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2 2023

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The Mnemopoetics of Czech Traditional Ballads

100%

Skovajsa O.

Studia Ethnologica Pragensia

2023

nr 1

209-225

This study aims to introduce the Czech traditional ballad to the international reader from the perspective of mnemopoetics, i.e., inherent textual patterns of orally transmitted compositions that support the singers’ memory. It discussesCzech traditional balladry’s distinctive features and important mnemopoetic textual patterns— such as first line, genre, repetition and incremental repetition, assonance/rhyme scheme, law of three, strophe patterning, and parallelism — which are illustrated in these ballads. Special focus is paid to the supra-narrative function of formulas, especially connected to green and black epithet formulas, using the analytical framework of Flemming J. Andersen’s Commonplace and Creativity: The Role of Formulaic Diction in Anglo-Scottish Traditional Balladry (Odense: Odense University Press, 1985). The study forms a conclusion that mnemopoetics of Czech ballads exist but are less prominent than in Czech traditional lyric songs, and discusses the role of Czech traditional ballads in the formation of Czech cultural memory

„Ej, duby, duby, zelené duby“. K mnemopoetice a symbolice (moravské) lidové písně

59%

Skovajsa O.

Slovo a smysl - Word & Sense

2023

tom 20

nr 1

15-39

The paper introduces the concept of mnemopoetics, i.e., how songs are composed to be remembered, how they are shaped by oral memory as only the songs worth remembering were preserved by the community. After a brief discussion of ‘memory of the body’ (cf. Saussy 2016), the author introduces the formal mnemopoetic features (role of incipit, genre, rhythm, dialogue, incremental repetition, strophic arrangement, etc.). In the second part, he focuses on the semantic mnemopoetic role of incipit parallelism, which announces what will happen next in the song-story (cf. Andersen 1985; Marčok 1980; Bartmiński 2016). He then analyzes the first part of Jan Poláček’s song-collection from Moravian Slovakia (Slovácké pěsničky, 1936) and distinguishes nine main groups of songs with the incipit parallelism variously announcing: 1. erotic desire, 2. courtship, 3. longing for marriage, 4. an obstacle in the way of love, 5. a sinister omen leading to a bad outcome, 6. disappointment, 7. parting, 8. death; and 9. joyousness. For example, the image of ‘running water’ in the first verse suggests an unhappy development in the love affair portrayed by the song. The study further verifies the validity of six most prominent identified announcements on the broader material of František Sušil’s (1860) classical collection of Moravian folksongs. As suggested by fieldwork introduced in the study, traditional singers from Moravia and western Slovakia are typically aware of the ‘second’ meaning in songs, and this awareness of song symbolism helps singers — and readers — not only to remember songs better, but to do them justice when interpreting them. More broadly, the study represents a contribution to the methodological analysis of symbolism in traditional song lyrics.