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15. Гончаров И.А. Фрегат «Паллада». Очерки путешествий: в 2-х томах. Москва: Художественная литература, 1979.
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Статья поступила в редакцию 03.10.19
УДК 398
Illarionov V.V., Doctor of Sciences (Philology), Professor, North-Eastern Federal University n.a. M.K. Ammosov (Yakutsk, Russia), E-mail: [email protected] Illarionova T.V., Cand. of Sciences (Philology), senior lecturer, North-Eastern federal university n.a. M.K. Ammosov (Yakutsk, Russia), E-mail: [email protected] Alekseeva N.N., Cand. of Sciences (Philology), senior lecturer, North-Eastern federal university n.a. M.K. Ammosov (Yakutsk, Russia), E-mail: [email protected] Dmitrieva O.N., Cand. of Sciences (Philology), senior lecturer, North-Eastern federal university n.a. M.K. Ammosov (Yakutsk, Russia), E-mail: [email protected]
GENRE ORIGINALITY OF THE YAKUT EPOS. The article discusses the Yakut epic genre originality of the Sakha people, recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. The authors believe that the Yakut epos is an archaic epos type, so mythological and fairy-tale motifs depending on local traditions can be found in it. Heroic epic olonkho is a major genre in the system of genres of oral poetry of the Sakha people, which in November 25, 2005 was recognized by UNESCO as a Masterpiece of the oral and intangible masterpiece of humanity. The form of this large poetic legends, consisting of an average of 5-10 or 15-25 thousand poems and more depending on the epos volume. Olonkho is among the major epics not only by the volume, according to G.U. Ergis "Featuring an abundance of themes and motifs, monumental images, the perfection of poetic forms and the richness of the language, olonkho is not only the national merit of the Yakuts, but it can also be put in a number of works of world epics, as the Greek "Iliad" and "Odyssey", Russian epic, the Kyrgyz "Manas", the Armenian "David Sosun-sky", Karelian-Finnish "Kalevala". The term "olonkho" is used to designate not only genre concept, but also the individual works in this genre, which are commonly named after the name of the main character Nyurgun Bootur Stremitelny, Er Sogotokh, Kulun Kullustuur, Uriing Walan, Myuldyu Silny, etc. Yakut folklorists argue that the narrators memory kept more than 300 different stories. Among them, an important place in olonkho is occupied by women heroins Kyys Nyurgun, Kyys Debeliye, Kyys Kyydaan, etc., in the subjects of which the oldest layers of archaic epic were undoubtedly reflected.
Key words: olonkho, epic story, motive, narrator, olonkhosut, tradition, genre, tale mythological, powerful, heroic.
В.В. Илларионов, д-р филол. наук, проф., Северо-Восточный федеральный университет имени М.К. Аммосова, E-mail: [email protected] Т.В. Илларионова, канд. филол. наук, доц., Северо-Восточный федеральный университет имени М.К. Аммосова, E-mail: [email protected] Н.Н. Алексеева, канд. филол. наук, доц., Северо-Восточный федеральный университет имени М.К. Аммосова, E-mail: [email protected] О.Н. Дмитриева, канд. филол. наук, доц Северо-Восточный федеральный университет имени М.К. Аммосова, E-mail: [email protected]
ЖАНРОВОЕ СВОЕОБРАЗИЕ ЯКУТСКОГО ЭПОСА
В настоящей статье рассматривается якутский эпос народа саха-олонхо, признанный ЮНЕСКО шедевром устного и нематериального наследия человечества. Целью статьи является анализ изучения жанрового своеобразия олонхо. Особое внимание уделено определению термина олонхо. Также в статье рассматриваются ключевые этапы изучения эпоса олонхо, приведён анализ взглядов отечественных исследователей, таких как ГУ. Эргис, Н.К. Антонов, В.Я. Пропп и др. Авторы считают, что якутский эпос представляет архаический тип эпоса, поэтому в нём можно найти мифологические и сказочные мотивы, которые зависят от локальных традиций. Изучив записанные и изданные олонхо, авторы предполагают, что имеются три вида локальных сказительских традиций и что взаимодействие олонхо и сказки в немалой степени зависит и от локальных традиций. Обосновывается мысль о том, что при изучении олонхо и репертуара олонхосутов центральных районов преобладает героическая направленность. На основе изучения северных олонхо, выявлено, что по сюжету эти олонхо имеют специфические отличия от олонхо Вилюйских и центральных районов.
Ключевые слова: олонхо, эпос, сюжет, мотив, сказитель, олонхосут, традиция, жанр, сказка, мифологический, богатырский, героический.
