The oldest byliny are set in the 10th to 12th centuries in Kievan Rus', while others deal with all periods of Russian and Ukrainian history.[1] Byliny narratives are loosely based on historical fact, but greatly embellished with fantasy or hyperbole.[3]
Etymology
The word bylina derives from the past tense of the verb to be (Russian: был, romanized: byl) and implies 'something that was'.[4] The term most likely originated from scholars of Russian folklore (folklorists); in 1839, Ivan Sakharov, a Russian folklorist, published an anthology of Russian folklore, a section of which he titled "Byliny of the Russian People", causing the popularization of the term.[5][6] Later scholars believe that Sakharov misunderstood the word bylina in the opening of the Igor Tale as "an ancient poem." The folk singers of byliny called their songs Russian: старины, IPA:[ˈstarʲɪnɨ], starines; sg. старинаstarina) or starinki and Russian: старинки), meaning 'stories of old' Russian: старый, romanized: staryj).[3]
History
Most scholars adhere to the version expressed by Vsevolod Miller that byliny as an old genre originated in the environment close to Rus' princes. They were performed by princely and druzhyna singers. Novgorod, Kiev, Rostov and Chernigov could have been the centers of epic creativity before their ravaging by cumans. These songs were composed by the order to glorify specific individuals. As a result of the persecution of professional singers by church and secular authorities, byliny spread in the villages, where they became a genre of song folklore. In the process of long-term residence, they lost attachment to historical events or characters. Filaret Kolessa believed that byliny had the verse size of a koliadka. Therefore, they have pre-Christian roots, supplemented by the influence of Western European chivalric poetry and Scandinavian chivalric tales of the 11th-12th centuries. Marko Plisetskyi wrote that the inclusion of mythological elements in the epic indicates the disintegration of Rus' mythology already in the 10th-13th centuries.[7]
The upper chronological limit of the historical events reflected in the chronicles of the Kievan cycle falls on the second half of the 13th century, the time of the Mongol invasion. This is indicated by the role of Kiev as the political center of Kievan Rus' and the mention of new fighting methods used against nomads. Namely, such details that Rus' heroes first hit enemy horsemen with a stick (mace), and then finish them off with a spear.[8]
It is hypothesised that as a result of the Mongol invasion in the XIII-XIV centuries the legends were brought by skomorochs to distant, outlying lands of the Rus' state, and spreaded to the Urals and Siberia. In Ukraine, this ancient epic poems were replaced by Cossack dumas , songs, and legends about the struggle against the Turks, Tatars, and Polish invaders in the 16th and 17th centuries.[9]
According to Miller, the prototype of Russian byliny were sacred northern legends, brought from Novgorod and Kiev, read according to a certain "bylinic technique", passed "from generation to generation, by the teacher to the student".[10] Regarding the time of the origin of the byliny, Leonid Maykov also wrote:
All the content of byliny, including the most old traditions, is presented in such an edition, which can be dated only to the ancient historical period. The content of byliny was developed at a very early period, perhaps even before the formation of the Old Rus' state.
According to Orest Miller, the great antiquity of byliny is proved by the fact that they depict a defensive policy, not an offensive one.[10]
Anthologists played an important role in the narration and preservation of byliny. After Sakharov, there were numehologists who contributed to its development, particularly during the 18th century. For example, Kirsha Danilov produced a compilation of 70 byliny. His sources were believed to be miners living in the Perm area. The works of these folklorists provided insights into the transition of the Russian literary tradition from one that was focused on religious subjects to secular literature. The first transcriptions of byliny are attributed to Richard James, an Englishman who traveled to Russia from 1617 to 1619.[12] The texts that he was able to record are now preserved in the Bodleian Library at Oxford.
