Starting an article that reveals the topic “Russian epics about heroes”, we first define ethnographic terms from the aforementioned title. The ethnographic role of epics about heroes is difficult to overestimate. For centuries, people have invested in them about military valor, patriotism, and religious tradition.
The word "epics" was created by the Russian ethnographer scientist Ivan Petrovich Sakharov at the beginning of the 19th century. Therefore, it has a literary origin. People traditionally used to designate epic tales of exploits with another name - "antiquity." The image of a hero in Russian epics developed two centuries after the country gained statehood. Before the Tatar-Mongol yoke in Russia, it simply did not exist. This fact confirms the version about his origin from the Altai language group, where derivatives from the word "batyr" were actively used. In the XIII century, the Tatar-Mongolian khan had a corps of bagatours - warriors of different physical strength, which is documented by chronicles. To the Mongols, this word came from Sanskrit, where "blagahara" meant - lucky.
Now - directly about the subject of the article. There are two stages of creating heroic epics. The first has embraced a vast period: from time immemorial of paganism to Christianity, i.e. before the reign of Kiev Prince Vladimir. The second began with the reign of the aforementioned prince - the Baptist of Russia, and ended with the organic replacement of the function of the oral epic by copyright books.
The pre-Christian stratum of the Russian epic about the heroes brought to us the names of Volga Svyatoslavovich, Mikita Selyaninovich, Svyatogor. All these characters have traits borrowed from pagan gods. The names of epics about Russian heroes point to the main characters of the stories: "Svyatogor and Mikula Selyaninovich", "Mikula Selyaninovich and Volga Svyatoslavovich."
The mother of the giant Svyatogor is Cheese Earth, and his father is “dark,” that is, a creature from another world. This giant knight organically absorbed the power of the elements of the Russian Earth.
Mikula Selyaninovich (the analogue is the Greek hero Antei) is not a giant at all, he looks like a strong, tall man, but he has secret power - he is deeply akin to the Raw Earth. Moreover, this connection is inextricable to such an extent that "you can’t fight with it." Later, during the transition to the Christian tradition, the image of Mikula gradually conveyed its meaning to St. Nicholas the Wonderworker (the pagan holiday of St. Nicholas of the Spring, celebrated on May 9, gradually turned into the spring holiday of St. Nicholas.)
The image of Volga Svyatoslavovich is the most mysterious of the entire cycle “Russian epics about heroes”. The very origin of the name is associated by ethnographers with witchcraft - from the word "magus". He is a werewolf who understands the language of birds, animals. Most likely, the image itself is derived from the pagan god of hunting the Volkh. Volga's mother is Marfa Vasilievna, and his father is Serpent. Tales of the exploits of Volga - stories akin to the Viking epic telling about military campaigns in the Asian-Indian region. With the help of witchcraft, as well as military prowess, he achieved victories over opponents.
Summarizing the ethnos of the pre-Christian period, it should be noted that most stories emphasize primacy among the knights of Mikula Selyaninovich. Meeting with Svyatogor, the peasant hero suggested that he raise from the earth a bag in which he put "all the burdens of the earth." The giant did not succeed, Mikula won, having completed the required action with one hand. He excelled at a meeting with Volga, who asked for his help in collecting taxes. Agreeing, Mikula remembered the remaining plow, wishing to take it with him. Volga sent his warriors to follow her, then rode on his own. But the weight of this artifact exceeded their strength. Then a peasant hero caught up with them and easily, quite casually fulfilled the required. Does the general meaning of the above indicate an awareness of the dominant role of peasant labor? Summing up the epic of the pre-Christian period, ethnographers note the primacy of the idea of collegiality (community) of Russia.
The second layer of the Russian ethos belongs to the era of Prince Vladimir. The Christian "Russian epics about heroes" begin to glorify not the generalized, philosophical, mythological characters, but the real historical figures "who have served a great service" to the Motherland. Central, as well as centrifugal, is the image of Ilya Muromets. He is the hero of a series of approximately 90 stories. The most famous among them are about fights with the Nightingale the Robber, Idolish Pogany. The mission of the knight is the defense of Christianity and Russia, and the method of its implementation is Christian, or rather, monastic service. The episode of the paralyzed 33-year-old guy receiving a “silushka bogatyrskaya” as a gift from a “Kaliki-peredoha” is characteristic. Before his death, the mighty Svyatogor passes his silushka to him. The lifestyle of the protagonist of Russian epics is pilgrimage. Why is that? Why doesn't he have a family or a home? Perhaps the reason is a monastic vow, because it unites the Christian feat of pilgrimage and foolishness.
The next most important hero of the Christian epic is Dobrynya Nikitich. This image appeared thanks to the governor Dobryna, uncle of Kiev Prince Vladimir. Six epics are associated with him. He is a service man under Vladimir the Red Sun. His wife is Vasilisa Mikulishna, daughter of Mikula Selyaninovich. His most striking feat is his victory over the fire-breathing three-headed Serpent Gorynych. Among the epics about this hero there is a scene of a duel with Ilya Muromets - heroic, honest, ending with fraternization, and then - a joint campaign. By the way, the confrontation showed “weakness” in the more “age” Ilya - “the left arm was weakened” (the wound with a spear present on the relics of the holy knight apparently affected), the leg turned up. Generous Dobrynya did not take this opportunity to obtain the glory of the winner.
The third famous hero of this cycle is Alyosha Popovich. This character is depicted in the legend of the duel with Tugarin Snake and the tale "Sister Zbrodovichi." Tugarin is a generalized image of warlike nomads, constantly attacking, robbing, killing, capturing captives. And Olena Petrovna, the sister of the Zbrodovich brothers, is a Slavic legend of sublime love for a woman, ending in a happy marriage. Historians call the prototype of this hero the Rostov boyar Alexander (Olesha) Popovich, who did a great service to Vsevolod the Big Nest, and later to his son Konstantin Vsevolodovich. The hero found the heroic death during the Battle of Kalka.
When analyzing Christian Russian epics about heroes, it should be recognized that their images contributed to the formation of a sense of Russian statehood and the need for selfless service to the motherland.