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The Shaman's Song and Divination in the Epic Tradition

机译：史诗传统中的萨满之歌与占卜

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ABSTRACTEvidence of the intimate linkage of the shaman's song and divinatory procedures may be viewed in the ancient epics. These narrative poems contain structural and thematic elements recognizable from the shaman's song—in particular his or her voyage to the Otherworld and the guidance of oracular powers. In this paper, The Epic of Gilgamesh, Euripedes' Ion, and The Ozidi Saga (a living epic from West Africa) are examined as recuperations of the orally composed and transmitted song of the shaman. I argue that the epics—the origins of which predate their composition in literary form—bear witness to these most ancient and mysterious forms of linguistic expression. As depictions of Otherwordly journeys, they can be viewed through a metaphysic outside of time, rendering divination not only possible but inevitable, and necessitating a language of abstraction, allusion, and ambiguity. Today's experimental poetries may not all partake of a conscious recuperation of shamanic themes and forms, but they share an imaginary (yet not imagined) repositioning of reality, an open questioning of consensus forms of awareness, and an aesthetic shaping of what Jean Gebser calls “Integral Consciousness” (15), the simultaneous integration-disintegration of archaic, mythic, magic, and mental paradigms in an intensification of awareness which sees time as diaphanous, and Mind as a doorway between possibilities.
机译：可以在古代史诗中看到萨满歌曲与占卜程序紧密联系的证据。这些叙事诗包含萨满之歌中可以辨认的结构性和主题性元素，尤其是他或她前往异世界的旅程以及口头力量的指引。在本文中，对吉尔伽美什史诗，Euripedes的离子和Ozidi Saga（来自西非的活史诗）进行了研究，以作为对萨满巫师经口创作和传播的歌曲的调养。我认为，史诗的起源要早于其文学形式的构成，它们见证了这些最古老，最神秘的语言表达形式。作为对Other言旅程的描绘，可以通过时间之外的形而上学来观察它们，这不仅使占卜成为可能，而且是不可避免的，并且需要抽象，典故和歧义的语言。今天的实验性诗歌可能并不全都对萨满主题和形式有意识的调动，但它们共享着对现实的想象（尚未想象）的重新定位，对意识形式的共识形式的公开质疑，以及让·吉布瑟（Jean Gebser）所谓的美学塑造。整体意识”（15），在意识增强中，古朴的，神话的，魔术的和精神的范式同时融合-分解，这将时间视为透明的，而心灵则是可能性之间的门户。

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