The system of epic characters of olonkho "Bogatyr Tong Saar" by S. N. Karataev

Kuzmina Aitalina Akhmetovna PhD in Philology Senior Scientific Associate, Institute for the Humanities and Problems of the Indigenous Peoples of the North of Siberian Branch of the Russian Academy of Sciences 677027, Russia, respublika Sakha (yakutiya), g. Yakutsk, ul. Petrovskogo, 1, of. 414 aitasakha@mail.ru Other publications by this author

The main plot units in the Yakut heroic epic are the characters – actors. The epic character system has a high degree of stability. In epic studies, the images of olonkho were first characterized by the folklorist I. V. Pukhov ^[12]. Subsequently, Yakut folklorists continued to study the images of olonkho ^{[1; 2; 3;4; 6; 7; 9; 14; 16]}.

The relevance of the work is due to the need for a detailed study of the character system of the Yakut epic Olonkho, determining their role in the development of the plot, and identifying new images. The purpose of the article is to reveal the system of epic characters of the Yakut heroic epic "Bogatyr Tong Saar" by S. N. Karataev, which belongs to the Vilyuisk epic tradition of olonkho ^[5]. The novelty of the research lies in the fact that for the first time the system of characters of this legend is studied using the methodology of V. Ya. Propa.

The research material is the olonkho "Bogatyr Tong Saar" by Semyon Nikolaevich Karataev from the Vilyui district, recorded in 1938 by A. A. Savvin during the Vilyui expedition. The manuscript of this legend is kept in the manuscript collection of the archive of the Yakut Scientific Center SB RAS. In 2004 This olonkho was published as part of the series "Sakha booturdara" ("Heroes of Sakha").

From a methodological point of view, the research of B. V. Tomashevsky ^[15], V. Ya. are very important for us. Propp ^[11], E. M. Meletinsky ^[8], I. V. Pukhov ^[12], N. V. Yemelyanova ^{[2; 3]}, N. B. Purveeva ^[13], N. V. Petrova ^[10], etc. Structural and functional analysis is used as the main research method.

Olonkho S. N. Karataeva "Bogatyr Tong Saar" consists of two parts. The first part tells about the deeds of the hero Tong Saar. No other written sources record such an eponym. To? – "frozen, strong, solid"; N. V. Yemelyanov cites as an example the name of the hero-abaasy Tong Tuoraldyn from olonkho "Er Sogotokh" in the collection of S. V. Yastremsky translates it as a Vile Thorolzhun, emphasizing its negative connotation ^{[3, p. 129]}. The second compound word of the name, Saar, has different interpretations. So, N. V. Yemelyanov adheres to the interpretation proposed by E. K. Bakers, according to which the Saarland is "neat, stocky" ^{[3, p. 129]}. Perhaps, in parallel with the native Yakut word Saar, there was a word borrowed from the Russian language tsar. In the repertoire of Yakut storytellers, the word Saar is found in the names of the heroes of Olonkho, especially it is characteristic of the Vilyuisk epic tradition. However, in this study we do not set ourselves the task of analyzing the etymology and semantics of this anthroponym, we will limit ourselves to a list of names of olonkho with the word Saar and derivatives from it: "Bogatyr Mung Saar" by F. N. Timofeev (Verkhneviluysky ulus), "BogatyrkHaryla Saar" by T. P. Gogolev (Vilyuysky ulus), "Seryen Saar" by M. S. Shadrina (Vilyuysky ulus), "Sakha Saaryn" G. D. Egorova-Khabykka (Nyurbinsky ulus), "Sakha Saaryn" I. N. Nikolaeva (Nyurbinsky ulus), "Sakha Saaryn" V. E. Vasilyev (Nyurbinsky ulus), "Bogatyr Kyun Saarystyba" I. E. Torokhov (Nyurbinsky ulus), "Bogatyr Kyun Saarystyba" P. S. Semenova (Nyurbinsky ulus), "Modun Ogo Modurun Saar" D. I. Ivanov (Nyurbinsky ulus), "Tsar Kyrandabyys Saar" K. N. Innokentieva (Nyurbinsky ulus), "Bogatyr Saar Gudai" Ya. V. Vasilyeva (Suntarsky ulus), "Bogatyr Altan Saaryma" K. L. Kirillina (Suntarsky ulus), "Eminent Adaam Saar" I. D. Pavlov (Suntarsky ulus), "Bogatyr Alban Saar and Hara Makirden" G. M. Tarasov (Gorny ulus), "Sakha Saaryn Toyon, Ayyy Sandyl Khotun" Yrya Mehees (Namsky ulus), "Sakha Saaryn toyon, Ayyy Sandyl Khatyn" P. L. Kolesov (Namsky, Gorny ulus), "Mojuya Saaryn" D. M. Permyakova (Namsky ulus), "Ala Saaryn" Asaam Ogonner (Churapchinsky ulus), "Ala Saaryn" I. I. Teryutin (Churapchinsky ulus), "Bogatyr Bardam Saaryn" by D. V. Kysylbaeva (Verkhneviluysky ulus). Most of the texts of these olonkhos are not recorded by folklorists.

