Abstract
This article discusses the features of “Buura Dokhsun” Olonkho’s verse, first published in 1993 by Erilik Eristiin, writer and olonkho-performer. The introduction briefly refers to the studies of the past years, which revealed common features among folk storytellers. Similar moments are clearly shown in the composition of epics. Further, in detail described a special method for studying the verse of olonkho, proposed by professor N.N. Toburokov. This method has been used for about ten years to study many texts of the epic work of the Sakha people. To familiarize in the beginning is given a brief biographical note about the author, about the work as a whole. For the first time are studied the rhythm, alliteration, rhyme of olonkho by writer and olonkho performer – Semen Stepanovich Yakovlev – Erilik Eristiin. It is revealed that in the olonkho “Buura Dokhsun” he followed the canons of the Yakut heroic epic, but in comparison with genuinely folk storytellers, the formal parameters of the Olonkho’s verse are much higher. So, in the epic “Buura Dokhsun” alliteration in the beginning of a line (from the studied 1543 lines) makes 70,7%, and inside of a line makes 26,7%. The peculiarity of the olonkho’s verse by poet-storyteller is the fact that the number of rhythmic structures that are exactly repeated in the next or corresponding other line has increased to 40%, whereas we found that in the epics of M. N. Androsova-Ionova they are 10%, and D. Govorov – 5%. The use of rhyme by Erilik Eristiin is also higher – in average 73%, and the average rate in traditional storytellers – 56%, there is also a masterful use of different forms of phonomorphological rhymes. At the end of the article the results are summarized. In general, Erilik Eristiin, maintaining the common traditional forms of the verse of the folk epic, introduced a lot of new, inspired by his own poetic experience. The writer and Olonkho-performer Erilik Eristiin has other manuscripts of Olonkho. In this respect, he is the only writer who has created so many Olonkho.
Highlights
During several years, we have been devoted to the study of “Olonkho” poetry by A.Y
If we take into account that these rhythmic structures are one of the most frequently used in modern Yakut poetry, it is clear that the first foundations of the Yakut versification arose in olonkho recitatives
The two stages of the study are a careful consideration of the sound organization of olonkho – the use of alliteration and rhyme, as they are the main elements of the rhythmic structure of the entire epic
Summary
We have been devoted to the study of “Olonkho” poetry by A.Y. Uvarovskiy, “Unstumbling Muldju Bogo” by D.M. From the text of each of these epics were taken excerpts of 800-1500 conditional lines, mainly devoted to the description of the earth, the nature of the hero's habitat, his appearance, home. If we take into account that these rhythmic structures are one of the most frequently used in modern Yakut poetry, it is clear that the first foundations of the Yakut versification arose in olonkho recitatives. This is evidenced by the almost identical use of them in the works of different storytellers
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