The Circassian Nart Epos

International Centre for Circassian Studies (ICCS)

The Nart Tales

of the Circassians

by

Amjad Jaimoukha

he corpus of the Nart Sagas is arguably the most essential ingredient of Circassian Culture, to which it is what Greek mythology is to Western Civilization. In fact, Northwest Caucasians and Greeks on the Eastern Shore of the Black Sea co-existed for more than a thousand years, during which some cultural exchanges might have taken place. This would explain similarities in some tales. Though much less known than their Greek counterparts, the Nart epic tales are no less developed. The heroism, sagacity, guile and oftentimes naked brutality of the Nart heroes and demi-gods are more than matches to those of the Greek Pantheon. In the first stanza of (one of the versions of) ‘Nartizch Wered’* (‘Song of the Ancient Narts’), the double-edged sword is likened to a rabid dog, a graphic illustration of unbridled ferocity:

Си джатэжьурэ, уой дуней, хьэщхьэрыIуэдзэ,

И дзэпкъитIымкIэ, уой, лъыр йожэхри.

My great sabre is as fearsome as a crazed hound,

Streaming crimson blood down its twosome fangs.

The age of the Epos can be inferred indirectly from the themes broached. In the episode ‘Sosriqwe Maf’e Qeih’ (‘Sosriqwe Fetches Fire’) the hero of the tale takes council with his steed Tx’wezchey (literally: Little Dun). This takes us back to the times when animals were thought to have human-like characteristics:

Sergei V. Rjabchikov traces a record of this legend to the third century BC on the Maikop Slab. According to Libedinsky, the Epos dates back to the period between the 12th and eighth centuries BC. In the 1950s, celebrations were held in the North Caucasus commemorating the millennium of the birth of the legends. The former hypothesis seems more probable because it allows possibility of interaction between Greek and North Caucasian civilizations.

The legends of the Narts had been transmitted orally by storytellers who acted as guardians of national mythology. Although these tales are undoubtedly of ancient origin, their language underwent some lexical changes that reflected the introduction of new technology and loan words.

The Nart Epic encapsulates the code of chivalry of the Circassians. The tales (of which more than 700 have been recorded) give the reader insights into the ancient culture and mores of the Northwest Caucasians (and the influences from other cultures that they have come in contact with). The principal protagonists were: Lady Satanay, Sosriqwe, Nisrenzchach’e, Bedinoqwe, X’imisch, Beterez, Yimis, Sibilshiy, Sosim, Zchinduzchach’e (Owl-beard), Areqshu, Toteresh, Ashe, Ashemez, Wezirmes, Wezirmej, ’Ediyixw, and her husband Psebide. They incorporate the characteristics most cherished by the ancient Circassians and Abkhaz. Each one of these embodied unique attributes besides the common Nart qualities. There were also giants, pigmies, predatory enemies, anti-heroes, gods, anti-gods, demi-gods who combined both human and god-like characteristics, and so on.

Lady Satanay, the mother of all the Narts, was born of a lovely flower which still bears her name (the drop-wort, Filipendula). Her beauty was legendary. She was sought after by all notable Narts for marriage. The story of the birth of (her son) Sosriqwe bears witness to the uncontrollable effect she had on men. As she sat on her haunches doing the laundry by the river, the cowherd, Zhemix’we, who was tending his bevy on the other side of the stream, seeing her uncovered curvaceous limbs, was unable to hold back his semen (nafsi) as it was ejected across the water on the stone beside her. The stone later engendered Sosriqwe. She was also famous for her inventiveness. She discovered winemaking and gave the Narts their first taste of the elixir. She was the epitome of wisdom and sagacity. The Narts turned to her for council and advice in times of national calamities, and she was able to avert many disasters that could have annihilated the Nart nation. Perhaps she represented the acme of North Caucasian matriarchism.

On the other hand, Satanay was accused of witchcraft and slyness. Her bitchy invective against Lhepsch in the tale ‘How Satanay and Lhepsch fell out with one another’ is an illustration of this.

