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0«шшэшшм-шгмаи жш / philological sciences
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Nabiyeva Almara Vazir gizi Ph.D. in Philology Azerbaijan. Baku State University DOI: 10.24412/2520-6990-2023-16175-33-36 EPOS "GURBANI": MOTIVE AND INCIDENT CHARACTERISTICS
Набиева Алмара Везир кызы
доктор философии по филологии Бакинский Государственный Университет
ЭПОС «КУРБАНИ»: СВОЕОБРАЗИЕ МОТИВА И СОБЫТИЯ
Abstract.
"Gurbani" is one of the magnificent monuments of the epic love story and has been in the repertoire of master artists for hundreds of years. This saga, which is connected with the name of the Dirili Gurbani, forms a perfect image with the richness of the text, the peculiarities of the event and motivation. Dirili Gurbani, cultivated by the Karabakh ashik environment in the 16th century, is irreplaceable in terms of containing and carrying into the future the artistic traditions that came from the ozan to the ashik. As a result of that wealth, masters, as well as prominent researchers of ashiq creativity, held Gurbani high as the grandfather of ashiqs. This master, who is a contemporary of great personalities such as Miskin Abdal, Shah Ismayil Khatai, Muhammad Fuzuli, stood at a height that could keep up with them with his talent. The epic "Gurbani" was an expression of the love for the master, the art of love, and was torn from the heart of the people. "Gurbani" has been in the repertoire of the masters for many centuries and has been immortalized in Turkish hands. The events and stories contained in the saga, the motivation arranged in the general stream, attract attention with the possibility of containing the ethnic culture as a whole. It forms a complete picture of the general flow of the Turkish epic tradition.
Аннотация.
«Курбани» - один из величественных памятников ашугского эпоса, который уже сотни лет входит в репертуар мастеров, творцов искусства. Этот эпос, названный в честь Дирили Курбани, формирует идеальную картину мира своим богатством текста, своеобразием события и мотивации. Дирили Курбани, сформировавшийся в ашугской среде Карабаха XVI века, бесценен с точки зрения поддержания традиций искусства от поэта до ашугов и передачи их в будущее. Как следствие этого творческого разнообразия, мастера творчества, а также выдающиеся исследователи ашугского искусства превозносили Курбани, как родоначальника ашугов. Этот мастер, своим талантом, будучисовременником таких великих личностей, как Мискин Абдал, Шах Исмаил Хатаи, Мохаммад Физули, стоял на высоте, равной им. Эпос Курбани» был рожден из народногосердцакак выражение его любви к искусству ашугов, к мастерам слова. На протяжении многих веков в репертуаре мастеров слова «Курбани» путешествовал по тюркским землям и обрел бессмертие. События и истории, содержащиеся в дастане, мотивы, перечисленные в общем потоке событий, привлекают внимание своей способностью охватить этническую культуру в целом. В итоге формируется полная картина общего развития и становления традиции тюркских эпосов.
Keywords: epos "Gurbani", Dirili Gurbani, Shah Ismail, 16th century, works of love, buta, love epics, etc.
Ключевые слова: эпос «Курбани», Дирили Курбани, Шах Исмаил, XVI век, творчество ашугов, бута, любовные эпосы.
Introduction. In the genre richness of the Karabakh love environment and the general picture of the historical and cultural flow, the epic as a form has always attracted attention with its magnificent imagination. A typical example of this is the story of Dirili Gurbani, who formed a perfect image as the "grandfather of lovers", and the saga "Gurbani". In general, cultural ideas of the ethnos, coming from the original thought, beliefs and beliefs, outlook on life, ceremonial folklore, stories and events that take place in various forms are realized in this form at different levels. Those from the Guruchay culture, Azikhantrop, etc. all of them provide essential material for clarifying the general picture of the historical past at different periods. Legend, narration, fable, proverb, parable, song, music, etc. examples also form a remarkable image in this order. Their analysis at different levels makes it possible to come to fundamental conclusions to clarify the essence and follow
the processes taking place in the ethnocosmic reality. In this sense, epic creativity is characterized by a wider range of genres, and in its essence, it is important with the layer of information projected by the paradigmatic and syntactic level. The creativity of epics, the creativity of poets and lovers shows richness in all its aspects at the level of the environment. Dirili Gurbani, Lala, Sari Ashiq, Ashiq Samad, Ashiq Valeh, Ashiq Qanbar, Ashiq Abbasgulu, etc. the art tradition of such masters is a classic example of this.
