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Baba Yaga From Wikipedia, the free encyclopedia Jump to navigationJump to search This article is about the entity in Slavic folklore. For the film, see Baba Yaga (film). For other uses, see Baba Yaga (disambiguation). Baba Yaga as depicted by Ivan Bilibin, 1900 In Slavic folklore, Baba Yaga (Russian: Баба Яга) is a supernatural being (or one of a trio of siste of the same name) who appea as a deformed or ferocious-looking woman. In Russian fairytales Baba Yaga flies around in a mortar, wields a pestle, and dwells deep in the forest in a hut usually described as standing on chicken legs. Baba Yaga may help or hinder those that encounter or seek her out and may play a maternal role and has associatio with forest wildlife. According to Vladimir Propp's folktale morphology, Baba Yaga commonly appea as either a donor, villain, or may be altogether ambiguous. Andreas Joh identifies Baba Yaga as "one of the most memorable and distinctive figures in eastern European folklore," and observes that she is "enigmatic" and often exhibits "striking ambiguity."[1] Joh summarizes Baba Yaga as "a many-faceted figure, capable of ipiring researche to see her as a Cloud, Moon, Death, Winter, Snake, Bird, Pelican or Earth Goddess, totemic matriarchal ancestress, female initiator, phallic mother, or archetypal image".[2] Contents 1 Etymology 2 Attestatio 3 Lubki 4 Related figures and analogues 5 Appearances in Media 5.1 Literature 6 See also 7 Notes 8 References 9 External links Etymology Variatio of the name Baba Yaga are found in the languages of the Eastern Slavic peoples. The fit element, baba, is traparently a babble word. In Old Russian, baba may mean 'midwife', 'sorceress', or 'fortune teller'. In modern Russian, the word бабушка or babushka (meaning "grandmother") derives from it, as does the word babcia (also "grandmother") in Polish. In contemporary, unofficial Polish Baba is the pejorative synonym of woman (especially old, dirty or foolish woman). Baba may also have a pejorative connotation in modern Russian, both for women as well as for "an unmanly, timid, or characterless man".[2] Similarly to other kihip terms in Slavic languages, baba may be employed outside of kihip, potentially as a result of taboo. For example, in variety of Slavic languages and dialects, the word baba may be applied to various animals, natural phenomena, and objects, such as types of mushrooms or a cake or pear. This function extends to various geographic features. In the Polesia region of Ukraine, the plural baby may refer to an autumn funeral feast.[2] These associatio have led to variety of theories on the figure of Baba Yaga, though the presence of the element baba may have simply been taken as its primary meaning of 'grandmother' or 'old woman'. The element may appear as a mea of glossing the second element, iaga, with a familiar component. Additionally, baba may have also been applied as a mea of distinguishing Baba Yaga from a male counterpart.[2] While a variety of etymologies have been proposed for the second element of the name, Yaga, it remai far more etymologically problematic and no clear coeus among schola has resulted. For example, in the 19th century, Alexander Afanasyev proposed the derivation of Proto-Slavic *o? and Sakrit ahi ('serpent, snake'). This etymology has subsequently been explored by other schola in the 20th century.[3] Related terms to the second element of the name, Yaga, appear in various Slavic languages; Serbo-Croatian jeza ('horror, shudder, chill'), Slovene jeza ('anger'), Old Czech jězě ('witch, legendary evil female being'), modern Czech jezinka ('wicked wood nymph, dryad'), and Polish j?dza ('witch, evil woman, fury'). The term appea in Old Church Slavonic as j?za/j?dza (meaning 'disease, illness'). In other Indo-European languages the element iaga has been linked to Lithuanian engti ('to abuse (continuously), to belittle, to exploit'), Old English inca ('doubt, worry, pain'), and Old Noe ekki ('pain, worry').