This essay identifies “The Scop’s Repertoire” as an Old English traditional theme. The theme associates the making of verse with three motifs: copiousness, orality, and antiquity. With close analogues in Old Saxon, Old and Middle High German, and Old Norse poetry, “The Scop’s Repertoire” originates in an oral Germanic tradition of versification. The theme thus sheds light on the myth of the oral poet, who is either depicted as divinely inspired or as bearer of tradition.
La42 qin4 kchin4 or ‘Prayers for the Community’ are supplications spoken by elders, traditional authorities, and virtuoso Chatino speakers from Oaxaca, Mexico. Chatino prayers are composed of varied, and complex forms of parallelism, repetition, and formulaic expressions. Units of meaning in these prayers are developed and presented in semantically and syntactically related stanzas consisting of any number of verses, including couplets, triplets, or quatrains. Chatino supplications achieve poetic tension, imagery, and metaphor through the extensive use of formulaic expressions, which are conventionally paired parallel words and phrases. These well established units of the poetic lexicon are part of the collective knowledge of the community. Formulaic expressions make extensive use of positional and existential predicates, making them challenging to translate into English or any Western languages.
Karelian laments are performed by women during a ritual – funerals, weddings, and recruiting ceremonies – and were once commonly used in other contexts of everyday life. Laments are works of a special kind of improvisation. They were created during the performance process in relation to a concrete situation, drawing upon traditional language, stylistic means and traditional themes. Among the main stylistic features of the Karelian lament poetry is an extensive use of different types of parallelism. This paper discusses parallelism in laments as one of the central conventional organizational parameters of the performance. Increased use of parallelism in Karelian laments was meaningful as an indicator of significance and emphasis. It is also possible to use parallelism to address the relationship between verbal art and experienced reality, a form of parallelism that would be connected to understandings of its ritual efficacy.
This essay sets out an approach to parallelism in verbal art as a semiotic phenomenon that can operate at multiple orders (or levels) of signification. It examines parallelism in the sounds through which words are communicated, in language communicated by those sounds, in symbols or minimal units of narration communicated through language, and then in more complex units of narration communicated through those symbols or units. Attention is given to how these different levels of parallelism interrelate and may diverge, while revealing that parallelism at all of these levels reflects a single semiotic phenomenon.
Verse parallelism is one of the most distinctive features of a Finnic tradition of oral poetry, which is called “kalevalaic poetry” in Finland or “regilaul” in Estonia. This essay presents grammatical and semantic principles and patterns according to which parallel verses are composed, and introduces a statistical analysis of parallelism in the repertoire of one singer of these poems. Verse parallelism is considered a constitutive feature which, alongside the meter and alliteration, defines this register. As the first line has normally the full referential power of a proposition, parallel lines add to this power and deepen and enrich description in the discourse.
Zhuang is a Tai-Kadai language spoken in southern China. Parallelism is ubiquitous in Zhuang poetry and song,in ritual texts, and in a range of oral genres. Curiously, this salient fact has generally escaped the notice of scholars writing on the subject of Zhuang poetics. This article looks specifically at the phenomenon of parallelism in one particular Zhuang ritual text from west-central Guangxi. This is the Hanvueng, a long verse narrative that is recited at rituals intended to deal with cases of unnatural death and serious family quarrels, especially feuding between brothers. I provide a general description of the role of song and parallel verse in Zhuang oral culture. I next present a typology of poetic lines and passages exhibiting strict parallelism and quasi-parallelism, and also look at the rhetorical and rhythmical uses of non-parallel lines. As a second step in this investigation, I re-analyse these typological categories in terms of the recitation soundscape as it unfolds in real time and in ritual performance. This second step brings us back from an objectivist account to a variety of emic perspectives, and allows us to see more clearly the rhetorical and emotive power generated by the ongoing narration – and its artistry – for a range of participants within the ritual space.
A widespread kind of parallelism is a relation between sections of text such that each resembles the other in linguistic form, or in lexical meaning, or in both form and meaning. In poetry, this kind of parallelism can be systematic, and when it is, it holds between two adjacent sections. The new claim of this article is that these sections are short enough for the whole parallel pair to be held in working memory (in the episodic buffer). Parallelism thus shares a property with the other added forms of poetry – meter, rhyme and alliteration – that it holds over material which can be held as a whole section (such as line or couplet) in working memory. I conclude by suggesting that processing the parallel pair in working memory brings advantages to the poetry: an emotional effect from contrastive valence, an epistemic effect from the fluency heuristic, and the production of metaphorical meaning.
Listening to historical oral poetry usually means listening to archival sound recordings with no possibility to ask questions or compare performances by one singer in different performance arenas. Yet, when a greater number of recordings from different singers and by different collectors is available, the comparison of these performances has the potential to reveal some locally shared understandings on the uses of poetic registers. In the present article, this setting is applied to examine the relationships of textual parallelism and musical structures in Kalevala-metric oral songs recorded from two Finnic language areas, Ingria and Karelia.
The fairy-seers of Southeastern Europe are generally women who are able to communicate with the invisible world. They claim to see women-like creatures and transmit messages from them. Sometimes they fell into a trance-like state in order to establish a communication. During this process the fairy-seers can prophesy future events. They bring messages to the living from the behalf of their deceased relatives. This essay is about two of such women from the Vlach community of Eastern Serbia.
In this study I investigate the discursive function of parallelism in the ritual speech of Ch’orti’ Maya. Specifically, I examine the exploitation of the dual lexicons of Ch’orti’ Mayan and Spanish in the production of parallel structures. Ch’orti’ ritual speech is almost universally constructed in parallelistic fashion, accomplishing at once a near hypnotic cadence when performed, while also serving various pragmatic functions. I detail the dynamic breadth of what I refer to as bilingual parallelism, i.e., parallelism that involves the pairing of synonymous terms from different languages in a distich. The effective use of parallelistic speech is said by the Ch’orti’ to be an imitation of the speech patterns of the gods themselves, thereby further explaining its importance in ceremonial contexts when speaking to gods and otherworld beings.