana.
13	Kočevje is situated near the border with Croatia. The locals consider themselves neither inhabitants of Dolenjsko nor Notranjsko.
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The Gorenjsko type14 with a happy ending: Fair Vida is a slave and "lady and mistress of the house" of her Negro gentleman, but she miraculously returns home or at least comes back to her homeplace to take her son who has grown into a shepherd-boy. The first version of this interesting type was written by Radivoj (Franc) Poznik in 1868 in Kropa and was sung by Mica Stular (SNP I, no. 75); the tune is unknown. The second version was recorded by France Marolt in Hrase near Lesce in 1923.
Let us also mention that Fair Vida has been preserved among Slovenes in Resia (Italy) as a fairy tale, which is , however, distorted beyond comprehension15.
The cultural and historical background of the ballad of Fair Vida
The Negro in this ballad is not a Negro proper16 but an Arab Moor, and the Spanish queen reminds us of the Arab-Moorish kingdom in Spain between 711 and 1492. The caliphs of Cordoba created a powerful bodyguard from captured Croatian youths, whom they brought up in the Mahometan way17. A similar fate is also known to have befallen the Turkish Janissaries whose ranks also included some Slovenes. Grafenauer points out that Fair Vida was originally a ballad about a captured slave18. In addition to the Negro, i.e. Moor, an African or Spanish Arab, and the Spanish queen, this also corroborated by the fact that Vida, being a slave, can no longer return home. The original ballad is considered to date back to the period between the 9th and the 11th centuries19 when the Moors plundered unhindered on the shores of the western Mediterranean and deep into the interior of the mainland. In 930 they captured even the Great Saint Bernard Pass so that it became known as the Devil Mountain. In several decades after 827 they seized Sicily and parts of southern Italy (Bari 841-871, Taranto 841-881), besieged Dubrovnik (886) and plundered along the Adriatic way up to Grado (875) and transported captured slaves to be sold in ports of Africa and Spain. It is the period before the Normans (1010-1071) stemmed the Saracen incursions into southern Italy and wrenched it away from Greek domination, the period before 1061 to 1091 when they also seized Sicily from the Saracens20.
Some words about the previous interpretations of the ballad of Fair Vida
The author of the first writing about Fair Vida of some scientific relevance is A. Zigon21, who writes about this poem "from the days of our forefathers with a rich imagination" as about a poem "of the other sea, woman and her elementary nature", human nature with its "restless
14	A mountainous region to the north-west of Ljubljana.
15	R. Verčon, Lepa Vida v Reziji (Fair Vida in Resia), lecture on July 14, 1997, Gozd Martuljek.
16	I. Grafenauer, idem, p. 126.
17	Od VIII-IX stoletja: F. Hubad, Slovani v Andaluziji (From the 8th to the 9th century: F. Hubad, Slavs in Andalusia), LMS 1878, III., pp. 33-57.
18	I. Grafenauer, Jurčič, Spisi (Essays) VII, 1922, pp. 182-183.
191. Grafenauer, Lepa Vida... (Fair Vida...), pp. 126-127.
20	See also: J. Ferluga, Bizanc na Jadranu (Byzantium on the Adriatic) (6th-13th century), Zgodovinski časopis 44. 1990, p. 371.
21	A. Žigon, Dom in svet, XI, 1927, p. 41.
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surge of desire into the distance, somewhere from here". He points to the "tragic nature of such desire - without salvation". According to Žigon, the ballad mentions only the bare external facts. There is no deep insight nor is there any subjective psychical analysis. In short, there are no lyrics. The Slovene writer Ivan Cankar writes in Nina (1906): "This is a poem about Fair Vida: she died because much of her heart was consumed with desire. When I heard this poem, a thought flashed through my mind as if I had heard the voice of my own heart, a word which I had never dared to utter, a thought from which I had been fleeing... Fair Vida stood on the shore when a boat appeared across the grey sea, and Fair Vida escaped to where her heart had been longing for. And indeed, the southern sun was shining there, and the sea had a more sky-blue colour than the sky itself, and the shore was lined with orange trees. Fair Vida stood on a golden balcony and cried, longing for her old husband, her infirm child..."22 And the conclusion reads: "And if Fair Vida returned instead of dying?.. Desire is immortal".23
According to Grafenauer24, Preseren's, Cankar's and Žigon's interpretations of the story and the character of Fair Vida are correct especially with regard to the negative statements: Vida does not abandon her husband and her child because of an adulterous relationship with another man: Vida never returns home again. However, it does not correspond to the ballad's original sense that, vexed and weary of everything, Vida recklessly runs away from home, i.e. in some way by her own free will, and immediately regrets it. The motive of an old husband and a precipitate marriage is of secondary importance and more recent, although it dates far back to the past.
The story about Fair Vida was interpreted in a different way from the above three authors by the Slovene writer Josip Jurčič in his story entitled the Novel of Fair Vida25. It is a story about an unfaithful, young pampered woman, a stubborn, immature only daughter who, in order to stop being treated by her parents as a child, so to say by her own obstinacy, marries a widower, a serious, respected and well-to-do forty-year-old man, but she then gets involved with a cunning seducer, a rich Venetian patrician bon vivant, and runs away from her husband and her little son "across the sea" to Venice. Then, deceived and given away herself, she again takes refuge at home, claiming that she had been abducted by pirates from which she ultimately managed to escape. The revelation of the truth is followed by a tragic ending: the husband, having taken revenge on the seducer, is sentenced to death in Venice, and the woman goes mad26. The action of Jurčič's story is set at the end of the 18th century.
It seems that Jurčič was not satisfied with his story of Fair Vida. For this reason, as he had no time to do it by himself, he tried to persuade Janko Kersnik to use this motive in a drama. Kersnik failed to do it; instead, this task was undertaken by J. Vošnjak, who wrote Fair Vida, a drama in five acts27. Although Vošnjak set the action of his drama in "our contemporary circles", it is anything but real "as it should be"28. Vošnjak preserved Jurčič's concept, but transposed the action into another, namely commercial, clerical and aristocratic
221. Cankar, Nina, Complete Essays IX, 1929, pp. 256-263.
23 Cf. also: I. Cankar, Mimo življenja, Lepa Vida, Zbrani spisi VII (Beyond Life, Fair Vida, Complete Essays VII),
Ljubljana 1928.
241. Grafenauer, Lepa Vida... (Fair Vida...) p. 108.
25 J. Jurčič, Lepa Vida (Fair Vida), Zvon 1877, nos. 1-9, 11, 21-24. Complete Essays (Levec) VII, 1888, 7-117;
Essays (Grafenauer) VII, 1922, 3-70.
261. Grafenauer, Lepa Vida... (Fair Vida...) p. 109.
27 Dr. Josipa Vošnjaka zbrani dramatični in pripovedni spisi II. (Complete Dramas and Stories by dr. Josip Vošnjak)
(National Library II!), Celje 1893.
281. Grafenauer, Lepa Vida... (Fair Vida...) p. 110.
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milieu. He tried to mitigate Vida's guilt. In both Vosnjak's work and Risto Savin's opera libretto, the conceptions of the essential significance of the ballad of Fair Vida have made no progress. Everything remains within the same range of reflection, i.e. comprehension of this poem.
It is interesting to note J. Kalemina's reflections about this subject. His interpretation of Fair Vida is presented in his Myths and Stories of the Slovene People (1930). This scientist is "angry" with Fair Vida: for him, Vida is a demonic creature and adulteress by her very origin29. More or less unwillingly, Kalemina united some mythological fragments from various areas, according to which Vida should, in his opinion, be categorized as a mythological creature.
On the other hand, S. Rutar presumes that Fair Vida represents the moon that travels from sea to sea30. This corresponds to the fact that the plant artemisia is also known under the popular name of "Vida's feather". Artemis was an ancient Greek goddess associated with the moon (and springs). For the designation of Fair Vida it is important that she is always associated with the sea, i.e. with water. Hence the association of Fair Vida with a water nymph which is also known among Slovenes as the Divine maiden, White lady, Golden hag, Matica, Matoha...31
In my opinion, Nartnik's essay under the title The Time Dimension of the Genesis of the Character of Fair Vida32, which is, also based on the reflections about astrological spheres of an archaic historical period as an environment of "Vida's" archetype, is equally very important.
Interpretation of psychological aspects of the ballad of Fair Vida
It would be naive to conclude that story-telling is merely intended for whiling away the time or shaping of the children's' imagination. All the more so, it does not apply to a popular and well-known ballad such as Fair Vida. With regard to the "popular psychotherapy", this ballad is very topical. I share the opinion of those engaging in the most simply comprehensible interpretation of a popular text that should be intended to a female soul, inspiring its male counterpart from within, and to a female body and soul33.
Fairy tales, legends, ballads and other popular literary works, having so much in common that they become universal, perfectly illustrate and vitalize man's psychic structure in the period of their creation, and at the same time their archetypal roots reach into all periods of time and exert an influence upon us if we try to amplify their elements.
If we consider the ballad of Fair Vida from the point of view of a patriarchal family structure, it is clear that a woman's leaving of her home - whether it is a young woman or a
29	J. Kalemina, Zgodovinska pripovedka o lepi Vidi. Bajke in pripovedke slovenskega ljudstva, (The Historical Narrative of Fair Vida. Myths and Stories of the Slovene People), Part III, Demonic Creatures, no. 190.
30	S. Rutar, Dunajski Zvon VI., p. 310, quoted after I. Grafenauer, Lepa Vida... (Fair Vida...) p. 113.
31	Quoted after I. Grafenauer, idem, p. 114. See also: D.J. Ovsec, Slovanska mitologija in verovanje (Slavic Mythology and Beliefs), Ljubljana 1991; J. Kalemina, idem.
32	V. Nartnik, idem.
33	A number of authors from the Jungian school. Jung is not a psychoanalyst but a representative of analytical psychology, which places the greatest emphasis on the "lysis", not analysis. The Jungian school means that a particular author holds a diploma from the Zurich institute, others are not Jungians.
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mother - spells a tragic ending for both her family and herself. So much damage is done to life by such an "obstinate" gesture that it can no longer be adequately rehabilitated and can no longer satisfy patriarchal norms, since leaving one's home is certainly something more terrible than not having any home at all. Unlike a "prodigal son", for example, a lost daughter no longer adapts herself to her original environment. She is degraded to such an extent that she can never become rehabilitated, even if she returns home. Only much later, by understanding the anthropological roles of men and women, and with an eventually deep theological interpretation of the coming of Christ as an event of salvation, may a patriarchal view represent only a historical, i.e. time-related view. Or, it may also be said that the man's migration to the cities, his cultivation, has loosened the stiff patriarchal bonds to such an extent that to a modern reader this ballad no longer represents Vida's leaving of her home, but primarily symbolizes the abandoning of an emotional substance. Man's personal position in life has expanded, but personal experiences still represent an individuation material for each individual. These problems are equally reflected in man's continuous psychic development.
As a female subject, Fair Vida may denote a female person or soul, which also means the female part of the psyche in a male person, the so-called anima. In this other part its archetypal contents certainly extend up to the present moment.
What does it mean if we say that the "successful" Vida is only the one that stays at home, because she is able to defeat the serpent and become a princess? Since the psychic system always tends towards balanced reactions, compensatory relations, a high degree of expansion and quality are mutually incompatible. Those who stay "at home" cannot conquer the world; however, they can "conquer" their inner world and find their "stone of happiness", a wealth comparable to the wealth and fortunes of the whole world, surpassing them at all times.
There is an interesting variant of Fair Vida from Cerovec, which was recorded by Stanko Vraz34.
Lepa Vida proso plela Rano rano pred zorjami. Kak od konca plela proso, Stepeno je najšla roso: "Da bi, Bog daj, mojo bilo, Kaj je nicoj tod hodilo!"
K drugem konci je perplela, Tam je najšla velko kačo, Tam je najšla velko kačo, Velko kačo zaglavačo. Kača je mela devet repov, Vsakšni rep pa devet klučov.
Mimo vlegla gladka steza, Po joj jaše mlad študentič: "Hala, hala, mlada Vida,
Vtergaj si ti drobno šibo, Vtergaj si ti takšno šibo, Ki za leto dni je zrasla."
Mlada Vida vterga šibo, Ki za leto dni je zrasla, Ino s šiboj vujdre kačo, Velko kačo zaglavačo. Kak je lehko jo vujdrila, Z repa ključe joj je zbila,
Ino kača se slikla No v kraliča spremenila: "Hala, hala mlada Vida, Kaj si želila, si dobila: Bila prosta si devica, Zdaj pa svetla boš kraljica."
34 K. Štrekelj, Slovenske narodne pesmi (Slovene Traditional Poems), Ljubljana 1895-98, Volume 1, Narrative Poems, p. 132, no. 77.
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This version, too, clearly incorporates a conflict between "paganism" and "Christianity", yet less distinctly and less directly than the story of the Prince and Fair Vida as it is known in Porabje, and was published in the book Slovene Fairy Tales and Stories from Porabje (Kmečki glas, Ljubljana, 1996). In this story, the mother wants her young prince to attend service at church. But, as he refuses and resists his mother, he resists her greedy animus, persists in the possibility of his becoming independent, the possibility of individuation. If he paid too much attention to the reasons for his resisting his mother, he would succumb to one of the tricks of the Oedipus complex, in which men should never allow themselves to be trapped lest they lose the possibility of development. However, a curse is invoked upon him by his mother and the prince is turned into a serpent because his ego becomes regressive, subconscious, like an amphibian that is able to live both on land and in water, and his psyche oscillates between the conscious and the subconscious. The youth's transformation into a serpent must have a special effect on young readers. It is a shock for them and they will think twice before opposing the traditional, formalistic attitude to religion. From the psychological point of view, the youth suffers from a depression. Going to church does not only mean attending a religious ceremony but also a possibility of meeting girls that are considered to be honest since they go to church. The action of the story takes place in the second half of the year, i.e. in the second half of the life of a male individual.
The story has a happy ending because the male ego is willing to cooperate with his "inner girl". He is aware that she will save him since, by accepting his own inner woman, the conflict of vital stagnation of the male psyche, which has certain characteristics of puer aeternus, will be resolved.
Vraz's versions of Fair Vida from Cerovec has a happy ending, too. It also deals with the problem of the conflict between paganism and Christianity, but in this case the psychological development is associated with the male part of a female soul, the animus35. While working in the field, Fair Vida found a large serpent that marks her lower, animal animus, which will develop through the poem. Like the story of Fair Vida from Porabje, it will be a story with a happy ending. Here, Fair Vida has a psychopomp, a student representing the animus's positive aspect. He advises her how to cultivate the lower form of her animus, i.e. the serpent. The Christian morals of that time are expressed in the poem's last two verses: You were a simple virgin/Now you will be a brilliant queen36. Cankar's conception of Fair Vida also deals with this subject primarily from the point of view of a male soul, since
35	Animus is a man within a woman, in her unconscious, and has both good and bad characteristics. It often appears in the form of erotic imagination and mood, and may also acquire the form of a hidden, uncompromising "sacred" conviction. Even in women with a pronounced feminine nature, the animus may be a fierce and uncompromising force. The Anima is a total of female psychological aspirations in a male psyche: these are undetermined feelings, prophetic presentiments, attitude to the irrational and, not least important, the attitude to his own unconscious. Like animus, anima also has positive and negative aspects. A positive anima is a guide through the male world of the unconscious, and the negative a deadly water nymph, Rusalka or the like.
In the same way as the character of the male anima is shaped primarily by his mother, the female animus is mainly influenced by her father. (M.L. von Franz, The Individuation Process in the book The Man and His Symbols, C.G. Jung and others, Zagreb 1973, pp. 158-196).
36	At this point, I would like to express my sincere acknowledgement for some explanations to the Slovene psychiatrist and Jung's disciple Dr. Jože Magdič, who is himself a native of Prekmurje and a researcher of the Prekmurje psyche. Dr.Magdič responded to my request by his letter of May 4, 1997.
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it is a symbol of male desire. Slovene literary historians would perhaps describe it as an artistic presentation of Murn's anima37.
It is also interesting to analyze this poem as an eventual example of "assault" on the external signs of masculinity by the mother's animus. To a certain extent, improper behaviour should be opposed, and to a certain extent it should be tolerated. It is the mother's healthy instinct that will not invoke the "diabolic curse" upon her son's resistance. The boy's resisting features therefore strengthen the sensation that he is really alive.
In his youth, man celebrates his debauchery in a Dionysian way; he feels that he is very much alive and that he could "wreck the world". The feeling of full vital force is very typical of a healthy young man. It is the feeling of being alive and of enterprise that a greedy mother hates most because she is aware that this very quality will take her son away and alienate him from her.
Jung's psychology is also familiar, with the collective figure of puer aeternus38. These are young men attached to their mothers, removed from the reality of life; without the necessary freedom, they like being under the influence of their shady personality and belong to something which is too natural. These young men may be destroyed by their shady side (the healing and destructive factors, in the psychic aspect are very close together); or they may interfere a redemptive force.
As far as puerility is concerned, which here concerns not only the Fair Vida phenomenon but also the Fair Vida syndrome, M.L. von Franz39 says the following:
"It is a tragic mechanism. If one goes too far in one's rejection of adjustment to collectivity, one becomes collectivized from behind and from the inside". Moreover: "If one considers oneself a greater individualist than one actually is, one does not adapt, considering oneself something special. This is that neurotic complacency which gives one a feeling of being someone and therefore so isolated by being such a tender soul, while all other people are thick-skinned, insensitive, stupid sheep that understand nothing. If, therefore, one nurtures such an imaginary importance which prevents one from adapting to the rest of mankind, one remains only a human being, which is actually no individual at all."40
The same also applies to the female animus. The female inner male figure is not shaped according to the traditional values, therefore it shifts away from the real duties and may become the prey of "risky outlooks". This is clearly seen in the ballad of Fair Vida, to which we shall now return. The subject of conflict in Fair Vida reveals that the ballad originated in a period when Christianity faced a kind of a crisis. Arab-Moorish plundering, and later the crusades, brought us the knowledge of different cultural and religious conceptions, etc. Another historical fact, which has influenced the origin of Fair Vida, are the Turkish incursions. All these influences affected the well established, powerful and, of course, patriarchal Christian environment of that time. Fair Vida was created as a warning of the danger resulting from a non-Christian (pagan) way of life.
37	Josip Murn (1879-1901), a poet of the Slovene Moderna literary movement.
38	Puer aeternus is the name of an ancient god. The term originated in Ovid's Metamorphoses, where it is used by the author to describe the god-child from the Eleusinian mysteries. The term puer aeternus means an "eternal youth" and is at the same time used to denote a special type of youth with a typical behaviour due to his distinctive Oedipus complex. In general, he remains a man who has identified himself with the puer aeternus archetype, dwelling too long in his adolescent stage.
39	Marie-Louise von Franz, Puer Aeternus, Ljubljana 1988, p. 103.
40	Idem.
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The motive of Fair Vida cannot and should not be dealt with from the moral point of view. Such a reading would be too simple, and at that level the essential meaning of the ballad would no longer be effective.
What are the fundamental motifs of Fair Vida? It seems like that it is a vital allurement, the consequences of allurement of any kind, yearning for what has been lost, and homesickness. These are the (archetypal) constants of this ballad.
In order to overcome the complex of her parents, Vida marries an "old man of forty". Centuries later, when the circumstances have entirely changed, this type of relationship, i.e. "a young woman-an old man" is still a very topical subject. The more young women decide on a relationship of this kind or a similar relationship, the less men are ready to accept being characterized as old at this age.
