lzvomi znanstvcni (':lanak

UDK 398:886-l.033
Primljeno: 15.12.1992.
A MODEL FOR THE SURFACE LEVEL
OF NARRATION OF THE THEME
"COMBAT" IN SOUTH SLAVIC
EPIC SONGS
HEDAJASON
Israel Ethnographic Society, Jerusalem
"Comhat" is the basic narrative theme in South Slavic epic songs.
The author intends (0build its complete syntagmatic model, as the
first step in the description of the \vhole repertoire of themes. The
plot-model for the combat can he divided into three main parts
(preparation for the combat, the battle i duel, aftermath of the com-
bat), which can he further subdivided into several narrative sec-
tions. These sections are the basic units of the narrative description.
They comprise the singer's comments, his addresses to the audience
and information about the epic plot. After describing the abstract
sintagmatic model, which consists of the list of tale roles and of the
summary of narrative sections, the author applies the model on the
Croatian epic song "The Rattle at Kosovo".
O. Introduction
0.1. A syntagmatic model is presented here which intends to describe the
surface narrative patterns of the basic plot in South Slavic epic oral folk
tradition. The model has been worked out on South Slavic epic songs and
should be regarded to fit solely the description of this particular epic tra-
dition. Much further investigation is needed and many more traditions
have to be analyzed before more general models can be tackled.
371
Nar, umjet. 30, /993. PI'. 37/ -388. H. Jasoll. A Model for the Surface Level oj Narration ..
0.2. We use the concepts and tools developed for the analysis of
prose oral literature by the Russian Formalists at the beginning of this
century to build a description of the basic theme's plot (see ]\ikiforov
1927173, Propp 1928/68, Erlich 1955, PomOfska 1968, Jason 1977b)
These tools have been amended by Jason (1971, 1975, 1977a, 198-1; sec
also Jason and Segal 1977, Dan 1977 and Drory 1977).
0.3. "Epir" is here used as a label for an ethm)IX)etic genre, an oral
work of literature, in verse or in prose, in which man confronts his fellow
in strife and combat The combat is fought mostly as a physical struggle
and less often by use of cunning and magical means (after Jason 1975, pp.
-19-51). As defined here, the genre exists in the Euro-Afro-Asian cultural
area (cncompasing Christian Europe, !\foslcm North Africa, Ncar East and
Central Asia, and (non-tribal) India (Moslem and llindu) and in cultures
strongly inOuenced by these three umbrela cultures, like Budhist Tibet and
Mongolia).
0.4. The South Slavic repel10ire of oral epic features many narratil'e
themes. The author considers the basic theme to be the description of a
combat and therefore analyzed this theme as a first step It is supposed that
various combinations of sections from this basic theme, amended by addi-
tional narrative sections shall make it possihle to describe the whole
repertoire of thcmes. The author plans to describe these at a future time.
Two types of comhat arc It)und in the South Slavic materials: the
battle between groups of characters and the duel between champions. The
battle can be fought between two groups or characters ranging in sil.c
from a small hand of hrigands, a \\-'cdding procession, to an organized
small army, as in fights and raids between Yillagcs and all the way to the
large army an empire can muster. :\ com hat can also take place hetween
t\VO champions as a duel, or between a champion and a group or charac-
ters. Our model will follow the large battlc as this description or a duel,
while a duel docs not use all narrative units which the battlc features.
OS The plot-model for the comhat can be dIvIded into three malll
parts: preparation for the combat
the battlcduel
aftermath of the comhat.
Each of these three parts can he subdIvided into several naITatire
sections. Section can be of rour kinds: sOl11eor them are (I) II/wtions and
others are (2) connectives (in space, time, state and inrormation connec-
tives); (3) comments or the singer on the narrated events and (4) his direct
addresses to the audience punctuate the nanallve. These four kinds of
units are lIot neatly divided in their function in the narrative. Thus, a runc-
tion can be expressed through a connective. Such arc narrative sections
372
Nar. umjet. 30. /993. pro 371-388. H. Jason. A Model for the SurJare {..evel oJ Narration ..
nos. 3(b), (c) and (e) which arc space connectives (sp con), while nos. 2,
3(d), ll(d) and 24(c) are information connectives (inf con). Narrative
function" I, Prediction" can be executed as a comment of the singer (the
omniscient narrator): section I(e) On the other hand, section 24,
"Notification" is basically an information but can be developed into a
complex and many-layered function and appears often as a separate song
(such as the "Death of the Mother of the Jugovici").
