Some White Ruthenian Folk-Songs, III

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<ul><li><p>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 &amp; Francis, Ltd. on behalf of Folklore Enterprises, Ltd.Stable URL: http://www.jstor.org/stable/1255783 .Accessed: 14/06/2014 02:48</p><p>Your use of the JSTOR archive indicates your acceptance of the Terms &amp; Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp</p><p> .JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.</p><p> .</p><p>Folklore Enterprises, Ltd. and Taylor &amp; Francis, Ltd. are collaborating with JSTOR to digitize, preserve andextend access to Folklore.</p><p>http://www.jstor.org </p><p>This content downloaded from 194.29.185.109 on Sat, 14 Jun 2014 02:48:01 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/action/showPublisher?publisherCode=taylorfrancishttp://www.jstor.org/action/showPublisher?publisherCode=felhttp://www.jstor.org/stable/1255783?origin=JSTOR-pdfhttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>COLLECTANEA. </p><p>SOME WHITE RUTHENIAN FOLK-SONGS, III.1 </p><p>Introduction. </p><p>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. </p><p>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. </p><p>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 </p><p>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.] </p><p>64 </p><p>This content downloaded from 194.29.185.109 on Sat, 14 Jun 2014 02:48:01 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>Some While Ruthenian Folk-Sonrgs 65 </p><p>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. </p><p>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. </p><p>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. </p><p>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. </p><p>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. </p><p>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, </p><p>2 Genitive from drutok, dim. of drug. E </p><p>This content downloaded from 194.29.185.109 on Sat, 14 Jun 2014 02:48:01 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>66 Some White Ruthenian Folk-Songs </p><p>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. </p><p>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. </p><p>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. </p><p>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 </p><p>This content downloaded from 194.29.185.109 on Sat, 14 Jun 2014 02:48:01 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>Some While Ruthenian Folk-Songs 67 </p><p>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 </p><p>peasant sadness, when we are told that her father and mother never heard of her suicide, and were therefore ignorant of her </p><p>great love. </p><p>No. 16. Oj pajdu ja doiam uham (Oh ! I will walk through the lowlands and meadows). </p><p>_ short pause. </p><p>Oj paj-du ja do - am, 1u - ham, Oj paj-du ja </p><p>do -lam l - ham Hdzie moj miy, ha re plu- ham. do - lam lu - ham I-dzie moj mily, ha - re plu - ham. </p><p>Oj pajdu ja dolam 1uham, Oh ! I will walk through the lowlands and meadows, </p><p>Oj pajdu ja dolam luham, Oh ! I will walk through the lowlands and meadows, </p><p>Hdzie moj mily hare pluham. Where my loved one is driving -his plough. </p><p>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. </p><p>Oj paniesu jamu pici, Oh ! I will carry him something to drink, </p><p>Oj paniesu jamu pici, Oh! I will carry him something to drink, </p><p>GCi nie budzie hawaryci. And perhaps he will then speak to me. </p><p>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. </p><p>Jon napilsia, jon najetisia, And after he'd eaten and after he'd drunk, </p><p>Jon napilsia, jon najeiisia, And after he'd eaten and after he'd drunk, </p><p>U syru rolu palaiylsia. On the moist earth he laid himself down. </p><p>This content downloaded from 194.29.185.109 on Sat, 14 Jun 2014 02:48:01 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>68 Some While Ruthenian Folk-Songs </p><p>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. </p><p>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. </p><p>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. </p><p>No. 17. A u sadu sosna kadychaIasia (The pine-tree sways in the garden). </p><p>Au sa - du sos - na ka- ly - cha - la sia </p><p>Oj! lu - li lu - i wy-bi -ra - la - sia. </p><p>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. </p><p>Tryma mydIami wymywalasia, I washed myself with three kinds off soap, </p><p>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. </p><p>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. </p><p>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, </p><p>I walked so slowly through the next: room, </p><p>Oj! luli, luli, pamalusie6'ka. Oh ! luli, luli, I walked so slowly. </p><p>This content downloaded from 194.29.185.109 on Sat, 14 Jun 2014 02:48:01 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>Some White Ruthenian Folk-Songs 69 </p><p>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. </p><p>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. </p><p>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. </p><p>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 </p><p>him, Oj ! luli, luli, to atrucita." Oh ! luli, luli, you poisoned him." </p><p>No. 18. Zakuj, zakuj, ziaziulenika rano (Sing, sing, cuckoo, in the morning). </p><p>Za - kuj, za - kuj, zia - ziu - leA-ka ra - </p><p>na Oj nie ka - iy to no - cel-ka ma - Ia. </p><p>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. </p><p>A ja mloda usiu nodku nispala, I was young and lay sleepless the whole night, </p><p>A ja mloda miloha 'ekala. I was young, and lay waiting my love. </p><p>Oj pryjechoii moj milenlki pozno, Oh ! my darling was late in his coming, </p><p>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 </p><p>of the iron rim put on the heels of walking shoes. </p><p>3 Literally, " I will send Madam's beloved to God," i.e. she will kill her daughter's lover. </p><p>SNocenka, dim. of nohka which is the dim. of nob, night. </p><p>This content downloaded from 194.29.185.109 on Sat, 14 Jun 2014 02:48:01 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>70 Some While Ruthenian Folk-Songs </p><p>"Za 'to, praz to moj mileniki "Pray why, oh! why art thou zluje' wroth, dear ? </p><p>Camuz maji padu'e6ki psuje' ? And why fling my pillows away ? </p><p>" Ci na kania swaho waranoho ? " Say, art thou wroth with thy black horse ? </p><p>Ci na swaho siadlo zalatoje ? Or perhaps with thy saddle of gold ? </p><p>" Ci na minie ionku maladuju ? " Or art thou wroth with thy young wife ? </p><p>Ci na maju matulu staruju ? " Or wroth with my mother so old ? " </p><p>[Ci na maju matulu staruju " Or wroth with your old mother.1 </p><p>Ci na hetu druiynu 6 lichuju. Or wroth with your false fellow-comrades. </p><p>" Ni na swaho kania waranoho. "' Tis not with my black horse I'm angry, </p><p>Ni na swajo siadlo zalatoje, Nor yet with my saddle of gold. Ni na cibie ionku maladuju, Nor even with thee, my young </p><p>wife, [A na twaju matulu staruju.'1 FBut with thy mother so old. 1 </p><p>A na twaju matulu staruju But with thy mother so old, Sto addala zamu z maladuju. For she made you marrytoo </p><p>L young. Sto nie umieje' raboty rabici, For...</p></li></ul>