About the Narration of Some Magical Spells in the Epic “Khanharangui”

2.1 Content

The story is rooted in heroic legend. The protagonist, Khan Kharangui, embodies strength, justice, and bravery. He overcomes various obstacles and defeats his enemies, ultimately fulfilling his noble mission. This reflects a common feature in Mongolian epics: the heroic journey of a central figure.

2.2 Structure and Composition

Like most Mongolian epics, the structure follows the traditional pattern of introduction, development, climax, and resolution:

1. Begins with blessings and praises.

2. Describes the hero’s origin and powers.

3. Continues with the central action involving trials and battles.

4. Ends with victory and the establishment of harmony.

2.3 Literary Features

1. Imagery: Vivid descriptions of nature and characters using metaphors, antithesis, praises, and verse forms

2. Symbolism: The name “Kharangui” (“darkness” or “mystery”) may reflect ancient Mongolian beliefs connecting darkness with strength and hidden power.

3. Language and Performance: The epic is recited rhythmically with traditional instruments (like tovshuur, morin khuur, and kengereg) to maintain tempo and atmosphere.

4. Historical and Ethnographic Significance: Beyond artistic expression, the Khan kharangui epic reveals the social customs, heroism, and values of its time. Its characters and events embody nomadic traditions and Mongolian warrior heritage.

2.4 Comparison with Other Epics

The epic can be compared to other major epics such as Jangar and Geser:

1. Heroic Qualities: Like Geser Khan, Khan Kharangui possesses magical powers and serves as a moral exemplar.

2. Structure: Jangar consists of many chapters, while Khan Kharangui is more concise.

3. Cultural Value: While all three are culturally significant, Khan Kharangui may represent unique regional characteristics.

Thus, Khan Kharangui is a vital example of Mongolian ancient epic tradition, preserving mythical, heroic, and cultural values. Its content, form, symbolism, and ethnographic elements make it a rich topic for multidimensional study. Preserving and promoting Mongolian epic heritage like Khan Kharangui is crucial for maintaining cultural identity. With its tale of a brave hero and his trials, victories, and legacy, the epic offers deep insights into Mongolian worldview and oral art.

“One of the most important subjects of human folklore is the “melodious epic” (Oyunchimeg 2021, 5). It is widespread among ethnic groups, and the presence of Mongolian myths in its narratives continues to attract the attention of researchers.

Here we introduce the magical spells that appear in the newly discovered “The chapter of wedding Khan kharangui” of the epic A Heroic Man Khan Kharangui, which was recorded in 1990 by Zeviin Juunai, a famous epic poet from the Khovog sair region of Xinjiang Uyghur Autonomous Region of China. The existence of stories about dom spells and “speech words” within Mongolian oral epics continues to attract scholarly interest. The spells and idioms found in Mongolian rituals, myths, and epics can be considered traces of the magical, subconscious, esoteric thinking of ancient people, or the symbolic layer hidden behind real events, along with the knowledge and sense of symbolism that accompany it (Erdenechimeg 2018, 51–62).^{[1] , [2]}

The Mongolian narrative is a magnificent epic recounting the exploits of a great horseman, who embodies the invincible power, goodness, and dreams of the tribal community. It includes heroic and fairy-tale epics that reflect ancient heroic aspirations and historical consciousness, with a common theme of heroic marriage, which is a component of ancient Mongolian legends and a reflection of the social structure of the unified state era of state unification. This is a collection of epics, composed of separate chapters or episodes telling the heroic stories of many heroes related to the main character, Jangar. There is also a series of events connected by a main character named Geser, a story told in a fairy tale style, imaginatively and sometimes with a humorous touch, divided into episodes.

The plot of the fairy tale is simple, usually with a single event. An epic, however, is complex, with multiple storylines and several stages that unfold sequentially, branching or combing these two patterns. Such is the case with the Khan Kharangui epic, where lines 2 and 3 branch off from the main storyline. The fact that the epic poem Khan Kharangui is called the “Khan of Mongolian epics” may be due to its status as one of the oldest forms of the Mongolian epic, while also representing all of its distinctive features. The main focus of the epic is to praise the meritorious deeds of men, who reflect the tribal group’s struggle against the forces of nature. Many of these deeds also mirror the social relations of the tribe.

