SONGLIKE EXTRA-RITUAL POKUTTYA FOLKLORE IN THE

Transcription

SONGLIKE EXTRA‐RITUAL POKUTTYA FOLKLORE IN
THE RECORDS BY OSKAR KOLBERG: SPECIFICITY OF
*
GENRE CLASSIFICATION
1)
Zbyr, Iryna
**
Contents
Ⅰ. Introduction
Ⅱ. Songlike extra‐ritual Pokuttya folklore in the records
by O. Kolberg
1. Ballads
2. Social and everyday life songs
3. Family and everyday life poetry
4. Humorous songs
5. Lyrists’ songs
6. Kolomyyky
Ⅲ. Conclusion
<Abstract>
The article analyzes extra‐ritual songlike Pokuttya folklore in
O. Kolberg's records, namely ballads, songs about love and
family life, humorous songs, Cossacks', recruits' (soldiers'),
chumaky's, migrant workers' and lyrists' songs as well as
kolomyyky. Particular attention has been paid to the nomination
of these folklore genres, methods of researching the material and
difficulties the folklorist had faced while compiling the records
* This work was supported by Hankuk University of Foreign Studies Research Fund of
2013.
** PhD Professor, Department of Ukrainian Studies, Hankuk University of Foreign Studies.
교보문고 KYOBO Book Centre
180 『동유럽발칸연구』 제34권
from Pokuttya. However, in this sphere O. Kolberg has
demonstrated all his skills as a talented collector and researcher
who has managed to study, publish and preserve such valuable
material for the next generations.
Key Words: extra‐ritual songlike Pokuttya folklore, Oskar Kolberg,
ballads, songs about love and family life, humorous
songs, Cossacks', recruits' (soldiers'), chumaky's,
migrant workers' and lyrists' songs and kolomyyky.
Ⅰ. Introduction
O. Kolberg’s collection of folklore “Pokuttya” includes a substantial
amount of genres of folk songs, namely calendar and ritual, family and ritual
as well as extra‐ritual folklore. The researcher attempted at determining
their genres, made footnotes to the texts, for instance “a carol”, “an
Epiphany song”, “a wedding song”, “a Cossacks’ song”, “a chumaky’s song”, “a
lyrists’ song”, “a kolomyyka”, etc.
One of the biggest difficulties O. Kolberg faced while compiling the
collection of folklore was the problem of classifying the songs. Having
turned to experience of his predecessors, the Polish folklorist did not find
satisfactory complex methods for his research and thus used various criteria
in his classification of folk songs. Obviously, that accounts for the territorial
principle according to which the texts of calendar and family ritual are
organized in the collection of folklore “Pokuttya”, i.e. at first O. Kolberg
described the ritual together with songs from one area, then another one,
mentioning similar rituals, song versions, etc. At that time such methodology
of compiling folklore materials was rather widespread which is confirmed by
the works of his predecessors: W. Zaleski, Ż. Pauli, Ya. Holovatskyy et alia.
Meanwhile, extra‐ritual folklore in O. Kolberg’s “Pokuttya” is systematized
SONGLIKE EXTRA‐RITUAL POKUTTYA FOLKLORE IN THE RECORDS BY
OSKAR KOLBERG: SPECIFICITY OF GENRE CLASSIFICATION
181
according to the thematic principle, i.e. songs of different genres belong to
one theme; therefore, contemporary researchers sometimes find it difficult
to determine the genre of certain folklore samples.
However, this classification not always remained definitive. In the second
part of “Pokuttya” (which includes extra‐ritual folklore) we can come across
a number of inaccuracies: here the use of terms “duma” and “ballad” should
be mentioned as far as their meaning in Polish and Ukrainian folklore studies
somewhat differed. Having analyzed how the material was organized in
O. Kolberg’s works as well as collections of other 19th century researchers,
one can make a conclusion that classification of songs in regional
monographs was primarily determined by functions of the songs, and only
later, to a certain extent, by the plot and context. That is why O. Kolberg
used the term “duma” to define almost all extra‐ritual songs (except for
kolomyyky and humorous songs). The folklorist defines a Cossacks’ song as
a ballad and vice versa, or includes harvesters’ songs into extra‐ritual genres
etc. Nevertheless, genre classification remained practically the only
appropriate classification scheme at that time. Olena Hinda claims that
“analysis of folklore material through the prism of its belonging to a certain
genre definitely limits the abovementioned versatility, narrowing it down to
understanding a folklore phenomenon exceptionally in its oral aspect. No
doubt, the given focus may still be acceptable and sometimes even
intentionally emphasized”1).
Analysis of O. Kolberg’s records from Pokuttya has not been properly
highlighted in modern research literature. Certain aspects of the given issue
can be found in the monographs by V. Yuzvenko “Ukrainian Folk Poetry in
th
the 19
c. Polish Folklore Studies” (Kyiv, 1961) and Z. Boltarovych
“Ukraine in the Researches by the 19th c. Polish Folklorists” (Kyiv, 1976),
articles by I. Zbyr “Pokuttya Calendar and Ritual Poetry in O. Kolberg’s
Records: a Genre and Thematic Analysis” (Lviv, 2006) and “Oskar Kolberg’s
1) Гінда, Олена (2007), 210.
Records from Pokuttya in Academic Editions of Ukrainian Folklore” (Kyiv,
2012). General characteristics of the scholar’s records can be found in
papers by C. Neyman “Pokucie. Obraz etnograficzny. Skreślil Oskar Kolberg”
(“Pokuttya. An Ethnographic Survey by Oskar Kolberg”) (Kyiv, 1884) and
“Oskar Kolberg. Pokucie. Obraz etnograficzny. T. 2.” (“Oskar Kolberg.
Pokuttya. An Ethnographic Survey. Volume 2”) (Kyiv, 1884), I. Franko “The
Study of Ukrainian Folk Songs” (Lviv, 1913), in prefaces to academic
editions of Ukrainian folklore from the series “Ukrainian Folklore”, etc.
First and foremost, the researchers’ interest was turned to facts of O.
Kolberg’s biography which were connected with his folklore activity, namely
“Pokuttya” as one of the scholar’s most fundamental works. Up till now the
question of O. Kolberg’s records from Pokuttya in O. Kolberg’s records still
remains “a blind‐spot” as far as researchers’ interest in mostly scholar’s
biographic data made the analysis of the collection of folklore “Pokuttya” a
secondary activity. This is the latter fact that has brought about the topic of
our article.
