The stylistic particularities of P. P. Yadrinkhskii (Bedjeele)’s Olonkho “The Girl-Warrior Dzhyrybyna Dzhyrylyatta”

Abstract

This article analyzes the stylistic particularities of P.P. Yadrinkhskii (Beldeele)’s Olonkho “The Girl-Warrior Dzhyryybyna Dzhyrylyatta” as part of the central (Namtsi) local tradition by identifying and describing the olonkho’s foundational artistic devices. The relevancy of this research lies in its analysis of the memory and reproduction mechanisms of epic texts, the investigation of which is still in its early stages.

This analysis identified and described 14 foundational stylistic devices characters to the local Namtsi epic tradition, where the primary organizational principle of epics texts is rhythmic-syntactic parallelism that governs the majority of analyzed speech units. Thus, the language of the epic is primarily characterized by the syncretism through which dissimilar artistic devices combine into an indivisible unified whole, thus complicating the classification of varieties of stylistic devices. Similarly, in the language of this olonkho, the connotation of lexical units, acting as organizing elements in stable structures differs from their use in literary language and therefore they take on a non-communicative function.

This study reveals that, on the one hand, the analyzed stylistic devices of epic language are necessarily elements and comprise a complex, highly organized, coordinated system which act as markers allowing the olonkhosut to hold large epic texts in his memory. On the other hand, it is precisely on the basis of these stylistic devices that a cultural exchange materializes, an exchange of so-called aesthetic information between epic storytellers and their audience of listeners. Of course, during the creation and reproduction of an olonkho text, the storyteller uses these devise unconsciously, using them simply because his predecessor did and because they are demanded by his audience.

The statements above testify that P. P. Yadrinkhskii was one of the outstanding performers of his time, a master of creative speech, and perfected the art of Sakha storytelling. As storyteller/improviser, he successfully varied in his use of stable intertextual constructions and created new, idio-stylistic constructions which enrich the stylistics of his epic compositions.

Acknowledgements: This research has been conducted as part of the scientific-research project NEFU “Heroic Eposes of the Turko-Mongolian peoples of Eurasia: Problems and Perspectives of Comparative Study”.

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