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Tugarin
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Tugarin (Russian: Тугарин) is a mythical creature in Russian byliny and fairy tales, which personifies evil and cruelty and appears in a dragon-like form.[1] Tugarin is depicted as a giant and an opponent of Alyosha Popovich.[1]
Name forms and origins
[edit]Tugarin has many different names in Russian byliny and fairy tales, such as Zmey Tugarin, Zmey Tugaretin, Zmeishche Tugarishche, and others.[2]
The name Tugarin as a corruption of Tugar-Khan (Tugor-Khan of the Turkic Polovets),[3][2][4] has been contested by an etymology from the root tug "grief".[a][5][6][7]
Description
[edit]Tugarin, although spoken of as a dragon, largely retains an "anthropomorphic" form, and is seen riding a horse.[8] It appears he has wings with which to fly, and he soars to the air during the duel with Alyosha.[9] The flying wings are certainly a dragon-like trait, but some versions explain it away as a contraption made of paper, attached to his horse and not to himself.[10]
Tugarin was a great glutton, which is somewhat of a dragon-like trait.[8] He could stuff a whole wheel of bread in each cheek, then deposit a whole swan on his tongue and swallow it.[11][12] This is similarly but somewhat differently sung in some versions of byliny.[13]
He had a huge head,[14] and in some texts, his severed head rolled off like a beer cauldron,[15] or it rolled off like an onion, later to be described as big enough to serve as a cauldron.[16][b]
The pagan Tugarin[17] is also portrayed as Roman Catholic rival of Prince Vladimir.[18][c]
Nature myth
[edit]It has been suggested by some commentators that Tugarin represents the element of fire, since in some versions of "Alyosha Popovich", Tugarin's torso is covered with fiery snakes which he uses as a weapon, attempts to strangle Alyosha with smoke, throw fiery sparks at him, scorch him with fire, and shoot firebrands (головни́, or ignited logs of wood) at him.[2]
Tugarin may also represent the element of water, because their duel usually takes place near a river (usually the Safat River).[2] However, Tugarin is defeated due to rain, which spoils his papery wings.[2]
Combat with Alyosha
[edit]Tugarin Zmeyevich is best known from the bylina about his duel with Alyosha Popovich, which comes in many different versions.[2] The story is also found in the prose fairytale version.[19][11]
In some versions, they two meet for the duel at Safat River, where they pitch pavilions.[20] Tugarin roars in a booming voice,[20] or else hisses like a snake.[2]
He is flying in the sky flapping his paper-like wings, which fail him when it rains. Alyosha Popovich wins the duel, cuts Tugarin's body into pieces and scatters them across the field.[2]
Some bylinas mention Tugarin's intimate relations with the wife of Prince Vladimir. When she finds out about his death, she turns sad and reproaches Alyosha Popovich for separating her from her "dear friend".[2]
Other dragons
[edit]Tugarin Zmeyevich is a chronical character of an ancient dragon-fighting myth, related to Zmey Gorynych (Russian: “Змей Горыныч”, Ukrainian: “Змій Горинич”), Fiery Dragon (Russian: “Огненный Змей”) etc.[2]
Modern depictions
[edit]The legend of Tugarin Zmeyevich is mentioned in the novel The City Beautiful by Aden Polydoros, with the character Yakov imagining the antisemitic murderer of his family as Tugarin. The dragon is portrayed as an amalgamation of burned corpses.[21]
Explanatory notes
[edit]- ^ Related to verb tuzhit тужить "to grieve".
- ^ Alyosha plays a game with it by tossing the head onto his spear. This is seenfby Alyosha's follower at a distance. In one version, the follower is called Marýshko, and he announces it is Alyosha playing with the "little head".[17]
- ^ Of course, Aloyosha Popovich too has the "Son of Pope" byname, his father being called the "prebendary León" (or "Catheral priest Leontii"[11]) or "León the pope".[12]
References
[edit]- Citations
- ^ a b Dixon-Kennedy 1998, p. 283.
- ^ a b c d e f g h i j "Тугарин" in Mythological Dictionary, E. Meletinsky (ed.) Soviet Encyclopedia (1991); Ivanov, V.V.; Toporov, V. N. Тугарин (in Russian). Archived from the original on 2016-03-05.