Therefore, let us specify our task: to analyze Pokuttya extra‐ritual folk
songs in O. Kolberg’s collection, applying modern genre and thematic
classification with certain correlations that were mentioned by the Polish
researcher; to determine genre specificity of Pokuttya extra‐ritual folk songs
in O. Kolberg’s records as compared with records by other scholars of that
time; to define genres of certain texts of extra‐ritual poetry in O. Kolberg’s
collection which the scholar himself found difficult to do.
183
Ⅱ. Songlike extra‐ritual Pokuttya folklore in the records
by Oskar Kolberg
1. Ballads
The second volume of O. Kolberg’s collection of folklore “Pokuttya”
includes numerous records of ballads from the given ethnographic area.
Among them we can find almost all groups singled out by O. Dey, namely
ballads about love and pre‐marriage relationships, family conflicts and
relationships as well as social, social and historical ballads. We have to
underline here that the folklorist himself does not use the term “ballad” to
define these works. He refers to them as “dumy” or “songs”. These
inaccuracies have been mentioned above in the text (See p. 5). However,
we have to point out that unlike the first volume in which O. Kolberg
applied the territorial principle of systematizing folklore records, in the
second volume genres of songlike folklore are arranged according to the
thematic principle. Thus, practically every chapter includes not only songs of
one thematic group but also folklore of other genres.
The first chapter “Dumy historyczne” (“Historical Songs”) of the second
volume of “Pokuttya” represents texts of all thematic groups of ballads. In
particular, among social, social and historical ballads there are three versions
of a ballad about Bondarivna (“In Horodenka, a glorious city” from the city
of Horodenka, “In the city of Berestechko” from the village of Ispas and “In
Horodenka, on the marketplace” from the village of Nezvysko)2). In the
footnote to one of the ballads O. Kolberg remarks that “this song is known
in every village in Pokuttya”3). In addition, there are two versions of the
ballad about Sava Chalyy (“Hey, Sava was in Mereniv” from the village of
2) Kolberg, Oskar (1963), 4–6.
3) Kolberg, Oskar (1963), 293.
Chortovets and “The water is flowing from Nymeriv” from the village of
Ispas)4). However, the given texts are known in other regional versions. In
his footnote to the ballad “Hey, Sava was in Mereniv” the Polish researcher
underlined that “this song can be found in the collections of Maksymovych,
Wacław z Oleska and Wójcicki”5). To confirm his statement O. Kolberg turns
to the version of the first song about Sava Chalyy which was published in
“The Zaporizzhya Old Times” of I. Sreznevskyy as well as the version
recorded by C. Wójcicki in Pidlyashshya. Two ballads about opryshky
(participants of folk liberation struggle in Halychyna, Zakarpattya and
Bukovyna against Polish and Ukrainian gentry in the 16th – early 19th cc. –
I. Z.) have been recorded – “The water is flowing from the city to green
villages” in the village of Horodnytsya, “The weather is good in Pyatnytsi on
Monday”6)), in the village of Myshyn, “Hey, two Vasyls were making hay
”7)) in the village of Chortovets.
It has to be stressed here that all the above‐mentioned texts are included
into the collection of folklore “Ukrainian Folk Dumy and Historical Songs”
(1955)8), but O. Dey in his monograph “Ukrainian Folk Ballad” (1986)
defines them as ballads which reflect social and historical life9). Perhaps due
to the fact that their historical reference is not so distinct as in other songs
of the same genre, generalized pathos prevails there (by and large it is of
dramatic and tragic character), and it is perceived not as a particular event,
but as a typical phenomenon of that time.
Among song records of the first chapter we can also find ballads about
family conflicts and relationships. Particularly, these are ballads about a wife
being punished (murdered) by her husband (or vice versa): “Young Mykyta
4)
5)
6)
7)
8)
9)
Kolberg, Oskar (1963), 1–4.
Kolberg, Oskar (1963), 289.
Українські народні думи та історичні пісні: [збірник] (1955), 174, 193.
Дей, Олексій (1986), 82.
185
was preparing for the church holiday”, “I shall put walnut embers on the
window”, “Ivan had nothing to do” from the village of Ispas and the text “In
the glorious city of Botushany news was announced”10), which O. Kolberg
took from the almanac “Rusalka Dnistrovaya” (“The Dnister Mermaid”) and
pointed out that it is known in records by Ya. Holovatskyy
11).
Ballads about love and pre‐marriage relationships in this chapter are
represented by the record from the village of Ispas “Master Kulchytskyy
had a daughter Avhustyna”12), in which a girl marries a Russian officer
against her parents’ will, leaves the country with him, and then being left
there alone feels homesick.
The second chapter “Dumy obyczajowe przygodowe” (“Everyday life and
Adventure Songs”) includes a number of ballads about love and pre‐marriage
relationships as well as family conflicts and relationships. In particular, the
first thematic group is represented by records from different areas of
Pokuttya which tell us about magic in all its manifestations (“Hey, there is
a grave up the hill” – the city of Horodenka, “A Serb is walking on the green
glade by the river” – the village of Ispas, (“Hey, there is a grave up the hill”
– the village of Horodnytsya, “Ivan is giving the horses to drink” – the
village of Harasymiv, “Ivan is walking along the Danube” – the city of
Obertyn, “In the centre of Ispas” – the village of Ispas13)); ballads about a
light‐minded girl who went wandering with “the Cossacks” (young men)
(“Hey, there in the city, on the market place” – the village of Chortovets,
“And in the city of Berestechko” – the village of Ispas, “Hey in the city of
Berestechko” – the village of Khotymyr, “And you, honey, are thinking about
something” – the village of Yaseniv‐Pilnyy
14)).
10) Kolberg, Oskar (1963), 11, 15–19.
11) Чтения в Императорском Обществе истории и древностей Российских при Московском
Университете: [сборник] (1863), 79.
12) Kolberg, Oskar (1963), 12–13.
13) Kolberg, Oskar (1963), 42–46.
14) Kolberg, Oskar (1963), 20–23, 25.
