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13STAGES OF HISTORICAL DEVELOPMENT OF UZBEK FOLKLORE
Zamirakhan Kuchkarovna Khojiyeva Andijan State University
Abstract: Although folklore works in close connection with the science of literature, there are different features between them. For example, the ideological-aesthetic analysis of folklore works is carried out according to the laws of folklore studies, while the analysis of fiction is carried out in accordance with the laws of literary studies. The article describes the stages of historical development of Uzbek folklore.
Keywords: folklore, sociology, ethnography, linguistics, literary studies, history, art studies, musicology, historical development, ideological-aesthetic analysis, ideological essence, social nature
Introduction
The science of folklore is folklore studies, which examines the characteristics of folk art as an art of words, the stages of the emergence, formation and development of folklore, the laws of its creative process and way of life, its vital content, social nature, etc. discusses issues such as its artistic essence, artistic uniqueness, genre specification, as well as its interaction with written literature, connections and typology, poetics, method. A specialist dealing with the science of folklore is called a folklorist.
Folklore works in connection with sociology, ethnography, linguistics, literary studies, history, art studies, musicology and other disciplines. Because folklore as a syncretic word art is closely connected with all types of art
The main part
Although folklore works in close connection with the science of literature, there are differences between them. For example, the ideological-aesthetic analysis of folklore works is carried out according to the laws of folklore studies, while the analysis of fiction is carried out in accordance with the laws of literary studies. In this case, a literary critic has clear and ready-made material related to the problem he is studying, but a folklorist does not have such an opportunity. He begins by collecting material from the people related to the problem he is studying. The peculiarity and difficulty of this process is that it requires the folklorist to engage in long-term collecting activities. He should pay attention to the relevance of this or that folklore work to a certain ceremony, the melody, the presence of theatrical elements, the liveliness of the language. For this, the collector must be aware of the knowledge in these areas.
The science offolklore consists of three branches:
1. Collecting samples of folk art. Folklore studies, first of all, begins with recording (collecting) examples of folk art. This process is carried out in the form of individual, personal initiative and collectively organized scientific expedition.
2. Publication of collected examples of folk art. This field is called folklore textology (textology). At the same time, the variants of this or that folklore work are mixed, and special attention is paid to choosing the ideal and artistically perfect ones, to fully and perfectly preserving the features of live performance of each work, to ensure the naturalness of the language, characteristic of live expression. Uzbek folklore has accumulated rich experience in this field. Ergash Jumanbulbul's son's five-volume "Nightingale Taronalari" in Uzbek and three-volume "Pesnya Bulbulya" in Russian, as well as the fifty-volume "Uzbek Folk Art" series, are serious examples of this experience. are the results.
3. Researching folk art. It is known that folk songs are connected with melody, a certain part of them is performed in harmony with dance, Folklorist cooperates with musicologists and choreographers in order to comprehensively study these features.
Folklore works deeply reflect folk traditions and customs. In this respect, the genres of ritual folklore are distinguished. In researching these processes, the folklorist relies on ethnography, otherwise, his research will be one-sided.
If the uniqueness of the language of works of folk art is studied in cooperation with dialectology (dialectology), folk pedagogy (ethnopedagogy) reflected in these works works in cooperation with scientific pedagogy. Thus, just as folklore is unique, the science about it - folklore studies - is also unique.
The role and importance of folklore in ensuring the maturity of society, the depth of social consciousness and the richness of the human spiritual world. That is why collecting folklore samples, studying them and putting them at the service of time, using them to justify one or another phenomenon has been relevant in all eras. Authors of historical, scientific and literary works have used folklore samples for various purposes, sometimes in a modified and reworked form, and in many cases, in the form of a meaningful statement. In this process, in a certain sense, the first experiments in recording folklore works can be seen. Folklore materials presented in the work "Devonu lug'otit turk" by the great scholar of the 11th century, Mahmud Kashgari, are an example of this.