- ^ Hapgood (tr.) (1886), p. 345.
- ^ a b "Тугарин" in Fasmer's Mythological Dictionary
- ^ Bailey & Ivanova (1998), p. 123.
- ^ Prokofieff, Sergei O. (1993), The Spiritual Origins of Eastern Europe and the Future Mysteries of the Holy Grail, Temple Lodge Publishing, p. 488, ISBN 9780904693553 ISBN 0904693554
- ^ Каллаш, Этногр. Обозр., 1889, No 3, стр. 207, cited by Fasmer's Mythological Dictionary.[4]
- ^ a b Bailey & Ivanova (1998), p. 122.
- ^ Afanáśev, "Alyósha Popóvich", Magnus (tr.) (1916), p. 168
- ^ "Alyosha Popovich, his Squire Yekim, and Tugarin", Bailey & Ivanova (1998), pp. 124–129 and preface, p. 122
- ^ a b c Afanas'ev, "312. Alyosha Popovich", Haney (2015)
- ^ a b Magnus (tr.) (1916), p. 166.
- ^ Bailey & Ivanova (1998), p. 126.
- ^ Bailey & Ivanova (1998), p. 124.
- ^ Alexander (1973), p. 271.
- ^ Bailey & Ivanova (1998), pp. 124–129.
- ^ a b Magnus (tr.) (1916), p. 169.
- ^ "[Turgarin] converted.. Vladimir's tsardom to the Latin faith" (#312, Haney (2015))
- ^ "Alyósha Popóvich", Magnus (tr.) (1916), pp. 165–169
- ^ a b Hapgood (tr.) (1886), p. 89.
- ^ Polydoros, Aden (2021). The City Beautiful. Inkyard Press. ISBN 978-1-335-40250-9.
- Bibliography
- texts
- Afanasʹev, Aleksandr Nikolaevich (2015). "#312 Alyosha Popovich". In Haney, Jack V. (ed.). The Complete Folktales of A. N. Afanas'ev. Vol. 2. Univ. Press of Mississippi. ISBN 978-1-4968-0275-0.
- Afanasyev, Aleksandr Nikolaevich (1916). Russian Folk-tales. Translated by Magnus, Leonard Arthur (2nd ed.). New York: E.P. Dutton. pp. 165–169.
- Bailey, James; Ivanova, Tatʹiana Grigorʹevna, eds. (1998). Anthology of Russian Folk Epics (Folklores and folk cultures of Eastern Europe). Armonk, New York: M.E. Sharpe Inc. p. 122. ISBN 0-585-26579-8. OCLC 940533848.
- Hapgood, Isabel Florence (1886). The Epic Songs of Russia. Armonk, New York: C. Scribner's Sons. pp. 88–. OCLC 560334961.
- studies
- Alexander, Alex Edward (1973), Bylina and Fairy Tale: The Origin of Russian Heroic Poetry, The Hague: Mouton, OCLC 164086156
- Dixon-Kennedy, Mike (8 December 1998). "Tugarin". Encyclopedia of Russian and Slavic Myth and Legend. Bloomsbury Publishing USA. p. 283. ISBN 978-1-57607-487-9.