It is clear that Vida would like to get rid of two complexes, both paternal and maternal. She therefore chooses an older (or "old") husband, becomes pregnant by him and tries to integrate the unconscious in her by means of her motherhood. Up to this point, Vida's problem is correctly followed by Josip Jurčič, for example. However, Vida is rather weak in her doings, consequently she succumbs to an attractive offer of a much more promising life. In this way, in some versions she is inevitably destroyed by her shady side (she finds herself in the role of an adulteress, which, of course, means that she has committed adultery), in others her shady side acts as a redemptive power. In relation to the latter, a version that merits our interest is the already mentioned optimistic version from Kropa, in which the last stanza goes as follows:
Na to je solnce prosila:
"Solnce, naj grem s taboj domu."
"O tiho, tiho, mlada Vida!
Zmanojboš težko hodila."
"O naj hodim, kakor morem,
Jaz pa s taboj pojdem."
"O poldne bom eno uro stavil,
Pa še ti z manoj počij."
(Sonce jo je pripeljalo na dom).41
As we know, the two variants also have a happy ending with Vida's returning to her "homeplace" to take away her young son-shepherd boy. At any rate, Vida is subject to regression since she renounces the complex psychological message of Christianity and consequently also her individuation42 Nonetheless, the flight gives the woman a possibility to somewhat refine, develop her old animus now that she does not have to cultivate it any longer. Of course, there remains the fact that her animus has puerile traits.
41	K. Strekelj, idem, p. 130, no. 75
42	Individuation is a notion to which great importance is attributed by our psyche. This is a process of differentiation which results in the development of an individual. The man is given individuality by his physical and physiological constitution and must analogically also be reflected in his psyche. Individuation as an individual way is never the norm; however, it leads to the natural observation of collective norms. Due to collective norms, the true morality is on the decline, for: the stronger the man's collective adherence to the norms, the greater his individual immorality.
C.G. Jung, Psychological Types, Third Edition, Novi Sad 1984, pp. 478-479.
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A psychological interpretation of the versions speaking about Fair Vida who, in order to avoid her cruel fate, jumps into the sea in despair and drowns, are also linked to M.L. von Franz's interpretation, which I quote under footnote no. 39.
The ballad like Fair Vida (the same also applies to other pieces of popular literature) may also be interpreted outside a historical framework, i.e. outside real events. Namely, an individual intrapsychic interpretation is also possible, however not of a female but of a male individual43. Otherwise, any fairy tale, story, poem, etc. may be interpreted from the viewpoint of the two sexes; it is the two sexes that actually narrate, sing or listen to them and they are both attracted to the narrations44. It does also not matter whether the versions of Fair Vida are interpreted primarily in a feminine or masculine way. There is always a crisis of partnership between the two sexes, a crisis of the family in the background, which, as is known, in a great majority of cases ends tragically, e. g. with murder (as in Zarika and Soncica)45, which are also the elements found in the subject of Fair Vida or in Vida's numerous suicides.
Interpreted from the point of view of the female soul, it is actually a matter of the unresolved problem of the animus. A woman stands by the water, goes to the sea (which represents emotions in the unconscious), and at the same time also collectively, to where Vida regresses. She regresses therefore to a collective-unconscious level of motherhood. A woman-mother sets out on a path of individuation according to the principle of the internal-animus virility. She abandons the collective perception of femininity and becomes isolated on a ship of loneliness of an unknown animus that has no Christian qualities but is, on the contrary, animalistic, black, and therefore unknown or Muslim, meaning, of course, infidel. The ballad thus warns against a "pagan individuation" of women. The current male animus in the form of an "old" husband or child-son no longer suits the feminine animalism. It is replaced by an animalistic, sexually-coloured, animus that is unknown to the female ego.
It is interesting that all versions of the ballad of Fair Vida originated in the Central European area towards the south, i.e. towards the sea which in reality "washed away" our people, both men and women. The ballad warns men to look after their Vida - their soul when they set out on military campaigns in the Middle East, and women to look after and preserve her own maternal home, to nurture their "old animus" that provides them with the opportunities and possibilities at home, which are symbolized by a child.
Although at least two versions of Fair Vida are more optimistic - in many respects, Vida's character changes from region to region, where regional archetypes provide her with somewhat more "freedom" - I can say of this ballad that it is unfortunately a typical Slovene tragedy. From the psychological point of view, this popular poem contains a typical anxiousness and depression syndrome: fear and sorrow. And both are compounded by paranoia. And are then, of course, followed by - death.
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43	From Dr.J.Magdic's letter.
44	Cf. Fair Vida from Cerovci in Slovenske gorice.
45	K.Strekelj, idem, p. 130, no. 75.
Damjan J. Ovsec
Lepa Vida. Večno živi psihološki vidik slovenske balade. Interdisciplinarna etnološka interpretacija
Damjan J. Ovsec
Razprava je sestavljena iz dveh delov. V prvem so predstavljene t. i. generalije, potrebne za razumevanje balade o Lepi Vidi. Te so tako strokovnjakom kot bralcem, katerim je ta problematika blizu, bolj ali manj znane iz ustrezne slovenske ali tuje literature.
V drugem delu se avtor loteva t. i. psihološkega branja in interpretacije, značilne za psihologijo C. G. Junga in njegovih sodelavcev oz. kasnejših psihologov, izšolanih na Inštitutu C. G. Junga v Zurichu. V Sloveniji se do zdaj še nihče ni na podoben psihološko-etnološki način ukvarjal z Lepo Vido, tovrstne razlage tega izročila v tujini pa prav tako niso znane.
Razlaga temelji na psiholoških predpostavkah o razvoju človeške psihe, s katerimi se je avtor začel ukvarjati ob raziskovanju ljubljanskega meščanstva, hkrati pa se je s psihološkimi in antropološkimi vidiki srečeval tudi pri raziskavah mitov.
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NEINDOEVROPSKE VZPOREDNICE PARALLELI NON-INDOEUROPEI
Yin-yang v kitajski mitologiji in vprašanje primerjave s slovanskima Belobogom in Černobogom
Maja Milčinski
In the paper, the characteristics of Chinese mythology are presented, in particular the absence of the continuous tradition of myth transmission. The correlative tradition of the yin-yang forces is taken as the origin of the cosmology of the Xia and Shang dynasties. In the sources of ancient Slavic and Chinese mythologies no evidence of possible analogies between yin-yang and Belobog-Cernobog (white- and black- god) has been found. In contrast to the yin-yang forces, Belobog-Cernobog present two distinctly antagonistic deities.
Ko se danes kulture oz. civilizacije sveta po nujnosti zbližujejo, se sami po sebi pojavljata tudi želja in težnja po njihovem primerjanju. Učinek takih poskusov je lahko tak, da odkrijemo presenetljive podobnosti, lahko pa se tudi izkaže, da obstajata obe primerjani kulturi oz. primerjani sestavini nepovezani in da med njima manjka člen, na katerem bi bilo mogoče graditi primerjavo.
Slovanska Belobog in Černobog1 sta po nekaterih lastnostih sicer primerljiva z yinom in yangom, osnovnima načeloma kitajske korelativne dialektike, vendar, kot se je pokazalo v procesu raziskave prav zaradi njene vpletenosti v korelativni krog, ki predpostavlja, da eden kot drugi vključujeta v sebi že zametke svojega nasprotja, tudi popolnoma neprimerljiva.2 Poleg tega je v slovanskem kontekstu zelo izražen element vrednotenja in enačenja vsega dobrega z belim načelom in slabega s črnim, kar za kitajsko kulturo nikakor ne bi mogli trditi.
Yin in yang sta na Kitajskem tudi tesno povezana s predstavami o stvarjenju sveta, ki segajo v čas, ko naj še ne bi bilo Neba in Zemlje. To obdobje kaosa, ki mu je vladala ideja
1	Primerjaj: N. Mikhailov, Appunti su *Belobog e *Černobog, v: Ricerche Slavistiche XLI, Roma 1994, str. 41-51; po njem povzemam Helmoldov citat iz Cronicae Slavorum, I, 52 (po C.H. Meyer, Fontes Historiae religionis slavicae, Berolini 1931, str. 44): Est autem Slavorum mirabilis error; nam in conviviis et compotacionibus suis pateram circumferunt, in quam conferunt, non dicam consecracionis, sed execracionis verba sub nomine deorum, boni scilicet atque mali, omnem prosperam fortunam a bono deo, adversam a malo dirigi profitentes. Unde etiam malum deum lingua sua Diabol sive Zcerneboch, id est nigrum deum appellant (...). - Je pa čudna zmota Slovanov; kajti na svojih pojedinah in popivanjih nosijo okoli darilno skledico, na katero naslavljajo ne bom rekel besede posvetitve ampak zaklinjanja pod imenom (dveh) bogov, namreč dobrega in zlega, izpovedujoč (ker verujejo), da vso dobro usodo vodi dobri bog, vso zlo pa slabi (bog). Zato tudi slabega boga v svojem jeziku imenujejo Diabol ali Cernibog to je črnega boga (...).
2	Tudi različni viri - prim. G. Zollinger, Das Yang- und Yin-Prinzip ausserhalb des Chinesischen, A. Francke Verlag, Bern 1949 in V.V. Ivanov, V.N. Toporov, Issledovanija v oblasti slavjanskih drevnostej, Leksičeskie i frazeologičeskie voprosi rekonstrukcii tekstov, Nauka, Moskva 1974 - ne tvegajo primerjav med yinom in yangom in slovanskim Belbogom in Črnbogom.
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brez oblike, žalostna, valujoča in prekipevajoče zmedena, je rodilo ločitev dveh načel: yina in yanga. Na Kitajskem torej ni bilo ločitve osebnega Boga od naravnega objekta. Ko naj bi Nebo in Zemlja po ločitvi postala povezana z načeloma yanga in yina, sta šele začela predstavljati moško in žensko načelo, ki ju združena še nista mogla zastopati.
Uvod
Kitajska tradicija je bila od začetkov velike azijske civilizacije nekaj tisoč let pr.n.št. dominantna na področju vzhodne Azije. Tako sta imela tudi konfucijanstvo in daoizem velik vpliv v skupnem zgodovinskem razvoju tega področja, ki se je razvilo v celoto pravzaprav zaradi kitajske vizije sveta. Za kitajsko mitologijo je značilna predvsem odsotnost kontinuirane tradicije prenašanja zgodnjih mitov, kar pripisujejo konfucijanski naravnanosti spreminjanja legend v moralne zgodbe. Te naj bi služile kot vzorec obnašanja prihajajočim rodovom. Dinastija Han (206 pr.n.št.-220 n.št.), po kateri se imenuje tudi najštevilnejši narod na Kitajskem - Hani, je pomembna tudi kot obdobje oblikovanja trajnega pojmovanja zgodovine, politike, vizije časa, kanoniziranja glavnih filozofskih tekstov in klasifikacije različnih filozofov predhanskega obdobja v tako imenovane filozofske šole (jia). To je bil tudi čas oblikovanja klasičnih tekstov v kanonična dela (jing-e), ki so postala osnova ortodoksne vizije vladajoče dinastične avtoritete, s čimer se je vzpostavila tudi zveza med politično močjo in uradnim znanjem, védenjem.3
Za obdobje dinastije Shang (pribl.1600-1028 pr.n.št.) so arheologom na voljo bronasti predmeti, najdeni v grobnicah, kot tudi ostanki živali in ljudi, pokopanih v kraljevskih grobnicah. Le-ti naj bi spremljali umrlega v procesu preobrazbe in prehoda s sveta živih v svet prednikov. To je bila osnova kulta prednikov, po katerem naj bi bila dobrohotnost duhov prednikov pomembna za dobrobit živih. Izvajanje takšnih slavnostnih ritualov pa je bilo hkrati tudi izvor legitimnosti vladarja in je pomagalo pri vzdrževanju družbene hierarhije. Svetni družbi je vladal vladar, temeljne sile narave in človeške usode pa je nadzoroval Shang Di, najvišje, poglavitno božanstvo, ki je po moči presegalo navadna božanstva in duhove. Shang Di (Zgornje božanstvo, Božanstvo na višinah) je bilo tako visoko, da so se mu zemski vladarji približevali le s posredovanjem duhov svojih prednikov. Za obdobje dinastije Shang je značilna sveta ekologija, harmonija kozmosa, polna svetih sil. Verjeli so namreč, da na svetu poleg ljudi prebivajo tudi različni duhovi in mitske pošasti. Legende, ki so se ob predajanju iz roda v rod spreminjale, govore o tem, kar bi svojčas utegnila biti bogata mitologija. Izvirala je iz močne povezave človeškega in naravnega sveta ter svetih sil - bogov, božanstev, duhov, sil yina in yanga. To je bila podoba enega in enotnega sveta, brez transcendentnega Boga ali večnega sveta izven tega enotnega kozmosa. Ljudje smo samo del tega, skupaj s svetimi silami in vsem v naravi, s čimer je potrebno vzdrževati harmonijo in ravnotežje. Za kitajsko antiko je tudi značilno, da je razvijala mite o velikih polbožanskih kulturnih junakih in ne o začetkih sveta. Vladarji obdobja dinastije Shang so vzpostavili teokracijo, na čelu katere so bili sami kot sveti vladarji, ki naj bi delovali v dobro vseh s tem, ko so častili prednike, bogove in predvsem najvišje božanstvo Shang Dija. Vse sile vesoljstva - sonce, veter, dež, reke in zemlja - so bila božanstva, ki so jih ljudje častili in jim služili.
3 Prim. A. Cheng, La "Maison des Han": avènement et fin de l'histoire. V: Extrême-Orient - Extrême-Occident 9. Presses Universitaires des Vincennes, 1986, 29.
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Celotnemu panteonu pa je vladalo božanstvo Shang Di, ki naj bi bilo vladarjev neposredni prednik. Hierarhija med vladarjem in njegovimi podaniki se je odražala tudi v hierarhiji najvišjega boga in nižjih božanstev. Takšen vzorec socialnih in tudi božjih rangov, ki je vladal celotnemu redu narave in družbe, je oblikoval središče religiozne tradicije Kitajcev.
1. Miti o začetkih sveta
Kitajska tradicija sloni na zgodbah o petih pomembnih modrecih, ki naj bi živeli v tretjem tisočletju pred našim štetjem. Trije suvereni da so udomačevali živali, uvedli družinski red, začeli s poljedeljstvom. Legendarni Rumeni cesar (Huang Di) velja za prednika vseh Kitajcev in simbolnega začetnika kulture, saj njegovemu dvoru pripisujejo iznajdbo pisave, glasbe, zdravilstva, koč, vozov, bronastih ogledal, svile in orožja. Zadnji, peti vladar, pa naj bi ustanovil prvo kitajsko dinastijo Xia (približno 2100-1600 pr.n.št.). Na osnovi dosedanjih arheoloških najdb raziskovalci obstoja te dinastije še niso mogli potrditi,4 vendar je jasno, da je bil to pomemben izvor kulture, ki je že poznala pisane simbole. Do danes tudi še ni konkretnih arheoloških dokazov, ki bi v tem času potrjevali verovanje v božanstva hiše in ognjišča, polja in vodnjaka, gora in rek, vendar se raziskovalci ljudske religije nagibajo k tezi, da so bila ta božanstva vendarle že v tem času središče religijske prakse Kitajcev.5
V najstarejših kitajskih besedilih zaman iščemo mite o stvarjenju, izvoru zemlje in ljudi. Dokaj pozno6 se v literaturi pojavi lik Stvarnika, Pan Guja, ki naj bi bil ločil Zemljo od Neba. Pred eoni da sta bila Zemlja in Nebo združena v veliko jajce, v katerem je prebival Pan Gu in počasi rasel, vse dokler ni postal velikan, visok 90.000 milj. Spal je 18.000 let, nekega dne pa se je prebudil, odprl oči in opazil vse naokrog temo. Pograbil je sekiro in razbil jajce na dvoje. Lažji del se je dvignil in postal Nebo, težji pa se je spustil in postal Zemlja. Ker se je Pan Gu bal, da bi se Zemlja in Nebo ponovno združila, ju je kot steber držal narazen in čez desettisoč let je bilo Nebo že tako daleč, da bi bila ponovna združitev z Zemljo nemogoča. Utrujen je Pan Gu omahnil na tla in umrl. Iz njegovega levega očesa je nastalo sonce, iz desnega pa luna. Iz telesa so nastala gorovja, iz krvi reke in iz las drevesa in rože. Iz kosti so nastale kovine in trdo skalovje in iz njegovega znoja dež in rosa.7 V nadaljevanju tega mita naj bi bila nekega dne prišla na svet boginja Nu Wa. Potovala je po gorah in rekah sveta, ki ga je ustvaril Pan Gu in ugotovila, da bi ga bilo treba z nečim oživiti. Ko je bila utrujena, je sedla ob jezero, kjer je v odsevu vode opazila lastno podobo. Domislila si je, da bi bilo lepo ustvariti nekaj podobnega njej sami in tako je pričela iz vode in blata oblikovati lutko, ki je oživela tisti trenutek, ko jo je postavila na tla. Lahko je hodila, skakala in govorila in Nu Wa jo je imenovala "človeško bitje." Po prvi figuri jih je oblikovala še veliko in vse so oživele. Ker pa je bilo to zelo zamudno, je pomočila vejo iz trstja v blato in iz vsake kapljice blata, ki je padla na tla, je nastalo novo človeško bitje. Čez čas je razdelila ljudi na moške in ženske, ki so s potomci oživili svet.8
4	Najnovejše najdbe, ki pričajo o enem najstarejših civilizacijskih centrov Azije prav na Kitajskem, utegnejo to spremeniti.
5	Prim. C. Schirokauer, A Brief History of Chinese Civilization. Harcourt Brace Jovanovich. New York, 1991, 17.
6	Nekateri avtorji postavljajo prve omembe mita v 6. stoletje n.št. Prim. E. Erkes, Eine P'an-ku-Mythe der Hsia-Zeit? In: E. Erkes, Spuren chinesischer Weltschöpfungsmythen. T'oung-pao XXXVIII (1931), 367.
7	Chinese Myths. Guoji shudian, Beijing, 1986.
8	Ibid., 5.
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Yin-yang v kitajski mitologiji in vprašanje primerjave s slovanskima Belobogom in Černobogom
2. Sile yina in yanga. Dao.
Nikakor ni mogoče trditi, da sta pranačeli yin in yang identični s staroslovanskima Belobog-Čemobog. Vendar dvojici nastopata v večini starih civilizacij. Posebnost kitajske je v tem, da je z njima zgradila korelativistično dialektiko, ki nekaterim avtorjem pomeni največji prispevek kitajske civilizacije človeštvu.9 Za razliko od judovsko-krščanske tradicije, v kateri je človek oblikovan po božji podobi in je zaradi svojega posebnega mesta v naravi tudi obsojen na življenje, ločeno od narave, je šlo Kitajcem predvsem za vzpostavljanje harmonije z naravo in silami v njej. V izteku grške filozofske tradicije je človek razuma postavljen v nasprotje z naravo, s čimer je bil zarisan neizogiben konflikt med človeško racionalnostjo in kozmično naravo. Filozofija yina in yanga, ki jo povzameta in modificirata Yijing in daoizem, pa si prizadeva ponovno vzpostaviti človekovo povezanost s celotnim kozmosom. To opisujejo kot vrnitev domov, vrnitev k materi, povratek v maternico, pomeni pa ponovno vzpostavitev človekove povezanosti z univerzumom. Človekova glavna naloga je vzpostavljanje harmonije s kozmosom, ki pa je v nenehni premeni, z gibanjem, oscilacijo med dvema poloma po vzorcu krožnega vračanja, kot velja to tudi za ritem letnih časov. Zgodnje daoistične kozmološke teorije so bile osnova kasnejši daoistični alkimiji kontemplacije in interiorizacije, proizvajanja čistih esenc in sestavin, ki naj bi vodile do ustvarjanja božanskega embrija oziroma "notranjega telesa" alkimističnega adepta. Osnova različnim tehnikam je nauk o povratku k prvotni naravi. Pojem "povratka" je povezan z ohranjanjem Daa kot prvotne in nediferencirane enosti pred delitvijo na yin in yang in na "desettisoč stvari," ki pomenijo pač vse kar obstaja.