Researchers believe that "the poetics of the plot in the epic is largely the poetics of the hero, that is, a certain type of hero–hero is associated with certain plots" ^{[13, p. 42]}. The hero is the character who receives the most acute and vivid emotional coloring ^{[15, p. 202]}. Tong Saar belongs to the type of lonely heroes, as does Er Sogotoh (Single Husband). The olonkho exposition does not talk about his origin, parents, he lives alone. E. M. Meletinsky believed that the oldest type of legends about a lonely hero, the first ancestor, is found in the Yakut epic about Er Sogotokh ^{[8, pp. 28-30]}. At the same time, the researcher emphasized that the hero of olonkho can act under another name, often performing "identical heroic deeds."

As part of the nominal epic formula, it is said that Tong Saarvyros, standing on his head for thirty years on the top of Mount Duur, located on the south side ^{[5, p. 22]}:

N. V. Yemelyanov compares this with the image of the hero, "who sat (crippled) for thirty years" ^{[3, p. 129]}. Olonkho does not tell about the childhood, upbringing of the hero, which is typical for archaic epics, unlike the later type of olonkho and classical epic plots, including Russian epics ^{[10, p. 103]}. In S. N. Karataev's olonkho, the hero Tong Saar is described at the beginning of the narrative as a young man, and by the end of the journey, after the birth of his first son, he is already called an old man; after returning to his homeland, Tong Saar stops going on heroic campaigns, but hunts not far from home. It should be noted that in almost all olonkho texts, the age of the hero does not change, remains static, only occasionally his rapid growth is described; he does not have time to grow old, since the epic narrative usually ends with the marriage of the hero and his return to his homeland; his further fate ceases to interest the narrator, only in general it is mentioned at the end that the hero becomes the ancestor of uraanghai-sakha.

The storyteller S. N. Karataev in his olonkho "The Hero Tong Saar" departs from the traditional canon of the cessation of heroic deeds after marriage: Tong Saar, after the wedding night without a wedding, enters into battle with rivals. This episode, apparently, shows the domestication of the matchmaking motive.

In the second part of the epic narrative, the hero becomes the hero Yuryung Kyyrtai, the eldest son of the hero Tong Saar. In addition, at the beginning of the second part, his younger brother, the bull Xuleljin Bootur, also plays an active plot role, has the potential to become a hero. However, the absence of the betrothed and the disappearance of the character after the arrival of his older brother's betrothed to the place of residence leads the reader / listener to the idea that he is not the main character.

In the heroic epic, along with the hero, the antagonist is of great importance, all other characters are shown only in different relations to these main ones ^{[10, p. 61]}. The hero's opponents are the abaasi heroes, rivals from different worlds, the abaasi woman Saty Duodangai, werewolf beauties (introduced as the youngest daughter of Sir Nijili Baai Toyona Tulluktai Bergen, the youngest daughter of the old man Saha Saaryn Kemus Kulyumyurdyur Kuo).

The rivals of the hero Yuryung Kyyrtai are the heroes from the Lower World Timir Chuguunnai, Timir Chaalkantai and the hero-abaasy from the Upper world Hardaachchylan. If the bull Syuleljin Bootur warns his brother about the first two heroes-abaasy, then the third hero from the Upper World appears unexpectedly. The "guardian of the threshold" and another rival is the hero of Itii Bolguo, the son of the Fiery Sea of Wat Baikal. His sister Saty Duodaai offers the hero Yuryung Kyrtai to have sexual intercourse with her. The hero allegedly agrees and, taking advantage of the moment when the abaasy woman lies defenseless in anticipation of the upcoming intimacy, kills her. It should be noted that in many olonkho texts, the bogatyrs usually immediately refuse the offer of the abaasa woman and kill her.

The plot role of the wrecker / abductor of the wife of the hero, a Tunguska hero named Arjamaan-Jarjamaan, is very significant. Contrary to tradition, he is presented as the son of Seerkeen Sasen. He kidnaps the wife of the hero Tong Saar, having a high speed of movement on reindeer sleds, and fixes various obstacles for the hero. The name of the Tunguska prince Mylakhsin Tyurekhsin is mentioned, who must pay with his wealth for the atrocities of his tribesman. The image of the prince is found only in this olonkho. We think that this is a late stratification that appeared in the pre-revolutionary (tsarist) time, when the prince ruled the region. In the central, northern epic tradition, nothing is said about the father and tribesmen of the Tunguska hero, therefore, in the Olonkho of the Vilyui region, this image was most developed.

