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Hajiyeva Aytan Sardar kizi Institute of Folklore National Academy of Sciences of Azerbaijan DOI: 10.24412/2520-6990-2023-4163-40-46 DESCRIPTION OF SPACE AND TIME IN AZERBAIJANI LEGENDS
Гаджиева Айтен Сардар кызы
Институт Фольклора Национальной Академии Наук Азербайджана
ХАРАКТЕР ВРЕМЕНИ И ПРОСТРАНСТВА В АЗЕРБАЙДЖАНСКИХ ЛЕГЕНДАХ
Abstract
The article talks of the features of space and time in legends. It notes that the space is organized as a bipolar space, i.e. sacred and secular space, in the legends. A sacred space offers us a place created by the presence of God, embodied by divine will. Such spaces differ from the surrounding area in their specific characteristics, they are visited as sacred places and objects of worship, where wishes are made, and it is believed that such spaces heal the sick. The same characteristic applies to newly formed beings. Since they embody the divine will, they are also sanctified, and killing and harming them is considered a sin. The time of the legend is open time, which is not limited by the time of the text, and the text usually ends with a transition to the narrator's time. According to religious ideas, time is depicted as a linear irreversible process. Therefore, the past is idealized in legends, and progress in time is observed in violation of religious and moral values.
So, the analysis of space and time shows that legends are religious texts, and that they serve to propagate among the people the belief in monotheism and the religious and moral values arising from this belief.
Аннотация
В статье говорится об особенностях времени и пространства в легендах. Указывается, что пространство в легендах состоит из двух полюсов - в виде священного и мирского. Священное пространство - это пространство, где олицетворяется воля Всевышнего, которая сотворена с участием Аллаха. Данные места отличаются от остальных пространств определенными свойствами, они являются святилищами, посещаемыми паломниками, где люди надеются на исполнения их желаний, верят в исцеление недугов. То же свойство присуще и к створяемым существам. Они отражают в себе божественную волю и следственно тоже являются священными, поэтому убивать и уничтожать их является грехом. Eynixususiyyatyeniyaranancanhlaradaaiddir. Что касается времени легенд, оно является открытым, которое не ограничивается временем повествования, текст, как правило, завершается переходом во время повествователя. Время, в соответствии с религиозным убеждением, описывается как линейный процесс без возможности обратной силы. Поэтому, прошлое в легендах идеализируется, продвижение по времени сопровождается нарушением религиозно-нравственных ценностей.
Так, анализ времени и пространства показывается, что легенды являются религиозными преданиями, которые служат пропаганде среди масс веры в единобожие, а также вытекающих из данного убеждения религиозно-нравственных ценностей.
Key words: space, time, legend, religious tale, formula, belief, hierophany, miracle.
Ключевые слова: пространство, время, легенда, религиозное повествование, формула, убеждение, иерофания, чудо.
The collapse of the USSR led to the liberation of folklore from the shackles of ideological research in the countries of the post-Soviet space and the growth of interest in the study of topics that were forbidden at that time and were not allowed to be researched. The acceleration of the collection of texts of religious content, which form the basis of the belief system of the people, is an innovation brought by this freedom. Religious beliefs of ancient people are reflected in different genres of folklore. Legends occupy a special place among them. Their attachment to a certain place, the fact that they are carriers of sacred information and serve to pro-pogate the belief in monotheism, led to their spread in the oral tradition, becoming one of the leading genres of folklore.
Ideological approaches had a significant role in the fact that the exact criteria that distinguish legends from
other genres have not yet been defined. In Sovietfolk-lore studies, legends are differentiated by the relation of the text to reality. So, texts based on miracles were considered legends, while those reflecting historical reality were considered narratives (S.N.Azbelev). Since this approach corresponded to the aesthetic views of the Marxist-Leninist ideology, it quickly gained popularity in Soviet folklore studies and found its place in folklore textbooks. However, there were those who understood that this criterion was not enough to distinguish between legends. Those who are familiar with the nature of folklore know perfectly well that miracles are characteristic not only of legends, but also of most genres of folklore. There is a miracle even in narratives whose plot is supposed to be taken from real life. Therefore, the presence or absence of a miracle cannot be the main criterion for defining a genre.