The origin of the word "olonkho" is still not clear. It is interesting that similar words are found in other nations. For example, "onhto" in the Buryat language means "a fairy tale", and the Kyrgyz, Kazakhs and Turkmens call a song "Olen". Professor
N.K. Antonov considers the component "ho" to be the basis of the word "hohuy" (chant) [1, p. 25]. The given word not only close in value, they probably have the same base. On the closeness of the Buryat folklore to our G.U. Ergis saying: "... the Buryat"
uligers "or onotho and Mongol-Oirat" thulium are the "closest to olonkho by its richness, fabulously mythological elements of the composition, as well as individual motifs and epic formulas" [2, p. 6] and the remark of a famous Yakut historian, ethnographer G.V. Ksenofontov: "The successors of the Yakut stories in the Baikal region are the Buryats, the most northern branch of the Mongolian tribe, settled on both sides of Lake Baikal" [3, p. 401] fully confirm this.
Thus, olonkho is an oral folk work glorifying the heroic feat of the heroes, which is a feature of the triumph of good. There are olonkho recorded in prose and in verse. V.Ya. Propp considers division into lines of verse as an important feature of olonkho [4, p. 5]. In fact recorded in prose olonkho are identical to folk songs and pieces, performed a song close to the poetic works. The best example of interaction between prose and verse is an olonkho of I.G. Timofeeva-Teplouhova "Kuruubay haan-naah Kulun Kullustuur", which can be found in the works prepared for publication by E.K. Pekarsky and G.U. Ergis. Edited by E.K. Pekarsky olonkho was published in prose form. In pre-revolutionary times olonkho was not seen as a poetic work, which led to consider olonkho as a "fairy tale".
P. A. Oyunsky's undoubted merit is the fact that he began to consider olonkho as a monumental poetry and introduced its writing in the form of verse.
In fact, both prose description and poetic story in olonkho interact. It is possible dependence on the local traditions. In the central regions where olonkho is common, developed many well-known, respected by people olonkhosuts, olonkho is performed in verse form, collecting a lot of people who are distressed for heroes Aiyy. And in the northern olonkhosuts it is common to tell introductory part and song episodes. In Viliui olonkhosuts utterance in prose is rarely found. Interaction of prose and verse can be considered as the main feature of the early epics.
Olonkho refers to the ancient epics, but the time of its occurrence has not yet clarified. V.Ya. Propp, V.P. Zhirmunsky, E.M. Meletinsky consider olonkho as a type of archaic epic. In the opinion of S.V. Yastremsky, P.A. Oyunsky, I.V. Puhov et al. olonkho was originated when the Yakuts lived in the South in close connection with the people of Turkish origin, but it took root, strengthened only with their moving to the north, on the territory of modern Yakutia. N.V. Emelyanov, V.T. Petrov evaluated olonkho as a "national product, reflecting the emergence of ethnicity, its self-image, its moral and ethical criteria" [5, p. 90 - 94].
In olonkho there are no names of historical figures in the Turko-Mongolian epics. The opposition of light and shade is given in it through the images of tribes of aiyy and abaasy, by their battles. But without doubts that olonkho arose on the basis of the history of the people who made it. It has incorporated the centuries-old wisdom of the Sakha people; its deep philosophy and aspiration forward, covering all passed way of development, and is thus evaluated as a historical chronicle of our people. It should be noted that having been arisen in ancient times Yakut epic passed from mouth to mouth of all new generations, taking in its turn everything new, developing and transforming in the best sense.