Gibanje Daa je krožno vračanje; vedenje Daa je šibkost.
Iz bivajočega so vzniknile vse stvari sveta, a bivajoče je izšlo iz nebivajočega.10
Nenehna menjava kozmičnih sil yina in yanga je Dao.
Dao je rodil Eno,
Eno je rodilo dvoje,
dvoje je rodilo troje,
in troje je rodilo desettisoč bitij.
Desettisoč bitij nosi yin, objame yang
in združi vseobsežne sile dah.11
Dao pa ni personaliziran princip, ampak je popolnoma spontano načelo.
Nekaj je, prej kot Nebo in Zemlja, iz kaosa nastalo;
9	J. Needham, Science and Civilisation in China. Cambridge University Press, 1980.
10	Dao de jing 40. V: Klasiki daoizma. Slovenska matica, Ljubljana, 1992, 112.
11	Dao de jing 42. Ibid., 115.
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Maja Milčinski
samotno tiho, neskončno širno,
v sebi samem nespremenjeno,
v kroženju neizčrpno:
pramati vesoljstva lahko bi mu rekli.
Njegovega imena ne poznam.
Nerad ga imenujem Dao,
in če naj ga označim,
mu rečem "Veliki",
veliki - ker izgineva,
izgineva - je torej daleč,
daleč - vendar se vrača.
Torej je velik Dao,
veliko je Nebo,
velika je Zemlja
in velik je tudi človek.
Človek si za vzor jemlje Zemljo;
Zemlja si za vzor jemlje Nebo;
nebo si za vzor jemlje Dao;
in Dao si za vzor jemlje tisto, kar je
takšno samo po sebi.12
Dao je torej tista realnost, ki resnično obstaja iz lastne sile, edina, ki v svoji eksistenci ni odvisna od česa drugega.
Zhuang Zi, drugi pomembni daoistični filozof, zgoraj navedene Lao Zijeve misli razvije takole:
Zatorej, Eno je tisto, kar ljubite, česar ne ljubite, je pa prav tako tisto Eno. Tisto, s čimer se čutite eno, je Eno, tisto, s čimer se ne čutite eno, pa je tudi Eno. V tem, kar je njihovo Eno, so tovariši ljudi. Pravi človek je pa tisti, pri katerem sta Nebo in Človek v ravnotežju.
Smrt in življenje sta usoda. To, da je večna, kot je neprekinjena menjava dneva in noči, je utemeljeno v Nebu. Da obstajajo za človeka meje, ki jih ni mogoče prekoračiti, temelji na splošnih razmerah, v katerih žive bitja. Ljudje zrejo v Nebu svojega očeta in ga osebno ljubijo. Koliko bolj moramo ljubiti to, kar je višje od Neba! Ljudje vidijo v knezu nekoga, ki je boljši od njih in so pripravljeni zanj umreti. Koliko bolj moramo ravnati tako v odnosu do plemenitnika1
Krepost pa opisuje kot:
Na prazačetku je bilo Ne-bivanje. Bilo je nepoimenljivo. Iz tega se je dvignilo Eno. To Eno - vendar v svojem bivanju še brez oblike, kakršno morajo dobiti stvari, da se morejo roditi - se imenuje krepost. Ker še nima oblike, pa - čeprav so v njem že nasnovani deli, pa le ne razodeva še nobenih ločitev - se imenuje pojem. Ker v svojem vztrajanju in gibanju ustvarja stvari in v končanih stvareh ustvarja svoj imanentni zakon, se imenuje oblika. Telesna oblika, učinkovanje, se imenuje narava. Če se narava goji, se vrne nazaj h kreposti. Ta krepost pa se v svoji najvišji
12	Dao de jing 25. Ibid., 88.
13	Klasiki daoizma. Slovenska matica, Ljubljana, 1992, 219.
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Yin-yang v kitajski mitologiji in vprašanje primerjave s slovanskima Belobogom in Černobogom
stopnji ujema s tistim "prazačetim". V tem ujemanju se pokaže kot onostransko. V svoji onostranskosti se izkaže kot veliko. Od zunanjega sveta se ogradi. Ko se to zgodi, postane eno s silami Neba in Zemlje. Ta združitev je prikrita. Videti je kot norost, kot nezavestnost. To je temna, skrita krepost. Grobo, nezavestno, udeleženi ste v Veliki podreditvi.1"'
Ko opisujemo kitajska pojmovanja o nastanku, razvoju in delovanju sveta, se moramo zavedati, da ostajamo samo na aproksimativni ravni. V kitajski kulturi namreč ni razlikovanja med materijo in duhom, kot je postalo le-to splošno sprejeto v Evropi. Kitajci tudi nikdar niso imeli predstave o docela transcendentnem Bogu, ločenem od univerzuma, svoje stvaritve. Kitajski univerzum ne sestoji iz materije in duha, temveč je to kontinuum mnogih različnih stanj ene same snovi, energetske konstelacije, imenovane qi. V tem univerzumu tudi človek ne obstaja iz materialnega telesa in duha, duše, temveč iz množice bolj ali manj subtilnih qijev. Kot pravi Zhuang Zi:
Življenje je spremljevalec smrti, smrt je začetek življenja. Kdo razume njuno delovanje? Človekovo življenje je sestavljanje diha. Če se sestavi, potem je to življenje, če pa se razsuje, je to smrt. Če pa sta si smrt in življenje družabnika, česa se imam potem še bati?15
Yin in yang sta tudi osnovni načeli Knjige premen (Yijing) in sta tudi podlaga oblikovanju neokonfucijanskega diagrama Velikega poslednjega (Taiji du). V gibanju se v Velikem poslednjem manifestira njegov yang aspekt, ko pa mirovanje doseže mejo, se ponovno sprevrže v gibanje. Tako gibanje in mirovanje izmenoma nastopita kot izvor drug drugega. S premeno yina in yanga pa nastaja pet energetskih stanj - voda, ogenj, les, kovina in zemlja. Yin in yang torej z medsebojnim učinkovanjem ustvarjata nešteto stvari, ki se spet reproducirajo. Tako se njihova transformacija in premena nadaljujeta v nedogled.
Sklep
Mitologiji Kitajcev lahko sledimo od številnih mitskih bitij - ki skrivnostno prežemajo svet narave in ljudi in imajo v ljudski zavesti vsakovrstne funkcije človeku v prid ali v oviro in škodo -, preko višjih božanskih bitij in najvišjega (Shang Di) med njimi, ter na koncu na ravni neizgovorljivega, z besedami izrečeno in zapisano neizrazljivega. To je grafično upodobljeno v prikazu kozmološkega procesa z diagramom Taiji du, v katerem so zgoščene filozofije Yijinga, yina in yanga, daoizma, ki so stoletja rastle vzporedno in deloma tudi druga iz druge.
Težko bi primerjali to dolgo, plodno tradicijo Kitajcev z obdobjem nastajajoče civilizacije Slovanov. Ob pokristjanjevanju naj bi se sicer ohranili stari obredi, zagovori, šege in zaklinjanja, bajke in ponekod čaščenje dreves in studencev. Kot residua magičnega mišljenja bi takšna stara verovanja in šege našli še marsikje po svetu. Zaman bi bilo iskati hierarhijo v mnoštvu fantastičnih bitij, vragov, vražičev, vampirjev in škratov, še dlje pa je odmaknjeno upanje na odkritje neke svojske arhaične kozmogonije in prek te izdelane življenjske filozofije, kot so jo izoblikovali in ohranili Kitajci.
Raziskovalci16 so pričakovali, da se jim utegne v dvojici Belobog-Černobog odkriti pomembna simbolika v smislu razmerja dobro:zlo in drugih podobnih objemajočih se
14	Ibid., 262-263.
15	Ibid., 348-349.
16	Med njimi Nikolai Mikhailov, n. d.
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Maja Milčinski
nasprotkov.17 To pa se ni zgodilo. O dvojnosti npr. "Deus bonus": "Deus malus" tu ne moremo govoriti. Rekonstruirana oblika "Belobog" utegne biti atributivni naziv za Sventovita, registrirana oblika "Černobog" pa eden od nazivov nekega "negativnega božanstva."
17 Tako, kot je kitajska filozofija ustvarila pomembno korelativnost med yinom in yangom.
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Yin-yang v kitajski mitologiji in vprašanje primerjave s slovanskima Belobogom in Černobogom
Yin-yang in Chinese Mythology as Compared to the Slavic Belobog and Cernobog
Maja Milcinski
In the paper, the characteristics of Chinese mythology are presented, in particular the absence of the continuous tradition of myth transmission. The myth of the legendary Pan Gu is dealt with. The correlative tradition of the yin-yang forces is taken as the origin of the cosmology of the Xia and Shang dynasties. In the sources of ancient Slavic and Chinese mythologies no evidence of possible analogies between yin-yang and Belobog-Cernobog (white- and black- god) has been found. In contrast to the yin-yang forces, Belobog-Cernobog present two distinctly antagonistic deities. The relation between yin and yang, which has been illuminated by the texts of daoist philosophers, and Yijing, is correlative, as both of the elements are equally valued.
288
MITOLOGIJA IN KNJIŽEVNOST MITOLOGIA E LETTERATURA
Alcune considerazioni sul pantheon slavo nell'opera di Aleksandr Radiscev
Stefano Garzonio
The article is dedicated to the barely researched "Songs Sung in Competitions and Dedicated to Ancient Slavic Deities" by Aleksandr Radiscev. It is centered on a reconstruction of the old Slavic pantheon as suggested by the great Russian writer, on the literary and ideological presumptions of this reconstruction, and on a complex syncretic relationship between Radiscev's "mythology" and other mythological systems.
Nell'ambito dell'opera poética di Aleksandr Radiscev le Pesni, petye na sostjazanijach v cest' drevnim slavjanskim bozestvam, pur nella loro incompiutezza, non occupano certo una posizione marginale. Si tratta infatti di un testo fortemente condizionato dalle nuove aspirazioni poetiche di stampo romantico di fine secolo che, gia vive per effetto della moda ossianica e della rilettura del retaggio omerico, risultarono poi ulteriormente rafforzate dalla scoperta e dalla pubblicazione dello Slovo o polku Igoreve.
Scritta negli anni 1800-1802, l'opera nacque proprio per effetto della lettura dello Slovo. Un suo passo, che Radiscev scelse ad epigrafe: «Togda puscaet 10 sokolov na stado lebedej, kotoroj dotecase, ta predi pesn' pojase», chiarisce quello che doveva essere l'impianto generale del testo: la tenzone tra dieci bardi provenienti dalle diverse tribí slave che, dopo che i loro falchi avevano ucciso ognuno un bianco cigno, si raccolgono per misurarsi tra loro nel canto poetico in onore delle loro divinita.
Il testo si apre con una breve introduzione in prosa. In essa troviamo l'appello del poeta a Bojan affinché egli dalla sua residenza celeste, ove vive "in conversazione con Ossian e Omero", faccia giungere al poeta ispirandolo i dolci suoni del suo canto. Segue di poi la descrizione del raduno delle diverse genti slave provenienti da ogni dove, da Novgorod, dalla Moravia, dal Don, dalle Alpi, dall'Illiria, ecc. In riva al Dnepr, dopo i festeggiamenti e i sacrifizi agli dei, i dieci bardi lanciano in volo i loro falchi a far preda di bianchi cigni per decidere l'ordine d'esecuzione dei loro canti. Si apre cosi il testo poetico vero e proprio che nel testo a noi giunto e formato solo dalle canzoni eseguite dal primo 'bardo' Vseglas. Di altri quattro bardi resta esclusivamente il nome fissato nell'introduzione prosastica (Krutosvit, Chocht, Zven, Tichovoj), dei restanti cinque nulla. Nel canto di Vseglas si celebra Perun creatore dell'universo e attraverso le parole del suo sacerdote Sedglav al giovane Veleslav si narra dell'attacco di guerrieri celti capitanati da Ingvar alla citta di Novgorod e dell'eroica difesa dei patrioti russi. L'opera rimase incompiuta e fu pubblicata solo dopo la morte del poeta nel primo tomo della raccolta delle opere del 18071.
1 Sobranie ostavsichsja socinenijpokojnogoAleksandraNikolaevica Radisceva, c.I, Moskva, 1806 [1807], p. 133 e ss.
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Alcune considerazioni sul pantheon slavo nell'opera di Aleksandr Radiščev
La storia testuale delle Pesni non presenta particolari difficolta. Nell'edizione accademica delle opere, curata da G.A.Gukovskij, si riproduce il testo della prima edizione del 1807 con la correzione di alcuni ovvi refusi2. Nelle successive pubblicazioni all'interno della collana della "Biblioteka poeta" ci si rifa a questa edizione3.
Le Pesni hanno attirato l'attenzione degli studiosi per i loro tratti epico-patriottici4 e, in particolare, per l'evidente loro dipendenza dallo Slovo5. Per la loro natura polimetrica, che le accomuna ad un'altra opera di Radiščev, la cantata Tvorenija mira,6 esse hanno anche risvegliato l'interesse dei metricisti7.
Di particolare rilevanza nella ricezione generale dell'opera risulta l'opinione di Ju.M.Lotman il quale tese a sottolineare lo slittamento storico-ideologico che sottosta alla ricezione radiščeviana dello Slovo nelle Pesni. Radiščev tende infatti a trasferire il complesso iconico dello Slovo in una dimensione storicamente piu remota, assai lontana dalla Rus' dei principati del tempo di Igor' Svjatoslavovič. In questo modo egli tende a idealizzare la comunita slava antica che si sarebbe fondata sul consesso del popolo e sul potere dei principi come meri esecutori della volonta popolare. Insomma Radiščev proponeva di rileggere l'antichita slava in una chiave di stampo repubblicano che si fondava sul concetto di «sobornaja naroda vlast»8 mutando nel contempo anche l'orizzonte della narrazione bellica. Nel canto di Vseslav si narra infatti dell'attacco dei Celti a Novgorod (in realta i normanni che all'epoca specie per influenza delle teorie del Mallet si consideravano con Celti e Germani un unico popolo). A parte l'evidente influenza dellOssian tale scelta tematica poteva essere legata, da un lato, all'esigenza di sottintendere al carattere predatorio e non slavo del potere zarista che amava ricondursi alla stirpe di Rjurik e, dall'altro, al desiderio di ribadire i tratti invece tradizionalmente repubblicani dell'organizzazione sociale slava antica. Insomma in maniera assai criptica Radiščev tendeva a identificare l'autocrazia con un potere imposto con la forza agli antichi russi dai conquistatori normanni9. Nella parte del suo ampio saggio dedicata ai rapporti tra Radiščev e i membri della futura Beseda ljubitelej russkogo slova, Al'tšuller evidenzia l'analoga lettura operata da Radiščev e Šiškov del passo dei dieci falchi e cigni, passo, che entrambi i letterati interpretano in modo diretto e non metaforico a differenza dei primi traduttori dello Slovo. L'esigenza di giungere ad una definizione genuinamente nazionale
2	A.N.Radiščev, Polnoe sobranie sočinenij, Moskva-Leningrad, 1938, pp. 53-73.
3	A.N.Radiščev, Polnoe sobranie stichotvorenij, Leningrad, 1940, pp. 71-89 (a cura di G.A.Gukovskij); A.N.Radiščev, Stichotvorenja, Leningrad, 1975, pp.162-180 (a cura di V.A.Zapadov).
4	E' il caso, ad esempio, di D.D.Blagoj, cf. la sua Istorija russkoj literatury XVIII veka, Moskva, 19604, p.500 e ss.
5	Cf., ad esempio, Ju.M.Lotman, «Slovo» i literaturnaja tradicija XVIII-načala XIX v., in Slovo o polku Igoreve -pamjatnikXII, Moskva-Leningrad, 1962, pp. 352-356; M.G.ATtšuller, Poetičeskaja tradicija Radiščeva v literaturnoj žizni načala XIX veka, in A.N.Radiščev i literatura ego vremeni "XVIII vek", sb. 12, Leningrad, 1977, pp.131-134; F.N.Prijma, «Slovo o Polku Igoreve» v russkom istoriko-literaturnom processe pervoj treti XIX veka, Leningrad, 1980, pp.214-217.
6	Le analogie tra le due opere di Radiščev, nelle quali il tema della creazione del mondo e visto rispettivamente in chiave pagana e cristiana, risultano ancora piu evidenti se si pensa anche alle comuni loro reminiscenze da Milton, Klopstock e Young (cf. N.D.Kočetkova, Poezija A.N.Radiščeva in Istorija russkoj poezii, t.I, Leningrad, 1968, pp. 157-158).
7	Cf. K.D.Višnevskij, Stich Radiščeva in A.N.Radiščev, V.G.Belinskij, M.Ju.Lermontov: Žanr i stil' chudožestvennogo proizvedenija, Rjazan', 1974, pp. 22-31; M.L.Gasparov, Očerk istorii russkogo sticha. Metrika. Ritmika. Rifma. Strofika, Moskva, 1984, pp.73-74.
8	Ju.M.Lotman, «Slovo» i literaturnaja tradicija XVIII-načala XIXv., cit., p.353.
9	Ibidem, pp. 355-356.
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e autonoma del mondo antico-slavo si accompagna in Radiščev all'idea di rapportarla al mondo greco antico e a quello dei Celti. Da qui la commistione di elementi omerici e ossianici che peraltro confermano la vicinanza di Radiščev alle concezioni poetiche dei futuri membri della Beseda, da Deržavin a Šiškov appunto10.
In una chiave analoga a quella lotmaniana interpreta le Pesni il Prijma, il quale individua nell'opera una evidente polemica nei confronti di Karamzin e della sua lettura dello Slovo. Il canto che Bojan ispira a Vseglas risulta infatti essere un "inno alla liberta di Novgorod" e in questa chiave dunque suona come una critica alle concezioni storiche ufficiali dell'epoca ispirate dagli scritti di Caterina II11. A differenza del Knjažnin di Vadim Novgorodskij Radiščev tese comunque a rendere il proprio testo meno esplicito, il che spiegherebbe, secondo Prijma, la sostituzione dei Normanni con i Celti12.
Il Prijma critica poi il Lotman in relazione all'affermazione secondo cui Radiščev «vynužden byl rešitel'no deformirovat' vsju ego (dello Slovo, S.G.) idejno-sjužetnuju strukturu» (pag.356). In effetti Radiščev rivisita lo Slovo in una prospettiva che non poteva non polemizzare con il complesso ideologico del medioevo antico-russo, ma a me sembra non tanto con lo Slovo, quanto con le diverse sue riletture coeve. In quest'ottica di particolare rilievo risulta dunque la scelta di ambientare l'opera in un'epoca assai piu antica e di volgere una particolare attenzione al mondo della mitologia slava antica. Tale circostanza risulta peraltro profondamente legata alla visione generale della poesia popolare che Radiščev privilegiava. Ancora nel 1792 nel suo trattato O čeloveke, o ego smertnosti i bessmertii, egli scriveva a proposito dell'immaginazione dei poeti:
«...voobraženie ich obrazovalosja vsegda okrest ich ležaščeju prirodoju. Voobraženie Saadievo guljaet, letaet v cvetjaščemsja sadu, Ossianovo nesetsja v utlom dreve poverch valov. A est'li kto zachočet sdelat' sravnenie ispovedanij i mifologii narodov, v raznych koncach zemli obitajuščich, to skol' voobraženie každogo obrazovalos' vnešnost'ju, nikto ne usumnitsja».13
Non e dunque fuori luogo prendere in esame la trattazione degli elementi propriamente nazionali che Radiščev offre nelle Pesni e, in primo luogo, della mitologia slava antica per la quale, evidentemente, il semplice rimando allo Slovo e in questo caso insufficiente.