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One of the most effective ways to study the compositional features of legends is the concept of space. In recent years, A.M.Lidov, A.B.Moroz, I.A.Pankov, A.P.Lipatova, V.V.Vinogradov and others have conducted serious studies of the space of legends and obtained interesting results. In these studies, the space of legend was characterized as a sacred space and analyzed on the basis of the features of the sacred space. What is sacred space? According to MirceaEliade, sacred space is the space where hierophany (mystical power) is embodied. Thanks to this, a certain area is separated from the surrounding space and becomes a space distinguished by its different qualities (Eliade, 17). In this study, we will also use the term "hierophany" by MirceaEliade. In our study, hierophanyis given as a sign of the sacred worldand the embodiment of the divine will. Spatial elements bearing this sign are consecrated, and they are evaluated based on ideas about the sacred space. Ideas about hierophany arise not about every space, but about spaces that stand out from the surrounding spatial elements with their unusual features. For example, the top of the rock is fork-shaped, the water of the spring is milky, the rock looks like a man with a rope around his neck, the spring flows for a week and dries up for forty days, and cracks in the stone - these unusual signs led to the creation of ideas about their formation as a result of hierophany. The same ideas can be applied to objects created as a result of hierophany. They differ from other natural objects in their unusual features. The pelvis on the back of a tortoise, the scallop on the head of a hoopoe, the red color of a pigeon's foot - such distinguishing features have led to ideas about their origin as a result of hierophany. That is, an unusual shape or sign of a space or object gives rise to ideas about its formation as a result of hiero-phany. From this, we can conclude that the legends of sacred spaces appeared as a result of the unity of human creativity with the unusualness of the space. These ideas mythologize these spaces, separate them from the surrounding space as a place of embodiment of the divine will and give it holiness. Sacred spaces, separated from the profane space by their specific qualities, are usually located outside the settlements, in mountainous areas. Since it embodies divine power, people ide-olozeand visit such spaces as sacred and holy places, make sacrifices on them, and the sick believe that they will be cured in such spaces.
As human thinking evolves and the worldview changes, ideas about space also change, which inevitably leads to the emergence of various concepts of space. The most archaic ideas about the world are mythological ideas. The world presented in myths is a model of the mythological world. With the advent of faith in monotheism, ideas about the world also changed, which, in turn, led to the creation of religious legends and tales that support this faith and propagate its ideological foundations. In these genres, the space is organized in the form of sacred and secular, sacred and profane space according to religious ideas. In religious tales, a sacred space is described as a place free from sins, where a person restrain desires, where money does not work, where blessings (salawat) are equal to a mule's
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load of gold, and where religious and moral values prevail. The opposite of these features is characteristic of secular space. Secular space is given as a place where the soul dominates the mind, where the forbidden (ha-ram) exceeds the permitted (halal), and where the blood of innocent people is shed. Therefore, in religious tales, those who suffer injustice in the secular space seek salvation in the sacred space, and those who do not follow religious and moral values are expelled from the sacred space. In religious tales, space is built on opposite poles from the expository part, the plot reflects the struggle of these poles (a journey to the infidel country ends with its Islamization), and one pole is idealized and opposed to another pole. However, in the legends, the opposite polarity arises later as a result of the incarnation of divine power, and the plot ends with the appearance of the opposite polarity. A girl running away from the chase, seeing that she is being captured, opens her hand to God, and God turns her into a mountain and a stone. Or a betrothed girl, seeing that a ketta(official representative of the state in the village) will kidnap her, opens her hand to God, and God turns her into a rock. Seeing that he will fall into the hands of the enemy, the shepherd opens his hand to God, and God turns him into stone. That is, legends are explained not by the struggle of the poles, but by the emergence of the opposite polarity, and the creation of sacred spaces. Therefore, the conflict between the poles here is not as sharp and irreconcilable as in tales. This is the difference between legends and religious tales. If in religious tales the space is built on the opposite polarity and reflects the struggle between these poles, religious legends reflect the origination of the opposite polarity, the emergence of sacred spaces, in other words, the embodiment of hierophany.