In olonkho S. N. Karataev there is a whole gallery of images of assistants: a heroic horse, a werewolf puppy, three shamanesses-ayyy from the Upper World (daughter of Cholbon Toyon shaman Tunalykan, daughter of Kyun Toyon shaman Kyugeljin Kuo, daughter of Y Toyon shaman Ytyk Ylymyrdyyr Kuo), brother-bull Syuleljin Bootur, bogatyr-ayyy Ajyna Bootur which play a crucial role in the achievement of the hero's goal. At the same time, the functions close to the assistants are performed by donors (blacksmith), blessers (eight shamanesses, three heavenly shamanesses, shaman Kyun Tagilikeen, the spirit mistress of the earth), predictors, path pointers (shaman Kyun Tagilikeen, the spirit mistress of the earth, bull Xuleljin Bootur), that is, as you can see, the same The character can perform different functions.

Instead of the old adviser Seerkeen Sasen, who shows the hero the way and purpose, which is often found in other legends, the shaman Kyun Tagiliken acts. The image of a shaman is characteristic of the Vilyu epic tradition, when, as in other traditions, it is almost not found. Perhaps this is due to the fact that shamanism was better preserved in the Vilyu region and was quite widespread until the 1920s; in addition, in everyday life people often used the services of shamans, including turning to them for fortune telling, which is reflected in the epic.

Girls / women ayyy Aitalyn Kuo and Ytyk Ylymyrdyyr Kuo (Ytyk Syrdystaan Kuo, Ytyk Syndyystaan Kuo) perform the function of the bride / wife (betrothed) of the hero. They do not play an active role in the plot, but because of them, the battles of the heroes of the three worlds take place. In S. N. Karataev's olonkho "Bogatyr Tong Saar" they are described as the youngest sacred daughters of their parents. After the birth of her first son and the arrival of her husband, Aitalyn Kuo is depicted as an old woman. At the end of the story, she and her husband, the hero Tong Saar, serve as the parents of the hero hero. And the age of Ytyk Ylymyrdyyr Kuo remains static. The place of localization of the hero's betrothed is "another country" in the Middle World – another space where matchmaking, the first battle / competition of rivals and the wedding party take place.

The parents of the bride / wife – Sir Sabya Baai Toyon and his wife Hotoljun Kuo, old man Harah Haan and his wife Kemus Honguruu Yuegeljin Kuo – are described as elderly people who occupy a special position in society (toyon – "lord"), possessing untold wealth (cattle, servants). They do not play an active role in the plot of olonkho. Without demanding payment of the kalym, they immediately agree to marry their daughter to a hero, which does not correspond to the traditional marriage customs of the Yakuts, which existed until the middle of the XX century. At the end of the narration, the mother of Ytyk Ylymyrdyyr Kuo sings a blessing chant.

In olonkho "Bogatyr Tong Saar" there is no traditional image of a messenger, partly its function is performed by an old cowgirl Simekhsin, who is the first to announce the arrival of a worthy groom - bogatyr Tong Saar. She is also an advisor to her hosts. In the legends of the Vilyui region, this image is found only in 12 olonkhos out of 40 and performs the following roles: herald of the arrival of the hero / hero-abaasy / about the abduction of the girl-ayyy; assistant to the hero's opponent; adviser; keeper of the traditions of the patriarchal family.

In the olonkho under consideration, there is an image of a victim – a servant boy who brought hay, whom the hero Yuryung Kyrtai kills for no particular reason and in his guise comes to the homeland of his betrothed. Thus, the motive of the arrival of the unknown hero, characteristic of the epic narrative, is realized.

So, in olonkho "Bogatyr Tong Saar" by S. N. Karataev, a whole system of character images is presented. In addition to the characters conditioned by the two parts of the olonkho narrative, images of antagonists – heroes, women-abaasi, rivals play an essential role in the unfolding of the plot. In this text, a significant place is occupied by the hero's assistants, the wrecker / kidnapper of the hero's wife (the Tunguska bogatyr). Girls / women are passive, but they play a role in motivating the departure of the hero. In the plot of olonkho, there are images of the parents of the bride / wife, a messenger, an old woman adviser Simekhsin, a victim servant, a blacksmith donor, which are not of great importance in the development of the plot, but complement the main images and contribute to their disclosure.

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