What are the main themes and plots of the folk epic? Epic heroes: images and characteristics. Development of epic literature in cultural history

Who are the Narts?

Narts are heroes of the epics of the peoples of the Caucasus, mighty heroes performing feats. Narts live in the Caucasus. In the legends of various peoples, real geographical objects appear: the Black and Caspian Seas, the Elbrus and Kazbek mountains, the Terek, Don and Volga rivers, the city of Derbent (Temir-Kapu). The exact location of the Nart country is not given in any of the epics.

Most Narts are noble and brave heroes. The exception is the Nart-Orstkhoi from Vainakh mythology, who are presented as villains, rapists and desecrators of shrines. The Nart's best friend is his horse. The sledge horses are endowed with human qualities: they communicate with their owners, save them in moments of danger and give advice. The Narts are often friends with the celestials, many are even related to the gods (in this they are close to the Greek and Roman demigod heroes). The gods most often side with the Narts in their war against evil. The exception is Vainakh legends, in which the Narts are most often God-fighters, and the heroes defeat them. Narts are tall and broad-shouldered warriors, endowed with incredible strength: with one blow of a sword they split rocks, shoot accurately with a bow, and fight on equal terms with giants. The gods help the Narts and endow some of them with superhuman qualities: strength, invulnerability, the ability to heal wounds and other abilities. Sometimes the gods present the Narts with gifts - indestructible swords and armor, magical musical instruments, and dishes.

The Narts spend a significant part of their time on campaigns, fighting with hostile Cyclops, witches, dragons and each other. All Narts are divided into clans, which are in a constant state of war, and unite only in the face of an external threat. When not on military campaigns, the Narts feast for months. The Narts of different nations have their own favorite drinks: the Adyghe Narts have sano, the Ossetian Narts have Rong and Bagany, the Karachay and Balkar Narts have Ayran.

Mother of all Narts
(Shatana/Sataney-Guasha/Sataney-biyche/Sataney-goasha/Sela Sata)

The ancient peoples who stood at the origins of the Nart epic have a matriarchal structure of society. An important figure of the Nartiada is the mother of all Narts.

Shatana. M. Tuganov

This heroine is smart, cunning, thrifty and economical, she is a good mother and wife. The Narts always turn to Satan for advice, and her advice always turns out to be correct. Many Narts escaped death thanks to this heroine. Shatana rightfully enjoys boundless respect among the Narts and occupies perhaps the highest status in their society. Other female characters play an active role in the tales less often. Girls become the object of disputes that develop into enmity between Narts from different clans, sometimes from the same clan.

One might get the impression that the Narts are absolutely positive heroes, but this is far from the case. Although the Narts are defenders of their land, they often act as aggressors towards neighboring peoples, do not disdain easy money, often engage in raids, steal girls, and steal cattle. Sometimes they act dishonorably: they lie, steal from each other, commit adultery, kill on the sly, rebel against the celestials. Many legends contain anti-God motives. Envy, pride and vanity are traits inherent in most key characters. Narts are often punished for these vices, and this forces them to behave more restrained. Although sledges are much stronger than ordinary people, they are still mortal. In the legends, many eminent Narts die, as befits heroes who perform heroic deeds.

Harsh physical labor, even within the epic of one people, can be both condemned (considered the lot of third-class people) and praised. Shepherds and farmers often became full members of Nart society, took part in campaigns and went through all their trials with the main characters. Even the main heroes of the epic often grazed their flocks and plowed the land. However, in some legends, the heroes laughed at the hard workers. In general, in the Nart epic everyone treats physical labor with due respect.

All important decisions in society are made at a general Nart meeting. Only full-fledged members of Nart society are invited there - adult men recognized by others. A hero who receives an invitation to a meeting can call himself a Nart.

Formation of the epic

The Nart epic originated in the Caucasus mountains and adjacent territories over thousands of years. Most Caucasian experts believe that it began to take shape in the 8th – 7th centuries BC. Some researchers claim that the origins of the Nart epic go back to the 3rd millennium BC. The polytheistic system of beliefs characteristic of the Nart epic suggests that it began to emerge long before the appearance of Christianity and Islam in the Caucasus.

Individual tales were combined into cycles, and the cycles were linked together by plot and chronology. Over time, an epic arose from a huge number of scattered stories about the Narts. The process of forming the nartiada ended in the Middle Ages (XII – XIII centuries). At this time, a significant part of the Caucasus was familiar with the Abrahamic religions (Christianity, Islam and Judaism). A number of researchers of the Nart epic discover a difference between the early and later legends: in the first, the pagan worldview predominates, in the second, there are symbols and attributes of monotheistic creeds. Nartiada cycles were formed in the Middle Ages, but the epic developed until the 19th century. Storytellers, in order to make stories about sledges more interesting, often modernized them. For example, in one of the tales of the Ossetian epic, the Nart Batraz loads a cannon and shoots himself from it at an enemy fortress, and firearms appeared in the Caucasus at the end of the 16th - 17th centuries.

The connection between Nart legends and Greek myths, Georgian epic tales and Russian epics has been proven. Some researchers of the Ossetian Nart epic even discovered a connection between the Nartiada and Germanic and Scandinavian mythology. This suggests that in ancient times and the Middle Ages the peoples of the Caucasus interacted closely with foreigners. Herodotus reports contacts between the Scythians and the Greeks in the 5th century. The Scythians neighbored Greek colonies in Crimea. The Meotians, the ancestors of the Circassians, also often had contact with the ancient Greeks in the Azov region. In the 4th – 7th centuries, during the time of the great migration of peoples, the Alans, successors to the cultural heritage of the Scythians and Sarmatians, who originally inhabited the steppes of the Ciscaucasia, traveled from the modern south of Russia to the Iberian Peninsula and North Africa. Some of them eventually returned to their historical homeland. Contacts with the Goths, Asian nomads and peoples who inhabited Europe influenced the culture of the Alans, and the Alans themselves left their mark on Europe.

Alans on a hike. A. Dzhanaev

Later, connections were established between the Alans and Russia, and diplomatic and trade ties with Byzantium were established. The interaction of the ancestor peoples of the epic is of utmost importance in the formation of the Nart epic. The Kasogs, who lived next door to the Alans and Kipchaks, were not always at war with them. There were both trade relations and military and political alliances. The above-mentioned peoples had close ties with the Vainakhs, Bulgars, Khazars and the peoples of Dagestan. Georgian and Armenian epic tales had a tangible influence on the formation of the Nart epic. As a result of centuries of formation in the Caucasus mountains, heroic epics about the mighty Narts were formed.