Sacred spaces are not created by human hands, they are spaces created by the presence of God, and only the function of determining the location of this space is given to man (Eliade, 26). A woman running away from an enemy chase, seeing that she is being caught, asks God for help, and God turns her to stone. Or the shepherd who promises to make a sacrifice if his wish comes true does not keep his word, instead God turns him to stone. All these creations are based on divine power. Places that appeared due to hierophany, such as Eshg-Abdal, GelinGayasi, Oglan-GizGayasi, Hachagaya, Ashabi-kaf, Mazannene, Oghlannija, Cho-banDashi, AmjakliPir, are still visited by people today, sacrifices are made on it, and it is believed that the desires and intentions laid down here will come true faster. The location of such spaces is revealed to a person either in a dream, or is shown by fire or light from the unseen, or by some sacred animals, such as a deer, a gazelle or a camel. For example, the legend about the "GelinGayasi" (Rock of the Bride) says that every Thursday a candle is lit between the graves of unrequited lovers from the unseen, and the soot from the candle paints the hole between the graves black (Garabagh, II, 73).
These spaces, personifying the divine will, also have healing properties: they help in the treatment of certain diseases, and the sick believe that they will be cured by spending the night in these spaces. The tomb
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of Eshg-Abdal, located in the Aghdam region and where unrequited lovers were buried, is a place where the tongue-tied and sick come to be healed and spend the night there. It is believed that if the bread brought from this shrine is fed to a man whom a dog bit, he/she will not get rabies. Or women who do not have children make a wish and build a cradle in the spring of Ali, and if the cradle swings, they believe that their wishes will come true. In the legend "AmjakliPir", recorded inDar-band, a mountain that hides a persecuted woman in its bosom becomes a place of pilgrimage for weaned women.
In the legends, sacred spaces are places where religious and moral values prevail, and in such places, there is no place for haram and uncleanness. Snakes guard such spaces, and drunk people are not allowed into the shrine. Haram and stolen goods are not accept-edby these spaces. The texts about Hachagaya, located in the Tovuz region, say that the stolen animal, which was brought to the shrine, got lost and ran away. Sa-credness is measured by religious and moral values. When religious and moral values are preserved, the space retains its sacredness, but if these values are violated, the space loses its holiness and again turns into a part of the profane space. For example, in the legend of the "DamjiBulag" (Dripping Spring), the water of the spring dries up because a woman washes the child's dirty clothes in the spring. It was possible to restore its sacredness only by performing certain rites - after sacrificing an animal on the spring (Garabagh, III, 85). Another legend says that from the place where Hazrat Ali struck with a sword, a spring boiled, and a plane tree grew over the spring. That plane tree dries up because it is defiled (Tovuz folklore, II, 49).
Religious legends not only contain information about the creation of sacred spaces, but also reflect information about the features of the space. Since sacred spaces personify divine power, it is considered a sin to distort, destroy, pull down it, and it is believed that those who violate this prohibition will be punished. For example, the legend "Ali's Spring and the Pomegranate Forest" says that an Armenian and his family died because he painted a cross on a rock (Garabagh, III, 83). The legend about "Mazannene" (Grandmother Mazan) says that a man who stole one of the dough balls from the yard of the sacred place fell off a cliff and died while returning from a pilgrimage (Garabagh, I, 127). Or the legend about the "Khochazgayasi" (Khochaz Rock) says that on the day of Novruz one of the young men shot a stone at the sacred space and became paralyzed (Garabagh, III, 87).
