L is for Long-Fingered-Woman (Women's Epcis A to Z)

This year my theme for the A to Z Blogging Challenge is Women's Epics. My goal was to read 26 traditional epics from around the world that have women as their heroes. Because epics like this do exist, and they are fascinating! Read the intoduction post here.

Song of Spider Goddess
Ainu

This story is an epic song collected from the Hokkaido Ainu at the beginning of the 20th century. It was told by a woman named Hiraga Etenoa in 1932; she was one of the most talented epic-singers on record (see picture below). 

These epic songs were traditionally recited in first person, whether they spoke about gods or by humans - a shamanistic tradition where spirits spoke through the mouth of the tellers. The epic songs were first collected at a time when Ainu culture and tradition were quickly being erased. While the Ainu have been under Japanese rule since the 17th century, their language is wholly independent from Japanese, and their traditions were passed down orally through the generations. The traditions were first collected at the end of the 19th century. Some of the best epic reciters and informants were women, who kept the tradition alive during the decline of culture. Shamans were also almost always women. Epics were sung at the fireside on winter nights. 

The Spider Goddess is known among the Ainu as Ashke-tanne-mat, Long-Fingered-Woman. She is worshiped by women, accompanies female shamans, and is invoked to help with childbirth.

I read the epic from this collection. Two more epics from the same book will be featured later this month!

What is it about?

TL;DR: A mythical version of the Brementown Musicians tale type.

Spider Goddess is sitting at home, doing needlework, when she heards rumbling, and another god appears on his chariot, warning her that Big Demon has fallen in love with her, and he is on his way to visit. Spider Goddess is not bothered by this. When the warning is repeated, she prepares for the visit: she places six of her "helpers" (objects and animals) around the house, then transforms herself into a piece of reed stalk, and hides in the wall of her house.

Big Demon soon pushes into the house, and takes the place at the right of the fireplace, signaling that he considers himself master of the house, not a guest. However, the six helpers soon spring to action: Chestnut Boy, hidden in the fireplace, pops and hits him in the eye. He falls, and Thin Needle Boy, hidden in the sitting place, pricks his butt. He stumbles to the window, where Hornet Boy stings his other eye. He looks for water, and Viper Boy bites him on the hand from the water barrel. He stumbles outside, and Pestle Boy falls on his head from the door frame, then Mortar Boy follows at the outer doorway. 

Big Demon flees, rumbling and roaring (symbolically dies). Spider Goddess goes back to her needlework.

The highlights

This story was fairly short, but I loved Spider Goddess' nonchalance through the whole thing. When first warned about the impending visit, she thinks to herself: "Am I a deity with weak powers?" Concluding that she is not, she continues her needlework unbothered.

THIS EPIC SONG FOLLOWS A PLOT THAT ALSO EXISTS IN FOLKTALES.

Have you encountered other spider deities in stories before? What do you think about this one? :)