Nel presentare il complesso delle credenze degli antichi slavi e i tratti salienti della mitologia pagana Radiščev si ricollega a numerose opere del XVIII secolo con le quali intrattiene un complesso rapporto di dipendenza e, al tempo stesso, opposizione. Il gia accennato specifico sostrato ideologico che di per sé differenzia le Pesni di Radiščev dal complesso delle altre opere letterarie ispirate allo Slovo svolge una sua azione significativa anche in relazione all'approccio che lo scrittore mostra nei confronti dello studio e della definizione del pantheon slavo.
Il pantheon offerto da Radiščev fu subito correlato da Gukovskij a quello che Michail Popov aveva descritto nel suo Opisanie drevnego slavjanskogo jazyčeskogo basnoslovija,
10	M.G.ATtšuller, Poetičeskaja tradicija Radiščeva v literaturnoj žizni načala XIX veka, cit., p.134.
11	Assai rilevante la circostanza rilevata dal Prijma che il nome di Ingvar scelto da Radiščev per il predatore celtico fosse quello di un ipotetico antenato di Rjurik, figlio di Odino, del quale scrive Caterina II nel suo Istoričeskoe predstavlenie iz žizni Rjurika (cf. F.N.Prijma, «Slovo o Polku Igoreve» v russkom istoriko-literaturnom processe pervoj tretiXIXveka, cit., pp. 215).
12	F.N.Prijma, «Slovo o Polku Igoreve» v russkom istoriko-literaturnom processe pervoj treti XIXveka, cit., pp. 214-215.
13	A.N.Radiščev, O čeloveke, o ego smertnosti i bessmertii in A.N.Radiščev, Polnoe sobranie sočinenij, t.II, Moskva-Leningrad, 1941, pag. 64.
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sobrannogo izraznychpisatelej (SPb., 1768)14, Al'tšuller e poi Zapadov fecero anche il nome di Čulkov e citarono il suo Kratkoj mifologičeskijLeksikon ( 1767). In effetti le fonti impiegate da Radiščev furono assai più ampie e in modo assai convincente V.A.Zapadov ricorda tra esse i lavori di V.N.Tatiščev, G.F.Miller, M.V.Lomonosov, Caterina II per la ricostruzione storica e gli scritti di M.D.Čulkov, M.I.Popov e V.A.Levšin per la mitologia pagana slava15.
Nel già citato suo lavoro sulla poesia di Radiščev M.G.Al'tšuller definisce il pantheon che il poeta prende in prestito da Čulkov e del quale fa ampio uso anche in altre sue opere, come il poema Bova, "arsenale di mitologia pseudoslava"16. Zapadov in modo più articolato precisa:
«Vossozdavaja v poème basnoslovie (mifologiju) drevnich slavjan, Radiščev inogda sleduet ich tolkovanijam, a inogda svobodno obraščaetsja s trudami svoich predšestvennikov v ètoj oblasti, kotorye často raschodilis' meždu soboj v charakteristike togo ili inogo božestva, a inogda i sam sočinjaet charakteristiku i atributy boga, izvestnogo v istoričeskich rabotach liš' po imeni»17.
Nell'introduzione prosastica e poi nel canto di Vseglas Radiščev nomina le seguenti divinità slave: Perun, Svjatovid, Veles, Strij, Pozvizd, Nij, Černobog, Lada, Lel', Polel', Dažd'bog, Znič e Kupalo. Si tratta nel complesso di dèi già ampiamente trattati dalle fonti e dai manuali mitologici settecenteschi e le stesse singole varianti terminologiche rientrano senza problemi nella norma dell'uso del tempo. In questa prospettiva le Pesni non destano perciô particolare interesse per gli studiosi e in definitiva rientrano in un approccio alla mitologia slava caratteristico dell'epoca e basato su quello che in relazione a Tatiščev Myroslava T.Znayenko definisce un "entirely arbitrary method of collecting data, without preliminary criticism and comparative evaluation of sources"18. Tuttavia quello che risulta invece interessante è la funzione mitopoietica svolta nel testo dai riferimenti mitologici e, in particolare, l'uso creativo che Radiščev fa di quei riferimenti.
Già Gukovskij e poi Zapadov nelle loro edizioni delle Pesni avevano evidenziato nei commentari la stretta correlazione del pantheon radiščeviano con quelli definiti nella seconda metà del secolo da Popov, Čulkov e Levšin. Una più attenta disamina puô forse aiutare a rilevare qualche piccola discrepanza anche nella stessa nominazione delle divinità, nel senso che in alcuni casi Radiščev pare operare autonomamente, anche se nel complesso il suo è un approccio eclettico alle già citate fonti.
Perun, è ovvio, ricopre un ruolo centrale nel pantheon presentato da Radiščev nel brano prosastico e poi nel canto di Vseglas. La raffigurazione e gli attributi del dio sono nel complesso tradizionali e rispettano le fonti mitologiche cui Radiščev attinge.
L'attributo per eccellenza è ovviamente la folgore in una raffigurazione che anche per il riferimento all'Olimpo ribadisce l'analogia tra Perun e Zeus: "Togda tvoja desnica sil'na, rdjana, / Vraščaja ogn', udar voznesši vverch, / Prevyše vsech verchov cholmistogo Olimpa, / Nizveržet molniiu i grom/ I zvuk i tresk, i smert' i užas..." (vv.164-168).
14	Gukovskij in A.N.Radiscev, Polnoesobranie socinenij, t.I, cit., pag. 453 [cf. anche A.N.Radiscev, Polnoe sobranie stichotvorenij, op.cit., pag.153], utilizza la ristampa di questo scritto in M.Popov, Dosugi ili Sobranie socinenij i perevodov, c.I, Sankt-Peterburg, 1772, pp. 175-208.
15	A.N.Radiscev, Stichotvorenija, Leningrad, 1975, pp.260-261.
16	M.G.Al'tsuller, Poeticeskaja tradicija Radisceva v literaturnoj zizni nacala XIX veka, cit., p.131.
17	A.N.Radiscev, Stichotvorenija, op.cit., pag. 261.
18	M.T.Znayenko, The Gods of the Ancient Slavs. Tatishchev and the Beginnings of Slavic Mithology, Columbus, 1990, p. 102.
294
Stefano Garzonio
Nel contempo, la rappresentazione pregnante della creazione del mondo in chiave slavo-pagana offerta nel canto di Vseglas merita una certa attenzione per la sua originalité e per i suoi collegamenti con la mitologia classica e con la cosmogonia biblica. In particolare, colpisce il collegamento che si instaura naturalmente tra l'immagine della creazione dell'universo operata da Perun e l'analogo quadro con il quale si apre il Vangelo secondo Giovanni ("In principio era il Verbo, e il Verbo era presso Dio, e Dio era il Verbo...."). Si legge infatti nel canto di Vseglas:
Ne slovo li tvoe Vozzvalo v bytie Vse to, čto oko naše zrit? Ili vse to, čto myslijupostignut' možem?
Il collegamento tra slovo e bytie evidentemente trasferisce la cosmogenesi slavo-pagana in un nuovo quadro di riferimenti che diviene ancora più evidente se lo si rapporta nella stessa opera di Radiščev alla cantata Tvorenie mira nella quale la parola (slovo) assurge al ruolo di personaggio accanto a Dio e al coro:
Načnem?
Rečem: Vozljublennoe slovo, O pervenec menja!
afferma Dio e la parola conclude:
"Oživis', telesno semja, / Priimi načalo, vremja, / I dvižen'e, veščestvo, / Tverdost' telom, / Žizn' dvižen'em, - / Se veščaet božestvo"19.
Ancora in questa prospettiva, qualche passo oltre, nel canto di Vseglav, si introduce il tema della creazione dell'uomo sempre in chiave slavo-pagana. Il dio Perun, notato che quello che aveva fatto era buono ("Dobro ty vidja vsjudu...") crea l'uomo e la donna a propria immagine ("se obraz tvoj, o sil'nyj!"), ed in essi vive lo spirito, la parola del dio ("Se duch tvoj, ili slovo, / Živušče v žene i v muže..."). Curiosamente nei versi successivi Radiščev presenta un'immagine dell'uomo non propriamente in chiave eroica slavo-pagana, bensi chiaramente riconducibile alla poetica del barocco internazionale e in concreto alla lirica Bog di Deržavin: "Tvoren'e brennoe, o car' zemli! / Ty slab, ty červ, ty mal, / Pylinka ty v sravnenii vsego..."20
Nel prosieguo della narrazione vengono presentate le altre divinità. Znič, definito "svetlyj, žarkij, žiznodatel'", tende ad essere collegato ad Apollo.21 In questa prospettiva si creano evidenti analogie con Svjatovid che Levšin definisce addirittura "russkij Feb" e che nelle Pesni fa solo una fugace apparizione nell'introduzione prosastica. Svjatovid è infatti per Popov e Čulkov "dio del sole e della guerra". Il fatto poi che nel canto di Vseglas Znič sia presentato insieme a Lada e al figlio Lel' (vv. 71-74) e
19	A.N.Radiščev, Polnoe sobrante stichotvorenij, op.cit., pag. 39, 41-42.
20	Cf. A.N.Radiščev, Stichotvorenija, Leningrad, 1975, pag. 262.
21	In un'altra sua opera, il poema Bova, Radiščev conferisce a Znič gli attributi di Febo (cf. A.N.Radiščev,
Stichotvorenija, op.cit., pag.262).
295
Alcune considerazioni sul pantheon slavo nell'opera di Aleksandr Radiščev
poi raffigurato nel talamo matrimoniale con Lada (vv.109-112), dimostra come questa divinita fosse riconducibile in Radiščev anche ad Ares (Marte). Lada e infatti definita "mat' roždenja" ed e recepita, come gia da Popov, la Venere slava, "boginja brakov i veselija ljubovnogo". In aggiunta e curioso notare come nell'introduzione prosastica Radiščev faccia riferimento alla leggenda secondo cui gli slavi del Pomor'e sarebbero originari dell'isola di Cipro e avrebbero portato con se "obrjady služenija blagotvornyja Lady"22. Tale circostanza rafforza il parallelo con la mitologia greca ed anzi tende a fondare una stretta interdipendenza tra la mitologia slava e quella greca nella concezione di Radiščev, una sorta di approccio sincretico.
Veles "otec [...] buduščich životnych", e ricondotto al mito originale, al "grozovoj mif", legato al furto del bestiame (vv.120-125) e non presenta dunque particolari elementi di novita.
Pozvizd, secondo Popov l'Eolo russo, viene invece da Radiščev ricondotto a Nettuno, tanto da presentare il tridente tra i suoi attributi: "Už Pozvizd machom svoego trezubca / Vozbryznul okean na sušu..." (vv.94-95). Il dio dei venti, o meglio degli eventi atmosferici, e infatti per Radiščev Strij (Stribog) in evidente sintonia con il celebre passo dello Slovo, dove i venti sono definiti "Stribož'ie vnuki". Strij indica anche l'occidente nel passo: "Vostok, Jug, Sever i Strij bujnyj sam / Tvoi sut' slugi" (vv. 16-17).
Nij, "otec zemli, i krušc, i kamnej" (v.48), e ricondotto, secondo il parallelo gia proposto da Popov, a Plutone, al dio degli inferi, e svolge nella creazione del mondo la funzione di analogo ctonico di Perun: "Zdes' vižd', velel ty Niju sušu vzdvinut', / Na nej goram vznesti..." (vv. 87-88). Nell'introduzione prosastica Nij e presentato insieme a Černobog che invece non viene poi introdotto nella descrizione della cosmogenesi cantata da Vseglas. Ampio spazio e qui invece riservato a Dažd'bog, divinita che Popov e poi Čulkov definiscono "podatel' blag" e "bog bogatstv". In Radiščev Dažd'bog e il messaggero di Perun: "Kogda uščedrit nas / Poslannik blag tvoich velikich, / Poslannik tvoj Dažd'bog". Nel contempo egli e il dio degli alberi e delle spighe. Entrambe le circostanze sembrano apparentarlo ad Ermes nelle sue funzioni di messo degli dei e di protettore delle greggi.
Kupalo, che per Popov e il dio kieviano dei frutti, e presentato insieme a Pozvizd con la formula "Skryvavšie v svoich ogromnych nedrach / Vsemirnyj okean, / I reki, i ozera" (vv.45-47), il che evidentemente fa riferimento al collegamento dei rituali di Kupalo (Kupala) legati all'acqua23, e di fatto fa della divinita slava la dea dei fiumi e dei laghi corrispondente a Teti.
Da notare infine come le Pesni debbano anche essere collegate ad un altro testo incompiuto di Radiščev, il poema Bova. Qui sono presenti altri riferimenti alla mitologia slava sebbene assai piu fugaci e non sistematici. Da rilevare comunque l'introduzione di Zimcerla che Radiščev tratta non tanto come la tradizionale corrispondente slava di Aurora, quanto come la dea dei fiori, la Flora degli slavi.24
Nell'avvertimento al suo Opisanie drevnego slavenskogo jazyčeskogo basnoslovija Popov
rileva:
"Sueverstvo i mnogobožie drevnich Slavjan stol' že bylo prostranno, skol'ko u Grekov i Rimljan: est' li b drevnij naš vek izobiloval priležnymi pisateljami, to by my nyne uvidjali
22	A.N.Radiščev, Stichotvorenija, op.cit., pag. 164.
23	V.V.Ivanov V.N.Toporov, Kupala in Mify narodov mira, Moskva, 19882, t.II, pag. 29.
24	Cf. A.Radiščev, Stichotvorenija, op.cit., pag. 262.
296
Stefano Garzonio
takoe ze mnozestvo knig, kak i u nich, o Slavenskich bozestvach, prazdnestvach, obrjadach, prorocestvach, gadanijach, predznamenovanijach i procich ich proizsestvijach..."25
Evidentemente l'aspirazione di Radiscev era quella di offrire alia letteratura russa un'opera che sintetizzasse in sé ii compiesso deiia tradizione mitoiogica siava in stretta connessione con la mitologia classica, quella nordica e, in particolare, con la tradizione bibiico-cristiana. Ii desiderio gia chiaramente preromantico di affermare ia genuinita e ia specificita dei retaggio nazionaie antico-siavo si combina cosi con i'esigenza di fare deiia nuova poesia russa io strumento per esprimere mitopoieticamente ii compiesso deii'esperienza mitico-spirituaie deii'umanita in una chiave storicamente probiematica se non propriamente utopica che vedeva neiia Russia ii piu genuino erede deiie principaii iinee deiia cuitura umana.
La narrazione, che nei canto di Vsegias segue ia descrizione deiia creazione deii'universo trasferendo ii iettore in una Novgorod assaiita da ipotetici guerrieri ceiti, si chiude con i canti in onore di Cernobog e i'esaitazione di Perun, deiie genti antiche siave e dei ioro discendenti: i Russi, che sapranno far rivivere ie gesta e ia gioria dei padri. In questa chiave patriottica va visto appunto i'atteggiamento di Radiscev verso ia mitoiogia degii antichi siavi: i russi e ia ioro poesia sono di essa i discendenti piu degni e nei contempo gii eredi deiia tradizione ciassica antica e i piu sinceri difensori deiia tradizione cristiana e deiia fede26.
25	M.Popov, Opisanie drevnego slavenskogojazyčeskogo basnoslovija, sobrannogo iz raznych pisatelej, Sankt-Peterburg, 1768, pag. 1 <o>.
26	Interessante sara in seguito confrontare la posizione di Radiščev nei confronti della mitologia slava con quella tenuta dei poeti suoi coetanei in una prospettiva analoga a quella legata al problema della ricezione della mitologia classica in Russia nel XVIII secolo, cf. V.M.Živov, B.A.Uspenskij, Metamorfozy antičnogo jazyčestva v istorii russkoj kul'tury XVII-XVIII vv., in Antičnost' v kulture i iskusstve posledujuščich vekov, Moskva, 1984, pp. 204-285.
297
Alcune considerazioni sul pantheon slavo nell'opera di Aleksandr Radiščev
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Stefano Garzonio
CpenH npoH3BeneHHH pyccKoö nHTepaTypbi XVIII BeKa, nocBA^eHHbix cnaBAHCKoö MH^onorHH, necHU, nemue Ha cocmxsaHUxx e necmb dpeeHUM crnenHcKUM ôowecmeaM AneKcaHnpa PanH^eBa 3acnyxHBaroT oco6eHHoro BHHMaHHH. fleno b tom, hto b hhx BenHKHH nHcaTenb nocTHraeT opHrHHanbHoro CHHKpeTH3Ma pa3HHx MH^onoranecKHx 3neMeHT0B, hhcto cnaBAHCKHx, aHTHHHbix, ÖHÖneHCKo-xpHCTHaHCKHx, 0CCHaH0BCKHx h t. n. CBo6onHaa TpaKT0BKa cnaBAHCKoro MH^onoranecKoro MaTepHana b nyxe pyccKoro MH^onorH3Ma XVIII BeKa (HynK0B, nonoB, .eBmHH), oöpa^eHHe k n03THHecK0My MHpy Cßoea o noßKy Hzopeee, abho npenpoMaHTHnecKHe BeaHHa 0CCHaH0BCK0H nos3HH, nyxoBHaa nosTHnecKaa TpanHnHa pyccKoro XVIII BeKa KoMÖHHHpyroTca y PanH^eBa co CTpeMneHHeM nosTa nepeocMHcnHTb ponb h 3HaneHHe Pocchh b hobom KynbTypH0M naTpH0THHecK0M nyxe, rne HneanraanHA npeBHecnaacKoro œbinecKoro MHpa h ero penHrH03HHx BepoBaHHË coneTaeTca c HneanaMH cBoôononroÔHa h "coöopHoö Hapona BnacTH".
298
Govor demona u slovenskim književnostima
19. veka
Dejan Ajdačic
The author analyses the characteristics of the speech of demons in the folklore of the Eastern and Southern Slavs, relying on the studies of L. N. Vinogradova and O. V. Sannikova. The speech of the demons based on the folklore and christian origin is analysed in the stories by O. Somov (Kievskie vedmy), N. Gogolj(VečeranahutoreblizDikan'ki), V. Olin (PanKopitinskij), Kvitka (Ot tobi i skarb, Konotopska vid'ma), A. Storozhenko (Zakohani čert), in the dramas by V. Dal' (Nočna rasput'i), A. Del'vig (Noč' 24. ijunja), V. Kjuhel'beker (Ivan, kupeckij syn), J. Sterija Popovic (Miloš Obilic), K Topolja (Čari).
