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The Image of the North in the Yakut Heroic Epic Olonkho

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The Image of the North in the Yakut Heroic Epic Olonkho Journal of Siberian Federal University. Humanities & Social Sciences 4 (2018 11) 579-589 ~ ~ ~ УДК 81.33 The Image of the North in the Yakut Heroic Epic Olonkho Alina A. Nakhodkina* M.K. Ammosov North-Eastern Federal University 58 Belinsky Str., Yakutsk, 677000, Russia Received 02.03.2018, received in revised form 10.04.2018, accepted 13.04.2018 The article considers the image of the North, its nature, landscape, climatic features, and the antagonist creatures inhabiting it: male and female demons Abaahys and Ajarais, in the material of the Yakut heroic epic Olonkho “Nurgun Botur the Swift” by Platon Alekseevich Oyunsky, a prominent Yakut writer. Keywords: North, epic, landscape, space orientation, Abaahy, female, danger. DOI: 10.17516/1997-1370-0250. Research area: culturology. Yakut heroic epic Olonkho Epic forms of folklore are created in the The North is a vast and an endless source early stage of ethnos. Olonkho is an epic of a very of the richest treasury of multiethnic cultural ancient origin, originating from the times when heritage. The Yakut (their selfname is Sakha) the Yakut ancestors lived in their former homeland people that inhabited the Arctic territory centuries in the South and closely communicated with the ago brought their fantastic, picturesque oral genre ancestors of the Turk and Mongolian tribes living full of poetry and imagination – Olonkho – to the in the Altay and Sayan regions (Pukhov, 2013: north. 30). Kurykans, the Yakut people’s ancestors, had “Olonkho is a general term for the entire Yakut contact with the ancient Turk people in the 6th–8th heroic epic that consists of many long legends. centuries. Considering the fact that Olonkho has … The epic is believed to be created circa in the the features of connections with ancient Turks, it 8th–9th centuries” (Pukhov, 2013: 30-31). Innokentii is quite possible that they originated at the end of Pukhov also confirms that the length of Olonkho the first millennium, approximately in the th8 and usually reaches up to 10-15 thousand lines or even 9th centuries. According to the historical stages, more; large pieces of Olonkho reach up to over the Yakut epic belongs to the later tribal period. 20 thousand lines. In the past Yakut Olonkho A number of features prove that the Yakut epic performers created even larger pieces of Olonkho belongs to the tribal period, namely: Olonkho by blending different plots together, but those pieces mythology, reflecting the patriarchal and tribal were never recorded (Pukhov, 2013: 30). relations; the remnants of animistic views; the © Siberian Federal University. All rights reserved * Corresponding author E-mail address: [email protected] – 579 – Alina A. Nakhodkina. The Image of the North in the Yakut Heroic Epic Olonkho plots, featuring battles with fantastic monsters In 2005 UNESCO proclaimed Olonkho and creatures; the remnants of the general tribal an intangible masterpiece of human heritage, division of hunted goods (remaining in some launching a series of events in the Republic of pieces of Olonkho); and exogamous marriage Sakha such as the foundation of the State Target (Pukhov, 2013: 31). See the example from Nurgun Program on Reservation, Study and Dissemination Botur the Swift by Platon Oyunsky: of the Yakut Heroic Epic Olonkho, the NEFU Research Institute of Olonkho, the Olonkho In ancient times In warring, bloodthirsty times Theatre, the Olonkho Land, the Olonkho Portal Before the world changed, Beyond the evil horizon Of and many others. 2007 witnessed the start of the awful earlier years … (Oyunsky, 2014: 4) the large-scale Yakut-English translation project of the Djuluruiar Nyurgun Bootur by Platon The olonkho was considered by Seroshevsky, Oyunsky in Northeastern Federal University, a Polish scholar exiled to Yakutia, to be one of the Yakutsk, which was successfully completed with most perfect traditional oral forms of literature the English version of Olonkho Nurgun Botur the (Seroshevsky, 1993: 589). The main conflict of Swift published in 2013 (2014) by “Renaissance the olonkho revolves around a fight between Books” in London. humans – an epic tribe Aiyy, and good and evil Djuluruiar Nyurgun Bootur (Nurgun Botur spirits Abaahys/Ajarais for peace and balance the Swift) is the longest (thirty-six thousand in the Middle World and is based on the heroic lines) and most famous Sakha epic written by the accounts of a warrior, describing his deeds for outstanding Sakha poet, writer, researcher and a the sake of the Sakha people (Emelyanov, 1983: founder of the modern Sakha literary language, 1-10). Sivtsev-Sorun Omollon wrote about the Platon Alekseevich Oyunsky. He was the first to history of olonkho, recreate oral olonkho in a written form. Due to its cultural and literary significance, Nurgun“ Botur “The people called