Despite Sosriqwe’s puny stature and dark complexion, he proved to be the most cunning and resourceful amongst the Narts. The story of how he fetched fire is a graphic illustration of his quick wit and wile. Although many Narts surpassed him in physical strength and military acumen, they always held him in great esteem and respect. The fact that he led them back after fetching fire is a good testimony to this effect.

Nisrenzchach’e was the Caucasian Prometheus. Like his Greek counterpart, the Nart hero was accused of hubris and he was chained to the top of one of Mount Elbrus’ twin peaks. The vulture kept preying on his heart, and Nisren-Beard shuddered every now and then trying to throw away the shackles. The Earth trembled, his chains knocked against one other sending sparks as if from striking spears, making thunderous noises. His breath issued forth like uncontrollable gales. His heart-rending moans and roans were like rumbles coming from the centre of the Earth. The hot streams coming down the lofty Mount were his tears.

The Nart legends may be used as powerful means of inculcating desirable characteristics in young people. Being the major depository of Circassian etiquette, positive aspects could be emphasized and used as exhortations. For example, in the story ‘Sosriqwe and Toteresh’, the invincible Toteresh son of Albech gives Sosriqwe a leave of execution until the next morning the time of their epic duel on Mount Hereme. ‘He who forfeits a date was not born a man by his mother,’ he said as he let Sosriqwe go. This expression could be used to counteract procrastination and indifference, two rampant maladies in backward societies. Sosriqwe was able to prevail over Toteresh by using ruse and magic invoked by his protective mother, Satanay. In the tale ‘Meeting of Sosriqwe and ’Ediyixw’ [The Narts, Nalchik, pp 124 ff.], the self-conceit of Psebide [literally: Tenacious of Life] led to his agonizing death. A single word of gratitude for her help would have been enough to appease ’Ediyixw, his wife. But, no! He was blinded by conceit and refused to acknowledge her role, which forced her to withhold the light of her hand [’Ediyixw: ’ediy = forearm and wrist, xw = white], which he had previously used to gain advantage over his adversaries and thus obtain great plunder. After a lengthy and tortuous adventure sans the light of his wife’s arm, the obstinate Nart found his death in the River Yinzhij (Zelenchuk, a left tributary of the Kuban [Psizch]), which he thought he could cross, since Sosriqwe possessed the ability to cross the treacherous and violent river without difficulty.

Just after his death, ’Ediyixw learned the shocking fact that her ex-husband was not only self-conceited, but that he was narcissistic, and that he had never loved her. As she made to undo the majestic tumulus she erected on his grave, Sosriqwe stopped her saying, “You toiled to build it, now, it’s not worth the bother removing it.” The lifeless dark mound was left as a stark reminder of the fate of self-centred people.

Treachery and intrigue figured high among Nart themes. However, malfeasance always rebounded on the initiator – a case of evil coming home to roost. In a blood-curdling episode of the Epos, one of the most ferocious Narts, sensing the perfidy of a group of back-stabbers who wanted him out of the scene and his impending doom, went berserk and unleashed his rabid sword which severed the heads and limbs of the machinators.

Books on the Nart Epic 

The number of tales collected by Circassian scholars and researchers since the 19th century is in the order of a thousand. the largest single collection is that of the celebrated Circassian scholar Asker Hedeghel’e. All seven volumes of the collection shall be made available on line on this website soon, as shall be other works on the Narts.

Hedeghel’e, A. (compiler and editor), НАРТХЭР: АДЫГЭ ЭПОС. Nartxer: Adige Èpos. Narti: Adigski èpos [The Narts: Circassian Epos], Maikop: The Adigean Science and Research Institute, 1968-71 (7 vols).

Джырандокъуэ, У. (W. Jirandoqwe), Елберд, Хь. (H. Yelbeird), ФочыщIэ, А. (A. Fochisch’e), ЩоджэнцIыкIу, А. (A. Schojents’ik’w), and Шортэн, А. (A. Shorten), НАРТХЭР: КЪЭБЭРДЕЙ ЭПОС. Nartxer: Qeberdey Èpos [The Narts: Kabardian Epos], Kabardian Science and Research Institute, Nalchik: Kabardian State Book Printing House, 1951.

