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Сижејни модел „Секула и вила“ у дијахронијској и синхронијској перспективи

Story model “Sekula and the fairy” in diachronic and synchronic perspective


Фолклористика 1/1 (2016): 59‒77
Аутор: Славица Лукић
Текст: PDF

 


У раду се посматрају варијанте сижејног модела о сукобу између виле и Бановић Секуле, једног од најпознатијих јужнословенских епских јунака. Анализира се композициона схема песама и успоставља веза између уводне формуле и развијања сижеа. Увођење Секуле и Јанка у сижејни модел уноси нов семантички потенцијал, непознат у варијантама у којима фигурира Марко Краљевић. Испитују се слојеви везани за иницијацију јунака, траговe авункулата и за интернационални мотив женидбе јунака вилом. Пажња је посвећена и простору бележења, врстама стиха (осмерац и десетерац) и интеракцији јунака и сижејног модела.

Кључне речи: Бановић Секула, вила, Сибињанин Јанко, Марко Краљевић, јужнословенски фолклор, сижејни модел, композициона схема, уводна формула, иницијација, авункулат 


The paper deals with the several representative variants of the song and the story model Sekula and the fairy, which concerns the conflict between the fairy and Sekula Banovic – Hungarian baron Székely János, died in 1448, who became one of the most popular South Slavic epic heroes. Special attention is devoted to analysis of the plot in songs and to the way how the introductory formula in songs relates to specific modes of development of the sjuzet. Adding Sekula’s uncle Yanko Sibinjanin (Hungarian regent and general Hunyadi János, c. 1406–1456, celebrated in the South Slavic folk tradition) to the story model, releases the new semantic potential on the level of the plot. This feature distinguishes Sekula and is not observed in the songs where Marko Kraljevic is the principal hero. The paper discusses elements of the story model related to initiation of a hero, avunculate and the motif of marriage between the hero and the fairy. The area in which the songs had been written down (the West and the East South Slavic zone), type of the verse (octosyllable and decasyllable), and the interaction between the hero and the story model influenced the development of the plot. In the East singing zone, initiation pattern is more developed and Sekula is almost consistently represented as a child hero, while in the songs collected in the West zone Sekula’s initiation process is discontinued and therefore the story model Sekula and the fairy is joined with the model which thematizes Sekula’s transformation into a a six-winged snake or a dragon (the transformation occurs during the duel with the Turkish king who is in the form of a falcon, but Sekula is accidentally shot by his uncle Hunyadi, who takes the blame for his death).

Key words: Banovic Sekula, fairy, Yanko Sibinjanin (Hunyadi), Marko Kraljevic, South Slavic folklore, story model, plot, introductory formula, initiation, avunculate