some white ruthenian folk-songs, iii

Some White Ruthenian Folk-Songs, IIIAuthor(s): H. Iwanowska and H. OnslowSource: Folklore, Vol. 35, No. 1 (Mar. 31, 1924), pp. 64-82Published by: Taylor & Francis, Ltd. on behalf of Folklore Enterprises, Ltd.Stable URL: http://www.jstor.org/stable/1255783 .

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COLLECTANEA.

SOME WHITE RUTHENIAN FOLK-SONGS, III.1

Introduction.

THE eleven following songs have much in common with the preceding ones, and they are all sung without any regard for place. or season, whereas many White Ruthenian songs might almost be called ceremonial, since they are restricted to one day or season, for example to Christmas or harvest. Although most of these songs are very popular, there are some which are not nearly so often sung as the former examples. Some are more like ballads than any hitherto published, and in two of them there is an attempt at humour of a peculiarly grim, rustic kind that is not usual among the peasants, who are scarcely even cynical.

The words of the first four songs are very pure White Ruth- enian, the next three show a marked foreign influence, and the last four are more narrative than lyrical, and might almost be called ballads.

The language and origin of No. 16 is typically White Ruth- enian, and it expresses a thought most common among the peasants, namely the wish of a wife to gain the affection of her husband after marriage; for under the conditions of serfdom

1 See Folk-Lore, vol. xxv. (I914), pp. 91-1og and 212-26. The

publication of these songs, collected and annotated by Miss Iwanowska and the Hon. H. Onslow, has been interrupted by the War. Mr Onslow died in June, 1922, at the early age of 31. Miss Iwanowska has suffered the hardships of the War in Poland, and it is to her recent visit to this country, and to the devotion of the wife of Mr. Onslow, that we are indebted for the preservation and completion of this valu- able collection of fast-vanishing folk-songs. [Ed.]

64



Some While Ruthenian Folk-Sonrgs 65

which used to exist, by which the landlord could dispose of his serfs in marriage, love and marriage came to be considered practically mutually exclusive.

No. 17 is very old indeed, and the White Ruthenian words are absolutely untainted by any foreign influence. The story which it tells is homely and simple in the extreme. It is evidently that of a girl who married against her mother's wishes and who subsequently returned to her mother's house seeking her forgiveness, for which purpose she adorns herself as if she were going to her lover.

Unlike No. 18, which is purely of White Ruthenian origin and contains nothing remarkable, the last four stanzas of No. 19 may have been slightly influenced by the Russian language. Thus, in the fourth stanza, both language and sentiment alter. In st. 5, line I, the word dziengi (see note 8, page 71) which occurs in a very common version of the song, is purely Russian.

In No. 20 also the Russian influence is most apparent, and in this instance it has probably been affected by those peasants who have returned home after having served in the Russian army. As in the former song many of the words are Russian. In st. 3, 1. I, the word druika2 (comrade) comes from the Russian drug; again, in st. 6, 1. I, rubjo (gun) is Russian, for the equivalent word in White Ruthenian is strelba, and in st. 9, lines 2 and 3, idzie (wait) comes from the Russian idat, the White Ruthenian for which is cekac.

The tune of No. 21 may have a Ukranian origin. It may perhaps have been brought from Ukraine by a wandering Cossack. The words are clearly the complaint of a woman who, having married a dissolute husband, describes from the know- ledge of her husband's faults the man she would have liked her husband to be. The last three stanzas tell with a trenchant simplicity how she prayed that her husband might die, but how the devil cheated her of her desire. The language is rather crude, and the word nidoloh in st. 3, 1. I, means a silly fellow.

No. 22 is an old song. It was taken down some years ago from a woman of thirty, who had learnt it from her grandfather,

2 Genitive from drutok, dim. of drug. E



66 Some White Ruthenian Folk-Songs

who was seventy years* old. Unfortunately the whole of it could not be remembered by the singer, who believed that there were three more stanzas. As there is no opportunity at the moment of finding out what these are, it is considered advisable to publish the song as it stands, in the hope that at some future time it may be possible to supply the missing stanzas, together with any other songs or alternative versions that might have been discovered by then. The words of the present verses are indeed almost as meaningless as the refrain, and it is difficult to surmise what they signify, except some fragmentary farm scenes without connection, which merely serve as syllables to fit the tune.

No. 23 is a narrative song which describes how a Cossack, the typical roaming ne'er-do-weel, seduces a maiden whom he meets in an inn, with the promises of money and fine clothes, and how he ends by putting her to a horrible death. The last three stanzas, rather unusually, serve to point a moral. The victim first complains that, though the children of a large family may have good luck, yet she who is an only child has no luck, and concludes by bidding every father with daughters guard most carefully over their goings and comings.

