Фольклор ненцев: В записях 1911, 1913, 1946, 1953, 1965-1987 годов. - 2001. (Т. 23.)

performed by the author, with digressions, comme n ts, remarks and pauses made by the author and the audience — potential performers — which lasts from 20 mi n utes to several hours. The second one is a song sung by a first- class listener on the author's behalf or without mention of the auth o r's name, without digressions, remarks and pauses. The third one is a song also performed by a first-rate listener who mentions the author's name and preserves some remarks of the author and the audience. Researchers study the second wording of a personal song. There is no stability in the nature of narration. Narration can be made from the first person singular, dual and plural and third person singular, dual and plural. The following poetic means are used in songs — epithets, similes, periphrases, hyperboles, litotes and repetitions of words and sentences. Epi­ thets can be most various, from traditional ones — definitions expressed by adjectives, participles and pronouns — to the ones which are unusual for a European reader — suffixes. Suffixes of a subjective estimate which are used as epithets can be added virtually to all parts of speech. In addition, epithets- suffixes can create emotional congruence when they are present in the subject and predicate, attribute and the word which is ascribed. Euphonic elements are also used in Nenets personal songs. They largely include ase- mantic sounds and syllables which can be final and medial. V, j, ej, nge, nga, ngej and ngov are most often used as such sounds and syllables. In addition, there are numerous substitutions of stems and suffixes. Dual, triple and fourfold extensions are also practised. There is a number of restrictions on performing personal songs. It is not allowed to sing a song in the author's presence, otherwise it is considered insulting to the author. The author's song cannot be performed in the presence of members of his family, this is also regarded as tactless. It is not allowed to sing a personal song in cases which prohibit performance of song genres. The volume includes songs of birds and supernatural beings. The gener- alizing term for them is not known, as a rule, they say syo and add the name of a specific animal, bird or being. They abut upon the genre of personal songs on the basis of the nature of narration, the availability of the “author and principles of text organization. Songs of birds, animals and supernatural beings are, in all probability, addressed first of all to children and are a means of ecological, moral and philosophical education. “Tyulise' Syo” is based on a dispute over nesting between a female and a male. The female submits to the male's will and makes a nest on a hill (actually, sandpipers build nests in low-lying flood-lands of rivers). The song has a tragic ending — the female dies. This song is followed by songs of a crow (Nos. 16 and 17) and a sea-gull (Nos. 18 and 19) where they are shown