This presentation does not belong to the usual beginning formula, but it is determined by the situation of recording. It implicitly states that what is told should not be taken too seriously (‘it is a play for children’). Setting the story in the past offers a link with the more common formula following below.

Opening formula

Standard formula that establishes and anticipates the characters that the public can expect as actors in the story (a man and a wife and their twin children).

The competition is established immediately, together with the twins’ aim (to marry the woman).

The woman put Atsu and Etse to a test. The storyteller’s choice for ‘flowers’ is a narrative innovation (see also the Anglicism ‘flawasi’). A more usual task for the twins is to look for special herbs (for example ‘amma’, a leaf with medicinal properties) that would test the knowledge of the (future) man of the house to perform curative actions and rituals.

The task is carried out and the competition between the brothers takes a definite form: Etse has the best flowers, Atso has lost the competition.

Betrayal. Atso kills his twin brother, breaking the pact underlying the test as well as the family bond, and obtains the wife.

Beginning of the betrayal’s unveiling (disclosure). The shepherd is a logical choice as actor, since he walks in the field for his activities. The storyteller does not need to say what ‘bones’ the shepherd walks upon: the public’s understanding and expectation is shown by the reaction “Oh...”

The narration is also interspersed with songs from the public. A well-known formula allows the audience to intervene by taking witness of the events narrated (“I was present”) and shifting in time from the past (“on that day”) to the present (“let it come for us to hear”).

The song concerns tasty food (anchovy stew) as children’s songs often do.

The storyteller addresses the girl who interpolated the song and assigns her a role. She also makes the story shift back in time again (“on that day”). Here, the storyteller interrogates the children (“do you have men among you?), then she assigns the male children the bad character, a choice intended to caution the children to be respectful.

The storyteller takes up the narration.

Disclosure of the betrayal by means of supernatural manifestation (speaking bones).

Repetition and reduplication of sequences. The repetition has an important stylistic and narrative function since it creates expectation and dramatic effect before the resolution.

The shepherd addresses the father first as the conventional gendered manners recommend. The misdeed’s disclosure in the family raises expectation of punishment.

Repetition of misdeed unveiling.

Repetition.

Repetition of misdeed unveiling.

The repetitions anticipate the resolution.

Start of final sequence.

The narration is interspersed with another child’s intervention. (see before)

The song emphasizes the belonging of the story to a different world’s perception.

The storyteller addresses the girl who interpolated the song and assigns her a role.

The storyteller resumes the narration just a little before she paused, a device to start from a convenient point. The confrontation between the culprit Atsu and his brother’s bones takes start.

Atsu tries to avoid the confrontation. The storytelling is imitating daily conversation starting by ‘tso’ (how, you), a form indicating that the speaker does not agree with or does not like that what is preceding.

The family imposes the confrontation. Stress of tone on ‘long’ to indicate the stretch of time.

“Kuku”= hat. The literal expression is “They removed their hats” (pleaded with), indicating that “they are sorry”.

Final revelation of misdeed and why Atsu killed his twin brother (marriage). The bone has a sharp reaction and does not sing because it recognizes his killer.

The storyteller asks a rhetorical question. She indeed does not answer, but starts moralizing by addressing the public since it was Atsu.

Punishment.

The moral teaching on the consequences of jealousy and betrayal is disclosed and generalized.

Formal ending.

Closing formula that highlights the children’s capability to keep and tell stories (‘you have cupped ears’). The public’s answer ‘Yoo’ marks agreements, but other standardized expressions can illustrate a fuller appreciation.