No. 24 is also in the form of a ballad, and is a story somewhat similar to No. 23. It contains very little that is not pure White Ruthenian, except the word majontek in st. 7, 1. 4, which is the Polish for an estate. It is curious to note in st. 5 that the passage of time is indicated by the number of candles that were burnt, a very old form of clock indeed.

No. 25 is again practically a ballad, but it has been modified by the Polish influence which affects many of the words, as is shown by the attempt to substitute Polish for White Ruthenian, as for instance in st. I, 1. 2, where the Polish piqknie (beautifully) is rendered by pienknie ; also in the next line of the same stanza, where the Polish odjeidzasz (you depart) is rendered by odjehdzal, and a similar case occurs in st. 2, 1. 3, where the Polish Maryni- eczce, a diminutive of Mary, becomes Marynie'cy. Owing to this Polish gloss the song is popular and considered smart, since everything Polish is much sought after, because the Poles, being the land-owning class, are accordingly looked up



Some While Ruthenian Folk-Songs 67

to. The reference to the sea in st. 3 may at first seem curious, but the peasants no doubt made acquaintance with the sea when they carried timber down the Niemen to Memel on the Baltic. In the last stanza we again strike the familiar note of

peasant sadness, when we are told that her father and mother never heard of her suicide, and were therefore ignorant of her

great love.

No. 16. Oj pajdu ja doiam uham (Oh ! I will walk through the lowlands and meadows).

_ short pause.

Oj paj-du ja do - •am, 1u - ham, Oj paj-du ja

do -lam l - ham Hdzie moj miy, ha re pluham. do - lam lu - ham I-dzie moj mily, ha - re plu - ham.

Oj pajdu ja dolam 1uham, Oh ! I will walk through the lowlands and meadows,

Oj pajdu ja dolam luham, Oh ! I will walk through the lowlands and meadows,

Hdzie moj mily hare pluham. Where my loved one is driving -his plough.

Oj jon hare pahaniaje, Oh ! he ploughs there driving his oxen, Oj jon hare pahaniaje, Oh ! he ploughs there driving his oxen, Na minie mlodu marhaje. And smiles at me his young wife.

Oj paniesu jamu pici, Oh ! I will carry him something to drink,

Oj paniesu jamu pici, Oh! I will carry him something to drink,

GCi nie budzie hawaryci. And perhaps he will then speak to me.

Oj paniesu jamu jeici, Oh ! I will carry him something to eat, Oj paniesu jamu jeici, Oh! I will carry him something to eat, Ci ni skate jon mnie sieici. And perhaps then he'll bid me sit down.

Jon napilsia, jon najetisia, And after he'd eaten and after he'd drunk,

Jon napilsia, jon najeiisia, And after he'd eaten and after he'd drunk,

U syru rolu palaiylsia. On the moist earth he laid himself down.



68 Some While Ruthenian Folk-Songs

Oj jon laiyd dy dumaje, Oh ! as he lies there he is thinking, Oj jon laiy6 dy dumaje, Oh ! as he lies there he is thinking, Sto 6erniawu ionku maje. That they married him to a dark wife.

Ja 6erniawa radzilasia, From my birth I have always been dark, Ja derniawa radzilasia, From my birth I have always been dark, Bielawemu sudzilasia. But fated to wed a fair man.

Ja wymjusia, prybierusia, Oh ! I shall cleanse and deck myself, Ja wymjusia, prybierusia, Oh ! I shall cleanse and deck myself, Bielawemu spadablusia. To be pleasing to my fair one.

No. 17. A u sadu sosna kadychaIasia (The pine-tree sways in the garden).

Au sa - du sos - na ka- ly - cha - la sia

Oj! lu - li lu - i wy-bi -ra - la - sia.

A u sadu sosna kalychalasia, The pine-tree sways in the garden, Oj ! luli, luli, kalychalasia. Oh! luli, luli, it sways. Ja da matuli wybiralasia, When I was going to mother, Oj ! luli, luli, wybiralasia. Oh ! luli, luli, I was going.

Tryma mydIami wymywalasia, I washed myself with three kinds off soap,

Oj ! luli, luli, wymywalasia. Oh! luli, luli, I washed myself. Adno mydelka biela, bieleuika, One soap was white, so white, Oj ! luli, luli, biela, bielenika. Oh ! luli, luli, it was so white.

Druho mydelka orno, ornie6ka, The other soap was black, so black, Oj ! luli, luli, 6orno, iorniefka. Oh ! luli, luli, it was so black. Trecie mydelka ano rumiano, And the third soap was rosy-red, Oj ! luli, luli, ano rumiano. Oh ! luli, luli, 't was rosy-red.

Pras pokoj i'la pacichusiefika, I walked so softly through the room, Oj ! luli, luli, pacichusiei'ka. Oh ! luli, luli, I walked so softly. Pras druhi i~la pamalusie(ka,

I walked so slowly through the next: room,

Oj! luli, luli, pamalusie6'ka. Oh ! luli, luli, I walked so slowly.



