Зохиолын баатрын хэв шинжийг айх эмээх үйлдэлтэй холбох нь (Ч. Лодойдамбын “Тунгалаг Тамир” романы баатруудын жишээгээр)

Abstract

This article, a continuation of the author’s research on such speech acts as smiling, crying and anger in Mongolian, examines the typological features of lexical and non-lexical means of expressing the speech act of fear as exhibited by the main protagonists of Tungalag Tamir (The Clear Tamir) by Ch. Lodoidamba, a work forever immortalized as the most famous novel of modern Mongolian literature. Specifically, this article identifies verbal and non-verbal instances of the verb ai- ‘to fear, to be afraid’ and its synonyms, as well as instances of laughter, crying, and anger in this famous novel. Out of the 38 characters mentioned by name in the novel, we have analyzed 24 characters who are described expressing the speech act of fear, including monks, Chinese merchants, school children, Chinese revolutionary soldiers, and others. Based on examples in the text of the above-mentioned characters expressing speech acts of fear, we can state the following: a. As for specifically whom or what the characters were afraid of, the following are mentioned in the novel as inciting fear in specific characters: wolves, dogs, skulls, abstract and paranormal phenomena such as demons, and sins. b. As for how many times each of these characters is described as expressing fear, the following summary can be made: - The person who incites fear in the most people the most number of times is Tsakhiur Tömör. Tsakhiur Tömör scared the following characters from one to eight different times each: Specifically, he scared Tügjil eight times, Pürew Taij six times, Takhar Badarch twice, Takhar Damdin twice, a wealthy local twice, Pürew Taij’s servant boy once, and a young boy named Khongor once. He himself was scared once by a shaman in a trance who said he would rip out his lungs and heart. - Itgelt the Rich usually incites fear in Dulmaa, Doljin, Khongor, Dolgor, Solongo, Galsan, and Old Man Nyam, and he himself is on one occasion afraid of Khatanbaatar Magsarjaw. - Erdene incites fear in Dolgor, Bat, Dowchin, and Pavlov, and he himself is afraid of his wife Dolgor and the great general Sükhbaatar. As for the forms, structures, and semantic and functional characteristics of instances of fear expressed by characters in the novel through their personal expressions, as well as expressions of the opposite speech act -- i.e. that of anger -- as well as laughter and smiling, crying and melancholiness, the following can be said: - Fear, as a human emotion, as well as anger, laughter, and crying, are widely expressed by means of verbal and non-verbal means of communication. - In the Mongolian language, fear is expressed with verbs such as ai-, emee-, tsochi-, sandar-, xalshir-, xulchii-, xulgana-, xulchigana-, xulmalz-, nawtai-, nawtalz-, nawtagana-, serwelz-, and xashxir-. - Phrases, expressions, and verbal and nominal compounds containing the verb ai- ‘to be afraid’ are highly productive. For example, ichix aixaa martax, aix setgel töröx, aix setgel ayalax, ain emeesen setgel, aix emeexiin zeregtsee, bayarlax aix zeregtsex, bayarlax aix xolildox, aix emeex bodol, aix emeex tuyaa zangirax, aix gaixax setgel, etc. - In expressing the speech act of fear, human-related terms such as zürx ‘heart’, setgel ‘mind, emotion’, ünxeltseg ‘pericardium’, tsös ‘bile’, and süns ‘soul, spirit’, as well as nouns denoting abstract concepts such as intuition and instinct are actively used. - Fear is also expressed through the description of human body functions. For example, zürx lüg lüg tsoxilox ‘heart pounding’, xooloigoo chichrüülex ‘trembling voice’, xooloi xerjignen muuxai duugarch nüd n’ gyalalzan magjrax ‘eyes glistening and voice gagging’, and am n’ ewlej yadan baix ‘unable to squeeze words out’. - Words and phrases expressing certain peripheral human senses are also used. For example, büx biye n’ chichrex ‘entire body trembling’, zürx n’ chichrex ‘heart fluttering’, xüiten xöls n’ chiixrax ‘cold sweat’, magnain xüiten xöls burzaix ‘cold sweat on one’s forehead’, magnain deeree xüiten xöls burzailgax ‘cause to have cold sweat on one’s forehead’, and tsagaan tsarai n’ ulaan bolox ‘face turns red’. - Fear is also expressed with special metaphorical phrases such as süns n’ zailax ‘[scared to the point that] one’s soul leaves’, ünxeltseg n’ xagarax shaxax ‘[scared to the point that] one’s pericardium almost bursts’, tsös n’ xailax ‘[scared to the point that] one’s bile melts’, zürx n’ xöörch amaar n’ garax ‘[scared to the point that] one’s heart foams and comes out of the mouth’, and zürx baixgüi ‘[scared to the point that] one’s heart is gone’. - Human psychological crises are indicated with expressions such as xar darax ‘to have a nightmare’ (literally: ‘to [have a] black [thing] press down [on oneself]’), xar darj züüdlex ‘to have a nightmare’ (literally: ‘to dream having a black [thing] press down [on oneself]’), muujrax ‘faint’, uxaan aldan aix ‘to faint with fear’, uxaan aldax ‘to faint’. - As for who scares whom or who is scared of whom, this can be observed depending on the subjects’ society, positions, power dynamics, thoughts and views, education and upbringing, age and psychological state, as well as specific characteristics of the novel’s characters, their typology, formation, and differentiation.