Soidla T. R. (2008) Quiet
life of wisdom in language and fairy tales: Svarog
and Koschei. Sutra 1(1), 104-106.
World
Congress on Psychology and Spirituality-2008, Delhi, India
Quiet life of wisdom in language and fairy tales: Svarog and Koschei
Tonu R. Soidla,
St. Petersburg, Russia
In Russian
mythology, Koschei, (also Kashchei) is an evil person of ugly senile appearance,
menacing principally young women. Koschei is also
known as Koschei the Immortal or Koschei the Deathless. This name may be derived from "kost’" (bone), thus suggesting a skeleton-like
appearance (Kaschei-Wikipedia, 2007). The fairy
tales involving Kaschei are still very popular among
Russian children.
Tilak (1903)
considered Koschei as a Vedic hero,
representative of evil forces of cold, darkness and death. This ascription was
penetrating but rather intuitive.
Demin (2007) has
provided some evidence in support of the original version of the name as “Kosh the Immortal.” The root “kosh”
exists in contemporary Russian language, for example, in “koshelek”
(a purse).
Koschei is called Immortal
because he cannot be killed by conventional means targeting his body.
“His soul is
hidden separate from his body inside a needle, which is in an egg,
which is in a duck,
which is in a hare,
which is in an iron chest, which is buried under a green oak tree, which is on
the island of Buyan,
in the ocean”(Kaschei-Wikipedia, 2007).
Quite
unexpectedly this description reminds us of the structure of five sheaths (koshas) veiling Atman according to the Taittriya Upanishad.
Five sheaths: of
food, of the vital breath, of the mind, of the intellect and of bliss veil
Brahman/Atman (“A tma,”” a tamas”). In Sanskrit the sheaths
are named koshas: Annamaya kosha, Pranamaya kosha, Manomaya kosha, Vijnanamaya kosha, Anandamaya kosha (Swami Nikhilananda, translator, 2006).
Possibly
this meaning of the word “kosha” allows for
considering Kosh the Immortal as a dramatic
visualization of the archetypical small “I,” ego, as opposed to the real “I,”
Self.
Then
one can see Kaschei’s death as an Ego death due to
realizing the true Self (Atman).
Alternatively,
Kaschei can be considered as Tamas coated
in five sheaths like an Atman, perhaps an ancient dualistic counterpart of
Atman.
The
term illusion, in the form of tempting and evil Mara, seems also to
apply to the events related to Kaschei’s death,
especially, when taking into account, that the main consort of Kaschei is a sorceress called Marena
(Morena) (Marena-Wikipedia,
2007). Here one can call to mind the “matryoshka
dolls,” nested dolls that are very popular in Russia that call to one’s memory
both the sheaths of Atman and sheaths of the Kaschei’s
death-needle. The derivation of Matrena (giving rise
to Matryoshka) from Marena
remains conjectural, of course. Matryoshkas look
healthy, rustic, naïve, beyond anything evil or mystical. But who knows?
Also
the egg, the last sheath of the deadly needle, seems to hint at the world egg
(cosmic egg), found in the creation
myths of many cultures and civilizations.
(Usually, the universe or some primordial being comes into existence
hatching from such an egg.)
The result of breaking such an egg can obviously lead to global consequences (Demin, 2007).
Indeed,
in the version of Kaschei tales (Naumov,
1994) that involve his consort Marena, the very act
of killing Koschei leads to a kind of pralaya, to the end of the world caused
by global fire, followed by flood.
Illusion
or not, the cosmogonic role of Koschei
shows that a wholly black view of this hero is not the whole truth about him. Demin (2007) found evidence allowing us to consider Koschei being related to Kashyapa.
In the Puranas, Kashyapa was
an ancient sage (one of the rishis), father of the Devas, Asuras, Nagas and all ofhumanity
(Kashyapa-Wikipedia,
2007). It seems quite likely that the original image of Koschei
had not only negative connotations.
Independent of these philosophical
speculations, the survival of the term kosha not
only in the name of a popular fairy tale hero but together with all the imagery
related to five metaphysical sheaths seems to be rather remarkable.
