179
archaeological and cultural contexts. After this
apposite and appetizing conclusion of the day,
the participants were invited to the conference
dinner.
The second day of the symposium was
essentially devoted to language, literature and
mythology. The opening session, on “Literary
Structures”, started with Brian MacMahon
(University of Oxford) discussing the framing
devices used in the sagas, notably the epilogues,
in relation to scribal intention and the audience’s
interpretation of the act of storytelling. Moving
on to poetical structure, Nicholas Hoffmann
(University of Iceland) showed how verses in
a saga can embody and transmit its strange and
supernatural aspects, taking the example of the
understudied
Harðar saga Grímkelssonar.
Claudia Hoßbach (University of Greifswald)
followed by shifting the
focus onto the literary
device of laughter and seeking its function in
the
Íslendingasögur.
Madita
Knöpfle
(University of Basel) ended the session with a
consideration of how music interacts with
meaning in various Scandinavian variants of
the famous ballad
Den talende Strengeleg
[‘The Talking Harp’].
From there the following session proceeded
to “Language and Linguistics”, beginning with
Katherine Thorn’s (University of Iceland)
examination
of
the
mentions
of
multilingualism in the sagas and the cultural or
narrative importance for saga protagonists to
be able to communicate across linguistic
borders. Zooming in further on lexis, Johan
Bollaert (Uppsala University) presented the
results of his research on Romance loanwords
in the
riddarasögur and their subsequent fate
in Icelandic and Norwegian in the light of
theories about language contact and semantic
change. The session concluded with Denis
Sukhino-Khomenko
(University
of
Copenhagen, Visiting PhD from Lomonosov
Moscow State University) who raised the
question of Scandinavian impact on the
category of thegn (Old English
þegn meaning
originally ‘servant’) in the Danelaw, stressing
the complex evolution of the social group that
this word denoted.
Everybody was kept alert and entertained
after lunch by a lively session venturing into
the field of “Liminal Beings and Borders”.
Barbora Davidková (University of Iceland)
began by tracking down the trolls in
Barðar
saga Snæfellsáss in order to interpret their
feasting habits through
a cultural and religious
lens. Jonas Sandager Brammen Møller (Aarhus
University) followed with a presentation on
dísir, suggesting that these female figures are
best understood as agents of fate.
Barðar saga
then made a comeback as Daria Segal
(University of Iceland) used the abundance of
toponyms in the text to argue that naming was
a means of asserting control over the
undefinable otherness of liminal space. Blake
Middleton (University of Aberdeen) wound up
the discussion by addressing the problem of the
destination of supernatural beings (or of their
‘souls’) after death in Norse myth.
The symposium went full circle with its last
session,
which
bore
the
topic
of
“Reconstruction”.
Grayson
Del
Faro
(University of Iceland) gave an entertaining
lecture on textual discrepancies and methods
of reconstruction in the notorious case of
Sigurðarkviða
in
meiri,
and
Roderick
McDonald (University of Iceland), in an
interesting and intriguing finale, offered paths
for reconstructing the largely missing ‘Norse
Arthurian cycle’ through a comparison of the
figure of Kæi in Norse romance sagas to his
antecedent Cai in Welsh tradition.
It remained for the organizers to thank all
participants and the audience for yet another a
successful and enthralling symposium in
Aarhus. A wealth of ideas were shared and
probed, many fresh angles and perspectives
were opened onto research areas old and new,
and there was food for thought to take home
for everyone. The quality, variety, originality
and colourfulness of the presentations and the
abundance of interesting questions and
discussions – which merrily rolled on into the
final reception – bore witness to the vitality of
Old Norse and Scandinavian studies among
junior researchers. This bodes well for
scholarship in the field in future years; and in
the meantime, one now certainly awaits with
impatience yet another Interdisciplinary
Student Symposium on Viking and Medieval
Scandinavian Subjects, with new exchanges
and
new excitement, next year.
180
Svyatogor: Death and Initiation of the Russian Epic Hero
Jiří Dynda,
Charles University,
Prague
The monograph Svjatogor: Smrt a iniciace staroruského bohatýra (Svyatogor: Death and Initiation of the Russian Epic
Hero)
was published by Pavel Mervart, Červený Kostelec, in 2016.
This book presents a structural analysis and
comparative interpretation of thirty-seven
textual variants of the
byliny of bogatyr
Svyatogor. My contention is that the Russian
folk epics –
byliny – are a great candidate for
thusly based research due to their formal
qualities and subject matter.
The principal character of the presented and
analysed narratives is Svyatogor, an old and
tired hero of gigantic stature and superhuman
strength. In the songs he drowsily and solitarily
wanders through the regions of his eponymous
Holy Mountains (
Svyatye gory). This is the
only area in which he is allowed to dwell,
because due to his enormous strength the Moist
Mother Earth herself cannot bear his weight.
On these Holy Mountains Svyatogor is
encountered by Ilya Muromets, young and
progressive hero, the most famous
bogatyr of
the Russian bylinaic epics. He tries to attack
the sleeping giant, but Svyatogor drowsily puts
him into his pocket and carries him over the
mountains for a few days. Paradoxically, the
two heroes become friends and Svyatogor even
becomes Ilya’s mentor and teacher. The
narrative climaxes when the two
bogatyri find
an empty coffin in the among the stones and
they both try to lie inside it. The coffin is too
large for Ilya but is a fit for Svyatogor. When
the giant tries it out, he is miraculously trapped
and closed inside the coffin. Despite many
attempts to free him, Ilya cannot do anything
about it. Finally, Svyatogor acknowledges his
bitter fate – the inevitability of a predestined
death – and he offers a generous gift to Ilya: he
wants to pass on to Ilya a portion of his
enormous strength (
sila). Ilya agrees and
accepts Svyatogor’s gift. According to
regional variation, this
sila is represented
either by a breath that Ilya must inhale, or by a
series of many-coloured foams, sweats, or
salivas that come out of the dying hero and
which the young hero must lick from him. Odd
as it is, this central and cathartic moment is not
only uncanny in its form but also in its
consequences: the passed-down
sila usually
contains some malicious feature which
threatens Ilya’s life when mishandled. He
nevertheless escapes the dangers and,
strengthened by the powers of his dead mentor,
rides away to the steppes. In some variants, the
story is supplemented by an episode containing
Svyatogor’s unfaithful wife acting as mediator
between the heroes or by an episode featuring
Svyatogor’s blind father. In
this narrative, Ilya
must ride to him and announce the death of his
son before accepting a sign of his approval.
Even though the narratives above all deal
with the destined death of an old, tired, and
sleepy
bogatyr, I am convinced that their
parallel meaning in fact lies in a conceptual
second birth of a young epic hero. The
narrative is structured as if mirroring death of
the former, who is at the same time the hero’s
adversary
and teacher, and who escorts him
through his initiation. Simultaneously, these
narratives thematise the peculiar and delicate
matter of the relationship among the
generations and the problem of generational
change and succession. This is my hypothesis
and in this book I propose as many facts as
possible to support it.
The more general problem that lies behind
this book is the question of whether and how
possible it is to grasp and understand the
semantics of
old and rather
odd narratives –
myths – that in their original context must have
made a bit more sense than what we can make
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