Jezik demona nije do skora privlačio pažnju istraživača slovenske mitologije, pa tako ni književnih istoričara koji su se bavili predstavama demona u književnostima Slovena. Tek je usmeravanjem sistematske pažnje na sve detalje izgleda i ponašanja demonskih biča otvoreno i pitanje načina njihovog opštenja. U tekstovima Govorit nečistaja sila (1988), i Pol'skaja mifologičeskaja struktura folklornogo teksta (Rečevaja harakteristika mifologičeskih personažej 1994:72-81) O.V. Sanikova ukazuje na stilističke osobenosti govora demona, tona i prilika u kojima demoni govore, funkcije njihovog govora, posebnog tona i ponavljanja. Ona izdvaja tipove izobličavanja ljudskih reči i funkcije demonskog govora u njihovom opštenju sa ljudima ili medu sobom. U radu Zvukovye stereotipy povedenija mifologičeskih personažej L.N. Vinogradova (1995: 20-23) bavi se i smehom, pocikivanjem demona, zvukovima predenja i tkanja koje proizvode ženski demoni, ali i čutanjem kao odlikom demonskih biča u narodnim verovanjima. I kod balkanskih Slovena, u folklornim tekstovima postoje potvrde ovih verovanja. U svom kratkom radu Vinogradova se nije bavila posebnostima demonskih zvukova, te to otvara pitanje žanrovskih posebnosti odlika demonskog oglašavanja. U opisu verbalnog ponašanja mitoloških biča Vinogradova i Tolstaja navode da akustičke crte i govor u ponašanju vila i samovila nisu naglašene kao u predstavama
0	istočnoslovenskim rusalkama i zapadnoslovenskim boginkama, koje Ijubjat zadavat' voprosy, oklikat' ljudej po imeni, dlja R(usalok), krome togo, harakterno pristrastie k zagadyvaniju zagadok, obraščenija sprosbamiob odežde i t.p. (Vinogradova Tolstaja 1994: 30-31). Ljubinko Radenkovič u tekstu Mitski atributi Starine Novaka u epskoj poeziji južnih Slovena i Rumuna (1988: 211-243) istakao je mitske tragove gnevnog Gromovnika kod balkanskih Slovena i jakog zvižduka negativnih junaka u ruskoj epici. Tom povezivanju zvučnog oglašavanja moglo bi se prigovoriti da se odnose na biča različitih svojstava i da je sam način ispuštanja zvukova različit.
Sličnost i različitost demona i ljudi u folklornim tekstovima pokazuje se izmedu ostalog,
1	razlikom u načinu njihovog sporazumevanja. Ukoliko je jezik ljudi istovetan jeziku demona
299
Govor demona u slovenskim književnostima 19. veka
u folklornim tekstovima, jezikom se ne ističe razlika izmedu ljudi i demona. Odsustvo te razlike može da ima različito poreklo. Jezik može, ali ne mora da bude element razlikovanja demona i čoveka. Nekada je samo način izgovaranja, smeh ili neki drugi, neverbalni postupak dovoljan da bi se ukazalo na prisustvo neljudskih biča. Poseban slučaj predstavljaju veštice, vampiri i drugi demoni koji se javljaju u ljudskom obličju ili se mogu pretvoriti u čoveka koji več svojim bivšim životom ili dvostrukim životom mogu vladati i ljudskim jezikom. Posebno isticanje prisustva prekogrobnog ili demonskog sveta ističe se oneobičavanjem jezika kao u slučaju demona koji nemaju ljudski izgled. U narativno razvijenim folklornim žanrovima sa bogatijom verbalnom komunikacijom ljudi i demona, zadavanje zadataka, nadmudrivanje i drugi vidovi verbalnog opštenja predodreduju da junaci dva sveta govore istim jezikom. Ukoliko se sličnost, odnosno razlika jezika demona od jezika ljudi posmatra prema tipovima demona, očigledno je da čovekoliki demoni češce govore kao ljudi no demoni prirode - leši, vodeni duhovi i dr. Karakteristični zvukovi koji ispuštaju ovi demoni bliski su zvukovima iz prirode - zviždanju, hujanju, pištanju i dr. Ženski demoni vezani za kucu mogu da prave zvukove domačih aktivnosti, kao što su navele Vinogradova i Sanikova.
Nazivanjem jezika demona - imenom jezika neke etničke grupe, istovremeno se projektuju demonska svojstva u tu etničku grupu, i etnički odreduje demonski svet. Demonizovanje drugih naroda ili verskih grupa ne obuhvata samo opisivanje jezika demona, več se ogleda i u nazivanju imena igara davolskih biča, detalja njihovog izgleda i dr. Ukoliko pisac imenuje demonski jezik, on je uvek tud i odbojan. Jezik tudinaca, kao jezik nečistih sila odražava spajanje dela ljudskog i neljudskog sveta od kojeg se predstavljena zajednica oseča ugroženo i iskazuje neprijateljstvo. Pridavanje jednom jeziku demonskih atributa menja se sa promenom istorijskih okolnosti. U ruskim srednjevekovnim tekstovima na crkveno-slovenskom jeziku, pokazao je Boris Uspenski, davoli govore pored tatarskog i latinskog i na ruskom. Demonizacija tudeg jezika odražava napetost i sukobe etničkog ili verskog porekla. U pravoslavnoj narodnoj kulturi jezik demona je latinski, kao jezik katoličkog bogosluženja.
U priči ruskog, malo poznatog romantičara Valerijana Olina o poljskom panu koji je prodao svoju dušu davolu, koristi se siže koji je u rusku književnost ušao još u 18. veku. Pan Kopitinski, u istoimenoj Olinovoj priči dolazi kod malodušnog Andreja da mu pomogne da otme Mariju iz manastira i izgovara izreke na latinskom. U Kvitkinoj priči na ukrajinskom, Ot tobi i skarb blagom opsednuti Homa Masljak dolazi kod davola u šumu i ništa ne razume kad davolčiči progovore na hrancuskom. Da čitalac ne bi pomislio da je zvučna bliskost naziva jezika sa francuskim slučajna, pisac nekolikom francuskim rečima potvrduje svoju ideju. Satirični ton u navodenju menija davolskog društva koji se gosti u šumi sa najraznovrsnijim sirevima, šampanjcima i drugim dakonijama ističe opoziciju davolsko-bogataško-strano prema ljudsko-obično-domače. Francuski izobličen u nazivu jezika je u očima istočnih Slovena bio oličenje izopačene i bogate Evrope. U Gogoljevoj priči Strašnaja mest' u obeležavanju demonskog jezika ne javlja se govor, več pismo - na kapi kolduna nisu napisana ni ruska ni poljska slova. Iako koldun izdaje pravoslavce katolicima, isključivanjem latinice i čirilice Gogolj, podrazumeva neko neevropsko pismo koje ima magijske moči. U toj priči iz zbirke Večera na hutore bliz Dikan'ki delimičnim prepoznavanjem i negativnim odredenjem pisma sa demonskim močima fikcionalizuje se i dodatno potvrduje neljudski karakter slova na kapi zlog čarobnjaka.
Razlika izmedu ljudskih i neljudskih biča može biti predstavljena u književnim tekstovima i njihovim posebnim, drugačijim jezikom. Jezik demona različit od ljudskog
300
Dejan Ajdačic
jezika ističe razliku izmedu njihovih svetova. O odlikama i funkciji govora demona u odnosu na ljudski govor piše Sanikova: Rjad harakteristik reči mifologičeskih personažej realizuet predstavlenija o neponjatnosti kak znake čužogo: zaumnaja (bessmyslennaja) reč', glossolaličeskaja reč', kosnojazyčnoe bormotan'e (1994: 73). Iako je demonski govor nerazumljiv ljudima, kao verovanje ili fikcionalna tvorevina sadrži tragove ljudskih jezika. Posebnost jezika demona čine ponavljanja i varirana ponavljanja odredenih grupa glasova ili reči, npr. - vampir u vodenici iz bugarskog demonološkog predanja nocu izgovara: tr"nga-m"nga malo mome (Miceva, 58), ili karakodžere, takode u bugarskom predanju govori: Striko-liko, striko-liko... olelej, olele-e (Miceva, 46), dok u srpskom predanju osenja izgovara: Tutunjiv čaj, čaj! Tutunjiv čaj, čaj! (R.Radenkovic, 116).
Jezik demona odstupa od jezika ljudi na način sličan otklonima u tajnim jezicima socijalnih ili etničkih grupa, razbrajalicama, magijskim tekstovima. Ponavljanje ili unošenje dodatnih grupa glasova, kao i izbacivanje pojedinih glasova, zamagljuje prepoznatljive reči, ali one zadržavaju asocijativnu vezu sa rečju od koje su "nastali". O tipovima ekstenzija u malim folklornim žanrovima pisala je u svojoj knjizi Etimologija i male folklorne forme Biljana Sikimic (1996). Višestruko ponavljanje iskaza demona takode je jedna od odlika koje imaju magijski folklorni tekstovi. Demoni kao bica drugačija od ljudi mogu govoriti posebnim jezikom. U izvesnim slučajevima ritmizovanje govora demona sa onomatopejskim elementim koji oponašaju udaranje, skakanje, preskakanje vitla ili razboja - ima magijsku moc upravljanja stvarima.
Ukoliko pisac navodi i reči "demonskog jezika", sklonost prema jezičkom očudavanju odreduje meru razumljivosti njihovog govora. Narativna funkcija reči koje demoni izgovaraju približava njihov jezik ljudskom jeziku, posebno ukoliko demoni od ljudi nešto traže. Tada demoni najčešce govore sa ljudima njihovim jezikom. Demoni posežu za svojim jezikom u situacijama kada komuniciraju medu sobom. Ali kako u devetnaestom veku svest o književnim mogucnostima izmišljanja potpuno drugog jezika nije dostigla slobodu avangardnog oslobadanja od jezika, i u tim prilikama izmišljanje jezika je kratkotrajno i svedeno. Trenutak prelaska sa jednog na drugi jezik pisci najčešce koriste kako bi pokazali posebne moci demona i pokrenuli fantastičnu motivaciju dogadaja koji se prikazuju ili kako bi predstavili neljudska bica u svom ambijentu. Na raspolaganju piscima stoje i opisi posebnog načina izgovaranja - nejasno mrmljanje, hripanje, šištanje, dranje, ali i posebno isticanje različitosti govora demona u odnosu na ljudski govor.
U spevu srpskog romantičara Sime Milutinovica Raznovidje vitežtva vila oblakinja, drugarka s oblačka se obraca svom pobratimu i najvecem junaku iz epske tradicije - Marku Kraljeviču jezikom tek izvjestnim Pobri. Kako tri epska junaka u ovoj avanturi slede uputstvo vile, kao višeg bica iz narodnih verovanja, i sam smisao njihovog traganja dobija viši smisao. Isticanje da samo Marko može razumeti vilinski jezik daje mu viša mitska svojstva.
U pseudoistorijskoj drami Miloš Obilic o sukobu Turaka i Srba, Evrope i Islama u 14. veku, zasnovanoj na mitskom i psihološkom razvijanju dogadaja uoči kosovskog boja, Jovan Sterija Popovic strukturom iskaza deli junake i po načinu govora. Dok se ljudi izražavaju proznim tekstom, aveti, kao bica sa višim mocima govore, ali se izražavaju i u osmeračkim, najčešce ukršteno rimovanim katrenskim stihovima. Razlika u načinu opštenja dosledno se sprovodi, i očigledno ima funkciju razlikovanja ljudskog i demonskog govora. Demonska svojstva u iskazima aveti se postižu i ponavaljanjem odredenih reči, stihova i čitavih strofa. Strofu kojom se prevara predstavlja kao načelo njihovog delovanja aveti ponavljaju. Čak i u proznim odeljcima u kojima se pripoveda, umece se ritmizovanje: Sve je metež, sve je buna.
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Pesnik je prozne iskaze namenio za pripovedanje aveti o nedelima koje su učinile, ali je za reči magijska prizivanja zlih sila sačuvao stihove: Vi, koje ste snažne sile, Avetinje, hale, vile, Vukodlaci, bauci i more, I ostale sve utvore, (...) dajte nama žaoku vašu, Za umnožit jarost našu
Stihovi aveti, pored samog ritma napregnutiji su po izrazu, puniji figurativnih obrta, imperativnih i eliptičnih izraza. U oneobičavanju iskaza demona, Sterija je najviše odstupio od jezika ljudi u magijskim formulama u poslednjem, petom činu. Aveti žele da naude najvecem junaku, Milošu Obilicu i šalju na njega zveri izgovarajuci: Krdrbrbr br stvori se, Na Miloša br složi se, Junački br pokaži se.
Suglasnička grupa br fikcionalizuje prizivanje i imenovanje sile. Eksplozivnost i zvučna treperavost glasova se pojačava u nizanju u prvom stihu. Posle ovih reči pojavljuju se zveri - krokodil, tigar, koje Miloš savlada. Demonsko svojstvo ima i horsko izgovaranje stihova, kao i njihovo ponavljanje. Sterija se koristeci nekoliko strategija zvučnog slikanja demonskog sveta više oslonio na pravljenje razlike izmedu govora ljudi i aveti, no na šire izmišljanje demonskog jezika.
U pesmi Zlo, objavljenoj u srpskom romantičarskom časopisu, nepoznati pesnik (1858) predstavlja demonsko mesto Jadikovo uz pomoc dijaloga dva demona: Bauk viknu: „hozajdeni!" Gvozdenzuba: „daj ga meni!"
Imenom Jadikovo demonizovani prostor koji se povezuje sa jadom, jadima, naseljen demonima dobija i svoj zvučni lik u nejasnoj reči bauka. Odgovor Gvozdenzube je izrečen na jeziku ljudi i implicira da se nerazumljive reči bauka odnose na žrtvu zlih bica. To preplitanje nerazumljivih i razumljivih reči uklopljeno je u rimu koja sama po sebi kratkom dijalogu daje onostrani prizvuk.
Nepouzdani Saharov, tobože je zabeležio i pesme beloruskih i ukrajinskih rusalki u knjizi Skazanija russkogo naroda. Njegovi zapisi bili su dovedeni u sumnju još u folkloristici 19. veka, ali su u ruskoj kulturi bili podsticajni za oblikovanje zaumnog jezika demona u književnim delima.
Fikcionalizovanje velikih moci jezika demona podrazumeva dva tipa govora - onaj koji je jasan ljudima i onaj koji ljudi ne razumeju. Poseban jezik demona javlja se retko, i on u književnim tekstovima upucuje na nameru demona da iskoristi svoje nadljudske moci. Takvi iskazi su načinjeni, uz manje ili vece očudavanje, po modelu magijskih tekstova. Tako u drami alegorijsko-mitološkog sadržaja Vladimira Dalja Noč' na rasput'i razni demoni govore jezikom ljudi, kako u opštenju sa ljudima, tako i izmedu sebe (ukoliko bi govorili potpuno drugim ili veoma očudenim jezikom tekst bi bio nerazujmljiv i nejasan). U situaciji kada Vodeni želi da pokaže Domovom da u njegovom carstvu nema ljudi koje on traži napravi magijski gest - okrece se jezeru, diže ruke, i izgovara tekst sa magijskim odlikama: Krut, krutojar polog berežok - vodojalicy, omuty glubokie, morci mokroe, golubajaprazelen: slušat'ne dremat', tut bol'šakgovorit: skin'tepogadku, da na svet otdajte molčanov svoih!. Posle ovih reči, nad jezerom se pojave utopljenici i kruže nad njim. Tekst je očigledno sazdan po ugledu na bajanja i zaklinjanja. U njemu postoji ponavljanje reči uz
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proširivanje (krutkrutojar), oksimoronski spoj boja (golubajaprazelen). U semantičkoj ravni reči vezane za vodu u uvodnom delu omogučavaju "uspostavljanje" veze sa primaocima poruke. Izobličavanjem prefiksa i sufiksa sugeriše se magijska priroda teksta. Sama poruka je iskazana imperativnim zaklinjanjem da se pojave čutljivi - tj. mrtvi u jezeru, utopljenici. Nešto kasnije se i u dijalogu Lešija i Vodenog javlja tekst nalik magijskom.
Najkrača noč u godini, ivanjska noč prema verovanjima slovenskih naroda predstavlja doba izrazite aktivnosti demona. Ovaj motiv se često javlja u tekstovima ruskih pesnika i pripovedača 19. veka, kako u motivima potrage za blagom, tako i u suočenju sa onostranim silama. U drugoj sceni Noč' 24. ijunja Anton Deljvig predstavlja Lisu goru na kojoj oko mrtve devojke Marije veštice pevaju pesmu: Razlilisja vody Na četyri brody: Kak na pervom brode Rošča zacvetaet, Solovej ščelkaet;; Na vtorom to brode Leto vesnu gonit A kukuška stonet. Kak na tretem brode Koni lagkonoški Poletjat s dorožki. Na četvertom brode Svet devica plačet Za nerovno iduči Serdcem liho čuyči.
Početna dva stiha sa motivom deljenja vode na četiri broda unose prizvuk magijskog teksta, ali se u daljem razvijanju pesme pokazuje da ovo deljenje nema niti magijski smisao, jer niti nalaže uključivanje, niti isključivanje odredenih svojstava ili objekata. U opis deljenja prve tri vode pre ima dekorativne funkcije, dok se opis četvrtog broda vezuje za nesretnu devojku Mariju koju zemlja neče da primi, te njeno telo leži na Lisoj gori, na šabašu veštica i nečistih biča.
Pesme veštica sa izmišljenim, besmislenimi rečima objavljene su u knjizi Saharova Skazanija russkogo naroda. Veštice, prema ukrajinskim predanjima imaju i svoje brojeve do deset: odion, drugian, trojčan, čeričan, podon, lodon, sukman, dukman, levurda, dyksa, ili -odino,popino, dvikikiry, hajnam, dajnam, spovelosx, spodalos', rybčin, dybčin, klek (Dalj 1996: 59). U folkloru brojevi se najčešče javljaju u razbrajalicama, basmama i zagonetkama.
U Kjuheljbekerovoj drami Ivan, kupeckij syn, objavljenoj tek sredinom 20. veka, niz demona - Kikimora, demoni, Velzevuv i drugi obračaju se jezikom ljudi akterima dramske radnje, ali i "gledaocima". U jednoj sceni pesnik je predstavio Osvetoljubiva veštica Amfiza posle proslavlja s davolom dogovor o pomoči oko uništenja Ivana i njegovih pratilaca i vrti se s njim uz neobičnu muziku. Violina sama svira, a ona peva: V vozduhe povisla skrypka, Skačet sam po nej smyčok; Pljašet rak i pljašet rybka: Pryg i skok, skok i pryžok. Eh! vertisja, kumanek!
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Govor demona u slovenskim književnostima 19. veka
Demonski oživljeni instrument i životinje koje igraju potcrtavaju u pesmi veštice poziv za uključenje u igru.
Kada u Kvitkinoj priči Konotopska vid'ma potope nekoliko žena iskušavajuci da li su veštice, Jevdoha, ostaje na površini pevajuci pesmicu: Buv sobi čolovik Sažka, na nomu sira sirjažka povstjana šapočka, na spini latočka; či horoša moja kazočka. Pesma koju peva veštica ima odlike magijskog teksta - ponavljanje sa ekstenzijom (Sikimic 1995) deminutivnih sufiksa koji ritmizuju - sir, sirjažka, pri čemu se poslednja reč povezuje i sa ličnim imenom Sažka. Kratka i jednostavna pesma koja u opštenju sa onostranim silama omogucava Jevdohi da ne potone se gradi na očudavanju iskaza i izvesnom zatamnjenju smisla.
Ukrajinski pripovedač Aleksandar Storoženko u gogoljevskoj priči Zakohani čert navodi davolsku zakletvu: Ot tobi ruka i bisove pekel'no slovo. Umesto zaklinjanja u Boga i božje rajsku reč, davo Trutik se zaklinje u davolsku paklenu reč u čemu je očigledno parodijsko preobrtanje hrišcanskog iskaza.
