On Systematizing the Narrative Elements of Slavic Charms

Abstract

Charms represent a unique genre of folklore: in contrast to other folkloric genres, the narrativity of charms is not exhausted by the texts themselves. The‘charm’ is not only expressed by words but also exists outside their bounds. P. Maranda and E. Köngas-Maranda have written that ‘charms and ritual [texts], as opposed to other more or less self-sufficient narratives, do not supply enough information for analysis when presented in normal textual transcription. One may indicate the following distinction between narratives such as Märchen, Sage, ballads and various epic songs and charms: the first group may be called “historical,” “objective”, and convey a dramatic event without demanding the active involvement of either the narrator or audience; while the second group, that may be called “actual” and “subjective,” requires that both take part in a dramatic action, the performer in an active way, the audience at least passively’ (Marahдa 1985: 228). This important insight alerts us to the fact that in the case of charms, the information required for analysis lies not only within the immediate text itself (as with ‘epic’ type narratives) but is also contained in the ritual context in which it is performed, and in the sphere of religious and mythological ideas that condition its performance.KeywordsBasic ActionOpposite ActionNarrative StructureRitual ActionFunctional PurposeThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.