In legends, sacredness is not only a property of a place, some living beings are also considered sacred. It is considered a sin to kill a swallow because it cast a shadow on the wounded prophet, a pigeon because its foot was soaked in the blood of the prophet, and a spider because it protected the prophet from the infidels. Since the sparrow stole grain from the imams, and the partridge made a noise and unclosed the imams' location, it is considereda good deed to kill them. Apparently, sacredness becomes a protective cover for many animals, birds, trees, protecting them from the harmful influence of people.
The elements that arise through hierophanyare distinguished by unusual properties. For example, the water of a spring is described as pure as tears, and no matter how much it is stored, it does not lose its quality, its quantity always remains constant, and it is extremely incremental. Trees born of hierophany are always green, grow in an unknown way, not from cuttings or seeds, like ordinary trees, and their branches bleed instead of sap, and they do not rot when left in the ground. The elements that appeared due to hierophanyare also distinguished by their healing properties, and it is believed that they cure certain diseases. Therefore, those who come to visit the shrinedrink water from the spring, bring it to their families, sprinkle it on the yard to bring a blessing, and a stone on the shrine relieves heaviness from the stomach and heals weaned women, etc.
Elements generated by divine power bear traces of the moment of hierophany. Theforking of the rock, the crack in the stone, and the imprint of a human paw on the rock and the place of the sword are presented as signs of the moment of hierophany. These elements themselves become objects of worship. Look, there is such a stone in this height and altitude. There are places for two daggers. One of them went to the middle of the stone, the other went about ten centimeters. They say that the sword that goes into the middle of the stone is the sword of the imam, and the sword that remains on top is the sword of Yezid (Garabagh, IV, 115). It is said that Hazrat Ali came and overstepped this valley on his horse. That is why they always said that the footprint of the horse on the rock was the track of Hazrat A li's horse. One print of the horse's foot was on this side of the rock, and the other on the other (Garabagh, IV, 116). Before reaching Hachagaya, the footprints of Dulduland traces of Mr. Ali's hands are visible (Tovuz folklore, 48). The narrator tries to make the listener believe in the reality of the text by recording such details on spatial elements as traces left from the moment of creation.
A.P.Lipatova deservedly writes that the peculiarity of space determines the type of text (Lipatova 2018, 154). Since the space is formed on the basis of religious ideas in religious legends, the main role is played by prophets and saints, and representatives of the opposite religion play an antagonistic role. Members of the opposite religion are often represented by common names such as infidels, Christians, and Jews. For example, in legends about persecuted prophets, the prophets usually avoid the persecution of infidels. In the Asli-Karam legend, it is the priest who prevents the lovers from meeting. Who is assigned the role of an antagonist depends on the characteristics of the region. Since the inhabitants of the Garabagh region have more contact with the Armenians, the role of infidels in the legends recorded here are assigned to the Armenians, and to the Jews in the Saatli and Sabirabad regions, where religious feelings are more pronounced. In regions where the Shiite faith is prevalent, we see Yezid supporters being equated with infidels and they act as infidels.
The main participants in the legends are ordinary people who live with daily life concerns like marrying their sons and daughters, looking for grass to taketheir
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cattle to spring, and grazing sheep. They do not have fantastic powers and unusual properties, as in tales. The names given to the characters such as Basti, Lala, Khanchoban are also real life names. In legends, there is no such general type of hero as a tale hero, where each hero has his own life story and different characteristics. For example, the life story of a girl who turned into a Poppy is completely different from the life story of a girl who turned into the Basit River. Therefore, if the heroes of tales can be represented under a common name, in legends this is impossible. A common feature that unites the characters of legends is that they turn into a certain object, and they are the basis of any creation.