[3] Attestatio The heroine Vasilisa outside of the hut of Baba Yaga as depicted by Ivan Bilibin (1899) The fit clear reference to Baba Yaga (Iaga baba) occu in 1755; Mikhail V. Lomonosov's Rossiiskaia grammatika ('Russian grammar'). In Lomonosov's grammar, Baba Yaga is mentioned twice among other figures largely from Slavic tradition. The second of the two mentio occu within a list of Slavic gods and beings next to their presumed equivalence in Roman mythology (the Slavic god Perun, for example, appea equated with the Roman god Jupiter). Baba Yaga, however, appea in a third section without an equivalence, attesting to perception of her uniqueness even in this fit known attestation.[4] In the narratives in which Baba Yaga appea, she displays a variety of typical attributes: a turning, chicken-legged hut; and a mortar, pestle, mop or broom. Baba Yaga frequently bea the epithet "bony leg" (Baba Iaga kostianaia noga), and when iide of her dwelling, she may be found stretched out over the stove, reaching from one corner of the hut to another. Baba Yaga may see and mention the "Russian scent" (russkim dukhom) of those that visit her. Her nose may stick into the ceiling. Particular emphasis may be placed by some narrato on the repulsiveness of her nose, breasts, buttocks, or vagina.[5] In some tales a trio of Baba Yagas appear as siste, all sharing the same name. For example, in a veion of "The Maiden Tsar" collected in the 19th century by Alexander Afanasyev, Ivan, a handsome merchant's son, makes his way to the home of one of three Baba Yagas: He journeyed onwards, straight ahead [...] and finally came to a little hut; it stood in the open field, turning on chicken legs. He entered and found Baba Yaga the Bony-legged. "Fie, fie," she said, "the Russian smell was never heard of nor caught sight of here, but it has come by itself. Are you here of your own free will or by compulsion, my good youth?" "Largely of my own free will, and twice as much by compulsion! Do you know, Baba Yaga, where lies the thrice tenth kingdom?" "No, I do not," she said, and told him to go to her second sister; she might know.[6] Ivan Bilbin, Baba Yaga, illustration in 1911 from "The tale of the three royal divas and of Ivashka, the priest's son" (A. S. Roslavlev) Ivan walks for some time before encountering a small hut identical to the fit. This Baba Yaga makes the same comments and asks the same question as the fit, and Ivan asks the same question. This second Baba Yaga does not know either and directs him to the third, but says that if she gets angry with him "and wants to devour you, take three hor from her and ask her permission to blow them; blow the fit one softly, the second one louder, and third still louder." Ivan thanks her and continues on his journey.[7] After walking for some time, Ivan eventually finds the chicken-legged hut of the youngest of the three siste turning in an open field. This third and youngest of the Baba Yagas makes the same comment about "the Russian smell" before running to whet her teeth and coume Ivan. Ivan begs her to give him three hor and she does so. The fit he blows softly, the second louder, and the third louder yet. This causes birds of all sorts to arrive and swarm the hut. One of the birds is the firebird, which tells him to hop on its back or Baba Yaga will eat him. He does so and the Baba Yaga rushes him and grabs the firebird by its tail. The firebird leaves with Ivan, leaving Baba Yaga behind with a fist full of firebird feathe.[7] In Afanasyev's collection of tales, Baba Yaga also appea in "Baba Yaga and Zamoryshek", "By Command of the Prince Daniel", "Vasilisa the Fair", "Marya Moryevna", "Realms of Copper, Silver, and Gold", "The Sea Tsar and Vasilisa the Wise", and "Legless Knight and Blind Knight" (English titles from Magnus's tralation).[8] Lubki A lubok depicting Baba Yaga and a bald man with bagpipes Baba Yaga appea on a variety of lubki (singular lubok), wood block prints popular in late 17th and early 18th century Russia. In some itances, Baba Yaga appea astride a pig going to battle agait a reptilian entity described as "crocodile". Some schola interpret this scene as a political parody. Peter the Great peecuted Old Believe, who in turn referred to him as a "crocodile". Some itances of the lubki feature a ship below the crocodile, and Baba Yaga appea in what some schola identify as Finnish dress, and Catherine I, Peter the Great's wife, was sometimes derisively referred to by way of a word referring to Finnish women (Russian chukhonka).