The ballads of the second thematic group predominantly include ballads
that tell us how a daughter‐in‐law turns into a poplar (“The mother has
married off her young son” – the village of Chortovets, “A widow had the
only son” – the village of Hvizdets, “A widow had a son, and she married
him off” – the village of Dzhurkiv15)); a mother‐in‐law abuses her daughter‐in
‐law (“Hey, Ivan has gone to war for seven years” – the city of Tlumach
16)
);
ballads about children’s scornful attitude to their parents (“The mother has
brought up her son” – the village of Harasymiv17)); woman’s elopement from
her husband and children (“Young Vasyl has gone behind the mountains to
plough” and “Hey, Ivan has gone to the field to plough”18)); ballads about
incest: “A Turk is walking on the marketplace” – the village of Chortovets,
“A Cossack is walking on the marketplace” – the village of Ispas, “Hey, in
Lviv, on the marketplace” – the village of Hvizdets, “Hey, there is turf in the
field” – the village of Chortovets and “Hey, there is turf up the hill” – the
village of Dzhurkiv19)). We also know of a ballad about Petrunyo which has
several versions in O. Kolberg’s records (“Have you heard, people, about
such news?” – the village of Chernelytsya, “Hey, there is some news in the
city of Bohuslav”20) – the village of Ispas) and several ballads about
housemaid Nastya who makes love with the master and the landlady kills
(drowns) her out of jealousy (“Hey, Nastya served the master” from the
villages of Chortovets and Hvizdets21)). The same versions of the ballad can
be found in collections of W. Zaleski22), Ya. Holovatskyy
15)
16)
17)
18)
19)
20)
21)
22)
23)
23)
et alia.
Załeski, Wacław (1833), 483.
Чтения в Императорском Обществе истории и древностей Российских при Московском
187
In the fourth chapter “Dumy i piśni zalotne” (“Courtship Songs”) of
O. Kolberg’s collection of folklore “Pokuttya” we come across ballads about
love and pre‐marriage relationships as well as social and historical ballads.
These works are about the choice of one’s spouse through testing their
power and wit (“Hey, there under the lime tree” – the village of Chortovets,
“ Hey, in the field, by the road” – the village of Korshiv24)); many versions
of a famous ballad about “troy‐zillya”, i.e. magic plants (“I have gone to see
the girl” – the village of Ispas, “Hey, three Cossacks were coming back from
Hungary” – the village of Harasymiv, “Hey, three Cossacks were going on a
horse‐drawn cart” – the village of Tyshkivtsi25)) as well as versions of the
ballad about servant Marusya which was killed by opryshky after her
master’s death (“Hey, there in the open field” – the village of Chortovets
and “Up along the mountain” – the village of Kornych)26).
A considerable number of ballads in O. Kolberg’s records are included into
other chapters of the collection of folklore “Pokuttya”: VIII. “Miłość.
Swawola. Wianek. Dziecię” (“Love. Free Will. Virginity. A Child”) and X.
“Małżeństwo. Stary. Żal. Niewierność. Skarga” (“A Married Couple. An Old
Man. Sorrow. Adultery. Grief”). In particular, these are ballads about
disloyal seduction of a girl, loss of virginity (“By the small wood Fesya’s
calf is loitering around” – the village of Chortovets, “Hey, the strong wind is
blowing on the mountain” – the village of Strilche27)) and the mother’s‐in‐law
abuse of her daughter‐in‐law – the latter left her child in the field through
the fault of her mother‐in‐law (“Hey, Handzya had a vicious mother‐in‐law” –
the city of Obertyn, “Hey, Hannusya, stay for at least one night” – the city
of Obertyn, “Hey, a viburnum is blossoming in the meadow” – the village of
Chortovets28)).
24)
25)
26)
27)
28)
Kolberg,
Kolberg,
Kolberg,
Kolberg,
Kolberg,
Oskar
Oskar
Oskar
Oskar
Oskar
(1963),
(1963),
(1963),
(1963),
(1963),
71–72.
79–81.
76–78.
144–145, 150–151.
169–170, 177–178.
Therefore, O. Kolberg’s heritage as a collector is represented by a vast
number of ballads of various thematic groups: about love and pre‐marriage
relationships, family conflicts and relationships as well as social and
historical ballads. Genre and thematic spectre of Pokuttya ballads appears to
be rich and unique. They seem to be an integral part of all‐Ukrainian folklore
fund, though they especially preserve regional peculiarities.
2. Social and everyday life songs
Recruits’ and soldiers’ songs are represented in the “Pokuttya” with 42
texts and separated into the chapter 13. “Wojsko. Wojna” (“The Army. The
War”). This testifies to the fact that songs on the given topic are
widespread and well preserved in the songlike tradition of this area. One has
to point out that in his records O. Kolberg mostly uses the words “recruit”
or “zhovnir” (a soldier of the Austrian Army. –I. Z.), and very rarely –
“soldier”. This accounts for the fact that for many years Pokuttya was under
the reign of Austro‐Hungarian Empire, so young men became “recruits” or
were taken “to serve the tsisar” (i.e. the Austro‐Hungarian Emperor – I. Z.).
The given chapter includes a considerable number of recruits’ and
soldiers’ songs which tell us how young boys were “recruited”. The scholar
himself separated it into a subchapter “Recruitment” (“Pobór”): “Two vogts
were counseling with each other” – the village of Kulachkiv, “And we had
some news” – the village of Korshiv, “Hey, there is a grave in the field, and
the village has learned some news” – the city of Stanislaviv, “Hey, a maple
tree has blossomed” – the village of Harasymiv, “Hey, I was betrayed, my
dear” – the city of Halych, “Hey, a bird‐cherry tree has bloomed lushly” – the
village of Harasymiv 29).
We come across many songs depicting recruit’s life in the army: saying
29) Kolberg, Oskar (1963), 203–204, 212–214.
189
good‐bye to his mother and a beloved girl (from the villages of Dzhurkiv –
“A drake was swimming on the Danube”, Chortovets – “A year and six
weeks have passed”30) etc.); hard tour of duty in the army (from the village
of Snyatyn – “Hey, dark meadows began to rustle”, Korchiv – “We have
learned some news”, Ispas – “A cuckoo bird is cuckooing on the green glade
by the river”, Chortovets – “There was a path along the riverbank”31) etc.);
Cossack’s death (from the city of Otyn – “There were two oak trees and
one green oak tree on the hill”, the villages of Chortovets – “The wind is
blowing, and the grass is rustling”, Zahaypil – “The moon, please give light”,
Chortovets – “There is a sycamore tree by the water”32) etc. The latter
song was recorded by O. Kolberg in different parts of Pokuttya.
