Хозяйка судьбы. Образ женщины в традиционной ирландской культуре

Пропп В.Я. 52

пророчество 32, 34, 43—45, 47,

49—55, 58—60, 66, 70, 76, 77, 82—87, 89—91, 94, 97– 99

процессы против ведьм 166

Пушкин А. С. 51

Рис А., Б. 28 Рис Дж. 22

Рихес 122 Ронан св. 113 Росс Руад 92

Росс Э. 35, 36

Ротниам 85, 88

Руднев В. П. 58

рыжий цвет (волос) 22, 23, 107,

112

свадьба 28, 29

Сенха, сын Айлиля 116

Сива 64, 65, 72

Сигурд 135

сид 15, 21—23, 26, 27, 39, 47—

50, 72, 159, 160, 166 сида 16, 23, 27, 34, 54, 73, 88,

90, 91, 94 Симмс К. 7, 148, 166 Син 19, 26, 35, 37, 38, 41, 72

Ситрик (Сигртрюг) 133, 135

Скатах 66, 83, 84, 88, 110

смерть (гибель) 19—21, 23, 25—

27, 29—33, 36, 52, 61, 73, 84, 86, 91, 99, 121, 122, 124, 125, 149, 153, 154

Смирнов А. А. 101, 103, 116, 120

сон 30, 55, 81

Сорлен Э. 9

социальный статус женщины 10

старуха 19, 28, 30—33, 35, 42, 58, 60, 62, 73, 104, 107, 108, 119, 120, 136

Стоукс В. 35 Страбон 90

судьба 27, 29, 33, 34, 45, 49, 69, 76, 89, 91, 119, 126, 133, 145– 147

Суибне Безумный 113, 114

супруга 26, 39, 87, 93—95

супружеская верность 131, 142

Тайрделбах, сын Тайга 142 Танатос 31 Тара 28

Тацит 90, 112

Тирехан 96 Тихомиров В. 132 Томпсон С. 111 Топоров В. Н. 145 Топорова Т. В. 56 трикстер 117, 120, 125

Триндад Э. 126, 127, 129—132, 137, 140, 143, 148

Турнейзен Р. 80, 107 У атах 83, 84, 110

Улих Ю. 139

Успенский Б. А. 145 Успенский Ф. Б. 147

Федельм 18, 43—45, 47, 49—

58, 64, 66—68, 74, 76—78, 81—84, 87—92, 94, 96, 98, 99, 106

Федельм Девять Сердец (обликов), дочь Конхобара 92—95 Федельм, «ведьма» 95, 96 Федельм (Рыжая), дочь Лойгайре 96

Федельм, жена Лойгайре 93, 94 Федельм, жена Элкмара 93, 95 Федельм, жена Эохайда 96, 97 Федельмид Мак Кримтанн 127—

132, 137, 143, 148

Фергус мак Ройх 88, 101, 146

Фетан 88, 122

филиды 55, 77, 78, 82, 87, 88,

97, 121

Финген 85 Финн 62

Фланн Шина 130, 131

Фодла 87

Фрейденберг О. М. 145

Харрисон А. 117 Хеннеси В. 129 Херберт М. 7, 68 Хольмер Н. 40

цветок 23—25 Цезарь 74, 90

чудо 45, 81, 85, 111, 155, 156 Чэдвик Н. К. 80

Шёблом Т. 51

Шкунаев С. В. 19—21, 23, 43,

83, 92, 102

Штайнер Р.

шут 117, 120, 122

экстатическая техника, см. имбас форосны

Элиаде М. 79, 80 Элкмар 19, 40, 82, 93, 95

Эллис Давидсон X. 9

Эмер 40, 108

Энния 41

Энрайт М. 74, 97

Эоганн Великий 64—66 Эохайд Фейдлех 21—23, 25—27,

41, 96

Эриу 87, 88

Эрк 92

Эрос 27, 31 , 35

Этайн 18—23, 25, 27, 31, 37—

42, 140

Этар 21

Этне 19, 39—41, 126

Этне Светлая 96

Юнг К. 31, 120

ясновидение 51, 54, 77, 114

SUMMARY

HARBINGER OF DEATH, SHAPER OF DESTINY: THE IMAGE OF WOMAN IN IRISH TRADITIONAL CULTURE

Introduction

This work is not intended to be an exhaustive study of Celtic female deities as they represented in myth, epic literature and folklore. In the last decades a number of such general works appeared (see, e. g. [Green 1995]). We are not speaking of the real medieval Irish women, who enjoyed a surprising level of physical and moral freedom. This book is about an archetypal image of women in Irish myth and folklore. The woman in the Early Irish literature was very often treated not as a woman, but as some strange creature. This creature was called by an untranslatable name banscál, ’a female shape’ or a ’female phantom’; in short, any woman–looking being. This being was not regarded as a goddess, but it wasn’t a normal woman, either. She was, in a word of J. F. Nagy, a liminal creature; in every single occasion we cannot say, what part of this creature we are seeing – real or mythical. In some respect, we can agree with the view of E. MacNeill, who believed that in reality such women were members of local, autochthon groups of population, goidelicized though, but still hostile to the Goidelic invaders. From the physical point of view, they were most probably short, dark–haired, and rather mongoloid, flat–faced people. The well–known Lorica, ascribed to Saint Patrick depicts women as persons, innately capable of sorcery. In the Irish folklore, female sorcery is a fact of life. Perhaps that’s why the witch–hunting never was practiced in Ireland on a large scale: witches were all too common. Suddenly a woman could «prove» to be a changeling (e.g. the well–known story of Bridget Clery).

Women in Early Irish literature are, in spite of their common liminality still unlike each other. The aim of this book is to distinguish and describe the main archetypes or proto–characters of liminal women, marked by the mythical names of Etain, Fedelm, Gormflaith and Leborcham. We’ll learn to recognize those mythical beings and discover what is hiding beneath their names and characters.

Etain–Sin–Cailb: An Otherworld wife