Structure of a Story-Telling Performance Among Carpatho-Rusyns Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 1 ARTICLES Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats’ka Oblast’ of Ukraine: A Case Study Elena Boudovskaia Georgetown University Washington, D.C., USA Abstract This article analyses the transcript of the story-telling session with two participants, an 89-year-old woman and a 54-year-old man, that I audio-recorded in August of 2014 in the village of Novoselytsia in the Transcarpathian region of Ukraine. Although Western Ukrainian and Rusyn folk stories have been extensively collected since 1880-s (Hnatiuk 1897, 1898, 1900, Rozdol’s’kyi 1899, 1900, etc.), entire story-telling sessions in these region have not been studied. My transcript reflects certain features of story-telling performance’s macro- and micro-structure that either do not get recorded or get edited out in publications of folk texts, such as interaction between participants, discourse markers for organizing performance, repetitions, and digressions into everyday reality. After analyzing these features using Hymes’ approach to linguistic and discourse markers in folk performance, I foreground the precise mechanism through which the collective creation of folklore [Jakobson and Bogatyrev 1980 [1929]] takes place. Introduction In the summer of 2014 in Novoselytsia I was fortunate to have the opportunity to record approximately an hour-long story performance: an 89-year- old woman and her 54-year-old adopted son were telling me stories that dido ‘old man’, the woman’s late husband, used to tell. I transcribed the entire story-telling session, which consisted of twenty-one stories and the remarks during and between stories. The stories are listed below; the complete transcript may be found in the Appendix to this article. At first glance, the transcript of the recording appears awkward. Each story- teller uses a lot of repetitions, repairs, and filler words; participants interrupt each other, add some details, argue about others, and remember things after the story is finished. However, all these features are important because they capture the story-telling session I witnessed and participated in. They are essential for analyzing this session as performance, which is the goal of this article. I argue that these corrections, interruptions, and discussions, usually omitted from publications of folk texts, are in the performance for a reason; they are pivotal in establishing the two-way connection between participants, which in its turn shapes the performed piece. Jakobson and Bogatyrev [1980 [1929]] defined FOLKLORICA 2015, Vol. XIX 2 folklore as a collective creation, and it has been one of central ideas in folkloristics for almost a century, but the exact mechanism of collective creation needs studying in the context of each tradition. My research starts to fill this gap for the Rusyn story-telling. The approach to folklore as performance is also part of the mainstream in folkloristics today. There have been several approaches that stress the central role of performance in folklore. One approach views oral performance, analyzed from the point of view of language and discourse, as central for understanding the connection between verbal art, culture, and society, since performance constantly creates and re-creates tradition. (1) As Hymes put it, “in an oral tradition performance is a mode of existence and realization that is partly constitutive of what the tradition is” [1975: 19]. A great deal of research taking this approach has been done, mostly on Native American and other non-European cultures. (2) Another approach that emphasizes performance and its constitutive role in tradition is the oral theory, beginning with Parry and Lord’s work on Homer and Yugoslav epics (3); this approach has largely been confined to the Slavic tradition, and focuses only on epic songs (see, e.g., the overview in Foley [1996a]), rather than on Slavic prose genres. My basic goal was to study the features of the recorded performance and their functions. Following Hymes, I relied on a number of his methods. Working with the disappearing tradition of Chinookan narrative, Hymes distinguished between performance, which is the main, constitutive aspect of tradition, and other dimensions of folkloric knowledge that may exist even when the tradition of authoritative performance is no longer there. He noticed three dimensions of competence in a cultural tradition, namely, the ability to report, interpret, and perform a certain aspect of culture [Hymes 1975: 14 ff]. Hymes’ insight that reporting and performance are different, though interconnected phenomena, has been corroborated in my material; for one, performance turned out to be more gender-specific than reporting and interpretation (both performers knew, and could discuss the meanings of, all the stories, but they had distinct preferences in telling them.) The reasons for this distinction merit further investigation. Second, Hymes paid special attention to linguistic features of performance, including its discourse features. Applied to the story-telling session in Novoselytsia, this attention to linguistic phenomena revealed that both the macro-level and micro- level in the performance contained a number of structural features that were mostly overlooked before. The reason why these phenomena largely remained invisible for folklore study was that they almost never made it into published texts. On the one hand, they were traditionally considered to be useless interruptions for the smooth flow of narration. In addition, before the advent of audio-recording technology, they were too difficult or even impossible to record. On the macro- level, the phenomena I have observed in this session are: interruptions during performance, exchanges between participants (suggestions by listeners and acceptance or rejection of these suggestions by story-tellers, etc.); discussions before and after stories (negotiations of meaning and supplying additional details); and choice of a new story to tell. (4) On the micro-level, they include Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 3 certain types of discourse organizing devices: inversion of word order, connectors, and repetition. Other types of discourse devices used for organizing performance, namely, poetic formulae, have also been studied in epic poetry by the school of Lord and Parry. My material does not include poetic formulae per se; however, I show that certain devices present in my material, namely, connectors and repetition, play in prose story-telling a role which is similar to the role of formulae for poetic genres: both groups of phenomena organize performance for performers, giving them time to think, and for the audience, providing a feeling of suspense. Finally, I show that the features of performance present in my material on both the micro- and macro-level are pivotal to the shaping of stories during the process of interaction between story-teller(s) and their audience. This interaction is the precise mechanism of the collective creation, which is the essence of folklore according to Jakobson and Bogatyrev [1929]. I was especially interested in the following issues, which I will address in detail below after a discussion on the narrators’ background and the performance context: 1 general organization of the performance on the macro-level: its parts, markers for specific parts, ways of linking parts together (e.g., what happens between one story and another); 2 techniques for participation of the two story-tellers; their roles, respective contributions, their interaction with each other and with me, their corrections and explanations; 3 how the text is generated (in the assumption that it is not all told from memory); what elements are used in its generation; how the text is organized on the micro-level; 4 ways of connecting the world of the stories with the present, and the status of stories for the tellers as truth; Finally, I will consider the roles of these elements generally in the creation of the folk performance and/or text. Background information Novoselytsia The village of Novoselytsia is situated at 48º 41’ 59" N 23º 29’ 12" E, in the Zakarpats’ka oblast’ (region), Mizhhir’ia district, in a mountainous area 475 meters above sea level. There are 1054 inhabitants in Novoselytsia according to the 2011 census. The Zakarpats’ka region was part of the Austro-Hungarian Empire, and then, between the wars, became part of Czechoslovakia, but Novoselytsia itself is only a couple of miles away from the mountain ridge separating the Zakarpats’ka region from the L’vivs’ka and Ivano-Frankivs’ka regions that once belonged to Poland. These historical borders are still remembered; in Novoselytsia people often referred to the linguistically and FOLKLORICA 2015, Vol. XIX 4 culturally similar population of the neighboring villages of L’vivs’ka and Ivano- Frankivs’ka regions as poliaky (Poles). The climate in Novoselytsia is moderate, but the winter is long, about 5.5 months, and snowy. The main crop that can be cultivated in this climate is potato; also important are cabbage, cucumbers, onions, beets, and several types of beans; before WWII, people also used to grow oats for bread. Much of the land is used for mowing grass for hay. Most inhabitants practice traditional agriculture: they have gardens, and keep cows, pigs, and chickens; some also keep sheep or goats that are herded in the mountain meadows in summer. There are not many jobs available, and people mostly survive off their land. In order to earn money, men may go to other countries to work as builders; women can earn money by gathering blueberries in summer for sale. There are two schools in the village, an elementary school (4 grades) and a high school (11 grades). Fieldwork and language I came to Novoselytsia several times between 1986 and 1992, recording texts and collecting information on the dialect. In 2010 during the expedition financed by a Collaborative Research Project Grant from NEH to study dialects and folklore of Transcarpathia and adjacent regions, I visited Novoselytsia again for a one-day pilot study. Since that time, I have travelled to Novoselytsia several times, recording dialectal texts, mostly from women, and from some men, in their 70s and 80s. (5) The language my informants speak between themselves and the one I address them in is Rusyn. Rusyn is an idiom with a number of regional varieties; in Slovakia and Serbia, it is viewed as a minority Slavic language, and in Ukraine as a dialect of Ukrainian; for more detailed treatment see, Pugh [2009: vii-20]. My field materials, on which the article is based, reflect the variety spoken in Novoselytsia, which may vary from other types of Rusyn. Informants, recording session, and its results The recorded story-telling session took place in August of 2014 in Novoselytsia. My informants were: HK, female, 89 years old, illiterate, and her adopted son, IS, 54 years old, high school graduate. The family’s brief history is as follows: HK was born in Pryslip, the neighboring village, in 1925; she married a man from Novoselytsia and moved there in the 1940s. They had one son who died in 1970; after that they adopted their remote relative, IS, who was in the 9th grade. The goal of adoption was to have a person who could help them work, take care of them in their old age, and inherit their house and land after they were gone. Later IS got married and lived in the couple’s house with his wife, LS. His children are now college students and have moved away. IS performs the functions of a reader in the local church; he is respected as a teetotaler. HK’s husband died several years ago, leaving his wife, adopted son and daughter-in-law (around 50 years of age) in the house. Their interaction is friendly and respectful. IS and LS do work in the house and in the field on behalf of HK; Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 5 she is still active and participates in household tasks; they ask her not to strain herself, but she states she cannot ‘sit around doing nothing.’ The interaction took place in HK’s house. I was brought in and introduced by the principal of Novoselytsia high school; he began with the standard introductory words that I was from America and had been coming to Novoselytsia for a number of years because I was interested in ‘how people lived in olden times.’ I indicated my wish to talk with HK because she was the oldest person in the household and I wanted to record what the members of the older generation remembered. Having received HK’s oral consent for recording and using materials for possible publication in America, I started asking her open-ended questions about household practices in the times past (e.g., How did you spin and weave? How did you do laundry? How did you bake bread? etc.). I turned the recorder on at the beginning of the session and left it on for the entire conversation. HK was interested and talked with enthusiasm for about an hour; sometimes I would ask her for explanations or switch the topic, if she was silent for a while. I asked HK first about weaving and flax and hemp-working techniques and then about Christmas rituals. At some point IS joined us; I repeated that I wanted to record the elder generation. He was very understanding and did not volunteer much information, though he listened with great interest. Generally, I discourage members of the younger generation from participating because elderly people sometimes feel embarrassed that they do not ‘speak the proper language,’ especially when the younger generation starts to correct their speech offering non- dialectal, ‘city,’ or literary Ukrainian forms instead. However, IS was speaking the village dialect to his adoptive mother, and she did not change her manner or speaking habits when he joined us. IS reminded HK if she forgot certain details, but other details were unknown to him, and he was interested in what HK was saying. After about twenty more minutes, HK and IS started discussing village events that had a supernatural twist, i.e., how and why a certain woman got struck by lightning, and from there they switched to other folk stories of various genres. I did not interrupt them, and they were talking for quite some time. Then I started asking whether they heard such and such a story, suggesting plots I had heard in other Carpathian villages; they most often had not heard these stories, but remembered other stories similar in some respect, and then they added even more stories. Apparently, HK was more of authority in weaving and even in Christmas rituals than she was in stories, where she accepted IS’s suggestions more often than not. HK and IS mentioned that some of these stories were the ones dido (‘the old man,’ i.e., the deceased husband of HK and adoptive father of IS) used to tell. They repeated several times what a good story-teller he was and what a pity it was I had not met him. The whole story-telling session lasted for approximately forty- five minutes; at that point IS stepped out, and HK continued talking and answering my questions for about fifteen more minutes. Then she invited me to have a meal with them, and I turned off the recorder. However, in the course of the meal HK or IS sometimes remembered another story; then I would turn on the recorder again, record the story, and then turn it off till the next story. In such a way I FOLKLORICA 2015, Vol. XIX 6 recorded an additional 12 minutes of story-telling. Altogether I recorded twenty- one stories, including an account of the death of HK’s own son and the two dreams she had in this connection. Story content A brief summary of the plots of their stories is in the chart below. An entire transcript of the stories may be found in the Appendix: # Content Place in recording Teller Who sugges ted Genre #1 a woman in the village says she is not afraid of lightning and then she is struck by lightning 21-1:04 - 21-1:06 (6) HK HK memorate #2 three pregnant women receive prophecies about their children’s future deaths; all three children die exactly the way it was predicted 21-1:06 - 21-1:10 HK IS religious legend #3 a young woman wants to go to church but cannot do so because no one can sit with her baby; when an unknown old man (an angel) lets her go, she sees a full church and hears a beautiful sermon; when she comes home, the old man tells her there were only three people in the church, and the priest was driving bricks; when she asks the priest, it turned out he was really thinking about building his house and not about the sermon 21-1:10 - 21-1:14 HK IS religious legend #4 a soldier is going home, asks to sleep in a certain house, in this house a woman gives birth and the soldier hears someone prophesy that the newborn girl will be this soldier’s wife; the soldier puts a girl on a stick in the fence and leaves; years later 21-1:14 - 21-1:21 HK IS tale of fate akin to ATU 930 Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 7 # Content Place in recording Teller Who sugges ted Genre he marries that very girl and then recognizes her by the scar #5 a student is going home, an old man in an oxcart gives him a ride, when they are in the middle of a river the old man tells the student to get off the cart; then the student stays for a night at the old men’s house, steals the fried goose from the oven and leaves old shoes in the oven instead 21-1:21 - 21-1:27 HK, IS HK anecdote #6 St. Peter expresses a wish to be God, and has to herd geese for the whole day 21-1:27 - 21-1:29 HK HK religious legend / jest ATU 774D #7 St. Peter and Jesus encounter a lazy young man and a hard- working girl, and Jesus says this man will marry this girl because this way they will both survive 21-1:29 - 21-1:30 HK IS religious legend ATU 822 #8 St. Peter and Jesus stay for the night at the house of a man and his wife who is drinking hard, and she beats St. Peter twice 21-1:30 - 21-1:34 HK IS religious legend / jest ATU 791 #9 a Roma outwits a priest: first the Roma says he killed a rabbit by shooting it with a hoe, and then they have a dream- telling contest where the Roma cheats the priest out of the rabbit 21-1:34 - 21-1:37 IS IS anecdote #10 a monk in a monastery exorcises a devil out of a person 21-1:38 - 21-1:40 HK, IS memorate #11 a person from a village makes a thief who stole his harrow bring the harrow back to him 21-1:41 - 21-1:42 IS ? memorate FOLKLORICA 2015, Vol. XIX 8 # Content Place in recording Teller Who sugges ted Genre #12 a man is going by cart; when he passed a building site the builders magically stop his horses; he makes horses go again and makes one of the builders hurt himself 21-1:42 - 21-1:46 HK HK memorate #13 a woman in the neighboring village magically stops a tractor that trespassed on her land 21-1:46 - 21-1:47 IS IS memorate #14 certain tree in the forest is destined to kill a person 21-1:50 - 21-1:51 HK IS belief? memorate ? #15 a man gets lost in the woods because he went to the woods on Sunday; he only can find the way when he makes the sign of the cross 21-1:52 HK memorate #16 three girls are going across the rail track before a train but are not killed; devil says he cannot harm them because they are protected by the sign of the cross or by prayer 21-1:53 - 21-1:54 HK religious legend #17 in a place where a person got killed by a tree there is a voice that says ‘watch out, watch out’ 21-1:56 HK belief? #18 how the speaker’s son died and what two dreams she saw in this connection 21-1:58 - 21-2:05 HK personal experienc e tale; memorate #19 Roma outwit a rich landowner who wanted to know how they earned their living, and cheat him out of his two horses 22-00 - 22- 02 HK ? anecdote #20 ‘don’t pity an orphan, don’t tell the truth to your wife, don’t let a rich landowner borrow your money’ 22-03 - 22- 07 HK, IS HK realistic tale, akin to ATU 893 The Unreliabl e Friends and ATU Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 9 # Content Place in recording Teller Who sugges ted Genre 910-919 Good Precepts #21 devil introduces hard liquor, makes a man beat his wife, and makes people behave like foxes, like wolves, and like pigs 22-07 - 22- 12 HK IS? religious legend similar to AT 1427.1 Organization of the performance on the macro-level The performance I attended was different from what a regular performance would be like, first and foremost because I was (in) the audience. My initial request to hear “about the old life” was an artificial occasion, and I was an unusual listener. I also wanted to listen mostly to HK, which could have influenced the distribution of roles in performing. On the other hand, this performance was closer to a regular performance