Olonkho is rightly considered the pinnacle of folklore. Begun by I.A. Hudyakov's study the researches of olonkho are still continued today with more intensity, but specialists of epic poetry from the side of the genre have not yet agreed. Before the revolution there were mostly notations of olonkho text, its publication and translation into Russian. In this short introductory articles written about olonkhosuts, their lives and the manner of performance. But it is seen as a tale olonkho in the scientific literature. I.A. Hudyakov in his writings about folklore applied the term "fairy tale". To indicate olonkho and other prose works. He was not involved in the special study of olonkho, its genre. Therefore, we can assume that naming them olonkho tale is based on the surprising fantastic olonkho plot. Hudyakovsky term "fairy tale" was used later by N.S. Gorohov, V.L. Seroshevsky, V.L. Priklonsky et al. in their writings and in the publication of olonkho texts. Assessing the work of V.L. Seroshevsky "The Yakuts", E.K. Pekarsky noted the impact of I.A. Hudyakov [6, p. 423]. But he himself adhered to the introduced by Khudyakov term: "... by the term "a tale" we mean various types of Yakut folk literature, with an element of fantasy". But the epic genre is multifaceted and has its own specific features, about which E.K. Pekarsky was perfectly aware also. In his article about olonkho he noted very correctly: "Olonkho takes the central place in the Yakut folk poetry. Nevertheless it is extremely difficult to define olonkho. All the same, apart from the size of the main features that distinguish olonkho from "kepseen" (ie, a fairy tale - VI), is the language itself, the plot and the transmission [6, p. 426]. Hence, in his famous dictionary the word "olonkho" he defined as the heroic epic, epic song about the exploits of the heroes; a heroic poem, written in the form of verse. But then he made a very controversial addition: "The tale, a fictional story; history (i.e, Russian fairy tales, which were included in the Yakut folklore - VI), a fable. As can be seen from here the pre-revolutionary researchers were not sure how to determine the genre olonkho.
Olonkhosuts themselves clearly distinguished olonkho from fairy tales, especially fables and taken over from Russian settlers tales. Moreover V.L. Seroshevsky noticed that the Yakuts did not approve the frequent use of apt descriptive terms of olonkho by narrators of fairy tales, this is the language "the Yakuts consider as a sign of a bad taste, if the storyteller in" kepseen "in an unspecified location inserted epic obereto and allow themselves indiscriminately to mix the two forms ".
P.A. Oyunsky although used the term "fairy tale", as can be seen from his article, counted olonkho to epic works, depicting the heroic deeds of heroes to protect the well-being and happy life of aiyy tribe emphasizing their high destiny [7, p. 128 - 194]. Since the thirties, Russian researchers studying translated into Russian texts of olonk-
ho,having compared them with the texts of epics of the Turkic-Mongol peoples, began to refrain from the use of the term "fairy tale" in relation to olonkho. S.E. Malov called olonkho an epic poems. Academician A.N. Samoylovich came to the same conclusion: "In my opinion, olonkho is an epic poem" [8, p. 23]. Academician A.P. Okladnikov well studied ancient history and culture of the Sakha people thought that olonkho was a colossal epic poem about heroes [9, p. 257]. Experts involved in the study of olonkho for many years G.U. Ergis, I.V. Puhov, N.V. Emelyanov without doubt put olonkho in the group of epics. But, for the first time G.U. Ergis who had thoroughly examined olonkho as a genre introduced a new definition of "heroic epic", which reveals the heroic adventures of heroes, distribution of the genus aiyy for the triumph of life on Heartland [2, p. 5 - 60]. I.V. Puhov in fundemental work, revealing the basic images of olonkho, and in subsequent articles thoroughly introduced the concept of the heroic epic, which is particularly important in determining olonkho genre. As a result, there was a possibility of comparing olonkho with world-famous epics - Kyrgyz "Manas", Altai "Maadai Khara", Uzbek "Alpamysh", Buryat "Geser", Kalmyk "Dzhangar" and others.
But according to genre features and the described time olonkho may be different from these epics. Having studied the Russian epic V.Ya. Propp included Siberian peoples epic and olonkho, into the epics that have arisen in the pre-state period [4]. E.M. Meletinsky using his main provisions, called pre-state epic as archaic [10]. V.M. Zhirmunsky often cited olonkho as an example in his research works. To uncover the historical and typological features and content of Siberian peoples epics, separate emerged later epics, academician found it possible to call "the heroic fairy tale" the tales about heroes [11]. I.V. Puhov was opposed to calling olonkho as tales about heroes. In this regard he wrote: "Academician V.M. Zhirmunsky, seeking to show the historical and typological originality of the epic of a number of Siberian peoples, including olonkho, and their difference from the monuments of the later type, offered to call them as "heroic fairy tales". However, we believe that the term "heroic fairy tale" in this case is not suitable, because it seems to translate the ancient heroic epic into a different genre, brings it closer to a fairy tale. Of course, olonkho has similarities with the tale, including the heroic tale, but still there are substantial differences" [12, p. 26]. Yes, indeed, olonkho and a tale, though different in genre, content, artistic and visual descriptions, they have a lot of similar things. So, fabulous olonkho characters fall into many adventures, from which inexplicably are saved with the help of magic, die and become alive more than once, change their appearances. Besides all these, both in this and in another genre mythological characters, motifs are found.