There was also a known German translation of the byliny and this was published anonymously in 1819.[13] Overall, interest in these epic poems continued to the point that comprehensive and wide-ranging materials were sourced from virtually all of Great Russia. Although these were preserved, according to Kahn et al., only those byliny from "northern Russia, the areas of Arkhangelsk, Olonetsk, the Onega region, and parts of Siberia" were actively preserved into the 20th century.[14]
Russian bylinas and collections
Russian bylinas are a Novgorodian interpretation of epic stories. Novgorod , which in the 9th - 11th centuries was a part of Kievan Rus'. Not being subjected to devastating Mongol-Tatar attacks, the people of Novgorod preserved the remnants of the ancient Rus' epic. Having moved to the north of Russia, the epics became entrenched in the Russian epic. They are also known among the Cossack population of Kuban. In Ukraine, they were replaced by dumas — a reaction to a new wave of Tatar and Turkish invasion of Ukrainian lands.[15]
Byliny have been collected in Russia since the 17th century; initially they were published for entertainment in prose paraphrases. The Cossack Kirsha Danilov compiled the most notable of the early collections in the Ural region for the mill owner Prokofi Demidov in the middle of the 18th century.[16] In the middle of the 19th century, Pavel Rybnikov traveled through the region of Lake Onega and rediscovered that the bylina tradition, which was thought to be extinct, still flourished among the peasants of northwest Russia. A storm stranded Rybnikov on an island in Lake Onega where he heard the sound of a bylina being sung; he persuaded the singer to repeat the song and wrote down his words. He proceeded to collect several hundred bylina, all of which he recorded from spoken paraphrase, and published them from 1861 to 1867 in several volumes entitled Songs Collected by P. N. Rybnikov.[17]
Another influential collector, Alexander Gilferding, published one collection entitled Onega Bylinas Recorded by A. F. Gilferding in the Summer of 1871. He improved upon Rybnikov's work by transcribing the byliny directly from the sung performance rather than the spoken retellings. He noticed that the rhythm differed between the sung and spoken versions, and asked the performers to pause for a longer period of time between lines to allow him time to record the words from the song itself. He also organized his collection by singer rather than subject and included short biographical sketches of the performers with their collected songs, thus focusing on the singer's role in the composition of the song.[18] Following the work of Rybnikov and Gilferding, many more scholars searched for byliny everywhere in northern Russia, and obtained byliny from the shores of the White Sea and the rivers flowing to the north.[19]
Classifications
There are several ways to categorize byliny, and scholars disagree on which classification to use. Scholars from the mythological school differentiate between byliny about 'older' and 'younger' heroes. The 'older' heroes resembled mythological figures, while the 'younger' heroes resembled ordinary human beings. The historical school classifies byliny based on the principality in which the story took place, as in Kievan, Novgorodian, Rostov and Galician-Volhynian cycles. The mythological byliny of giants and the like probably originated long before the Rus' state was founded, and cannot be classified easily by principality. Scholars of the historical school often consider mythological byliny separately. Other scholars group byliny based on content, including heroic, fairy tale type, novella type and ballad-byliny. Most scholars prefer classification based on principalities.[20]
Structure
Because of their nature as performed pieces, byliny singers employ basically linear and easy to follow structure.[21]Byliny structure typically includes three basic parts, introduction, narrative portion and epilogue. The introduction sometimes includes a verse to entice the audience to listen. Introductions often describe heroes at a feast being given a task or setting out on a mission. The narrative portion relates the adventure with exaggerated details and hyperbole to make the story more exciting. The epilogue refers to the reward for the mission, a moral or a reference to the sea, since byliny were often performed to attempt to calm the sea.[22] To help listeners grasp the story, singers used 'tag lines' to preface speeches or dialogues, setting up for the audience who is talking to whom.[21]
Common themes
Scenes common to byliny include a hero taking leave of his mother, saddling a horse, entering a council chamber, bragging, departing over the wall of a city, going on a journey, urging on his horse, in battle, dressing in the morning, exchanging taunts with an enemy, becoming blood brothers with another hero, and asking for mercy. Singers may use their telling of these scenes in many of their songs, incorporating different elements in song after song. Themes in many bylina include the birth and childhood of a hero, father and son fighting, battling a monster, the imprisoned or reluctant hero returning in time to save his city, matchmaking or bride taking, a husband arriving at the wedding of his wife, and encounters with a sorceress who turns men into animals.[23] Christian beliefs mixed with pre-Christian ideas of magic and paganism in byliny, for instance, saints would appear to defend mortals against darkness.[24]
^ abOinas, Felix J. (1978). "Russian Byliny". Heroic Epic and Saga: an Introduction to the World's Great Folk Epics. Bloomington: Indiana University Press. p. 236.
^Bailey, James; Ivanova, Tatyana (1998). An Anthology of Russian Folk Epics. Armonk, NY: M. E. Sharpe. p. xx.
^Alexander, Alex E. (1973). Bylina and Fairy Tale; the Origins of Russian Heroic Poetry. The Hague: Mouton. p. 13.
^Kahn, Andrew; Lipovetsky, Mark; Reyfman, Irina; Sandler, Stephanie (2018). A History of Russian Literature. Oxford: Oxford University Press. p. 48. ISBN978-0-19-966394-1.