[Courtesy of circassianlibrary.org]

Qermoqwe (Къэрмокъуэ), H., НАРТХЭР: ПАСЭРЕЙ ЛIЫХЪУЖЬХЭМ Я ХЪЫБАР. Nartxer: Paserey L’ix’wzchxem ya X’ibarxer [The Narts: Tales of the Heroes of Yore], Nalchik: Elbrus Book Press, 2001. [ЩIалэгъуалэм папщIэ зытхыжар: Къэрмокъуэ Хьэмидщ]

This is a very fine book that all readers of Circassian should include in their libraries. There are useful notes and explanations that broaden the perspective offered by the (mere) tales.

Nart Musical Extravaganza

Anthems and Songs of the Circassian Nart Epos

АДЫГЭ НАРТ ПШЫНАЛЪЭХЭР 

[Kabardian]

3.  Bedinoqwe’s Melody

(Бэдынокъуэ и пшыналъэ; Bedinoqwe yi Pshinalhe) 

Zawir Tut (Тут Заур; Tutov).

Words of the song are found in Z. Qardenghwsch’, 1979, pp 16-19. Two versions of the song are presented, one by Zawir Tut and the other by Ziramikw Qardenghwsch’. Tut’s version is shorter.

This is Bedinoqwe’s anthem performed by the famous baritone. Bedinoqwe was the son of Bedin and a Nart female warrior who fought the Chint (generic term for the enemies of the Narts) incognita in men’s war costume. Bedin and his wife lived on the bank of the Don River. Whilst a Nart was being hosted by Bedin, the sound of Bedinoqwe crying was heard from his mother’s womb as she brought in the food table. The Nart was freaked out, and he hurried to the Narts and relayed what had transpired in Bedin’s guest-house. The  Narts fell into great consternation and they resolved to murder the child the moment it would be born a male. When Bedinoqwe came to the world, the Narts kidnapped him from his parents house, but they did not have the heart to kill him, seeing how extraordinarily handsome he was, so they placed him in a hole in a tree and left him to his fate. He was found by the Nart gooseherd, who brought him up with his wife in the cellar so that no one amongst the Narts would know about this. When Bedinoqwe came of age, the gooseherd went to Bedinoqwe’s parents and told them that their son was still alive. Bedinoqwe became a man in full measure. He came out of the cellar and fought the Chint, as his mother did in earlier years, and he inflicted woe unto them, and then went back to the cellar. This is but one of many tales that relate the heroism and fierceness of Nart Bedinoqwe, the inimical foe of the Chint. Bedinoqwe did not wreak his vengeance on the Narts, his people, but he pursued a somewhat aloof existence. When the exotic warrior set on his campaigns on his steed, his two hounds played by his two sides and his two eagles perched on his shoulders. The sun shone on his right shoulder and snow fell on his left. He was preceded sometimes by a great conflagration and by thick mist at others, and a multitude of rooks swarmed, or wild birds soared, in his wake. His steed sprang and spun. The coals issuing from Bedinoqwe’s mouth set the sides of his path on fire… When he first joined the Narts in their white wine festival (sanexwafe) at the great palace of the Alij clan (cf. the Circassians’ reference to the Greeks as ‘Alijxer’), he was received very warmly and he partook in the dancing and merry-making. It was the Nart matron Satanay, in her infinite wisdom, who made the arrangements for the awe-inspiring hero to join Nart society so smoothly.

5.  Bedinoqwe’s Lullaby

(Бэдынокъуэ и пшыналъэм щыщ пычыгъуэ)

[Kabardian]

Valantina Sosmaq (Сосмакъ Валантинэ; Sosmakova)

Vladimir Bereghwn (Бэрэгъун Владимир)

The words of the tale are available in A. I. Alieva and A. M. Gutova, 1979, pp 71-5 (see 'Circassian Bibliography' section of this website). The first stanza of this song is perhaps the most recognizable in the whole of the Nart repertoire.

7.  Lashin Addresses the Great Narts

(Лашын нартыжьхэм яхуоусэ; Lashin Nartizchxem Yaxwowise)

[Kabardian]

Valantina Sosmaq (Сосмакъ Валантинэ)?