0.6. Fpic symmetry. Usually, there is a confrontation bctween "good"
and "evil" in oral literature. The narrating community identifies with the
"good", "virtuous", "smart" characters. These defeat the "evil", Itstupid"
characters (sec Jason 1988). The genre of epic seems to divide its charac-
ters somewhat differently. The characters arc very much clearly divided
into "we, our" and "they, them" who are the enemy. Yet, both sides can be
either positive or negative: in so far as a warrior adheres to the knight's
code of behavior, he is positively valued, irrelevant to which side he be-
longs and even irrelevant to whether he won or lost the combat (and has
been killed). In some songs about a duel it is not clear who is the "hero" of
the song, both warriors having fought equally bravely (see, e.g., King's-son
:Vlarko's duel with t\!usa (or Mina): Hrvalske narodne pjesme, vol. 2, nos.
42,43,47, and 48; Karadt.ic 1935, vol. II, no. (6).
The same symmetry holds for the action of the two parties. The full
account of a duel specifically emphasizes this symmetry: the description
of the duel is composed of completely parallel actions by the two cham-
pions (narrative section 20). The reader will also notice the possibility of
inversion of the "\\-'e" and "they" characters between the subject and the
ohject narrative roles in sections nos. 3 and 13-18. Actions nos. 21,22,24,
25 and 26 are equally applicable to both sides of the combat. Therefore
wc ahstained from using the tcrm "hero" as a label for a talc role.
***
In the following, a short description ot' the narrativc sections and the talc
rolcs shall he given in chapter I. l"or the sake of demonstration, a work
from the South Slavic tradition is analyzed in full in chapter 2.
373
Nar, umjet. 30, /993, pp. 37/-388. H. Jason. A Model for the Surface Level oj Narratiol/ ...
1. Summary of the model
1.1. Tale roles
All tale roles double, and are found once for each side in the combat, i.e.,
each role can appear twice in a work, each time filled with characters from
one of the sides - "we" or "they" (= the enemy).
Roles of the model-variant "Battle":
(l) The anny, with its variolls subdivisions (it is a "group character"). The army is com-
posed of a leader and its retinue and the mass of anonymous soldiers.
(2) Leader of army (emperor, king, prince; sultan. pasha, vazir; chief of a band of brigands;
commander-in-chief).
All the other roles can be regarded as the retinue of the leader.
(3) Subordinate leaders (feudal lords, administrative commanders in the Ottoman empire,
generals, chiefs of clans, etc.)
(4) Champion/warrior as part of an army; may have his own retinue, Stich as family,
servants. comrades.
(5) Helper (an ally. a supporting army, a supernatural being)
(6) Spy
(7) Traitor
(8) Messenger
(9) Servant/esquirc
(10) Family (mother, sister, wife. bride, daughter)
(11) Encoder of prediction (usually supernatural)
(12) Decodcr of prediction
(13) ~leditlm for message of prediction
(14) Addresse of prediction
Roles of the model-variant "Duel"
(Ia) Champion A ("hero") (lb) Champion B ("adversary")
(2a, b) Servant/Esquire
na, b) Helper
(4a. h) Traitor
(Sa, h) Family (mother, siSler, wife)
1.2. Narrative sections
The talc roles act in narrative functions. A function consists of a subject
role which acts on/in relation to an ohject talc rolc. ~arrative sections
which arc built differently are not functions (see, for instance, sections nos.
2 and 12, which have the form of information connectives).
374
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2. Analysis of a sample text: "The Battle at Kosovo"
(Hrvatske llarodlle pjesme, vol. I, no. 58)
Note: The text is given in summary form; lines in italics are direct quota-
tions of the text.
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...0 ...0 ...0 \0 -.0 ("-- r-- r-- ("-- ("--i
Nar. wnjel. 30. 1993. pp. 371 -388, H. Jason. A Model for the Surface Level of Narration ..
