The Song of Khan Uzeng Aldar’s Marriage Recorded from Oirat Taleteller Javin Juna: Plot Structure Reviewed

Introduction. Despite quite a number of issues relating the Xinjiang Oirat version of the Jangar have been sufficiently dealt with in domestic and foreign folklore research papers, those of plot structure inherent to epic narratives within the Oirat tradition still remain somewhat understudied. Goals. The article attempts an insight into the plot structure of the Song of Khan Uzeng Aldar’s Marriage recorded from the Oirat jangarchi Javin Juna — a representative of the Hoboksar taletelling tradition. The work seeks to examine the plot and identify some key plot and compositional features of the narrative, compares the latter to the Kalmyk version of the Jangar for further analysis of traced similarities and differences. Materials. The study investigates corresponding publications in Oirat (Clear Script), Mongolian, and Kalmyk. Results. Being a consistent development of such important stages of Jangar’s epic biography as miraculous birth, earliest feat, marriage and heroic deeds, the genealogical cyclization prompted the epic’s creators to show interest in the main character’s destiny at large and present a complete picture of epic events to the audience. This may have resulted in that they finally created a narrative describing certain events prior to Jangar’s birth, his birth proper, and subsequent orphanhood. If compared to the Kalmyk version, the Xinjiang Oirat tradition is dominated by elements of fabulous mythological fiction: dwelling of a beautiful dakini, horse as a magic assistant, the bride’s magical abilities and wishing box. The plot of heroic matchmaking is structured as a sequential narrative where each episode, element and motif are inextricably linked and together serve to reveal the theme. Our insight into the theme of heroic matchmaking in the Xinjiang Oirat and Kalmyk versions of the Jangar epic reveals common elements in plot structures, namely: the hero’s departure on a long journey in search of bride, passage of obstacles en route, descriptions of the bride’s home, trials underwent by the groom, victory, wedding feast, and return to homeland. However, despite the plot structures are common enough and essentially sketchy, the theme of heroic matchmaking is distinguished by some specific characteristics inherent to the Oirat and Kalmyk ethnic versions and taletelling traditions, respectively.

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