Special attention should be paid to a song “Do come, my sweetheart”33)
(the place of recording was not specified) which is included into the seventh
chapter among love songs. What is interesting, O. Kolberg referred to this
song as a “recruits’ song”, although he did not include it into the
corresponding chapter.
Recruits’ and soldiers’ songs gathered by O. Kolberg in Pokuttya reflect
all the aspects of soldier’s service in the army. The given works represent
different localities of the area that proves how well this theme is preserved
in folk memory.
In Pokuttya O. Kolberg recorded a significant number of Cossacks’ songs,
the majority of which can be found in the thirteenth chapter along with
recruits’ and soldiers’ songs, but separate records belong to other thematic
groups. We have to underline here that the collection of folklore “Pokuttya”
sometimes includes similar texts where the word “zhovnir” is used instead
of “Cossack” and vice versa.
Among the songs from the third chapter of “Pokuttya” there are several
30)
31)
32)
33)
Kolberg,
Kolberg,
Kolberg,
Kolberg,
Oskar
Oskar
Oskar
Oskar
(1963),
(1963),
(1963),
(1963),
211–212, 215.
202–204, 209–210, 216.
206, 220–223.
120.
songs about Cossack’s death: “Hey, a falcon has flown out of the small wood
into the field” – the village of Kornych, “Hey, please neigh, my cream‐
coloured horse” – the village of Chortovets (the place of recording was not
specified) which is included into the seventh chapter among love songs.
What is interesting, O. Kolberg referred to this song as a “recruits’ song”,
although he did not include it into the corresponding chapter.
Recruits’ and soldiers’ songs gathered by O. Kolberg in Pokuttya reflect
all the aspects of soldier’s service in the army. The given works represent
different localities of the area that proves how well this theme is preserved
in folk memory.
In Pokuttya O. Kolberg recorded a significant number of Cossacks’ songs,
the majority of which can be found in the thirteenth chapter along with
recruits’ and soldiers’ songs, but separate records belong to other thematic
groups. We have to underline here that the collection of folklore “Pokuttya”
sometimes includes similar texts where the word “zhovnir” is used instead
of “Cossack” and vice versa.
Among the songs from the third chapter of “Pokuttya” there are several
songs about Cossack’s death: “Hey, a falcon has flown out of the small wood
into the field” – the village of Kornych, “Hey, please neigh, my cream‐
coloured horse” – the village of Chortovets
34)
etc.
The fourth chapter includes songs about Cossack saying good‐bye to his
sweetheart or wife: “Hey, there is a well with cold water in the field” (the
village of Chortovets), “Hey, wheat is growing on the hill, and there is vine
downhill” (the village of Isakiv), “I cannot neither sleep nor doze” (the
village of Dzhurkiv), “Hey, you evening star, why are so late?” (the village
of Kornych)35); a Cossack being in the army, his everyday life, dreams and
expectations: “Let us drink honey mead, and you geese, drink water” (the
city of Stanislaviv), “I shall plant two fields of wheat” (the city of Tlumach)36).
35) Kolberg, Oskar (1963), 73–76, 87–88.
191
In particular, among recruits’ and soldiers’ songs the thirteenth chapter
includes songs about Cossack’s death: “The wind is blowing, and the grass is
rustling” – the village of Chortovets, “The Poles are going on three roads” –
the village of Ispas37).
The sixteenth chapter comprises songs belonging to different thematic
groups, among them there are works which allegorically tell us how a
Cossack is talking to his faithful friend, i.e. his horse. This can be clearly
seen in the following songs: “An oak tree has leaned on another oak tree”
(the city of Stanislaviv) and “Hey, you my horse” (the city of Otyn)38).
Pokuttya Cossacks’ songs in O. Kolberg’s records reflect different plots
and people’s moods, describe a certain epoch in the life of the Ukrainian
people. These works can be characterized by the closeness and similarity of
their motives and plots with recruits’ and soldiers’ songs.
A significant place in O. Kolberg’s “Pokuttya” belongs to paid employees’
and migrant workers’ songs (15 texts) which the scholar included into
chapters ХІІ. “Sierota. Czużyna” (“An orphan. The outland”) and ХV
І. “Różne” (“Miscellanea”) together with orphans’ songs and songs of
different genres. The themes of the given songs are not very diverse, they
predominantly depict hardships of bargemen and paid employees.
In O. Kolberg’s records from the fourteenth chapter we can find four
bargemen’s songs with folklorist’s remarks “a bargemen” or “a household
man”. This fact once again proves that the Polish scholar tried to determine
the genre of the songs, but he was not always successful. In his extensive
footnote to one of the songs O. Kolberg pointed out that “bargemen were
people not owning any land who, having no particular place to live, served
their master. The phrase “to be a bargeman” also originates from here: to
temporarily leave your home in search of a job or crafts”. These are the
36) Kolberg, Oskar (1963), 74–75.
37) Kolberg, Oskar (1963), 222–224.
38) Kolberg, Oskar (1963), 254–255.
following songs: “It is bad to be alone” (with no particular place of
recording), “Hey, the bargemen have gathered” (the city of Stanislaviv),
“Nobody in the world suffers the same” (the village of Dzhurkiv), “Hey, a
bargeman has been drinking during the night and day” (the village of
Myshyn)39).
Many paid employees’ songs are to be found in the twelfth chapter among
orphans’ songs, namely “Hey, do not rustle, you meadow, in the green small
wood” (the village of Ispas), “Hey, do not rustle too noisily, you meadow, in
the oak‐wood” (the village of Chernelytsya), “Do not rustle too noisily, you
meadow, in the oak‐wood” (the city of Stanislaviv), “Hey, an orphan went
wandering around the world” (the village of Horodnytsya), “The mother has
died, the children are left alone” (the village of Isakiv)40), etc.
Paid employees’ and migrant workers’ songs in O. Kolberg’s records are
distinguished by dramatic effect and conspicuous emotionality as far as they
reflect the life of the poorest social strata, i.e. bargemen and paid
employees in complicated life situations. Therefore, Polish folklorist’s
records demonstrate how well this topic is preserved in folk memory.