Nart epics of the peoples of the Caucasus

The Nart epic is the oldest monument of spiritual culture of a number of peoples of the Caucasus. Nartiada is considered their cultural heritage by Ossetians, Abkhazians, Circassians, Abazins, Karachais, Balkars, Vainakhs and some peoples of Dagestan and Georgia. Each of the listed peoples ascribes authorship to itself. They are all, to a certain extent, right.

The Nart epic, researchers believe, is based on the Alan epic cycle and the heroic tales of the autochthonous peoples of the Caucasus. The Nart epic is a product of the cultural exchange of the autochthonous Caucasian peoples with the alien Scythian-Sarmatians and their cultural heirs - the Alans. Each of the peoples-successors of the Narts formed their own unique epic, which has common roots with the others, but at the same time differs significantly from them.

Feast of the Narts. M. Tuganov

The epic is based on the concept of the universe characteristic of a particular people. For example, the Indo-Aryan concept of three worlds underlies the Ossetian Nart epic, and the Turkic Tengri model of the universe serves as the basis for the Karachay-Balkar Nartiada. The stratification models characteristic of each people are reflected in the legends, hierarchy and social structure of Nart society. The cultural layers of each individual ancestor people noticeably distinguish the epics from each other.

Ossetian, Adyghe, Abkhazian and Karachay-Balkar Nart epics consist of developed cycles of tales dedicated to an individual hero and his family. There are also individual tales that cannot be attributed to any cycle. The legends about the Narts among the Vainakh peoples were somewhat less developed. Despite the fact that Vainakh mythology is very rich, legends about the Nart-Orstkhoi do not occupy a dominant place in it. And the Narts themselves appear in Vainakh legends not as positive characters, but as alien villains, God-fighters, whom Vainakh heroes defeat in battles. Despite the fact that Chechen and Ingush legends about the Narts have reached us in fragments, the Vainakh Nartiada is of enormous cultural value. Nart tales of other peoples are few and fragmentary.

Connection with the epics of other peoples

In addition to the fact that the Nart epics of different peoples of the Caucasus have the same roots, they have much in common with the epic tales of other peoples. It is still impossible to say with certainty whether these common themes are the product of mutual exchange or borrowing, or whether they go back to ancient times and a common ancestor. Nevertheless, researchers note a clear similarity between certain plots of the myths of various peoples and the Nart epic. Below we list just a few:

Achilles' heel, Soslan's knees and Sosruko's hips

The hero of the Iliad, Achilles, was the child of the mortal Argonaut Peleus and the goddess Thetis. Achilles was fed with the bone marrow of wild animals. He had no equal in strength and agility. As an infant, the Greek hero was tempered in the waters of the River Styx (the furnace of Hephaestus), which made him virtually invulnerable. Thetis dipped Achilles into the water, holding his foot, and his whole body became invulnerable except for the heel, in which, by the will of evil fate, the Trojan prince Paris struck him.

Nart Sosruko (Soslan) was the son of a shepherd. Soslan does not have a mother in the traditional sense, he was born from a stone, and Shatana (Sataney-Guasha) becomes his adoptive mother. Like Achilles, Soslan did not know the taste of his mother's milk: in infancy he was fed coal, flint, and hot stones. Sataney-guasha asked the Adyghe blacksmith god Tlepsh to temper the baby Sosruko in his magic oven. Tlepsh tempered the hero by holding him by the thighs with tongs, so his whole body became damask except for the thighs, where he was struck by the mythical wheel of Jean-Cherch.

In the Ossetian Nartiada, Soslan himself comes to the heavenly blacksmith Kurdalagon, as an adult, and he heats him on oak coals and throws him into a log of wolf's milk (water), which, due to the fault of the cunning Nart Syrdon, turns out to be too short. Only Soslan’s knees stuck out from the deck; they remained unhardened. Having forcibly found out Soslan's weakness from Shatana, his enemies arranged it so that Balsag's wheel cut Soslan's legs, from which he died.

Odysseus's journey to the kingdom of Hades and exile's journey to the kingdom of the dead

Odysseus, the hero of Homer's Iliad and Odyssey, of his own free will, goes to the kingdom of Hades to find out from the soothsayer Tiresias how he can get back to Ithaca. After completing his mission, Odysseus safely escapes from the monastery of the dead.

Nart Soslan also goes to the kingdom of the dead of his own free will in order to obtain the leaves of the Aza tree, as demanded by the uaigs guarding Atsyrukhs, whom Soslan wanted to marry. After going through many trials, Soslan emerges from the kingdom of the dead.

Romulus and Remus, Pija and Pidgash, Akhsar and Akhsartag

The legendary founders of Rome, the twins Romulus and Remus, were suckled by the Capitoline she-wolf. The founder of Rome was only one of the brothers - Romulus, who killed his brother in anger.

In the Ossetian Nart epic, the twin ancestors of the Narts - Akhsar and Akhsartag - were the children of the old Warkhag (wolf man). Due to absurdity (through the fault of Akhsartag), Akhsar dies, and Akhsartag gives rise to the mighty family of Akhsartag warriors.

A similar plot appears in Adyghe Nart legends; the brothers’ names are Pidgash and Pidzha. It is interesting that the story of the twin founders of Sasun also appears in the Armenian epic about “David of Sasun”, where the two brothers are called Baghdasar and Sanasar.

Bogatyr Svyatogor and Nart Batraz

The hero of Russian epics, the hero Svyatogor, goes on a hike and encounters an old man who carries a handbag on his back “with earthly traction.” A conversation ensues between the old man and the hero, during which the old man tells the hero that he is strong and powerful, but not everything in this world can be measured by force. To prove his words, the elder invites Svyatogor to pick up his purse. Svyatogor tries to tear the bag off the ground, but he fails. Having exerted all his strength, the hero nevertheless lifts the bag with earthly traction, but at the same time he himself bursts waist-deep into the ground. After this, the old man easily lifts his burden and leaves.

A similar plot appears in the Nart epic. God (Teyri) wants to bring Nart Batraz (Batyras) to reason and sends him a test that he cannot cope with. The Almighty left a bag on the road in front of Batraz that weighed as much as the Earth weighs. Batraz with difficulty lifts the bag from the ground, while he himself sinks into the ground up to his waist.

Fundamentals of Nart epics among various peoples

Ossetian epic

The Ossetian Nart epic has come to us thanks to the work of folk storytellers, who, in poetic form or in chant, to the accompaniment of national string instruments, passed on stories about heroes to their descendants. One of these storytellers is Bibo Dzugutov. Prominent collectors of the Ossetian Nart epic were Vasily Abaev and Georges Dumezil. Thanks to the work of Vasily Abaev, the Ossetian Nart epic is the most complete collection of legends, collected almost into a single work.

