Badartschin
The term Badartschin (mong. Бадарчин ) refers to a Lamaist begging and wandering monk in Mongolian . In the Mongolian narrative tradition of the 19th century, this became a central figure in which the dissatisfaction of the population made itself heard.
Historical background
Tibetan wandering monks were the driving force behind the spread of Lamaism in Mongolia in the 16th century . As a result, not only did Lamaism establish itself as a religion, but Badartschin also established itself as a special form of monasticism. It was not until the 20th century that the wandering lamas disappeared from Mongolian society.
Such a Badartschin traditionally not only carried his work utensils with him in a special carrying frame on his back, but also his entire household - a small tent, a kettle, food and clothing. He also wore a wooden bowl on his body - the eponymous 'badar' (mong. Бадар ) - a rosary , Buddha statuettes, a knife and a water bottle. He used the two poles of the tent as walking sticks, but also as weapons against dogs and possibly human attackers.
Some Badartschin made pilgrimages to holy places in Tibet and India. Most of them, however, moved from yurt to yurt in Mongolia , asking for food and fulfilling two important roles in the process. In remote areas of Mongolia they were the only Lamaist contacts and performed central Lamaist ceremonies such as choosing the right day for weddings, baptisms and travel. On the other hand, they served as a living newspaper.
During the Manchurian rule this was recognized by the authorities as a danger to peace and order, as the Badartschin also carried the social tension on. Attempts were made to forbid the Wanderlama existence, but without great success. Instead, due to the increasing impoverishment of the Mongolian population, vagrancy continued to increase in the 19th century, not only in the form of the Badartschin, but also of the mugger.
Origin of the Badartschin fairy tales
In contrast to the usual fairy tales , the Mongolian Badartschin fairy tales can be set to the 19th century when they were created. They emerged as a political, socially critical mouthpiece for the population, expressing their displeasure with the arbitrariness and cruelty in this last phase of Manchu rule and, on the other hand, with their own princes who lived out their decadence at the expense of the population. Poverty and unrest were the result.
The Mongolian researcher Chorloo describes the genre as an art joke fairy tale ( Mong . Уран шог үлгэр ), probably due to its relatively late and clearly traceable date of origin and the fact that the Badartschin depicted is actually identifiable in individual cases .
Form and structure of the Badartschin fairy tales
The Mongolian Badartschin fairy tales generally follow a fairly uniform scheme: The Badartschin comes to a yurt on his hike. There is a conflict with the hosts. With wit and cleverness, the Badartschin evades this conflict or arrives at the longed-for meal. Popular motifs are filling the bag with food and beating attacking dogs.
In addition, the fairy tales are usually short and concise. The plot focuses on two to three protagonists. Appropriate to the topic of everyday culture, the language is rather simple and free of metaphors or similar stylistic devices. Nevertheless, they are sometimes difficult to understand for the modern reader, since allusions and humor are often only comprehensible in a contemporary historical context.
Themes of the Badartschin fairy tales
According to Heissig, the Badartschin fairy tales "increasingly played the role of a humorous valve for the pent-up displeasure of the population" in the course of the 19th century. Four main themes can be identified:
Since the Badartschin is dependent on alms for his existence, stingy hosts play a central role. This is how the fairy tale The Badarčin and Landlord tells of a bold innkeeper who demands that the Badarčin pay for inhaling the scent of his food. Thereupon the Badartschin jingles with the few coins in his pouch and explains that the sound of the money is then payment enough.
The second issue is criticism of the authorities , i. H. of the princes and khans who lived in luxury in the 18th and especially in the 19th century at the expense of the population. The fairy tale The Khaan and the Badartschin exposes the decadence of the nobility when the Badartschin cleverly exploits the lies competition proclaimed by the Khan.
Thirdly, the fairy tales also serve to criticize the Lamaist church , which to a large extent not only supported the decadence of the nobility, but also participated in it.
“The Badarčin pranks, which made the lama or the nuns the target of their ridicule, not only reflected the dissatisfaction of the population with these special social groups, but also found the rivalry between the Badarčin, who were considered to be outsiders in the church sector that were disregarded by the fully ordained monks, their expression. "
In a fairy tale, the Badartschin unmasked the hypocrisy of a lama who is famous as a spirit conjurer and expeller of devils when he is terribly frightened by a skull with a cloth presented by Badartschin.
Last but not least, there is also criticism of the Badartschin themselves. This shows, on the one hand, that the narrators of these fairy tales were at least not exclusively wandering lamas themselves. On the other hand, it illustrates the difficulties that the population had with the Badartschin. Fairy tales of a Badartschin who picks up seven times and a Badartschin who is killed by greed are vivid examples. Another central theme is the lasciviousness of the wandering llamas. In these fairy tales, the Badartschin mostly chase after the daughter of the host or a prince, but in the end he is the one who is being laughed at.
Related characters from Mongolian fairy tales
The Badartschin is probably unique in its socially critical function in the Mongolian fairy tales and can be compared in its meaning with the figure of Nasreddin or Till Eulenspiegel . Nevertheless, the Mongolian fairy tales of the 18th and 19th centuries also have other characters to offer, in which the resentment of the population is discharged.
The two oldest characters are Balan-Senge and Dalan chudaltschi , who are believed to have been influenced by the Tibetan, Indian and Near Eastern fairy tale traditions. The sometimes hair-raising taunts that are told about them are reminiscent of the stories of Baron von Münchhausen .
A very direct reference to the conditions of the 18th and 19th centuries is provided by numerous robber figures, which show Robin Hood-like features and mostly go back to historical people. A prominent example from the area of the eastern Chalcha is Toroi Bandi ; In the Ordus area, the story of the cunning culmun is told.
Individual evidence
- ↑ Walther Heissig: History of Mongolian Literature. Volume II: 20th Century to the Influence of Modern Ideas. 2nd, unchanged edition with a foreword. Wiesbaden 1994, pp. 743f.
- ↑ P. Chorloo: Mongol ardyn javgan ülger (Short fairy tales of the Mongols). Ulaanbaatar 1960, p. 82.
- ↑ Mongolyn khoshin ülger, jaria (Mongolian joke tales and stories). Edited by B. Sodnom and G. Rintschensambuu. Ulaanbaatar 1961, p. 4.
- ↑ Walther Heissig: History of Mongolian Literature. Volume II: 20th Century to the Influence of Modern Ideas. 2nd, unchanged edition with a foreword. Wiesbaden 1994, p. 743.
- ↑ Walther Heissig: History of Mongolian Literature. Volume II: 20th Century to the Influence of Modern Ideas. 2nd, unchanged edition with a foreword. Wiesbaden 1994, p. 751.
literature
- Walther Heissig: History of Mongolian Literature. Volume II: 20th Century to the Influence of Modern Ideas. 2nd, unchanged edition with a foreword. Wiesbaden 1994.
- Mongolyn khoshin ülger, jaria (Mongolian joke tales and stories). Edited by B. Sodnom and G. Rintschensambuu. Ulaanbaatar 1961.
- P. Chorloo: Mongol ardyn javgan ülger (Short fairy tales of the Mongols). Ulaanbaatar 1960.