Somewhat related seems to be a story,
connected with a Slavic god Svarog (Svarog-Wikipedia, 2007). The Russian
words vor (thief), var (boil, arch.: fire) andtvorchestvo (creativity)
and some other words related to healing, telling lies and naming
several magical creatures share the remarkable root vor (var). An important Slavic god Svarog,
a fire and smithery god also retains this most
powerful root in his name, reminiscent of the Greek myth of Prometheus. What is
most curious is that Prometheus, who stole fire from Zeus and gave it to mortals, also carries in hidden form the
same constellation of meanings, not only in his myth but in his very name.
“The name comes
from the same proto-Indo-European language word that produces the Vedic pra math, which means "to steal."
This verb produces pramathyu-s,
"thief," whence "Prometheus." The Vedic myth of fire's
theft by Matarigvan is, not coincidentally, an analog
to the account found in Greek myth. To these etymological cognates we may
add pramantha, the tool used to create
fire. Thus Fortson 2004, 27; Williamson 2004, 214-15.”
(From Prometheus-Wikipedia, 2007)
It is difficult to
estimate, how widespread is such a cryptic survival of ancient philosophical
meanings in language and fairy tales. My impression is that we still
have overlooked many cases of this kind.
References
Demin, Valery N. Hyperborean
mysteries of Russia (Giperboreiskie tainy Rusi). Moscow: Veche, 2007. (In Russian)
Fortson,
Benjamin. Indo-European Language and Culture: An Introduction. Blackwell Publishing, 2004.
Kashyapa—Wikipedia http://en.wikipedia.org/wiki/Kashyapa 2007.
Koschei—Wikipedia http://en.wikipedia.org/wiki/Koschei 2007.
Morena
(Marena)—Wikipedia http://en.wikipedia.org/wiki/Marzanna 2007.
Naumov, Sergei. Dazhdbog in Russian mythology or His story http://www.ibiblio.org/sergei/Dazhdbog.html 1994.
Prometheus—Wikipedia http://en.wikipedia.org/wiki/Prometheus 2007.
Svarog—Wikipedia http://en.wikipedia.org/wiki/Svarog 2007. (More relevant is
the Russian version of this entryhttp://ru.wikipedia.org/wiki/%D0%A1%D0%B2%D0%B0%D1%80%
D0%BE%D0%B3 )
Swami Nikhilananda (translator) Taittiriya Upanishad http://sanatan.intnet.mu/upanishads/taittiriya.htm 2006.
Tilak, Lokamanya Bâl Gangâdhar. The Arctic Home in the Vedas: Being
Also a New Key to the Interpretation of Many Vedic Texts and Legends. Poona
City,India, 1903.
Williamson, George
S. The Longing for Myth in Germany: Religion and Aesthetic Culture from
Romanticism to Nietzsche. Chicago, 2004.
Сойдла Т.Р. (2009). Cryptic survival of wisdom in fairy tales: Koschei and Baba Yaga. Вестник
Балтийской Педагогической Академии 91, 117-119.
EUROTAS
conference, 2008, Barcelona, Spain
Cryptic
survival of wisdom in fairy tales: Koschei and Baba Yaga
Tonu R.
Soidla (St. Petersburg, Russia)
After
shipwreck of civilizations, fragments of the dominant metaphysical systems are
not always lost, but sometimes they seem (as fascinating toys or tales) to find
their way to safety of children rooms. I have supposed that metaphysics and
creative art are based on special modules, heritable seed texts, written down
within hypothetical synchronization signals (“filled commas”) of memory
(Shapiro & Soidla, 2004). This helps to resurfacing of lost material of
this kind. The very construction of these modules allows for multiple interaction with other modules. Below we describe several “case studies”
possibly speaking in favor of reality of such survival of metaphysical
material. In Russian mythology, Koschei (also Kashchei) is an evil person of ugly senile appearance. Tilak (1903) considered Koschei as a
Vedic hero, representative of evil forces of cold, darkness and death. Demin (2007) has provided a synopsis of numerous ideas
about the genesis of image of Koschei, including some
evidence in support of the original version of the name as “Kosh.”