Researchers have discovered parallels between real historical events in which Alans participated, with some tales of the Ossetian Nart epic.

Exiled to the afterlife. M. Tuganov

Nart society in the Ossetian Nartiada is divided into castes and is represented by three clans:

Akhsartagata (Akhsartagovs) are a clan of warriors, most of the positive heroes are representatives of this clan. According to legend, the Akhsartagovs are the strongest warriors among the Narts; they lived in the village of the Upper Narts.

Borata (Boraevs) are a family of wealthy landowners who are at war with the Akhsartagovs. The heroes from Borat's clan are not as powerful as the Akhsartagovs, but their clan is more numerous. They lived in the village of Nizhny Narts.

Alagata (Alagovs) - priestly Nart clan. The Alagovs are peace-loving Narts and practically do not participate in military campaigns. The meeting (nykhas) of the Narts takes place in the Alagovs’ house. This genus is mentioned less often than others in the Ossetian Nartiada. The Alagovs symbolize spiritual purity; they constitute a priestly caste; all the sacred relics of the Narts are kept by the Alagovs. The Alagovs reconcile the warring Boraevs and Akhsartagovs. They lived in the village of the Middle Narts.

The last days of the sledges. M. Tuganov

In the Ossetian Nart epic, significant attention is paid to the Akhsartagov family, because it is from this family that the most famous heroes come. The founder of the clan was Nart Akhsartag, the father of the twin brothers Uryzmag and Khamyts. Akhsartag's twin brother was Akhsar, who died by mistake, his wife was Dzerassa, the daughter of the sea lord Donbettyr, the father of Akhsartag and Akhsar was Warkhag (forefather). Representatives of the clan are Akhsartag, Uryzmag, Khamyts, Soslan, Batraz and Shatana.

The Boraev clan is fighting with the Akhsartagovs for supremacy in the Nart lands, but, despite their small numbers, the Boraevs rarely manage to gain the upper hand. However, Ossetian storytellers brought to us the story of how two clans destroyed each other until there was only one man left in each clan. But then the clans grew, and the confrontation began again. The bloodlines were reconciled only when Nart Shauuai ​​from the Boraevs married the daughter of Uryzmag and Shatana. Representatives of the genus are Burafarnyg, Sainag-Aldar, Kandz and Shauuai.

The Alagov clan preserves the sacred values ​​of the Nart clans. Their ancestor was a certain Alag, about whom practically nothing is known. Few prominent warriors emerged from their family, but the famous Nart Totraz, as a young man, managed to defeat Soslan himself, for which he paid with his life: Soslan meanly killed his enemy, stabbing him in the back. Sometimes the famous Nart Atsamaz is also considered to be among the Alagovs.

The universe in the Ossetian epic is represented by three worlds: the heavenly kingdom, where mortals are rarely allowed, only Batraz is allowed to live in heaven, in the forge of his mentor Kurdalagon; the kingdom of the living, that is, the world in which the Narts and all living creatures live, and the kingdom of Barastyr, that is, the kingdom of the dead, where it is easy to get into, but almost impossible to get out. Only a few heroes succeed in this, such as Syrdon and Soslan. The concept of three worlds is revered in Ossetia in our time. On the festive table, Ossetians place three pies, symbolizing the three kingdoms.

Batradz on the boom. M. Tuganov

Contrary to popular belief, the Ossetian Nart epic can be called monotheistic, although the pagan trace in it is obvious. There is only one God in the Ossetian nartiada - Khutsau, all other celestial beings - his assistants, patrons, each in his own element, lower spirits (dauags) and angels (zeds) - make up the heavenly army. The last Ossetian legend describes the death of the Narts: they stopped bowing their heads before God, on the advice of Shirdon, for which God was angry with them and offered them a choice - bad offspring or a glorious death, the Narts chose the second. God sent a heavenly army against the heroes, which destroyed the Narts for their pride, and their race was cut short.

Adyghe epic

The largest collector of Adyghe legends about the Narts is considered to be Kazi Atazhukin, who for many years collected scattered stories from old storytellers into cycles. The problem of the Adyghe Nart epic was that the tales of various Adyghe ethnic groups often contradicted each other (however, this problem is common to most of the peoples who are the heirs of the Nartiada.) Nevertheless, thanks to the work of Atazhukin, the Adyghe Nart epic has survived to this day quite a holistic, but at the same time diverse work. Researchers of the Adyghe Nartiada argue that the history of the Abazas and Adygs in a romanticized and mythical form is reflected in the Nart epic.

Nart society is represented by a large number of clans. Unlike the Ossetian Nart epic, in the Adyghe epic, if there is a division of society into castes according to functions, it is implicit.

One of the most important heroes of the Adyghe Nartiada is the lone hero Badynoko. Badynoko is a stronghold of morality in the Adyghe epic, like the old Uryzmag in the Ossetian Nartiada and Karashauuay in the Karachay-Balkar one. The hero is wise and reserved, respects his elders. Badynoko performs feats alone, rarely in pairs with one of the sledges (with Sosruko). The hero was born in the house of the Nart Badyn, but grew up away from Nart society because they tried to kill Badynoko when he was still a baby. The hero became famous for defeating the eternal enemies of the Nart clans - the Chints - and defeating the evil Inyzha. Badynoko does not like noisy feasts and gatherings; he is an ascetic hero. Unlike the God-fighting Narts, Badynoko turns to the celestials for help and tries to instill fear of God in his fellow tribesmen. Thanks to Badynoko, the cruel Nart law, which states that old Narts who are not able to go on campaigns must be thrown off a cliff, was abolished, and his father Badyn was saved. Badynoko is considered the most archaic hero of the Adyghe Nartiada.

Sausyryko with fire. A. Hapisht

The plot of twin brothers appears not only in Ossetian mythology. In the Adyghe Nartiada there is a legend about the sons of Dada from the Guazo clan - Pidge and Pidgash. Pidja and Pidgash pursue the wounded Mizagesh, the daughter of the lord of the seas, who took the form of a dove and reached the underwater kingdom itself. Pidgash married Migazesh, and Pidzha died. Migazesh gave birth to two twin sons - Uazyrmes and Imys. Uazyrmes became a great hero and the head of the Nart army; he married Sataney-Guasha - the daughter of the sun and the moon. Uazyrmes was a god-fighter, he killed the evil god Paco and performed many other feats.

