The
Fanes' saga - Analysis of the legend
The
myth of the "Resurgence"
Wolff’s
reconstruction of the Fanes’ last vicissitudes is somewhat
obscure; we must keep in mind that we were handed down different
and partially contradictory versions of the story. It seems clear
anyway that, since the remote past, the storytellers tried to
attenuate the psychological impact of defeat and massacre by inserting
fictional elements that had nothing to do with what really occurred.
|
|
Remarks |
While
the enemies assault the Fanes’ castle, Lujanta
reappears and puts them to flight using her sister’s
bow. But the castle is lost anyway. The queen reconciles
with marmots;
they explain Lujanta
how to evacuate the last defenders from the castle through
an underground path, and foretell the chance to recover
their lost kingdom.
|
|
Lujanta’s
reappearance isn’t present in all legend versions:
it seems, however, that in any case at the root of the story
there was a “Dolasilla restored to life”, to
be justified a way or another. The reconciliation with marmots
represents the bitter triumph of the pacifists’ party
(and of matriarchate), while the profecy about the possible
recovery of the kingdom is already fading into fantasy,
into the dream that it may be possible to restore the good
old times, idealized by memory. |
The
last defenders of the castle escape through an underground
passage, but are being closely chased. The dwarfs
save them, by deviating a waterfall (the “Morin
di Salvans”, i.e. Dwarfs’ Mill) so that
it separates them from their pursuers. Eventually the
arrive at a large hall, where marmots
are hibernating. In the meanwhile the enemies pillage
the country and destroy everything. Spina-de-Mul recovers
his Raietta.
|
|
A
sort of passage of the Red Sea, transferred into an idealized
underground landscape, and even populated by dwarfs.
All concurs to indicate that this is just a Middle-Ages
fictional embellishment.
The opinion that marmots
hibernate in large underground halls is absolutely false
(they use small, well protected chambers).
It may happen that the word “morin”, i.e. “mill”,
is applied to canals that never had anything to do with
a mill (cfr. Palmieri,
1996). The place-name “Morin di Salvans"
indicates today a spring near Tadega pass, at the Alpe
di Fanes Grande, where a canal may perhaps have
once existed. It is said that the noise of a subterranean
waterfall may be heard at times, but definitely there is
no accessible entrance to any underground passage. |
According
to the marmots’
prophecy, The Fanes fight for seven summers, each year retaking
a new mountaintop. But the Eagle-prince is eager to recover
all his father’s conquests, and he leaves. The Fanes
gain their victories by means of their ancient tactics:
they strike by surprise and then vanish into caves, where
they also spend all winters. Then the marmots declare that
war would be over shortly if Lujanta
could marry Ey-de-Net. But the hero has already married
Soreghina. |
|
Here
we can see the “resurgence” daydream unfolding.
The story of reconquering one peak every year is plain
nonsense; and marmots here are just talking (and prophecying)
animals. This is a fable all right, not any longer a legend
. But hard reality surfaces between the lines: the climatic
conditions are getting worse and worse, and the Fanes’
survivors are compelled to spend winters underground.
As a matter of fact, the climatic factor was responsible,
on one hand of desolating the land to the barren plateaus
we can see nowadays, on the other of frustrating any possible
attempt to restore the lost kingdom. At this point a new
esoterical theme appears, that of the conditions that
must be satisfied, no one knows why, in order to make
the revenge possible. Several versions of this theme exist,
basically of two types:
- either Lujanta
(or Dolasilla) should marry Ey-de-Net (i.e. the key male
character),
- or a king’s descendant (by male lineage) should
recover the magic arrows.
This latter condition has an Arthurian flavour all right,
but everything reminds of the Middle-Ages, when not even
the slightest memory of the pristine matriarchate had
been preserved.
|
In
the island of the one-armed people, the Eagle-prince has
become a happy husband. Three years later, the Flame Eagle
arrives to take him back to the Fanes’ country and
recover the unfailing arrows, so that the kingdom may
be restored to its greatness. But his wife, who had been
foretold that her husband would never return, sends the
eagle away with a pretext. Before another year has elapsed,
she casts him into a state of apparent death, and so cheats
the fierce bird again. Three other years elapse this way.
On the seventh year, the prince suddenly hears the Fanes’
trumpets blowing and wakes up at once. The day after,
the eagle comes back, and he greets his wife and son,
who was born in the meanwhile (with both arms), and leaves
never to come back again.
|
|
This
passage is completely imbued with an athmosphere charged
with symbolism and magic; the concept of heroism and the
relationship between man and woman are lived according to
typical Middle-Ages canons. Whatever the remote island and
the one-armed men had been originally, their meaning has
been forgotten in the mist of time. This passage has probably
been introduced on the sole purpose to create a fictitious
connection between the Fanes and the hero of the Fassa valley,
Lidsanel. |
The
Fanes and their enemies come to a peace settlement: the
Fanes will get back the land that had been a part of their
territory since ever, but none of their late conquests.