Although there are very few dedicated monographs specifically focused on dom and shivshleg , we have made an effort to include insights and ideas from selected articles, conference papers, and certain academic works where some scholars have paid attention to this subject.

2.5 On Shamanic Rituals and Communication

The purpose, structure, and language of magical spells within shamanism directly reflect the worldview inherent to the belief system. “A magical spell is not just words, but a spiritually potent magical language – verbal energy – forming the fundamental tool of shamanic ritual” (Rinchen 1959, 53). Magical spells form an indispensable part of shamanic rituals and symbolize the communication between humans and spiritual entities inhabiting the sky, earth, water, and mountains. Spells represent a form of dialogue – a structured communication – between human spirits and divine forces. “The form of spells employs specially crafted language to communicate with hidden natural powers residing within beliefs and spiritual forces. This communication is based exclusively on the power of words” (Damdinsuren 1983, 3).

2.6 On Preserving Mongolian Intellectual Heritage

Magical spells represent not only intuitive belief but also psychological conviction and therapeutic tools for revitalizing life’s energy: “Spells generate positive energy affecting the mind, consciousness, and rhythm of life, serving as a psychological healing method to cure illness” (Dulam 1987, 14–25).

2.7 On Reviving Traditional Medicine and Psychological Healing

Magical spells represent more than just folklore; they are psychological therapeutic methods based on traditional intellectual knowledge, belief, and health practices. Ancient Mongolians attributed illness to “evil spirits, supernatural entities, and hypnosis,” employing magical spells to soothe mental distress as part of customary therapeutic practices. “The application of magical spells is suitable for research as a method of physical and psychological healing rooted in tradition” (Purevbat 1996, 3).

2.8 On Preserving Ancient Subconscious Thought

Magical spells preserve the subconscious thoughts of ancient people: “Magical spells constitute an important part of Mongolian ancient oral tradition, poetic artistry, and intellectual heritage. Studying these spells enables documentation of ancient idioms, imagery, symbolism, and preservation of the linguistic and customary characteristics specific to historical periods and regions. Magical spells represent one form of subconscious expression of ancient people, conveyed through oral poetic forms and ritual traditions. Within Mongolian epics alone, there are 17 distinct categories of magical spells” (Erdenechimeg 2018, 51).

2.9 On Literary and Figurative Thought Studies

The artistic language, metaphors, meanings, and forms of magical spells provide unique examples of Mongolian oral literature’s figurative language. The philosophical thought embodied within magical spells contributes to understanding the structures and semantics of poetry, legends, epics, and folktales. “When ancient people employed magical spells in their daily lives, they assumed that a hidden animated force resided behind supernatural phenomena. Thus, magical language served as an attempt to understand subconscious phenomena. Magical expressions themselves encompass metaphors, allegories, psychological representations, and poetic incantations filled with praise and blessings” (Erdenechimeg 2019, 11).

2.10 On Continuity of Customs and Traditional Thinking

“Magical spells exemplify Mongolian cultural belief, morality, respectfulness, and the tradition of expressing oneself clearly rather than leaving things unsaid. Human speech was a magical spell and an instrument for communicating with the living world” (Tserensodnom 2016, 17).

The study of magical spells extends beyond mere verbal enchantment or hypnotic techniques. Instead, it reveals deep layers of Mongolian thought, everyday cultural meaning, folk intellectual heritage, and poetic creativity. Consequently, magical spells must be studied extensively from various perspectives, including nomadic life, ecological wisdom, linguistic culture, psychological understanding, and artistic expression.

Many of the Mongolian heroic epics do not have a specific historical character with the theme of heroic marriage but rather focus on imagination, which is why researchers have called them fairy tales. This includes the epic Khan Kharangui. Goryaeva (2022) analyzes the structural role of mythological motifs and magical patterns in Kalmyk epics, which are also evident in Mongolian oral traditions involving dom spells.

