Native Americans: 22 Books on History, Mythology, Culture & Linguistic Studies. James Mooney
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Название: Native Americans: 22 Books on History, Mythology, Culture & Linguistic Studies
Автор: James Mooney
Издательство: Bookwire
Жанр: Документальная литература
isbn: 9788027245475
isbn:
The Eskimo reciting this song jump up and down and to the right and left with their legs bent and their hands hanging down, the palms touching each other. In crying aq! aq! they jump as high as possible.
The Lemming’s Song
Besides these old songs and tales there are a great number of new ones, and, indeed, almost every man has his own tune and his own song. A few of these become great favorites among the Eskimo and are sung like our popular songs. The summer song (No. I) and “The returning hunter” (No. II) may be most frequently heard. As to the contents of the songs, they treat of almost everything imaginable: of the beauty of summer; of thoughts and feelings of the composer on any occasion, for instance, when watching a seal, when angry with somebody, &c.; or they tell of an important event, as of a long journey. Satiric songs are great favorites.
The form of both old and new songs is very strict, they being divided into verses of different length, alternating regularly. I give here some examples:
Arlum Pissinga (the killer’s song)
I. The killer’s song:
(1) Qiangalo taitoχalunga,
Qolaralo taitoχalunga
Qiangalogalo
Qolaralogalo
Aisinaisi.15
(2) Senilearaluqdjuara
Maliksiaqtuaqtugo.
Uvanaleunen
Audlatsiapiata
Kingodnidlaqdjuagung
(3) Qangatirgakulung uaijuvara.
II. Summer song:
Aja.
(1) Ajaja adlenaipa.
Adlenaitariva silekdjua una aujaratarame
Ajaja, Ajaja!
Aja!
(2) Ajaja adlenaipa
Adlenaitariva silekdjua una tektorotikelektlune.
Ajaja, Ajaja.
Aja!
(3) Ajaja nipituovokpan!
Nipituovokpan kouvodlalimokoa nunatine aujadle
Ajaja, Ajaja
Aja!
&c.
III. Utitiaq’s song:
Aja!
(1) Adlenaipunganema adlenait.
Adlenaipunganema
Adlenaipunganema adlenait,
Aja!
(2) Sikuqdjualimena adlenait.
Atoqpoqtaromena
Tanerangitu adlenait.
Aja!
&c.
IV. Kadlu’s song:
(1) Odlaqē´, odlaqē´, odlaqē´.
Odlaqē´ saranga tutaranga atujang una ajajaja.
Odlaqē´ atedlirlungai aχigirn qodlusuaning aχiatungitunga ajaja.
Nettiulunga iχatijetingirn pinassousirdlunirn pinasuatautlirpadlirunirn.
(2) Odlaqē´, odlaqē´, odlaqē´.
Odlaqē´ saranga tutaranga atujang una ajajaja.
Odlaqē´ atedlirlungai aχigirn qodlusuaning aχiatungitunga ajaja.
Ugjurutlarunirn iχatijitingirn pinassousirdlunirn pinasuatautlirpadlirnunirn.
(3) ....&c.
Some of these verses contain only a single word, the rhythm being brought about by the chorus aja, amna aja, &c. I add two examples of this kind:
V. Song in the language of the Angakut:
Ajarpaija taitlaniqdjuaq ajarpe aitarpik ajijaija.
Ajarpaija ataqdjuaq ajarpe aitarpik ajijaija.
Ajarpaija mingeriaqdjuaq ajarpe aitarpik ajijaija.
VI. Oχaitoq’s song:
Aja.
(1) Tavunga tavunga tavunga tavunga
Tavunga tavunga tavunga tavunga tavungadlo tavunga
Aja.
(2) Pissutaramaima tavunga tavunga.
Pissutaramaima tavunga tavunga tavungadlo tavunga, &c.
The rhythm of the songs will best be understood by examining the melodies. Every long syllable may be replaced by two or even three short ones; other short syllables appear as unaccented parts before the accented part of a measure; in short, the rhythmic adaptation of the words to the melody is very arbitrary and interchanges frequently occur, so that it is impossible to speak of metric feet. At the same time this furnishes distinct proof that the musical rhythm is the decisive element in determining the form. The rhythmic arrangement of the words is regulated with considerable exactness by the quantity of the syllables, and not by the accent. While, for instance, in speaking, it would be “palirtu´gun,” in song No. IV it is “palir´tugun´,” and in No. I “tekto´roti´kelek´tlune,” instead of “tektorotikelektlu´ne,” &c. Such displacements of the accent, however, are avoided if possible, and in the best and most popular songs they hardly appear at all.
The construction of the songs corresponds СКАЧАТЬ