Dastan tradition and Karabakh love atmosphere. In the epic tradition, the Karabakh love environment comes to the fore with serious riches. "Gurbani", "Good and Yaman", "Valeh and Zarnigar", "Taleh and Haqiqat", "Gachaq Nabi", "Iqbal and Ismat", "Sham-shir and Sanubar" etc. Examples of such epics require systematic analyzes with genre level and information layer. "Gurbani" epic has an important content in the
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context of clarifying the historical tradition and the perceptions of the epic environment.
"Gurbani", which belongs to the series of love epics, is characterized by a rich enough texture at the level of motifs and events. Here, as much material is provided about the life, environment, era, and creativity of the master artist. As it is known, "through each epic, the people of Azerbaijan put forward an idea, a dream, a goal. These ideas are dreams that have passed through centuries of life and lifestyle, the history of struggle, and turmoil. Heralds of these ideals are lyrical heroes" (Efendiyev, 1992: p. 375). Of course, the origin and formation of epics is colorful in the historical tradition, people's life, worldview, living, etc. such issues come to the fore due to their different nature. Folklore has always tried to give priority to clarifying the essence by paying attention to these issues in separate time periods. The analyzes related to the "Gurbani" saga also have a special content in terms of verifying the general essence of the ethnocosmic reality in all its aspects.
The ways of creation of love stories are diverse and based on the common richness of the historical and cultural flow, bringing to the fore the struggle for life and survival of the ethnic group. Here, there is a variety, from the international plots to the diversity of family and household issues. "Tahir and Zohra", "Ashiq Gha-rib", "Asli and Karam", "Abbas and Gulgaz", "Najaf and Parizad", "Princess Abulfaz", "Yetim Aydin", "Ill Gasim and Malaksima", "Ali Khan and Pari Khanum", "Khan Choban", "Soltan and Gandab", "Gul Mahmud", "Leyli and Majnun", "Mohammed and Gulendam", "Avdi and Mehriban", etc. examples of such epics come to the fore not only at the level of epics, but also in terms of historical and cultural flow with a magnificent richness. Their synchronous and diachronic examination in different contexts also serves as a source for the clarification of deep-rooted problems such as Text//Music//Performance. Everything from the appliqué to the chords, as well as events and motifs, is arranged as a seasoning on the level of the epic, and comes to the fore as a guarantee of perfection. "Gurbani" saga is a source for clarifying what happened from the point of view of the 16th century and the general course of the era. "If we take into account the Gurbani epic published by A. Akhundov, candidate of philological sciences, as well as the Gurbani couplets in various collections of poems compiled by famous folk poets Suleyman Rustam and Mammad Rahim, scientists Salman Mumtaz, folklorists Hummet Alizadeh and Sattar Akhundov, this epic is already It is clear that enough collection work has been done to be able to talk about it.
The acquired versions of the "Gurbani" saga constitute three independent versions" (Tahmasib, 1972: p. 333). "Gurbani", which has its place in the analyzes of epic studies with Zanjan, Diri, and Ganja versions, has been perfected in the repertoire of ashiqs for hundreds of years and has come to the fore with its basic texture for comparative approaches. Here, a wide range of events takes place, from the birth of the hero (the victim) to his upbringing, his idolatry, his encounter with various difficulties, his struggle and finally his victory. These include their own layers of content in
motivations as a whole (for example, the motive of birth, the motive of raising children, the motive of an idol, the motive of following a lover, the motive of encountering and fighting obstacles, the motive of victory).
