Life of Schamyl: And Narrative of the Circassian War of Independence Against Russia — John Shaqi
Life of Schamyl: And Narrative of the Circassian War of Independence Against RussiaMackie, J. Milton (John Milton)
History
Life of Schamyl: And Narrative of the Circassian War of Independence Against Russia
Mackie, J. Milton (John Milton)
Caucasus -- History; Shamil, Imam, 1798?-1871
But besides the music heard on these extraordinary occasions, the
singing of ballads coupled with the telling of stories is the common
entertainment of the Circassian winter evening. Then when the large logs
of oak blaze on the hearth of the apartment reserved in every house for
the reception of guests, and the door of which remains hospitably open
throughout the day, a little company is assembled at nightfall to while
away with song an hour or two before retiring to rest. The professional
minstrel, who is capable of extemporizing both words and melodies, may
not be present, but there will be some one, perhaps an aged blind man,
or a lad skilled in music beyond his fellows, who can touch the lyre.
Any person, however, happening to be present, _furore dulci plenes_, is
at liberty to volunteer a song.
It may be a humorous one, pointed with quaint wit, barbed with sarcasm,
seasoned with homely proverbs, and acted out with singular powers of
mimicry and even of ventriloquism. But more frequently it will treat of
the adventures of the hunter or the traveller, and the still graver
themes of war and love. If a solo, it will often be a rapid recitative,
varied at short intervals by a few tenor and bass notes thrown in by
three or four other voices, and producing an effect like the swell and
fall of the organ. If a trio or quartette, there will still be added
from time to time a heavy bass accompaniment, a sort of fugue, and in
war-songs often resembling the moaning of the sea in a storm, or the
wailing over the dead brought home from the battle field. Other ballads
again will be more gay and lively, with responses executed by three
different parties alternately. Let whatever be the theme and whoever the
performers, as the song proceeds, and the feelings of all become wrought
up to the highest pitch of enthusiasm by the recital of the great deeds
done in battle, or gallant sacrifices dared in love, the voices of one
or more of the listeners will be sure to break into the strain; the
whole audience will join in the cheerful chirrup of hai-hai-cha! or the
dirge-like wail of wai-wai-wai! and at the finale some deli-kan,
inspired perhaps by the sight of maiden faces cautiously peering in at
door or window, will scarcely be able to refrain from firing his pistol
up the chimney, or even through the ceiling.
Public-domain text, read in full here on John Shaqi.
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