Exiled and the wheel of Balsag. A. Dzhanaev

Sosruko, an analogue of the Ossetian Soslan, is the most important hero of the Adyghe epic. Sosruko was born from a stone, his father is the shepherd Sos, and he has no mother. Sosruko is raised by Satan-guasha in the house of Uazirmes. The hero is initially an outcast, an illegitimate bastard; he is not invited to khasa and is not taken on campaigns. But with his courage and bravery, Sosruko earned a place on the Khas and the respect of the Narts. Among his exploits are the theft of fire for the freezing sleds from the Inyzhi, the victory over Totresh, who in the Adyghe version was a villain, going to the kingdom of the dead and much more.

Other heroes of the Adyghe Nartiada are Ashamez, Bataraz, the shepherd Kuitsuk, Shauuey, and the beautiful Dahanago.

The universe in the Adyghe Nartiada, as in the Ossetian epic, is divided into three kingdoms: heavenly, middle (living) and lower (dead). The Narts have good relations with the celestials. Their mentor and assistant is the blacksmith god Tlepsh. The senior deity in Adyghe mythology is Tha, and Dabech is the god of fertility.

Karachay-Balkar epic

Balkar and Karachay storytellers were called Khalkzher-chi. They passed stories about the Narts from mouth to mouth. The formation of the Karachay-Balkar Nart epic is the result of the work of folk storytellers who memorized hundreds of stories by ear.

The Turkic trace is clearly visible in the Karachay Nart epic. The Supreme Deity in the Karachay-Balkar Nartiada is Teyri (Tengri), who is also the god of the sky and sun among many ancient Turkic peoples. Teiri's son - the blacksmith god Debet - assistant and father of the Narts. It was Debet who gave birth to 19 sons, who became the first Narts from the Alikov family. Debet's eldest son Alaugan became the progenitor of the Narts. Seventeen of his brothers died at the hands of Yoryuzmek, a Nart from the Shurtukov family, and the youngest brother Sodzuk became a shepherd. Alaugan is a positive character, he lives with justice and helps his father in the heavenly forge. The cycle of tales about Alaugan was probably more voluminous, but some of the stories about the hero were lost. The son of Alaugan, Karashauay, is the central character of the Karachay-Balkar Nart epic. The hero is devoid of vices, he is the embodiment of morality and morality. Karashauay, among other things, is the most modest of the Narts: he does not boast of his strength, he dresses like a poor man, so that no one can recognize him as a hero. Karashauay's best friend is his anthropomorphic horse Gemuda. Gemuda was Alaugan's horse and passed on to Karashauay as an inheritance. Gemuda is able to reach the top of Mingi-tau (Elbrus) in one jump. The Balkar Karashauay is endowed with the properties of the Adyghe Badynoko and some features of the Ossetian sage Uryzmag.

The Narts fight seven-headed giants. M. Tuganov

In addition to Karashauay, Alaugan had two more children from the evil emegen-cannibal. Alaugan, saving children from a giantess, lost two children who were raised by wolves; from them originates the family of almostu (wolf people), revered by the Narts because they have Nart blood. Almost sometimes helps the Narts, but often acts as their enemies.

In addition to the Alikovs, there are three more clans in the Karachay-Balkar Nartiada: the Shurtukovs, the Boraevs and the Indievs. The blood enemies of the Alikovs are the Shurtukovs, a powerful Nart clan, the head of which is Yoryuzmek. All Nart clans are named after their founders. For the Skhurtukovs it is Skhurtuk (Uskhurtuk), an analogue of the Ossetian Akhsartag from the Akhsartagov clan, for the Boraevs it is Bora-Batyr, the Boraev clan rarely appears in the Karachay-Balkar epic, just like the Indiev clan.

The Shurtukovs are a strong family, from which many significant characters of the Nart epic come: the eldest Nart Yoryuzmek, his sons Sibilchi, Burche, adopted son Sosuruk and daughter Agunda.

The wife of Nart Yoryuzmek is Satanai-biyche, the daughter of the sun and the moon, kidnapped by a dragon and rescued by Yoryuzmek. As in the epics of other peoples, Satanai-biyche embodies wisdom and femininity; she bears the proud name of the mother of all Narts. The woman saves the male Narts and even the wise Yoryuzmek more than once. Yoryuzmek himself became famous for defeating the villain Kyzyl Fuk (red Fuk).

Another prominent representative of the Shurtukov family is Sosuruk. The hero is not Shurtukov by birth, he is the son of Sodzuk, one of the sons of Debet, raised by Satanya-Biyche. Sosuruk is a mighty Nart who performs feats, saving the Narts from cold death by making fire for them and killing the Emegens. However, he, like other representatives of the Skhurtukov family, is not without sin. For example, Sosuruk vilely kills Nart Achemez.

There is a parallel between the bloody confrontation between the Alikovs, who embody knightly morality, and the Uskhurtukovs, who embody militancy, in the Karachay-Balkar epic and the enmity of the Akhsartagovs, the eldest Nart family in the Ossetian Nartiada, with the Boraevs. These two epics have a lot in common. Thus, the Alikov clan is the Alagov clan in the Ossetian epic, the Shurtukovs are the Akhsartagovs, the Boraevs are the Ossetian Borats. The Indian family has no equivalent in the Ossetian epic.

The Karachay-Balkar hero of the Nartiada, Shirdan (Gilyakhsyrtan), simultaneously combines the features of two non-overlapping Ossetian characters - Shirdon and Chelahsartag. Shirdan, like Shirdon, is cunning, schemes against the Narts, and, like Shirdon, he loses all his children. Some points from his biography are associated with the Ossetian Chelahsartag of Shirdan. Shirdan is rich, like Chelahsartag. Like Chelahsartag, he loses the upper part of his skull, and Debet (in Ossetian Kurdalagon) forges a copper helmet for him, which subsequently destroys Shirdan.

The epilogue of the Nart epic among the Karachais and Balkars is positive. The heroes go to fight evil spirits in heaven and the underworld, where they fight for the well-being of the middle world to this day. In the world of the living, only Karashauay remained, living on the top of Elbrus.

Abkhazian epic

One of the most prominent scientists who studied the Abkhaz Nartiada was Iranian scholar Vasily Abaev. Like the epics of other Caucasian peoples, the Abkhaz Nartiada was passed down from generation to generation orally. If the epic of the Adyghe peoples, the Ossetian and Karachay-Balkar epics have much in common, then the Abkhaz epic differs significantly from those listed. The Nart epics of the Ubykhs, Abazas and Abkhazians are very similar to each other.