Interaction of olonkho and fairy tales, in our opinion, to a large extent depends on local traditions. In studying olonkho and the repertoire of central areas olonkhosuts, the predominance of the heroic pattern are revealed. Regarding this N.V. Emelyanov divided olonkho plot into three groups: 1) Populating the middle earth by human beings; 2) Olonkho about ancestors of uranhaytsy-Sakha; 3) Protection of the aiyy tribe and uranhaytsy-Sakha [13].
N.V. Emelyanov considered the third group of olonkho as the most advanced in terms of genre and came to the conclusion that a classic example of this group is an olonkho "Duluruyar Nurgun Bootur" [13, p. 5].
Olonkho with such names, as a rule, it is in the repertoire of central areas olonkhosuts. The people of Tattintsy area consider it to be their native and are proud of it. In each settlement (nasleg), anywhere in the area people knew olonkho very well, played it [14, p.4]. In Vilyui region and northern districts olonkho performing under this title is very rare [15, p. 28 - 29]. Recorded in the central areas and published olonkho "Biudi-uriurbet Miuldiu Bege," "Kuruubay haannaah Kulun Kullustuur", "Ala Burkun" glorify the triumph of goodness and life for the sake of victory over evil which completed all the adventures and battles of aiyy tribe heroes. In all olonkho of central areas heroic deeds, feats of heroes' salvation of men and happiness in the middle ground are displayed. The heroic spirit dominates over fantastic and mythological motifs, occupies a special place in their description with the epic scale, colorful and at the same time inherent epic inspirational, solemn language of all the actions, adventures, feats of heroes.
With the spread and development of story-telling traditions, during which olonk-hosuts learned the best skills from each other, encouraging each other in an honest competition, heroic pathos of this type of interpretation of the national product grew, turning into a major olonkho epic monument, the pride of the whole spiritual culture of Sakha people. But you cannot say that all olonkho equally reached a high level. Here the decisive role was played by the mastery, talent of an olonkho story teller, existing environment and the epic traditions. After studying the written and published olonkho, we can assume that there are three types of local olonkho telling traditions.
First, the tradition of central districts olonkhosuts represented by the above-mentioned classic olonkho "Djuluruyar Nurgun Bootur". Works of olonkho researchers, in particular, a large monograph of I.V. Puhov, is based on this tradition PhD thesis I.V. Puhov "Idea and images of olonkho. Myuldyu Silny of D.M. Govorov", later came out the work of Pukhov on the basis of his dissertation in 1962 "Yakut heroic epos - olonkho". Olonkho of Viliuisk region is similar to olonkho of central areas. There were rarely met performers of "Nurgun Bootur," olonkho but, unfortunately, no such work is fixed in writing. Olonkho tellers, including this olonkho in their repertoire are I.M. Haritonov - Saakyrdaah, S.V. Petrov in their youth had gone through all vast taiga, and perhaps more than once heard the famous olonkho-tellers of the central districts. As G.M. Vasilev noted, gold-Bodoybo before the revolution, was a meeting place for people of various races and talents from all over Yakutia. In the cities, fairs, staging posts of big trade routes and gold mines working people cut out of agriculture in search of work, as well as various kinds of fortune and adventure seekers flocked. Among
them there were a lot of people's talents-olonkho-performers and storytellers, singers from different Yakutian districts and uluses. And places of a large gathering of people ... often turned into the arena of regular meetings and competitions among storytellers, who because of the developed traditions became ardent champions of native districts honor, ulus and just kins [16, p. 10 - 11].Thus olonkho-telling traditions of Vilyui region and the central areas developed in close interaction and in connection with the ethnic identity of the Sakha people, which led to their strengthening and expansion of the heroic pathos in olonkho. As a result, recorded later olonkho of V.O.Karataev "Modun Sogotokh Er", "Erbehtey Bergen", "Uoluya Bootur", "Kun Diribine", "Modun Sogotokh Er", "Ady-Budu," A. Vasiliev etc. do not have large differences from olonkho of central areas, in particular, from "Nurgun Bootur" olonkho.