Chumaky’s songs have received less O. Kolberg’s attention in his
collection of folklore. The Polish folklorist has recorded only five texts in
Pokuttya and included them into the chapter ХVІ. „Różne” (“Miscellanea”)
among songs of different genres which testifies to the fact that such works
were not so widespread in the given area. However, each record by
O. Kolberg had a remark “chumak”.
The topics of such songs are not very diverse. As a rule, they show how
chumaky prepare for a long and hard journey, say good bye to their
relatives, describe their difficult journey, adventures and sometimes even
death. The songs “Hey, a chumak has been a guest for seven years on the
Don River” (the village of Ispas), “Hey, I am an unlucky chumak”
39) Kolberg, Oskar (1963), 253–254.
40) Kolberg, Oskar (1963), 193–195, 198–200.
193
(Stanislaviv), “A chumak has set off” (Horodenka), “A chumak has set off”
(no place of recording), “Hey, you chumak, where are you going?” (no place
of recording was specified)
41)
depict the abovementioned events. In his
footnotes to the majority of texts on these topics O. Kolberg has pointed
out that identical versions of these songs can be found among records by
Ż. Pauli
42)
and Ya. Holovatskyy
43).
There are not many chumaky’s songs in O. Kolberg’s collection of
folklore. Most likely the reason lies in the fact that this trade was not
typical in Pokuttya. However, the Polish scholar has managed to record in
the area under analysis some remnants of old tradition and the echo of the
times when people went to the Crimea to get some salt.
3. Family and everyday life poetry
Records from Pokuttya include a vast number of love songs which
O. Kolberg classified according to the thematic principle. This classification
is based on typical micro‐plots and motives, namely lovers’ dates and
farewells, misunderstandings in love, evil enemies who stood in lovers’ way
etc. These texts are part of correspondingly entitled chapters: III. “Pieśni i
śpiewki miłosne” (“Love songs and songlets”), IV. “Dumy i pieśni zalotne”
(“Courtship
songs”),
V. “Miłość.
Dobra
chęć.
Życliwość”
(“Love.
Benevolence. Goodwill”), VI. “Miłość. Obojętność. Niechęć i t. d. Wrogi.
Czary”
(“Love.
Indifference.
Mercilessness,
etc.
Enemies.
Magic”),
VII. “Miłość. Smutek. Tęsknota. Żal. Skarga” (“Love. Sorrow. Wistfulness.
Regret. Grief”), VIII. “Miłość. Swawola. Wianek. Dziecię” (“Love. Free Will.
Virginity. A Child”), whose titles reflect thematic variety of songs that are
41) Kolberg, Oskar (1963), 250–251.
42) Pauli, Żegota (1839), 69, 82; Pauli, Żegota (1840), 72–73, 88.
43) Головацкий, Яков (1878), Ч. 1, 177, 178–179.
gathered there. Interestingly, in his collection of folklore “Pokuttya” the
folklorist does not use a genre definition “a lyrical song” or “a love song”.
In particular, the third chapter represents records which tell us how the
tender feeling is born, about lovers’ first dates, etc. (“Hey, I am walking
alone, leading my horses” – the village of Chernyatyn, “The oak‐wood started
to rustle when it was growing” – the village of Chortovets, “A boat full of
water is sailing” – the city of Stanislaviv44)); songs in which the mother
gives useful advice to her daughter, warning her against hasty decisions
(“Take care of me, mother, but marry me off!” – the village of Nazvysko,
“Hey, mother, hey” – the village of Chernelytsya, “A small river is flowing”
– the city of Kolomyya, “My mother wanted to marry me off” – the village
of Chernelytsya songs in which the mother gives useful advice to her
daughter, warning her against hasty decisions (“Take care of me, mother,
but marry me off!” – the village of Nazvysko, “Hey, mother, hey” – the
village of Chernelytsya, “A small river is flowing” – the city of Kolomyya,
“My mother wanted to marry me off” – the village of Chernelytsya45). In the
texts recorded in the villages of Ispas (“My old mother, let me marry your
daughter” and Yaseniv‐Pilnyy (“A cuckoo bird was cuckooing in the cherry
orchard”)46), there dominates the theme of mutual love which was unhappy
because the beloved could not be together due to social and material
inequality.
A few lyrical love songs can be found in the fifth chapter of “Pokuttya”.
They tell us about lovers’ beauty, features of their character and good
intentions (“So you should know, my mother, what my Mykola is like” – the
village of Klyuchiv, “So you should know, my mother, what my Ivanko is
like” – the village of Ispas, “Where has your mother given birth to you,
44) Kolberg, Oskar (1963), 56–58, 60.
45) Kolberg, Oskar (1963), 64–67.
46) Kolberg, Oskar (1963), 62–63.
195
Ivanochko?” – the village of Myshyn, “When I start to sing with my strong
voice” – the village of Ispas there dominates the theme of mutual love which
was unhappy because the beloved could not be together due to social and
material inequality.47)
The sixth chapter includes texts the plots of which emphasize the reasons
for lovers’ parting (because of the father, the mother, the sister, the
brother, neighbours, friends, and enemies): “I have planted nice rue between
riverbanks” from the city of Stanislaviv, “Hey, young black‐haired lady, you
are worth loving” and “The water is flowing along the banks, the water is
flowing across the meadow” from the village of Chortovets, “My sweetheart,
you should only be loved” from the village of Hvizdets, “There is fog on the
valley” from the city of Horodenka and “Where is my sweetheart?” from the
city of Obertyn48). According to O. Kolberg’s remark, the text of the first
song is known from records by W. Zaleski49).
The same chapter also contains a thematic group of songs with the
dominant motive of adultery: “It is good to cut hay on the Pope’s field”,
“Hey, pears have grown on the willow, and apples have grown on the
viburnum” (the city of Stanislaviv), “Girl, do not believe a young man” (the
city of Horodenka)50); as well as songs with the fundamental motive of
putting magic on one of the lovers: records from the villages of Myshyn
“Hey, na‐na‐na, what a problem we have, my sweetheart!”, Strilche “People
say, my mother, that I am a witch” and the city of Satnislaviv “Hey, mother,
there is a small wood, a small green wood”
51)
and other songs, the versions
of which are to be found in collections of folklore by Ya. Holovatskyy52),
W. Zaleski53) and Ż. Pauli
47)
48)
49)
50)
51)
52)
54).
Kolberg, Oskar (1963), 102–103, 107–110.