Therefore, the social situation during the establishment of the Mongolian state, or the custom of marrying from foreign tribes (exogamy), is reflected in the narrative. For example, in Khan kharangui, in the episode with his fiancée Ag Buural Khan’s Tol Goo fairy camel driver, one of the two clans must enter into an agreement to marry the good wife of the sky’s son Erkhemkhard and marry the guard of the other clan. The tale of the good wife of the fortuneteller says this. In some versions, it is said that the news was delivered, asking, “Is the good wife of the fortuneteller a traitor?”: from the passage “Your engagement ring is about to be taken by the son of heaven, Khar,” it is clear that “the spouse of fate” means “the betrothed.”

The integration of magical speech and ritual performance in oral epic traditions is a well-documented phenomenon across Central and Inner Asia. Van Deusen (2004, p. 46) highlights how Turkic Siberian shamans serve simultaneously as storytellers and healers, using rhythmic narration and performative chants as tools for both spiritual healing and communal continuity.

These ritualized narratives often incorporate symbolic language aimed at invoking ancestral spirits or expelling malevolent forces. Similarly, Chinese Buddhist scholarship, particularly in the context of Mongolian-Tibetan syncretism, acknowledges the spiritual authority of incantatory language. 释圣严;-Sheng-yan (1999, section “蒙古咒文与护法仪轨”) notes that Mongolian ritual texts contain elaborate exorcistic formulas and summoning chants that resemble native shamanic dom practices. Together, these findings suggest that dom spells in Mongolian epics are not merely literary devices but function as cultural embodiments of healing, invocation, and spiritual transformation” (释圣严-Sheng yan, Master 1999, Section 3, 11).

3.1 The Influence of Magic Spells on Mongolian Traditional Culture

Magic spells were practical, and integral to the daily life of nomadic Mongols. Their importance can be summarized as follows:

Helping to Cure Diseases

1. Dom spells were used to cure diseases.

2. For example, when a child had a cold, fever, or was scared, special spells were recited and dom treatments were performed.

Restoring Good Fortune and Calling for Success

1. Among Mongolians, there remains a ritual to restore good fortune in horses and livestock through magical spells which are also used to bring about luck in races.

2. Magic spells were also used to restore the energy and morale of humans and livestock, to bring success in work, and reduce losses of livestock.

Protecting Against Evil

1. Traditionally, spells were used to protect against harmful speech, theft, fire, water, and other misfortunes.

For example, children were protected from evil with spells such as “Remove poison from the eyes and restore their spirits.”

Giving Calmness and Confidence

1. Dom spells provided emotional support to people, making them hopeful and confident, while easing fear and anxiety.

Culture and Respect for Living in Harmony with Nature

1. Dom spells are part of the culture of respecting nature – mountains, water, and earth – by using the power of nature and living in harmony with it.

2. For example, when digging the earth, it is traditional to recite dom spells such as “Lord of the earth, have mercy on me.”

Mongolian Folk Life

1. Magic spells are used to reduce fever in children, such as, “My dear sky, take away the fever” and “My dear mountain, take away the cold.”

Magic spells are also used for animals. Horses, central to Mongolian life, are associated with sayings such as “The spirit of the swift horse has come down from the sky of the horse.” Thus, magic spells have been the closest, simplest, and most important means for Mongolian people to solve many problems in their lives, ease suffering, summon happiness, and improve their lives.

In short, the use of magic spells is rooted in the belief they represent both a valuable cultural heritage and a practical way of life, ensuring health, happiness, security, and spiritual confidence of people.

Mongolians believe that there are several cultural and psychological reasons for using magic spells. These include:

Belief in the Power of Nature

1. Mongolians viewed nature as a living, spiritual world, so they used magical spells to connect with the gods, goddesses, and masters of nature. Spells served as communication with the natural world and a ritual to summon supernatural powers.