Some White Ruthenian Folk-Songs 69

Kap sukienka nie 'asnula, So carefully not to rustle my skirt, Oj ! luli, luli, nie vasnula. Oh ! luli, luli, not to rustle. Kap padkoiika 2 nie stuknula, And not to clatter my iron heels, Oj ! luli, luli, nie stuknula. Oh ! luli, luli, not to clatter.

Kap matuli nie zbudzici, And not to awaken my mother, Oj ! luli, luli nie zbudzici. Oh ! luli, luli, not to awaken. Bo matula narekad budzie, Because my mother will complain, Oj ! luli, luli, nareka6 budzie. Oh ! luli, luli, will complain.

Maju dolu praklinad budzie, She will curse my fate, Oj ! luli, luli, praklinad budzie. Oh ! luli, luli, she will curse. " Pavlu da Boha pani luboho, " To God I'll send the man you love,3 Oj ! luli, luli, pani luboho. Oh ! luli, luli, the man you love.

Ludzi shaiu6d to nie lubila, Then they'll say you never loved him, Oj ! luli, luli, to nie lubila. Oh ! luli, luli, you never loved him. Susiedki skaiud Ito atrucila, The neighbours will say you poisoned

him, Oj ! luli, luli, to atrucita." Oh ! luli, luli, you poisoned him."

No. 18. Zakuj, zakuj, ziaziulenika rano (Sing, sing, cuckoo, in the morning).

Za - kuj, za - kuj, zia - ziu - leA-ka ra -

na Oj nie ka - iy to no - cel-ka ma - Ia.

Zakuj, zakuj, ziaziulenlka rana Sing, sing, cuckoo, in the morning. Oj nie kaiy to node6ka 4 mala. Oh! say not how short is the night.

A ja mloda usiu nodku nispala, I was young and lay sleepless the whole night,

A ja mloda miloha 'ekala. I was young, and lay waiting my love.

Oj pryjechoii moj milenlki pozno, Oh ! my darling was late in his coming,

Parazkidoii paduseciki rozno. And he flung all my pillows away. 2 Padkohka, dim. of padkowa (shoe) is used of a horse's shoe and also

of the iron rim put on the heels of walking shoes.

3 Literally, " I will send Madam's beloved to God," i.e. she will kill her daughter's lover.

SNocenka, dim. of nohka which is the dim. of nob, night.




"Za 'to, praz to moj mileniki "Pray why, oh! why art thou zluje' wroth, dear ?

Camuz maji padu'e6ki psuje' ? And why fling my pillows away ?

" Ci na kania swaho waranoho ? " Say, art thou wroth with thy black horse ?

Ci na swaho siadlo zalatoje ? Or perhaps with thy saddle of gold ?

" Ci na minie ionku maladuju ? " Or art thou wroth with thy young wife ?

Ci na maju matulu staruju ? " Or wroth with my mother so old ? "

[Ci na maju matulu staruju " Or wroth with your old mother.1

Ci na hetu druiynu 6 lichuju. Or wroth with your false fellow-comrades.

" Ni na swaho kania waranoho. "' Tis not with my black horse I'm angry,

Ni na swajo siadlo zalatoje, Nor yet with my saddle of gold. Ni na cibie ionku maladuju, Nor even with thee, my young

wife, [A na twaju matulu staruju.'1 FBut with thy mother so old. 1

A na twaju matulu staruju But with thy mother so old, Sto addala zamu z maladuju. For she made you marrytoo

L young.

Sto nie umieje' raboty rabici, For you cannot do your work, Sto nie umieje' z milym haworyci. Nor even talk with your beloved.

Sto nie umieje paicielunki slaci, For you cannot make the bed, Sto nie umieje' z milym razmou- Nor even talk with your beloved."

laci."

5 Some singers interpolate this verse here.

6 Drutyna means a number of young men, adventurers, who probably went with him seeking their fortune.

SThe following lines are sometimes sung instead of those in brackets :

A na tuju druiynu lichuju. But with myfalse fellow-comrades.

A na tuju druiynu lichuju But with myfalse fellow-comrades. For I'll never be wealthy with

Sto xa joju nie raziywusia. them.

Nie raz'ywusia means " to get rich," not only in money but in house- hold property as well. He was probably obliged to accompany his comrades and therefore never had time to attend to his house and land.




No. 19. Oj! re(un'ka, reeehnka (Oh ! river, my river).

Oj ! re-6'ufi -ka, re - 6ei - ka, ca-mui ty nie pot - na-

ja Oj ! luli, lu - li, luli ii bierehach nie ro~f-na-ja ?

Oj ! re6unika, redefika, 'amut ty Oh ! river, my river, why art thou nie pohnaja ? not full ?