Folklore studies have formed a fundamental idea about the life, period, environment and creativity of Dirili Gurbani with as many successful considerations as necessary. His life in the 16th century, his closeness with Shah Ismail Khatai and his appeals to him in various situations, the narratives and sayings told about him, Diri mountain ("God built a bridge and his back is Diri mountain"), Khudafarin bridge ("I crossed Khudafarin with my arm tied"), etc. geographic locations in various poetic examples attract more attention for typological approaches. Analyzing Gurbani's work, S. Mumtaz especially emphasizes that "the words of El poets are so sweet, so delicate that a person's heart cannot escape without receiving its share of those sounds. When reading some of them, a person's heart bursts like a rose bud, a smile appears on his lips, and his eyes light up. Sad, sorrowful, as soon as a piece is told, it pierces the hearts of those who listen like arrows of concern and coils like a snake" (Mumtaz, 1986, p. 291). These ideas about the words, creativity, and sayings of the poets of El are noticeable in their ability to show themselves with their finer points at the level of the epic as a whole. Gurbani's creative work, his poems in various themes and forms provide essential material for clarifying the self-image, archetypes of memory, and what surrounds what is contained in its polyphonic content. As is known, the 16th century is a special stage in the social, political and cultural life of Azerbaijan. With all its brilliance, Gurbani creativity, which is noticeable in its ability to cover everything that has come since the face of Dede Gorgud, as well as the "Gurbani" epic, with its imagination, brings to the fore one of the important directions in epic writing, or rather, the epic tradition formed in connection with master artists. The epic "Gurbani" belongs to the series of autobiographical epics and aims to reflect various characteristic aspects of the master's life and creativity.
There are different opinions and considerations in folklore studies regarding the origin and formation of the epic. All that has been said is calculated to reveal the current picture based on the general theoretical concept of epic studies. The main thing is the determination of richness in the general flow of the process at the level of epics. There is no doubt that the creation of the "Gurbani" epic depends on the artist himself. The conversations about the Dirili Gurbani among the people started from the life of the master craftsman. "Notes and signs that we have repeatedly come across in different versions and versions of the "Gurbani" saga allow us to specify the place of Gurbani. At the beginning of the Ganja version of the saga, it is said: "Masters narrate that from ancient times, seven hundred and seventy-two villages lived along Araz between the bridge of Bash Khudafar and the Araz-Kur junction. All of them were looking at Hussain Khan alive." This Huseyn Khan described in the saga is Gurbani's uncle, his father is the brother of Mirzali Khan. Gurbani grew up in this village, received education and training here" (Kazimov,
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1990: p. 19). Araz river, Khudafarin bridge, Diri mountain, Diri village, Mazannene pier, Soltanli, etc., which have a place in the saga. as a geographical location, it is characterized by the ability to reflect the interesting moments of the life and living of the craftsman. These names could also be seen in various poetic examples, and with their esoteric character, they all connect to the same image. Among the sayings, there are the places where Gurbani and Pari's grave are buried in Ma-zannane, where Gurbani is bitten by a poisonous snake (in one version), etc. When you add issues, the essence becomes even bigger.
Content information of "Gurbani" saga. The source of wealth of Gurbani's creativity is connected to what comes from the poet, the lover, and by rooting in this tradition, he makes additions to it. Stale, useless, attached, divan, exchange, etc. poems formed in forms, as well as the "Gurbani" epic, are rooted in carrying the entire content, the autobiographical content with the function it performs into the future. Here, motivation at the level of the epic takes place as a remarkable issue in the historical memory of the people in the form of childlessness. "One day, Mirzali Khan called his wife and said:
- All these things happened to us because we didn't have offspring or support. They say that hand prayer is accepted. Take a sacrifice, let's go to the hearth, cut it and distribute it to orphans and widows, maybe we will have a child.
In the morning, Mirzali Khan took a deaf man as a sacrifice and went to the hearth. Kasib distributed the vow.
Allah accepted their sacrifice" (Love Sagas, 1979: p. 204). Textual information appears to be able to reflect the essence of the historical past with various peculiarities. The motif of childlessness and its archetype of memory seem characteristic here, and the motif of adoption is connected to the same line and the same thought. "...They wanted to name the child. A wise old man came and said:
- I named the boy Gurbani. Because you found it with a sacrifice" (Love epics, 1979: p. 205). "KitabiDada Gorgud", "Tahir and Zohra", "Asli and Karam" etc. There are enough examples based on this motif in our epics, as well as in our fairy tales.
For example, "Dirsa Khan son of Buhaj", "Bay-bura son of Bamsi Bayrek son" stand out as classic examples of this. Khan's daughter said, "Hey, Dirsa Khan! Don't be angry with me! Don't be offended and say bitter words! Stop moving! Put your tent on the ground! A stallion from a horse, a bull from a camel, a ram from a sheep! Make your Inner Oguz and Dash Oguz pile on the gentlemen! If you're hungry, you're full, if you're hungry, you're cold! Debtor debt relief! Gather meat like a hill, our blood is alive like a lake! Have a great wedding! Need to speak! May God grant us an orphan with the applause of one mouthful" (Kitabi-Dade Gorgud, 1978: p. 21). As it can be seen, "Kitabi-Dada Gorgud" and "Gurbani" have the same thought in terms of motivation in terms of childlessness, the idea of the ethnos holding a hand to the orphan and feeding the
hungry stomach. In the "Koroglu" saga, saying "everyone walks with his cub, why don't you have a cub" (Koroglu, 1956: p. 100) is an example of this thought.