Related to Protection and Safety

1. Spells were used to guard against illness, suffering, misfortune, evil spirits, and harmful speech. They reduced fear and anxiety and provided confidence.

Restoring Good Luck and Success

1. Rituals to restore fortune and call for happiness through dom spells were widespread In the traditional Mongolian culture.

Providing Emotional Support and Comfort

1. With the help of dom spells, people found comfort and freed themselves from fear.

2. In times of illness, dom spells supported morale and restored faith.

Preserving Ancestral Traditions

1. Mongolians consider dom shivshleg to be a valuable ancestral cultural heritage.

2. Using dom shivshleg is seen as an important way to preserve and pass on cultural traditions from generation to generation.

In short: Mongolians used magic spells to:

1. Connect with the hidden forces of nature.

2. Protect against illness, suffering, and danger.

3. Invoke good luck and prosperity.

4. Gain emotional peace and confidence.

5. Preserve ancestral traditions, now integral to Mongolian life and spirituality.

The epic Khan kharangui contains numerous Mongolian idiomatic expressions, such as:

My body will not grow old

I will not be in a state of ignorance

When I die, I will have a cup of blood

When I die, I will have a handful of bones

Bone in the land of men

My name in my own land

Chopped from the ground

Flying above the blue clouds

These can be considered Mongolian “vernacular” as they are stereotyped and used repeatedly throughout the epic.

The ritualistic and symbolic aspects of dom shivshleg in Mongolian epics resonate with broader patterns of spiritual practice found across ancient civilizations.

As detailed by Namjil and Serchmaa (2021), “shared spiritual traditions transcend geographical and ethnic boundaries, suggesting that such practices might represent a universal human mode of symbolic communication” (Serchmaa 4).

The symbolic and ritualistic language in dom shivshleg is deeply rooted in the worldview of Mongolian herders. As Odkhuu (2021) explains, herders possess “A thousand professions,” including the knowledge of traditional sayings, symbolic acts, and natural observations” (Odkhuu, 11).

This aligns with the layered meanings of spells found in the Khan Kharangui epic, where verbal formulae serve as both psychological comfort and metaphysical connection.

3.2 The Epic of Khanharangui

This passage is about the application of the “white fox ointment that does not touch the noon, the white sheep ointment that does not touch the day” to bed sores and the doming spell:

Three-year-old Ulaadai the Wise

Thinking of his homeland

Thinking of his mother’s mother

He mounted his golden chestnut horse

On the western side

And laid him down to sleep

The golden chestnut horse

Three-year-old Ulaadai the wise

It took three months to wake him up

One day, from the wrong nostril,

He let out a hot spring

From the right nostril,

He let out a cold spring

He woke him up saying, “Come on.”

So, what happened to me?

You’ve been sleeping for three months.

What are you thinking now?

The golden-brown horse said.

From the stilt in front of me

Good horn

From the stilt in the north

Tie twenty sacks

From my back, cut off three fingers

Tie the stone!

My bed wound

Does not touch the noon

True white ointment

Does not touch the day

Apply white ointment to the sheep!

Sixty sacks of sand

Put it on my northern body!

You squeeze with the squeeze of a good man

I squeeze with the jump of a male horse

let’s jump

Three-year-old Ulaadai the wise

He made it so

A golden-brown horse

Jumping with the gallop of a male horse

Three-year-old Ulaadai the wise

Pulled with the gallop of a good man

The dust of a yellow horse

It is said that it appeared from the land of three months (Ulziikhutag 1989, 79–84).

This section contains a story about the magical healing of a disease caused by a white fox that does not reach the sun and a white sheep that also does not reach the sun.