Neobično poigravanje ljudskim i neljudskim iskazima izveo je ruski romantičar Orest Somov u priči Kievskie ved'my. Preznačenjem obredne pesme u pesmu demona on je preznačio preuzet folklorni tekst, kao i folklorizovao predstavu o demonskom svetu. Na skupu na Lisoj gori kraj Kijeva, glavni junak se krišom prateci svoju mladu ženu nade na obesnom veselju veštica, davola, lešija na kome kada crni medved digne ruku svi zapevaju pesmu:
Vysoki skoki
V	soroki,
Nizki poklony
V	vorony,-
U napomeni pisac upucuje da je ovo svadbena pesma, ali ne odreduje u kom delu obreda se ona peva. U studiji Litvinove-Bartoš o svadbi u černigovskom selu Zemljanci jutarnje pokazivanje nevestine košulje kada mladi izadu iz ložnice prati obredna igra "skakanje vrane/svrake" (Grujic 1995: ). Somov je to, naravno, znao, i demonima na sabatu je pripisao pevanje pesme sa erotskim značenjem razdevičenja i pokazivanja krvave košulje.
U komadu Ukrajinca Kirila Topolje Čari. predstavlja se pesma na šabašu na Lisoj gori, brdu na kome se u folkloru istočnih Slovena nečista bica najčešce sakupljaju. Davo je u liku Jevreja, peva pesmu na poljsko jevrejskom. U tekstu o Topoljinom komadu Kostomarov je pohvalio veran opis narodnih verovanja to je zaista maloruski davo; pojam o njemu proizilazi iz istorije i prošlog života (Petrov 1884:122). Etnički element demonizacije susednih, kroz istoriju neprijateljskih naroda ovde je preuzet iz folklora. U prvom stihu je iskrivljena latinska poslovica tace, jace sub fornace, koja svedoči o školskom poreklu pesme (Petrov 1884: 120)
Jaze, tace, suparnace -Moja-z babusen'ko-z!
U mne-z bendo babusen'ko Vel'my-z staren'ko-z.
Zavše sen'ze na pecu, Jadle sobe kalacu -
- Pifpif, pifpif!
Jak kalacuf ne dostajo-z, Benze ljuzio gadajo-z
Tšeba-z takže j vorožbyc, Cob cim bendo i pozic -
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- Oh vij, oh vij, vij!
Jace-z, tace-z, suparnace-z -Moja-z babusen 'ko-z -
Dvostih koji se pojavljuje na početku i kraju uokviruje sadržaj pesme. Stihovi su rimovani, a izvesnim rečima se dodaje glas "z". Pesma sadrži i reči bez značenja koje se ponavljaju u po jednom stihu, a fikcionalizuju magijski tekst - pif, pif, pif i kasnije - Oh vij, vij, vij.
Govor rusalki i veštica privlačio je pažnju pesnika i u 20. veku oslanjajuči se na starije etnografske i književne spise. U pesmi Hlebnikova Noč' v Galicii sklonost pesnika ka zaumnom jeziku folklora podstakle su pesme koje je "zapisao" Saharov, kao i tekst Aleksandra Bloka Poezija zagovorov i zaklinanij. Po slovam Jakobsona, pered načalom pervoj mirovoj vojny on podelilsja s Hlebnikovym sobrannymi im obrazcami podobnyh zaumnyh zagovorov (Ivanov 1986: 70). Oslobadanje jezika u avangardi dalo je podsticaja i istraživanju zaumnog jezika demona.
Govor demona u književnim delima istočnoslovenskih i južnoslovenskih pisaca 19. veka oslanja se pre svega na izmišljanje reči i iskaza koje imaju posebne moči. Iskazi demona folklornog i hriščanskog porekla načinjeni su oneobičavanjem ljudskih reči, ponavljanjem grupa suglasnika i reči, podražavanjem magijskih folklornih iskaza, i katkada koriščenjem stranih reči. Njihove reči najčešče su uobličene u stihovima, što u kontrastu sa proznim delovima teksta ističe različitost demonskog i ljudskog govora. U književnim tekstovima slovenskih autora 19. veka pisci se slobodno upuštaju u izmišljanje reči demona, katkada se oslanjajuči i na etnografske spise sa elementima mistifikacija. Pažnja posvečena narodnim verovanjima i praznoverjima, iako oslonjena na slične i srodne predstave iz usmene tradicije, u književnim delima dobija i svoj poseban, za nacionalne književnosti specifičan oblik. Medusobnim "dijalogiziranjem" pisaca može se objasniti manje ili veče prisustvo odredenih mikromotiva i izraza u okviru nacionalnih književnosti. U ispitivanju govora demona u slovenskim delima 19. veka, ovde su naznačeni neki primeri i otvorena pitanja koja proizilaze iz odnosa folklora i književnosti. Dalja čitanja mogu se usmeriti ka jezičkim, književnim i poetičkim odlikama izmišljenog jezika demona, kako sa tipološke tačke gledišta, tako i sa književnoistorijskog stanovišta.
Literatura
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BnHorpaflOBa, .H.H. To^CTaa, C. 1994: K npo6^eMe HfleHTH^HKanHH H cpaBHeHHa nepcoHaxeft c^aB^HCKOH MH^o^oran, Cmemcrnu u 6wmHCKuu (onbmop, MocKBa, 1994, CTP. 16-44.
BHHorpa^oBa, .H.H. 1995: 3ByKoBbie cTepeoTnnbi noBe^eHna MH^o^orHnecKHx nepcoHaxeft, ronoc upumyan, MocKBa, 1995, cTp. 20-23.
Grujič, A. 1995: Hnatjukov opis dela ukrajinske svadbe (iz zbornika u štampi: Erotsko u folkloru Slovena).
fla^b, B. 1996: Onoeepmx, cyeeepmx u npedpaccydmxpyccKozo Hapoda, CaHKT-neTep6ypr, 1996.
3e^eHHH, fl.K. 1995: Onepm pycKou Mu(onozuu: yMepmue Heecmecmeemorn cMepmbrn u pycanm, MocKBa, 1995 (2. H3fl.).
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HBaHOB, Ban. Bc. 1986: CnaBaHCKaa nopa b n03THHecK0M A3biKe h no33HH Xne6HHKOBa,
CoeemcKoe cmeHHoeedenue, 1986, 3, CTp. 62-71. MaHH, ro.B. 1995: fluHOMumpyccKozopoMaHmusMa, MocKBa, 1995. neTpoB 1884: Onepm ucmopuu yKpauHCKou rnmepamypu 19. cmonemm, KneB, 1884. Pa^eHKOBrih, 1988: Mhtckh aTpn6yTH CrapnHe HoBaKa y encKoj no3HjH jyxHHx CnoBeHa h PyMyHa, Beorpan, y: CmapuHaHoeaK u wezoeo do6a, 1988, cTp. 211-243. CaHHHKoBa, O.B. 1988: Iobopht HenncTaa crna, dmHornHzeucmuKa meKcma. CeMuomuKa
moaux $opM $ornKAopa, MocKBa, 1988, cTp. 100-103. CaHHHKoBa, O.B. 1994: nonbcKaa MH^onoranecKa» crpyKTypa ^onbKnopHoro TeKcTa,
CmenHcmu u 6oakohckuu $omkmp, 1994, cTp. 44-83. Sikimic, B. 1996: Etimologija i male folklorne forme, Beograd, 1996. YcneHcKHH, B. 1979: BmopumueModempyww,ue cucmeMU, TapTy, 1979.
Le discours des démons dans les littératures slaves du dix-neuvième siècle
Dejan Ajdačic
L'auteur considère les priorités du discours des démons dans le folklore des Slaves de l'Est et du Sud en s'appuiant sur les études de L. N. Vinogradova et de O. V. Sannikova. Le discours des démons d'origine populaire et chrétienne est examiné dans les contes de O. Somov (Kievskie ved'my). N. Gogol' (Večera na hutore bliz Dikan'ki), V. Olin (Pan Kopitinskij), Kvitka (Ot tobi i skarb, Kontopska vid'ma), A. Storozhenko (Zakohani čert), les textes dramatiques de V. Dal' (Noč' na rasput'i), A. Del'vig (Noch'24. ijunja), V. Kjuhel'beker (Ivan, kupeckij syn), J. Sterija Popovic (Miloš Obilic), K. Topolja (Čari). La dénomination de la langue des démons par la langue des peuples ennemis résulte de la démonisation ethnique. Le discours des démons en vers diffère du discours humain en prose. La langue des démons se forme par la caricature, la rythmisation, la répétition et par l'emploi des expressions etrangères. L'auteur révèle le contexte folklorique et ethnographique des certains exemples littéraires.
306
K Bonpocy 06 ojHoii MHCTn(|)nkamni n^n roro^eBCKHH Bhh npn cBeTe ykpanHCkoii Mn^ojomn1
Enena E. fleeKueecKan
The article deals with the genesis of the main antihero of Gogol's stories - "Vij", comparing it with mythical figures in Ukranian folk tradition.
Kpyr npo6ieM, CBa3aHHbix c HapoiHbiMH HCToKaMH noBecra H.B.Toroia "BHft", moxho pa3ieiHTb Ha iBe KaTeropHH. K nepBoft othochtch npo6ieMa croxeTa, ko BTopoft — Bonpoc o caMoM iHTepaTypHoM nepcoHaxe, iaBmeM Ha3BaHHe noBecTH. Bonpoc o cbh3h croxeTa roroieBCKoft noBecTH c pacnpocTpaHeHHHM mothbom yKpaHHCKHx 6biiHneK o6 yMepmeft BeibMe h napy6Ke, nociyxHBmeM npHHHHoft ee CMepTH h npoBeimeM tph hohh okoio ee rpo6a (AapHe, ToMncoH 307), moxho cwraTb iaBHo pemeHHHM (cm. xoth 6h: CyMnoB 1892:472-479, neTpoB 1937: 742,778) — ocHoBHbie CTpyKTypHHe aieMeHTbi noBecTH Toroia noiHocTbro noBToparoT croxeTHyro KaHBy cooTBeTCTByro^Hx yKpaHHCKHx
H roXHopyCCKHX 6biIHHeK, Bo3HHKmHX, oneBHflHo, nofl BIHHHHeM yKpaHHCKoft TpaiHnHH.
HepemeHHoft ocTaeTca npo6ieMa reHe3Hca Bhh KaK iHTepaTypHoro nepcoHaxa, oflHaKo eflBa JIH He eiHHCTBeHHbIM HCToHHHKoM Bo3HHKHoBeHHa 3TOft npo6ieMH moxho CHHTaTb yTBepxqeHHe caMoro H.B. Toroia o tom, hto "Bhh — ecTb KoioccaibHoe co3iaHHe npocTOHapoiHoro Boo6paxeHHa" h hto "TaKHM HMeHeM Ha3HBaeTca y MaiopoccHaH HanaibHHK rHoMoB, y KoToporo BeKH Ha ria3ax HiyT io caMoft 3eMiH". noHCKH Bhh b Hapo^Hoft KyibType BeiyTca c KoHna npomioro BeKa — H3BecTHo, hto b nporpaMMy no c6opy CBe^eHHft b o6iacra HapoiHbix cyeBepHft, cocTaBieHHyro b 1884 r. Ha VI ApxeoiorHnecKoM Cbe3ie b Oiecce, 6bii BKironeH Bonpoc o BHe, TaK h ocTaBmHftca 6e3 oTBeTa (MHiopa^oBHH 1896: 48).
nocKoibKy no^BeprHyTb coMHeHHro cioBa Toroia io chx nop He pemaica hhkto, a MH^oiorHHecKHft nepcoHax c TaKHM HMeHeM h c TaKHMH npH3HaKaMH b yKpaHHCKoft MH^oiorHnecKoft CHCTeMe He o6HapyxeH, y HCCieioBaTeieft ocTaBaica oihh nyTb — "nepepbiTb" Bcro yKpaHHCKyro MH^oioraro b noHCKax nepcoHaxeft, xoth 6h no oTieibHbiM npH3HaKaM cooTBeTCTByro^Hx BHro. noaToMy Bce nonHTKH ycTaHoBHTb CBa3b Bhh c nepcoHaxaMH yKpaHHCKoft ieMoHoiorHH CTpoHiHCb no oiHoMy npHHnHny: 6paica oihh h3 mothbob roroieBCKoro onHcaHHa Bhh h k HeMy noibiCKHBaiHCb cooTBeTCTBHa b Hapo^Hoft KyibType, nacTo He ToibKo ClaBaHCKoft (cp., HanpHMep, rHnoTe3y B.H.A6aeBa o poicrae roroieBCKoro nepcoHaxa c oceTHHCKHM 6oroM CMepTH Vayu; A6aeB 1958:303. HHTepecHo, 3Hai ih ToibKo caM Toroib o cy^ecTBoBaHHH aToro oceTHHCKoro ieMoHa?)
1 This article was financially supported by RGNF (grant N 96-04-06034 "Mifologiceskie osnovy slavjanskoj narodnoj kul'tury").
307
K Bonpocy 06 oahoh mhcth^hkeuhh h^h roroneBCKHH Bhh npH CBeTe yKpaHHCKOH MH^onorHH
TpaflHnna c^HTaTb Bhh nepcoHaxeM Hapodnoü cnaBHHcKoH MH^onorHH HacTonbKo crnbHa, hto CTaTba o HeM nonana b nocnenHee H3naHHe MH^onoranecKoro cnoBapH (MH^onoranecKHH 1991: 123).
Mh hcxo^hm h3 Toro, hto MH^onoranecKHH nepcoHax b HaponHoH TpanHnHH npencTaBnHeT co6oH nynoK ycTOHHHBbix, peneBaHTHbix npH3HaKoB, cKpenneHHbix HMeHeM. OneBHflHo, hto npH3HaTb Bhh co3naHHeM yKpaHHCKoro "HaponHoro Boo6paxeHHH" moxho TonbKo b tom cnynae, ecnH b yKpaHHCKoñ TpanHnHH 6yneT o6HapyxeH nepcoHax c Ha6opoM Tex xe, hto h y Bhh npH3HaKoB HnH xoth 6h 6onbmeH hx nacm nepcoHax roroneBcKoH noBecTH npraeMHCTbiH, KoconanbiH; c xh^hcthmh, KaK KpenKHe kophh pyKaMH h HoraMH; Becb b neproH 3eMne; c xene3HbiMH nanbnaMH h ahhom; non3eMHbiM ronocoM; ahhhhhmh BeKaMH, ony^eHHHMH no 3eMnH. Ero noHBneHHe npenBapHeTcH BonnbHM BoeM. Ochobhbh ^yHKHHa - Heo6bHaHHaH cnoco6HocTb BHneTb, npeononeBaH B3rnHnoM cnenHanbHbie anoTponeHnecKHe nperpanb HenocTynHbie 3peHHro o6hhh^ix ^mohob.
BonbmHHcTBo H3 yKa3aHHbx npH3HaKoB b oT^enbHocTH BCTpenaeTCH y caMbx pa3Hbix cnaBHHcKHx nepcoHaxeH. npH3eMHcTocTb, ManeHbKHH pocT — oxnHHHTenbHaH nepTa MHorHx, npeHMy^ecTBeHHo 3ananHocnaBHHcKHx MH^onoranecKHx cy^ecra (cp. non. krasnoludki, cnoBan.pikuliki h np.). CornacHo noBepbHM, ManeHbKHM poctom TaKxe MoryT o6nanaTb TaKHe pyccKHe nepcoHaxH, KaK: doMoeoü, KUKUMopa, memurn — neMoHbi, npoHcxona^He H3 3anymeHHbix MaTepHMH neTeH h BbiKHnbimeH, wymKyHU, a TaKxe nonbcKHH topielec, noneccKHH eodmoü, nemcKHe h nonbcKHe nepcoHaxH diblik, skritek h non., 3ananHo-yKpaHHcKHH xoearnu,, zodoearnu, h np. noMamHHe nyxH-o6oraTHTenH, yKpaHHcKHe non3eMHHe nronH paxMami, a TaKxe MH^onoranecKHe cy^ecTBa b BHne hohhhx oroHbKoB, npoHcxona^He H3 nym 3ary6neHHHx MaTepHMH MnaneHneB: nemcKHe svetlonoši, nonbcKHe btqdne ogniki h np.
Xene3Hbie nacra Tena—nepTa nocraTOHHo xapaKTepHaH nnH cnaBHHcKHx neMoHoB: xene3Hbie pyKH, cornacHo BonoroncKHM noBepbHM, y SaHHUKa (3eneHHH I: 263), a xene3Hbie nanbnbi Ha pyKax - y 3ananHoyKpaHHcKoro nepma (THaTMK 1912: 5), xene3HbiMH 3y6aMH o6nanaroT ceBepHopyccKHe rnynuKyHU, nepmu h epemuK ^e^esHosyóuü - KonnyH, BcTaro^HH no HonaM H3 MorHnH, cep6cKHe euAU h KapaKoHÓMynu. Cp. onHo H3 cep6cKHx Ha3BaHHH KapaKoH^Kyna gvozdenzub (Moszyñski, II:671). CpenH nepcoHaxeH, kotophmh nyranH neTeH, H3BecTHH: we^esHU nonoeeK (nonecbe), 6a6a c we^esmiMu sy6aMu - xeeHcKoe MH^onorHnecKoe cy^ecrao, xHBy^ee b none (nonnHmbe), železna bába — nemcKHH noneBoH neMoH, o6eperaro^HH ropox ot neTeH, sa^usHa 6a6a (nonecbe), 6a6a waMsHa (3ananHaH YKpaHHa), duKa 6a6a s dse^ismiM MaKozomM (TaM xe). Xene3HbiM MoryT 6biTb nepcoHaxH cnaBHH. cKa3oK: Mesiželezo — cKa3oHHbiH cHnan, kotophh MecHT xene3o (3aHneBa, 1975: 18), nemcKHe h cnoBanKHe Me^esHuü MoHax, Medeedb c weaesHoü rnepcmbw, MeaesHbiü soak (cp. nem. nocnoBHny: "Baje jako o želaznem wilku"). Xene3-hhmh rpynHMH, cornacHo noneccKoH TpanHnHH, o6nanaroT pycanKH. OnHaKo, TaKaH neTanb, KaK xene3Hoe nHno, kotophm HanenHn Toronb Bhh, no KpaHHeH Mepe b boctohho-cnaBHHcKHX TpanHnHHX HaM He H3BecTHa.
3acbnaHHocTb 3eMneH — npH3HaK, yKa3HBaro^HH Ha 3arpo6Hoe npoHcxoxneHHe nepcoHaxa (hto cnpaBe^HBo oTMenanocb bo MHorHx HccnenoBaHHHx), b HaponHoH yKpaHHcKoH TpanHnHH b npHMoM BHne He oTMeneH. 3necb bo3moxhh HeKoTopbe KocBeHHHe aHanorHH c roxHocnaBHHcKHM o6pa3oM BaMnHpa, ho BpHn nH Toronb xopomo 6^in 3HaKoM c roxHocnaBHHcKoH TpanHnHeH. Moxho npennonoxHTb, hto 3Ta neTanb 6^ina npHnyMaHa caMHM ToroneM, KaK h coBepmeHHo HeecTecTBeHHoe nnH cnaBHHcKoH
308
Enena E. fleeKueecKast
HapoflHoö MH^onorHH coneTaHHe b o^hom nepcoHaxe xene3a h 3eMnH. 3aMeTHM, hto Toronb HecKonbKo npoTHBopewr caM ceöe, Korna cHanana roBopHT o 3acbinaHHbix 3eMneH pyKax h Horax Bhh, a no3xe ynoMHHaeT ero xene3HbiH nanen.
Hto KacaeTca Bonnbero Boa, conpoBoxnaro^ero noaBneHHe nepcoHaxa, to npaMHx napanneneH b HaponHoH TpanHUHH HaM oöHapyxHTb He ynanocb, onHaKo, cornacHo npeBHepyccKHM neTonHcaM, TaKaa ocoöeHHocTb npHnHcbiBanacb nonoBnaM. B nacraocra, b HnaTbeBcKoö h ^aBpeHTbeBcKoö neTonHcax roBopHTca o nonoBenKoM xaHe BoHaKe, kotophh npHmen Ha noMo^b ,D,aBHny BonHHcKoMy h ranHnKHM KHa3baM b hx öopböe npoTHB yrpoB: "H BocraBt BoHHKt oTbfxa orb paTH, h nona bhth BontHbcKH h oTBHca eMy BonKt, h nonama mho3h BonnH bhth, BoHaKt xe npifxa noBfna ,D,aBbinoBH, aKo noöfna hh ecTb Ha Yrpbi" (uht. no: Ky3MHneBcKHH 1887/8: 677-678).
