Iara (mythology)

Iara, also spelled Uiara or Yara (Portuguese pronunciation: [iˈjaɾɐ], [iˈaɾɐ], [ˈjaɾɐ], [wiˈjaɾɐ], [ujˈjaɾɐ]) or Mãe das Águas ([ˈmɐ̃j dɐˈz aɣwɐs], "mother of the waters"), is a figure from Brazilian mythology based on ancient Tupi and Guaraní mythology. The word derives from Old Tupi yîara = y ("water") + îara ("lord; lady") = "lady of the lake" (water queen). Depending on the oral tradition and the context of the story,[1], she can be seen either as a water nymph, a siren, or a beautiful mermaid that lives in the rivers of the Amazon Basin.

"The Iaras", bronze sculpture by Cheschiatti, at the Alvorada Palace

Overview

The mermaid Yara in an official commemortive stamp by the Brazilian post office (1974).

According to the oral tale, Iara is a beautiful young woman, sometimes described as having green hair, light brown or copper-colored skin (as that of an Indigenous Amerindian from Brazil, or of a caboclo) and brown eyes, with a tailed similar as a freshwater river dolphin, manatee or fish body (the Tupi word y did not have a distinct meaning, being used in general for any riverine or freshwater lacustrine place) who would sit on a rock by the river combing her hair or dozing under the sun. When she felt a man around she would start to sing gently to lure him. Once under the spell of the Iara a man would leave anything to live with her underwater forever,[2] due she was pretty and would cater for all needs of her lover for the rest of his life. Other versions indicate that she slay the mens drownes in the river attracted by their beautiful songs. According to the oral tradition of Brazilian folklore, Iara was a beautiful young indigenous in a tribe of patriarchal customs, developed her talents for the warfare gaining admiration from all of her tribe and respect from her father,[3] the chief of the tribe, but stirred up the envy of her male brothers, who decided to sabotage her by murdering her during the night, says the legend that Iara knew how to defend herself from the attacks of her brothers and accidentally killed them.[4] Discovered by her father, she took refuge in the woods but was captured and punished for the murders of her brothers by being drowned in the river (some versions orals claim they killed her and dumped her body in the river, blaming the night goddess, Jaci, for her disappearance[2]). Turned into a mermaid, she decided to take revenge on all men by seducing them and drowning them in the river. According to some folkloric accounts, those who survive end up going crazy,[5] or survive with teeth marks on their neck.[6]

Aspects of the legend

It is often claimed that, until the 18th century, the Iara legend did not pertain to the image of a seducing, docile river mermaid. Instead, it was originally about an aggressive and monstrous river merman known as Ipupiara ("freshwater monster"[7]), which would readily devour fishers.

Iaras are immortal (like the nymphs of Greek mythology), but many of her lovers do age or die. It means that the Iaras are condemned to live most of eternity alone.

The legend of the Iara was one of the usual explanations for the disappearance of those who ventured alone in the jungle.

In Latin American mythology

The Iara is similar in nature to several other female figures of folklore from other regions such as La Llorona from Mexico and the Southwestern United States, the Colombian creatures La Patasola and the Tunda and the Deer Woman of North America. All are females who at times function as sirens leading men to their death.

This physical deformity marking an otherwise perfect woman is a common theme among siren figures in the Americas but it is usually one of the feet. Deer Woman has hooves for feet, La Patasola and the Tunda have deformed feet and La Llorona is often said to have no feet by those who see her.

Adaptations

Andrew Lang wrote an adaptation of the legend of Yara in The Brown Fairy Book.[8]

Legacy and influence

Iara (or Yara) is a very popular female name in Brazil.

In modern media

In the film version of the novel Macunaíma (1969), the eponymous protagonist meets his death at the hands of an Iara. He embraces her eagerly and sees too late the blow hole in the back of her neck that gives her away as the creature she is and not the beautiful woman he mistook her for.

A character based on the legend of Yara was developed by comic creators Geoff Johns and Ivan Reis for the Aquaman comics. Ya'Wara debuted as a new member of the supporting cast for Aquaman's The New 52 title (2011-2016), as part of superhero group The Others.[9]

gollark: Okay, I will now do thing.
gollark: I do, I just don't like using it much.
gollark: I can do that in 30 minutes or so. I am currently in bed.
gollark: I don't do cheß, ßorry.
gollark: I will not.

See also

Notes

  1. "Article on the city of Olinda". Archived from the original on 2012-03-27. Retrieved 2011-07-16.
  2. "A história da lenda da sereia Iara (The story of the legend of the mermaid Iara)" (in Portuguese).
  3. "Iara (Mermaid Iara)" (in Portuguese).
  4. "Lenda da Iara (Legend of Iara)" (in Portuguese).
  5. "Conto popular do folclore brasileiro - Lenda da Iara (Popular tale of Brazilian folklore - Legend of Iara)" (in Portuguese).
  6. BANE, Teresa. Encyclopedia of Vampire Mythology. McFaland & Company, Inc. ISBN 9780786444526.
  7. [ipupiˈaɾɐ]in Portuguese phonological rules; by that [Pre-Pombaline] time, most Brazilians still spoke línguas gerais.
  8. Lang, Andrew. The Brown Fairy Book. London ; New York : Longmans, Green. 1904. pp. 88-99.
  9. ""Aquaman's" Other League Gains the Mysterious Ya'wara". Published: March 09, 2012. Retrieved: May 20, 2020.

Further reading

  • Figueira, Gastón. "Mythology of the Amazon Country." Books Abroad 16, no. 1 (1942): 8-12. Accessed May 20, 2020. doi:10.2307/40082369.
  • Macedo, Tarcízio & Filho, Otacílio. (2014). Dos rios ao cristal líquido: uma análise da skin Nami Iara em League of Legends. 10. p. 173-191.
  • Sá, Lúcia, Maria Ignez França, and Lemos, Rafaella. "Macunaíma (1928)." In Literatura Da Floresta: Textos Amazônicos E Cultura Latino-americana, 79-120. Rio De Janeiro: SciELO – EDUERJ, 2004. Accessed May 20, 2020. doi:10.7476/9788575114421.8.
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