3.3 A Spell to Destroy a Mountain with a Single Arrow

In the epic, the hero aimed the lowest of 32 white arrows from the golden bow for three days. He aimed it at the red sun in the morning, drew the bow for three days, crushed the white stone into a heap, reduced it to ashes the size of a cow, and shot half a black rock with the 32 white arrows of the bow:

In the morning, the red sun rises

The noble Khanharangui

With his thousand-strong white bow

With thirty-two precious arrows

Aiming at the lowest arrow

After three days of pulling

In the morning, the red sun rises

With his thousand-strong white bow

Smoke rises from his quiver

Fire blazes from his hilt

From his thumb

The man’s teeth are like a cow’s horn

Blood is about to fall

He puts down his arrow

The arrow of the good Khan Kharangui

Crushes a white stone

Until it is no more than a stone

Crushes a stone the size of a cow

Crushes it to ashes

Crushes a hundred bundles of firewood

Until it is no more than a toothpick

Crushes a gold and silver bowl

Through a hole in the bone of the scapula

The three-year-old Ulaadai the wise man, who was about to

shoot the black rock with a spear

embrace the black stone of the ossuary

hold the golden talisman of the path

and the arrow is fixed in a circle (Bayasgalan 2009, 56–65).

This section also contains the story of the magic spell of the Shivshleg Tantra.

3.4 The Spell to Extinguish Fire with a Nutmeg Stone

Hadan Chingel Hair black heroi (Baatar)

Three-year-old Ulaadai Sage

His heart was shot

His life was cut off

When his holy body fell to the ground

The good man Khanharangui

Goes to his younger brother’s head

My beloved and beautiful younger brother

Hadan Chingel Har Baatar

He was shot and killed

But he took revenge on him

If he does not kill his beloved younger brother

He will be killed by a harmful enemy

When the hero Hadan Chingel

killed his many soldiers

with a single arrow

by hitting the enemy

with a single arrow

the hero Hadan Chingel said, shall I start by coming?

looking at him, will you shoot me?

the noble Khan kharangui

invading a man’s property

by carrying the meat of his neck,

you shoot me first!

he said,

with a white chest the size of a field

he said and sat down… (Ulziikhutag 1989, 86–89).

In this section, the hero Khan Kharangui, who shot his own thumb until it bled, achieved his goal by heroically defeating the numerous soldiers of the hero Khadan Chingel with the force of a single arrow. The epic also contains a saying from Khan kharangui: “My body is not old; it is not in its old age” (Juunai 1990, 32–33 stanzas), meaning one should preserve their dignity, even when travelling far from home during life. The idiom, “My body is lying flat, my ship is lying flat” is used when one tries to achieve success or a goal, but encounters obstacles and fails. Similarly,“My body is bent over” signifies collapse and failure of one’s efforts and goals. Further, “My ship is bent over” refers to the main path to achieving success being blocked by obstacles (Bat-Ireedui 2009, 28).

3.5 The Magic Spell that Brings the Dead Back to Life

When the three-year-old Ulaadai sage of the noble Khan Kharangui was killed, the two fairies Tol Goo and Uulen Solongo came to the rescue by pouring golden silver water on the dead and bringing him back to life. This demonstrates the power of the magic spell and the ancient ritual of sprinkling water:

The noble Khan of the Darkness

Riding his golden chestnut horse

To the black palace

And when he returned

The fairy Uulen Solongo

The fairy Tolgoi

And the two fairies

And having eaten their food

And having seated the pedestrian

And having dismounted the horseman

And having surrounded the many people

And having sat down, having struck the black

The good Khanharangui

His black yatga took him away

All the strings were cut

Why did you come so angry?

The mirror fairy asked:

Khanharangui

My three-year-old

My wise brother Ulaadai

He was killed

The mirror fairy

I bring the dead back to life

Without being sad or offended

Drink and eat your food quickly!

Now, let’s go out, all three of us!

The good Khan of the Darkness

The three-year-old Ulaadai sage

was shown the place where he died

After going with his younger sister Uulen Solongo to the Golden Silver Bumbat spring

When he was purified and sprinkled

The three-year-old Ulaadai sage

Immediately recovered

And returned to his original form… (Juunai 1990, n.p.).

There is a mythological element that seeks to align natural phenomena with human desires and goals, specifically the idea of healing by soaking in a golden and silver spring.