The Baγa Tsokhor Cycle of the Jangar Epic (1857-1862): a Synoptical Analysis of Prologues
Goals: The article studies prologues of the Baγa Tsokhor Cycle of the Jangar Epic to reveal sustained textual patterns, determine the fundamentals and principles of formation of the representational part of the epic. Methods: The analysis of two prologues of the Baγa Tsokhor Cycle involved the use of complete synoptical comparison of texts introduced by V. Gatsak for epic compositions. Results: The conducted synoptical comparison of prologues to the songs Duut Bogd Janγr Dogshin Khara Kinesig Dӧrӓtsülgsn Bӧlg (About the Victory of Jangar Bogdo over Khara Kinyas the Furious) and Dogshin Zambl Khaana ϒalzu Dolan Bodngig Asr Ulan Khongor Künd ϒarta Savr Khoir Dӧrӓtsülgsn Bӧlg (About the Victory of Ulan Khongor the Mighty and Savr the Strong over Irrepressible Warriors of Zambal Khan the Fierce) of the Baγa Tsokhor Cycle resulted in 1 383 line entries. The synoptical ‘vertical presentation’ and comparison of parity verses revealed 153 elements that coincided both textually and locally. Matches for 105 verses were discovered in some remote parts of the texts. And 112 verses differ to a certain extent but still coincide being invariants of the same source elements. As for verses to have coincided textually and locally with some fractional synonymies, those number 205. So, the synoptical comparison of the two prologues has revealed that 575 line entries are completely or partly similar, and it can be asserted that - being aware of the basic structural patterns of the epic - a jangarchi (Kalm. ‘epic taleteller’) would construct the narrative according to a certain reference sequence: 1) description of the country, 2) description of the construction of a palace, 3) description of Jangar, his weapons and war-horse, 4) description of the characters’ whereabouts, 5) Savar’s submission, 6) a feast in Jangar’s palace, 7) glorification of the country. Conclusions: The investigation of the prologues attests to the fact that repeatedly recited folklore texts basically vary. During his performances the taleteller uses ready-made topics, common parts and poetic formulas. Being an important compositional element of the epic, a prologue facilitates a deeper perception of the epic poem, heroic deeds of the main characters, emphasizes the magnitude of the events described in the country of Bumba; so, the larger the prologue, the grander epic state looks; and the prologue as such attests to that the Jangar epic had sustainably developed in a wide historical context.