Załeski, Wacław (1833), 381.
Kolberg, Oskar (1963), 115–116.
Kolberg, Oskar (1963), 103–105.
Головацкий, Яков (1878), Ч. 3, 300–301.
Songs about family life, predominantly life in marriage, constitute a
substantial part of O. Kolberg’ records; the plot and emotional spectre of
such songs appears to be rather intense and diverse – from happy and
harmonious life to various peripetia and family conflicts which often end
tragically. Woman’s hard life is the most widespread topic of these songs.
O. Kolberg included the given texts into chapters Х. “Małżeństwo. Stary.
Żal. Niewierność. Skarga” (“A married couple. An old man. Regret. Adultery.
Grief”), XI. “Wdowa” (“A widow”), XII. “Sierota. Czużyna (Obczyzna)” (“An
orphan. The outland”) of the second volume of “Pokuttya”.
The tenth chapter contains a few dozens of songs about unhappy life with
the unloved man, yearning for the past years, material inequality, husband’s
relatives’ reproaches etc.: “There flows a small river” – the village of
Strilche, “My old mother” – the village of Myshyn, “Hey, there is a straw in
the field” – the city of Tlumach, “Let me, sweetheart, come into the cherry
orchard” – the village of Dzhurkiv, “And in the new bright room, by the
batten table” – the village of Chortovets55). A similar version, recorded in
Halychyna, can be found in Ya. Holovatskyy’s collection of folklore56).
Among songs about family life (chapter XIX) there also are texts about
widows’ hardships. In particular, these are the following songs: “A Cossack
was leaving Ukraine on a black horse” (the village of Chernyatyn), “And the
raindrops are falling on Sunday morning” (the village of Strilche)57).
Thematically close to them are the songs which are warnings to a young girl
against marrying a widower: “The carts were moving slowly down the hill”
(the city of Obertyn) and “What is tumbleweed?” (no place of record was
given)58). O. Kolberg points out that similar versions of these songs are to
53)
54)
55)
56)
57)
58)
Załeski, Wacław (1833), 78–79.
Pauli, Żegota (1840), 120–121.
Kolberg, Oskar (1963), 173–175, 177–179.
Головацкий, Яков (1878), Ч. 1, 275.
Kolberg, Oskar (1963), 189–190.
Kolberg, Oskar (1963), 192–193.
be found in records by W. Zaleski59) and Ya. Holovatskyy
197
60).
The twelfth chapter represents songs whose plot concentrates on a young
girl’s life outside the motherland where she goes after marriage: “I am
walking on the field raking hay” (the village of Chortovets), “Hey, meadow,
do not rustle so noisily in the green wood” (the village of Ispas), “Hey,
meadow, do not rustle so noisily in the oak‐wood” (the village of
Chernelytsya)61) etc. Songs about orphan’s life fall into a separate group of
songs in this chapter: “Hey, an orphan has gone roaming about the world” –
the village of Strilche, “Hey, cranes were flying in the sky and sat down on
the fresh ploughland” – the village of Hvizdets, “And I shall come to the
church” – the village of Zhukiv, “Hey, a quail has left her children” – the
village of Chortovets
62).
By and large, Pokuttya songlike tradition in O. Kolberg’s records is
represented by songs about love and family life. The majority of songs are
similar in plot to records from other areas of Ukraine. Classification of
family and everyday life poetry in O. Kolberg’s collection of folklore
“Pokuttya” generalizes plots and contents of his research, is based on the
thematic principle. The songs under analysis reflect the whole spectre of
human relationships – from the moment when love is born till various
peripetia and conflicts in the family.
4. Humorous songs
A considerable place in O. Kolberg’s collection of folklore “Pokuttya”
belongs to humorous songs which depict funny situations in relationships
59) Załeski, Wacław (1833), 353.
60) Чтения в Императорском Обществе истории и древностей Российских при Московском
61) Kolberg, Oskar (1963), 198–199.
62) Kolberg, Oskar (1963), 193–197.
between young men and ladies as well as family and neighbour relationships,
etc. These songs are scattered in different chapters of the collection, in
particular they can be found among songs about love and family life, but a
vast majority of them are included into the chapter ХІV. “Karczma” (“The
tavern”). O. Kolberg does not use the term “a humorous song”, but the title
of the chapter with a lot of
such works testifies to the fact that the
folklorist separated them according to the place of performance and the
topic.
Along with love songs the eighth chapter also includes humorous songs
which tell us how young men court young ladies, how their relationships are
shaped: “And I shall weed periwinkle for my sweetheart”, “Give me a piece
of advice, my friend” – the village of Chortovets63); about an unequal couple
– an old husband and a young wife: “Three days and three weeks have
passed already” – the village of Chernelytsya
64).
Humorous songs about thriftless, untidy women are represented in the
tenth chapter: “Sell your sheep to me, sweetheart” (the village of
Nezvyska), “I have bought myself a problem” (the city of Halych), “How
miserable I am!”(the village of Ispas)65). Versions of the given songs were
also recorded by Ż. Pauli66), Ya. Holovatskyy67), P. Chubynskyy68) and
other folklorists. The chapter under analysis also includes songs about the
unfaithful wife and the sexton as well as the husband who is often untidy
and dirty: “I would drink some water” (the village of Ispas), “Nobody is to
blame here” – the village of Zahaypil69).
Songs from the fourteenth chapter of “Pokuttya” mock at vagabonds and
63)
64)
65)
66)
67)
68)
Kolberg, Oskar (1963), 140–141.
Kolberg, Oskar (1963), 148–149.
Kolberg, Oskar (1963), 180–181, 183.
Pauli, Żegota (1840), 158.
Головацкий, Яков (1878), Ч. 2, 238.
Труды этнографическо‐статистической экспедиции в Западно‐Русский край, снаряженной
императорским русским географическим обществом : [сборник] (1874), 1137.
69) Kolberg, Oskar (1963), 153–154, 171.