than to a one-on-one recording session in the sense that there were two performers, who were not only bearers of the same culture, but members of the same household, apparently with experience of participating in similar events in their family circle. They seemed to incorporate me in their event, not worried by, but alert to, my presence. This alertness mostly showed in their being extra helpful, explaining meanings of words and realia to me, a stranger (1:12, 1:14, 1:16, etc.). There seemed to be more of such explanations than there would be, for example, at a session including a younger family member. Otherwise, it felt like a normal and successful performance, in the sense that both performers seemed to have a good time telling stories to a new audience, as good performers usually do. The general pattern of the session was as follows: one person would remember and suggest a story, then s/he or the other person would tell it, while the one who was not telling would listen and comment. The comments were usually short, from a couple of words to a short sentence, but numerous, up to 6- 7 comments during a 5-minute long story. The commentator would either explain what was going on (IS: “She did not have anyone to leave a baby with,” 1:11) or anticipate what was going to happen (HK: “And off he went,” 1:22). The teller would mostly agree with the comments and continue with the story. When the story was over, the participants would discuss it, repeating key moments from the story, explaining the characters’ motivation and commenting on the general meaning of the story (e.g., see the discussions at the end of #1 at 1:05, or #4 at 1:21, or #19 at 02 in the appendix). This discussion would last for some time until one of the tellers suggested another story. FOLKLORICA 2015, Vol. XIX 10 Differences in the story-telling of HK and IS The two performers each had a distinct part in the telling. HK told the most stories. Her stories were intricate and captivating, though her memory, probably due to her age, was at times faulty: while telling, she sometimes said she was not sure of a detail (1:07, 1:09, 1:16, 1:20, 1:43, 1:46, etc.), or she would forget something and add it as an afterthought (1:09), or IS would add it for her (1:18). She also was the only one to add a long digression to one of her stories (how she used to go on foot to the nearest town 1:15). When IS was telling a story, HK would comment from time to time, mostly to suggest a word (1:24), to anticipate a narrated event (1:22), or just to agree (1:22). HK told three times as many stories (18 stories out of 21, 3 of them together with IS, 15 independently, while IS told 6 stories, 3 of them with HK, 3 by himself). However, IS was also able to tell stories, which he did a couple of times when he thought HK was wrong or when she did not remember the plot (1:22 - the story of the student, 03 - ‘don’t tell secrets to your wife’). In terms of number of words, HK said only a little more than twice as many words as IS (HK - 6683 words, IS - 2687 words). That is, IS was true to his word and let HK tell more stories, but at the same time he himself was talking a lot. On the one hand, his stories, though fewer, tended to be long and elaborate, containing a number of episodes each, as well as a lot of detail and dialogue (#5, 9, 20). On the other hand, he gave a lot of commentary and explanations on a number of topics, from explanations of words and realia (1:12, etc.) to commentaries on the plot and the characters’ motivations (1:13, 1:14, etc.). He often rephrased something that had been already said, or added a detail. He also corrected HK if he felt she was mistaken (1:22). He also often remembered a new story and suggested that HK tell it (stories #2, 3, 4, 7, 8, 14, possibly 21). The difference between the styles of the two performers seems to stem from their attitude to the stories and, generally, to the tradition. HK was inside the tradition; she did not perceive story as object (7); for her, the performance and the story were fused. She did not think I might need explanations on the story during performance and only rarely provided spontaneous translations (1:12). IS was more conscious of story as object, and of the possibility that I, a stranger, would not understand it, so he was providing report and interpretation during the telling. (8) In addition, IS apparently felt in charge not only for the text, but also for the performance. When he did not know something HK knew, he urged her to tell about it (1:47, about the tree killing a person). Several times when she forgot a detail he perceived as important, he jumped in and supplied it (1:12 - about the angel seeing only the three people who prayed devoutly as the ones really present in the church; 1:18 - about the soldier rejecting the idea that the girl he saw being born would become his wife, etc.) On several occasions he thought of a story and reminded HK of it, so that she could tell it. However, besides organizing the performance, he also could perform (in Hymes’ terms), and was just as good a story-teller as HK was. Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 11 There also seemed to be a difference between the genres of stories each person preferred to tell. The stories include: memorates (in which I also include the stories told by ‘friend of a friend’, i.e., ## 1, 10, 11, 12, 13, 15), religious legends and tales of fate (##3, 4, 6, 7, 8, 16, 20, 21), and anecdotes (##5, 9, 19, 20). Among the six memorates, most were, expectedly, told by HK (told 4, suggested 2). IS told, or participated in telling, three memorates, and suggested only one. However, the two memorates he told on his own (##11 and 13) are short and not as impressive as, for example, a well-developed #12, suggested and told by HK. The overall impression is that memorates were not IS’s favorite genre. Memorates # Teller Who Suggested 1 HK HK 10 HK, IS 11 IS ? 12 HK HK 13 IS IS 15 HK Out of eight religious legends and tales of fate, HK told eight and suggested two; IS told one (together with HK) and suggested five. Again, HK was the main teller. IS often suggested a tale, but rarely told it himself (maybe because I had said I wanted HK to talk). However, he seemed to know them all, and if HK forgot something, IS was eager to step in (#20). Religious Legends, Tales of Fate # Teller Who Suggested 3 HK IS 4 HK IS 6 HK HK 7 HK IS 8 HK IS 16 HK 20 HK, IS HK 21 HK IS? In anecdotes and non-religious legends, IS was more often a teller than in other story types: he told three stories out of four (two of them with HK), and suggested one, while HK told three (two of them with IS), and suggested two. Though HK may have suggested an anecdote and start telling it, IS just could not help himself because he was sure he knew the story better and could tell it better (as in #5). With stories of other types, according to my request, IS tried to let HK tell as many stories as she remembered, but with anecdotes, more often than with other types of stories, IS told the stories himself. FOLKLORICA 2015, Vol. XIX 12 Anecdotes # Teller Who Suggested 5 HK, IS HK 9 IS IS 19 HK ? 20 HK, IS HK Thus, the recorded storytelling session showed a difference between male and female roles in storytelling performance, if not in the knowledge of the stories of various genres. IS knew all three types of stories, i.e., memorates, religious legends, and anecdotes, but he preferred to tell anecdotes. My impression was that he was not particularly interested in memorates. However, he vividly discussed one memorate (#12), possibly because he knew and trusted the person (dido) who used to tell it. HK knew and told all three types of stories, but memorates and religious legends seemed to be more to her taste. Thus, we can hypothesize that anecdotes are more of a men’s domain, while religious legends and memorates are women’s. This contention is supported by previous research as well; see, Dégh [1999: 582] noticing that in contemporary story-telling, “[d]evelopment of genre specialization may be observed between the sexes: the märchen and the ghost stories became almost exclusively feminine, whereas men became the tellers of jokes, lies, and humorous and adventurous occupational and personal narratives,” or Kiliánová [1999:104] stating that among her informants in rural Slovakia in 1981-83, “the best narrators of anecdotes from the society’s point of view (and also my own view) were men…while the best performer of magic tales and ghost stories was a woman.” Moreover, Dégh [1989: 159] observed during her fieldwork in the Hungarian village of Kakasd in the 1940s-50s, that religious legends “were especially favored by […] women.” Thus, the fact suggested in literature that men are more prone to telling certain types of stories (i.e., anecdotes), and women, others (i.e., religious legends), is supported by the recording session in Novoselytsia. What is significant is that it while performance is gender-specific, knowledge of the stories is not. Both IS and HK were equally familiar with narratives of all three genres. Organization of the performance on the micro-level Both HK and IS followed particular patterns when telling a story. First, they suggested a story: they referred to it either by a plot summary (that happened more often with short, uncomplicated stories): “how one person was told that he would die from a tree, when a beam fell on him” (#2), “how St. Peter was herding geese” (#6), “how a woman beat St. Peter” (#8), “a woman stopped tractors” (#13), “where moonshine came from” (#21), etc., or by using the initial, expository portion: “how that woman wanted to go to church” (#3), “how a soldier was returning from the army” (#4), “how a student crossed a river” (#5), “how that guy was lying under a pear-tree when they were passing by” (#7), or, less frequently, by a punch line: “when God permits, a hoe fires” (#9), “don’t pity an Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 13 orphan, don’t tell the truth to your wife, don’t lend money to a nobleman” (#20). The majority of such references were relative clauses beginning with the word “how.” They may not be titles in strict sense. Since some of them include deictic elements (“that woman”, “that guy”), they might be occasional descriptions rather than fixed titles for these specific stories, and might have only a mnemonic function. (9) Stories usually started with a sentence where a subject and predicate were in the reversed order, i.e., predicate (underlined in the examples below) - subject (bolded): #1: HK | сиді́ли три́ жо́ны | у кантốрі | ‘Three women were sitting in the office’ 1:04; #3: HK а | тото́ | тото́ ішли́ | ішли́ три́ жо́ны | бе́ремêньні | ай ішốв за ни́ми ді́до | та не́ | ді́до | а́нгель_ ішốв | за ни́ми | ‘Once, three women were walking, three pregnant women, and behind them, an old man was walking. It was not an old man, but an angel, he walked after them’ 1:06, etc. This word-order in the closely related Russian language “ha[s] long been associated with folklore, poeticity, and stylization [e.g. Adamec 1966, Kovtunova 1980]” [Yokoyama 1986: 284]. However, in the recording session, this word order occurred not only at the beginning of a story. It also marked the occasions when a new person was (re)introduced in the narration: | она́ бы ішла́ до цếрькви | і ту́й захо́дит ді́до | до хы́жі ‘And this one wants so much to go to church. And here an old man enters the house.’ (1:11); она́ бы́ла пішла́ айбо діти́ну | а́йно ниє ́на ко́го лиши́ти | но і захо́дить ді́до | ‘She wanted to go, but there was no one to leave the baby with. And so an old man comes in, …’ (1:11); | бо́г приє́мле | лише́ трôї́х | а дру́гых нєт́ | но | ду́мат она́ тогды́ сôбі́ но шчо́ | ‘God accepts only three, but not others. Well, then she thinks to herself…’ (1:13); ді́до пішốв ге́т | буде́ ôна́ іти́ до попа́ | бде́ каза́ти се попо́ви | ‘The old man went away. She [decided] to go to the priest, will tell that to the priest…’ (1:13), etc. Overall, this word order seems to be a device to shift the focus of the narration to a new person, whether it is at the beginning of the story or in its middle, rather than a specific device for starting a story. In the text of each story one can detect a number of discourse markers with framing functions. (10) The expressions а ‘and’, і ‘and’, туй, туйкы ‘here’, уже́ ‘already’, но ‘well, and’, а́йно ‘yes, well’ mark a beginning of a new episode (framing devices are underlined in the examples below). (11) They may be combined, as in быв | ішốв із | сол… | із а́рміі солда́т | і ту́йкы уже́ ся примếрькло ні́ч | ‘a soldier was returning from the army, and it already became dark, the night started’ (1:15; the English translation is not a word-by-word translation and does not always convey the clustering of markers), or: | і каза́в | но | сếї жоны́ ся вто́пит сếї жоны́ | но забы́ла м шчо́ | а сếї жоны́ | де́рево убь’є́ | а́йно | но і ту́йкы уже́ | хлốпці повыроста́ли | росту́т | ‘and he said, this woman’s [child] will drown, this woman’s - I forgot what, and this woman’s [child] will be killed by a tree. Yes. And then boys already grew up, they are growing’ (1:07). The expressions тай нич / но і нич / но і всьо ‘and that’s it’, ‘nothing more happened’, ‘OK’ usually close an episode and at the same time build suspense, making listeners anticipate what is coming: ІС пі́п ду́мав шчо | шчôзь_ вы́грати шчế | ГК піп вы́грат ІС но | най бу́де | но тай ни́ч | пôліга́ли FOLKLORICA 2015, Vol. XIX 14 спа́ти спля́т | а за́яць у печи́ | пече́ ся | ра́но пробуди́ли ся | IS: ‘…The priest thought he would win something. HK: That the priest would win. IS: Well, OK. OK. They went to sleep, they are sleeping, and the rabbit is in the oven, baking. In the morning they woke up…’ (1:36). The words тай та́к ‘and that is it; and that is how it was’ often served as an episode closing marker; sometimes they ended the whole story (1:14, 1:30, 2:05), but they also could end an episode (1:26, 08) or a digression within a story (1:15). These markers indicating the opening and closing of an episode may appear to be mere fillers, but in fact they function similarly to formulae in oral poetry by giving the teller time to think, and, at the same time, creating suspense for listeners. Unlike the formulae in oral poetry, these markers do not have rhythmical structure, as one would expect in a prose genre, but they add both structure and suspense, allowing the listeners to detect what part of episode they are in, and at the same time holding them in anticipation about what content they are going to hear. (12) Another device that functions similarly to opening and closing markers is repetition, as in: | но тай ліга́ют спа́ти | тай пôліга́ли спа́ти тай | ‘And they go to sleep. And they went to sleep’ (1-24). The repetition is never exact, but repeating the word with slight variations in several sentences allows the story- teller to gain time to think, and slows the story down for the listeners, building suspense. (13) In the recording session there were no specific folkloric formulae closing a story (of the type e.g., of the rhyming “I stepped on a rock, and that was the end of the story. I stepped on a stick, tell me if [what I told] was not right” as in Pan’kevych [1938:463]. Pan’kevych recorded this ending in a humorous personal experience tale; though generally such endings are known from fairy tales, it appeared in another type of story in this case. Theoretically an ending like this could have appeared in one of the stories in the session; however, it did not. It is not clear whether such endings are generally not typical for genres other than fairy tales (14), or have disappeared from the story-telling practices, or whether they are still in usage under specific circumstances, e.g. if the end of the story is also the end of a story-telling session, or whether some tellers use them while others do not. After a story would end, the two participants would start a discussion, repeating the punchline if there was one, discussing the meaning of the story, its connection to everyday life (“So that’s how it is now too” 1:14), returning to a specific episode of the story and repeating something from the text or adding what they had forgotten to say, and then again returning to the overall meaning of the story, tying the details with the main message. This commentary would take some time. Its point seems to be to keep the audience and the tellers in the story-telling mood; this mood lingers while the discussion is going on until someone thinks of another story to tell; if no one does, the session is over. My questions to the two story-tellers whether they knew of such and such story seemed to fall within the framework of a story-telling session; these questions helped the story-tellers remember a new story even though usually it was not the one I suggested. In my view, it was appropriate to suggest a story to HK and IS, since that was what they Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 15 did between themselves as well. I also asked questions about details of the previous story and that prompted them to expand on the explanations and, therefore, to stay in the story-telling mood. The only difference I could see between my and their discourse strategies is that I asked questions, while they did not; their suggestions, explanations and even questions would be in the form of a statement or a request. The general role of questions and statements in discourse in the dialect of Novoselytsia may be different from English (e.g., the normal way of saying “I don’t know” is а я́ зна́ю? ‘(What) do I know?’). However, in this case, I think I have an understanding of HK and IS’s usage of statements in form: even if they expressed their uncertainty about specific details, their statements might have indicated their knowledge of these stories, in terms of both meaning and context, while my questions indicated I was ignorant of the tradition and asking for assistance in a way. In order to make clear how these elements operated in context, I will now provide an analysis of the transition from one story to the next on the micro-level. Below is a transition between stories #18 and #19, at 02, in English translation. 1. HK: [finishing the story] […] The Roma got on the horse and says: now one pull [the coach], and the other, push it. And off he went, and never came back, this way he went to fetch the manta [deception]. They [the Roma] took both horses. And the coach remained, and the nobleman remained, and his coachman remained. 2. IS: The Roma got on the horse and says: fare you well… 3. HK: Yes, yes, fare you well… 4. IS: One person, pull it, the other, push it. 5. HK: And the other, push it. So that one would pull it, and the other, push from behind. 6. IS: That’s the manta. 