Nart society is a large family. All the Narts are brothers to each other, of which there are 90, 99 or 100 in different versions. The Narts have a sister - the beautiful Gunda. The strongest heroes of the Nart world are vying for Gunda's hand. The mother of the Narts, the wisest and ageless Satanei-guasha, helps the heroes with instructions and wise advice.

The main character of the Abkhaz epic is Sasrykva, born from stone and raised by Satan-guasha. The “Sasrykvav cycle” serves as the central core of the epic. Other storylines unwind around this core. Sasrykva saves his brothers from a cold death in the darkness - he shoots down with an arrow a star that lights the way for the Narts, steals fire from the evil Adaus and gives them to his brothers. Sasrykva, unlike the heroes of other epics, is practically devoid of shortcomings. In this it is close to the Adyghe Badynoko and the Karachay-Balkar Karashauay. Sasrykva is the strongest of the sledges. He performs many feats, protects the disadvantaged and weak, and restores justice. Alone, Sasrykva saves 99 brothers from the womb of an evil cannibal giantess and kills the dragon Agul-shapa. His wife becomes Kaydukh, the daughter of the god Airg, who is capable of illuminating everything around with her hand. Through her fault, Sasrykva dies by drowning in a stormy river at night.

Many heroes of the Adyghe Nart epic are not present in the Abkhaz Nartiada, but those similar in properties and functions to the missing heroes are present. The Abkhazian Tsvitsv is in many ways similar to the Ossetian Batraz. The father of the Nart Tsvitsva was Kun, his mother came from a family of Atsans (dwarfs). Tsvitsv comes to the aid of the Narts in the most difficult times for them; Sasrykva himself owes his life to him. Tsvitsv is the strongest of the sledges, his body is stronger than damask steel, which is why he is loaded into a cannon and shot at the Batalakla fortress, which he successfully storms. By the way, even Soslan failed to do this.

An interesting story is about the visiting hero Narjkhyo, who kidnapped the only sister of the Narts, Gunda. Narjhyou is not a Nart, but in strength it is not inferior to the strongest of them. Narjhjou has iron teeth that can bite through chains, and a steel mustache. Narjkhyou is the equivalent of the Karachay-Balkar Nart Beden, an alien fisherman who has earned the trust and respect of the Nart family.

The Narts of the Abkhaz epic are friends with the gods, sometimes even have a family relationship with them, but atheistic motives are also present in the epic.

Vainakh epic

A prominent researcher of Chechen-Ingush legends about the Narts was Akhmed Malsagov. The Vainakh epic can hardly be called Nart in the full sense. Narts appear in the epic of the Vainakh peoples, but here they often act as enemies of real heroes, rapists, robbers and fighters against God.

Each mountain people of the North Caucasus, the Nart epic, along with common features, has its own national characteristics. If among the Abkhazians, Circassians and Ossetians the Narts are idealized to such an extent that comparison with a Nart is considered even the highest praise for a person, then in the Vainakh epic, especially the Chechen one, the Narts are, as a rule, negative characters; the image of the enemy is associated with them.

In Chechen legends, human heroes such as Kinda Shoa, Pharmat (sometimes represented by the Nart Kuryuko), Gorzhai and Koloy Kant are contrasted with the Narts. The Narts are proud and arrogant, they are aliens, vilely stealing herds from people. The human heroes of the Vainakhs are often stronger than the Narts, despite the latter's numerical superiority. The Narts are able to defeat the heroes only by using vile tricks. Kinda Shoa is an idealized hero, engaged in peaceful labor and performing feats only when a threat looms over his people. Kinda Shoa tends the flocks and plows the land, he is a bastion of virtue and compassion, punishing injustice. Kinda Shoa is the equivalent of the Karachay-Balkar Karashauay.

Sled. M. Dyshek

The Vainakh hero Pharmat repeats the feat of the Adyghe Sosruko and produces fire for the people. And the Vainakh cultural hero Kuryuko repeats the feat of the Georgian Amirani and the Greek Prometheus: he steals sheep, water and materials for building houses from the deity Sela, for which Sela chains Kuryuko to the top of Mount Beshlam-Kort (Kazbek). Every year a vulture flies to the top of the mountain and pecks out Kuryuko’s heart. Sela chained his sons, who helped Kuryuko, to the sky, where they turned into the constellation Ursa Major.

The epics of the Chechens and Ingush are different in many ways. If in Chechen mythology the Nart-Orstkhoi are almost always negative characters, then in the Ingush Nartiada the heroes often protect the Vainakhs and protect them from evil spirits and enemies.

The Orstkhoy Narts include Achamaza, Patarz, Sesk Solsa - the main Nart (analogous to Sosruko and Soslan), Botkiy Shirtka, Khamchi and Uruzman, Novr and Gozhak. The consonance with the Adyghe, Karachay and Ossetian analogues is obvious. The Narts live next to the Vainakhs, but almost never enter into family relations with them. This indicates a strict distinction between the Vainakh and Orstkhoi societies. In general, we can say that the Narts are carriers of high culture. They build fortresses and huge underground dwellings, but avoid close contacts with the Vainakhs.

The analogue of the mother of all Narts, Shatana, in the Vainakh epic is the goddess Sela-Satoy, the patroness of heroes. The gods are on good terms with the heroes, but atheistic motives are an integral part of the nartiada. The Narts fight with the gods, desecrating shrines. The main deity of Dela (Dyala) patronizes the heroes, but he himself never shows himself to them. Elda patronizes the kingdom of the dead, where Patarz goes and returns safely. Selah, ruler of men and gods, lives on Mount Beshlam Court.

The Narts are ruined by their pride. As in Ossetian mythology, the Vainakh Narts die because of their atheistic sentiments. The Narts die after drinking molten copper: they did not want to submit to the gods and preferred death to conquest. According to another version, the gods doomed them to starvation as retribution for their atrocities. Due to the fault of the Narts-Orstkhoys, Duyne Berkat (grace) disappears from the land of the Vainakhs.

Narts among different peoples

Modernity

The Nart epic is the heritage of the entire Caucasus. It significantly influenced the culture of the carrier peoples. The customs described in the Nart epic are reflected in the everyday culture of the Ossetians, in a slightly modified form among the Circassians, Abkhazians, Karachais and Balkars. Children are still named after the heroes of the Nart epic. Many settlements got their name thanks to the Nart epic: for example, the Kabardian village of Nartkala or the Ossetian village of Nart. In Abkhazia, the grave of Sasrykva is still revered. Football clubs and KVN teams are named after the Narts. Monuments are erected to heroes and paintings are written about them.