199
easy‐minded young men (“Oh my dear God” – the village of Ispas)70),
thriftless husbands (“There is a path across the orchard: light rain is falling”
– the city of Stanislaviv)71), besides, they depict specific relationships
between fellow sponsors, in particular, the songs give a detailed description
of their courtship, etc. O. Kolberg’s collection of folklore also includes
records about female fellow sponsors’ visit to a tavern. In the footnotes to
these songs the scholar has pointed out: “The given songs were performed
on the first day of the Great Lent, i.e. on Monday, and these were women,
not men, who were at the tavern at that time”72). Imitating their men’s
behavior in the tavern, the women invited each other to drink: “Let us get
drunk in this world, we will not be allowed to do this in the other world”
(“Let’s get drunk, my dear friend” – the village of Chortovets, “Let’s get
drunk, my dear, beloved friend” – the city of Obertyn, “We have vodka now,
but we still have to pay for it” – the village of Ispas)73).
Therefore, O. Kolberg’s records include rather many humorous songs
which reflect people’s outlook, its character and attitude to different funny
life situations, interpersonal relationships, etc. In most cases, these works
are versions of songs belonging to all‐Ukrainian songlike tradition which was
spread on the whole territory of Ukraine.
5. Lyrists’ songs
A separate group of texts in O. Kolberg’s records are referred to as
lyrists’ songs which the researcher called “religious songs” and included into
chapter XVII. “Pieśni nabożne i dziadowskie” (“Religious and beggars’
songs”) of the second volume of “Pokuttya”. There are not many of them in
70)
71)
72)
73)
Kolberg,
Kolberg,
Kolberg,
Kolberg,
Oskar
Oskar
Oskar
Oskar
(1963),
(1963),
(1963),
(1963),
240.
230–231.
235.
235–236.
the collection – 19 texts which predominantly tell us about the life of saints,
namely the Mother of God, St. Mykhaylo, St. Mykolay, episodes from the
Final Judgment etc. Each record is accompanied with a melody as well as
the name of a lyrist who performed that song: Dmytro Marchuk, a lyrist
from Sekeryn above the Dnister74) or a Wiseman in Yaseniv‐Pilnyy
75)
.
In his remarks to the given songs the scholar claimed that “these songs
were most often performed by the elders and beggars (starci) to the
accompaniment of lyra, [...] their language was mixed – Ukrainian, Church
Slavonic and Polish”76).
O. Kolberg made these records near Horodenka (the city of Horodenka,
the village of Chortovets), Kolomyya (the city of Kolomyya, the village of
Limna), in Halych, also including versions of some songs. For instance, texts
of songs about the Mother of God (“Oh, Blessed Virgin”) can be found in old
songbooks of church songs while “The shepherds were pasturing sheep on
the hill”77) – is included into the research by T. Stetskyy “Wołyń” (“Volyn”,
1864, 1871)78). O. Kolberg compared records about St. Onufriy, St. Lazar
and the Final Judgment with the texts from “The Roman Catholic Church
Songbook” by the father Mioduszewski
79)
. Thus, the majority of songs from
lyrists’ repertoire not only have religious contents, but also a clear secular
underlying message.
In fact, at that time religious songs were sung not only in churches – they
also were part of repertoire of lyrists and wandering sextons. The songs
acquired folk colouring and their church origins were forgotten with time. It
seems logical that in collections of folklore by W. Zaleski, Ż. Pauli,
Ya. Holovatskyy and P. Chubynskyy lyrists’ songs were defined as folk
74)
75)
76)
77)
78)
79)
Kolberg, Oskar (1963), 263–265.
Stecki, Tadeusz (1871), 248.
Mioduszewski, Michał (1838), 643, 758, 657.
201
songs.
A famous literary critic and folklorist V. Peretz wrote about such songs,
underlining their folklore status: “Most often, what was far‐fetched in the
late 17th c., till the end of the 18th c. became so commonplace and
harmonious with the general contents of “folk” repertoire of that time that it
seems impossible to separate these songs from the folk ones”80). As we can
see, O. Kolberg turned out to be rather far‐sighted and, obviously,
understanding the genre one‐dimensionality of church songs, referred to
them as folk songs.
6. Kolomyyky81)
Kolomyyky occupy a significant place in O. Kolberg’s collection of
folklore. It seems worth mentioning here that V. Hnatyuk made use of
materials from “Pokuttya” while editing his “Kolomyyky”. In his preface to
this volume the Ukrainian scholar mentioned that “for giving parallel
versions I also used […] 3. Oskar Kolberg. Pokucie. T. III. Kraków, 1888
besides
abovementioned
collections
of
folklore
by
Zaleski,
Pauli,
Holovatskyy and Salamon”82).
In the four‐volume collection of folklore “Pokuttya” songs of the given
genre were included into the third volume among descriptions of dances that
are popular in the region. O. Kolberg points out that “A kolomyyka is the
most widely spread dance in Pokuttya. Most often it is performed in the
open air in the following way: […] When each dancer has chosen a partner,
women stand opposite men and start dancing in the growing tempo. The
male dancer puts both hands on the female dancer’s waist, and she puts her
hands on his shoulders. In kolomyyka the couples move on the spot not very
80) Перетц, Владимир (1962), 146.
81) Ukrainian Hutsul dance. – I. Z.
82) Гнатюк, Володимир (1905), XII–XIII.
fast or move forwards a little. […] They dance like this until the violin
stops playing. [...] This is a kolomyyka itself – the first part of a bigger
dance. [...]
Then starts the second part of the dance which is called “Peredok” (i.e.
the front part. – I. Z.). At first the dancers move not very quickly,
sometimes even slowly, but later they start dancing faster. […] This part of
the dance finishes with the mountain figure: in small steps.
The third part – down the hill (z góry) is the fastest one. The men start
dancing slowly, then they join their partners and move similarly to the first
part, but not on the same spot, they move around, faster and faster. The
growing tempo of this part of the dance is the reason why it is called “down
the hill”, […] and sometimes “the hill”.
Each abovementioned part of the dance was accompanied by short, two‐
line and longer songlets, […] which are also called kolomyyky”83). Here we
should stress the fact that O. Kolberg, while recording melodies and
songlets to accompany kolomyyky, put down the footnotes – “down the hill”,
“in small steps”, “the front part” or simply “kolomyyka” by which he drew
attention to the division of the dance into separate parts and specificity of
their performance.
In this context the Polish folklorist mentioned collections of kolomyyky
that had been already published at that time. He believed that “the richest
collections include those by W. Zaleski, Żegota Pauli, Holovatskyy,
Hushalevych, Salamon; but practically all of them do not have music, except
for W. Zaleski who added a few melodies recorded by K. Lipiński”84).