7. HK: Yes, that’s the manta. And the Roma live from that manta. They deceive here and deceive there, and so they live from manta. Well, and also I remembered another story, and I think let it be here, so that you have it. First, in (1), HK ends the story, then the (rhyming) punchline is repeated and corrected by IS (2, 4), and HK agrees (3, 5) and explains the meaning of the punchline (5). Then IS explains what the Roma’s words mean (6), and HK agrees and explains the connection between the story and the real life (how Roma live from manta); in the meantime, she remembers another story to tell (7). When IS interrupts HK, who is the story-teller at the moment, to add his own commentaries, he is not saying the whole thing at the time, but gives a short utterance (half of a punchline, or a short comment) every time, as if he is pondering what and how to say. HK approves of his words every time, and only then does IS go on with another detail. On the other hand, HK not only approves FOLKLORICA 2015, Vol. XIX 16 of IS’s words, she then, true to her role as a teller of this story, expands and explains IS’s words, as in (6) and (7), as if improvising on the theme given by IS. This exchange during which both participants, one as the story-teller, the other as the audience, are shaping the story together, seems characteristical not only for this story-telling performance, but for many others that I recorded in Novoselytsia. True or False? Tellers’ attitudes toward stories and techniques for connecting them to the real world In the excerpt quoted above, one can see another feature that is common to many stories in this session. The explanation about the Roma living from manta connects the world of the story with the world of here-and-now, and thus validates the story’s truthfulness. (15) The majority of stories have some type of anchoring device, though the exact means used to anchor them may vary depending on the genre of story. We can summarize the anchors as follows. Typically, all the memorates contain personal and/or place names (Ivanycka; there was one Yurchak; the father of that Evka Diakova; somewhere in Volosianka, etc.) Religious legends and tales of fate often contain either: 1) ethnographic details (often in the form of digressions introduced by the explanation that “it used to be that way long ago”, as in #2 – the digression about beams and chimneys and in #3 – the digression about walking long distances); or, 2) the remark that “such things happen now too” (#3 - nowadays people also get distracted in church, #6 - nowadays geese also damage gardens, #16 - nowadays one also needs to pray before going somewhere, #21 - people also get drunk now). Anecdotes contain 1) one referral to some authoritative person who told the story (and that is why it is truthful) e.g., #5; or, 2) ‘such things happen now too’ - #19 (as in religious legends). Thus, the stories of near past are grounded in the world of here-and-now by mentioning real and familiar (at least to the performer) people and places. (16) The stories of olden times are connected with the present by referring to certain details from the story that still may be found in the present and are familiar to listeners (such as geese damaging gardens) or that have changed recently, but are still familiar to performers (such as walking long distances on foot before the time of cars and buses). While the first type of linking is a typical verisimilitudinal device, the mentioning of archaisms may serve to preserve “the long-ago setting of the tales.” (17) The figure of a respected story-teller who used to know and tell the story also can be evoked to ground the story in the tradition and thus to confirm its truth. The devices to connect two worlds, the one of the story and the one of the performance, thus are various and genre-specific. It did not seem, however, as if the tellers were using them to convince the listener of the reality of their artistic creation in which they did not believe themselves. On the contrary, based on their commentary, it was clear that the belief of the two tellers in the truthfulness of their stories was sincere, possibly absolute, regardless of the genre. In the course of the session, neither of the tellers said anything that could be understood as Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 17 doubt about the truthfulness of any story. The recording contains one instance of a statement about stories being true, when IS mentioned, after finishing an anecdote about a student outwitting a peasant: “That is not that someone made it up, it was like that. That is what our old man, blessed be his soul, used to tell” (1:27). During the discussions after the end of each story, the two tellers at times disagreed about details (e.g., when exactly the soldier married the girl that had been destined to become his wife or whether a new monk would make a good exorcist), but only once one of them doubted the truthfulness of the story, when, between the stories #10 and #11, the question arose whether the old man who said that thieves would bring him back stolen sacks really meant it, i.e., whether he had some powers to make it happen. Even in this case, the question was whether this man was bluffing in this particular case, not whether such things were possible; that was beyond doubt. HK was more often using a story as a source of teaching about right and wrong, as an instruction for living right, while IS was less moralizing and seemed to tell stories more for entertainment, but for both of them, the stories were true. Conclusion Until recently, recordings of entire performances of Slavic tales have been scarce. (18) For Rusyn, they have been nearly non-existent. Such recordings are an invaluable source for an analysis of the structure of folk narrative, which some researchers, beginning with Hymes, call ethnopoetic features, and others, namely Bauman, call keying of performance. This approach, in its turn, is important since “careful attention to linguistic details can reveal much about the poetics and aesthetics of the source-language versions” [Webster 2008a: 441]. Such analysis is a variant of the discourse-centered approach to language and culture developed by Sherzer [1987, 1990], Urban [1991], Webster [2008a]. Though particular discourse features of a folkloric performance can be recovered from a text dictated to a person who recorded it by hand ([Hymes 2003] and [Webster 2008a], etc.), a transcript of an audio performance can reveal much more. For example, although the majority of his stories are simply texts as dictated, Pan’kevych [1938] has also published a few transcripts of audio texts. These transcripts show an impressive number of details of narrative structure missing from dictated texts alone. One can appreciate the drastic difference in discourse devices between two stories, #36, audio recorded from an informant born in a village from the Irshava district, and #35, dictated by an informant from the same district: in the story transcribed from the audio recording, the word но ‘well,’ a sign of continuation of a narrative, occurs ten times in a text less than a page long, while in the dictated story, но does not occur even once in a narrative of more than two pages. This example shows that when recording by hand, important discourse elements can be considered unnecessary fillers even by thorough dialectologists such as Pan’kevych and will be omitted at the stage of narration. Conversely, faithful transcripts of audio- recorded texts allow us to preserve more elements that are vital to understanding narrative and performance. Even more information can be provided by transcripts FOLKLORICA 2015, Vol. XIX 18 of entire performances, including not only the stories, but also all the communication that takes place before, after, and between them, which, as far as I know, has not yet been done with Rusyn or Ukrainian material. Such sound recordings can be pivotal for understanding the overall organization of folkloric performance in the area. Published collections of folkloric texts from Western Ukraine and specifically Carpathian region, despite their abundance, may not provide necessary details for such research. This article is the first attempt to analyze an instance of story-telling performance based on Rusyn material. Even though, as I mentioned, this performance cannot be considered totally typical since I was present in the quality of a listener, it allowed us to highlight several important factors about performance structure in Rusyn culture that merit further investigation. First, there is a definite structure to a story-telling session. Stories are suggested, and then told (not obligatorily by the one who suggested them). While they are told, other participants can suggest corrections, explanations, and anticipate the next move. When the story is over (there were no specific folkloric endings to stories in the recorded session), the story-teller and other participants usually discuss this story, adding details, teasing out the overall meaning of the story and its connection to their lives. During this discussion, another participant may remember another story and tell it or suggest it to another participant as a possible narrative for the session. If no one remembers another story, someone may suggest something else to do, and the story-telling will be over. This discussion between the stories, as well as the interruptions by other participants during the story, seem to be the very instruments of the “collective creation,” as well as of “preventive censure” that Jakobson and Bogatyrev mention as characteristic features of folklore [1980[1929]: 20 and passim]. These two forms of interaction during a story-telling session convey folk knowledge and the expectations of the entire audience to the current story-teller, and also allow for the collective negotiation of the meaning of the story. It is noteworthy that during the recorded story-telling session the current story-tellers agreed with, and incorporated in their stories, most of the suggestions by the other participant. This practice is thus a living example of how “collective creation” works. The role of an individual performer in creating and maintaining the Rusyn folk tradition certainly needs more research, since our sample is limited. There were only two performers in the recorded session; their roles were different in one respect, and similar in other. However, we can make some preliminary conclusions: the gender and age of performers influenced their performance. The male story-teller seemed to be more prone to tell anecdotes (anecdotes), while the female story-teller preferred religious legends. However, both were similar in their living knowledge of tradition and the ability to perform a variety of genres. Both knew each other’s repertoire in all genres, commented on each other’s tales, and helped out when the other performer forgot certain details. The younger performer, IS, at 54 years of age, was as good a story-teller as his 89-year-old adoptive mother HK. Moreover, he felt responsible for the whole performance and tried to organize it as best he could, helping HK with details, but at the same Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 19 time complying with my request to let HK talk more. The overall impression was that the younger generation can maintain the story-telling tradition, not only in the sense of knowledge of tradition, but also in the sense of the ability to do an authoritative performance [Hymes 1975:69]. Thus, the traditional rural folklore in Novoselytsia continues to thrive, (19) at least in the generation which is now 50-60 years of age, even if the tradition for them is more “external” than for the elder generation, i.e., they are more likely to view the stories as objects, as we have seen. Moreover, the serious attitude towards tradition and the belief in the truth of the stories coming from a traditional source as demonstrated by IS ("That is not that someone made it up, it was like that. That is what our old man, blessed be his soul, used to tell”) indicate that the tradition continues to have authority in this generation despite of many other influences. IS’s respect to tradition is not diminished by the fact that he is also a high school graduate and an active member in the church. His sharing of a traditional worldview seems to be rooted in his rural lifestyle and daily communication with like-minded people. The demographic data on the Transcarpathian region show solid and growing rural population. (20) That suggests that the rural environment continues to provide an opportunity for traditional Rusyn folklore to live and develop. On the micro-level, a performed story includes a number of linguistic markers indicating the beginning or an end of an episode and the introduction of a new person. These markers seem to orientate listeners within an episode. They also seem to build suspense, as well as give the speaker time to think of what to say next; that is, they perform a similar function to what formulae do in epic genres of folklore. However, in prose stories they do not carry the function of maintaining the required rhythm. Building suspense and giving the speaker time seems also to be the function of repetition of words and phrases, similar to its function in poetic folklore genres. Stories and participants’ comments also contain a number of verisimilitudinous devices connecting the world of story and the world of story-tellers and their audience, either through digressions about details that are similar in both worlds or by referring to the authority of tradition. Thus, the micro-structure of a story-telling performance, same as its macro-structure, abounds in devices that may seem to interfere with the smoothness of narration (and that is why they are usually omitted when stories are dictated or edited for publication), but are absolutely essential for building the two-way connection between story-tellers and their audience. (21) This connection, in turn, is the very mechanism that propels the “communal creativity”, which is, according to Jakobson and Bogatyrev, the mode of existence of folklore. FOLKLORICA 2015, Vol. XIX 20 Appendix: Transcript of the recording session Recording, minute Text (22) Translation [21-1:04] (23) ГК … у на́с ви́диш як | у | у кантốрі коли́ жôну́ грі́м у у | сиді́ли три́ жо́ны | у кантốрі HK: …In our village, you see how…In the office when a woman was k[illed] (24) by lightning…Three women were sitting in the office. [21-1:05] ІС кôлгốспні ГК га ІС кôлгốспні ГК кôлгốзьні | коли́ при кôлгốспі | тай сі́ли тай та́м неда́леко і шчо́тчик | а жо́ны ся вітсува́ют а она́ ка́же | а вы́ ся ка́же боіте́ | жона́ ка́же | а | та боіме́ ся | а она́ сі́ла | тай грі́м ци не убі́в йêї́ та́мкы | аа | іванêцьку ІС каза́ла шчо не бойếть_ ся ГК ôна́ каза́ла шчо не бойếть_ ся | не за тто́ | йếй уби́в шчо каза́ла шчо не бойếть_ ся ай | за то́ шчо така́ і судьба́ бы́ла | обы́ від ôгня́ уме́рла | |…|(25) IS: Collective farms. HK: What? IS: Collective farms [office]. HK: Collective farms. At the time of collective farms. So they sat down, and there was an electric meter not far from there, and [these] women moved further from it, but she said: oh, you are afraid? one woman said. -- Sure, we are afraid! And she sat there, and you know, the lightning killed her there. Her, Ivanycka. IS: She said she was not afraid. HK: She said she was not afraid. Not because of that, she got killed not because she said she was not afraid, but because it was her destiny, to die of fire. [Interviewer: Have you heard about someone predicting how another person would die, and later it would turn out to be true?] [21-1:06] ГК а я́ зна́ю |…| ГК шчốзь_ бы́ло тако́є бы́ло тако́є | HK: I don’t know. [Interviewer: Or maybe someone could predict the time when he himself would die?] Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 21 Recording, minute Text (22) Translation ІС но то́ я́к однốму чôлôві́ку каза́ли хто́ тто́ каза́в шчо | ві́д де́рева умре́ | коли́ гря́тка на ньо́го упа́ла | ГК а | тото́ | тото́ ішли́ | ішли́ три́ жо́ны | бе́ремêньні | ай ішốв за ни́ми ді́до | та не́ | ді́до | а́нгель_ ішốв | за ни́ми | і ка́же | сьếсь ся уто́пит | одếн віт чо́го умре́ ІС … ГК … ві́т чо́го єде́н ка́же | HK: There was something, there was something like that. IS: Well, it is how one person was told, who was that told him, that he would die from a tree? when a beam fell on him. HK: Ah, that? Once, three women were walking, three pregnant women, and behind them, an old man was walking. It was not an old man, but an angel, he walked after them and he said: this one will drown, one will - of what will he die? IS: [unclear] HK: [unclear] What will one die of, he said? [21-1:07] єде́н ся уто́пит | ІС мо́же маши́на убьє́ ци шчо́ | ГК но забы́ла м | а | і каза́в | но | сếї жоны́ ся вто́пит сếї жоны́ | но забы́ла м шчо́ | а сếї жоны́ | де́рево убь’є́ | а́йно | но і ту́йкы уже́ | хлốпці повыроста́ли | росту́т | і то́т о я́ не зна́ю ци то́т ся ско́рше утопи́в ся я́к | і того́ держа́ли лише́ | на печи́ | обы́ го де́рево не уби́ло | ІС аа ті́ хлốпці шчо ма́є ся уро́дити ГК тоты́ три́ хлốпці | і они́ уже́ вы́росли тоты́ хлốпці | такі́ шчо уже́ | вели́чкі бы́ли хлốпці | і ни́ґде не пушча́ли | ни́ґде бись не йшốв бо тебе́ ма́є де́рево уби́ти | і ни́ґде one will drown? IS: Maybe he would be hit by a car or something. HK: Well, I forgot. So, and he said, this woman’s [child] will drown, this woman’s - I forgot what, and this woman’s [child] will be killed by a tree. Yes. And then boys already grew up, they are growing, and that one, I don’t know if one drowned first, or how, but that one was only kept on the oven so that he does not get killed by a tree… IS: that was these boys who had to be born… HK: These three boys. And they already grew up, these boys, so that they were guys. And that one, [his parents] did not let him go anywhere, don’t go FOLKLORICA 2015, Vol. XIX 22 Recording, minute Text (22) Translation бись не йшốв | а давно́ бы́ли такі́ | но | старі́ хыжі́ | така́ бы́ла гря́тка | і гря́тка | тота́ ся | anywhere because you will be killed by a tree, don’t go anywhere. And long ago, there were such old houses, and there was such a beam, and that beam [21-1:08] відломи́ла у хы́жі | і уби́ла | того́ на печи́ | де́рево го уби́ло | ІС такі́ дві́ вібли́ці | нє́ ГК а у ко́го бы́ли дві́ | а у ко́го | єдна́ ли́ше бы́ла | ІС та на єдні́ гря́цьці | на одні́ вібли́ці держа́ло ся | дві́ бы́ли ГК тай ві́д | від сьціны́ дô сьціны́ бы́ла гря́тка | ІС но а на тốму дрыва́ скла́довали ГК аа | но тото́ коли́ бы́ли | бы́ла шчê й тота́ | коли́ | дымнянкы́ бы́ли | а́йно | дымня́нка такі́ хыжі́ бы́ли такі́ дымнянкы́ | шчо | ту́й кла́ли серет хы́жі ôгня́ | а у пôва́лі тако́є вікно́ бы́ло | і туды́ ды́м ішốв | |…| ГК ко́мина не бы́ло | і тото́ так | лю́де жи́ли | но айбо тото́ | давно́ | давно́ тото́ бы́ло | но | і то́т | і то́го | му́сіла | раз | got broken in the house and killed that one on the oven. He was killed by a tree. IS: There were such two beams. HK: Some people had two, some people had just one. IS: So on one beam, on one beam it was all supported, were there two? HK: And the beam was from one wall to the other. IS: People used to keep firewood on that. HK: Yes. It was when there were…when there were houses without chimney. Yes. Houses without chimney, there were such houses that here, in the middle of the house they would make fire, and there was such a window in the ceiling, and the smoke went there. [Interviewer: There was no chimney?] HK: There was no chimney, and people lived this way. But that was long, long ago. And so…it had to… [21-1:09] ві́н від де́рева мав уме́рти | іі | так уме́р ІС і ни́ґда не йшốв лише́ у ха́ті сиді́в | і гря́тка | he had to die of a tree, and that is how he died. Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 23 Recording, minute Text (22) Translation ГК і гря́тка тото́ ся відломи́ла | і на ньо́го упа́ла | і уби́ла і всьо́ | но́ а тре́тый я́ забы́ла шо | ІС маши́на його́ ма́ла уби́ти а ну́ шчо́ | ГК е та маши́н тогды́ не бы́ло я́ не зна́ю | е | ма́в ся задави́ти | но | єди́н ся утопи́в | то́т ся ма́є задави́ти а то́го ма́є де́рево уби́ти | тай всьо́ | а́йно | і та то́го | ді́до вы́казав і ді́да не ста́ло | а ді́до за ты́ми жона́ми ішốв | і так каза́в | за ты́ми трьома́ шчо ішли́ бе́ременьні перед ни́м | |…| IS: And he did not go anywhere ever, he only sat in the house, and the beam… HK: and the beam broke, and fell on him, and killed him, and that’s all. And the third one, I forgot what happened. IS: He had to be killed by a car. Do you remember? HK: But there were no cars then. I don’t know. Ah, he had to choke. Yes, one drowned, the other had to choke, and the third one had to be killed by a tree. That’s it. Yes. And that old man, he said that and disappeared. The old man went after these women and said so, after these three women that were pregnant. [Interviewer: So that was not an old man?] [21-1:10] ГК то а́нгел бы́в | то не ді́до бы́в | то лиш ді́до | кі́п | ді́дів бы́в | а́йно | то не ді́до бы́в | а хто́ быв тото́ | хто́ бы тото́ зна́в тако́є | айно | і тото́ та́к ся пôлучи́ло всьо́ | я́к ді́до каза́в та́к ся тото́ всьо́ пôлучи́ло | ІС а шчế роскажи́те як тота́ | до це́рквы хôті́ла йти́ | коли́ | ді́до ї пусти́в | не ма́ла на ко́го лиши́ти | ГК но | бы́ла нêві́стка | та́ґ_ бы ішла́ до цêрькве | та ка́же уже | ма́чôсі | ма́ттери уже́ чôлôві́чôві | ма́мо ка́же пусьці́т мене́ ка́же до HK: That was an angel, not an old man. He only looked like an old man, that was not an old man. But who else could know that? And it all happened like that, as the old man said, it all happened like that. IS: Also tell how that woman… wanted to go to church when an old man let her go. She did not have anyone to leave her children with. HK. Yes. There was a young woman, she wanted so much to go to church, and she says to her stepmother, to her husband’s mother: please let me FOLKLORICA 2015, Vol. XIX 24 Recording, minute Text (22) Translation цếрькви я́ бим ка́же та́к ішла́ до цếрькви | а нє́т | я́ йду | уже́ | ма́ти ка́же | я́ йду ты́ не йде́ш | но і зобра́ла ся | і пішла́ | ма́ти пішла́ | go to church, I want so much to go to church. Oh no, I am going to church, the mother[-in-law] says, I am going, and you are not. So she got ready and went, the mother-[in-law]. [21-1:11] і ту́й зає́нно шчо | она́ бы ішла́ до цếрькви | і ту́й захо́дит ді́до | до хы́жі ІС не ма́є на ко́го діти́ну лиши́ти | ГК а діти́на малếйка а діти́на у колы́сьці | тай ниє́ на ко́го діти́ну лиши́ти она́ бы́ла пішла́ айбо діти́ну | а́йно ниє́ на ко́го лиши́ти | но і захо́дить_ ді́до | тай | тай ка́же шчо ішла́ бим до цếрькве та ішла́ | та я́ ка́е тебе́ пу́шчу ка́же ты́ йди́ | я́ ка́е з діти́нôв ка́же буду́ | но́ | тай | ді́до ся лиши́в ізь_ діти́нôв | а ôна́ пішла́ | дô цếрькви | і прихốдид_ дôмі́ | уже́ бы́ла на слу́жбі бы́ла в цếрькви | прихо́дид_ дôмі́ | тай | ді́до | коло діти́ны ді́до всьо́ | тай зьві́дат | но я́к | у цếрькви | йốй ду́же ка́же фа́йно бы́ло так | і людếй бы́ло | і | а ка́заня тако́є фа́йноє бы́ло ка́же шчо | я́ ка́же | ду́же ка́же ми ся пôлюби́ло | And this one wants so much to go to church. And here an old man enters the house. IS: She did not have anyone to leave a baby with. HK: And the baby was little, baby in the cradle. And there was no one to leave the baby with. She wanted to go, but there was no one to leave the baby with. And so an old man comes in, and she says that she wants to go to church, and he says, I’ll let you go, you may go, I will stay with the baby, he says. And she went to church. Then she returns home, she was in the church, she was present at the service. So she comes home, and the old man is sitting with the baby. And he asks: how was it in the church? She says: oh, it was so good, there were a lot of people, and the priest said such a fine sermon. I liked it very much, she says. [21-1:12] ІС прốпôвідь | рôзумі́єте ГК но | аа пі́п | а а а ді́до ка́же | е | лю… | людếй лише́ тро́є бы́ло у цếрькви | а пі́п | не ка́заня каза́в ай це… | це́глу вози́в | ци зна́єте | IS: The sermon, you know? HK: Yes. And the priest…and the old man says, there were only three people in the church, and the priest did not say the sermon, he was driving bricks. Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 25 Recording, minute Text (22) Translation це́гла | но | ка́же лиш | тро́є людếй бы́ло у цếрькви | та де́ она́ ка́же | та де́ пốвна цếрькôв бы́ло людếй мно́го | тай пі́п фа́йноє ка́заня каза́в | а ді́до ôпья́т | лише́ тро́є бы́ло в цếрькви | а пі́п | це́глу вози́в | ІС цілу́ слу́жбу | ГК цілу́ слу́жбу | но | ни́ч | іде́ тото́ іде́ | а то́ | усі́ ма́ли | и́нчі думкы́ | не ду́мали ты́м | Do you know what bricks are? Well. He says there were only three people in the church. How come, she says, the church was full, there were a lot of people. And the priest said a nice sermon. And the old man says again: there were only three people in the church, and the priest was driving bricks. IS: The whole time of the service. HK: The whole time of the service. OK. And that is, everyone had other thoughts, did not think about… [21-1:13] а тро́є лише́ шчо ду́мали шчо ôни́ на слу́жбі | ІС шчо моли́ли ся ГК шчо моли́ли ся шчи́ро так | бо́г приє́мле | лише́ трôї́х | а дру́гых нє́т | но | ду́мат она́ тогды́ сôбі́ но шчо́ | тай | ді́до піш…. | ді́да уже́ не ста́ло | ді́до пішốв ге́т | буде́ ôна́ іти́ до попа́ | бде́ каза́ти се попо́ви | прихо́дит ка́же | я́ бы́ла ка́же на слу́жбі тог/ды і тогды́ | та ка́же вы́ каза́ли ка́же ка́заня | і людếй бы́ло | но і ôна́ уже́ росказа́ла уже́ шчо ді́до у нếї бы́в | якь_ йêї́ пусти́в на слу́жбу | і | ка́же | та каза́в шчо вы́ | не ка́заня каза́ли | ай це́глу сьте вози́ли | а пі́п ся будова́в тогды́ | та у попа́ | не бы́ло тôтố у гôлôві́ шчо ві́н ка́же з еванге́лия | ай ду́мав | я́к він за́втра буде́ | and there were only three people who thought they were at the service. IS: Those who were praying. HK: Those who were praying from their heart, God accepts only three, but not others. Well, then she thinks to herself… The old man disappeared, he went away. She decided to go to the priest, will tell that to the priest. She comes to the priest and says: I was, she says, at the service then and then, and, she says, you said a sermon, and there were a lot of people. So she told him that there was an old man at her house, how he let her go to the service, and, she said, that old man said you were not saying a sermon, but driving bricks. And the priest was building his house then, and he did not think of what he FOLKLORICA 2015, Vol. XIX 26 Recording, minute Text (22) Translation was saying from the Gospel, but he was thinking, how he was going to [21-1:14] це́глу вози́ти на хы́жу та | я́ґ_ буде́ будова́ти | ци рôзумі́єте | но | тай та́к | ІС цілу́ слу́жбу це́глу вози́в | ГК цілу́ слу́жбу | пі́п і при ка́заню | та не ка́заня каза́в ай ду́мав | ба я́к | ба я́к я бду́ | це́глу за́втра та ко́го я закли́чу хто́ мні́ приве́зе на хы́жу це́глу | ІС говори́в одно́ а ду́мав дру́гоє ГК но | та та́к тото́ є і тêпếрькы тото́ | коли́ ся іде́ до цếрькви та тре́ба ся | а тре́ба ду́мати шчо я́ йду́ до цếрькве та слу́хати | бốжі слова́ | айбо кếть то́ не та́к | то не та́к ся полу́чит | то́ дру́гі думкы́ | май перếбь’ют не та́к | ІС а шчế роскажі́т як солда́т із а́рмиї йшốв | а ну́ ж | drive bricks the next day to build his house, and how he will build it. Do you understand? Well, it was like that. IS: During the whole service he was driving bricks. HK: During the whole service. The priest, at the time of the sermon…and he did not say the sermon, but he was thinking, but how I am going to…the bricks tomorrow, who I could call that would drive the bricks for me so that I could build the house. IS: He was saying one thing, and thinking another thing. HK: Yes. So that’s how it is now too, when one goes to church one needs to think that I am going to church, and listen to God’s word. But what to do if it is not so, it happens otherwise, other thoughts interfere, right? IS: And also tell the story how a soldier was returning from the army, please, [21-1:15] … забы́ли | ГК но та та́к шчо ішốв быв | ішốв із | сол… | із а́рміі солда́т | і ту́йкы уже́ ся примếрькло ні́ч | ІС маши́н не бы́ло так як тêпếрь have you forgotten it? HK: So it was this way: a soldier was returning from the army, and it already became dark, the night started. IS: There were no cars, as there are now. Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 27 Recording, minute Text (22) Translation ГК то пішко́м | то | не та́к ги тêпếрь як | я́ | я сама́ | та з вôлі́вця мо́же два́ццêть ра́з им і у воло́вêць пішко́м | ци зна́єте де́ воло́вêць | і у воло́вêць пішко́м і туды́ м не́сла і з вôлі́вця пішко́м і ві́тты м не́сла | до два́ццьêть ра́з а аж ім не бы́ла тай ра́з | а тêпếрь де́ тêпếрь | о́де кі́ло | о о па́ру крốків | йốй кобы́ маши́на бы́ла я́ не го́нна піти́ | но тай та́к солда́т ішốв із а́рмії | тай ту́й ся примếрькує уже́ | тай | йốй де́ бим і(?) спа́в | но і | зайшốв до хы́жі і | HK: So he had to go on foot, not as now. Even I, from and to Volovec, I went there maybe twenty times on foot. Do you know where Volovec is? So I went there and back on foot, twenty times, carrying loads. And now, forget it. If I have a kilogram to carry, a couple of steps, oh I wish there was a car, I cannot walk! OK, so the soldier was returning from the army, and it was becoming dark. He thinks: where will I sleep? He entered one house, [21-1:16] попроси́в ся | прия́ли його́ від ра́зу прия́ли | там де спа́ти буде́ш | но а давно́ не бы́ло ты́х постêлі́в та дива́нів тай хы́жі́в | хы́жа єдна́ | та́м єдна́ яка́сь пốсьціль пі́ч | там при́пічок | там ла́ва така́ ширốкі бы́ли ла́вы | і куды́ хто́ | пôліга́ли і спи́т | но | ба де́ бде́ спа́ти | солда́т | кладу́д_ го на сьці́в | шчốсь там постели́ли ци бы́ло шчốсь ци я́к ІС сто́лы дốвгі бы́ли | дốвгі не такі́ як тêпếрь | ГК аа дốвгый сьці́в бы́в | шчế май не такы́й | гі у на́с он тота́ пла́шка шчê май дốвгі́ бы́ли | покла́ли на сьці́в і | буде́ш спа́ти ту́йкы | ту́й жôну́ | іми́ли пêрếймы | ро́дити | но | and asked if he could sleep there. They agreed at once. Where will you sleep? And long ago there were no beds or coaches or many rooms. There was one room, and there was one bed, one oven, a bench next to an oven, and a bench, such wide benches. And people slept where they could, they lied down and slept. And where should the soldier sleep? They put him on the table. They put some cloth there, I don’t know whether there was something. IS: Tables were long ag that time, long, not as now. HK: Yes, the table was long. Maybe even longer than our table, here with this board, that table was still longer. So they put him on the table, “you will FOLKLORICA 2015, Vol. XIX 28 Recording, minute Text (22) Translation sleep here”. And a woman went into labor, she will have a baby. [21-1:17] і ту́й | жона́ у хы́жі всьо́ в хы́жі | і | і солда́т на стôлі́ | ІС ві́нь_ нібы́ то спи́т ГК ві́нь_ нібы́ то спи́т | а а́нгелы | єди́н на двôрі́ | а єди́н у хы́жі | та то́т ізо дво́ру зьві́дат | ци є́ уже́ | діти́на | а сếсь іс хы́жі ка́же шчế ниє́ | най є́ | тог/ды ôпья́т | ма́ло пốвіть | ôпя́ть зьві́дат | ци є́ | ниє́ | но ôпья́ть | че́кат че́кат | тогды́ ôпь’я́ть зьві́дат ци є́ | є́ | а шчо́ | ді́вочка | сесе́ ка́же бде́ он тốму ка́же жона́ шчо о́де спи́т на стôлі́ | а ві́н чу́є | солда́т чу́є всьо́ | но ай то́ | ві́н нібы́ то спи́т | а ві́н всьо́ чує | но й тото́ всьо́ уже́ | упôряткова́ли діти́ну уві́… і то́то́ уже́ шчо тре́ было то | And there, the woman is in the house, everything is in the house, and the soldier is on the table. IS: He is pretending that he is asleep. HK: He is pretending that he is asleep. And the angels, one in the yard and the other in the house, and the one from the outside asks: is there a baby already? and the one from the house answers, not yet. Then again, a bit later he asks again, if there is a baby. Not yet. And again. He waits, waits, and then he asks again if there is a baby. Yes, there is. And who is it? A girl. This girl, he says, will be married to that guy who is asleep there on the table. And he hears, the soldier hears everything. Well, and… He pretends he is asleep, but he hears everything. And all that already…they did what they had to do with the baby, swaddled it…everything that was necessary, [21-1:18] помы́ли пу́п підрі́зали всьо́ пôпôряткова́ли | і | пôліга́ли спа́ти | і діти́ну уже́ пови́ли пови́ли | покла́ли так на стốвп діти́ну | коло | та́к на печи́ | спля́т | пôліга́ли | а́ солдат пома́лêйкы уста́в | ти́хêнько | і | діти́ну на ру́кы | і | на двір́ | де́ | мо́я жона́ о they washed the baby, cut the umbilical cord, did everything, and went to sleep. And the baby was swaddled and put on the oven, next to the people who were sleeping on the oven. So they went to sleep and the soldier got up quietly, and took the baby and went outside. Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 29 Recording, minute Text (22) Translation тото́ бы́ла обы́ о тото́ бы́ло | і | як ішốв | і та́к діти́ну на копа́ч | натягну́в | на двôрі́ | у плốті копачі́ такі́ бы́ли | ге плі́т шчо гôрốдят та два́ копачі́ | і та́к на єди́н копа́ч | натягну́в | тôту́ діти́ну | і са́м | пішốв | устаю́т | ни діти́ны ниє́ | ни солда́та | ІС де́ то мо́я жона́ бу́де ГК ге ІС ду́мат де́ то мо́я жона́ бу́де “How come that will be my wife!” and as he was walking, he put the baby on the stick, in the yard, there were such sticks in the fence, so when they make a fence there are two such [vertical] poles, so he put/impaled the baby on one of the poles, and went away. The people woke up, there is neither the baby there, nor the soldier. IS: “How come that will be my wife!" HK: What? IS: He thinks, how come she will be his wife. [21-1:19] ГК но | пô двôру́ пô двôру́ ра́с ви́дят шчо | діти́на | ізьді́та | і | взя́ли діти́ну ди́влят | ни́ч лиш так | ні́жочка | бы́ла ма́ло | роспоро́та | ага | тай ни́ч | ІС жива́ діти́на | ГК і діти́на росте́ дівочка росте́ ді́вочка | ту́й уже́ вы́росла шчо | і віддава́ти уже́ | і ту́й | прийшốв і тот узя́в тôту́ ді́вочку | тот солда́т | уже́ | жи́ли | якốсь ся она́ убира́ла | бы́ла оно́ тото́ якốсь ся́ стыди́ли єдно́ дру́гого | і ôна́ ся убира́ла якốсь і ві́н доди́вив ш…шкра́м | на ні́сьці | на нôзі́ | а шчо́ у тебе́ ка́же тото́ є́ ка́же | та́мкы | ге | ІС ві́н не зна́в шчо тото́ та́м ГК ба де́ він зна́в | HK: Yes. And they went in the yard, and they see that the baby is on the stick, and they took the baby and they see, there is nothing, only one leg was a little cut. OK. IS: The baby was alive. HK: And the girl is growing up, growing up. Then already she grew up and it is time to arrange a marriage. And there, he came and married that girl, that soldier. And they already lived together. And once she somehow got dressed, because they were a bit ashamed of each other. And she got dressed, and he somehow saw the scar on the leg, on the leg. And what do you have here, he asked, there. IS: He did not know it was there. FOLKLORICA 2015, Vol. XIX 30 Recording, minute Text (22) Translation HK: Of course he did not know. [21-1:20] ві́н не зна́в | но і она́ нача́ла роска́зовати ся́к мêні́ ка́же роска́зовали шчо | ішốв солда́т із а́рміі та спа́в у на́с | а я́ ся уро́дила | та узя́в ня | та зьді́в ня на копа́ч | а то́т | самы́й уже́ | ІС она́ йôму́ росказа́ла ГК не зна́ву шчо | поду́мав | шчо тото́ ві́н | і взя́в тôту́ | і жи́ли так | но айбо я́ уже́ не зна́ю ци каза́в ї шчо ві́н тото́ зроби́в сесе́ я́ уже́ не зна́ю ІС мо́же і каза́в ГК мо́же пак дếсь ся розговори́ли та мо́же і каза́в а від ра́зу мо́же і не каза́в | но | ІС як а́нгел упôві́в шчо то його́ ма́ла бы́ти тай | му́сіла бы́ти | ГК но | тай му́сіла бы́ти ІС мо́же через два́цьціт рốків ГК тай му́сів чека́ти два́цьціт рі́к {лі́т} но а мо́же і не чека́в два́цьціт рốків мо́же | май ско́рше а хто́ його́ зна́є | мо́же як тото́ | ІС ….на́цьціт ГК зна́єш як | студе́нть_ ішốв | через вốду | …. He did not know. So she started telling him: I was told, she tells him, that a soldier was returning from the army and he stayed for a night in our house, and I was born, and he took me and impaled me on a stick, and that one, that very one… IS: She told him. HK: I do not know. He thought… that was he… And he had married her, and they lived together. But I don’t know if he told her that it was he who had done that, I don’t know that. IS: Maybe he did tell her. HK: Maybe later, when they were talking, maybe he told her, but right then maybe he did not. Yes. IS: As the angel said that she had to be his wife, so she had to become his wife. HK: Yes, she had to become his wife. IS: Maybe in twenty years. HK: And he had to wait twenty years. Or maybe he did not wait twenty years, maybe earlier, who knows. Maybe… IS [unclear] HK: You know how a student crossed a river. [unclear] [21-1:21] ді́до прика́зовав | ішốв студе́нт | іш_ шко́лы | а ту́йкы | надыйшла́ бу́ря | туй Our old man used to tell. A student was going home from school. And there a storm came, Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 31 Recording, minute Text (22) Translation до́шч | вода́ | тре́ба бы йти́ | а ді́до іде́ із во́лы | тоты́ | а | ге | но | якы́сь ді́до ІС пішốв на дрыва́ ГК ци на дрыва́ ішốв ци де́ | ка́же | вы́ бы ка́же мене́ не переве́зли | через ріку́ | а | та переве́зу тя ка́же | но а | та ты́ шчо́ за єдếн | я́ ка́же студе́нт | но | а шчо́ бы ты́ роби́в як бы | серед воды́ | быкы́ ся вы́прягли | rain. There was a river. He had to cross, and there is an old man going by a cart with oxen. That…well, some old man. IS: He went to get firewood. HK: Maybe to get forewood, or for some other reason. He says: could you give me a ride across the river? OK, he says, I will give you a ride, and who are you? He says, I am a student. -- Well, and what would you do if in the middle of the river the oxen get unharnessed, [21-1:22] а | ру́д упа́в в вốду | я́ уже́ забы́ла шчо каза́в шчо́ зро́бит | ІС то́ не та́к бы́ло ГК …. ІС ві́н сі́в | на ві́с | та і́дут і́дут | тай ту́й | широ́ка ріка́ така́ | ді́до серед воды́ ста́в | …. | волы́ ста́ли серед воды́ пью́т воды́ | ді́до ка́же зліза́й | зліза́й із во́за | серед воды́ | ГК ага́ а́йно а́йно ІС а ві́н бы́в у ходака́х | такі́ ходакы́ бы́ли зна́єте но | ГК та́к та́к | ІС ві́н у ходака́х бы́в | но | я́к туй серед воды́ ка́же | куды́ я злі́зу | серед воды́ з во́за | а ві́н | зна́єте волы́ | …. ру́д такы́й бы́в поме́жі | а та́м ярмо́ | а ві́н ско́чив на ру́д | та пô рудо́ви пішốв та | та вы́тягнув свốрінь | то́ шчо там ярмо́ | а ту́й | а та́м бы́в and the pole falls into the water? I already forgot what he said he would do. IS: No, it was differently. HK: [unclear] IS: He got into the cart, and they started off. And here, the river was so wide, and the old man stopped the cart in the middle of the river. The oxen have stopped in the middle of the river, and they are drinking the water. The old man says, get off the cart. In the middle of the river. HK: Yes, yes, yes. IS: And he was wearing homemade shoes. Such homemade shoes, do you know what these are. HK: Right, right. IS: He was wearing such shoes. Well, how I can get off the cart here in the middle of the river, FOLKLORICA 2015, Vol. XIX 32 Recording, minute Text (22) Translation такы́й …. | сі́в на ярмо́ іми́в ся за ро́гы | тай | ГК тай пішốв | ІС перене́сли | волы́ його́ на тốд_ бі́к | in the middle of the river. And he… you know, oxen… there was such a pole between the two oxen, and the yoke was on it, and he jumped on this pole, and went on the pole, and pulled out the peg that was holding that yoke… and there was such a…and he sat on the yoke and grabbed the horns… HK: And off he went. IS: The oxen carried him on the other bank. [21-1:23] йốй а то́т ді́до нача́в | йốй та | лиши́в ся ді́до серед воды́ | йốй заведи́ заведи́ волы́ запряжи́ бу́деш у ме́не уже́ і ночова́ти | і всьо́ бо то́ уже́ до́ста ве́чером бы́ло | та уже́ ві́н якốсь там оберну́в волы́ якốсь там дôсягну́в тот ру́т | ôпья́т | запря́х | ГК ві́н студе́нт | ІС но | ді́до хôті́в прові́рити шчо́ ты | шчо́ ты зна́єш якшчо́ ты́ студе́нт | тай всьо́ приі́хали | тай | уже́ прийшли́ дôмі́ | дове́зли ся дôмі́ а то́ уже́ ве́чером то́ уже́ змêрька́є ся но уже́ бу́дес_ спа́ти у на́с | а то́ бы́ла великốдня субо́та | ві́н ішốв на вели́ґдêнь дôмі́ | а на дру́гый дếнь уже́ вели́ґдêнь | но і всьо́ а ты́ уже́ | буде́с_ спа́ти а за́втра ра́но уста́неш тай піде́ш то́ шчế тре́а бы́ло дêсь через | на дру́ге село́ іти́ | пішко́м | черес се́ла так | та́к як із And that old man started… So that old man was left in the middle of the river. Oh, bring back the oxen, harness them, I will let you sleep in my house. And that’s it, because it was already in the evening. And he somehow turned the oxen around, somehow reached that pole, and harnessed the oxen again. HK: That student did. IS: Yes. The old man wanted to check what you… what do you know if you are a student. And well, they came home. They came home, and that was already in the evening, and it was getting dark. “So you will sleep in our house.” And it was the Saturday before Easter. He was going home for Easter. And the next day is already Easter. “OK, so you will sleep here, and tomorrow early you will get up and go,” he still needed to go to the next village, on foot Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 33 Recording, minute Text (22) Translation вôлівця́ як вы́ ка́жете | но і ни́ч айбо то́ ишчế | гусака́ | through several villages. So as from Volovec, as you were saying. OK, and there also, they need to slaughter a goose, [21-1:24] шчế тре́а зарі́зати бо обов’яско́во | гусака́ тре́ кла́сти у коша́р | на вели́кдêнь | сьвяти́ти | такы́й обы́чай бы́в у ни́х | они́ шчê там зарі́зали гусака́ ско́ро то ôпску́бли всьо́ | тото́ | ГК наряди́ли ІС наряди́ли всьо́ покла́ли | ба́ба покла́ла в пі́ч | гусака́ печи́ | покла́ла у пі́ч | ді́до сôбі́ | та́м уже́ | кôсьцю́м выла́джує на за́втра | ГК ходакы́ | ІС ходакы́ то́же ходакы́ у ді́да які́сь нові́ ходакы́ уже́ на вели́кдêнь | не́ тоты́ старі́ | ходакы́ ді́до то всьо́ начи́стив всьо́ там сôбі́ скла́в дếсь коло поро́га | вбы́ ра́но то всьо́ гото́воє бы́ло | но тай ліга́ют спа́ти | тай пôліга́ли спа́ти тай | ишчế і не спля́т від ра́зу | шчốсь сôбі́ каску́ют | а ді́до зьві́дат уже́ студе́нта | а якы́й у ва́с тêпếрь у́рят | у сêлі́ | хто́ у вас там тêпếрь | а ві́н ка́же | студе́нт ка́же | because it is necessary to put a roasted goose in the basket on Easter, to bless it, they had such a custom. They slaughtered the goose, plucked it fast, all that. HK: Dressed it. IS: Dressed it, put everything there. And the wife put the goose in the oven to bake. She put it in the oven. The old man is preparing his clothes for the next day. HK: The shoes. IS: The shoes, also the shoes. The old man had some new shoes for Easter, not those old shoes. So the old man cleaned all that, and put all that together somewhere near the threshold so that in the morning all that is ready. And they go to sleep. And they went to sleep, but still they are not sleeping, still talking. And the old man asks the student: and who is in power in your village now? Who is the boss? And he says, the student says, [21-1:25] бы́в гусакôвськы́й | а гусакốвськый пішốв у тôрбốвськый | а ходакốвськый та його́ бра́т на його́ мі́сьцье | а ді́до ага́ | та́к як бы ві́н їх зна́в | ты́х | …. | не зна́в ни ді́до ни́ то́т | Mr. Goose was before, but Mr. Goose went to Bag-Town, and Mr. Shoe and his brother are in his place. And the old man says, yes, as if he knew them. These people. He did not know, neither the old man nor the FOLKLORICA 2015, Vol. XIX 34 Recording, minute Text (22) Translation то шчи́ та́к | сусі́дньоє село́ | тай ни́ч | они́ заспа́ли всьо́ спля́т | студе́нт у ночи́ встає́ | гусака́ | іс пе́чи | ГК у тốрбу ІС дôсі́гат і в тốрбу кладе́ | тоты́ ді́довы ходакы́ | шчо ді́до вы́ладив до це́ркви | у пі́ч | покла́в у пі́ч закры́в і всьо́ | но тай ра́но пробуди́ли тай | тай | я́ встаю́ бо я́ йду́ | мêні́ шчê тре́ йти́ | ишчế на дру́ге село́ | на вели́ґдêнь уже́ | тай то́т тốрбу взя́в та пішốв | но тай они́ вста́ли ді́до з ба́бôв тай уже́ там по хôзя́йству попо́рали(н/д) ся шчо́ | но тай | іду́т выла́джовати коша́р уже́ там ба́ба йде́ | гусака́ | student. It was the next village. OK. They went to sleep, fell asleep. In the night the student gets up, takes the goose from the oven… HK: Into his bag. IS: He takes the goose and puts it in his bag. And the old man’s shoes that the old man prepared to go to church in, he put them in the oven, closed it, and that’s it. So in the morning they woke up and [he says]: I am getting up because I need to go to the next village for Easter. And he took the bag and off he went. And they got up, the old man and his wife, and took care of the household. And then they are going to prepare the basket, and the wife goes to get the goose… [21-1:26] гусака́ тото́ | ді́до уже́ та́м | ди́вит уже́ ôді́вать_ ся | ходакы́ | ходакі́в ниє́ | но ка́же взя́в | взя́в ô тот хода́к ка́же | взя́в тот моі́ ходакы́ | но взя́в тай взя́в тай ді́до найшốв які́сь старі́ тоты́ шчо вчо́ра хôді́в | на дрыва́ | но та у стары́х а у чі́м піде́ | то́т узя́в ходакы́ | но | ту́й ба́ба | ди́вить_ ся у пі́ч | ГК а гусака́ ниє́ | ІС а гусака́ ниє́ | ГК гуса́к пішốв у тốрбу гу́с[акốвськ….] ІС ай ходакы́ у печи́ | но́ ка́же ді́ду | ту́й тво́і ходакы́ | The goose… The old man already is looking to put on the shoes, and there are no shoes. Well, he says, he took the shoe…that guy took my shoes. OK, so he took the shoes. So the old man found some old shoes that he was wearing the day before when he had gone to get firewood, and he had to go in the old shoes, because there was no choice, that guy took the shoes. And then the woman looked in the oven… HK: And the goose is not there. IS: And the goose is not there. Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 35 Recording, minute Text (22) Translation а гусака́ ниє́ | но́ ка́же ба́бі | шчи́ ми ка́же сно́чи каза́в шчо ка́же гусакốвськый пішốв у тôрбốвськый | а ходакốвськый та його́ бра́т ка́же на його́ мі́сьці | но тай так є | тай та́к студе́нт вы́мудровав | а ді́до хôті́в прôві́дати но шчо́ він ся научи́в шчốсь шчо ві́н | шчо ві́н зна́є шчо його́ там у́чат | HK: The goose went into the bag. Mr. Goose… IS: And in the oven, there are shoes. She says, old man, here are your shoes, and there is no goose here. Well, he says to the woman, he told me last night that Mr. Goose had gone to the Bag-Town, and Mr. Shoe and his brother, he said, were in his place. And it was like this. Like this, the student was smart. And the old man wanted to check what the student had learned. What he knows, what they teach them there. [21-1:27] но то́ …. | то́ не́ хтôсь вы́думав то́ так бы́ло | ссе́ ді́до | прôшчі́н бы на́ш роска́зовав | я́ тото́ запо́мнив | ГК ді́до мно́го зна́в ІС ôô | ді́до сякы́х казо́к зна́в ду́же мно́го | |…| но | роска́зовав | ГК но | а тото́ | як петро́ гу́си пас | |…| ІС роска́жете вы́ ци я́ роска́жу | ГК но | ішли́ уже́ христо́с іс петро́м | ішли́ | іс села́ на село́ на пра́зник | тай йду́т | а петро́ ка́же го́споди я́ бы ка́же так гố… | я́ бы хốтів хôдь_ єде́н дếнь бо́гом бы́ти | Well that… That is not that someone made it up, it really was like that. That is what our old man, blessed be his soul, used to tell. I remembered that. HK: Our old man knew a lot. IS: Oh, our old man knew a lot of such stories. [Interviewer: Did he by any chance tell stories about Jesus going around together with St. Peter?] IS: Yes, he told that. HK: Well, and that one, how St. Peter was herding geese. [Interviewer: I haven’t heard that one, please tell it!] IS: Will you tell or I should tell? HK: Well, Jesus and St. Peter were going from one village to another to the village church FOLKLORICA 2015, Vol. XIX 36 Recording, minute Text (22) Translation feast. So they are walking, and St. Peter says: Lord, I would like so much to be God at least for one day. [21-1:28] но тай йду́т йду́т | а | скота́рь… скота́рь вы́гнав гу́си | па́сти | на по́ле | вы́гнав | тай лиши́в | тай | і | іде́ сôбі́ | а христо́с ка́же | но | а на ко́го ты лиши́в | тôту́ худốбу ка́же | та | ка́е піде́ ка́же по | пô лютьськы́х гря́т… | та́_ ги у на́с пô грятка́х піде́ та | піду́т та шкốду нарốблят | гу́си | а | а то́т пасту́х пôві́в | а | ня́й іх дôзі́рат гốспôдь бо́х | а христо́с ка́же | но́ пе́тре | ты́ ннếська бо́гом та | бу́дь із гусьми́ | скота́рь із гусьми́ | ІС петро́ ці́лый де́нь гу́си пас ГК та христо́с пішốв | So they are going, and a person has taken geese to a field to graze, and has left them there, and he is walking away, and Christ asks: to who did you leave these creatures to herd? They will, he says, go to people’s gardens… as here, if they go to vegetable patches, they can make a lot of damage, the geese. And that person said: let God look after them. And Christ said: listen, Peter, you are God today, so be with the geese, herd the geese. IS: St. Peter was herding geese for the whole day. HK: And Christ went [21-1:29] на пра́зник до цếрькви | а | петро́ ся лиши́в із гусьми́ | скота́рити із гусьми́ | ІС а я́к то́т під гру́шêв лежа́в коли́ ішли́ ГК ôпя́т ішốв христо́с іс петро́м | но тай іду́т іду́т | та зві́дают єди́н лежи́т під гру́шев | а куды́ о доро́га туды́ та туды́ | а то́т нôгốв указа́в | ге он туды́ ка́же | он туды́ | іду́т | ôпя́т | а | ді́вочка | ци цу́рь’я пôлôка́ла в ріці́ ци шчо́ | зві́дадь_ ді́вôчку | а куды́ от доро́га | доро́га туды́ та туды́ | а она́ ся пі́тхватила тай уста́ла тай ка́же | йốй он to church at the village church feast, and St. Peter stayed with the geese, herding geese. IS: And how that guy was lying under a pear-tree when they were passing by? HK: Again, Christ went together with St. Peter, so they are walking, and they ask, they ask one guy lying under a pear tree, “Where is the road there and there?”, and that guy pointed with his leg. There, he says. They go again, and a girl was whether rinsing clothes in the river, or something. They ask the girl: where is that road Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 37 Recording, minute Text (22) Translation туды́ он туды́ йốй іді́т о туды́ та о туды́ та о туды́ | there and there? And she came and said: oh, there, and there, oh, go there, and there. [21-1:30] іду́т | ІС дале́ко пôбі́гла з ни́ми ГК ішла́ дале́ко ука́зовати | сюды́ та туды́ | іді́т се́в дôрốгôв сюды́ | показа́ла | но тай | они́ пішли́ а ді́вочка ся верну́ла | а петро́ ка́же | а шчо́ бы | сі́ ді́вôцьці ка́же за се́ шчо на́с ка́же так вітпра́вила спра́вила та | та он то́го шчо о́нде під гру́шев лежи́т ка́же | но | тай та́к | ІС петро́ ка́же бо́же но тай я́к | така́ чи́тава ді́вка та тако́го | ГК ліни́вого | но | а христо́с ка́же та та́к бо як бы ôбốє чи́таві́ тай та́к а я́ґ_ бы ôбốї ліни́ві тай та́к недо́бре | ай му́сит бы́ти єнно́ ліни́воє а єнно́ чи́тавоє | ІС по при ню́ і ві́н прожи́є ГК приє́мноє | обы́ приє́мноє бы́ло | шчо́ лю́бы на́шôї ті́лько ниє́ | ты́ йде́ш дойи́ти So they are going… IS: She went far with them. HK: She went far to show them the way. Here, and there, take this road there. She showed them. And then, they went on and the girl returned. And St. Peter says: what will be given to this girl that she showed us the way? -- That one that is lying under the pear-tree, Jesus says. Well. And it was so. IS: St. Peter says: Lord, but how come, such a hard-working girl and such a HK: lazy one. Well. And Christ says: it is because if they were both hard-working, it will be like this, and if both were lazy, that is not good either, so it must be one lazy person and one hard-working. IS: He will survive next to her. HK: Good, that one person should be good. Why is our Luba not coming for so long? Will you go and milk the cow? [21-1:31] ІС шчế та́м шчôсь ішли́ то́же | шчо́ то шчế бы́ло | а я́к | петра́ жона́ би́ла | зна́єте чу́ли сьте ГК а | а | чу́ла | чу́ла м як петра́ жона́ би́ла | давно́ | давно́ так бы́ло шчо жо́ны | жо́ны керьова́ли людьми́ | IS: There is another story, they also went, what was it? How a woman beat St. Peter? Do you know, have you heard that one? HK: Yes, I heard it, I heard how a woman beat St. Peter. Long ago, long ago it was so that women bossed men around. FOLKLORICA 2015, Vol. XIX 38 Recording, minute Text (22) Translation ІС ста́рші́ жо́ны ГК ста́рші жо́ны чôлôві́к ни́ч | жона́ сôбі́ піде́ і на́пь’є ся і шчо́ і при́йде і чôлôві́ка на́бь’є і | а ты́ тото́ не зроби́в а ты́ он тото́ на́бь’є чôлôві́ка і всьо́ | бо і вếрьх | но і ту́йкы | ІС бо петро́ все́ жо́ны жа́ловав ГК аа а петро́ а́йно жа́ловав все́ жо́ны | IS: Women were bosses. HK: Women were bosses, and men not at all. A wife would go and get drunk, and come and would beat a man: you did not do that, you did not do this, and she would beat her husband, and that’s it. Because she was the boss. And here… IS: Because St. Peter always pitied women. HK: Yes, St. Peter really always pitied women, [21-1:32] шчо жона́м біда́ біда́ | то́ все́ | жі́н жа́ловав | ІС то петро́ вы́просив | шчобы жо́ны бы́ли ста́рші | ГК но | но і ту́йкы | прийшли́ тоты́ уже́ два́ | христо́с іс петро́м | і запроси́ли они́ ся до чôлôві́ка до хы́жі | ци ты́ бы нас спа́ти прия́в чôлôві́к до́бре | а жоны́ ниє́ | жона́ сôбі́ у кốрчмі | і прихо́дит ту́й пь’яно́ {п’я́на}(26) нача́ла на чôлôві́ка ва́дити ся гốйкати | а то́ сь не зроби́в он то́то́ | а он тото́ шчо́ тото́ | спля́т у по́стели | она́ і по́кі тото́ | я забы́ла м | ІС бốжі ста́рці ГК бốжі ста́рці ци я́к а́йно | тре́ба было і каза́ти да́й пốкій | а тота́ взя́ла | о́жіх ци шчо́ | because women’s life is hard, so he always pitied women. IS: That was Peter who asked that women were bosses. HK: Yes. And then… These two already came, Christ and St. Peter, and asked a man to let them in his house, whether you would let us sleep in your house. The man goes: OK, and the wife was not there, the wife was at an inn. And she comes back drunk, and starts yelling at the husband, yelling, you did not do this, you did not do that, and what are these, sleeping in the bed, and she… I forgot. IS: God’s old men. HK: God’s old men or what. OK. He should have told her “leave them alone”. And she took a poker or something [21-1:33] нача́ла би́ти а петро́ іс кра́ю спа́в | а христо́с по при́ сьціну | нача́ла петра́ би́ти | and started beating… St. Peter was in the bed on the edge, and Christ was next to the wall. She Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 39 Recording, minute Text (22) Translation тай пішла́ на дві́р | а на дві́р ишчế | за чи́мôсь би́ти ишчế | но | петро́ ка́же | йốй ка́же пусти́ ка́же мене́ та́м бо ка́же за́йде та ôпя́т ка́же мене́ бде би́ти | а жона́ зайшла́ та нача́ла | аа шчế м вон то́го пса́ не би́ла коло сьціны́ | та ôпья́т нача́ла петра́ би́ти | но́ пе́тре ІС петро́ двы́чи быв би́тый | о́жогом ГК христо́с ка́же | но́ пе́тре ты́ | ци обы жо́ны ка́же ста́рші бы́ли | йốй ка́же ні́т го́споди ка́же ня́й бде́ чôлôві́к ста́ршый | started beating St. Peter. And went outside, to fetch something else to beat with. Well, St. Peter says: oh, he says, let me there, because, he says, she will come back and she will beat me again. And the woman come in and started… oh, I haven’t yet beaten that dog next to the wall, and she started to beat St. Peter again. Well, Peter… IS: St. Peter was beaten twice, with a poker. HK: Christ says, well, Peter, do you still want women to be bosses? Oh, Lord, no, he says, let men be bosses. [21-1:34] шчế м он то́го пса́ не би́ла | |…| ка́же шчê м он то́го пса́ ка́же не би́ла за христа́ а христо́с | а то́ ôпя́т петро́ тамкы ой го́споди ІС а шчế …. як | пі́п | за́йця коли́ уби́в | іс ци́ганом | вы́ мо́же і забы́ли | пі́п каза́в шчо | коли́ бо́г дає́ | так і моты́ка стрі́лят | ГК моты́ка стрі́лят | ІС а ци́ган так | жи́в бли́ско коло попа́ | коло фа́ры | та все́ так до | до попа́ заходи́в | “I haven’t yet beaten that dog”! [Interviewer: What?] HK: She says: “I haven’t yet beaten that dog”, about Christ, and Christ… and it’s Peter again there. Oh my God. IS: And also… how the priest… when he killed a rabbit, with the Roma. You may have forgotten this one. The priest said, when God permits, a hoe fires. HK: A hoe fires. IS: And the Roma lived near from the priest’s house, and always dropped by to the priest’s. [21-1:35] тай усе́ | …. коли́ бо́г дає́ так і моты́ка стрі́лят пі́п ка́же | тай ра́с ту́й | іде́ пі́п на ôхốту | у попа́ бы́ла | пу́шка | а And [unclear] The priest says: if God permits, even a hoe can fire. And once the priest goes hunting, the priest had a rifle, FOLKLORICA 2015, Vol. XIX 40 Recording, minute Text (22) Translation ци́ган іс жôнốв там копа́ют шчốсь на гôрốді | бу́лі ци шчо́ там кôпа́ют | тай дếсь там за́яць | біжи́т | тай | пі́п підня́в та бу́г | а ци́ган підьня́в моты́ку та бу́г | то́же | тай ци́ган біго́м за за́йцьом пôбі́х | тай | хо́пив за́йця | но а пі́п ка́же | я́ уби́в за́йця | а ци́ган ка́же я́ уби́в за́йця | я́к ты уби́в чи́м ты́ уби́в за́йця | а вы́ каза́ли шчо коли́ бо́г дає́ то і моты́ка стрі́лят | та́к | я́ уби́в за́йця | моты́кôв | но | но шчо́ с то́го | супере́чають_ ся {супере́чать_ ся} спốрят | но тай шчо́ туй дока́жеш | но ка́же пі́п | но | най буде́ | бдеме́ ра́зом і́сти | and the Roma and his wife are digging something in the garden, potatoes or something. And here a rabbit runs. The priest raised the rifle and bang. And the Roma raised the hoe and bang, also. And the Roma ran after the rabbit and grabbed the rabbit. The priest says: I killed the rabbit, and the Roma says: I killed the rabbit. -- How did you kill it, what with? -- And you said that when God permits, a hoe can fire, so it was me who killed the rabbit, with my hoe. Well, so what? They are arguing, arguing, but what can you prove here. Well, the priest says, let it be, we’ll eat it together, [21-1:36] ма́тушка згото́вит | она́ до́ма згото́вит | і | бдеме́ ра́зом і́сти | но й прийшли́ до попа́ | та́м уже́ то́го | облупи́ли | покла́ли та́м то́же так у пі́ч | за́йця | пекчи́ | печи́ у пі́ч | тай | пôліга́ли спа́ти | ци́ган уже́ спи́т у попа́ | бо | обы́ не втра́тив за́йця | уже́ у попа́ спи́т | но тай ка́же пі́п | ка́же | кôму́ | ма́й фа́йный со́н буде́ сни́ти ся | тай то́т | то́го буде́ і за́яць | но ци́ган ка́же | на́й бу́де | но | пі́п ду́мав шчо | шчôзь_ вы́грати шчế | ГК піп вы́грат ІС но | най бу́де | но тай ни́ч | пôліга́ли спа́ти спля́т | а за́яць у печи́ | пече́ ся | ра́но пробуди́ли ся | но | пі́п ка́же | но а ну́ роска́зуй шчо́ тôбі́ ся my wife will cook it, it will cook it at home, and [we] will eat it. Well, they came to the priest’s house, skinned the rabbit, put it in the oven, to bake the rabbit, and went to sleep. The Roma is sleeping at the priest’s so that he does not loose sight of the rabbit, he is sleeping at the priest’s. And the priest says, the one who sees a better dream, he will take the rabbit. Well, OK, the Roma says. The priest thought he would win something. HK: That the priest would win. IS: Well, OK. OK. They went to sleep, they are sleeping, and the rabbit is in the oven, baking. In the morning they woke up, and the priest says: well, tell me Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 41 Recording, minute Text (22) Translation сни́ло | ци́ганови ка́же | ци́ган ка́же | what dream you saw. He says that to the Roma. The Roma says: [21-1:37] та я́к я буду́ каза́ти та кажі́т вы́ ка́же вы́ ма́й | ста́ршый | кажі́т вы́ | но пі́п нача́в роска́зовати | мні́ са сни́ла така́ высо́ка драби́на | аж до не́ба | і я́ пô ті́ драбині лі́з лі́з лі́з | аж на не́бо | пі́п ка́же | ци́ган ка́же | па́не о́тче | я́ вас там ві́дів | аж на вы́шнôму ціпку́ | я́ ду́мав шчо вы́ не ве́рнете ся ві́тты | а я́ за́йця ізі́в | а ци́ган у ночи́ вста́в | та стрипа́в за́йця | я ду́мав шчо вы́ ся ві́тты не ве́рнете та я́ | шчо вы́ в ца́рство уже́ пішли́ | та я́ ізьзі́в за́йця | я́ вас ві́дів аж на вы́шному ціпку́ | а ци́ган усе́ | вы́хêтровав | ГК но | до́шч паде́ е́ | ІС шчốсь тако́є | how will I tell, you tell first, you are more important, you tell. So the priest started telling: I dreamed, there was such a high ladder, so that it reached the sky, and I was climbing this ladder into the heaven. The Roma says: Father, I saw you there on the highest rung of the ladder, I thought you were not coming back from there, and I ate the rabbit. And the Roma had woken up at night and ate the rabbit. I thought, he says, you wouldn’t come back from there and I… thought that you already went to heaven, and I ate the rabbit. I saw you on the highest rung of the ladder. So the Roma outsmarted the priest. HK: Yes. See, it is raining. IS: Something like this. [21-1:38] |…| ГК є́ | є́ такі ́є́ | ІС а́ | та да́вно бы́ло шчốсь тако́є ГК а тêпếрькы | а тêпếрь уже́ май бі́льше | та іду́т по монастыря́х та тêпếрькы | а давно́ | давно́ бы́ло тако́є шчо помага́ли якốсь | єнны́ дру́гым | тêпếрь по́пы помага́ют | |…| [Interviewer: Have you heard, are there such people that can see devils and help possessed people?] HK: There are such people, yes. IS: Yes, long ago there was something like that. HK: And now… and now already more often… People go to monasteries now. And long ago, people used to help one another somehow. Now it is the priests who help. FOLKLORICA 2015, Vol. XIX 42 Recording, minute Text (22) Translation ГК помага́ют | ту́й | бізі́вно у на́з бы́в | ге юрча́к | но та ходи́ли | у бôрốняву | та́м бы́в такы́й пі́п | ІС мо́нах ГК мо́нах | по́пы нє́т | тото́ лиш мона́хы | могли́ помочи́ | но та пішли́ там | у монасты́рь | та прика́зовала уже́ жона́ | [Interviewer:] Do they? HK: They do. Here, in our neigborhood there was one Yurchak. So they went to Boronjava, there was such a priest… IS: A monk. HK: A monk. Priests cannot do that, it is only monks that could help. So they went there to the monastery, and the woman told us, [21-1:39] шчо там які́ привози́ли | та́м | и́рже гốйкат | уся́ко | рычи́ть_ гі коро́ва | уся́ко | но та | єнні́ жôні́ | уже́ каза́ла шчо | ôна́ від ні́ | коли́ чита́в | тот мона́х єнні́ жôні́ | та ка́же | чита́в | до чоты́ри | до чоты́ри го́дины | каза́ла шчо та́к із ньо́го уже́ лиш вода́ па́дала ее текла́ та́к як цюрько́м | ІС ізму́чив ся бы́в ГК ізму́чив ся быв | но і ка́же выходи́ | а | а із нếї ка́же | не вы́йду | ка́е не вы́йду | а да́ле | ôпя́т мо́лить ся мо́лит ка́же выходи́ | не вы́йду | і та́к | аж дру́гый дếнь пак | вы́йшôв | that such cases were brought there, people who neighed as horses, yelled, mooed as cows, all sorts. And one woman says, that monk was reading [prayers] over a woman until 4 am [or: 4 hours in a row?], she said that he was sweating, streams were running down his face. IS: He got exhausted. HK: He got exhausted. And then he says: come out! And it responds from inside her: I am not coming out! And he is praying and praying again, and says: come out! -- I won’t! And so only the next day it came out [21-1:40] із | іж_ жоны́ | ага́ | є́ тако́є є́ | ôна́ каза́ла шчо тто́ | та́мкы уже́ | та и́ржут гốйкают | ІС но́ злі́ духы́ | із люди́ны выхốдят ГК злі́ духы́ но | ІС є́ тако́є | from that woman. Yes, such things happen. She said that people there neigh and yell. IS: Yes, evil spirits come out from a person HK: Yes, evil spirits. IS: Such things happen. Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 43 Recording, minute Text (22) Translation ГК його́ пак ві́тты взя́ли я́ забы́ла де́ | тêпếрь із бôрốнявы дру́гый | мона́х | та | практику́є ся | бо́г зна́є як | ци | ци бде́ так | та мо́же і бде́ | молитвы́ | всьо́ молитвы́ | ІС як він бу́де та тре́ | ма́ти си́лу ГК но ай я́к | |…| HK: He was later transferred there, I forgot where to. Now there is another monk from Boronjava, he is learning that. I don’t know if he will be able to do it too. But maybe he will. It’s all in prayers. IS: It depends how he will turn out. One needs to have strength. HK: Of course. [Interviewer: I heard in a different village that a priest could see a witch on Easter.] [21-1:41] ГК пі́п | ІС мо́же і бы́в такы́й | яснови́дêць ГК всьо́ мо́же бы́ти ІС є́ | ясно́ви́тьці | шчо лу́ди́ну ви́дит | шчо | чи́м ві́н ды́хає | у на́с ту́т нема́ такы́х но | но є́ є́ яснови́тьці | |…| ГК а тото́ | тото́ то́же | тото́ то́же та́к | бы́ло шчо якốсь | могли́ | могли́ тото́ уга́довати якốсь | ІС так ма́йже êсêї | е́вкы дякốвôї | отếць | нє́ | коли́ бо́рôну якы́сь від ньо́го укра́в | HK: A priest? IS: Maybe there was such a priest. A clairvoyant. HK: Maybe. IS: There are clairvoyants that can see a person, what he breaths with. We don’t have such people here, but there are clairvoyants. [Interviewer: Maybe there were such people who could divine who stole something and where the stolen thing was.] HK: Oh, that, that also, that also so… It was that somehow they could… they could divine that somehow. IS: And maybe the father of that Evka Diakova, no? when someone stole a harrow from him. [21-1:42] ГК кого́ | HK: What? FOLKLORICA 2015, Vol. XIX 44 Recording, minute Text (22) Translation ІС бốрôну від ньо́го коли́ укра́в быов | ГК мо́же та́м є ді́до коли́ каза́в за мі́хы | шчо | прине́се | прине́сут | ІС а | тай ді́до про́сто та́к каза́в | ГК ай мо́же | |…| ГК ту́й єди́н бы́ов чôлôві́к та я́к | каза́… | та прине́сли му пак бốрôну | ІС но | так ві́н шчốсь і зна́в | і ка́же | ві́н прине́се самы́й | самы́й прине́се ту́ бốрôну но ві́н шчôзь зна́в є́вкы дякốвôї | отếць ГК та шчốсь зна́ли зна́ли ІС но | ві́н шчôсь там | помоли́в ся ци шчо́ і то́т на | то́т прині́с бốрôну | і шчế каза́ли шчо ты́м о́стрыми зубка́ми на плếчі сôбі́ пôкла́в | і держа́в по́кі тốй не упôві́в шчо клади́ | і то́т держа́в на пле́чох | но | зна́ти зна́ли зна́ли тото́ лю́де | ГК но́ | та давно́ зна́ли ви́диш я́к | ІС то́т самы́й прині́с ни́хто | за ни́м не йшốв | ГК і ді́до наш | е славу́ників | славу́ник | IS: When someone stole a harrow from him. HK: Maybe there is an old man who told about the sacks that he will bring… they will bring… IS: No, the old man did not mean that. HK: But maybe… [Interviewer: What?] HK: There was one man here, and as he said, they later brought it to him. IS. Yes. He knew something. And he says: the guy will bring it himself, he will himself bring that harrow. He knew something, this father of Evka D’akova. HK: Yes, he really knew something. IS: Yes. He somehow… whether prayed or what, and that guy, he brought back the harrow, and people also said that he put it on his back these sharp nails down, and he was holding it untill the man told him to put it down, he was holding it on his shoulders. Yes. People used to know something. HK: Yes, long ago, they knew, see. IS: That guy brought it back by himself, no one went after him. HK: And our old man, Slavunik. Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 45 Recording, minute Text (22) Translation [21-1:43] коли́ на рôпу́ ходи́ли | но тай йшли́ | на рôпу́ | он туды́ ге́т за ху́ст | на рôпу́ давно́ з бочка́ми сякы́ми ходи́ли та | ІС у соло́твино | ГК ісь_ кі́ньми | а ІС у соло́твино ГК но та йшли́ ві́тты | а будова́ли | хы́жу лю́де | но тай ішли́ тай | ра́с кốні ста́ли | і кốні не піду́т | ІС на мі́сьці ся тốпчут | ГК на мі́сьці ся то́пчут і | ві́шта ві́шта ві́шта ай кốні не піду́т | на мі́сьці ся то́пчут | а якы́сь там бы́в | ка́же а ну́ | ка́же іди́ та принеси́ ми ка́же | трі́ску | ві́тты з будо́вы | но | тай па́к | ді́дови тôту́ трі́ску тот прині́с | но тай ді́до шчốсь я́ не зна́ю шчо там уже́ роби́в | і | ді́до | ві́шта | і кốні пішли́ | і | ді́до іде́ | When he went to get the brine, so they were riding there, beyond Khust. Long ago they went to get brine, they took such barrels. IS: To Solotvyno. HK: In horse driven carts. IS: To Solotvyno. HK: So they went from there, and people were building a house, and they were passing this house, and here, the horses stopped and wouldn’t go. IS: They were stamping their feet, but not moving, stamping in place. And there was such a man there, and he says, go and bring me a sliver. From there, from the building site. And he brought the old man that sliver, and the old man did something, I don’t know what he was doing there, and the old man said: gee! and the horses started. And the old man is riding, [21-1:44] ту́й | гốйкают із за́ду | чека́йте чека́йте чека́… а ді́до шчи́ май кốні | ру́шат | о́бы | кốні | ішли́ | ага́ | но та па́к | ІС ди́вит ай чôлôві́к біжи́т із за́ду | ГК чôлôві́к біжи́т біжи́т дога́нят | но́ тай | ді́до уже́ ма́ло хốтів | і пôмуштрова́ти то́го | ты́х | тай | ді́до уже́ ста́в | а шчо́ є шчо́ | ді́до такы́й му | шчо́ є шчо́ | йốй and here someone is yelling from behind: wait, wait, wait! And the old man makes his horses ran faster, so that they ran. And then… IS: They look, and a man is running towards them from behind. HK: A man is running after them, and catches up with them. The old man already wanted to teach them. So the old man stopped his horses: what is it? FOLKLORICA 2015, Vol. XIX 46 Recording, minute Text (22) Translation ка́же бі́йте ся бо́[га] | ка́же | чôлôві́к ка́же | ци пôруба́в ся ци уми́(і)рат | шчốсь тако́є | ага́ | но ка́же но іди́ іди́ ка́же | ни́ч му ка́же не бде́ ка́же | но обы́ сьте ка́же бі́льш ка́же тако́є не роби́ли ка́же | ді́до пôві́в | тай ді́до шчốзь_ зна́в і | ІС но | але якы́сь то́же зна́в | іс ты́х | ГК і та́м зна́в і ді́до знав | відверну́ти | та́м зна́в то́т іспе́рти фу́ру | that’s what the old man asks him: what? Oh, he says, what are you doing, don’t you fear God, he says, a man there, whether he cut himself badly, whether he is dying, something like that. Aha. Well, the old man says, go now, nothing bad will happen to him, but you guys don’t do that again, he says. That’s what the old man said. The old man knew something. IS: Yes. But someone from these guys also knew something. HK: There, a guy knew something, and the old man knew how to undo it. The guy there knew how to stop the cart, [21-1:45] а ді́до зна́в то́же шчốс | но | а хто́ його́ зна́є шчо́ він | но тай шчо́ він роби́в | на ті́ трі́сьці | де ôни́ будова́ли | |…| ГК будова́ли ха́ту ІС посла́в там дру́гого шчо прині́с | ві́тты | то пішốв іт ті́ будốві та прині́с йôму́ | дếсь та́к … но ГК ві́тты | но та недале́ко тото́ будова́ли дếсь коло доро́гы шчо то́т із… | іспе́р і кốні | ІС та́м де любу́ трі́ску буде́ теса́ти а те́шуть | то та́м and the old man knew also something. And who knows what he… and what he did with this sliver from the building site. [Interviewer: I just didn’t understand from where he got this sliver.] HK: They were building a house. IS: The old man sent another person to bring from there… That person went to this building site and brought him… Something like that. HK: From there. So they were building somewhere near the Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 47 Recording, minute Text (22) Translation круго́м | круго́м тріскы́ | круго́м буди́н[ка] ГК а ді́до загна́в | то́го вже сôпє́рника {супу́тника} сво́го | іди́ ми ка́же | принеси́ трі́ску ві́тты | тай ві́н прині́с тай ві́н | ді́до шчốсь на ті́ трі́сьць | шчốсь прôмốвив | тай то́го чôлôві́ка | тай | кốні ся ру́шили тогды́ | а чôлôві́к | упа́в шчо | road so that that guy could stop the old man’s horses. IS: There, any old sliver, they hew wood, and all around there are slivers, around the house. HK: And the old man sent that person who was going with him, go, he says, bring me a sliver from there, and he did, and the old man said something on this sliver, and that guy… horses could move then, and the guy, either fell or what, [21-1:46] я́ не зна́ю ци | пôруба́в ся ци | ци та́кôй при смêрти́ бы́ов ІС шчôсь му недо́бре ся зроби́ло | ГК а́й недо́бре ся зроби́ло та | чôлôві́к упа́в та | но | а | ІС а трі́ска вы зна́єте шчо | шчо теса́ти ГК но і | і | то́т пак | доганя́в ді́да | уже́ дру́гый доганя́в не то́т | а ді́до шчế шчế | цу цу́ кốні цу цу́ | кобы́ кốні ішли́ ма́ло | чого́ они́ тако́є рốблят ІС но тадь_ ді́до каза́в тếсьць мі́й шчо де́ то у вôлôся́ньці ци де́ | яка́зь_ ба́ба трахто́ры спе́рла | кôлгốспні трахто́ры | ГК но | тай …. ІС ішли́ дếсь через йêї́ | ве́зли | вози́ли гні́й веснốв | і дếсь пішли́ через йêї́ зếмлю | шо не зві́дали ся | ду́мают колго́с тай колго́с | і ба́ба | і трахто́ры туй ра́з нача́ли | всьо́ | на мі́сьці і | і спе́рла I don’t know if he cut himself, or was dying. IS: Something bad happened to him. /[he fainted] HK: yes, something bad happened to him. /[he fainted], and he fell down, yes. IS: And do you know what a sliver is? When they hew wood. HK: yes, and… he who then ran after the old man, it was another guy, not that guy. And the old man still more … gee gee horses, so that horses go a bit. Why would they do that. IS: And the old man said, my father-in-law, that somewhere in Volosianka, or somewhere, a woman stopped tractors, tractors from a collective farm. HK: Yes [unclear] IS: They were going through her… they were carrying manure in spring and somewhere went through her FOLKLORICA 2015, Vol. XIX 48 Recording, minute Text (22) Translation трахто́ры | і да́льше | ходи́ли | ту́ ба́бу проси́ти | шчобы пусти́ла тото́ | трахто́ры но | land, and did not ask permission. They think, it is collective farm, after all. And the woman… And the tractors at once started … in one place. So she stopped the tractors. And later they would go to that woman to ask her to let tractors go. [21-1:47] шчо́ то жêлі́зо | іспе́рла но | то ді́до роска́же тố у вôлôся́ньці бы́ло | то́ де льві́вська о́бласьць уже́ | ГК не у вôлôся́ньці ай о́де | тота́ | ІС в ялинкôва́тім | ялинкôва́ті ГК бога́тьська | ІС а бôга́тьська | но | то трахто́ры спе́рти то | кốні то́ йшче́ та́к | но а трахто́ры то́ уже́ жêлі́зо то́ | і всьо́ і трахто́ры на мі́сьці стоя́ли і ни йшли́ | не могли́ ру́шити ся і всьо́ | ГК ай мно́го тако́го | мно́го тако́го | шчо | шо є́ | є́ людếй шчо они́ шчốзь зна́ют | зна́ют | є́ ІС а шчế мо́же роскажі́т як лі́с руба́ли давно́ як пушча́ли | пô ри́зах | де́рево | то́же інтере́сно | лісору́бы коли́ руба́ли | ба́ба то́ | зна́є май всьо́ It is iron, and she stopped them. That the old man can tell, it was in Volosianka, it is already the Lviv region. HK: Not in Volosianka but here, that… IS: In Ialynkovate HK: Bohatska. IS: Ah, Bohatska. Well. To stop tractors, it is something. To stop horses, it is not that difficult, but tractors are iron. And all the tractors were standing in one place and did not go, could not move, and that was it. HK: But there are many such things, many such things are. There are people who know something, there are. IS: And also maybe you will tell as they cut wood long ago and let it down by such troughs, wood, that is also interesting, when the woodcutters cut wood. Our old woman knows that. [21-1:48] … ГК с то́го бốку жоло́бы | і с сьо́го бốку де́рево і с то́го HK: There are troughs on that side, wood from that side, wood Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 49 Recording, minute Text (22) Translation бốку де́рево | і та́к | я́к о о́нде з | ге́ руба́ли близнếць но айбо не тако́є | та то́ | роби́ли тото́ ри́зы та́к шчо ІС айбо та́м на сьпі́д які́сь дошкы́ кла́ли ГК м ІС дошкы́ якісь на спі́т | нє́т ГК не дошкы́ ай тоты́ | баланьчі тоты́ | тôнкі́ май де́рева тоты | гôрі́ | но тай як | як | руба́ли | та гôрі́ | і дôлі́ ты́м ма́ло так пушча́ли | ІС там якốсь коти́ли в ри́зы | ГК но та якốсь | уже́ у ни́х тото́ там бы́ло я́ | шчốсь тако́є пốмню | бêрова́ли та | ІС тако́є рошши́рêня мо́же бы́ло там | ГК та ли́ш ІС і туды́ | кача́ли де́рево ішло́ по рі́зах тоты́х | то дале́ко мо́ж бы́ло | from this side, and like this, as here. So they were cutting wood, on the Twin mountain, but not like this, and they were making such troughs, so that… IS: But they put some boards underneath. HK: What? IS: They put some boards underneath, no? HK: Not boards but such… small pieces of wood, these thin trunks. Up there. When they cut wood up in the mountains, they let it go down these troughs. IS: They put it somehow in these troughs. HK: Yes, they had this up there. I remember something like that. They were strong. IS: Maybe there was such wide place there. HK: Should be. IS: And they rolled the wood there, and it went down these troughs, it could go far. [21-1:49] ГК дале́ко дале́ко йôй та пра́вда шчо там | ІС куды́ хôті́ли цапи́нами ГК го́споди | тай | я́ коли́ бы́ла у тốму | о́нде у при́слôпі | ІС айбо сіда́йте бли́же бо | не бде́ чу́ти ГК а вы́ пи́шете | у сі́янці | но HK: Yes, very far, that’s right. IS: They pushed it where they wanted with hooks. HK. Oh. And when I was there, in Pryslip… IS: Move closer, or you won’t hear. HK: And you are writing? In the nursery where they grow FOLKLORICA 2015, Vol. XIX 50 Recording, minute Text (22) Translation так тêпếрь та ссе́ уже́ конếць | ІС шчо ГК та ішло́ де́рево та і всьо́ та і шчо́ там ІС но та ка́жу я́к тото́ там пушча́ли я́ не зна́ю ГК пушча́ли де́рево і сходи́ло тото́ ге́ то аж | на стака́ду | а́йно | як пушча́ли | та́к із го́ры | а я́ бы́ла | …. у дру́гім сêлі́ | у сі́яньці | смêрічкы́ сьме сади́ли | то́ ся тра́пит | но та | а лю́де дале́ко дале́ко | young spruces. Well, now it is the end already. IS: What? HK: The wood was going, and that’s it. IS: Yes, and I say I don’t know how they let it go down there. HK: They let the wood go down and it went down. The let it down from the mountain. And I was in a different village, in a nursery, we were planting spruces. That happens. And people far away [21-1:50] руба́ли та пушча́ли | дерево та́м | уу | неда́леко коло се́бе | а єнна́ шту́ка ся він_ ни́х | вы́рвала | то́ я свốйима очи́ма тото́ | ві́діла мно́го рас | та | дале́ко та́к як | о́н із он то́го вêрьха́ | як | ге́т он та́м | та́ шту́ка | як ішла́ | та вда́ріть_ ся у пня́ | та д гốрі | а да́ле та́к іде́ іде́ | і та́к і та́к | і тото́ через зру́б дале́ко ішло́ | і дốті шчо прийшло́ | мы́ єнны́ | но | ско́рше мы пішли́ та на дру́гый бі́к исьме | перебі́гли ско́ро | та гốйкаєме | на дру́гых тіка́йте тіка́йте бо | де́рево іде́ | ага́ | через зру́б | мы́ ві́діли | они́ не ві́діли тото́ де́ там | ішчế ся лиши́ло | ай мы́ ві́діли зру́бом | were cutting wood and letting it go down. The wood. Not far from themselves. And one log got away from them. I saw it with my own eyes, many times. And it was far, like from that mountain over there. This log, as it went down, it hit against a stump and went up, and then went down like this, through the trough (?). And until it came… we… we went before that and went to the other side, run there real fast, and we are yelling to others: run, run, because a log is going down, across the trough(?). We saw it and they did not see it. It was still there, and we saw how it went down the trough. [21-1:51] і прийшло́ і пак | уда́рило было но шчо пак ї зві́тты прине́сли | я́ пак забы́ла | пак у бо́лници бы́ла | шчо | And then it hit, and then they brought her from there. I forgot how it was. She was in a hospital then, it did not kill her. Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 51 Recording, minute Text (22) Translation зốвсім на́сьмêрть і | не уби́ло не́ | тото́ | тото́ є́ тако́є шчо | де́рево | і де́рево тако́є є́ | шчо му́сит попа́сти | на ко́гось шчо му́сит уби́ти | та́к каза́ли ка́жут а бо́г зна́є | |…| ГК є́ тако́є де́рево ага́ | шчо му́сит попа́сти обы́ | уби́ло | всьо́ є на сьві́ті | бо́г сяты́й зна́є | всьо́ є на сьві́ті | |…| ГК я́к |…| ГК та ка́ут шчо є́ | That happens that a tree, there is such a tree that must hit a person, that it must kill someone. That’s what people say, God knows if it is right. [Interviewer: That there is such a tree?] HK: There is such a tree, yes, that must hit someone and kill. There is everything in the world. Holy God knows. There is everything in the world. [Interviewer: Does it happen that something makes a person gets lost in the forest?] HK: What? [Interviewer: Does it happen that something leads a person astray in the woods?] HK: People say it happens. [21-1:52] ка́жут шчо є́ є́ шчо | мо́же мо́же | як ра́з іва́н учо́ра | сно́чи прика́зовав ôрі́хы тốвк | я́ та у на́с єде́н ту́йкы | сếсь шчо я каза́ла | сếсь | юри́к | миха́йло ю́рьйович каза́в | шчо глухы́й на у́хо | вы коло ньо́го бы́ли коло то́го | шчо глухы́й | ага́ | но | та каза́в шчо пішốв на ôрі́хы в нêді́лю | давно́ шчê і при кôлгốзі | ага́ | та́м на єнно́ по́ле | і каза́в шчо води́ло го | шо ві́н не зна́в куды́ вы́йде | туды́ пішốв а три́ ра́з ôбыйшốв | нао́коло та тогды́ ся оптями́в | шчо води́ло го у | я́ каза́ла They say that there is something that… Yes, it happens. Ivan just told last night, when he was grinding walnuts. There is one guy here, the one I told you, this one, Yurik, Myhailo Iurievych told, the one who is deaf in one ear. You were to his place, the one who is deaf. Yes, so he said that he went to gather nuts once on a Sunday, long ago, at the time of collective farms. Yes. There he went to a field, and he said something made him lose his way, so that he did not know where he was going. He went there, and went three times around, and then he came to himself. Something led him FOLKLORICA 2015, Vol. XIX 52 Recording, minute Text (22) Translation шчо за то́ шчо в нêді́лю йшốв | при слу́жбі́ | astray. I said it was because he went on Sunday at the time of the church service. [21-1:53] та за тто́ го води́ло | є́ є́ тако́є є́ | куды́ йде́ люди́на | перехрести́ти ся тре́ба | помоли́ти ся тре́ба | ішли́ | три ді́вочкы | черес штрếку | ішốв пốіст | і они́ як ра́з | прийшли́ | прийшли́ і ду́мают | пере́скочиме | і они́ пере́скочили | штре́ку та | ли́ш пере́скочили тай | тай пốіст | так | а | то́ загна́в | ста́ршый дия́вол ме́ншого | дия́вола | обы́ іх | уби́в | обы́ іх там | маши́на уби́ла | тогды́ прихо́дит | ка́же | а чôму́ сь ка́же не зроби́в чôму́ они́ ка́же перейшли́ | And because of that something led him astray. There is something like this. If a person goes somewhere, one needs to make a sign of the cross over oneself, and pray. Once three girls crossed a railway. A train was coming, and they came to the rails and thought: we’ll jump it. And they jumped it and as soon as they were on the other side, the train came. And a chief devil sent a younger devil so that he should kill them, so that they get run over by the train. So the devil comes back and that one says: why didn’t you do that, how come they could cross safely? [21-1:54] бо ка́же | єнна́ ся перехрести́ла | а дру́гу ма́ти перехрести́ла | а тре́та ôпя́т | моли́ла ся | і ка́же і не мі́г я тото́ ка́же зроби́ти | то всю́ды тре́ба лиш | пôмоли́ти ся перехрести́ти ся | іде́ в дôрốгу перехрести́ти ся | а́нгелика проси́ти прêсьяту́ ді́ву на пốмôч | тай | бо́г пома́гат тогды́ | |…| но та і то́ ка́жут шчо і тото́ | є́ тако́є | но | тай шчо́ | то́ від усьо́го лиш тре́ба ся моли́ти | And this one answers: because one made a sign of the cross over herself, and the other, her mother crossed her, and the third one prayed. And, he says, I could not do that. Everywhere you go, you need to pray and make a sign of the cross, if you go somewhere, and ask an angel, and the Holy Virgin to help you. And then God helps you. [Interviewer: Does it happen that a person sees something at night?] HK: Yes, people say that also happened. And what, you just need to pray against everything, Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 53 Recording, minute Text (22) Translation [21-1:55] від усьо́го | [при]ви́дить ся і | ся бойи́т та моли́ти ся тай | тай тото́ якốсь | прохо́дит бо́гочко | хорони́т | люди́ну | як ка́жут | без бо́га й не до поро́га | |…| у лі́сі | та я тото́ то́же чу́ла но а я́ зна́ю ци то́ мо́же бы́ти | шчо то́ а́йно у лі́сі | чека́йте | шчốсь то шчê хốтіла каза́ти | against everything. It can show itself to you and… one is afraid, and one needs to pray, and that thing somehow disappears. God protects a person. So they say, without God you cannot go even as far as a threshold. [Interviewer: And people say, something one can hear music in the woods?] HK: In the woods? I also heard that, but I don’t know whether it can be… what that is… Yes, in the woods… Wait, what was it that I wanted to say? [21-1:56] є́ є́ тако́є є ́| де́ люди́ну убьє́ | убьє́ ци ге́ | та́к гі де́рево вать шчо́ | і та́м гốйкат гốйкат | і ссе́ ге́ шчо іва́н ка́же шчо | шчо сьме пе́рше говори́ли | сêсі́ ри́зы шчо сут | та та́м | уб’є́ чôлôві́ка | не ра́з каза́ли лю́де шчо | я́кôсь ся не вітсту́пит і де́рево | надле́тить_ і убь’є́ і всьо́ | і пак там гốйкат | ва́рды ва́рды гốйкат та́к як лю́де гốйкают та | такы́м го́лосом гốйкат ва́рды ва́рды ва́рды вбы́ ся вітступа́в ва́рды | ге то та́к у | людếй шчо роби́ли в лісу́ та такі́ слова́ | слова́ бы́ли | не ка́же шчо вітступи́ ся ай ва́рды ва́рды ва́рды | Yes, there are such things. Where a person gets killed, so as, for example, a tree kills a person, there something shouts. And that is, what Ivan said, that we just talked about, that there are these troughs, and there, people said many times that, if one does not move over and a tree goes down and kills him, then later it shouts there: vardy vardy! It shouts like people shout, it says vardy vardy, so that one gets out of the way. That is, people who worked in the woods, they had such words, they wouldn’t say “get out of the way”, but vardy vardy. [21-1:57] |…| із вівця́ми | |…| [Interviewer: And when people go herding