Legends do not have a clear terminological expression among the people. The narrator presents such texts as a story and a history based on the event discussed there. In the legend "Akhtamar Golu" (Lake Akhtamar), the narrator, giving information about the person from whom he heard the text, says: We have Zulfu in our village, he graduated as a paramedic. He took us to Akhtamar Lake. He was talking there that such a story happened here (Garabagh, II, 107). In some texts, the narrator presents the event described in the legend as history. In the legend "Khanoglan and Basti" the narrator's text begins with the following information: I know the history of the creation of Khanchinar and water (Garabagh, X, 88). Despite the terminological diversity, both words emphasize that the events in the legends took place. Sometimes the narrator even openly expresses his belief in the reality of events. For example, a narrator, talking about a game of deer, continues that "the game of deer is not a legend, it is taken from an event that happened." So, the narrator does not doubt the veracity of the legend. Even the mention of people turning into a stone, a bird, an animal, of a stone hiding a person in its chest, and of supernatural things does not change anything. Since the supernatural character appears in legends as the embodiment of divine will, the narrator has no doubts about its veracity.
Legends begin with initial formulas like other oral texts. The initial formulas have an introductory function and contain information about the place, time and main participants in the events. In legends, an entry consists of the following formulas:
1. Formula of place
2. Formula of time
3. Information about the main participants
4. Formula that creates confidence in the reality of the text
As you know, the place in tales is uncertain, so the events in most tales are associated with uncertain places, such as a city, village and province. Even when a place is given a specific name, the description of the place is arbitrary and does not reflect the geographical reality. But in the legends, events are tied to a specific place. Since this place is familiar to the narrator, location descriptions - information about its geographical location, nature, surrounding objects corresponds to the place where the events take place. Between Uchoghlan and Khyndyristan, there is a holy place called Eshg Avdal. It was a great place of
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pilgrimage, and everyone promises to sacrifice there. When I myself fell ill, Ihad a sacrifice to make there, we went and made the sacrifice there. It was a sacred place (Garabagh, II, 74). Or the nearest part of the village of Uchoghlan was the village of Safarli. There is a sacred place at the cemetery of Safarli village. Eshg is the girl's name, Abdal is theboy's one (Garabagh, III, 85). Two tribes lived in the Arpachay valley. These tribes have always fought for land. One of them was called the Mughanli tribe, and the other - the Aranli tribe (Myths, 101). Due to this feature, researchers referred to legends as a source in the study of toponyms, and ancient and medieval travelers used legends when providing information about the geography they visited. In fact, the expression of a place by specific names is a requirement of the genre. Legend texts are carriers of sacred information, and the main condition is to tie the events to a specific place and endow the main participants with real characters in order to convince the audience of the reality of the events mentioned there.
Attachment to a particular space is also a factor that limits the spread of legends. So, the spread of legends depends on how well known the describedplace is. For example, every year hundreds of people from different regions of Azerbaijan visit the shrine of Ashabi-kaf, located in Nakhchivan Autonomous Republic, as a result of which the legend of Ashabi-kaf spread to different regions of Azerbaijan thanks to these pilgrims. Today, this legend is found not only in Nakhchivan, but also in folklore collections collected from Garabagh, Gadabay and other regions. However, the vast majority of legends are local texts; the fact that they are associated with a certain area narrows the area of their distribution. Such plotsof legends are known only in the region and surroundings to which they belong. For example, the legend about Hachagayawas widespread in the Tovuz and Gadabay regions (this rock is located on the border of these regions), the legend about "Grandmother Mazan" is common in Jabrayil and the legends about "Amudukh shrine" and "Oghlannija" in the Gubadli region. There are legends that the place to which they belong is only visited by residents of certain villages, so these legends spread to the territory of this village. So, the spread of legends depends on the popularity of the place to which they belong. The more famous the place, the more likely it is that the plot of the legend will spread to a wider territory.
The legends had their own toponymy. In tales, events take place in large geographical areas, such as cities, provinces, and districts, while in legends, space is limited to a certain territory. The space of tale is huge. In tales, the hero usually goes to a strange space for a specific purpose, travels from one city to another, which gives the events an epic character. This allows the narrator to expand the plotline by taking the hero from one place to another. In legends, it is impossible to see spatial movements and the hero's journey from one city to anotheras in tales. The limitation of space to specific places, such as villages, mountains and valleys, led to the brevity and conciseness of the texts of the
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legends. So, the peculiarity of the place not only determines the genre of the plot, but also affects its volume. If the vastness of space gives events an epic breadth, then the limitedness of space to a certain area makes the text concise.
