124 CHAPTER 1
In Bulgarian folklore, the relations between the hero, the hero-maiden
and the woodland nymph samodiva are manifested in a specific way. The
hero-maiden is always the opponent of the hero. She is looking for a match
(suitor) who can win her through a battle.507 The samodiva is often a foster
mother to the hero and fights on his side. In Pl. Bochkov’s opinion, “the samo-
diva replaces the mother of the hero by being the ruler of all that is wild, wet,
chthonic, serpent-like.. ., forestal.. ., and of the womb, i.e. “motherly”, “hero-
birthing”. And in this sense the equality between the samodiva and the mother
(foster mother) seems completely logical”.508 Two female figures stand out in
Bulgarian folklore—a celestial one, of the hero-maiden (the maiden), and a
chthonic one (the samodiva), the mother of the hero and culture hero. These
two figures are not clearly distinguished, since the samodiva can also enter into
marriage. Moreover, her chosen one cannot reject her, since in that case she
may harm him. A marriage to a samodiva socially elevates the groom509 (not
unlike Sargon, made king by the love of Ishtar). According to Bulgarian beliefs,
“the samodiva rides a sur (light-grey) deer, reined with snakes, and carries a
bow and arrows”.510 For the steppe peoples, the bow and arrows are symbols of
the Great Goddess.511
According to another Bulgarian motif, three zmei-maidens bathed in the
Kuninsko Lake in the form of golden-winged ducks, the hero (Stoian) robbed
one of them of her magical objects to make her become his wife. This motif
is part of the notion of the samodiva-wife.512 The image of the water bird
(which is also found on Saltovo amulets) is a symbol of power over the earthly
world (birds of prey symbolize the celestial one). But as birds that can both fly,
507 Bochkov 1994, 26; Venedikov 1987, 45.
508 Bochkov 1994, 27–28; in direct relation to the samodiva-mother is the belief that heroes
get their strength by suckling on a samodiva (Georgieva 1993, 148).
509 Kaloianov 1995, 28.
510 Georgieva 1993, 144; the meaning of the word sur (light-grey) can also be sought in the
Indo-Iranian surija, surva—sun, sky (Stepanov 1999a, 53).
511 Moroz 1989; Stanilov 1981. The bow and arrow are symbols of kingship in many cultures
and especially among the steppe peoples (the ancient Aryans, the Scythians, Sarmatians,
Huns, the Turks and the Mongols). As a symbol of power, the bow is semantically related
to the Great Goddess who blesses the ruler and guarantees victory in war. Thus, even
in ancient Assyria, the worshipped by the Assyrian kings Ishtar was often depicted with
a bow. The concept of power, personified by the goddess or the bow, is also found on
various sets of Parthian coins. On them, the victorious ruler is either sitting on a throne
next to a goddess that is handing him a wreath, or is depicted alone, holding a bow (see
Harmatta 1951, 107–149).
512 Kaloianov 1995, 29; in Bulgarian traditional songs the zmei-woman is closely related to the
samodiva or is a version of her (Georgieva 1993, 111).