The root “kosh”
exists in contemporary Russian language, for example, in “koshelek” (a purse). Koschei is called Immortal, because he cannot be killed by
conventional means. “His soul is hidden separate from his body inside a needle,
which is in an egg, which is in a duck, which is in a hare, which is in an iron
chest, which is buried under a oak tree” (Kaschei, Wikipedia). What has escaped attention of scholars is a
parallel between the sheaths masking Koschei’s death,
and the structure of five sheaths (koshas) veiling Atman according to the Taittriya
Upanishad. Five sheaths: of food, of the
vital breath, of the mind, of the intellect and of bliss veil Brahman/Atman (“a tamas”). In Sanskrit the sheaths are named koshas: Annamaya kosha, Pranamaya kosha, Manomaya kosha, Vijnanamaya kosha, Anandamaya kosha (Feuerstein,
1990, Swami Nikhilananda, 2006). Possibly this
meaning of the word “kosha”
allows for considering Kosh the Immortal as a
dramatic visualization of the archetypical small “I,” ego, opposed to the real
“I,” Self. One can see Kaschei’s death as an Ego
death due to realizing the true Self (Atman) in Advaitic
Vedanta (see “Who”, 2002). Independent of these philosophical speculations, the
survival of the term kosha
both in the name of Koschei and within a story,
cleverly rationalizing the metaphysics implied, seems to be remarkable. More
details are provided in (Soidla, 2008a, Soidla 2008b). Bone legged Baba Yaga (Baba Roga) is, in Slavic folklore, a popular witch-like
character, who lives in a house on chicken feet. There are some stories where
she helps people with their quests, but generally Baba Yaga
is shown as an antagonist. She kidnaps children and threatens to bake them. Baba Yaga’s hut is
surrounded by fence made of human bones and topped with human skulls with burning
star-like eyes. Propp (1998) supposed that the hut is
related to the initiation huts, where neophytes were symbolically
"consumed" by the monster, to emerge later as adults. He classified
Baba Yaga’s roles as that of a female warrior, a
donor and child abductor. Here we suggest Baba Yaga’s
connection with two Egyptian forms of a soul of a deceased person: Ba (“soul”) and Akh (a luminous
star-like “spirit”), both depicted as birds (Wikipedia). These terms clearly
refer to chtonic world of Baba Yaga
and point towards chicken-like legs of Yaga’s hut, to
her own “bone leg” and to the “burning” eye-sockets of the skulls. Egyptian
Gods are often considered to be Ba of other Gods.
Baba Yaga can also be considered to be related to Ba or Ba Akh of Hathor. Hathor is a horned Goddess of starry sky, also of music
(Wikipedia). In her chtonic aspect she greets, feeds and helps the new souls in
another world. As Sekhmet, she is a warrior and as Isis was involved in baking a child in fire in Byblos
(presumably to transform his physical nature). It is difficult to estimate, how
widespread is such a cryptic survival of ancient metaphysics. I have
demonstrated (Soidla, 2008c) that imagery related to Frog-Princess points to
some yogic techniques aimed at “opening the third eye”. Also I have noted a
curious constellation of fire and theft in the material related to both to
Prometheus and to Slavic smithery and fire god Svarog (Soidla, 2008b).
References: Demin, Valery N. Hyperborean mysteries of Russia
Moscow:
Veche, 2007 [In Russian]; Feuerstein G. Encyclopedic dictionary of yoga. New
York: Paragon House, 1990; Propp V.Y. Morphology and
historical roots of fairy tales. Moscow: Labirint.
1998 [In Russian]; Shapiro S., & Soidla T. R. (2004) Journal of
Transpersonal Psychology 36(2), 202-219, 2004; Soidla T.R. Sutra 1(1),
104-106, 2008a; Soidla T.R. Proceedings
of the Baltic Pedagogical Academy 80,
69-74, 2008b [In Russian]; Soidla T.R. ibid. 80, 75-78, 2008c. [In
Russian]; Swami Nikhilananda (translator) Taittiriya Upanishad http://sanatan.intnet.mu/upanishads/taittiriya.htm 2006;
Tilak, L. B. G. The
Arctic Home in the Vedas. Poona City,
India, 1903; “Who”. Maha Yoga. Tiruvannamalai:
Sri Ramanasramam, 2002;
Wikipedia—http://en.wikipedia.org/wiki.