A.V. Gucheva
The content aspect of the performance of the song for the treatment of smallpox «Tepyrag"osh"y pkIeg"uala…» (Swift-footed white horse…) was considered, common places, motifs, plots, etc. were identified. In the circle of studies devoted to the analysis of the musical and poetic texts of the smallpox treatment song, posing the question of the relationship between the original melody illustrating various rhythmic and intonational lexemes and a peculiar poetic text seems quite appropriate – especially since the ideas about their relationship are not only replete with ambiguities, but are not even formulated properly. way. Be that as it may, we have indicated some metaphorical relationships designated both in the poetic text as «system-connections» and «poetic game», and in the musical text as «introduction», «refrain», «lexemes», etc., which to a greater or lesser extent correlate with the image of the lord of smallpox Ziuskhan, his swift white horse, their habitat, depiction of the disease, etc. The corresponding lexemes are also considered: «earthly», «divine», «image of Ziuskhan», «image of a horse», «plant symbolism», «elements», «space», «time», «sky», «earth», «house», etc. In other words, we have identified two logical poles of these relationships, where the poetic text, along with the musical text, is understood as a single whole, and their interaction and interconnection form a multitude of semantic meanings, symbols and knowledge. Thus, the smallpox treatment song «Tepyrag"osh"y pkIeg"uala…» is perceived by us not only as a verbal text of an archaic chapsh, but also as a myth resounding in “real” time and space.
Keywords: Circassians, Adyghes, Bzhedug, Tepyrag"osh"y pkIeg"uala…, swift-footed white horse, conspiracy song for treating smallpox, «connection systems», lexemes.
DOI: 10.25791/intstg.1.2023.1397
Pp. 25-33. |
