Podobe zapeljivca in ugrabitelja v slovenskem motivu Lepe Vide

Številne literarne reprezentacije skušnjave, zapeljevanja in ugrabitve žensk v svetovni literaturi od antike do sodobnosti so izražene v obliki dialoga, ki poteka po logiki zvijače in nasilja. Subjekt zapeljevanja in nasilja so moški različnih stanov in vlog. V slovenskem ljudskem izročilu in književnosti odkrijemo nekatere literarne reprezentacije tipa prevaranta in ženske žrtve ugrabitelja, ki jih zasledimo tudi v folklorni tradiciji in umetni književnosti po svetu. Ker motiv slovenske Lepe Vide izvira iz skupnega sredozemskega izročila, se zlasti med slovenskimi in sredozemskimi različicami kažejo medbesedilne interakcije v motiviki in simboliki zapeljevanja in nasilja. Ugrabitelj tako v slovenskih kot tudi v sredozemskih ljudskih različicah nastopa kot simbol zla in ostaja nekaznovan. Prešeren se v baladi Od Lepe Vide (1832) osredotoča predvsem na lik Lepe Vide kot žrtve skušnjavca, Jurčič, Vošnjak in Kranjec pa v svojih literarnih obdelavah motiva Lepe Vide lik zapeljivca močneje poudarijo. Medtem ko se skušnjavcu v Jurčičevem romanu maščuje prevarani Vidin mož, ga pri Vošnjaku in Kranjcu za njegovo prevarantstvo kaznujeta zlorabljeni ženski. Numerous literary representations of temptation, seduction and the abduction of women in world literature from Antiquity to the present are expressed in the form of dialogue conducted according to the logic of deception and violence. The perpetrators of seduction and violence are men of various classes and roles. In the Slovene folk tradition we disclose some literary representations of type of the deceiver and of woman as the victim of an abductor, which we can also find in the folklore tradition and artistic literature throughout the world. Since the motif of Fair Vida comes from the common Mediterranean tradition, Slovene and Mediterranean variants manifest intertextual interactions both in the motifs and symbols of seduction and violence. The abductor appears both in Slovene and Mediterranean folk variants also as a symbol of evil and remains unpunished. While in his ballad Fair Vida (1832), Prešeren focuses predominantly on the eponymous heroine as a victim of the seducer, Jurčič, in their literary recreations of this theme Vošnjak and Kranjec place greater emphasis on the figure of the seducer. While in Jurčič’s novel the deceived Vida’s husband avenges himself on the seducer, in Vošnjak and Kranjec he is punished for his deception by the abused women.