Bonee nonpoöHoro paccMoTpeHHa 3acnyxHBaeT Bonpoc o rna3ax BHa h ^yhkuhh ero 3peHHa, HeonHoKpaTHo 3aTparHBaBmHHca b HaynHoö nHTepaType (HcTopHro Bonpoca h HcnepnbiBaro^HH nepeneHb HHnoeBponeöcKHx nepcoHaxeH, oönanaro^Hx naTonoraeö 3peHHa, cm. b: HBaHoB, 1973). B noBecTH Torona XoMa BpyT oKpyxeH MaranecKHM KpyroM, nenaro^HM ero He TonbKo HenocaraeMbiM nna HenHCToö cHnbi, ho h HeBHnHMbiM. 9to nonHocTbro cooTBeTcTByeT oö^ecnaBHHcKHM, b tom HHcne yKpaHHcKHM BepoBaHHaM b to, hto anoTponeHHecKHH Kpyr npencTaBnaeT nna HenHcToö cHnbi hto-to THna HenpoHHnaeMoö cTeHH h nHmaeT ee bo3moxhocth BHneTb nenoBeKa. CornacHo TeKcTy noBecTH, Bhh HyxeH He nna Toro, htoöh yöHTb XoMy (c sthm Morna 6h cnpaBHTbca h caMa naHHoHKa, ecnH 6h 3Hana, rne oh), a HcEnrowrenbHo nna Toro, htoöh ero yBHneTb. 3aMeTHM, hto XoMa yMHpaeT He ot B3rnana Bhh, a ot coöcraeHHoro cTpaxa: "Be3nbixaHHbiH rpaHynca oh Ha 3eMnro, h TyT xe BbineTen nyx h3 Hero ot cTpaxa" (Toronb 1959: 193). KcTaTH, Toronb aKqeHTHpyeT sTy MHcnb, BKnanbiBaa ee b ycTa THöepHa Iopoöna -TOBapH^a Xomh no 6ypce: "A a 3Haro, noneMy nponan oh: ottoto, hto noöoanca. A ecnH 6bi He 6oanca, to 6h BenbMa HHnero He Morna c hhm cnenaTb" (Toronb 1959: 194). B3rnan Bhh He cMepToHoceH, a BceBHna^, a ero rnaBHaa (^yHKqHH — BHneTb to, hto He nonBnacTHo npyrHM neMoHaM.
B yKpaHHcKHx ö^inHHKax c aHanorHHHbiM croxeToM STy ^yHKqHro BHnonHaroT pa3HHe nepcoHaxH, hhtom He HanoMHHaro^He Bhh: KHeBcKaa BenbMa, caMaa cTapaa BenbMa, cTapmHH nepT h non., b cooTBeTCTByro^Hx roxHopyccKHx TeKcTax, H3BecTHHx Ha yKpaHHcKo-pyccKoM norpaHHHbe, b stom KanecTBe MoryT BbicTynaTb KpHBaa BenbMa HnH MnaneHen c xbocthkom — cornacHo HaponHHM BepoBaHHaM, c xBocTaMH poxnaroTca BenbMH H KonnyHH. OÖHHHo öbinHHKH He conepxaT yKa3aHHH Ha Hx BHemHHH BHn, ho b stom HeT h ocoöoh HyxnH — sto cBoero pona nepcoHaxH-"KnHme", neö oönHK 6e3 HanoMHHaHHH xopomo H3BecTeH BceM HocHTenaM naHHoH TpanHnHH. YnoMHHaeTca TonbKo hx ^yHKUHH, oö^aa nna sthx nepcoHaxeH - BHneTb HeBHnHMoe: "^HBKa (aHanor naHHoHKH - E.Ä.) mapHna, mapHna — HeMa. HaKnHKana BenbM. fflyKaroTb — He HaHnyTb. nocnanH 3a ktobckoh — "Oh Ha npbiBanonKy Kono cToBna cHnHTb" (nonTaBcKaa ryö., MHnopanoBHH 1896: 46).
OnHcaHHa b TpanHnHoHHbix TeKcTax npyrHx npencTaBHTeneH HeHHcroö cHnH, noMoraro^Hx MepTBoH BenbMe noryÖHTb rnaBHoro repoa, cTepeoTHnHH h nonHocTbro cooTBeTcTByroT TpanHUHoHHHM maönoHaM oönHKa cnaBHHcKHx MH^onormecKHx nepcoHaxeH: BenbMH oöopa^HBaroTca "öenHMH cynKaMH" (CyMcKaa ryö., TpHHneHKo I: 69), cBHHbeH HnH copokoh (TynbcKaa ryö., KonHHH 1899: 41), nepT aBnaeTca b oönHKe "poTHoro KoMaHnHpa" (XapbKoBcKaa ryö., TpHHneHKo II: 325-326), MepTBHe, kotophmh
309
K Bonpocy 06 o^hom MHCTH^HKauHH hah roroaeBCKHH Bhh npH CBeTe yKpaHHCKOH MH^oaorHH
KOMaHflyeT yMepmaa BeabMa, eayT "Ha chbhx kohhx" (noaTaBCKaa ry6., MHaopaaoBHH 1896: 47) h noa. T.o. b HapoaHbix 6biaHHKax poab Bhh BbinoaHHroT aocTaTOHHo paCnpoCTpaHeHHHe B BocToHHocaaBflHCKon MH^oaorHH nepcoHaxH, KoTopbie B 6oibmHHCTBe caynaeB HaaeaeHbi o6^eH c hhm ^yHKqHen, ho BHemHHH o6aHK kotophx, cyaa no TpaaHnHoHHbiM onHcaHHHM, aaxe oTaaaeHHo He HanoMHHaeT Bhh.
B noBeCTH Torosa aeMoHHnecKoe CBepxBHaeHHe Bhh conpnxeHo c xapaKTepHCTHKon ero Heo6biHHbix raa3, 3aKpHTHx jjhhhhmh pecHHuaMH, KoTopbie oh He MoxeT noaHHTb 6e3 nocTopoHHen noMo^H (Cp. b cbh3h c sthm 3THMoaorHro caoBa, CBH3aHHyro c yKp. ein "peCHHna", npeaaoxeHHyro O.H.Tpy6aneBbiM, cm.: Tpy6aneB 1965:42-43). CoraacHo Ha6aroaeHHHM MomHHbCKoro (Moszyñski II 2:606-608), aaHHHbie ao Hoca 6poBH - npH3HaK Be^bMH HaH KoaayHa, moph/3moph (cep6., xopB., nem., ayx., 3an. noabma), a TaKxe BypaaaaKa (noaoabe); y pyccKHx raa3a c TaKHMH 6pobhmh Ha3biBaaH "BoanbHMH" (A^aHacbeB 1:171-173). CpeaH H3BecTHHx HaM MaTepHaaoB nepcoHaxH c noao6Hon "naToaoraen" raa3 (ho He B3raaaa!) BCTpenaroTCH b Tpex pyccKHx hctohhhkbx (A^aHacbeB, N 137, 233, 3eaeHHH, N 100), b o^hom 6eaopyccKoM (PoMaHoB 1887: 259), b ceMH yKpaHHCKHx (MeHaeabcoH 1897: 1, Ky3MHneBCKHH 1887: 224-226, Xe6poBCKHH 1851: 68, BarH^eBHH 1843: 163, P..H.H. 1891:302) h b o^hom pyMHHCKoM HCTOHHHKe (Ky3MHnecKHH 1887: 242). Bo Bcex nepenHcaeHHbix TeKCTax coneTaHHe aByx mothbob (raa3, 3aKpbiBaeMbix a^hhhhmh pecHHnaMH, KoTopbie nojHHMaroT tomo^hhkh, h B3raaaa, cnoco6Horo BHaeTb HeBHaHMoe apyrHMH) BCTpenaeTCH Bcero aBa pa3a. B bo^hhckoh CKa3Ke-aereHae o wenydueoM EynxKe — stot repon eaHHCTBeHHbin H3 Bcex xshhxob napeBHH ysnaem b cTpamHoM 3Bepe Bomb, KoTopyro napeBHa BbiKopMHaa ao pa3MepoB Ka6aHa: "HaKoHen noHBHacH meayaHBbin ByHHK, aHBHoe co3aaHHe, KoToporo raa3a HMeaH TaKHe BeKH, hto aBoe neaoBeK noaHHMaaH hx BHaaMH, ecaH oh xoTea hto-HH6yab BHaeTb, h Toraa oh Bce h Bcroay BHaea Ha cto MHab. npHmeamH k napHne EaeHe h npHKa3aB noaHHTb ce6e BeKH BHaaMH, B3raHHya oh Ha 3Bepa b CTeKaHHHoH 6aHKe h CKa3aa: "Bot TaK aHBo! ^a sto x Bomb!" (Ky3MHneBCKHH 1887: 224-226). B pymhhckoh CKa3Ke o HeBHnoaHHMon 3aaane oTen napeBHbi noabiMaeT ce6e raa3a KocTbiaaMH, hto6h naümu ee xeHHxa, cnpHTaBmerocH y Hero b 6opoae (Ky3MHneBCKHH 1887: 242).
B ocTaabHbix caynanx mothb aaHHHHx BeK, noaHHMaeMHx BHaaMH, coneTaeTca c apyrHM no ^yHKUHH B3raaaoM. B nHTH TeKCTax repoH, o6aaaaro^He noao6HHMH BeKaMH, npocHT oKpyxaro^Hx noaHHTb hm hx, hto6h npocTo nocMoTpeTb, yBHaeTb to, hto BHaaT Bce. TaK BeayT ce6a CTapHK, napb-aeB h Haoa-Haoabm b pyccKHx CKa3Kax (A^aHacbeB, NN 137, 233, 3eaeHHH: 300-303), napb npaxop b 6eaopyccKoH (PoMaHoB 1887:259), cb. KacbHH b noaTaBCKoM noBepbe (MeHaeabcoH 1897:1).
B ocraabHbix caynaax repon c TaKHMH BeKaMH o6aaaaeT B3raaaoM, yHHHToxaro^HM Bce xHBoe. 9tot mothb b yKpaHHCKoñ TpaaHnHH cBH3aH c aByMH nepcoHaxaMH — cb. KacbHHoM h meayaHBbiM ByHHKoM (CoaoaoBHM ByHbo), npoToTHnoM KoToporo, no MHeHHro HCcaeaoBaTeaeñ, 6^ia, npeanoaoxnreabHo, xaH BaTHH. Cb. KacbHH b oaHoM H3 noaTaBCKHx noBepHH noaHHMaeT pecHHnH 29 ^eBpaaa — "Ha hto oh Toraa B3raHHeT, Bce norH6aeT" (MeHaeabcoH 1897:1-21). npeaBoaHTeab opabi ByHHK H3 HeycTaHoBaeHHon aeTonHCH, Ha KoTopyro ccbiaaeTca T. Xe6poBCKHH, yHHHToxaeT ropoa CHaon CBoero B3raaaa (noaoabe, Xe6poBCKHH 1851: 68). Cp. coo6^eHHe HanaabHoH aeTonHCH noa 6604 (1096 r.) o npHxoae BoHHKa k KneBy: "npHae BTopoe Bohhk 6e36oxHbin, meayaHBHH oTan x^i^hhk k KbieBy BHe3any h Maao b rpaa^ He Btexama noaoBnH, h 3axroma 6oaoHbe oKoao rpaaa..." (BarHaeBHH 1843: 163). Cnoco6HocTbro cxnraTb ropoaa cbohm B3raaaoM
310
Enena E. fleeKueecKast
oönanaeT h CononoBbiñ ByHbo. CoraacHO ranHiKoMy Hapo^HOMy npenaHbro, Korna KHa3b PoMaH TanHiKHH cpyÖHn CononoBoMy ByHbo ronoBy, "crana ronoBa kothth ca. Bpobh y toh ronoBH öynH TaKH noBrH, ^o ohh CKpH3b hhx ahbhth ca He MornH. To aK pa3 nHnHana xene3HHMH BHnaMH th öpoBH Ha cTaTiH ronoBH, h ronoBa nonHBHna ca H3 MorHnaK Ha Topo^H^e, to iHne Te mhcto 3ananHno ce" [Crana ronoBa KaTHTbca. Bpobh y 3toh ronoBH öbinH TaKHMH jiHHHHMH, hto rna3a cKBo3b He MornH BH^eTb. KaK nonHana xene3HHMH BHnaMH Te öpoBH Ha oTceneHHoñ ronoBe, h ronoBa nocMoTpena H3 MorHnoK Ha ToponH^e, to lenbH ropon 3aropenca] (P.H 1891: 302, cp. TaKxe XeöpoBcKHH 1851: 66-71). 06 ocoöeHHocrax B3rnana ranHiKoro nonyneMoHa, Ha3HBaeMoro Szetudywy Buniak, TaKxe HaneneHHoro jihhhhmh BeKaMH, HHKaKHx cBeneHHH He conepxHTca (BaraneBHH 1843: 163). Heoöxo^HMo nonnepKHyTb, hto Bce nepenHcneHHbie nepcoHaxH, oönanaro^He naTonoraeñ rna3, b BocTOHHocnaBaHcKoñ TpanHiHH hh pa3y He BCTpenaroTca b öbinHHKax c croxeTOM THna AapHe, ToMncoH 307, nonoxeHHHM b ocHoBy noBecTH Torona.
B cBoro onepe^b nepcoHaxH cooTBeTCTByro^Hx HaponHbix öbinmeK, BH3BaHHHe, htoöh yBH^eTb cKpbiToro anoTponeaMH rnaBHoro repoa, He HMeroT KaKHx-nHÖo HeHopManbHHx H3MeHeHHH rna3, 3a HcKnroneHHeM enHHcTBeHHoro H3BecTHoro HaM roxHopyccKoro TeKcTa. B o^hoh h3 TynbcKHx öbinmeK yMepmaa BenbMa, He cnocoÖHaa oÖHapyxHTb b iepKBH napHa, wraro^ero Han Heñ ncanrapb, oöpa^aeTca 3a noMo^bro k kphboh BenbMe (Komhh 1899 :41). KpHBH3Ha, KaK h cnenoTa b HaponHoñ cnaBaHcKoñ TpanHiHH - ycToHHHBbH npH3HaK hhomhphhx cy^ecTB, Hba ^H3HnecKaa y^epÖHocTb He MemaeT hx cBepxBHneHHro.
OöpaTHMca k neMoHHnecKHM cy^ecTBaM, oKpyxaro^HM BHa, kotophx Toronb Ha3bBaeT "rHoMaMH". 06^eH3Becrao, hto raoMbi - nepcoHaxH 3ananHocnaBaHcKoñ MH^onorHH (BepHee — aneMeHT BnHaHHa HeMeiKoñ TpanHiHH Ha cnaBaHcKyro) — b yKpaHHcKoñ MH^onorHH He H3BecTHbi. BHemHHñ bha "raomob" b noBecTH Torona (nCC 1957: 574) HecoMHeHHo cBHneTenbcTByeT o npHHiHnax KoHcTpynpoBaHHa neMoHHnecKHx cy^ecTB, xapaKTepHbix nna eBponeñcKHx h pyccKHx poMaHTHKoB, H3o6paxaro^Hx cTpamHoe h "HHoMHpHoe" KaK coBMe^eHHe HecoenHHHMbix neTaneñ h npenMeToB (npaMaa napannenb roroneBcKHM "rHoMaM" — nymKHHcKaa "mañKa aomobhx" h3 cHa TaTbaHb, co3naHHaa no ToMy xe poMaHTHnecKoMy npHHiHny; .oTMaH 1980: 272-273). H3nHmHe roBopHTb, hto "hto-to b BHne orpoMHoro ny3bipa, c Tbicanbro npoTaHyTbix H3 cepenHHb Kne^eñ h cKopnHoHHbix xan" HnH "nynH^e b nepenyTaHHbix Bonocax", ynoMaHyTbe ToroneM b KanecTBe "copaTHHKoB" BHa, accoiHHpyroTca He c nepcoHaxaMH yKpaHHcKoñ MH^onorHH, a, cKopee, c ^aHTacTHnecKHMH oöpa3aMH H3BecTHoñ KapTHHbi Bocxa "HcKymeHHe cb. AHToHHa" (b HeKoTopbix H3 hhx HccnenoBaTenH ycMaTpHBanH npaoöpa3 h caMoro BHa).
Btopoh npHHiHn H3oöpaxeHHa "hhomhphocth" b poMaHTHnecKoñ acTeTHKe -HarpoMoxneHHe, H3ÖbiToHHocTb KonmecTBa neTaneñ, H3 kotophx KoHcTpyHpyeTca nepcoHax. HMeHHo TaK onHcaHH caM Bhh h npo^He neMoHH, hto nano noBon C.n.ffleBHpeBy 3aMeTHTb: "yxacHbie BHneHHa ceMHHapHcTa b iepKBH öbinH KaMHeM npeTKHoBeHHa nna aBTopa. 9th BHneHHa He npoH3BonaT yxaca, noTOMy hto ohh cnHmKoM nonpoÖHo onHcaHH. Yxacroe He MoxeT ÖHTb nonpoÖHo: npH3paK Torna cTpameH, Korna b HeM ecTb KaKaa-To HeonpeneneHHocTb..." (ffleBbipeB 1835: 410).
B HaponHoñ KynbType npHHiHnbi onHcaHHa MH^onoranecKoro HHHe:
Bo-nepBbix, - oTcyTcTBHe b arnponoMop^HoM oönHKe MH^onoranecKoro cy^ecraa HeoöxonHMHx nacTeñ Tena, ero ^H3HnecKaa y^epÖHocTb, HenonHoieHHocTb (oTcyTcTBHe
311
K Bonpocy o6 o.Hoft mhcth^hkeuhh hah roroaeBCKHH Bhh npH CBeTe yKpaHHCKOH MH^onorHH
cnHHHoro xpe6Ta, KocTen, xpoMoTa, KpHBH3Ha h nofl.). Bo-btophx, rnnepTpo^npo-BaHHocTb nacren TeAa (toaobh, noAoBbix opraHoB h nofl.). H HaKoHen, flAa nepcoHaxen c 3oomop^hhmh nepTaMH xapaKTepHo 6nHapHoe coeflHHeHne HacTen TeA peaAbHbix xhbhx cymecTB (^apaoHKa — noAyxeH^HHa-noAypbi6a, BaMnnp — HeAoBeK c co6aHben toaoboh, BoflaHon — HeAoBeK c KopoBbHMH KonbrraMH h T.fl.).