, "
.-""
Ir: i " 0 00
"
.~
-
..
...
...
..
=
"
..,
-
-
o
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E
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385
Nar. umjet. 30, 1993. pp. 371- 388. H. Jasofl. A Model for the Surface l..evel of Narration ...
3. Distribution of characters in tale roles in the sample text
Tale role
Character
(I) Army
(2) Leader
(3) Subordinate leaders
We
South Slavic army
Lazar
Vukasin, Vuk Brankovic,
Milos Ohilic, JugoviCi,
Doge
Milos
(4) Champion
(5) Helper
(6) Spy
(7) Traitor
(8) Messenger
(9) Servant
(10) Family
(II) Encoder
(12) Decoder
(13) Medium
(14) Addresse
Milos, Stjepan
Vuk Brankovic
Stjepan
ABBREVIATIONS AND REFERENCES
ABBREVIATIONS
They
Turkish army
Murat
dukes, pashas
Murat
Old woman
inf con information to the character in the narrative (inf con I) or to the listener to the
narration (inf con 2)
sp con - transfer in space of characters or change in stage on which the characters move
time con - specification of the point of time in \vhich the events of the story take place
or time lapse empty of events
386
Nar. umjet. 30, 1993, pp. 371-388. H. .fason. A Model jor the Surjare l.el'cl oj Narration ..
REfERENCES
Dan,I1ana
1977 The Innocent Persecuted ileroine .. In: Patterns in Oral Literature, ed. by H. Ja-
son and D. Segal, pp. n-~().The Hague: ~louton
Drory, Rina
1977 Ali f1aha and the Forty Thieves In: Patterns ill Oral !.ileralure, ed. hy H. Jason
and D. Segal, pr. 31-48. The IIague: :\Iouton.
Erlich, Viclor
1955 Russian Formalism. History, Doctrine The Hague: tvlouton.
Hrvatske narodne pjesnle
IR96 Junacke pjesme, Vol I. cd. hy '- Broz and S. Bosanac, Zagreb, Matica hrvatska.
Jm;.on, Ilcda
1971 The Narrative Structure of Swindler Taler, ARV, .fournal of Scandinavian Folk
lore, 27, 141-160.
1975 Elhnopoelics: A A4ullilin.r:ual Terminology, Jerusalem, Israel Ethnographic So-
ciety.
1977a A Model for the Narrative Structure in Oral Literature. In: Patterns in Oral Lite-
rature, ed. hy 1-1. Jason and D. Segal, pp. 99- n9. Tha Hague: Mouton
1977b Precursors of Propp: f'-ormalist Theories of Narrative in Early Russian Etno-
JXlCtics, PTL. A lournaljor De ..,,,,jptive Poetics and Theory oj Literature, 3, 471-516.
19M The Fairy Talc of the Active Heroine: An Outline for Discussion. In: Le conte,
Pourquoi? Conunenl? cd. hy G. Calame-Griaule, v. Gorog-Karady and M. Chic he, pp.
79-97. Paris: Cl\RS
1988 Whom docs God Favor: The Wicked or the Righteous? The Reward-and-Pullish-
ment Fairy Tales, FFC 240, Helsinki
Jason, lIeda ,md Dunitri Segal
1977 Introduction. In: Pallerns ill Oral Ulerature, ed. hy H Jason and D. Segal, pp. 1-
-10, The Ilague' ~\'f()tlton
KaradZic, Vuk S.
1935-1936 Srpske narodlle pjesme, Beograd, Dd3vna stamparija.
Nikoforov, Aleksandar I
1927 1973 K voprosu 0 morfologiceskom iZlIcenii narodnoj skazki, Sborllik otdele-
I/ija russko.r.Jojazyka is{ovesllosti AN SSSR, 101, 173-178. (Engl. trns1. hy H. Jason
in Lil/guistica Rihlica, no. 27/28 (1973), 2S-35)
Pomorska. Krystina
]968 Russian Formalist Theory and its Poetic Ambience, The I {ague: 1\,ioUlon.
Propp, Vladimir la
192R;'68 Aforjologija skaz.ki, I.cningrad, Akademia
387