As it can be seen, from the point of view of education, the "Gurbani" saga is of special importance with a typical motivation. In general, epic creation has always formed a perfect image in terms of the possibility and richness of a genre. The flow of information of an identical nature stands out with greatness in terms of being able to contain those from the pro-Turkic and more ancient conceptions to the present day. The wise old man's saying "I named the boy" also clarifies the longevity of the same thing.
Gurbani's conversations with her father and uncle, their poverty-stricken life and expressing her desire after telling her uncle about the situation, make the life style of the period, the environment, and the struggle for survival a reality in the context of the epic. The difficulty caused by oxen during plowing, the conclusion that "God has turned his back on man, nothing comes from what a servant gives" sheds light on the further course of events in the course of the saga. "He released the oxen. He fell down and slept in a bed. Gurbani's eyes were closed, but her heart was open. Pari, the daughter of Ziyad Khan, entered her dream in the city of Ganja. The fairy gave the hand of the lady to the hand of Gurbani, and they turned them into idols. These two lovers met in a dream, got used to each other" (Love sagas, 1979: p. 204). The information contained in the text of the epic is entirely related to the life ideas and philosophy of the ethnos. Buta issue is also in this order, it is the informativeness of those who will be at the forehead writing level.
I was sleeping, the men came over me,
Wretched, what are you sleeping, wake up, they
said.
I suddenly woke up, opened my eyes,
They said, buy, drink blood from the brother-in-
law.
I woke up, suddenly, I opened my eyes,
I rubbed my face on the slats.
They interrogated me, I told the truth,
They said ninety thousand words. (Love, 1979: p.
208).
As it can be seen, the function carried by butan in itself attracts attention in terms of determining the fate of the lyrical hero and his life path as a whole. "Dreams in our epics are related to the reality of the material world. An apple in a dream is an ideal manifestation related to the physiological arousal that allows the lover to see his lover in the reality of the idea. In this regard, heroic epics such as "Kitabi-Dade Gorgud", "Koroglu", "The Secret of Benidash City", "Aldarvish", "Danatma Ceremony", "Irvaham", "Nowruz", "Tahir-Zohra", "Latif Shah" , "Amrah", "Heydar Bey", "Najaf-Per-izad" and others. dozens of love stories attract attention.
It seems to us that the fact that the dream is related to religious rules, especially the hijab brought by Islam, can be an artistic premise. As can be seen from the works of our storyteller lovers, we do not find any religious ban in the later stages of the events. In this sense,
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since the details of artistic thinking, such as a lover seeing his lover in a dream, are legally included in folk creativity, religion is powerless in front of it" (Ha-kimov, 1983: 140-141). What is said in the verses, at the level of verse, verse, clause, aims to convey this as a whole. This is also a motif in the epic "Miskin Abdal and Sanubar", which is related to the name of Miskin Abdal, who lived at the same time as Gurbani. "Along with Huseyn, the enlightened dervish Mahmud also shows the boy to the merchant's daughter, Sanubar Khanum, and gives her the gift of love" (Ismayilov, 2002: p.115). All this reveals the picture of the functionality of the existing models in the sagas as a whole and highlights its longevity.
The result. No matter how much the general flow of events in the epic "Gurbani" covers metaphorical, metaphorical memory, its other layer includes events that are considered real. These as a whole find their artistic expression at different levels throughout the epic. The "Gurbani" epic is connected to the historical-cultural tradition in the form of reflection of the perfection of the epic takhkiya and episodic moments related to the master, various poetic examples. it is connected to the high level of expressiveness of the essence as a whole. Of course, there is also the issue of self-expression of the historical landscape at the level of alterity, which is the main thing here. If Gurbani's relationship
with Shah Ismail, Safavid rule, social and political landscape of the period brings to the fore those in the image of Gurbani in one direction in the development of the epic epic, the other point of view aims to reflect the environment and the level of the period. All this brings to the fore the scene covered by the "Gurbani" saga in terms of motives and events and creates conditions for systematic approaches at the typological level.
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