Oj ! luli, luli, luli! ii bierehach Oh! luli, luli, luli! not full to nie rouinaja ? thy banks ?

Oj ! jakie' mnie polnoj byd Oh ! how can I be full if John Jasiefika kania paid ? waters his horse ?

Oj ! luli, luli, luli Jasiefika Oh ! luli, luli, luli ! if John waters kania paid ? his horse ?

Jasiefka kania paid, Kasie6ka John waters his horse and Cather- wadu biere, ine draws water.

Oj ! luli, luli, luli! Kasiefika Oh! luli, luli, luli! Catherine wad a biere. draws water.

Oj ! Jasienka, Jasienika,"Camu.

ty Oh i John, my John, why dost nia ieniisia ? thou not marry ?

Oj ! luli, luli, luli ! nakaho ty Oh! luli, luli, luli! whom dost nadziejeisia ? thou expect ?

Ci na hro'y 8 jasnyje, ci na dzieiiki Is it money that shines, or krasnyje ! beautiful maidens ?

Oj ! luli, luli, luli! ci na dzietiki Oh! luli, luli, luli! beautiful krasnyje ? maidens ?

Ni na dzieiiki krasnyje, a na hrosy Oh ! not pretty maids, but the jasnyje, money that shines.

Oj ! luli, luli, luli! a na hrovy Oh! luli, luli, luli! the money jasnyje. that shines.

Za hrovy ja pi6 budu dzietiiatkoi' For money I can drink, And the lubid budu, maiden I shall love.

Oj luli, luli, luli! dzieui'atkoti Oh! luli, luli, luli! the maiden lubid budu. I shall love.

8 The word dziengi is often sung as another version of the word hroly, and is a purely Russian word, never used in White Ruthenian.

i.e. " Do you wish to marry beauty or money ? "



72 Some White Ruthenian Folk-Songs

No. 20. Zalsumiiea jum-dubrohka

(The rustling oak-wood murmured).

Za - iu-mie - a um - du - broti- ka, I za - pl-ka-kla

very short pause.

mlo - da idoi-k"a, I za-pla-ka-la mlo - da iido-ka. mlo da U'dofi-ka, I za - pa-ka - la mlo - da U'doli-ka.

Zalumiela ium-dubroiika, The rustling oak-wood murmured, I zaplakala mioda iidofika, The young widow wept, I zaplakala mtoda idofika. The young widow wept.

Zaplakala zatuiyla, She wept and she lamented, "4Da ito ja u Boha zashuiyla ? "Oh! God, have I deserved this ? Da ito ja u Boha zasluzyla. Oh ! God, have I deserved this ?

Usie druiki z wajny jedud, His comrades return from the war, A maho druika konia wiedud, And they lead my dear one's

horse, A maho druika konia wiedu6. And they lead my dear one's

horse.

Ty, moj konik, waraniefAki, Oh ! my black horse, (tell me) A hdziez moj druiociek malad- Where is my young lover ?

ziefiki ? A hdziez moj druiobek malad- Where is my young lover ?

ziefAki ?

U ystym poli, pry dalini, Down in the wood by the valley, Laiyd moj druzo6ek, jak malina,10 Like a bud my dear one lies, Laiyc moj druio6ek, jak malina. Like a bud my dear one lies.

U prawoj rucy ruijo drieriyd, He holds his gun in his right hand, Da na lewuju nahibaje. And he leans upon his left. Da na lewuju nahibaje. And he leans upon his left.

Na lewuju nahibaje, He leans upon his left hand, Da z tawarylem razmouilaje, And speaks thus to his comrade, Da z tawarylem razmouilaje. And speaks thus to his comrade.

1o Malina (a berry or raspberry) is a word applied to both men and women. It indicates the highest praise, being synonymous with youth, beauty, and freshness.



Some While Rutlenzan Folk-Songs 73

Tawaryiu, bracie rodnyj," My comrade, my blood-brother, Da nakazy tam ioncy majoj, Go to my wife and speak, Da nakaiy tam zoncy majoj. Go to my wife and speak.

Niechaj jana zamui idzie, And tell her she may marry, Niechaj jana minie nie idzie, And not to wait for me, Da niechaj jana minie nie idzie. And not to wait for me.

A kali jej lepiej budzie, For if only she is happy, To jana minie pryzabudzie, She'll not remember me, To jana minie pryzabudzie. She'll not remember me.

A kali jej horej budzie, But if she is unhappy, To jana pa minie plakad budzie. She will mourn for me, To jana pa minie plaka6 budzie." She will mourn for me."

No. 21. Sabirala dziezlynuhka (The maiden gathered cherries).

Sa - bi-ra-la dzieciiynunika, U sa-do'-ku wii-ni, Wyswatajcie i minie muia

Dyk pa ma-jej my~ - li. Wy-swa-taj-ciez minie muza Dyk pa majej myi'li.