Tugarin
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Etymology and Origins
Name Variations
In Russian bylinas, Tugarin is most frequently rendered as Tugarin Zmeyevich, with the patronymic suffix "-evich" signifying "son of," combined with "zmey" (serpent or dragon) to underscore his serpentine heritage and monstrous nature.[1] Other common epithets include Zmey Tugarin and Tugarin the Snake, where "zmey" directly prefixes or modifies the name to highlight his draconic attributes, as seen in early collections like Kirsha Danilov's 18th-century anthology of epic songs.[4] Less frequent variants such as Zmey Tugaretin and Zmeishche Tugarishche appear in oral traditions, employing augmentative forms like "zmeishche" (great serpent) to amplify his formidable presence in narrative performances.[5] The etymology of "Tugarin" itself is debated among scholars. It may derive from the Russian word tuga meaning "sorrow" or "grief," apotropaically naming the antagonist to evoke the suffering he inflicts as an invader. Alternative theories suggest Turkic origins tied to steppe nomadic names, or even distant links to ancient ethnonyms like "Tocharian," though these remain speculative.[1] Regional differences emerge in broader East Slavic folklore, particularly in Ukrainian and Belarusian variants, where the name simplifies to Tugar or Tugarin the Serpent (Tuharyn Zmiy in Ukrainian transliteration), adapting the core term to local phonetic patterns while retaining the serpentine epithet "zmiy" equivalent to Russian "zmey."[6] These adaptations reflect shared cultural transmission across Kievan Rus' territories, with Ukrainian tales sometimes emphasizing the name's Turkic undertones through closer alignment with steppe nomadic influences.[7] The evolution of the name traces back to Old East Slavic records from the medieval period, where "Tugarin" appears as a personal name in chronicles, undergoing minimal phonetic shifts such as vowel stabilization and consonant preservation typical of East Slavic dialectal development into modern Russian forms.[1] In bylinas versus fairy tales, the name shifts from the more formalized Tugarin Zmeyevich in epic poetry—preserving archaic patronymics—to prosaic descriptors like Tugarin the Serpent in skazki, allowing for narrative flexibility in oral retellings.[4] Some scholars briefly connect this nomenclature to historical figures like the Polovtsian khan Tugorkhan (d. 1096), suggesting a folkloric layering of real-world invaders onto mythic serpents.[7]Historical and Cultural Roots
The character of Tugarin in Russian folklore is theorized to represent a demonized portrayal of Tugorkhan, an 11th-century leader of the Polovtsians (Cumans), a nomadic Turkic people who frequently raided Kievan Rus'. This interpretation stems from medieval chronicles, where Tugorkhan is recorded as a historical figure allied through marriage to Rus' princes, such as his daughter's union with Sviatopolk II in 1094, yet whose nomadic forces posed ongoing threats to Slavic settlements; he was killed in 1096 during the Battle of the Trubezh River against Rus' forces.[8] The broader influence of steppe nomad invasions on Russian mythological narratives is evident in the portrayal of Tugarin as a Tatar or pagan tyrant superimposed onto a dragon motif, reflecting the cultural trauma of recurrent Polovtsian incursions during the 11th and 12th centuries. These invasions, documented in sources like the Primary Chronicle, disrupted trade routes and prompted military campaigns by Rus' leaders such as Vladimir Monomakh, who led numerous expeditions against the Polovtsians and participated in over 80 battles throughout his life, many against steppe nomads.[9] Folklore adapted this historical antagonism by transforming nomadic warriors into hybrid villains, symbolizing chaos and otherness, with Tugarin's serpentine form serving as a metaphor for the unpredictable, devouring forces of the Eurasian steppe that threatened agricultural Slavic society. Tugarin's chthonic origins connect to ancient Slavic nature myths, where dragon-like entities represent primordial chaos tied to the earth and underworld, predating Christianization in the 10th century. These archetypes draw from Indo-European traditions of serpent monsters as embodiments of subterranean forces, often slain by thunder gods to establish cosmic order, a motif preserved in Slavic epics and tales. In pre-Christian Slavic cosmology, such beings evoked the duality of fertile yet destructive nature, with multi-headed serpents symbolizing threats from below that parallel Tugarin's role as a devourer emerging from hidden realms.[10]Depiction in Folklore
Physical Appearance
