Mäetagused (Jan 2007)
Miniatuursed dialoogid loitsutekstides
Abstract
In folklore genres, dialogue is a widely used artistic and expressive means, its length, content and functions defined by the genre it is used. Short dialogues are found in fictional folk narratives from fairy tales to anecdotes. A fairy tale or joke can be based solely on dialogue while dialogues in legends are only a phrase or some phrases long, just as the dialogue incantations under observation here. The goal of the article is first to observe relations between text and presentation based on Estonian material with comparative material from Baltic Finnic, Baltic and Slavic tradition. Dialogue incantations are distinguished from other types of verbal magic by their performing and distribution styles as well as structure - the text of the ritual is made up of only dialogue. Primarily, attention is focused on the structure of dialogue. Dialogue incantation is a peripheral type of short dialogue - a form of either convincing, discussing or informing dialogue that supports the symbolic ritual. In written records, the dialogue is performed in direct speech. The clearly structured dialogical communication between healer and patient or healer and helper indicates that this is an older layer of folk healing and magical influencing. Secondly, attention is focused on the accompanying ritual institution and participants of magical ritual, its requirements to room, space and objects and their inter-relations. Dialogue incantations are also compared to legend-based incantations that contain dialogue. Dialogue incantations are based on old beliefs, models of communicating with the surrounding environment and are a reflection of these. Their attractive but simple form has helped the old-fashioned methods and beliefs to remain alive. The stereotypical form of dialogue is easily adaptable to new presentation situations. Since we are dealing with a heritage genre, sensitive to objects, space and time, the process-mediating narrative allows for modelling of mental maps and to determine areas important, liminal or peripheral to the tradition. The third party of the ritual - an undefined higher power, holiness, patron or lord, a being, sickness (demon), warded animal or illness gotten from one were the receivers or addressees of the dialogue. Significantly, during preparing the ritual or the ritual itself, the conductor and sender of the message taught his helper his role and verbal part. All this gives the impression of an act, a ritual composed on the spot following the instructions of the traditional canon, with symbols and symbolic acts playing a major role in the ritual. The dialogue and ritual were fixed in structure, temporal consecution, repetitions and certain space characteristics. It was canon that kept dialogue incantations from great changes. Although the structure of the healing procedure, including the objects involved, acts performed and verbal uttering are simple in character and could easily be performed by any knowing parties or witnesses, records indicate that not just anybody took the responsibility to conduct a dialogue incantation. Thus, while many dialogues were performed within the family circle, the ritual for a serious illness was not taken on. This called for deeper knowledge, knowing the symbols and an acceptance of the healer by the community.