Sabirala dzieui6ynunika The maiden gathered cherries, U sadoaku wilni, In the little garden, " Wyswatajciez minie muia "Let me wed a husband Dyk pa majej myili. After my own heart. Wyswatajciei minie muza Let me wed a husband Dyk pa majej myili. After my own heart.

Kap harelki ni pit, One who never drinks wine, Tabaki ni niucho", And who never takes snuff,

iuizych ionok ni lubil, Not one to love another's wife,'2 A swaju dyk sluchoii. But one who would obey me.

Cuzych ionok ni lubil, Not one to love another's wife, A swaju dyk stuchoui. But one who would obey me.

11 Bracie rodnyj. Lit. blood-brother. It does not mean that he was actually his brother, but merely indicates a close friendship or com- panionship.

12 Lit. his wife.




Moj mui nidolohbi 13 My husband is a silly dolt Pa'ol na re'ku, And went down to the river, Daj Boh, kap jon zdoch, I shall light a candle, Ja pastoiilu swiec'ku. For I wish God would destroy him. Daj Boh, kap jon zdoch, I shall light a candle, Ja pastoilu swie'ku." For I wish God would destroy him."

Baba rada, baba rada, (His) wife is pleased, (his) wife is pleased, Sto mui utapilsia, Because (her) husband drowned himself, Licho jaho nia uzialo But the devil never got him, Za kor' uchapiiisia. For he grasped a tree-trunk. Licho jaho nia uzialo But the devil never got him, Za kor6 uchapijisia. For he grasped a tree-trunk.

No. 22. Oj ! pajdu ja na kiermas (Oh ! I shall travel to the fair).

Oj! paj-du ja na tor - •ok, Pa - ku - plu ku-dziel - ku,

Tra - kiel, makiel, ma- tra-kiel, Pa-chmy-to&-ka, jur -ju - kiel.

refrain.

Trum-ki, trum-ki, trum-ki- tok, Trum -ki, ton - ki, ha - la- sok.

Oj ! pajdu ja na toriok, Oh ! I shall travel to the fair, Pakuplu kudzielku,4 I shall buy a hank, Trakiel, makiel, matrakiel. Trakiel, makiel, matrakiel. kachmytoika,15 jurjukiel,16 A bunch of tatters, jurjukiel. Trumki, trumki, trumkitok, Trumki, trumki, trumkitok, Trumki, tonki halasok. Trumki, and a piercing voice.

13 NidoLoh is a word for a silly fool, and may be rendered by " dolt.'" 1" Kudzielka (nominative of Kudzielku). A word denoting the ball

of unspun wool upon the distaff, for which there is no equivalent in English.

1~-eachymtocka, a diminutive denoting a bit of rag. 16

Jurjukiel. Practically a part of the preceding nonsense refrain, but all the same it is derived probably from Jur the augmentative of Jerzy, whose diminutive again is Jurka.




A u sadu kaza (biela) And in the garden a white goat, Pa sadoaku leta, And in the garden she would run, Trakiel, makiel, matrakiel. Trakiel, makiel, matrakiel. kachmyto'ka, jurjukiel. A bunch of tatters, jurjukiel. Trumki, trumki, trumkitok Trumki, trumki, trumkitok, Trumki tonki halasok Trumki, and a piercing voice.

Malaka ni lyzevki, There is not a spoon of milk Noma 6ym zabiali', There is nothing to make the food white." Trakiel, makiel, matrakiel. Trakiel, makiel, matrakiel. kachmytodka, etc. A bunch of tatters, etc.

A chto chode padaid And whoever goes to milk her, Tamu ruvka zabalid. Oh ! what pain his hand will give him. Trakiel, makiel, matrakiel. Trakiel, makiel, matrakiel. Eachmytovka, jurjukiel, A bunch of tatters, jurjukiel. Trumki, trumki, trumkitok, Trumki, trumki, trumkitok, Trumki, tonki halasok. Trumki, and a piercing voice.

A chto chove u chle~i zahna6, And whoever tries to stall her, Tomu nozki zabala6. Oh ! what pain his legs will give him. Trakiel, makiel, matrakiel. Trakiel, makiel, matrakiel.

-.achmytovka, jurjukiel. A bunzh of tatters, jurjuikiel. Trumki, trumki, trumkitok Trumki, trumki, trumkitok, Trumki, tonki halasok. Trumki, and a piercing voice.18

No. 23. A u poli krynica (There's a spring in the field).

iv

Aupo - li kry - ni - ca, Tam wa - da ta - y - csa,

Ha-wa-ra6 i fu - dzi Ka-zak la - da - sy - csa.

Ha-war-a6 i lu - dzi Ka - zak la - da - vy - csa. 17 This is the literal translation. It means that there is not even

milk enough to put in the peasant's food, generally some soup. Peasants call putting milk into the food, " making it white, or whitening it,' in distinction to " putting grease into it, or greasing it."

