Epic Features

The Song of Igor's Campaign masterfully weaves the classic threads of epic storytelling, centering on the legendary Igor, a figure of national importance in Russia's storied tapestry. The narrative sweeps grandly across the vast Russian landscape, each historic battle and its location meticulously chronicled to amplify the sense of scope. The tale bursts with daring deeds on the battlefield, while the author's all-seeing perspective enables a fluid narration of events scattered across time and space. This perspective also allows the author to delve into the characters' emotions through rich dialogue and vivid description. Traditionally, epics commence with a call to a muse, a nod which The Song elegantly echoes by hailing the prowess of the ancient bard, Boyan.

Yet, The Song of Igor's Campaign diverges from traditional epic conventions in captivating ways. Absent are the supernatural entities typically found in such tales. Instead, the narrative is firmly anchored in the near past, lending a more immediate historical context compared to other medieval epics. It stands out with its brevity and precision, forsaking the grandiose verse in favor of a rhythmic prose that Russian linguists find striking. Importantly, the Song is not purely a narrative vehicle. While the saga of Igor's campaign, his imprisonment, and subsequent escape occupies less than half the text, the remainder is a rich tapestry of lyrical laments for Russia, prophetic dreams, fervent exhortations to Russian princes, and nostalgic reflections on Russia's bygone eras.

Metaphor

The author hints at his metaphoric prowess right from the outset. In a vivid illustration, he depicts Boyan conjuring ancient tales by "setting ten falcons upon a flock of swans, / and the one first overtaken, / sang a song first" (21-24). A few lines on, the metaphor unfolds: Boyan's "falcons" are none other than his dexterous fingers, and the "swans" the strings of his melodious instrument.

The epic brims with metaphors, with one of the most evocative being the portrayal of battle as a form of agriculture. Oleg, for instance, "sowed the land with arrows" (236), while later the earth becomes "sown with bones / and irrigated with gore" (278-79), cultivating a harvest of "grief" throughout Russia. This extended metaphor reaches a crescendo when recounting Vseslav's fate at Nemiga's river, where severed heads lie as "spread sheaves," steel blades serve as threshing tools, and the battlefield becomes a grim threshing floor. Souls are "winnowed" from their corporeal forms, and the riverbanks are a graveyard of bones (651-58).

Simile

Similes abound within this epic tapestry. They serve as bridges connecting the human and natural realms, a central theme of the work. Boyan is likened to both nightingale and eagle; warriors, fierce on both sides, are described as gray wolves, while the advancing Kumans are "dispersed swans." Igor's wife's lament transforms her into a cuckoo, and Igor himself, escaping captivity, moves with the stealth of an "ermine," rests on water like a "white duck," races like a "demon wolf," and flies like a "falcon" (751-59).

Imagery

The narrative bursts with vivid color imagery, where red and gold dominate the palette. Igor's men wield brilliant vermilion shields, mirrored by the Kumans' equally vibrant banners. Dawn over the battle reveals "bloody effulgences" and "crimson pillars," perhaps alluding to the defeated Igor and his brother, echoing the setting sun.
Gold, a recurrent symbol of nobility, graces Igor's stirrups and saddle, Vsevelod's helmet, and the "golden thrones" of princes. Svyatoslav's tower boasts a "gold-crested" pinnacle and his utterances are described as "golden," all embodying the grandeur and splendor of Russian art from the era.

Conversely, the Kumans are shrouded in imagery of ominous black ravens...