The collection of folklore includes various genres of kolomyyky which are
typical of Pokuttya. They varied in manner and tempo in which different
parts were performed. In particular, the following types are meant:
“Horodenka (the title is derived from the name of the city), Hordnyantsi or
83) Kolberg, Oskar (1963), 2–4.
203
Horodnyantsi (a type of shepherds’ or robbers’ kolomyyka), Barabulanka,
etc. Similar to kolomyyky, they are accompanied by short songlets”85), along
with which O. Kolberg specifies genre differences.
All in all, the collection of folklore embraces about 700 of texts and 80
melodies of kolomyyky. The Polish researcher supplied many texts with his
remarks which specify where exactly a version of this or that kolomyyka
can be found: in records by W. Zaleski, Ż. Pauli, S. Shchasnyy,
Ya. Holovatskyy et alia.
Compilers of the academic edition “Kolomyyky” classified these works
according to the thematic principle, i.e. they singled out family and everyday
life as well as social and everyday life kolomyyky. However, in his
collection of folklore “Pokuttya” O. Kolberg applied another classification
which was based on the place and time of performing kolomyyky:
“Kolomyyky and other dances”, “A party. A tavern” and “Shepherds’
kolomyyky”. Nonetheless, the researcher himself not always followed the
abovementioned principle. For instance, the chapter “A party. A tavern”
includes not only humorous kolomyyky, but also works which describe how
young men courted young ladies, family relationships, etc.
It has to be pointed out that by the topics covered in them kolomyyky are
rather close to the songs about love and family life, humorous, social and
everyday life songs, but these song miniatures concisely, in one or two
stanzas, depict certain life situations.
The researcher expresses valuable remarks about the structure and
themes
of
kolomyyka.
In
particular,
he
remarked
that
“songlets
accompanying kolomyyky which were performed to music in the dance,
similarly to krakowiak, depict nature phenomena in the first stanza, and in
the second or the following ones have a maxim, an individual statement of
the performer (very often an improvised songlet)”86). For instance, we can
85) Kolberg, Oskar (1963), 5–6.
86) Kolberg, Oskar (1963), IX.
see that in the kolomyyka from the city of Stanislaviv: “Hey, a mill stone is
working on a high hill, and a Cossack is asking a young lady if she will
marry him”87).
The given thematic groups testify to popularity of the genre, its variety
and certain evolution. From dancing songs kolomyyky gradually turned into a
separate lyrical genre which not only thematically embraced all aspects of
folk life, reflected national everyday life and national colouring, but also
included elements of other types of traditional culture. O. Kolberg tried not
to separate the dance from the songlet, but sometimes we come across
kolomyyka records among wedding and lyrical songs. Obviously, the
folklorist perceived the context of their incidental performance rather
broadly.
Ⅲ. Conclusion
O. Kolberg has made a significant contribution into researching Ukrainian
folklore in general and ethnography of Pokuttya in particular. Both Ukrainian
and Polish scholars have underlined his intense activity as for collecting and
publishing samples of folklore tradition of the Ukrainian people. These
materials occupy a central place in the folklorist’s scholarly heritage. It
seems to be rather obvious that, in his paper O. Kolberg made a number of
mistakes, but here we should take into account the fact that at that time,
th
i.e. in middle 19
c., folklore studies as a science was only starting to
develop, and its theoretical foundations hadn’t been formulated yet. In this
respect, we can claim that O. Kolberg’s collection of folklore “Pokuttya”
includes unique materials: descriptions of traditions and rituals, texts of
songs and prose folklore which altogether remains a priceless source for
205
studying intellectual heritage of the region.
O. Kolberg may be considered one of the most prominent collectors of
Pokuttya folklore. His collection of folklore embraces numerous folklore
samples of various genres representing this area in the ethnographic
context, with in‐depth footnotes and explanations. Predominantly, these are
new versions of songs which include rare texts.
Therefore, O. Kolberg’s records of folklore are characterized by integrity
and accuracy, they have preserved linguistic peculiarities of the region, are
partially passportized, and thus they remain a valuable source for modern
researchers. Certain methods and principles of Polish folklorist’s work were
rather innovative and thus somewhat unacceptable for his contemporaries
while some of O. Kolberg’s records were the first records in the history of
Ukrainian folklore studies. Extraordinary energy and interest in the subject
of research as well as methods of collecting folklore make O. Kolberg one
of the most famous folklorists of his time. He has managed not only to
record practically the whole spectre of existing Pokuttya folklore, but also
to assess it properly.
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209
《국문개요》
오스카 콜버그의 기록에 나타난 포쿠탸(Pokuttya) 민속
‐ 노래적 요소를 지닌 의례: 장르분류의 특이성
즈비르, 이리나
한국외국어대학교
우크라이나어과
본 연구는 우크라이나 포쿠탸(Pokuttya) 지역에서 콜버그(O. Kolberg)에 의
해 수집된 노래들을 분석하였다. 콜버그가 수집한 노래들은 발라드, 사랑, 가족
의 삶, 유머스러운 노래, 코자크 군대의 노래, 추막(소금 판매를 직업으로 가졌
던 사람들을 부르던 용어), 이주노동자들의 노래뿐만 아니라 콜로미이카 등의
노래들도 포함한다. 본 연구는 콜버그에 의해 수집된 노래들이 어떻게 장르별로
구분되었으며, 또한 어떠한 방법으로 조사되었는지에 대해서도 연구하였다. 본
연구는 콜버그의 작품과 작업이 후대 민속연구의 방법론과 분석의 발전에 크나
큰 영향을 미쳤음을 설명하고 있다.
주제어 : 오스카 콜버그, 포쿠탸 민속, 발라드, 사랑노래, 유머스러운 노래, 코
자크 군대의 노래, 추막의 노래, 이주자의 노래, 콜로미이키
본 논문은 2013년 3월 19일에 투고되어 2013년 4월 20일에 심사완료하고 4월 22일
에 게재를 확정했음.
88)
Iryna Zbyr, PhD Professor, Department of Ukrainian Studies, Hankuk University of Foreign
Studies, 89 Wangsan‐ri, Mohuun‐myun, Cheoin‐gu, Yongin City, Gyeongki‐do, Korea 449‐791,
Tel: 010‐4998‐3430 / e‐mail: [email protected]

SONGLIKE EXTRA-RITUAL POKUTTYA FOLKLORE IN THE

Transcription

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