Is There are probably three more verses, but our informant could not remember them, as the song is extremely old and no longer sung.




A u poli krynica, There's a spring in the field, Tam wada tadycsa, Where runs the water,

Hawarad i ludzi And everyone says Kazak lada'iycsa. A Cossack does wrong. Hawarad i ludzi And everyone says Kazak ladaviiycsa. A Cossack does wrong.

Haraci nie umieje, For he cannot plough Kasici nie imieje, And he cannot mow. Asiadlaju konia, So he saddles the horse, Jedzie u karvmu pici. And he goes to the inn to drink. Asiadlaju konia, So he saddles the horse, Jedzie u karcmu pici. And he goes to the inn to drink.

U karvmu, u karimu, u karvmu, To the inn, to the inn, to the inn, U karvmu murawanu, To the inn which is built of stone, A u toje karvomcy And within this inn Da usio vuieziemcy. Are nought else but strangers. A u toje karvomcy And within this inn Da usio vuieziemcy. Are nought else but strangers.

Adzin iuieziemiec And one of the strangers Na skrypociku hraje, Is playing on the fiddle.19 Druhi iuieziemiec And the next stranger Dzieiiku namoiilaje. Is cajoling a maiden. Druhi uieziemiec And the next stranger Dziei~ku namou'laje. Is cajoling a maiden.

Ach tv dzieiika, dzieiika, Oh ! my maiden, my maiden, Jak rozowa kwietka, So like a pink blossom, Oj idzii ty z nami Oh ! come thou with us Z nami maladymi. With gay fellows like us, Oj idzii ty z nami Oh i come thou with us Z nami maladymi. With gay fellows like us.

Ty u swajej matuli When you're with your mother U padranoj kavuli, You wear a torn shirt, U nas bendziev chodzi6 But with us you shall walk U zlotnoj palitury. In golden array. U nas bendziev chodzid But with us you shall walk U ziotnoj palitury. In golden array.

Ty u swajej matuli, When you're with your mother U padranoj dwiciancy, You wear a torn coat, U nas bendzie' chodzi6 But with us you will walk U jedwabnoj sukiency. In silken dress. U nas bendziev chodzid But with us you will walk U jedwabnoj sukiency. In silken dress.

19 Dim. of violin.



Some White Ruthenian Folk-Songs 77

Ty u swajej matuli When you're with your mother, U padranoj chusteicy, You wear a torn coif, U nas bendziei chodzid With us you shall walk U jedwabnoj 6apecicy. In silken cap. U nas bendzie' chodzi6 With us you shall walk U jedwabnoj ape'cy. In silken cap.

Ty u swajej matuli When you're with your mother U brzozowych lapcikach, You wear birchen 20 shoes, U nas bendziei chodzid With us you shall walk U jedwabnych bucikach. In silken shoes. U nas bendziei chodzid With us you shall walk U jedwabnych bucikach. In silken shoes.

Och i uziali dzieiiku Oh ! then they took the maid, Pad ruki rukami, Their hands beneath her arms,21 Och pawieli dzieuiku Oh ! then they led the maid Lesami, harami. Through forests and through mountains. Och pawieli dzieiiku Oh ! then they led the maid Lesami, harami. Through forests and through mountains.

Prywiazali dzieuiku Then they tied the maiden Da sosny kasami, By her plaits to a pine, Padpalili sosnu They lighted the pine Ad wierchu da dolu. From the top to the bottom. Padpalili sosnu They lighted the pine Ad wierchu da dotu. From the top to the bottom.

Stali z sosunAki When the pine-tree branches Suki apadaci. Started to fall 22

Stala dzieui6ynunika The maiden began 2alognie plakaci. To cry bitterly. Stala dziedynufka The maiden began Zalognie plakaci. To cry bitterly. A u kaho do'ek wosiem, A man with eight daughters To tym doli dosi, Has good luck enough, A ja u matuli adna I'm alone with my mother, To mnie doli nima. Yet I have no luck.23 A ja u matuli adna I'm alone with my mother, To mnie doli nima. Yet I have no luck.

20 The peasant shoes, lapcie, were generally made of birch, lime, or willow bark.

21 See note 25. 22 Lit. started from the pine-tree the branches to fall. 22 Lit. whosoever has eight daughters has good luck enough, but I

am alone with my mother and therefore I have no luck; i.e., though those with many brothers and sisters have good luck, yet I, who am an only child, have no luck.




A chto u lesi na'uje, Whoever sleeps in the forest, Niechaj holas vuje. Let her hear my voice. A chto do'ku maje And whoe'er has a daughter Niechaj na'iiaje. Let him bid her beware. A chto do'ku maje And whoe'er has a daughter Niechaj nauiiaje. Let him bid her beware.

