TREATISE on the SOUTH SLAVIC VILA I 1 a Treatise on the South Slavic Vila
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1 I A TREATISE ON THE SOUTH SLAVIC VILA I 1 A Treatise on the South Slavic Vila By Dorian Jurie, B.A. A Thesis Submitted to the School of Graduate Studies In Partial Fulfillment of the Requirements For the Degree Master of Arts McMaster University © Copyright by Dorian Jurie, September 2010 MASTER of ARTS (2010) McMaster University (Anthropology) Hamilton, Ontario TITLE: Treatise on the South Slavic Vila AUTHOR: Dorian Jurie, B.A. (University of British Columbia) SUPERVISOR: Professor John Colarusso NUMBER OF PAGES: vii, 72 ii ABSTRACT i I i I This thesis seeks to clarify the often confused understanding of the Serbo Croatian vila and elucidate her position within the archaic South Slavic world view. Through a survey of her nmctjonal traits within the Serbo-Croatian epics, the argument presented here attempts to typify her actions in the epic sphere, and 1 weigh those against her conception in the folkloric sphere, making a case for the I understanding and study of the vila as one distinct figure divided into two typological facets - one mythological in nature, the other a product of folk custom. From there the thesis explores a comparative Indo-European mythological study of the isolated epic functions of the vila, in order to properly posit her among similar analogues in the Indo-European myth system. iii ACKNOWLEDGEMENTS This thesis is dedicated to those who have helped me in this work and been there for me through the process. To Dr. John Colamsso for his insight, aid and company; all of this WOllld have been impossible without your help, reassurance and guidance, as well as your faith and tmst. I will dearly miss our weekly conversations. To Dr. Ellen Badone for her tireless editing, teaching and insight and her support in keeping me in-line and on-schedule. To Dr. Dean Miller for taking on this work out of the kindness of his heart, your presence in this project has assured me that my work is valid, and your insights have been more than helpful, you tmly are a literatus of the highest calibre. I would like to thank Maja Lah and Branka Marijan for helping me with my translations and making sure that my understandings are never too far off, as well as Dr. Ralph Bogert for all his help and expertise. Thanks must also be given to those behind the scenes. To my family for all of their support (of every manner and kind), it is a difficult thing to be so far away sometimes. To my father for giving me a place to dream about (even if completely inadvertently), and finally to Claire Andrews for her support over the last two years. During my time in Hamilton you have been my keenest editor, my strongest supporter and most ardent critic, my family, my home and, most importantly, my love. These times will always be with me. De nobis fabula narratur. iv T ABLE OF CONTENTS ABSTRACT....................................................................................................... iii ACKNOWLEDGMENTS..................................................... ............................. iv i TABLE OF CONTENTS.................................................... ............................... v LIST OF ILLUSTRATIONS .............................................................................. VI i GUIDE TO PRONUNCIATION........................................................................ vii I 1.0 Introduction.................................................................................................. 1 2.0 Historical Background.................................................................................. 2 2.1 The Serbs and Croats........................................................................ 2 2.2 Serbian and Croatian History to the Turkish Invasion................. ..... 4 2.3 The Balkans Under Turkish Control and the Rise of Epic Singing.. 5 2.4 The Art of the Guslar and Yugoslav Folk Singing........................... 6 2.5 The Collection of South Slavic Epics.......... ..................................... 9 3.0 Methods........................................................................................................ 12 3.1 Theoretical Background.................................................................... 13 4.0 The Vila......................................................................... ................................ 15 4.1 The Vila in Folklore and Folk-Custom............................................. 15 5.0 The Vila in Myth........................................................................................... 19 5.1 First Function Traits - Magico-Sovereign Aspects........................... 19 5.2 Second Function Traits - Warrior Aspects ........................................ 25 5.3 Third Function Traits - Fertility Aspects...................... .................... 29 5.4 Ambiguous Traits.............................................................................. 32 6.0 The Rusalka.................... ............................................................................... 34 7.0 Conclusions Regarding the Functional Divide of the Vila...... ...... ................ 37 8.0 The Vila and the Indo-European Myth World ............................................... 38 9.0 The Vila and the Valkyrie .............................................................................. 39 9.1 First Function Traits.......................................................................... 39 9.2 Second Fuhction Traits ...................................................................... 41 9.3 Third Function Traits ......................................................................... 43 9.4 Conclusions Regarding the Vila and the Valkyrie ............................. 46 10.0 The Apsarii.................................................................................................. 47 10.1 First Function Traits........................................................................ 47 10.2 Second Function Traits .................................................................... 48 10.3 Third Function Traits ....................................................................... 50 11.0 Iranian Material- 1001 Nights .................................................................... 52 11.1 The Nart Sagas ................................................................................. 54 11.2 Conclusions to Iranian Material...................................................... 55 12.0 Provenience ofthe Swan Maiden ................................................................ 56 13.0 Conclusions Regarding the Comparative Vila............................................ 58 14.0 Further Implications .................................................................................... 61 14.1 Noms, Dfsir and Sudenice............................................................... 61 15.0 Final Conclusions........................................................................................ 63 REFERENCES ..................................................................................................... 65 v LIST OF ILLUSTRATIONS Figure 1.1 The Ottoman Advance in Europe and Asia Minor....................... 64 I I VI GUIDE TO PRONUNCIATION The Serbian and Croatian languages are phonetic languages belonging to the South Slavic language family. The alphabet consists of thirty characters written in ... Latin by the Croats and in both Latin and Cyrillic by the Serbs. There are three digraphs in the Latin form. Most pronunciation follows English with a few 1 exceptions. I Aa Aa like a infather Bb E6 Cc Uu; like ts in cats CC 11'1 hard like ch in church C6 lin soft like t in British tune Dd ,[(.L{ D d (Dj dj) n~ soft like d in British endure Dfdf IJu hard likej injam Ee Ee like e in best Ff cI><p Gg rr always hard like g in game Hh Xx sounded like h in happy Ii lin like ee in beets Jj Jj as Englishy Kk KK LI fln Lj lj J1Jb palatalized like le in Frenchfleur Mm MM Nn HH Nj nj lbFb palatalized like ni in onion 00 00 like 0 in pope Pp rIn Rr Pp trilled as in Spanish pero Ss Cc S S IIIrn as English sh Tt TT Uu Yy like u in rude Vv BB Zz 33 v 7L.JZ )J{)I( like the s in pleasure Vll MA Thesis - D. Juri6 McMaster - Anthropology 1.0 Introduction Whether a casual reader or a scholar, anyone who works with Serbo Croatian oral traditions will quickly learn the name of the vila. Drifting in a sea of I Christian symbolism and static, stereotypical female characters, the vila (pI. vile) stands out in the corpora as markedly archaic, pagan, and unique. Yet, focall her I appeal, the vila remains one of the most obscure and misunderstood characters in European mythology and folklore. Scholars following in the footsteps of Milman ~I Parry and Albert Lord most often relegate her to footnotes, branding her a South Slavic nymph or fairy. Those who attempt to elucidate her character more thoroughly seem to produce uniformly contradictory opinions. The aim of this thesis is two-fold: it is an attempt to rectify and clarify the role of the vila in the Serbo-Croatian folk tradition, as well as an effort to situate her mythological aspects among the ranks of her analogues within the larger sphere of Indo European mythology. By elucidating the position of the vila as existing in two typologically unique functions, this thesis advocates the need to split the conception of the vila into two distinct components before appropriate analyses can be performed. Where one figure exists on the level of folk-custom and legend (hereafter titled folkloric) and deserves the title of nymph, the other vila, the vila of