Legends tell about events that took place at the intersection of mythological and historical times, and in historical time (Levinton, 45). According to B.A.Uspensky, mythological time is the moment of creation. It mentions creations that did not exist until then (Uspensky, 20). For example, the creation of the world by God from a wisp of earth, the creation of man from the earth, the distribution of shares by God, the invention of gobuz(an old Azerbaijani musical instrument) by DadaGorgud, etc. are examples of mythological time. Historical time is the time when an event that happened in the past is presented as the result of some event. The time of the legend is also a historical time, where all creations are given on the basis of a cause-and-effect relationship, and the creation of something comes about as a result of some cause. Because the woman cleans the bottom of the child with lavash (thin flatbread), God elevatesspike to the ninth heaven; God forbids partridge's meatbecause its leg is soaked in the blood of the imam;a snake is bestowed with human eyesbecauseit prevents the water from filling the boat;it is considered good deed to kill sparrow because it made a noise and unclosed the imams' location; God turns the shepherd to stone because he did not offer the promised sacrifice, etc.
The time of the legend is straightforward, in this respect it stands out from texts in which time is depicted in cycles. When researchers talk about the concept of time in classical tales, they note that it is circular (Cher-vanova, Artemenko, 103). This is connected with the closedness of time in classical tales, and time does not go beyond the boundaries of a tale. Starting with "Once upon a time", the story ends with the formula "Three apples fell from the sky." In religious legends, time is open. It is not limited to text, and switches to narrator's time at the end. The transition of time is done using the adverbs of time like at that time, that day, now and other. According to the legend, a rose rises from both sides of the stone and wants to meet, but the stone prevents them. Now people worship this stone as a holy place, give alms and make sacrifices there. So the story goes that whoever gives alms to the holy place, their wishes will come true (AFA, V, 230). Since then, this double mountain has become commonly known as the "Oghlan-Giz" (Boy-Girl) (Myth, 165). It is said that since then this place has been called Oghlangala, and the place where the girl lived is also called Gizgala. Even now, people make a fire in the "Agh dash"on the last Wednesday, recognizing it as a holy place (Myths, 173).
In religious legends, time is shaped in accordance with religious ideas, and religious and moral values act as indicators of time. The time of legend is when the sky was closer to the earth, flour fell from the sky instead of rain, grain was full of spike from bottom to top, size of wheat was as large as a nut, and there was no haram or falsehood among the people. The narrator uses adverbs of time, such as in earlier times, in the
past, at that time, to distinguish this time from our time. In the past, people asked God for rain, and it rained, they asked for drought, and it happened. People were still pure (Garabagh, I, 21). In earlier times,grain was full of spike from bottom to top. Later, it became like this and decreased, but remained at the top. Now God has given us this bread thanks to the dog (Garabagh, I, 19). At that time people were very huge. It is said that once RustamZal found one of the same small people as we were when he was walking in the desert (Garabagh, I, 20). Since time is depicted as a linear irreversible process, the past is idealized and progress in time is observed through the violation of religious and moral values. Because the woman cleans the bottom of the child, the sky is separated from the earth, the spike is elevated to the ninth heaven, the grains of the ear grow smaller, and because of the haram among people, their curse is not heard in the presence of God, etc.
In addition to the formulas of time, space and person, the introduction of text in legends provides a formula that creates confidence in the reality of the text. The narrator connects the text with a third person to create confidence in the reality of the text. For this purpose, the formulas such as they say that, rumor has it that,a legend states,the story goes thatare used. In some texts, the sounded thought is tried to be itensifiedby adding a particle "so" to the words they say that, a legend states. These formulas are used either at the beginning of the text or when reporting information about the hierophany. They saythatthis is the grave of the wrestler Salsal'ssister (AFA, XII, 51). According to legend, they say that [people] died here of thirst. Hazrat Ali came and hit this place with Zulfugar, and the water began to come out (Garabagh, V, 29). They say so that there was a shepherd in this province. The shepherd was a very honest and diligent person (AFA, V, 230). It is said that in ancient times a womanizer and cruel man lived in the village of Mehragha (Darbandfolklore, 86).