A chto doiki maje And whoever has daughters Niechaj natiiaje, Let him bid them beware,

Ranienika pazniefika And early or late Da domu sklikaje. Bid them come home.

Raniefika pazniefika And early or late Da domu sklikaje. Bid them come home.

No. 24. Oj ! illi try Kazaki

(Oh ! three Cossacks were walking). .. rzt......)

Oj! i - 'li try Ka-za - ki, Do - lemda - li - no - ju,

Na- pat- ka -li try pa-nien-ki, U zie - la-noj du-bro - wi.

Na - pat-ka - li try pa - nien-ki, U zie - la-noj du - bro - wi. 2nd stanza.

Je - dna pan-na An - na, A dru-ha Ma-ry-an - na,

Oj ! i'li try Kazaki, Oh ! three Cossacks were walking, Dolem dalinoju, Down through the dale. Napatkali try panienki, Three maidens were walking, U zielanoj dubrowi. In the green oak-wood. Napatkali try panienki, Three maidens were walking, U zielanoj dubrowi. In the green oak-wood.

Jedna panna Anna, Mistress Anne was first, A druha Maryanna, Then next came Mary Anne, A trejcia Alutufka, But Andra 24 was third,

24 Alutundka, lit. Alexandrina.




To maja kachanna. And she is my beloved. A trejcia Alutunika, But Andra was third To maja kachanna. And she is my beloved.

Och ! i uziali Alutufiku, Oh ! Andra has been seized, Pad ruki rukami,25 Their hands are on her arms. Och ! pawieli Alutufku, Oh ! they lead my Andra, Lesami,

b.arami. Through forests and through woods. Och ! pawieli Alutuniku, Oh ! they lead my Andra, Lesami, barami. Through forests and through woods.

Och ! pawieli AlutuAfku, Oh ! they lead my Andra Lesami barami, Through forests and through woods, Och ! pawieli Alutuiku, Oh ! they take my Andra Da swaho pakoju.26 To their own abode. Och ! pawieli AlutuiAku, Oh ! they take my Andra Da swaho pakoju. To their own apartment.

Ctyry 9wiecy ispalili, They burnt four candles Pokad nam6wili, Before they cajoled her, A piontuju da palowy, And the fifth was hah-burnt Spaci palaiyli. When they put her to sleep. A piontuju da palowy, And the fifth - as half-burnt Spaci palaiyli. When they put her to sleep.

Bije zegier, bije, zegier, The clock chimes, the clock chimes, Jui pionta hadzina, 'T is even five o'clock, Adwracaj sie Alutufika, Turn over, Alexandrina, Da minie wa6yma. Turn to me with your eyes. Adwracaj sie Alutuika, Turn over, Alexandrina, Da minie wadyma. Turn to me with your eyes. Ni odwr6cen, ni odwr6cen I shall not turn, I shall not turn, Da cibie wavyma, To you with my eyes. Ja praz cibie u mamuni 'T is your doing that I lost Majontek stracila. All my land at home. Ja praz cibie u mamuni 'T is your doing that I lost Majontek stracila. All my land at home.

Bije zegier, bije zegier, The clock chimes, the clock chimes, Jui vosta hadzina. 'T is even six o'clock, Adwracaj sie Alutuika Turn over, Alexandrina, Da minie Wadyma. Turn to me with your eyes. Adwracaj sie Alutufika Turn over, Alexandrina, Da minie wacyma. Turn to me with your eyes.

25 Ruki rukami, lit. with their hands under her arms. 26 Pakoju, lit. room, but never used of a room in a cottage, only in a

large house, apartment. They also use this for a large house (country house, or hall), that is, anything which is better than a peasant's hut.




Ni odwr6cen, ni odwr6cen I shall not turn, I shall not turn, Da cibie wavyma, To you with my eyes. Ja u swajej mamuniefiki, 'T is your doing that I lost

Klu6yki stracila," My dear Mother's keys. Ja u swajej mamunieniki 'T is your doing that I lost

Kludyki stracila. My dear Mother's keys.

Bije zegier, bije zegier, The clock chimes, the clock chimes,

Juz sioma hadzina. 'T is even seven o'clock.

Adwracaj sie Alutun'ka, Turn over, Alexandrina, Da minie wa6yma. Turn to me with your eyes. Adwracaj sie AlutuAika Turn over, Alexandrina, Da minie wadyma. Turn to me with your eyes.

Ni odwr6cen, ni odwr6cen I shall not turn, I shall not turn, Da cibie wa'yma, To you with my eyes, Sak ja swaju dobru slawu 'T is through you Praz cibie stracila. That my good name is lost. Sak ja swaju dobru slawu 'T is through you Praz cibie stracila. That my good name is lost.

No. 25. Sto ] jawor przy drodze (A hornbeam stands by the road-side).