When the pact is close to be agreed upon, the Eagle-prince
comes back and rejects everything. As any further agreement
proves impossible, war is declared.
|
|
I
suspect that this peace discussion must originally have
been inserted within the body of the saga, and was misplaced
here by Wolff
himself, or by late Ladinian storytellers who had no longer
any clear picture of the course of the events. Precisely,
I think that it should be located just before the battle
on the Pralongià.
The Palaeo-Venetics
coalition offers the Fanes a last hope, that the queen would
be very happy to grasp; but the prince’s intervention
– a hint, by the way, that the dinastic conflict is
over, and the patriarchate-warmonger party has taken the
effective decisional power in its hands – thwarts
her move. |
Wolfes,
crows and vultures are banqueting upon the Fanes’
bodies: men and women, old people and children, all of
them massacred during the last desperate battle fought
in their country’s heart, on the Furcia
dai Fers, against an immense coalition collected
from every corner of the world.
|
|
This
battle also, in my opinion, should be placed at the end
of the same military campaign that leads to the defeat on
the Pralongià
and the storming of the Cunturines.
There is no reason to believe that the coalition limited
its action to severely punishing the Fanes, short of completing
their task – destroy them. The site of the battlefield
shows that the Fanes were pursued from the Cunturines
back and back into their country, until they had to close
ranks on an impervious summit that left them with no further
chance to retreat. |
Just
about twenty people, all women and children, including
the queen and Lujanta,
escaped the massacre hiding among the marmots.
The Flame
Eagle arrives carrying the small boy who is Eagle-prince’s
son. He foretells that the kingdom will be reborn if the
boy is able to retrieve the unfailing arrows and be found
at the right place when the silvery trumpets blow for
the “great time”. The eagle takes the job
to lit a sacred flame every year in memory of the Fanes’
kingdom. He will fly the boy to Contrin,
where he will learn the profession of arms by king Odolghes.
|
|
Here
we have, in effect, the actual connection with Lidsanel’s
epic poem from the val di Fassa, that we shall examine in
the next chapter. At the same time a mythological explanation
is provided to the great vulture, the "variul
de la fluta", that from time to time flies
circles around the will-o’-the-wisps on the inaccessible
wall of the Croda
Vanna. |
Every
year, by moonlight, the queen and Lujanta
row around the Braies
lake, coming out from the stone gate that gave its name
(Sass dla Porta, i.e. “Peak of the Gate”)
to the dominant Croda del Becco. They are waiting
for the queen’s grandson to come back with the unfailing
arrows. But he never comes. And one night the “great
time” arrives: the silvery trumpets can be heard
blowing from every mountain. But nobody is there to answer
their call. The queen listens to them for a last time,
then disappears to sleep forever on the lake bottom. But
one day the “promised time” will come, when
everyone will be resurrected and will live in peace.
|
|
The
great romantic final scene must, in my opinion, be located
here, separated from the myths of Fassa that follow. The
concept of the “great time” of destiny, that
arrives without anyone being ready to take the chance, might
be a part of an ancient tradition, but the trumpets blowing
from the mountains and the concept of a “promised
time”, when everyone will be resurrected and will
live in peace, are clearly derived by images connected with
the Christian religion. |
Notes
The
Fanes’ legend after the battle on the Pralongià
is available in at least three different versions:
1.
Version accepted by Wolff
in his final text: Dolasilla dies, but Lujanta
reappears to bring the last of the Fanes to salvation. They hide
while their enemies are devastating their country, but later on
retake it piece-meal, until when, “seven” years later,
a new coalition is collected and destroys them definitively (unless
for dreams of revenge that will never be fulfilled):
2. Version collected in Fassa by de
Rossi (and basically accepted by Wolff
in his first text): Dolasilla survives her wounds and Lujanta
doesn’t exist. There is no second battle, but anyway a single
military campaign bringing to the Fanes’ destruction; later
we only have daydreams;
3. Version reported by Morlang:
Dolasilla dies and Lujanta reappears (as in Wolff’s
final text), but the final battle on the Furcia
dai Fers takes place shortly after the one on the Pralongià
(thence a single campaign, as in de
Rossi’s version).
The
reconstruction of the events that I followed, as the most logical
and probable, is therefore the one according to the val Badia
tradition reported by Morlang.
It is clear that in Fassa nothing was known about Lujanta,
as well as they were unaware of all the anthropological themes
about marmots
and twinnings in
general.
|