In Russian bylinas, Tugarin Zmeyevich is depicted as a colossal, humanoid antagonist with pronounced dragon-like attributes, often appearing in the guise of a bogatyr, or epic knight, blending human warrior traits with monstrous elements. His enormous stature measures three fathoms in height—roughly 5.4 meters—with shoulders spanning one fathom (about 1.8 meters) and the space between his eyes equivalent to an arrow's length, underscoring his intimidating scale. Tugarin's mount enhances his fearsome presence, resembling a wild beast that flashes flames from its throat and emits smoke rising like a pillar from its ears, evoking fiery and serpentine terror. He possesses the ability to fly using paper-like wings, a feature that falters when exposed to rain, symbolizing vulnerability in elemental confrontations. His roar resounds with immense power, causing green oaks to tremble and emphasizing his chthonic, earth-shaking might. As Zmeyevich, or "son of the serpent-dragon," Tugarin embodies hybrid monstrosity, retaining an anthropomorphic form while invoking draconic heritage through his storm-spirit associations and fire-flashing cloud essence, linking him to chaotic natural forces in folklore. Variations across bylinas highlight his shape-shifting tendencies, transitioning from knightly armor-clad figure to a more overtly serpentine-dragon state during battles, though primary texts emphasize his consistent bogatyr silhouette.[2]Symbolic Role as Evil
In Slavic mythological narratives, Tugarin Zmeyevich functions as a profound symbol of malevolence and chaos, embodying cruelty through his depiction as a destructive force that disrupts social and natural order.[2] Scholars interpret him as a personification of pagan remnants clashing with emerging Christian paradigms, where his serpentine traits—such as wings and fire associations—reinforce his role as an agent of terror and subjugation. This symbolism extends to representations of foreign invasion, drawing from historical steppe nomad threats like the Polovtsians (Cumans), positioning Tugarin as an outsider embodying enslavement and cultural disruption.[11] Tugarin's actions tie into broader chaos myths, evoking primordial struggles between barrenness and abundance. Post-Kievan Rus' era interpretations amplify his anti-Christian essence, portraying him as a satanic adversary whose defeat affirms moral order.[12] The moral dichotomy between Tugarin and Christian heroes like Alyosha Popovich underscores a narrative of redemption, with Tugarin as the pagan, chaotic "other" whose malevolence highlights the triumph of faith and heroism over primordial disorder.[2] This portrayal, rooted in ethnographic analyses of byliny, reflects a deconstruction of pre-Christian values, where Tugarin's cruelty serves to elevate Christian virtues amid cultural transitions. Depictions vary across bylinas, with some emphasizing his humanoid gluttony over more overt draconic features.[12]Role in Bylinas and Tales
Combat with Alyosha Popovich
In the primary bylina narrative, the conflict between Tugarin Zmey and Alyosha Popovich unfolds at a grand feast hosted by Prince Vladimir in Kiev, where Tugarin arrives as a boastful intruder, demanding food and drink while violating etiquette by swallowing an entire uncarved swan in one gulp.[1] This rude display escalates when Tugarin, enamored with the beauty of the prince's daughter (often referred to as the princess), abducts her on his winged steed and flies away, prompting outrage at the court.[13] Alyosha Popovich, the clever son of a priest, volunteers to pursue the villain, mounting his own horse and setting off in chase, embodying the motif of the witty hero who relies on strategy rather than sheer brute force.[2] As Alyosha catches up to Tugarin near a river or open field, the antagonist boasts of his supernatural abilities, claiming he can fly like a falcon and breathe fire to overwhelm his foes.[1] The duel begins with fierce exchanges, where Tugarin attempts to use his draconic traits—such as shape-shifting into a serpentine form or hurling fiery sparks—but Alyosha counters with trickery, feigning weakness to lure Tugarin closer.[13] Invoking Christian aid, Alyosha prays fervently and crosses himself, at which point divine intervention manifests, often as a sudden storm that pins Tugarin to the ground or a falcon that distracts him, allowing Alyosha to strike decisively.[2] In the climax, Alyosha impales Tugarin with his spear or beheads him, rescuing the princess and returning triumphantly to Kiev, where the court celebrates the restoration of order.[14] This epic, preserved in collections from the 16th to 19th centuries such as Kirsha Danilov's 18th-century anthology, highlights motifs of Tugarin's arrogant feasting as a prelude to chaos and Alyosha's reliance on piety and cunning over physical might.[4] Variants in oral traditions, particularly from Siberian tellers, emphasize intensified Christian elements, such as Alyosha's victory through the power of icons or prolonged prayers that summon heavenly aid, reflecting the blending of pagan dragon-slaying lore with Orthodox influences in Russian folklore.[2] Over 40 recorded versions exist, with some altering the resolution to include the execution of Tugarin's paramour or additional boasts underscoring the triumph of Christian virtue.[1]Encounters with Other Bogatyrs