The records of ancient world tourists and historians about legends and narratives, various customs and ceremonies, as well as this process, which began in the era of written stone inscriptions, continues to this day in various contents and forms, in connection with the nature of the historical development of literature and art. In other words, after creation, folklore works continue to live in their natural conditions, in the process of oral performance, singing, speaking, playing, showing,
spreading and "re-creating" in the second form. But their second form, that is, the appearance of folklore samples in historical and literary records, in the works of writers and composers - the history of folklorisms is not the history of recording and studying folk creativity. In this sense, the interest in Uzbek oral works for folkloristic purposes, their recording and study began in the second half of the 20th century.
Russian orientalists, tourists, and ambassadors who lived in the second half of the last century and the beginning of the 20th century were the official people of the tsarist administration who recorded, checked and published some examples of Uzbek folklore. There are important notes on his life, customs, and oral creativity: his impressions of folk games, clowns, curiosities, sayils, etc. are described; sometimes descriptions of oral dramas and some fairy tales are recorded. For example, A.A.Kushakevich "Farhod and Shirin", N.Lyapunova "Sweet Girl", A.Vasilev "Hirsitdin Polvan", "Prince Nazar Muhammad and Princess Nazar's Bibi", A.N.Samoylovich "Grandpa Annamurad", "The husband who married who published the fairy tales "wife". A.F.Eichhorn and V.V.Leysek recorded folk tunes.
In collecting and publishing Uzbek folk tales, riddles, proverbs, and oral theater materials, especially the missionary N.P.Ostroumov made great contributions. Although he actually pursued missionary goals, his work in this field objectively became an important contribution to the study of Uzbek folklore. N.P.Ostroumov published Uzbek folk tales several times, compiled a collection of riddles, published several materials on Uzbek folk theater and ethnography. He provided his collections with prefaces and footnotes. Although there are some shortcomings in the works of N.P.Ostroumov from the point of view of the requirements of folklore studies, they serve as a rare source for comparative study with the works of oral creativity collected during the time of the former Soviets. They are especially important in elucidating the theoretical issues related to the spread, existence and variation of the samples of oral creativity.
From the same period, some examples of Uzbek folklore began to be known on a world scale. The services of the Hungarian scientist and tourist H.Vambery are great in this. He published more than a hundred folk proverbs, excerpts from the epic "Yusuf bilan Ahmad" together with the Uzbek text in the Chrygatai language textbook published in Leipzig in 1867. In 1911, he managed to publish the Khorezm version of Yusuf with Ahmad in its entirety.
In the 19th century, on the initiative of some folklore and book lovers, as well as Bakhshis, some handwritten copies of folk epics began to appear, and they were widely distributed among the people through copying, and later, typographic and lithographic publishing. Such publications were created as a result of translation or processing of folk epics and fairy tales. Among these works are "Hikyati Gorogli sultan", "Yusufbek and Ahmadbek", "Tulumbi", "Chor dar vesh", "Rustami epic",
"Tahir and Zuhra", "Ashiq Gharib and Shokhsanam". , "Sanobar", "Boz'glan", "Bakhrom and Gulandom", "Dilorom", "Hurliqo and Hamro", "Gulfarah", "Boz a guy", "Aldarkosa" and others. can be shown. But these publications were at a much lower level from the point of view of the Russian and European science of that time, and were far from the requirements of folklore studies. Although modern science (V.V.Radlov, Ch.Valikhanov, A.A.Divaev and the Boishas) has made some progress in the study of the epos of the Kazakh, Kyrgyz and Karakalpak peoples, the epic creativity of the Uzbek people is was overlooked. This situation caused Uzbek folklore with all its richness and originality to remain unknown to science in the period before the Russian Revolution. After 1920, the work of collecting and studying Uzbek folk art on a scientific basis began intensively, in the first years of that period, the work of collecting and using Uzbek artistic and musical folklore Republic of Turkestan People's Education Commissariat was assigned to the Scientific Department (Scientific Council, State Scientific Council). As a result, in 1918, a short collection of Uzbek folk art was published in the 1st issue of the "Ma'rif' magazine. In it, materials related to all genres of Uzbek folklore were collected and sent to the editorial office. It is recommended to pay great attention to folklore works, to record each work exactly from the mouth of the narrator, not to shorten or change it. In the twenties, the collection and study of folk art began seriously. This work was initially centralized in the Uzbek knowledge committee of the State Scientific Council of the Turkestan Education Commissariat. In the summer of 1922, Ghozi Olim Yunusov, who was on a scientific mission in Tashkent, Syrdarya and Samarkand regions on the assignment of the Uzbek Board of Education, collected a lot of tales, songs, proverbs, riddles from the Uzbeks living in these places. collected dialectological and ethnographic materials. For the first time in the history of Uzbek epicology, Fazil Yoldosh recorded a part of the epic "Alpomish" from his son and Hamrokul Bakhshi. As a result of his expedition, he wrote an article entitled "The work of acquaintance among Uzbeks" and published it in the newspaper "Turkiston" (December 18, 1922). The article discusses for the first time about the highest examples of Uzbek epic: "Alpomish", "Goroghli", "Yusuf-Akhmad". The researcher compares the epic "Alpomish" with the famous "Odyssey" and "Iliad". G. O. Yunusov published some excerpts from the epic "Alpomish" written by him in the magazine "Bilim Uchogi" (1923) with a short introduction. In 1921-1922, Ghulam Zafari recorded various songs, lapars, oral drama works during his trips to the Fergana valley, Elbek, Tashkent region, and about puppeteers and amateurs. plasti. Part of the collected materials was published by Elbek and Ghulam Zafari in 1925 in the collection "Ashulalar". Elbek's "Laparlar" ("Bilim Ochoghi" magazine, 1922), Ghulam Zafari's "Chigatoy Uzbek Folk Theater" ("Center of Knowledge" 1923, 2-3 ) made a preliminary assessment of the materials they collected in their articles. Also,
in 1923, Bekjon Rahmonov published a collection of "Uzbek words of fathers" containing five hundred and sixty-four proverbs and sayings collected from Khorezm. Despite the fact that most of the folklore materials collected in the first half of the 20s have disappeared, materials on some genres of Uzbek folklore, including certain parts of the great heroic epic "Alpomish" and comments about it, have appeared in our cultural life. is an important event. These actions were a serious step forward in drawing the attention of the scientific and literary community to the work of truly studying the folklore, language and ethnography of the Uzbek people. Nevertheless, until the second half of the 20s, Uzbek folkloristics was going through the research stage, and had not yet been fully formed as a science, and had not had a scientific direction in the literal sense.
Thus, the initial period of finding and studying the creativity of the Uzbek people (1917-1925) was considered as a certain stage in the formation of folkloristics of the Uzbek people at the beginning of the 20th century. In 1926, he published "A Guide to Collectors of Information on Uzbek Folk Literature" in the magazine "Ma'rif va okkhita". A number of articles by Gozi Olim Yunusov ("A few words about Allah", "Oral literature class weddings" and others) were published. The son of Ergash Jumanbulbul, the son of Fazil Yoldosh, the son of Muhammadqul Jonmirod, and the son of such talented people's artists were identified. In a short period of time, "Alpomish", "Yodgor", "Shaybani Khan", "Yusuf with Ahmed", "Alibek with Bolibek", "Rustam", "Goroguli", "Yunus Fairy", "Misqol Fairy", Great works such as "Gulnor Fairy", "Avaz Khan", "Hasan Khan", "Dalli", "Ravshan", "Hasan Batrak" were recorded. The identification and recording of such a large-scale amazing epic product demonstrated the extraordinary wealth of Uzbek folklore. Since 1926, almost every year, scientific expeditions have been organized to collect taxes in various places of Uzbekistan.
F.M.Karomatov, M.Kh.Kadirov, M.S.Saidov, M.Murodov, T.Mirzaev, B.Sarimsakov, K.Imomov led the expedition. As a result, a very large archive of folklore was created in Uzbekistan and is getting richer every day. Young Uzbek folklorists made original observations regarding folk artists as creators, that epic works should be studied directly in connection with the place where they are sung, the conditions and the singer himself. they put forward the oya. At a time when there were fluctuations in the evaluation of the creative talent of the people, that is, the second half of the 20s, it was of great methodological and methodological importance. This methodologically correct approach to folk art is clearly visible in the articles of Hadi Zarif (1905-1972) about folk gifts.