sheep, do they see something there?] HK: Herding sheep? FOLKLORICA 2015, Vol. XIX 54 Recording, minute Text (22) Translation я́ шчôсь не чу́ла | обы́ вівчарі́ тото́ каза́ли | ци мо́же тако́є бы́ти | шчốсь | не зна́ю | |…| як |…| а́нгел | |…| [Interviewer: When they stay there.] HK: I haven’t heard shepherds say anything like that, whether such things happen. I don’t know. [Interviewer: And does it happen that people see something in dreams?] HK: What? [Interviewer: Say, they see an angel…] HK: An angel? [Interviewer: Or something like this. Or a person who has died.] [21-1:58] а́ | люді́на ся сни́т | а́ | тако́є ся сни́т сни́т людина́ | як | шчо умре́ | но та шчо́ сни́т ся | у на́с бы́в | єдếн хлốпіць | у два́ціть три́ ро́кы утопи́в ся у ла́твії | а́рмію вы́служив всьо́ | пішốв на рôбốту тай | тай та́м ся втопи́в | і ві́тты го пак приве́зли сюды́ | ту́й | ту́й исьме го хорони́ли | та м[êнь]і́ ся | то́же пак сни́ло | а перет то́го | ишчế як ма́в | уже́ | вы́йти дôмі́ ци мав уме́рти ци шчо́ | та ві́н ся самы́й не втопи́в ай | дру́гый го втопи́в быов | дво́х людếй | єдếн лиши́в чôлôві́к сем…. шесте́ро дітếй | HK: Yes, one can see a [dead] person in a dream. Such things come in a dream, people who have died do appear in a dream. We had one son, and when he was twenty-three, he drowned in Latvia. He finished his army service, started working there, and there he drowned. And they brought his body from there here. We buried him here. And I had a dream. Even before, when he had to come home, or had to die, or what. But he did not drown by himself, another person made him and another guy drown. That guy left seven… six chilren behind, [21-1:59] шчо утопи́в ся | то́т прі́гнув {ско́чив} | як они́ сі́ли | дếсь | ма́ло тото́ | дếсь | уве́зли ся на лốцьці | та они́ два сі́ли | на́ш | хлốпêць тай | той то́т the guy who got drowned. And this person jumped, after they sat… They went somewhere in a boat, and they two were sitting there, our son and that Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 55 Recording, minute Text (22) Translation чôлôві́к іс синичо́ла о́нде | тай ве́зли ся а то́т | при́гнув якốсь на лốтьку і лốтьку переверну́в і всьо́ | та на́ш попа́в у круті́ль | та́к | сто́ячи го й найшли́ там не мі́г ві́тты ві́н ду́же зна́в пла́вати тай | борони́ти ся віт тако́го | попа́в у круті́ль і не мі́г | но́гы вы́тягнути ся́к но́гы му бы́ли в піску́ | а то́т | то́т ся утопи́в то́же | чôлôві́к | шчо зна́ю каза́ти | та перет то́го | мні́ ся сни́ло і сни́ли сны́ ми ся сни́ли | man from Synychiv, they were in the boat, and this guy jumped somehow in the boat and turned the boat over, and that was it. And our son got into a whirlpool like this, standing. Because they found him there, he could not get out from there. He had known how to swim, and how to protect himself from such things, but he got into a whirlpool and coud not get his feet out of there, and his feet were in the sand. And that other guy also drowned. I don’t know much about that. And before that, I saw a dream, I saw several dreams. [21-2:00] усе́ | жона́ у бі́лім і ді́до у бі́лім | і о та́к | та́к як о та́к сі́в | і они́ там стоя́т а я́ ту́й | тото́ всьо́ бі́лоє комна́ты бі́лі | усьо́ | усьо́ | бі́лоє тако́є шчо | но | та́ґ_ як сьні́х | но і жона́ мêні́ за є́нно писа́ла | ба айбо кêдь ни́ґда не тямлю́ | не | на́шчо бду́ каза́ти шчо тто́ вадь тто́ бо | я́ не тя[млу́] | а она́ мêні́ всьо́ писа́ла | шчốсь писа́ла | і ра́з мні́ ся сни́т | но чека́йте | ôпя́т такы́й | такы́й вели́кый ді́м | і о та́к | дêсь ся́к сякы́й вели́кый калідо́р | і сь сьо́го бốку коси́сі і с то́го бốку | And it was always, a woman in white and an old man in white, and like this, and he were standing there, and I was here, and all that was white, and the rooms were white. Everything was white as snow. And that woman was always writing… But I don’t remember, and I won’t say what it was, because I don’t remember. And she was always writing, writing something. And once I saw a dream. Wait, how was it. Again, there was such a large house, and such a large hallway. Flowers on that side and on this side, [21-2:01] тото́ всьо́ у коси́цях | ві́тьсі захі́д | і я́ якốсь | тото́ іду́ іду́ | туды́ | і | і та́ґ_ гі бы у дру́гі ко́мнаті тай і о та́к у кốмнаті | а/йбо і тото́ | бі́лоє | а та́м о everything was covered with flowers. From there, there was an entrance, and I was walking there something, into another room, and in that room FOLKLORICA 2015, Vol. XIX 56 Recording, minute Text (22) Translation такі́ діточкы́ | та́к яґ_ бы іх пôстри́х усьо́ у бі́лім | і межи ни́ми ді́до | у бі́лім | ді́до вы́шшый | а діточкы́ оть_ сякі́ круго́м | усьо́ у бі́лім у бі́лі оде́жи | і ка́же мні́ | і ка́же ді́до мні́ | ишчế нам ка́же єдно́… | єди́н хыби́т | о та́к мні | ішчế живы́й бы́в | уже́ уме́р | та я́ не ка́жу ай | ай ка́же шчế нам ка́же єде́н | тре́ба нам ка́же | єди́н хыби́т | но і ни́ч та тото́ со́н | я́ тот со́н ни́ґда не мốгу забы́ти | everything was also white, and there were sich kids there, all the same height, and all in white, and among them there was an old man in white. The old man was taller, and the children were like this, around him, all in white, in white clothes. And he says to me, the old man says: we are missing one more, one more. And so I saw it… he was still alive… or already died. I don’t say anything. And he says, we need one more. And that’s it, that was my dream. I cannot forget this dream. [21-2:02] і то́д_ ді́до передо мнốв і тоты́ діточкы́ | но то́го бы́ло | коло ді́да | і я́ | мêні́ тото́ уже́ ни́ч | но ай | і ту́й рас | утопи́в ся | выхо́дит шчо | уже́ звốнят ви́тты шчо | не ка́жут шчо утопи́в ся ай | нешча́сный слу́чай тай | пак пішốв туды́ уже́ чôлôві́к | уже́ го там не заста́в бо они́ го вітпра́вили ві́тты бы́ли | маши́нôв | о́й го́споди | но тай | тогды́ коли́ і́х уже́ ве́зли | та ту́й исьме ходи́ли уже́ на по… | то все́ | но та шчо́ я́к як шчо́ | якы́й слу́чай | не хôті́ли каза́ти шчо втопи́в ся не хôті́ли лиш слу́чай тай | And I see this old man in front of myself, and these children, around him. And that was it. And then my son got drowned. They send me… They called me from there and said… They did not say he drowned himself, they said it was an accident. And my husband went there, but he did not find him there because they already had sent the body from there in a truck. Oh my God. And then while they already sent here these two bodies, we went to ask diviners. And what was it, what kind of an accident, they did not want to tell me that he had drowned, did not tell, just said “an accident”. [21-2:03] поби́ли поби́в ся та ссе́ та тото́ от | но й ни́ч | і ту́й мні́ ся уже́ коли́ іх ве́зли дôмі́ | і чу́й мêні́ ся сни́т | уво львốві | Whether he hurt himself, and this, and that. And I didn’t say anything. And again, I hear in a dream, “they are in Lviv, in Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 57 Recording, minute Text (22) Translation та | у ôльвốві су́т | і на дếвядь_ го́дин ка́же буду́т ту́йкы у новосе́лиці | і ві́діла м які́ | тото́ тру́ны | та́м шчо шчі у львốві бы́ли | та́м им ві́діла | які́ тру́ны | і я́ ту́йкы | уже́ у ня́ ту́й уже́ спля́т | сестра́ тай с при́слопа нêві́стка | ту́йкы сут | тай ка́жу | устава́йте ге́т | та ка́жу | ладі́т да́шчо і́сти а шчо́ | ка́жу на дếвїдь_ го́дин ка́жу | ту́й буду́т ка́жу лю́де везу́т ка́жу | не́ поби́тых ка́жу ай мертвы́х ка́жу дво́х ка́жу везу́т | они́ нача́ли у дві́ на ме́не | Lviv, and they will be here at nine o’clock, here in Novoselytsia”. And I saw the coffins, when they still were in Lviv. I saw them in a dream, what the coffins looked like. And here, I had a sister in my house and a relative from Pryslip, they were here, and I said, get up, and, I said, make something to eat, because, I say, at nine o’clock there will be people here, they are bringing not the injured people, but dead people, I say, two of them. They both started saying, [21-2:04] шчо́ ты тако́є шчо́ ты тако́є со́н та со́н | шчо́ ты у со́н | ві́руєш тай шчо́ | я́ ка́жу не ві́рую ка́жу но та́к ка́жу | буде́ | ка́жу на дếвять і то́чно на дếвять_ го́дин бы́ли ту́й у новосе́лиці | ту́й о́де га гати́ | но тай тай і шчо́ | ра́с ся | потопи́ли і потопи́ли | ту́йкы | шо́фер уже́ то́т шчо вы́віс | тай ка́же і́х ка́же утопи́в ка́же они́ ся ка́же сами́ не потопи́ли | айбо | та ка́же | обы́ іх дава́в обы́ го дава́ли на тото́ | та́ґ_ гі в су́д | а мы́ пак ся | пора́дили ка́жу | чôлôві́ку | та шчо́ нам ка́жу тото́ да́сьць | шчо його́ пôсу́дяд_ василя́ ка́жу не не бы́ло | ниє́ тай не бде́ ка́жу | а на́м шчо та обы́ алиме́нты вбы нам плати́в та шчо́ тот | шчо іх утопи́в | what are you talking about, it was a dream, do you really believe in a dream. I say, I don’t believe, but it will be like that, at nine o’clock. And exactly at nine o’clock they were here in Novoselytsia, there on the bridge. And so what. They got drowned. Here, the driver who brought the bodies here, he said, that one made them drown, they had not drowned by themselves. And he said, that guy should be sued. And we talked about this, and I said to my husband: what use will it be to us that that guy will be in court? Vasyl is dead, and why we need the money that the one who made them drown should pay us. FOLKLORICA 2015, Vol. XIX 58 Recording, minute Text (22) Translation [21-2:05] не тре́ба | ка́жу нам іва́не | ни алимếньтів ни ни́ч | бо василя́ ниє тай | тай на́с ка́жу ту́й мо́же ско́ро не бде́ | тай | сімдêся́того рốку | сімдêся́того рốку лише́ | вже́ кі́лько тото́ | за́раз | тото́ | сốрôк рốків | о го́споди бо́же мій | но тай та́к | та бы́ли сьме да́шчо хốдь і́ли ма́ло Ivan, I say, we don’t need this money or anything, because Vasyl is dead, and we will probably be dead soon too. It was in 1970, in 1970. How long ago was it? Forty years ago. Oh my God. Well it was like that. Will you come and eat something? [22-00] ……………. (27) ГК ішốв | пан так як | ґрốв | я́ґ_ бы тêпếрь каза́ти |…| рôзумі́єте | но шчо | його́ всьо́ | там | тốня пшени́ця сесе́ всьо́ та йшốв тото́ диви́ти | та ві́з го кốчіш | но́ уже́ на | ІС кốньох ГК на ко́нях на ті́ | я́к тото́ ся ка́же | на бры́цьці | ага | на такі́м | дві́ ко́леса вели́кі | і | тото́ тако́є | бры́чка | каза́ли | і іду́т | і стріжа́ют | ци́ганы | ци́ганы іх | но і | ци они́ стрі́тили ци я́к уже́ | стрі́тили цига́нів | тай та́м гôвôря́т | тогды́ пан ка́же | а | а я́к вы жи́єте іс чо́го вы́ жи́єте | па́н зьві́дат ци́ганів | мы́ з манты́ | …………………… HK: A nobleman was riding, such as a count, how would we say now? [Interviewer: I understand.] HK: You understand? Well, so that everything was his, there was a large plot of land, wheat, all that. And he went to look at that all. And a coachman was driving him. Well, on… IS: Horses. HK: On horses, on… what do you call it… in a coach. Yes, on such… two large wheels, that was a coach, they called it. So they were going, and they met Roma. Or Roma met them. Or they met Roma, or however it was. And they were talking. The nobleman said: how do you live, how do you earn your living? that’s what the noblemen asked the Roma. - We, we live from manta. [22-01] ци́гане ка́жут мы́ з манты́ жи́ємо | та яка́ тото́ у ва́с ма… із якốї манты́ | та мы́ бы вам ка́же | указа́ли айбо ту́й The Roma say: we live from manta. -- What is that manta of yours, from what manta do you live? -- We could tell you, they Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 59 Recording, minute Text (22) Translation ниє́ | бо лиши́ли сьме | дếзь_ закопа́ли | в зếмлю там | ту́й ниє́ коло на́с ай йти́ бы за ним | за нếв | коби́ сьте нам да́ли кôня́ та | пішốв бы | о́де | єде́н ци́ганин | ага́ | но тай на́те та ка́же | та йді́т та прине́сете | пішốв тот | чека́ют чека́ют | ниє́ того́ | ниє́ того́ з мантốв | но | тай ниє́ тай ниє́ ба шчо́ ниє́ го | йốй ка́же тото́ я́ закопа́в | а ві́н не мо́же найти́ | да́йте нам | да́йте нам кôня́ | та піду́ й я́ тай | при | прине́се | манту́ | но | тай тото́ | вы́прягли кôня́ | say, but it is not here, because we left it somewhere, we buried it in the ground there. It is not here, we would need to go get it. If you could give us a horse, then one Roma could go fetch it. -- OK, here is a horse, the nobleman says, come and bring it. So one Roma went off. They were waiting and waiting, the Roma did not come back and did not bring the manta. He is not coming, so where is he? And [another Roma] says, oh, I buried it, and that guy cannot find it. Give us a horse so that I can also go, and I will bring it. Well, they unharnessed the horse. [22-02] ка́же а ну́ на | сіда́й | то́т на кôня́ сі́в | но́ ка́же | тêпếрь | єде́н тягні́т дру́гый пха́йте ка́же | а то́т | а то́т пішốв за мантốв наохте́ма та ôба кốні взя́в | а тота́ | а коли́ | тота́ кôчі́я ся лиши́ла і па́н ся лиши́в | і кốчіс_ ся лиши́в усьо́ ІС ци́ган сі́в на кôня́ та ка́е | здôрốві бува́йте ГК а́йно а́йно здôрốві быва́йте ІС єдно́ тягні́т а дру́гі | пха́йте | ГК а дру́гі пха́й обы́ | єде́н обы́ тягну́в а дру́гый бы | труча́в із за́ду | ІС от тôбі́ і манта́ The nobleman says, get on the horse. The Roma got on the horse and says: now one pull [the coach], and the other, push it. And off he went, and never came back, this way he went to fetch the manta. They took both horses. And the coach remained, and the nobleman remained, and his coachman remained. IS: The Roma got on the horse and says: fare you well… HK: Yes, yes, fare you well… IS: One person, pull it [the coach], the other, push it. HK: And the other, push it. So that one would pull it, and the other, push from behind. IS: That’s the manta. FOLKLORICA 2015, Vol. XIX 60 Recording, minute Text (22) Translation ГК но тай тôбі́ манта́ | тай цига́не та́к із манты́ і жи́ют | та́м ôбманя́т та́м ôбману́т тай цига́не так жи́ют із манты́ | но | шчế м ся нагада́ла та д[у́маю] уже́ і сесе́ | оби́ сьте ма́ли HK: Yes, that’s the manta. And the Roma live from that manta. They deceive here and deceive there, and so they live from manta. Well, and also I remembered another story, and I think let it be here, so that you have it. [22-03] [си́]рôту не жа́луй | а жôні́ пра́вду не кажі́ | а па́нови́ гро́… | ци па́ну | ци кốму ІС а па́ну гро́шêй не зы́ч ГК па́нови грốшêй не зы́ч | оно́ так є́ бо | бо | бы́ов уже́ чôлôві́к но | жона́ | тай шчốсь тото́ гôвôря́т тай ка́же | чôлôві́к | я́ ка́же | та́м жи́да | а ві́н не зарі́зав | я́ ка́же зарі́зав жи́да | жи́да ка́же | айбо оби́сь ка́же | никốму ка́же не каза́ла | оби́сь не пôві́ла | но тай ни́ч | ра́зь_ ві́н прихо́дит ци вы́пившый ци шчо́ тай шчốсь | на жôну́ шчốсь та́м нача́в | ІС е та бы? вы́ роска́зуйте ГК ге ІС жи́да поча́ли гля́дати | уже́ і пôлі́ція | і всьо́ жи́д пропа́в | а ві́н ся договори́в із жи́дом | я́ тебе́ спря́чу дếсь | та бу́ду каза́ти шчо я́ тебе́ | уби́в | но | тай | туй пішла́ шуми́ха по селу́ | ГК бо я́ | бо я́ уже́ і забува́ю | Don’t pity an orphan, and don’t tell truth to your wife, and money… don’t lend money to a nobleman? or to who? IS: Don’t lend money to a nobleman. HK: Don’t lend money to a nobleman, that is right, because… There was a husband and a wife, and they speak, and the husband says: I, he says, I killed a Jew. But he didn’t kill this Jew. He said: I killed the Jew, just don’t tell anybody, don’t tell. OK. So once he comes home, either drunk or what, and started saying something unpleasant to his wife. IS: [unclear] You tell. HK: What? IS: People started to look for the Jew, already the police started searching, the Jew had disappeared. And that man arranged it with the Jew, I will hide you somewhere, and I’ll say that I have killed you. So there was unrest in the village. Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 61 Recording, minute Text (22) Translation HK: Because I forget things sometimes. [22-04] вши́ткоє ІС но | жи́т пропа́в | ГК но тай ни́ч | а ві́н прийшốв дôмі́ тай шчốсь на … | но на жôну́ нача́в гốйкати ІС а жона́ ка́же | я́ никốму не упôві́м | бо | ка́же жона́ | шчо́ ты такы́й сумны́й хо́диш | та | ни́ч | та ты́ ми пôві́[ч_] та я́ никốму не упôві́м та я́ твốя жона́ | бо йôму́ каза́ли шчо жôні́ пра́вду не кажи́ | та ка́же зна́єш я жи́да уби́в | шчобếсь не пô… та де́ я никốму не упôві́м | но тай да́льше уже́ | ГК но тай | нача́в шчốзь_ гốйкати | а ôна́ | ІС заві́в сканда́л такы́й | із жôнốв | ГК а́йно | чека́й | ты́ ка́же жи́да уби́в ка́же | та ты́ ка́же | я́ ка́же тебе́ загôлốшу | ты́ жи́да уби́в | ІС вы́бігла на у́лицю тай поча́ла гốйкати | уби́в жи́да тай мене́ хо́че вби́ти | ГК а́йно | но | ІС а каза́ла шчо никốму не упôві́сьць | ГК но а жона́ | Everything. IS: Well, the Jew disappeared. HK: OK. And the man came home once, and somehow he started shouting at his wife. IS: And the wife says: I won’t tell anybody. Because the wife had started asking: why are you so sad? -- Well, nothing. -- But do tell me, I won’t tell anybody because I am your wife. Because someone told him not to tell the truth to his wife. -- You know, he says, I killed a Jew. Don’t… -- No, no, I am not telling anybody. And then… HK: So he started shouting for some reason, and she… IS: He started an argument, with his wife. HK: Yes. Wait, you killed the Jew, she says. You, she says, I will denounce you, you killed the Jew. IS: She ran outside and started yelling: he killed the Jew and now he wants to kill me. HK: Yes, yes. IS: And she had told him that she wouldn’t tell anybody. HK: And the wife… [22-05] но та за тто́ | шчо | ка́жут шчо жôні́ пра́вду не кажи́ шчо она́ на нếї | не вы́держит And because of that… People say, don’t tell the truth to your wife, because she won’t be able FOLKLORICA 2015, Vol. XIX 62 Recording, minute Text (22) Translation шчо она́ | му́сит | вы́пôвісти | бу́ть шчо́ |…| а си́рôту не жа́луй бо | си́рота | при́йде тай | ІС служи́в | оди́н е то́же чôлôві́к жи́в са́м оди́н | і наня́в сôбі́ слугу́ | но слугу́ обы́чного слугу́ | но | айбо ту́й прійшло́ уже́ мо́же і три́ ро́кы | уже́ чôлôві́к ка́е уже́ мêні́ не тре́ба тебе́ | забира́й ся уже́ | забира́й ся ге́т | уже́ мні не тр… | айбо | си́рот… | слуга́ уже́ і не йде́ | я́ ка́е я́ уже́ ту́й прожи́в туй рокы́ я́ уже́ ту́й ма́ю | ма́ю сві́й у́гол | я | уже́ не йде́ всьо́ | но | тай ту́й | уже́ чôлôві́к да́в того́ | у су́д | шчо то́т не хо́че | не хо́че йти́ | ГК выступа́ти to hold it, she just needs to tell it, whatever the circumstances. [Interviewer: And why should you not pity an orphan?] HK: And don’t pity the orphan because the orphan will come and… IS: He served… One man lived alone, and hired himself a servant. A servant, a regular servant. But it happened so, maybe three years later… That man says, I don’t need you anymore, go, go, I don’t need… But the orph… the servant won’t go. He says: I have lived here for these years, I have my own place here, I… and he is not leaving. That man sued him, because the servant did not want to go. HK: To leave. [22-06] ІС выступа́ти хы́жу {с хы́жи} | тай пода́в у су́д | тай ни́ч тай су́д | су́дит | но | чôлôві́к ка́же | ві́н | три́ ро́кы чи жи́в чи не жи́в мо́же і не жи́в а то́т ка́же | я́ жи́в я́ шчế й ту́ ха́ту ка́же будова́в | ка́же | я́ там | а давно́ не бы́ло гвốзьдів | а о тоты́ коли́ роби́ли кры́ші | тоты́ ла́ты там забива́ли чо́пами дêрêвя́ными чо́пами | а ві́н пішốв | на черда́к | поличьив усі́ | чо́пы | поличи́в всі́ чо́пы кі́лько та́м бы́ло | ка́же на суді́ | я́ ті́лько й ті́лько чốпів натеса́в | я́ сю хы́жу будова́в | якшчо́ не ві́ртите піди́т IS: To leave the house. So he sued him. OK, there is the court. The man says: he lived at my place for three years, whether he lived that long, whether he did not. And the servant says: I did live there, I actually built that house. Long ago there were no nails, and when people made roofs, they nailed these planks with wooden nails. And he went to the loft, and counted all the wooden nails. He counted the wooden nails, how many were there. And in court he says: I have made that many wooden nails, it was me who built that Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 63 Recording, minute Text (22) Translation пораху́йте | ты́ пішли́ | порахува́ли то́ччно ті́лькô чốпів | а зьві́дают | зьві́дают уже́ хôзя́іна | хôзя́ін не зна́є | кі́лько чốпів | а ві́н | а ві́н зна́є | но тай шчо́ но тай | тай присуди́ли йôму́ | ГК хы́жу ІС та не хы́жу но | house, and if you don’t believe me then come and count. They went, counted the wooden nails - exactly the number he had said. And when they asked the master, the master did not know how many wooden nails were there. So what? The court gave him… HK: The house. IS: Not the whole house, [22-07] яку́сь там ча́стку уже́ | ôдьді́льну ко́мнату ци я́к | ГК обы́ жи́в | обы́ там жи́в | ІС но | тай ка́жут шчо си́рôту не жа́луй | ГК а́йно | си́рота хôть шчо́ мо́же зроби́ти ІС а па́ну гро́шêй не зы́ч | якшчо́ ты́ позы́чиш па́ну гро́шêй ві́н тôбі́ нико́ли не відда́сьць | такы́й про́стый відда́сьць а па́н не відда́сьць ка́ж[е] па́ну грốші не зы́ч | тай