In the Kievan cycle of bylinas, Tugarin Zmeyevich often appears as a disruptive presence at Prince Vladimir's court during feasts attended by the realm's chief bogatyrs, including Ilya Muromets and Dobrynya Nikitich, underscoring themes of collective heroism where the heroes collectively safeguard the prince against threats like Tugarin's insults and chaos.[15] Variant narratives depict Dobrynya Nikitich participating in Tugarin's downfall, either by providing aid to Alyosha Popovich in the duel or engaging the serpent independently, as seen in recorded epic versions where Dobrynya's involvement emphasizes the interconnected roles of the bogatyrs in multi-hero epics.[15] In these tales, Tugarin's gluttonous and arrogant behavior at the banquet escalates into broader conflict, with Dobrynya's contributions highlighting strategic alliances among the defenders of Rus'.[15] Tugarin occasionally allies with other villains, such as the monstrous Idolishche, in minor bylinas where multiple adversaries besiege the court, forcing a unified response from the bogatyrs to restore order and embodying the epic motif of communal valor against pagan-like foes.[15] These ensemble narratives contrast Tugarin's individual rivalry with Alyosha by portraying him as part of a larger antagonistic force in the Kievan tradition.[16]Comparisons to Other Dragons
Similarities with Zmey Gorynych
Both Tugarin Zmeyevich and Zmey Gorynych exemplify the zmei archetype in Russian bylinas, sharing core draconic features such as a serpentine form, fire-breathing capabilities, and roles as disruptors of human society during bogatyr quests. Zmey Gorynych is typically depicted as a three- (or sometimes more) headed dragon that exhales flames and flies on leathery wings, while Tugarin exhibits analogous traits, including a serpentine heritage implied by his patronymic "Zmeyevich" (son of the serpent) and abilities like soaring on a winged steed or manifesting fiery, devouring hunger that evokes draconic voracity. In some variants, Tugarin is attributed personal flimsy wings vulnerable to storms.[1][17] These creatures fulfill parallel mythological functions as embodiments of chaos and disorder, often serving as guardians of illicit treasures or disruptors of princely courts in the Kievan bylina cycle dating to the 11th–14th centuries. In tales like those involving Alyosha Popovich or Dobrynya Nikitich, both zmei invade human realms to sow destruction, symbolizing existential threats that heroes must confront to uphold cosmic balance—a motif rooted in broader Slavic cosmology where zmei represent subterranean or chthonic forces opposing order.[1][2] Their defeat motifs overlap significantly, frequently involving heroic impalement with a spear or sword, sometimes augmented by divine intervention such as storms or thunder that aid the bogatyr—echoing the Indo-European serpent-slaying archetype where a thunder-god figure vanquishes a water-hoarding or chaos-inducing reptile. This pattern, seen in the slaying of Zmey Gorynych by Dobrynya and Tugarin by Alyosha, underscores their shared narrative role in affirming heroic triumph over primordial evil.[18]Distinctions from Western Dragons
Unlike the purely reptilian depictions of Western dragons, such as the winged, treasure-hoarding beast in Beowulf or the serpentine monsters in Arthurian legends, Tugarin embodies a hybrid human-dragon nature, frequently introduced in bylinas as a boastful knight or bogatyr who dines at princely courts before unveiling his draconic traits like flimsy wings, fire-breathing, and the ability to fly.[17] This anthropomorphic starting point allows Tugarin to infiltrate human society, symbolizing deception and infiltration, in stark contrast to the overt bestial forms of Western dragons that are immediately recognizable as otherworldly threats without initial humanoid guises. Tugarin's role as a villain draws from cultural anxieties over pagan-Tatar incursions, portraying him as an embodiment of foreign invasion and steppe nomadism—often linked to Mongol or Tatar hordes—rather than the archetypal greed and isolation of Western dragons, who serve as solitary guardians of hoarded gold and represent internalized chaos or satanic forces in Judeo-Christian-influenced narratives. This emphasis on communal and territorial peril in Eastern European folklore highlights fears of cultural disruption and conquest, diverging from the Western focus on personal heroic trials against avaricious monsters that symbolize moral or economic vice. The manner of Tugarin's defeat further underscores these distinctions, relying on the hero's cunning and invocation of faith—such as Alyosha Popovich's prayer for a storm that rends Tugarin's wings and grounds him—over brute force, unlike the chivalric charges with lances or swords by knights in medieval Western romances, where raw physical prowess triumphs in direct, armored combat against draconic foes. This strategic, divinely aided approach reflects Slavic bylina themes of communal wit and piety prevailing against invasive evil, contrasting the individualistic valor and martial skill central to Western dragon-slaying epics like those of St. George or Sigurd.[17]Modern Adaptations