Mikhail Aboev

A myth is an ancient folk tale about legendary gods, heroes and incredible natural phenomena. Myth means legend and legend, hence the current purpose of myth as a separate literary genre.

Myth and its place in literature

Such tales arose in primitive society, and therefore all kinds of early elements of philosophy, religion, and art are intertwined in myths. A distinctive feature of myth is that it has recurring themes and similar motifs that can be found in the myths of different peoples and times.

It is believed that myths were the main way of understanding the world in primitive society, since they reflected acceptable explanations for many natural phenomena.

This is due to the fact that in myths nature appeared in the form of symbols, which were sometimes in the form of a person. Mythology is close to literary literature in the form of figurative storytelling, so they say that mythology had a huge influence on the development of literature as such.

Mythological motifs are very common in works of art and many plots are based on myths. An example of this is such literary works as “The Magic Mountain” by T. Mann and “Nana” by E. Zola.

Heroic epic of different nations and heroes of the epic

Each nation is characterized by a certain heroic epic, which reveals the life and customs of certain nations, their values ​​and view of the world around them. This is a genre of medieval literature in which folk heroes and their exploits were glorified. Often the epic was formed in the form of songs.

The heroic epic of the Eastern Slavs is represented by the epic "Ilya Muromets and the Nightingale the Robber." The hero Ilya Muromets is the central figure of the entire Russian epic; he is presented as a defender of the people and his native land. This is the reason that this particular character has become a popular favorite - after all, he reflects the main values ​​of the Russian people.

The famous poem "Davil of Sasun" belongs to the Armenian heroic epic. This work depicts the struggle of the Armenian people against the invaders, and its central figure is the personification of the national spirit striving to free itself from foreign conquerors.

A reminder of the German heroic epic is the “Song of the Nibelungs” - a legend about the knights. The main character of the work is the brave and powerful Siegfried. This is a fair knight who becomes a victim of betrayal and treason, but despite this he remains noble and generous.

"The Song of Roland" is an example of a French heroic epic. The main theme of the poem is the struggle of the people against enemies and conquerors. Knight Roland acts as the main character, noble and brave. This poem is close to historical reality.

The English heroic epic is represented by numerous ballads about the legendary Robin Hood, the robber and protector of the poor and unfortunate. This courageous and noble hero has a cheerful disposition and therefore he has become a real people's favorite. It is believed that Robin Hood is a historical character who was an earl, but gave up a rich life in order to help poor and disadvantaged people.

Transcript

1 12 Nov lesson. Lesson topic. Type, form of lesson. Lesson content. Types and forms. control. Heroes and themes of folk epic. Front deck Presentation on the MHC on the topic: Karelo-Finnish epic Kalevala... given to the poem by Lönnrot, this is the epic name of the country in which Finnish folk heroes live and act. Suffix. methodological developments, presentations and notes. Presentation for a geometry lesson in 8th grade English lesson on the topic Selivanov Vasily Andreevich Kolesova Ya.N. Given. Lesson development and an electronic application introduces folk. This work presents a outline of a lesson in painting, where World artistic culture Social studies. I offer a summary of a literature lesson in the 6th grade, where collective literature is used. read the Bashkir folk epic "Ural Batyr" and the Kyrgyz epic "Manas"... the epic, what are the features of its poetics, how the people imagined their heroes. (Record Presented is a synopsis of an art lesson on the topic: Executing a graphic image of the heroes of Olonkho. Lesson in fine arts in the 3rd grade Mamin Methodological development on MHC (9th grade) on the topic: Notes of MHC lessons. The Middle Ages. Published: 59 - Svetlana Trenkunova Oct Subject of MHC systematizes knowledge about culture and art acquired in the lessons of music, literature, history, fine arts Methodological development (world artistic culture, grade 9) on the topic: Lesson notes on MHC. Culture of the East Presentation Geser. Published: 28 - Ayurova Larisa Dorzhievna. Presentation for a lesson on the topic of the Buryat heroic epic Geser Teaching MHC and Fine Arts, Literature lesson on the works of A. N. Ostrovsky on the topic of A. N. Ostrovsky. Methods and techniques of the lesson contribute to the ability to analyze the nature of the actions of heroes,... A summary of the literary lesson is given readings on the topic of the Bashkir folk epic. Lesson of fine arts on the topic: Multi-colored paints of Sergeeva T.V.... and the nature of national buildings, costumes, folk holidays.. to eternal themes, work on the comparative characteristics of heroes.. A summary of the lesson of world artistic culture on Dec Presentation on MHC on the topic: “Hero of the folk epic Ilya Muromets.” a hero who embodies the people's ideal of a hero-warrior, people's intercessor... methodological developments, presentations and notes. During the literary reading lesson, we got acquainted with epics and read the lesson plan for MCC (grade 10) on the topic: Integrated lesson in MCC and English. Published:34 - Suboch Raisa Oct Lesson plan for a lesson in literature (8th grade) on the topic: Final. Final lesson in the form of KVN in the 8th grade on the topic Folk songs Sep This presentation lesson will be a discovery for students in grades 6-7: the children will learn the history of the word, genre; they will remember those epic heroes they met before. FOLKLORE (ORAL FOLK ARTS)... methodological developments, presentations and lesson notes lesson notes MHC heroes and themes of the folk epic, Topic. lessons. Didactic model. training. Pedagogical cues. Presentation “Objectives of the MHC subject and basic concepts”.. “Country of heroes and gods”.. Heroes and themes of the folk epic.. Making notes Lesson notes for grade 11 PPTX MP3 DOCX DOC JPG JPEG... their images of Gilgamesh and Enkidu of the ancient epics heroes of Mesopotamia... Topic: Artistic monuments of Rus' as a reflection of its history and traditions... Among the objects of folk art are: chests, spinning wheels, sledges, Methodological development of a lesson on the topic Postage stamp (virtual excursion. introducing folk art, based on game techniques,. UNESCO of the Yakut heroic epic-Olonkho 2005 is an oral masterpiece. It presents a lesson plan, as well as photographs and drawings May On the topic: methodological developments, presentations and notes. The presentation was made for the lesson of the surrounding world, grade 4. Section :. Presentation on MHC on the topic: “Hero of the folk epic Ilya Muromets” Sep MHC program for grade 8. World artistic culture, grades 5-11, compiled by Danilova G.I.. Methods and forms, teaching technologies: The main form of organization of educational process is a lesson.. Heroes and themes of folk epic. Lesson notes Plan of an art lesson on illustrating the tales of the Adyghe epic.. The article is classified in the section: Teaching MCC and fine arts. Among such unique values ​​of folk art is the most ancient one. art education of the Republic of Adygea. And drawing on the themes of legends about Aug. The most acceptable form of work on the program “World Art Culture” is a lesson-lecture with