For the words and sheet music of the song, see Z. Qardenghwsch’, 1969, pp 11-14. Words of the song (under the title ‘Lashin yi Pshinalhe’ [‘Lashin’s Melody’]) are also found in Z. Qardenghwsch’, 1979, pp 22-4 (see 'Circassian Bibliography' section of this website). An English translation – ‘Lashyn’s Satirical Couplets about the Nart Men’ – is available in J. Colarusso, 2002, pp 175-6. The music file itself contains the words of the anthem.

Lashin in turn addresses the Narts in derision. She refuses Amisch, Lhepsch, Schebetiniqwe, Sosriqwe, Ariqschawe, Lhebitsezchey, Yex’wtenijizch, Schawey son of Qanzh, as suitors, but avows to accept Ashemez son of Ashe as a husband if he offers his solicitations. When Ashemez refuses her suit, she adds him to her list of non-suitors.

Mount Lashinqey, located near the western edge of Lashinqey, a settlement on the left bank of the River Chegem in Kabarda, also known as Tox’wtemischey, is thought to be the burial mound of the Nart heroine.

8.  Ашэмэз и пшыналъэ, I; Ashemez yi Pshinalhe, I (Ashemez’s Melody, I) – Vladimir Bereghwn (Baragunov).

(Kabardian)

Words of the anthem are found in Z. Qardenghwsch’, 1979, pp 20-1 (see 'Circassian Bibliography' section of this website). The audio file has been cut into two because it is longer than 15 M (the limit allowed by the File Manager). You can rejoin the two files after downloading them (using software freely available on the web) to get an uninterrupted audio experience.

This is a story of murder and revenge. While playing a game of knuckle-bones with his Nart friends, Ashemez started to bully them. ‘If thou art such a strong man, do not spare the murderer of thy father!’ said one boy. When he inquired about the name of his father’s slayer, the boys said that his mother would better tell him. Ashemez went back home weeping. ‘May God curse the home of whomever made thee cry, Ashemez!’ his mother exclaimed. Pretending to have a stomach-ache, he asked her to make him bajina [Circassian porridge of cooked whey and maize flour]. Ashemez asked his mother to sit and eat with him. When she said that that was counter to proper etiquette, he insisted, and she obliged. He grabbed her hand and put it in the hot bajina. As she screamed, ‘My poor child, thou art burning my hand, Ashemez!’ he retorted threateningly, ‘If thou disclose not to me the name of our father’s murderer, I shall burn thee!’ When she told him that it was Lhebitse Zchach’e who killed his father, Ashemez resolved to slay him. His mother tried very hard to dissuade him from going, saying, among other things, that he was too young and that Lhebitse Zchach’e lived in the lands beyond the sea. However, our hero’s resolve was not shaken. He put on his father’s battle accoutrements, led his father’s steed out of the dark cellar, which had a huge stone for a door, and went after Lhebitse Zchach’e.

In other versions of the epic, the name of the murderer, who also slaughtered Ashemez’s six elder brothers, who had gone to seek revenge for their father before the birth of Ashemez, with whom his mother was pregnant at the time, is rendered ‘Lhebitsezchey’. For those who crave closure, (after a long and arduous adventure) the story ends with Ashemez casting the severed head of Lhebitse Zchach’e into his mother’s lap and fetching his enemy’s wife Bidixw with the spoils. In this tale, and in many others, the protagonists manage to prevail not through brute force, as their opponents were, more often than not, very much more formidable in terms of size and strength, but through ruse and the supernatural intervention of people close to the foe, in our case, Lhebitse Zchach’e’s spouse, who must have taken a shine to our handsome hero once she laid eyes on his shredded body.

 Nart Bibliography:

Alieva, A. I. (ed.), ‘Caucasian Epics: Textualist Principles in Publishing’, in Oral Tradition, vol. 11, no. 1, 1996, pp 154-62. Online. Available HTTP: <http://journal.oraltradition.org/files/articles/11i/14_alieva.pdf> (accessed 31 March 2009).