9- Sto - ji ja-worprzy drodze, On pien-knie przy-bra - ny.

-9- - - Oj ! hdzie, hdzie od - jeh-dia' Ja - siei-ku ka-cha - ny.

-O- -hh-dj-dl Oj hdzie, hdzie od-

jeh-d.a', Ja - sie-ku ka -cha - ny.

27 The meaning of lines 3 and 4 is very obscure. Literally, they mean "I (ja) lost (stracila) the keys (Klulyki) at my mother's (u swajef nmamunie;ika). They refer probably to the keys of the cupboards, etc., which she held for housekeeping. There is no metaphorical use of the word key in White Ruthenian, e.g. the key to the heart. The White Ruthenian of this stanza is uncertain, as the singer was unable to remember it accurately.



Some Wkite Ruthenian Folk-Songs 81

Another version.

Stanza 2. Stanzas 3 and 4.

Od -jeh-diam, od-jeh-diam.

Stoji jawor przy drodze A hornbeam stands by the road-side, On pienknie 2 przybrany. Beautiful clad with its leaves, Oj ! hdzie, hdzie odjehdiai,20 Oh ! where, where art thou speeding, Jasiefiku kachany. John, my beloved ! Oj ! hdzie, hdzie odjehdia', Oh i where, where art thou speeding, Jasiefiku kachany. John, my beloved !

Odjehdiam, odjehdiam, I am going away, I am going away. Kto wie 6y powr6ce. Who knows whether I shall return, A ja swojej Marynieicy 30 And I shall sadden

Serdefiko zasmuce. My Mary's heart. A ja swojej Marynieicy And I shall sadden

Serdefiko zasmuce. My Mary's heart.

Prygnilo sie Maryni Mary was dreaming Na 16ieaku, spioncy, Asleep on her bed, Ze utonol Jag mlody, That John her lad was drowned Na morzu plynoncy. Swimming in the sea. Ze utonol Jag miody That John her lad Nwas drowned Na morzu plynoncy. Swimming in the sea.

Oj ! utonol, utonol, Oh ! he is drowned, he is drowned, Tylko vapka plywa, But his cap is still floating, Hdzie chadzila Marynia, Where Mary went Biale ravki myla. To wash her white hands. Hdzie chadzila Marynia, Where Mary went Biale ra'ki myla. To wash her white hands.

Illi chlopcy rybololicy, Some fisher-lads were passing by, Dla Boga iywego, Oh ! by the living God (she cried) Nie widzieli, nie slyleli Oh ! have you seen, Oh ! have you heard Kachanka mojego ? Ought of my beloved ? Nie widzieli, nie slyseli Oh ! have you seen, Oh ! have you heard Kachanka mojego. Ought of my beloved ?

28 Polish pifknie. (See Introduction.) 29 Polish od]jediasz. (See Introduction.) so Polish Marynieczce. (See Introduction.)

F




Chociai my widzieli, Oh ! yes, we have seen him, Ale niezywego, Though he was not alive, Z tamtej strony bystrej wody, Across the swift water, Miedem przebitego. But pierced with swords. Z tamtej strony bystrej wody, Across the swift water, Miedem przebitego. But pierced with swords.

Wysko~yla Marynia Mary sped down Z wysckiego ganku.3' The steep steps of her house.

Oj ! wyrwala ostry mieW She pulled the sharp sword Z Jasieflka kochanka. Out of John her beloved.

Oj ! wyrwala ostry mieW She pulled the sharp sword Z JasieiAka kochanka. Out of John her beloved.

Wyrwala, wyrwala, She wrenched it forth, she wrenched it forth

Sama sie przebila, And with it pierced herself, Niechaj ojciec, matka wiedza, Now father and mother will know Ze wiernie lubila. How truly I loved him.

Niechaj ojciec, matka wiedza, Now father and mother will know Ze wiernie lubila. How truly I loved him.

Ojciec, matka nie wiedzieli, But her father and mother knew

naught O takoj przygodzi, Of what had befallen,

2e poptylo para ludzi, That two bodies were floating Jak ligci pa wodzi. Like leaves upon water. Ze poplylo para ludzi, That two bodies were floating Jak li~ci pa wodzi. Like leaves upon water.

H. IWANOWSKA.

(The late) H. ONSLOW.

31 Ganku. The steps and porch-way, or sometimes the outer hall, of White Ruthenian houses are called ganek (Fr. perron).

ALGERIAN FOLKTALES I.

THE two first of the following tales were recounted to me at various times by Basha Bashir, the aged Kaid, or chief, of a section of the Ouled Ziane tribe, the migration of which from Morocco to south-eastern Algeria as the result of the magical disappearance of a bride I have described in Folk-Lore.'

The tribe claims to be of Arab descent, but frequent inter-

1 Vol. xxvi. p. 227.



some white ruthenian folk-songs, iii

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