2 using mar Type: Lesson; Size: Kb.; Purpose of the lesson: To introduce the genre of folk art, epic, its elements. Work program of the training course “World artistic culture. 10th grade... Heroes and themes of the Russian folk epic Form of delivery; lesson-concert.. Synopsis This is the third lesson in the general theme of the 3rd quarter Painting of the region.. spatial perception, interest in folk traditions and various cultures.. The outline of an art lesson on illustrating the tales of the Adyghe epic Narta about the exploits of its main character Sausoruko is aimed primarily for Sep Literature lesson in 7th grade. Lesson topic: “The Tale of Peter and Fevronia of Murom.” Moral ideals and covenants of Ancient Rus' The subject “World Artistic Culture” is focused on the education of the spiritual world,... Final lesson of the year. 1. Heroes and themes of folk epic

Methodological development on MHC (grade 9) on the topic: Lesson notes on MHC. Culture of the 19th century. Published 03/11/2013-0:32 - Trenkunova. 8933794257 Project for a music lesson Romanticism in music. Chopin. Given.

The approximate program specifies the content of the educational... The epic “Ilya Muromets and the Nightingale the Robber” (abbreviated) (6 hours). The material is studied in an overview with a brief summary of life and work. 29921324074

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Epic is nothing more than artistic literature. Its main features are eventfulness, narration, lyrical digressions and dialogues. They have both prose and poetic forms. Similar stories can be found in folk literature. They are often described in the works of specific authors.

Folk epic

In the minds of primitive people, certain rudiments of art and science, morality, religion and other types of areas of social development existed inseparably. Only a little later they all gained independence.

Verbal art, the main expression of which is the most ancient legends, has become part of cult, religious, household and work rituals. It was in them that the sometimes fantastic ideas that people had about themselves and the world around them were reflected.

One of the most ancient types of folk art is a fairy tale. This is a work that has a magical, adventurous or everyday character, and has an inextricable connection with reality. His heroes are heroes of oral epic literature.

People's pre-scientific ideas about the world are also reflected in myths. This is a story about spirits and gods, as well as epic heroes.

Legends are quite close to myths. They are semi-fantastic tales about events that actually happened. The heroes of legends are people who actually lived in those times.

Epics tell about historical events that took place in Ancient Rus'. songs or poetic stories. In them, the epic hero is, as a rule, a hero. He invariably embodies the folk ideals of love for his native land and courage. We are all familiar with the epic names of the heroes of Russian epics. These are Alyosha Popovich and Ilya Muromets, as well as Dobrynya Nikitich. However, epic heroes are not only heroes. The man of labor is also glorified in epics. Among them is Mikula Selyaninovich, a heroic plowman. Narratives about other characters have also been created. This is Svyatogor - the giant, Sadko - the merchant-guslar and others.

Heroes of the epic

The main character in epics, fairy tales and myths is man. At the same time, epic heroes personify the people. What they have to face in life is nothing less than the fate of the state and society.

Epic heroes are devoid of any egoistic traits. In addition, they are internally and externally connected with the national cause.

Epic heroes are people who are not at all devoid of personal psychology. However, its basis is necessarily national. This circumstance makes the participant in the events described in the works the hero of the epic. Moreover, he can be not only a winner, but also a loser, not only strong, but also powerless. But he will definitely become an epic hero if he is in unity with the life of the people.

World Heritage

Every nation has its own works of heroic epic. They reflect the customs and way of life of a particular nation, its view of the world around it and its core values.

The most striking example of the heroic epic of the Eastern Slavs is the epic about Ilya Muromets and the Nightingale the Robber. Here the main character is the hero. Ilya Muromets is an epic hero, the central figure of many works on similar topics. He is presented by the writers as the main defender of his homeland and people, reflecting all the basic values ​​of the Eastern Slavs.

Among the most striking works of the Armenian epic is the poem “David of Sasun”. This work reflects the people's struggle against the invaders. The central figure of this poem represents the spirit of the people striving to gain freedom and defeat foreign conquerors.

In the German heroic epic, such a work as “The Song of the Nibelungs” stands out. This is a legend about knights. The main character of this work is the powerful and brave Siegfried. The characteristics of an epic hero are visible from the narrative. He is fair, and even when he becomes a victim of treason and betrayal, he remains generous and noble.

The Song of Roland is an example of a French epic. The main theme of this poem is the struggle of the people against the conquerors. The main character is endowed with courage and nobility.

The English heroic epic contains many ballads about Robin Hood. This is the legendary robber and protector of all the unfortunate and poor. The ballads speak of his courage, nobility and cheerful disposition.

Ilya Muromets

The most striking distinguishing feature of the epic is the heroic nature of its narrative. From such works it becomes clear who is the people's favorite and for what merit.

The most vivid image of the epic hero of Ancient Rus' Ilya Muromets was reflected in the epics belonging to the Kyiv cycle. Their action takes place either in Kyiv itself or near it. At the center of every story is Prince Vladimir. The main theme of these epics is the defense of Rus' from southern nomads.

In addition to Ilya Muromets, such heroes as Alyosha Popovich and Dobrynya Nikitich take part in the events. According to researchers, there are a total of 53 plots of Russian heroic epics. Ilya Muromets is the main character in fifteen of them. The epics present the entire biography of the Russian hero, from his birth to his death. Let's look at some of them in more detail.

Healing of Ilya Muromets

From this epic it becomes clear that its main character was the son of a peasant. He, a cripple, was miraculously healed by the elders. They sent the young man to serve in Kyiv in order to defend Rus' from a formidable enemy. Before leaving his native village, Ilya Muromets accomplished his first feat. He plowed the peasant's field. And here the heroic strength of this man is already shown. After all, he easily uprooted stumps on the field, and this work was always one of the most difficult. It is not surprising that this feat was one of the first to be reflected in the epic. After all, the peaceful labor of the peasant has always served as the source of his life.

Ilya Muromets and the Nightingale the Robber

There are several main historical episodes in this epic. The first of them concerns the liberation of Chernigov, which was besieged by enemy forces. Residents of the city asked Ilya Muromets to stay with them and be a governor. However, the hero refuses and goes to serve in Kyiv. On the way he meets the Nightingale the Robber. This one looks like a bird, a man, and a monster. Its resemblance to a nightingale is determined by the fact that it lives in a nest in a tree and can whistle just like this bird. He is a robber because he attacks people. It can be called a monster because of the destructive effects of the whistle.

