ИЗВЕСТИЯ СОИГСИ

DOI 10.23671/VNC.2018.66.11467

The article deals with the parallels to the Ossetian Narts’ saga about the creation of the harp by Syrdon in the folklore of Transcaucasia. First of all, these are numerous Svan legends about the creation of the changi harp from the bones of the arm and the hair of a human being. As in the Ossetian plot, the creation of the harp was ascribed to the old man, whose son had died. The body of the harp is the arm of this boy, the strings are his hair, and the sound of the instrument is the weeping of the grieving father. Sometimes this invention was attributed to the girl who had lost her lover, less often to the hunter punished by the goddess. It was believed that playing the harp relieves sorrow and sadness. The Svans, Pshavs and Rachians had similar stories about the creation of chianuri, a string musical instrument close to the Ossetian musical instrument khisyn fændyr. It is characteristic, that these stories entered the epic cycle, which was the Georgian version of the Shāhnāmeh. Hero Rostom made chianuri from the body of his son Zohrab, whom he had slain unaware of their kinship. The same legend was associated with the Abkhazian stringed musical instrument akhymaa. In it, a hunter named Kiagua made this instrument to mourn the son he had accidentally killed. Its sounds were also meant to alleviate sufferings. All these instruments were associated with the cult of the dead and were used in funerary and memorial rituals. They accompanied the burying of the deceased, and could be played during the calendar memorial holidays, they were used while searching for the drowned or avalanche victims. In addition, the motif, close to the Ossetian one, could be traced in the lyrical songs of the Kurds.

Keywords: fændyr, changi, chianuri, Nart sagas, Persian epos, folklore of Transcaucasia.

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