Northern olonkho by the plot has specific differences from olonkho of Vilyuysk and central areas. It is appropriate to recall the statement of P.E. Efremov "Northern olonkho always has one plot. Important in the deeds of heroes is a heroic courtship and procreation, protection of aiyy tribe is absent "[17, p. 7]. It should be noted that the northern olonkho evolved, spreading in three main areas: Verkhoyansk, Kolyma
Библиографический список / References
and north-west of Yakutia, or, according to P.E. Efremov, olonkho of "deer Yakuts." Their difference may lie in the fact that they show the early period of olonkho development so they contain fairy-tale motifs inherent in the archaic epic. This may explain why I.A. Hudyakov, which was the first to record, translate into Russian and study olonkho, left notes about olonkho based on traditions of Verkhoyanye olonkhosuts, he called olonkho a "fairy tale". It should be noted that the epics and fairy tales I.A. Hudyakov considered as a single genre called olonkho (fairy tale): "First of all, we must remember, that fairy tales make up for the Yakuts undeniable historic truth. They serve as their main native poetry, the main means of education, they go near their customs beliefs, they make sense of the past as far as possible, they serve as the main source for all the phenomena of life ..." [18, p. 372]. In these words the scientist who first studied the folklore of Yakuts, particularly the Yakut epos disclosed syncretic character of an olonkho, where you can find both mythological and fairy-tale and heroic stories that are typical of the early archaic epics. In this regard, Verkhoyansk epic tradition gives great material for an understanding of the genre specificity of Yakut epic.
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Статья поступила в редакцию 10.09.19
УДК 811. 161+378 (082 +0,75.8)
Konyashkin A.M., Doctor of Sciences (Philology), senior lecturer, Khakass State University n.a. N.F. Katanov (Abakan, Russia), E-mail: [email protected]
TYPICAL AND DIFFERENTIAL FEATURES OF BINARY SENTENCES. In the article binary sentences are investigated: biinfinitive sentences - sentences of the type to doubt - means to look for and binominative sentences of the type Moscow - is the capital of Russia. In a basis of the semantico-syntactical organization of these sentences there is a principle of binarity. The author of the article concludes about the relative conformity of logical and grammatical structure of binary sentences. As a result of the linguistic analysis the position of binary sentences in the syntactic system of Russian language is specified. Key words: semantics, syntax, repetition, sentence, word, analysis, infinitive, biinfinitive sentence, comparative analysis.
А.М. Коняшкин, д-р филол. наук, доц., Хакасский государственный университет им. Н.Ф. Катанова, г. Абакан, E-mail: [email protected]
ТИПОВЫЕ И ДИФФЕРЕНЦИАЛЬНЫЕ ПРИЗНАКИ БИНАРНЫХ ПРЕДЛОЖЕНИЙ
В статье исследуются бинарные предложения: биинфинитивные предложения - предложения типа «Сомневаться - значит искать» и биноминатив-ные предложения - типа «Москва - столица России». В основе семантико-синтаксической организации этих предложений лежит принцип бинарности. Автор статьи приходит к выводу об относительном соответствии логической и грамматической структуры бинарных предложений. В результате лингвистического анализа уточняется положение бинарных предложений в синтаксической системе русского языка.
Ключевые слова: семантика, синтаксис, повтор, предложение, слово, анализ, инфинитив, биинфинитивные предложение, сравнительно-сопоставительный анализ.
Принцип бинарности, сформулированный Р. Якобсоном [1, с. 227], является одним из основополагающих принципов языковой системы, в которой на всех её уровнях, от фонетического до синтаксического, обнаруживаются многочисленные двойственные противопоставления, обнаруживаются даже в тех случаях, когда число рассматриваемых категорий более двух. Например: именительный падеж - косвенные падежи, простые предложения -сложные и т. п. В сущности, принцип бинарности - это одна из языковых универсалий.
Бинарные предложения - это биноминативные и биинфинитивные предложения, предикативное ядро которых формируется путём повтора одной части речи в её исходной форме: существительного и инфинитива.
Например: Молодость - это здоровье; Курить - здоровью вредить. Бинарные предложения выражают значение отождествления, опирающееся на конструкцию тождества (инфинитив - инфинитив, номинатив - номинатив), что позволяет квалифицировать их как логико-грамматический тип предложения тож-
дества [2] и предложения тождества симметричного строения. Ср.: Дедушка -сторож: Дедушка был сторожем.
Второе предложение несимметричного строения, поскольку здесь наблюдается «нарушение» принципа бинарности на компонентном, уровне - асимметричность падежных форм номинативного подлежащего и именного компонента составного сказуемого в форме творительного падежа
Нарушение принципа бинарности на данном уровне не может не сказаться на характере инвариантного значения, поскольку всякая асимметричность строения оказывает влияние на семантическую организацию предложения и «препятствует» выражению типового значения отождествления, то есть инвариантного значения.
Асимметричностью другого рода и более высокого уровня является несоответствие между бинарностью синтаксической структуры рассматриваемых предложений (подлежащее-сказуемое) и тринарной структурой логического суждения (субъект-связка-предикат).