It was extremely important for the people who created this work that the kind and noble fellow Ilya Muromets defeated the Nightingale the Robber using an ordinary bow and with only one shot. It is also important that there is no exaggeration of human strength in this episode. At the same time, the narrator expressed his statement about the obligatory victory of good over evil. Thanks to this feat, Ilya Muromets stood out from all the heroes. He became the most important defender of his native land, the center of which is the city of Kyiv.

Russian bogatyrs

These heroes of an epic work always have remarkable strength. It is thanks to her that they become extraordinary people. But, despite this, in all the stories the hero is an ordinary person, and not some kind of magical creature.

In epics, these people, who have the best qualities, resist evil in the form of snakes, monsters, and also enemies. Bogatyrs represent the force that is always able to protect their native land and restore justice. They always take the side of truth. Stories about such ideal power indicate that this is what our people have always dreamed of.

The main features of Ilya Muromets

This hero is the most beloved hero of Russian epics. He is endowed with powerful strength, which gives him endurance and confidence. Ilya has a sense of self-esteem, which he will never compromise even in the face of the Grand Duke.

The people imagine this hero as the protector of all orphans and widows. Ilya hates the boyars, telling them the whole truth to their faces. However, this hero forgets the insult when trouble hangs over his native land. In addition, he calls on other heroes to stand up for the defense, but not of Prince Vladimir, but of the mother of the Russian land. For this reason he performs his feats.

Prince Vladimir

This character is also present in many epics about Ilya Muromets. At the same time, the capital’s prince Vladimir is not a hero at all. In the epic about Ilya Muromets and the Nightingale the Robber, he does not commit any bad deeds. The narrator shows him as a man who lacks courage. After all, the Kiev prince was afraid of the Nightingale the Robber brought to the city. However, there are other epics. In them, Vladimir is unfair and treats Ilya Muromets badly.

Mikula Selyaninovich

This hero is found in several epics. They also tell about Volga and Svyatogor.

Mikula Selyaninovich is an epic hero, a hero and a wonderful plowman. His image is the personification of the entire Russian peasantry, bearing “earthly cravings.”

According to the story, you can’t fight this hero. After all, his entire family is loved by “mother damp earth” - one of the most mysterious and monumental images existing in the Russian epic.

Based on ancient concepts, Mikula Selyaninovich is an oratai. His middle name means "farmer".

Mikula Selyaninovich is an epic hero, whose image is constantly accompanied by an aura of glory and sacralization. The people perceived him as a peasant patron, the god of Rus', Saint Nicholas. Sacralization is present even in the image of a plow, a plow, as well as in the very act of plowing.

According to epics, the main thing in the life of Mikula Selyaninovich is work. His image personifies peasant strength, for only this hero is able to lift “saddlebags” with a “thrust to the ground.”

Volga and Mikula Selyaninovich

The people created this epic over several centuries. At the same time, it is unknown whether Mikula Selyaninovich is a real person who lived in those distant times or not. But Oleg Svyatoslavovich is a prince, cousin of Vladimir Monomakh and grandson of Yaroslav the Wise.

What is this legend about? It tells about the meeting of two heroes - a prince and a peasant. Before that, each of them was doing their own thing. The prince fought, and the plowman. It is interesting that in this epic the oratai is dressed in festive clothes. These are the rules of these works. A hero must always be beautiful. The image of Volga (Oleg Svyatoslavovich) is contrasted with the everyday work of a peasant. At the same time, the work of a plowman is revered in the epic more than that of a soldier.

And this is no coincidence, because in those days any plowman could become a good warrior. However, not all warriors were able to cope with the hard peasant labor. This is confirmed by the episode when the prince’s squad could not even pull the bipod out of the ground. Mikula Selyaninovich pulled it out with one hand, and even shook it off the stuck lumps. Volga gave the plowman priority in work and praised him. In his words one can feel pride in a strong hero who is coping with a task that is beyond the strength of the entire squad.

The attitude of the people towards the hero

It is not difficult to prove that Mikula is an epic hero. After all, his image, personifying peasant strength, is imbued with great respect. This is also felt in connection with the use of affectionate words, when the hero is called oratay-oratayushko.

The people also welcome the modesty of the hero. After all, he talks about his affairs without any boasting.

Svyatogor

This hero is also the oldest Russian epic. Absolute universal power finds its personification in his image. Svyatogor is the strongest man in the world. It is so heavy and huge that even the “mother of damp earth” herself cannot bear it. That is why the hero has to ride a horse only in the mountains.

In one of the epics, where two heroes met, the image of Mikula becomes somewhat different, acquiring a cosmic sound. One day it happened that Svyatogor, riding on a horse, saw a young man on foot. He tried to catch up with Mikula, but was unable to do so.

In another epic, a peasant hero asks Svyatogor to pick up a bag that has fallen to the ground. However, he failed in this task. Mikula lifted the bag with only one hand. At the same time, he said that there is an “earthly burden” in it, which only a peaceful and hardworking plowman can overcome.

MODEL OF THE WORLD. 1. Yggdrasil, the world tree. 2. Firmament. 3. Firmament. 4. Hel, the underworld. 5. Wise eagle on top of Yggdrasil. 6. Deer on the branches of Yggdrasil, nibbling its leaves. 7. Wolves Skoll and Hati, chasing the Sun and the Moon. 8. Asgard, home of the gods. 9. Heavenly root of Yggdarsil. 10. Heavenly spring Urd under the heavenly root of Yggdrasil. 11. Miniatures holding the firmament. 12. Midgard, the home of people. 13. Earth root of Yggdrasil. 14. Rainbow Bridge Bifrost, connecting Asgard with Midgard. 15. The ocean washing Midgard. 16. The serpent Jormungand, who lives in the ocean and gnaws his tail. 17. Muspellsheim, land of fire. 18. Niflheim, land of cold and darkness. 19. The underground root of Yggdrasil. 20. The dragon Nidhogg, gnawing the underground root of Yggdrasil. 21. Hvergelmir, a spring under the underground root of Yggdrasil. 22. Twelve underground rivers (Elivagar), flowing from Hvergelmir and emerging on the surface of the Earth in Niflheim. 23. Evil Loki, tied with the intestines of his son Nari to three stones. 24. A poisonous snake whose venom drips onto Loki's face, causing him to tremble, causing an earthquake. 25. Wolf Fenrir, son of Loki chained with Gleipnir; a sword is inserted into his gaping mouth