Syllabo-Segmental Structure of Šin Verses in Balkan Tatar Folklore
Journal name: Acta Orientalia
Original article title: Sur la structure syllabo-segmentaire du vers des Sin
ACTA ORIENTALIA is a journal focused on the study of Oriental languages, history, archaeology, and religions from ancient times to the present. The journal includes articles reviewed by a senior scholar in the relevant field.
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Mefküre Mollova
Acta Orientalia:
(Founded in 1922 and published annually)
Full text available for: Sur la structure syllabo-segmentaire du vers des Sin
Year: 1970 | Doi: 10.5617/ao.5214
Copyright (license): CC BY 4.0
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Summary of article contents:
1) Introduction
In the exploration of Balkan Tatar poetics, one notable form is the Sin, a type of distich that embodies a rich segment of their folklore. These poetic structures can be classified into two primary categories: Sin-chant and Sin-narrative, with the former further distinguished into conversational or musical dialogues. This analysis by Mefküre Mollova delves into the structural characteristics of these verses, focusing on their syllabo-segmentary nature, which plays a fundamental role in the overall rhythm and flow of the poetry.
2) The Syllabo-Segmentary Structure of Verses
Mollova posits that the sin verses are not merely syllabic nor purely segmentary, but rather a combination of both—termed syllabo-segmentary. This structure comprises segments defined by syllable grouping. Specifically, these segments may consist of three, four, or five syllables, contrasting with other forms of Turkic poetry that can also include segments of two syllables. The arrangement of these segments is governed by specific rhythmic patterns, with the trisyllabic segment consistently serving as the central component of the verse.
3) The Role of Isosyllabism
Isosyllabism, a principle that emphasizes the equality of syllable count within segments, is a crucial aspect of the sin's rhythmic structure. In the verses, the central segment consistently features three syllables, maintaining a measure of isosyllabism, while the lateral segments can vary in their syllable counts, allowing for creative variation. This interaction creates a dynamic rhythm that is not strictly bound by equal syllable totals across the entire verse but instead focuses on the structure within individual segments and patterns.
4) The Influence of Traditional Poetic Norms
Mollova highlights the importance of traditional norms in the execution and preservation of šin verses. Poets often maintain specific syllable counts and segment structures, leading to a unique acoustic experience. Deviations from these norms—whether by choice or influence from normative language practices—can disrupt the expected syllabic flow but are typically not spontaneous; they are often corrections made to adhere to popular expectations. This suggests a complex interplay between tradition and linguistic evolution in the oral tradition of these poetic forms.
5) Conclusion
In conclusion, Mefküre Mollova's analysis sheds light on the intricate syllabo-segmentary structure of sin poetry, emphasizing both rhythmic and functional aspects of its segments. By recognizing the balance of isosyllabism and the influence of traditional norms, we can appreciate the artistry and depth embedded within Tatar folkloric expression. Understanding these elements provides broader insights into the cultural significance of the sin and its role in the enduring legacy of Balkan Tatar oral poetry.
FAQ section (important questions/answers):
What are sin in the context of Tatar folklore?
Sin, or čin, are a type of distich in Balkan Tatar folklore, comprising two main categories: sin-chants and sin-recits. They are integral to the rich poetic heritage of the region.
How are the segments in Turkish versification characterized?
Segments in Turkish versification, particularly in sin, are termed syllabo-segmentary. This means they consist of distinct segments formed by grouping syllables, with a focus on specific syllabic patterns within the overall verse structure.
What is the significance of the central segment in sin?
In sin, the central segment is always trisyllabic and serves as a structural anchor, while the lateral segments can vary in syllable count, providing flexibility within a defined rhythmic scheme.
What is the role of césures in sin verses?
Césures in șin verses serve to separate the segments, enhancing rhythm and flow. The primary césure occurs between the second and third segments, influencing the overall structure and delivery.
How does isosyllabism manifest in the segments of sin?
Isosyllabism in sin is evident in the consistency of the middle segment, which remains trisyllabic, while lateral segments allow for variations between four and five syllables, maintaining structural integrity.
What linguistic strategies are used to adhere to poetic syllable counts?
Linguistic strategies include grammatical and phonetic reductions or contractions to meet syllable counts within segments. This involves using simplified forms and playing with vowel sounds to fit the poetic structure.
Glossary definitions and references:
Oriental and Historical glossary list for “Syllabo-Segmental Structure of Šin Verses in Balkan Tatar Folklore”. This list explains important keywords that occur in this article and links it to the glossary for a better understanding of that concept in the context of History, Linguistics, Religion, Philosophy, Hinduism, Buddhism, Jainism etc.
1) Language:
Language in the text is related to the study of dialects and phonetic structures, specifically pertaining to the versification and poetic traditions of Turkic peoples, such as Tatars and Turkmen. The investigation encompasses varying historical linguistics models and debates surrounding syllabic and segmental forms.
2) Paradi:
This word is derived from the section on religious knowledge, associated with concepts of paradise and cultural shifts affecting the interpretation of folkloric verses. It serves as an indicator of how spiritual and mythological imagery is embedded in poetry.
3) Cela:
Appears in the context of discussing poetic verses, representing linguistic and grammatical forms used in traditional Tatars' folk poetry. It provides insights into gender forms (like masc. fem. in French) that can impact verse construction.
4) Nama (Naman, Nãman):
Naman is employed in discussing the grammatical structure of poetic verses, notably as an example in translating sentiments into the poetic form consistent with Turkic folk traditions. It exemplifies correct syllabic patterns within segments.
5) Court:
Refers to the analysis of 'short' verses within poetic structures where the syllabic count typically ranges from 7 to 8 syllables. This term underscores the differentiation and placement of shorter, impactful verses compared to longer ones.
6) Conversation:
Used to describe 'sin of conversation,' a dialogic form of traditional Tatar folk poetry. This signifies an analytical focus on interactive, often musically supported exchanges within the folk narrative system.
7) Linguistics:
The text deals extensively with the linguistics aspect by investigating structural and phonetic elements of Turkish and Turkic languages, and how these influence syllabification and poetic form, extending to historical language studies.
8) Discussion:
Discussion appears in context as a description of ongoing debates and scholarly opinions on the segmentation and syllabic nature of Turkic verse. This word highlights the academic discourse around these poetic forms.
9) Sentiment:
Refers to the emotional and aesthetic component of the discussed poetic traditions. The weakening of traditional poetic sentiments indicates a cultural shift in the Tatar poetic expression, reflecting historical and social changes.
10) Bracelet:
The text mentions the word bracelet (bil'ezik) to illustrate phonetic reductions and changes within the language. These shifts impact the poetic meter and structure, exemplifying how everyday objects influence linguistics.
11) Dialogue:
Dialogue is a core feature in the 'sin of conversation', highlighting an oral tradition where poetry forms part of a dialogic exchange, often performed with musical accompaniment, reflecting social interactions within Tatar culture.
12) Village:
In the context of Tatar folk poetry, village (as in 'village boy') signifies traditional community settings where these poetic forms are shared and transmitted. It evokes the rural and communal backdrop critical to this folk tradition.
13) Khan:
Refers to the historical and political context within which Old Turkic languages evolved. The term 'Khan' implicates the era of Turkish Khaganate, critical for understanding the formation and transmission of Turkic cultural and linguistic heritage.