By the end of the 20th century, studies examining various aspects of folk art began to appear. Among such works, it is necessary to point out the books of A.K. Borokov about the doorkeepers, about the dollar, and about the Uzbek puppet theater
of M.F.Gavrilov. In his book, A.K.Borovkov reflects on the art of goalkeepers, the life and activities of clowns who come out during breaks. M.F.Garilov explained several issues about the Uzbek puppet theater, such as the preparation of puppets, translated the text of the puppet theater's main plays "Sarkardalar" and "Kachal Polvan" into Russian and English. published in Uzbek languages.
Another characteristic characteristic of the period of formation of folklore studies of the Uzbek people is the attention paid to the development of folklore textual studies. In addition to collecting and studying his work, it is necessary to publish and present it again. In this case, the epic "Alla" recorded by Ghazi Alim's son Ergash Jumanbulbul and "Shaybani Khan" narrated by Polkan can be shown as examples. These publications are distinguished by the fact that they are published for the first time and have a thorough scientific basis. Thus, in the second half of the twenties, Uzbek folklore had its own scientific direction, and its foundation was created.
In 1935, the book "Materials for the History of Uzbek Theater" by Miyonbuzruk Salihov was published. In this book, the author rightly describes the dramatic plays of those who are interested in the nature, essence, and types of folk theater as "the most characteristic and perfect among folk stage plays, in which all importance is given to appearance, movement and words" evaluates. He adds the book "Sarkardalar" to the book. This book of the scientist has great value in the history of folklore studies from the point of view of publishing folklore works and some comments.
As a result of the attention paid to folklore, the rise to the level of teaching Uzbek folklore as an independent course in the philology faculties of higher educational institutions increased the need for manuals and textbooks in this field even more.
For this reason, "Uzbek Folklore" (Book 1, 1939) was published for higher educational institutions. This christology compiled by Hadi Zarif was the result of great research and important scientific conclusions. It reflects a general view of folklore as a whole course, which was achieved through in-depth observation of all samples and their scientific analysis. In the second half of the 1930s, Mansur Afzalov, Sharifa Abdullaeva, and Yusuf Sultanov entered Uzbek folklore. Gafur Ghulam, Hamid Olimjon, Maqsud Sheikhzade, Shakir Sulayman, Sharif Reza and other writers are engaged in folklore.
Mansur Afzalov (1910-1973), the famous Uzbek folk poet Islam Nazar, worked with them for many years, diligently studied his repertoire and creativity. He first announced the results of his research in the article "Son of Islamic poet Nazar oglu". He recorded the poet's epic "Orzigul" and published it in 1941. M.Afzalov, in the article "Uzbek Folklore" written together with B.Karimov, followed in the footsteps
of Hodi Zarif, who for the first time thoroughly examined the folklore of the Uzbek people, and put an end to its fifteen-year development.
During these years, folklorist Buyuk Karimov (1916-1945) also carried out effective research on Uzbek folk tales. In 1919, he published "Uzbek Folk Tales", the researcher's observations about Uzbek folk tales and fairy tales were placed at the beginning of the book, which became of great importance for Uzbek folklore. The author, although controversial, classified the fairy tales to some extent and made a thematic analysis. This book was the first large collection of fairy tales.
In 1936, the work started by the Institute of Art Studies of Uzbekistan on the study of folk theater and especially the recording of oral drama was a big turning point in this field. several expeditions were organized to Mother Valley. In 1940, the republican exhibition of folk actors was called in Tashkent by the Institute of Art Studies and the Department of Art Affairs, and it was a great success. Thus, during the years 1936-1941, more than 80 folk comedies and dozens of humorous stories were recorded in various versions.
Summary
Another characteristic feature of the development of Uzbek folklore before the Great Patriotic War is the serious attention paid to folk epics by the end of the 1930s. Hamid Olimjon, Maqsud Shaikhzada, Hodi Zarif, Shakir Suleiman, Buyuk Karimov, Mansur Afzalov, IOcyf Sultanov and others "Alpomish", "Sweet with Sugar", "Orzigul", "Murodkhan", "Rustamkhan", "Gorog" They published the best examples of Uzbek epics such as "Balogardon", "Star with beaver", "The princess is cunning", "Ravshan" and submitted them to the readers' verdict.
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