[9] Another lubok features Baba Yaga dancing with a bagpipe-playing bald man. In turn, some schola have identified this as a merrier depiction of the home life of Peter the Great and Catherine I. Alternately, some schola have interpreted these lubki motifs as reflecting a concept of Baba Yaga as a shaman, according to which the "crocodile" would represent a moter who fights witches. The print would therefore be something of a "cultural mélange" that "demotrate[s] an interest in shamanism at the time". Contemporary to the production of the lubki, the Finnic peoples still practiced a form of shamanism.[10] According to scholar Andreas Joh, "Neither of these two interpretatio significantly changes the image of Baba Yaga familiar from folktales. Either she can be seen as a literal evil witch, treated somewhat humorously in these prints, or as a figurative 'witch,' an unpopular foreign empress. Both literal and figurative undetandings of Baba Yaga are documented in the nineteenth century and were probably present at the time these prints were made."[11] Related figures and analogues Je?ibaba, a figure closely related to Baba Yaga, occu in the folklore of the West Slavic peoples. The name Je?ibaba and its variants are directly related to that of Baba Yaga. The two figures may stem from a common figure as far back as the medieval period, if not further, and both figures are at times similarly ambiguous. The two differ in their occurrence in different tale types and in details regarding their appearances. Questio linger regarding the limited Slavic area—East Slavic natio, Slovakia, and the Czech lands—in which references to Je?ibaba are recorded.[12] Another related figure appea in Polish folklore by the name of Jedza.[13] Schola have identified a variety of beings in folklore who share similarities of varying extent with Baba Yaga. These similarities may be due to either direct relation or cultural contact between the Eastern Slavs and other surrounding peoples. In Eastern Europe, these figures include the Bulgarian goka maika (Горска майка', Mountain Mother', also); the Serbian Baba Korizma, Gvozdenzuba ('Iron-tooth'), Baba Roga (used to scare children in Croatia and Serbia), ?umska majka ('Forest Mother'), and the babice; and the Slovenian jaga baba or je?ibaba, Pehta or Pehtra baba and kvatrna baba or kvatrnica. In Romanian folklore, similarities have been identified in several figures, including Mama padurii ('Forest Mother'). In neighboring Germanic Europe, similarities have been observed between the Alpine Perchta and Holda or Holle in the folklore of Central and Northern Germany, and the Swiss Chlungeri.[14] Some schola have proposed that the concept of Baba Yaga was influenced by East Slavic contact with Finno-Ugric and Siberian peoples.[15] The Finnish Syojatar has some aspects of the Baba Yaga, but only the negative ones; in other Finnish tales, helpful roles akin to those from Baba Yaga may be performed by Akka.[16] Appearances in Media Literature In Nikita Gill's 2018 poetry collection "Fierce Fairytales: & Other Stories to Stir Your Soul" she has a poem entitled "Baba Yaga."[17] "Baba Yaga's Assistant" written by Marika McCoola; illustrated by Emily Carroll. [18] In the novel "Ask Baba Yaga: Otherworldly Advice for Everyday Troubles" by Taisia Kitaiskaia, the character of Baba Yaga gives advice for contemporary life. [19] Baba Yaga appea as a character in the book "The Door By the Staircase" by Katherine Mah; illustrated by Kelly Murphy. [20] In "The House With Chicken Legs" by Sophie Andeon, the protagonist's grandmother is a Yaga. [21] Under the name "Babs Yagg" she appea in "Vassa in the Night" by Sarah Porter. [22] She appea as a minor character in "The Winter of the Witch" by Katherine Arden, the third book in the Winternight Trilogy that features many characte from Russian Folklore. [23] See also Koschei the Deathless, common male antagonist in Russian folktales Vasilisa the Beautiful, common female protagonist in Russian folktales