The study of oral formulae in the twentieth century had several phases. After
the initial - very stimulating and influential - research by M. Parry and A.
B. Lord, who focused on the technique of composing the poem and the
mnemotechnic function of formulae, the focus at first shifted to the concept
of performance (J. M. Foley), and then to the mental text (L. Honko), which
introduced into research horizons social, ideological, psychological and
mental conditions of improvisation, interaction between the singer and the
audience, collective and individual factors of memorising, cultural
representation, and the like. Although all the abovementioned aspects
undoubtedly determine the structure of a specific variant, it should be kept
in mind that formulae transcend concrete improvisations and connect different
epic zones, different local traditions and different times. The formula
precedes verbal improvisation both chronologically and logically. Therefore -
before explaining the repeating of formulae by the needs and nature of
improvisation (composition-in-performance) or the generating of formulae in
specific variants by textualisation of mental text - we must explain the
existence of the formula in the first place. This paper seeks to point out
the complex system of factors that determine the genesis of formulae.
Formulae are regarded as cultural codes, which combine elements from
different spheres (the conceptualization of space, time, colour and so on,
elements of rituals, customary norms, historical experience, life realities,
ethics, etc.). Therefore, their structure is described in terms of hidden
knowledge, hidden complexity, frame semantics, the tip of the iceberg,
compressed meanings. Meanings ?compressed? in the formulae are upgraded with
new ?income? in every new/concrete realisation (i.e. poem) and this is the
area where aesthetics rivals poetics.
Frame semantics in motive quality-item “geographical locative”