themselves Sakha used to the Swift” is often referred to as “northern Iliad” live deep in the South but removed to the Far North- and “Sakha Odyssey”. The plot of this heroic East during the great transmigration of peoples. epic develops around the protagonist, a mighty The childhood of the Sakha passed under the hot son of deities, Nurgun Botur who was sent with sun, but their youth and maturity saw the cruel fight his beautiful sister Aitalyn Kuo and a younger with the ice element of the North. Therefore, the brother Urung Uolan to the Kyladyky Valley to bright and magnificent images of the hot South, kept protect the inhabitants of the Middle World from in their memory, mixed with the dark images of the the constant attacks of the Under World’s Ajarais. North where the crack of an ice floe turns into the A demon Abaahy, Timir Jigistei, kidnaps Aitalyn cannon-shot and the fall of a small pebble turns into Kuo. Nurgun Botur has to withstand many the avalanche roar. For this reason, the greatness challenges and fights before rescuing his sister, and monumentality of Yakut olonkho and exclusive and connecting his life with a girl-warrior, Kys hyperbolism of its characters, shown, in particular, Nurgun. in the description of brave hunters and courageous warriors, juxtapose with the orientally exuberant, Traditional epic space orientation flowery style of lines and colours, sparkled as bright The epic space in olonkho consists of three and radiant as fairytale treasure, silk and fur” worlds: the Upper World – a land of celestial (Sivtsev-Sorun Omollon, 2011: 12). gods and deities, including demons Abaahys or – 580 – Alina A. Nakhodkina. The Image of the North in the Yakut Heroic Epic Olonkho Ajarais responsible for storms, etc.; the Middle space orientation. The west direction is similar World, inhabited by human beings; and the to the north direction due to its negative, “bad” Under World, a location of evil forces only; symbolism. The Araat Sea and the Kekhtiye which are located on the semantic oppositions Khaan mountain range are located in the west “north-south” and “west-east”. According to and north-west, and next to them there is a Semyonova (Semyonova, 2000: 7), additional dwelling of the future bride of Nurgun Botur – distinctive oppositions (stallion/ox, wood/ Kys Nurgun, a furious and beautiful warrior-girl Araat) to the space lexis mark a specific with black blood, a lizard in her heart, and frogs semantic and symbolic meaning of the parts of in her intestines. When she marries the epic hero, the world recorded in culture. The contradiction her temper is changed to peaceful, and she moves of “north-south” correlates with the “horse-ox” to the central Kyladyky Valley situated under the opposition. The Sakha considered the horse to Sacred Tree Aar-Luuk Mas. This change is to be a clean animal and connected it with the sky, some extent an obvious improvement. while the ox, associated with the earth, was The epic space is described fragmentarily: opposed to the horse. Cf. Dolgan olongkos that landscape is represented in outline. Elements of are very close to northern variants of Yakut the landscape such as woods, rivers, mountains, epic olonkho. They depict a sedentary, not seas, and valleys are also not the object of priority nomadic life. The Aiyy tribe breeds horses and description. The wood is a place of epic hero cows that Dolgans never herd, reindeer-herding travelling, while a mountain or seashore is a place is never mentioned in Dolgans’ olonkho. The of battle. Aiyy ride horses called a Turkic term “at”; Chartier wrote, “Imagined spaces, including while the Abaahys ride iron oxen – “ugus” (cf. the North and the Arctic, are constructed by Turk. O5uз, эгуз, угис – ox; Mong. yхэр – cultural material-language, figures, metaphors, cattle) harnessed to iron sledges (Alexeev, etc. – taken from different sources. They form a Efremov, 2000: 16) rich, complex network of discourses that transmit The opposition of “north-south” also strong cultural, political, and ideological values. functions as the vertical opposition of “down- The processing, forming and shaping of these up” realized in the epic olonkho as antagonism imagined spaces are collective and occur over a of the Upper World and the Under World, i.e. the long term” (Chartier, 2008: 29). antagonism of good deities Aiyy and demons Traditionally an epic quest starts in the south Abaahy, which is understood as a contradiction and leads to the north, imitating the model of the of “good/bad”. The contradiction of “east-west” Sakha migration to Siberia. The characters left is realized by another space code that could be behind their native land, the blessed sunny world called topographic, e.g. “wood-sea”. This code and approached the tundra in their adventures. is connected with the symbolism of parts of the world where “wood” correlates to the east His blessed valley Shone like a starlet in the and “sea” – to the west. Due to the traditional distance..
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