Diferencia entre revisiones de «Hombre salvaje»

El '''hombre salvaje''' o '''ser de los bosques''' es una figura mitológica que aparece en obras de arte y literatura medieval europea. Existen imágenes talladas y pintadas de hombres salvajes en los rosetones del techo donde las [[bóveda]]s se encuentran con los [[Arco conopial|arcos conopiales]] en la [[Catedral de Canterbury]], en situaciones en los cuales es posible que se encuentre al [[Green Man]] vegetal. El hombre salvaje, ''piloso'' o "cubierto de pelos," que está a menudo armado con un garrote, era un puente entre los humanos civilizados y los peligrosos espíritus tipo [[elfo]] de los bosques, tales como [[Puck (mitología)|Puck]]. La imagen del hombre salvaje sobrevivió como elemento de la [[heráldica]] de los [[Escudo (heráldica)|escudos]], especialmentre en Alemania, hasta bien entrado el [[siglo XVI]]. Los hombres salvajes, mujeres salvajes y familias salvajes eran temas predilectos de los primeros grabadores en Alemania e Italia, tales como [[Martin Schongauer]] y [[Alberto Durero]].

 

 

Algunos de los nombres locales sugieren conexiones con seres de mitologías antiguas, por ejemplo el término ''salvan'' o ''salvang'', común en la [[Lombardía]] y zonas de habla italiana de los [[Alpes]], proviene del término latino ''[[Silvanus (mythology)|silvanus]]'', el nombre del dios tutelar romano de los jardines y el campo.<ref name="Bernheimer42"/> En forma similar, en el folklore del [[Historia del Tirol|Tirol]] y la zona de habla alemana de [[Suiza]] se menciona una mujer salvaje llamada ''Fange'' o ''Fanke'', que se deriva de la palabra en [[Latin]] ''[[Fauna (goddess)|fauna]]'', la forma femenina de ''[[fauno]]''.<ref name="Bernheimer42"/> Fuentes medievales alemanas mencionan los siguientes nombres para la mujer salvaje ''[[lamia (mythology)|lamia]]'' y ''holzmoia'' (o alguna variación de las mismas);<ref>Bernheimer, p. 35.</ref> el primero en clara referencia al demonio salvaje griego Lamia mientra que el otro calificativo se deriva de [[Maia (mitología)|Maia]], una diosa Greco-Romana de la tierra y la fertilidad que en otras zonas es identificada como Fauna y que ejerció una amplia influencia en el hombre salvaje medieval.<ref name="Bernheimer42"/>

Other characteristics developed or transmuted in different contexts. From the earliest times wild men were associated with hairiness; by the 12th century they were almost invariably described as having a coat of hair covering their entire bodies except for their hands, feet, faces above their long beards, and the breasts and chins of the females.<ref>Yamamoto, p. 145; 163.</ref>

 

Figures similar to the European wild man are ancient and occur worldwide. The earliest known one is the character [[Enkidu]] in the [[Ancient Mesopotamia]]n ''[[Epic of Gilgamesh]]''.<ref>Bernheimer, p. 3.</ref> In ''Gilgamesh'' the hairy, feral Enkidu is raised by the creatures of the wilderness, ignorant of civilization and other humans. Once he sleeps with the [[Religious prostitution|temple prostitute]] [[Shamat]] he is abandoned by his animal companions and becomes civilized by further contact with humanity. One ancient representation of a wild human that greatly influenced the medieval European concepts was the portrayal of [[Nebuchadnezzar II]] in the [[Book of Daniel]] in the [[Hebrew Bible]].<ref>Bernheimer, p. 12.</ref> Daniel 4 depicts God humbling the [[Babylon]]ian king for his boastfulness; he is stricken mad and is ejected from human society, and he grows hair on his body and lives like a beast. This image was popular in medieval depictions of Nebuchadnezzar. Similarly, late medieval legends of [[John Chrysostom]] portray the saint's asceticism as making him so isolated and feral that hunters who capture him cannot tell if he is man or beast.<ref>Bernheimer, p. 17.</ref>

 

 

[[File:Wild Man, design for a Stained Glass Window by Hans Holbein the Younger.jpg|thumb|left|Classicized ''Wild Man'' design for a stained glass window, studio of [[Hans Holbein the Younger]], ca 1525-28 ([[British Museum]])]]