Unlike sacred texts that convey God's judgment, legends are not sacred texts, but plausibility plays a key role here since they are texts that testify to the existence of God and convey His miracles. Linking events to a specific space, telling the text in the language of a third person, the transition from the time of the legend to real time are factors that create confidence in the reality of the text. In classical tales serving the aesthetic interests of people and joyful leisure, there is no such requirement. Because these texts do not talk about some kind of creativity and some kind of holy activity, they talk about the acquisition by the hero of certain values and personal happiness. This is why the narrator begins classic tales with a funny story built on lies, linking events to an imaginary time and space, and although he/she says that he/she is participating in a fabulous party, then it turns out to be a lie. The narrator does not hide the fact that the tale is fiction and a lie, but clearly expresses this. In legends, on the contrary, the narrator feels obliged to create confidence in the reality of the information he/she reports, and the signs listed a little earlier also serve this purpose.
In the legends, time ends with the transition from temporal time to eternal time. Temporal time is time with a beginning and an end, while eternal time is time
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without a known end. At the end of the text, the transformation of the hero into a certain object perpetuates the character and gives it eternity. The eternity of time is manifested in the transfer of the name and sign of the character to the newly created object, and in the continuation of the object or sign that arose as a result of the creation until today. There are not so many verbal expressions in legends expressing the eternity of time, they are mostly created by means of adverbs expressing the continuation of time, i.e.always, now, since then, thereafter. My grandfather alwaysused to say that you have done well by eating, and now take it and give the dog its share. We have been given this food thanks to the dog (Garabagh, I, 19). The Isakh-Musakh bird has remained since then (Garabagh, I, 22). It is the same-haram, thatwas ordered to them (Garabagh, I, 21). Therefore, now the sheep are not satisfied (Garabagh, II, 40). Both are buried in the same grave. From that day until now, they call it AshigAvdal (Garabagh, II, 74). They turned to stone just there. Since the boy was tall and the girl short, one of the stones was high and the other low. Since that time, the name "Valley of Og-hlan-Giz" has been preserved (Garabagh, III, 96). Look, the deer veil was that bride's curtain. One person makes a figurine of a deer from a sickle and throws a bride's curtain over it (Garabagh, VIII, 391).
The appearance of the "Khudayartasnif' (genre of mugham), which is often heard in the Azerbaijani press today, is in fact a continuation of the same tradition. Referring the name of the hero of the Garabagh War to the mughamtasnif serves to perpetuate his name and the eternal life of those values for which he died - love for the Motherland. In the legends, the transfer of a hero's name and signs to a newly created item perpetuates his name, grants him immortality, and helps those values for which he sacrificed himself to live, i.e. fidelity of love, not harming honor, not causing discord between brothers, not violating moral rules and other values.
Thus, the analysis of the legends shows that the space here is built on the basis of the opposition of holy and secular, sacred and profane space according to religious ideas. Holy spaces appear as a result of the manifestation of divine will and are described as places free from the haram and with prevailing religious and moral values. It rejects stolen goods, keeps the forbidden things (haram) away, and does not accept uncleanness and slovenliness. Such spacesare also distinguished by their healing properties. The opposition ofholy and secular space is also characteristic of religious tales, but the opposite polarity here stands out from the legends. If religious legends reflect the struggle of these poles and one pole is idealized and opposed to another, then legends explain the generation of the opposite polarity and the emergence of sacred spaces. As can be seen from here, both genres serve to promote religious ideas and religious and moral values among the people, but each genre reflects this in its poetic characteristics.
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