Literature and Visual Arts
In the 19th century, Tugarin Zmeyevich appeared in key collections of Russian bylinas that romanticized folklore as a symbol of national identity and moral conflict, portraying him as an embodiment of chaotic, serpentine evil opposed by heroic virtue. Pavel Rybnikov's seminal four-volume anthology Pesni, sobrannye P. N. Rybnikovym (Songs Collected by P. N. Rybnikov, 1861–1867) preserved and elevated Tugarin's role as a dragon-like antagonist whose defeat underscored themes of justice and cultural resilience, drawn from oral traditions in northern Russia.[16] Visual arts of the late 19th century captured Tugarin's serpentine dynamism through illustrations and paintings that infused bylinas with dramatic, national-romantic vigor. Viktor Vasnetsov's oil painting The Fight of Alyosha Popovich with Tugarin the Serpent (1874), housed at the M. Gorky House of Scientists in St. Petersburg, depicts the bogatyr Alyosha confronting Tugarin as a winged, dragon-esque figure amid a stormy landscape, blending realistic anatomy with symbolic exaggeration to highlight the creature's menacing, fluid motion and otherworldly threat.[19] Vasnetsov's style, rooted in his deep immersion in Russian folklore from childhood, romanticized Tugarin as a vivid emblem of pagan peril, contributing to the Russian Revival movement's effort to visualize epic narratives for a modern audience.[19] In the 20th century, Soviet literary revivals of Tugarin's bylina integrated folklore into state-sponsored compilations, often adapting pagan motifs to align with ideological goals of promoting collective heroism and anti-imperialist struggle. The 1975 illustrated edition Al'sha Popovich i Tugarin (Alyosha Popovich and Tugarin), published by the Soviet state printer Goznak in Moscow, presented a streamlined version of the tale for young readers, toning down supernatural pagan elements like Tugarin's draconic transformations in favor of emphasizing his portrayal as a foreign oppressor defeated by Russian valor, reflecting broader Soviet efforts to reframe folklore for educational and patriotic purposes.[20] Such compilations, part of extensive folklore series by institutions like the Institute of Russian Literature, ensured Tugarin's survival in print while subordinating mythic aspects to narratives of historical progress and class conflict.[21]Film, Animation, and Popular Culture
Tugarin Zmey features prominently in the 2004 animated film Alyosha Popovich and Tugarin the Dragon, produced by Melnitsa Animation Studio and directed by Konstantin Bronzit.[3] In this family-oriented comedy-adventure, often likened to a "Russian Shrek," Tugarin is depicted as a thieving, dragon-like antagonist who steals the city's treasury, prompting the young bogatyr Alyosha Popovich to pursue him with the aid of a loquacious horse and other quirky allies.[3] The portrayal blends menace with humor, emphasizing Tugarin's grotesque features—such as wings and serpentine traits—while incorporating slapstick elements to lighten his villainy, making him accessible for younger audiences.[3] The film, the first in Melnitsa's Three Bogatyrs franchise, was popular in Russia with a domestic gross of approximately 48 million rubles and launched a successful series of sequels that reinforced the bogatyrs cycle in animation.[3][22] The character's adaptation extends to video games, notably the 2005 point-and-click adventure Alyosha Popovich i Tugarin Zmej, developed by PIPE Studio and directly inspired by the animated film.[23] Players control Alyosha as he navigates puzzles and combats to thwart Tugarin's schemes, highlighting the villain's cunning yet overconfident nature in a light-hearted, folklore-infused narrative.[23] This title exemplifies early 2000s Russian indie gaming's embrace of Slavic myths, blending adventure mechanics with bylina elements to engage domestic audiences.[24] Broader interest in such folklore-based games persists, with surveys indicating Tugarin's recognition among Slavic mythological figures, though less favored than others like Baba Yaga.[25] In contemporary Russian pop culture, Tugarin embodies defeated tyranny through the enduring Three Bogatyrs media franchise, which has influenced animations and merchandise since the 1990s revival of national folklore themes post-Soviet era.[26] The franchise continued into the 2020s, with the 2023 film Three Heroes and the Navel of the Earth becoming the highest-grossing entry at over 992 million rubles as of January 2024, further popularizing the bogatyrs in modern Russian media.[26]References
- https://www.wikidata.org/wiki/Q2381788