The earliest medieval concepts of the wild man focus on him as a normal human gone wild by madness, as in the Biblical story of Nebuchadnezzar; this first occurs in [[Celts|Celtic]] societies in the [[High Middle Ages]].<ref>Bernheimer, p. 13.</ref> These Celtic stories attribute to the wild man poetic or prophetic powers. The 9th-century [[Ireland|Irish]] tale ''[[Buile Shuibhne]]''<ref name="Bromwich, p. 459">Bromwich, p. 459.</ref> (''The Madness of Sweeney'') describes how Sweeney, the pagan king of the [[Dál nAraidi]] in [[Ulster]], assaults the Christian bishop Ronan Finn and is cursed with madness as a result. He spends many years traveling naked through the woods, where he composes verse. The [[Wales|Welsh]] told a similar story about [[Myrddin Wyllt]], the origin of the [[Merlin]] of later romance. In these stories Myrddin is a warrior in the service of King [[Gwenddoleu ap Ceidio]] at the time of the [[Battle of Arfderydd]]. When his lord is killed at the battle, Myrddin takes to the [[Caledonian Forest]] in a fit of madness which bestows him with the ability to compose prophetic poetry; a number of later prophetic poems are attributed to him.<ref>Bromwich, p. 458.</ref> ''[[Saint Mungo|The Life of Saint Kentigern]]'' includes almost the same story, though here the madman of Arfderydd is instead called [[Lailoken]], which may be the original name.<ref name="Bromwich, p. 459"/> The fragmentary 16th-century [[Breton]] text ''An Dialog Etre Arzur Roe D'an Bretounet Ha Guynglaff'' (''Dialog Between Arthur and Guynglaff'') tells of a meeting between [[King Arthur]] and the wild man Guynglaff, who predicts events which will occur down to the 16th century.<ref>[[Norris J. Lacy|Lacy, Norris J.]] (1991). "An Dialog Etre Arzur Roe D'an Bretounet Ha Guynglaff". In Norris J. Lacy, ''The New Arthurian Encyclopedia'', pp. 114–155. (New York: Garland, 1991). ISBN 0-8240-4377-4.</ref>

 

:a strange madness came upon him. He crept away and fled to the woods, unwilling that any should see his going. Into the forest he went, glad to lie hidden beneath the ash trees. He watched the wild creatures grazing on the pasture of the glades. Sometimes he would follow them, sometimes pass them in his course. He made use of the roots of plants and of grasses, of fruit from trees and of the blackberries in the thicket. He became a Man of the Woods, as if dedicated to the woods. So for a whole summer he stayed hidden in the woods, discovered by none, forgetful of himself and of his own, lurking like a wild thing.

 

The wild man was unsettling to Christian writers. [[Augustine of Hippo|Augustine]] reports the Gaulish name of "Dusii" in ''City of God'' XV, ch. 23: ''Et quosdam daemones, quos Dusios Galli nuncupant, adsidue hanc immunditiam et efficere, plures talesque adseuerant, ut hoc negare impudentiae uideatur'' — "Certain [[demon]]s, whom the Gauls call Dusii, consistently and successfully attempt this indecency [intercourse with women]. This is asserted by many witnesses of such character that it would be an impertinence to deny it," and perhaps the early 7th century encyclopedist [[Isidore of Seville]] has picked up Augustine's reference for his ''Etymologies'' book viii:

 

King [[Charles VI of France]] and five of his courtiers were dressed as wild men and chained together for a [[Masquerade ball|''masquerade'']] at the tragic ''Bal des Sauvages'' (later known as the ''[[Charles VI of France#The Bal des Ardents|Bal des Ardents]]'') at the Queen Mother's Paris [[hôtel particulier|hôtel]], [[January 28]], [[1393]]. They were "in costumes of linen cloth sewn onto their bodies and soaked in resinous wax or pitch to hold a covering of frazzled hemp, "so that they appeared shaggy & hairy from head to foot."<ref>Barbara Tuchman;A Distant Mirror, 1978, Alfred A Knopf Ltd, p504</ref> In the midst of the festivities, a stray spark from a torch set their highly flammable costumes ablaze, burning several courtiers alive; the king's own life was saved through quick action by his aunt, [[Joanna II of Auvergne|Joann, Duchesse de Berry]], who covered him with her dress.

 

The term wood-woses or simply Woses is used by [[J. R. R. Tolkien]] to describe a fictional race of wild men, which are called also [[Drúedain]], in his books on [[Middle-earth]]. According to Tolkien's [[legendarium]], other men, including the [[Rohirrim]], mistook the Drúedain for [[Goblin (Middle-earth)|goblins]] or other wood-creatures and referred to them as Púkel-men (Goblin-men). He allows the fictional possibility that his Drúedain were the "actual" origin of the wild men of later traditional folklore. British poet [[Ted Hughes]] used the form ''wodwo'' as the title of a poem and a 1967 volume of his collected works.<ref>{{cite web|url=http://ann.skea.com/timeline.htm|title=Ted Hughes: Timeline|accessdate=2009-05-21 }}</ref>

 

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*[[Almas (criptozoología)]]

*[[Basajaun]]

 

== Referencias ==

 

*Richard Bernheimer, ''Wild men in the Middle Ages'', Cambridge : Harvard University Press, 1952; New York : Octagon books, 1979, ISBN 0-374-90616-5

*[[Rachel Bromwich]] (2006). ''Trioedd Ynys Prydein: The Triads of the Island of Britain''. University Of Wales Press. ISBN 0-7083-1386-8.

*Yamamoto, Dorothy (2000). ''The Boundaries of the Human in Medieval Imagination''. Oxford.

 

{{Commonscat|Wild man in art}}

*[http://www.geocities.com/branwaedd/merlini.html Geoffrey of Monmouth, ''Vita Merlini'']

*[http://www.newanimal.org/wildmen.htm Hombres salvajes en Criptozoologia]

 

 

[[da:Vildmand]]