Oriental Studies (Apr 2018)
M. Bryzhinsky’s Novel ‘Kirdazht’ (‘Coevals’): Mythological Images and Motifs
Abstract
The ethno-fantasy novel Kirdazht by Mordovian writer M. Bryzhinsky manifests the author’s mythopoeia that facilitated a more complete depiction of the ancient Mordvins’ history and culture, their customs and traditions. Since the Mordvins were forest inhabitants, it is Viryava (a protector goddess and mistress of forest fl ora and fauna) who is the key mythological fi gure. The image is primarily shown through the prism of the main character’s mind - young Kechay - as a creature dangerous for humans and their livestock that can steal something, punish with a disease or even kill. At the same time, they worship and request Viryava’s help who can bestow recovery from illnesses. Such interpretation of the image - being an example of the author’s mythopoeia - refl ected beliefs about Viryava depicting her as a malicious being which was determined by the conversion of the Mordvins from paganism to Christianity. Other Mordvinian deities repeatedly mentioned in the novel are Chipaz (god of the sun) and Nishkepaz / Ineshkipaz (the Supreme God). And while the image of Nishkepaz is typical enough for mythological beliefs of the Mordvins, that of Chipaz differs a lot. The writer does not distinguish between their functional roles, namely: in one episode dealing with a request to the god the latter is referred to as Chipaz, while in another episode about the creation of the world he is called Ineshkipaz. And, supposedly in the search for originality, the author modifi es the usual name ‘Nishkepaz’ into ‘Ine Shki-tri paz’, thus supplementing it with the word ‘tri’ (Mord. ‘tryams’ - ‘to grow, bring up, maintain’). A signifi cant role in the novel is played by the image of the medicine-man, wizard, or more precisely - folk healer Kepe Prya (‘Bare Head’) elaborated by the author from different mythologies. Analysis of the clothes, interior of his home, healing devices and methods concludes that Kepe Prya actually resembles a shaman rather than a Mordvinian healer. This is a manifestation of the writer’s vivid fantasy that, on the one hand, showed the opportunities of mythopoeia, and, on the other hand, complicated the task of creating a character with a certain national mentality. In general, the use of images and motifs from Mordvinian mythology (Chipaz, Ineshkipaz, Viryava, Vedyava, Kudava, etc.) facilitated a brighter depiction of the ancient Mordvins’ history and culture, their beliefs, view and perception of the world, ethnic mindset.
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