то́ та́к є́ | |…| ……………. |…| ІС ві́ткы самого́нка пішла́ ГК бы́в чôлôві́к та жона́ дітếй у ни́х не бы́ло | но тай чốлôві́к пішốв ора́ти | ІС сам | із вола́ми ГК тай | га | ІС са́м оди́н із вола́ми some part of it, maybe a room or what. HK: So that he could live there. IS: Yes. And that is why people say, don’t pity an orphan. HK: Yes, the orphan can do whatever. IS: And don’t lend money to a nobleman. If you lend money to a nobleman, he will never pay you back. A common man will pay, but not a nobleman. So they say, don’t lend money to a nobleman, and that is true. [Interviewer: I also heard a story once that people had to take their parents to the woods… Did you hear that?] ………………….. [Interviewer: Please tell me that one!] IS: Where moonshine came from. HK: There was a man and his wife, they did not have children. FOLKLORICA 2015, Vol. XIX 64 Recording, minute Text (22) Translation ГК са́м із вола́ми пішốв ора́ти | So the husband once went to plough his field. IS: On his own, with his oxen. HK: On his own, with his oxen, he went to plough his field. [22-08] тай прихо́дит ід ньо́му хло́пчик | ка́же | я́ бы вас ка́же | я́ бы ва́м | помага́в ка́же | быкы́ гони́ти шчо́ но | я́ бы вам помага́в | та я́ ка́же | узьмі́т мене́ ка́же служи́ти ка́же я́ вам бу́ду ка́же помага́ти | а чôлôві́к ка́же я́ ка́же ва́с не вốзьму | не беру́ тя ка́же ай пора́диме ся ж_ жôнốв ка́же та тогды́ ка́же | но́ | тай | при́йдеш за́втра тай та́к тото́ бы́ло чôлôві́к уже тот дếнь | роби́в | тай поради́ли ся ж_ жôнốв | уже́ у вêчếрі | но | та на́й буде́ | тай | дру́гый дếнь ôпья́т прихо́дит | хло́пчик | но ай я́к | ІС на по́ле ГК но та́ | буде́ш | но тай уже́ | та́к | і быкы́ хốдят і всьо́ | та́к тото́ йде́ | чôлôві́ку шчо́ | на | насі́яли на | насади́ли | сі́я… насі́яли And a boy comes to him, and says: I could help you drive the oxen or whatever, I could help you, and, he says, take me as your servant, I will help you. And the man says, I won’t take you, I won’t, but I need to consult with my wife, and then, [I’ll decide,] he says. Well, come tomorrow, he says. And it was so that the man worked that day, and then he talked to his wife in the evening, and she was OK with it. So the next day again, the boy came… IS: To the field. HK: Yes. You will be my servant. And then… and the oxen were going well, and the man was lucky in everything. So they planted… sowed… [22-09] зе́рна мно… ô то́го пшени́ці | но | тогды́ | чôлôві́к ка́же но та всьо́го є́ всьо́ ка́же є́ | но шчо́ бдеме́ с ты́м роби́ти | ІС а то́т слу́жить_ і слу́жит | ГК а то́т слу́жи́т | а | тот хло́пчик ка́же | та ни́ч ка́же a lot of grain, that wheat. And then the man says, there is a lot of everything, what will we do with all that. IS: And the boy keeps serving. HK: And the boy keeps serving. And the boy says, it is OK, Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 65 Recording, minute Text (22) Translation бдеме́ моло́ти та | гôрі́вку вари́ти | ІС іс пшени́ці | в осени́ ГК іс пшени́ці | бо пшени́ці є до́ста | ай я́к | а́ | будеме́ | но тай | хло́пчик тото́ | намоло́ли | причини́в | навари́ли | но а тêпếрь шчо́ | но́ | кли́чьте гốсьців | накли́кав чôлôві́к гốсьців | а́ | бо не мі́г і[х] ізра́дити обы́ они́ ся ва́дили | ІС ізве́сти не мі́х ГК уже́ хло́пчик | ду́мат та́к та́к тото́ тото́ | обы́ | ІС бо чôлôві́к іж_ жôнốв ду́же фа́йно жи́ли | ГК ду́же фа́йно жи́ли а́йно ІС нико́ли не свари́ли ся ГК а не мі… | не могли́ іх ізра́дити {ізроби́ти} обы́ они́ ся ва́дили | we’ll grind it and make moonshine. IS: Out of the wheat, in the fall. HK: Out of the wheat, because there was a lot of wheat. OK, we’ll do that. And the boy… So they ground the wheat, started fermenting it, made moonshine. And what now? -- Now, he says, call in guests. So the man called a lot of guests. Because that guy could not make them quarrel. IS: He could not make them quarrel. HK: That boy. He was thinking, how can I do it so that… IS: Because the husband and the wife lived very nicely together. HK: Very nicely, yes. IS: They never quarreled. HK: And he couldn’t… they couldn’t make them quarrel. [22-10] ния́к | і ту́йкы уже́ і | закли́чьте ка́же гốсьців | но | закли́кали айбо они́ фа́йно | не ва́дять_ ся ни́ч тото́ та́к фа́йно | і пью́т | уже́ гốсьці і гốсьцять_ ся | і | вы́пили єди́н стака́н | дру́гый стака́н | така́ во́тка до́бра | ІС [ка́же] ди́влят на́ ся спершу́ та́к як ли́сы | ГК ага́ | вы́пили єди́н | ни́ч ишчế | дру́гый вы́пили | та уже́ такі́ вêсêлі́ та́к на ся ди́влят | іва́н ка́же ги ли́сы | By no means. And then already, he says, call in guests. So they called the guests, but the guests are nice, they don’t argue or fight. So they drink, the guests drink. They drunk one glass, another glass, the vodka is so good. IS: People say, they look at each other so as foxes. HK: Yes. They drank one [glass] - nothing. They drank another glass, and they are already so happy, they look at FOLKLORICA 2015, Vol. XIX 66 Recording, minute Text (22) Translation ІС уже́ як вốвци ди́влят оди́н на дру́гого ГК а тре́тый вы́пили | уже́ ту́й нача́ли | єди́н на дру́гого | гốйкати | а́ | ты́ мні́ та́м переора́в ты́ мні пока… перекоси́в ты́ тото́ мні́ уже́ зроби́в | уже́ нача́ли єди́н на дру́гого | сусі́ди | но й ту́й поналива́ли погары́ | і | она́ | жона́ шчốсь прине́сла | each other, as Ivan says, as foxes. IS: They already look like wolves at each other. HK: And when they drank the third glass, they started yelling at each other: you took my land and ploughed it, you mowed my hay, you did that to me… they started yelling at each other, the neighbors. And they poured vodka in their glasses again, and the wife brought something… [22-11] вы́льляла стака́н | тốї гôрі́вкы | ІС зачêпи́ла якốсь ГК а чôлôві́к | уже́ на ню́ | но | уже́ іх зьві́в | уже́ зьві́в уже́ кếть | ІС а́бо уже́ і уда́рив жôну́ | і вда́рив і шчо́ ты… ГК та ты́ тако́є вы́льляла та тото́ не мо́ш тай… ІС то́ бы́в такы́й рішка́тый | лише́ ві́н не зна́в я́к іх | я́к їх | обы́ ся | ізве́сти ГК як і́х із… | ізве́… | обы́ они́ ся ва́дили | но ай та́кь_ іх і ізьві́в шчо они́ ся | му́сіли ІС черес самôгốнку ГК но та черес самôгốнку ІС до́ті ни́хто самôгốнку і не вари́вь_ і не зна́в я́к то | ГК і ту́йкы | нача́ли ся ва́дити ссе́ тото́ | і ту́й до́ті ся She turned over a glass of that vodka. IS: She offended him somehow. HK: And the husband already at her… he [the devil] already made them quarrel. IS: And he even hit his wife, he hit her, why did you… HK: Why did you turn that over, it is a bad thing to do… IS: That was he, the horned one, he just did not know how to … how to make them quarrel… HK: How to make them quarrel, so that they would quarrel. And this way he made them quarrel, so that they had to… IS: Because of the moonshine. HK: Yes, because of the moonshine. Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 67 Recording, minute Text (22) Translation | і ва́дили | шчо пак я́к ото́ | єнны́ пішли гі ли́сы єнны́ гі вốвци | а трếті | переба́ште та́к як сви́ні | усю́ды ся | IS: Before that, no one made moonshine, and people did not know how. HK: And here they started to argue, about this and that, and argued until… some went as foxes, some as wolves, and some, forgive the rude word, as pigs. All over the place, [22-12] кача́ли пô бôлốтôви | і ни́ч не тями́ли | через | через вốтку | но а́йбо ци та́к оно́ є́ | ге́ | но а ну́ ж | а ци́ пью́т у тốму у аме́[риці] they were rolling in the mud and did not remember anything. Because of the vodka. Yes. Ain’t it so? See. And tell me, do they drink in that, in America? NOTES 1 See an overview of works on discourse, performance, and culture, including folklore, in Scherer [1990: 4 ff.], and on linguistic ethnopoetics in Friedrich [2006: 214 ff.] 2 See Hymes [1975, 1981, and 2003, 370 ff.] for comparison of Alter’s findings on Biblical Hebrew narrative and Hymes’ own findings on the Chinook myth narrative, and 2003, 435-9 for the list of work on verse analysis for a number of cultures; [Sherzer 1987, 1990, 2001]; [Tedlock 1983], [Urban 1988, 1991], [Webster 2008, 2008a], [Rumsey and Niles 2011], etc. 3 See Lord’s explanation of the relation between the performance and the (epic) song’s text which emphasizes the role of performance as creation and performer as creator: “Each performance is the specific song, and at the same time it is the generic song. The song we are listening to is ‘the song’; for each performance is more than a performance; it is a re-creation” [Lord 1960: 101]; “a song has no ‘author’ but a multiplicity of authors, each singing being a creation, each singing having its own single ‘author’” [ibid., 102]. 4 Only a few researchers of folklore given any attention to the textual features of the feedback provided to the story-teller by the audience or to the story-teller’s response. Toelken describes listener’s reaction to the performer as crucial to the style of performance: “the audience plays a central role in the narrative style” ([Toelken 1976: 155]; see also Toelken [2003: 135-136 and ff.]). For East European folklore that phenomenon has not been well documented. Dégh [1989: 114] notes that while recording Hungarian folklore in the village of Kakasd, she could record only one text that included both the story-teller’s and FOLKLORICA 2015, Vol. XIX 68 the listeners’ contributions. She lists the types of listeners’ comments (including: spontaneous exclamations, commentary, connecting of individual experience, praise for the narrator, impatience, etc. – [ibid., p. 119]), but does not indicate how the narrator reacts, except stating that he answers all questions and “sees encouragement in every commentary, even if it is derisive or expresses doubt” [ibid.] Dégh [1995 (1976)] described the context of an in-house session and the reaction of two performers, husband and wife, to each other’s words while the wife was telling belief legends, and the husband, jokes. (The actual event took place in the US, but the performers were Hungarian immigrants.) 5 I am deeply thankful to Anna Ivanivna Zavadiak, teacher at the Novoselytsia high school, and her husband Ivan Iurievych Zavadiak, principal of the same school, who have been helping me since 1986 in so many ways, from introducing me to my informants to helping me afterwards with understand the language and culture behind certain places in the recording I could not understand myself. I am thankful to HK and IS for letting me be a part of the current story-telling session. I am thankful to all other inhabitants of Novoselytsia who spend their precious time with me, telling me their stories, allowing me an insight into their world. 6 In the text, the notation refers to the minutes in the transcript in Appendix. There are two consecutive recordings transcribed in the Appendix: recording #21, containing the first part of the session, and recording #22, containing the part that took place at the meal table. If the notation reads 21- 1:35, the two digits before the dash indicate the recording number, the digits after the dash - the time in hours and minutes in the recording; e.g. 21-1:35 denotes the recording #21, minute 1:35 (i.e., 1 hr. 35 min.) In the text, recording numbers were mostly omitted and only numbers of minutes indicated; if the notation reads 1:15 or 18, the numbers denote minutes. The minutes from 1:04 to 2:05 belong to the recording #21, while the minutes from 00 to 22 belong to the recording #22. Thus, to find, e.g., 1:22 one should find in the Appendix the transcript of record #21 and in it, minute 1:22; to find 03 one should find the transcript of the record #22 and in it, minute 03. 7 See Hymes [1975: 68 ff.], where he distinguishes between the role of a narrator as “performer of a narrative” and as “collaborator in inquiry, to whom the narrative is also partly an object”. 8 I distinguish here, in terms of Hymes [1975: 14ff], between three dimensions of competence in a tradition: the ability to report (tell about), to interpret (explain), and to perform; see also endnote 7. 9 Story titles can play an important role in folklore; [cf. Hymes 1981: 263-272] on the myth and story titles. It seems not to be so for Rusyn story- telling, but more research will be needed to explore this hypothesis. 10 On the role of framing devices in folk poetry and myth see Webster [2008: 448 ff.]. Here the devices are not as sophisticated as the ones he studied, but they certainly play a role in the organization of narrative. 11 Hymes [2003: 380 and elsewhere] states that in Native American myths and oral prose narratives, “initial words and phrases, such as particles Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 69 translatable as ‘now,’ ‘then,’ ‘so,’ ‘well,’” are used to divide the speech into verses which are “‘measured,’ rather than metrical.” He researches the rules of composition and grouping of these verses into larger units he calls stanzas in different Native American traditions as well as in English language narrative [Hymes 2003: 102, 305]. Applying these methods to the prose text of the performance from Novoselytsia will be a promising topic for future research. 12 In epics, formulae in strict sense are units which are rhythmical, long, and carry lexical meaning; according to Parry’s definition, a formula is “a group of words regularly used under the same metrical conditions to express a given essential idea” [1971: 272]. Foley and Gejin [2012: 404] call formulae “‘large words,’ which may be a colon, a line, or multiple lines in length.” Regarding the content, formulae vary from noun-epithet phrases to descriptions of whole situations. Formulae are flexible (words inside a formula may vary if rhythmic requirements are satisfied). They are also stackable, e.g., a noun-epithet phrase can be put in a subject position in a formula several sentences long and denoting a standard action, as saddling one’s horse. The functions of formulae in the performance are different for the performer and the audience. The performer uses formulae since they allow him/her an opportunity to think, while rhythmically and meaningfully carrying on the performance. The audience enjoys the style and the suspense while the formula describes at length something that could have been just named. At the same time, formulae can organize the performance on the macro-level, e.g., forewarn listeners about specific turns in the plot, as in the case of a formula describing a character saddling his horse points to a coming battle. Formulae also can carry the function of organizing the discourse on the micro-level, e.g., introducing a character’s speech, which serves as a type of quotation marks, etc. In this case, they do not have to be lengthy or rich in content. In Homeric Greek, “[t]he small phrase ἀλλ̓ ἄγε [lit. ‘but come, go’ - author’s note], which occurs 149 times in the Homeric poems, regularly serves two idiomatic purposes: (1) it divides one section of a speech from another, preparing the listener or reader for a change of focus; and (2) it leads to a command or prayer” [Foley, Gejin 2012: 412]. At least three of the functions mentioned above, i.e., providing the performer time to think, creating suspense for the audience, and organizing the performance on the micro-level, are seemingly common functions for both the formulae in oral poetry and the discourse particles, or clusters thereof, in the story-telling performance in Novoselytsia. 13 On the role of repetition, both “exact repetition” and “near repetition” in folkloric texts, see Webster [2008a: 443 ff.], where the history of the research on repetition is traced starting from Jakobson 1960. On the “near repetition,” or pleonasm in South Slavic epics, Foley [1996: 21] comments: “this rhetorical and tectonic figure involves partial or complete repetition of a phrase from the preceding line […] None of these continuations is syntactically necessary; rather each one of them glosses what precedes with what amounts to an optional enrichment of the main thought.” We find a similar situation in this story-telling session, if we think in terms of phrases, not lines. FOLKLORICA 2015, Vol. XIX 70 14 That would seem the most probable explanation. Formulaic beginnings and endings in a number of other traditions have been described as characteristical of those prose narratives that are perceived as distinctly fictional, not true; see Bascom [1965: 6] and Tedlock [1983: 164]. 15 Tedlock [1983: 165] notices a similar device in explanatory myths of the Zuni and states that a conclusion drawn from a myth, if true, serves as an argument proving the truthfulness of the whole myth: “[e]xplanatory elements, […] since they refer to real conditions, lend an air of reality to the stories that lead to them. This is paralogism, a literary device described by Aristotle: “Just because we know the truth of the consequent, we are in our own minds led on to the erroneous inference of the truth of the antecedent.” Faulty logic it may be, but Aristotle approved of it as a verisimilitudinal device.” 16 This is a well-described practice for legends; see Bennett [1989: 305 ff.]. 17 See Tedlock [1983: 175]. 18 The bulk of Western Ukrainian and Rusyn collection of folk tales and stories (Hnatiuk [1897, 1898, 1900], Chubinskii [1872-78], Rozdol’s’kyi [1899, 1900], etc.) were dictated and written down by hand, before the advent of recording technology, which totally precluded the recording of the communicative event as a whole, though some ethnographers were very attentive to linguistic features, namely Hnatiuk. The story collection in the appendix to Pan’kevych [1938] contains a number of transcripts of sound recordings, along with hand-written texts that constitute the majority of this collection, but the transcriptions represent distinct stories. Collections of tales and stories from the second half of the 20th c., mostly published as entertainment, also contain only single stories, retold in standard Rusyn [Hyriak 1965] or Ukrainian, sometimes with certain dialectal features, e.g., Khlanta [1989] and Lintur [1979, 1984], and not performance sessions. In the Ukrainian scholarship, such newest collections as Britsyna and Golovakha [2004] contain transcriptions, but not of whole performances, though the context of each story is well documented. 19 See similar conclusions about traditional Ukrainian folklore in Golovakha [2006], based on her fieldwork in Central Ukraine described in Britsyna and Golovakha [2004]. 20 On 01.01.2015, 62,9% of Transcarpathian population lived in villages. In 2014, the natural increase in the rural part of Transcapathia was the highest in Ukraine, +2401 persons (to compare, only in one other region, the Rivne region, there was a natural increase in rural area, 911 persons, and in all other regions of Ukraine, there was natural decline in the rural population); in urban areas, Transcarpathia had the second largest natural increase of population, (after the Rivne region.). [Data from: State statistics of Ukraine, http://database.ukrcensus.gov.ua/PXWEB2007/ukr/publ_new1/2015/zb_nas_14. pdf, accessed August 26, 2015] 21 On the history of editing practices of prose folklore in Ukraine see Britsyna [2006: 58 ff. and passim]. Structure of a Story-Telling Performance Among Carpatho-Rusyns in Zakarpats'ka Oblast' of Ukraine FOLKLORICA 2015, Vol. XIX 71 22 Notes on transcription: the text is in Rusyn; however, several issues are presented differently from the standard Rusyn orthography in order to preserve dialectal features: the difference between the open and closed o and e is marked (the letters ô and ê are used for the closed sounds); words such as дêнь ‘day’ are spelled with a closed ê rather than with и, for example. In addition, stress marks are indicated, and there is no punctuation, except for the sign | which denotes a pause. The sign …. denotes a place in the recording I was unable to decipher. 23 The number in the first column, e.g., #21-1:04, consists of: the number of the recording (21), and the time in the recording (1 hr 04 min), see endnote 6. 24 In the translation, square brackets [] around a word or a part of a word indicate that this word as such is not present in transcription, but it is implied and in translation it needs to be added for adequate understanding of the text. 25 The sign |…| in transcription indicates the interviewer’s words. They are not transcribed, but in the Translation column, their English translation is given in square brackets: []. 26 The notation {} presents corrections: if an informant apparently made a speech error, I give their exact words, and then the correct version in {}. 27 The sign ……………… indicates an interruption in the recording, where the recording was stopped and later resumed, so a chunk of conversation is missing from the recording. 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