Fróðskaparrit - 01.01.1987, Page 22

Fróðskaparrit - 01.01.1987, Page 22
26 SANDOYARBÓK December of that year and moved into the household of his father-in-law out at Skáli undir Reynum, he seems to have had few opportunities for collecting. In 1824 and subsequent years he recorded at most one or two texts each year before completing in 1831 the fair copy of his collection. Thus, we can see that roughly eighty-five percent of the texts in »Sandoyarbók« were collected during a span of three years. Dur- ing this period, Clemensen did most of his recording in the late winter months, when out-of-doors farmwork had abated and the annual dance season was in full swing. However, even though village enthusiasm for the weekly dances doubtless contrib- uted to his wintertime interest in ballad collecting, it is unlikely that Clemensen recorded texts from their performance in the hurly-burly of the dance ring. There, the noise and press of the dancers, as well as the flexing of the wooden floor under stamping feet-all these things so desirable for a successful dance-worked against the penman struggling with his bothersome quill and inkpot. It is much more likely that Clemensen called on his informants (or they called on him) to record texts from a solo performance akin to that of the tra- dition of the household kvøldseta (evening work period). Nowhere in »Sandoyarbók« does Clem- ensen indicate that his texts were anything but his own painstaking recording of oral performances in Sandoy parish (compri- sing the islands of Sandoy, Skúgvoy, and Dímun). However, it seems certain that some of his texts were copies of what other people had recorded; in fact this is proba- bly true of all the ballads collected from people who lived outside the parish. Indeed, these texts were provided to Clem- ensen by highly literate informants: »Hábarðs kvæði« (CCF 219), »Ólavur Trygvason« (CCF 215), and »Finnboga ríma« (CCF 47) from Jens Christian Djur- huus, a well-educated farmer of Kolla- fjørður and the author of the first two of them; and »Sanda táttur« (CCF 204) from Clemensen’s second cousin Jakob Nolsøe, the bookkeeper for the government fran- chise store in Tórshavn. Nolsøe was proba- bly responsible for recording all the texts collected from residents of the Tórshavn area: his own brother Poul Poulsen Nols- øe’s ballad »Fugla kvæði« (CCF 190), as reported by another brother, Hans; »Grímur á Aksalvølli« (CCF 132) from Anna Maria Tamburs, the wife of an offic- er of the garrison;6 and »Guttormur í Hatt- armóti« (CCF 58) from her mother, Maren Sybille Augustinidatter. It seems equally certain that few of the ballads collected from residents of Sandoy parish were recorded by anyone but Clem- ensen himself. Few people there could write with any facility - there was no re- gular formal instruction in the parish dur- ing the early nineteenth century. (In con- firmation classes conducted by the minist- er, the children were taught to read and to recite certain religious texts, but not to write).7 Children could receive informal in- struction at home, according to the inter- ests and abilities of their parents; and some doubtless learned to write there, just as Clemensen had done. But it must be said that the legal and church documents from Sandoy parish during the years 1810-1830 reflect only six practiced hands - those of (1) the minister Peder Hentze, (2) his son Sheriff Johan Michael Hentze, (3) Poul Jo-
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