B 6biAHHKax npn onncaHHH BcTpeHH HeAoBeKa c Henncron chaoh KaK pa3 h HMeeT MecTo Ta HeonpefleAeHHocTb, o kotopoh tobopha ffleBbipeB, KaK o Heo6xoflHMoM npH3HaKe yxacHoro. B TeKcTax HapoflHon KyAbTypbi o6hhho flo caMoro koh^ paccKa3a 6biBaeT He hcho, kto nepefl HeAoBeKoM - xHBoe cymecTBo hah fleMoH, nocKoAbKy c tohkh 3peHHa HapoflHoro co3HaHna, ocHoBHaa h Han6oAee TpyflHaa 3aflana flAa fleMoHa KaK "HHoMnpHoro" cymecTBa — He oTAHHaTbca ot HeAoBeKa h flpyrnx 3eMHHx cymecTB, a KaK moxho TonHee HMHTHpoBaTb hx, hto6h BBecTH b 3a6AyxfleHHe h o6MaHyTb HeAoBeKa. H ToAbKo oflHa-flBe 3HaKoBHe fleTaAH B o6AHKe HAH noBefleHHH He3HaKoMna (rpoMKHH cMex, 3oAoTHe nyroBHnH Ha Ka^TaHe, KoHcKHe KonHTa h nofl.) no3BoAaroT pacno3HaTb ero fleMoHHnecKyro npnpofly. OaHTacTHHecKHe o6pa3bi HapoflHon KyAbTypH b npHHnnne He
MoryT 6biTb HcnoAb3oBaHH B AHTepaTypHoM TeKcTe B cBoeM "ecTecTBeHHoM" BHfle,
nocKoAbKy y AHTepaTypH h y MH^oAorHHecKon Tpaflnnnn pa3HHe 3aflaHH h ^yHKqHH. ^ro6oñ AHTepaTypHHH TeKcT, H3o6paxaro^HH c^epy noTycTopoHHero, npecAeflyeT hhcto acreTHHecKHe 3aflanH. ^ah poMaHTHKoB TaKaa neAb — co3flaHHe poMaHTHHecKoro rpoTecKa, aTMoc^epbi poMaHTHnecKoro yxaca.
y TeKcToB TpaflHnnoHHon KyAbTypb ocHoBHbie 3aflaHH — hhcto nparMaTHHecKHe. 3flecb rAaBHoe — cTepeoTHnHocTb h y3HaBaeMocTb MH^oAorHHecKoro o6pa3a, nocKoAbKy MH^oAorna no cBoeMy coflepxHT onncaHHe MHpa, ero o6tacHeHHe h KAaccn^HKannro, nepeflaBaeMbe ot noKoAeHHa k noKoAeHHro. A KAaccn^nnnpoBaTb 3AeMeHTbi MHpa, b Tom HHcAe H noTycTopoHHHe, MoXHo ToAbKo Ha ocHoBe BbHBAeHHH hx o6^hx, noBToparo^nxca npH3HaKoB. Heo6xoflHMocTb nepeflaHH KyAbTypHon HH^opMannn cAeflyro^eMy noKoAeHHro craBHT nepefl 6^iahhkoh e^e h o6ynaro^ne 3aflaHH — KaK oTAHHHTb fleMoHa, MacKHpyro^eroca nofl HeAoBeKa, ot peaAbHoro HeAoBeKa, KaK H36exaTb onacHocTH ot cToAKHoBeHHa c HeHHcTon chaoh. 3cTeTHHecKHe 3aflaHH flAa TeKcToB HapoflHon fleMoHoAorHH BTopocTeneHHbi.
nofl KoHen xoTeAocb 6h BbicKa3aTb oflHy rnnoTe3y, o6,bacHaromyro, Ha Ham B3rAafl, acTeTHHecKyro Heo6xoflHMocTb 3aMeHbi BneM cooTBeTCTByro^nx nepcoHaxen HapoflHbix 6biAHneK b noBecTH roroAa. bhao 6h HenpocTHTeAbHon HaHBHocTbro paccMaTpHBaTb poMaHTHHecKHe noBecTH "BeHepoB Ha xyTope 6ah3 ^HKaHbKH" h "Mnpropofla" KaK yne6Hoe noco6ne no yKpaHHcKon 3THorpa^HH. O cHAbHon 3aBHcHMocTH IoroAa ot eBponencKoro poMamroMa b nepnofl ero pa6ora Hafl "MnpropofloM" h o HecooTBeTcTBHH H3o6paxaeMbix hm "yKpaHHcKHx" KapTHH peaAbHoMy yKAafly h TpaflnnnaM yKpaHHcKoro KpecTbaHcTBa nncaAH MHorne (cm., xoth 6h: ffleBbipeB 1835: 396-411, KyAHm 1861, A.K., ro.O. 1902: 641).
3aBHcHMocTb ot eBponencKHx poMaHTHKoB npoaBHAacb, b HacTHocTH, b Bbi6ope croxeToB flAa noBecTen "Mnpropofla". K npHMepy, croxeT noBecTH "CTpamHaa MecTb" 3aHMcTBoBaH H3 noBecTH .HroflBHra TnKa "nbeTpo AHoHe" h "npnnpaBAeH" KapnaTcKHM koaophtom (A.K., ro.O. 1902: 641). B cbh3h c sthm moxho cfleAaTb ocTopoxHoe npeflnoAoxeHHe, hto nepBoHanaAbHo toahkom k co3flaHHro "Bhh" nocAyxHAH He cooTBeTcTByro^ne yKpaHHcKHe 6^iahhkh, a poMaHTHHecKoe AHTepaTypHoe npon3BefleHne. HMeeTca b BHfly 6aAAafla Po6epTa CayTH "The witch of Berkley", nepeBefleHHaa
312
Enena E. fleeKueecKast
B.A.XyK0BCKHM B 1814 r. Ha pyccKHH a3biK noa Ha3BaHHeM: "Baaaaaa, b kotopoh onHCHBaeTca, KaK oaHa CTapymKa exaaa Ha HepH0M K0He BaBoeM h kto CHaea BnepeaH". B aT0H öaaaaae CayTH Hcnoab3yeT croxeT aHraHHCK0H HapoaHoH aereHabi o BeabMe, K0T0paa Beaeaa noaoxHTb ceöa nocae CMepTH b 0K0BaHHbiH xeae30M rpoö h nocTaBHTb b nepKBH, rae CBa^eHHHKH aoaxHbi öhjh cayxHTb Haa HeH naHHxnay b TeHeHHe Tpex H0Heö. Ho, HecM0Tpa Ha npHHarae Mepbi, Tpyn BeabMH öbia yHeceH abaBoaoM h3 nepKBH. CroxeT aT0H aereHabi aBaaeTca 3anaaHoeBponeHcKHM BapHaHT0M B0CT0HH0caaBaHCKHx ö^iaHHeK o napyöKe h BeabMe.
Moxho npeanoaoxHTb, hto öaaaaaa CayTH b nepeBoae _XyK0BCK0r0, reHeTHHecKH Bocxoaa^aa k 3anaaH0-eBponeHcKHM BapHaHTaM croxeTa AapHe-ToMncoH 307, aBHaacb aaa Toroaa CBoeoöpa3HHM poMaHTHHecKHM "KaHme", Ha K0Topoe Haaoxnaca croxeT xopomo eMy H3BecTH0H yKpaHHCK0H öhjhhkh, "poacTBeHHHnbi" aHraHHCK0H aereHabi. OcH0BaHHeM aaa TaKoro npeanoaoxeHHa cayxaT MHoroHHcaeHHHe nepH^pa3bi h3 öaaaaaH "o CTapymKe" b TeKCTe "BHa", ocoöeHHo b toh HacTH noBecTH, rae roBopHTca o H0HHbix yxacax b uepKBH. B nepeHHcaeHHH aeTaaeH H0HH0r0 öecHHHCTBa HyaoBH^ Toroab aBH0 caeayeT 3a TeKCT0M _XyK0BCKoro: "H CH0Ba peB, h myM, h TpecK y BpaT; I rpbi3yr 3aM0K, b 3aTBopb pByrca; I KaK öyaTo BHxpb... I KaK öyaTo CTenb necHaHHyro opKaHI CBHCTa^HMH KpbiaaMH poeT... I H xpaMa aBepb co ctykom 3aTpacaacb h Ha noa pyxHyaa c neraaMH... I ^poxa ynaa HepHen npea aaTapeM;I MoaHTbca chjh HeT..." (Xykobckhh I: 423, 425, 427). A bot ^paraeHbi h3 TeKCTa Toroaa: "BHxpb noaHaaca no nepKBH, nonaaaaH Ha 3eMaro hkohh ... aBepH copBaaHCb c neTeab ... CrpamHbiH myM ot Kpbia h napanaHba KorxeH HanoaHHa Bcro nepK0Bb ... y Xomh Bbimea h3 roaoBbi nocaeaHHH 0CTaT0K xMeaa. Oh T0abK0 KpecTHaca, aa HHTaa KaK nonaao MoaHTBbi" (roroab 1959:423).
EcaH aTa rHnoTe3a BepHa, nepea HaMH yHHKaabHbrä cayHaH, Koraa HCT0HHHKaMH aHTepaTypHoro npoH3BeaeHHa aBaaroTca aBa reHeranecKH poacTBeHHbix BapHaHTa oaHoro oö^eeBponeöcKoro ^oabKaopHoro croxeTa, B3aTbie h3 aByx pa3Hbix TpaaHnHH — yKpaHHCK0H h aHraHHCK0H, npH aT0M aHraHHCKHH BapHaHT, "npony^eHHbm" Hepe3 "ropHHao" aB0HH0H aHTepaTypH0H oöpaöoTKH (CayTH h _XyK0BCKoro), npHBHocHT b poacTBeHHbiH yKpaHHCKHH croxeT acTeTHKy eBponeHcKoro poMaHTH3Ma. HMeHHo 0Ha 0TaHHaeT npoH3BeaeHHe Toroaa ot yKpaHHCK0H öhjhhkh. A aT0, b CBoro oHepeab, onpeaeaaeT h oöpa3 raaBHoro repoa, K0HCTpyHp0BaHHe K0Toporo HeH3öexH0 npoHcxoaHT no 3aK0HaM poMaHTHHecKoro H3oöpaxeHHa "HH0MHpHoro" — KaKaa-HHöyab 3aypaaHaa, "npHeBmaaca" BceM KHeBCKaa BeabMa aBH0 öbiaa öbi He cnocoöHa pemHTb raaBH0H acTeTHHecK0H 3aaaHH npoH3BeaeHHa - C03aaHHa aTMoc^epn poMaHTHHecKoro yxaca.
XoHeTca oöpaTHTb BHHMaHHe e^e Ha oaHy aeTaab, roBopa^yro b noab3y H3a0xeHH0H rHnoTe3b o 3aHMCTB0BaHHH — b yKpaHHCKHx HapoaHbx ö^iaHHKax napyöoK (coaaaT, MoaoaoH CBa^eHHHK h noa.) noHTH Bceraa BbixoaHT noöeaHTeaeM Haa HeHHCT0H CHaoH öaaroaapa npaBHabH0My Hcn0ab30BaHHro anoTponeHHecKHx cpeacTB h C0BeT0B CTapmero n0M0^HHKa. B öaaaaae CayTH, coraacHo 3aK0HaM poMaHTHHecKoro rpoTecKa, HepHen He b CHaax np0THB0CT0aTb abaBoay (cp. ^HHaa "Bna"). HHTepecHo, hto nepeBoa XyK0BCK0r0 öbia 3anpe^eH ayx0BH0H neH3ypoö, "KaK nbeca, b kotopoh abaBoa TopxecTByeT Haa nepK0Bbro, Haa BoroM" (XyK0BCKHH I: 592).
H3aoxeHHbH Bbime MaTepHaa no3BoaaeT caeaaTb HeK0T0pbie BbiBoabi:
1) nepcoHax c HaöopoM npH3HaK0B, npHnHCbiBaeMbix ToroaeM BHro, hh b yKpaHHCK0H, hh b Booö^e caaBaHCK0H MH^0a0rHHecK0H CHCTeMe He oöHapyxeH, npH T0M, HT0 öoabmHHCTBo 0TaeabHbix M0THB0B, CoCTaBjaro^Hx aT0T 0öpa3, B pa3H0H CTeneHH
313
K Bonpocy o6 o.Hoft mhcth^hkeuhh hah roroaeBCKHH Bhh npH CBeTe yKpaHHCKOH MH^onorHH
npncy^a pa3.HHHbiM MH^o.orHnecKHM nepcoHaxaM c.aBaHcKHx Hapo.Hbix Tpa.nunft, b tom nnc.e h yKpanHCKoft.
2) Ecrb Bce ocHoBaHna CHHTaTb o6pa3 Bna TBopeHneM He "npocToHapo.Horo Boo6paxeHHa", a aBTopcKoft ^aHTa3HH HnKo.aa Bacn.beBHna Ioro.a, cKoHcTpy-npoBaBmero cBoero repoa H3 pea.bHbix MH^o.oranecKHx mothbob, BCTpenaro^nxca b c.aBaHcKHx Tpa.nnnax, ho no 3aKoHaM poMaHTHnecKoft acTeTHKH. 06 3tom cBH.eTe.bcTByroT, b HacraocTH, cnoco6bi BbipaxeHHa "hhomhphocth" b Hapo.Hoft Tpa.nnHH, oT.Hnaro^neca ot npnHnnnoB onncaHHa .eMoHHnecKHx nepcoHaxeft b aBTopcKoft .HTepaType. noaToMy .eKnapannro Ioro.a o "Ko.occa.bHoM co3.aHHH npocToHapo.Horo BbipaxeHHa" c.e.yeT cnecTb 6.ecTa^e y.aBmeftca .HTepaTypHoft MHcTH^HKanneft, ..a^eftca bot yxe no.Topa BeKa.
^HTepaTypa
AapHe, ToMncoH - Aarne A., Thompson S. The Types of the Folk-Tale. A Classification and
Bibliography. Helsinki, 1961. A6aeB 1958 - A6a.ee B.M. 06pa3 Bna b noBecTH H.B.Ioro.a // PyccKHft $o.bK.op. M.- .H., 1958. T.3.
A.K., ro.O. - A.K., "CrpamHaa MecTb" Ioro.a h noBecTb TnKa "nbeTpo AHoHe" //
PyccKaa CrapnHa 1902. N 1-3. A^aHacbeB - A$anacbee A.H. PyccKHe Hapo.HHe cKa3KH. M., 1957. T. 1-3. A^aHacbeB I - A$anacbee A.H. noaTHnecKHe Bo33peHHa c.aBaH Ha npnpo.y. M., 1865. T. I.
Barn.eBHH 1843 - Bazrneem M. BeHoK pycnHaM Ha o6xhhkh // Biblioteka narodowego
zakladu Ossolinskich. 1843. T. VI. THaTMK 1912 - rnamwK B. 3Ha.o6n .o yKpaiHcbKoi .eMoHo.borii' // ETHorpa^iHHHft
36ipHHK. HbBiB. 1912. T.34. Toro.b 1959 - rozMb H.B. Co6paHne co^HHeHHft b mecTH ToMax. M., 1959. T. 2. TpnHHeHKo I-II - rpunneHKo E.ff. 9THorpa^HHecKne MaTepna.bi, co6paHHbie b
HepHnroBcKoft h coce.HHx c Heft ry6epHHax. HepHnroB 1895, 1897. Bbin. 1-2. Xe6poBcKHft 1851 - Me6poecKuu T. H.o. CBaToc.aBa // OTenecTBeHHbie 3anncKH. 1851. N 7.
XyKoBcKHft I - 3apy6exHaa noa3na b nepeBo.ax B.A.XyKoBcKoro. M., 1985. T. I. 3aftneBa 1975 - 3aftneBa H.H. MH^o.oranecKaa .eKcnKa b nemcKoM h c.oBanKoM a3biKax. ^nccepTanna Ha concKaHne yneHoft cTeneHH KaH.H.aTa ^H.o.oranecKHx HayK. Mhhck, 1975.
3e.eHHH - 3enenun ff.K. Hapo.HHe cKa3KH BaTcKoft ry6epHHH. CnB., 1915. 3e.eHHH I - 3enenuH ff.K. OnncaHne pyKonnceft yneHoro apxHBa HMn. PyccKoro
Teorpa^HnecKoro 06^ecraa. nr., 1914. T. I. HBaHoB 1973 - Meanoe Bhh. Bc. KaTeropna "BH.HMoro" h "HeBH.HMoro" b TeKcTe: e^e pa3 o BocTOHHoc.aBAHcKHx ^o.bK.opHbix napa..e.ax k roro.eBcKoMy "Bnro" // Structure of Texts and Semiotics Culture. Hague-Paris, 1973. Ko.hhh 1899 - Komun A. BepoBaHHa KpecTbaH Ty.bcKoft ry6. // 3raorpa^HHecKoe
o6o3peHHe. 1899. N 3. Ky3MHneBcKHft 1887 - KysMuneecKuu n. ffle.y.HBbift ByHaKa b yKpanHcKHx Hapo.HHx cKa3aHHax // KneBcKaa CTapnHa. 1887. N 8, 10.
314
Enena E. fleeKueecKast
Kynnm 1861 - Kyrnw nA. 06 3THorpa^HHecKHx HeT0HH0crax b noBecTH Torofla // OcHOBa. 1861. T. 1.
^OTMaH 1980 - flomMan W.M. PoMaH A.C.nymKHHa "EBreHHH OHerHH". KoMMeHTapHH. tt, 1980.
MeH^e^bcoH 1897 - Mendenbcon H.M. K noBepbaM o cb. KacbaHe // 9THorpa^HnecKoe
o6o3peHne. 1897. M 1. MH^opafloBHH 1896 - Mrnopadoem B. K Bonpocy o6 HcTOHHHKax "BHa" // KHeBcKaa
CTapnHa. 1896. kh. IX. MH^o^orHHecKHH 1991 - MH^o^orHHecKHH raoBapb. M., 1991. neTpoB 1937 - nempoeB.U. KoMMeHTapHH // no^Hoe co6paHHe co^HHeHHH H.B.Iorofltf. M., 1937. T. 2.
nCC 1957 - roionb H.B. nomoe co6paHHe co^HHeHHH b 12 ToMax. M., 1957. T.2. P.H.H. 1891 - P.M.H. K paccKa3aM o me.nyflHBoM ByHaKe // KHeBcKaa CrapHHa 1891. M 7-9. PoMaHoB 1887 - PoManoe E.P. Be^opyccKHH C6ophhk. BHTe6cK, 1887. T.3. CyMnoB 1892 - CyMuoe H.&. naparae^H k noBecTH H.B.Iorofltf "Bhh" // KHeBcKaa CTapHHa. 1892. T.3.
Tpy6aneB 1965 - Tpy6anee O.H. H3 c^aB^Ho-HpaHcKHx ^eKcHnecKHx oraomeHHH //
9THMo^orHa-1965. M., 1966. OeBbipeB 1835 - ^eeupee C.n. O 3aBHcHMocTH Toro^a ot HeMenKHx poMaHTHKoB THKa
h To^MaHa // mockobckhh Ha6^roflaTeflb. 1835. T.1. Moszynski II, 2 - Moszynski K. Kultura ludowa Slowian. Warszawa, 1968. T.II. Cz. 2.
315
K Bonpocy o6 oähoh MHCTH^HKauHH HnH roroneBCKHH Bhh npn CBeTe yKpaHHCKOH MH^onorHH
Zur Frage einer Mystifikation oder Gogols Vij im Lichte der ukrainischen
Mythologie
Elena E. Levkievskaja
Die Figur mit einer Reihe von Merkmalen, die Gogols Vij zugeschrieben werden, ist weder im ukrainischen noch im allgemeinslawischen mythologischen System nie entdeckt worden. Mehrere Motive einschließlich dieser Figur, sind aber für verschiedene mythische Wesen der slawischen (und auch der ukrainischen) Volksüberlieferungen typisch. Man kann begründeterweise vermuten, daß die Figur von Vij nicht von der Volkseinbildungskraft, sondern von der Phantasie des Autors geschaffen worden ist, welcher seinen Haupthelden aus mehreren in der slawischen Tradition wirklich existierenden Motiven nach den Regeln der romantischen Ästhetik zusammengebaut hat. Davon spricht auch die Art, die Zugehörigkeit zu der "anderen Welt" zu beschreiben, die in der Volkstradition anders als in der Literatur ist.
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